Monstrosity Millennium: The Pinnacle of Technical Death Metal

Guest article by Svennerick

Released in August of 1996, Monstrosity’s second effort Millennium is an album I personally hold in very high regards, considering I nearly spent eight months listening to it multiple times a day. This is an addictive album and each new listen made it clearer why this album stands head and shoulders above anything released under the term “technical death metal.”



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Analysis of Beethoven’s Symphony No.9

Even if the main part of the work was composed between 1822 and 1824, the Symphony n°9 is the fruit of a long maturation which lasted more than thirty years. Thirty years for the idea of ​​a symphony with choir to progressively take hold in the mind of Beethoven. Thirty years during which the music and the text of the “Ode to Joy” will evolve in parallel, each one gradually taking shape over the course of Beethoven’s compositions, before finally being reunited in their last symphony.



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Eucharist “Wounded and Alone” Opening Analysis

Eucharist A Velvet Creation straddled the line between the metal of old and the “melodic death” metal that would ravage the Scandinavian scene. Intelligently the band still remained enough grit and the compositional maturity of the better genre while not being afraid to integrate an overt admiration for Iron Maiden and the occasional rhythmic tool. “Alone and Wounded” is a bonus track that manages to shape Melodic Death metal into what it should have been. The opening sequence however is so remarkable that it merits a closer look.



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Retrospective: Septic Flesh – Ophidian Wheel

In the modern metal lexicon, European metal has often been used to denote bands that relied extensively on Iron Maiden harmonies, keyboards, pseudo-classical melodies, female vocalists, tremolo picked riffs and overall less influence from Pantera and Metallica. Septic Flesh have come to epitomize this style despite adding a lot more Metalcore elements to keep with the times. Before the name change, the band were once an overlooked force and presented many ideas that metal as a whole was never fully able to capitalize on. Ophidian Wheel is the summit of the band’s creativity and pushes the romantic qualities of metal even further.



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The Greatest Idiot Riff : Bolt Thrower’s “World Eater”

Master’s Paul Speckmann is known for taking an idea and squeezing everything he can from it through repetition and then utilizing the most direct route to return to that idea. Though this mentality would fail many bands because the riffs didn’t have the necessary urgency and creativity to work. Bolt Thrower on the other hand took this approach and pushed it to the logical extreme as each individual riff became the central focus while narrative development was relegated to an afterthought despite somehow still being present. What made Bolt Thrower so intriguing was that they possessed powerful riffs that were caveman like and more often than not completely idiotic yet the band managed to soar where others failed miserably.



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Supuration The Cube: Death Metal’s Most Unique Album

It is commonly assumed that the most unique album in death metal is Nespithe and while there is a very strong case for such a claim, Supuration’s The Cube has a stronger claim to such a title. Demilich have a large number of failed imitators while Supuration have none at all. The first listen to Demilich immediately shows the band’s intentions and dizzying whirlwinds of ideas in elaborate riff mazes. Supuration sounds like a rock hybrid that borders on modern metal but with much depth and just as unique but requiring many more listens to dig past the highly accessible aesthetics. Here are a few tools that Supuration used to create the most unique album in Death metal.



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Doug Cerrito and Hate Eternal – Conquering the Throne

Hate Eternal’s Conquering the Throne is a fairly mediocre album plagued by the symptoms that were spreading across the Death metal universe at the time. The need for even more brutality was visible on one side of the spectrum while the need to rival the more overground and Rock derived bands on their terms dominated the other side of the spectrum. Erik Rutan had finished his second stay with Morbid Angel who had just failed at accomplishing any of the objectives with the juvenile Gateways to Annihilation and would then form Hate Eternal who simplified everything Ripping Corpse had done into music that attempted to be memorable and punishing but ended up being predictable and flat. Though three songs stand out on this album, showing at times a level of composition far beyond anything that Rutan could ever dream of conceiving. These would become Doug Cerrito’s last contributions to Death metal.



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The Meaning of Desecresy

It is customary to begin a new year with the setting of goals towards accomplishment and growth in view of the experiences had during the previous period. The present writing aims at putting forth some works that may enrich the serious would-be Hessian in their struggle to embrace an ever more complete vision of reality. As Brett Stevens has pointed out, an interest in the occult is part and parcel of the Hessian outlook as he searches for logical patterns everywhere, not allowing himself to be circumscribed by any authority. Of necessity, this interest in the occult goes beyond Judeo-Christian conceptions, even if for historical reasons a poisoned landscape of Judaized misconceptions and moralistic admonitions has to be tread through or around. Mythos, its relevance to human psychology and possibility, must be embraced, and for it to be embraced, its import must be studied through pre-history and the whole of civilizations. While the scoffers will decry what they cannot allow themselves to rationally accept, they will remain in the grips of one or another mythos. Such is the curse of the atheist, the rationalist and those who belong to the democratic crowds. Allow mythos, vision, and hunger for life unite a distant past, the present and a distant future. The way is forward, paved by the billions of skulls of the meek who would inherit this planet, ascending to the heavens, beyond the stars and into far off galaxies.



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Introduction to the Art of the Sequence – “Satan Spawn the Caco-Daemon”

Legion has always been described as being pure rhythmic intensity exemplified within Death metal. While that assertion is true, it remains a deviation to what Deicide truly accomplished in their prime. The use of non-diatonic sequences that were’t bound by conventional notions of melody but rather a combination of chromaticism and atonality where each note was chosen individually for a specific function not held down by any scale or mode.



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