Evoking the higher-speed precision work of On the Seventh Day…, the latest offering from Master merges early hardcore, 1960s heavy rock, and the early years of death metal into a driving force of dissent and alienation.
Not much has changed in this formula since 1983, where you can hear Black Sabbath war it out with the Exploited and Motorhead as well as early Slayer in a churning powerful sound, but Master has tightened up songwriting and focuses more on a narrow zone of technique in which they can deliver a powerful payload.
It feels like it is from an earlier era, since it is more verse-chorus and vocal-driven than death metal, but it borrows riff texturing and percussion from the late form of death metal without introducing modern nonsense, becoming like the vocals: no frills, no compromises, no nonsense.
Tags: master, proto-underground metal
Paul Speckmann is a commie faggot.
nah hes a heavy punk rocker you dumbass
Simpletons try to pigeonhole people like Lemmy, Speckmann, Rob Miller, etc. Can’t be done.
Or even Wagner, Burroughs, Pym, Coleman, and Chandler.
Most anyone who’s actually creative
Controversial take: or extremely analytical, which is the basis of creativity.
This doesn’t seem controversial to me. True, posers and other sorts of hangers-on cannot sufficiently analyze such that the analysis reaches absurdity and creates a sort of portal through itself and into a novel space; and furthermore, pattern recognition extends beyond the relatively easily grasped realm of language and into more nebulous realms of feeling and imagery – and furthermore – I think that the amount of leisure one must allot themselves in order to do this is difficult to come by in a life where so much time and energy is spent merely surviving, that even the truly creatively inclined are up against it, while the posers have no need for such nuance since they can just treat their “process” like a job.
And you’re a Christian