Sadistic Metal Reviews: Preparing For The Inevitable Cannibalism Edition

We talk often here of how form-over-content/means-over-ends thinking has predominated in Late Heavy Metal. That is, people got good at the mechanics but forgot what the music was supposed to express, so now heavy metal is wallpaper to signal anger and partying for normies.

That is after all how they use it in movies.

How many times do they signal to us that a character is a loser, a partier, or just on the wild side by playing heavy metal in the background? They milk metal posters for edge cachet. And if all else fails, some Satanists listening to Slayer can be the bad guys.

Since the media juggernaut is far more powerful in numbers than metal is, it naturally takes over. Metal began imitating media. That led to lots of metal that focused on technique and aesthetics, but completely missed the glue that holds it all together, the intent behind the art.

It turns out that this means-over-ends type thinking — where technique takes the place of goals — is pretty common, even in education:

She found that high-scoring essays shared features related more to the ability to express complex meaning, such as lexical diversity, noun modification, and soundness and number of arguments, than to structural complexity.

Imagine that. Kids get higher grades for “ability to express complex meaning” instead of “structural complexity,” which reflects an essay conveying actual points and making arguments related to one another. Form over function. Appearance over structure. Surface over essence.

For art — and metal is a form of art, although it overlaps with entertainment and ritual — to be interesting, it must reflect our world in such a way that it takes us out of this world, shows us the world via metaphor, and then returns us to it with a new appreciation of it.

This process is called transcendence, and it is a cycle of accepting that reality is not just what it is, but must be as it is in order to remain wholly logical, and that therefore, what we see as the impure and imperfect world in fact expresses the divine.

Yes, you read that correctly. Dualism dies a hard death there. Heaven and Earth are not separate, but one. As the pagans view it, the material world connects to the lands of the dead, and after death there are more adventures, but the basic rules do not change. All must remain wholly logical.

After all, in a relative universe, all things must not only exist relative to each other, but relative to the whole. Those Platonic forms include an ur-form which is the fabric of the universe itself, something which may be informational and expressed in gravity more than energy or matter.

The researcher contends the “excess” gravity necessary to bind a galaxy or cluster together could be due instead to concentric sets of shell-like topological defects in structures commonly found throughout the cosmos that were most likely created during the early universe when a phase transition occurred. A cosmological phase transition is a physical process where the overall state of matter changes together across the entire universe.

As gravitational force fundamentally involves the warping of space-time itself, it enables all objects to interact with each other, whether they have mass or not. Massless photons, for example, have been confirmed to experience gravitational effects from astronomical objects.

Perhaps gravity is merely… relevance… as has been suggested by some authors in the past. Like the Law of Attraction, objects are drawn to each other by the possibility of interaction, and this creates an effect like gravity. Information, mass, energy, and gravity convert into one another.

The transcendental outlook sees the universe as an informational construct. It makes sense wholly because its relative parts also interact relative to a whole which is formed by logical need, which is something like those Platonic forms.

Plato saw the transcendental outlook as necessary for civilization because otherwise, humans fall into gaming the system for their own short-term benefit:

For when your guardians are ignorant of the law of births, and unite bride and bridegroom out of season, the children will not be goodly or fortunate. And though only the best of them will be appointed by their predecessors, still they will be unworthy to hold their fathers’ places, and when they come into power as guardians, they will soon be found to fall in taking care of us, the Muses, first by under-valuing music; which neglect will soon extend to gymnastic; and hence the young men of your State will be less cultivated. In the succeeding generation rulers will be appointed who have lost the guardian power of testing the metal of your different races, which, like Hesiod’s, are of gold and silver and brass and iron. And so iron will be mingled with silver, and brass with gold, and hence there will arise dissimilarity and inequality and irregularity, which always and in all places are causes of hatred and war. This the Muses affirm to be the stock from which discord has sprung, wherever arising; and this is their answer to us.

Yes, and we may assume that they answer truly.
Why, yes, I said, of course they answer truly; how can the Muses speak falsely?

And what do the Muses say next?
When discord arose, then the two races were drawn different ways: the iron and brass fell to acquiring money and land and houses and gold and silver; but the gold and silver races, not wanting money but having the true riches in their own nature, inclined towards virtue and the ancient order of things. There was a battle between them, and at last they agreed to distribute their land and houses among individual owners; and they enslaved their friends and maintainers, whom they had formerly protected in the condition of freemen, and made of them subjects and servants; and they themselves were engaged in war and in keeping a watch against them.

I believe that you have rightly conceived the origin of the change.
And the new government which thus arises will be of a form intermediate between oligarchy and aristocracy?

To the transcendental mind, the true riches of life involve peace of mind, family, culture, race, nature, sanity, and most of all, something to do with our time that makes life enjoyable. Transcendence comes from making everything make sense and then making our own minds orderly.

When society deviates from transcendence, you get the me-first money + victimhood pathology that currently rules. People become narcissistic because they must portray themselves as victims in order to justify deserving things from society, and it controls all things.

Whether under democracy, National Socialism, Fascism, theocracy, or Communism the same results persist. There is no way around the decay except to get forward toward a transcendental viewpoint, which requires accepting things as they are through hard realism and then dreaming big.

Metal, which finds beauty in power and noise, helps us toward that end.

If you think this sounds overly complicated, recall perhaps that the purity, perfection, and equality model of human thought is in fact overly simplistic. It misses the need that reality has to trap energy through chaos and disorder:

Entropy is a hot mess. Randomness and disorder are not exactly virtues in science. Yet it turns out, a sloppy jumble of differently sized atoms can do a better job stabilizing certain nanocrystals than a tidy arrangement of such elements. These so-called high-entropy materials are now being eagerly studied because they could revolutionize a broad range of applications, from energy storage and conversion to ultra-high temperature thermal insulators and electromagnetic interference shielding.

For the universe to exist, it needs disorder to tie up all that loose energy so that it does not immediately dissipate. We, the entropy legions, make it happen, in part through metal music which makes beauty out out chaos.

However, metal is under assault by careerism as each individualistic musician seeks his piece of the pie by making technically-competent but soulless means-over-ends imitation and recombination of the past.

It turns out that this is simply an industry expanding to fill the space carved out by underground metal:

The Law of Stretched Systems captures the co-adaptive dynamic that human leaders under pressure for higher and more efficient levels of performance will exploit new capabilities to demand more complex forms of work (Woods and Dekker, 2000; Woods and Hollnagel, 2006).

That is, the better we make metal, the more we attract labels, Hot Topic NPCs, and other parasites to take over that space. Success makes failure on the other side of the stroke; being a B-student forever however achieves a balance.

Speaking of metal, it seems that it is ineffective against bears, mainly because bears love heavy metal:

Colorado Parks and Wildlife workers turned to Black Sabbath to try to scare a stubborn bear out of a tree near the Colorado School of Mines campus in Golden on May 15.

They began blasting “Iron Man,” the loud, rousing metal anthem from the English heavy metal band at the black bear, which had not budged after wildlife officers had sent up a drone to buzz by it.

The music had no effect. While Prince of Darkness Ozzy Osbourne was not successful, actual darkness did the trick. The bear finally crawled down on its own at dusk.

Should have tried Deicide? Do bears really enjoy Absurd? We think early Pestilence might have gotten that bear in motion, but perhaps only to mosh.

~*-*-*~

Brainsore – The Grip of the Naked Mind: lots of chaser riffs and breakdowns, pounding percussive rhythm riffs, and post-hardcore style expansive vocals do not add up to anything more than a standard hardcore release with grindcore and deathcore influences, but not much to interest a repeat listener, despite the cool title and the obvious effort put into production values.

Thou – Umbilical: if you wanted alternative rock with emo/metalcore vocals dressed up as some kind of doom metal that sits evenly between stoner doom and 1990s doom-grind like Winter, Morgion, and Eyehategod, you can enjoy this pile of random riffs that fit around a groove, just slowly and with raving vocals, before sort of running down into a drone and then collapse, but it really achieves very little.

Sad Whisperings – Return to Autumn: doom metal should be scary, not built of obvious three-chord runs and sappy Barbara Streisand and Neil Diamond choruses over bouncy heavy metal riffs, and definitely not with keyboards playing along like one of those Disney shows that they have on the big stage while customers guzzle down overpriced fancied up steak and potatoes and people in costumes repeat lines from movies, but if you like that kind of self-pitying predictable sap maybe this is the retro release for you.

Spacecorpse – Shapeshifter: big dumb basic metal built on the hardcore model of outrage, from the angry storming verses to the choruses which emphasize wide gaps in interval and fast rhythm to give you a sense of reality evaporating beneath your feet, this band tries very hard to be avantgarde but ends up creating something unlistenable simply because it is all so bloody obvious and contentless.

Funeral Storm – Chthonic Invocations: music lessons ruin metal bands by teaching them the typical way to go about musical patterns and while this creates the nice consonant mixed-emotions bath of commercial rock, jazz, blues, or country it also deprives the music of its unbalanced character and sense of adventure, which comes through in this album clearly inspired by the first Varathron and attempting to reprise that but putting the old patterns into frameworks inspired by modern metal just make this anticlimactic.

Necrocapra – La Serpe In Seno: the bands who make it big do so by finding what they are good at while amplifying it and minimizing mistakes, and this is another promising EP-length release from Necrocapra that shows lots of creative thinking in riff-writing and pacing but songs seem to aim to restore their precepts rather than expand them, which makes listening to this a muddle of circularity with moments of “wow cool.”

Heimland – Tronearvingens Doed: participation award black metal implements the usual tropes from late-1990s black metal in songs that do not build so much as come into conflict with themselves, diverge into some post-metal and then speed metal, before returning to late Dimmu Borgir style soaring and lush but directionless black metal, making for a listening experience like passing a record store on a scooter after the death of a genre while the contents of a dumpster decompose nearby in the heat island warmth.

Sotherion – Vermine: this feels like someone trying to give the Nifelheim treatment to recent funderground black metal, specializing in driving rhythms and songs that do not so much come together as steadily make their parts anathema to each other, ending in a feeling of chaos with a faint hint of melody but lots of crowd-pleasing riffs and bouncing rhythms that make this as headache-inducing as speed metal.

Comaniac – None For All: chanty speed metal that leans toward the power metal side of melody but writes circular songs with a few breaks in the middle and proficient guitar leads, but at the end of the day the problem with this style of music and this album is that it is fungible; drop the needle anywhere and listen from that point and you get basically the same experience as any other point.

Fluids – Reduced Capabilities: deathcore of this nature exists to make you fall into a heavy cadenced groove and then put your brain on the shelf, literally eroding cognition with pop-like rhythms that collide with pounding felony murder rage, but in the end, this music feels like it belongs in the background to some very basic process like making feces sculptures in jail while getting dialysis from an obese trainee nurse watching TikTok videos on an iPhone with a pink sparkle glitter case.

Azketem – Azketem: depressive suicidal black metal returns with a Doris Day vibe to these sing-song little ditties that taking a page from middle period Dimmu Borgir sway gently between notes with uplifting melodies tied to trudging patterns and dark harmonies but really the end result is so repetitive that the listener becomes lost in the production effects and only later wakes up in time to catch the latest podcast on installing Lunix on a digital enema.

Death Dealers – Files of Atrocity: entirely workable crustcore and d-beat hybrid, with modern influences mostly on the vocals which sound like grindcore with only a smidgen of the post-Pantera dramatic rap-pace vocalization, guitars following old hardcore and Discharge patterns but with enough of a spin and compelling rhythm to make this a pleasant listen to avoids being entirely repetitive of the past or itself.

The Other Sun – Daimon, Devil, Dawn: they must be laughing their asses off at the thought of metalheads listening to this warmed over 1960s folk-rock with occasional distorted riffs and lots of organ, but the same basic song structures based around the lead vocals, producing nothing of riffology and everything of some kind of ironic throwback to a time none of these people could have understood except as anarchy with adult diapers anyway.

324 – Rebelgrind: the same criticism that applies to Grand Belial’s Key applies here: these songs are unfinished; the band sets up a collision of riffs then loops with layers of vocal emotional expression and rhythmic variations on the theme, but basically the song is over, and just has to hash through its cycles to get to the end where nothing has changed since the beginning.

Virologist – Ameliorating Vicissitudes: great title and band name, but bog-standard gurgling deathcore makes this album go nowhere that the last twenty-five years of death metal has not, and the standard patterns in songs that are barely organized besides a verse and chorus with some rhythm layers do nothing to improve this, leading to a participation trophy for this band whose machine-stamped patterns remind me of making pancakes in a kitchenette with too little butter.

Antiflesh – Hosanna: the post-metal influence waxes strong here, followed by the type of frenetic melodic sawing that made the norsecore clones so abusive, with focus on whisperlike vocals which seem to be the focus in this work which emphasizes — to be honest — a sense of ironic boredom, like a desire to waste life out of a combined fatalism and neurosis, droning in like your grandmother when she catches you smoking weed in a funeral home.

Selias – Headshot: this is alternative metal in the metalcore style mixed into power metal, so you get basically 1980s glam with some buttermilk melodies from alt-rock/grunge and Pantera-style groove speed metal, then it becomes terrible worship music that goes into a major key with energetic aerobics in leg warmer bouncy stuff before getting out some more ranting and then repeating the whole thing, making your reviewer want to go listen to a Cuisinart full of onions instead.

Maudissez – Maudissez: discordant sludge music with atmosphere borrowed from post-rock allows songs that alternate between predictability and barely holding it together harmonically, resulting in an experience like frotting a pissoir, which is what the name means in the language of regicides, but like most hipster bands this act focuses on sonic effects and production more than trying to write songs, so the result is disorienting like getting lost in Ikea when the Taco Bell and Modelo diarrhea hits.

Void Witch – Horripilating Presence: this band feels like a group of random guys who picked up instruments at the mall and are trying to keep a credible doom metal song going by using basic formless hard rock riffs and then throwing in lots of fills and distractions before getting back to the same repetition, producing not so much a feeling of dark melancholy as the mental sensations of finding a parking spot at the same mall three days before Christmas.

Varices – The Undoing: finally something at least tuneful and organized slides across the desk, a cross between second-album Uncanny and The Haunted, basically solidly executed heavy metal with death metal vocals and right-hand technique, oftentimes not so much random as much as often using generic licks as fills and basing its riffs on well-known archetypes, but for all that, it remains better quality music than most of the output of this genre.

Web – Burden of Destiny: this album alternates between European speed metal verses and Pantera-style choruses, throws in a few extra riffs to intensify its path, but basically loops between a dramatic riff and a trudging riff as a means of driving focus toward the yelled vocals which sometimes evoke power metal, but in the end while nothing is particularly wrong here there is no real reason to listen unless you crave more speed metal.

Ad Patres – Unbreathable: the riff shapes are fairly developed but have less form than a great death metal band would use, and the choice of chord progressions feels like a reprise of pop music from the 1950s, but the worst is that the songs seem to be about nothing but getting to that toe-tapping chorus and layering some budget riffs through the verses, with very similar rhythms between songs. Well-executed but for nought.

Malconfort – Humanism: are people really fooled by this dreck? Old sad 1970s jazz tropes with occasional black metal vocals and some distortion on the guitars, but mostly tending toward hippie rock, these songs hide their lack of direction or purpose behind technique, but the technique itself is the boilerplate you can learn at a junior college music program in order to be able to slash out soundtracks for local furniture commercials.

Omega Diatribe – Deviant: at least this album is listenable, with songs fitting together well enough to express a general idea mostly unique to each song, but these are loops based around groove metal and industrial metal that emphasizes the vocals like rock music, so the result sounds a bit like Ministry paired with Pantera and Rammstein but consequently does nothing more than give a general impression of that synthesized mood in a way that develops little over the course of each song.

Mausoleum – Defiling the Decayed: if you wanted a hybrid between Master and Impetigo, this one might scratch the itch, its strength being some inventive transitional riffs but the majority of its airtime is unfortunately devoted to almost formless rhythm riffs in the punk style, giving it energy on the surface but underneath draining away power because everything is so very similar except for the aforementioned transitional riffs.

Regicide – Resist Control: Exhorder-style speed metal, tempered with late hardcore style vocals and mid-tempo pacing, which focuses on chantable choruses but does not develop songs much at all, leading to domination of the vocals but no real reason to listen beyond that, which means that this release will make it to two weeks and then promptly be forgotten for having little relevance.

Kanonenfieber – Die Urkatastrophe: sounds like a metalcore hybrid with Rammstein, with lots of rhythmic chanting and formless riffs interrupted by occasional lifts from Bathory and Darkthrone, ultimately having about as much relevance to metal compositionally as Taylor Swift but with good production and cool aesthetics that will fool the O-mouth sweaty hands kids long enough to get a positive mention by ChatGPT.

Totale Vernichtung – Ritualmordlegenden: candy funderground horseshit album kicks off with emulations of the past (Gorgoroth, Absurd, Darkthrone, possibly Samael) tied together around unrelenting melodic intensity and lots of gently falling melodies stacked up against line-drive chromatic riffing with the precise even rhythms of music for children who have had brain injuries, evoking the past but not exceeding it nor even getting close to reaching it.

~*-*-*~

Let us leave you with this paean to knowledge:

The fact of the accumulation of human experience is the central significant fact of human civilization.

These latest Late Stage Heavy Metal additions, do they offer more accumulation of wisdom, or its erosion?

Tags: , ,

125 thoughts on “Sadistic Metal Reviews: Preparing For The Inevitable Cannibalism Edition”

    1. AMY BIDEN says:

      First what? I’m vaginal! Stand on a mirror and say my name three times!

    2. Bill Bradford says:

      Come with me to Antelope Valley.

  1. I hate Latinos alphas hoods gangs Jews homos Italians Russians blacks rappers rap rock and all things horror rap and gangster

    Can u wasps please get rid of these things please?

    And do you think Kimberly huestis is attractive I think you do know…she a bad gook shit man…

    And got any black taiwanese jokes anyone? Our kids will be mutants…

    Hey Brett what’s worse Jennifer Lopez riding you jennifer Tilly riding you or a ginger evil leprechaun bitch riding you?

    1. Harvey Murray Glatman says:

      It is important to remember Jewish contributions first. We are masters of symbol and signature, signal and icon, emotion and image. Our god is not like your god, who is appearance translated into the ethereal. Our god is pragmatism and enhanced profits.

  2. B.J. Prosack says:

    That Funeral Storm album is a perfect example of your theme for this edition. It sounds good on the surface in the old Greek style but just ends up going in one ear and out the other, leaving the listener to question what the fuck they’d actually been doing for the last 40 minutes.

    Tangent – I was looking for some good melodic death metal like ATG and Eucharist. So I scrounged up some old In Flames and Dark Tranquillity to see if I missed (or forgot) anything before they both went gay. Turns out it wasn’t much.

    When is Summoning going to put out a new album?

    1. Ironically for the nowadays metal scene, both In Flames and Dark Tranquility were seen as Dissection ripoffs/clones back in the day. I liked the first EP from the latter, but it did not have much power of endurance. Let us hope for Summoning but I think the problem is that these days, there is so much excess metal that anything good gets ploughed under pretty quickly. Each release has an attention-span-life of about two weeks, so throwing a whole lot of energy into making good music is not rewarded. The only real option is white flight style escape into a new genre, but since black metal pretty much fulfilled the metal mission, the only option left is something closer to jazz, ambient, prog, or classical e.g. greater melodic, harmonic, and structural complexity. At that point you have real prog, and that is beyond the Hot Topic audience, so they are going to settle for this utter crap Motown-Emo hybrid metalcore stuff with lots of prog stylings on the surface. It’s like Reddit as a metal band.

      1. B.J. Prosack says:

        The mid-period In Flames stuff may be HIV positive, but at least they finally admitted they wanted to be Iron Maiden meets AC/DC. Dissection always seemed to come up a little short. I think Jon’s edgy approach to everything spoiled their potential. I think there are still possibilities in melodic death metal without turning it into black metal or Iron Maiden.

        Summoning has a pretty die hard fanbase and they’ve been leaning into making something that’s not quite heavy metal. I wouldn’t call it a new genre at this point but they will still create something interesting and be rewarded for it.

  3. AI-Yassin 105 worldwide says:

    Darkthrone – It Beckons Us All: Old man push car.

    Deicide – Banished By Sin: Old car push man.

    Suffocation – Hymns From The Apocrypha: Old eagle without oil.

    Hauntologist – Hollow: Azoospermia of the European royal family.

    Verberis – The Apophatic Wilderness: Dissonant-core of the Constipated patients.

    Ulcerate – The Dawn is Hollow: Dionysos in 2024

    Judas Priest – Invincible Shield: The Battle March of the Redneck vs. Lizardman.

    1. Romantic Warrior says:

      I feel like we’ve come to the point we are just rooting for Judas for being Judas, not because it’s an album we will actively remember.

      1. _FUCK_POWER_METAL_ says:

        Priest drops the ball bef/i/w/b. It does bounce back for one or two tracks per album, and it doesn’t lose touch with heaviness, but the 76 – 78 sequence of 3 consistent records and a whole universe of potential are left hangin’ really.

  4. Killer of sacred cows says:

    Bashing newer uninventive bands is understandable, but killing sacred cows must happen too. I found out I only like about half the “classics” listed on this site, so this is my list of what I consider the most OVERRATED bands of both extreme metal genres in no order:

    Death metal:

    10 Autopsy
    9 At the gates
    8 Demilich
    7 Bolt thrower
    6 Death
    5 Atheist
    4 Morbid angel (post-altars)
    3 Vader
    2 Immolation (post-dawn)
    1 Gorguts

    Black Metal:

    1 Burzum
    2 Mayhem
    3 Immortal
    4 Enslaved
    5 Sarcofago
    6 Blasphemy
    7 Beherit
    8 Graveland
    9 Averse Sefira
    10 Bathory

    1. It matters more what you think is good than what think is overrated.

      1. Fred Harold says:

        But focusing on what I think is overrated makes me sound cooler than other people, and that’s what truly matters.

        1. fatum libellorum says:

          i prefer “racism” and condescending, but most people dont get it, which makes me even cooler.

    2. Reductio ad Absurdum says:

      So you really don’t like black or death metal. That’s cool, bro.

      1. Hrafn says:

        The point of DLA is a competition for who can like the least amount of music, this is just the next step in its evolution.

        1. A genre bottleneck might have some advantages, however.

          1. Cumbox Artisan says:

            More of the good old fashioned heavy metal eugenics. Yes, if we destroyed all metal releases but the best, metal would have high standards, but then die because no one would be worthy to join it.

    3. Fakhyuu says:

      Based on what criteria?
      Farthing out a list doesn’t take a lot of effort. Are you dealing publicly with a little bourdieu-conflict with your local metal-elders or do you have a mature aesthetics to argue your case?

  5. curio says:

    Ever have the feeling that there are more metal bands than fans? It’s like another form of MeT00.

    1. It feels like a bad local scene where everyone has a band and they all go to see each other and buy each other’s tshirts but then no one rises above the herd so five years later all are quit.

      1. Lunge To The Maximum Spread Eagle To The Wall says:

        Rotten Tomb, Chapel of Samhain, Uttertomb for some newer stuff, though most of these sound like Imprecation/Dead Congregation/Incantation stolen parts but it is still better than most. Butt the same thing applies, there’s just slivers of listeners that will hear this in the fracture but whole world wide scene (dreadfully listener/fanbases are driven by social media championing and band wagoning, pokemon/fine china plate collecting mentality). There are two songs on the Rotten Tomb that really stick out above 900 albums released this year. Chapel of Samhain is good all the way through, I enjoy all the “wrong” notes they pick when elevating the tension, there’s a bit of some work with a Theremin that sounds like it’s working with a distant screaming sound in one part that is most enjoyable thing I’ve heard in new metal in a long time. I’d ask a band to take this idea further, if a band of men such as that band could do it without turning into space gazey moustached hipsters.

        1. The math is against us: ten releases a day on average all year, maybe three per year worth paying attention to.

  6. Hessian Murderer of Black Death says:

    Add Uranium-235 to the dark legions archive. It’s good

    1. • blackmetal>tradmetal • says:

      Which uranium 235? Is it a band, an album, a project? Speak man! Which one is it?

      1. Hessian Murderer of Black Death says:

        Band: Uranium-235
        Album: Total Extermination

        1. I put myself through it / thank fuck it's short says:

          It’s crap, well deserved oblivion. Kindly :)

          1. Hessian Murderer of Black Death says:

            Nah

  7. Hessian Murderer of Black Death says:

    Write a review of Uranium-235 and post it to the normal site while you’re at it

    1. • death metal>heavy metal • says:

      Just say which one will you? For fuck’s sake man! I’ll write a review on it, honest.

      1. Warkvlt is High IQ Music says:

        It’s another one of these Antoine Grand/Antekhrist/Neraines bands. Once you’ve heard one you’ve heard them all.

  8. Self-sucking says:

    It’s important to wipe your ass with transcendence.

  9. Selfsuck says:

    It’s important to wipe your ass with transcendence.

    1. The way it's done says:

      I farted transcendentally…

  10. trad metal > black metal says:

    Some faggot tried to step to me saying that trad metal only a had a few classics and said Ride The Lightning and Master were two of them, those are speed metal you dumb faggot!

    In fact the opposite is true, black and death metal certainly have classic albums which one can distinguish one song from the other, but the rest is stuff that sounds good while you’re hearing it but then when it’s over you’ve completely forgotten how it goes.

    I mean seriously, how does one judge “bad” extreme metal? You can either recite how it goes or it’s forgettable!

    1. Trad metal sped up is speed metal. Metallica was NWOBHM at a faster speed. But how different is it really from Blitzkrieg and Motorhead?

      1. Trad Metal's at least Memorable man! says:

        Pick Random Trad Album
        Read the song titles on the back
        Repeat them aloud four to eight times
        Applaud yourself, you’re a h.m. musician now
        Get it on youtube & pray you make the day’s cigarette money

        1. The funny thing is that the sheer amount of homosexual, coprophagic, necrophiliac, and cannibal innuendo on this site has apparently not escaped the notice of the spammers who are now sending us metrosexual and homosexual spam in addition to the usual Концертing, currying, Nigerian princes, penis extensions, and DNC whoremongering.

  11. Clement says:

    Guys, there is a hitherto unmentioned by you band called ORGONE whose new albums ‘PLEROMA’ (and all their 3 older ones) might be just the right thing for you: It’s on BANDCAMP. THE GUITAR!!! It’s like gnostic and inertia-free, it’s more like spraying and than playing, it’s more like commenting guitar riffs -the guitar is just like everywhere and doing everything -reminding me of a fruit mentioned in SPACE 1999 (or was it in SPACE MAIDENS?), that tastes of everything [really ALL kinds of music! Dvořák, Absurd, Slayer, King Crimson, Gorguts, bird song, Riehm, Schnittke, cheesy French chansons, what have you) one can think of) this serves the best technical death music/black metal you can think of. The drama, the torment, the comedy!

    1. • HARAKIRI • says:

      Just comedy, the kind of the embarrassed stand-up performer that has to finish through his act. The discomfort of the audience.. Pray it ends.. Go backstage. Hang yourself in shame.

      1. Clement says:

        Can you swear that you actually listened to it?

        1. Hara Kiri says:

          I just wanted a sarcastic reply that sounds like Demilich lyrics. What little I listened to is actually interesting, and, for all its novelty, puzzling, which is usually a sign there is something there.. If you have the time just reach Bandcamp, on any device, I mean it’s free right? If you feel appalled at first let it sink. It will grow on you. Haven’t you been praying for a Metal release to open up and reach Jazz & Paganini? Well, my friends, Orgone are going for just that, the next logical step in this genre’s evolution. Be sure, Orgone spent their youth studying music, working hard, sacrificing their all for Art. Can’t be all for naught now, can it? Please, just give it a try, completely free. It’s on Bancamp.

          1. clement says:

            Admittedly, when ‘Orgone’ softens on ‘Pleroma’ in a bad way (like the plain singing bits) it’s toe-nail-curlingly barmy… But mostly, it’s original, takes you on a ride; when it’s serene it is very serene. It shows humanity (why not let your French girl-friend give us ‘Piaf’ or a singing nun, add Russian o-tones for depth and why not invite your passionate Hungarian violinist and Maya flute friends to add some layered soulfulness… I found/find most of it very refreshing. You are not so sure?

            1. Please no.

              This is more of the “postmodern” approach of throwing in lots of distractions to a simple song that goes nowhere.

              Contrast to the second Carbonized.

              1. Clement says:

                Sorry, I’m a bit of a fanboy: If it were pomo wankery I would hate it too. 35 out of 70 min are condensed, none too abstract DM with plenty of rousing final reckoning riffs and driving martial forward-oriented chaos.
                BUT for “fullness of life” (“Pleroma”) holis-tically combined and clashing with other (‘happy/melancholic musics/states of being.
                As somebody remarked, even if this weren’t primarily a tech death-metal album, it would still be beautiful music in the service of plastic communion. Besides, the “knowing” guitar, the and lightning-speed is enough to put many an e-guitar beginner off for a lifetime

                1. Its central disorganization throws it in with the lite jazz and postmodern “prog.” If you want to do prog… well, go back to those Yes and Jethro Trull albums.

                  1. clement says:

                    Okay, I knew that hawking a vastly uneven kaleidoscopic labour of ebullient musicianship, exultant fretboard frenzy that marries non-too-abstract but ‘catchy’and ‘palatable’ dm concertos and noir jazz, one-world music, phatic true-to-the-heart Bel canto/’love all creation’ stuff would be a bit of an auto-sadistic job (here)
                    – ‘thanks’ said the masochist and ‘…I still like (most of) it!’
                    Orgone’s earlier unalloyed releases ‘The Giant’ (2007) and ‘The Joyless Parson'(2014) -all free on bandcamp- remain a ‘must review’. I leave it at that. Thanks and Bye.

                    1. Did you come here just to promote the band?

                  2. Clement says:

                    Still love your wayward website but thought I share news about ‘Orgone’s pursuits. I thought it was the idea of this website to mention superior music… But, frankly, I haven’t listened -unlike you knowledgeable folks- to much else but ‘Orgone’ since 2015, okay a bit of Popul Vuh on the side, neither was I unimpressed by Italian Ad Nauseam’s ‘Imperative Imperceptible Impulse’ though, also some random ‘elevator music’ (who is riding elevators in the 2020s anyway?) or the kind of music one picks up while shopping for clothes in shitty department shops and sadistically give it a ‘metal overhaul’ in my mind or the rather compressed and desperate nature-depleted urban bird songs in Hamburg, Germany. Sorry, I am part of Germany’s ageing population -living in the past, got not much new to say…

                    1. Hamburg! Lovely city. There is not terribly much new to say but we still seek stuff of quality. That requires a certain naturalistic approach to complexity. Did elevators go away? I know escalators sort of did for awhile when all those little Chinese kids got popped but I think they have better safety on them now. The birds around here imitate car alarms.

            2. Embalmed Kittie Sleep says:

              Takes me a ride to grandma’s house.. Tea, fresh baked cookies, the smell of death, ahh! those plastic flowers on the porch

              1. Clement says:

                har har

            3. wow this album sounds so positive says:

              HIV positive

  12. Romantic Warrior says:

    The least worst so far from this year:
    Exhorder – Defectum Omnium
    Master – Saints Dispelled
    Necrophobic – In the Twilight Grey
    Vulture – Sentinels
    Heresiarch – Edifice

    You can make additions, corrections, take pictures etc

    1. Cynical says:

      New Heresiarch was disappointing; the new Diocletian was a better attempt, although still won’t survive the test of time.

  13. Lemmy died of AIDS says:

    One sacred cow I’ve never seen the appeal of is Motorhead. They obviously passed down some important techniques to the next generation of bands, but setting historical importance aside, what do you want to experience when you put on a Motorhead album?

    To me they’ve always been a party band that no chicks like, so they fail even as a party band.

    1. Howling English Man and the Motor Heads says:

      ” what do you want to experience..? “. I want it to end, or turn it off. They have 3 or 4 killer songs, that’s that. They nailed the past and created the future. They did.

    2. Romantic Warrior says:

      They annihilated Punk, or anything punk could ever become. The more female friendly alternative is AC/DC

    3. Motorhead was a victim of their own lifestyle which made their material inconsistent. Get the live albums. There are a few standout tracks on every album and when combined you get a solidly excellent album which belongs on any metalhead’s top shelf.

    4. Crionics says:

      lol@Lemmy Died Of Aids. Edgy little contrarian faggot

      1. Lemmy died of AIDS says:

        Just pointing out the obvious no one wants to admit. Motorhead was a stupid rock’n’roll band that couldn’t get women, excepting those strippers they paid to ‘perform’ on stage. Only fat dad rockers, drunks and other sleazeballs attended their shows.

        Lemmy should have stuck with Hawkwind.

        1. Try Nö Sleep At All and Everything Louder Than Everyone Else. Most albums have at least two stunner songs but a lot of the rest of are very similar, which is handy because you do not have to actually know the songs to enjoy them live. Motörhead is sort of a metal honky-tonk band: designed for a live setting, somewhat fungible, but a lot of artistry went into these songs. Was Lemmy flawed and often too much embedded in the hippie rock ‘n roll for donut-eaters culture? For sure, but look at the time he came out of. Poor Boomers never had a chance.

          1. Brown Turds Splatter says:

            No Sleep Til Hammersmith from 1981 really has the best versions of their classic songs played with the most speed and ferocity, their age and level of intoxication is spot on as well as the classic way of doing concerts where the bass drum would kick you in the chest, bass would rattle your bowels and piercing guitar and vocals would burst your eardrums. One thing I’ve noticed going to concerts and shows from the 90s to now is something changed in the technology where you can get perfect mixes at lower volumes. I remember first experiencing this watching Immolation and I could hold a conversation with the person next to me and hear people talking surrounding me. All shows are low volume now, which does it matter when people just need a space to stand so they can play with their phone and have bad posture?

    5. wait says:

      i like to hit things

    6. trad > death says:

      Plenty of chicks like motorhead you mongoloid.

      Chicks didn’t like YOU cos you say retarded shit at parties

  14. Metalheim says:

    getting lost in Ikea when the Taco Bell and Modelo diarrhea hits

    What can be done in this situation? To accept the diarrhetic situation and keep on shopping while feeling the burn? If you are true black metal you will of course sense the nihilistic beauty of even the darkest moments, defecating in front of the unaware public, remain calm while doing it and hail satan as the true commander of the consumerist universe, as the mostly liquid turd drips down on the 899€ sofa made by orphans in Indonesia.

    1. I always wondered about this and the answer is you run like hell for the bathroom and if that fails, use one of the Ikea toilets with the NO SHIT HERE PLZ stickers on it. The best part is that if you do it, another dozen people will do it, and soon Ikea will have compacted feces installed in one of their Blyvyt ($79.00) toilets.

      1. clement says:

        Request for review: ORGONE – ‘Pleroma’: Tired of the Classics? – Hitherto unreviewed here and for the thinking man’s DM purerists: ”The Goliath” or ”The Joyless Parson” on bandcamp – But on ‘Pleroma’, the thinking woman’s Abstract TDM band, they take you anywhere: From a Vienese Kaffeehaus, Bartok, frippoid plaintive guitar, sadistically sprayed nihilistic inertia-free guitar comments to singing nuns in bucolic settings. Fuck it – it’s serene and Gnostic guitar playing, world class musicianship! Listen to 18 min ‘Trawling the dephts’ – I dare you: Think of a band you love(d)- like that fruit mentioned in Space 1998 or was it Space Maidens?, shapeshifting Orgone digested everything that once was quality DM, you think of something and you hear/taste it -HERE:

        1. A fan says:

          Sounds like a megamix rather than an album. Sadism is kinky but you’re just too unfuckable. Sorry.

          1. Clement says:

            Har har, yeah, bit of a megamix but the 35/70 min of creative purified tech DM are very memorable, even hummable and whistle-able, sweat-and shiver-inducingly engaging and (mostly) cathartic [check: ‘Trawling the depths”] – If you don’t want to face the amalgamation, check out Orgon’s two previous more purist ‘The Goliath” and “The Joyless Parson” – unwholesome kharmic magic.

            1. Farting Transcendentally All the Way to Alpha Centauri says:

              If you get AIDS while you already have AIDS does it cancel out?

              1. Clement says:

                AIDS is short-lived -or as the joke goes:
                “2 gaysters have unprotected sex. One says:you know it’s a sign of trust that we didn’t use condoms!…u know ‘coz of AIDS…

                “AIDS?, asks the other man, no worries, I had it once, but it goes away quickly

  15. × SACRED COW × says:

    Here In After and Obscura do deserve a beating with a butcher’s glove. It wasn’t reasonable back then even. If it’s bad it is, just fuckin’ leave it. The Erosion Of Sanity & Failures For Gods were Minor Masterpieces, hail that instead.

    1. go says:

      here in after rules

  16. Perverse Chinese Tik Tok Handler says:

    ..And somebody must force all C.C. members dig out Chuck’s infected corpse and gang rape it live at gunpoint, and be made to confess They Don’t Get It!

  17. Das Sofa Vas Maid in Sverige! says:

    Do it behind the sofa, while a child is watching. These fuckers are always curious. If he tells on you yell him out on his mother. Kids make stuff up. He’ll get slapped and shamed in front of everyone, especially girls. That’s Satanic.

  18. God I love IKEA says:

    ..Or hide in one of those swedish trank closets, get your shoes all dipped in squit, then walk the whole place leavin’ that nasty trail behind you. If security shows up, explode in androgynous meltdown. They’ll respect it.

  19. BlindingRays says:

    I’ve been enjoying the latest Nocturnus A.D. album. It’s adventurous, too long and kind of goofy. But it has soul, a youthful exuberance, even though it’s played by a bunch of old geezers.

    1. • Ghostbuster • says:

      They were old in the soul and very bad at what they did when they were young already. This band was a bad idea, it should have never been.

      1. Butt Ghoster says:

        I always liked the idea behind the band, but the execution… Well they probably should’ve used a gas chamber.

  20. Fiello The Atlantean says:

    It’s simple: people fall into their comfort zone and don’t want to try aesthetics that conflict with what they already like, even if they may eventually come around to such things. By that time everyone’s grown up anyway so it’s too late once you accept some EDM is not so bad if your band’s most idealistic years were spent wanting to imitate the same bands everyone imitates since decades before you were born, maybe metal could evolve if this was overcome. Hyperspecialized niches and brands knowing exactly how to market to increasingly online people also make it difficult, nowadays there is no need for boardroom executives to leave the country club and sit behind a window while people try out products when they can literally see what people identify with publicly through social media and then bombard their algorithm until they are basically trapped in an echo camber. For bands, the lucky few were favoured this way long before you or me even got good enough to write a demo, this includes pop stars but also the longstanding rock acts, rappers, etc. The underground consists of politicking through music nowadays, it’s a disgrace but it’s not the public’s fault at all, pray why should someone give up their time away from work to check out something new which they will most likely not be able to show their friends? (Guilty pleasures much? Liars all of ’em!) Underground bands’ main problem today is that they’ve rejected “mainstream” and other indie scenes like alternative whatever for the sake of “trueness” for so long and so feverishly that the crowd will only accept what they already have because deviation from this means you sold out or were never really true to the scene’s core ideals. Fascinating even on a metaphysical level! The result is an autophagous overgrowth on a scene that has become more concerned with a false consensus on ethics rather than the beauty that the musicians involved are capable harnessing for the crowd’s (let’s be honest) entertainment but whether they correctly address trends in fashion, human rights outrages (but still being a dick regardless because that’s str8 fire though bruh lmao) or make enough mental health awareness complaints and enforce the correct political outlook to belong not to a band, not to a scene but the crowd itself. The issue is that if one is to face these things honestly it will certainly delay the creative process and what one was already working on will be ignored because the crowd wants to see itself in the music, this is why I find that alternative music considers itself the underground’s hot sibling. Because crowd means crowd, scene distinctions notwithstanding. Underground and alternative are different worlds entirely but only the second one acknowledges itself as such and thus finds popularity among socially awkward college students while underground acts ran out of novelty due to lack of interest in innovation and more seeking to belong, which is anathema to its actual small fan base. But I might be wrong.

    1. trad > death says:

      lol you just described this stupid faggot websites mission statement. bravo

      1. Fiello says: Kill a pedophile says:

        It’s kind of obvious. Writing is a service, writing about music is not just “tastemaking” but actual tasting itself and at a pace that gives you enough insight into what patterns are apparent in a given genre that the writer is critiquing. Brett’s more in touch than youths today, which I don’t know is due to his being cool or the modern audiences being profoundly uncool. Either way it’s neither young people’s nor Brett’s fault. What I do know is this poor man has listened to too much of the worst music ever and should be given a break for at least guiding some of us away from it while, like an artist would, shining light on new possibilities for the underground. Refer to the following clip https://www.youtube.com/watch?v=EPcfeO10tWc and note how Finnish society was before, back then this whole having a band thing was what boys did and like many things masculine it was hierarchical and endemic to young men. Everyone was young enough to not be driven by politics or profit, a sense of enchantment was allowed and encouraged even for outcasts like Beherit so that their lives may flourish. What do young guys get to do today? Watch brainrot anime edits? Fuck off. Men and women have different needs and the more this exaggeratedly Cartesian technofeudalist reality latches onto the personal lives of individuals the more it will be fought by those who retain sanity and sanctity despite everything. Nowadays that seems to happen less and less, sufficient original thought to solve problems for your boss is good but too much of it might distract you, and I don’t think the most jaded old men find it agreeable. And even then, I hope to fuck I don’t end up a hobbyist or even worse a careerist trying to profit off of the underground.

        1. Thank you for appreciating our sacrifice here. The review queue is the gateway to despair.

      2. fuckadelic says:

        this website studies the classics. who gives a shit about “metal”. i just want to hear some good music. most music fucking sucks, always has and probably always will.

        im interested in creativity and passion, not “evolution”.

        1. Thank you for reading. I have to agree… “evolution” means bands crawling further into style. Make eternal music. The classics did.

          1. Fiello says:

            Whichever way it may be, long live the DMU.

    2. AMY BIDEN says:

      ran out of riffs

      1. Clement says:

        Haha, now if Iommy was the riff master who were his riff master-apprentices in your opinion?

        1. Was Iommi the master, or the disciple? He seemed to be reprising the knowledge of Mozart, Paginini, Wagner, Bruckner, and Haydn. Just with more swing, and much simpler, so that normies can grok it.

          1. clement says:

            yep and Beethoven’s ‘ta-ta-ta, tah!’ -even pops up tuned-down on AUTOPSY’s ‘Mental funeral’ Another nasty piece of work: early Paul Hindemith before his humourist and classicist turn

  21. Hessian Murderer of Black Death says:

    Why do people still send their releases to deathmetal.org for review? This stuff has been going on for years. Does everyone think he’s sitting on an exception, or are people not aware of what’s going on here?

    1. HARAKIRI says:

      Mefitis is major blow. But it’s on bandcamp – won’t cost a thing – only be intoxicated ok?

      1. Cynical says:

        Intoxicants that would make the last Mefitis album listenable have yet to be invented.

    2. body parts says:

      brett is like the ug krishnamurti of metal critics. you can probably count all the people who are consistently generating insightful and critical writing on this subject on one hand, maybe both. the rest are entertainers.

      1. Thank you, dismemberment advocate!

      2. MyfavoriteBANDSareGARYGLITTERandINQUISITIONandVASSAFORandMANOWAR says:

        I’d say Hate Meditations blog, Necropolis podcast, bitterman reviews on Metallum (average rating of 0% for every album reviewed) are also good. I do remember Metalcurse and Old Disgruntled Bastard also being good. None of these reviewers get any notice or have a following. I do miss the days of zines like Canadian Assault that just called everything gay.

        1. I always enjoyed Metal Curse. The problem here is that we now have “definitive” sources like Wikipedia and Metal-Archives, so the idiots turn to that, and otherwise they watch videos (lol) on social media or pay attention to Reddit. As a result, like we have always said: a steady procession of the best thing ever that never lasts more than two weeks. We saw this in the 1990s too; it works against the labels in the end but for the label employees it is the best ever because they have job security and easy jobs at which they cannot fail. Just keep the assembly line going… in the meantime, social media has trashed traditional media to the point that hiring AI to type out the standard articles is where the market is going. All of this is a nice way of deflecting from the fact that the audience is dumber now. Metal went from selecting for people who could see past the static field of social drama to those who delight in it, so now you have low-T fedora-wearing mixed-race mixed-ethnic types who require $1500 in corporate medicines a month just to survive.

        2. Clement says:

          Haha. “Bitterman reviews”! – Now this is funny as I (“married, 2 kids, bills, responsabilities…”) only follow metal news only very sporadically and only on the sly… but I do remember poor Bitterman giving GORGUTS: Sands of time” only like a scathing 0.2 or a -20% review – He’s heared it all and he’s had enough, right?! – v insightful though.

          One more thing: did anybody else notice that The AUTOPSY lead guitarist'(s’) -Corall +…?) these days sound more and more like Michael Schenker (of 70s UFO, The SCORPIONS and MSG fame) “melodic hard &heavy rock” solos -only with a few less ear-pleasing and twists/effects? – I am not saying this to dimish “going up and down the diatonic scale very
          very fast for melodic and dramatic effects” is bad or to diminish their achievements –

        3. x64 says:

          bitterman was too obvious in his bait, the secret to good ANUS posting is not making it obvious what’s a satire opinion and what could be serious

        4. Clement says:

          Now this is funny – “Bitterman” reviews were mentioned. I (‘married, 2 kids, bills, reading metal reviews is a sporadic guilty pleasure only done on the sly’ but I do actually remember poor ol’Bitterman (having heard it all and having enough, giving GORGUTS ‘Coloured Sands’ (guitarist Kevin Hufnagel’s best outing, I thought) like only a scathing “0.2” or was it a -20% review – very insightful + clever review though.

          Now, did anybody else notice that (‘new/old’) AUTOPSY’s old guitarist(s) Corall (and…) sound so much like guitar ex-wunderkind Michael Schenker of 70s UFO, THE SCORPIONS and MSG-fame?, only that those wholesome melodic runs up and down the diatonic scale reappear with a few nasty tweaks and sounding just a bit sicker (this is not to dimish Corall’s playing, just saying)

          1. Fanciful says:

            The solo in ‘Disembowel’ is absolute insanity for me. It beats Phobophile, Nailed to Gold, Freezing Moon; solos that I adore. But Disembowel just has this jaundiced feeling that keeps being the reason I chose underground metal and not guitar hero worship for my ears.

            1. clement says:

              true. It’s like the music to drive on the Autobahn to.

  22. Linda Tripp says:

    As far as Motorhead/Lemmy goes he made it clear that he was imitating stuff like Elvis and Little Richard. As mentioned earlier he came up with some really cool music that lead to things that were even better, but he obviously also had material that was terrible. Don’t be surprised by this given that the whole band was strung out all the time and their influences were not great. But on the whole he clearly did way more positive things for music than most of the population will ever do, so maybe give him a break on that front.

    But I do agree with the editors of this site that Motorhead is more of a “greatest hits” band than anything. Very much like Iron Maiden and Judas Priest, I think.

    My go to is the 2000 best of two disc album. Mostly good, with the duds easy enough to skip over.

    1. Also on Iron Maiden at least, the live experience is better than the album experience. The band does best when they stop dicking around in the studio and just focus on their instruments. I consider Killers the Iron Maiden album to listen to as a whole, just like Painkiller with Judas Priest. One of the destructive aspects of the music industry is that bands make their money by touring, but then have to come back exhausted and bash out an album, so at some point they go with whatever they have or make it up in the studio. Most of the soundalike Motörhead tracks and Iron Maiden or Judas Priest filler tracks came from that process.

      1. Clement says:

        On the mention of bands I have actually heard about: Killers is their best, great singing, guitars, too – before that hysterically operatic Dickenson took over.
        And

        “Painkiller” seemed indeed more mature and well-rounded.

        Another good/memorable stand-out one was “Neverface” by Voivod, I thought

        1. The first half of Negatron seemed to me the most “mature(d)” Voivod offering, but Dimension Hatross will always be the favorite listen around here. Nothingface got too much of the Pink Floyd addiction and, if one is going to go prog, go full Yes or King Crimson IMHO. But yes, for Iron Maiden Killers is far and away the best. Their live albums are the edits to the albums that should have always happened.

          1. Concerned Simon says:

            I like Nothingface but the last time I gave it a good listen the vocals were just so eccentric college art student of the late 80s sounding, which works for a lot of the vocal passages but Snake does way too damn man soft, gay “uuuhhs’, “aaahhhs” when he should just shriek the parts out like on the earlier recordings. War And Pain is fucking great, can listen to that one anytime.

            1. Scrimmageur says:

              Just for kicks, what is their most memorable riff?

              1. Clement says:

                “Oh, prithee, what’s in a riff?”

                True, they might have been less ‘riff’ and more early Stravinskyean rythmics.

                Bye the way: After riff-master Iommy, who were the best latter-day riff-master master-apprentees?

                1. After Iommi (this means “egg white” in Italian)? Probably Slayer. Then Burzum. The Mercyful Fate guys, for sure, and Metallica. It would be a mistake to leave off WASP and Bathory.

                  1. clement says:

                    Oho!

                2. Surely Iron Maiden belong that list. Don’t call me Shirley. Did we forget Judas mothafokken Priest? oh really that’s sort of cute and maybe fucken Sodom and Deicide. Quit leaving off the Satanic bands you closet iPhone christians.

                  1. It's Haemorrhoids, Bitch says:

                    Jesus is Lord

                    1. Rex Iudaeus says:

                      Which Jewish religion are we pursuing today to save us from the Jews? Islam and Christianity are really a lot like Judaism, when you think about it, and Jews are a lot like Mexicans, since they’re just former white people who decided to mix races and turned into mutant goblin trolls.

              2. shiiieeetttt says:

                the one that has a blues lick that ends in a held out dissonant note

                1. Sheeeit says:

                  Well shit my nagguh that’s like every riff. Dissonant chord, bluesy twang, dissonant note, drum fill!

          2. pain scan says:

            hatross seconded

            1. I don’t think Voivod is really metal to be honest. It’s hipster joint, a lot of rock an’ roll, not much riff worship, and a lot of jazz lessons from Quebec high schools.

              1. Clement says:

                True – it was barely metal but especially ‘Nothingface’ sounded so metallic, fresh, lifely, zipping and zapping,…eh, vortical, had this metallic sheen and Gibson’s Neuromancer aesthetic which made
                the truly strange art-collegey singing (thanks- Good word!) sounded defo v post-man/ emasculated.

                1. XOG says:

                  They did something really cool with the guitar production, basically EQd the fuck out of it so the distortion sounded smooth metallic instead of like a load of gravel hitting a tin roof.

                  1. clement says:

                    so true.

              2. ropeswing says:

                no wonder i like it so much

  23. Anal Discharge says:

    I can totally respect what Judas Priest eventually settled on style wise, but it isn’t really for me. No big deal – kind of like admiring the architecture of a gothic style church, but not really caring for what occurs within its confines.

    In my mind “Sad Wings of Destiny” was the most consistent album JP put out, even though it isn’t representative of the style they eventually settled on.

    That being said, I do agree that some bands thrive with live albums where the tracks get re-imagined to some degree in order to correct problems from the studio album that were later realized by the band. On that same note – and I’d have to go back and re-listen – but I remember “Unleashed in the East” being pretty great compared to original material. Mostly due to the more intense delivery of it.

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