Sadistic Metal Reviews: Rehash Buffet Edition

by Creed Braddock on July 23, 2018

Given that newer metal musicians are quickly realizing that current trends within the genre are artistically bankrupt, many new bands are reaching backwards into previous sounds forged during the splintering of the death metal genre in the mid-90s. Superficially these bands may succeed in gaining metal cred through filtering their outsider millennial approach through the lens of those who had created the sounds they are aping, but we at DMU know better. Onward to the gallows!
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Afflicted

by Sawyer Clark on July 22, 2018

Afflicted were a Swedish metal band from the late 80’s to the mid 90’s releasing only two albums and a handful of demos. They began as Afflicted Convulsion playing primitive yet erratic death metal/grindcore. Although the riffs on their earliest (listenable) demo, Beyond Redemption, do little to set themselves apart from their contemporaries, we are presented with nuanced compositions that keep the listener enticed through each track, presenting satisfying wholes rather than myopic moments of inspiration. As Afflicted, the band would take their compositional skills and apply them to unique riffs on their demos and first album, Prodigal Sun. (more…)

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Bethlehem – Dictius Te Necare (1996)

by Nicholas Vahdias on July 21, 2018

Bethlehem are a German band that was formed with the intention of adding sorrow, melancholy and madness into extreme metal. Their first opus “Dark Metal” used a mixture of black metal, slower primitive death metal and the melancholic rock inspired British sound that bands like My Dying Bride were developing. (more…)

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Defender – They Came Over the High Pass (1999)

by Johan Pettersson on July 21, 2018

As the successive death- and black metal craze of the 1990s lost its grip over Scandinavia, many musicians started a journey back towards their earliest of musical infatuations. Often this meant a return to classic 1980s heavy metal, although filtered through contemporary developments in the metal craft and coupled, at least in the more auspicious of cases, with a melodic flair distinctive of the region. One of few interesting products of this slightly schizoid period is the one-man and seemingly one-off project Defender, brain-child of a certain Phillip von Segebaden. (more…)

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Blood Stained Dusk – Dirge of Death’s Silence (2001)

by D.A.R.G. on July 21, 2018

Upon listening to this album, the listener familiar with the classic Norwegian black metal albums from the first half of the ninetiess will undoubtedly be reminded of Emperor In the Nightside Eclipse (1994). But apart from the way in which the keyboards are used for effect, the first Blood Stained Dusk is quite distinct in songwriting approach and in the crafting of individual sections. And while less clear and profficient in expression than Emperor, relegating the present release to a lower tier, Dirge of Death’s Silence is still a highly suggestive and imaginative work of black metal.
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DMU chat/forum on DISCORD

by Staff on July 21, 2018

In response to repeated requests at the reactivation of the now-obsolete Death Metal Underground forum section, our staff has decided to open an official DMU Discord server for the unhindered sharing of opinions, articles, links, music and more. (more…)

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Horror Myth Films #1: Evil Dead (1981)

by Nicholas Vahdias on July 19, 2018

Evil dead is considered a cult horror movie due to its ability to reinvent the codes of horror movies that Halloween has imposed at the time of time of release and the lack of funds from investment. This film would also serve as a source of inspiration to many metal bands though not because of its story telling methods nor narrative development. The outdated gore and the fact that the movie is clearly trapped in its time make this a fun movie for most but apart from some interesting lore there isn’t much to see here.
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The Elusive Sound

by D.A.R.G. on July 18, 2018

Image Credit: NASA/JPL/Space Science Institute

While it may appear pandering to many that we constantly bring certain albums to the forefront of our discussion, the reason for doing this is that the state of maturity which metal as a whole attained was only able to knock on the door of the mysterious experience transmitted through music. Different albums discovered different doorways, uncovered overgrown pathways, and scaled mountains. Ildjarn found contemplation of the absolute in the eye of stormy rage through elated freneticism. At the Gates reached hitherto unmatched heights of craft and musicality. All rasping and scratching while blindfolded,  a crossing of the threshold by different means and interpretations. Fewer still are the music albums, metal or otherwise, which struck at a purity of sound that needed no interpretation.
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