Darkthrone – Arctic Thunder (2016)


Article by Lance Viggiano

Darkthrone have spent the records FOAD through The Underground Resistance regressing into their pre-Celtic Frost influences. Sensing their customers’ growing unpopularity with this black ‘n’ roll approach, Fenriz and Nocturno Culto try to save face on Artic Thunder by regressing into their own work. The upshot is that nobody but Miller Lite Throne can sell mediocre riffs in cyclical songs as well as these two. The downshift is that they cannot muster enough enthusiasm or energy to play their own ideas with the dedication of a devoted bar-tier cover band.

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Ungod: The German War Machine That Flies Under Metalhead Radar

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History is full of paradoxes. Twentieth century Germany provides one of the major mysteries of the modern era: Why haven’t the Germans produced more high-quality black metal?

The country has been a heavy metal-stronghold since Neolithic times with a significantly high metalhead-per-capita rate. Furthermore, Germany has spawned more metal bands than any other country in Europe with abundant native labels, zines and distros supporting them. Yet, when it comes to black metal, there’s not much to write home about. (more…)

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Still Reigning 30 Years Later

still-reigning
Article by Lance Viggiano.

After Slayer‘s foray into narrative composition on Hell Awaits, Slayer could have taken any number of directions in the then fertile metal landscape: gone in for the throat of aggression, matured their pubescent approach to long-form content, or paired down on riff quality for focused but circular songs. Reign in Blood was something of a compromise bred to appease more Floridian tastes which crave motion before coherence or purpose. The album is brief but bookended by two of the better songs in their discography which daftly elevate the questionable content residing in between. The remaining material siphons off of the paired down and quintessential “Angel of Death” by meandering in whatever assortment of good but disconnected riffs the Hanneman/King dichotomy happened upon in between Heinekens; held together in tacit alliances by a sweltering pace which exhausts itself right as the title track closes the record. The foresight required to write an album such as this is commendable but Reign in Blood is not Slayer’s watershed moment if for nothing more than the sheer amount of disposable songs – not riffs – which constitute the majority of the runtime. This uncomfortable fact goes unrecognized due to the sheer brevity of this work. Yet as I wrote this brief paragraph I must have recited the full album in my head at least a few times and I have not listened to the album is many years. May the resolve of Reign in Blood’s memetic warfare continue to withstand assailants from the ever flowing genre compost bin and grant listeners to the strength to withstand the torrents of nature herself.

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Bölzer Preview Hipster Christmas Carol

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Black/death ‘n’ roll band Bolzer premiered a track that sounds like the pretentious hipster occult version of the Beach Boys from their upcoming debut LP, Hero.  Their prior EPs had a few creative riffs in boring, meandering , and more boring alt rock songs. Rather than increasing the amount of actually meaningful musical content or improving their songwriting skills, Bolzer have tailored themselves to target the hipsters consuming the idiot safe-space pseudo-metal promulgated by Profound Lore, Vice, and MetalSucks. Will the bearded, flannel cutoff short short wearers be grossly offended by the runes tattooed onto Bolzer’s beer bellies?

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This Ain’t No Fantasy: A History Of Punk’s Most Iconic Band, The Misfits

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Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.

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Metal Curmudgeon: Bolt Thrower’s Blitzkrieg Halts

bolt thrower - realm of chaos cover

Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.

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