California doom/punk band No God Only Pain has published its latest round of stickers featuring artwork inspired by the Hellraiser films combined with grim realism from life experience. In addition, the band has announced that it will change direction from its fusion of black metal, doom metal, punk and classic metal to “roadhouse dark metal,” embracing all that is in feral atavistic realist rock from The Doors through Motorhead as well as its own influences.
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Review by David Rosales (read the original by Gabe here)
First things first – let’s get the obvious clear and out of the way. Satan is a band of not only competent instrumentalists, but songwriters with an ear for balance, color and dynamics. The previous review written for DMU on this album emphasized and praised this point as much as the band deserves. As it remarks, the attention to structure in the composition throughout the record and its faithfulness to its chosen style is worthy of praise. The only thing being suggested here is going one step further in our observations.
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Tags: 2015, Atom by Atom, counter-review, NWOBHM, power metal, Satan
As I suspected in September, this is a patronizingly stupid work of deathpop (reminder: straight up pop rock/metal with death metal aesthetics and instrumentation) of such simplicity that it will probably worsen the quality of discourse here at DMU for a few days by virtue of having been released. This sort of thing should probably been relegated to the level of Sadistic Metal Reviews, but part of having greater volume on this site is going into depth on why the chaff is chaff, as opposed to the cream of the crop. Shadow Realms is the type of album that could very easily be commercially successful if it got the right marketing push, but I don’t think that’s actually going to happen, and no amount of sales is going to secure this album a place in your mind for very long.
All the stereotypical elements of a deathpop album are here in full force. The instrumentation and production is “perfect” in the sense that everything here is appropriate to the 50% Stockholm/50% Gothenburg mixture that was used in this album’s construction. Shadow Realms is slightly melodic, not particularly Bossy, and generally built from fast, somewhat technical instrumental performances, but the end result is that each musician is playing something solely because if they didn’t, there would be no album. Some songs might slightly, almost imperceptibly bend towards other substyles at times, but the actual songwriting is as formulaic and rudimentary as it can be. L.G Petrov’s extremely simplistic and almost sing-song vocal performance continues to be the main emphasis on this album. Everything else is subordinate to the point that it severely inhibits the rest of the band’s ability to contribute anything beyond the banal and overdone.
By slamming together a roster of musicians with so much experience, Century Media has ensured that Shadow Realms sounds like death metal, even to those who give it more than the most superficial of listens. It’s still unfortunate that the musicians don’t have anything interesting to perform. All of the bands mentioned in Firespawn’s promotional materials have released better material than this, although not necessarily in a similar style. Stylistic specifics, though, do not take precedence over quality and coherence of output, and thusly listening to Shadow Realms is a complete waste of your time.
7 CommentsTags: 2015, death metal, deathpop, firespawn, lame metal, shadow realms, vocal-based
When we last checked in on Blackhearts, the upcoming documentary was halfway through filming, and the creators were optimistic about a 2015 release. The filming is done, and they have started a crowdfunding campaign on Indiegogo with the hopes of paying for the costs of post-production and marketing. As of this writing, interested backers have 31 days to contribute funds. A wide variety of rewards are being included, ranging from early access to the finished film, to memorabilia from various famous black metal musicians, to (amusingly enough) one of the producers selling shares of his immortal soul. Let’s hope that doesn’t backfire on him.
Blackhearts purports to offer a new perspective on modern black metal, as it follows three fans from around the world (Iran, Colombia, Greece) instead of merely rehashing the scene’s founding myths. In the words of its crowdfunding campaign, “It explores how a music scene develops across religious, cultural and political lines, and provides comic relief on the things humans say, think and do when hijacked by passion.”
No CommentsTags: Black Metal, blackhearts, Colombia, crowdfunding, documentary, greece, indiegogo, Iran, video
Malt liquor receives the same media treatment as the gangsta culture with which it is associated, which is equal parts fear and awe. It is portrayed as a demonic drink that lures one into evil wickedness, but, sotto voce, that this can be a lot of fun.
The reality is far more mundane: Malt liquors occur when major beer companies double-brew their seconds, or the stuff that wasn’t quite up to snuff for the first round. Every company has seconds and the tendency to upcycle them is not just good business, but avoiding waste. Even wino wine is seconds — “Mad Dog” 20/20 is seconds from the Mogen David factories that make Jewish ceremonial wine. King Cobra is the strengthened seconds of the Annheiser-Busch brewing company, who bring you the infamous Budweiser, which is the Big Mac of beers because it is sweet and consistent.
King Cobra not surprisingly takes a similar path. There is some flat bitterness in the taste, but generally this beer is simply sweet. It has a grainy taste with a slight influence of hops, but mostly like a rice beer, stays within the sugar spectrum with beer overtones. It goes down smoothly despite a slightly bracing initial taste and uninspiring mouthfeel and yet, at 6% ABV, this problem does not last for very long. Soon it tastes merely like Budweiser: a warm, sugary, slightly urea-tinged beer with a faint metallic taste in the background. This beer has a thicker taste, more toward oatmeal than flour if you take my metaphor, but it is not mystically different. The real problem is that it is a blast of sugar like most mass-culture products, which means that the hangover is brutal because your liver deals with the dual assault of beer-flavored Shasta and the alcohol they add to keep it real. If you pound down this stuff, you should do as we did when we were kids drinking Schlitz “The Blue Bull” (which, from memory, tasted more like beer than the King Cobra) and drink a full glass of water and then some PowerAde to reconstitute your body after the equivalent of eating a half-dozen donuts.
I once went on a brewery tour at Annheiser-Busch and when we came to the “free beer room” at the end, I noted to the guy asking for our beer orders that there was no King Cobra. He was a gentle fellow and went to a secret tap in back to get me some. Apparently, Annheiser-Busch isn’t exactly promoting this beer except by marking it $3.64 and slapping it on the shelves at the far end where winos, college students and Republican presidential candidates go. This is not bad beer. It is too sugary for me, and some of the awkward tastes — a bitterness, a flat metallic undertone, even a yeasty taste that seems like the yeast aged wrong — make it something I will probably never reach for again. But it needs demystifying; this is nothing but fortified Budweiser and it’s not bad at all.
Quality rating: 1/5
Purchase rating: 2/5
Tags: annheiser-busch, budweiser, don't let the smoothe taste fool ya, king cobra, malt liquor
The relatively obscure Floridan death metal band Brutality is releasing a new studio album (Sea of Ignorance) on January 22nd, 2016, following up on 2013’s Ruins of Humans EP, and several albums in the 1990s. Back then, they mixed influences from various contemporary acts into their own unique style; generally more melodic and phrasal than not and sometimes even reminiscent of Scandinavian acts like At the Gates and Sentenced. Since Ruins of Humans built off that and the band apparently retains some of its lineup from that time (according to their Facebook), it’s likely that Sea of Ignorance will continue that style; it would certainly be a worthy addition to your collection if that turns out to be the case.
Tags: 2016, brutality, death metal, Florida Death Metal, sea of ignorance, Technical Death Metal
It feels like we’re doing a great deal of anniversary mini-features these days, but Scarlet Evil Witching Black, at the very least, is particularly deserving of notice. Released on November 15th, 1995, Necromantia’s second album continues the band gimmick of dual distorted bass guitar arrangements. More importantly, it favors some melodramatic and perhaps overblown composition styles I am personally fond of, and serves as an admirable blueprint for how to effectively and tastefully incorporate symphonic and other relatively “normal” musical elements into extreme metal. Definitely a high point of the Greek black metal scene, and a markedly different experience from not only the better known Norwegian works, but also the midpaced stomp of a Rotting Christ or a Varathron.
Tags: 1995, anniversary, bass guitar, Black Metal, Greek Black Metal, necromantia, scarlet evil witching black
Fleshgod Apocalypse is probably one of the most popular Italian metal bands (sorry, Sadist), although not necessarily for the best reasons, as their maximalist, symphonic death metal ambitions aren’t matched by the same level of attention to songwriting as their Western classical inspirations. Still, they press on; King has been under construction for some time, and this cover art (painted by Eliran Kantor) is certainly part of the conceptual backing for the album. When the band revealed this artwork through Facebook, they described the “King” as “…the last stand of integrity and justice in a court infested by traitors, villains, perverts, parasites and prostitutes” and furthermore decried the decay of society’s values and standards. Does this sound familiar? Either way, writing coherent symphonic death metal represents a challenge, and we’ll probably see how it turns out closer to its release date.
Tags: 2016, death metal, fleshgod apocalypse, king, symphonic metal, upcoming releases
Article by Daniel Maarat
Twenty years ago to the day, At the Gates completed their descent into Fredrik Nordström-produced, commercial pop garbage with Slaughter of the Soul. Since the Death Metal Underground does not celebrate mediocre Eurotrash speed metal (Go listen to Artillery instead), we will be blowing out the candles for a more significant release for the underground featuring many of the same musicians.
Grotesque’s legendary Incantation 12”, 45 rpm EP turns twenty-five this year. The only studio release of the progressive black death madhouse features the twin guitar and songwriting talents of Kristian “Necrolord” Wåhlin (perhaps better known for his contributions to the visual arts) and Alf Svensson. The melodically flowing compositions and shifting time signatures present on At the Gates’ The Red in the Sky is Ours (see former editor and continuing author David Rosales’s excellent article) appear in a more bloodthirsty, thrashier form on the first three songs. Following those are two earlier compositions of simple but very well done speed metal ensure the appreciation of even the most Neanderthal headbangers.
Most probably first heard Grotesque on the Projections of a Stained Mind Swedish death metal compilation or on the remixed and rearranged In the Embrace of Evil career anthology from 1996. In the Embrace of Evil has been quietly reissued this year by Hammerheart in a limited digipack format and Candelight in the standard jewel case with the original mastering intact for the first time. There is no ridiculous overuse of dynamic range compression for the sole benefit of losers with Apple iPhones and earbuds excruciating everyone else. Buy the CD, not the hipster reverse needle drop LP; In the Embrace of Evil was only released on CD back in the mid-nineties and an LP pushing fifty minutes in length can only have poor, distorted sound. Hear Grotesque’s journey from Satanic, Sepultura -worshiping first wave maniacs to black leather trench coat-clad, death metal exceptionalism.
19 CommentsTags: anniversary, At the Gates, grotesque, in the embrace of evil, incantation, necrolord, Slaughter of the Soul
Article by Daniel McCormick; read the original article at The Guardian
Tags: feminism, metalgate, sjws, social justice warriors, totalitarian, twilight zone, victimhood
