Deathspell Omega return with another uninspired and uninspiring record entitled The Synarchy of Molten Bones. Their last record, Paracletus, was built on a foundation of Voivod-lite chords executed with the alt metal sensibilities of The Dillinger Escape Plan. In an effort to build ambience, additional guitar tracks would attempt to produce a microtonal effect without actual production of microtones; just more dissonance. These techniques were then deployed over pop-leaning melodies which become pronounced should one decide to hum the otherwise atonal morass.94 Comments
Death Metal Underground staffers Lance Viggiano and Corey M. reviewed Marko Laiho’s new ambient mix he created for Radio Helsinki.
Marko Laiho’s forays into electronic music can be described as anything but explorations of the myth of the machine. Though his aesthetic pallet draws from future invocations – anything we say of the future is always about the present – he blurs the line between the biological and mechanical unlike so much of the greater genre proper. For this mix, created for Radio Helsinki, the bohemian devil troubadour crafts an enveloping near-ambient journey using samples of original work and that of other artists as well. The success or failure of music in this mode is dependent entirely upon pacing over the course of an unbroken set which in this case does not falter. Broken into halves, the latter is more recessed while the former is more pronounced.16 Comments
Former Dawning/Nothing Left composer and periodic Death Metal Underground writer Steve Cefala has unleashed his latest project, an attempt to synthesize metal, industrial, punk and post-apocalyptic roadhouse improvisational rock into a soundtrack for the decline and collapse of human civilization.1 Comment
Death Metal Underground receives a constant stream of inferior promotional materials like a child is given unwanted Apples, granola bars, and candy corn on Halloween. We toss them in the trash too.36 Comments
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By the 1990s, the CD reigned supreme. As the economy boomed, annual global sales surpassed 1bn in 1992 and 2bn in 1996, and the profit margins were the stuff of dreams. The CD was cheaper than vinyl to manufacture, transport and rack in stores, while selling for up to twice as much. Even as costs fell, prices rose.
The popular music industry peaked financially in 1996 but had creatively begun bottoming out years before that. Digital file sharing of lossily (and later losslessly) compressed formats simply burst the bubble of the industry’s festering corpse the ignorant had mistaken to still be moving as the putrefying gases bloated body cavities.19 Comments
Article by Anton Rudrick.
Mgła provides us with a perfect example to round a trio of examples that together shape the main misunderstandings as to what black metal is through their misrepresentation of it in either carelessness or ignorance. While modern Watain plays a completely undefined mixture of incoherent tropes around a stomping heavy rock that never condenses into anything original, and modern Behemoth is a shock rock outfit with sterile tekdeaf (modern technical “death metal”) techniques, Mgła is the one that closest comes to black metal by its purposely limited form closely resembling it. However, at best it could be said that they are a musically poor black metal band devoid of the traditional character that fuels the adversarial music, and at worst it could be classified as a post metal band experimenting with close variations on a very simple theme.26 Comments
Metalheads love going to the post office. This is established fact; we are either sending off dubs or trades, or going there to receive a package full of music. Like most anti-social types, we do not trust centralized authorities like iTunes or major labels, so mostly our music comes in physical form. We like it that way.27 Comments
Now that a thorough overview of Sodom’s career has been completed, and a short analysis from that overview has provided us with new insights, we can be more confident in our evaluation of their new album, Decision Day, in a way that allows us to tentatively explain the origin of its strengths and faults. This becomes especially useful with an album displaying averageness on all levels, showing no prominent ideas that distinguish it neither in the abstract nor the actualized, and furthermore, certainly not being more than the sum of its parts. The situation is one in which all that remains are the references that these streamlined and pre-fabricated pieces meant in their original contexts, and how this commercial product attempts to play on them for maximizing revenue.
Sodom has earned a solid reputation among the metal crowd through the years. Most fans of the metal underground will probably have heard about Sodom, or that of Tom Angelripper, and will express respect at the mere mention of either name. Their newest album displays traits which one would associate with their own brand of speed metal (a.k.a. thrash metal, incorrectly dubbed), but these seem filtered through mannerisms borrowed from styles acquired over the last two decades and a half while Tom Angelripper explored the mainstream side of metal. Decision Day is catchy, and every step and turn is a hook optimized for comprehensibility and mass consumption.18 Comments