Some sorry schmuck has to shovel it into a hole and set it on fire.
Tags: Altered Perceptions, Amphisbaena, Anal Blasphemy, Aum, black 'n roll, Black Tomb, Celestial Grave, Chine, crypto-indie, deathcore, Faustian Dripfeed, Gespenst, hammerheart records, Hellbringer, hells headbangers, hipster bullshit, Hoath, Ill Omen, Iron Bonehead Productions, Mare Cognitum, metalcore, Rebaelliun, Rest, Saboter, sadistic metal reviews, Seventh Xul, Shadecrown, Shataan, Shokran, sig ar tyr, Sol Sistere, Soulwound, Summit, The Black Twilight Circle, The Hell's Decrees, The Last Band, Vlad in Tears, War Metal, Warpvomit, Wyruz
Nirvana’s Nevermind turned twenty five yesterday but since we at the Death Metal Underground condemn pop-punk Boston worship, we will celebrate a different anniversary today. Morbid Angel‘s Blessed Are the Sick was released twenty-five summers ago. Blessed Are the Sick was the last Morbid Angel record focused on inwardly improving the music rather than compromising it for commercial appeal to a mainstream market. The band had been obsessed with refining and expanding upon their compositions since Trey Azagthoth shelved the release of 1986’s Abominations of Desolation and fired then drummer/vocalist Mike Browning.
Tags: 1991, anniversary, blessed are the sick, david vincent, death metal, Metal Curmudgeon, morbid angel, neoclassical, neoclassical metal, pete sandoval, richard brunelle, trey azagthoth
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.
Tags: Crossover, Earth A.D., glenn danzig, Hardcore, Hardcore Punk, punk, punk rock, the misfits, Thrash
We recently reviewed the 2015 EP from Undead entitled Blood Enemy. This underground metal release combines the best of late 1980s speed metal with the architectural song transitions of Swedish death metal. Fortunately, the band were on hand to answer our questions about their music, approach and the art of death metal.
Tags: death metal, Speed Metal, Undead
Article contributed to Death Metal Underground by Anton Rudrick.
Septic Flesh have always oscillated between dark goth rock and simple death metal. Esoptron1 strode past both genres with expressive ambient interludes and enveloping everything in arcane rock akin to Fields of the Nephilim, reorienting Septic Flesh’s sound towards a suitable incarnation of their music’s abstract themes.
Tags: death metal, Esopton, goth metal, greece, mysticism, review, septic flesh
Article by Lance Viggiano.
Bloody remains unfertilized by talent are required to be disposed of in the hazardous wastebin by the Department of Public Health.
Tags: Blood Harvest, Cadaveric Fumes, death 'n' roll, deathcore, sadistic metal reviews, Supremative, Violent Scum, War Metal, worse than shit
Kaeck have posted a live video of “De heerser wederkeert” off of Death Metal Underground’s 2015 Album of the Year Stormkult from their performance at the Under the Black Sun 2016 festival in Germany. Regrettably, Oovenmeester (also in Noordelingen) was unable to provide his unhinged vocals so Ygethmor from Standvast provided more somewhat more conventional and staid black metal vocals somewhat too high in the mix for a ringer. The live version is still worth checking out in order to hear Chaos from Sammath‘s haunting guitar work in a less distorted live setting.
Tags: Black Metal, death metal, festivals, jan kruitwagen, kaeck, live, new track
Peaceville Records has announce that Darkthrone’s new Arctic Thunder arcade game of probably retro heavy metal in 1980s Sega Genesis style comes out October 14th.
Tags: Arctic Thunder, Black Metal, darkthrone, Heavy Metal, peaceville records, retro metal, upcoming release
This band has been around for two decades. I recently found out about them and recommend the album Ruined from 2014.
If you would enjoy a fusion of Cynic and Satyricon, you should enjoy this. Some of the tracks are less effective than others because the band is experimenting with different song arrangements and techniques. The core of this band is killer chord progressions which are very melodic and form a basis for adding riffs to a song without randomness. The bass guitar playing is most excellent throughout. The vocals are simply effective in context with nice rhythmic placement but fairly generic texture. I give Ruined an A-. I had to deduct a point because there was one track I disliked, “Prey.”
- “Not Competent”: Drummer has some unusual time signatures like early Cynic. This is a great mix on this recording. I like how you can hear the bass guitar. The feel of the double kick drums lacks a bit of groove. There is a great amount of variety in the guitar parts and some nice melodies. The leads early on sound like a Satriani jam slowed down or something. The vocals don’t add much to the recording, but they do not harm it either. And he does a great job of singing in the right spots and not over-doing it. It’s a bit mellow and understated for a black death band, and that actually makes it more relaxing and pleasant to listen to. The riff changes are pretty smooth. However, they lead to surprising places. And the songs suck you in and then end before you are ready for them to. Which keeps me listening to the next track.
- “Redacted”: Here’s more of a tight blast beat type intro with a mellow Killing Joke styled guitar riff over it. Now we finally start hearing some thrash and it rules, but then we get stuck in some doom mire before thrashing again. Around the three minute mark we start to get into some utterly awesome late 80s thrash guitar riffage, but with death metal highs. Then a sudden surprising uptick into a blast-beat outro.
- “Ruined”: An alternate time-signature intro which doesn’t seem to fit in well. Followed by A Perfect Circle Type Riff and then back to the intro again, and then soloing. Not so sure about this tune. Skip.
- “Prey”: A mysterious sounding intro riff which is very enticing. Followed by a double kick groove with a really unusually beautiful sounding chord progression with some nice bass touches also. This song has a very nice riff progression overall and it takes you deeper and deeper into its reality.
- “Wasting Games”: Horror film score-like catchy grinding intro riff rules. Killer slow groovy, heavy riff with some Danzig styled vocals. Nice! Followed by a blast beat. WTF?! This is F’ing weird progression and it conquers. This song should have been like first on the album ha. More hard rock, but different riff (plus blues solo) after that. Oh yeah mama!
- “Orthodoxy”: Grainy whiskey inducing into. Starts to get kind of apocalyptic with a dreary tempo. This song is kinda chill. It’s smooth with a charcoal flavor and its on the rocks. Not sure about going straight into the blast though after that. Oh well. Its a cool riff though at least. Picks up into insane blasting and jazzy chords. Thinking this track would have been better split into two separate shorter tracks. I dig them individually, except for the 6/8 time riff because I hate A Perfect Circle and stuff like that. But that’s over quick and we get a radical sounding simple riff which triumphs. This song is very interesting overall.
- “Downturn”: This song starts with a Gothic sounding blasted riff which is neat. The second riff has a Swedish death metal beat and it rules. I am now wishing they had used that beat way more on the recording because it rules. Around the 1:25 mark there is an extremely nice epic black metal riff which is simply unusually Gothic and melodic sounding. Nicely done. I am confused to why they ruin that mood by putting the technical jazzy stuff afterwards. But then back into black metal riff with Swedish beat again, and at that moment I am loving it.
Tags: Black Metal, death metal, exhausted prayer, los angeles, post-metal
Oktoberfests seem to be brewed in July so they can be shipped to every liquor store and supermarket shelf in the western world by October. Most American Oktoberfest beers are simply caramel-flavored American lagers unpleasantly bumped up in flavor and alcohol. By making everything extremely loud, nothing truly stands out and what results is usually some tomato-tasting malt flavor with either too much or too little hops and and a warming alcohol finish rather than anything resembling the traditional märzen style. Sierra Nevada avoids this by partnering with a different traditional German brewery every year to brew what is annually one of the best American examples. For 2016’s version, Sierra Nevada teamed up with Mahrs Bräu to produce a simple, well-hopped pale lager. As the beer hits the tongue, the spiciness of the Germanic hops take hold and lead into a doughy, slightly chewy body of toasted white bread that finishes with a spicy hop finish and a slight note of warming alcohol. The warming finish and palette fatigue prevent the subsequent consumption of multiple bottles but Sierra Nevada’s 2016 brew thankfully avoids the grapefruit and mango IPAs for women trend to produce a decent, inoffensive drinking beer with well-developed simple flavors that can be savored while still letting you think about whatever else it is that you’re doing without having to pander to Panera Bread “crafted” bullshit such as pineapple phenol scented specialty Okinawan hops mixed with smoked habanero peppers in a stout that tastes like the fruity candy you leave for the annoying relatives you despise in a box of chocolates.
Tags: 2016, beer, lager, mahrs bräu, oktoberfest, sierra nevada