DMU Song Contest Results Part 1

by Nicholas Vahdias on October 21, 2018

The second DMU song contest has been closed and the results have been compiled. More than fifteen contestants ranging from the hilariously bad to the inspiringly potent have shared their works for brutal and honest criticism. Our ever growing Discord community has submitted a few of these compositions,here is a permanent invitation for those wishing to partake in various discussions on the subject of metal and other related Hessian activities.

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Levels of NSBM Initiation

by Ioannis Metaxas on October 18, 2018

As a genre less defined aesthetically than on terms of propaganda, NSBM bears the mark of Cain that stigmatizes bands that express a certain ideology. On the basis that music is pure Will, this article focuses on contrasting a split by Der Sturmer, Malsaint and Blutkult with Spear of Longinus on the grounds of understanding and conviction to their ideas, or, to be less dramatic, on how the need to express grander statements creates grander music.

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Mordor – Csejthe (1992)

by Ioannis Metaxas on October 15, 2018

Medievalism with disdain towards life, punishingly tardive and yet theatrical, this is epitaphial death metal with an aim. This aim is to reframe a life of industrial decay by the droning transcendental funeral of the God in man. This is the soundtrack of living in Mordor.

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J.C. Newman – Tampa Trolleys

by Brett Stevens on October 11, 2018

Every review site in the world likes to review fine, nuanced cigars, but this is a metal site, so let us look at cigars with the subtlety of an axe murder on a subway car. J.C. Newman named the Tampa Trolleys after the railcars that workers would take to the last American cigar-making plant in Tampa, Florida which was known as “Cigar City USA.” Coming from one of the birthplaces of death metal, these cigars aim for a similar brutality on the smoker but have lessons to teach.

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Children Of Doom by Eduardo Vitolo (2018)

by Brett Stevens on October 8, 2018

In the early 1990s, once it seemed that death metal had fired off its initial salvo and lost momentum by late 1992, the record labels immediately turned to what they had next in line to keep the kids occupied, doom metal. This followed years of gradual increase in interest based on the sound that Saint Vitus and Candlemass carried on from Black Sabbath, and tried to jump over recent hardcore- and prog-rock-influenced history to return metal to its heavy rock roots.

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The Craft of Metal #3 : Dethrone the Son of God

by Nicholas Vahdias on October 3, 2018

When Profanatica could not finish their unreleased album, the genius and creator of the band Paul Ledney took time away from the noise of other musicians to fully realize his vision in composing a short album that took the best of his influences from all over the underground into creating something that would show the world the extent of the musical genius that this man possessed and that he was much more than an alumnus of a few great bands. In this final piece in the Craft of Metal series, we look at one album that managed to open new branches for what was to remain of the underground as the Death metal movement had just began to explode with bands getting signed by big labels all over the place and leaving the most repulsive bands to grow far from the spotlight.

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Inverloch – Distance | Collapsed (2016)

by Nicholas Vahdias on September 24, 2018

Inverloch are an Australian death/doom four piece mostly known for being composed of half of the members of Disembowelment and for being considered their rightful heir. With projects like these there is a fine line between upholding the heritage of a previous project and reiterating past works in hope of achieving former glory. Inverloch straddle that thin line but also manage to find influence in much more recent branches of death metal and the funeral doom subgenre and overall create an enjoyable piece of work that may push the listener towards the greater releases in the genre, especially Transcendence into the Peripheral.

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Mountains

by Ioannis Metaxas on September 23, 2018

Climbing a mountain is a noble struggle and it is metal as hell. It contains ebb and flow, within and without; without, one finds conflict and peace in nature, in the rocks, in the animal kingdom, everywhere. Within, one has to battle against oneself, tiredness, thoughts, injury, and disease; yet all those things make the achievement of reaching the summit real and worthy. They fill life with meaning.

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The One – I, Master (2008)

by Ioannis Metaxas on September 17, 2018

Hailing from Rhodes, black metal project The One comes to us from the mastermind behind Macabre Omen, who alongside Varathron have been the most consistent artists in the Hellenic scene during the past few years. The One performs a style of black metal that draws from various influences such as Mayhem, Hellhammer, and Bathory, yet it is filtered through the Hellenic prism of longer melodies and warm, ritual atmosphere.

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