Ritual Chamber – Obscurations

Hidden in plain sight, there is some fine metal being released- even in recent years.  Nestled in the convoluted release schedule of one of the most popular indie rock labels (although in fairness, Profound Lore has gotten death metal right before) is a rare foray into dissonant death metal grandeur that is certainly worthy of praise.  The newest solo project by Numinas/Crom/Dario Denerio, whose well-ventured resume also includes Infestor, Khrom, and Evoken,  Ritual Chamber’s 2016 full length debut Obscurations (to Feast on the Seraphim) masterfully imports the lost wisdom of classic death metal spirit into a contemporary flesh of sound and production.  Suffering from poor marketing through mainstream channels and tired aesthetic trends that mask its originality, this cultured release flew well off the radar of the audience it was most suited for and was not digestible enough for the retro/rehash death metal crowd of hipster swine it mostly reached.  But although it initially evaded the underground’s most trustworthy mediums, Death Metal Underground’s undying commitment to unearthing the best in the genre now gives us a late opportunity to acknowledge a great work of elegance.
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Morbid Angel – Kingdoms Disdained (2017)

There are twelve notes. There are twenty-six letters. We can form them into combinations/patterns. The ones that stay with us are the ones that communicate. This takes us above the level of riff (metal), harmony (jazz/rock), and into the realm of melody, which uses phrase and harmony as means of strengthening the expression of a melody, or a unique combination which resembles the psychological sensation of a certain experience.

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Fashwave

During the tumultuous past few years, a new sub-genre appeared that combines elements of several existing genres. Fashwave is synthwave with a darkwave sensibility and occasional metal-inspired riffs that sound very much out of the canon of Beherit or Burzum, but simplified to fit within the more synthpop-oriented rhythms of fashwave.

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Bill Steer Admits Making Arena Rock

Bill Steer, the guitarist of sell-out grindcore legends turned butt rock turkey Carcass, did an interview with hipster social justice warrior rock website Vice Noisey last week where he ranked Carcass’s albums in order of his favorites. Bill Steer admitted that Necroticism: Descanting the Insalubrious was pretentious death ‘n’ roll instrumental wank and that continuing in that style would not have provided any future for the band so they started writing heavy metal for arena rock fans on Heartwork as only about three hundred people at every big show Carcass played actually liked death metal at all. Bill Steer finally dropped all pretense of Carcass’s later material being traditional heavy metal and admitted it is actually written as arena rock in order to please the most people.
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Deeds of Flesh Posts “Studio” Video

Deeds of Flesh posted a new video log to Youtube documenting how they are recording the guitars for their upcoming album. If you suspected that techno metal was recording in the bedrooms of pudgy action figure collectors with guitars directly digitally reamped into Cubase and Protools, you were right! Deeds of Flesh of course don’t pay for a real studio! This shit’s digital! The same chair and computer used for jerking it to BangBros is used for recording brutal tekdeathgrind! Guitar wank and actual wank in the same place! Hopefully Deeds of Flesh sidelines their recent ‘core tendencies to improve on the promising Portals to Canaan.

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Homebrewing FAQ

A cultured human being should pursue a good hobby. It’s somewhat more interesting if said hobby involves a mild vice or foible. The hobby should also develop skill and produce a satisfactory end product. It should make the person somewhat unique amongst a group of peers and allow them to develop camaraderie with their fellow hobbyists. It becomes a Schelling Point so to speak.

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