Graveland Announces 2018 Tour, Releases Video For Re-Recorded “Thurisaz”

Ethereal second-wave black metal band Graveland will be touring across Europe in 2018, continuing a series of selected dates in Germany, Poland, and Ukraine. At these shows, the band will be playing songs from its compilation of re-recorded Graveland songs with the classic feel but without the “old days” bad production, 1050 Years of Pagan Cult, which is available through Heritage Records.

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Watain – Trident Wolf Eclipse (2018)

Grammy-award wining artist Watain has shamelessly assumed the mantle of “most embarrassing band masquerading as black metal” previously shared by Dimmu Borgir and Cradle of Filth. Where the downfall of those two bands was an overdose of gothic and groove influences, Watain has managed to outdo both in both parody and bastardization of black metal with their previous album’s venture into country musical territory.  With a career built on celebrity guest spots from more capable underground metal musicians, necrophiliac 1st era Bathory Worship mixed with a second rate attempt to mimic Dissection’s concluding album, and a ridiculously cartoonist theatrical performance worthy of a Broadway musical, Watain’s legacy has been secured to forever be “the band that bent over farthest to inherit the phallus of commercialization the deepest” and has effectively decimated any hope of legitimacy the sub genre might have had in the post-90s.  With a brash new attestation in the form of Trident Wolf Apocalypse the truth could not possibly be more clear to any listener with knowledge of black and death metal: Watain are the biggest joke in all of black metal history.

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Victory Over Peace

There are those who would make us think that peace is essential for life. They demand we must reconcile all manner of disagreements and simply live happily together. In reality, what happens in a real compromise (if indeed it is a compromise) is that every one involved gets a bit of what he bargained for. It is not unlike Celtic Frost, a.k.a. the failed post-Hellhammer experiment that tried going mainstream a step at a time. By the time the band released Into the Pandemonium it was clear that by trying to bring the monster of underground black/death metal into the light they only degenerated it into a joke that no one, except masochists, want to ever hear again. The reader may want to attribute the downfall of Celtic Frost to a host of other causes, but the decision was in fact simple: give in to niceties and benefits through a compromise, or keep on fighting, towards a transcendental victory.
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DEATH METAL GENERAL: I DON’T NEED ABBATH EDITION

Immortal is back!  Well… sort of.  Halfway there.  Right? In name at least?

You see, Demonaz- Immortal’s original guitarist during the 90’s, lyricist during the 2000’s, and now vocalist/guitarist and lyricist in the 2010s- is back with drummer-on-some-albums skinsman Horgh.  Wait, actually, the two have only played together on one album (out of twelve) so can they really “be back?”  Anyway, Demonaz and Horgh have out-lawyered the band’s drugged out drunken cornerstone musician Abbath, who played every instrument except for guitar when Demonaz was in the band and then played guitar over 9000 times better than Demonaz once the latter got a case of tendentious.  With the name locked down and a healthy Nuclear Blast Records budget, the duo get ready to make a seriously play for the wallets of misguided fans.

But wait, the tendentious that crippled him for a decade is suddenly gone?  Can he still pick at the rediculous guitar tempos of Blizzard Beasts? Can he even play at all?  There’s a lot to unpack in this one, so let’s get trolling as we recap the story of the band who turned black metal’s creepy aesthetics into the hair metal of the 90s…
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Abigor – Höllenzwang (2018)

Abigor are back with their 9th album, which is sadly a continuation of the ideas on Leytmotif Luzifer.  Hailing from Vienna in Austria, Abigor definitely have the style and look associated with their hometown but even in arguably their last bad work : Nacthymnen ( From the Twilight Kingdom) they have always lacked substance in comparison to the greats in the European black metal style.  Leytmotif Luzifer was Deathspell Omega worship with the remnants of what could be qualified as generic second wave black metal. Here they continue in that substanceless yet somewhat more refined method of songcraft….

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Poverty is the Price for Metal Stardom

The Talk:

Every metal musician needs to have “The Talk” at some point or another and for some of you, this will be that moment.  In the world of metal, “The Talk” is the soul crashing, dream obliterating conversation where one learns the valuable lesson that you can’t get rich playing extreme metal.  It’s heartbreaking and defeating but better learned sooner than later.  And since a young ambitious musician isn’t necessarily considering the logistics, lifestyle goals, etc. of their future before they drill on that pentagram neck tattoo, I want to make sure readers of DMU are abundantly clear on what to expect on the financial front when engaging in life as a touring musician.
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Dusk-Bound

The success of endeavors that carry with them the implication of development or transformation, such as the evolution of an artistic genre (without any relation to the ‘progress’ of dialectical materialism), requires the constant testing of strength, the crossing of one’s boundaries. Contrary to the beliefs of the simple minded, this does not mean that the act of crossing those lines is in itself enough for a fully-formed conclusion to be presented, although there is indeed great value in violation itself. But one could argue that the great weapons of the mind, enacted, come as a result of a full digestion and re-application of invaluable experience and information that comes from the crude testing of strength, directed towards the intuited limits of the yet unexplored.
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Trendkillers #2: Blast Beats Must Die!

The blast beat has had a very unlikely journey through its relatively young lifespan in music.  Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion.  This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity.  Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music.  Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.

For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit.  And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.
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Somber Lands: The Harmonic Minor Scale

Dark, brooding, and long cloaked in obscurity, the harmonic minor scale is a compelling collective of notes that has historically been used as an accent to minor key compositions.  For centuries only a handful of pieces had been written within its bounds as composers instead opted to weave in for a number of measures before an eventual progression into the natural minor scale.  From there it appeared again in a few folk songs, took a strong spiritual presence in Islamic culture, and later became an integral part of horror movies when they progressed into the frightening mediums they became in the 1970s.  But it wasn’t until the musicians of the early Swedish death metal scene discovered how to fully harness the scale’s potential that lengthy songs and even the majority of some albums began being composed within its bounds.  A truly grotesque wedlock, the scale gave he who wielded it the power to craft the most sinister and foreboding compositions possible within the laws of music.  It is for this reason one could attest that the minor harmonic scale has found a home in heavy metal that no other genre of music could provide.
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