Nerlich – Defabricated Process (2007)

On Defabricated Process, the only album by this now resurrected Finnish death metal band, Nerlich exhibits very competent compositional skill, utterly obliterating the chronic masturbators who picked up a guitar and think they can play death metal, by putting their egos at bay to serve the piece, much like good musicians should do.

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Serpent Lord – Towards The Damned (2018)


Serpent Lord classify themselves as occult heavy metal and are adorned with the typical attire and related videos of the same rehashed cliches that Mercyful Fate popularized. The music takes mainly from Iced Earth,Black Sabbath,Death and Mercyful Fate and fails to invoke the greater aspects of those bands while invoking the worst from Death. This is a very young that have rushed their development fairly quickly and the lack of consistency in the quality of the compositions hurts a very promising band that is often confused with what they are trying to achieve.

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The Chuck Schuldiner Syndrome


Chuck Schuldiner who once played crushing music that popularized Death metal before attempting to follow the mid 90s phase where every Underground band had to somehow rise to face the more rock influenced bands at their own game through whinier passages and trivial lyric matter. During that period his technical abilities increased but his inability to arrange worthwhile music become obvious rather as he relied exclusively on rock structures that culminated in a solo before repeating the whole process without any thoughts on progression, narration or momentum. This created the effect where some truly incredible melodies were juxtaposed next to some very mediocre sections derived from rock and other genres. This device was then taken by a large number of bands who have then used it to promote a singular idea over everything else and has contributed largely to the decline of metal in general. Let us look at a few moments where the Chuck Schuldiner syndrome was very apparent.

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Atrocity – Todessehnsucht (Longing for Death) (1992)

Most Death metal bands don’t age gracefully and tend to either become parodies of themselves or end up playing pop music. Atrocity after having conquered Death metal decided to experiment with various genres but each of those experiments has been abysmal failure. This band therefore destroyed its reputation in both underground and mainstream circles to the extent of being forgotten by all. But from 1985 to 1992, Atrocity were on the war path until the release of their Magnum Opus Todessehnsucht (Longing for Death). Five musicians with an obvious passion for classical music combined with Floridian Death metal and the Teutonic trio. More precisely their main influences seem to be Death, Destruction, Kreator, Morbid Angel and Richard Wagner.

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1983

A footnote in an article we ran last week sparked a lot of controversy among our very passionate friends who lurk the DMU comment sections.  No, it wasn’t that we correctly identified SJW journalists as the nail in the coffin of metal as we know it; instead it was an observation of the last death of heavy metal:

In the early 1970s, heavy metal was an exciting new musical and cultural movement. So much so, that it surpassed even rock music (thought to be revolutionary just a few years before). But towards the end of the decade came a near-lethal blow: punk rock. Faster, louder, more abrasive and aggressive, punk had risen the bar and metal couldn’t compete. From 1977-1983, metal was almost completely obliterated. Many had declared the movement dead – a fleeting flavor of the week experiment that did not stand the test of time.

Many took issue with this: “metal wasn’t dead!”  they cried.  “Albums were released, things happened!”  “You’re erasing history Brock, your articles ruined this site and my life!”

The intrigue and utter distraction of this phrase sparked the need to further elaborate:  Did metal actually die, during this time period, or did I somehow just miss a few years of quality metal development?

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