Liquid Fire are a Power metal band from Berlin formed in 2010 but releasing their first EP in 2017 comprising of two songs that show contrasting results from similar methods.5 Comments
After releasing an impressive debut back in 2012, then proceeding to vanish amidst the shadows, briefly emerging out of the mist and fog with a cryptic 2-track offering in late Summer 2018… Serpent ov Old, perhaps the most interesting Metal project of the past 15 years (if only to the the present author’s particular personal perspective and tastes musical and otherwise), have finally released their long-awaited sophomore full-length.24 Comments
Avast young heshling! It is time to rise up, rise again! Take hold of the flame, the crown and the ring!
To guide the way and aid thee in thy quest, a powerful playlist of true heavy metal has been curated for thine journey.19 Comments
Tags: 1980s, 1990s, 2000's, Ambient, Austria, cloven hoof, Crimson Glory, epic, fates warning, Heavy Metal, lord wind, Lost Horizon, manilla road, manowar, playlist, poland, power metal, queensrÿche, Summoning, UK, USA, USPM, virgin steele
Perennial Warrior-Kings of True Heavy Metal MANOWAR have announced that their “long-awaited” upcoming (farewell?) album The Final Battle will be released this year, initially in the form of three separate EPs.1 Comment
[Continued from Part 1]10 Comments
Tags: 2018, aeschylus, ballads, barbaric romanticism, blues, by the gods, classical music, cock rock, composition, Concept Album, cover songs, david defeis, dionysus, edward pursino, epic, exorcist, frank gilchriest, hard rock, hatred, Heavy Metal, insanity, jack starr, josh block, lilith, long island, love, madness, Mythology, new york, Occultism, Opera, original sin, over the top, Paganism, passion, piano, piledriver, power metal, rock opera, Romanticism, sexuality, Speed Metal, the hammer of zeus, the wrecking ball of thor, tragedy, Transcendence, USA, USPM, Vengeance, victory, virgin steele, wine
By the Gods my friends!
Forged in the desolate halls of 1981, hailing from the majestic kingdom of Long Island, New York… Virgin Steele have been one of the most enduring acts of Powerful Epic Heavy Metal for aeons! The aural magnificence of ultra-charismatic vocalist / composer / keyboardist / all around renaissance mad-man David “Dionysus” DeFeis and trusty six-stringed axe warrior of indomitable fury and vengeance Edward Pursino’s combined creative efforts have been overlooked by scholars of Metal for too long!21 Comments
Tags: aeschylus, ballads, barbaric romanticism, blues, by the gods, classical music, cock rock, composition, Concept Album, cover songs, david defeis, dionysus, edward pursino, epic, exorcist, frank gilchriest, hard rock, hatred, Heavy Metal, insanity, jack starr, josh block, lilith, long island, love, madness, Mythology, new york, Occultism, Opera, original sin, over the top, Paganism, passion, piano, piledriver, power metal, rock opera, Romanticism, sexuality, Speed Metal, the hammer of zeus, the wrecking ball of thor, tragedy, Transcendence, USA, USPM, Vengeance, victory, virgin steele, wine
As metal tries to reorganize itself, bands recombine previous styles, trying to find the right formula from which a next generation could be birthed. Such is the case with Blasphemous, which combines late-model slam-style death metal with power metal to make a listenable but ultimately rather simplified form of extreme metal.1 Comment
S E R P E N T O V O L D
2012 Era Horrificus
It is the way of things that genres arise from culture and philosophy, as well as from personal interpretions of that culture and philosophy. In the case of metal, we see its subgenres and styles mingling in different ways to different degrees of acceptance and satisfaction by audience, artists and critics. In the case of Serpent ov Old, this has taken the form of an amalgamation of black metal and power metal, which has surprisingly and graciously bypassed the technicisms of death metal. And while there is word of power metal taking up death metal techniques into its repertoire, the mainstay of power metal has never executed this transition. The truth of the matter is that the melodicity and emphasis on comprehensible chord progressions of power metal has more to gain from the elegant emphasis on melodies-made-flows that the best of black metal has mastered inwardly. At the same time, Serpent ov Old makes music that stands primarily as evocative music elevated above discussions on techniques or style, even if the techniques and ways of expression have been clearly adopted from the sources mentioned above.
Serpent ov Old builds music by stating themes in the fashion of power metal, while balancing —purging— the saccharine effects by the application of black metal underpinnings in percussion, vocalization and guitar strumming. What we can hear is a music dominated by harmonic movement across which significantly active melodic lines move. Tension is built and released and then recaptured by both the melodic-harmonic interplay of lessons learned from black metal here, and those adopted from power metal there. Furthermore, the textural effects of the percussion and how these affect impulse, constriction and relaxation are taken primarily from black metal. The band makes this work by connecting power metal and black metal techniques to their common speed metal foundations, meaning that in many of the cases, the approach of the central riffing and percussion could fall into a nebulous area which both genres share in mature forms of speed metal, although this ambivalence is usually resolved towards black metal. As a whole, power metal is used as a bombastic paintbrush that allows Serpent ov Old to magnify the usually understated dramatism of black metal.
All this has to be accomplished tastefully, and we never find a reliance on trope or techniques: compositions are driven by the central, “invisible” essence of motion and contrast, and fluctuations of power and direction, by and for which the instrumentation exists. The “shredding” abilities of the guitarists in this work are used much in the same way that Trey Azagthoth’s atonal noise solos ripped through old Morbid Angel songs: as hyeroglyphs rather than as pretentious elaborations. These are to be taken as impressionist impressions, and should not be confused as baroque virtuosic displays, for such scale-based quasi noise shreds lack the self-sufficiency of the proper baroque solo instrument that we would hear in a work for viola da gamba by Marin Marais, for instance. And as one listens to the music more and more closely, subsequent spins allow the listener to perceive these relations properly, allowing them to see where the backbone is located, and how the peaks and valleys are formed by the creators of this landscape of poetic rashness.
The music of Serpent ov Old is fierce romantic dramatism akin to powerful forces of nature that destroy yet also create. By adopting and moderating the extroverted expression of power metal and delicately subsuming it under black metal, Serpent ov Old makes the music genres escape the narcissistic trap and makes them serve a transcendent expression of inner experience. Furthermore, this profound experience, if authentic, is one of darkness and anguish; but which darkness and anguish, if contronted and assimilated unto individuation, can presumably lead to the creation of a new type of being. However, the music is still limited by this personal flavor, which still tends to be merely inward looking, but not yet deep enough that a new space is opened up through the self as a gate. We may say that this is ultimately a question of personal experience, reflection and individual meaning. But ultimately, as music, it must be able to develop the ability to somehow come up with an aural language that can communicate a general intimation of what is presenced from beyond.
Note: We might yet see Withering Hope released under the banner of Deathwave Nexion.1 Comment
A single-release project from Sweden, Vargavinter play a style of black metal that could accurately be described as melodic and ‘ripping’, ‘pagan’ and ‘symphonic’ without falling into any of those narrow misnomers. By holding its influences together into a pointed lance-tip, the music is able to maintain a dignified character as it preserves a certain aggression. The driving, aggressive impetus is able to stand even major chord progressions without disassembling its unitary momentum into constituent mediocrity. When such disintegration takes place, subpar passages arise, and the music is no longer black metal, but ‘pagan’ or ‘progressive’, for instance. This process entails a frequent alternation of outstanding and mediocre moments in Frostfödd which make of it a tragedy.