Heresiarch are featured on an upcoming four way split with Genocide Shrines, Serpents Athirst, and Trepanation. The CD will published by Cyclopean Eye and the LP by Dark Descent Records.4 Comments
Article by Lance Viggiano.
The Escalation perfects the misunderstood Australian art of Cimmerian metal – a deliberately low-brow affair which has little tangible relationship to the Common Practice Period and therefore easily panned. Vomitor deliberately flaunt rock’s loud and emotive ethos through boorish motifs qualified further by a thin and mid-centric texture executed in characteristically poor-taste. Constructed primarily out of recombination of past forms, The Escalation is a deliberately retro affair which succeeds by forming a singular and immediately identifiable voice. Historical precedence for this identity is found in the work of Spear of Longinus – specifically the first demo contained within Black Sun Society. Vomitor do not present a way forward for metal; instead the entity finely maps a territory which was discovered but left largely unexplored by ancestors who clung to the safety and security of the coastlines looking into an inhospitable thicket which obscures a familiar but nonetheless unique landscape.16 Comments
All metalheads secretly want the return of early 1990s death metal and black metal. Instead we get nostalgia bands who prey on our desires by delivering aesthetic imitation of the past, but with none of its depth, and by doing so, make a mockery of the underground as desperate metalheads embrace this stuff.20 Comments
More mass murder of the unworthy.7 Comments
Tags: 2016, al-namrood, Black Metal, Centinex, Darkestrah, deathcore, diamond head, Forteresse, gothenburg metal, hard rock, metalcore, novelty metal, pseudo-progressive, quebec, Québécois, random, sadistic metal reviews, saudi arabia, sludge, stinking shit, Sweden, War Metal
Inquisition have uploaded a new song, “Wings of Anu”, to Youtube from their upcoming album coming out in August on Season of Mist. Bloodshed Across The Empyrean Altar Beyond The Celestial Zenith‘s cover even features the Riot mascot!9 Comments
Greek black metal gods Rotting Christ have announced an extensive North American tour for this fall supporting generic war metal veterans Marduk. They’re coming out here to do some gigs! Shit will be wild man, wild! Here are the dates from Marduk’s Facebook page:
09/02/16 Ft. Lauderdale, FL Culture Room
09/03/16 Tampa, FL The Orpheum
09/04/16 Atlanta, GA The Masquerade
09/05/16 Baltimore, MD Soundstage
09/06/16 New York, NY Gramercy Theatre
09/07/16 Boston, MA Brighton Music Hall
09/08/16 Montreal, QC L’Astral
09/09/16 Toronto, ON The Opera House
09/10/16 Columbus, OH Al Rosa Villa
09/11/16 Chicago, IL Reggie’s
09/12/16 Minneapolis, MN Triple Rock
09/13/16 Kansas City, MO The Riot Room
09/14/16 Denver, CO Marquis Theatre
09/16/16 Vancouver, BC Rickshaw Theatre
09/17/16 Seattle, WA Studio Seven
09/18/16 Portland, OR Bossanova Ballroom
09/19/16 Oakland, CA Metro Opera House
09/20/16 Las Vegas, NV LVCS
09/21/16 Los Angeles, CA Regent Theater
09/22/16 Phoenix, AZ Joe’s Grotto
09/23/16 El Paso, TX Mesa Music Hall
09/24/16 Dallas, TX Gas Monkey Bar & Grill
09/25/16 Austin, TX Dirty Dog Bar
Back in 1995 someone cut metal’s balls off. Underground metal (death metal and black metal) had gone to the furthest extremes: denying rock music, smashing down mass religion, and finally, endorsing a Nietzschean natural selection against the will of the herd. There was nowhere left to conquer, except perhaps politically.
As the odious and 99% horribly boring and pointless NSBM movement showed us, however, Nazism was not just captured by a group of unibrow SJW types, but it was boring and not very extreme. Nazism was an attempt to stop the collapse of our civilization, its breakdown by good intentions, and as a result was like a nagging Nanny albeit one that committed horrible genocide, even if relatively mild compared to the USSR and Genghis Khan (elite company).
Metal needed to push further. When war metal combined the dark primitivism of Beherit and Blasphemy with the unrelenting forward drive of high intensity rhythmic death metal bands like Angelcorpse and Hate Eternal, it reduced the “busy” tendencies of those bands but created a type of monotonic texture music that was both comforting and violent. Intolitarian pushes things a step further by using the war metal model to incorporate a more technical version of early Napalm Death style grindcore, and harsh industrial noise.
Starting songs with samples and feedback, Intolitarian then launches into a song pattern like that of war metal but with more idiosyncratic internal structures, eschewing the darker riffs in favor of pure deconstructive chaos riffs in the Napalm Death From Enslavement to Obliteration style. From harsh industrial noise it takes a ton of guitar feedback, fuzz and abrupt samples, but even more importantly, the tendency to hang on a squeal or shriek and then let the chaos surge in again, like waves on a beach put on fast forward before a storm.
Much has been said about the political dimensions of Intolitarian, and nearly all of it is painful nonsense. If this band wanted to be Nazis, they would have just joined up with the usual crew of basement-dwellers who have made “white nationalism” a walking joke like their liberal counterparts for the last fifty years. Intolitarian want to be worse than Nazis. There is no safety in politics with this band. Only a raw need to destroy the walking dead that is our society, and replace with with a feral and atavistic struggle for survival.
Suicidal Allegiance was recorded in 2012 and finally saw release last month through a yet-unnamed van-down-by-the-river underground label. If anything, it is too short; these songs feel like a window into a different world, and one that is more structured than industrial noise and more focused than grindcore with the easy engagement of war metal. Let us hope this provocative and stimulating band continues to refine its attack.15 Comments
Article by David Rosales
When listening to most of these modern funderground bands, one gets the impression that a group of random guys eating hot dogs suddenly came up with the idea of recording a death metal album to give some variation to their Saturday afternoons in which they normally just discuss fantasy football. Is this derogatory? You bet. Is this accusation completely out of hand and unjustifiable? Not really, there are very clear reasons to say this.
For starters, a release like Apocalipsis by Infernal Curse amounts to nothing more than foggy noise, lacking any memorability but the memory of a passing metallic cloud of percussion and occasional chords. You might perceive this as being only the personal impression of the author, that it amounts to nothing more than another opinion on an otherwise objectively tolerable and enjoyable work of music. But nobody here is objecting to the idea that someone might enjoy this music. The point is that it is indistinguishable from anything even vaguely similar and devoid of its own character.
Apocalipsis is only the reflection of the disaster that war metal has been for death metal, a poor and superficial of what being an underground art movement is. This is usually the result of becoming self-referential, very much like university “revolutionaries” and other posers who confuse image with content. The trap is believing that through imitation of appearances you might somehow bring about the essence of what is being imitated. Nothing could be farther from the truth, and this piece of unrecognizable shit is just more ammunition for our poser-bashing posts.6 Comments
Article by David Rosales
Folteraar’s 2016 release comes to us with a proposal that is very much in vogue in the current metal underground. To any wary of the pitfalls of following trends, this might ring alarm bells almost automatically. But we must not be hasty in this judgement, since even though the establishment and spread of a method may really be, in fact, taken up by a large number of hands who are not up to the task and will undoubtedly produce subpar results, this does not mean that we won’t also find those out there who have focus and vision to make use of pre-defined rules with a sober mind. A clear example of this is Condemner’s Omens of Perdition.
As much as we all yearn for another quality release, however, Folteraar exemplify the rule and not the exception to the avalanche of high-spirited but poorly thought out metal albums that make up the bulk of releases nowadays. Since there is nothing in particular to point out about Folteraar, as it has no particular value or fault but just repeats every cliche of the underground war-metal-noise-garbage intersection, we won’t spend too much time pointing out flaws that have been pointed out once and again in the past in this site. The duty still falls on us to point out the very particular approach Vertellingen van een Donkere Eeuw brings to the table as a representative of the most blurry instantiations of this line of thinking.
This brings to mind several influences that served to furnish the raw materials for the formation of early ’90s underground metal. These are primarily heavy metal of the so-called ‘doom’ stripe and hardcore punk. It is easy to appreciate a deconstruction of these in this music which seems to be violent for violence’s sake. Worse than that, it seems to ape so much at the tropes it has learned from the past that the music does not seem to build anything else. Folteraar’s music is just a sequence of cliches that build up to no content. Themes do not build up, in either melody, harmony or rhythm. This is just a sequence of loud screams; a hysteric madman in a padded room would make more sense.
Do yourself and the “community” a service and do not put this aside but actively campaign for a distinction between its utter nonsense and the codified communication that is achieved by its betters. The author encourages (and will keep doing so while releases such as this keep coming) the reader to return time and again to Condemner and allow it to rise in his consciousness, as its structures become more familiar and its development thereby becomes evident. Throw most, if not all, war metal such as Vertellingen van een Donkere Eeuw in the trash bin.12 Comments