Treblinka’s “Evilized” – Song Analysis

by Max Schoenbach on November 20, 2019

There was this short period of time, when death metal sounded really gloomy. This type of death metal was sometimes considered as black metal, which was judged back then not as much by used techniques, but rather by imagery, themes and atmosphere. When black metal proper was defined, for lack of a better name, the term dark metal, which over the years garnered various applications, was sometimes used to describe this style of death metal.

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SMR: The Decent, The Bad And The Pathetically Ugly

by Nicholas Vahdias on November 14, 2019

While metal continues to explode in popularity and becomes an ongoing joke for the mainstream while being adored by countless anime fans who fawn over prepubescent boys dressed as girls, both the underground and the mainstream metal world remain stagnant. Here is a quick glance into what one can expect.

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Peterson Royal Yacht versus Dunhill Royal Yacht

by Brett Stevens on November 12, 2019

The venerable Royal Yacht serves many a pipe-smoker as a staple, since it presents the ultimate rarity, a high-powered Virginia-based blend that also manages to be flavorful, smooth, and sweet. Famous for its unique topping — a combination of rum, Tawny Port, citrus, and possibly honey — this blend has delighted smokers since 1912 and proves to be the most divisive blend most will encounter.

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Irillion – Fatanyu (Self-released, 2019)

by Johan Pettersson on November 9, 2019

Ostensibly positioning themselves somewhere between the exalted primitivism of Demoncy and the “flowing” school of Eastern European black metal, Irillion emerged as one of the more promising black metal-acts of recent years with 2016’s Egledhron. Not so much for their choice of style, but for displaying courage to move beyond established forms in intuitive pursuit of the most effective and far-reaching mode of expression. This recently released second EP entitled Fatanyu retains the sonic signature and raw, essentialist approach evident on the debut, but trumps the debut in terms of composition and stylistic refinement.

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Original Mercyful Fate Bassist Timi Hansen Dead At Age 61

by Nicholas Vahdias on November 6, 2019

Timi Hansen who played on the classic Mercyful Fate records and the first few King Diamond albums has been confirmed dead by King Diamond himself. Timi had gone public with his diagnosis on early August while announcing that he would not be able to play on the Mercyful Fate reunion tour and that Armored saint bassist Joey Vera would be taking over. He passed on the 4th of November barely a week after his 61st birthday. King Diamond left the following message.

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Feral Viscera – The Nuclear Death Cult

by Nicholas Vahdias on November 3, 2019

Phil from Nuclear Death returns with his new project Feral Viscera which continues on the path originally set out by the band but without the influence of the other members. The Nuclear Death Cult consists of eleven rerecorded Nuclear Death songs and two brand new songs. Songs remain the same in regards to composition but are produced in a much more modern manner. Gone are the demented screams of Lori Bravo, now replaced with a cold heavily distorted growl. The guitars are much louder and though are just unpolished are easier to make out due to the overly compressed nature of the music.

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Blitzkrieg – Demo Tape

by Nicholas Vahdias on November 2, 2019

Blitzkrieg’s three song demo, released during the height of the NWOBHM era and showing a harder side to the genre slowly edging towards full on Speed metal. Though known mainly due to Metallica’s cover and its influence on the American Speed metal bands. Blitzkrieg offer a combination of the triumphant riffing found on Stained Class and the theatrics of Focus’ Moving Waves.

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Blood Incantation – Hidden History Of The Human Race (2019)

by Nicholas Vahdias on October 27, 2019

Blood Incantation return after the heavily flawed but full of potential “Starspawn” that showed songs with a well defined direction lose focus and meander aimlessly. Here the band have devolved into Timeghoul worship for Indie kids and tek-deaf fans who need constant riff changes. The titles are taken from the pseudo-historical documentaries that detail drug addled stories of humans being assisted by aliens throughout time. An obvious sign that something is deeply wrong with both the music and the musicians responsible for this.

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