Traversing the Underground: Exploring Ancient Mythos

annunaki

Article by David Rosales.

Ancient myths are the remnants of an age when oral traditions were the main way by which humans preserved and passed on knowledge. This may be the reason why multi-layered symbols and complex relations in stories awkwardly designed to fit differing messages into a form that we may now consider silly. Differing schools of scholarship have developed distinct theories when compiling, reconstructing, and interpreting these messages. Many keep their own “updated” versions which have morphed on their own into the age of the text when the written word defined the transferring and preservation of human knowledge.

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The Origins of Satanic Realization through Heavy Metal

varathron genesis of unaltered evil no logo

Sludgecore band Agoraphobic Nosebleed threw a fit for publicity over a recent batch of Death Metal Underground’s Sadistic Metal Reviews. Frontwoman Katherine Katz called us Fox News for our criticism of Agoraphobic Nosebleed’s shrieking short woman over a drum machine shtick and our psychological speculation as to why Agoraphobic Nosebleed would even bother releasing such failure other than for commercial exploitation of a musically-ignorant hipster fan base craving reaffirmation of their modern liberalism. Katz even claimed that artists should be responsible for the extreme actions of others in response to satire and that some topics should be completely off lyrics. For her, everyone who listens to “Embryonic Necropsy and Devourment” will potentially commit feticide. This is incredibly hypocritical for a band who shared a member with Anal Cunt and wrote Frozen Corpse Stuffed with Dope.

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Iron Maiden – Somewhere in Time (1986)

iron maiden somewhere in time

Article by David Rosales.

Released after Iron Maiden’s golden era, Somewhere in Time is touted by fans of heavy and power metal as a crown jewel of the band, exemplifying perfected expression and streamlined efficiency. This is not immediately convincing for metal hessians. Rightly so as the music became more sterile, hence, less credible. There is definitely a sense of “upgradedness” in both the production and the choice of stylistic voicings, allowing an inclusion of 80s pop coloration into the palette. This unclear, semi-sellout move demanded accountability, while at the same time the band boasted of accumulated experience fructifying the transformation, masterfully avoiding the typical degeneration that could be expected after the climax and summary of their original sound in 1985’s Live After Death.

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