Looks like someone is making a history of Brokeback Island UK speed metal (sometimes miscalled “thrash”):
Welcome to the website of A History of a Time To Come – the story of UK thrash, a documentary telling the tale of british thrash metal through the ages, from the early 80s to the present day.
The film aims to fill in the blanks in the history of the genre, where those bands who were once so popular, have faded from memory.
Check out the film:
No CommentsCould be interesting:
Gabby Riches, a master’s student in the faculty of physical education, is writing her thesis on mosh pits for a degree in recreation and leisure studies.
Riches, 25, has been a heavy metal fan since she was 15. During her undergraduate degree, she decided to combine her hobby and her studies and asked one of her professors if she could do a paper on metal music and immigrant integration.
Her professor liked it, so she did another paper on women’s experiences in heavy metal. She realized she was interested in music fans, so that led her to study mosh pits for her graduate degree. Riches also runs a student group called Heavy Metal on Campus.
Moshing started in the early 1980s in the American hard core punk scene. A band called Bad Brains used to yell at their audience to “mash it up.”
“But the singer had a thick Jamaican accent, so people heard ‘mash’ as ‘mosh,’” said Riches. – Edmonton Journal
A use for academics and English-speaking Canada in the same post. Awesome.
No CommentsIs metal noise?
I guess you could argue(and maybe win) that the music I listen to is noise..but at least it isn’t filth disguised as good- wholesome- music- for- the- whole- family. It tells you it is bad (but you just have to love the guitar work and the little complexities of the music). – /fag
At least it’s not the illusion of happy oblivion at the expense of truth. Indeed.
No CommentsEver notice the parallels?
Metal, like extreme politics, can too often focus on what it hates and not enough on what it loves/desires/creates.
Metal is war… this compounds the problem… war needs warm bodies and enemies.
But metal is not whining. It is not victimhood. It is the bold pulse of the blood of a fighter.
Not the plaintive lament of someone using rights, social approval, etc. for justification.
No CommentsEtexts for the occultist or metalhead looking for lyrics. FWIW FTW FYI etc
No CommentsMetal is caught between the leaders and the hamsters.
Every time the leaders come up with something good, the hamsters clone it to death and make it meaningless.
Black Sabbath, 1970… followed by a string of real AOR-styled bullshit heavy metal.
NWOBHM, 1976… followed by a string of cheesy imitators peaking in hair metal.
Metallica, 1983… followed by a string of clones.
Death metal, 1989… followed by a horde of horrible clones.
Black metal, 1992… and we all know what happened.
Everything since has been clone. Why? Metal’s image is so powerful, sometimes we get hung up on it. Trying to re-live the past.
Behemoth frontman Nergal has been found innocent of charges relating to tearing a Bible on stage in his native Poland.
The nation has strict laws against offending religious feelings and Nergal, real name Adam Darski, was charged following a concert in Gdynia in 2007 after he called the Catholic Church “the most murderous cult on the planet” then referred to the Bible as “a book of lies” before tearing pages out of a copy. – Rock News Desk
When Slayer busted out Satanic lyrics in the 1980s, they were taking the cue from Angel Witch, Judas Priest, and Black Sabbath and making mythologies of the world’s end. They were revealing our inner bankruptcy and what we should be paying attention to, but instead of ranting out details like angry leftist punk bands (all leftists are delusional: anarchists, communists, democrats, socialists, libertarians, communitarians, and even apolitical humanists; humans are NOT more important than nature or the order of the cosmos) they looked at the big picture.
Now it has been cloned to death. It went from mythology to orthodoxy during the last days of black metal, and now it’s as Politically Correct as saying “but democracy will cure them” whenever you read about a revolution. It’s overdone. If you want to fight Christianity, this is not the way. If you want to find a better life, this isn’t helping. All you’re doing is becoming caricatures of yourselves.
What made metal great wasn’t its destruction of idols, but the thinking outside of the box, looking for adventure beyond the safety zone of human-centric thinking — whatever form that took, whether populist Christianity, fear of Satanists, democracy, socialism, being nice to people, comforting aesthetics, whatever.
If you want your genre back, stop aping the past. Put what it had — a mythology of greatness, heroism, adventure and amorality — to good use. Embrace nihilism. The human drama doesn’t matter. The ongoing drama of life moving from primitive origins to future possibilities, even if those contain orders “of the past,” is. Allahu ackbar!
No CommentsGontyna Kry – Welowie
One of the best works of Polish black metal, Welowie has the craftmanship and melodic sophistication of Sacramentum’s best work but marginalizes the death metal influences, instead filling that loophole with the post-Discharge melodic hardcore that Graveland had a niche for carving out in their earlier work. Distant screams amidst a melancholic plethora of notational sequences reveal a sense of emotionally fraught catharsis not unlike a more musically ‘learned’ take on Mutiilation’s best works. The eight tracks on here run at just over 26 minutes in total but still in such a limited constraint manages to make the most of epic scope and artful expression within a time constraint that would more traditionally fit a death metal band. In some ways calling this work merely a ‘demo’ does it little justice. –Pearson
War Master – Chapel of the Apocalypse
A young Texan war squad shows you don’t need advanced technique or labyrinthine compositions in order to succeed at pulverizing death metal hostility, as the palm muted chainsaw grind slugs onwards with the determination of a German panzer advancing towards certain death upon the Stalingrad plains. As with most young death metal bands, their earnestness sets them apart from most of the older colleagues and the primitive, architectural weight of “Awaken in Darkness” convinces one of morbid intentions unlike a thousand Necrophagists. Dark atmospherics abound in these documents of fear and rage in chthonic shade, bringing reminders of Amorphis’ and Incantation’s early Relapse days , the five musicians being able to build a solid tribute to their influences on this demo and generate a fiendish excitement for a capable followup. The success of the band in creating an esoteric sensation out of their simple source material is worthy of praise. –Devamitra
Witchblood – Witchblood
As if possessed by the ritual thrall of Walpurgis night, this mostly solitary creation of an individual called Iron Meggido is a clash of smoothly feline aggression of Nordic Black Metal with the Romantic architectural use of Heavy Metal riffs that characterized the occult metal of Celtic Frost, Samael and Therion. Alongside the suggestive and provocative riff stand the invoking voice of an Erinys caustically timed with the bludgeoning tempi of guest drummer L’Hiver. Underlying the beauty of this demo is the illuminated fire of an artistic vision in its birth-throes, painfully struggling against the bounds of convention in order to express the ultimately inexpressible: the twilight zone of fever and mythos where the ‘supernatural’ influences the evolution of man and mind. Hopefully their talisman is effective in order for the legion of Witchblood to fly even higher on these wings of rapture.
–Devamitra
No CommentsTags: Black Metal, death metal, Mythology, Occultism, War Metal
American black metal outlaws BAHIMIRON are ready to unleash their wolves to the flesh of Christ with Rebel Hymns of Left Handed Terror this fall on MORIBUND RECORDS. Set for release on October 25th, BAHIMIRON’s Rebel Hymns of Left Handed Terror will contain nine hymns of rabid bestial nightmares, all in devotion to total death and the fiery depths of the black abyss. Full of rusty edges, this third shank in the guts will host such songs as “Their Blood Shall Fill My Chalice,” “Bestial Raids of Antichrist Darkness,” “Goathorned Messiah of the 7 Gates,” and “Anointed in Serpents Blood.” ”This is the album that goes back to the true roots of black death metal for us,” confirms vocalist/guitarist Grimlord, ”all the things that originally hooked me into playing this type of heresy – the kind of stuff that comes at you with knives and the blood of Satan.”
With members of IMPRECATION and MORBUS 666.
No CommentsI like this short essay in defense of Gonzo-style subjectivity:
So the concept of opinion here is strictly experiential – it is your vision of this record that is being sought and an interpretation unshackled by the influence of individuals exerting which records that are supposedly valid or true. To tap deep into the essence of why your chosen opus matters to you should render all other considerations redundant. My fundamental concern is for readers to be able to channel your vision and either discover an offering they hadn’t had the opportunity to prior, or at least determine an unconsidered perspective.
Pre-empting reader response is futile, they will extrapolate the messages as they see fit. Considering the likely audience for a publication such as Black Metal Revolution, it is naïve to consider it some sort of “rule book” or “guide to BM for the uninitiated” as there is no prescribed list of the records that should and should not be included. There are offerings I would like to see adorn the books pages, but this is not something I intend to contrive as it is at odds with the production’s essence.
A submission to BMR is a clear account of a record that matters to the author and why. Sure it can be more should you wish it to be. Some are better equipped than others to provide such an insight, though creative prowess is not necessarily a gateway to divination. VON is always going to appeal to me over some sort of pompous, overblown and overproduced act like Dream Theater; though try to explain to a Dream Theatre fan WHY that is the case is futile. The language of reverie is different for all individuals who are truly channeling their innermost. – Black Metal Revolution
None of the DLA’s critics have ever noticed this, but we have never been cruel to subjective opinion. We have only said that beyond the individual, it is unimportant.
We are nihilists. What matters to us are consequences in reality, not peoples’ feelings, perceptions, desires, emotions, aesthetics and so on. We are ultra-realists.
The fact is that some art stands above others; the counterfact is that this does not necessarily determine why you like it. Our goal is to find the art that stands above the rest. Otherwise, why both read a review? Who cares what the other guy likes, unless you’re looking for something to listen to, or a canonical depiction of a genre?
We all have some bands we like because we like them, not because we think they are good. For me, it is older punk bands, who now stand revealed in the light of experience. They are amateurish, sloppy and often redundant. Not all punk bands are this way.
In defense of VON, who we have listed on the site, they like punk were an important step in removing the pre-conceptions of rock music from metal, especially black metal. They are also good, in a limited sense; they are probably not good for repeated listening, as musically, they are boring. No three magic notes exist which are so fascinating they trump complex melody; it’s basically rhythm and arrangement at that point which determine the band.
As far as this listener goes, I like both Beethoven and Von — I recognize Von’s limited historical importance, and that Beethoven is objectively better than Von, and that to think otherwise is mental retardation. I still like Von.
No Comments
There’s absolutely nothing wrong with the regular edition of this album, either aesthetically or technically. Deathgasm Records did an excellent job. But along came Die Todesrune/Deathrune/Death To Mankind Records with a limited edition, “300 copies,” art direction inspired version of this new classic, so who are we to say no?
Both cover and booklet are stunning in their integration of old school death metal art conventions, and newer stylings that simply look good and portray this album in the best possible light. The digipack — normally I dislike these fragile things — is as well put-together as you’ll find in this format, and its elegant matte surface conveys a richness of color impossible on slicker releases. The result is a whole package: music, idea, image and persona.
If you haven’t heard this might slab of putrescent occult death metal, it’s like old Incantation executed by Deicide at the pace of Obituary. The result is a brooding, expansive and otherworldly catacomb of doubt, violence and despair that is alluring in its promise of a world more interesting than our current utilitarian/moralist one. For those who love death metal, or just intense music that is not pure uptempo distraction, Infernal Warriors of Death delivers a crushing blow.
01. The Disgrace of God
02. Desecration Eternal
03. Sworn to Death and Evil
04. Lies of the Cross
06. In the Shadow of His Blasphemous Glory
07. Invoking Abomination
08. Exalted in Unspeakable Evil
Deathrune has also released a regular CD edition in Europe, and by the end of the August will release a gatefold vinyl edition as well. You now have no excuses not to own this crushing release if you want it.
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