According to Wikipedia and internet sages, David Parland (Necrophobic, Dark Funeral, Infernal) has died at the age of 42 on March 19, 2013.
Parland was a founding member of Swedish melodic death metal band Necrophobic whose album The Nocturnal Silence proved that death metal could be both musically erudite and intense, and opened the doors to many others who wanted to make elegant music in a time when most wanted chromatic brutality.
From Necrophobic, Parland went on to start Dark Funeral and make a melodic and essentialist version of black metal that later worked more occult heavy metal into the mix. After that, he joined Infernal and developed their unique style of intensely violent music.
With the passing of Mr. Parland, death metal loses a talented musician and someone whose forward momentum launched more vital projects than most can dream of. It is hope that his legacy will not be forgotten.
Taking their name from an Entombed song, Swedish-style metallers Revel in Flesh mix Motorhead-esque rowdy roadhouse metal song formats with Swedish death metal riffs and production.
Like many of the newer generation, they combine the heavy metal style melodic Swedish metal with the more hardcore influenced old school death metal which kicked off the movement. The result is easy on the ears like a Motorhead tune, but has all the bass and crunch that an alienated outlaw anti-social metalhead might need.
One thing that’s refreshing about this band is that they are not trying to rehash the past. They’re trying to be a metal band with influences. The result is that this is not first album Entombed. It’s Revel in Flesh, and unlike some of the recent bands, it offers not nostalgia but a current sound of heavy metal style death metal.
We are pleased and excited to, in coordination with Clawhammer PR and Revel in Flesh, offer you this live stream of a song named “Dominate the Rotten” from the new Revel in Flesh album, Manifested Darkness.
For your listening pleasure:
Revel in Flesh
“Dominate the Rotten”
Manifested Darkness FDA Rekotz (2013)
No one doubts the importance of style, but at the end of the day, style is not what makes one album great and others mundane. Like a technique used in painting, style is essential to convey particular meaning, but its inclusion alone doesn’t make the painting great. Only the skill of the artist and the composition of the painting can do that.
Supuration emerged years before the current alternative metal and progressive metal trends, mixing 1980s dark pop and indie with a strong progressive undercurrent in the style of Rush or Jethro Tull. Their legendary album, The Cube, divided metal listeners because while it had many aspects of off-mainstream rock, it sported death metal vocals and metal riffs. However, it also made them many fans who liked their adventurous use of music and very personal, evocative songwriting.
Cube 3 hits the target set by this first album by not imitating the style of the past but instead developing changes to that style naturally and focusing instead on songwriting. This allows Supuration to gratify older fans but not force themselves into acting out the past as remembered from a far off-distance. The style is mostly similar to The Cube, being alternative/indie-rock harmonies mixed in with metal riffs and progressive chord progressions, melodic leads and oddball song structures.
What makes this album work is that each song unites two concepts: first, a pop style hook; second, a theatrical staging of the conflict between two or more tendencies. These songs pull themselves apart between bassy heavy metal riffs, bittersweet vocal melodies, and intricately picked melodic guitar that expands the context of the music and shows a broader context.
These songs are full of musical oddities picked to stimulate, amuse and delight, but what fundamentally drives this band is its songwriting which has a strong connection to the idea of metal. The result is a metal hybrid that keeps the intensity of metal while creating a technical achievement that also has the emotional appeal of negative pop.
If you were to combine the full military power approach of bands like Krisiun or Angelcorpse with the catchy and slightly dissonant songwriting of Master, the result might be like Pathogen. This band has its own personality however which comes out in this battle-force release.
Miscreants of Bloodlusting Aberrations aims to be rhythmically compelling and to add some additional interest in its tendency to massage a maze of related riffs out of the midst of a riff salad so dense it would defy mapping. The result is like urban exploration: entering a building late at night through a forgotten basement window, and wandering in the dark with a flashlight and .45, until you find that one room that takes your breath away.
Pathogen hustle through songs that are a mix of death metal, heavy metal and war metal riffs driving toward a culmination in dissonance and chaos. Drums are mostly influenced by the speed metal bands of the mid-1980s, but vocals come from the recent school of high-speed rasp punctuated by deep gutturals. The result is very much a hybrid, but true to the spirit of its many influences and the genre.
Where this album gets confusing is that it is a riff-maze of familiar patterns and repeated types of themes, so it is best listened to as a kind of concept album formed of a snapshot in time when all of these different songs overlaid each other in concept and overlap in music. Infectious and warlike, Miscreants of Bloodlusting Aberrations captures the spirit of high-speed metal and gives it a unique spin.
Back in the 1980s, the wisdom was that Satan had something to do with the founding of speed metal, along with Blitzkrieg and a few others who got into the choppier, more muted strum side of NWOBHM.
Having two members go on to avant-progressive speed metal act Skyclad did not hurt the legend. Thirty years later, Satan return with Life Sentence, an album that is musical enough for power metallers but uses the same efficient mix of speed and classic riffing that made Judas Priests’s Painkiller such an enduring favorite.
In addition, this band has internal quality control, which is something that seemed to go out the window with the rise of MP3s. This album fits together as an album, not as a concept album but as enough and varied interpretations of a style to make a consistent but not repetitive package.
Riffs on Life Sentence are of known general types but are not recognizably derived from anything else, and while they are generally used in pop-style song structures, tend to illustrate the theme of each song in sound. In addition, Satan use riffs as archetypes and vary them for fills or changes in song direction. This distinguishes them from many of the more template-based heavy metal bands.
The strong underpinning of riffs supports a subtly jazz-influenced percussion that mimics the guitar while trying to stay as much in the background as possible until it is time for a strategically interesting fill, at which point it explodes. Over this the melodic vocals of Brian Ross, who also sang in Blitzkrieg, surge in both full operatic style and a more surly half-chant.
Lead guitar fireworks are minimized but like everything else on this album, appear when it helps push the song along. However, songwriting on its own is strong, with each song having a clear theme that is played out in the tension between verse and chorus riffs. Nothing sounds hasty or ill-thought; it all fits together and moves as one.
For metalheads who like musicality but might want something more aggressive than your average power metal band, Satan offer a powerful competitor that does not fall into excesses, but keeps its own spirit alive. Life Sentence does not sound like it came out in the 1980s, but also, evokes much of the strength and beauty of the music of that era. This should be a major contender for the thinking metalhead vote in 2013.
We previously posted an article on the exploits of Sleepwalker from Forbidden Records, Forbidden Magazine and from the black metal band A Transylvanian Funeral. That article can be viewed here.
Sleepwalker has decided to come out from the shadows to indulge us further regarding his projects:
Since creating Forbidden Records you’ve released numerous albums and splits. What are some of your favorite releases that you’d like our readers to check out?
93! I would have to say that they are all killer and out of print. Each release has had its own relevance and meaning. I was really happy to put out Thornspawn / Black Angel, two legendary bands, along with re-issuing Kult ov Azazel’s demo material. That is not to make light of Immolith or Draconis Infernum, as their tape releases were killer companions to the CD counterparts. I hope to re-issue the older A Transylvanian Funeral material soon as well, so I suppose fans will get a chance to hear that material again…
How has Forbidden Records grown since its inception?
This month, March of 2013, marks several ‘firsts’ for Forbidden. The distro is growing in size and I am able to mark all of our CDs @ $5. I would rather they sell and be enjoyed than try and get every last drop of money from the fans. The new A Transylvanian Funeral and Goatcraft albums out this month are our first Pro CD, Redbook quality release, and I was able to hire Clawhammer to help out with the press push. It has grown to the point where I almost can’t do it all myself, which is great. I have also expanded into selling occult amulets and talismans, as well as occult books from Crowley, Summers, Mathers, etc.
The occult and metal have always been a huge part of my life so it is a natural progression. Forbidden Records is also still a recording studio, as it really began, although I rarely invite clients into its doors and remain private. When I have, I have been very selective and not disappointed in the outcome.
Why did you start Forbidden Radio?
Forbidden Radio started for many of the same reasons Forbidden Magazine started. I was operating a studio under the name of Third Eye Audio and writing a magazine when I put out the first A Transylvanian Funeral album. The magazine was fun but I found myself with more and more responsibility online while the print version sat on a self and the interviews I secured went nowhere. I understand the difficulties of running a zine so I opted to leave and start my own, since I had an album I wanted to promote, why rely on someone else to promote it for me when I can do it myself on in my own zine? With Forbidden Radio, it was the same situation. Many have great mp3 collections they have downloaded via Limewire or whatever it is these days to listen to them mutter incoherently in to a $20 radio shack microphone makes my skin crawl. I am not hoping that DJ Tonedef is gonna pay his internet bill this month and be able to do the show and promote my songs. No way! Just another case of DIY. There are a lot of great internet DJs out there and I had opportunity to be one but I know I don’t have the time or interest so I made Forbidden Radio, where bands can upload their mp3 and be in the queue of songs being rotated. There are no DJs, no advertisements nothing but streaming aggressive music.
It’s very admirable that you run Forbidden Magazine. The internet has garroted most DIY publications. Why did you elect to print physical copies of your magazine instead of stockpiling it all online?
I don’t know, to be honest. I enjoy making things, tangible products as opposed to files and software. I have all the magazines online in PDF form for people to read in whatever form they want but I have always been a reader, I still collect books. I work in a bookstore. It is in my blood to turn pages. Blogs and webzines are a dime a dozen but they are usually more current and up to the minute, which is nice, but a zine that interviewed Mayhem in 1990 is more appealing than a webzine that interviewed Mayhem in 2012. Printed zines are not disposable like the junk food internet is. Labels like to see their material represented in print as do the bands. Fans can go either way but if a fan collects Inquisition records, patches, buttons and zines with their interviews he has something to work with in printed form, online, not so much. The online he has to share, he can’t claim his territory with the online interview and add it to his collection. He is forced to share. I like giving people the ability to mark their territory, to not share, to have something of which only 100 copies were made, revert to primal animal character instincts, etc.
You have interviewed numerous bands for Forbidden Magazine. I noticed in some interviews you inquire about occult influences. What are your thoughts on the occult?
I have always had an interest in things occult, or ‘hidden’. My mother was an accomplished numerologist and had an uncle who was a successful hypnotist and psychic so I was exposed to things that others may not have been, all of which were positive, of course. I don’t consider myself a satanist or devil worshiper as other who do not know me or my character do. I do not discuss my spiritual practices as that only weakens their potency but anyone who is familiar with Crowley’s 28 Theorems should know that I adhere to their principles and methodology. I have experienced far too much amazing ‘changes in conformity with Will’ to believe anything less than the Truth in Magick and the Higher Self. Crowley says the same thing that Chopra and Robbins does: we live in abundance, change your paradigm and become a receptacle for your desires. Get out of your own fucking way and let the power flow through. While I study and practice Thelema, Tarot and Western Hermeticsim, I also find the practice of Chaos Magick to be of worth, as the complex systems of the Golden Dawn, QBL and Enochian can be so multi-faceted that it become unproductive. Sure, you may become a wise old mystic after 20 years of studying and meditating upon the QBL but that understanding is of little practical use when you can’t manifest a parking spot or get a better paying job. I was initially drawn to the work of LaVey as a teenager, as most rebel youth are, the ‘practical’ or ‘materialist’ sense of LaVey’s Satanism is appealing to me as well, as I spent years of my life without money, without direction, without the power that money brings, like being able to print a magazine, put out albums, buy mixing boards, etc. Unfortunately, LaVey puts his Satanists on an island, disconnecting them from the infinite universe and its 100 trillion stars. That is where I switch gears and find myself picking and choosing amongst different faiths and making things work for me. I guess that makes me a heretic of some sort or another.
You appear to be a workhorse. Is it strenuous to operate so many projects at once?
Yeah, it is and I try not to bitch about it too, as I would ‘do’ than ‘want’. I just had the conversation with a friend that I would rather be hard to work with and show a strong track record of success as opposed to be ‘easy going’ and get nothing done. The hardest thing is not making time to go the gym, to be honest. I miss working out and having that time to myself, for myself, alone. When the time comes that a project is suffering because I am trying to juggle too many projects, I hope I am smart enough to give some one else the reigns, hence my hiring of Clawhammer for March’s releases. I don’t gamble at casinos, but I do bet on myself and Forbidden to get shit done. I have watched so many young bands rely on other people to get them somewhere they want to be instead of taking it themselves…fuck that shit! I am humble but when I look at what I have done, it feels good. I wrote a pretty heavy introduction to Forbidden Magazine III, reminding bands that if they work forty hours a week at a shitty day job, why can’t they work just as hard for their precious fucking art? I just can’t wait on handouts from anyone and the zine, the label and the band all kind of fit together well anyway. Malcolm X said that no one can give you anything, if you are a man, you take it.
What are the influences for A Transylvanian Funeral?
I have a lot of influences musically. Mayhem was the first band to turn me onto black metal. I hear so much new music from Forbidden Magazine it is hard to gauge what makes it through my subconscious filter into my guitar… I think the sound has changed enough over time that it hasn’t grown old, and it was always my intention to reinvent my sound or creative process with each album. I enjoy all extreme music but find myself listening to completely different stuff for pleasure, when I am driving, for example, this week I have been listening to old Wax Trax! stuff, before that I was listening an album that I mixed of a local psychedelic / rock band. There are parts of me that just like playing Black Sabbath songs standing in front of my amp, rattling the windows, too.
Being the sole member of A Transylvanian Funeral, how would you place in juxtaposition your new album Gorgos Goetia to previous works? Is there a personal rumination promulgating in your music?
I am certain that I do have a message or proclamation that I am making in my music, it is just that it changes from song to song, album to album. Gorgos Goetia has a focus on the creative energy of Magick, its power and properties but every song is not necessarily about Magick, unless of course you reference Crowley’s Theorem #1… When I started writing for Gorgos Goetia, I didn’t want a drum machine, so I got a shitty drum kit and beat the hell out of it the best I could. I didn’t want layers of guitars, so I recorded one track and used a delay for fake stereo. Minimal production in terms of EQ, compression, gates, etc. Anyone who has heard the previous album, ‘the Outsider’, can hear keyboards, pianos, samples, drum machines, multiple guitars, elaborate reverbs and a very coherent flow of songs from start to finish. I wanted Gorgos Goetia to be more disjointed, less of a comfortable listen, harsher on the ears and more a collection of songs that a ‘concept’ album.
What are the themes of the title and lyrics for Gorgos Goetia?
The themes vary but are based in Magick. ‘Moonchild’ has little to do with the novel and more to do with the novel’s point, the birth of a Magick child, the creation fashioned from a union between the Will and the Universe. Potential + Preparedness = Creation. ‘The Supreme Rite of Transmutation’ is a celebration of power, a giving of thanks and acknowledgement of the divinity within. ‘Night Hags’, on the other hand, is based on a story I read from one of Montague Summers’ collection of witchcraft and vampire legends about these vampire slaves, or ‘night hags’, as he were referred to, that would enter the home and steal the body of a soon to decease corpse. I enjoyed that story, because in it, the hags didn’t use ‘black magic’ to steal the body, they simply left a bottle of rum outside the door and when dying’s family were all drunk and fast asleep, they simply walked in and took his body. Depending on your perspective of things, they can appear either mundane or magickal. Many times, I have a song title in my head and work from that point forward, ‘Hymn to a Gorgon’ was one of those instances. From that song, I derived the album title, Gorgos Goetia, which is a difficult translation from Greek to ‘terrible sorcery’. I plan to release a collection of all lyrics from A Transylvanian Funeral in book form, as they have never been released previously, other than in PDF form and two songs with Plutonian Shore, ‘Moonchild’ and ‘The Supreme Rite of Transmutation’.
The split Alchemical Manifestations has received good reviews. Why did you choose to do a split with Plutonian Shore?
Plutonian Shore was visiting Tucson and contacted me, wanted to hang out and we did. They came over and we sat in the studio listening to Snotarar and talked about Magick and putting out an album together. We both had material to release and it seemed natural. It was great meeting them and we are both fans of each others music, I just hope to repeat the experience sooner than later. I just heard today that they sold out of the cassette version of the split but I still have copies of the CD available. I also wanted to share a split with a band that operated differently from my own. They are a full band with two guitars and keyboardist, play live, etc. where as I do not, etc. We vary in methods but share similar results or goals, so it made for an interesting and contrasting split, which I think creates more listenability and interest.
A Transylvanian Funeral has never played a show and has declined summons from others to do so. Will A Transylvanian Funeral ever perform live?
I doubt it but I never say never. I don’t disrespect what other people do but feel disrespected when someone asks me to play a bar and doesn’t take the time to research who they are contacting. A mass email to 1000 bands inviting them to ‘pay to play’ is garbage and I will not suffer a fool. If and when I do play live, I would like to document the event, video, audio, etc. and make a nice release out of it as it will probably not occur again. I just find I get more done alone. Maybe I spent too many years playing with people whose ideas did not coincide with my own and things would be different if I were different but if it isn’t broke, why fix it? Plus I would need to do it in Texas as all the potential members reside there currently…!
Thank you for taking the time to enlighten our readers about your exploits. What advice would you give others that are interested in creating their own record label, performing solo in a black metal band, or establishing their own magazine?
Thank you for taking the time to write the interview and push my material, it means a lot to me! If someone is reading this and wants to do the things mentioned, remember that your success is your responsibility, not a label’s, not a magazine, not a DJ or promoter or club or a drummer or his three girlfriends. There is a power and a means to use that power to get what you want in life. Trust your instinct and be prepared to get knocked on your ass more than once. Once you decide to stand back up and keep fighting, that’s when life will give you more of what you want. 93!
Long ago, back when people mailed out physical promos of albums, I got an album in the mail from Stratovarius. I could tell from looking at it that it was power metal. I put it on the shelf behind the grindcore.
Power metal is interesting. Musically, it’s essentially speed metal (just like most “thrash metal”). The difference is that there’s some death metal technique, borrowed from Judas Priest’s Painkiller, that gives it some heft. However, there’s something else about it.
The music uses vocals designed to inspire and take people through a range of emotions rather quickly. It’s more like traditional heavy metal, but much more emotional, like Queensryche turned up to 11. There’s also something else, and it took me many years to recognize it.
In the American south, we have many gospel music traditions. Gospel music is what happens when you take hymns and treat them like 1920s jazz. They lose the classical music feel, and get more emotional and have a bit more of that “inspirational” feeling.
I’m not saying this is an influence on power metal, only that it sounds that way. This is not new for metal. Early gospel music influences include “War Pigs” from Black Sabbath, which fits the song format nearly perfectly. It’s worship music.
As a result of this realization, I had never really been a power metal person. I liked Helstar, sure, because Nosferatu is just a killer album no matter how you slice it. The Maiden/Slayer mix on that makes for almost an ideal form of metal. But when you add operatic vocals…
Stratovarius changed some things for me. For starters, I thought that musically it was quite adept and spirited. I also liked the way its focus on epic topics was in a metal tradition that stretches from Voivod through Atheist. Interesting stuff.
In any case, Stratovarius has released a new single in video form. Generally, their stuff is better than the average for power metal, or for metal at this point, and it’s epic enough to fit with the death metal vibe. So check this out, and see what you think.
Repo Man
dir. Alex Cox
92 minutes, Criterion, $28 (Blu Ray)
Imagine yourself in 1984. No, not the anti-totalitarian novel 1984, but the year. Ronald Reagan is president; the economy is struggling. It’s uncertain whether at any minute the US and USSR will exchange nuclear weapons with one another, annihilating life on earth.
They’ve stopped doing the nuclear drills in schools because even the dimwitted teachers have finally realized what ICBM means. Intercontinental Ballistic Missile: it gets here so fast they won’t tell you it’s coming. There will be no warning, only an artificial sun eating your cities, evaporating your friends and family, obliterating your memories.
Even more, American society is in free-fall. 1968 brought a huge upheaval and now it’s hippies versus people in suits every day but the hippies are more popular. The media generally takes their side; industry sides with the suits. Average people are squeezed in the middle, just trying to find food and lodging in a world that now thanks to technology demands more of them and costs more just to survive.
Those are the obvious challenges. Underneath the skin, there’s a great deal of doubt. We fought wars to end wars; we got a Cold War. Society seems to be falling apart. People in general seem to lack a reason to live except a fear of poverty and death. As a result, the nervousness grows and people become more slavelike to jobs, ideologies, religions, drugs, sex, alcohol, corporations and lifestyle justifications. It’s a Nietzschean feast of schadenfreude and a vast fear and trembling.
Into this mess explodes the hardcore and thrash movements. The formative elements of hardcore punk floated around in the late 1970s between Motorhead, the Sex Pistols, and thousands of nameless two-chord bands, but the genre really blew up in the early 1980s with Discharge, the Exploited, and Amebix in the UK and Black Flag, the Cro-Mags, and Minor Threat in the USA. Riding that wave came the punk rock bands, like Circle Jerks and Dead Kennedys, who offered a softer and funnier version of the same. Following as well were the thrash bands, like Suicidal Tendencies and DRI, who mixed hardcore songs with metal riffs to make short fast bursts of fury and discontent with society.
The best way to chronicle this punk scene would not be to focus on the music, because then you end with a standard rockumentary in which musicians reveal that, if articulating things were their real skill, they wouldn’t be musicians. Instead they express themselves through sound, which is generally more reliable in that it’s harder to cleverly re-define its root terms and subvert it. To chronicle this scene, you have to show what they see, and then play the music so that the two join in the middle.
If any movie showed hardcore for what it was, and also explained the era to those who were not aware of it, Repo Man is that movie. Like its inspiration Naked Lunch, it is a collage of nihilism and post-modern boredom, mixed with the terror of a new kind of totalitarian society based on consumer choice (more like 1984‘s inspiration, Brave New World). The fundamental vapidity of the people around you is what dooms you to conform yourself, or be smashed beneath the grinding wheels of the industrial apparatus. It is a paranoid, unstable time. Repo Man shows us this world through the eyes of a teenage Otto, who is an everyman of the era in that he has connected to fundamentally nothing. His parents are aliens, jobs are pointless and ruled by petty tyrants, school was a blow-out, and even his fellow punks let him down with their selfishness and lack of vision. Adrift, he wanders through the rusted mechanical ruins of L.A. until he is rescued by a mercenary-minded repossessor.
“Repossessor” was a dirty world back then, much like we might view organ harvesters now. Repo men were the people who took your car when you couldn’t afford the payments, and this happened to a good number of people. It could happen in front of your friends and family, announcing to the world your failure. In a society basing itself on capitalism as a means of differentiating itself from the socialist East, this type of failure was emotionally crushing. As you can imagine, a repo man was not the sort of person anyone looked up to. Society’s lepers, they fed off the scraps in the dump of society’s excesses. You can imagine how for most people, a transition to repo man is like living death. But to a punk, society is already a dead man walking and existing in it is already offensively zombie-like. So what’s to lose?
Otto joins the repo team with his mentor, Bud, who is outwardly selfish but ultimately more dedicated to expression of his own frustrated emotions. Together, they raid the L.A. basin for overdue car notes and in the process, encounter a prize beyond their wildest dreams — a car worth $20,000 (now probably $80k). Like the white whale in Moby-Dick, or the holy grail, this car divides people against one another and reveals what characters are really made of. In a world dedicated to self-interest, the question is whether self-interest will win out, or whether a higher (or lower) principle will be found to save the day.
Splashed throughout with energetic punk music from Suicidal Tendencies, the Circle Jerks, The Plugz, Black Flag and Iggy Pop, Repo Man brings punk culture to a wider audience by showing us the absurdity of our time and the helplessness of the characters within it, so long as they adopt its values and behave in the ways it teaches them to. Disturbing, funny, nuanced and accurate in its portrayal of a society that has lost the path to health, Repo Man will explain to you why you walk on the other side of the street from mainstream society, and suggest an esoteric path that will lead you all of the way away.
Back in the hazy 00’s, psychologist Philip Zimbardo released his book ‘The Lucifer Effect‘, which its title derives from the metaphorical transformation of Lucifer into Satan. It was a study about how good people can do bad deeds, and its substance was mainly on his findings about how prison guards turn to abusing inmates. The ultimate point Zimbardo was trying to make was that there is no good or evil person, since each person can be seduced to “good” or “bad” undertakings.
However, torture can be a very sufficient way to throw your enemy into turmoil. With the outright contradiction that is Christian “Metal“, it can catapult the listener into a world of confusion, thus becoming a very suitable device for torment.
According to Esquire Magazine, a gaggle of Navy SEALs were using the music of Metallica to torture Iraqi militants. Once Metallica received notice that their music was actually resulting in something proactive, they issued a press statement requesting them to cease. “Part of me is proud they chose Metallica, and then part of me is bummed about it. We’ve got nothing to do with this and we’re trying to be apolitical as possible – I think politics and music, at least for us, don’t mix,” said James Hetfield.
Saddened by Metallica‘s decision, the Navy SEALs embarked onward to take things into their own hands and forged the most psychologically destructive torture device known to man: Christian “Metal“. They enlisted the imagery and audio idiocy of Demon Hunter to show the militants true patriotic strength.
“Demon Hunter said, ‘We’re all about promoting what you do.’ They sent us CDs and patches. I wore my Demon Hunter patch on every mission – I wore it when I blasted Bin Laden,” one Navy SEAL stated.
One could assume that lunatic Osama Bin Laden took the easy route out. Death before Christian “Metal“.
A tension has been simmering under the surface in metal for the better part of a decade now and shows no signs of calming down. It concerns the division of metal into old and new.
Up through the late 1990s, metal was fairly consistent: it was music based on riff Jenga and distrust of society’s pleasant illusions. It was not protest music, but it was outsider music.
Then came an influx of people who were “alternative,” meaning that they wanted to escape the mainstream, but still wanted what it offered, which was essentially protest music.
In our society, popular music tends to take only a few forms. One is the standard song of individual gratification, usually love or longing. Another is protest at how people are treated.
Hardcore music was a breath of fresh air. While it was opposed to society, it did not protest how people were treated. It protested an insane existence. There was no bad guy, only a dying society.
Metal picked up on this vibe and mixed in the metaphorical and otherworldly approach of early Black Sabbath lyrics. The result was something truly outside of any perspective that was mainstream or alternative.
Now the alternative types have recaptured metal, using their superior numbers to reduce it to something palatable for mainstream and/or alternative consumption.
A place where metal is happy and not disgusting. A place where somebody would rather message you on Facebook or text you when you’re nowhere near them in the show.
A place where one man’s smile is another man’s laughter.
A place where the boisterous voices of jokes and YouTube discussion outweigh any serious topic.
A place where it’s okay to have star tattoos covering your flabby forearm.
A place where MetalArchives reviews are that of a fact.
A place where moshing and dancing lost their edge.
A place where everybody knows your name and is friends with you on Facebook.
A place where threads are made about you on a dying board that is absolutely horrible now thanks to the FUNDERGROUND.
While we can’t lend our stamp of approval to the trolling which has essentially devastated this forum, we can point out that there’s some truth in these allegations.
Since 2000, metal has increased in popularity by a vast degree. There are more fans, and more bands, than there ever have been before.
However, these aren’t the same type of bands. They sound more like late hardcore bands, who specialized in putting unrelated riffs together to achieve a “carnival music” or “variety show” effect.
Modern metal seems to have lost sight of who it is, and instead borrows its personality from crowd-pleasers like *core, indie, emo, lite jazz and rock.
The term “Funderground” refers to people who are using the underground as a way to socialize, instead of a way to make music that expresses their viewpoint on the world.
When you think about it, metal has always been anti-social and distrustful of social impulses. We can now see why: when socialization comes out, good music goes away, and with it, the best of metal fans also disappear.
According to Wikipedia and internet sages, David Parland (Necrophobic, Dark Funeral, Infernal) has died at the age of 42 on March 19, 2013.
Taking their name from an Entombed song, Swedish-style metallers 
No one doubts the importance of style, but at the end of the day, style is not what makes one album great and others mundane. Like a technique used in painting, style is essential to convey particular meaning, but its inclusion alone doesn’t make the painting great. Only the skill of the artist and the composition of the painting can do that.
If you were to combine the full military power approach of bands like Krisiun or Angelcorpse with the catchy and slightly dissonant songwriting of Master, the result might be like 
Back in the 1980s, the wisdom was that 
We previously posted an article on the exploits of Sleepwalker from Forbidden Records, Forbidden Magazine and from the black metal band A Transylvanian Funeral. That article can be viewed 
The themes vary but are based in Magick. ‘Moonchild’ has little to do with the novel and more to do with the novel’s point, the birth of a Magick child, the creation fashioned from a union between the Will and the Universe. Potential + Preparedness = Creation. ‘The Supreme Rite of Transmutation’ is a celebration of power, a giving of thanks and acknowledgement of the divinity within. ‘Night Hags’, on the other hand, is based on a story I read from one of Montague Summers’ collection of witchcraft and vampire legends about these vampire slaves, or ‘night hags’, as he were referred to, that would enter the home and steal the body of a soon to decease corpse. I enjoyed that story, because in it, the hags didn’t use ‘black magic’ to steal the body, they simply left a bottle of rum outside the door and when dying’s family were all drunk and fast asleep, they simply walked in and took his body. Depending on your perspective of things, they can appear either mundane or magickal. Many times, I have a song title in my head and work from that point forward, ‘Hymn to a Gorgon’ was one of those instances. From that song, I derived the album title, Gorgos Goetia, which is a difficult translation from Greek to ‘terrible sorcery’. I plan to release a collection of all lyrics from A Transylvanian Funeral in book form, as they have never been released previously, other than in PDF form and two songs with Plutonian Shore, ‘Moonchild’ and ‘The Supreme Rite of Transmutation’.
I doubt it but I never say never. I don’t disrespect what other people do but feel disrespected when someone asks me to play a bar and doesn’t take the time to research who they are contacting. A mass email to 1000 bands inviting them to ‘pay to play’ is garbage and I will not suffer a fool. If and when I do play live, I would like to document the event, video, audio, etc. and make a nice release out of it as it will probably not occur again. I just find I get more done alone. Maybe I spent too many years playing with people whose ideas did not coincide with my own and things would be different if I were different but if it isn’t broke, why fix it? Plus I would need to do it in Texas as all the potential members reside there currently…!
Long ago, back when people mailed out physical promos of albums, I got an album in the mail from Stratovarius. I could tell from looking at it that it was power metal. I put it on the shelf behind the grindcore.
Imagine yourself in 1984. No, not the anti-totalitarian novel 1984, but the year. Ronald Reagan is president; the economy is struggling. It’s uncertain whether at any minute the US and USSR will exchange nuclear weapons with one another, annihilating life on earth.
A tension has been simmering under the surface in metal for the better part of a decade now and shows no signs of calming down. It concerns the division of metal into old and new.
