Metal Festers Eternal

Right now, above the metal underground there is what was coined, I believe originally by Pogrom from Arghoslent, the “Funderground”. The funderground consists of independent labels, sometimes mainstream distributed, releasing thousands of albums each year full of rehashed material or rebranded three-chord hardcore with different superficial aesthetics to fuel a bar show audience’s drunken moshing or make hipsters feel smart for liking an indie rock release with a dirty production. One can see this divide in most of the popular “underground” web forums such as those of Nuclear War Now! and Full Moon Productions. The most popular “underground” “metal” releases of each year are all older metal rehashed into pop-rock structures or rebranded hardcore. This divide is similar to what is felt in mainstream Western culture with the leftist “elites”‘ constant Marxist virtue signaling and branding freethinkers with various epithets for refusing to chant the praises of socialism mandated by the vanguard party.

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Gorefest – Mindloss (1991)

Before lapsing into embryonic death ’n’ roll on their second LP False (1992), Gorefest were among the earliest Dutch proponents of solid bread-and-butter death metal with a sense of melodic contour joining the many rhythm riffs into coherent songs which reach a point of focus in their cycles, forcing re-interpretation of its parts. The early style more or less complete on their demo recordings was brought to a fuller and more refined form on the 1991 debut album Mindloss.

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Streaming Now The Primary Method of American Music Consumption

Streaming is now the primary way Americans listen to music according to a year end report by Nielsen, replacing downloads of individual singles.

It’s official: according to a new year-end report released by Nielsen, over the course of 2016, streaming became the primary mode of music consumption in the U.S. Overall on-demand audio streams surpassed 251 billion in 2016 — a 76 percent increase that accounts for 38 percent of the entire music consumption market. Plus, “the on-demand audio streaming share [of total music consumption] has now surpassed total digital sales (digital albums + digital track equivalents) for the first time in history.”

Streaming is the public consciousness recognizing that most of what the mainstream music industry has to offer is disposable. The labels can’t even find or develop potentially good new talent anymore as due to gutting their artists and repertoire departments and what revenue they make flowing upwards towards executives and shareholders. Average consumers never possessed high-fidelity playback chains of dedicated gear to take full advantage of the compact disc and vinyl records anyway; they only had mediocre integrated receivers hooked up to poorly performing speakers and headphones. Furthermore everyone truly into underground or once underground music genres now digs deeper, purchasing releases with zero quality control which commonly have print runs of only a few hundred to a few thousand copies. Classical continues to do okay too as classical listeners still buy the physical album and tend to have marginally better equipment.

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Nécropole – Nécropole (2016)

Necropole are a French group who play flowing melodic black metal in the style of Graveland and the Quebecois with riffing heavily influenced by Gorgoroth. Necropole is an anthology CD collecting both of Necropole’s earlier demos, Atavisme… and Ostara, that were released on cassette only but readily heard through streaming on Youtube. Hopefully Necropole’s debut album will not be titled Necropole too to avoid confusion.

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Sadistic Metal Reviews 12-23-2016

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Visiting The Tobacco Barn (Brenham, Texas)

When one traipses through the country outside of the lock-step conformist big cities, it behooves the pipe smoker to look for those varieties of tobacco favored in the less “civilized” areas of the world. This might bring one to Brenham, Texas, where the Brookshire Brothers grocery store offers up a unique and wonderful American tradition: the drive-thru Tobacco Barn.

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Ungod: The German War Machine That Flies Under Metalhead Radar

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History is full of paradoxes. Twentieth century Germany provides one of the major mysteries of the modern era: Why haven’t the Germans produced more high-quality black metal?

The country has been a heavy metal-stronghold since Neolithic times with a significantly high metalhead-per-capita rate. Furthermore, Germany has spawned more metal bands than any other country in Europe with abundant native labels, zines and distros supporting them. Yet, when it comes to black metal, there’s not much to write home about. (more…)

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Frontschwein Folly

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Article by David Rosales

Marduk has never, with the exception of the laudable Opus Nocturne, boasted of a deep mystical aura imbuing their music and has rather been known for the sonic onslaught which is their music. The present work sees a band that appears to have long settled for a style and seem content to reproduce it for the benefit of an expecting audience. That is, a very palpable pop mentality has settled in, even if the music has not completely degenerated in form. The artistic vision nonetheless has affected, as is the rule, the manifested aesthetic of the music, and will predictably continue to corrode its quality as it has been doing for the past twenty years or so.

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Sodom – Decision Day (2016)

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Article by Anton Rudrick.

Now that a thorough overview of Sodom’s career has been completed, and a short analysis from that overview has provided us with new insights, we can be more confident in our evaluation of their new album, Decision Day, in a way that allows us to tentatively explain the origin of its strengths and faults. This becomes especially useful with an album displaying averageness on all levels, showing no prominent ideas that distinguish it neither in the abstract nor the actualized, and furthermore, certainly not being more than the sum of its parts. The situation is one in which all that remains are the references that these streamlined and pre-fabricated pieces meant in their original contexts, and how this commercial product attempts to play on them for maximizing revenue.

Sodom has earned a solid reputation among the metal crowd through the years. Most fans of the metal underground will probably have heard about Sodom, or that of Tom Angelripper, and will express respect at the mere mention of either name. Their newest album displays traits which one would associate with their own brand of speed metal (a.k.a. thrash metal, incorrectly dubbed), but these seem filtered through mannerisms borrowed from styles acquired over the last two decades and a half while Tom Angelripper explored the mainstream side of metal. Decision Day is catchy, and every step and turn is a hook optimized for comprehensibility and mass consumption.

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Sadistic Metal Reviews — September 1, 2016

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Humans are by nature delusional. They overestimate their importance and demand that reality fit their simple expectations. And yet, they are very good at mastering known skills, so they are highly proficient, but void of purpose. This hollowness is the left side of the metal Bell Curve, and to separate it from the good stuff, we have Sadistic Metal Reviews!

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