Tuesday, October 2, 2012
Tuesday, December 6, 2011
Most Epic/Intense Moments in Metal | Pt. IV (Epic Win)
This is probably my best one yet...
http://www.youtube.com/watch?v=YvjNcUgXXjU
http://www.youtube.com/watch?v=YvjNcUgXXjU
Saturday, October 1, 2011
Monday, August 1, 2011
[REVIEW] Gnaw Their Tongues - For All Slaves... A Song of False Hope
I don't even know how to describe this. It's just so... bleak, and dark. And hopeless. It's just so... good. With plenty of eerie samples and freakish musical composition, Mories succeeds to frighten me over and over again. What may seem like some horrible chords hidden behind a huge veil of noise, are in fact riffs powerful, and emotional enogh to churn a maelstrom of pure melancholy, pure misanthropy, and pure nihilism. It's scary, it's weird, it's unorthodox for music, but that's what makes this so special. Especially in a sea of mediocre dark ambient/noise/black metal artists, that try to blend these genres together, but only recieve a foul mush of mediocrity. Where they fail, Mories and his projects, Gnaw Their Tongues specifically, are triumphant.
Distorted and convulsive bass, spastic synths of impurity, pulverizing percussion, along with many sections of bizarre samples of murder, bondage, torture, rituals, and other morbid themes, manage to create an unsettling and terrifying atmosphere. Yes, some hate GTT exactly for this monotony and the same approach to every release; I embrace it. I cherish it. It's noisy, it's disturbing, it's chaotic. Experimental black metal fused with noise and dark ambient is a genre which you either love or hate. Underneath these thick, gluey, fuzzy manifests of insanity are disturbing trips to the human brain, and torture to the anatomy through beatings. Of course, musically, it's really not that much. Distorted bass, eerie and operatic synths, brooding percussion, haunting vocals, and plenty of chaotic, disturbing samples. It's not that hard. What hard is achieving the wanted effect. Some succeed, some fail. GTT? Succeeds. It feels like drowning within a bleak void of white keyboard noise, while being assault by the swarm of screams of coldly calculated butchery and torture. Ghastly apparitions haunting the very depths of your mind. Horror; if Anaal Nathrakh is the soundtrack of the apocalypse, at least GTT is the soundtrack of the most horrifying and scary horror scenario there is.
Long story short, a blazar storm of noise, synths, bass, drums, and samples. To some, a messy pile of repulsing noise; to others, a trip to the comfy niche temple of peculiarity. My personal favorite track is "For All Slaves... a Song of False Hope II", for its amazing riffs. Like noise? Get this. Hate noise? Avoid like the plague.
Distorted and convulsive bass, spastic synths of impurity, pulverizing percussion, along with many sections of bizarre samples of murder, bondage, torture, rituals, and other morbid themes, manage to create an unsettling and terrifying atmosphere. Yes, some hate GTT exactly for this monotony and the same approach to every release; I embrace it. I cherish it. It's noisy, it's disturbing, it's chaotic. Experimental black metal fused with noise and dark ambient is a genre which you either love or hate. Underneath these thick, gluey, fuzzy manifests of insanity are disturbing trips to the human brain, and torture to the anatomy through beatings. Of course, musically, it's really not that much. Distorted bass, eerie and operatic synths, brooding percussion, haunting vocals, and plenty of chaotic, disturbing samples. It's not that hard. What hard is achieving the wanted effect. Some succeed, some fail. GTT? Succeeds. It feels like drowning within a bleak void of white keyboard noise, while being assault by the swarm of screams of coldly calculated butchery and torture. Ghastly apparitions haunting the very depths of your mind. Horror; if Anaal Nathrakh is the soundtrack of the apocalypse, at least GTT is the soundtrack of the most horrifying and scary horror scenario there is.
Long story short, a blazar storm of noise, synths, bass, drums, and samples. To some, a messy pile of repulsing noise; to others, a trip to the comfy niche temple of peculiarity. My personal favorite track is "For All Slaves... a Song of False Hope II", for its amazing riffs. Like noise? Get this. Hate noise? Avoid like the plague.
90/100
Saturday, July 23, 2011
Of a Codex and a Lesser Welcoming (Technique)
Hello, cunts and niggers. I was invited by Xivilai, and as you know, I know a thing or two about black, death, grind, and deathcore, and their subgenres. So I'll just stop being a parasite and post a review of my favorite band, Anaal Nathrakh. The album's called "The Codex Necro". Also about the title: it's a reference to The Axis of Perdition's album. Don't know who's that? TOUGH SHIT.
The review (as seen on Metal-Archives):
Brutal. Menacing. Brooding. A nuclear bomb hitting a desolate wasteland of black metal. A tsunami of noise and obivion assaulting the barren desert of grindcore. The horn summoning a revitalized form of blasphemy and misanthropy to shed its bleak rain of corrosive poisons upon humanity. This is what Anaal Nathrakh's inaugural opus of annihilation has spurred: a creature fed with pure hatred towards everything breathing.
Musically, Anaal Nathrakh's Mick Kenney doesn't disappoint; a veil of noise covering the brutal shredding and riffing of his nihilistic guitar-work, that manages to regurgitate extreme aural assaults, capable of destroying everything within its reach. I would assume that the drumming here is real, although it's pretty goddamn fast; too fast actually. But that's OK, considering that the drums only add to the magnificent aura of gloomy and dreary atmosphere that the very essence of this album's existence creates. The bass here is more felt than heard, though, but I don't mind that at all; considering this album should invoke a feeling of extreme hatred and scorn, feeling putridity is much better than feeling it, really. And finally, the zenith of the torturous apparatus of annihilation are the vocals and the "lyrics" (song titles actually): Screams of an executioner, as his very veins pump with the blood of his victims as he executes them; growls and grunts of a monstrous super-mutant as he rips through the shreds of flesh and the sound of the entrails being digested and corroded by the venomous bile and acid within its body. The lyrics, I'd assume, are just pure and unadulterated misanthropy and annihilation (obvious with tracks such as "Pandemonic Hyperblast", "When Humanity is Cancer" and "Human, All too Fucking Human"). The vocal style just adds so much to the music along with the lyrics. The best songs here are definitely "The Supreme Necrotic Audnance", with an amazing black metal riff, and "Pandemonic Hyperblast", with an intro of, well, pandemonic hyperblasts and a non-stopping assault of doom and infernal ruin.
So basically, what you got here is an opus of damnation and castigation. And I don't feel I've exaggerated with the use of metaphors and analogies here; this album really did churn and made all these feelings within me. I guess Kenney and Hunt managed to do what they tried to: to awaken the feelings of hopelessness and Armageddon. Not for the weak-hearted nor for those who hate noise and "atmospheric" stuff.
Musically, Anaal Nathrakh's Mick Kenney doesn't disappoint; a veil of noise covering the brutal shredding and riffing of his nihilistic guitar-work, that manages to regurgitate extreme aural assaults, capable of destroying everything within its reach. I would assume that the drumming here is real, although it's pretty goddamn fast; too fast actually. But that's OK, considering that the drums only add to the magnificent aura of gloomy and dreary atmosphere that the very essence of this album's existence creates. The bass here is more felt than heard, though, but I don't mind that at all; considering this album should invoke a feeling of extreme hatred and scorn, feeling putridity is much better than feeling it, really. And finally, the zenith of the torturous apparatus of annihilation are the vocals and the "lyrics" (song titles actually): Screams of an executioner, as his very veins pump with the blood of his victims as he executes them; growls and grunts of a monstrous super-mutant as he rips through the shreds of flesh and the sound of the entrails being digested and corroded by the venomous bile and acid within its body. The lyrics, I'd assume, are just pure and unadulterated misanthropy and annihilation (obvious with tracks such as "Pandemonic Hyperblast", "When Humanity is Cancer" and "Human, All too Fucking Human"). The vocal style just adds so much to the music along with the lyrics. The best songs here are definitely "The Supreme Necrotic Audnance", with an amazing black metal riff, and "Pandemonic Hyperblast", with an intro of, well, pandemonic hyperblasts and a non-stopping assault of doom and infernal ruin.
So basically, what you got here is an opus of damnation and castigation. And I don't feel I've exaggerated with the use of metaphors and analogies here; this album really did churn and made all these feelings within me. I guess Kenney and Hunt managed to do what they tried to: to awaken the feelings of hopelessness and Armageddon. Not for the weak-hearted nor for those who hate noise and "atmospheric" stuff.
Current list of contributors
Leon/Xivilai/Namenlos - Primarily specializes highly in death metal and symphonic death metal but also specializes in power metal and knows black metal fairly well. He's definitely your guy for death metal.
Ness - Primarily specializes in nu-metal (the new stuff, eh?). If you like that new stuff, contact this guy.
Misery - Spreads his specializations across black metal, death metal, grindcore, deathcore, and their respective subgenres. He's your guy for grind, black metal, and death metal generally.
Ness - Primarily specializes in nu-metal (the new stuff, eh?). If you like that new stuff, contact this guy.
Misery - Spreads his specializations across black metal, death metal, grindcore, deathcore, and their respective subgenres. He's your guy for grind, black metal, and death metal generally.
Welcome our new poster, Misery
Misery specializes in, word for word according to him, "Black metal, death metal, grindcore, deathcore, AND EVERY SUB-GENRE THEY HAVE. "
Saturday, April 23, 2011
Wednesday, March 2, 2011
Friday, February 25, 2011
Sunday, February 20, 2011
Saturday, February 12, 2011
ALBUM REVIEW | EX DEO - ROMULUS | A Force to be Reckoned With...
Kataklym's side project Ex Deo has really jumped off into one of the greatest starts I have ever seen in metal history. Kataklym's singer Maurizio Iacono has started this project in honor of his strong Roman roots, and has made the Roman Empire the central theme of the music in Ex Deo. Ex Deo's debut album Romulus combines the most intense parts of epic orchestral pieces into death metal, breeding something I like to call epic death metal. Did I mention, Ex Deo is the first group in metal history to have two music videos on their debut album! Their Final War video is quite the watch!The atmosphere of Romulus is just... epic. The awesome power of the orchestra echoes just behind the front-men, the brilliant minds behind Ex Deo itself. The lyrics, the voice, the EVERYTHING, is just perfect. Cruor nostri abbas! Shed blood of our fathers...
Here are the best tracks of Romulus:
- Romulus
- Storm the Gates of Alesia
- Cry Havoc
- In Her Dark Embrace
- The Final War
- Legio XIII
- Cruor Nostri Abbas
- The Pantheon
Notice how I picked almost all of the tracks on the album. These are the most intense, most catchy (Kataklysm members are known to make catchy music), and most epic tracks on the entire album. They WILL send shivers down your spine.
This album is definitely worth the money you pay for it (on iTunes, it costs the same as any other album, about $10 USD). Please BUY the album to support the Ex Deo members in the creation of their next album, Caligula. Album production is not as cheap as you think.
Romulus features guest appearances by:- Karl Sanders (Nile) - Insane shredding/sweeping solo on The Final War
- Obsidian C. (Keep of Kalessin) - Solo on Cruor Nostri Abbas
- Nergal (Behemoth) - Intense vocals near the end of Storm the Gates of Alesia, shouting "VENI, VIDI, VICI!"
Distributed through Nuclear Blast Records.
Welcome to the URMH
Here, a union of metal heads will spread their favorite metal subgenres with you. We'll do album reviews, band reviews, and even post random recommendations for the hell of it. Here's our current list of editors:
Leon/Namenlos - Specialist in everything death metal, black metal, and power metal
Ness - Specialist in modernized/industrial metal
We hope to see you visitors around!
Leon/Namenlos - Specialist in everything death metal, black metal, and power metal
Ness - Specialist in modernized/industrial metal
We hope to see you visitors around!
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