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O Mars! God of War! Infernal battles and bestial devastation have ensued on this week’s Sadistik Metal Reviews! Unholy wars between the true and the pretenders, the golden race and the plastic one. Which shall prevail?

Amebix - Shield Wall - YouTube

Our focus will be on Black metal, beyond all time and space, and mostly the kind of black metal that focuses on occultism, often without the musicians having any idea of what they are talking about. Concerning “orthodox” black metal musicians: copying lyrics from alchemical literature is the easiest way to sound clever, but still fails to transform base metal bands into gold. Why? Let’s find out!

Isvind, Perversity and Erebus Enthroned vs Aosoth and Hirilorn

Remember those lost diamonds, which nobody wanted to buy in the early 90s but now they are the new hype for edgy ‘misanthropic’ manlets with pickups? Isvind – Dark Waters Stir is one of those. Starting promisingly with a not so bad introduction, their demolishing blast beats and riffs provoke enthusiasm, but then they start mixing Enslaved/Norwegian somber folk melodies in the grinder, the songs venture further into the woods and by the time the now tiresome blastbeats return the magic is gone and Isvind is eaten by wolves. Some songs end abruptly without being developed and their ideas are a mess. A pity, since if they had spent a bit more time to work on it, this album could have been quite decent. Their lack of persistence and focus makes them an easy target for the spear of Longinus, wielded by Aosoth.

Aosoth on Ashes of Angels, have learned to persevere by staying for 3 months in the wild, like true O9A ascetics. Their assault is all powerful, their use of death metal 3rd intervals relentless, riffs are frenetic and their use of lower strings that resemble the low keys on the piano prove to the pretenders, that new paths for sonic extremity can always be found. Sonic terror reigns supreme!

Aosoth - Songs Without Lungs (Music Video) - YouTube

Erebus Enthroned – Temple Under Hell deserves some points for their hellish atmosphere. They have a clear sense of direction on their compositions, but they are trying hard to exhibit their varied influences without being obvious. See the self-titled track for example, which steals from De Mysteriis Dom Sathanas but changes the cadence, something that could have been lame, but this song is like the Dresden Amen for devil worshippers in the end, right? Technically those musicians are quite competent, they master the use of time signatures and their vocal recitals are strong. Unfortunately, sometimes their music sounds random, like having sex and changing one’s position before the point of climax. Those guys have enough stuff to say to deflect the Spear of Longinus, and enough dignity to leave the battlefield, meditate and compress their ideas into a coherent whole. Good luck.

Perversity with Ablaze resemble a band of 16-year olds that are trying to find their own voice. No climaxes are provided but there is some skill. They march on the field of battle like an intimidating goliath, yet they have not seen enough Bruce Lee movies to understand that one must be like water in order to triumph. They try too hard and fall prey to Hirilorn’s sling.

Hirilorn - Last Ride On The Winds Of Eternity - YouTube

Hirilorn, verily a one trick pony, yet quite a rabid one, features melodic solos over superior riffs and gigantic songs that exceed five minutes. The naivete and sincerity of those sick French bastards creates fantastic landscapes of a romantic nature that nevertheless is more metal in its wrath and melancholic teenage temper than all the try-hard death metallers. Fun fact: Hirilorn broke up because the members of Deathspell Omega who used to play there thought that the other guys were poseurs for playing in a metalcore band. Years later, after infusing metalcore with black metal and destroying an entire genre of music, Deathspell Omega is a laughing stoke and a thing to be surpassed as Hirilorn is pissing blood on DsO’s last albums and on all of their offspring.

Aptorian Demon vs Trey Azagthoth with an acoustic guitar in his bathroom.

Aptorian Demon is the kind of 4chan/x/ occultist who tries to summon a succubus to compensate for his lack of female touch, only to summon a fiendish shemale nymph from hell and get raped by it. The electric guitar parts of their music are effeminate and uninspired.

Their supposed merit is their acoustic interludes. Still, Morbid Angel – “Desolate Ways” is so rich in its technique and melody, that I would rather listen to its ten-hour version on youtube than listen to Aptorian Demon for the whole length of their record. They can go suck a cock.

Morbid Angel - Desolate Ways - YouTube

Trey Azagthoth plays his guitar at the center of the universe. To his Sumerian rhythms we all dance, even the lame latex and hair spray gods whose spirit and soul is David Vincent.

Batushka vs the Catholic Church

Black metal is of the devil. Batushka definitely is not. Oversaturated with melody, their appropriation of church music and icons grabs the attention but after a while they are unlistenable frothy aids. Why not listen to the true Orthodox Byzantine chants? The richness of Byzantine harmony and composition is immense. Why not listen to Gregorian chants? They are hesh as fuck and probably those people have done way more war crimes than Batushka or most if not all bands on that list, even Ofermod.

Salve Regina: Hail Holy Queen - YouTube

Crusaders have raped your village. When a sword is unsheathed, the devil lies behind the hand that wields it. The evil church wins.

Behemoth vs Ofermod vs Dissection (Reinkaos era)

Behemoth has been sodomized plenty of times on this website. They use Morbid Angel inspired oriental riffs, often with a touch of Nile and metalcore. On Ofermod, they find their daddy, since Ofermod pretend to write ‘antikosmik’ black metal but with the cosmic (secular in Greek) attitude of rock structures, an oxymoron perfectly personified in the musical sugar snap peas that were The Devil’s Blood. Listen to the riffs on “Sisters of Rapture and Pestilence” and “Prayers to Wrapped Eternities”. This guy knows how to write great riffs. A pity he can’t write great songs.

Both are stampeded by the bulldozer that is Reinkaos. Dissection embraces totally their vision of heavy metal and reject all else. They are true to themselves and have an artistic orama, which is not a business model and they have talent for musicianship, not merely execution, something that Ofermod lacks.

Dissection - 06 Xeper-I-Set - YouTube

Acherontas vs Nightbringer

I would like to listen to pure ritual music from Acherontas, without guitars, something for meditation, in the vein of the interludes from Averse Sefira. “Om Krim Kali” features a beautiful introduction, reminiscent of Karl Sanders’ work and it shows a serious band that evokes true feelings of death by tuning and detuning the oriental instruments. Their ceremonial attitudes are rather impressive, as well as their knowledge of the mysteries. The influences from Dissection and Mayhem on Vamachara make a powerful result at places (songs like “Hermeticism” from the previous EP sound truly evil and desolate and travel far beyond where they should have gone, stimulating the dark part of our imagination) but are boring and navel-gazing at others (“Abraxas”).

On their newer material their riffs lack imagination and the ‘theatrics’ are often cringey. The heavy metal melodies lack originality. I have tried for years to understand their more recent music; sadly, all their occult garments hide a body of nothingness and for all their qliphotic knowledge they could have been writing books. They have some interesting songs here and there, but nothing more than rather spectacular apocryphal aesthetics, and all that because they like to drone over the same average power riffs for ages.

Nightbringer appears on the field of battle but gets punched in the face by accident by Acherontas.


Akrotheism vs Nightbringer vs Katharsis

Akrotheism are a promising vertigo of riffs and ideas but they tend to overindulge, not use romantic elements as much as it would fit them (and I humbly believe the direction they follow demands them to do so), the riffs do not have anything to convey apart from emptiness and it all becomes about dark aesthetics once more. It’s a pity because they are more talented riff-writers and song-writers than most of the bands you see on youtube those days. It’s just the lack of life, of violence that has characterized modern black metal bands. They share the occult and astral spirit of Acherontas and the modernist elements of Ulcerate but without the neurotic persistence to play the same chords over and over or to rely on any dissonant noise at all. They also share the high-pitched tremolo picking of Nightbringer, but sadly carry over their ‘mystic’ attitude to make everything wallpaper music. Yet again on Manifesting Tartarus they show that they know how to write songs. They have shortcomings, but they also have imagination and a will to convey and communicate, this might serve them in the end.

Nightbringer on the other hand, should be paid attention to only for their covers – as most orthodox black metal. Loathsomely boring. Nightbringer rises again after Acherontas’ accidental punch, only to be crushed by Akrotheism, a band that eats a lot of donuts to excrete the melodic parts of their record. They are indeed quite heavy at parts.

Yet the now lying Akrotheism should receive the spit of Katharsis in their mouths, in the way pupils of oriental gurus do before their masters. Although their styles are miles apart, if they coherently mix ideas from the great beasts of the past they will find a voice of their own which will be more effective than the one they have now.

See the purpose in their songs. The contrast, the modulations, the mania, the use of silence.

Katharsis annihilate all previous weaklings. Katharsis is the symbol of the inverted cross: a cross whose horizontal line symbolizes the sheer beauty of religious hallucination and fantasy and the vertical line which symbolizes their phallus that subordinates otherworldly beliefs to its own and rises to fuck the sky and master the Earth. For nothing else exists apart from what nature reveals and shall reveal in the fated hour of reprisal! The gods those weaklings believe in get crucified on this cross. So Nail the Hearts!

Katharsis - So Nail the Hearts - YouTube

SURPRISE! SONG ANALYSIS! KATHARSIS – SO NAIL THE HEARTS

Gritty production values, passionate demonic vocals, possessed evil unfolds from the speakers, annihilating everything in its path from the anus to the crown chakra!

A torrent of noise introduces the song, which lands on a berserk mix of tremolo picked half-step interval single notes and power chords centered on F5-F#5. The drums accentuate this with a small pause, the eye opening at the center of the heart. Then the charge begins with a transposition, half-step down and up, a small dialogue, two serpentine forces colliding against each other, cancelling each other, breaking the chains that hold the chromatic mercury trapped beneath the listeners’ Saturnian expectation of heavy metal instant gratification.

The beloved diminished 5th on the ΙΙ5 manages to be emotionally touching and melodic, as well as natural sounding by conforming to the phrygian mode, yet it is followed by a tritone on the III5 which rapes everything, squeezing life out of the lungs of the initiate. Witness, how dissonance complements traditional harmony and disharmony does not become a goal in itself.

The tritone in its lust, is starving for resolution, it is pure masculine energy, it is like the sperm that longs for the menstruum of the Whore, to generate the Divine and Conquering Child of the New Aeon which is the last riff of the song, in the schema of this composition:

ι→ί→Ι→ς→Ο→Φ→Λ→ς →Ο→Φ→ω→Φ→Ω

A pause is used to build momentum. The previous riff matures in the more fixed form of the tremolo picked notes becoming solid power chords. Then death metal on the sixth string serves not to bridge the next riff with I but to be its shadow, a small argument that validates it. The next riff (Ο) is cyclical. Its final notes find resolution in its beginning. It is like the Egg, the entirety of the World and it is female in its melodic 3rd intervals. However, the tritones exist within it, like dross, confusion, accidentals that need to be cleansed before the gold can shine in its perfect fifths.

But in its last throes, the Egg O is fertilized by the Eb5-F5 power chords riff I, giving rise to Φ, which for lack of a cooler Unicode pack, will symbolize gold.

We are still on the same tonal center. But different power chords will now appear to keep things interesting, such as G5. Yet, our gold is impure because of G5, in the same way that our lives become meaningful due to Sin, but they remain impure because of it. To transfigure the impure gold we need fire, like the athlete that wants willpower to achieve his goal. And what a fiery riff the next one (Λ) is! It dissolves the metal (riff) that contains the gold into many power chords. In its dissolution, the tonal center becomes disoriented and vague in the chaos. The few sliding chords F#-G that make a brief appearance, bounce to give variety in rhythm, the sense of the drums getting fatigued but still trying to be relentless to accomplish their final goal and the space to headbang in this 7-minute blastbeat marathon.

The song repeats itself and ends with the anointing repetition of Eb5 which is calling for the final part of the liturgy. The final riff appears as ω, slow and dominating. Attention is called to the G5 impurity as the fiery riff appears again to establish coherence, resembling so much the final riff, making the song sound so complex when it’s not, like Alchemistische Decknamen makes alchemical manuscripts indecipherable, when the purpose of the Art is clear.

The song repeats itself with the unresolved male riff rising, out of control, overcoming all. We could say that the end would be relief from the sorrows of existence and the phrygian mode, like Watain’s Malfeitor’s melodic and beautiful ending. But no. It indulges in the dark scales that are metal and have been since ancient Greece. Small solos from afar – solos which are low in the mix are cvlt – and eerie chants send the listener to the stratosphere. The final riff now Ω is cleared of all its dross, it is perfect in itself, it entered with woe, with mirth, but now it goes forth and with thanksgiving, to do its pleasure on the earth among the legions of the living.

This last riff Ω lasts for what seems like forever, its gradual ascension in pitch reflects the initiate firm in a sea of madness, ascending into an ever-ending trance that crowns the song with thorns; world without end, timeless.

‘In this process, the greatest difficulty consists in the consciousness’, the spirit’s, or the Self’s descent into the heart (…) Ritually speaking, once the spirit has been established in the heart (which appears as an igneous mass), waves and bright flashes surface in the consciousness, beyond the boundaries of darkness, as symbols and mediums of the formless passive life. In the heart the spirit creates a small flame, turning its essence into the latter’s essence. Let the flame burn by itself, without any other support than its own wonderful power – a light shining in the red cavity of the heart.

This is a timeless moment.

Let it burn and consume beyond the limits of heart, expanding until it pervades the entire bodily nature, dissolving it into itself.’ ~ Luce, Introduction to Magic by J. Evola & the UR group

Dodsengel vs Necromantia

No battle would ever be complete without the showdown between two mages.

Dodsengel are an overly ambitious blackened opera for thelemic drama. Their philosophy of ‘do what thou wilt’ aids them to be divergent and therefore more interesting. Extremely unorthodox orthodox black metal, they carry the grandeur of Celtic Frost in “Prince of Ashes”. If they knew how to use modulation and listened to more classical they have all they need to be great. On Interequinox they exhibit such traits but in a green dragon fashion of immaturity (see Deo in Exelsis). At the end the vocals are out of control in relation to Imperator, and the shrieks seem annoying in plenty of parts. It seems the band desires to go crazy, but social pretense to conform to genre surface tropes holds them back. Guys, screw black metal, you don’t get it, just go full avant-garde already.

Necromantia shows how it’s done. Throughout their discography they never followed anything but their own True Will. And when their Will took them to another direction, they formed their own renaissance and medieval swordmanship and martial arts school and now they indulge in the indoeuropean spirit of vir which they have always personified. Respect. Necromantia tears to shreds with its claws all of the above.

Necromantia - Scarlet Witching Dreams - YouTube

http://www.deathmetal.org/bands/necromantia/

Funerary Call vs Beherit

Leaving our fantasy teenage angst world of metal behind, we face the reality of the kingdom of the funderground: disappointed with electric guitar music, many have endeavored to explore the sounds of keyboards, to uncover the true spirit of darkness. Funerary Call are such a band. They pretend to be ritualistic but they are boring. Their music is like meditating after eating a lot of burgers – the wet element predominates and you soon understand that no trance is going to happen, you just waste your afternoon watching the little flies in your eyes – yet you produce some funny sounds throughout. All because if you can’t change your life by yourself and resort to ‘vvitchcraft’, you sure can’t be expected to change your life to align with the demands of the Great Work, right? Then, one day you understand that you are a poseur, an armchair occultist that needs to put the hocus-pocus at bay and put his record collection on ebay, lose some pounds and find a traditionalist trap girlfriend.

And then you wander what the hell is wrong with the magazines that taught you music when you were young when they say that Funerary Call is better than Beherit.

Beherit ‎– Electric Doom Synthesis (Full Album) 1996 - YouTube

Weltering in a hell of their own blood, the feeble ones scream in the abyss: ‘We kissed the anus of the goat! We signed our name in blood! Why does our music fail?’
Because iron is the prerequisite for the great work. Iron is the material swords are made of and it is normalized, hardened, quenched and tempered in FIRE. Iron in alchemy is the perseverance of the unclean will and fire its most important element. This is why Christian monasteries are superior to those feeble faggots. This is why the mindset of bodybuilders, the mindset to never yield to iron, to use the words of Mishima ‘to become Iron’ is superior than the mindset that stitches random riffs around and call it “art”. Those weak bands didn’t have the Will to persevere. The Will to Dare. To Know.

To stay Silent.

RAPE THE TRANNIES. RACE WAR NOW.

Blasphemy-Weltering In Blood - YouTube

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Famed loser and known gorilla lover Joe thrash n’kill (it/she/that) has spent two years crying over his pathetic attacks on DMU and the merciless retaliation that he has received. Joe recently made a podcast involving two “men” with the voices of prepubescent girls. His gorilla lover even made a brief appearance as Joe once again showed that logic and the ability to communicate were completely lost to him. Let us look at Joe’s claims and delve deeper into the psyche of a man so weak and insecure, he has to fabricate lies to cope with his useless existence.

Joe believes that the last piece written on him was over three thousand words and contained around ninety comments calling that piece a “self own”. Joe has admitted to barely understanding the English language. The piece was barely over a thousand words and it shows how much of a writer Joe truly is as he can’t even estimate the length of a piece. Most commentators on the previous piece had emails linking them to “cosplay” sites based on Nintendo characters. When a metal website’s following is constituted of anime loving, basement dwelling degenerates, it reflects on the quality of the writers of said website. Only one comment proclaimed this a “self own” and that was by Joe’s occasional lover and obese quadragenarian writer “Shayne in Blood”(reference to his uterus envy), who probably lives with his parents as he is unemployed. Mental gymnastics and the failings of society have enabled such cretins who would have died at birth were it not for the evolution in medical science.

Joe and his friends have proceeded to make insane comments on former DMU editors in his usual whiny tone but this time he was borderline crying. Throughout the whole podcast, it was apparent that none of them wanted to talk about us as they were whimpering even more than usual. One of the mentally challenged fellows even bragged about almost dying due to a cold. If you live in America and are dying of a cold than you are a very weak man and probably deserve to be euthanized. Try suffering from delirium due to fever in the middle of Mauritania. If you can’t afford health insurance that means that either your job is worthless or no insurance is willing to take a risk on your frail body. Joe believes that he deported Daniel Maarat which is a funny thing to say about a man who terrified you so much that you refused to write about him. Maarat left the states because his company had no business there anymore and there was no point in renewing his visa. That is a frustrating thought for Joe as he is a failed businessman. Joe mentioned Cullen Toner and how he pushed him towards christianity. Obviously Joe was persecuted as a child by Christians due to his degenerate behaviour and his blooming sexual attraction towards all beings in the primate order. Toner then destroyed him by outing him for what he truly is and then went on to produce a very good Death metal album with Christian overtones because that is his religion, not a hard concept to comprehend.

Joe has absolutely no understanding of European politics and can’t see the link between Marine Le Pen and socialism, the woman who seeks to exponentially increase government aids for those who struggle with their rent and to nationalise various companies operating in France. Joe is so deprived of education that he can’t understand basic genetics while he insults me in his pitiful whine due to my apparent lack of “body hair”. Testosterone and body hair are dictated by separate genes and the relevant alleles. As seen by the pictures of Joe, he probably suffers from osteoporosis due to a lifestyle comprised of playing video games and being jobless. This man brags about having huge quads while the picture says otherwise. A tiny five foot three man with a stronger wife who appears just to talk about “definition”. His wife asks me to slide into her DMs. Completely strange behaviour between that and mentioning on a few occasions some scenario where I penetrate him. Neither Joe and his wife have muscle definition, his wife is an ape with bigger arms than him and he is an anorexic short man. Muscle definition has always been chased by those without any athletic ability or no predisposition towards strength and just because you look like a gorilla doesn’t mean you have muscle definition or strength. Joe claims to be a big man but weighs no more than one hundred and thirty pounds. In the past I have struggled multiple times making the one hundred and seventy pound limit in wrestling and this man dares to call me small? I have sent a few pictures of Joe to a physiotherapist to see if an athletic commission would allow an MMA fight between us, Joe would have to put on ten to fifteen pounds of muscle first before even being eligible for the medical evaluation. Joe is a coward and a retard who isn’t even able to fight. The man with such a high pitched voice that even Rob Halford had to ask him how to do it.

I, Nicholas Vahdias swear it upon Allah himself to do everything possible to end this man who can’t name a classic death metal album other than blessed are the Sick and Altars of Madness without stuttering. This lying ignorant gorilla loving twink will pay for his lies. I have a bot that will continue to track any mention from Joe about DMU and its writers and I will do more than his twitter troll to hurt this “man”. Joe Thrash n’ Kill thinks he is a man but he is a devious little whore who flaps his chicken legs as if he actually accomplished anything in his life which we know is not true. The man lives in an over-sized shed, is married to a man and has no education or job prospects despite being in his thirties. You have made endless lies and insane statements throughout that podcast and you will pay for such actions. There is no time to list the nearly endless list of defamatory comments. The gorilla lover can’t even pronounce the word “effete”. Also your skits were worthy of a five year old, knowing about any topic is not the same as being able to analyse and to dissect it. Every human knows what a rocket is but few of them can detail how they are built, same principle with music.

Do us all a favour and do the one thing to redeem yourself!

6. Anomalistic Offerings - YouTube

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(Join Ionnas as he dives into the final heap of contestants hoping to prove their worth, will there be any talent left or will he be forced to scrape the bottom of the barrel for any redeeming qualities. Either way every band here will have to face the harsh truths of reality.)

May the best survive!

Mefitis – “Kolossos”

Kolossos - SoundCloud
(201 secs long, 35 plays)Play in SoundCloud

A deluge of tuberculous melodies blastbeats away the remnants of a dying civilization. The rapture of classical logic gives birth to a sick prelude resembling a progressive overture – witness how hesh musicians flirt with instrumental extravagance: the guitars go through frenetic changes of melodic DEATH tremolo picking, arpeggios and goth metal processions that build up into melancholic determination unto a change from minor to major, the end of a long phrase and the sun emerging from the clouds for a last time before the blight of all that is good in metal drowns Manwe, Varda and the Sun. The phrase is played two times, on which one can’t help but be impressed by the effort of the band to construct interesting harmonies. Observe the hi-hats and the tiny rhythmic tricks that easily go unnoticed on first listens, but make you discover something new on subsequent ones, providing a truly rewarding experience. So many things and emotions pass by, yet all within context. This is even catchy. Compositional skill indeed overthrows all poseurs in the competition by means of true ambition.

As with their demo, this band once again sounds on the verge of something exceptional. Don’t forget though that classical uses other tools also, such as silence. The informational overload that they sculpt might override what they would like to communicate. I want to listen more to riffs of cannibalism that their demo represented, and it would be a pity if they strayed from death towards progressive, yet it’s clear that they have no intention of doing so. Just listen to the next song in line. If they manage to perform the conjunction of their many different elements and push it to the extreme as they try to do on this song they will seriously be a force in the underground to be reckoned with. Fortunately, they are very coherent as of now and original at the same time.

On their previous work we witnessed the iron, the solar and infernal part of this band’s personality. Now, we see the interesting dissolution of all their elements to pursue a great ambition, as they overindulge in their rich vocabulary. The seed has died in the soil and will wield incredible results in Mefitis’ much anticipated next opus. Bravo!

Steeped Horsehair – “Running in a maze”

Running In A Maze - SoundCloud
(329 secs long, 145 plays)Play in SoundCloud

Cynic-vocoder-dreamy-soundscape-deathmetametal-nintendocore-avant-garde-jazz-random-voivod industrial sounds. The structure is purposeful, yet the point is the dark epic of Super Mario’s regression to the anal state in those underwater adventures. There are some instrumental bits that have metal potential for evil, as an interesting experiment to see if one can write metal with such bubble-gum sounds. But the avant-garde influences make repeated listens disturbing. The song loses steam as the new influences continue to hold on to it and it all sounds like an endless development, almost until the heavier end. Trapped in the maze of becoming.

Sure this guy deserves the prize of the village crazy. Rating: ?/10

SAVAGEZ – “DEFORMED”

SAVAGEZ - "Deformed" (OFFICIAL VIDEO) - YouTube

My disdain for triplets and modern metal technique will not help this band. But a respectful contestant nonetheless.

Professional musicians mix power and death metal, as the guitarists lead the songs in small climaxes. It is metal in technique as well as in spirit. What Savagez requires is more divergence. I am sure that the know-how is here. If you want to be a greater band you must have a powerful artistic vision and build paths of extremity. Disregard all conventional tropes and I am certain that you can push the envelope.

TILLIAN – “Black Holes”

Tillian - Black Holes - YouTube

As music with electric guitars, this is thrice removed from metal. As music with cellos, this is thrice removed from romanticism. Soft rock. Why did you apply in the contest? Although the musicianship is good, Tillian is a band to play in events and perhaps one of the most quality ones. They have emotional depth that is projected in small and subtle changes in execution, yet it feels like the songs have been the result of a prolonged jam period. If they are to continue like this there is no need for electric guitars. They fail to arouse something greater than that. It is pretty music, but that’s all there is to it. Sorry guys, perhaps you should try sending your music to a website that doesn’t specialize in Death Metal.

MLOTEK – “Fighting (instrumental)”
listen here
Influences range from NWOBHM, Venom and Motorhead and Thou Art Lord on the leads. The person behind this mysterious recording must be rather young, so he deserves to be reviewed on a different scale. Although he has a hold of the basics, the song doesn’t go anywhere and unlike the song Sandfiend Attack from a previous contestant, it is not interesting in its instrumental form since there is nothing exciting with the technique or the composition. I believe he should rely on developing the latter. See how Mercyful Fate arranges songs.

MVRDVRCVLTVR – “DEATH IN HER MERCY”
Listen here
The song starts with a tremolo riff which develops in another tremolo riff then it goes for a chorus, and then it goes at it again and again and again. The vocals are too loud and annoying revealing the cringey lyrics. The drum machine drum rolls are hilarious. Is this an attempt at caveman music? I see no Von, nor Blasphemy, no Napalm Death and all other dead simple bands that had abrupt changes to keep interest. Change the scenery! Or write better riffs like Master! Else it sounds funny.

PUTRID VISION – GORE OBSESSION

Gore Obsession - YouTube

Except from the ‘YEAAAAAAAH’ in the introduction (you know ‘NOOOO’ would sound cooler and probably funnier, right?) the rest of the song is imitating the sounds of Sweden (I leave this open to interpretation) and although they have their act together, they don’t manage to rise above mediocrity. Listen to more music guys, keep reading, evolve your technique and shit, but be more passionate and versatile in the music you play. This is unexceptional.

Steeped Horsehair and Mefitis go through!

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By the Hammer of the Gods, the time has come to round up those contestants who dared to volunteer themselves as subjects to the perennially stern yet perspicacious judgement of the DMU Lords! Let us see who shall emerge from this round victorious, rising unchained while their compatriots be left to live among the ruins!

With all that said, let the judgement commence!


FIVE MINUTES HATE: Damnatio Memoriae

Five Minutes Hate - Damnatio Memoriae - YouTube

First up, we have Italian “Melodic Death Metal / Metalcore” band Five Minutes Hate. What we have here is a piece that succeeds in conveying potent evocations of 2006 Myspace except gone by updated enhancement of a Meshuggah/Dream Theater Tekk route, with even some Blackgaze/PDX upper register tremolos incorporated during key sections for climatic emotional effect!

While the PHAT SLAMMIN’ GROOVE at 2:22 is rather impressive, it goes without saying this generally isn’t the sort of material we tend to look for here at DMU. Next!

MEGHISTOS: Nasu

MEGHISTOS - Nasu - (Video) - Special guest Andy "Bull" Panigada of Bulldozer - YouTube

Up next, we have yet another act hailing from the lovely nation of Italia, however this time embodying a style with roots in more proper “classic” styles of both Death Metal and Rock Music. Despite being under 4 minutes long, this track does manage to go through a variety of different phases and “ideas” in the manner of Death Metal proper. Some of these ideas are actually quite good (such as most of the actual Death Metal riffs, plus the guest solo from Andy “Bull” of Italian legend Bulldozer), some not so much (such as the “break” at 2:45, as well as the chorus in general), and some sound kinda cool but almost like they are from a different song or style (such as the Hard Rockin’ “Death ‘n’ Roll” verse-section, and the late-90’s Metal Keyboard bridge that follow the solo).

It’s a relief to come across an actual Metal band, and one with some solid musical ideas too. However, at least with this given track, they are not quite fully written into a properly cohesive structure and style, so for now we shall have to roam a bit farther before we can find our champions for this round.

VOLDT: End of Times

VOLDT - End of Times (Official Video) - YouTube

Up next is VOLDT, a self-described “Dark Progressive Metal” act from Germany. This track brings to mind many popular modern “Prog” or Alternative Rock acts from the past two decades. The main riff at 0:30 sounds like Mastodon, the vocals during the verse and pre-chorus (and to a certain extent the general “vibe” on display) reminds one of post-2008 Opeth, the instrumental break around 3:04 sounds like Dream Theater, the chorus sounds just like Haken with a different vocalist, the “clean” guitar around 1:30 evokes memories of Steven Wilson’s distinctive style (especially of 2000’s Porcupine Tree), and the “harsh vocal” bridge probably sounds like idk Between the Buried and Me or something like that I guess.

While not exactly original or “Metal”, this a listenable amalgamation of various popular 21st century acts, and these guys could have the potential to “make it big” with the type of audience that enjoys such aforementioned acts (especially their more recent material). Next!

Needless: Starcult

NEEDLESS - Starcult (Official 4K Track Premiere) - YouTube

Hailing from the land of Magyarország, here we have a group by the name of Needless. Once again we switch back to a proper Metal band, and a Death Metal one at that. However, this is a more modern style of DM, of the Technical variety. In general, this style of production may be anathema to some of the readers of this site, and the present author in particular is not a fan of the vocals or the “grooving” section from roughly 0:25 to 0:50. However, the rest of the song is perfectly listenable and has a few cool sections, and it deserves commendation for not letting the technicality get in the way of a consistently streaming aggressively energetic flow.

These gentlemen are certainly talented instrumentalists and may go far within this sub-style of Metal, however will they be one of our champions? Alas…

IRON FLESH: Invade, Conquer & Dominate

Now this is more like it! Hailing from France, Iron Flesh are a potent execution of classic-style Death Metal, with the proper level of morbid twistedness bleeding out from the savage riff desecration. Tight in its construction and execution, this is a solid piece of Metal, and it goes without saying the best track we have come across in this round so far.

But will it survive into the finals against the offerings of their next two label/country-mates?

LET’S FIND OUT!

SATURNUS TERRORISM: La Garde d’Acier
https://saturnusterrorism.bandcamp.com/track/v-la-garde-dacier
Up next we have our first Black Metal track! At nine minutes, this desolate journey is the longest piece submitted by anyone. While this certainly isn’t A-Tier material to replace your Burzum or Darkthrone records with, overall this track is consistently well constructed and has somewhat of a conductive atmosphere to it.

At this point it’s looking like Saturnus Terrorism is a contender to be one the champions of this round, alongside Iron Flesh of course. But before that can be said for certain, there is one more act to go…

FERRITERIUM: Chapitre 1

Ferriterium-Chapitre 1 - YouTube

It must be said: this sounds just like Uada. The same strengths and weaknesses of that band apply here.

That said, I do like this much better than Cult of a Dying Sun, however probably not as much as Devoid of Light, and certainly not as much as the previous two contestants!

This leaves us with our two champions from this Round 1!

IRON FLESH – Invade, Conquer & Dominate
SATURNUS TERRORISM – La Garde d’Acier

See you in the finals!

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The third edition of the DMU song contest has finally returned and a staggering amount of contestants are ready to prove that they can escape the curse that confronts the modern musical landscape. The DMU team has united in reviewing this large field of hopefuls. Each writer will review a selection of songs and then nominate the two best songs from their song list to the finals where we shall form a panel to determine which of these bands can escape futile serfdom.

Let the battle commence!

Throne of the Black Room – “Frozen Tombs”
The song starts off very well in the Greek style of chaining together consonant Heavy metal riffs while using tremolo picking to expand the “tail” of each iteration. A few subtle key changes allow the melodies to lead with much more finesse into other melodies to create this triumphant song. Eventually all the ideas are merged together signalling a push towards a release but the song decides to cut for no reason before synths lead into a second part that is unrelated to the first part and loses all its Heavy metal styling for a few bland riffs that don’t make much sense against constant blasting. Later on some better riffs do appear but its far too late and the damage is done. An excellent beginning but a lack of ideas and a desire to push the running time longer than necessary destroy what could have been a great composition.

Throne of the Black Moon - Frozen Tombs - YouTube

Ceremony – “In a dark time”
Almost twenty-six years later after releasing “Tyranny From Above”, DLA recognized Ceremony return with a much more modern version of their past material, this time with a much stronger Black metal influence. The same affinity towards Floridian Death metal is still present but more often than not crumbles in front of the more recent Black metal influences. The modern influences are far too strong and randomly insert themselves in between some great passages. When the band sticks to what they know and expand on that with the help of their impressive technical acumen, the song really drives forwards within the labyrintihne arrangement. The ultimate issues are the very awkward choices that include pristine drums that just blast constantly against meandering melodies and the overall lack of direction within the songwriting which destroy what could have been the greatest revival for an older band in this sad time where legends continue to disgrace themselves. The potential is still there but it is waiting for the band to return to what they can do best.

Ceremony In a dark time Official Video - YouTube

Kalmo – “Mustaa”
Finland has always produced high quality Death and Doom bands yet apart from Rippikoulou, none of them have sung in their native language and even then the bellows were so deep it was hard to make sense of it all. Kalmo embrace their language and seek to make it the central point of their music. The vocals are sung in a throaty rasp that soars over the music which mainly consists of a simple bass drum pounding away and a short power chord sequence. Later on during the song the power chords disappear in favour of a chromatic riff underneath a well performed solo that then return to the chorus. Though the chorus is catchy it feels redundant in the context of this song as it makes every progression quite obvious though the band do utilize a fairly interesting short conclusion after the final chorus that leads back to the annoying bass drum. The band had a few ideas and should have adopted a more narrative arrangement rather than letting the vocals lead back to familiarity. A decent effort for a few listens but there is much more that can be done with the ideas present here.

Kalmo - Mustaa (OFFICIAL MUSIC VIDEO) - YouTube

Chupacabra – “Glimt”
Previous finalist Chupacabra shows a completely different aspect of his compositional skills as he opts for a minimalistic approach that may sound ambient at first but pushes forwards with small sets of piano motifs while the percussion develops from small chirps to full on breakbeats in a disturbing climax before finding tranquility in a conclusion that just drifts of into subtle madness. At times the breakbeats seem a bit inappropriate against the bare bone piano melodies as they try to impose a rhythm that isn’t there though it shows a more ambitious to song development that can be refined over time. Of note is the fragile relation between the climax melody and the accompanying bass melody that counter each other yet subtly perform counterpoint during the brief moments that they are superposed to create powerful harmonies. Chupacabra has written a great song that shows tremendous flair and expertise but the climax and conclusion could have been improved with a slightly more maximalist approach that would have worked due to the narrative nature of this piece.

Chupacabra -Glimt - SoundCloud
(304 secs long, 12 plays)Play in SoundCloud

Dratna – “Shadow of the Mountain”
Dratna shows a very idiosyncratic method to composition as the piano loudly states the chord progression of the guitar which tremolo picks the note. At times there are complementary melodies that come and go but don’t do that much to break the monotony. Eventually we are treated to another segment that works quite well by straying away from the initial chord progression with some ethereal arpeggios that allow the vocals a bit more freedom in creating a memorable hook. The piano solo that then takes the lead against the simple riff is very effective at adding some more interesting melodies and actually pushing the song forwards. It doesn’t ever fall into excessive masturbation as the same melodies are constantly reintroduced with the left hand varying the bass line to change the context of each melody. The piano lets go for an uninteresting conclusion and returns to accentuating the chord progression. Dratna completely fail at creating Black metal but can make some soothing piano music suitable for the car journey after a long hike.

Underlight – “naibu no kage”
Instrumental synthwave that functions in layers with one layer appearing on an established melody before that melody disappears and another layer is added. This makes every transition fluid and seamless while allowing Underlight to reintroduce pre-existing ideas in a very interesting way. Percussion comes and goes at will and is only there to emphasize more malicious sensations in this music. There are a lot of ideas at any moment competing for their presence and this can get nauseating at times but the interplay between some of these melodies is incredible. Long stretches of minor scale motifs against a static bassline arrive at a chromatic climax with a selection of notes that would be quite complicated on a string based instrument. The only problem is that the breaks that occur in this composition tend to have a negative effect on the overall flow.

Listen here

Celestial Shadows – “Water’s Edge”
A very raw methodology in aesthetics works with a very modern sense of Black metal composition. The band stay stuck to one motif and seek to create small islands of ambient riffs that only transition once the riff has been repeated many times. The main melody that is repeated comes in a few iterations that keep the same base which is a three note unresolved progression and then choose a different ending consisting of one or two notes to complement it. Leaving that melody unresolved and then chaining it with some of the better and shorter melodies that appear here. The flirtation was some major scale melodies and the static arrangements push this close to the realm of post rock than actual metal and at this point in time has become redundant.

https://www.dropbox.com/sh/dzd948g9mxh9yd5/AAB4sdBqZxbXodzOpNX3wOtQa?dl=0&preview=2+water%27s+edge.mp3

deepspace23 – “Ambient3”
deepspace23 returns with another entry that opts for a purely atmospheric experience with the use of white noise. This time the complete lack of melody actually works in the song’s favour as that all that matters now are the swells and the occasional infra-bass that is added. The use of dynamics is mastered for this genre but like all noise this remains limited despite showing much more finesse than most people who try to “discover” new textures. A good listen to block out surrounding noise and to relax too but with the hints of ability displayed here something better can come from this.

Furor Brevis – “Under”
beginning with a simple chromatic descent that slowly builds in intensity until reaching a fairly interesting riff that uses a dissonant motif to add fury, that riff than expands before a brief break and another even more agressive variation of it appears that slows down in order to build up more rage and to create tension towards what should have been a Deicide like explosion. Unfortunately that never happens and the band falls into a slow ambient riff before ending on a chord. Possibly the biggest waste of potential as modern Deathspell Omega inspired metal is utilized in a simple Death metal format to create this straightforward and vicious song that escapes the trapping of similar artists. A quick and to the point conclusion would have done wonders here.

Two victors emerge from the rubble of the first battle!

Chupacabra who once again breaks through to the finals due to a strong understanding of composition but will he emerge as the victor on his second outing?

Underlight with their ability to create melodies and to harmonize them on top of each other, yet will it be enough to rise above the other challengers.

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Death Metal Underground by Nicholas Vahdias - 1w ago

Hessian website Det Som Engang Var are offering a sale on some great albums that will end on the 16th of may. The site will soon be out of operation for an undisclosed period of time so hurry up if you are interested. the prices and the offers can be found here

Burzum | Det Som Engang Var (Full Album) - YouTube

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Shub Niggurath is the third band in what can be called the Mexican big three of Death metal with the other two being The Chasm and Cenotaph. Though Shub Niggurath shared members with both bands and subsequently shared some similarities with both in terms of aesthetics they managed to forge their separate identity in regards to composition. Opting for a form of Death metal based on early Morbid Angel,Deicide and some influences from Emperor and Darkthrone. Shub Niggurath create pompous Death metal out of bare bone parts.

The mid ranged rasp coupled with thelow spoken word chant is a direct influence from sister band the Chasm and is probably the closest thing that one can consider to being the Mexican vocal style. A rasp that consists of spitting out every syllable while the calm deep voice, whenever it emerges provides texture and thickness to the rasp. The drums dance around the melodies with enough flair and a few caveman like fills that accentuate the endings of each phrase. Despite of their presence never do the drums dominate the song by locking with the guitars and forcing a rhythm over a melody but rather seek to embellish certain stronger notes in the melodies. the keyboards play a sparse role and only appear during critical moments of the song.

The note selection is very reminiscent of both their peers yet the band do not hesitate to pull out chromatic and dissonant riffs in the American style as breaks in the long consonant melodies that slide between the natural minor scale and the harmonic minor while adding some very interesting melodic minor melodies. The melodic minor is skillfully navigated as the band understand that the scale changes whether one is ascending or descending the melody and the band are capable of using the changing sixth and seventh degrees to create tension. A substantial amount of melodic ideas emerge from these tools and the band are adept at using palm muting to allow certain notes to pierce through and others to create contrast. The more typical Death metal riffs are very recognisable and hearken to the greater legends but the band use them so well to create tension and their presence within this rich tapestry of melodies only helps the compositions.

Shub Niggurath never show the need to drown the listener in a large number of melodies but carefully pick a select number of long melodies that have multiple endings and play with slight variations of these melodies to push the song forwards while injecting the more classic Death metal parts when approaching a spike in intensity. There is at times a reliance on Speed metal tactics to connect different melodies through small open string patterns and to diminish the impact of each transition, but often these grow tiring and obvious. The shorter phrases tend to be repeated a lot and tend to appear between other phrases as the band transitions between beauty and skullcrushing ugliness. What is interesting is how the band will use a section of one melody in the song rather than using the melody completely. Pushing the song forwards without falling into random riff salads, this concept is used in an obvious manner as to not confuse the listener. The compositions have an everlasting sense of forward progression as each keeps the momentum moving and never offers detour but continues on adding upon what previous melodies have started. The Black metal influence is quite present in how smoothly certain tremolo picked melodies slowly transform by introducing new notes or by changing key.

The great issue that plagues this album is the lack of any climax or conclusion as each piece charges forwards and continuously picks up momentum to either introduce a new melody or to suddenly end without any release or sense of revelation. The guitar solos are the only impressive spikes as they breathtakingly navigate around the powerful melodies without the use of advanced guitar techniques or gymnastic high speed playing but on well calculated note selection that supplements the underlying melody by harmonizing in unconventional chord shapes that perfectly dictate mood. “Sub-Human Immortality” suffers the most from this disease as at times it feels like an elaborate exercise in creating expectation for a finale that never occurs. The band are at their best when utilizing short cycles of three or four ideas that merge together to form one “super” idea that slowly progresses through iteration until exhausting all possibilities and arriving at a satisfying finish as seen on “The Only One Astral Being”.

The Kinglike Celebration possesses all the tools to become the ultimate Mexican Death metal by pushing towards its own unique identity and taking the better elements for its sister bands despite replacing some of those elements with traditional Death metal ideas. If each song had an ending that made sense and that could put all the other sections in perspective then this would surely be a full blown classic. As it stands this remains an album for the connaisseurs who have exhausted the greater releases of the genre. This album does bear similarities to a A Black Moon Broods Over Lemuria yet it takes the better ideas from the record and develops them even further. Shub Niggurath had taken a tremendous leap in the right direction but not big enough to conquer the genre. This will always remain a very pleasant experience and an excellent study in the creation of melodies for both rhythm and lead guitar.

Shub Niggurath - The Kinglike Celebration (Final Aeon on Earth) 1997, full album - YouTube

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In this article we shall see how Dawning manages to juggle various styles of doom and black metal while letting a fifteen minute song to mature as well as keep the listener hooked. Join us in this existential pilgrimage to Umunhum!

Throughout this song we see an increase of emotion. Thus, to make it as natural as possible, a grand space of time is allowed for the ideas to grow with tiny differentials in entropy, namely, accidentals. Thus, the song lasts for over 15 minutes and revolves around certain patterns, which are melodic ideas that bear similarities and for the sake of convenience we shall assign a (possibly subjective) emotion/name to them:

A → Ildjarnic landscape keyboard

B → Necromantian crazy riff

Similar to Mussorgsky’s leitmotif Promenade, we see theme A gradually changing slightly, as it becomes molested by B, while B in turn becomes even more chromatic and perverse as the song progresses, pushing personal tragedy to the limit and evoking pure nadir. Life entails suffering; in this idea is the core value of doom. Suffering gives meaning and as the clouds pass, reveals a sense of awe and understanding – this is the soul of blackness and death.

In the vein of funeral doom bands, “Pilgrimage to Umunhum” begins with a synth melody much like the ones that Immortal and Ildjarn use when they attempt to paint mountainous sceneries. See Landscapes and Mountains of Might. The austere keyboards move from D to C on the bass while the lead is centered around a helix of 3rd intervals around the bass that exhale melancholy. Generally this I – VII harmonic progression with a melancholic lead melody is an easy and inexhaustible way of song writing, from Iron Maiden to Linkin Park.

The sound I have always aimed for with Dawning is to take a synthed out movie soundtrack and cross it with raw doom or black metal guitars and vocals. With a hint of ambient (backwards vocals, chimes, timpani drums) – Steve Cefala

This soon evolves into a slow tempo tremolo picking torrent reminiscent of Greek black metal in tone (Thou Art Lord) and is tied to the keyboard theme by being almost identical to it.

Suddenly, it jumps from the key of D-flat to the key of F. This move was apparently rushed, but it makes perfect sense if you can use the circle of fifths. The key and tempo change creates a feeling of urgency, of danger, yet it does not defy traditional harmony.

Then the starting theme returns on the key of F only to be stripped stripped of its black metal elements, leaving a goth-rock rhythm behind, achievable by keeping the melody the same.
The keyboard melody returns, now complete and accompanied by distortion.

Silence.

Taking advantage of the pause, a frenetic melody reminiscent of the one before starts with a key change from F to C major Hungarian scale. Keyboards with a slightly different and more industrialized tone play single notes centered above the guitar alternate picked riff. Then we move to D harmonic minor. Chromaticism is slowly taking over through the increasing amount of half step intervals and serialist logic is creeping in. Another way to view it perhaps could be as mini transpositions of small riffs, like small dialogues. Things here are slightly normal, still. But after those accidentals, tritones start to dominate. And the evil part begins anew. But this time it ends with doom. A traditional doom riff with a hint of the pentatonic scale, centered on the, now natural, chords of G5 and E5.

The deceleration opens the way for an acoustic part, while the keyboards breed familiarity by playing wicked melodies based on A. Then an increasingly chromatic version of the previous riff which is based on B returns, bounces on a doom riff and comes back to give way to a flange effect.

The flange effect is a clever trick that acts like silence. It hides various instruments forming disharmonic cacophonies. It also simulates altitude and lack of oxygen. Like silence, now the song can go anywhere.
From this nebula of possibilities, a roaring Roland JV keyboard emerges to scale the summit. Then a pause happens. And the scenery changes.

In the end the keyboard riff A of the introduction returns, slightly altered, but now, as full chromaticism has paved the way, the classic black metal stormy rhythm accompanies the music. Nothing new has been learned. All that was suspected was experienced. All that was forecasted occured. And this is tragic.

This simple but quite experimental song, shows why a good metal band can kick ass through, often unconscious, mastery of key changes, silence and tempo. Although they are distinct genres, metal and classical share the same spirit – or should we say ‘structural reasoning’ instead?

On the other hand, we cannot put this music on a genre spectrum. Doom/death is a silly title. Dark metal is vague and unexpected. Dawning is one of those rare bands that have paid no respect to man-made borders of expression but have only respected the spirit of metal. And this is a rarity.

Overall, this music has parallels to landscape wanderings: songs wander around but not further than one can hike to. They don’t need to stray far to be interesting and revolve around a few main themes, yet like a mountain that looks different depending on your perspective and distance to it, such is the music of Dawning, as well as bands like Summoning, who are passionate and serious about what they do. One carries his problems and ends up in a stoic conclusion on Umunhum, leaving the everyday behind, imagining things, ending up lost on a decaying radar base. You can read Brett Stevens’ Dawning interview here:

Interview with Steve Cefala (Dawning)

And you can enjoy Dawning’s music here:

https://dawning1.bandcamp.com/album/mount-um-1997-demo

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As you might have noticed, if you have been reading the comments in Brett’s latest tobacco review, Steve Cefala (Dawning, Pale Existence, Condemned to Live, Nothing Left, No God Only Pain) and his family members have been targeted by a cult named Victory Outreach. The police has been notified about these events.

It seems that cult members have been trying to get Steve to pay them more money, while isolating him and intimidating his family. He has also received anonymous threats and seems to be under the possibly correct suspicion that he is being stalked, due to a series of strange events and “coincidental” behaviors. According to his own words:

“Victory Outreach members (in the leadership back room) had threatened physical violence against me for my past, threatened forced exorcisms of my brother (and mom additionally if I remember correctly), mentioned about possibly having to kill me for being a heretic, and also a black van from the church had parked across the street from our condo on Archer St. Salinas at times.

During certain sermons, their leadership had encouraged members to donate their house to the church. Most of the threats generally came from the strong arm of the church , which are the men’s homes, comprised of former ex-cons, drug addicts, and gang members” Steve Cefala, source: http://www.deathmetal.org/news/substitutes-for-dunhill-pipe-tobaccos/#comments

Steve’s involvement with Victory Outreach has been due to a serious medical problem he faced. According to Steve, it appears that this church is trying to clear its past. I have tried to find the L. A. Times article that he recommended but it appears it got erased. However, there are personal accounts of people who joined on many websites, including this one where cult survivors share their experiences. See some of those below:

“I was a part of the Victory Outreach church based in London, England for five years during the 90s. I am not a minister, but simply a believer who wants to see the truth become clear. People I know and care about understand that fine line of spiritual abuse that runs through the ministry of Victory Outreach International.

Within 3 months I was leader on a worship team. I also joined in on leaders meetings. At one of these meetings, the pastor made this point, which really shocked me, he said, “We are not here to become friends, but we are here to fulfill the vision.” The word “vision” was to become a key word in my time there along with words like “sacrifice,” “obedience,” “rebellion” and “Pastor Sonny.”

But what I came to expect was that the congregation was there to serve the pastor and the leaders. When I first joined Victory Outreach I shared with the pastor what I felt God’s calling was for me. His answer shocked me, he said, “The best way to fulfill the call/vision that God had placed on my life, was to lay it down and serve someone else’s vision (e.g. Sonny’s).” By doing this I was told, “This was sacrifice, and only in sacrifice can God bless my call/vision.” Sadly I believed this.

Just by this verse of scripture it seems pretty evident that a good shepherd willingly “lays his life down.” This is certainly far from the “shepherds” who serve the vision of Victory Outreach. The sheep in Victory Outreach is to lay their lives down for their pastor, who in turn is laying his life down for the “bigger Vision.” The “vision” whatever that may be, “United We Can,” “Vision 2000” or any other dream or vision that Sonny has had from God, will always have priority.

I would like to ask Sonny a question here about vision 2000.

Why, if this vision was from God, (i.e. to have 1,000 churches by the year 2000) did this not come true? How much money was put into promoting this vision, printing T-shirts, baseball caps, diaries, banners etc. etc? And did the people who sacrificially gave, get their money back? As far as I know Victory Outreach today does not have 1,000 churches and it is now 2001. But they have got another vision. Did God get it wrong and change His mind? Or did Sonny not hear from Him in the first place?”

“Those that have left the church, including someone i work with have experienced threats, alienation, economic harassment, and malicious litigation by the church.”

“I say “escaped” because these guys weren’t going to let me leave, wouldn’t let me use the phone, and were gathering around me to “knock the devil out.”

When I got out the door my life was still in jeopardy because I was smack dab in the middle of the San Antonio ghetto.

We were fed beans and rice with moldy bread three times a day, that is on the days that we ate three times a day. The kitchen was infested with roaches and scum litter ally ripped from the ceiling.”

“Breakfast: After Morning Prayer, they sing and eat breakfast. That is, IF that day hasn’t been declared a “day of fasting”. The last week I was there, they fasted four days out of seven, which made me physically weak.
Daily work: After breakfast: about half of the men in my home went to an amusement park where they worked concession booths. The men see none of the money, of course, and they are also not served lunch. This is considered to be a “sacrifice to the Lord”.

Dinner: After the work day is finished, usually ten to twelve hours, the men return home to pray for an hour and then eat dinner.

Evening work: Evening work: After dinner, [we were] … told to “hit the streets”–this usually meant selling tickets to upcoming Victory Outreach fundraising events. The last week I was there, they were planning a Christian rap concert featuring “Preachers in the Hood”. We were out until two in the morning, on an average, returning home and sleeping until 5 AM and then our day began again.”

“I’m sure the place collects several hundred dollars a day for the labors of 10 or 15 guys out slaving but none of that money found its way into the food pantry, however, the director wore some pretty nice gold jewelry and drove a nice car.

The word recovering or recovery was taboo, delivered was the word used instead.

The many guys that had been in and out of there numerous times believed each time that the devil had got ’em and once again, back at VO, they were delivered, then were taken to pray with a shovel in their hands.

I have not been delivered, I’ve been clean and sober for two weeks now and seeking a treatment program to help me with my recovery. I do believe in God and thank him for getting me out of Victory Outreach, and I pray that others will snap out of the trance and get some recovery as well.”

There are criticisms of this church all over the internet. Comments have claimed that the next Heaven’s Gate will be related to Victory Outreach. Although it seems that their forceful methods are effective into getting people to quit drugs, one must consider the purpose behind such persistence. This purpose is no other than lust for power. And the fact the church gathers people from a rough background to prevent them from indulging in substances or articles is irrelevant if their purpose is to oppress others. Cults will continue to multiply as the West continues its headlong dive into ignorance, narcissism and stupidity.

We here at DMU, condemn the brain carcinogens and herd mentalities that lurk inside such cults, their subjugation of individual expression and the problems that cause in our communities. If you are addicted to drugs seek medical help, not spiritual hocus-pocus. If you seek spiritual experiences the internet is rife with manuals and knowledge to do so and carve your own path. If you seek solace and a sense of belonging (which is perfectly normal, especially when life comes crushing down), join one of the big religions (I believe Orthodoxy to be a safe choice, I am sure people who weren’t altar boys can say the same for their own denominations) or join the army – which, if you do not suffer from a serious condition, might solve the problems that made you want to join a cult anyway.

Say no to cults! Say yes to freedom! Hail Dawning!

Conan beheads Thulsa Doom. [1080p] - YouTube

Morbid Angel - Blasphemy (Live Madness) - YouTube

Do what thou wilt shall be the whole of the Law
Rebel against the church
Drink from the chalice of Blasphemy
Rise up against the deceiver

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Death Metal Underground by Tyrell Dahlstrom - 1w ago

On Sunday May 5th, mega-popular Hard Alternative / Prog-influenced Esoteric Psychedelic Rock act Tool premiered two new full songs during the opening performance of their Summer 2019 tour.

These tracks – “Descending” and “Invincible” [the former of which the band had already been playing live in an abridged instrumental form for the past few years], are the first new material the band has released since 2006.

These pieces are of course the first public snippets of the band’s upcoming fifth album which apparently finished recording last year, mixing/mastering early this year, and is expected to be released either “between Mid May and Mid July” (according to frontman Maynard James Keenan back in February), or possibly now even “August or September at the earliest” (according to the uploader of the videos linked below).

With quite possibly the single most infamously obsessive fanbase in all of Rock Music [to the point that the “obnoxious/cringe Tool fan” is one of the most well-known commonly derided archetypes amongst contemporary music fans in general], as well as generally being darlings of the large Rock and Metal publications, this release of Tool’s first album since George Bush was president and cellphones/“social media” became culturally ubiquitous is unquestionably going to be the most intensively covered subject amongst the Rock and “Metal” world throughout the year of 2019.

Expect in the upcoming months for the possibility of articles covering developments in this new album from perhaps a slightly different perspective than the Mainstream Eye, as well as focusing on the generally peculiar qualities of this act both musical and otherwise…

Tool - D E S C E N D I N G - YouTube

Tool - I N V I N C I B L E - YouTube

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