#Genre: Death/Thrash Metal era

[k-i-l-l-e-r-b-e-e-6-9]

Sepultura

[pissmoon]

Now that i think about it that time around 2010s when millenials were in high school and this 80s thrash metal nostalgia was a huge thing in some circles it was somewhat ridiculous but what i keep seeing right now is high schoolers being 'nostalgic' for scene/'emo' of all things like why are you nostalgic for the most shit tier thing in history couldnt u pick something less lame

[spacenintendogs]

how embarrassing is it that metallica is my fucking kryptonite

[hellyeahskwisgaar]

MTL characters but in totally different metal genres

Hope they make side projects with these

I think Nathan actually doesn't go well with black metal because of his deep death growl vocal and he isn't skinny enough so yeah death metal is best for him but as Dethklok plays MDM/DM music so I had to choose something different.

Pickles, he really fits in stoner genre things cause he's an ACTUAL stoner, smoking bunch of weeds and bongs. Plus its stereotypical outfit looks pretty good on him too. Smoke weed everyday

Skwisgaar should start another side project which plays viking/folk metal but not the kind of Korpiklaani/Equilibrium folk style, more like Moonsorrow or early Ensiferum. Oooor kinda like Falkenbach. Well I kept listening to Bathory albums(viking metal era) when I drew him.

Toki may play power metal for ✶ 🎀 𝓀𝒾𝓉𝓉𝓎 𝒸𝒶𝓉𝓈 🎀 ✶ just like Hevisaurus does to kids, tho he's Norwegian and looks like he's somehow connected with black metal - his appearance on 1x16, having a friend who is a fan of black metal - everyone knows he's the naÏve guy in the band so only power metal can protect his childlike innocence.

Murderface was the hardest one to come up with but I guess 80s thrash metal will be the best. Curly hair(I guess so, no one has trapezoid shaped hair in real life) and his vest which reminds me a battle jacket. Planet Piss is sounding to groove/industrial/nu metal and groove metal was inspired by thrash/heavy metal so it makes sense.

And these are my inspirational songs for this post

[human-antithesis]

Sepultura Country: Brazil Genres: "Death Metal" (Debut); Thrash Metal (Early, Later); Nu Metal (Mid); Groove/Thrash Metal (Later) Formed in: 1984 - 2006

The Real Sepultura Lineup (From Left to Right): Andreas Kisser - Lead Guitar, Bass, Backing Vocals (1987 - 2006) Max Cavalera - Vocals (1985 - 1996), Rhythm Guitar (1984 - 1996) Paulo Jr. - Bass (1984 - 2006) Igor Cavalera - Drums, Percussion (1984 - 2006)

Albums from Cavalera's Brothers Era:

1985 - Bestial Devastation (EP) [Reissue. 1990] 1986 - Morbid Visions 1987 - Schizophrenia (Reissue. 1990) 1989 - Beneath The Remains (Original and 2020 Remastered Release) 1991 - Arise 1991 - Dead Embryonic Cells (Single) 1993 - Europe 1991 (Unofficial Release) 1993 - Chaos A.D. 1994 - Refuse/Resist (EP) 1994 - Slave New World 1996 - Roots 1996 - The Roots of Sepultura (Compilation) 1996 - Attidue (EP) 1997 - B-Sides (Compilation)

Post-Max Cavalera Shitty/Mediocre Era:

1998 - Against 1999 - Tribus (EP) 2001 - Nation 2003 - Roorback 2005 - Live in Sao Paulo 2005 - Dante XXI

Others:

2006 - The Best of Sepultura (Compilation)

Dante XXI was the last album with Igor Cavalera in the band. The band should had die after his departure. Sepultura's current albums won't be shared here.

[savage-kult-of-gorthaur]

GUSHERING IN THE GENRE THAT KILLED THRASH METAL IN ITS SLEEP -- ETERNAL HARBINGERS OF HARDGORE.

PIC INFO: Spotlight on English musician/ vocalist/bassist/lyricist Jeff Walker (possibly still a teenager!), founder of then goregrind/death metal/grindcore band, CARCASS, c. late '80s.

Interview from an unnamed zine, issue #4 (1990):

Q: "What’s the reaction of your parents in front of the band?"

JEFF: "Well, mine know what we’re up to, but have never heard the band, and have never seen the records, so they keep a discreet distance I suppose. We practise at Bill’s parents house and Ken’s dad’s helped us out getting slides processed (the use of his word processor) so even if they don’t approve at least they don’t hinder us. But we don’t need our parents consent or whatever, we’re all a bit old to be bothered about that!"

PIC #2: Spotlight on the original photo, during the band's still prominent goregrind years, the "Symphonies of Sickness" era, featuring Bill Steer, Jeff Walker, & Ken Owen, c. late 1980s.

Sources: www.picuki.com/media/3432347448700974992 (Picuki 2x).

[rinstar5283]

What bands do you think the papas would like? I have a feeling Pantera is gonna be in here somewhere

QUIEJFOE RAHHAHA IVE BEEN WAITING FOR THIS MOMENT

OKAY SO IM ONLY GONNA BE TALKING BOUT METAL CAUSE THATS MY EXPERTISE- BUT YALL CAN OFC PUT IN YALLS THOUGHTS AND SHIT- ALSO SUPPER INACURATE AND MOSTLY BASED ON HOW I SEE THEM 💀💀

Primo: Def doom/stoner metal! Bros probs a hardcore ozzy era Black Sabbath fan- I think he likes his metal not too fast or too heavy, he’d also probably be into old school sludge as well!!

I’d say his top fave bands would be

Black Sabbath, electric wizard, cathedral ,andd probs Melvin’s

Secondo: AS U GUESSED OBVIOUSLY PANTERA 😼😼 BROS MET PHIL ANSELMO YALL- SO OBV GROOVE/THRASH , and my moots on twitter def agree he’s into nu-metal (don’t kill me Tobias) but he also gives me war metal vibes- IM NOT JUST SAYING THAT CAUSE HES BALD

I think his top faves would be

Pantera, Exodus, blasphemy, and Korn

Terzo: oof this one’s hard ahhh. Maybe some glam metal he seems like he’d enjoy Motley Crue? Hmmmm hell one of my moots said she’d like Xavleg and I totally agree with that- so maybe death metal and grindcore.

I’m not too sure but maybe his fav bands would be

W.a.s.p, Motley Crue, Xavleg, and exhumed

Yall can recommend or add something here cause I got no clue-

Copia: OH BOY BRO COPIA WOULD LOVE IT ALL THRASH, DEATH, BLACK, SLAM, GRIND, PUNK, GOTH, HEAVY, HELL OLD ROCK TOO HE DONT CARE- buUTTT since I’m sorta basing this off tobias he would probs hate nu-metal and be an elitist too- I see him as the type to be very INLOVE with old 80s metal that he’d be like “oh theres no good bands today, the good ones are getting so old their gonna die soon x’C” without even trying to find any new metal bands and shit- ALSO HED HAVE A VERY COOL ASS BATTLE JACKET PROBS EVEN MULTIPLE FOR EACH GENRE-

His fave bands would be

The big four (he can’t choose), kiss, nuclear assualt, Sodom, and Bathory (mostly basing this off Tobias since I think they’d both be similar in taste))

Lolol and here have this little doomer/stoner primo I did on my phone in like 10 secs 😭

[mushroomminded]

If assigning things to the P&P the cast, I'm assigning them Music Genres I Associate With Them/Think They'd Like

Peachy: screamo, metalcore, melodic hardcore, death metal

Ira: "Classical" Music (broad term definition, but with a particular love of Baroque period and Romantic period works), modern orchestral music, minimalism/experimental orchestral music

Django: acoustic rock, 90s style alt rock, grunge, garage rock

Mars: skate punk, oi, thrash punk/metal, post punk

Shelle: various forms of Jazz (smooth jazz, a little big band era jazz, some freeform jazz when she's feeling Spicy), likewise varying forms of funk and soul

Kell: Top 40 Radio, with a penchant for the bubblegummiest of pop/idol group music

YAYY

[xmystophalesx]

Best New Heavy Metal Releases Week of January 27th, 2023

Another great week for releases and once again the quality ramped up pretty dramatically, as evidenced by 22 albums in the “standout in their genre” section. I will say it for the millionth time, the amount of talent in the Heavy Music genres has never been better. More than a few of these 22 albums could easily be someone else’s overall pick of the week. This list is pretty subjective overall, as it is based on my own tastes. I believe, however, that I have a pretty good grasp on what makes an album stand out over one that ends up being forgettable. My best of the week category is simply the albums I would love to have a vinyl copy of and sit back with the artwork and just completely focus on the music for the duration of its runtime. I have been asked this question before and it really is just that simple. Enough blabbing about my process, lets get to some highlights.

Anzillu-Ex Nihilo (Thrash)**

There hasn’t been a lot of really standout Thrash Metal albums as yet this year but Anzillu is looking to change that. I get a pretty strong The Haunted mixed with a bit of The Crown from this album. Fantastic aggressive riffing is what really stands out here along with drums that never overpower the song but give it exactly what it needs.

Crowne-Operation Phoenix (Heavy/Power/Hard Rock)**

I was a fan of this band’s debut in 2021 and everything I liked about that album has been ramped up on this one. Super catchy Melodic Heavy Metal/Hard Rock that just worms its way into your mind from the very first listen. The level of talent in this band is insane when you just look at some of the other bands these guys have been in. I dare you to listen to track 2 (Champions) and NOT have it get stuck in your head for the rest of the day.

….And Oceans-As in Gardens, So in Tombs (Symphonic Black)**

This is a band that I have always liked, to a certain degree or another. I always find their albums to be enjoyable but in varying levels of quality. No worries on this one however, as this one is excellent from beginning to end. This could arguably be the best of their career. They are really emphasising the symphonic elements on this one and at times the album becomes mesmerizing.

Seven Doors-Feast of the Repulsive Dead (Death)**

One man project out of the UK and man does this album absolutely slam. There is zero pretense here about trying to mix genres to appeal to a wider audience. This is motherfucking DEATH Metal with tinges of riffing reminiscent of Reign in Blood era Slayer that gives absolutely zero fucks. You can just tell that if you don’t like this, Ryan Wills could really care less. If you are a Death Metal fan at all, do not miss this one!

Malice Divine-Everlasting Ascendancy (Melodic Black/Melodic Death)**

One one-man project deserves another and here we have Ric Galvez out of Canada. I was a HUGE fan of his debut in 2021 and when I saw this one on the list of releases for this week, my eagerness to get to it was palpable. Sometimes this can be a bad thing as your expectations can get a out of control. Not only did Mr. Galvez reach those lofty expectations, he surpassed them. This album gives me a lot of Kvaen vibes which is a VERY good thing as Kvaen was my album of the year last year. Everything about this album builds on the debut. The album feels tighter and more focused here. The guitar work is absolutely fantastic with riffs and leads that will melt your face. Everything about this album just screams METAL and what makes me love this genre so damn much. This is an album that will stick with me the entire year and I can almost guarantee will be on my end-of-year list. I sent Ric a message about a vinyl release and he said he was looking into it. I sure as hell hope so!

That will do it for the first month of 2023 and damn, every time you think it can’t possibly get any better than the year before, it doesn’t take long to being proven wrong. Always in the best of ways however. Until next week, fill your soul with happiness and listen to music and, as always,

BANG THY HEAD!!!

All worthy of a listen if you like the genre

*= standout in that genre

**=best of the week regardless of genre

Best of the Week

….And Oceans-As in Gardens, So in Tombs (Symphonic Black)**

Solution 13-Turmoil Diaries (Heavy/Groove)**

Crowne-Operation Phoenix (Heavy/Power/Hard Rock)**

Seven Doors-Feast of the Repulsive Dead (Death)**

Anzillu-Ex Nihilo (Thrash)**

Malice Divine-Everlasting Ascendancy (Melodic Black/Melodic Death)**

Steve Vai-Vai/Gash (Hard Rock/Heavy)**

Standouts in their genre

Reverence of the Martyr-Blood Horizon (Melodic Death)*

Bolzo-Void (Death/Black)*

Apeiron-Urkraft (Black)*

Spell Garden-Spell Garden (Doom)*

Conjureth-The Parasitic Chambers (Death)*

Uriah Heep-Chaos & Colour (Progressive Rock)*

Arctic Rain-Unity (Hard Rock)*

Pyramid Suns-Reflections (Progressive Rock)*

Iron Void-IV (Doom)*

Adavant-The Mystic and the Mountain (Folk/Epic)*

Dark Sarah-Attack of Orym (Symphonic Metal)*

Electric Mob-2 Make U Cry and Dance (Hard Rock)*

Grief Symposium-…In the Absence of Light (Death/Doom)*

Hellproof-Supernova (Heavy/Hard Rock)*

Hell’s Satans-Hell’s Satans (Heavy)*

King Kraken-MCLXXX (Heavy/Sludge)*

Love Gang-Meanstreak (Hard Rock/Classic)*

Marco Garau’s Magic Opera-Battle of Ice (Power)*

Methane-Kill it With Fire (Groove/Thrash)*

Psychostasy-The Empty Circle (Death)*

Trastorned-Into the Void (Thrash/Black)*

Zombie Riot-World Epitaph (Death)*

Worth a listen if you enjoy the genre

Dark Image Inside-Nine Stories and One Life (Death)

Liv Sin-KaliYuga (Heavy)

Malleus-The Fires of Heaven (Black/Speed)

Bizarrekult-Den Tapte Krigen (Black)

Anachronism-Meanders (Technical Death)

This weeks pick of the week was once again VERY difficult but Malice Divine takes it with an overwhelming 5 Bulldogs Staring Into Your Soul out of 5!

[doomedandstoned]

Sky Pig Disclose Stark New Music Video “Sinning Time”

~Doomed & Stoned Debuts~

By Billy Goate

Sky Pig describe their sound as a psychedelic sludge. I'd add ambient to that description, for their latest album 'It Thrives in Darkness' (2022) is less a collection of catchy songs as it is an unfurling dreamscape, its atmosphere building gradually like a mounting stormfront of ominous gray clouds.

You'll scarcely find an album that's as dark as this one. Reminds me a lot of the menacing, unsettled sound coming out of the early '90s with bands like Alice in Chains, Nirvana, and Korn. After the heavy metal parking lot disbanded, grunge came on the scene. No one knew what else to call it, and it seemed to fit. This was the era that gave birth to mutant children: death, thrash, and doom metal. It was downcast, downtuned stuff, rough around the edges and a glass-half-empty perspective for lyrics. These emerging genres always came across to me as Generation X being pissed off upon learning that life would have far less opportunity than our parents had and our teachers promised -- and oh, by the way, you will one day die. I digress.

The album starts in the red, with the brash welcome of drums and cymbals. In "State of Anger" riffs and rhythm converge in a dizzying dirge. At times, you'll notice the movement between chords is sudden and jagged, as though the very foundations of the earth were being ripped asunder.

Your life has let you down This world has shit you out Dark is the road you've taken Cast out, God forsaken

On "Larva" the vocals reflect to me the anguish of a Cain-like figure, who feels cast out by God as he looks at this mess of a world. There's our idea of how the world should work, and then there's how things actually pan out. Real life is filled with as many sorrows as joys, but sometimes there's a chance to rise again. This one's got a great theme to join the vocals and it's one of the key highlights for me.

Bending time From ungodly depths So blind The ones that caused this mess

"Motionless" gives respite with those quiet, reverberating guitar notes strummed for nearly a full minute of solitude. Soon the rain comes and with it a tragic doom melody. When the vocals enter, they feel as if underwater. Perhaps floating just below the surface of the flooded plains. The song is constructed with several interlocking and contrasting riff motifs. When we next hear vocals its a chorus with the soaring amplitude of Slomatics, Domkraft, and Conan. If you're listening with headphones, especially, the words "Look to the sky!" will seem to surround you. Dare I say, they sound almost authoritative, prophetic.

The eyes of God have turned away His grace a shallow grave When darkness comes Surely then we'll see his plan When we become motionless

When we reach "Sinning Time" the floods have subsided and the sinners are back at it again. The beat is steady and unrelenting, the guitars grindy and dissonant, vocals low-key and matter of fact. Then the swell picks up and we're treated to a downpour of drizzly fuzz, stout low-end, and banshee vocals.

Fall out of your mind, into the next life Pray for the end, for the end of time

"In Light of Your Death" is like waking up in a hazy stupor and trying to get a grip of the situation, where you are, what time it is, and who's around you. This feeling is interrupted by a feeling of dread, articulated by crunchy slow 'n' low axemanship and singing that rival the roars of Gojira.

Sleep for a while We'll be here to guide you Dream through our eyes let the darkness blind you."

The album comes to a head with the title track, "It Thrives in Darkness." Its foggy opening has a Mellotron like vibe, which I'm informed is a bass pedal effect. The guitar strums morbidly atop it. Now we're deep into doom territory, with riffage that fans of Cough should take a liking to. An epic way to end the record.

My world, your cage You'll know my rage This house of pain Is where I stay

Now that you've had an overview of the album, Doomed & Stoned presents the official music video for a track we featured on our last Doom Charts countdown show: "Sinning Time." It was produced by Dark Sprite Videos.

Give ear...

WATCH: Sky Pig - Sinning Time

Track-by-Track with   Sky Pig's Rob Sneddon

State of Anger

It Thrives in Darkness by Sky Pig

About a guy who just snapped. He feels betrayed by the world and God because of horrific things that happened to him. He feels like the only way to feel relief or to get back at God, perhaps, is to go on a killing spree. Probably the most straightforward song musically and meaning-wise on the record.

Larva

It Thrives in Darkness by Sky Pig

Borrowed a little from the Call of Cthulhu, but more a Biblical idea about this creature called to earth from God after the world has exhausted its resources and become rotten, both in its form and the nature of the people inhibiting it. God feels he has no other choice but to destroy everything & everyone and start over.

Motionless

It Thrives in Darkness by Sky Pig

This song is based around the famous question, "Is there a God? And if so, why would he let all this awful stuff happen to innocent people?" It suggests maybe there is, but at some point he gave up, realizing it was hopeless. Similar idea to "Larva," but God takes a different approach by simply giving up and leaving everyone to simply destroy themselves in "Motionless." There is definitely a theme of questioning God on this record. I think it had a lot to do with my mindset during the pandemic, losing close friends, the craziness in the world lately, and a feeling of hopelessness. So it's really just asking a question and posing a possibility because I really have no answers for the chaos in this world. I just write music based on my fucked up perspective and try to make it interesting.

Sinning Time

It Thrives in Darkness by Sky Pig

In the style of Melvins, "Sinning Time" is a pretty ambiguous song leaving a lot to interpretation. It conjures a weird, scary creature with nefarious intentions. Was going for a similar vibe as "The Scag" from our EP, 'Hell Is Inside You' (2020): uneasiness leading up to impending doom.

In Light of Your Death

It Thrives in Darkness by Sky Pig

This song's hard to explain, because this one has a bit of ambiguity. I was shooting for a "if David Lynch wrote a song" vibe. Are these alien beings? Shadow people, Cult leaders? Up to interpretation. But they're controlling this person's mind or consciousness and leading him somewhere, possibly to another dimension or an endless void or afterlife. I have no answers, really. The words were driven by the feel of the music. That generally dictates how I write songs. Always the music first and then words trying to fill in the blanks and paint a picture.

It Thrives in Darkness

It Thrives in Darkness by Sky Pig

This one's about someone living in a very dark place physically and in their mind. Kept away from the world, abused, neglected. Hoping that someone or something rescues them before they have to do something they don't want to. Almost sarcastic title in regards to the song. I thought of this title for the record long before the song, actually during the early stages of the pandemic (along with most of the other songs), but just thought this song was the perfect one to sum up the record. Sad, violent, hopeless. Tried to convey all of these things in the music and words.

Follow The Band

Get Their Music

[spiritusleach]

A close representation of me changing and evolving in musical choices.

Enter The Era Of Spiritus Nocturnus

Musical Journey

Breaking guitars or casting them aside in favor of Synthesizers and Electronic Music. -Spiritus Nocturnus

My roots were always of a darker nature although I've switched somewhere in the late 2010's to a new futuristic vison. I was always into Gothic Rock/Post-Punk Music but then the Metal phase crept in and I see it as just that a phase because I always was attracted to the more obscure and classical anyways, not to what the average alternative person was into passing me by on the street asking me what is my favorite band in hopes that I could relate their favorite mainstream band. Not to say that I did like a few of them I must say but however my vibe was just different from the rest that seem to come in droves and I mostly steered away from what most people like and pave and follow my own road.

You see, I was always of a different breed even within the Alternative community. In the alternative side of things I started off more on the Punk/Trad Goth side of things with and somewhere around that part I started to learn about the difference between that form of music and Metal. As Metal seemed more polished, lively and for commercial radio and mostly none of the music I listened to sounded like it was for airplay, lively, or polished. The music I listened to sounds dark brooding, mysterious, tribal etc.

I checked out different types all the way to the fan radio friendly Alternative Metal that I used to listen to being played on Senton Hall New Jersey radio , To the Black Metal where it sound like Cats are being cooked alive screaming for dear life, to the Death Metal where it's brutal and others in between like Thrash Metal Venom, Pentagram etc. I mostly enjoyed the soothing side of Gothic Metal and I enjoyed the Slow Funeral Doom type and early Prog Occult Metal. However I was still with more of a Punk and Goth- type of mentality , Not really a Metalhead and never really was. Though no longer did guitars and certain genres like Metal was of an interest to me. The loud abrasive yelling and screaming in most Metal music became almost unbearable and was not the the right feel for me.

Truly I believe at this point I seen myself in a dark gloomy club or room psychedelia setting and it worked perfectly because my room at the time was fitting just right for that formation to occur. That was one thing then something that deeply impacted me around this time changed me altogether in my life I soon I started getting more into Darkwave and other forms of Electronic -Synth music and that sealed the deal from there. No longer were guitars, Metal etc..... were appealing to me as an Artist but I still love Post-Punk and the gloomy feel that usually brings.

Overall in my mind, I felt that Metal Is Dead so it started to get to me when people would see me on the street or if I bump into another alternative or Goth person, and yes "supposedly Goth not Metalhead" asking me about what bands am I into. Almost expecting me to say Ozzy or some other famous band etc, Didn't happen before and in this new era definitely not because half of the people I listen to is far ,far in the underground or either in the hereafter. Though anyways Synthwave in particular matched my vibe and futurist vision especially in 2017-2018 leading up to the Apocalypse of 2020 when I created my full first feature length album entitled Spiritus Nocturnus . This is around the time I started to evolve , not only as n Artist but spiritually and this the road that was meant for me when the transition from the classical Goth Spiritus Leach into the new cyberpunk/cybergoth Spiritus Nocturnus. Overnight it seems as that I was no longer known to Alternative community who may have seemed Goth to a degree but was more of dark Metalheads in musical tastes truly. Most could not relate because it lacked having a guitar and other bare essentials that seemed like the Baby Bats dream of being Goth.

Yes in general it's ok and is possible to like both and all types (as I still do at times and I also love Smooth Jazz and Baroque/Dark Classical) and still prefer to be assimilated within a certain subculture, as that may be more of your preference and to me my preference is now Electronic music nowadays in a particular that of 80's vibe and in this new Cyberpunk and Spiritus Nocturnus Era I find myself more among those who are into Cyberpunk, Cybergoth, Rivetheads

- Spiritus Nocturnus

[k-i-l-l-e-r-b-e-e-6-9]

Metallica - Master of Puppets

[musicreveiwsbyezti]

Yo yo yo! It's June topster day!

This month I listened to a lot of "must listens" also Steve Albini finally died so I could check out Big Black's albums.

Unsure: Gorguts-Obscura (Avant-Guard/Death Metal): What the actual fuck is this album? The entirety of this feels like every member of the band is playing different songs. There are few songs that "I get" but I think this definitely needs some more time for me. Though I still recommend it as it is an interesting experience.

14th: Blasphemy-Fallen Angel of Doom (War Metal): No. I consider myself someone who enjoys quite a lot of black metal, but this shit is genuinely goofy.

13th: Dropdead-Selftitle 1993 (Powerviolence): It's alright, doesn't really stick out as much as other pv records I listened through.

12th: Napalm Death-Scum (Grindcore): The father of grindcore sure feels like as the father of grindcore. I didn't really think that grind evolved a lot, but after listening to this I realised that the genre itself got a little more... focused or something? Half of the songs here feel like they're made to make non punks be pissed about "Hurr durr how can people listen to 4 seconds of noise and call it music?". I'm sure it will grow on me but I feel like this record haven't aged the best.

11th: Motörhead-Ace of Spades (Hard Rock/Speed Metal): The title track is so good that they recorded it 11 more times. I probably have a bitter taste in my mouth cuz every good damned place circlejerks over this album with shit like "ooooh this is the only band that both punks and metalhead and rockers alike enjoy" and then it's just the most basic ass hard rock album on the planet. Also I know that jailbait is supposed to be a satire/parody of the pedo musicians of that era, but Lemmy was such a genius that he forgot to make it sound like a satire/parody. Just listen to the title track and maybe listen to the We Are The Road Crew and you can skip the rest.

10th: Nails-Abandon All Life (Grindcore/Powerviolence): Short and sweet like all pv records should be. Some people consider this to be Nails' best but I can't see that.

9th: Big Black-Songs About Fucking (Noise Rock): The hardest album name ever. Alone it's a great album, but knowing that it's the follow up to Atomizer makes it a bit less impressive. The first half (Happy Otter) is the part which got a proper studio recording session, it is more polished and "thought over". Arguably every song in this part fucks hard. The second half (Sad Otter) was just put together at home and feels like a rough demo. It has good songs, but they could have been way better. I highly recommend this album, but only after listening to Atomizer.

8th: Nails-You Will Never Be One Of Us (Grindcore): Oh my fucking God this album fucks so hard. The intro song with the other punk metal crossover vocalist dropping the album name goes so hard it makes me hate the police even more. I'd argue that this is Nails' best...right after Unsilent Death... but still their best.

7th: Neurosis-Souls at Zero (Atmospheric Sludge Metal): This is their 3rd highest rated album and their 1st and 2nd are unavailable in my country due to bs copyright issues. Still it's pretty good. I've only dabbled into the whole atmosludge genre, but I have to be honest I see why people rate this over regular sludge.

6th: Kate Bush-Hounds of Love (Art/Prog Pop): Even though I more of a Björk, Billie Eilish and Sade kinda guy... this is so good. Hounds of Love literally redefined for me what pop music means for me, and I wasn't even a (major) elitist to begin with! The second half with the more artsy stuff is in short beautiful. I have no words to describe how this album makes me feel.

5th: Megadeth-Rust in Peace (Thrash Metal): Dave Mustain sucks as a vocalist... but he can sure solo! Hangar 18 feels like the dude on the cover is personally guiding the listener through the cover showing off all the weird stuff, which makes the rest of the album oddly atmospheric in a conceptual way? I guess. All in all, all that matters that this album is filled to the brim with insane guitar work. This one is especially good for newer guitarists who are interested in metal.

4th: Big Black-Atomizer (Noise Rock): 10/10, I give no more words, this is a must experience to everyone who loves noisy shit.

3rd: Carcass-Hearthwork (Melodic Death Metal): I don't know how Carcass went from inventing goregrind to making this. I can barely comprehend all the massive guitar work put into this. This is probably one of the safest places to start listening to death metal (in a good way).

2nd: Bolt Thrower-...For Victory (Death Metal): Bolt Thrower can't miss. That's just a fact at this point. They stuffed so much groove into this album filled with "war sucks" energy that it can't be put into words by my illiterate ass. Just binge BT's discography already.

1st: Throbbing Gristle-20 Jazz Funk Greats (Industrial): This is the most overlooked album on every music site.

[jkrump]

Metallica #Tim #Saccenti #vinyl #music #music news #metal #photography #music photography

[baytonki]

Metallica ride the lightning

As of 2017, Metallica is the third best-selling music artist since Nielsen SoundScan began tracking sales in 1991, selling a total of 58 million albums in the United States. 61 on its 100 Greatest Artists of All Time list. Metallica has been listed as one of the greatest artists of all time by magazines such as Rolling Stone, which ranked them at no. Metallica ranks as one of the most commercially successful bands of all time, having sold over 125 million albums worldwide as of 2018. The band has won nine Grammy Awards from 23 nominations, and its last six studio albums (beginning with Metallica) have consecutively debuted at number one on the Billboard 200. Metallica has released ten studio albums, four live albums, twelve video albums, a cover album, two extended plays, 37 singles and 39 music videos. The band co-wrote the screenplay for and starred alongside Dane DeHaan in the 2013 concert film Metallica: Through the Never, in which the band performed live against a fictional thriller storyline. In 2009, Metallica was inducted into the Rock and Roll Hall of Fame. Anger (2003), and the internal struggles within the band at the time. Metallica was the subject of the acclaimed 2004 documentary film Metallica: Some Kind of Monster, which documented the troubled production of the band's eighth album, St. In 2000, Metallica led the case against the peer-to-peer file sharing service Napster, in which the band and several other artists filed lawsuits against the service for sharing their copyright-protected material without consent, eventually reaching a settlement. The band's most recent album is Hardwired. After experimenting with different genres and directions in subsequent releases, Metallica returned to its thrash metal roots with the release of its ninth album, Death Magnetic (2008), which drew similar praise to that of the band's earlier albums. It appealed to a more mainstream audience, achieving substantial commercial success and selling over 16 million copies in the United States to date making it the best-selling album of the SoundScan era. Their self titled fifth album, Metallica (1991), was the band's first not to root predominantly in thrash metal. And Justice for All (1988), gave Metallica its first Grammy Award nomination. Metallica first found commercial success with the release of its third album, Master of Puppets (1986), cited as one of the heaviest metal albums and the band's best work. Guitarist Dave Mustaine (who formed Megadeth after being fired from the band) and bassists Ron McGovney, Cliff Burton, and Jason Newsted are former members of the band. Metallica's current lineup comprises founding members and primary songwriters Hetfield and Ulrich, longtime lead guitarist Kirk Hammett, and bassist Robert Trujillo. The band's fast tempos, instrumentals and aggressive musicianship made them one of the founding "big four" bands of thrash metal, alongside Megadeth, Anthrax, and Slayer. The band was formed in 1981 in Los Angeles by vocalist/guitarist James Hetfield and drummer Lars Ulrich and has been based in San Francisco for most of its career. Metallica is an American heavy metal band.

[happymetalgirl]

Album Chronology - Death

The whole ranking-albums-from-worst-to-best has been done to death to the point of staleness at this point, but mostly due to the format, at least to me. I’ve read so many damn worst-to-best lists at this point that they’re all kind of predictable even when they’re seemingly trying to force some kind of novelty or surprise factor by putting a fan-favorite or highly revered album really low in a ranked list. It’s all gotten pretty dry at this point, plus, to me, I can’t help but see a little bit of futility in compiling lists for active artists whose next release will render such a list so quickly obsolete. I honestly had the idea of doing something tier-related to make it less rigid a year or so ago, but lo and behold, tier-list videos are the newest horse getting beaten to death. So rather than jumping around an artist’s catalog and tossing in some spicy hot takes, I figured why not take the chronological approach and trace the story of the artist’s creative trajectory, and not spoil the #1 spot by revealing the #2 spot.

So why do these kinds of lists? Also, why Death?

I make this little chronology to offer my insight into Death’s discography partly for the reason so many others have made similar rankings: to appreciate Death’s music and the huge legacy Chuck Schuldiner left through it. But I also make this because I do think my perspective on Death is a somewhat unique one, at least among Death fans. Chuck Schuldiner was an incredibly talented musician and a beloved figure within the world of metal, and that aspect of his legacy has undoubtedly been enhanced by the untimeliness and unfairness of his passing. The guy certainly had a strong presence on the stage and a certain charisma off of it, and his cherishing of animals surely resonates with me as well. Death was also hardly my first death metal band, so I do think that gives me a bit less of a nostalgic perspective on their legacy. I still enjoy a lot of the same things about Death that most fans do, and at the end of this list, it might not really end up being all that shocking or controversial, just a slightly tempered version of what most fans would make. I’m pretty long-winded, so I’ll cut the intro and get into the music: Death.

1987 - Scream Bloody Gore

I have to reinforce my position right from the get-go about having a more measured view of the band’s catalog because the spicy takes come right out of the gate with Death’s debut album, Scream Bloody Gore. The sour really isn’t all that sour and it comes with a little bit of sweet right afterward too: I think this is Death’s worst album. But that just means it only gets better from here, and I do still really like it. It’s a classic in its own right that started Death on a more solid footing than the average debut project in very new territory at the time and I again do genuinely still like it a lot; I own it, along with the rest of the band’s catalog, on vinyl. But it is, as I mentioned, a first step into new territory, and rather naturally primordial, which indeed has its own appeal in the context of the era it came from and for which it deserves tremendous appreciation. There is indeed a lot to appreciate here. I love the persistence of the bass line in the title track, the hooks of songs like “Zombie Ritual” and “Baptized in Blood”, and the amped up Slayer-inspired extremification of thrash metal that would only snowball further as the band and the genre they helped pioneer progressed. But the primary role Scream Bloody Gore served was to lay the groundwork for Death to expand upon in that early era that would itself later become the groundwork for their more ambitious progressive tilt during the second half of their career. I’ll throw it out right here just to get it outbid then way, it’s not exactly a hot take, but some Death fans are partial the other way; it’s probably already evident, but I prefer the band’s second era from Human to Perseverance. Personally I think bands like Morbid Angel and Cannibal Corspe were more suited to this primal gory form of early death metal, and I think Death would have wound up being seen as merely a pretty good band in a tier below those guys if they had stuck with what they were doing with their debut and the two albums that followed for the rest of their career. Again, Scream Bloody Gore is by no means a bad album, or even a rough start, kind of a Kill ‘em All sort of debut that laid solid foundations and allowed for greatness to follow but indeed stands well enough on its own.

7/10

1988 - Leprosy

The band’s sophomore release just a year later showed immediate signs of improvement. The trimmed track list with more meticulously groomed songs (and a greater density of sick riffs) produced several live staples for the band, like the title track, “Left to Die”, and especially the ever-traditional concert-closer “Pull the Plug”. But there was more than just better riffs and more focus on perfecting the songs here. The production on Leprosy was clearer than the band’s debut the year before, and the writing was generally more sophisticated too, incorporating a bit more flashy technicality that would soon escalate to an echelon that would end up characterizing their sound more comprehensively. Soon-to-be vestigial characteristics of the debut album still remained: tons of wailing Slayer-sequence guitar solos, thrashy blast beats, the focus of palm-muted tremolo riffing, and more fantastical, brutal lyricism. But Leprosy presented these more mid-brow elements in a more impressive arrangement than its predecessor.

8/10

1990 - Spiritual Healing

My personal favorite of the band’s grittier first half of their career, Spiritual Healing was really just a more consistent continuation (to my ears at least) of the refined early death metal sound of Leprosy. The band were starting to develop a more signature style of riffing, as well as soloing that they would take with them into their next four albums. By now most of the gory detail was taking the backseat to Schuldiner’s psychological analysis of certain “Defensive Personalities”, parasitic religious manipulation by televangelists, and prenatal cocaine exposure. The more high-mindedness of Spiritual Healing also ushered in another ramp up in the band’s technicality that made the progression into the heady technical death metal of Human a rather natural one. The band’s last album in their so-called “traditional” or “brutal” or “classic” death metal era played around a lot more with the dynamic range of the genre and it really ran the gamut of what Death had done up to that point within that style of death metal and beyond, the title track being my personal favorite example of this ability the band had to contort the genre to fit their more expansive needs while keeping everything in the confines of death metal. It’s my favorite song on the album and of this era of Death’s career. At this point, Death had pretty robustly demonstrated their ability with the genre in its more primitive form, and evolved it along the way quite a lot at that, to the point where they really had nothing more they had to say with the style, an impressive feat after three albums. Sure they could have probably spun their tires in the mud for a few more albums (knowing now that Chuck Schuldiner sadly only had a little more than a decade left), but the direction this album had the band heading in was pretty apparent. The only question was if the band would take the leap into the upper echelons of technicality and explore the new frontier that they were headed toward. Thankfully for us, the band had plenty of ambition left in them. As for the last album of their first half of their career, it’s hard to find many complaints with, and one that capped off this era of Death in complimentary fashion.

9/10

1991 - Human

After reaching their peak with bruntly aggessive death metal, Death’s fourth album began a second act for the band, one that sought to elevate their style to a more progressive form of death metal. It was a change that was pretty strongly indicated by the direction the band had been heading in and the step up in technicality on Spiritual Healing. Human takes the solos and the fast-paced guitar passages and bass lines to new extremes that the genre had never seen before, and the lyrical shift to more heady, cerebral, existential themes fit well with the significantly increased musical complexity that the album introduced. The technically dazzling yet infectious riffing of “Together as One” and “Flattening of Emotions”, the still-tasty hooks of the former and “Suicide Machine”, and the tasty percussive rhythm of “Lack of Comprehension” made those songs live staples. The band were still kind of finding their footing with the compositional aspects of this new realm, but the grounding in the aggression of their previous work with the voyage into the techy unknown was a good thing to start with and a good way to explore some new sonic territory while safely tethered to what was effective for them previously that produced some pretty impressive results.

8/10

1993 - Individual Thought Patterns

Carrying forward the ambition for significantly increased technicality that began with Human on to their fifth album, Death were still getting the hang of things with Individual Thought Patterns, which isn’t all to surprising or something to impugn the band for given the difficulty mode that had selected to play the creative game on, and the band still made some significant improvements with the integration of the hyperspeed technicality into their sound. Even more than the subsequent Symbolic, Individual Thought Patterns made the technicality so much more of a focus where, to me, this was Death’s first bonafide technical death album. Human was definitely pretty technical, but on Individual Thought Patterns, Death cut the cord and let themselves float off into the dizzying cosmos of instrumental technicality and tailored their compositional practices to fit that need. If there was any contingent of fans struggling to keep up with Death’s progression or hoping for a scale-back to the more brutish early albums, they were left behind with Individual Thought Patterns, save perhaps for the consolation of more traditionally groovy closing track, “The Philosopher”, but rampant speed-fests like “Overactive Imagination” and odd-timed melodic groovers like “Trapped in a Corner” quickly became fan favorites. If there’s one thing Individual Thought Patterns lacked, it was balance, but that wasn’t going to be a problem for very long...

8/10

1995 - Symbolic

Ah, Symbolic, there’s not gonna be any surprising bucking of the trend or “bold” underrating here. In a catalog that so many fans regard as perfect, Symbolic stands out as the most common fan favorite, and for good reason. The album synthesized everything that had made Death such a force to be reckoned with in the death metal world. Weaving together the early era’s delicious primal grooves, the elevated technicality that had become a solidified facet of the band’s style, and their newly blossoming progressive inclinations, Symbolic remains the band’s most comprehensively representative and accomplished work, the best place for any newcomer to the legendary act to start, and the best album in their acclaimed discography. The song-writing is tight and interesting from start to finish, seasoned with both tasty riffs and captivating displays of technicality that enhanced the songs rather than the players’ appetites for indulgence, and kept consistently interesting with frequent tasteful dynamic shifts and surprising twists and turns. I would undoubtedly go on forever if I were to detail the brilliance of every song on here, the majestic melodies and winding structure of “Crystal Mountain”, the catchy commentary on mass surveillance of “1,000 Eyes”, the invigorating double-bass of “Misanthrope”, and the iconic riffing of the opening title track. Instead I’ll quickly highlight two songs that seem to go unnoticed that I find particularly beautiful for the unexpected compositional moves Death makes on them. The first is the song, “Without Judgement”, which abruptly drops its techdeath winding to hypnotize with a gorgeous and emotive melodic solo that seems rather uncharacteristic for Death that I just love, and the second is the closing track, “Perennial Quest”. It’s the longest song in the band’s discography up to this point, only to be just marginally eclipsed by “Flesh and the Power It Holds” on the subsequent album, and it embarks on a similarly proggy and melodic odessey to that of “Crystal Mountain”, but it’s the somber and mournful electric/acoustic outro that would soon become all too tragic for Death fans to listen to that concludes the album on such a heartfelt note in such beautifully fitting fashion. There’s no other moment like it in Death’s catalog, and it’s always a solemn, conclusive reminder of just how much light Chuck Schuldiner and Death brought to this world and how lucky we are to have albums like this. I’ll end my sentimental bit here and conclude by briefly summing up my thoughts on the album. Symbolic is Death’s magnum opus and a masterpiece among masterpieces that captures nearly everything that makes Death and death metal appealing and that had made the genre so predominant for decades since, and beyond being their best, to me, it is a perfect album.

10/10

1998 - The Sound of Perseverance

Death’s final album seemed to set them on yet another new musical course after the second run through the steady improvement over the course of a three-album cycle. The longest album of the band’s seven and including the longest songs in their catalog on average, The Sound of Perseverance took Death on quite the progressive joyride, and surprisingly (to me at least) it kind of split and confused some fans who had just gotten used to the band’s digestible technicality on Symbolic. Granted, I was just a little baby bitch boy when this came out, but personally I don’t see why this was such a shock to the system for so many fans (apparently), the band had always been pretty ambitious and this was a pretty logical next step for them to expand their continually expanding sound. The structures on the band’s seventh album are less conventional and more packed with extensive technical passages, and the band do pull out a good few more surprises than they ever did in any album previously, like the acoustic/electric guitar-solo instrumental “Voice of the Soul”. But The Sound of Perseverance is by no means any kind of contrived over-indulgence in ideas grander than what the band could accomplish or frothy wank-fest. The band was already developing a bit of a progressive bend in the previous three-album arc and they simply took it to the next level the same way they did with their instrumental technicality on Human. And fans did indeed vibe with plenty of songs on The Sound of Perseverance, with the impressively vocally high soaring “Spirit Crusher”, the angular and unpredictable “Scavenger of Human Sorrow, and even the lengthy, and indeed structurally confounding, prog-techdeath monolith “Flesh and the Power It Holds” making their way into the band’s setlists on their last tours. And of course the album ends on the well-earned, fun, high-octane cover of Judas Priest’s “Painkiller”, which finds Schuldiner incredibly nailing the songs high melody with his high-pitched death shrieking style (and finishing with never-before-heard clean vocals). For the reputation it has for eschewing balance for high-minded progness, The Sound of Perseverance is by no means a hard pivot from or unrecognizable from Symbolic. Its bold expounding upon aspects of their sound that already seemed pretty evolved while remaining musically engaging and not sacrificing what made their previous work appealing, and sheer magnitude and impressiveness of the band’s third venture into new territory again do sometimes make me question whether I like it more than Symbolic. While it did seem to pave the way for another new mind-blowing era of Death that death took away from us, The Sound of Perseverance has become a glorious and aptly titled swan song and a testament to the band’s and Schuldiner’s relentless ambition and, indeed, genius. Eternal cheers to Chuck and to Death.

9/10

And that’s it, eleven years and seven albums that continually revolutionized death metal and paved the way for so much of what we hear today. Anyone reading this of course probably knows most of all of this, but it’s still astonishing to think about how much Death did for the genre in such a relatively short time, and, for me at least, even having already been a pretty big fan of Death, listening to these albums from Scream Bloody Gore to The Sound of Perseverance, it reminded me more viscerally of the quality of the music and respected legacy of the band that I have always intellectually acknowledged and agreed with, which I figured I’d share here. If, somehow, you’ve come across this and you’re not into Death or death metal but you’re open to it and interested, you’re in for a treat. Put on Symbolic and just enjoy the trip down the rabbit hole.