Some things just go really well together. Ham and cheese. Cookies and milk. Frodo and Samwise. Alcohol and an unusually horrible following morning. The metal world, intent on constantly reinventing and expanding itself, tends to mix differing sounds into new amalgamations of metal mayhem in hopes of finding similarly delightful pairings. Some of these ventures are more successful (Full of Hell and Merzbow) than others (here’s looking at you, Metallica and Lou Reed). But few things pair as well in the metal world as black and death metal. All the key ingredients for hate-filled success are there: unparalleled intensity, blast beats, tremolo insanity, thematic cohesion, and harsh, unrelenting vocal deliveries. With all of these commonalities between the two metal subgenres, you’d think that their fusion would be relatively easy to pull off. Based on a lot of recent death metal releases that incorporate black metal into their sound, however, it would seem that this isn’t always the case or even the norm. Outside of the success of bands such as Behemoth, there are surprisingly few examples of blackened death metal seeping deeply into metal culture. Excommunion is here to change that with their fierce new record, Thronosis.
The music industry is huge and can be intimidating. It’s complexity, breadth, and depth is unmatched by any other entertainment industry. That massive output can be quite discouraging if you really want to keep up with everything. As someone who recently transitioned from being an average listener to a serious writer of music, I totally and completely sympathize. Every week, there seems to be some new big happening with music, some new album, some new hype, and if someone tunes out, even for just a week or two, it seems like an eternity has gone by. Trends live fast and die hard in music, making it easy to feel left out. This is totally by design based on everything previously discussed. Labels are trying hard to make something stick and curators are trying to keep up with their massive output. Here’s a little advice to listeners (and journalists) who feel burnt out constantly listening to new music:
Today I’ll be shining some light on riffs long forgotten in the Dark Age of 1984. Much of the 1980’s was an embarrassment of riches for metal. Seemingly every year saw albums catapult bands, and even entire genres, to the leading edge of the metal phenomenon. In the rush and tumble of so much groundbreaking music, it was easy for stellar albums to get pushed to the wayside by albums considered legendary almost as soon as they were released. 1984 was no exception; Metallica continued to Ride the Lightning, bringing the thunder to the thrash metal storm, while Iron Maiden, already the World’s Best Band (in my humble opinion) somehow elevated their position with Powerslave. And all the while, smaller bands oozing talent nipped at their heels, discovering riffs and vocal styles and production techniques never before conceived.