验尸报告“The Howling Dead” from 止血带,钢锯和坟墓


Crepitant muciferous mid-paced death 金属 band 尸检 发行最新专辑 止血带,钢锯和坟墓 on April 29. This will be the seventh full-length for the long-running band, who took a break from 1995-2008, 和 most likely will showcase more of their streamlined rubric of aggressive death 金属 balanced 通过 a mainstay of moderately paced material which gives contrast to the bursts of fury.

止血带,钢锯和坟墓 是在幻想工作室与制片人亚当·蒙诺兹(Adam Munoz)录制的,其特色是 尸检 line-up of Eric Cutler 和 Danny Coralles on guitars, Joe Trevisano on bass 和 Chris Reifert on drums 和 vocals. Second-wave death 金属 cover designed Wes Benscoter painted a cover to order which exhibits the album’一个方便的图像中的主题。


4. Dead叫死者

以下是Peaceville Records的声音样本:


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What is the 地下 ?


This issue is 关于 to explode into public discourse because the rise in new-style 金属 bands has forced this question upon us all.

What is the 地下 ?

Before even reading this article, keep in mind 那 there are some excellent resources. First, 重金属常见问题 提供完整的答案。第二, 地下永不死! is a whole book dedicated to this topic through the eyes of 金属 bands from the 1980s-1990s 地下 era.


1980年代到1990年代初是不同的时期。不仅没有互联网,而且音乐分配也得到了严格的定义。主流商店从大型唱片公司那里获得了大型发行商所拥有的东西,并从中挑选了一些较小的唱片公司来推广。如果您想要更多的选择,可以去一家“alternative”存放较小标签的音乐商店。通常,您以50%的加价购买进口商品。大多数商店对诸如死亡金属之类的东西完全不感兴趣,因为它吸引了一小部分反社会的利基受众。当您甚至不用尝试就可以卖出20份Motley Crue时,为什么还要烦恼卖一份Deicide专辑呢?

In addition, there were forces of opposition to any 金属 那 was not radio sanitized (which meant speaking on code words, probably encouraging deviant behavior to a greater degree). Very few people now remember when Tipper 走re 和 her Parents’音乐资源中心(PMRC)是一个功能强大的大厅,用于为有问题的专辑提供父母警告贴纸。此外,这种人的威胁导致唱片店实际上 people for buying violent rap or occult 金属. You had to be 18 和 prove it, or they would not sell to you.

And getting it on radio? There was college radio 和 also a handful of independent radio stations but these faced the same problem. Why play death 金属 when you could throw on a few sets of Sonic Youth 和 Rites of Spring 和 have 20 times as many listeners? Even among 另类 music, death 金属 was unpopular because it was abrasive 和 did not have a large social movement behind it which made people like it. NWA was a violent, misogynistic 和 hilarious rap group 那 got banned just 关于 everywhere, but there was a large social movement behind their work. It was easier to find 那 than your average, or even your top-selling, death 金属 band.

What 地下 meant back then 似乎 be 那 it was offered through 另类 channels. A few record stores, some college radio stations, tiny record labels run on a basically non-profit basis, 和 photocopied hand-assembled 杂志 made of a pastiche of typed content 和 tattoo-style margin drawings. How did most people find new music in the early days? They hooked up with pen pals who would mail them cassette tape mixes of new music they found, often dubbed from cassette demos from the bands. Sometimes these tapes were many generations down the line 和 you could barely hear the band under the crepitant tape noise! But they did the job 那 mainstream media, record labels 和 magazines would not.

Toward the middle of the 1990s, this situation relaxed. First, the rise of used CD sales meant 那 smaller labels were making it into bigger stores via a backdoor. Second, magazines like 旋转 eventually gave coverage to death 金属. Finally, changes in the way music was distributed opened up the middlemen who supplied record stores to the smaller labels. This meant 那 the traditional split between 地下 和 mainstream was going away. Record labels, scared 通过 the possibility of used CD sales eating up the profits from big mainstream releases, which relied on novelty to sell 和 interested their audiences for only a few months, started looking toward “niche”销售。但是真正使它从水中喷涌的是黑金属的恶名。

Starting in the mid-1990s, rumors of the black 金属 movement in Norway 和 its legacy of violence —教堂焚烧,谋杀和储存军用武器— began to leak out through the 杂志 into the magazines. Then the whole drama exploded with the trial of Varg Vikernes, who conveniently also ended the old black 金属 era with 赫维斯·莱塞特·塔·奥斯, an album so deeply nuanced 和 impossible to follow 那 most musicians shrugged 和 went back to three-chord, “punk style” black 金属 instead. He raised the bar at the same time bands like Darkthrone codified the genre with Transilvanian饥饿, an album 那 was difficult to create but easy to mimic. 如 mentioned in the documentary 直到光明带我们, black 金属 witnessed the decay of an idea. This decay happened through emulation 那, because it looked at the outward traits like distortion 和 blast beats, missed the actual meaning of the genre which caused musicians to make such similar music in the first place.


在那之后,“underground”似乎失去了意义。互联网已经到来,音乐和有关它的信息也可以普遍使用,而高功率台式计算机的普及意味着录制专辑,运行唱片或制作杂志所涉及的劳动要少得多,并且外观和声音要比DIY好得多。 1980年代(甚至是1960年代至1970年代,当原始朋克乐队和朋克乐队对其进行创新时)的劳动。在这一点上,人们开始寻求“underground sound,”这意味着人造低保真,简单的三弦和弦,对包括反神秘主义在内的反社会话题的大量抱怨,以及对任何积极强化的故意攻击性抵抗。

您可以看到由此引起的混乱 Laina Dawes精心组装的文章:


In the years from 1995-1998, the 地下 basically rehashed itself. It had no ideas, 和 more importantly, the bar was raised. To be a good death 金属 band, you had to be at the level of Morbid Angel’s 盟约 或窒息’s 从内部刺穿. To be a black 金属 band of note, you had to be at the level of Burzum’s 赫维斯·莱塞特·塔·奥斯 或被奴役’s . Not many bands could do 那 和 so an 另类 地下 built up based on fan-driven 金属. Most of this was in emulation of the previous years 和 took the form of three-chord simplified versions of the more complex originals. The result was 那, outside of a small cluster of people hanging around internet forums, this music went nowhere.

大自然讨厌真空,因此从1999-2006年左右,metalcore接管了真空。这也是易于制作的音乐。它采用了后期硬核朋克的随机美学,并将其与死亡金属即兴演奏相结合,制作出毫无意义的混乱歌曲,但令人分心和极端。在这种趋势消失之前,音乐界已经迷住了这只死马走路(残酷地混合隐喻)长达五年。从2006年到现在,音乐行业采取了不同的策略:与其尝试制作一种新的音乐类型,不如尝试一种过去的作品。他们发现了后铁杆时代的沃土,其中独立摇滚,擦鞋和后摇滚在同一影响范围内共存。通常这就是所谓的“alternative 岩石” before “alternative 岩石”成为了来自西雅图的穿绒布,苦乐参半的硬摇滚乐队的品牌。


Deafheaven是一支来自这一传统的偏光乐队。听着它,根本不清楚其中是否有任何金属。但是贴上标签“metal” or “underground” or “extreme” excites interest, mainly because few people trust the aboveground media. Thus there is a huge financial incentive to classify Deafheaven as 金属, 和 for smaller blogs 和 magazines to go along with this fiction as well, if they do, they get advertising revenue 和 possibly a shot at the big time.


我对上一篇文章的建议, “In defense of 精英主义,” 是地下是一个误用的名词。关键是金属具有一种精神,可以将其定义并将其与其他所有事物区分开。必须表达这种精神,但这种精神不信任主导范式。黑安息日在爱,毒品和和平主义的嬉皮游行中写下他们的音乐。他们的观点是,改变我们的观点不会改变现实。地下金属也有类似的信息,并且不愿意改变它,以适应那些宁愿听到关于爱情,毒品和和平主义的否认小说的人们的期望(地下说唱并行地做同样的事情,但是用不同的方式以及一系列不同的否认小说)。


金属不是拥有地下的唯一类型。朋克最初是地下的,但随着1970年代后期的流行,顽固的朋克乐队开始消失在深蹲中,在废弃的铸造厂里参加午夜派对,并在7日出售音乐″从衬衫袖子上记录下来。直到今天,日本的噪音运动仍在地下进行,像K.K. Null从原始的噪音中构造出精美精美的作品,而不是像唱片公司所希望的那样苛刻地轰炸叛逆的作品。前绯红王(King Crimson)的吉他手罗伯特·弗里普(Robert Fripp)使用电子设备使他的吉他听起来像个风琴,并在世界各地举行小型音乐会。地下不是金属特有的术语,而是用来描述整个社会不鼓励但仍相信其具有意识形态,艺术和/或政治价值的任何活动的术语。





戴菲芬(Deafheaven)对重金属乐队的代表是主流音乐的胜利。在聋人天堂中,没有任何东西可以挑战听众一秒钟的灵魂搜索或发现,或者说艺术所做的一切— 那’s a separate debate —与我们所用的死亡金属和黑金属形成鲜明对比。实际上,聋哑人(Deafheaven)相当于墙纸的聆听效果,这是一系列令人愉悦的重复图像,也许会让我们考虑购物。音乐是否不好无关紧要。“媒介就是信息,” we’再说一遍,就《聋人天堂》而言,这种媒体冒充流行性冒充“extreme.”

BasementGalaxy has revealed, Deafheaven represents aboveground genres invading 金属:

从那时起,金属上的任何“新”和“创新”都使音乐家越来越多地走出音乐类型的界限。 Shoegaze,工业,后朋克,krautrock,渐进摇滚,爵士,tr,dubstep。在过去的十年中,这种情况正在逐渐发生,但Deafheaven 2013年的专辑《 Sunbather》可能是第一个大碎片,最终将使“极限音乐”与实际重金属完全分离。尽管我对这张专辑的看法已经发表并且不会改变,但是它仍然是2013年最受好评的专辑,在所有类型中,这标志着这张​​专辑第一次占据了“金属”和“极限音乐”之间的灰色地带已经引起了众多主流评论家和观众的关注。一些批评家仍然称Sunbather为“金属”,但这样做首先是要忘记是什么使重金属成为重金属,而只是抓住了原本丰富多样的音乐面料中的几根金属线。实际上,Sunbather是肢体完全超越金属精神的绝佳范例。

换句话说,那里’Deafheaven没有这样做的原因’t sound like 贝里特, 恶魔, 诅咒, 布拉弗里亚人 or any of the other bands which have resurrected the 地下 sound over the past five years. Deafheaven represents the mixing of mainstream sounds into 地下 金属, while 贝里特 represents 地下 金属 growing 和 developing on its own terms.

If anything, the 地下 is in a renaissance because it has finally escaped the old standard of lo-fi music sold on cassettes/vinyl through dodgy mail orders 和 reported on only 通过 small 杂志. We have gone from alienated from society to accepted (grudgingly) 通过 society, 和 so now we are “niche” music. But what defines this 利基市场 is 那 it is 地下 . We face the hidden truths 和 evoke concealed emotions, 和 thrust a fist in the face of oblivion. That is what makes us 地下 , 和 it’这就是为什么群众选择戴菲芬(Deafheaven)而不是民主(Demency)作为极端音乐的面孔进行报道。


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Alex Hellid创作比赛重新混搭Entombed


Entombed的Alex Hellid提供了一项比赛,这给听众带来了挑战:制作Entombed的东西,并可能赢得免费的东西。

这里’s his statement:

这里 are three instrumental demos. Take them 和 do something…add your own 味道…lay down the vocals…be the voice…remix…cut it up…add samples…do an animation…shoot a video clip…anything…and let us see it! Then post it on our facebook page.

进入比赛页面下载三首曲目 并开始重新混合。然后,将它们上传到 Entombed Faceborg页面 看看会发生什么。




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In defense of 精英主义


成为作家的好方法之一是掩饰乞求问题的谬论。那’s what happened with “为什么黑金属风扇会如此笨拙?”,这是一块原本不那么受人尊敬的网站Vice.com的新作品。

这篇文章的开头是一个恶作剧:一位作家走进布鲁克林的一家酒吧。他听到人们谈论黑金属。他建议戴菲芬(Deafheaven)和那里的每个人,包括调酒师,都告诉他 ’不是黑色金属。然后,他忽略了有关该标杆的重要信息,并知道我们所有人都会立即将其抢购一空,以进行支持,并进行冗长的长篇大论,使用逻辑上的谬误。乞求问题谬误取决于建立一个错误的关联,然后针对该关联的对象和它的内容进行争论。’与关联。它’s like this: “知道了黑金属与空中艾滋病之间的联系后,’让我难以置信的是,除非有人真的喜欢在风中因自身免疫性疾病在街上扭动的人,否则任何人都会支持黑金属。”



他什么’在这里所做的是巧妙地重新定义“elitism” to mean fear of other genres using black 金属’s technique. However, the example he began the article with is 那 of other bands pretending to be black 金属. Not a single elitist has argued against bands appropriating black 金属 technique, so long as they do it in their same camp. The point of 精英主义 is to keep out impostors.


这就是为什么许多团体不仅是音乐方面都是精英人士的原因。他们试图保持自己的做事方式,而这与牧民想做的事情不同,而牧民则想在继续前进的同时适应这些反叛团体的衣钵。—在美学之下— to do exactly what the herd always does. In this case, they want to dumb down black 金属 into emo/indie/shoegaze/rock. That’这就是为什么人们讨厌Deafheaven。




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麻醉荒原– “Shackles of Sobriety”


尼罗河吉他手达拉斯·托勒·韦德(Dallas Toler-Wade)推出了自己的新专辑《麻醉荒原》(Narcotic Wasteland)。“清醒的铐。”

根据这首歌, ’很明显,这张专辑来自现代金属阵营,而不是死亡金属阵营。它从令人印象深刻的旋律金属介绍入手,然后成为现代金属的商标,这是受Pantera影响的人声引领吉他,颠覆了经典的死亡金属配方。因此,您所听到的大部分声音是吉他在背景上保持恒定纹理的人声节奏,而不是像所有最好的死亡金属乐队那样,吉他的前奏和人声填充了次要纹理。

这创建了一个“rant effect”这让我想尖叫“Are you talkin’ to me?”在屏幕上。这些经文的背后是铅制快节奏金属即兴即兴乐段的更新版本,该乐段可能在一天前出现在《禁忌》,《天启》或《验尸官》专辑中。然后,对于合唱,我们在更具有冲击力的死亡金属即兴即用上切换到相似的声音节奏,这导致了旋律引入的残留。反过来,这导致了一个高速吉他独奏,它从爵士音乐技术中倾斜借鉴,但倾向于以一种即弃式风格进行演奏,好像独奏更多是在那儿占据必要的空间而不是在担任音乐角色。然后重复并消失。

“Shackles of Sobriety”是有关吸毒成瘾的概念专辑的一部分。显然,Toler-Wade和朋友居住在一个被人们绞痛和功能失调所困扰的社区,并决定将其设计为麻醉性荒地,以用于喜剧用途。顶上所有幽默,但有先见之明,’对他们的抱怨合法性。美洲和欧洲大部分地区至少都戒酒,结果是到处都有严重的功能障碍。至少从1959年威廉·S·伯劳斯(William S. 裸午餐,每个人都有一些弊端,而有些则绰绰有余。

尽管我赞扬DTW和朋友们的努力,但我仍然可以’t get jazzed for either Nile or this because I am a death 金属 fan. Nile sounds on the surface like death 金属, but it uses harmonically static riffs 和 keeps them in standard verse-chorus positions most of the time, which obliterates the riff-leading composition used 通过 death 金属 bands. Most of their stuff more resembles speed 金属, as does this modern 金属 offering.


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Fan kills black 金属 singer for not being Satanic enough


I’我为此而死,但这’s an observation, not a recommendation: black 金属 was a lot better when it was the Wild West, with bodies cropping up everywhere, churches aflame, 和 musicians stockpiling paramilitary gear.

然后所有的文明—大约在同一时间 善于交际有利可图 — 和 immediately descended to the same repetitive 和 soulless level as all other music 那 has been socially accepted.

因此,当我’我不会为所涉及的行为欢呼(因为我们是文明的,所以没有人负责),我不得不承认某件事的短暂闪烁— nostalgia? hope? —我今天早上看时越过我的神经网’关于 self-proclaimed Satanist who killed the singer of a Thai 金属 band, Surrender of Divinity.

Surrender of Divinity have released a number of 地下 efforts to some acclaim, culminating in a split with Finnish war/noise 金属 cult Archgoat. 在eBay上投降神灵的价格 对于您的愤世嫉俗者,他们已经做出了回应。

据称杀人凶手Prakarn Harnphanbusakorn在与乐队见面时显然是《降魔降临》的粉丝’歌手Samong Traisattha,为后者喝些啤酒’的家。当萨蒙先生’聚会开始后的两个小时,她的妻子返回检查,她发现丈夫死于多处深刀伤。

在Facebook上发布为 冥想,普拉卡恩(Prakarn)先生张贴了谋杀惨案的照片,并提及了他的行为的the骨性质:

“我打算从25岁起就结束自己的生活。因为我’最终会死,我想把那些破坏撒旦教义的人拖下去。但是我避免杀死妇女和儿童,” he wrote.

“在我看来,与那些自称撒旦教徒却一无所知的人相比,我对敬虔的佛教徒,基督徒和穆斯林有更多的尊重,” he wrote. “如果我不杀他,我’我肯定他以后会被其他人谋杀的”

“恶性冥想 ” concluded 那 people who do not have faith in Satan should not call themselves Satanists. He also said he hoped he would be with Satan after he died.

He had previously mostly posted black 金属 news, snippets of Satanist information, 和 kitty pictures.



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是岩石‘n’ roll assimilating 金属?



一样多“in vino veritas”描述了醉酒的人经常不经意间脱口而出的真相,采访经常使音乐家想到基本思想。疲倦的音乐人通常一天要进行多次采访,因此他们容易受到追捧。此外,由于他们’一直在大脑中创造语言的那一部分工作,’通常会以最清晰的方式进行几次采访。

因此’s not sensible to either discount interviews, or to wholly accept them without being critical. But recent comments 通过 Nominon drummer Per Karlsson highlight why 金属 interviews will always be popular — the offhanded, 偶然而直接的事实模糊:

I’d say 那 black 和 death 金属 pretty much go hand in hand, but 那’s just my opinion. I am a bit worried though, since more or less all death/black 金属 of today has turned into 岩石 ’n’ roll or something, all the new bands seems to be more into retro-rock, either 那 or looking/sounding like Ghost. I am ashamed of what this has turned into, it makes me sick.

为这位风度翩翩的音乐家打一分。首先,丢弃是有意义的“that’s just my opinion” which is a passive-aggressive way of saying 那 some opinions coincide with truth where others do not. Then to analyze his main point, which is basically 那 岩石 music is assimilating 金属.


金属从来都不希望成为岩石。如果有的话,它将留在摇滚营地。它也没有’t fully want to be blues. The influences on Black Sabbath were not only previous 岩石 和 heavy blues, but progressive 岩石 和 horror movie soundtracks (these inherited heavily from modernist classical, notably Wagner). With 金属, 岩石’相当静态的纹理节奏演变成强力和弦乐句,比起当时的摇滚乐,它更接近恐怖电影音乐。


摇滚音乐将自己看作是坏男孩和叛逆者,是破坏文明的反文化。现在有一种反文化。摇滚男孩在歌唱着鲜花,爱情,和平与我们美好的未来的地方,金属带来了现实主义的残酷,不和谐的音符:理想主义是罂粟鸡,死亡无处不在,而普通人却忘却了(参见“War Pigs”)是将邪恶带入世界的原因。摇滚乐的人以为你可以用爱来与邪恶抗争,而金属则反驳说,你只能以警惕和对生命,疣和所有人睁大眼睛的意识与邪恶抗争。这震惊了摇滚界。

Since 那 time, 金属 has been the go-to imagery for advertising firms, movies, books 和 other entertainment products to symbolize “rebellion.”他们还尝试朋克。金属和朋克是有意识地选择成为局外人的两种流派,并避免只做其他摇滚乐队所做的事情,并且紧随其后 趋势,选择“success.”流行音乐非常简单:找到其他人正在做的事情的独特版本,这样您的听众都会认识到您’重新做,并有一些独特的“mental handle” 那 causes them to single you out. It’s basic memetics.

这意味着娱乐产品既有核心又有表面。核心是实际的音乐内容;表面是美学,怪癖,讽刺,意象等等。金属在其核心和表面都有反叛。但是,如果可以将金属表面转移到岩石上,则可以得到理想的产品。最接近的乐队是Guns n’Roses后来以Black Sabbath风格的即兴演奏和蓝调主角来管理摇滚歌曲格式。如果有人能够制造出感觉像金属的坚硬岩石,那么市场就会倒塌并向他们乞求。

结果,对金属的主要威胁是“look like”(表面)金属,但实际上是相同的旧材料。在这个旗帜下有许多乐队被起诉,包括奥佩斯和所有nu-metal(在皮肤下是“rap/rock”). Recently this process has picked up more steam in the 地下 . “Post-metal” —这基本上是1980年代后期的铁杆,情绪摇滚或独立摇滚—已经开始以黑金属出售。具有后期硬核样式的Nu-metal已作为死亡金属出售。结果是球迷无法分辨金属和岩石之间的区别。

该广告商’s dream will backfire. The more 金属 gets like 岩石, the more it loses its outsider status. The more 金属 shows up in “legitimate”出版物和娱乐活动,就越有意识地不在主流世界之外。就像朋克一样,它最终会“flavor”用来出售某些产品的岩石,例如摩托车,科隆,热狗和链锯。这就是卡尔森警告我们的内容,’我们注意他是一件好事。



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致冷剂– 连续体

冷冻连续体在听这本书之前有两个启示:首先,当我第一次进入音乐界时,我认为才华和能力是罕见的。现在我意识到他们’re commonplace, but the ability to apply them in some non-inert interesting way is rare. Second, 那 金属core — the mix of 金属 genres in the post-hardcore style of “没有连续性的对比” riffing — borrows almost everything it has from 1980s speed 金属.

致冷剂offer us a highly musical take on 金属core with 连续体,具有出色的演奏能力,清晰的歌曲创作能力,甚至更罕见的呈现歌曲的能力,使它们不仅在情感上吸引人,而且营造一种连贯的过渡感,而不仅仅是随机的情感爆发让位就像情景喜剧中军官的咆哮。

是什么带给我们金属芯? Meshuggah和The Haunted的融合。两者都以速度金属为基础,但打破了内部即兴即兴对话的金属结构,并用后顽固论取代了这种观点,即即兴即兴之间的强烈反差至不连贯的角度使一首更好的歌曲成为可能。它所做的是强调解构和隔离,以至于听众’注意力跨度被破坏了,因为要求低得多,所以使这种方式的编写变得更容易。


我希望这支乐队能够设法保持潮流,并朝着他们明确想走的方向漂移,这就是第一张Cynic专辑的方向。这些歌曲实际上是结合在一起的,它们的核心是复杂的和谐感,从而使键过渡具有灵活性,从而使它们更加优雅。 Cryogen恰好相反:许多样式最终都因参加巨大Metalcore潮流的负担而在音乐上过于简化的核心而最终受阻。


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瘟疫释放“Necro Morph” from Obsideo


Pestilence will be remembered as one of the heroes of death 金属, but many have stated reservations 关于 their more recent output, which seems unduly influenced 通过 the modern 金属 movement, including tek-deth 和 alt-metal, which always seem to go hand-in-hand.

“Necro Morph” shows the band dialing back from the modern 金属 fringe 和 making what’s basically renovated speed 金属 with modern 金属 touches, avoiding the true randomness of tek-deth. The counterweight to 那 is 那 this makes the music more repetitive, which forces the vocals to overcompensate to give it textural depth.

如果演唱人声,这种方法可能很有意义,但是’这是一个不幸的选择。 Pestilence一直擅长于器乐而非人声。当您最强的乐器是吉他时,为什么要制作人声密集的风格?其次,这将重点放在一种don声/呼喊声中’有这么多的变化,这需要喜剧性的强调,反过来又增加了歌词的分量“interesting,”这在摇滚乐中通常意味着“ludicrous.”

此外,把乐队的主旨’致力于支持人声的节奏吉他的努力使重复音节变得愚蠢,从使用部分和弦和单弦拾音的有趣短语到恒定功率的和弦,它们形成了均匀重复的声音墙,有策略地为Mesheshah-的节奏打断了声音。爵士风格“offtime” effect.


如果有的话,Pestilence应该认识到他们的听众不是“the kids,” who will always want something dumber than Pestilence can provide, but the maturing listener who wants something with a bit more meat than the mostly 岩石-based pop 金属 那 dominates the airwaves. You can’不能效法对他人有用的东西,否则成功就没有必要,而且Pestilence必须找到自己的道路。


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万– 享受污秽

wan-enjoy_the_filth流派的竞技场’t arbitrary things. They have certain ideals 和 certain boundaries, like all ideas or practices. Some people find 那 constraining 和 want things to fit in certain genres just because they say so.

Such must be the case with Wan, which is labeled as black 金属 和 has been repeatedly introduced as such. It isn’t。这是一个很棒的后期硬核唱片,因此非常令人愉快,但事实并非如此。’t black 金属. Not only 那, it would be a total failure at black 金属, so it’照这样列出它是不明智的。

让人想起刺穿的拿撒勒人’s 乳胶崇拜, which arose when 那 band decided black 金属 was out of possibilities for the time being, 万享受污秽 充满活力的高能量硬朗格即兴和简单的合唱歌曲。这是一出门摇滚乐’ hard with riffs 那 seem inspired 通过 Discharge, Terveet Kadet, the Exploited 和 GBH. Others might point out late-1990s 朋克 like Driller Killer 和 Disfear, Dischange, etc.


如果您想将此频段与其他频段进行比较,则上述的Impaled Nazarene是最接近的链接“black 金属,”但它更符合1980年代后期的《铁血战士》之类的铁杆,尽管形式更欧洲化。它’听起来很愉快,并且可能赢得了’坚持太久了,但是’s certainly not black 金属.


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