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Catalog (/deathmetal/)

Winner of the 77nd Attention-Hungry Games
/x/ - Paranormal Phenomena and The RCP Authority

April 2019 - 8chan Transparency Report
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R: 0 / I: 0 / P: 1 [R] [G] [-]

Rules and Meta


Death Metal Underground (www.deathmetal.org) is the oldest metal site on the internet. Founded by Brett Stevens in 1988 and once known as LARM and anus.com, Death Metal Underground reigned supreme for decades.

When the culture war came to metal, DMU was the only metal site to embrace the cold, truths of metal elitism. This triggered soyboy lefties and Antifa losers-in-life, who spent a ton of money on a massive botnet to launch DDOS attacks on deathmetal.org, forcing it off the internet.

While the site remains heavily under siege, Death Metal Underground has been banished to the dark web of 8chan where this board continues it's ancient ways.






>5. NU METAL SUCKS. DO NOT PRAISE NU METAL BANDS (Korn, Slipknot, Limp Bizkit)


>7. METALCORE SUCKS. DO NOT PRAISE METALCORE BANDS (Killswitch Engage, Lamb of God, Asking Alexandria)

>8. DEATHCORE SUCKS. DO NOT PRAISE DEATHCORE BANDS (Suicide Silence, Whitechapel, Despised Icon)



<big>CURRENT STAFF</big>









R: 5 / I: 0 / P: 1 [R] [G] [-]

Striborg’s second album of 2018

The Tasmanian woodscreature is back, but is anyone listening?

R: 16 / I: 3 / P: 1 [R] [G] [-]

You Burn the Coal...

Why did Sepultura get blacked?

R: 3 / I: 0 / P: 1 [R] [G] [-]

Skepticism documentary

R: 2 / I: 0 / P: 1 [R] [G] [-]

first Sodom concert with new lineup



R: 7 / I: 1 / P: 1 [R] [G] [-]

I had never listened to this before discovering DMU. Sites like DMU are necessary to promote excellent metal. Without DMU, I would still be listening to mainstream crap like Opeth and Meshuggah.

R: 22 / I: 0 / P: 1 [R] [G] [-]

Next Song Analysis

Due to the site crashing and matters concerning Tulio Baars, there hasn't been any song analyses in a while. This time for once I offer our readers the chance to vote for the next analysis. Only top quality death and black metal will be accepted so choose wisely

R: 11 / I: 0 / P: 1 [R] [G] [-]

Reek of Putrefaction


R: 1 / I: 0 / P: 1 [R] [G] [-]


Is it possible that someone could make a mirror of the DLA and Heavy Metal FAQ? That was probably the best part of the site.

R: 3 / I: 0 / P: 1 [R] [G] [-]

Dark Legions Archive

Have all the reviews and audio files been saved anywhere? Such a valuable resource.

R: 15 / I: 3 / P: 1 [R] [G] [-]

Guilty pleasures thread.

R: 4 / I: 0 / P: 1 [R] [G] [-]

In Pains


R: 2 / I: 0 / P: 1 [R] [G] [-]

Necros Christos: Domedon Doxomedon

So, what does MetalAnon think about this swan song and the overall legacy of this band?


too many pointless interludes

ironical comparisons to Ratt and Marilyn Manson

R: 1 / I: 0 / P: 1 [R] [G] [-]

DMU is back!

Looks like deathmetal.org is working again.

DMU wins the war???

R: 6 / I: 1 / P: 2 [R] [G] [-]

Black Magick SS

What do you shemales think of this band? I think they’re great and I like the imagery, keeps soy types away.

R: 1 / I: 1 / P: 2 [R] [G] [-]

I just learned why the DDOS attack against DMU suddenly stopped. It's because Tulio Baars decided to turn his attention to Richard Spencer.


Is this guy fucking retarded or something? Richard Spencer's audience is much larger than DMU's. Why is this Brazilian beta faggot poking a hornet's nest that large?

R: 17 / I: 12 / P: 2 [R] [G] [-]

Shemale Metal Thread

Let's get an official list going. Contribute as many as you like.

R: 0 / I: 0 / P: 2 [R] [G] [-]

Masonic Bear Conspiracy

Defend your land!

R: 2 / I: 2 / P: 2 [R] [G] [-]

Musicians who died of aids.

R: 3 / I: 0 / P: 2 [R] [G] [-]

Status of DMU situation?

Any update on the situation with the site? I assume it's still under attack, but isn't there anything else that can be done?

R: 0 / I: 0 / P: 2 [R] [G] [-]

The Pit & The Pendulum

Society, the pits…

R: 1 / I: 1 / P: 2 [R] [G] [-]

Morbid Angel - Kingdoms Disdained

Maybe this isn't the worst Morbid Angel album, but it's definitely the most boring. I'd rather listen to Meshuggah than this garbage.

R: 0 / I: 0 / P: 2 [R] [G] [-]

music as cultural subversion

Members of the band Killing Joke worked for the Tavistock Institute.

R: 0 / I: 0 / P: 2 [R] [G] [-]


Pentti Linkola

R: 13 / I: 1 / P: 2 [R] [G] [-]

I've been trying to sing like the vocals in this song. But holy fuck, it scrapes my throat raw whenever I try. I think it's affected my lungs too.

R: 2 / I: 0 / P: 2 [R] [G] [-]

check it out

R: 2 / I: 0 / P: 2 [R] [G] [-]

OMC - Are they done?

It's been almost 10 years, no albums, no mere mention of the name in any interviews. Can we admit that they're not coming back?

R: 2 / I: 0 / P: 2 [R] [G] [-]

Cartilage (Finland)

Listen to this split album (skip Altar)


R: 0 / I: 0 / P: 3 [R] [G] [-]

Review of Kreator's Renewal 2017 mediabook reissue

The curse of most metal bands that change direction (informed by trends of the day) but show uncertainty on what direction that may be: some songs seem fully fleshed out in regards to a new direction (at best) while others are half-realized retreads on old ideas meant to pad out the album length while pandering to older audience expectations.

Variety makes this album less tiresome to listen to in one sitting compared to previous albums, but the individual songs aren't up to par with earlier material. Some industrialized pseudo Killing Joke plodding becomes too tiresome (repetitive) for repeat listens, while the epic heavy metal of the title track is good enough at being a stadium metal anthem. The faster, more Kreator songs just seem "inauthentic". Brain Seed and Zero to None are filler speed metal tracks that lack the epic momentum of older Kreator while Europe After the Rain, an album highlight, amounts to what sounds like Mussolini yelling over double sped Metallica and nothing more.

This new packaging is cool (mediabook) and the bonus track Trauma, the best song in this package (though still not too good when held to older Kreator standards), could have broken some of the tedium during its initial release. Kreator on life-support before being revived as stompy (or maybe stompier) stadium metal.

R: 2 / I: 0 / P: 3 [R] [G] [-]


Hellhammer of Mayhem fame played drums on pic related based Templar music.

Why fuck fat gaytheist girls just to spend eternity sucking demon cock when you can be a based Christian like the best drummer in black metal history?

R: 8 / I: 0 / P: 3 [R] [G] [-]

Obscura Diluvium

Tek-deathers Obscura return with their new song Diluvium which refers to an obscure geological event where sediments are deposited through a flood of great force. The first song in an album that will refuse to stray from the well established formula. Taking from Death’s later output and combining it with flavor of the week melodeath and djent.

This band suffers from crystal clear production and an overt reliance on their technical skills more than anything else. A playlist consisting of random tracks from different albums doesn’t come across as being jarring at all since all their works rely upon the same formula. Pop like overly compressed production allowing each instrument to be perfectly heard all the while removing any grit or personality. Basic jazz fusion chord progressions that barely progress or change at all and that are not coherent within the individual pieces. Death worship including the fretless bass attics and a pathetic imitation of Schuldiner’s growl. All with pseudo intellectual space themed lyrics in songs that are not arranged at all.

The only thing left to do is to compare this with their vast yet virtually identical body of work.

The song begins with a progression taken from Cynic’s Focus while a guitar plays the same arpeggio but with sweep picking. Nothing wrong here and actually could be promising if the initial idea was exploited but no we are treated to an unrelated riff taken from early Destruction but with unnecessary ornaments in an attempt to sound technical. Skank beats really add weight to the riff until some annoying clicks burst through while the bass plays a short fuzzy lead as the chorus comes in with an another unrelated chord progression and some ridiculous inhaled gutturals. Do not inhale as it is cheapest trick in the book and it genuinely sounds stupid and weak. The vocals on this track are barely pushed out of the vocalist’s mouth as there are at least 50 vocal tracks with each one being processed extensively and can be heard as he holds on to a growl. This is the metal equivalent of autotune. The composition goes through the verse and chorus again before a gratuitous lead guitar session that has been placed on a grid as it hits a beat down to a microsecond and while the notes are clean, this is not like Yngwie Malmsteen who played everything perfectly and could add interesting ideas to his masturbatory playing, this has been recording in small groups of notes at less than half the speed since none of the notes have any form of decay. Decay being the ending sound of a note played that tends to bleed over to the next note when many notes are played quickly in succession. A guitar solo then takes center stage and brings nothing to the composition nor is it good on its own merits. The song continues in random masturbation until it eventually fails at a laughable attempt of providing a satisfying climax.

Like the lyrics this is a band for people who want to feel intelligent and superior to others on the surface but deep down are empty and without meaning or even value. Avoid this like the plague and listen to something else as this band has only shown integrity when sticking as close as possible to Death’s later works and Teutonic thrash and if you do feel inclined to listen to this band there are a few good tracks on Cosmogenesis but nothing particularly special.

R: 1 / I: 0 / P: 3 [R] [G] [-]

Slayer's Merch Company Sues Everyone


Sellout cash grabbers Slayer's merch company is desperately trying to stop bootlegging so they can make as much money off of Slayer's fake retirement as possible.

Why do "evil" bands let corporations bitch them around so much?

R: 2 / I: 0 / P: 3 [R] [G] [-]

Bloodbath BTFO by based boarders

Bloodbath are a false, denied entry to the USA

>Be pic related

>Insanely mediocre music

>Hire metal-celeb singers to be relevant

>Get shitty Paradise Lost singer to do gutterals for the first time in 20 years

>Still can’t get into country

Why doesn’t anyone care /deathmetal/? Will the truck of peace get them now that they’re stuck in the UK

R: 5 / I: 1 / P: 3 [R] [G] [-]

More proof that Reddit is the gayest site on the internet.

Literal deathcore fans whining about elitism.


R: 2 / I: 2 / P: 3 [R] [G] [-]

Real death metal is made by men who smoke meth and beat women (occasionally rape trannies)

R: 2 / I: 0 / P: 3 [R] [G] [-]

Nuclear Blast has the worst production sound

Every single album sounds like generic modern plastic.

R: 3 / I: 0 / P: 3 [R] [G] [-]

>DMU comes back up

>they publish an article showing Tulio Baars' face

>shortly thereafter, the DDOS attack becomes even more aggressive, taking down the site again


R: 6 / I: 1 / P: 3 [R] [G] [-]

NEWS: Immortal Premier New Song

Cash grab alert! After giving the classic board roam “fuck you” to cornerstone musician Abbath, the corporate conglomerate of Demonaz and Horgh have secured the legal rights to the band name “Immortal” and are now positioned to promptly squeeze their fans to blindly buy music and merch advertised as that of a Norwegian black metal legend. Although the pair have only played together on one album out of 12, they’re billing this as “the comeback of Immortal!” and have already gotten the infamously money-hungry Nuclear Blast records to set up the most overused rock n’ roll ponzi scheme.

Together, the pair have released a new song “Northern Chaos Gods,” the title/intro track of their first foray into commercialized rehash. So how did the miraculous (fake?) recovery of Demonaz’s tendonitis work out? Exactly how far into the waters of retro-rehash did the band wonder? Have they evolved even the slightest as musicians or do they remain forever trapped in the 90’s?

Immediately, it’s clear that Immortal have committed complete necrophilia of their early material. Taking the approach Burzum used on their first two “comeback albums” in 2010 and 2011, the song - from start to finish - is a ripoff of their own back catalogue (particularly, the Pure Holocaust album). There are only a few riffs, almost all of the song is played at warp speed, and there isn’t much variety or thoughtfulness like what we’ve seen from the albums where Abbath was playing guitar. The vocals follow the same pattern/placement that Abbath would have used, but are slightly higher in pitch and float comfortably above the frog-like register of the past.

For some, this will be interesting as Horgh’s stellar drumming ads some additional depth to the compositions and the clear production adds a colorful clarity that was not found on the band’s earliest works. Many who disliked the classic heavy metal influences that surfaced in the age of At the Heart of Winter will find relief in this return to form of sorts. Low IQ metalheads looking for a mindless stream of “idiot metal” can rejoice at the frantic blizzard riffing that they’ll find here.

But as a band that’s brought innovation, creativity, excitement for many decades- this is a complete cop out and ultimately and utter cash grab. In the age of internet metal, we have thousands of bands playing in this style that can easily match this level of composition and production. Plus, we’ve all heard Pure Holocaust and Blizzard Beasts already and don’t need to hear what’s essentially a remake with different riffs. There is no meaning, purpose, or use for this shit existing except to make money for a couple of aging Norwegian fatasses.

The levels of retro-necrophila that Immortal have displayed on this release have never been seen in metal before (outside of this decades Von albums). Essentially it’s the metal Full House reboot- every nook and cranny of this piece hinges on the gimmicks of a time fargone. Just look at the fucking lyrics:

>Fires and battles and blood

>The immortal sons and the hordes of Blashyrkh

>By the north

It’s as if the band just threw their old song titles in a computer algorithm that just randomly assorts words and phrases together and called them lyrics. They’re banking so hard off the retarded desperation of their fans to want to return to the 90’s that they’ve essentially rerecorded a hodge podge of riffs and lyrics from previous works. Sad!

History would better remember Demonaz as the man who’s hands broke too soon, but with this garbage piece of shit music he has thrown his legacy in the garbage in the desperate pursuit of more money. Hopefully, his tendentious will return so aggressively that he will never be able to pick up a pen and sign another record deal again. But until that day comes, we are likely to get more cash grab-rehash bastardizations as a band that was better off in the more capable hands of Abbath.


R: 7 / I: 1 / P: 3 [R] [G] [-]

So what type of metal doesn't suck?

R: 2 / I: 1 / P: 3 [R] [G] [-]

If you like hard core metal in a very epic style definitely buy this one. Playing this from a boombox at night alone was fucking awesome and I couldn't help but at headbang at so many of the epic riffs. Also a good one to bring to gatherings at obscure graveyards or forests.

Deicide - Legion

R: 0 / I: 0 / P: 3 [R] [G] [-]

post obscure underrated albums


R: 0 / I: 0 / P: 3 [R] [G] [-]

If you like hard core metal in a very epic style definitely buy this one. Playing this from a boombox at night alone was fucking awesome and I couldn't help but at headbang at so many of the epic riffs. Also a good one to bring to gatherings at obscure graveyards or forests.

Deicide - Legion

R: 2 / I: 0 / P: 3 [R] [G] [-]

REVIEW: Wolvhammer - Monuments of Ash and Bones

As with anything labeled “USBM,” it is an inevitability that an experienced metal fan will approach this release with caution regarding just how flannelly, how post rock, and how try-hard yet how vulnerable it is. With a cliched moniker that clashes together a couple of clumsy tropes to echo the oil and water mixture that Americans and black metal suspend as, Wolvhammer presents itself and its material as confidently confrontational so the saccharine despair of modern takes on the vulturized genre are initially somewhat absent, but the juvenile approach does not in its stead give credence to the overbearing impudence on display.

Thankfully the band is not masking a lack of melodic sensibility through textural meanderings, but because this is a meat-and-bone riff band, they live and die by the strengths of their individual themes and arrangements. In an attempt at boiling their presence down to a single dimension, the simplicity lends itself to the best releases in black metal, but the command of Wolvhammer in particular is a far cry from what would be a fully-realized artistic statement. Where simplified arrangements provided a hypnotic trance to shed the trappings of superficial elements of humanity in progenitive black metal releases, the endless droning repeats of passages here are devoid of any development to even begin a narrative journey given the absence of any key changes and similarity of riffs explored. Minor chords are used sparingly as clumsily dropped conspicuous pieces of evidence to prove to the audience that yes indeed you are listening to a black metal record, but the bulk of the phrases being Mastodon and AC/DC riffs easily betray that sentiment. The dreaded pathos of the weepy side of American black metal that we were initially spared rears its head during “The Failure King” which is also stapled together with the kind of haphazard arrangement that is used when you only want to bash your audience over the head with an overbearing chorus, structure be damned. At the very least, some sense of dynamics are preserved due to most of the tempos being mercifully mid-paced and in some instrumental choices like the bass break in “Dead Rat, Rotting Raven” but the slightly successful flourishes come off as more accidental than assured given the juvenile command of structure and melody. The most rewarding moments are the repeated use of the same synth tone in between certain tracks that feels lifted directly from a late-70s horror movie.

The more the record plays out, the more the post rock elements begin to bleed through the overcoat of black metal bravado. The last track, “Solace Eclipsed” features a welcome string section that eventually erodes to the most cringeworthy moments of the record as the groaned lyrical cliches are spilled out over an extremely pedestrian alternative/post rock melody that climaxes as a grunge song would. Herein lies the full approach of Wolvhammer: duplicity through the bait-and-switch of black metal aesthetics lulling the listener into a false understanding through superficial familiarity which eventually gives way to the skeleton of unassured musings from a mismatched well of inspiration. Whether they are months removed from metalcore runway shows or fully immersed in the immediate gratification of modern city life doesn’t matter; they’ve pieced together a record under the guise of confidence and as such the record should be judged on its raw substance and not the mystique surrounding the players and their intentions. When evaluated as such, Wolvhammer doesn’t have a leg to stand on.

R: 3 / I: 1 / P: 4 [R] [G] [-]

REVIEW: Illunis - S/T (2018)

Modern metal bands will often add all sorts of odd and extraneous elements to the music. What is most curious and notable, even as one cringes to the sounds of flutes or children's choirs and such, is not what is in the music but what is lacking in the music: an aggressive, adventurous, feral spirit that is the common element of all metal music. While experimentation, new ideas, and new textures and elements are not in and of themselves bad things, most bands, being the crowdists they are, get the horses of the apocalypse before the meat wagon. As Socrates so sagely reckoned all those years ago, the spirit informs the final shape that the physical body will take – to build the creation without spirit is, in essence, to create something that lacks shape and indeed lacks the very essence of being.

Illunis released their self-titled album approximately 5 years after their initial split release with the band Vaelk. Illunis is a German one man band and the album contains samples from some obscure, shitty French movie from the 1940's and was apparently recorded in Finland. This confusion in conception couldn't possibly bleed over into the music, could it? Nah. What is most striking about this album is how forgettable it is. I listened to it three times in an attempt to give it as fair and thorough a review as possible and I can't recall a single riff or melody. Not a note. The music just lays their, supine, utterly lacking in aggression. In the first song, “Trapped Beneath a Lurking Cloud,” there are a few palm muted riffs followed by a ringing fermata note where the music, like a starving Ethiopian struggling to raise his head from his decumbent position, tries to gather itself into action but otherwise the songs remain prostrate. The band is apparently post-black metal but unlike some of the less terrible post-bands the production is so lackluster that there is simply no atmosphere to pick up where the music is lacking. The one part of this album that is not forgettable is the movie samples: they are jarring, irritating, stupid and caused me to utter such phrases as, “you've got to be shitting me,” out loud numerous times throughout the length of the album.

There are some strong point to the album. M, the sole musician besides the session drummer, has written two strong songs. “Memories Unveil the Sooth” does a rather good job of putting together some nondescript riffs and mundane melodies into a compelling structure that does unveil a truth. Not a truth that is worth knowing, and one unveiled by prosaic memories, but a truth nonetheless. “Revelation (coda in C minor)” (this M asshole is pretty pretentious) stitches together tedious, dull music into a compelling structure that tells a story so ordinary that the listener will immediately forget it. For some reason at the end of this preposterously named song the sound engineer pushes the “sound like Transylvanian Hunger” button - perhaps accidentally, perhaps on orders from M for some reason that would only occur to a post-black metal level intellect.

As for the last song, “je vais, je viens, je suis le destin,” perhaps the readers can tell me what the fuck is going on in that one.

In the end, Illunis is a pretty typical hipster post-metal band. The songs are way longer than they need to be; there are ironic(?) references to stupid pop culture; the songs have endless droning

sub-sub-Darkthrone two note riffs randomly punctuated by 'clean' guitar; when vinyl was at its height of its popularity they only released their music on vinyl, and now that cassettes are the hip thing this album is only on cassette. And that leads me back to my point: Illunis is a collection of exterior parts with nothing inside. Sure, M can write a solid song, but that is a skill that can be learned and developed; melodies and riffs come from the spirit and that is something that one either has or does not have. While this album physically exists, its complete lack of animating spirit certainly makes me wish it did not have corporeal existence.

R: 0 / I: 0 / P: 4 [R] [G] [-]

DMU song contest

Where most metal websites reward substandard music through ridiculous contests full of idiots with too much time and money to invest in substandard metalcore. We firmly believe in DMU that most metal is trash and what gets pushed by the mainstream metal media is the worst metal of all. Abandoning songcraft and meaning in favor of impressing their even more pathetic peers who have eschewed all good music in search of the latest gimmick. That what is truly good must be rewarded and the rest quickly forgotten and in response it is time to take action.

Welcome to the Death Metal Underground songwriting competition. The rules of this challenge are simple:

Send one song to the editor that consists of a demo, a decent live recording or a track from an album.

Existing songs or new songs composed for this competition are accepted as long as they are yours.

One entry per member only.

You have one month to submit your song from this day.

No covers now matter how distant they are from the original.

The judging will follow the same strict criteria for any other review. The composition quality and what is being communicated on a conceptual point of view. The execution of the aforementioned.

Aesthetics being the least important will consider the recording and the various tones of the instruments as well the incorporation of certain gimmicks.

Feel free to send tablature, lyrics and any useful material. All entries will be featured and reviewed.

The winner may get some form of prize but the main prize is being better than everyone else.

May the best musician win.