“Relentlessly picking on black metal bands whose members opt for anonymity is a favorite pastime of ours here at Angry Metal Guy, but it kinda sorta makes sense when you look at the practice from the band’s perspective. When trying to break into the scene, withholding one’s identity means that critics have only the music to go on, and if the musicians happen to suck, it eliminates any possibility of cred shredding in the eyes of the masses.” Secret identities are metal.
![Latitudes – Old Sunlight [Things You Might Have Missed 2016]](https://www.angrymetalguy.com/wp-content/uploads/2016/12/Latitudes-Old-Sunlight-01-768x768.jpg)
“Very few genres have as clearly identifiable roots as post metal. Without fail, musicians under this label are always traced back to the same key acts. Neurosis. Isis. Cult of Luna. These are the bands that defined post metal for decades. For many, they also acted as the gateway into the genre itself, but not for me.” Gateways to education.
![Abhorrent – Intransigence [Things You Might Have Missed 2015]](https://www.angrymetalguy.com/wp-content/uploads/2016/01/Abhorrent-Transigence-01-1.jpg)
“Generally speaking, brutal and slam death are tough pills for me to swallow. It’s not that my ears are hyper sensitive to the trademark extremity of the style, but rather the cartoonish brutality, often amateurish musicianship and lack of song-writing smarts results in many bands dissolving into a forgettable slop of unrefined mediocrity. Inevitably there are exceptions, particularly when the slam grooves and relentless brutality are attached to memorable, catchy songs and top-notch musicianship.” It’s never too late to realize you missed something.
“Brutality came along at the first death knell of a genre that has outlasted just about every musical trend that has come and gone. They released some thrashy death metal demos, one of which (Dimension Demented) I reviewed in the print version of Unchain the Underground back in 1992.” Mr. Kikuras has long running ties to brutal endeavors.
“Sure, we weren’t exactly charitable toward the last two Megadeth albums, but who among us hasn’t been rooting for Dave Mustaine to get his shit together and give us another Rust in Peace or at least another Endgame. For my part, I’d pretty much given up on seeing that day, especially after the dumpster fire that was Super Collider. With major line up changes (Kiko Loureiro in for guitar god Chris Broderick and Chris Adler in for Shawn Drover), blood was in the water and it seemed Dystopia might end up an ironic statement on the state of Megadeth’s health.” Time to turn your head and cough, Dave as we offer a double examination of the state of Dystopia.
“It’s the new year! And that means new starts. What’s going to be new with the Record(s) o’ the Month in 2016? Well, pretty much nothing. I plan to be just as opinionated, stubborn, and unreliable as I can be. Because now I have Unimpeachable Scientific Proof™ that my choices are pretty much fucking representative of the choices of the entire staff at Angry Metal Guy. Yeah, sure, some people might not agree with me all the time, but in aggregate—which as we know from the rise of Big Data and the Technocratic Rule is the only data that matters—my opinion is still trend-setting and all-important. Put that in your pipe and smoke it I Give a 4.0 to Everything That Reeks of Nostalgia and Desperation Druhm. So my wimpy prog choices? Yeah, they’re gonna keep coming. My not caring about the newest super true Demilich clone? Oh, it will continue. My total disinterest in anyone’s opinion but my own? Yup, that’s the whole point of this blog.”
“Oh, Ghost… what have you brought upon us? Since the masked Swedes hit paydirt with their patented brand of Scooby-Doobie Doom™ via Opus Eponymous back in 2010, there’s been an influx of retro-rockin’ stoner doom bands looking to drive their own Mystery Machines™ over well-navigated roads. Granted, for each one that wows us, there are several more that we wish would just go away. Those meddling little brats! I would have gotten away with it if not for them.
Serenity is an Austrian symphonic power metal that I’ve just recently learned our very own Steel Druhm has been fawning over, thus once again sullying my hard-earned reputation by rubber-stamping anything that reminds him of his wasted youth. In an effort to put a stop to this travesty, I decided to review Codex Antlanticus myself. Having never heard the band—certainly the facts pursuant to Druhm‘s overzealous ratings aren’t necessary in order to feel offended—I immersed myself in Serenity’s 5th full length release bracing only for the worst. Hilarity, as one might expect, ensued.
“I first came across the nightmarish raptures of Spektr in 2006 with Near Death Experience. That album was perhaps the most unsettling record in my music collection at the time, and served to worsen my already-horrific insomnia. Since then I’ve been captivated by every one of Spektr’s disturbing soundtracks.” To sleep, perchance to scream?
“First appearances can be and often are misleading. Take Death Mask Replica, for example, the fourth release by Swedish band Bombs of Hades. After noticing the Captain Beefheart-spoofing title and marveling at the tastefully grim and artsy cover, one might expect some kind of experimental blackened death metal in the vein of Chaos Echœs to be hidden within.” Of course, you’d be totally wrong and embarrass yourself.
