Two weeks back we asked a simple question: why isn't there more heavy metal in the video game world?
Our Facebook page blew up with gamers offering up their favorite titles with metallic soundtracks, and we took a closer look at several worth your time. In that post still available here if you didn't read it, we looked at the king of heavy metal video games – Brutal Legend – as well as Saint's Row The Third, Killing Floor 2, Painkiller, and Guilty Gear X2 Reload.
After that post went online, Zynthetic – responsible for much of the music in Killing Floor and Killing Floor 2 – wrote up an article attempting to answer the question of why more metal doesn't show up in video games since they seem like a perfect and obvious match.
For his take on the lack of metal in gaming, including the difficulties in licensing existing music and the lack of metallic knowledge among composers, read the full article right here.
Since we love gaming and we love metal, it seemed like a good idea to keep checking in every so often with new entries that combine the two, and this week we'll cover four more solid games filled to the brim with extreme metal. Don't see your favorite game listed? Don't worry, we'll cover more in the future, but be sure to still give us your picks in the comments below.
Five years ago a reboot of the '88 arcade game Splatterhouse hit consoles, and it was very much notable for the inclusion of an all-metal soundtrack featuring the likes of Lamb of God, Mastodon, Municipal Waste, Cavalera Conspiracy, and Goatwhore.
As the name would suggest, it's filled with buckets of blood and guts, and the action-oriented beat 'em up style is somewhat similar to Dante's Inferno/God Of war/etc. The frantic combat will see your character Rick frequently losing limbs and more, but that's not a problem because they grow back – and hey, you can pick up the severed appendages of your foes to continue beating them down!
This one's filled to the brim with all sorts of horror goodies (and ridiculousness) like time travel, cosmic horror deities, and plenty of nods to Lovecraft with names like “Dr. West” and places called “Arkham.” Someone helpfully put all the songs from the soundtrack together into one playlist at YouTube here, and you can check out a game trailer below:
Considering the huge potential for crossover between metal and gaming fans, it's always baffled me that there aren't more heavy metal focused video game soundtracks. Rather than going for sounds that make the player bang their heads and launch their controller through the television, most games – even highly action focused ones – tend to stick with more tepid ambient soundtracks based on electronica. Techno is about as “heavy” as most game soundtracks tend to get.
This week we're going to take a look at a handful of games that buck that trend and offer up honest-to-Lucifer extreme metal in their playlists. Not an exhaustive list (and we'll be looking at more in the future), this is just a few that are worth your time and are notable for their inclusion of tracks from excellent metal bands or for having original soundtracks rooted strongly in the metal tradition.
This one's a no-brainer, as it's essentially THE heavy metal video game, created solely to celebrate our beloved genre. Eddie may be a lowly roadie, but through the power of metal (and a battleax, wicked car, and some magic powers) he can annihilate the goths, please the gods, and get the girl (or two).
Although it seems like a gimmick to get heavy music fans interested, the gameplay is actually really solid and revolves around three different styles: strategy large-scale combat as a general over an army, open world GTA car driving shenanigans, and elements of combat-heavy action games like God of War or Dante's Inferno
The game features more than 100 metal tracks (some of which have to be unlocked in-game) covering a huge range of sub-genres with everything from In Flames to Cradle Of Filth, along with a whole lot of classics from the likes of Motorhead and Judas Priest.
Forty five years ago this day (Friday and everything,) a debut album was released that, unbeknownst to practically everyone at the time, would change music forever. Though it would be dismissed quite harshly at the time by critics, Lester Bangs being perhaps the most famous journalist to slam the album, calling it amongst other things, "... just like Cream! But worse," it would go on to become one of the most acclaimed, and many agree first, heavy metal album in history. If you haven't figured it out by now, the record in question is the self-titled first effort from the one and only, Black Sabbath.
As most readers of our Sunday Old School column will remember, the feature dedicated the whole month of October to covering the history of Black Sabbath, so having another look back at the early days of Sabbath may seem like a re-run, but like episodes from the fourth season of The Simpsons, it's a re-run worth looking at. For a more in depth look Ozzy's first era with the band, you can read the first part of the aforementioned series, by clicking here More...
As a geek growing up in the late 1970s and early 1980s, there was little greater joy than in paging through comics in a spinner-stand at my local grocery store. Sure, there were the usual Supermans, Batmans, Spider-Mans, Archies and Hulks, but every now and then, if I was really lucky, a copy of Marvel's "What If?" would be waiting for me. More...
So its Halloween yet again….and for some reason it just doesn’t seem as scary and wonderful as it used to be. Maybe its age….maybe it’s the state of the world….perhaps it’s just desensitization or my state of mind. Though its still my favorite time of year, Halloween used to be "special," mainly due to the fact that I bought into this notion that Halloween is the “world holiday of metal.” Not unlike horror films, metal used to have a creep factor in the 80's that seems all too polished and mechanical in 2014. For me, it's the only time when severely under-produced records can have a massive shock value.
On the topic of special Halloween memories over the years, I distinctly remember 1986 – when Slayer had just released what is arguably the greatest thrash metal album of our time just 24 days prior to Halloween. I begged my parents for money to buy it just around a day or two before Halloween…and it literally scared the crap out of me as a 15 year old kid. Every Halloween in that time, back when more people used to celebrate it with open doors, family, friends and I used to walk 5-7 miles – filling multiple pillow cases with candy…only to return home and dump it on the floor before switching costumes to go out for another 2-3 miles before all the lights went out in the neighborhood precisely at 8:30pm. 1986 was particularly memorable because the topic of discussion was “Reign in Blood.” My friends and I gasped in terror conjured by the album mostly because it was so "rebellious" and clashed directly (and indirectly) with our Roman Catholic upbringing. These were days before we reached the age of reason. More...
I can tell you exactly when my love of music began. It was the fall of 1987 and my friend, Nathan, had brought over a new cassette that he promised would blow my mind. It took somewhere around five seconds, but from the first time I heard Axl Rose's air-raid-siren scream that opens Guns N Roses' "Welcome To The Jungle," I knew I was to be a metalhead for life.
Shortly after that, nearly every penny I could spare went toward the latest works by the likes of Metallica, Anthrax, Megadeth and their ilk. Then, as college and the Grunge Era hit simultaneously, I found my musical tastes expanding into alt-rock ranging from the likes of Nirvana and Alice In Chains to the Red Hot Chili Peppers and Primus. In my junior year of college, I discovered the Beatles, with their total disregard for genre limitations. More...
When the members of AC/DC convened this spring in Vancouver, B.C., to record the forthcoming "Rock Or Bust," it was both the end of an era, and the start of an uncertain new one. To be sure, the band has faced adversity and uncertainty before -- most notably in 1980 with the death of singer Bon Scott and his replacement with Brian Johnson for "Back In Black."
This time, the loss is potentially an even greater one, as the band prepares to release its first album without founder and rhythm guitarist Malcolm Young. More...
Last Friday, the only remaining original carrier of the most influential name in rock music sadly left us.
Tommy Ramone, the last original member of the Ramones, was the sole survivor of the legendary quartet for ten years following the passing of guitarist Johnny Ramone in September 2004 and with no original members left alive, the Ramones will now be consigned to folklore.
They didn’t sell as many records as the Rolling Stones, open the listeners minds to new concepts like the Beatles, or even reach the big arenas in their home country, but the Ramones changed the face of rock and roll forever, somewhat literally in fact, as their uniform of denim of leather would become adopted by metal fans not even five years after they released their self-titled debut. This was just one of the ways that these four young Stooges fans would influence the music they were accused of trying to replicate.
The most important thing about any band should always be the music, and this where the Ramones helped to change things the most. Spectators of their earliest concerts in CBGB’s recall a constant barrage of noise, an assault on the eardrums without the musicians on stage giving an ounce of a fuck what the audience thought. A description fit for heavy metal if ever there was one. Of course, the first people to use the Ramones as a template for their bands were many of the young punks in Britain, a place where the band would sell out every time, in larger venues than the ones back home too. The Clash, The Damned and Stiff Little Fingers are just a few of the time who adored the Queens quartet and the DIY ethics they espoused helped bring metal back to street level when the New Wave of British Heavy Metal came along, an early fusion of punk rock and the earlier heavy metal such as Budgie, Judas Priest and Van Halen.
A number of the NWOBHM artists cite the Ramones as an influence, including former Iron Maiden frontman, Paul Di’anno, who in an interview for the bonus disc of his album, "The Living Dead," referred to Joey Ramone as the most recognisable voice in rock. Early recordings of the bands live shows, and indeed the ferocious speed they brought to the recording studio, certainly showcase what could be regarded as an early form of thrash metal. The break neck speed, chainsaw guitar and confrontational vocals fit into any playlist alongside the likes of Exodus or Vio-Lence and before long, several recognised names in the thrash genre such as Metallica, Rigor Mortis, Ratos de Porao and Anthrax would cover their songs, not to mention the band being honoured by another forbearer of thrash, Motorhead in their song, "R.A.M.O.N.E.S." More...
This month marks thirty five years since one of the most important terms in heavy metal history was coined. After a show featuring Iron Maiden, Angel Witch and Samson, Sounds writer Geoff "Deaf" Barton wrote a review of the concert in which a phrase was used that still stands strong today. It was the time when head banging public was introduced to the New Wave of British Heavy Metal. The term was arguably created to cause a stir amongst fans who would argue that heavy metal bands in Britain was nothing new and that the likes of Black Sabbath and Judas Priest had been packing out large venues and appearing on such television shows as Top of the Pops for the last few years, despite the dominance of punk rock. However, these bands were different. They possessed the energy of punk but had the look and volume of the early metal bands before them. They took heavy metal away from the grandiose indulgence which some bands had become embroiled in and brought it back to the common man.
It was truly an exciting movement, full of high quality bands which would go on to influence hundreds more and in some cases, become superstars themselves. More or less every metal fan will be able to tell you that Iron Maiden was one such NWOBHM band, with a slightly smaller number being able to point to Def Leppard as another group from the New Wave of British Heavy Metal who went on to stardom after the release of their excellent self-titled EP and debut album, "On Through the Night," following which they shifted direction to the band we know today. More...
When a very attractive, scantily clad young woman claims she loves metal, get a second opinion.
Yeah, I said that.
And I’m not claiming you’re all fakes, female metal fans. I know you’re out there. Most of us can personally attest to that. I’m talking about the posturing selfie types.
You know the ones. They lurk online, Facebooking, Tweeting, posing in metal-looking gear with an Impaled Nazarene logo prominently displayed, skin showing, pouty siren’s call etched across the face.
Sometimes they actually go to the lengths of posting music videos, and when they go there, they go big. “ROOOOTS, BLOODY ROOOOTS <3 METALCHICK FOR LIFE <3 DEATH TO ALL BUT METAL” and so on. Methinks the ladies doth protest too much.
With a few exceptions, these girls do this for one primary reason: they know how to attract men via the path of least resistance. Make that ZERO resistance. Metal is an overwhelmingly male-dominated genre, fostering a “homoerotic relationship between bands and their fans,” as former Sepultura merchbabe Marta Svetek puts it.
So when such a photo goes up, the hungry dogs swarm for their scraps, as it were. You don’t even need to read the Tolstoy-length comment thread to guess its simple pig-swooning gist. How could some girls resist?
A female musician I spoke with, who wishes to remain anonymous (more on that later), recalled of playing with her former metal band:
“Crowds of girls would come into the club between sets and prey on all the guys, then go outside for nearly the band’s entire set, probably blasting Miley or One Direction in their earbuds. I actually remember talking to some girl about a band whose T-shirt she was wearing. She said, ‘Oh, this band? I just thought the shirt was cute.’”
This tactic has suckered many a metalhead, and many enterprising folks have seized on it. Why else would countless popular metal sites and blogs hire “spokesmodels” to push their merchandise? Why else would niche custom fashion lines like Toxic Vision gain such a mammoth following? Why else would 70,000 Tons Of Metal hire “pool girls?”
Why, in other words, does metal culture virtually have to IMPORT hot women like Julius Caesar providing for the appetites of his legions?
Simple: because metalheads (i.e., dudes) like to stare at girls’ tits and asses, and some girls, spurred on by the “hot groupie fantasy,” (in Svetek’s words) like to provide such sights. Capitalism, baby.
I’m not saying I’m above all this, and I’m not exactly judging the arrangement. I believe in the free market. However, I don’t have to embrace everything the market produces, and one very dubious aspect of this Budweiser-ad approach in metal is when it manifests in the music itself. More...
For our 2013 year-end awards we included a category for best “newcomers” – those bands that released debut albums well worth hearing.
To help get you acquainted with the best new talent releasing albums you may have missed, we’ll be looking at each of the bands nominated for the “best newcomer” category by our staff. Today, senior reviewer Progressivity_In_All looks at:
With one of the coolest names of the incoming class of 2013 bands, Damnation Angels strikes hot at the anvil of heavy metal to forge their sound out of equal parts power and symphonic metal. Hailing from Doncaster, England, a tag-team of brothers handle the drums and guitar: Will and John Graney, Stephen Averill handles bass guitar, and Per Fredrik 'PelleK' Åsly contributes impassioned clean vocals with a powerful voice that can pace about anywhere within a four-octave range with no problem.
The debut album, "Bringer of Light" (reviewed here), landed the band a prestigious opening spot on the main stage of 2013's ProgPower USA festival, where a stateside audience greeted Damnation Angels' debut in the country.
The sound of Damnation Angels is one steeped in tradition, and a damn fine iteration of it at that. When not involved with Damnation Angels, lead vocalist PelleK has his own self-titled project that he writes for, releasing a bombastic Christmas album just before this last Christmas (on the cover art, Santa Claus is riding a giant fire-breathing dragon). Fast on track to become the next Timo Kotipelto, young PelleK is leading Damnation Angels into the future with style into what will be their next record, "The Valiant Fire," which was announced to the ProgPower USA crowd during the exclusive performance of "Finding Requiem" from the album.
If you want to see more of the best new talent 2013 had to offer, be sure to check out the previous entries:
Part 1 - covering Witherscape, Gloryhammer, and Cnoc An Tursa
Part 2 - covering Vista Chino, The Resistance, Raven Lord, Skan, and Lord Dying
Part 3 - covering Avatarium, Gloryhammer, Bane of Winterstorm, Artlantica, and Heavatar
Part 4 - covering Gloomball, Damnations Day, Vista Chino, and Beezelfuzz
For our 2013 year-end awards we included a category for best “newcomers” – those bands that released debut albums well worth hearing.
To help get you acquainted with the best new talent releasing albums you may have missed, we’ll be looking at each of the bands nominated for the “best newcomer” category by our staff. Today, writer OverkillExposure looks at Gloomball and Damnations Day:
Guitarist Björn Daigger of new German import Gloomball states, “We refer to our material simply as rock music, but you could also call it alternative metal or modern rock.” Of this variety, the rock-radio highway is annually littered with misses, but Gloomball’s debut “The Distance” is a gut-punching hit. Daigger and co-songwriter Alen Ljubic (vocals) composed seven new tracks atop four previously existing songs from the band’s demo days, tossed in a cover of Robert M. Tepper’s “No Easy Way Out” (from “Rocky IV”) for good measure, and recorded a killer record with massive crossover appeal. Ballsy, thunderous, and groovy enough for headbangers young and old, melodic and heartfelt enough for a cathartic singalong session, “The Distance” expertly captures the essence of Five Finger Death Punch, late ‘90s Machine Head (sans the rap), latter-day Shadows Fall, and even some power metal and the understated progressive brilliance of acts such as Scar Symmetry.
For our 2013 year-end awards we included a category for best “newcomers” – those bands that released debut albums worth hearing.
To help get you acquainted with the best new talent releasing albums you may have missed, we’ll be looking at each of the bands nominated for the “best newcomer” category by our staff. Today, writer/reviewer CROMCarl covers Avatarium, Bane of Winterstorm, Artlantica, Heavatar, and the previously mentioned Gloryhammer. Here's what he had to say:
Just when you thought Leif Edling was done making Candlemass albums - relegating the epic doom pioneers to live duty only - the man goes and reinvents the genre again with the creation of Avatarium. Backed by powerhouse guitarist Marcus Jidell (Evergrey), drummer Lars Skold (Tiamat), and keyboarist Carl Westholm (Krux/ex-Candlemass), the band was bursting with talent and vast doom pedigrees.
All initial trepidation of how vocalist Jennie-Ann Smith would fare was cast aside on the album's first spin. Her haunting and gorgeous vocals showed as much immense power as it did frail honesty. The band laid waste to all doom that came before them with one of the best debut albums since Candlemass' "Epicus Doomicus Metallicus." The band was not only my top newcomer of the year, but came in second in my overall Top Albums of 2013 (see the review here).
Each year in our annual metal awards we take a look at the best “newcomers” – those bands that released debut full-lengths worth your time.
To help get you acquainted with the best new talent releasing albums you may have missed, we’ll be looking at each of the bands nominated for the “best newcomer” category by our staff. Today, writer Rex_84 covers Vista Chino, The Resistance, Raven Lord, Skan, and Lord Dying. Here's what he had to say:
Thanks to Facebook and local venues, there was hardly a day that went by without receiving a flyer or like request on an unfamiliar band. Bands from around the globe injected new ideas into sounds we know well. In the end, however, my list mostly consists of new bands containing members from the artists I've gotten to know and love through my years as a heavy metal fan.
Vista Chino rose from the ashes of Kyuss Lives when former Kyuss guitar Josh Homme and bassist Scott Reeder sued the band for "trademark infringement and consumer fraud." Although no longer containing the "Kyuss" in their name, Brant Bjork easily filled Josh Homme's shoes. Vista Chino's debut "Peace" is the fuzzy, desert rock album Kyuss fans have long for since the group disbanded nearly twenty years ago.
Each year in our annual metal awards we take a look at the best “newcomers” – those bands that released debut full-lengths worth your time.
In addition to the standard slew of burgeoning metal bands getting their footing in 2013, there were several new projects created by established members of the scene that dropped some of the best albums of the year.
To help get you acquainted with the best new talent releasing albums you may have missed, we’ll be looking at each of the bands nominated for the “best newcomer” category by our staff. Today content manager xFiruath covers Witherscape (which ended up winning the category in our 2013 awards), Gloryhammer, and Cnoc an Tursa.
An instance of the champ coming out of retirement to show the young pups how things are done, Witherscape marks the return of European metal legend Dan Swano, who has spent the last several years behind the sound board instead of in front of the microphone.
Rather than going in the direction of his various ‘90s projects, this band is essentially a progressive death metal outing, with some strong classic metal leanings. “The Inheritance” was an album I greatly enjoyed on first listen, and have only come to appreciate even more over time, to the point it’s now among my most played metal on any given week.
“THAT’S NOT METAL!”
One of the most oft-hurled accusations among metalheads, to a point where people waste inordinate amounts of time bickering over this crucial distinction on which one’s very identity seems to depend, usually online.
Why? What’s hanging in the balance here? For let’s face it: at the end of the day, this is music we’re talking about – an art form, subjective by definition, and utterly dependent on individual taste. While arguments over politics and religion can get pretty silly, the importance attached to such views is still far more understandable than the absurd fervor with which many fans defend metal’s imagined gates of purity.
For all the fun metal has to offer – heck, I wouldn’t be writing about it were I not an avid fan – its overall fanbase is popular music’s most self-loathing and self-destructive, collectively and metaphorically speaking. In fact, many metalheads may take issue with my inclusion of metal in the “popular music” category, which itself is, I believe, the root of the problem.
Examining the sometimes-bizarre pathology of metal’s less-than-savory fanhood has long been an interest of mine, and while I don’t have the space (and you certainly don’t have the time) to unravel all my thoughts here, I will submit this: “That’s Not Metal,” quite often, is a smokescreen, a self-deluding attempt to marginalize an album, band, or entire subgenre one doesn’t like or doesn’t feel represents him.
It is a cultural form of denial. For when one identifies himself as Metal – and it’s a strong, dominant form of expression – all it takes is a ladle of insecurity to send him scurrying to defend the uniqueness and purity of his very identity.
I will now evaluate a pivotal development in metal history that may help explain the origins of this splintering trend within the genre. More...
You’ve heard the term or perhaps engaged in a pledge and it’s seems to be all the rage these days: “crowd funding.” Some people may view it as the band version of “panhandling,” but when you consider how much the music business has changed since the rise of the digital age in the face of internet file sharing, rampant illegal downloading and lagging world economies, it doesn’t seem like a bad idea, right? What better way for a fan to feel like he or she is part of the business then to strike up a good old-fashioned pledge drive. Over the last year, there have successes as well as disastrous failures, mediocre output and subpar notifications from smaller local bands and well known acts. But, is crowd funding something worthy of slapping down your hard earned cash in these bad economic times? You only need only look to one band that has risen above the rest, proving twice over that there is power in this medium: A Sound of Thunder. Its members (Nina Osegueda, Josh Schwartz, Jesse Keen and Chris Haren) are shining examples of what is right about crowd funding. More...
In its 14th year for 2013, the ProgPower USA Festival is one of the longest-running US festivals, and the longest-running US multi-day festival to feature bands from outside the US.
This year, it has the special distinction of being the US debut show for five bands. Totaling more than a hundred and twenty band performances in its time, it has developed a reputation as a tastemakers’ festival, heightening awareness within the US of foreign bands.
It can be a daunting festival, price- and endurance-wise, but it’s one that should be considered if the genres it derives its name from at all turn your head. Here’s what you can expect from this year’s celebration of the fast and the nerdy down at Center Stage in Atlanta, Georgia, starting on September 4th. More...
This is an opinion article, not a news story, and it doesn't necessarily represent the views of the other contributors at Metalunderground.com.
My reaction to yesterday's arrest of Burzum's sole member Varg Vikernes wasn't shock, it was laughter. The guy was convicted of manslaughter and arson and the French were dumb enough to not only let him into their country on a farm far away from prying eyes but also purchase a number of firearms that he even photographed himself with. What exactly did the Gendarmerie Nationale think he was going to do? The only part of this that's shocking is that it took this long for the French to actually arrest him.
To expand on why exactly this scenario was inevitable, it's that Varg believes in the innate supremacy of all Germanic people while living in a country of Southern Europeans that also has a large Arab minority. This along with his self-imposed isolation was probably going to bring him to his breaking point.
After the British were involved in a scandal where it took them years to finally deport two radical clerics with ties to Al Queda, why would the French bother with somebody who's even more obviously a security risk? Even if the authorities were jumping the gun and there was no terror plot, Varg has to take some responsibility for his reputation. I mean, really, does this photograph look innocent to you? More...
My personal confessions are less about what I enjoy that would shred my credibility through a wood chipper and more about which bands I used to despise that I'd never talk shit about today. Namely, I used to really hate System of a Down, Iron Maiden, Behemoth and Chimaira. After only hearing a handful of songs from each, I decided that all were overrated before actually giving their discography a real chance.
Holy shit did I regret that later on after listening to Chimaira's self-titled album, Iron Maiden's “Powerslave”, “Zos Kia Cultus,” and the entirety of “Toxicity” (although I still maintain that “Chop Suey” has always been overrated and overplayed and I'm not a fan of the title track on “Resurrection”).
It's hard to look at yourself after talking shit about music that you were completely ignorant about. Eventually, I moved on to "Seventh Son of a Seventh Son,” “Resurrection,” and “Steal This Album” and realized that I was talking out my ass and sounded like one of those guys who calls eurodance “techno” but has never listened to speedcore or confuses hip-hop with R&B. More...