Archive: Unearthing the Metal Underground columns
In the Portugal Daily View, Moonspell's lead singer/songwriter Fernando Ribeiro was quoted as saying "We were an active part of the underground scene that grew steadily over time, supported only by our passion for metal and by the desire to share it with people from all over the world. To spread music demos around the world was like raising our voices and saying ‘I’m here!’. Those were the more exciting days of my young life. To receive tapes from Poland, Mexico or Germany was an incredible experience. I can imagine it was the same feeling for a foreigner who received a tape from Portugal”. More...
It’s Monday again, which means it’s time to explore three more lesser known bands in the metal underground. Today’s exploration to the underground world features our neighbors to the north, which is home to its fair share of metal legends, from the most extreme to the most melodic. We’ve actually looked at Canadian acts several times before, specifically focusing on Toronto and the Maritimes previously, and today we’ll trek there again for three bands that cross the genre spectrum.
I suppose I should start out with a bit of disclosure: I’m not from Canada, and I’ve only been there once for a fishing trip years ago, although the border is only a few hours north of me. So unfortunately these are bands I know solely via their music and their online presence, and I haven’t had the pleasure of interacting with them in the live scene personally.
While working on the review for the new Chariots of the Gods album “Tides of War,” I got to thinking about the very solid lineup of bands from the frigid north, especially in the underground metal scene. There’s a fairly large grouping of what are essentially “second tier” bands currently active – these guys bring the metal full force, but they haven’t gotten signed with Nuclear Blast or Metal Blade or any of the larger labels focusing on heavy music. They still manage to get hooked up with PR companies to keep their presence known however, release high quality albums, and a good deal of them stay busy with touring and festival appearances.
Chariots of the Gods
Is this Ottawa act composed of thrash maniacs who are really into melodic death metal, or are they in an MDM band that can’t give up their love for Megadeth? Either way, this is pretty crushing, headbanging-mandatory stuff.
Chariots of the Gods will be officially dropping debut full-length album “Tides of War” later this month (January 29th to be precise), and the band has already released teasers that should more than pique the interest of metalheads. We recently had the opportunity to premiere the track “Unbound,” which features a guest appearance by Aleksi Sihvonen of Norther, and you can also hear the album’s title track below. For some more background on the band and info on the album’s themes, check out our recent interview here.
Heavy metal was almost certainly born in the English city of Birmingham, but ask most fans of the genre (especially the European ones) and they'll tell you that the real home of heavy metal is Germany. The country hosts many metal festivals every year, including one of, if not the most famous of them all, Wacken Open Air, along with the likes of Summer Breeze Open Air, Ragnarök and Bang Your Head!!!. Germany has long been a place for rock musicians to ply their trade and build a loyal following: From the Beatles spending much of their early days in Hamburg, to the formation of the Scorpions in 1965, to the rise in German thrash bands like Kreator and Sodom, as well as popularising power metal through such acts as Helloween and Blind Guardian, to modern favourites such as Rammstein, Germany certainly has one of the richest histories in rock and metal music. This week we'll be looking at three young bands to come from the country to help prove that it's still top of the tree when it comes to the genre we all know and love.
Formed in the federal state of Saarland in 2003, the band consists of only one member, who goes by the simple alias, A.H. He recorded the first Arcthuris demo, "The Grim White Woman" soon after the project's inception and released it the next year. Arcthuris has also self-released all of their full length albums, beginning in 2005 with "Ruf des Zerfalls." It would be four years until another Arcthuris album surfaced in the form of, "Children of Nibiru," but since then, material has come quite steadily, with two more albums, "Mondsucht" and "Ghouls of Nepenthe" following in 2011 and 2012 respectively. As one might expect from a one man metal band, Arcthuris started life primarily a black metal venture, but has grown to display a more ambient sound along the way.
Arcthuris - "Lucustas Liebestraum"
Arcthuris - "If I Could"
Heavy music has been steadily evolving since its first major appearances, from slow moving doom to blistering fast thrash and onto the most brutal death metal. Somewhere after figuring out corpse paint and freezing cold riffs somebody decided extreme metal could include unexpected elements like string instruments, keyboards, and other orchestral leanings. The symphonic and the extreme collided, and somehow it worked out.
Now some 15 - 20 years later bands are still finding ways to meld together these two styles, but for symphonic black metal junkies the pool of available talent isn’t as wide as with other sub-genres. You’ve likely heard everything from Dimmu Borgir and Old Man’s Child a hundred times over, blazed through the couple of Dragon Lord releases, imported all those Opera IX CDs, and are done working through the Carach Angren back catalog…so what now?
We’ve previously taken a look at a few symphonic black metal acts as well as other heavily atmospheric bands, but there’s still more underground groups worth checking out if you need more orchestral influenced black metal.
This Belgian outfit is on the verge of releasing second album “Ritu” in January 2013 (reviewed here), which follows the debut “Irreversible Decay” album. The album focuses on different rites of various cultures and mythologies, including a dose of Lovecraftian rituals with songs like “Haunter of the Dark” and “Fhtagn.”
For more info on the album, check out our interview with the band just after the recording process was finished. Get acquainted with Saille’s version of symphonic black metal through songs off both albums, available below.
Malaysia is a country that has really begun to make it's name known in the last few years. It's become a popular holiday destination, it has one of the most stable infrastructures in South East Asia and has become a major investing force in association football (soccer,) with Malaysian entrepeneurs buying into such football teams as Queens Park Rangers and Cardiff City. But what is the music scene like in Malaysia? And more specifically, how is heavy metal treated there? A quick Google search will quickly bring up a BBC article from 2001, in which the Malaysian government declared a crack down on the genre. But there are still metal bands active in the constitutional monarchy, and this week we'll be looking at three of them.
First up is Humiliation, a band from the Malaysian capital city of Kuala Lumpur who provide an ear catching take on death metal, being influenced mostly by such British extreme metal pioneers as Benediction and Bolt Thrower. The group was formed in 2009 and spent three months recording their debut EP, "Face The Disaster," which was released in November that year through Nebiula Production. The next year, they were able to record and release their first full length effort, "Dawn Of Warfare," which (including an intro and an outro) contained a total of twelve tracks. Since then, the band has soldiered on, despite losing some members along the way, they have been able to continue writing new material, and released their second full length album, "Seek To Survive" in September of last year. The band has also branced out when it comes to touring, having recently played in such countries as Germany, Poland and Romania.
Humiliation - "Minefields"
Although there may be stagnation in many areas of the heavy music scene, particularly at the most visible and mainstream levels, such is not the case with a swath of metal’s underground sector.
Sure, there are dime a dozen bands that all sound the same and use the exact same breakdown of low growls and clean singing (you know which ones I’m talking about – they like to call themselves “melodic hardcore” or “post-something or other”). There are even plenty of groups that claim they transcend genre or don’t care about sub-genre tags because “music is music” - and this is frequently a warning sign what you are about to hear will suck, hard, and very likely be a copy of something else that was just as lame.
But if you skim off that top layer of bafflingly-popular gunk, there are bands to be found that genuinely ignore borders between styles and let a wide range of genres seep into each other, creating unique and interesting sounds.
In previous Unearthing columns we’ve looked at a few metal bands that blend different genres or ignore metal trends as well as experimental or avant-garde acts, and today we’ll unearth three more outfits in those categories. These are musicians that don’t mind getting some prog in their death metal or some black metal in their electronica, and they’ll even play with mainstream elements while still hitting the extreme notes without skipping a beat.
This Swiss avant-garde outfit has three full-length releases under its belt, with the new album “The Revolution is Dead!” (review coming soon) just dropping last month through Code666 Records. Despite the title’s claim, the metal revolution certainly isn’t dead, as Blutmond plays with just about everything that can be found in the musician’s toolkit: black metal collides with saxophone, female vocals, and even some goth and industrial elements.
As a statement from the band itself recently said, the latest album is “a roller coaster of mindfucked hate songs full of love and lots of lost dreams.” This is a group worth checking out for fans of Oblomov, Furia, or black metal bands that all around don’t give a good goddamn about remaining “trve” or “kvlt.” Four tracks from “The Revolution is Dead!” can be heard through the player below.
Back in the eighties, many old school metalheads got their first dose of Brazilian music when those first two classic Sepultura albums came out, along with releases from Overdose and Vulcano. Over in Brazil, though, those bands were a small handful of many in an already vibrant scene. Tape traders started getting wind of this scene and began looking towards other Brazilian bands, which led to great interest in two albums on Roadrunner from another classic act by the name of Ratos de Porao. "Brasil" and the crossover milestone "Anarkophobia" on Roadrunner made us dig a little deeper into the thrashcore scene of this country.
Crossover and extreme metal have thirty years strong down in the tropic of capricorn. RDP and fellow countrymen Lobotomia could hold their own against any stateside crossover band. And when you dig into Brazil's punk/metal history, it is overwhelming to see that their scene - which dates back to the days of Venom, Discharge and the Sex Pistols - continues to be huge and fractured into several subgenres just like our own. A few years before Ratos de Porao came on the scene, Restos de Nada were possibly the first recognized punk band. As can be expected, they hailed from the southeastern region of Sao Paolo - whose urban setting gave rise to their songs of social decay. More...
Every week we dig deep into the metal scene and unearth three acts that are unsigned or simply less well known than many other bands. Today we look at a mecca for metal in general and black metal in particular: Norway.
The country has taken on a sort of mythical level of significance for underground enthusiasts, where one imagines a tribunal of grim metal masters passing judgment on what is and is not trve black metal, but despite that impression the country houses a variety of musicians that cover the musical spectrum and frequently cross genre lines. While anyone familiar with the scene will likely be well acquainted with the likes of Emperor or Mayhem, there are still plenty of unknown hard rock and metal bands hidden there to discover.
Beyond the Morninglight
Breaking ranks with the sound that has put Norway onto the extreme metal map, Beyond the Morninglight is a gloomy and atmospheric rock and roll act that drops the harsh vocals and many of the heavier elements. What it lacks in brutality it makes up for in an infectious version of metal-influenced rock that gets stuck in the head.
The band has two full-length releases now, a self-titled debut and the newly released “Liberation” album, which takes an even darker turn. You can stream both of the full Beyond the Morninglight releases through Misantrof ANTI-Records, or you can check out two songs, one from each album, in the clips below.
Every week in Unearthing the Metal Underground, we take a look at three quality bands that haven't gotten as much exposure yet as they should. This week we’ll be taking another look at three metal bands from the West Country (the South West of England,) all with their own take on the genre.
Formed in Taunton, the county town of Somerset in 2008, the awesomely named, Flayed Disciple have been performing their own brand of brutal thrash metal ever since. They released their first record, an EP entitled, "Drawn Viscera" the next year, earning almost instant acclaim in the local metal scene and going on to perform with the likes of South Western thrash legends, Onslaught and New Wave of British Heavy Metal heroes, Diamond Head. In late 2011 they signed a deal with Grindscene Records, which led to the release of their debut full length album, "Death Hammer," which was also given away with copies of the May edition of Terrorizer magazine. The group has been able to perform at a number of festivals over the years, including the ever growing Bloodstock Open Air and will soon be embarking on a trip to India where they will perform a handful of shows along with a slot on the Indian Metal Festival, the very first heavy metal festival in the country, which will be headlined by French death metal outfit, Gojira.
Flayed Disciple - "Ejaculate While Killing"
Each week, carrying on faithfully in the tradition of bringing the bands that are currently simmering in the underground up to a rolling boil, we feature several quality underground bands in their respective genres. With the 'power' side of the ProgPower USA XIII festival already unearthed in October, the 'prog' side remains unspoken for.
The ProgPower USA festival has taken turns at skewing the balance toward one genre, but has been notorious for bringing in bands who straddle the line between both in the eyes of those with a more liberal view of things. The lines of demarcation are not very clear and the next year's roster often ends up surprising many. Fortunately, many prog bands are able to weave their way into the system and capture some attention. One such band hopped the ocean to pre-empt their 2nd album release, unveiling that they would be selling the CD months in advance at the show.
Few bands brought the prog with such unabashed love as Haken in the festival's history. As the openers of Day Two of 2011, a spot happily filled this year by fellow prog-heads Beyond The Bridge, the boys of Haken unleashed a set list that included one song from their upcoming album, "Visions" (reviewed here,) but focused mostly on the first album, "Aquarius." Multiple melodic themes are developed throughout the albums, with expert re-interpretations for emotional impact linking up with the storylines. Both albums are concept albums, and both involve songs that go beyond the 20-minute mark, showing their prog side.
Haken is a five-piece, with keyboardist and Haken main brain Richard Henshall performing both keyboard and guitar duties. Henshall and Diego Tejeida both focus on crafting synthesizer sounds not heard elsewhere, which often makes for multi-faceted lead tones. Haken bassist Tom Maclean heads a prog metal sideproject by the name of To-Mera with Henshall assisting, as well.
Recently, Kenya celebrated 49 years as a nation independent of colonial rule. In the subsequent times that they have found themselves once again as an autonomous country, several bands have similarly exerted their creative independence. As can be expected, some of those bands are metal - since metal is a worldwide phenomenon. Heavier music has had a rough time in Kenya and in other African nations and cultures due to skepticism and the general belief that it is inherently satanic in nature. In a recent conversation I had with the congenial metal guitarist Christopher Lilako 'Yagami' of In Oath, he says that people are slowly growing accustomed to heavy metal in his country.
Christopher's band has teamed up with members of Kenyan alternative rock bands Void Of Belonging and Nightshift Theory, along with its own members, to help create In Oath's new harder sound. That rock/alternative sound has been more the norm in terms of popularity in Kenya for a while, a sound reflective in the newer metallic sounds emerging from the Eastern African nation. People are more likely to embrace the local favorites RSK, Dove Slimme, Murfy's Flaw or Parking Lot Grass in terms of musical sound, but there is a growing movement of bands prefering a heavier style.
African metal has its own distinctive sound, which scene producer Chris 'Sarcophagus' Marx conveyed with his 1994 compilation "The Death of Africa, Volume I." While that classic anthology contained many bands from the metal powerhouse of South Africa, there were also bands from other parts of the continent. In fact, Marx is putting out a Volume II sequel to that release, which will undoubtedly feature a Kenyan, Botswanan or maybe even an Angolan band. Check out the Facebook page for news on this compilation over at this location. Possibly the one documentary streaming now on Kenyan metal is Rock Scene Kenya, which features many of the musicians we will explore for you today on Metal Underground. Get a glimpse into the Kenyan scene of African metal through its participants as we unearth three bands from Nairobi today.
This combo is one of Kenya's newest entrants. Formed in 2009 and initially influenced by metalcore, these five guys decided to hone their sound into more of a death metal style. Just this year they released their debut EP "Eulogy," four songs of Christian-themed extreme metal. "Eulogy" in its remastered form is available to stream over at bandcamp. In Oath is already recording a full-length album scheduled for 2015 release, which the band says will be its 'defining memento.'
Bassist Steve 'Gitau' Smalls from the band, formerly of Narcissistic Tendencies With Delusions Of Grandeur, made a splash five years ago with his acting debut as the character DJ in the independent film "The Knife Grinder's Tale." That award-winning short film, which received honorable mentions at fourteen foreign film festivals, told the story of a father's journey to uncover the senselessness of his son's murder in the slums of Nairobi.
In Oath - "Eulogy"
Every week in Unearthing the Metal Underground, we take a look at three quality bands that haven't gotten as much exposure yet as they should. This week, we will be taking a look at three bands who mix hard rocking sounds with synthesisers. Those of you who have read my posts in the Now Playing threads in our forums will probably be aware by now that I'm a big fan of synthpop and electronic music, particularly the likes of New Order and the Pet Shop Boys. So with this in mind, I went in search of bands that combine these digital sounds with the aggression of heavy metal. As it turns out, there’s quite a few bands out there melding the two, and it’s not a brand new experiment either. In 1998, nu metal outfit, Orgy covered one of the biggest hits by New Order, "Blue Monday" for the second single from their debut album, "Candyass." Make of it what you will.
Orgy aren’t the first band of more modern times to cover a classic synthpop track, most of us have heard Lacuna Coil's rendition of the Depeche Mode staple, "Enjoy The Silence," and even the old guards of heavy metal have taken a stab at paying tribute to their eighties contemporaries. For example, below we can hear German power metal kings Gamma Ray performing a cover of the haunting Pet Shop Boys track, "It’s A Sin." More...
Each week in Unearthing the Metal Underground, we'll be putting a few quality underground bands in the spotlight in an attempt to get the word out about them. With the ProgPower USA festival still fresh in my mind, this week I will take on the festival's “power” metal side.
Most people think that the majority of what you see and hear at ProgPower USA is just the bands on stage. Of course, this is true, but there are also many other avenues at the festival in which the metal connoisseur can explore and discover new bands. For one, the merchandise area at "Vinyl" is just about the greatest record store you can ever find in the world (see my first reaction to that in my op/ed piece “The ProgPower USA Experience From The Eyes Of A Newbie” over at this location). However, there are times where this is almost too much to take in, so while you are at the festival its best to make time for many trips to the merch area.
Despite the onslaught of material at the merch area, the first place any attendee should check is the free promotional CD that the festival itself gives out each year (see full track listing at this location). For 2012, the giveaway was expanded to three CD’s and all are chock full of power and progressive acts from all over the world. Now I pride myself on knowing thousands of metal bands, but I was shocked at how many I hadn’t heard of on this triple CD. The bands showcased here all appear on the promotional CD, though did not perform at the festival: Seven Kingdoms (USA), Siren’s Cry (Austria) and Draekon (USA). More...
Once in awhile, select troubadours of the heavy metal genre burn hot and bright, much like super-massive stars, and die by exploding in spectacular supernovas well before their time. They never quite make it out of the underground into wider fame, but end up touching quite a few projects in their lifetimes and leaving their mark in unique ways. Optimistically continuing with the astronomical metaphor, the stellar winds and supernovae from the explosion seed space with elements for future stars, fittingly paralleling the life and death of these musicians. Few, however, are accomplished audio engineers as well. This week, we commemorate the underground projects of one such engineer and musician, recently deceased: Simon Oberender.
Audio engineers don’t get half as much credit as the musicians they record for making heavy metal sonically live up to the first half of its title, though they’re ultimately responsible for making sure that the music translates to “heavy” on record. Moreover, as time goes by, they’re being asked to perform increasingly difficult tasks, like “give us a 30-part choir, Gregorian chant section, ethnic hand percussion, and a big organ” while also dealing with the traditional metal rhythm section. As an engineer at Sascha Paeth’s famed Gate Studio in Wolfsburg, Germany, Simon tackled the aforementioned tasks and also performed on an impressive amount of projects, including 4 Epica releases, 3 Kamelot releases, 3 Avantasia releases, 2 Edguy releases, Mayan’s debut release, and 2 Rhapsody of Fire releases.
Aside from these main projects, Simon had also worked on other lesser-known projects. The first of the ones we will spotlight this week is his most recent band, Beyond The Bridge.
Beyond The Bridge
Based out of Germany, Beyond The Bridge is a progressive metal band with a bafflingly impressive debut album (reviewed here) centered on a lofty concept summed up in the title, “The Old Man and the Spirit.” The band recently played their third-ever show at the ProgPower USA festival, making their USA debut just two weeks and two nights ago. Not only was Simon double-slinging instruments with the band live, playing two keyboards and electric guitar, but he was also singing in the choir on the album and served as the albums’s mixing and mastering engineer.
If you ever wondered where much of the hardcore and some of the punk scene went in the past couple of decades, the answer is it went even more underground. Back in the early nineties, when hardcore and metal came together to create the wildly popular thrashcore movement, a lot of the true hardcore punks in the scene remained disenchanted. They identified with the metallic element but wanted the music to remain distinct and focus on ideals and themes of socio-political decay.
No better was this driven home more than by the act of several commercial bands loosely labeled 'punk' by the airwaves, like Green Day or Sublime, that made the true denizens of hardcore create an even more underground niche of brutality in their musical style - thus giving rise to the powerviolence movement. The origin of the term is disputed, but is mostly attributed to Infest guitarist Matt Domino, at the time in the band Neanderthal with Eric Wood, who blurted out 'power fuckin violence' in an interview on alternative Californian station KXLU. The term stuck and was first mentioned in the song "Hispanic Small Man Power (HSMP)" by pioneering genre band Man Is The Bastard. More...
The metal underground is a truly vast and unexplored place, and every week we try to bring a few bands to light that metal fanatcis may not otherwise have a chance to discover. Today we’ll unearth the Lovecraftian underground – three bands that primarily (or even solely!) draw their lyrical and musical style directly from the works of the master of cosmic horror and weird fiction: H.P. Lovecraft.
This style should perhaps more accurately be described as the “Cthulhu Mythos” underground, as many bands don’t stick strictly to Lovecraft’s works alone, but rather pull from the greater mythos created around his work and expanded upon by many novels, games, and movies through the last several decades. Outside of music, the Lovecraft phenomena is an interesting topic deserving of several books, as it has developed amazingly far to become a mythos within a mythos. There are entire religious practices now based around the fake books described in Lovecraft’s stories, along with ceremonial magical traditions using the names and titles of Lovecraftian entities. There is even a graphic novel that postulates Howard Phillips himself really had contact with alien things, but wrote stories about them to make humanity think it’s all fake and keep us off the trail of the horrible truth.
Mind shattering horror and unknowable, malicious entities beyond humanity’s ken are material ripe for heavy metal, which has pulled from this mythos liberally during the past 25 or so years. From Metallica’s “The Call of Ktulu” to the Septicflesh track “Lovecraft’s Death,” bands large and small have paid homage to the seafood hating man who warned his fellow Earthlings to stay out of the oceans and away from the stars.
We’ll start off with something a little off the beaten path this week – a gloomy rock opera style group featuring members of bands such as Hortus Animae and Hawkwind. The international act Space Mirrors is definitely a different trip than many metal fans might be used to, but if you ever enjoyed Tiamat or anything that’s along the lines of gothic rock you should be right at home here. Use the silver key and take a journey through the dreamlands through the clips available below.
Every week in Unearthing the Metal Underground, we take a look at three quality bands that haven't gotten as much exposure yet as they should. This week, we will be taking a look at three heavy metal bands from Scotland, since it seemed criminal that we hadn't already. There is currently a tourism commercial airing for the country which opens with the line, "Scotland may surprise you," which is certainly evident in its metal scene, containing everything from traditional thrash metal to pagan black metal, and everything in between.
Another band formed in 2006 is Cerebral Bore, who hail from Scotland’s largest city, Glasgow, and perform a brutal brand of death metal that lives up to the harder than nails reputation of the city on the River Clyde. They released their first demo, "The Dead Flesh Architect" in 2006 and soon found themselves garnering attention internationally, making their first trip abroad in August the next year to perform in New York, and have since gone on to perform in many other countries including Russia, India and Israel, as well as supporting some legendary names in extreme metal such as Brutal Truth and Suffocation. In 2010, they signed to Earache Records and released their full length debut, "Maniacal Miscreation," the next year. While touring for the album, the band made headlines when guitarist Paul McGuire and bassist Kyle Rutherford were falsely arrested and jailed in New York on suspicion of murder. The two were released a week later without charge and flown back to Scotland. The band recently released a single entitled, "Horrendous Acts of Iniquity," as well as completing the Summer Slaughter tour which also featured the likes of Cannibal Corpse and Exhumed and will be kicking off a European tour this Friday (September 14th) in Lindau, Germany and last until October 14th.
Cerebral Bore - "The Bald Cadaver"
Monday means it’s time to expand your metallic horizons again as we delve into the underground metal scene and dig up three bands you might not had a chance to check out yet, but which all deserve to be heard by a wider audience. This week we’re looking at heavily atmospheric groups that incorporate specific sonic elements to create an undeniable mood throughout the music. In this instance by “atmospheric” we’re not necessarily referring to ambient or even symphonic bands (although these acts do have some symphonic sounds), but rather to bands that have a clearly present atmosphere in addition to being extreme metal.
This out-of-nowhere band just signed on with Debemur Morti Productions to release an upcoming album titled “Fin De Siècle.” The vocalist’s weird, screechy screams almost would have qualified this act for our previous look at unearthing bands with bizarre vocals, and those screams are put to good use to foster a specific tone and mood.
The abrasive, off-the-wall screams mixed with the atmospheric clean singing and mid-paced guitar riffs draws all ears in, and basically forces attention as the music builds and becomes more frantic. The video for “Megalomanic,” available below, embodies the depressive black metal ideal, creating a sort of unhinged and demented sound, while vaguely giving the impression of being utterly alone in the middle of nowhere.
Each week in Unearthing the Metal Underground, we'll be putting a few quality underground bands in the spotlight in an attempt to get the word out about them. This week, we'll weigh in on the scene around Boston, Massachusetts.
Boston has been my home all my life. Back in 2006 when I first started Nefarious Realm Productions, I worked with local bands, promoting and booking shows. It set the foundation of what NRP is today. Boston has an unbelievable scene spanning all genres. Most people only think of the heavy weights like Killswitch Engage, Shadows Fall, fast-rising Revocation, etc., but there lies a wealth of bands that are just mind-blowing. Lunglust, Ramming Speed, Sexcrement, The Summoned, Abnormality, Dysentery, Phantom Glue, Give Zombies The Vote, Morne, Sonic Pulse... I could go on and on but Metal Underground.com has limited me to three, and I'm going to span the sub-genres here. Hang on to your pants, you're going for a ride!
This "dance metal" outfit is sure to get you moving, that be breaking' faces or shakin' your booty. Each member brings distinct influences to the table, fusing elements of death metal, groove metal, hardcore, and electronica. Think of Meshuggah, Lamb of God, Bury Your Dead, and The Browning all smashed together.
The five-piece brings quite a live show with their stage antics and their "have fun" attitude. Widow Sunday just recently released a new EP earlier this summer and are already writing for a followup full length to their 2010 debut, 'In These Rusted Veins.' Below is a video for "Blood Money" from 'ITRV' and a live clip of "The Wave" which appears on the new EP, 'Dance Metal." For more on the band, check out their Facebook.
Every week in Unearthing the Metal Underground, we take a look at three quality bands that haven't gotten as much exposure yet as they should. This week, we'll be taking a slightly different approach to the article and focusing on hardcore music instead, specifically hardcore music in the United Kingdom.
The history of hardcore in Great Britain dates back a long way, beginning with what would become known as the "UK82" scene (also called "No future punk" and "UK Hardcore" amongst other things,) which featured massively influential bands such as The Exploited and the socially concsious, Discharge, who were so influential that they had a sub-genre named after them called D-Beat (similar to hardcore, only even faster,) which featured other high quality British hardcore acts like The Varukers.
Discharge - "Never Again"
The Varukers - "Soldier Boy"