His closest analogues are industrial-metal crushers like Godflesh (whom he’s covered), so it’s not all that surprising that the first single to emerge from his fourth album, the Phil-Anselmo-produced Melk En Honing, is pretty weird and sort of terrifying. Tristan Shone, the sole engineer, musician and robotic visionary behind San Diego’s Author & Punisher, has never played any conventional form of metal. All of which is to say that more than three decades (and in Motörhead’s case, four) after first letting their power chords ring, it’s encouraging to see that the Old Guard still has plenty of riffs in the hopper. Being a genre of misfits and rebels basically means anything goes, and if the music still rocks as hard as it did in the early days, that’s all that matters. But while other genres have certain expectations of their aging stars-that they shouldn’t act or dress like they’re still teenagers, for starters-metal doesn’t really give a shit. Hell, The Rolling Stones are still touring. Plenty of rock bands from the ’70s and ’80s are still trucking, long after their heyday. But longevity in metal isn’t necessarily such a shocking thing. This triumvirate of metal gods flooding the market with what look to be three very promising new albums is really just an added bonus to what’s already been a strong year for metal. Besides, Motörhead albums are sort of like pizza and sex-even when they’re not that great, they’re still pretty good.
And though the sound of the album remains to be seen, simply reaching this milestone is an event worthy of celebration in itself. The album marks the 40th anniversary of the band, and follows 2013’s Aftershock. But it just so happens that Motörhead are also releasing an album this year, titled Bad Magic. Singer Bruce Dickinson recently underwent surgery to remove a cancerous tumor, which put future recordings in question, but not only is he back with the band, with new music, it’s actually a double album-and it features their longest song yet, “Empire of the Clouds,” which knocks “Rime of the Ancient Mariner” off the pedestal.Īnd with both Iron Maiden and Slayer releasing new albums this year, you’d think that 2015 would be a banner year for metal titans. (And big-name metal hasn’t been much to write home about until recently.) The same week, Iron Maiden announced their long-awaited follow-up to 2010’s The Final Frontier, which was thought to be the band’s last album for a time (putting “final” in the title tends to have that effect). That would be enough to make June a month to celebrate, as far as big-name metal goes. But Slayer is Slayer, isn’t it? Based on the tracks they’ve released from the new record (such as “ Repentless“), it sure sounds like Slayer, and that’s maybe the most important thing we can take away from this. Dave Lombardo isn’t in the band anymore, either, which leaves only half of the classic lineup: Tom Araya and Kerry King. It’s bittersweet, in a way, because it’s not entirely the same band that it used to be. The Blake Album invited composer and sound architect Tore Ylwizaker into the collective in order to expand their artistic and musical visions and together they stepped over the boundaries of black metal aesthetics, creating a genre-defying work in, released in December 1998.Earlier this month, thrash metal legends Slayer announced the details of Repentless, their first new album since 2009’s World Painted Blood, and their first since the death of guitarist Jeff Hanneman. The album answers exactly why people were so angered by Ulver’s transition away from black metal, and why people are still bitter at their direction today.' In 1997, issued, a limited edition collection, containing, and in LP Picture Disc format, housed in a cardboard box, with a booklet & bonus posters. If that’s the case, then Nattens madrigal really showcases the black metal prowess of the band.
The album has been described as 'so fast and ferocious and the vocals so garbled that it's best just to take the sheer sonic force as reflecting the band's concept, rather than trying to piece it all together.' Metal Injection concluded ' Kveldssanger had no electric instruments, Nattens madrigal had no acoustic instruments, but Bergtatt, has both acoustic and electric instruments it’s like they spliced the elements from Bergtatt into two separate albums.
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