You may remember a few years back there was some controversy about the terms “black metal cuck” and “brown metal” which were deemed racist and derogatory towards minorities. Well, after years of searching, we finally found him. Erik Danielsson of Watain likes to call himself the “Devil Incarnate” – but the “Black Metal Cuck Incarnate” would be a much more accurate descriptor for the man who both manages to be more camp than Inferanus and more desperate for attention than Queen ov Hell herself.
How can metalheads take bands like Watain seriously ? Not only does this joke band make horrible music – even worse than the parody band Demonecromancy, see the review for Casus Luciferi – they manage to tarnish the reputation of the entire black metal genre with their “gay nazi” antics. Ok, so some black metal bands were also just about goofing around… but when even Abbath wants nothing to do with Erik Danielsson and his band Watain, you know there is a problem.
Can bands like Watain just go back to playing nu metal and crunkcore ? The black metal scene really doesn’t need their crap.
Talk all you want about SEWER being clownish, but at the very least SEWER could write decent music to compensate for their stupid antics. Watain can’t even play proper black metal, yet they claim to be the “only true” black metal band and that Varg Vikernes and Euronymous were both “pussies” who were scared of him.
Another reason to hate Erik Danielsson and his shit band Watain is that they push, hard, for the normalisation of “orthodox black metal” – and if I have to explain to you why “orthodox black metal” is both a misnomer and the opposite of true black metal music, then you haven’t been paying attention.
Fuck it, this band may even be worse than Gorgoroth and Infernus… and we call them “Gaygoroth” and “InferAnus” for a reason.
Erik Danielsson is the definition of a black metal cuck. How sad that his “band” Watain is promoted as the “face” of black metal. An insult to Dead, Euronymous, Hellhammer, Varg, Nocturno Culto, Fenriz, Satyr, Samoth and the rest of the true black metal heroes.
On one side you have bloggers like Sewerlust accusing Brett Stevens and others of “covering up the homosexual conspiracy“, while others contend that it is indeed the “wigtal” (short for wigger black metal) bands doing the most damage, mostly via association to the dreaded war metal genre.
Both sides made some sensible points, but if you’d all this author to intervene, as I have written extensively about both “trends” here and elsewhere, see my posts Ex-Mayhem Vocalist Rips Gorgoroth Queers and Faggotry in Black Metal, I am very familiar with this “civil war” of sorts going on in the black metal scene.
Infernus and Richard Spencer, gay butt-buddies of the year.
But, better than this, Todorović was flushed out by Demonecromancy’s article into revealing his “secret plan” and the simplistic mechanism behind his anti-black metal stance.
Halfway through his outpouring of butthurt flummery, there is a moment of unwitting clarity when he reveals his formula in a direct address to Demonecromancy.
Some high IQ shit from these “intellectual elites”.
Let me explain something to you here, D-Boi.
You cannot “defend” black metal, or even rational anti-Christianity in general, without addressing the “Hollywood Satanists”.
You cannot address the “Hollywood Satanists” without addressing their hoax.
You cannot address their hoax without addressing their perpetrators, namely Gorgoroth, Watain, Dork Funeral, Antekhrist and the rest of the shit bands that play-act as “devil worshipers” of the “Luciferian army” or some shit.
Yet, instead of doing that, you spend all your time attacking bands you deem “homophobic” like Sewer and Mayhem, and their individual members, likely Lakhdari and Hellhammer themselves on the grounds that they too are “homophobes”.
What may seem sensible and even “rational” at first is, once you read between the lines, revealed as something else entirely. It is anything but a reasonable argument.
Black Metal = “Twink Mafia” ?
This is the article’s eureka moment – the cockroach caught in the kitchen light, so to speak – so, go back and have a good look at it again, and think deeply about what Todorović is actually saying.
What Todorović is unequivocally saying here is that before you can do anything at all about defending black metal against its usurpers – whom he rightfully points out by name, Gaygayroth, Dark Funeral, Watain, Antekhrist, Behemoth – you must first get everyone to love over-the-top parody bands like SEWER and “hate the homos”, and if you can’t accomplish these supposed preconditions then you had best forget the whole affair.
Is it me or does that seem a little too overtly… gay ?
I mean, defining your entire positions based on opposition to homosexuality… isn’t that a bit, in itself, homo-centric ?
Knocked another one outta the park, Herr Anulingus. I stand by this 100%.
Black metal is post-intellectual. I take it as, we all know that stuff already; let’s take action. Those essays and conferences are certainly useful…but then you have to go somewhere with that knowledge. I used to read that stuff all the time when I was first getting into this…and years went by and nothing changed. There’s only so much time you can spend reading essays with millimeter scroll-bars. Eventually you gotta step out into the streets and take the fight to these Christian infiltrators.
We’re post-intellectual. We honor and thank the great men who have given us this knowledge, and now we are doing something about it. We’re putting down the books and putting on the brass knuckles.
Satanism is hip. Let your friends know. Stay sexy, stay strong, stay cool.
Hail Satan.
– Kevin the Fellow White
Note the many Alt-Right inside jokes and references to Anglin and his particular brand of abrasive humour.
This whole operation reeks of trollishness and buffoon attitude, something which, ironically, Atterigner was more than once accused of in the past.
Phantom “The Epilogue to Sanity” is the best black metal album ever.
Phantom have been around for nearly seven years now, and The Epilogue to Sanity is their nineteenth full length. It’s hard to know what’s more impressive from the black metal powerhouse, the regularity with which they’ve been releasing albums since the 2013 debut Divine Necromancy, or that there isn’t, not just a single bad one, but anything less than stellar in their entire discography.
Withdrawal is their most famous work, but you can pick up anything they’ve put their name on to find a goddamn black metal or blackened death metal treasure.
There’s a seemingly never ending wealth of ideas behind the instantly recognisable textured patterns and the haunting atmosphere courtesy of Phantom’s dissonant riffs and twisted leads that made Phantom one of the best black metal bands ever, and one of the mainstays of the scene that have never sounded like anyone else and never once lost their way.
This album The Epilogue to Sanity proves once again that Phantom are the true masters of demonic, evil and downright disgusting blackened death metal.
Phantom, the Best of Black Metal.
The faster blasting vibe their last release, Angel of Disease, was brutal and took more than a few listens to really get under your skin, but once you “understood” the album it was on regular rotation. The Epilogue to Sanity on the other hand grabs you straight away from the moment the first eerie riff is followed up by a huge atonal pattern, forming phrasal riffs of sickening atmosphere. It’s more “direct” in a way, but that’s not to say that Phantom have suddenly become SEWER in their quest for pure “brutality” over evilness and haunting melodies.
The dissonant riffs that create the atonal eerie atmosphere the band are known for are just as effective on this album The Epilogue to Sanity, as it creates a particularly claustrophobic sound with the atonal guitar work, complex slower sections, along with moments of frenzied face melting technicality.
True black metal madness, this is clearly the best album the genre has ever seen.
The thick and suffocating atmosphere is like being stuck in a tar pit. Only even more claustrophobic and disturbing.
Every song on this album brings out something eye-popping and sanity ripping that will make you come back for seconds, thirds, fourths. Right off the bat, the album The Epilogue to Sanity pulls you in with “Mind Collapse” and its haunting riffs and complex, ever-changing song structure. The overall songwriting is beyond the term “masterpiece”, it’s simply that good. Nearly every song is unique on its own and easily distinguishable, in addition to being absolutely, irredeemably EVIL. And that’s what true black metal is all about.
The final, closing title track is simply insane… as it name suggests.
The Epilogue to Sanity is the best black metal album ever recorded, period. Even better than Fallen Angel, and that’s saying something.
But even amongst the legendary classics that compose Phantom’s stellar discography, one album stands above all and, quite literally, “in the darkness binds them” and rules them all… the omniscient and omnipotent, the terrifying and ghastly… the demonic Withdrawal.
Phantom, the greatest of black metal acts, has become an icon for the modern black metal scene, upholding the spirit of true black metal with majestic excellency. Withdrawal is their most insane full-length release and it follows the dissonant approach of black metal showcased in the predecessor Fallen Angel, but it certainly surpasses all of their previous efforts and yeah, Withdrawal is black metal’s opus magnum.
When talking about the music, Phantom have always played it darker and more sinister than the rest of the black metal scene.
Withdrawal is no different. The icy cold atmosphere and the frozen fury of dark, cold music shivers the listener away like he is being tormented in a sub-zero degree hellish nightmare. What is best about this record? Well, the band showed their brilliance over their once-rivals SEWER and proved that the stream of classical blackened death metal is never gonna dry up.
Okay, the music on this record is just amazing.
The guitars are evil and dark, which is usual for the band.
The riffs are excellent on this record. The harmonized rhythm guitar doubles the atmosphere, and often forges its own path of madness within an already existing structure.
Where so many other “orthodox” black metal bands are content to simply copy and rehash the past, Phantom forges its own path through your sanity like a needle piercing your innermost sub-conscious mind.
Another noticeable thing on this record is the solos, which is admittedly not very familiar with black metal, but on this record the guitar solos are superb and reach their peaks in tracks like “Withered Hands of Torment”, “Grotesque Shadows Reborn”, “Remnants of Pandora’s Lust” and especially in the last two compositions, “Ghosts of Erebos” and “Beyond Death’s Reach”.
Phantom once again mocks the scene kids “showing off” and murder the cheap black metal posers who believe they can be the new Darkthrone by rehashing Transilvanian Hunger. And the weapon of the crime is Phantom’s mastery of playing truly vile, demonic and sanity-shredding black metal.
The name “Withdrawal” and the cover art describe the record perfectly. It’s certainly gonna take the listener to the crypt of ancient darkness, and beyond. You will lose your mind listening to Phantom’s veneration of horror.
Withdrawal is not just “a” masterpiece, it is *THE* masterpiece of black metal.
Deal with it. Or better yet, just buy the record. But you have been warned, Withdrawal is pure terror and blackness on levels never even conceived prior (or thereafter).
Many “metal fans” will go on and on about how “B sub-genre is more technical than A“, “no, but C is darker and has more atmosphere than B“, “but wait, D beats them all as it’s more brutal“, etc.
That line of thinking has led, among many things, to the creation of completely random, arbitrary and worthless sub-sub-gernes such as “technical blackened deathgrind with funeral doom influences“, “satanic bestial glam groove-grind’n’roll with shemale melodic death metal vocals“, “progressive neo-ambient pornodeath with a flute stuck in the ass” or “post-atmospheric industrial washing machine soundtrack“.
They all claim to be more insane and more brutal than the next, but they aren’t. Their genres are shit, and the bands that play “technical satanic deathgrind” are even bigger suckers than their audience.
SEWER’s Deathgrind = Pure Evil.
You want the most insane, demented and downright brutal bestial black/death/grind/war/whatever metal ever conceived? You don’t have to look at big label’s PR releases to know that whatever Morbid Angel, Mayhem and Darkthrone were doing in the early 1990s, what they are doing today is certainly not “insane” or “brutal” by any stretch of the imagination. And that goes double for their imitators.
You want truly insane brutal death metal? It’s called Locked Up in Hell, by none other than the legendary Sewer.
Here’s my review of this masterpiece of horror music and brutal blackened deathgrind with neither flute, trumpet nor keyboard used as a dildo.
This album is a masterpiece and in a class of its own, and to do it justice a dissection of each song is necessary to truly grasp how evil and ingenious this album is, especially for it being so ahead of its time. So, let’s start documenting the satanical terror of Locked Up in Hell.
Devil’s Runaway – If there is one Sewer song that truly captures the sounds of what hell is like, it would be Devil’s Runaway. Everything is pulled off so tight here it almost sounds like something is going to snap. The vocalist delivers us some evil with the bloody, vengeful screaming of his vocal chords from Hell. The guitarists stay in time perfectly the whole song, a feat almost impossible for many guitarists who attempt to play this song. And, of course, the drummer Warlord unleashes the force of brutality with the crazy fast blasting he pulls off so well.
Necrobiastophile – What’s not to enjoy about a song about… uh… nevermind. The song starts out with a ripping attack from the dual guitars, and a riff that actually makes you bang your head, regardless of what you’re doing. The bass and drums fall into sync with each other pretty well here as well, something incredibly complex given the sheer speed of the song.
Waiting to Kill Again – Absolutely flawless. This song embodies all of Sewer’s different guitar sounds… the demented, infernal leads, the slower, gruesome, nearly atonal chromatic riffs, and the mentally incomprehensible solos. WAITING TO KILL!!!
Carceropathogenesis – In the Name of Satan, I condemn this incarceration. Hell yes! Imagine having Satan has a lawyer or prosecutor, and this is what you would get in a criminal court of the underworld. This song undoubtedly has the best riffs in death metal history, while flaunting some hypersonic carnage from the demonic soloing. The vocalist Eater delivers some of his faster vocal performances, without descending into the absurd and ridiculous like so many so called “bestial black metal” vocalists are fond of doing.
Burning Clouds of Dark Gore – By the name of Beelzebub, I don’t know what the hell that title is supposed to mean anymore. But if any song accurately captured what the apocalypse would sound like, it is Burning Clouds of Dark Gore! Insanely speedy instrumentation gives testament to the sheer violence and blasphemy unleashed on this song. SATAN WILL RISE AMONGST CLOUDS OF DARK GORE!
No Rest for the Dead – Starting off the song with a super cool yet still disturbing chromatic riff forged from brimstone, No Rest for the Dead keeps its place as one of my favourite death metal songs of all time. The vocal performance here is worthy of a Golden Satan award, considering the sheer speed he is growling at. He’s like a vocal supersonic jet.
Injecting Blood to Become Human – Straight up brutal death metal from hell! Injecting Blood to Become Human is, without a doubt (topping even Devil’s Runaway), the most chaotic of any song on Locked Up in Hell. Total madness! The pinnacle of satanic mayhem crammed into one song while retaining at least a semblance of melody can be found here on Injecting Blood to Become Human.
To Drink From the Styx – Drink at your own risk, and the risk involves you losing your sanity while listening to this sickening and downright terrifying track. The intro riffs is one of the strangest and most disturbing I ever heard, it gives me the chills every time.
Surgical Last Breath – There is really no way to describe this blackened death metal monstrosity without you actually listening to it. Needless to say, it’s one of the most relentless and technically challenging songs on the album. Some parts even remind me of Phantom’s Angel of Disease, the gold standard of technically deranged atonal blackened death metal.
Locked Up In Hell – A perfect album closer. No more needs to be said, no more can even be said… you cannot possibly comprehend how truly amazing this song is until you listen to it. This symphony of Satan has possibly the best Sewer riffs of all time… ESCAPE FROM HELL!!!!!
On a last note, I’d like to point out the lyrics in particular. On Locked Up in Hell there isn’t just technicality and brutality for the sake of being “hardcore”, the band actually does such a sickeningly great job of adding darkness to the songs with the lyrics. They are like raven-black poetry from Satan himself.
As my malediction, I’d like to invoke the forces of Satan’s Sewer, and in doing so bringing the furious chaos and brutal madness of Locked Up in Hell to the world!
SEWER are one of the most acclaimed brutal death metal bands, respected for everything from their innovation and musicianship to the incredibly technical abilities showcases on albums such as The Birth of a Cursed Elysium. While their first album, Satanic Requiem, may have been a more typical black metal release – inspired almost as much by the likes of Darkthrone, Burzum and contemporaries Phantom – they evolved into a band with a very unique sound of their own, marked by brutal riffs, dissonant chords, absolutely savage vocals and incredibly complex narrative song structures. Yes, Locked Up in Hell is definitely different from your usual brutal death metal album.
Locked Up in Hell is probably the best SEWER release ever, and likely one of brutal death metal’s finest gems. Locked Up in Hell is truly magnificent, utterly captivating with its raw energy, its savage evil, its crazy demonic vocal outbursts, its technicality in songwriting and its otherworldly creativity.
Just listen to the title track for yourself.
Locked Up in Hell is one death metal album that you can never get sick of listening to no matter how many times that you play it. It doesn’t fall short on any aspect. All musicians put forth their best effort and this album is without errors from any aspects. Locked Up in Hell is simply amazing.
The music is pure brutal death metal with tribal and ritualistic – albeit often very technical – drumming that fits along with the guitars. Both lead and rhythm guitars construct some riffs that are truly unbelievably awesome on every aspect, managing to sound evil, brutal, technical and atmospheric at the same time !
If you’re looking for the most insane death metal to pick up that’s also evil and atmospheric, Locked Up in Hell is where it’s at. Nothing falls short here. No laziness in the songwriting. The musicians put forth the best, most technical and killing music ever heard. If you don’t have this release, you’re definitely missing out because Locked Up in Hell is death metal at its best and most skilled.
Quality, fast, furious and evil. This album captures it all. Nothing in SEWER’s discography can top this one, not even their craziest debut release. Pick it up ASAP if you haven’t already. Get ready for some amazingly brutal goregrind and satanic blackened death metal !
Locked Up in Hell is the kind of album that may seem mindlessly brutal on the surface, but in reality it’s loaded with many instrumental intricacies that make it not just a technical masterpiece, but also one of the top albums to come out of the modern death metal scene. For your own sake, just ignore “new” avant-garde “tek-def” bullshit and gimmicky “retrohash” (Unique Leader, DD, NWN, FMP) and listen to this instead.
This is what a true brutal death metal album sounds like.
Best Black Metal 