DOCSLIB.ORG

Band: Deep in Hate (F) Genre: Death Metal / Deathcore Label: Kaotoxin Records Albumtitle: Chronicles of Oblivion Duration: 34:49 Min Releasedate: 03.05.2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Band: Deep in Hate (F) Genre: Death Metal / Deathcore Label: Kaotoxin Records Albumtitle: Chronicles of Oblivion Duration: 34:49 Min Releasedate: 03.05.2014 Band: Deep In Hate (F) Genre: Death Metal / Deathcore Label: Kaotoxin Records Albumtitle: Chronicles Of Oblivion Duration: 34:49 Min Releasedate: 03.05.2014 As first access to a new LP, for which I will write a review, I prefer to give it a quick listen and not to get any information about the band before listening. Therefore no other reviews, nothing about changes within the style or changes of the setting - simply to get a pure feeling of the band. Mostly the first impression is oughly showing the direction, which gets most of the times confirmed during a closer look at the band respectively the album. My first thought about the French of Deep In Hate was that they sound like Aborted from Belgium. However, as short conclusion beforehand, more like a poor imitation of the Belgians. Whether to describe the music as Technical Death Metal, Slam Death Metal or Death Core should be decided on your own. I'm not that friend of such a stereotype thinking. But as this child should have a name, I call it simply modern Death Metal. Staccato-esque riffs, hoarse barking/screaming, from time to time even the infamous "Pig Squeals", tinkerly guitar solos which are sometimes quite melodic. The drums chugging mostly in mid tempo and from time to time some Grind Core thrashing. However, the salient point is that Deep In Hate cannot accomplish at any point to make a real good piece of music out of this parts. A colleague of mine Sereisa did ask herself by the review to "A Killer Anthem" from The Killerhertz: "What makes an album a good album? When does a cluster of tones become real music?" I don't know the answer otherwise I would be a musician in a band or I'd be sitting in a jury next to Dieter Bohlen. But I can recognize whereof it is lacking by Deep In Hate. Cause it is the homogeneity which is missing. Every song is packed with too much. Every minute you are asking yourself if it is still the same song. The band just tried to use all of these above mentioned features in every song, regardless of the consequences. So the songs are not sounding flawless, rather been cobbled all together in a quick way. So every song has good moments, which will be destroyed because they think it is necessary to put in another stylistic device. "Chronicles Of Oblivion" is not really a complete failure but close to it. Inside of the information sheet about the album it is written that the band has changed their style to the two former ones. They should sound less technical. Perhaps it would be better if the band has released only a single or a mini album inside of this phase. Less songs but way better thought out and elaborated. Conclusion: Pale Death Core for which from time to time emerging good moments are the only rescue to a complete failure. I cannot speak out a buying recommendation for this album. Rating: 4/10 Recommendations: Altars Of Lies, The Divide Weblink: http://www.deepinhate.com/ and https://www.facebook.com/DeepInHate Metal Only e.V. Wolfgang Steiner Hohenstaufenstr. 56 D-73779 Deizisau [email protected] www.metal-only.de Lineup: Kapute - Bass Nicolas Bastos - Drums Vincent - Guitars Florian - Guitars Matthieu - Vocals Tracklist: 01. Introduction 02. Genesis Of Void 03. The Cattle Procession 04. Altars Of Lies 05. New Republic 06. The Unheard Prayers 07. The Divide 08. Wingless Gods 09. Beyond Author: Mirco / Translation: Matthias Metal Only e.V. Wolfgang Steiner Hohenstaufenstr. 56 D-73779 Deizisau [email protected] www.metal-only.de .
Load more

Recommended publications
  • Pulverizing New Album from Austr-Alien Deathcore
    New Release Information uu Januar AVERSIONS CROWN Release Date Pre-Order Start Xenocide uu 20/01/2017 uu 25/11/2016 Price Code: CD04 uu CD Jewelcase available NE 3480-2 CD uu Watch out ads in all important music magazines DEC 2016 uu Advertising in many important music magazines JAN 2017 uu Album reviews, interviews in all important Metal magazines in Europe’s DEC/JAN 2017 issues uu Song placements in European magazine compilations uu Spotify playlists in all European territories Territory: World uu Retail marketing campaigns uu Facebook, YouTube, Twitter, Google+ organic promotion uu Facebook ads and promoted posts + Google ads in both the search uu Tracklist: and display networks, bing ads and g-mail ads (tbc) CD: uu Banner advertising on more than 60 of the most important Metal 01. Void & Rock websites all over Europe 02. Prismatic Abyss uu Additional booked ads on Metal Hammer Germany and UK, and in 03. The Soulless Acolyte 04. Hybridization the Fixion network (mainly Blabbermouth) 05. Erebus uu Video and pre-roll ads on YouTube 06. Ophiophagy uu Ad campaigns on iPhones for iTunes and Google Play for Androids 07. The Oracles Of Existence uu Banners, featured items at the shop, header images and a back- 08. Cynical Entity 09. Stillborn Existence ground on nuclearblast.de and nuclearblast.com 10. Cycles Of Haruspex uu Features and banners in newsletters, as well as special mailings 11. Misery to targeted audiences in support of the release 12. Odium PULVERIZING NEW ALBUM FROM AUSTR-ALIEN DEATHCORE CRUSHERS AVERSIONS CROWN Like a cataclysmic storm making landfall, the brand new album Xenocide from crushing Brisbane outfit Aversions Crown is here to destroy everything in its path.
    [Show full text]
  • Piercings and Passports Exploring the Social Mobility of Adelaide’S Metalcore ‘Scene Kids’
    Piercings and passports Exploring the social mobility of Adelaide’s metalcore ‘scene kids’ As young people continue to confront transition issues such as school-to-work pathways, they are concomitantly developing their own social and cultural priorities and responding to them in new and innovative ways. This process warrants a greater focus on young people’s identity work as they navigate their transitions through increasingly fluid social and cultural environments. Drawing on her current PhD research, Paula Rowe focuses attention on Adelaide’s ‘scene kids’, a community of interest based on a subgenre of heavy metal music. She utlises Bauman’s (2000) liquid modernity thesis to parallel the social dynamics of ‘liquid’ metal subgenres with those of the ‘liquid’ modern world. Exploring the social processes of scene kids highlights ways in which socioeconomic circumstances can affect young people’s level of engagement with lifestyle options. This in turn raises questions as to how “scene kid identities” might impact on other life pursuits and social transitions. by Paula Rowe outh transitions have dominated the youth research agenda for several decades, with a continuing focus on structural processes and institutional arrangements that Y shape and constrain young people’s holistic development, particularly in geographic locations characterised by conditions of social and economic disadvantage (Heath et al. 2009). More recently, there has been increasing interest in the ways in which young people’s identity work intersects and influences various social transitions within school, domestic and broader social contexts, and vice versa (Stokes & Wyn 2009). Despite the known social, economic and psychological constraints of marginalisation, young people still manage to find a space in which to express their identity and live a “life of one’s own”, yet not enough is known about the ways in which young people use cultural affiliations and lifestyle choices to express their identity and demonstrate personal agency in their social worlds (Miles 2000; Shildrick 2006).
    [Show full text]
  • Elena Is Not What I Body and Remove Toxins
    VISIT HTTP://SPARTANDAILY.COM VIDEO SPORTS Hi: 68o A WEEKEND SPARTANS HOLD STROLL Lo: 43o ALONG THE ON TO CLOSE WIN OVER DONS GUADALUPE Tuesday RIVER PAGE 10 February 3, 2015 Volume 144 • Issue 4 Serving San Jose State University since 1934 LOCAL NEWS Electronic duo amps up Philz Coff ee Disney opens doors for SJSU design team BY VANESSA GONGORA @_princessness_ Disney continues to make dreams come true for future designers. Four students from San Jose State University were chosen by Walt Disney Imagineering as one of the top six college teams of its 24th Imaginations Design Competition. The top six fi nal teams were awarded a fi ve-day, all-expense-paid trip to Glendale, Calif., from Jan. 26–30, where they presented their projects to Imag- ineering executives and took part in an awards cere- mony on Jan. 30. According to the press release from Walt Disney Imagineering, the competition was created and spon- sored by Walt Disney Imagineering with the purpose of seeking out and nurturing the next generation of diverse Imagineers. This year’s Imaginations Design Competition consisted of students from American universities and Samson So | Spartan Daily colleges taking what Disney does best today and ap- Gavin Neves, one-half of the San Jose electronic duo “Hexes” performs “Witchhunt” at Philz plying it to transportation within a well-known city. Coffee’s weekly open mic night on Monday, Feb. 2. Open mic nights take place every Monday at The team’s Disney transportation creation needed the coffee shop from 6:30 p.m. to 9:15 p.m.
    [Show full text]
  • Live to the Metal Music Živi Uz Metal Muziku
    LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms.
    [Show full text]
  • Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
    "THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr.
    [Show full text]
  • Death/Doom Metal As Dark Leisure
    Gloomy Divergence Death/Doom Metal as Dark Leisure M. Selim Yavuz, Leeds Beckett University [email protected] Overview • Leisure and Dark Leisure • Death/Doom and Style • Death/Doom culture and dark leisure activity Leisure Chris Rojek Leisure as an end in itself Escape Karl Spracklen Habermas Communicative and instrumental rationality Dark Leisure DJ Williams ‘Mythical vampires, like people, are a complicated mixture of light and dark. Many people who self-identify as vampires believe that it is healthy to acknowledge and manage one’s darkness, rather than deny and avoid it.’ 2008, Contemporary vampires and (blood-red) leisure: Should we be afraid of the dark? Leisure/Loisir, 32, 513-539. Spracklen and Spracklen ‘Individuals in the Goth scene deliberately seek out Goth as a place to express themselves through dark leisure: something out-of-the-ordinary, something that plays with mainstream fears of unbridled sexuality, the carnivalesque, and the dark spiritualities of anti-Christian paganism and elitist Satanism.’ 2012, Pagans and Satan and Goths, oh my: dark leisure as communicative agency and communal identity on the fringes of the modern Goth scene. World Leisure Journal, 54 (4), 350-62. Death/Doom ‘Doom metal has not received much media attention. It's been deemed a financial non-starter.’ Solstice in Terrorizer #14 (1994) ‘Doom is doomed never to be a commercial proposition.’ Terrorizer #143 (2006) Death/Doom [referring to doom/death music and listeners] ‘whiny goths’ ‘ghey [sic]’ ‘romantic bullshit’ ‘[As a response
    [Show full text]
  • Extreme Metal: Subculture, Genre, and Structure
    Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions.
    [Show full text]
  • Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording
    Méi-Ra St-Laurent: "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Québec Black Metal Scene Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Laurent, M.-R. (2019). "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Qué- bec Black Metal Scene. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 267-286). Stock-holm: Royal College of Music (KMH) & Art of Record Production. Méi-Ra St-Laurent: "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Québec Black Metal Scene Abstract The designation of the black metal sound as “lo-fi” by academics is problem- atic, since it doesn’t reflect the contemporary black metal production. Field- work in the Québec scene show that the members designate their sound as being “in the middle” – or mid-fi as I advocate it. In this paper, I first define “hi-fi”, “lo-fi”, “authenticity” and “mid-fi” in the context of black metal. Then, I present different black metal sound aesthetic using audio extracts, frequency analysis, spectrogram images and ethnographic data. This analysis allow better qualify black metal aesthetic production today using the Québec scene as an example. Introduction Between April 2015 and December 2017, I conducted nineteen ethnographic interviews with twenty-five members of the black metal scene in the prov- ince of Québec (Canada) as a part of my doctoral thesis in musicology1.
    [Show full text]
  • Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground.
    [Show full text]
  • Everett Rock Band/Musician List "GH"
    Everett Rock Band/Musician List "G-H" Last Update: 6/28/2020 "G-H" List for Bands/Musicians Genre* From & Genre a Gamble in the Litter F I Mukilteo Minimalist / Folk / Indie G2 RB S H IL R&B/Soul / rap / hip hop Gabe Mintz I R A Seattle Indie / Rock / Acoustic Gabe Rozzell/Decency F C Gabe Rozzell and The Decency Portland Folk / Country Gabriel Kahane P Brooklyn, NY Pop Gabriel Mintz I Seattle Indie Gabriel Teodros H Rp S S Seattle/Brooklyn NY Hip Hop / Rap / Soul Gabriel The marine I Long Island Indie Gabriel WolfChild SS F A Olympia Singer Songwriter / folk / Acoustic Gaby Moreno Al S A North Hollywood, CA Alternative / Soul / Acoustic Gackstatter R Fk Seattle Rock / Funk Gadjo Gypsies J Sw A Bellingham Jazz / Swing / Acoustic GadZooks P Pk Seattle Pop Pk Gaelic Storm W Ce A R Nashville, TN World / Celtic / Acoustic Rock Gail Pettis J Sw Seattle Jazz / Swing Galapagos Band Pr R Ex Bellingham progressive/experimental rock Galaxy R Seattle Rock Gallery of Souls CR Lake Stevens Rock / Powerpop / Classic Rock Gallowglass Ce F A Bellingham traditional folk and Irish tunes Gallowmaker DM Pk Bellingham Deathrock/Surf Punk Gallows Hymn Pr F M Bellingham Progressive Folk Metal Gallus Brothers C B Bellingham's Country / Blues / Death Metal Galperin R New York City bossa nova rock GAMBLERS MARK Sf Ry El Monte CA Psychobilly / Rockabilly / Surf Games Of Slaughter M Shelton Death Metal / Metal GammaJet Al R Seattle Alternative / Rock gannGGreen H RB Kent Hip Hop / R&B Garage Heroes B G R Poulsbo Blues / Garage / Rock Garage Voice I R Seattle's Indie
    [Show full text]
  • Locating Experiential Richness in Doom Metal
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Locating experiential richness in doom metal Permalink https://escholarship.org/uc/item/7bq7387s Author Piper, Jonathan Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO LOCATING EXPERIENTIAL RICHNESS IN DOOM METAL A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jonathan Nicholas Piper Committee in charge: Professor Nancy Guy, Chair Professor Anthony Burr, Co-Chair Professor Ricardo Dominguez Professor Eun-Young Jung Professor Katharina Rosenberger 2013 Copyright Jonathan Nicholas Piper, 2013 All rights reserved. The Dissertation of Jonathan Nicholas Piper is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii DEDICATION To Eleanor and Chris, Sophia and Spiros. iv TABLE OF CONTENTS Signature Page........................................................................................................ iii Dedication............................................................................................................... iv Table of Contents.................................................................................................... v List of Figures......................................................................................................... vii Acknowledgements...............................................................................................
    [Show full text]
  • Metal Madness: Heavy Music Coming to Your Town
    Metal Madness: Heavy Music Coming to Your Town Welcome to Metal Madness my fellow Metalheads, covering all things metal, metalcore, deathcore and hardcore in the Providence area. I just want to take a moment to thank everyone who was at the Kingsmen show on October 8 (motifri.com/kingsmen). As someone who has been playing music for a long time, I wanted to speak to the growing argument that heavy music is dead. For a show on a Sunday with no major label band headlining, the turnout was great. The credit goes directly to the bands that played that night; Absence of Despair, Your Chance to Die and Kingsmen. Everyone who was there were there for the music, and all of it was heavy music. You could see the camaraderie between the bands and fans, and how welcoming they were to the one out-of-town band, Your Chance to Die. Absent were the attitudes “I’m going to see my friend’s band and leave.” There were no crossed arms and ugly faces, but a respect for all the musicians who were there (and if you ever get the chance to see two Norwegian women front a deathcore band, do not pass it up!). The music wasn’t dead or dying; if anything, it’s thriving. The more Providence bands do well, the better it is for our scene, the bands and heavy music. Now that I’m off my soapbox, on to what’s happening. Night of the Dead, Oct 21, 8pm, Fete Music Hall If you want to take a quick trip back to the early 2000s, Dope, Hed p.e.
    [Show full text]