DOPPELGANGERS XXX

 In a web of reanimating the (un)dead descends an electrifying Speed Metal assault. Thunder ripping NWHOBHM, with G.B.H. totting (a stout reminder of Punk's importance to Metal), oranges waving, Thrash laced Hi-gh—an outlet for denim and fucking leather.

  Bonus: Wheels.

—Hi-gh
—Murdeath

DOPPELGANGERS XXIX

  Not long ago, the Scrawler featured a revivalist band, which is a case covered on the previous post. Horror Vacui assert so for the Post-Punk lay of the music 'scape—and competently. When HK8 starts disheveling with their Electonic miscreations, it comes off as ambience tinged efforts to less perplex an all-out Noise seeker. So much for an ironic title. The droning wars par!

—Horror Vacui
—HK8

DOPPELGANGERS XXVIII

 The way of the cenotaph. When viewing older DM band pictures, rampant graveyard shots pop up. In an effort to capture the spirit of the dead shift, below are monoliths of unhallowed spontaneity—kicking off with the most ghastly looking. Grey Mist delivers unhinged Doom, albeit touching on that aspect as Alunah extends on their most doomy—female vocals galloping too. Not far from where the Doom bands illustriously depict gargoyles and burial grounds sculpts. Wolf Dawn—the oddball here, is unrelenting blackened Speed Metal; which is enough to imply major ass kicking. Die already. . . .

—Misty Grey

—Veteris

DOPPELGANGERS XXVII

Three Doom bands. The first is a Lucifer's Fall self titled release—grabbing with a Heavy Metal uprise that funnels into awesome Doom. All Light Shall Fade is an epic leaner, meaner with its punch—the singing is half right for The Mad Mane Machine. Splashing with Rock and heavy Stoner is To the Fallen. This is priggish Doom waving a gavel at every perfunctory down-tuning.

—Lucifer's Fall
—Majesty in Ruin
—The Zenith

DOPPELGANGERS XXVI

  Fucking Old English. The shit that Doom and Black metal incessantly emulate—not far from the case here once the blast-heavy La Sanche release Death Magick instigates its BM tinges on this Demo. A live output from Right Hand of Doom—Doom that captures a psychedelic to space craft on Oasis of the White Palm. Endless dreams of evocation.

—La Sanche

—Right Hand of Doom

DOPPELGANGERS XXV

  Before Exodus' Tempo of the Damned cover was a Weird Tales pulp mag edition with an accompanying illustration—if the skeletal could harness temporal legions—wreathing under a witch's cloak; perhaps. A leap to what Eddie might develop into under a natural extension towards Thrash—horns and atrophying skin. Into the temple.

—Joseph Krucher

—Jowita Kamińska-Peruzzi

DOPPELGANGER XXIII

  With a circuit oriented logo, it's quite disappointing that MetaVoid is not sci-fi oriented. It could fall into the math fiction section to dispense. That creates a nice backlink to sci-fi. Sharing a hexahedron of the Metatron's Cube, they rep earth—blatantly—of the six elements. Geoda plays more extreme music—the two are progressive Metal bands.

—Djent
—Death Metal

DOPPELGANGERS XXII

  Spiral out-progresses itself on Mind Trip in A Minor! With an array of soulfully maneuvered styles; Psychedelic progressive Rock, Space- and copious Post-Rock oeuvres—the album is meant to be absorbed as a cataract-less stream. More than works.

   Omen throbs outwards splinting. Heralds of the un-Black Metal world, Antestor, permeate with a passaged dominance: A slight sympho work halfway through; atmospheric littering ahead, culminating with syncopation; Acoustics; And, violins.

  Featuring the artwork of Zdzisław Beksiński, The Horn Player.

—Art Rock
—Black Metal

 

DOPPELGANGERS XXI

  So much music, so little time! 1994 and music have always been on a measured breath, once uttered together. For Hip Hop it's the inescapable indispensable Big Apple boom bap—Illmatic. Out of countless imitators is an equal of listless (direct) influences.  This is a by no means exhaustive list.

  Some fun has been had.  And then some. . . . 

.  .  .

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DOPPELGANGERS XX

  This joke was supposed to have been a Folk Metal one. Even Black Metal could have been a closer call—the genre oftenly roots itself  in Mother Nature's aesthetics, sometimes even lyrically and to a huge degree sonically. That is the main idea here, rather than the slightly not-very-similar album art. Nature. Born in a Tomb and the atmospheric tinged Yggdrasil: Journey Throughout the Nine Worlds are both second release full-lengths from one-man outfits.

—Ossadogva

—Darkened Winter

DOPPELGANGERS XVIII

  Daybreak contributed this Powerviolence-heavy release to their God-tier split with The Ultimate Warriors; who deliver with massive Grindcore assault. As a lone offering, Convicted is the updated version of Cryptic Slaughter's . . . Convicted. In Grind we Crust!

—Powerviolence
—Crossover

DOPPELGANGERS XVII

  Fuck yeah Noise freaks. How about the closest resemblances an experimental Rap album could have to grimy, doomy, Swedeath? Perish by that shit. The curt angles of cassette reel and leaf mosaic. Only death is real. 

—Clipping
—Fange

DOPPELGANGERS XVI

  The whorl, the vortex. An influx, an out-pour. It's all spin. Faireless to the Flesh Perverted Taste's major release version is a close ringer of From Beyond.

—Resurrected
—Massacre

 

DOPPELGANGERS XV

  Super Black Thrash from Celtic Frost and Death Metal by Resurrected propagate pieces by H.R. Giger—Satan I & elusive Satan II. Resurrected's is a desiccate and decrepit demon as per album title: Faireless to the Flesh.

—To Mega Therion
—Faireless to the Flesh

DAEMONICIUM (THROUGH TIME AND DEATH)

  Art and metal have become very synonymous, limited to the palette of symbolism and/or lyrical expanse—for art that was was realized with no intention to end up as an album cover. The Vanitas and Black Metal, as far as the Mad Mane Machine is aware of, heeds back to Anaal Nathrakh—whose version was a minimalist achromatic all-inclusive approach, considering Audrey Flack's Vanitas.

  Daemonicium's Through Time and Death is a cross between a Vanitas and The Three Ages of Woman and Death. The album's woman has fallen into a youthful stasis however, a reflection of Time's eternity—if it's immeasurable. The lyrics array an Old One who is constantly implored for penance.

  Displayed are riffs with proficiency, although more could have been achieved. Completely the symphonic eminence overshadows some of the instruments. Only minute bass breaks are syncopated, and even these are more of the exception—without much to write home about save for filler driller. It mostly comes out a snare and keyboard consecration when leads fortify their presence.

  The growls let-down at times on this record when paired against the spoken lyrics and shrieks. Without the keys, Through Time and Death would easily fall into the sphere of melodic Black Metal managing solos. It would not even gratify the void it is trying to fill. Falling and collapsing under its weight.

  Rusty may be a compliment to a metal band. Daemonicium may reciprocate the rusty, auburn crimsons of their cover inspirations but that is as far as it goes. The music pales a few hues in comparison. The woman's stature gives way to a slight male elucidation and that skewers the lyrical content for the Mad Mane Machine in accordance to the Vanitas. Proficiency and purpose is key. 

DOPPELGANGERS XI

  From what I saw off Pentagrvm's work, the Metal element is not a mere coincidence. The music is instrumental, lo-fi, modern rap . And with an album titled Doomed . . . .

—Rap
—Funeral Doom

DOPPELGANGERS X

  Aaaaaah—nthrax! It's Scott Ian's (my favourite human) disbanded band. S.O.D. cannot deny their taking from S.O.B. And when around here, speak English or die!

—Grindcore / Hardcore
—Crossover

 

DOPPELGANGERS IX

  Electronic mayhem and the madness of Em's Hip Hop. Hardcore is relative—the sinew holding the two together.

—EMINEMƎM
—Striker
—The Final Destination IV

DOPPELGANGERS VII

  The tree of life—

As above, so below.

—Opeth

—Obtest

 

DOPPELGANGERS VI

 —Defenders Of Tanelorn
 —Rage Of Angels
 —Sylosis
 —Synthetic Scum

 Partly informed by this.

 Original artwork found here.