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                                  dark nirrajim

Lembaga hitam melebur habuan diri
Semangat hitam mencencang nikmat kehidupan
Di tangan kau lupa asal akan dirimu kelak
Bila seakan dirimu akan berakhir

Seru - serulah bisik - bisik terusan angin bayu
Bersama janji bersama kalimah mantera
Titisan darah penarik persembahan putri
Kemenyan syaitan pewangi suasana

Ikatan air tak akan mati

(guitar solo)

Bila diri diselimuti dendam nyawa korban

Syaitan diseru ku minta darah kehidupan insan sebenar

Seru - serulah bisik - bisik terusan angin bayu
Bersama janji bersama kalimah mantera
Titisan darah penyeri persembahan putri
Kemenyan syaitan pewangi suasana

Ikatan air tak akan mati

Lembaga hitam melebur habuan diri
Semangat hitam mencencang kalimah kehidupan
Di tangan kau lupa asal akan dirimu kelak
Bila seakan dirimu akan berakhir

Seru - serulah bisik - bisik terusan angin bayu
Bersama janji bersama kalimah mantera
Sehingga diri lena benar bersama janji
Dikota mati perjanjian syaitan yang diikuti

Tiada jalan seindah

Bila diri diselimuti dendam nyawa korban

syaitan seru ku minta darah kehidupan insan sebenar

About the Dark Legions Archive

The net's oldest and longest-running metal site

The Dark Legions Archive appeared on the web in 1993, but existed in other forms online for five years before that. Our mission: to describe underground heavy metal music as a form of art, with cultural values and a philosophy behind it, so that this creative and insightful genre can be understood for the values that motivate its creators and fans to devote themselves to it.

About this site

This site began as a metal etext newsletter from 1987 to 1992. These were first broadcast onto the nascent internet through a dial-up bulletin board system distributed through FIDOnet, with several articles published in Houston-based metal magazine Rivethead. After this, the content moved to an FTP server, migrating to the WWW in 1993 -- where, on a series of hosts, and finally the anus.com domain, it has been ever since.

From 1991 to 2001, our primary writer was Spinoza Ray Prozak. He created formative underground radio show The Oration of Disorder from 1992-1998, and later became an internet radio pioneer with KCUF underground radio. A lifelong metalhead, he has been writing about metal since 1987, he began distributing articles, lyrics and information through the Apocalyptic Funhouse BBS and The Metal AE.

As young metalheads, we recognized the total lack of critical information about the genre. People either dismissed it, or used it as a product for morons, and no one listened to what the bands and fans were saying. Those who hated it were only too happy to perpetuate stereotypes of its stupidity and encourage ignorance of the better material.

Our goal is to describe this art reverently, with attention to detail and meaning, but never to forget that metal is there to be heavy and to bring pleasure to the listeners. It is an assertive, realistic, and passionate form of art in a world that is mostly concerned with spacing out and ignoring its moribund civilization. We want to uphold every aspect of that intent.

About the Reviews

We write reviews to sound like the music they describe: structuralist, occult, logical and passionate all at once. Like Romantic poetry, metal loves to merge scientific phenomena with the mystical in metaphor. As a result, you will find more freely experimental text here. We use every tool at our disposal to convey the spirit of the music.

The average person has been told that he or she is stupid. This is not so; however, the average person is ignorant and undisciplined. We know that our readers can take advantage of dictionaries and encourage them to do so. They are smart enough to know these words and use them well, and we encourage that, as less-common words allow us to use more specific meanings and have fun with language, so we write in a style common 200 years ago that is the intersection of science, philosophy and literature.

While most review sites try to communicate a liking of the music, we only review music we find important. Our goal is to describe how it sounds, how it fits into the historical hierarchy of metal, and what it communicates so the listener knows what the listening experience will be like. Our goal is not to describe exactly how something "sounds," because aesthetic conceals music; the real music is the composition: melody, harmony, rhythm, texture, and structure.We prefer to receive promos via mp3, and to know as little about the band as possible. We prefer not to communicate personally with band members before the review. We prefer an attitude of total objectivity, so the subjective can be used as an instrument of approximate objectivity. Our goal is to reverently describe metal as art to encourage its growth and evolution.

For over twenty years, we have been a lone voice describing metal as art with culture, values and a reasoned philosophy of life behind it. Others mock us either to degrade metal, or to keep it as a clubhouse for the disillusioned underachievers of life. We prefer to pick its highlights and push it to greater heights, and that will never make us popular, but we believe it is the only honest way of honoring the music that has inspired us.

Why two types?

Starting in 1999, we began rolling out dual review types: longer reviews for albums that are essential; shorter reviews for less important (usually later) works from bands that have already made essential albums. If in our view a band has produced no material of any transcendent, artistic, and enduring value, we skip it.

The shorter reviews are there to explain what you'd hear on less important (usually later) works from the band, and we leave it up to you to decide whether you want to pursue it. Once again:

Long review: essential

Short review: non-essential

We do this because there are more than enough bad or ambivalent reviews out there if you like reading confusion about mediocrity. Our goal is to describe the music, and the best way to measure any genre is through the albums that have contributed to the growth of the genre, or are musically and artistically excellent. So we focus on those.

Credits

Since 2003, a new team has take over leadership of the Dark Legions Archive:

metal word

                       Impiety - Ravage and Conquer

This album is thoroughly enjoyable energetic and simple death metal which incorporates enough hints of melody and harmony to give the songs memorability. However, on the whole it belongs to that category of bands which are guilty pleasure bands by design. They do not aim for profundity, but rather intensity. We might list Vader and Angelcorpse as well, or maybe early Grave, because they have a similar low-tech approach. There is not much that is musical about this release. It is pure rhythm, with the aforementioned musical elements tacked on to keep your interest. But as rhythm, it has the intensity of later Angelcorpse and the raging power of broad basic statements that propelled early Grave. Its songs are not as memorably constructed as those on Exterminate or Into the Grave, have more the intensity of mid-period Vader, but in a time of feeble self-pitying rock bands trying to be hipster "metal," it's gratifying to find something with heart. You will tap your feet to these energetic, propulsive tunes and appreciate the sheer violence out of which they are created. Unlike many recent albums which drag you along for the ride, Ravage and Conquer drops you into the middle of it and makes you fight your way out.

see that song >>   http://www.youtube.com/watch?v=H-32eaHpkFg&feature=player_embedded

                                thrash metal

Mix together the early CIRCLE JERKS, early BLACK FLAG, MDC, MINOR THREAT, SSD, TERVEET K�DET, and GANG GREEN, and you have something approximating these DIRTY ROTTEN IMBECILES (so-called by their parents). What can I say--this is manic, intense, tight thrash with great lyrics, and I can't wait till these Houston boys unleash themselves upon the rest of us deprived people. 22 songs.
-Tim Yohannan (from Maximum Rocknroll #5, March/April 1983)

Heavy Metal Books

The outside world periodically investigates and analyzes metal to encode in book form its conclusions. For the convenience of our readers, we have assembled a brief guide to society's efforts so far, in a resemblance of order of relevance. Click the image to see options to buy the book.

	Lords of Chaos by Michael Moynihan Although somewhat uneven, this book chronicles the events in Norway as black metal rose and intelligently presents the ideological viewpoints behind the actions of these musicians, as well as giving insight to the mechanations of bands and personalities in the turbulent world of underground metal.
	Heavy Metal: A Cultural Sociology by Deena Weinstein A reasonable summary of most academic study so far, which indulges heavy metal as an extreme offshoot of rock in which rebellion is the prime goal and the fundamental ceremony is the concert. These failings aside, there is very perceptive research here on the origins of heavy metal and the personalities within its culture. The latter is most informative of all aspects in this book and is Weinstein's strength as a writer.
	Heavy Metal: The Music and Its Culture by Deena Weinstein A broadly inclusive view at the public perception of heavy metal and its fans which, although limited to mainstream music, captures the unstable origins of modern metal, this book provides a solid foundation for Weinstein's comments on metal.
	The Collector's Guide to Heavy Metal by Martin Popoff Short reviews talking about the emotions and social significance of heavy metal bands are Popoff's strength, and he through a fragmented view into hundreds of bands reveals a culture in transition. Including a reasonable small selection of underground metal.
	20th Century Rock N Roll: Heavy Metal by Martin Popoff A somewhat distanced view of metal as rock music, this book brushes over many of metal's strengths en route to a discussion of its commonality with popular music.
	Goldmine Heavy Metal Price Guide by Martin Popoff For those who want to enter the intricate world of collecting, an experienced metal journalist outlines the significance and comparative value of classic metal releases of interest to collectors.
	Are You Morbid? by Tom G. Warrior Although somewhat scattered in focus due to its intense immersion in the personality of the writer and the human emotions of its band, this book establishes the intent of Celtic Frost and its predecessor, Hellhammer, and explains the philosophies of unified concept and music as a presentation of the ideology and desires of an artist (stranded in a mortal body). While conversational in text and often tedious, this retelling answers many fundamental Hessian questions.
	Metalheads: Heavy Metal Music and Adolescent Alienation by Jeffrey Jensen Arnett A sociological study of 100 metalheads including profiles and brief analytical pieces on various aspects of relatively mainstream metal culture. Reasonable and deliberately overindulgently just, this work attempts to find a parent's view of why children who hate society, religion, and conformity turn to metal.
	Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Aimed at the most popular examples of heavy metal, this analysis peers into issues of gender and power as ethnographic vectors of impetus toward participation in the metal genre. The interpretations of reasoning and ideologies behind music, while limited to less than self-articulate examples in many cases, are the strength of this book.
	Rocking the Classics : English Progressive Rock and the Counterculture by Edward L. Macan Delving into the world of progressive rock in a context of cultural development through history, this book explores the motivations and musicology of progressive rock with a broad but well targetted research base.
	Black Sabbath: An Oral History by Mike Stark and Dave Marsh A reasonable account of the early days of metal and its slow descent out of the hippie and biker positive hedonism of the day into a new and darker persona. Extensive material on Sabbath personalities and attitudes regarding the creation and presentation of their music.
	Riders on the Storm : My Life With Jim Morrison and the Doors by John Densmore A useful prescience about politics in dark themed bands can be derived from the lessons learned in this recounting of the rise and fall of the Doors and their enigmatic vocalist Jim Morrison. Densmore is under the grip of Catholic morality and while recognizing it is unable to vanquish it, but it colors the book less than his stunning first-person viewpoint on the action.

that about metal

 

maneternal.blogspot.com

                                  black metal

Black metal took the lawless extremity of death metal and added a greater use of melody, creating swelling surges of sound that sweep the listener away with raw emotion and then arrive in a wasteland devoid of inherent value. Songs fashioned from primitive elements end up telling complex tales, embarking on a journey where the greatest human fears -- meaninglessness, predation and violence -- end up being salvation from the frustrating world of entropy-bound stagnation. Thematically black metal represents an assault on the pillars of modernity, namely egalitarianism, consumerism and tolerance 

                                  death metal

                     Death metal uses tremolo strummed power chords in phrasal riffs, creating an internal dialogue of melody to project a narrative which takes us from a starting point through internal conflict to an ending radically removed from the start. This often complex music relies heavily on chromatic scales and solos that resemble sonic sculpture more than a reliance on scales or harmony, and use "modal stripes" or repeated interval patterns (such as a half interval followed by a whole) to maintain a mood. Inherently structuralist, death metal can be recognized by its "post-human" perspective, seeing the world through biology, history, warfare and mythology instead of the "I/me/mine" viewpoint of a modern society.

           

                 

                                   thrash metal

 Thrash combined the short, fast songs of hardcore punk bands with the more structured, architected and melodic aspects of metal riffing. Deriving its name from the skaters who listened to it, called "thrashers," thrash was a true crossover genre in that it was not purely metal and not purely punk, which both caused it trouble finding an initial audience and made it almost universally accessible. Its songs, often under thirty seconds, blasted away at society not so much from ideological principles but to mock and criticize the end result of ideology, which was a numb utilitarian society oblivious to the passa

                                 speed metal

After hardcore made music harder and faster, speed metal upgraded heavy metal by mixing hardcore speed and aggression with the architectural riffs of NWOBHM, and downgraded the reliance on pentatonic scales in favor of minor-key complex riffing. The technique that defines speed metal is the muted strum, where the palm of the strumming hands rests on the strings, making a short percussive blast of distortion instead of a ringing chord. As a result, speed metal sounded like the machines of the 1980s: blasting like factories, rattling like tank treads and chattering like computers and their printers

                                  heavy metal

 Heavy metal started when Black Sabbath merged heavy guitar rock with the soundtracks from horror films. They did they by exclusively using power chords, which because they do not contain the notes that mark them as major or minor chords, lend themselves to moving in streams, like a melody played in chords. The result is that Black Sabbath structured their songs around the interplay of these melodies, instead of focusing on a transition between points of fixed harmony like rock music, and invented a new style of music that took nearly thirty years to grow into the musical ideal first suggested back in 1970. Lyrically, Black Sabbath rejected the flower love delusion of the hippies and replaced it with hard knowledge: the obliviousness of individuals creates a mythological form of evil that manipulates and destroys us.

                          




                                    grindcore 

 A further evolution of the sound hardcore punk created and thrash developed, grindcore slams together abrasive riffs in order to achieve a release from intensity at the end of each song. Its name comes from that grinding, caused by fast alternation between chromatic notes and the contrast with rigid whole note patterns that lift the listener up from the directionless thrashing. Where purest, grindcore celebrates individual life and rejects social mores by reminding us that we are mortal, frail and the clock is ticking, so we need to cast aside the pointless and frustrating (grinding) in life and replace it with open spaces of our own imaginations.

edit by:man hate eternal