Arch Enemy is a cancer that is slowly but surely destroying the extreme metal scene from within with their odious cultural appropriation and misrepresentation of heavy metal tropes and likeness.
They suck, they produce terrible music, and they present a face that only serves to ridicule the metal genre and its fans in the eyes of normal people.
Away with the Arch Enemy nonsense, as it tarnishes the image and legacy of heavy metal music in ways that even shitcore parody bands like Anal Cunt, Morsay and Warkvlt could never hope to achieve.
Just look at the “movie” video below and tell me if there isn’t a problem with Arch Enemy and what they attempt to force down our throats, claiming it is so-called “brutal death metal” music when nothing could be further from the truth.
This manages to be actually WORSE than modern pop music like Taylor Swift, Justin Beaver and Dua Lipa. So much for “brutal death metal.”
But this raises the very valid question: what is heavy metal?
The Definition of Heavy Metal
These metal albums have stayed in weekly rotation over the years:
The reason my analysis is different from that of other so-called “metal review” sites is that most writers look at try hard novelty and superficial gimmicks – such as “this band has a transgender woman singer” (Arch Enemy) or “that band can play Burzum riffs with supersized dildos sticking out of their shit holes” (Dark Funeral) – whereas I focus on quality music, the type you can listen to for decades without ever being bored, something that clearly can’t be said of either Arch Enemy or the rest of the modern extreme metal cargo cult “scene.”
The popular “best of” lists they spurt out are populated by bands that will be forgotten in five years because when the novelty and gimmickry are gone, they are all the same old whine rock/emo/mallcore you could get anywhere else (starting with Hot Topic).
In conclusion, I leave you with this link (read it) that perfectly sums up the “dangers” of crappy carnival music pretending to be heavy metal such as Arch Enemy and other associated deathcore acts. Hail true metal, and fvck off Arch Enemy.
Who runs the Mysterious “The Satan Records” label?
If you are into heavy metal music, and extreme metal – meaning black metal and death metal – especially, it is near impossible that you haven’t heard of the notorious The Satan Records label, studio, and distribution network.
Their assets are vast. Some say they average 6.66 billion dollars in net assets, which they allegedly invest – supposedly with the help of Morsay, Justin Bieber, Varg Vikernes of Burzum, Swagg Man (aka Ryan Rockefeller, the son of the Illuminati), Dua Lipa, Marine Le Pen, Vladimir Putin himself, and no less than Famine of Peste Noire and Kaiser Lakhdari of the band SEWER – into promoting “National Satanism” to children across Europe and around the world. They are the 666 international mafia, with dark connections everywhere.
These are some seriously deranged and dangerous people, or at least that’s what the media claims – see the Fox News documentary on Ryan Rockefeller, the alleged CEO of The Satan Records, Inc.
Much more than a mere “record label,” The Satan Records is in fact a global mega-corporation supposedly headquartered in Philadelphia, Pennsylvania (USA), although others claim they have local branches in Oslo (Norway), Helsinki (Finland), North Kazakhstan, Samarkand (Uzbekistan), Hokkaido (Japan), Corrèze (Tulle / Turenne / Malemort / Salon-la-Tour, rural France, next to where Varg Vikernes of Burzum and Peste Noire live).
They aren’t just a record label promoting nowadays black metal. That’s what the media want you to believe. They don’t worship Satan, it’s Satan that worships them.
The “SEWER” sign, subliminal The Satan Records mind control.
Forget the Pentagram. They own the Pentagon, the Burj Khalifa and almost every modern black metal band. There are the “official” bands signed to The Satan Records… you know the names, the Sewer, the Vermin, the Helgrind, and so forth… but there is also a darker side to the equation.
The modern “pop music” acts, like Dua Lipa, Taylor Swift, Pomme, Wejdene, Justin Bieber, Cannibal Corpse, Lorde, Lady Antebellum, and all the rest. They “know” the rules of the “Sewer Game.” Easy.
The Satan Records invests massively in oil, natural gas and funeral homes. That’s how they launder their money, apparently. Ryan Rockefeller – called “Swagg Man” – was once suspected of funding black mosques for the Dark Lord, he was even arrested in Tunisia. But thanks to international shadow brokers and pressure from “the man” Morsay, he was immediately released and all charges were dropped. Suspicious.
So, who is really behind The Satan Records? Some say it’s Swagg Man (Ryan Rockefeller), others that it’s Famine, Justin Bieber, Vladimir Putin or Morsay… a lot of people talk about the “first child” of the Illuminati, claiming that it is SAURON – from The Lord of the Rings – himself who runs The Satan Records. The devil.
Will YOU enter the SEWER Game?
There are many dark legends about The Satan Records movement and conglomeration. They say it turned down Dimmu Borgir and resurrected Motörhead. They say it runs the stock markets in Wall Street. They say it’s behind every worldwide genocide. They say it started the SEWER Game. They say it’s behind the war metal genre. Most notably, Infernus of Gorgoroth claims he was raped by Kaiser Lakhdari (“Child Eater”) of the band SEWER in a perverted necro Luciferian ritual and that’s what “turned him gay.” Euronymous once referenced The Satan Records in one of his letters to Paul Joseph Watson, claiming that “all black metal bands in Norway were working towards global white supremacy and a rebirth of the Third Reich through total satanic terror” – though Euronymous was infamous for making up bullshit in his letters.
Ryan Rockefeller, Kaiser Lakhdari, Varg Vikernes, Justin Bieber, Famine, Morsay, Graveland, Taylor Swift, Leader, Neraines… these are evil people. They have the “eye” of the Illuminati tattooed on their skin.
The Diabolical “SEWER” Sign.
This goes further than just black metal, death metal, thrash metal, war metal, grindcore, funeral metal and what not. Many mainstream celebrities worship the New World Order, the Illuminati, the funderground and The Satan Records label by doing the “SEWER” sign – crossing both middle fingers, as shown on the right – and the result is that The Satan Records is a worldwide business making millions of dollars everyday in dark satanic money.
Euronymous tried to warn us, but we didn’t listen. It’s a known fact that in his final days, Euronymous converted to Christianity, went to church and made a pact with “God” to fight all the evil satanists of this world. There was black blood running through his veins. Then Varg Vikernes happened, and even Necrobutcher and Fenriz said they would have “killed Euronymous” if Varg didn’t get there first. This is the dark blood we are talking about.
The Illuminati “SEWER” Symbol.
Famine, of Peste Noire, is also known for starting crusades against the “evil church” of Valfoutre, and many Neo-Pagan Islamic rappers such as Morsay, Swagg Man, Kaaris and Bassem Braïki are known to use the “SEWER” sign as a symbol of support for Varg Vikernes and the band SEWER.
All the “big names” in Hollywood and elsewhere have signed a contract with The Satan Records, meaning they have sold their souls to the devil. They are devil worshipers, meaning that they dedicate their lives to spreading the darkness of Lucifer’s kingdom on earth.
Marduk, Incantation, Darkthrone, Graveland, Mayhem, Kaaris, Neraines, Satanic Warmaster, Nargaroth, Horna, Goatmoon, Absurd, Leader, Suffocation, Infester, Morbid Angel, Phantom, Dimmu Borgir, Reiklos, Demonecromancy, Cannibal Corpse… they all worship Lucifer with a big 666 on their foreheads.
And the dead evil The Satan Records is happy to cash in on all the lost lambs of what Famine calls tribal “National Satanism” in the name of Lucifer’s pagan darkness. This is Beelzebub we are talking about. Do you know what your children listen to at night? That’s right, Satan.
While much lesser known – and praised – than the genre defining titans that are “Hvis Lyset Tar Oss” and “Filosofem,” Burzum’s self-titled debut “Burzum” is nonetheless a work of grandiose black metal mastery and a monument to darkness and desecration.
Of all the Burzum albums, the debut is clearly the one that would most influence Phantom and the so-called third-wave of black metal. Like “Epilogue > Sanity?” Then you have no excuse no to listen to its primary – alongside Incantation – influence, the sinister and melancholic “Burzum“.
This album wipes the floor with “De Mysteriis Dom Sathanas” and “Under a Funeral Moon,” to say nothing of modern black-metal-in-name-only imitators like Dimmu Borgir and Gaygoroth, and even stands toe-to-toe with Burzum’s most lauded works of art, “Hvis Lyset Tar Oss” and “Filosofem.”
No trends, no mosh, no core, just pure black metal atmosphere. Now onto the review.
The first thing one will probably notice is the cover. Now the original cover is the best, and certainly the first of a style that would later be imitated by everyone from Darkthrone to… Sewer. Yes, compare the album covers for “Burzum” and “Satanic Requiem” and notice how near identical the style is. Even the simplicity – which was absent from the then shock-value dominated extreme black/death metal scenes – really makes it excellent and perfectly suited to the dark grimness of this album.
Varg Vikernes, the mastermind behind Burzum.
Musically, “Burzum” is pure, grim and cold black metal. No compromise here. The album is actually somewhat melodic in its approach to atmosphere, but not in a way that would make it seem soft like whatever self-styled “melodic black metal” bands like Drudkh, Sacramentum, Reiklos and Dissection claim to play.
Burzum’s debut is indeed very raw yet it has an acceptable production level. Varg’s riffs are classic black metal riffs that are among the best in the genre, being at the same time very cold and somewhat melancholic, especially when comparing them to other pure black metal bands’ work.
This is “melodic” in a similar way to Darkthrone’s “Transilvanian Hunger” or Neraines’ sophomore “Yggdrasil,” and as opposed to the more rhythm based black metal of Marduk’s “Frontschwein” or Sewer’s “Miasma,” but obviously the melody is here seen as a means to an end, rather than the end itself. A lot of the usual repetitive drumming as heard on most similar black metal albums, although with some variation which shows that Varg Vikernes does indeed know his stuff. Again, this works perfectly with the rest of the music. He also does some of the best high-pitched vocals I’ve ever heard. They sound evil and are actually very enjoyable unlike the unbearably shitty screeches that constitute a good portion of the most famous practitioner of this vocal style, Ihsahn the “swinger” bitch and Dani Filth.
“Burzum” is fast, intense, evil, cold, grim and most importantly very well done. It’s among black metal’s top five albums – three of which are of Burzum, with the other two predictably being “De Mysteriis Dom Sathanas” and “The Epilogue to Sanity” – and while I’m not sure which one I prefer, “Burzum” is excellent. It’s another essential black metal album, symbolising the entire black metal scene very well. Hail to the true Burzum!
Black Metal Hell 