![]() The video was a first of its kind with a high budget and intricate cinematography, which influenced a flurry of bands to follow suit. “Sven and Galder’s thunderous, riffing madness mixed with the orchestral score and Shagrath’s distinctive vocals made you pay attention right away they crafted the future of today’s symphonic death metal bands and more. Dimmu Borgir – Progenies Of The Great Apocalypse (2003) They kicked a game-winning goal on album one and they’ve kept scoring.” Jo Fleischer, Metal Hammer readerĩ2. It’s inspiring for Norway to see Kvelertak succeed internationally while singing most songs in Norwegian. ![]() “ Blodtørst highlights Kvelertak’s explosive ferocity, combining 100-proof Scandinavian metal, huge classic rock choruses and the energy of an out-of-control party. ![]() Of course, the lyrics were helped along by some seriously monstrous riffs, proving that Body Count were still sitting on top of the rap metal pile. Preceded by an impassioned monologue by Ice T, No Lives Matter offered incisive takes on the issues of racism, police brutality and civil unrest. Just how big would Sikth be if they’d released Death Of A Dead Day in 2016 instead of 2006? We’ll never know, but one of 21st century UK metal’s most influential bands assured their moment in the sun all the same, not least courtesy of this scattershot, frenetic, genre-mashing banger. Trent Reznor was out of rehab and going… disco? His first new music after Nine Inch Nails’ delicate and distorted The Fragile might have been a surprise, but this upbeat industrial dancefloor filler – complete with a synth solo – became his biggest hit single, leading into the fertile second act of his career. Nine Inch Nails – The Hand That Feeds (2000) The climax is definitely the end part where you can literally hear an electromagnetic pulse caused by nuclear warheads passing through the band.” Jun-His, Oranssi Pazuzuĩ7. It has given a lot of meaning to me in its nihilism, and reflects my darker feelings towards our society very accurately. From desperation towards rage and destruction. “The song slowly gathers force and escalates like a storm. But it wove together the year’s most magical and transformative experience, imprinting itself into the deepest crevices of the heart.ĩ8. Emerging from a tapestry of lush, searchlight guitars, that forlorn orbital riff waxed and waned like it had been abandoned by time immemorial. ‘Metalheads destroyed by banjo’ wasn’t the most predictable headline of 2014. ![]()
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