Band Review: Destroy To Recreate

Metal as a genre is as durable, and also as malleable, as the substance that shares its title. The heaviness remains constant, but the method by which it is expressed can change, often surpassing itself. This resilience is not only characteristic, but even exclusive to metal. The genre can be seen evolving in the limelight, manifested by well-known bands and publicized by their ever-vigilant fans. However, it is usually the underground scene that incubates the revolutions, and the pioneers who spearhead them. Of such catalysts, one is frequently overlooked, despite it's indisputable significance to the upward motion of music.

Enter Destroy to Recreate.

Destroy to Recreate is the aftershock of the theatrical dark humor which prevailed in the early years of Metal. But the tactics that were popularized by early rockers such as Alice Cooper have been brutalized by DTR, the theatrics are made less humorous and more abrasive to accommodate the modern state of Metal. They epitomize a contemporary style of Shock Rock, which exploits the melodic potential of the instruments without compromising the caustic nature that makes the genre what it is. The guitar riffs, although distorted, hint at some kind of catchy rhythm. The drums are fierce enough to satisfy without overpowering. The vocals are a flashback to 90's metal, gutteral yet discernable.
Immunized by the gore which has been injected by the media, DTR succesfully shocks and entertains a generation which is not yet indifferent to violence. "Sometimes you watch the news and see all the fucked up things that happen in the world, and it's so bad that  it kind of leaves a nasty taste in your mouth." Such is the sinister prelude to their shredding number, Bitter is the Taste, as delivered by vocalist Alex. True to their name, they use violence only on that which needs mending, and whose mending depends on extreme measures. Such things comprise a long list, but music is at the top.

http://www.destroytorecreate.com/

Metal Mythos Part 3: Brave New World

     Metal, like the Opera, has evolved from lurid melodrama to a profound narrative delivered by music and theatrics. By no means am I implying that Power Metal is not without it's allure. It exemplefies the Dionysian indulgence which defines the very genre, with a raw edge of which the polished artists of today are incapable. However, guilty pleasures such as Manowar lack something profound which can be found elsewhere, such as (for example) Amon Amarth. Early metal incorporated mythology in a campy manner, but now mythology is more than a mere gimmick. Now the myths are at the forefront, and theatrics take a supporting role (heh.)

      Immortal prophecies, existential tragedies, and metaphorical fables flavor the contemporary manifestation of Metal. Viking Metal in particular is characterized by dark personal tragedies, almost nihilistic in nature. Symphonic Metal is essentiallly a modernization of ancient Operatic themes, ranging from betrayal to mercy killings to perpetual vendettas. Artist such as Nightwish have incorporated elements of fantasy into their orchestral compositions, as an onslaught of Pathos can be hard to bear without a unicorn or two to lighten the deal.

     Even when the storylines themselves are not true to their origins, the themes of Metal still borrow from the mysticism of elders and ancestors. The phemomenon of Folk Metal is a testament to this fact. This musical movement features native acoustic instruments, otherwise known as "Grandpaz Guitarz", and utilizes them in conjunction with thrashy electric guitars and pounding kick-beats. Eluveitie are masters of this art, using bagpipes to accentuate the harsh melody. Such is the brave new world of metal and mythology.

Destroy To Recreate

Metal as a genre is as durable, and also as malleable, as the substance that shares its title. The heaviness remains constant, but the method by which it is expressed can change, often surpassing itself. This resilience is not only characteristic, but even exclusive to metal. The genre can be seen evolving in the limelight, manifested by well-known bands and publicized by their ever-vigilant fans. However, it is usually the underground scene that incubates the revolutions, and the pioneers who spearhead them. Of such catalysts, one is frequently overlooked, despite it's indisputable significance to the upward motion of music.

Enter Destroy to Recreate.

Destroy to Recreate is the aftershock of the theatrical dark humor which prevailed in the early years of Metal. But the tactics that were popularized by early rockers such as Alice Cooper have been brutalized by DTR, the theatrics are made less humorous and more abrasive to accommodate the modern state of Metal. They epitomize a contemporary style of Shock Rock, which exploits the melodic potential of the instruments without compromising the caustic nature that makes the genre what it is. The guitar riffs, although distorted, hint at some kind of catchy rhythm. The drums are fierce enough to satisfy without overpowering. The vocals are a flashback to 90's metal, gutteral yet discernable.
Immunized by the gore which has been injected by the media, DTR succesfully shocks and entertains a generation which is not yet indifferent to violence. "Sometimes you watch the news and see all the fucked up things that happen in the world, and it's so bad that  it kind of leaves a nasty taste in your mouth." Such is the sinister prelude to their shredding number, Bitter is the Taste, as delivered by vocalist Alex. True to their name, they use violence only on that which needs mending, and whose mending depends on extreme measures. Such things comprise a long list, but music is at the top.

http://www.destroytorecreate.com/