Category Archives: musical theory and background

Issue #3: Helpless Prey To Immortality

< Contents: 1. Prologue by Helmholtz 2. The Ritual of Metal Performance in Concert by Helmholtz 3. Stoner Adventures: Vol. Zero by Kaveh 4. Drunk with Fire by Helmholtz 5. Tangerine Dream – Ricochet: Review by Kaveh 6. Music as … Continue reading

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Motifs and leitmotifs in metal

The use of motifs and leitmotifs is very frequent in the musical genres of classical and opera, but we can also find some examples of their use in that furious contemporary “classical” brand of sound making we known as heavy … Continue reading

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Kraftwerk, Celtic Frost and Burzum – the method of not sticking to one style or sound

As a humble attempt to bring some ideas to the table in order to reverse the current backwards trend that plagues the underground, we’ll present to you an approach at music making that was tried by few bands in metal, … Continue reading

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Pedal design can open future posibilities for composition in metal

Guitar distortion is a fundamental asset of metal music. Yet it also has a great disadvantage that represents a big limitation to musical composition: it doesn’t give much of a dynamic range, like an acoustic instrument or an electric guitar … Continue reading

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Guitar solo expertise in metal

Instrumental skill may be one of the attributes of metal that most attracts the attention of outsiders to the genre. It’s something that immediately jumps to the eye, the technical display of instrumental virtuosism that makes one go: “wow, that … Continue reading

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Scientific study states genetic basis of musical competence and links music with communication

Shedding more light on our statement that artistic aptitude in metal is a rare trait, a University of HELLsinki study reveals that musicality is more of an inborn characteristic than most think: In the study high music test scores were … Continue reading

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