The Crucible of Metal God

Halford “Crucible” (Remixed & remastered) was re-released in 2010 through Metal God Records.

I point out from the beginning that the article is about the reissued edition. To be honest, I have never heard the original CD. I got my hands on this current version of “Crucible” several years ago, having purchased it in a bundle with “Resurrection” and “Live Insurrection” from Rob Halford Music.

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“Ranch Hand” on metal frontlines

Sodom. “Agent Orange”. 1989. Steamhammer. Bundesrepublik Deutschland.

It seems there is just nothing left to add as so much praise has been dedicated to this piece of art. I also belong to the camp that sees Agent Orange as Sodoms’s best and to be honest I simply cannot even think of a single argument against this CD – it is pure perfection and below I briefly summarize why it may be the case.

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Not that ominous

A review of “Ominous” (2010) by The Wretched End (Norway)

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Meine Seele wurde gebrochen (epitome of minimalism)

Review of “Das Seelenbrechen” by Ihsahn (2013)

“Being entirely honest with oneself is a good exercise.” Sigmund Freud

And let it be so. I love Ihsahn. I respect Ihsahn. The legacy of Emperor, experiments of Peccatum, melodies of Hardingrock, his work on “Somnium” by Thou Shalt Suffer and on “Blood Must Be Shed” by Zyklon-B charm, bewitch and fascinate, leaving nobody indifferent. For many metalheads around the globe – including those already worshiping “Das Seelenbrechen” – these words will be the ultimate truth. But on the general background of extensive praise to “Das Seelenbrechen” I still feel the need to pour some cold water on this work of Ihsahn.

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The analysis of conceptual metaphors in “Hades” by Bathory

In Memoriam: Thomas Forsberg (1966-2004).

Hello dear reader! Missed me? 😀 As promised in 2016, I keep Digging Met(al)aphor up and running, making random appearances here and now. Ironically, my blog these days – when I almost never publish – is doing better than ever. Well, today we will discuss something rather special, something which became a milestone in the history of black metal, defining the genre for the generations to come.

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The analysis of conceptual metaphors in “Breaking the law” by Judas Priest

Hi there! My long silence is finally broken and Digging Metalaphor delivers yet another post. With this one I am kind of filling a gap here. Those of you who have been following me probably noticed that in the course of the last two years I have touched a lot of big names in metal (some were featured even twice!) except for the biggest: JUDAS PRIEST. So far the closest I could get to the Metal Gods was the critical look at “Resurrection” by Halford which, as far as I am concerned, deserved much more attention than it actually got. Today, however, I will compensate for my reluctance to publish something about my favorite band. The current post delves into one of the Priest’s classics, namely, “Breaking the Law” (featured on the “British Steel” LP 1980). Let’s head straight to the lyrics:

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The analysis of conceptual metaphors in “Do Not Resuscitate” by Testament

Hi there! This is Andriy and you are reading the Digging Metalaphor blog, which is my personal little online stash with the musings on the metaphors in the lyrics of metal. This time I am offering you yet another fine piece of the Bay Area thrash metal: today we are going to take a look at the song called “D.N.R. (Do Not Resuscitate)” by Testament (taken from the “The Gathering” LP, released by Spitfire Records in 1999). Hey, a new band on the blog! Let’s go straight to the lyrics:

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