A review of “Ominous” (2010) by The Wretched End (Norway)
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.
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.
Leave a comment | tags: Bathory, Black metal, CMT, conceptual metaphor, figurative language, Hades, heavy metal metaphors, metaphor analysis, metaphors in metal, Quorthon, Scandinavian metal, Thomas Forsberg | posted in Conceptual metaphors
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:
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:
Leave a comment | tags: American metal, Bay Area thrash metal, Chuck Billy, conceptual metaphor, conceptual metaphor analysis, D.N.R., death, Do Not Resuscitate, figurative language, pain, Testament, The Gathering, thrash metal | posted in Conceptual metaphors
Hi there! My name is Andriy and Digging metalaphor is back. Not sure for how long however.
Believe me or not, the most popular post on this blog is “St. Anger” by Metallica. So, here is another piece of Californian thrash metal for you – “Master of Puppets” (from the “Master of Puppets” LP, 1986 by Metallica). Neither the band, nor the album needs any introduction. Let’s go straight to the lyrics:
Leave a comment | tags: American metal, CMT, conceptual metaphor, conceptual metaphor analysis, Life is a play, Master of Puppets, Metallica, metaphor analysis, thrash metal | posted in Conceptual metaphors
Hi there! Metalaphor is back with the first post of 2016. As I promised in the last article, the January pick is one of the W.A.S.P. classics, namely, “Murders in the new morgue (Chainsaw Charlie)” from the “The Crimson Idol” (1992). This LP is a conceptual album, which means that song after song a listener is guided through a coherent narrative on a single topic. “The Crimson Idol” tells a story of a rise and fall of a young rock star Jonathan. In “Murders…”, the boy meets Charlie, an owner of a record label, who promises him to put the entire world at his feet.
The song, as the entire album, which it is featured on, is an ambiguous text when it comes to a search for meaning. This fact was admitted by Blackie Lawless (author and W.A.S.P. leader) himself on the band’s webpage when commenting on “The Crimson Idol”. Does this spell more metaphors for us? Soon we are going to find that out. Let’s check out the lyrics (Attention, explicit content):
4 Comments | tags: American metal, Blackie Lawless, Chainsaw Charlie, CMT, conceptual albums, conceptual metaphor, conceptual metaphor analysis, figurative language, glam metal, Jonathan, Murders in the new morgue, The Crimson Idol, W.A.S.P. | posted in Conceptual metaphors
- Not that ominous May 1, 2017
- Meine Seele wurde gebrochen (epitome of minimalism) February 26, 2017
- The analysis of conceptual metaphors in “Hades” by Bathory February 21, 2017
- The analysis of conceptual metaphors in “Breaking the law” by Judas Priest December 10, 2016
- The analysis of conceptual metaphors in “Do Not Resuscitate” by Testament June 2, 2016
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