(Distance is only fictional for Trhä and their notorious opus vat gëlénva!!! Here is an in-depth review by Axel Stormbreaker.)
History confirms that the more network connections spread exponentially, the more its considerate users obtained the opportunity to study, comprehend and optimize vital elements of distinct cultures. While it’s accurate how most will now use it as an outlet for toxic negativity, there was indeed a time when it stood more as a useful tool, not long before the eventual “upgrading” of social media platforms. Of course, the way I navigate my focus nowadays, there are moments I can’t distinguish most of what is projected from the inner contents of a garbage can. It feels nearly inconceivable how its current pile of disposable data has so far assisted our societies on their very structural level.
That being said, art belongs among those aspects that managed to benefit more than any could hope for. After all, this is how I was granted my own chance to explore the further depths of Japanese extreme metal. I believe my first impressions were initially made, nearly a lifetime ago, by Loudness‘ “Heavy Chains” from Thunder In The East. It was then, when that classic Manowar-based riff stormed in, with that weird accent shrieking on top, that blew my brains to pieces. From that point onwards, Sigh came along, of course; then Gargoyle, Greenmachine, and Hurusoma. And a few years later, Arkha Sva and Magane followed, along with obscurities in the likes of Manierisme, Yvonxhe, and Albiorix Requiem.