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[Album Review] Dethklok ‘Dethalbum III’

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Who honesty would’ve thought that a cartoon on Adult Swim would result in a real band doing real tours and releasing real albums? And yet that’s exactly what happened, resulting in Dethklok’s Dethalbum breaking records as the highest first-week album sales for a death metal act before Dethalbum II broke that record. As silly as that sounds, it’s reassuring for this metal fan to know that people can relate to metal, even if it’s in as ridiculous (read: awesome) a format as Metalocalypse.

And now the band returns with, you guessed it, Dethalbum III. Packed with 12 blistering tracks, does this album meet my expectations or fall short? Find out below.

Opening up like something out of a classic horror film, the album kicks off with “I Ejaculate Fire”. A static-y cinematic melody that sounds like it’s coming out of a ham radio begins the song before everything coalesces into a modern sounding production, distorted guitars and syncopated drums slamming into a furious double-bass burst of energy.

However, something felt a bit off while listening to the song. I was enjoying it and I was hearing all the traditional Dethklok tones that I’ve come to know and love over the past several years. But something was lacking. Something was missing. And then it hit me: I just wasn’t having as much fun as I thought I would be. And this is my main complaint with the album.

You see, the production is great. It sounds damn good! It’s as dynamic as a metal album of this variety can be and there are enough guitar licks and leads to make any bedroom YouTube guitarist become a hermit for weeks. So that’s not the issue.

Nope, the issue is that I expected to laugh and have more fun with a Dethklok album and I just didn’t get that. I headbanged a bit, I rocked out a lot, I tapped my foot almost the whole way through, but I never felt that childish mindless glee that Dethalbum brought me. Songs like “Thunderhorse” and “Murmaider” were just so ridiculous that I couldn’t stop quoting them or getting them out of my head.

Perhaps that is what this album lost: That catchiness, that over-the-top aspect that made Dethklok so engaging, just wasn’t there.

The Final Word: As a metal album, Dethalbum III features some fantastic songs. But as a Dethklok album, I wanted something more over-the-top, more light-hearted, and more fun. And since I am reviewing a Dethklok album, I’m gonna have to say that I’m left a bit disappointed.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Managing editor/music guy/social media fella of Bloody-Disgusting

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“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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