The hilarity and accurate representation of the mainstream music machine and metal scene has always been a cosmic whirlwind of awesome. Songs are well-written so that the story is not lost. “Epic” is an American term that is all too often misused and has lost almost all-true value to the word, except in this case. One must pay attention to the comic musical album that is Doomstar Requiem to find out. As prophecy foretells, the four remaining band mates go on a master quest and unwittingly face the root of all universal evil. Without the ability to fathom a universe outside their own, they cannot possibly understand the actions they take effect the ultimate balance of metal and evil. And, as the band goes on about their ego-inflated business seemingly immediately after his sudden departure, they realize that their fans WILL leave them without the return of Toki– only then does the band finally take selfish action. As the story goes, the last season ended with the kidnapping of Toki, their rhythm guitarist. The songs tell the story with all the comedy that is Metalocalypse. This is easily the best thing we’ve ever done with the show and the music.” This is a full-blown musical– metal combined with symphonic passages, classic musical theatre, high stakes drama, emotional moments and yes, totally ridiculous comedy. Creator Brendon Small says in the album’s press release, “This is not like anything we’ve ever done. To expect just an hour-long power tribute to metal in all its forms would be cheapening your experience not all songs are heavy metal or rock. Is Requiem really more than just a rock’pera? Yes. The larger than life projection of Dethklok is no more apparent than in this, the rock’pera to end all rock’pera. One of Us Must Die! A Prophetic Statement if Ever There Was One

Dethklok rock opera