Why did you need to bump this thread?
I recall posting about ANUS in the interesting blogs thread, but since this one already exists, I suppose this wouldn't hurt.
ANUS was dead serious about politics and especially music. For awhile, it was one of the first English-language websites that intellectualized Extreme Metal of all sorts and functioned as a kindergarten for neophyte Metalheads of all ages. It certainly took Black Metal out of the tape-trading underground into the mainstream long before the brigade of hucksters from Vice and other hipster-friendly clickbait sites swarmed in. In retrospect, much of that site's content is cringeworthy, but I wouldn't have been made aware of Extreme Metal fundamentals were it not for their album reviews.
ANUS's userbase now continues at Death Metal Underground:https://deathmetal.org
Perhaps the biggest and most controversial thesis at that collective is the idea that Heavy Metal is the natural continuation of Classical music applied to Rock'n'Roll's arrangements. My own feelings on the Metal / Blues / Classical argumentum ad fedora that ANUSites always bring up are somewhat ambivalent. On the one hand, I think the shift away from Rock and Blues that Extreme Metal represents, especially in chromatically-based Thrash, Black and Death Metal, is self-evident and inarguable. It certainly is the single most attractive feature for all those genres.
However, the idea that there is some clearly obvious Classical or Neoclassical influence in Death Metal or Black Metal is pure unadulterated bullshit. I think this particular pillar of the ANUS catechism---that Extreme Metal is a natural extension of Classical---derives from confused and muddled thinking, along with their well-documented desire or perhaps deep-seated emotional need to over-intellectualize the creative processes of young musically-inclined youths, especially when said musicians' collective mental capabilities couldn't power a diode. It's also worth pointing out that the typical ANUSite embraces social and political atavism. They have emotionally and intellectually primed themselves to fetishize the past. Perhaps imagining that Metal's recent heritage lies in Mozart and Beethoven stems in part from that habit.
In short: Extreme Metal's move away from Blues and Rock didn't represent a move back towards Classical or a re-imagining of Classical music for the modern world. Rather, it represented a move towards something entirely different.