Abominor to release Opus: Decay in physical form

Abominor

It is a common trend these days for newer bands to initially release their works in digital form and later create a physical version when funding permits. Abominor, a black metal band from Iceland, initially released Opus: Decay, their debut EP, on March 26th; a CD version will follow on September 4th, and the band promises a tape release in the future.

The band’s label released the following statement:

Forever committed to unearthing the best sounds in the metal underground, INVICTUS PRODUCTIONS presents Opus: Decay, the debut mini-album of Iceland’s ABOMINOR. ABOMINOR arose from the pits in early 2008, with their sole/soul purpose to evoke chaos and drown the earth in audial poison. Across the two epic-length compositions comprising Opus: Decay, the quartet create a slow-simmer cauldron of cold-yet-fiery black metal – cold to the touch, fiery in its passion – fully mesmerizing the listener with an intensity that embodies total death. Dissonant melodies welcome you into the nameless void, and with deft shifts of tempo and texture, ABOMINOR ensnare one’s soul and send currents of said poison through the veins. Rounded off by big ‘n’ booming production, Opus: Decay marks the first triumphant chapter of ABOMINOR’s omnipotent death worship.

What thrived and what died from the 1990s (Part I)

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While the new last.fm redesign seems to me another exercise in pointless self-justification by middle management, the ability to see statistics on my listening has entirely changed how I view the music held closest to my heart. Seeing the numbers has shown me how it is one thing to list a band as a favorite or recommendation, and one far different animal to listen to it on a monthly basis. One is assessment alone, as if listening were your sole task, and the other utility, showing that this piece of music has a place in your life of many tasks and goals.

This assessment filters among the upper level of the highest echelon of metal. The assessment itself filters out the nonsense, all of which suffers from a single sin — disorganization — which takes many different forms but reveals a lack of will, purpose and principle in constructing art and always red-flags a directionless listen. But among those bands who have escaped the madness, there is no equality in listening. Some have risen and some have fallen over 20 years of pounding out metal from my speakers as I work or relax at home. In most cases, the reaction was first shock and then realization that the seeds of this knowledge were there all along. Let us look at a few pairs where listening habits elevated one album over a similar one…

Blasphemy Fallen Angel of Doom vs. Blood Impulse to Destroy

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Over the years metal has frequently benefited from punk influences because metal, as befits its partially progressive rock heritage, has a tendency to create layers of abstraction and complex musical discourse where punk cuts to the chase. This is both a strength and weakness for each genre; metal is abstract, which makes imitators very obvious but can get lost in muddle-headed musical wanderings, and punk is concrete, which makes it effective but imitation easy. Blasphemy introduced a punk-based genre, grindcore, into black metal. It adopted the aesthetic approach of Sarcofago but underneath applied the percussive lower-five-frets texture musik of grindcore. The result is very effective, and easy to listen to, but also — if you have many other options — kind of boring. In fact, many of these riff patterns are the same ones, albeit simplified, that speed metal bands tried and failed to use to revitalize that genre. As raw motivational material, the music is fantastic, but over time, it fades a bit as one realizes that its strength as low-complexity high impact music also means that its content is one-dimensional. Over the past 20 years, I have thrown this record on five times and apparently terminated it early each time.

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I chose Impulse to Destroy because Germany’s Blood also occupies the narrow space of grindcore bands who think like black metal or death metal bands. Grindcore generally self-reduces to extreme minimums and must, like junk food, reintroduce sugar and salt at the surface to spice up the otherwise one-dimensional utilitarian approach. Death metal on the other hand is not utilitarian, while it is consequentialist (“only death is real” being the ultimate statement of that belief) and yet also has a highly aesthetically-motivated but not aesthetically-expressed transcendental outlook. At its best, grindcore overcomes its utilitarian tendencies for a ludic or playful view of the collapsing world, and from that some of the best material emerges. Blood for example creates a dark and morbid absurdism which brings to light all that our society suppresses with itself, and like Blasphemy, creates it through patterning cut from the chromatic strips of the lower registers of guitar. In this case, however, the textures take on a life of their own, like a three-dimensional house made from flat punch-out cards. Different riffs interact with one another and dramatic pauses and collisions give rise to interesting song structures. Like Disharmonic Orchestra Expositions Prophylaxe, Impulse to Destroy provides a wealth of riff archetypes applied with enough personality and purpose to create unique compositions which may be enjoyed for decades or longer despite their simplicity.

Napalm Death Scum vs. Carbonized For the Security

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This is one of those albums that most people get for the sake of novelty. “But check these guys out, they’ve got one second songs and stuff, it’s just about noise…” — rock music does not get more ironic than that. And ultimately, that was the power of grindcore. Like punk a decade before, it removed all the pretense of rock and boiled it down to simple songs. It then sometimes added in new flourishes of song structure which made those songs more interesting than radio pop, which had been studied by MBAs and PhDs and reduced to a simple formula distinguished only (barely) by rhythm, production, instrumentation and vocals. But once the money men and white lab coats were able to look at rock as a product like any other, they saw that to please enough people in the audience to make it a hit, they did not have to innovate at all. They only needed a new skin for the same basic patterns and they could produce it over and over again with high margins (well, until digital piracy hit). Like the punk rock and then hardcore punk, grindcore stripped away illusion and replaced it with innovation. The problem here is that these songs are very similar themselves because they rely on dramatic confrontation within each song, which like all things “turned up to 11” becomes expected and thus a sort of background noise. Every time I have listened to this album it has made itself into sonic wallpaper before the halfway point.

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Some of the albums which were considered “also-rans” back in the 1990s had more to them than people initially considered. This one has been a favorite for me, along with the second album from Carbonized but not the third, for two decades. I listen to it regularly, finish the whole thing, and sometimes start it over. Record labels tried to shoehorn Carbonized into the “death metal” model despite some clear warning signs, and consequently bungled — the root of all evils is incompetence at some level, starting with the ability to be honest — the career of this promising band, but for those of us who lumped this in with aggressive grindcore like Terrorizer and Repulsion, the similarities outweighed the differences. For the Security expresses paranoia, existential insecurity, melancholic doubt of the future and a desire to explore all that life offers in depth, all within and as part of the same outlook. This is the music of a brighter-than-average teenager who perceives the world honestly and rejects the foolishness but wants to look deeper into the interesting stuff that, because it does not affirm the dominant lie, is rejected by the herd. Chunky riffs alternate with broader rhythms derived from punk and yet are dominated by a desire to make song structure vary with content inherited through metal from progressive rock. Each song forms a sonic sigil to the topic at hand and the response of the artist, making each bursting with personality and reality portrayed in finely-observed ways at the same time. This is a masterful album which will never bore.

Roundup

As you can see, Dear Reader, these albums are both quite similar on the surface — and quite different underneath. That bands can do so much with a handful of power chords, and have such different outcomes, is endlessly fascinating. Yet not every metal-influenced album is, even among A-listers like these. It may be time for all of us to go back through our listening, search ourselves honestly, and see what has actually stood the test of time.

SJWs miss the point on #metalgate

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SJWs are masters of disguise. Disguising their perceived enemies, that is. They excel at portraying the rest of us as rednecks, klansmen, insecure bullies, backward-ballcap jocks, and other disreputable stereotypes. The problem is that to an SJW, anyone who is not an SJW is the enemy.

This is why resistance movements like GamerGate, which just celebrated its one-year anniversary, and MetalGate, have arisen. We do not necessarily disagree with you. We disagree with how you behave, and we realize that while you behave like Bolsheviks, what motivates you is something far simpler. You’re afraid of being spotted as less important than the greats.

Metal has a good relationship with its heroes. It raises them up and continues to respect them even after their artistic energies fizzle. It does this because metal values hard logic and firm answers, much like it values unflinching realism, both of which are anathema to SJWs. Metal wants right answers and it does not play the political shell game.

This is why SJWs attacked it: they resent it for being wild and free, lawless and uncucked, as well as not under their control. Their goal is to subjugate metal and make it into their bitch. They want it to become a slave that expresses only their political viewpoints, and by doing so, reinforces their importance instead of the greats.

SJWs are also clueless because they continue doubling down even after the trajectory of history has changed. They are now as out of date as Communists in 1991. They hate this and so they are lashing out with increasing amounts of guilt like a drunken grandmother, trying to control and manipulate all of us to follow their own self-destructive, pointless quest.

As Milo Yiannopoulis writes over at Breitbart:

One of the features of GamerGate is that it includes people from every background imaginable. A survey on GamePolitics found a broad mix of liberals, conservatives, and libertarians. Gamers don’t care if you’re black, white, gay, straight, or disabled. All that matters is that you know how to game. They’ll even welcome right-wing bastards like me.

That kind of diversity and tolerance — the genuine kind — frightens cultural authoritarians, not just because they are so mercilessly intolerant to their opponents, but also because it undermines their view of the world. Gaming is that most hated of words in identity politics: a meritocracy. Who you are is unimportant. All that matters is what you know, what you can do, and if you’re being honest with yourself and others about those two things.

Metalgate opposes a leftist movement, but plenty of leftists also opposed Communism. We oppose it because its behavior is wrong and tyrannical, not because we agree or disagree with it, or even want to comment on that subject. SJWs have used that silence to portray us as the Klan or Mussolini when in fact the reality is far simpler: we are defending our music against society trying to take control of it.

Again.

Unibroue – La Fin Du Monde (2015)

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This Belgian ale from Quebec has found itself a permanent place in American stores for two obvious reasons: first, most American beer is horrible because it is both utilitarian and junk food, sugar water soda with beer flavoring. Second, most imported beers have also made themselves terrible, and none quite as bad as the Belgian witbier which increasingly resembles a bilious corriander-beer soda.

Witness, for example, Shiner White Wing. Only a marketing genius could take cheap beer from central Texas and sell it at import prices, and that same twisted intelligence has been applied here to make a “Belgian ale” that tastes like the overflavored teas that women buy in malls. The main reason people like this beer is because it is sweet, bridging the gap between beer and soda yet another innovative way. But in the wake of the success of Belgian ales in America, numerous contenders have popped up. And yet here is La Fin Du Monde which has been pumping out this particular ale since the 1990s at least, and has kept both quality and price consistent. In other words, these people are not marketing geniuses, but they may be a greater form of intelligence: people who realize that if they make a good product consistently they will have an industry from now until the end of time, unless they screw it up. So they watch against screwing up, including the form of greedy screw-up that is marketing genius. Smart, those Québécois.

La Fin Du Monde smells and drinks like a German medium lager but has the light corriander flavor and muted sweetness of a Belgian ale. It retains its yeast, so is cloudy if the bottle has been moved much within the last few hours, but pours in a light golden color with a good foamy head and delicious yeasty smell. It is also worth noting that at 9% alcohol by volume and a heavy amount of carbonation, this fizzy beer will take no prisoners among your brain cells. Drinking one of these babies is like pounding down four of your favorite “import” beer (usually concentrated syrup/ferment imported from Europe, and made into beer American-style here for double the profits) bottles and then doing a couple jumping jacks. Luckily its flavor serves an excellent balance, with the hay-like notes of a good ale surging in behind the slightly bitter forward taste of the Belgian-style corriander-induced sensation, followed by overtones of light fruit — it has been compared to citrus or peach — with a strong yeasty goodness in the background. Thus this beer walks a fine line. It will not please the newly minted Belgian ale fanatics who only buy beers with fancy packaging and pretentious names, but it will rumble the tummy of anyone who appreciates a good beer with a flavor of its own.

****/*****

Black metal band Viranesir censored by Bandcamp

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Black metal band Viranesir from Turkey is no stranger to controversy. As revealed in a recent interview, this band exists to provoke. While artistic license generally covers this, apparently Bandcamp did not feel the tolerance and banned the band from its site, deleting the band profile.

Although that in itself is irritating if not shocking (in 2015 AD, near the end of Western Civilization itself) the broader question is that, as bands become more dependent on the internet to connect with their audience, whether companies like Bandcamp, Reverbnation, SoundCloud and Google/YouTube have too much influence through their policy of censoring “offensive” information. The band released the following statement:

You may or may not noticed that Merdumgiriz Records artist Viranesir have been banned from the online music store Bandcamp last week without any notice or explanation. I inquired about it many times without any answer. Not that I did not guess why, but I needed an explanation at least for them to live up to their word of “Discover amazing music and directly support the artists who make it.” and at least respect all the money they made off from their cut from my Viranesir sales before they suddenly swiped all the music I had up there for which I was counting on them to represent on not only my own but my labels website and all social media accounts, which still I haven’t gotten around to replacing with another alternative online streaming service.

My name is Emir Togrul and I am from southern Turkey. Very conservative place, from which I broke out somehow. Now I live in London England and run a Guerilla Record Company called Merdumgiriz for which I hand-make all the releases and merchandise. I have artists from USA, Canada, Italy, Austria, Iceland to name a few. I refuse to expand the label because I am on a quest to prove that total independence in art is possible and that fine art is a craft… Hence I hand-make every single thing and encourage my artists to do so as well. I make a very modest living but I get through, and the satisfaction I get from this work is just orgasmic. I am a Satanist and a libertine, I live life asking questions and constantly walking the dark. There is a lot of darkness in the world and I walk those paths rather than pretending they are not there. In my 24 years of existence, I have come to many realizations mainly through art, which to me is the highest occult! The biggest realization was the fact that the more you explore the dark, the more you understand it and it ceases to become a problem. I think life can become a very beautiful experience for every living thing when they go on a quest to understand darkness rather than neglecting it into a cancer.

Viranesir was formed as one of my side projects to fuel my main bands YAYLA and BLLIIGGHHTTED. Over time it became a crazy project with crazy music and crazier subject matter! I have songs called ” Heil Hitler!”, “Armenian Genocide Is Amazing”, “Child Molesting Rapist Murderer”, “I Only Like Jews When They Kill Muslims”, “I Only Like Gays When They Scream Like The Opposite Sex As I Rape Them”. I am not a nazi, nor a homphobe. I am half Turkish half Armenian (not exactly Aryan now is it:), and bisexual (aka I proudly suck cock). Not to say I have never been offensive, I have been very offensive… The most offensive thing I have ever done was to put Hitler’s name on an album on the cover of which I appear in drag (neo-nazis must have got very offended by this, I apologize guys), and saying I Love Torturing Defenseless Creatures And Eating Them referring to what I enjoy everyday as a meat eater, or perhaps say Rats Flock Into The Temple referring to Muslims (need I say more). All I ever did was to pull these taboo subjects out of their untouchable contexts and open them up for discussion, because they are very stupid and personally through a sense of humor, better be opened up for discussion in my opinion. The idiots in bandcamp didn’t get it and banned me, big deal.

What if a band is really a fucking nazi or homophobic band?

I really feel sorry for them because they will be shut up. Oh yes, I feel sorry for Homophobic, Rapist, Supremacist, Seperatist musicians and all those people. How evil I must seem to some for feeling sorry for confused people trying to express themselves through art. And the ones shutting them up will not even give them an explanation as if it was the word of Allah that they be shut up. I was suicide bombed by Jihadists of bandcamp last week, I was there and no longer am without any explanation. All my presence wiped out. Suddenly and effectively I am completely gone. Who am I to break the word of their Allah with my art? who am I to question their divine law of “Political Correctness”.

You have not stopped abuse bandcamp, you just stopped someone expressing abuse. There will be no less racist, sexist, pedophile, abusive people in the world because of what you did, there will just be less people thinking about those subjects. I congratulate you! I will continue making Entartete Kunst, wether pieces of shit like you allow me to be on your website or not! Fascist SCUM!!!

Emir Togrul
2.5.2015

In the meantime, you can route around this censorship by going to the label web site and exploring the material yourself. While Viranesir may not be at the top of your playlist, think to the future when some band you care about might be.

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Infamous Abisso and Of Solitude and Silence on sale at Red Stream

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For those who have enjoyed our reviews of black metal band Infamous, it may be good news that the first two releases — the Of Solitude and Silence full-length and Abisso mCD — are available at great discount here in the USA.

Red Stream has done reliable business with the underground for many years and are clearing out some undiscovered gems including this one. It’s worth prowling around to see what you can find.

In League With Satan / Blaspherian split released

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In the run-up to its forthcoming full length, Texas cavernous death metal band Blaspherian has joined forces with In League With Satan to unleash a 7″ split on Blasphemous Art Productions.

The band issued the following statement:

BLASPHEMOUS ART PRODUCTIONS PROUDLY PRESENTS:

OUT NOW!!!

IN LEAGUE WITH SATAN / BLASPHERIAN
(Ita/US)

“Same” Split 7” EP

– 280g Jacket With Matt Lamination
– Black Vinyl
– Insert On 150g Art Paper
– Exclusive Songs By Each Band
– Limited To 500 Copies
– Released In Cooperation With Iron Bonehead Productions

————

Get Your Copy Now For 6,00 Euro + Postage.

For Orders and Infos, contact ONLY through E-MAIL: blasphemousart@libero.it

Payment via PAY PAL / POSTE PAY.

Labels and Distributions get in touch for Trade.

NECROGOAT

Krallice – Ygg Hurr (2015)

Krallice - Ygg Hurr (2015)

In one of the greatest misfiles of the 21st century, Krallice was labeled a sort of black metal band despite not even trying to ape the style on even the most basic level. Maybe there’s a few seconds that perfunctorily resemble the sort of chaotic ‘avant-garde’ black metal of a Deathspell Omega or whatever the kids are listening to these days. Krallice pulls more on the lengthy tradition of post-black – playing anything so long as you’re insistent that you’re beyond the juvenilia of the genre and/or that you’re pushing its musical and ideological boundaries. As a result, Ygg Hurr showcases every idea that Krallice’s members must have thought was even marginally cool, without any cohesive logic or anything in the way of quality filtering. Six Sigma this is not.

Every second of Ygg Hurr takes on a different meter, rhythm, tempo, tonality, and so forth. The band members definitely paid attention in their musical theory classes, and attempting to dissect any of the songs here would certainly yield a plethora of technical terms describing these tracks down to the note. It bears noting that compared to many other albums in similar styles, Krallice does not back up this writhing mess with unconventional instrumentation. That they stick to standard rock instrumentation makes this album less of a headache than it might be otherwise, but it further reveals weak production that probably caused a few executives at Profound Lore to tug at their collars. Outside of the record industry, its lack of intensity or at least atmosphere simply makes it even harder to take seriously as a “black metal” album. Calling it mathcore or “progressive” rock might make for more fruitful marketing, but ultimately, Krallice lacks the compositional range to pass for good examples of either.

Ironically, Krallice approaches flatness from the opposite approach of I usually hear. Instead of dwelling on one simplistic idea for an enormous quantity of time, Krallice abandons all their previous concepts like clockwork because it’s already time for the next riff. Constant change unmediated by anything resembling discipline makes for a particularly pseudorandom take on droning boredom, but it’s boredom none the less. This is stunningly reminiscent of the “horseshoe theory” in political science, which states that extreme political leftness and rightness converge more than expected. I don’t actually know or particularly care about any political goals of Krallice (At this point, it’s safer to assume there aren’t any), but my interest in history and especially its political aspects predisposes me to make such a comparison. The ensuing product is as bland as its musically simpler counterparts.

I really need to brush up on my mathematics so I can make a proper reference to deterministic chaos and attractors, but even without such a metaphor it should be apparent that Krallice’s music isn’t very well thought out. They favor what sounds experimental when their time would be better spent taking some of the ideas on display and developing them.

Heavy metal is not a blank slate

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People do not realize that our society is in the midst of a war. A memetic war, in which one ideology will win out over the other. As we see time and time again, the different worldviews are entirely incompatible, causing the type of internal conflict that destroys empires.

Heavy metal is caught in the middle of this. Those who want to push their ideology on you have discovered it, and try to use it as a “blank slate” on which to write their messages. We found out in the 1980s that Christians did this, in the 1990s that the far-right tried, and now in the 2010s, that an echo chamber of “social justice” agitators wants to use metal as its personal billboard. Mainstream metal media — staffed mostly by such people — agrees with them. The variety of hipster known as SJWs are hoping to take over metal and use it for their own ends.

As Old Disgruntled Bastard writes:

The modern state of metal writing, as is the case with much of modern metal, has to do with the wrong kind of people being attracted to the music. Those who don’t identify metal with a higher ideal will only think of this subject as so much faffing and will continue drowning themselves in anodyne cliches, self-referential and flippant by turn. Worse yet, in a show of incredible egotism, they will expect the music to fall in line with whatever personal agenda they might be touting at that moment. It speaks of a stunted, unadventurous, and dishonest bent of mind to outright dismiss ideas that may be pariah to our own and then to run down, ad hominem, those that dare think differently.

He hits on a vital point: their goal is not to crusade against a specific evil, but to eliminate everyone who does not dedicate their life to advancing the same agenda the SJWs do. As many people have pointed out, SJWs are a bit hypocritical. They whine about injustices to women and minorities, but night after night they are in front of their computers, putting other people down instead of working in the ghettos or middle east where women are being raped and executed en masse.

This reveals the agenda of SJWs, while it surely overlaps with their left-wing political views and hipster lifestyles in which activism is ironic and fresh, is actually to make themselves appear to superior to others. SJWs are the new master race, in their own minds. By day, they are cubicle drudges with unimportant jobs who live in expensive city apartments and spend themselves into debt buying organic free-trade wine and artisanal wall hangings. By night, they are transformed into warriors, heroes, Anne Franks and Mother Theresas combined. They find their importance in “social justice” because it allows them to pretend they are better than other people, and to experience the delicious revengeful joy of forcing others to be silent and apologize. That is the thrill of SJW: subjugating others with words from the comfort of your computer, with a glass of Malaysian Anisette Merlot and a rare live Deerhoof set on the radio.

What obstructs them is the very fact that metal is not a blank slate. It has its own beliefs, which deal with the world and its problems from an entirely different angle than SJW solutions do. Its basic rule, non-conformity with society for the purpose of discovering the raw unfiltered power of nature and truth, opposes the very notion of collective action for some slogan or political issue. Metal is against politics itself. It sees politics as an outgrowth of social thinking, not an end in itself. In the metal world, politics is a distraction and SJWs are more nagging nannies who distract us from the real problems. As MetalReviews writes:

Let’s lay it down as law, if in the confines of this editorial only: Black Metal ist krieg, waging war on all, and Black Metal that isn’t krieg, that doesn’t wage war on man, god, musical boundaries and every living creature whatever colour or creed isn’t proper Black Metal – there’s more spiritual closeness between Transilvanian Hunger and La Masquerade Infernale, between De Mysteriis Dom Sathanas and 666 International than there is with something like Panopticon’s Collapse or Eldrig’s Mysterion. They may all be great albums, but the spiritual difference is greater than that of the music itself – Arcturus and Dødheimsgard are no more trying to convert you to Anarchism or Ariosophy than Darkthrone and Mayhem are.

Metal has a culture of its own. SJWs are attempting to genocide that culture and replace it with the watered-down indie rock to which metal riffs have been added that the mainstream media media have been pimping for some time. They achieve this by coordinating among themselves. Someone once plotted the communications between two groups, GamerGate and its opposition. The opposition show a trend toward conformity, where GamerGate was more chaotic and open. The SJWs of today were the authoritarians and Nazis of yesterday. A short demonstration follows.

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Krieg frontman Neil Jameson — who like Decibel editor Albert Mudrian unfriended our previous Editor on Facebook for what can only be assumed to be political reasons — recently wrote a piece in which he opines on the condition of women in metal. Like most SJW articles, it begins with a justification for its demands on your attention, and threatens you with guilt:

I recently realized that I’ve been having more and more discussions with people about how women are treated within the metal scene, and music in general. Turns out my knee-jerk reaction to throw jokes at the problem wasn’t the best way to address it. This goes a lot deeper, and regardless of how it may make people uncomfortable, it’s a discourse we need to have—and keep having—because the problem isn’t going away; in fact, it’s getting worse.

This is politician-speak like might be used for the wars on terror, drugs or drunk-driving. There’s this problem, see, and it requires immediate attention. Not only that, but it’s getting worse the more we just sit here. Leap into action right now and do whatever I tell you! He goes on from there to make his big point:

As a man, I’ve never gone to a show worried that someone was going to grab my dick or give me a drink with some bullshit drug in it. It’s not because I don’t think I’m pretty; it’s because this is shit that doesn’t happen to men (I understand someone in the comments section will have a story saying that it does, but for the sake of argument, please shut the fuck up). It’s just not something we have to worry about. Women have to shrug this behavior off because they’re afraid if they speak up that it’s going to be turned around on them due to what they’re wearing, or their sexual history, or the simple fucking reason they have a vagina and guys are taught from a young age through marketing and media that we’re entitled to that. Movies and other forms of storytelling glamorize women going to shows to fuck and nothing else. The idea that they’re there because they love the music seems as absurd as a cop telling the truth during a trial.

In addition to the type of terrible writing that thinks throwing in the word “fucking” for unnecessary emphasis somehow makes it edgy, this piece shows us a lot of guilt — and no facts. We all know that there are some badly behaved people at shows, and their bad behavior takes many forms. People throwing beers, pulling non-participants into the pit, fighting with bouncers, or just being general doofuses are common enough, but not accepted nor the norm. In my experience, metalheads have generally stood up for personal boundaries to anyone transgressing them, without checking to see if the victim was a white male first. But in the Jameson piece, the rambling story goes on with reasoning about how we should stop everything to fight a problem he supposes is somehow very serious, despite no assessment of how wide of a problem this is or even whether it is a problem with metal or simply dickheads being dickheads at rock shows.

But really, the plight of women in metal is not the point. The point is that Jameson has joined the SJWs and wants their approval so he can sell them the “new” version of Krieg, which takes pride in being “open-minded,” a term that means not metal if you analyze it. As he says himself:

“We were one of the first geographical groups to really tie in non–black metal inspiration, like my covers of the Velvet Underground/The Stooges, etc., Leviathan/Lurker of Chalice’s Joy Division and Black Flag influences and covers, Nachtmystium’s interest in psychedelics and more blues-based ideas, etc.”

In other words, innovation by devolution. These bands are much older than metal and fit more into the rock paradigm than metal has. This is like stepping backward a generation and claiming “progress” as a result. Why would he pick this approach? In the SJW world, metal is bad and anything that pretends to be metal but is not is good. Therefore, bands that claim to be innovators for re-hashing older genres — which most metalheads want to escape — are to be praised, and anyone who makes metal for metal’s sake is bad and should be avoided. They need this argument to advance the illusion that metal is a blank slate, instead of the vibrant culture that it is.

What else might Jameson be doing here? Others have defined this pathology before:

A gaming term used to describe a male gamer who, in a desperate attempt to get himself laid, will attempt to woo or impress any female gamer he comes across online by being overly defensive of her and giving her special attention, such as playing as a healing class and only healing her.

That is White Knighting. In other words, men who publicly proclaim themselves sensitive to women’s issues are doing it to get laid or be accepted by a new social group. You may remember this from high school or college. At the mid-point of freshmen year, guys figure out that they can attend feminist workshops, get misty-eyed about how oppressive they are, and go home with a new girl each night. This has little to do with ideology and everything to do with human behavior. People who want acceptance into a group will memorize and repeat the appropriate chants to get what they want.

Is this what the former Lord Imperial, now short-haired Neil Jameson of The Velvet Krieg is doing? Let’s look at some of his statements from the past.

Wikipedia recalls an interview by Jameson in which he expressed a different viewpoint. Although the Wikipedia article was edited mysteriously (moderator notes: “Unexplained removal of content”) on July 5, 2013 at about the time Jameson started writing for Decibel, it can be found at the Project Gutenberg wiki. Jameson — who had just gotten out of his band Weltmacht which had pro-Nazi themes, even getting signed to pro-far-right label No Colours — was heading in an entirely different direction just seven years ago:

Krieg were boycotted in Switzerland “because I freely use offensive words like ‘nigger’ in regards to the disgusting double standards and politically correct nonsense that has spread through the world black metal scene. This is a scene that encourages violence and hatred, but if you say something against anyone besides Christians it sends a lot of people into crying fits. There was one person who wrote me saying he didn’t approve of my life ‘affirmation’ on the Satanic Warmaster split in which I, I felt very blatantly, criticised both the life loving movements and the politically correct movements, but I guess these people are too fucking involved in down syndrome to notice IRONY. Well fuck them, I don’t want the support of people who cannot read the entire idea, but rather pick at ‘dangerous’ words. When the fuck did this stupid concern for hurting people’s feelings become an issue in black metal? […] ALL PEOPLE ARE SHIT […]. As for Switzerland, we got banned from the country for using ‘nigger’ on this 7 inch, which as I stated before, was anti political correctness, NOT PRO FACIST.” Imperial added that “[u]nderneath the abrasive offensiveness lies a much greater meaning that many would take the time to inspect and study. Beneath such a bitter shell lies enlightenment. IF you can fight through my venom, then you will find truly what I am spreading through the words of Krieg.”

This viewpoints sounds like those in GamerGate and MetalGate, except that we do not use racial slurs to denigrate other groups to make our points. We just speak up for what is true against the onslaught of SJWs. Jameson’s case is probably quite normal; he has simply joined the hive mind so that he can meet more people, be cool with the other SJWs at Decibel, and advance his own career, in defiance of the heavy metal genre he once found inspiration in. In other words, SJWs in metal are simply another form of selling out and assimilation into the mainstream herd.

Motörhead – Bad Magic (2015)

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Motörhead (n.): Consistency, especially over a long period of time

The way I see it, time has not been much of anything at all to Motörhead, positive or negative. Every few years sees another album, with gradually improving production standards and gradually evolving vocals from Lemmy Kilmister. It’s been a very long time since the band experimented with its formula. Essentially, Motörhead’s formula is so basic (blues rock amped up until it becomes metal and sped up or slowed down as necessary) that they’ve been able to keep pumping out consistent work to this point, and Bad Magic keeps this going despite Lemmy’s recent health scares.

The art of Motörhead is very much like that of oat porridge, perhaps with a bit of cinnamon or fruit for flavor. You can’t go into this expecting anything but very basic, especially blues inflected heavy/speed metal. This extends to the songwriting, which I can accept considering that there’s no pretensions of being sophisticated or experimental or Myrkur or whatever the target of the day is. Perhaps the instrumentation is a bit more complicated than on something like Overkill or Ace of Spades, but Bad Magic is separated from such formative works by decades of technological advance and metal marketing. This recording still has much in common with its predecessors, and you could reasonably make the argument that since Motörhead keeps making mostly the same albums, they aren’t adding much by churning these out.

On the other hand, consistency is a virtue of its own, and in many ways, Bad Magic is a safe, sane, and predictable purchase. A slightly more refined and more technical Motörhead album, preparation for whatever concerts they might be able to play in their area, and most likely more enjoyment and value than some of the gimmicky recordings in this genre. It might be better for neophytes to start with earlier work, but as a relatively basic “more of the same” type album, Bad Magic is certainly a success. There really isn’t much to say beyond that, and I trust readers can make an informed decision about whether new Motörhead is something they want in their lives.