Invention versus novelty in metal

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There is an experience like deja vu which feels more like parallax motion. This sensation is that of seeing parallels between two things which, visually at least, seem to have nothing in common. And yet it also feels like racing over open ground in a landscape of discovery. Consider this observation from a pipe collecting writer:

Some innovations are not innovative at all. They are ideas that have been explored–and even made–long before. That the current experimenter is ignorant of previous attempts does not make the effort novel. It also does not make revising an idea or revisiting a solution unworthy. But don’t make untrue claims. Socrates’ observation that “There is nothing new under the sun” is almost always true.

Other “innovations” are transparent attempts at attention-getting. Putting products out there that exclaim “Look at me! I’m SO leading edge! I’m an artist!” might work for Miley Cyrus, but the average pipemaker’s target audience is somewhat less naïve nor impressionable, but you wouldn’t know it by looking at some of the work being touted on Facebook pipe groups these days.

What amazes me even more is that the work on the ridiculous end of the sublime-to-ridiculous continuum attracts its champions, and they seem eager to whoop and hurrah without engaging in any critical discourse at all. It’s hype, hype, hype. In my view, hyping isn’t helpful because it inhibits thoughtful conversations that might contribute to improving or at least refining the innovations being touted.

He draws a distinction between what we might call invention, or application of new ideas to a realistic use, as distinct from novelty, which is the creation of “new” ideas for newness’ sake. In metal terms, it takes some brains and guts to create a sublime form of a metal genre, but any idiot can add ska, jazz and rockabilly to Pantera and come up with something “new.”

Metalcore in particular is consumed by this view of novelty as a target. Since its songs are built in the post-hardcore random collage style, just about anything fits into a metalcore band, which is why it has aesthetically-diverse but musically-similar acts like Animals as Leaders, Obscura, Behemoth, The Haunted and The Red Chord under the same genre banner. Each riff is like a different act in a variety show. This is why it has the “carnival music” approach: its compositional structure is verse chorus with an extended musical appositive in which the random is prized more than the coherent, or that which flows from one point to another in a sensible narrative.

Some would say this is its artistic appeal, that metalcore expresses the randomness and purposeless directionless consumption of our time. That may be true, but the best art does not merely protest, but forms beauty out of sense and makes it compelling in a new way. Others might defend metalcore as “open-minded,” as was popular with bad gimmick death metal bands in the early 1990s, and even early mathcore experiments. Yet randomness is not open-mindedness; it is refusal to make up one’s mind, and by burying the audience under different elements, essentially hiding what one thinks and hedging one’s bests. How do you criticize a band that has a riff from every imaginable style in each song, except to note that greater randomness produces greater proximity to background noise? Andy Warhol might sell metalcore as an avant garde representation of the background noise of the city.

And yet, we had two-riffs plus breakdowns bands back in the day. Metalcore itself is an extension of post-hardcore, which was a late 1980s thing. None of this “innovation” is in fact new; it is merely recycling the same old sad elements, like the clichés in movies where every rebellious character has to ride a Harley, drink Jack Daniels, smoke Reds and listen to heavy metal. Generally the pattern for metalcore bands is that they find something that people want but do not understand, then make a simplified — in this case, random — version of it, and then pimp it out. Opeth for example made their career off the idea of being too deep for most people, but were basically a re-hash of what Cemetary and Tiamat did five years before. Meshuggah took what Exhorder and Vio-lence did with speed metal riffs but made it more obvious, simplified and put it to a jazz-style complex offbeat structure, but added nothing new musically, and in fact took away most of the musicality. Cradle of Filth figured out that if someone made a heavy metal band that sounded like black metal, it would outsell the original. And so on.

Here is a useful definition regarding metalcore:

A blend of hardcore and metal music that evolved in the mid-to-late 90’s with bands like Unbroken, Earth Crisis, Harvest, Endeavor, Poison The Well and Unearth. There is a liberal use of breakdowns in the music and the lyrical themes range from the political to the personal.

Compare to a similar definition for deathcore:

Deathcore is a style of extreme music often confused by its fans with death metal. Deathcore draws heavily from the “malcore” style of metalcore in the sense that elements of its sound, both in composition and production, are rejected by the more conservative metal culture (ex. death/black/thrash/sludge metal). Deathcore differs from metalcore in the sense that it is generally faster, more heavy, and tending toward darker themes such as are present in death metal. Deathcore is also notorious for the excessive use of breakdowns, an element also present (but less frequent) in death metal and other ‘true’ metal genres. Hardcore dancing, a dance style in which fans swing their arms and legs violently in rhythm, has become hugely popular among deathcore fans, and is a trademark of live deathcore shows.

Despite many fans’ beliefs, deathcore is vastly different from traditional death metal. Musically, the deathcore song structure is generally much more formulaic than that of death metal; songs tend to have one or two guitar riffs, several breakdowns, and possibly a chorus. Deathcore composition is also much less complex, many songs featuring doubled guitar parts or simple guitar harmonies, with the bass guitar being almost entirely indistinguishable.

Our normal impulse is to say “Well, you listen to what you like, and I will listen to what I like.” That is the socially correct answer at least which is one reason why it is wrong: social preference selects for the unreal because people prefer illusion. The problem is that when idiot music shows up, idiots show up, and they outnumber anyone competent. If they can appropriate the style of your genre and make a dumbed-down sugar, salt and fat added version of it, they will replace you. You will not keep listening to what you like because no new versions of it will come out because no musician will touch a genre infested by idiots unless he or she wants to profit from idiots. Your genre will be assimilated and replaced. That is exactly what happened to metal since 1994.

Some people moan any time a person wants to connect metal with social trends, history or other traditional forms of analysis. that is because those people want to keep metal as a hobby, a product and something special removed from everything else that is just there to be enjoyed. But on the other hand, many artists have given up more comfortable lives cranking out alt-country, indie rock or rap to spend their time trying to make quality metal, and it seems pointless to disrespect and ignore that. If we look at metal through the historical development of an artistic movement, it becomes clear that it offers not just another version of the same rock ‘n’ roll idea, but an entirely different idea. Rock is, like all post-Enlightenment thought, about the primacy of the individual. Metal rebels against that with hard realism.

Perhaps the hard realism is right. After all, this society is miserable — another one of those things that metal reminds us of daily — and besotted with lies, committing ecocide against nature, forcing people into miserable jobs, and specializes in tearing down beautiful things to replace them with strip malls and endless rules. I would go so far as to say this is the worst age of humanity, except for the mindlessly selfish, who sure love that 500-channel cable and easy jobs and fast credit that make them feel like kings in the tiny little fraction of the universe that they notice. Over time I have come to observe that the smarter someone is, the more aware they are not just of particular ideas or facts but of space, area, time and their own smallness. An idiot thinks he is the sole occupant of the planet; a medium-intelligence person is aware of his community; a genius is aware of the cosmos, the past and future of humanity as a whole, and the people even far from him. Metal rebels against our society both on the basis that it is formed of affectionate-sounding lies, and that it is ugly, pointless, boring and crass.

But that is “alternative history” to the majority of people. They believe — because they want to believe — that our time is the apex of humanity. And technologically, surely it is, although most of this stuff seems like fumbly-fidgety rehashes of 1970s inventions like UNIX and networking. They ignore the vast misery not just among the impoverished, but among the successful, and the utter boredom of the purposeless nature of modern life. Every generation, social order decays further and people become more like witches, of dishonest, selfish, petty, and oblivious character. Each generation can say to the one after, “Stuff’s worse than when I was a kid, so have an iPod and we’ll call it even, OK?” As long as we stick with official history there is nothing we can do with that. As others have noted, perhaps the root of invention as opposed to novelty is a willingness to leap off the platform of official history and look into other reasons, not new but realistic and truthful instead of merely socially popular ones.

Speaking of alternative history, I encountered this passage today. You might call it Libertarians for Monarchy. It takes an economist’s view of the change in history, and shows how alternative history might have been right, after all, and how we might all just be living in denial and cruising on the wealth of the past (Hans-Hermann Hoppe via Outside In:

A king owned the territory and could hand it on to his son, and thus tried to preserve its value. A democratic ruler was and is a temporary caretaker and thus tries to maximize current government income of all sorts at the expense of capital values, and thus wastes. […] Here are some of the consequences: during the monarchical age before World War I, government expenditure as a percent of GNP was rarely higher than 5%. Since then it has typically risen to around 50%. Prior to World War I, government employment was typically less than 3% of total employment. Since then it has increased to between 15 and 20%. The monarchical age was characterized by a commodity money (gold) and the purchasing power of money gradually increased. In contrast, the democratic age is the age of paper money whose purchasing power has permanently decreased. […] Kings went deeper and deeper into debt, but at least during peacetime they typically reduced their debt load. During the democratic era government debt has increased in war and in peace to incredible heights. Real interest rates during the monarchical age had gradually fallen to somewhere around 2½%. Since then, real interest rates (nominal rates adjusted for inflation) have risen to somewhere around 5% — equal to 15th-century rates. Legislation virtually did not exist until the end of the 19th century. Today, in a single year, tens of thousands of laws and regulations are passed. Savings rates are declining instead of increasing with increasing incomes, and indicators of family disintegration and crime are moving constantly upward.

In a time when popularity determines success, appearance is more important than reality. This is what gives rise to novelty, or essentially — as our pipe smoker above reminded us — re-visiting of old ideas in bizarre new forms that entice the herd because they are different and unique, which is how all of those bonobos view themselves and want to assert as their reason for having importance. We call most of them hipsters, but the phenomenon is broader than that; we live in a time that is appearance-over-substance, and as long as metal panders to that demographic, its fortunes will not improve.

Jordi Savall – Tous Les Matins Du Monde OST (1991)

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Tous les Matins du Monde was the result of novel writer Pascal Quignard’s desire to bring to life a story about one of the greatest composers and perhaps performers of the the viola da gamba (“leg viol” in Italian, from the traditional position in which it is held), Monsieur de Sainte-Colombe, and his most famous student, Marin Marais. He partnered with writer-director Alain Corneau, who had been formally trained as a musician before switching interests to film-making in his youth. The writer built a fictitious novel around what little is known about “Jean” de Sainte-Colombe and later adapted it for the movie. The movie has a melancholic tone, suitable for what is known about the composer as a recluse, a trait that Quignard exploited to the point of romanticizing the legend to a believable but ultimately symbolic level as inspiration for the spirit of art.

There was a man who was perfect for the job, his name was Jordi Savall. This decision came as no surprise given that Quignard first found out about Sainte-Colombe from a recording Savall and Wieland Kuijken did of the French composer’s music in 1976 under the title Sieur De Sainte Colombe – Concerts A Deux Violes Esgales. Whether the consequent recordings by the duo of Sainte-Colombe’s music were at least in part due to the movie is unclear, but a second tome was released in 1992 followed by reissues of the older work several years later. Savall was already a well-known name in his world, but the movie boosted it to popular stardom as he became famous all over the world as a viol player and ensemble conductor.

The music in the soundtrack has a very private feel to it and stands in contrast with the contemporary religious music we know was for service. At the same time, it shares with it a quality of “introspection”. What this implies musically, exactly, is something that cannot be pinpointed easily and is probably a confluence of several different traits, similar to how the romantic “authentic” has been systematically analyzed by some in very interesting but abstract descriptions (for instance, simple, understandable melodies in the manner of folk music). The movie depicts a time of transition when a lot of the music that was being made by amateur nobility was increasingly being taken up by professional musicians playing in courts (this is, essentially, what separates Sainte-Colombe and Marais). Herein, the transcendental and the temporal and commonplace are juxtaposed.

This soundtrack consists most of pieces by Sainte-Colombe and Marais with a minimal addition of a few superb piece by other composers. Personally, I recommend “Le Bandinage” by Marin Marais  and the excellent addition of a piece by an anonymous composer simply titled “Fantasie en mi mineur”.

Monastery – Ripping Terror 91 (2015)

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This is the reissue of a grindcore album released by a Dutch band in 1991 and was previously only available in cassette format. Most of these are just hipster and collector fun coming to light. In the case of this Monastery, the music is solid but just does not have any spark in it. Everything in Ripping Terror had already been done better by the trinity of grindcore, Repulsion, Napalm Death and Blood (bands that have rendered all other grindcore output virtually redundant). Thus, the re-release of this passing triviality is just one more move to cash in on nostalgia and collector’s obsession to possess every tape out there.

This impulse bring back to life just about any band from the golden era of underground metal is both detrimental and helpful. On the one hand, the albums that are really deserving in being reissued, the ones whose legacy should endure are being suffocated in their own niche by a great many Bs, Cs and Ds that had no reason to come to light back in the day and have no reason to do so today. On the other hand, a historian of music wishing to compile human activity in a genre will be delighted to have such a large-scale reproduction of the output of the era.

I am torn between the two and my proposed solution is that the albums are produced on demand instead of Cs like Monastery getting thrown in with the rest of the promos. Which also implies that re-releases or re-issues should have a stack or channel of their own that does not mix in or get clotted by the rivers of filth being vomited on the audience by modern bands. Now, having separate stacks, and the reissues only being produced on demand would save us all time and trouble. Whoever is interested in a completely forgettable like this from back in the day can indulge himself, while Massacra, Incantation, Immolation or Gorguts can dominate the market as they ought to as superior works of art. Save the planet, recycle, stop manufacturing more plastic to release mediocre albums, EPs and demos.

Amok – Necrospiritual Deathcore (2015)

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Tagged as a death/thrash sort of cross-over band, Amok, at least in the present album, sounds much closer to hardcore stemming from the tradition of Discharge Hear Nothing, See Nothing, Say Nothing and filtered along the line of Amebix Arise!. Some gestures of 80s heavy metal show up but only briefly and not prominently enough to turn this into one of the many kinds of  so-called “melodic death” bands out there. In Necrospiritual Deathcore a healthy, coherent mixture of different punk and metal expressions collide to form an enjoyable album.

Like any hardcore album worth its salt, we find fragments of speech taken from television or radio, snippets of urban audio, coughing, among the rough scream-barks of the vocalist. All this, combined with the great pains to which Amok goes to give this album musical variety despite the fact that the music is primarily percussive (and simple in its percussion). Commendable are the smooth tempo changes in the album that are never abrupt even though they change the music drastically. Voice and instruments conspire so that the “line” is never broken when going from a faster speed to a slower one. When it comes to accelerating, though, the punks show themselves.

On the other hand, given the simplicity (and I mean real simplicity) of each song and the fact that the album is a song-collection (rather than a concept album, or a greater work, or a set of variations), the staying power of this kind of record is very limited. Sounding like a more single-minded, less flexible Amebix, Amok Necrospiritual Deathcore will please and entertain, but there is little reason to continue listening to it when there are albums like Arise! lying around. All in all, it is a refreshing hardcore album with heavy and death metal colors done by expert musicians.

Erik Rutan and Steve Tucker Issue Warfather Album Studio Update

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Warfather has issued a studio update on the progress of the band’s as-of-yet-untitled sophomore album. Rhythm guitars, drums and bass tracks are completed. Vocals should be finished soon.

Warfather ‘s Steve Tucker (Morbid Angel) had this to say about the album’s progress:

“Working with Erik Rutan on this record is both an honor and an amazing experience. Erik knows death metal better than any producer or engineer on this planet! He knows how to get the best performance out of everyone who steps through Mana Recording studios’ doors. A true professional and a Legend!”

Producer Erik Rutan (Hate Eternal, ex-Morbid Angel) added:

“Recording with Steve and the guys on the new Warfather album has been fantastic! It has been a blast to be working on this monster album in the studio once again with my great friend and former band mate. The songs are heavy as hell and just outright awesome. We have some great tones and performances and I’m really excited about the whole process. We have just finished all the drums, bass and rhythm guitars. The massive foundation has been formulated. Now it is time to start vocals and solos and onward to the mix!”

www.facebook.com/pages/WarFather/240931366011521

Review of Warfather’s Orchestrating the Apocalypse

Metal as Transcendental Art

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I. Music for the sake of…

In Book I of Plato’s The Republic, Socrates is engaged in an exchange of ideas with Thrasymachus regarding the nature of justice. In this debate, Thrasymachus is noticeably anxious to drive a point that justifies his views rather than finding out the truth. In between the sarcastic remarks and false humility that characterize Socrates, the older philosopher puts forward questions and comparisons that shed light on the topic in interesting angles.

One of the most interesting arguments came after Socrates’ opponent declared that justice could be defined as “the interest of the stronger”. Socrates’ response came to a point where he postulated that all art (which he uses as an equivalent to “talent” or “occupation”) acts rather in the interest of the receiver of his work. So the true art of the physician is neither in the receiving of money nor in a perfection of medicine in itself, but in the curing of maladies and keeping the body healthy.

Socrates then extrapolated this to illustrate how justice was what a ruler imparted in the interest of the people. A ruler is given power to lead and impart justice to the best interest of the people they govern. That rulers may often become corrupt is a different matter.

This got me thinking, what about music? What is the purpose of music? What is music for? From history, we know music has served different roles, from religious expression, conducive to a form of indoctrination, to aristocratic caprice, to romantic ideology, nationalist propaganda and every other conceivable use of music as ambiance or a vehicle for anything else.

We should make it clear that not only were these approaches different, but not all were equally close to the truth about music. Most do not understand that it can only evoke sentiments, even if detailed and vivid, but not particular scenes. It can speak to the human subconscious through the filter of the conscious (which is why you cannot “get” a music that is completely new in style to you — for example, the “learning process” one goes through when getting into death and black metal). More importantly, it cannot speak of individual ideas without the aid of words because it belongs to the instinctive understanding of humans as a species. Human nature and education mold these perceptions.

The most empty of all the interpretations was that art should be done for its own sake. A laughable oxymoron, if ever there was one. As Socrates correctly argued, art is done for the sake of the less powerful that receives it, the object of its mercy. For music, that is the human spirit, the subconscious and the conscious as a whole, your state of mind, whatever you wish to call it.

II. The options that metal has at its disposal

In his Fifth Heretical Essay, “Is Technological Civilization Decadent, and Why?”, Jan Patočka briefly goes over the topic of pre-history (which he clarifies does not mean non-history), its transition into history and humanity’s ascending from an animalistic lifestyle to one where one’s considerations extend beyond personal immediate necessities.

Pre-history for humans was characterized by having survival itself as a main preoccupation. Life for life’s sake. Setting the conditions for historical life, humans moved into settlements and gradually were able to afford independence from the every-day fight for one’s life. The price of this was work. This work became a responsibility in exchange for safety and space to indulge in pleasurable activities. Patočka refers to the second one of these as the the orgiastic, a release and exchange from the toil of responsibility that provides an escape from a life of pure survival.

This sort of life could still be considered as life for its own sake. The clever reader may observe that in the previous description a full circle is described. Each activity on the stack is concerned with an individual trying to escape the previous state in order to keep going, to ensure survival.

It is then that the transcendental, the sacred, the divine, the ulterior, makes an entrance into human awareness. This is not to be confused with religion, which is only a systematic arranging of rituals and beliefs which may or may not be a way to the divine. Independently of the system chosen or the disavowal of all systems, keeping something larger than ourselves in perspective can make us redefine the way we see our individual lives. Our lives are no longer lived in redundancy, just in order to keep living, but are charged with energy and will power to build or attain something without the intention of receiving personal reward. (Remark: It is common for people to have kids in order escape their mundane lives, but their intentions are equally mundane and selfish, mostly bringing children they cannot properly raise to an overpopulated world in order to satisfy their empty lives. The transcendent  ideal goes beyond such gimmicks of self-deception .)

Thus we can descry three possible avenues for music:

  1. For mere function in context (responsibility)
  2. For pleasure itself (the orgiastic)
  3. As a medium to perceive and keep in sight something larger than our individual human lives (the transcendental)

The nature and goals of different music, perhaps to different degrees rather than in straight-up black-and-white distinctions, can be classified using these three elements. Music that is deemed superficial is that which lacks in transcendence. Mainstream (a term that only makes any sense from the 20th century on) music, specially, can be said to work in the primitive paradigm of responsibility on the side of the artist and pure orgiastic pleasure on the side of the listener. In most music, this activity is usually a combination of both on the side of the musician, responsibility to norms in order to get his pay and an attention to how much pleasure the music provides him. A reflection of life for life’s sake in an empty music devoid of any transcendent meaning.

Transcendental music and art in general would imply musicians being invested in the music for something larger than their own personal profit (monetary or otherwise) and an audience similarly invested and discerning of music that gives them that sense of going-beyond their individual lives. All the songs about common love, friendship and equality notwithstanding as they only serve to comfort weak individuals in their self-pity, not propel them forward to greater heights were the self is at least partially dissolved.

An example of a middle-of-the-road agreement would be Johan Sebastian Bach, who, like any man living off of music has to fill certain requirements. At the same time, he is renowned to have constantly searched for an ideal in music that would reflect the divine through proportions and relations, guided as well through a crystallization of rules in smoothness and logic that results from a fastidious attention to natural human perception of intervals (artists two hundred years later did the opposite…). In practice, he often got into trouble and wasn’t the best “worker” in the sense that what he produced was seldom exactly what was expected of someone in his post. But he survived, was honored by the clergy and royalty alike and his music outlasted him because the society in which he lived (Germany in the late 17th and early 18th centuries) valued the transcendent, the divine, above anything else. Cynics can stop laughing, of course Germans at the time also fought wars and had to take care of business, and so did Bach. Following a transcendental path does not mean you are exempt from the toil and eventualities of life.

That metal’s nature is that of a transcendental art can be proven by pointing out the way in which it developed. As we have previously described before, each metal stylistic development had to do with a shedding of aesthetics in which it lurched forward away from the mainstream and into more distinct characteristics that would set it apart from rock music and in a rebellious statement of intention that stated its anti-establishment position. But in contrast to punk and other protest music, metal was not anti-authoritarian out of a social revolutionary sentiment, but from a nihilist-realist point of view. It was a reducing of humans to ants in an uncaring universe by using Satanic, pagan or occult imagery to depict concepts that stay true from antiquity to this day. This is the same reason why metal is so prone to using fantasy fiction themes. Metal is not an escape, it is reducing of this pseudo-reality to what it actually is: one of many possible constructs.

Individually, this or that artist may believe or use the imagery and language they adopt, but as a whole, metal is none but that transcendent essence that refuses to bow to the arbitrariness of present human status quo. In its place it does not propose anarchy or freedom, but calls for an awareness of reality as existing outside human expectation, want, need or hope. It is a confronting of reality instead of a twisting of truths for the shielding of and maintaining of mundane activities for the sake of staying alive peacefully and pleasurably. More importantly, this confronting of reality does not imply a fatalism, but a way to emerge triumphantly, seeing through individual situations and times, recognizing our place in nature and our dependence on it.

III. Implications in Practice

How does this translate into music? Is art more than just its intention or its random interpretation by an audience?

In his discussion, Patočka made three important distinctions in order to better attack the problem of the decadent. The separation between meaningsignificance and purpose was stated functionally different. Meaning is the most difficult of these to grasp. It is not a value, nor is it the same as purpose although they could fill a same role in certain circumstances. Meaning is said to make something open to reading, to a sense, to understanding of something that is as it is. Purpose itself is the reason or intention why something is carried out or why it is brought into being. Significance is concerned with its relative role or function in relation to a particular context.

Purpose and significance are subject to times and context. Meaning is not. The meaning of something can be interpreted to have different significance in different places, or it can be used for different purposesBut what it is does not change, and so its meaning does not. The distinction between purpose and significance is of the utmost importance when it comes to understanding and judging music. The purpose of musical devices is often confused by individualists and relativists to be one of the other two. The purpose of music matters little to the music critic who is charged with judging its quality and not its good intentions. The music critic cares only about significance.

But I propose a slightly different mapping in which the human mind, not the rest of the universe, is the world of action for music. After all, music is artificial, it is made by us, for us and it is its effect over us that matters. Therefore, meaning can be redefined in the context of universally perceivable effects in patterns, textures and intervals. Universally as in across the human species. It is to be expected that there is a variance in the effect, but that does not detract from the existence and relevance of a mean.

The definition of purpose need not change, it still lies in the reason why a certain music would be made. Now, significance would shift to being the acquired role of structures and relations in different music paradigms, different genres, different traditions. That means that just as different spoken languages, music can have its own rules arising from conventions between human perception and arbitrary organization. But the more arbitrary it is and the less it conforms to natural human perception, the less capable of transcendence a music is. This does not mean that education cannot be involved. But education can reinforce and deepen what comes naturally and follows the path of human potential (Common Practice Period), or it can be capricious arbitrariness arising from the fallacy of the human mindas a blank slate (see Serialism).

Two things need to happen for a transcendental music tradition to be sustainable. The first is artists that are devoted to the transcendental aspects of music. The second is a discerning audience. Part of this discernment is a certain trust in musicians, their own vision and values as well as their abilities. This is the same sort of trust we have for leaders of any kind, be them rulers or scientists.

The reason why we do not have this trust in musicians in modern times is because as a result of historical processes, they have come to disgrace themselves. The sort of respect for artistry and trust in their distinction above ours survives today only in very dark corners of human action like specific classical music niches and extremely underground metal and ambient circles. In metal, these are the sort of circles that remain willingly untouched by labels in order to keep their art at away from vulgar and unworthy reception.  These remain the last bastion of metal against the taint of the mainstream.

It is in understanding there is something more to human nature and human experience that is both innate to us and that we share with other human beings, that we can also come to respect the power of transcendental music: music that taps into these aspects. Music that has the power of directing human conscience in a particular direction, as well. Today, underground metal is one of the few musics that go beyond the merely functional or the pleasurable. This is music that has the power of cultivation, of expanding the mind, of looking beyond your own fear of the unknown, of inevitable death and into the future of humans as a species and not just you as an individual, but as an individual channeling the species into a more aware future.

IV. The Transcendental: Art for the Sake of Human Evolution

It is no surprise that we can trace a very clear line from the 18th century to the 21st at the beginning of which art is universally sponsored by the ruling classes and institutions of power that through gradual changes becomes increasingly independent (19th century) and later on less connected to human nature (20th century). This culminates in a complete stagnation in the 21st century, our times…

The question of true transcendental art being underground or not depends on the current values of society. In the case of our modern society, its purely materialist and ultra-democratic outlook that dictates that personal caprices matter more than reality is the antithesis of the environment where a transcendental — one that reflects enduring meaning — art can be fostered.

By definition, a materialist civilization that attributes no meaning to anything except the massing of perceived riches or power, cannot produce such an art. That is to say, such a civilization does not even believe there is such a thing as the trascendental. Furthermore, this materialist outlook is based on an absurd pushing of boundaries through a rational point of view taken to an extreme. But anything taken to any extreme loses contact with reality, which is itself an amalgam of degrees of many different qualities — compromises between opposites.

A rejection of reality in favor of an artificial extreme such as materialism is then enabled to brush aside and subvert anything that does not conform to itself. This includes human nature itself. In fact, the materialist position claims there is no such thing as human nature. This enables the power-hungry, the greedy and anyone else to try and clean their conscience through a pandering of the idea that we are only the result of the cultures into which we are born and values are only social constructs. The dogma then becomes: power is the only objective measure of success. A side effect of materialism is the idea that everything we perceive is subjective and therefore not subject to judgement or control.  All that matters is if I think this or I like that. The weakling’s alternative to the dogma becomes: happiness is the only subjective measure of success.

Both of these emphasize an enlarged “living in the moment” that favors egoism that, as proven by history, results in an almost complete disregard for others’ living in this same present and those yet to be born — unless an immediate reward/punishment is offered to the materialist individual. The transcendental provides precisely the opposite: a view into the characteristics that make you human, that dictate our nature, that both unite us and make us different. As Steven Pinker summarizes in his book The Blank Slate: The Modern Denial of Human Nature, this flies in the face of research that has in turn been suppressed and vilified by an establishment eager to maintain the status quo in a similar gesture to a superficial Church censoring scientific discoveries centuries ago.

Also contrary to a short-sighted reading, this should not result in us embracing the understanding of one’s own nature as licence to indulge in it, but rather a precise knowledge of how to control it and channel it in order to become better.  A transcendental view of time and values applied to our species may pave the way for not only a widespread search for individual enlightenment but a species-wide one. One in which humanity works together for its own good, which at this point would translate into a caring for the planet it is destroying in the vulgar self-interest dictated by materialism.

The importance of metal as this transcendental art is its power to maintain this knowledge and to promote universal values and even more importantly, their understanding. The reaction of materialism and the religion of scientism against the notions of transcendental value are emotional to their very core but also based on observations of how values defined arbitrarily in the past lead to social disasters. This, combined with their own superficial and strictly functional misunderstanding of the values prevented them from fully becoming aware of the underlying human need and impulse to reach for something beyond the material and the every-day.

This is why those who understand such transcendentalism treat the mainstream with opprobrium and an extreme disgust. As with anything else, the attitude of those who understand can be confused with those who follow and do not understand, those who adopt attitudes — even pseudo transcendental ones — with the ulterior motivation of immediate reward to themselves. And thus elitism and the upholding of all that is truly excellent is marred and disgraced by a civilization of insecure and selfish individuals who cannot see past their own self-interest, a selfishness that is then projected onto those who they judge because they cannot conceive of anyone actually believing and acting for the sake of something larger than themselves.

Nietzsche is reviled by the religious (who, in general, have never read him, let alone understand him) and by the materialists (or at least those have read him, those who haven’t or do not understand seem to think him some sort of atheist hero). The main reason why materialists despise him is because he is a realist. Realism flies in the face of extreme and delusional reality-deforming conceptions of life such as materialism. As a realist, Nietzsche recognizes the inherent human need to believe in something outside himself. For those who have been paying attention, it is obvious this does not necessarily imply some sort of superstition or dogma.

Nietzsche’s Übermensch (the “superman”, the “overman”, the superior human) as described in Thus Spake Zarathustra, is one that sees and goes beyond his own times. One that is not trapped by the paradigm of his contemporary society and that furthermore excels himself above his peers in a work. This sort of talking can be taken metaphorically, but it is not meant to be. Going beyond one’s own times has to do with recognizing history as a set of changing variables within a timeline on an unchanging or slowly-changing human nature where a set of set meanings remain constant for us but are, perhaps,   difficult to see.

It is in the of going over and overcoming of common man who is little more than a tamed beast, that we humankind can continue on their learning and growing path as a species. This is the nature of the transcendental. The individual transcends in his perception of his people and time and contributes to a flow of which he is only a part. Only then can the species attain a transcendental vision in which it is not only looking at its immediate problems but at its long-term development ten or twenty generations in the future. Would that we could see such a civilization arise, it would be a beautiful sight to behold.

V. The Transcendental in Action through Metal

Arising from the context of popular rock music in the late 1960s with a different musical method and a realist mentality, metal veiled its message behind mystic frontispieces that became whole with the dark romantic aura behind its motif-driven music. The classical romantic tradition that so influences it has as one of its focal points the return to an intelligibility and “naturalness” that was most readily searched for in taking hints from folk music melodies and rhythms from different rural landscapes around the world (primarily from Europe, unsurprisingly). This did not mean a ridiculous simplification of music to banal catchy lines, but a simplicity of which Plato’s Socrates spoke.

Then beauty of style and harmony and grace and good rhythm depend on simplicity,–I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly.

— The Republic, Book III

Musically, what is transcendental must necessarily be atemporal, it must have the capacity to communicate with human beings from any historical (or pre-historical, for that matter) period, age or walk of life. This does not mean that the connection has to be instant or that the listener does not need to go through a “learning process”. In fact, in the particular case of metal as a veiled teaching, it is only through maturity in understanding it in a holistic manner that one comes to understand the truths that several great musicians with piercing views about what it is to be human reflected through it.

Despite the influence, there is a very sharp contrast between classical romantic music and metal. The difference is a consequence of the historical context, particular social class and sentiment out of which they each arose. Romantic art came from both the need of the individual to find a place and expression of his own, not in the modern selfishness of the individualist, but a place in nature and in reverence to it. A connection to what it is to be human. As classical music, its prestige and the station of those making it allowed it to pursue such things in broad daylight. To this, we should add the nontrivial matter of the nonexistence of recorded music or other conveniences that flood and distract listeners. The expression of the romantic artist could be full and undisclosed.

Metal, on the other hand, comes in a time where popular culture reigns in saturation of kitsch: superficiality and banality for the immediate pleasure of the distracted and manipulated masses. Less important but worth mentioning is that it originated in strong and independent-thinking middle-class individuals who saw through the deception of their times. Several choices in its underground character come from this. As an art form that subverts the ruling falsehood, it is not allowed to be displayed directly. The fact that being an intellectual resistance also means that not all can understand it and that its concerns go beyond the present manifestation of human society and its dogmas require that it is not fully out in the open. It must assume a mask that reflects an outer and simple intent that keeps most at bay to guard what it contains. Its identity must be more distinct and defined than its predecessor and so, willingly, metal takes on a much more limited range of expression than classical romantic music from the 19th century.

Of the harmonies I know nothing, but I want to have one warlike, to sound the note or accent which a brave man utters in the hour of danger and stern resolve, or when his cause is failing, and he is going to wounds or death or is overtaken by some other evil, and at every such crisis meets the blows of fortune with firm step and a determination to endure; and another to be used by him in times of peace and freedom of action, when there is no pressure of necessity, and he is seeking to persuade God by prayer, or man by instruction and admonition, or on the other hand, when he is expressing his willingness to yield to persuasion or entreaty or admonition, and which represents him when by prudent conduct he has attained his end, not carried away by his success, but acting moderately and wisely under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave.

– The Republic, Book III

It is also important to understand the outer and the inner manifestations of the spirit of music. There is a learning process to each kind of music, because outside is manifested the tropes of a region, culture, group, perhaps a particular “language” or set of conventions. By basing itself on patterns and harmonies the human ear feels naturally drawn to, the music is aligning itself to what is permanent to human perception, at least in this point of our evolution. But all these are developed, “discussed” in a music that speaks a very particular mind. Just as Plato might have spoken in ancient Greek about similar things we would speak of today in modern English, so it is that transcendental music from music separated by centuries might be speaking the same message under different grammatical guises — tropes and conventions of times and style. The act of the  Dionysian manifesting itself through the Apollonian as the young Nietzsche described to us in The Birth of Tragedy.

Someone might ask if it isn’t better to disavow all conventions and try to speak in  “plainspoken transcendental”. The innocence of such a suggestion comes from the incorrect belief that what is felt, what is understood and experienced wholly as a human being can be put purely, clearly and unambiguously into words. Necessity dictates that emotion and experience be transmitted to the innermost core of the individual– a penetrating of various layers of prejudice and consciousness in order to move the primal and ripple back through to the higher, if possible. Neither mere words in their plain meaning nor musical structures on their own, in the beauty of orderly symmetry and mathematical correctness can achieve this. These only speak to the higher intellect, which may or may not translate this to the deeper self.

Reaching the innermost sanctum of metal, though, requires much more than being touched by it. For that to happen, metal cannot just be a passing entertainment or the object of devoted fanhood alone. It needs to be taken seriously and read correctly in its contradictions and flagrant imagery that bespeak a connection to the transcendental beyond mere unambiguous pattern codification. It is not a science in the modern sense and is more akin to occultism and its voluntary hiding-away. Following from that, we may infer that it is far more esoteric than exoteric, this latter being ridiculous or incomprehensible when taken at face value. Only treading the serpentine and treacherous paths through cycles of internalization and externalization does the metal fan become the metal initiate.

Sadistic Metal Reviews 07-25-15

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Superficially repacking the old into the new for a younger, naiver generation is an abhorrent commercial practice of both record labels and Hollywood studios. These five independent artists have bravely submitted their failures in doing so to the Death Metal Underground. May our objective criticism prove constructive to their suicides.

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Archemoron – Sulfur and Fire (2015)

Archemoron. Yes, Archemoron. Yes, this band named themselves Archemoron. Yes Archemoron were not joking; Archemoron are serious. When not ripping off Slayer, Archemoron play melodic black and death metal riffs arranged into rock dirges. Many of Archemoron’s own “riffs” are pinch harmonics repeated for two minutes. Archemoron’s tracks are five to seven minutes too long. Archemoron invoke Hieronymus Bosch about as much as Dark Funeral taking their pants off and whacking each others’ dicks with pool noodles for an hour before running a train on the ass of the one in the gimp chains invokes heterosexuality. Archemoron are arch morons.

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Deathwhite – Solitary Martyr (2015)

Hoobastank is back with a new EP. What remains of Roadrunner has surprisingly not signed them yet. I am watching a group of shaved-ape Russians fishhook a fat hooker with their dicks. The mascara is running as they pound her face and ass. The asshole stretches to accommodate more Poles. Time for the money shot. So this is a creampie scene? Damn they are ejaculating in her ass one by one. That’s nasty. She’s squeezing it out now. Mother of god that is not watery semen; this is a group piss enema into a prolapsed rectum. That bloody red, inside-out Russian rectal meat is wet with piss and shit flakes. Only Relapse Records could masturbate to this.

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Enthring – The Art of Chaos (2015)

Is this Hells Headbangers Motorheadcore? Slayer? Slayer doesn’t have keyboards. Chanting? Why? Enthring want the lyrics to be important in these rock songs so why are they detracting from what I can’t understand with a melotron? Motorhead didn’t need keyboards in the 70s, Motorhead doesn’t need keyboards added in now. Stop remixing music you cannot comprehend into carnival music metalcore with breakdowns. This is the Transsexual Serbian Orchestra of metalcore soggy biscuiting that Fleshlight Apocalypse that came in Nuclear Blast’s die hard edition.

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Goat Torment – Sermons to Death (2015)

Goat Torment attempt to preach to Death himself by prying open fans’ assholes with Sodom and Slayer. While many experienced heshers can instantly see through such a ruse, many of today’s trve metal warriors only listen to bands that their chill core bros designate as “bestial.” This audience is unaware nor cares of the thrash rehash cash-in. The martyred Euronymous himself was fond of cutoff Sodom belly shirts and dildo prostrate massages so Pitchfork will say that Goat Tormentor having a daisy chain finished by using Tom Angelripper’s visage on the back of their shirts as a cum target is a socially acceptable sexual practice. Sermons to Death is an Outbreak of AIDS.

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Kyy – Travesty of Light (2015)

Cradle of Filth and Dimmu Borgir pandered “black metal” to Hot Topic tweens. Kyy attempt the same by sticking random minor key tremolo riffs in their nu metalcore. Twenty eight year olds with Vatnett Viskar backpatches, sleaveless jean jackets, and questionable sexual preferences won’t lap this up like they do teenage goth ass. Travesty of Light lacks the catchy screeched vocal hooks and emotional choruses to be distributed by Century Media. Only more randomness grounded by catchier vocal dichotomies may grant Kyy the hairy hipster fudge.

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Deverills Nexion – The Sinister Tarot (2015)

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Here’s the problem with critiquing programmatic music: any criticism levied at a piece or album can be explained away, by its adepts or its authors, as a failure to understand the external reference points, or their connection to the music.

As its title suggests, The Sinister Tarot is based on a Tarot cycle, a subject on which this author is entirely ignorant; an ignorance that undoubtedly hampers his comprehension of the album. However, it is clear that Deverills Nexion have created a work that is meant to be experienced as a series of separate but ultimately related images, therefore, “development” as traditionally conceived is not to be expected.

This would not in and of itself be a problem if the individual songs, or “images,” were compelling enough on their own, regardless of whether or not one is acquainted with the program. This, however, is most often not the case. Songs tend to begin by establishing a sonic template, as opposed to a theme, and then wander around it for a while before fading away. These sonorities, though varied, are usually not very interesting on their own, or at best mildly so, consisting mostly of cheap synth pads and aimless guitar playing. These are occasionally enriched by other typical elements of the dark ambient palette, such as chanted vocals and nature samples. The unsurprising nature of the sonic range would again not necessarily be a problem were it not approached in so uninspired, almost idly derivative and predictable way.

Burzum’s Hliðskjálf used a similar set-up, and an even smaller sonic palette, but it worked because it was driven by truly remarkable themes, a feat The Sinister Tarot cannot boast of. The few melodies that do appear are unexceptional, lead to very little, and are easily forgotten. The album’s lack of strong melodic direction ends up looking like a technique with which to hide a lack of content: place the texture at the forefront of the music and let things glide quietly by. This is often a problem with ambient music, in which it stylistically accepted, and almost expected, for melody to be given the backseat. But the best practitioners of this style have always managed to overcome this challenge by using the texture itself as a compositional device; as an element to be treated and developed with as much care as melody or harmony. This is how artists such as Tangerine Dream create works of profound stillness and yet, simultaneously, of gripping intensity. However, this is not the case here. In fact, after a few songs dissipate slowly, one after the other, the listener is left with the worst possible feeling for an art form, such as music, that exists in time: that nothing has actually happened.

On the rare occasion in which a song does not end exactly where it began the transition is often unsatisfactory. These few instances of minimal development, such as in “The geryne of Satan” and “A Deverills man at the Bladuds Head,” are a case of too little and too late; tension rises momentarily only to disappointingly stutter back into the album’s habitual plod. The Deverills Nexion are definitely capable of writing some beautiful raw material, as evidenced by Ere the dancers depart and Bestride a corpse with my face, but even these tracks seem to simply sit there without accomplishing much, fidgeting impatiently. These moments of beauty sadden this particular author, as they are testament to the project’s potential, which, alas, remains but a ripple in a puddle.

Miscellaneous Turn-of-the-Century-ish Recommendations

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In view of our recent emphasis on the fact that post-1994 metal landscape is a desert of creativity with very few well-realized projects, most of which were pretty underground efforts. By the turn of the century, death and black metal aesthetics had been absorbed into the mainstream mindset and so we can not automatically consider bands with said genre tags as underground. But the ones recommended below are, indeed, high-quality efforts (in the way of music writing) that were never hyped to any wide audience.

The turn of the century itself was one of the darkest moments in metal history when there was no relevant innovation being worked into metal. In place, a superficial re-mixing of styles done by the thousands became the obsession of scenes. Something had happened: Metal had reached its young adult life. Until now, childish enthusiasm and creativity had been enough for it to keep making discoveries. A spirit of rebellion  had propelled it in the search for a deeper romantic meaning that drove it forward. Once this bottomed out with with mid-nineties albums by projects like Burzum, Ildjarn and Summoning, it was evident that metal would have to rely on a refinement of its technical approach that could keep feeding the aesthetics needs of its spirit.

In the following recommendations, we have thrown some worthwhile non-metal releases that are also strongly recommended. The reader is encouraged to explore each of these with all their attention and in reflection of the trails that the golden era left that are only in recent years fully crystallizing into promising proposals for a real re-start and future based on the previously mentioned refinement applied to a study and digestion of the older spirit in order for the genre to continue. This future is precisely what metal needs and not a return to anything. The past is the past. Metal must look ever ahead if it is to be an artistic movement with life. This post is in part to honor those releases and to offer a glimmer of hope that although metal is suffocated, it is not dead.

Summoning – Stronghold (1999)

Mütiilation – Remains of A Ruined, Dead, Cursed Soul  (1999)

Worship – Last Tape Before Doomsday (1999)

Tenhi – Kauan (1999)

Jordi Savall & Ton Koopman – J.S. Bach, Die Sonaten Für Viola Da Gamba Und Cembalo (2000)

Paysage D’Hiver – Paysage d’Hiver (2000)

Antaeus – Cut Your Flesh and Worship Satan (2000)

Immolation – Close to a World Below (2000)

Gorguts – From Wisdom to Hate (2001)