Black metal album titles illustrated like children’s books

These pictures were originally innocent illustrations for children’s books. They were drawn by well-known but now deceased Czech artist Helena Zmatlíková who illustrated numerous books for children.

At some time after that, they were creatively edited by a member of Umbrtka who also writes for Czech Maxim. The innocence drained away, replaced by the eternal darkness of the blackest of souls.

(Stolen from a topic on Nuclear War Now! forums.)

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darkthrone-goatlord-childrens

immortal-blizzard_beasts-childrens

cannibal_corpse-eaten_back_to_life-childrens

marduk-heaven_shall_burn_when_we_are_gathered-childrens

root-the_book-childrens

holocausto-campo_de_extermino-childrens

abigail-intercourse_and_lust-childrens

satyricon-dark_medieval_times-childrens

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Demilich box set details released

turkka_g_rantanen

Back in 1993, Demilich released a killer album entitled Nespithe. The album innovated consciously in every way possible. It took the audience a decade to warm up to it, but by the time Demilich re-united in 2006 for a reunion tour, death metal had fully bonded with this inventive act.

Fast forward a few more years and Demilich is finally getting the recognition it deserves through re-releases of its classic material. These were originally planned in 2006, but got delayed a bit as the wheels of music justice ground. Demilich has just announced the release of a limited edition box set with a 44-page booklet, sticker and new cover art.

The set comes with cover art by Turkka G. Rantanen, above, and a fold-out A2/B2 size poster with art by David Mikkelsen, below. The box set comes in 2CD and 3LP forms and is called The 20th Anniversary of Emptiness, available through Svart Records in late 2013.

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Tracklist:

V34ish6ng 0f Emptiness / Em9t2ness of Van2s1ing (2006)

  1. Emptiness of Vanishing
  2. Vanishing of Emptiness
  3. The Faces Right Below the Skin of the Earth

Nespithe (1993)

  1. When the Sun Drank the Weight of Water
  2. The Sixteenth Six-Tooth Son of Fourteen Four-Regional Dimensions (Still Unnamed)
  3. Inherited Bowel Levitation – Reduced Without Any Effort
  4. The Echo (Replacement)
  5. The Putrefying Road in the Nineteenth Extremity (…Somewhere inside the Bowels of Endlessness…)
  6. (Within) The Chamber of Whispering Eyes
  7. And You’ll Remain… (in Pieces in Nothingness)
  8. Erecshyrinol
  9. The Planet that Once Used to Absorb Flesh in Order to Achieve Divinity and Immortality (Suffocated to the Flesh that it Desired…)
  10. The Cry
  11. Raped Embalmed Beauty Sleep

The Echo (1992)

  1. egasseM neddiH A – ortnI
  2. The Echo (Replacement)
  3. Erecshyrinol
  4. The Sixteenth Six-tooth Son of Fourteen Four-regional Dimensions (Still Unnamed)
  5. The Cry

…Somewhere Inside the Bowels of Endlessness… (1992)

  1. (Within) the Chamber of Whispering Eyes
  2. …And Youll Remain… (in Pieces in Nothingness)
  3. The Cry
  4. The Putrefying Road in the Nineteenth Extremity (…Somewhere Inside the Bowels of Endlessness…)
  5. Inherited Bowel Levitation – Reduced without Any Effort

The Four Instructive Tales …of Decomposition (1991)

  1. Introduction / Embalmed Beauty Sleep
  2. Two Independent Organisms -> One Suppurating Deformity
  3. And the Slimy Flying Creatures Reproduce in Your Brains
  4. The Uncontrollable Regret of the Rotting Flesh

Regurgitation of Blood (1991)

  1. Uncontrollable Regret of the Rotting Flesh
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Five things every aspiring musician needs

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Those of us who have had the fortune to hang around the music industry for a few decades tend to pick up a few ideas about what works and what doesn’t.

If you are trying to get your music out there, you’ll get a lot of advice from people with agendas. They want you to do x so that they get y. What follows is generic advice for putting your best foot forward.

Five things every aspiring musician should have:

  1. Mailing list. Before you start freaking out, realize this isn’t a big deal that involves new software and complexity that might make your sensitive artistic brain burn out. You can do this in Gmail or any other mail program. The point is to keep a list of every person who has helped you, liked you, interviewed you, or written to you showing interest. Don’t lose contact through disorganization, which is what 99.99% of musicians do. Ask “Mind if I keep you updated about [Band Name Here]?” and most people will say yes. Then send them periodic updates, about every third month. For people in the industry, this helps them track you and do nice things for you like write articles. For fans, this is a sense of being attached to something important. As your list expands, you can migrate to a free mailing list service.
  2. Audio streaming. As soon as you have recorded material, you should have one current song you stream live. You do not necessarily need more than one, which preserves the exclusivity of your work. However, especially at the demo and first album stages, it doesn’t hurt to worry less about monetizing your work and more about getting it out there. Unfortunately, most streaming services are pretty bad and also rely on the notoriously buggy and unsafe Adobe Flash Player (if your computer got hacked in the last 5 years, it’s most likely it happened through this piece of junkware). The best are SoundCloud and YouTube, and both are free.
  3. Contactability. Most of you have a web/phone presence, but the important part is this: it should never change. Thus you probably want it to be separate from your social media presence, which is where you post updates. What’s wrong with using Facebook as your official page? Social media trends change, and you’ll be (in about six months) in the same place the people are who stuck to MySpace. Get yourself a free website and keep it minimal. Post links to your audio streaming, your mission statement (see below), and have some kind of contact, whether an email address or a contact form.
  4. Demo. What’s this, 1992? A demo? No one uses tapes anymore, you say. That may be so. However, the demo is the most important stage of your band’s career. It’s where you hone your craft and show us the direction into which you’re expanding. It’s also a stage at which experiencing reviewers tend to be generous to you, since they know it’s a work in progress. Most demos get cut from the review pile not for being bad but for being contentless, in other words imitations of form without substance. If you’ve got something you are trying to express, even if your style isn’t distinct, experienced reviewers tend to be accepting. A demo also allows you and your fellow band members — if any — to focus on what you’re doing, and figure out if you like your direction. It’s a form of prototyping that’s vital to making music. Nowadays, it might be an MP3 demo. But nothing’s worse than a band who rush out a first album of material that still needs incubation.
  5. Mission statement. This is both a formal mission statement, and a one-liner for your own head. You’re at a party, and you head back over to the punch bowl made from an imitation triceratops skull, and you meet someone new. They ask, “So what’s your band like?” You want to have a one-liner you can zap out in a zombie-like state. This should briefly describe your musical style, but more importantly describe your direction. “We’re a death metal band trying to revive the creativity of the early heavy metal era” or “We’re a doom metal band who want to capture a naturalistic vibe.” Keep this one short and sweet. For your website, and to email to anyone who shows any interest in you, you need a one-paragraph more formal statement. If you aren’t confident in your word-smithing skills, find a local (underappreciated) zine editor or DJ and they will most likely help. Your mission statement should be a clear and easily-grasped statement of both style and substance, and it should be the first thing in any communication you have with industry. It’s not realistic to expect people to remember you immediately, and they’re busy people; give them a helping hint. This also gives people who visit your website “talking points,” such as “I found this new band, they’re organic doom metal” when they tell their friends about you.

This article is limited, and not intended to be anything other that five useful things for you to do. For more general advice, try the BBC page and How to Promote Your Music on About. It’s also worth checking out industry-related rants from Trent Reznor and Steve Albini.

One final word from an industry source:

“Listen to your customers, not your critics. Only invest your efforts into something you enjoy…”

Lee Parsons, CEO, Ditto Music

This is best expressed as a more universal principle: make music that you would be able to listen to for two weeks straight as a teenager and then throw on at least once a month for the rest of your life without getting bored. Make music you would be excited to find in the store or on a dub or torrent. If you satisfy your own cravings, and not the neurotic critique that most of us having running in the back of our heads, you will make something you can believe in.

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Metal Meowlisha: A Headbanger’s Furball IV live show on December 21, 2013

metal_meowlisha_a_headbangers_furball_ivHeather and Donald Tardy (Obituary) may operate the world’s most unique charity. Metal Meowlisha consists of metalheads helping cats, and it presents its annual fund-raising concert live in Tampa, FL with Terrorizer, Exhumed, Druid Lord and a host of other bands.

Metal Meowlisha cares for the large number of feral cats loose in Southern Florida. They trap feral cats, neuter/spay them, and return them to the streets so that the population of additional strays is reduced. Metal Meowlisha also provides medical care to strays, feeds 20 colonies of feral cats, and attempts to help lost and injured felines find forever homes.

The concert will be held at the legendary Brass Mug and include a raffle, BBQ by Trevor “T-Bone” Peres of Obituary, and performances by a number of high-profile metal bands. All proceeds go to the Metal Meowlisha (you can also donate via email). Raffle prizes include a Dean Guitar, a bar tab, autographed merch and more.

There are additional reasons to help cats other than the cats themselves. Outdoor cats kill 1.4-3.7 billion birds per year in the US alone. Limiting feral cat numbers through trap-neuter-release and giving them alternate food sources lessens this assault.


Metal Meowlisha: A Headbangers Furball IV [ event ]
Terrorizer, Exhumed, Promethean Horde, Dark Disciple, Druid Lord and others
Saturday December 21, 2013 at 5:00 PM
$10.00 21 & up / $12.00 under 21 / $1.00 w/ canned cat food
The Brass Mug
1450 Skipper Road
Tampa, FL
813-972-8152

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Ritual Decay – Conquering Darkness

ritual_decay-conquering_darknessHere at DMU HQ, we see many potential topics for review. Some are terrible, and are sent to receive a public shaming via Sadistic Metal Reviews. Most are average, doing something somewhat competently but not in a unique fashion worthy of note; these we mention in passing or let languish in silence. The smallest group is that which does something uniquely and with room for potential future development. It is in this last group that we find Ritual Decay, with extracts from their upcoming demo Conquering Darkness.

The eponymous track is a winding, minimalist affair. The more thoroughly composed of the two tracks, it presents a slower form of death metal informed through the black metal tradition, though this track does not quite reach the same level of sinister malaise that this description might evoke.

Coming to the listener from a distance, the production sounds subterranean and contributes to the narrative by forming a bleak backdrop for minor tonal variation to paint color on. However, this is interrupted to an extent by the up-front placement of the drums and their prominent use within the song. The guitars’ motif endures throughout the entire track, undergoing modification as it progresses, but still retaining a common melodic and rhythmic base reinforced by drum patterns that provide forward motion. Where this track succeeds is in the way various riffs fit together to communicate commonality to the overall sensation, though still providing a definite direction in movement to a place related to the beginning, but identifiably unique.

The second track is much shorter and also more forgettable. Having more in common with a punk influence than with death or black metal, particularly in the vocal rhythm and delivery; this is a direct forward assault that does not come close to instigating the sense of foreboding that the preceding track did. Riffs are competent enough, though not enough to induce a desire for repeat listening, seeming more a collection of riffs, than a full-fleshed song; though this may be part of the nature of a demo.

There is a core of talent present within this band; though at least in the two tracks presented so far, the band is suffering from stylistic confusion in how to best amalgamate its various influences. If the band has the opportunity to explore ideas in greater detail, it will be interesting to see how the music develops in the future; hopefully keeping what is done well and discarding the rest.

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Empyrium – Into the Pantheon CD

empyrium-into_the_pantheon-coverEmpyrium recently released a live concert video entitled Into The Pantheon celebrating their recent return to live performances (read our interview with Markus Stock here). They’re releasing the same concert as a CD.

For many, this will be not only the preferred way to experience this live concert, but also the preferred way to experience Empyrium. First, while the video is beautifully shot with professional attention to detail, this concert also lends itself to listening especially while deep in thought. Second, the setlist for this show compiles much of Empyrium’s most interesting material, providing both a best-of and highlight performance reel.

Into the Pantheon shows Empyrium using live acoustic instruments including pianos, strings and twelve-string guitars to create a fully-fleshed version of their sound, including operatic vocals but not the wash of keyboards doubling the guitar riff that is “symphonic metal.” This performance is closer to what Summoning and Enslaved did, which was to combine medieval music — think Dead Can Dance, but even more authentic — with slower atmospheric metal and use the combination to launch into songwriting that has been traditional to their homelands for millennia.

Technically, this is a metal album, and has metal sensibilities, much as Summoning does despite its convoluted take on the style. However, at its heart is the skaldic/bardic tradition of old Europe where singers put epic poems to music and other musicians as could be spared contributed chorus effects. Most of these songs are sung in the main by a single voice, in a less ostentatious version of operatic vocals (closer to the visceral and honest performance that Attila used to crown De Mysteriis Dom Sathanas), but this voice is accompanied by the aforementioned instruments, including a heavily distorted guitar that lays out the darker and more urgent themes using the best techniques of death metal and black metal.

Often however the instrument that leads is the acoustic guitar, plucking simple melodic patterns that are then echoed by violins and piano, and encouraged through harmonization of vocals to urge the melodies on. These develop, and then fragment, with multiple instruments each taking one approach, and as these conflict, a dissonance and sense of longing fills the songs, like wanderlust with fin de siècle wistfulness. The vocals return to guide these home and they do so, dropping from their atmospheric cloud of sound a clear counter-theme which provokes them into resolution.

The songs on Into the Pantheon are memorable, distinct and elegant, all while being metal enough to be of interest to anyone short of war metal fans. Like the dramatic presence of Candlemass with the somber mood of Skepticism, these songs seize the atmosphere and re-shape it in their own image. They then promptly escape any over-consistency by developing within these dark tunes storylines that include the light and beautiful, and many emotions between that and the abyss. The result is the classic European art of telling epic story through lyrics and song.

Since this late-career retrospective gives the ability the ability to both carefully choose songs and update them with all that they’ve learned about music since the early days, Into the Pantheon presents Empyrium in their best light and creates a platform on which they can build if they choose to release future works. But for now, this is a strong contender for inclusion on the list of quality albums released in 2013, and well-crafted enough to last years beyond that as a listening experience.

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Sadistic Metal Reviews 11-15-13

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What are Sadistic Metal Reviews? Most people think socially, which means to approve of everyone and everything. We think critically, which means to look at the music itself. This means there will be hurt feelings, since 99% of everything is mediocre (at best) and 99% of people are delusional. Welcome to elitism. Enjoy the sweet taste of tears… and occasional quality metal.

satyricon-nemesis_divinaSatyricon – Nemesis Divina

In a stroke of great luck and management genius, Satyricon bring together the guitar talents of Nocturno Culto (Darkthrone) with a style similar to that of later Enslaved, in which death metal riffing is varied between chords and single notes at a time, producing an acerbic melody crashing into pummeling buffet of aggressive power chording. Riff forests rotate around a handful of themes per song that are swept up into their own maelstrom and through gated flow control dropped into a final lock-on to a summary motif. There is a carnival atmosphere, owing to both the circular
songwriting patterning and use of keyboards to accentuate dominant beats and central tones. While not profound, this release is enjoyable, and in its aesthetic showed what could — with the help of someone as powerful as Nocturno Culto on guitars — be produced from the otherwise confused fecalization in musical form that is Satyricon.

oceano-incisionsOceano – Incisions

This is what Earache Records has reduced itself to: signing deafkore. Oceano plays metalcore with death metal “sounds” that are sandwiched between Meshuggah-esque mechanical rhythms in songs that have the soul of Slipknot. This is one dimensional “angry at school and the gub-ment” music that reveals how norming death metal towards encompassing dancehall conventions (breakdowns and “groove” emphasis) was a bad idea. In the end, this limited and fashion oriented genre at it’s “best” sounds like the musical version of Danny DeVito’s classroom during the beginning of Renaissance Man.

dethklok-metalocalypse_the_doomstar_requiem_a_klok_operaDethklok – Metalocalypse: The Doomstar Requiem A Klok Opera

Irony is a form of social camouflage. That is, it allows you to conceal your social stumbles under a layer of socially-approved insincerity. When you do something stupid, you claim you meant it ironically. If it’s not funny, it’s ironic. It’s basically a giant excuse for failure that makes you still seem like you “meant to do that.” Dethklok has always irritated me with its wimpiness because it can’t own up to what it means to say. The “Klok Opera” is no different; based loosely on Rocky Horror Picture Show and other send-ups of this nature, this rock opera is a parade of cliches taken to stereotypical extremes to be, you know, funny. I imagine it’s more interesting while watching the video, but as music it’s mediocre at best and strikingly empty. There are no themes here that could stand on their own; this wouldn’t make the cut as ordinary music, but seems to survive because there’s comedy attached. If you like Adam Sandler movies, and think that people doing stupid stuff is somehow really funny, you probably have no life and might think this is OK. The oddity is that when the ‘klok decide for a few moments to man up and try to take life as a real experience, as in “Blazing Star” they come up with passable riffs. Nowhere is there evidence that these could be integrated into any kind of song structure, but let’s face it: comedy is a genre of face value statements, not depth, and so this fits and shows how the limits of its creators determined its ultimate form. I’d really like for metal to have a sense of humor, and thus to enjoy this, but I end up feeling like I’ve just encountered another one of the plastic disposable products of modern society that lacks the balls to own up to what it wants to say. So here’s a one-word review: “lame.”

whitechapel-whitechapelWhitechapel – Whitechapel

Variations on monotonic chugging patterns are all that could be found on this metalcore release that only pretends to be death metal on the outside through “ANGRY” vocals and an “EXTREME” drum performance. The incorporation of Tool-esque “soft” meandering moments suggest a sense of trying to be “deep”, but like all deafkore releases, this is just another marketing point to check off the list to make this product appear more valuable than their other vapidity pandering peers through gimmickry. A lot of these riffs feel like more downtuned renditions of what we already heard in the mid 90s through Fear Factory, Machine Head, and other bands that brought “metal” into the mainstream by downgrading it into a hip-hop image pandering lifestyle product. The melodic underpinnings are just that — underpinnings — to dress up the chugging variations for the sake of making people “mosh” on the “dancefloor” without any of them becoming self-aware and noticing that everything on here is basically the same thing on repeat for about 40 minutes. Pathetic lyrics show a heritage owed more to Korn than anything from the death metal field. All in all, another excuse for Metal Blade to cash in on trends before severing ties when the easy money dries up.

disgrace-vol_2Disgrace – Vol. 2

The “lost” second album by Finnish band Disgrace sees them throw away the non-linear song structures and underground metal aesthetics to embrace what was hinted at on their Grey Misery LP: rock music. Continuing that albums proto “death n’ roll” grooves but within the context of bluesy rock numbers sees Disgrace making reasonable 90s styled “angsty” rock in the vein of Helmet or Monster Magnet, but this music is so passive and “safe” when compared to anything from the metal realm because there’s no artistry to be found here. Just another reason to “have fun” and “rock out”. In doing that, I suppose this music could succeed in a mainstream level if this band had better promotion, but it also reveals a simple method those without ideas use for making interchangeable teeny-bopper stoner music that makes it no wonder why albums like this exist in the first place.

boris-praparatBoris – Präparat

When bands have nothing to say but want to receive attention, they make fashion statements in the form of ironic gestures and imagery. Boris is a band with no identity and nothing to say, so they comment on existing musical forms by playing up to their conventions and giving it an outwardly “ironic” appearance for novelty’s sake, jumping from genre to genre offering nothing worthwhile the entire time. Here they mimic the dream pop stylings of bands like Jesu and throw some repetitive one riff “sludge” tracks in there to appease their hipster “drone” audience. With so many hipster albums already fitting this description, it’s obvious the only reason Boris is ahead of the pack is through their poorly enunciated vocals and “strange” artwork which Starbucks aficionados will perceive as “ironically different”. A worthless artistically void lifestyle product that serves the same function as owning a season of Arrested Development on DVD.

cancer-death_shall_riseCancer – Death Shall Rise

Doomed to stumble upon the evolutionary ladder, Cancer released a very poor excuse for a death metal album. Sounding like WASP on a bad day attempting to make itself sound like older Sepultura or Death through a Morrisound production, Cancer create plodding mid-tempo fare that is so lifeless it makes Benediction look like Dismember by comparison. Block headed riffs are given a “death metal makeover” through the insertion of tremolo picked notes between simple rock chord progressions played on downtuned guitars. If Nuclear Blast tasked Terri Schiavo with creating a Benediction B-sides album, this would be the result.

animals_as_leaders-weightlessAnimals as Leaders – Weightless

Sounding more like a glitchy video game soundtrack than anything metal, Animals as Leaders make music that is complex on a production and performance level, but very simple in its intent. Underneath melodic shred guitar, jazz noodling, “complex” chord shapes and samples is nothing but rhythmic chugging sounds with a “soft and heavy” nu dynamic that renders all the complexity on the performance front moot since this is very boring and obvious music that sounds like it would function better as stock video game music than a legitimate listening experience. As such, this is the background noise gullible oafs try to pass on to others as “complex, thinking man’s music” but there really is nothing to this aside from functioning as a musical suite where technique is on display, but no artistic vision. With so many releases fitting this bill, this offers nothing more than the gimmick of being a “modern” version of what could be a Shrapnel Records release. Vapid noise for heavily medicated deficients who will soon abandon their “metal” albums for the “mature and contemporary” sounds of A Perfect Circle and The Mars Volta in about 2 weeks. As always, nothing on offer but marketing schtick got the upper hand.

satyricon-dark_medieval_timesSatyricon – Dark Medieval Times

Temptingly close to the original thrust of passion which made black metal from Scandinavia so popular, Satyricon is everything the original had except the last 5% of “getting it” that entails address of the spirit of the darkness invoked by these bands. Gently harmonizing black metal uses melodic riffing to build a mood and then levels it, going back to its central supposition and basic riff constructions; however, the longer the melodic riffs get, the clearer it is that they have no centering in concept, although they’re clearly central in tone. One has to see Satyr as a tragic figure, being as musically, socially and intellectually competent as his peers, but lacking something that Fenriz and Ihsahn did not, possibly the same void that impelled him to be the one to start the record label that would carry on black metal — including the music of Darkthrone — after its breath of life had died. While there is nothing to disqualify this release, it is the recommendation of this reviewer that the sensible listener avoid it and focus on the great releases instead of this also-ran.

empyreus-the_burning_pathEmpyreus – The Burning Path

Better get some penicillin! Proof that black metal is being paraded around by its cliches can be found in the buffoonery known as The Burning Path. Think of this music as [b]lack metal waterboarding, except that it interrogates you until your inner clown is exposed and is used against you… Grim, much like Frankenberry and Count Chocula are “scary” in the cereal industry, Empyreus charge ahead with an additional copy of chromosome 21 to subject the listener to an assortment of late 1990s black metal stereotypes. As a result, the music is a potboiler of haphazardness in which nothing worthwhile is conveyed outside of dinky mimicry. However, The Burning Path sounds like [b]lack metal when you’re not paying attention. Perhaps people who don’t listen to music will enjoy it.

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Lorn – Subconscious Metamorphosis

lorn_subconscious_metamorphosisBleak minimalism enshrouded in atonality helped popularize bands like Antaeus and Aosoth. Austere ingredients were then implemented to include aspects of nihilism which eclipse the human condition.

Much like a swim during a storm with gusts and waves colliding against you, Lorn’s instrumentation pinpoints a more tooth-and-claw element of human tendencies. An unsettling dissonance weaved within a transcendent urgency without the all-too-human impulse to vocalize one’s thoughts assists in bringing out the unique differentia of Subconscious Metamorphosis.

Lorn charge ahead as a brigade of instrumentalizations that enables the listener to journey to their own introspective conclusion. Occasional synthesizing blends in with the repetitious guitar riffs and conveys absolute bleakness. The tempo changes in drum patterns help to keep singular riffs alive for much longer durations.

One of the more interesting components of this release is that it only has vocals on the first track where it sort of sounds like an ambient hybrid of Gorgoroth and Aosoth. After the initial introduction Subconscious Metamorphosis continues as a solely instrumental album. The result is like a walk through a poorly lit tunnel in which one fatigues and decides to sleep in the darkness. Alone and sensory deprived, one finds comfort inside their subconscious while in solitude.

 

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Profile: Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay

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When we first heard about Industrial Soundtrack For The Urban Decay, the upcoming documentary about industrial music and its origins, it struck us as relevant for a death metal site.

In the landscape of popular music, there are obvious “pop” genres on the surface next to accepted forms like jazz and classical, but underneath that are the surly and dangerous types of music that are underground because they don’t place nice with the contemporary mythos and ideology of our society.

That group includes metal, hardcore punk (not pop punk, which belongs under rock/pop) and industrial. These genres just refuse to play by the same rules as everyone else who wants mainstream acceptance, mainly because they flirt with or outright endorse ideas that the mainstream has decided are unpalatable.

We were fortunate to get a brief Q&A with Amélie Ravalec and Travis Collins, filmmakers of Industrial Soundtrack For The Urban Decay.

Industrial Soundtrack For The Urban Decay as a title seems to suggest both a documentary on industrial music, and some sense of the motivations behind industrial artists. What made you choose this approach?

Industrial Soundtrack For The Urban Decay is the first film to document the history of industrial music, featuring interviews from the genre’s most influential bands, artists, labels and fanzines.

I was motivated to make this documentary as I felt this genre and these artists deserve to be exposed to a broader audience. This film is about more than just industrial music, it also reflects on art, politics and social issues, post­industrialisation and urban decay.

Are you and your fellow filmmaker industrial fans? If so, what first got you into the genre?

Amélie: ­ I came across industrial music while directing my first documentary Paris/Berlin: 20 years of underground techno. I’ve always enjoyed the harsher and darker side of music. Throbbing Gristle’s song “Convincing People” is one of the first industrial songs I remember hearing. I was immediately attracted to Genesis’s monotonous British voice and the hypnotic repetitiveness of the song. This led me on a path to discovering more industrial, post punk and dark ambient, as well as beautiful crossovers bands like Coil or In The Nursery. As I dug deeper into the industrial genre, I realized that I shared a lot common influences and preoccupations with those artists, even though they were from a different generation. From a really young age I read books by Burroughs, Ballard etc and became interested in art movements like the dadaist or the futurists, so I felt an instant connection to this music.

Travis: Working in a record store from a young age, I discovered techno and experimental music and was immediately appealed by the rawness of this sound. While living in Perth, Western Australia I had the opportunity to meet and collaborate with Cabaret Voltaire’s Stephen Malinder on a radio program and had him DJ at a club night I hosted. Mal and I became friends over the years and he was the first industrial band I fell in love with. I also got into bands like Throbbing Gristle, Meat Beat Manifesto, Silver Apples, Renegade Soundwave and others through my favourite DJ at the time, Andrew Weatherall. I met Amélie while traveling Europe and we decided that this film needed to be made.

I am no expert, but it seems that metal, punk and industrial come from a similar root, which is a rejection of the social impulse of mutual tolerance. Why do you think this is, and how do you think it relates to social decay?

All bands and collaborations bring different influences to the music they make and the environment and social context of the musicians also plays an important role. Most of the early industrial bands we interviewed grew up in turbulent times, where unemployment, high­rise living and cultural oppression were all part of the decaying environment in which this music blossomed.

When the history of humanity is written, how do you think industrial music will be recorded? Do you consider it a historically ­important musical movement?

Industrial bands have been influential in many ways inspiring art forms, using tape loops and edits that pre dated sample music and these days you can hear noise and industrial elements in all forms of music from, electronic music, pop through to classical music.

Industrial musicians are educated, artistically minded and politically aware artists. They found inspiration in the avant­garde movements from the early 20th century like the Futurists, Dadaists or Surrealists, as well as contemporary writers William Burroughs and Brion Gysin. They were also influenced by early science fiction movies, Krautrock artists Kraftwerk, Can and Faust, The Velvet Underground and the DIY ethos of punk music. These artists rejected major labels, mass media and mainstream culture to invent a culture of their own.

When will Industrial Soundtrack For The Urban Decay be released and how can people watch it?

We’re still editing the film, licensing music and applying for funding, but we’re hoping to release the film in 2014. You can follow the film’s progress on the Industrial Soundtrack For The Urban Decay Facebook page.

It’s been a great experience working on this film. We look forward to sharing our work and hope people will enjoy it as much as we do!

Amélie Ravalec
Travis Collins

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Heavy metal study purports to identify psychological traits of metalheads

typical_metalheadHere’s the fundamental problem with metal: it’s outsider music. We don’t play by the socially mediated rules that control most of society.

In our society, in particular, these rules are created and enforced through self-image. Want to appear to be a good person? Follow the rules. When you step outside of that, two problems occur.

First, the rest of the herd doesn’t trust you. Second, the people around you may be drawn to you not because of what you do, but because they want no rules. Those who object to some rules join those who reject all rules.

However, this means that you’re valuable. Because you don’t obey the rules, and because rules produce resentments, people want to take what you have and use it for their own purposes.

Specifically, they’re either going to use you as an example of what goes wrong when you don’t follow the rules (subtext: follow the rules, citizen) or they’re going to try to use your “cachet of authentic rebellion” to dress up their bog-standard product so people can feel “edgy” without actually taking any risk.

From the first category, a new study purports to list psychological characteristics of metalheads:

By matching music preference to the personality traits, Professor Swami found that ‘openness to experience’ was a major factor in enjoying heavy metal.

Perhaps more surprising however, was the fact that those with a strong preference for metal were more likely to have lower self-esteem.

Metal heads also had a higher-than-average need for uniqueness, and lower-than-average levels of religiosity.

‘It is possible that this association is driven by underlying attitudes towards authority, which may include religious authorities,’ said the authors of the study.

If this study is like other scientific studies, it’s a laboratory analysis. That means that it is designed to prove a point by using factors that wouldn’t apply in the world. It anticipates an audience for this point of view, meaning that they already agree with it.

For example, this study came from giving a form to fill out to 400 people who had to listen to 10 heavy metal tracks. Usually this means people who needed money paid out by researchers.

Further, we have no idea what the questions were like. For example, a second study found that:

A separate study by Heriot-Watt University in Edinburgh found that lovers of heavy metal and classical music have very similar personality traits.

Unlike the Westminster University study, it found that both types tend to be creative, at ease with themselves and introverted.

If self-esteem is measured by extroversion, then introverted people won’t score highly on it.

Furthermore, The Downing/Dunning-Kruger effect suggests that smart people underestimate their abilities, a trait that could be confused with low self-esteem.

My own experience of metalheads is that, much as Black Sabbath wanted to rain darkness and horror upon the “all you need is love” hippie movement, metalheads are realists who distrust the social proposition that social propositions like pacifism, tolerance, love, individualism and buying stuff at Wal-mart will solve our problems.

Society’s social people offer us the idea of Utopia, of a world of love and trust, of peace and equality where everyone’s quirks are tolerated, but metal shows us the darker side of reality where war is our destiny, there is no peace, people are not just judged but ranked by their abilities and degree of realistic behavior, and nothing is tolerated except to be manipulated. It’s the grim realist camp.

On the other hand, metal posits an “other side” to these realizations. When one accepts the nature of reality, one no longer must put up with the obligatory praising of everyone and approval of everything. If metal is a literary character, it’s Jane Austen’s Mr. Darcy (as well as his eventual wife, Elizabeth Bennett, who notes in one poignant scene that neither of them perform — a metaphor for act toward social approval — for others).

For these reasons, I wouldn’t get worked up about this study. It’s not nonsense, merely a selective sampling and interpretation. For all we know, they found 400 college students and took out the 20 Slipknot fans and asked them if they saw themselves as winners, would rather be at a party than home with a whole pizza, how often they go to church and whether they consider themselves individuals or “just one of the sheep.” It’s pretty easy to provoke the response you want under such conditions.

On the other hand, this second study unleashes interesting possibilities. Metalheads are like classical fans, and both groups tend to be “creative, at ease with themselves and introverted”? This is more like the reality I’ve experienced.

The article also gently hints that there may be a bit of detail-obsessiveness and tendency toward over-analytical approaches in fans of both genres, name-checking metal’s tendency to subdivide into genres.

Unlike the other study, this Scottish study — which used a broader range of data — found that indie rock fans, not metalheads, lacked self-esteem.

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