Song Contest Results

Article by Nicholas Vahdias

It has been over a month since we have launched the song contest here at DMU. Our suspicions that very few people would enter the contest due to our reputation for honest yet harsh reviews were confirmed. This was probably why only two contestants presented themselves in any capacity. Consequently, no winner shall be appointed nor will awards be handed out: two entries do not constitute a contest.

Deepspace23 – Ambient 1:

White noise lays the foundation for this track as various elongated beeps come and go. A slow lingering atonal motif formed with the beeps and white noise. Unfortunately, nothing is built upon this foundation as we are simply treated to a combination of white noise that plods along for several minutes and random beeps. Deeper buzzing sounds erupt as the music becomes somewhat more active and, eventually, a jarring sound sits atop of a lone stream white noise as synths appear underneath playing an almost Burzumesque melody. The music ends on a bizarre melody that stops abruptly and unexpectedly.

The present piece evokes the feeling of drifting through space but lacks momentum as the basic melodies are not developed enough. Sometimes there is only texture while at other times there are actual melodies pulling us to a distant planet. The composition would shine through the beeps and sounds by focusing on a smaller selection of sounds, establishing a language from that selection that escapes conventional harmony, and making sure that each section contains musical content of some form and not just random sounds. The potential to be found here could be developed if the composer could focus on building from the intro, but for now it doesn’t grab the listener’s attention and fails at creating a space voyage.

Irillion – Tierra Negra –(Parte 1):

Instrumental black metal from Colombia [Editor: the South American country, not Columbia, the westernmost province of Canada] with a penchant for slow and sorrowful melodies. Surprisingly well-produced for a bedroom project, the drums sound full and the bass pierce through providing power in the low end, even if  at the expense of clarity when it comes to the guitar. The last is especially significant given that the guitar and bass mostly play the exact same notes, resulting in the guitar sound blurring into the bass.

Drums furiously pound away as the main motif comes blasting through minor-scale tremolo-picked power chords. The main motif transitions into a slight variant and meets cymbals crashing as it settles a longer version of the first iteration. This drags on until the drums play a tribal beat and the melody deconstructs itself. The guitar plays a syncopated riff that builds some form of tension as if to signify that the time for sadness is gone and now is the time for actions to speak. Where a vicious and uncompromising riff would have fitted perfectly as the tension built up, we are instead treated to the same motif as before. A surprise stop as the guitar drones on while a clean guitar plays an arpeggio. The song halts and falls into gratuitous melancholy, a passage seemingly inspired by hipster rock. The song ends with the drums playing alone.

There is obvious songwriting acumen present as the song flows well, but atmosphere has taken precedence over actual songwriting which should never be done in black metal. Irillion should go back to the early black metal records and see how sorrow was conveyed musically. There needs to be more contrast in those long melodies that are very well executed but lack variation. There is no need for those slow arpeggios at the end, you have to take that wave of momentum and ride it to the end. Enjoyable yet forgettable, this is good music to have as background noise while thinking or reading but lacks the power and strength to draw all the attention that black metal should demand.

Some Final Words

Although both songs fail to meet the high standards set by DMU, both musicians had the courage to allow their works be dismantled and dissected, & for that they should hold their heads up high and go back to the drawing board. It is only by surpassing themselves that they can hope to create something unique, & I hope to hear better music from them soon. If any other musicians are willing to send their music we may host another contest soon.

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Transitions MMXVIII

Death Metal Underground wishes to announce a constructive change in editorship, in which the present author comes to complement rather than replace the current leadership. We have a great team of writers, ever too few but still dedicated and talented enough that the last few months have seen a non-stop inflow of high quality and insightful content on a variety of metal-related topics. Although our primary job as Traditionalists is to somewhat mirror the Conservative effort of preserving what is good and shedding what is detrimental, it must be stated that this is done through an organic development of vision. And so, an editor, writer, thinker or artist can only do his best by upholding his ideals or vision through his work, at the risk of coming into conflict with the more conventional views and tastes on metal music.

The ebb and flow of the tides in a larger cosmic order forces Death Metal Underground to adapt and evolve to maintain its supremacy as the ultimate source on metal music as living art and philosophy. An intermediate period of transformation now begins. And although we will not be missing the intellectual contributions and versatile notions on content management that Brock Dorsey brought to DMU, a sinister influence will come to gradually displace the hitherto cultural-political overtones in place. Instead of utilizing metal to signify ideological stances, we will retake the more organic and timeless approach of metal as a foreboding, an intimation, into raw reality experienced directly, and through that, a realization of humans as material to be shaped.

This sinister influence implies a re-taking of the esoteric artistic philosophy of metal within its highest and purest point of evolution: black metal. There are ample rational, philosophical, as well as artistic, reasons for this conscious shift to occur. Nevertheless, the vestigial archaisms of metal our talented writers may still wish to entertain will enrich the historical aisle of Death Metal Underground’s archives, and so will in due manner be welcomed. But against that impulse, we will be moving upwards towards unknown planes, rather than producing more of the same about the same old and irrelevant “art” that pleases but is ultimately harmless. Instead of having metal serve as a conduit for mythic imagination and inspiration resulting in mere idle chatter, we shall uphold the potential of black metal as a mind-warping gateway onto a cosmic, wordless path to the stars that is only possible through tangible action.

Gradually but decidedly, we will reap the very real fruits of patience and devotion. The transition into a cosmic and futuristic take on the potential of metal through black metal shall not mean an ensconcement around the black metal cliche as a fashion. Neither will we embrace so-called progressive trends of flowing, modern, dissonant or melody-over-chord drum-groove black metal which are but stale reformulations of the past or hipster dead ends propelled by an obsession with innovation alone. As has been stated before, in order for metal to thrive, it must leave its infancy behind and mature consciously and, in this maturing, coming to terms with its raw, phrasal, motific nature. In short, this is a stage which cannot be ignored at all, at least if further development is sought: it requires a descent to draw out the obscure.

Evolution is always a willing towards a higher state, but it is not to be thought in the abstract or through the archetype as mere symbol, but should be rather acted upon, that the archetype is brought to life consciously in an initiation to the the full potential of what metal, and hence the individual, can become. It is not a return to roots that we seek, but a return to essence, & thus to facilitate an awakening of those who have the necessary spiritual earth in which seeds for the future may be planted, which seeds are served by the blood of the living shed in effort, shocking or traumatic experience, & so transformation and insight thereof. The characteristic sign that a dark (in that it is part of the nightside, the unpleasant, and the very real) discovery is taking place is the presentiment being under threat by something beyond the confines of relative normalcy and what is accepted in your accustomed space. The methods which can revive metal, the forces which possessed an evil T. Warrior, an entranced Trey Azagthoth or a demented Paul Ledney are those that create madness, and which open a gateway to the abyss. Herein, and nowhere else, lies the key to the gate.

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RIP Brock Dorsey 1985 – 2018

It is with a heavy heart that the DMU staff mourns the loss of one of their own.

Earlier today, we were alerted to the sad news that Brock Dorsey, our fearless leader and editor, has passed on.  Brock was killed in a horrific sky diving accident over the Hamptons during a luxurious vacation with several other venture capitalists.  His parachute had failed to open, but Brock lives on in our hearts and memories.  His friends felt it should be noted should be noted that Brock confessed all of his sins of BTFOing soy-filled journalists and bullying overweight metal kids just before jumping.

Brock will be succeeded at DMU by a familiar face at editor, and the new era of the most storied website on the internet will be lead by the war hero of the DMU – Dreipfell cyber war, Nicholas Vahdias.

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Web Censorship Is The Modern Day Book Burning

 

I found it hilarious to see the book sales of George Orwell’s 1984 skyrocket just after the election of President Donald Trump.  This happened mostly because big name liberal journalists, in a hysterical tirade, issued a number of meltdown pieces over the similarities between the totalitarian novel and our current state of political affairs.  But anyone who has read (and comprehended) the novel would instead trace similarities of the preceding administrations and Orwell’s terrifying prophecies.  They include – but are not limited to – 1984′s established world of mass surveillance (not unlike the mass data collection Obama’s NSA was revealed to be doing on Americans), the elusive visual enemy of the people Goldstein (who parallels Osama Bin Laden’s Western symbolism in the Bush era), and the main character’s career in the “Ministry of Truth” where he is resoponsible for deleting historical data (similar to Google’s deletion of certain websites from its search results, in away the archives of modernity).

But in the events leading up to and following the election, another favorite book from my youth seemed to better define the times: Farenheit 451.  Centered on the themes of book burning, alternate history, mainstream media distractions, disconnect with actual world events, and ultimate dystopian horror, Farenheit 451 is worth revisiting now more than ever before.  This is because we’re seeing all of these things in our current way of life.

As editor of Death Metal Underground during the Tulio Baars DDOS attacks, I learned first hand that the modern West is living out what every early 20th century dystopia warned us we could become.  I saw 1984’s Winsten Smith seek to cross my writings out of history, but even more appropriately witnessed Farenheit 451’s Guy Montag attempt to burn the most honest and extensive archive of heavy metal history off the face of the Earth.  Those of us who had the mental capacity to process what we learned in High School English classes (outside of memorizing answers) know that a miserable dystopia is descending upon modern metal, the only question is if we will be able to enlighten the masses before the damage has already been done.

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Sadistic Metal Reviews: Flavor of the Week Metal Pt 2: Death Metal

Last month we ran the first  of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…

Death metal has existed for over 30 years now but the storied genre may finally have seen the climax of its success. Along the way it has been riddled with ridiculous spinoffs that saw tons of low-IQ normies mark out only to promptly discard them into the trash once public consensus realized how outrageous it was. Featuring all kinds of ridiculousness ranging from sideways hat wearing wiggers to throat tatted white trash scene kids, the grand scope of death metal has seen some of the dumbest music ever recorded. Sometimes replicating nu metal and rap, other times mimicking Europeon dance pop, death metal has been degraded and molested in every possible way imaginable. When considering all the horrendous demonization of the genre it’s incredible to think it has survived for so long (despite not seeing may works of relevance since 1994).

It’s the article the basement dwelling Dreipfeil losers did not want you to see, the Sadistic Genre Reviews of death metal’s worst offenders.

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Atrocity – Todessehnsucht (Longing for Death) (1992)

Most Death metal bands don’t age gracefully and tend to either become parodies of themselves or end up playing pop music. Atrocity after having conquered Death metal decided to experiment with various genres but each of those experiments has been abysmal failure. This band therefore destroyed its reputation in both underground and mainstream circles to the extent of being forgotten by all. But from 1985 to 1992, Atrocity were on the war path until the release of their Magnum Opus Todessehnsucht (Longing for Death). Five musicians with an obvious passion for classical music combined with Floridian Death metal and the Teutonic trio. More precisely their main influences seem to be Death, Destruction, Kreator, Morbid Angel and Richard Wagner.

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A Metalhead’s Journey to the Light

By Cullen Toner

Many have expressed emotions of extreme shock and awe after discovering the explicitly Christian lyrics and aesthetics of my newest album, Deus Vult. How could I, the former singer/songwriter of New Jersey’s most popular Satanic band, find God and religion after 15 years of playing in bands with misanthropic, anti-Christian themes? What would cause a complete 180 degree change in lifestyle, a complete about-face in world view? And why would I recklessly proclaim such a change in heart to a world of black and death metal that would so surely respond in confusion, mockery, and utter malice?

To even consider the answers requires a great deal of courage and intellect, as most in the world of extreme metal have extensively conditioned themselves to the idea that metal, in all of its rebelliousness, is the antithesis to Christianity. But since the spirit of metal is one that has historically challenged authority and convention in a quest for deeper truth, those who truly understand its foundation will not cower from the mere suggestion of radical thought. And to those to I can assure that a long quest for logic and wisdom has unexpectedly led me at the foot of the upright cross. Not only did this provide happiness and fulfillment for the first time, but the foundation for meaning and purpose that many metalheads are currently in a vast search for.

In an attempt to explain as objectively as I can, this is how I came to embrace Christianity as my faith, and what it meant for my relationship with metal music.

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Brett Stevens: “We’re a Threat to the Narrative”

In his first interview since the annoying DDOS attacks of sad vandalist loser Tulio Baars, alpha badass DMU founder Brett Stevens sits down with Identity Rising Podcast to discuss why his sites became the most dangerous on the internet.  Also discussed is the evolution and future of the dissident right, the Detroiting of society, and a newfound quest of the Alt Right to restore Western civilization.  The pair briefly touch on the miserable leftists who hired Tulio and their odd decision to go after Death Metal Underground instead of, I don’t know, actual hate sites?

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