Death Metal Underground’s wise founder Brett Stevens posted a thoughtful article last weekend about the duality of exterior and interior being. It describes how in these modern times we’re seeing an illusion of non-conformity that masks the conformity of thought and nature within. This is an effective tactic of those in power be they media, silicon valley, deep state, or (in the case of metal) record executives and journalists: get people to look different, but think the same. This also masterfully articulates why metal is at its lowest creative point in the entire history of its existence: fans and musicians alike have accepted conformity of thought and sound through satisfaction with mere non-conformist aesthetics and culture. And the only way to escape this rut is to violently rebel against everything we have been conditioned to believe is “metal” and “metal culture.”
Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.
The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.
A trend in the modern conception of anything has been that the newer something else, the better we expect or assume it to be. Experience in reality, however, has also given rise to another perception: that the new tends to be worse and not better. Attempts at rationalizing this drive the pseudo-intellectual, pro-sheeple crowd to say that times just change, but ratios of quality do not vary. This is not only unscientific but an obvious politically correct answer that has as its premise that everyone is equal, and hence, that the resulting products of these “equal” people must also be probabilistically equal. Impermeable external influence seems to them the only changing factor, with the internal being either infinitely constant or practically negligible. This is assumed and then possible causes are haphazardly and desperately pieced together, the answer is assumed and then anything is either positive evidence or brushed aside if too problematic to incorporate into the fairy tale. Ignorance compounded with pretense and emotional insecurity always results in capricious imposition of an arbitrary and dogmatic concepts and scale of values.
Ancient myths are the remnants of an age when oral traditions were the main way by which humans preserved and passed on knowledge. This may be the reason why multi-layered symbols and complex relations in stories awkwardly designed to fit differing messages into a form that we may now consider silly. Differing schools of scholarship have developed distinct theories when compiling, reconstructing, and interpreting these messages. Many keep their own “updated” versions which have morphed on their own into the age of the text when the written word defined the transferring and preservation of human knowledge.
The Witch is a non-Hollywood movie set in the 1630s dealing with a witch psychological attacking a family of New England colonists. The Witch here is typical of traditional European folklore. The filmmakers took cues from historical documents, “first hand” accounts, and contemporary folk tales. Lurking behind the vague but shocking impressions veiled in mystery that our post-Christian society still has, are the insubordinate traditions and purposely asocial philosophies that defined the attitudes of practitioners of the left hand path.
In response to recent questions, I present the following (brief) history of the Death Metal Underground:
The predecessor of the Death Metal Underground, the Dark Legions Archives, started as the project of a hacking group back in the 1980s of which I was a member. Most people did not use computers and saw them as “totally uncool” and for nerds only. A loose network existed of bulletin board systems (BBSs) which were accessed by using a modem to dial over phone lines and connect to another computer. These offered information in the precursor to web pages called “g-files” or “text files” which were ASCII documents containing information cribbed from other sources or written from personal experience. Many of these were of a hacker nature, describing the workings of the phone systems and different computer systems, but others focused on music. Crossover between the hacker community and the metal community occurred frequently since many middle-class kids had access to C-64 or Apple II computers. I describe this event in my article “Hacker Metal”, which talks about how a lack of information prompted hackers to share files about metal.
Free speech became an important issue. BBSs were individual property and system operators (“sysops”) often deleted messages or users that disagreed with them. This was my first glance at the tyrant present in ordinary people and how even the best rules failed to prevent it. For example, some sysops formed an alliance of free speech boards, and their first act — before the digital ink was even dry on the words “free speech” — was to determine what speech was acceptable and what was not. The vast majority of users simply saw the words “free speech” and took it at face value.
This hacking group appeared one evening through the work of a small group of people. We wanted to make a force for free speech and rebellion against the choking society of the 1980s, which was caught between its 1950s commercialism and its 1960s libertinism. While contemporary writers often focus on the political aspects of the 80s, the real story was in the massive social conflict going on at this time. We ran a series of boards on which you had actual free speech. We let anyone post anything. This meant that perfectly ordinary political discussions overlapped with the release of hacked information and any number of radical theories, including anti-government sentiment, violent atheism and blasphemy, racialism, Satan-endorsing metal lyrics, Communism, and holocaust denial. It was like getting launched into the roughest crowd that one can imagine, where self-described intellectuals rubbed shoulders with complete society dropouts who lived under bridges in the light of their monitors. We were fortunate to have as users not only members of one of the most thriving hacker communities in the world but also students from nearby universities and advanced placement style high schools. This was a brainy bunch but they were not prone to following rules. Since that time, I have viewed this kind of “free speech” as essential to actual communication, and it has made me wonder how much privileged information actually needs to stay secret.
The files that I had been writing since the mid-1980s on topics ranging from anarchy to hacking to heavy metal had attracted an audience back in the BBS days, specifically on a type of single-password BBS called an “AE” (for Ascii Express, the software that allowed the standalone mode required to achieve it), continued to find an audience. A site named the “Metal AE” was a world-wide HQ for metalhead hackers back in the day, and I started posting them there. As technology proliferated, I moved the files to an anonymous FTP site, then a Gopher site, and finally to a web site. At first it was a simple server running on one of my computers, but later, it moved to commercial hosting. At this point, the “free speech” notions of our group began to conflict with the need of commerce to control its public image by avoiding the type of “offensive” material that it hosted. For the next decade the site moved constantly as complaints drove us off ISPs and free hosts.
As time went on, I saw that people were reading the philosophy writings as much as the metal ones. I had pioneered “e-zine” or electronic zine publishing, combining 1980s g-file culture with the rising indie music zine scene, with a literary publication called “the undiscovered country” during the early days of the 1990s, but now, I began publishing in a style that would later be assimilated by web logs. I wrote small essay-screed hybrids and posted them to the web site. The essay form took inspiration from early French and American writers who put together pamphlets and newspaper articles in which they argued strongly for a mixture of political and social changes. As a result, these essays did not resemble the kind of conversational material that most people posted to their internet sites, in which they intermixed personal events with political or social analysis, and that enraged people even more, which encouraged me to work with more extreme ideas. This is why the Dark Legions Archive in the early 1990s was a bizarre mixture of occultism, death metal, trolling, blasphemy and realist philosophy.
If you, Dear Readers, have further questions based on the above, feel free to ask them in the comments.
The anti-censorship movement known as #metalgate has become a permanent and ongoing event. Like the social justice worker (SJW) antics it combats, it is both activism and activity for those looking to have fun and bash back the insanity of a dying civilization.
If it has a Command and Coordination HQ, it is arguably Scott Vogler’s MetalGate Band group on Facebook. Here, the latest idiocy of SJWs and lapdog media are listed and mocked, with quality arguments against them arising almost instantly and spreading to the far corners of the internet.
We were lucky enough to get a few minutes of Mr. Vogler’s time as he was poring over transcripts of the Judas Priest backward masking trial at the Library of Congress…
What is metalgate and why is it important?
#Metalgate was inspired by the events which sparked #GamerGate. Metalgate serves both musicians and fans alike by standing up for both of their rights to express themselves as they see fit. Like GamerGate, Metalgate seeks to be a watchdog for the press and point out flaws, corruption, and calls for censorship. Metalgate does not exist to silence anyone; on the contrary, it exist to give voice to both sides of any given debate on the topic of heavy metal whether it be a social justice warrior, Heavy Metal Enthusiast, Religious Fundamentalist, Heavy Metal Musicians, or anyone else who has something to say.
You started a group, “MetalGate Band,” on Facebook that now seems like a command and control nexus for metalgate activities. What do you do with this group?
MetalGate Band is meant to attract metal heads, gamers, musicians, artist, and anyone else who would stand up to would be censors. It’s also open for those who disagree with the premise of #metalgate. This is not meant to be a hugbox of any sort.
I would like to live in a world where no one bans anything no matter how offensive it is.
The group appears to be the only lively community representing the hash tag and we are nearing 300 members. Which as of now is a small but passionate group who for the most part are totally on board with the idea of standing up to the censors who in this case are labeled social justice warriors. There are other areas of concern as well and we address a multitude of topics every day. It’s actually been really educational for me personally.
I want to use this group to create the idea that art itself should never be censored. If you have a favorite form of entertainment or art you should preemptively stand up for it along with anyone else who would stand with you. This is not freedom of speech without scrutiny as I leave the door wide open for debate, challenges, and other perspectives.
What would you hope the average person would learn from metalgate?
I would want them to learn some history about Heavy Metal and the challenges the genre has faced over the years. I would want them to see how often Heavy Metal has faced down and defeated the censors over ridiculous things like sexual lyrics, satanic messages, violent themes, and other contrary philosophies expressed through the lens of Heavy Metal.
Most of all I would hope they would learn that their feelings do not trump the individual’s right to express themselves how ever they see fit.
Why should your average metalhead care about metalgate, or anything beyond their own purchasing? Do ideas have consequences?
To answer the first part of the question let’s go back to 1985 and look at the Parents Music Resource Center (PMRC) hearings where a group lead by Tipper Gore challenged the entire music industry by introducing plans to outright censor artists and musicians from creating material deemed too offensive for the general population. If it weren’t for Dee Snider, Frank Zappa, and John Denver we might very well be living in a world where all of your favorite bands might not exist.
To answer the second half of the question I would hope a simple “yes” would suffice, but I know it won’t so I’ll share an event that happened recently. Just a little over a month ago a group of radical feminists demanded that a band named “Black Pussy” be exiled from playing music. Their belief in feminism led them to threaten a venue with vandalism and violence if it allowed Black Pussy to play there which in turn caused Black Pussy to cancel the show. Black Pussy stood up for their freedom of expression by pointing out how foolishly misguided this group of radfems (“radical feminists”) are, got the name of their band out there, recruited more fans, and have earned the support of MetalGate even though they aren’t a metal band. Good for Black Pussy. Bad for Radical Feminism.
So I hope you see that on both sides there are consequences. Depending on how you interact with society those can be good or bad consequences. So keep that in mind whether or not you decide to join the metalgate community.
When you talked to Shayne Mathis for his hipster podcast, he seemed to be trying to make the point that racially exclusive language can be coercive, while you were pointing out that socially exclusive language like the term “racist” can be coercive. Did you find middle ground on that part of the debate?
(Shayne, if you’re reading this I just want you to realize that I don’t hate you, nor do I totally disagree with you. I don’t think you’re a complete moron or a waste of people’s time or anything like that. To answer the question though I would have to tell you that I don’t feel like we really reached a middle ground.)
It was a good conversation. I agree with Shayne that racial slurs can be extremely ignorant and are coercive attempts to silence people, but want to point out that “anti-racist” shaming is also a coercive attempt to silence people.
We should resist coercive attempts to silence people; this falls under free speech. I don’t agree with being a racist at all but I think it’s worth actually listening to racists in order to know why they feel the way they feel. The idea that we should just avoid it at all cost seems rather dangerous to me. I think the biggest reason Shayne and I disagree on the topic is that he doesn’t feel anyone other than white people can be racist where as I feel the term itself can be applied to anyone from any part of the world or racial background.
I think it’s a dangerous precedent to set that only a certain group of people can be criticized for their racism while others get a free pass to be as racist as they want to be. The middle ground is pretty far away because of this disagreement and I would hope we could bridge that gap as all of this continues.
Do you think racism exists, and does the term “racist” have any meaning, or is it yet another politically manipulative term for someone who has noticed what our leaders would prefer they do not notice? (And if so, what is being noticed?)
Yes, I think racism exists and yes the term “racist” has a meaning but it also serves as a politically manipulative term, just as any word can take on that role over time.
Honestly, who knows what they’re really hiding? Maybe just the fact that they themselves have their own issues with bigotry and are projecting it on to others. Maybe there are more insidious things and skeletons people hide with that word and use it to shoo away those who know better but in that extreme it probably wouldn’t be quite so easy to stop someone from exposing you if they had real evidence. I think the term or any term for that matter can be used to socially condition a general response out of the masses.
We’ve seen this happen before through marketing, government propaganda, movies, songs, etc. I don’t think the lesson here is whether or not people use “name calling” to hide something and dismiss other perspectives. The lesson here is how you deal with such a turn of events. When someone calls you a really mean name for obvious political reasons don’t let the power of that word frighten you from standing for your principles. What they really want is for you to sit down, shut up, and capitulate. It’s a last ditch effort to silence an already pretty silent majority from pursuing any kind of “justice” that would come swiftly as a result of a big enough information leak.
Can you tell us a bit of your own background in metal? Are you also involved in gaming?
I recall hearing Metallica quite a lot in my early years I finally became a fan of heavy music (not heavy metal) the very first time I saw Tool’s video for their song “Sober.” It wasn’t until #metalgate though that I really took a dive into heavy metal and the history lesson that comes with it. It’s such a vast genre of music and have had to cram it all in by using Spotify and listen to as much as possible to and from work every day.
In just a matter of months I went from a progrock/progmetal/desertrock kind of guy to a mad man trying to listen to as much heavy metal as humanly possible spanning all the subgenres, generations, and styles of metal and I’m still not even close to having a good grip on reality when it comes to “Heavy Metal” but it’s been well worth it to me and will continue to learn because I just fucking enjoy it!
As far as gaming goes my earliest memory is Super Mario Bros, Kid Nikki, Zelda, Final Fantasy, and others on NES. That was on my sister’s console however so I can’t really say I was into it as much as I would be later. My very first console was a Super SNES with Super Mario World, Starfox, Chrono Trigger, Zelda 3: A Link to the Past, Final Fantasy, etc, etc.
I currently still mostly play retro games; if not I turn on my Xbox 360. I am disappointed with the direction of the video games industry. For multiple reasons, one of which sparked #Gamergate and in turn #metalgate, but other reasons as well. I don’t like to feel like I’m just playing a movie. So many games today are just that. While it looks impressive it doesn’t feel anything like a “video game” to me. I fully support #GamerGate for these reasons. I hope it sparks developers to start being more innovative and play to the strengths of their audience rather than for mass appeal.
I guess this is a question I wish someone would answer, because no one addresses it. If we have many different groups in our society, of different types (religion, race, sexual orientation, etc), and each group is offended by at least one things usually where it disagrees with another group how do we unite these groups into a society?
I would like to live in a world where no one bans anything no matter how offensive it is. I think we’re seeing the beginnings of a movement in this direction unfold over the last six months or so with things like #gamergate, #metalgate, and #comicsgate. It is not a conscious ideology so much as people just getting fed up with not being able to express themselves without some lunatic jumping down their throat with histrionic tirades. It has become a type of hobby to keep a watchful eye on the press, government, and radical groups and calling out bullshit as we see it hit the news. So for me right now the plan is to provide a platform for both sides of this argument to express their points.
I see this kind of attitude growing in light of the #gates spurring on people to stand up for the art and entertainment they love. I want to hear both sides but I am definitely in the camp that feel it’s important to take a firm stance against anyone demanding special rights, privileges, censorship, or other harmful precedents they propose. People do tend to selfsegregate but it’s not something I find to be particularly harmful. If people want to be left alone they can create that situation for themselves. People of all stripes should live the way they see fit and if that means staying in a community of people who are like you then by all means go for it.
On the other hand we’re free to criticize any community or group of people we see fit and they should be willing to stand up for themselves in light of that. This whole idea of “safe spaces” and “censorship” to me is a thousand times more harmful than any harsh criticism, ignorant slurs, or bigotry that might come out. So while I support the right to remain silent I also see that it’s important to speak up at times and not run away from criticism.
What is an “SJW,” how do I recognize one, and what is the purpose of SJW’s?
A “Social Justice Warrior” (aka SJW) is someone who concerns themselves in meddling with the affairs of different groups. It is someone who has taken on an extremely left wing world view point and will often be just as over the top with their beliefs as a fundamentalist Christian or Muslim. You can recognize them by their most obvious attribute, histrionics. If you dare mention a word about something they take personally you will see a display unlike any other. I would go so far as to say they do even crazier things than religious people do because SJWs claim to be all about science, atheism, facts, and logic but act out in such ways that contradict this precept.
You can find SJW’s hanging out at the mall, coffee shops, book stores, open mic nights, and on the internet (especially Tumblr). If you still haven’t a clue on where to look for an SJW go look at the #Gamergate hashtag on Twitter. The people who are antigamergate are almost exclusively SJWs. Also visit Tumblr and just search the term Social Justice Warrior. There you will find them waxing dramatically about how oppressive everything is. I see SJWs as, for the most part, cattle for more intelligent people to take advantage of. I believe that the more prominent SJW figureheads are not as stupid as they appear and realize just how easily lead astray people are.
I would love to see [#metalgate] leave…a reinvigoration of the kind of unfettered desire to express oneself without apology or compromise.
To ask their purpose depends on which kind of SJW you’re talking about. Some of them exploit others, while others truly believe in their nonsense. Over all I think their purpose is to get away with as much of the same things they complain about all the time. They will criticize one person while running away from criticism themselves. This is a hallmark of social justice warriors. They want to manipulate society into guilt and shame and reap the rewards by coercing more and more power, influence, and money out of society all while having a free pass to be as bigoted as they want to be because they’re special.
David Draiman (vocalist of numetal band Disturbed) raised an interesting point the other day. He was disturbed that GamerGate opposes censorship, but hadn’t spoken out against antiSemitism. Some said that gameragate should support free speech entirely, while others thought it should be against any “bad” speech like racism or antiSemitism if it was legitimately so. What’s your take?
David brings up a good point. If you’re going to stand against “bad language” then you have to be willing to stand against all of it. I would say however that there should be unfettered free speech. This goes back to what I said about conflict avoidance and how it’s actually more detrimental than the initial slur. You can be against the slur without being for censorship of any kind.
No one ever has all the answers and groups like Gamergate have a huge and diverse crowd who seem, to me at least, to support this notion of unfettered free speech and a willingness to address these kinds of concerns in a logical way without demanding silence from detractors. To me this is a step in the right direction. The opposite view would be to either ignore the bigots and never address the issue, or try to censor them without considering what they are trying to say. I think that’s the wrong way to look at it.
What’s next for metalgate? Do you hope it will leave lasting change, stay active as an ongoing concern, or get bigger, and lead to an ultimate showdown between SJWs and metalheads?
It’s truly difficult to say what’s next for #metalgate. I plan on continuing on with this by creating new content on YouTube, creating a WordPress site specifically for metalgate, and constantly signal boosting content creators on the Facebook page. Right now it’s all about cultivating a healthy, driven, and passionate community.
I would love to see it leave a lasting change in the landscape of heavy metal. I see that change not so much as a “change” but a reinvigoration of the kind of unfettered desire to express oneself without apology or compromise. I think the reason metalgate continues despite a slow growth and only a handful of passionate metal heads is because it represents something that’s always been a part of Metal: the desire to express yourself how ever you see fit and encouraging others to do the same even if you flat out disagree with them.
If we’re talking about real wishes, someday I’d like to put on a music festival. At this giant three-day event, there would be a showdown between the different forces competing for control of metal. The two biggest contenders would be mainstream metal and underground metal, SJWs and Metalheads if you will. I would invite all of the mainstream metal bands, underground metal bands, Christian bands and others to try to outperform one another. Imagine the lengths at which some artists would go to in order to leave the impression that what they are playing is METAL and what others are playing is merely rock and roll. That is the sort of attitude and competition that made early British bands, thrash bands, and black metal bands famous. The will to push the envelope of society in order to be the heaviest, most brutal, most technically gifted, most worshiped metal acts in the world.
I believe this has the potential to reinvigorate heavy metal if the right voices are lent to it and the right minds come together to make this leave a lasting impression on the history of heavy metal. Until then, I will just continue managing the Facebook group and welcome all comers to throw their name in the hat. Finally, I’m just an average guy on the internet with a full time job and starting out a family. If you are in the metal industry and you feel the way I and others do about this please give your voice, resources, and talent to it and shake things up. You could be the one to take this from an internet argument to the headlines as you make waves in the music industry by redefining heavy metal.
Thank you, Scott, for taking the time to do this somewhat prolonged and specific interview.
Scott and Jim “Kamikaze” Thompson have started a talk radio style podcast-ish video series in which they analyze the issues of the day according to #metalgate and #gamergate. Session One begins below.
Canada’s Rush keeps its fingers in many worlds, including that of 70s heavy metal, and as a result often attracts metalheads. Durrell Bowman attempts to explain the appeal of this band through perhaps the best method possible, which is to analyze the music itself and only secondarily and sparingly reinforce what is learned with extracts from interviews. Unlike most rock writers, he focuses on the output from the band rather than the discussion or buzz surrounding it, and as a result is able to pull out intention through the band and its reaction to the changes in the experience of its members of the years and how that translates into artistic voicing.
Experiencing Rush: A Listener’s Companion walks through Rush by eras of the band from its early hard rock days to its more progressive-rock influenced middle period to the later middle period of AOR (although this term is not used) very similar to 80s music like Boston, Asia, ZZ Top and the Eagles. In his analysis, Bowman attempts to answer one of the fundamental questions: is Rush a progressive rock band? If not, what are they? And how does this reconcile with their many different internal influences and the many different external styles, including a technologically-hip 90s format, which have cloaked the music of this band? Bowman gives his conclusions in a short introduction and then analyzes the work of the band song by song, divided into albums and the aforementioned eras. The result is a picture slowly emerging of a rock band with many different influences who wanted to play essentially power pop but with a guitar-driven appeal, like later Yes albums such as 90215. Into this, the self-taught musicians mix material from a wide range of influences as part of a philosophy of the band which Bowman slowly peels away during successive chapters: a leftist-libertarian political outlook, a personal individualism, dogmatic atheism and a studied eclecticism to find support for these ideas across different cultures and disciplines. Like their music, their philosophies are a grab-bag of what supports their fundamental worldview, which Bowman reveals as very much localized to and shaped by their experience growing up.
What Experiencing Rush: A Listener’s Companion offers to the world of music is not so much conclusions, however, as critical points for analysis. The entire book functions as an outline of the output of the artist with vital points addressed such as musical techniques used, including juicy details on time signature and scale/harmony, but also rather intelligently looking into the music as a series of patterns and avoiding a deep immersion in music theory. As a result, Bowman compares abstract patterns found in the music to what they symbolize in life, which works well for progressive rock bands who tend to be mimetic in their approach generally, but works doubly well for Rush, who are differentiated from progressive rock (although they incorporate many of its techniques) by their tendency toward music that is more symbolic or defined in human terms rather than imitating the objects or experiences the humans are undergoing. This rather fine distinction highlights why many progressive rock fans find Rush distasteful, and why many Rush fans find progressive rock inscrutable: the two take different approaches, and the Rush approach is closer to that taken by power pop bands than what progressive rock bands attempt. It both makes the music easier to comprehend, because the meaning in the lyrics is “acted out” by the music, and explains how Rush is able to escape its normative AOR format by incorporating so many different styles as if they were brush techniques in a painting, namely that it uses whatever techniques are appropriate for rendering its vision, much like it picks from disparate philosophies, literature and religion bits and pieces which it can use to illustrate its own philosophy and ideology. Through this insight Bowman stands heads above the other writers on this topic.
Turning from the technical arts of the band to the technique of the writer, Experiencing Rush: A Listener’s Companion shows us what rock journalism could be — some of us would say should be — by digging into this band in the only way that honors their efforts, which is to take them seriously as people by investigating their art for what it attempts to express as a communication between artist and fans. DMU has always taken this approach to death metal which has made us a minority in not just a metal underground but a rock scene which would rather write about where a band is from, their ironic personalities, the production of albums, how much the fans love it, or what trend the band belongs to. This treats artists like simpletons and fans like yeast with credit cards (although some might say this accurately portrays humanity anno 2015). Bowman takes the opposite approach, which is to avoid academic-ese and also rock journalist ideo-jive, and instead to look at this band with an intelligent common sense approach by picking apart each song to see what makes it work, both as a communications device and as an experience to enjoy. With the force of Rush fans behind him, hopefully Bowman can convince more of the music world to join him in this approach, which like the scientific method for materials should be the de facto standard for music.
Back in the 1980s, many panics gripped the land. People knew on a subconscious level that their society was falling apart, but could not find the source of the decay. They started blaming traditional scapegoats, like Satan, Jews, Nazis, atheists, pedophiles, drugs, sex and rock music.
It takes society a decade or more to respond to any change, so the best examples of this phenomenon occurred in the 1990s as people finalized their arguments on the topic, having learned from those who went before them and incorporated the ideas of many different sources into a single culture (for lack of a better term). The following videos show the 1980s/1990s “Satanic panic” as what it was: an attempt to use a think of the children style excuse to seize power, in the name of banishing evil rock lyrics but actually with the intent of taking control.
This situation is entirely analogous to #metalgate. SJWs are hipsters who want to use “social justice” as an excuse to seize power. They don’t really care about the topic, because if they did they’d be out there setting up communities for people to be safe from whatever evils they complain about. Instead, they are posturing on the internet about how good they are and how (by reverse implication) bad the rest of us are, and thus how they deserve power over us since they are so good. The current “misogynist homophobe” panic from SJWs is entirely equivalent to the fear of Satanists under every bed that gripped the US in the 1980s, and the underlying mentality is the same: pick someone to bully that no one will defend, and use that person as a scapegoat, then like a good salesman claim that you can banish this demon in exchange for the low, low price of… handing control over to you!
Whenever I see screaming, hate-filled behavior like hers the important part never turns out to be whatever principles the screamer claims to be advocating. Those are just window-dressing for the bullying, the dominance games, and the rage.
You cannot ameliorate the behavior of people like that by accepting their premises and arguing within them; they’ll just pocket your concessions and attack again, seeking increasingly abject submission. In one-on-one relationships this is called “emotional abuse”, and like abusers they are all about control of you while claiming to be about anything but.
Third-wave feminism, “social justice” and “anti-racism” are rotten with this. Some of the principles, considered in isolation, would be noble; but they don’t stay noble in the minds of a rage mob.
The good news is that, like emotional abusers, they only have the power over you that you allow them. Liberation begins with recognizing the abuse for what it is. It continues by entirely rejecting their attempts at manipulation. This means rejecting their terminology, their core concepts, their framing, and their attempts to jam you into a “victim” or “oppressor” identity that denies your lived experience.
He is correct: #metalgate is what happens when bullies become Bully 2.0, and start wrapping themselves in the flag (civil rights) and carrying a cross (social justice). While their religion is secular and their patriotism is more to an idea than a particular nation-state, SJWs are bullies wrapped in the flag and carrying a cross. They have come to seize power and use it to destroy all who are not like them, because they are fundamentally unstable as people. We have seen this pattern in history many times and SJWs are just the latest (incompetent) iteration.
He also makes a point that people in metal should pay attention to: “show us the code” translates into “show us the metal.” There are zero SJW bands with as much power as Darkthrone, Motorhead, Judas Priest, Slayer, Malevolent Creation, Burzum or other SJW-bane bands. The reason is that these bands have nothing to offer but attitude and surface adornment; they have no real content, and thus are as boring as the bubblegum pop they claim to abhor but secretly emulate.
On a side note, atheists have joined the religious wars and somewhat confirmed that they are indeed a religion with a a recent shooting:
In one post widely shared online, Hicks, who claimed he is an atheist, allegedly wrote: “When it comes to insults, your religion started this, not me. If your religion kept its big mouth shut, so would I.”
No one speaks up for the agnostics, so I will. Science is agnostic. It does not take a position on God one way or the other because it cannot measure God. Conjecture in either direction is in its view unwarranted. Atheists on the other hand have taken the position that they know the nature of the supernatural, which is the exact position that every other religion takes, which makes atheism a de facto religion, and like religions, it will be prone to clash with those of competing belief systems. Maybe agnosticism deserves another look.
Some weeks ago we received a letter from a band called Viranesir who informed us both that they were creating metal music and that they faced a good deal of pushback for their treatment of controversial topics. Since 2014 is the year of political speech control, corruption and controversy, I wrote them asking if they would conduct a brief interview with us. From that arose this dialogue with Viranesir from Turkey…
“Sublimation is a great mystery.” — C. G. Jung
When did Viranesir start and who are the personnel? What musical influences inspired its creation? What does the name mean?
Viranesir started out in 2013 when I created it to score my first feature length film “Drink From The Fountain Of Uncertainty.” I remember it being initially on my thoughts for longer out of the influence that Quorthon made Quorthon as a creatively fuelling side project to Bathory and I wanted to do one for YAYLA, and with “Drink From The Fountain Of Uncertainty” came the opportunity.
Personnel are myself, Merdumgiriz and Ruhanathanas. We switch instruments and styles very frequently but its usually Merdumgiriz on drums, myself on guitar/vox and Ruhan on synth/vox. Musically speaking some common bands that all our current members enjoy in our blood orgies include Abruptum, Haus Arafna, early John Frusciante, Ildjarn-Nidhogg, early Deathspell Omega, G.G. Allin, Til Det Bergens Skyggene, Screamin’ Jay Hawkins and Poesie Noire. All of which I think to some extent can be traced as influences on our current and future discography. The name comes from where Musician ends up in “Drink From The Fountain Of Uncertainty” on his solipsistic quest for his personal redemption. The place he ends up is Viranşehir (means ruined city); we manipulated it as Viranesir (ruined slave).
From what I have seen, Raping Lesbians For Freedom is some kind of Swiftian satire. What are you satirizing with this album and its provocative title?
I haven’t heard Jonathan Swift’s name since grade school. Anyhow, before anything, I’d like to get some shit straight, we ain’t racist (we were all born into “hard to find more worthless” races), sexist (one of us is a female and all of us are bi) nor do we hold any “political” views (not in the sense that most mean). We hold the opinion that everyone in society is responsible for all the suffering in the world, therefore we kind of confess for others through this album. And yeah, we are bullies, genociders, rapists, murderers and animal torturers because someone committing that shit no matter when or where or who makes me as a human being responsible so long as I live.
I don’t think wearing El Che wristbands, mate calling in LGBTI parades or fighting for justice on the internet saves me from the fact that I am, like everybody else, a scum of this universe. All our hands are perpetually bloodstained in my book and metal and punk are among the most noble, healthy and effective mediums for expressing the heaviness of that burden through psychological sublimation, even raising awareness. But the political correct “authorities” are currently trying to sterilize these mediums so that their warzone is more of a fairytale. Well, we’ll rape their lesbian souls until they scream as their own sex!
Funny threats aside, I do not have a problem with these fascists under liberal skin until their elaborate self-contradiction becomes a means for oppression. I am and have been fed up with issues of freedom of speech. Especially from people who do not feel any responsibility for the suffering of mankind. Hypocritical educated pieces of shit who are deep racists, sexists, animal murderers, child abusers and torturers hiding behind so called racial sensitivities, feminism, vegetarianism, making children, naming, excluding in all its perverse forms; subliminally abusing the individualistic and promoting what they claim to fight against. Most artists who tackle these hard subjects directly are tired of dying for these people’s piece of shit sins as they have a good time in their festivals of peace as they exclude our “politically incorrect” work with their guilt propaganda and subliminal calls to censorship.
Wake up! People are murdering each other at family dinner tables everyday as they raise future killers by taking out their anger for their husbands on their children. We are the future of these very children and we need to take out our criminal intentions on songs we sing not your privileged lesbian assess. These mothers who raise us are the “politically correct” most of us worship. Why are they “politically correct”? I think it is because that is their confession booth in which they wash the blood of their hands with holy water. Well, nothing wrong with that except when they fuck with our temples in which we work with the blood through albums we make and sing about murder and abuse and rape, a more direct way of getting rid of the stench of blood that our, and their hands are painted with. Well, it pleases me that so far they have the right and tools to tell me that I am an inconsiderate up to no good piece of shit as I have the right to make this album. What a wonderful world.
How much does provoking the ire of religious people factor into your artistic work? Does it matter which religion?
I fucking hate the mainstream religions (jewism, footsmellam, gayristianity, atheism, nationalism), for the facts that most of their followers seem to A. otherise evil B. seek extension. Also, in footsmellam it seems the trend of using murder as a means of communication is at its peak, therefore I’d rather they all be degraded & destroyed as your rapper president suggests. With my music, I don’t want to merely provoke the ire of religious people because it is no different than kicking a huge dog. To make something happen with religion, I’d more so want to provoke the so-called “irreligious” people into acting like and realizing that they are the religious scum that they strive to fight against, and help them and myself craft more effective solutions.
In my opinion everybody is religious in that they form some sort of worldview that makes them relate to this uncertain existence and form a kind of “certainty matrix” through their vague and often highly distorted collection of memories. A matrix that tells them that if what they do in life brings them “success,” then the next unknown (eventually death) might not actually be unconquerable after all. Practicing their religion everyday through believing blindly in saying, doing and justifying things that make them feel good no matter how self-conflicting and half-thought they may be. It is a shame to admit that the mainstream religious are the ones who actually “in theory” submit to this tragedy. However, this does not at all mean that I respect or enjoy mainstream religious people. I just think it would be wise not to “otherise” in fighting against the tyranny of religion, because after all, it is a cheap weapon used by “pure religious radicalism” which is achieved exactly through fighting through otherising (see ISIS, Nazi Germs, guerilla, crusaders, Hollywood). And that is what most of us seem to do, however fighting without otherising can be achieved for example through discussion and self-criticism, which is only possible through total freedom of speech.
All religions, including in the cosmology sections of the most grimoires of Satanism that I became acquainted with (for example in their interpretation of the monarchic one God) have otherised and not considered the fact that the air we breathe is stenched with disparity yet we strive for unity. Of course Satanism (especially blended with quality black metal) is different in that it is an anti-religion and turning the spiritual theory on its head; in my interpretation and opinion, it is the gateway to a slightly more advanced cosmology and anti-belief system in that it is rooted in the depths of the human psyche and works with our need for certainty in a completely perverted manner especially in its alchemy of evil (that is why we formed Blliigghhtted).
Can you tell us where you are located? Are there any particular challenges about being a metal band, and having freedom of speech, there?
We are currently located in Istanbul/Turkey. No challenge whatsoever being a metal band and it gets me more pussy than most other countries I’ve lived in (Canada, America, England). I also run a record label here (www.merdumgiriz.org), my cheap ass fellow countrymen love us but never support us by buying our products, but its okay, at least they don’t behead us like the footsmellic sons of bitches they could have been. In terms of speech, there are no bigger issues than most of the west because we don’t have much of the idiocy called political correctness (Ruhan can often be seen around Turkey wearing a huge Swastika Mahakali shirt without getting any shit except from loser European tourists), however we have religious correctness to some extent, but not much.
I can actually say that between the respectable bigotries of the west and of east, Turkey is a calm little freedom center. Except if your speech is politically inclined; the only problem here is that if the government sees you as a threat, they will incarnate you. They are far from seeing Viranesir as a threat yet, which is our luck. Where fine art can go is way beyond the capacity of politics, and I am interested in such extremes that I can never even get close through politics. Yeah, yeah I know that I am actually sort of political even in saying that, but the particular challenge here that I am talking about would be to say shit about our government, certain political parties and its handsome leaders, a certain genocide, our blissful religion, our beautiful race and stuff, which except for footsmellam, I don’t really give two fucks to say anything about. Also, if I did, they might block access to DMU, which they do for many sites including all porn sites and many political sites. They got people on the tax-funded payroll searching and blocking “inappropriate” sites all day long.
It seems to me that freedom of speech is a bit of a paradox. Each society wants people to be able to express ideas, but does not want to be overwhelmed with speech for speech’s sake, which may not be relevant, true or important. How do we decide which speech is valuable, and which is not?
I contrarily think that society subliminally wants to be overwhelmed with speech for speech’s sake for a greater purpose, that is the reason for the blooming of social media. In my view speech is therapy, and the ejaculation of the unconscious; it is very healthy and to me, should definitely be totally set free.
For a merrier world, “no one should have to fear saying anything”. Since in my opinion deep inside society is aware of this, through saying a whole lot of nothing on twitter and facebook (and building a collective consciousness), it is getting ready for the future, which I feel is total freedom of speech. It is only a matter of time until we are all able to say many currently unimaginable things anywhere without getting treated as we are actually doing them.
Saying something is very important; for it is a lengthy and complex phase of contemplation (which inevitably leads to discussion, collective consideration and most importantly relief) before eventually doing it (except if you get in trouble for merely saying it) that most people skip. Saying something opens it up for contemplation and in my view, every speech is valuable; from the seemingly petty half-thought footsmellic rant of Arabic sand [redacted] to the meowing of a cat to a brain-dead high school girls vlog about relationships to a man-hating feminists blog entry on censorship to Quebecois peasants swearing disgusting French to each other in an alley way to Marxist-Lenninist bullshit preached by people who’ve never seen a socialist country to Schopenhauer’s aphorisms to spiritually enlightening Dissection lyrics. Something is to be learnt from all of them through interpretation and although many utterances can lead to unpleasant outcomes, it is the individual and the individual alone who should decide for what they should say. Irrelevant, untrue, unimportant, seemingly dangerous and/or extreme; I do not think prohibiting or censoring any sort of speech will get us anything but perpetual inner pain, stagnation and destructive destruction.
I’ve been told by others that Viranesir often gets compared to Anal Cunt, G.G. Allin and Impaled Nazarene, all of whom were very provocative. Do you see any commonality there?
I see much commonality, and personally feel that we have similar viewpoints for psychological sublimation in art. They too do not deny the blood on their hands and celebrate the fact that they are as human beings, no different than footsmellic arab murderers, rapists, torturers, bigots, animals, idiots. Viranesir, along with all those bands and many more all celebrate our impurity to be able to live with ourselves, unlike the hypocritical so called democratic bullies who not only otherise what they name to be evil and escape from their mental responsibilities, but condemn the ones who don’t as being extremists to raise hate for what they don’t understand. Speech can be beyond choosing sides or naming good & bad or love & hate.
Everybody is capable of bearing love and hate for the same thing, and they often do. Just as everything has the quality of bearing both good and evil qualities that also depend greatly on how one perceives them. Most things I do stem from the interaction of my emotions when I come in contact with these things that I bear conflicting feelings upon. When I say I hate something, I often mean I love it and vice versa. For example I can write a song saying “I love animal torture and taking advantage of women”. Although I “hate” both things in theory, I often use money to put a beast that I otherwise couldn’t have gotten closer than the eye can see to my plate, oh and I excuse the fact that it gets transcendent torture beforehand. Even if I think I don’t do it, I give money to restaurants that do it, or have friends who do it not if I let them pump their semen up my ass.
I also often use beer, money, my artistic projects and patience to insert my penis into some female vagina. Even if I don’t do it I give money to bars that it is being done in or have friends who do it not if I let them do it to me. I am with the thought that rather than denying the fact that I directly or indirectly participate in these tribal transactions through glamorous theatrics like vegetarianism and feminism and temporarily calm my conflicting soul until I bump into the next tragedy that reminds my unconscious that I am self-contradicting, why not sing about them in a more direct manner and rid myself off of the illusion that I can be consistent and just when what I am made of is inconsistent and unjust? To the party concerned, through direct speech and sublimation in art, perhaps I can say what most leave unsaid, grant relief, and raise more awareness and some real shame than to protest against this shit by guilt propaganda and trying to ban it, totally degrading free will and sense of responsibility. In other words, degrading my own humanity just like the mainstream religious scum.
Does Viranesir have previous albums? What were those like? Were they concept albums like Raping Lesbians for Freedom?
Our previous albums Kill Your Repulsive Child, Shoot On Mom’s Corpse and Fountain Of Uncertainty as their titles might suggest are all concept albums in my opinion. Kill Your Repulsive Child is our first venture into psychedelic synthpunk. It is a very personal album in that it is directly about my life, but very vaguely put together and useful for free interpretation. The music is crazy psychotic drumming mixed with schizophrenic vocals and chaotic fat synths. Shoot On Mom’s Corpse is the same thing, and is the continuation of the trilogy started with Kill Your Repulsive Child, however, it is better produced and both lyrically and compositionally way more concise. There is going to be a “father” album to conclude the synthpunk trilogy, which is very different and way grander than the other two.
All these three albums are based on my short story called Axiom Rotting, which as I said, is directly about mein leben. is a whole different thing; it is made solely by me as the music of the musician character in my film Drink From The Fountain Of Uncertainty which is a character based on me. It is a very dark sort of experimental metal with synths; way thicker produced than all other Viranesir albums. Me, me, me yes it’s all about me and know-it-all it may sound, I personally think that anyone claiming that anything that they do is not ALL about themselves are at best self-deceiving hypocrites no different than vegan bitches swallowing the cum of their McDonald’s consuming lovers.
As I understand it, “Raping Lesbians for Freedom” is based on a text that you and/or other band members wrote, and the characters in that text become voice actors on the album. What’s it like to write an album based on dystopian fiction that you’ve written?
Some weeks back Viranesir had a quarrel with Polish tourists who insisted Ruhan took off her swastika shirt. Ruhan was in shock trying to explain that it was ceremonial and stuff whilst a bitch in their group was screaming “Take it off, take it off” at the same time all of the others shouting how their Jewish grandparents died or got saved from the genocide and stuff while a Kurdish fag on the street joined their side and started cursing us for being Nazis. I basically stood between them and Ruhan and calmly improvised what would become the song titles.
I mirrored what I interpreted as their indirect anger and became their mouth to say what I understood they really wanted to say from their tone. After I said, “Don’t be a fascist and tell us what to do” to the slut, they magically stopped. Other than their following us for a while, no side breached the speech barrier and it was all good. Afterword we had a blast dancing in a superb club that night, then we went back home. We discussed what happened again and Ruh just uttered, “Political correctness is European ignorance” and exited the house. Merdumgiriz & me booked a studio and started recording the event as actors in a play. Re-interpreted the beautiful chaotic disparity that different races, thoughts and sexes bloomed as they came together that night into music and words. The outcome is a beautiful alchemical artifact of centuries old subdued hatred into rock music. All made possible through freedom of speech and sublimation of civilized people. I quite often do these kinds of things for creativity and it is safe to say that my life has become an album based on dystopian fiction that I’m constantly writing.
What do you hope the reaction will be? If people are interested in what you are doing, where do they go to see more?
The reaction will come from both sides, the rowdy, beer drinking have a laughers might love it for its psycho-ness, freeness and the raw music, while the educated elitist other might hate it for its uneducated music and political incorrectness and lack of sensitivity towards victims of rape, genocide, abuse and murder, which they will presume I have no experience of. I personally find both to be equally uninteresting reactions from a society that smells like the area between my balls and ass when it thickens with greasy filth as I lock myself home for days to write new music and screenplays while I jack off with cheap lubricants all day long. The reactions I care about will come from people who sit down and take a moment to interpret what I do into thoughts that I couldn’t have conjured by myself; negative or positive.
That is what art deserves, not “hahaha you guys are psychos”s or political piece of shit correctness, sensitivity or censorship or anything political. Where politics (social hypocrisy) is not enough to calm human soul that is where fine art comes to aid. I would hope to have intellectual, lofty, philosophical and existential conversations on evil about my album with people who don’t use “like” as punctuation marks and their Majors in Philosophy as proof of legitimacy. That was a joke, come as you are, as you were and chances are you will find me one surprisingly kind son of a bitch!
If people are interested in what I am doing, they shall go to: