Hipsters Fetishize Cassettes

Compact cassette music sales rose 140% over last year. Wow, noise, and flutter! How quaint. Hipsters have declared their love for a format that, unlike the vinyl LP, does not even sound particularly good. The most commonplace Dolby noise reduction systems in most cassette decks cause immense loss of high end detail. Most hipsters collecting cassettes can’t even find a player with a properly aligned tape head. Most will probably be using ghetto blasters or Talkboys as they were six in 1992 when Home Alone 2 came out.

Continue reading Hipsters Fetishize Cassettes

How To Know Your Genre Is Played Out (And Suitable Only For Wal-mart Hipsters)

black_metal_jumps_the_shark

A recent flyer for a record label of otherwise quality states:

On the one year anniversary of her critically-acclaimed, masterful debut full-length, M, Danish black metal artist MYRKUR unveils a captivating live recording from the historic Emanuel Vigeland Mausoleum in Oslo, Norway. Continue reading How To Know Your Genre Is Played Out (And Suitable Only For Wal-mart Hipsters)

Hipsters

croquet

The metal community has always defended itself against poseurs, with most of us realizing that hipsters, scenesters and other groups are varieties of poseur.

What is a poseur? Someone who pretends for the social status of being seen in a hip group. Metal, as it turns out, has authenticity because we are actual rebels, not rock ‘n’ rollers singing protest songs to give legitimacy to their pursuit of hedonism.

Hipsters, poseurs and scenesters are threatening because they are insincere. They adopt a musical genre to make themselves look cool, and in the process sabotaging it by bring it to a lowest common denominator of attention-getting behavior.

This guts the genre from within. The spirit that made it authentic has been replaced with the same trashy plastic advertising that covers everything else. The genre then becomes absorbed by the same old stuff, which is itself a mishmash of whatever has sold records over the past five generations.

Perhaps the best definition of hipster — the mishmash left over when a civilization fails — comes to us from AdBusters magazine:

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.

But even that captures what hipsters are now, not the simple fact that they are an old archetype going back to The Enlightenment. The Bohemians of the 1900s, the rebels of the 1600s, and the giggin’ hipsters of the 2010s have some things in common: deliberately unconventional behavior, focus on ironism and uniqueness at an aesthetic level, and hedonistic lifestyles at the expense of the rest of us.

New York Magazine has more on the history of the hipster:

The hipster, however, was someone else already. Specifically, he was a black subcultural figure of the late forties, best anatomized by Anatole Broyard in an essay for the Partisan Review called “A Portrait of the Hipster.” A decade later, the hipster had evolved into a white subcultural figure. This hipster—and the reference here is to Norman Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly defined by the desire of a white avant-garde to disaffiliate itself from whiteness, with its stain of Eisenhower, the bomb, and the corporation, and achieve the “cool” knowledge and exoticized energy, lust, and violence of black Americans. (Hippie itself was originally an insulting diminutive of hipster, a jab at the sloppy kids who hung around North Beach or Greenwich Village after 1960 and didn’t care about jazz or poetry, only drugs and fun.)

The hipster, in both black and white incarnations, in his essence had been about superior knowledge—what Broyard called “a priorism.” He insisted that hipsterism was developed from a sense that minorities in America were subject to decisions made about their lives by conspiracies of power they could never possibly know. The hip reaction was to insist, purely symbolically, on forms of knowledge that they possessed before anyone else, indeed before the creation of positive knowledge—a priori.

This leads us to wonder: why are hipsters so omnipresent, if they are transparent? Hipsters seek others who are either clueless or equally dependent on not mentioning the fakeness of hipsterism. Like drug addicts clustering, or cult members in their caverns, hipsters seek out people they can manipulate, control and influence.

The New York Times gives us a glimpse into the psychology of the hipster:

All hipsters play at being the inventors or first adopters of novelties: pride comes from knowing, and deciding, what’s cool in advance of the rest of the world. Yet the habits of hatred and accusation are endemic to hipsters because they feel the weakness of everyone’s position — including their own. Proving that someone is trying desperately to boost himself instantly undoes him as an opponent. He’s a fake, while you are a natural aristocrat of taste. That’s why “He’s not for real, he’s just a hipster” is a potent insult among all the people identifiable as hipsters themselves.

With all that being said, would you want this self-important psychology and fake social scene to invade your genre? This question weighs heavily on metalheads as SJWs emerge as the newest form of hipster, combining the demands for personal hedonism with a Communist-derived insistence that others subsidize it through tolerance and, ultimately, actual subsidies. It’s not surprising that many hipsters exist on an equal diet of trust funds and food stamps.

SJWs want to have the hipster psychology take over heavy metal, and while they claim it is for political reasons, the real reason is much simpler: they want to fill the room with people they can control, manipulate and influence by excluding anyone who is a realist, or has a complex worldview, or adheres to traditional heavy metal ideals. SJWs want to destroy our standards and replace them with their own so that, in the new chaos, they can keep the genre filled with clueless people who won’t point out the obvious.

That SJWs are just giggin’ hipsters.

Hipsters attack black metal with pale imitations

deafheaven_-_sunbather

Since the early 1970s, the music industry and the social scene behind it — comprised of those who use external appearance to signal social success — has been trying to find some way to counter the authenticity of metal. While rock and blues stars appeared to be rebels, the truth emerged over time that most were very conventional in their outlook except for hedonism.

Heavy metal on the other hand rejected the founding myths of our society since the intellectual shift so-called “The Enlightenment,” in which people decided that social pressure to enable the individual to be “equal” whether right or wrong, good or bad, was more important than social standards. Heavy metal pointed out that our perceived enemies are scapegoats, and the real problem is that the enemy is us, and that people are delusional and happy hippie flower power is another variety of the bourgeois deliberate ignorance of reality that promotes social decay.

In recent years, the same people who were hippies back in the 1960s — the conformity of appearance non-conformist and then going to work at a bank and retiring as a fat Baby Boomer — have returned as “social justice workers,” or SJWs. These people, together with an industry that realizes it can sell more re-branded indie rock than it can discover compelling metal bands, have created a new style that culturally appropriates the appearance of black metal while injecting it with the same messages of self-indulgence, self-pity, victimhood and pacifism that the hippies bleated about back in the day.

As the UK’s leading cheerleader paper reports, the herd is claiming this new false black metal is in fact an “innovation,” despite it resembling music from thirty years ago that black metal bands detested.

Enter “blackgaze”, the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore. It’s a geographically loose scene and its bands have been embraced by the indie media, which means you’re now as likely to hear black metal at ATP as in the Carpathian mountains.

Alert readers may note the “post-rock, shoegaze and post-hardcore” attribution, which Death Metal Underground has long identified as being the origins of this material. In other words, it is not black metal, but indie rock playing “dress up” as black metal. The quest of the industry for a safe rebellion goes on.

#metalgate: SJW hipsters will trash metal like they trashed the Hugo Awards

social_justice_warrior_hipster_sjw

Angry hipsters are like discontented housewives: living in the midst of plenty, with any option open to them, they prefer to combine excuses for failure with a passive-aggressive attack on the world. It is as if they are seeking to justify their fedora-wearing, basement-dwelling ways in the face of the many possibilities they could have explored. Life peaks early for such people, and peaks low.

Last night’s debacle at the Hugo Awards, nominally granted for science fiction excellence, shows what happens when SJWs take over a genre: they kill it by replacing it with an inferior version of itself, and by doing so, drive away anyone interested in quality of art, music or literature. This parallels their infiltration of metal with terrible indie rock like Deafheaven, Necrophagist, BabyMetal and Wolves in the Throne Room.

They attack under the guise of humor. Remember Metalocalypse? It was Adventure Time with a butt-metal theme. Then they demand you be open minded, and spiritual, which showed up everywhere from the fruity New Age lyrics of Cynic through the recycle-your-cigarette-butts environmentalism of “Cascadian black metal.” Finally, they make the political demand: start preaching what we preach, or you are the enemy and must be destroyed.

They did the same thing in science fiction. This explains why the genre has fallen off the radar for the most part, since the “new classics” — coming on the heels of some execrable years of Fantasy hybrids — are all bad and meaningless. The days of Heinlein, Card, Asimov, Niven and other giants are removed from the present-day drivel. As writer John C. Wright described it:

Once, the Hugos were the popular award given to the best works by Frank Herbert, Robert Heinlein, Issac Asimov, Bob Silverberg, Ursula K LeGuin and Harlan Elison, and Roger Zelazny. After much patient effort, the Hugo Awards, together with the SFWA (the Science Fiction Writers of America) were controlled by a small clique of like minded creatures loyal to Mr. Hayden.

Thereafter, the Hugo voters awarded awards to the Tor authors Mr. Hayden selected based on their political correctness, and expelled those whose politics the clique found not to their taste.

None of this was done on merit. Editors and writers in the field have been silence or shoved to the sidelines thanks to the action of the clique. I mention no names in public, but those in the field recall the various false accusations leveled against numbers of people, both working for Tor and outside.

So, in effect, the Hugo Award became the Tor Award. It was given, over and over again, to works of modest merit (such as REDSHIRTS by John Scalzi) or none at all (“The Ink Readers of Doi Saket” by Thomas Olde Heuvelt) or selected solely on the grounds of their promoting political correctness or sexual abnormalities (“The Water That Falls on You from Nowhere” by John Chu).

We know this pattern: we’ve seen it!

Every month, the cozy little clique of labels and “journalists” prances out a new favorite which they claim is new because it “breaks down boundaries,” which actually means that it is indie rock music with metal grafted on top. Metal-flavored rock, in other words. That means that it is not new, or breaking barriers, but in fact reverting to what existed before metal and what many of us came to metal to escape, i.e. endless droning self-drama victimhood songs by bored people who never found anything worth giving a damn about in life.

The real story at the Hugo Awards is that the voting was corrupt: SJW hipsters were buying votes in an attempt to block all non-SJW authors from receiving awards. The whole point of being an SJW is to have a personal army, so that if you want to show the world how important you are, you can summon a whole horde of internet people to come forth from their basements and inundate whatever target you have selected. Then, you alter it — just like the SJW invasion of metal turned it into indie rock — and declare that it has “changed,” even though what has really happened was an invasion from outside.

Even WIRED magazine, normally pro-SJW like most media, noticed the clash. Its story looked in-depth at the SJW passive-aggressive phenomenon, where SJWs style themselves as anti-racist and accuse anyone who disagrees with them of — you guessed it — being racist. WIRED pointed out the origins of the backlash against this:

But from the start, Correia had some serious complaints. He felt that the Hugos had become overly dominated by what he and others call “Social Justice Warriors,” who value politics over plot development. Particular targets of Puppy derision include two 2014 Hugo winners: John Chu’s short story, “The Water That Falls on You From Nowhere,” in which a gay man decides to come out to his traditional Chinese family after the world is beset by a new phenomenon: whenever a person lies, water inexplicably falls on them; and Ann Leckie’s debut novel Ancillary Justice, whose protagonists do not see gender. Leckie conveys this by using female pronouns throughout.

Correia’s New York Times best-selling book Warbound was up against Leckie’s novel at the 2014 Hugos. (He thinks he was a finalist because of an earlier Sad Puppies lobbying effort.) He and Torgersen, a 41-year-old chief warrant officer in the Army Reserve who took over the Sad Puppies campaign this year, told me they want sci-fi to be less preachy and more fun. Both bristle at assertions made in the blogosphere that they are racist, sexist homophobes.

In fact, their argument is actually pretty interesting. They say their beef is more class-based; Torgerson says his books are blue-collar speculative fiction. The Hugos, they say, are snobby and exclusionary, and too often ignore books that are merely popular, by conservative writers. The Sad Puppies have a name for those who oppose them: CHORFS, for “Cliquish, Holier-than-thou, Obnoxious, Reactionary Fanatics.”

In other words, on one hand there are affluent college-educated MFA-attending SJWs who want to write stories about “social justice” and have an audience buy them for that reason alone. On the other hand are more traditional writers, who may not have come from a privileged background and who mostly lack a political agenda, but are writing based on content alone, and push ideology and style to the side. Their sin, according to SJWs, is not that they oppose SJW, but that they fail to make it the centerpiece of all of their works.

A cynic might see this in simple economic terms. SJWs in metal and science fiction want a captive audience: if the book talks about “social justice,” buy it like housewives picking up the latest Barbara Kingsolver book because they feel too guilty not to, and therefore SJWs always have a job. The non-SJW writers compete with this, so the SJWs want to exclude them from the scene, just like they have waged war on non-political bands in metal, claiming that denial of “social justice” beliefs equals rejection of the validity of the underlying issues those SJW beliefs purport to discuss. In other words: there is only one right way to think about these topics, and if you do not join the bandwagon, you are literally Hitler.

As in science fiction, the problem created by SJWs is not right vs. left but all of us who want a healthy genre versus those who want to take it over and use it as a zombie bullhorn for their own propaganda. We resisted it with Christians, and with the far-right, and now we must resist it with SJWs, because once they take it over it will never recover. SJWs implement a type of “soft censorship” where if journalists, they refuse to mention non-SJW bands in a positive light, and mention the SJW bands ten times more. If labels, they sign only SJW bands. The fans buy only SJW-approved material. The result creates a market that replaces metal as a whole and crowds out the original fans and new fans, attracting — and allowing in — only fellow traveler zombies. That is our future if we do not fight SJWs like we did Christian metal and the far-right in the 1990s.

#metalgate: why SJWs became hipsters

hipsters_-_passive-aggression

The hipster has one salient trait: ironism. Whatever everyone else is doing, he is not. He uses this trait in a passive-aggressive way to force acceptance through provocation. Where normal people gather, the hipster will show up looking as weird as possible, hoping that someone will say something because he knows that social pressure is on his side. If he is criticized, he can use the dominant paradigm of our age (individualism) as a weapon and claim the other party is bullying him, when in fact it is the hipster who is starting the argument by deliberately being unusual, different and “unique.”

This approach combines some of the ugliest aspects of human behavior. First is bullying, because the hipster is waiting for criticism so he can say, “Look boys, it’s just like in Napoleon Dynamite, the popular kids ganging up on all of us accepting and tolerant freaks! I’m just different, why am I the victim here?” and have an instant army of angry complainers to attack the critic. He has government on his side, which supports being freaky any way you want to so long as you pay taxes and don’t murder, and popular opinion. Second is egomania. The hipster is not concerned with truth, the future, the past or fact; he is concerned with social appearance, which serves as both his justification for existence and his weapon against others.

SJWs arose when people realized they could politicize this hipster approach. In addition to looking freaky, they took extremist positions within the dominant leftist+consumerism individualist ideology of the West. This attitude combines the liberal social attitudes of the left with the market-oriented attitudes of the right, and creates a nasty hybrid which supports freedom above all else, so long as profits (and taxes) are made. SJWs are not “different”; they are a different variety of the same. This allows them to style themselves as unique and deep thinkers without offending any of the current attitudes of society, but because they manifest these ideas in physically odd appearances and extreme versions of those accepted views, they provoke criticism and can then attack, increasing their own power in the process.

When SJWs decided to adopt metal, their first goal was to style the rest of us as aggressors. That way, the hipsters could passive-aggressively claim to be victimized and begin the group counter-attack. Their problem has been that metalheads use apathy as a weapon. We view this society as moribund and on its path to self-destruction, and so tend to consider SJWs irrelevant drama. On their second assault, SJWs refined their attack to “if you do not participate in our crusade, you are bad and must be destroyed.” This is why we now have articles on a regular basis talking about how metal is not accepting enough and must be reformed.

All of this comes as metal struggles with its own refinement, namely the smooth fusion of hardcore punk, progressive rock and heavy metal that was underground metal (death metal, black metal, grindcore and doom metal). The SJW hipsters do not like this fusion because it is too far from the warmed-over 1960s protest rock that they favor — let us face facts and admit that emo, and anything tinged with it, is basically Bob Dylan worship. Metal rode on a wave of energy caused by the need to make such a fusion, but once it was achieved, had no idea where to take it further. There were no further (coherent) extremes, nor new musical developments to occur. As a mature style, it is still waiting for fresh energy to revitalize its lexicon of techniques and conventions and put them into a new language, and while some bands have forged a path in this direction, most continue to either re-hash the past or re-hash other genres with metal flavoring. For this reason, SJWs infest it, because they sense a dying trend they can turn into something they control.

1990s “Satanic panic” videos show same attitude as #metalgate hipsters

praise_the_master_satan

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!

Libertarian/open-source/anarchist Eric S. Raymond formalized the judgment of the “social justice” movement advanced by this blog a few weeks ago, calling them bullies in search of a cause:

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.

#metalgate hipsters continue faking the news

caïna-band_photo

The increasing popularity of #metalgate has irked the hipster SJWs who promote it. One of the SJW hipsters who provoked #metalgate by demanding our editor be removed from the metal Journolist writes about the increasing popularity of #metalgate in terms of hateful denial:

Detractors included Phil McSorely, who was fired from the band Cobalt for using hate slurs towards Curtis-Brignell and others, accusing them of trying to establish a “USBM [American black metal] friendship scene” and “liberal agenda” in extreme metal. The incident became one of the flashpoints for #metalgate, a short-lived hate campaign and offshoot of #gamergate that attacked journalists and artists accused of attempting to “censor” heavy metal.

She lies. Cobalt was not the trigger for #metalgate; SJW demands for censorship and exclusion on the basis of one writer’s opinions were. And #metalgate was neither launched by #gamergate nor a “hate campaign.” It remains — and is growing in strength — a resistance campaign against intrusion by the newcomers who are hoping to make SJW metal mainstream. (As a side note, it appears that Mr. McSorely has “un-friended” our editor on Facebook, possibly for his own sometimes liberal sensibilities.)

Look at Caïna for example. Highly hyped by labels, heavily supported by media, and yet it has no staying power because metalheads do not want kumbaya indie-rock. We want metal. Like other bands of this ilk, it sells to a certain audience but goes no further, and within weeks is forgotten. No one cites Caïna as a cornerstone of the genre, which is why the SJW hipsters are trying to bring it back with this article as if it had ever been relevant in the first place.

He articulates what SJW hipsters actually want — a “safe space” meaning removal of all ideas that threaten their worldview — and tries to conceal the censorship threat behind that mentality:

“I’m done with metal culture in a sense — conventional metal culture, that is,” he explains. “I guess in the positive, it showed that there are people who did agree with me about metal’s attitude towards certain groups. So I think my real change is to be ‘done’ with hedging. I can’t backtrack and adopt some new persona to weasel out of what I said. I believe what I said. I think in the few days that followed the drama, I could have tried to distance myself from whatever it was I was accused of being.

“But no, fuck it, I absolutely believe that metal should be a safe space for women, people of colour, differently abled people, the LGBT community. There’s nothing metal about arbitrary exclusionism. Safe space: unsafe music.”

This reminds us of the 1980s, when the PMRC decided to make metal “safe” by removing lyrics about sex, drugs and obscenity. Or in the early 1990s when Christians decided to make black metal safe by releasing “white metal” or “unblack metal” which sounded like black metal, but had Christian lyrics (with Horde being the forefront). Now we have SJWs who are releasing “safe metal” which sounds like shoegaze trying to be black metal and has safe, politically correct lyrics which seem to follow the agenda of their media overlords.

In the meantime, this controversy rages in other areas. The assault is coming from the media and their lackeys, and numerous communities are reacting, with gamers being first but now metalheads and other subcultures responding. The attitude generally is not that those who react are opposed to the viewpoints offered, but they do not like the form in which they are forced upon the audience, which is a “my way or the highway” ideological test by which you either endorse the SJW hipster viewpoint or are seen as an enemy of the State… errr, media.

If you need proof of how relevant all of this is, notice how Wikipedia is censoring GamerGate-affiliated editors and how media employees are mounting a doxxing campaign against #gamergate activists who are resisting the SJW hipster incursion.

In the meantime, a number of academics and media darlings linked arms to make black metal “safe” with a academic conference entitled Coloring the Black: A Black Metal Theory Symposium which declares its intention to:

In response to this we wish to open up the more comedic, playful, camp, ludic, carnivalesque dimension of black metal and black metal theory. In so doing, we set out to “pink” black metal by questioning its more nihilistic impulses (“blackening” and more “blackening”) in favour of more affirmative approaches and utilizations of BMT.

In “pinking” black metal/theory (and we are thinking here of critical and ironic BM-related gestures such as The Soft Pink Truth, Pinkish Black, Zweizz, Deafheaven, not to mention the influence of My Bloody Valentine and “pink noise” on shoegaze, post, or “hipster” black metal) we also hope to queer it by decentering the cisheteronormative and patriarchal underpinnings of both the black metal music and philosophy scenes. We wish to further BMT from a range of feminist, LGBTQ, and intersectional perspectives, including disability studies, crip theory, animal studies, and cute studies. Our interest in a more rainbow approach to black metal would also seek to consider and destabilize the racial normativities of black metal musical and theoretical traditions.

In other words: if it doesn’t fit the status quo, we’ll “study” it until we can argue that it does, and then use that to exclude anyone who doesn’t toe the line as being deviant. Just like SJW hipsters have done with #metalgate so far.

The underground realizes it is infested with hipsters… from within

satan_laughs_as_you_eternally_rotMuch as I love the title From Beyond, I think an altogether scarier title would be “From Within.” The things that really get you are the ones you can’t see because they’re behind your eyes. Metal got blindsided by one of these in the last decade.

What happened was that black metal ran out of ideas, and death metal ran out of energy, in about 1995 or 1998 depending on who you talk to. What came after that was metalcore and nu-metal, which are so close in compositional style — both very much closer to rock than metal — that we group them together as nu-core.

The response of metal was unfortunate. Ignoring the advice of sage elders, the metal fans who remained circled the wagons and insisted on ideological purity. No, not of the kind that excludes stuff incompatible with metal, like rock and rap. But literally, a hell-bent desire to repeat the past nearly exactly as it happened.

It’s like tourism. Charlemagne fought here, so you stand here and take a picture. Leonardo da Vinci sketched here, so you eat pizza here and Instagram it to your colleagues back home. Metal tourism involves pretending you’re Darkthone and it’s 1991 for the first time and you’re being a massive innovator by coming up with a new sound.

Except you’re not. It’s 1999 or 2013 and you’re in a bedroom with garage band, making another recombinant album for another recombinant audience. They’ll praise it to the skies for two weeks, then drift on to something else because basically it’s generic, and then popularity becomes a game of making people like your stuff by being their internet buddies.

This kind of toxic environment gave the Full Moon Productions bulletin board such a bad name the label basically quit. FMPers could be counted on to buy lots of records, but that’s like 1000 per pressing, and since they’re so elite and rare, spend a lot of money on them. Other than that, it was favoritism, infighting, backstabbing, and other pointless activity.

Now, in the unlikeliest of places, Nuclear War Now! productions forum has come to face the same problem — and it’s dawning on metalheads that this isn’t limited to a specific place or time, but is a universal human failing like hipsterism:

From the Devil’s Tomb was pretty good imo, but of course the tryhards will disagree. These fags change taste like underwear. Just look at the recent Wrathprayer thread. Now it is “overrated”, but a year ago these same poseurs were worshipping it like it’s the best thing ever since sex. – Candlemass

The vitriol picked up speed:

I’ve come to understand this board is full of kvltist wanna-be’s who are in fact a bunch of hipsters trying to follow trends to appear “elite”, though only a fractional minority truly “gets it”. Thoth

This post isn’t designed to mock the NWN board, or even the FMP board, or the people involved. They’re important because they’ve been perceptive enough to notice something that’s gone wrong with the metal community: it went within, and in doing so, lost its sense of what made it great. Now it’s the emotional equivalent of burnt-out old men, either repeating the past or cynically making derivative crap because they can sell it.

Our future lies beyond these barriers.

The war on hipsters is accelerating

Taylor Swift

Many don’t see this as a metal topic, but as Cianide would say, “Metal never bends!” What does bend, to trends? The hipster and all other people who think a surface-level view of life is important.

A hipster is someone who leverages all aspects of their personality, art and social group for the kind of invisible magic karma points that “popularity” and “notoriety” confer upon the narcissistic personality. Like cultists, hipsters have shattered self-esteem and seek to compensate by knowing things that other people don’t know, specifically traded in artistic and cultural artifacts that are special — like the hipsters themselves — for being unique, odd, “different,” unconventional, distinctive, etc.

Notice what’s missing in there: realistic, accurate, informative and/or useful.

Hipsters originally shunned metal because metal is by nature a warlike genre. We look past the surface level of life’s drama, expressed dually by individual narcissism and social group zombie hive mind thinking, and instead pay attention to the situation beyond the individual. The heavy stuff: war, death, metaphysics, infinity, disease, history, the occult and the esoteric.

In 2008, Adbusters magazine blew the lid off the rising millennial hipster epidemic by proclaiming hipsters the dead end of Western civilization. An excerpt:

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.

Since that time, the hipster epidemic has only become more pervasive. Famous for being ironic, in order to be unconventional and different, hipsters wander through life making art out of garbage, Instagraming their oddball tastes in food, liveblogging their personal drama, treating their children like press agents for themselves, and generally making society more vapid, plastic, superficial, oblivious, trivial and vain.

Luckily, world leaders and authority figures are stepping in to help out.

First, North Korea is helping by threatening immediate war. But this isn’t a war on the USA. It’s a war on hipsters:

Some Texans, however, suggested the path in fact led 95 miles south to Austin, the state’s capital, and speculated that Mr Kim had taken against the liberal enclave’s young “hipster” population.

North Korea probably doesn’t get a lot of US papers. They probably don’t get too many Americans over there who aren’t credulous tourists or formal State Department types. However, they do get the internet. To them, America is an unending stream of Pinterest, Facebook, Reddit and FourSquare. From their point of view, the US = hipsters. So they’re taking out the real hipster capital of this place, and hope that will kill our culture like an ant mound poisoned with cianide.

From a completely different angle, Taylor Swift is mocking hipsters with her new single, including Instagram-style photographs, ironic hipster classes, and bittersweet lyrics that are poignant through indecision. She is hoping to curry her fanbase, composed of legions of young women with disposable income, to wage war on the hipster. This might succeed even better than Kim Jong-un’s nuclear attack.

And covering the domestic front, Boston’s police department are cracking down on hipster house parties featuring boring two-note pop punk bands with ironic themes about getting lost on life’s highway. Apparently, the officers are impersonating trendy hipsters in order to figure out where the hip ones are congregating in suburban houses, where they and their bad bands and PBR make noise until 4 am, prompting not one but many homeowners to open fire with rusty old weapons from the last real war.

While by themselves none of these seem significant, when added up these commonalities point to one thing: a world-wide backlash against the hipster and its superficial, ironic and selfish ways. As the hipster falls, metal rises, so we’re glad to see this development.