Exposing the Hypocrisy of Liberal Metal Journalism


In an age where the culture war has reached all corners of American life it is essential to understand the immense significance of the extreme metal frontier. As a liberal movement on the brink of extinction adapts a full blown communist agenda and wages totalitarian warfare against all beneficiaries of natural selection and individual freedom it is mandatory for the iron willed men and women of metal to defend the most liberated of all musical genres. By defeating these dystopian LARPers on the battlefield of metal culture we will accelerate their complete evisceration and ultimately emancipate the underground metal genre from it’s stagnant state. Therefore we must understand the enemy to swiftly and decisively destroy it.

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Hypocrisy re-issues Penetralia and Osculum Obscenum

hypocrisy-penetralia_osculum_obscenumSwedish modern metal band Hypocrisy will re-issue their classic first two albums, Penetralia and Osculum Obscenum, as a CD box set for maniacs who remember when this blasphemous band were death metal.

In particular, Penetralia set the standard for aggressive riffing and an album format that many would follow, in which a series of intensely brutal songs peaked in a more epic song, and then resumed in order to fade out into a more intricate and melodic instrumental.

Hypocrisy also innovated the production of Swedish-style melodic metal, giving it an approach to texture and dynamics that is imitated to this day. In addition, the Hypocrisy band members created a black metal band called The Abyss whose album The Other Side became the template for melodic black metal after the second wave.

While it is great to see these two classics get re-issued, die hard fans are wondering if these CDs will remain in print in some form, and when or whether the material from the Inferior Devoties and Pleasures of Molestation EPs will be reissued, as this is some of the band’s strongest material.

Each CD contains bonus material in the form of live recordings of some of the classic tracks featured earlier on the album. As part of the classic death metal revival that started in 2009, this re-issue continues a postmodern habit of honoring the past when our lesser replacements burn out on us.

The box set will be released on July 12, 2013 on Nuclear Blast.

CD 1 – Penetralia (remastered + live bonus)
1 Impotent God
2 Suffering Souls
3 Nightmare
4 Jesus Fall
5 God Is A Lie
6 Left To Rot
7 Burn By The Cross
8 To Escape Is To Die
9 Take The Throne
10 Penetralia
Bonus tracks:
11 Left To Rot (live)
12 God Is A Lie (live)

CD 2 – Osculum Obscenum (remastered + live bonus)
1 Pleasure of Molestation
2 Exclamation of a Necrofag
3 Osculum Obscenum
4 Necronomicon
5 Black Metal (Venom cover song)
6 Inferior Devoties
7 Infant Sacrifices
8 Attachment to the Ancestor
9 Althotas
Bonus tracks:
10 Pleasure Of Molestation (live)
11 Osculum Obscenum (live)
12 Necronomicon (live)

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Hypocrisy – A Taste of Extreme Divinity

Like the previous Hail of Bullets, Pestilence and Seance albums, the new Hypocrisy is an attempt to retain old-school death metal cred while putting out an “updated” and “contemporary” style. If you cut through all the marketing and bloviation by inexperienced fans, you’ll see this for what it is: Behemoth-style metalcore.

A Taste of Extreme Divinity, like most things that rank appearance over content, uses a formula which is designed to wow you with its slick style so that you fail to notice it’s a collection of random riffs that sound good if you’re not paying attention to the rest of the song. Fast melodic riff, then a doubletime stomp, then a breakdown with a Gothenburg riff, than nu-hardcore style rant and blast; repeat in random order.

Add rattletrap triggered drumming that overplays its technique every time, and wrap the whole thing in semi-synthesized “digital whisper” vocals. If you look at how this music is composed, you’ll see that it is “embellished” verse/chorus constructions where the band designs two riffs of radically different types to serve as verse and chorus, then adds in slight rhythmic variations and purely random diversions. This style of composition is the basis of rock and punk, but not death metal. In fact, it’s the opposite of death metal, which tries to make a series of riffs express an expanding similarity even though they appear radically disparate.

The oldest con in the world is mixing some even older stuff into the old, repackaging it and calling it new. With this album, Hypocrisy are trying stuff that was old even in the days of extreme death metal, but people figured the audience was too savvy for tricks that didn’t even work with the hardcore kids. But now, few remember that old spirit, and those that do get shouted down by a new audience that’s delighted with anything new and easily digestible.

This CD is easily digestible. It is easily listened to. Nothing requires more commitment than putting your brain on hold, and paying attention to only one riff at a time. That way, each riff sounds kind of interesting. It’s only when you try to put them together into songs you realize this CD is like computer-generated text: it makes sense grammatically, but says nothing.

They finally found a way to assimilate metal into rock music. Get rid of the structure, dress up the production and really hammer out the violent riffs that just scream “metal!” even if they’re more closely related to Destruction and Exodus than death metal. Then convince everyone this carnival music is extreme because it’s random, fast and loud.

But we the discerning listeners — who value our time, and know that we get only one life so we take our music like every other aspect of our lives quite seriously — find ourselves nodding off. This is like Britney Spears on meth, repeating the same few lines over and over again until we all rush to escape the room from sheer existential boredom.

In other words, it’s metalcore.

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Twilight of the Guitarist?

It is a harsh truth that all things in our finite world will end at some point or another.  I was fortunate enough to learn this lesson at young age, with friends moving out of state and death claiming some of those closest to me. But there are many who are not so lucky to experience the cruelty of life during their youth and are now struggling to adapt to the harsh political and cultural upheaval that is sweeping the world at large.

This failure mainly stems from a cultural and educational system that leads us to to believe none of the beloved things in our safe American bubble will ever see massive change and upheaval- that our world and lives probably won’t be much different than that of our parents and teachers. But already, we are witnessing the death of malls, the value of college degrees, major retail chains, cable television, Hollywood movies, mainstream media, atheism, and an the age of idealism.

And sadly for fans of rock and metal music, the final hour may be at hand for a beacon of our pride and culture: the guitar hero.  With the impending bankruptcy of Gibson and now the imminent bankruptcy of Guitar Center, it would be foolish for anyone to still proclaim the immortality of the “guitar god.” For all things of this world must one day end, and dare I must ask… could the twilight of the guitarist truly be at hand?

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Hipsters Discover That Black Metal Musicians Are Bad

Another scandal!  Yes folks, for the fourth time in the past two or three weeks, hipster journalists and fake metal fans are shocked and appalled that a black metal musician has done something immoral.  Despite black metal being a music genre for 30 years, smelly neckbeard losers and dreadlocked trust fund crusties are figuratively (though literally in some cases) throwing their own feces every time they catch a mid-tier black metal musician doing something not socially acceptable.  This time, the horrific act came from Marduk, whose purchasing of German World War II merchandise from a sketchy online retailer made them too evil for a fest called Stockholm Slaughter (who apparently think slaughter is cool, but just not when it pertains to 1940s Europe).

Because millennials are too dumb to learn any history that doesn’t involve student loans, let’s quickly look back and see if any criminal or immoral things were done by the original black metal bands.  Maybe there’s something that we can learn from  that fateful 1990s Norwegian scene:

Band                   Criminal/Immoral Act

Burzum                Murder, violating parole with a shitload of explosives, arson, Nazism, white supremacy

Dimmu Borgir    Using the N word in an interview/proclaiming the desire to genocide Africans

Emperor              Hate crime murder of a homosexual, arson

Gorgoroth           Rape, battery and torture, violation of Poland’s animal rights laws, homosexuality

Immortal             Arson

Mayhem              Murder, 2nd degree murder, arson, public mutilation, trashing hotels

Satyricon            Rape, arson, rape

Thorns                2nd degree murder

I’m sorry to break this to everyone living in a liberal bubble, but a painfully obvious truth exists:  black metal musicians are bad men.

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Sin and Despair in Deathcrush

At the truest heart of metal lies a voice embodied, somewhat childishly, somewhat ineptly, but no less clearly and latent with potential, by Mayhem’s Deathcrush. The re-inversion of all values that metal enacts starts with the embracing of what modernity would see as its sickness unto death. The despair and sin of sickness unto death become vital active elements in the morbid minds of those who would vanquish dogmatic preconceptions in the Sky God Religions and their secular humanist counterparts.  Being, in essence a way of connecting back to itself, the ideological blockages set up by this dead-end society had to be faced head on.  Herein lies the relevance and meaning of the present album.  Despair is converted into pure energy, the rules disavowed, the road of sin is tread fanatically as a method of purification —a negative unity of evil towards the beyond, away from human-ness in its modern form, away from mundanity.  For the burgeoning underground, as seen from Mayhem’s perspective, primacy would placed on being and its dark discovery of self, against the presumption of knowing, and the oppressive, futile impositions from above.  All knowing, all value of music, would come from this ‘being’, from a dark exploration of the soul possessed by a cosmic force of destruction.

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Kvedulf Gunnar Larsson The Alternative of Real Ecology

The present book claims to be a presentation, an advocacy, but nothing more. It is not a discussion, a justification or the beginning of a debate, all of which are pointless and do not constitute the carrying out of actions that actually make a difference. Discussing, debating and justifying, argues Larsson, are within the realm of popular environmentalism, which is nothing else but a flavor-of-the-week, feel-good tapping on the back of those who claim to care for the environment but do not care enough to set aside the delusion of human privilege (including the trend in ‘Green’ products, and the necessity to pander to what is popular, rather than necessary or real). Despite a certain radicalism inherent to Real Ecology (‘radical’ by virtue of being ‘real’), it is clearly distinguished from so-called Eco-Terrorism, because of its completely ineffectual, short-sighted action that simply remains all-too-human: undecisive because of its avoidance of doing actual harm. Real Ecology, is rather the personal choice of non-contribution, as in the reduction of one’s eco-print to the minimum.

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Underground Record Labels in the Year 2159

It is the year 2159. All the world’s capitols have been obliterated- save South America and Africa (the only continents free of nuclear weapons)- and humanity is no longer able to reproduce due to the over-manufacturing of sex-bots.  There had been three nuclear wars already, first of which involved USA and North Korea and the most recent involving Britain and Iran.  EMP’s and cyber-hacks had taken out the grid long ago, leaving only a strand of humanity left whose bodies could physically adapt to life without WI-FI.  Most of the main bands in the US which were based out of major cities perished as urban conditioning caused them to starve with no wherewithal to survive in the wild.  All that was left were rag tag bunches of malnourished but darkly inspired bands of street trash scavengers who roamed the land with metal detectors seeking alkaline batteries to power their equipment (though these were also needed to power their sex-bots).  Guitarists went back to using hand cranked Pignose amps, with vintage EV megaphones held in front to further amplify the vocals and guitars.
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