Metal-Archives’ Marxist Mania

Article contributed to Death Metal Underground by Richard Sullivan.

Western civilization is currently gripped in a culture war unlike any that preceded this one. You may ask what makes it so different than the others, considering the West witnessed a similar one of its kind back in the late 1950s with the emergence of the New Left. Arguably, there’s never been a real difference in the left’s rhetoric. For as long as anyone cares to remember, white, heterosexual, “cisgender” men, who maintain the “capitalistic, racialized, cisnormative patriarchy” have always been at the center of their ideological attacks. The only thing that has changed has been their ability to have said rhetoric heard beyond the confines of university lecture halls. It was rare to encounter an enlightened™ human™ bombarding you with vitriol and threats of violence – because you failed to recognize the intersectionality between race™, gender™, and sexuality™ – outside a gender studies class. Of course, these things still occur, but with greater frequency, and to the point where a flash mob of overweight, hipster beta males twerking in tutus in a school’s atrium is viewed as them just “expressing themselves”, but, more boldly, as an act of defiance against conventional norms of masculinity.

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Metal-Archives Decries Antifa Attack on Messes des Morts

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Sometimes social justice warrior database Metal-Archives decried the antifascist attack on the Canadian black metal festival Messe des Morts on the Metal-Archives Facebook page. Even the whining neo-liberals are ticked about actual Communists ruining their festival experience. Éric Sédition, one of the leaders of the Montreal antifascists terrorists, is a confirmed member of the Industrial Workers of the World according to his Twitter. The IWW wish to establish a new socialist world order to supplant capitalism.

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#Metalgate: Metal-Archives Exiles Trump Voters

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Metal-Archives founder and avowed social justice warrior Morrigan Stark has started banning users whose posts she views as political incorrect. Trump supporters and general skeptics of modern liberalism’s identity politics are a threat to her imagined metallic fantasy world’s safe space / socialist worker’s paradise. Internet anti-censorship advocate and anime fangame proponent “Clownpiece x Trump” compiled these screenshots on his Libertarian2 Twitter feed:

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#metalgate: SJW-controlled Metal-Archives.com censors realist reviewers

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SJW-controlled site Metal-Archives.com, famous for its desire to regulate what is “metal” and exclude non-leftist viewpoints from the site, has deleted user “bitterman” who gained notoriety for his realistic, masculinized reviews which expressed extreme intolerance of insincere, manipulative and mediocre metal. All of the writings of this person are now removed with no chance for the user to recover the hours of effort he put into the site.

Bitterman made a name for himself for thoughtfully but viciously reviewing the excess and stupor of contemporary metal, using a somewhat tongue-in-cheek “metal warrior” style as he skewered perpetrators of false metal like Watain. According to one commentator, “he paid the price for holding for-profit poseurs to the same standards as Onward to Golgotha and early Burzum” because of his vicious attacks on all that pretended to be underground metal and failed. Many of Metal-Archives.com’s staff are gamers who undoubtedly are aware of the SJW incursion into gaming that prompted #gamergate as well.

Wherever SJWs go, they censor all that is natural and right: masculinity, warfare, conflict, elitism, quality and excellence. Then they replace these with twee indie-rock metal hybrids and a policy of “acceptance” that rejects quality bands under the same excuse that Wikipedia uses, “notability,” while promoting the kind of hybrid dreck that 90s underground metallers would have thought belonged in the bin with Sonic Youth and Rites of Spring, not raging death metal and black metal.

Again we see the problem of allowing SJWs to infiltrate metal through media as, using that power, they change what it means to be “metal” while trying to purge metal of what makes it unique. At the end of this agenda, they will create a neutered form of metal-rock that will promptly collapse because it lacks all of what makes metal appeal to its audience, and the genre will collapse like the Soviet Union or Pol Pot’s regime. The SJWs will not care, because they got their 15 minutes of fame.

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A Year at the Wheel releases archive of video interviews

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Shane and Amy Bugbee drove across America for a year-long epic road trip spent producing some 200 short videos featuring interviews with classic American figures, including metal- and punk-related ones such as Jeff Becerra (Possessed), Ian Mackaye (Minor Threat) and Averse Sefira. They called this project A Year at the Wheel and have released the extensive interview footage to the public.

Their footage has been featured on syndicated news shows, and even in the Peter Jackson documentary West Of Memphis. They financed their project with no grants, no sponsors, and not even a credit card, and began with only $180 between them. Since that time, their YouTube videos have received over 1.3 million views and they have published a 534-page book called The Suffering & Celebration Of Life In America including their interviews with the above musical figures.

In response to popular interest the Bugbees have made their archive available to others through Archive.Org. The footage can be not only viewed, but used by other filmmakers and journalists in their own projects. Subjects include internationally known photographer Joel Peter Witkin, anthropologist William H. McNeill, Craigslist founder Craig Newmark, Attorney for the American Atheists Edwin Kagin, punk icon Ian MacKaye, the Godfather of Death Metal Jeff Becerra, American Indian Movement activist Dennis Banks, the black metal band Averse Sefira, and eyehategod’s Mike Williams.

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Abhorrence looking for early material archives

Kind people, please spread the word.

We’re looking for Abhorrence’s live and rehearsal material, excluding the “Macabre Masquerade” rehearsal tape. Namely I’d love to get rehearsal material from 20.03.1990 and later, as well as the live from Norway. Sound quality is the key here, but get in touch if you have something that might fit the description. – Abhorrence

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Fugazi Archive

This band is the origin of all emo music. Starting in the mid-1980s, post-Minor Threat musicians tried to re-invent music and ended up with sensitive guy indie rock/post-hardcore hybrid. All post-2000 “metal” originates in what Fugazi did, except Fugazi was musically better. However, its attitude was totally corrupt and self-pitying. As a result, it attracted the type of person who now becomes a hipster: the self-pitying, defensive, self-obsessed, reality-denying narcissistic life dropout.

Fugazi’s label, Dischord Records, launched a digital archive of the band’s live …shows this fall. Twenty-five new shows are being added each month, including over 800 songs that have never been released.

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Danzig – Archive de la Morte

(Music Video Distributors, 2004, 60 Min, $10)

Few underground bands will achieve a video document of this quality. It consists entirely of MTV-style song videos, professionally filmed and edited, which are either miniature movies in which the band is featured or high quality live recordings. The sound quality is excellent, as is the image quality, but having someone take the time to edit and shape the video experience as one might find in a cinema puts these in a different league. However, this DVD has a weak spot, and it is the choice of material. Where a disc of sloppier and less coherent videos from classic Danzig, namely the first two albums, would be a gigantic hit, there’s only one song from that era on here, and while the material from his later albums is good, it’s also more typical hard rock/heavy metal and thus does not show this band at their most adept and inventive phase. Furthermore, this DVD is literally an archive, and gives us six songs with up to three versions of the video for each, which makes it not only unsuitable for casual viewing but very limited. Couldn’t someone tack on some crappy handheld video of a live set at the end, as, well, that would be more the whole of the Danzig experience than this narrow snapshot? The videos are quite artistic, and feature heavy symbolism and plenty of evil moments. It culminates in “Mother ’93,” which is essentially the album track dubbed over some hammy but expertly edited live video. If you are a Danzig fanatic, this provides you with the videos you saw on MTV and the uncensored versions that you probably wanted desperately at the time. For the more casual fan, this video will probably seem like a hasty and unthinking compilation of material that documents the less triumphant moments of an otherwise influential act.

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