Metal and Post-Modernity

Article by Bill Hopkins

“We might even say that to be fully modern is to be anti-modern: from Marx’s and Dostoevsky’s time to our own, it has been impossible to grasp and embrace the modern world’s potentialities without loathing and fighting against some of its most palpable realities.”

—Some overweight sociology professor

Metal, like any manifestation of culture, doesn’t emerge from a social vacuum. So much should be uncontroversial. This raises a question in need of reply: What set of ideas and social forces explain the existence of metal? One hypothesis is to view metal as a manifestation of European romanticism [1], the period of European culture from roughly 1789 to 1850. This article suggests a different hypothesis: namely, that metal must be placed against the backdrop of post-modernity in order to be properly understood. In order to make this case, it is vital to understand ‘post-modernity’. Many confuse post-modernity (1960s-) with modernism (1890s-1930s), especially when it comes to art. Thus, a secondary goal of this article is to illuminate post-modernity. I will argue that one key imputes giving rise to metal was post-modernity’s re-engagement with past forms [2].

One naïve view of post-modernity, especially in its artistic manifestations, views it as an elitist movement intent on offending traditional and bourgeoise sensibilities by embracing the ‘shock of the new’ and the absurd: think of the sort of art piece your intellectually disabled 3 year-old could do if given a paintbrush and a blank canvass stretched out on the floor. However, this is to mistake post-modernity with modernism[3]. Modernism preceded post-modernity by decades. It began in the late 19th century and had all but dissipated in time for the lead up to WW2. Not only this, modernism was primarily an artistic movement whereas post-modernity refers to sweeping social and economic changes in addition to artistic ones.

‘Blue Poles’ by Jackson Pollock

As we will see, post-modernity is characterised by a re-assessment of modernism’s ‘shock of the new’. In order to explore post-modernity and its connections with metal more fully, however, we need to take a few steps backwards before going forwards. We need first to understand the broader concept of ‘modernity’ (1789-). What is modernity, such that ‘post’-modernity is contrasted with it?
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/smr/ Sadistic Metal Reviews: Flavor of the Week Metal Pt 1: Black Metal

The ability to spot flavor of the week(/weak) trends in metal is a key element of elitism and will save you a load of embarrassment further down the road.  Both death metal and black metal have seen their share of torrid but temporary trends in the form of herd pleasing bastardizations that quickly spike in popularity and then evaporate from relevancy as their fans move on to something even worse (usually after a period of denial and/or clinging to a safe intermediary genre).  Crowdism is for losers but it’s heavily pushed in the metal scene and thus one must stay sharp to avoid it’s pitfalls.

Therefore in the interest of providing you, the reader,  with the knowledge of how to identify and properly dismantle future flavor of the week trends as they appear, this two part series SMR series will focus on a trend, a selected album from that defines it’s failings, and the worst offenders for each of these forgettable movements.  This week, we will focus on black metal’s most embarrassing waves of herd-fandom and sadistically dissect their unfortunate rise and much needed fall.

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Concert Review: Metalmania 2018

On  7th  April, another edition of a long standing Polish festival Metalmania took place. One day, two stages, twenty four bands. It was the second one organized after a recent reactivation. The original Metalmania was an early big metal event in that part of the Europe – quite a feat given Polish Communist and post-Communist realities. Then, due to various reasons, the festival was gradually losing its relevance, dwindling and finally went into hiatus for 8 years. There is no sense, however, to cling to its bygone local importance or whatever glorious past. So how does it look now? 

While too much reliance on more mainstream gothic and heavy contributed to a collapse of previous incarnation of the festival, and now it was death and black oriented, the music on the big scene is rather consistently aimed at straight metal through all of its generations and styles, ending with bands like Dead Congregation or Blaze of Perdition and with some of the more modern sounds on a small scene. On a downside, the fest resurfacing mainly as a stage for classic bands may be reflecting the actual state of metal, indicating that the newer bands are unable to fill the void with something equally strong to their predecessors. 

The festival was obviously rough around the edges (and surprisingly violent – I almost got caught into two different fights just from where I was standing) and the sound was uneven and average overall. It was organized better than in the past, but still perceptibly within Polish standards, that is crudely and with lack of imagination or simply negligence in some areas (although Martin van Drunen said on stage that the organization was great!). Perhaps a very fortunate by-product of these characteristics, which may contribute to the positive reception of this festival, is how – I dare to say – conservative it is, both in terms of lineup and general spirit. With Napalm Death and (I suppose) liberal speed metallers on one side and sort of crypto-nazis on the other, who always find a way to show up in some form, the fest also covered broadest ideological spectrum that is possible for a mainstream event. 

As of 2018 this festival is yet to experience types of modern degeneracy, often coming from outside, which can be seen on festivals elsewhere. There were some obligatory side attractions, like exhibition of works of Christophe Szpajdel (who actually speaks Polish fluently), meet-up with the bands and lots of merch, but nothing delving too much into a fan idiocy or really not related to metal. Very few freaks, zero exotic people, no random participants, just fairly traditional metalheads, mostly in the 90s style, as it should be, world without end. However, those spoiled by abundance of propositions and by big festivals in Germany or Czech Republic will probably miss out on some of these modest qualities. 

And then there’s the surreal, sci-fi sight at the arrival – a monumental, Communistic “The Saucer” occupied by nothing but a tribe of long haired, black clad drunks… 

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Soymetal Dies As True Metal Rises

As predicted here, the takeover of underground metal by late hardcore tinged substitutes has failed. This music, which we might call “soymetal” because it appeals more to the emo hardcore audience than the feral and realistic traditional metal one, took over because after the underground fizzled in the hands of NWN/FMP impersonators, labels found a new audience in whiny millennial SJWs. (more…)

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Pushback Against SJW Invasion Of Metal Begins With Anti-Metalsucks Campaign

Sometimes recognizing parasites becomes difficult. They sidle up to your genre, think that is fairly cool and they want a piece of that action, and then they morph themselves into clones of the fans of that genre. Then they shlurp their way inside of its cell walls, consume its vital energy, and inject their DNA into its core, replacing all that made it unique and meaningful. (more…)

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/dmg/ DEATH METAL GENERAL: Rooftop Riders Edition

 

DEATH FUCKING METAL:

http://www.deathmetal.org/metal/

http://www.deathmetal.org/site-map/

http://www.deathmetal.org/category/faq/

>b-but I heard death metal is dead!

http://www.deathmetal.org/news/

http://www.deathmetal.org/review/

OP Paste Bin:  http://www.deathmetal.org/tag/death-metal-general/

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Introduction to Power Metal, Part I: Origins and Influences

(Join DMU Legend Johan Pettersson for what may be the most expansive analysis of power metal ever presented in the first of a 3 part series.  Listen to the accompanying suggested listening here)

Of all the subgenres and styles that fall within the metal spectrum (hence excluding unmitigated relapses into rock such as death’n’roll, stoner, nu- and indie metal), power metal most definitely counts as the one that has received the highest amount of scorn and ridicule from critics, fans and outsiders alike. (more…)

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Have You Droned Anyone Recently?

There is something delicious about a drone. Maneuver the joystick, trip the flaps, train the camera, identify the subject. With a deep sigh, avoid contemplating all that is ahead, then click confirm on your control screen. Watch the brief flash and distortion on your video feed as the missile falls free and ignites. Zoom in on the target. Seconds later, a gout of flame and fountain of body parts.

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