There are those who would make us think that peace is essential for life. They demand we must reconcile all manner of disagreements and simply live happily together. In reality, what happens in a real compromise (if indeed it is a compromise) is that every one involved gets a bit of what he bargained for. It is not unlike Celtic Frost, a.k.a. the failed post-Hellhammer experiment that tried going mainstream a step at a time. By the time the band released Into the Pandemonium it was clear that by trying to bring the monster of underground black/death metal into the light they only degenerated it into a joke that no one, except masochists, want to ever hear again. The reader may want to attribute the downfall of Celtic Frost to a host of other causes, but the decision was in fact simple: give in to niceties and benefits through a compromise, or keep on fighting, towards a transcendental victory. (more…)
Metal-Archivesfounder 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:
More black metal from the people who do not understand black metal. This is in the now popular style of pseudo black metal that sounds like war metal trying to be progressive. This lot probably new about black metal through the profound music of Michael’s Pink Frothy AIDS. Incoherent as it is flat, Gestalt identifies itself as modern by the insistence on arranging awkward juxtapositions and superimposed elements that do not match in the least. Keyboards that were not there before jump into the fore with no warning only to disappear and never return again in the song. Maniatic blast beats that underscore nothing except the fact that they are trying to play intense music followed by macho man riffs, only to slide into quiet endings or bridges that seem placed there because they simply could not think of anything else to put there.
Even the average metalhead will know to stay away from this circus motley outfit pretending to ironically catch a pulp fantasy sort of occult imagery backed by equally uncompromising profoundness — or so their kind say in this sort of empty words. As the late bitterman (where art thou? we could use you) would say: Vapid. Avoid.
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.
Through the years of scanning endless lists of metal albums one gradually develops an intuition that links band name, album name and artwork to the general nature of what will be heard. Seldom does a tongue-in-cheek name correlate with quality music, since the band designed itself as a stunt. While some serious-sounding names result in pretentious self-important music, most bands with confidence in their ability to produce valuable music choose a straightforward self presentation.
The following question measures heavy metal: what is quality, and how is it measured, including what standard we use? Our answer begins with the often-used but seldom explained (and hence little understood) terms superficial and transcendent as opposite poles in a spectrum. Through the ages philosophers, theorists and artists themselves have made used these terms and in only a handful of instances have they tried to explain them in any way beyong what is deemed self-evident. The young Nietzsche provides us with a useful term and its explanation which can be used to separate the concepts in a way that if not empirical enough at least can be understood as a general concept. The Dionysian, it is said, allows for a connection for the unchanging, eternal oneness. This can mean many things, but guiding ourselves by Nietzsche’s explanation in the context of Greek tragedy and the nature and significance its chorus, we can see that the Dionysian is a subjective measurement requiring the person in question to look beyond the cycles of history and recurring social trends that are a result of the human race constantly altering its surface appearance but not actually “growing” in the sense of improving. Once in touch with this, the artist can represent the essence of things as they always are, not as they appear at this moment in time. On the other hand, being trapped in the temporal interpretation of how something is at this moment, or how it appears to be in its current incarnation is the hallmark of the superficial.
For us to make the distinction between transcendent and superficial in a work of art, we must isolate any insight of human nature that the work expresses. Because all of reality is the same cause, all paths if followed with vigorous examination lead to the same truth. Acquiring the insight that the transcendent artist possess does not mean we ourselves need to have his artistic talents as well. These are abilities of a separate kind altogether. As Nietzsche tells us in the same writing, while the rest of us must use abstractions and complex explanations to arrive at an objective picture of the work of art, in his subjective vision, the artist contemplates the images of his expression clearly and in unexplainable simplicity independently of its degree of superficiality. We can analyze that vision according to what it communicates and whether that address the transcendent, the superficial or the “fake out” of superficial transcendence.
With all this in mind, a first glance at Terror Empire’s album cover and album name is enough to raise some red flags. The cover artwork does not relate to the title. The title further shows a tendency toward cliché and a “cute” manipulation of it. This lack of originality is then reflected in the music itself. The album shows an diversity of approaches ranging from early songs which incorporate related but meaningless constructions with abundant technical acrobatics to late songs which are basically “thrashy” chug-based generic speed metal songs. The former are meaningless in the context that the writers themselves put them in. They make structural premises, but then do not follow them or conclude them structurally. As in many mediocre examples of music, songs end suddenly without being taken to any sort of climax, deviation to a clear point and return. The latter part of the album fails by being an imitation of speed metal (aka “thrash metal”) tropes seen through the modern lenses of retro-thrash.
This book can be judged by its cover, which the band apparently views as attractive to the type of person who will not realize how completely pointless The Empire Strikes Black is as a metal listening experience. Those who seek novelty tend to find it. In the spirit of the master, Bitterman: Vapid. Avoid.