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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Meditations on the Death of Wishful Thinking

To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.

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White Death Releases “Immortal Hunter Of The Moon” Off Upcoming Eponymous Debut

In anticipation of their eponymous debut, Southern Karelia’s White Death released a track from the album, “Immortal Hunter of the Moon.” This mid-length track instills expectation by improving upon the previous also eponymous two-song EP released in 2014. Where that recording consisted of raw, foot-stomping black metal that was pleasant enough for a listen once in a blue moon, the new track shows an increase in dynamics that lifts the material to a new level of intensity while also –- perhaps more importantly -– giving it a sense of direction.

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#Metalgate: Nu-Death SJW Shawn Wright Has Meltdown Over Ignored Album

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Shawn Wright of Bestial Evil USA, who has in the past acknowledged his SJW status before embarking on a campaign to remove my Facebook account by complaining to Facebook’s SJW admins, has experienced yet another humiliating internet meltdown.

After the release of the most recent Bestial Evil USA album, Infectious Cross, which achieved zero acclaim for its generic Discharge-meets-Immolation style of metalcore, Wright was seen on Facebook berating at length those who were less than impressed by the album. This made it all too easy for one internet troll, who got under Wright’s skin and relentlessly led him on, provoking the apparently credulous Wright into a tantrum.

“I’ll bring some presents with me,” Wright said, in response to a transparent taunt. He promised to come to Texas and “smack the bitch out of you,” apparently forgetting that he was in the past accused of sexual assault and misogyny. Undeterred, Wright raved on: “We will play with War Master one day and I’ll be right there to hand you back your teeth one by one.”

Apparently not realizing that he was being provoked into a foaming rage, Wright continued with a barrage of insults and memes before the troll lost interest and stopped responding. At that point, realizing that he was talking to himself, Wright posted a final salvo and departed into the empty night.

#MetalGate exploded when metalheads began standing up to bullies who, hiding behind political correctness, were forcing their mediocre work on the metal community through the type of guilt that would make a priest grin. After they were called on this, their audience evaporated outside of the SJW circle, which continues to dwindle as people realize that passive-aggressive bullying is no way to go through life.

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Deathfests went wrong way on Disma

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Nothing makes a big deal out of something faster than making a big deal out of it. – Martin M. Jacobsen, Ph.D.

It’s old news that the Maryland Deathfest, California Deathfest, and the Netherlands Deathfest removed New Jersey death metal band Disma from their shows, citing vocalist Craig Pillard’s association with the Nazi band Sturmführer and his public embrace of right-wing positions.

The fests had the right to remove Disma. I’m not really writing about that. Pillard has the right to embrace any position he wishes. I’m not really writing about that either. I have no sympathy for Nazi thinking, and I’ve noted a wave of Nazi apologia flying around the net lately, which may have contributed to Disma’s difficulties. I’m generally put off by overtly political bands that place ideology of any kind before musical expression. But I’m not really writing about my positions or political bands either. I’m disinclined to discuss SJWs or criticize the fests or Pillard or Sturmführer.

This editorial addresses the imbecility of the outcome of banning Disma from these fests or other shows. Since removing Disma from the playbill has become a bandwagon phenomenon, Sturmfuhrer and Nazism have benefited. If these fests would have let Disma play, it stands to reason that fewer people would have been “affected” than have been reached by the news of banning them. As Pillard and countless other have correctly pointed out, Disma is not invested in political stances. They’re a fairly standard death metal band offering fairly standard death metal lyrics and themes. In fact, they’re so standard that the Netherlands Deathfest said this:

We feel that Funebrarum is an adequate replacement to make up for this, but if for some reason you purchased a Sunday ticket to see Disma, you may request a refund.

Funebararum may or may not be equivalent (ironically it shares a drummer with Disma). But the passive-aggression in the second part of this statement typifies the mindset here under discussion. What they really mean to say is “If you wanted Disma, you’re a Nazi because now that the story is out you couldn’t possibly like Disma because they are a relatively middle-of-the-road doom/death band-you must follow in lock-step the condemnation of what we condemn.”

Sound familiar?

Disma fans who know of Pillard’s association with the aforementioned band and ideas are surely not legion. Other fans who like Disma as Disma may not have known much about it at all. While there’s no way to know how many of the latter would be ‘reached’ by the former, the number of people ‘affected’ by ‘exposure’ to Disma and their fans surely would not have been overwhelmingly unsettling.

But banning Disma has had a reverse effect. Rather than disassociating themselves from the problems listed above, the actions of these promoters have generated a wave of ‘reporting’ in the metal press that has carried the ethos they sought to exclude to an audience far larger than any fest would draw. As the ‘news’ spread, so did the imagery and ideas that the fests claimed to oppose. As often happens in a media frenzy, the reporting of the ‘problem’ results in the promotion of it.

MetalSucks, Metal Injection and other cut-and-paste journals wasted no time spreading the story, modeling their best bandwagon morality, adding their outrage to the outrage. But for reasons that do not make any sense to me at all, they chose to splatter a swastika-clad CD and screen shots of Pillard’s statements all over the internet. Undoubtedly the purveyors of this story would argue they are being accurate and thorough, but the proliferation of these ideas in any form actually incites the very mania these people claim to fear. They hate these ideas, they say, and yet knowingly make them available to a larger audience than letting Disma play at all the fests would ever have done.

And I’m guessing that people who advocate for Nazi or right-wing positions are not terribly afraid of MetalSucks or Metal Injection being outraged about anything, but they are undoubtedly delighted by the idea of these images breaking into a medium that they would never be included in otherwise. It makes these fest promoters and ‘journalists’ accessories after the fact.

After all, somebody once associated with propaganda said that people will believe a square is a circle if you repeat it enough. Circling Disma like vultures circling a carcass has drawn far more attention to these ideas, repeating the unintended message as much as the intended one. Being so against something that you expose its artifacts to the entire world in an attempt to lessen their impact is about as logical as believing in God.

Correction: the wrong image was used with this original post against the author’s wishes. We regret this oversight.

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Deathrite to release new album

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German Death n’ Roll band Deathrite will be releasing their new full-length album Revelation of Chaos on July 24.
Featuring artwork by Mark Riddick (Mutilation Rites, Aborted, Fleshgod Apocalypse), the band’s 10-track label debut was recorded, mixed and mastered with Jan Oberg in Berlin at Hidden Planet Studio (The Ocean).

The album’s track listing is as follows:

1.  Melting Skies (2:57)
2.  Circle of Destruction (2:23)
3.  Determinate To Rot (4:55)
4.  Toxic Hammer (3:32)
5.  Mayhem Remains (3:28)
6.  Wrathbringer (3:03)
7.  Salute To Death (1:57)
8.  Swords and Revolt (3:35)
9.  Predator (3:29)
10. Infernal Domination (4:59)

A video teaser for the new album can be seen at this location.

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Death/Doom band Atriarch Release New Video

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Atriarch, are pleased to unleash the video accompaniment to the suffering sounds of “Bereavement.” The crushing psalm comes by way of the band’s An Unending Pathway full-length.

In related news,Atriarch will bring their sonic rumble to four California cities beginning tomorrow in Sacramento. The trek will include a special performance at Psycho California this Friday alongside Cult Of Luna, Eyehategod, Russian Circles and more with additional onstage trauma to be announced in the weeks to come.

Atriarch:

  • 5/13/2015 Starlite – Sacramento, CA w/ Samothrace
  • 5/14/2015 Complex – Los Angeles, CA w/ Black Mare
  • 5/15/2015 Psycho California – Santa Ana, CA w/ Cult Of Luna, Eyehategod, Russian Circles, more…
  • 5/16/2015 Oakland Metro – Oakland, CA w/ Lycus

 

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Media “autoerotic circle” confirms own bias against metal

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We are all familiar with the term: a group of males in a circle, each masturbating, with the collective approval of the act protecting the individual from criticism by others. In theory, this act originated in the days when masturbation was taboo and boys wanted to ensure that others would not inform on them, so got together a gang to self-stimulate together and attack any informers as a group.

For the purposes of this article, such events will be referred to as “autoerotic circles.”

Most metalheads pay no attention to the Grammy awards but for some unknown reason, much of the population seems to attend to these with regularity despite their being the result of a few hundred insiders and their opinions about what we should buy, not what is actually good. Watching the Grammys is like turning on your television to watch a 30-minute commercial (except that many infomercials were actually interesting in comparison).

For decades the Grammys have slighted heavy metal. This is because the media elites do not want you to like or purchase heavy metal. Heavy metal does not play by the rules, which is that every band must make basically the same music but differ in production and surface aspects, so that the great money circle can continue. The record industry makes its money by pumping out the same stuff again and again, having its lapdog “journalists” praise it, and then the clueless audience buy it because it is new and exciting on the surface. Then repeat. Watch money show up like spring rains. The “autoerotic circle” of media and industry became self-referential long ago, approving whatever was put out as a jobs program for journalists, studios, labels, promotions, and bands themselves. Just keep the money flowing, keep the scam going, don’t tell the secret.

Heavy metal breaks this model. It is riff-based, and requires bands to come up with not just killer riffs but the song structures to support them. It does not follow the denialist trend in lyrics, which has two prongs: a “protest song” prong that demands we pursue surrogate activities in lieu of noticing our society is decaying, and a “bohemian” prong which suggests ignoring all problems and focusing on your own pleasure, importance and drama at this one moment. Heavy metal tries to be heavy, both in lyrics and music, which is everything the music industry finds both unprofitable and threatening to its business model.

As a result, the music media elites view the Grammys as a chance to bash metal by mis-identifying it, putting non-metal bands in the category every time. As VH1 notes:

Yesterday in our breakdown of what’s right and wrong about this year’s ‘Best Metal Performance’ Grammy nominees we said musical comedy duo Tenacious D would win. Not should, but would. Why? Because since 1989, the first year they recognized the genre and Jethro Tull infamously beat Metallica, the Grammys have shown time and time again they have no clue and one can only assume little respect for heavy metal music. Nothing against The D, who are without a doubt talented, funny and truly love hard rock and metal, but to award them for ‘Best Metal Performance’ is to fundamentally misunderstand the genre and what makes it great.

Things seemed to have started well enough, as legendary hard rockers AC/DC began the festivities with their high decibel opening performance. But that’s only because most people didn’t know about Tenacious D’s win, since the Grammys don’t even feel the award merits inclusion in their primetime telecast. As word spread of their victory, outrage traveled throughout the metal community. Veterans however reacted with ambivalence, as the slight is just the latest in a history of heavy metal Grammy fails.

Hint to metalheads: the music industry hates you and always has. It tried to replace you with hard rock, then with rap-rock, and now with indie/shoegaze. It is your enemy. This is why metal went underground in the first place, and why it should not only never rely on mainstream media like the Grammys, but also actively reject them. It is not that we do not need these media elite awards, but that they are pretenders to the throne and should be torn down and sent back to the world of hipster posing where they belong.

The destruction of metal has not gone unnoticed. As Guitar World‘s Will Wallner notes, heavy metal is not heavy metal any longer because it has become rock music. Rock music assimilates anything in its path, adopting it first as a “new” style and then dumbing it down until it fits within the rock paradigm, at which point in its neutered form it becomes normed.

Heavy metal has lost all form of legitimacy as musical genre.

I believe it has evolved, or devolved, to the point where it has become something so different from what it once was, that it now is a different genre all together.

People could argue that music trends change constantly with new generations that influence what is popular. However, jazz is still jazz, blues is still blues, but metal is no longer metal. Traditional forms of music such as the ones I mentioned have changed over time, but not as quickly or as drastically as metal. In fact, the only other genre that seems to change so often and with such extremes is pop music.

While the rest of his post makes some assumptions that over-simplify metal, his point is essentially thus: the drive for jazz/progressive overtones in metal has abolished the genre itself, leaving in its place an aggregate of styles that ends up creating an average of them all. The more different elements you put in the pot, the more the result tastes like just plain stew, because the radical extremes balance each other out to the point of negation. If you melt all of your crayons together, you get a grayish-brown. When you dump every trendy music style into metal, you end up with rock that has a few metal riffs.

The music industry has been trying very hard since the 1970s to replace metal with rock. Rock pretends to be rebellious, but its secret is that it is easily controlled. It is all very musically similar, so new favorites can be quickly produced, and while none of them are as good as the founding acts of the genre, the audience cannot tell the difference. And they keep buying and buying. But with metal, the bar is raised and the domination of rock over the airwaves is threatened. That upsets the old hippies, media barons and neurotic journalists who make up the music industry elite, and they will always try to destroy metal for this original sin.

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