Aspiring indie-metal photograph Neil Dalton has accused longtime metal creative force Glenn Danzig of assault after a concert in Montreal. According to Dalton, Danzig hit Dalton while Dalton was being held by security guards:
So I went to Danzig last night. Including the 100 dollars I spent on his merch plus the tickets time of work and traveling to Montreal to see him this is the price you pay for taking a photo of Danzig. He called me up on stage got got his pussy security guards to rough me up and held me back me back so he could hit me himself. Cops can’t do fuck all because we’re both not Canadian and they did it off camera and said I fell .could all my friends please share this because I want the world to know what a pussy the guy is.superjoint fucking ruled tho
A number of problems immediately come to mind here: first, it is unlikely that a performer would call someone on stage to publicly beat them when they could dispatch security to beat the person in the dark; second, public accusations are usually nonsense unless a police report has been filed, because people honestly victimized usually go to the police first and attempt “trial by media” later, but most people who attempt trial by media first are trying to work around the lack of evidence; finally, that Canadian cops would fail to arrest someone simply because he is not Canadian stretches credibility since they arrest visitors every day, usually for not paying the $50/ounce Canadian tobacco taxes.
The usual voices on social media started getting weepy and white knighty, and then, someone who was also there spoke up:
After about ten minutes of arguing with the bodyguard and being pushed around by him, Neil finally took off. [Neil] re-entered the venue after being told not to come back. That’s when things got ugly and sure enough Neil got tossed back out this time bloodied up and shoeless. He kept instigating the security and bodyguards by yelling names at them and not leaving like he was told.
Right after the show ended, Glenn came running out and engaged Neil and threw a kick to Neil’s ribs, and connected. He also swung a couple punches that missed before security got Glenn on his bus. Glenn kept calling Neil a motherfucker
Just as in #DeiphagoGate, we see the importance of getting both sides of the story. This one remains unresolved, but to an experienced concert goer, the second narrative is plausible while Dalton’s version of events has numerous holes in it. Again the pattern emerges that those with legitimate grievances go to the police and file a report, while those who are partially guilty themselves go to social media and try to whip up an SJW internet army to administer a false justice.
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.
In the years after underground metal imploded and became assimilated by standard teenage rock music, metal musicians have been reaching out toward styles which avoid the stereotypical elements of the underground. (more…)
Living in a dying time presents as many troubles as recording in a dying genre. Something went wrong with metal in 1995, and since that time we have had big oaf idiot metal from the NWN/FMP types which bores us, versus popular metal music which is vapid and consumerist at its core and so has nothing to offer of substance.
Metalheads tend to be wary of punk, recognizing it only for its role as an influence on metal. This attitude obscures the fact that the best of punk is worth exploring on its own terms and merits, starting with perhaps the greatest influence of punk technique and heightened aesthetics in that genre, hardcore punk‘s The Misfits.
Humans are by nature delusional. They overestimate their importance and demand that reality fit their simple expectations. And yet, they are very good at mastering known skills, so they are highly proficient, but void of purpose. This hollowness is the left side of the metal Bell Curve, and to separate it from the good stuff, we have Sadistic Metal Reviews!
This band has been around for two decades. I recently found out about them and recommend the album Ruined from 2014.
If you would enjoy a fusion of Cynic and Satyricon, you should enjoy this. Some of the tracks are less effective than others because the band is experimenting with different song arrangements and techniques. The core of this band is killer chord progressions which are very melodic and form a basis for adding riffs to a song without randomness. The bass guitar playing is most excellent throughout. The vocals are simply effective in context with nice rhythmic placement but fairly generic texture. I give Ruined an A-. I had to deduct a point because there was one track I disliked, “Prey.”
“Not Competent”: Drummer has some unusual time signatures like early Cynic. This is a great mix on this recording. I like how you can hear the bass guitar. The feel of the double kick drums lacks a bit of groove. There is a great amount of variety in the guitar parts and some nice melodies. The leads early on sound like a Satriani jam slowed down or something. The vocals don’t add much to the recording, but they do not harm it either. And he does a great job of singing in the right spots and not over-doing it. It’s a bit mellow and understated for a black death band, and that actually makes it more relaxing and pleasant to listen to. The riff changes are pretty smooth. However, they lead to surprising places. And the songs suck you in and then end before you are ready for them to. Which keeps me listening to the next track.
“Redacted”: Here’s more of a tight blast beat type intro with a mellow Killing Joke styled guitar riff over it. Now we finally start hearing some thrash and it rules, but then we get stuck in some doom mire before thrashing again. Around the three minute mark we start to get into some utterly awesome late 80s thrash guitar riffage, but with death metal highs. Then a sudden surprising uptick into a blast-beat outro.
“Ruined”: An alternate time-signature intro which doesn’t seem to fit in well. Followed by A Perfect Circle Type Riff and then back to the intro again, and then soloing. Not so sure about this tune. Skip.
“Prey”: A mysterious sounding intro riff which is very enticing. Followed by a double kick groove with a really unusually beautiful sounding chord progression with some nice bass touches also. This song has a very nice riff progression overall and it takes you deeper and deeper into its reality.
“Wasting Games”: Horror film score-like catchy grinding intro riff rules. Killer slow groovy, heavy riff with some Danzig styled vocals. Nice! Followed by a blast beat. WTF?! This is F’ing weird progression and it conquers. This song should have been like first on the album ha. More hard rock, but different riff (plus blues solo) after that. Oh yeah mama!
“Orthodoxy”: Grainy whiskey inducing into. Starts to get kind of apocalyptic with a dreary tempo. This song is kinda chill. It’s smooth with a charcoal flavor and its on the rocks. Not sure about going straight into the blast though after that. Oh well. Its a cool riff though at least. Picks up into insane blasting and jazzy chords. Thinking this track would have been better split into two separate shorter tracks. I dig them individually, except for the 6/8 time riff because I hate A Perfect Circle and stuff like that. But that’s over quick and we get a radical sounding simple riff which triumphs. This song is very interesting overall.
“Downturn”: This song starts with a Gothic sounding blasted riff which is neat. The second riff has a Swedish death metal beat and it rules. I am now wishing they had used that beat way more on the recording because it rules. Around the 1:25 mark there is an extremely nice epic black metal riff which is simply unusually Gothic and melodic sounding. Nicely done. I am confused to why they ruin that mood by putting the technical jazzy stuff afterwards. But then back into black metal riff with Swedish beat again, and at that moment I am loving it.
DMU proudly offers a stream of No God Only Pain – Roads to Serfdom. This band fuses Motorhead-styled roadhouse heavy metal with punk and underground metal to present its justifiably paranoid view of government and corporate control of our lives. Fueled by a long underground pedigree including black-doom metal band Dawning, No God Only Pain shows metal a way out from its current morass of thinkalike “underground” and hamster-safe mainstream metal.
No God Only Pain – Roads to Serfdom (2015) – “Cannon Fodder” (5:25)
No God Only Pain – Roads to Serfdom (2015) – “Lick the Claw” (1:50)
No God Only Pain – Roads to Serfdom (2015) – “Roads to Serfdom” (7:50)
No God Only Pain – Roads to Serfdom (2015) – “Servitudo Completum” (4:10)
No God Only Pain – Roads to Serfdom (2015) – “Who Forgives God?” (3:10)
Roads to Serfdom features the heavy metal distrust of society and its machinations taken to another level: seeing how moneyed interests are pushing the ordinary citizens into dependency on corporate jobs and government, while simultaneously manipulating public opinion to avoid awareness of the impending crash. Put into the form of raucous rock ‘n roll influenced heavy metal with a strong beat and instrumental chops, No God Only Pain serves as the perfect introduction to metal for new fans or those who want metal to get back to its roots.
With stylized artwork by German artist Ketza, Roads to Serfdom shows the new wave of self-produced DIY metal music that is abandoning an increasingly conformist and boring scene. For those who appreciate Motorhead, Danzig and the punk-infused rhythms of the NWOBHM, No God Only Pain deliver a new option and a path away from the inevitable staleness in both civilization and heavy metal.
Here’s what Metro Silicon Valley had to say about No God Only Pain:
Nocturnal doom/black metal band No God Only Pain are finalizing details on their upcoming EP Roads to Serfdom which demonstrates a transition in styles of this band toward apocalyptic roadhouse dark metal. This new style features all of the Motorhead-inspired choruses, Darkthrone-infused verses and oddball, doomy structures and atmospheres of the earlier work, but with more of a nod to early Danzig in an exploration of classic heavy metal.
An exclusive stream of one track, “Who Forgives God?,” is below:
We were fortunate to catch a few minutes with the band, who dictated the following release:
This recording is a dissonant experiment under the Barkeresque transmutational concept that “anything can be created.” There’s five songs total, hinging on the theme of how (despite its appearances) modern society is still feudal in nature. Riff wise the songs still attempt to flow as a single voice yet are purposely more diverse than on Joy of Suffering.
This recording demonstrates a singular musical concept: simple Burzumy punk tunes to some epic song progressions. The album challenges itself like a madman and aims to polarize opinion like a bad Zogby poll.
Half the recording is purposely super lo-fi with a very minimal number of microphones. Purposely using so few mics (and nothing direct ) seems ridiculous, but previous attempts at for lo-fi but discernible sound sucked for me. We acquired many pieces of gear at flea markets and pawn shops to try to capture the sound we required, and most failed, but we perservered.
Our goal was to get a dark and grungy sound, like Transylvanian Hunger, but with bass and vocals done way more professionally (Scott Burns Obituary style) which creates irony since our bassist plays groovy and fuzzy like Blue Cheer. A large part of the point of doing the recording this way is to allow more time for the bass and vocals to experiment and color the songs more, while the guitars and drums maintain more basic driving tones. The bass is not on this recording yet.
The title track is an experiment in itself as it questions how much variety in riffs and song structure a song can have and still make sense. It attempts capture in one song the variety of genres of music in metal and juxtaposes them as a metaphor for the cornucopia of ways that society trys to exert control over the individual. There are many diverse experiences, but all roads lead to serfdom.
Despite efforts by nearly all parties to deny it, the underlying tension in metal that created #metalgate continues: the “new fans” who want music more like indie rock or punk versus the metal fans who want metal for metal’s sake. The metal fans realize that to be metal is to be an outsider to society and all of its rationalization for its own failure, including “reforms” and “revolutions,” while the punk/indie fans want metal to endorse some of those rationalizations.
The most recent victim may have been Pantera guitarist Darrell Abbot’s grave, which was referenced in an instagram post by the (ex-) vocalist of a crust/black band which embodies the worst of both veins of metal sell-outs, both the sensitive guy indie rocks who like crustcore and the tryhard war metal types who pose as being as hardcore as possible. According to the desecrator:
We paid douchebag darrell a visit, we spit on his grave, stole a pair of cowboy boots, and i wrote “FAG” on his grave… im not a homophobe but i hope all the panturrra fans see this and shit themselves with anger… FUCK DIMEBAG, buncha racist hillbillies
Only forty-eight hours later, the apologies were flowing forth:
The fact of the matter is I feel awful and guilty and this will stick with me forever, just like the Seinfeld guy using the N word… I can not express how sorry I am to Vinnie Paul and the Abbott family for the distress I caused, and the other members of Pantera and other acts Darrell was a part of. I owe everyone an apology for my actions because they were uncalled for, and horrible, despicable, and I went way too far. Some jokes are NOT funny and this is one of them. I took a joke way too far with a piece of paper and some hurtful words and as I’ve expressed, I don’t expect any sort of acceptance or sympathy…I hope at least someone will accept this and I hope for a better future for everyone…
What is shared between both of these sentiments? They are SJW ideas. He attacks Darrell because he thinks Pantera fans are a “buncha racist hillbillies” and excuses using the word FAG because he’s not a “homophobe.” This is SJW language here, first being concerned about policing whether or not other people approve of homosexuality and second in justifying violence or worse against those who are not pro-diversity, a.k.a. “racists.” When he apologizes, he uses the term “hurtful words” and compares his actions to “the Seinfeld guy using the N word” and then states he hopes for “a better future for everyone.” His motivation as a sensitive guy with social justice ideals is revealed in both of his statements.
I will not use his real name in this article, for the record, because public shaming can cause repercussions in this person’s real life, including career and social ostracization. No honest and decent person tries to do that because it is a passive but effective way at destroying the life of another. Nor will I name or link to his band, which has been utterly forgettable and forgotten from lack of any originality as well as blatant bandwagon-riding, because this like the sucker punch at Danzig is simply a publicity stunt that generated more notoriety than was expected. Let the media trick fail on its own.
But this leads us to an ugly point: a metalhead may well be divided by this event. It would be hypocritical for metalheads to start complaining about grave desecrations now after several thousand band photos in cemetaries. It is also nonsense to complain about damage to Darrell’s grave because, as noted by a number of sources, as with Jim Morrison’s grave the majority of the damage comes from fans of the artist and not enemies.
At the same time, however, many metalheads do not feel all that great about this desecration. The reason is that the motivation behind it is wrong. Like the rest of the SJW incursion that prompted #metalgate, the desecration of Darrell Abbott’s grave was justified by SJW-logic: Pantera fans are (allegedly) racist hillbillies, and “homophobes,” so it’s not only OK but “good” (like, in the Church sense) to desecrate his grave because he and his fans are bad. This alone makes the desecration stand out as not wrong in a moral sense, but broken. Someone is using society’s logic against metal to justify making metalheads second-class citizens whose graves may be desecrated, at least for reasons other than the usual war/satan/death that make a good grave desecration. Like the metal fans who object to grave desecrations in general, or the metalheads who claimed that Pantera fans are “nationalist Juggalos”, I feel this misses the point. Society hates metal, and it uses terms like “nationalist” and “homophobe” to justify bullying metalheads, much like it used claims of Satanism and murder back in the 80s to do the same. Its goal remains unchanged: destroy metal.
We should also draw some parallels between Pantera and SJWs. Like the SJW incursion, Pantera was an invasion designed to sell-out metal so it could be assimilated by rock music, with profit for all. Metal sells well, but rock music that has the “rebellious” cachet of metal would sell even better, because rock music has been designed from its inception to be the most easily-digested and emotionally simplistic form of music ever created, like music made into baby food. It sells well because it is a compromise, both inoffensive enough that most people will tolerate it, and thoughtless enough that people like to project onto it their own emotions and needs. Rock music is basically 1950s advertising jingles set to guitars, and people buy it to stay “relevant” or to seem hip, when really it has always been and always will be a product from the same people who sell us junk we can barely afford to address problems we do not have in order to achieve an image we do not need.
The reason many of us detest Pantera is purely musical: it is part of the great Dumbing Down of heavy metal, trying to make it closer to rock/blues so that all the people in sports bars, hair salons, show-off gyms and cube farms can tap their feet to the beat just like they did every other form of rock ‘n roll. Pantera is heavy metal made into a lengthy television commercial, and in doing so, it solicited social approval in a way that is decidely against all that metal stands for and lives by. Pantera heard Exodus Impact is Imminent and Exhorder, maybe Prong Beg to Differ and realized they could make a bundle if they combined a tough guy/sensitive guy approach — a lot like what nu-metal did, come to think of it — and made the music sound a lot more like Bruce Springsteen or John Cougar Mellencamp, both of whom sold more albums than God and retired rich. That was the goal in Pantera: metal as product. For that reason, the Pantera guys abandoned their glam/hair metal and hard rock stylings, and went into Metallica style speed metal with Cowboys From Hell, giving it their Southern rock spin, and then upgraded their sound to angry brocore with the following albums before returning to a blues-saturated swamp rock sound. It worked and people bought it.
Metalheads tend to hate Pantera because it brought in the elements of society that we go to metal in order to avoid: the sleeveless shirt angry guys who start fights in cell phone stores, the blockhead rock fans who are faithless toward any ideal but their own gratification right now, and the musical circle of conformity that forms rock music. Pantera is the anti-metal disguised as metal, much like SJW music like the black/punk (lol) band who desecrated Abbott’s grave is. Pantera not just represents, but embodies, all that metal opposes and all that will destroy metal. If we look back on this story from the future, we will see how both Pantera and these grave desecrators came from the same movement, which is an attempt by the mainstream to destroy and then absorb the once-independent genre of heavy metal.