Danzig Liberates Concertgoers

A growing trend among some metal and rock bands is the aggressively enforced ban of cell phones during live performances.  While their motivations are not unlike those of Metallica at the height of the Napster controversy (as these bands want their only live footage to be sold at dying retail stores in the form of $40 DVDs) they are actually doing their fans a great service by mitigating the amount of millennial vanity happening in the live concert environment.  Nobody likes the hipster douchebag belligerently sticking a phone in front everyone’s view to pad his YouTube stats, and young people are better off liberated from the soul consuming cell phone screen for awhile.

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Glenn Danzig accused of kicking fan in head, but accounts differ

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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.

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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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Rotten Copper – Rotten Copper (2017)

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.

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This Ain’t No Fantasy: A History Of Punk’s Most Iconic Band, The Misfits

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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.

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Sadistic Metal Reviews — September 1, 2016

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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!

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No God Only Pain – Roads to Serfdom (2015)

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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.

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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:

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No God Only Pain release Roads to Serfdom

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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.

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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.

    Track list (not finalized)

  1. Cannon Fodder
  2. Lick the Claw
  3. Roads to Serfdom
  4. Servitudo Completum
  5. Who Forgives God?
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