Web Censorship Is The Modern Day Book Burning

 

I found it hilarious to see the book sales of George Orwell’s 1984 skyrocket just after the election of President Donald Trump.  This happened mostly because big name liberal journalists, in a hysterical tirade, issued a number of meltdown pieces over the similarities between the totalitarian novel and our current state of political affairs.  But anyone who has read (and comprehended) the novel would instead trace similarities of the preceding administrations and Orwell’s terrifying prophecies.  They include – but are not limited to – 1984′s established world of mass surveillance (not unlike the mass data collection Obama’s NSA was revealed to be doing on Americans), the elusive visual enemy of the people Goldstein (who parallels Osama Bin Laden’s Western symbolism in the Bush era), and the main character’s career in the “Ministry of Truth” where he is resoponsible for deleting historical data (similar to Google’s deletion of certain websites from its search results, in away the archives of modernity).

But in the events leading up to and following the election, another favorite book from my youth seemed to better define the times: Farenheit 451.  Centered on the themes of book burning, alternate history, mainstream media distractions, disconnect with actual world events, and ultimate dystopian horror, Farenheit 451 is worth revisiting now more than ever before.  This is because we’re seeing all of these things in our current way of life.

As editor of Death Metal Underground during the Tulio Baars DDOS attacks, I learned first hand that the modern West is living out what every early 20th century dystopia warned us we could become.  I saw 1984’s Winsten Smith seek to cross my writings out of history, but even more appropriately witnessed Farenheit 451’s Guy Montag attempt to burn the most honest and extensive archive of heavy metal history off the face of the Earth.  Those of us who had the mental capacity to process what we learned in High School English classes (outside of memorizing answers) know that a miserable dystopia is descending upon modern metal, the only question is if we will be able to enlighten the masses before the damage has already been done.

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Sadistic Metal Reviews: Flavor of the Week Metal Pt 2: Death Metal

Last month we ran the first  of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…

Death metal has existed for over 30 years now but the storied genre may finally have seen the climax of its success. Along the way it has been riddled with ridiculous spinoffs that saw tons of low-IQ normies mark out only to promptly discard them into the trash once public consensus realized how outrageous it was. Featuring all kinds of ridiculousness ranging from sideways hat wearing wiggers to throat tatted white trash scene kids, the grand scope of death metal has seen some of the dumbest music ever recorded. Sometimes replicating nu metal and rap, other times mimicking Europeon dance pop, death metal has been degraded and molested in every possible way imaginable. When considering all the horrendous demonization of the genre it’s incredible to think it has survived for so long (despite not seeing may works of relevance since 1994).

It’s the article the basement dwelling Dreipfeil losers did not want you to see, the Sadistic Genre Reviews of death metal’s worst offenders.

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Atrocity – Todessehnsucht (Longing for Death) (1992)

Most Death metal bands don’t age gracefully and tend to either become parodies of themselves or end up playing pop music. Atrocity after having conquered Death metal decided to experiment with various genres but each of those experiments has been abysmal failure. This band therefore destroyed its reputation in both underground and mainstream circles to the extent of being forgotten by all. But from 1985 to 1992, Atrocity were on the war path until the release of their Magnum Opus Todessehnsucht (Longing for Death). Five musicians with an obvious passion for classical music combined with Floridian Death metal and the Teutonic trio. More precisely their main influences seem to be Death, Destruction, Kreator, Morbid Angel and Richard Wagner.

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Did Rock & Metal Engineer Societal Destruction?

What do Jonathan Davis, Corey Taylor, and Scott Weiland have in common?  Answering the question “90 Hard Rock singers” would not be incorrect, but there’s something darker beneath the surface – all three men are rape victims.  Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Taylors lyrics are riddled with sexual abuse.

Why were the executives of the murder industry so keen on pushing rape victims as the new face of rock n’ roll?  Furthermore, why were the most popular genres of rock and metal so lyrically obsessed with self destruction?  From Grunge “morality is useless and life is hopeless” to Nu Metal “I’m a freak and everyone hates me” to Emo and Screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been” the message of mainstream rock and metal music has constantly be one of self destruction.  This trend is mirrored by a 25% increase in American suicides in American suicides since the 1990s:

Suicide rates increased by 25% across the United States over nearly two decades ending in 2016, according to research published Thursday by the US Centers for Disease Control and Prevention. Twenty-five states experienced a rise in suicides by more than 30%, the government report finds.

More than half of those who died by suicide had not been diagnosed with a mental health condition, said Dr. Anne Schuchat, principal deputy director of the CDC.

“These findings are disturbing. Suicide is one of the top 10 causes of death in the US right now, and it’s one of three causes that is actually increasing recently, so we do consider it a public health problem — and something that is all around us,” Schuchat said. The other two top 10 causes of death that are on the rise are Alzheimer’s disease and drug overdoses, she noted.

With statistics like this, it’s absolutely time to panic: our society is being marred by growing influences- intentional or not – to destroy ourselves.  Let’s examine music’s relationship to this now obvious horror and see if we can determine why this is happening.

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Anal Cunt Guitarist Josh Martin Dies In Freak Escalator Accident

Anal Cunt guitarist Josh Martin, known for penning a number of outrageously offensive and theatrical songs, has passed away after falling from a mall escalator and striking his head.

Those who remember Anal Cunt for their enjoyable live shows, over-the-top lyrics, and grinding chaotic composition will find themselves familiar with Martin from his work in the composition and live performance of hits from the Anal Cunt catalogue.

He died doing what he enjoyed: “clowning around.” As news reports of his death tell us:

Josh Martin, a 45-year-old guitarist with the band Anal C**t, is said to have lost his balance, fallen backwards and hit his head on a table after losing his balance while riding the escalator.

Police told local reporters that he fell one storey from the cinema level to the food court below at Providence Place Mall shortly before 11pm on Monday evening.

A report described him as ‘clowning around and riding the rail of the escalator’ and fell off as he approached the downward part of the handrail.

Martin outlived his bandmate, vocalist Seth Putnam, by seven years after Putnam died in 2011 at age 43.

We choose to remember him through his irreverent sense of humor and his work, which ranged from musical comedy to fast, grinding sonic mayhem which introduced a new generation to grindcore. A brief career retrospective follows.

And some influences:

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A Case for Weakling’s – Dead as Dreams (2000)

Article Contributed by Salustiano Ferdinand

tl;dr: Despite controversy surrounding the indie pedigree of Weakling’s musicians and their musical descendants, Dead as Dreams remains, as described by none other than Fenriz, an “odd masterpiece” on its musical merits and should be a part of any serious underground metal fan’s collection.  The album, for a number of reasons, is currently something of a locus of blame for whatever particular sins people ascribe to west coast black metal. Some people point to Weakling as the origin point of indie creep into US black metal due to the supposed indie credibility of its members in particular as well as to a lesser extent the trend of questionable publicity stunts engaged in by mediocre bands from Velvet Cocoon to Ghost Bath (although in Weakling’s case this should be blamed on the label, not the band). As a result of these complaints, Dead As Dreams has over time become something of an Emmanuel Goldstein for black metal fans, and the album some people are critiquing when they say “Dead as Dreams” (such as the time DMU’s most alpha editor described it as “shoegaze black metal”) bears little resemblance to the actual album Dead As Dreams.

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SOYBOY LEFTIES USE BOTNET TO TARGET DEATH METAL UNDERGROUND

A bunch of pussy beta male cucks have spent a ridiculous amount of money on a botnet to shut down Death Metal Underground, the free speech social network Gab, and a number of Alt Right websites such as Amerika, The Right Stuff, and American Resistance.  Why did they consider DMU “Alt Right” despite the fact that we’ve never written about race and have even expressed support for Israel emasculating their scumbag neighbors?  The answer is simple- DEATH METAL UNDERGROUND IS DANGEROUS AND FEARED BY LIFE’S LOSERS.

In an age where the terms “far right” “Alt Right” “fascist” “Nazi” and “racist” are all collectively lobbed at anyone who expresses social/political/cultural views that are not liberal (including centrists), depressed failures are dedicating much of their time and money to try and shutdown any school of thought outside of the pop culture group think of the moment.  This has spread to all forms of society, ranging from the mainstream normies to obscure music genres as niche as death metal.  With nothing to look forward to in their future, these neo-communists want to drag the entirety of society to their world of emptiness and sorrow.  A world where feelings supersede logic and nothing matters in the world outside of the individual’s comforts.

The war with the left must be waged in every space, on every front, by every rational human being in this nation.  Therefore Brock Dorsey, Brett Stevens, and the whole Death Metal Underground team will keep fighting until we are obliterated from cyberspace.  Fortunately, this fate will take a lot more than a lightweight botnet and a bunch of nu-male dweebs spending a ton of money to do little more than elevate our status to the stuff of legend.

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DMU UNDER SIEGE

Death Metal Underground has been under heavy DDOS attacks for the past 3 days due to our alliance with the right wing website Amerika.  Amerika appears to be under siege as part of the mass censorship campaign that has gotten AltRight.com kicked off their server.  The collateral damage has also affected DMU and kept us off the web for several days.

Under Brett’s orders we have broken formation and appear to be out of the killzone.  Thus comms are back online, and Death Metal Underground may continue its crusade against leftism and false metal. Amerika remains in the bunkers, engaging the enemy.

Fortunately, we know where the attacks are coming from (ips, emails) and who is behind them (personal and family social media accounts). Our countermeasures and next course of action will remain covert at this time.  Meanwhile, keep checking back for more updates. We will not be silenced.

Semper Fidelis,

~Brock

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Infamous “A Su Connottu, Oro Sa Lei De S’Antigoriu”

For centuries Italian engineers were valued throughout the western world for their skill in both destruction and construction. The great Imperial warlord Albrecht Wallenstein, who exhibited a keen eye for excellence, had Italian mercenaries in his army and Italian architects for his for his manors. With their relatively recent split release with German band Gorrenje, the Italian black metal band Infamous carry on this tradition of dual excellence.

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