Grand Belial’s Key’s two demos, Goat of a Thousand Young and Triumph of the Hordes, are being reissued on LP and CD by Worldwide Terror Committee Productions next month:8 Comments
This is a split with contributions from four different bands, each of which present three full recordings, making the release altogether rich and diverse. Most, if not all, of the tracks sound under produced, which is a good thing when the listener wants to dig into the real bones of the band, undistracted by the direct impression of “great sound.” While none of the bands here is particularly original, or even possessing a clear line of musical development, the split is enjoyable as a forcefully elaborate underground effort to develop expression within the modern black metal (actual black metal, that is) context.
Washington, DC area crust punk and metalcore scenesters decided that anti-religious Texan black metal band Nyogthaeblisz were racist and got their show at Gaithersburg, Maryland tattoo parlor Raw Ink canceled according to the Washington City Paper and moved to a Philadelphia bar hours away.14 Comments
Tags: Arghoslent, attention whore, censorship, communists, crustfundies, dcheavymetal.com, Grand Belial's Key, hypocrisy, idiots, maryland, metal chris, metalgate, news, nyogthaeblisz, political correctness, racism, raw ink, scenesters, sjws, social justice warrior, social justice warriors, special snowflake, washington dc
Social justice warrior Paul Resnikoff of Digital Music News whined that some metal bands on Spotify were on a Southern Poverty Law Center list of “hateful” bands on Itunes in hope of virtue “signal boosting” his pathetic music industry blog.12 Comments
Tags: ad hominem, attention whore, battlecry, Bolzer, censorship, centurion, communism, communists, cultural marxism, Dark Fury, digital music news, endless pride, geimhre, Grand Belial's Key, granulosum, hate forest, kamaedzitca, kolovrat, metalgate, music streaming, national socialist black metal, news, nokturnal mortum, nsbm, paul resnikoff, political correctness, seges findere, selbstmord, sjws, social justice warriors, socialists, southern poverty law center, spear of longinus, special snowflake, spotify, streaming, thunderbolt, virtu
I laughed when I saw the editor of Leather N’ Spikes magazine described somewhere as “metal hottie Nuklear Cath.” She’s a lot more than that: she runs one of the magazines which meets metal ideal in spirit and aesthetic, which idolizes the stuff with potential and doesn’t notice the bands that normal people seem to like. Those people who can’t step outside of their own heads and into the world of metal which supercedes the norm will hate it, but to the rest of us it’s a form of journalism unique to metal itself. After a busy day of piling up the corpses of her victims near a temporarily memorial area, Nuklear Cath was good enough to grant us an interview on the eve of the launch of the new Leather’n’Spikes website.
When you reference the container “metal music” in your head, do you think first of a concept or of sounds?
It’s a hard question, I would say it is in a way a concept, it’s about something, the subjects are always related to the same things, which makes what metal music is. Or each band has its own concept within the metal concept?!
Your zine has been long known for its amazing picture layouts.How do you research the visual components to articles?
My goal is always to translate the band’s music into something visual. So I try to respect styles. If a band uses certain fonts in their booklets and promotion, I will use them to layout the interview. Same for the pictures, the kind of drawings, the kind of atmosphere (the band can be extremely serious or sarcastic, into pagan subjects and nature or into nuclear war). So I try to respect the whole concept on each band featured.
How long have you been listening to metal? What did you enjoy hearing before that? Is this a consequence of musical education (self and/or formal) or a process that converged on that growth as well?
There have always been music in the house, I was not a fan of anything but I was initiated to music (rock, mainly) and slowly I started to search for a genre that would suit my endless need for heavy music. It ended up being metal, and then I “studied” the 20 years of metal that had passed before me. I might have been born too late, but I’ve done my homework!
In many ways, your writing appears to obliterate the line between ideology and lifestyle by suggesting a viewpoint where life takes on artlike, and nihilistic, qualities. What enabled you to reach such a view, if it is at all correct?
I didn’t “reach” that view I think, it’s just how I am, or maybe the one idea of an old pile of rare metal vinyls, tenth generation tapes, jean jackets with patches, empty beer bottles on the dirty floor of a rehearsal room and loud music simply leads us to that point. But it isn’t completely nihilistic, or then what would it give for me to do all this, to make that fanzine, to write letters, to spread flyers, it would be pointless. I give myself goals and challenges.
What do you think of the writings of Antonin Artaud? Georges Bataille? Theodor Adorno? Friedrich Nietzsche? Jacques Lyotard?
If this is about philosophy, I don’t read a lot, I don’t take the time to do it. One of my favorite, if not my favorite philosopher remains Nietzsche. The rest you named I haven’t studied.
What do you think is the conceptual link between death and art in the symbolic vocabulary of humanity, even subconscious thoughts?
Maybe both are mysteries. Or they provoke the same kind of fascination. Or they are both abstract things, or concepts in themselves. Or both can provoke the same deep feelings, either of fear, terror, panic or pleasure in a way. Or maybe death is a form of art, expressed with the body and usually not voluntarily. It’s hard to tell what push people to link those two things.
Are you aware of any circumstances under which humans reach a state of free and autonomous thought? Does this occur to all, or to some?
Maybe in their dreams, or when they create. I think both can be related together: you try to reach a certain state where you a free from all the other people’s influences and judgment and you create without any boundaries, moral limitations. Freedom in inspiration and creativity. That’s all I can see right now.
The visual constructions used to anchor the layout of each page in the zine is eccentric and striking. When you conceive of a page, do your thoughts begin with symbols or a shape filling a space?
I never really stopped and thought about that. I think I always already have a very clear idea on how the pages will be, how big the logo will be, what graphics I will use and what kind of feeling it will have. I just then reproduce what I have in mind.
Periodically the zine features a photo involving yourself and bare flesh that causes blood pressure increases across the globe. Do you see sexuality as a tool, for war or art, or do you have a depoliticized view of sexual iconography?
Yeah, maybe sex is art. Unfortunately too many people took advantage of it, so I got bored. But I do use myself for ‘artistic purposes’ and experimentation / creation, in photography for example, or experimental movies. As for blood pressure increases, it’s their problem, hehehe…
When you interview bands, how do you mentally prepare for the interaction?
I think it’s part of the game to expect surprises, violent reactions, insults, totally different answers that I had expected, or yes, sometimes deceptions. That’s the thrill – you work hard on researching on the band and trying to make your questions in the most original way possible, and you wait to see what kind of answers and ideas they will bring up! That’s why all the interviews are different and interesting; people put their personality in them! My concept of the interview is to do like if I was meeting the band in person, in the world of their music (even if it’s snail mail interview). Some bands embarked in the game, it was really cool.
What publications do you read, metal or other?
I like underground extreme metal fanzines, I also read a few comic books because I’m working on one, and I read mags and books related to my work (graphic design, illustration or desing in general). Almost no novels or anything like that, no time anymore.
Which do you consider to be the most important bands from Canada at this time? And Québec, over the history of metal?
OK from Québec I would say Voivod, Soothsayer, Yog-Sothot, Vensor… I should have mentioned brutal death metal bands, but it has been too exploited here. From Canada – Blasphemy, Voor, Infernal Majesty, Slaughter, Razor, Disciples of Power and maybe a few more I can’t think of at this moment!
Some characterize the metal movement “as a whole” in terms that describe its cathartic nature for angry youth, while others see it as a revolution against the social for youth who later, metalhead or no, carry these ideas into society. Still others see metal as an endorsement for hedonism, relativism and a good time. Among these how does your own judgment fall?
Well I tend to only think for myself and not analyzing the impact on the society and how it is perceived by it. So it’s hard to tell. Sometimes a metal genre will start as a rebellion but then go into an independent genre not fighting anymore for a cause but just producing music. Music can be done just for a specific purpose – fighting against a religion, a race, a trend – and then end up giving birth to bands who aren’t fighting but simply being influenced by the musical side.
If you could interview any musician in history, who would it be?
Lemmy! But I wouldn’t know what to say.
Can you list five bands that you feel contributed the most to black metal as an evolving genre?
Well the first that come to mind is (old) Mayhem. Also Venom with all their satanic imagery, Bathory, Hellhammer and… well Sarcofago, Blasphemy, Beherit, aarrgh it’s going over five…
“Image” has a bad name to many in the underground, yet visual presentation of concept is an important piece to any communication. What are your views on this?
There are contradictions in this scene and I think that’s why in the first place metal became sportsuits, short hair, baggy pants and white socks and that’s why a guy like Euronymous got sick of that and tried to get back the real metal look – spikes, patches, leather, long hair, black band tshirts etc… It is important to have a metal image, but the contradiction is in the fact that ‘poseurs’ (whoever you consider them to be) will try to look the most metal possible – so then image is more important than their dedication. Same for corpsepaint, it’s starting to be too much revisited, without any meaning anymore. So what I say is, the dedication comes first but the image should have a certain importance as well, as long as there is a reason remaining behind that.
You manage to extract the ironic humor underlying many of even the most extreme human outlooks. Do you see this humor as inherent characteristic to the process of self-actualization?
I just think that there is a kind of humor that have its place in this nuclear metal scene – and it’s sarcasm, black humor. The result is sometimes violent reactions, or people don’t understand, or they take themselves so seriously that even the smallest smile is forbidden.
Many of us consider Texas to be a separate nation from the Judeo Christian States of America (JCSA). Do you consider Québec a separate country from Canada as a whole? What does America appear to be, from your national and political perspective?
Yes Québec is a completely different country, another world. I don’t feel being part of Canada too much, just like most of the people here. 2 languages = 2 cultures, 2 ways of thinking, 2 different people. America? That is from the Southern countries to the North Pole right? If you were talking about USA, well I think this country is taking too much place here and in the world unfortunately.
What is your ideal solution to human overpopulation?
Hehehe I don’t know, or else I don’t dare saying it.
Hypothetically, you are given a corporation to run with funding from an alien government to initiate world destruction plans. How would you approach this real world scenario?
Well I would approach it in a highly creative way. No problems for the funds, right? Well then let’s have fun. I’m working on a comic book with a story a little bit related to that, so all I’ll do is re-create the devastated landscapes and junkie people of my story, and then draw them as models for my comic book. And maybe make a movie. Ah, my own story come true, what an honor!
Some define art as the end product, others define it as the communicative process between artist and audience. Which do you think is closer to the truth?
And if there is no truth in this world? My own truth is, art is like alchemy. You work on it very hard, and your skills get developed, but you evolve as well besides that, in your mind, as a person. Whatever people might think, even though they don’t like what you do, you know that what you do is ok, and people being shocked by your art might be a good sign.
Are you of any mystical belief?
You mean occultism, satanism and things like that? Yes, I do have my own thoughts about it.
If so, does your mystical belief involve entities and processes beyond this world, or within it?
I don’t really know. It’s something very complicated.
What importance do you place upon the conceptual process in the artist before making work, including ideological, mystical and philosophical beliefs? (when I say philosophical here, I mean the existential and valuative processes of cognition)
The artist puts himself into his art, even though he might be trying not to. His art is his blood. So it reflects his mind, personal thoughts and beliefs. It is nothing objective. Someone looking at the artwork of an artist will therefore look into this artist’s mind and personal life.
If going into combat under idealized circumstances, from which era would your weapons come? (are you a medievalist, or a modernist? regarding weaponry)
I’m not as fascinated as some people I know, but it seems war and battle was an art in the ancient times. The weapons of those eras – dark age and medieval – are definitely nice pieces of art, and the honor and the idea of dedicating your life to war is quite different from today’s red-button pushing countries. Fighting man to man, with or even without weapons, in honor, is something that seemed quite more appealing. And the different weapons, some sacred, with runes carved, some unique and rare, forged by those people themselves…
Are there any generalized opinions you have of metal journalism, and where other zines differ from Leather N’ Spikes?
We all have our own ways of making a fanzine. I might think that my ways are the best, criticizing others for doing this and not doing that, but anyway that makes a diversity in the fanzine world; but the editor needs to be serious and dedicated, and to make ‘information’ is first priority.
If you had to pick a metaphor for the individual in modern society, would you choose “the castaway” or “the fortuneteller” – and why? Do you see the individual as important, philosophically or politically, and what is your opinion of democracy?
It’s a tough question. I don’t know if ‘the individual’ is important, it should unless it starts building McDonald’s and churches and gives away Pepsi bottles and make propaganda for the arrival of Jesus or something. In general the individual should have the right to say what he wants to say but some people often should shut up. As for the metaphor, hard to tell. I don’t really think about it.
Is cruelty essential to humanity?
I think people tend to deny that side of their being, I don’t know if it is essential but it is remaining there as a manifestation of what we are – not always cruel but every once in a while (or more for certain people!) with a tendency to that.
Leather N’ Spikes has garnered praise from across the underground. Do you consider metal to be a “sub-culture” to mainstream or “alternative” or “counter-” culture?
A counter-culture is against the mainstream I guess, so it should be called this way I think. But there are some bands playing a trendy style or an ordinary style but they don’t have any success so they remain “underground” – as they aren’t against the mainstream I would not put them in the counter-culture category at all.
Most people deny that they are beasts. Is this really true?
I would say yes, they deny their own human nature of being animals and having instincts and an animal nature, which includes other animals as daily food, sex, violence and certain primitive instincts etc. A nice example of something against the human nature is catholicism.
How do you, as every thinking individual must, conceptualize your own death?
I kind of saw it when I was younger and it was terrible, so I’m trying to avoid that kind of death. Now I just don’t think about how I will die, but how I want to live instead.
Some thinkers reduce philosophy to a conflict between the eschatological and the existential. Is this logical, in your opinion, and if so, on which side does your greatest sympathy stand?
Philosophy, just like politics, is not something I care for as much as I care for art, for example. There are people that are better than me for this.
If I left anything out, or there is something of useful clarification you wish to state, please say what is needed here.
OK well back to the zine, I just re-designed the whole website (with a huge art section, excerpts, reviews etc!!) which should be online by the end of August. It will be announced on my old website, see address below. Around the same time, issue #7 will be out with Blasphemy, Summoning, Desaster, Destruction, Crucifier, Grand Belial’s Key, Canadian Assault zine, Goatvomit, Abominator, Canadian scene report 1982-1993, etc. Write for prices, info, wholesale prices etc!!
Still available are #4 (4$US), #5 (4$US) and #6 (5$US), check out the contents and excerpts of each issue on the website.s
Ask for the wholesale prices and don’t hesitate to write or send promos!!
G2A 2R2 CANADA
So monstrous a mode of valuation stands inscribed in the history of mankind not as an exception and curiosity, but as one of the most widespread and enduring of all phenomena. Read from a distant star, the majuscule script of our earthly existence would perhaps lead to the conclusions that the earth was the distinctively ascetic planet, a nook of disgruntled, arrogant, and offensive creatures filled with a profound disgust at themselves, the earth, at all life, who inflict as much pain on themselves as they possbily can out of pleasure in inflicting pain — which is probably their only pleasure.
– F.W. Nietzsche, Genealogy of Morals
Demilich, Averse Sefira, Biolich, Abythos, Sothis, To Scale the Throne and Spliteye
June 3-4, 2006
The Backroom, Austin, Texas
Walter’s on Washington, Houston, Texas
To love something is to love the world enough to believe in love, and to sacrifice all future delights which could prove an obstacle to the beloved. Underground metal — or rather the artistic music within that genre which seeks to expand knowledge and experience instead of pleasing the Crowd with novel interpretations of what they already know — is a work of love. The Demilich/Averse Sefira shows in Texas were such a heroic undertaking.
With minimal funds for promotion, and a style that can both be recognized as technical yet does not fit into the “technical” vibe of jazzy death/prog rock, both bands undertook a journey of reconstructing an underground where the label underground has come to mean something as typecast and invariant as mainstream pop music. Because most people in metal are already invested in this predictable cycle of purchase impulse and reward, many of those already in the “underground” not only ignored but actively opposed this attempt to resurrect the better values of black and death metal’s vital years.
Spliteye took the stage early and, entirely professionally, banged out their blend of old school death metal and nu-metal hitch beats to a few stalwarts. They were followed by Texas black metal band Abythos, who made wholly derivative sound that was musically competent but expressed nothing but the desire to be in a band, and California act Sothis, who fused Dimmu Borgir and Cradle of Filth in a rock style. Sothis brought a trailer of equipment including extra amplifiers, three keyboards, guitar processors, and the like, which naturally blew the power system and shortened their set to three songs. After them came New York avant-grind band Biolich, who apparently began life as a Demilich cover band but now creates songs that hybridize Napalm Death, Neurosis, Godflesh and indie/avantgarde rock.
After a prolonged and somewhat futile sound check (the Backroom is built on an ancient Indian burial ground whose time/space distortion renders any sound system incomprehensible), Averse Sefira smashed out a set of five songs from Tetragrammatical Astygmata and three from their first two albums. Facing a tough re-integration for their first show of the Texas mini-tour, the band became cohesive on the third song but played a looser, noisier set that was reminiscent of early Voivod covering Immortal. Averse Sefira played nearly nonstop, the stage rattling with the pulse of their drummer’s battery, and provoked an excited crowd response. The looser rhythms gave the band a chance to work its stage presence, pushing the warriors in full regalia (spikes, leather, bullet belts, corpsepaint) nearly into the crowd. Among those who could understand compound sentences response was favorable.
Local luminaries from Masochism, Cthonian Appanage, Acerbus and Vex appeared during the Averse Sefira set, as did promoters from Extreme Texas Metal and Morbid Thoughts Records. There was a biker conference in town so several of these showed up determined to demonstrate that bikers are just as stupid as the rest of the population and thus worthy of assimilation into mainstream culture. Members of the crowd who were fond of one or another of the opening bands, adhering to the cognitive dissonance that supposes that bigger bands oppress smaller bands and that is the only reason smaller bands are openers and not headliners, stood back with disgruntled faces and drank $4 beers. No one noticed the whining, and by the time most observed the above, Demilich were doing their sound check and taking the stage.
Two things are immediately observable from Demilich live: the integral synchronization of five musicians through difficult material, and the sleepy-eyed offhandedly casual presence of frontman Antti Boman, who burped and gurgled like a demonic frog throughout the performance. Although Boman unites the action, the martial presence that leads it is the industrial/jazz hybrid drumming of Mikko Virnes. Although original bassist Ville Koistinen was absent, the low-end complement of Corpse (his day job is in Deathchain) thrust the music forward with the pulsing, visually dramatic attack found in bands like Motorhead or Suffocation, which enhanced the abstract tendencies of this music with an earthy, sensual grounding. It drove forward like metal, cycled in on its harmonies like jazz, and migrated between ideas like classical. This aspect of the music of Demilich suggests not only the potential seen by original death metal musicians, but calls to mind a time when most death metal bands were distinctive not because they sought a way to “be different” but because each had its own concept of reality and had crafted a musical style to express it. At the end of the set, diehard Demilich fans were satiatedly exhausted and the Crowd at the bar remained baffled and unsure of socially approved response. Thumbs up from this reviewer.
The nation’s fourth-largest city is known for its Los Angeles-style layout, having grown entirely after the advent of the personal car and the warehouse-style suburbs that boxily fringe the rotted core of unskilled labor that is the inner city. Consequently, any event requires travel, and to unite Hessians from the city wide requires good publicity, yet there’s no agency for such things. With the demise of the independent record store thanks to a shrinking profit margin and rising Internet file-sharing, there are few places to post fliers where metalheads will see them, and the magazine Rivethead is no longer in print so there’s no news source. Our L.A. Weekly-themed paper, the Houston Press, is expensive advertising for underground shows. And local bands? William Burroughs noted that “itinerant short con and carny hipsters have burned down the croakers of Texas,” and it’s not much different in metal: our scenes are cannibalistic. Each band self-promotes so aggressively that its only sense of community is as a means to that end, and thus plenty of lip service to “scene unity” occurs but no one takes the simple step of supporting only bands of quality. It’s either all or nothing. Because of this intense Balkanization of fans, each local band has its cadre of people who can be conned into coming to the show and for this reason each metal show in Houston has more bands than a compilation and the same 83 grubby people attend. The venue treated this performance like a local show, called the usual people, opened the bar and left it at that, so attendance was poor. To their credit, both headlining bands performed as if they were at Carnegie Hall and ignored the fact that this giant city produced only a few attendees.
The lineup was much the same as in Austin except with the addition of To Scale the Throne, a local band who throw in pieces of Emperor, Satyricon, Grand Belial’s Key and Cradle of Filth but play music that fits the patterns of punk hardcore: verse, chorus, breakdown, reprise. It wasn’t good; it wasn’t bad: it wasn’t important. This reviewer caught Biolich in Houston. Their performance was professional. The music can be described as modern hardcore with infusions of indie rock, early grindcore and drone. Two major factors influence appreciation of this performance. First, one cannot take a technique-oriented approach to producing art, because art is a communication between artist and audience in a way that is both entertaining and profound; the artist must have something to say, and use technique to that end, because making art on the basis of technique alone produces a uniform texture of affect on the audience. Next, one must realize that when emo and hardcore merged, they created a style of music based on skipping the path to a destination for cyclic demonstration of that destination’s importance, resulting in music without suspense or adventure. Ultimately, it drifted into “safe” territory both ideologically and musically, and reduced its own importance. With this in mind, it is clear that while Biolich are musically adept and have pushed many boundaries of technique, their songs remain unconvincing. The suspended rhythmic hook of progressive hardcore rapidly starts to resemble the bounce of nu-metal, and the jumble of styles creates a neurosis of inspecific contextual framing. Elements of this music were quite good, including the crisp but jubilant drumming and experimentation beyond obvious harmonics extending to Godflesh-like implied melodies via drone. If this reviewer had any advice, it’s this: stop trying to shock or stimulate, chuck all the grindcore parts, and finish the songs you started on the indie parts, because that is where this music really shines. As it was presented, the music seemed promising but insubstantial although the professionalism of band and stage show were appreciated.
Since the venue was in a Beirut-style urban meltdown area of Houston and the audience paltry, this show felt entirely like an underground chamber music event during the Inquisition. A city oblivious went on watching overtime repeat “Friends” episodes and buying furniture at Ikea while an exceptional and artistic performance graced its sonic topography and one of the most amazing metal performances to ever grace the city tore apart the night. Averse Sefira took to the stage first without pretense and lanced ears with a fast, accurate and yet impassioned version of their setlist from the previous night, with the addition of “Detonation” in the middle. Touches of improvisation in vocals and stringed instruments created an organic specificity to the music which belonged to that night alone, and the energy level remained high as the music moved between different moods. What distinguishes this band is their willingness to write passionate melodies and put them in songs that uphold all of the savagery and feral wisdom of heavy metal, and this came through in a mesmerizing forty-five minutes of complex but intuition-friendly music. Those who were present exchanged glances as if to say “How did we get this lucky?” and several longtime observers commented on how effective this band is in a smaller setting. If you missed it, punch yourself in the face.
Demilich assembled onstage and, exchanging a glance, launched into their set like a machine firing in the mist and frost of a neglected morning. Utilizing three guitarists, their brand of technical death metal relies on complement more than a continued layer technique, with each instrument presenting a different view of the whole and then achieving synchronization over the course of songs. Stringed voices peel off and converge, then take on parts of the whole much as earth and sky are required for a horizon. One guitarist, sds, plays chords underlying the melodic lead riffing which is exchanged between two lead rhythm guitars harmonizing while Boman’s belching underscores the rigid yet engaging percussion. The setlist was the same except for a new song (title unknown) which veered between peaks and valleys of tone with sweetened acid melodic differential between riffs, producing an aura of instability yet deliberation. The lead rhythm guitar of Aki Hytönen was as exactingly precise as it was freespirited, and often melted off into solos both chaotic and commenting on the sonic landscape beneath. Like evolution viewed through geographic time, the band fell off and reunited with a depth of harmony that caused the entire club to resonate with the distinctive symbolism of geometry. A drained audience filtered into humid darkness after a set demanding of both listener and band; it was probably the most technically impressive performance of mainstream music this reviewer has seen (jazz itself, while requiring one basic skill, does so at the expense of reasoned composition, and soon approximates a mean without dramatic fluctuation in intensity). Did you miss it? Punch self in face.
Luminaries from abroad and local dotted the crowd: Cynical, kontinual, Keltic Myth, g0sp-hell, Gestalt, Lyle from Brooklyn and one guy from Hellwitch who demonstrated the importance of having a video camera where Children of Bodom is concerned. There was a sense of privilege and fortunate accident for all who witnessed this unique performance, and an unsettling feeling that perhaps Houston has some inner fracture which prevents its metalheads from recognizing the musical (but not “scene points”) importance of such a gathering.
As metal is a hybrid, made half of ancient belief and filled in with modern popular art, its artists are suspended between getting the attention of “the community” and expressing something of that which is eternally metal, namely the worship of raw power and realism in a human world of sentiment which avoids it. Most of its artists convert this into a sterile emotion which like the receptacle tip of a condomn catches anger and neutralizes it, but the best escape this mould. However, repetition does not enhance a genre but makes it prone to erosion, since repeated structures fall in a row when the same force is applied to them. Ask all the hardcore punk fans who, after “equalizing” the genre into a participation-fest, were stunned when it evaporated overnight because no one could any longer tell the difference between bands. “The community” is its own worst enemy, and far from being manipulated by a twisted controller, it is driven by the desires of individuals who, when enough join in, drown out any clear voices with the distorted murmur of a mass.
Thus for those who seek quality music, it is more important to assess the music itself than to care about the most popular pundits, because these people are walking brainstems who repeat in “unique” ways what others have said and quickly run the genre into uniformity. This form of informational entropy seems important when it’s new, and is hard to distinguish because the bands in question will probably be able to play their instruments just fine, but have nothing to say. The musics that exemplify the opposite tendency, which is for the few realistic and yet imaginative artists to create works which will be praised years on by listeners baffled as to why more people did not “get it,” are ignored — for now. Yet we are all familiar with the old refrain that it was better back in the formative years, and all of the bands now lack something the founding bands did not. They are more distinctive in using different instruments, mixing in different styles, or having “unique” appearances, and they’re musically far more competent, but there’s a question as to what the music means. Interestingly, this blight is shared across literature and music and visual art at this time, suggesting that a combination of populist “entertainment” and a lack of comprehension of meaning itself among artists, has obliterated not only quality but the valuable tenet of having something to express in art among these contemporaries. Self-importance of the artist, and preaching to the converted through “safe” ideologies, has produced music that repeats its own premises instead of discovering not new but experience-laden ground; these songs and stories tell us nothing other than to sit quietly and imbibe the cliches and commonly-held truths of a culture that, lacking an integral component, derives its knowledge from paid entertainment that appeals to the broadest possible group. Could it be a sign of the decline?
It is no surprise then that it is neutral art, whether we call it bourgeois or suburban or plebeian, because we learn nothing from it except a unique combination of aesthetic values. Paintings do not touch our souls, but they match our towels and perhaps are calibrated according to the paint colors for sale at our local malls. Music is background to television watching or work, and cannot be unsettling or educational or evocative or provocative, no matter how many obscene or blasphemous elements it uses. How many of those kids chanting “Fuck you I won’t do what you tell me” along with Rage Against the Machine actually did anything about it? It’s false art, propaganda and degenerates rapidly. Art like the actual underground nurtures what is true and denigrates the false through a representation of experience and wisdom, and never comes full circle to its premise like postmodern art. It takes one through a wandering route to a new place that is also familiar with the old, with its origin… we can only praise those who are slowly but embitteredly learning that there are no new truths, only new statements of eternal truths, and that our entire detour into “progress” in music has been on the surface/aesthetic level and has resulted in empty, pointless, interchangeable “art.”No Comments