Tags: artillery, ashaena, averse sefira, aversions crown, besieged, blood moon, bonesteel, crime, crossover thrash, Cult of Luna, dark angel, deathblow, deathcore, doctor livingstone, drude, enemy remains, gladiator, lock up, locust leaves, metalcore, noctiferia, nu-metal, panikk, poseurs, rehash, righteous vendetta, sadistic metal reviews, Sauron, shadow of bedlam, spacetrucker, Speed Metal, thrash metal, venereal baptism, War Metal
A massive amount of gullible liberal retards have fallen for a masterful charity deception running on Bandcamp via a “grindcore band” called Anal Trump. The band’s new album If you Want to Qualify for Health Insurance, Then Maybe You Should Have Gotten Raped? currently is the service’s top selling album despite the entire album being less than 60 seconds and offering virtually no music content. Priced at $5.00 (though users are able to pay more), the band claims 100% of “net proceeds” will be donated to the charity RAINN. This is in fact a cleverly worded deception as Bandcamp’s payout model takes 15% of all sales plus a processing fee (varying based on the amount), meaning that instead of donating $5.00 directly to the charity and getting nothing in return, users are donating $3.95 to the charity and $1.05 to Bandcamp and getting nothing in return.13 Comments
So famous that you might’ve just heard of them right now for the first time. Magrudergrind is back after a hiatus with an album that makes a potent case for keeping simplicity tightly under wraps so that we don’t risk every band with half a half-hearted interest in songwriting nabbing it from the medicine cabinet and hoarding it all for themselves.
I don’t exactly listen to much straight up ‘grindcore’, which adds to the holes in my listening experience, but II sounds pretty much like what I’d expect any half-proficient band in the genre to put out. It’s understandably a little slicker than most of the formative efforts in the genre (Napalm Death, Carcass, Repulsion, etc.), although from what I’ve heard this album trades in some of the bits of schlock comedy that “distinguished” previous Magrudergrind content from its contemporaries for more standard, basic, banal grindcore. On some scales, this is really a perfect 5/10 album; it’s exactly what I expected aesthetically, it does nothing particularly interesting, and it doesn’t even have the temerity to offend me even slightly lest I end up shaming Magrudergrind on the internet; does this sound like anybody we know? II is basically the equivalent of a blank cassette waiting to be recorded to for the first time, but like most albums of little musical merit, we can at least learn a few lessons from the circumstances surrounding it.
As I hinted at in the intro, Magrudergrind’s latest is a very simplistic album that isn’t far removed from the starkest, most deconstructive efforts in its genre. The problem working in such a limited palette is that most of the time, it’s only a sign of low effort; it takes surprising amounts of skill, ambition, or at least luck, to cut down your music and still retain some shred of coherence and communicative value. Grindcore, as a genre, is especially vulnerable to the dark side of these tendencies; once you reach maximum violence and intensity there isn’t much left to do in the confines of the genre. The various famous bands of the genre all found their coping mechanisms; I’m personally most familiar with Carcass’s rapid pivot towards pop music. Magrudergrind’s, on the other hand, was apparently to go on hiatus for a few years and then return when everyone had forgotten not only them, but also the very knowledge that they had forgotten about Magrudergrind.12 Comments
On one hand, this is obviously a descendant of previous Autopsy material, but on the other hand, Skull Grinder is more conventionally structured and musical than the band’s formative work. You could make a case for my hypothesis based on the first single – i.e a lot of older styles of metal seem to be filtering into latter day Autopsy. Around these parts, this usually spells disaster and results in things like At the Gates releasing Slaughter of the Soul. Autopsy manages to avoid this fate by using these otherwise difficult to control elements in a way that actually fits their roots.
In general, Autopsy relies on a fairly simple formula to make their death metal – basic structures (not necessarily pop ones), limited technicality, and so forth. Perhaps the greatest reason Skull Grinder actually benefits from this is that Autopsy’s style always lent itself to having a strong vocal presence. Chris Reifert is on the top of his game here, successfully expanding the variety of vocal techniques he uses while remaining appropriate to the style of music on display. Similar expansions take place in the rest of the ensemble, including a more lead and solo heavy approach to guitarwork and more elaborate usage of melody in the rhythm guitar’s riffs. The downside of this more instrumentally interesting Autopsy is that it comes at expense of the band’s early mastery of song structure. In general, Skull Grinder is subtly, but definitely more haphazard in how it strings riffs together. This loss of organization skill is not drastic enough to ruin the record, but it’s an unfortunate shortcoming, and one that perhaps could have easily been avoided by giving the songwriting process a little more time to cook. Autopsy has certainly been releasing material quite consistently as of late, but I think the fans would tolerate a longer release cycle if it meant that the music was tightened up a bit and some of the more egregious filler was removed.
Despite this, Autopsy has created a better approximation of their early material than your average self-reviving band, and Skull Grinder does have a some material worthy of the band’s legacy in its short duration. There’s also some lessons to be learned here about how to expand your songwriting horizons; the best bands of the next few years will be those who can balance such wisdom with the more conventional truths Autopsy demonstrated in their past.4 Comments
Autopsy released a single from Skull Grinder today, giving me an opportunity to taste something of what the album might be like. If “Waiting For The Screams” is any indicator of upcoming content, this album is going to be overtly influenced by traditional style doom metal. Much of its runtime is given over to shouted vocals over slow, relatively consonant riffs reminiscent of Black Sabbath, interspersed with some passages of more standard death metal riffing more like what I’d expect from Autopsy. The band claims not to have made any stylistic changes, but this sounds to me like a more accessible and melodramatic Autopsy than the one that produced Severed Survival and Mental Funeral. I guess we’ll see what the full album is actually like.1 Comment
Genital Grinder’s Abduction is one of those albums whose main goal is to punch the listener in the face. They are not the wanker posers of so-called tech death. But they only aim slightly higher: pure brutality. In this case technicality in the service of brutality. There are two angles we should approach this before reaching a conclusion. The first is a lenient way of judging this work on “its own terms”. The second is judging if the overall result is meaningful in the least.
To an insider, that Genital Grinder is a band bent on brutality — on giving the listener a rush based on violent imagery and blunt sound– is a self-evident fact. If in doubt we can take each song and try to describe what is the most salient feature. It is almost always how direct and intense the sections are. The band does insert some brief moments of almost mid-paced trudging without which this would be unbearable on a physical level even for their own fans (although they would still praise it as mind-blowing-ly “br00tal”). The album comes out as a single-minded effort that remains in style while providing enough variation of themes and coherence in songs for them to be distinct. A simple goal has been achieved: another super brutal album has been made.
Regarding the more relevant issue on ranking Abduction on the overall quality scale of music. The songs built around clear ideas and are built around them. The band’s composition limits are revealed when we observe that they are unable to produce major explorations within their music without destroying the idea they presented at first. When they attempt to do so, they are reduced to grooving sections or cliche short melodic riffs with simple 3rds or 5ths doubling.
An incredibly limited release that is monochromatic at all conceivable levels, Abduction will be a solid although uneventful item in the collections and playlists of those either looking for a casual brutality fix or the Homer Simpsons of death metal who think Cannibal Corpse is “the shit”.No Comments
Extreme metal, specifically grindcore music from the beginning of the 21st century to the present day, has been composed and distributed between digital-communities. Grindcore has often existed exclusively within online communities and abandons its previous ‘live’ traditions. This online phenomenon is sometimes described as ‘cybergrind’, defined only partly by its musicality (i.e. rhythm, structure, notation), but more importantly by the cyberspace in which extreme metal music is staged through the Internet. This will detail a brief history of grindcore’s online migration and transient occupation of various cyberspaces on the Internet. I will discuss a few of the reasons for grindcore’s online relocation and evaluate the more discursive nature of the music that warrants it’s suggestively ‘non-musical’ prefix (cyber) in an attempt to provide a more encompassing study surrounding the music.
Space – Cyber
The beginning of the 21st Century saw an online musical phenomenon that made a serious impression on the music business. Grindcore’s online relocation was indeed partly an impression if not a reaction against commercial music businesses and provided a community for self-published and non-profit grindcore to exist. Rosemary Overell’s book,
In an interview with Mike Glenn, ‘programmer’ for Myspace based grindcore band, ‘wecamewithbrokenteeth’; “It was definitely an internet phenomena, although I really don’t keep up with the ‘scene’ anymore. I believe WCWBT kinda took the ‘cybergrind’ thing to a new level and spread it to the masses more so than other acts … our online fan base was definitely our strongest”. My interview was undertaken on Facebook, whereby the ‘wecamewithbrokenteeth’ page is located and acts as their ‘official’ cyberspace. Benedict Anderson may have described this online phenomenon as an ‘Imagined Community’, or self-conceived nation (1991). However, the music’s online exclusivity suggests that it was far from imagined, but as close to a real environment as necessary (for both artist and consumer); the transient nature of cyberspace is more freely adaptable than the set-in-stone physicality of the ‘stage’. In Lysloff René’s, Musical Community on the Internet, he states that:
Many websites do represent the loci of complex networks and social relationships that are in fact dispersed in geographical space. What bought us all together were the metaphorical places that stood as monuments to the social relationships created through them. Thus, Internet research entails a form of travel, in a metaphorical sense to radically different kinds of social place … I argue that on-line communities … are as ‘real’ (or imagined) as those off line. – René, L. (2003)
‘Cybergrind’ exists as a non-profit community whereby free distribution amongst fans is encouraged to promote the music to a wider audience. This was also articulated by Glenn, “The few things we did release were free, I’m a heavy music pirate myself, so why the fuck not? I’m cool with YouTube and all that, anyway, to get your name out there is a plus in my eyes.” An online record label, ‘Grindcore Karaoke’ (2011), enable free downloads for all of their featured-artists. Vocalist for ‘Agorophobic Nosebleed’, J Randall, initiated this non-profit organization. This label ‘employs’ grindcore artists globally, such as Birmingham based ‘Kuntpuncher’, and Japan based ‘Self Deconstruction’. Their first release was ‘Grindcore Lu’au’ by ‘Wadge’ and advertised weekly uploads; their last upload was ‘CLVB DRVGS’ ‘Beach Blanket Bong Out’, published on the 10th March, 2014, however the music remains available for download (last accessed 22/04/15). Tom Bradfield, owner of Grindethic records, has expressed how online relocation has inevitably affected the industry, specifically record labels; “I suspect that even if piracy was somehow eradicated (which it won’t be), then the move to downloading would still have happened anyway. The hard thing is convincing people to pay for something they can easily get for free.” Therefore, the power the Internet has provided a convenient platform for artist self-promotion, but potentially threatens industry establishments such as Grindethic records.
René (2003) describes this phenomenon as a ‘new materiality’; “On-line music production and dissemination set up the conditions for a prestige economy in which ‘goods’ … are exchanged by electronic means. As with other on-line communities … the Internet provides a new materiality through which social interaction and group formation can take place and from which new possibilities for subjectivity and group identity can emerge.” Therefore, grindcore labels/artists may still be adapting to this ‘new materiality’ the Internet continues to provide.
‘Extreme Metal in Lebanon’, as researched by Mark LeVine, exists on the Internet for political reasons. In his book, Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam (2008), LeVine describes the band, ‘Oath to Vanquish’, as one of the “most distinctive Death Metal/Grind bands in the MENA”. The Lebanese government banned certain Heavy Metal CD’s at the beginning of the 21st Century, however they remained increasingly available on the Internet, a platform less hindered by political censorship. LeVine describes the Internet as a ‘liberating Power’ and musicians as part of a “cyber-intifada”. The band tackle political issues in their music lyrically, “through the veil of allegory and unsettling imagery”. ‘Oath to vanquish’ are signed to UK-based ‘Grindethic’ records, however according to LeVine, “the farther you are from the mainstream in Lebanon, the greater the risk of persecution.” According to LeVine, extreme metal in Egypt is similarly restricted, “many young Egyptians found more useful things on the web, from political blogs to heavy metal forums, that help them resist or at least survive, government oppression.”
The absence of ‘live performance’ due to a rise in online-presence has raised certain authenticity debates, some of which I shall discuss now. In my own interview with Tom Bradfield (Grindethic), he wrote that:
The Myspace era was probably the turning point for underground bands being able to exist outside of the live environment. Before the Internet there was no point in having a band that didn’t play gigs … Now there was a way to expose yourself to potential fans and build a support base without needing to play live. This coincided with home recording becoming more affordable so bands could produce demos of ever increasing quality without studio time necessarily being a prohibitive cost. – Tom Bradfield.
The absence of live performance and the internet-as-stage may be what Chanan describes a loss of authenticity due to various techniques of reproduction:
Technique of reproduction detaches the musical work from the domain of the tradition that gave birth to it, and destroys what Benjamin calls the aura which signals its authenticity; except that it also creates new types of musical object which do not belong to a particular domain but rather anywhere that a loudspeaker (or earphone) may be found – some of these recordings cannot be performed live at all. This process also redefines the audience, which comes to be constituted quite differently from before. It is no longer limited to traditional concepts of community. – Chanan, M. (1997)
However I believe that the ‘aura’ is still present in a cyberspace, but I agree that there is obviously a detachment from traditional conceptions of ‘liveness’ and ‘community’. Grindcore has therefore transcended this barrier of authenticity by its often-unfeasible existence in a ‘live’ and ‘real world’ environment. This further points to grindcore’s inherent anti-establishment disregard for previous ‘formats’ (I will later discuss this in relation to musicality) and is therefore a liberating factor for both musicians and listeners. In the same way that the Beatles’ never performed ‘Sgt. Peppers’, whereby live performance wasn’t felt necessary or wasn’t possible; Glenn states, “We never actually played live shows, although I’ve heard stories of people claiming to be us and playing shows under the name, haha. WCWBT was strictly an online thing.” Similarly, Tom Bradfield told me about one of his own bands:
I joined a band called Repulsive Dissection where the members had come together for the first time over Myspace. We were variously located in Ukraine, Japan, UK and Sweden, so the idea of playing live was never seriously considered … The internet allowed us to send material backwards and forwards online and collaborate on writing. We could all record separately and compile our efforts at the end, and to this day I’ve never met the guitarist in person. – Tom Bradfield.
Weinstein (2000) states that, “Most bands never sign a record contract. They are the losers in a Darwinian struggle for access to the facilities of the mediators: The record companies and the concert promoters”. However, Bradfield argues that it is in fact; the record labels are now equally involved in a ‘Darwinian Struggle’, although they’re power as ‘gatekeepers’ (or trend-setters) within the industry are still apparent in providing a ‘stamp of approval’:
I’m sure mass consumption of music, and all media in general, can only be heading towards streaming everything online, but a new generation of artists will embrace this and find new ways to present their music. How labels will survive this change is harder to foresee. I think there will still be a need for labels to exist as a way of putting a stamp of approval on the top bands and helping to raise them above the rest. – Tom Bradfield.
Australian grindcore band, ‘The Bezerker’, existed online for both performance limitations and to simultaneously self-promote through successful social media such as Myspace and their own website. They also departed from ‘Earache Records’, famed for signing traditional grindcore artists such as, ‘Napalm Death’ and ‘Carcass’. This short text by Brian Fischer is the first time I have seen the term, ‘cyber-grind’ used in any published writing, although does little to describe what ‘cybergrind’ actually is:
The bezerker is an extreme metal entity from Melbourne that plays a noise form of cyber-grind. The band is the brainchild of … Luke Kenny, a one time metal and grind drummer who was forced to give up his instrument after sustaining near-fatal injuries in a motor vehicle accident… Kenny began to produce music that was a cross between “gabba” techno and industrial grind … The Berzerker split from Earache in 2008 and their fifth album came out on September 1, 2008 through the band’s website exclusively. – Fischer-Giffin, B. (2002)
‘The Bezerker’ may have departed from the established ‘Earache Records’ due to the apparent trend towards the self-sufficient sustainability of Internet based promotion and publication.
Musicality – Grindcore
The Oxford dictionary defines ‘Cyber’ as, “Relating to or characteristic of the culture of computers, information technology, and virtual reality”. In which case, one could argue that grindcore music is now in a ‘cyber age’, where computers are an interface not only for music production, but also for mediation, collaboration, and consumption. Certain musical aspects can be attributed to the style as a contributory defining factor:
“I’m proud to say it’s the fastest, and nothing can be faster, sorry Dave, [Dave Lombardo, Slayer] but it’s just not fast enough mate” – Mick Harris, Napalm Death
Derek Roddy (2007) describes ‘blast beats’, a traditional musical signifier of grindcore as a genre defining feature: “Until now, blast beats have been a musical myth … a part of musical expression since the 1980s with the European grindcore movement … a form of musical expression on it’s way to becoming it’s own genre.” The speed and physical performance of grindcore ‘blast beats’ could be seen as, “a fulfilling achievement that one can be proud of”. Drum machines are often programmed to perform ‘blast beats’ at a speed and metronomic precision previously unachievable in ‘human performance’. Drum machines are used as an instrumental signifier of the ‘post-human’ speed and technical precision predominantly unachievable in human performance. (Refer to my transcriptions of ‘Wecamewithbrokenteeth’ and ‘Malodorous’). This renders Mick Harris’ (Napalm Death) statement that ‘nothing can be faster’ as limited to a ‘live’ grindcore tradition. The processual nature of genre shows a dramatic transformation of opinion to what constitutes ‘grindcore performance’, when drum machines replace human; ‘Sorry Mick, it’s just not fast enough mate’!
“We’ve sort of abandoned musical standards, we don’t write songs to the ‘rock’ sort of format. We’re pretty much the end of the line, I don’t think you’re going to get a band that’s more extreme than us.” – Shane Embury, Napalm Death
Napalm Death, along with the other grindcore artists strive to be the most ‘extreme’ in terms of musicality. Overell (2014) describes this as a sense of ’more-than-ness’. If the performance is then eradicated from the ‘brutal’ experience, surely this lack of ‘liveness’ constitutes less extremity. The ubiquitous use of drum-machines in cybergrind is a way of sonically identifying the music as ‘digital’ or ‘cyber’. Thus the music’s existence is inherently impossible in a real-world environment such as a stage; it is also reliant on computer based interfaces i.e. VST instruments, DAW’s, Audio Interfaces which are becoming increasingly more popular. Harris (2006) states that, “Only in slower forms of extreme metal is ‘putting on a [live] show’, in a conventional sense, possible.” Harris does not elaborate on his use of the word ‘conventional’, although could be referring to the use of electronic instruments and physical constraints of an ‘acoustic’ musical performance. ‘Wecamewithbrokenteeth’, gained popularity through Myspace around 2005 and built their fan base through social networking. Their music was produced on FL Studio, and until 2006, only used computer generated instruments, minus vocals, such as FLslayer for synthesized Guitar tracks; the low-end pitches would have been impossible to effectively produce on a detuned electric guitar. The vocal parts are the only ‘live’ recorded part of the music.
There are many ways in which ‘extremity’ is now raised within the Genre. The first is musicality, where musicians are striving to make the fastest, shortest or most sonically dense Grindcore possible. (Refer to my transcriptions of Napalm Death and Clotted Symmetric Sexual Organ). The second and more controversial way in which extremity is pushed is lyrical subject matter, resulting in subgenres such as ‘Porogrind’ and ‘Goregrind’. As mentioned in Nasum’s online biography, a change in aesthetic and lyrical content results in a deviation from ‘true grindcore’. Tom Bradfield states, “The one thing I’m bored of is all the misogynistic rape/gore type lyrics that are still pretty prevalent.” Bradfield is more concerned with ‘punkier origins’ or traditional grindcore aesthetic, “For many though I think the punkier origins of grindcore lend it to a more political direction which I still think works well with the inherent aggression in the music.”
Despite this, the lyrics in Grindcore music are often unidentifiable due to the vocal style. This is however, unimportant; Simon Frith’s (2007) theory on Metal vocal style; “ The tone of voice is more important … than the actual articulation of particular lyrics. We can thus identify with a song whether we understand the words or not, whether we already know the singer or not, because it is the voice – not the lyrics – to which we immediately respond.” Weinstein (2000) adds that, “Special sounds, especially screams, serve to emphasize the power and the emotionality of the voice”. Tom Bradfield states that, “To be honest I’m not particularly interested in the lyrical content of bands, even if it aligns with something I personally believe in. First and foremost I care about the music itself, and the concepts or message behind the band doesn’t sway me too much either way when it comes to signing them.”
There were many complex eco-systems in action during the emergence of Grindcore, of which I will give a brief description now. Common belief is that grindcore was initiated in Birmingham with Napalm Death. The local aspect of Birmingham’s grindcore is often romanticised but its rapid globalization was apparent from its early years. I have provided one a brief case study into the globalisation and subsequent migration of grindcore into cyberspace. Popat (2005) argues that the nature of the Internet is solipsistic, “Communities of interest [Music] are most likely to arise since communities of locality and social structure, for example, mean little in the remoteness of the online environment.” However, I feel that this could be conceived as creating some form of online social ‘locality’. The locality is in this case, a specificity of taste and tied by interest. She continues, “Although a vast number of people with different interests and concerns may be using the Internet, it is likely that they will only tend to communicate with others sharing their interests”.
‘Clotted Symmetric Sexual Organ’ (C.S.S.O) were a Japanese grindcore band active from 1993 – 2001. Their composition, ‘P.S. I Love You’, was released on a compilation or ‘Split’ CD entitled ‘Grindworks’, featuring other grindcore artists Nasum (Sweden), Retaliation (Sweden), Vivisection (Japan) and C.C.S.O (Japan). The CD was released in Sweden on the label, ‘Grindwork Productions’, whom only ever released two albums; the compilation mentioned and Swedish group, Nasum’s ‘Domedagen’ (1994). ‘P.S. I Love You’, resonates with the jazz standard by Gordon Jenkins (1934), and later the Beatles (1962). As articulated by Shane Embury, grindcore abandons previous ‘rock formats’, and therefore the reclaiming of ‘P.S. I Love You’ is a way in which C.C.S.O subverted the ubiquitous ‘love song’ as a reaction against conformity and ‘popular’ musical idioms. The total length of the composition, 10 seconds, also suggests a reactionary musical form established by Napalm Death as a grindcore idiom. This particular case demonstrates the global impact of grindcore in 1994, and how it’s ‘rarity’ elicited an online re-release through the ‘The Grind Show” on YouTube (3 October 2011). The video has 124 views (last accessed 14 February 2015) and published by ‘The Grind Show’, a YouTube channel and cyberspace seemingly dedicated to sharing rare grindcore recordings. The obscurity and lack of popularity for this particular track is by no means a reflection of cybergrind’s popularity in general (I will demonstrate this in later case studies), but more a reflection of a communal effort in preserving grindcore of the past, or ‘non-cyber’ grindcore into a virtual and residual ‘mosh-pit’ or communal appreciation and canonization of ‘extreme’ music that is no longer active as a ‘Live’ tradition (C.C.S.O haven’t performed live since 2001).
This canonization within cyberspace also exhibits bands such as ‘Napalm Death’ despite their ongoing ‘live’ presence and commercial releases. This is quite often an exception whereby ‘Napalm Death’ transcends both ‘live’ and ‘cyber’ communities, most likely due to their wide acceptance as satisfying the definition of ‘grindcore’. This online existence is celebrated as a further disassociation from previous ‘rock formats’. Ironically this music has now fallen into a Cyberspace, and more importantly, it has been canonized within ‘The Grind Show’ musical-program, thus adopting an extra-musical narrative as part of a contemporary grindcore community. Of course, most ‘popular music’ can be found somewhere on the Internet, but it’s online exclusivity (apart from several hard-copies available second hand on Discogs) could infer it’s belonging to a cybergrind community. This dissemination could also be seen metaphorically as a larger scale ‘split’ recording, whereby Artists share a physical platform or space for economic viability, building a larger fanbase, and generally building a larger sense of community.
Following on from talking about musicality, collaborative techniques used in a traditional group environment are varied in online grindcore. Tom Bradfield spoke to me about his experience collaborating over the Internet:
I joined a band called Repulsive Dissection where the members had come together for the first time over Myspace. We were variously located in Ukraine, Japan, UK and Sweden, so the idea of playing live was never seriously considered. We came close once but a visa issue scuppered plans at the last minute. The Internet allowed us to send material backwards and forwards online and collaborate on writing. We could all record separately and compile our efforts at the end, and to this day I’ve never met the guitarist in person. – Tom Bradfield.
A similar musical experience was realized by grindcore artists, ‘Malodorous’, who compose in remote geographical locations for a ‘web-based’ collaboration. Sita Popat argues the Internet as an enabling factor for opportunities in remote interaction and collaboration “on a scale never before imaginable”. She explains that the possibility to communicate and transfer media “simply, quickly and relatively cheaply between people around the globe.” She also believes that the Internet provides a uniquely asynchronous collaborative process can potentially work in favour of creativity. “This process promotes ‘reflective’ communications and the considered response. It does not rush the communication into a reaction, and as such it allows time for crossing that proscenium thoughtfully.”
Overell’s writing, although partly focused on affective space, does not mention the Internet as a space in itself, although focuses exclusively on grindcore as a ‘live’ tradition. She discusses the benefits of long distance communication for organisation of international events, “Via email, Sensei nominated suitable dates and Joel organized gigs at Melbourne venues.” Rene describes the ‘culture of simulation’ to what Arturo Escobar calls ‘cyberculture’. Rene goes on to describe that, “although the Internet may be rooted in familiar terrain, it still holds the promise of new cultural narratives and social formations.” The Internet has proven to be as much of a social phenomenon, if not more than grindcore music itself. Popat quotes Dix et al, “[The Internet] is much more a social phenomenon than anything else, with users attracted to the idea that computers are now boxes that connect them with interesting people and exciting places to go, rather than soulless cases that deny social contact”.
This implies that our methods of communication and interaction are transient, and as a consequence, musical output evolves accordingly to its situation. I have argued that ‘extreme metal’, for aforementioned political and economical reasons, has particularly settled in an online environment for what Overell might call ‘brutal belonging’, within an affective space. Despite the more traditional ‘live’ setting for grindcore music, Tom Bradfield agrees that, “for most underground bands, the majority of fans they make online will dwarf the number of total number of people that ever see them play live.”
- Anderson, B. O. R. (1991) Imagined communities: reflections on the origin and spread of nationalism. 2nd edn. New York: Verso Books.
- Born, G. (2010) ‘For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn’, Journal of the Royal Musical Association, 135(2), pp. 205–243. doi: 10.1080/02690403.2010.506265.
- Chanan, M. (1997) Repeated Takes: A Short History of Recording and Its Effects on Music. United Kingdom: Verso Books.
- Cottrell, S. (2010) ‘Ethnomusicology and the Music Industries: An Overview’, Ethnomusicology Forum, 19(1), pp. 3–25. doi: 10.1080/17411912.2010.489279.
- Dixon, S. (2002) ‘Absent Fiends Internet Theatre, Posthuman bodies and the Interactive Void’, Performative Arts International.
- Feld, S. (2001) ‘A Sweet Lullaby for World Music’, Globalization, pp. 189–216. doi: 10.1215/9780822383215-011
- Fischer-Giffin, B. (2002) Encyclopedia of Australian heavy metal. United Kingdom: Brian Fischer-Giffin.
- Frith, S. (1996) ‘Music and Identity’, in Questions of cultural identity. Thousand Oaks, CA: SAGE Publications,
- Frith, S. (2007) Taking Popular Music Seriously (Ashgate Contemporary Thinkers on Critical Musicology). Aldershot, England: Ashgate Publishing, p. Towards an Aesthetic of Popular Music.
- Keith, K.-H. (2006) EXTREME METAL: MUSIC AND CULTURE ON THE EDGE. OXFORD: Berg Publishers
- Laderman, D. (2010) Punk Slash! Musicals: Tracking Slip-Sync on Film. Austin: University of Texas Press
- LeVine, M. (2008) Heavy metal Islam: rock, resistance, and the struggle for the soul of Islam. New York: Crown Publishing Group.
- Michelsen, M. (2004) ‘Histories and complexities: Popular Music History Writing and Danish Rock’, Popular Music History, 1. doi: 10.1558/pomh.v1i1.19.
- Overell, R. (2014a) Affective Intensities in Extreme Music Scenes. England: Palgrave Macmillan. doi: 10.1057/9781137406774.
- Overell, R. (2014b) ‘Brutal Belonging in Brutal Spaces’, Affective Intensities in Extreme Music Scenes. doi: 10.1057/9781137406774.0007.
- Parnham, J. (2011) ‘A Concrete Sense of Place: Alienation and the City in British Punk and New Wave 1977-1980’, Green Letters 15:, pp. 76–88.
- Pedlety, M. (2013) ‘Ecomusicology, Music Studies, and the IASPM: Beyond “Epistemic Inertia”’, IASPM@Journal, 3(2), pp. 33–47. doi: 10.5429/2079-3871(2013)v3i2.3en.
- Phillipov, M. (2012) Death Metal and Music Criticism: Analysis at the Limits. United States: Lexington Books.
- Popat, S. and Beardon, C. (2005) Invisible connections: dance, choreography and Internet communities. 1st edn. London: Taylor & Francis.
- René, L. (2003) ‘Musical Community on the Internet: An On-Line Ethnography’, American Anthropological Association, Vol.18, No. 2, pp. 233 – 263.
- Roddy, D. (2007) The Evolution of Blast Beats. World Music 4all Publications.
- Thrift, N. (2007) Non-Representational Theory: Space, Politics, Affect. United States: London ; Routledge, 2008.
- Weinstein, D. (2000) Heavy metal: the music and its culture. Boulder, CO: Da Capo Press.
Late model black metal features many of these entries: as much borrowed from the days of speed metal as black metal, keeping a constant “jazzercise” style constant tempo and intensity, and while there are some sweet riffs, they are marooned in a sea of throwaway budget riffs and patterns from 1987 Exodus clones. Infernus has great rasping vocals but essentially, doom their album with highly predictable note progressions in the riffs and a constant, incessant droning style of composition. Many heavy metal touches pervade this album, suggesting that like early Gehennah and Nifelheim, this is heavy metal dressing up as black metal and equalizing all of its riffs to the same speed to hide their hard rock, speed metal and heavy metal origins. While the fans of the band will defend it on the basis of irony or some nostalgia, the result is musical tedium because of a failure to come to point. This is like watching the 5,000 slides of the vacation your neighbor just took, except that now the slides are old riffs and old tropes.2 Comments