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
Sometimes great albums happen. Multiple forces converge — influences, musicians, leaders, ideas, opportunities — and everyone involved becomes more than they are. They rise above their mortal lives and create something profound enough to live in, a musical world we want to inhabit and take up its struggles and make it turn into the full potential we see nascent within its objects.
Streetcleaner falls into this category. After a stylistically-inspiring but somewhat deconstructive first EP that never really created a direction of its own except aesthetically, the three individuals who comprise Godflesh returned with a new energy. They combined influences from their fledgling industrial grindcore, indie rock and death metal, and came up with an album resonant with layers of potential. Instead of aiming to destroy melody, they built it from the smallest elements so that it could only be seen when those overlapped and only then often by implication, creating a haunting album like an ancient mansion full of unexplored pathways and secret rooms.
Slowing down their attack, Godflesh carved time into a space through the selective introduction of sounds which then received an ecosystem of other sonic fragments with which to interact, creating an atmosphere that also had form and narrative. From indie rock they borrowed melancholic but affectionate melodies, from death metal complex song structures, and from industrial the sound that genre had always desired to express, namely a machine crushing human hope like a Charles Dickens novel. Together these influences formed a sound like Killing Joke accelerated into apocalyptic nihilism with the raw sonic experimentation of death metal.
Streetcleaner came together like an impossible dream. It borrowed from many musical traditions but the band kept both its own voice and a style specific to the album. What really distinguishes this album however is the content. Streetcleaner captures a range of human emotions in response to the disaster of human emotions that creates our modern world: individualistic selfishness leading to herd behavior empowering vast evils. In putting this into sound, Godflesh opened a dialogue with the darkest parts of our souls and the reason those souls are dark, which is that we know the possibility of light.
The band never concentrated its energy in such a way again. The following album, Pure, went back to a higher concept version of their first EP, but never managed the emotional intensity that the interwoven melodic streams of Streetcleaner brought out among the crushing noise and abrasive battle robot rhythms. They swung back the other way toward indie rock for a few more albums, but those went too far into face-value emotion and lost both intensity and honesty. Eventually the band faded out into a series of projects pursuing influences as most senior underground efforts do. However Streetcleaner remains as the apex of industrial music and the album every dark topics band wishes they could make, as well as a profound influence on the rising black metal movement and the second wave of death metal.8 Comments
Very few people have any idea what grindcore means at this point because of the high degree of crossover between grindcore and death metal. Not just one way, but both: grind bands becoming deathy in the Napalm Death style, and death metal bands becoming grindy as happened from Suffocation onward.
But what wasgrindcore? History might show us that punk and metal were birthed in the early 1970s and spend the next three decades crossing over. This resembles a quarter-century negotiation as to what aspects of each to keep in the hybrid with the other. Early hybrids included speed metal, which used uptempo punk rhythms, and thrash, which combined metal riffs with punk songs. Grindcore was a logical extension of thrash.
Thrash — exemplified by Dirty Rotten Imbeciles, Cryptic Slaughter and Corrosion of Conformity — grew out of the “thrasher” community which was composed of skateboarders. These were a 1980s movement that existed in the abandoned areas of modern cities where skating was undetected if not permissible. Anarchistic, but also pragmatist, they were like the ultimate hybrid between the individualistic and hierarchical impulses behind human politics. Thrash bands as a result tended to direct their criticism toward society itself and were less likely to hover on one side of the political spectrum or the other, despite having a huge background influence by the almost-universally anarchist punk movement. We can only assume the additional influences on thrash came from metal, which was more likely to take a historical and impersonal view of life, where punk was much more personal and present-tense.
Where the bands that prompted the early speed metal and thrash hybrids were punk hardcore (The Exploited, Cro-Mags, Black Flag, Minor Threat, GBH) and early crustcore (Discharge, Amebix) bands, thrash in turn spurred hardcore on to become faster and more extreme, resulting in shorter songs with more metal-like (more chord changes, more internal texture) riffs. The later punk hardcore bands like Void, Faith and Siege prompted a gnarlier sound, picking up on the distorted vocals which has become a staple of the previous punk generation, perhaps prompted by Motorhead and Lemmy Kilmister’s incomprehensible gargled-glass screaming.
From this inspiration, a movement caught on in the late mid-1980s. Fronted by bands like Repulsion and Napalm Death, it quickly diversified and spread worldwide. However, like punk before it, grindcore did not have much staying power. The more one streamlines and simplifies, the fewer variations exist, until most things can be described as a modification to an archetype. At that point, bands lose the ability to distinguish themselves and thus realize their talents are better applied elsewhere if they wish to distinguish themselves. Nevertheless, between 1986 and 1990 the foundational masters of grindcore emerged in the form of Repulsion (1984), Napalm Death (1985), Terrorizer (1989), Blood (1989) and Carbonized (1990).
A further evolution of the sound hardcore punk created and thrash developed, grindcore slams together abrasive riffs in order to achieve a release from intensity at the end of each song. Its name comes from that grinding, caused by fast alternation between chromatic notes and the contrast with rigid whole note patterns that lift the listener up from the directionless thrashing. Where purest, grindcore celebrates individual life and rejects social mores by reminding us that we are mortal, frail and the clock is ticking, so we need to cast aside the pointless and frustrating (grinding) in life and replace it with open spaces of our own imaginations.
This is the awesome grindcore band from Berkeley that predicted sport rioting would totally take off after the election. They are the post nuclear hippie van version of early Napalm Death. The new album opens with a totally awesome grindcore song called Controlled Opposition, which has a series of jagged hammer-on type riffs, followed by a brief rock riff at the end. Everything is crypto now, so let’s get paranoid!9 Comments
If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.9 Comments
The last two decades has witnessed an exponential growth of studies devoted to popular music, coupled with a re-evaluation of past theories and models for interpretation and analysis. This paradigm shift has sparked interest in music “at the fringes” which in turn has led to the unlikely emergence of “metal studies”: a multi-disciplinary field of research centered around all things related to metal music.11 Comments
The blast beat has had a very unlikely journey through its relatively young lifespan in music. Rooted in a jazz technique of an alternating bass drum/hi-hat and snare 16th note pattern (though played at much slower tempo in jazz music), it found a unique identity in the early 1980s when underground hardcore punk bands like Siege and Asocial began using it at aggressive speeds to enhance their violent bursts of rebellion. This made it a close friend of metal when the middle of the decade saw a fledgling death metal movement getting its hands dirty with hardcore punk speed and sound in an effort to push its own extremity. Over the next 15 years, several drummers would rise to prominence with their clever use of the blast beat to either push these combinations to extreme speeds or to utilize them enduringly for an effect similar to trance music. Suddenly, every metal band that wanted to play fast or play simplistically HAD to play blast beats, and we eventually reached a point where blast beats were the most dominant part of every death and black metal song’s drum composition.
For the future of death and black metal to establish themselves distinctively, they must abandon what has become routine and keep only what is necessary to preserve their underlying spirit. And with this understanding comes an unfortunate truth- the beloved blast beat must be laid to rest, so that new life in metal can grow.
2017 was a year of total war and, culturally, a year of victory. What it lacked in quality metal it made up for in illuminating many of the harsh truths about metal’s business side, the narcissism of metal musicians, disloyalty of metal fans, and the desperation of metal journalists to fit in with flavor-of-the-weak liberal hysteria. Outside of metal, conservatism has won almost every battle and leftism continues to be on the defensive. With the death of Antifa in America, the complete meltdown of liberal journalists in and outside of metal, and endless infighting and cannibalization within the left, 2017 has been perhaps the most amusing and fulfilling year in recent memory.
Yet as great as this last year was, we must keep our eyes on the future with maximum alertness as the war continues. Therefore let’s leave the crystal ball reading to the crazy cat lady witches running Cvlt Nation and instead make some logical predictions on where the world of metal may be headed in the next year:35 Comments
Continuing the path of a storied band, Inferno mixes re-recorded versions of older tracks with new material in what seems to be a band redefining itself. Blood started as a grindcore band with more of a death metal attitude, then adopted an outlook closer to black metal for its opus O Agios Pethane, but since then has struggled by being caught in the middle of three genres.43 Comments