Chris Annunziata, host of The Metal Teddy Bear Experience show on 90.3 WMSC-FM, interviewed Mikael Akerfeldt of death ‘n’ toll turned seventies style rock band Opeth at the Starland Ballroom on March 7th. Chris steadfastly transcribed the extensive interview and most graciously submitted it us. Mikael discusses his touring experiences with Megadeth and Gojira along with his childhood security blanket and love of raw meat. The recorded version is at the end.
Online music magazine Perfect Sound Forever (nice job stealing the 1980s advertising slogan for the then new CD format) recently posted a piece entitled “Metal For the New Millennium” by an idiotic hipster named Cam Netland who said that metal was a limited music genre as result of being a “as an offset of rock music”. Netland claims that metal became “more hardcore” as a result of the “radicalization” of other genres in this period citing staid examples such as Bad Brains (softened hardcore punk for idiotic affirmative action multi-culturalists) and Public Enemy (rap made into pop music with tough street gang lyrics to make suburban white jocks feel good about their short penises). He goes onto claim that metal is divided into many “micro-genres” and that the new millennium has seen the rise of many new ones such as what Neton terms Babymetal‘s grass-eater Japanese pop music, djent (random post-hardcore jazz fusion) Deafheaven‘s “blackgaze” (screamo pretending to be tough that is neither black metal nor shoegaze), and Vektor‘s random techno speed metal idiocy. Netland cites such turd non-metal albums as Mastodon – Leviathan (alternative rock), Converge – Jane Doe (post-hardcore math rock), and System of a Down – Toxicity (nu-“metal” which is in actuality of course rap rock).
Hipster Youtuber Sam Sutherland suggested in a click bait video uploaded to his This Exists channel earlier this year that black metal is musically the same as the surf rock of the early 60s. This Exists goes on further to suggest that the best metal is heavily influenced by other non-metal musical genres citing such non-metal works as Mastodon‘s Leviathan being influenced by Moby Dick and Kanye West by Pablo Picasso. Sutherland, like many musically ignorant persons, confuses lyrical influence and playing technique with genre, intent, and goal.
People think like they eat, so when someone talks about heavy metal being destroyed, they envision it being completely consumed like a donut before coffee. In reality, destruction is more like tainting, namely that if I spill a thousandth of a drop of nerve gas on your donut, you won’t want to eat it, ever.
Heavy metal can be destroyed if enough of it becomes hogwash that the smart people flee. Someone would say that has already happened, but I go for the more cheerful “in progress” designation. When a certain amount — say, 20% — of people surrounding metal are the same idiots that one finds everywhere else, or worse highly specialized types of idiots like hipsters, then the good people abandon the genre and it becomes swallowed up by people who do not understand it. They quickly convert it into the Same Old Thing the way they do to every genre and soon it sounds a lot like regular rock music with some heavy distortion and a metal riff now and again. It “lives on” in a different form, but for practical purposes, it is dead.
With revelations emerging that SJWs in punk bands who banned Disma from the Netherlands Deathfest wanted to go after another band first, but when they couldn’t find an excuse for a beatdown there had to attack Disma instead, it has become clear to metalheads that they are under attack. Because of the way SJWs behave, you can no longer not take a side; you are either with the SJWs, or their enemy, in their view. This is driving many metalheads to the anti-censorship side because, independent of political view, we realize that allowing bully gangs to form lynch mobs to witch hunt “bad” thought will result in the destruction of metal.
These incursions are part of a larger pattern. When Mastodon gets shamed and forced to apologize for having scantily-clad women in their hard rock videos, and then Metalgate was launched when SJWs tried to censor non-SJWs on metal mailing lists, it seemed that it was a cluster of events. Then we saw SJWs faking the news and a series of new attacks on actual metal bands by these pretenders. There’s a list of articles published since AD 2000 in which journalists and their lackeys in certain hipster bands and labels push for guilt that leads to censorship. In their view, there is one good way to be, and everyone else is pure bad. Like a light switch: it’s either set to “Full SJW” or it is off, and you should feel bad.
What is frightening about this is how easily SJWs can succeed. Different groups have been trying to take over heavy metal for years because heavy metal is a media signal for rebellion that cannot be bought out with ready cash money like every other “movement” in our time. We’re used to politicians pretending to regulate a group when they are in fact working for that group, or journalists representing entrenched political interests while pretending to be objective. When the FBI talks about corruption threatening the soul and fabric of the US, this — in part — is what they mean. It is relatively easy to take over a genre, turn it into a megaphone for political views, and then discard it when the trend is over. Christians, the far-right, the far-left, and other groups have tried to assimilate metal in this way.
Industry is backing the SJW incursion because it will allow them to make a lot of money in the short term and then transition into selling rock music, which is what they do best because it is easy to make a lot of it and if no stronger option, like metal, exists, to sell a lot of it to an audience bored with pop. Like the Republicans, rock and especially heavy rock are the controlled opposition to sugar-pop but if the industry has its way, will not be really all that different. Media supports industry. Apparently, so do the metalfests. We are seeing a situation where once again metal stands alone, hated by all, but this time our enemies are using passive-aggression to try to take over metal, instead of trying to outright ban it.
Those who love metal will be standing up to protect it. Unlike SJWs, the anti-censorship side does not demand that you adopt a political orthodoxy. It simply says that we need to stop pre-filtering music by whether it has the “correct” political outlook, and need to start being more open-minded. Mention any group and you have immediately assumed they are all the same; not all Democrats or all Republicans are identical. Among there, some interpretations of those belief systems are in fact more advanced than others. Having free speech allows, much like natural selection, better ideas to rise to the top, and this means that we all benefit from clearer information. It’s questionable why anyone would want to stop that — well, unless they want to control your minds through music, of course.
As the music industry adjusts to the rise of online music at a glacial pace, streaming services have taken over from the traditional model of radio. Into this field leaps a new competitor, Ore.fm, a “heavy metal only music discovery platform” that hopes to connect fans with bands — in the underground.
We were lucky to get a few minutes to chat with Vincent Minichiello, a founder of this new service.
Ore.fm claims it targets the underground. Why do you think this is a viable market, considering that most metal is rather “above ground” now?
All members of the ORE.FM team are either metal fans, musicians or music lovers in general. We feel that the underground scene is where we wanted to throw our support behind because there is such genuine, untapped, raw talent in a place that gets overshadowed by the bigger “above ground” bands and since no one else seems to want to showcase them, we took it upon ourselves to do so.
Are you a heavy metal fan? What do you (and/or your staff) listen to?
I am definitely a fan of heavy metal, as is most of the ORE.FM team. I grew up playing guitar and listening to bands like: Pantera, Slayer, Black Label Society and anything else that involved double bass, distorted guitars and bad-ass lyrics. Some of the music currently being listened to by the rest of the staff ranges from bands such as: The Sword, Havok, Mastodon, Jim Croce and YJY. ORE.FM has also exposed us to bands like: Ferium from Israel, Darwin’s Theory from LA, Strict Vincent from Australia and Archaeologist from San Jose.
How hard was it to get Ore.fm started? What did you have to do?
At this point, we have been working on ORE.FM for just shy of two years. We started where most bands start, in the basement of our parents’ house and it’s just been a steady climb up since then. There have been battles and obstacles along the way (as to be expected with anything) but overall I’d say the process has been not as difficult as we thought it would be. We lucked out and found a great developer who really understands our vision of what ORE.FM should do for the community. We all work very well together, bouncing thoughts off each other, working out kinks, evolving ideas, etc. It’s been a fantastic and exciting experience so far.
Why do you think heavy metal fans are a desirable audience? Most people think we’re dirty, smelly, uncouth and loud.
Having grown up with metal, going to shows and playing in bands, it was fairly easy and obvious to us that the metal scene is where we want to continue to be a part of. We are the people we are making this platform for. We are the fans looking for that new band to follow around and support. We have been called, “dirty, smelly, uncouth and loud” and frankly, we don’t care. The metal community has proven itself time and time again to be the most supportive and tightly knit groups of any genre of music. After having done so much for us and shaping who we are as individuals, we wanted to give something back to the metal community and ORE.FM is the perfect way of doing so.
What music and experience can a user expect to find on Ore.fm? How does it compare to other services like Spotify and Last.fm?
There are so many sub-genres of metal that exist today and we want them all to feel welcome and included on ORE.FM. Listeners can expect to hear sounds that they’ve never heard before, from places they may never thought to look. Before starting ORE.FM, I would have never thought that the Middle East would have such brutal and technical metal bands. Now I find myself using ORE.FM’s Discover map to scan the globe to find new music daily from literally anywhere on Earth. This is what makes us stand out against competitors. Features such as this help bands get their music out to a world-wide audience, through a range of devices and platforms. Where they might be a drop in the vast ocean someplace else, on ORE.FM they stand out like gold.
The DLA/DMU has taken flak over the years for being unwilling to embrace new trends, but this criticism forgets that we also avoided endorsing older bad ideas. Our writers have generally avoided jumping on the bandwagon for the “trve kvlt” just as much as the new, millennial-friendly indie-rock version of metal. The reason we can do this is that we apply a simple quality standard instead of using the consensus of others to determine truth.
Despite having many editors, each of whom had somewhat varied opinions on the process, if viewed on the large scale the site has kept a generally consistent opinion. That is: some of the so-called classics are good, and few of the new school releases are good, but the determination is not made by category, but by analyzing each release on its own merits. This leads to sudden shock for some who expected us to be cheerleaders for anything that seems to “uphold the true spirit of the underground,” and dismay for those who like the newer material as release after release fails our test.
Metal is in a slump and has been since 1994, in quality. Correspondingly, it has been in a boom in terms of quantity of fans. We have more “metalheads” (cough) now than ever before. However, anyone who is not in denial — and most are — can tell you that quality has fallen off dramatically. The music has lost its energy, its nerve and its insight and been buried under a wave of bands that are either obedient and docile system products, or slaves to the underground record-collecting audience that does not care about quality so long as the aesthetics of previous generations are preserved. Both groups unfortunately are useful idiots for industry, which can keep producing low-cost clone bands and reaping the profits.
We discard bands for two reasons: not being metal, and not being good. The bands that are simply not good tend to have the most fans, ironically. Who among us can claim that, for example, Blazebirth Hall bands and Drudkh offered anything musical or artistic to metal? They cloned Graveland in a light and breezy melodic form that is essentially music for children. In the same way we refuse to celebrate underground “favorites” that consist of ranting and disorganized music like Sepulchral Aura, or avantgarde prog fanboy-bait like Fanisk and Deathspell Omega.
In addition, we discard that which does not uphold the artistic, intellectual and philosophical spirit of metal. There is quite a bit of overlap here with “not being good.” We would not endorse Cradle of Filth; nor would we endorse Opeth, back in the day, or Cannibal Corpse, on the basis that they were essentially rock bands trying to assimilate metal and thus produced a moronic mindset. Similarly Pantera and to a lesser degree, Anthrax. Back in the day we thought SOD was inferior to Cryptic Slaughter, DRI, and Corrosion of Conformity. We refused to endorse Wolves in the Throne Room, Animals as Leaders, Gojira, Mastodon and other indie-rock pretending to be metal. We ignore Pelican and all stoner doom bands because they are boring and terrible. This music is distraction from metal, not metal, but its fans make a big show of being “very metal,” which tells you exactly what they are hiding and deflecting your attention from.
This approach wins us zero friends in the short term, but trusted readers in the long term. People — especially those who lead purposeful lives and do not have lots of time, nor enjoy, combing through catalogs and blogs trying to figure out which 1% of the reviews are not lies — like getting the low-down on quality metal. They enjoy that moment of discovery when they find something really good, something they can listen to not just this week and six months or a year from now, but for future decades. That is ultimately the standard by which any music fan operates; they like music, so they veer toward the best, not just at a level of mechanics (technicality) but artistically, or its relevance to the ongoing philosophical and moral maturation of humankind. Most of humanity likes mediocrity or at least convinces itself that it likes those bands. After all, Third Eye Blind has sold more records than most segments of the metal genre. But popularity — whether among credulous hipsters or gormless mass media fans — has never determined quality. Consensus is not reality. Only reality is reality, and we make our best stab at it.
With that in mind, you may ask: why write negative reviews? The answer may surprise you. We seek to give music fans the intellectual tools they need to fight back the onslaught of Opeth, Pantera, Ulver, Cradle of Filth, Meshuggah, Vattnet Viskar, Cannibal Corpse and Deathspell Omega styled bands. We use both positive and negative examples to illustrate, to the best of our ability, what metal is and which approaches to it have produced the quality level necessary for prolonged listening. This puts us at odds with most metal journalists, for whom writing is a day job and as a result, is interpreted as endless enthusiasm for whatever is new and exciting because the consensus likes it. They are essentially advertisers because they are writing ad copy about these bands, not a look into what makes their music function. It is designed to make you buy music, because journalists who can sell music get famous and become editors. You will notice that major publications run almost no negative reviews. Why is that, you might ask? Because their job is to sell music, not review it, even if they call it “review.”
In all human endeavors our social impulses, which because we are selfish beings are actually self-interested impulses translated to altruism to flatter and manipulate others, override any sense of quality or purpose. The task ceases to become the task and becomes the process of creating the appearance of results instead of results; bands stop trying to be good, and focus on replicating what has worked before in new forms. The “best” (by consensus) bands “sound” different on the surface, but musically are extremely similar, because that formula has worked in the past. That is a social impulse: make what people like because it does not challenge them and makes them feel smart, profound or at least “with the crowd” to be listening to it. This social impulse has ruined metal since 1994.
Metal thrives — as it did during the mid-70s, early 80s and early 90s — under two factors: (1) it is ignored by most people, so it is free from the manipulations of those who want to sell rebellion-flavored rock to morons, and (2) it has some truly great artists to kickstart it and establish a standard. The former is self-evident, but the latter can be explained as follows. When early Norse black metal came out, it set a standard of quality and allowed fans, by simply choosing to spend their money on what was more rewarding, to exclude bands that did not meet that standard. Why would you buy Forgotten Wolves when you can get Darkthrone? Why would you pick up another speed metal clone when you can have top-quality death metal? Metal thrived when it was elitist, closed-minded and viciously competitive. Now that it has become a group hug, quality has suffered and no one seems to have noticed. Except us — and we are watching.
Self-preening egomaniac solipsist hipster Brent Hinds, who plays with indie-metal (heavy alternative rock) band Mastodon, accidentally revealed the nature of indie-metal as indie rockers who enjoy metal ironically making imitations of better bands. Speaking between bites of arugula and sprouted garlic sandwich on quinoa bread, Hinds opined:
“I never really liked heavy metal in the first place. I came from Alabama playing country music, surf rock, rockabilly, and stuff like that.
“I just went through a phase in my 20s where I thought it was rebellious to play heavy metal. And then I met Brann [Dailor, drummer] and Bill [Kelliher, guitarist], and they were really, really, really into heavy metal.
“And ever since then, I’ve been trying to get Mastodon to not be such a heavy metal band, because I f–king hate heavy metal, and I don’t want to be in a heavy metal band.”
Playing metal to be rebellious is a hipster gig because it is entirely surface with no deeper connection to the music than to use it, as hipsters use all things, to signal your emotions to a world that could not care less. Metal musicians play metal because they love it, but giggin’ hipsters play it ironically to be rebellious and shocking. Hinds finally admitted his own insincerity, but with him he brings down a genre.
Indie-metal arose from the “alternative metal” of the 1990s which took metal riffs and put them in rock songs using the aesthetics of grunge and alternative rock. Although the result was an artistic disaster, it was more palatable than the hip-hop/rock hybrids and other pop experiments of the era, and so caught on. Unfortunately these bands are not metal, only metal-influenced, and so they bring in all of the dysfunctional mid-therapeutic behavior for which indie bands are notorious. The result has been adulterated quasi-metal like Deafheaven, Mastodon, Isis, Pallbearer, Babymetal, Pelican and Vattnet Viskar which has attracted a new audience of underconfident, neurotic and conformist fans while driving away the audience metal built up from the 80s-90s.
Today, Neurosis confirms the band’s invitation to perform at this year’s upcoming installment of the massive Heavy Montréal Festival, in Montréal, Quebec.
Neurosis is one of the latest acts to be confirmed for Heavy Montréal, having just been announced alongside the likes of The Devin Townsend Project, Sanctuary, Obscura, Cattle Decapitation, Revocation and more, joining the roster of artists already confirmed to play at this year’s event, including Slipnot, Faith No More, Korn, Lamb Of God, Iggy Pop, NOFX, Mastodon, Meshuggah, Testament, Nuclear Assault and countless others. The open air Heavy Montréal gala will overthrow Quebec’s largest metropolis on August 7th – 9th, and Neurosis will take the stage on the opening night, Friday, August 7th.
Prior to their Heavy Montréal debut, Neurosis will make their return to the brutalizing Maryland Deathfest in Baltimore on Memorial Day weekend. Running from May 21st through 24th, the band’s Neurot Recordings kin Yob and Ufomammut will perform the opening night of the event, while Neurosis is set to play the final evening, headlining the Edison Lot A stage, following performances from Skepticism, Winter, Goatsnake and Tombs on the same stage.
Additional Neurosis live actions will be announced in the very near future.
Neurosis Tour Dates:
5/24/2015 Edison Lot – Baltimore Maryland @ Maryland Deathfest
Parc Jean Drapeau – Montréal, QC @ Heavy Montréal
The phenomenon of #MetalGate expands as social justice warriors (SJWs) find themselves on the defensive, so they have retaliated with their favorite accusation: “There’s no issue here!” They want you to believe that #MetalGate was drummed up in response to “just two lines” in a SPIN article.
In their spin (no pun intended) metalheads and #GamerGate veterans formulated this whole situation out of pure hype, despite these being only a few of the articles written to try to shepherd metal into bowing down, becoming sociable, adopting the dominant paradigm of its age, and in other words becoming like everything else in media and music in its endorsement of an agenda favored by some people but not most metal fans: 1 2 3 4 5 6 7 8 9 10 11 12. These are just a sampling of the many articles written about metal and how it is either bad and terrible because it is not PC, or how now that it has become focused on “social issues” — generally something only grindcore bands do — that it is OK for normal, soft, fluffy and well-intentioned people to like it, but only the good bands with the right opinions. You know, the opinions like those of the 1960s bands that metal rebelled against in the first place!
Now let’s look at those “just two lines” again:
Metal is still dogged by the issues that arise from its deep-seated conservative values, but thanks to an increase in conversations about racism, politics, and feminism, those on the right side of history have gained solid ground.
Two-line statements have launched wars, ended careers and brought down economies. The question is the content of those lines, and in those words the writer tells us that metal is conservative, conservative is bad, and thus metal is bad, and that metal is on “the wrong side of history” if it does not start immediately making its focus creating propaganda (and let’s be fair: preachy lyrics are propaganda) about “racism, politics, and feminism.” This assumes that metal has not addressed these issues in the past and found another way of addressing the underlying issues. When the writer at SPIN says that metal needs to adopt these issues, she means that metal needs to preach the dogma she agrees with and abandon its own take on these issues. For political fanatics, framing of the issues is everything, and they frame those issues so that their conclusions are the only ones you can reach.
What we have here, as in #GamerGate, is a small group of people who — being inclined toward media and pop music — have infiltrated the metal scene and are trying to use it to preach their own propaganda. Metal already has its own way of addressing all these issues. We do not need to be bullied into agreeing with this small group of SJWs who contribute nothing but commentary and support only the “new” metal bands which are most emphatically not the classics of the genre, nor in the views of many of us anywhere near the quality of the classics. But these bands have the “right” opinions, you see, and for these fanatics, that is all that matters. Their latest attempts to minimize #MetalGate are just an attempt to distract and deflect from that reality, but they have picked the wrong group to attack, because metalheads specialize in unpleasant realities that socially pretentious people would like to avoid.
If you want something done right, do it yourself. That also applies to being yourself. Metal has a commodity that the markets and social groups want, which is that it is untamed. Rebellious. Disobedient.
That type of rebellion, if domesticated and made harmless, could mean a lot of money. Your hum-drum product could now be an “edgy lifestyle choice.” Your boring minivans could seem like party wagons. Your corporate brand could get some spiff back in its step and be dangerous again, with a little heavy metal(tm) brand rebellion.
And yet, metal resists. To be used by others for their own purposes is to be conquered, and to be conquered is to be assimilated. For metal that would mean being another flavor of rock, which is the music we turned to metal to escape. In other words, total failure.
Not everyone got the memo. There are a number of bands, both successful and obscure, trying to make a name for themselves by helping with the assimilation. It’s time to mock them sadistically and take vengeance upon their self-image.
A fantastic example of how modernity twists the heart of black metal beyond recognition, this album is fruity symphonic rock masquerading as metal through the vocals and guitar tone. Songs start with nothing and go nowhere, though still manage to take up an inordinate amount of time. Entirely derivative of what came before it, there is nothing on this disc to make it distinguishable from the other bands in this style; though at least the groove is catchy.
With over a hundred releases, you would think this one man band would stumble upon a consistent formula or develop some song writing ability. Wrong. This uses the overblown “recorded through a trashcan on a boombox” aesthetic to fool the unwary into thinking it’s black metal, but it’s just ineptly performed 3 chord garage rock played with marginally faster tempos and over processed vocals that make Xasthur sound like The Three Tenors. Occasionally, early Satyricon/Ulver styled weepy riffs are played, but the inclusion of a Stooges cover confirms this guy should just quit poisoning the world of metal with his toxic, vapid nonsense and play in a pub band.
“Artistic” performance dancers music video and “moody” image aside, Altar of Plagues attempt legitimacy with metalcore fans/Facebook headbangers by playing the “we heard Deathspell Omega” card. Gone are the weepy and whiny one dimensional Slowdive songs for clinical depressives, and here is The Dillinger Escape Plan attempting to intonate their guitars during a meth binge. All the faux-intellectual interviews about Björk having more artististry than “that stupid death metal nonsense with the blastbeats” doesn’t change this simple fact of life: screaming over random dissonance while stop-start “hitting a trash can” noises are played over it is not “high art.”
Another example of mashing rock together with black metal, this one goes for the carnival of progressive and “space” rock being the focus of songs, together with riffs somewhat reminiscent of black metal if it were made by hearing-impaired children with Down’s Syndrome. Combined with ANGRY MAN vocals and lyrics so profound even your local metalcore band would be in awe, this band truly has it all for the devoted hipster. Functional people need not apply.
Stupid protest rock by indie slam poets who play black metal ironically to get people to donate to AIDS research and “spread awareness” about other “social concerns” while rebelling from the safety of their Minnesota suburb. This is not black metal in the same way bands like Liturgy and Deafheaven aren’t. It’s a bunch of weepy, bittersweet screamo chords strummed really fast in a constant cycle while a violin wanders about aimlessly over the whole dreck to drum up some claim towards being “avant-garde.” Mundane crowd-friendly themes are pushed to the forefront to create a “safe, friendly and social” version of “black metal” that soccer moms with bowlcuts can listen to while on their way to the Deepak Chopra book club meeting in their “food not bombs” sticker adorned SUVs.
Here we go again. What are they calling it these days anyway? Black n’ roll? This is no different than a poppy Oi punk band occasionally lapsing toward Venom-dom while flaunting Bathory and Hellhammer patches for “forum cred”. “EXTREMEE!!!!!” moments occur in a third rate NWN Blasphemy ripoff moment here or there, but it lapses into what sounds like happy 3-chord rock n roll all over again. This is the “black metal” version of Nirvana’s Bleach LP.
Is metalcore the final frontier for stupidity? Claiming to be a “progressive and technical death metal”, you can be assured from the band photo of college hipsters that this is not. “Djent” rhythm noodling, tough guy grunting, and a “beetle rattling around in a plastic bin” drum performance are just sideshow elements of what this band truly is: Spawn of Possession playing their favorite moments from Underoath and Thrice songs in double speed. This platter is so weepy and weak despite it’s speed and down tuning that this band might as well drop the whole “metal” act and just become Paramore already.
After seeing how pop music in disguise can be construed as something “unique” after touring with Animals As Leaders and discovering Sumerian Records, Cynic further desecrate their name by hiring the same PR firm that Opeth and Ulver consult with when writing their testosterone sapping abominations. The end result: Coldplay with ADHD. The only element retained from their past are their Holdsworth-esque lead noodlings, but there is no metal to be found here. Even the vocoder was dropped for choir boy whining and multi-tracked prepubescent crying, taking the forefront in songs that emotionally peak in a way that give them the feel of one of those “deep” Adele songs that go viral on Facebook.
Wolves in the Throne Room was pretentious and bad, but this… Most of the tracks flounder about lifelessly with no purpose in a manner similar to Slowdive or Spiritualized while an “agonized” vocal track whines in a manner similar to Anathema and then, wait for it, the innovation occurs! Remember when people heard black metal to hear black metal? BORING. Now we have been graced with Fen’s contribution to the world of underground music: throwing out the vocal track to later day Katatonia songs and replacing them with raspy vocals. Like the other shoegaze black metal infiltrators, this band’s extreme riffs sound as heavy as a Type O Negative single and they will stop at nothing into forcing you to give up on life and retire to a frivolous existence of buying Deepak Chopra books and talking about the latest Walking Dead episode while in line at a Starbucks.
Everyone knows underground metal from Finland is often “quirky”, but …and Oceans have no character or idea to express beyond radio rock song craft with In Flames video game muzak underpinnings. So how do they draw attention? Covering it up with a “strange” band image, stupid name, tons of samples, and electronica interludes. This album makes post-1994 Amorphis look consistent by comparison. All of the “avant-garde” gimmickry this band employed doesn’t change the fact that this is Rob Zombie with swede-AIDS.
If this isn’t a joke… Going from Dimmu Borgir “extreme” blast section to a mash up between Voivod and Marilyn Manson before culminating in Queen styled stadium rock in one song, this band is about as “black metal” as Cradle of Filth at this point in their career. Like other sham artists Aborym and Ved Buens Ende, Dødheimsgard seem to think making a melange of the goofiest and most obnoxious sounds in juxtaposition to “harsh” metal moments is an evolutionary step forward. The androgynous band image suggests this band is making an attempt to draw in the Dimmu mall-goth crowd. In a perfect world, these clowns would drop the guitars and rasps out of their music, delete the extraneous elements, and just become VNV Nation or Apoptygma Berserk.
Maybe people were right in criticizing Obituary for wearing jogging shorts and touring with Madball and Agnostic Front during their The End Complete era. What we have here is pure, unadulterated idiocy. Nothing about this is metal at all. Growled out rap verses over chugging rhythms that demonstrate all the redundant noise one can possibly churn out of the first 2 frets on a drop tuned 7-string does not change this from being anything other than being hip-hop on guitars. “Liege of Inveracity has a slam riff” they say… True, but Effigy of the Forgotten didn’t sound like the Wu-Tang Clan either.
Djent with rapping vocals. Let that settle in for a moment. A conspiracy theory website lyrics slant for an image of “social awareness” to flaunt “importance”. What does this all mean? The abomination known as Hacktivist. With bands like Periphery and Animals As Leaders infiltrating the metal underground with their “deep” nu-metal for the impressionable, it’s no surprise that someone would attempt to “legitimize” this genre by force feeding the masses what is effectively Limp Bizkit after some guitar lessons. For all the “dissing” aimed toward the New World Order, this album reeks of a product that only modernity and globalization can produce.
It’s no surprise this band got so big. Utilize the hipster rock slant Clutch uses for “street cred” with trucker hat sporting “stoners”, but then add the radio rock of The White Stripes into the mix, and you have even more inoffensive teen rock that sounds like Weezer. This band’s music is so painfully banal that it would be no surprise if one of their tracks has been licensed for use in a 16 and Pregnant episode.
Somewhere out there, someone in a Sonic Youth t-shirt smoking a cigarette wedged between his pinky and ring finger came in his pants. By teaming up with singer-songwriter Feist, Mastodon have released their most hipster pandering product yet. Covering each others songs reveals the true ethos behind these abominations – weepy garage rock. You can throw down-tuned instruments and “loud” drumming at this thing all you want, but this is just Weezer covering an Alanis Morrissette song from both sides. Similar to other flavor of the month sham peddlers Boris, Mastodon is all ironic posturing first, band second.
If you thought nobody would ever bother make an album consisting only of distorted guitar arpeggios and linear synth lines, you would be wrong. How this gets filed under black metal is a mystery, as this album is not even metal to begin with. This is hipster lullaby music, an album perfect for listening after consuming just a few too many frappuccinos. In fact, Starbucks should play this in their advertisements. They’d probably make a fortune.