In Brett Stevens Nihilism, the author introduces an article consisting of a series of twelve lessons which he describes as an awakening to the reality of life. A tinge of morality seemingly colors the lessons, but upon closer look, the prescriptions given are described in a way that one can see them arising from causal, qualitative observations.
In all this, there is, of course, the singular opinion of the author. In approaching a discussion and description of said ideas, the latter will be kept in mind, opting to expand, interpret and focus. Also, in order to respect the integrity of the book wherein these appear, they will not be spelled out either in their titles nor in their original exposition. (more…)
Power Nihilism is a ruthless yet entry-level application of logic to religious, moral and political superstitions of all kinds. Central to this exposition is the clarity given by the ‘is-ought gap’- something apparent to independent minds given to logical thought which is also commonly known to students of philosophy (themselves apparently often unable to come to this logical conclusion on their own) as Hume’s Guillotine. The idea is basically that one cannot derive absolute ‘oughts’ from ‘facts’, since the latter are simply ‘descriptions’, while the former are ‘prescriptions’. “The only ‘oughts’ that are cogent,” argues Stillwell, are those conditioned by a formula entailing the wish of an effect based upon causes (if one wants ‘A’ to come about, then ‘B’ ought to be brought about). (more…)
Black metal, as any art, spans not only the musical, but the ideological as well as some kind of social component. Those who claim its flag range from popular musicians dressing up, to occult panderers playing at magickians, to extremists, to individuals that society would consider degenerates. There are more groups that could be mentioned but that we do not need to mention explicitly. Needless to say, all of these groups have a very different understanding of what black metal is, and what their seminal exponents such as Quorthon intended or what his work represents, or should represent, once it was out of his hands.
Colorful and dynamic, Adversarial’s brand of nu-black metal has many compelling moments and even long stretches of song, but overall falls prey to a combination of high-level meandering in search of an “atmosphere” while loose reign is given to the drums to fill in gaps with flare without any substantiation. In their defense, most of the instruments seem to work in a very directed manner, a direct result of the simplicity of the music, although this integration and interplay is not as clearly done or focused on a full musical-conceptual balance like Kaeck’s Stormkult.
Ultimately, the most compelling aspect of Death, Endless Nothing and the Black Knife of Nihilism is its delicious production. Everything is both pristine in the dirty and powerful way that violent death and black metal are mandated to be heard. Unfortunately, when one pays close attention to the development of whole songs, it is easy to notice that the songwriting does not rise above the level of, say, Peruan black metal band Goat Semen. In fact, given that Adversarial are more prone to that modern atmospheric meandering that is vaguely reminiscent of post-modern chord-hanging, I would rather listen to the forward moving and still related riff progressions of Goat Semen, although these also, in the end, do not amount to a clear picture of anything except the violence they produce outright.
While these will delight metal listeners that lie on the heavy and consistent pleasure-seeking spectrum, those in search of a balanced unification of images and respectable music construction will find nothing here.
Canadian death metal band Adversarial are ready to release Death, Endless Nothing and the Black Knife of Nihilism. The band’s first full-length since 2010’s All Idols Fall Before the Hammer is made up nine tracks of blasphemous metal.
Dark Descent Records has announced an August 21 release date for Death, Endless Nothing and the Black Knife of Nihilism on CD, vinyl and digital formats.