The folks at Nihilistic Holocaust webzine recently uploaded a rare cassette interview that an unknown fan or journalist managed to score with Quorthon of Bathory. To my understanding, while there’s a reasonable amount of historical documentation of early underground metal, a lot of it is locked away in unscanned fan magazines, unpreserved recordings, and so forth. It’s always interesting when someone unearths these documents. This specific interview showcases Quorthon documenting his experiences touring, working with Black Mark Productions, releasing various albums and so forth. Definitely worth your time if you have a spare 15 minutes.3 Comments
A non-Hessian friend once pointed out to me that metal music is essentially avoidance. With its nihilistic outlook it seemed to him to be just shuffling meaning around, never really reaching a conclusion or be able to produce a complete artwork.
Faustian? Pah! It may enjoy details of the world’s harsh realities, the death and gore and decay, but only because the transient nature of death allows for constant change, consequently avoiding all meaning. Which means we may contently pull back in some basement, still fearing reality as a whole. That’s what you get with bands obsessed with death.
Classical? Pfft! How could it be? Metal is too sensuous, delving in creepy subjects and gritty riffs without any sense of spirit or abstract idea.
Unsurprisingly, I think this is writing it off too quickly.
Metal is certainly content with the world, but does that make it materialistic? It does not like society perhaps; metal loathes its stale “bourgeois” mentality, yelling “Fake! Fake!”, and it loves the hedonistic.
But metal nevertheless hungers for the epic, a “heavy” greatness and seems to enjoy the game that nature is playing. Metal found that society was materially flourishing, but also found decay in the souls of the bored everyday man, echoing the troubled mind of Fenriz of Darkthrone who loves art that comes from “the exhaustion of easy life”.
To awaken us, metal explored natural decay. But not as a materialist act: needless to say, with their obscure imagery, dark riffs and haunting vocals, metal bands created a mysterious world that seemed more honest, more real than the life in any Western metropolis. Lauren Wise writes:
Heavy metal seemed just like classical music to me: It was ritualistic, accepting of death and change, questioned authority and normalcy, and satisfied that need for an overture or reconsideration. It was as if classical and metal both quenched my need to understand the positive strength and ultimately horrific nature of the world. Metal may be less refined, but it still seeks to express that philosophical assumption about life.
Metal found life in death – initially as a warning, later as full-on Romanticist nature worship – and that beautiful paradox sums up my answer to my friend: Metal seeks essence, it does not avoid it – but it takes no prisoners.No Comments
Article by Bill Hopkins
“We might even say that to be fully modern is to be anti-modern: from Marx’s and Dostoevsky’s time to our own, it has been impossible to grasp and embrace the modern world’s potentialities without loathing and fighting against some of its most palpable realities.”
—Some overweight sociology professor
Metal, like any manifestation of culture, doesn’t emerge from a social vacuum. So much should be uncontroversial. This raises a question in need of reply: What set of ideas and social forces explain the existence of metal? One hypothesis is to view metal as a manifestation of European romanticism , the period of European culture from roughly 1789 to 1850. This article suggests a different hypothesis: namely, that metal must be placed against the backdrop of post-modernity in order to be properly understood. In order to make this case, it is vital to understand ‘post-modernity’. Many confuse post-modernity (1960s-) with modernism (1890s-1930s), especially when it comes to art. Thus, a secondary goal of this article is to illuminate post-modernity. I will argue that one key imputes giving rise to metal was post-modernity’s re-engagement with past forms .
One naïve view of post-modernity, especially in its artistic manifestations, views it as an elitist movement intent on offending traditional and bourgeoise sensibilities by embracing the ‘shock of the new’ and the absurd: think of the sort of art piece your intellectually disabled 3 year-old could do if given a paintbrush and a blank canvass stretched out on the floor. However, this is to mistake post-modernity with modernism. Modernism preceded post-modernity by decades. It began in the late 19th century and had all but dissipated in time for the lead up to WW2. Not only this, modernism was primarily an artistic movement whereas post-modernity refers to sweeping social and economic changes in addition to artistic ones.
As we will see, post-modernity is characterised by a re-assessment of modernism’s ‘shock of the new’. In order to explore post-modernity and its connections with metal more fully, however, we need to take a few steps backwards before going forwards. We need first to understand the broader concept of ‘modernity’ (1789-). What is modernity, such that ‘post’-modernity is contrasted with it?
As predicted here, the takeover of underground metal by late hardcore tinged substitutes has failed. This music, which we might call “soymetal” because it appeals more to the emo hardcore audience than the feral and realistic traditional metal one, took over because after the underground fizzled in the hands of NWN/FMP impersonators, labels found a new audience in whiny millennial SJWs. (more…)11 Comments
Death Metal Underground has formalized a policy that it WILL NOT doxx any former writer, editor, user, or frequent commentor. So to those former editors and former writers that continue to hysterically spam the comments section in bitterness of our current staff’s superiority without realizing you’ve used your actual/writer names from the same IP address, don’t worry- I won’t doxx you, even if I may have threatened in classic Brock-mind-game fashion. While you are correct to assume hot-blooded Brock Dorsey is the most sadistic writer/editor in the entirety of music journalism and will go further than any other, I can assure you that I do in fact bare the loyalty of the Templar. In all and complete seriousness, I dearly respect each and every writer that has contributed to Death Metal Underground over its nearly 3 decade reign, and especially hold admiration for the editors that had the strength to survive more than 6 months as creating daily engaging content for a metal site is quite the challenging task. You all are welcomed and encouraged to return, but I can’t promise you won’t receive IP bans if your menstruation levels are inexcusably excessive as they have been lately due to the Templar mercilessly trampled over your reissue-marathon coverage and your boring beta-male occult philosophical outlook. I also am infinitely grateful for our frequent readers and especially those who consistently engage in our nihilistic killing fields of a comments section, even if we have opposing points of view and particularly when feedback is thoughtfully challenging of the narrative.
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
Sometimes in between quests for the perfect transcendent meal, you wind up in the drive-thru. There’s nothing wrong with that- not every action in life has to be one of self-discovery or grandiose vision- sometimes you just want to destroy yourself as a brief respite from analytical or introspective journeys, which actually provides a contrast that truly showcases the merit in the pursuit of depth but also gives an objective worth to consumables that are designed with much less substance in mind. There is a place for what is now known as “slam” in the death metal pantheon, and as with any subgenre of course the progenitors are the best examples of it, as prior to its neanderthalic fall from grace it started as marriage of the percussive elements of Suffocation with the over-the-top imagery of gore-focused grind bands while limiting the use of humanistic elements like melody and cyclical structure. This is a more than valid metal style as it does actually transcend a known formula through divorcing it from song archetypes and instead celebrates an ignorance that is mirrored perfectly in masochistic savagery. Given that is is more rhythmically focused than previous death metal styles is it natural that it would meet its downfall by travelling down an insultingly urban path that betrays the savagery it had once wielded, but it is still worth revisiting a few choice releases to analyze what may unfortunately be the last true movement in a dying genre at the turn of the century.10 Comments
November 8th, 2016. Manhattan, NY. Election night. I was there.
Wading back and forth between a crowd of suits and red hats gathered outside the Fox News building on 6th ave and a similar group gathered a few blocks north outside the Hilton hotel where the soon-to-be President-Elect was present, I celebrated ecstatically as electoral college results came in showing my favorite politician on the cusp of capturing the presidency. All of us were over the moon with excitement and bliss, particularly because New York City had seldom presented a place where support of the man the media branded as Hitler 2.0 could be expressed openly.
While walking home and passing virtually every media truck parked for a mile along the road where America’s next President prepared his victory speech, a young NPR reporter excitedly rushed over to me with her microphone and cameraman after seeing the ridiculous “Trump 2020” pins on my shirt. I agreed to her request for interview and explained why I thought Trump’s non-interventionist foreign policy and realist economic objectives would benefit the country’s middle and working classes. Admitting her surprise to learn that I was a compliance director working near Wall St. and not the basic redneck Trump voter the media had branded us as, she asked if I was excited about the likelihood of supporting Trump being more socially acceptable now that he was president. “Yeah” I said “It finally won’t be taboo now!”
We could not have been more wrong.
Tags: brett stevens, Brock Dorsey, conservative, daniel maarat, death metal, death metal underground, Decibel Magazine, donald trump, Editor, Editorial, Heavy Metal, imperial, Invisible Oranges, lifestyle, MetalSucks, new media, politics, Republican, right-wing, Trump
At the truest heart of metal lies a voice embodied, somewhat childishly, somewhat ineptly, but no less clearly and latent with potential, by Mayhem’s Deathcrush. The re-inversion of all values that metal enacts starts with the embracing of what modernity would see as its sickness unto death. The despair and sin of sickness unto death become vital active elements in the morbid minds of those who would vanquish dogmatic preconceptions in the Sky God Religions and their secular humanist counterparts. Being, in essence a way of connecting back to itself, the ideological blockages set up by this dead-end society had to be faced head on. Herein lies the relevance and meaning of the present album. Despair is converted into pure energy, the rules disavowed, the road of sin is tread fanatically as a method of purification —a negative unity of evil towards the beyond, away from human-ness in its modern form, away from mundanity. For the burgeoning underground, as seen from Mayhem’s perspective, primacy would placed on being and its dark discovery of self, against the presumption of knowing, and the oppressive, futile impositions from above. All knowing, all value of music, would come from this ‘being’, from a dark exploration of the soul possessed by a cosmic force of destruction.14 Comments
The success of endeavors that carry with them the implication of development or transformation, such as the evolution of an artistic genre (without any relation to the ‘progress’ of dialectical materialism), requires the constant testing of strength, the crossing of one’s boundaries. Contrary to the beliefs of the simple minded, this does not mean that the act of crossing those lines is in itself enough for a fully-formed conclusion to be presented, although there is indeed great value in violation itself. But one could argue that the great weapons of the mind, enacted, come as a result of a full digestion and re-application of invaluable experience and information that comes from the crude testing of strength, directed towards the intuited limits of the yet unexplored.