Immolation are legends in Death metal and rightfully so, though their heydays were after the initial burst that characterized the NYDM scene and have cemented their place with the likes of Cryptopsy and Immortal for prolonging the lifespan of that classic period of metal. Longevity seems to be the forte of the band’s centerpieces Dolan and Vigna and while they released a few decent albums, none of them quite hold up to Here in After. Black Sabbath and Slayer stretched the palette for what was possible in metal and introduced endless possibilities whereas Immolation took one closed approach and pushed it to its limit on this album. Though Close To A World Below took experimentation further, the whole was not as cohesive or powerful. Let us look as the closing track which truly concludes the album.
Recently many of the other “metal” websites, blogs, publications et cetera have been doing articles about the business side of music industry. Unsurprisingly none of these articles had the testicular fortitude to address the ugly reality of the underground metal economy as they are written by either slaves to the machine itself or losers who genuinely believe that they have “careers” in music which heavily depend on acceptance by the community. Since the Death Metal Underground staff bow to no masters social or corporate, we are in the rare position give you the truth in its rawest form. So with absolute disregard for the powers that be in metal, let’s take an honest look inside this machine to see how it really works.
Nu-metal and metalcore website MetalSucks posted the “The MetalSucks Manifesto” today, reaffirming their stance as communist social justice warriors. Donald Trump’s triumph in the 2016 United States presidential election apparently did not dishearten their leftist delusions. A neighbor to the MetalSucks headquarters in Axl Rosenberg’s Brooklyn tenement apartment has revealed exclusive insider information to Death Metal Underground about the activities of the MetalSucks politburo of Axl Rosenberg, Vince Neilstein, and Emperor Rhombus during the week following Trump’s victory.
While 1349 did not quite make good on their promise of delivering a battlefield soundtrack at blistering speeds, Rebaelliun have taken the reigns and driven their blazing chariot into a chaotic realm of vicious blasts and reckless shredding the likes of which many bands have intruded upon only to be cut down due to their inability to survive such an onslaught.
In the past, bands such as Aeon have presented some unworthy offerings at the altar of Deicide, but Rebaelliun diminish those halfhearted efforts even further by adapting their mentor’s tactic of relentlessly aggressive songcraft while actually understanding intuitively their spirit of hatred and hostility. Using the individual musical elements of the band as gears in clockwork, the players rev up the horsepower until the cogs are spraying white-hot sparks.
Ok, so, I was listening to the YES album Close to the Edge with my best friend Rick Ossian yesterday, and as is usually the case when we listen together, I started to contemplate its deeper meaning in a new way.
In a 1996 interview, Jon Anderson mentions Herman Hesse’s Siddhartha as an inspiration for this album, so there is a stated philosophical source. Even taking that statement as true, we can see in the lyrical imagery an embrace of other traditions. Acknowledging one source of inspiration does not exclude the possibility of other literary groundings. I’ve long noted Platonic elements in the classic YES albums. One could say that they are usually close to the edge of a greater understanding. Their lyrics often puzzle us, and it may be valid to postulate that the lyrics sometimes serve as way of adding the vocals into the instrumentation as an element of the overall sound. That in itself is Platonic: seeing that the surface can be altered to serve a greater truth, that it need not be only a linguistic item. That said, it is also possible that the lyrics have an allegorical sophistication that works across other traditions.
I will be arguing just this premise: that the lyrical content of Close to the Edge operates on an archetypal level, and that even if the inspiration is drawn from Hesse, YES uses framing and language from multiple traditions to connect to listeners. So, as I was listening with Plato in mind, and as I did so, I understood how it was that the Platonic elements were woven into this album. I had long suspected a Platonic basis, but yesterday, I looked at the lyrics and knew how I knew. Perhaps without meaning to do so (though there are certainly moments where it appears to be deliberate), YES incorporates imagery from the crucifixion narrative into the lyrics of this album. Those familiar elements serve as the nexus between the words and the Platonic underlay. I may never have noticed this if Rick and I had not sought to listen to this album and Analyze It to Life.
I have long held that Calvary is the most profound literary moment in the Western tradition. There are numerous reasons for this, some of which I’ll discuss. I won’t be saying anything new about the crucifixion itself; in fact, this argument rests on the familiarity of the crucifixion narrative. The thrust of this analysis will be about the ways in which crucifixion imagery activates an archetypal approach to the album. I’m arguing that the Platonic and Christian elements (and even Hesse) are parts of the same basic inventory of archetypes. I’m not seeking any outside sources (for the moment, anyway). The album, the King James Bible, and Plato are my sources. I’m not sure if this has been argued elsewhere or not. An occasional nod to Siddhartha may be needed, but this analysis is devoted to elements heretofore not interrogated. It seems very likely that YES has consciously written in multiple viewpoints, though it is possible some of the archetypal elements may have been included unconsciously. Archetypes apply to everyone, and YES may have been governed by them just as the listener is.
Whether or not they meant to activate the subconscious, YES has done so on this album. The lyrics include the words “crucified,” crucifixion,” “cross,” “preacher,” “teacher,” and “nail.” While the importance of the river can surely be tied to Siddhartha, the biblical implications of a river speak for themselves, and Lethe (the River or Forgetfulness) also plays a role at the end (the edge) of Plato’s Republic. In each instance, the river marks the edge of transformation or edification. There also appears to be a relatively clear expression of, in fact sometimes a recapitulation of, the chronology of the biblical narrative itself, and certainly the path to salvation that narrative offers plays a role in the thematic content of this album, for both individual believers and the savior who holds it. So, that chronology will surface as I explicate the references to the crucifixion narrative. Bear in mind that the purpose here is to reveal the album’s Platonic/archetypal underpinnings. The larger constructs of the actual and the ideal, the GOOD, and the glimpse are the archetypes that seem to rise to the top here, and the biblical imagery surely makes references to Siddhartha more easily apprehended for a Western listener as well. The biblical elements are the illocutionary force (suggestion) deployed in the lyrics; the archetypal elements are the perlocutionary force (perception) that makes this album the enduring masterwork that it is.
Here beginneth the lyrical analysis. I’ll take one song at a time, in the order they occur on the album: “Close to the Edge,” “And You and I,” and “Siberian Kathru.” The order is important. This isn’t an exercise in cherry-picking; it’s an enterprise in analyzing it to life.
“Close to the Edge”:
As I mentioned, there seems to be an observance of the chronological order of the crucifixion narrative, and while that sequential similarity exists in more metaphorical ways across the album, it sustains remarkable fidelity in this song. Given the fact that this song constitutes nearly half of the entire album, it is fair to say that the sequential imperative persists into the remainder of the overall work. An important question, naturally, is “Where does that narrative begin?” Drawing from the order of the album, the narrative begins with Christ’s baptism by John the Baptist. In fact, the first two verses in the song evoke this.
A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / Achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.
The Romans saw John the Baptist as a mentally unstable rabble-rouser, a “seasoned witch” stirring up religious fervor by suggesting that sins needed to be washed away (“call you from the depths of your disgrace / and rearrange your liver to the solid mental grace”). Those who sought purification from him knew that their venal human weaknesses, “the fruit of man recorded losing all against the hour,” would ultimately be cleansed by the Messiah John heralded “with music that came quickly from afar.” John the Baptist’s stated purpose is to call sinners to God’s forgiveness, anticipating the deliverer who would purify them beyond his imitative cleansing, as articulated in Matthew 3:11: I indeed baptize you with water unto repentance: but he that cometh after me is mightier than I, whose shoes I am not worthy to bear: he shall baptize you with the Holy Ghost, andwithfire.”
This begins both the story of the crucifixion narrative (because it foreshadows the eventual sacrifice on the cross required for the forgiveness John suggests Jesus brings) and the Platonic underlay (John is an imitation of Jesus, who is a tangible form of the Holy Spirit). In a masterful literary move, YES has initiated a multilayered allegory in four verses.
The opening verses are followed by four more verses, then the chorus—which explains where the edge is—then another verse with a direct suggestion of divine intervention remarkably indicative of Numbers 11:9: “And when the dew fell upon the camp in the night, the manna fell upon it.” In fact, there seems to be a reference to the first part of the verse before the chorus and the second part after it (not to mention the use of the work “crucified” immediately after the use of the word “Manna”—our link to a biblical level of allegory),
And assessing points to nowhere leading every single one A dewdrop can exalt us like the music of the sun And take away the plain in which we move And choose the course you’re running
Down at the end, round by the corner (Not right away, not right away) Close to the edge, down by a river (Not right away, not right away)
My eyes convinced, eclipsed with the younger moon attained with love It changed as almost strained amidst clear manna from above I crucified my hate and held the world within my hand There’s you, the time, the logic or the reasons we don’t understand
While this is an Old Testament verse, it sustains the idea of divine salvation, and the notion of Manna suggests communion, perhaps hinting at the Last Supper episode of the crucifixion narrative. With the river metaphor evocative of Christ’s baptism interposed as a chorus between the two halves of the verses, and especially the dew (water) and manna (bread) being placed on either side of the chorus, it does seem to echo the verse from Matthew quoted above. Further, the antistrophic “Not right way” in the chorus seems to recapitulate John’s assertion that the true savior’s arrival is imminent: the water washes away the past sins, the bread sustains the future of salvation. From a Platonic perspective, the shadows of human existence are eclipsed by the greater reality of expanded perception as portrayed in Book 7 of the Republic,
Socrates: To them, I said, the truth would be literally nothing but the shadows of the images.
Glaucon: That is certain.
S: And now look again, and see what will naturally follow if the prisoners are released and disabused of their error. At first, when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive someone saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision, -what will be his reply? And you may further imagine that his instructor is pointing to the objects as they pass and requiring him to name them, -will he not be perplexed? Will he not fancy that the shadows which he formerly saw are truer than the objects which are now shown to him?
G: Far truer.
S: And if he is compelled to look straight at the light, will he not have a pain in his eyes which will make him turn away to take and take in the objects of vision which he can see, and which he will conceive to be in reality clearer than the things which are now being shown to him?
G: True, he now
S: And suppose once more, that he is reluctantly dragged up a steep and rugged ascent, and held fast until he’s forced into the presence of the sun himself, is he not likely to be pained and irritated? When he approaches the light his eyes will be dazzled, and he will not be able to see anything at all of what are now called realities.
G: Not all in a moment, he said.
S: He will require to grow accustomed to the sight of the upper world. And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day?
S: Last of he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as he is.
YES captures this in the verse “A dewdrop can exalt us like the music of the sun.” We see the same idea expressed in Matthew 3:16: “And Jesus, when he was baptized, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him,” or the heavenly body of the Moon here, the eclipsed moon, that is. After this is the reference to “crucified my hate,” which foreshadows Luke 23:34: “Then said Jesus, Father, forgive them; for they know not what they do. And they parted his raiment, and cast lots”: a stunning Platonic juxtaposition of the eternal truth of forgiveness with the temporal human incapacity to recognize the savior for his clothing, or as YES has it “you, the time, the logic or the reasons we don’t understand”: a basic summary of the Platonic argument quoted above.
The next verses of the song evoke a more Platonic than biblical moment. That said, they do seem to include a basic archetypal motif of elevation and increased perception, of the physical and temporal manacles giving way to the apprehension of a greater truth:
Sudden problems take away the startled memory
All in all the journey takes you all the way
As apart from any reality that you’ve ever seen and known
Guessing problems only to deceive the mention
Passing paths that climb halfway into the void
As we cross from side to side, we hear the total mass retain
While these lyrics surely allude to Siddhartha, the also express the general principles of progressive illumination and serve as a reminder of the Platonic/archetypal foundation of the album: a direct rendering of the philosophical inspiration.
The next verses of the song seem to suggest Christ’s resurrection and appearance to Mary and the disciples as articulated in John 20:11-31:
11 But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre,12 And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain.13 And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away myLord, and I know not where they have laid him.14 And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus.15 Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away.16 Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.17 Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.18 Mary Magdalene came and told the disciples that she had seen theLord, and that he had spoken these things unto her.19 Then the same day at evening, being the first day of the week, when the doors were shut where the disciples were assembled for fear of the Jews, came Jesus and stood in the midst, and saith unto them, Peace be unto you.20 And when he had so said, he shewed unto them his hands and his side. Then were the disciples glad, when they saw theLord.21 Then said Jesus to them again, Peace be unto you: as my Father hath sent me, even so send I you.22 And when he had said this, he breathed on them, and saith unto them, Receive ye the Holy Ghost:23 Whose soever sins ye remit, they are remitted unto them; and whose soever sins ye retain, they are retained.24 But Thomas, one of the twelve, called Didymus, was not with them when Jesus came.25 The other disciples therefore said unto him, We have seen theLord. But he said unto them, Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe.26 And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, Peace be unto you.27 Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust it into my side: and be not faithless, but believing.28 And Thomas answered and said unto him, MyLordand my God.29 Jesus saith unto him, Thomas, because thou hast seen me, thou hast believed: blessed are they that have not seen, and yet have believed.30 And many other signs truly did Jesus in the presence of his disciples, which are not written in this book:31 But these are written, that ye might believe that Jesus is the Christ, the Son of God; and that believing ye might have life through his name.
And the YES lyrics,
In her white lace, you could clearly see the lady sadly lookin’ Sayin’ that she’d take the blame For the crucifixion of her own domain
Two million people barely satisfy Two hundred women watch one woman cry, too late The eyes of honesty can achieve
Then according to the man who showed his outstretched arm to space
He turned around and pointed, revealing all the human race
I shook my head and smiled a whisper, knowing all about the place
On the hill we viewed the silence of the valley
Called to witness cycles only of the past
And we reach all this with movements in between the said remark
These lyrics nearly paraphrase the biblical account. The two million people elicits an image of the new faithful, the two hundred women symbolize the two angels, and the lady in white is the immaculately conceived Mary come to take away the body, her crucified domain, and “the man who showed his outstretched arm to space” represents the risen Jesus who instructs Mary and the disciples in how to sustain his legacy.
And You and I
The second song on the album, “And You and I,” also uses imagery from the crucifixion narrative. While the elaboration of this imagery is not as extensive or as sequentially coincident with the crucifixion narrative as “Close to the Edge,” there are several unmistakable correspondences. The first rests in the direct mention of the word “crosses,”
Oh, coins and crosses never know their fruitless worth
This verse evokes Matthew 22:21 “They say unto him,Caesar‘s. Then saith he unto them, Render therefore untoCaesarthe things which areCaesar‘s; and unto God the things that are God’s.” This verse rests among the parables, great lessons articulating the differences between the temporal and eternal. Indeed, this passage works on the Platonic level as well. Christ’s message is not one of rebellion. It is a message of higher understanding, and it is delivered in parables, much the same way Socrates (or even Gautama) would do so.
The next applicable lyrics seem again to recapitulate the Christ’s baptism. Whether intentional or not, there seems to be an allegorical expression of Jesus as the preacher and John the Baptist as the “insane teacher.” Further, following from the hint of the Roman Empire’s role in the crucifixion and the subsequent replacement of that Empire with the Church, the lyrics quoted below seem to summarize the overall historical moment under examination.
Sad preacher nailed upon the colored door of time
Insane teacher be there reminded of the rhyme
There’ll be no mutant enemy we shall certify
Political ends, as sad remains, will die
Reach out as forward tastes begin to enter you
The “insane teacher” echoes the truth (“reminded of the rhyme”—temporal truth), the “sad preacher” suffers for that same truth (“nailed upon the colored door of time”—eternal truth) and the “political ends, as sad remains” collapse under the weight of the truth (“forward tastes”).
The salvation motif continues in the next verses.
I listened hard but could not see
Life tempo change out and inside me
The preacher trained in all to lose his name
The teacher travels, asking to be shown the same
In the end, we’ll agree, we’ll accept, we’ll immortalize
That the truth of the man maturing in his eyes
All complete in the sight of seeds of life with you
Speaking in first person now, the seeker articulates an emotional crisis: “I listened hard, but could not see/ life tempo change out and inside me.” The then recalls the preacher and teacher, those before him who brought the message, he ultimately unites with them in achieving the goal “in the end, we’ll agree, we’ll accept, we’ll immortalize / that the truth of the man maturing in his eyes / all complete in the sight of seeds of life with you,” an expression of salvation in the Christian sense or of transmigration in the Platonic sense. Interestingly, the lyrics here step beyond a mere retelling of the Platonic or Christian narratives and postulate the ultimate goal of both, of perhaps all philosophy: living a better life. The key to living that better life comes from what Platonists call “the glimpse” or what Christians may call an epiphany. The only way to open the “colored door of time” is if your journey for truth takes you close to the edge.
The final song, “Siberian Khatru,” holds the fewest direct connections to the narratives being examined here. In fact, the final song extends the expression of the goal explained above. In an idealized and compressed expression of the outcome, the lyrics of the final song create a space to unite the disparate traditions under a final archetypal umbrella.
The first allusion refers to the instrument of crucifixion: the nail. However, the lyrics describe the nail in ideal terms and suggest that it is a fastener not of a person to a cross but of people to each other and to a shared vision: “Gold stainless nail / Torn through the distance of man / As they regard the summit.” Echoing the scene at Golgotha, these lyrics idealize the even and suggest that the unity of those who believe look outward toward a greater truth. Then an implication that the release is at hand rests in these lyrics, perhaps channeling the irony that the nail the used in the crucifixion ultimately became the nail that affixed the Romans to history and freed Christians to supplant them: “Cold reigning king / Hold all the secrets from you / As they produce the movement” and “Cold reigning king / Shelter the women that sing / As they produce the movement.”
The song and album then close with a list of images suggesting many traditions, of movements produced and secrets revealed:
Luther in time
June cast, moon fast
As one changes
Heart gold, leaver
Soul mark, mover
Called out, saviour
Moon gate, climber
Turn round, glider
Thus, these seemingly disparate approaches to faith have reinterpreted the same basic truth and broken free of their oppressors, much as the Platonic tradition would advance a search for truth over an acceptance of immediate circumstances. Both traditions, as well as the obvious references to nature, Jesus, Protestantism, and probably Buddhism as well, have apprehended the truth beneath the truth, which is that truth is not a static object to be held and adored but a living practice to be embraced and interrogated. As John 8:32 has it, “And ye shall know the truth, and the truth shall make you free.” As Plato and YES (and Hesse) suggest, knowing the truth results from a profound and unremitting search for glimpses of a greater reality that may be seen if you are close to the edge.
SJWs tried to deny #metalgate at first. “There’s no censorship. You’re writing about a non-issue.”
Then at some point, the articles kept piling up. In them, SJWs — who seem to share membership in music journalism and record labels to a disproportionate degree relative to bands and fans — continually attempt to coerce metal fans into thinking the right way… the SJW way.
Then SJWs tried another tactic: go on the offensive. No one mentioned that when you shift your position from “it doesn’t exist” to “it’s the worst thing ever” as they did, you have admitted that your first position was dishonest.
Throughout this interview, Mathis repeats himself many times, but does not seem to understand his own argument. There are lengthy pauses as he gropes to understand an idea outside the few memorized tropes he knows. Finally he gives up — several times — and backtracks by saying the argument is going nowhere.
Vogler does not even attempt to go on the offensive. He simply explains his point of view and is consistent. Mathis contorts, in his high-pitched and wordy rambling speech, trying to make his argument fit the circumstances.
What is interesting is that both parties are using the same argument: social coercion through fear of ostracism is a form of control as powerful as a law.
Mathis says that he is not censoring anyone because he is only shaming them for using racial or homosexual slurs. Vogler points out that this is a form of threat if slurs themselves are a threat. Same principle.
Mathis stumbles and fumbles, tries deflections and redefinitions, but the fact is that his argument is nonsense because it defeats itself. Like all SJWs, he argues from a civil rights perspective but seems to not understand how he resembles the people he sees as oppressors. When the discussion finally returns to #metalgate, Mathis has fallen back on the “agree to disagree” trope. It’s as if he has only a few memorized mini-speeches, and anything else is beyond his understanding.
This is typical of SJWs: they do not actually understand their subject matter. Mathis denies that SJW coercion — doxxing, calling labels and trying to censor bands, harassing venues until they cancel shows, and the journalist conspiracy to exclude anyone who does not agree with them — even exists. When he is called on the threat of social ostracism wielded by the power of media and the presumed moral good of the SJW perspective, he waffles and backtracks.
#gamergate happened because SJWs infiltrated video game journalism and formed a conspiracy of silence to exclude those who did not agree with their ideology. Not those who offend them, but those who merely do not agree. In the same way, in #metalgate SJWs decided to exclude those who did not follow the hipster indie-metal mold and systematically ignored and denied the actual underground in order to replace it with relatively mainstream music. They then used the power of shame and the threat of ostracism to try to exclude non-SJW ideology from metal.
Mathis denies this. Vogler calls him on it. Victory is had, but not by the SJW here.
What SJWs do not understand is that they are not outsiders. They are insiders. Government, media and big corporations all agree: SJW ideology is the best. They want it. They endorse it and write it into law, and defend it with billions of dollars of media time and public appearances.
Metalheads are the true outcasts and outsiders. We do not follow the zombie conformist obedience train of society. We understand that if society endorses something, it is probably a lie. If something is popular, it is probably a lie. We realize that “ideology” itself is a distraction from the real issues in life, and that SJWs don’t actually care about black people or gay power. This is just SJWs using ideology as a justification to seize power.
In metal, that translates into replacing metal with rock. The goal is the obliteration of metal because it does not conform to social forces like SJW ideology.
This parallels the tendency of industry to induce metal bands to “sell out.” Selling out is no different than the assimilation offered by SJW ideology: do what is popular instead of what is right. Accept what society tells you is true, not what you know is true.
People do take the freedom of the internet to say things that they would probably not say to someone’s face, and as a writer, I would never want to step on someone’s freedom of speech. This is about a very real issue in society, and more specifically, in the metal community.
…Metal, and all of its subgenres, are composed of a culture of outsiders. So why are we so insistent on casting out fellow outcasts?
…So until Veil of Maya release a song about how great a guy’s abs are, calling them gay and faggy is out. Don’t do it. Actually, you should probably just take variations of “fag” out of your vocabulary. Just…stop.
Just do you see what’s missing here? An argument. He never says why it’s important to obey the speech codes here, only uses the magical term “homophobia” and assumes everyone will fall down and bow before the religious symbol of political correctness.
This is typical of the SJW movement.
What scares SJWs is that when they are revealed, people stop supporting them. Most people assume that the world is a simplistic place. Homophobia is bad, racism is bad, and if we can cure those, everything is fine. Except that the real problems of our society lie elsewhere and these surface window-dressings are just distractions from what most people experience. Racial discrimination has been illegal for fifty years and government, media and business — those evil capitalists — have thrown their full weight behind eliminating it. The days of oppression are long gone.
When people realize that SJWs are not the side of good, but self-interested people repeating the same ideas that our government wants them to believe, they stop listening to the SJWs. This is what they fear in #metalgate and #gamergate: once revealed as merely self-interested people, they lose their magic get out of jail free card.
For SJWs, their ideology gives them superpowers. All they need to do is find something that is plausibly racist, sexist, or anti-homosexual and they get immediate media attention. Labels and video game studios bow down to them, the mainstream media hangs on their every word, and people get out of their way and hand control over to them through social deference. Your average SJW is not an exceptional person but an unexceptional one, but being presumed to be ideologically correct makes him powerful.
And he lusts for that power, having none by nature. His indie-metal bands are boring. His blogs are screechy and banal. His academic “research” tends to be circular and contentless. The SJW is a failure at life who wants to become a success by toadying up to the “right” ideas.
The change in our society since the 1960s has flipped the script. No longer is The Establishment composed of old, rich, Christian white heterosexual men; in fact, it’s the opposite. Government supports all which is not that former establishment, and has made a new Establishment of liberals, minorities, homosexuals, transgenders and other groups for which SJWs claim to speak. This apparently conservative source explains it well:
This anti-establishment and anti-authority bent is what made heavy metal clash with traditional values Christians in the 80’s. I have never been a fan of metal, even in its heyday, even though I had some friends who liked it. I didn’t find it pleasant to listen too. It’s not the type of music you can listen to and chill. It hypes you up. That is its purpose. I’ve never wanted to be hyped up after a hard days work. I want to relax, but that’s just me. And I also think that its Christian critics were correct in that it was deliberately subversive of Christianity. And while I don’t doubt that a lot of that was more show than real, I still think there were a lot of stupid and vulnerable kids who got sucked up by all of it.
But while Christianity was a reigning authority to be anti-ed in the 80s with its buzz kill message of no drugs and no sex before marriage, Christianity is in cultural retreat these days so heavy metal finds itself at odds with the even more militantly puritanical enforcers of rightthink.
Christianity and WASP-dominance are no longer in effect in America.
Diversity and acceptance of transgenderism and homosexuality is the new normal. It is what our leaders and the power structure approve of.
It is the new version of The Establishment.
When the nu-Establishment accuses you of being “closed minded” or hateful, bigoted, racist, etc. it’s important to realize that they are doing so for their convenience.
In the same way, SJWs are acting as they do for their own interests only. It allows mediocre minds like Mathis to become important for their opinions, even if they can’t think.
It allows women to feel powerful by demanding that men accept these viewpoints, which puts those men in a position of inferiority.
In their view, SJWs are reversing the order of nature by putting the powerful on the bottom and the weaker on top.
Enjoy some satire:
Metal is a threat to SJWs because it points out that SJWs are mainstream conformists pretending to be underground hipsters.
It doesn’t mean to do this, but when someone chooses not to follow the crowd, it makes everyone in the crowd question their own membership in that group. It shows that there is another way.
In one video he may tell schoolchildren to defy their teachers in order to immunize themselves against toxic brainwashing, while in another he’ll spread urban legend bullshit about Egyptians. It’s a rich grab bag of narcissism, ethnocentrism, the Dunning-Kruger effect and utter tedium.
You may be shocked to find out that he is against feminism, literally claiming it will end humanity, and that he’s a LARPer, but as the man is nearing a thousand videos, and clearly doesn’t have a job, he has thrown out any attempt at quality control, even if it’s a scientifically-unsound rant next to a big bag of fun-sized Twix.
The SJWs of today are the nagging censors of yesteryear. “No one believes that! You are wrong! And you’re morally bad!” they say. This is the same whether they are angry Christians defending their society against Satanists or angry SJWs demanding that everyone agrees with their binary point of view.
Back in the 1980s, many panics gripped the land. People knew on a subconscious level that their society was falling apart, but could not find the source of the decay. They started blaming traditional scapegoats, like Satan, Jews, Nazis, atheists, pedophiles, drugs, sex and rock music.
It takes society a decade or more to respond to any change, so the best examples of this phenomenon occurred in the 1990s as people finalized their arguments on the topic, having learned from those who went before them and incorporated the ideas of many different sources into a single culture (for lack of a better term). The following videos show the 1980s/1990s “Satanic panic” as what it was: an attempt to use a think of the children style excuse to seize power, in the name of banishing evil rock lyrics but actually with the intent of taking control.
This situation is entirely analogous to #metalgate. SJWs are hipsters who want to use “social justice” as an excuse to seize power. They don’t really care about the topic, because if they did they’d be out there setting up communities for people to be safe from whatever evils they complain about. Instead, they are posturing on the internet about how good they are and how (by reverse implication) bad the rest of us are, and thus how they deserve power over us since they are so good. The current “misogynist homophobe” panic from SJWs is entirely equivalent to the fear of Satanists under every bed that gripped the US in the 1980s, and the underlying mentality is the same: pick someone to bully that no one will defend, and use that person as a scapegoat, then like a good salesman claim that you can banish this demon in exchange for the low, low price of… handing control over to you!
Whenever I see screaming, hate-filled behavior like hers the important part never turns out to be whatever principles the screamer claims to be advocating. Those are just window-dressing for the bullying, the dominance games, and the rage.
You cannot ameliorate the behavior of people like that by accepting their premises and arguing within them; they’ll just pocket your concessions and attack again, seeking increasingly abject submission. In one-on-one relationships this is called “emotional abuse”, and like abusers they are all about control of you while claiming to be about anything but.
Third-wave feminism, “social justice” and “anti-racism” are rotten with this. Some of the principles, considered in isolation, would be noble; but they don’t stay noble in the minds of a rage mob.
The good news is that, like emotional abusers, they only have the power over you that you allow them. Liberation begins with recognizing the abuse for what it is. It continues by entirely rejecting their attempts at manipulation. This means rejecting their terminology, their core concepts, their framing, and their attempts to jam you into a “victim” or “oppressor” identity that denies your lived experience.
He is correct: #metalgate is what happens when bullies become Bully 2.0, and start wrapping themselves in the flag (civil rights) and carrying a cross (social justice). While their religion is secular and their patriotism is more to an idea than a particular nation-state, SJWs are bullies wrapped in the flag and carrying a cross. They have come to seize power and use it to destroy all who are not like them, because they are fundamentally unstable as people. We have seen this pattern in history many times and SJWs are just the latest (incompetent) iteration.
He also makes a point that people in metal should pay attention to: “show us the code” translates into “show us the metal.” There are zero SJW bands with as much power as Darkthrone, Motorhead, Judas Priest, Slayer, Malevolent Creation, Burzum or other SJW-bane bands. The reason is that these bands have nothing to offer but attitude and surface adornment; they have no real content, and thus are as boring as the bubblegum pop they claim to abhor but secretly emulate.
On a side note, atheists have joined the religious wars and somewhat confirmed that they are indeed a religion with a a recent shooting:
In one post widely shared online, Hicks, who claimed he is an atheist, allegedly wrote: “When it comes to insults, your religion started this, not me. If your religion kept its big mouth shut, so would I.”
No one speaks up for the agnostics, so I will. Science is agnostic. It does not take a position on God one way or the other because it cannot measure God. Conjecture in either direction is in its view unwarranted. Atheists on the other hand have taken the position that they know the nature of the supernatural, which is the exact position that every other religion takes, which makes atheism a de facto religion, and like religions, it will be prone to clash with those of competing belief systems. Maybe agnosticism deserves another look.
What does any band deserve? A fair review. If the band is good, it should be said so, to what degree. If it just sucks, it also needs to be said. And that’s why we’re here with the latest edition of Sadistic Metal Reviews.
Weekend Nachos – Still
If their stupid name didn’t already clue you in, the atrocity that is Weekend Nachos represents a lesser acknowledged evil in the underground music scene: nu-grind, or powerviolence played by MTV2 jockcore fans. Similar to other Relapse bands like Benümb, except all the fast strummed “anger” is a holdover for later day “tough guy” or straight-edge 90s hardcore “everyone mosh on the dancefloor” gimmickry that preys on low IQs who don’t listen to music beyond “breakdowns.”
Hate Forest / Ildjarn – Those Once Mighty Fallen
The title on this may be ironic because it can apply only to Ildjarn, and only if the band ships something bad. This isn’t bad, but it’s an entirely different form of music. Where older Ildjarn was an idiosyncratic expression in equal parts ambient black metal, drone hardcore and forest Oi/Rac-influenced metal like Absurd, this new material is clearly designed to sound like black metal. Its songs use typical black metal intervals, develop according to the pattern, and even use vocals in the same rhythms as early Dimmu Borgir or other first-and-a-half wave bands. If you’re tuning in to Ildjarn, you expect something at least as lawless and feral as his later work on keyboards; this will be a problem for many listeners. As far as quality, it’s not bad at all and in fact is very natural-sounding, sort of like the first Dimmu Borgir or Graveland albums. Some have hypothesized that Ildjarn did not write the material, and the production changes and incorporation of additional instrumentation, in addition to the stylistic changes, suggest either a casual interest in this as a project to “stay in the game” or delegation of many musical tasks to a new team. Production sounds more recent than the early 1990s Ildjarn material. Use of background keyboards, faster bass riffing, textural discontinuities and other distinguishing effects show an interesting set of musical tools emerging, but the band may need to rediscover its voice. Hate Forest never struck me as being all that significant, but they make a very credible effort here, with production that matches the Ildjarn but is very carefully adjusted to sound as distinctive as possible. Their songs are fairly regulation black metal with an attempt to insert complex fills and transitions, and then to balance that, simplify the chorus riffs. The result is not atmospheric per se but achieves a relaxed atmosphere in which the focal point becomes the interruption, like a sunny sky with an intriguing cloud cluster. None of it is particularly distinctive but it’s not bad either. Songs maintain atmosphere well but there’s not a huge amount of development here, so the band sensibly rely on circularity to keep from appearing jagged. A rumored Ildjarn interview claims that this release was an early 1990s project between himself and Ihsahn of Emperor, which could explain the resemblance to post-Reverence Emperor material.
Melvins – Bullhead
Entropy embodied, this is the band that provided inspiration for Southern Lord’s entire catalogue of musical abortions. Deconstructive, linear riffs that seek to express nothing except ennui, combined with faux-crooning self-pitying lyrics ensure that this will continue to be a favorite band of mentally vacant children for decades to come. This is the mentality of grunge in a different form.
Code – Augur Nox
For a brief while, power metal (speed metal w/death metal drums) looked like it would save True Metal. The problem is, however, anytime you walk back up the metal family tree, you get back toward the stuff metal was formed to run away from. As I listened to the first tracks on this, I thought, they’ve got some interesting riff ideas — let’s see how long it last — however, they sound like they want to be a rock band that’s primarily about vocal performance and personal identification with the vocalist. About half-way through the album, they shifted to tap-dance rhythm riffs and soaring vocals, the combination meaning no ideas but how to rip through some 1960s material. Eventually it got so bad it sounded like Queensryche on a bad day as a disco combo covering old CCR B-sides. If you don’t have an idea, by definition, you are an imitator recycling the old in a new form, and we have a word for that: stagnation.
Immolation – Kingdom of Conspiracy
Continuing their decline, Immolation return to the bouncy simplicity of Harnessing Ruin, only this time they downplay the “nu” sounds and try to make it sound more aesthetically in line with their old sound. This doesn’t change it from being a predictable verse-chorus version of NYDM and shows Immolation in their most neutered form yet, trying to pander to a metalcore audience whilst retaining their trademark sound. After the last album, I reckon the only reason people see these guys tour anymore is to get a Failures for Gods longsleeve. Linear, predictable, and disappointing considering this group’s potential.
Izegrim – Congress of the Insane
After a few brave people direction-find their way to a new genre, in come the people who want to partake. They often bring superior skills but they don’t understand what they’re doing. Izegrim is a fine example. It’s chanty metal. When metal gets chanty, which is the nerdy equivalent of rapping, you know that a central narrative has been replaced by adherence to appearance and where that doesn’t work, filling in the gaps with the same old stuff. While this band is instrumentally superior to your average metal band, they don’t know what to do with the odd bits and ends they’ve assembled as songs, so they tie it all together with the simplest elements possible. That meants chants, crowd-pleaser but repetitive riffs, and lots of bombast to cover up for the big void within.
Nachtmystium – Silencing Machine
When a band wishes to play black metal without embodying any of its spirit, this is what’s produced. Lethargic, tremolo-strummed droning with ANGRY MAN vocals and uninspired drumming produces an album of tracks that are indistinguishable. Albums like these would be better off as hard rock, because at their heart that is what these musicians are aiming to create…though at least it’s not as bad as the the latest Satyricon abortion.
Broken Hope – Omen of Disease
After failing to become “Oppressor meets Deeds of Flesh” with their last couple albums, Broken Hope return after a long hiatus and have churned out what can best be described as a Unique Leader band covering mainstream hip hop tracks in double speed. Considering their “beefs” with death metal bands and Source Awards concert turn outs, it should be no surprise that this has more in common with Tupac than it does Suffocation, approaching death metal from the same “gangster” outlook that Six Feet Under did in the 90s.
Secrets of the Moon – Seven Bells
“Artistic” black metal, otherwise known as black metal watered down with fruity “post-rock” produces a product that is post-art. Designed for a generation that believes interrupting narration with pointless deviations is artistically viable, in form this shares for more in common with modern metal than with relevant black metal bands. Listen to this only if you enjoy consuming pumpkin spice lo-fat frappuccinos.
Laibach – S
These three tracks — “Eurovision,” “No History” and “Resistance is Futile” — comprise 2/3 of the EP S (which can be streamed here) released in advance of the new Laibach album to show where the band is at this point. Some might think it odd to review industrial music on a metal blog, but Laibach has been supportive of metal in the past, including the notorious Morbid Angel remixes and positive statements made in public. Further, industrial and metal share a root, which is that we deny the happy vision that came about in the 1960s of love, peace and uniformity that would save us from the horrors of the modern time. Our vision is to point out that the beast is within, and as long as humans refuse to discipline their minds, they will end up re-inventing the horror, futility and self-destruction of the near past and the ancient past, before civilization evolved. Both genres also point to a path outside of what is acknowledged as “higher values” or “the right thing to do,” seeing morality as confining and misinterpreted. That being said, it seems that industrial hasn’t changed much since the EBM days of the 1980s. In fact, much as Nine Inch Nails basically made a more pop form of that genre with added guitars, Laibach have simply made a more stern form, albeit a self-mocking one. What you will find: compelling beats, blasts of static, sampled voices, a surly European-accented voice almost chewing out the lyrics in a conversational growl, and even bits of other musics woven through the material. Ultimately, what makes industrial different than metal is that it knows how to pull off a good pop song and make it sound good, even with machine-ish touches, where metal tries to make something beyond what people consider music. As a result, these songs have heavy dead-beat grooves and build up to a compelling motion. There isn’t as much internal development as metal so there’s some question of whether a metal fan would enjoy hearing these repeatedly, but it’s hard to ignore the sheer pop power and terrifying view of the world brought up by this assault of music and (if you go to the site) imagery.
Sepultura – The Mediator Between Head and Hands Must Be the Heart
Claiming to be inspired by the old science-fiction movie Metropolis, Sepultura collaborate with tone deaf AIDS guru Ross Robinson to create an album that, much like recent Sepultura, is high in pretension and low in musical payoff. Death metal sounds are utilized here but only serve as what sounds like Pantera or later Sacred Reich occasionally lapsing into a parody of Slowly We Rot at its simplest than anything from their 80s output. A guest appearance by Dave Lombardo doing a “tribal” drumming outro feels more like a marketing gimmick, lacking any of the imagination found in his instrumental track for Grip Inc. (incidentally, their only good song). Most of the songs devolve into effects laden meandering, which is to be expected considering the producer. Even then, nothing is gained or lost on this album. Sepultura is still like a fish out of water, churning out another vapid reiteration of their 1998 album that will piss off old fans and make no new ones.
Cattle Decapitation – Your Disposal
The first riff sounds like screamo, then clean vocals played over what sounds like a “post-black” abomination, then the breakdown with “eerie arpeggios”… this is metalcore. Looking past the “shocking” image stolen from early Carcass made to appeal to self-loathing Starbucks regulars, Cattle Decapitation now seem to be in direct contact with the same focus group Gojira employ when coming up with their gimmick ridden, indie rock friendly vapidity, eschewing the F-grade death/grind of their past for metalcore acceptance. Beyond the aesthetic drape of underground metal, this is nothing more than a random collage of parts “EXTREME” bands play for mainstream appeal under the pretense of having “matured” as “artists.”
Twilight – Monument to Time End
The “supergroup” of a bunch of hipsters that convinced Thurston Moore of Sonic Youth to ruin the genre alongside them, Twilight perverts black metal by using the treble guitar tone and anguished vocal styling to dress up what is middle of the road “post-sludge”. Members pool their collective inability to write metal into one product that comes off like a brain washing tool Scion would use to convince Gojira fans to purchase SUVs, all the while looking “edgy.”
Cromlech – Ave Mortis
This imaginative release explores the world of Iron Maiden-tinged power metal with an epic metal mindset, preferring extensive clean vocals, lengthy melodic parts and high-speed pickup riffs of the Maiden style. However, it also works in a fair amount of newer technique, sounding sometimes at the edge of later At the Gates. This is interesting material and an ambitious offering. However, this band has a few things it needs to work on. First, the vocalist is too present both in the composition and the approach to songwriting, and needs to go back to being one of the instruments. Second, this CD weighs in at 1:10 and is a B- album at that length, where if they boiled it down to 35 minutes would be closer to an A. (Note to bands: if you can’t listen to your own CD, while doing nothing else, on repeat for several times in a row, make changes). It has genre confusion problems that need to be resolved by getting more comfortable with its own style. Finally, Cromlech should learn from Iron Maiden and focus on making song structures clear: one intro, a theme, a countertheme, and some kind of developmental area where the melody grows before returning to the more predictable parts of songs. This is about their approach anyway, but it’s muddled by uneven application of technique. In addition, it wouldn’t kill them to look through for repetitive themes and excise or consolidate them. All in all, a great first effort, and I tack on all these suggestions because starting bands often need a push to fully develop.
Gojira – L’enfant sauvage
The biggest sham in metal to this day. Being a propaganda tool used by hippies to turn metal into rock music, Gojira continue what they’ve done since the beginning: making “heavy” parts out of rhythmic chugging with pick scraping sounds before playing “soft” parts that sound lifted from A Perfect Circle. Rock made for angry menstruating Deepak Chopra reading faux-guru hippies. Add the cringe worthy “deep” lyrics and it’s no wonder people thought the world was going to end in 2012 when both this album came out and a new record was set the world over in dolphins beaching themselves.
Death metal uses tremolo strummed power chords in phrasal riffs, creating an internal dialogue of melody to project a narrative which takes us from a starting point through internal conflict to an ending radically removed from the start. This often complex music relies heavily on chromatic scales and solos that resemble sonic sculpture more than a reliance on scales or harmony, and use “modal stripes” or repeated interval patterns (such as a half interval followed by a whole) to maintain a mood. Inherently structuralist, death metal can be recognized by its “post-human” perspective, seeing the world through biology, history, warfare and mythology instead of the “I/me/mine” viewpoint of a modern society.