Poisoned

heavy_metal_anxietyThe best magicians work by making you think what they’re doing in front of you is the action, when in fact something goes on in the background that suddenly changes everything.

We experienced a change like that around 1999 from two factors, both technological. First, the internet arose and made it easy for any dog to appear as a band. Second, the one part of making a record that still wasn’t cheap — the recording process — became a home activity requiring a $400 PC only.

In the 1980s, DIY was radical, just as in the 1970s. Recording meant tape, and tape was expensive. Releasing your music meant getting a master, saving up a bunch of money, and putting it out there. That’s why bands did 7″ and cassette releases. A full LP was too expensive.

At the end of the 1980s, the newer CD pressing plants began offering far cheaper releases. CDs were smaller and cheaper to produce than LPs. This condition didn’t improve much until the mid-1990s, when suddenly everyone could afford a computer that could do (a) desktop publishing, including CD layouts, and (b) some kind of mastering and/or CD burning.

The cost barriers were falling.

Thus, while it was revolutionary to be underground in the 1980s, and while having a rough or dirty sound was somewhat of a stab against an expensive process then, it ceased to be in the mid to late 1990s. When it cost a lot to have a record sound good, throwing that aside was like a revolution. It was a rebellion against the tendency to make everything sound slick and perfect, and thus to overthrow the natural.

Now in the 2010s, we have a different problem. All production is a matter of choice. This is only going to get worse as the software improves. You can have perfect drums, pristine guitars, even autotune your vocals (or if you’re sneaky, your guitars). Thus now, making a dirty and abrasive production has no rebellion value. It’s just another option, like choosing to have a trumpet on the record or not.

What’s happened to metal? Some people decided to stick with repeating the past. They’ve formed a small and insular group that makes old school music. The only problem is that, while this group frequently talks up new releases, over the last ten years we haven’t seen anything great come out of them. “Above average” just isn’t impressive.

There’s another group that has gone commercial by making metal more like the parent genres from which it escaped, rock and punk (or rather, post-hardcore). This group has really improved instrumentalism, has excellent production, but completely hollow music that is distinguished only on the level of technique. It seems to have no content whatsoever except being in a band and knowing music theory.

The point here, I guess, is that we are being poisoned by form. Metal is stagnant because it hasn’t invented a new form that it can work with, or found a way to resurrect the old (mainly because of the parasitic past-repeaters). As a result, it’s left in perpetual limbo, either recycling the past or obliterating itself by becoming its opposition.

As a result, I suggest a new openness to difference in form. Let’s bring the weird back. Only where form and content are united does music make sense; otherwise, it’s either propaganda (content only) or decoration (form only). What will drive our new form is leaving behind the tropes of the past and attacking things that are real to us now.

That isn’t to say that the human condition, or that of art, has changed. It hasn’t. But art must carry the spirit of its age, and interact with its age, and strive for something. It must be a process of becoming. Metal ceased to be that in 1995 and its relevance dropped away, so now it feels like a drunk old man at a retirement home.

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Sadistic Metal Reviews: Zyklon B For Bandcamp

Hipster and poseur blood must be shed!

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Warum ist Averse Sefira sehr Schwach?

Article by Raimund Weiner. Ffans und die Untermenschen may recognize me from the comments under such alter egos as Brainer Rascalslut und Strainer Weidensbutt; yes, the veil has come off, liebe Untermenschen.

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Pek – Preaching Evil (2008)


Review by Linus Douglas.

Pek brings death metal of the traditional, direct kind to your table that advances through simple but effective melodic phrases in low register and makes ample use of chromatism. Pek makes a progression between riffs happen, but it is more of an exchange than something that feels “through-composed”. Instead, we find cyclic structures that help expand simple content into longer songs simply by playing upon the replayability of the collection of riffs as narrative paragraphs, which helps the music support itself on more than the complexity of a single riff.

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Deadhead #6 Zine Reprinted

Schattenmann Publishings has reprinted the sixth issue of the Deadhead Fanzine featuring interviews with Mike Browning and Richard Brunelle from Morbid Angel about the band’s earliest days when they wrote their best material. The original pressing sold out quickly so get yours while it is still available. Schattenmann is planning to recreate and republish other back issues of the Deadhead zine in the future too.

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Mayhem Tour, Washington, DC Stop Review


Article contributed to Death Metal Underground by Mike Alexander’s friend who is a Bill & Ted type of guy, you know.

I saw Mayhem play De Mysteriis Dom Sathanas, the only album of theirs that actually counts of course, last week at the Howard Theater in Washington, DC so I wanted to tell my fellow Death Metal Underground readers what’s happening inside the ANUS of this tour. That was surely an ironic choice of venue the band made there. Playing a black theater in a historically black city was strange for a band whose drummer, Hellhammer, is a badass drummer who hits like a fucking beast like a German in a tank trying to conquer Africa back from his historic racial enemies, the Polish and the Africans and Hellhammer is Greek or something so how can these losers with nothing better to do claim he’s even racist you know? Also practicing under their swastika banners and shit like that they shouldve brought out to steam roll all the drunk hipsters instead of comic book covers to hide behind onstage. I had to check this shit out to see if some shit would go down. I wanted to see if the gig would rule or if any crazy shit from hipsters, communists, or any other idiot life forms that could come out of a UFO or something would be real you know and prevent Mayhem from pounding my face in you know.

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New York Times Accuses Varg Vikernes of Being “Alt-Right”

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Democratic Party shilling and identity politics peddling newspaper the New York Times labeled Varg Vikernes of Burzum as “alt-right” in yet another social justice warring piece whining about Donald Trump’s triumph. “Alt-right” has seemingly become a new scarlet letter for neoliberal propagandists to paint their conservative opponents who aren’t the Republican Party’s traditional Christian and business interest constituents. Modern leftists can never appeal to the competent, gainfully employed, and rational so they must constantly invent new slurs to slander those who see straight through the thin veneer of the liberal social narrative plastered over urban societal rot.

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The Guardian Claims the Alt-Right is Turning People Racist

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Article contributed to Death Metal Underground by Rainier Weikusat.

Liberal UK mouthpiece the Guardian posted an anonymous editorial where the anonymous author tells us how he as an completely harmless, aspiring, young, white, liberal was almost turned into a hateful [insert what you like] by accidental exposure to unfiltered, evil opinions on the internet!

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