Hidden Metal In Plain Sight

Underground occult metal blog Praefuscus Ferrum recently posted a piece entitled “Underground turned Funderground, and the Obscurantist Elite” proposing that what killed underground metal was widespress consumer access to new technologies such as the internet. These and the increased exposure to fans led artistically successful underground metal bands to pursue raw consumerism at the expense of writing transcendent music. D.A.R.G. points out that “the truest artists purposefully hide away from the profane eye” as the communication mediums the underground metal utilized (physical mail, tape trading, and BBSes) have been usurped by ones more accessible to laymen. He states the underground became the “funderground” in the blink of an eye as mainstream rock and pop fans who felt adventurous wanted rock and pop music with “black” and “death” “metal” production aesthetics, not actual death, black, or even heavy metal. Now the musicians actually writing novel underground metal compositions hide unbeknownst to the typical beer metaller in plain sight.

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Leviathan – Scar Sighted (2015)

Leviathan - Scar Sighted (2015)
Review by Corey M

USBM (United States Black Metal) as a term encompasses such varying sounds as the primal war chants of Von, the uncompromisingly precise assault of Averse Sefira, and the operatic mewling of Weakling. Scar Sighted, Leviathan’s newest release, is still USBM but typically is categorized by fans as “depressive suicidal black metal,” along the stylistic lines of Sweden’s Shining and fellow American Xasthur.

Unlike the epic and powerful surge of teeth-clenching energy that one feels from black metal ne plus ultra like Sacramentum, Immortal, or Darkthrone, Leviathan’s music is more about… who knows? Something relatively vague but generally negative, self-loathing, and frankly boring. Take this line of lyric; “All of us have become like one who is unclean, and all our righteous acts are like filthy rags; we all shrivel up and like the wind our sins sweep us away.” This line seems assertive and confident; you may wonder what meaning this cryptic passage may hold. And wonder you shall, forever, because placing it in the context of the rest of the song does not reveal any clearer meaning. There is no point other than the expression of narrow-sighted negativity. This is the unifying theme of Scar Sighted; a gross misdirection of self-contempt projected toward any and all things outside the self, with uninformed “occultic” references mixed in for good measure.

My contention with Scar Sighted is not just with the lyrics, though. The composition of each song reflects the fragmentation apparent in the lyrics, throwing out one cool-sounding line after another, but leaving the observant listener with a stark sense of having witnessed a slide show of barely-related images. Melodies come and go with nary a whimper as the listener gets deeper into each song. Certainly, a lot of blustery riffs throughout the album got me excited and interested in hearing where the music would lead me next. But that makes the album all the more disappointing, as one song can throw a series of two or three engaging riffs at you and then switch tracks completely and strand you amidst a wash of dissonant non-melody that, rather than moving the song forward, just wallows within its own two-or-three chord cycle that doesn’t relate to any other part of the song.

To Wrest’s credit, a lot of the riffs are very cool, and he has a refined sense of how long a riff can be exploited before it becomes too boring for repetition. Sometimes, he makes the right choice and heads into a complimentary riff to accentuate the previous one. However, more often than not, the last riff is shrugged off and a whole new feeling is admitted, complete with a disparate drum beat, a new scale, and, too often, a new vocal style. Wrest has a very intense low-end growl that synergizes with the grimy, slimy, bass-heavy sound that is wonderfully mixed on this album. Wrest is clearly a craftsman that takes his work seriously and not a lazy writer. However, the result of his work is an incoherent collection of songs, some of which sound like they could come from a post-hardcore band on Level Plane in the early 2000s. With that in mind, Scar Sighted wouldn’t be a bad album by any means if it weren’t marketed as black metal. But when contrasted with the standards of black metal and the techniques employed by the best bands, we find that the intensely personally-focused introspective meanderings of Leviathan fall apart.

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Paradise Lost releases “No Hope In Sight” from The Plague Within

paradise_lost_-_the_plague_within_-_cover

Seminal heavy metal/doom metal band Paradise Lost will release The Plague Within on June 1, 2015 in Europe (June 2 in USA) through Century Media Records. During the early 1990s, this band inspired death metal and black metal bands to experiment with layered melodic lead rhythm guitar over distorted power chords, and to this day holds a position both close to popular music and using underground technique.

Paradise Lost comments: “Check out the first track from our new album ‘The Plague Within’. ‘No Hope In Sight’ was one of the first tracks we wrote and it reflects a blend of styles. From death metal to gothic to classic rock. It’s like all eras of PL wrapped up into one track. We hope you all like it!”

“No Hope in Sight” follows a familiar format, which is as much Iron Maiden as Black Sabbath, using melodic hooks contrasted by slow bass-heavy chord progressions in an extended pop song format that made its debut back in the early days of MTV. The result is infectious and on the lighter side, but dark enough in spirit to attract Gothic and metal fans alike who enjoy well-composed straightforward music.

PARADISE LOST live:
29/05/2015 – Rockavaria – Munich – Germany
30/05/2015 – Rock im Revier – Gelsenkirchen – Germany
18/07/2015 – Castle Party Festival – Bolkow – Poland
15/08/2015 – Summer Breeze – Dinkelsbuhl – Germany

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Atomic Aggressor – Sights of Suffering

atomic_aggressor-sights_of_suffering

Calling a band “technical” — not to be confused with musicianship as popular circles frequently do — creates general indifference among those accustomed to seeing this term used as a selling point. The industry generally uses the term for bands that cannot compose meaningful songs and so encrust them in adornments of musical acrobatics, creating artistic Potemkin villages which offer a cornucopia of musical fireworks on the surface but emptiness beneath. Many believe that musicality is only valid if the artist consciously intended to give the music a certain technical quality. This could not be further from the truth.

The best music has often comes from technically competent artists, but this does not mean that their music is guided by a handbook of rules, but the other way around: they use technical flair to elaborate on the ideas that motivate their music. When an musician has a superior talent for organizing notes into melodies, aligning melodies into harmonies and building sections that flow and speak to one another as seemingly essential parts of a whole, this process can be reverse-engineered by a clever and knowledgeable analyst. But like software reverse engineering itself, we only arrive at technical explanations about the originating commands that give the result its nature, not the programmer’s feelings, train of thought or the content they hope to communicate through their art.

Morbid Angel Altars of Madness is lauded as as a young genius’ masterpiece born out of raging emotion and unprecedented innovation in the then-young genre of death metal. Only new or superficial fans of the genre are oblivious to the achievements of this album that go well beyond mere historical relevance. Whether or not Trey Azagthoth planned each twist with the implied theoretical knowledge behind them is not important, although we can assume he may not have because such fervor as these pieces present is only possible coming from the deepest well of human emotion. Yet scrutinizing of them at several levels reveal logical explanations for the impact, drive and fluid development that they showcase.

As a short example we may take a look at “Chapel of Ghouls”. The song itself can be explained as using E major as its main or home key. As in classical music it ventures into the parallel minor and uses off-key passing tones for color. The most important of this is the fact that the guitars in the recording are tuned in E-flat standard tuning, which means that the repetitive muted strumming of the open low string consists of strumming the D (enharmonic equivalent of E flat) note, the seventh in the scale of E major. This gives the chugs a malevolent and dissonant feel. Another thing that should be mentioned is that the first two riff clusters in Chapel of Ghouls are quite unstable, each being in period form (antecedent and consequent phrases which mirror each other, but only the second one resolving). These riffs do not resolve convincingly (they do not land on either the tonic or the dominant when the consequent cadences), giving these both a satisfying feel and a need to continue and be completely resolved which appears to the listener as a will forward instead of a complete thought. This resolution is achieved on the third riff which finally leads to the tonic, but does not rest there, avoiding the typical full-stop feeling by switching into the relative minor (thereby using a flattened third and sixth which sound like off-key passing tones in the context of the major setting) and syncopating the rhythm while an atonal solo blazes above. And so the song is carried on with the mark of genius that cannot be now denied even by those who do not share a personal preference for the song. The songs in this album are not even remotely atonal or even overall dissonant; they make heavy use of the latter with striking effect while the atonality is reserved for solos which mark peaks and tornadoes of raw emotion that are never out of place here and which seem to be born out of the depths of this music.

Atomic Aggressor Sights of Suffering presents us with something that would be best described as a tribute to Altars of Madness-era Morbid Angel. But unlike Morbid Angel, Atomic Aggressor’s songs do not show Azagthoth’s structural cleverness and talent for directing and channeling emotion unavoidably towards strategic points in the song where powerful emotion surges. In fact, it is because this band is bent on sounding like early Morbid Angel that they are completely oblivious to the subtlety of the original composition and thus just manage to place riff after riff which sound like a more retro (sounding a little on the speed metal side at times) version of who they are trying to imitate. The vocals make this intention to imitate even more palpable not only in terms of the style of the growls but the way certain passages are emphasized or rounded off by grunts which in this far weaker music only manage to sound comical, especially if one is familiar with the original band. There is not much to say about this album because it is no more and no less than a bland, third-rate imitation.

https://www.youtube.com/watch?v=y_Lq2WEqj1o

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Horror Myth Films #1: Evil Dead (1981)

Evil dead is considered a cult horror movie due to its ability to reinvent the codes of horror movies that Halloween has imposed at the time of time of release and the lack of funds from investment. This film would also serve as a source of inspiration to many metal bands though not because of its story telling methods nor narrative development. The outdated gore and the fact that the movie is clearly trapped in its time make this a fun movie for most but apart from some interesting lore there isn’t much to see here.
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Basic Training for Aspiring Hessians

Article by Salomon Schicklgruber

Underneath you will find indications aimed at aspiring hessians with little to no consistent training habits physical or mental. As such, they are aimed at a first transition into a new mode of living and thinking. What we propose here should not be taken as definitive physical training paradigm, but a calculated guideline.
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Evil Literature #1: Tony Thorne Countess Dracula (1997)

The myth of Elisabeth Bathory is known to us in its most twisted forms, filtered through years of mysoginistic prejudice and augmented further by gothic sensibility for horror that fascinated the minds of the 19th century. Little understood are the full cultural and historical context of the region and its political dynamics. Little is it taken into account that all records of what happened were taken under peculiar circumstances by those vested in Bathory’s demise, and that greater political forces were at work to bring her whole family down. Nor is it a neglible detail that accounts by primary servants of Bathory were extracted by the hand of a magister tortararum especially trained in the ‘art’, and that these same tortured servants were summarily executed after these ‘confessions’ were given.
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Metal and Post-Modernity

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 [1], 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 [2].

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[3]. 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.

‘Blue Poles’ by Jackson Pollock

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?
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Satanists and satans, Act I: Sitra Ahra

A short illustrative story by Lucian Fogaras

Jonas Peter Anderson strode across the deserted alley as the wind blew against his face, making his hair blow and blurr his view. He wasn’t wearing his glasses today as that would not match his personal and artistic projection of the self to the world: combat boots, black jeans, heavy bullet-studded belt, Ofermod Sol Nox t-shirt and a sleeveless black hoodie over it. People said that at his 33 years of age, Jonas should put aside the act, become self-sufficient and stop wasting his mother’s money on beer six-packs, vinyls and luxurious editions of occult literature from Ixaxxar Publications and Theion Publishing. But he did not care —his Satanic identity was more important to him than anything else in this world. Besides, it had been a long time since that fateful day 20 years ago, when he had decided to leave behind his Christian name. He only responded to Agnellus now —unless it was his mother calling him downstairs for dinner, in which case “Jonas, darling” would do. In the world of forums and e-mails, however, the International Satanic Brotherhood knew him as Frater Agnellus.
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