Craig Pillard‘s (Incantation) controversial death metal band Disma premiered the title track from their upcoming EP, The Graveless Remains on Soundcloud today. “The Graveless Remains” is nothing special despite featuring the drumming of once and probably still amazing original Immolation drummer Craig Smilowski. Preorder The Graveless Remains from Profound Lore Records here if you wish the the will to enact your own inner-desires to own every C-grade death metal release ever published if the record is of the same caliber as the title track which I surely hope it won’t be. I know some of our readers out there will feel compelled to buy this even if that is the case. though. The Graveless Remains probably won’t as good as the Disma LP and certainly not even Mortal Throne of Nazarene. Where there’s a will, there’s a way but more of the Craigs is always welcome.10 Comments
Finnish ambient death metal band Desecresy let loose its single “Amidst” yesterday. This track comes to us from the fifth Desecresy album, The Mortal Horizon, which will be released in August through Xtreem Music, who released the four previous full-lengths from the band.6 Comments
Superficially repacking the old into the new for a younger, naiver generation is an abhorrent commercial practice of both record labels and Hollywood studios. These five independent artists have bravely submitted their failures in doing so to the Death Metal Underground. May our objective criticism prove constructive to their suicides.
Archemoron – Sulfur and Fire (2015)
Archemoron. Yes, Archemoron. Yes, this band named themselves Archemoron. Yes Archemoron were not joking; Archemoron are serious. When not ripping off Slayer, Archemoron play melodic black and death metal riffs arranged into rock dirges. Many of Archemoron’s own “riffs” are pinch harmonics repeated for two minutes. Archemoron’s tracks are five to seven minutes too long. Archemoron invoke Hieronymus Bosch about as much as Dark Funeral taking their pants off and whacking each others’ dicks with pool noodles for an hour before running a train on the ass of the one in the gimp chains invokes heterosexuality. Archemoron are arch morons.
Deathwhite – Solitary Martyr (2015)
Hoobastank is back with a new EP. What remains of Roadrunner has surprisingly not signed them yet. I am watching a group of shaved-ape Russians fishhook a fat hooker with their dicks. The mascara is running as they pound her face and ass. The asshole stretches to accommodate more Poles. Time for the money shot. So this is a creampie scene? Damn they are ejaculating in her ass one by one. That’s nasty. She’s squeezing it out now. Mother of god that is not watery semen; this is a group piss enema into a prolapsed rectum. That bloody red, inside-out Russian rectal meat is wet with piss and shit flakes. Only Relapse Records could masturbate to this.
Enthring – The Art of Chaos (2015)
Is this Hells Headbangers Motorheadcore? Slayer? Slayer doesn’t have keyboards. Chanting? Why? Enthring want the lyrics to be important in these rock songs so why are they detracting from what I can’t understand with a melotron? Motorhead didn’t need keyboards in the 70s, Motorhead doesn’t need keyboards added in now. Stop remixing music you cannot comprehend into carnival music metalcore with breakdowns. This is the Transsexual Serbian Orchestra of metalcore soggy biscuiting that Fleshlight Apocalypse that came in Nuclear Blast’s die hard edition.
Goat Torment – Sermons to Death (2015)
Goat Torment attempt to preach to Death himself by prying open fans’ assholes with Sodom and Slayer. While many experienced heshers can instantly see through such a ruse, many of today’s trve metal warriors only listen to bands that their chill core bros designate as “bestial.” This audience is unaware nor cares of the thrash rehash cash-in. The martyred Euronymous himself was fond of cutoff Sodom belly shirts and dildo prostrate massages so Pitchfork will say that Goat Tormentor having a daisy chain finished by using Tom Angelripper’s visage on the back of their shirts as a cum target is a socially acceptable sexual practice. Sermons to Death is an Outbreak of AIDS.
Kyy – Travesty of Light (2015)
Cradle of Filth and Dimmu Borgir pandered “black metal” to Hot Topic tweens. Kyy attempt the same by sticking random minor key tremolo riffs in their nu metalcore. Twenty eight year olds with Vatnett Viskar backpatches, sleaveless jean jackets, and questionable sexual preferences won’t lap this up like they do teenage goth ass. Travesty of Light lacks the catchy screeched vocal hooks and emotional choruses to be distributed by Century Media. Only more randomness grounded by catchier vocal dichotomies may grant Kyy the hairy hipster fudge.10 Comments
Despite efforts by nearly all parties to deny it, the underlying tension in metal that created #metalgate continues: the “new fans” who want music more like indie rock or punk versus the metal fans who want metal for metal’s sake. The metal fans realize that to be metal is to be an outsider to society and all of its rationalization for its own failure, including “reforms” and “revolutions,” while the punk/indie fans want metal to endorse some of those rationalizations.
The most recent victim may have been Pantera guitarist Darrell Abbot’s grave, which was referenced in an instagram post by the (ex-) vocalist of a crust/black band which embodies the worst of both veins of metal sell-outs, both the sensitive guy indie rocks who like crustcore and the tryhard war metal types who pose as being as hardcore as possible. According to the desecrator:
We paid douchebag darrell a visit, we spit on his grave, stole a pair of cowboy boots, and i wrote “FAG” on his grave… im not a homophobe but i hope all the panturrra fans see this and shit themselves with anger… FUCK DIMEBAG, buncha racist hillbillies
Only forty-eight hours later, the apologies were flowing forth:
The fact of the matter is I feel awful and guilty and this will stick with me forever, just like the Seinfeld guy using the N word… I can not express how sorry I am to Vinnie Paul and the Abbott family for the distress I caused, and the other members of Pantera and other acts Darrell was a part of. I owe everyone an apology for my actions because they were uncalled for, and horrible, despicable, and I went way too far. Some jokes are NOT funny and this is one of them. I took a joke way too far with a piece of paper and some hurtful words and as I’ve expressed, I don’t expect any sort of acceptance or sympathy…I hope at least someone will accept this and I hope for a better future for everyone…
What is shared between both of these sentiments? They are SJW ideas. He attacks Darrell because he thinks Pantera fans are a “buncha racist hillbillies” and excuses using the word FAG because he’s not a “homophobe.” This is SJW language here, first being concerned about policing whether or not other people approve of homosexuality and second in justifying violence or worse against those who are not pro-diversity, a.k.a. “racists.” When he apologizes, he uses the term “hurtful words” and compares his actions to “the Seinfeld guy using the N word” and then states he hopes for “a better future for everyone.” His motivation as a sensitive guy with social justice ideals is revealed in both of his statements.
I will not use his real name in this article, for the record, because public shaming can cause repercussions in this person’s real life, including career and social ostracization. No honest and decent person tries to do that because it is a passive but effective way at destroying the life of another. Nor will I name or link to his band, which has been utterly forgettable and forgotten from lack of any originality as well as blatant bandwagon-riding, because this like the sucker punch at Danzig is simply a publicity stunt that generated more notoriety than was expected. Let the media trick fail on its own.
But this leads us to an ugly point: a metalhead may well be divided by this event. It would be hypocritical for metalheads to start complaining about grave desecrations now after several thousand band photos in cemetaries. It is also nonsense to complain about damage to Darrell’s grave because, as noted by a number of sources, as with Jim Morrison’s grave the majority of the damage comes from fans of the artist and not enemies.
At the same time, however, many metalheads do not feel all that great about this desecration. The reason is that the motivation behind it is wrong. Like the rest of the SJW incursion that prompted #metalgate, the desecration of Darrell Abbott’s grave was justified by SJW-logic: Pantera fans are (allegedly) racist hillbillies, and “homophobes,” so it’s not only OK but “good” (like, in the Church sense) to desecrate his grave because he and his fans are bad. This alone makes the desecration stand out as not wrong in a moral sense, but broken. Someone is using society’s logic against metal to justify making metalheads second-class citizens whose graves may be desecrated, at least for reasons other than the usual war/satan/death that make a good grave desecration. Like the metal fans who object to grave desecrations in general, or the metalheads who claimed that Pantera fans are “nationalist Juggalos”, I feel this misses the point. Society hates metal, and it uses terms like “nationalist” and “homophobe” to justify bullying metalheads, much like it used claims of Satanism and murder back in the 80s to do the same. Its goal remains unchanged: destroy metal.
We should also draw some parallels between Pantera and SJWs. Like the SJW incursion, Pantera was an invasion designed to sell-out metal so it could be assimilated by rock music, with profit for all. Metal sells well, but rock music that has the “rebellious” cachet of metal would sell even better, because rock music has been designed from its inception to be the most easily-digested and emotionally simplistic form of music ever created, like music made into baby food. It sells well because it is a compromise, both inoffensive enough that most people will tolerate it, and thoughtless enough that people like to project onto it their own emotions and needs. Rock music is basically 1950s advertising jingles set to guitars, and people buy it to stay “relevant” or to seem hip, when really it has always been and always will be a product from the same people who sell us junk we can barely afford to address problems we do not have in order to achieve an image we do not need.
The reason many of us detest Pantera is purely musical: it is part of the great Dumbing Down of heavy metal, trying to make it closer to rock/blues so that all the people in sports bars, hair salons, show-off gyms and cube farms can tap their feet to the beat just like they did every other form of rock ‘n roll. Pantera is heavy metal made into a lengthy television commercial, and in doing so, it solicited social approval in a way that is decidely against all that metal stands for and lives by. Pantera heard Exodus Impact is Imminent and Exhorder, maybe Prong Beg to Differ and realized they could make a bundle if they combined a tough guy/sensitive guy approach — a lot like what nu-metal did, come to think of it — and made the music sound a lot more like Bruce Springsteen or John Cougar Mellencamp, both of whom sold more albums than God and retired rich. That was the goal in Pantera: metal as product. For that reason, the Pantera guys abandoned their glam/hair metal and hard rock stylings, and went into Metallica style speed metal with Cowboys From Hell, giving it their Southern rock spin, and then upgraded their sound to angry brocore with the following albums before returning to a blues-saturated swamp rock sound. It worked and people bought it.
Metalheads tend to hate Pantera because it brought in the elements of society that we go to metal in order to avoid: the sleeveless shirt angry guys who start fights in cell phone stores, the blockhead rock fans who are faithless toward any ideal but their own gratification right now, and the musical circle of conformity that forms rock music. Pantera is the anti-metal disguised as metal, much like SJW music like the black/punk (lol) band who desecrated Abbott’s grave is. Pantera not just represents, but embodies, all that metal opposes and all that will destroy metal. If we look back on this story from the future, we will see how both Pantera and these grave desecrators came from the same movement, which is an attempt by the mainstream to destroy and then absorb the once-independent genre of heavy metal.16 Comments
The other day I looked up Picasso’s Les Demoiselles d’Avignon. I had seen it before a couple of times and heard it was important. It’s basically some chicks from a brothel with bodies deformed by Pablo’s furious brushstrokes, eyes staring at you uncomfortably and somewhat comically. A painting central to the evolution of Cubism, apparently. The point is that this is where visual art collapsed. The year was 1907; the nightmarish figures of modern art had already been around for decades, but now all traditional assumptions had to be annihilated, paving the way for all modern things to come – for all things post-modern as well. In hindsight, it’s simply the putrefaction of dying tradition doing its job. And we understand you, Pablo; you, the genius, had to show us what this meant, you had to show us the horrors of having no perspective at all. (How do we even start looking at a woman with two and a half arms?) Comedy aside, make no mistake: Les Demoiselles d’Avignon is sheer terror. As such, it suffices, it does what it should – it works. Those disconnected shapes told of all modern art to come, avoiding conformity to the most extreme degree.
But as with all such experiments, it fails to tell a story. It’s easy to point fingers at modern art because of its apparent ugliness, but its real weakness is that it’s a simple cry in the dark. Yes, the modern world leaves quite a few existential challenges for man to take on, but making your art as pointless as you perceive the world will make us all end up in a downward spiral. If you have something to tell the rest of us, then wrap it up properly and share the experience. You can’t do that with a “perspectiveless” experiment. But that is, unfortunately, how modern and much of contemporary art has interpreted the world.
(Now, I’m no expert when it comes to modern art and I have no problem saying that all modern art is not crap. But when you’ve come to understand its overall idea, you don’t have to be an expert to dismiss it. As with jazz, the very idea behind modern art is “faulty”, which is why the probability of finding beauty among the rubbish is very modest.)
Heavy metal music chose a different path. Black Sabbath knew the world was not all beer and skittles when they recorded their first album, but they weren’t crybabies either. They didn’t, like Picasso, make an experiment based on how we have nothing to base things on. Instead, they told a mysterious and intriguing tale of what the world had become. Following in their footsteps, bands like Slayer, Deicide and Emperor put all this ugliness in musical narratives which in themselves were paradoxically beautiful. Not as direct mirrors of our world and society, but as stories with a glimmer of excitement.
This is how metal music rediscovered tradition, a tradition of storytellers who have supported our souls through the ages, from Homer to Bach to Rembrandt to old men by a fire in a small hut in a murky forest. Metal was chaotic, especially at a glance, but underneath it all was a spirit that believed in life. This way metal music created a resonant mythos for people in the postmodern era.
But finding tradition seems a happy coincidence in this case, or, more likely, something which metal music realized only through sheer necessity. Deliberately reinventing tradition in art isn’t always a good idea. It has been tried before, and in my experience the results are actually worse than a cry in the dark. If we go back to the visual modern arts and look across the spectrum from Picasso’s wild experiments to the opposite side, we find (among others) the Academics, like William-Adolphe Bouguereau. This is from the wow-I-can-definitely-see-what-it-depicts-but-it’s-boring-me-to-tears school of art. It has no urgency. Great art is almost by necessity always inspired by personal experience in the world and time we live in. Trying to remove yourself from it will turn the art into stories about virtually nothing. And that’s what we see in Bouguereau. An artist trained in the old school, with all the craft of tradition but none of the spirit gained from experience. That experience doesn’t need to be one of terror, but giving an artwork weight demands an ability to pick up what is going on around you and inside you. And we are not talking socio-political particularities here, but an existential understanding. What does it mean to be human during this time and this place?
One may find it hard to believe that the musicians of the most extreme bands in existence ever thought about this, and perhaps many of them never did. But somehow their instincts have sniffed in the air the feelings of the time, remolded it in their heads and had their guitars resound of what it tells – even if they motivate it by, “Listen to this sound, man, it’s awesome!” The artist is told something about the world, and tells it back to us. Bouguereau in comparison sure makes fancy wallpaper, but it’s anything but awesome – it’s lifeless.
Metal music, then, builds anew in accordance with a tradition that the Academics only very superficially mimicked. It also sees much of the same things Picasso saw, but while he screamed with pathetic terror, metal screams with delight.4 Comments
Contacts: Alex Perialas, Pyramid Sound Andy Adelewitz, PR consultant
Phone: 607.273.3931 Phone: 607.257.0455
Email: firstname.lastname@example.org Email: email@example.com
Pyramid Sound, Where Timbaland, David Gray, Anthrax and Others Recorded, At Risk From City
Bridge Construction Supporters Organize Protests, Petitions To Save Successful Ithaca Recording Studio
ITHACA, N.Y., June 21, 2012 — The future of a world-class recording studio that has hosted recording sessions by David Gray, Anthrax, Ginuwine, Aaliyah, Bad Religion, Missy Elliott, Joe Bonnamassa, producers including Timbaland and Tom Dowd, Pulitzer Prize winning composer Steven Stucky, classical pianist Malcolm Bilson, and many others is under threat due to the City of Ithaca’s poor planning of a bridge rebuilding project directly outside the studio walls.
Pyramid Sound, the studio operated for nearly four decades by producer/engineer Alex Perialas in downtown Ithaca, New York, has been unjustly condemned as of Tuesday, June 19, resulting in the devastating loss of a very successful business, and the potential destruction of its facility as the bridge construction gets underway.
After two years of asking for details of the construction plans and how they would affect his property, and being put off by then-mayor Carolyn Peterson and superintendent of public works Bill Gray, Perialas finally got an answer about when the project would commence when workers posted signs outside his studio warning the public that the street would close in two weeks. And as of yesterday, both the studio the separate storage garage next door, which Perialas also owns, have been posted by the city, after repeated promises from the
building department commissioner that they would not be; and no one, including Perialas, is allowed in.
Additionally, the building department employee who posted the building yesterday informed Perialas that the city had found his building condemnable two years ago, in the early planning stages of the bridge reconstruction. Perialas was unaware that an external inspection of his property had happened, and was never informed of the finding, leading to at least the appearance that he was deliberately kept in the dark until it was too late to mitigate problems with his facility, allowing the city to save money by condemning his property rather than compensating him under eminent domain or amending the unnecessarily aggressive construction
It marks the latest, and most grievous, in a series of bad-faith dealings with Perialas by the City of Ithaca. The story begins in 2004, when construction of a municipal parking garage across Clinton Street from Pyramid began. Seismic vibrations from that project resulted in cracks in the walls of the garage and studio buildings,
causing some damage. He complained to the city at the time, but was unable to see the fight through because he was simultaneously caring for his ailing father.
In May of this year, after being stonewalled by city officials for two months, Perialas received a report from a third-party structural engineer hired by the construction contractor in May. The report found the storage garage, which was closest to the bridge construction, to be in poor condition, and the external walls of the studio building itself to be in poor-but-stable condition; the method of pile driving that would be used on the bridge project would likely cause the nearest garage wall to collapse, representing a danger to occupants and the public. However, this report came two weeks after the bridge project was started, leaving Perialas with no
time to repair or reinforce his buildings. Yet the City of Ithaca has offered Perialas no meaningful compensation or assistance, and has refused to delay the project or issue a change order instructing the contractor to use an alternate, less aggressive method of pile driving that would not represent so great a threat to this thriving business.
After several meetings with new mayor Svante Myrick, Perialas was finally offered just $20,000 from the city to help cover the cost of reinforcing the garage wall. But that offer came just a day before drilling to prepare holes for the pile driving was scheduled to begin — too little, too late. And it came with the unacceptable
condition that Perialas indemnify the city against any further damages to his property caused by the bridge project.
Now that the buildings have been posted, Perialas is left with a slew of recording and mixing commitments that he’s unable to complete, as well as millions of dollars’ worth of sensitive equipment that he’s unable to check on or maintain. For example, the studio’s mixing board could overheat easily if the facility’s air
conditioning system were to fail, potentially causing a catastrophic fire; but with the building condemned, no one is able to monitor the studio’s climate conditions.
Perialas makes it clear that he’s not opposed to the bridge project in general, merely the way it’s been planned and executed without any timely consultation with him, despite his many inquiries over the last two years.
“There’s no doubt that this work is needed,” Perialas told the local weekly newspaper The Ithaca Times last week. “My concern is how it’s been handled. Normally when you do a project of this nature, you work with the property owner to deal with loss of business or interruption of business. You deal with them to talk about how
you’re going to shore the building if there’s going to be an issue, and none of that’s happened. The only thing that’s happened is that I’ve had to raise my voice, unfortunately, which I don’t really want to do. I’m not anti this project. I’m anti-the planning of this project.”
Perialas and his team have received vocal support from hundreds of local musicians and music fans who are horrified by the prospect of this historic local institution being shuttered, especially under such heartless circumstances. Two Facebook pages
And an online petition
In addition to signing the petition, supporters of Pyramid Studios (and of the rights of responsible business owners in general) are urged to contact City of Ithaca officials including mayor Svante Myrick (607.274.6501, firstname.lastname@example.org), superintendent of public works Bill Gray (607.274.6527, email his executive assistant Kathy Gehring at email@example.com), building department
commissioner Phyllis Radke (607.274.6508, firstname.lastname@example.org) and city attorney Aaron Lavine (607.274.6504, email@example.com) to courteously express their support for the survival of Pyramid as both a local institution of international renown, and a successful local business deserving of respectful, good
faith negotiation, and fair compensation for damaged property and lost business.
More information in recent local media coverage:
WENY-TV (ABC affiliate in Elmira, NY)
The Ithaca Times (weekly):
YNN (local TV news):
ALEX PERIALAS / PYRAMID SOUND SELECTED DISCOGRAPHY
Year Album Artist Role
1984 Live at the Inferno Raven Engineer
1985 Speak English or Die S.O.D. Producer, Engineer, Mixing
1986 Slow Train Savoy Brown Engineer, Mixing
1987 Legacy Testament Producer, Engineer, Mixing
1987 Power Chords, Vol. 1 Various Artists Producer
1988 New Order Testament Producer, Engineer, Mixing
1988 State of Euphoria Anthrax Associate Producer, Engineer
1989 Practice What You Preach Testament Producer, Engineer, Mixing
1990 When The Storm Comes Down Flotsam & Jetsam Producer, Engineer, Mixing
1991 Deeper Into the Vault Various Artists Music Coordinator
1992 Foul Taste of Freedom Pro-Pain Producer, Engineer, Mixing
1992 Live at Budokan S.O.D. Producer, Engineer, Mixing
1993 I Hear Black Overkill Producer, Engineer, Mixing
1993 Substance & Soul Last Tribe Producer, Engineer, Mixing
1995 Belladonna Joey Belladonna Producer, Engineer, Mixing
1995 Concept Sam Rivers Mastering
1995 Under Pressure Such a Surge Producer, Engineer, Mixing
1996 Ginuwine…The Bachelor Ginuwine Engineer, Assembly
1996 Sell, Sell, Sell David Gray recorded at Pyramid
1996 Metal of Honor T.T. Quick Producer, Engineer
1996 Oz Factor Unwritten Law Engineer
1997 Signs of Chaos: Best of Testament Testament Producer, Engineer, Mixing
1998 No Substance Bad Religion Producer, Engineer
1998 Step Beyond Without Warning Producer, Engineer, Mixing
1998 Wrong Side of Memphis Johnny Dowd Re-mastering
1999 Ginuwine The Bachelor (Bonus CD) Ginuwine Engineer, Assembly
1999 Pictures from Life’s Other Side Johnny Dowd Mastering
2000 Bronx Casket Co. The Bronx Casket Co. Mixing
2000 Looking Up Cooter Mastering
2000 New Day Yesterday Joe Bonamassa Producer, Engineer, Mixing
2000 Phubar Phungusamungus Mastering
2000 Positive Friction Donna the Buffalo Mastering
2000 Red Is the Color Sunny Weather Mastering
2000 This Day John Brown’s Body Engineer
2001 Best of 2001 Edition (Master Series) Pro-Pain Producer, Engineer, Mixing
2001 Faust Original Soundtrack Producer
2001 Hillside Airstrip 10 Foot Ganja Plant Mastering
2001 Legends of the Nar Dead Cat Bounce Mastering
2001 Temporary Shelter Johnny Dowd Engineer, Mastering, Mixing
2002 Allophone Addison Groove Project Mastering
2002 EP Sunny Weather Engineer, Mastering, Mixing
2002 Into the Unknown Double Irie Mastering
2002 Live From the American Ballroom Donna the Buffalo Engineer, Mastering, Mixing
2002 Pawnbroker’s Wife Johnny Dowd Mastering
2002 Punk Rock Songs: The Epic Years Bad Religion Producer
2002 Sing Desire Jennie Stearns Engineer, Mastering, Mixing
2003 At First Sight Pete Pidgeon Mastering
2003 Farewell The Dent Producer, Engineer, Mixing
2003 Wait Til Spring Donna the Buffalo/Jim Lauderdale Engineer
2004 Bigga Than It Really Is GFE Engineer, Mixing
2004 Home Speaks To the Wandering Dead Cat Bounce Mastering
2004 Radioman Dwight Ritcher Mastering
2005 Life’s a Ride Donna the Buffalo Producer, Engineer, Mixing
2006 Each New Day Sim Redmond Band Mastering
2006 In Flight Radio In Flight Radio Producer, Engineer, Mixing
2007 W.O.A. Full Metal Juke Box, Vol.2 Various Artists Producer
2007 Conch moe. Engineer
2007 Again We Bleed God Size Hate Mixing, Mastering
2007 Heavy Metal [Box Set] Various Artists Producer
2007 Burning at the Speed of Light Thrasher Mixing, Engineer
2007 Heavy Metal Box [Rhino] Various Artists Producer
2007 Standing the Test of Time Attacker Producer
2008 Drunkard’s Masterpiece Johnny Dowd Mastering
2008 Ginuwine…The Bachelor/100% Ginuwine Engineer, Assembly
2008 Until the Ocean The Horse Flies Engineer
2008 Room in These Skies Sim Redmond Band Mastering
2008 Aneinu! Hasidic Orthodox Music Moshe Berlin Mastering, Re-mastering,
2009 Machines of Grace Machines of Grace Engineer
2009 Infidel At War Producer, Engineer
2010 Bitten by the Beast David “Rock” Feinstein Mixing
2011 I Put My Tongue On Window Boy with a Fish Overdub Engineer
2012 Performing The Score Malcolm Bilson/Liz Field Engineer, Mixer, Post Production supervisor
2012 No Regrets Johnny Dowd Mixing, Mastering
2012 The Blind Spots The Blind Spots Producer, Engineer, Mixing
2012 Late Last Summer Dick &Judy Hyman Engineer, Mixing, Mastering consultant
Year Album Artist Role
1976 Like A Duck to Water Mother Mallard’s Portable Digital Mastering
1983 Anatidae David Borden’s Mother Mallard Producer, Engineer
1997-2006 Selected live performances and recording sessions for Cornell Glee Club and
Female Chorus Engineer, Mixing, Mastering
1997 Echos From the Walls Cornell Glee Club Engineer, Editing, Mixing, Mastering
1999 1970-1973 Mother Mallard’s Portable Producer
2001 High Rise Xak Bjerken Engineer, Mixing, Mastering
2002 Liberación Amy Glicklich Recorded, Engineer, Mixing,
2004 In Shadow, In Light: Music of Steve Stucky Ensemble X Engineer,
Editing, Mixing, Mastering
2005 Judith Weir: The Consolations of Scholarship Ensemble X
Engineer, Editing, Mixing, Mastering
2007 Midnight Prayer Joel Rubin Digital Editing, Mixing, Digital
2007 Under The Bluest Sky David Parks Engineer, Mixing, Mastering
2011 The St. Petersburg Chamber Philharmonic Engineer, Mastering
2011 Horn Muse CD Gail Williams Engineer
Year Show Channel/Institution Role
1999 Swiftwater Rescue Discovery Pictures Engineer, Mixing
1999 Wildlife Legacy Turner Original Productions/National Wildlife Federation Engineer, Mixing
1999 Wild City Turner Original Productions/National Wildlife Federation Engineer, Mixing
1999 The Legends Series Turner Broadcasting Engineer, Mixing
2000 Detonators: Sheer Force BBC Engineer, Mixing
2001 True Colors Learning Channel Engineer, Mixing
2005 The Cultivated Life: Thomas Jefferson & Wine Madison Film, Inc. Engineer
Year Film Producer/Company Role
1998 A Stranger In the Kingdom Kingdom County Productions Engineer, Mixing
2002 The Year That Trembled Kingdom County Productions Engineer, Mixing
2012 Performing The Score Malcolm Bilson /Liz Field Engineer, Mixer, Post Production
2000 – present:
Adam Day, Amy Glicklich, Atomic Forces, Aurelio Martinez, Avett Brothers, Bad Dog, Dalfa Toujours, Ballake Sissoko, Bamboleo, Ben Suchy, Big Leg Emma, Black Castle, Blackfire, Bobbie Henrie & the Goners, Boubacar Traore, Boy With A Fish, Bubba George, Buvas, Calico Moon, Campbell Brothers, Cary Fridley, Cherish the Ladies, Christina Ortega, Cletus & the Burners, Crow Greenspun, Cypher:Dissident, Cyro Baptista & Beat the Donkey, D’Gary, December Wind, Donna the Buffalo, John Anderson, John Brown’s Body, John Specker, Johnny Donegan, Johnny Dowd, Jones Benally&American Indian Dance Troupe, Joules Graves, J-San & the Analogue Sons, Kanenhio Singers, Kathy Ziegler, Keith Franks & the Soileau Zydeco Band, Kekele, Kusun Ensemble, Life, Little Egypt, Lonesome Sisters, Los Lobos, Los Pochos, Lunasa, Mamadou Diabate, Mary Lorson & Saint Low, Mecca Bodega, Michael Franti & Spearhead, Miche Fambro, Minnies, Moochers, Moontee Sinquah, Musafir, Nedy Arevalo, Oculus, Old Crow Medicine Show, Squirrels, Paso Fino, Patty Loveless, Perfect Thyroid, Plastic Nebraska, Preston Frank & His Zydeco Family Band, Project Matsana, Ramatou Diakate, Randy Whitt & the Grits, Red Hots,
Red Stick Ramblers, Revision, Rickie Lee Jones, Ritsu Katsumata, Rockridge Brothers, Rodney’s Nigh, Rokia Traore, Ronnie Bowman and the Committee Rusted Roof, Samite, Scotty Campbell & Zydeco Experiment, Shane & Diana, Sillanpaa Family, Sim Redmon Band, Slo-Mo, Snake Oil Medicine Show, Solas, Son de Madero, Steve Riley & the Mamou Playboys, Sujata Sidhu, Sunny Weather, Susana Baca, The Believers, The Blue Rags, The Burren, The Buvas, The Campbell Brothers, The Del McCoury Band, The Duhks, The Fierce Guys, The Flying Clouds, The Hix, The Horse Flies, The Lonesome Sisters, The
Mahotella Queens, The Meditations, The Overtakers, The Red Hots, The Splendors, The Super Rail Band, The Sutras, The Thins, Thomas Mapfumo, Thousands of One, Ti Ti Chickapea, Tonemah, Trevor MacDonald, Walter Mouton & the Scott Playboys, Wingnut, Yo Mama’s Big Fat Booty, Zydeco Experiment.
# # #
Alex Perialas, Pyramid Sound
Andy Adelewitz, PR consultant
Morbus 666 is a project of Imprecation vocalist and Bahimiron multi-instrumentalist Dave Herrera, who has a number of projects of note and clearly understands underground metal as the living, untameable thing it is. The band have just releases Mortuus Cultus on Graveless Slumber Records, and you can now hear a track from it:
Morbus 666- Baphe Metis (Absorption into Wisdom)
GSR is now taking preorders on the debut material from one of the newest and in my opinion best Texas black metal bands, Morbus 666! Comprised of members of Bahimiron, Adumus, Imprecation, and Thornspawn, Morbus delivers venomous vile black metal in the old ways! This album unleashes 5 tracks of morbidly twisted black metal in the Behexen meets early Enthroned vein, all for the glory of the Horned One! All preorders and an unspecified number of first editions will come with 7″ bonus artwork outer sleeve as well as stickers and possibly more!
1) Summon the Cult of Pentagram
2) Baphe Metis (Absorption into Wisdom)
3) Possessed by the Glory of Lucifer
4) Those of the Devil’s Flesh
5) Poisonous Blood
There’s an old expression, “to put the cart before the horse,” which I think originated on Brokeback Island.
It’s comparable to two others: “the tail wags the dog” and “throw the baby out with the bathwater.”
Each one describes a type of superstition. Superstition is what happens when you confuse an event — that occurs at the same time as a certain effect — with being the cause of that effect.
For example, we burned some heretic and then the rains came after a long drought. Therefore, we should burn heretics to get rain. QED, muddafugga.
In music, we can confuse having an ideal with repeating the symbols of that ideal.
Really good music is always motivated by an intense conviction. You belief in something, therefore you make music that sings its praises and uses its opposite to illustrate why it is good. I sing a song of food, which is awesome, and doubly awesome after a famine. Makes sense.
At that level, politics and philosophy — and even religion, and personal preference — are part of the same spectrum. That spectrum is the conclusions you’ve reached. These aren’t preferences, like “I like pink.” They’re adaptations. If burning heretics doesn’t make rain come, but everyone around you is still burning heretics to end the drought, you may become an artist motivated by the idea that burning heretics is stupid. Is that politics? Is it philosophy? Common sense? One thing’s for sure: it’s not semi-arbitrary like choosing to get your new laptop in pink and not green. There are consequences to which choice you pick, and because we live in a consistent world, they’re consistent from observation of effect to cause.
But people who preach the symbol blindly have gone about this process backward. Instead of having a viewpoint that drives the music, they’ve gotten superstitious. Having a certain viewpoint is associated with being smart, or making good music, or having an audience, so they adopt it. It’s the same on left and right this way.
For every bad NSBM band out there, and except for a handful (Legion of Doom, Absurd, Burzum, Darkthrone, Veles, Infernum, Graveland) they’re all bad, I can find a bad crustcore, emo or indie band that is just as banal. People don’t see this if they agree with the politics expressed. To them, Infernum is bad and Wolves in the Throne Room is good, and they won’t admit — superstition again — that the only reason is that they agree with one, or feel that being seen to agree makes them look smarter, nicer or sexier. Whatever.
Liking these bands is a social decision, not a political or intellectual one (or even an emotional one). People want to seem smart or extreme for liking this stuff, so they use the band as a symbol of who they are. Nevermind that in the process, the art — which I’ll loosely define as a means of finding appreciation for life through distinguishing what one finds beautiful versus what one doesn’t — loses out to cheerleading for the “correct” side.
But with the rise of this hilarious offshoot of black metal-flavored crustcore, which people are calling “RABM” for “Red and Anarchist Black Metal,” we’re seeing again that the same rules apply on both sides of the spectrum. Wolves in the Throne Room = Drudkh, to pick the best of these political bands. Even more, we’re seeing that “unblack metal” (UBM, or Christian black metal) is just as bad. That makes sense since modern populist Christianity is as liberal as secular humanism, just that it argues that God makes the individual sacred, instead of the individual being sacred for “moral reasons” and progressive dogma.
RABM, NSBM and UBM are many heads of the same hydra, which is a deranged mental state that puts the social and symbolic associations of a band before the music. Instead of finding ideas, and making music about them, they find the appearance of ideas and try to use that to convince you to like their droning mundane music. Like all stupid trends, the sooner this one burns, the closer we get to quality music.31 Comments
Written by Devamitra with Alan (Buttface), Brian (Chainsaw Abortions), Niko (Hammer of Damnation), Timo (Fallen Pages) and Pete (Pure Fucking Hell)
The violent, obsessive and obscurant phenomenon of death metal arose in the middle of the 1980’s from the minds of alienated and intelligent artists, writers and musicians while the powers of the world were engaged with the nuclear paranoia of the Cold War, while computer technology broke through to everyday life in Western societies, while preachers were fighting against Satanic messages in party-loving hair metal albums and while musicians in the vein of U2 were participating in massive events that attempted to bring world peace and end famine with decades old clichés of British rock music. NWOBHM and British punk were dying out, replaced by the tough street gang aesthetics of hardcore and the satanic postures of early speed and black metal. The public stances of groundbreaking bands were growing to be more and more incompatible with mainstream rock media, which since the demise of the “counterculture” had abhorred ideological consistency as a threat to the marketing forces for which it owed its livelihood.
Real metal fans tended to be smarter than the average mainstream rock fan and naturally gravitated towards more critical sources, written by fans to other fans. The success of bands such as Metallica and Slayer wasn’t founded on big corporations’ agencies of promotion. Active touring, circulation of demo tapes and word of mouth established the reputation of these non-compromising bands, along with independent heavy metal publications such as Metal Forces Magazine in the UK and Kick Ass Monthly in the USA. While these started out as photocopied zines, they soon became professional but continued championing the authentic observations of the editors, distinguished metal writers such as Dave Reynolds and Bob Muldowney (R.I.P.), for relatively small profit and a benefit to metal fans worldwide in search of ever more lethal developments of the basic ideas of heavy metal music.
Death metal in the 80’s was as avant-garde and extreme as metal went. In keeping with the independent spirit, death metal fans corresponded with each other and compiled newsletters that were at first minimal and crude, spreading the viral infection of an art form which was long abhorred by fans of classic metal and power metal. Thus, the crown jewels of death metal media originated perhaps from lands separate from the Anglo-American centers of youth subculture dissemination, where enthusiasm for the new style existed alongside speed metal and crossover interest: Metalion’s Slayer Magazine (Norway), Laurent Ramadier’s Decibels of Death (France), Desexult’s Blackthorn (Denmark), Headbanger Zine (Peru), Alan Moses’ Buttface (Australia), Streetcleaner (Germany), Isten (Finland) and lots of others with enormous local influence. Contemporary US zines that didn’t lag behind included, for example, Aggressive Metal/Screams from the Gutter, Ripping Headaches and Chainsaw Abortions.
Alan: I am into different extreme styles, so I did not want to limit my zine to one style – there was way too much good stuff across the board back then, and very little crap. It’s the opposite today. At first I just read zines , all of them from overseas, and the thought never came to mind to do one myself until I realized I had a lot of contacts by tape and video trading. There were no metal oriented zines in Australia in those days – and only few punk/HC zines – which really didn’t get distributed well here, and they just were not good. So I decided to combine my love for all the styles, and I had a partner who helped me get interviews etc. too – we combined our resources and became the biggest traders with the biggest and really only zine from here – Buttface. It worked exceptionally well because none of the bands we ever contacted back then had done anything with an Australian zine – so a lot of the time that worked in our favour. Barely anyone in this country ever saw my zine because nobody was really into the music as much yet, it would be years before the underground bands got a big enough following here.
Brian: For me, I think the idea for Chainsaw Abortions just came because I’ve always loved music, hearing new things and spreading the word about things after I discovered them. In those times doing a zine was the best way to do that. My only contacts when I started were the local bands here in Buffalo, then from letter writing and tape trading my connections quickly grew. Of the zines that I bought back then, I really liked Death Vomit from Virginia and Ripping Headaches from Florida, plus of course Buttface from Australia.
Alan: Haha, I noticed that Brian mentioned Buttface! I only saw Brian’s zine in 1990, which was good because it was a bit like BF, in that it had a bunch of different bands (despite the zine’s name implying more of a death metal zine it had variety). Personally my favourite zines were Blackthorn from Denmark (my friend Esben Slot Sorensen’s zine with his fellow Desexult guitarist Henrik Kjaer), Decibels of Death zine (DOD) by Laurent Ramadier who was also a trader of mine, and Ultimate Speedcore Dislocation zine (USD) which had a couple editors, one of them which was a trader of mine called Evil Ludo Lejeune – both those zines are French. In the USA without a doubt for me, Invincible Force (Bryan Daniel) and Ripping Headaches (Bruce Davis) both from Tampa FL, although there were other much older zines like Total Thrash and Uniforce which I loved getting my hands on when I could. I never purchased any zines pretty much except Blackthorn, it usually worked out that I got copies from the editors in trade or they were included in packages of tapes or shirts or records, as extra goodies you know? We always did shit like that, crammed photos or stickers or flyers into the package to make it cooler for whomever you sent it to. We all did that stuff pretty much – shit, a lot of us couldn’t stand to have blank audio tape in a trade, and we’d put filler music to highlight a band we liked to another person, or we’d send messages to each other on the cassettes to fill the space. That was always fun, to hear your trader’s voice, read their letter, check out all the cool music they sent you, then have a photo as well. You really felt special and connected to people, and you had to pay your dues.
With their down to earth, entertaining but always informative reviews and interviews the zines of the era opened for many ignorant small town kids the landscape of the underground, the indivisible fabric of ideals, images, and hard work by their intricate visual and literal presentation of the latest frontier of metal. Often black and white, cut and pasted by hand and then photocopied, the zines were constructed with care and attention to build an aura of mystery and power, laid out symmetrically with blasphemous figures and gory art, encasing the alien appearance of foreign bands in sheets of terror resembling an ancient tome. The DIY method had an invaluable asset in that it was relatively independent from monetary concerns and possible for basically any fan with the required intelligence, attention span and literary abilities. Actually many zines seemed to even manage without these.
Brian: Chainsaw Abortions was just photocopied, so my part time job paid for issue #1. For issue #2 my dad made the copies at his work for me because they had a copy machine that could handle 11 by 17 copies so it ended up not costing me anything to do, except of course postage.
Alan: I was going to college full time and had no job, but I was getting a student allowance from the government here, so 100% of that money went towards all my underground activities. In 1988 I got a very well paying job in a factory – so I busted my ass working 6 days a week, and many times 16 hour days. My parents were cool and didn’t ask for too much money from me, which left me with a lot to spare – I just boycotted Australian record stores though. They never knew what stock to get in and always overcharged (100′s of % overcharge). I went right to the labels (which were all underground mostly) or got the stuff from the bands if the released records themselves, and had things sent sea mail which took a bit longer but was so cheap, saving more money. Time management was easy, because I was a full time student back then, with no wife, no kids, not much responsibility and was well trained in making my time count that I could get the zine done with not much effort time-wise. I never paid to have my zine printed, it was photo copied, at my father’s job on weekends… but Buttface was thick, massively thick, with the best quality back then you could get by photocopying anyways. There’s no way I could have done a printed zine, you have to have a ton of money for that. Ronny Eide from Morbid Mag in Norway worked, plus later he started to distribute porn to pay for his exceptionally high quality zine. We also glued our stamps – there is a special technique to be able to reuse a postage stamp. It’s a federal crime of course, but we did it anyways saving $1000′s of dollars a year. I think I traded records with one of my many Brazilian contacts for 12 months by airmail and only purchased two sets of stamps – that’s a shit load of money saving, hehe!
Typically, when starting out, the editor of the zine was a young fan without widespread indoctrination to the scene in the sense of agendas, friendships and contacts, while of course being impressionable and receptive to new drifts and ideas. One accustomed to the 21st century neurosis which causes every black metal fan to consider himself an expert on religion and politics may note that the reviews in the old zines were sparse, usually a few sentences describing the style with a brief note on its perceived quality, while interviews tended to concern the mundane activity of the band in recording and rehearsal conditions, including aspects of everyday life. Far from boring and trivial, it was the sort of discussion the target audience could best relate to and helped the spawning of new bands, as fans realized that the masters of death metal mostly weren’t trained musicians or professionals of the business, but other fans and maniacs themselves who passed their time between school and work engaging in art, violation and a healthy distaste for conformity.
Alan: Too funny, I do not consider I was a critic, we had stupid funny questions and hell, it was fun but not a piece of journalistic work, heh!
Niko: I used to do tape trading in the late 80′s and more or less related to that I got my hands on some early issues of some Finnish fanzines, for example Isten and Axe. I found them very inspiring. At the time there was no Internet as we know it today and it was very difficult to find information about bands you were interested in, or bands you didn’t know even existed. So it all pretty much started from a personal obsession to find out information about bands and artists I was interested in myself. I didn’t have any contacts in the beginning, apart from a number of tape traders, but the flyer circulation was a very handy and effective way to learn about various activities as well as spread information about your own. It was all somewhat difficult in the beginning as I was young and obviously didn’t know anything about how to edit a magazine and have it printed, but once I managed to get the first issue of Hammer of Damnation out the ball started rolling.
Timo: Of course back then there was no Internet available, so it could take weeks to communicate the simplest things. There was also huge demand for information about bands from the audience and a need from the emerging bands in the scene to get promotion for themselves. So when in 1990, I was very young – and listening feverously to Morbid Visions by Sepultura – I felt a strong urge to be active in the underground scene. I was already friends with Sodomatic Slaughter from Beherit , so I was aware of the scene and as Black Crucifixion was only in its earliest pre-stage in the autumn of 1990, my way to act was to start a zine. I had already enjoyed reading some good quality early Finnish fanzines, my favourite was called Intestinal, so starting Fallen Pages was a natural step. The first issue was in Finnish and in A5 size under the name Damn Zine. The very first number along with bands like Beherit and Samael also featured thrash, speed, death, doom and punk bands. You have to remember that there practically was no “second wave of black metal” yet: Norwegians with the rare exception of Mayhem were mostly playing death metal with often humoristic lyrics, Swedes were all about copying the Sunlight sound, with the exception of the mighty Tiamat and even Beherit labelled their sound as “brutal death metal”. After the first issue was received very well among the buying public and the “colleagues” in the scene, I decided to do the next issue in English. Holocausto Vengeance from Beherit suggested that I would change the name from Damn Zine to something more suitable for international market. So we came up with the name Fallen Pages of Damnation, which I then shortened to just Fallen Pages. I also got more ambitious with the layout and went for A4 size and very heavy glossy paper. The substance got heavier along with the outlook, as the second issue included mostly black and death metal bands. It was published in the 1991 and I was surprised by its reception as everybody seemed to like it. Maybe it was a bit ahead of time with its outlook and probably my pretty juvenile style of writing added something to the mix. The English language was still pretty much shambles, but by the standards of the time that didn’t matter, as some of my favourite foreign zines could hardly be recognized as being written in any language.
The limitation of resources and time applied to everyone working on a fanzine; they had no hope of creating profit from their publications without crossing over to mainstream press, as some of the early 80’s zines such as Metal Forces had done. The sheer amount of competing media also meant it was impossible for anyone to claim the status of “a death metal Bible” and retrospectively, this was valuable to the development and outreach of tangential, even opposing points of view. Xeroxed artifacts as an after school hobby guaranteed freedom of speech to an extent alien to major media prone to be manipulated by management and executives.
Alan: Almost all of the experiences in doing a zine that I had were positive. Perhaps the only negative thing was when customs would sometimes steal from me (money, t-shirts, tapes – really anything that took their fancy) or a band would rip you off and not send you whatever it was you paid for. I mean back then you had this nightmare of waiting for shit, and you had to just trust people and the most you could do to protect your ‘well hidden cash’ to wrap it in carbon paper to avoid detection by x-ray. Jesse Pintado did that to me infact, the shit, heh. I sent him $5 for a demo and never got it, imagine his surprise when I showed up in Tampa in 1990 for the whole damn ‘Harmony Corruption’ recording sessions, haha! It was OK though, on the last day there he said he was sorry, I told him it was OK. If I had stayed in Australia and never got to do all this stuff, then I would have been pissed off of course. My zine policy was that we would only review what we liked. I wasn’t going to waste space writing about what I don’t like about this band that I think sucks. So we stated that anything like that we would pay to return, you know, so the band could send it out to someone who could actually do something with it. A lot of people didn’t grasp the concept and would get mad. I mean, would you rather someone blast your band and lose you fans, or would you like them to shut the hell up and mail it back to you? That’s a damn no-brainer. There were one or two people that I met later down the road, even that I used to write to, years before, and we didn’t get along that well. I won’t name names. Most everything about it all was positive, I didn’t do phone interviews because of the expense calling from Australia then was insane. Now international calls from Australia are cheaper than calling someone on the same street I live on! But it was cool just to bullshit with my traders buddies, or Lori Bravo, Trey, David, Mitch Harris… there were a number of people I would call just to talk to and get news from.
Brian: I’m not trying to sugarcoat the past, but I can’t think of a negative experience that I had. Positive experiences were plentiful… I enjoyed doing phone interviews back then, because the bands were still small, it wasn’t a strictly business call. I interviewed Trevor Peres (Obituary) and after the interview we just kept on chatting about the scenes in Florida and Buffalo and just music in general, same when I interviewed Steve Digiorgio (Sadus) and Sharon Bascovksy (Derketa).
Niko: I guess it’s simply that if you’re enthusiastic enough you’ll find the time and money. Money was always a problem, but somehow I more or less managed to fund the printing from the sales of previous issues. As for time, the zine (Hammer of Damnation) and the band (Thergothon) were my main activities outside school, I had no interest in sports and other such hobbies. The most positive aspect was the opportunity to do everything by yourself from start to finish and finally have the printed zine in your hands. The most negative aspect was probably when something went seriously wrong in the printing process. I used to look into all kinds of mainstream, high-profile magazines, art and culture etc. and tried to use that kind of presentation in the fanzine/underground context and subject matters. Of course I still had to do everything by hand, with some help from a primitive computer, word processor and matrix printer. Luckily I knew someone who could screen the photos for me for free.
Pete: Well, the money was needed only for printing and time wasn`t an issue. There was no computers and such, I wrote the interviews for Pure Fucking Hell with typewriter and band logos & photos I got from the bands if they had any. Then I “designed” the pages, like where the text, possible photos and band logo goes and when all the pages were ready the whole thing went to print. If you knew a good printing place and used a bit of your brains doing the pages you could get a surprisingly good end result with that kind of procedure.
Timo: Time was a resource that most of the scene people back then had loads of. Although a lot of things were going on in the scene that kept growing rapidly, the pace of life was slower because there was no Internet or mobile phones. Most of us did not go around boozing and fucking. At least I did not. Not because we did not want to, but for example I lived in a very small town of Rovaniemi, in the middle of Lapland. There was not so much to do if you were a nerdy long-haired boy living away from town. And it was very cold and dark most of the year. So editing a zine and sending out tons of letters seemed like viable option. The first two issues of Damn Zine/Fallen Pages were actually funded in a surprising way: I managed to convince the city of Rovaniemi to pay for on the grounds of the zine being a cultural project. So the good tax payers of Rovaniemi are to thank. The third and final issue I paid for myself, but luckily the printing house sponsored it as well, even though their management consisted of very strict and devoted Christians! The devil works in mysterious ways…
The beginning of the 90’s was greeted by an explosion of death metal into mass media attention, MTV airplay and new fans. There were probably more death metal zines than ever, the likes of Balance of Terror (Canada), Biopsy (Finland), Fallen Pages (Finland), The Grimoire of Exalted Deeds (USA), Hammer of Damnation (Finland), Hellspawn (Finland), Putrefaction (Sweden) and The Requiem (USA) catering to the hordes yearning for information from the realms beyond Morbid Angel and Obituary who thrived at the peak of their fame.
Pete: There were a lot of great zines but I think Slayer (Nor) was the best. I don`t remember where the idea for making a zine came from, but there were a lot of people involved making the first issue of Grey Apple zine. We started from zero, put out the first issue and sold all the copies (100 I think) and then it was time to make the second issue and nobody else was interested except me, so I thought I`ll do it myself. I changed the crappy name to Pure Fucking Hell magazine and put out the second issue and it went from there. I don`t really recall any negative experiences, some bands didn`t answer to interviews though. All of the interviews for PFH were done by letter, so I didn`t meet the people in person. You got to remember in the early 1990`s it was all underground and the bands weren`t touring like nowadays. I think the only live interview was with Napalm Death in Lepakko on the Napalm Death/Dismember/Obituary tour in 1992, that was in the first issue.
Timo: There were many zines back then and surprisingly many of them were Finnish: Intestinal, Biopsy, The Untouchables, Hammer of Damnation and of course the mightiest: Isten. Slayer magazine from Norway was superb as well. I enjoyed many foreign zines but in 1990-1993 the Finnish ones were prime of the prime, interesting writing and good English skills combined in a fine way.
Niko: There were a number to zines that, similar to mine, attempted to think outside the box so to speak, trying to find new angles to things and featuring new, unknown, different artists. You know, trying to introduce things that the reader wouldn’t yet know he/she will find interesting! As for people, there were many great, intelligent and interesting people such as Marko (Beherit), Morbid (Necromantia), Euronymous (Mayhem), Roberto (Monumentum) etc. and naturally also a few assholes but I must say I don’t really remember any particular examples. Maybe because I pay more attention to works and ideas than persons, in general.
Timo: It was totally positive for me, I can’t truly name anything shitty about those years. I got to know great people from bands, witnessing new art being born and in my own small way helping to create a scene that will be interesting to research for anthropologists of the future. I could feature the bands I wanted and loved: Rotting Christ, Blasphemy, Beherit, Impaled Nazarene, Necromantia, Carcass, Nocturnus etc. and made great friends with some of those people. Fallen Pages was the second publication in the world to interview My Dying Bride, I thought that their demo had potential in it. I have to say that I could not see the careers that Burzum or Cradle of Filth would have judging by their early promo tapes they sent to me – I actually ignored them.
All the while, dark minds were brewing plots in their suburban chambers as the black metal militia was slowly starting to strengthen its grasp on the souls of puny mortals. The electrified web of contact across regions allowed necromantic, spiritual and evil traits of the emergent possession cover ground at vast speed. The influential Mayhem axis, gathering followers around Scandinavia, sought to spread fear amidst the normalized death metal culture, which had accepted a new generation of funny skateboarders who loved brutal music and extreme sounds. They were not alone in their dark aims, as the blasphemies of witchcraft surrounded Canadian, South American, Finnish and Greek death metal and black metal alike, but the obsessive quality and Euronymous’ media manipulation skills wrestled the attention from the faltering death metal community. Coupled with an era of artistic magnitude for Nordic black metal, the zine culture caught the bright burning fires of the churches, heralding the age of the final artistic statement of underground metal before Internet covered everything in ashes and the smoke of deceit. Fans of mid-90’s black metal often grabbed a copy of Cerberus (Finland), Descent (USA), Desecration of Virgin (Germany), Imhotep (Norway), I Return to Darkness (Finland), Kill Yourself (Finland), Nordic Vision (Norway), Petrified (USA), Pure Fucking Hell (Finland), Tales of the Macabre (Germany), Voices from the Darkside (Germany) or Wheresmyskin (USA) to accompany the nocturnal excursion, candlelit mutilation or a visit to the toilet.
Black metal coverage was also picked up by the mainstream press in the wake of the terror of those Norwegians they called the Black Circle. French bands of the Les Legions Noires community (Vlad Tepes, Belketre) and the Polish Slavic heathens around the Temple of Fullmoon sect (Graveland, Veles) added their own violent, occult and occasionally political statements to the chaotic melting pot of obscurity. Rhetoric was at a completely new level now compared to the death metal years. Defying any kind of reason and common sense, bands declared war on each other and society at large, used their anonymity and obscurity to suggest the presence of dangerous cult fanaticism and deliberately alienated every average death metal fan. While there is no denying the fact that black metal was a serious matter for these groups, and rightly so, the intensification of image eventually led to role play and narcissism.
The harsh attitude of black metal created an irreconcilable gap between death metal, now consisting mostly of the “melodic” offspring of the Gothenburg clique and the “brutal” bands who imitated Cannibal Corpse, and the romantics, nihilists and Satanists who sought things that were hardly descendants of American rock music. The traditional image of the headbanger was rapidly becoming obsolete, with black metal bands opting for a gothic or medievalist appearance, brutal death metal and groove metal assimilating items of hardcore or rap and people difficult to tell apart from the crowd invading in flocks.
Zines as the purveyors of in-depth interviews and archaic scene knowledge became more philosophical, influenced by the creativity and intelligence of black metal, ambient, neo-classicism and other weapons of the Nordic uprising against normative death metal. Issues of the kind were occasionally available at black/death metal oriented record stores and mailorders, but for those without access to them the alternatives were either the moronic mainstream press or the resurgent Internet.
A few metal obsessed hackers had spread information, news and reviews through phone lines before, but personal computers became a common household item during the 90’s and most of the mainstream users got their first networking and online discussion experiences in this era through the Internet, which grew radically during the decade, from a mostly college and university utilized serious information channel to a worldwide asylum of Babylonic proportions.
Engineers, housewives and Aspies alike accessed organized discographies, commentaries, discussions and news of old and new metal alike on webzines and portals such as American Nihilist Underground Society, BNR Metal Pages, Chronicles of Chaos webzine, Inferno webzine, Lost Souls Domain, Mega’s Metal Pages and USENET newsgroups. Never before had trading, correspondence and contact with underground metal fans all over the world been so easy. Today, in the era of Encyclopedia Metallum and similar databases it’s hard to imagine the work it had taken to find information and discographies of bands no-one at your local record store knew a thing about.
While webzines didn’t directly compete with printed zines because of their more limited readability and different approach in organizing information, the easy access to metal databases undoubtedly contributed to the contraction of zine culture, along with the reasons outlined earlier. Only entertaining, in-depth and unique zines survived in printed form, often published more infrequently than before. Jobs and families occupy the time of the old school and the new generation has many other options at their disposal beside the laborious DIY printed publication.
Niko: I grew tired of the whole metal scene in the early 90′s, partly because it all turned boring due to thousands of emerging bands sounding all very similar to me, and partly because I was discovering electronic and experimental music that seemed more & more interesting to me. I did go on with the zine for some time, featuring less metal and more other stuff that interested me, but after a while I put an end to it. I think what eventually killed it for me was that I was tired of having this “obligation” to review all the stuff I received, and to try to be analytic about music instead of simply exploring and enjoying it, etc. It was becoming an unpaid job, I didn’t find anything creative or enjoyable about it anymore. Actually I still don’t enjoy writing about music or trying to analyze or describe it, something about that process kills part of the excitement.
Pete: The bands got bigger and stopped doing interviews for smaller zines and the newer bands weren`t interesting. I think the whole zine culture somehow faded in the late 1990`s, I don`t really know why. I also had started buying recording equipment etc. so I didn`t have money to print the zine anymore.
Timo: I got very ambitious about the zine, wanted to make every issue more and more professional and at the same time my musical taste got more ambitious as well. Making just another issue of a metal magazine was not an option for me, so after some time passed other things took its place in my life. The three issues are all as good as I could make them during the time they were made. Soon my band Black Crucifixion would also transform into Promethean and I could express myself even more through music. One day I realised that there would not be a fourth issue. I didn’t have much material for it ready, maybe just one interview of Impiety that Holocausto submitted. So there is no “lost” Fallen Pages #4 waiting in my vaults.
Brian: For me it was a combination of things. I got a full time job so my time was much more limited and I didn’t want to do something that I could only put a half assed effort into. The other part of it was that the scene was changing and becoming trendy and it just got old fast, new bands would pop up and get signed when they really weren’t good enough to be signed and it just watered down the scene.
Alan: It took over a year between Buttface 1 and 2 coming out, it just kept getting bigger and bigger and we thought we’d do something odd and make this monster fat ass zine, heh! My co-editor was meant to keep getting material for it while I went to the USA and Canada for 6 months in 1990, but he didn’t gather any material and I ended up getting offered a job with Morbid Angel while I was in Florida. That killed the zine. If I had come back to Australia as planned and never went back to the US, then BF might have stayed around a few more years – but by ‘93 I might say it would have stopped because the music was overpopulated with garbage bands. And it’s got 1000 times worse by 2009.I did try to keep Buttface alive as Buttface Productions in Tampa, by financing the release of my friend Jan’s band Agathocles’ first flexi disc. But my partner in that turned out to be a cokehead and ripped me and the people who ordered the flexi off badly. Some got out, here and there, but the majority I kept with me all this time, and only sent the leftovers to Jan in 2009! Almost 20 years later!
The underground metal zine is not yet an obsolete form of media. Publications such as Baphometal (Argentina), The Convivial Hermit (USA), Cross of Black Steel (Romania), Crypts of Eternity (Peru), Dauthus (Sweden), Fall to Your Knees Pissing (USA), Funeral Maelstrom of Hate (Italy), Grievantee (Finland), Hellpike (Germany), Horrible Eyes (Germany), Kaleidoscope (Finland), Oaken Throne (USA), Psicoterror (Peru), Qvadrivium (Finland), The Serpent Bearer (Finland), The Sinister Flame (Finland), Strength Through War (France) and Womb (Finland) are equals to their legendary forebears in literacy, style and tomblike appearance. They publish in-depth interviews dealing with topics from philosophy and magic to science besides the actual recording process, whose nowadays sophistication is unmatched by the legends of the past. Even the most obscure of bands are frighteningly conscious about their image and aims. Yet, their statements remain inevitably in the shadow of their colleagues from past decades in terms of influence, not because of any fault on behalf of the writers, but in keeping with the cycle of life and death which, as we have sadly noted, death metal and black metal are not exempt from.
Timo: Fallen Pages gave me direction in life, I would not be sitting on this chair now had I not been able to see things in an international perspective from very early age. And having to handle schedules, layout, printing, writing and monetary issues. Back in 1990 Rovaniemi was very, very far even from Helsinki. And even further away from Europe. Now with Internet it is different for kids living in distant places, but looking at it now, it is weird that the small town produced people and bands like Beherit and Lordi. And Fallen Pages and Black Crucifixion.
Alan: I think the zine culture as you put it pal, it’s all about paying your dues, and showing the scene that you mean business, that you care enough about it to get up off your ass and promote the bands as best you are able. It doesn’t exist really anymore I guess, not on the level it did anyways. Instead of doing the work, today more people are concerned with ‘collecting’ Myspace official band page profile photos on their top friends list. You know? That’s gay to me.
This piece of death metal research was conducted with the help of the following generous individuals: Alan Moses of Buttface zine, Brian Pattison of Chainsaw Abortions zine, Niko Sirkiä of Hammer of Damnation zine, Timo Iivari of Fallen Pages zine and Pete Ilvespakka of Pure Fucking Hell zine. You can admire scans of some of their issues and many more of the period at the Deathmetal.Org Exhibits page. Alan and Brian have joined their forces recently to publish a recapitulation of the most important years of death metal, 1984-1991, through a collection of photographs and stories narrated by the bands and zine editors of the era. Niko pursues the wizardry of ambient and avant-garde soundscapes. Timo and Pete continue performing pure black metal with Black Crucifixion and Diaboli, respectively. Deathmetal.Org loudly hails all the participants!
What then is truth? A movable host of metaphors, metonymies, and; anthropomorphisms: in short, a sum of human relations which have been poetically and rhetorically intensified, transferred, and embellished, and which, after long usage, seem to a people to be fixed, canonical, and binding. Truths are illusions which we have forgotten are illusions.
– Friedrich Nietzsche, On Truth and Lies in a Non-moral Sense
Emit creates ambient art for those off the beaten path and willing to indulge a contemplate, meditative, obscure trip through undefined sound, like a convergence of Lull, Final and Harold Budd. In addition to being musical, this project is produced by minds who have critically analyzed and chosen their path. We were lucky enough to capture this interview after being blindfolded, driven in circles in a 20-year-old Toyota Tercel, screamed at in Pashtu and Altedeutsch, and finally interrogated by Unknown I while we gobbled our rice rations of the day.
Do you believe that art requires an intention behind it?
Yes, but then all art has some sort of intention behind it. Even if the intention is purely a selfish one, like making money or seeking fame (or infamy), or taking the piss, there’s still a motive no matter how questionable. Deep down there’s a reason for every action made in this world. People complain of “mindless” vandalism but never think about why it is that an ugly steel and glass bus-shelter may seem like an affront or worthless object of derision to others. The fake surroundings we spend most of our lives in are so hideous in my eyes that it was natural to become involved with the courageous cultured barbarism of black/death metal, noise music and so on. To me, these music forms aren’t fantasy escapism but reflections and expressions of deep underlying truth and reality of existence. Most things seem to want to hide reality from you, i.e. your butchers and policemen as my old friend Joseph Conrad said, but certain art exposes inevitable death and reminds you that you’re actually alive and existing. A friend of mine used to badly cut himself on a regular basis, he said that people mainly did it (in black metal circles) because it was a brutal and “evil” thing to do to yourself, but he just did it because he liked it. I suspect that he did it because when seeing his own blood spewing everywhere and feeling the pain of it, he could taste mortality and thus found confirmation of his own existence within that. Do you truly feel that you exist until you realise that you’ll die one day? When you see what usually remains invisible (in this case, that which allows you to live; the internal organs, blood etc), the abyss between merely seeing and actually existing is crossed, said Yukio Mishima, loosely paraphrased.
If so, is art decoration? Is it propaganda? Is it communication? Please explain your choice.
All art communicates something, whether it communicates something worthwhile or not is another matter. The Greeks thought that the sheer craft of even an everyday object like a chair was art by itself, but then their furniture and so on was made by hand, not mass produced to a template by chinese industrial machinery. My own house is mostly purely functional, apart from a few choice objects here and there, the personal worth and interest of which are in my eyes therefore enhanced, or more accurately, are allowed their rightful place and not drowned out by crap. Owning and listening to too many albums, for instance, devalues the really great ones. So I don’t do it. If art doesn’t say anything to me (or if something else says it better) it’s probably useless and I’ve no time to waste on it. Propaganda is for tabloid newspaper readers and decoration as an end in itself only reflects the present culture it derives from, which in our case isn’t very good, from an aesthetic sense or any other. Ancient decorative art (from nearly all ancient cultures) glorifies all that’s great about their people, mythos and culture, truly aspiring towards and reflecting something divine and vital. The likes of the Pre-Raphaelite Brotherhood (particularly the mediaeval revivalist offshoot led by William Morris and co), attempted to inject this old ethos back into the increasingly industrialised culture of the West, and with Hammemit’s crude neo-mediaeval music I follow humbly in their footsteps. By “neo-mediaeval”, I mean taking the past and adapting it to modernity, not wearing old clothes and fighting mock battles as if pretending it was still the year 1300. I don’t want to retreat back into the past, I’d rather bring the past into the present day.
Kurt Vonnegut famously referred to art as a “canary in a coal mine”, or a warning signal for society. Other artists, notably Romantics, have claimed that art serves a necessary role in celebration of life. Still others believe it should celebrate the artist. Where, if anywhere, do these views intersect, and is it possible for art to exist as a discrete one of them and not as an intersection?
I used to talk several years ago about “anti-art”, because I considered what I did to be partly a reaction against pretension and fakery where most “artists” claimed to be so very deep and meaningful, but in actual fact their art was nothing but shallow and cheap gimmickry, or entertainment. It’s easy to pretend to say a lot if you hide behind a fog of flashy imagery and other useless bric-a-brac. It’s also surprising to me how many are taken in by it, as I thought art was supposed to go beyond the superficial.
I would have laughed when I was a teenager if someone had said to me that art like that of black metal celebrated life. But ironically, being obsessed with death and general morbidity is actually a healthy state of mind in a society where no one wants to even think of the word DEATH. I found it empowering and strangely uplifting (though it didn’t occur to me that way, back then) to be thinking of death all the time and carrying bones about in my pockets, because it’s a taboo and forbidden realm not to be mentioned in polite cunting society. So to be allied to a “cult of nature processes” ironically made me feel more alive and allowed me to breathe in the cold night air more deeply. Possibly it’s why I found (and still do find) great pleasure in simple things which others don’t find particularly remarkable at all.
Nature! We are surrounded and embraced by her — powerless to leave her and powerless to enter her more deeply. Unaksed and without warning she sweeps us away in the round of her dance and dances on until we fall exhausted from her arms.
She has brought me here, she will lead me away.
I trust myself to her. She may do as she will with me.
She will not hate her work. It is not I who have spoken of her.
No, what is true and what is false, all this she has spoken.
Hers is the blame, hers the glory.
– Johann Wolfgang von Goethe, Nature, a Fragment
Quorthon of Bathory refers to his music as “atmospheric heavy metal.” What does atmospheric offer that the world of rock music, jazz, blues or techno cannot?
“Atmospheric music” as I would understand the term offers a means of connection with the hidden world beyond, the mysterious unknown. It allows the creation of certain moods, ideas and images within the mind of the imaginative listener. Certain key passages in this kind of music can suddenly infuse you with an almost indescribable transcendence from your surroundings. There are moments like this in Graveland’s “Barbarism Returns” and Enslaved’s “Heimdallr” (the demo version more so than on the album). Simple rock music or whatever is a mere temporary distraction and serves only as a kind of audial wallpaper. Rock music may passively reflect the time in which it was created and the base preoccupations of its creators but that’s it. Atmospheric music pointedly reflects the time in which it was created and also suggests possibilities for the future, or contemplation. That’s the difference between your example of Bathory (I would say spiritual music) and one of their contemporaries like Venom (secular music). Speaking of Hammemit & Emit, I’ve always wanted to create active music for active listening, not passive background decoration, as I listen to music as an activity in itself, not for any other reason. Sometimes if I’m in the car on my own I’ll listen to music to just pass the time on tedious journeys, or boost flagging spirits. I hate martial/military music (outside of its intended context the purpose and point is lost), but I have a tape of good driving tunes by the SS Leibstandarte Adolf Hitler which encapsulates the optimistic atmosphere of the 1930’s. It makes me smile when crawling through some faceless city at 5 mph to consider that even a 25 ton Panzer IV had a top speed of 26 mph and could easily crush to pieces the cars in front and crash through the walls of the office blocks and shops lining the road, pedestrians scattering about like rural french peasants.
When you write music, do you aim for a completed concept, or develop a fragmentary concept and see where it goes?
I’ve always had a “concept” in mind but as the years went on it became more easily expressed. The Hammemit album is my most consistent work, and conveys my intended ideas simply and without any unnecessary ornamentation. My core beliefs haven’t changed radically but my opinions have changed somewhat from experience and such. I’m too young for my opinions to have fossilised into convictions yet. In order to communicate effectively, an artistic medium like an album of music needs to take a unified approach. It should have a distinct sound, a unique voice both visually and lyrically as well as musically. And this should all come naturally, not be forced in an unnatural, dishonest way like some calculated marketing campaign. A lot of bands understand this but only grasp it on the most superficial level; they have an “image” in promo photos, they use the same font on all their releases or whatever. They miss the point completely. What I want is for someone to look at the layout/images of the Hammemit album, read the lyrics, listen to the music and intuitively take from it something useful to them. That sounds dry and dull in words, but what I mean is that I ultimately aim to create with Hammemit the means for uplifting of spirit and transcendence in the listener that occurs when absorbing great art.
Many attack ambient music, like punk, for the relative lack of musical training or instrumental ability of its progenitors. Do you see this as an important criticism?
I doubt you’ll be surprised by my answer here, but no, of course it’s not at all important. Technique is merely a means through which you can express something. Lack of technique or limited musical ability just means you’re more restricted (or perhaps freer in some cases) about what you can do. Someone lacking musical ability or training couldn’t easily write or perform music like that of Morbid Angel for instance, but then some forms of expression don’t require that level of instrumental skill. Furthermore, technical ability is absolutely worthless if lacking any idea of composition. I think someone who has no real technical ability as such, may nevertheless still have an innate (possibly an unrealised, subconscious) understanding of melody and form, and thus be able to create good music. I don’t understand why it is that low technical skill is nearly always seen as a valid criticism by those who “know about music”. It’s like with these lists you see of “100 greatest guitarists ever”, ok, but how many of them made music that you actually give a shit about? Darkthrone were quite talented musicians but their best music isn’t hard to play to say the least. I bought a new guitar recently (an ostentatious act for me, but the model is not in itself ostentatious) and tried it out in the shop beforehand. I suppose that people usually have a long, showy masturbation session in music shops when trying out new instruments, but I just wanted to see how it felt to play and so on. I’ve never really wanted to drastically improve my playing skills, not through laziness or lack of ambition but because I actually fear losing my unfettered ability of expression. Over time I’ve improved gradually anyway as is natural, but I’m fond of the lack of refinement and “first take” freshness that can be found in recordings of people like Ildjarn or old Mutiilation. It lends a certain immediacy that becomes integral to the overall effect that the song produces upon the listener. For me it’s similar to the curious power of crude woodcut illustrations, which although primitive, nevertheless convey what is intended. I’m not advocating the old punk rock ethos of “anyone can have a go”, because plainly, not everyone has what it takes to create something meaningful or worthwhile. Indulge me and allow me to quote a favourite passage from a controversial figure of 1960’s England; “practically everyone believes they could write a book or compose a song if only they put their mind to it. They believe this simply because they can easily comprehend the finished products of others. It is not until they attempt the act of creation themselves that they become aware of their own limitations, lack of imagination, abysmal powers of self-expression and how unaccustomed they are to thinking deeply about anything at all. Becoming aware of the vast gap that exists between understanding and personal creativity – and the intellectual effort required to capture and express a complex idea in simple terms – is humiliating”. Technical prowess as such doesn’t necessarily hinder the creation of (good) art, but stupidity and a lack of anything to say certainly does. Just look at the music section of myspace.
black metal and ambient music seem similar in their use of layered motifs over a drone or constant beat in which syncopation is de-emphasized.
Is this from a similar world-outlook, or is it a megatrend passing through our time to aim for atmosphere instead of discrete conclusions?
In the first place that’s a really interesting hypothesis which makes a lot of sense to me, but I’m not sure if I know the answer to your question. I don’t really think that a similar world outlook necessarily leads to similar artistic output other than in terms of meaning, so it’s possible that intelligent artists who have something to communicate gravitate towards creating music that they feel speaks to the ancient man who finds himself living in the modern world.
EMIT has emitted (forgive me that) a series of releases, seeming with each to move farther from black metal in form and closer to black metal in spirit. Is that assessment correct? What has engendered this progression?
I think you’re right. With the Hammemit album, there are no percussion elements, no distorted guitar and mostly clean vocals. In previous releases there’s been a fair amount of variation with clean and distorted guitar, but ironically, I wanted to free myself from the conventions of what I used to do by limiting myself to a bare minimum as far as possible. It focused my mind and let me get to the core or essence of what I’ve already been doing for years. I believe I’m getting closer to an ideal stylistic approach, which has taken some time to reach. Now it’s a matter of utilising the approach in the most effective way possible.
When we speak of evil in music, what is its value? Is literal evil meant, or a mockery or evil, or is the metaphor being overloaded to take on new meanings? Are they recapturing the word “evil” like hip-hop groups have recaptured racial epithets? And finally, have you encountered any music you consider “evil” in the definition of your choice?
It seems to depend on whom you speak to. The religious bands of today mean literal evil in the biblical, moralistic sense. So-called “pagan” bands use the word as if to say “christianity turned our gods into devils”, recapturing the word, as you suggest. Overtly blasphemous bands like Havohej take delight in mocking the dualism and entire concept of evil with their crudely effective lyrics and stance. I don’t think I’ve come across any music that I find actually evil, only music seeking to portray that which is generally considered evil, and that isn’t the same thing as “evil music”. I said in another recent interview how I’ve never seen death and black metal as being much concerned with blaspheming, but rather praising or aspiring towards the numinous. That’s what I’ve always endeavoured to do with Emit and will continue to do with Hammemit.
Do you believe music should be mimetic, or reflect what’s found in life, or ludic, and show a playfulness with life that encourages us to experience it in depth? Do the two ever crossover?
When I listen to Hammemit, what comes to my mind is the moors, woods, rural churches, stone circles and ancient places of England as I know it. It encapsulates what I begin to think about when visiting or visualising them, and I believe that music ultimately is an artistic manifestation of thoughts and ideas. For instance, the guy from Absurd used to say that black metal was “listenable ideology”. Taking this further, I would even say that music could be broken down to something like computer language, a series of 1’s and 0’s which look like gibberish but can be understood if you have sufficient knowledge or have trained yourself over time. If you look at guitar tablature, it’s basically a series of numbers telling you where to put your fingers on the fretboard, but when you follow this on an instrument it creates something which we can understand, much like 111110010100110001111 might be code that forms a program for a computer. So if you translate thoughts and interpretations of the world around you into music, it could be said that you’re creating a program which allows other people to experience those same ideas and thoughts. I dare say this makes the whole artistic process seem less “magical”, but I like to try to get to grips with the mechanics of how important phenomena work.
I want to learn more and more to see as beautiful what is necessary in things; then I shall be one of those who make things beautiful. Amor fati: let that be my love henceforth! I do not want to wage war against what is ugly. I do not want to accuse; I do not even want to accuse those who accuse. Looking away shall be my only negation. And all in all and on the whole: some day I wish to be only a Yes-sayer.
– F.W. Nietzsche, Thus Spoke Zarathustra
When you create music, do you narrow your perspective to find what you seek to express in life, and then translate it back to sound? Do you feel others do this? What are the ways an artist can approach the task of making art?
I feel I’ve sort of answered this above, but certain noise music to me, sounds like the breath of woodland in a heavy wind or even birdsong, if I’m in the right frame of mind. I’m not sure I’d actually call it music as such, in all fairness, but it’s interesting to think of these mechanistic, artificial sounds interpreted back into naturalistic ones, as if being reclaimed. Trees smashing Isengard. Any artist who wants to communicate something worthwhile will choose a form which he or she thinks is most suitable (and personally enjoys themselves). Usually I’d imagine it’s pretty much intuitive, not so much a conscious choice. I don’t know how other people might go about creating music or writing or whatever, but speaking for myself, it stems from a desire to encapsulate that initial inspiration and rush of ideas and feeling. It’s “just” a matter of working out a way in which to best make it communicable. Not being unique, I suppose this must be how it is for many others, as well.
What influences from the world of ambient music were inspirational for you?
The sound of nearby church bells, rain on the rooftops and wind in the trees is perhaps the greatest ambient music I’ve heard and has influenced me more than anything else. Some have said that the Hammemit album reminded them of work by Brian Eno and he is indeed quite a visionary, though I wouldn’t agree that he was much of an inspiration to me. I like Tangerine Dream a lot, and anything that I like a lot tends to be assimilated somehow into what I do, but there’s no conscious influence from them either. My music is mainly based around the guitar, so two particularly inspirational guitarists for me would be Snorre Ruch (of Thorns) and John Dowland, the latter being a lutenist rather than guitarist but the principle is similar. I think my influences are more in terms of ethos and aesthetic than anything concrete in form.
Like many others, you were influenced by the black metal movement coming out of Norway in the early 1990s. What did you see in that movement that inspired you artistically?
I saw another movement like that of the Pre-Raphaelites for whom “the past is alive”. The music, image, ideas and actions transcended the mundane shit of day-to-day life in the modern world, touching on things deeply buried. “How beautiful life is, now when my time has come”, sounds like a line Mishima might have written. Most black metal bands of today in comparison remind me of the difference between Dead Can Dance and fucking Cocteau Twins. In other words, idiots tell me that if I like Dead Can Dance, I’ll also like these other clowns, but I DO NOT.
The long, long road over the moors and up into the forest–who trod it into being first of all? Man, a human being, the first that came here. There was no path before he came. Afterward, some beast or other, following the faint tracks over marsh and moorland, wearing them deeper; after these again some Lapp gained scent of the path, and took that way from field to field, looking to his reindeer. Thus was made the road through great Almenning — the common tracts without an owner; no-man’s land.
– Knut Hamsun, Growth of the Soil (1917)
Do you have any personal ideologies? Do these inform your approach to your music? Do they provide a groundwork for the content of your music?
I once began to distrust this word “ideology”, in black metal especially it became a word used to say whether a band was “true” or not. People began to talk about “ideological black metal”, which was used to draw a line between bands who stood for something and those newcomers or fakes who stood for nothing but making scary music to amuse themselves. But unfortunately in trying to emphasise the difference, a lot of bands started becoming overtly politically affiliated as if trying too hard to prove they had something serious and important to say. For example, the Polish bands of the mid-90s did this more and more as they saw the Norwegians becoming less interesting musically and much less radical in their statements and so on. I think it was good and necessary to start with, because the normal people refused to listen to politically-incorrect music like that of Veles or Graveland and stuck with safer bands. I gather that people even sent Veles CDs back to the record label because it had the word “aryan” printed in the booklet. It created a refreshing and stimulating, iconoclastic environment similar to that of the original outbreak. But there was a point where overt nationalism and political-incorrectness became sloganeering or even protest music and that’s where I lost interest. The point is that ideas don’t need to be expressed through some existing political party/system, or so obviously. It’s just cheap and vulgar and only appeals to idiots. To be silly for a moment, Hitler wouldn’t have listened to WAR88 but he might have given later Graveland a try. My own music says, “I would prefer to see a million people machinegunned than a forest put to the chainsaw to make room for their ugly houses”, but that isn’t the title of the album.
Do you believe objective reality exists?
Tell a class of schoolchildren to look out of the window and draw a specific tree and they’ll all draw something “treelike”. Therefore you can say that objective reality exists. But each child will probably come up with various subjective interpretations of the tree. Most will try and copy it as exactly as possible (and become frustrated when they fail to do so accurately), perhaps some will try and capture the spirit of the tree, others will not observe at all and draw a generic tree, etc. Personally, I always tried to be faithful to the object in question taking meticulous care over tiny details, usually running out of time and leaving it incomplete. Sometimes I found that when translated to paper, objects looked wrong, even though they had been accurately rendered, so I’d stop looking at what I was drawing and improvise or add what I wanted. I began to think at an early age, in the simple way that children do, that reality is something which although the same for everyone, reveals more to some than it does to others. It was hard not to feel superior when faced with the fact that those around me seemed totally blind to all but their most immediate surroundings. I find it stupid when people say their music is “inspired by nature”, because it seems to me that in nearly every case, they mean a picture postcard version of nature. They see nothing beyond the obvious, they just like the “dark atmosphere” of forests or the “inspiring” sight of distant mountains (what does it inspire them with I wonder). They might as well paint a drab watercolour picture because what they see around them has already been handily interpreted for them by TV and other mass media. We learn to interpret life vicariously through other people, so that when stood in a forest you should feel X, Y or Z, because that’s the limit of human understanding so why bother thinking any different. What’s the difference between visiting Stonehenge or a desert and watching some slickly edited footage of them on TV? I may see the same things such people do, but for all intents and purposes I’m not even on the same planet, my experience of life is not the same at all.
What consciousness if any exists to the cosmos? If one does exist, does it infuse you with a sense of purpose?
Well I certainly believe in a consciousness to the cosmos. But I don’t believe that you need the church or any organised religion as intermediary. In meditations and in my whole life I’ve tried to understand even a tiny piece of this existence and wondered often, and thought deeply about all of creation and the point of it all. My beliefs in recent years have more or less followed ancient gnostic ones, as I felt the closer you got to the beginning, the nearer you got to the truth, in opposition to modern thought, where it’s believed that with each new technological progression you come further to the truth and some ultimate, elusive satisfaction. In modern society people believe that with each passing second the world naturally progresses in a linear way. Well, it’s not “natural” that we should have an industrial revolution at a certain time and I don’t think all progression is necessarily good, or indeed real progression at all. If there’s an alien civilisation out there somewhere, it’s unlikely that they’d have developed the same as we’ve done. Terms like “the Stone Age” are very misleading. Having contemplated life in the modern world it’s very easy to conclude that absolutely everything is stacked against the deep thinking, spiritual person. When you come to this point it’s also very easy to think about suicide and I’ve had periods (now forever in the past) where I’ve vaguely entertained the notion. When I was younger I used to go on walks and towards dusk smell the summer air, listen to the last birdsong and I felt something huge missing within. I had no idea what this “something” was nor any idea of how to discover what it was, but it gave me a direction to strive towards. People always tell me that I think about things too much, but then I’m a spiritual person and contemplation seems to be a key to understanding. The consciousness (what people used to call god) that exists within and without this cosmos (and therefore us) does indeed infuse me with a sense of purpose. I think that changing yourself even at a solely physical level is not something as insignificant as it might seem, because everything is interconnected so such a change is nothing short of altering the entire universe piece by piece. Believing in the interrelation between microcosm/macrocosm as I do, I wonder how anyone can believe that the universe and cosmos will exist indefinitely. Is there any example in nature that suggests this is likely? Every living thing is just a miniature cosmos in itself, so therefore if every living thing has to die at some point, the cosmos itself must have to “die” as well. I personally don’t believe in death as a finite and permanent thing, but as a change in existence, energy moving elsewhere or eventually returning to the source. Worshipping death and the ultimate Death of everything in the way that I describe, makes existence tolerable by virtue of considering its otherwise total worthlessness. Life would be pointless without death after all, but Death still exists without life. It is therefore, the ultimate and oldest form of existence, coming both before and after material manifestations. Energy can’t be destroyed, it has to go somewhere and originate from somewhere, so death is evidently not a total nothingness in the way we might understand the word, despite not being able to comprehend it. There isn’t a dualism between death and life, death is actually a continuation of life in a different (higher) form. I don’t mean an afterlife as such in the sense of “heaven”, but I believe in continuation in different forms, though it isn’t comprehensible to us. You can say that as you can’t remember anything from before your birth, why should after death be any different? Well I imagine it isn’t, but non-awareness only means non-existence in the form that we know. Let’s say the cosmos came into being when it first became aware that it existed. On a microcosmic level, using a biblical metaphor, the first humans became aware when tasting the forbidden fruit and thus realised they were naked. Before that they still existed but were unaware of themselves as entities in their own right. Therefore going back to the cosmos as a whole, one can tentatively suggest that the cosmos existed before it came into physical manifestation, despite there being apparently “nothing”. Zero is still a digit (and a relatively recent concept at that), and there are also minus numbers, meaning you can go further back than nought. Death is a realm separate from the material one, therefore it isn’t possible to experience it by means of the senses or even deep thought – it’s outside of humanity. But it is real.
Nihilists tend to break the world into two groups, those who are looking forward in time toward something intangible that constitutes a purpose, and those who lack any such abstract goal so are focused on the tangible, both in physical and mental construct. Have you observed anything of this nature and, if so, what is it?
When you first look around at the world that surrounds you, you’ll obviously only see the immediate – buildings, people, trees, stars etc. Once you recognise these things and begin to file them away in your mind, you start to allocate meaning to them from further associations that link them and a million other things together build up into a massive network of meanings, memories and so on. Taking everything at face value would mean that none of these things you’ve observed have any intrinsic value whatsoever, other than those which you’ve learned or been conditioned to accept. You would understand for instance, that the paper notes used for currency, or even the shiny yellow metal called “gold”, are not worth anything, apart from the value society has given them. And so-called “human rights” is a meaningless, purely politically expedient concept. You’re then faced with a very difficult dilemma. You can either create or accept an existing mythology to explain the world you find yourself struggling to understand, or believe that you’re on your own and have been left to your own devices. Strangely, following on from gnostic beliefs, I’m actually somewhere in the middle, ha ha.
One of the fundamental divisions of our society is whether or not it can accept relativity. some turn it into relativism; others deny it and insist on “objectivism,” which is a rather rigorous form of scientific Social Darwinism. What do you think unites methods of relativity in linking together phenomena, and the human desire to make life easy and tangible and have us each perceive that reality is as we desire, even if contrary data exist?
It’s true that people prefer to see things as they’d like them to be, and hide away from what they really know is out there. That’s why D E A T H is such a taboo that people give it all these innumerable euphemisms. It obviously sounds like a much easier and “fairer” life if everyone decides to agree to disagree, because it means less conflict and less of people’s feelings being hurt. Unfortunately for utopia, people have a tendency of saying “no, we’re absolutely right in our beliefs, and you are heretics/infidels/cretins/gay for believing otherwise, and now we want to kill you”. You’ll often hear politicians and their ilk talking about how everyone should be able to live in harmony, not afraid to believe in whatever they want to believe in. Although of course, these same people will later go on to say they’re declaring war on another country to fight for what’s “right”. Opposing beliefs and ideas are always going to cause tensions when confronted with another, because to admit that they’re “both right”, or that “no one is wrong” is an admission of uncertainty and lack of faith in your convictions. It’s also blatantly stupid because both parties know that in truth, either one or both of them are utterly wrong. It’s like saying you know for certain that grass is green but accepting that some people think it’s blue. I believe that falling trees make a sound in the forest even if no one’s there to hear them, and that the world exists outside of our perception. It will still be here when I die. As usual, what unites all these things is a fear of death. The world is a frightening place if you suddenly take away everything that shields you from it. That’s why people allow themselves to be led down the garden path, willingly oblivious to the forest that lurks at its carefully trimmed and cultivated edges.
Did black metal die, and if so, what killed it and, has ambient/electronic music gone through similar cycles?
Everything has to die. I feel that like the world itself, black metal could have remained something brilliant, but stupid, shallow people and commerce ruined it. Concerning black metal (but not only that), I think most people including many who “were there” only see an idealised version of reality. Basically they see a relatively brief outburst of creativity and good intentions contained as a single neverending era and not as a finite period of innovation witnessed over time, followed by noticeable decline and inevitable death. I imagine citizens of the Roman Empire in its last days felt that way. Maybe Americans feel like that. People need a sense of continuity and belonging in order to feel secure and black metal is now a boring youth subculture like any other, not an evolutionary artistic movement. It’s about clothes, symbols, scene orthodoxy and total lack of substance for the most part. It’s hard to admit that the dream is over, that something has come to the end of its lifespan. The people who refuse to recognise that are usually those with the most to gain from its continuation and such people are dangerous because they prevent real progress from being made. But those who do acknowledge it are the first to rise from the ashes and forge something new. When an old, beautiful and much loved building falls down, the average guy says “I’ll rebuild this building, it’ll not be quite as good as before but it’ll keep the spirit of the old building alive”. But a radical, visionary architect says “I’ll rebuild this building, and I’ve a few ideas of my own this time”. However there are quite a few people out there who think of themselves as doing something new and original, but who actually aren’t. Playing a saxophone or tambourine or banjo or flute in a black metal context doesn’t necessarily make you a creative genius (in fact I’m damn sure it doesn’t). To cite an example I’ve used before, Darkthrone were obviously a positive evolution from Bathory and Celtic Frost, and to continue the architectural metaphor; are the difference between doric and ionic columns. In other words you don’t need to do anything completely new to be original, you just need to look at what came before in a new light, which is easier said than done of course.
What’s the status of EMIT, and when do we hear new material? What inspired this new material?
Emit has evolved into Hammemit; modern music for mediaeval sensibilities, by which I mean intended for those desensitised to the general chaos of modern life yet retaining a certain spiritual awareness and closeness to the world. The new direction isn’t a sudden development but a gradual progression where I began to lean more towards the calmer works than the noisier ones. The more consistent approach which can be seen in the Hammemit album stems from deep and prolonged contemplation flowing over into a group of connected lyrics. These lyrics really opened the way into a new holistic conception and execution of my musical work. I hope that as many people as possible will read the lyrics and that some will feel a deep affinity with the music, because I know that other people look at the world in the same way that I do. My intention is that people should feel the way I felt when I read “The Centaur” by Algernon Blackwood – that they’d found a kindred spirit. I feel I should elucidate further as Mr. Blackwood isn’t well known anymore, though I believe he deserves to be. He used to be quite a popular figure in his time, and would read his stories on BBC radio and even appeared on the then new cursed medium of TV (when it was basically still radio but with pictures). Yet his books are mostly out of print nowadays and his best works can generally only be found in secondhand bookshops or not at all. Lovecraft was a fervent admirer of his work, though this wasn’t reciprocated and Lovecraft’s writing unfortunately is largely still seen as pulp trash while Blackwood’s is just forgotten. His one major attempt at fully explaining his worldview came with a full-length novel, the aforementioned “The Centaur”. His preferred medium was the short story and it becomes readily apparent when reading it, but despite its very occasional failings as literature, I found it interesting and even exciting reading. What he proposed was not new, but the manner in which he set about describing the idea that the world was a living being and everything living on it were part of one entity, made it sound like perfect sense. This being because I could clearly identify with the two main characters, both of whom seemed to articulate exactly what I myself thought and had constantly struggled with. Blackwood would have as a basis for many of his stories a central character who was enthralled so much with primal nature that they “risked” being consumed by it utterly. This is best seen in his short stories such as “The Trod”, “The Touch of Pan”, “The Man Whom the Trees Loved” and of course “The Centaur”, all of which I recommend reading. As I said, I hope to do with music and lyrics what Blackwood did with his writing, I feel a real calling to do so.
If you were able to make an album that would be given mainstream radio airplay, would you choose to make your music closer to mass tastes but subversive, or attempt to wallop people with something very far from current mass tastes?
I wouldn’t do anything different from what I’m doing now. Why would I want to water down what I do in order to get the interest of shallow people who have nothing in common with the meaning of the music? I’d just be wasting everyone’s time. Look at Dissection and their “Reinkaos” album or Watain’s new one. Why even bother? Seeds on barren rocks. Good luck to them if they think their message will be spread further by simplifying ther music, but I’d rather not pander to the lowest common denominator. I don’t see myself as some supreme and elite being, not through modesty but through thinking about it. I aspire to better myself and to achieve certain goals, and I look at myself therefore as what a human should be like, it’s those falling under that who are below human. There’s only human and underhuman, everything else is aspiration for now. I understand the limitations of the masses and know that difficult concepts are totally beyond them, not always beyond their capacity to understand, but certainly beyond their attention span. The masses are guided by base instinct and self-interest and to make them otherwise is impossible. It’s easy to trick them into believing that something bad for them is actually good for them and vice-versa. As long as they think it serves their own interests they’ll be happy. They’re mere empty vessels who’ve allowed themselves to become corrupted and mindless, a bit like Tolkien’s orcs or the zombies from “Dawn of the Living Dead”. Their greatest and apparently only desires are to eat/consume, fuck and destroy everything beautiful. The individual I quoted earlier once said that serial killers acted the way they did because they were either consciously or unconsciously deeply aware of time passing by and wanted to take action while they could, to live each moment as much as possible and push the limits of experience. The masses are not in the least aware of time passing them by, they don’t think death will happen to them. They imagine an afterlife paradise where all their sickening desires and lusts will be fulfilled for them, so might as well sit and wait for it. A consolation for me is that they will all eventually be reclaimed, as into an amorphous jigsaw with billions of missing pieces…
If you seek the kernel, then you must break the shell. And likewise, if you would know the reality of Nature, you must destroy the appearance, and the farther you go beyond the appearance, the nearer you will be to the essence.
– Meister Johannes Eckhart