“It’s Okay to be White” – The Metal Song

Political YouTuber Finntronaut has uploaded a silly new metal song and video themed after the “It’s Okay to be White” prank that violently triggered thousands of snowflake liberals earlier this season.  While the song is not exactly good, it’s a pretty funny take on how ridiculous this culture war has gotten lately here in the U.S.A.  Thematically the video takes no political position- it’s just a bunch of goofy satirical visualizations overdramatizing the racial/cultural tensions of this age.

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#Metalgate: Kim Kelly Endorses White Genocide

Crustfund social justice warrior, hypocrite, alleged groupie, liar, and Vice columnist Kim Kelly openly supported white genocide on Twitter late last month. She gave her “total support” to Drexel university associate professor George Ciccariello-Maher who publicly wished for a white genocide as a gift last Christmas on Twitter and slammed his critics as “white supremacists”. He followed up his initial lust for ethnic cleansing of his own race with another tweet stating:

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#Metalgate: Vince Neilstein Calls Out Varg Vikernes’ “White Privilege”, Reneges on Apology to Destroyer 666, and Attempts to Cover His Tracks

Metalsucks Varg Destroyer 666 original

Vince Neilstein (Ben Umanov) of scenester social justice warring metalcore blog MetalSucks called Varg Vikernes of Burzum racist for stating that the Western liberal media do not feature the heroism and cultural achievements of white men, specifically Alexandre Migues who helped stopped the Islamic fundamentalist terrorist truck driver in France last week, as it doesn’t their promote their multicultural agenda. Neilstein then reneged on his apology to K.K. Warslut from Destroyer 666:

But what else should we expect from Varg? Perhaps he should invite his buddy from a certain Australian black metal band for a weekend at his home in the French countryside so they can lament the struggles of white men everywhere as they drink their fine, white privilege wine and kiss and cuddle by the fireside.

Not only did Vince/Ben go back on his word to not call Destroyer 666 cock rock stage banter racist again, he made a gay joke which surely won’t endear him to his overly-sensitive social justice warrior hipster readers. Later, Vince tried to backpedal on the current version of the page:

Metalsucks Varg Destroyer 666 edited

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Shadow Woods Metal Fest: Location Moves To White Hall, Maryland

shadowwoodsmetalfest

The inaugural September installation of Shadow Woods Metal Fest, the new mid-Atlantic, open-air, camping-based metal fest, has moved slightly Southeast, from its initial placement in Southern Pennsylvania to White Hall, in Harford County, Maryland.

Set to take place September 25th – 27th, 2015, the new location of Shadow Woods Metal Fest is similar to the previous site, with deep woods, cabins and tent camping fields, yet is slightly closer to both Baltimore and Philadelphia, making it even more accessible to East Coast metallers planning on attending the diverse three-day festival. The more intimate setup of the new camp is equipped with several cabins, modern plumbing bathrooms, a professional kitchen, a lodge building, and access to a river, as well as an indoor stage.

Since initial announcements, Menace Ruine dropped from the lineup and was replaced by Black Table, yet the remainder of the Shadow Woods Metal Fest lineup remains the same, including lead performances from Midnight, Falls of Rauros, Occultation, Velnias, Iron Man, Anagnorisis, The Flight of Sleipnir and Stone Breath, along with twenty-six additional acts. The fest is also likely to be the first live performance for the surviving members of Wormreich since their tragic vehicle crash in April. The gathering showcases underground black, doom, death, and noise and experimental metal bands on two alternating stages all day Friday and Saturday. Camping and workshops on topics such as runes, guitar maintenance, yoga and more will be offered and are included in the ticket price. Artists and record labels will be vending alongside several onsite food stands.

There will be ZERO ticket sales at the gate for Shadow Woods Metal Fest– advance presales to those 21 years of age and older is the only way into the fest, and is still BYOB. Cabin beds are now included in the ticket price but are limited to first-come first-served. There is a list you can sign up on mentioned in the private group. There are only 350 tickets in total, and half of those tickets have been sold.

Additionally, the Shadow Woods Metal Fest website has been redesigned to include a store — including a new poster for the event designed by Fred Grabosky of Sadgiqacea. — as well as the newly-launched Shadow Woods Radio, showcasing artists set to perform at the festival. Check it all out RIGHT HERE.

SHADOW WOODS METAL FEST 2015 Alphabetical Lineup:

  1. Anagnorisis (Louisville, KY – black metal)
  2. Anicon (New York, NY – black metal)
  3. Ashagal (New Hope, PA – ritual folk)
  4. Black Table (NYC/NJ – experimental metal)
  5. Bridesmaid (Columbus, OH – instrumental doom-sludge)
  6. Cladonia Rangiferina (VA – ritual black metal, doom, acid rock)
  7. Dendritic Arbor (Pittsburgh, PA – black metal / powerviolence)
  8. Destroying Angel (Philadelphia, PA – folk music for exorcisms)
  9. Dreadlords (Philadelphia, PA – ritual black metal blues)
  10. Dweller In The Valley (Frederick, MD – black, death, doom)
  11. Existentium (Baltimore, MD – melodic technical death metal)
  12. Falls of Rauros (Portland, ME – folk/atmospheric black metal)
  13. Fin (Chicago, IL – black metal; unsigned)
  14. Heavy Temple (Philadelphia, PA – psychedelic doom)
  15. Hivelords (Philadelphia, PA – experimental psychedelic black doom)
  16. Immortal Bird (Chicago, IL – black/death metal)
  17. Iron Man (MD – doom metal/heavy rock)
  18. Midnight (Cleveland, Ohio – black heavy metal)
  19. Molasses Barge (Pittsburgh, PA – traditional doom metal)
  20. Occultation (New York, NY – doom metal)
  21. Oneirogen (New York, NY – dark, doom, drone)
  22. Psalm Zero (New York, NY – experimental black doom)
  23. Sentience (Woodland Park, NJ – death metal)
  24. Slagstorm (Hagerstown, MD – prehistoric doom thrash)
  25. Snakefeast (Baltimore, MD – jazz metal sludge)
  26. Stone Breath (Red Lion, PA – experimental folk)
  27. The Black Moriah (Dallas/Fort Worth, TX – Western occult black/thrash)
  28. The Day of the Beast (Virginia Beach, VA – blackened death metal)
  29. The Expanding Man (Baltimore, MD – solo improvisational electronic soundscapes)
  30. The Flight of Sleipnir (Denver, CO – black metal)
  31. The Owls Are Not What They Seem (York, PA – experimental ritual soundscapes)
  32. Tyrant’s Hand (Baltimore, MD – deathened black metal)
  33. Unsacred (Richmond, VA – savage black metal)
  34. Velnias (Denver, CO – blackened folk/doom metal)
  35. Wormreich (Huntsville, AL & Nashville, TN – black metal)
  36. ZUD (Portland, ME – bluesy outlaw black metal)

http://shadowwoodsmetalfest.com
http://www.facebook.com/shadowwoodsmetalfest

 

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Metal and Post-Modernity

Article by Bill Hopkins

“We might even say that to be fully modern is to be anti-modern: from Marx’s and Dostoevsky’s time to our own, it has been impossible to grasp and embrace the modern world’s potentialities without loathing and fighting against some of its most palpable realities.”

—Some overweight sociology professor

Metal, like any manifestation of culture, doesn’t emerge from a social vacuum. So much should be uncontroversial. This raises a question in need of reply: What set of ideas and social forces explain the existence of metal? One hypothesis is to view metal as a manifestation of European romanticism [1], the period of European culture from roughly 1789 to 1850. This article suggests a different hypothesis: namely, that metal must be placed against the backdrop of post-modernity in order to be properly understood. In order to make this case, it is vital to understand ‘post-modernity’. Many confuse post-modernity (1960s-) with modernism (1890s-1930s), especially when it comes to art. Thus, a secondary goal of this article is to illuminate post-modernity. I will argue that one key imputes giving rise to metal was post-modernity’s re-engagement with past forms [2].

One naïve view of post-modernity, especially in its artistic manifestations, views it as an elitist movement intent on offending traditional and bourgeoise sensibilities by embracing the ‘shock of the new’ and the absurd: think of the sort of art piece your intellectually disabled 3 year-old could do if given a paintbrush and a blank canvass stretched out on the floor. However, this is to mistake post-modernity with modernism[3]. Modernism preceded post-modernity by decades. It began in the late 19th century and had all but dissipated in time for the lead up to WW2. Not only this, modernism was primarily an artistic movement whereas post-modernity refers to sweeping social and economic changes in addition to artistic ones.

‘Blue Poles’ by Jackson Pollock

As we will see, post-modernity is characterised by a re-assessment of modernism’s ‘shock of the new’. In order to explore post-modernity and its connections with metal more fully, however, we need to take a few steps backwards before going forwards. We need first to understand the broader concept of ‘modernity’ (1789-). What is modernity, such that ‘post’-modernity is contrasted with it?
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Introduction to Power Metal, Part III: 1980s US Power Metal

A salute goes out to Misters Imladris and Kaelrok for sharing recommendations and insights related to the subject at hand.

After having recounted and commented on the birth and evolution of the first wave of European power metal in part II, the time has come for this author to travel across the Atlantic and take a closer look at the contemporaneous development of power metal in North America, commonly referred to as United States Power Metal (USPM).
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Sadistic Metal Reviews: Flavor of the Week Metal Pt 2: Death Metal

Last month we ran the first  of a two part series on flavor of the week metal subgenres, focusing soley on black metal. The plan was to release a second edition a week later, but the Tulio Baars DDOS attacks prevented that from happening. That is, until now…
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Did Rock & Metal Engineer Societal Destruction?

What do Jonathan Davis, Corey Taylor, and Scott Weiland have in common?  Answering the question “90 Hard Rock singers” would not be incorrect, but there’s something darker beneath the surface – all three men are rape victims.  Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Taylors lyrics are riddled with sexual abuse.

Why were the executives of the murder industry so keen on pushing rape victims as the new face of rock n’ roll?  Furthermore, why were the most popular genres of rock and metal so lyrically obsessed with self destruction?  From Grunge “morality is useless and life is hopeless” to Nu Metal “I’m a freak and everyone hates me” to Emo and Screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been” the message of mainstream rock and metal music has constantly be one of self destruction.  This trend is mirrored by a 25% increase in American suicides in American suicides since the 1990s:

Suicide rates increased by 25% across the United States over nearly two decades ending in 2016, according to research published Thursday by the US Centers for Disease Control and Prevention. Twenty-five states experienced a rise in suicides by more than 30%, the government report finds.

More than half of those who died by suicide had not been diagnosed with a mental health condition, said Dr. Anne Schuchat, principal deputy director of the CDC.

“These findings are disturbing. Suicide is one of the top 10 causes of death in the US right now, and it’s one of three causes that is actually increasing recently, so we do consider it a public health problem — and something that is all around us,” Schuchat said. The other two top 10 causes of death that are on the rise are Alzheimer’s disease and drug overdoses, she noted.

With statistics like this, it’s absolutely time to panic: our society is being marred by growing influences- intentional or not – to destroy ourselves.  Let’s examine music’s relationship to this now obvious horror and see if we can determine why this is happening.

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/smr/ Sadistic Metal Reviews: Flavor of the Week Metal Pt 1: Black Metal

The ability to spot flavor of the week(/weak) trends in metal is a key element of elitism and will save you a load of embarrassment further down the road.  Both death metal and black metal have seen their share of torrid but temporary trends in the form of herd pleasing bastardizations that quickly spike in popularity and then evaporate from relevancy as their fans move on to something even worse (usually after a period of denial and/or clinging to a safe intermediary genre).  Crowdism is for losers but it’s heavily pushed in the metal scene and thus one must stay sharp to avoid it’s pitfalls.

Therefore in the interest of providing you, the reader,  with the knowledge of how to identify and properly dismantle future flavor of the week trends as they appear, this two part series SMR series will focus on a trend, a selected album from that defines it’s failings, and the worst offenders for each of these forgettable movements.  This week, we will focus on black metal’s most embarrassing waves of herd-fandom and sadistically dissect their unfortunate rise and much needed fall.

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