What does it take to destroy metal?

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People think like they eat, so when someone talks about heavy metal being destroyed, they envision it being completely consumed like a donut before coffee. In reality, destruction is more like tainting, namely that if I spill a thousandth of a drop of nerve gas on your donut, you won’t want to eat it, ever.

Heavy metal can be destroyed if enough of it becomes hogwash that the smart people flee. Someone would say that has already happened, but I go for the more cheerful “in progress” designation. When a certain amount — say, 20% — of people surrounding metal are the same idiots that one finds everywhere else, or worse highly specialized types of idiots like hipsters, then the good people abandon the genre and it becomes swallowed up by people who do not understand it. They quickly convert it into the Same Old Thing the way they do to every genre and soon it sounds a lot like regular rock music with some heavy distortion and a metal riff now and again. It “lives on” in a different form, but for practical purposes, it is dead.

With revelations emerging that SJWs in punk bands who banned Disma from the Netherlands Deathfest wanted to go after another band first, but when they couldn’t find an excuse for a beatdown there had to attack Disma instead, it has become clear to metalheads that they are under attack. Because of the way SJWs behave, you can no longer not take a side; you are either with the SJWs, or their enemy, in their view. This is driving many metalheads to the anti-censorship side because, independent of political view, we realize that allowing bully gangs to form lynch mobs to witch hunt “bad” thought will result in the destruction of metal.

These incursions are part of a larger pattern. When Mastodon gets shamed and forced to apologize for having scantily-clad women in their hard rock videos, and then Metalgate was launched when SJWs tried to censor non-SJWs on metal mailing lists, it seemed that it was a cluster of events. Then we saw SJWs faking the news and a series of new attacks on actual metal bands by these pretenders. There’s a list of articles published since AD 2000 in which journalists and their lackeys in certain hipster bands and labels push for guilt that leads to censorship. In their view, there is one good way to be, and everyone else is pure bad. Like a light switch: it’s either set to “Full SJW” or it is off, and you should feel bad.

What is frightening about this is how easily SJWs can succeed. Different groups have been trying to take over heavy metal for years because heavy metal is a media signal for rebellion that cannot be bought out with ready cash money like every other “movement” in our time. We’re used to politicians pretending to regulate a group when they are in fact working for that group, or journalists representing entrenched political interests while pretending to be objective. When the FBI talks about corruption threatening the soul and fabric of the US, this — in part — is what they mean. It is relatively easy to take over a genre, turn it into a megaphone for political views, and then discard it when the trend is over. Christians, the far-right, the far-left, and other groups have tried to assimilate metal in this way.

Industry is backing the SJW incursion because it will allow them to make a lot of money in the short term and then transition into selling rock music, which is what they do best because it is easy to make a lot of it and if no stronger option, like metal, exists, to sell a lot of it to an audience bored with pop. Like the Republicans, rock and especially heavy rock are the controlled opposition to sugar-pop but if the industry has its way, will not be really all that different. Media supports industry. Apparently, so do the metalfests. We are seeing a situation where once again metal stands alone, hated by all, but this time our enemies are using passive-aggression to try to take over metal, instead of trying to outright ban it.

Those who love metal will be standing up to protect it. Unlike SJWs, the anti-censorship side does not demand that you adopt a political orthodoxy. It simply says that we need to stop pre-filtering music by whether it has the “correct” political outlook, and need to start being more open-minded. Mention any group and you have immediately assumed they are all the same; not all Democrats or all Republicans are identical. Among there, some interpretations of those belief systems are in fact more advanced than others. Having free speech allows, much like natural selection, better ideas to rise to the top, and this means that we all benefit from clearer information. It’s questionable why anyone would want to stop that — well, unless they want to control your minds through music, of course.

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The Heavy Metal Book Club

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The term “educated” has become such a weasel phrase in our time that it is worthy of attack. It implies that some are just better than others, and have gone through a rigorous program, and we should listen to them first because they know stuff. Implied in that is the idea that they are smarter and more successful than the rest of us and we should just bow down before their degrees. It is not politically correct to say outright that someone is smarter or wiser, because not everyone can equally access those things. But education? If you sit through the right classes, and memorize the right stuff, you too — whoever you are — can be “educated.”

This trope has the unfortunate effect (which is fully desired by those who use it) of silencing people by attacking their self-esteem. If they do not have the degree(s) required for public acceptance of their education, they are expected to remain silent while those with degrees and titles dictate to them what they should think, despite the quality of education having plummeted and degrees themselves meaning less now than before. Those without “education” are styled as ignorant hicks and basement-dwellers, when many of them are in fact too impatient and not compliant enough for our regimented, memorization-based educational system.

I have met smart people in every walk of life and every area of the world. They tend to hide themselves, having been aware since an early age of how retibutive this world is against the honestly intelligent. Usually they focus their energies on practical things, but because of the stigma of “education” as a social status, they shy away from some of the greatest things that our cultures have to offer, namely books. Not every book; like metal bands, books come in varying degrees of quality, and most are mediocre gibberish, especially some of the most popular. But even in that flood of inanity there are books worth spending time to understand.

For this reason, I suggest a heavy metal book club. Goals would be modest: select a book every month, read it and discuss it. Then figure out a thumbs up or thumbs down, and have someone write a review. The book does not have to be metal-related, but some of those might be fun too. It would require someone to organize it through a mailing list or this blog, and we’re taking volunteers now :)

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Megiddo returns with The Holocaust Messiah

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Canadian one-man band Megiddo, who back in the late 1990s ushered in the transition of black metal to a war, black, death and speed metal hybrid, have returned with a new album The Holocaust Messiah to be released on Iron Pegasus Records for Halloween, October 31, 2015.

Sounding much like old Sodom, Blasphemy and Profanatica in a blender but built around the rhythms of punk and simpler song structures of older speed metal, Megiddo burst forth in the middle to late 1990s with two demos, “Hymns to the Apocalypse” and “The Heretic,” which have now been re-issued by Iron Pegasus as Hymns to the Apocalypse / The Heretic.

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In addition, you can read the writings of composer and lyricist Chorazaim in our archive of Larm: The Fourth Reich of Reviews, a review site which popped up a few years after the DLA and covered black metal releases that were current at the time with an inimitable style.

https//www.youtube.com/watch?v=dwjUVkccKdM

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SJW war on metal heats up

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Following the banning of Disma from the Netherlands Deathfest by SJWs, those cuddly political fanatics have attacked again by setting fire to a black metal club in Germany.

As reported in local news, the entrance to the club — originally a tiki-themed club now repurposed to be one of the most important black metal venues in Germany — was set ablaze in the night by SJWs who identified with “Antifa,” originally an anti-fascist organization that now works alongside other SJW groups. These groups publicly claimed responsibility for the attack and issued the ominous statement, “This fall we have some catching up what was missed in the last few years!”

Interestingly, Blackland Club was not a Nazi club. It allowed black metal bands to play there and by all accounts, most of the bands who performed at the club were not political in any way. SJWs attacked under the excuse that it provided a platform for Nazi bands, ignoring the fact that most black metal bands have extremist philosophies that make the Nazis look like Williamsburg Democrats. The club became a target because it did not adopt the SJW line that those who do not expressly reject certain beliefs must be destroyed. Some of the “evidence” compiled by SJWs includes that people there wear Burzum tshirts.

This type of phenomenon — a witch hunt organized by an internet hate mob motivated by SJW ideals — was last seen in the Disma debacle where SJWs pushed Disma to apologize for possible pro-Nazi statements by one member. The point of the apology is that it humiliates the person, and shows everyone else a broken and contrite citizen who acknowledges that he has been disciplined, which instills fear in the rest of us of the same happening to us. That is the point of all this SJW scene policing: to create fear and through that, compliance and control. SJWs have made their demands clear: support our ideology or we will destroy your career. This is the power of having an internet lynch mob to deploy against non-conformists.

As political instability in the US and Europe accelerates, we are likely to see more of these clashes as SJWs attempt to unify their ranks. This reveals SJWs are involved in metal only incidentally because their actual purpose is to be involved in politics, and they want to use heavy metal as a propaganda weapon in that fight. This is why their increasingly shrill, intolerant and dogmatic voices are infesting metal, punk and rock as happened when record label Run For Cover Records cut ties with band Whirr over “transphobic” — meaning not fully approving of transsexualism — messages on Twitter:

Last night, the Bay Area band Whirr posted a series of negative tweets about G.L.O.S.S., a punk band whose lead singer is a transgender woman. (The tweets have since been deleted, but an archive can be found at Stereogum.) Among other things, they tweeted, “g.l.o.s.s. Is just a bunch of boys running around in panties making shitty music,” and compared G.L.O.S.S. to the Buffalo Bill character from The Silence of The Lambs.

While this is clearly vitriolic, it is not any more vitriolic than what is regularly posted on metal bulletin boards on the internet. But it does provide an opportunity for SJWs to create a “teachable moment” in which they destroy someone’s life to remind the rest of us to toe the line or we, too, will be on the chopping block. One label created a religion out of this division, and said, “We have zero interest in working w/ hateful people.” That they have in turn created a hateful echo chamber seems like too much thinking for them, but the result is that the metal/punk scenes are polarizing: there are those who are SJW, and there are those who SJWs consider their enemies for not being SJW.

This behavior is not specific to SJWs in metal. Everywhere they go, the commandment is the same: Destroy the unbelievers. If you deny their ideology in public, they will seek you out not to disagree with you, but to try to get you fired and otherwise socially ostracized. It is their one weapon, the threat that they will declare you something the media thinks is bad (“Nazi,” “racist,” “sexist,” “transphobic”) whether or not there is any truth to it, and you will be unable to participate in our liberal-leaning society as a result.

In the meantime, refuting a recent SJW attack which claimed that folk metal was plagued by “sexism” and “racism” but never quite showed how that was true, some sources have begun posting an extended list of folk metal bands that are not white, male and pointed toward European mythos:

Amocualli – Aztec folk metal from Mexico
Arkan – Islamic folk/death metal from France
Kartykeia – Hindu/Vedic folk/death metal from Russia
Melechesh – Mesopotamian folk/black metal from Israel (ethnically Assyrian and Armenian) now based in the Netherlands
Myrath – Oriental folk/progressive metal from Tunisia
Rudra – Hindu/Vedic death metal
Skinflint – folk metal from Botswana
Tengger Cavalry – Mongolian folk metal from China

As usual, the SJW story does not add up because SJWs are ideological fanatics and not realistic members of society. Western Civilization continues crashing into the abyss and no one will do anything about that, so they focus on nice low-hanging fruit like convincing all of us to support the right of transsexuals to listen to black metal too, even though no one had ever attempted to deny them that ability. The best way to combat this is to end the perception that SJWs speak in any way about whether someone is “good” or not, and see them for what they are: lonely fanatics in their lonely apartments, raging at the world for not granting them more power.

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In praise of plugs

Images courtesy of StLuisRey.

Images courtesy of StLuisRey.

Modern society is addicted to convenience. Let me expand on that: over time, as anything succeeds, its challenges decrease and it focuses on absolute convenience so it can bore itself to death. Old companies, stale friend groups, even churches and heavy metal bands fall prey to this. At some point, everything becomes easy and everyone becomes bored, and quality plummets. Life is an existential process after all that benefits from the search for pleasure, adventure and intensity (“a repo man is always intense”) more than stability, convenience and the other stuff that goes into Excel spreadsheets when users answer surveys.

For pure convenience, nothing beats the cigarette. Buy a pack and a lighter, then throw them out when consumed. The more intrepid seek a greater intensity of flavor from cigars and pipes which burn cooler and are absorbed through the cheeks instead of the lungs, so require a bit of a slower pace. Even with those fields a variety of conveniences exist. Some cigars are designed to burn evenly over any other factor, and many pipe tobaccos are meant to target the holy trinity of easy lighting, mild flavor and cool burning. For those who seek to push past all barriers, and to exceed past sensations, the more difficult realm of flakes, twists and plugs awaits. These were traditionally tobaccos for those who smoked pipes as away of avoiding expensive cigarettes, and who were busy with their hands and bodies and so were not sitting comfortably in an easy chair sipping on a pipe. They smoked all day, and they liked tobacco like their lives: rough, durable and strong. Coincidentally they usually had at least one pocketknife on their persons and were accustomed to using manual dexterity at a moment’s notice. For such a person, dragging an aged twist from an inner pocket, brushing off the lint and slicing it into shreds was a matter of course.

In our current time, convenience (and entropy) has just about won out, as has the belief that jobs which involve sitting inside cubicles in the glow of multiple screens are the desired lifestyle. When we can smoke, it is in our homes away from the prying eyes of society and the databases of law enforcement and health insurance (many of us smoke with our rifles and tricorner hats close at hand for this reason). Tobacco blends have kept up with this and now come mostly in tins with elegant labels and fine cuts. While those have their place as well, and are very enjoyable, many of us are turning toward the older forms of twists and plugs for the power of that form. Not only are they stronger, reminding us that smoking like life is a struggle against the forces of nature, but they bring back the ritual of an older time. The focus, dexterity and precision are as much a part of this as any other aspect. Slicing layers of pressed tobacco, then rubbing it into strips, and packing a pipe not for an armchair smoke but for walking around in the world, interacting with it and moving with purpose, this provides a different sort of enjoyment.

Take for instance the Peterson Peterson’s Perfect Plug. Easily available across North America and Europe, it is relatively low-cost owing to the predominance of the Peterson brand, which is currently manufactured by Mac Baren. This makes it a great plug to start with since it is neither exotic nor unduly expensive and in its abundance, allows enough material to experiment with. The plug comes in a tin, beneath a layer of cardboard surrounded by a ruff of tissue paper, and is then sealed inside a plastic bag. Slicing apart the bag and tossing the cardboard, one finds a brick of pressed tobacco leaf which resembles a very dense brownie. Since the tobacco is layered, the plug is sliced in thin flakes from the end, much as flake tobacco is made with much larger plugs at the factory. You control the width of this flake and that is where some of the magic of plugs originates:

  • Slice it thin for a lighter and shorter smoke with more sweetness. If you cut to the width of a postcard or narrower, the soft feathers of tobacco rub out into something closer to a shag which burns quickly, delivering predominantly the notes of sweeter tobaccos with more natural sugar like Virginias.
  • Cut it thicker for a dense-burning long smoke that emphasizes the savory flavors. This lets it smoulder and melds the nuttier flavors of the Burley with the denser flavors of Virginias that come out with aging and slow burning.
  • If you want to experience the toppings alongside the slower flavors, since this plug is lightly flavored with a fruit and anise mixture, cut thick flakes and then cut them the opposite direction into 1/4 inch cubes. Rub those slightly, let them dry and pile them in the pipe for a long-burning melange of flavors.

It is my feeling that the original smokers of plugs used them in each one of these different ways. They sliced thin for the first smoke of the day to wake themselves up, and cut rough during the day for hourlong pipes while they worked on whatever they did, and may have done a variation on the two or a cube-cut on weekends and after work to wind down. The versatility of the plug enabled it to be many tobaccos at once by emphasizing different flavors, speeds and volume of smoke. Being familiar with mechanics and some chemistry, the original smokers of the plug naturally adapted to this usage, in addition to enjoying a hardy piece of tobacco that could be tucked in a pocket alongside a knife for a no-frills but slightly inconvenient use.

Thanks to the resurrection of pipe smoking by the internet and its ability to join scattered people into groups, pipe smoking has experienced a revival and with it many old blends have returned as new ones have sprouted like the flowers of spring. This audience rewards intensity as it is united not by the convenience of the local tobacco store and friends to smoke with, but interest in something that is more than a hobby and less than an addiction. It is both a fascination and a lifestyle choice, a relaxation and intensification of life at the same time it is a way of dispensing with modern habits to gain appreciation for the timeless. One way to spin it faster is to go back to the revered and cherished form of pipe tobacco, the plug. Naturally, that adventure goes best with the music of open frontiers and wars in the heavens, Celtic Frost.

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J.R.R. Tolkien on pipe-smoking

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Metal derives many influences from literature, but H.P. Lovecraft and J.R.R. Tolkien appear near the top of any list, while philosophers like Friedrich W. Nietzsche and authors like Louis-Ferdinand Celine linger in the background. Tolkien captured the essence of a dying society without purpose and a contrary invention, which is the medieval-styled worlds of myth and magic from his middle earth books. This appeals to metal which both hates mass society and loves violence, conflict and mythology.

Tolkien saw modern society as a horror and argued for a return to older ways by violence, a lot like Varg Vikernes and even the more cynical Black Sabbath songs:

My political opinions lean more and more to Anarchy (philosophically understood, meaning abolition of control not whiskered men with bombs) — or to ‘unconstitutional’ Monarchy. I would arrest anybody who uses the word State (in any sense other than the inanimate realm of England and its inhabitants, a thing that has neither power, rights nor mind); and after a chance of recantation, execute them if they remain obstinate!…

Government is an abstract noun meaning the art and process of governing and it should be an offence to write it with a capital G or so as to refer to people…

The most improper job of any man, even saints, is bossing other men. Not one in a million is fit for it, and least of all those who seek the opportunity.

This mirrors the story in his epic Lord of the Rings cycle, which seems to borrow both from the Nibelungenlied and Plato’s parable of the ring of the Lydian Gyges, where a force of evil seduces men through their egos and the quest for power and control embodied in a mystical ring.

His stories inspired many pieces of fan art, including this animation by Ulla Thynell which has been floating around the internet for the past few years:

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In contrast to the LARPers to follow, Tolkien saw himself in the hobbits, including their love of pipes and Nicotiana (called “pipe-weed” or “tobacco” in the novels):

“‘I am in fact a hobbit,’” Carpenter quotes from Tolkien, “’in all but size. I like gardens, trees, and unmechanized farmlands; I smoke a pipe, and like good plain food, but detest French cooking. I like, and even dare to wear in these dull days, ornamental waistcoats. I am fond of mushrooms; have a very simple sense of humor; I go to bed late and get up late. I do not travel much.’”

Thematically, this fits, since the theme of his book is for the degraded remnants of an ancient order to, despite their puny size and lack of self-esteem, rise up and be heroic against the evil encroaching on them. To any who feel like midgets compared to the ancient Vikings, medieval Knights, or even Otzi the caveman, this is an appealing message.

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Tolkien smoked Capstan Navy Cut, a Virginia flake known for its sweetness and long-burning. On the other hand, his characters in the Lord of the Rings film were actually smoking Peter Stokkebye Nougat aromatic tobacco to give them the feel for being real Hobbits.

He explained his own pipe habit and the portrayal of smoking in his books through a letter to a fan:

I think that the prologue says enough about Hobbits and their art of pipe-smoking. I do know people want more – but I think that covering the story in mysteries is a good thing, if not a necessary one. It also helps to replicate real history.

Regarding the taste, I’m inclined to answer that I do not know myself. The hobbit leaves surely made for very good flavoured pipe-weed (I would not say brand, as there’s no question about commercial products here) but I’ve not given much thought to that until now – or if I did, my old memory is failing me somewhat. However, I do imagine that most pipes were primarily simple in design. Their shape would look similar to the the large half bent Billiard or Dublin shapes, but often much more long-stemmed.

Regarding the material, I think that Hobbits, if they could not grow suitable briar in the hills, would use hardwood like beech or oak – or perhaps even a type of wood I do not know about. These are details that, when writing, do not come to mind and that must be thought out later, if at all. I must admit I’m always hard put to give out so many of them, and in the end I often favour giving only a partial answer, lest the flavour of authenticity I try to give the story completely disappears. Indeed, I see my job primarily as that of a translator, not an encyclopedist!

The mythos lives on, perhaps in a cloud of bluish smoke.

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On writing negative reviews

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Back in the days of information scarcity when metal fans found bands through fifteen-generation tapes and xeroxes of pasted-together fanzines, I made the decision to focus on bands of quality. People needed more than anything else a shopping list when they wrote to Wild Rags or Relapse with an order form; as Relapse mailorder grew and essentially became the center of the underground mail order scene, the copywriting got more exuberant and people became even more confused. They needed solid information in the form of “reviews” that actually assessed the material and came up with solid reasons why it might be worth listening to for more than a few months. Looking down a list of of releases with two-line descriptions that ended with “it’ll tear your head off!” gave people nothing, and in the limited hours they had for finding new metal, they needed descriptive writing that could show them what stood out above the rest.

For that reason, I wrote positive reviews and ignored the bands that did not strike me as interesting enough to hear for repeated listens over the years. As Karl Marx reminds us, time is money and conversely, money is time, exchanged by working hours for what can then be spent. Money spent on the wrong bands damges fans. It also damages the health of the scene. Worse, it creates a Darwinistic negative effect where bands are rewarded for slapping out some haphazard or soulless material but getting a good cover, signing to the right label, or having solid promotion, and then getting rewarded for this mediocre content but good marketing. Quality reviews enforce natural selection on metal where the best rises.

Over time the market shifted. With the rise of big metal magazines which would cover the underground, and then the internet, there was no longer a shortage of information. The opposite problem presented itself: we were literally drowning in information. Magazines published thousands of reviews, most of which described some of the surface attributes of a band and then praised it as the next best thing. Internet websites emulated them and became cheerleaders more than critical voices. People now had so many options that they needed not only a list of things to look out for, but defenses against the hype and promotion. They needed solid reasons why some bands were just promotion and aesthetics with no content.

I wish that during this time I had written more critical reviews. I should have been shouting from the rooftops that the first Opeth was warmed-over hard rock made in a cryptic pseudo-progressive format to give basement dwellers some reason to think they were more “deep” than their friends. I should have screamed at the first Slayer to deviate from their unbroken quality, Divine Intervention, and pointed out that the band would have kept its old audience and new by not imitating the past, but keeping up the quality and compositional style of the past instead of going toward vocal-driven hard rock. I should have called out every band of the two types that make metal fail, the false-authentic “tryhard” bands that imitate the surface of past greats, and the “open minded” bands that borrow from old genres and call the hybrid a new thing. But I was stuck in the old mode of trying to find the good in a stream of so-so.

The problem with this approach became obvious over time: there were few gems, but a constant stream of news, and by dropping out of that news stream, I failed to comment on what people were seeing on their screens and pages. They needed guidance from experienced hands who could say, “Nope, seen this before — it’s Bruce Springsteen riffs tricked out as jazz rock with some metal flourishes.” Or, equally important, to ask why it was that a band sounded exactly like Celtic Frost or Blasphemy but the songs had none of the personality and variation of those bands. With the information overload, metal needed mean voices to provide counter-arguments to the excuses and trends offered in the promotions.

For this reason, in the latest incarnation of this site we launched the sadistic style of writing metal reviews. We take the highly-hyped and show why it is hollow, empty and meaningless. The point is not the band itself, but the series of tropes used by labels and magazines to sell this band. If they claim it is open-minded, we need to show how it is merely an imitation of the past in an older genre than metal. If they claim it is trve, its utter lack of ideas and simultaneous aping of the past needs to be revealed. People need mental weapons against the onslaught of advertising coming from both big media and thousands of little over-enthusiastic blogs.

Those of us who write do so — if we are good — to convey some kind of information, usually the type of learning one gains with experience. We can peer beneath the layers of production, marketing, trendy chatter and hype and get to the real question: is this music interesting enough to listen to for months and years, instead of another passing fad? This helps keep metal healthy by ensuring that the good releases get rewarded and the bad forgotten. For many years, I failed you all in this capacity, and I hope to rectify it with well-placed cruelty laying bare the essence of this music.

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SJWs force Disma from Netherlands Deathfest

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SJWs have doubled-down on their campaign to force Disma out of the death metal scene. The band, who play non-political death metal, are under fire because one member of the band used politically-sensitive imagery in a side project ten years ago, and has refused to humble himself before the allegedly superior knowledge of SJWs by apologizing and rejecting his former work. Instead, Disma have stuck to the statement that they are not a political band and want nothing to do with either side of the issue.

Since they operate as a type of internet lynch mob, and their power is in generating controversy that causes bands to be ostracized for not joining the SJW hive mind, SJWs in the Maryland Deathfest staff twisted arms to get Disma removed from the Netherlands Deathfest, as shown by the following announcement:

Disma are no longer playing NDF 2016 and have been replaced by Funebrarum.

This is the first time in 14 years of putting on festivals that we’ve been put in such an awkward situation, and in the end, just like a member of Disma who recently quit the band, we’ve decided to distance ourselves from the drama surrounding the band lately.

For the record, nobody “pressured” us into making this decision and the decision is solely ours, but it should be stated that the billing would look drastically different if Disma remained on the bill, as at least 10 bands have said they do not want to play the event if Disma remains on the bill.

We acknowledge that Disma are nothing more than a death metal band (who once played Maryland Deathfest) and it’s unfortunate that their fans cannot see them for what they know them as, but all things considered, there would’ve been far too many negatives than positives for us to deal with by leaving them on the bill. We thought the situation settled down slightly when the admin of the Disma FB page made a statement about a month ago claiming that the band member in question “made mistakes in the past”, but that post was quickly erased and the drama fired up again as a result.

We feel that Funebrarum is an adequate replacement to make up for this, but if for some reason you purchased a Sunday ticket to see Disma, you may request a refund.

This news will surely create a debate that we don’t wish to get roped into the middle of. We’ve always been about putting on a celebration of music and nothing more. Let’s all just try to get along and enjoy dozens of great bands at this festival.

As some savvy observers noted, this statement makes no sense. They claim that nobody “pressured” us into making this decision but also say that we’ve been put in such an awkward situation. This means the situation is of their own making, and their Let’s all just try to get along means not that we all get along, but that we exclude bands so that the Maryland Deathfest organizers feel their own political demands have been met.

If they wanted to be honest, they would not take this action since by their own admission, no one has asked them to do it. The “drama surrounding the band” is entirely made by SJWs, and is a non-issue given that it remains unclear whether this side project was anything more than political provocation, like Craig Pillard dressing up as a Nazi comandant in a Bill Zebub movie and demanding that a character “kick me in the balls” in a Hollywood German accent.

SJWs specialize in concern trolling, or disguising their own political sentiments as public services, and then using that power of guilt to remove all voices but those compliant with their own. This form of totalitarian mindset is far more threatening that even an outright Nazi band, since it expresses a sentiment that a minority of people would agree with, and echoes the sentiments of witch-hunters from centuries past who feared that witches might “infect” others with their “seductive” ideas.

For people who claim to be open-minded and progressive however this viewpoint is not new. Over two millennia ago, the citizens of Athens convicted Socrates of “corrupting the youth” with his ideas and sentenced him to death. They were defending the progressive regime in Athens which had become unstable due to its unrealistic ideas, and instead of fixing its problems, wanted to censor its critics so the citizens remained oblivious to the disaster approaching them.

So it is with SJWs, the Maryland Deathfest, and in fact most of our society. In the 1960s when people were so unnerved by the signs of collapse of our civilization that they turned to the type of “peace and love” ideas on finds on greeting cards and under dreamweavers in gift shops, Black Sabbath showed up to confront them with the “heavy” realities of the world as it exists outside the collective human feelings of the hive mind. Now Disma does the same, and to their shame, some of metal’s institutions are attempting to destroy them.

Edit: for kicks, you can watch SJWs looking for a target to boycott in order to make themselves important. No, really.

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Glenn Danzig accused of kicking fan in head, but accounts differ

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Aspiring indie-metal photograph Neil Dalton has accused longtime metal creative force Glenn Danzig of assault after a concert in Montreal. According to Dalton, Danzig hit Dalton while Dalton was being held by security guards:

So I went to Danzig last night. Including the 100 dollars I spent on his merch plus the tickets time of work and traveling to Montreal to see him this is the price you pay for taking a photo of Danzig. He called me up on stage got got his pussy security guards to rough me up and held me back me back so he could hit me himself. Cops can’t do fuck all because we’re both not Canadian and they did it off camera and said I fell .could all my friends please share this because I want the world to know what a pussy the guy is.superjoint fucking ruled tho

A number of problems immediately come to mind here: first, it is unlikely that a performer would call someone on stage to publicly beat them when they could dispatch security to beat the person in the dark; second, public accusations are usually nonsense unless a police report has been filed, because people honestly victimized usually go to the police first and attempt “trial by media” later, but most people who attempt trial by media first are trying to work around the lack of evidence; finally, that Canadian cops would fail to arrest someone simply because he is not Canadian stretches credibility since they arrest visitors every day, usually for not paying the $50/ounce Canadian tobacco taxes.

The usual voices on social media started getting weepy and white knighty, and then, someone who was also there spoke up:

After about ten minutes of arguing with the bodyguard and being pushed around by him, Neil finally took off. [Neil] re-entered the venue after being told not to come back. That’s when things got ugly and sure enough Neil got tossed back out this time bloodied up and shoeless. He kept instigating the security and bodyguards by yelling names at them and not leaving like he was told.

Right after the show ended, Glenn came running out and engaged Neil and threw a kick to Neil’s ribs, and connected. He also swung a couple punches that missed before security got Glenn on his bus. Glenn kept calling Neil a motherfucker

Just as in #DeiphagoGate, we see the importance of getting both sides of the story. This one remains unresolved, but to an experienced concert goer, the second narrative is plausible while Dalton’s version of events has numerous holes in it. Again the pattern emerges that those with legitimate grievances go to the police and file a report, while those who are partially guilty themselves go to social media and try to whip up an SJW internet army to administer a false justice.

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Interview: Frank Stöver of Voices from the Darkside (2015)

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Many of you know Frank Stöver from his days editing the classic death metal fanzine Voices from the Darkside, but many more have come to know him through his website of the same time. Having read his material for years, this writer jumped on the chance to ask him a few questions about what he does and how he keeps putting out high-quality material after all these years…

What do you look for in a metal band that makes them appealing to you? How important is imagery, packaging and production?

First and foremost it’s of course the music that I will have to enjoy, but to me that sometimes goes hand in hand with the band’s imagery or packaging as well. I often experience that bands that are really dedicated to what they’re doing come up with a better visual side as well, because they really know how they would like to present themselves. But a band with a shitty xeroxed cover and a poor looking logo can of course also be killer musically.

Since I’ve been involved in the tape-trading era myself I’m still used to poor sounding rehearsal- and live-tapes, so production definitely isn’t that important in the first place to discover great bands. Just remember the early Mantas/Death recordings… But then again killer songs could be even more killer with a fitting and crushing production of course, as long as the production really fits the band.

When you prepare to interview a band, how do you prepare? How much of this is research? How much of it is listening to their demos/albums?

Since I only interview bands that I personally really like it’s almost exclusively research. I do read a lot of reviews and other interviews, check out their discography, member changes etc. I ask questions that I personally would like to get answers for and hope that the readers find that of interest as well.

In one of your past interviews, you mention a zine as being “narrowminded” in a positive way. Is it important to be narrow-minded? Or is that a term for being open-minded and then making your mind up? Does death metal risk infiltration by imitators, poseurs, fakers, etc.?

Good question… I wouldn’t say it’s important, it’s just a matter of your personal tastes. Even though I’m musically totally open-minded, I still prefer zines that stick to certain styles exclusively. Otherwise I could also pick up one of the colored major magazines that are being sold at shops and supermarkets every month. Same with music itself. I have a lot of respect for bands that try to break boundaries by mixing new elements into established styles.

I ask questions that I personally would like to get answers for and hope that the readers find that of interest as well.

But when I’m in the mood for some brutal Death Metal, I don’t wanna hear that combined with clean vocals, a funky bass or whatever. Considering the fact that there’s constantly so much new music out, it also makes it a bit easier to select releases / bands for a zine. You gotta draw a line somewhere, otherwise you would have to feature 4251166898089090 and more releases every month.

You were manager for Kreator and Destruction back in the day. Why do you think Germany led the world in their kind of speed/death hybrid, but was less participatory in death metal as a complete genre?

Well, I just helped out Kreator a little bit with merchandise and fan club activities, I never managed them… But to answer your actual question: I can only guess. Maybe it’s because all the younger bands in Germany at the time simply looked up to the bands that had already become bigger (Destruction, Sodom, Kreator, etc.) and felt musically inspired by them. And since all of them are rooted in thrash metal, it probably resulted in a pretty healthy thrash scene. If Morgoth would’ve been one of our first extreme bands in those days maybe everything would’ve developed in a different direction, who knows…

Why do you think 1980s bands were so varied, and bands now sound more similar? Is the “market” flooded? How can metal recover from this? Or is it just harder to come up with something new, because everything has “been done”? Or is style less important, and content what drives uniqueness in bands?

I think you pretty much answered this yourself already. The number of bands simply exploded over the years, and almost everything has already been done in one way or another, so there’s not much room left anymore for fresh, unique bands that still deliver brutal music.

Back in the day everything was still fresh and new, so whenever a new band appeared on the scene, it still sounded a little different to the already more established names. I think something like that is almost impossible nowadays. I hardly find enough time to listen to all the new releases I receive every week, so I’m glad that I don’t have to write music in a band that tries to make it.

Why did you switch from print to internet-only distribution of your writings? Are you able to reach the same audience? Did you gain more readers? What are the advantages from print that you miss, and what does online do better?

That’s an easy one: lack of time and money were the main reasons not to continue on with the printed version of the zine. The advantages are obvious: you can easily update a site on a daily base if you like, while a printed zine always takes a lot of time until it’s finished and distributed. It’s easier, because you don’t have to do layouts, ship the finished magazines, deal with printing companies and the postal service and as a result you also safe a lot of money, which you usually spend on postage and printing.

The number of readers has exploded ever since we went online. Our last issue (# 10) was printed in 1,000 copies; with our website we have approximately 2,000 – 2,500 visitors each day nowadays. But of course I miss the print era. I just love the cut and paste type old school layouts… and reading stuff where ever I like is probably the biggest plus (reading in front of a monitor screen is really annoying).

Is it hard to get volunteers to work with? Is apathy a problem in the metal community?

Never really had any problems in that department at all. But maybe it’s that easy because Voices From The Darkside is already an established name that people are aware of and respect. So, whoever I work with (or have worked with in the past) is first of all a fan of the music and the zine. I guess that makes it a lot easier.

How did fanzines help shape the metal underground? Did this change from your days in Horror Infernal to when you started Voices from the Darkside in 1993? Do you think fanzines played a role in shaping what people liked, and made some bands into “favorites”? If so, was this good or bad?

Without fanzines there probably would be no underground, at least not in the way we know it. I don’t think it changed in any way. Fanzines have been around for ages and I received some of them already back when I started out in the early 80s. I personally found out about a lot of amazing bands through fanzines, flyers and tape-trading.

If a band is honest in what they do and they don’t sell out or change in order to reach a bigger audience, they deserve to get noticed by bigger crowds for sure.

I suppose without this great network, I probably wouldn’t have discovered a lot of the bands this early. A good example is Metallica. I got a live show from 1982 on tape very early on, even before I got to hear their demos and that made me follow them right from the start, which was really exciting.

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Should underground metal stay underground? Is this even possible?

No, I don’t think so. If a band is honest in what they do and they don’t sell out or change in order to reach a bigger audience, they deserve to get noticed by bigger crowds for sure. Of course it’s always a bitter feeling for the fans of day one to see that all of a sudden people like “their” bands, who probably don’t know anything about them, their roots or anything. But that doesn’t mean the newer fans are less dedicated. Some of them often turn into total diehards as well, they just discovered the band later.

The German scene is fascinating to me. From thousands of kilometers away, it looks as if German fans are fans first of heavy metal as a whole, not specialized into death metal, black metal, etc. Does this have some benefits? What about downsides?

Yeah, Germany is really a cool place for metal and all its sub-genres. The scene is very healthy with lots of venues, bands, magazines, etc. That’s probably also one of the reasons why big festivals such as Wacken work out so well. Metal fans are often more open-minded than one might think. They don’t have a problem with having their Terrorizer record next to a Thin Lizzy record in their collection (at least I don’t have). I don’t think that has a downside to it at all.

I wrote about how hacking was a parallel community to underground metal found similarities between the two. Do you think the metal underground had a lot in common with other undergrounds? What made it “underground,” in the first place? Was it only lack of commercial acceptance, or also of social acceptance?

I often compare the metal underground with the early punk movement (before both scenes got commercialized by the industry). This whole DIY mentality with self-organized shows, flyers, cut and paste fanzines etc. most certainly had a big influence on the origin of the metal underground. Also this “fuck off” mentality and trying to rebel against parents, employers or the mainstream is pretty similar. But all this probably makes it scenes on their own. To me being underground means that you’re different to the mainstream in certain aspects and you most certainly have that in various other sub-genres as well.

It seems to me that with the rise of the internet, we have information overload. Meaning that there are too many bands, sites, labels, radio/podcasts, etc. to possibly keep track of. Do you think that zines and some websites can be helpful in reducing this overload? Is that a positive goal? Can websites achieve the same effect that zines did?

I totally agree… and to be perfectly honest with you: I really hate this overkill! I’m sick and tired of receiving a shitload of download links for new albums every fuckin’ day. I mean, who’s supposed to listen to all this, not to mention who shall buy all the records? Today there’s probably more labels than we had bands in the 80s and each one of them releases as many records as possible. From old poor sounding rehearsal tapes, to compilations, split releases, re-releases, EPs, live albums, full lengths etc.

Today there’s probably more labels than we had bands in the 80s and each one of them releases as many records as possible.

The industry always mentions that record sales are going down, but at the same time they are releasing more albums than ever before. Websites such as ours can indeed be helpful by being more selective in what they review and feature in general. And that leads us back to the “narrow-minded” question: if we would be less narrow-minded, Voices From The Darkside would quickly turn into a fulltime job for sure. But luckily most people still care about quality. So, no matter what it is: a record, a band, a label or even a website — if it’s of poor quality people will sooner or later search for something better. Since our website is already online for almost 15 years by now with a steady growing number of visitors, I suppose we’re doing something right.

You have mentioned in several past interviews that you do not collect rare discs, but are interested in having the complete recordings. Do you think the “collector’s mentality” was good for metal? Why do you avoid it, or is this just a practical/personal decision?

I think this “collector’s mentality” opened a lot of doors for the just mentioned release overkill. Many metal fans tend to buy their favorite records in every fuckin’ re-release format there is. If a label re-releases a record with only one single bonus track or a different packaging some diehards most certainly will spend their hard earned money on it again, no matter how often they already have it in their collection. I don’t like that, but somehow I’m infected by that as well.

If I like a band, I try to get their entire material in one way or another. But I don’t keep a record in various formats then. I replace the older version with the newer expanded edition. That’s equally stupid (if not more), but at least I don’t have to spend a shitload of many for rare first press releases, hahaha.

What are your plans for the future with Voices from the Darkside? Do you have any other projects brewing? Ever think of writing a book (of new text, not compilation of the older zines)? If people like your work, how should they stay updated on what you do?

The website already keeps me extremely busy since I take care of all the daily updates myself. Every single review and interview that ends up on the site is being formatted, proof-read etc. by yours truly. And I also compile all the news, tour dates and so on. All that takes a lot of time every single day, so no – I don’t have any other projects in the pipeline at the moment, I’m afraid. All I can offer at the moment can be found at www.voicesfromthedarkside.de. Thanks a lot Brett, for this highly interesting interview and your support! All the best!

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