Comments on the internet

March 20, 2015 –

eugenics_van

Sometimes, after a long day of seeing the utterly moronic, cruel and pointless comments that people type on the Internet, I have this dream.

In this dream I see a white panel van driving around town. It’s an old Ford Econoline from the 80s with sticker letters on the side that say FLORIST. It takes the out-of-the-way streets and the byways, circles around the areas that will not make it onto a postcard or the front page of the newspaper. In other words, it moves unnoticed among the rest of us… people like you and me. It drives slowly, its engine muttering and exuding a smell of hot oil.

This is the Eugenics Van.

Inside the cabin, the radio crackles with a new message.

“123 Maple Street, Unit Four. Some guy keeps posting Nickelback lyrics and unwarranted criticism to YouTube.” The driver looks at the navigator and they exchange nods. The EV picks up speed and halfway crosses town to the address.

A knock at the door rings out in unit four. “Just leave it outside,” croaks the voice of a bloated moron.

“Flowers for you sir,” says the person at the door wearing a khaki uniform with FLORIST embroidered on the name tag. He makes his voice nasal to seem meek and submissive. “Need your signature sir.”

He hears grumbling and cursing within as clothing is pulled over resisting flesh. The door opens and a standard modern lumpenperson stands there. The florist hands him the flowers, which are made of soft plastic. “What the?” says the dufus, but that’s all he says, because the florist has whipped out a silenced Ruger .22 and shot him through the eye.

The bullets are hollowed and filled with a potent neurotoxin which causes the retard to contort and flail as his central nervous system is eaten from within. The florist picks up the flowers which have bounced when they were dropped and punted by the spasmic death of the imbecile. He waves to his partner in the van who arrives, also wearing a florist uniform and carrying a rug.

They roll up the dufus in the rug, then search the house for a suitcase. They pack it with the wallet, phone, personal effects and enough clothing to make it appear that dufus has gone on a short trip. Then they take the rug and suitcase down to the van and throw them in the rear.

Once a day, the EV drives to a funeral home on the outskirts of town. There it backs up slowly to the incinerator and deposits a few dozen bodies. The foreman shrugs and pulls the lever, dropping them into the flames. The ash is crushed and scattered on the roses at the far side of the cemetery next to a rest stop known to be frequented by truckers looking for glory holes.

The cops get called to the idiot’s house and declare him missing. His family wail and flutter their tiny forearms lost in oceans of fat but since they are dysfunctional, it is assumed that this idiot is just another person lost. The file goes onto a shelf and idiot goes into the statistics. The EV is long gone, moved on to a new city.

Society goes on its merry oblivious way. Outside of its notice, the EV drives slowly through the everyday streets of our cities, stopping wherever stupidity disrupts the pursuit of life. It filters humanity of the useless so people who have a purpose in existing can finally catch a break and not be forced to constantly ignore the imbecilic among them. Somehow its victims are forgotten, unnoticed or ignored and absolutely nothing of even remote significance is interrupted by their absence.

Doom (2005)

March 19, 2015 –

doom_movie_poster

The rise of a new medium catches everyone by surprise, especially those who are trying to make it succeed. In the case of video gaming, the medium existed for many years before it came to maturity with the full-featured video games of the late 1990s, spurred on by the massive success of first-person shooter Doom, itself a followup on the renovation of the classic 1980s video game Wolfenstein with Wolfenstein 3D. Then, for reasons unknown, someone made a movie based in the world of Doom, and… it was good.

At the point in time when Doom III, the most proximate inspiration for this movie, emerged, video games had transitioned into something like a film which required user engagement. With full plot lines, accessories for the characters (we might blame 1980s Star Wars figures for this), ability to use in-game utilities to uncover plot, and complex goals to hide the banality of constant machine gun warfare, the new games hybridized all of the successful tropes of video games of the previous decade with the gestures of action movies that succeeded. This gave them new complexity and made the transition to movie more challenging if the film hoped to differentiate itself from the game. Early efforts were often horrifyingly bad. Doom corrects this with a fast-paced, tight-edited movie that keeps the plot of the game at its center, and pays extensive tribute to the game without becoming a string of in-jokes. This film could be watched without any knowledge of the game and it would be as compelling, as it is in fact brainier and more compelling than the average action film.

Doom begins in California, where a team of Marines are heading out to Las Vegas, NV, where an interstellar portal that opens on Mars has been discovered. Borrowing this idea from Edgar Rice Burroughs, the film mixes in bits of Stargate, Aliens and Starship Troopers to show us a group of hard-fighting colonial marines sent on a mission with few specifics. They discover an outbreak of a zombie-like disease which turns out to be a genetic mutation. The wrinkle is that this mutation does not so much change people as reveal what they actually are, and this creates a layer of character depth to the movie which proves instrumental to its plot and steers around the worst of the endless waves of enemies effect that early first-person shooters demonstrated. That being said, this film is designed as an action movie for young men, and so it adheres to the requirements of pleasing that audience. The hammy Dwayne Johnson delivers his usual stern facial muscles and straining deltoids, but his performance is not as central to the movie as the posters might have you believe. Ultra-gruff cinematic violence expert Karl Urban plays opposite to alternatively plain and striking Rosamund Pike, with whom the filmmakers pander to anticipated audience taste by ensuring that her relatively reserved clothing reveals the outline of breasts and nipples in every scene. That is the pulp fiction nature of both video games and action movies, however, and Doom pulls it off by being good-natured but not obsessive. The characters are part of the scenery, albeit scenery that evolves with the plot. As the film progresses, the character drama takes over, and then in one of the most enjoyable breaks in film history, the movie goes into first-person shooter mode for a finale that pays full loving tribute to the original video game.

Perhaps Doom will never be mentioned in East End coffee klatches or fashion magazines, and it may never attract more than a small die-hard cult audience, but it can be appreciated for its renovation of an otherwise uptight sub-genre of film and its ability to make what might otherwise easily deviate into idiot territory into a thoughtful and suspenseful film. The violence of raw first-person shooters here distills, as in Aliens but with less emphasis on pure suspense, to a game of anticipation in which characters must react suddenly to unexpected threats while in the midst of confusion and incredulity as they discover what is going on. The result is part mystery, mostly action film, and part the oldest type of sci-fi which is the exploration of the human being as revealed by his technology, in this case genetic engineering and 21st century violence.

Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll by Gavin Baddeley

gavin_baddeley-lucifer_rising_sin_devil_worship_and_rock_n_roll

Among the many questions that journalists have struggled to answer, the fascination of some rock music and most heavy metal with Satan has ranked highly among them. Some take the pejorative view that it exists merely to offend, but others see in it the desire to create a counter-narrative or opposing philosophy to modern society itself.

Gavin Baddeley, a journalist who covers rock and populist metal alongside occult topics, delves into this project with a book that is both flawed and highly informative. Like a high school text, it begins with a history of Satanism and the occult with a focus on biographical fact and salacious detail more than philosophy. This gives us a vague view of Satanism that keeps the mystery alive, and nudges us toward the LaVeyian view. In this, the paradox of Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll reveals itself: it is a journalistic exploration of the surface, namely what people say about the phenomenon of Satanism in music, not an explanation of their motivations.

Witness for example this exchange with Bathory’s Quorthon:

How did the Satanism get into your music?

When we first started, we had no ambitions to make records or write songs — we just wanted to cover Motorhead songs, because that’s what we’d grown up with. We’d just left school, so while other bands sang about drinking beer, fucking women and riding motorcycles, we didn’t know anything about any of that because we were too young. But we did have an innate interest in the dark side of life. It wasn’t purely Satanic from the beginning, it just grew into that. It was a protest, revolt thing — we knew it would upset people one way or another. If you look at it today, it all seems so very innocent. The main inspiration came from a Swedish horror comic called Shock. It was just the blood and gore thing, with a tongue-in-cheek approach…I didn’t have much of an academic knowledge of Satanism, though that came later as I got deeper into it. I started reading into the Christian side of it, too, which is when I decided that it is all fake, so the Viking elements started coming into my work.

This book is paradoxical because while it explores Satanism as a phenomenon, it accidentally hits a lot of other interesting notes about rebellion in general and the dislike of modern society held by metalheads. Its strength lies in its interviews with many leading figures not just in heavy metal but in various forms of occult rock and populist shock-rock. Once the reader gets through the Wikipedia-level introduction to Satanism through famous people accused of being evil, the book runs through a competent history of evil rock music and heavy metal, touching on the important acts with an uncanny ability to find thought-leaders in this area.

As it ventures further into heavy metal, this volume provides a detailed exploration of the death metal and black metal years which recite the major facts, provide some new details, and avoid rampant speculation. At this point as a reader I found myself liking this book, despite having been annoyed by the first chapters of history, and found its insights were greater than one would expect from a journalist outside of underground metal. There are some missteps but sensibly Baddeley allows the book to essentially trail off into interviews with interesting people who are vaguely evil, and does not police forms of Satanism to enforce an agenda. Thus the paradox again: a surface view of Satanism, but many ideas are allowed to emerge to show us the background thought behind those drawn to this general direction, even if no coherent philosophy emerges and so most of it seems like a trash heap of comedic contradictions, bold assertions, mistaken and inverted Christian notions and the like.

Some moments are simply good humor, such as this interview with the legendary Paul Ledney of Havohej/Profanatica/Revenant/Incantation:

What do you think of love?

I don’t know — I love sodomy

Many of the interview questions are excruciatingly obvious and repeated, but this is how Baddeley breaks down his subjects and gets them to finally articulate the core of their thinking on an issue, much like frustrated people often give the best summaries of an idea after they have tried to express it repeatedly to others. This both provides some insight, and creates a lot of redundancy in the interviews which add to the confusion of the topic and the consequent tendency of the reader to zone out. Still there are some exceptions, like this cutting to the chase with Varg Vikernes of Burzum:

Why do you and Euronymous have such a great hatred of the Church of Satan?

Satanism is supposed to be something forbidden, something evil, something secret, something people don’t know anything of. You go to America and in the telephone directory you can see ‘Church of God,’ ‘Church of Jesus’ and ‘Church of Satan.’ You call, and a woman answers, ‘Church of Satan, may I help you?’ You think, ‘This isn’t Satanism! Some stupid fuck is trying to ruin everything.’ The superstitious part of it falls apart. The Church of Satan deny Satan, they say He doesn’t exist, yet they act as if He did, they rebel against God. They call themselves Satanists because He also rebelled against God, but they’re basically light- and life-worshipping individualists.

How interesting that he picked up on individualism as the dominant trait of mainstream Hollywood Satanism. It is as if the ultimate rebellion is to transcend all barriers, including the final one in the self. The interviews in this book are often like metal itself, half amateurish lazy drop-out and half insightful dissident looking for a way outside of the tenets of modern society. In that much of the value of this book emerges, not so much as a study of Satanism itself but as a look at the psychology of opposition, with Satanism as a helpful focus that covers for the real story, which is a revelation of discontent with the philosophies of our time. While Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll does not dig deeper than that, as a read-between-the-lines experience this book is worth its weight in gold and reveals far more than it could under its ostensible topic.

Varg Vikernes launches a D&D campaign

March 18, 2015 –

dungeons_and_dragons

Dungeons and Dragons (D&D) occupies a unique place in European and American consciousness. It attracted a specific type of person who was both nerdly and practical, yet geared toward the same futurism as those who read sci-fi and listen to 1970s space rock. D&D came out of the tail end of the hippie boom but embraced a number of ideals contrary to hippie-ness: it liked social hierarchy, expounded different ability by birth, glorified combat and loyalty to one’s kin and king.

These unorthodox tendencies made D&D, like metal, not acceptable for mainstream consumption even among the mainstream of nerds. While right-wing Christians protested it as somehow leading their children away from God (we’re still trying to figure that one out), the real herd quietly sidestepped it and sneered at it as nerdly fantasy suitable only for “perpetual virgins” who lived in basements and bathed monthly whether they needed it or not. And yet during the 1980s, D&D was also a flag for a certain type of nerd. Video-gaming had not yet created a hardcore audience despite being a fad, computers were ultra-nerdly but expensive and/or led to frequent arrests for illegal activity, and the “media nerd” Star Trek and Star Wars fans were still seen as just another type of celebrity-worship. But D&D crossed all those categories and attracted the type of kid who read sci-fi but also had a wider consciousness of the world than the true basement shut-ins.

Varg Vikernes probably played a lot of D&D in the 1980s. As in the US, most of his peers in Norway were probably delusional media zombies who repeated whatever the movies and the talking heads from the “intellectual” media told them. He wouldn’t fit in there. He might within the self-formed quasi-elite of those who both had the brains to understand and appreciate the nerdy bits of D&D, but also the historical and artistic consciousness to delight in its outright medievalism and sci-fi style post-civilizational thinking. Here’s Varg on D&D.

Pale Existence posts entire 1995 demo

pale_existence-1995_live_photo

Doom/death metal band Pale Existence has posted its complete 1995 demo for posterity. This band arose in the second wave of death metal and was part of the wave of bands experimenting with slower and more atmospheric metal after other branches had gone for speed or riff-labyrinth composition.

Over the years several members of Pale Existence migrated to other bands from the area surrounding their San Jose origin, including Exhumed. wound up in that band. Guitarist Lorin Ashton became the popular DJ/electronic artist Bassnectar.

Personnel
Brian Glover – Drums, obnoxious vocals
Bud Burke- Guitar , vocals
Mark Smith- Brutal low vocals
Lorin Ashton – Guitar and mid range vocals
Steve Cefala- Fretless Bass

Recorded by Bart Thurber on top of Mount Um in 1995.

Remains – Evoking Darkness

March 10, 2015 –

remains-evoking_darkness

Old school death metal band Remains returns with its fourth release Evoking Darkness which shows inspiration from the Swedish and American greats of mid-90s death metal merged with the type of bluesy and infectious integration of classic heavy metal that made Clandestine a powerful album, albeit placed in a style that is closer to a cross between older Dismember and Unleashed. The band does not attempt to innovate in aesthetics but creates a sonic charge with the energy and unsettling corruption of mainstream archetypes which defined death metal during its heyday.

The band produced an impressive body of work with its 2012 demo “The True Essence,” the …Of Death EP the following year and Angels Burned in 2014, and follows up on those with simpler, tighter songs that eschew pure grinding in favor of a well-blended integration of metal styles designed to be both audially compelling and unnerving in the method of classic death metal. Songs rotate around a central break from the verse/chorus pairings, repeating themselves in both introduction and egress from that core confrontation. Lead guitars drop in with a variety of styles integrated into organic but energetic explosions of clusters of notes and lengthy fret runs. Vocals take on the gruff exhortations of older Dismember and give it the percussive rhythm of American death metal like Malevolent Creation, crafting a narrative of violence with a lining of excited morbidity. Remains shy away from the melancholic and dark side of death metal and instead converge on its region of pure energy, with music that delights in the finely-picked textures of Swedish death metal alongside the percussive power of Florida death metal. Herein lies where Remains can improve this work, which is that the hard rock/heavy metal integration into the death metal does not always emerge triumphant and often consumes the death metal portion, and extremely basic chord progressions which do not give songs much room to expand in structure or melody. The aesthetic, energy and atmosphere remain perfect and can expand over time as this band matures.

Most people will be floored by how Evoking Darkness not only stays true to the old school sound but gives it life through a voice of its own which is not expressed in style but in these songs themselves and their unique takes on the riff forms from the past forty years of metal. Where Remains shows its power is in the fitting together of these meticulously crafted rhythms so that riffs both flow and contrast one another; while greater harmonic or melodic death would enhance this, it alone makes Evoking Darkness more listenable than all but a few of the retro-death albums which fit together blockily or unevenly. These riffs balance each other in dissymmetry and create a sense of an evolving lacuna which propels the listener forward to see what comes next. Not only do riffs counterpart each other well, but their internal rhythms show a study of the power of the riff itself, and the album flows past without lapses or discontinuities. It shows vast improvement over the previous album from this band and signals a path to their future, since Remains has built a framework upon which more complexity, both in complexity of structure and use of tone, can be built.

Winner of Pantera slashfic contest announced

March 9, 2015 –

pantera_homoeroticism

A week ago, this site opened a contest for erotic fiction writing involving the groove-metal band Pantera, essentially a challenge to create pejorative “slashfic” about the band and its assorted milieu. Many users answered the call, and we received some truly great erotic writing involving Phil Anselmo, Vinnie Paul, Darrell Abbott, and Rex Brown.

Now it is time to announce a winner.

First, let us revisit the contenders for winning entry of this contest. A number of creative and insightful contributions were made, so let’s look at the group:

These offer true creative writing and some venture further into musical criticism of Pantera or even analysis of metal as a subculture. That makes for some stiff competition, with no one that rises erect above the rest because so many of these are so well-executed. However, choose a winner we must, and so it’s time to go through the candidates.

Grails_Mysteries offers one of the first qualifying entries and a short story that explores the pathology of sexual identity denial among heavy metal musicians. In addition, it gives us some insight into the type of personality that might power a band like Pantera. Compelling. steven foster offers a short piece with a Kerouac/Bukowski vibe with a strong conclusion. SEIG pops up next with a more violent offering that explores the visceral and organic side of Pantera eroticism. It reminds me of the Marquis de Sade outraged that the marketplace/polling-place for heavy metal had been taken over by mediocrity! LostInTheANUS offers an almost Huxleyian analysis of how the seductions of money, power and fame can lead to a different kind of seduction… disturbing, and I mean that in a good way. Then thisoneheredude satirizes every Didion-inspired experiential piece of rock journalism ever, creating a lingering sense of unease and distaste. Good work. Vnholy Loa gives us a lengthier look into the effects of timid poseurdom combined with aggro-brocore in a piece delightfully riddled with puns. Following up on that, Eli Murray shows us an unsettling view of psychological manipulation for sex in the context of rock fandom. That’s New Yorker territory but we’ll take it. As the contest gained momentum, Iconoclast wrote a Jungian exploration of the subconscious in attitudes toward existential crisis and how it manifests in the hollow carelessness of pop music like Pantera. This one is really worth reading. Next Dave reveals the paradox of sexual surrender paired with a tough guy exterior, in a story that may portray either rape or someone finally achieving satisfaction, or both… White Powder Activist typed up a whole bunch of stuff so disturbing I can’t comment on it here. Captain Penis Cheese presents a short poetic piece on the parallels between pop music and awkward sex. Turning the contest to a more introspective level, Marcus Antony Frattura explores the psychology of Pantera and their critics and finds some similarities. And if you made it through all of those, you will need professional help.

The competition is tough but some clearly came out ahead. Our winners are:

GOLD
Marcus Antony Frattura

SILVER
Iconoclast

BRONZE
Grails_Mysteries

Gentlemen/ladies, please claim your prizes by emailing editor at deathmetal dot org with the IP address you used to post your piece. Include a mailing address, US only please. I appreciate the contributions of all who participated and the many, many creative entries we received.

Infernal Dominion – Salvation Through Infinite Suffering

infernal_dominion-salvation_through_infinite_suffering

The late 1990s belonged to bands of the Suffocation style of percussive death metal which derived its essential technique, the muted-strum power chord, from speed metal, but worked riffs into mazes with high dynamic variation but consistent narrative in the death metal style. This balance proves difficult to maintain as choppy riffing lends itself too easily to simply circular riff patterns and the resulting patchwork song structures. Starting with Sinister Hate in 1996, the subgenre experienced a revitalization through the injection of melody and the more theatrical song structures of mid-paced death metal. With the rise of Unique Leader bands in the early 2000s, the percussive brutal death metal sub-sub-genre exploded, and into that environment Infernal Dominion dropped its only album.

Salvation Through Infinite Suffering dwells within that narrow musical range but derives most of its influence from bands like Incantation (specifically 1997’s Forsaken Mourning of Angelic Anguish) and Immolation, although it applies these within the percussive blasting style. Bands of this era struggled to balance the need for compelling rhythm in vocals and verse riffs with the more fluid and aggressive choruses and other riffs designed to support the developing song structure. Any greatest strength is a greatest weakness, and in percussive death metal the same type of sound that makes it compelling also can take over composition and result in boring songs that repeat too much of the same stuff and go nowhere.

Infernal Dominion interpret this style as having a high dynamic intensity in song structure but built around loops that emphasize the verses and allow vocals and percussive strumming to take center stage. Onto that they add complex lead guitars that while jazz and rock influenced stay out of entirely cloning those styles. Many excellent riffs, some of the archetypes that later appear in guitarist Wes Weaver’s more recent band Blaspherian, go into this release as does a violent and compelling performance by the vocalist and other instrumentalists. The challenge remains allowing both influences to breathe, both the guttural blasting death metal that occupies the surface style and the underlying fascination with the darker doom-death and cavernous death metal styles. Sometimes the styles emerge and separate like two heads of a dragon fighting one another, and by the law of compromise the band defaults to the simpler elements.

While Salvation Through Infinite Suffering offers many moments of greatness, it possesses more potential than was ultimately delivered. It relies too much on its great strength, trying to make the vocals lead songs where guitar needs to lead, and then packing too much into each song. As the inclusion of several tracks from 2004 show on this release, over time the band streamlined its material and achieved greater clarity while still keeping the terrifying guttural vocals and perhaps making them even more violent. While this album may have attempted a grand vision that never quite realized itself, in part because of stylistic or personality conflicts in the band, it also provides a grimoire of great musical ideas which await development by future death metal musicians.

Demoncy re-issues re-recorded Empire of the Fallen Angel

March 8, 2015 –

demoncy-empire_of_the_fallen_angel

Musicians who go back and improve former works get all respect from me. For example, Godflesh re-imagining Love and Hate as a dub album, or even the recent Nausea re-working of demo-era material. Demoncy — long the reigning black metal band from the United States — announced the re-issue of its fourth album as Empire of the Fallen Angel (Eternal Black Dominion) which will see release on Forever Plagued Records in 2015.

This re-issue follows the new version of Joined in Darkness which will be available March 9, 2015 on both gatefold vinyl and digipack CD with an inverted cross booklet layout. Where that album was remastered, Empire of the Fallen Angel was re-recorded by Ixithra during 2013-2014 and may be substantially altered from the original.

For more information, see the Forever Plagued Records website.

Pantera erotic short story contest

March 3, 2015 –

pantera-glam-days

The recent fracas over Pantera grave desecration reminds us all of two things: many people who criticize Pantera do so out of hurt feelings about social justice issues, and many Pantera fans respond like raging apes locked in coin operated toilets. This creates a potent mix of rage and butthurt that appeals to the sadist in each of us.

To fan the flames, because simply being logical (RIP Spock) and level-headed about issues never gets anyone famous, DeathMetal.org announces a Pantera erotic short story contest. The rules are as follows:

  1. Your story must be between 500-5,000 words and involve the members of Pantera including Dimebag Darrell, and optionally the hipster crust/punk/black band that originally claimed to desecrate his grave, in intensely sexual or erotic situations involving homosexuality and other non-traditional sexual inclinations.
  2. You must paste the story into a comment on this site by midnight (EST) on March 6, 2015.
  3. Your story must be your work alone, except for Pantera lyrics quoted as characters reach climax.
  4. Winner will receive a box of random stuff I can reach easily without leaving this chair.

The point of this is to offend both those who criticize Pantera for being un-PC, and those who defend Pantera with blockheaded and thoughtless remarks. Hopefully both groups will be appalled and call for the death of anyone connected to this, pointing out yet again how both PC indie-metal fans and Pantera fans have more in common with ISIS than metal.

Writers are encouraged to seek inspiration in early Pantera glam metal works like Metal Magic, Power Metal and I am the Night. Bonus points for anyone who works in a Chuck Schuldiner/AIDS subplot, or even a thread about Opeth and a tour bus painted bright pastel colors.