#metalgate came about as a reaction to the growing intrusion of social justice dogma into heavy metal through journalists, bloggers and indie-metal bands. All of them share the same basic ideology, which is a demasculinization of society and forced conformity to political correctness. This is not merely 1990s style political correctness but a rigid ideology which goes in search of victims to defend, which gives power to those who follow this ideology.
At this point, the situation has passed into comedy. Noted mincingly PC blog Boing Boingposted a picture of a kitty that makes a gentle iteration on a well-known joke, which is that if we are choosing our identities and denying the obvious physical reality, why not choose anything? Satire includes the helisexual, the A-10 Thunderbolt and was even satirized in left-of-PravdaThe New York Times.
Let’s face it: people think it is ridiculous, and therefore both funny and provocative in that “neighbor playing ‘Who Let the Dogs Out’ on repeat at 4am” way, that people “identify” as something which they are physically just… well, there’s no gentle way to say this… not.
This however provokes ire from the SJWs, who see the idea that you cannot arbitrarily choose your sex as being an attack on the idea of transsexualism. While it may be indirectly so, it seems more that what is being attacked is the idea of arbitrary identity of all forms, and the attackers are laying into the method of transsexuals asserting themselves, while not making a comment on transsexualism itself (neither attacking nor approving).
The blog in question backed down, cowered and apologized in response to this blatant Mau-Mauing. What else could they do? They have done it to others for almost a decade, so turnabout is fair play. Their statement:
We’re sorry for this offensive tweet. Its transphobia was unintentional, but the hurt it caused is our responsibility
Perhaps represents a high-water mark for SJW intrusion into Western culture. When you cannot use a kitty to make fun of a stupid method that some people are using to force you to validate their life choices, without necessarily commenting on those life choices, the days of the legalized witch-hunt are here.
Old school horror books often focused on plotlines where an inner psychological trauma became manifested in a physical evil. Metaphorically, this plot generates a lot of appeal because it mimics the worst of the human condition: neurotic and blinded to our own inner corruption, we humans have a tendency to act out our psychological dysfunction on the world. The horror story takes this only one step further by mythologizing it, and putting abstract dysfunction into a visual form so we can recognize it, unlike when it remains within us.
The Babadook takes on this plot family — comparable to riff archetype in metal — and makes of it a movie that is one-half tedium and one-half incoherence. It holds up the metaphor reasonably well, but loses sight of its purpose early on, and like many movies with female directors, concentrates on “atmosphere” to the point of making the audience lose sympathy for the characters. Although it brings itself full circle without pandering to the easy options for plot conclusion, such as character insanity or dream, its failure to make sense of the challenge to the main character, Amelia, renders the storyline into gibberish at the end.
The setup is simple: Amelia has a son, Samuel, who was born on the day her husband died. The husband, Oskar, was killed in a car crash on a rainy night as he drove Amelia to the hospital to birth Samuel. Seven years later, she still becomes morbid and withdrawn as the day that Samuel was born approaches. The child, on the other hand, never has a guilt-free birthday party. Working the standard pointless modern job, and struggling with her own inability to snap out of her reverie, Amelia struggles with the more profound problem of Samuel, who acts like a child with severe emotional problems. As the movie goes on, both Amelia and Samuel essentially retreat or are exiled from the world as their increasingly bizarre and dangerous behavior threatens others.
During the midst of this, Samuel finds a pop-up book that tells the story of a creature called the Babadook. The book is written in annoying sing-song rhyme, but it makes its point that is essential to the metaphor of the story: the more you deny the presence of the Babadook, the more he takes over you. The obvious analogy to grief itself, and the inability to escape or unwillingness to give up prolonged mourning, shows us the weakness in Amelia that allows evil to enter… or escape. In some of the most tired plot devices in horror, the book keeps re-appearing after being destroyed or hidden, adding new lines to the rhyme as life falls apart for Amelia and Samuel.
Like many other modern films, The Babadook features characters who are chronically sleep-deprived. This bit of realism resonates with audiences, so many of the newer generation of psychological horror films adopt it. Here it is worn to death and repeated to the point of tedium during the first half of the film. At the midpoint of the film, everyone changes roles. Samuel, the useless and destructive child, suddenly becomes responsible. Amelia suddenly spaces out and becomes useless. Unfortunately for all viewers of this film, the remaining “suspense” repeats the same three techniques very slowly so we understand the atmosphere, and as a result avoids sheer tedium but replaces it with predictability and storyline nonsense as characters undergo brain damage in order to allow the plot to stay together. That and gratuitous (and mostly ineffectual) pet death are supposed to shock us into dropping our iPhones into our arugula salad and calling our husband who are working late at their corporate jobs, in hysterics at how “shocking” it all is. Except that it is not. It is babble.
This film could have been great because the metaphor resonates with us all in this time of intense victimhood. For it to do that, however, it would have to overcome its favorable view of victimhood and get serious about its own metaphor, producing a creature that is believable which mimics grief in its ability to consume people, instead of just making them go crazy and act completely against common sense, which makes it impossible for the audience to identify with them. The plot needed a careful structuring to show the reason for the projection of grief into this creature, and then needed some kind of plot device that defeats the evil. It has neither of these. It hides behind sloppy screenwriting which it justifies with the idea that it enhances the mystery or atmosphere, but it does neither. This script is incomplete and what was there did not stretch for the full length of the film.
The Babadook falls short of not only its own potential, but the standard it would need to meet for the experienced suspense-horror audience, but could easily have achieved greatness. The acting — especially by Essie Davis as Amelia — is very well-executed. Cinematography does not strike an excessive note, nor does it stand out as particularly excellent, but it rises far above mediocre. The problem of the storyline dooms this film. “Atmosphere” serves as a cop-out for what really needed to be done: to tell the story of grief and self-pity with an unblinking eye, and by showing us that psychology as a metaphorical monster, revealing what must be done to defeat that crippling choice and sensation in ourselves.
This may be the coolest job title ever: Heavy Metal Consultant. Vocalist Bruce Corbitt, of Rigor Mortis and Warbeast fame, has been appointed by the Texas Musicians Museum as its expert on all things heavy metal. The Museum, which is awaiting construction of its new facility at 222 E. Irving Blvd in Irving/Dallas metroplex, issued the following statement:
The Texas Musicians Museum is proud to announce that the talented Texas musician Bruce Corbitt will be assisting us as our Heavy Metal consultant.
Since the early/mid eighties, vocalist Bruce Corbitt has been in the midst of creating Texas Metal music that won’t be forgotten anytime soon. From his days in the legendary Rigor Mortis to his current band Warbeast, he has truly given us his all and made his mark on the history of Texas music. The self-titled debut Rigor Mortis album was inducted into the Decibel Magazine “Metal Album Hall Of Fame” in 2013. Both Warbeast full-length albums “Krush The Enemy” and “Destroy” have also received end-of-the-year honors by numerous metal magazines and metal news websites. Bruce also has the distinguished honor of being the only vocalist to win a Dallas Observer Award in the category for “Best Metal Band” with two different bands… twice with Rigor Mortis and once with Warbeast.
Corbitt sent out a request to all metal fans for Texas Metal Memorabilia and contact information as follows:
My first step is assembling my own panel of Texas Metal Legends and Gurus. To help me make sure we do this the way it should be done. I am very familiar with the history of Texas Metal since the beginning. But I obviously don’t know the entire history of every region as good as I do D/FW. So I have already reached out to many Texas Metal historians that I want to be part of this team/panel. Such as Jason McMaster, John Perez, Rick Perry, Rodney Dunsmore, Carcass John Fossum… and I will reach out to more for other areas. Between us all… we will brainstorm and come up with the best gameplan to do this the way it should be done.
The Museum itself will be 8,500 square feet and it will have an outdoor event area that can also have live music. Yes we will have some Texas Metal bands playing on some of these events too.
Ok… so obviously one of our main goals is to start collecting actual donations for the museum itself. So we will be starting a huge Texas Metal Memorabilia hunt for the bands and musicians that we want to include. I’m sure that I will be listing the bands as musicians soon enough that we want to induct into the museum… but it is common sense to many of you who some our legendary Texas Metal Bands are… but just to name a few Pantera, Rigor Mortis, Helstar, WatchTower, Devastation, Absu, Big Iron, Drowning Pool, The Sword, Gammacide, Deadhorse, Angkor Wat, Aska, Warlock, Militia, Solitude Aeturnus, Prophecy, Sedition, Devourment, Rotting Corpse and we are just getting started on the possibilities.
So for now… until we get further along and I make more announcements. If you have anything like historic Texas Metal memorabilia… or any ideas for bands or musicians you think should be included, or any other suggestions you think would be beneficial to our cause…
please contact me at firstname.lastname@example.org
This now gives Texas two metal archives for the history and theory behind heavy metal and associated genres. The other, to which users of this site have been mailing metal artifacts for over eight years, is at the University of Texas at Austin:
Dr. David Hunter
Music Librarian and Curator, Historical Music Recordings Collection
Fine Arts Library (DFA 3.200)
University of Texas Libraries
1 University Station (S5437)
Austin, TX 78712
It is great to see metal ignored by the Rock and Roll Hall of Fame and accepted by these independent but reputable authorities who are studying metal through its personalities and source documents like recordings, flyers, zines, letters and posters.
Swedish heavy metal/death metal band Desultory, who along with Dissection, Unanimated, and Sacramentum paved the way for legions of melodeath to follow, are back in wartime formation and planning to record a new album. The band posted the following to social media:
Ok, so finally! We´re back into the Necromorbus studio, now to record our next full lenght album. We will record during the spring and hope for a release during the fall. Thanx for all your support and patience, this album is for you!
While most of us know this band through their Metal Blade debut (and one of the first big label acknowledgements of death metal) Into Eternity, their collection of demos entitled From Beyond the Visions of Death is also quite worth attending to. It combines the melodic approach of Unanimated with a heavy metal core, which makes it both more accessible and prettier than regular death metal.
Most metalheads, not being of the commercially-minded type, rarely stop to think about heavy metal as a brand. Media sells a certain image with heavy metal, just like Harley-Davidson motorcycles and Jack Daniels whisky, both of which are highly successful brands. Metal forms more of a meta-brand, symbolizing rebellion and bad boy lawlessness. That image can be used to sell a lot of products, since consumers really hate the idea that they are merely being good sheep by buying whisky and transportation.
In commercials, television and movies, rebellious characters are often introduced with heavy metal in the background. Fight scenes in both football and blockbusters often get the heavy riff treatment, as do superhero epics. Bizarrely, House Hunters — a television program about people choosing which house to buy — uses AC/DC style hard rock riffing in the background to its real estate epics. Anywhere boldness, bravery, rebellion and defiance must be shown, heavy metal is the appropriate soundtrack.
Much of this can be seen through the use of well-known bands in movies. Check out how many soundtracks Slayer has contributed to, for example. The royalties from those might even outpace their album sales. At some point in the future, perhaps metal bands will put out albums and tour so that they can sell their music for commercials, television, movies, sports/MMA and house hunting. Now look at AC/DC. Metallica. Iron Maiden. Pantera. Anthrax. Compare to Morbid Angel and Darkthrone.
Slayer has introduced a new track, “When Stillness Comes,” from their updated 2015 lineup sans Jeff Hanneman (RIP) and Dave Lombardo, with Paul Bostaph (Forbidden) and Gary Holt (Exodus) filling in on drums and guitars. The track begins with what sounds like an attempt to make a simplified version of the introduction to “South of Heaven” or “Reign in Blood,” but it moves at an oddy pace designed for more comforting rhythm than confrontation. Then the track launches into a sort of Nine Inch Nails tribute with offbeat guitar chords appearing to accent the beat, and lots of chanting vocals. In its final minute or so, the track launches into an appreciable but formulaic impression of older Slayer while not dropping the somewhat groove-oriented approach of newer Slayer
An experienced music listener who is new to black metal asked for a doorway into the genre. This raises the question of how to appreciate black metal, which like most things in life is mostly mental preparation. Without context, black metal seems like any other loud genre, and it becomes harder to distinguish the newer tryhard junk from the original.
The best way to gain context is to walk through the history of the genre from oldest to newest. This approach, common in art, literature and philosophy, allows people to see what developed from what and what the reasoning for that was and therefore, what the reasoning is behind what is here now.
The result of this query was a simple list to urge people to explore this genre further. This list originates in the history of black metal music, but also in influences that can be identified among the bands as immediately relevant. Toward the end it extends more into general conjecture based on what shows up later in highly different form among the black metal works of relevance listed above it.
I. Proto- Metal
Bathory – The Return
Slayer – Hell Awaits
Hellhammer – Apocalyptic Raids
Sodom – Persecution Mania
Sarcofago – INRI
Merciless – The Awakening
Blasphemy – Fallen Angel of Doom
Von – Satanic Blood
III. Black metal
Immortal – Diabolical Full Moon Mysticism
Mayhem – De Mysteriis Dom Sathanas
Burzum – Burzum/Aske
Emperor/Enslaved – Split
Darkthrone – Under a Funeral Moon
Beherit – Drawing Down the Moon
Varathron – His Majesty in the Swamp
Havohej – Dethrone the Son of God
Impaled Nazarene – Ugra-Karma
Samael – Worship Him
IV. Second Wave
Gorgoroth – Antichrist
Graveland – The Celtic Winter
Ancient – Svartalvheim
Sacramentum – Far Away From the Sun
Ildjarn – Forest Poetry
Summoning – Dol Guldur
Zyklon-B – Blood Must Be Shed
Gehenna – First Spell
Behemoth – From the Pagan Vastlands
V. Extended Contemporary
Demoncy – Joined in Darkness
Sammath – Godless Arrogance
Mutiilation – Remains of a Ruined, Cursed, Dead Soul
Absurd – Asgardsrei
For immediate death metal background to black metal:
At the Gates – The Red in the Sky is Ours
Carnage – Dark Recollections
Godflesh – Streetcleaner
For heavy metal background to black metal:
Mercyful Fate – Don’t Break the Oath
Venom – Possessed
Angel Witch – Angel Witch
Destruction/Tormentor – Demos
For hardcore punk background to all metal:
Discharge – Hear Nothing See Nothing Say Nothing
Amebix – No Sanctuary
The Exploited – Death Before Dishonour
Cro-Mags – Age of Quarrel
For electronic music background to underground metal:
Horror movies, like death metal songs, take one or more basic forms derived from the experience being described which symbolizes a psychological state in the user. Much like childhood night terrors, one form of horror movie is the pursuit themed movie. Final Destination 2 offers a new take on this which expands it into almost postmodern territory: death itself pursues a cast of characters and, because death is metaphysical but can influence the physical world, they find themselves pursued to paranoia because there is no tangible enemy to avoid or beat.
The plot of the Final Destination series stays invariant in its approach: an event which will bring death to a group of people is destined to occur, one of these people has a premonition, and the group avoids death, only to find that it has not forgotten them and like an engineer checking items off a “to do” list, comes after them invisibly and craftily. Death stalks its victims through a variety of Rube Goldberg contraptions made from everyday objects seeming to conspire toward evil ends, which is what makes this movie so fun. No situation is innocent because ordinarily innocent surroundings can, when twisted by the brilliant hand of doom, become fatal for the relatively ordinary and normally blithe people in these films.
Like the characters in the movie, the audience is driven to paranoia because these events have a conspiratorial nature. As the old saying goes, the whole is greater than the sum of the parts, and when small parts are combined with fiendish intelligence, they make death traps that could hide behind any door and every life event. This raises terror to a new level, because instead of characters approaching a known evil, the threat to their lives hides among the ordinary, and life must go on, so they try to survive with as much normalcy as possible despite feeling the breath of death on their necks at every moment. For a death metal fan, this resembles life itself, as “only death is real” and we are aware of the fragility of life, and banish superstition not only with cartoon fantasy visions of the afterlife but with the religious way that people view human life as being independent of nature, chance and anything beyond what we intend, as mediated by careers, commerce and laws.
Perhaps the most telling moment of the underlying thematic material in this film becoming clear involves a character who, having seen another character terminated in gory excess, goes on a lengthy neurotic breakdown rant in which he screams repeatedly, as if trying to convince himself more than others, “I control my life.” Other characters launch into worlds of human construction to hide from death: one talks about her career, another immerses himself in drugs, and another in mourning and self-pity. All come to doom except the few who manage to be both realist and focus on survival, and become aware of the metaphysical and take the threat seriously even though they do not understand it. Final Destination 2 effectively parrots back to modern people (in a more interesting form) the existential terror of death in the anonymous city where at any minute our technology and social order can collapse and leave a trail of victims.
The original Final Destination focused on a plane crash but the second in the series works with the more mundane threats to the modern citizen, which in a way are more terrifying despite the constant mysterious disappearance, shooting down and crashes of planes that have become a staple of the news of late. In this film, death lurks everywhere and a plan exists for each of us determining when we die. This offends our post-Enlightenment sense of being masters of our own fate and wiser than nature, because in this case death acts more like a force of nature than a ghost or spirit, making it terrifying, systematic and relentless.
Knowing the horror genre well, apparently, the filmmakers do not fail to follow the pattern of horror films, which is that characters struggle against their own denial before they encounter a supernatural force, and then only those willing to both believe in it as real and learn about it to fight it on its own terms can prevail. This formula proves effective because it is a metaphor (for Ara) for our own process of learning in life, where our assumptions prove insufficient and we must recognize the failure, drop our pretense of control, and then learn about what we oppose in order to get past it. Tightly scripted and edited, this film keeps suspense high but not uniformly so, creating a graceful story arc which accelerates rapidly before its peak, delivering all of the thrills and wisdom of a horror film in a compact package.
The second edition of the #metalgate podcast has arrived! This one features a more acrimonious look at the split between those who want a single moral right way for all of us to behave, and those who want a more chaotic and naturalistic “do your own” thing. Is there a middle ground? Will there ever be understanding between the two? Only you can decide! Tune in for metalgate podcast issue two below.
Recent posting of an interesting article about transcendent realization in metal provoked a number of confused comments, none of which addressed the substance of the article. The objection was to modern metal, which many view as a misbegotten genre, and to secondarily to the bands involved.
As a thought experiment, I thought I might share some thoughts on analysis of metal. You will not find nice easy binaries and “objective” analyses here, more like qualitative assessments in a shifting frame of reference. Mostly these are questions which do not resolve to nice, uniform and balanced answers. They embrace the controversy.
However, you will find that as you look back over the journey — and that is the best metaphor for experiencing music, that of looking into a field of data — you will see that taken as a whole, the details point toward an overall picture. Your job then is to assess that against all other music and place it in context.
I start with these general questions:
What changes between start and finish?
What patterns can be found?
Do these patterns form a language of sorts?
If so, does it lead to the conclusion?
Art is a communication. Art that extends over time, like novels or music, takes the listener from a starting point to a conclusion. It is not very powerful, usually, to have the precepts equal the conclusion, but sometimes — rarely — a full circle can be revealing, like when one recognizes how utterly futile an idea was when applying it to an experience, and ends up abandoning it. Patterns can consist of any data that is discernibly isolated (relevant to all of its parts) and can often change meaning when repeated. Language uses patterns to build meaning by expressing tokens in context and changing that context to apply more attributes to those tokens. Language leads to a conclusion when internal conflict results in a clear answer as to what has become victorious, been destroyed or a merging of ideas.
These lead to other questions, such as regarding technique:
Does this technique fit a need, or is the need made to fit the technique?
Is it evocative of any real-world experience or vivid thoughts?
Are the values of proportion, balance and purpose applied in this use of the technique?
Is there another more relevant technique that was not use?
The biggest question here is whether the technique is used for a purpose or not. A band that merely makes a list of all techniques, assigns them to songs and then barfs out a song using them will not only be boring, but will miss an opportunity to communicate something more than the technique — including composition — itself. The worst problem here is the “wallpaper effect” where the band does not vary the intensity within each song, creating a listening experience like listening to a faucet on full blast.
I also suggest the following for seeing past aesthetic:
If the lyrics were absent, how well would this piece stand up?
If I played this on a kazoo or acoustic guitar, would it still sound as powerful?
Is there depth to this imagery, or is the song a framing for the presentation of an image?
I find it useful to have a smaller CD player or computer in another room with not-so-excellent speakers. You can fire up the music on one of those and listen from a room or two away, which creates a sort of ad hoc filter that removes the value of production. You end up hearing root notes and rhythm the most, but also lose many of the flourishes that hide the actual music.
Then you should ask of its artistic relevance:
What does this piece of music express?
Does this address something relevant to life itself?
What have I learned or experienced through this piece?
These questions explore significance. That exists on both a musical and thematic level, with the best music having the two operating at once toward the same ends. Music that is relevant expresses something we know of in life, and finds a way to make it beautiful and create transcendence from it. Clarity, or truth about reality, can itself have a transcendent effect in that it clears aside confusion and opens up a pathway to future creation. Good art creates a world that you want to step into and help fight it out so that the best, the beautiful, the good and the interesting prevails over Big Macs and Cheetos.
And then, finally, your duty to the reader:
How many times could I listen to this without getting bored?
In what situations would I discuss with others what this conveyed?
How does this expand the metal lexicon of technique and ideas?
If you are writing as a reviewer, your readers do not have infinite time or money. They can purchase a few albums but are going to rely on these for enjoyment and learning over the course of the coming years. Remember your Bell Curve: most albums are in the middle, with some outright turds to the left and a few real standouts to the right. Your job is to pick the standouts because people can love these for years, and/or some of the high middle albums. Do not be afraid to be vicious. This is the money of normal people being spent on this music, and if they end up dissatisfied, it creates more landfill and causes them to despair on quality. Whatever is rewarded in the marketplace predominates, meaning you get more of it, so any sane person will be strict about quality.
With that being said…
Here’s a couple tracks for you to try. The only comments that are worthwhile are analytical ones. If you want to call someone a fag, go to one of the other threads and call me a fag. I got over it long ago and now I just ask for phone numbers or cock pics.