Downside of MP3s: no enjoyment of whole album

August 20, 2014 –

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Who am I to criticize wide and frequent use of technology? It has brought great benefits and much landfill, as well as seeming to fill our time with activities that are both “work” and “fun” at the same moment. It has made life easier, and made the list of stuff to do longer. I suppose it is a mixed bag.

In general, I am fond of MP3s. “Try before buy” provides a great principle for buying music that in theory would lead to the rejection of the usual stuff and embrace of the distinctive and elevated. This would (again, in theory) give consumers better music and give small bands a chance against big industry bands.

In practice, people simply become overwhelmed with the sheer amount of stuff, which spams their brains, and thus they download a ton and a half of metal and listen to all of it once, which leads to the conclusion that it is all about the same in value. In turn, that causes them to stop worrying about quality and to download anything above “barely acceptable” and put it on their playlist. This favors the big industry, which can use its advertising power to overwhelm those spammed brains and so people go back to the 1980s condition of buying whatever is advertised and ex post facto finding a way to like it.

So, maybe MP3s are not the savior of the music industry. And a relatively recent Abigor interview raises another point: MP3s ruin our appreciation of the album as a whole as if it were a communication from a band to its audience. Instead, we are awash in easily queued and listened music, which by reducing our effort in hearing it reduces our ability to perceive it.

[E]verything should be viewed as one piece of art, not just the sound that’s coming out of a studio in whatsoever form, be it vinyl, CD, a file (originating “from the connection in the wall”, that’s the horizon teenagers have these days.

They don’t care and they’re not as informed as we were – when we liked certain albums back then we knew the lyrics, could draw the logo and knew every dot on the cover or who was in the thanx list. Today it’s about a track in the MP3 playlist only, albums matter less and less). An MP3 player can’t capture, it simply isn’t, such a piece of art. People tear individual tracks out of the album context to an MP3 playlist and the music looses it’s meaning and also it’s value.

How much is such an MP3 worth? Nothing. And therefore people lose respect of the artist’s work as well. They forget that this soundfile actually has a history full of sweat and blood, and quiet some people put in a lot of money before the first cent comes back from sales, all this seems like a long lost echo when I hear people talk about their MP3s. People that talk about their record collection have a different access.

All of this reminds me of the “bad old days” before the internet and underground alike when people heard new stuff on the radio and listened to that without even thinking there might be an option. The same four companies owned every radio station in the major cities, and the same six labels owned everything played by those radio stations. Not much has changed, except that what is driving people to that same old stuff is the vast amount of musical spam coming out in MP3 format designed for people who cannot tell the difference between plausible and mediocre music.

5 albums that sold out and damaged metal

August 18, 2014 –

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When a band is accused of “selling out,” the first instinct most people have is to attack the definition of that phrase. In reality, “selling out” is easily delineated: changing your music/art/writing to reflect what the audience expects.

In metal, selling out usually consists of making the music happier, simpler, less tormented and more pretentious. This allows the people who are dedicated to not noticing anything real about their world to listen to it and have it confirm their existing bias that the best course in life will be to “keep on keeping on” by shopping, voting, bragging at the water cooler, watching television, eating fast food and otherwise being oblivious to everything.

Selling out can be compared to the difference between a home-grilled hamburger and a fast food burger. The home-grilled burger uses real meat, spiced and cooked with care, and does not look elegant but is a good balance of taste and nutrition. The fast food burger is made from ground-up bits of animals, filled out with soybeans and sugar, and most people prefer it because it tastes more like candy and nutrition, lol.

When a metal band sells out, it makes the conscious decision to alter its music to appeal to some audience. This can include an “outsider” audience that only likes ultra-lofi two-chord bands, or the usual meaning, where the music gets closer to big radio pop. When metal bands sell out, they damage metal by bringing in all the stuff metal tried to escape in the first place.

These five albums represent some of the worst sellouts in metal history.

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At the Gates – Slaughter of the Soul

The first At the Gates album took our breath away. A weird mix of metal, folk, progressive and classical, it achieved an idiosyncratic voice of its own the way early death metal was prone to do. Then the band faltered, losing a key member and recording albums that did not feel with albums. Suddenly, this new album burst onto the scene and the old school death metal heads rushed forward to find… the exact opposite of what made this band great. Instead of inventive death metal, Slaughter of the Soul brought a warmed-over version of Metallica Ride the Lightning that had been given the Swedish melodic metal treatment. Songs swung easily with simple melodies that would have fit better in a television commercial or schoolyard song, and song structures fit an entirely predictable mold. Nothing challenged the listener; everything was sweetened, like biting into a hot glazed donut with extra icing. It made you feel icky inside, as if you had just been assimilated by the vast mass of people in modern culture who forcibly ignore any incoming ideas which do not fit into their own ego-worship and denial. However, the album was a stunning commercial success and inspired the metalcore movement, in which post-At the Gates band The Haunted applied this template to late hardcore and created a whole new audience.

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Metallica – Metallica

When metalheads first heard “One” on the radio, the general sentiment was worry. We all knew of the temptation of radio metal where bands toured in luxury buses and got loads of cocaine, chicks and fast cars. But …And Justice For All had its musical moments despite the awful rock-style drumming and simplified catchy songs, so the hope was that Metallica had gotten it out of their system. Then came the self-titled monstrosity. The first hint was the choice of eponymous name late in the career of Metallica, which suggested a break with the past. Then, the new logo: silver foil-embossed, stylized and slick. Then we heard “Enter Sandman” on the radio and fears were realized. Gone were the complex song structures and innovative riffs, but the use of melodic composition on guitar persisted from …And Justice For All, albeit in a form that fit well into the MTV lineup. Songs backed away from topics that might unsettle people into fairy tales about fears and personal drama, including the rage drama that Pantera was making famous. Metallica fans hung their heads, neatly folded their tshirts and put them at the back of the drawer, and covered their tattoos with black bars. Metallica had finally sold out.

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Death – Individual Thought Patterns

As the 1990s progressed, death metal emerged as the clear next big thing. This came after nearly a decade of the music industry denying its existence, mocking it, and doing their best to conceal it. A number of them made overtures: if you could just drop the scary alienation, anger and post-human view of the world, maybe The Industry would work for you like it did for the Crue, AC/DC, etc. At this point, Chuck Schuldiner of Death was putting a lot of effort into making himself the founding father of death metal, and he fired his previous band for a mostly new group who came up with a heavy metal/death metal hybrid. That alone would have been bad, but what was worse was that he changed the music artistically as well as stylistically. The rage at a numb, callous and selfish world was replaced with personal drama, overplayed public compassion, and the kind of hollow rage that people sitting in air-conditioned homes direct at a world that “just doesn’t understand me.” Even worse, the music itself became saccharine. The wild lion of death metal became a neutered animal dependent on daily feedings of peer group approval. Not surprisingly, people loved it then and hardly mention it now.

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Morbid Angel – Domination

After the public hounding that Ilud Divinum Insanus received, most fans forgot the previous great Morbid Angel disappointment that essentially fragmented the band. Thousands of death metal bands languishing in obscurity perked up when they saw Far Beyond Driven flirt with Exhorder-styled extreme metal and still make hordes of money. In the timeless and impeccably insane logic of record labels, it was suggested that death metal bands take the same route even though it would mean abandoning their fans and yet not being able to fully dumb down enough for the brocore generation. Morbid Angel came out with this disaster of a fourth album in order to try to bridge the gap and ended up (predictably) failing both. Where previous Morbid Angel albums showed inventive songs, Domination featured one interesting riff per song slowed down and mated with another couple of sludgy, partially doomy, and unforgivably bouncy Pantera-styled riffs. To accommodate the injection of nonsense into death metal songs, Morbid Angel broke them down into simpler songs that resembled the happy go lucky “beer metal” songs of the past: verse-chorus, chanty foot-tapping title of song repeated, and an artistic outlook which more resembled wounded anger than any kind of delving toward a hidden truth. After this album, the band fell apart and reconstituted itself in new forms, trying to recapture some vein of composition that might appeal to lots of MTV-reprogrammed listeners and yet still be death metal. Much like Bigfoot and the perpetual motion machine, it might be out there somewhere, but as of yet Morbid Angel has not found it.

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Dimmu Borgir – Enthrone Darkness Triumphant

As soon as black metal hit the newsstands with stories of church arson and murder, record company stooges devoted many hours of thought to the simple question of how they could re-package it for the Hot Topic kids. Dimmu Borgir found the first workable solution with Enthrone Darkness Triumphant which mixed mall-goth, Cradle of Filth, and carnival music to come up with a style that reveled in its own randomness and made its listeners feel profound for having picked up an incoherent but inscrutable mess. The lush keyboards of mainstream Gothic dance music mixed with the darker rhythms of Nine Inch Nails and guitar influences from rock/metal/rap hybrids in order to interrupt the occasional black metal riff so it never came to fruition. The result became the artistic equivalent of a pop tart: thin bread crust around mystery ingredients mixed with sugar. Naturally, people loved it because it allowed them to “be black metal” (ist krieg!) without leaving behind the same digestible pap they had been swallowing for years under the rock banner. But the CDs seemed to fly out of stores, and black metal fans changed from lonely dissidents to bloated mall denizens looking for a new thrill to blot out the days of tedium as they tried to pretend they wanted to even be alive. Even more importantly, this album opened the door to “black metal” as a container for whatever you wanted to throw in it, which made the truly dark hearts of the record company execs jump with joy and visions of bank transfers.

Image: would you trust a cigarette company with marijuana? Most likely, they would do to it what they did to tobacco, which is remove variety in flavor and replace it with innocuous but consistent brand-perfect sensations.

Judas Priest – Redeemer of Souls

August 16, 2014 –

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Judas Priest contributed much to the science of metal riffing. Where Black Sabbath strung together power chords into long phrases, Judas Priest and Iron Maiden re-introduced lead picking to this role as well with guitars that harmonized each other; Iron Maiden focused more on melody, where Judas Priest narrowed its exploration to the use of structure in riffs to get around the predictable patterns and rhythms still inherited from rock music. The band straddled the line between rock, hard rock and heavy metal.

Over the years, the band has unlike any other metal band explored any influences it could make meaningful. In the 1980s, Judas Priest explored electronic sounds and applied them to a type of hard rock/metal tinged with industrial and synthpop influences. In the early 1990s, the band took on Slayer and death metal with perhaps its highest musical point, Painkiller. Two decades later, the band both returns to its roots and attempts to find new directions for an artform which has lost sense of its urgency.

Redeemer of Souls begins with a pure hard rock track that shows off bluesy guitars and familiar rhythms and riff forms from 1970s-1980s radio hard rock. Perhaps the idea is to start the album slowly, or to have some track that can make it onto radio, but this track probably turned off most actual music fans because it is the metal equivalent of a cliché. After that, the band launches into more ambitious fare that quotes from the past styles of Judas Priest but tries to work in the rock appeal that marked its earliest albums. Hints of Ram it Down merge with a mainstay of pulsing rhythms from the Painkiller and Jugulator years slowed down to fit within the more sedate pacing of early Judas Priest.

Occasional citations can be heard to diverse metal bands including Metallica and at least one riff that sounds like later Iron Maiden. The band experiments with a number of variants on the theme citing mostly from rock favorites, such as the ballad and classic country, as well as working in a number of rock tropes in lead guitar and rhythm. Halford’s vocals take on a more restrained and sentimental approach. Tipton’s influence emerges through a style that fits classic Priest with a leaning toward the bluesy over the progressive or more metallic structured solos of the past. Where more intensive metal riffing emerges, it tends to lead not to an expansion on the same, but to a more vocal-centric and slower-paced take.

Redeemer of Souls like many later albums from groundbreaking bands revisits many successes of the past and mixes them in with known crowd pleasers, but seems focused more than Judas Priest in recent memory on fusing rock and metal to escape the sterile and eclectic but unfocused material of the jazz-lite fusion years of recent metal. While Redeemer of Souls has moments of power, its focus on breadth and variety leaves it feeling less like an album and more like a collection of singles, and experienced Priest fans may find it both approximates past releases too much and fails to leap to their level of intensity.

5 albums that ruined metal

August 12, 2014 –

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If you create anything of beauty in this world, people will be attracted to it. They will want what it has, but because achieving that would require them to change themselves, they will instead make a version of your beautiful thing that fits their needs. This will become popular and soon idiots everywhere will adopt their dumbed-down version of your beautiful thing, effectively ruining what you have created.

Over the course of metal’s lifespan, it has several times been afflicted with the curse of popularity. During the middle 1970s, bands began cloning what Black Sabbath did and mixing it with the more radio-friendly sounds of Led Zeppelin, Cream, The Who and Deep Purple. The result gave metal such a bad name it required an underground genre, the New Wave of British Heavy Metal, to renovate it with punk energy and DIY spirit. Then in the late 1980s, speed metal bands started selling out and making radio-friendly jive that quickly destroyed the genre because no one wanted to associate with it anymore. Only a few years later in 1994, underground metal imploded as clone bands and outsiders began making imitations of the new sound that used songwriting conventions and “values” from other genres. Most recently in the 2000s metal became “socially acceptable” and became basically a cover story for lite jazz and indie/emo which now could claim they were groundbreaking and authentic.

But I digress. Let us look at a brief history of bands that helped ruin metal and see if we can figure out where their influences ended up in today’s milktoast hybrid metal.

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Pantera – Cowboys From Hell

Before this album came along, speed metal had a certain gravitas to it. Songs were about war, human moral conflict, literature and the apocalypse. Then along came Pantera and injected a bro-sized dose of personal drama into it. After Pantera, speed metal included talking about how angry you are, getting drunk and starting fights about whose jeans are out of fashion this season, and raging about your inability to retain women who are not covered in naturally-growing wool. It was a strike of Idiocracy against the intense music of Metallica, Nuclear Assault, Overkill, Testament, Anthrax and Megadeth that dumbed it down to the Belieber level, just with more angsty testosterone. Not only that but the complex songs got replaced by verse-chorus and lots of “emotional” vocals accompanied by softer guitar parts. The path to death for speed metal started with this watered-down, dumbed-down, ego-drama path to stupidity. Luckily after they had made their money, Pantera disappeared and the band members went on to more reputable projects.

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Cannibal Corpse – Tomb of the Mutilated

In the year that death metal reached its peak, Cannibal Corpse release an album that made death metal accessible and in doing so, made it a satire of itself. This is Dethklok before Dethklok. Borrowing from the percussive style that Suffocation innovated, Cannibal Corpse took out all the complex songwriting and replaced it with somewhat complex riffs in predictable format. It took away difficult rhythms and topics and replaced them with I-puke-blood style blockheaded lyrics. They also introduced Pantera-style songs about sexually mutilating women because women are difficult and sometimes all one can get is a brojob back at the frat house. This album crushed the growing death metal movement by putting a giant IDIOTS AND SYCOPHANTS WELCOME sign over the door to the genre and convincing people that songs with blockheaded gore lyrics and simplistic structures under grunting incoherent vocals were more “death metal” than the complex music of integrity that defined the genre at the time.

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Cradle of Filth – The Principle of Evil Made Flesh

Point your TARDIS back to 1994. Black metal was in full-swing, having just put forth all of its founding works and then exploded in a media-fueled inferno of murder, anti-Christian and politically incorrect sentiments. In come the “smart” people who figure they can make a buck off this new phenomenon. Their formula: make Iron Maiden style metal with the new screechy vocals and make it emo so that kids can feel like it sympathizes with their horrible lives where their parents just totally control them and stuff. Then mix in the usual “teen paranormal romance” rambling about vampires and evil and you have baby food for coddled toddlers. It took some brains to like black metal, but Cradle of Filth asks nothing so challenging of its listeners! Even more, this band introduced the “carnival music” style of putting radically different riffs next to each other so that the listener loses track of song structure entirely. These songs are basically advertising jingles and warmed-over Goth rock stuck into second-rate metal, but all the kiddies brought their sweaty dollars to Hot Topic because they felt it “understood them.”

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Meshuggah – None

Right in the middle of 1994 it became clear that black metal and death metal had left the building. They had said what they wanted to; people had to either top it or find some easier and sleazier way to do. Ripping off the percussive textures of Exhorder, Prong and Exodus, Meshuggah came up with a “new” style that consisted of over-extending ideas from previous and better bands. It’s worth mentioning that Meshuggah’s first album was 80s speed metal with death metal vocals, but that it was extremely boring. Meshuggah figured that if they just made their style more dramatic and used lots of choppy riffs with shiny new “complex” polyrhythms, they could fool a new generation into liking their stuff. Without fail, it worked, and now metal bands find it necessary to incorporate the worked-over 70s groove with two-chord texture riffs and claim a “djent” influence. At its core, this band remains the same bad 80s speed metal that failed on its first album.

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Opeth – Orchid

You can pitch a market one of two ways: on one hand, you can be “just one of us regular guys” and pull a Bruce Springsteen (or warmed over punk); on the other, you can claim that you are so far out and deep that only a few deep people can understand you. The best is to hide the former in the latter so that you are selling the “profundity” of sing-song music for children but it gives them a chance to pop on a Fedora and think they are really so deep, you know totally deep, that no one can be as deep as they are. Opeth sold itself on being “open-minded,” which is this message: we are different from the rest of metal because we use acoustic passages instead of just solid heavy metal riffs. What they choose not to tell their fans is that they are more like everything else that is not metal, so to like this stuff is to admit you fail as a metal listener and go back to pumping radio pap through your Beats by Dr. Dre headphones. But every underconfident basement-dwelling pretentious geek loved this stuff even though it consisted of a simple formula, soft verse and hard chorus, that is most famous for its use among nu-metal bands. Nonetheless, Opeth opened the door for people who wanted to signal to the world how profound and different they were, and now most bands are tinged with the same simpering pander that makes this music sickly sweet and an inch deep.

Fenriz (Darkthrone) launches new podcast

August 4, 2014 –

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Darkthrone drummer and composer Fenriz introduces a new series of Peaceville Records podcasts with a retrospective on classic underground metal and influences on his own style. As usual, expect Fenriz’ unique sense of humor and eclectic but visionary taste in metal.

Unaussprechlichen Kulten – Baphomet Pan Shub-Niggurath

August 2, 2014 –

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Named after a fictional work of occult literature in the Cthulhu mythos by H.P. Lovecraft, the “nameless cults” give their name also to this band who create modern death metal that remains true to the death metal style. Like Immolation circa 2000, carefully tuned guitars and use of odd diminished melodies create a suspension of reality that a rhythmic approach like that of the Deathspell Omega era “progressive” black metal complements and expands.

Baphomet Pan Shub-Niggurath cites from fully four generations of metal, mixing speed metal riffs with modern black metal and the aforementioned dissonant and complex death metal, but sometimes slides in old school death metal riffs and transitions reminiscent of the hybrid era of underground metal in the early 1980s. The tendency to offset rhythms to insert additional riffs comes from the newer style of black metal, which permits groove so long as it is disturbingly detached from consistent expectations, but the core of this album comes from the streamlining of death metal in the early years of this century that brought different chord shapes and dramatic conclusions to the genre.

Other influences work their way in here including a use of plodding cadences that would have fit onto a God Macabre or Afflicted album. Songs work riffs into a circular pattern that always returns to familiar themes for choruses but splits verses across multiple riffs using a Slayer-inspired pattern of working in a precursor riff, then changing riff, and then altering its texture and tempo with layers of drums, bass and vocals. Then the song culminates much like later black metal in a kind of revelation which melts down into the soup of primordial riff ideas that earlier served to introduce or complement themes.

For contemporary metal, Baphomet Pan Shub-Niggurath keeps its focus more firmly in the continuance of past traditions into the future than bands like Immolation managed. It does carry the tendency to be too emotive on its surface like Deathspell Omega, which leads to technique replacing content, but keeps this in line. This work impresses with the first couple listens and while it will undoubtedly socket itself into the secondary tier of death metal bands, crushes most of its contemporaries handily and displays a blueprint for death metal to get out of the metalcore funk and back to a newer version of its roots.

Helvete: A Journal of Black Metal Theory calls for papers and art for third issue

August 1, 2014 –

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Helvete: A Journal of Black Metal Theory occupies a distinct niche in the publishing world. Inspired by academia, it nonetheless attempts to construct theory around the motivations of black metal, instead of trying to fit metal into existing academic theories as most publications tend to do. While it missteps somewhat by included adulterated post-collapse black metal in the genre such as Wolves in the Throne Room and Liturgy, the journal digs into topics that neither metal underworld nor academic hierarchy can address.

Anticipating its third and fourth issues, Helvete: A Journal of Black Metal Theory calls for papers and art for those forthcoming issues. You can download the first issue of Helvete: A Journal of Black Metal Theory from the Punctum Books website; a donation is optional. The journal seeks the following:

  • This third issue of Helvete focuses on the sonic aspects of black metal, specifically noise music’s interactions with black metal—the interruptions, creations, and destructions of signals as black metal. Proposals are welcomed that discuss and experimentally demonstrate not only musical feedback but conceptual feedback as well, and the way that black metal works through feedback as a process. Experimentation, fiction, and speculation in contributions are encouraged, including writing and art that resonates as a background hum, drone, or cascades in a foregrounded scream. Preference will be given to proposals that move beyond a position of reflecting black metal towards creating black metal noise themselves.
  • Issue 4 is tentatively titled Black Metal and Politics, and seeks to give a concentrated platform to the conversations that have been happening alongside our theoretical work, regarding black metal’s complicated and diverse relationships to politics. The complex subject of politics and black metal, directly and para-musically, has long been brushed up against within black metal theory work, but rarely unfolded at length. We would like to reserve this issue of Helvete as a forum to begin to address and perhaps even articulate some of these discussions. While some may insist that black metal (as a diverse field of culture and music) exists outside of politics or cannot be described politically, it frequently sparks political repercussions, and its history courts political controversy. These include headline grabbing moments such as Varg Vikernes’s arrest in 2013 by the French government on accounts of suspicion of planning a terrorist attack; Norway’s implementation in 2011 of black metal education within its foreign diplomats; Nachtmystium’s forced cancellation in 2009 of a concert at Scion Rock Fest in Atlanta, Georgia; Inquisition’s forced cancellation in 2014 of their Vienna, Austria concert due to alleged connections to NSBM; and the complete ban on black metal in Malaysia in 2006. Most recently, Behemoth‘s recent encounter with Polish and Russian authorities has been well documented in the mainstream press. It may seem that the proposition that black metal is apolitical is itself a (privileged) political position. The editors of Helvete are accepting proposals for essays that focus on politics and black metal. Contributors are encouraged to suggest topics such as Black Metal’s interactions with nation, race, linguistic, gender, religion, and culture. Special consideration will be given to the explorations of the negotiations that the individual makes within the city or community, using black metal as a verb rather than a noun.

For more information, see the website for Helvete: A Journal of Black Metal Theory. The deadline for both proposals is August 1, 2014 but may be extended to accommodate late notice for many people of this call for papers. The next two issues will be edited by Amelia Ishmael and Niall Scott.

Are metalheads “extremists”?

July 28, 2014 –

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International news contains few joys and even fewer for those of us who see the State as a criminal enterprise and morality as human pretense. And yet we read it out of a hazy sense of duty to be informed or maybe just boredom with the other half of news, which seems to focus on a race of people from Star Trek (Kardassians) and their sartorial difficulties.

Recently one story in international news caught my eye. In a search for metaphor to describe the tendencies of the diffierent political parties, our tea-drinking cousins overseas produced an interesting reference to the nature of heavy metal yesterday:

Tory “extremists” – or “head bangers” – had won out over moderates like Ken Clarke and Dominic Grieve, sacked in this week’s reshuffle, he claimed.

Depending on who you talk to the Tory party are either liberals, conservatives or anarchists. The idea of “extremists” and “head bangers” sharing a definition however stimulates the imagination. Are metalheads extremists? And if so are we extremists against what is de rigeur now in politics and society, or are we pushing it further?

In my view, metal is post-political or meta-political. Few metalheads I know believe that human answers come from voting for the right party or having safe opinions. Equally few trust a group of people assembled — usually referred to as “the herd” — to come up with anything but self-flattering answers based in self-pleasing pretense. Politics is to metal a dead issue.

But philosophy and the question of human futures still lives. We read H.P. Lovecraft and J.R.R. Tolkien; we watch Conan and Apocalypse Now. Metalheads tend to ignore school with slightly more attention paid in history class and often literature class. We see our society as a ruin, a failed empire like Rome. But we aspire to more, like medievalists dreaming of Viking battle and English jousting competitions.

If you scratch a metalhead, you might find a different kind of extremist. He or she is not a political extremist, but someone who totally rejects society as it is now. We dream of days when life is significant again instead of a competition to see how many hours you can attend your utilitarian job or indoctrination school without going postal and murdering your family. We long for a life of significance, an epic battle of good versus evil, and something to actually stand for.

So by the lights of the article mentioned, no, head bangers are not extremists. That was just one group of vote-collecting rent-seekers beating up on the other. But in the metalhead soul, there is something more extreme than extreme: we want to make this society perish in fire because it has no spirit and no purpose, and we want to encounter instead a life of meaning, purpose and conflict. We are more Nietzscheans than Tories, more Lovecraftians than moralists, and we see honor as more important than money or flattery.

Does this make us extremists? Probably not; we are simply off the scale. Unlike most extremists, we do not spent our days launching rockets at civilians or blowing up works of antiquity because they are from the wrong religion. We do not form little cults. But we are united in our dislike of society and our realization that it is a dead man walking because it lacks any feelings real enough to be extreme, or motivate it to save itself.

As the music industry contracts niche genres will rise

July 17, 2014 –

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Being a squeaky clean pop country starlet has its advantages. Taylor Swift launched her own critique of the music industry by suggesting recently that customers will buy albums that “hit them like an arrow through the heart.” This implies by converse that they will buy only albums that hit this raised standard.

Her statement echoes what underground musicians have said for years: mass pop becomes popular more for being a phenomenon than for any music quality or profundity as art. People buzz around it because, like most hive mind activities, popular music gives them a space to socialize. Its popularity is its attraction, for those who feel happiest when they are doing what a million other people are doing at the same time.

Underground music on the other hand derives its authenticity from its artistic representation of reality as people prefer not to see it. Whether that is Slayer showing us the dark and seemingly demonic motivations behind history and social decay, or Burzum attempting to inspire in us a vision of a “Dungeons and Dragons” style medieval revival, underground metal peels back the layers of gloss and warm fuzzy feelings and shows us the bare reality underneath the patina of appearance. Its power is not only the revelation of reality but an emotional drive to make us want to accept this situation and make something greater out of it.

The music industry has been in a cycle of contraction or getting smaller as the mass audience drops out. When pop music provides a passing phenomenon that fascinates people for only a few weeks, the point of paying for it is lost on most. Its status more resembles that of television shows or movies than pieces of sonic art to be taken out of the rack and enjoyed for years on end. The phenomenon defines the music: its novelty and popularity make it, like other fads and trends, a temporary distraction from the pressures of life but not a sustaining or interest-stirring event.

For a half-century the music industry made fortunes by finding roughly interchangeable bands, shaping them around some unique appearance, and selling basically the same music time and again to an audience who outgrew the music rapidly and eventually stopped buying. Its business plan emerged from producing lots of new hits and hyping them to attract an audience, rather than building some kind of lasting relationship between artists and fans. When people said that the music industry was bad for artists in the long run, this is what they had in mind. Temporary and dramatic mediocrity was rewarded and talent marginalized.

The Recording Industry Association of America tracks music industry statistics. Where industry revenue totaled $15 billion in 2003, by 2013 it had fallen to only $7 billion. Even digital sales are in decline as people turn to other options. With the falling prices in movies through Red Box, Netflix and other on-demand services, music also falls. As a result the artists who inspire their fans to a longer term relationship are the ones who prevail.

As a music industry source cited in the above article says:

“What we’ve seen is fans will pay for stuff whether it’s Jack White’s record club or Nine Inch Nails doing limited releases,” remarked Light. “Albums at this point need to be souvenirs. They need to be experiental. We see it now with the phenomenon around ‘Frozen.’ This is selling albums through the roof because kids want to retain that relationship, sing the songs over and over, have that souvenir.”

When the music industry shrinks, the pop trends that crowd out quality music decline and artists benefit as a result. The demand for quality now outpaces that for quantity, and the future of the industry becomes not only niche genres like underground metal, but the artists within them who attract lifelong audiences. Although we had to hear this from the mouth of a cowboy diva, this alert to the profound change in the industry heralds a brighter future for metal, or at least metal which hits its fans “like an arrow through the heart.”

5 albums that invented death metal

July 16, 2014 –

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When the new genre of death metal emerged, no one knew what to call it at first. It grew out of a time when metal was just managing to break out of its last assimilation by rock, the late 1970s and early 1980s glam, through speed metal bands like Metallica. As soon as those broke through, others followed with an even more alienated and disturbing sound with what came to be called “death metal.”

Since that time, advertisers and marketers have descended on the phrase. Outsiderness means authenticity and authenticity sells products. Every product that wants to tag itself with rebellious, “fun” and nonconformist would benefit from using the term. But before it became another media tag-line, death metal constituted the most vital genre that existed outside that form of social control.

Its origins remain in murky obscurity, but can be tracked through the bands that innovated the sound. Read on for the five albums that invented this sound.

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1. Sepultura – Morbid Visions/Bestial Devastation

Way back in 1985, Sepultura released Bestial Devastation as a fully mature death metal album including unorthodox song form that fit to content and Slayer-style introductions with related motifs to new riffs. Fast and furious in the style that Morbid Angel, Massacra and Vader later developed, this tremolo-picked fury joined Morbid Visions on a release to commemorate these early and massively influential works. Notably this band also spun off guitarist Wagner Antichrist to Sarcofago who later kept black metal alive in the intermediate years between Hellhammer/Bathory/Sodom and Mayhem. Although this early release was recorded with borrowed instruments in what sounds like a dungeon with DC power, many of the elements that became central to death metal presented themselves here: complex riff changes fit together by theme, abrupt breaks, layering by repeating at double speed, use of chaotic guitar highlights, and vocal drops over transitional riffs. For its primitive origins, Morbid Visions/Bestial Devastation demonstrates death metal entering its maturation process after early years of using loan-techniques from related metal and punk genres.

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2. Possessed – Seven Churches

Like many early albums attempting to forge a death metal path, Seven Churches borrows much of its technique from earlier styles of metal. In particular, much of speed metal persists here in song structure and rhythmic sensibility, but Possessed nailed the infernal voice that would become an easily noticed characteristic of the genre and gave it its name. This album slashes through songs that mostly follow riff-chorus song format but interrupt it with discursive passages such as the famous melodic riff on “The Exorcist.” Riff shifts generally occur at significant points in the song rather than as extensions of the standard format, which gives this release a chaotic and uneven feel fitting its subject matter. Its song titles embraced outright positive feelings about Satan, which in the 1980s was enough to cause a listener social problems. The lyrics no longer warned of the possibility of evil, but the certainty of it and the necessity of embracing it to avoid the rotted and calcified lies of the “good.” Its pacing and riff forms often resemble those of speed metal as well as its tendency toward bouncing rhythms which favor the offbeat, where later death metal bands might have adopted a more downbeat approach. Despite spanning these genres, Seven Churches lent so much to the new death metal genre that it forever seems appropriate to associate it with death metal.

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3. Death Strike – Fuckin’ Death

Paul Speckmann contributed much to the rising death metal movement under a bevy of different names: Master, Death Strike, Funeral Bitch, Abomination and Speckmann Project. His basic approach took 1960s protest rock, violent punk, and early dark heavy metal and mixed them into what basically sounded like rudimentary metal with punk rhythms. Death Strike emerged in 1985 with death vocals and grinding riffs but Speckmann’s demos had exemplified these attributes for at least two years at that point. While the result sounds spacious for modern death metal ears and uses variants on standard song format almost exclusively, this early embrace of the aesthetics of violent chaos and radically simplified riffing set many on their path down to the fiery depths of death metal.

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4. Morbid Angel – Abominations of Desolation

The first Morbid Angel album made it to a limited release only on a small label in Tampa, Florida, and so was lost to time until Earache re-issued it in 1991 as a full release. Featuring the drum and vocal talents of Mike Browning (Nocturnus, After Death) this early powerhouse showed the unique and progressive rock influenced songwriting that would appear on later Morbid Angel but without the similarity of aesthetic. Abundant lead guitar spills out all over, songs vary tempo widely, and riffs span many more forms than the solidified final Altars of Madness — which shares most of its songs with this album after three years of refinement while band members worked at a car wash — would demonstrate. Some of lead guitarist Trey Azagthoth’s most creative and psychedelic playing adorns this release, as well as songs that stray into doom metal and progressive metal territory. While this album followed a battered and twisted path to release, it made itself known to the tape-traders who were the backbone of non-mainstream metal in the 1980s, and from there influenced the entire genre.

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5. Necrovore – “Divus de Mortuus” demo

Speaking of demos, some of death metal’s most profound work never made it to vinyl or polycarbonate. Traders passed around demos and most band members were traders or had zines and got copies of demos in for review. “Divus de Mortuus” appeared in 1987 after some years of rehearsal and live tapes circulated among the demo circuit and immediately galvanized many. In particular, its influence can be felt on Morbid Angel, whose David Vincent adopted the more aggressive vocals and warlike posturing of vocalist Jon DePlachett. While the riffs on this demo focus more on abrasiveness and less on phrase, many of the elements inherited through Hellhammer and Slayer shine through here on what might be described as the first atmospheric death metal release. While this demo may never make it into stores, its influence spread outward from Texas to Florida and Europe beyond and it lives on in the death metal that followed it.