Black metal band Viranesir censored by Bandcamp


Black metal band Viranesir from Turkey is no stranger to controversy. As revealed in a recent interview, this band exists to provoke. While artistic license generally covers this, apparently Bandcamp did not feel the tolerance and banned the band from its site, deleting the band profile.

Although that in itself is irritating if not shocking (in 2015 AD, near the end of Western Civilization itself) the broader question is that, as bands become more dependent on the internet to connect with their audience, whether companies like Bandcamp, Reverbnation, SoundCloud and Google/YouTube have too much influence through their policy of censoring “offensive” information. The band released the following statement:

You may or may not noticed that Merdumgiriz Records artist Viranesir have been banned from the online music store Bandcamp last week without any notice or explanation. I inquired about it many times without any answer. Not that I did not guess why, but I needed an explanation at least for them to live up to their word of “Discover amazing music and directly support the artists who make it.” and at least respect all the money they made off from their cut from my Viranesir sales before they suddenly swiped all the music I had up there for which I was counting on them to represent on not only my own but my labels website and all social media accounts, which still I haven’t gotten around to replacing with another alternative online streaming service.

My name is Emir Togrul and I am from southern Turkey. Very conservative place, from which I broke out somehow. Now I live in London England and run a Guerilla Record Company called Merdumgiriz for which I hand-make all the releases and merchandise. I have artists from USA, Canada, Italy, Austria, Iceland to name a few. I refuse to expand the label because I am on a quest to prove that total independence in art is possible and that fine art is a craft… Hence I hand-make every single thing and encourage my artists to do so as well. I make a very modest living but I get through, and the satisfaction I get from this work is just orgasmic. I am a Satanist and a libertine, I live life asking questions and constantly walking the dark. There is a lot of darkness in the world and I walk those paths rather than pretending they are not there. In my 24 years of existence, I have come to many realizations mainly through art, which to me is the highest occult! The biggest realization was the fact that the more you explore the dark, the more you understand it and it ceases to become a problem. I think life can become a very beautiful experience for every living thing when they go on a quest to understand darkness rather than neglecting it into a cancer.

Viranesir was formed as one of my side projects to fuel my main bands YAYLA and BLLIIGGHHTTED. Over time it became a crazy project with crazy music and crazier subject matter! I have songs called ” Heil Hitler!”, “Armenian Genocide Is Amazing”, “Child Molesting Rapist Murderer”, “I Only Like Jews When They Kill Muslims”, “I Only Like Gays When They Scream Like The Opposite Sex As I Rape Them”. I am not a nazi, nor a homphobe. I am half Turkish half Armenian (not exactly Aryan now is it:), and bisexual (aka I proudly suck cock). Not to say I have never been offensive, I have been very offensive… The most offensive thing I have ever done was to put Hitler’s name on an album on the cover of which I appear in drag (neo-nazis must have got very offended by this, I apologize guys), and saying I Love Torturing Defenseless Creatures And Eating Them referring to what I enjoy everyday as a meat eater, or perhaps say Rats Flock Into The Temple referring to Muslims (need I say more). All I ever did was to pull these taboo subjects out of their untouchable contexts and open them up for discussion, because they are very stupid and personally through a sense of humor, better be opened up for discussion in my opinion. The idiots in bandcamp didn’t get it and banned me, big deal.

What if a band is really a fucking nazi or homophobic band?

I really feel sorry for them because they will be shut up. Oh yes, I feel sorry for Homophobic, Rapist, Supremacist, Seperatist musicians and all those people. How evil I must seem to some for feeling sorry for confused people trying to express themselves through art. And the ones shutting them up will not even give them an explanation as if it was the word of Allah that they be shut up. I was suicide bombed by Jihadists of bandcamp last week, I was there and no longer am without any explanation. All my presence wiped out. Suddenly and effectively I am completely gone. Who am I to break the word of their Allah with my art? who am I to question their divine law of “Political Correctness”.

You have not stopped abuse bandcamp, you just stopped someone expressing abuse. There will be no less racist, sexist, pedophile, abusive people in the world because of what you did, there will just be less people thinking about those subjects. I congratulate you! I will continue making Entartete Kunst, wether pieces of shit like you allow me to be on your website or not! Fascist SCUM!!!

Emir Togrul

In the meantime, you can route around this censorship by going to the label web site and exploring the material yourself. While Viranesir may not be at the top of your playlist, think to the future when some band you care about might be.


Heavy metal is not a blank slate


People do not realize that our society is in the midst of a war. A memetic war, in which one ideology will win out over the other. As we see time and time again, the different worldviews are entirely incompatible, causing the type of internal conflict that destroys empires.

Heavy metal is caught in the middle of this. Those who want to push their ideology on you have discovered it, and try to use it as a “blank slate” on which to write their messages. We found out in the 1980s that Christians did this, in the 1990s that the far-right tried, and now in the 2010s, that an echo chamber of “social justice” agitators wants to use metal as its personal billboard. Mainstream metal media — staffed mostly by such people — agrees with them. The variety of hipster known as SJWs are hoping to take over metal and use it for their own ends.

As Old Disgruntled Bastard writes:

The modern state of metal writing, as is the case with much of modern metal, has to do with the wrong kind of people being attracted to the music. Those who don’t identify metal with a higher ideal will only think of this subject as so much faffing and will continue drowning themselves in anodyne cliches, self-referential and flippant by turn. Worse yet, in a show of incredible egotism, they will expect the music to fall in line with whatever personal agenda they might be touting at that moment. It speaks of a stunted, unadventurous, and dishonest bent of mind to outright dismiss ideas that may be pariah to our own and then to run down, ad hominem, those that dare think differently.

He hits on a vital point: their goal is not to crusade against a specific evil, but to eliminate everyone who does not dedicate their life to advancing the same agenda the SJWs do. As many people have pointed out, SJWs are a bit hypocritical. They whine about injustices to women and minorities, but night after night they are in front of their computers, putting other people down instead of working in the ghettos or middle east where women are being raped and executed en masse.

This reveals the agenda of SJWs, while it surely overlaps with their left-wing political views and hipster lifestyles in which activism is ironic and fresh, is actually to make themselves appear to superior to others. SJWs are the new master race, in their own minds. By day, they are cubicle drudges with unimportant jobs who live in expensive city apartments and spend themselves into debt buying organic free-trade wine and artisanal wall hangings. By night, they are transformed into warriors, heroes, Anne Franks and Mother Theresas combined. They find their importance in “social justice” because it allows them to pretend they are better than other people, and to experience the delicious revengeful joy of forcing others to be silent and apologize. That is the thrill of SJW: subjugating others with words from the comfort of your computer, with a glass of Malaysian Anisette Merlot and a rare live Deerhoof set on the radio.

What obstructs them is the very fact that metal is not a blank slate. It has its own beliefs, which deal with the world and its problems from an entirely different angle than SJW solutions do. Its basic rule, non-conformity with society for the purpose of discovering the raw unfiltered power of nature and truth, opposes the very notion of collective action for some slogan or political issue. Metal is against politics itself. It sees politics as an outgrowth of social thinking, not an end in itself. In the metal world, politics is a distraction and SJWs are more nagging nannies who distract us from the real problems. As MetalReviews writes:

Let’s lay it down as law, if in the confines of this editorial only: Black Metal ist krieg, waging war on all, and Black Metal that isn’t krieg, that doesn’t wage war on man, god, musical boundaries and every living creature whatever colour or creed isn’t proper Black Metal – there’s more spiritual closeness between Transilvanian Hunger and La Masquerade Infernale, between De Mysteriis Dom Sathanas and 666 International than there is with something like Panopticon’s Collapse or Eldrig’s Mysterion. They may all be great albums, but the spiritual difference is greater than that of the music itself – Arcturus and Dødheimsgard are no more trying to convert you to Anarchism or Ariosophy than Darkthrone and Mayhem are.

Metal has a culture of its own. SJWs are attempting to genocide that culture and replace it with the watered-down indie rock to which metal riffs have been added that the mainstream media media have been pimping for some time. They achieve this by coordinating among themselves. Someone once plotted the communications between two groups, GamerGate and its opposition. The opposition show a trend toward conformity, where GamerGate was more chaotic and open. The SJWs of today were the authoritarians and Nazis of yesterday. A short demonstration follows.


Krieg frontman Neil Jameson — who like Decibel editor Albert Mudrian unfriended our previous Editor on Facebook for what can only be assumed to be political reasons — recently wrote a piece in which he opines on the condition of women in metal. Like most SJW articles, it begins with a justification for its demands on your attention, and threatens you with guilt:

I recently realized that I’ve been having more and more discussions with people about how women are treated within the metal scene, and music in general. Turns out my knee-jerk reaction to throw jokes at the problem wasn’t the best way to address it. This goes a lot deeper, and regardless of how it may make people uncomfortable, it’s a discourse we need to have—and keep having—because the problem isn’t going away; in fact, it’s getting worse.

This is politician-speak like might be used for the wars on terror, drugs or drunk-driving. There’s this problem, see, and it requires immediate attention. Not only that, but it’s getting worse the more we just sit here. Leap into action right now and do whatever I tell you! He goes on from there to make his big point:

As a man, I’ve never gone to a show worried that someone was going to grab my dick or give me a drink with some bullshit drug in it. It’s not because I don’t think I’m pretty; it’s because this is shit that doesn’t happen to men (I understand someone in the comments section will have a story saying that it does, but for the sake of argument, please shut the fuck up). It’s just not something we have to worry about. Women have to shrug this behavior off because they’re afraid if they speak up that it’s going to be turned around on them due to what they’re wearing, or their sexual history, or the simple fucking reason they have a vagina and guys are taught from a young age through marketing and media that we’re entitled to that. Movies and other forms of storytelling glamorize women going to shows to fuck and nothing else. The idea that they’re there because they love the music seems as absurd as a cop telling the truth during a trial.

In addition to the type of terrible writing that thinks throwing in the word “fucking” for unnecessary emphasis somehow makes it edgy, this piece shows us a lot of guilt — and no facts. We all know that there are some badly behaved people at shows, and their bad behavior takes many forms. People throwing beers, pulling non-participants into the pit, fighting with bouncers, or just being general doofuses are common enough, but not accepted nor the norm. In my experience, metalheads have generally stood up for personal boundaries to anyone transgressing them, without checking to see if the victim was a white male first. But in the Jameson piece, the rambling story goes on with reasoning about how we should stop everything to fight a problem he supposes is somehow very serious, despite no assessment of how wide of a problem this is or even whether it is a problem with metal or simply dickheads being dickheads at rock shows.

But really, the plight of women in metal is not the point. The point is that Jameson has joined the SJWs and wants their approval so he can sell them the “new” version of Krieg, which takes pride in being “open-minded,” a term that means not metal if you analyze it. As he says himself:

“We were one of the first geographical groups to really tie in non–black metal inspiration, like my covers of the Velvet Underground/The Stooges, etc., Leviathan/Lurker of Chalice’s Joy Division and Black Flag influences and covers, Nachtmystium’s interest in psychedelics and more blues-based ideas, etc.”

In other words, innovation by devolution. These bands are much older than metal and fit more into the rock paradigm than metal has. This is like stepping backward a generation and claiming “progress” as a result. Why would he pick this approach? In the SJW world, metal is bad and anything that pretends to be metal but is not is good. Therefore, bands that claim to be innovators for re-hashing older genres — which most metalheads want to escape — are to be praised, and anyone who makes metal for metal’s sake is bad and should be avoided. They need this argument to advance the illusion that metal is a blank slate, instead of the vibrant culture that it is.

What else might Jameson be doing here? Others have defined this pathology before:

A gaming term used to describe a male gamer who, in a desperate attempt to get himself laid, will attempt to woo or impress any female gamer he comes across online by being overly defensive of her and giving her special attention, such as playing as a healing class and only healing her.

That is White Knighting. In other words, men who publicly proclaim themselves sensitive to women’s issues are doing it to get laid or be accepted by a new social group. You may remember this from high school or college. At the mid-point of freshmen year, guys figure out that they can attend feminist workshops, get misty-eyed about how oppressive they are, and go home with a new girl each night. This has little to do with ideology and everything to do with human behavior. People who want acceptance into a group will memorize and repeat the appropriate chants to get what they want.

Is this what the former Lord Imperial, now short-haired Neil Jameson of The Velvet Krieg is doing? Let’s look at some of his statements from the past.

Wikipedia recalls an interview by Jameson in which he expressed a different viewpoint. Although the Wikipedia article was edited mysteriously (moderator notes: “Unexplained removal of content”) on July 5, 2013 at about the time Jameson started writing for Decibel, it can be found at the Project Gutenberg wiki. Jameson — who had just gotten out of his band Weltmacht which had pro-Nazi themes, even getting signed to pro-far-right label No Colours — was heading in an entirely different direction just seven years ago:

Krieg were boycotted in Switzerland “because I freely use offensive words like ‘nigger’ in regards to the disgusting double standards and politically correct nonsense that has spread through the world black metal scene. This is a scene that encourages violence and hatred, but if you say something against anyone besides Christians it sends a lot of people into crying fits. There was one person who wrote me saying he didn’t approve of my life ‘affirmation’ on the Satanic Warmaster split in which I, I felt very blatantly, criticised both the life loving movements and the politically correct movements, but I guess these people are too fucking involved in down syndrome to notice IRONY. Well fuck them, I don’t want the support of people who cannot read the entire idea, but rather pick at ‘dangerous’ words. When the fuck did this stupid concern for hurting people’s feelings become an issue in black metal? […] ALL PEOPLE ARE SHIT […]. As for Switzerland, we got banned from the country for using ‘nigger’ on this 7 inch, which as I stated before, was anti political correctness, NOT PRO FACIST.” Imperial added that “[u]nderneath the abrasive offensiveness lies a much greater meaning that many would take the time to inspect and study. Beneath such a bitter shell lies enlightenment. IF you can fight through my venom, then you will find truly what I am spreading through the words of Krieg.”

This viewpoints sounds like those in GamerGate and MetalGate, except that we do not use racial slurs to denigrate other groups to make our points. We just speak up for what is true against the onslaught of SJWs. Jameson’s case is probably quite normal; he has simply joined the hive mind so that he can meet more people, be cool with the other SJWs at Decibel, and advance his own career, in defiance of the heavy metal genre he once found inspiration in. In other words, SJWs in metal are simply another form of selling out and assimilation into the mainstream herd.

Brasseries Kronenbourg – Kronenbourg 1664 (2015)


France, the land known for fine wines, also makes fine beer. This makes sense given that it overlaps with a certain amount of formerly-German territory, but Kronenbourg 1664 stands on its own and is gaining some momentum in American markets. This lager very much in the European style has its own approach to beer making and tasting.

At first, it hits the palate with a sweetness. This broadens into a grainy taste, which then turns slightly bitter and then sweet again, like a melody passing from a few high notes to a surging dark riff and then ending on a semi-ironic, positive note. Slightly skunky, its combination of Pilsner and cereal malts gives it a sturdy but elegant flavor. Grassy hops propel its flavor to take on texture and depth, and its bready taste gains a small amount of almost citrus lightness as the beer warms. It pours down the throat smoothly like a light beer, but has the alcohol and complex flavor of a more traditional beer. In short, the wine-drinking cheese-eaters have given the Germans a run for their money here.

Kronenbourg 1664 is still hard to find in many places, but it is not exotic and fully ironic enough for the hipsters, so for now it remains the province of in-the-closet beer snobs like myself. All I ask for is quality, in part because what the majority of people drink — Budweiser, Coors, Michelob, Miller and Shiner — strikes me as both utterly bad and cynically cheapened yet given an appearance of uniqueness. Each maker puts out beers like television shows, with quirky personalities or weird ingredients, but underneath is an MBA bottom line: how to make something beer-tasting enough that people with buy it if subjected to advertising, and then how to save money by cutting out everything good. Kronenbourg 1664 has cut nothing good yet, but if it gets popular it will surely get the dreaded “Heineken treatment” and be reconstituted from syrup domestically to be sold as an import. Until that happens, this delicious beer with a light personality and cryptic depths awaits you.


Heineken Nederland B.V. – Newcastle Brown Ale (2015)


Options in life often take the form of what is conveniently available plus feasible given resources. Imagine a standard American suburban Saturday night, when you are the squad are about to chill in the garage with some death metal and smokes. What can you pick up at a standard die-cut suburban liquor store or grocery store that does not hit either extreme, mediocrity or expensive novelty? One option for generations has been Newcastle Brown Ale, now brought to you by the same people who murdered Heineken and turned it into Budweiser with Dutch flavoring. Luckily, with Newcastle, there is less room to ruin: this has always been a medium-dark, sweet beer with a caramel-molasses flavor, and although this version is more watery than the ones from two decades ago, it mostly maintains that flavor. Pouring the beer releases a fallen leaves brown liquid with a medium head and an immediate note of its dominant flavor, a nutty warmth melded with malty stoved sugar with undertones of fresh bread and a hint of malt vinegar. It goes down smoothly with a creamy flavor and a lingering sweetness which might be the weakest point for this beer, followed by an earthy but not bitter flavor of hops. Like many commercial beers, its aftertaste is most revealing, which has the sugars dissipate to a slightly skunky yeast flavor. What saves it is that warmth and toned down brown ale flavor seamlessly mixed with a gentle sweetness. Sometimes this one is too sweet for me. But Newcastle Brown Ale provides a solid middle-of-the-road brown ale that can be found almost anywhere at a low import price, making this a go-to when the pale imitations of formerly great imports (and their 20% higher prices) make the lips curl with resentment and not anticipation.

Quality rating: 4/5
Purchase rating: 4/5

Codex Obscurum: a retrospective


From its beginnings as an unsteady homage to the zines of years past to its current role as commentator and gatekeeper of quality underground metal, Codex Obscurum zine has grown and refined its approach over the past five years. Today the editors released a photograph of issues one through eight in all their glory, and we thought we would share it with you.

Malediction releasing Chronology of Distortion discography re-issue


Previously under-appreciated UK death metal band Malediction, whose sole release was a live recording on Wild Rags Records entitled Chronicles of Dissention, has partnered with Dark Blasphemies Records to re-issue its discography as Chronology of Distortion, sixteen tracks spanning 72 minutes of death metal slated for release in December 2015.

Known for their laconic take on the Morbid Angel style of phrasal guitar riffs woven together into a narrative, Malediction specialized in using selective melody and introspective lead guitar to create a unique vision of the death metal style. Fans who could not get the songs on Chronicles of Dissention the first time around will appreciate these lost classics finally coming to light.

Unearthly embarks on Unearthly Rites tour


Brazilian speed/death metal band Unearthly have embarked on a tour of the United States which sees them which sees them hit over 20 dates with Krow and Nihilistinen Barbaarisus. Following the steps of Hate Eternal and Nile, Unearthly embrace a technical style of death metal which features the choppy riffs and stop/start techniques of speed metal. Listen to their 2014 album, The Unearthly, below.

Dark Reign releases “Fire Power Resurrecting Death” demo (2015)


Dark Reign, a band most known for its 1980s demos of speed/death metal hybrid high-intensity metal, has released a 2015 demo entitled “Fire Power Resurrecting Death.” A sample track follows, showing more of ripping riffs and thunderous choruses for which this band — which granted members to other Texas death metal acts — has been known and appreciated for during the past two decades.

Infamous unleashes Tempesta


Italian black metal band Infamous unleashed its third full-length album, Tempesta, on CD-R limited to a hundred copies. This band carved a niche for itself with its incredibly violent music that nonetheless conjured up the naturalistic, feral and sentimental spirit of black metal that confronts reality directly and generates a sense of opposition to decay.

Like the previous Infamous release, Rovine e Disperazione, the third album — as shown by the sample track below — emphasizes better riff definition and the slow emergence of depth of melody through layered composition. With recent work revealing a possible Ildjarn influence, Infamous tread waters of a careful balance between the emotional aspects of melody and the primal alienated violence which was characteristic of older Norse bands, albeit in a style which reflects its Southern European roots. Fans of Greek black metal and the more windblown releases from Graveland and Ancient might appreciate this one.

With any luck, a deserving label will pick up this band and re-issue its discography, a series of recordings which display raw creativity along with a steely-eyed glimpse at the ongoing failure of humanity.

From banning “hate” to forced obedience


Originally, the “no platform” idea was that when outright neo-Nazi bands scheduled a concert, people would protest and the venues would stop supporting them. While I find this dubious and believe it will backfire against its original intent, it was at least clear and limited to stopping undesired expression.

Now we see that it becomes: forcing all bands to have the “right” opinion if they want to perform. As the Times of Israel writes, a performer is being censored for not being pro-Palestine:

Festival organizers were driven by intense pressure from the Boycott, Divestment and Sanctions (BDS) movement, the reports said. Artists scheduled to perform at the event threatened to cancel their appearances if Matisyahu were to perform because he was “seen to represent Israel.”

The organizers gave Matisyahu an ultimatum, telling him if he would “sign such a declaration [publicly affirming his support for the Palestinians, he] can perform,” according to Spanish daily, El Pais.

Now, I know that people on the internet can get feisty about Israel and/or Jews, but I view this as a mistaken notion. Oddly, what I used to hear coming from the far-right I now hear coming from the middle-left, which is the usual smattering of fears that Jews somehow control the world or are responsible for its downfall. Back in reality, Jews are a small minority that — while disproportionately successful in science, the arts, entertainment and business — act in their own interests which seem to be personal in nature rather than The Protocols of the Elders of Zion-style conspiracy takeover of Earth. It is beyond this article to comment on Israel-vs-Palestine except to say that it is clear that the two populations seem incompatible with one another.

From that point, we can actually discuss the issue. But that is not what SJWs — who are all liberal and should know better as presumed defenders of individual rights, including speech — want us to do. They want discussion to end and only one viewpoint to be heard, which is that of a pro-Palestine anti-Israel outlook. What happened to Matisyahu crosses the line into anti-Semitism. He is not known for a pro-Israel position, nor has he offered one. But he is Jewish… and he performed in Israel… which is enough for his critics to equate “Jewish” with “pro-Israel” and demand he speak out in the issue in agreement with them, even if he has either a contrary viewpoint or any of a number of differing views. It is unclear whether he has any political views at all.

Censorship forms a slippery slope. At first, it is designed to eliminate ideas associated with known social harms, like violence and pedophilia. No one will stand up for those people, so the next generation aims at a broader target. Eventually, it becomes what we see it is now, which is “Agree with us or you will be silenced.” If you want to know what keeps me and other anti-censorship activists going, even if it means speaking up for icky people from 4chan or Reddit, it is that we know how censorship expands from known ills to failure to agree, and we want to stop that process before it starts.