Although the death of Facebook has been widely reported, it remains the market-leading source for metal bands and others to share information. Last night, SJWs mounted a mass attack of complaints against my personal account, leading Facebook to remove it early this morning. Coupled with what looks like an attack on our database server, this shows exactly how mad and defensive SJWs have become about recent #metalgate activity which has revealed their censorious nature. Their decision to censor via a complaint attack simply confirms this, and reveals a fundamental weakness in Facebook and a reason metalheads should distrust it.33 Comments
For most of the bands we cover here at DMU, indirect influence from classical music and musicians is rather more common than direct performance of classical music, to the point that you’ll find more discussion of authentic period-style performance than metallic recontextualization. When word reached me of Exmortus honoring the 245th anniversary of Ludwig van Beethoven’s birth by releasing an adaptation of his 23rd piano sonata (the aforementioned Appassionata… well, the final movement of it), I figured listening to what the band could do with this material would make for some interesting writing. It’s worth noting that Exmortus has already done something similar for Beethoven’s Moonlight sonata, shredding their way through its fast and technically complicated final movement.
Since I’d never actually sat down and listened to the original Appassionata in any form, I started by listening to a performance. It’s been a while since I was properly attuned to Western classical music, but in my quick inspection I was able to pick up on many of the period tropes (it’s worth noting that Beethoven bridged the often lighter styles of the late 18th century with the melodramatic and more technically accomplished works of the early “Romantic” period of classical music), and I noticed how much mileage he was able to get out of a few relatively simple leitmotifs through various elaboration techniques. The sonata is clearly worthy of further study, although in the mean time one of our more classical-oriented writers would probably be able to shed further light on its hidden depths.
My main goal with this article, anyways, was to take a look at what Exmortus themselves did with the material. In their original moments, Exmortus plays a modernized speed metal style that takes some aesthetic cues from contemporary death metal; this recipe has in the past produced things like ATG’s Slaughter of the Soul, although this band’s usually a bit more subtle in their exploration of such tropes. Their adaptation of Appassionata makes very dramatic changes to the organization of the original. Much of these would be expected due to the mere change in instrumentation; perhaps the most notable is a consistent layer of percussion that understandably makes for a different texture. They’ve also condensed their adaptation down a bit; it would take me further listening to say which parts were specifically cut, but this is definitely an important change. Perhaps the greatest weakness of Exmortus’s version is that it also compresses the dynamic range down to nothing, and it does nothing with texture or rhythm to compensate for that. While the aesthetic needs of metal music often allow for reduced dynamic range, one of the more striking parts of the 3rd movement of Appassionata is that a skilled pianist can create strong contrasts despite the lengthy periods of rapid, stamina-draining performance, and that the ‘metal’ adaptation feels somewhat diminished for lacking this crucial element.
This track is still an interesting novelty that might push a few people to explore the original work. The album this single belongs to (Ride Forth) will go on sale January 8th, although I don’t expect it to contain any more neoclassical efforts. For an example of how original work in this vein can open up new possibilities, try Helstar’s “Perseverance and Desperation” off Nosferatu.6 Comments
Freaked out by the refusal of metal to bow to their guilt-induced accusations, SJWs have reverted to their first tactic: acting as wise teachers, instructing us in how metal thinks, which always includes the narrative of progress and enlightenment replacing those bad old ways.
The latest comes from Vice, which should know better but keeps hiring cheap talent. In this year-end review, somehow an agenda of political control slips in:
Once the go-to genre for tasteless gore and shock value, most younger bands seem to have cleaned up their image. The violent misogyny that frequently appeared in the genre’s golden age is now passé if you’re not a generic slam band. There just isn’t any room for “Entrails Ripped From a Virgin’s Cunt” or “Skin Her Alive” in today’s metal scene, and more importantly fans have responded angrily when actual violence against women occurs, as blackened death band Deiphago learned when guitarist Sidalpa was accused of punching a woman in the face backstage.
…Death metal listeners are also clearly taking a stand against racism. Over the summer, Malevolent Creation were raked over the coals because of blatantly racist and xenophobic Facebook posts. In the fall, Disma were booted from multiple festivals due to frontman Craig Pillard’s alleged Nazi associations. Netherlands Deathfest organizers said that “at least 10 bands” would have refused to play on the same bill as Disma had they not been removed. Pillard is a major figure in the scene, having been an integral part of Incantation’s prime years, but even in the normally apolitical (and extremely white) world of death metal, fans and artists are starting to lose patience with prejudice—even if the majority of listeners are not yet swinging left.
…So, what is the state of death metal in 2015? The music is still as vital as ever and the genre is flooded with talented musicians.
“Vital as ever” seems a stretch considering how the writer struggled to find examples and came up with very little other than classic bands continuing, but in order for his narrative to succeed, he has to brainwash the audience into believing that the new material is just as good as the old. And as usual, this is implied to “prove” that metal has simply matured, not been taken over by the same people who converted hardcore punk into insipid soundalike material in the name of political correctness.28 Comments
Article by David Rosales
Pretty much once in a lifetime does an artist of the greatest kind offer a work that has added to its musical consummation the ability to summon entire worlds into the conscience of the listener. The three following examples of this achievement go about this in the same way that Tolkien’s mystery mythology is built: by broad strokes, consistency in themes and marvellous artistry in strategic details. These also form a triad that describe three concentric spheres of human experience: the physical, the mental and the divine.
Stormcrowfleet: The Metaphysical Will
Here is a pondering on will, vision and the embracing of the self’s calling:
Devouring the world through the senses, only to slowly flood back into it and extend Will yonder. Powers sifting awesomely in vast expanses according to harmonious law. As the fruit of work materializes, impetus is satiated and now serves as pulse. Arcane forces call beasts of desire into action, as does the disciplined mage through obedience to true aphorisms attain silent influence.
Destiny is embraced, faced with passionless determination. Beyond what is felt, what is seen, what is heard, closer to the truth, there proud and solitary existence awaits. In that place, sensation and impression are fused with meaning. It can never err, it simply is and is ever becoming. Such is the fire-lit secret of unclothed reality.
Dol Guldur: Mind and Imagination
Longing for earthly beauty and the majesty of man’s handwork and a respect for the purpose that is instilled into them cries out in whispers through the crevices of undead statues. High culture and nature are melded in absolute harmony through a revitalization of Tolkien’s verses. Man is here but a speck in the middle of the grandeur of this Earth, this center of our cosmos, the most precious of gifts to mankind.
Mythic transpositions of stone structures and forests from a mortal’s character and inner struggle are interleaved. The landscape painting of the master linguist is vibrated in shy cadences that sustain melodies gradually taking us aloft to places not corresponding to our physical present, nor to a faithful idea, but somewhere in between. This is where dream and reality meet, whence manifestation of destiny ensues.
Blood, Fire, Death: Cruelest Present
Without leaving behind legendary imagery as an aim and placeholder for imminent action, we are shown an unapologetic picture of crudeness. This is the here and now of human experience. It is the visceral rushing of adrenaline-charged blood through the limbs.
No glory, no shame, only happenstance. In this nihilism is the truth of the triune complemented and completed.Things are or they are not. You live or you die. Revel in the ritual of life and attach no special meaning to anything.5 Comments
In response to stories of political censorship by the Maryland Metalfest, attacks on Demonic Christ, and alleged SJW exclusion of political non-conformists, a loose-knit group of fans, musicians and writers has formed the Facebook group Make Baltimore – NO PLAY ZONE! to express disagreement with censorship.
The group organizers issued the following statement:
This group was founded to promote the idea that bands should stay out of Baltimore or risk millennial crybabies attempting to ruin band’s careers over the numerous things they find offensive. Every city has this problem, true. But, the children of Baltimore have made this particular city undesirable for having a good time and enjoying a show.
ENTER BALTIMORE AT YOUR OWN RISK!
Once in the underground, #metalgate is heating up as people oppose the idea of censorship and political conformity in metal. Many remember what such herd-thinking did to hardcore in the 1980s and the attempts to censor metal from right and left during the same decade. Others simply believe that genres dedicated to extremity should keep all ideas on the table, especially when the standard of political conformity seems to agree with what most governments, media and large corporations endorse. Time will tell.14 Comments
Not surprisingly, Shawn Wright of Bestial Evil was not happy to read our article about the political drama in Baltimore. Having reached out to him once for commentary on the original article, we reached out again, and this time, got some juicy commentary.
“He isn’t a good person,” says Wright, speaking of Tim Snodgrass who experienced phone threats from Mr. Wright several months ago. “He has verbally slandered me for way too long on and offline. The truth is this was personal and he took it to the surface to media attention.”
According to Wright, Snodgrass became unpopular in the tight-knit — “Communal” was the word used — Baltimore scene for first his personal behavior, and then his politics. “It was more personal than that,” he said, referring to the political split and accusations of censorship. “He went wrong when he and I spoke back in 2012. When he got all shitty with me prior. We called a truce. He decided to slander me again and talk shit. I was totally fine with him up until people started to tell me deeper shit that he has done to my homies here.”
Wright says the Baltimore metal scene desires to be more “Communal,” which he takes to mean “working together,” and suggests that Snodgrass did not fit in. In particular, Wright feels Snodgrass was “slandering bands and people for trying to make the scene more Communal” and is a pariah “because he thinks everyone here is a joke beyond his select few people that give him a chance.”
“Tim needs to learn his fucking place with people,” Wright wrote. “He talks a big game. And no one here supports him.” He points out that Snodgrass came to Baltimore later than what Wright views as the original scene. “I was in this city before Tim,” he says.
Wright adds that he sees two reasons for this alienation. Snodgrass took sides in a band dispute in 2012. “He was ‘cool’ with me when I played in Extermination Angel,” Wright says. “I had a falling out with them. And he was one of the people that fucked with me for no apparent reason. Sticking his nose in my business…He was slandering me for the shit I was going through. Then he and I had issues the second time when he started talking all that shit when he was seeing his girlfriend Marie.”
While not the cause of the disagreement, Wright says, the dispute was exacerbated by the political factor: the Baltimore scene, as he sees it, is anti-racist and Snodgrass refuses to join in. “The point is Tim is a fence walker. And that shit isn’t tolerated in the city.” (A “fence walker” is one who approves of politically incorrect music like white power music.)
Wright says that Snodgrass made himself a pariah in the scene for the bands and people he supported. “I’m sure he is friends with sketchy labels like Freezing Records,” he adds. “He had mutual friends here but those individuals are frowned upon as well.” But he claims politics was not the source of the fracture. “He is alienated because he chooses to run his fucking mouth about people.”
Snodgrass, who runs Diabolic Force Distribution, has sold white power material in the past, Wright alleges. “I bought a 7″ some years back when he was working at the Talking Head for a Toxic Holocaust show selling their merch and other shit. I bought an Evil Incarnate record or some band like from him. Only to find out it was Nazi metal. He has sold my buddy Justin Loys white power shit as well. It’s a fucking personal insult selling shit like that in this city.”
An investigation of Diabolic Force distro provided no smoking gun, although some bands with controversial views were clearly present. Wright indicated that “there’s a lot of bands like Blaspherion, Evil Incarnate, Arkhon Infaustus, Graveland, Aryan Blood to name a few” but of those, only Graveland was present on the website, as were other formerly right-wing Eastern European bands like Thunderbolt, Ohtar and Dark Fury. However, the vast majority of the distro seemed to be the mix of war metal, death metal and black metal found at most distros, and none of the releases made explicit mention of white power ideology in song titles, album titles or imagery.
“Some of the bands are good bands. But some of the shit is offensive ass bullshit,” Wright says. Of himself, he says, “I admit I have anger issues. But I’m not a bad guy.” Other sources have indicated the Wright has a family member currently receiving medical care for a life-threatening condition and that this could be putting him under some pressure.
He forwarded the above screencap, which shows Freezing Records — not Diabolic Force — selling a zine named “Aryan RegardSS” which allegedly has white power, national socialist or white nationalist leanings. The title certainly suggests it. But among many in the metal community, it is considered normal to sell music and zines about metal without scrutinizing them for the politically incorrect content that frequently occurs. Wright disagrees with this approach, and calls it the basis of being a fence walker.
The mystery remains. Diabolic Force distro admits some bands with right-wing political leanings, but these are a tiny minority of what it sells, along with bands like the Nekro Drunkz, Jenkem and Funerus. Clearly it is not a white power distro and its main sin is, as Wright calls it, “fence walking,” which means either refusing to censor bands for their views or not being extreme enough in purging the scene of unpopular views, depending on who you talk to.
To Wright, at least, it doesn’t matter. He sees Snodgrass as antisocial in both behavior and ideology. “He got banned for calling people “Faggot” at Sidebar,” he says. “He is a gossip queen.” And with that, clarity evades us yet again, but it’s good to get the other side of the story.38 Comments
Article by Lance Viggiano
Black metal emerged as a reaction to the trend of death metal which had already established a musical vocabulary and through that achieved a higher degree of technicality as well as abstraction.
These bands took inspiration from the proto-black Hellhammer, Venom, Bathory and Sodom. The music of these early hybrid bands was quite unlike what became the second wave of black metal or death metal in that its motifs were simple yet concrete; overlaid onto a structure which juxtaposes seemingly unrelated motifs next to one another in an uncomplicated and often superficially nonsensical form. Yet, the result was surprisingly successful as a visceral and chaotic experience of raw, concrete, sensory imagery.
The black metal to follow refined this approach through retaining much of the simplicity and visceral nature of the earlier music while placing the motifs in a more logical format through phrasal composition, in which each riff has a shape created by its phrase and these form a language within each song. This and the trademark atmospheric riffs driven by waves of reverb and tremolo picking – largely invented by the Norwegian bands of note – came to define the public perception of black metal as a genre. Consequently, the Norwegian sound moved away from the rhythmic lineage of rock to music to something closer to the traditional western sensibility: harmony and melody over static, invariant rhythm as famously codified by the experimental gothic sensibilities of Transilvanian Hunger.
Profanatica, from what can be intuited from rare interviews, had strong reactions towards both the Norwegian sound and death metal itself. As such their music took on a different character which has not garnered the band near as much acclaim. The Norwegian sound is, after all, is the standard against which all black metal music is held. Given the fact that all genres are imposed by observation after the fact, it seems that the difference between Profanatica and the Norwegian giants is not one of quality, but of a band not fitting within the aesthetic boundaries of a genre that the audience expects. That and the mad rush for Norwegian black metal pushed Profanatica to the boundaries of the black metal movement where its influence on artists and hardcore fans tells a different story of its importance.
Much like the Norwegians, Profanatica refined the approach of its influences by emphasizing an incoherent structure and seemingly random construction. The motifs themselves are anything but abstract; often sounding vaguely familiar if not recycled both literally and intuitively. The listener will detect a clear sense of familiarity with the image of a particular motif, yet its contextual placement is such that it reveals a new perspective on something familiar. To draw a metaphor, it is as if one obtains a view of the same landscape from the peak of different mountains. This freedom of association allows a particular feeling, idea or image to be used as appropriate, anywhere in a song without sounding out of place. That particular innovation is unique to this band alone.
Structurally, Profanatica develop the proto-black method by emphasizing its motif contrast and non-rational composition. The infamous “Weeping in Heaven” demonstrates this technique through a collection of riff ideas which bears little relationship to one another, nor are treated in such a way that might cause the music to blend seamlessly. The contrast is emphasized which leaves the listener in a position to experience the music on an intuitive level. The result speaks to the body and it speaks towards the id. Logical progression, causality and abstract musical language are rejected abjectly. Profanatica embraces the rhythmic tradition of non-Western forms; using it to give meaning to chaos and incoherence of raw experience. Where one might perceive conceptual weakness and compositional immaturity in the early black metal music, Profanatica matured their approach to the point of strength.
The greatest contrast between the Norwegian sound and their influences lay at the relationship between the subject and the perceiver. The musical component of the proto-black bands described the emotional reactions to a phenomenon portrayed, resulting in the internal discourse one expects when reacting to the representations given to them by their nervous system. The Norwegian sound attempts to paint the external world through its musical discourse. The valuations of the perceiver are never absent quite absent and serve to describe the relationship of the internal world to the external. It asks the question, “where do we fit in the image of the world as presented?”
In a sense it attempts to categorize a dark forest in nonverbal symbols. Profanatica, resting firmly in the proto-black tradition, presents the terror of a solitary human being in a forest without describing the forest itself through its musical symbols. The dialogue then, becomes a matter of internal sensation which is untamed and instinctual. In terms of artistry, that innovation ultimately expanded the initial range of expression without reasoning categorically about it.
The effectiveness of this particular approach may be observed on the medley from the Grand Masters Sessions release. The track consists of portions of the band’s demo material stitched together to form a single track. A listener familiar with Profanatica’s back catalog will no doubt sense the familiarity of the material yet what is most striking is the functionality of the piece as a whole. Despite being composed from entirely different songs, the song involves juxtaposition of each motif and its partial ordering, and as a result manages a level of unity as a stream of consciousness which reveals new perspectives on the material through context.
Profanatitas de Domonatia (2007) distills the familiar Incantation sound made famous on their debut record Onward to Golgotha – which Paul Ledney had a strong hand in developing – by stripping the material down to its most basic instincts. The result is a fierce and destructive force of will whose aim is deconstruction. The follow up Disgusting Blasphemies Against God saw the band barbarizing the famous emotional sensitivity of black metal’s melodic heritage and assembling those remains into hideous totems. The record’s defining characteristic is, after all, something of a crescendo implying the process of construction, perhaps out of the remains of that which its predecessor tore down. The latest record, Thy Kingdom Cum, lays siege to its two previous approaches by simplifying its rhythms to the point of idiocy while contorting its melodic forms to the point of mockery. The defining character of its predominant motifs is laughter which can be gleaned easily in the opening moments of the track “False Doctrina.” The aforementioned qualities are not something which need to be abstracted from the music; they are clear and obvious.
Profanatica’s approach is much like an uncivilized warband conducting raids on the civilized. Such groups are as much a tribal patchwork out of violent young men as they are a patchwork of the spoils of their activities: contradictory compositions of the basic human and technological components of a greater civilization whose assemblage is entirely pragmatic and allows for them to serve functions other than intended, but no less effective than their original purpose. Out of elements bound tenuously is something effective, something purposeful, something deadly. The world this music operates in is one which is defined almost entirely by nature rather than one defined by humans.
Where proto-black metal is defined by its visceral nature and deconstructive character, Profanatica embrace the ignorance in a brash display of unconcern for the perfume-soaked intellectuals which decry those outside their borders. Dwelling within the primitive backwater fringe has its advantages by bearing immunity to the abstract and desperate silliness of the rest of the genre. The similarly-goaled war metal attempts to reach back into black metal’s foundations but does so in a way which reduces the motif as an objectified emotion or image into pure texture reducing its communicative efficacy. The work of Ledney and company retains the concrete sensory experiences which drove metal in each of its original incarnations and were later given musical scrutiny before completely fossilizing, allowing their art to pick the last of the low-hanging fruit of metal as a form while others languish in petty revivalism, soulless displays of technical mastery, or vapid experimentation that desperately seeks revitalization by looking to external music genres; copying but not transforming its clichés.
So perhaps procedurally generated music and chance based (aleatoric) music isn’t either, but sometimes, it’s interesting (at least from a vague ‘intellectual’ perspective) to hear these ideas applied to metal music. In today’s case, we have guitarist Pete Cottrell playing “randomly generated” metal, which was created by using various sources of randomness (dice, Scrabble tiles, computerized pseudorandom number generation) to determine several properties of the music. In this case, however, only a song fragment’s tempo, time signature, and key signature were randomly generated; as far as I can tell, everything else was written and composed by the guitarist.
This latter point offers me a few bits of discussion. The first is that the next logical step would perhaps be to apply randomization to the actual riff-writing process, creating note and rhythm progressions that could end up difficult to play or simply very chaotic based on whatever algorithm was used. A synthesizer like Native Instrument’s Flesh might come in handy, although its timbral/textural relevance to metal is debatable. The other thing that occurred to me while I watched this video was that a ‘random’ compositional style on its own isn’t likely to create particularly well planned and arranged music. I wouldn’t be surprised if even the more fanatical devotees of the technique ended up using their own efforts to jam random fragments into a more sensible shape. Until the upcoming wave of strong generalist AI outpaces us at most cognitive tasks, though, there are limits to how much randomly generated we’ll hear.
Pete Cottrell has some other videos that may be of interest to metal performers, generally focused around equipment and recording technique.4 Comments
Primer: A deeper understanding of conservative thought
Amongst the young and, particularly in the metal community, Conservatives and Conservative thought are seen as retrograde, fascistic and wholly in thrall to religious fanatics. There are numerous reasons why they have this perception — and even more reasons why this line of thinking is wrong.
Modern American Conservatism was formed in a caldron of four events: two horrible world wars, a concerted effort by those in power to import European socialism to America and a long march through American institutions of Marxists, progressives and secular humanists. These events created the nascent conservative movement, which was reactionary at first — but soon developed into a coherent philosophy by thinkers such as William F. Buckley, Russell Kirk, Whittaker Chambers, Phyllis Schlafly and many others. Though theyoften disagreed with each other on various issues, conservatism nonetheless coalesced around certain principles and beliefs:
The wisdom of the American founders: The founders limited the power of government to keep it from becoming an ideological tyranny, and set up a system of gradual change instead of sudden, impulsive and emotional crusades which they witnessed in the revolutions of Europe.
Belief in the individual: Conservatives believe that human individuals are each unique and cannot be lumped together like clay, treated like masses and molded by elites in government “for their best interests.” Individuals are capable of great things when allowed to define their own destinies.
Peace through strength: Conservatives believe that weakness (both real and perceived) invites aggression. Conservatives such as Winston Churchill understood that Europe’s weakness and indecision during the interwar period from 1919-1938 is a primary reason for the ascendancy of Hitler and the war that followed.
Market capitalism: Conservatives believe that the greatest engine for creating wealth, driving innovation and lifting people out of poverty is market capitalism. No other system developed has created a thriving middle class like market capitalism has, and it should be promoted instead of demonized. This does not mean unfettered, unregulated capitalism, but a lightly regulated system that insures a fair playing field for all participants.
Low taxes: Government raises taxes to pursue ideological goals, which signals its intent to become a tyranny. High taxes support this. Further, high taxes represent oppression and the limiting of individual potential.
Absolute truth, morality and rule of law: Centuries of human experience show us what works and what does not, and from this we derive an understanding of morality. It is not given to humanity by God, but by practicality. The rule of law is designed to help bolster those absolute truths, and more importantly it is meant to protect the individual through having his or her constitutional rights protected at all times. Deviation from the consistency of law allows people to impose their will on one another by abusing positions of authority. Hence the statement “we are a government of laws, not men” is of utmost importance to the Conservative.
Human nature: To the Conservative, mankind is imperfect and will always be, and knowing this, the Conservative understands that no perfect social order or utopian society could ever be created. Attempts to create utopian societies, or to engineer man for perfection will end in civil unrest, chaos and ultimately totalitarianism. The best we can reasonably hope for is to try and improve mankind’s plight with prudent reform and gradual social change. Conservatives accept that there will always be some suffering, inequality and destitution amongst mankind and the challenge is to ease it without disrupting or constraining the rest of society.
Problems and tensions within Conservatism:
As with many movements, there is strife, disagreement and infighting. This is especially true within the Conservative movement, because Conservatives are individuals first, and members of a party or movement second. Even more, conservatism is an amorphous theory rather than an ideology, so it does not have simple universal principles and instead must be interpreted on a situational basis.
The political vessel through which a Conservative works is the Republican Party — which contrary to what many in the media will have you believe, is a coalition of diverse groups of individuals ranging from isolationists, religious fundamentalists, anarcho-capitalists and libertarians. These groups are in constant tension with each other, and holding a Republican coalition together is difficult at best. Some examples of tensions within the party will follow below.
One of the most divisive issues within the movement is the role of God and religion. Belief in certain principles such as absolute truth, the individual and rule of law can coexist with belief in a Supreme Being, but many Conservatives have no religious affiliation and treat God as a symbol of the sovereignty of the individual over their government. This line of thinking flows from the second paragraph of the Declaration of Independence: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness…”
Another tension within conservatism occurs within the realm of foreign policy. There are three differing viewpoints constantly battling each other for the movement’s heart and soul: Isolationists believe we should not interfere in foreign affairs; Neoconservatives (hawks) believe in a robust foreign policy to transform the world; and Traditionalists believe in interfering in foreign affairs only if it is vital to our economic or national interest.
The abortion debate poses many problems for conservatives as well, and falls along a few interesting fault lines. There is of course, the religious view of abortion, which is seen as a simple issue: abhorrent and sinful. However, more thoughtful Conservatives wrestle with the abortion issue from the standpoint of individual rights, and the tension between the rights of the mother and the rights of the unborn child – both of whom are considered individuals worthy of protection. Furthermore, many Conservatives fear that abortion will lead to eugenics, eventually destroying the variety and unique qualities found in each human being.
Finally there are numerous economic theories that divide conservatives. These range from unlimited free-marketers, protectionists and more moderate free marketers. Libertarians for example believe that free market capitalism alone will produce the best society; more protectionist-oriented Neoconservatives see the importance of high tariffs to keep our products low cost and imports expensive, where in the middle most conservatives like free markets to a point, but believe in varying degrees of regulation or other influence by our leaders on the markets.
In conclusion, the media portrays conservatives as a bloc of religious fanatics, racists and warmongers. As a result, most young people will never know of what conservatism is, nor the ideas that drive it or the diversity within it. Conservatism is a philosophy rich in tradition, rigorous thought and internal debate, and with a little exploration, most will find something in that history that appeals to them.
Groundbreaking Conservative writing, speeches and articles:
- God and Man at Yale by William F. Buckley.
- Witness by Whittaker Chambers
- The Conservative Mind by Russell Kirk
- Dictatorships and Double Standards (Essay) by Jeanne Kirkpatrick
- The Road to Serfdom by FA Hayek
- A Time for Choosing (Speech) by Ronald Reagan
- Anarchy State & Utopia by Robert Nozick
- Capitalism and Freedom by Milton Friedman
- The Conscience of a Conservative by Barry Goldwater
- On Liberty by John Stuart Mill
It feels like we’re doing a great deal of anniversary mini-features these days, but Scarlet Evil Witching Black, at the very least, is particularly deserving of notice. Released on November 15th, 1995, Necromantia’s second album continues the band gimmick of dual distorted bass guitar arrangements. More importantly, it favors some melodramatic and perhaps overblown composition styles I am personally fond of, and serves as an admirable blueprint for how to effectively and tastefully incorporate symphonic and other relatively “normal” musical elements into extreme metal. Definitely a high point of the Greek black metal scene, and a markedly different experience from not only the better known Norwegian works, but also the midpaced stomp of a Rotting Christ or a Varathron.