Thy Invocation of Hell In-stock at Analog Worship

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Thy Invocation of Hell zine 21st anniversary reprint from Afterlife Productions is available in the United States from vinyl specialist distro Analog Worship. The zine is packed with interviews conducted in the early, formative days of legends like Beherit, Blasphemy, Varathron, Immortal, and Emperor. Afterlife Productions themselves are down to their last 30 copies for those close to Malaysia.

Thy Invocation of Hell Reprint

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Malaysian label Afterlife Productions has restored and reprinted Southeast Asia’s first black metal zine, Thy Invocation of Hell. It’s packed with interviews from tons of legendary bands, all conducted in their early and formative years, before wannabe rockstar egos and commercialism took hold. Buy it. From the label’s Facebook page:

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Hells Headbangers Restocks Nihilism

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Brett Steven’s Nihilism: A Philosophy Based In Nothingness And Eternity sold out quickly at Hells Headbangers’ metal distro so Hells Headbangers has just restocked it! You know you want it hard. Now you can get it hard fast again with DHL international shipping! Believe in nothing and take it like man! How do you expect to reach emptiness without mentally climaxing into the vortex? Are you man enough?

Swords of Steel (2015)

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Article by Corey M.

Featuring several authors from many backgrounds including members of metal bands Manilla Road and Solstice, Swords of Steel is an exciting collection of short stories that are for the most part squarely rooted in the tradition of serialized weird fiction.

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Vox Day SJWs Always Lie: Taking Down the Thought Police (2015)

Vox Day: SJWs Always Lie: Taking Down the Thought Police

Vox Day: SJWs Always Lie: Taking Down the Thought Police

Science fiction author and video game designer Vox Day has written a handbook for dealing with SJWs including who they are and how to identify them, how they think and act, and how to defend against them and counter-attack. His writing style is easily digestible, and the information he presents is conveniently organized into enumerated laws and steps, such as the three laws of SJWs (the first of which doubles as the book’s title), the stages in an SJW attack, and the points to keep in mind during an attack.

SJWs are bullies who wield social pressure as a weapon.

Since his intent is practical, he gives only a brief overview of the ideology and history of SJWs. In his words, “knowing everything there is to know about shark DNA or what fish grizzly bears prefer to eat doesn’t do you any good when you find yourself nose to nose with a hungry one.” This focus is a strong point, as the result is a succinct instruction manual.

In the universities, in the churches, in the corporations . . . free speech and free thought are under siege by a group of fanatics as self-righteous as Savonarola, as ruthless as Stalin, as ambitious as Napoleon, and as crazy as Caligula.

They are the Social Justice Warriors, the SJWs, the self-appointed thought police who have been running amok throughout the West since the dawn of the politically correct era in the 1990s. Their defining characteristics:

  • a philosophy of activism for activism’s sake
  • a dedication to rooting out behavior they deem problematic, offensive, or unacceptable in others
  • a custom of primarily identifying individuals by their sex, race, and sexual orientation
  • a hierarchy of intrinsic morality based on the identity politics of sex, race, and sexual orientation
  • a quasi religious belief in equality, diversity, and the inevitably of progress . . .

The information in this book will be useful to metal band members and concert organizers who are the targets of SJW attacks. Vox demonstrates, using numerous examples of attacks, that the worst thing these targets can do is apologise, as doing so simply hands the attackers “a confession to bolster their indictment.” In fact, if one learns only a single thing from this book, it should be that SJWs can’t be reasoned with at all: do not engage them in good faith, do not expect them to be honest in any way, and just plain do not take them seriously. This should come naturally to members of an artistic movement fascinated with aggression and violence. And yet, #metalgate has shown us that heavy metal is in the SJWs’ crosshairs.

The reason for this is that metal has been infiltrated by SJWs, whose primary allegiance is always the Narrative, which is the nebulous and frequently changing concept of social justice to which they all adhere, regardless of inherent contradictions and absurdities (see the First Law). To them, the goals of a movement or institution will always be secondary to this, though they mask this insincerity by wrapping themselves in its superficial trappings. When they look at a band like Disma, they ignore what would be most important to a metalhead — the musical, artistic and philosophical content — and instead search for anything about its members that violates their Narrative, then point and shriek hysterically until a crowd forms. Fundamentally, SJWs are bullies who wield social pressure as a weapon.

If you have any SJWs working under you, fire them.

For a work that deals with such bitter and unlikeable people, the tone of this book is surprisingly positive, and the message is hopeful. Referring to an organized campaign against SJW control of a Science Fiction award, Day says “the importance of Sad Puppies is that it shows how even in a field that has been dominated by SJWs for more than two decades, they are weaker and less numerous than most people believe.” If their weapon is social pressure then a successful resistance would consist of simply not bowing to it. Since they always lie, even to themselves, they operate with a false understanding of the world, which puts them at a disadvantage to those who are honest.

Target the enemy at every opportunity. Hit them wherever they show themselves vulnerable. Play as dirty as your conscience will permit. Undermine them, sabotage them, and discredit them. Be ruthless and show them absolutely no mercy. This is not the time for Christian forgiveness because these are people who have not repented, these are people who are trying to destroy you and are quite willing to harm your family and your children in the process. Take them down and take them out without hesitation. If you have any SJWs working under you, fire them.

The truth is that SJWs care so much about the institutions they control that they will destroy them rather than relinquish control over them. They will consume metal, video games anything else by using their crazy ideology in order to assert individual self-importance. When confronted by them, don’t apologise, but instead counterattack by ruthlessly pursuing and defending truth. In other words,

Forgive me not
This knowledge makes me strong

“The Marching Morons,” by Cyril W. Kornbluth

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One of our readers pointed out the similiarity between the movie Idiocracy and a short story by Cyril W. Kornbluth named “The Marching Morons” which appeared in Galaxy Science Fiction in April, 1951.

Like Idiocracy, the story involves a man who is put into stasis for centuries and wakes up in a new world where humanity has bred itself into oblivion. The Margaret Sanger style eugenics implications are even clearer in this story than in Idiocracy, told with both wit and compassion. Unlike the movie, this story addresses the question of how technology could persist, and comes up with the Nietzschean idea of an upper caste of intelligent people who have ended up enslaved to the masses of fools.

The story falls into the style which is convenient to call “honest” when we in fact mean realistic, with some aggression behind it in the telling of an important story that is mostly forgotten because of its political inconvenience. For Kornbluth, who was Jewish, to explore anything tinged with eugenics in the years after WWII was not only personally brave but ran the risk of great condemnation. Perhaps he was a victim of political correctness because it seems this story should have wider reach.

“The Marching Morons” is written in the older style of science fiction that readers of Ray Bradbury may be familiar with, which is not so much self-consciously “literary” content embedded in mass market writing but a compact, vivid style in which every detail is important but the big picture is not lost in the details. Kornbluth writes with what we might call passion but is more appropriately termed “urgency” in that this story takes place in a desperate time, and was written in a desperate time.

While the presence of this story in the heritage of Idiocracy seems obvious, it is also important to point to an earlier work which it would have been hard for any science fiction fan to miss: The Time Machine, by H.G. Wells. In this book, a Victorian scientist travels to the future. He finds the planet is now divided into two groups: the Morlocks, brutal and crude creatures that fear the light and control the planet from its surface, and Eloi, light and graceful creatures of intelligence which live below the surface in menial circumstances.

As the protagonist explores, he discovers that the Morlocks have descended from the working classes of his time and have through evolutionary pressures become essentially Orcs, thoughtless and violent but obsessive. They live by feeding on the Eloi, to whom Darwin has not been kind because when intelligence is no longer needed for survival, it becomes a burden and the thoughtless and violent dominate it.

Apparently Wells was influenced by E. Ray Lankester’s book Degeneration: A Chapter in Darwinism (1880) in which the author sets forth the idea that if a species gains a constant food supply, evolution pushes toward a suppression of form in a kind of marginal profit obtained by removing expensive features that are no longer necessary.

It may also serve as an answer to Edward Bulwer-Lytton’s The Coming Race, in which he posits an underground species of angelic human-like creatures known as Vril-ya will take over earth with superior intelligence. Much as Orwell answered Huxley, Wells answered Bulwer-Lytton, suggesting that instead of the utopian vision he portrays a Lankesterian degeneration of humanity lurked in the future, which is the theme held in common with both Idiocracy and “The Marching Morons.”

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

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

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

Witness for example this exchange with Bathory’s Quorthon:

How did the Satanism get into your music?

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

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

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

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

What do you think of love?

I don’t know — I love sodomy

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

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

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

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

Experiencing Rush: A Listener’s Companion by Durrell Bowman

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Canada’s Rush keeps its fingers in many worlds, including that of 70s heavy metal, and as a result often attracts metalheads. Durrell Bowman attempts to explain the appeal of this band through perhaps the best method possible, which is to analyze the music itself and only secondarily and sparingly reinforce what is learned with extracts from interviews. Unlike most rock writers, he focuses on the output from the band rather than the discussion or buzz surrounding it, and as a result is able to pull out intention through the band and its reaction to the changes in the experience of its members of the years and how that translates into artistic voicing.

Experiencing Rush: A Listener’s Companion walks through Rush by eras of the band from its early hard rock days to its more progressive-rock influenced middle period to the later middle period of AOR (although this term is not used) very similar to 80s music like Boston, Asia, ZZ Top and the Eagles. In his analysis, Bowman attempts to answer one of the fundamental questions: is Rush a progressive rock band? If not, what are they? And how does this reconcile with their many different internal influences and the many different external styles, including a technologically-hip 90s format, which have cloaked the music of this band? Bowman gives his conclusions in a short introduction and then analyzes the work of the band song by song, divided into albums and the aforementioned eras. The result is a picture slowly emerging of a rock band with many different influences who wanted to play essentially power pop but with a guitar-driven appeal, like later Yes albums such as 90215. Into this, the self-taught musicians mix material from a wide range of influences as part of a philosophy of the band which Bowman slowly peels away during successive chapters: a leftist-libertarian political outlook, a personal individualism, dogmatic atheism and a studied eclecticism to find support for these ideas across different cultures and disciplines. Like their music, their philosophies are a grab-bag of what supports their fundamental worldview, which Bowman reveals as very much localized to and shaped by their experience growing up.

What Experiencing Rush: A Listener’s Companion offers to the world of music is not so much conclusions, however, as critical points for analysis. The entire book functions as an outline of the output of the artist with vital points addressed such as musical techniques used, including juicy details on time signature and scale/harmony, but also rather intelligently looking into the music as a series of patterns and avoiding a deep immersion in music theory. As a result, Bowman compares abstract patterns found in the music to what they symbolize in life, which works well for progressive rock bands who tend to be mimetic in their approach generally, but works doubly well for Rush, who are differentiated from progressive rock (although they incorporate many of its techniques) by their tendency toward music that is more symbolic or defined in human terms rather than imitating the objects or experiences the humans are undergoing. This rather fine distinction highlights why many progressive rock fans find Rush distasteful, and why many Rush fans find progressive rock inscrutable: the two take different approaches, and the Rush approach is closer to that taken by power pop bands than what progressive rock bands attempt. It both makes the music easier to comprehend, because the meaning in the lyrics is “acted out” by the music, and explains how Rush is able to escape its normative AOR format by incorporating so many different styles as if they were brush techniques in a painting, namely that it uses whatever techniques are appropriate for rendering its vision, much like it picks from disparate philosophies, literature and religion bits and pieces which it can use to illustrate its own philosophy and ideology. Through this insight Bowman stands heads above the other writers on this topic.

Turning from the technical arts of the band to the technique of the writer, Experiencing Rush: A Listener’s Companion shows us what rock journalism could be — some of us would say should be — by digging into this band in the only way that honors their efforts, which is to take them seriously as people by investigating their art for what it attempts to express as a communication between artist and fans. DMU has always taken this approach to death metal which has made us a minority in not just a metal underground but a rock scene which would rather write about where a band is from, their ironic personalities, the production of albums, how much the fans love it, or what trend the band belongs to. This treats artists like simpletons and fans like yeast with credit cards (although some might say this accurately portrays humanity anno 2015). Bowman takes the opposite approach, which is to avoid academic-ese and also rock journalist ideo-jive, and instead to look at this band with an intelligent common sense approach by picking apart each song to see what makes it work, both as a communications device and as an experience to enjoy. With the force of Rush fans behind him, hopefully Bowman can convince more of the music world to join him in this approach, which like the scientific method for materials should be the de facto standard for music.