From the storms which tear the earth, haunting the skies at night, empowering chaos and embracing vampyric magick, the cult USBM horde Black Funeral return from the abyss with this morbid spell of blood lust and darkness! Raw, vampyric & occult Black Metal.
Worm Gear Zine has officially relaunched, with 19 reviews and new interviews with Agalloch and Forefather! We know it has been a long time, but we are excited to have revived this stalwart bastion of extreme music. Expect more frequent updates and more of the quality writing you’ve always depended upon. We welcome all readers to this resurrected endeavor, and are eager to hear your thoughts and to get your participation in our ongoing discussion of the underground. And don’t forget to follow us on Twitter as well!
From our original review of Worm Gear zine back in 1998:
Professional layout belies the depth to which this magazine sinks into the underground, asking up-front questions in a variety of reviews, features and interviews. Excellent coverage on an individual basis of those bands and individuals lucky enough to be featured in this solid zine from Michigan.
Sabrewulf make doomy music in the new interzone of hybrid between post-punk, metal and drone. These boxy riffs are aggressive and forthright, and hammer home a brainworm of a rhythm and then lapse into drone, as if subjugating the listener with a vision that cannot quite be realized in the present dimension.
Because the essence of post-hardcore is to swallow up all other genres, this is visible like a skeleton poking through the decaying flesh of a fallen beast. Despite the guitar tone which is straight out of 1980s Autopsy, the essence of this music is very slow minor key punk riffs that set up a sustained tone and let it fill available space, then manipulate its sonic dimensions to create a sense of absence.
Song structures are of the circular with layers type that came to us first from electronic music, but now is popular in that it lets the style do the talking — the medium is the message — which is popular in that it allows musicians to craft impressions into three-dimensional structures. Like any good doom band, Sabrewulf know when to ride a melody and create a gratifying sense of inertia like the last swings of a no-contest fistfight.
While many are skeptical of the new styles, and with good reason since almost none of the new bands have the staying power of the 1990s underground metal, it is wisest to see this as heavy-metal flavored punk that also pretends it is post-hardcore, but really just wants to ride a drone into a rant and come out the other side with the world on fire. Even if it does it as a glacial pace.
In the intersection between harsh industrial noise and blasting war metal/grindcore, Intolitarian carves a place for itself by being unique in its absolute inferno of abrasive sound. These two tracks contain rasping vocals over abrasive waves of noise that sound like a high-tuned bass played through a storm of distortion, spaced out with loudspeaker spoken word designed to evoke a futuristic totalitarian feeling.
The Orwellian nature of this music takes the listener away from the now with a dramatic surge toward the extreme. Drumming resembles some of the more adventurous drum and bass from the late 1980s, riding a wave of gated grinding power electronic noise while the incessant vocals enunciate like a martial arts competition over the top. It is like a news report from hell, or from a future time when all pretense of humanity and morality has been cast aside.
As an intensely reductive medium, this type of grinding industrial noise has almost no musical elements: it is pure rhythm, pure spoken word, and pure texture, but no harmony or melody. The spoken word portions are produced to sound like either 1940s radio or the off-world propaganda spaceships from Blade Runner, giving it an apocalyptic military urgency. Every syllable throbs with violence.
If war metal were to go in this direction, it would get closer to its own ideal. All meaning is destroyed except conflict and propaganda. This isn’t music; it’s mental conditioning, from that moment during the midnight air raid when the world is shaking with explosions and the ranting of state propaganda from a nearby loudspeaker is the only comforting sound. It encourages survival, to push onward, and a confrontation with nothingness.
You’re on the one metal site that has identified the roots of metal imagery, content and outlook: Romanticism, or the artistic movement which swept the West in response to the Enlightenment and consequent industrial revolution.
Some 240 works from more than 70 artists comprise the show, encompassing some 150 years of fascination with mysticism and the supernatural. The paintings, sculptures, photographs and films were created by prominent artists such as Francisco de Goya, William Blake, Caspar David Friedrich, Johann Heinrich Fuseli, Edvard Munch, René Magritte, Hans Bellmer, Salvador Dalí, and Max Ernst. While some come from the Städel’s own halls, others are on loan from internationally recognized collections like the Musée d’Orsay and Musée du Louvre in Paris, the Museo del Prado in Madrid and the Art Institute of Chicago.
The exhibition categorizes the works both chronologically and geographically with an aim toward linking various interpretations of Romanticism, the post-Enlightenment movement that began sweeping across Europe by the end of the 18th century and continued its influence long after.- Der Spiegel
In literature, Romanticism includes Mary Shelley, Bram Stoker, H.P. Lovecraft and E.A. Poe, from the later years of Romanticism.
In its earlier years, it includes Samuel Taylor Coleridge, William Wordsworth, John Keats, John Milton and William Blake.
All of these feature prominently in metal lyrics, as do horror movies derived from those Gothic Romantic works.
What we’ve been saying for some time: music is communication. It reflects data in the world.
Contrary to the prevailing theories that music and language are cognitively separate or that music is a byproduct of language, theorists at Rice University’s Shepherd School of Music and the University of Maryland, College Park (UMCP) advocate that music underlies the ability to acquire language.
The authors define music as “creative play with sound.” They said the term “music” implies an attention to the acoustic features of sound irrespective of any referential function. As adults, people focus primarily on the meaning of speech. But babies begin by hearing language as “an intentional and often repetitive vocal performance,” Brandt said. “They listen to it not only for its emotional content but also for its rhythmic and phonemic patterns and consistencies. The meaning of words comes later.”
Brandt and his co-authors challenge the prevailing view that music cognition matures more slowly than language cognition and is more difficult. “We show that music and language develop along similar time lines,” he said. – Rice University