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Messages - Nile_577

[1] 2 ... 6
Metal / Re: Happy "Onward to Golgotha" day!
« on: April 21, 2011, 03:05:56 PM »
How feeble thy man hast come forth unto us, provoking his crucifixion.

Metal / Re: New MORBID ANGEL Album to be Released on 6/2/11
« on: April 06, 2011, 07:04:05 AM »

5. 'I’m Morbid'
Guess they didn't have Tom G Warrior in mind when thinking about that title track (R U Morbid anyone?)? But this is bound to be Wacken or Hellfest’s next official anthem. Built upon a spontaneous “Morbid! Morbid! Morbid” crowd chant, recorded during one of the band most recent European tours, its lyrics (“We stand invincible not just a dream/Straight from the underground/The gods are screaming”) are like a call to arms. If there's ever a successful ‘mainstream’ death metal song, this is the it.

9. 'Beauty Meets Beast'
Though this is another heavy monster, when asked if it is the band first openly sexual song (“Oh beautiful child/Come to me moist/I’m the great connoisseur”), Dave answers with a smile and says; “It’s about it time don’t you think?”.

9. 'Radikult'
The album’s sore thumb. Even if Dave says he was influenced by “Dutch hardcore techno, you know gabba” for this one and that in the end, “it’s just extreme music”, it’s hard to know what the Ancient Ones would think of such lyrics as “We’re banging hardcore radical/Maniacal and animal”. This sounds like an unreleased Genitorturers’ track, Dave’s old White Zombie-inspired band, where he played alongside his wife Gen. In the worst case, Marilyn Manson rip-off accusations will fly faster than body parts. If one track on ‘Ilud Divinum Insanus’ is most likely to crystallise the controversy, this is it.

(woe. lol)

Metal / Re: Deeds of Flesh-Portal to Canaan
« on: February 11, 2011, 05:23:59 PM »
Great. I hope they eschew the wankery that was prevalent on the last album.

Yeah I too thought it was a bit wanky. It was particularly disappointing because this band, more than most, seemed perfectly to grasp complexity without showmanship.

“Path of the Weakening” has its moments but “Reduced to Ashes” is their best work, I think. I also really like the non-pretentious narrative lyrics of tracks like 'The Endurance'. Come to think of it, along with Iron Maiden and Emperor's 'With Strength I Burn,' that's three tracks that use the sea as Romantic metaphor for the learning of (un)sacred truths. I suppose they represent death metal, heavy metal' and black metal takes on the question. Must be all that latent Coleridge reading, or in the case of Ahab (banish me!), Melville.

Metal / Re: Through Silver In Blood
« on: February 11, 2011, 04:37:09 PM »
Post rock/post metal fail entirely at both subtlety and directness. I find this genre even more enraging because it seeks to mimic subtly by using lots of unnecessary elements to the sonic pallet, and by using lots of slow "dramatic" build ups witch are totally laughable in their obvious attempts to mimic grander.

I don't know that I would call this album post-metal, really, but - regardless of that - I rather like that technique. I think it conveys vertical depth quite well. To take a popular example: Mars, Bringer of War from the Planets is an immensely "metal" piece of classical music and features a dramatic buildup of the opening theme. In that instance it's probably a programmatic reference to preparations for war but - in this album - it seems more like dimly grasping a truth before it is brought home with resonant force. Kinda like that old Schopenhauer quote about truth being ridiculed and argued against and then accepted, but without the ridicule. It also mimics the process of a ritual, or sacred rite.

That said, I don't know post-metal very well but I can imagine some grandeur mimicking emo shenanigans from bands like Isis.

It was interesting reading about the concept of the album Mr. Nile_577, and obviously their is some degree of art here, but the more important bit, you know, the MUSIC - is awful.


Metal / Through Silver In Blood
« on: February 09, 2011, 07:49:02 PM »

With Neurosis' fifth full-length we reach a rarefied plateau. Even the magnificent 'Enemy of the Sun,' which perhaps contains the band's most poignant material, and the contemplative and revitalising wisdom of 'A Sun that Never Sets' - immensely major works by any other artist - seem distant compared to what is unfolded here. Today a glut of pale imitators ape this band's style but terminally lack its vision, which here surpasses Pink Floyd and moves towards realms explored by poets such as T.S. Eliot. All that was excluded in the memorable opening line from 'Lost,' beginning Neurosis' previous album - "My eyes were jaded; so close to the centre they could not see" -, is here revealed. And what can measure up to it?  Neurosis do not seek revivalism, or transparent nationalised identity but rather offer a transcendent mythology of reality, as it is – now - breathing the religious back into the secular.

The almost unbearable demand this music places upon its audience calls for the dissolution of the listener's subjectivity, such that he is no longer a subject listening and interpreting the objective sound of music, but rather becomes bound up in the ritualistic ambience of the work, which in turn discloses his subjectivity as a vector for its world-founding potential. And what a world we are called to inhabit. It is impossible to overstate the titanic force, the immense sonorous weight and violent, cataclysmic power of these pieces; a transformative strength unifies their constituent parts into a radically forceful statement of truth. Perhaps only in Gorguts' Obscura can we find a parallel for the searing intensity of vision and the fusion of mythology, Eastern religion and heavy guitar music; though here we find not just Eastern influences but a dark reinterpretation of Christian scripture.

Through silver in blood,
We stand judged not by
Eyes of flesh.

Bleeding one
Bleed alone

Don't crawl, seek his burn of war
When the fallout comes he is fire

Religious and apocalyptic imagery combine with a reading of Christ's crucifixion that melds the 'Book of Revelation' with nuclear holocaust. The sensibility underlying this landscape is, as mentioned, closest to Eliot (and the anxiety of influence is massively prevalent), pregnant as it is with an eschatological, messianic expectancy. Here this desperate waiting is answered not with a Vedic benediction but a waste land of nuclear Armageddon. "We even ignited the first atomic bomb on the day commemorating the transfiguration of Christ, unconsciously signalling that we intended likewise to transform the world not only after the light but after the darkness." God is celebrated as death, destroyer of worlds; the nuclear detonation as a marriage of heaven and hell, a place where the mechanised is fused with the metaphysical in a sonorous sound-scape of catharsis, destruction and rebirth and where spirit and matter collide and are conjoined. Rarely becoming explicit, the mythologised narrative that structures this work imbues our secular logos with an enlivening mythos, bursting with metaphoric, structuring potential.

Neurosis achieve the remarkable by discovering an authentically ritualistic tapestry that escapes contamination by stylised "exotic" or "tribal" aesthetics, calling the listener into a celebration of the beckoning end by giving birth to genuine mythology of modernity. We are called to take stock of what we have done, and what we are racing to achieve and yes, Datta, what we have given?'

Blazing eye sees all
Nature of fiery triumph
Patterns unfold

Fetal buried gold
Humbled in the womb
A centre opens
To the unknown

The patterns of history unfold; the Kali Yuga and the Ginnungagap, the end of a Vichian ricorso. The thrust of 'Through Silver in Blood' is to reinscribe the mytheme in culture by sanctifying a new kind of religious discourse that reinterprets religious thinking in the light of a sacred "void"; the 'centre' of the 'unknown' 'womb'. Preserving and reinterpreting the spiritual in light of the nihilistic spiritualises nothingness itself, and calls forth the structuring patterns of divinity from the very seat of God's absence, offering a radically apophatic (a)theology, closest to Eastern thinking. Without irony or revivalism, new hope is thus presented through a blasphemous yet transformatively sensitive reading of scripture for a unified understanding of life - and what else can scripture hope for?

Rise - shining blank
Scars burn way down
It parts ways of the
Serpent view - cast
Stones where to stop
Calling you - they all
Lower me to the ground
Stick him - they all
Lower me to the soil
Stick him

Star - reign down
On you

You'll starve
Bright star in the
Dripping sun
Writhe on - saints
Steal from your actions
Step in right on it's
Function - stick him

Star - reign down
On you

You all lower me
Christ's shine blinds
Your world
Your belief is scars

The will to power
Ascension manifest
That which is above
Is as that which is below
Thy will be done
Thy kingdom come
On earth as it is in heaven
So mote it be

'Locust Star' is the heart of this album, presenting an obscure take on the crucifixion, possibly narrated from the position of the Antichrist, giving a Nietzschean reading of Christianity by proclaiming that the Passion, as the central event of the Christian faith, founds a belief in mere "scars." Interestingly the "stick him" interjection, referring to an injunction to nail Christ, is curiously ambiguous, seemingly addressed to the very followers of the Christian faith, as if suggesting that Christians have somehow themselves crucified Christ. The album title is given meaning as the nails that "blind your world" by piercing divine flesh, though silver in blood. Concluding with a revelation of titanic force, Neurosis stage the transvaluation of values with a violent restatement of the 'Lord's Prayer' voiced by the emergent growl of Dave Edwardson.

'Aeon' explores the range of dynamic sensitivity present here, building from an uneasy and hauntingly child-like music-box motif through a dirgeful lament that opens into a transcendent and world shaking organ section, staging the very earth erupting in response to the relentless, trancelike drumming, before fading into a string lament. This transition from airy fragility to foundational upheaval revolutionised the stylistic potential of this idiom, pushing the genre into unbroached realms with its immense artistic force. A similar moment is found in the conclusion of 'Purify;' one of several 'openings' in this work that point towards the transcendent; an eirenic and breathtaking theme that would be restated on "Times of Grace."

The final act of Through Silver in Blood is a petition, set against a titanic riff, for the dissolution of the self, 'silently praying for enclosure within the flame of origin.' The band structure the unfolding of a new narrative from amidst the very wreckage of modernity, staging a conflict between matter and spirit, resulting in their ultimate fusion. In remotivating the question of mythology and staging the dissolution of the Cartesian subject against the background of an apocalyptic waste land - a barren realm in which the sonorous whine of sirens, and screams of industrial machinery battle with ethereal beckonings - Neurosis create a work that might be called authentically religious, or at least provide genuine effusion of spirit. It is this dissolution of individuality that makes this album unlistenable for many, and harrowing and captivating for those who dare to reverse the the fundamental gesture of modernity, replacing detached, egotistical individuality with mythic whole.

Metal / Re: Happy "Onward to Golgotha" day!
« on: April 02, 2010, 05:24:18 AM »
Happy OTG day! :>

Interzone / Re: Signs of decadence
« on: March 09, 2010, 07:24:53 PM »
Those anti "postmodernism" (LOL) articles are always hilarious. Richard Dawkins has a good one. They're like the anti-metal articles you'd see on tv programs in the 1990s. I especially love the "INSERT RANDOM QUOTE HERE <----OMG WHAT DOES THIS MEAN?" approach. That William Pierce guy did the same thing writing about Deicide lyrics. AIDS ridden? I'm not just sure; I'm HIV positivism!

Interzone / Re: Sartre
« on: February 10, 2010, 08:34:50 PM »
Meaning, he talks about familiar topics that people like to hear about, issues which had been discussed at length in the centuries prior, and comes up with something that isn't so hard to digest

In all of philosophy there are few books as complex and difficult as Being and Nothingness.

Interzone / Re: Sartre
« on: February 09, 2010, 09:27:53 AM »
Sartre misreads Heidegger, giving a subjective, individualist interpretation of Da-Sein that is thoroughly at odds with the project of Being and Time, disastrously importing the very errors that work sought to overthrow. In this subjective existentialist humanism one gets theoretically clear about what it means to be e.g. a ‘woman’ and then ipso facto can simply decide to become something else. This ignores the fact that what it means to be a woman is a public stand taken upon an embodied reality, and is hence given within the structure of a cultural world.

Back when I read Sartre, I used to think that philosophy professors sat around debating the intricacies of the in-itself and for-itself next to well-thumbed pages of L'Être et le néant but the truth is that Sarte is now remembered mostly for his fiction and stage work. Here there is something to read of interpersonal relationships, and modern alienation but, as a philosophy, I think Terry Eagleton said it best when he described ‘existentialism’ as a codeword for “being 18, away from your parents, and feeling rather homesick at university.’

Read division I of Being and Time and the short essay/lecture “What is Metaphysics?” instead.

Metal / Re: [META] Best metal 1999-2009
« on: November 21, 2009, 06:20:02 PM »
Xasthur pioneered the hipster invasion, because they made more linear versions of ambient black metal

"Linear" is a terrible choice of word to describe the music of Xasthur, which is far more concerned with "vertical" depth, using mirrors as a conceptual device to explore surrealism (note: the guitars often sound strangely reflected back against themselves) and a decontextualisation of the Cartesian subject before a nihilistic vision of groundlessness. The immense, contemplative force of its music necessitates the band's inclusion in any fair-minded list of genre "greats." 

Metal / Re: Best metal 1999-2009
« on: November 21, 2009, 05:51:16 PM »
Black Metal:

Ildjarn - Nidhogg
Celtic Frost - Monotheist
Xasthur - Telepathic With the Deceased
Mayhem - Grand Declaration of War, OAC
Judas Iscariot - Heaven in Flames
Averse Sefira - T.A.
Deathspell Omega - Si Monumentum, Fas
Leviathan - Tentacles of Whorror

Death Metal
Cannibal Corpse - Bloodthirst, Kill
Gorguts - From Wisdom To Hate
Deeds of Flesh - Reduced to Ashes
Krisiun - Conquerors of Armageddon
Angelcorpse - The Inexorable
Nile - Black Seeds of Vengeance
Immolation - Failures for Gods

Electric Wizard - Dopethrone
Warhorse - As Heaven Turns to Ash

Interzone / Re: Metal reviews from non-metal websites
« on: November 14, 2009, 09:29:58 AM »
It may sound ridiculous but I think that many of the ANUS reviews are written for non-metal listeners, or at least non-metalheads. They rarely normalise the near ludicrous extremity of the music such that its traits becomes accepted, standardised features of another "genre," to be compared internally as relative instances of, to take the example of vocals, "good" or "bad" growling.

Langue over parole, as the structuralists might say.

Interzone / Re: Readability on the internet
« on: November 13, 2009, 06:38:54 AM »
Kafka is compelling content worth reading?

Of course. He is a gnostic like Blake & Goethe.

On topic: I use one of these http://www.irextechnologies.com/irexdr1000   It can display html, pdf, txt, jpg (scanned articles) etc. and has a much larger screen that Amazon and Sony readers. If there is a long web article I want to read, I usually save it or print it as a pdf and then transfer it to the Irex. Unfortunately the DR1000 is very expensive but if you read a lot of texts, or have little space left for books, it can be an investment. In any case it certainly cuts down on paper usage.

Aside from that, I sometimes use speech reader programs.

I find the font size on this forum to be too small. Does anyone else has this problem? To me it looks like it's size 6 - 8. I would prefer 10 - 12. Any thoughts?

Metal / Nile and cultural context.
« on: November 12, 2009, 04:45:14 PM »
I think that people who approach Nile looking for an authentic, historicist documentation of Ancient Egyptian music and culture are somewhat missing the point. There are lots of these arguments around (The guys from Mithras, for example, claim that the scales Nile use – especially the harmonic minor – are not the 'real deal' but merely Hollywood representations of what Egyptian music might have sounded like. Elsewhere I have heard Egyptian scholars take issue with the band’s use of syntax and grammar) but, for me, they are pedantic, ungenerous and unrealistic. The music of Nile does not aim to preserve historical integrity but to be death metal music.

It has often been persuasively argued that there is an inherent violence in the process of cultural homogenisation whereby ancient and Arabic cultures are conflated with Lovecraft to provide an exotic “Other” against which to juxtapose modern society. That is, in the music of Nile, it is claimed, cultures are ripped from their context to be presented as a sublime threat to enlightened Western values. This is difficult and controversial ground not least because of the easy parallel that can be drawn between such methods and the crude “bogeyman” racial stereotypes that were employed by writers of Lovecraft’s ilk (e.g Algernon Blackwood) as a device to generate terror of the unknown, representing a supposed lawless or superstitious barbarity lurking beyond the borders of the “civilised” world. I submit, however, that the fundamental thrust of Nile’s dualism between “barbarity” (its topic) and “Modernity” (its audience) is not literal, or historical but rather literary and surreal. That is, I propose that Nile’s works offer a surrealist tapestry of distorted fragments from Egyptian and Arabic cultures alongside snatches of Lovecraft to create a mythological archetype of “Otherness” that transcends its constituent parts.

This tapestry achieves conceptual expression in the track “As he creates, so he destroys,” from Ithyphallic.

“Both blind and bereft of mind
He pipes unceasingly on his reed flute
And the notes that rise and fall in measured patterns
Are the foundations of all the worlds
Ever calculating in sound the structure of space and time”*

The “notes that rise and fall in measured patterns” might well represent the different historical and mythological narratives Nile have explored, while “bereft of mind” suggests the distorted, literary context of death metal music. The vision here is almost Blakean; a synthesis of fragments to provide a syncretic truth, or archetype from which all mythologies spring. At its heart, it challenges the notion of theological autonomy, or controlled historical order. God is not the dictatorial Yahweh but rather a blind a idiot, piping mindless, nihilistic music, indifferent to the affairs of humanity; the individual is not a rational, autonomous being, but instead a subject before various demigods that condition his culture and imbue his life with meaning and passion. These things are contextualised by a temporality that claims all such cultures and even such demigods, 'ever calculating in sound the structure of space and time.' Nile's music puts the individual in context rather like a glance upwards on a clear night. In sum, what the band offer is a vision of the untamed epic; a vast, cosmic Otherness against which, and in which, the narratives of rational theology and philosophy play out as but trivial moments. This is not the violence of imperialism but rather violence to its very concept. Their music exceeds representation by the ordered, scholarly processes of academia. History is dis-torted in the dis-tortion of death metal.*

I'm interested to hear thoughts on this and criticisms, particularly with reference to the merits and demerits of Nile's approach. Also interested to hear views on how metal engages with past cultures.

* - "Ever calculating in sound the structure of space and time." - This is a beautiful line. Independently of how it is discussed here, it might serve as a summary of what the best metal offers.
** - Let us not forget that, in Dante, ‘Dis’ is the city of the burning dead.

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