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Topics - Galvanized

Metal / Composition difficulties.
« on: July 08, 2009, 05:29:01 PM »
I've been attempting to compose some music on my guitar for a few months now, and find myself becoming dissatisfied with what I write. I often feel that my pieces become focused on style, and while I find myself intimately acquainted with beautiful structural poetry of other artists I become confused on how to twist this powerful medium to my command. Any suggestions?

Interzone / Why Resentment? And, The War of Symbols.
« on: May 11, 2009, 03:32:50 AM »
There seems to be a collection of largely negative views towards a number of broad categories at this board. Some examples being religious affiliation and non-religious affiliation, as well as the manner in which people conduct themselves in modern times. I'm only asking: why harbor the resentment? Why seek to tear down and falsify these people and their ways aggressively? Is their some sort of revenge needed? What I am speaking of is the apparent need of several board posters to not contribute a positive solution to discussion, but argue the validity of a negative observation of an idea. "Modernity is decay because of focus on the individual, we need focus on the community..." but how? Are you going to use a positive means of doing so that actually encourages others of following your path? Because, as far as I can see, not doing so results in them declaring war on you. You lament this, but do nothing to bypass it. I just would like to know why, as I find myself joyfully pursuing my values. Perhaps I'll fail, and if so I'll redefine my methods and goals, but I prefer to move instead of idly stand by in complaint. As far as the religious against non-religious debate is concerned, I see a war of symbols. We can point out what's wrong with atheism or Christianity, but seem little able to create valid solutions to the problems therein. I personally see little wrong with both beliefs, as I have met stable individuals of both denominations. I also find little use in identifying the wrong, and think it more healthy to identify negative trends within the thinking and acting of the majority of people today and counter-act them effectively. What I mean by effectively is actually making use of these symbols, as pointing out the flaws of their followers seems to incite little more than aggression. Work within these symbols and simply adapt their manner of thinking to your own. I know this was previously mentioned in another thread, but discussion with a user at the forums has provoked thought for myself in this area. People are going to require archetypes that encourage value and action, as some people require direction in order to undertake the pursuit of a goal or the adoption of a value. Instead of bashing the archetypes themselves, can't we use them to our advantage? If people are prone to selecting these affiliations to guide their actions, shouldn't those with healthy ideas be defining the outlines of these associations? For instance, I plan to run for a position on the county seat, and will most likely be advertising myself as a conservative republican, the predominant political choice of the area of the Midwest that I live in. I hope to use this position to encourage not conservative republican ideas, but ideas I feel will benefit the community to the greatest degree. I use generally well-liked symbols of focus on family, community, education, and self-sufficiency. As these ideas play into my ideology, I have no problem making use of them. And honestly, who DOESN'T want a community based on those values? The war of symbols just seems to dilute the process of defining a path and following it, as when someone works towards doing so it isn't often the path that leads to failure, but the inability to create one at the behest of those who seem to prefer non-choice to choice; most likely because this allows them free movement within a community without expectation. You know, no negative consequences for being too lazy to help build the schoolhouse. Further commentary would be helpful.

Metal / Cosmicist riffing.
« on: February 24, 2009, 11:11:32 PM »
I find myself enjoying Tetragrammatical Astygmata much more than Advent Parallax lately. There seems to be a use of melody that rises between what I call the affectionate themes of TA that have a ascending nature to their movement, emblematic of consciousness being irrelevant to hierarchy, despite being part of it. I'd like to discuss this, and see if one can point out for me how these same tendencies surface within Avese Sefira's latest work, because they seem to take a backseat to the more personal themes on that album.

Metal / Interview with Averse Sefira.
« on: November 12, 2008, 12:26:48 AM »
I conducted this interview with Averse Sefira via email sometime ago, and merely posted it out of interest as I recently stumbled across it again in my blog's archives. Here it is for anyone else who may be interested:

Averse Sefira Interview with Wrath and Sanguine (Conducted by Tyler Gebar)

Averse Sefira has become a well known weapon within the arsenal of black metal. In a genre overpopulated with languid practice and naive intent, this ensemble harnesses melody like a blade making delicate incursions into the vitality of the cosmos. Yet despite this precision, each advance unleashes a maelstrom of blistering sands drawn from the wastelands of their inner-being; where the spirit incinerates any scant trace of weakness and mediocrity. Now that my romanticizing is over with, I give you the compelling words of two very commendable artists...

1. Black metal has become redundant both ideologically and musically in recent years. Many would say that ideology, or perhaps the pretentious portrayal of a facade, has become more important to black metal musicians than injecting the true spirit of their unique perceptions into the raw force of music that they craft. Do you believe that this is true, and if so, to what do you attribute this decline?

WSD: I would say this is as true as not. That is a slippery idea because it is subjective. Some bands present with concepts and music that demonstrate their lack of understanding, but at the same time they believe in it so would that count as a facade? My standing complaint is that only a small portion of bands bother to fully understand the nature of the art before forming their own bands and then propagating their mistaken interpretations. Sanguine and I were metalheads since the mid-80s and still we took our time in forming Averse Sefira because we wanted to do it right and not have an early career that was riddled with missteps. So in regards to this decline you mention it seems that the urgency of getting on the bandwagon is probably the biggest culprit.

2. The song structure of your music often bears similarities to the thematic writing of classical composers. Do you enjoy classical and romanticist composers, and how do they influence your work?

WSD: We enjoy it very much. Classical music was some of the first music to which I ever actively listened, starting at about age three. Sanguine is actually an even more avid fan than I, and he attends concerts regularly (which is something I need to get back to doing myself). He also listens to a lot of film soundtracks that have orchestral arrangements. Beethoven, Wagner, Mussorgsky, Prokofiev, and  Mozart are all part of our musical landscape. Much of our arrangements, particularly on the last two albums, have been written with this paradigm in mind. It seems that black metal draws upon classical much more than other forms of extreme music.

3. I have read in past interviews that your albums "Homecoming's March" and "Battle's Clarion" form a complex narration of mysticism inspired by material found in Kabbalic mythology. The albums seemed to interpret the exile of certain sefira from the realm of god, who rebelled against their creator in the ultimate act of attaining freedom (correct me if I am dead wrong on this). To be honest, I have yet to discover how "Tetragrammatical Astygmata "and "Advent Parallax" fit into this plot line. Do these albums continue the conceptual leanings of your early releases?

SM: Interesting question, I've been wondering the same thing myself. For one interpretation of the first two albums, I don't think you're wrong. Initially, all the albums were to fall under an umbrella of themes, with multiple trails of thought weaving together (linked together songs, placement of songs, embedded shallow numerology) to allow every song to have a place in a "correct order." As evolution has occurred, progression taken place and gateways passed through, old forms have been shed in favor of a refinement of original purpose.

Conceptually, the key themes from the first two albums are the same as the key themes of the latter two albums, just dressed differently. Creation springs from destruction in an endless cycle until the cycle is broken. The celestial becomes the terrestrial as the flesh melts away and becomes spirit. The "I" at whatever level of consciousness(es), must come to grips with the process of change and the consequences of transformation. Shaatialn.

4. Whereas "Tetragrammatical Astygmata" found beauty in the roar of the infernal; the dissonance seems to have been restrained upon "Advent Parallax". However, the anthemic melodies paint broader strokes, and are much more pronounced. Was this a calculated progression, or did the change occur naturally?

SM: The vibrations of "Tetragrammatical Astygmata" reflected the flesh while describing the spirit. "Advent Parallax" vibrates the spirit while reflecting the flesh. There was hidden purpose in the intertwining of these frequencies, a purpose not yet revealed. There was a natural calculation that produced progression. It's all part of chasing the dragon. The dragon is either caught and the last seal of understanding is broken and there is nothing left to accomplish or the pursuer is broken in the pursuit, devoured by the dragon and there is nothing left to accomplish. In the end, there is only the void. Only death is real. Thyapihlon.

5. What particular forces introduced you to the metal genre, and what were your initial reactions to it?

WSD: I was driven by "the noise inside my head" as Sanguine has always called it. I started at post-infancy with a fixation on bombastic classical music and Alice Cooper (more for his aesthetic than anything else) and then moved on to progressively louder and scarier things. Actually, I was still very young when Motley Crue broke out with "Shout at the Devil", and I flatly rejected it because they looked like ugly girls and it struck me as gross and stupid. Thrash and proto-death/black reached me more immediately, however, and so I quickly became an adherent to all the well-known acts like Sodom, Celtic Frost, Metallica, Slayer, Anthrax, Voivod, etc. Right about this time I realized that this music was all I really ever wanted out of life. It was not just music but a way of being. I have a lot more to show for myself than just metal, but without it my reality would be a much blander and unexciting one.

6. Several people seem to recognize that the filth of the human race is clogging the pores of our land, and in effect devouring the environment at an agonizing pace. How do you feel about environmental concerns, and those who advocate major change in order to stabilize the planet? Also, do you feel a deeper bond with nature than most around you?

WSD: Eliminating two-thirds of humankind from the globe would be a good start. I myself refuse to breed and I wish more people felt the same. I have an appreciation for nature, yes, though I would be lying if I said I had a deeper bond. I spend most of my time in cities as this is where most of my necessary doings occur.

7. A splurge question, if I may. Reality is said to be the perception of your surroundings through your senses. However, the same stimulus can be interpreted in a vastly different manner by the individual than that of their peers. Do you believe that what the senses experience is subjective, that these experiences define reality, and if so, how do you believe one must measure the validity of their actions?

WSD: I suppose due to our exploration of metaphysics Averse Sefira invites many existential questions. I believe in the idea of a consensus reality where everyone can agree on certain perceptions that are known to be true- the sky is blue, the sun is hot, we need air to breathe, etc. Of course past this consensus there are many vastly different realities in which people live, some to their own delusion and detriment. But I would not agree that reality is wholly subjective any more than its governing factors of time and space.

8. In conclusion, are there any particular words of wisdom or notification that you would like to impart upon your fans who frequent this website?

WSD: I'll take the opportunity to announce that "Advent Parallax" will soon be out on LP through The Ajna Offensive (www.theajnaoffensive.com) Support this excellent label. Also, www.josasmith.com is where one should go to see the works of Jos A. Smith, as his work adorns the cover of "Advent Parallax".

"The Fire says, 'I am your Master. I govern you all as Passions. The Body melts at my touch. The Spirit burns at ignition. The Soul ashes at recession. The Mind an inferno at my stoking.'" -  Averse Sefira

Interzone / Self-Hatred as a form of Egoism
« on: September 01, 2008, 05:04:00 PM »
I've noticed that it is common for countercultures to mock and deny their predecessors. For instance, there is an expansive collection of people in my home town who adhere to the deathgrind, deathcore, and brutal death metal music (and by god you better be sure to know the difference, or forever be a fool) that vehemently speak out against Cannibal Corpse. This seems strange to me, as Cannibal Corpse carries much of the same musical qualities that these scenesters adhere to. Also, while browsing the shelves at the library the other day I came upon a young girl who was composing a research paper. She conformed to the standard regalia of the alt. rock/emo/indie scene down to the last detail, yet upon inquiry of the subject of her paper she informed me that she was writing of how Nirvana ruined music during the 90's and how post-punk and indie rock put a stop to the grunge movement apparently initiated by this group. Nirvana was in fact partially emulated in the majority of hipster groups today, with the most obvious influence being its fatalistic tendencies.

It is standard for these people to find a thin justification to display hatred for art that is similar to their taste in order to create the illusion that they are in fact discerning individuals.

Interzone / 1349
« on: May 30, 2008, 09:25:37 PM »
I saw them mentioned in several interviews with Averse Sefira as well as in a post on their blog. What is the general consensus of this band, and are any of their albums worth purchasing? I haven't heard them yet if it must be known.

Metal / Culture Article about Black Metal
« on: April 26, 2008, 10:40:45 PM »
I'm not sure if the link to this article, or the article itself has already been posted; I even have a sneaking suspicion that someone registered at this forum wrote the piece presented (there was a lack of information about the writer available on the internet). Anyway, here is the link:


The Article is called "Everything You Wanted to Know About Black Metal but Were too Afraid to Ask" by a writer named Behrang Farshi. It is basically well-known information here, but I know that it has been asked before if outside sources would ever take an intelligent, notified glance at black metal. If I'm not mistaken about the nature of this writer than that educated glance is exactly what this article provides, and even if not then at least it is presented in a format that may carry some validity to the academic world.

Metal / Advanced Poetry?
« on: April 11, 2008, 07:59:52 AM »
I've been pondering the purpose of vocals in the death and black metal genres lately, and found more questions than answers. Nietzsche describes music as the ultimate representation of the will because it is a direct link between sensual perception and the will of the artist. Modern music attempts to adopt the mantle of a poetic artform by using a lyrical focus from which the listener can construct a visualization of the artist's will. Metal obviously de-emphasizes a central vocal melody, but the best metal often carries with it in-depth lyrics that enhance, or at best narrate, the representation of will found in the song. Do you think that metal thus relies on poetry to construct an image through its music? If it does, then it does not conform to Nietzsche's definition of absolute music, which states that absolute music appeals completely to the senses. I'm not saying that it's lack of acheiving this state degrades the quality of metal at all. On the contrary, many a poem can be inspiring in the most profound ways; however, for a form of art that reaches towards not necessarily classical emulation, but the same will that fueled the movement of classical composers, you would wonder if any artists would forego lyrics or vocals in order to project their will in a completely abstract manner. Thoughts? Corrections? Suggestions?