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Topics - Kaliphobic Psychoblack

[1] 2
Metal / Metal culture and "psychosis"
« on: February 28, 2009, 02:08:12 PM »
Does metal culture seem to contribute to a state of mind which could be called a "psychosis"? Demonic screaming, occultism, atonality, chaos, marijuana, amphetamines, etc. These are things generally associated with or contributing to insanity by society.

Or does it expose the split (schizophrenic) nature of modern society and thus expose reality?

Are what are considered psychoses by modern psychiatry simply unpleasant metaphysical conflicts which society wants to ignore, the ignorance of which may lead to a "healthy" state of mind in terms of making money? Or is modern psychology a way to fight such a worldview which would entertain such a notion and thus beneficial? Something else?

In order to change things, or make art, whether for better or worse, must one be "psychotic" to a certain extent? Of course, one could say that there are healthy ways to change things, and unhealthy ways. Some ways lead to healthy societies, others to delusional worldviews which take centuries to eliminate, if they ever are.

If one ends up thrown in the psych-ward by modern society, is one a mental defective or just dangerous to the status quo? Perhaps a little of both?

If I even have to ask this question, do I deserve AIDS?

Metal / Nietzsche explains black metal
« on: September 02, 2006, 03:54:46 PM »
The criminal and what is related to him.- The criminal type is the type of the strong human being under unfavorable circumstances: a strong human being made sick. He lacks the wilderness, a somehow freer and more dangerous environment [Natur] and form of existence, where everything that is weapons and armor in the instinct of the strong human being has its rightful place. His virtues are ostracized by society; the most vivi6d drives with which he is endowed soon grow together with the depressing affects-with suspicion, fear, and dishonor. Yet this is almost the recipe for physiological degeneration. Whoever must do secretly, with long suspense, caution, and cunning, what he can do best and would like most to do, becomes anemic; and because he always harvests only danger, persecution, and calamity from his instincts, his attitude to these instincts is reversed too, and he comes to experience them fatalistically. It is society, our tame, mediocre, emasculated [verschnittene] society, in which a natural human being, who comes from the mountains or from the adventures of the sea, necessarily degenerates into a criminal. Or almost necessarily; for there are cases in which such a man proves stronger than society: the Corsican, Napoleon, is the most famous case. The testimony of Dostoyevsky is relevant to this problem-Dostoyevsky, the only psychologist, incidentally, from whom I had something to learn; he ranks among the most beautiful strokes of fortune in my life, even more than my discovery of Stendhal. This profound human being, who was ten times right in his low estimate of the superficial Germans, lived for a long time among the convicts in Siberia-hardened criminals for whom there was no way back to society-and found them very different from what he himself had expected: they were carved out of just about the best, hardest, and most valuable wood that grows anywhere on Russian soil. Let us generalize the case of the criminal: let us think of men so constituted that for one reason or another, they lack public approval and know that they are not felt to be beneficent or useful-that chandala feeling that one is not considered equal, but an outcast, unworthy, contaminating. All men so constituted have a subterranean hue to their thoughts and actions; everything about them becomes paler than in those whose existence is touched by daylight. Yet almost all forms of existence which we consider distinguished today once lived in this half tomblike atmosphere: the scientific character, the artist, the genius, the free spirit, the actor, the merchant, the great discoverer ... As long as the priest was considered the supreme type, every valuable kind of human being was devaluated ... The time will come-I promise-when the priest will be considered the lowest type, as our chandala, as the most mendacious, the most indecent kind of human being ... I call attention to the fact that even now-under the mildest regimen of morals which has ever ruled on earth, or at least in Europe-every deviation [Abseitigkeit], every long, all-too-long sojourn below, every unusual or opaque form of existence, brings one closer to that type which is perfected in the criminal. All innovators of the spirit must for a time bear the pallid and fatal mark of the chandala on their foreheads-not because they are considered that way by others, but because they themselves feel the terrible chasm which separates them from everything that is customary or reputable. Almost every genius knows, as one stage of his development, the "Catilinarian existence"-a feeling of hatred, revenge, and rebellion against everything which already is, which no longer becomes ... Catiline-the form of pre-existence of every Caesar.

Friedrich Wilhelm Nietzsche, Twilight of the Idols, 45

I think in terms of things that have been written that are relevent to metal, this is probably the most profoundly insightful. Yes, the criminal is an outcast, alienated, outside of society. But what are the Kshatriyas/warrior/ruling castes in ancient times? What is their role? To do the same things that people aren't allowed to do! What happens when slave morality causes an inversion of all values, and a fear of those who understand nature, carry a sword, and lead by it? They are cast down, made evil, dehumanized. Abstract concepts like "Antisocial personality disorder" are invented for them, and they are labelled as such in a manner that suggests  that these traits are caused by a disease. They pick up musical instruments, don leather, paint their faces to show what they are not afraid to be, grab their kerosene, matches, and get moving.

I think Christians should be labelled as suffering from "Antireality personality disorder", and made to undergo group-therapy (the kind that happens with a broom-handle)

So why are so many black metallers self-destructive?

"Militant men in peaceful times attack themselves" is another profoundly relevent quote by the man that provides a lot of insight into the matter...

Sounds like we need a black metal Napoleon.

Metal / Death metal sense of tonality
« on: September 01, 2006, 12:20:31 AM »

Representation of degeneration, representative of an ability to understand more complex musical motifs, or both? Explain why. If both, specify which bands, in the ratio of (degenerationOpposition:greaterUnderstanding)

Don't reply if you don't understand; ask if you almost do.

Metal / Paul Ledney day
« on: July 04, 2006, 08:13:07 PM »
...and we can turn Havohej from an obscure black metal act from the early 90's into a demonic voice which terrorizes Christians on the third sunday of every January. See them cower in the pews as dozens of Hessians from a geographic area comb their hair, put it back into pony-tails, and don suits (just say there's a Christian rock festival and all the bands are coming to whatever church), and then as the Sermon begins, they rip their clothes off to reveal blasphemous garments beneath, as they bellow forth the words they have memorized in unison:


...and so forth.

After church, they drive around like maniacs blasting the Outro, and no matter how far church goers run, they cannot escape the sound of car stereos blasting demonic voices at speaker-destroying volumes. Indeed, even when the police arrive, there will not be calm, as the police will have no idea what the fuck is going on and probably be unable to restore order. If physical violence occurs against the Hessians, they will fight back to the extent allowed by the law.Maybe if Hessians decide to hit a night service, they could have a couple guys run around with portable strobe lights attached to their backs for added pandemonium, and to confuse angry Christians trying to tackle them.

I think this happening in cities the world over simultaneously would cause quite a stir. If Christians the world over are not yet aware that there is a sub-culture that highly dislikes them, they will be for sure after their place of worship turns into a veritable Chapel of Ghouls!

Come on, there have been flash mobs for years now, what needs to be done is to use the internet to terrorize Christians in real life!

As the media tries to track down those involved, designated, eloquent Hessians make statements demanding recognition of their sub-culture as a legitimate cultural entity, reparations for slaughtered pagan ancestors, the release of Varg Vikernes from prison, and the dethroning of the son of God.

I know this reads like an old "anarchy" text file written by a pissed off 15-year-old from the 80's, but surely there are Hessians who relish this idea?

I was going to discard this as a "bad idea" but its been going through my head ever since I started listening to Dethrone the Son of God frequently a couple months ago, and I find myself in public, subjecting innocent bystanders unfortunate enough to be close to my car to the wrath of the Outro. I find myself in public, on the sidewalk surrounded by people, and all of a sudden, I feel an almost uncontrollable urge to let forth a few lines from it at the highest volume my voice can manage. Every time I masturbate, I think of the dead body of Christ.

To us, who have been listening to metal, and probably always had "dirty" minds, it may seem boring and commonplace to blaspheme. Not so for the outside world! They are still offended. They will be shocked. THEY SHALL FALL TO THEIR KNEES PISSING IN TERROR AT THE POWER OF OUR BLASPHEMY.

Metal / Inventor of the distorted dissonant arpeggio?
« on: June 29, 2006, 07:03:03 AM »
I'm talking about the noisy, slower, melancholic atmospheric "riffs" (using the term loosely) used by some black metal bands, the most archetypal example being the intro to the eponymous Burzum track. These arpeggios often use dissonant intervals like minor or major 2nds, creating the effect of ultra-distorted notes bleeding into each other, with an often very melancholic effect. Immortal used them well, and subtly, on the song  The Sun No Longer Rises, most obviously during the first verse.

I'm thinking Thorns might have been the first to use them, on their demos, but maybe I'm totally wrong?

Metal / Dethrone the Son of God
« on: June 28, 2006, 05:52:20 AM »
I must defend this album.

Someone in another thread said something about this album being some guy just trying to shock with his blasphemy or something, and Fieldmouse brought up his ambivilence about this before in another thread. It didn't really seem like much more than a novelty to me either, for a while. With the first several listens, it just seemed like a funny joke, with the hilarious Outro being the most satisfying part of the album. But really, there is more to this album than just sounding wrong. Its one of those weirdo albums that speaks with an obtuse language thats pretty non-obvious, but once it sinks in it becomes highly enjoyable.

First of all, the elements that make it up musically: The guitar riffs are fucking nuts. I don't mean that they're really hard to come up with, but just that they're the product of a mind that instinctually comes up with music that fucks with your sense of melodic expectancy and makes each tremolo picked note a carrot that leads you to believe one thing, but then foils all of your expectations and reveals a perverse inner anti-logic that is genius in what it doesn't do. When the guitars play tremolo melodies, the drums take on a mechanical, repetitive quality that sounds like its being played by a kid banging on stuff over and over again in simple, repetitive patterns. Juxtaposed are sections of consonant drones or mid-paced power chord riffs, along with perverse Incantation-sounding death metal riffs used in a (non-Nordic) black metal context. In these moments, the drums serve to brilliantly elaborate on the basic themes, sounding like a demonic, piss-drinking and far less intricate version of what the drummer on Atheist's Unquestionable Prescence was doing.

This album evokes the absurd very well, and rather than frozen Nordic landscapes, I can picture Paul Ledney standing at the gates of heaven, pissing out pure grain alcohol into a flask,  shoving used toilet paper into it as a wick, lighting it, increasing the flammability of the alcohol a million-fold with a prayer to Satan, and throwing it over the Pearly gates of heaven. Then as the virgin Mary runs out screaming, on fire, from her burning paradise, Ledney grabs her and rapes her until she's nothing but a charred black carcass covered in rancid semen, as legions of undead Hessians strike down the angels and sodomize their corpses as vengeance for being sent to hell for singing along to Blasphemy of the Holy Ghost by Morbid Angel.

This is basically blasphemy and perversion in music taken to its furthest extreme possible. Like most art which goes to the furthest extremes possible, it conveys an essence unlike anything else.

I think on a more serious note that this kind of music is useful for reaffirming removed values, to gleefully piss on the rotting corpse of your old, Judeo-Christian self (which is how you were, in all likelihood, raised). Perhaps someone who had parents who rejected Judeo-Christian values and raised them accordingly might get nothing but a cheap laugh out of it, but I love it.

Metal / Lost aspects of Hessian culture?
« on: May 19, 2006, 08:57:40 PM »
I'm going to conform to the general direction calling a metalhead a Hessian as I really do like the word Hessian better than "metalhead". Metalhead almost sounds perjorative. Hessian reminds me of amoral dudes from Prussia killing a bunch of Englishmen for fun and profit.

So, I read in the Metal FAQ that use of amphetamines was common back in the day, in Hessian culture. Maybe its regional, but the Hessians around here generally just smoke cannabis and sometimes dabble in psychedelics. I'm wondering, did the author mean methamphetamine or less hardcore amphetamines? Meth is WAY harder than regular speed and is typically used by people whom I call the "truly fucked": trailer park types on welfare whose women screw strangers without condoms and have a growing piles of miscarriages laying next to their bathtubs, which are corroded from having too many toxic meth lab byproducts poured down it. In other words, fmp666.com forum posters.

Then there's this whole thing about Hessians who are skaters? I've seen relatively few high-school age Hessians who skate, was this mostly a part of the thrash scene, or were there death metal and speed metal fans who skated?  Was this just a product of the hardcore scene mingling with the metal scene that didn't last?

And the blinkie hunting thing. Was this something a lot of teenage metalheads did in Texas? Did Hessians do this anywhere else? (Fieldmouse seems to have done this independently of knowing about that text file. Hmm...) I get the impression that a section of the Texas metal scene is influenced quite a bit by ANUS, and I personally think that if enough of the people who are from what I suspect to be an ANUS-influenced part of the Texas scene could possibly have the greatest potential to be the next generation of metalheads to make excellent music.

Mr. Prozak also mentioned hacking. I personally have an interest in this, as I love to fool around with low-level software stuff like assembly language, C, and I've been learning about exploits like buffer overruns and network security recently. I actually like being an unemployed parents' basement dweller because I have time to study intricate subjects that even most people who are programmers don't understand, just sit down and read an entire book on my porch all day any time I want, and stuff like that. I believe that nihilistic ideas, hacking and metal appeal to a certain type of  people with similar personalities, sort of grandiose, alienated people perhaps with self-esteem problems, but with a keen sense of the way reality actually IS, who are good at lateral thinking, who are bored by most mundane pleasures (ie, the ones you buy at the store or see at the theater). Old BBS text files related to hacking I've read often have authors who have very metal sounding pseudonyms. Dig zine, a damn good hacker zine which favors quality over quantity and seems to have some ANUS ties. There is also an awesome manifesto by the person known as Goat, presumably the KCUF guy, which is an elitist, very well thought out, and excellently written piece about how hackers basically are the computer users without limits, who go beyond artificial limits like laws, which are in place to control those who can't handle such power because they're, well, not the intellectual elite of computing. The piece ends with some text from this very site, and very obviously applies the principles of this site to hacking. I'll link to it later. If you have any interest in hacking at all, I recommend Dig zine.

Of course, then there's Norwegian and Swedish black metal, which is a bit different, briefly adding remorseless murder, church burning, elitism, nationalism, misanthropy, paganism, and an emotionally detached, casual view of death and suffering to the list of things associated with metal culture.

What are some things that Hessians could do for recreation which may appeal to nihilists, and preferably aren't destructive to nature, and maybe have some value outside of satisfying one's desire to have fun? Are you a Hessian? Do you do certain things with other Hessians that normals don't like and you feel is a worthy thing to do? If so, explain! If metal is just about the music, that's all its going to be about: the music. It needs shared values, and people with similar values enjoy doing similar things. Metal carries with it an attitude that appeals to certain types of people, and if Hessians don't do other things with each other besides going to concerts, smoking cannabis, and drinking beer, you have a subculture that people devote a hell of a lot of their life to which just makes recombinent music without essence, and the people don't have to share common bonds, ideas, and such, they just have to project an image of being a metalhead. What I'm sort of saying here is that I think maybe metal lost a lot of what made it unique. I think that if metal culture had many more aspects than just the music, and these consisted of doing things that normals don't like to do, it could be far healthier, as the normals wouldn't feel like they belong in it, and they would be laughed at. Thus, there would be a section of metal with no normals in it, who form bands, etc. Anyone can enjoy listening to watered down metal music, drink, and smoke dope.   Which is what most metalheads do with each other. Drinking and smoking dope can have their place, but metal if that's all metalheads do socially, then you're just like a bunch of fucking rock fans, no? You're a sexually frustrated normal guy trying to be cool. Jogging suit. Put it on. Now. And don't forget your iPod.

Want to fix metal? Maybe it needs to start socially. Make it something that normals won't want anything to do with. The Norwegians tried to do this, and ultimately failed. Did they fail because they were immature and got in way over their heads into extremely dangerous things, got caught, and thus couldn't forcibly exclude the masses (or lost the will to)? Or is it perhaps impossible to keep the crowd out in this world?

Metal / Altars of Madness
« on: May 10, 2006, 11:45:25 PM »
What can I say about Altars of Madness? I was only 5 when this album came out, and I discovered it when I was 20, but for the last year it has been in my car's CD player more than 90% of the time. This is an album which is remarkable in that rather than becoming boring with age, it becomes even better; no matter how many times I listen to it, I can always count on receiving immense enjoyment from it.

Altars of Madness is a monument to spiritual rebellion. Where punk rock ultimately became an impotent fist in the face of a society that doesn't (gasp!) care, Morbid Angel communicates with the spirit with Altars, the part of the punk rocker that drove him to rebel, before his rebellion was manifested into a tangible, reactionary (easy), ideological form.

Indeed, other human beings are not the focus of Altars. The lyrics, which reek of being written by a thinker, not a writer, do not address other people specifically. In Altars of Madness, there is only You, Morbid Angel, and the multitude of spiritual ideas that form the basis of Judeo-Christian thought, and the ideas of ancient peoples, before dogma, before Christ, before the false promise of eternal life in a state of serviant ecstacy, the wet dream of every weakling. They are better heard than read, as this album contains David Vincent's most passionate vocals. They are rasping and defiant, an imposition of will upon the masses, a means by which the vocalist desperately persuades others to see the world as he does.

Then there is the music itself. There may be a case for accusing Morbid Angel of following too closely to the Verse, Chorus, Verse structure on a few songs, but I think differently. Morbid Angel does not follow the Verse, Chorus, Verse song structure, they pervert it, never following too closely to it, always injecting an unconventional moment, displaying a desire to transcend it not by the means of relegating it to the garbage bin of creativity, but by showing it in the process of being annihilated. It is only rock music in the sense that an anti-hero is still a hero.

Morbid Angel's extremity on this album transcends becoming obsolete due to future albums with greater extremity by communicating it not only through aesthetic extremity, but by the subtle, musical, less-considered-by-idiots elements as well. It communicates in the language of music, not the language of "dance music for people who like to bang their heads" (which is what much death metal has become) but the most forbidden, extreme thoughts of its creators. Even as one bangs their head, their abused brains cannot help but bask in the subtle, chromatic, melodic motifs which premeat this album, and cause the listener to discover new things with each listen, to become further mired in abhorrent thoughts, and fleeting images of things forbidden by cowards.

This is merely Part 1 of my appreciation of this album. I will write in the future about  individual songs, how it takes what Slayer and Possessed did and makes them obsolete for me, how this album relates to a relative newcomer such as myself (viewing it as someone from a different era than this album), the muscial techniques used by Azagthoth, Brunelle, and Sandoval, and my thoughts on how they might have entered a state of mind that would allow them to arrive at them. This is merely the first, embryonic writing that will become a monument to this greatest of death metal albums...

Thoughts are appreciated.

Audiofile / Emperor / Zyklon-B / Zyklon
« on: February 21, 2006, 06:27:22 PM »
Emperor / Zyklon-B / Zyklon
Emperor / Zyklon-B / Zyklon MP3s


"Some guys from Norway who studied a lot of music and came up with a fusion of ancient angst and modern frustrated, hopeless and nihilistic emotion, which they integrated into their primitive black metal, expanding it to an epic style of vastly creative and intelligent music."

Emperor - Wrath of the Tyrant (1992) [ CD $5 ]

Emperor - Wrath of the Tyrant (1992, Uloz)

Emperor - Emperor EP (1993)

Emperor - Emperor EP (1992, Uloz)

Emperor - In the Nightside Eclipse (1994) [ CD $5 ]

Emperor - In the Nightside Eclipse (1994, Uloz)

Emperor - As the Shadows Rise EP (1994)

Emperor - As the Shadows Rise EP (1994, Mediafire)


"The first of the great black metal "side projects" that are halfway bitter humor, halfway serious artistic pseudopods exploring new territory."

Zyklon-B - Blood Must Be Shed (1995) [ CD $4 ]

Zyklon-B - Blood Must Be Shed (1995, Uloz)


Zyklon - Disintegrate (2006, Mediafire)

Metal / "Until the Light Takes Us" documentary
« on: February 20, 2006, 10:11:38 PM »

The documentary Until the Light Takes Us.

Sounds interesting. Apparently the makers like Burzum more than Ulver, but aren't metalheads; they're indie rockers in fact. From what I can read in the article, they don't seem like idiots, and they seem to have at least a minimal amount of respect for those they interviewed...

Metal / Black ambient
« on: February 10, 2006, 09:14:35 AM »
Not dark ambient, but ambient that comes from the same background as black metal.

Aghast, Neptune Towers, Burzum, Ildjarn, Beherit...

Edit: Lord Wind

Anything else that's good?

I can't stop listening to Aghast right now. One of the most atmospheric and creepy things I've ever heard. The two witches' vocals are almost terror-inducing if you're in a dark room by yourself with headphones on.

Metal / The history of metal's opposition to Christianity?
« on: February 01, 2006, 11:00:40 AM »
Metal's opposition to Christianity is one of the things that attracted me to it. I have a question for the old timers: When did extreme intolerance for Christianity (as opposed to mere criticism) become a part of metal culture, and who were instrumental in developing this? (Deicide and Morbid Angel maybe? I'd love to know. I don't have a bunch of old zines filled with interviews to find these things out laying around.)

I've read that black and death metal are the only genres where such hatred of Christianity is the norm, which makes me wonder if there were such intolerant attitudes in the "old days" within these genres. Did your average speed metal fan in the 80s profess opposition to Christianity, if not extreme hatred? How about heavy metal/doom metal fans?

Metal / Production.
« on: January 23, 2006, 09:29:41 PM »
I'm listening to Trasilvanian Hunger right now. I can hear the guitar, the bass, the vocals, even the drums (the cymbals are a little difficult to make out, I'll admit, but they're there), and the low-fi aesthetic enhances its atmosphere. It seems as if the production is not deliberately ignored, but tailored to create the atmosphere that this record so effectively conveys. Are all these people in shitty newer black metal bands who in addition to making shitty music, just ignore production missing the point, ie, that the production was not "bad" per se, but tailored to the recording? In any Burzum album, De Mysteriis dom Sathanas, even some Ildjarn albums, I can hear what is happening with the instruments without great difficulty, and the atmosphere is enhanced by the production. I think there's a difference between lo-fi and inaudible.

Darkthrone mimicked unskilled musicians after Soulside Journey, but in reality were very skilled and knew enough to make the exact right choices in their simple compositions. In the same way, they made the exact right choice in lo-fi production.

Inaudible production which obscures all instruments was used when something was supposed to be obscured to the point of inaudibility, like in parts of Sort Vokter's Folkloric Necro Metal, which treats the recorded music as a soundscape that can be manipulated like an ambient musician would manipulate a drone by turning knobs.

Metal / This vinyl thing.
« on: January 10, 2006, 11:58:54 PM »
For all those who've been into metal for a while, has this stupid fetish for vinyl been around forever? Vinyl may have some (dubious) advantages over other formats, including really huge artwork, but the fixation on it just seems ridiculous to me.

"When's this shitty new album going to come out on...vinyl? I need bigger artwork because it's the only cool part of the entire album, plus my metal buddies will think I'm so fucking cool...Wait, I lied, I actually REALLY DO think it sounds better...No really! I do!"

And this whole practice of making limited runs of horrible albums with extra features is fucking sickening too. SOMEONE'S trying to profit off of retards...These people would buy a fucking Matchbox 20 album if it was a limited edition picture disc advertised for true metalheads only.

Then the people who buy these turn around and call people Jews.

Metal / Funeral Fog lyrics
« on: December 13, 2005, 11:59:30 AM »
Every time this year
This dark fog will appear
Up from the tombs it comes
To take one more life that can be near
In the middle of Transylvania
All natural life has for a long time ago gone
It's thin and so beautiful
But also so dark and mysterious

Once again the priest is messing
May the god bless us all
The fog is here again
That will complete this funeral
From a place empty of life
Only dead trees are growing here
As it comes from afar
Only dead trees are growing here

...Funeral fog
...Funeral fog

...Funeral fog
...Funeral fog

I've wondered, is it supposed to be "Once again the priest is missing"? "Messing" works in a broken English kind of way, but I like "missing" a lot better.

Even if Dead's lyrics weren't perfect in their English and amateurish, every time I read them they send a chill down my spine and I feel I know exactly what it was like to be in Dead's mind. It is a shame he left us before he could do vocals on De Mysteriis Dom Sathanas, but he didn't much like it here anyways, I guess.

If civilization sticks around long enough, people will be discovering and appreciating his lyrics 50 years from now. Maybe not very many people, and many of those will just think they're inept and stupid, but there will be ones who read the lyrics, and when they're done just sit there staring at the page blankly, understanding, and they will see something of themselves that they've never seen expressed in written form.

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