Welcome, Guest. Please login or register.

Login with username, password and session length

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - metalcore

1 2 [3] 4 ... 10
Interzone / How mass media manipulates minds
« on: November 27, 2013, 09:20:52 AM »

I don't think one needs to posit the conspiracy theory expressed in surrounding text - Jacques Ellul described the situation well many decades ago.


Metal / VALLENFYRE to begin recording new album
« on: November 27, 2013, 09:20:11 AM »
VALLENFYRE to begin recording new album

In 2011, Gregor Mackintosh (PARADISE LOST) announced that he would go back to his death metal roots with his new band, VALLENFYRE. The level of expectation was set high with a line-up consisting of Hamish Glencross (guitar; MY DYING BRIDE), Scoot (bass; DOOM, EXTINCTION OF MANKIND), Adrian Erlandsson (drums; AT THE GATES, PARADISE LOST, THE HAUNTED) local friend Mully (second guitar) - and of course, Gregor on vocals (for the first time in his career!). Their debut, A Fragile King, was a reference to Gregor's father's (lost) battle with cancer; the harrowing, crusty death-doom found on the album was hailed as "a beast of a record" (Terrorizer UK) and "a sonic force that bites deep and hard" (Decibel). Simply put, A Fragile King is "old school to the bone" (Rock Hard Germany).


Two years and some exclusive live shows later, VALLENFYRE is pleased to announce that they will begin recording the follow-up to A Fragile King in January 2014 at GodCity Studio in Salem, MA. Produced by Kurt Ballou (CONVERGE, BLACK BREATH, NAILS), this currently untitled opus will see the crusty death-doom merchants take their sound to new extremes.


Gregor Mackintosh comments: "We were very pleased with our debut album as a dirty mix of all our earliest death, doom and crust influences. On the follow-up, we want to take this much further and develop our own niche. It will be a stench-ridden, grim, face-melter that will separate the men from the boys."


VALLENFYRE's second album is scheduled for a worldwide release in April 2014 via Century Media Records. In case you missed A Fragile King, be sure to check out the music video for "Cathedrals Of Dread": http://www.youtube.com/watch?v=ibetDfGWOFo


Stay tuned for more news coming soon!



Gregor Mackintosh (PARADISE LOST) - Vocals and Lead Guitars
Hamish Glencross (MY DYING BRIDE) - Rhythm and Lead Guitars
Mully - Rhythm Guitars




Press opportunities for VALLENFYRE are available, so please contact nikki.law@centurymedia.com to schedule!

Nikki Law
Product Manager/Publicist
Century Media Records
2323 W. El Segundo Blvd.
Hawthorne, CA 90250
P: (323) 418-1400 ext. 141

Metal / Re: Death Metal Underground Weekly Newsletter
« on: November 27, 2013, 03:19:25 AM »
We treat heavy metal music as a form of art and culture

This is exactly what fans and industry do not want.

They want blind excitement and the corresponding hype.

This is why it's an upstream swim.

Metal / How metalheads end up in nu-metal (no, not AIDS)
« on: November 27, 2013, 03:10:24 AM »
Labonte told us. “I started playing guitar and the first time I ever played a show I was 16 years old. I played a couple shows and I guess I got the bug, I played guitar for a long time then I stopped for about a year.”

He continued, “To be honest with you I was in a death metal band and Korn came out and the band I was in was like, ‘We want to do stuff like that’ and I wanted to play metal so I quit. Then I started singing for Shadows Fall and then All That Remains became a thing and we started getting some momentum.”


Metal / Similarities between metal and hip-hop
« on: November 27, 2013, 03:05:05 AM »
Since 2004, Beste has been working around the Third and Fifth Wards and South Park neighborhood, photographing the city's hip-hop scene, from its rappers to the fans in the nightclubs. With writer Lance Scott Walker and editor Johan Kugelberg, he's put together a new book, "Houston Rap," which tells the story of these neighborhoods and the artists and music they've produced.

Beste points out "some similarities between the two subjects: each culture has its own code of ethics and aesthetics and dress code; their own way of speaking in slang terms. They're both fringe musical subcultures that strongly represent a time and place."


Metal / Shadow Kingdom Records year in review
« on: November 26, 2013, 04:28:17 PM »
Shadow Kingdom Records Year in Review and Upcoming 2014 Releases

Known, unknown, classic, obscure, and traditional, Shadow Kingdom Records has got it all to meet your metal and rock cravings. Label owner Tim McGrogran had this to say about 2013's run of righteous releases and the first batch from 2014:

"We're heading towards the end of the year and with that said we wanted everyone to take a look at the entire label in a snapshot. 2013 has been our most successful year to date. We've more releases than we've ever done and extremely happy working with such talented bands. We've put out some really cool lost gems and also new releases with some of the best bands within their genre. 2013 has brought everyone 22 amazing albums and when we look back, we're not sure how we're going to top this year, but below you can have a peak as to what's coming early in 2014."

Coming in 2014:

RUN AFTER TO - Run After To / Gjinn and Djinn - Release Date: January 7, 2014
Italian Doom Metal that influenced Paul Chain. Classic, dusty, dark recording. Essential 80's Doom!

NIGROMANTE - Black Magic Night - Release Date: January 7, 2014
New band from Spain. Classic styled Heavy Metal for fans of Venom, Motorhead, and Anvil! Super thick guitar tone...very heavy, fun, and memorable!

Get in touch at clawhammerpr@gmail.com for promo requests and interview availability.
Check Out Shadow Kingdom Records Releases from 2013:

COVEN - Destiny of the Gods

Amazing Doom/Punk/Heavy Metal. There is no other band on the planet that sounds remotely close to them. They've created their own genre.

FUNERAL CIRCLE - Funeral Circle

Canadian Epic Doom Metal that will capture fans of Candlemass, Black Sabbath, Cirith Ungol. The vocals are mix of different styles which make it sound unique and amazing.

LOST BREED - Save Yourself & The Evil in You and Me (sold individually)

Wino / The Obsessed- inspired Doom Rock that featured Wino himself at one point. Fans of Saint Vitus, Soundgarden, The Obsessed, etc will dig this. This sounds more like Maryland Doom Metal, than their New York roots would suggest.

THE MEZMERIST - The Innocent, The Forsaken, The Guilty

The most insane heavy metal find of all time. Besides a handful of people knowing, who would have guessed we could find a band with Bill Ward playing drums on it? Fans of King Diamond, Cirith Ungol, and Frank Marino take notice. Psychedelic Metal with the most famous and influential drummer in metal!

NIGHT DEMON - Night Demon

Fantastic, fun and energetic US Metal band that lives and breathes the N.W.O.B.H.M. If you love anything from that era, don't miss out on Night Demon. For fans of Iron Maiden, Diamond Head, Raven, etc.

SINISTER REALM - World of Evil

Another incredible-sounding, pure Heavy Metal album from this amazingly consistent band. You cannot find one bad review of any of their albums anywhere. If you like 80s Heavy Metal, Sinister Realm does it better than most of the Traditional Metal bands did back then.

THE VEIN - Scouring the Wreckage of Time
Jaw-dropping Death/Doom Metal featuring members of Altar of Oblivion. Imagine the same massive tones of AoO churning out 90s-styled, death-laden Doom and there you have it! Quality all the way.

Also released in 2013 were newalbums, re-releases, and unearthed gems from CORSAIR, CARDINALS FOLLY, MANILLA ROAD, REVELATION, DARK QUARTERER, BOLDER DAMN, DECEPTOR, and PAGAN ALTAR. Visit the links below for more info.




Metal / Carcass "Reek of Putrefaction" LP
« on: November 26, 2013, 04:27:48 PM »

CARCASS: limited, "vomit-inducing" 'Reek of Putrefaction' LP re-issue available on Black Friday (Nov. 29th)

On Black Friday (Nov. 29th), a special "vomit-inducing" LP re-issue of CARCASS' debut album, Reek of Putrefaction, will be available at participating retailers in the USA. Featuring the original banned artwork of autopsy photographs collected from medical journals, this Reek of Putrefaction LP comes tastefully wrapped in "black body bag" shrink-wrap with an assortment of bonus material waiting to be exhumed, including: (1) 24"x36" fold-out color poster of album art (2) hand-numbered toe tag (3) puke-splattered vinyl.


Limited to 1500 copies, this re-issue will disappear fast. To find a store that carries the Reek of Putrefaction LP, please visit: www.recordstoreday.com


Reek of Putrefaction track-listing

Side A

1. Genital Grinder

2. Regurgitation of Giblets

3. Maggot Colony

4. Pyosisified (Rotten to the Gore)

5. Carbonized Eyesockets

6. Frenzied Detruncation

7. Vomited Anal Tract

8. Festerday

9. Fermenting Innards

10. Excreted Alive

11. Suppuration

Side B

1. Foeticide

2. Microwaved Uterogestation

3. Feast on Dismembered Carnage

4. Splattered Cavities

5. Psychopathologist

6. Burnt to a Crisp

7. Pungent Excruciation

8. Manifestation of Verrucose Urethra

9. Oxidized Razor Masticator

10. Mucopurulence Excretor

11. Malignant Defecation


Nikki Law
Product Manager/Publicist
Century Media Records
2323 W. El Segundo Blvd.
Hawthorne, CA 90250
P: (323) 418-1400 ext. 141

Metal / Cóndor newsletter
« on: November 25, 2013, 05:53:04 PM »
This will be the first installment of a somewhat regular newsletter in which we will attempt to keep interested parties up-to-date on band news. It will be written in English for the sake of convenience. Without further ado:

-The writing process for album #2 is currently under way and prosperous. We have set aside studio time in late July/early August of next year. The album's tentative release date is January 2015. We are adamant about self-releasing  and manufacturing the album, but are looking for a distribution deal. More information will be revealed in time.

-Of our original stock of 300 physical copies we still have a good 200 remaining. We currently have distribution only in Colombia with the exception of a few stores in Cambridge, MA. Any info on distros, online or otherwise, would be of great help!

-We are also looking for some press! We are more than willing to send promotional copies to zines or blogs and are available for interviews in English, Spanish or French! Any contacts or info would be enormously appreciated!

See our review of Cóndor here:


Metal / Robert Fripp
« on: November 25, 2013, 06:05:42 AM »
 "I'm interested in creating a new kind of guitar technique that is really working on three levels of being: heart, hands, and head. A way of life. More akin to yoga than formal guitar technique, actually an approach to living. When you listen to Casals, Mehunin or even Ravi Shankar, their music is considerably more than notes on a piece of paper, but most rock musicians are hopelessly inadequate, rooted to the earth. Most rock guitarists are thrashing around onstage using a very low-grade energy and this energy comes from a very nasty quarter. Rock & roll is not very intellectual and neither is it spiritual."


At the moment, we're going through a transition from the, if you like, old world to the new. The old world is characterised by what one contemporary philosopher has termed "the dinosaur civilisation,' large and unwieldy, without much intelligence - just like the dinosaur.

An example of this would be, say, America or any huge, worldwide power. Another would be any large band with lots and lots of road managers... all these units originally start out to service a need but you now have a situation where, being creative, they have to create needs in order that they may continue to exist. In other words, they've become vampiric.


The transition will reach its most marked point in the years 1990 to 1999. Within that period, there will be the greatest friction and, unless there are people with a certain education, we could see the complete collapse of civilisation as we know it and a period of devastation which could last, maybe, 300 years.


I saw in America enough evidence of the breakdown of social and economic order to know that something's fundamentally wrong and it can't be reversed.

You don't have to be very bright or perceptive to realise that, frankly, the system is breaking down. Life is much too complex and involved to be continued in the present way.


DM - I've always liked to refer to King Crimson as the greatest heavy metal
band of all time.

RF -  "Schizoid Man," [from _In the Court of the Crimson King_] for me, was
intelligent heavy metal. It was very very hard to play (in its
time--technical standards have come forward now, of course). It was so hard
to play, and it was so terrifying. In early 1970 I saw Black Sabbath doing
_Paranoid_ (and this is without in any way criticizing Black Sabbath--they
were excellent in their field), and it didn't frighten me. And I had
thought that this new breed of music, with Black Sabbath, would viscerally
affect me in the same way that, for example, "Schizoid Man" did. And I was
not moved in the same way. I think "Red" [from the Crimson LP of the same
name] was a beautiful piece of Heavy metal--in 5 [the unusual time
signature 5/8]. I mean, I hadn't heard heavy metal in 5 before, but for me
that was it.

DM - I always found King Crimson _much_ more terrifying than the music that
was supposed to be.

RF -  The interesting thing about the heavy bands is that the weight is in
the volume. For me, the weight is in the structure of the music, the
tension in the music as it's written and played. And if you _then_ add
enough volume so it's visceral, it doesn't have to be deafening to rip you
in two places.


GP--You can't fall back on old stock licks.

RF -- That's right, you have to play intentionally. Now, we would be remarkable--if we could be with that amount of intention all the time.


 Well, I mean, the guitar isn't in equal temperament. Supposedly, it is, but it's not at all. The intonation varies up and down the fingerboard. Someone with a sensitive ear could not possibly play a minor third on the first fret. Couldn't do it. It torments my ears. I can't bear intervals on the first fret, by and large. If one is using, for example, the old standard tuning. If it's going to be an E-major, with G# on the third string, first fret, and E on the bottom, I can't bear the sound of it. It's so off.


If you make an album for $5,000 and sell 100,000 copies, then it's commercially feasible. If you made the same album for $150,000, it would be a disaster. But if you work in a good garage studio, with two musicians playing together--then it needn't be an expensive item.


In 1974, King Crimson did not earn money by touring. When we split up, expenses disappeared and we kept on cashing royalties. Only then did we begin to earn money. I’ve always thought that the American approach that consists of creating a hit and capitalise on its success is a stupid idea. On a commercial point of view, I prefer to aim at a valuable catalogue instead of the ephemeral success in the charts. So I prefer to make albums that succeed in earning me money in the long run.


When I was eleven, that is twenty-one years ago, I understood that the conventional methods for teaching guitar were poor. Good rock’n’roll guitarists have always refused to take lessons. This symptom proved that guitar manuals were inefficient.


"The last interviews I did, when Crimson broke up, I didn't know how to explain it" Fripp continues. "The top of my head blew off. That's the easiest way of describing it. And for a period of three to six months it was impossible for me to function. In a different world, with a different set of responsibilities, I would have been incapable."

"My ego went. I lost my ego for three months. We were recording 'Red' and Bill Bruford would say, 'Bob - what do you think?' And I'd say, 'Well - 'and inside I'd be thinking how can I know anything? Who am I to express an opinion? And I'd say - 'Whatever you think, Bill. Yes, whatever you like.'"


"It's all interlocking," Fripp begins. "As Eno would say, in a complex system one can never accurately forecast al the possible outcomes. So one takes a decision and rides on the dynamics generated by that. I would express that in the phrase, 'riding the dynamic of disaster.'"

"One very concise way of expressing that would be to say - since everything fucks up, you might as well learn to bodge it."


Brian doesn't really have a very strong musical background in terms of the craft of music. But what he does have is good taste. He has good taste and a perception of what's right that very, very few musicians have. So working with Eno, it's refreshing to hear the few notes but right, rather than the many, many, many that are wrong from most musicians of my acquaintance.


Go back to that night in early in 1967 when Sgt. Pepper was on the radio and I didn't know what it was, and my listening involved Bartok and Clapton and Hendrix and the Beatles and Stravinsky. To me they were all speaking with the same voice but with a different accent. Now for me it was if only the feel of Hendrix, if only the vocabulary was a little more sophisticated and if only Bartok was on guitar with a Marshall stack and the power turned up on 11, you know. There was a viscerality, about standing in front of a wall of Marshalls and Les Pauls and thrashing Fender basses that didn't speak directly to the intellect.


“So that was until 1990. I don’t know what is beyond that but my sense is there is a powerful impulse coming into the world in the spring of 1991, so powerful we can’t predict it.”


Fripp: All right, but the expectation's there, because it's all improvised, I mean, it's purely improvised. It's an album I did with Brian Eno, _No Pussyfooting_. Side one is...I had just met with the fellow and had gone and spent the evening with him with a glass of wine and coffee, this was in 1972, and he had a system of recording with two Revoxes (tape machines), and he didn't explain it to me and I didn't know what it would sound like, but I plugged in and played. It was simply, there you are - do it. I had never heard the guitar quite sound like this, yet it provided me with the technical facility for getting a sound which I had been hearing on the inside for about five years, but had never managed to get.


McLaughlin: I think it was gradual. It started when I was about nineteen or twenty. I had no religious education whatsoever. I was taught religious instruction at school, which was completely meaningless. Christ, God...it didn't mean anything to me. And, in fact, it was my association with Graham Bond that really triggered a desire to know. This must have been around 1962. You know, we were smoking dope and this and that I remember having a few acid trips, and that itself is a very profound psychic influence, I think. Psychological, too. And Graham Bond wwas, bu this time, involved in the Tarot, but, how shall I say, not just the cards, but from a philosophical point of view. He had this book he showed me one day, which I found fascinating. He was talking about what is possible...which seemed science fiction...what kind of powers we're capable of. I bought the book and traced through the author, discovering through his index that he was a disciple of Romana Maharshi, who was a great Indian saint. So that was my first contact with Indian culture in general and philosophy in particular, and I joined the Theosophical Society in London, since my appetite was whetted. The best thing about the place was the library. They had incredible books in this library by people you don't find in the local library around the corner. And it was through reading that I came in contact with the Indian philosophy. I felt I was walking into a new world. It's a wonderful feeling to suddenly discover after all these years that the world was not how you thought it was. In fact, everything was possible...to discover that everything's magical, nothing's ordinary.


McLaughlin: Happily, my mother was an amateur musician; she was a violinist and there was always music going on in the house. We got a gramophone one day, and someone had Beethoven's Ninth, and on the last record, which is at the end of the symphony, there's a vocal quartet in which the writing is extraordinary...the voices and the harmonies. I must have been about six or seven when I distinctly remember hearing it for the first time. I suppose that's when I started to listen.


I saw Segovia in the Winter Gardens, I think on my 15th birthday, and he played without a microphone. Then John Williams began using a microphone, and wow, the problems this caused, ‘this isn’t what the acoustic guitar sounds like….’ But the point was that you could hear it. So for me, I am happy to accept amplification, but you also have to accept that it is no longer the same instrument. As soon as you change the function of the performance space or presentation, everything changes.  The contextual understanding of the listening community, all of the assumptions have changed, so our hearing of that has also changed, so you can’t treat a moment in time, you can only be in the moment. But, and this is an interesting thing, if you make the shift, within the listening, you can go into the eternal moment in which the music is fresh, but for that you need mastery, which is Pablo Cassals, playing a part for the first time on a guitar, even though 40 years have been spent in the preparation for the moment, this is irrelevant, this is the first time that it has been played, and this is mastery.


However the key thing for them in any possible deal is to hold your own copyrights. So, I was sent a draft contract, I went through page by page, until I found that the copyrights would not be held by them, and also that anything that they recorded during the period of the deal belonged to the record company. So I wrote some very strong words on it, tore it up, and gave the pieces to a secretary within Discipline and said please return this to point records, the pieces, it was my formal response to their proposal.  And the head guy at point actually went to Polygram, the parent company and said ‘can we do something to work with this’ ‘Absolutely not!”


"I had realized that King Crimson was too important to let die. That particular band was especially good, perhaps because we shared an intense frustration and animosity towards the world in general and ourselves in particular. We were very creative, most definitely because pain and frustration lends itself to such a fruitful artistic state.”


Fripp: I did a radio show in New York with Bob Geldof of the Boomtown Rats recently, and he said he didn’t believe rock and roll could change anything. And I said to him, I disagree. So he said, well, if you build up hope in Joe Bloggs in some slum in Northern Ireland, he’s just going to wind up disappointed. And I said, look, if there’s Joe Bloggs in his appalling social conditions in Northern Ireland with no hope, and that becomes Joe Bloggs at No. 8 in his appalling social conditions but with hope, you have two entirely different situations.

S: That’s right. Good point that.

F: Then it’s possible for the geezer at No. 10 to get some hope, too. And then it spreads up the street, and you have a community. Then you have a community. Then you’re talking about something which isn’t dramatic and exciting, but which contains the possibility of real change. It’s easy to miss because it’s essentially personal, and it’s very quiet. And like Joe says, it takes time.


I realized rock was very malleable—that within it you can play classical music or jazz or blues or whatever you cared to, and it was still rock.


Marx was something of an old fart. He was an authoritarian and a centralist, and what he proposed was essentially the same as capitalism, except with a different set of people in charge. In any kind of realistic political change you have to start on the inside, by changing the central value system. You can’t start by changing the structure, change has to be a personal choice.


America’s a commercial culture, and I suppose it’s nearer a pure democracy than we are, ’cause if you want to vote you just put your dollar in and it counts, and there’s a great deal of social mobility as a result


I think the main difference between my generation and yours is that in the 60s it was “everything seems mad, therefore I question my sense.” Now it’s “everything seems mad, therefore I approve my senses because everything is crazy.”


One night at the Marquee in 1969 King Crimson went out on a tangent, maybe just for five minutes and you never knew where the hell it was , but I was telepathic—I knew everything that was going on, and what people were thinking. Because there was that energy in the room, and… I became a human being in such a way that… if that’s what it means to be a human being, then I want to become a human being! Once you’ve had it, you have to find a way of living like that again. Otherwise there’s no point in anything.


New standard tuning (NST) was invented by Robert Fripp of King Crimson in September 1983.

For me "Schizoid" was the first heavy metal track, that sound of an electric saxophone going through a Marshall amp.


In 69 there was a great hostility and great prejudice toward technique and intelligence in music, as if one had to be stupid and incompetent to matter in British rock. Today it's like athletics, where people are ready to lose a competition to make money. The athletic spirit is dead, the guitarists, although more and more technical, play only on the surface.


“The quality of artistry is the capacity to assume innocence at will, the quality of experiencing innocence as if for the first time,” he says.


In Fripp’s view, a narrow focus on sales turns the artist into an automaton. “The greater the success, the greater the pressure to keep repeating yourself,” he says.


"Forty years ago there was a market economy. Today there is a market society. Today, everything, including ethics, has a price.”


“Music is a language in which we can express our struggle with what it is to be a human being,” he says.


As a basic scale I use a diatonic major scale based on the second or the Dorian mode which enables me to play in either a major scale, by taking the root note of the scale down one, or also as a basis for minor. I also enjoy whole-tone scales. But it really doesn't matter, it all depends on what you're trying to create. Sometimes the best way of evoking a certain feeling is to use a melody, and certainly there are few things as satisfying as a superb tune or a very nice chord change. I find them completely overwhelming -- practicing all different keys and scales and becoming familiar with them, and then when you walk on stage completely forgetting all you've ever practiced and just being. I don't allow a form of practicing to get in the way of the music.


Nothing worthwhile is acheived suddenly, although it seems that way. One practices and goes through situations and there seems to be no improvement. But one day, a certain situation will arise in which one will have to do something as a player or as a person. And one will then find that one is able to meet that situation. Then you know that all the years' hard work and training has not, in fact, been useless. Nothing is, in fact, ever wasted. It all depends on what one wants. I suggest that guitar playing, in one sense, can be a way of uniting the body with the personality, with the soul and the spirit. Working in a band is a good way of making magic. You see, I don't think of myself as a musician. Again, as I said, I think the guitar is a pretty feeble instrument. One uses the tools one has at hand and does what one can. What affects my playing more than anything is my state of mind. I mean, obviously, there are physical things involved, like if one hasn't practiced for a week, one's muscles won't work. I've been more interested in being a musician than a guitarist. Being a musician one creates music; being a guitarist one plays the guitar, which doesn't mean music is involved in it.



by Eric Tamm

Interzone / Re: The Case Of The Mysterious Shoe.
« on: November 23, 2013, 07:30:21 AM »
Driving through the hood, I saw a solitary shoe. It did not appear to be damaged past the point of use. My guess is that someone either got hit by a car, or got his ass beat. If you're going to pound the crap out of someone, one good way is to plant your foot on his foot and then whale away. His saving move is to break free and leave the shoe behind.

You said that you appreciated the Beatles early on because of the sarcastic approach that they took to music.

And the harmonies.

Do you feel as if you take a sarcastic approach to rock?

If you don’t, you’re dead, you know, and if you believe that good things are going to happen, it’s going to be severe for you later, because they aren’t.

How do you think Motörhead would have fared over all these years if you had kept its original name, Bastard?

We would be right on the money when the punks came in, wouldn’t we? We never actually went out as Bastard. You can’t write to the lunatic fringe, you know.


Metal / Heavy metal as vanguard of culture
« on: November 22, 2013, 08:19:41 PM »
 In 1999, Jarl Ahlkvist presented a unique multi-week exercise for using music in the sociology classroom, he had students take the entire musical genre and explain it as a cultural phenomenon.

In lieu of the textbook, Ahlkvist combined articles, monographs, and reader sections and used these readings to serve as guides for engaging in cultural analysis.  After taking about two class periods to lecture on basic concepts, sociological imagination, and symbolic interactionism, students began the cultural analysis of heavy metal music.  In an early in-class assignment, students learned to examine the multiple dimensions of any cultural product by moving beyond musical and lyrical analysis and looking at the visual dimensions of heavy metal music.  Students were split into small groups and asked to examine the visual imagery found on album covers and select common symbols.

Ahlkvist’s next objective was to illustrate the ways in which people and objects are rooted in specific social contexts.  Through lecture on the history of the genre and playing segments from various popular songs, Ahlkvist brought out key themes in various subgenres of heavy metal. Students were asked to use the internet to find material about specific heavy metal bands, lyrics, and subgenres and incorporate their findings in both class discussion and a short paper.

Students were also required to create an “ideal type” heavy metal fan using the data they collected from the internet as well as lecture material and earlier projects.  After creating this “ideal type” students had to explain why their profile was ideal.  Ahlkvist stated, “Once they see the correspondence between their ‘ideal-type’ heavy metal fan and the music as a cultural object, students realize that culture is like a tool kit, a resource from which people choose the ‘tools for living’ that help them make sense of their social experience” (Ahlkvist 1999:131).


Metal / Black Sabbath star Tony Iommi receives honorary degree
« on: November 22, 2013, 08:18:25 PM »
The founder member of the Birmingham heavy metal band was awarded an Honorary Doctorate of Arts by Coventry University.

He said it was a "great honour" to receive the doctorate and thanked the university for his nomination.

The honorary degree was "in recognition of his contribution to the world of popular music", the university said.

It recognised "his role as one of the founding fathers of heavy metal music and his status as one of the industry's most influential figures".


Interzone / How mass culture steals your mind and soul
« on: November 22, 2013, 08:17:39 PM »
The basis of mass culture in all its forms is an experience recognized as common to many people. It is because millions are known to react in the same way to scenes of love or battle—because certain colors or certain kinds of music will call up certain moods—because assent or antagonism will inevitably be evoked by certain moral or political opinions—that popular novels, movies, radio programs, magazines, advertisements, ideologies can be contrived. The more exactly he grasps, whether by instinct or through study, the existing element of sameness in people, the more successful is the mass-culture maker. Indeed, so deeply is he committed to the concept that men are alike that he may even fancy that there exists a kind of human dead center in which everyone is identical with everyone else, and that if he can hit that psychic bull’s eye he can make all of mankind twitch at once. (The proposition, “All men are alike” replaces the proposition, “All men are equal” in the “democracy” of mass-culture institutions, thus making it possible for rich or politically powerful mass-culture leaders to enjoy their advantages while still regarding themselves as “men of the people.”)


Metal / Decibel 100 best black metal albums
« on: November 22, 2013, 08:16:44 PM »
100 Inquistion – Ominous Doctrines of the Perpetual Mystical Macrocosm
99 Mutiilation – Vampires of Black Imperial Blood
98 Leviathan – Tentacles of Whorror
97 Mayhem – Ordo Ab Chao
96 Revenge – Infiltration. Downfall. Death.
95 Shining – V:Halmsted
94 Rotting Christ – Triarchy of the Lost Lovers
93 Peste Noire – La sanie des siercles – Panegyrique de las degenerescence
92 Vinterland – Welcome to my last chapter
91 Mystifier – Goetia
90 Alcest – Le Secret [EP]
89 Krieg – The Black House
88 Marduk – Those of the Unlight
87 Gehenna – Malice [Our Third Spell]
86 Aura Noire – Black Thrash Attack
85 Tormentor – Anno Domini [demo]
84 Judas Iscariot – The Dying Light
83 Craft – Fuck the Universe
82 Cobalt – Gin
81 Fleurety – Min Tid Skall Komme
80 Mysticum – In the Streams of the Inferno
79 Ludicra – Fex Urbis Lex Orbis
78 Negura Bunget – Om
77 Darkspace – Darkspace I
76 Destroyer 666 – Phoenix Rising
75 Ved Buens Ende – Written in Waters
74 Deathspell Omega – Fas – Ite, Maledicti, in Ignem Aeternum
73 Immotal – Battles in the North
72 Funeral Mist – Maranatha
71 Blut Aus Nord – Ultima Thulee
70 Sigh – Scorn Defeat
69 Diabolical Masquerade – Ravendusk in My Heart
68 Gorgoroth – Incipit Satan
67 Watain – Casus Luciferi
66 Bethlehem – Dark Metal
65 Xasthur – Telepathic With the Diseased
64 Samael – Blood Ritual
63 Root – The Book
62 Wolves in the Throne Room – Diadem of 12 Stars
61 Necromantia/Varathron – Black Arts Lead to Everlasting Sins
60 Taake – Over Bjoergvin Graater Himmerik
59 Dimmu Borgir - Enthrone Darkness Triumphant
58 Blasphemy – Fallen Angels of Doom…
57 Enslaved – Below the Lights
56 Abruptum – In Umbra Malitae Ambulado, in Aeternum in Triumpho Tenebrarum
55 In the Woods… Heart of the Ages
54 Anaal Nathrakh – The Codex Necro
53 Nifelheim – Nifelheim
52 Nachtmystium – Instinct: Decay
51 Lurker of Chalice – Lurker of Chalice
50 Deathspell Omega – Paracletus
49 Varathron – His Majesty at the Swamp
48 Impaled Nazarene – Suomi Finland Perkele
47 Krallice – Krallice
46 Absu – Tara
45 Acturus – Aspera Hiems Symfonia
44 Tsjuder – Desert Northern Hall
43 Thorns – Thorns
42 Blut Aus Nord – The Work Which Transforms God
41 Samael – Worship Him
40 Master’s Hammer – Ritual
39 Bathory – The Return…
38 Leviathan – The Tenth Sub Level of Suicide
37 Burzum – Hvis Lyset Tar Oss
36 Dissection – The Somberlain
35 Drudkh – Blood in Our Well
34 Von – Satanic Blood [demo]
33 Ulver – Nattens Madrigal – Aatte hymne til ulven I manden
32 Deathspell Omega – Si Monumentum Requires, Circumspice
31 Cradle of Filth – The Principle of Evil Made Flesh
30 Bathory – Hammerheart
29 Emperor/Enslaved – Emperor/Hordanes Land
28 Celtic Frost – Morbid Tales EP
27 Watain – Sworn to the Dark
26 Venom – Welcome to Hell
25 Immortal – Pure Holocaust
24 Darkthrone – Under a Funeral Moon
23 Dissection – Storm of the Light’s Bane
22 Sarcofago – I.N.R.I.
21 Burzum – Burzum
20 Weakling – Dead as Dreams
19 Hellhammer – Apocalyptic Raids [EP]
18 Rotting Christ – Thy Mighty Contract
17 Darkthrone – Transilvanian Hunger
16 Enslaved – Frost
15 Mayhem – Live in Leipzig
14 Bathory – Blood Fire Death
13 Emperor – Anthems to the Welkin at Dusk
12 Ulver – Bergtatt – Eteeventyri 5 capitler
11 Bathory – Bathory
10 Beherit – Drawing Down the Moon
9 Burzum – Filosofem
8 Immortal – At the Heart of Winter
7 Marduk – Opus Nocturne
6 Satyricon – Nemesis Divina
5 Venom – Black Metal
4 Emperor – In the Nightside Eclipse
3 Darkthrone – A Blaze in the Northern Sky
2 Mayhem – De Mysteriis Dom Sathanas
1 Bathory – Under the Sign of the Black Mark

my edit

99 Mutiilation – Vampires of Black Imperial Blood
85 Tormentor – Anno Domini [demo]
73 Immotal – Battles in the North
64 Samael – Blood Ritual
61 Necromantia/Varathron – Black Arts Lead to Everlasting Sins
58 Blasphemy – Fallen Angel of Doom
49 Varathron – His Majesty at the Swamp
41 Samael – Worship Him
39 Bathory – The Return…
37 Burzum – Hvis Lyset Tar Oss
36 Dissection – The Somberlain
34 Von – Satanic Blood [demo]
30 Bathory – Hammerheart
29 Emperor/Enslaved – Emperor/Hordanes Land
28 Celtic Frost – Morbid Tales EP
25 Immortal – Pure Holocaust
24 Darkthrone – Under a Funeral Moon
22 Sarcofago – I.N.R.I.
21 Burzum – Burzum
19 Hellhammer – Apocalyptic Raids [EP]
18 Rotting Christ – Thy Mighty Contract
17 Darkthrone – Transilvanian Hunger
16 Enslaved – Frost
15 Mayhem – Live in Leipzig
14 Bathory – Blood Fire Death
11 Bathory – Bathory
10 Beherit – Drawing Down the Moon
9 Burzum – Filosofem
8 Immortal – At the Heart of Winter
4 Emperor – In the Nightside Eclipse
3 Darkthrone – A Blaze in the Northern Sky
2 Mayhem – De Mysteriis Dom Sathanas
1 Bathory – Under the Sign of the Black Mark

and some omissions!

Demoncy - Joined in Darkness
Enslaved - Vikinglgr Veldi
Impaled Nazarene - Ugra-Karma
Gorgoroth - Antichrist
Belial - Gods of the Pit Pt 2
Profanatica/Masacre - split
Graveland - Celtic Winter
Gehenna - First Spell

1 2 [3] 4 ... 10