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Topics - death metal black metal

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Metal / Masochism
« on: February 24, 2006, 05:23:46 PM »
Texas death metal like Imprecation or Revenant; are also Mexican Nationalists, to some degree. Highly recommended.


Audiofile / Witchfinder General
« on: February 23, 2006, 07:12:44 PM »
Witchfinder General
Witchfinder General MP3s

"NWOBHM band that straddled doom and hard rock with traditional folk influences."

Witchfinder General - Live '83 (2005) [ CD $9 ]

Witchfinder General - Live '83 (2005, Mega)

Metal / Keith Kahn-Harris' Metal Weblog
« on: February 23, 2006, 05:47:36 PM »

As the name implies, he's half-Jewish -- the other half is English, which suggests that Jewish men can have babies, as the UK ain't known as "Brokeback Island" for nothing.

He writes academic articles on metal. Most are pretty good. He hasn't yet made the connection between nationalism and Zionism, nor snapped out of the multicultural daze, but this is common to academics: few of them study philosophy or the structure of argument. Still, metal has few more educated or enthusiastic defenders.

Metal / Why Local Bands Fail
« on: February 23, 2006, 05:29:05 PM »
 Welcome to Houston, where no great rock band escapes alive. Haaga's is the story of just one glorious failure, how one of the best rock CDs of this millennium went unheard, but there are plenty more lesser tales of woe where that came from.

Recently, an L.A.-based Web site called Musicbizadvice.com printed a list of "20 Reasons Why Musicians Get Stuck at the Local or Regional Level." Most Houston bands make about ten of these mistakes on a daily basis. Either the bands have no goals, or their goals are poorly defined, or each member has different goals. (See the scenario above.) Other bands change styles with each album. Still others seldom rehearse (again, see above) or rarely put much thought or effort into their live shows, while another contingent believes fervently that they will be "discovered," fairy tale-style, even if they don't bother to put up a Web site or publicize their gigs in any way.


Michael Haaga = former dead horse vocalist/guitarist/songwriter.

Metal / Rigor Mortis "Shroud of Gloom" video
« on: February 15, 2006, 05:42:14 PM »

Metal / On politics in black metal
« on: February 15, 2006, 01:36:04 PM »
I hoped to avoid this topic but...

Every genre has shared beliefs. Similar ideas = similar sound = genre.

In black metal, it is almost exclusively derived from European romanticism. Worship of the ancient, experience instead of material results, looking at life as adventure, death is balanced by beauty of life as a whole including suffering and death. European romantics like Keats, Shelley, Blake, Wordsworth also influenced the Doors and Black Sabbath.

As part of its focus on nature, romanticism is nationalistic. Why? Nationalism preserves uniqueness (difference) over sameness; without nationalism, everyone gets bred into one type of person ("the grey race," as some say). Nationalism is not racism; racism is universal preference for one race over all others, where nationalism is preference for each race in its own country. A racist would exterminate all black people, but a nationalist would remove all white people from Africa and all black people from Europe.

I don't see the black metal people as hateful racists like the moronic degenerates from GBK (except their vocalist Rich, from Vinland Winds, who is a good guy in my book even if I don't agree with him on everything). Racists try to prove that black people/Jews/Mexicans suck by showing you intelligence charts, skull shapes, crime stats, whatever; my point as a nationalist is that I don't care to pass judgments on other people. Intelligence isn't OBJECTIVELY proven as a beneficial trait, nor is lack of what we call criminal behavior. These are things (in philosophical terms) specific to our tribe. Nationalists say each tribe should have its own space, and be defined ethnically, culturally and linguistically. That's a logical "and" between those, so without all three, a person does not qualify, e.g. an ethnic German who behaves according to some other cultural standard would be excluded as would a Zulu who behaves according to a German cultural standard. Nationalism is a Darwinistic, localized view of populations as organic entities.

SO what I'm trying to say here is...

You can be a nationalist without getting involved in what I see as "hate." I think both neo-Nazis and anti-Nazis are fucked up, hateful, dysfunctional people. I don't have a problem with trueblood National Socialists; I'm not fond at all of "white nationalism" and "white supremacy" as these are crowdist genres (revenge of the masses against the elites).

I don't think black metal is inherently hateful, and I don't think it's inherently Nazi, but I know that it's not capable of being anti-Nazi. It is inherently nationalist. Americans often don't understand nationalism because they are of mixed European and other tribes. Those people's opinions are irrelevant however as it is selfishness that motivates them to call nationalism racism, hate, etc.

I would like to keep political topics off of this forum as they tend to dominate everything, anti-Nazis versus nationalist sympathizers, etc. There are plenty of fuckin' articles about politics on this site, and we have a forum for political and philosophical debate. If you want to learn about national socialism, Modern History Sourcebook, Hitler Historical Museum and LNSG library are good places to read. I would rather this forum not become a debate over Nazism.

Thanks to all for reading.

Audiofile / Saint Vitus / St. Vitus
« on: February 09, 2006, 06:37:02 PM »
Saint Vitus
Saint Vitus MP3s

"Doom metal barrage from West Coast USA."

Saint Vitus - Heavier Than Thou (1991) [ CD $10 ]

Saint Vitus - Heavier Than Thou (1991, Mega)

Metal / Metal Writings
« on: February 08, 2006, 12:15:34 PM »

Metal / New Impaled Nazarene March 28
« on: February 07, 2006, 06:17:30 PM »
The new Impaled Nazarene album 'Pro Patria Finlandia' in stores on 28th of March 2006 World Wide!!

Visit www.impnaz.com and Camp Nazarene Messageboard for up-to-date facts about the new album, the band and what the fuck others have to say on the messageboard.

IN has just returned home from a triumphant minitour in Mexico, where blood was thicker than water and no souls were saved on the altar of Nuklear Metal altars.

IN is getting ready for a massive european tour, starting 1st of April 2006 and covering the whole fucking Europe + other targets. Read more from the www.impnaz.com updates and see when the circus hits your hometown...

The Camp Nazarene team


Metal / A new metal genre
« on: February 06, 2006, 07:09:03 AM »
Just for the heck of it.

1) Burzum crosses itself with first album Enslaved, and we get something that's folk without the folk rock, and metal without the dumb.

2) Ras Algethi crosses over with At the Gates, so you get something with clean vocals (Metallica + choral) and the long melodies of ATG.

3) Suffocation crossed with Atheist and Gorguts. Instead of constant ranting complexity, you get the trademark Suffocation explosivity mixed with something of a melodic nature. I suspect albums would be four songs, 12 min each. Mix in some Deicide "Legion" to make it scary.

4) Godflesh crossed with Burzum.

The roots of a new metal genre will be built on the old. My guess: no more death vocals, and it will use melodic structure in the style of black metal. And where does My Bloody Valentine fit in?

Metal / What is death metal?
« on: February 03, 2006, 01:34:45 PM »

Death metal is structuralist heavy metal that borrows heavily from classical and industrial music. Its heritage is equal parts neoclassical heavy metal from the 1970s and hardcore punk from the early 1980s; if you throw Discharge, Judas Priest and King Crimson into a blender and set it on "high," you might get something like death metal. It took from roughly 1983-1988 for death metal to fully evolve, and at that point, it experienced six golden years of fruitful growth before lapsing as black metal eclipsed it in popularity.

The original underground musical genre, death metal was completely unknown to most people until 1997 when it became fodder for mainstream commentary after several school shootings. During the 1980s and early 1990s, it was impossible to find death metal in normal record stores and chains; most people ordered it from small mailorder companies, or "distros," that stocked underground metal exclusively. The underground in fact replicated every aspect of the normal music industry, including journalists and radio stations, to avoid being tainted by "commercial" or "mainstream" music.

We say death metal is "structuralist" because, in contrast to rock music, its goal is not a recursive rhythm riff that encourages constant intensity through verse-chorus structure; death metal, like black metal after it and prog rock and classical before it, uses "narrative" song structure, or a string of phrases connected in such a way that they effect musical and artistic change throughout the song. While rock music aims to find a sweet riff and ride it, and much of older heavy metal does the same, death metal is like opera: its goal is to use riffs to introduce more riffs, and through those, to create a treelike structure of motifs which resolve themselves to a final dominant theme. In this, death metal (like the progressive rock and synthpop bands that influenced it) is closer to classical music than rock music.

The history of rock music has been written by commercial promoters who have tried to establish its "authenticity" and uniqueness, and therefore, almost all mainstream publications are hostile to death metal. Death metal reminds us that rock music, blues and jazz did not arise autonomously in America, but were based on centuries of European popular music (the I-IV-V chord structure of the blues is derived from European folk music, and its "blues scale" is a modification of Asian and Celtic scales). Rock music is a scam, and its marketing makes it seem to be something greater than what it is, which is the same old music dressed up as a product. Death metal more than any genre before it broke from the rock tradition, and therefore is a threat to the rock establishment and its profits.

Like most musical genres in the modern time, death metal is constantly under assault not only from external interests, but from within, as self-interested people try to make rock music and dress it up as death metal. These attempts to simplify the genre would benefit those who attempt them, as they would both be able to make a saleable product (being similar to established musical tastes, it sells easily and broadly) and be able to claim the "authenticity" of belonging to an outsider form of art such as death metal. These false death metal bands have polluted the genre with the same mainstream dogma and musicality that death metal sought to escape. Like all human social breakdown, this breakdown occurs through the selfishness of individuals who are unwilling to admit that the health of the genre is more important than their personal profit.

Death metal flourished from the mid-1980s to mid-1990s, and then was for most purposes replaced by black metal. Where death metal was structuralist with heavy emphasis on chromatic phrasing and hence rhythmic, black metal used narrative construction based on melody (an innovation of later and progressive death metal bands as well, such as At the Gates, Atheist, Gorguts and Demilich). As such, it is often hard to tell where death metal ended and black metal began, although in their mature form they are distinct genres. In this, and in the aesthetic components of death metal borrowed by mainstream bands as varied as Slipknot and Nirvana, death metal lives on.


Metal / WSJ: death metal and cookie monster
« on: February 03, 2006, 01:25:42 PM »
While the extreme branch of heavy-metal music known as death metal is defined in part by often-vile lyrics about violence, catastrophic destruction, nihilism, anarchy and paranoia, its singing style is associated with a beloved goggle-eyed, fuzzy blue puppet.

Death-metal vocalizing is also known as Cookie Monster singing, if not in tribute to, at least in acknowledgment of, the "Sesame Street" puppet that blurts in a guttural growl, his words discharged so rapidly that they tend to collide with each other.

All this was news to people at Sesame Workshop, the nonprofit organization behind "Sesame Street." "We have nothing to do with it," said Ellen Lewis, vice president of corporate communications. "What is it?"


Metal / Sepultura guitarist is spawn of Nazis
« on: February 02, 2006, 06:48:33 PM »
The Metal Exiles: I noticed something in your bio, you are into World War II. What intrigues you about that?

Andreas: "I was born in Brazil because of World War II. My mother was born in 1945 and was forced to move here with family because of it."


Metal / End of an era
« on: February 01, 2006, 07:29:27 PM »
Twilight of the Idols
by David Anzalone

Eras are relative. Most people, if they are lucky, will live about three-quarters of a century and in that time they usually come to believe that the goals and standards of their time were superior to those that followed. Sometimes this is a belief that is fueled by idealized perceptions, particularly in the case of the Baby Boomers, but other times it is a truth that cannot be ignored no matter how much denial we heap upon it.

My era is the rise of metal as a viable art form, circa 1985. Some will snort and cite the ilk of Motley Crue and Ratt as a case against any artistic content in this music. My response is that those bands were not metal bands, not in the way I think of them. The difference is that nobody who cared about those bands then still truly cares about them now. Fans of yore catch a glimpse of an entertainment news segment that features a bloated Vince Neill loping across and arena stage, and there is no sense of pathos, no sense of glory days gone by, no sense that an era is at an end.

Some months ago, I had the opportunity to briefly meet a legend. He had been in music since the late 1970's, and every band he had created was successful and made a significant mark upon the genre. True, he was aging and weighed more than he should, and the hair dye and concealer was obvious up close, but he was a legend nonetheless. I was always a fan of his work and it was exciting to finally meet him, but seeing him in that time and place struck me in a way that I never expected. It made me sad. This is not because someone I admired was showing his age, or that he presented badly. On the contrary, I was pleased to find that he was gracious and friendly. It was when he walked on to the waiting shuttle van that I felt like I was watching him disappear forever, that he was the last of a breed that was about to go extinct. He was a "big name," one who had survived many trends and industry coups, but he still had everything in common with those who made their marks in smaller but equally indelible ways.

Metal music, especially in its most extreme quarters, is about death worship or more often a cynical acceptance of this inevitability. Why, then, are the losses in recent years so poignant to so many of us? Why is it harder than it should be to see people like Quorthon and Piggy go to the soil, even though their most important contributions were already years behind them? The answer is simpler than any of us might realize: these passings are not part of a cycle. They are glaring red flags that indicate a clear termination point that is definitely closer than we want to acknowledge. Metal is an art form that has suffered diminishing returns for over a decade, and the deaths of its pioneers are painful in the face of knowing that they will not be replaced. Even now I feel that there are still new bands worth hearing, new albums worth acquiring, but I cannot lie to myself and believe that the current output is every bit as valuable as ones from "the good ol' days."

This is where I claim my era. Many neophyte fans of metal are confused when anyone over thirty decries the current crop of mediocre glut, because they were not there when the best albums were released. They cannot understand that there was a time when damn near every release that hit the shelf at the local record store was something special, something that would be cherished and revered for decades to come. It is useless to live in the past, but the beauty of music is that when played it is always in the present whether it was written 1808 or 1988. To know this allows me to revisit, revere, and remember, as much or as often as I choose. It allows me to look at where metal is now and attach it to that legacy without dismay or bitterness.

In the last few years, I have avidly acquired many of the pieces that I could not readily afford when they were first released as I was but a child. I have a room in my home that houses these gems, a room where they are allowed to rage forth and be ageless again and again. But despite the best moments when I am in the thrall of a favorite work, it is hard to not feel heaviness in my heart and know that an era, my era, is nearing its end. My role, and the role of those who preserve those days as I do, is to refuse to forget but also to accept that things will never be the same. As the years drift by we will see the passing of more heroes and innovators and the best thing we can do is bow our heads for a moment, take their records from the shelf, play them at maximum volume, and remember our era once more.


Metal / Italian Satanic cult
« on: January 31, 2006, 06:04:22 PM »
Two members of a heavy metal band called the Beasts of Satan were yesterday given hefty prison sentences for killings that shocked Italy and raised questions about the spread of devil-worship among young people.


(I'm waiting for someone to scream "YHBT!" and collapse in laughter, but it doesn't seem like that's gonna happen.)

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