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Topics - death metal black metal

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961
Metal / Is heavy metal 'rock'?
« on: December 03, 2004, 04:01:53 PM »
The record stores in the downtown malls here have metal filed under 'rock.' For some stuff, like heavy metal, this makes sense... but Burzum and Incantation?


962
Metal / James Murphy Death Tribute
« on: December 03, 2004, 02:07:51 PM »
DEATH TRIBUTE NEWS FROM JAMES MURPHY

Hi All,

I've just returned home to Florida from a 6 week stay in Los Angeles where I got tons of work done for the Death Tribute CD, Within The Mind, which I have been working on together with Deron Miller of cKy for a while now.

My first week was at Deron's home where he recorded rhythm guitars for several of the album's tracks. I was expecting that he would do well but he blew my expectations out the door... he played the songs amazingly and knew them right off the top of his head.. and very few punches were necessary (a rare feat, trust me)... he knew the songs THAT well!

In week two I stayed at the home of one-time Death guitarist Albert Gonzales. Albert, as those who know their Death history very well will remember, was the guitarist who took my place for the second US tour in support of Spiritual
Healing. I had met Albert while I was still in Death when we played a festival that his then band, Evil Dead, also played. Albert is a killer jazz-influenced
player who's solo style obviously impressed Chuck quite a bit back in 1990 and which is even more developed now and his contribution to the Within The Mind tribute is VERY cool and brings his part in the legacy of Death to full circle.

During week three I made a quick trip up to Seattle where I recorded Nevermore guitarist Jeff Loomis, Himsa guitarist Matt Wicklund, and ex-Forbidden,
ex-Nevermore guitarist Tim Calvert. Jeff laid down 2 incredible solos, but that will be no surprise to those who have heard him and followed his career in
Nevermore. Matt and Tim recorded a great solo each. it was cool to see from Matt's
contribution yet another example that tasteful playing is alive and well in newer metal bands and it was an equally great pleasure to see Tim step back in from musical retirement (he has a successful aviation career) and show that he
still has it.

Jeff Loomis and myself

For week four I was back at Albert Gonzales' home where Rise Vocalist/Guitarist Istvan Lendvay also resides. Those unfamiliar with Rise may know Istvan
from his touring stints as fill-in guitarist and bassist, respectively, for Behemoth and Vital Remains. Istvan lent his vocals to one track with great results.
I also spent a few days resting and recuperating from the heavy schedule during this week.

Week 5 brought me to the home of Brujeria, Asesino, ex-Fear Factory guitarist Dino Cazares where drummer Nicholas Barker (Brujeria, Old Man's Child, Lock-up, ex-Dimmu Borgir, ex- Cradle Of Filth)  was also staying during a trip to the US to rehearse with Dino for some Brujeria shows and to write some material for their as yet unnamed new project. Nick laid down the foundation for 2 more
songs for the tribute and Dino contributed his signature rhythm guitars to one of those. once again, I am very happy and I can't wait for everyone to hear them on the CD. off the subject of the death tribute for a moment.....during this week Dino and Nick asked me to record and mix 2 of their new songs for their new band.. I did and I can tell you that it's awesome material and these two guys will be roaring back very soon with a full CD of new material with their new band and it's awesome, brutal, fast, technical, VERY heavy and catchy.

Dino Cazares, Deron Miller, me, Nicholas Barker

Week 6: amidst preparations to fly home and wrapping up the recordings with Dino and Nick I also managed in the final week to meet back up with Deron Miller who laid down an excellent vocal track and I also brought another bassist on
board who happens to be an old friend of mine and a long time Death and death metal fan - Tony Campos of Static X . I've know Tony since about 1996 and, despite that his primary band is not known for playing death metal, his sincerity as fan of Chuck's music and death metal in general is the same now as it was when I first met him some 8 years or so ago.

I'm back in Florida now and planning the next trip out.. this time the east and northeast US and a short trip into Canada... time to buy new thermals!   as always I welcome your comments.... just don't bother attacking the credibility or musicianship of any of the guests.  each were held to high standards and 2 major criteria... #1: each must have been a fan of Death and Chuck for years
#2: musicianship, musicianship, musicianship - each guest must be able to play Chuck's music... and well.

Thanks for following the progress and for your patience... it's going to be
worth the wait!

~James Murphy
www.deathtribute.com
http://www2.truestorymail.com/adminl/adminl/www.msanthrope.com/jamesmurphy

(Chuck's corpse continues to draw maggots, but many of those contributing are talented, although I question the sanity of anyone who thinks Death is that difficult to play.)

963
Metal / The Great Rock 'n Roll Swindle
« on: November 30, 2004, 04:00:11 PM »
The Great Rock 'n Roll Swindle

When one is young, there is a need to find a common index of things to discuss with one's friends. In times when words were less inexpensive, these included the myths and stories of culture, but now, it is basically limited to products. Whether media products, or tangible products like game systems, these are what one has in industrial society to talk about, besides the "news" which is, as most kids will readily note, vastly recombinant and usually a lot of paranoid hype about nothing.

Rock music was created as a product. Essentially, they first hyped the blues, portraying it as the wisdom of an alien and suppressed culture, as if the alien and suppressed culture of Indo-Europeans before Christianity wasn't real enough for them; however, cultures that emphasize healthy values don't sell as many products, so that - fortunately - was not what was marketed.

We're told about the blues form now and given the idea that a group of impoverished musicians got together and created it to sing of their sorrows at the mean hands of their oppressors, but really, the blues form is a distillation of European popular music by those who, without the benefit of music theory, needed a quick way to emulate it. Thus a simplification to the point of barebones, and development from there.

If you know your way around a pentatonic scale, you know how convenient the notes of the blues scale are, and how convenient the blues chord progressions are: basically, you can't screw it up. It doesn't require genius or years of training to produce. Although what you can do with it is highly limited, and its distillation of the vivid notes of the scale creates a constant intensity which is contrary to most artistic needs, it's easy to make and understand, thus accessible to everyone. Change the appearance of the artists, or add some trivial finishing touches, and you have something "new." It's the perfect product.

From there, it was easy to re-introduce elements of other popular music, add a seemingly white face, and voila! A new version of the same product, with the same advantages. It doesn't take much brains to borrow some licks, a good beat, a bassline, and hype your own particular neurosis into a hit. The Beatles got to pretend they were prophets for having discovered musicality in rock, but really, they were more reactionary than revolutionary: they were introducing more complex elements into a culture designed to be simplistic for the purpose of having its essence escape no one in a crowd of intelligence ranging from borderline retarded to high normal.

Tap your foot, to the beat; catch the hook, sing along. It's something "new" and you should be discussing it, and buying it, because your friends are. Because young people are introduced to this culture first, it forms the basis of what they know as "music" and thus what they expect for the rest of their lives. And to compete socially, they begin buying lots of expensive CDs and assorted paraphrenalia, and may even get some instruments to slog along with their own band. It's the perfect product.

Notwithstanding that most of rock 'n roll is bland, and if you listen to it for more than five times in a row, you will become very bored, it dominates the airwaves, and has even assimilated divergent genres like techno and hip-hop (that which has no character of its own can assimilate anything). Its simple instrumentation allows for very basic production, which makes it loud and easily heard while one is pumping gas, smoking crack, buying products, or having a thrilling orgasm in an AIDS-infested bathhouse. In fact, it is best if one is either wasted or doing something simple and repetitive, as it's perfect for a reduced concentration.

Even the best of your kids, no matter how smart they are, are going to want to have friends. If their friends talk about TV, video games, and music, and very little else, these kids are going to go looking for the best in rock. Of course, since the whole thing is a giant ripoff, they will end up thrashing around until they find something that is less offensive, and settling for that. It's an early lesson in passivity: don't aim for the best, but find something that sucks less. This will provide good training for their future numb, neo-mindless bureaucratic jobs!

I was fond of some metal music because it broke the rock formula. Where rock uses a fixed structure, defined succinctly as "an intro, a verse, a chorus, second verse, a second chorus, a breakdown section, back into a double length chorus and outro" by one experienced source 1, metal uses a narrative structure: songs develop, like classical songs, according to a central melody or "shape" of a dominant riff. Much as Mozart buried a very simple melody in very complex symphonies, metal bands shape their songs around an idea, and use a circuitous series of introductions, breakdowns, bridges and riff motif rotations to convey it.

This took a long time to develop, and was really not even extant as a concept until the late 1980s, exemplified best perhaps by Metallica's tribute to classical music, "Orion," or Bathory's classically-inspired "Blood, Fire, Death." These were, like the Beatles, a reactionary impulse against the dumbing-down that is the basis of rock music. I had high hopes for this genre, but alas, the social impetus that gets people into rock music also tears down anything that the crowd as a whole cannot appreciate.

Crowds detest those who stand out. The crowd mentality is paradox: one must be an individual doing what everyone else is doing, of their own "free will," of course. This way the individual gets the best of both worlds. They can worship their own ego, and also, socialize in a way that guarantees they won't offend anyone, thus eventually will get whatever they want, whether it be sex, drugs or simply, friends. Because these individuals have no other way to succeed, and because they depend on the crowd, they enforce it on others. Rock music is a product of the crowd.

When metal finally succumbed to the fetal impulse toward lowest common denominator at the turn of the millennia, it was an appropriate self-sacrifice, worthy of Jesus on the Cross. All of that labor to bring rock music to some degree of braininess, first by prog-rockers inspired by the Beatles, and then by generations of metal bands, was eventually dragged down by the nature of rock music - it is a product, and a product needs the crowd to buy it. This is why rock produces bitter old men, since 99.99% of those who get involved with it experience no real success, and the remainder are neurotic lapdogs kept by the industry and discarded when their usefulness is over (enjoy your suicide, Mr. Cobain - you're right: you failed).

Conservatives, or those who wish to uphold (post-Christian) "traditional" values, have a singleminded approach toward rock music. They will loudly proclaim that it's crap, and then ignore whatever their kids bring home because, after all, the kids are stimulated by the music's ability to provoke that react in brain-dead parental units. "Son, I'm reading the stock pages - turn that crap off and go to your room." That further heightens the marketability of rock. Liberals, of course, listen to jazz and world music and contort themselves pretending they can tell the difference between artists, tracks and genres.

My approach to rock music is to recognize the wisdom of this piece from the same source cited above:

There are twelve different Major keys and twelve different Minor keys. In each key there is a scale of eight notes, the eighth note being the same as the first but an octave above. A chord is where two or more notes are played together. There are three basic Major chords and three basic Minor chords in each key. You do not need to know the above but if you do want to, that's it.1

Our schools, public and private alike, have been dumbing themselves down for years to provide more inclusivity. First it was for the less-rigorous cultures of Southern and Eastern Europe, infused with the failed remnants of the once-great Greco-Roman empire, and then it was for new groups of people from other cultures which didn't have a classical music tradition like that of Europe. This isn't to slam those groups; they can do what they want. However, it's time to bring back classical music education for the simple purpose of debunking rock.

When one is familiar with how easy it is to pick out a basic riff and harmonize it, then make a pop song, the mysticism of rock - the longstanding tradition of "authenticity" through alienation extending from the blues through punk - is vanquished, because the music is seen as un-fascinating since, well, it's actually quite bland. You have a basic chord progression, and you use notes in that chord to determine what keys you can switch to, if you do at all; guitar solos are a matter of staying within some degree of modal coherence to the progression underlying them, or using the pentatonic so everything "sounds good." It's not rocket science.

That's the approach I'd take. Our kids deserve better music, but in order to tell the difference, their first experience with music has to involve knowledge, not the crowd-pleasing ignorance that makes rock a perfect product. Stamp your foot and scream that all rock is crap, and well, they'll run to MTV and go buy the latest rock or rock-hybrid at $16/CD. Show them something better, regardless of form - it's even possible to simply make brainier rock music, as Yes and Bathory and King Crimson did - and they'll slowly continue the reactionary process of converting rock from moron fodder into something listenable. That alone is victory over the crowd.

November 30, 2004

http://www.anus.com/

964
Metal / How to have a hit #1 single
« on: November 28, 2004, 07:33:27 PM »
Firstly, it has to have a dance groove that will run all the way through the record and that the current 7" buying generation will find irresistible. Secondly, it must be no longer than three minutes and thirty seconds (just under 3'20 is preferable). If they are any longer Radio One daytime DJs will start fading early or talking over the end, when the chorus is finally being hammered home - the most important
part of any record. Thirdly, it must consist of an intro, a verse, a chorus, second verse, a second chorus, a breakdown section, back into
a double length chorus and outro.

http://www.klf.de/online/books/bytheklf/manual.htm

965
Metal / Thrash metal
« on: November 23, 2004, 10:26:59 PM »
In my view, and historically speaking, this is a nonsense term.

Thrash music = metal/HC crossover.

Speed metal = Metallica, Destruction, Megadeth, Exodus

They are radically different genres, and both embrace leftism with the lock-step of post-hardcore punk bands.


966
Metal / Metal master's thesis
« on: November 20, 2004, 02:11:43 PM »
He ain't just heavy he's a masters student
13 November 2004

As Dave Snell sits on an old wooden bench, dressed in a black Marilyn Manson T-shirt, slightly unshaved and wearing dark glasses, he assures us he is not a violent thug or a weird loner.

He looks the part of a heavy metal music listener though and indeed he is.

But, the 24-year-old is also a Waikato University masters student researching why people listen to heavy metal and trying to change the perception society has of him and his peers.

"A lot of us have got into the scene (heavy metal) as a reaction to something that has happened in our lives. They may be having trouble at home or fighting oppression. It really helped me when I was diagnosed with Crohn's disease when I was 15. It was a way of venting my frustration," he said.

The Metallica fan said heavy metal also enabled people to make friendships and develop a sense of community around the music.

"It really bugs me that it comes under such criticism. Others think that people who listen to heavy metal are uneducated or bums. From my own experience people within the scene place a great deal of value on being part of that (heavy metal) group."

Dave, who would like to study for a postgraduate diploma in community psychology, has had different reactions from people about his research.

"People in the heavy metal scene are ecstatic about it, and people in the psychology department at the university are really supportive. Others outside of the university think it's a bit of a joke or look down their nose at it."

"We're stereotyped as being angry and violent, but it's just the way people interpret the lyrics. People tend to take very literal translations but you have to know about the band and when the song was written. Context plays a big part. But the more people know about the scene and understand it, the better," he said.

He hoped to complete his thesis on heavy metal next year.

http://www.stuff.co.nz/stuff/0,2106,3095052a11,00.html

967
Metal / Post-2000 albums
« on: November 13, 2004, 05:48:25 AM »
What are the good metal albums released after the year 2000?

Quote
Averse Sefira - Battle's Clarion
Ildjarn-Nidhogg - 2003

Low standards = low future for the genre.


968
Metal / The American Nihilist Party
« on: November 10, 2004, 11:04:01 AM »
The American Nihilist Party is a punk metal band from Portland Maine, incepted late 2001.

http://home.gwi.net/~jbernierjr/

969
Metal / Solitude Aeturnus
« on: November 08, 2004, 08:30:20 PM »
Dallas doom metal band Solitude Aeturnus release their 6th album on Massacre Records in early 2005. Visit their website to listen to their music.

http://www.eternalsolitude.com/

Join the Yahoo!(tm) group to get updates about Solitude Aeturnus.

http://launch.groups.yahoo.com/group/EternalSolitude/

970
Metal / QUIETUS on rapture radio
« on: November 07, 2004, 12:06:32 PM »
Rapture Radio will be playing the new version of
"Destroyer of Worlds" from QUIETUS this Sunday
(November 7th) at 6 PM CST (GMT -06:00) on The Rapture
Sabbath! The Rapture Sabbath is a two-hour competition
on the first Sunday of every month between twenty
bands where their songs are played and then voted upon
by the listeners, and the best ones are put on their
CD compilations for worldwide promotion! This is a
great opportunity for underground bands, so
submissions are welcome for upcoming shows. Tune in
tomorrow night and vote to show your support! If you
haven't checked out the new version of "Destroyer of
Worlds" with drummer Iwan Hendrikx, be sure to check
it out on the Rapture Sabbath!

To tune in, go to:
http://www.raptureradio.net

971
Metal / Ancient - Eerily Howling Winds
« on: November 05, 2004, 05:17:23 PM »
Supreme Chaos Records (Germany) will, in March next year, release a CD containing the original Eerily Howling Winds demo tapes from '93 together with other unreleased demob tapes from the beginning of the band's career. The release will be entitled Eerily Howling Winds - The Antediluvian Tapes.

http://www.supreme-chaos-records.de/


972
Metal / Cold Meat Industry sale @ EQM music
« on: November 04, 2004, 12:49:49 PM »
 Cold Meat Industry sale!

5 Cold Meat Industry CDs = 60.-Eur!
10 Cold Meat Industry CDs = 120.-Eur + free "Flowers Made of Snow" sampler!

Pick any 5 or 10 Cold Meat Industry CDs of your choice. The offer applies also to Cruel Moon International, Death Factory and Slow Moon releases, regular CDs / Digipak CDs. Valid until 30.Nov.2004, while stock lasts.

http://www.equilibriummusic.com/

973
Metal / Vinterriket - Landschaften ewiger Einsamkeit
« on: November 04, 2004, 12:47:31 PM »
VINTERRIKET – Landschaften ewiger Einsamkeit CD 2004

- almost 70 minutes playing-time
- Dark, cold, melancholic and timeless synth-soundscapes (Ambient)
- A tribute to the dark side of nature...

http://www.vinterriket.com/

PRICE: 12 EURO + postage
http://www.ketzer-records.de/

974
Metal / Legion of Doom CDs released
« on: November 02, 2004, 12:17:21 PM »
LEGION OF DOOM "Kingdom of Endless Darkness" CD (IS24)

Maybe the strongest black metal act from Hellas.Here is their brilliant 1st album again in stock.

LEGION OF DOOM "For Those of the Blood" CD (IS25)

Long time deleted and hard to find the 2nd album again in stock. Out with improved layout.

http://www.info-black.com/

975
Metal / Beherit/Archgoat split CD re-release
« on: November 02, 2004, 12:15:51 PM »
 BEHERIT / ARCHGOAT split CD (IS23)

Official re-release of this cult piece of black metal history. Beherit "Messe des morts" and Archgoat "Angelcunt (tales of desecration)" fills this pure blasphemous cd.

http://www.info-black.com/

(Probably the least important of Beherit's works.)


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