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Messages - death metal black metal

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Metal / What is death metal?
« on: February 03, 2006, 09:34:45 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, 09:25:42 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 03, 2006, 02:48:33 AM »
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 02, 2006, 03:29:27 AM »
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: February 01, 2006, 02:04:22 AM »
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.)

Metal / Re: Muslims vs. Denmark
« on: January 31, 2006, 10:01:03 PM »
Not to be a dick, but it makes sense to keep this board metal-only and relatively apolitical. Maybe post to http://bbs.anus.com/ instead?

Metal / Re: The Future of Metal
« on: January 30, 2006, 05:10:09 PM »
In my view, Gorguts makes Cryptopsy obsolete.  Cryptopsy is overrated but not bad (from what I remember), and Gorguts's Obscura is brilliant.

Your comment and Cynical's are both dead on. Cryptopsy isn't bad; it's just low-tech, sort of like a better version of Cannibal Corpse. Gorguts tried for a higher standard of musicality. The idea of "progress" is bullshit but complex music is ahead of the blockhead stuff, and thus does not encourage a blockhead audience.

Metal / Averse Sefira - March 11 show (Austin)
« on: January 30, 2006, 04:11:55 PM »

"Redrum Club
401 Sabine Street
Austin, Texas 78701

www.redrumaustin.com for more information.
The show will be ALL AGES this time."

Metal / The Beasts live in Houston Feb 25
« on: January 30, 2006, 03:45:05 PM »
The Beasts

The place is javajazz, Houston TX.


This venue has proven to be shitty beyond belief - their policy of not serving alchol is antithesis to the ethos of The Beasts, and their draconian ticket pre-order policy has proven to be annyoing at best, leading to this post.

Should any of you in the Houston or surrounding area be intrested in seeing the show, you can purchase tickets here

Be sure to select "the beasts" as your favorite band in the list. This is important

Should any of you be intrested in the band or the show, go ahead and order tickets.  If you send your confirmation e-mail to runredcircles@gmail.com we will send people who actually can attend the show their choice of a live CD or DVD.  Those who cannot attend will get both.

Metal / Metal Radio
« on: January 29, 2006, 08:43:50 PM »
KCUF Radio Archive

The infamous station that brought to the Internet airwaves the pinnacles in nihilistic death metal, atavistic and romantic black metal, and transcendent ambient soundscapes has been recompiled and archived in its known entirety to initiate the unfamiliar and inspire those who remember.


Metal / Re: Ras Algethi review posted
« on: January 28, 2006, 10:36:48 PM »
Ras Algethi "Oneiricon - The White Hypnotic" full album mp3s

Album is out of print as far as I know.

Metal / Re: What is black metal, as art?
« on: January 28, 2006, 10:33:56 PM »
"Emotional detachment without apathy."

How can an art form that, when done correctly, lacks subjectivity convey emotion, unless it existed outside of the Self? Black Metal stands from the outside looking in, if not completely transcendent and all-pervading.

Very common to transcendent idealist artforms is this tendency to see the whole, instead of the personal. But sheep will always prefer the latter.

Metal / Re: The Future of Metal
« on: January 28, 2006, 10:32:17 PM »
Again, music is a language. Think about it this way: How many ways are there to write a book? It's infiinte. Same with music.

Good point. The book is not its words, but its content - the meaning we derive from those words (we = the nonstupid). But lately, metal has been failing like a Macintosh on the content front.

Metal / Re: Production.
« on: January 28, 2006, 10:31:23 PM »
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?

Yes, they're imitators, so they reproduce what they hear of the original and thus, because they're imitators, they miss the point.

The idea of crap production was to emphasize the savagery of the music, not hide its incompetence.

Metal / Re: How Metal Got Mainstreamed
« on: January 28, 2006, 10:30:05 PM »
2. It seems to me that there's an explanation for this sort of thing built into the nature and structure of modern culture and cultual mediation.

Yeah - where music was once judged by an elite few, it now appeals to the tastes of the uneducated masses, which means that everything gets adulterated to shit over time.

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