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Messages - death metal black metal

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2206
Metal / Eyes of Ligeia
« on: December 21, 2005, 04:25:42 PM »
We are proud to announce our latest signing in the cult ambient doom act Eyes of Ligeia. One of the most unique bands to come out of the Doom circle in quite sometime. The band themselves combine droning ambient, eerie keyboardlines, funeral doom, and minamalist black metal. Their new album will see the light of day in spring of 2006.A MP3 from their last album, What The Moon Brings.

"Polaris" - MP3

http://www.paragonrecords.net/
http://www.dimentianon.com/

2207
Metal / Rigor Mortis news
« on: December 21, 2005, 01:21:06 PM »
RIGOR MORTIS Frontman Talks About His Brother's Death, Upcoming Tour - Dec. 19, 2005

Vocalist Bruce Corbitt of the reunited Texas thrashers RIGOR MORTIS has issued the following update:

"I just wanted to give everyone some updates on how I am doing after the loss of my brother and also mention some of our plans for RIGOR MORTIS in 2006.

"As many of you in the metal world already know, my older brother, Jeff Corbitt (RIP), took his own life on November 10. That was the day after I got home from the RIGOR MORTIS reunion tour. So I went from an emotional high after a successful, fun, memorable and satisfying tour… to an all-time low. He was the person I was closest to my entire life. So this is easily the hardest thing I have ever had to deal with.

"I want to thank everyone that has supported me and my family during this grieving period. I have received so many e-mails, messages and calls from people all over the World. All of them sending their prayers, condolences and offering to help in any way they can. It has helped me to know there are so many people out there that actually care. I am convinced that metalheads have some of the biggest hearts in the world and we are all like a big family when it comes right down to it.

"Jeff Corbitt was always my hero my entire life. He was the person that thought of my name Bruce… after Bruce Wayne of 'Batman'. He was the reason I got so into music as a kid. He was 6 years older than I was… so as kids I always looked up to him. When we became adults… the age difference was just enough for him to be able to always warn me of the pitfalls in life ahead of time. It was like he was always driving a few miles up the road ahead of me and was able to tell me what to expect before I got there.

"My brother had a successful career in the sound and lighting business for over 25 years, doing shows all over Texas and on the Las Vegas Strip. In the late 90s he worked with KISS… doing their 'Psycho Circus' 3-D Video and live 3-D for part of that tour.

"RIGOR MORTIS and our road crew all had stayed at his house just a couple of weeks earlier after we played a show in San Antonio. So that is what has made this even more of a shock to all of us. But, I am going to make sure he is not forgotten and use it as motivation to improve my own life to be more like he was.

"The rest of the guys in RIGOR MORTIS told me that we are going to dedicate our entire new RIGOR MORTIS CD to my brother. So I know we are all going to put our lives into this new CD.

"I want people to remember Jeff Corbitt (RIP) for the way he lived his life. Those of us that loved him are going to miss him forever. There is always going to be a void inside of us without him in our lives. But that is because he made our lives so much more meaningful while he was on this Earth. His death is simply a reminder for us that really knew him that we were privileged enough to have known such a great man during our own lifetime.

"You can view the obituary and see a slideshow/movie that was played at Jeff Corbitt's funeral at [this location]. Once you are on the site just click on 'Biography' and 'Play Movie' on the right to view this…

"2006 will be the 20th Anniversary of the original RIGOR MORTIS lineup of Bruce Corbitt, Mike Scaccia (MINISTRY, REVOLTING COCKS), Casey Orr (GWAR, X-COPS, THE HELLIONS, THE BURDEN BROTHERS), and Harden Harrison (PERVIS, SPEEDEALER, MITRA). We have confirmed that they will record a new RIGOR MORTIS CD with this lineup and we are currently setting up 20th Anniversary tours for 2006.

"Casey Orr has been working on setting up a West Coast tour that will start January 14th and should hopefully reach states like Oklahoma, Arizona, California, Washington, Oregon and Nevada. RIGOR MORTIS will also be attending the the NAMM show in Anaheim this year. The tour will conclude back in Dallas/Ft. Worth on February 4th and 5th when RIGOR MORTIS plays at the biggest horror movie convention in Texas history… Texas Frightmare Weekend.

Here are some early confirmed dates with more to be announced soon…

Jan. 14 - El Paso, Texas @ Murphys Cantina
Jan. 15 - Phoenix, Arizona @ Metal Devastatoin II
Jan. 16 - Silverlake, California @ Zen Sushi
Jan. 18 - San Marcos, California @ The Jumping Turtle
Feb. 4-5 - Grapevine, TX @ Texas Frightmare Weekend (Grapevine Convention Center)

Other tours for 2006 are also in the works. RIGOR MORTIS is also about to start writing new songs for the new RIGOR MORTIS CD. This will be the first CD released by RIGOR MORTIS in 15 years. We have had some offers from labels during our reunion tour. But, we are just now spreading the word that we are ready to talk with any record labels, management or booking agents that are interested in us. Also, due to overwhelming demand, Casey Orr is re-releasing a limited run 'Freaks' re-issue CD will be available in mid January. No extra tracks but it will have the lyrics. I have also managed to put all the pics that I have received so far from our reunion tour all together on one site. So if you wanna check out almost 350 pics from many of the shows on our tour… check out [this link]. Anyone else that has pictures or live video footage from the tour… please send them to [email protected] and [email protected]"

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=45781

2209
Metal / Re: Doom Metal and its presence in BM and Death Me
« on: December 19, 2005, 01:15:50 AM »
Doom metal = an aesthetic, not a genre. Therefore, any type of metal - death, black, heavy, speed - can be "doom metal."

Much like Venom and COF aren't black metal.


2210
Metal / Re: Morbid Angel
« on: December 19, 2005, 01:13:22 AM »
I like these user reviews.

Here's another:

http://www.anus.com/etc/visions/kontinual


2211
Metal / Re: How to be a Black Metal Fan in 2005
« on: December 18, 2005, 07:13:38 PM »
It seems to me his problem with Euronymous was straightforward: as the genre grew quickly, Euronymous delayed releasing Burzum albums, giving the Count fear that he would not become recognized as part of the movement he had helped create. Thus he murdered Euronymous, and sure enough, the album came out quickly!


2212
Metal / The Underground (No Longer Exists)
« on: December 18, 2005, 07:12:04 PM »
The Underground
No Longer Exists

As metal music has further slid into an abyss of genericism and meaningless sound and fury, the bleating of "Support the Underground!" has intensified to the point where its cliche is expected as if a test of allegiance. What none will say is that the underground does not exist, and even were someone to construct it, it would no longer be relevant, as the circumstances which made "underground" metal important are long departed.

In the 1980s and early 1990s, it was more difficult to get one's music published than today. There were few labels, and putting out releases was expensive. A few gigantic companies controlled what most people see and hear (and still do, because only they can afford the advertising). Consequently, small underground labels popped up and tended to put out a couple CDs a year and sell them for reasonably high prices.

When one said "support the underground" back then, it meant going the extra mile to get the quality releases from these off-broadway sources. Because pressure on the underground was high, most of its releases were meaningful art even if not as slick as the major label stuff, and it was not a terrible idea to support the underground as an agenda.

The current decade is a different story entirely. First it is important to note that despite thousands of people chanting in unison how we should support the underground, it has been nearly ten years since the underground produced excellent art in any numbers. Sure, there are some good bands around, like Averse Sefira or Demoncy, but they're the exception and they are not getting the reception one could expect when the underground was vibrant and any band of high quality was immediately recognized widely.

In fact, when an outsider says that all of the current metal bands sound the same, he or she is not entirely inaccurate. The radical differences in music between bands like Emperor and Morbid Angel, or Deicide and Burzum, no longer exist; metal, like a product, has come to sound very similar because the same assumptions propel its creation. Much like in the 1970s, when stadium metal turned the entire genre into cliche, almost all of the bands today operate within the same narrow band of technique, artistic idea, song structure and aesthetic. If you miss one this week, there will be a nearly-identical one next week which will be just as good - or bad, if you're feeling realistic.

While the degree of instrumental ability and production quality has risen, the variation of metal bands from a tedious norm has declined alarmingly. There is an endless procession of bands that people talk about as "the next big thing," but it has been many years since there have been true greats: bands that express something profoundly and well so exactly that a selection of intelligent fans will find it universal.

Our problem now is abundance. Where in the 1980s, getting a CD out was so difficult that there were few bands and few labels, we now have thousands upon thousands of bands, labels, zines, websites and concert festivals. Everyone can record, and everyone does, which generates a flood of mediocre metal.

The problem with this flood isn't its quality in itself. The problem is that when there is a flood of undistinctive material, (a) anything that does not conform to the pattern is not recognized and (b) the information overload is so great than any excellent band that does rise will be ignored. In essence, the underground has replicated the errors made by gigantic record labels in the 1980s!

For this reason, those who might make excellent art are staying away from metal. They know that their chances of success are slim, and that then they will be one voice among millions, with whatever unique or personal qualities they put into the art ignored. For this reason, the fans start to look toward external traits: slick playing over profound songwriting, quality of production, technical concerns like instrumental precision, the novelty of aesthetic and/or band origin, and most of all, whether or not the band has networked socially among what we call "the underground" but is in fact a very accessible fanbase that is no different than the mainstream in how it rewards trends, group favorites, sycophants and the well-financed.

Why play in a metal band if everything excellent that you do goes unrecognized? The crowd of imitators and fools will look over your best work and nod, but they will not give it wings to rise above the others. After all, they each have their own bands and labels and zines to promote, so why defer their own success and participate in yours, even if your work is better? Social favorites dominate over quality. Consequently, the best people go elsewhere, where they can be recognized for what they do well, and where they are not doomed to being one of a crowd which, by its size, will never get anywhere.

If you start a black metal band today, and are as good as Emperor were on their demos, you will first face censure from others who fear that you will "get ahead" of their own mediocre bands without having "paid your dues," which translated into realistic terms means participation in the society of fans. Both of these factors have nothing to do with your demo, or your music.

Such a hypothetical band can expect that, once it has decided to socialize and become popular enough to be recognized, it will become flavor of the week, because there are so many bands that there is no time or energy to single out some excellent ones. Even more, the fanbase is numb to quality, and therefore will rank an excellent band on par with mediocre ones. The end result is that our hypothetical excellent band will get an equal share of the metal pie, but will never rise above that, even if its quality is far above that of all others.

This means the band members will have to content themselves with an endless series of day jobs, the praise of idiots, and a lack of recognition that means when it is all over, their excellent work will be forgotten, buried beneath a landfill of the mediocre. Any artist who is not strictly a hobbyist is going to avoid this genre, because the crowd has taken over and will not recognize quality, thus there is no way to make a name for oneself.

Interestingly, the same thing happened in hardcore music in the 1980s when it became cheap and easy to release seven-inch records. Suddenly, there were no "fans": everyone had a band, zine, label or distro. Consequently, quality went down, because no leaders were picked, and a great averaging occurred. Everyone could participate, but because there was no specialized fanbase, the farthest they got was participation, getting their share. No one great rose above and therefore, the great people stopped trying. There was no direction.

Analogous to the effects of democracy and consumerism on the quality of people in society as a whole? You bet it was. Analogy to egocentricism of the west, and its own cultural failings? You bet: the same mechanism was in effect: a lack of appreciation for quality because popularity/social pressures dictated participation, an external factor, not hierarchy, which requires a measurement of amorphous qualities such as "artistic worth" which are unrecognizable to most people in the crowd. Consequently, hardcore declined to the point where, in 1985, all the bands sounded exactly the same and there were no leaders.

The underground is dead, and if it shows signs of reviving, shoot it. It no longer has meaning and thus has become a way to sell music, a brand name even, not a distinction in quality or attitude. "Underground" metal is marketed exactly the same way mainstream music is, on a smaller scale, and while it does hard to hide this fact behind angry album covers, bad sound quality, and sociopathic topics, the lack of quality reveals what a lie its "underground" status is.

To use the occult terms, our current view of metal is exoteric: show up, participate, and you'll get your equal share. The best years of metal came about when it was esoteric, or rewarded the best among its members, and had a community in place that could tell the difference. Consider it a form of evolution. When such conditions are again in place, quality metal on a broad scale will return.

If there is something to replace the underground, it is the dissidents who choose music based on artistic quality alone. They don't care about the album covers, who the band knows, or how well its production makes it sound. They look for quality art of the poetic but aggressive nature found in early 1990s blackmetal, and when the horde of imitators stops flooding the market with crap, they stand a chance in hell of finding it - if any remains.

(For J. and N., with whom this was discussed extensively.)

http://www.anus.com/metal/about/metal/underground/

2213
Metal / Re: Literature: post reviews of your favorite book
« on: December 18, 2005, 07:10:31 PM »
Most metal book ever:
"Heart of Darkness" by Joseph Conrad

Are you an antisocial metalhead? This book explains how society, by fleeing what it fears, creates its own darkness and parasitizes itself. KVLT!


2214
Metal / Re: Wikipedia's Death Metal page
« on: December 18, 2005, 07:03:42 PM »
I think it's fair to link the genre pages from anus.com on any metal-related article that's relevant (death, black metal). We're the oldest metal site on the net and one of the most popular, by statistics. What could they (rationally) have against us?


2215
Metal / Re: what is still underground these days
« on: December 12, 2005, 01:51:57 AM »
There is no underground.

"Underground" existed when there were only mainstream labels.

Now anything can get published, and the problem isn't aboveground/underground but that the quality stuff gets drowned out.

Fuck the Underground... it serves no purpose, and destroys a lot of good things.


2216
Metal / Re: Cannibal Corpse
« on: December 11, 2005, 08:22:16 PM »
Cradle of Filth = Iron Maiden ripoff with black metal vocals


2217
Metal / Re: what is still underground these days
« on: December 11, 2005, 08:18:31 PM »
Quote
i would say grindcore partly


Any music that's too hard for the crowd to grasp.

Thus, Beethoven and Demilich, for starters.

2218
Metal / Re: Hail Quorthon & other leaders
« on: December 11, 2005, 08:17:46 PM »
Gents,

This topic went from a neat thought into idiotic bickering. This is why often it's better not to reply to fools, but to start a counter-fool movement else.

Cthonian, I'm not necessarily calling you a fool; I'm speaking to the first reaction perspective of those who read your work. In fact, I'm not commenting on anyone in this thread except to say that it became compost fodder.

Comment about Slayer is good also.

2219
Metal / Re: Thrash
« on: December 11, 2005, 08:15:23 PM »
http://www.myspace.com/MERCILESSDEATH

Merciless Death
Page is slightly fubar, so load audio window separately.


2220
Metal / Hail Quorthon & other leaders
« on: December 10, 2005, 04:13:23 PM »
Really, it is kind of embarrassing that we can complain about the obvious wastes of oxygen - Brujeria, Cradle of Filth, Cannibal Corpse and ARE YOU TALKIN TO ME? - while not giving tribute to the masters.

Way back in 1983, Quorthon was one of the inventors of death/black metal. He had considerably fewer resources than others in this task, but contributed much of the technique and imagery of death and black metal to come. Almost all Norwegian black metal has the first two Bathory albums in its bloodline.

He also wrote the grandiloquent lyrics to "Twilight of the Gods."

He was the first metal musician in the black/death era to unabashedly claim influences from classical music, even while those around him referred to it as "fag music."

While the quality of Bathory releases varied, they were honest tries.

He was proof that black metal musicians aren't incompetent through his Beatles/REM-style folk hard rock albums.

His interviews were highly friggin' intelligent.

Quorthon is one of those few who can honestly use the word "innovative" to describe his work. It did not reinvent music, but found a new voice for a worldview that is eternally sensible.

Others:
Voivod
Demilich
Burzum
Immolation
Absurd

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