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Messages - death metal black metal

1 ... 169 [170] 171 ... 175
2536
Metal / Re: grindcore and such
« on: December 08, 2004, 10:44:26 PM »
In my view, grindcore failed in the same way black metal is about to: it didn't rise enough above the mass of silly people out there, and thus soon, it became very mundane. 20,000 grindcore bands have existed and about five of them are good --


2537
Metal / Vinterikket - new album
« on: December 07, 2004, 12:53:19 PM »
The new VINTERRIKET - album will be recorded in late December / early
January and will be released somewhen in Spring 2005 by
BLACK ATTAKK (GER). The mastering sessions will take place in the middle of
January in Oslo (Norway).
Title of the album: "Der letzte Winter - Der Ewigkeit entgegen -"
The tracklist is as follows:

1. Herbststürme
2.      Tannenmeer
3.      Nachtgeflüster
4.      Vergänglichkeit
5. In den unendlichen Weiten der weißen Trostlosigkeit
6.      Winterreise ? Wege in die Einsamkeit
7.      Winternacht ? Kalte Schwärze im Bann der silbernen Sonne
8.      Winternebel ? Graue Schleier der Ewigkeit
9. Heimgang der Seelen

http://www.black-attakk.de/

2538
Metal / Is metal a different direction?
« on: December 07, 2004, 12:52:12 PM »
Most rock music seems to head toward the same direction: society has failed, medicate self with intoxicants, have a good time and don't care about it all too much. Whether it's love or drugs or hippie politics, rock seems to be about not giving too much of a damn.

Question: is metal different? And if it is, how has this changed from heavy metal to black metal?


2539
Metal / MP3s
« on: December 03, 2004, 05:05:41 PM »
Mp3's cause cancer and make your sperm taste awful. So it's the default format below.
- http://demilich.mindnet.net/

2540
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?


2541
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.)

2542
Metal / Re: The spirit and humor of black metal?
« on: December 02, 2004, 08:22:21 PM »
Quote
with attention to grindcore, black metal fortunately was not consumed by the indulgence of humour, on the whole it's quite fake though..


Definitely now there are few acts that understand it.


2543
Metal / Re: grindcore and such
« on: November 30, 2004, 11:06:21 PM »
Carbonized
Pathologist
Drogheda


2544
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/

2545
Metal / Re: Heidenlarm (and thoughts on a new e-zine)
« on: November 29, 2004, 08:23:16 PM »
Quote
Forge something totally new!


Black metal was not new; it was a restatement of better values in something which was not accustomed to such good treatment.

Similarly, nothing is new - there is only what is more intelligent or less intelligent.

People who chase novelty and "new" ideas are usually failures who want to postpone action by disclaiming part in anything effective in the current time.

See the latest column for more detail.

2546
Metal / Re: Thrash metal
« on: November 29, 2004, 12:19:14 AM »
Quote
That was clear from the very begining.Now knowing your main emphasis I would like to turn the discussion into slightly different direction.What is the "historical fairness" in the case with what is known as "Thrash Metal" ? And why do you concider it to be so ?
According to you media-coinde terms are incorrect, what will your comments be on the media-coined terms as "Heavy Metal" or as Annihilaytor suggested "N.W.O.B.H.M.".
I think you are trying to be too smart, if to use a
colloquial style "smart-ass".


If it was clear from the beginning, why has it taken you so long to understand it?

"Heavy metal" and "NWOBHM" do not replace legitimate terms with media coinage, and are reasonably descriptive, and had a precedent before the media.

"Thrash metal" did not.

Best of luck with your "debate" - I think I've now repeated myself enough.



2547
Metal / Re: Thrash metal
« on: November 28, 2004, 08:13:52 PM »
Quote
So If you didn't mean to show your disaproval of this term and to show your attitude to media-coined terms, then would you be so kind as to decript your post.


You're calling an apple an orange because some magazines said so. It makes more sense to stick with the historical name for apples, "apple."

Sorry if it sounds condescending, but I can't imagine simplifying what I already posted any further.


2548
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

2549
Metal / Re: Thrash metal
« on: November 28, 2004, 06:13:53 PM »
Quote
So you claim that "Thrash" is invalid term because of it being a mix of some other, basic genres ?


Quote
I assume the problem is you don't want to accept the terms coined by media.


I think you have misread what I wrote above. You are wrong on both counts.

2550
Metal / Re: Thrash metal
« on: November 28, 2004, 04:58:46 PM »
Quote
Exactly. Where the logic problem comes in is that SRP accepts Black Metal by its later definition and does not define it by the same time period he defines Thrash in with.  


Of course he doesn't - you define movements by their maturation, not the coinage of a term.


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