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Messages - death metal black metal

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31
Quote
Much of the rancour has surrounded frontman James Hetfield’s proclivity for hunting, with campaigners concerned that such activities run counter to the Peace and Love spirit of the festival.

At time of press 25,379 people had lent their signature to a petition calling for the band to be banned on the grounds that he has a “vile obsession with hunting”.

Whatever one’s views on the morality of hunting the campaign does lack credibility. Are we to ban artists from Glastonbury for any sort of objectionable behaviour and simply have Coldplay perform every year? There was certainly no outcry whatsoever when a host of headliners with nefarious pasts and in some case unabashed criminality were booked to perform.

http://www.yorkshirepost.co.uk/yorkshire-living/arts/music/the-anti-metallica-rhetoric-smacks-of-hypocrisy-enter-metal-1-6697091

Even in highly adulterated form (nu-Metallica) heavy metal is too feral, mythological and atavistic for modern "safety first" kiddies.

32
Metal / Heavy metal is a culture separate from black, gay culture
« on: June 28, 2014, 09:17:10 PM »
Quote
Speaking about the diversity of audiences at heavy metal shows, Ward — who is also a member of rap-metal pioneers STUCK MOJO — said: "Metal always gets weird… and I don't even know… but it gets this weird reputation of being racist or homophobic. It's, like, why? And they say, well, there's a not lot of black people at the shows. It's, like, black people are welcome. We don't have a sign [saying that no blacks are allowed to attend metal concerts]. But it's about culture. And that's the one thing that people don't realize… Because there's not a lot of gay heavy metal bands, that doesn't mean that that culture is not welcome, it's just that we gravitate towards things that we are culturally drawn to, and black culture, in general, is drawn to music that came up in black culture… you know, rap music, R&B, blues, jazz, and there are places where those cultures can meet, and they often do. But even LIVING COLOUR and bands like FISHBONE, they don't have large black audiences. They play rock music, so they have a mainly white audience. So it has nothing to do with color, it has to do with culture."

http://www.blabbermouth.net/news/fozzys-rich-ward-explains-why-there-arent-a-lot-of-black-people-at-heavy-metal-shows/

The most important part:

But it's about culture...we gravitate towards things that we are culturally drawn to

33
Metal / Re: Burzum - The Ways of Yore
« on: June 27, 2014, 01:40:08 PM »
He's definitely taken a hidden path in his life.

"Talent hits a target no one else can hit;
Genius hits a target no one else can see."

34
Metal / Re: Eucharist
« on: June 27, 2014, 01:35:33 PM »
Eucharist sets up rhythm more like a doom metal band. They remind me of Skepticism: create vast spaces, let guitar phrases intrude.

That's similar to what Immortal and Darkthrone did, except for them it was constant ambient drumming. This cut guitar free from drums, which enables more rhythmic variety.


35
Metal / Re: Burzum - The Ways of Yore
« on: June 26, 2014, 05:09:18 PM »
I hope he did. A-ha were better than 90% of the radio tripe in the 80s.

36
Metal / Re: Sammath (Furious Dutch-German Black Metal)
« on: June 24, 2014, 01:03:38 PM »
New rehearsal video:

https://www.youtube.com/watch?v=bNkKpCF4rPQ

The website announces a USA/Europe pro-tape release in the coming weeks:

http://www.sammath.nl/



37
Metal / Re: Why is deathmetal.org important
« on: June 23, 2014, 07:43:55 PM »
Quote
The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion.

The more socially/philosophically significant it is, the more it talks about real topics and content is important. Sometimes content is form, as in classical works, where the form itself emphasizes harmony and balance in addition to complexity through melodic development. In death metal a similar principle exists.

38
Metal / Re: 20% Off Sale!!!
« on: June 18, 2014, 03:47:02 PM »
If you don't have at least four copies of this, you're missing out:

http://gravenvelope.storenvy.com/products/7230842-havohej-dethrone-the-son-of-god-cd

With the discount code, $7 to your door.

40
Metal / Re: Burzum - The Ways of Yore
« on: June 12, 2014, 05:31:23 PM »
The solution? I think the reason this site differentiates neoambient is that it is what is continuing the black metal tradition in a new form.

The years have changed, art reacts.

Black metal is dead and should stay dead. The imitators killed it; no sensible artist is going to throw away his work on a community that cannot appreciate it.

41
Metal / Re: Burzum - The Ways of Yore
« on: June 12, 2014, 04:19:44 PM »
Black metal and related genres aren't a good place for quibbles about instrumentation and production.

The content on the album is good; thinner perhaps than his first album, but still solid.

In a genre-spectrum awash in contentless imitators and vapid entryists, Burzum isn't the problem.

42
Metal / Re: Burzum - The Ways of Yore
« on: June 11, 2014, 02:11:58 PM »
I prefer Tomhet on the original album.  It worked better as an outro to something great.

I agree. This is the weak spot for me, but it's not really weak to a new listener. I think Varg may have (unfortunately) listened to a critique of his original instrumentation from the peanut gallery. However, I liked the simplicity and 1980s innocence of the original, as well as its role as he stated it in the album: surging through all this chaotic metal, ending up in silence and death.

If anything newer Burzum ambient should be compared to some of his more atmospheric pieces from the second album, which sought to create a mood and then change it from within via texture. That's not entirely unlike what a lot of death metal did, except that now it exists through harmony and melody.

Some tracks, like the "ritual ambient" Heil Odhinn/Heil Freya originally struck me as really annoying. I recall these having been around for some time in concept, giving the feel of this album being odds 'n' ends. However, they work quite well in breaking up what otherwise would be an omnipresent sameness to the album.

The more I listen to it, the more it improves. The spirit and sensation is there. It has its flaws, but flaws don't dethrone greatness, merely give it some personality.

43
Metal / Re: The band Pink Frothy AIDS was ripping off
« on: June 08, 2014, 03:27:02 PM »
Yep, but as you can see this was a discussion in the context of metal (and Black Sabbath is mentioned).

44
Metal / Re: Burzum - The Ways of Yore
« on: June 08, 2014, 02:53:30 PM »
For discussion of ideology, please take it to the new forum. It replaces Interzone and all other non-music conversation here.



Regarding the new album: my impressions of it have improved since earlier listening. It enabled Varg to do what he was chafing at with Filosofem, which is to stop guitars from so dominating sonic space that differentiated voices are impossible.

It is more ambient, with less of a clear beginning and ending, but that's by design. This is music to drop out of this world into and the change occurs within the mood, not through change in mood overall. Some songs are transition pieces like some of the Ildjarn stuff. I like the original "Tomhet" better though.

45
Metal / The band Opeth was ripping off
« on: June 07, 2014, 07:35:08 PM »
http://www.deathmetal.org/forum/index.php/topic,18441.msg90305.html#new

In the 90s it became clear that soft/hard was a winning formula. Bands like Nirvana later capitalized on how to write a gentle acoustic verse and then have a wailing chorus. But before that, metal bands experimented with this, possibly starting with Venom's "Cold Northern Breeze" but maybe dating back to some of the Black Sabbath experiments.

Cemetary took this into death metal, mixing a ghostly fast vibrato (I still don't know how they did this technique) with lighter distortion than most, creating a sound like veils draped over the howl of wind through a cave. Then, they added in acoustic guitar used strategically at points of quiet emotion, then built up to the more raging death metal riffs. Far subtler than the soft-verse/hard-chorus that Nirvana, nu-metal, etc. would use, this technique caught the attention of many for its subtlety and emotion.

Then Opeth cloned it in a simplistic form, following the nu-metal option.

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