Black magic

We knew he was confused:

Megadeth rocker Dave Mustaine refuses to play heavy rock anthem The Conjuring live – because the track is laden with black magic imagery and occult spells.

He tells Total Guitar magazine, “Performance wise, The Conjuring is one of the heaviest songs on the record, but unfortunately it’s got black magic in it and I promised that I wouldn’t play it any more, because there’s a lot of instructions for hexes in that song.

“When I got into black magic I put a couple of spells on people when I was a teenager and it haunted me forever, and I’ve had so much torment. People say, ‘Goddamn, Dave never gets a break, he’s had such a hard life,’ and I just think, ‘No, Dave didn’t – he got into black magic and it ruined his life.’ – Total Guitar via The Random White Third World Metropolis Sun

More likely, Dave, your worship of dollar bills and turning your back on metal is going to get you raped by a rhino.

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Calling Opeth gay is an insult to homosexuals

Trollsk, arise!

Obviously everything that follows in that link is troll material. This part especially sounds like it was written by someone who barely once listened to half of a song and decided that they are crap:

Opeth “sounds like” prog even if it has none of what made prog great: real musical development, song structures that build upon themes instead of being random, and truly mindblowing chops.

And I’m pretty sure I’ve never read or heard anything about Mike saying they are a progressive death metal band (though they most certainly are imo), but rather just a death metal band so really the foundation of that article, which is to slam their approach to prog music, falls upon itself. Fakken trolls they troll don’t like em – ANUS topic at official Opeth forum

The trivialist band OPETH, who specialize in making boring simple death metal “sound like” progressive rock so that emosexual manpanties neurotic tweebo children of divorced homes and failed lives can cry together, and then consider themselves smarter than the rest of us peons, make their money selling what’s basically warmed over Dave Matthews Band songs with death metal riffs (sometimes). The foolish, unaware, uneducated, illiterate, inexperienced, confused, lost, low self-esteem and possibly uncle-raped flock to it as they search with mooning faces for some kind of meaning in their disposable, interchangeable part lives. And then they get upset when we point this out to them.

I want to make a fatwa here, which is that we make it illegal under ANUS Shariah law to compare Opeth to homosexuality. To do so is to insult homosexuals. Instead, we must focus on the truth of Opeth, which is that it is music for boys to cry to so that they do not have to become men. It is music for people to feel like they’re having a profound experience to, when really they’re just projecting their own neurosis (expanded rectums from parental rape, divorce and repetition of failure). If you like the thought of telling a rapist to go ahead and have his way with your ass, because you’re just too into yourself to muss your hair fighting back, Opeth is for you.

And that, mein munchkins, is why we troll them.

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MASTER tour crushed by TSA paranoia

You know, 19 brave people flew planes into the World Trade Center and while I think we should take it seriously, our methods sometimes go too far.

I say they were brave because I think it takes real guts (and total hatred for your enemy, which is always love) to destroy yourself by flying a giant plane into a landmark. If you need me to re-assure you that I think they were evil, or that I think they were misunderstood and really meant to bring us falafel and multiculture, I can’t help you; I can tell you they were brave. Imagine doing that sometime and you’ll see what I mean.

But now, we’re not being brave. We’re busting people for the wrong crap, and not busting enough people who need to go to jail. It’s both deterrent and security theater. I’m sure it works, but what the hell is the point in busting death metal bands from Eastern Europe? Al-Qaeda hates death metal.

We arrived Tuesday morning in Holland and after intense questioning we proceeded to the eye and body scan machine. Along with the other passengers we proceeded to the plane. We arrived in Detroit and went to passport control. I waited for about two hours for any word on the guys.

The police came to explain that the visa waiver program didn’t apply to musicians. So they sent me to customs and proceeded to tear apart everything and sent me on my way. I waited for six hours to get on another airplane and return to Europe. Thankfully the lady at the Delta checkout counter was very helpful and confirmed that the guys would be on the next plane in the evening and I could return with them. The guys were escorted to the plane by four police officers and returned their passports when we arrived in Amsterdam.

Since when are musicians and terrorists in the same category? Again I apologize to all the bands, organizers and fans of course.

I guess the CD cover of the Human Machine CD has become a reality! – Paul Speckmann, Master

While I think this is ass, and am somewhat upset at the loss of a Master tour, it’s time for metal bands to start querying actual immigration lawyers before making assumptions about how USA visas work. Unfortunately, at this time the process is so complex that you pretty much need an egghead with a law degree to sort it out. Anyway, the Master tour is canceled, we’re all poorer for it, and Al-Qaeda is laughing at our asses while they plan to destroy us with economic terrorism.

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If you want to write about music, have no friends.

Not self-pitying, just a warning about what it takes to do this job correctly. If you want to be an assassin, you can’t get easily distracted by compassion. Same for record reviewers: you must be ready to kill, rape, sodomize, and write accurately about the value of music in its own right and in context:

I wrote this in an email to someone whose opinion of me I respect, but wanted to be very clear about what my obligations can and cannot be in reviewing a submitted work. I figured I’d elaborate, because these words should exist somewhere:

This will sound like horseshit, but it’s not: a really good reviewer has no friends, and isn’t nice. He must be honest, brutal and quite honestly biased AGAINST most of what he or she hears. It’s not a job for people who like people, which is why I’m only partially good at it.

If you send anything here, keep in mind that it’s my job to be harsh

A good reviewer walks alone. If your dedication is to the music, a subset of art, and thus to the integrity of individual works and their genres, you have to be a real critic. That does not mean someone who is blanket negative, but someone who is able to look into the purpose a work serves and comment on it. Your job is to find artistic vitality only if it exists. 99% of reviewers do not understand this and either approve of everything (which makes them popular with labels and fans, who have short attention spans) or are poseurish negatives who hate everything even if it’s good.

The problem is this: there are many more good people out there than there are musicians who express something profound. Our time on life is short, and we only want the great music, because anything else is filling your time with something relatively inconsequential. Great art requires natural talent, discipline to get control of it, and finally, some stirring in the soul that gives you some content. What passion of life, what conflict and what love, do you express? Most bands express nothing more than wanting to be a band.

Even many good people just want to participate, and so make worshipful but contentless tributes to their favorite genres.

The above makes me sound like Satan or Stalin, but it’s all true. To be a good reviewer, you cannot be a friend to anyone. You must be a reviewer and you must be cynical. Most music is passing in its value, and will be forgotten before the ink dries… your job is to pull out the eternal, and in so doing, you need high standards, and in doing that, you will alienate almost everyone you know and become a leper-like pariah who wanders the earth alone, scorned even by his cats. – Facerook

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Blaspherian – Infernal Warriors of Death

Blaspherian improve upon their promising debute Allegiance to the Will of Damnation, sharpening their focus by developing riffs as themes, stacking multiple variations of a similar idea and then slaughtering it with counter-themes. In the best tradition of death metal, these songs make sense once you’ve heard all the riffs in sequence, but you would not think they’d fit together if you heard them separately. This gestalt allows Blaspherian to create a deepening atmosphere of cavernous doom, using the time-worn technique of old school death metal bands but wrapping it around a new spirit, one in which evil is deliberate and contemplative instead of chaotic. Through this evolution we see Blaspherian staying true to the old school, but allowing gentle influence from the developments of black metal and more recent maturations of the style such as those seen on later Immolation and Beherit albums. The emotional side of death metal emerges but is confined within a cold and inhuman logic, making this music both as natural as an open summer sky and brilliantly outside of the human norm under which we suffer. Blaspherian use a low-tech approach, with percussion that sounds like early Incantation and anchors the riff-fest generated by former Imprecation guitarist Wes Weaver. Detuned, bassy riffs of one to four chords hammer out patterns that then mutate and contort, often with a dropped note or changed picking technique, to produce textural layers through which melody filters. While firmly grounded in the old school, Infernal Warriors of Death opens up new horizons for the old school death metal genre, which now exists in parallel with others. It also shows what made this genre powerful in the early 1990s and makes it doubly relevant now, in the process delivering powerful music with an intense and resonant atmosphere.

-Brett Stevens-

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Death Metal and mass media

An oldie but a goodie. It’s good of Blabbermouth to report stuff like this, because although it’s not the fanboy stuff, it’s interesting:

The following are the total sales figures for several of the genre’s forerunners, according to Nielsen SoundScan (all numbers include any DVD and VHS releases, where applicable):

CANNIBAL CORPSE: 558,929
DEICIDE: 481,131
MORBID ANGEL: 445,147
SIX FEET UNDER: 370,660
OBITUARY: 368,616
DEATH: 368,184
NAPALM DEATH: 367,654
CARCASS: 220,734
ENTOMBED: 198,764

The top-selling death metal albums of the SoundScan era are as follows:

MORBID ANGEL – “Covenant” (1993): 127,154
DEICIDE – “Deicide” (1990): 110,719*
DEICIDE – “Legion” (1992): 103,544
OBITUARY – “The End Complete” (1992): 103,378
CANNIBAL CORPSE – “The Bleeding” (1994): 98,319

Blabbermouth

We forget now that these bands also were the first into stores, back in the time before 1997 when suddenly you could get obscure death metal in chain stores. During most of the early 1990s, the only things you’d find in regular record stores were the Roadrunner releases. I’m surprised “The End Complete” outsold “Cause of Death,” but it was a bit more musically refined in a conventional sense. Doubly amused that 18 years on, these are the only albums I still listen to from that list:

MORBID ANGEL – “Covenant” (1993): 127,154
DEICIDE – “Deicide” (1990): 110,719*
DEICIDE – “Legion” (1992): 103,544

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Lemmy: ‘Hip Hop Is Not Music’

While we love Motorhead, this needs commentary:

Never one to mince his words, Motörhead front man Lemmy Kilmister recently shared his views on the state of modern music with Atlantic City Weekly. When asked to express his thoughts on hip hop, the metal legend had the following to say:

“Why should I do that when it’s not music… There’s nothing creative about doing that [rapping] over music someone else created. They go out and take John Bonham’s drumming. I don’t call that music. You think they [rappers] could come up with sounds of their own, even some basic sounds and they can’t do it. Sad.”

Lemmy: ‘Hip Hop Is Not Music’

Not to offend one of the gods of metal, but:

  1. We disagree: we think hip-hop is music. It is organized sound; it uses rhythm primarily, but also incorporates some melodic snippets. That it is borrowed and requires less musical ability is somewhat irrelevant. Compared to Beethoven or Mozart, who could improvise structured pieces with ease and even re-configure to change the emotional direction of the piece on the fly, we’re all just about that untalented and derivative.
  2. The bigger point is that type of music determines the audience it attracts, and says a lot about them. People who like hip-hop are blockheads. They’re the same blockheads who were listening to disco in the 1970s, techno in the 1980s, grunge in the 1990s and nu-indie in the 2000s. They follow the trend because it’s “different” and have zero clue that the trend is actually just the latest manifestation of the same average stuff that people always chase. Hip-hop isn’t revolutionary; it’s no different than rock, if you replace the guitars with samples. Same song structures, roughly the same topics, even the same type of person producing it. These guys aren’t out there committing crimes and accidentally having musical careers; they’re committing crimes as a calculated status boost for their musical careers. They probably played first violin in high school band. It’s about the money.
  3. Populist music sucks because it chases trends and thus has no depth. It’s all appearance, nothing under the surface. But that’s what is called for. If you want music many people like all at once, it has to be similar to other things they already like but so they don’t feel cheated, it has to appear to be “different.” You win the multi-million dollar lottery if you take yesterday’s songs and make them seem fresh and exciting today. Whether that music is rap, rock, techno, indie, emo, screamo, disco or hip-hop, it’s all the same crap. Metal is the exception.

Sensible people know that elitism in music means you value quality over quantity. If you want quantity, you chase trends and get more of the same old crap, tricked out to be new. If you want quality, you are very careful about what you listen to and keep the best around. This however means you’ll never be trendy, which is why metal is inherently elitist: we don’t want to be part of the trends not to be “different” like hipsters/poseurs, but because we want higher quality music so we have a more intense experience.

If you want to know why rap, rock et cetera are incompatible with metal, that’s a good place to start your thinking. Lemmy is kick-starting the process to warm over a little tepid controversy to sell Motorhead’s 415th album, which is due out next month and is titled The Argle-Bargle of the Whatdumacallit or something similarly gnomic.

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Blaspherian CD, tshirt released and shipping

In a tribute to the first Immolation album, the new BLASPHERIAN CD Infernal Warriors of Death sports a scene of demonic conquest over angelic realms. That will probably be tame in comparison to the music, which from the two tracks leaked so far, is punishing old school death metal in the style of INCANTATION, DEICIDE, OBITUARY and IMMOLATION.

Deathgasm Records now has the CDs and tshirts in stock and is shipping them as orders come in.

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Glorious Times: A Pictorial of the Death Metal Scene (1984-1991)

Some readers may have noticed the recent addition of a side bar promoting “Glorious Times – A Pictorial of the Death Metal scene (1981-1991)” and this inclusion is not without good reason. Laid out like the highly evolved Heavy Metal magazine we all wish we would see at the nearest news-stand, “Glorious Times” in true discriminatory fashion includes amongst its pages bands actually worth discovering and rediscovering, and although the layout is consciously rooted in the DIY mentality of early fanzines, this highly professional document provides a genuine glimpse into the workings of the early and mainly North American Death metal phenomenon.

Providing a visual assault via rare and intriguing photos that both neophyte and seasoned veteran alike will find delightful, “Glorious Times” also includes entertaining and enlightening anecdotes by and about many of the foundational North American death metal acts. Although some of the accounts are funny, juvenile and downright adolescent, they remain above all inspiring, standing as a testament to the devoted individuals who were dedicated to an art form that for them was the last bastion of truthful expression in the time of “The Great Lie”.

Given the “glory” of the documented time era we read thus with a slight sense of melancholy and loss, the release of a text such as this proving that these times have passed. With some misgivings we witness within ourselves a nostalgic longing for the mutual respect that those participatory individuals had for one another by virtue of their commitment to a common goal. We marvel additionally at the perseverance and DIY mentality of these restless and visionary artists, and commend their youthful and innocent intensity. We look fondly upon the early exuberance and the inherent excitement that permeated a movement that was giving birth to new and truthful forms of expression, but above all we witness and thus long for a genuine spirit of brotherhood and camaraderie such that now seems lost, although not dead, on the Hessian community.

However, the potent power of a document such as this, its capacity to inspire, rally and excite may yet prove itself invaluable in infusing the Hessian community with the spirit with which it was once animated. The seeds are laid – Onward!

Written by TheWaters

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