Support the war… against hipsters

Interesting take on it:

I personally don’t want to label metal ‘underground’. I try to get my friends interested, but for one reason or another metal was meant to hold a limited audience. Which is fine because it has remained resilient through the years with such support. Exclusivity has become a defining pillar of the scene, the implications of which look dismal for the future of the genre.

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My problem is not with ‘who likes metal’ but rather why they like metal and what the implications are for the genre.

Hipsters tend to take the honesty out of music because of how they rationalize their choices. People who respect their taste in music do not listen to bands because they are underground; they listen to them because they make good music. If a band gets too popular, they let it slide so long as said band remains honest. If said band loses their integrity, say Metallica, for instance, then one abandons them not for crossing some unspoken popularity threshold but rather because they have betrayed the trust of their fans. This is a powerful bond not easily broken by the likes of the mainstream press.

Hipsters, and I’m generalizing here, define their musical taste by what is unpopular; I’d even venture to say it is a defining pillar of hipsterdom (whatever that means). Metal has rare bouts of popularity but is unlikely to achieve mass appeal anytime soon, especially given the rigid parameters of top-tier saleability in the music industry. These impossible conditions leave metal with one possible future. Since the genre will not likely be rising to the mainstream popularity which could save it from a skinny-jean-clad audience (though I must admit that is pretty thrash) it is only a matter of time before the genre is completely saturated with hipsters. In San Francisco, metal culture has dwindled to only a handful of bands. – Sons of the Atom

The principle of hipsterdom is being different/ironic/”unique” through surface changes.

The hipster is at heart a very normal person, usually working a do-nothing job and living a boring life. Most are SWPLs.

They have, however, embraced failure. They aren’t doctors, lawyers or architects; they’re not even rogue programmers. They’re not real writers or artists. In fact, they’re not very good at anything. So they socialize and try to be “different” to stand out, since they’re not going to stand out for being good people, or smart people, or talented people. They’re faking it.

This is why they like music that’s basically bad: anyone can do it. If you trick it out enough, you get famous for it.

This is why they like ruined social scenes, failed things, and obscurity: they can take over.

They took over metal in 1999ish and have truly wrecked it, because metalcore is noomoo for underground hXc kids, and as a result it’s insipid trash.

Hardcore died in 1987 or before, and really has never come back. The hipsters want to think otherwise. Metal died in ’94.

It’s important to realize that hipsters are a sign of the end of all good things. They are the parasites who are trying to justify themselves into importance.

Supporting the war against hipsters is to support:

  • Substance over appearance.
  • Reality over social reality.
  • Art over personal drama.
  • Idealism over individualism.

All good things come from crushing the hipster, which is a force of decay.

Apple sold 9.25 million iPads and 3.95 million Mac computers. Gross margin for the quarter came to 41.7 percent.

Shares of Apple have emerged from the limbo they had fallen into after Chief Executive Steve Jobs took leave last January for unspecified medical reasons. – Reuters

Capitalist banksters, ganksters and toadies love hipsters because they will buy a bog-ordinary product with a special label and quintuple the margin on it. They are ideal consumers: morons who think they are right and can be easily led to buy something if it makes them feel unique and special.

Allah ta’ala will reward all those who give service in crushing the false (who don’t entry) and raising up the honest. Immortality and righteousness await all those who smite hipsters.

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Erosion of history

Back in the 1980s, it was hard to find Slayer in record stores or big concert halls.

“Heavy metal” meant Judas Priest, AC/DC, Kiss, Iron Maiden and maybe Metallica — although Metallica scared most people, and Iron Maiden was considered Satanic for their Number of the Beast album, which meant many stores would not stock it. (Seems dated, but rather quaint: a society interested in its own well-being, even if a bit ignorant as to how it applies that. For example, Desperate Housewives is more Satanic than Iron Maiden.)

When you went to a big show — Slayer was still playing smaller venues, and until the New Titans on the Block tour, so were Sepultura et al — you usually did it at a place called The Summit. This was a basketball arena with an awesome circular lighting system and one of the first giant TV screens to show your favorite team eating dirt in high definition.

Sometime in the 1990s, it went bankrupt. Sometime in the 00s, it became a Megachurch.

As time goes on, I am reminded of a few things:

  • Most people hate themselves and want crap that feels like what they deserve
  • What is popular is always inferior to what intelligent people like
  • Over time, as new forms of music get discovered, they get dragged down to mediocrity
  • We destroy good bands and venues by forcing them to play the music industry game
  • The music industry game is pandering to idiots and then getting out before the band’s name value falls

And when all is said and done, the ashes fall, and the creatures of decay (including Lakewood Church, a cheesy megachurch that’s half-television and half-circus, with Jesus added) take over. RIP

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Exmortis lives

Exmortis has a full line up with the addition of a new drummer by the name of Josh Jones. A new CD in in the works.
– via FaceButt

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Ave Satanas

A nice fellow by the name of Krunoslav Žažar has published a web site and book about how heavy metal is Satan’s music.

I think it would be great if a horde of people responded, demanding for their Satanic bands to be included. Or simply sending Satanic propaganda.

On the plus side, his taste in metal is awesome. He includes Averse Sefira, Blood and many other obscure bands as he makes his case.

You can download the whole thing as an ebook:

ABORT BABY JESUS

-|-

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Autopsy – Macabre Eternal

The last couple of years have seen a artistic renaissance of a genre that throughout the best part of the mid- to late 90′s, and the early reaches of the millennium, was perceived to be a ghost that had long outlived it’s most glorious moments of artistic clarity. Great quantities of ‘gore’ and ‘brutal’ Death Metal acts have over the last two decades, dumbed down the mystical perversity that gave a genre the likes of Blessed Are The Sick, Legion, Cause Of Death, Onward To Golgotha, Imperial Doom, has in years past given way to acts that aim principally for shock value, sidetracking any of the compositional and dynamic attributes that were the essence of what made Death Metal so vital in it’s 1989-1993 heyday.

It’s great that Autopsy should record such a gem as this, as it serves to vanquish the plasticity and dross that once great acts such as Morbid Angel and Deicide have spluttered forth. Not only does it filter out these negatives, but it also does great justice to many artists who embrace an archaic yet craftsmanlike and refreshing interpretation of Death Metal.

In addition to having put out the excellent ‘The Tomb Within‘ EP last year, Autopsy have eschewed the notion of ‘re-recordings’ or filtering previously released material onto this new record. Instead what we have is a colossal, quite lengthy record, lasting greater than an hour but never straying from momentum and vibrancy.

It wouldn’t be unfair to say that in terms of intricate song structuring, Autopsy have perhaps even upped on what they originally achieved on Severed Survival and Mental Funeral, with a more obvious sense of grandeur. This exhibits itself on tracks such as ‘Bridge Of Bones’ and ‘Sadistic Gratification’, which sound somewhat like a logical conclusion of what was being hinted at on their second album. Eric Cutler’s riffs and modes are the usual tritonal, Black Sabbath meets Hellhammer-esque death dirges, which occasionally recycle patterns and forms familiar in early material, yet also giving the album a renewed sense of consistency. It is this grasp of orthodoxy within the metal genre which always makes for contributing to the collective framework of the artists work, which Autopsy fulfill here.

This is however not to say that there are flourishes of ‘experimentation’. Luckily the band have played a good hand of cards, and have not fallen into the ludicrous corner of ‘evolving for the sake of it’. Particular songs on ‘Macabre Eternal’ show the band using greater song lengths than before (‘Sadistic Gratification’, ‘Sewn Into One’), and also display a greater sense of direct melodicism (‘Dirty Gore Whore’). Whilst Autopsy have never been associated with playing at fast speeds, large stretches of this album are more uptempo.

Chris Reifert is on top form as a vocalist. His ability to evoke majestic visions of dismemberment and perversion seem to contain a greater dynamic than usual, as to suggest that nearly fifteen years of prolonged absence has only allowed his strengths to re-accumulate.

Though certainly not a complaint on behalf of the reviewer, what may potentially put off some fans of earlier material is the production, which is undeniably modern in tone. Whilst Chris Reifert’s drumming is still top notch the only minor complaint being that the compression on his drumkit seems to somewhat nullify the sense of ability, flair and aggression that a more analogous production would bring out. Whilst Macabre Eternal possesses all of the right atmosphere and conviction worthy of great death metal, the more aesthetically orientated listener will notice that the overall tonality is not as analogous as what was committed to tape in the 80′s and 90′s.

In spite of this minor specific, this album is superb, and rightly deserves to be considered a beacon of the revivification of a dark and morbid art form that until the turn of the new millennium, was considered a dead horse. Hail the new dawn. Not only in terms of structural and grandiose perversion does this album triumph, but fragments of it’s lyrical scope only serve further as to compliment the metaphysical and transcendental nihilism that death metal eternally symbolizes.

“Under the sign of a skull faced moon

We rise from abysmal embryotic doom

Existence as torment, yet locked in a grave

A sick fragile cycle from which no one is saved”

Within the recent decade, this is the best ‘comeback’ release that has emerged from any of the elder practitioners of the genre. Undoubtedly, this shall also be a worthy contender for being the best album of the year.

-Pearson-

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Timeghoul discography release

Timeghoul CD/LP Compilation (07/18/2011)

DARK DESCENT RECORDS / THE CRYPT PRESENT TIMEGHOUL (USA) CD/LP

For the first time ever on CD and Vinyl, Dark Descent Records and The Crypt have joined forces once again to proudly present the complete discography from the legendary Science Fiction / Fantasy Death Metal legends TIMEGHOUL (USA).

Born in the Midwest United States in 1987, Doom’s Lyre remained relatively quiet, recording no material before changing their name. In 1991, Doom’s Lyre, now renamed Timeghoul, set out by releasing two demos; 1992’s Tumultuous Travelings and 1994’s Panaramic Twilight.
Largely ignored and mostly forgotten, these recordings did not receive the recognition they deserved until years later. Timeghoul’s eclectic and complex style of US death metal started to gain momentum within the underground as overlooked and classic material.
Prepare for one of the most unique and complex death metal offerings the early 90’s had to offer.

CD version by Dark Descent Records and Vinyl version by The Crypt.

More news to come…

http://www.darkdescentrecords.com

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