Quantity versus Quality in metal

We measure our lives by either quality or quantity. If it was a great steak, we say so and leave it at that; if it was mediocre, we say that sixteen ounces of it for thirty dollars was a “good deal.” The quantitative view is most popular because it is accessible to everyone, since only those who are endowed by nature with the sense to know a good steak from a crappy one can tell you its qualitative value. Since most people are not so fortunate, we talk about what a “great deal” it is that you can get something that legally qualifies as steak in prodigious amounts at a low price per pound. This is the essence of democratic liberal free enterprise society, in that it eschews all things which require a higher kind of person and replace them with the kind of assessments even a moron can follow (and congratulate himself for the “good deal” he’s getting).

But how does the qualitative work in a society? After all, say the “wise” pundits, wouldn’t it be hard to organize a society around qualitative value, since only a few can assess it? This column offers an example in the small. Peer-to-peer file sharing can take many forms, but one of the most common is that of a hub; this is a small community where people exchange files. Normally, to get on a hub, you must have some quantity of files to be shared, and without that, you can be excluded “fairly” because, of course, everyone can see that you need to have a minimum amount of stuff to get on. Like cheap steak, it might be stuff that would only appeal to morons, but it shows you’ve done the effort and therefore deserve to be on the hub – that’s “fair,” sensu liberal democracy.

The hub toward which A.N.U.S. contributes, the neoclassical hub, does not operate this way. There is no minimum share size to get on, and there is no reward for having more stuff; instead of quantity, the hub focuses on quality, because unlike liberal democracies it recognizes that unlimited moronic music is not “equal” to a small amount of quality music, no matter how much the average voter can’t tell the difference. You can get on the hub right now and start participating, but the admins who periodically peruse shares will eventually check out what you have and — Slipknot? Cradle of Filth? Pantera? — those who have moronic music get booted. I frequently get mail from these people, objecting that their ejection was not “fair,” and these mails invariably contain the line, “But I had (amount) of share!” These people are used to a quantitative, passive society, where no matter what the quality, as long as you get enough there to put a number in the blank on the form, you’re considered part of the club.

Not to say that a hub is a club, of course – a hub is a tool for sharing files, and a social space, as well. But what it is more than anything else is a reflection of the values of those who meet there. People who want to listen to crowd-pleasing music go to the bigger hubs and hang out with other people who like Britney, or cool jazz, or light rock, or even indiscriminate metal and grindcore – what the crowd wants is acceptance for mere quantitative participation, such as the number one (1) – if there is an (1) individual, then it should be equal, and admitted to the club, because – look – it exists, after all. This is what the crowd always desires, which is the paradoxical concept of group participation through pseudo-individuality. You can’t tell them their taste in music sucks, because then they’ll wail about how they’ve been wronged and it’s not “fair.”

For those who have made their way out of the biggest slice of groupthink, it’s healthier to find an enclave, or a smaller place where their views are protected from the majority view, which is the quantitative. If you have unending time and nothing better to do, it might appeal to you to listen to all 100,000 death metal, grindcore, black metal and heavy metal bands yet created. More likely, unless you’re a retarded invalid, you’ve got other things to do and so depend on finding the quality stuff through socialization and information resources. Naturally, the crowd will oppose you wherever you try to do this, as they like to believe either (a) that all music is equal or (b) that the most popular music is the best, and therefore you don’t need to actually look – just see what they’re playing on the radio now; “trust us.” The enclave ideal is naturally opposed to that of open to the public group participation.

Any social unit based on this notion of qualitative logic, and eschewing unnecessary quantitative logic, would naturally be a better place to live. Quantitative logic gets you the lowest common denominator, but if you return assessment to that of degree of quality, you instead get only the better efforts. Select the better people to be part of this community; that’s inherent to its nature. Let them pick the better art, learning, science and products, and then you’ve got less garbage (inferior products break frequently, and can rarely be repaired). When they make rules, they don’t have to worry about everyone – oh no, fat people in wheelchairs cannot fit into our new library – but those who actually make a difference. To people concerned about quality, the opinions of the mass are not important, and thus they don’t have to worry about offending people and can actually tell it like they see it – something you cannot do in our liberal democracy, or you’ll be blacklisted and investigated and eventually forced to take a job as a janitor somewhere.

A qualitative society is by nature structured toward building consensus. If you have something of quality, you hold it up as a shining example, and what is agree on is not that we should all have a similar quantity of thing, but that we should all work toward having a similar quality of character, strength, intelligence in ourselves. Since your society only admits people of quality, you don’t have to assume that every other person on the street is a moron, and thus can have compassion for random people in society – and have the option to socialize more, since you don’t have to first apply a filter to screen out the idiots. This is how society used to be, but it was lost in the populist revolt that demanded we all be equal and have an equal right to quantities of money; see what you’ve given up, in order to please the crowd? Well – at least on this hub, there’s a sliver of what once was, and what, if we work toward it, will be again.

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Metal Cult, or Metal Christ?

Way back in grade school, before you hit the age of sexual competition and thus get more rigorously socialized, one of the more exciting things to do is spend the night at a friend’s house. This means you get spoiled by well-meaning parents, can order pizza with all the toppings, and spend the night watching scary movies on the DVD player. At that time of life, it’s pretty cool, although once you’ve moved on to bigger things it seems like a parody of a really bad party. Who’s got the ranch dressing potato chips, indeed.

It’s conventional, among nice families, to keep this charade going until noon or later the following day, mainly because that’s about how long it takes the caffeinated soda pop and sugar foods to wear off, meaning that all parties are tuckered out and need to be taken home and shoved onto a sofa with homework “for your own good.” This is a kindness extended between families to each other, allowing your parents to actually have a night alone while you’re rampaging at some other kid’s house. Of course, if you spend Saturday night with a Christian family, or Friday night with a Jewish one, it means you’re going to some kind of exciting religious service in the morning.

Back in those less preference-enabled times, I’d go along to Church or Temple with my friends and wonder at the death denial of adults. There were great things about church – mainly the music, but I also liked the weird little tasteless wafers at communion – and Temple had its moments, mainly the times when they’d bring out the big old scroll of Hebrew writing and chant in languages I didn’t understand. In general, however, to young Spinoza Ray it seemed like adults getting together to agree on an excuse why we don’t actually die, and to answer at least two questions along these lines before saying something blithe like, “Fluffy is in heaven with God now, and can chase cars every day and is always happy.”

What I remember more than anything else was the expectation going into these religious services. There were the smells of adult clothing, perfumes, foods, alcohol and the flatulence and dyspeptic belches of the usual healthy specimens, mostly older, who cleave to churches like AIDS patients to retrovirals. But more than that, there was a subtle kind of excitement: it was an event, and there was an expectation, whether Jewish or Christian. You were going to a place of higher authority to receive wisdom, and it was to be a cathartic experience.

Recently, in my wandering through the smouldering ruins of the metal community, that being all people who create or appreciate the non-radio metal of our world, I was amused by how popular the term “cult” remains among those who are metal. We’re a pure metal cult! and Only metal is true! and I swear allegiance to metal! and other comedic statements of this sort are common, like a dinner opera about patriotism. These people are apparently oblivious to how disturbingly true their use of this term is.

A cult in my definition is any belief system that posits an Official Dogma and reinforces it, while sequestering all those who do not accept Official Dogma as outsiders. It’s a precursor to bureaucracy, and in the case of Christian cults, at least, it’s about like filling out a triplicate application. Do you believe in the father? (check) Son? (check) Holy Ghost? (check) Heaven and Hell mythos? (check) And are you willing at this time to sign an eternal contract to this effect?

In churches, people surge to the front of a large building while music plays and people in costumes perform ceremony to distract them (note for our alert readers: Judaism is much similar, but Christianity is a more familiar example for most North Americans, and since the two share most beliefs in common). There they take refuge in the comfortingly familiar nature of religion; you have been through this ceremony before, and you know what will happen, and at the end, your own expectation of receiving catharsis carries you through to that conclusion. Basically, it’s a lot like LSD: you find what you expected.

Rock concerts and metal concerts are very similar. You sanction the ceremony by paying money, thus you have reason to believe you are accepted unless you perform heresies, such as fistfights or too much covert marijuana smoking behind the fat guy standing up front. People in uniforms herd you into a place where people in costumes perfom onstage, playing music you have usually heard on CD. Even more, for those who are lost, every song no matter how convoluted at some point returns to the constant drumbeat, usually snare, which builds cadence and interrupts any thoughts you were having between beats, which are the loudest single element of the concert.

The metal cult, like the rock cult, is based in the idea of catharsis. You go to see some band you have heard before, and after having the music affirmed, you go away with some brilliant insight like “They really can play their instruments” or “That vocalist vomiting blood, fire, semen and feces was spectacular!” It’s not rocket science. If you’re a musician, you can feel ever-so-elite by watching the band members play and pulling from it some observation about how well the guitarist frets or drummer hits the middle of the goddamn snare twice every second. No one is left out; if you had $5 in your sweaty little hand when you went in the door, you were given the communion, allowed to join the cult, and ushered on out into the surprisingly cool and unsweaty night.

Baptised in beer, perhaps intoxicated yourself on a range of exciting substances, you even have a chance to double affirm your belief by buying tshirts and CDs, and can even talk to the band members, who periodically deliver such benedictions as, “This is another song about fucking the dead – I want to see you fuckers tear it up in the pit!” Conventional academics like Deena Weinstein periodically set aside the Chardonnay (all academics are drunks, drug addicts or perverts) and to observe what an indoctrination this ceremony is, and how it affirms membership in a group. She might as well say “…membership in a true life-hating metal cult!”

Surprisingly, black metal was a counterinsurgency opposed to this. Initially, bands like Burzum and Immortal eschewed live performance, since as they correctly observed, hordes of idiots would show up expecting everyone to accept them purely on the basis of having (a) found the venue (b) being aware of the band and (c) the benighted $5 in sweaty fist. Burzum’s composer was vehement about it, and to this day you can find credulous teens everywhere buying $20 live bootlegs of a band that never played live (but since it’s $20 and not $25, it’s a “good deal” – you get an extra $5 to go to another stimulating concert).

Much maligned, mocked and parodied, the “No mosh, no core, no fun, no trends” attitude of these early bands was a way of ending the religious service, an inclusive event, and turning instead to an esoteric event. The difference between exoteric religions like Christianity and esoteric religions like, say, Advaita Vedanta or Buddhism, is that in exoteric religions you have to show up and affirm Official Dogma, and then you get sent home with a stamp on your triplicate form, which esoteric religions are best summarized as “the truth reveals itself in varying degrees to those who seek it.”

Christianity and rock concerts are birds of a feather that give you a 100% guarantee that everything’s okay, and then convince you to turn off your mind so you can do something useful like enforce Official Doctrine on other people. They are the ultimate populist religions, and by that nature they must assert that everyone is equal because, lacking an entrance requirement, they’ve already made it fact. If you can make it to church, or find the rock club with your $5 (donations are always welcome at church, too), you’re one of the Chosen and can feel better than other people for your non-achievement.

One of the reasons I separated out Christianity from Judaism as an example, earlier, is that Judaism is controversial because it is simultaneously a religion, a culture, and an ethnicity. Whether Khazar or Ashkenazi, you’re a Jew if you have any of those three attributes (bonus points and free instant coffeemaker for all three). Among the black metal community, there are those who feel Judaism is the great downfall of Indo-Europeans, and they wish nothing of tolerance for it.

I’d like to take time here to praise some aspects of Judaism. Its emphasis on education, for example, is admirable, and far exceeds the Christian dogma that if one believes in God, it’s okay to fail at everything else in life because it doesn’t matter – what matters is the world after this one, which like a credit report, is absolute and binding and more important than whatever goes on here in our misery of animal existence. Its racism and cultural supremacy is beyond questioning, and has kept the Jewish people alive and functional through thousands of years of wandering through other peoples’ countries. In fact, until Christianity sedated Europe, Jews never had a homeland, and at this point are as European as they are Semitic/Mongoloid.

Christianity has selective praiseworthy aspects as well. As Arthur Schopenhauer pointed out, its only significant difference from Judaism is a classic Indo-European trait that can be found among the Aryan sages of ancient India, that being “quietus,” or an inner spiritual calm and contemplation to discover the blessings of this world. If you’re Arthur Schopenhauer, or Meister Eckhardt or Ralph Waldo Emerson, and thus possess not only a genius IQ but an introspective desire for truth and beauty, this will occur to you. The remaining 99.99% of Christians should simply admit they’re following non-ethnic Judaism, and cease feeling superior to Jews for having a martyr who gave his life because we’re dirty little animals who fornicate, murder, embugger and thieve from each other daily.

One reason I can’t ever be a neo-Nazi, besides my ethnic Scottish heritage which includes pre-Jewish Semitic Gaelic blood, is that they didn’t act on this crucial difference, in part because in Germany the Christians had already slaughtered anyone with a desire to resist Christ a thousand years before. In my mind, Jews are an invading culture and I have no problem drawing a sword against them, men women and children alike, to drive them back into the middle east, where they may have to actually stop feeling superior to their Abrahamic brethren and make peace with the Arabs. Not my problem. But, I feel the same way about Christianity: if you’re not Eckhardt, or Schopenhauer or Emerson, I recognize that it’s my duty to draw a sword against you, man or woman or child or dog or AI, and drive you out of Indo-European lands before you destroy what’s left of our culture.

However, I’ve come to realize that “No mosh, no core, no fun, no trends” is also part of this same militant desire which will come to any sane Indo-European who undertakes quietus long enough; rock music and metal are the same cult as Christianity and before it, sickly Judaism and its wheedling, whining culture of the lowest common denominator enshrined as benevolent love. For me, to love a culture is to defend it against its enemies, with emotional detachment and not the “hate” to which modern neo-Nazis masturbate in American History X-inspired fantasies. If you thought “the Holocaust” was bad, wait until you see what will come – and it is inevitable – when the current culture collapses and warlike people like me clear out bad Indo-European DNA, including Christ-worshippers and people whose sole contribution is to be “members of” some rock-music-based “cult.” Man, woman, child, and of course fat record producer scheming over cocaine and harlots in the back room, shall all face the sword – without hate, but without mercy, either.

With this revelation in mind, I have to ask modern metalheads who claim to hate stupidity and Christianity (and, of course, you cuddly stuffed NSBMer teddybears in your genuine NSBM tshirts and Nazi fetishist wear), why are you partaking in the same culture that you abhor? There are people among the rockers who are of noble countenance, and among Christians too, and I’d welcome these people into any future Indo-European society (Jews are ethnically excluded, along will all other non-Europeans; you have your own countries, go there and preach about your ideals and we’ll see how “superior” they indeed are). But for the most part, rock and roll is a failure at escaping Christianity. If anything, it’s a new form of Christianity that is even more accepting and less informative on the esoteric issues of spirituality, philosophy and comportment.

For this reason, both metalheads and neo-Nazis are ignored by their more studied peers. After all, who wants to get dragged into the same quagmire that has afflicted Indo-Europeans for the past millennia, albeit in a new form and with new products to buy? Advice to future rockers, metalheads, and the like: design your music and your career around something other than the glorified church service that is your modern metal “cult” concert.

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Summer Warfare: Bahimiron, Averse Sefira and Masochism in Houston, Texas

Bahimiron, Averse Sefira, and Masochism
August 28, 2004
Cardi’s
Houston, Texas

This city stretches like a dry riverbed across the flat land of South Texas, ending near the mud-brown ocean in which floats medical waste and human shit. Like most modern cities, it is both strikingly ugly and possessing some rare beautiful architecture, but the majority of it is open shopping centers and freeways. Lots of concrete to reflect sunlight and absorb toxic rain which rises in a sticky mist. Its strength is its verdant natural land, but as more people from every country on earth pour into it, this too is consumed.

Naturally, a place like this is perfect for a black metal show.

The show promoters at Extreme Texas Metal put together a type of show that is popular today, called in the vernacular the “shotgun,” since it is formed of a collection of marginally related bands fired out in sequence with the hopes of finding at least one that each member of the audience can like. Consequently, they are schizophrenic in atmosphere, with the decorum of a food court as portions of the audience assemble for each band while others sit back and comment. However, this is how one must make money in a bloated “scene,” and the Extreme Texas Metal staff did a competent and fair job of setting up the show.

Being a dilatory malcontent, our reviewer showed up late and was able to catch the last three bands, who together represented a battering ram of black and death metal.

BAHIMIRON

At this point, Bahimiron were barely taking to the stage. With an original member of Texas evil metal legends Imprecation (think of a more ritualistic, less bassy take on first-album Incantation) on vocals and lead guitar, and the two deviant minds of “Where’s My Skin?” magazine on bass and drums, this band is clearly a powerhouse of minds in the present community. Its adaptation to the current scene both affirms and negates it, making for a rocky adjustment as this band finds and refines its style.

Their style is a hybrid of the grim and necrotic fast and simple black metal of the later changes to the style, merged smoothly with the grand interiors presented by architectural melodic black metal such as Gorgoroth or Impaled Nazarene. Songs generally cycle between riff pairs at different tempos, then reach a stage of presentation in which pace often shifts dramatically, before inverting the process of reaching it and drawing out to a violent and usually abrupt conclusion.

On this night, the band professionally presented the same, with the addition of more confidence in moving and playing onstage and greater technical accuracy and synchronization. A new guitarist has joined the band to their fortune, as his rhythm guitar solidity allows a foundation on which other members can build. Percussion varied from hardcore rally beats to the metals-heavy blasts which allow them to pick up speed, no simple task since most chords are strummed at high speed regardless of tempo.

Vocalist/guitarist Grimlord, formerly of Imprecation, commanded the stage with his voice whipping from guttural to shriek to conventional singing as demanded by the material; his guitar playing is fluid and self-assured, and allows him to enhance his vocal delivery. Bassist Jenocide added a mute aggression and bulletlike low-note commentary to her impassive stage presence, while drummer Blaash was precise and energetic. Tearing through a mixture of old and new material, this longstanding Texas-Arizona front presented well and left no doubt as to their stature.

As many bands have, they suffered under the hands of sound production problems, mainly because Cardi’s was breaking in a journeyman audio engineer that night, and as a result peaking monitors cut out and distortion sometimes became a wash, disrupting the forward motion of the band. To their credit, Bahimiron held out until the problem was mostly corrected and then moved forward without losing atmosphere or becoming bitter, which was as unusual for a current band as it was appreciated by the audience.

If our reviewer had to make irritating suggestions, it would be that they worry not at all about having a “unique” personality and let their music talk. There is no need for a whisky-based endorsement in black metal, nor does this band need any cachet to invoke their (dark) spirit. The music addresses all that they have to say. If they have a weakness, it is on the knife-edge between minimalism and the hopelessly indeterminate riffing of the black hardcore bands; they will be fortunate if their more ancient and eternal influences win out. Regardless of these footnotes, this band is one of the few worth tracking in this age of black metal.

AVERSE SEFIRA

Many in the audience assembled had come to see Averse Sefira, if the sudden proliferation of metalheads at the stage and their equally conspicuous disappearance after the show was any indication, and the veteran metal band did not disappoint. Having apparently decided long ago to focus more on bringing their music to the world than on gratifying the comatose Austin metal market, Averse Sefira showed every bit of their touring experience and nailed out a highly professional set with very few breaks. This reviewer wonders why the club did not let them continue further, as there was time to spare thanks to three-count pauses between songs.

Guitarist and vocalist Sanguine A. Nocturne, astride a gleaming red B.C. Rich monster axe, seared the halls with a hissing and animalistic vocal delivery, backed up with the more on-the-beat enunciations of his cohort Wrath Satariel Diabolus, who roared into life with a black monster of a bass whose undertones drove the music forward with an urgent possession of emotion. This was framed and accentuated by the bullet-precise drumming of The Carcass, whose experience in numerous death and grind bands does not hide his familiarity with the technicality of percussion, mastering both exact timing and the deft transition of texture necessary to impel the music without drowning it in method.

Lucky enough to hear new material, the audience absorbed it in a state of contemplation and shock that would have pleased a Vedic philosopher, watching for details and essence alike. The newer songs can be described as an outpouring of this band reaching a musical and worldview apex, in which their mission has developed past requiring elaboration to the point of being demonstrated in many different forms; with their intent clear, they are confident in approaching even broader range of technique without fear of corrupting what is to be communicated.

As an example, rhythm is far from the rigidity of their first album or the delighted violence of the second, but like a groundswell changes topography to accentuate the expression particular to each part of a song. What was once abrupt is now sublime, and without venturing into jazz-metal territory, they invoke the languid as well as the militant in alternating sequence, creating an aura of insidious infiltration. Guitar technique has branched as well to use quick erratic notes in a wash of distortion as an instrument of harmony, creating a queasy uneasiness that like oil on water blooms into a rainbow when revealed in the contrast of light.

Newer songwriting continues the Averse Sefira tradition of writing epics, confronting the audience with a basic motif and then descending into its explanation, letting dissonance swirl around the audience as unexpected twists and turns converge on an occult mystery unifying the visible and the unseen. Clearly the presentation of older material has been affected, as it shows successive layers of adaptation reflecting both the changes in writing for Battle’s Clarion and the preparatory musical adaptation for the new album. It will be both exciting for the fan and an event for the community when their new work comes out.

Their playing reflected precision and professionalism throughout, with the presence that only an experienced band can have, dominating the stage and, as most cannot, using that supremacy to take a wide range of emotions and channel them into an expression of their work. Without falling into matyrdom at all, they bore out the indignities of periodic sound production problems and humidity without flinching, even honorably dedicating their set to the memory and continuing legacy of Imprecation.

MASOCHISM

It was with a great deal of professional integrity that this band took the stage, the hour having grown late and most of the fans departing after Averse Sefira slashed through their set. This would crush most bands, and is the most difficult circumstance under which to perform, but to their credit Masochism took the stage and wouldn’t let it go until they had sent their sonic disturbance into the universe.

This was fortunate for our reviewer, who remembering the performance of this secretive and rarely-sighted act from an Austin event two years prior, anticipated the set with high expectations. These were not disappointed.

Lead guitarist Juan Torres, who has supported a diversity of metal acts with his practiced and charged playing, forms the majority of the sound and direction of this band, and this night he led with alternately pummeling chords and incredibly fast lead picking which makes this music a study in contrasts. A progression leads into a song and varies through two riffs, then slams home with a conclusive dirge, only to be torn apart in the undulating rise and fall of melodic lead rhythm playing.

Similar in style thus to older Incantation and Sinister, the essential form of this band stretches to include a plurality of influences, ranging from older speed and heavy metal to modern black metal styles, something which is absorbed by a deft understanding of how riffs fit together. Transitions are often breathtaking in their boldness with enough subtlety that they are unexpected, and the procession of textures that compose verse material are both hypnotic and jarring.

Bassist/vocalist Kean Koite held down the set with remarkable free-hand (not picked) stringwork, being a master of both the techniques required to give his playing thunder and enough of bass playing as a science to insert adept fills and accents. One of the highlights of the show were his semi-poetic introductions to each song, in the style of Tom Araya many years ago, where a small vignette concluded in the topic and then name of each song; this may not be to everyone’s taste (and what is?) but it was appreciated by those of us attending as it brought a small intrigue to anticipation.

Percussion was exact and bellicose, matching the tight structure required by this style with an underplayed reliability that eschewed sophistication for effectiveness; few players have the ability to set aside getting more personal attention for the promotion of the aura of the presentation as a whole. Masochism are musically ahead of most local bands as they are in songwriting, but song titles and some stylings seem stuck in the late 1980s-early 1990s death metal movement, which suggests an update.

While Masochism are masters of fitting together surprisingly convoluted riffing with adept translation between radically different textures, their songwriting could benefit from more use of a unifying theme or concept around which to wrap this tapestry of forms. It is not a disadvantage, but this final tiny fraction of the creative process is what awaits to take this band from being overpowered for the style they have chosen, dominating it almost too much with their talent, to matching form and content and creating something of enduring breadth and significance.

As a side note, it was gratifying to see a clear national pride in Mexican origins shared between band and fans, with Mexican flag present on an amplifier; nationalism fits all ethnic groups, and pride in one’s tribe is a trait common to all strong individuals. If anything, this should no longer be downplayed, and in an age when NSBM and covert use of nationalist symbols is common in black metal, perhaps Masochism should visit aztlan.net more frequently and take advantage of that freedom and speak loudly and clearly about their cultural preference.

Impressive in performance, and in professionalism, they were an essential part of this concert presentation, and those who left early missed out. As a symptom of their single-minded determination to perform well, the band did not let it usurp their intent and ploughed right ahead. If you get a chance, witness Masochism when they come to your area; the right-hand guitar technique and interplay between bass and drums from a technical perspective, alone, makes it a worthwhile experience.

CODA

At this point the night was well underway, and even a giant cosmopolitan wasteland charged by the momentary escape of work drudgery afforded by a Saturday night was finding closure, so all departed into the flamboyant heat and uncountable incandescent advertisements of the Texas night. The show was a success because of the strength of the bands and the relative laxity of the promoters in encrusting a successful platform with too many local band-of-the-moments, but if this reviewer had one wish, it would be that next time these three bands and one local band (perhaps the reformed Crimson Massacre, who could not play because of personnel issues) could share the stage and complete the show earlier, giving each of these standouts more time to show us that among the few quality underground metal lives on.

Bands:
Averse Sefira
Bahimiron
Masochism

Promotors:
Cardis
Extreme Texas Metal

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Why I am not a Satanist

Both religions have the same core: me first, reality second

Of all the subcultures to emerge following the dominance of rock over popular music, heavy metal and its associated genres remain unique in that they have maintained a counter-culture that targets not just the visible “establishment,” but also all things that hold the core values of that philosophical system; metal is a naturalistic movement opposed to the utilitarian values of modern society, but it has kept its head up and thus far mostly avoided assimilation by not taking an explicitly political stance, but an artistic and metaphorical one.

This outlook has increasing driven it out of the mainstream consciousness, which has allowed it to keep its independence in part by mostly separating itself from the crowd of hopeless people looking for an identity and an easy, one-size-fits-all solution to they subliminal angst they feel about living in a fatalistic and submissive era. Of course, it has not managed this exclusively; some of the biggest sheep, and most profound losers, of our time have been metalheads, even some who have been very influential in the genre. In this way, within the metal genre the drama of the larger society is acted out in microcosm: the few who understand pulling away from the mass which wants what they have, and would emulate it to the point of drowning out legitimate voices in the genre.

What makes the mass destructive is the nature of a crowd, by definition: it is people who come together on the basest pretense and, out of fear for their individual selves, enacts a mass-will upon society at large to remove anything that threatens the herd. When you see a crowd, you are not seeing uniform people, but vastly different people who are disorganized and thus can only accept the lowest common denominator motivation, which is usually as follows: do not criticize me for anything that I do, insofar as I do not violate this basic tenet of crowd-belief toward others; give to me everything that our best people have, as I am participating in the crowd and thus “contributing.” As with all utilitarian systems, this mentality punishes the more capable in order to keep the broader masses from feeling inferior, or that they’re missing out.

Heavy metal music, by its very nature and alienation, recognizes that society operates on two levels: a public level, which comprises the kind of things you’d tell a crowd to make them feel you have their best interests at heart, and a private level, at which actual motivations are acted upon using the tokens of the public level in such a way that their function does not match their definition. It is a lot like hacking, actually; you overload some kind of input buffer with data that appears to be harmless, but contains concealed instructions that the machine, unaware that something labeled “data” might be “code,” executes and hands control to the intruder. William S. Burroughs famously declared, “Language is a virus,” and thus explained the same concept as applies to modern mass-media psychology.

What happens in a computer is that it confuses appearance with reality; the code is reality, but the idea that it is harmless data is the appearance. Similarly in our society we are divided between appearance, which generally consists of happy nonsense to keep you distracted, and reality, which is the relentless pursuit of wealth and a spiritual emptiness that justifies it. (As mentioned here before, this takes us back to a split that the Greeks noticed, between things as they are and their abstractions, which are often mentioned as that which casts a shadow, with the shadow we see being what we know of “reality.”)

Since any tokens manipulated on the public level have dual meaning, and are thus meaningless, heavy metal targetted something more sublime: emotions and self-image. The Gothic, Romanticist, naturalistic and elitist-individualist imagery of even Black Sabbath and Led Zeppelin did this, but it flowered from there into a proliferation of forms, each of which took the basic concept and developed it further, all without explicitly knowing why or what was being done. This ignorance of an articulation of what is being done allowed it to be passed, from mind to mind, through the subconscious channel of appealing imagery and concept in personal life, much as it was done in Romanticist literature, art and music: those who found greatness in the past, specifically medieval and ancient civilizations, and could process a melancholy acceptance of death and desire for personal greatness in heroic accomplishment, would naturally find the music appealing.

This is in part because, in addition to imagery, metal music literally sounds like the description of Romantic ideals above. It doesn’t embrace the centralized harmonic structures of rock music, which is Indo-European folk music simplified to the degree of fixing a harmonic center and manipulating major/minor changes for mood, over a syncopated beat so that even the dumbest person can follow it, and it doesn’t embrace the pleasing sounds and casual human vocal noises of pop. Where pop attempts to define beauty and approximate it as a medium, metal attempts to find what is beautiful in that which is, on the level of things that explicitly defined, ugly. If society exists on a level where public discourse is manipulated by private reality, metal is an inversion of that, such that the meaning of public discourse is found within private reality.

Metaphorically, metal almost exactly mirrors Romanticist literature, even down to its fascination with nature and the occult. Loneliness and alienation create independence; obsession with the forces of nature and the power of warfare creates a post-moralistic sense of seeing how life works rather than judging it; wandering into the embrace of Satan affirms the pagan belief that there can be no public level of “good” separated from “bad,” but that good and bad are forces which together create a meta-good, mainly the ongoing process of life itself. These are the values of metal, and they are almost never explicitly spelled out because to do so, in the music, would be to expose the inner workings of the subculture to manipulation by those who have not discovered this meaning on their own; emulation and cheapening would follow.

For this reason, it is important to remember that Satanism in metal is metaphor. Many of the largest proponents of Satanic imagery in metal were Deists and some were Christians, but used Satan in a way similar to that of John Milton or William Blake to describe the individual Will or Ego; when Black Sabbath wrote “War Pigs,” and described how modern society sends its workers off to die in foreign fields for abstract and mostly irrelevant political objectives masking a private reality of profit and power, they concluded it with “Satan laughing spreads his wings” not to praise Satan but to describe, in theological metaphor, what had occurred: humans had confused public reality with absolute truth, and thus been manipulated, and from that, an inner resentment and fatalism expressed itself in the confusion that followed. Satan laughing spreads his wings: a statement of the futility of our time, and in later bands, of the uselessness of religions that conflate Absolute truth with the public level of reality.

In doing this, metal attacked the fundamental Platonic split between the world of appearance and the world of structure; appearance was seen to be aesthetic, and not necessarily related to structure, which was defined by context, something which theological and occult imagery, by the nature of its cosmological outlook, expresses succinctly. While hardcore punk musicians attempted to rearrange the symbols of the public imagery into a meaningful private discourse, metal brushed past and declared the public reality defunct, urging its listeners to look instead toward their inner motivations and animal feelings. However, as with all things, the surging crowd – those who by definition did not and thus could not do it the first time around – sees something it likes and apes it furiously, producing a parody of it by only understanding the level of appearance and taking that appearance as truth, something which belongs to the domain of structure alone.

For this reason, although I have never been a Satanist, I have often employed Satanic and occult imagery in my writing, much as the smarter metal bands have done. In a world ruled by a Christian or secularized Christian (liberal) concept of absolute truth as public reality, one strikes back by upholding all that cannot be ruled by such a petty device, in the process pointing out that such dualistic thought patterns are in fact a simple rhetorical device misinterpreted by the crowd and thus used for its own purposes. In contrast, the crowd embraces Satanism as a truth in itself, and tries through silly literal rituals and laughable posing to be “truer” Satanists that the others, or more “extreme,” or some variation of attempting to find a devotional truth in life. It cannot be done, and therefore these bands and individuals tend to ring hollow to the thinker, and their works — well, let us say that in the years following 1996, there have perhaps been three black metal bands of the caliber of those who occurred 1990-1996, and it is similar in their own times with other subgenres of metal.

I can extend this concept further. National Socialism is popular in some black metal circles, but that is mainly because it’s easier to label oneself a National Socialist and start collecting gear and posing than it is to understand the core concept of National Socialism, which is a feudalistic ethnocultural post-moral revival of classical Indo-European culture. That relatively complex thought gets distilled down to, as Faulkner said, “a hatred of black skins” alone, and thus parodies itself. What kind of idiot believes that African genocide will solve humanity’s problems? Black Sabbath were more advanced in thought with “Satan laughing spreads his wings” than all the goose-stepping fools, or those from the opposite end who make the same mistake, the leftist: they assume that by labelling themselves as egalitarian and tolerant that humanity’s problems will resolve themselves on the level of public discourse. All of them are misguided, and represent waste by the roadside of a path to knowledge.

Death metal and grindcore had its own version of this comedy. Bands like Carcass and Morpheus used intricate descriptions of death and decay as a way of reminding their audience that public reality is a dream designed to deny death, and that when we realize our own mortality, we can comprehend that meaning is not found in public discourse or in liberal/conservative platitudes, but in addressing reality – yes, actual reality, including that good and bad are needed to produce meta-good – we liberate ourselves from illusion and can begin work on the real task. They were followed by unnamed and now thankfully forgotten bands who found an identity in glorifying death, bloodshed, violence, disease, perversity and disgust, all in full ignorance of the original concept. It is not surprising the music of these bands was also of a lesser nature, as their thinking was clearer on a more basic, linear level.

In my view, there is truth to be found in all of these viewpoints, if interpreted correctly. National Socialism and liberalism are not that far apart when we look at their basic motivation; both want to establish healthy cultures where people are not left to the predatory whim of speculative capital. Satan and gore both wish to affirm natural belief over that of the thing-as-named public reality. Even Christians and pagans have the same essential goal, which is to find a larger reason to have values outside the material and thus find meaning in existence. However, our time is confused, as somewhere along the path to this “great” industrial society we have lost the systems of thought that give a whole meaning to the entire process of life, instead of selecting some aspect with which to label oneself and hold up as a shield of “meaning” against death. In a confused time, only a few actually seek truth, while everyone else looks for it as they might a product on a shelf or the best fruit among the ripening burden of branches.

This article is not an attempt to discredit or assault bands who use Satan as metaphor; much like Blake, or Dante, or Eliot, or any number of artists, their quest is legitimate. It should serve, however, as an introduction to the theory of metal as an art form, and an explanation of why there are so many mediocre imitators, of “Satanist” or leftist or NSBM variety alike, and only a few leaders, and thus, a mandate for future thinkers in this genre to start with the leaders and not the followers. Metal remains under assault by both public culture and public “counter-culture” (an anti-establishment affirmation of public cultural beliefs, in trendier form) alike, and thus must keep an intellectual and artistic lead or it will be assimilated and left with Slipknot, Korn and Creed as its tombstone.

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The importance of genre in metal

Genre and subgenre identify the differing factions within metal music, which mate analytical technique to worldview and to the sound they desire. For this reason, a death metal band is not only aesthetically and musically different from a speed metal band, but is different in ideology and artistic outlook, representing together a philosophy of life.

Definitions:

  • Entertainment – a medium of expression that distracts from life’s negatives
  • Culture – organized intergenerational values for turning life’s negatives into positives
  • Music – organized sound
  • Art – a medium of expression that communicates culture
  • Genre – the broadest level of aesthetic, philosophical and musical similarity among artistic outputs that still distinguishes them from other groupings
  • Subgenre – within a genre, specialization of thought that results in specialized technique, philosophy and aesthetics for expressing an interpretation within the ideology of the genre but evolved further in a unique direction

Genre and subgenre, terms denoting groups related by ideology, methodology and appearance in art or culture, suggest more than a division of classification: a hierarchical system of musical evolution. These terms and their usages (in the oft-cited examples of ludicrousness with death metal, dark metal, black metal, ambient metal, doom metal, viking metal, forest metal, thrash, speed metal, grindcore, and such combination terms as brutal new york style swedish death metal and trolling dark forest folk metal) convey an extraordinary tendency of the genre to expand toward complexity and with it create from similar philosophical bases radically different diverse intellectual constructs.

For many people, genres convey the same ambience that products do: if the thing can be categorized it is one of several things that perform as it does, therefore it’s just a different face on the same essential material. Some people even extend this theory to the differences between rock and metal. This is categorical thinking and it does not reflect the usage of genre/subgenre terminology.

Heavy metal begat speed metal and thrash, which begat in crossover death metal and grindcore, which crossed over once again to make of a flowering of metal styles in the most diverse genre yet: black metal (ranging from slow percussive material to lightning fast melodic to folk-ish rhythms and acoustic guitars). It has all of the characteristics of the previous metals in some form although it ostensibly tends toward the nontechnical. It also drops some of the traditions and patternings of the older material, and through its composition suggests a chaos theory of musical composition.

Yet heavy metal bands, some speed metal bands (but not many), death metal bands, and grindcore bands continue to survive simultaneously. Genre are belief clusters apart from other forms of expression – they have their own self-defined language and topic structure – but subgenre are diversified elements of that original idea, prospering in their own tension as much as similarity to the rest of the family.

For even more kicks, the concept of genre demonstrates a philosophical difference between categorical thinking and nihilistic thinking. In the former system, each thing has a property which defines its boundaries and isolates it from the chaotic, the unknown. In the latter chaos is a natural formation of complexity in our environments which creates life, throughout the perceived boundaries of objects and in a hierarchy of systems which derive their position from placement in a position of energy exchange within the overall system. Here follow a few tips:

In metal, genre means ideas. What is the basic approach of different bands? Heavy metal: hippie-style breakdown and apocalyptic recognition; Speed metal: apocalyptic paranoia and realizations of insanity behind social oppression; Death metal: deconstruction of humanity through insanity and fear of mortality, evolution of mind toward complexity of focus; Black metal: twilight of humanity postmodern joyful mourning; Thrash: frenetic rejection and belief in core concepts; Doom metal: misery is inherent so appreciate pain as masochism of self-matyrdom in creation. Central ideology, called “metal” although there is perhaps no type of music which falls into that pure category: joy and awareness through nihilism and the separation of humanity from doubt and evil as concepts. It folds forth as music theory, structure of songs and language, lyrics, and aesthetic.

  • Theory – Reflects an approach to the science of information and communication through art, with approaches leaving the more linear and favoring the dynamic and synergistic. The language in which the band chooses to write their work expresses a faith in a certain view of appreciation and understanding of existence.
  • Structure – The types of data structures bands use reflect their opinions, conscious or not, of the method of thinking behind metaphysical and scientific theory. What type of logic and logical systems have been observed, or could be produced? Structure mirrors these intellectual developments.
  • Lyrics – It shouldn’t take a web page to remind you that bands often sing about issues they feel strongly about. Where this is poorly done, it degenerates into the self-pitying politics of the frustrated, but where it has meaning is in the translation of core ideas into the subconscious imagery of “real” art.
  • Aesthetics – How the music is encoded in a finished sound expresses much of the artist’s approach the place aesthetics itself serves in society. For example, speed metal bands aspired to a rigid and defined sound where death metal and even more so, black metal, have offered a distorted and fluid aesthetic.

With these concepts in mind, you can see how metalheads often refer to the world of light illuminating a silhouette (shadow outline) as society, where the world of light shining from within the darkness that describes the function of objects in terms of abstract workings in systemic hierarchies, or connected levels of ideas, remains a preferred method for interpreting reality. Through ideas encoded in the most seemingly unlikely package, metal expresses a new reality within what most of us have overlooked as existence.

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“Suicidal Metal” should just kill itself

Writers review individual bands to strengthen a genre by promoting the better acts, but when writers turn to address the metal genre as a whole, the “state of the metal” reports that result are an assessment of the collective mentality of the community which produces and appreciates that form of music. Currently, this writer looks wryly at the metal community and proclaims, “It is afflicted with pity.”

To put us all on the same page, we’ll synchronize our definition of pity starting with this gem from the Merriam-Webster Dictionary: “PITY implies tender or sometimes slightly contemptuous sorrow for one in misery”1. In other words, feeling sorry for someone from a position of being more fortunate. As F.W. Nietzsche brilliantly revealed, this is a subtle and passive way of placing oneself higher than the person being pitied; “it must suck to be him” is a relative measurement which requires that the speaker know what doesn’t suck.

Pity also plays into the “good guy” sense of self when one takes action according to pity. A burned out, feces-encrusted, proto-Simian intelligence who shuffles out of the city sewer system to ask for handouts can be pitied and handed a trivia of pocket change, making the giver feel important as the groveling lice habitat demeans himself in the presence of his benefactor. Even someone who is basically impoverished can feel richer by giving someone less fortunate a nickel; some say this explains sympathy sex from ex-girlfriends. Pity is the basis of all Abrahamic religions, including the ubiquitous and demented Christianity.

Since reality is not literally symbolic, except in certain Hollywood fairytales, pity in metal doesn’t pop up and scream its own name at the top of its lungs. However, it is clearly visible in the actions of metal as a community following the conclusion of the formative period of black metal in 1996 or so: increasingly, the goal in metal has been less to produce amazing music that a few understand, and the new goal has been to produce music that more people understand. An astute observer will note that dumbing something down for someone else is, similarly to the pity equation, a way of claiming to be smarter than that person; “here, I’ll translate it into shuffling, groveling, lice-infested prolespeak for you” is an equivalent statement of purpose. (And you wondered why the ANUS refuses to write reviews in the tongue of the common man.)

Originally, black metal was a byproduct of the genesis of death metal, something aesthetically inspired by Venom but really a derivative of melodic hardcore like Discharge, spawned in acts like Celtic Frost, Sodom, and Bathory in the early 1980s. It lay dormant until the next decade, when the Norwegians singlehandedly revived the genre by brushing aside much of the stridently-voiced social criticism (read: “complaining”) of speed and death metal and bringing out something with heroic ambitions, in which the greatest value wasn’t communicating to everyone but communicating to the part within everyone that wishes to rise above the mundane world and achieve great things; to have this spirit, you must believe that change can occur and is in the power of the individual. In this it was grand Wagnerian tragedy, the entire genre, as its practicioners knew they were hopelessly outnumbered and would be outvoted by the masses, who prefer tamer fare and resent anything that forces them off the couch.

Regardless of this adversity and sheer defeat, the Norwegian forces – we’re talking about Burzum, Emperor, Immortal, Darkthrone and Mayhem – mobilized themselves and went on the warpath to speak their piece no matter how unpopular it was. At first, although no one remembers this now, black metal was considered the retarded younger brother of death metal. Only a handful of people listened to it, and even then most of those didn’t understand it, or claimed they were doing it for the laughs. Only a few people caught on to its concept, and thus both its artistic method and ideological content. And before the old tired “music doesn’t have ideology” whining begins, we should realize that black metal was designed to sound like Gothic doom descending for a reason, and for one to believe that art should sound like that at this period in history, one must have a certain ideological bent – one that disagrees with the mainstream and foresees doom in its populist undertakings.

It was heroic, Romantic, passionate and yes, elitist; black metal was not music for the masses. Those who say at the current time that the values of the original black metal bands don’t matter, and who suggest we “progress” to other values (values that suspiciously resemble those of every other genre in its twilight years, namely values that make it more accessible to wide ranges of people because they approximate the liberal beliefs of a democratic social order), should ask themselves what over the past eight years of metal has had the impact of the original handful of bands, or attained that level of quality. The answer is: very little, if anything. The Norwegians remain absolute in their dominance of this artform, although nothing from Norway has approached that type of intensity since about 1997. We can see in the history of black metal’s descent into popularity the proof of the original concept as elitist and withdrawn from the masses.

After all, populism – or dumbing something down so that everyone in the herd can appreciate it – is a form of pity and negativity. It doesn’t have a heroic “do what must be done and damn the crowd” outlook, but cares about its status in the eyes of others and in not offending them by producing music that’s too complicated for their addled capacity. This populism is pity for the idiots who must have music tailor-made to their retarded consciousnesses, as well as being pity for the musicians themselves: the art of expression and finding reasons to believe in one’s own existence have been supplanted by keeping other people happy through being bland. Interesting how bland well describes recent black metal in the eyes of anyone but a fanatic who, thankful for some social scene that will accept him, embraces the genre like a lost parent.

Way back in the 1980s, when speed metal was first disintegrating, people talked about “selling out,” or dumbing down your music so that more people would buy it. By the time of black metal, it’s no longer “selling out” that’s the problem, but “becoming populist,” or taking a genre of archly unique neoclassical metal and turning it into the same three-chord, constant-rhythm morass into which death metal, speed metal and hardcore music before them all degenerated. This occurs in two forms, of course, the purist (“tr00 black metal”) and the avantgarde, the former trying to ape the format of the original works and the latter trying to turn them into something combined of odd parts of other genres. Neither succeeds because the focus is no longer on the music, but on the crowd.

Of course, to adopt the attitudes, values, and musical methods of every other genre out there returns metal to the level of generic music; it is assimilated by rock music, which was formed only through a desire to appeal to as many people as possible, and loses its uniqueness except in terms of the poses its fans strike and the antics and novelties its bands bring to the stage. It has lost heroism, both in music and in action, and thus has become another voice clamoring loudly of its uniqueness when that uniqueness died long ago. To persist in making such sold out and generic music, one must be negativistic to the degree that one believes no stirring music is any longer possible, thus “you might as well just make something people like.” Not only is this pity for the audience, but – as the virus of pity is wont to spread – it is pity for the self. No belief in ability to change the world makes one an emulator and, conscious of this status, one becomes miserable.

Interestingly, metal isn’t alone in this. Punk music went down this path in the late 1980s and became the totally soundalike, rubber-stamp similarity we hear today. Today’s black metal bands espouse “being the most extreme ever” and therefore like to sing about killing everybody on earth, destroying everything, killing themselves and other forms of self-pitying trash. Lacking self-confidence, these shadows of past glory have all of the “extremity” of a six-year-old’s tantrum, but none of the honesty: they’re simply out of ideas, but since they can’t socialize otherwise, are afraid to admit it and move on to something else. Like the doom metal bands who sing about the meaninglessness of life, or the punk bands who complain for forty minutes about society and then finally spit out the truth in a “love song” about being lonely and virtually stalking some unsuspecting female, these people have run to the end of the line and have nothing to offer to us but their pity and, of course, a chance to pity them – after all, they need us the crowd in order to have a meaning to exist.

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Art and ideology: inseparable

In the deconstructive age in which we live, it is considered normal to disassociate necessary parts of a mental or physical process where these parts might threaten our image of the individual as supreme decision-maker in each life. Our religions espouse the concept of a soul becoming immortal when it went to a place of perfection where (it was implied) every wish that could not be fulfilled on earth was indeed made real, by connotation escaping the interconnectedness of life and thus the inherent need to regulate resources such as time, money, energy and affection.

In a perfect world, the logic went, the interleaved order of nature was overthrown in favor of an absolute time and space where the gap between mental concept and reality was far reduced. In the same way that in the views of these religions the soul is entirely disconnected from physical presence, requiring that it either be created “before” the physical human or on another plane of existence (dualism), in the views of people in our modern time there is the concept that art is independent from the ideas and desires of its creators.

This excessively moralistic view exists most prominently in popular culture, where people fear inequity for the stigma belief in it evokes, and thus preach a constant easy solution: “It’s just music! There is no value conveyed by music other than your personal enjoyment, which is a choice made in a void or a dualistic environment in which purely abstract choices have no effect on reality.”

We can see the fallacy of this outlook immediately as it requires supernatural overtones to be made coherent at all: it assumes a plan to life outside of physical, biological, realistic existence, and therefore assumes that art like spiritualism takes place entirely outside of the realm in which we must survive — and survive by its rules and not those of the spiritualists.

Thus we come to music, and a form of music that hovers between popular music and being a legitimate artform (that which expresses ideas, instead of that which provides pleasing background noises emphasizing as its conclusions the assumptions of the crowd) in its own right, and see how damaging this view will be. If no music can convey a value system or an idea, a forcibly leveled playing field is created, and the only thing taht will distinguish one band from another is novelty or marketing, since there is no content — concept, message, belief, learning or experience — communicated to the listener.

Every sound is equal, and equally arbitrary; they are not symbols which strung together conduct a meaning between humans. There are no choices to be made, only a stream of bands to be purchased continuously. Naturally business and mediocre artists (who make up the bulk of any artistic population) love this democratic adoption, as it enables them to keep pumping out recombinant re-arrangements with clever surfacing, keeping a large flow of lackluster purchasing.

This murders genres; while the easy sales pitch will go quite far, at some point someone else somewhere introduces something more competitive, and the genre which has equalized itself to such populist mediocrity is then bypassed as it can, indeed, be stereotyped as mediocre – it has made itself so, and offers nothing another halfwit genre with a newer aesthetic does not. It has traded away quality for quantity in order to please those who wish to be part of it; each of them wants a part of it, and can have that, but only at the expense of the overall level of quality declining, because among humans only one in ten thousand will make music of any appreciable importance.

For contrast, one can for a moment imagine that one’s physical body is the seat of the “soul” and that one is created by physical circumstance more than by some mystical equality of soul defined by a religion made 2,000 years ago on another continent. Within this vision, humans are what they make themselves to be, but their impulse to make themselves into something better depends on their inherent inclination to recognize the possibility of something better existing; as many have noted, the truly stupid cannot conceive of anything different from the accepted format, and therefore cannot tell the difference between good art and garbage, as what makes art great is not some external factor — having a flute, more breakdown beats, or pipe organ solos — but an internal factor, such as how it is composed, its melodies and the ratios of cadences, and its structure formed from the sequence of musical parts that compose its whole.

Further, truly stupid parents never produce children of vastly greater intelligence, but advance incrementally only if several successive generations push themselves to greater heights and advance those among them who via fortunate accident exceed the previous standard of intelligence. Thus we can tell that body and mind are linked, much as artistic product and artists are linked. Do stupid artists make great art? Only in simplistic genres, one might think.

Returning to the question of whether or not an ideology produces art, we have only to think a moment about the process of artistic creation: an artist has some idea from which he or she produces an artistic work; there is concept, and then rendering of that concept into a sensual medium. In other words, there is a content outside the medium; great art is not achieved by randomness, or stupid people would do it. What makes art powerful is its ability to communicate, and what it transfers is the original idea of the artist as tempered through their past knowledge which like all philosophy or science is cumulative.

Based on the content to be communicated, the artist chooses style, medium and methods for conveying it, giving the work of art an enduring “meaning” for perusers to grasp. Much as One Flew Over the Cuckoo’s Nest uses an insane asylum as a metaphor for society, and White Noise makes a metaphysical statement from society’s confused internal dialogue, movies use the language of gangland to portray the workings of a modern city (Chinatown) and music lets a voice drop onto the discontent of a generation, channeling it into a symbol or feeling which unites disparate thoughts around a common central point (“Smells Like Teen Spirit” works as well here as “My Journey to the Stars”).

While not every artistic view is explictly political, any view can be interpreted politically: for example, “I just want to have my own space and have no one bother me” is a political view, if interpreted in the mechanism for achieving such a state in a world of other people; clearly this is an appeal to the liberal-democratic axis in politics, where the highest value is individual whim, wealth and comfort and social collectivism (or a holistic ideology such as Traditionalism) is not considered a viable option.

Similarly “We should stop pollution and not drive large cars” in a political sense appeals to the collectivist/fascist axis of human socio-political systems because its inherent political necessity is a decrease of personal liberty in exchange for a collective program that reduces pollution otherwise generated by many individuals in parallel caring only about the democratic-liberal aspects of politics. Even something like the faux angst whining of Kurt Cobain has its inherent liberal politics; he senses himself as oppressed by society, which is too uniform and too pointless, but that opinion is a counter-political action to that of society and thus does not differ in substance but application.

The concept that art is purely aesthetic, and thus conveys no ideas from the artist, is a means of nullifying it and reducing any differences it has from other forms of art to purely aesthetic disagreements; one band uses melody and carefully structured arrangements where another band is cyclic and uses rhythm more than tone, and this in the view of the nullifiers is no more significant than choosing to paint the sky blue in one painting and electric pink in another. This nullification is moral and democratic by its very nature, and it is only through careful sleight of hand that we are trained not to notice is condemnation of certain “political” art as what it is — a subtle but aggressive means of excluding other political views from discourse.

Originally published in “Anti-Art Manifesto #3,” 2004.

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Interview: Camazotz and Paraplethon (Spear of Longinus)

Black metal drew to its camp many who experimented in extreme metal and punk but found themselves alienated by the ideas of the mainstream. Like fellow hybridizers Absurd, the intelligent Spear of Longinus found they wanted to borrow bits from many genres of extreme social rejection, and hoped to unify them around an ideology which explained both solid reasons for disliking society and suggested something positive in its stead. A roving ANUS.COM representative in Australia was able to catch up with these gents and exchange a few words.

In a time when it is popular to be ultra-black-metal in the modern sense, your music seems to have older inspirations. What bands and eras inspire your creation?

Camazotz: nowdays I listn to all kinds of stuff, though my ‘heyday’ was that fine time during the 80’s when the metal scene was at it’s best, say 82-89 or so. Sure there have been great releases at other times but the highest concentration was around these times especially as I like a lot of the punk/hardcore gear that was getting about at the time too. For example Discharge, The Exploited, etc etc. 80’s metal would of course be the likes of Destruction, Bathory, Frost, Possessed. Etc so in light of that , musik in this stlye must be alive with energy to get my enthusiasm. Modern proponents that have done this would be stuff like, Darkthrone, Burzum and earlier Emperor releases.

I feel that good metal should be more punk than metal to be good metal, if you can follow.

You see most modern metal feels lifeless to me, it has no particular focus apart from just being metal, whatever the hell that just exactly is …

Of course stuff like Wagner and trancendental compositions greatly inspire us now. For example Tibetan vocals, Indian sitar etc.The different ‘tribal’ styles that we still have which are in fact relics of occult teknikues/principles put into practice.

Paraplethon: Inspiring music would be that with a passion, a driving urge… honesty and integrity, that has something to say – either of a temporal or numinous nature, and has the ability to… affect and effect. THAT is inspiring, something of the like worth emulating. Metal, generally, hardly ever has any one of such worthwhile traits, let alone all of them, so at most it’s vaguely interesting but rarely inspiring…

The ‘outer reflects the inner’, the ‘muse-ik’ being one of the records of who, what and where we are – nothing more, nothing less.

What inspires the creation of individual songs: real world events, or thoughts and emotions?

Camazotz: ahhhhhh now that’s a profound question comerade, quite bluntly this stuff is a direct result of the dualastik clash between maya/atman, matter/antimatter.
what the Gnostiks call dualism.

What to us is ‘real’? is a chair real? Or, is the impression we receive of the chair , the chair(real)? If so, then what is the ‘origional’ chair, actually?

It is a result of the luciferian urge to regain the trancendental ‘throne’. The path of fools.

This material world is the ‘result’ of other ‘events’, the point being to get back to the ‘real’.

RISE.

Break down ALL barriers, in fact, to die is best!

DIE

DIE

DIE, MY DARLING, die within oneself.

LIBERATION. The return to PLEROMA.

Paraplethon: Define ‘real’.

It seems you have attempted to blend the spiritual and the political into a single entity; to many of us, these seem inseparable in the first place. How did you come to the realization that this was the path for you?

Camazotz: the path told us so… obviously!

Yes these things are inseperable, just as matter is spirit. Energy, in a different format. BUT, they are of course something totally different to each other at the same time. That’s where things get tricky and humans fall apart, they loose unity/focus and ability to progress. This is the inbuilt striving to attain the “overman”.

The clash of the Titans!

This is touched upon briefly and enigmatikly in our track ” the lay of spartazen “, which will be included on the upcoming release “…And the swastikalotus”.

Paraplethon: Inseparable is the word. The recognition dawned with the realization that ‘All and Everything’ is inseparable. Vague allusions to begin with, experiencing it first-hand is… makes it so much more of a certainty… a most profound experience.

In this respect, it is not enough to say that we are dealing with a purely material and economic conquest. That view seems very superficial, for two reasons. In the first place, a land that is conquered on the material level also experiences, in the long run, influences of a higher kind corresponding to the cultural type of its conqueror. We can state, in fact, that European conquest almost everywhere sows the seeds of “Europeanization,” i.e., the “modern” rationalist, tradition-hostile, individualistic way of thinking. Secondly, the traditional conception of culture and the state is hierarchical, not dualistic. Its bearers could never subscribe, without severe reservations, to the principles of “Render unto Caesar the things that are Caesar’s” and “My kingdom is not of this world.” For us, “Tradition” is the victorious and creative presence in the world of that which is “not of this world,” i.e., of the Spirit, understood as a power that is mightier than any merely human or material one.

This is a basic idea of the authentically traditional view of life, which does not permit us to speak with contempt of merely material conquests. On the contrary, the material conquest is the sign, if not of a spiritual victory, at least of a spiritual weakness or a kind of spiritual “retreat” in the cultures that are conquered and lose their independence. Everywhere that the Spirit, regarded as the stronger power, was truly present, it never lacked for means – visible or otherwise – to enable all the opponent’s technical and material superiority to be resisted. But this has not happened. It must be concluded, then, that degeneracy was lurking behind the traditional facade of every people that the “modern” world has been able to conquer. The West must then have been the culture in which a crisis that was already universal assumed its acutest form. There the degeneration amounted, so to speak, to a knockout blow, and as it took effect, it brought down with more or less ease other peoples in whom the involution had certainly not “progressed” as far, but whose tradition had already lost its original power, so that these peoples were no longer able to protect themselves from an outside assault.

– Baron Julius Evola, On the Secret of Degeneration

What experience or realizations do you hope to communicate through your music?

Camazotz: more light.

Buddhism, in the summarization of Herr Nietzsche, is a self-denying religion, where it seems that most of the western tradition is self-affirming, although not perhaps in the ultra-limited-focus of self-based religions (Judaism, Christianity). In your view, how do Buddhism and National Socialism spring from the same origin?

Camazotz: everything springs from the same source.

All good and evil, is in fact, evil and good.

But we can play with words all day, frederika and bhuddhism say the same things, they’ve used the same kinds of terms though with different definitions attached. Like we said before, this is where the humans cease to function appropriately.

For example the term ‘ego” some use this to denote the highest qualities , while some use it to denote the lowest infrastructures.

The “self” in the purest occult definition is a separate atom, free from its contaminated restricted material existence. ( Karma.)

The “self” is the purified/liberated “being” , free and purified of the gross material contamination. The actual “self” cannot be restricted to the tri-dimensional realm, that we are currently chained to.

This is alchemy, all of egypt.

Primal christianity eg. Gnosis, is probably the mediator needed here to make sense of these issues.

The goal of national socialism , the result that is intended to be achieved , is the superman.

The superman is the overman, the man that has overcome his limitations and regrown to a super (from our present involuted state) level of being.

A bhudda, or, bohdisatva depending on the level achieved.

Angel or Archangel, if you’d like to use these terms.

Some resonate with the uber and untermenschen terminologies, its all the same .

I would at this point encourage humans to find a nice rock under a tree on a mountain by a stream amd meditate your brains out on these issues.

Paraplethon: It is perhaps self-denying in order to be truly self-affirming; the movie ‘Fight Club’ deals with these concepts pretty well.

The terminology may differ between Buddhism and NS, or between NS and any other traditional philosophy, though ‘terminology’ is just that – an outer husk whose only use is an attempt to describe, or in some instances plainly label, the ‘inner guts’ – the unseen thing within that is the whole value and point to the philosophy. And further than that, NS being a modern re-formulation, in such a dire time and circumstances, was and is bound to be different.

Where they are similar, one and the same even, is their concern with the development of a greater wo/man; the advancement of wo/man, and the means by which to get there aren’t really all that far removed either.

The foundation of every true State is the transcendence of its own principle, namely the principle of sovereignty, authority, and legitimacy. This essential truth has been variously expressed in the course of history; if this truth was not recognized, the meaning of everything that belongs to political reality would be misunderstood, or at least distorted. Through the multifaceted variety of these forms we always find as a “constant” the notion of the State as the intrusion and the manifestation of a higher order, which is then actualized in a power. Therefore, every true political unity appears as the embodiment of an idea and a power, thus distinguishing itself from every form of naturalistic association or “natural right,” and also from every societal aggregation determined by mere social, economic, biological, utilitarian or eudemonistic factors.

In previous eras it was possible to speak of the sacred character of the principle of sovereignty and power, namely of the State. For instance, the ancient Roman notion of imperium essentially belonged to the domain of the sacred. This notion, in its specific meaning, even before expressing a system of territorial, supernatural hegemony, designated the pure power of command, the almost mystical power and auctoritas inherent in the one who had the function and quality of Leader: a leader in the religious and warrior order as well as in the order of the patrician family, the gens, and, eminently, of the State, the res publica. In the Roman world, which was intensely realistic (or, I should say, precisely because it was intensely realistic), the notion of this power, which is simultaneously auctoritas, always retained its intrinsic character of bright force from above and of sacred power, beyond the various and often spurious techniques that conditioned its access in different periods.

– Baron Julius Evola, Men Among the Ruins

Do you see the individual as existing outside of a political and social context, or necessarily as part of one, even when attempting to avoid the issue?

Camazotz: the individual is in fact multidualastik.

The idea is to be a part of this world, but not of it.

Be separate and observe, but also be productive and interactive.

This is the key. You need both polarites to proceed. Balance.

The individual or ‘self’ not to be confused with the human organism, should be somewhat “above” the mechanical systems, overseeing, if you will. Guiding.

You will after some time of practicing these tekniques be conscious of the seperation/observation, then you can really get to work.

Politiks and social environment are unavoidable, they are necessary for the revolution.

At the base end of the scale, they are the extent of most peoples ‘realities’. They are therefore necessary tools to be utilised. Fortunately those who ‘know’ can work towards something numinous.

Paraplethon: The very term ‘individual’ presupposes such. Though, probably more-so nowadays than in the past a person is wholly defined by their interaction with certain groups of people – socializing, and by their working/financial position, both of which, generally speaking, are accepted as going on to form the basis of a person’s ‘political persuasion’ – the ideas and concepts concerning the nature of society, the person and the environment they hold to be true, ‘the best’ and seemingly self-evident, there is more to it than base temporal factors.

There is in each person a unique and most vital element to their being, this is the essential spark that travels from incarnation to incarnation, the immortal animator of our being. It is variously referred to as ‘the Ego’, by Gurdjieff and many others; ‘the Essence’, Yeats called it the ‘Anti-Self’, and in Alchemical circles its one of the things going be the name of ‘sulphur’. With the recognition of the essence, the awakening process, and the nurturing of it – bringing it forth into full flower – that’s when the doors of perception really start to open, when we discover our extra senses and so forth.

This process, that we just as might call ‘individuation’, is however barred; the path is blocked by our accretion, whilst physically incarnate, of shallow, hollow, most ephemeral notions of our identity – such as was mentioned in the ‘socializing’ and ‘social strata’ circles – the region of the cult of the personality. These ‘psychological aggregates’ are rooted in our all too willing reckless identification solely with the material plane when we find ourselves physically incarnate. So in order to uncover the real, hidden essence that is our being, where the realm of UNDERSTANDING is to be found, rather than just “knowledge of this, that or the other”, the false impression of what we believe to be our identity must be sloughed off to allow our being to breathe. It was in this area, the ‘Golden Dawn’ had a test wherein the candidates had to converse without using any first personal pro-nouns; i, my etc, etc…

So, yes, people CAN be individuals if they choose to put the effort in, otherwise yes, we can be defined by a social and political context. As for ‘avoiding the issue’, the making of petty excuses or whatever to not deal with the situation as it stands; ‘because’ has fallen; “now is the time of the Fall of Because.”

What is your feeling regarding democracy as a system of government?

Camazotz: seemed like a good idea at the time …..

as with any other failing, generally speaking it is the human factor that fucks it. the untermensch ‘ego’ . most systems have something to offer , at least in theory. but if there is a fault, the human scun will exploit it.

Paraplethon: It does appear to be a good idea in theory. Perhaps it works only on the small scale in practice; medieval Iceland for example.

The most valuable insights are arrived at last; but the most valuable insights are methods.

All the methods, all the presuppositions of our contemporary science were for millennia regarded with the profoundest contempt; on their account one was excluded from the society of respectable people — one was considered as an “enemy of God,” as a reviler of the highest ideal, as “possessed.”

We have had the whole pathos of mankind against us — our conception of what “truth” should be, what service of truth should be, our objectivity, our method, our silent, cautious, mistrustful ways were considered perfectly contemptible —

At bottom, it has been an aesthetic taste that has hindered mankind most: it believed in the picturesque effect of truth, it demanded of the man of knowledge that he should produce a powerful effect on the imagination.

This looks as if an antithesis has been achieved, a leap made; in reality, the schooling through moral hyperbole prepared the way step by step for that milder of pathos that became incarnate in the scientific character —

The conscientiousness in small things, the self-control of the religious man were a preparatory school for the scientific character: above all, the disposition that takes problems seriously, regardless of the personal consequences —

– F.W. Nietzsche, The Will To Power

Which ancient societies do you respect most, and why?

Camazotz: atlantean and lemurian.

These are the ones which I have the most vivid recollections of. They were superior to our present era as humans involute instead of evolute, as opposed to what the corrupt ones would have us believe.

These were what we would call ‘high’ cultures as they were organicly minded, of course the atlantean degenerated to a material teknology based system which set the mood for our current situation of disaray .

Organik civilisation is spiritual civilisation.

Blood and soil.

This level of being had a totally different outlook to the present. In those times the human was the teknology to be perfected, not , an outside material construct for humans to dump their shortcomings on to create even more limitations to the acheivement of human potentials.

Less is more.

You see energy is matter and matter is spirit. Therefore energy is spirit. So why would one externalise spirit instead of working internally/esotericly? Why would one waste their ‘quota’ of immediate potential on external materialism??????? This is why the great civilisations of old look so backwards to the uninitiated, the advance is hidden to them.

Stone,timber etc these natural materials are infinately more powerful to work with and beneficial as they are still the living energy of the elements/elementals which reside therein. Blood and honour.

Paraplethon: None more-so than others. There is something to be learned/gained from ALL quarters; it si a very general statement though we had something in times pat that we’ve definitely gone and lost in the 20th Cent. However, it doesn’t do to dwell on ‘what once was’ and forget to live; the present is the only time worth our energies.

Machiavelli says it is better to be loved than hated, but much harder to be loved by the fickle nature of populations. Do you see this as being a sentiment of the original “fascist” ethos?

Camazotz: naturally ’tis better to be loved than hated.

Hate will destroy you. This is not to be confused with a healthy adversity, which promotes growth and strength.

Naturally fascism recognises the way populations behave, I think everyone would know this wouldn’t you? The trick is to achieve FOR the people, especially if they do not at the time recognise what is best for them. Fascism does this.

Paraplethon: Not particularly… it sounds more like something out of ‘the successful propagandists handbook’ or something. The sort of thing anyone remotely concerned with having good PR would take note of… hardly a ‘fascist ethos’ as such.

The everlasting qualities of Varna and family traditions of those who destroy their family are ruined by the sinful act of illegitimacy.

– The Bhagvad-Gita

The fascia, from which fascism derives its name, is a bundle of reeds with an axe head attached at their center; the symbolism is in theory that while sticks break individually, together they are strong. Is there any unity toward a common goal in modern governments?

Camazotz: of course! It is a new world order after all!

We could go into all kinds of discussions regarding parties , wings and all manner of political doctrine, and really I think most of them do at least have something positive to offer.

But they fail because of the human element.

Humans are not perfect, we must perfect the humanoid psychologicly/spiritually, to reflect that in the social environment.

This is what the movement should be working at.

This is what okkult NS and Fascism is all about.

This what all religions are about.

This is the heresy we embrace.

This is the REVOLUTION we instigate.

This is what we practice.

This is what we preach.

Paraplethon: Yep, ‘strength through unity’, ‘united we stand, divided we fall’ etc…

The ‘common goal’ they’re intent on scoring is the complete enslavement of humanity as an identity-less, racially indistinguishable mass of automatons.

As dire as the current situation is, that we are here talking openly about their nefarious aims is proof enough we’re not yet living through our darkest hour, though it is very dim, very grim.

However, what we are witness to isn’t a particularly united/common front; there are those in varying amounts of agreement, from the rabidness of the US, Israel and Australia to the more wary French and Russians to those who remain definitely outside the fold; Iraq and Libya for instance. It must be pointed out though it isn’t only those countries labelled ‘evil’ by the worlds punch-drunk bully – the US, that remain on the outer; there is a semi-autonomous region of Siberia, perhaps the last place on the planet since the fall of Tibet, where governmental decisions are guided by spiritual elders, in this case shamans, whose aims are more along the lines of freeing the mind and spirit rather than enslaving and controlling them. And as for the recent US actions designed to stamp out any opposition to its aims as mentioned above, well Nelson Mandela makes it clear where he stands; “They think they’re the only power in the world. They’re not and they’re following a dangerous policy. One country wants to bully the world… If you look at these matters, you will come to the conclusion that the attitude of the USA is a threat to world peace.” Newsweek, 10th Sept. 2002.

It’s the Kali-Yuga, revel in the dischord and strife…

Have you had any problems with labels, fans, clubs or others because of your political views?

Camazotz: yes,

we have had some interest from a bike club due to us using “their” image.

We have had trouble with certain skin movements.

We have had trouble with the media.

We have trouble with %98 of the musik community finding it next to impossible to get gigs, advertising, label interest etc. and that is including the ‘pagan’ metal heretiks!

Also certain magikle societys in all their illumination, don’t get it.

Herr Nietzsche referred to Christianity as a great evil that, were it not to exist, would have to be invented. He also said “that which does not kill me, makes me stronger” in regards to experience — in your view, what is the experience — both personal and cultural — of overcoming christianity, and what strength does it create?

Camazotz: sorry this question was lost somehow.

Paraplethon: Firstly, ‘christianity’ is a VERY loaded word, so you would have to begin by narrowing your scope and define exactly what sort of christianity here is to be overcome. An example of how much variance/difference there is in the christian experience is Origen of Alexandria, a church elder of the 2nd or 3rd cent., who at his death was officially deemed a saint. However, some time later – a few hundred years or so, Origens position was re-evaluated, it was determined his Neo-Platonism didn’t sit well with what the church had become and so his writings were banned, or burned, his sainthood was revoked and he was declared a heretic. The rather drastic change in the opinion of Origen mirrors the devolution of mass christianity as a whole, culminating with the final purge of the esoteric aspect of the religion in the 15th cent. or thereabouts, whereafter the ‘Church of Rome'(and its offshoots…) were more or less just the outer husks/the misunderstood whispers, not much more than some meaningless moral code.

Esoteric Christianity, the real ‘inner guts’ of the movement – that which gives real meaning and value to all the rituals, practices and moralizing of that outer husk – the Roman Church, was forced underground.

So what aspect of christianity is to be overcome? The outer, exoteric branch everyone is familiar with? Fine, if you were to do so, you’d be taking the first tentative steps towards realizing that old maxim ‘Know Thyself’.

At its core, Esoteric Christianity IS a method, a philosophy of overcoming, of overcoming oneself – sounds somewhat similar to Nietzsche doesn’t it? Of course the terminology is different, but who cares for the terminology, it’s merely an attempt to describe the heart of the matter, there’s bound to be differing terminology as every ones experience os going to be unique to themselves.

However, the heart of the matter IS the same.

Europe is about to outlaw “hate speech” online through a program named Princip, after the assassin who started World War I. Of what do you believe this is a portent, and how do you think it will be circumnavigation?

Camazotz: I knew this was on the drawing board, but had no idea it was to be implemented at this point. Surely people can see that this is unbalanced?
anything can be circumvented. That’s how the whole internet thing came about in the first place. I feel the ‘left’ in all their glory should be assissted in their efforts to save the free speech that is still available. By that I mean whatever factions are still opposing these actions. In fact there should be more work with the ‘left’ alltogether.

This is ignorance in full flight.

This we must fight.

Lest we face the great night.(again &again&again.)

Ignorance can only breed ignorance, fear , restriction etc.

There must be dialogue/interaction with all factions and cults to make any progress in this world.

Together we are strong.

A good lesson in the cosmik principle of recurrence here don’t you think? Nothing should be repressed, this is the tao, more light.

Just what constitutes hate speech etc? The talk of fools.

It’s like this race question.

Those who want to be separate should be separate, those who want to mix should mix. Quite simple really.

A good analogy would be the olympik games, and the drug testing/bans etc.

I think there should be separate events where the competitors can shoot up absolutely any shit into their organisms they want. Hell they can even get nuclear powered bioniks in these events for all I care, go for it. We will see where that leads.

But there must be room for purity too.

I would recommend keeping records though, I don’t fancy getting lined up with a sheilagh that has had some kinda ape genetiks crossed so she can win a gold medal at gymnastiks or something.

Paraplethon: A portent? Orwells ‘1984’, Huxleys ‘Brave New World’ – that’s what a constriction on open dialogue and criticism is a portent of.

Do you have any interest in encryption? Or religious cryptograms?

Camazotz: encryption is a tool to be utilised like any other at the correct time and place. Aside from the allegory and symbols of regular occultism/ alchemy etc I’ve not really looked at encryption etc.

I take it you mean stuff like ‘the bible code’ etc?

I have read some on the ‘real’ jesus and such nationalist type things if you mean these?

Of course all secret societys have their encrypted ‘codes’ too.

Sometimes you will find things in our releases if you were to be vigilant.

Of course you can take that to another level in that this world is illusion , so through using the tekniques of the esoterik warrior one would be working in this fashion , ja?

“That’s all she wrote,” the Finn said. “Didn’t finish it. Just a kid then. This thing’s a ceremonial terminal, sort of. I need Molly in here with the right word at the right time. That’s the catch. Doesn’t mean shit, how deep you and the Flatline ride that Chinese virus, if this thing doesn’t hear the magic word.”

“So what’s the word?”

“I don’t know. You might say what I am is basically defined by the fact that I don’t know, because I can’t know. I am that which knoweth not the word. If you knew, man, and told me, I couldn’t know. It’s hardwired in. Someone else has to learn it and bring it here, just when you and the Flatline punch through that ice and scramble the cores.”

“What happens then?”

“I don’t exist, after that. I cease.”

“Okay by me,” Case said.

“Sure. But you watch your ass, Case. My, ah, other lobe is on to us, it looks like. One burning bush looks pretty much like another.”

– William Gibson, Neuromancer

Are there any similarities in your view between the Qabbalah (pre-Judaic) and the tree of life in Nordic religions?

Camazotz: you need ask? Of course.

Paraplethon: They are differing cultural descriptions of the same phenomena; physical worlds coming into being and the polarity to such.

Buddhism and National Socialism both emphasize discipline and a rational, non-superstitious, non-dogmatic approach to decoding philosophy, nature and the sciences. Is this congruent with the beliefs of the west at this time, or has a contravening force taken over?

Camazotz: the west has tapped into and let loose many principles/powers that have taken on their own momentum/agenda. Some of these do indeed work against the agenda of liberation but it’s all part and parcel of the package deal we bought off god at that clearance sale a few years back … it is all encrypted on that nordik tree of life you were alluding too b4 ha ha.

Be alert as the sentry in war.

Continue with the process and you will get the result.

What do you expect when we live so far from galatik centre? When it is within ones ability to upgrade to a double sun, you will still know the answer to yesterday, though not today.

The further you climb, the further you can fall.

Paraplethon: Rational? Non-superstitious? What form of NS are you referring to???

The very world we live in today is the consequence of 200-300 years of rationalism, denigration of superstition, and NS stood in direct opposition to this degenerate society; NS was a civilization unto itself.

Though what is ‘superstition’, being that most people have some sort of preconception. Superstition; tradition, myth, legend, perhaps a ‘cultural base’. Let’s go out on a limb and say perhaps all myth, legend, tradition(‘superstition’) is but a system existant to give us the means to negotiate our multi-dimensional reality at our will. THAT seems quite rational…

To attempt an interpretation of ‘superstition/myth’ purely from the physical/temporal point of view is quite ‘irrational’, though to do so would result in the conclusion that ‘superstition/myth’ IS itself quite ‘irrational’… whatever…

When you write lyrics, which is more important: exact meaning or the sense and sound of language?

Camazotz: that’s a funny question . As you will find that the ‘vibe’ or sense and sound as you put it. IS the exact meaning. Words can never give the truth, only a close approximation. That’s why letters have a kabbalistik corespondence, to get closer to what the real deal is. Also that’s why we need to utilise the layering of sounds with the words and such, to get as close as possible to the particular atomik rotational condensation as we can. Somewhere within the yin and yang polarities of that atomik field we will find the exact mathematical fraction hinted at.

You must do some travelling.

Do you read any philosophers or social theorists and if so, what doctrines do you find relevant to the current time and its discontent?

Camazotz: I rarely read at all these days. It just dosen’t hold my attention at all anymore. Now we work more practically with the meditations and such. The intellect rarely serves its master satisfactorally.

Simple observation and reflections will give you any informations that these types of pushers try to get thou addicted to. Only it will be pure and internally relevant to YOU and you’re peculiar frequency/orbit.

In addition to that, the big draw back is that people just go around adding all this information to their little brains, without actually utilising any of it or DOING anything. A bit of a waste of time really.

If I read anything now it is scientifik/okkult. Which is first applied on an intellectual level then passed on to the dan tien, then hopefully we can really do some work psychologikly. Which itself begins at the ritual level, then moves deeper.

Paraplethon: Chomsky, Hakim Bey, Alexander Dugin, Qadhafi… David Icke appears to be more daring and goes a bit further than the others.

In your view, is history a linear process with a clear end-point at which a triumph of development can be proclaimed?

Camazotz: if one followed this point of view , it could only be the triumph of death/dekay/involution. History is cyclik in both its ups and downs, every point is only a decimal on the way to another point . My answer to your question is , no.

Paraplethon: Think ‘cyclic’, in terms of ‘aeonics’, development, triumph, degeneration, decay, multiplicity, unity etc…

Saying that though, you’d have to have rocks in your head to still have faith in the ‘cult of progress’.

It seems in light of recent events, previously demonized political worldviews are gaining some ground in the mainstream, albeit in pieces separated from the whole, much as Christianity was absorbed. Do you think these beliefs will synthesize with current “popular knowledge” or will a splinter society be created?

Camazotz: a splinter society? Not for some time I’m afraid ( not in a positive way anyhow ), unless you want to count people such as Islam, Iraq and North Korea etc. we must promote the invisible empire, to be within the ‘system’ but not of it. To not be restricted by it, that is. Utilise it, be the master.

You must see that that is in fact the problem, society is too splintered. The sleepwalker cannot even see the line , neveralone know which side to stand on. Anything that has been assimilated has really been the grosser aspects of doctrines, with no depth to really make a positive difference. And who will lead this splinter society?

Paraplethon: Any ground gained is more likely the carrot dangled in front of us, so watch out for the big stick. They don’t seem like people willing to give up their power, or even share it around a little…

I’m sure people have asked this to death, but what do you think was achieved by the Al-Qaeda bombing in Bali in which 180 people, mostly Australians, were killed?

Camazotz: I guess they got rid of a few round eyes from their country. we got what NWO wanted.

Paraplethon: Al-Qaeda? Really???

About the only thing that was achieved was for 2-3 weeks sports wasn’t the most important thing in the lives of average Australians.

Of which work of the band are you proudest? Do you see an evolution in the process of your works?

Camazotz: we try not to stagnate. But then again a change is not necessarily a good thing, hopefully we can rebel in a positive fashion. I think the standard answer is that what ever is most recently released, is the best, ja!

Actually I try not to be attached to anything that’s been done, or will be done.

Paraplethon: The best thing about SOL is the concious attempt to influence others.

At least here in Texas, it seems to be hard to come by Spear of Longinus merchandise or recordings. Will this change at some point, and will you re-release older material?

Camazotz: older stuffs will be re-released as time goes by hopefully in ‘revamped’ formats. Just as soon as THEY let go, our stuff will be easier to get a hold of. Then we will also be featured on “top of the pops” wont that be grand ………. then the prism of perspective can take us away to the light cone.

What inspired the choice of band name?

Camazotz: hadit.

Has metal grown from the black metal experience, or are we in a lull between developments of metal and thus bands are turning to traditional, proven formulas for aesthetics?

Camazotz: metal has grown but it is also in a lull.

You will find that the traditional motifs will eternally recur, hopefully in ever flourishing octaves.

The humans are doing the best that they can…. Poor creatures

Paraplethon: Don’t have much to do with ‘metal’ anymore, listen to it now and then, that’s about it… ditched it when that whole ‘retro’ thing took off…

Camazotz: hear hear, fuck retro.

It seems many American Christians support Israel because in the Christian view, an “end times” is coming and one of the signs of its arrival is Jewish repossession of their homeland. Could this be one of those prophecies that is ultimately self-fulfilling and nothing more?

Camazotz: the material realm is not always a faithful reflection of the superior. In fact my kitty kat is black.

The most unfortunate thing is that humans do not understand the symbolism employed.

They mix up the metaphysical internal with the terrene external. Ignorance doom flux.

Join a kult and make it prosper.

Paraplethon: The ‘end-times’ aren’t peculiar to just christians, there’s quite alot that culminates in the period 1960-2040, or even prior if you want to count Crowley’s proclamation of the ‘Aeon of Horus’ in 1904 or whenever it was. Just what do the ‘end-times’ signify though, that’s the more interesting question.

To answer your question though, on the face of it, it would appear to be somewhat of a self-fulfilling prophecy, with the various other evidence pointing towards an ‘end-times’ however, it is safe to say there is something in the air.

In your personal lives, do you watch television, movies, play video games, or use any drugs?

Camazotz: no drugs

no video games

no tv.

Occasional movies.

All you have is your training, you must be what you are independent of external influences.

Paraplethon: Movies… especially the ones with the esoteric undertones…

Why waste time with that other junk – “all we have to do is decide to do with the time given us”, what will you do?

Please insert anything here i’ve missed or which has been only covered obliquely.

Camazotz: thanx for the time and space mate.

Metal is dead, long live metal.

Sorry we didn’t put enough energy into this mate, but hopefully people can get an idea about it all from this. Be a practical particle, be sincere, and HE will come.666.

Von sol
Doomcrust.

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Interview: Chris Reifert (Autopsy, Death, Abscess)

In the an(n)als of metal history, the name Chris Reifert sticks out like a red flag to anyone tracking the progress of the development of the genre. After a partnership with Death, he formed Autopsy for the sake of recording “death metal” in the late 1980s, and has moved on from Autopsy to Abscess, a grind/punk/metal project, as well as several other bands in the quest for loud and grindingly horrific music. We were able to catch up with Chris through a system of coded messages sent via colonically-violated seagull.

What motivated you to get into metal?

Just my infatuation with heavy music. It started when I got hooked on KISS in 1978 and has only progressed since then. Also being exposed to ‘Rubber Soul’ and ‘Revolver’ by the BEATLES as small child got an early intestest in psychedelia cooking. Nowadays we are really merging psychedelic influences with (emphasis on) extremely brutal metal with a healthy injection of ‘FUCK YOU’ punk. AAARRRGGGHHHH! (to quote Venom)

Have you ever gotten in trouble with the law for your metal affiliation?

No, just for alcohol affiliation.

What do you see as the primary difference in mentality between underground metal bands and the people you hear on the radio?

In general, everything. Otherwise, I guess it depends on who you are talking about. Besides that fuck the radio! Even at its best moments it sucks Carrot Top’s unwashed red and brown ass! The radio for the most part is controlled by one piece of fecal matter sitting at the top caring for nothing artistic unless you count dollar bills as art pieces. DESTROY THE FACTORY!!! The sick thing is, alot of fucks in the underground just wish they were that piece of fecal matter but just haven’t achieved it yet. It all comes down to this, is your music good or crap and to whom? hmmm….

in autopsy, what were your influences on drums and why did you pursue the musical style that you did?

I think I was my biggest influence in drumming at the time cause there was no one else to look up to in my mind. If you ask me about that now I would say Keith Moon and Dave Lombardo as a two headed four armed eight legged mutant with a up of insanity added.

In Abscess, you are trying something more punk or grind than metal, but with metal influences. Why the big change and what advantages has it brought you?

I really hate analyzing specific riffs or feels or whatnot. It’s the spirit that matters. I suppose after Autopsy split all we really wanted to do was get drunk and go crazy. No we still do that but really hone in on maximum heaviness and mindfuckitude. ‘Tormented’ dove into that pod and our newest ‘Through the Cracks of Death’ is swimming to the bottom or maybe into the air above. It’s all the same I guess. Quesion is: What would Lester Bangs say?

What are your favorite punk/hc bands?

Mostly older ones cause punk has suffered the same commercial assfucking that metal has as of late. Just a few: GG Allin, Ramones, Sham 69, Capitalist Casualites, Gaia, Poison Idea, Dwarves, Discharge, Stooges, MC5, Dead Boys, Pagans, bla bla bla…

If you could exist in any musical movement in history, what would it be?

I can’t think that way. I’m always obsessed with laying down the next brutal eyeball gouging, runt raping, flesh flinging track.

How has Abscess been received by the metal and punk communities, and what have you learned from the differences in the two?

Everyone still hates us 8 years into it. Mostly I hear “When is Autopsy reforming?” How about “When are you gonna let me spurt jizz into your armpits?” Fuck it! I’ve always thought and still do metal and punk are two sides of the same coin. Its all about energy, aggression and getting your sick kicks in an eardrum pummeling way. Call me old fasioned. har har fucking har de har!

Why do you think underground metal began when it did, 1983-85, with bands worldwide suddenly converging on the same sound?

Fuck knows? Its the way it goes with any movement (bowel-haha!) I suppose. Who cares really? Theres good and crappy in any situation like that. Lizard poop for everyone, thats what I say!

Do you think anything in nature has a single cause?

I dunno. Maybe somehwere between Bukowski, Casteneda and Nietzsche lies the truth. But I doubt it. Most likely humans just wonder too much about some secret key or meaning to life. Maybe Nietzsche was right but ‘Maldoror’ is pretty fucking entertaining!

Do you hate the internet? If so, please tell us why, in detail (including the following topics if possible: AOL, porn, FBI)

I don’t hate it, I’m just not interested in it. If I ever owned a computer (which I don’t) I probably would never turn it on. I’d rather call someone and hear their voice with no screen to hide behind in my admittedly warped mind there’s something deeply good way. I seem to be in the minority…

Please comment on any rumors linking yourself to VON here.

What rumors? Our bass player Joe used to be in Von. That’s as far as it goes.

Where do you think metal will go next, what will become?

I think the big question is, where will the bat boy appear next? Fortunately the weekly world news will keep us in the know.

What do you think of nu-metal?

Where did they get the metal part from? Heavy guitar tones and seven string guitars do no add up to ‘metal’. On top of that some worthless fizzlefuck slobbering about how his father came in his face too many times or some gopher entrails like that. TOTAL FUCKING GARBAGE FOR TOTAL FUCKING DUNCES!!

Enlightenment is man’s release from his self-incurred tutelage. Tutelage is man’s inability to make use of his understanding without direction from another. Self-incurred is this tutelage when its cause lies not in lack of reason but in lack of resolution and courage to use it without direction from another. Sapere aude! (“Dare to be wise,” Ars Poetica, Horace) “Have courage to use your own reason!” — that is the motto of the enlightenment.

– Immanuel Kant, Foundations of the Metaphysics of Morals

Many thanks to Clint Carr for his help in obtaining this interview.

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Interview: Mr Blaash (Where’s My Skin? Zine)

Those on the prowl for interesting literature about the metal movement may be familiar with Mr. Blaash of Where’s My Skin? zine. His misanthropic commentaries on metal, death, life, self-mutilation and guns are gratifying to those of us who have experienced enough alienation to hate any form of sociability. Blaash kindly granted an interview between reloads on his MP5 during a streetfight in Houston.

How did you get into black metal: was there metal before it that you liked, did it alone appeal to you, or did you find it through a non-metal genre?

Hm. When I was a little blaash, back in the 80s, I found early bands like SLAYER, early METALLICA with Cliff (no remorse, no regrets, we don’t care, what it meant), early MEGADETH (its black Friday!), a little POSSESSED(7 churches), early SABBAT (a history of a time to come – from the UK before they turned UltraGay), and a fucking healthy LOUD dosage of RIGOR MORTIS ( DEMONS).. from there I instinctively turned to the glory of death metal, with DEMIGOD, XYSMA, FUNEBRE, PHLEGM, IMPETIGO, BOLT THROWER, CARCASS and so on.. mainly by listening to a radio show at like midnight by Wes Weaver (now of INFERNAL DOMINION) called Sweet Nightmares… around the time of my first issue oh, lets say 92 or so, I was introduced to the TAOG EHT FO HTAO demo from IMPALED NAZARENE.. I immediately made contact with the man and from henceward I followed with IMMORTAL’s “Fullmoon..”, MARDUK’s “dark endless” and COF’s “principle”.. it culminated with the first slicing as I heard the EMPEROR split with ENSLAVED.. truly an honour to have heard such albums before they have long since “progressed” or some such thing.. it is a shame that the younger generations (rightfully perhaps) spit upon these bands because they were introduced to the LATTER releases, instead of realizing that back in 93 or so that these were skullfucking releases at the time..

Describe what black metal sounds like to you.

As it should – Extreme, in at least some sense of the word.

Describe what black metal communicates to you.

Ah – An aura of violence followed by an intrinsic self destructive honour; that it is still within our grasp to end our own existence or that of another… feelings of no self worth, but with the knowledge that one does not need to have any.. perhaps this is sounding a bit confused; but for me it fuels the fire of negativism in my person; of continuing a fight with the knowledge that in the end I will lose; but that is not the point; the point is the struggle itself, and how many I plague, harass, molest, spread the seed of propaganda onto (heh or into)and/or horrify/depress or encourage others to do so….

What “is” black metal?

As with any form of medium; propaganda – a weapon to encourage negativity in the extreme to others…

How did you get into writing, and why did you choose to do Where’s My Skin?

When I was a young maggot I always had the penchant to write.. I used to write cynical opinions about world events.. I especially liked the LA riots (the darkies were outraged about something, so they destroyed THEIR OWN neighborhood.. shouldn’t they have at least destroyed somebody elses) and also Maggie Thatcher, and CNN (I really think they start the wars, just to have something on TV)…As I delved further into the scene, I ran into some killer zines like billy nocera’s COVEN zine and others.. however, I also ran into shittily written pieces of fucking nonsensical crap – I could not tolerate the extremely poor grammar and just outright usage of the same ‘its brutal man’ reviews. Fuck I couldn’t fucking stand it. Theres nothing wrong with a shitty looking zine – hell look at mine; but at the very least compose it competently.. a good current example would be HELLISH MASSACRE from Sweden.. also TALES FROM THE EIBON (france), tho needs A LOT OF WORK… seems to be showing improvement..

Do you believe as did Georges Bataille that human life in part consists of looking for a good method of expenditure, meaning a means of expression that culminates in the depletion of the life itself?

I believe this is simply a metaphor for ‘finding a goal’ in life. To find ‘meaning’ – be it rape, serial killing or an accounting position at KPMG.. as one attempts to reach these goals, he is confounded (and/or arrested or shot, depending on what goals one pursues)… and eventually dies. Bataille was quite a healthy pervert and an esoteric/violent thinker, from what little I know of him. Would probably great to trade stories with over whiskey.

Let us consider in particular how concepts are formed; each word immediately becomes a concept, not by virtue of the fact that it is inteded to serve as a memory (say) of the unique, utterly individualized, primary experience to which it owes its existence, but because at the same time it must fit countless other, more or less similar cases, i.e. cases which strictly speaking are never equivalent, and thus nothing other than non-equivalent cases. Just as it is certain that no leaf is ever exactly the same as any other leaf, it is equally certain that the concept ‘leaf’ is formed by dropping these individual differences arbitrarily, by forgetting those features which differentiate one thing from another, so that the concept then gives rise to the notion that something other than leaves exists in nature, something which would be ‘leaf,’ a primal form, say, from which all leaves were woven, drawn, delineated, dyed, curled, painted — but by a clumsy pair of hands, so that no single example turned out to be a faithful, correct, and reliable copy of the primal form. We call a man honest; we ask, ‘Why did he act so honestly today?’ Our answer is usually: ‘Because of his honesty.’ Honesty! — yet again, this means that the leaf is the cause of the leaves.

– F.W. Nietzsche, On Truth and Lying in a Non-Moral Sense

Is there any division between love and hate for you?

Well. They’re spelled differently. Hows that?Hm. Both are strong emotions…. I myself am trying to move to that cold, negative feeling that one gets when listening to the ANTAEUS interludes from CYAWS.. of simply Not caring. Par example “No I don’t hate that person, because that would mean I care about them – I just want them dead”… I realize in our pseudo nihilistic coalition it is necessary to have those with passion (and strong emotion like hate); those who enjoy their work – these men (women?) will be the brutal, sadistic serial killers that truly define us.. while we just sit back and guffaw when we read about the newest missing daughter’s breasticle found in her mothers shoe…

Most art in this postmodern time outside of black metal seems to focus on finding a convenient way to express the idea that human life is valuable. Why is it artistically, politically and socially valuable for you to think otherwise?

The morals of the current American society have attempted to teach this; however, I believe it is having the opposite effect.. the morally deviant can obviously see the hollowness of this deluge; hell, even the supposed xtians are doing the opposite these days..I have always been wary of society and socially accepted principles – I see nothing but mediocrity and hypocrisy .. that is one reason I have embraced the path of self destruction and disdain for the majority of society…

Do you think armed political uprising is in the American future?

No. Big Brother has too much of a stranglehold.. if we in turn manage some decent domestic terrorism, it will only serve as a carte blanche for the government to act in silencing us further.. still. It would be interesting to bring down the wrath of oppression – as it nominally, at the least, brings forth rebellion and then violent repression.. so.

What is your preferred method of killing humans?

Havent killed any, so unfortunately I cant give a first hand account and/or description and high points/low points of such an activity. However, I am very, very prone to projectile weapons.Again, those with the passion to properly enjoy this activity should be on our payroll; but me, hell, I just want to get the job done; I have a bar I have to go to afterwards anyway.

You live in one of the most ethnically- and culturally-diverse cities on earth, Houston. What do you like about Houston, and what do you dislike?

I can see you giggling as you write that statement. What the fuck .. we have a dangerous VietCong Mafia, 4thWard NigsAplenty, the BlackHand Messican mafia, and more Nigerian cabbies then I can shake my willy at.. there is NOTHING to like.. fuck. The only interesting thing is that there are Europeans (women) that come here, due to Houston being a port city. It is a nice break from the fucking Huge FuckinG MOO-Cows we have runnin’ around here that pass for women. Shit.

Isn’t it fucking hot as hell there?

Prozak – I’m gonna kick you in the groin for that one when/if I see you at the SatanTonio Fest in December. Fuck yeah its like breathing in a nuclear cloud – I don’t fucking care if its sunny in all of the south, we’re in a fucking sewer in Houston – the humidity makes it feel like youre in a sauna – to boot, it rains a lot, and then its SUNNY at the same time – great for blinding you and making you sweat your ass off. I guaranFuckinGtee satan thinks that even Houston might be a good training ground for some of his potential executives.

What do you like and dislike about Texas?

Likes –
Waco – hehe. Killed us some ATF agents we did. In the name of god too. Hehe
Guns. Lots of em.
Not too many Yankees – The northern aggressors
Space – nice, open non populated, flat space.
Cheap consumer goods – food, clothes, cocaine, whiskey, porn etc

Dislikes –
COPS – there are four fucking kind of cops in Houston alone that can shoot me – the Department of public safety (they have cowboy hats and BIG guns), Houston police, Houston Constables, County Sheriffs, METRO police.. shit
THE WEATHER – see above
The sports teams – they all choke/suck and I still watch them
THE WEATHER
The women – MOO.. they have trained the men to like them and think its okay theyre fat, overweight and whiney. The men feel They Have To Like Them because that’s ALL that’s around here. Shit they showed some pics of dallas women lookin’ all hot and slutty like – I bet they weren’t from dallas.. I’m exagerattin’ a bit I suppose – but its especially horrible in Houston.. when you can get a .99 cent hamburger and a .79 64oz coke and NOT do any exercise.. shit. You get an inflated heifer

Of course.. I ll plug them here I suppose

Are there any local bands you find excellent?

KATHONIK – most underrated band of houston – the front man for this band has been around for 10 fucking years, 4 demos, an unreleased (never will be) older album and a newer cd (that still needs proper releasement) – killllller razor in your face black with a touch of doom.. http://kathonik.cjb.net
ADUMUS – hehe. I know you don’t like the keyboards, but heh.http://come.to/adumus
BRUTALLY MUTILATED – old style IMPETIGO worship
BLACK BONED ANGEL – satanic celtic frost Johnny cash
TO SCALE THE THRONE – basic straight forward mid paced black..www.geocities.com/toscalethethrone
INFERNAL DOMINION – ex IMPRECATION .. fast as fuck brutal satanic death
THE DRUNKS – VIOLENT WHISKEY ROCKNROLL – excellent live shows.. good cover of witching hour..
UNCHRIST – newer band – good demo release – kathonik members
HIDEOUSLY DEFLESHED Uhm.. I liked their vocals – that is what saved me from just walking away from the stage in boredom…http://www.hdsproductions.cc/
I’m sure I forgot someone.. I suppose I’ll just get thocked for it.

What do you think distinguishes Texas as a locality from other areas, aside from climactic and geographical concerns?

We have a lot of satanic Hispanics? I don’t know. For some reason, I’ve noticed, even when in other countries, that I state I am a Texan first… I guess its because I’ve personally become enamored with the right of Texans to shoot and kill anybody attempting to steal property at night. Or the “trespassers will be SHOT” signs I see on open roadside (where I’m sure some redneck with a sniper rifle is just waiting for a city boy to try to piss on it)… just the fact that we up and stole this land fair n square from the Mexicans two centuries ago and that we joined the yankee coalition of states as a Favour to them. We have our oil, NASA (for space defense) and our own ground/air forces, so I don’t see a problem with becoming the United Texan Front or something…

Do you think there will be another truly great band from Texas?

You mean besides RIGOR MORTIS and ABSU .. and NECROVORE (I ‘m unfamiliar with this band however, but it is greatly appreciated it seems)…I think so. The climate and road construction leads to so much rage I figure it will manifest itself in another project. Who this might be.. I don’t know.

What are your feelings on Texas seceding from the Union?

See above.

do you think metal music is a form of rock-n-roll?

I am not a metal geetarist per se- but many I know seem have all started out with the older bands of rocknroll and such… and many still admire the technical proficiency of said artists.. I would like to say we’ve defined our own sub genre that cannot be categorized with simple rock bands; however though that argument may hold true for younger dragoons within the metal ranks, it might not hold much veracity with the elders of this genre – mainly with more experience there usually comes further education into other forms of music etc..

What is most important in a metal band, composition, production or attitude? Can these be separated?

1st Attitude – what is the goal with the propaganda – to just make racket and keep mum and dad awake at night. too much jerkin’ off so may as well try the geetar? Play in a rock band to get chix? Which is it?

2nd Okay – youre an evil motherfucker trying to seduce young jedis to the darkside, now what? Can’t play an instrument to save your life eh? Well fucking learn the basics before composing the propaganda – badly formulated propaganda encourages Ridicule..

3rd Production – low production means youre heavy – bad production means youre raw and kult – good production means you did it ABYSS studios and sold out.

When you hear something for the first time, how do you analyze it? For what do you listen?

Drums … I like blasting violence THEN.. vocals – horribly painful vocals like FUNERAL MIST, BETHLEHEM or ANTAEUS (live or rehearsal) can easily encourage Violence and Suicide.Lastly, geetars.. I can’t stand solos.. so unless its horrible I judge these last.

Do you believe the values and beliefs of artists shape the music they produce?

I would like to think so – ive noticed a change as of late.. in the early days of WMSitude, I used to ask bands the equivalent question of their beliefs and the reflection into music… most early bands (death, grind) simply liked playing aggressive music.. with the advent of black metal, it seems that it is Very Important that life imitates the music they produce.. and that is what I prefer.. THOUGH, there were some early satanic death and VIOLENT porn/rape/gore bands that were totally fucking into mass murder and of course endless sodomy of young pigtailed little catholic school girl anuses… so…

Does this explain “Christian metal”?

I have no logical explanation for xtian metal. IF this is to exist, I want more like David Koresh – he played that thar geetar, fucked everybody’s wives, and then done and shot and kilt some Federales…

In your opinion, what is the symbolic value of “Satan” to a modern society and those who wish to reprogram it?

It is an easy symbol to recognize as negativism… easiest put – the baphomet, the upsidedown cross, etc, represent to normal society something “bad”. It is then those who are wearing it that bicker/personalize what it means to them..

Do you believe “terrorism” is a valid way to describe the tactics of America’s current “enemies”?

Yep. Good for them. Fucking smartfucking towel heads. I comment on this greatly in upcoming issue h8te, which will be out in November.

What zines do you read?

I just got FINAL SOLUTION from spain – good interviews in that one; correct mindset for writing.. I naturally have a liking towards the JenOside33 issue#1.. heh. I like older DESCENT mags and also NORDIC VISION (its pretty)… HELLISH MASSACRE is number one on my list right now.. its gonna take a lot to get me away from that one.. IMPAIRED (mKm’s zine) was huge.. I would like to get hold of 666 zine from france…

Do you think black metal ever had a clear direction, or is that something we assume looking back into the past?

The latter. Too many of the so-called visionaries of the black metal elite got themselves stabbed or put in jail. The propaganda machine splintered into different factions, and thus we stand where we are now.. a re emergence of nihilism and flesh mutilation… not a bad thing. But it does seem to be circular…

Do you believe history “exists,” or that each age invents an interpretation of previous events to justify its position?

Heh, I believe those who Won The War Write The History. If you got fucked, well, history will put you as getting fucked, even if you put up a helluva fight. Yes, we do manufacture history as we need to, but not like the good ole days in 1930s germany. Man did they come up with some good shit. And also W.A.R here in the US has some need ideas on history, and its placement of the Zionist Occupational Government and the Gubment Cheese Getters (darkie)

Is there any “hope” for the human species?

Hope for what? I’ve read some of the manifestos at http://www.anus.com/anus/ideology/index.html …very interesting and I can admire the thought put into rationalizing Stupid Human Tendencies… But honestly, it doesn’t concern me… Shit will continue in one form or another after I’m gone, and you’re gone. So why do I care for the future?

These idiots who failed at that bank robbery in Norfolk, NE – how did they manage to do such impressive shooting yet utterly flail when it came to taking the till?

HEHE. I was happy to finally seem some people killed in a bank robbery.. but again. I would prefer if it were authorities. No, nobody is innocent, but if youre going to go on a shooting spree, go on a SHOOTING SPREE. If you’re gonna rob a bank, GET THE CASH. I heard there were like 4 or 5 head shots.. so I guess they just panicked, and started putting bullets in peoples heads. First way to get on the bad side of the law.

Are there any historical figures who have impressed you?

Ho chi minh – gotta like anybody who fucked the French right? (sneak and surround French man drinking wine in valley called dien bein phu)Joseph Goebbels – Nazi Minister of Propaganda.

What was the last book you read that made a lasting impression?

I live off the horrible gore of this man alone – Edward Lee. If you don’t know him – you must – fuck all other horror out there – this is The Shit.The last book I read was Sex Drugs and PowerTools – fuckin’ Christ. Check out whatsaheader.com for more info also heheh movie rights were given to them…http://www.necropublications.com/titles/sexdrug.htmI rarely indulge in the reading of any of the nihilistic writers.. though I suppose I should since I consider myself mostly nihilist.. ennui once again stunts my growth…

Awaiting the intention is neither a reflection upon the “goal” nor an expectation of the imminent completion of the work to be produced. It does not have the nature of a thematic grasping at all. Nor does retaining what is relevant mean holding fast to it thematically. Handling things is no more related merely to what it handles than to what it uses in relevance. Rather, being relevant constitutes itself in the unity of awaiting and retaining in such a way that the making present arising from this makes the characteristic absorption in taking care in the world of its useful things possible. When one is “really” busy with… and totally immersed in it, one is neither only together with the work nor with the tools nor with both “together.” Being in relevance, which is grounde din temporality, has already founded hte unity of the relations in which taking care of things “moves” circumspectly.

A specific kind of forgetting is essential for the temporality that constitutes being in relevance. In ordre to be able to “really” get to work “lost” in the world of tools and to handle them, the self must forget itself.
– Martin Heidegger, Being and Time

Black metal was born right as the internet began being popularized in American and European homes. How has black metal been changed by the net, and vice versa?

Well now I can find anything out it seems by just typing it in the google search engine. That’s both good and bad.. now I have the information, but I cant hoard it and feel self important when I name drop.On the other hand, every bob, akhmed and zimboobma can make a cDr and put it on their webpage so now we have Afrikkkaner Black SpearChucking Metal.. sheesh. It allows for ridiculous crap that would have been stifled because it would not have been cost effective. The internet allows stupidity to be free of the righteous pain it should attain; after all, stupid should Hurt…

Is there human consciousness outside of the brain? In another phrasing: is the brain where the body, mind and soul exist, or is there another world in which these functions exist?

I am of the notion that there is something after my brain receives too many 9mm hollopoint bullets fired from a SWAT team members mp-5. I think it will equally suck.

Why do you think people go hogwild for religion? What do you suggest instead of religion to take care of the same need?

Sigh. Nothing. Too many persons are weak and need a crutch, or are hypocrites who have learned that just coz you say youre xtian, hell that means you can fuck your daughter and the dog in a 69 position and sell it on the internet as long as you ask forgiveness on Sunday. .. and give the minister a copy of course…It is convenience – religion is already set up; humanity as a whole is lazy, and is predisposed to go with what is at hand. Me, I’m gonna go jerk off. That’s what I feel about religion.

Where does one buy CDs and related stuff in Houston?

Sound exchange. http://www.soundexchangehouston.com/ Used to be a KILLER place called SOUND PLUS.. but sadly, it died a couple years ago.. that’s where I was first able to get Osmose releases (first and second IMMORTAL etc) WITHOUT paying Osmose prices (though it was still 20 bux for imports..)…

What do you think of the art of suicide bombing?

Good fucking Job. Good idea. Hell. We need some of those kids. Why the hell don’t we have our own suicide bombers. Damnit. Somebody get the Procurement Department on that one.Man. Tho.. I would at least want a good ole fashioned 12 hour orgy of catholic school girls BEFORE I go meet allah….

What lies next for your zine?

Issue H8TE young Prozak, Issue H8te. Finally to be released with a 12 page (I think) diatribe dedicated to hatred… examples taken from the school yard, from work and from terrorterrorterror… yessirrree bob. I guarantee you this will be just as shitty as before, with the same fucking horrible humour and tasteless porn and violence and bloodletting. Bands also.. confirmed KRIEG, WATAIN, MALICIOUS SECRETS, URGEHAL, HORNA, ARKHON INFAUSTUS, DAWN OF AZAZEL, NECROPLASMA, ARMAGEDDA.Who am I waiting on: AZAGHAL, HELL MILITIA and TEMPLE OF BAAL..And theres always issue 9…

I’ve always been impressed by the mix of metal, mutilation and machine guns. How did you come across this combination?

Death metal to me should have been simple – propaganda encouraging death. Most accessible are sharp knives and guns. Thus, logically, I should incorporate the instruments of death with the metal of death neh? Black metal brings to mind suicide and violence, with a little perversion to boot. Thus, some black metal causes blood to drip from my flesh. That goes in the issue, as it relates to black metal. You forgot porn too. I am one of the most perverted motherfuckers out there – and I guarantee you, if youre into metal, youre into porn – the two just go hand in hand.. so you see, its all a marketing strategy (heh)Yeah right. That’s why ive sold I think less issues then well.. not a lot of em. That’s fine. My goal is not to have many copies floating around.. I assume that those who want to read this shit, will find it.

Do you think there’s been a demographic shift in the black metal movement during the past few years (since 1998) to a younger audience?

Yes. See way, way above. Younger persons in the extreme scene have the benefit now of being able to pick and choose, and also ignore the first monuments that came out in the early 90s. Not a problem really.. but now also with all this CDR trading replacing tape trading and these high tech doodads that allow music to be taken from sites.. it leads to a proliferation of short term shit – what I mean is, yes, of course, there are those who will take this propaganda to heart; but there are those who will take it for a short while, and then find yet another form to entertain them; what I mean is that they leave their crap around for us to step in; before hand, in the days of Paper, one had to write and send tapes and such – it cost money ; nowadays, one can put ones fecal matter on a webpage and spread their e-coli music as such.

If you have any hopes for the future of metal as both a musical movement and a political/social one, please detail them here along with anything else I forgot.

It’s all in issue h8te son. You do us a service, mr. Prozak – I gather both a smirk of approval to an all out heil prozak with the material you have written and continue to produce – a true architect of propaganda you are, and should be bestowed the mandatory schoolgirls for slavery and sodomatic rites.

Mr. Blaash
http://wheresmyskin.cjb.net/

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