MASTER tour dates 2009

MASTER TOUR DATES 2009

1.23.09 Halberstadt (Ger) – Salut
1.24.09 Vorchdorf (A) – Kitzmantelhalle
1.25.09 Wien (A) – Viper room
1.26.09 Orto Club, Ljubljana, Slovenia
1.29.09 Naples (I) – Duel:Beat
1.30.09 Piacenza (I) – For Sale
1.31.09 Cusano Milanino (I) – Marmaja Live Club
2.01.09 Strasbourg (France) – Molodoi
2.02.09 Uster (Ch) – Rock City
2.03.09 . Dornbirn (A) – tba
2.04.09 Masters of Rock Cafe-Zlin CZ
2.05.09 Zluty Pez
2.06.09 MS Stubnitz
2.07.09 Kleks
2.08.09 Baroeg-Rotterdan NL
2.10.09 The Music Box, Manchester UK
2.11.09 The Tunnels, Aberdeen Scotland
2.14.09 Leeds (Uk) – Rios
2.15.09 The Cave, Amsterdam, Holland
2.16.09 Antwerpen (B) – de rots
2.17.09 Hafenklang Hamburg (Ger) –
2.20.09 Bayreuth (Ger) – Kolpingsaal
2.21.09 Leipzig Germany – Heavy Metal nix im Scheddel
2.22.09 The Rambler-Eindhoven, Holland
2.24.09 Torgau (Ger) – Kulturbastion
2.25.09 Gladhouse, Cottbus (Ger)
2.26.09 Bilsko Biala (Pol) – Rudeboy
2.27.09 Lodz (Pol) – Dekompresja Club
2.28.09 Wroclaw Poland TBA
3.01.09 Berlin Germany K-17
6.05.09 Grindabalooza FestivalTeutschenthal
6.06.09 Hardstage Festival, Belgern bei Torgau, Sachsen
6.13.09 Boiler Room Regensburg, Germany
7.08.09 Broadway Joes Buffalo, New York
7.10.09 The Rock Maplewood, Minnesota
7.11.09 Elbo Room Chicago, Illinois
7.12.09 Mac’s Bar, Lansing Michigan
7.13.09 The Bulldog Cafe, Louisville Kentucky
7.14.09 The Muse, Nashville Tennesee
7.15.09 The Room 710 Austin, Texas
7.16.09 Schotzis, College Station, Texas
7.17.09 Walters Houston, Texas
7.18.09 TBA San Antonio Or San Marcos, Texas
7.19.09 Histeria Club, Juarez, Mexico
7.20.09 The Compound Albuquerque, New Mexico
7.21.09 UB’s BAR, Mesa, Arizona
7.22.09 The Jumping Turtle San Marcos, California
7.23.09 The Knitting Factory, Hollywood,California
7.24.09 Annies-San Francisco, California
7.25.09 Cheyenne Saloon Las Vegas, Nevada
7.27.09 Union Station, Colorado Springs,
7.28.09 Box Awesome Lincoln, Nebraska
7.29.09 The Riot Room, Kansas City
7.31.09 The Canopy Club/CIM 2009
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What is a hipster

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization — a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” — a youth subculture that mirrors the doomed shallowness of mainstream society.

Ad Busters — Hipsters: The Dead End of Western Civilization

Ad busters doesn’t mention this, but there’s a simple pattern:

Normal, healthy people pick music they want to listen to.

Hipsters pick music to make themselves look good.

A hipster is defined by this reversed cause/effect, and this is why they parallel our society: like people looking for political handouts, they are justifying themselves to others instead of acting as they know is right.

In metal, the hipster is the person always trying to be different, to pick music that is brainy or “authentic” (simple), the person spreading trends and fads. Instead of being an authentic fan who picks the music he or she thinks is best, the hipster is using the music as adornment to conceal their ordinariness.

What’s the damage, you ask? Hipsters bloat genres with people who don’t understand them and, in the ensuing confusion, pick the lowest common denominator. So heavy metal returns to rock, death metal returns to heavy metal, folk becomes punk, and so on.

Healthy societies work from cause to effect. We need an empire, so we build it (cause) and then it appears (effect). Dying societies work from effect to cause. We want an empire, so we create the appearance of an empire (effect) and hope it will show up (cause). This is why old black metallers fear trends, hipsters, fads and mass media like the plague: they promote this unhealthy psychology.

In the postmortem over humanity’s failure, our new reptilian overlords will discuss this issue, and conclude that humans had two modes of thought: a healthy forward-thinking one, and a negative and sick backward-thinking one. The hipster, like every other form of decay in our society, is backward thinking.

Metal is currently awash in hipsters because hipsters use something called irony to disguise their low self-esteem. If they’re listening to IRON MAIDEN, it’s because they find it amusing — not because they believe in it. In fact, they believe in nothing except what others believe in within their social group, which makes them always right. If someone makes fun of them for liking IRON MAIDEN, they can always claim their enjoyment is ironic. It’s a race to the bottom with the hipster, because believing in anything but illusion and evasion makes you a target, so they believe in nothing except “ironically,” and that’s how they infiltrated metal.

In the same way hipsters find trailer parks quaint and amusing, they found death metal and black metal intriguing. It was untamed, unsocialized material, and a threat to everything the hipster stood for. So they assimilated it, and moved in by taking positions in the community. Start buying metal, or selling metal, and others depend on you. From that they branched out by using the hipster tactic of focusing on the external. “Well, this could be more unique if we added a flute…”

When you focus on the external, and don’t pay attention to the fundamental quality of music that distinguishes it, which is how well it communicates, you end up norming the music. Structurally, it becomes all the same, but externally, it’s all tricked out in motley so it appears “different” and “new.” But the real name of the game is not being different, but being the same so you are universally accepted, while having enough adornments that you stand out in a crowd… just like the hipster.

We’ve seen this steadily increasing in metal since 1994 or so, and it was helped by some in metal who would rather leave a bad legacy with a full wallet than the inverse, such as Death and Cannibal Corpse. It will reverse, but only as soon as metal bands and fans start communing on the idea of forward-logic instead of backward, negative logic.

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Assimilation

What makes metal heavy also makes the mainstream want to absorb it

In the night, one can hear many noises. Some sound scary, and others signal scary events. For example, the roar of an animal is disturbing, but to someone alone in a house a stealthy footfall or the click of a lock is scarier. Similarly in art, the context of a sound defines its significance, and what makes music frightening is the meaning it encodes.

Among all forms of art, what makes heavy metal unique is that it embraces disturbing sounds which are not ugly but which portend disturbing patterns found in reality. Heavy metal is the music of the apocalypse, and whether warning it off or cheering it on or both, achieves this heaviness through the context it conveys.

What makes heavy metal heavy?

Both fantastic and literal, heavy metal explores the ideas our society will not endorse. It is not protest music, whining “it should not be” into a secondhand microphone, but a war-like genre which describes destruction with the joy of a painter who could use it as a color in a new epic landscape. Metal is about the experience of life, but it disciplines that with a clear sense of reality and consequence, as is appropriate for “heavy” conversation. Where society hides from fear and allies itself with the threat of the consequences of fears, metal allies itself with death to dispense fear.

When metal first arrived, new fans began to understand what made Black Sabbath “heavy”: the patterns which revealed the thinking behind such noises, putting context to the fear they instilled. Thundering distorted riffs were not new; Blue Cheer had done that. Neither was aggression; Iggy Pop had done that. But Black Sabbath, inspired by horror movie soundtracks, came up with a new style of music that used melodic phrases played in power chords, and by targetting the weighty topics that social conversation did not admit, creating a terrifying form of art.

Rock music had grown through the 1960s from simple boyfriend-girlfriend pop to apocalyptic rock like the Doors or King Crimson in the same way the Beatles rejected their sugarpop roots to become morbid and political. Whenever given a chance, the music reverted to a simple, tolerant, peaceful hedonism that hid its escapism and narcissism. The future members of Black Sabbath, upon seeing a horror movie and wondering if people would ever pay to have that experience in rock music, created the antithesis to distracting escapism: a descent into the complex and violent world of reality.

Its heaviness migrated into a different style of composition: other bands wrote songs around open chords which were strummed in a repeated pattern, and then modulated, while Black Sabbath used moveable power chords to make phrases into riffs and it was the change in those phrases that communicated a difference in outlook. It was more like classical music, where harmony is so well-studied that it is used as a device toward “narrative” compositions where the change in motifs and their accompaniment conveys a string of moods that like a mythology or a fable convey the idea of a journey from one point to another.

With this development, they gave meaning to the sound. Its context of topics gave its heaviness form, but musically it was heavy as well, using thundering chords that stripped out traditional harmony and made the riff instead, like the nihilistic voice of an angry god, speak the truth that completed the poetry of contrast in each song. By throwing away form, and the form of socialization which “peace” and “love” implied, Black Sabbath brought danger back into a stagnant modern life — specifically, the danger that in all the attempts to stay away from the darkness, we as a civilization had missed an essential truth.

What does metal believe?

As an art form, metal has continuously developed visions of a human apocalypse lingering in the absence of our willingness to face reality. Reality is, as the saying goes, not entirely pleasant, and so is less popular than simple partial truths called “symbols,” which create an illusion of completeness by super-simplifying reality. Morality is not scientifically accurate but it is more comforting to our minds to have two options instead of nearly infinite ones.

During its maturation, metal wavered in and out of the public illusion, called “consensual reality,” which is the alternate reality of values most people use to navigate their lives. Consensual reality includes the symbols people want to believe in and, reinforced by preference-enabling activities like democracy and consumerism, makes itself “real” by the fact that most people believe it to be true. This public illusion takes many forms and metal has not been immune, but is strongest when it kicks aside the illusion and goes for the kind of heavy contexts that always made good ambiguous truth.

One view of metal is as a reality mediator showing the darkness underlying our pleasant illusions, and that in doing so, it is not deconstructive but attempts to make clarity of life by finding beauty in the dark and heavy as well as the light. As a holistic approach, this outlook negates both dualistic worlds (heaven, hell) and secular morality in favor of a scientific, historical and abstract design-oriented perspective on life. This then returns us to the idea of metal as orthodoxy, or a genre in which there is a clear direction and those who deviate from it are parasitizing on the popularity of the genre while weakening it with ideas that oppose it.

The terms “sell out” and “poseur” arose in the 1970s to refer to those of this intention, most specifically the bands like Def Leppard who turned their heavy metal roots into radio trash that was essentially rock music with power chords. A poseur was someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions, of a genre but was like all hipsters using it for his or her own benefit and believed none of it. These terms persist to this day.

Any ideology is necessarily orthodox, in that if it does not assert a right way and wrong way of doing things, it is not an ideology at all but an ethic of convenience much like the opinionless, directionless motions of rock music or its deferential humanistic political counterpart. Rock stands for a big party and everyone having it their way; this is a meta-orthodoxy that opposes all orthodoxy.

Metal on the other hand is orthodox and opposes meta-orthodoxy because an orthodoxy of no orthodoxy is a lack of direction. Directionless self-assertion does not address the apocalyptic or religious aspects necessary to unite human thinking toward survival in an apocalyptic time. To clarify reality, metal music embraces nihilism and worships power and beauty, because these things connect us to a reality that will forever seem flawed to us because it is full of horror, doubt, fear and death. However, the metal outlook shows us the wisdom of these things and makes living with them seem “fun,” where rock music and other anti-orthodoxies retreat into human activities and social realities, pushing reality itself far away.

As a result, metal is sandwiched between protest music of the anarchic left and the wisdom of the conservative ancients, forming itself through fantasy into a vision of a more realistic and more enjoyable vision of life. Rock music is a product of the wealth and convenience of a modern time that allows us to have inconsequential lifestyles and opinions, while metal is a revolution against that outlook, a seemingly deconstructive art form that in actuality opposes deconstruction.

We can trace these ideas through consistent beliefs found across metal generations:

  1. Beauty in darkness. It is not ugly, pounding music but music which discovers beauty in distortion, in anger and terror, in violence and foreboding dark restless relativistic power chords. The point is not to deconstruct, but to go through deconstruction and find meaning. This is evident in the works of Black Sabbath and every metal band since, and is what distinguishes “real” metal from hard rock.
  2. Worship of power. Unlike pacifying rock music and jazz and “new music” classical, metal music adores powerful, vast and broad simple strokes; it loves the majesty of nature and its crushing final word. It does not have love songs. Instead, its love is directed to forces of nature, including physical forces like storms and intense human experience like war or loss, as if trying to find meaning in these.
  3. Worship of nature. Linked to metal’s adoration of power is its appreciation for the function, including its “red in tooth and claw” aspects, of the natural world. Where most are repulsed by the idea that combat exists between animals in which one is victor, and one is prey, metal idolizes it. It finds beauty in ruins, in destruction, and in death, as if praising the cycle of life they engender again.
  4. Independent thinking. Metal does not buy into the individualism of a modern time where the only goal is material pleasure of the self (materialism) and keeping others away by granting them the same (humanism). It prefers the independent thinking that looks for higher values in life, mountains to climb and challenges to be met. Where punk music enmeshed itself in a callow “I wanna do what I wanna do,” metal saw this as part of the same gesture of rock music and discarded it.

These are expressed artistically by the following:

  1. Dark, morbid themes that clashed with the “love will save us” hippie mentality. These are explained by Black Sabbath as being derived from the horror movies of the day, a genre which features a union between technology and the occult (zombies, werewolves) producing a force humans cannot oppose. Normal technologies and methods cannot defeat it. They struggle against this force but their emotional instability causes them to sabotage one another, and often the dark force wins. Examples from this genre: Mothra, Dawn of the Dead, Alien, The Exorcist, The Shining, War of the Worlds.
  2. Songs written from short cyclic phrases called riffs, which unlike rock riffs used moveable chords of inspecific harmonic bonding, making the melody and rhythm of the phrase more important than key or voicing. Metal bands tend to use more riffs per song, and not in the traditional cycle of verse-chorus, in a way quite similar to progressive bands like King Crimson and Yes, both of whom used aggressive distortion.
  3. A focus on the holism of the human effort as determined by our moral state as individuals in a way that can only be described as “religious.” Metal, in addition to sounding eerily like angry Bach-scripted church music, has a similar focus to dogmatic transcendentalism Christianity: what is our future as human beings, and how does how we shape our personalities effect it?
  4. Bass-enhanced overdriven guitar sound, or distortion, which encloses the primary instrument used in making heavy metal. In rock, guitars and drums come together to emphasize a vocal melodic line; in metal, guitars lead a melodic line for which vocals are a complement and drums a timekeeper, enclosing it in a regularity to give listeners context. The guitar is the loudest single instrument heard and the one that invokes changes in song.

These beliefs and musical techniques reinforce each other. Using distortion and loud music, yet finding beauty in it. Using longer narrative phrases so as to tell a story, creating a holistic view in which emotion emerges, instead of citing pre-configured emotions like rock music does. A darkness and melancholy exhibited in lyrics and imagery, corresponding to aggressive music, expressing a desire to seize all of reality, good and bad together, and make something better of it.

Heavy Metal as Romanticism

We have seen ideas similar to these before in the form of a genre that, once birthed, refused to die, even as history moved on. In fact, it has re-emerged throughout the modern time because it was the step before this new type of rationalism,

Although metal borrows from both classical and Romantic periods of classical music, its most intense similarity is to the Romantic period in literature, which in its later years diverged into Gothic horror and transcendental idealism. Much as embryological theory tells us that ontogeny recapitulates phylogeny, or that a fetus goes through the same stages of evolution as its species did to arrive at its current state, metal theory shows us that metal — as a revolt against what rock music stood for, e.g. distraction — forms an embryo which rediscovers its musical past. In this sense, metal is starting with classical and venturing through late Romanticism toward modernism.

According to the experts, Romanticism in literature and music has several tenets:

  • It is not clearly defined as a single thing, or several versions of this thing1. Most of Romanticism existed before it became a concrete movement, and heavily overlapped with classicism2.
  • A desire to explore organic culture instead of high culture, especially tales of the medieval age and its feudal society3
  • Worship of the imagination, and of creative and individual truthfulness in emotion4.
  • Reverence for nature as “an organically unified whole,”5 and intuition, instincts, and feelings were seen as necessary complements to reason in contrast to “mechanical” rationalism6.
  • Symbolism and myth were given great prominence7.
  • Rejection of the universalism in exchange for study of the individual as distinct from others8.
  • Shift from a mimetic to an expressive orientation, meaning that art no longer imitated life, but expressed a truth found in it9.
  • A willingness to strive “for the unattainable beyond the morally permitted,” and a rejection of morality for situational or naturalistic interpretation10.
  • An appreciation for the melancholy, remote and ancient11.

Romanticism was a response to neo-classicism, which was the most recent form of the surge in rationalism brought about by The Age of Enlightenment. Where the Enlightenment rationale brought individual rights, focus on personal emotion, and a linear logical process by which one could dissect the world and find an absolute response to it, Romanticism both inherited that tradition and began dissolving it. It is for this reason that we can find Romanticist themes abundant, in everything from Star Wars to presidential speeches: the conflict of rationalism-versus-Romanticism has never been resolved.

Unlike modern individualism, Romanticist individualism meant using yourself as the justification for your own wants, instead of trying to find some external justification. As Nietzsche phrased it, “I prefer” and “I find beauty in” are more important than all the equations, statistical summaries, studies cited and popular votes in the world; Romanticism (of which Nietzsche was an ambiguous defender but spiritual comrade) rejects the idea of externalized truths and knowing, and instead prefers a sense of unity between the individual’s aesthetics and a “mythic imagination” which lets them see possibilities in the world using holistic logic, instead of the linear (single-factor) logic used by rationalists.13

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon,
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.–Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.
The World is Too Much With Us, William Wordsworth (1789)

~

Once upon a time, in some out of the way corner of that universe which is dispersed into numberless twinkling solar systems, there was a star upon which clever beasts invented knowing. That was the most arrogant and mendacious minute of “world history,” but nevertheless, it was only a minute. After nature had drawn a few breaths, the star cooled and congealed, and the clever beasts had to die. One might invent such a fable, and yet he still would not have adequately illustrated how miserable, how shadowy and transient, how aimless and arbitrary the human intellect looks within nature. There were eternities during which it did not exist.

And when it is all over with the human intellect, nothing will have happened. For this intellect has no additional mission which would lead it beyond human life. Rather, it is human, and only its possessor and begetter takes it so solemnly-as though the world’s axis turned within it. But if we could communicate with the gnat, we would learn that he likewise flies through the air with the same solemnity, that he feels the flying center of the universe within himself. There is nothing so reprehensible and unimportant in nature that it would not immediately swell up like a balloon at the slightest puff of this power of knowing.

On Truth and Lies in a Nonmoral Sense, Friedrich Nietzsche (1873)

Heavy metal inherits this conflict because in order to be “heavy,” it must tackle the dark issues everyone fears. What makes these issues dark is that our normal methods cannot defeat them. We then must ask what we exclude from our methods, and we see that any anti-social information — that which might offend someone, or mention death, or suggest that morality is an imposed and artificial condition — is excluded from our methods. As a result, heavy metal becomes a kind of peering behind the curtain of an externally-imposed reality, and in seeing the horrors within, finding a new desire for both warlike apocalyptic intensity and a beauty discovered in darkness.

Romanticism re-occurs because it is generally seen as the only idea which can oppose modernism, which is like neo-classicism but even more insistent upon rationalism and the hybrid between individualism and groupthink that is utilitarianism. Metal, as a genre exploring Romanticism with a masculine and warlike approach, most closely approximates the philosophies of Nietzsche and other post-Romantic writers who wanted to escape the bureaucratic approach to society and restore a sense of adventure.

Metal is fantasy that can be applied to reality, neatly briding the two categories of art as entertainment/mimesis and art as politics. It is not protest music, nor is it the kind of wallpaper-like distracting pleasant activity that we see on most television shows. Instead, it is a manifestation of the Faustian desire for forbidden knowledge. From classical literature and music, it borrows a rigid sense of structure and a desire for resurrection, Tolkien-esque, of the ancient times of honor, blood, warfare and magic. From Romantic literature and music, it takes its major themes, including the sense of an individual trapped in a moribund society reaching out and the idea that when the individual escapes society to nature, reality can be seen for the first time. The most similar Romanticists to metal lyrics are probably the following:

  • William Blake – wrote about metaphysical topics from the perspective of the universe, and mocked humans for being weak and obsessed with the trivial.
  • John Milton – wrote Paradise Lost, in which Satan is an anti-hero who rejects the rule of heaven in order to discover life for himself.
  • William Wordsworth – enshrined anti-social behavior with his classic The World is Too Much With Us, which calls for rejecting society in favor of mythic imagination.
  • Mary Shelley – wrote Frankenstein, in which technology creates a new form of life which discovers it has no place in the world, and it turns destructive.
  • Johann Wolfgang von Goethe – a realist who did not shy from horror, Goethe believed in a universe where human perception was a small and unnecessary part of its divine function.14

If we had to summarize metal as an artistic movement, it would be fair to say it has more in common with European Romantic art than the popular music and boutique art of our present era. Like the Romantics, it sought a transcendence in accepting the world’s inequality and horror and using it as a relative opposite against which to project challenges; it wants to bring back the fighting spirit of an ancient time, and give us independent thinking and goals instead of buying us off with the humanist-materialist tripe that the mainstream media proclaims — dogma which, interestingly, has failed to solve a single widespread problem of humanity.

Even more interesting is that the genre of horror movies, an intersection of proto-science fiction and occult lore, was born of the Romantic movement. Mary Shelley, who wrote Frankenstein, was the wife of Percy Shelley, a Romantic poet. Bram Stoker’s Dracula came from the Gothic fringe of the Romantic movement as well. One of the greatest descriptions of Satan ever, Paradise Lost by John Milton, was also a Romantic work.

“I believe in tragedies…
I believe in desecration…”
The Sun No Longer Rises, Immortal (1993)

Like its Romantic forebears, metal music desires transcendence: finding the beauty in darkness by accepting the physical struggle that is life, and instead of trying to run away from that struggle into personal material comfort, accepting it as something that gives significance to our existences. Metal music desires to overcome our fear of death and of nature, and by accepting them, to show us a new world of meaning. In this, it is both a continuation of Romanticism and an evolution of it to a more coherent state.

How did this change for underground metal?

Appearing in the early 1980s, underground metal arose from a hybrid between crustcore/hardcore (Discharge) and the structuralist, neo-classical heavy metal of the previous generation (Judas Priest, Black Sabbath). It took the Romantic themes of earlier metal and made them more extreme. If underground metal has one unifying concept, it is the one emphasized by Hellhammer, “Only death is real.”

After heavy metal blew out by getting absorbed into its own popularity, and then speed metal copped out by softening its stance and sound to be more popular, underground metal roared away with pure nihilism: facing life as it is without a thought that anyone or thing in the universe cares if we collectively or individually survive. This was orthodoxy retaliating against anti-orthodoxy, which always takes the form of individuals preferring to avoid reality and so passive revenging themselves against those disciplined enough to want, in the time-honoured method of survival common to all creatures, to adapt to reality. In overcoming the anti-orthodoxy of individualism, underground metal became the first popular music genre ready to face ego-death.

The question, of course, could be asked: Why did you ever try narcotics? Why did you continue using it long enough to become an addict? You become a narcotics addict because you do not have strong motivations in any other direction. Junk wins by default. – William S. Burroughs, Junky

Ego-death is a concept that psychedelics and zen monks alike discovered. In it, the person realizes they are one part of a giant system, and stop seeing the world through themselves. They see themselves in the world, but they see the bigger process first. Ego-death tends to lead to a transcendent state where one sees all of consciousness as a continuum, and becomes less afraid of d-y-i-n-g. Ego-death forces us to see life through a filter that is super-realistic, or dedicated to bringing people into a moment of realization that what they are touching and doing is real and they need to grasp command of their own minds to survive. It opposes panic and illusion, moral and social judgment (“knowing” from Nietzsche above), fear and pleasant unrealistic thoughts.

Not coincidentally, “only death is real” resembles topics from “Heart of Darkness” by Joseph Conrad and “Paradise Lost” by John Milton. In both, as in Mary Shelley’s Frankenstein, the protagonist is thrust into a delusional, dysfunctional, chaotic world that he alone can see is wrecked, and takes a long journey in which she or he can see that the nothingness is very real and pervades everything, and that our denial of this emptiness of life makes a greater emptiness, or a hollow illusion that cannot satisfy us. As we try to live in this illusion, we see reality peeking through, and so become neurotic.

The characters in these books overcome their situations only by throwing away the rule book, avoiding what other people tell them is the truth, and acting on their animal intuition. Conrad’s protagonist Marlowe begins the book impotent and ends it with a powerful tool, like a sword or fire, to explain why what he sees is as impotent as he once was. It’s like an adolescent story, but for humanity, growing out of its moral illusion and seeing reality as a pragmatic task. In Paradise Lost, Satan is appealing but has made an error in opposing the order of nature/God, yet still he has to make this decision, to explore the world in a Promethean sense of fearlessness and self-command. His undoing is too much self and not enough command.

Underground metal recognized this duality of human thought. Official knowing was bad news; unguided knowing was chaotic and destructive; therefore, a new type of knowledge had to be created, and this knowledge was nihilistic literalism as found in hardcore punk merged with the fantasy and epic worldview of heavy metal. The political nature of punk had made it easy for foolish people to slap anarchy stickers on their rockabilly guitars and start repeating the same old stuff, like the aged activists who whine “why can’t they just see” when life has passed them by.

Underground metal was not political or social, but philosophical: it viewed the world from outside human eyes, seeing it like a large scientific experiment in which history was the result, and based its knowledge on the abrupt interruption to human illusion created by death. When we see that wisdom, we recognize that we are tiny and inconsequential, and that adapting to life is more important than the moral, social, media and political worlds made of human agreement to have a symbol stand for something.

“Only Death is Real” conveyed ego-death: no matter how big you think you are or how important, death is more real than your visions, so you must accept nothingness. To accept nothingness is to cast aside the unhealthy parts of the ego and to give it context, so that the ego is a motivic force but only one of many on a planet. To see only death as real is to wonder what else can be real. The answer is right past the end of our noses: the world is real, and it’s a continuum that renews itself, so it’s worth working for. If you like life, you work to make it better. If you hate life, you deny the reality of the world and you go further inward into the self and its desires, which has never worked for making anyone happy no matter how stupid.

We are social creatures, and it is as mathematically logical why that is so as the collaboration between parts of a computer program. We are all of the same thing, and we want to take our part in this thing, which includes nature and our fellow humans, and if we like being alive, we want to do what’s best not just for ourselves or for humanity but for the whole thing. What a stream of interesting thoughts “Only Death is Real” can unleash, in part because our society does everything it can to deny the reality of death.

The archetypal death metal bands — Hellhammer, Bathory, Slayer — all used occult imagery much as Blake, Milton and Goethe did. With that in mind, we can re-interpret Slayer’s Satanic imagery as more than being opposition to Christianity. For one, they do not seem to oppose Christianity. If anything, lyrics like “South of Heaven” or “The Final Command” illustrate, like Black Sabbath’s “War Pigs” before them, a world in the grips of evil based in power based on an illusion. In Slayer’s complex theology, Christianity is Satanic because like political strength and industry it is a false outward power when inward the person is underconfident and weak. Christianity however is seen as often accurate, in that the apocalypse does come from selfishness, and Christian morality (“bastard sons beget your cunting daughters”) is the best way to live, but a way that makes no sense in a world addicted to the power of illusion.

As in Milton, Slayer’s Satan is a rebel against a singular order encroaching upon the world, a necessary force like magnetism that opposes any such centralization. In Slayer and Milton’s view, to have any single power controlling the universe is to bring the universe toward sameness, something thermodynamicists call “entropy,” or a state when any direction yields the same results as any other because of the uniformity of the universe. Milton was edging toward a transcendental view of God as being a property of the universe, and not an ego or personality such as that overbearing one against which Satan revolts, himself a victim of his own excessive egoism.

I feel there is some hideous new force loose in the world like a creeping sickness, spreading, blighting. Remoter parts of the world seem better now, because they are less touched by it. Control, bureaucracy, regimentation, these are merely symptoms of a deeper sickness that no political or economic program can touch. What is the sickness itself? – William S. Burroughs

In the Milton-Slayer worldview, “God” encompasses both bad and good, because together these create a reality in which we can strive for better things. Similarly, in Conrad, the tokens of good and profit are chased in such a way that they create an illusion sustained by greed, in which the only heroes are amoralists like Mr. Kurtz who use brutality and combat effectively, but are conflicted over the underlying reasoning for their goal, namely the need to produce income through ivory when greater challenges await. In the worldview these artists offer, profit motive and morality are a going-inward into the protective mantle of fear, and morality is something we impose on the world to avoid the heroic challenge of leaving that inward sanctum and achieving goals that are not justified by physical survival (morality) or material comfort (profit).

When we look at metal with these opened eyes, the sound and imagery and lyrics are far less random. Distortion is a finding of beauty in darkness, a clarity emerging not when one looks at individual grains of sound but when one hears the blurry whole and deducts from it both pure tone and the harmony of randomness to that clarity; distortion forces us to take a view from above, and see the whole picture in order to understand what occurs at any moment. It is also a metaphor for our inability to ever fully perceive the universe, telling us that if we look at the center of the distortion we will find what is occurring, even if we cannot see it perfectly. The gritty, chaotic sound of distortion defies our logical containers that look for purity and instead finds a reality that although hazy is as clear as it if were pure.

The “riff salad” of metal bands is a way of establishing that music is not a cyclic loop of verse-chorus, resembling our going inward to the world of our own thoughts and preferences, but a journey in which our inward struggle parallels our outward struggle (much like the jihads of Islam: the lesser Jihad is the war against ignorance/infidels, and the greater Jihad is the war for spiritual clarity in oneself). Metal is art because it does not preach a political solution, but shows us the reasons for it. When that sort of higher thinking fails, metal relapses to liking noise and hedonism but little else.

It is one thing to preach, as if politically, against the ego. It is another thing to show a path beyond the ego. “Only Death is Real,” like nihilism itself, is a way of dispensing with “belief” in order to begin the journey to discover what is real and what is supra-real. The supra-real is that dimension where heroism and creativity lie, where one has accepted the feared attributes of life (d-y-i-n-g, disease, sodomy) and has transcended them by seeing what is not material/tangible yet is also important. It is this journey that metal music, classical music, and all great art describes. It is starting from nothing, like Satan exiled from Heaven, and getting over resentment of life and fear of death to see the beauty in darkness and to return to life with a desire to make it better. It is a recognition of the inherent distortion of our perception, and tuning our ears and minds to see past that faltering.

When only death is real, the ego dies for a moment and we see the world as a whole, and can get out of the prison of our limited perspective and re-bond to the life that produced us and produces all we value. It is a hedonic state higher than hedonism, to love life and want to make it better through better design. This is where death metal broke from heavy metal, and it is where all thinking that rewards strong souls begins.

The Evolution of Black Metal

Death metal brought images of impending doom and a fascination with the macabre into a dark world. It built upon what speed metal and grindcore had already established: an apocalyptic epic where the only future was decay. Death metal incorporated the righteous integrity of speed metal and the nihilism of punk into a musical onslaught warning of destruction. It fit into Kurt Vonnegut’s famous metaphor for art: that artists are to society what canaries were to the coalminers who brought them into the depths of the mine as warnings. When the song of the canary turned weak or stopped, it meant that suffocating coal gas was flooding the mine.

Death metal is an extension of the complexity of speed metal, partially arising from the attitude of that genre that any large problem can be solved by reason. Speed metal and thrash believed in rationality, and preached insanity as a negative characteristic. Death metal became the science of understanding insanity and breakdown, not preaching against it as speed metal often did but explicating it in epic songs and vivid imagery. Black metal, as a response to the failure of death metal to avoid the crowd, was an embrace of all things destructive to human illusion: natural selection, warfare, predation, violence, cruelty and tyranny.

Black metal restored romantic side of metal as its primary vehicle; its emotion is more obvious as that is its obsession. A death metal band would never argue destruction of the world, calling it irrational, where a black metal band would call for destruction of all life on emotional grounds. Black metal’s sadness comes from its emotional entrapment in a mechanistic world, and for that reason it rebels against order, whether in Heaven, on Earth, or in Death Metal. Black metal is in many ways a return to the mission metal left when exploring the scientific mindset of the technological age (as computers revolutionized life in the eighties, quantitative rationalism experienced a resurgance of influence).

If we look at metal’s history, we can see how this conflict brewed. Black Sabbath retaliated against the hippie music of their time as unrealistic and distracting. The following generation of metal turned it into more of a party for alienated kids, which punk retaliated against by returning the focus to all the negative aspects of reality. The next generation of metal, speed metal, picked up the punk outlook but channeled it into the heroic stories of past heavy metal, creating a less lamentatory and more assertive, masculine “we can fix this” outlook. When speed metal collapsed into its own popularity, death metal returned with pure nihilism balanced by a structuralism that suggested life was understandable but denied by the individual. Grindcore rose simultaneously with death metal and restored the punk/hippie attitude of tolerance toward the individual. Black metal retaliated against this just as Black Sabbath condemned the hippies of their day by brushing aside morality for an awareness of horror and our impotence against the real threats in this world; it rejected all protest rock and literal music for a spiritual conditioning which embraced struggle, darkness, melancholy and other Romantic traits.

Black metal grew exponentially since its emergence as a distinct musical style in the early 1990s; previous “black metal,” from Venom through Hellhammer, had been a variant on the dominant style of the time and often indistinguishable from death metal. Like a new civilization, it grew from a small group of innovators who were disgusted by the “jogging suit” mentality: people who were essentially products of a modern time, who blindly bleated its ideas, figuring out how to play death metal and becoming popular in the genre by making their music more like what audiences accustomed to rock music expected. In essence, the crowd had infested death metal as it had speed metal before that, and black metal was a response to this.

Recognizing that no matter how they dressed up the music as something “new,” appearances could be cloned, black metal musicians decided to go where the crowd could not follow: they would write music that expressed a grandeur of nature and feral amorality, hearkening more to the values of Samurai or European knights than to the disposable ideals of modern time. Since such a topic requires music that infuses the listener with a sense of awe and beauty in the cycle of destruction and creation that renders our world, they could no longer rely on “three chords and the truth,” but had to actually put the truth in the music, and write more poetic and complex songs.

The small civilization within civilization that was black metal was united more by ideals than by aesthetic or musical tenets, although all of its music by aiming to express the same kind of idea had similarities, mainly in its use of poetic complexity and truth within the music (and not necessarily the lyrics; you listen to black metal, and because of its intense artistry, find truth there). Because we are surrounded by infinite voices repeating the same few ideas in many different forms, here are the basic ideas of black metal that are distinct from the mass:

  1. Nature as a supreme, rational and all-pervasive order. Natural selection and an embrace of struggle took the center stage through celebration of predation and death. Even more, black metal celebrated the nature “within,” or our inner feral nihilism that made a mockery of morality.
  2. Anti-Christianity/Crowdism. Crowdism is the idea that respecting the will of individuals is more important than finding a realistic idea. It is a form of backward logic where we see the individual as the cause, and not the effect, of all that is around us and so convince ourselves that a human social consensual reality can override nature. Crowdism is secular Christian morality.
  3. Introspection. The only meaning comes from what the individual can interpret; there are no boundaries between individuals and the world (nature) as whole, but individual perception is limited to natural abilities and learning from experience. This is the opposite of the “if it feels good, do it” rhetoric of hippie rock.
  4. Morbidity. Viewed as an essential giver of meaning. Where most view death paranoiacally, and see it as a great entropy removing all value, black metal musicians viewed it as something giving meaning to life.
  5. Organicism. Like Romantic poets, black metal musicians tended to place more faith in organic growth than imposed social order. A sense of differentiation from the herd, hatred toward the incompetent and delusional, pride in unique ethnic origins and a celebration of older culture makes this a huge part of the genre.

To any student of European history or art, these values are not new; they are traditional to all Romantic forms of art, whether literature or visual art or symphonies, and were upheld by artists as disparate as William Wordsworth, Anton Bruckner, John Keats, Ludwig van Beethoven, Richard Wagner, Lord Byron and William Shakespeare. For all of these artists, nature was a higher form of order than the rules of civilization, and civilization had become decadent by praising its own “equal” order more than the “unequal” order of nature. Many philosophers, including the celebrated F.W. Nietzsche and Arthur Schopenhauer, explicated these sentiments in their own work. Black metal’s ideology is nothing new.

What was new was an expression of these ideas in popular music, because rock music and blues and all of the associated disposable art has always been a manifestation of the crowd revolt mentality: simple music so that everyone in a room could get it, diametrically opposed to the grand works of classical music which were too complex and emotionally involved for a crowd to appreciate (or even to have the attention span to endure). Rock music focuses on one emotion per song, bangs it out in riff and chorus, and makes it very simple by using a relatively fixed number of scales and chord progressions. Rock music is the perfect product because it’s easy to make, is appreciated by customers of all ages and not limited by intelligence, and is inoffensive on a certain level in that it has nothing to say that will disturb. The basic message of rock music is to include everyone equally, to appreciate them for being alive and not for their inherent traits, and to come together on simple human values and not higher ideals; rock is inclusivity. Black metal is not.

Much like when watching Lord of the Rings, Braveheart or Apocalypse Now one has a sense of an ancient warlike order, when listening to black metal one sensed a realistic and amoral entity underneath the Romanticized skin of the music. This eternal form of the human spirit grows from the naturalism of black metal as well through its belief in a karmic cycle based on natural selection. At the lowest level, humans are little more than animals. If they exert a form of natural selection upon themselves, and attempt to rise above that level, those who survive will be apt for it; if they do this for several levels, they eventually rise to a state of having a higher intelligence, degree of physical strength and beauty, and moral character (“nobility”: the ability to see what is correct for the natural order of society as a whole, and not to get distracted by personal or emotional issues). At the very top are those who are fit to lead by the nature of having a transcendent consciousness; it is thought that these much higher IQ than most modern people and were far less fearful, neurotic and self-obsessed. This, too, derived from Romanticism.

Underground metal goes mainstream

Underground metal reigned in part through its mystique. Hated by almost everyone, in and out of jail, preaching ideas which were anathema to both heads of state and hippies in the gutter, underground metal seemed a fragile and rare thing. This mystique faded as the economy shifted again, as it had done in the early 1980s allowing a rush of “indie” bands, and distribution contracts loosened up in the late 1990s.

Where once there had been “import” racks for CDs from abroad, and it was hard to find music, starting in 1997, underground metal became available in mall stores and through Amazon.com. Its identity as a separate entity became difficult to maintain, and the process of assimilation began. In response, metalheads attempted to rally around an identity as “different,” but in doing so, they focused on external aspects (distortion, imagery, indie status) instead of what did make the music distinct: it saw hope for the future in ideas outside of the same accepted dogma all the mainstream newspapers, television and radio sell to us because it is a popular product. If the truth is difficult and therefore unpopular, metal rebelled against popularity as a selection matrix, and from that developed a range of thought which made it a genre distinct from all others.

Far from being alone in this, underground metal has fallen into a general trend of independent art producers seceding from reality. “Literature” has collapsed into a few thousand tiny magazines read by no one but MFA candidates in creative writing, and “visual art” has become a network of small galleries selling cute expensive paintings to uninformed patrons. Even classical music has gotten in on the decline, with “new music” — micro-symphonies of human voices, squeaking dissonant noise, and other trendy types of sound — appreciated by a diehard cult following who need a raison d’etre outside of their civil service jobs.

These genres used to speak an independent voice, but now they repeat lockstep the strange formulation of modern liberal democracy — a “neo-conservative” viewpoint which both champions civil rights and “social issues,” but also affirms the need for a strong economy and constant warfare against evil enemies. Political theorists might try to make sense of it, but it is more direct to understand it this way: popularity sells.

“One could argue that American fiction has ghettoized itself by insisting on a self-reifying view (humanist/materialist?) in which all answers are known, the political binary is carved in stoned, we all have swallowed whole certain orthodoxies, and the purpose of the fiction is just to reinforce these. At the heart of this lies a selfish agenda, that has (one could arge) really ceased seeing the world as a unity, and has begun aggressively internalizing certain capitalist dogmas that say: Of course you are the most important thing, of course you exist separate from the rest of the world.” – George Saunders, The Believer Book of Writers Talking to Writers

In this situation we find a repeated structure from metal itself, and even, larger society. Metal music goes through cycles where a new idea comes about, is looked down upon by others, and then fully expresses itself, at which point it is cloned to death by the same people who were speaking badly about it earlier (by this I mean new subgenres, not recombinations of existing genres like – eh – “nu-metal”). If you look at it as a conflict between people of able character, and those who are by nature followers, what you see is that the able create; the followers imitate, and in so doing, drown it and condemn what was created to being of the same mediocrity it helped to escape.

Indeed, the death metal of today more musically resembles rock than that of ten years ago; same with black metal. They have been assimilated, but from within the metal genre, by people whose character is so low that their highest values are to esteem what is valued by the larger society, and thus to reproduce it in the appearance of something which is not larger society, assuming that by controlling appearance, they control content. They are wrong, and they drag down everything they touch. It is this way with the creation of music, the promotion of music, and the choice of who runs hubs; most run them for the popularity, and don’t mind if there’s a whole bunch of support for moronic rock music thrown into the mix. In fact, they encourage it, as by appealing to everyone, they feel like Christ on the cross, being both a victim and a conqueror by the sheer fact of being needed.

This conflict repeats itself in all human endeavors: one group starts a process that creates benefit, and then others surge in and, not understanding the struggle of creation, parasitize it and destroy it. We can see this in the tendency of sequels to intelligent movies being junk; in the revolutions of the masses against the elites that leave nations with lower average IQs and third world levels of dysfunction; in the killing of Socrates by democratic Athens; in the denial of reality that lets Americans run up record debt, or our species to deplete fish stocks, pollute the ocean with floating plastics, and poison our open waterways with enough chemicals to turn amphibians hermaphroditic. The eternal human struggle for clarity of reality, versus withdrawing into our own perspectives and becoming oblivious, is repeated in metal and its struggle to resist assimilation.

The ‘heat-death’ of the universe is when the universe has reached a state of maximum entropy. This happens when all available energy (such as from a hot source) has moved to places of less energy (such as a colder source). Once this has happened, no more work can be extracted from the universe. Since heat ceases to flow, no more work can be acquired from heat transfer. This same kind of equilibrium state will also happen with all other forms of energy (mechanical, electrical, etc.). Since no more work can be extracted from the universe at that point, it is effectively dead, especially for the purposes of humankind.
— Andreas Birkedal-Hansen, M.A., Physics Grad Student, UC Berkeley12

With human beings, our tendency to act for ourselves alone — individualism, or selfishness — divides up our civilization and encourages entropy. Metal, as a perspective beyond the individual and the ego-drama that rock bands promote through love songs and peace dogma, encourages us instead to get over ourselves, transcend our egos, and look at reality for the potential beauty within it. In this, we enact a familiar drama to any post-agrarian-civilization art, which is that of the lone individual versus the crowd. The individual wants to do what is right, but the crowd wants him to be selfish like them, so that together they do not challenge each other and no one can ever be wrong, or face conflict, or be lonely. But in the end, the crowd always makes itself miserable because its vice is essentially cowardice. Metal reintroduces some clarity through a simple formulation: either one goes inward, and tries to know reality through oneself, or one looks outward and tries to know oneself through external opinions, and as a result, loses oneself in the crowd and its lowest common denominator inclinations, namely fear, selfishness and narcissism.

Assimilation of metal

Whether this larger conflict will be resolved is not yet certain – definitely, however, metal is a reaction against it. When people sang hippie songs, Black Sabbath brought in dark reality, and woke many out of the stupor that assumed extending democratic liberties to all humans would solve far deeper-rooted problems. As rock music headed toward an effete protest against Reagan in the 1980s, metal retaliated by condemning left and right for their ignorance of basic human dissatisfaction and the threat of nuclear warfare. Finally, in the late 1980s and early 1990s, death metal and black metal arose to remind us that we are mortal, and that there are greater values than that which society can bestow, such as nature, the upholding of tradition, and pride in our national origins.

The clones have closed in fast on those, since they are indirectly the greatest threat to clone culture to ever arise in metal. For this reason among others, it’s worth upholding in them what gave people hope: the belief that someday the war of clones versus leaders, masses versus elites, would come to an end. Some keep trying to dumb it down into a political trend that gives us a partial truth and tries to make it represent all of reality, effectively blinding us to the big picture so we can focus on a vicarious struggle:

More than three decades after Black Sabbath conjured images of the dark arts, heavy metal is growing up. The genre is increasingly incorporating social and political messages into its dense power chords.

“Metal is expanding and evolving and becoming more diverse,” said Canadian anthropologist and filmmaker Sam Dunn, who directed “Metal: A Headbanger’s Journey,” released on DVD this summer. “It’s at a much more vibrant state than it was even five or 10 years ago.”

“It’s becoming global and it’s becoming a tool for social and political commentary,” Dunn said. “It takes on a greater meaning in countries where people have had to struggle to survive. It takes on a much stronger political tone.”

Metal music in the 1980s was often homophobic and “very white,” she said, but current bands tend to be socially conscious and suspicious of political power. There’s also more women in the audience — and fronting the bands.

The lyrics on Lamb of God’s two most recent albums have been expressly political, and the politics lean heavily to the left.

Napalm Death’s Greenway is considering work as a political activist when his metal days are over, but he doesn’t think metal will ever completely stray from hedonistic and supernatural themes.

MSN

It is not surprising that mainstream media misunderstands underground metal. After all, they virtually forced its creation, since any band darker or heavier than Metallica received no recognition; the media wanted to sell us metal as party-lovin’, loud and crazy rock music. And so while the underground bloomed in 1985 to 1996, they praised stadium heavy metal and hard rock bands. During the current time, they embrace as “metal” music that is mostly emo hardcore: metalcore and nu-metal.

To an observer of the recent black metal scene, it’s tempting to get bitter. The newest style and trend appears to be “black hardcore,” or bands putting together two three-note riffs in a standard song format in recombinant order, and even the most ambitious bands are succumbing to this influence. Reminiscent of when hardcore punk music bloated itself into entropy and collapsed because no one could tell any two bands apart, this is like gangrene creeping up the legs and finally into the bloodstream of the genre.

When the genre is healthiest, the winds of coming winter oppose all new bands with brutal hardship, so only the most determined make it to the stage of releasing an album. This encourages others who have talent and brains to take a stab. If a lone artist looks at a genre, and sees a thousand albums of which two are good, the conclusion will be that the genre is fattened and the fans thus unable to tell the difference between good music and bad.

If the genre seen has a handful of albums, most of which are excellent, it is instead a compelling argument for further exploration. This is how genres rise and fall, and is why hardcore punk and death metal both eventually fattened themselves into insignificance to the point that now, once you’ve heard one band, you’ve heard them all. So for the health of the genre, it’s better that fewer albums of a higher quality are released.

Ideals of assimilated metal:

  1. Everyone must get it. It must be simple, not challenging, and most of all not have any poetic essence to its soul, as most fans can’t get that and thus will not buy it.
  2. Appearance over structure. It must have a unique appearance, but say the same old things philosophically and use familiar musical ideas so that even the dumbest fans can understand it and buy it. Even more, it must be upheld as dogma truth that adding a flute or screeching spotted owl to the same old music somehow makes it “unique” and worth owning.
  3. Form doesn’t apply to content. In other words, appearance is more important than structure, which is the form that moulds itself to the content, in the same way a story about a rescue at sea has a different flow and arrangement than a story about contemplating death in the bathtub.
  4. Simplistic emotions are important. Forget the depth of “Inno A Satana”; blindly praise Satan with roaring, consistent anger, because that way every fan, even the ones with Down’s Syndrome, can get what it’s about and get into it. Start a big singular emotion party, and make it simple so everyone can buy the CD and come along.
  5. Everyone can participate. Black metal clones are not specific to a certain land or belief system, as they are essentially musically the same and are designed so that even a retarded outer space alien could “get it” and start tapping its feet and wearing Darkthrone-brand jogging suits immediately. Nationalism, even elitism, eugenics or belief in anything at all is out; what’s in is having some music that sounds angry, is written like punk rock, and can be appreciated by everyone so they can buy the CDs or praise the “underground” scene queens who created it.

The average black metal fan today has not heard the formative works of the genre: Immortal, Emperor, Burzum, Gorgoroth, Enslaved, Darkthrone, Beherit and Varathron when they were making essential, complex, beautiful music. All they’ve heard are the newcomers, both of the blatantly commercial Cradle of Filth variety, and the scene whore “loud, fast and antisocial” type of band. The newcomers are uniformly worthless, as they express nothing that rock music does not, and by giving it an extreme aesthetic, allow their fans to convince themselves that they are “part of” some movement against the dominant trend of society, even though much like Democrats and Republicans in America agree on the same core values, newcomer “black metal” repeats the same empty rhetoric that rock music has been feeding us for fifty years. Newcomer black metal is black metal only in the world of appearance; in terms of musical and artistic structure, it’s closer to punk rock or even Dave Matthews Band. It’s rock music.

Agents of Assimilation: The Hipster

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization — a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” — a youth subculture that mirrors the doomed shallowness of mainstream society.

Ad Busters — Hipsters: The Dead End of Western Civilization

Adbusters doesn’t mention this, but there’s a simple pattern:

Normal, healthy people pick music they want to listen to.

Hipsters pick music to make themselves look good.

A hipster is defined by this reversed cause/effect, and this is why they parallel our society: like people looking for political handouts, they are justifying themselves to others instead of acting as they know is right.

In metal, the hipster is the person always trying to be different, to pick music that is brainy or “authentic” (simple), the person spreading trends and fads. Instead of being an authentic fan who picks the music he or she thinks is best, the hipster is using the music as adornment to conceal their ordinariness.

What’s the damage, you ask? Hipsters bloat genres with people who don’t understand them and, in the ensuing confusion, pick the lowest common denominator. So heavy metal returns to rock, death metal returns to heavy metal, folk becomes punk, and so on.

Healthy societies work from cause to effect. We need an empire, so we build it (cause) and then it appears (effect). Dying societies work from effect to cause. We want an empire, so we create the appearance of an empire (effect) and hope it will show up (cause). This is why old black metallers fear trends, hipsters, fads and mass media like the plague: they promote this unhealthy psychology.

In the postmortem over humanity’s failure, our new reptilian overlords will discuss this issue, and conclude that humans had two modes of thought: a healthy forward-thinking one, and a negative and sick backward-thinking one. The hipster, like every other form of decay in our society, is backward thinking.

Metal is currently awash in hipsters because hipsters use something called irony to disguise their low self-esteem. If they’re listening to IRON MAIDEN, it’s because they find it amusing — not because they believe in it. In fact, they believe in nothing except what others believe in within their social group, which makes them always right. If someone makes fun of them for liking IRON MAIDEN, they can always claim their enjoyment is ironic. It’s a race to the bottom with the hipster, because believing in anything but illusion and evasion makes you a target, so they believe in nothing except “ironically,” and that’s how they infiltrated metal.

In the same way hipsters find trailer parks quaint and amusing, they found death metal and black metal intriguing. It was untamed, unsocialized material, and a threat to everything the hipster stood for. So they assimilated it, and moved in by taking positions in the community. Start buying metal, or selling metal, and others depend on you. From that they branched out by using the hipster tactic of focusing on the external. “Well, this could be more unique if we added a flute…”

When you focus on the external, and don’t pay attention to the fundamental quality of music that distinguishes it, which is how well it communicates, you end up norming the music. Structurally, it becomes all the same, but externally, it’s all tricked out in motley so it appears “different” and “new.” But the real name of the game is not being different, but being the same so you are universally accepted, while having enough adornments that you stand out in a crowd… just like the hipster.

We’ve seen this steadily increasing in metal since 1994 or so, and it was helped by some in metal who would rather leave a bad legacy with a full wallet than the inverse, such as Death and Cannibal Corpse. It will reverse, but only as soon as metal bands and fans start communing on the idea of forward-logic instead of backward, negative logic.

The end result of complete cellular representation is cancer. Democracy is cancerous, and bureaus are its cancer. A bureau takes root anywhere in the state, turns malignant like the Narcotic Bureau, and grows and grows, always reproducing more of its own kind, until it chokes the host if not controlled or excised. Bureaus cannot live without a host, being true parasitic organisms. (A cooperative on the other hand can live without the state. That is the road to follow. The building up of independent units to meet needs of the people who participate in the functioning of the unit. A bureau operates on opposite principle of inventing needs to justify its existence.) Bureaucracy is wrong as a cancer, a turning away from the human evolutionary direction of infinite potentials and differentiation and independent spontaneous action, to the complete parasitism of a virus.

(It is thought that the virus is a degeneration from more complex life form. It may at one time have been capable of independent life. Now has fallen to the borderline between living and dead matter. It can exhibit living qualities only in a host, by using the life of another — the renunciation of life itself, a falling towards inorganic, inflexible machine, towards dead matter.)

Bureaus die when the structure of the state collapses. They are as helpless and unfit for independent existences as a displaced tapeworm, or a virus that has killed the host. – William S. Burroughs, Naked Lunch

Hipsterism is reality-avoidance, in the same way Crowdism or any other mass movement is: the assimilation of the individual by the crowd in order to destroy reality, which in turn destroys the collective. Societies, genres of music, groups of friends and businesses all fit this pattern, which is fundamental to human psychology. Either the individual stands up for what is true in reality, not what the individual prefers, or the crowd declares its own reality and then the collective veers off course because it has lost touch with reality. Assimilation is a byproduct of individualism without reality, just like bad music is the product of people pandering to each other and not finding a beauty in reality, including its darkness and horror, as heavy metal has throughout its four decades.

Resisting Assimilation

The problem with combatting assimilation is that assimilation is less an act than a passive lack of acting. When good metal is not made, and people do not assert what makes metal unique, assimilation surges in like water filling the space where it was swept out of the way. Like all things in humanity, the default state is one of disorganization and failure, and it is only when wise minds step in and re-direct the chaos that prosperity of any kind happens.

We have learned what does not stop assimilation. Trying to keep the music rare means hipsters buy it on eBay. Trying to keep it indie and obscure means that hipsters only prize it more. Trying to make it more offensive or extreme just makes it more novel. These methods do not work. What also does not work is trusting a “scene” or “underground” to keep away the mainstream, because underground scenes are an advanced form of maintaining rarity through social networks.

A “scene” means music that is consistent enough for people not to care what band is playing, so they can socialize in the same environment time and time again. A “scene” is clubs that play music that sounds very similar time and time again so they know they can draw an audience each time. A “scene” are sellers of music who find bands that sound like each other so they can compare past successes to the next generation, getting a crop of already-proven fans to come buy it all again. The variation is dead – the conformity is absolute. And worst of all, it’s voluntary and in a moral facilitative society there are few arguments accepted against it.

That kind of consistency kills music by raising the level of expectation to an entry requirement. The hardcore “scene” murdered hardcore by making it consistent – acceptable – “fun” and extremely similar. Bands who used to fight for a living could suddenly find central places to play, sell and broadcast their music – but in order to do so, they had to make it fit within expectations. Metal will die with a scene or without some form of one.

The problem with this flood isn’t its quality in itself. The problem is that when there is a flood of undistinctive material, (a) anything that does not conform to the pattern is not recognized and (b) the information overload is so great than any excellent band that does rise will be ignored. In essence, the underground has replicated the errors made by gigantic record labels in the 1980s.

Interestingly, the same thing happened in hardcore music in the 1980s when it became cheap and easy to release seven-inch records. Suddenly, there were no “fans”: everyone had a band, zine, label or distro. Consequently, quality went down, because no leaders were picked, and a great averaging occurred. Everyone could participate, but because there was no specialized fanbase, the farthest they got was participation, getting their share. No one great rose above and therefore, the great people stopped trying. There was no direction.

Analogous to the effects of democracy and consumerism on the quality of people in society as a whole? You bet it was. Analogy to egocentricism of the west, and its own cultural failings? You bet: the same mechanism was in effect: a lack of appreciation for quality because popularity/social pressures dictated participation, an external factor, not hierarchy, which requires a measurement of amorphous qualities such as “artistic worth” which are unrecognizable to most people in the crowd. Consequently, hardcore declined to the point where, in 1985, all the bands sounded exactly the same and there were no leaders.

Another concept, that perhaps will embitter some because of its practicality, is that of your personal landfill. What you produce on compact disc or vinyl or tape doesn’t magically disappear. It ends up in the landfills, with all the other waste you produce, to rot in insignificance, slowly leeching poisons into the earth. You like being alive, right, or you’d be dead — why create more personal landfill if it won’t achieve something you desire? For every CD you buy, there’s one more CD in that landfill. Buy the best, ignore the rest, and your personal landfill will not only be small, but will possibly not exist as others enjoy those CDs, since good CDs can be enjoyed in any age while trends are temporal.

My suggestion to all those who love metal is simple: stop supporting bands that are OK instead of great.

Few genres demand as much long-term allegiance as metal, and get it. Of styles likely found in a record store, only metal, industrial, country, jazz and classical have enduring audiences. Other genres are bigger, but people stay with them for fewer years. As history has shown us, metal is too easily absorbed by the mainstream. Black metal selling out and the rise of nu-metal occurred at the same time – is anything in the universe “coincidental”? It’s interesting to note that a similar absorption afflicted death metal, heavy metal and hardcore punk, all of whom relied on popular-music-style short song formats.

The Case for Metal to Follow Classical

However, there is one guaranteed way to take metal out of the mainstream: leave behind the mainstream song format. Most songs are three minutes of a verse-chorus nature, and they use devices such as rhythmic predictability on the offbeat (“expectation”) and melodic hooks. If metal were to expand on its riff salad nature, it would join genres like jazz and classical in a musically distinct form, and become inaccessible to those who want to make or consume bite-sized music. Every other metal band aspires to classical guitar anyway; why not liberate our impulses toward something that is clearly enjoyed and valued?

For example, consider these micro-symphonies:

When people tell you what they want, they usually tell you what appearance or experience they want — the effect — and do not understand the device for achieving that effect — the cause. They think in terms of the appearance of what they want and not the underlying structure.

For example, when people say they want simplicity, what they really want is organization. It’s why “My Journey to the Stars” works even though it’s “complex” in theory — complex means having a central idea that is simple and clear, and then manifesting it in different forms so people can compare them like metaphors and see the abstraction. People will tell you they want raw, fast, brutal, simple but they’re talking about the one riff they remember, kind of how most people can identify the opening riff to Beethoven’s Symphony Number 5 — it’s the simplest, most memorable part of a complex music experience.

The role of art is to be a silent philosopher, meaning that it does not make explicit commands and references to everyday objects, but gives us a clear spiritual commandment and its corresponding aesthetic from which to work. Art organizes our spirits and approach to reality. It is important that art does this because most people know the end result they’d like to see, but are completely unaware of the context in which it exists. They see a riff, and figure that if they just heard that riff, they’d have the whole experience, or they think of one moment when they were happy and assume that correlations which occurred simultaneously to that moment — a cigarette, a postcard, a summer day — are the cause when the real cause was the sequence of events that led up to that one moment having great significance, or that one cigarette being the break that really helped them find mental clarity. It wasn’t the cigarette — it was the context.

In human life, once civilization is established, we face a causal breakdown. Person A does something, and Person B sees the results, and tries to work backward toward the cause. Metal bands see how others have succeeded, and try to imitate the outward aspects — faster drums, harsher vocals, floaty keyboards — without understanding that it’s the songwriting and beneath that, the ability to reference “meaning” in experience shared between artist and listener, that makes the song great and not just average with above-average execution.

At this point, the genre doesn’t understand its own spirit or aesthetics, so bands make salads where they throw together unrelated stuff and figure that since it has everything, it must be good. This “carnival style” metal is a salad of distractions from which each piece returns to a few exactly repeated themes. As a result, there’s a lot going on, like riding a merry-go-round and seeing the world outside flash by in disorienting random order, but there’s no development of theme; it’s just a more complex version of verse/chorus pop music.

People can’t put into words what they want. When shown what they want, they will initially resist it because it doesn’t “look like” or “sound like” what they want — people in 1990 “wanted” simpler, catchier, groovier speed metal, and that movement went nowhere. While sub-sub-genres like metalcore, deathcore, or “black punk” (hybrid of pop-punk, shoegaze, emo and black metal) have momentary peaks of popularity, these seem to fade quickly, unlike the lasting appeal of the best of death and black metal. They’re popular, but no one seems to love them like true classics.

However, there is still great room in this genre for those who can translate the spirit, aesthetics and organization of classical music — narrative motives — into death/black metal. That’s the real ground to conquer. Whoever does that will be initially unpopular, like death metal and later black metal were, but later acknowledged as a hero. Like the songs listed above, such music will be passionate but leave the repetitive, formulaic, simplistic structure of pop music behind.

Metal music will never fit into the framework of other genres. Where other music might sound scary, metal communicates the meaning of scary, and this means that it will always oppose the anti-orthodoxy of mainstream logic. For those who understand its message and the power of its sound, assimilation of a distinct genre into the indistinct mass will always remain a threat.


  • 1

    Romanticism, on the other hand, is what the writers of the Romantic Period practiced: there is not much agreement about what that is exactly, and there is in fact a longstanding debate about whether there is such a thing or only Romanticisms. See A. O. Lovejoy, “On the Discrimination of Romanticisms,” PMLA, 1924; Ren� Wellek, “The Concept of `Romanticism’ in Literary History,” Comparative Literature, 1949; and finally, Jerome McGann’s Introduction to The New Oxford Book of Romantic Period Verse (revised edition). – http://www.users.muohio.edu/mandellc/eng441/urllist.htm

  • 2

    A movement in art and literature in the eighteenth and nineteenth centuries in revolt against the Neoclassicism of the previous centuries…The German poet Friedrich Schlegel, who is given credit for first using the term romantic to describe literature, defined it as “literature depicting emotional matter in an imaginative form.” This is as accurate a general definition as can be accomplished, although Victor Hugo’s phrase “liberalism in literature” is also apt. Imagination, emotion, and freedom are certainly the focal points of romanticism. Any list of particular characteristics of the literature of romanticism includes subjectivity and an emphasis on individualism; spontaneity; freedom from rules; solitary life rather than life in society; the beliefs that imagination is superior to reason and devotion to beauty; love of and worship of nature; and fascination with the past, especially the myths and mysticism of the middle ages. – http://www.uh.edu/engines/romanticism/introduction.html

  • 3

    Some of the earliest stirrings of the Romantic movement are conventionally traced back to the mid-18th-century interest in folklore which arose in Germany–with Jakob and Wilhelm Grimm collecting popular fairy tales and other scholars like Johann Gottfried von Herder studying folk songs–and in England with Joseph Addison and Richard Steele treating old ballads as if they were high poetry. These activities set the tone for one aspect of Romanticism: the belief that products of the uncultivated popular imagination could equal or even surpass those of the educated court poets and composers who had previously monopolized the attentions of scholars and connoisseurs.

    Whereas during much of the 17th and 18th centuries learned allusions, complexity and grandiosity were prized, the new romantic taste favored simplicity and naturalness; and these were thought to flow most clearly and abundantly from the “spontaneous” outpourings of the untutored common people. In Germany in particular, the idea of a collective Volk (people) dominated a good deal of thinking about the arts. Rather than paying attention to the individual authors of popular works, these scholars celebrated the anonymous masses who invented and transmuted these works as if from their very souls. – http://www.wsu.edu/~brians/hum_303/romanticism.html

  • 4

    Emphasis on the activity of the imagination was accompanied by greater emphasis on the importance of intuition, instincts, and feelings, and Romantics generally called for greater attention to the emotions as a necessary supplement to purely logical reason. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 5

    While particular perspectives with regard to nature varied considerably–nature as a healing power, nature as a source of subject and image, nature as a refuge from the artificial constructs of civilization, including artificial language–the prevailing views accorded nature the status of an organically unified whole. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 6

    It was viewed as “organic,” rather than, as in the scientific or rationalist view, as a system of “mechanical” laws, for Romanticism displaced the rationalist view of the universe as a machine (e.g., the deistic image of a clock) with the analogue of an “organic” image, a living tree or mankind itself. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 7

    Symbolism and myth were given great prominence in the Romantic conception of art. In the Romantic view, symbols were the human aesthetic correlatives of nature’s emblematic language. They were valued too because they could simultaneously suggest many things, and were thus thought superior to the one-to-one communications of allegory. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 8

    In addition, neoclassicism had prescribed for art the idea that the general or universal characteristics of human behavior were more suitable subject matter than the peculiarly individual manifestations of human activity. From at least the opening statement of Rousseau’s Confessions, first published in 1781–“I am not made like anyone I have seen; I dare believe that I am not made like anyone in existence. If I am not superior, at least I am different.”–this view was challenged. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 9

    Certain special features of Romanticism may still be highlighted by this contrast. We have already noted two major differences: the replacement of reason by the imagination for primary place among the human faculties and the shift from a mimetic to an expressive orientation for poetry, and indeed all literature. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 10

    The hero-artist has already been mentioned; there were also heaven-storming types from Prometheus to Captain Ahab, outcasts from Cain to the Ancient Mariner and even Hester Prynne, and there was Faust, who wins salvation in Goethe’s great drama for the very reasons–his characteristic striving for the unattainable beyond the morally permitted and his insatiable thirst for activity–that earlier had been viewed as the components of his tragic sin. (It was in fact Shelley’s opinion that Satan, in his noble defiance, was the real hero of Milton’s Paradise Lost.) – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html

  • 11

    a literary, artistic, and philosophical movement originating in the 18th century, characterized chiefly by a reaction against neoclassicism and an emphasis on the imagination and emotions, and marked especially in English literature by sensibility and the use of autobiographical material, an exaltation of the primitive and the common man, an appreciation of external nature, an interest in the remote, a predilection for melancholy, and the use in poetry of older verse forms. – http://www.merriam-webster.com/dictionary/romanticism

  • 12

    The ‘heat-death’ of the universe is when the universe has reached a state of maximum entropy. This happens when all available energy (such as from a hot source) has moved to places of less energy (such as a colder source). Once this has happened, no more work can be extracted from the universe. Since heat ceases to flow, no more work can be acquired from heat transfer. This same kind of equilibrium state will also happen with all other forms of energy (mechanical, electrical, etc.). Since no more work can be extracted from the universe at that point, it is effectively dead, especially for the purposes of humankind. – http://www.physlink.com/Education/AskExperts/ae181.cfm

  • 13

    But the rising materialism and focus on business at the cost of the mind and the spirit was spawning reform movements all over America…Many felt a psychic dislocation, that the bottom had dropped out of their world since traditional values and conventional reality were just not enough for them. They tried to impose meaning individually, for institutions and dogmas seemed to possess little truth. Philosophically, they reacted against the materialistic educational theories of Locke and rationalism. They found Truth more a matter of intuition and imagination than logic and reason. They rejected the mechanistic view of the universe so dear to Franklin and Deists and opted for a more organic view, seeing the world more as dynamic and living. – http://www.vcu.edu/engweb/eng372/intro.htm

  • 14

    “He was recognized as a leading figure in the Sturm und Drang, which celebrated the energetic Promethean restlessness of spirit as opposed to the ideal of calm rationalism of the Enlightenment. Goethe’s poem ‘Prometheus’, with its insistence that man must believe not in gods but in himself, might be seen as a motto for the whole movement.” – http://www.kirjasto.sci.fi/goethe.htm

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What is heavy metal?

In the night, one can hear many noises. Some sound scary, and others signal scary events. For example, the roar of an animal is disturbing, but to someone alone in a house a stealthy footfall or the click of a lock is scarier. Similarly in art, the context of a sound defines its significance, and what makes music frightening is the meaning it encodes.

Among all forms of art, what makes heavy metal unique is that it embraces disturbing sounds which are not ugly but which portend disturbing patterns found in reality. Heavy metal is the music of the apocalypse, and whether warning it off or cheering it on or both, achieves this heaviness through the context it conveys.

What makes heavy metal heavy?

Both fantastic and literal, heavy metal explores the ideas our society will not endorse. It is not protest music, whining “it should not be” into a secondhand microphone, but a war-like genre which describes destruction with the joy of a painter who could use it as a color in a new epic landscape. Metal is about the experience of life, but it disciplines that with a clear sense of reality and consequence, as is appropriate for “heavy” conversation. Where society hides from fear and allies itself with the threat of the consequences of fears, metal allies itself with death to dispense fear.

When metal first arrived, new fans began to understand what made Black Sabbath “heavy”: the patterns which revealed the thinking behind such noises, putting context to the fear they instilled. Thundering distorted riffs were not new; Blue Cheer had done that. Neither was aggression; Iggy Pop had done that. But Black Sabbath, inspired by horror movie soundtracks, came up with a new style of music that used melodic phrases played in power chords, and by targetting the weighty topics that social conversation did not admit, creating a terrifying form of art.

Rock music had grown through the 1960s from simple boyfriend-girlfriend pop to apocalyptic rock like the Doors or King Crimson in the same way the Beatles rejected their sugarpop roots to become morbid and political. Whenever given a chance, the music reverted to a simple, tolerant, peaceful hedonism that hid its escapism and narcissism. The future members of Black Sabbath, upon seeing a horror movie and wondering if people would ever pay to have that experience in rock music, created the antithesis to distracting escapism: a descent into the complex and violent world of reality.

Its heaviness migrated into a different style of composition: other bands wrote songs around open chords which were strummed in a repeated pattern, and then modulated, while Black Sabbath used moveable power chords to make phrases into riffs and it was the change in those phrases that communicated a difference in outlook. It was more like classical music, where harmony is so well-studied that it is used as a device toward “narrative,” through-composed pieces where the change in motifs and their accompaniment conveys a string of moods that like a mythology or a fable convey the idea of a journey from one point to another.

With this development, they gave meaning to the sound. Its context of topics gave its heaviness form, but musically it was heavy as well, using thundering chords that stripped out traditional harmony and made the riff instead, like the nihilistic voice of an angry god, speak the truth that completed the poetry of contrast in each song. By throwing away form, and the form of socialization which “peace” and “love” implied, Black Sabbath brought danger back into a stagnant modern life — specifically, the danger that in all the attempts to stay away from the darkness, we as a civilization had missed an essential truth.

What does metal believe?

As an art form, metal has continuously developed visions of a human apocalypse lingering in the absence of our willingness to face reality. Reality is, as the saying goes, not entirely pleasant, and so is less popular than simple partial truths called “symbols,” which create an illusion of completeness by super-simplifying reality. Morality is not scientifically accurate but it is more comforting to our minds to have two options instead of nearly infinite ones.

During its maturation, metal wavered in and out of the public illusion, called “consensual reality,” which is the alternate reality of values most people use to navigate their lives. Consensual reality includes the symbols people want to believe in and, reinforced by preference-enabling activities like democracy and consumerism, makes itself “real” by the fact that most people believe it to be true. This public illusion takes many forms and metal has not been immune, but is strongest when it kicks aside the illusion and goes for the kind of heavy contexts that always made good ambiguous truth.

One view of metal is as a reality mediator showing the darkness underlying our pleasant illusions, and that in doing so, it is not deconstructive but attempts to make clarity of life by finding beauty in the dark and heavy as well as the light. As a holistic approach, this outlook negates both dualistic worlds (heaven, hell) and secular morality in favor of a scientific, historical and abstract design-oriented perspective on life. This then returns us to the idea of metal as orthodoxy, or a genre in which there is a clear direction and those who deviate from it are parasitizing on the popularity of the genre while weakening it with ideas that oppose it.

The terms “sell out” and “poseur” arose in the 1970s to refer to those of this intention, most specifically the bands like Def Leppard who turned their heavy metal roots into radio trash that was essentially rock music with power chords. A poseur was someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions, of a genre but was like all hipsters using it for his or her own benefit and believed none of it. These terms persist to this day.

Any ideology is necessarily orthodox, in that if it does not assert a right way and wrong way of doing things, it is not an ideology at all but an ethic of convenience much like the opinionless, directionless motions of rock music or its deferential humanistic political counterpart. Rock stands for a big party and everyone having it their way; this is a meta-orthodoxy that opposes all orthodoxy.

Metal on the other hand is orthodox and opposes meta-orthodoxy because an orthodoxy of no orthodoxy is a lack of direction. Directionless self-assertion does not address the apocalyptic or religious aspects necessary to unite human thinking toward survival in an apocalyptic time. To clarify reality, metal music embraces nihilism and worships power and beauty, because these things connect us to a reality that will forever seem flawed to us because it is full of horror, doubt, fear and death. However, the metal outlook shows us the wisdom of these things and makes living with them seem “fun,” where rock music and other anti-orthodoxies retreat into human activities and social realities, pushing reality itself far away.

As a result, metal is sandwiched between protest music of the anarchic left and the wisdom of the conservative ancients, forming itself through fantasy into a vision of a more realistic and more enjoyable vision of life. Rock music is a product of the wealth and convenience of a modern time that allows us to have inconsequential lifestyles and opinions, while metal is a revolution against that outlook, a seemingly deconstructive art form that in actuality opposes deconstruction.

We can trace these ideas through consistent beliefs found across metal generations:

  1. Beauty in darkness. It is not ugly, pounding music but music which discovers beauty in distortion, in anger and terror, in violence and foreboding dark restless relativistic power chords. The point is not to deconstruct, but to go through deconstruction and find meaning. This is evident in the works of Black Sabbath and every metal band since, and is what distinguishes “real” metal from hard rock.
  2. Worship of power. Unlike pacifying rock music and jazz and “new music” classical, metal music adores powerful, vast and broad simple strokes; it loves the majesty of nature and its crushing final word. It does not have love songs. Instead, its love is directed to forces of nature, including physical forces like storms and intense human experience like war or loss, as if trying to find meaning in these.
  3. Worship of nature. Linked to metal’s adoration of power is its appreciation for the function, including its “red in tooth and claw” aspects, of the natural world. Where most are repulsed by the idea that combat exists between animals in which one is victor, and one is prey, metal idolizes it. It finds beauty in ruins, in destruction, and in death, as if praising the cycle of life they engender again.
  4. Independent thinking. Metal does not buy into the individualism of a modern time where the only goal is material pleasure of the self (materialism) and keeping others away by granting them the same (humanism). It prefers the independent thinking that looks for higher values in life, mountains to climb and challenges to be met. Where punk music enmeshed itself in a callow “I wanna do what I wanna do,” metal saw this as part of the same gesture of rock music and discarded it.

These are expressed artistically by the following:

  1. Dark, morbid themes that clashed with the “love will save us” hippie mentality. These are explained by Black Sabbath as being derived from the horror movies of the day, a genre which features a union between technology and the occult (zombies, werewolves) producing a force humans cannot oppose. Normal technologies and methods cannot defeat it. They struggle against this force but their emotional instability causes them to sabotage one another, and often the dark force wins. Examples from this genre: Mothra, Dawn of the Dead, Alien, The Exorcist, The Shining, War of the Worlds.
  2. Songs written from short cyclic phrases called riffs, which unlike rock riffs used moveable chords of inspecific harmonic bonding, making the melody and rhythm of the phrase more important than key or voicing. Metal bands tend to use more riffs per song, and not in the traditional cycle of verse-chorus, in a way quite similar to progressive bands like King Crimson and Yes, both of whom used aggressive distortion.
  3. A focus on the holism of the human effort as determined by our moral state as individuals in a way that can only be described as “religious.” Metal, in addition to sounding eerily like angry Bach-scripted church music, has a similar focus to dogmatic transcendentalism Christianity: what is our future as human beings, and how does how we shape our personalities effect it?
  4. Bass-enhanced overdriven guitar sound, or distortion, which encloses the primary instrument used in making heavy metal. In rock, guitars and drums come together to emphasize a vocal melodic line; in metal, guitars lead a melodic line for which vocals are a complement and drums a timekeeper, enclosing it in a regularity to give listeners context. The guitar is the loudest single instrument heard and the one that invokes changes in song.

These beliefs and musical techniques reinforce each other. Using distortion and loud music, yet finding beauty in it. Using longer narrative phrases so as to tell a story, creating a holistic view in which emotion emerges, instead of citing pre-configured emotions like rock music does. A darkness and melancholy exhibited in lyrics and imagery, corresponding to aggressive music, expressing a desire to seize all of reality, good and bad together, and make something better of it.

Heavy Metal as Romanticism

We have seen ideas similar to these before in the form of a genre that, once birthed, refused to die, even as history moved on. In fact, it has re-emerged throughout the modern time because it was the step before this new type of rationalism,

Although metal borrows from both classical and Romantic periods of classical music, its most intense similarity is to the Romantic period in literature, which in its later years diverged into Gothic horror and transcendental idealism. Much as embryological theory tells us that ontogeny recapitulates phylogeny, or that a fetus goes through the same stages of evolution as its species did to arrive at its current state, metal theory shows us that metal — as a revolt against what rock music stood for, e.g. distraction — forms an embryo which rediscovers its musical past. In this sense, metal is starting with classical and venturing through late Romanticism toward modernism.

According to the experts, Romanticism in literature and music has several tenets:

  • It is not clearly defined as a single thing, or several versions of this thing.1 Most of Romanticism existed before it became a concrete movement, and heavily overlapped with classicism.2
  • A desire to explore organic culture instead of high culture, especially tales of the medieval age and its feudal society.3
  • Worship of the imagination, and of creative and individual truthfulness in emotion.4
  • Reverence for nature as “an organically unified whole,”5 and intuition, instincts, and feelings were seen as necessary complements to reason in contrast to “mechanical” rationalism.6
  • Symbolism and myth were given great prominence.7
  • Rejection of the universalism in exchange for study of the individual as distinct from others.8
  • Shift from a mimetic to an expressive orientation, meaning that art no longer imitated life, but expressed a truth found in it.9
  • A willingness to strive “for the unattainable beyond the morally permitted,” and a rejection of morality for situational or naturalistic interpretation.10
  • An appreciation for the melancholy, remote and ancient.11

Romanticism was a response to neo-classicism, which was the most recent form of the surge in rationalism brought about by The Age of Enlightenment. Where the Enlightenment rationale brought individual rights, focus on personal emotion, and a linear logical process by which one could dissect the world and find an absolute response to it, Romanticism both inherited that tradition and began dissolving it. It is for this reason that we can find Romanticist themes abundant, in everything from Star Wars to presidential speeches: the conflict of rationalism-versus-Romanticism has never been resolved.

Unlike modern individualism, Romanticist individualism meant using yourself as the justification for your own wants, instead of trying to find some external justification. As Nietzsche phrased it, “I prefer” and “I find beauty in” are more important than all the equations, statistical summaries, studies cited and popular votes in the world; Romanticism (of which Nietzsche was an ambiguous defender but spiritual comrade) rejects the idea of externalized truths and knowing, and instead prefers a sense of unity between the individual’s aesthetics and a “mythic imagination” which lets them see possibilities in the world using holistic logic, instead of the linear (single-factor) logic used by rationalists.13

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon,
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.–Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.

The World is Too Much With Us, William Wordsworth (1789)

Once upon a time, in some out of the way corner of that universe which is dispersed into numberless twinkling solar systems, there was a star upon which clever beasts invented knowing. That was the most arrogant and mendacious minute of “world history,” but nevertheless, it was only a minute. After nature had drawn a few breaths, the star cooled and congealed, and the clever beasts had to die. One might invent such a fable, and yet he still would not have adequately illustrated how miserable, how shadowy and transient, how aimless and arbitrary the human intellect looks within nature. There were eternities during which it did not exist.

And when it is all over with the human intellect, nothing will have happened. For this intellect has no additional mission which would lead it beyond human life. Rather, it is human, and only its possessor and begetter takes it so solemnly-as though the world’s axis turned within it. But if we could communicate with the gnat, we would learn that he likewise flies through the air with the same solemnity, that he feels the flying center of the universe within himself. There is nothing so reprehensible and unimportant in nature that it would not immediately swell up like a balloon at the slightest puff of this power of knowing.

On Truth and Lies in a Nonmoral Sense, Friedrich Nietzsche (1873)

Heavy metal inherits this conflict because in order to be “heavy,” it must tackle the dark issues everyone fears. What makes these issues dark is that our normal methods cannot defeat them. We then must ask what we exclude from our methods, and we see that any anti-social information — that which might offend someone, or mention death, or suggest that morality is an imposed and artificial condition — is excluded from our methods. As a result, heavy metal becomes a kind of peering behind the curtain of an externally-imposed reality, and in seeing the horrors within, finding a new desire for both warlike apocalyptic intensity and a beauty discovered in darkness.

Romanticism re-occurs because it is generally seen as the only idea which can oppose modernism, which is like neo-classicism but even more insistent upon rationalism and the hybrid between individualism and groupthink that is utilitarianism. Metal, as a genre exploring Romanticism with a masculine and warlike approach, most closely approximates the philosophies of Nietzsche and other post-Romantic writers who wanted to escape the bureaucratic approach to society and restore a sense of adventure.

Metal is fantasy that can be applied to reality, neatly briding the two categories of art as entertainment/mimesis and art as politics. It is not protest music, nor is it the kind of wallpaper-like distracting pleasant activity that we see on most television shows. Instead, it is a manifestation of the Faustian desire for forbidden knowledge. From classical literature and music, it borrows a rigid sense of structure and a desire for resurrection, Tolkien-esque, of the ancient times of honor, blood, warfare and magic. From Romantic literature and music, it takes its major themes, including the sense of an individual trapped in a moribund society reaching out and the idea that when the individual escapes society to nature, reality can be seen for the first time. The most similar Romanticists to metal lyrics are probably the following:

  • William Blake – wrote about metaphysical topics from the perspective of the universe, and mocked humans for being weak and obsessed with the trivial.
  • John Milton – wrote Paradise Lost, in which Satan is an anti-hero who rejects the rule of heaven in order to discover life for himself.
  • William Wordsworth – enshrined anti-social behavior with his classic The World is Too Much With Us, which calls for rejecting society in favor of mythic imagination.
  • Mary Shelley – wrote Frankenstein, in which technology creates a new form of life which discovers it has no place in the world, and it turns destructive.
  • Johann Wolfgang von Goethe – a realist who did not shy from horror, Goethe believed in a universe where human perception was a small and unnecessary part of its divine function.14

If we had to summarize metal as an artistic movement, it would be fair to say it has more in common with European Romantic art than the popular music and boutique art of our present era. Like the Romantics, it sought a transcendence in accepting the world’s inequality and horror and using it as a relative opposite against which to project challenges; it wants to bring back the fighting spirit of an ancient time, and give us independent thinking and goals instead of buying us off with the humanist-materialist tripe that the mainstream media proclaims — dogma which, interestingly, has failed to solve a single widespread problem of humanity.

Even more interesting is that the genre of horror movies, an intersection of proto-science fiction and occult lore, was born of the Romantic movement. Mary Shelley, who wrote Frankenstein, was the wife of Percy Shelley, a Romantic poet. Bram Stoker’s Dracula came from the Gothic fringe of the Romantic movement as well. One of the greatest descriptions of Satan ever, Paradise Lost by John Milton, was also a Romantic work.

“I believe in tragedies…
I believe in desecration…”

The Sun No Longer Rises, Immortal (1993)

Like its Romantic forebears, metal music desires transcendence: finding the beauty in darkness by accepting the physical struggle that is life, and instead of trying to run away from that struggle into personal material comfort, accepting it as something that gives significance to our existences. Metal music desires to overcome our fear of death and of nature, and by accepting them, to show us a new world of meaning. In this, it is both a continuation of Romanticism and an evolution of it to a more coherent state.

How did this change for underground metal?

Appearing in the early 1980s, underground metal arose from a hybrid between crustcore/hardcore (Discharge) and the structuralist, neo-classical heavy metal of the previous generation (Judas Priest, Black Sabbath). It took the Romantic themes of earlier metal and made them more extreme. If underground metal has one unifying concept, it is the one emphasized by Hellhammer, “Only death is real.”

After heavy metal blew out by getting absorbed into its own popularity, and then speed metal copped out by softening its stance and sound to be more popular, underground metal roared away with pure nihilism: facing life as it is without a thought that anyone or thing in the universe cares if we collectively or individually survive. This was orthodoxy retaliating against anti-orthodoxy, which always takes the form of individuals preferring to avoid reality and so passive revenging themselves against those disciplined enough to want, in the time-honoured method of survival common to all creatures, to adapt to reality. In overcoming the anti-orthodoxy of individualism, underground metal became the first popular music genre ready to face ego-death.

The question, of course, could be asked: Why did you ever try narcotics? Why did you continue using it long enough to become an addict? You become a narcotics addict because you do not have strong motivations in any other direction. Junk wins by default.

– William S. Burroughs, Junky

Ego-death is a concept that psychedelics and zen monks alike discovered. In it, the person realizes they are one part of a giant system, and stop seeing the world through themselves. They see themselves in the world, but they see the bigger process first. Ego-death tends to lead to a transcendent state where one sees all of consciousness as a continuum, and becomes less afraid of d-y-i-n-g. Ego-death forces us to see life through a filter that is super-realistic, or dedicated to bringing people into a moment of realization that what they are touching and doing is real and they need to grasp command of their own minds to survive. It opposes panic and illusion, moral and social judgment (“knowing” from Nietzsche above), fear and pleasant unrealistic thoughts.

Not coincidentally, “only death is real” resembles topics from “Heart of Darkness” by Joseph Conrad and “Paradise Lost” by John Milton. In both, as in Mary Shelley’s Frankenstein, the protagonist is thrust into a delusional, dysfunctional, chaotic world that he alone can see is wrecked, and takes a long journey in which she or he can see that the nothingness is very real and pervades everything, and that our denial of this emptiness of life makes a greater emptiness, or a hollow illusion that cannot satisfy us. As we try to live in this illusion, we see reality peeking through, and so become neurotic.

The characters in these books overcome their situations only by throwing away the rule book, avoiding what other people tell them is the truth, and acting on their animal intuition. Conrad’s protagonist Marlowe begins the book impotent and ends it with a powerful tool, like a sword or fire, to explain why what he sees is as impotent as he once was. It’s like an adolescent story, but for humanity, growing out of its moral illusion and seeing reality as a pragmatic task. In Paradise Lost, Satan is appealing but has made an error in opposing the order of nature/God, yet still he has to make this decision, to explore the world in a Promethean sense of fearlessness and self-command. His undoing is too much self and not enough command.

Underground metal recognized this duality of human thought. Official knowing was bad news; unguided knowing was chaotic and destructive; therefore, a new type of knowledge had to be created, and this knowledge was nihilistic literalism as found in hardcore punk merged with the fantasy and epic worldview of heavy metal. The political nature of punk had made it easy for foolish people to slap anarchy stickers on their rockabilly guitars and start repeating the same old stuff, like the aged activists who whine “why can’t they just see” when life has passed them by.

Underground metal was not political or social, but philosophical: it viewed the world from outside human eyes, seeing it like a large scientific experiment in which history was the result, and based its knowledge on the abrupt interruption to human illusion created by death. When we see that wisdom, we recognize that we are tiny and inconsequential, and that adapting to life is more important than the moral, social, media and political worlds made of human agreement to have a symbol stand for something.

“Only Death is Real” conveyed ego-death: no matter how big you think you are or how important, death is more real than your visions, so you must accept nothingness. To accept nothingness is to cast aside the unhealthy parts of the ego and to give it context, so that the ego is a motivic force but only one of many on a planet. To see only death as real is to wonder what else can be real. The answer is right past the end of our noses: the world is real, and it’s a continuum that renews itself, so it’s worth working for. If you like life, you work to make it better. If you hate life, you deny the reality of the world and you go further inward into the self and its desires, which has never worked for making anyone happy no matter how stupid.

We are social creatures, and it is as mathematically logical why that is so as the collaboration between parts of a computer program. We are all of the same thing, and we want to take our part in this thing, which includes nature and our fellow humans, and if we like being alive, we want to do what’s best not just for ourselves or for humanity but for the whole thing. What a stream of interesting thoughts “Only Death is Real” can unleash, in part because our society does everything it can to deny the reality of death.

The archetypal death metal bands — Hellhammer, Bathory, Slayer — all used occult imagery much as Blake, Milton and Goethe did. With that in mind, we can re-interpret Slayer’s Satanic imagery as more than being opposition to Christianity. For one, they do not seem to oppose Christianity. If anything, lyrics like “South of Heaven” or “The Final Command” illustrate, like Black Sabbath’s “War Pigs” before them, a world in the grips of evil based in power based on an illusion. In Slayer’s complex theology, Christianity is Satanic because like political strength and industry it is a false outward power when inward the person is underconfident and weak. Christianity however is seen as often accurate, in that the apocalypse does come from selfishness, and Christian morality (“bastard sons beget your cunting daughters”) is the best way to live, but a way that makes no sense in a world addicted to the power of illusion.

As in Milton, Slayer’s Satan is a rebel against a singular order encroaching upon the world, a necessary force like magnetism that opposes any such centralization. In Slayer and Milton’s view, to have any single power controlling the universe is to bring the universe toward sameness, something thermodynamicists call “entropy,” or a state when any direction yields the same results as any other because of the uniformity of the universe. Milton was edging toward a transcendental view of God as being a property of the universe, and not an ego or personality such as that overbearing one against which Satan revolts, himself a victim of his own excessive egoism.

I feel there is some hideous new force loose in the world like a creeping sickness, spreading, blighting. Remoter parts of the world seem better now, because they are less touched by it. Control, bureaucracy, regimentation, these are merely symptoms of a deeper sickness that no political or economic program can touch. What is the sickness itself?

– William S. Burroughs

In the Milton-Slayer worldview, “God” encompasses both bad and good, because together these create a reality in which we can strive for better things. Similarly, in Conrad, the tokens of good and profit are chased in such a way that they create an illusion sustained by greed, in which the only heroes are amoralists like Mr. Kurtz who use brutality and combat effectively, but are conflicted over the underlying reasoning for their goal, namely the need to produce income through ivory when greater challenges await. In the worldview these artists offer, profit motive and morality are a going-inward into the protective mantle of fear, and morality is something we impose on the world to avoid the heroic challenge of leaving that inward sanctum and achieving goals that are not justified by physical survival (morality) or material comfort (profit).

When we look at metal with these opened eyes, the sound and imagery and lyrics are far less random. Distortion is a finding of beauty in darkness, a clarity emerging not when one looks at individual grains of sound but when one hears the blurry whole and deducts from it both pure tone and the harmony of randomness to that clarity; distortion forces us to take a view from above, and see the whole picture in order to understand what occurs at any moment. It is also a metaphor for our inability to ever fully perceive the universe, telling us that if we look at the center of the distortion we will find what is occurring, even if we cannot see it perfectly. The gritty, chaotic sound of distortion defies our logical containers that look for purity and instead finds a reality that although hazy is as clear as it if were pure.

The “riff salad” of metal bands is a way of establishing that music is not a cyclic loop of verse-chorus, resembling our going inward to the world of our own thoughts and preferences, but a journey in which our inward struggle parallels our outward struggle (much like the jihads of Islam: the lesser Jihad is the war against ignorance/infidels, and the greater Jihad is the war for spiritual clarity in oneself). Metal is art because it does not preach a political solution, but shows us the reasons for it. When that sort of higher thinking fails, metal relapses to liking noise and hedonism but little else.

It is one thing to preach, as if politically, against the ego. It is another thing to show a path beyond the ego. “Only Death is Real,” like nihilism itself, is a way of dispensing with “belief” in order to begin the journey to discover what is real and what is supra-real. The supra-real is that dimension where heroism and creativity lie, where one has accepted the feared attributes of life (d-y-i-n-g, disease, sodomy) and has transcended them by seeing what is not material/tangible yet is also important. It is this journey that metal music, classical music, and all great art describes. It is starting from nothing, like Satan exiled from Heaven, and getting over resentment of life and fear of death to see the beauty in darkness and to return to life with a desire to make it better. It is a recognition of the inherent distortion of our perception, and tuning our ears and minds to see past that faltering.

When only death is real, the ego dies for a moment and we see the world as a whole, and can get out of the prison of our limited perspective and re-bond to the life that produced us and produces all we value. It is a hedonic state higher than hedonism, to love life and want to make it better through better design. This is where death metal broke from heavy metal, and it is where all thinking that rewards strong souls begins.

The Evolution of Black Metal

Death metal brought images of impending doom and a fascination with the macabre into a dark world. It built upon what speed metal and grindcore had already established: an apocalyptic epic where the only future was decay. Death metal incorporated the righteous integrity of speed metal and the nihilism of punk into a musical onslaught warning of destruction. It fit into Kurt Vonnegut’s famous metaphor for art: that artists are to society what canaries were to the coalminers who brought them into the depths of the mine as warnings. When the song of the canary turned weak or stopped, it meant that suffocating coal gas was flooding the mine.

Death metal is an extension of the complexity of speed metal, partially arising from the attitude of that genre that any large problem can be solved by reason. Speed metal and thrash believed in rationality, and preached insanity as a negative characteristic. Death metal became the science of understanding insanity and breakdown, not preaching against it as speed metal often did but explicating it in epic songs and vivid imagery. Black metal, as a response to the failure of death metal to avoid the crowd, was an embrace of all things destructive to human illusion: natural selection, warfare, predation, violence, cruelty and tyranny.

Black metal restored romantic side of metal as its primary vehicle; its emotion is more obvious as that is its obsession. A death metal band would never argue destruction of the world, calling it irrational, where a black metal band would call for destruction of all life on emotional grounds. Black metal’s sadness comes from its emotional entrapment in a mechanistic world, and for that reason it rebels against order, whether in Heaven, on Earth, or in Death Metal. Black metal is in many ways a return to the mission metal left when exploring the scientific mindset of the technological age (as computers revolutionized life in the eighties, quantitative rationalism experienced a resurgance of influence).

If we look at metal’s history, we can see how this conflict brewed. Black Sabbath retaliated against the hippie music of their time as unrealistic and distracting. The following generation of metal turned it into more of a party for alienated kids, which punk retaliated against by returning the focus to all the negative aspects of reality. The next generation of metal, speed metal, picked up the punk outlook but channeled it into the heroic stories of past heavy metal, creating a less lamentatory and more assertive, masculine “we can fix this” outlook. When speed metal collapsed into its own popularity, death metal returned with pure nihilism balanced by a structuralism that suggested life was understandable but denied by the individual. Grindcore rose simultaneously with death metal and restored the punk/hippie attitude of tolerance toward the individual. Black metal retaliated against this just as Black Sabbath condemned the hippies of their day by brushing aside morality for an awareness of horror and our impotence against the real threats in this world; it rejected all protest rock and literal music for a spiritual conditioning which embraced struggle, darkness, melancholy and other Romantic traits.

Black metal grew exponentially since its emergence as a distinct musical style in the early 1990s; previous “black metal,” from Venom through Hellhammer, had been a variant on the dominant style of the time and often indistinguishable from death metal. Like a new civilization, it grew from a small group of innovators who were disgusted by the “jogging suit” mentality: people who were essentially products of a modern time, who blindly bleated its ideas, figuring out how to play death metal and becoming popular in the genre by making their music more like what audiences accustomed to rock music expected. In essence, the crowd had infested death metal as it had speed metal before that, and black metal was a response to this.

Recognizing that no matter how they dressed up the music as something “new,” appearances could be cloned, black metal musicians decided to go where the crowd could not follow: they would write music that expressed a grandeur of nature and feral amorality, hearkening more to the values of Samurai or European knights than to the disposable ideals of modern time. Since such a topic requires music that infuses the listener with a sense of awe and beauty in the cycle of destruction and creation that renders our world, they could no longer rely on “three chords and the truth,” but had to actually put the truth in the music, and write more poetic and complex songs.

The small civilization within civilization that was black metal was united more by ideals than by aesthetic or musical tenets, although all of its music by aiming to express the same kind of idea had similarities, mainly in its use of poetic complexity and truth within the music (and not necessarily the lyrics; you listen to black metal, and because of its intense artistry, find truth there). Because we are surrounded by infinite voices repeating the same few ideas in many different forms, here are the basic ideas of black metal that are distinct from the mass:

  1. Nature as a supreme, rational and all-pervasive order. Natural selection and an embrace of struggle took the center stage through celebration of predation and death. Even more, black metal celebrated the nature “within,” or our inner feral nihilism that made a mockery of morality.
  2. Anti-Christianity/Crowdism. Crowdism is the idea that respecting the will of individuals is more important than finding a realistic idea. It is a form of backward logic where we see the individual as the cause, and not the effect, of all that is around us and so convince ourselves that a human social consensual reality can override nature. Crowdism is secular Christian morality.
  3. Introspection. The only meaning comes from what the individual can interpret; there are no boundaries between individuals and the world (nature) as whole, but individual perception is limited to natural abilities and learning from experience. This is the opposite of the “if it feels good, do it” rhetoric of hippie rock.
  4. Morbidity. Viewed as an essential giver of meaning. Where most view death paranoiacally, and see it as a great entropy removing all value, black metal musicians viewed it as something giving meaning to life.
  5. Organicism. Like Romantic poets, black metal musicians tended to place more faith in organic growth than imposed social order. A sense of differentiation from the herd, hatred toward the incompetent and delusional, pride in unique ethnic origins and a celebration of older culture makes this a huge part of the genre.

To any student of European history or art, these values are not new; they are traditional to all Romantic forms of art, whether literature or visual art or symphonies, and were upheld by artists as disparate as William Wordsworth, Anton Bruckner, John Keats, Ludwig van Beethoven, Richard Wagner, Lord Byron and William Shakespeare. For all of these artists, nature was a higher form of order than the rules of civilization, and civilization had become decadent by praising its own “equal” order more than the “unequal” order of nature. Many philosophers, including the celebrated F.W. Nietzsche and Arthur Schopenhauer, explicated these sentiments in their own work. Black metal’s ideology is nothing new.

What was new was an expression of these ideas in popular music, because rock music and blues and all of the associated disposable art has always been a manifestation of the crowd revolt mentality: simple music so that everyone in a room could get it, diametrically opposed to the grand works of classical music which were too complex and emotionally involved for a crowd to appreciate (or even to have the attention span to endure). Rock music focuses on one emotion per song, bangs it out in riff and chorus, and makes it very simple by using a relatively fixed number of scales and chord progressions. Rock music is the perfect product because it’s easy to make, is appreciated by customers of all ages and not limited by intelligence, and is inoffensive on a certain level in that it has nothing to say that will disturb. The basic message of rock music is to include everyone equally, to appreciate them for being alive and not for their inherent traits, and to come together on simple human values and not higher ideals; rock is inclusivity. Black metal is not.

Much like when watching Lord of the Rings, Braveheart or Apocalypse Now one has a sense of an ancient warlike order, when listening to black metal one sensed a realistic and amoral entity underneath the Romanticized skin of the music. This eternal form of the human spirit grows from the naturalism of black metal as well through its belief in a karmic cycle based on natural selection. At the lowest level, humans are little more than animals. If they exert a form of natural selection upon themselves, and attempt to rise above that level, those who survive will be apt for it; if they do this for several levels, they eventually rise to a state of having a higher intelligence, degree of physical strength and beauty, and moral character (“nobility”: the ability to see what is correct for the natural order of society as a whole, and not to get distracted by personal or emotional issues). At the very top are those who are fit to lead by the nature of having a transcendent consciousness; it is thought that these much higher IQ than most modern people and were far less fearful, neurotic and self-obsessed. This, too, derived from Romanticism.

Underground metal goes mainstream

Underground metal reigned in part through its mystique. Hated by almost everyone, in and out of jail, preaching ideas which were anathema to both heads of state and hippies in the gutter, underground metal seemed a fragile and rare thing. This mystique faded as the economy shifted again, as it had done in the early 1980s allowing a rush of “indie” bands, and distribution contracts loosened up in the late 1990s.

Where once there had been “import” racks for CDs from abroad, and it was hard to find music, starting in 1997, underground metal became available in mall stores and through Amazon.com. Its identity as a separate entity became difficult to maintain, and the process of assimilation began. In response, metalheads attempted to rally around an identity as “different,” but in doing so, they focused on external aspects (distortion, imagery, indie status) instead of what did make the music distinct: it saw hope for the future in ideas outside of the same accepted dogma all the mainstream newspapers, television and radio sell to us because it is a popular product. If the truth is difficult and therefore unpopular, metal rebelled against popularity as a selection matrix, and from that developed a range of thought which made it a genre distinct from all others.

Far from being alone in this, underground metal has fallen into a general trend of independent art producers seceding from reality. “Literature” has collapsed into a few thousand tiny magazines read by no one but MFA candidates in creative writing, and “visual art” has become a network of small galleries selling cute expensive paintings to uninformed patrons. Even classical music has gotten in on the decline, with “new music” — micro-symphonies of human voices, squeaking dissonant noise, and other trendy types of sound — appreciated by a diehard cult following who need a raison d’etre outside of their civil service jobs.

These genres used to speak an independent voice, but now they repeat lockstep the strange formulation of modern liberal democracy — a “neo-conservative” viewpoint which both champions civil rights and “social issues,” but also affirms the need for a strong economy and constant warfare against evil enemies. Political theorists might try to make sense of it, but it is more direct to understand it this way: popularity sells.

“One could argue that American fiction has ghettoized itself by insisting on a self-reifying view (humanist/materialist?) in which all answers are known, the political binary is carved in stone, we all have swallowed whole certain orthodoxies, and the purpose of the fiction is just to reinforce these. At the heart of this lies a selfish agenda, that has (one could arge) really ceased seeing the world as a unity, and has begun aggressively internalizing certain capitalist dogmas that say: Of course you are the most important thing, of course you exist separate from the rest of the world.”

– George Saunders, The Believer Book of Writers Talking to Writers

In this situation we find a repeated structure from metal itself, and even, larger society. Metal music goes through cycles where a new idea comes about, is looked down upon by others, and then fully expresses itself, at which point it is cloned to death by the same people who were speaking badly about it earlier (by this I mean new subgenres, not recombinations of existing genres like – eh – “nu-metal”). If you look at it as a conflict between people of able character, and those who are by nature followers, what you see is that the able create; the followers imitate, and in so doing, drown it and condemn what was created to being of the same mediocrity it helped to escape.

Indeed, the death metal of today more musically resembles rock than that of ten years ago; same with black metal. They have been assimilated, but from within the metal genre, by people whose character is so low that their highest values are to esteem what is valued by the larger society, and thus to reproduce it in the appearance of something which is not larger society, assuming that by controlling appearance, they control content. They are wrong, and they drag down everything they touch. It is this way with the creation of music, the promotion of music, and the choice of who runs hubs; most run them for the popularity, and don’t mind if there’s a whole bunch of support for moronic rock music thrown into the mix. In fact, they encourage it, as by appealing to everyone, they feel like Christ on the cross, being both a victim and a conqueror by the sheer fact of being needed.

This conflict repeats itself in all human endeavors: one group starts a process that creates benefit, and then others surge in and, not understanding the struggle of creation, parasitize it and destroy it. We can see this in the tendency of sequels to intelligent movies being junk; in the revolutions of the masses against the elites that leave nations with lower average IQs and third world levels of dysfunction; in the killing of Socrates by democratic Athens; in the denial of reality that lets Americans run up record debt, or our species to deplete fish stocks, pollute the ocean with floating plastics, and poison our open waterways with enough chemicals to turn amphibians hermaphroditic. The eternal human struggle for clarity of reality, versus withdrawing into our own perspectives and becoming oblivious, is repeated in metal and its struggle to resist assimilation.

The ‘heat-death’ of the universe is when the universe has reached a state of maximum entropy. This happens when all available energy (such as from a hot source) has moved to places of less energy (such as a colder source). Once this has happened, no more work can be extracted from the universe. Since heat ceases to flow, no more work can be acquired from heat transfer. This same kind of equilibrium state will also happen with all other forms of energy (mechanical, electrical, etc.). Since no more work can be extracted from the universe at that point, it is effectively dead, especially for the purposes of humankind.

— Andreas Birkedal-Hansen, M.A., Physics Grad Student, UC Berkeley12

With human beings, our tendency to act for ourselves alone — individualism, or selfishness — divides up our civilization and encourages entropy. Metal, as a perspective beyond the individual and the ego-drama that rock bands promote through love songs and peace dogma, encourages us instead to get over ourselves, transcend our egos, and look at reality for the potential beauty within it. In this, we enact a familiar drama to any post-agrarian-civilization art, which is that of the lone individual versus the crowd. The individual wants to do what is right, but the crowd wants him to be selfish like them, so that together they do not challenge each other and no one can ever be wrong, or face conflict, or be lonely. But in the end, the crowd always makes itself miserable because its vice is essentially cowardice. Metal reintroduces some clarity through a simple formulation: either one goes inward, and tries to know reality through oneself, or one looks outward and tries to know oneself through external opinions, and as a result, loses oneself in the crowd and its lowest common denominator inclinations, namely fear, selfishness and narcissism.

Assimilation of metal

Whether this larger conflict will be resolved is not yet certain – definitely, however, metal is a reaction against it. When people sang hippie songs, Black Sabbath brought in dark reality, and woke many out of the stupor that assumed extending democratic liberties to all humans would solve far deeper-rooted problems. As rock music headed toward an effete protest against Reagan in the 1980s, metal retaliated by condemning left and right for their ignorance of basic human dissatisfaction and the threat of nuclear warfare. Finally, in the late 1980s and early 1990s, death metal and black metal arose to remind us that we are mortal, and that there are greater values than that which society can bestow, such as nature, the upholding of tradition, and pride in our national origins.

The clones have closed in fast on those, since they are indirectly the greatest threat to clone culture to ever arise in metal. For this reason among others, it’s worth upholding in them what gave people hope: the belief that someday the war of clones versus leaders, masses versus elites, would come to an end. Some keep trying to dumb it down into a political trend that gives us a partial truth and tries to make it represent all of reality, effectively blinding us to the big picture so we can focus on a vicarious struggle:

More than three decades after Black Sabbath conjured images of the dark arts, heavy metal is growing up. The genre is increasingly incorporating social and political messages into its dense power chords.

“Metal is expanding and evolving and becoming more diverse,” said Canadian anthropologist and filmmaker Sam Dunn, who directed “Metal: A Headbanger’s Journey,” released on DVD this summer. “It’s at a much more vibrant state than it was even five or 10 years ago.”

“It’s becoming global and it’s becoming a tool for social and political commentary,” Dunn said. “It takes on a greater meaning in countries where people have had to struggle to survive. It takes on a much stronger political tone.”

Metal music in the 1980s was often homophobic and “very white,” she said, but current bands tend to be socially conscious and suspicious of political power. There’s also more women in the audience — and fronting the bands.

The lyrics on Lamb of God’s two most recent albums have been expressly political, and the politics lean heavily to the left.

Napalm Death’s Greenway is considering work as a political activist when his metal days are over, but he doesn’t think metal will ever completely stray from hedonistic and supernatural themes.

MSN

It is not surprising that mainstream media misunderstands underground metal. After all, they virtually forced its creation, since any band darker or heavier than Metallica received no recognition; the media wanted to sell us metal as party-lovin’, loud and crazy rock music. And so while the underground bloomed in 1985 to 1996, they praised stadium heavy metal and hard rock bands. During the current time, they embrace as “metal” music that is mostly emo hardcore: metalcore and nu-metal.

To an observer of the recent black metal scene, it’s tempting to get bitter. The newest style and trend appears to be “black hardcore,” or bands putting together two three-note riffs in a standard song format in recombinant order, and even the most ambitious bands are succumbing to this influence. Reminiscent of when hardcore punk music bloated itself into entropy and collapsed because no one could tell any two bands apart, this is like gangrene creeping up the legs and finally into the bloodstream of the genre.

When the genre is healthiest, the winds of coming winter oppose all new bands with brutal hardship, so only the most determined make it to the stage of releasing an album. This encourages others who have talent and brains to take a stab. If a lone artist looks at a genre, and sees a thousand albums of which two are good, the conclusion will be that the genre is fattened and the fans thus unable to tell the difference between good music and bad.

If the genre seen has a handful of albums, most of which are excellent, it is instead a compelling argument for further exploration. This is how genres rise and fall, and is why hardcore punk and death metal both eventually fattened themselves into insignificance to the point that now, once you’ve heard one band, you’ve heard them all. So for the health of the genre, it’s better that fewer albums of a higher quality are released.

Ideals of assimilated metal:

  1. Everyone must get it. It must be simple, not challenging, and most of all not have any poetic essence to its soul, as most fans can’t get that and thus will not buy it.
  2. Appearance over structure. It must have a unique appearance, but say the same old things philosophically and use familiar musical ideas so that even the dumbest fans can understand it and buy it. Even more, it must be upheld as dogma truth that adding a flute or screeching spotted owl to the same old music somehow makes it “unique” and worth owning.
  3. Form doesn’t apply to content. In other words, appearance is more important than structure, which is the form that moulds itself to the content, in the same way a story about a rescue at sea has a different flow and arrangement than a story about contemplating death in the bathtub.
  4. Simplistic emotions are important. Forget the depth of “Inno A Satana”; blindly praise Satan with roaring, consistent anger, because that way every fan, even the ones with Down’s Syndrome, can get what it’s about and get into it. Start a big singular emotion party, and make it simple so everyone can buy the CD and come along.
  5. Everyone can participate. Black metal clones are not specific to a certain land or belief system, as they are essentially musically the same and are designed so that even a retarded outer space alien could “get it” and start tapping its feet and wearing Darkthrone-brand jogging suits immediately. Nationalism, even elitism, eugenics or belief in anything at all is out; what’s in is having some music that sounds angry, is written like punk rock, and can be appreciated by everyone so they can buy the CDs or praise the “underground” scene queens who created it.

The average black metal fan today has not heard the formative works of the genre: Immortal, Emperor, Burzum, Gorgoroth, Enslaved, Darkthrone, Beherit and Varathron when they were making essential, complex, beautiful music. All they’ve heard are the newcomers, both of the blatantly commercial Cradle of Filth variety, and the scene whore “loud, fast and antisocial” type of band. The newcomers are uniformly worthless, as they express nothing that rock music does not, and by giving it an extreme aesthetic, allow their fans to convince themselves that they are “part of” some movement against the dominant trend of society, even though much like Democrats and Republicans in America agree on the same core values, newcomer “black metal” repeats the same empty rhetoric that rock music has been feeding us for fifty years. Newcomer black metal is black metal only in the world of appearance; in terms of musical and artistic structure, it’s closer to punk rock or even Dave Matthews Band. It’s rock music.

Agents of Assimilation: The Hipster

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization — a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” — a youth subculture that mirrors the doomed shallowness of mainstream society.

Ad Busters — Hipsters: The Dead End of Western Civilization

Adbusters doesn’t mention this, but there’s a simple pattern:

Normal, healthy people pick music they want to listen to.

Hipsters pick music to make themselves look good.

A hipster is defined by this reversed cause/effect, and this is why they parallel our society: like people looking for political handouts, they are justifying themselves to others instead of acting as they know is right.

In metal, the hipster is the person always trying to be different, to pick music that is brainy or “authentic” (simple), the person spreading trends and fads. Instead of being an authentic fan who picks the music he or she thinks is best, the hipster is using the music as adornment to conceal their ordinariness.

What’s the damage, you ask? Hipsters bloat genres with people who don’t understand them and, in the ensuing confusion, pick the lowest common denominator. So heavy metal returns to rock, death metal returns to heavy metal, folk becomes punk, and so on.

Healthy societies work from cause to effect. We need an empire, so we build it (cause) and then it appears (effect). Dying societies work from effect to cause. We want an empire, so we create the appearance of an empire (effect) and hope it will show up (cause). This is why old black metallers fear trends, hipsters, fads and mass media like the plague: they promote this unhealthy psychology.

In the postmortem over humanity’s failure, our new reptilian overlords will discuss this issue, and conclude that humans had two modes of thought: a healthy forward-thinking one, and a negative and sick backward-thinking one. The hipster, like every other form of decay in our society, is backward thinking.

Metal is currently awash in hipsters because hipsters use something called irony to disguise their low self-esteem. If they’re listening to IRON MAIDEN, it’s because they find it amusing — not because they believe in it. In fact, they believe in nothing except what others believe in within their social group, which makes them always right. If someone makes fun of them for liking IRON MAIDEN, they can always claim their enjoyment is ironic. It’s a race to the bottom with the hipster, because believing in anything but illusion and evasion makes you a target, so they believe in nothing except “ironically,” and that’s how they infiltrated metal.

In the same way hipsters find trailer parks quaint and amusing, they found death metal and black metal intriguing. It was untamed, unsocialized material, and a threat to everything the hipster stood for. So they assimilated it, and moved in by taking positions in the community. Start buying metal, or selling metal, and others depend on you. From that they branched out by using the hipster tactic of focusing on the external. “Well, this could be more unique if we added a flute…”

When you focus on the external, and don’t pay attention to the fundamental quality of music that distinguishes it, which is how well it communicates, you end up norming the music. Structurally, it becomes all the same, but externally, it’s all tricked out in motley so it appears “different” and “new.” But the real name of the game is not being different, but being the same so you are universally accepted, while having enough adornments that you stand out in a crowd… just like the hipster.

We’ve seen this steadily increasing in metal since 1994 or so, and it was helped by some in metal who would rather leave a bad legacy with a full wallet than the inverse, such as Death and Cannibal Corpse. It will reverse, but only as soon as metal bands and fans start communing on the idea of forward-logic instead of backward, negative logic.

The end result of complete cellular representation is cancer. Democracy is cancerous, and bureaus are its cancer. A bureau takes root anywhere in the state, turns malignant like the Narcotic Bureau, and grows and grows, always reproducing more of its own kind, until it chokes the host if not controlled or excised. Bureaus cannot live without a host, being true parasitic organisms. (A cooperative on the other hand can live without the state. That is the road to follow. The building up of independent units to meet needs of the people who participate in the functioning of the unit. A bureau operates on opposite principle of inventing needs to justify its existence.) Bureaucracy is wrong as a cancer, a turning away from the human evolutionary direction of infinite potentials and differentiation and independent spontaneous action, to the complete parasitism of a virus.

(It is thought that the virus is a degeneration from more complex life form. It may at one time have been capable of independent life. Now has fallen to the borderline between living and dead matter. It can exhibit living qualities only in a host, by using the life of another — the renunciation of life itself, a falling towards inorganic, inflexible machine, towards dead matter.)

Bureaus die when the structure of the state collapses. They are as helpless and unfit for independent existences as a displaced tapeworm, or a virus that has killed the host.

– William S. Burroughs, Naked Lunch

Hipsterism is reality-avoidance, in the same way Crowdism or any other mass movement is: the assimilation of the individual by the crowd in order to destroy reality, which in turn destroys the collective. Societies, genres of music, groups of friends and businesses all fit this pattern, which is fundamental to human psychology. Either the individual stands up for what is true in reality, not what the individual prefers, or the crowd declares its own reality and then the collective veers off course because it has lost touch with reality. Assimilation is a byproduct of individualism without reality, just like bad music is the product of people pandering to each other and not finding a beauty in reality, including its darkness and horror, as heavy metal has throughout its four decades.

Resisting Assimilation

The problem with combatting assimilation is that assimilation is less an act than a passive lack of acting. When good metal is not made, and people do not assert what makes metal unique, assimilation surges in like water filling the space where it was swept out of the way. Like all things in humanity, the default state is one of disorganization and failure, and it is only when wise minds step in and re-direct the chaos that prosperity of any kind happens.

We have learned what does not stop assimilation. Trying to keep the music rare means hipsters buy it on eBay. Trying to keep it indie and obscure means that hipsters only prize it more. Trying to make it more offensive or extreme just makes it more novel. These methods do not work. What also does not work is trusting a “scene” or “underground” to keep away the mainstream, because underground scenes are an advanced form of maintaining rarity through social networks.

A “scene” means music that is consistent enough for people not to care what band is playing, so they can socialize in the same environment time and time again. A “scene” is clubs that play music that sounds very similar time and time again so they know they can draw an audience each time. A “scene” are sellers of music who find bands that sound like each other so they can compare past successes to the next generation, getting a crop of already-proven fans to come buy it all again. The variation is dead – the conformity is absolute. And worst of all, it’s voluntary and in a moral facilitative society there are few arguments accepted against it.

That kind of consistency kills music by raising the level of expectation to an entry requirement. The hardcore “scene” murdered hardcore by making it consistent – acceptable – “fun” and extremely similar. Bands who used to fight for a living could suddenly find central places to play, sell and broadcast their music – but in order to do so, they had to make it fit within expectations. Metal will die with a scene or without some form of one.

The problem with this flood isn’t its quality in itself. The problem is that when there is a flood of undistinctive material, (a) anything that does not conform to the pattern is not recognized and (b) the information overload is so great than any excellent band that does rise will be ignored. In essence, the underground has replicated the errors made by gigantic record labels in the 1980s.

Interestingly, the same thing happened in hardcore music in the 1980s when it became cheap and easy to release seven-inch records. Suddenly, there were no “fans”: everyone had a band, zine, label or distro. Consequently, quality went down, because no leaders were picked, and a great averaging occurred. Everyone could participate, but because there was no specialized fanbase, the farthest they got was participation, getting their share. No one great rose above and therefore, the great people stopped trying. There was no direction.

Analogous to the effects of democracy and consumerism on the quality of people in society as a whole? You bet it was. Analogy to egocentricism of the west, and its own cultural failings? You bet: the same mechanism was in effect: a lack of appreciation for quality because popularity/social pressures dictated participation, an external factor, not hierarchy, which requires a measurement of amorphous qualities such as “artistic worth” which are unrecognizable to most people in the crowd. Consequently, hardcore declined to the point where, in 1985, all the bands sounded exactly the same and there were no leaders.

Another concept, that perhaps will embitter some because of its practicality, is that of your personal landfill. What you produce on compact disc or vinyl or tape doesn’t magically disappear. It ends up in the landfills, with all the other waste you produce, to rot in insignificance, slowly leeching poisons into the earth. You like being alive, right, or you’d be dead — why create more personal landfill if it won’t achieve something you desire? For every CD you buy, there’s one more CD in that landfill. Buy the best, ignore the rest, and your personal landfill will not only be small, but will possibly not exist as others enjoy those CDs, since good CDs can be enjoyed in any age while trends are temporal.

My suggestion to all those who love metal is simple: stop supporting bands that are OK instead of great.

Few genres demand as much long-term allegiance as metal, and get it. Of styles likely found in a record store, only metal, industrial, country, jazz and classical have enduring audiences. Other genres are bigger, but people stay with them for fewer years. As history has shown us, metal is too easily absorbed by the mainstream. Black metal selling out and the rise of nu-metal occurred at the same time – is anything in the universe “coincidental”? It’s interesting to note that a similar absorption afflicted death metal, heavy metal and hardcore punk, all of whom relied on popular-music-style short song formats.

The Case for Metal to Follow Classical

However, there is one guaranteed way to take metal out of the mainstream: leave behind the mainstream song format. Most songs are three minutes of a verse-chorus nature, and they use devices such as rhythmic predictability on the offbeat (“expectation”) and melodic hooks. If metal were to expand on its riff salad nature, it would join genres like jazz and classical in a musically distinct form, and become inaccessible to those who want to make or consume bite-sized music. Every other metal band aspires to classical guitar anyway; why not liberate our impulses toward something that is clearly enjoyed and valued?

For example, consider these micro-symphonies:

When people tell you what they want, they usually tell you what appearance or experience they want — the effect — and do not understand the device for achieving that effect — the cause. They think in terms of the appearance of what they want and not the underlying structure.

For example, when people say they want simplicity, what they really want is organization. It’s why “My Journey to the Stars” works even though it’s “complex” in theory — complex means having a central idea that is simple and clear, and then manifesting it in different forms so people can compare them like metaphors and see the abstraction. People will tell you they want raw, fast, brutal, simple but they’re talking about the one riff they remember, kind of how most people can identify the opening riff to Beethoven’s Symphony Number 5 — it’s the simplest, most memorable part of a complex music experience.

The role of art is to be a silent philosopher, meaning that it does not make explicit commands and references to everyday objects, but gives us a clear spiritual commandment and its corresponding aesthetic from which to work. Art organizes our spirits and approach to reality. It is important that art does this because most people know the end result they’d like to see, but are completely unaware of the context in which it exists. They see a riff, and figure that if they just heard that riff, they’d have the whole experience, or they think of one moment when they were happy and assume that correlations which occurred simultaneously to that moment — a cigarette, a postcard, a summer day — are the cause when the real cause was the sequence of events that led up to that one moment having great significance, or that one cigarette being the break that really helped them find mental clarity. It wasn’t the cigarette — it was the context.

In human life, once civilization is established, we face a causal breakdown. Person A does something, and Person B sees the results, and tries to work backward toward the cause. Metal bands see how others have succeeded, and try to imitate the outward aspects — faster drums, harsher vocals, floaty keyboards — without understanding that it’s the songwriting and beneath that, the ability to reference “meaning” in experience shared between artist and listener, that makes the song great and not just average with above-average execution.

At this point, the genre doesn’t understand its own spirit or aesthetics, so bands make salads where they throw together unrelated stuff and figure that since it has everything, it must be good. This “carnival style” metal is a salad of distractions from which each piece returns to a few exactly repeated themes. As a result, there’s a lot going on, like riding a merry-go-round and seeing the world outside flash by in disorienting random order, but there’s no development of theme; it’s just a more complex version of verse/chorus pop music.

People can’t put into words what they want. When shown what they want, they will initially resist it because it doesn’t “look like” or “sound like” what they want — people in 1990 “wanted” simpler, catchier, groovier speed metal, and that movement went nowhere. While sub-sub-genres like metalcore, deathcore, or “black punk” (hybrid of pop-punk, shoegaze, emo and black metal) have momentary peaks of popularity, these seem to fade quickly, unlike the lasting appeal of the best of death and black metal. They’re popular, but no one seems to love them like true classics.

However, there is still great room in this genre for those who can translate the spirit, aesthetics and organization of classical music — narrative motives — into death/black metal. That’s the real ground to conquer. Whoever does that will be initially unpopular, like death metal and later black metal were, but later acknowledged as a hero. Like the songs listed above, such music will be passionate but leave the repetitive, formulaic, simplistic structure of pop music behind.

Metal music will never fit into the framework of other genres. Where other music might sound scary, metal communicates the meaning of scary, and this means that it will always oppose the anti-orthodoxy of mainstream logic. For those who understand its message and the power of its sound, assimilation of a distinct genre into the indistinct mass will always remain a threat.


  1. Romanticism, on the other hand, is what the writers of the Romantic Period practiced: there is not much agreement about what that is exactly, and there is in fact a longstanding debate about whether there is such a thing or only Romanticisms. See A. O. Lovejoy, “On the Discrimination of Romanticisms,” PMLA, 1924; René Wellek, “The Concept of `Romanticism’ in Literary History,” Comparative Literature, 1949; and finally, Jerome McGann’s Introduction to The New Oxford Book of Romantic Period Verse (revised edition). – http://www.users.muohio.edu/mandellc/eng441/urllist.htm
  2. A movement in art and literature in the eighteenth and nineteenth centuries in revolt against the Neoclassicism of the previous centuries…The German poet Friedrich Schlegel, who is given credit for first using the term romantic to describe literature, defined it as “literature depicting emotional matter in an imaginative form.” This is as accurate a general definition as can be accomplished, although Victor Hugo’s phrase “liberalism in literature” is also apt. Imagination, emotion, and freedom are certainly the focal points of romanticism. Any list of particular characteristics of the literature of romanticism includes subjectivity and an emphasis on individualism; spontaneity; freedom from rules; solitary life rather than life in society; the beliefs that imagination is superior to reason and devotion to beauty; love of and worship of nature; and fascination with the past, especially the myths and mysticism of the middle ages. – http://www.uh.edu/engines/romanticism/introduction.html
  3. Some of the earliest stirrings of the Romantic movement are conventionally traced back to the mid-18th-century interest in folklore which arose in Germany–with Jakob and Wilhelm Grimm collecting popular fairy tales and other scholars like Johann Gottfried von Herder studying folk songs–and in England with Joseph Addison and Richard Steele treating old ballads as if they were high poetry. These activities set the tone for one aspect of Romanticism: the belief that products of the uncultivated popular imagination could equal or even surpass those of the educated court poets and composers who had previously monopolized the attentions of scholars and connoisseurs.

    Whereas during much of the 17th and 18th centuries learned allusions, complexity and grandiosity were prized, the new romantic taste favored simplicity and naturalness; and these were thought to flow most clearly and abundantly from the “spontaneous” outpourings of the untutored common people. In Germany in particular, the idea of a collective Volk (people) dominated a good deal of thinking about the arts. Rather than paying attention to the individual authors of popular works, these scholars celebrated the anonymous masses who invented and transmuted these works as if from their very souls.
    http://www.wsu.edu/~brians/hum_303/romanticism.html

  4. Emphasis on the activity of the imagination was accompanied by greater emphasis on the importance of intuition, instincts, and feelings, and Romantics generally called for greater attention to the emotions as a necessary supplement to purely logical reason. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  5. While particular perspectives with regard to nature varied considerably–nature as a healing power, nature as a source of subject and image, nature as a refuge from the artificial constructs of civilization, including artificial language–the prevailing views accorded nature the status of an organically unified whole.
    http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  6. It was viewed as “organic,” rather than, as in the scientific or rationalist view, as a system of “mechanical” laws, for Romanticism displaced the rationalist view of the universe as a machine (e.g., the deistic image of a clock) with the analogue of an “organic” image, a living tree or mankind itself. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  7. Symbolism and myth were given great prominence in the Romantic conception of art. In the Romantic view, symbols were the human aesthetic correlatives of nature’s emblematic language. They were valued too because they could simultaneously suggest many things, and were thus thought superior to the one-to-one communications of allegory.
    http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  8. In addition, neoclassicism had prescribed for art the idea that the general or universal characteristics of human behavior were more suitable subject matter than the peculiarly individual manifestations of human activity. From at least the opening statement of Rousseau’s Confessions, first published in 1781–“I am not made like anyone I have seen; I dare believe that I am not made like anyone in existence. If I am not superior, at least I am different.”–this view was challenged.
    http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  9. Certain special features of Romanticism may still be highlighted by this contrast. We have already noted two major differences: the replacement of reason by the imagination for primary place among the human faculties and the shift from a mimetic to an expressive orientation for poetry, and indeed all literature. – http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  10. The hero-artist has already been mentioned; there were also heaven-storming types from Prometheus to Captain Ahab, outcasts from Cain to the Ancient Mariner and even Hester Prynne, and there was Faust, who wins salvation in Goethe’s great drama for the very reasons–his characteristic striving for the unattainable beyond the morally permitted and his insatiable thirst for activity–that earlier had been viewed as the components of his tragic sin. (It was in fact Shelley’s opinion that Satan, in his noble defiance, was the real hero of Milton’s Paradise Lost.)
    http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
  11. A literary, artistic, and philosophical movement originating in the 18th century, characterized chiefly by a reaction against neoclassicism and an emphasis on the imagination and emotions, and marked especially in English literature by sensibility and the use of autobiographical material, an exaltation of the primitive and the common man, an appreciation of external nature, an interest in the remote, a predilection for melancholy, and the use in poetry of older verse forms. – http://www.merriam-webster.com/dictionary/romanticism
  12. The ‘heat-death’ of the universe is when the universe has reached a state of maximum entropy. This happens when all available energy (such as from a hot source) has moved to places of less energy (such as a colder source). Once this has happened, no more work can be extracted from the universe. Since heat ceases to flow, no more work can be acquired from heat transfer. This same kind of equilibrium state will also happen with all other forms of energy (mechanical, electrical, etc.). Since no more work can be extracted from the universe at that point, it is effectively dead, especially for the purposes of humankind.
    http://www.physlink.com/Education/AskExperts/ae181.cfm
  13. But the rising materialism and focus on business at the cost of the mind and the spirit was spawning reform movements all over America…Many felt a psychic dislocation, that the bottom had dropped out of their world since traditional values and conventional reality were just not enough for them. They tried to impose meaning individually, for institutions and dogmas seemed to possess little truth. Philosophically, they reacted against the materialistic educational theories of Locke and rationalism. They found Truth more a matter of intuition and imagination than logic and reason. They rejected the mechanistic view of the universe so dear to Franklin and Deists and opted for a more organic view, seeing the world more as dynamic and living. – http://www.vcu.edu/engweb/eng372/intro.htm
  14. “He was recognized as a leading figure in the Sturm und Drang, which celebrated the energetic Promethean restlessness of spirit as opposed to the ideal of calm rationalism of the Enlightenment. Goethe’s poem ‘Prometheus’, with its insistence that man must believe not in gods but in himself, might be seen as a motto for the whole movement.”
    http://www.kirjasto.sci.fi/goethe.htm
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The Failure of Revival – Pt. I

DEATHEVOKATION – The Chalice of Ages

“Old-school death metal.” What do the claims of revival amount to in this case? A confused conglomeration of tried-and-true technique; everything but the kitchen sink that 1988 through 1993 made use of, plus the whole aesthetic, with none of the unifying spirit. Too many backward glances with no actual thought to show for it. Musically, this is the simple plod of Leprosy-era DEATH at its core, melodically and rhythmically — or is it the massive wall of early GRAVE? The doom-tinged meanderings of ASPHYX? Whatever the flavor, this fails to show even a hint of having learned something from the past, and is fundamentally BORING besides.

I forget — what is it they keep saying about not learning from the past?

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The spirit of metal must evolve

Note these micro-symphonies:

Metallica – Orion
Burzum – My Journey to the Stars
Metallica – Call of Kthulhu
Asphyx – Depths of Eternity
Dismember – Override of the Overtures
Atheist – An Incarnation’s Dream
Therion – The Way
Hellhammer – Triumph of Death
Rigor Mortis – Six Feet Under

People think they want what they don’t, because they are trying to find the appearance of what they want and not the underlying structure.

When people say they want simplicity, what they really want is organization. It’s why “My Journey to the Stars” works even though it’s “complex” in theory — complex means having a central idea that is simple and clear, and then manifesting it in different forms so people can compare them like metaphors and see the abstraction. (The dumbass variant of this is the Dark Funeral play riff at fret n, then play it at fret n+1).

The role of art is to be a silent philosopher, meaning that it does not make explicit but gives us a clear spiritual commandment and its corresponding aesthetic from which to work.

There’s too much of a causal malfunction: man A does something, and man B sees the results, and tries to work backward toward the cause. The genre doesn’t understand its own spirit and aesthetics (the cover of the new Kreator is a brilliantly stupid manifestation of this).

But there’s still room for someone to translate the spirit, aesthetics and organization of classical music — narrative motives — into death/black metal. That’s the real ground to conquer. Whoever does that will be initially unpopular, like death metal and later black metal were, but later acknowledged as a hero. People can’t put into words what they want. When shown what they want, they will initially resist it because it doesn’t “look like” or “sound like” what they want — people in 1990 “wanted” simpler, catchier, groovier speed metal, and that movement went nowhere.

Similarly, now they claim to want the fusion of black metal/shoegaze/Blink 182/speed metal that is popular, but no one really seems to love it. There is still great room in this genre for those who can conquer.

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Why cultural revolutions are superior

If you’ve got eyes, and a functioning brain, and the kind of warlike disposition that likes to put things into functioning order, you know: this society has become calcified, and stopped striving for abstract goals, preferring instead to divide up the material wealth among its people in ever-tighter circles of bicker.

One example is the arts. Genres stop producing more than a handful of really great objects, and produce instead many thousands of “OK – it’ll do” ones. This happens because as soon as something starts succeeding, all the people who want part of it but could not produce its greatness rush in to divide up the material wealth among themselves. This pattern happens over and over again.

To be a good metal band, you need to make lots of MySpace friends, cultivate buddies in labels and magazines, and make music that sounds roughly like everything else. That will get you success, temporarily, but not greatness. Your work will fade away because there is nothing abstract — a pattern that can be applied in any time — about it.

It’s the same with writing. Get your MFA, make buddies in the literary magazines, and crap out another story about a lost person with a dark hidden secret who discovers some external way of facing this past, and is forced to become aware and finds uplifting happiness. Easy? Yes, it’s a formula. Profound? No.

There are parallels to this in film, where you must do the indie circuit with some dark, edgy and depressing movie that everyone agrees is profound but no one wants to watch again. Academia? Find some trivial idea and make it seem like the key to the universe. Now you’re a success.

When an individual of sound body, mind and disposition sees this, the temptation is to throw the baby out with the bathwater, declare anarchy and burn all previous work. Anyone who thinks more than a step ahead of themselves knows why anarchy fails: by destroying the idea of order, along with the dead order, it reduces society to a lowest common denominator, and almost always restores the type of abuse it complained about. This is why revolutions fail. It’s why France went from feudal aristocracy to crass commercial oligarchy in one generation. It’s why the people in Cuba, despite a revolution, are still earning $17 a month. It’s why the United States went from complaining about freedom from Great Britain to having its own Alien and Sedition acts to suppress dissenters within a handful of decades. Entropy occurs and the solution is not more radical entropy.

There is an exception afforded by civilization: a cultural revolution.

These can take the form of art, philosophy or even customs. Their aim is to change the abstract goal of a society, not its methods. They work because when the underlying assumptions are changed, the way people aim their current methods changes. Over time, the methods evolve toward a greater state of organization and effectiveness as a result.

Black metal and death metal are an artistic revolution that was first obscure, and now is big. One reason we struggle here to find the best is so that we preserve its legacy accurately and deliver a realistic portrait of what its artists believed. The practical reason for this is so that a cultural revolution can occur, subverting old and dead paradigms and replacing them with more realistic — more adapted, for you Charles Darwin fans — ones.

If you think our reviews are harsh, think about why. You have one life. You have limited time. If not now, in the future. You only have time for the best. You don’t need filler; you need music and art that drives your spirit to greater heights. You don’t need “uplifting” or “realism,” which are basically two sides of the same coin (feeling strong emotion through delusional easy answers or negativity encouraging you to do nothing). You need a battle cry.

It’s the mission of this site to preserve, nurture and encourage the best of that battle cry so your time is rewarded and you can participate in the greatest change of civilization in your time. We see no reason to bloviate over the failings of the past, or over the mixed fortunes of metal now. We see a point in holding high the best of past and present and looking toward the future.

Join us.

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Heavy metal misrepresented in media

The problem with heavy metal, Malcolm says, is that the mainstream media misrepresented it for years.

“Every time the mainstream media used to cover it in the 70s and 80s, it was done from the point of view that ‘this is weird, we don’t understand it, we’re going to go away not understanding it but we’re going to present it to you anyway,'” he says.

Heavy metal was painted as the dark preserve of working class men who wore denim and leather and were, for the most part, sexist. That’s even before you take into account accusations of devil worship and Satanism leveled at the genre by Christian activists in the 80s.

CNN

Our modern society is spotless and clean, technology and fair, even and balanced. We don’t need this insurgent rush of naturalistic emotions and this affirmation of power. We want no power! We want no imbalance! We want everything to exactly the same, so we can control it and keep it away from us. Heavy metal… that’s dirty, it must be for losers.

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Sadistic Metal Reviews 12-29-08

Lubricant – Nookleptia (1992)

After the initial solidification of the the sound of death metal (1988-1990) a number of up-and-coming bands caused it to, like the dendritic expansion of a leafed branch, to explore every possible combination with past elements and stylistic possibility. Among the products of that tendency was Finland’s Lubricant, who sound like a progressive death metal band hybridized with hardcore punk under the direction of a hard rock conductor. Like countrymen Sentenced produced on Amok, these bouncy songs use a melodic core to create two-part expansions, bouncing between not call and response but hypothesis and counterpoint. Riffing makes extensive use of dissonant chords, some voicings in contexts familiar in both black metal and emo, and strip death metal riffs of much of the downstrum-empowered, recursive rhythm complexity so that they ride on a few notes and the rhythms of their presentation like a hardcore band. Although goofy experimentation like spoken and sung vocals in opposition to death growls are now rarities, in part thanks to the overuse of this technique by dreaded nu-metal bands, they occur here with enough ingenuity to be presumed innocent and not MTV in intent. Yet style is only half of a band; the melodies and rhythms here are simple but unencumbered and often beautiful in their spiralling cycle around a fragment of vision, in a way reminiscent of both Ras Algethi and Discharge. They are not quite decisive enough to encapsulate the sensation of a generation or era as some of the greater bands did, but they achieve a powerful observational facility from the periphery. My guess is that this band was overlooked because of its bouncy hard rock rhythm and its tendency to structure songs around breakdowns that filter through past riffs like computer code comparing arrays and finally reduce to a simple riff measurably more poignant than its counterparts. In other words, this is not only unfamiliar ground for death metal listeners, but is less discretely concise like beaded water sliding down plastic sheeting, and therefore, harder to identify and appreciate.

Bethzaida – Nine Worlds (1996)

In both guitar tone and composition this resembles Eucharist with a death metal sense of percussion and tempo, spindly melodic lead lines arching through a rhythm to enforce it in offset, but borrows from the short-lived “dark metal” genre that was transitional between death and black (its most persistent artifact is the first Darkthrone album): cyclic arpeggiated riffs give way to either racing fire of chromatic progressions or looser, short melodies repeated at different intervals in the scale comprising the foundation of each piece. Like Dissection, there is a tendency to etch out a dramatically even melody architected across levels of harmony, and then to curl it back around a diminishing progression to achieve closure; while this is effective, it must be used sparingly to avoid audience saturation with its effect, and it isn’t here. What kept this band from the big time might indeed be something similar, which is its tendency to set up some form of constant motion and, after descending into it, failing to undergo dynamic change. Much of its phrasing celebrates symmetry between resolution and inception, creating a squeaky clean obviousness that in metal unlike any other genre becomes tedious fast, and there is like Dissection a tendency to break a melodic scale into a counter direction and a counter to that, then regurgitate it in the dominant vector, then its opposite, then in turn its antithesis, producing a flow of notes that like a river bends in order to go straight. Zoom back on the scale function, and view the album as a whole: like most postmodern art, it is replacing lack of internal strength (encouragement toward self-sacrificial or delayed-gratification values, e.g. heroism and adventure) with a surplus of external embellishment, including flutes dressing up elaborate versions of tedious patterns and keyboards. Like Dissection it achieves a sheath of immersive aesthetic, and like Metallica (occasional similarities in chord progression) it maintains an internally resurgent energy, but when one peels back this externality, there is less of a compelling nature here than a flawless but overdone, directionless aesthetic.

Depression – Chronische Depression (1999)

Although aesthetically this band resembles a more dominating version of the early percussive death metal bands like Morpheus (Descends) or Banished, in composition it is most like grindcore: one thematic riff repeated unless interrupted by detouring counterpoints, then a series of breakdowns and transitions working back to the point of harmonic inception and rhythmic wrapper of the original riff. Like countrymen Blood this band specializes in the simple and authoritative in roaring noise, but musical development from repetition is even sparser and the anthemic factor of repeating a motif at different tempos and key-locations wears thin after some time. Undeniably, this band have talent and apply it well, but are limited by their conception of music to make sonic art that while forceful is so repetitive that few outside those who delight in the shock of its pure and total deconstruction of music will listen again to these mostly two-riff songs. Vocals are of the guttural alternation with shrieking whisper type and rather than counteracting this effect, bring it into prominence, but that seems to be the intent — this band desire to become the unrelenting assault of early Napalm Death but with rigid and not “organic” chaotic structure, and thus they take a concept sometimes unknown and sometimes built as a subset of known variants (Dies Irae themes, monster movie music, old hardcore progressions) and hammer it home over a sequence of staggered tempos, interweaves with oppositional riffs, and rhythmic breaks. Underneath it all is the kind of sly iconoclasm and gleeful weirdness that comes naturally in times when one must be careful about which truths one tells unmasked. Probably this grinding death CD is the closest we will have in this era to an updated version of DRI/COC-style thrash, and true to this form, it incorporates a number of figures from hardcore music. This will not be for everyone and will not be heard every week, but for an approach to this ultra-deconstructed style, Depression are one of the better efforts on record.

Phlegethon – Fresco Lungs (1992)

Many of the early contributors to death metal were heavy metal fans who wanted to avoid the sickening glossy vocals, dramatic love songs, and moronically one-dimensional aesthetic of heavy metal, so they incorporated the aesthetic and artistic direction of death metal, but underneath made music that could compete with Van Halen if applied to FM radio. Phlegethon is one such act; like “Symphony Masses: Ho Drakon Ho Megas” from Therion, this is a heavy metal album that uses the riff salad wrapped around a narrative thematic development of death metal, accented with keyboards and unusual song structures, to create epic music that eschews the mainstream cheese. Each song is gyrationally infectious and yet understated, like throwing the grenade of an irresistible rhythm into a room and then skipping down the hall whistling (one track deliciously parodies techno). Keyboards guide the root notes of power chords but vary harmony for conclusion or emphasis. Song structures bend out of introductory material into a sequence of candidates for introduction or transition to verse and chorus, and the result is an architectural feel like that of fellow Finns Amorphis as the listener progresses between riffs of different shape and sonic impact, like a flash of light outlining the features of a vast room — similarly, there are lengthy offtime melodic fretruns highlighting descending power chord riffs as that band also used to great effect. Admirably, drums migrate through layers which silhouette the current riff in contrast and foreshadow adept tempo changes; vocals are low guttural death growls that stretch themselves to the point of fragmentation, spearing the beat in each phrase and decaying after each emphatic syllable to create a reference frame of surreal incomplete rhythm. The rampant creativity and pulsingly infectious rhythms of this CD give it presence which so powerfully hints at a more complete musical language that the intrusions of heavy metal-derived music often seem like dilutions, but it is clear from even this glimpse that the world missed out on the future evolution of this band.

Avathar “Where Light and Shadows Collide” (CD, 2006)

A cross between In Battle and Summoning, this band attempts to make epic music but in the uptempo style of black metal such as Mayhem or Abigor. Like The Abyss, this band wield such a lexicon of technique that tendencies in their music become evident early on and seem repetitive by the end of the album. For background listening it is preferrable to the disorganized noise and posing produced by the black metal underground, but one wonders if this is not like most art in the modern time good with technique/appearance but poor at confronting the inner world of meaning.

Order From Chaos “Dawn Bringer” (Shivadarshana Records, 1994)

At the nexus of several rising conceptual directions in underground music, Order From Chaos fuses them sublimely into a subconscious manipulation by music that remains stranded in the older generations of punk and metal by its refusal to integrate longer melodies; it is pure rhythmic pattern and song structure, a Wagnerian demonstration of a course of thought developed through the sensation represented by riffs that like scenes guide listeners through the acts of the drama. It is this theatrical sense that interrupts the verse-chorus spiralling of riffs layered with accompaniment of increasing intensity from drums and vocals and bass, with songs dropping to moments of presentation and equalization when forward action ceases and a quietude of sorts drops over the action. In this, like early Krieg, the music is an improvisational theatre acting out the raw id of human experience when that experience represents those brainy enough to see how modern society and its assumptions (order, legality, morality) are completely bankrupt, but it is a scream of protest and not, as is needed, a counter-construction. Thus while no piece of this is in error, the whole is discohesive and with a good augmentation could become far better; among Nationalist bands (it is fair to note allusions to nationalism on this record, with “Die Fahne Hoch” making an appearance on track two) Skrewdriver remains pre-eminent because they wrote melodic, expressive — while as cheesy, overblown and dramatic as those from the Ramones or the Sex Pistols — songs that gave people something to live for as much as a knowledge of what is lacking in our world. With luck in future albums, this band will approach structure with as much pure energy as they unleash here. Track fourteen (Golgotha) contains a riff tribute lifted from the nether moments of “Reign in Blood.”

Vordven “Woodland Passage” (CD, 2000)

Hearing this album is like running into Boston and screaming “The British are coming!” in 2006: completely irrelevant. A mixture of old Emperor and Graveland stylings, it is perfectly competent but by emulating the past, both fails to uphold that spirit and precludes itself from finding its own direction. We don’t need new styles; we don’t need “progress”; we do need music that has some idea of what it wants to communicate, and can make that experience meaningful. This sounds like retro or a coverband in that everything is bureaucratically plotted: after the keyboard interlude comes the pre-theme, then the main theme, then break for demonic scream and drum battery to drive it all home. Clearly better musicians than many of the original bands, Vordven are lesser artists and thus have less of interest to give us. It feels less dishonest to listen to Muzak versions of Metallica hits from the 1980s.

Warhorse “Warhorse” (CD, 2000)

Sounding like a hybrid between old Confessor and middle-period Motorhead, Warhorse is a rock band playing doom metal with a sensibility for both slow pumplike riffs over which vocals suddenly slow, causing a relative shift that makes the entire song seem to stand still, and the type of pick-up transitions and breakdowns for which both Motorhead and death metal bands are famous. In the sense of bands like Saint Vitus or Cathedral this band is intensely mated to the rock culture and its dramatic self identity, adding over it high pitched vocals that sound like a whisky-soaked Sigur Ros in an Alabama bar. For this reviewer it is a question of relevance: what does one need express in this style that would take a band beyond the level of background music for a local bar? However, among those who undertake this format, Warhorse keeps a sense of style and intensity, even if by appropriately keeping its horizons forshortened in the ambition department.

Revenge “Victory. Intolerance. Mastery.” (Osmose, 2004)

Although in fundamentally the same style as previous releases, the latest from Revenge improves upon it by simplifying the chaotic stew of impulses diverging into every conceivable direction, therefore achieving a greater coherence and thus listenability. That being said, the same problems that plague previous releases are here: distracting directionless percussion, riff salad, a tendency to deconstruct without a replacement ideal. However, by dropping all but the most necessary elements of their music, Revenge have come closer to making an expressive black metal album.

Ankrehg “Lands of War”

Oh, neat: someone hybridized Impaled Nazarene with Gorgoroth and made a band that balances between sawing punk riffs and trills of melodic scale fretruns. Having mastered that technique, this band was left neurotic and clueless as they attempted to find a direction; barring that, they settled on a generalized path and threw everything but the kitchen sink into it, creating songs that leap at every conceivable point of the compass but seize nothing. Their technique is to distract the listener with this constant stream of chaos and hope it is not noticed as irrelevant; with this reviewer, it was, and thus the listening session ended. Worse than shit, this is confusion masquerading as profundity.

Revenge “Triumph. Genocide. Antichrist.” (Osmose, 2003)

Whenever one is handed a piece of music or writing, it makes sense to ask, “What are the artistic aims of this work?” Art does not exist in a vacuum, much as conversation does not; there has to be some joy in it, something shared between listener and creator. Revenge is blasting drums that chase a pace with successive lapses and then catch-up intensifying speed, harsh harmonized vocals that surge overhead like rainbows of oil in floodwaters, and riffs of often high quality; like the first Krieg album however, it arrays these in an incoherent order which results in the stream of consciousness sensation without imparting greater wisdom of any form. As such, this album is a stepping back from what black metal achieved, which was an arch grace and continuity in expressing a meaning to darkness, and a descent into the disorganized deconstructionism that denotes modern grindcore (as if to underscore this, the drumming here is highly reminiscent of Derek Roddy’s work on Drogheda’s “Pogromist”). To communicate breakdown, one does not portray breakdown in its literal form, necessarily – here we see good raw material – powerful percussion, adroit riffcraft – converted into a melange of confusion by its lack of deliberation and planning. No single part of it has anything wrong with it. The whole is a death of ambition, of heroism, of tragedy and meaning.

Vinterland “Welcome My Last Chapter” (2003)

This band is like The Abyss a template of black metal technique recombined around the most fundamental songwriting techniques, but to that mixture it adds lifts from Gorgoroth and Sacramentum to make it a flowing but gracefully intricate and arcane metal style. Nothing here is bad and it listens well, but it manages less suspension of disbelief than The Abyss (first album; the second one is random riffs and screaming) because although its songs are well-written and flow expertly it is hard to find a statement to any of them; what are they about? They’re about being melodic black metal songs. Undoubtedly Vinterland is far better than almost all of what has been called “melodic black metal” since 1996, but it’s only because our standards have fallen that such a band is construed as good listening. Preferrable would be a simpler more honest band trying to communicate an experience rather than partake of membership; in this Vinterland and Deathspell Omega are similar in that while both are at the top of their genre in formal ability, neither captures the essence of this music because they are trying to be the music, not trying to be something that ultimately will express itself in music. Hoarse whispery Dimmu Borgir vocals dive and glide over sheeting melodic guitar riffs, replete with fast fretruns and descending arpeggiations; the band know when to break from meaty riffs into calming simplicity like a ship exiting rapids. Those familiar with black metal history will hear lifts from Ancient, Dimmu Borgir, Sacramentum, The Abyss, Satyricon and Sacramentum, as well as hints of At the Gates and later Emperor. It is not badly done, but that’s not the point: this CD never takes any direction but tries to use summarizes of past paths as a condensed variety show of black metal; while it is an enjoyable listen the first time, it does not hold up as these other bands have, as there is nothing to center all of this technique and its moments of beauty, creating the impression of a sequence of distractions instead of deliberate craftsmanship helping to reveal a secret beneath the skin.

Regredior “Forgotten Tears” (Shiver Records, 1995)

This band of highly talented musicians have created an album that is half excellence and half disaster by focusing too much on individual instruments, and thus failing to organize songs by composition instead of playing, have been forced to rely on stitching together disconnected pieces of music with two-part attention span grabbers: a repeated pattern to seize attention, and then a pause and an “unconventional” response to fulfil that expectation. If that is a desired compositional style, one wonders why this band did not simply make grunge music and derive actual profit from the endeavor? They mean well and play well — the acoustic instrumentals here are beautiful, many of the riffs top-notch in the slumberlike earthmoving simplicity of older Therion, and concepts for songs are great — but the final product is marred by its own showiness and awkward assimilation of different musical impulses. Squeals, offtime drum hits, dissonant guitar fills and rhythmic jolts do not move compelling music along; they advance by inches and drain away the energies that allow bands to make the world-redefining musical statements required for songs to be distinctive and expressive enough to be great. For those who like later Carcass, this band utilizes many of the same techniques and has similar technicality.

Sombrous “Transcending the Umbra” (CD, 2005)

Imagine Biosphere executed with the sensibilities of Dead Can Dance: the same implications of melody in sonic curve rising to full volume and then pulsing like a wave before disappearing to form a cycle, with songs arising from the piling of successive layers at offset rhythms on top of one another. It is slow, percussionless, delicate, and in part thanks to the heavy reverberations used, as melancholic as the echo of one’s lonely voice in an abandoned cellar. The more style-heavy music gets and the farther it gets from something that can be easily played on one or two acoustic instruments, paradoxically, the easier it gets to create once one has mastered aesthetic, and if this music has a weakness it is the tendency to use four-note melodies as the basis of a song and only occasionally complement them with others. Biosphere helpfully used found melodies and instrumentals of greater detail to do this; Sombrous could actually go further within their own aesthetic and layer keyboards as they have but give them more to play than rising or falling modal lines. It would also help to even further vary the voices/samples used here, as too many echoed stringplucks or keyboard throbs start to sound the same; sometimes, one slips too far into the mood generated and boredom sets in. Yet there is something undeniable here in both aesthetic and composition, in that unlike almost all “ambient” releases from the underground this has grace and a sense of purpose that unites these tracks into a distinct musical entity. It is not unwise to watch this band for future developments.

Emit/Vrolok “Split”

Emit is ambient soundscapes made from guitar noise, sampled instruments and silences; it is good to see this band branch out into a greater range and artistic inspiration, but they would do well to remember the listener should be both learning and enjoying the experience of listening: what differentiates art from philosophy is that art is made to be a sensual tunneling through knowledge, where philosophy is a description of knowledge. Vrolok is of the Krieg/Sacramentary Abolishment school of fast noisy guitars over drums that outrace themselves and then catch up with flying chaotic fills. Nothing is poorly executed, but this recording seems to be an artist’s impression of what his favorite bands would do; there are some nice touches like background drones and bent-string harmonics of a sickening nature, but to what end? If black metal has another generation it’s not going to be in retrofitting the past in form, but in resurrecting the past in content, even if all the aesthetics are (like with the early Norse bands) garbage Bathory/Hellhammer ripoffs.

Nightbringer “Rex Ex Ordine Throni”

This is a competent black metal release with a Darkthrone/Graveland hybrid melodic guitar playing style, kettledrum flying battery in the Sacramentary Abolishment canon, vocals like later Dimmu Borgir and composition that, like that of Satyricon, assembles all of the correct elements but does not understand melody intuitively enough to keep the illusion going. If this band delved more deeply into composition and had something to say, this CD would be one of the best of the year because its aesthetic formula is perfect, but its melodies go nowhere and barely match harmonic expectation between phrases, when they’re not outright symmetrical and blatantly obvious; in short, it falls apart when one goes deeper than skin-level. If an ambitious melodic thinker gets transplanted into this band or its members grow in that direction (a big leap), it will be a major contribution.

Polluted Inheritance “Ecocide” (CD, 1992)

This is one of those CDs that came very close and with a little more focus and depth of thought could have been a classic of the genre. It is death metal in a hybrid style that includes jaunty post-speed metal expectant rhythms, such that incomplete rhythmic patterns provide a continuity through our anticipation of the final beat established through contrast of offbeats as necessary, and sounds as a result somewhere between Exhorder and Malevolent creation, with verse riffs that resemble later work from Death. Songs operate by the application of layers of instrumentation or variation on known riff patterns in linear binary sequence, driven by verse/chorus riffs and generally double bridges that convey us from the song’s introduction to the meat of its dispute to a final state of clarity. Probably too bouncy for the underground, and too abrasive for the Pantera/Exhorder crowd, this CD is very logical and analytic to the point that it makes itself seem symmetrical and obvious. With luck this band will continue writing, and will offer more of the ragged edge of emotion or concept which could make this a first-class release.

The Tarantists “demo 2004” (CD, 2004)

From the far-off land of Iran comes a band with a new take on newer styles of metal. Incorporating influences from Metallica, progressive and jazz-influenced heavy metal, and some of the recent grunge-touched modern metal, the Tarantists render something true both to themselves and to metal as an ongoing musical culture. Prominent jazzy drums lead riffs that are not melodic in the “style” of constant melodic intervals popular with cheesy Sentenced-ripoff bands, but use melodic intervals at structural junctures in riffs that smoothly branch between phrasal death metal styled riffs and bouncy recursive heavy metal riffs. Over this lead guitar winds like a vine and favors the bittersweet sensation of melodies that decline in harmonic spacing until they trail off in melted tendrils of sound; riffing is most clearly influenced by the NWOBHM style hybridized with speed metal’s adept use of muffled and offtime strums to vary up what are otherwise harmonically static riffs. The Tarantists can achieve this melding of motion-oriented and pure rhythm riffing through their tendency to change song structure rapidly after having made their point, such that listening to this resembles going between different parts of a complex city, climbing stairs and finally entering a destination, then jumping back in the car for a manic deviation to another location. Highly listenable, this is impressive work for a demo band and represents a brighter future for metal than the kneejerk tedium of nu-metal or the repetition of past glories offered blankfacedly by the underground. It is unabashedly musical, and takes pride in interlocking melodic bass and lead guitar lines that exchange scale vocabularies as freely as rhythm. The only area that seems unresolved are the gruff Motorhead-style vocals, which might be either updated or discarded for pure singing, as there’s enough sonic distance within this work to support such a thing. The clearest influences here are Iron Maiden and Metallica, but a familiarity with recent metal of almost every genre is also audible. Of the recent demos sent this way, this is the one most likely to gain repeated listening because it focuses on music first and aesthetics second.

Beyond Agony “The Last of a Dying Breed” (CD, 2005)

Trying to mix the high-speed melodic riffing of black metal with the thunderous bassy trundle of mainstream death metal/nu-metal riffing, this band produce something that sounds like Acid Bath without the variation or singing, and resembles Pantera in its tendency to match riffs with clear poised expectant endphrases to rapped vocals and shuffle drumming. It’s a variation on a pattern seen many times before. It’s impossible to tell what kind of musical ability exists in these musicians because these riffs are rhythmic and aharmonic, since their melodic trills exist only to emphasize the E-chord noodling at the low end. Some Meshuggah fans might appreciate this, as might the hordes of people who think Slipknot and Disturbed are OK, but to an underground death metal fan there’s nothing here. These guys are clearly professional and have studied all of the other offerings in the field, and mixed in enough melody to distinguish themselves, and clearly these songs hold together better than your average nu-metal, but when one picks a dumbshit conception of music — which really, the entire Pantera/nu-metal genre is: music for morons to bounce around to while working off their frustration at having their democratic right to be spoiled and bratty constrained by reality — one limits oneself to making things that no matter how smart they get, have the dominant trait of being aimed at supporting and nurturing stupidity. I might even wax “open-minded” if I didn’t know that devolving metal into pure angry, pointless, rhythmic ranting has been the oldest tendency of the genre, and one that always leads it astray, because bands that do this have no way of distinguishing between each other except aesthetic flourishes and therefore end up establishing a competition on the basis of external factors and not composition. Some riffs approach moments of beauty but tend to come in highly symmetrical pairs which demand bouncy stop-start rhythms to put them into context. It’s all well-executed, but it’s standard nu-metal/late Pantera, with touches of Iron Maiden and Slayer. Should we care? Some of the celebrities who paid tribute to the late guitarist of Pantera/Damageplan noted that he had the ability to play well beyond the style which he’d chosen; it sounds like the same thing is evident here, and that seems to me a tragedy, because this style is so blockhead it absorbs all of the good put into it in its desire to provide a frustration condom for burnt-out suburban youth.

Fireaxe “Food for the Gods” (CD, 2005)

If you’ve ever wished that old-style heavy metal would be just a little less effete and self-obsessed, and take the literal attitude that hardcore punk had toward the world but give it that grand lyricism for which metal is famous, you might find a friend in Fireaxe. It’s low-tech, with basic production without the touches of tasty sound that make big studio albums so richly full, and it is often a shade short of where it needs to be in content – often repetitive or too basic in the logic that connects sections, as if it suffers from a surfeit of symmetry brought about by too much logical analysis – but it is what heavy metal could be if it grew up, somewhere between Mercyful Fate and Queensryche and Led Zeppelin, an epic style with a desire to be more of a kingshearth bard than a stadium ego-star. Brian Voth does the whole thing, using electronics for percussion and his trusty guitar, keyboards and voice to pull it off. His voice is thin like his guitar sound, and his solos are clearly well-plotted but do not let themselves go into chaos enough; his use of keyboards is reminiscent of a sparing take on Emperor. This 3-CD set is an attempted historiography of humanity and its religious symbolism, with a cynical outlook on such things as originally perhaps healthy ideas gone perverse and become manipulators. “On Truth and Lies in a Non-Moral Sense”? Perhaps, but this is earthier; in true heavy metal form, “Food for the Gods” delights in the literal manifestations of spacy otherworldly “truths.” Overall musical quality is high, and artistic quality is immaculate, but the CD is often designed less for the listener than to complete its thought cycle, and here it could use an edit; it is so analytical it is almost apoetic, and so literal it is almost a stab against symbolism itself (already in vogue for 90 years with the postmodernists, alas). My advice to Fireaxe would be to stop looking so deeply into causes and to start looking into spiritual solutions, e.g. to “sing” in the oldest sense of praising the beauty of life even in darkness, and lifting us up not into educated obligation but into ignorant but healthy spirits. Think of a bard singing by his cup of mead, looking for a way to console and encourage those who might on the morrow die in battlefields, all through the symbols, song and sense of ancient tales. This album could be cut to a single CD with proper editing gain some denseness and unpredictability it lacks; right now, although its patterns vary its delivery is of such an even mien that it is nearly predictable. The roots of excellent music are here, including Voth’s creative and playful leads, but need discipline into a more advanced and yet less progressive form for Fireaxe to have the full range of voice it requires. It is a welcome diversion from the insincere and manipulative stadium metal, and the guilelessly fatalistic underground music that shadows it (although it will not admit it), and while it waxes liberal in philosophy, does not go toward the eunuch extreme of emo; the heart is behind the music, and the flesh is competent, but somehow, the soul has not yet lifted its wings and flown, yet sits contemplating the right flightpath in radiant detail.

Gnostic “Splinters of Change” (5 song demo, 2005)

Upon hearing of the reemergence of pioneering Atheist drummer Steve Flynn, my curiousity was piqued immediately. I’d always appreciated his slippery brilliance behind the kit, forever giving the impression of struggling not to become caught in the tornado of bizarre rhythmic patterns he himself was creating. I was pleasantly surprised to discover that thirteen years between major recordings and immersion within the materialistic modern-day workplace had not dulled his creativity. In fact, his refreshingly brazen yet occultish approach to rhythmic structuralization is very reminiscent of his previous output, a fact which initially inspired hope. Further, Gnostic is composed of talented players. Former Atheist vocalist Kelly Shaefer produced the album. A concern nags silently: can this band escape the shadow of its predecessor?

As it turns out, no. The band has missed the fundamentally esoteric application of that theory which lends such timelessness to Atheist; say what you will about such a loaded term as “populist” being utilized in musical review, but this is merely music written to “sound good” from a quasi-prog perspective. The musical framework has each component part of the equation stepping all over every other part to prove that the instrumentalists are capable, losing the transcendence which Atheist channeled through their controlled chaoticism. Gnostic is all over the map structurally, with Flynn doing everything he can to hold the ship together at the seams. There is no message here, other than one-dimensional instrumentalism. We’ve already heard these same songs from the same bands for fifteen years now. It seems to this reviewer that this demo chalks yet another victory up to Redundant Mediocrity over Art. Consume, consume, consume. – blaphbee

Therion “A’arab Zaraq Lucid Dreaming” (Nuclear Blast, 1995)

It’s hell on metal bands who want to leave the underground. In trying to popularize their style, they usually kill whatever appeal it had, because those who enjoy their music have found truth somewhere in the alienation and whatever values the band managed to sustain under that assault. Further, the band usually confuse themselves, and end up prostrating themselves as whores, thus losing the respect of their fans. This CD is a collection of outtakes from Theli, a soundtrack and some Therion odds and ends that chronicle this band’s descent into commerciality and simultaneous rise in the esteem of metal fans as a whole. The first two tracks represent everything disgusting about trying to make popular neoclassical music, in that they focus first on making foot-stomping crowd-pleasing music, and adorn it with bits of classical allusion and the like, creating in the end a carnival of confusion. The next track, “Fly to the Rainbow,” is apparently a cover of an old Dio tune, which is amusing considering how similar it is to “The Way” from Therion’s epic second album. This is followed by one of the cheesiest Iron Maiden covers ever, with overdone vocals drowning out the subtlety of the original, and a Running Wild
song that comes across as blockheaded, but is less dramatically re-enacted, and therefore is more welcome. It sounds very much like punk hardcore with a metal chorus. Next is an off-the-cuff cover of “Symphony of the Dead,” from the second album as well, but its mix emphasizes the keyboards to the point where it becomes muzak. Good song, terrible version, and as fully meaningless as the Emperor keyboard-only Inno A Satana. The band have lost their grasp of what made their earlier material great, that it blended the raw and the beautiful, not that it standardized itself for radio airplay as this CD clearly does. All finesse is gone, all artistry, and what replaces it is the populist heavy metal mentality. There’s no class to this, or self-respect, and while any of its elements are quite powerful, the whole is tediously directionless. This syndrome blights the remaining Therion tracks on this CD, which then takes us to the soundtrack portions – these are actually promising. Like a synthesis between Dead Can Dance and Summoning, these are wandering keyboard background musics that maintain a mood and are kept in check by the need to be less disruptively attention-seeking. Although plenty of cliches and obvious figures work their way into this music, it’s clear that (were Swedes to control Hollywood) soundtracks are where the “new” Therion belong.

Aletheian “Dying Vine” (Hope Prevails, 2005)

This album demonstrates how if you mix great ingredients randomly, you end up with something disgusting. About half of the riffs on this album are excellent, and the sense of rhythm the band has is wonderful. But it’s garish, gaudy and overblown. Like a metalcore band, they mix riffs in a merry-go-round of directionless ideas, never actually stating anything. In this case the riffs are of the melodic Swedish death metal meets technical speed metal style, with influences from “modern metal” and showboat heavy metal. Any one part of this could be great, but it says nothing and thus ends up being random elements stitched together in a circus show of diverse and incompatible fragments of ideas. Some goofy modern touches, like synthesized voices, put nails in the coffin. There’s a lot to like here but the whole is not worth loving. My advice to these dudes: meditate and work on your band politics, because the raw material in this album if presented differently would be listenable, but right now it’s a technical mash that has no artistic or aesthetic statement.

Harkonin “Sermons of Anguish” (Harkonin, 2005)

The good news is that Harkonin have good concepts, write good riffs, and understand something of gradual mood shifts. The bad news is that they compress this process, remove the anticipation, and hammer it out in repetitive endurance tests that hide the actual talent of the members of this band. None of the elements are bad; in fact, they’re far above average, and the band has an aesthetic vision – the CD skirts metalcore but incorporates some of the newer urban and rock influences into metal – that outpaces most of their contemporaries. However, they need to find some inner calm, and let it out slowly, and discover the poetry of their own vision, as right now, this album is unrelenting violence that becomes perceived as a single unchanging texture because of its emotional disorganization. Luckily this experienced band has time to take some of their more intense moments of riffing and put them at the end of each song, then re-arrange the other riffs (and maybe develop them by another layer, meaning for each good riff, split out two complementary ones that can resolve into it, Suffocation style) to lead up to that point. If they do that, they will be on the path toward conveying meaning through their music – right now, what it conveys is abrasion, and too much of that will pass in the listener’s mind into a sense of unchanging mood.

Dug Pinnick “Emotional Animal” (Magna Carta, 2005)

Former King’s X member comes out with new album. Any guesses? It sounds like a heavier, groovier King’s X, which seems to be an attempt to make metal sound more like rock music. It’s jazzy and funky, and has some grunge-meets-prog metal riffing, but on the whole, the composition is the same stuff that gets played on the radio. Pinnick would do better applying his talents to something fully proggy like Gordian Knot.

Aphotic/Dusk “Split” (Cursed Productions, 2005)

Like most releases from Cursed Productions, this CD showcases regular guy songwriting enclosed in an unusual form. Aphotic is a fusion of soundtrack doom metal like My Dying Bride and Katatonia, fused with a progressive edge like that of Gordian Knot, creating a listenable package with plenty of depth to its instrumentation. Many of these riffs sound like something borrowed from a Graveland album, but on top of the basic guitar, flourishes of lead guitar and synthesized instruments accent the dominant theme, as does offbeat guitar playing with an emphasis on the internal rhythms for which metal is famous. Although these songs generate a great deal of atmosphere, and are at heart hook-laden and listenable to an extreme, they may be too sentimental for progressive rock fanatics and too straightforward for early 1990s black metal fans. An underpinning of old-fashioned foot-stomping heavy metal may make these popular in the contemporary metal audience, and if there’s any criticism here, it’s that this band could give their instrumentalism greater reign. Dusk, on the other hand, is a much clearer fusion of doom metal and classic heavy/power metal, with growling voices guiding bouncy riffs to their targets. It is proficient but on the whole not fully developed enough to either have its own voice or rise above metal cliche, but it is inoffensive listening especially for one who wouldn’t mind being locked in a room with Cathedral and Prong re-learning their formative material.

Odious Sanction “Three Song Demo” (2005)

These few cuts from the upcoming album “No Motivation to Live” feature the talents of Steve Shalaty, now drumming for Immolation, but that’s about the whole of their appeal. Much like his work in Deeds of Flesh, Shalaty’s percussion is ripe with a precision interplay between double bass and an ongoing breakdown of fills, but the music over it is numbingly empty of anything but relentless interrupted cadence rhythm. Somewhere between metalcore and deathgrind, it lacks most dimensions of harmony and any of melody, resulting in a whirring and battering mechanistic noise that offers little to the experienced listener.

Emit “A Sword of Death for the Prince” (2005)

The microgenre of blacknoise is what happens when one fuses the abrasive Beherit-style cacophonous assault of minimal black metal and the droning sonic collages of acts like Mz. 412 or Claustrum. Where this CD is excellent are the moments when being shockingly extreme and unlistenable are forgotten, and overlapping patterns of melodic or textural fragments knot the listener into moods of darkness and contemplation. Here, Emit has found an outlet for its style, as the guitar is liberated from rigid hardcore/black metal style riffing and can focus on the mournful and regal use of ambient, repetitive melody, hiding it amongst distorted voices and sampled aural experiences of modern life. The pretenses of black metal should be discarded, as this release has more in common with Tangerine Dream and Godflesh than anything else. If this reviewer has anything to suggest, it is that this band not hold itself back, but plunge forward in the direction it is exploring, and use its dense layers of sonorous noise-guitar and vocals to develop a sense of melody and composition, as that is the strength of both this band and non-instrumental music in general, and — well, nothing’s been “shocking” for some time.

P – The Larch Returns (Music Abuse, 2005)

As metal continues, like a snowball rolling over open ground it assimilates all that went before it and thrusts it forward in recombinations hoping to find another powerful aesthetic voice for the eternal metal spirit (which also picks up details, but rarely additions, to its sense of being). P is the side project of Alchemy member P and can be described as a black metal-informed death-doom band, with influences primarily in the Asphyx and Cianide camp with touches from Paradise Lost and Master. Its strengths are its booming, bassy, cinderblock-simple riffs that thunder through repetition in a trancelike resonance. Where many simple riffed bands can be irritating, these are sustaining. Songs move from one perspective to a final response to it without ado because the goal of this music is to carve tunnels of explosive sound through the rock face of silence, enacting mood more than drama. P needs to work on its rhythmic transitions and vocals, the former being stiff and the latter overacted; the local-band style of shout/rasp does nothing for a listener who might prefer to not be reminded of vocals at all should the question arise. Influence might also be gained by pacing riffs, especially introductory ones, differently to radically offset each other and effect a smoother convergence of forces. Three songs are of solid death/doom, and then there’s junk — an Aldo Nova cover that is unconvincing, a duet with a young girl that is amusing, and a comic song about baseball that dilutes the mood — but this is followed by a final instrumental that is beautiful like an unfocused eye, being a careless-sounding collection of sounds so natural that it is both unnoticed and profound in its emotional impact. Should this band ever decide to take a direction and master it, they will be a potent force in the death/doom field.

Alchemy – Alchemy (Alchemy, 2004)

Reminiscent of Abyssic Hate and Xasthur and I Shalt Become, Alchemy creates Burzum-styled ambient drone in a song format that seems inspired by Dark Funeral more than anything else. It is elegant and embraces the listener but beyond getting into said mood, goes nowhere: it is not directionless but each song is monodirectional to the point it might not be said to be a narrative or even statement as much as observant glimpse. If this band wishes to go to the next level, it needs to divide the formative material of each song into two parts, and layer the first one for 2/3 of the song until an apex, at which point it can switch into the conclusion for the last third and be more effective and satisfying to a listener. Far from incompetent, it is best viewed as something in transition.

One Liners

Toil – Demo I

Slick in ability and appearance but boring as rocks except for the enlightening, faithful, identical cover of Graveland’s “Thurisaz.”

Cannibal Corpse – Kill

A formula continuing the tradition of getting more like rap music and Six Feet Under, so is basically like every other Cannibal Corpse album. That alone is reason to avoid it, unless you like music designed to coordinate the head motions of retarded children being electrocuted.

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Introduce others to real death metal

I was talking with a friend about death metal. His complaint was: much of what he heard was very repetitive between songs and did not seem to come to a clear point of focus; in other words, it was like longer punk songs. This reminds me of how in 1994 or so the term “riff salad” was pejorative, before the overindulgence of metalcore made it seem like a compliment.

As a result, I came up with this small list of works to introduce people to death metal. There’s a lot of overlap with a “best of,” but this list is designed specifically to pick good introductions that in most cases represent the peaks of the bands who created them:

1. IncantationOnward to Golgotha
2. DeicideLegion
3. TherionBeyond Sanctorum
4. AtheistUnquestionable Presence
5. Morbid AngelBlessed Are the Sick
6. GorgutsThe Erosion of Sanity
7. At the GatesThe Red in the Sky is Ours
8. AsphyxAsphyx
9. AutopsyMental Funeral
10. SuffocationEffigy of the Forgotten
11. ImmolationHere in After
12. Cadaver…In Pains
13. ObituaryCause of Death
14. DemilichNespithe
15. CenotaphGloomy Reflections of Our Hidden Sorrows
16. DemigodSlumber of Sullen Eyes

And for those transitioning from speed metal…

1. SlayerReign in Blood
2. Destruction – Infernal Overkill
3. SepulturaBeneath the Remains
4. Rigor MortisFreaks

One aspect of this site is that we recognize that the truth is always more difficult than a partial truth designed to appease others through the appearance of good. As a result, you don’t find lists like this in the media; the authors always throw in their buddies or friends or people their publisher would like to co-promote. This is a list of quality music for people who take their time seriously and don’t want to throw it away on boring or uninspiring crap.

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