Demilich and Averse Sefira in Texas

Demilich, Averse Sefira, Biolich, Abythos, Sothis, To Scale the Throne and Spliteye
June 3-4, 2006
The Backroom, Austin, Texas
Walter’s on Washington, Houston, Texas

To love something is to love the world enough to believe in love, and to sacrifice all future delights which could prove an obstacle to the beloved. Underground metal — or rather the artistic music within that genre which seeks to expand knowledge and experience instead of pleasing the Crowd with novel interpretations of what they already know — is a work of love. The Demilich/Averse Sefira shows in Texas were such a heroic undertaking.

With minimal funds for promotion, and a style that can both be recognized as technical yet does not fit into the “technical” vibe of jazzy death/prog rock, both bands undertook a journey of reconstructing an underground where the label underground has come to mean something as typecast and invariant as mainstream pop music. Because most people in metal are already invested in this predictable cycle of purchase impulse and reward, many of those already in the “underground” not only ignored but actively opposed this attempt to resurrect the better values of black and death metal’s vital years.

AUSTIN

Spliteye took the stage early and, entirely professionally, banged out their blend of old school death metal and nu-metal hitch beats to a few stalwarts. They were followed by Texas black metal band Abythos, who made wholly derivative sound that was musically competent but expressed nothing but the desire to be in a band, and California act Sothis, who fused Dimmu Borgir and Cradle of Filth in a rock style. Sothis brought a trailer of equipment including extra amplifiers, three keyboards, guitar processors, and the like, which naturally blew the power system and shortened their set to three songs. After them came New York avant-grind band Biolich, who apparently began life as a Demilich cover band but now creates songs that hybridize Napalm Death, Neurosis, Godflesh and indie/avantgarde rock.

After a prolonged and somewhat futile sound check (the Backroom is built on an ancient Indian burial ground whose time/space distortion renders any sound system incomprehensible), Averse Sefira smashed out a set of five songs from Tetragrammatical Astygmata and three from their first two albums. Facing a tough re-integration for their first show of the Texas mini-tour, the band became cohesive on the third song but played a looser, noisier set that was reminiscent of early Voivod covering Immortal. Averse Sefira played nearly nonstop, the stage rattling with the pulse of their drummer’s battery, and provoked an excited crowd response. The looser rhythms gave the band a chance to work its stage presence, pushing the warriors in full regalia (spikes, leather, bullet belts, corpsepaint) nearly into the crowd. Among those who could understand compound sentences response was favorable.

Local luminaries from Masochism, Cthonian Appanage, Acerbus and Vex appeared during the Averse Sefira set, as did promoters from Extreme Texas Metal and Morbid Thoughts Records. There was a biker conference in town so several of these showed up determined to demonstrate that bikers are just as stupid as the rest of the population and thus worthy of assimilation into mainstream culture. Members of the crowd who were fond of one or another of the opening bands, adhering to the cognitive dissonance that supposes that bigger bands oppress smaller bands and that is the only reason smaller bands are openers and not headliners, stood back with disgruntled faces and drank $4 beers. No one noticed the whining, and by the time most observed the above, Demilich were doing their sound check and taking the stage.

Two things are immediately observable from Demilich live: the integral synchronization of five musicians through difficult material, and the sleepy-eyed offhandedly casual presence of frontman Antti Boman, who burped and gurgled like a demonic frog throughout the performance. Although Boman unites the action, the martial presence that leads it is the industrial/jazz hybrid drumming of Mikko Virnes. Although original bassist Ville Koistinen was absent, the low-end complement of Corpse (his day job is in Deathchain) thrust the music forward with the pulsing, visually dramatic attack found in bands like Motorhead or Suffocation, which enhanced the abstract tendencies of this music with an earthy, sensual grounding. It drove forward like metal, cycled in on its harmonies like jazz, and migrated between ideas like classical. This aspect of the music of Demilich suggests not only the potential seen by original death metal musicians, but calls to mind a time when most death metal bands were distinctive not because they sought a way to “be different” but because each had its own concept of reality and had crafted a musical style to express it. At the end of the set, diehard Demilich fans were satiatedly exhausted and the Crowd at the bar remained baffled and unsure of socially approved response. Thumbs up from this reviewer.

HOUSTON

The nation’s fourth-largest city is known for its Los Angeles-style layout, having grown entirely after the advent of the personal car and the warehouse-style suburbs that boxily fringe the rotted core of unskilled labor that is the inner city. Consequently, any event requires travel, and to unite Hessians from the city wide requires good publicity, yet there’s no agency for such things. With the demise of the independent record store thanks to a shrinking profit margin and rising Internet file-sharing, there are few places to post fliers where metalheads will see them, and the magazine Rivethead is no longer in print so there’s no news source. Our L.A. Weekly-themed paper, the Houston Press, is expensive advertising for underground shows. And local bands? William Burroughs noted that “itinerant short con and carny hipsters have burned down the croakers of Texas,” and it’s not much different in metal: our scenes are cannibalistic. Each band self-promotes so aggressively that its only sense of community is as a means to that end, and thus plenty of lip service to “scene unity” occurs but no one takes the simple step of supporting only bands of quality. It’s either all or nothing. Because of this intense Balkanization of fans, each local band has its cadre of people who can be conned into coming to the show and for this reason each metal show in Houston has more bands than a compilation and the same 83 grubby people attend. The venue treated this performance like a local show, called the usual people, opened the bar and left it at that, so attendance was poor. To their credit, both headlining bands performed as if they were at Carnegie Hall and ignored the fact that this giant city produced only a few attendees.

The lineup was much the same as in Austin except with the addition of To Scale the Throne, a local band who throw in pieces of Emperor, Satyricon, Grand Belial’s Key and Cradle of Filth but play music that fits the patterns of punk hardcore: verse, chorus, breakdown, reprise. It wasn’t good; it wasn’t bad: it wasn’t important. This reviewer caught Biolich in Houston. Their performance was professional. The music can be described as modern hardcore with infusions of indie rock, early grindcore and drone. Two major factors influence appreciation of this performance. First, one cannot take a technique-oriented approach to producing art, because art is a communication between artist and audience in a way that is both entertaining and profound; the artist must have something to say, and use technique to that end, because making art on the basis of technique alone produces a uniform texture of affect on the audience. Next, one must realize that when emo and hardcore merged, they created a style of music based on skipping the path to a destination for cyclic demonstration of that destination’s importance, resulting in music without suspense or adventure. Ultimately, it drifted into “safe” territory both ideologically and musically, and reduced its own importance. With this in mind, it is clear that while Biolich are musically adept and have pushed many boundaries of technique, their songs remain unconvincing. The suspended rhythmic hook of progressive hardcore rapidly starts to resemble the bounce of nu-metal, and the jumble of styles creates a neurosis of inspecific contextual framing. Elements of this music were quite good, including the crisp but jubilant drumming and experimentation beyond obvious harmonics extending to Godflesh-like implied melodies via drone. If this reviewer had any advice, it’s this: stop trying to shock or stimulate, chuck all the grindcore parts, and finish the songs you started on the indie parts, because that is where this music really shines. As it was presented, the music seemed promising but insubstantial although the professionalism of band and stage show were appreciated.

Since the venue was in a Beirut-style urban meltdown area of Houston and the audience paltry, this show felt entirely like an underground chamber music event during the Inquisition. A city oblivious went on watching overtime repeat “Friends” episodes and buying furniture at Ikea while an exceptional and artistic performance graced its sonic topography and one of the most amazing metal performances to ever grace the city tore apart the night. Averse Sefira took to the stage first without pretense and lanced ears with a fast, accurate and yet impassioned version of their setlist from the previous night, with the addition of “Detonation” in the middle. Touches of improvisation in vocals and stringed instruments created an organic specificity to the music which belonged to that night alone, and the energy level remained high as the music moved between different moods. What distinguishes this band is their willingness to write passionate melodies and put them in songs that uphold all of the savagery and feral wisdom of heavy metal, and this came through in a mesmerizing forty-five minutes of complex but intuition-friendly music. Those who were present exchanged glances as if to say “How did we get this lucky?” and several longtime observers commented on how effective this band is in a smaller setting. If you missed it, punch yourself in the face.

Demilich assembled onstage and, exchanging a glance, launched into their set like a machine firing in the mist and frost of a neglected morning. Utilizing three guitarists, their brand of technical death metal relies on complement more than a continued layer technique, with each instrument presenting a different view of the whole and then achieving synchronization over the course of songs. Stringed voices peel off and converge, then take on parts of the whole much as earth and sky are required for a horizon. One guitarist, sds, plays chords underlying the melodic lead riffing which is exchanged between two lead rhythm guitars harmonizing while Boman’s belching underscores the rigid yet engaging percussion. The setlist was the same except for a new song (title unknown) which veered between peaks and valleys of tone with sweetened acid melodic differential between riffs, producing an aura of instability yet deliberation. The lead rhythm guitar of Aki Hytönen was as exactingly precise as it was freespirited, and often melted off into solos both chaotic and commenting on the sonic landscape beneath. Like evolution viewed through geographic time, the band fell off and reunited with a depth of harmony that caused the entire club to resonate with the distinctive symbolism of geometry. A drained audience filtered into humid darkness after a set demanding of both listener and band; it was probably the most technically impressive performance of mainstream music this reviewer has seen (jazz itself, while requiring one basic skill, does so at the expense of reasoned composition, and soon approximates a mean without dramatic fluctuation in intensity). Did you miss it? Punch self in face.

Luminaries from abroad and local dotted the crowd: Cynicalkontinual, Keltic Myth, g0sp-hell, Gestalt, Lyle from Brooklyn and one guy from Hellwitch who demonstrated the importance of having a video camera where Children of Bodom is concerned. There was a sense of privilege and fortunate accident for all who witnessed this unique performance, and an unsettling feeling that perhaps Houston has some inner fracture which prevents its metalheads from recognizing the musical (but not “scene points”) importance of such a gathering.

OBSERVATIONS

As metal is a hybrid, made half of ancient belief and filled in with modern popular art, its artists are suspended between getting the attention of “the community” and expressing something of that which is eternally metal, namely the worship of raw power and realism in a human world of sentiment which avoids it. Most of its artists convert this into a sterile emotion which like the receptacle tip of a condomn catches anger and neutralizes it, but the best escape this mould. However, repetition does not enhance a genre but makes it prone to erosion, since repeated structures fall in a row when the same force is applied to them. Ask all the hardcore punk fans who, after “equalizing” the genre into a participation-fest, were stunned when it evaporated overnight because no one could any longer tell the difference between bands. “The community” is its own worst enemy, and far from being manipulated by a twisted controller, it is driven by the desires of individuals who, when enough join in, drown out any clear voices with the distorted murmur of a mass.

Thus for those who seek quality music, it is more important to assess the music itself than to care about the most popular pundits, because these people are walking brainstems who repeat in “unique” ways what others have said and quickly run the genre into uniformity. This form of informational entropy seems important when it’s new, and is hard to distinguish because the bands in question will probably be able to play their instruments just fine, but have nothing to say. The musics that exemplify the opposite tendency, which is for the few realistic and yet imaginative artists to create works which will be praised years on by listeners baffled as to why more people did not “get it,” are ignored — for now. Yet we are all familiar with the old refrain that it was better back in the formative years, and all of the bands now lack something the founding bands did not. They are more distinctive in using different instruments, mixing in different styles, or having “unique” appearances, and they’re musically far more competent, but there’s a question as to what the music means. Interestingly, this blight is shared across literature and music and visual art at this time, suggesting that a combination of populist “entertainment” and a lack of comprehension of meaning itself among artists, has obliterated not only quality but the valuable tenet of having something to express in art among these contemporaries. Self-importance of the artist, and preaching to the converted through “safe” ideologies, has produced music that repeats its own premises instead of discovering not new but experience-laden ground; these songs and stories tell us nothing other than to sit quietly and imbibe the cliches and commonly-held truths of a culture that, lacking an integral component, derives its knowledge from paid entertainment that appeals to the broadest possible group. Could it be a sign of the decline?

It is no surprise then that it is neutral art, whether we call it bourgeois or suburban or plebeian, because we learn nothing from it except a unique combination of aesthetic values. Paintings do not touch our souls, but they match our towels and perhaps are calibrated according to the paint colors for sale at our local malls. Music is background to television watching or work, and cannot be unsettling or educational or evocative or provocative, no matter how many obscene or blasphemous elements it uses. How many of those kids chanting “Fuck you I won’t do what you tell me” along with Rage Against the Machine actually did anything about it? It’s false art, propaganda and degenerates rapidly. Art like the actual underground nurtures what is true and denigrates the false through a representation of experience and wisdom, and never comes full circle to its premise like postmodern art. It takes one through a wandering route to a new place that is also familiar with the old, with its origin… we can only praise those who are slowly but embitteredly learning that there are no new truths, only new statements of eternal truths, and that our entire detour into “progress” in music has been on the surface/aesthetic level and has resulted in empty, pointless, interchangeable “art.”

Bands:
Demilich
Averse Sefira

Promoters:
Morbid Thoughts
Extreme Texas Metal

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Ambient metal

People frequently ask “So what is an ‘ambient metal’ band? Have you actually seen one? Are there any metal bands out there who, if asked, would identify themselves as ‘ambient metal’?” To understand why the term is used, it is important to examine first why bands do anything that they do and second, what the term “ambient” means in the context of history.

Bands are assembled of individuals who together, in some form, decide what their output will be and create it. While much of this is a spontaneous project, there is behind-the-scenes transfer of information through shared musical influences or ideas and concepts the band members collectively find useful. It is unlikely that four guys with guitars sat down one day and said, “We should be the next cutting-edge thing. I know – let’s do ambient music, but on guitars.” A more realistic version is that a band formed and started playing with some ideas they found intellectually or musically stimulating.

The earliest human music was strictly rhythmic; the next generation of change brought linear melodic music; the generation after that used harmony and syncopation to integrate the two, and this slowly gave way to the furthest evolution of form, in which melody as the primary content expression was given context by the most complex understanding of musical devices yet known. Despite its seemingly technical origins, this music achieved an acme of expressiveness in artistic outlook. Human culture is still waiting for another artistic movement with the patient spirit and yet unbridled passion of Beethoven, Bach, Strauss or Wagner.

In the media age of the 1950s-1960s, the previous popular forms of Christian hymns, blues, country and polka were whipped into a single entity and called “rock music.” It has the populist features that classical music lacks: repetitive beat, droning pentatonic harmony, and constant dynamic intensity. It is cyclic music of an unchanging character. This linear constancy reflected the literature and ideals of the early industrial age, or modernism, although presented in a postmodern (“non-hierarchical”) aesthetic concept, until punk music distilled rock music to a few chords and shattered the illusion of uniqueness to any given rock band.

We might call rock “discrete music” because it aimed at a simple, 1:1 ratio between simple and gesture in the music. While earlier music had used pentatonic scales, including accidental or “blue” notes, blues and rock standardized on the pentatonic scale plus a single blue note; most rock is major, harmonic minor, or blues scale composition because these allow a flexible harmony in which no notes are specific to major or minor keys, meaning they can be used over different tonal centers without any notes that sound bad against a chord. Rock standardized the song format on a simplified version of English sea ballads; rock standardized constant syncopated percussion; it also standardized topics and a role (sexual initiation of teenagers). It broke away from the classical idea of phrases which periodically harmonized to exclusively use chords — descending from the guitar’s role as a rhythm instrument in ensembles, minus the ensemble — which caused rhythmic strumming within a narrow tonal range to replace the many notes and changing time signatures of what came to be called “lead rhythm” phrases. Borrowing from Anglo-Celtic, Scandinavian and German folk music, and adding a simplified version of the instrumentation used in German beerhouse bands, it took the lowest common denominator and made a fixed form of it. In short it was the perfect product, but in order to do that, it had to simplify itself into interchangeable parts which each had contextless and thus universal emotional symbolism.

In the 1970s, a countermovement arose in which musicians began looking to new forms for inspiration, and found them in the neoclassical: a merging of classicalist ideas of melody and layered structure with the newfound populist beat patterns of reduced structural changes to prevent intrusion upon the actual song pattern established by melodic architecture. Kraftwerk, Tangerine Dream, and arguably the first ambient guitarist, Robert Fripp, embraced principles of this ethos contra the simplistic lifestyle support of mainstream rock. In this atmosphere underground metal was born with 1983 luminaries Slayer, Sodom and Bathory. Each put out an album colored by the dark careless phrasing of Venom and wrought in the tremolo strum and ambient offtime rhythmic structures of extreme hardcore. This heritage forms the basis of all underground metal.

The opposite of discrete music, but not yet approaching the complexity of classical, ambient music creates a harmonic texture and relegates percussion to a background role, letting the phrase lead the change of song structure, key and tempo. An ideal ambient composition takes unchanging rhythm and over it layers phrases, creating harmony from their conjoined effect in the way classical music does, making moods “ad hoc” relative to its starting point. Where discrete music focuses on each piece of a song being a thing unto itself, using a universal set of symbols, ambient music invents symbols specific to each song and as a result gives pieces of a song meaning only when existing in the context of others. In this, selected metal and synthesizer music (synthpop, electronica, ambient) are closer to their classical heritage than the distillation of popular memes that is rock. Not all metal and ambient music fits this description; many artists, figuring that their listening audience would rather have something immediately recognizable and familiar in a “new” form, use rock-styled composition with different instrumentation.

Good examples of ambient metal are found in At the Gates The Red in the Sky is Ours and Darkthrone Transilvanian Hunger most prominently, but these are the end product of an evolution that began when Black Sabbath began imitating the phrases of horror movie soundtracks in streams of power chords. The first three Morbid Angel albums, anything from Burzum, the first two Sepultura EPs, and Sarcófago I.N.R.I. all exhibit ambient tendencies, among many other albums. Not surprisingly, these bands tend to write about topics that are not “universal” in the sense of common to all human beings in the way morality is surmised to be absolute, but write from a perspective outside that of the human, as if showing us interactions of people and nature in a dispassionate, nihilistic universe which delights in conflict and interconnection more than symbols held up above nature itself.

As any change in musical style points to a change in thinking patterns, the rise of ambience in metal signifies a falling away from mainstream views — which tend to be discrete, moralistic, utilitarian, and universalist — toward a naturalistic and scientific view of reality. The linear is broken; the complex and multithreaded view of causality that ancient civilizations had, in which no single event led to change, but a collaboration of events, has been restored in the music itself, as has a belief in varied dynamics, implying a greater narrative range. In this light, it is impossible to see this music as anything but an ongoing revolution, even if the names used here are still foreign to most of the bands producing it.

Ambient music and its relation to metal

The genres grew up simultaneously and converge in the current generation
by Alex Birch

After Burzum started producing pure electronic soundtracks to Pagan mythology, Fenriz from Darkthrone decided to go avant-garde and composing electronic space explorations, Ildjarn left his Discharge-empowered poetry and began producing synth-layered soundscapes, and Beherit, in an attempt to revive the band from the dusty archives, set out to create simple but haunting digitalized neoclassical harmony, many metal fans previously only accustomed to the sound of raw guitars, slamming drums, dark basses, and tearing screams from the abyss, now began taking great interest in what the electronic genre had to offer. To the surprise of many, electronic music was close to the compositional and aesthetic roots of metal, acknowledging new bands using ambient and metal to fuse a blend between two modern instrumentations.

am-bi-ent (am’be-ənt)adj. Surrounding; encircling: ambient sound; ambient air.[Latin ambiens, ambient-, present participle of ambire, to surround : amb-, ambi-, around; see ambi- + ire, to go; see ei- in Indo-European roots.]

– The American Heritage Dictionary of the English Language, Fourth Edition

As shown by the etymological explanation above, ambient music is an artistic medium trying to achieve an atmosphere or a particular surrounding, based most commonly on electronic sounds that are looped until the listener feels a certain mood and place arise within the mind. Usually the artist takes use of a basic synth-layer, using that as a base for a melodic or harmonic development. The synth-layer can collaborate through assonance or dissonance with another layer, in order to create balance and expand the instrumental possibilities. Tribal beats or other forms of percussion may be used to set a rhythm along with the flowing electronic waves, but most commonly these are left out completely. On top of the basic flow of key tones, the ambient artist experiments with melody and harmony, which we as listeners recognize as thematic communication. The melodies are often looped for a certain period of time, in order to achieve a form of transcendental, hypnotizing effect. Only by listening to the music continuously without interruption, perhaps over a time span of 30 minutes or longer, can the intensity and the thematic realization reach a high-end point.

Due to its very nature as music, ambient is ideal for meditation, as it means long listening hours, often with a calming and soothing effect for the mind, body, and soul. Its instrumental simplicity adds up to this, but the compositional method is often very complex. The artists can integrate different kinds of sound effects to create additional musical experiences: rivers flowing, people screaming, distorted political speeches, and even computerized sounds from a car or a machine, to further enhance and set the mood to its relative course. The leading melodies often intertwine with the basic synth-layer, ending in collaboration between rhythm (“pace”) and harmony. Some artists are able compose entire songs only by manipulating a few synth-tones, co-ordinating them into different patterns or cyclic key melodies, and as a result achieve an echoing effect in harmony. Percussion-only, like one tribal beat played against another, may also create an ambient-effect of great use — the possibilities lie within the ideas of the composer. Not surprisingly the ambient genre is a very experimental one, fusing metal, folk, jazz, and even classical music, into an organic symbiosis.

Ambient music can be seen as a structuralistic form of music, meaning the listener must recreate the compositional structure within the mind, in order to understand the ideas communicated through the musical medium. While popular music and most of the metal created today, are built around the concept of musical progression through key choruses that function as leading melodies, ambient music often lacks melodic development and instead tries to achieve an atmosphere by slowly building up harmonic tension over a large time span. The listener is forced to maintain a close relationship to the variation in tonal, melodic, and harmonic presence, and forge all partial developments of the music into a central motif. While this may sound academic, it is often very simple: by paying attention to the music you’re listening to, following the progression of the composition itself instead of the melody, you will automatically gain an understanding of the underlying structure within the music.

This does not mean that the structure in ambient music “exists” in the objective sense of the word, but that it functions as an assessment of the how the music is structured and what it tries to tell us through ideas. This, along with the fact that ambient music is created to achieve an atmosphere, makes it a very esoteric listening experience, almost like a religious ritual or an intense philosophizing thinking process. There are many kinds of ambient music and, like in metal music, certainly not all subgenres are relevant in the categorizing of the main genre. What they all share in common is a free compositional method of creating music, breaking the boundaries of verse-chorus-bridge-thinking and using the rhythm as a pacesetter and not as determiner of melodic or harmonic progression. This leaves the field open for the artists to create different patterns of ideas without being restricted to a linear beat, like in rock or popular music.

The relationship between ambient and other forms of music may seem far-fetched, but is in fact something that has helped it gain a larger listening audience outside underground circles. Metal music, like ambient, is built around the compositional idea that originates from classical music: long and intense pieces communicating an active life experience, through the inherent variation in musical structure. The free boundaries of harmony in classical music, are in ambient used to let go of all sense of percussion and instead form a continuous rhythm by regularly looping melody and sound effects, until a consecutive working arises and determines the overall thematic and musical base, on which to build upon through progression or deconstruction. Like with classical and metal music, ambient is through its free composition able to take use of partial experiences, and merging these together to form a central motif. While most rock and popular music is built around one key melody without significance to experience, classical, metal, and ambient music can only be understood when interpreting the melodic/harmonic and structural changes in the pieces, and construct these together inside the mind of listener, into a solid whole representing and describing an overall ideal, sensation, feeling, or experience.

The links between metal and ambient music are therefore multiple, and when leading bands within black metal realized the decay of the genre as a whole, they quickly turned to what must have been seen as an obvious next stage within creating neoclassical music: pure electronic textures, free from drums and conventionalities, trying to revive classical music through modern instrumentation. The ambient veteran Klaus Schulze proved that this was fully possible by releasing his album entitled “X”. In it he composes pieces functioning as musical biographies of famous German artists like Georg Trakl and Friedrich Nietzsche. While the first pieces are entirely created using the infamous synthesizer (an electronic instrument creating musical output by mathematically or by hand, manipulating keys and sounds by different musical techniques), Schulze gradually integrates classical instruments like violins. In the final piece he takes use of a full symphony orchestra and manages to create music where the classical meets the modern ambient sound techniques. The result is beyond what any artist within the ambient field so far has achieved.

Other ambient projects like the old-school synthesizer masters Tangerine Dream, began experimenting with the possibility in letting concurrent synth melodies function much like a symphony orchestra works with counterpoint, leaving out most percussive determiners and thereby form a music driven by a free melodic progression in sound. Post-techno projects like Polygon Window instead went the other way and tried to create harmony by working with tribal beats and looping them concurrently, so that a meta-harmony was taking shape as both rhythm and key melody. Early artists like Screaming Corpse would even strip the music of all melody, instead collaborating with sound effects in order to fuse different collage into central motifs. Buzzing sounds and distorted screams passing a digitalized filter, would function as instruments themselves, experimenting with echo-effects and extreme reverbing techniques.

This method of composing music was later developed into what we today refer to as “industrial ambient”, meaning a form of music that by working with machine-driven beats and sound effects replicating mechanistic and robotic parts of modern society, achieves a post-industrial form of electronic music. Similarly many projects take use of sound effects from nature, which nowadays is called “nature ambient”; samples of thunder, running water, moving glaciers etc. together with electronic instrumentation, in an attempt to describe an experience related to nature and its process as organic system. Amir Baghiri demonstrates this when forming melodic motifs by using water drums to evoke the soul of nature with its own organic material. Neoclassical ambient artist Biosphere can also be added to this list, manipulating sound effects from nature with cold and bleak soundscapes, forging a timeless atmosphere set out in the freezing northern Europe.

However, the most common form of ambient is that of long and simplistic synth tones, balancing between different tonal heights and variation in intensity, slowly building up a meditative state of mind within the listener. Lustmord and Lull are two classic examples of this compositional method: no percussion, no beat, no central melodic or harmonic motif, only hour-long sonic textures forged by the most simple of tonal variation. The theme is only understood by listening to the whole piece from start to finish, paying close attention to the underlying structures in the music and placing them in context with the central compositional idea. Metal works the same way: the understanding of the music is only apparent to the listener who follows the structural progression and not simply trying to find any “truths” within the aesthetic alone. Classical music is even more free from boundaries than metal, and requires a high attention span in order for the listener to follow each small harmonic change, and realizing its relevance from a larger contextual “truth”, which is assessed only within the mind of he or she who listens, but nonetheless is a result of an assessment of what the medium is trying to communicate.

Sometimes the entire musical picture is disintegrated into monotone sound waves, like a radio transmission being converted into pure synth layers, moving back and forth between two levels of intensity, much like the waves of the sea meets the shore. Post-Beherit project Suuri Shamaani composed music this way, following a logical progression of its previous attempts in creating solid and flowing music without as little rhythmic restrictions as possible. Inspired by synthpop masters Kraftwerk and the previously mentioned Tangerine Dream, Suuri Shamaani gained a new presence within ambient music with its desperately bleak, dissonant, organic, over-simplistic instrumentation. Fenriz’ side-project Neptune Towers was following the same lead when breaking apart the sparse beats found within the music of Tangerine Dream, and instead using the synthesizer to both shape rhythm and harmony around improvised melodies, thriving on free contextual motifs connected to the organic space of universe.

Similarly have some ambient artists been trying to use instrumentation from more traditional elements like heavy metal, to explore the possibilities in letting metal, ambient, and classical music collaborate on a common idealistic basis. Canadian ambient project Ashtorath and the more well-known artist Robert Fripp, found new life in the electronic genre when integrating classical harmony and metal instrumentation, like piano and guitar solos, even taking use of violins to achieve a neoclassical atmosphere.

While the composition behind ambient music has been complex as in the case of Klaus Schulze or Tangerine Dream, the simplicity of the instrumentation has remained as a hallmark for most of the material created within the ambient field. The veteran and official founder of the concept of ambient music, Brian Eno, stated in the liner notes to the album Music for Airports, that it had to be “[…] able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” His music was built around this idea: simple key notes balancing on equally simple central motifs, both working as background meditation, but also providing the listener with a deeper contextual depth that only could be found by paying close attention to the structural core of each piece. In this sense, ambient music is both passive and active, as the mind of the listener concurrently experiences a background and a leading theme. This was nothing new to the metal fans that started to listen to Klaus Schulze and Neptune Towers after the outbreak of populism within the genre after 1996.

Metal music follows the same compositional method as described above: what to most people sound like “noise”, is to the regular metal listener a clear and distinctive form of music close to the classical ideals. This is understood only by seeing through the “noise” generated by the guitar riffs and the slamming drums, and instead paying attention to the underlying melody, structure, and thematic presentation. Still the metal artist is able to take use of the “noise effect” by manipulating it and turning it into an aesthetic pleasure – an important part of the musical experience as a whole. Classical music almost completely breaches the boundaries of passive/active switching by its continuous flow of partial melodic development, but similarly has the ability of being understood as both an overall tonal advancement towards a certain key motif, and as partial context in melodic detail: the focus on the partial and the whole becomes a clash that can equally by seen as the switch between the passive and active listening experience. As listeners of classical, metal, and ambient music, we both interpret the active experience and the “passive” one automatically generated, by letting the mind making a continuous re-assessment of the overall advancement of the music. This is how we are able to remember certain key parts in a musical piece, from over an hour of perhaps 40-50 different melodies; we’ve registered the overall tonal variation and from there on, remembered the partial textures built around the central motif of each piece. This can be compared to the sense of hierarchical memory by which our brain often functions: you read the word “Burzum” and think of keywords linked to that phenomenon: “ambient”, “Odin”, “Discharge”.

Is should be somewhat apparent after this reading, that ambient and metal music have a lot in common, and that the narrative basis in metal music made a logical progression away from blues/rock standards, instead trying to conquer new grounds by leaving the standardized format and migrating to an open and free composition closer to that of classical music. With that migration, the blockheads that still today are producing four-chord-cycled riffs, were left behind and still to this day do not understand nor comprehend the genius in Neptune Towers or later Burzum and Beherit. The metal artists proved once again that their ideal was an elitist and romanticist one, creating art after experience and ideal, and not after commerce and popularity. Ambient was the choice for many serious black and death metal bands when the genre became crowded with too many populists, and since the ambient field was both close to classical/romanticist ideals, and offered a modern way of reviving ancient wisdom from centuries far left behind, it was seen as the only step towards a more unrestricted musical area, filled with the passion and atmosphere that defined the best of black and death metal. Today most serious metal fans also listen to classical and ambient music, knowing these three genres contain a lasting artistic expression towards natural and traditional ideals, free from conventions found within blues, rock, and popular music, breaking new boundaries as further possibilities are explored, along the way on the journey to the stars.

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History of the band Mayhem

Like a dark breath of forbidden fantasy, black metal came into a world of orderly containers and sprayed them with foaming blood, black bile, and most of all a poisonous uncertainty about the safely egalitarian but boring lifestyle of the first world. In this genre, Mayhem were the band that by sheer persistence evolved into being one of the founders of the new black metal style, but only after years of thrashing in the dark and confusion of the fatalistic tendencies that eventually brought the band to artistic collapse.

Formed in the early 1980s by Oystein Aarseth, or Euronymous, the band released two demos which built upon what Bathory and Celtic Frost had achieved by making it more minimal, less coherent, and less friendly to the ears; in truth, the first anti-social music. The latter of these, “Pure Fucking Armageddon,” had attributes of extreme crustcore infused into its fractured heavy metal stylings, bringing criticism from a metal world which was then just beginning to accept Morbid Angel, Kreator, Destruction and others as a new form of “music.”

As time went on, two important things happened: first, Mayhem released “Deathcrush,” their first release and the best snapshot of the musical style they were attempting to produce, and second, the vocalist “Dead” [Per Yngwe Ohlin] from the Swedish band Morbid joined Mayhem to replace previous vocalist Maniac. The underground was slow at first to embrace the newer music, but soon there was a firm niche carved out for Mayhem: those who rejected the desire for logicality, in the modernist style, that death metal represented. As Euronymous said, “Black Metal is so extreme that not anyone can get into it. This isn’t any funny hobby which stupid kids shall have after they comes home from school.”

With the introduction of Dead, the conceptual impetus behind the band changed, and soon the blocky and deliberately awkward music of “Deathcrush” was metamorphosizing into a sleeker, melodic variant with more dynamic change in the songs, producing different “settings” to tell a tale, somewhat like a micro-opera in harsh guitars and howling vocals. Similarly, the appearance of the band went from t-shirts and jeans to black clothing, black boots and facepaint – corpsepaint – in black and white. In concert, Dead cut himself onstage, surrounded by the carcasses and heads of slaughtered animals. A full rejection of the positivity, pity and focus on individual lives of democratic humanism, the new appearance and music of Mayhem emphasized the bold, terrifying, morally ambiguous and deathlike in life itself. To understand it, one had to realize that the passion given to the music was an affirmation of life, but a different form of life, than that endorsed by the nominally Christian Nordic countries.

With this change, the following of Mayhem increased, especially as their recognizably different image placed them ahead of other musical efforts in the world of metal as less socialized and thus more extreme. Mayhem played a series of concerts across Europe, but recording and songwriting were sporadic, thus little material emerged from this period. At the end of it, Dead, in a moment of nihilism and darkness in 1991, slashed both his wrists and blew out his brains with a shotgun, leaving only a note: “Please excuse all the blood.” Euronymous, upon returning to the band’s shared dwellingspace to discover the cold corpse, took pieces of the brain and integrated them in a stew of ham and vegetables for the pleasure of eating human flesh; the band’s drummer, Hellhammer, took pieces of the shattered skullcap and made them into a necklace. As if a primitive ritual, the members of Mayhem paid their respects in death as in life: with coldness, feral opportunism, and a denial of any “sanctity” or “feelings” toward life, even that of a friend and collaborator. As Euronymous said later, about his form of “evil,” “It is basically hate to humankind. I have no friends, just the guys I’m allied with. If my girlfriend dies I won’t cry, I will missuse the corpse.”

During this time, Euronymous and his band were instrumental in the forming of a new black metal social group, or “scene,” centered around his record store in Oslo called Helvete [Hell]; the downstairs was a necrotic and bleak excuse for a commercial establishment in which the hatred and disassociation from commercial process was as much a barrier to purchase as anything else, but the upstairs was a practice room where Nazi flags and weapons hung over instruments decorated with inverted crosses. During the daytime, the store was a gathering place for musicians and fans of an anti-social nature; at night, Euronymous indoctrinated those who might be useful to the scene by inviting them to wild parties in which orgiastic appetites for alcohol fueled self-mutilation and eventually, rampant church and graveyard desecration [in Europe and many older American towns, the graveyard surrounds the church – a strangely forthright admission of the role of religion in society!]. Euronymous also started the first record label of the modern black metal movement, Deathlike Silence Productions. While these events stood against everything that Norwegian society of the time valued, authorities were permissive and did not “connect the dots” until far later.

It was at this time that many of extremist views, such as the skinhead-turned-rocker Kristian Vikernes – also performing in Burzum, joined the circle – and joined Mayhem on bass. Vikernes was an interesting counterpoint to those in the association so far; he was a hater of life but, like Dead, had an uncanny passion for life through art, and seemed to value his time in nature, away from people and their imaginary rules. His intent could be summarized in his most clarion statement, “I see Burzum as a dream without holds in reality. It is to stimulate the fantasy of mortals, to make them dream” – a replacement of morality with the über-Romanticist ethos of adventure and heroic classicism. Between the Gothic neoclassicism of Dead and the postmodern Romanticism of Vikernes, black metal became more than a style of music, but an ideological and social tool for change away from a highly regimented, moralistic society. Vikernes again: “We want to create the most possible fear, chaos and agony so that the idiotic and friendly Christian society can break down. We are overall not interested in that the truth comes through. When we spread lies we cause confusion and confusion leads to chaos and at last breakdown. People shall be oppressed and we support everything that oppresses man and takes from him his feelings as free individuals.”

It was part of this denial of the supremacy of the lives of individuals over ideas, emotions and even real-world activities that helped what happened next to occur. Two polar opposites existed in black metal, the fatalism and negativity of Euronymous versus the political and violent doctrine of Vikernes, and these were brought into conflict through the personalities. Vikernes claims Euronymous delayed the release of Burzum albums [on Deathlike Silence] by spending the money instead on degenerate pursuits; Euronymous presumably did not care and was more interested in the upcoming Mayhem release, which was moving slowly because of the personality conflicts in the band. Eventually, reality followed imaginary projections: on the night of August 10, 1993, Euronymous was stabbed to death by Vikernes; of 26 knife wounds, 2 were to the head, five to the neck and 19 to the back. Thus began the projection of Mayhem into legend, since it provided black metal in the modern sense with not only its first model of technique and imagery, but also its first martyrs. Dead was eulogized in a 1992 release, “Live in Leipzig,” which recorded an excessively bloody and violent Mayhem concert in East Germany. Teaming up with Attila Csihar of Tormentor, the remaining members of Mayhem put out “De Mysteriis Dom Sathanas,” one of the most impassioned black metal albums released, yet one with its feet firmly grounded in old-school Venom/Bathory heavy metal styles. Their nihilism was so great they left Vikernes’ bass tracks on the album next to the guitar work of the man he killed, claiming in the press to have removed them so not to attract unwelcome attention from his family.

While the lives of its members had mostly run their course, and its most epic work had been produced, at least in conceptual form, before these deaths, afterwards the social and political importance of Mayhem was fully recognized. First, it gave many a central point with which to identify the new movement, and generated a wave of publicity especially in unison with the news of 22 churches burned in Norway, mostly by black metal “Satanists.” Even more importantly, Euronymous himself became a central figure, and his ideas [and those of Dead and Vikernes, who heavily influenced him] became dissected and discussed across the globe. Not only was this influential in the fanbase, but labels and bands worldwide began to see the importance of the new black metal movement: unlike anything from popular music since the 1960s, this was shocking; the people in black metal lived on the edge and fought to the death, something metal bands had always sung about but never acted out, much to the derision of punkers and other underground fans. The image of Helvete – the church of the anti-life – became predominant in the minds of many when conceptualizing new forms of social expression to the anti-oversocialization impetus that black metal and heavy metal share. In the years following the death of Euronymous, the focus he brought to the scene brought it to a dramatic rise and sudden death, as in late 1997 the genre became swamped with commercial bands in the mainstream style.

Mayhem itself continued on in the form of two major works, “Wolf’s Lair Abyss” in 1997 and “A Grand Declaration of War” in 2000, interspersed with numerous live albums and re-releases. where “De Mysteriis…” continues to be their most popular work, “Wolf’s Lair Abyss” is regarded by many as a highly proficient black metal album in the style of Satyricon mixed with old Mayhem, producing something with the same rhythmic thrust as “De Mysteriis” but with less of the operatic lack of total consistency in songs. “A Grand Declaration of War” is more problematic, taking a divergence into math-metal and pseudo-progressive stylings, which creates an album which sounds more like soundtrack than foreground listening, with Marilyn Manson influences in both songwriting and image. Because of this, and other factors such as the vast commercialization of black metal during the last six years, Mayhem is effectively dead in the underground and a small player with a devoted fanbase in the mainstream metal scene at this time. However, for every person who gets into black metal, the chorus of voices suggesting “De Mysteriis…” has an effect, for people continue to buy it at a great rate and praise it as immortal metal music and unmatched spirit in a genre filled mostly with angry people of little imagination.

Regardless of the current tedium of record sales and popularity contests, Mayhem contributed an indelible influence on not only metal, but music of resistance to socialization as a whole. Their ideology – part blank-faced fatalism, part fascism and part feral atavism – was carried upwards by the voices of many who were similarly frustrated with the pity-oriented egalitarian society of the first world, which preached that avoiding death was more important than achieving heroic or passionate things. Against this belief system black metal, and Mayhem most visibly, agitated. “True satanists are superhumans,” stated Euronymous in a now-infamous interview. A few years later, Vikernes gave a clearer view: “Strife is evolution, peace is degeneration.” This did not sit well with not only Christians and Jews, but also many people who had become dependent upon society and its pity toward those who are less-able as a whole, thus raising a cry against black metal as music of “hate” or “intolerance.” While those would clearly like to file black metal into a wholly political category, the raw artistry and imagination of bands like Mayhem make that appear a one-dimensional look at the story. As Ihsahn from fellow Nordic rockers Emperor said, “You’ll never understand me because you sit in the audience at a horror movie. I’m up on the screen.” There is no place in the current society for bands like Mayhem; they are beyond its rules and mental conditioning, and always will be. And for this, wherever anguish at social predominance grinds, there will be new fans of the fundamental works of Mayhem, which not only outlive their creators but will forever be a mythos larger than life itself.

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Black Metal History

The genre that came seemingly last of all the metal genres was the one that considered its ideals the most seriously and consequently, produced a radically distinctive form of music. While black metal was somewhat of the cousin of speed and death metal during its early days, during the 1990s it bloomed into full musical form after developing a philosophy more coherent with its dark aesthetic than the hedonism and liberalism of the past. In a consequent blaze of controversy, the black metal genre streaked across the public perspective briefly before proliferating into a variety of styles and mainstream versions of its sound, forcing older variants out as a flood of similar bands absorbed the genre.

The Early Years

Black metal existed first as a singular concept in aesthetics, and later began to proliferate musically, only differentiating itself from death metal in the theoretical arena when its philosophical divergence became clear to the Norwegians in the early 1990s. A comparison from history can be found in the invention of the telephone; while Alexander Graham Bell invented the phone itself, the complex switching systems necessary to connect multiple parties within a city awaited later inventors. Similarly, the aesthetics [appearance and stylistic refinements of music] of black metal were created long before it really existed as a genre, influencing a period of long lull in the 1980s.

There is confusion as to who “invented” black metal, but it is clear that like death metal, its origins came from the same general area and were spread across creators worldwide contributing to the process. While Venom were the first band to grab headlines with their sensationally stripped down riffing and overtly occultist yet ludicrous image, it was Bathory, Sodom and Celtic Frost who gave the genre its enduring form. Where Venom was limited musically to deconstructed heavy metal, these bands took the neoclassical phrasing and minor key melodies of NWOBHM bands like Angel Witch, Judas Priest and Iron Maiden and matched them up with the droning three-note roar of early crustcore as exemplified by Discharge. As both bands depended on diminished melodies in power chord riffing it was a seamless match.

During this formative era of black metal, several general styles emerged. First was Bathory with a smoothly flowing, fast-tremolo picked flow of sound over consistent throbbing drums; next was Sodom, making three-chord primitivism which moved at high speed with unsteady and abrupt changes of riff, tempo and texture; also included were Hellhammer, who specialized in droning minimalist music that often resembled hardcore punk played in minor keys, and Celtic Frost, the continuation of that band into grandiloquent constructions resembling the musical staging of operatic scenes; finally, there was Venom, who continued to produce their heavy metal/punk hybrid which delighted in using the simplest possible musical devices to convey the broadest changes available.

From this time onward, the genre slept while innovations were made in the death metal camp, with a few notable exceptions soon to be covered. The same year that Bathory unleashed its first opus brought about a small but intense wave of hardcore/metal hybrids front by Slayer but including within the next two years formative works from Sepultura, Possessed and Morbid Angel. While the basic approach of death metal was to create intricate arrangements using extended phrasing in an architectural style, its essential approach involved rhythm and chromatic progressions which did not admit much obvious melody. The tightly-woven, complex and interlocked riffing used by early death metal bands produced a sense of deconstruction and immersion but gave little new direction. As the genre wound up for its grand entrace, black metal again split from the pack in the 1987-1988 era with Sarcofago and Mayhem, and was then silent for another four years while death metal raged.

Sarcofago presented something offensive, abrupt and even ludicrous to people of the time who were schooled in the riff salad style of death metal, with stilted and broken sounding rhythm changes matching akward, nearly imbecilic riffs which fit together into songs with an uncanny, barely discernible continuity. While the majority of the formative work of Sarcofago, “I.N.R.I.,” was abrasively disassociative rhythm riffing, the album held itself together with some admirably sonorous yet barely logical melodies, seemingly as if formulated on a whim by demons of a distracted but perversely insightful mentality. Ignored at the time by most, Sarcofago in part generated the impetus toward the bizarre and primitive that spurred the next generation of black metal into action.

Simultaneous to the release of “I.N.R.I.” was the fourth release from Sweden’s Bathory, “Blood, Fire, Death,” in which the rippingly fast and simple works of earlier albums had been turned into theatrical yet emotive quasi-operatic pieces in which rasping vocals and singing coincided and song structures staged dramatic encounters of their parts more than repeating cyclic patterns. Across the water in Norway, Mayhem were putting the finishing touches on a massively incompetent but enigmatic work known as “Deathcrush,” in which tortuous guitar patterns arced over drumming with the grace of an exhausted pack animal, and horrific howling vocals textured the mix. The following year, Merciless assembled “The Awakening,” a fast speed metal album with touches of death but an undeniably morbid melodic sensation. Together these releases defined what would go into the mix of the genre coming next: the aggression and grandeur of Bathory, the abrupt and convoluted structures of Sarcofago, the rough aesthetic of Mayhem and the dramatic staging of Celtic Frost, who had just unleashed their discontiguous but impressive masterpiece “Into the Pandemonium.”

The Modern Era

Again some years went by in which death metal was the primary focus of the community and fans. Where mainstream metal had vanished under the dual onslaught of grunge and the progressive selling out of speed and heavy metal bands like Metallica and Testament, the underground shot to the forefront of the minds of those who expected metal, and consequently, became the area where development in metal occurred while the more popular bands did their best to reiterate their essential sound and presence as a means of not losing ground. As death metal became more accepted, however, it became slowly infested with the same mentality that clogged mainstream metal: an underconfident, socially dependent, accepting and undiscriminating mentality which placed excellent bands next to derivative, unimaginative acts without thinking twice.

Born of the desire to surpass this mess, the modern era of black metal began in Norway with the first releases from Darkthrone, Immortal, Emperor, Burzum and Mayhem. Each differed from the death metal before it in an emphasis on melodic composition and intricate, classically-inspired song structures which functioned as motifs, returning to not verses or choruses but clusters of riffs and musical ideas which framed their concepts in a setting, not unlike the work of an opera or ancient Greek tragedy. This new form of metal was more vivid and emotionally evocative than the thunderous assault of death metal, and also less concerned with the immediate social values around it; it embraced independent thinking, a dislike for all social dogmas and humanism, a Romanticist love of nature and predation, and a penchant for fantasy and thoughts of ancient times.

The reaction of the death metal boy’s club was unanimous: “fags!” However, the new style rapidly gained ground and soon a second generation of the modern era, including bands like Ancient, Gorgoroth, Graveland, Behemoth, Abigor and Gehenna among others landed in the crowd. Many of these bands were inspired as were original black metal pioneers Darkthrone by the melodic tremolo picking of Swedish death metal bands from the previous generation, which caused the pace to be picked up as the aggression, but the fundamental differences remained. From the reaction to the first wave of black metal, and a desire to get “purer” and farther away from the possible infestation of death metal bands, black metal bands starting with Darkthrone on “Ablaze in the Northern Sky” began to use a fuzzed-out, lo-fi sound and primal song structures similar to those of Hellhammer, early Bathory, and Venom.

While this initially drove away the more sycophantic fans, it was a failing strategy for the same reasons it failed in the production of hardcore music: it made the genre extremely easy to emulate. As demonstrated by bands such as Dark Funeral, it was easy to transition from death metal and make primitive and fast melodic black metal songs which sold in the underground, and soon there were more ex-death metal, ex-crustcore and ex-rock personnel surging into the scene. By the time of the middle 1990s, bands such as The Abyss and Marduk had joined the party, creating in their process templates which any bands could use to emulate the style – and did.

In a few short years the genre had gone from a handful of bands making distinctive music to a horde of bands making indistinguishable music identified only by novelty factors of instrumentation, voice and concept. Nothing was any longer being achieved in the central group of black metal bands, so most of the “old guard” of Norwegian bands backed out and allowed their music to dissipate, as indicated by Darkthrone claiming their “Total Death” album would be final one from the band. As the hordes of scenesters and clone rock artists gathered, bands such as Graveland, Summoning and Ildjarn began experimenting in ambient forms of the original style, writing longer melodies and integrating semi-symphonic instrumentation in digital form in some cases and making rawer, less rock-like music in the case of Ildjarn.

The Drama

Much has been said about the dramatic entry of the Norwegian scene in the early 1990s. Articles ranting about the terror the “Inner Circle” and “Black Circle” would bring to Christian society overstated the case, and so by the year 2000 most fans were tired of hearing the same stories of the genesis of the scene. These will be mentioned here only for the purpose of conveying the ideology of black metal, and its effect upon society at large that in turn reflected the response of civilization to black metal and some of the factors that contributed to its demise.

In the beginning, there were a handful of black metal bands in Norway loosely unified around some ideals and a few meeting places, including the shop Euronymous from Mayhem ran called Helvete [Hell]. There is some debate over whether or not there was a formal “Black Circle” as initially was claimed by American and British publications, but clearly the members of these bands communicated and met within the 4.5 million person country. Strange things began happening in Norway: churches burned, a homosexual man was slit open, miscellaneous assaults and grave desecrations occurred, and then to cap it off, Euronymous was stabbed one night in his apartment. Furthermore, implications of fascism and/or Nazi beliefs were pointed at many members of the underground, most of whom quickly denied them.

First, the vocalist Dead of Mayhem committed suicide with a large knife and shotgun, leaving a note “Excuse all the blood.” Some time later, Varg Vikernes of Burzum was arrested for burning churches and murdering Euronymous; at the time of this writing, he is still serving his term [when arrested, Vikernes was near famished from lack of money to buy food, yet had 150kg of explosive in his basement for use in destruction of churches]. Over 20 other black metal musicians and fans were arrested for burning churches; a total of 77 burned in Scandinavia during that time, although not all have been definitively linked to “Satanists.” Several other musicians did time for killings, assaults, desecrations or unrelated arsons, including Jon Notveidt in Sweden who served 8 years for being accessory to a killing, and Hendrik Moebus in Germany, who served several years as accessory to a murder before being arrested for making a Roman salute while on parole. While the carnage was not widespread, the effect was; Europe saw a wakeup call to some Pagan values and anti-Judeo-Christian sentiment, and America saw a chance at rebellion and consequently, marketing.

Further, the community of black metal had a chance to demonstrate its values. While most members of the scene when pressed denied they had been involved in fascist or Nazi politics, they were indifferent to the roles of others in such things. Equally noncommittal were many around Euronymous after his murder; Hellhammer, the drummer of Euronymous’ band Mayhem, shrugged and said, “One of them had to die,” when queried about the feud between Vikernes and Euronymous. Most bands interviewed spoke positively of nature, negatively of Christianity, and displayed disdain for social behavior that placed the lives of individuals above that of a collective movement. This made many uneasy, especially in tolerant, peaceful and normally quite uneventful Scandinavia.

The Aftermath

When the mainstream bands such as Dimmu Borgir, Cradle of Filth and Marduk that attracted hundreds of thousands to black metal are confronted with the ideology of the founders of modern black metal, they quickly shake their heads and walk away. “Not for us, thanks.” In addition, their music is fundamentally different from that of the underground bands; where the originators of this style used diatonic and chromatic riffs and melodic modes, most of the “aboveground” black metal uses pentatonic scaling and much of the same riffs and rhythms of metal bands from the 1970s. Thus is exemplified a split in the genre: the bands who are doing what metal bands always have, and the bands who are moving away from traditional metal toward a more neoclassical, less rock-n-roll, more intricate musical form.

This split extends to every area of the black metal scene at the time of this writing. On one side, let’s call it the “left,” there are bands who embrace the current era and its variant aesthetics, including the mainstream genres outside of metal; a good example here would be Ulver or Sigh, both of who create postmodern metal from fragments and samples of other genres arranged into pieces delineated by key or rhythm. On the right would be the classicists, the old-schoolers who either only support black metal in the established tradition or who embrace a “purity” of both musical rawness and ideological allusion to the Greco-Roman, Viking or fascist values. For all intents and purposes this split is permanent, with the sides diverging into assimilation on the left and obscurity on the right, yet somehow they keep attracting audience, albeit a degraded one.

Some would say that there was a mystique about black metal that took a long time to die; it didn’t break in 1996, when The Abyss made an album so textbook Norwegian black metal that it provided a template for other bands to follow, and it didn’t even break in 1998 when all but a handful of the original bands had moved on to making more contented music. The year after however appears to have brought the death of black metal in a form emerging from within, similar to the story of Baldr’s death that conceptualizes a later Burzum album: betrayal from within. When the first of the more mainstream bands emerged, the underground took a clue from Darkthrone and it became de rigeur for the non-commercial bands to slap out albums with monochrome art and blindingly distorted, low-technicality music. As before however, this made it easy for further emulation to occur, diluting a genre with exactly what it opposed, and turning it from a movement where concept, music and action were joined into another form of entertainment for couchbound teenagers.

Black Metal Belief Systems

Conventional wisdom in the Judeo-Christian west holds that nature is lawless, dangerous and pointless; to give life meaning, there must be a moral goal, such as civilization itself: the conquering of natural frontiers and environments, taming of natural impulses in humans, and reduction of the law of the fittest – an equalization, as F.W. Nietzsche and later others pointed out. Nietzsche saw this equalization as a form of “revenge” on nature by depriving nature of what makes it threatening to the individual human, namely the potential imminent death – a form of judgment – for being less than capable in a situation calling for endurance and survival.

Sixty years after Nietzsche’s most influential period of work, explosions on the Polish border awakened the globe to the second world war. In this war, a conflict between the most fundamental division of ideology was established: collectivism versus individualism, with the latter favoring the kind of product-oriented, technologically-based, container-logical lifestyles currently seen in the first world nations. It was those insular and self-pleasing ways of living that first irked black metallers, and demonstrated to them a social devolution: there was no longer any competence needed, only obliviousness. Many black metallers, like Nietzsche, found greater inspiration in nature than in post-Judeo-Christian western society, and identified what Christians find horrible – the bloody, competitive, anti-individualist character of nature – to be an example of the most sublime beauty.

The ideological inclination of black metal remains disturbing to most and illegal in many countries. Yet it is not unique to black metal; as history shifted in the 1960s from a predominantly conservative society to a liberal society, thanks to the counterculture, and its effects were only felt with the children growing up in the 1980s, their response mirrors that of some who rejected the flower powery view of the politics and society. Among the thinkers and dissidents now coming back into favor are ecological fascists like Pentti Linkola and Theodore Kaczynski, as well as various stripes of nationalist and racial separatist leaders. [The Anti-Defamation League, a Jewish self-defense organization, claims that National Socialist and Neo-Nazi movements are increasing “worldwide.”] It’s hard to see what the future holds but this controversy remains in the forefront of not only black metal, but international politics, as shown by the amount of air time it is given by the entertainment industry, news media and American/U.N. politicians.

Interestingly, black metal joins not only the far right, but the far left, in many of its sentiments. As the world anti-globalist and anti-capitalist movement picks up speed, it echoes many of the ideals of black metal: natural ecosystems; ethnic uniqueness; population control; an end to technology-driven, product-oriented, convenience-based lifestyles. Protestors across the world in anti-war and anti-globalism protests would be shocked to know they have something in common with a group of bloodthirsty church-burning fascists who idealize the occult, but perhaps would be glad at least for a sympathetic ear. Interestingly also, the “modern primitives” movement as seen in events like the Burning Man festival and the survivalist trend around the time of Y2K align themselves in the same general direction these ideals seem to be taking, but the final synthesis has not yet been heard.

Subdivisions

After the initiation of modern black metal in the Scandinavian style, a fragmentation occurred along the general lines of techniques used to unify song composition, creating a number of subdivisions in the black metal subgenre [genre = metal, subgenre = black]. The following are general descriptions of these substyles and what they implied for changes in black metal as a whole.

Rock

The heavy metal style of black metal, descended directly from Venom and NWOBHM bands like Angel Witch who inspired them, is essentially rock music with some neoclassical influences in the loosest sense. Pentatonic, verse chorus music that stays within basic harmony, heavy metal/rock-styled black metal is recognizable for its radio friendly ways, redundant harmonic constructions and verse/chorus arrangements. Good examples include Venom of course, Dimmu Borgir albums after Stormblast, Cradle of Filth and Dissection.

Raw

Descended from Hellhammer and some early Bathory, this is mostly rhythm music which like hardcore punk is fashioned from the harmonic space of a basic interval between two anchoring notes, often a fifth. While this style is easy to do, it is difficult to do well, as the number of bands emulating Hellhammer and falling far short of what Hellhammer produced have found.

Epic

Symphonic styles and epic song structures often seem to go together, as seen in bands like Summoning, Graveland, Heidenreich and early Emperor. Where most bands indulge some complexity, these bands aspire to a demi-operatic state of unifying concept with staging, projecting a theatrical view of the action described in a song through the pure sound and arrangement of riffs. These bands are often the closest to classical music in types of melody and depth of layering, but it is important to note that epic is mainly a description of the complexity and arrangement of a band, not its techniques, so there is complete overlap with other styles mentioned here.

Trance

Music designed to utilize the undulating nature of the sweep picking of a guitar as suspended between unchanging percussion of a basic nature, this style is inspired by generations of metal with ambient experimentation, including Slayer, Von, Massacra, and Bathory. The most notorious band working in this group is Burzum, but other bands such as Nargaroth, I Shalt Become, Ildjarn and Darkthrone have created great works in this area.

Melodic

The oldest style of modern black metal, the melodic compositional approach was first utilized by Norwegian bands looking for a way to make simple power chord music more than thudding rhythm and chromatic patterns. Immortal’s “Pure Holocaust” is the best example of this, with highspeed tremolo picking whipping distorted noise into a flood of searing yet beautiful sound, but there are also examples to be found in Behemoth, Darkthrone, Mayhem and Sacramentum.

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The importance of genre in metal

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

Definitions:

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

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

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

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

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

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

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

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

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

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

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

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

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

Describe what black metal sounds like to you.

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

Describe what black metal communicates to you.

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

What “is” black metal?

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

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

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

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

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

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

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

Is there any division between love and hate for you?

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

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

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

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

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

What is your preferred method of killing humans?

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

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

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

Isn’t it fucking hot as hell there?

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

What do you like and dislike about Texas?

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

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

Of course.. I ll plug them here I suppose

Are there any local bands you find excellent?

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

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

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

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

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

What are your feelings on Texas seceding from the Union?

See above.

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

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

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

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

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

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

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

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

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

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

Does this explain “Christian metal”?

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

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

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

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

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

What zines do you read?

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

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

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

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

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

Is there any “hope” for the human species?

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

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

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

Are there any historical figures who have impressed you?

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

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

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

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

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

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

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

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

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

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

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

Where does one buy CDs and related stuff in Houston?

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

What do you think of the art of suicide bombing?

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

What lies next for your zine?

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

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

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

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

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

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

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

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

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