Sadistic Metal Reviews 05-18-2015

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The cause: Too many labels, too many resources, too many enabled idiots. The result: tons and tons of mediocre music. Occasionally a decent release or two. A handful of good albums each year. A classic every few years. In the advent of such a shitstorm, should we ignore the fecal matter covering our windshields, obstructing our view as we look for actually worthwhile releases?

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Groteskh – Code: END

Some think death metal is all about brutal riffs. The brutaller your riff, the awesomer your music. And if you pack your music with brutal riff after brutal riff, then of course, your music will be the brutallest. Some also think that black metal is “all about the atmosphere”. And what does atmosphere mean, according to simple minds? Well, come flat-sounding strummed riffs with an “evil” feeling. Groteskh plays in the modern style of boring death metal pretending to be black metal. And in doing so, trying to excuse the lacking death metal the band produces. Code:END amounts to “brutal riffs with atmosphere”, a delight for the moronic modern extreme metal commoner. Add in some parts with groovy drums, bopping bass and strummed “evil sounding” chords, and you got your death black party metal formula.

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Seven7 – The Follower

Best described as Mike Portnoy syncopations, Matt Halpern groove poserism,  power metal inclinations with Fred Durst and Chester Bennington deciding the musical direction, Seven7 make Nu Metal bent on taking the fraud of  Dream Theater’s pseudo-prog as part of its language. Frankly, it sounds like a Dream Theater unveiled to what it truly is: pretentious pop music. Disgusting at every level, this album is a collection of tropes from the mainstream melodic extreme metal appropriated to a Nu Metal and Alternative Metal context.

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Jarun – Pod niebem utkanym z popiołu

Jarun gives us a musically consistent Blackwater Park that is only folk in name.  Lose melodies out of context, racing double bass drums and “progressive” riffs riding under disorganized music that attempts to hide its simple structure under a lot of flare and affectation. The music here is essentially rhythmic appeal to headbangs and slightly bittersweet melodies ala Pink Frothy Aids. The introduction of purposeless riffs is a clear sign of a lack of vision in composition, but this crowd and those who surround them are oblivious to what this means. Condemned to live in delusion and pretension, this music appeals to those who want to pose as if they listen to deep or complex music but only want music that is easy to digest and headbang to.

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A Brief History of Grind and Space: Extreme Metal and the Internet

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Introduction

Extreme metal, specifically grindcore music from the beginning of the 21st century to the present day, has been composed and distributed between digital-communities. Grindcore has often existed exclusively within online communities and abandons its previous ‘live’ traditions. This online phenomenon is sometimes described as ‘cybergrind’, defined only partly by its musicality (i.e. rhythm, structure, notation), but more importantly by the cyberspace in which extreme metal music is staged through the Internet. This will detail a brief history of grindcore’s online migration and transient occupation of various cyberspaces on the Internet. I will discuss a few of the reasons for grindcore’s online relocation and evaluate the more discursive nature of the music that warrants it’s suggestively ‘non-musical’ prefix (cyber) in an attempt to provide a more encompassing study surrounding the music.

Space – Cyber

The beginning of the 21st Century saw an online musical phenomenon that made a serious impression on the music business. Grindcore’s online relocation was indeed partly an impression if not a reaction against commercial music businesses and provided a community for self-published and non-profit grindcore to exist. Rosemary Overell’s book,

In an interview with Mike Glenn, ‘programmer’ for Myspace based grindcore band, ‘wecamewithbrokenteeth’; “It was definitely an internet phenomena, although I really don’t keep up with the ‘scene’ anymore. I believe WCWBT kinda took the ‘cybergrind’ thing to a new level and spread it to the masses more so than other acts … our online fan base was definitely our strongest”. My interview was undertaken on Facebook, whereby the ‘wecamewithbrokenteeth’ page is located and acts as their ‘official’ cyberspace. Benedict Anderson may have described this online phenomenon as an ‘Imagined Community’, or self-conceived nation (1991). However, the music’s online exclusivity suggests that it was far from imagined, but as close to a real environment as necessary (for both artist and consumer); the transient nature of cyberspace is more freely adaptable than the set-in-stone physicality of the ‘stage’. In Lysloff René’s, Musical Community on the Internet, he states that:

Many websites do represent the loci of complex networks and social relationships that are in fact dispersed in geographical space. What bought us all together were the metaphorical places that stood as monuments to the social relationships created through them. Thus, Internet research entails a form of travel, in a metaphorical sense to radically different kinds of social place … I argue that on-line communities … are as ‘real’ (or imagined) as those off line. – René, L. (2003)

‘Cybergrind’ exists as a non-profit community whereby free distribution amongst fans is encouraged to promote the music to a wider audience. This was also articulated by Glenn, “The few things we did release were free, I’m a heavy music pirate myself, so why the fuck not? I’m cool with YouTube and all that, anyway, to get your name out there is a plus in my eyes.” An online record label, ‘Grindcore Karaoke’ (2011), enable free downloads for all of their featured-artists. Vocalist for ‘Agorophobic Nosebleed’, J Randall, initiated this non-profit organization. This label ‘employs’ grindcore artists globally, such as Birmingham based ‘Kuntpuncher’, and Japan based ‘Self Deconstruction’. Their first release was ‘Grindcore Lu’au’ by ‘Wadge’ and advertised weekly uploads; their last upload was ‘CLVB DRVGS’ ‘Beach Blanket Bong Out’, published on the 10th March, 2014, however the music remains available for download (last accessed 22/04/15). Tom Bradfield, owner of Grindethic records, has expressed how online relocation has inevitably affected the industry, specifically record labels; “I suspect that even if piracy was somehow eradicated (which it won’t be), then the move to downloading would still have happened anyway. The hard thing is convincing people to pay for something they can easily get for free.” Therefore, the power the Internet has provided a convenient platform for artist self-promotion, but potentially threatens industry establishments such as Grindethic records.

René (2003) describes this phenomenon as a ‘new materiality’; “On-line music production and dissemination set up the conditions for a prestige economy in which ‘goods’ … are exchanged by electronic means. As with other on-line communities … the Internet provides a new materiality through which social interaction and group formation can take place and from which new possibilities for subjectivity and group identity can emerge.” Therefore, grindcore labels/artists may still be adapting to this ‘new materiality’ the Internet continues to provide.

‘Extreme Metal in Lebanon’, as researched by Mark LeVine, exists on the Internet for political reasons. In his book, Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam (2008), LeVine describes the band, ‘Oath to Vanquish’, as one of the “most distinctive Death Metal/Grind bands in the MENA”. The Lebanese government banned certain Heavy Metal CD’s at the beginning of the 21st Century, however they remained increasingly available on the Internet, a platform less hindered by political censorship. LeVine describes the Internet as a ‘liberating Power’ and musicians as part of a “cyber-intifada”. The band tackle political issues in their music lyrically, “through the veil of allegory and unsettling imagery”. ‘Oath to vanquish’ are signed to UK-based ‘Grindethic’ records, however according to LeVine, “the farther you are from the mainstream in Lebanon, the greater the risk of persecution.” According to LeVine, extreme metal in Egypt is similarly restricted, “many young Egyptians found more useful things on the web, from political blogs to heavy metal forums, that help them resist or at least survive, government oppression.”

The absence of ‘live performance’ due to a rise in online-presence has raised certain authenticity debates, some of which I shall discuss now. In my own interview with Tom Bradfield (Grindethic), he wrote that:

The Myspace era was probably the turning point for underground bands being able to exist outside of the live environment. Before the Internet there was no point in having a band that didn’t play gigs … Now there was a way to expose yourself to potential fans and build a support base without needing to play live. This coincided with home recording becoming more affordable so bands could produce demos of ever increasing quality without studio time necessarily being a prohibitive cost. – Tom Bradfield.

The absence of live performance and the internet-as-stage may be what Chanan describes a loss of authenticity due to various techniques of reproduction:

Technique of reproduction detaches the musical work from the domain of the tradition that gave birth to it, and destroys what Benjamin calls the aura which signals its authenticity; except that it also creates new types of musical object which do not belong to a particular domain but rather anywhere that a loudspeaker (or earphone) may be found – some of these recordings cannot be performed live at all. This process also redefines the audience, which comes to be constituted quite differently from before. It is no longer limited to traditional concepts of community. – Chanan, M. (1997) 

However I believe that the ‘aura’ is still present in a cyberspace, but I agree that there is obviously a detachment from traditional conceptions of ‘liveness’ and ‘community’. Grindcore has therefore transcended this barrier of authenticity by its often-unfeasible existence in a ‘live’ and ‘real world’ environment. This further points to grindcore’s inherent anti-establishment disregard for previous ‘formats’ (I will later discuss this in relation to musicality) and is therefore a liberating factor for both musicians and listeners. In the same way that the Beatles’ never performed ‘Sgt. Peppers’, whereby live performance wasn’t felt necessary or wasn’t possible; Glenn states, “We never actually played live shows, although I’ve heard stories of people claiming to be us and playing shows under the name, haha. WCWBT was strictly an online thing.” Similarly, Tom Bradfield told me about one of his own bands:

I joined a band called Repulsive Dissection where the members had come together for the first time over Myspace. We were variously located in Ukraine, Japan, UK and Sweden, so the idea of playing live was never seriously considered … The internet allowed us to send material backwards and forwards online and collaborate on writing. We could all record separately and compile our efforts at the end, and to this day I’ve never met the guitarist in person. – Tom Bradfield.

Weinstein (2000) states that, “Most bands never sign a record contract. They are the losers in a Darwinian struggle for access to the facilities of the mediators: The record companies and the concert promoters”. However, Bradfield argues that it is in fact; the record labels are now equally involved in a ‘Darwinian Struggle’, although they’re power as ‘gatekeepers’ (or trend-setters) within the industry are still apparent in providing a ‘stamp of approval’:

I’m sure mass consumption of music, and all media in general, can only be heading towards streaming everything online, but a new generation of artists will embrace this and find new ways to present their music. How labels will survive this change is harder to foresee. I think there will still be a need for labels to exist as a way of putting a stamp of approval on the top bands and helping to raise them above the rest. – Tom Bradfield.

Australian grindcore band, ‘The Bezerker’, existed online for both performance limitations and to simultaneously self-promote through successful social media such as Myspace and their own website. They also departed from ‘Earache Records’, famed for signing traditional grindcore artists such as, ‘Napalm Death’ and ‘Carcass’. This short text by Brian Fischer is the first time I have seen the term, ‘cyber-grind’ used in any published writing, although does little to describe what ‘cybergrind’ actually is:

The bezerker is an extreme metal entity from Melbourne that plays a noise form of cyber-grind. The band is the brainchild of … Luke Kenny, a one time metal and grind drummer who was forced to give up his instrument after sustaining near-fatal injuries in a motor vehicle accident… Kenny began to produce music that was a cross between “gabba” techno and industrial grind … The Berzerker split from Earache in 2008 and their fifth album came out on September 1, 2008 through the band’s website exclusively. – Fischer-Giffin, B. (2002)

‘The Bezerker’ may have departed from the established ‘Earache Records’ due to the apparent trend towards the self-sufficient sustainability of Internet based promotion and publication.

Musicality – Grindcore

The Oxford dictionary defines ‘Cyber’ as, “Relating to or characteristic of the culture of computers, information technology, and virtual reality”. In which case, one could argue that grindcore music is now in a ‘cyber age’, where computers are an interface not only for music production, but also for mediation, collaboration, and consumption. Certain musical aspects can be attributed to the style as a contributory defining factor:

“I’m proud to say it’s the fastest, and nothing can be faster, sorry Dave, [Dave Lombardo, Slayer] but it’s just not fast enough mate” – Mick Harris, Napalm Death

Derek Roddy (2007) describes ‘blast beats’, a traditional musical signifier of grindcore as a genre defining feature: “Until now, blast beats have been a musical myth … a part of musical expression since the 1980s with the European grindcore movement … a form of musical expression on it’s way to becoming it’s own genre.” The speed and physical performance of grindcore ‘blast beats’ could be seen as, “a fulfilling achievement that one can be proud of”. Drum machines are often programmed to perform ‘blast beats’ at a speed and metronomic precision previously unachievable in ‘human performance’. Drum machines are used as an instrumental signifier of the ‘post-human’ speed and technical precision predominantly unachievable in human performance. (Refer to my transcriptions of ‘Wecamewithbrokenteeth’ and ‘Malodorous’). This renders Mick Harris’ (Napalm Death) statement that ‘nothing can be faster’ as limited to a ‘live’ grindcore tradition. The processual nature of genre shows a dramatic transformation of opinion to what constitutes ‘grindcore performance’, when drum machines replace human; ‘Sorry Mick, it’s just not fast enough mate’!

“We’ve sort of abandoned musical standards, we don’t write songs to the ‘rock’ sort of format. We’re pretty much the end of the line, I don’t think you’re going to get a band that’s more extreme than us.” – Shane Embury, Napalm Death

Napalm Death, along with the other grindcore artists strive to be the most ‘extreme’ in terms of musicality. Overell (2014) describes this as a sense of ’more-than-ness’. If the performance is then eradicated from the ‘brutal’ experience, surely this lack of ‘liveness’ constitutes less extremity. The ubiquitous use of drum-machines in cybergrind is a way of sonically identifying the music as ‘digital’ or ‘cyber’. Thus the music’s existence is inherently impossible in a real-world environment such as a stage; it is also reliant on computer based interfaces i.e. VST instruments, DAW’s, Audio Interfaces which are becoming increasingly more popular. Harris (2006) states that, “Only in slower forms of extreme metal is ‘putting on a [live] show’, in a conventional sense, possible.” Harris does not elaborate on his use of the word ‘conventional’, although could be referring to the use of electronic instruments and physical constraints of an ‘acoustic’ musical performance. ‘Wecamewithbrokenteeth’, gained popularity through Myspace around 2005 and built their fan base through social networking. Their music was produced on FL Studio, and until 2006, only used computer generated instruments, minus vocals, such as FLslayer for synthesized Guitar tracks; the low-end pitches would have been impossible to effectively produce on a detuned electric guitar. The vocal parts are the only ‘live’ recorded part of the music.

There are many ways in which ‘extremity’ is now raised within the Genre. The first is musicality, where musicians are striving to make the fastest, shortest or most sonically dense Grindcore possible. (Refer to my transcriptions of Napalm Death and Clotted Symmetric Sexual Organ). The second and more controversial way in which extremity is pushed is lyrical subject matter, resulting in subgenres such as ‘Porogrind’ and ‘Goregrind’. As mentioned in Nasum’s online biography, a change in aesthetic and lyrical content results in a deviation from ‘true grindcore’. Tom Bradfield states, “The one thing I’m bored of is all the misogynistic rape/gore type lyrics that are still pretty prevalent.” Bradfield is more concerned with ‘punkier origins’ or traditional grindcore aesthetic, “For many though I think the punkier origins of grindcore lend it to a more political direction which I still think works well with the inherent aggression in the music.”

Despite this, the lyrics in Grindcore music are often unidentifiable due to the vocal style. This is however, unimportant; Simon Frith’s (2007) theory on Metal vocal style; “ The tone of voice is more important … than the actual articulation of particular lyrics. We can thus identify with a song whether we understand the words or not, whether we already know the singer or not, because it is the voice – not the lyrics – to which we immediately respond.” Weinstein (2000) adds that, “Special sounds, especially screams, serve to emphasize the power and the emotionality of the voice”. Tom Bradfield states that, “To be honest I’m not particularly interested in the lyrical content of bands, even if it aligns with something I personally believe in. First and foremost I care about the music itself, and the concepts or message behind the band doesn’t sway me too much either way when it comes to signing them.”

There were many complex eco-systems in action during the emergence of Grindcore, of which I will give a brief description now. Common belief is that grindcore was initiated in Birmingham with Napalm Death. The local aspect of Birmingham’s grindcore is often romanticised but its rapid globalization was apparent from its early years. ‬‬‬‬‬‬‬‬‬‬‬‬I have provided one a brief case study into the globalisation and subsequent migration of grindcore into cyberspace. Popat (2005) argues that the nature of the Internet is solipsistic, “Communities of interest [Music] are most likely to arise since communities of locality and social structure, for example, mean little in the remoteness of the online environment.” However, I feel that this could be conceived as creating some form of online social ‘locality’. The locality is in this case, a specificity of taste and tied by interest. She continues, “Although a vast number of people with different interests and concerns may be using the Internet, it is likely that they will only tend to communicate with others sharing their interests”.

‘Clotted Symmetric Sexual Organ’ (C.S.S.O) were a Japanese grindcore band active from 1993 – 2001. Their composition, ‘P.S. I Love You’, was released on a compilation or ‘Split’ CD entitled ‘Grindworks’, featuring other grindcore artists Nasum (Sweden), Retaliation (Sweden), Vivisection (Japan) and C.C.S.O (Japan). The CD was released in Sweden on the label, ‘Grindwork Productions’, whom only ever released two albums; the compilation mentioned and Swedish group, Nasum’s ‘Domedagen’ (1994). ‘P.S. I Love You’, resonates with the jazz standard by Gordon Jenkins (1934), and later the Beatles (1962). As articulated by Shane Embury, grindcore abandons previous ‘rock formats’, and therefore the reclaiming of ‘P.S. I Love You’ is a way in which C.C.S.O subverted the ubiquitous ‘love song’ as a reaction against conformity and ‘popular’ musical idioms. The total length of the composition, 10 seconds, also suggests a reactionary musical form established by Napalm Death as a grindcore idiom. This particular case demonstrates the global impact of grindcore in 1994, and how it’s ‘rarity’ elicited an online re-release through the ‘The Grind Show” on YouTube (3 October 2011). The video has 124 views (last accessed 14 February 2015) and published by ‘The Grind Show’, a YouTube channel and cyberspace seemingly dedicated to sharing rare grindcore recordings. The obscurity and lack of popularity for this particular track is by no means a reflection of cybergrind’s popularity in general (I will demonstrate this in later case studies), but more a reflection of a communal effort in preserving grindcore of the past, or ‘non-cyber’ grindcore into a virtual and residual ‘mosh-pit’ or communal appreciation and canonization of ‘extreme’ music that is no longer active as a ‘Live’ tradition (C.C.S.O haven’t performed live since 2001).

This canonization within cyberspace also exhibits bands such as ‘Napalm Death’ despite their ongoing ‘live’ presence and commercial releases. This is quite often an exception whereby ‘Napalm Death’ transcends both ‘live’ and ‘cyber’ communities, most likely due to their wide acceptance as satisfying the definition of ‘grindcore’. This online existence is celebrated as a further disassociation from previous ‘rock formats’. Ironically this music has now fallen into a Cyberspace, and more importantly, it has been canonized within ‘The Grind Show’ musical-program, thus adopting an extra-musical narrative as part of a contemporary grindcore community. Of course, most ‘popular music’ can be found somewhere on the Internet, but it’s online exclusivity (apart from several hard-copies available second hand on Discogs) could infer it’s belonging to a cybergrind community. This dissemination could also be seen metaphorically as a larger scale ‘split’ recording, whereby Artists share a physical platform or space for economic viability, building a larger fanbase, and generally building a larger sense of community.

Following on from talking about musicality, collaborative techniques used in a traditional group environment are varied in online grindcore. Tom Bradfield spoke to me about his experience collaborating over the Internet:

I joined a band called Repulsive Dissection where the members had come together for the first time over Myspace. We were variously located in Ukraine, Japan, UK and Sweden, so the idea of playing live was never seriously considered.  We came close once but a visa issue scuppered plans at the last minute. The Internet allowed us to send material backwards and forwards online and collaborate on writing. We could all record separately and compile our efforts at the end, and to this day I’ve never met the guitarist in person. – Tom Bradfield.

A similar musical experience was realized by grindcore artists, ‘Malodorous’, who compose in remote geographical locations for a ‘web-based’ collaboration. Sita Popat argues the Internet as an enabling factor for opportunities in remote interaction and collaboration “on a scale never before imaginable”. She explains that the possibility to communicate and transfer media “simply, quickly and relatively cheaply between people around the globe.” She also believes that the Internet provides a uniquely asynchronous collaborative process can potentially work in favour of creativity. “This process promotes ‘reflective’ communications and the considered response. It does not rush the communication into a reaction, and as such it allows time for crossing that proscenium thoughtfully.”

Overell’s writing, although partly focused on affective space, does not mention the Internet as a space in itself, although focuses exclusively on grindcore as a ‘live’ tradition. She discusses the benefits of long distance communication for organisation of international events, “Via email, Sensei nominated suitable dates and Joel organized gigs at Melbourne venues.” Rene describes the ‘culture of simulation’ to what Arturo Escobar calls ‘cyberculture’. Rene goes on to describe that, “although the Internet may be rooted in familiar terrain, it still holds the promise of new cultural narratives and social formations.” The Internet has proven to be as much of a social phenomenon, if not more than grindcore music itself. Popat quotes Dix et al, “[The Internet] is much more a social phenomenon than anything else, with users attracted to the idea that computers are now boxes that connect them with interesting people and exciting places to go, rather than soulless cases that deny social contact”.

This implies that our methods of communication and interaction are transient, and as a consequence, musical output evolves accordingly to its situation. I have argued that ‘extreme metal’, for aforementioned political and economical reasons, has particularly settled in an online environment for what Overell might call ‘brutal belonging’, within an affective space. Despite the more traditional ‘live’ setting for grindcore music, Tom Bradfield agrees that, “for most underground bands, the majority of fans they make online will dwarf the number of total number of people that ever see them play live.”

Bibliography:

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  • Frith, S. (2007) Taking Popular Music Seriously (Ashgate Contemporary Thinkers on Critical Musicology). Aldershot, England: Ashgate Publishing, p. Towards an Aesthetic of Popular Music.
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  • Laderman, D. (2010) Punk Slash! Musicals: Tracking Slip-Sync on Film. Austin: University of Texas Press
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  • Overell, R. (2014a) Affective Intensities in Extreme Music Scenes. England: Palgrave Macmillan. doi: 10.1057/9781137406774.
  • Overell, R. (2014b) ‘Brutal Belonging in Brutal Spaces’, Affective Intensities in Extreme Music Scenes. doi: 10.1057/9781137406774.0007.
  • Parnham, J. (2011) ‘A Concrete Sense of Place: Alienation and the City in British Punk and New Wave 1977-1980’, Green Letters 15:, pp. 76–88.
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  • Phillipov, M. (2012) Death Metal and Music Criticism: Analysis at the Limits. United States: Lexington Books.
  • Popat, S. and Beardon, C. (2005) Invisible connections: dance, choreography and Internet communities. 1st edn. London: Taylor & Francis.
  • René, L. (2003) ‘Musical Community on the Internet: An On-Line Ethnography’, American Anthropological Association, Vol.18, No. 2, pp. 233 – 263.
  • Roddy, D. (2007) The Evolution of Blast Beats. World Music 4all Publications.
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Joe Perkins, 2015
www.joeperkinsmusic.com
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Satanic and Norse Black Metal: A Comparative Examination of Philosophy and Staying Power

satanic02-immortal

Trying to discern a coherent ideology or philosophy behind the Black Metal movement,even if we’re only considering bands from a specific time and location, is automatically something of a losing proposition. Each band has its own idiosyncrasies which often conflict with the principles of their peers; bands’ philosophical stances are often transmitted only through totally over-the-top, gonzo lyrics; and, in a lot of cases, the bands were just making shit up as they went along without really thinking through what they were espousing. That said, there are still themes, principles, and behaviors that are common to multiple artists within the genre, and it’s even possible to sketch out rough groupings from these shared characteristics. In this article, I’m going to explore one of the bigger divides stemming from the early Scandinavian black metal movement: Satanic black metal and Norse black metal. Based on the philosophies of these groups, I think it’s even possible to project the future trajectories of these genres as social movements.

One of the biggest philosophical distinctions in Black Metal is probably between Satanic Black Metal and Norse Black Metal. Here are the differences in really, really broad strokes:Satanic black metal developed first, and as time went on pagan themes were often incorporated into the work of Satanic Black Metal bands. The two schools ended up splitting, however; adherents of Norse |Black Metal (many of whom previously endorsed Satanic ideologies) openly disparaged Satanism as juvenile and went off to do their own thing. Satanic Black Metal musicians, to whom Black Metal was defined entirely by its devotion to Satan, viewed the bands singing about Vikings and Odin as heretics or traitors. In this article, I’ll first discuss Norse Black Metal and its prospects as a genre before moving onto Satanic Black Metal, which, I think, has a more fruitful future ahead of it.

Norse Black Metal (hence, N.B.M.) musicians profess a devotion to the mythology of the Germanic tribes who inhabited northern Europe during the first millennium CE. Like Satanic Black Metal, N.B.M. is hostile to the Abrahamic religions, especially Christianity, which it considers an oppressive, invasive religion. N.B.M. musicians frequently lament the mass conversion of northern Europe to Christianity from roughly 800-1200 CE, and the destruction of pagan communities, art, and ways of life that this demographic shift brought with it. N.B.M.’s adherents see themselves as the only ones in their society who haven’t been brainwashed into giving up their true cultural heritage, and they fight to try to restore the old ways and kick the foreign religions out. Varg Vikernes, the musician behind Burzum and the murderer of , is a prolific author on the subject and is probably the single most prominent figure in both the musical movement and the related pan-European political arm, The Heathen Front.

N.B.M. musicians, strongly influenced by the unabashedly racist (or “racialist,” as he tends to call himself) Vikernes, often draw the lines between enemy and friend among ethnic and nationalist lines, which tends to make the genre insular, exclusive, and marginal. Ultimately, this is its greatest weakness: no matter how magnificent its music is (and don’t get me wrong, there is some great N.B.M. music out there), the N.B.M. ethos is perpetually preaching to the choir. By rooting its philosophy and social organization so deeply in considerations of ethnic and national divisions, rather than opening it to any like-minded individuals, N.B.M. has set a hard cap on its spread and influence within the wider global culture.

If you’re not a “Nordic, heterosexual [with] a Pagan ideology,” N.B.M. doesn’t really have much to offer you beyond the actual aesthetics of the music (and, to be fair, Vikernes has usually kept his political stances out of Burzum’s music; as he says, there isn’t anything in the music itself that would stop a “a Christian-born black gay feminist converted to Judaism… or worse; a Muslim” from enjoying one of his records, that certainly doesn’t apply to all N.B.M. bands). In terms of the philosophy espoused by N.B.M. musicians, if you’re not down with thinly-veiled racist and nationalist positions, you’ll probably not be able to stomach much N.B.M. rhetoric.

For this reason, it’s unlikely that N.B.M. will continue to grow much outside of its target demographic in northern Europe. Even the recent upswing of nationalist, xenophobic sentiment in Europe holds relatively little promise for N.B.M., given its radical opposition to the Christian values that most conservative European nationalists hold near and dear. Without a radical reorientation of N.B.M.’s priorities and inclusivity, it’s likely the genre will continue to grow more and more isolated and radical until it collapses into irrelevance.

Satanic Black Metal (“S.B.M.” or “Orthodox Black Metal,” as it’s sometimes been called) has, I think, a much more interesting future ahead of it. Drawing from the occult aesthetics of first-wave black metal bands like Venom, Bathory, Celtic Frost, and King Diamond, S.B.M. coalesced in Norway in the late 80’s, employing over-the-top, almost absurdly self-serious devotion to Satan and evil for evil’s sake. The Oslo-based S.B.M. band Mayhem is arguably most directly responsible for the rise of the movement, with founding member Øystein “Euronymous” Aarseth and vocalist Per “Dead” Ohlin initially crystallizing the movement’s philosophy and aesthetics, respectively.

Euronymous was more or less solely responsible for developing the misanthropic, elitist, self-consciously ‘evil’ streak that came to characterize this genre. He saw himself as the de facto leader of the entire Norwegian black metal movement, and he established a record store, Helvete, and a record label, Deathlike Silence, around which much of the early Scandinavian scene revolved. Aarseth embraced the Euronymous persona, sporting a full-on Fu Manchu style mustache and portraying himself as some sort of snooty, mysterious, Satanic noble who determined who was and wasn’t “true” black metal.

Whereas first wave black metal bands could often be vaguely tongue-in-cheek in their invocations of Satanism, S.B.M. was apparently deadly earnest; Euronymous served as a kind of whip for the Scandinavian scene, enforcing strict self-seriousness upon the genre. A second-wave black metal musician could never break character, or they would be immediately branded as posers chasing the Black Metal trend and ostracized. Helvete’s status as a genre mecca afforded Euronymous a mechanism for creating an in- and out-group, thereby allowing him to enforce a certain amount of ideological orthodoxy within the early Black Metal scene.

While this level of loose ideological control was possible, it’s still hard to discuss the early S.B.M. bands’ actual ideologies, because most of their “philosophy” was essentially performative. A lot of what the musicians ended up saying in interviews was ad-libbed to further develop the reputation (and ultimately the myth) of the black metal scene. Whatever seemed “extreme” or “brutal” was adopted, which included everything from Dead’s self-mutilation during sets to mounting impaled pigs’ heads on stage to burning down historic medieval churches (it’s worth noting that Vikernes, who was Mayhem’s bassist at the time, is widely considered to be responsible for kicking off Black Metal’s arson campaign). The bands reveled in media attention and they wanted to portray themselves as mysterious, dangerous figures. As such, they were willing to say whatever seemed most likely to give that impression and keep them in the spotlight. Much of what was said in interviews was said primarily for shock value, with little or no belief behind it, and some things which were initially stated for shock value later became dogma.

To put it crassly, the individuals creating this music were kids cobbling shit together as they went along. I don’t say that to disparage their work (in fact, as a Satanist myself, I’ve been prompted to confront many interesting ideas through their music and actions), but rather to stress that any discussion of these bands’ ideas necessarily entails a certain amount of piecing together half-formed, sometimes contradictory ideas. There’s no authoritative Satanic Black Metal manifesto out to neatly enumerate the core tenets and principles of the genre. In fact, there isn’t even a canon of philosophical remarks; it falls to fans to extract, interpret, and build on the incomplete, scattered ideas found in S.B.M. works.

As for what I personally find compelling in Orthodox Black Metal philosophy, I think its emphasis on dogged, uncompromising contrarianism is underappreciated. Norway in the 80s and 90s was an incredibly socially homogenous society, and the Scandinavian Black Metal movement grew in opposition to that fact. It starkly inverted the values and moral beliefs of society, forging a bizarre, counter-intuitive way of life: whatever society has deemed “evil” was to be pursued by Black Metal musicians as the highest good. It wasn’t hedonism or objectivism or any sort of LaVeyan bullshit like that; it was literally evil for evil’s sake.

Considering the ubiquity of Abrahamic religion in the western world, Satan is a natural figurehead for such a movement. If society’s very concepts of good and evil are largely derived from Christian morality, embracing “evil” doesn’t necessarily entail immoral behavior, but rather a rejection of the moral codes imposed by conventional social and religious authority. This type of Satanism is radically individualist, and it encourages idiosyncratic moral reasoning, non-conformity, and rejection of blind deference to authority. If you strip away all of the incendiary shock tactics and cheap nihilism of the early Norwegian movement, this is, I think, the most potent philosophical strand conveyed through it.

It is, I think, largely due to this egalitarian, individualist tendency that S.B.M. has been proliferating in recent years. As education improves world-wide and individuals become more and more secularly oriented, this brand of Satanism becomes more attractive to a wider segment of the population, who have been frustrated and stymied by outdated, authoritarian religious sentiment. Satanism can serve as a unifying banner dedicated to checking the role of traditional religions in society and politics. The Satanic Temple, for instance, has organized numerous campaigns in the United States in recent years to promote progressive political action and minimize the religious right’s ability to legislate morality. Its lobbying efforts and lawsuits have helped stop attacks on women’s reproductive rights, efforts to sneak religion into public schools, and restrictions on same-sex marriage. Because they are defined in opposition to the strict, authoritarian morality of the Abrahamic religions which still plays an undue role in political and social affairs in nominally secular countries, Satanic movements like these are increasingly becoming attractive means of political and ideological organization, especially for those most directly affected by religion’s influence.

This streak of Satanic thought is not exclusive to secular, western society, though; in fact, it holds the most promise in less permissive, more theocratic countries. In recent years a small but growing number of musicians in the Middle East have begun to play Black Metal as a means of expressing individual freedom and attacking the oppressive religious society around them. Three years ago, a woman-fronted black metal band called Janaza, purportedly from Iraq, made news across the web for its track, “Burn The Pages of Quran.” While doubts about Janaza’s authenticity have surfaced, there are plenty of real Black Metal bands in strongly Islamic countries, and the principle behind them is still compelling: Islam is an Abrahamic religion closely related to Christianity, and in Middle-Eastern countries it plays an even greater social and political role than Christianity does in the west. It’s natural, then, for dissidents in these societies to employ Black Metal to oppose the repressive religious tendencies of their society in the same way, albeit with much higher stakes, given that members of these bands could face the death penalty for blasphemy if their identities were ever discovered. In an interview with Vice, Mephisto of the Saudi Arabian black metal band Al-Namrood (“Non-Believer”), expressed the appeal of black metal in predominantly Islamic countries:

Christianity nowadays is passive. The church doesn’t control the country. I think whatever rage that people have got against the church cannot be compared with Islamic regimes. You can criticize the church under freedom of speech in European countries, but you can’t do that in Middle Eastern countries. The system doesn’t allow it. Islam has inflicted more authority on the Middle East than any other place in the world. Every policy has to be aligned with sharia law, and this is happening right now in 2015. We know that, 400 years ago, brutality occurred in the name of the church, but the same is happening right now in this age with Islam.

Recent events like the Arab Spring have shown that there is a growing population in traditionally Islamic societies that wants to catch up with the rest of the world’s secularism and individual freedom. Since conventional means of dissidence are outlawed, Satanic Black Metal, as a marginal, outsider movement itself, seems to be the perfect outlet for this dissatisfaction. In fact, I wouldn’t be very surprised (or dissatisfied, for that matter) to read about a series of ultra-conservative mosque burnings in the near future. Whether it’s against conservative Christianity or radical Islam, free-thinking individualists worldwide can unite under the banner of Satanic Black Metal to work for a world free of theocracy and religious authoritarianism.

All in all, it’s an exciting time for Black Metal. With the rise of online distribution and music sharing, it’s never been easier to disseminate new albums and spread niche genres like Black Metal across the globe. While I don’t think Norse Black Metal is going to have much enduring appeal without opening itself up to the rest of the world, the Satanic Black Metal movement seems to be waxing, and I’m excited to see what comes out of it, both musically and socially.

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Brett Stevens granted a Honoris Causa title of Doctor of Heavy Metal

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There are a few people out there who get it. These individuals, able to see beneath appearance to the structure of reality far more than the average, understand not just what things are but how and why they are what they are. They do this not for the fame or money, since those come to people who weaken meaning in order to benefit appearance that rewards pleasant oblivion, but instead because understanding our world is a fundamental desire that advances us as a species. These are the people who get burned by the angry crowd for “witchcraft” for having discovered new ideas that threaten the order of society as it is, making people look foolish for relying on the old when a better way is available.

Dr. Martin Jacobsen is one of those who looks beneath the surface and discovers, like heavy metal, the difficult questions of reality that humans prefer to bury under waves of social control, pleasant illusion and comfortingly bourgeois products. In the truest spirit of both education and outsider music, he explores that areas where society has said non plus ultra (“go no further”) because they reveal fundamental contradictions in many of the assumptions upon which our civilization relies for its sense of well-being and that it is pointed in the right direction. Unsettling, dark, morbid, nihilistic, feral, atavistic, self-negating and amoral, these spaces confront us with what most of us view as the problem to which society is a solution, namely all that disturbs us about the conditions of life itself. Society offers us salvation from threats and deliverance from want, but also grants us on an existential level a sense of purpose that is more important than the conditions of life which make us doubt ourselves and our purpose. Society sells comfort on a mental level as well as a physical.

Thus it is a great honor to be presented with Doctor of Heavy Metal certification by Dr. Jacobsen, whom I consider one of the highest authorities in the field capable of doing so. As a recognized scholar of metal in this mode, I am able to continue my writing and journey of discovery into this rich genre of music which has rejected both The Establishment and the counter-culture in its pursuit of truth at a lower level than the social categories, feelings and desires with which most of us paper over the disturbing aspects of life. There is not much recognition for those of us who attempt to unearth the real beneath the surreal and yet profitable, but being recognized by others whose work we esteem in this field may be the best of all. Thank you, Dr. Jacobsen, and my wall will wear this with pride, as will my metal soul.

N.B. signature digitally removed for security reasons.

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Instrumental metal duo Tempel unveils new song Carvings in the Door

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Following their stunning debut album On The Steps of the Temple, the Arizona-based instrumental duo Tempel take their sound to the next level on their forthcoming sophomore effort “The Moon Lit Our Path”, due June 16 in North America, June 15 in the UK/EU and June 19 in Germany.

Recorded at guitarist Ryan Wenzel’s Phoenix-area Arrowhead Studio, “The Moon Lit Our Path” — which features intricate artwork by Lucas Ruggieri (Kylesa, Dragged Into Sunlight), as seen above — features five colossal tracks that mix progressive, black, death and post-metal into one mammoth sonic cocktail.

Today, Tempel is pleased to reveal the album’s opening track, the eight-minute composition Carvings in the Door. The song is now available as an “instant grat” download with digital pre-orders of the new album on iTunes and Bandcamp. Fans can also stream the track in its entirety on PureGrainAudio or directly below via YouTube.

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Early Music for Metalheads: Part 1

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The history of Western music did not begin in the baroque period. A continuous musical tradition can be traced back at least as far as the early middle ages and this music itself has links to the musical traditions of ancient Greece. Much of this music fell into relative obscurity due to its notation and the anonymity of its composers, however throughout the 20th century a concerted effort on the part of scholars and performers has resulted in a revival of much of the music of the middle-ages and the renaissance. This series will present selections of music from the middle-ages and the renaissance together with some historical and philosophical background along with reflections on why it is relevant to metalheads.

The earliest medieval music that has been preserved to the present day is monophonic, that is to say it consists of a single melodic line without a harmonic accompaniment. This music has mainly been preserved in the form of the sacred chants of both the Catholic and Orthodox churches. The chants associated with the Catholic church are relatively well known to Western ears as Gregorian chant, whereas the chants of the Orthodox church are less familiar.

From a purely technical standpoint these pieces are interesting due to their use of different modes (scales) and the fact that they focus on pure melody, rather than using melodic lines that conform to a harmonic structure. This approach will not be entirely unfamiliar to metal listeners given that death metal in particular tends to utilise melodic lines which are not rooted to a particular harmonic scheme. From an artistic standpoint these chants are also of interest to metal listeners. Their contemplative and reverent nature speaks to a mentality more aligned with metal than with modern incarnations of Christianity and suggest an understanding of that religion which has long since been forgotten.

 

The following is an example of Byzantine chant (the chant of the Greek Orthodox Church). Note that it utilises a vocal drone which is not entirely static but moves away from and returns to the tonic note of the mode in order to create tension and resolution. This technique may be considered a predecessor of modern harmony but the music is still essentially focused on melodic material.

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Classical String Quartets for the Death Metal Fan, A Second Look

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In order to help death metallers make a smooth transition into string quartets, the first edition of this series presented the reader with two quartets that are superficially and at least partially, in terms of a simplistic judgement of mood, akin to underground death metal. Today, we will venture into a territory that is equally relevant to metal, composition-wise, not because metal artists compose in this way, but as I suggested last time, because there are many ideas relating to refinement that could be extrapolated and applied in a death metal context. In order to make this transition smoothly, one of the quartets introduced in this second edition is still superficially dark in atmosphere.

Wolfgang Amadeus Mozart: String Quartet No. 19, “Dissonance”

Nicknamed after the prominent dissonances right at beginning of the first movement, it was the last of six quartets that Mozart dedicated to Haydn, who defined the classical way to write for string quartets. Even Beethoven recalls a before-and-after marked by the study of Haydn’s quartets. Mozart describes these quartets as “the culmination of a long and laborious effort” and many think it is the display of composer’s finest faculties.

As with any string quartet, the listener is encouraged to pay attention to each moment, absorb it, but not dwell on it. References to the exercise in dissonance application to an otherwise strict style can be found in other places in the quartet. A challenge may be to spot where this happens. We can start trying to wait for the moment in the second movement when the cello receives a leading line and the rest of the instruments play dissonant harmonies around it.

https://www.youtube.com/watch?v=ZyNFElawfTg

 

Béla Viktor János Bartók: String Quartet No. 4

An important influence to many from Benjamin Britten to King Crimson’s Robert Fripp, Bartók’s string quartets’ particular sound owed a great deal to the composer’s extensive field research on European folk music. Paul Wilson in his book, The Music of Béla Bartók, wrote that it was this research that allowed the composer to rid himself of the “tyrannical rule of the major and minor keys, leading eventually to a new conception of the chromatic scale, every tone of which came to be considered of equal value and could be used freely and independently.”. The astute and attentive observer may note that this, Bartók’s fourth string quartet, uses no prominent themes (complete musical expressions in themselves), but advances through developing motifs (musical cryptograms) only.

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Calgary Metalfest IV

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Big Nate Productions presents Calgary Metalfest IV June 3-7, 2015 with over 40 bands, kicking offJune 3rd at The Ship & Anchor Pub featuring: The Electric Revival, Bloated Pig, Lucid Scream, The Outer, and Woodhawk.

June 4th at Vern’s Bar will feature: The Cadavor Dog, Frightenstein, SS Doom, DethGod, Penitentz, After The Prophet, and No More Moments.

June 5th the Main Stage at Dickens Pub will feature: Villainizer (Edmonton), Begrime Exemious (Edmonton), Without Mercy (Abbotsford BC), Neck of the Woods (Vancouver), Vile Insignia, Every Hour Kills, Riot City, and Moosifix. Lord Nelson’s Bar features: Mortillery (Edmonton), Dead Asylum (Vancouver), XUL (Vernon BC), Sentient, Path to Extinction, Altars of Grief (Regina), and Skymir.

June 6th the Main Stage at Dickens will feature: Kobra and the Lotus, Into Eternity (Regina), Caveat, Untimely Demise (Saskatoon), Viathyn, Sparky (Saskatoon), Noire (Winnipeg), and Apprentice (Vancouver). Lord Nelson’s Bar features: Lavagoat (Saskatoon), Kataplexis, Chieftain, Doberman, Numenorean, Triton, and Okazaki Fragments.

June 7th CMF IV Hangover Party at Distortion – Live Music Venue. Bands to be announced.

Every year Calgary Metalfest has auctioned off a giant 4’x6’ festival poster signed by the bands to raise money for Make-A-Wish Southern Alberta. This year will be extra special as Reverend Rock (Ross Ingall) of the Metal Nation Radio program Too Metal For Church (Mondays from 10am-2pmand Fridays 12pm-3pm EST) has generously donated a Schecter Twin Tribal Double Neck Guitarfor the auction. The guitar and poster auction will take place before headliners Kobra and the Lotus go on stage at Dickens Pub on June 6th.

The Ship and Anchor Pub is located at 534 17th Ave SW, Vern’s Bar at 622 8th Ave SW, Lord Nelson’s Bar at 1020 8th Ave SW, Dickens Pub at 1000 9th Ave SW, and Distortion at 3828 MacLeod Tr. S, Calgary. All venues 18+. Doors for all shows will be at 8pm. Tickets and passes are available online at http://calgarymetalfest.com and at Dickens Pub, Sloth Records (Calgary), The Soundhouse (Red Deer), and from the Calgary bands.

CMF IV is sponsored by Last Rites, Heroes & Villains Tattoo & Piercing, Beatroute Magazine, Absolute Underground Magazine, UA LOCAL 496, and Metal Nation Radio.

 

Official site: http://calgarymetalfest.com

Nathan Renaud: info@bignateproductions.com 403.404.6283

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Deicide and Entombed A.D. to kick off the “Metal Alliance Tour” this month

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Floridian death metal masters Deicide will be back on the road again this month, this time as headliners of the “Metal Alliance Tour”! Joining them on the run is Swedish death metal legends Entombed A.D., along with Hate Eternal, Black Crown Initiate, Lorna Shore, and Svart Crown – making this one bill not to miss!

Ddeicide’s Glen Benton (bass/vocals) comments:

It’s with great pleasure to announce our involvement in this year’s Metal Alliance Tour 2015. We look forward to bringing our style of extreme…satanic death metal to all who attend and seeing old friends and making new ones as we travel the highways and byways of this great country of ours…As always we can’t wait to get out there and do what we do best…Crush…HAIL!

Entombed A.D.’s L-G Petrov (vocals) adds:

It’s going to be really good to tour the States again after a long absence overseas– and doing it with The Metal Alliance Tour is a great comeback! We are looking forward to sharing the stage with all the bands on the bill. Expect total headbang!!!

See below for all upcoming dates!

Metal Alliance Tour” dates feat. DEICIDE, ENTOMBED A.D., HATE ETERNAL, BLACK CROWN INITIATE, LORNA SHORE, SVART CROWN
May 26 – Montreal, QC @ Theatre Corona
May 28 – Columbus, OH @ Alrosa Villa
May 30 – Indianapolis, IN @ Emerson Theater
May 31 – Chicago, IL @ Metro
June 1 – St. Paul, MN @ Amsterdam
June 2 – Kansas City, MO @ Riot Room*
Des Moines, IA @ Vaudeville Mews**
June 3 – Denver, CO @ Summit Music Hall
June 5 – Spokane, WA @ The Pin!
June 6 – Seattle, WA @ Studio Seven
June 7 – Portland, OR @ Tonic Lounge
June 8 – Oakland, CA @ Metro Opera House
June 9 – Los Angeles, CA @ The Regent Theater
June 11 – Las Vegas, NV @ LVCS
June 12 – Mesa, AZ @ Club Red
June 13 – El Paso, TX @ Mesa Music Hall
June 14 – Lubbock, TX @ Depot “O” Bar Live*
Houston, TX @ TBC**
June 15 – Austin, TX @ Empire Garage
June 16 – Dallas, TX @ Gas Monkey Live!
June 18 – New York, NY @ Gramercy Theater
June 19 – Baltimore, MD @ Ottobar
June 20 – Charlotte, NC @ Tremont Music Hall
June 21 – Atlanta, GA @ The Earl**
June 22 – Tampa, FL @ The Orpheum**

* = DEICIDE, HATE ETERNAL, BLACK CROWN INITIATE, LORNA SHORE
** = ENTOMBED A.D., SVART CROWN

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A Comment on Bardic Tradition in metal

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The terms bardic or minstrel metal have often been used to describe bands that usually sing in a clear voice and with anthemic overtones, often imitate medievalesque motifs and write lyrics in the manner of romanticized ancient legends. Generally, the metal subgenre most readily associated with bardic expression is power metal because they advertise themselves as modern-day minstrels and theirs is the kind of catchy and upbeat music most people can latch on to most easily. The bardic spirit along with the culture it transmits, however, requires a sturdier medium that is able to etch its runes indelibly without detracting from the importance of their message.
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