Amebix returns

Instead of indie rock dressed up as metal, it’s punk dressed up as indie rock with heavy metal influences.

Definitely better than any indie metal from the last 10+ years

Just for kicks and contrast, some early Amebix too:

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NWN’s Yosuke Konishi does a radio show

I can’t believe that, in a community of people who claim to be so tight and supportive, this hasn’t gotten more traction.

Nuclear War Now! Productions label head Yosuke Konishi logged on to KSFJ radio and recorded a six-hour live broadcast of his favorite metal tracks:

Playlist / Parts 1 ~ 2 ~ 3 ~ 4 ~ 5 ~ 6 ~ 7 ~ 8 ~ 9 ~ 10

Mostly old-school stuff with some new-underground additions.

For your convenience, here are all of the shows in a single archive (635mb, Megaupload) so that you can download them with one click and happily listen away.

I have to say that Yosuke K. did an excellent job with these shows. The purpose of radio, like sampler CDs or written reviews, is to expose an audience to contenders for quality and/or insightful music. By providing a contrast between samples, the DJ shows his audience what he has learned (as an expert in the subject) and allows them to make their own choices about where they fit into that vision. More information from the man himself in this forum topic.

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International Day of Slayer — June 6, 2011

Inter-National Day of Slayer — June 6, 2011.

The Inter-National Day of Slayer is a worldwide holiday for metalheads by metalheads.

Slayer is an emblem of metal: fast, powerful, still alien to the mainstream after 28 years.

If every other religious, ethnic and political group gets their own holiday, we deserve one too.

Who is Slayer

Slayer is a band from California. Their music has come to epitomize Satanic speed metal music in the latter half of the 20th century. Their 1986 album, “Reign in Blood” is one of the single most influential metal albums of all time, typified by the modern classic “Angel of Death”.

How to Celebrate

  • Listen to Slayer at full blast in your car.
  • Listen to Slayer at full blast in your home.
  • Listen to Slayer at full blast at your place of employment.
  • Listen to Slayer at full blast in any public place you prefer.

DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of Slayer. National holidays in America aren’t just about celebrating; they’re about forcing it upon non-participants.

Taking that participation to a problematic level:

  • Stage a “Slay-out.” Don’t go to work. Listen to Slayer.
  • Have a huge block party that clogs up a street in your neighborhood. Blast Slayer albums all evening. Get police cruisers and helicopters on the scene. Finish with a full-scale riot.
  • Spray paint Slayer logos on churches, synagogues, or cemeteries.
  • Play Slayer covers with your own band (since 99% of your riffs are stolen from Slayer anyway).
  • Kill the neighbor’s dog and blame it on Slayer.

Visit the Inter-National Day of Slayer website for more information!

Where to purchase Slayer albums

If you don’t already have at least one Slayer album in your collection, purchase from amazon.com:

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Relevant Artists

If you like Slayer, also try:

Thanks for reading!

Inter-National Day of Slayer team

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More on Alex Kurtagic

Here’s a sampling from his black metal project (1996-2007) called Benighted Leams:

Sounds like a Manes/Fester crossover.

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Pop is a sham

Someone else pointed out what we know — mass culture is a product disguised as individual self-expression:

In the sphere of luxury production, to which popular music belongs and in which no necessities of life are immediately involved, while, at the same time, the residues of individualism are most alive there in the form of ideological categories such as taste and free choice, it is imperative to hide standardization. The “backwardness” of musical mass production, the fact that it is still on a handicraft level and not literally an industrial one, conforms perfectly to that necessity which is essential from the viewpoint of cultural big business. If the individual handicraft elements of popular music were abolished altogether, a synthetic means of hiding standardization would have to be evolved. Its elements are even now in existence.

The necessary correlate of musical standardization is pseudo-individualization. By pseudo-individualization we mean endowing cultural mass production with the halo of free choice or open market on the basis of standardization itself. Standardization of song hits keeps the customers in line by doing their listening for them, as it were. Pseudo-individualization, for its part, keeps them in line by making them forget that what they listen to is already listened to for them, or “pre-digested”.

The most drastic example of standardization of presumably individualized features is to be found in so-called improvisations. Even though jazz musicians still improvise in practice, their improvisations have become so “normalized” as to enable a whole terminology to be developed to express the standard devices of individualization: a terminology which in turn is ballyhooed by jazz publicity agents to foster the myth of pioneer artisanship and at the same time flatter the fans by apparently allowing them to peep behind the curtain and get the inside story. This pseudo-individualization is prescribed by the standardization of the framework. The latter is so rigid that the freedom it allows for any sort of improvisation is severely delimited. Improvisations — passages where spontaneous action of individuals is permitted (“Swing it boys”) — are confined within the walls of the harmonic and metric scheme. In a great many cases, such as the “break” of pre-swing jazz, the musical function of the improvised detail is determined completely by the scheme: the break can be nothing other than a disguised cadence. Here, very few possibilities for actual improvisation remain, due to the necessity of merely melodically circumscribing the same underlying harmonic functions. Since these possibilities were very quickly exhausted, stereotyping of improvisatory details speedily occurred. Thus, standardization of the norm enhances in a purely technical way standardization of its own deviation — pseudo-individualization. – Theodor Adorno, On Popular Music

This doubly applies to nu-metal. The whole essay is worth reading.

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Obituary drummer feeds feral cats

I’m almost too cynical to think the news is anything but press releases, yet:

Donald Tardy has two passions.

His music – he’s the drummer for the death-metal band Obituary. And his cats – more than 140 of them.

They live in woods, behind shopping plazas and in dumpsters. They scrounge for food, scavenging rodents and trash, and fend off raccoons.

They’re feral cats, and according to the Humane Society of Tampa Bay, they’re among an estimated 200,000 roaming Hillsborough County.

Tardy tends to more than 20 colonies, some with as few as two cats, others with nearly 30. He carefully protects their locations; some people are capable of unimaginable cruelty, while others find colonies a convenient place to dump unwanted cats. Every day he checks on “my gang,” feeding the cats and, when necessary, getting them veterinary care. – TBO

This makes me feel better about the time I went on a bender and re-purchased all those old early 1990s albums (and the Judas Priest catalog up through 2004). Some things just get better with time.

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Cursed Productions interviews Amon Amarth

Our old friends and comrades at Cursed Productions just interviewed one of the bands to take death metal mainstream, Amon Amarth.

While this band personally has no interest for me, being “too busy” as if trying to run away from life itself and sounding too much like a metalcore version of Dark Tranquility, seeing a quality metal journalist get some recognition is always a bright spot.

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Why care at all

A reader writes in with one of the big difficult questions:

For more than a year, I’ve been into heavy metal. Being an atheist i listened to bands that mocked religion. As i don’t have any knowledge of structure or how a riff is good or bad, I listened to anything that whose lyrics read well, but soon nihilism struck me and I started losing faith in people and the mainstream. I felt a sudden urge for good art as an outlet of my emotions, but then my idea of art was shattered.

So my question is: what is art?

In 1917 Duchamp took a urinal and turned it over, signed it ‘R. Mutt’ and submitted it to an art show! His ready-mades weren’t meant to be admired in an aesthetic sense and because of this he challenged the belief in art as something holy and placed on a high pedestal, art as something distant and divorced from life during the dada art period

later in 1692 neo dada art was emerging,Duchamp did not agree with the attitudes and direction taken by Pop Art and Neo-Dada

In a letter dated November 10, 1962 Marcel Duchamp wrote: “This Neo-Dada, which they call New Realism, Pop Art, Assemblages, etc., is an easy way out, and lives on what Dada did. When I discovered ready-mades I thought to discourage aesthetics. In Neo-Dada they have taken my ready-mades and found aesthetic beauty in them. I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty.”

Why is one band better than other? How do I judge?

I’m badly confused which metal CDs I should buy; I also see that one thing you consider while judging a band is you learn the philosophy of the members and the environment they came from, but when the band is so underground the data of their members is not available, what is true metal?

1)one which is highly technical
2)or that maybe immature in technicality but have a strong…. philosophy…and what is more important or inspiring to you
a)lyrics
b)structure
c)or other things…

Is art just too overrated?

Let’s take them one at a time:

What is art?

Art is that which expresses a meaningful view of life; it is a communication from artist to appreciator (listener, reader, watcher, viewer). True cynics like myself view it as a dual natured beast, expressing both aesthetic enjoyment (showing that life has significance) and some form of philosophy, vision, emotional context or other worldview (the end goal that author found meaningful for that signficance). Art takes many forms, and there is no equality between forms or between artists or even between works; some express something that can be said through no other medium.

Which is the true metal band?

Technical, or philosophical? you ask. I respond with this concept: the band that is artistic, and exemplifies the spirit of metal (a Romantic yet warlike notion of transcendence through worship of power, not moral good) is good metallic art.

If the technicality is used in service to this goal, it’s great. But technicality for its own sake is boring, as 100,000 starving nu-jazz musicians in America can tell you.

Does the band need to have a philosophy? Not really — their music needs to show the presence of some organized thought (many would call that a philosophy) and to express it in a way that is artistic, and compelling. If it doesn’t do all of that, it may be art but I don’t want to listen to it.

Lyrics… I have forgotten about these, for many years. Some are inspiring. Most are stuff that rhymes and bounces in the right places with the right number of syllables. For me the archetype is Deicide: their lyrics “sound like” an occult vision of war in reality. Sometimes they’re incoherent. But they always sound awesome.

I don’t worry about trueness; that which is true turns out to be good, amazingly enough. So I pursue quality, because life is short and if you love metal, you want the best stuff.

I am probably an atheist; if God must be singular, anthropomorphic and moral, I am definitely an atheist and a blasphemer. (See my short monograph entitled, “If your human-like God can do anything, can He fuck Himself?”)

I am a nihilist. I believe in nothing but that which can be derived from observation and thought.

At the same time, I have seen more that I and science cannot explain than what it can… and my thoughts have led me to a kind of mysticism that is compatible with quantum physics, esoteric hermetic philosophy and even higher math. Others have found similar paths.

Unfortunately, this leads one to become a realist (in the vernacular, not philosophical, sense) or rather a consequentialist. Back to art above: life has significance. If so, we don’t want to screw it up. So we treat life as a laboratory, and keep the ideas that produce good results, and throw out the rest until we can test them.

This in turn should address your underlying question which seems to be: why care about what has quality over what does not? Why measure quality at all?

The answer is simply: if you love life, you want something that can complement it, and yourself, and that means you seek the authentic, the thrilling, the interesting, the beautiful and the amazing. And that is why, if you’re gonna listen to metal, throw out the shit and seek out the greats :)

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Marketing versus descriptive writing

We always talk about how here on ANUS, we try to describe the music as it is, not assess it in some “social” way (that easily lends itself to selling the music to dummies). People doubt us. So here’s a brief comparison:

Marketing

Q: What’s the title of the new Slayer album?

A: World Painted Blood.

Q: What’s it sound like?

A: What on Earth do you think?

Nine studio albums, thousands of live shows and nearly three decades into a career that’s made them one of the biggest and most important metal bands in the world, the members of Slayer know exactly what kind of music they make—brutal but beautiful, punishing yet precise. A fresh Slayer record is a thing of terror but also one of trust: You can depend on what you’re getting—even if you’re unprepared for it.

As guitarist Jeff Hanneman says with a sly little chuckle, “At this point I think a Slayer album pretty much speaks for itself.”

And yet there are some interesting things you should be made aware of regarding World Painted Blood, the highly anticipated follow-up to 2006’s Christ Illusion, which debuted inside the Top 5 of Billboard’s album chart, a career best for Slayer. Let’s start with the fact that its fury, believe it or not, was born out of fun.

“The interaction between all of us on this record was really something special,” says Hanneman of his work with the band’s three other founding members: singer-bassist Tom Araya, guitarist Kerry King and drummer Dave Lombardo. “Rather than trying to get something done,” Hanneman continues, “it felt like we were just having a good time. We were discussing things, giving things a go. The prevailing attitude was, ‘Let’s try it!’ It wasn’t even work, really—it was play.”

For the first time ever, Slayer entered the studio—in this case, The Pass, in Los Angeles—without an entire album’s worth of material already written and rehearsed. They’d booked a preliminary chunk of studio time in October 2008 to see how they liked working with producer Greg Fidelman, who’d been recommended to the band by their longtime pal Rick Rubin after the two worked together on Metallica’s Death Magnetic. “While we were in there recording the couple of songs we had, things were just really clicking with Greg,” says Araya. “So we thought, ‘Why don’t we try to write the rest of the record in the studio?’ We weren’t sure what was gonna happen; we just kind of did it, and the music kept on coming.”

Not only did it keep on coming—first during that initial session, then in a second period of work stretching from January to March 2009—but it came in a way it hadn’t before, driven by a new degree of collaboration. For Slayer’s last several albums, Hanneman would write his songs, King would write his, then the two guitarists would bring their separate material into the studio, where the band would put it to tape. “This time,” says King, “everyone was talking about what we were doing. Everyone had a say and was involved—like, ‘Maybe we should go faster here or stop there or whatever.’ It was cool.”

Hanneman is succinct when asked how or why this cooperative spirit took root. “I have no fucking idea,” he admits. “The chemistry was just good.” The guitarist does note that Slayer “weren’t rushed, and that makes a lot of difference with the music. I don’t like being rushed, and on this record we had plenty of time.”

You can hear the effects of that creative freedom throughout World Painted Blood, which Lombardo says fits in with such classic Slayer slabs as Reign in Blood and Seasons in the Abyss. “The rhythm riffs on this one make the hairs on the back of my neck stand up,” says the drummer, who describes his determination to make his parts sound human and natural, rather than like the product of a machine. “It does it for me the same way those older records did.” King agrees: “I think it has kind of a retro vibe to it,” he says. “It sounds like the stuff we wrote in the ’80s.”

Did this renewed enthusiasm brighten Slayer’s worldview? Not exactly. “We have a tendency to follow a theme, and I think on this record the theme is more apocalyptic than usual,” says Araya, pointing to songs like the title track, a meditation on what the year 2012 has in store for humanity, and “Public Display of Dismemberment,” which King says is about whether or not certain “vulgar but effective” law-enforcement measures might work as well in America as they have elsewhere. “That’s kind of the running concept here,” Araya adds, “but aside from that it’s the usual Slayer topics of death, murder and serial killers.”

Usual, perhaps, but far from ordinary, World Painted Blood is one of Slayer’s most impressive efforts yet—a vicious, uncompromising look at what’s broken in our society and how frighteningly powerless we are to fix it. King says World is “more well-rounded than the last couple of albums.” Lombardo calls it “a speed metal record with emotion.” Anyone with ears will think it’s an accomplishment of a major kind. – Amazon.com Slayer Store

Notice what’s missing: they don’t talk about the music. They talk about the people, how many albums the band sells, how vicious it is, the topic of the lyrics (which is not necessarily the same as the topic of the song), and how shocking it is. In essence, what other people will talk about when they talk about it. Real information? Minimal. Now of course, this piece comes to us from Slayer’s reps via Amazon.com, and is not exceptional in any way. In fact, Slayer resisted doing this shit for decades. Now they’ve got a big label behind them demanding they do it because everyone else does it, and it’s effective, which means that if Slayer doesn’t do it, it’s like fighting with one hand tied behind their backs.

Here’s another:

In junior high, there were three albums whose covers scared the shit out of me, and which I consequently kept in a desk drawer out of immediate view: Reign in Blood, Blessed Are the Sick, and Arise. While the former two remain all-time favorites, at the time, Arise hit the spot best. All three albums are primers on blazing speed coupled with powerful atmosphere, but Arise possessed a stronger melodic quality that never came off as cheesy or compromised. Andreas Kisser’s solos are oases of respite from the Cavalera brothers’ unrelenting, dystopian riffage. As a son of the ’80s and a disciple of films like Brazil, Robocop, and Blade Runner, I really appreciate the post-apocalyptic imagery in Cavalera’s lyrics, an aspect that he’d continue to hone on Chaos A.D.

Speaking of that album, I got shit in an earlier post about saying Chaos A.D. is the album where Sepultura “become men”. I still think that’s true, but paradoxically, I must qualify that Arise presently edges it out as my favorite Sepultura album. Ultimately, it’s a less fully-realized sonic world: the production is flat (what the fuck is wrong with those drums?!), the guitar tones are not layered in any meaningful way, and are almost fatiguingly mid-rangey. While Arise represents Sepultura at their apex as a speed/thrash/death band, Chaos A.D. is them being the band they were always meant to be. You can hear it in the confidence of the songwriting, and you have to hand it to a band when they reach that point in their lifetime; so many don’t.

So why does Arise edge it out? To paraphrase my friend Anson, MY GOD, those riffs. From “Arise” to “Infected Voice”, there’s not a dud in the bunch. It’s also worth noting how deftly they did the speed thing, especially considering they pretty much forsook the blastbeat after this record. It’s the end of an era in Sepultura’s evolution, and they closed it with all guns blazing. Arise still takes me back to a time and place, and that album cover, for all the fear it instilled in me, remains a favorite. Like the riffs, it reminds me of what I love about my favorite superhero comic books: metal, like comics, sometimes functions on more is more. – Invisible Oranges

These are all marketing, because their point is to convince you how cool something is, and not give you a sense of its broader relevance. The individual and the social sphere are the same thing in varying degrees; if something panders to your lower functions, it will do the same for others and thus be popular. Reviews that talk about how popular something is, how influential it is, or how “unique” it is are not commenting on the music — they’re talking about the scene, the fans, the market — and as such as tangential.

Descriptive

Oh look, someone talking about the music.

Pandemic Genocide doesn’t stray too far away from the established Vader/Behemoth territory, although perhaps slightly simplified in execution and with a hint of Immolation mixed in, as well. This is not exactly a problem, in my opinion, as that is prime real estate to explore, and there are 666 metric tons of great, memorable riffs here. To carve out a more unique identity, PG occasionally slows down and gets a little atmospheric, which maybe works the best in the excellent “Arcana Mortem.” These guys also have no problem with faster tempos, as is evidenced in the amazing title track, and really all over the place, with surgical precision. – Metal Curse

Here we have a description of the aesthetics of the music that’s succinct and complete. We know what we need to know about the style. Some assessment of how well it pulls that off, and how the riffs are written and how the song structures work, and most importantly, what sort of artistic content (narrative of moods, progression of ideas) is enclosed, …well, that would be nice. But it’s not going to happen in a one-paragraph review, which is the smart format to do if you’re going to write 5000 reviews like that writer has. He covers every area of metal in a way few can.

And another:

One could have sworn Verhern and fellow label mates Kargvint are the very same band; both sound and musical approach of these otherwise twin bands is almost identical, and even though they do not share any band member between them (Kargvint being a one-man show), Verhern’s self-titled album is so much like Kargvint’s excellent Seelenwerks Fortgang (reviewed on Diabolical Conquest not long ago), it’s uncanny. Verhern, unlike Kargvint, is comprised of three members; the usual classic metal ensemble of a couple of guitars, bass, vocals, a drum set as well as some distant keyboards, buried so deep in the mix, they are ghost-like, hovering above the music occasionally, adding to it an eerie flair, not unlike Burzum’s key work on Filosofem’s opening track Dunkelheit. Again, as was the case with Kargvint’s album, dismissing Verhern’s debut is almost a natural response upon listening to it for the first time; shallow, hollow and derivative, uninspired at best and primitive at the very worst were the first impressions registered by this reviewer who was ready to tear this album apart a second before he actually listened to this musical work carefully, with unbiased ears and clear mind. This is good music in the sense it emanates emotions in abundance; from the heartfelt vocals to the sensual, despairing riffs, the whole creates a thick, relentless atmosphere of pain and sorrow, and a sense of transcendence. The metal of Verhern is fleeting and intuitive, not your usual gut-wrenching heaviness and sonic violence; on the contrary, here the music walks the more humble, insinuative paths, always distant and estranged, touching-not-touching, creating waves of black ambiance and generating almost erotic beauty. – Diabolical Conquest

While this reviewer is almost certainly overpraising this album, he’s making an honest and clear attempt to talk about what’s inside of it. The style is well-known enough that he dismisses it with a sentence or two, then launches into a description of what the music attempts to evoke. For example, Pantera likes to evoke righteous rage and a desire to hump fenceposts. Slayer used to evoke a mythic sense of occult warfare. Opeth evokes a desire to become pacifistic, navel-gazing, sensitive and on bottom during violent gang anal rape scenes. The review contrasts the techniques used in the music to what it attempts to evoke; the only weakness is, perhaps, that the description of emotions is too inclusive and thus vague.

You can see how some people are out there being “successful” by hyping stuff; they’re also not elitists, they’re egalitarians, for the most part. In their view, albums are not good or bad, but “different” and perhaps niche-bound. Other people are more hellbent on describing the music and so, by the natural process forced on them by the writing they do, they’re finding out which music stands above the rest by not being “unique” in some random combination, but by having something interesting to express and expressing it well.

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