Analysis – Mayhem “Life Eternal”

Let us momentarily forget the ridiculous circus act that surrounds the legacy of Mayhem at this time and focus on what earned the band all the praise they deserve. “Life Eternal” provides a particularly interesting example composition because it consists of a collaboration between multiple musicians during the long creative process that led to the release of the album. Featuring the final lyrics Dead ever wrote as a parting gift and some incredible ideas from Varg Vikernes and a large number of ideas from so many other musicians, it encapsulates the original vision that the Norwegian Black metal originally possessed in its purest form.



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Riff Analysis: Master – “What Kind of God”

Master on their seminal record On the Seventh Day God Created… Master operated on the principle of taking one idea and pounding it into the listener’s brain as much as possible without droning on and maintaining some form of forward movement. Paul Speckmann’s riffs are simple and straightforward but there was always something there that pushed them above the hordes of bands making minimalistic Hardcore influenced Death metal. The first actual riff of the first song “What Kind of God” is a perfect example of what made Master deceptively unique at the riff level.



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Incantation – Intro Riff to ‘Golgotha’

The first riff off “Golgotha” is a fitting introduction to the madness of the early composition of Incantation. It is abrasively confrontational yet more detailed than what its immediacy initially hints at- although the listener is confronted with the familiarity of power chord accents and tremolo picked notes, the arrangement presents an inversion of death metal tropes that echoes the blasphemous lyrical content of the band. (more…)


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Analysis of Demilich’s “When the Sun Drank the Weight of Water”

[Sections of this article by Jerry Hauppa].

The Finnish scene has spawned an impressive number of death metal giants, possibly the strongest overall scene with no band searching for shallow fame or popularity and each band exploring their own sound in complete artistic integrity and more often than not achieving powerful results. Though all these bands have captured the hearts and the imaginations of Hessians everywhere, one four-piece has managed to completely change the face of death metal. Releasing one album that elevated metal into being recognized as an intellectual genre in the eyes of the mainstream, so much so that the mainstream metal media fled from this album as no one could commercialize and democratize what was being played here, Demilich were unfairly pushed back into the underground when they deserved adoration from the masses.



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Hailing from Finland and one of the leaders of the short lived Finnish scene that delivered some of the greatest music to ever grace the twentieth century and that genuinely scared most “metalheads” as this was truly an intellectual movement that retained the essence of metal while completely deviating from the norm musically. It is very hard to regroup these bands into a specific style but the closest connection between them is their ability to complete deform common scales and patterns with strategically chromatic notes.

Demigod had a strong understanding of how to make songs with a limited set of complex ideas and how to convey themes of apocalypse and human decay and the role a strong individual within that apocalypse. “As I Behold I Despise” is the first track after the intro and sets the frame of mind of what’s to come after through it’s use of a recursive melody that is always changing, blistering tremolo riffs and hyper active drums that don’t steal attention but empower the guitars.



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Classical and Pop Metal – part 4 (The Inner and the Outer)

robert fludd-utriusque-geist-und-bewusstsein-des-menschen

Article by David Rosales, 4th installment of a 7 part series.

When it comes to making music, people in general (including both audience and artists) tend to sum things up in “feeling”, or ways of looking at the world. That is all well, but it does not necessarily imply the way in which music is made, nor if this “feeling” of theirs reveals any worthwhile quality. What’s even more problematic is that although everybody may deduce from common sense that music operates at two primary areas, namely form and intuition, it is assumed that these are disconnected and that whatever the original feeling that produced them, the audience is free to interpret whatever they want from it, since music is completely free and completely subjective.

Be that as it may, the truth is that intention-feeling-intuition and the musical form that is produced by the artist are intertwined in a complex relationship. Most composers would describe their creation process as one in which they jump between abstract and concrete modes. The beauty of music is that there is no one-to-one relation between conscious thought and organically produced result, but there is, indeed, a causal relation that can be traced and generally pointed at with some experience and powers of observation.

We may start by defining two modes of creation, one in which the exterior, that is, the form, the sound, the pitch, etc.generates an idea, perhaps at the same level, or inciting a thought. This mode is akin to what the audience goes through when they listen to the music. The second one is one in which an idea, a thought or a general feeling moves the artist to find a chord, a sound, a texture or a structure that corresponds to what he is looking for to some degree (depending on talent, availability of resources, etc). While we can safely say that most creators will invariably switch between these two modes, the importance and weight they assign to each varies. This very way in which they think is crucial to the nature and character of the result.

This must not be confused with the methods of composition such as improvisation and strict arrangement, which are also usually used in combination by composers throughout the creation process at some level or another. Generally speaking, though, careless composers tend to improvise much more than arrange strictly, and superficial ones tend to follow an outside-to-inside stimulation predominantly, allowing the raw impressions of the music to guide it.

Those who err on the side of caution keep improvisation on a short leash and brainstorming carefully directed and observed, channeling it and augmenting it through strict composition. On a parallel line, the composer who follows an inside-to-outside thought process keeps the externalization of a consistent logic line in check so that they make sense as much as words, statements and sections in an essay do. It is no mystery both kinds of arrangements, verbal/written and musical, are called compositions.

“Good simplicity, not that euphemism for folly”


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Classical and Pop Metal – Part 3 (The Natural and the Artificial)


Article by David Rosales, 3rd installment of a 7 part series

The word “artificial” denotes anything that is made by man, and which would not otherwise occur in the natural world. Likewise, anything that is “natural” is something that belongs to nature, not a conscious product of human design. Art itself is artificial, as its name suggests, and this very definition has lead modernist artists to trip catastrophically into the pitfall of abstract thought: confusing reality with its verbal definition.

The premise of modernist art is that since all art is artificial, then it should not matter how far away from natural human perception we take the art. The idea appears to be logical, at least on the surface, but it has mislead generations of artists who ending producing worthless (but “interesting”) garbage. Alas, logic is not enough to make an idea compatible with reality, and incorrect or incomplete premises and assumptions will invariably lead to flawed conclusions. The mistake here lies in ignoring the premise that while everything that is produced by humans is artificial, the consumer is only a natural organism, which only has natural means of achieving this consumption or utilization. This can be said of anything that our species makes use of: chairs are made so that our bodies are comfortable, food is prepared in all sorts of way but it must have a degree of compatibility with our body lest it be inedible, etc. Everything that an organism will consume, utilize or interact with must have a certain degree of natural compatibility with the organism in question.

This can be said about more things than the most obviously physical. The mind itself must arise from the same “physical” universe, albeit at a different level of differentiation which science only partially understands. The human mind itself has its own tendencies and limitations that are independent of nurture, and in turn the input faculties also lie within a particular range. Furthermore, not only is there a limited degree in which they are useful at all, there are degrees to which each of these is beneficial or detrimental to the healthy growth of mind and body, which are two sides of the same coin.

Now, if sensory limitations were the only obstacles, then the second line of modernist arguments would be triumphant; they argue that one needs only be repeatedly exposed to the experience of modernist art so that the ear gets used to it and accepts it. This is admittedly true, since the human body can accept all sorts of torture. It can even take pleasure in things which are unwholesome or detrimental to it when they are designed to interact with natural receptors. Modernist art goes the other way and avoids these natural receptors, thereby coming up with an altogether incompatible interface.

The mind, the subconscious, however, has its own nature (by which is meant that it is made for a very specific range of activities and consists of a very specific range of abilities: pattern recognition, narrative, etc), and brain plasticity is not infinite. We are products of this world, and as such our mind naturally reacts to certain input in a certain way. Hence, art that attempts to be unnatural is not truly appreciable or perceivable as spiritual, as traditional art would. It can only be interpreted in a cerebral manner and perceived in waves of shock.

Western classical art has traditionally been about the connection of the human being with the divine: his own higher nature as an extension of the natural order of the universe in which it becomes an individual for a single cosmological moment only to return to the whole. Modernism, then, is not a classical art. Modernist music is not classical music. It is not because it rejects natural avenues and instead argues for an ultra-natural, ultra-sensory experience that produces rationalizations.

To close this topic, we can liken this distinction between classical and modernist art to the difference between the traditional esoterism of the ancients in which multiple meanings were layered in symbols and rituals aimed at revealing actual information to the thelemic magick of Aleister Crowley, which placed value on the experience rather than the actual content. The classical is holistic and self-contained, the modernist takes needs arguments and justifications to appear to have any value at all.


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Classical and Pop Metal – Part 2 (Inadequacy of Existing Definitions)


Article by David Rosales, 2nd installment of a 7 part series; read the first part here

Most people with no formal training regard pop as a subset of the many kinds of music genres they can possibly listen to that are not considered “classical”. This implies a delimited genre that is easy to listen to, particularly repetitive, and with a strong emphasis on catchy choruses that form the whole of the content. It’s considered superficial even by those who profess to love it, who do so in a tongue-in-cheek manner. It’s all about the fun, they say. Classical music actually has two definitions, but the popular take on it is that it’s boring and long-winded music written and performed by some old men and nerds at school.

Modern academia unofficially defines “popular music” simply as “everything that is not what we do”. Sadly, they impress upon this broader group the same restrictions that non-academics would on their particular “pop” genre. It is obvious to anyone who explores so-called popular music beyond The Beatles or Michael Jackson that this definition is more of a belligerent and dismissive gesture than a sincere attempt at distinguishing what is a much richer well of music. In short, it is an indirect way to claim the irrelevance of anything that is not academic music.

When confronted with this reality, either through accidental exposition (such as a music teacher dealing with the musical tastes of a classroom with varied musical backgrounds) or as a result of a casual debate, it is not uncommon to see academics jump through hoops to justify an out of hand prejudice or a forced humanist humility that will accept the most vulgar and banal musics as a valid expression of the soul. In either case, real discernment is sorely missing. Also, that the musical academic establishment hilariously wants to keep calling itself “classical tradition” when they have abandoned all but the most materialistic of the original precepts is a sign of their arbitrary and lazy attitude towards music that is not spoon-fed to them (oddly, a reflection of the same attitude of most mundane popular music listeners).

When we accept that music goes beyond mere forms, beyond parts and consists not only of the instruments, or the notes, or the intentions but is truly an entity completely apart born from these elements, we tacitly acknowledge that the terms used to describe genres most also go beyond the surface and take into account holistic considerations. For this, both current uses of the terms “popular” and “classical” music are not only unsuitable, but defined unevenly. While pop music is defined in very narrow and simplistic terms, classical music is considered this vast and unrestricted attitude that is only tied together “objectively” through the most superficial and politically-motivated arguments.

Those with a serious background in academic music would readily accept that correct distinctions have to lie at a metaphysical level, even though we must necessarily judge them through concrete notes and forms. It is here that the average person becomes bewildered, at a loss since he is no longer able to make universal egalitarian statements. The key to untangling this moral conundrum is to be truly scientific about the matter and take into account the context at several different levels, in which music develops. The distinction between the broad groups distinguished through our new “classical” and “pop” (to avoid using the noun) terms take on a much more abstract though still nebulous character.

That it is abstract does not mean that it cannot be decided or that concrete music analysis cannot be applied. It simply means that strong contextualization is a must, and that the fact that art can never be objective, because the whole of the human experience is itself necessarily subjective. This in no moment means that standards should be lowered, but that standards should be understood not at a superficial level of complexity, but in the interplay between intention and realization in proper context. For this, the concepts of natural and artificial, inner and outer, as well as transcendence need be discussed and understood.


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