Black metal as a countercultural force is stronger than ever! Enlighten’s nevv, trve, and Mötley Crüe extended play sparks the minds of searching listeners with a novel twist on the ambient, droning minimalism of lovably scruffy internet meme and murderer Varg Vikernes. Ditching Burzum’s reprehensible racism and homophobia for the soulful 80s rock ballad edge of tattooed, Tom Hardy lookalike Jon Nödtveidt’s Dissection makes the perfect soundtrack for a chilly night drinking whisky on the porch with your cardigan on her back. Phösphorvs Paramovnt comes highly recommended for fans of the spiritual material of Skagos and Vattnet Viskar who were entranced by Vice’s “True Norwegian Black Metal” doc. This release is strictly not for those still stuck in the decade-old, checkout line pop of Coldplay. – KIM KELLY
Major scale hipster tomfoolery is a cancerous, changeling impostor. Just from the poor cover and title, you know this release is probably going to be Coldplay. Enlighten do not let the listener down in putting power ballad butt rock into songs that superficially resemble Burzum’s ambient, droning black metal. This is another one strictly for the jegginged, tattooed, alt-bros into “black metal” for the “feels.” On track two, “Devourer ov Stars”, they even jack the keyboards from Coldplay’s Clocks to appeal to those thirty five year old, former frat bro, date rapist dads married to that ex-sorostitute they roofied senior year who do not want their jams played over the Target intercom. Not even being sacrificed to the anti-cosmic gods by the Temple of the Black Light could make these wind up monkeys achieve spacetime nirvana.
Music analysis and judgement (of any of its attributes or as a whole) can be done from different vantage points and with different emphases. Generally speaking, there are a few main approaches that are common in pop and metal reviews. Some judge it by its production qualities and its popularity, that is, mainly as a marketable commercial product. Others that are inclined to “feeling” the music will base their reviews on technically uninformed emotional impressions of the music. Others with a limited but comprehensive understanding of the technical will judge music as if it were a contraption, even being able to separate emotional impressions from material achievements of music. These are broad categories but individual reviewers usually fall in grey areas in between them with stronger tendencies towards one or another.
DMU’s approach has traditionally been one of judging music as romantic-era (19th century) literary and music critics would: an attention to evocative results as a function of technical means with a holistic emphasis. What this means is that what is most important is the final and total result and not the individual merits. Additionally, we focus on the lasting evocative power arising from a layered and technically (at the composition level) competent work that moves beyond the technicality itself while not disregarding the musical balance it provides. In music we see the construction of Gothic cathedrals and not modern skyscrapers.
A useful analogy can be made between detailed music appreciation and reverse engineering in software engineering. Some might jump at the thought of comparing the two since “music is not a computer program” but these are nonsensically reductionist complaints. Anyone who truly understands how an analogy works knows that the source of its power arises from the insurmountable distance between the two obviously disparate objects being placed beside each other. The distance and disparity only serves to bring to the fore and underscore the characteristics we are interested in, achieving greater clarity by a negation of the irrelevant. The objects are not equated, they are superimposed. More precisely the main object under analysis is transposed into the space of the second one being used as an analogy.
To understand reverse engineering we must understand the order and direction of original construction. A vague idea is conceived usually behind a foggy screen since the builders have not yet figured out the details of how they will bring this into reality. Then, a step a time and usually with deviations from the original concept, the “material” shape of the concept comes into being. At the other end, when we are presented with a piece of software to reverse engineer, that is to say, to analyze and understand in terms of its parts, what we can see is the materialized concept only. The first step is to understand what this piece of software exactly does as we do not know how it was built. We get to understand what it does by categorizing input and output relations, which direct us towards an understanding its behavior in different situations — different contexts. The result of a successfully reverse-engineered software program is a piece of code whose compiled object behaves the same as the original one in every conceivable way possible. This code is most probably different from the original one, but this is irrelevant since the importance of this code is the understanding and reproducing of the final piece of software. Original software building moves from details and into the solidification of a vision. Reverse engineering moves from the solidified vision and into the details.
In other words, what matters most is the total end result (as in music or software engineering) and not the judging of parts for their own sake (but only in relation as to how they affect that end result). This is why it is important as an analyst to move in a backward manner. But for this to be valuable, the person must understand this holistic result first, and this is only achieved through study and knowledge. This is comparable to the analyst of software who needs to not only see the input and output relations but understand higher-level concepts and probabilistic tendencies derivable from those. In the same way the analyst of music must through his own lenses and knowledge grasp a picture of the whole in its relations between harmony, rhythm and melody derive a map of sequences of movements and balances.
Going from the general to the specific enables us to keep a holistic view in focus. It helps us place the sum of the parts over the individual parts themselves. Trying to pick out the traits first and then judging the whole by making a recapitulation of these is not only obfuscating the whole which some with a more limited understanding judge to be impossible to put in objective terms but can be deceiving of just what the true quality of this work actually is.
To illustrate this point we can observe how appreciation of many so-called progressive acts is carried out. The positive reviews of these usually entail a shopping list of traits to be filled. Tempo changes, signature changes, contrasting moods, variety of instrumentation, instrumental competence, catchy and captivating melodies perhaps, too. An album like Dream Theater’s Images and Words fits these requirements to the letter and yet the result is a messy carnival train wreck that expresses nothing in particular precisely because there is no view of the whole in mind as a musically-balanced entity, but only as a sequence of cool moments.
This phenomenon can also occur through ignorance of what music constitutes. This happens in pop and the so-called symphonic metal, which I will re-baptize with a more honest name: metal-like pop, or just metal pop. In this vein, an album like Nightwish’s Endless Forms Most Beautiful is received by its fans and judged primarily in terms of how catchy it is. How effective its hooks are and how much they will like its melodies. Arguably a more musically honest affair than the pseudo prog of Dream Theater, this reduces music to only one of its many aspects and judges the whole by its effectiveness.
Finally, I would like to mention the often mis-appreciated Obscura by Gorguts. Ignorant and pretentious journalist twats like Anthony Fantano spewing almost nonsensical and musically irrelevant descriptions such as “intense technicality”, “noisy surprises” and “dizzying structures” of Gorguts’ music in Coloured Sands represent the epitome of the post-modernist hipster’s appreciation of the band’s music. While popular arguments in favor of Obscura include how “technical” it is (while most fans barely even grasp what this actually entails, they think it has to do with how difficult it is to play or hear), how foreboding its atmosphere is while remaining “brutal” (an obviously superficial judgement of quality) or even worse, how “original” (by which they mean different) it is. They’ve basically reduced a masterpiece to “difficult to play and listen to, brutal and quite different from most stuff out there”.
The merits of Obscura are far more subtle than that, as are any real merits resulting from true excellence. The degree to which it sounds superficially different comes from a use of the riff that I would call mystical. That is to say, the riffs and their harmony here no longer represent what they traditionally do, but they remain significant in terms of the operations they build in the context of their neighboring riffs. They stop being translucent symbols that show the way into a harmonic and melodic conclusion and they become opaque, acquiring new meaning — a specific musical function dictated by their author– determined by their positions at different moments that instead causes the mind to reach that conclusion on its own through coherent indirection and dissimilitude of expression within a consistent language. In this, Obscura is the death metal counterpart to Darkthrone’s Transilvanian Hunger.
Stepping away from the dynamic picture that music is and listening for the total results and relations in the big picture enable us to know exactly what to look for as explanations for these. In a way it implies focusing on an interplay between the subjective (our impressions of the whole) and the objective (the music structures themselves) to locate music — itself an expression of beauty, to which the dichotomy of objective and subjective is inapplicable — somewhere in between.
Like the clueless cannon fodder that most sacrificed soldiers end up being in major wars, so too are the hordes of albums of clueless “musicians” working on a way to cash in on the lack of attention span and seriousness of the masses. Lazy music for lazy minds, candy music for people wearing rose-colored glasses. It all ends up here, sadistically reviewed, their corpses lying on the ground. Perhaps comparing these releases to massacred soldiers is giving them too much life. These sterile releases are more akin to cardboard boxes with Andy Warhole (yes, War-HOLE) colored stupidity. Heathen Beast – The Carnage of Godhra
Scream lyrics in monochromatic vox, make cavemannish groove riffs that mimic the vocal rhythms, and then overlay or alternate with middle-eastern instruments from a keyboard. Apparently Heathen Beast thinks this is enough to make some sort of progressive folk music. Of course, you need the narrated sections, or the dialogues. Then this becomes a conceptual release. Just because you can release your musical creations does not mean you should unleash your turds on the world. Some of the cheapest music to hit the mail this month. Osculum Infame – The Axis of Blood
Make-believe black metal that grooves like alternative metal. The nonsensical juxtaposition of sections to surprise and contradict expectation is rampant. The point is not to make the music coherent in any sense. The point is to posture. We are black metal, man, we are hardcore black metal. The reliance of this music on grooving rhythms and macho-man vocals ala Phil Anselmo is as sickening as it is disgraceful. The true black metal fan will do well to stay away from this one. Save yourself some precious minutes of your mortal life.
VoidCeremony – Dystheism
The epitome of the riff salad disaster in the so-called atmospheric death metal. The trick here is simple: make obscure, messy riffs, lots of them, more than you can count. They do not need to progress in any particular direction, they do not need to be necessarily related. They do need to keep a character, at least. This will make the fans laud your music for creating “such a dark and oppressive atmosphere”. You will hear poser hipsters like Anthony Fantano who know nothing about the graceful art of musical construction praising poorly thought-out death metal such as this. They equate “I do not know what the fuck is going on with the music but I can get the feeling” with good quality in death metal. Tough-sounding ambient music for blockheads.