Ihsahn: “What I do now is musically still black metal.”

Ihsahn is recording his upcoming solo album right now in Norway according to Blabbermouth. Furthermore Ihsahn believes that black metal is not a specific type of heavy metal music but rather a mind set and that the random progressive rock and jazzy instrumental masturbation Ihsahn performs now is still actually “black metal” despite not even being metal music to begin with, yet alone black metal.

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Thirty Years Under the Sign of the Black Mark

Bathory‘s Under the Sign of the Black Mark turned turned thirty years​ old last month. The album marked the start of Quorthon adding in the epic atmosphere of Manowar and Iron Maiden which would come to fruition on Blood Fire Death. Under the Sign of the Black Mark also happened to be one of the first black metal CDs I ever purchased, which I preceded to play non-stop for about a week until getting bored of it and going back to listening to Altars of Madness.

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Burzum’s Top Ten Metal Influences

Varg Vikernes posted a video a few weeks ago to his ThuleanPerspective Youtube channel listing the ten metal albums most influential to Burzum. We forced a lowly, supple-assed Death Metal Underground junior staffer/catamite to type them up into a play list for our readers:

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Traversing the Underground: Roots and Origins

tolkien-tree

Article by David Rosales.

A trend in the modern conception of anything has been that the newer something else, the better we expect or assume it to be. Experience in reality, however, has also given rise to another perception: that the new tends to be worse and not better. Attempts at rationalizing this drive the pseudo-intellectual, pro-sheeple crowd to say that times just change, but ratios of quality do not vary. This is not only unscientific but an obvious politically correct answer that has as its premise that everyone is equal, and hence, that the resulting products of these “equal” people must also be probabilistically equal. Impermeable external influence seems to them the only changing factor, with the internal being either infinitely constant or practically negligible. This is assumed and then possible causes are haphazardly and desperately pieced together, the answer is assumed and then anything is either positive evidence or brushed aside if too problematic to incorporate into the fairy tale. Ignorance compounded with pretense and emotional insecurity always results in capricious imposition of an arbitrary and dogmatic concepts and scale of values.

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Apokalyptic Raids – The Third Storm (2005)

apokalyptic raids the third storm

Article by Corey M.

At the beginning of this album, I thought I was in for some ironically incompetent Venom worship with affectations of naivety: “Metal about metal” as it can be rightly called. The drums are played in a bare-bones punk style. The guitar(s) loop punk riffs in predictable verse-chorus style structures while the vocalist rants in a smoke-shredded voice about typical metal stuff. No virtuosic leads or even harmonies are present. However, as the record progressed, the raw efficacy of the chords overcame my cynicism and my head began to nod to and fro of its own accord. Maybe these guys are a throwback or tribute act. Maybe they have actually never heard anything more recent than the first Bathory album. Either way, their riffs have an undeniable ability to hook energy-pumping tentacles into your brain and stir in your heart the desire to get off your ass and be a living, bleeding, raging human. When it comes to music, is there anything better than that?

Listen to and purchase the vinyl reissue of The Third Storm from Hells Headbangers’ Bandcamp page.

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Metal as Anti-Modernism

metal as anti-modernism

Article by David Rosales.

I. A Romantic Art

In the past, we have likened the spirit of metal that culminates in death and black metal to that of the literary, romantic movement in Europe. Romanticism was meant to embody ideals of naturalism and individualism in a return to primeval spirituality connecting us with our origins, our surroundings, and a more conscious future. The romantic character of the 19th century stands in glaring opposition to the heavy industrialist upsurge and man-centered utilitarianism of that time. Epitomized metal contrasts with this idea in one important aspect: while artists two centuries ago strived to bring attention to the importance of human subjectivity, underground metal stressed irrelevance of the human vantage point.

In describing metal as a neo-romantic artform we may well be undermining the aspects that define it in its historical and psychological contexts. Historical as each movement is encased in a flow of events linked by causality and psychological, on the other hand because of the relative independence and unpredictability with which leading individuals affront these inevitable developments. Together, these two factors account for freedom of choice within predestination. Even though romanticism and metal were both reactions to the same decadence at different points in time, the latter rejects the former’s inclination towards universal human rights and other products of higher civilization in exchange for a nihilistic realism arising from the laws of nature. Underground metal is a detached representation of a Dark Age; one where power and violence are the rule in which all forms of humanism are hopelessly deluded or simply hypocritical.

The uncontrolled and contrarian character of metal stands at odds with the more self-aware and progressive bent of romanticism. Metal, at least in its purest incarnations, can never be assimilated – something that cannot be said of the older art movement. Pathetic attempts at dragging metal under the mainstream umbrella that abides by status quo ideals often fail catastrophically. When forcefully drawn out before dawn’s break it will inevitably miserably perish upon contact with the sun’s rays like a creature of catacombs and dark night-forests.

Attempting to define metal is as elusive as trying to pinpoint ‘magic’. Outsiders cannot even begin to recognize its boundaries. The mystical, ungraspable, and intuitive nature it possesses attests to this and sets it apart from romanticism in that not even those belonging to it are able to crystallize a proper description. The very substance of the genre is felt everywhere but the innermost sanctum always dissipates under the gaze of the mind’s eye.

II. Romantic Anti-Modernism

Even though it cannot be said that the one defines or encompasses the other, the connection between romanticism and metal nevertheless exists. Aside from the concrete musical link between them which helps us describe metal as a minimalist and electronic romantic art, the abstract connection is more tenuous and related to cyclic recurrence1. Metal is not a revival of romanticism nor its evolution, but perhaps something more akin to its rebellious disciple: a romantic anti-modernism.

The foundation of this anti-modernism is a Nietzschean nihilism standing in stark contrast with hypocritical modernist dogma; it spits in the face of the semantic stupidity of post-modernism. This is a sensible and ever-searching nihilism2 that does not attach itself to a particular point of view but parts from a point of disbelief in any authority. It is a scientific and mystic nihilism for those who can understand this juxtaposition of terms. It does not specialize in what is known as critical thinking but in the empirical openness to possibilities taken with a grain of salt. The first dismisses anything that does not conform to its rigid schemata; the second one allows relativism as a tool with the intention of having subjective views float around while transcending all of them and moving towards unattainable objectivity.

Such transcendentalism connects metal with Plato and Theodoric the Great rather than with Aristotle and Marcus Aurelius. Metal looks beyond modern illusions of so-called freedom and the pleasure-based seeking of happiness. It recognizes that without struggle there can be no treasure and that today’s perennial slack will only lead to complacent self-annihilation. This is why, instead of representing the blossoming of nature in man through the sentimentalisms of romanticism in its attitude above time, to use the words of a wise woman, metal stands stoutly as a form of art against time.

III. Essential Reading for the Metal Nihilist

As an attempt to communicate our understanding of the essence and spirit of underground metal, below are some books through which to start the abstract journey through metal and the metaphysics that moves it.

Industrial Society and Its Future
Theodore John Kaczynski – Industrial Society and Its Future

Choosing Death
Albert MudrianChoosing Death: The Improbable History of Death Metal and Grindcore

the illiad
Homer – The Illiad

bhagavad gita
The Bhagavad Gita

Tolkein Children of Hurin
J.R.R. TolkeinThe Children of Húrin

critique of pure reason
Immanuel Kant – Critique of Pure Reason

IV. Some Music Recommendations for the Metal Nihilist

We have traditionally presented a certain pantheon of underground death and black metal to which most readers can be redirected at any moment. A different set is presented below that is nonetheless consistent with the writer’s interpretation of Death Metal Underground’s vision.

bruckner salone romantic
Esa-Pekka Salonen – Bruckner: Symphony No. 4 in E-Flat Major “Romantic

sammath-godless_arrogance-cover_photo
SammathGodless Arrogance

condor-nadia
CóndorNadia

bulgarian state choir
Bulgarian State Radio & Television Female Vocal Choir – Le Mystère des Voix Bulgares

julian bream portada
Julian Bream – La Guitarra Barroca

timeghoul
Timeghoul1992-1994 Discography

iron maiden somewhere in time
Iron Maiden – Somewhere in Time

bathory-twilight_of_the_gods
BathoryTwilight of the Gods

V. Films

Not being a connoisseur of cinema in general, the following is but a friendly gesture. This is a loose collection for the transmission of a basic underground metal pathos.

tout les matins du monde
Tous les Matins du Monde

the witch
The Witch: A New-England Folktale

martyrs-movie-poster12
Martyrs

until_the_light_takes_us.jpg

untilbox
Until the Light Takes Us
A 2008 documentary film by Aaron Aites
and Audrey Ewellabout the early 90s
black metal scene in Norway.

tarkovsky stalker
Andrei Tarkovsky – Stalker

Notes

1This is not the re-happening of the exact same universe that Nietzsche is supposed to have been talking about, but a transcendental recurrence of sorts. What I am trying to express here is the cyclic reappearance of abstract and collective concepts among humans, because they are also part of this universe and as such are subject to such underlying pendulum swings in the forces that move it. Perhaps a better descriptor could have been abstract collective concept reincarnation, but that seemed to convoluted, and cyclic recurrence captures the wider phenomenon, irrespective of what definition academia wants to adhere to.

2This somewhat liberal use of the term nihilism deserves to be explained a little further in order to avoid confusion. By this it is not meant that metal’s outlook consists of nihilism in the ultra-pessimistic sense, in the sense of total defeat, which seems to be the expectancy of most people from nihilism. The idea here is that as an art movement born in the post-modern era, in a civilization that has already been ravaged by nihilism, stripped from relevant cults, metal begins from a posture of extreme skepticism that is extended to everything and everyone. This skepticism is nihilistic because no intrinsic value is placed on anything, yet it is scientific because it is curious and will experiment. Metal’s development dances between nihilism and individualistic transcendentalism.

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Nihilistic Holocaust webzine publishes rare Quorthon interview

The folks at Nihilistic Holocaust webzine recently uploaded a rare cassette interview that an unknown fan or journalist managed to score with Quorthon of Bathory. To my understanding, while there’s a reasonable amount of historical documentation of early underground metal, a lot of it is locked away in unscanned fan magazines, unpreserved recordings, and so forth. It’s always interesting when someone unearths these documents. This specific interview showcases Quorthon documenting his experiences touring, working with Black Mark Productions, releasing various albums and so forth. Definitely worth your time if you have a spare 15 minutes.

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Worlds

worlds-ISS023-E-57948_lrg
Article by David Rosales

Pretty much once in a lifetime does an artist of the greatest kind offer a work that has added to its musical consummation the ability to summon entire worlds into the conscience of the listener. The three following examples of this achievement go about this in the same way that Tolkien’s mystery mythology is built: by broad strokes, consistency in themes and marvellous artistry in strategic details. These also form a triad that describe three concentric spheres of human experience: the physical, the mental and the divine.

Stormcrowfleet (large)
Stormcrowfleet
: The Metaphysical Will

Here is a pondering on will, vision and the embracing of the self’s calling:

Devouring the world through the senses, only to slowly flood back into it and extend Will yonder. Powers sifting awesomely in vast expanses according to harmonious law. As the fruit of work materializes, impetus is satiated and now serves as pulse. Arcane forces call beasts of desire into action, as does the disciplined mage through obedience to true aphorisms attain silent influence.

Destiny is embraced, faced with passionless determination. Beyond what is felt, what is seen, what is heard, closer to the truth, there proud and solitary existence awaits. In that place, sensation and impression are fused with meaning. It can never err, it simply is and is ever becoming. Such is the fire-lit secret of unclothed reality.

folder
Dol Guldur
: Mind and Imagination

Longing for earthly beauty and the majesty of man’s handwork and a respect for the purpose that is instilled into them cries out in whispers through the crevices of undead statues. High culture and nature are melded in absolute harmony through a revitalization of Tolkien’s verses. Man is here but a speck in the middle of the grandeur of this Earth, this center of our cosmos, the most precious of gifts to mankind.

Mythic transpositions of stone structures and forests from a mortal’s character and inner struggle are interleaved. The landscape painting of the master linguist is vibrated in shy cadences that sustain melodies gradually taking us aloft to places not corresponding to our physical present, nor to a faithful idea, but somewhere in between. This is where dream and reality meet, whence manifestation of destiny ensues.

bathory-blood_fire_death
Blood, Fire, Death
: Cruelest Present

Without leaving behind legendary imagery as an aim and placeholder for imminent action, we are shown an unapologetic picture of crudeness. This is the here and now of human experience. It is the visceral rushing of adrenaline-charged blood through the limbs.

No glory, no shame, only happenstance. In this nihilism is the truth of the triune complemented and completed.Things are or they are not. You live or you die. Revel in the ritual of life and attach no special meaning to anything.

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Invocation Spells – Descendent The Black Throne (2015)

invocation spells - throne cover
Article by David Rosales

Downward strums; rock-like, minimalist d-beats; a repetitive, constant duple-time cadence that becomes a familiar entrancing device. These are all the hallmarks of eighties Hellhammer inspired evil speed metal plus plus. What we hear in Descendent The Black Throne is, basically, what we would hear if Tom G. Warrior were more “progressive” minded and less careful about creating a strong atmosphere of darkness (Editor’s note: Tom eventually got around to that in a fashion on Celtic Frost’s Into the Pandemonium, although such is certainly not Hellhammer inspired).
It is precisely the feeling that Invocation Spells seem to be more bent on the “evil of fun” rather than the “fun of evil” of a Hellhammer. This can be seen in the fact that songs focus on the variety of rhythms rather than in respecting motifs and emphasizing them. Now, this is not the mindless progressive obsession that refuses to produce any sort of repetition as sections are, in fact, reused, but the different sections seem to bear little relation to each other outside stylistic coherence. This forward momentum that emphasizes rhythmic acceleration and intensification over clarity makes Invocation Spells’ Descendent The Black Throne akin to run-of-the-mill “infernal”, pseudo-black, speed metal of the eighties.
While I could recommend this for fans of this particular style of metal, what I would actually recommend is that you download Hellhammer’s full discography, as well as Bathory’s and Celtic Frost’s early output and make this the sole repository of your attention to this spectrum of minimalist evil metal. Nothing you find out there rivals them, and if you want to get acquainted with excellence and not just flooded with quantity, you have a choice to make. Oppose irrelevance. Oppose mediocrity. Avoid mental indolence.

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