Morbid Angel Fail at Shilling Kingdoms Disdained

Former death metal band Morbid Angel announced that their upcoming crappy album will be called Kingdoms Disdained and revealed themselves to have wussed out as much as Chuck Schuldiner from Death.

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Warum ist Averse Sefira sehr Schwach?

Article by Raimund Weiner. Ffans und die Untermenschen may recognize me from the comments under such alter egos as Brainer Rascalslut und Strainer Weidensbutt; yes, the veil has come off, liebe Untermenschen.

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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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Russianvids Exposes Metallica

Youtube conspiracy theory vlogger Russianvids exposed Metallica’s connection to the Masonic-Satanic Illuminati. Russianvids noted many displays of goofy homoerotic antics from James Hetfield, Dave Mustaine, and Kirk Hammet. Lars Urlich’s predilection for kissing and tonguing other men is shown. Russianvids explain this is part of the Masonic conspiracy to condition the general populace into accepting homosexuality as normal rather than statistically abnormal behavior.

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MetalSucks Editor Publishes Love of Nazism

Article contributed to Death Metal Underground by Cullen Toner.

Longtime MetalSucks editor and self-proclaimed snowflake Emperor Rhombus released a 1,256 word editorial professing his love for Nazi culture and aesthetics on the site’s apparently unregulated front page. The move was seen as an obvious reach to the NatSoc community as MetalSucks attempts to appease the young users of the glowingly popular 4chan image boards by creating articles to reflect the national socialist posts on /pol. The article was immediately praised by the legions of anti-Semites that frequent the site’s comment’s section as they proclaiming their support of the site’s newfound Nazi sympathy with comments like “Hitler did nothing wrong” and “(Emperor Rhombus) knows what is good for the goyim.”

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A Response to Satanic™ Complaints

Article by David Rosales.

Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.

The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.

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Sarpanitum – Blessed Be My Brothers…

Sarpanitum blessed be my brothers

Sarpanitum’s Blessed Be My Brothers was one of Death Metal Underground’s rejected albums for the Best of 2015. The album initially showed promise. The introductory track, “Komenos”, presents the audience with Sarpanitum’s combination of chromatic death metal riffs, melodic heavy metal leads, Unique Leader Records brutality, and Emperor-like use of a melotron to approximate medieval polyphony to anchor the concept album’s theme of the Crusades.

“By Virtuous Reclamation” surges forth with soaring, harmonized guitars calling for the conquest of the Holy Land continuing into an Immolation style rhythm riff. A break starts the counterpointed dissonant riffing in the Unique Leader style that variates logically enough for Pope Urban II to call for crusade against the heathen Saracens with a metalcore scream, providing a harbinger of the randomness to come. The band returns to the opening riff minus the accompanying lead. The lead’s eventual return signals the start of the Emperor melotron. A sudden slowdown for a cheesy emotional solo continues into the original riffs, climaxing into a polyphonic blend of every musical element and texture. The song barely avoids falling on its face on the way to to the finish line.

The second real song, “Truth” opens directly with Unique Leader riff salad. The Emperor worship is only to plant listeners in a Western European medieval mindset to distract them from the fact the tension built up by the dissonant riffing is never appropriately resolved. The emotional stadium rock solos are just as disconnected from the death metal as the Emperor aping. “Glorification Upon the Bones of the Sundered Dead” better glues the riffs together but still resorts to emotional, Slash-style solos to impart the triumph of the Siege of Jerusalem.

If Blessed Be My Brothers had ended there, it would have been a disparate but listenable concept album. Instead Sarpanitum use the second half to tell the Muslim side of the later Crusades through similarly flawed but less effective songs. This isn’t just a 180 degree change in perspective: the band added another of their heavy metal heroes to the blender. Ersatz Gorguts riffing plus even more masturbatory glam rock solos leads distract from the effective atmospheric and brutal elements. The songs turn even more so into senseless technical deaf metal with Emperor rendered down into pop hooks.

The drastic changes of viewpoint and influence betray the album’s semi-successful first half. The atmosphere of Western mysticality established using Emperor to approximate a polyphonic medieval choir is wrecked by the hippie drum circle interlude, “I Defy For I Am Free”. Blessed Be My Brothers is a postmodern, apologetic Frankenstein. Wikipedia “neutral point of view” metal for meek liberals is antithetical to Emperor’s classical triumph and heavy metal’s “Compassion is the vice of kings: stamp down the wretched and the weak,” virtus.

Listen at Willowtip Record’s Bandcamp

Better yet, just listen to In the Nightside Eclipse again instead.

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Beanitos Original Black Bean With Sea Salt

beanitos_original_black_bean_with_sea_salt

This product exemplifies the fraud perpetrated upon American consumers, with those consumers as willing participants, by the food industry. The name is cute; the graphic design is great; the theory (backed by an ideology of health by avoiding evils) is impeccable: gluten-free without having to say so, non-GMO, low-fat, low-salt and low-sugar. In other words, they have made junk food without the evil-ness of junk food.

Except for one problem: they taste — almost literally — like heat-pressed cardboard, with undertones of old garage dust. To say they are tasteless is not so in the same way that tap water is not tasteless; the taste of Beanitos, however, resembles nothing like a chip, which is not a bad thing, but nothing like good, which is a terrible thing. Here we see the fallacy of trying to make good by removing evil alone; one must actively intend to do good, and remove evil to that end, but without the corresponding filling-of-the-void with good, what is left is not evil but entropy. An ashen heat-death of absent flavor and questionable nutrition, clearly fleeing from our fears of high-fat high-salt high-sugar McDonald’s style junk food, but not making it to the other extreme of Real Food. Instead, you have the junk food with the evils removed and the remainder is a jumble of mediocrities.

Original Black Bean With Sea Salt chips are great for any gathering that is essentially political. That is, if you are swimming in acquaintances who are obsessed with veganism, gluten, cholesterol, salt and other scapegoats for their poor health — which can be cured by moving to the suburbs and getting some exercise, for the most part, unless they are outright doomed by bad genetics — these Beanitos chips are a good compromise that will not offend anyone. They will not make them enjoy the experience, but many people judge life based on ideology and not enjoyment or beauty or truth or any other of those old-fashioned things, and so if your audience is suitably neurotic, they will claim to like these. But beware: they are not good, nor flavorful, nor really useful as chips. We tried feeding them to grackels and they gave us the finger (feather?) and flew away.

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Early Music for Metalheads: Part 1

Ikona_SofiyaPremBozhiyaGRM

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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