The official narrative in all things exist to sell people products, whether ideological or commercial, and so always consists of half-truths, namely some things that are facts, but carefully leaving out others to let your mind fill in the rest as is convenient for the sellers.10 Comments
In a small departure from our regular Hessian content today, we are going to look into an important function of any community, which is passing on learning: those who experience life intensely and survive pass along what allowed them to not just survive but triumph, so that others can build on those lessons and discover even more success.18 Comments
Metal music inherited the album concept from pop music. Originally, records could only hold about 3-5 minutes of sound on each side. In the 1940s new techniques allowed each side of a record to hold around 20 minutes of music on each side. Because of these limitations, the ‘single’ became the standard composition in popular music. As LPs became more prominent, the single, played over the radio, was used as the marketing device to sell albums: a couple of catchy singles swimming in a thin grey soup of filler material. Because it is only marginally more difficult and expensive to record and produce a whole album, there are much higher profit margins on LPs than on singles. That a pop album was not a consciously constructed artistic whole is borne by the fact that pop ‘greatest hits’ albums are easy to listen to, straightforward affairs. Consider a greatest hits album from a metal artist… at best it is off-putting and at worst it is a flaccid, confusing affair because all the songs have been removed from their appropriate context.24 Comments
Article by Lance Viggiano
Metal, like nearly every form of contemporary western music, carries legacy traits from western classical music. Noting these inherited qualities and their contribution to metal’s identity is a fruitful venture worth study. Yes, some artists such as Emperor created music that may as well have been performed by an orchestra. Nevertheless there is a distinct tendency among metalheads to validate metal through this heritage. The logic behind this is eloquent and simple: Classical maintains an esteemed position and metal retains compositional/artistic characteristics of classical; therefore metal is good (insert adjective for good: High Art, Quality, etc.). This does a disservice to metal however as it forsakes the baroque for the succinct while deriving much of its power from textural aesthetics. Metal needs to be qualified and judged according to its own merits.
Both forms of music arrange motifs according to an underlying narrative. The pathos of western classical music is derived out of experiments in harmony that attempted to imitate a well ordered and intricately planned cosmos. The composer embodies the role of the One God who conceives and executes a nature in which each of its parts cooperate in accordance with divine law or in the case of music: its score and story. Metal however is all about the riff; not just its position in the score but also the way it sounds and the way it feels. Downtuning a guitar, plugging it into a bass amp, and dialing the gain knob to its upper limit are not trivial or accidental decisions. The textural component gives the music body which allows for succinct motifs to achieve significance out of relative simplicity. On the other hand, classical must take on a ”notey” characteristic to give the music weight. The roar of an ensemble is a force of its own, yet it is comparatively tame next to the bludgeoning delivered by an amplifier and a few pedals.
Classical entices the mind with intricate and ornate patterns while metal ignites the heart by delivering an unabashedly barbaric, vitriolic and brash force of will. With each occupying distinct but equally valid dimensions of the human experience – The mind and the heart, respectively – it becomes clear that using one to validate the other does a great disservice to each form of music. Unplug metal and survey its patterns next to classical and one will find that it sounds as if it was composed by intellectually immature children. Plug classical patterns into metal and one finds that the need to make tonal sacrifices to retain clarity while distilling patterns down so as to be performed by fewer instruments results in sterile powerless wank which exists without proper support.
The Romantic movement turned its gaze back to the primacy of nature from the perspective of the civilized man who took all of his habits of thought with him; retaining his clear, distinct abstract patterns and hard mental boundaries. He walks at a distance from the forest so as to keep his boots from the blemishing mud and his coat from the shearing thicket. The Romanticism of metal walks barefooted against the cold soil, barely managing to escape the weather but never the bonds of nature. His damp stone refuge is aerated by a primate musk so thick that the festering gobbets and searing tendons of his kill cannot penetrate it. The civilized man understands nature as an idea from which he is blissful detached and divinely endowed to understand while the uncivilized man understands nature as an irrational outpouring of desire against which his only freedom is attained by projecting his own will against the world. Each vantage point offers a unique view of the same landscape. From that summit the artistry of metal ought to be discussed and ultimately, loved.37 Comments
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”
For 20+ years, first with the Dark Legions Archive and next with the Death Metal Underground, the writers behind this site have encouraged comparison with heavy metal and two things: European Romanticism in art, music, and literature; and European classical music, which overlapped with Romanticism both in a specific time period and in themes it revisits even to this day. The similarities are abundant and apparent but offensive to those who want to believe the blues-rock spectrum was part of an authentic tradition, when in fact it was a commercial product simplifying earlier styles, and that — of course — metalheads cannot have any associations more profound than the sacred indie rock and its origins in 1960s protest music.
Now, others are taking up the call. Perfect Sound Forever, one of the oldest e-zines on the net, addresses the metal-classical linkage in an article in its current edition:
I’m here to show you that rock and roll and classical are very much relatives in an, albeit, diverse musical family. First off, the sort of person who enjoys classical music is the same sort of person who would enjoy metal or heavy rock music. Research by scientists at Heriot-Watt University has found that not only are peoples’ personalities linked to their taste in music – classical and heavy metal listeners often have very similar dispositions.
“The general public has held a stereotype of heavy metal fans being suicidally depressed and a danger to themselves and society in general,” explained Adrian North, the professor who led the study. “But they are quite delicate things. Metal fans, like classical listeners, tend to be creative, gentle people, at ease with themselves. We think the answer is that both types of music, classical and heavy metal, have something of the spiritual about them — they’re very dramatic — a lot happens. ”
Perhaps more will be known about not only the similarities between these genres, but — because every cause has an effect — what similar ideas or emotions motivated artists to make such similar music centuries apart.7 Comments
On his previous album of classical piano interpretations of the music of Richard Wagner, Alexander Jacob converted a contemplative opera into an ambient soundtrack in which melodies emerged evanescent and drifted toward the surface. With Richard Wagner: Der Ring Des Nibelungen, Jacob takes the more robust thematic material of that opera and makes from it an album of stormy but passionate classical piano pieces as we might find from Chopin or Brahms.
The piano attacks these pieces with a stormy bluster followed by periods of long contemplative expansion on the melodies, compressing lengthy operas into a classical piece that can easily fit into the listening of a normal classical listener, with more of a Romantic style on piano than the hybrid Romantic-Modernist style of the Wagner operas. In this, Jacob and the transcribers Richard Kleinmichel and Karl Klindworth translate Wagner into an entirely different style while distilling his lengthy compositions to the internal dialogue of complex but approachable pieces.
Where the last album occurred as waves of ambient melody as fit Parsifal, for the more sturm und drang material of the Ring cycle Richard Wagner: Der Ring Des Nibelungen takes an appropriately forthright approach in reducing many layers of orchestration and voices to a piano monologue. As an introduction to Wagner, this album may be more approachable than the first, although that may show more of Wagner’s technique in composition as it distinguishes itself from others. For those who want a classical piano experience that delivers intensity without veering into bombast, Richard Wagner: Der Ring Des Nibelungen will be a delight.7 Comments
The metal genre has been through an accelerated evolution through the course of 45 years in which it has seen itself renewed once and again. Each reincarnation representing a distillation of its essence. This process of stripping down rock-genre influences and following the path laid down by Black Sabbath in terms of spirit and methodology in composition hit rock bottom with black metal in or around 1994 (a precise date cannot be pinpointed, but this is a good marker). The meaning of this is not that black metal is superior to the rest of the metal genres (or subgenres, whatever you want to call them), this would be incurring in the mistake in appreciation we are here, in part, trying to correct and a misunderstanding of what evolution means. The ideal black metal shows little trace of having had any connection to rock at any level apart from its general instrumentation. This is similar to how rock music uses almost exactly the same instrumentation as jazz but we would never lump the two together. Thus, metal established itself as a completely differentiated genre.
What followed was a constant attempt at superficially injecting doses of alleged boundary-pushing elements that only resulted in either hardcore or rock outfits adopting metal riffs and vocals, or in avant-garde-isms that did away with what makes metal what it is and often did not build something of their own but just made an embarrassing disaster out of the music (see later Deathspell Omega). In part, this has come from a desperate and hopeless allegiance to the Cult of Novelty which comes from a misappreciation of the growth process of metal from Black Sabbath’s debut to the different branches into which it is said to have evolved. It is because in general this evolution is seen as a branching out in which each separate style is guided by a so-called innovation or separation (which in most cases was only a superficial distinction) that it has not been made clear that in fact metal’s real development has been an almost straight line towards death and black metal. Incorrectly including Led Zeppelin and AC/DC in the metal canon is also a grave mistake that leads to a misunderstanding of metal, in fact it is precisely this that leads to the loose definition that metal is a “loud music genre that uses distorted electric guitars and drums to sing about shocking topics”. To move on, we must first do away with such contemptible attempts at construing the genre and look towards deeper and more complex definitions as metal is not, as many seem to believe, undefinable, as it is said of love and hate.
What metal needs is to come into maturity. Contrary to what many still believe, that metal should keep playing the game of trying to present something new, the retro camp got something right in their lazy pessimism: everything has already been done, every riff, every melody, every variation. Well, not right, but it hints to a truth. The truth that there is only so much variation you can achieve through thinking superficially, thinking in terms of making something “interesting” in the sense of being “different” or “catchy”, which in disguise is what even nu-underground bands like Blaze of Perdition are doing. Under it all, there is a very simple backbone to a messy presentation and deplorable organization with non-existing clarity. Rather than concentrating on being “different”, “novel” or “interesting”, metal needs to concentrate completely on composition as a means to communication. Modern bands with some knowledge of theory will say they know this, that they are completely aware of it and that they keep it in mind, although their music tells another story, showing only a basic application of advanced techniques — a superficial understanding. This attitude is often accompanied by a “I know what I am doing, fuck off” implied (or sometimes explicitely expressed) statement that could reflect inferiority complexes that should be properly addressed. Rather than self-indulging and posturing, maturity leads to humbly facing your weaknesses — a looking up and learning from your betters.
But what does this maturing entail, precisely? First and foremost an accepting of metal for what it is through an integral understanding of its nature. Once this is achieved, the notion of bringing avant guarde (in metal, merely a euphemism for careless “experimentation”) into the picture will seem not only outlandish but utterly unnecessary. Second, find approaches to the development of metal that preserve it not only in spirit but in the full musical sense. Honorable efforts faithful to metal can be found in the work of Manilla Road and The Chasm, but both of these lack the ideal bringing-together of techniques and ideas in a clear direction. But a more excellent example lies in progressive and monolithic albums like Incantation’s Onward to Golgotha. Third, and equally important, is the abandonment of this hit-and-miss (miss, more often than not) philosophy as a method to achieve excellence. This, both at the level of a single band and of the metal world as a whole. Stop telling kids that making metal music means performing in any dirty hole and trying to get a deal with a label. That is not how you make music. That is definitely not how you make art. Besides, the Internet alongside improved hardware and tools for personal computers have rendered labels virtually obsolete — you do not need them to get your music out there.
Metal also has a big brother it can look up to not only as a source of experience of both dead ends and disasters to avoid but also of pathways to heavenly abodes. This is the quasi-defunct classical music tradition. Classical music bestows upon the modern composer a vast resource of more than a thousand years of rich tradition in composition, analyses and philosophy of music. It would be foolish, to say the least, to ignore it. Metalheads need to get this through their thick skulls: tradition does not mean stagnation, it means experience. Most metal is like an untended 12-year-old kid with boogers coming out of his nose playing at being a knight with a wooden sword, classical music up to the Second Viennese School is then like a veteran crusader returning home from fighting the Saracens. After that, most classical music, apart from a few exceptions, falls prey to post-modernism, just as metal did after 1994. Fortunately, there is a spark of hope for metal, it lies in those bands that have parallels in classical music to 20th century composers with a naturalistic and spiritual orientation like Jean Sibelius and Arvo Pärt. Such an orientation, when paired with trained composition and a high-level view of its applications, helps the composer (classical and metal alike) keep everything in perspective. But like them, these bands are a miniscule minority in an ocean of incompetence and pretension; an overwhelming number of other time-wasting projects that only come in to serve as more fodder for the distraction of clueless consumers.
There is a way to channel the abundant energy and willingness of metalheads from all walks of life. It also comes as a hint from the classical music world. This is the separation of roles according to aptitudes and interests. The first myth I want to bring down is that if you are a metal ‘musician’ then you must publish music. With today’s much more effective communication and far more accessible recording, this leads to an excessive overload of subpar material, even including the great majority of what is professionally-produced. Among the heaps of embarrassingly poorly-written music we find the talent of many technically-gifted musicians, even virtuosos in their respective instruments (see Hannes Grossmann). They are virtuosos because they spent countless hours through years of toil honing their skills on their instrument. In classical music they are called performers and are placed in a completely separate category from composers, who ideally should be proficient at some instrument but spent most of their effort and time in composition. In their world, performers are given as much respect as proper composers. This is also true of music scholars who are usually proficient musicians with deep knowledge of composition as well. This differentiation of roles would benefit metal greatly.
This has several immediate implications. One of them is that each project/band’s music should be the brainchild of a single person, with possible advice from second parties. Statistically, this has produced most of the best metal there is (Burzum, Bathory, early At the Gates, etc), so we have direct evidence in our own camp for the truth of this. Also, performer-bands can be formed that trains in particular styles, and specialize in the outstanding performance of certain kinds of metal works (both past and current). It must be clear that this concept is completely separate from the so-called professional “cover bands” we have today, which are identity-less imitators of a single famous band (see The Iron Maidens, Nemesis). This is not to say that the would-be metal composers cannot be part of the performing ensemble, but that the two functions should be separated for greater efficiency. As a direct result, we can avoid having musicians (performers) wasting their time (and torturing our ears) with music they aren’t prepared to make. If you spent your time learning how to express passages, become faster, improvising but very little on formal, controlled writing, your talents will consequently be lopsided towards the performance area. Composers can be amazingly gifted performers (see Beethoven), but these are rare cases of people who devoted every single moment of their waking lives (and probably their sleeping dreams as well) to music as an art. Modern metal technicality is more of a sport, although, we need not kid ourselves, wanking is nothing new in the world (see the young Liszt, Paganini). In the same manner, this also would allow the metal composer to focus on his composition instead of thinking of “the gig” itself, or worrying that his sweeping arpeggios are not heard clearly enough through the distortion. What we would have is a dialogue between metal composers and metal performers, with permissible and welcome overlappings. Last comes the category of true metal scholars. These should be as versed in history, philosophy and composition as composers, and should have a proficient grasp on performance of some kind. The metal scholar would come to correct the verbal debauchery and banality of the metal journalist, giving the audience a proper and well-deserved look and guidance in appreciation of metal works.
The road is clear for those with a clear mind to see. It is either this or destruction. The bands actually carrying metal forward without degrading it are already doing precisely what is suggested here. Specific methodologies are only possibilities and variations in the general direction. Remember, metal is not a kid anymore, it is time to grow up. This means embracing what metal is (and not adopting politically-correct discourse or becoming rock or jazz), recognizing the boundaries of the genre and great power that comes with the keeping of a clear direction.31 Comments
Arising from modern popular music, underground metal has retained many vestigial traits that several artists have consciously tried to erase and that some observers have started to question as detrimental to the effective expression of the genre. As the title of this article reveals, the case in point is the matter of albums as song collections. A good example of this becoming a hindrance to the message of the music is Gorguts’ Obscura.
Clocking in at one hour, Obscura consists of twelve songs, a little over the typical ten tracks of metal albums since the mid 1970s. The number ten has traditionally been associated with wholeness or completeness. In the most mainstream heavy metal circles it is considered only right to fill that exact number. No more, no less. A lot of death and black metal albums have veered slightly away from this rule and tend close their albums with eight or twelve tracks. Grindcore degenerates have never let numbers stand in their way and have completely given the finger to this rule as Repulsion, Napalm Death and Blood have shown us with their two-digit track lists.
The reason why more original and progressive-minded artists pay no attention to these unofficial guidelines is because whatever the artist has to say in an album should not be restricted by too many tracks. Even worse than being limited by the number of tracks is having to fill up tracks in order to reach the required number. This is precisely how we get the albums with “filler” tracks. Tracks nobody cares for but which make the album more “meaty” for those who care about such things.
More important than the adherence to a particular number of songs or tracks in an album is the fact that most bands produce precisely that: individual tracks bundled up in collections. This is Gorguts’ worse enemy even on their classic of classics. Every one of the songs up to the sixth track, Clouded, expresses a very distinct message in its method. After that, we basically get more of the same. The songs aren’t bad at all, but they do not add anything more to the album except extra minutes and more good songs whose essence is not any different from the ones before them. It’s basically thesaurus recitation.
Some propose that metal needs to look beyond the number, both as a rule and as a kind of indulgence. Just because that you have more songs does not mean you have to put them in the album. Just because you have more riffs does not mean they need a song to contain them. It is suggested that the album format in underground metal be exchanged for the classical opus format, where we have movements belonging to a coherent whole work, in which saying the same thing again and again is unnecessary and highly discouraged but in which consistency in style and voice is required to a healthy but not over-restrictive degree. Metal is not young anymore, the time to consciously take the step to the next level has come.23 Comments
Tags: 2015, albums, Black Metal, blood, Classical, Clouded, death metal, gorguts, Grindcore, movement, napalm death, Obscura, opus, progressive, repulsion, song collection, underground, underground metal