Hipster band and MGLA knock-off UADA were unable to play a show in Mexico because of a bit of sunlight in a country known for its year round high temperatures. Apparently playing droning songs with occasional Dissection like melodies in a vest is such a challenging feat that anything above room temperature is considered a battle against the elements. While UADA are in no way rockstars it seems that they have taken up such mannerisms and petty behavior. The fans who paid to see this band should consider themselves lucky after this. UADA may pretend to be some kind of profound art with an important message but in reality they are bunch of trendsters who falter at the slightest challenge. Hopefully the band die of heat exhaustion in the Sahara.18 Comments
Hecate Enthroned are known for being second fiddle to Cradle of Filth within the UK black metal scene and have followed their footsteps into third rate Black metal generally in the ridiculously named «Symphonic Black metal» style which is a complete lack of riffcraft being overcompensated by simple keyboard melodies. For those who are unfamiliar with this band, their 1997 release The Slaughter of Innocence, a Requiem for the Mighty was decent if at times inconsistant Black metal and is their summit. Their latest release sees an uninspired band attempt to reconcile cookie-cutter Blackened Death metal with the newer post rock elements that have invaded Black metal to create one of the worst excuses of Black metal to have ever existed.2 Comments
As with anything labeled “USBM,” it is an inevitable that an experienced metal fan will approach this release with caution regarding just how flannelly, how post rock, how try-hard and yet how vulnerable it is. With a cliched moniker that clashes together a couple of clumsy tropes to echo the oil and water mixture that Americans and black metal suspend as, Wolvhammer presents itself and its material as confidently confrontational so the saccharine despair of modern takes on the vulturized genre are initially somewhat absent, but the juvenile approach does not in its stead give credence to the overbearing impudence on display.1 Comment
Modern metal bands will often add all sorts of odd and extraneous elements to the music. What is most curious and notable, even as one cringes to the sounds of flutes or children’s choirs and such, is not what is in the music but what is lacking in the music: an aggressive, adventurous, feral spirit that is the common element of all metal music. While experimentation, new ideas, and new textures and elements are not in and of themselves bad things, most bands, being the crowdists they are, get the horses of the apocalypse before the meat wagon. As Socrates so sagely reckoned all those years ago, the spirit informs the final shape that the physical body will take – to build the creation without spirit is, in essence, to create something that lacks shape and indeed lacks the very essence of being.No Comments
Poseur cash grab Finnish label Blood Music posted his favorites albums of 2017 recently on his Mosh Core Trends Fun book page. Nobody needs a 24 LP boxed set of Emperor (Only need In the Nightside Eclipse and Wrath of the Tyrant / Emperor compilation CD) featuring rehearsals of Ihsahn’s mom telling Emperor to stop dressing up like The Lost Boys and nobody needs anything on this poseur’s shilling list. Nobody wants to pay to join Blood Music’s fan club to buy his hipster merchandise. Blood Music should go shoot himself. A hollow point to the back of the head gets the job done as he has to blow up his shill lizard brain to make sure he dies for good. Do it.44 Comments
Metal interview blog Bardo Methodology interviewed Nuclear War Now! Productions owner Yosuke Kinishi earlier this week about his motivations for starting his mostly war metal label. Konishi spoke about his mild misanthropy, veganism, “die hard” edition cash grabs, and how most war metal bands (presumably on his label) fail to live up to the social Darwinism they spout.51 Comments
As many movies from the 80s and 90s will tell you (e.g. SLC Punk and PCU), youth counter cultural movements of those decades were once various fragmented groups or “tribes” baring their own identity while all opposing the mainstream Whitney Houston and boy bands on the radio. You had your goths, new wavers, punk rockers, emos, ect. at war with the “jocks and cheerleaders” collective of popular kids and, in some cases, at war with each other. But in the years to follow, the deadly combination of multiculturalism and micro culture has effectively ended this conflict as there was no longer a singular popular culture and therefore no “them” in the classic “us vs. them” dynamic. Therefore, these varying counter cultural factions were unified into one ugly all encompassing monstrosity: the hipster.6 Comments
The metal community has always defended itself against poseurs, with most of us realizing that hipsters, scenesters and other groups are varieties of poseur.
What is a poseur? Someone who pretends for the social status of being seen in a hip group. Metal, as it turns out, has authenticity because we are actual rebels, not rock ‘n’ rollers singing protest songs to give legitimacy to their pursuit of hedonism.
Hipsters, poseurs and scenesters are threatening because they are insincere. They adopt a musical genre to make themselves look cool, and in the process sabotaging it by bring it to a lowest common denominator of attention-getting behavior.
This guts the genre from within. The spirit that made it authentic has been replaced with the same trashy plastic advertising that covers everything else. The genre then becomes absorbed by the same old stuff, which is itself a mishmash of whatever has sold records over the past five generations.
Perhaps the best definition of hipster — the mishmash left over when a civilization fails — comes to us from AdBusters magazine:
Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.
But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”
An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.
But even that captures what hipsters are now, not the simple fact that they are an old archetype going back to The Enlightenment. The Bohemians of the 1900s, the rebels of the 1600s, and the giggin’ hipsters of the 2010s have some things in common: deliberately unconventional behavior, focus on ironism and uniqueness at an aesthetic level, and hedonistic lifestyles at the expense of the rest of us.
New York Magazine has more on the history of the hipster:
The hipster, however, was someone else already. Specifically, he was a black subcultural figure of the late forties, best anatomized by Anatole Broyard in an essay for the Partisan Review called “A Portrait of the Hipster.” A decade later, the hipster had evolved into a white subcultural figure. This hipster—and the reference here is to Norman Mailer’s “The White Negro” essay for Dissent in 1957—was explicitly defined by the desire of a white avant-garde to disaffiliate itself from whiteness, with its stain of Eisenhower, the bomb, and the corporation, and achieve the “cool” knowledge and exoticized energy, lust, and violence of black Americans. (Hippie itself was originally an insulting diminutive of hipster, a jab at the sloppy kids who hung around North Beach or Greenwich Village after 1960 and didn’t care about jazz or poetry, only drugs and fun.)
The hipster, in both black and white incarnations, in his essence had been about superior knowledge—what Broyard called “a priorism.” He insisted that hipsterism was developed from a sense that minorities in America were subject to decisions made about their lives by conspiracies of power they could never possibly know. The hip reaction was to insist, purely symbolically, on forms of knowledge that they possessed before anyone else, indeed before the creation of positive knowledge—a priori.
This leads us to wonder: why are hipsters so omnipresent, if they are transparent? Hipsters seek others who are either clueless or equally dependent on not mentioning the fakeness of hipsterism. Like drug addicts clustering, or cult members in their caverns, hipsters seek out people they can manipulate, control and influence.
The New York Times gives us a glimpse into the psychology of the hipster:
All hipsters play at being the inventors or first adopters of novelties: pride comes from knowing, and deciding, what’s cool in advance of the rest of the world. Yet the habits of hatred and accusation are endemic to hipsters because they feel the weakness of everyone’s position — including their own. Proving that someone is trying desperately to boost himself instantly undoes him as an opponent. He’s a fake, while you are a natural aristocrat of taste. That’s why “He’s not for real, he’s just a hipster” is a potent insult among all the people identifiable as hipsters themselves.
With all that being said, would you want this self-important psychology and fake social scene to invade your genre? This question weighs heavily on metalheads as SJWs emerge as the newest form of hipster, combining the demands for personal hedonism with a Communist-derived insistence that others subsidize it through tolerance and, ultimately, actual subsidies. It’s not surprising that many hipsters exist on an equal diet of trust funds and food stamps.
SJWs want to have the hipster psychology take over heavy metal, and while they claim it is for political reasons, the real reason is much simpler: they want to fill the room with people they can control, manipulate and influence by excluding anyone who is a realist, or has a complex worldview, or adheres to traditional heavy metal ideals. SJWs want to destroy our standards and replace them with their own so that, in the new chaos, they can keep the genre filled with clueless people who won’t point out the obvious.
That SJWs are just giggin’ hipsters.19 Comments
Many of the old school metal fans observed how the rise of the Internet coincided with the death of the underground and its replacement with the “funderground.” They opine how one-click access to music removed much of the challenge of finding music and created a culture of casual acceptance, not aggressively finding and hoarding quality material. There’s truth in that, surely. But there are other effects as well.
For example, easy access to music limited the emphasis on quality. When you buy music with limited funds, you tend to care about the best and/or cutting-edge material only. When the cost of trying out a new band is nothing, the tendency is to listen once and then file it by aesthetic category. “Sounds about like regular death metal. I need something different, maybe with a flute or jazz licks.”
Two more subtle effects occurred as well. First, the Internet in its post-AOL incarnation become fundamentally a social place. Metal on the internet became regulated by this social influence because the people talking about music on the Internet did so from a social outlook. They wanted to meet other people, and the music was secondary to that. As a result people began searching more for the ironic and music with novelty, leading to a rise in hipster-metal and related forms.
Second, the Internet made basic information about technique and style easily available. Learning how to write death metal no longer required listening, learning and working with other bands, zines, radio, etc. The user could visit a forum or any number of blogs and get a quick overview, which encouraged people to migrate over from other genres and adopt metal technique to the composition used in those other genres. This was not so much a genre mashup as an extraneous genre disguised as heavy metal.
With those two factors, emphasis switched from the music itself to the music as a “flavoring” to be applied to something else. Whether social flavoring, or a way to dress up those post-punk slash lite jazz hymns that your band had been kicking around for a decade, metal became the outlet for those impulses. The tendency of our media and society to see metal as “rebellious” made it a natural target because just about everyone wants to be different these days, in other words, rebels against the normal way of doing things.
In theory — which sometimes corresponds to reality — this would precipitate a focus not on the outward aspects of metal but its inward attributes, like spirit, compositional style and content. That day may come, but now that’s a much harder sell. It’s easier to dress up the same crap, push it down the line and produce it from your desktop, then spend all of your focus on the social and surface appearance aspects of the music. That’s how success is made these days.17 Comments