KILLJOY IS DEAD

One of death metal’s pioneering vocalists has passed away today.  Frank “Killjoy” Pucci of Necrophagia died this morning as revealed on the band’s Facebook page. One of the original tape traders of death metal, Killjoy’s legendary vocals on the phenomenal  Season of the Dead album (which predated Death’s Scream Bloody Gore by several months) paved the wave for the death/black metal technique and inspired some of the greatest artists in metal.
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Phil Anselmo’s Newest Solo Endevour Bombs

On a recent episode of “The Classic Metal Show” burnt out Pantera vocalist and famed roman-saluter Phil Anselmo admitted that his newest album Choosing Mental Illness as a Virtue was “only going to appeal to X amount of people, and that’s going to be a small amount of people.”  By X amount, Phil was likely referring to the roman numeral for the number 10 as that is about the number of fans his band of soon-to-be deported illegal immigrants has.  The album currently has a 46% score on Metal-Archives (already a low medium of standards) and virtually no one has professed a fondness for the album outside of the journalists who were paid to.

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Why Heavy Metal Lost The Culture War

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There is a religious war going on in our country for the soul of America. It is a cultural war, as critical to the kind of nation we will one day be as was the Cold War itself.1

Many metal-heads think that metal died out as a genre because it went corporate and lost its edge. Undoubtedly more commercialized metal appeared, as it always does whenever a genre becomes popular and therefore, profitable. There is more to it than that, however, as larger cultural forces and schemes were at play.

The question of commercialism arose because there was a bridge between power metal/jock metal (e.g. Korn) and more old school thrash metal (Metallica/Slayer) which was never gapped. This paralleled the gap of a decade earlier, when the gap between metal bands like Motorhead and hard rock bands like Van Halen divided the fanbase between album listeners and radio listeners. This gave rise to entire subgenres like black metal, death metal and grindcore which were deliberately designed to avoid having large-scale commercial success. That in turn triggered the rise of the 1990s version of glam, grunge, which was basically slowed-down indie-rock influenced hard rock.

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Sadistic Metal Reviews (07/04/16)

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Why write bad reviews at all? Good music is rare, and bad is everywhere, but if you do not explicitly identify the failings of bad, most people will find it appealing because it does not interrupt their steady stream of self-centered thoughts and is easier than seeking good. If you like good music and want more of it, you must bash as well as praise, as Machiavelli would tell you. And with that, the latest installment of the Sadistic Metal Reviews

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How #MetalGate affects DMU and you too – Advertising

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Google has informed us that they threaten to remove advertising — how we pay our writers — from our site because of controversial content. Since Google is a monopoly on search engine technology and internet advertising, it can act much as a government would to censor content that it finds objectionable. Much like a government, that places control over what you can see, hear and read into the hands of a few bureaucrats with no concern for the needs of free speech.

Listen to the safe spaces rhetoric: “Google does not allow the monetization of content that may be sensitive, tragic, or hurtful.” This vague description makes makes abuse of violation reporting a trivial task, especially given that the sheer reach and volume of Google’s customers forces some degree of automation into the process. Given how metal is under attack by SJWs constantly through abuse reporting mechanisms this forces sites to censor themselves and keeps that censorship — unlike that by governments — entirely invisible.

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In the meantime, #metalgate has gone into full war mode with the disinviting of Phil Anselmo’s band Down from FortaRock festival in the Netherlands. This response to Anselmo’s allegedly ironic Nazi salute at a festival reveals a perfected form of censorship: by convincing businesses to censor your content or otherwise cut off its revenue stream for fear of potentially harmful content, SJWs can destroy content that does not agree with them and face zero recognition or accountability.

A metal festival is one thing; what about the collected knowledge of humanity which had entrusted to the internet? If Google drops advertising, and eventually starts redirecting “dangerous” searches to counter-propaganda, as the company starts to seize more power this type of censorship will only gain more power. It has its fans among the usual power brokers who want to put people in jail for merely visiting questionable websites. This means we have a monopolistic company that has the power of a government to prevent you from seeing whatever material it deems as bad, and instead of using a clear filter for this, Google will continue to use the nebulous “offensive” tag to remove information.

This denies the human nature of truth which is that truthful information goes through a long period of opposition and censorship before it is accepted:

All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident. — Arthur Schopenhauer, German philosopher (1788 – 1860)

Google possesses the perfect way of keeping truth caught in the “violently opposed” stage so it can never be accepted as self-evident. By being vague about what is “offensive,” and putting the burden on sites like us to figure out what they object to and remove it, they ensure broad content removal of controversial topics. Given that five large companies control the internet, your right to speech is governed entirely by their desire to provide a “safe” product. Government never needs to get its hands dirty nor the companies officially admit they have censored anything. In their view, they are merely providing a safer product. And somehow, government seeks OK with Google’s attempts to stay on top through underhanded deeds.

While we detest Pantera, and generally think ill of Anselmo and his many antics, and have personal reasons to detest neo-Nazism and all associated with, at DeathMetal.org we are aware of the history of censorship: it starts with ideas no one will defend, like Nazism and pedophilia, and then expands to include anything that those in power — including rich companies like Google and the other Big Five — find threatening. This is the censorship of the future: removing anything that makes people feel uncomfortable, which will quickly produce a circle-jerk that repeats the same accepted opinions to itself and fails to notice uncomfortable realities. In metal, we face uncomfortable realities head-on because they are still part of reality and throughout history, humanity has thrived where it accepts reality and failed where it denies it. Google, FortaRock, SJWs and other “safe spaces” types are leading us into failure as a species by making denial into a moral good, even if they do it “in our best interests” with the most benevolent of motives.

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Metalgate news – Phil Anselmo wavers on racist statements

Phil Anselmo put a sour taste into the mouth of Dimebag Darrell and Pantera worshipers worldwide by making some white supremacist signs at the end of Dimebash 2016. Much to my amusement, he immediately backpedaled and insisted that these remarks were his idea of a joke. Like most of these incidents, the importance is not so much in what Phil Anselmo actually believes, but in how the people around him react. As a general rule, you people have overreacted. For instance, the good folk at MetalSucks (always a bastion of… well… something) struggled to reconcile their simple belief that racism is bad with their other simple belief that Phil Anselmo’s musical efforts are worthy of their time and attention.

Here at DMU, we’ve learned to deal with the fallout of our idols’ actual, provable crimes, such as the arson and murder of the Norwegian black metal scene to the point that we’re perhaps desensitized to thoughtcrimes, especially since we can’t yet peer into Anselmo’s head and accurately determine whether he’s a racist, or trawling for attention, or some combination of both. What matters is that we don’t jump to conclusions based on the unknowable. Besides, we have enough evidence of Anselmo contributing to Pantera.

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Tranquillizer – Des Endes Anfang (2015)

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Sold to us by a promo company as “melodic” death/black metal, Des Endes Anfang by Tranquillizer (sic) is an ungainly fusion of In Flames type melodeath, Pantera flavored brocore grooves, and maybe a slight hint of extreme metal writing at times… by mistake. It occasionally amuses me to see a long-abandoned style of pop metal get some attention after years of neglect, but that doesn’t detract from the fact that this album is simply terrible. It’s so bad that I’ve decided to explicitly label it a bad album, in spite of my tendency to pass off most of the review subjects here at DMU as mediocre (medio-core?) and forgettable.

The songwriting here, admittedly, is only weak in a pedestrian fashion. If you were to strip away all the references to past forms of mainstream metal, you’d end up with just another set of random, generic metal riffs like so many albums before this; nothing actually worth discussing. To be fair, Tranquillizer’s “varied” influences give them a wide set of material to pull upon, similar to something like Children of Bodom‘s latest. I Worship Chaos is actually a decent comparison; Tranquillizer doesn’t have the neoclassical backing that helped contribute to that band’s popularity, but they do replace it with slightly more varied (albeit stupid sounding) vocals. In this reviewer’s opinion, that’s not a great trade, but it’s not like either point of comparison has any real merit.

While the substrate of this band is hollow at best, most of what I find contemptible in Des Endes Anfang is its immediately apparent, surface level stupidity. A clean, dry, sterile production allows the panderingly simplistic rhythms of this album to burst forth, as well as a dual vocal system of generic shrieks and vomited grunts. For our purposes, it should suffice to say that this is, at best, a modern rehash of older substyles. You could make the case that none of this is innately bad, despite its similarities to previous bad metal albums, but even if you did, it seems apparent that Tranquillizer doesn’t have the musical knowledge or aptitude to make this album come off as more than half-hearted worship of a warmed over god. Not that I should be raising our old whipping posts to the level of divinity, but the analogy is sound, and Des Endes Anfang isn’t exactly worthy of more precise flogging.

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