Hells Headbangers Restocks Nihilism

nihiilsm brett stevens

Brett Steven’s Nihilism: A Philosophy Based In Nothingness And Eternity sold out quickly at Hells Headbangers’ metal distro so Hells Headbangers has just restocked it! You know you want it hard. Now you can get it hard fast again with DHL international shipping! Believe in nothing and take it like man! How do you expect to reach emptiness without mentally climaxing into the vortex? Are you man enough?

Meditations on Ananku

serpent ascending - ananku cover

Article by Lance Viggiano.

Ananku is random stereotypical sentimentality in terms of both pseudo climactic release and legacy nostalgia underscored by the crooning of its capricious composer. One may skip to any moment of this record and find a passable to competent riff which invites the listener to further explore its contents. Yet to sit through the work in succession, the order – or lack thereof- is much akin to a dreamlike state. Waking life is a comedic but rationally apprehensive continuity; whereas the experience of dreaming is much like thumbing through to one’s favorite moments in no particular order and therefore as a whole Ananku betrays its efforts at thematic unity. The forces behind Serpent Ascending make a noticed use of genre firmament however indecisive haste fashioned for itself a fallen world.

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Tom Araya’s Second Amendment Pragmatism

tom araya laughing

Article by Corey M.

Recently Tom Araya, frontman of seminal and legendary extreme metal band Slayer, offered some words of encouragement to Swiss concert attendees regarding their ownership of personal firearms. He makes a case for owning guns, saying that there are invaders and enemies all over the world and in your own countries and towns, who may turn weapons against you anywhere, at any time. Because of this constant threat, owning and carrying weapons of your own is advisable, says Araya, making a pertinent point. Though he made a point to use no names, Arya mentioned events “in other countries” that resulted from people thinking they were magically immune to random violence (a transparent allusion to the Orlando, Florida shootings last month, in which nearly a hundred patrons of a nightclub were gunned down over the course of a few hours and half of those ended up dead, all because of one man with a gun).

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Hate Mail (#3)

From Adam:

I suppose there are varying versions of nihilism, which bears my question: how does a nihilist live if he questions his own existence and the existence of all things around him? I know the definition of existence could be debated, but I mean it in the literal physical sense.

You are right to dispense with wordplay. We know what existence is: the literal portion of life, on the same level as that which makes us die, and what most people spend most of their lives in denying.

This literality terrifies people. Is this all?

I suggest we bypass this question. Life is consistent; whether it is data, or physicality, or some hybrid of the two, it is logical. For this reason, I suggest we take it seriously. It is consistent, both internally and externally, and it speaks a language to us that reveals the composition of the universe.

I doubt everything. At the same time, that which is logical I do not doubt. Otherwise, I succumb to the randomness found within the human mind, not within the (superior design of the) world.

Hopefully that helps. This path is like all others worth traveling, esoteric: every level is babble until the previous level is mastered.

Thoughts on Robert Eggers’ The Witch (2016)


Article by David Rosales.

The Witch is a non-Hollywood movie set in the 1630s dealing with a witch psychological attacking a family of New England colonists. The Witch here is typical of traditional European folklore. The filmmakers took cues from historical documents, “first hand” accounts, and contemporary folk tales. Lurking behind the vague but shocking impressions veiled in mystery that our post-Christian society still has, are the insubordinate traditions and purposely asocial philosophies that defined the attitudes of practitioners of the left hand path.

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The Origins of Satanic Realization through Heavy Metal

varathron genesis of unaltered evil no logo

Sludgecore band Agoraphobic Nosebleed threw a fit for publicity over a recent batch of Death Metal Underground’s Sadistic Metal Reviews. Frontwoman Katherine Katz called us Fox News for our criticism of Agoraphobic Nosebleed’s shrieking short woman over a drum machine shtick and our psychological speculation as to why Agoraphobic Nosebleed would even bother releasing such failure other than for commercial exploitation of a musically-ignorant hipster fan base craving reaffirmation of their modern liberalism. Katz even claimed that artists should be responsible for the extreme actions of others in response to satire and that some topics should be completely off lyrics. For her, everyone who listens to “Embryonic Necropsy and Devourment” will potentially commit feticide. This is incredibly hypocritical for a band who shared a member with Anal Cunt and wrote Frozen Corpse Stuffed with Dope.

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Metal Versus Classical

slayer classical dueling

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.

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

SammathGodless Arrogance


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

julian bream portada
Julian Bream – La Guitarra Barroca

Timeghoul1992-1994 Discography

iron maiden somewhere in time
Iron Maiden – Somewhere in Time

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



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


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.