The English translation of Tero Ikäheimonen’s comprehensive Finnish black metal book, Pirunkehto – Suomalaisen black metallin tarina, is coming out September 15th on Svart Records with the English title The Devil’s Cradle. The book features interviews and career retrospectives of Beherit, Impaled Nazarene, and a bunch of other bands who do not count and have no reason to be in the same book as they suck and play crossover thrash with high-gain guitar pedals and RAC/oi themed pop-punk . These modern black ‘n’ roll bands aren’t even from the same era; they are just poseurs.
The path of heavy metal is a solitary one. Most people do not like the idea of it, hate the sound of it, and look down on those who like it. It is not simplistic and mindlessly obsessive like rock, nor fancy and high-falutin’ like jazz. It seems deliberately antisocial, disruptive, violent and dark.
Antichrist are yet another group of millennials who want to LARP 1987 thirty years later. Sinful Birth is their second campaign in the eighties and of course Antichrist come armored with denim, leather, spandex and high tops of haste +2. Antichrist are of course of great appeal to the funderground as they ape records everyone loved as teenagers, they have riffs beer metallers have heard a thousand times before and can recognize whilst blacked out, and the vocalist isn’t aggravatingly annoying.
Funderground Belgian speed metal band Evil Invaders were deported from the United States according to their Funbook page for not having the appropriate work visas to play a metal festival in Milwaukee. Evil Invaders were not being paid to play the festival. The festival organizers were only covering Evil Invaders plane tickets and transportation cost for the band and their equipment. Since the festival organizers were still charging for tickets and making money, Evil Invaders needed an appropriate work visa, which they did not have, thus they were deported.
Earlier this year, independent music distribution platform Bandcamp claimed that many stoner rock bands are in fact doom metal. This is a common logical fallacy based around associating the pace and instrumental tone of the music with actual musical content. The stoner “doom” trend of bands that started in the late 90s and early 2000s and has continued non-stop right up until the present almost twenty years later was one of the earliest hipster attempts to assimilate heavy metal before the waves of speed, death, and now black metal aesthetics rehashed into pop rock for the safe space generation.
German antifascist communists booted American metalcore band Woe from the lineups of some shows on their current tour due to Woe opening for Inquisition a few times. Woe are one of your standard, screamo random post-hardcore bands pretending to be “US Black Metal” when in reality they are still metalcore. Moreover, Woe being social justice warriors from Brooklyn, New York played several benefit shows for antifa in the US. Now Woe themselves are throwing a fit about leftist crybabies preventing them from playing shows on Facebook as the communist scum decided that since Woe do not march in gay pride parades, probably do not fuck the gaping open wounds of mutilated transvestites, and do not mind opening for bands that once sort of played a simplified form of black metal that Woe occasionally play on Spotify when wanting something heavier to relieve the stress of their service jobs, Woe must be shot with hollow point bullets in the back of the head.
Article by Jon Faugustus.
Poser power metal band Rhapsody of Fire made history on July 10, 2016, by playing their first concert in Tel Aviv, Israel. This took place at the traditional ‘Rock the Havana Club’ and probably attracted many a power metal connoisseur from the deconstructionist school.
Article by Jon Faugustus.
Adagio, the French progressive metal band lead by Stephan Forte, has announced a fundraiser campaign to record and produce their fifth album to be titled Life. Throughout their history, the band has evolved from a mystical power metal band with contemplative overtones, to a decent but understated prog metal surpassing the likes of Symphony X, to a progressively more obvious selling out with pop songs covered with their dark progressivisms.
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.
If you are a false, do not entry. – Sarcofago
Elitism gets a bad rap because it has been appropriated by hipsters to justify their interest in low-quality but obscure bands. The obscurity of those bands makes them rare, which makes them valuable in a social situation, as you can always one up someone else by suggesting something more obscure, connoting greater knowledge, experience and “being in the know” on your part. This is the inverse of elitism however which is a simple formula of quality > quantity, which hipsters confuse with simply measuring by quantity alone in order to find the least popular and equate it with the highest quality.
Inferior substitutes replacing quality originals is after all a trope if not the defining feature of what happens over time in our society. A good idea becomes edgy, then hip, and so a dumbed-down version is made for the masses to democratically share in the hipness, at which point declining quality (dumbing down) destroys whatever made the idea important in the first place. One needs look no further than the progression of Metallica from their second album to their fourth to see this in action. Over time, the complexity and intensity erodes and is replaced by a friendly, vapid and appearance-based substitute. The story arc of black metal shows this most clearly, moving from an outlaw genre that upended all rock and pop conventions to a pale imitation in the form of indie rock with incomprehensible screaming.
It is no wonder the hipsters want elitism misunderstood. It would eliminate the entirety of hipster bands by pointing out that, instead of being quality because of their rare quantity, they are impostors and pretenders. Poseurs, if you will. Then again, what defines hipsters is the formula appearance > reality, so that entire genre of people are by nature poseurs, scenesters, day-trippers, tourists, pretenders and the like. Elitism offers cynicism with hope: that by raising our standards, we can raise quality. World-weary observers may note that this has something in common with the theories of Charles Darwin, which held that better adapted creatures reproduce more and thus over the years their traits predominate; on the other hand, traits which are not used die out. Cynicism by itself leads to a dark place where nothing has value, but cynicism with hope leads out of the confusing harangue of nonsense that most people rationalize themselves into liking, and shows instead a chance to clear the clutter, value the good, and spend life on more meaningful pursuits than what is new or obscure.
Darwin gave us a warning, however. Humans now control the index of selection, and so if we value the wrong things, those will predominate over other traits and exclude those traits. For example, in black metal it became fashionable to like the novelty of hybrids with indie-rock, and those sold more as a result, and this displaced most of the original material. In turn, the originalists attempted to preserve their music through exaggerating its external characteristics, which led to self-parody and low quality. Elitism is recognition of what our ancestors could have told us: most people, most of the time, are engaged in useless or stupid activity in order to appear important. The self-importance of the individual is the death of humanity, perhaps, but it certainly forms the death of music. One needs look no further than a thread of favorite bands where each user busily types in the most obscure bands he can think of in order to appear wise.
Misanthropy has long been a trait of metal. Compassionate misanthropy would be much like cynicism with hope, or a recognition that most people are busy with the useless, but that some are not, and if we value those good, we get more of the good; on the other hand, if we ignore them, they die out. Darwin would nod and smile at this implementation of his theory. Unfortunately for humans, only some — those with the intelligence, experience and honesty/aggression to pursue the truth — can articulate the difference between gunk and glory. These are opposed by the rest because these tastemakers will point out the the Emperor has no clothes on at all, which invalidates the posing and posturing of the majority. This in turn renders the hipster, scenester and try-hard irrelevant, and they fear this and as a result fight hard against any quality > quantity assessment, which leads them to try doubly hard to find the obscure but mediocre and champion it as the apex of the genre.
Majorities however determine the order of the day. They have more money and in democratic societies, political power; their misery is that by “winning,” they self-destruct by replacing quality with inferior substitutes. The last twenty years of heavy metal reflect this anti-Darwinian approach and quality has declined proportionately. Even record labels find that following the most recent trends — the way to success in a mass society — has stopped working for them as consistently as it used to. This intensifies the desire to replace quality with quantity, especially by claiming that a small quantity or being ironic, different, unique or contrarian signals quality. On this point, hipsters join with the bourgeois mass consumer marketers in the same theory, and through two different pathways, produce the same inferior result.