Researchers have gained control of the elusive “particle” of sound, the phonon. Although phonons — the smallest units of the vibrational energy that makes up sound waves — are not matter, they can be considered particles the way photons are particles of light. Photons commonly store information in prototype quantum computers, which aim to harness quantum effects to achieve unprecedented processing power. Using sound instead may have advantages, although it would require manipulating phonons on very fine scales.
In other words, waves and particles behave the same way, suggesting that pattern is more important than form, and that this patterning communicates information which serves to store and forward energy. Sounds about like most of my listening experiences.
Almost thirty years after black metal terrorized Scandinavia by igniting 77 churches in a dramatic statement against the politically-correct nature of humanism as taught in the church, burning churches are back in the news as houses of worship blaze across the West.
Ass-tier beta male hacker Tulio Baars ran out of money to keep knocking Death Metal Underground offline. Tulio, you feminine slab of loserdom, that’s all ya got? All that “special Google and NASA training” for a couple weeks of 404? Was it really worth destroying your career for that, as any future employer will google your name and see the related pictures? Did the Brazil trucker strikes knock your village’s power offline, did you get starved off by the lack of food? Will you be taking a helicopter ride once the Third Empire of Brazil is instated in the Chilean fashion?
Tulio, my man, I’m disappointed. I was really enjoying my vacation time, got some beach time in with my hot trad waifu, even got to try that new Mediterranean place down on 66th and 2nd. But now thanks to your technical shortcomings, it looks it’s back to work for me and the DMU staff.
Thanks to all our readers for your patience, with full assumptions that you had better shit to do than to keep entering deathmetal.org into your browsers every few hours. Also, thanks to everyone who visited us at our DMU in exile 8chan board at www.8ch.net/deathmetal/ and went ruthless with the shitposting. Perhaps we will keep it up, and make some rounds there. Barring any more whiny techfag meltdowns, DMU will be back to the usual sadism and destruction tomorrow with an immeasurably stronger resolve and more beta male smashing mayhem. Lefties, soy metallers, fake metal news outlets, and social justice warriors on suicide watch!!! Sodomize the weak!!!
Listen to a track from the upcoming Hadeon from longstanding Dutch band Pestilence, one is immediately struck by the similarity to late-1990s Morbid Angel: the riffs are there, albeit a bit impatient and tightly circular, but the whole experience is not. What is missing? To understand this, we must go to the core of what made death metal what it is.
If you wanted to explain to a normal person what death metal is, looking at the core of its spirit, you might haul out Slayer Hell Awaits, Hellhammer Apocalyptic Raids, and Bathory The Return… because these influenced the techniques, composition, and spirit of death metal. From Hellhammer and Slayer, it got its song structure and aesthetics; from Bathory its themes and riff technique.
Death metal took the original idea of metal, formed when Black Sabbath and others began using power chords to make phrasal riffs instead of harmony-oriented open chord riffs, and developed it further. This is different than doing something “new” or “progressing” because it means undertaking the much harder task of developing an idea further at a structural level instead of just changing aesthetics.
With the rise of underground metal, death metal adopted chromatic riffing and made the interplay between riffs form a narrative to each song. This abolished typical rock song structure and, because the guitar served as a melodic instrument instead of a harmonic one, forced vocals, bass and drums into a background role. How well the riffs fit together and portrayed an atmosphere, idea, or sensation defined the quality of the music.
Pestilence came from a solid death metal background with Consuming Impulse but showed a speed metal styled approach on Malleus Maleficarum, and this tension has stayed with the band for its entire career. The speed metal style of verse and chorus built on a singular theme that is present in the music is easier to jam on and use harmony to complement, where death metal rarely explicitly states its theme, only silhouetting it in the interaction between its many riffs. With speed metal, bands can set up a chord progression and develop it in layers of internal commentary like jazz, and this puts vocals back in position number one among the lead instruments.
“Non-Physical Existent” is a two-riff song with both based on the same note progression. It creates its intensity through the clash between a ripping circular high speed riff and a slower chromatic riff that uses odd harmony to distinguish notes in an otherwise linear theme. The song breaks into a solo section over one of the riffs, and has a type of turnaround the drops into the faster riff as a return. But there is no real interplay nor any narrative.
From the riffs themselves, this is a good song, but unfortunately, it is not death metal. Nor will it last because essentially it is a closed-circuit video of itself, a riff commented on by another, without resembling any particular experience or emotion, therefore being a null journey, more like stasis in space while riffs loop. It is better than not bad, but still not of real interest to the death metal fan.
Dennis Emmental hated being late because it revealed to everyone how little he wanted to be there. Slipping past the creaky back door, he took his place in the line at OptiFood. Orders came from the digital kiosk at the drive-thru and Dennis had twenty-four seconds to assemble the ingredients for the OptiMeal:
He and his cohorts were dumping ingredients in the short, stout, beaker-shaped commemorative plastic buckets used to serve the twenty-four ounce meals. The store was open twenty-four hours a day, and had a thirty-eight percent turnover rate at a six month interval. The owners were unconcerned; they had reached the point where it took a million bucks just to think about suing them, and everyone knew that most of their employees were retards and flakes and so just laughed off their complaints.
Growing up, I always detested “political” albums because people were ranting to me about partisanship from an adult world that I knew had already failed. It really was shuffling deck chairs on the Titanic to demand one failed version of the current order over another. It also violated what I felt was sacred about art: its abstraction, metaphor, and connection to the naturalistic experience.
To be a writer, if you are any good, is to be a blasphemer. Humanity is an entropy engine because each person decides on what view of the world makes them look the best, and so the constant weight pushing down on us is that of the herd, of a group of individuals united only by selfishness, come together into a mob for the purpose of asserting their right to be different and unique, constantly leading away from an understanding of the world around us and any meaning that can be found in it.