Dehumanized – Controlled Elite

dehumanized-controlled_eliteIt’s the rare band that improves with age. New York’s Dehumanized returns with a leaner and more complex sound in the style of percussive death metal, a lot like Suffocation or Malevolent Creation given lessons in being mean.

Although the band bill their as “slam death metal,” its roots are in the muted-strumming high-impact styles that extends from Exodus through Meshuggah, with stops in the middle for Morpheus Descends and Resurrection. It is a mathematics of complex impacts, like Shao-lin monks attacking with the precision of a supercomputer.

Dehumanized make their songs out of chromatic strips of chords arrayed in layers of riffs, alternating every third riff or so with a melodic counter-commentary similar to that used by newer percussive death bands like Deeds of Flesh. The result keeps interest throughout and gives you a break between pummeling skull-crushing material and abrupt tempo changes that leave a whiff of snapped necks in their path.

Vocals are chortled guttural rants that undulate through the guitar rhythms that dominate each song. Percussion follows with a flair for fills in the style of modern technical death metal, but rides a cadence like old school death. Songs are efficient, and listenable in that way that Napalm Death’s Fear, Emptiness, Despair is, meaning that they are catchy and minimal but not so repetitive that the brain filters them out.

Lite jazz musicians and metalcore enthusiasts will fear and loathe this album, but for those who like meaty and violent death metal, it is a treat that deserves more inspection. Birthed of the militaristic NYDM scene, Controlled Elite lives up to its reputation by being simultaneously ferocious and listenable.

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Is all metal “Christian metal”?

god_listens_to_slayer

Around and around again the argument goes. Some people advocate for Christian “metal,” and others like myself find something wrong with it. It’s like school-approved metal or eat-your-vegetables metal.

It just feels wrong. We need one genre devoted to doing something other than what the herd does. The herd, it seems, is cool with anything as long as it enforces the principle that we need them.

That need is based on the guarantee that each person is important. If everyone agrees, see, then we’re all protected and can do whatever we want. But the price is that you have to tolerate the delusions of others.

However, metal seems built on the opposite principle. In the world of metal, epic wars sweep away all these bright and promising individuals. Truth is more important than what people think. The present tense is lesser than the past.

And so the drama goes around again. All the brave individualists say that Christian “metal” is OK and should be accepted; the rest of us wrinkle lips and think there’s just something not right with that.

One Christian writer advances a reason why the distinction might not be so important, but by approaching the question from the other angle — is any metal not Christian?

Even the most banal, goat-sacrificing, wannabe Satanic metal participates in the Christian reality by stringing three notes together and calling it a melody. Their songs contain order, and order is the province of God. Their songs contain harmony — however overdriven — and thus amount to pitiful attempts at Beauty, and Beauty is God. Sure, these bands intentionally miss the mark, miss the point, preach vice, fall short of writing anything good enough to last, and waste time indulging the petty, Dionysian emotions, but even their failure is Christian. Failure to be Good, True and Beautiful, can only exist in reference to the Good, True and Beautiful. If their music is bad, it is bad because it fails to be good, and thus in its very badness it gives testimony to that-which-it-fails-to-be, namely Good, who is God. Purely evil music would not be music, because evil is Nothing. If Satanic musicians really wanted to defy God, they’d let their amps exude white noise for an hour and call it a concert. – “5 Reasons to Kill Christian Music,” by Marc Barnes, Patheos

Barnes writes eloquently for reasons to not have Christian music at all, namely that it reduces Christianity to a flavor of the same mainstream junk everyone else is listening to.

He makes a point, since this is probably the same reason metal does not want to be Christian, but from the other direction. Metal needs to be metal. It should not be “flavored” by anything else.

It’s also pathetic to pander to special interest groups. What’s next, homeschooler metal? Vegan metal? BBQ metal? Swinger metal? Please leave your freaky needs at the door and just be metal.

In fact, this is part of what makes metal great. It is a devotional experience of its own. You go to shows, join in a great swirling pit, be united by intense music, affirm reality, and then go home where your parents, friends, neighbors and coworkers can yell at you for not using the blue covers on your TPS reports.

For metal to be what it is, or in Barnes’ words to be an affirmation of “the good, the beautiful and the true,” it needs to be its lawless, amoral and occult self. That’s what metal should be, and without it, metal fails to live up to its role in the drama.

Much like John Milton wrote lovingly of Satan in Paradise Lost, or Romantic poets praised the Pagan gods, or even William Blake revealed a demonology beneath everyday life, writing about the darkness is essential for both darkness and light to know themselves.

And as the ancient Greeks would say, “gnōthi seauton” or “know thyself” is the root of all knowledge. Including that which wears bullet belts, hails Satan and raises the (inverted) cross in blasphemy.

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Pasadena Napalm Division (PND) releasing debut album

pasadena_napalm_division_PNDThe wording above says releasing, not releases. There’s apparently a bit of label-shopping and confusion as to when this interesting work will actually land. The good news is that when the new Pasadena Napalm Division (P.N.D.) full-length lands it will probably crush your spine.

P.N.D. is a thrash band formed of D.R.I. vocalist Kurt Brecht and Dead Horse guitarists Greg Martin and Scott Sevall, joined by drummer Ronnie Guyote. Formed in 2008, the band released an EP in 2010 which was greeted by enthusiasm from the fans.

Since this is a project band for Brecht, its schedule is unsteady and depends in part on when he’s not busy with his main act D.R.I.. As explained in a recent article, much of P.N.D’s output arose from times when D.R.I. was out of commission due to guitarist Spike Cassidy‘s health woes.

The album will be released on SF-based Minus Head Records, but the exact date is uncertain but likely April or later of this year. Since the band waited over a year to release the album while label-shopping, this means we’re finally getting a glimpse into their 2011 output. Maybe this will spur them on to do even more.

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Khand – The Fires of Celestial Ardour released

khand-the_fires_of_celestial_ardourPart of being metal is to be un-metal and to follow projects in a related spirit that do not necessarily use screaming guitars, blasting drums, howling guttural vocals and lyrics about doom.

Some in fact are more ambient. Take for example New England’s Khand, a project band from members of well-known right coast black metal bands, which works in the dark ambient genre but with its own twist that more resembles the classics of psychedelic and cosmic ambient music.

The Fires of Celestial Ardour, released via Hi.Arc.Tow as a GPL-licensed free download, is “all over the place stylistically, but it’s all done with a fantasy/sci-fi mindset,” according to Khand creator Arillius.

Touting itself as music for fans of Tangerine Dream, RPG music, Dead Can Dance, Mortiis, Vangelis, Lord Wind, Winglord and related epic dark ambient projects, Khand is more playful than the norm but creates an atmosphere not of darkness, but of great possibility in which darkness and light are not destinations but means to an end.

“I keep this project all low-fi and try not to use any keyboards, samples or programs that came out post-2000,” said Arillius, who is famed in north eastern black metal circles for his unusual lifestyle. He lives and records in a houseboat without windows anchored offshore, and much of his music reflects the motion of waves, the call of seagulls, and the occasional bloated corpse brushing up against the hull. Often he goes for months without human contact except to post misanthropic screeds on his Facebook Page.

For those who like ambient, but like it dark, and like dark ambient, but like it to have a range of emotions beyond “alone in my dark room with a sword,” Khand provides a perfect listening experience that is also free of charge.

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Beast Within: like Triptykon with a groove

beast_withinEric Syre lives underground metal. He has been active for many years and is highly regarded. An insatiable artist, he expands into different media, fields and instrumental abilities as it suits him. And now, he has a new band called Beast Within.

The biography roughly describes this band, but a better summary is this: if you can imagine newer Celtic Frost/Triptykon covering older Celtic Frost with a doom/stoner metal groove, you can imagine where Beast Within are going.

We were able to catch up with Mr. Syre for a quick Q&A:

You have a unique lyrical concept with Beast Within that’s about the self escaping society. Can you tell me more?

We are still developing the whole concept as we haven’t completed the lyrics for all the songs we have written. There’s definitely a Nietzschean, Satanist, occult and nihilistic thread in what we’re writing, especially in the two songs we already released. We stand for the emanation of the true “Self”, buried deep inside each man and woman by centuries of decadence, slavery and blindness imposed by a false moral, political and religious elite (not the “self” individualistic values praised by our contemporary consumerist society).

You’re a well-known figure in the black metal underground. Can you give us a brief biography of yourself and the band?

I’ve been actively involved in the whole Metal scene for the last 20 years. I started playing in bands in 1992. Thesyre has been my longest running band (1995). I’ve also been the lead vocalist/lyricist in Decayed Remains, bassist in Soulseasons, actual live drummer with Akitsa and I am now the lead vocalist in Beast Within. I also had a myriad of projects including Unlife, Golem, Supernova and did a few recordings on my own as Eric Syre. I am also doing freelance artwork for other bands.

The other musicians of Beast Within followed a path similar to mine. Past bands and projects includes (among others) Utlagr, Blackwind and The Vault.

I guess you can say we’re semi-veterans of the scene.

How would you describe the musical direction of this new entity?

We’ve all been raised on the classics of the 80s and Celtic Frost is a common ground for all of us. It was important for us to keep things minimal and oldschool. We’re not trying to reinvent the wheel but it’s very important to have our own sound. The groove you refer to has a lot to do with the simplicity of the music and its underlying rock vibe. We’re aiming for something heavy, dark, groovy and catchy at the same time.

Do you think that being from a French-culture area of Canada has influenced your songwriting or outlook?

Being French-Canadians always had an influence on us, willingly or not. We’re isolated in the eastern part of Canada and to be honest, it’s almost like we’re living in a different country. We never had the same cultural reaction to the lyrics of the bands we listened to in the early years. We always had to translate, filter and in some ways interpret everything in order to understand what was expressed. I guess we probably got a lot more into it for this reason; It required some form of personal involvement which maybe wasn’t as mandatory for English-speaking fans, for example. The same could be said about the lyrics we wrote. Even if it’s important for us to stay true to our culture, it’s hard to get recognized with lyrics in French worldwide. The whole isolation factor also pushed the pioneers of our scene to have an original sound and a different approach. Voivod got noticed quite early for that very reason, I think. The Quebec scene never got over-saturated with bands and so far I can still claim that quality over quantity is a constant over here.

You mention that you derive influences from Celtic Frost and Pentagram. Why these two?

Celtic Frost inspired us the most with Beast Within. Pentagram is a common interest within the band. Both bands have a strong, recognizable style based on simplicity, catchiness and both are quite effective with the memorability of their songwriting. If we can take cues from those influential bands and eventually establish a characteristic sound for Beast Within, our job will be done. As craftsmen of the genre as a whole, we’re there to deliver dark and heavy music the way we think is the best. Time shall tell if we do it right…

I bet you will. Look for this band to shake up the complacent post-underground scene.

http://www.youtube.com/watch?v=RCLSyv_fcTY

http://www.youtube.com/watch?v=uZtc5zpMNUs

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Professor uses heavy metal to teach literature

Heavy Metal as  Literary Genre class at West Texas A&M University. Photo by Jeff Heimsath / Amarillo Globe-News.

Heavy Metal as Literary Genre class at West Texas A&M University. Photo by Jeff Heimsath / Amarillo Globe-News.

Yesterday we reported on how a Texas professor has been using heavy metal to teach literature. Today we are fortunate to have an interview with Professor Martin Jacobsen, who teaches “Introduction to Literature: Heavy Metal as a Literary Genre” at West Texas A&M University.

Professor Jacobsen uses heavy metal music to introduce students to literature in a class that he says is “50/50” lecture and listening to music. Among other topics, he tackles the history of metal, the reason the first songs on metal albums are important, the artistic superiority of …And Justice for All among Metallica albums, and the progression of first generation black metal.

Apparently this class arose from a sentence diagramming exercise in another class. How did you realize that this could be a class of its own?

The students realized it. I just mentioned it would be cool to have a class on heavy metal, and the response was crazy. Word spread and people started asking me about it. The boss was in favor of it, and we had already been offering some classes off the beaten path. So, I proposed it.

Approximately how many of your students do you think are heavy metal fans?

That’s a hard question. It’s fair to say most of my students aren’t. I teach a lot of elementary education majors, and most of them are not metal fans. But the English majors are. And among them, it seems to cut across genders and ages and other factors. You’re probably right that Romantic literature and metal have much in common, and the questioning mindset of a humanities major surely brings them in line with heavy metal.

“Introduction to Literature: Heavy Metal as a Literary Genre” teaches English using metal from over its forty-year history. What generations of metal do you consider, and can you give us some examples of each?

It’s pretty even across decade: 1970-Classic Metal; 1980-NWOBHM; 1990-Mainstream Metal; Nu Metal-2000. These are centers rather than inceptions, and I mean to suggest that this is when they reach a type of critical mass (i.e. albums Paranoid, British Steel, Metallica, etc). The early 1980s are when all the genres became established really — especially black, death, and thrash metal. All of them persist into the present. Prog metal is surely an outgrowth of RUSH, but there seems to be a lot more of it since the 1990s.

Do you think heavy metal artists are actually reading and influenced by literature?

Yes, some of them are. Or the news. Or some other source of ideas. Geezer Butler and Ronnie James Dio have talked openly about their reading. Clearly Steve Harris and Bruce Dickinson are very familiar with literature. Rush and Dream Theater in prog metal use literary themes and models (like Ayn Rand’s ideas in 2112 or the Hamlet motif in DT’s “Pull Me Under” or the Metropolis suite). Movies play a huge role too, and metal artists seem to see books and movies rather equally. Iron Maiden seems especially prone to use imagery from movies, though literature and history are also clearly sources for them.

Of all the literary movements throughout history, which one do you think is the closest in form and content to heavy metal? Is heavy metal an artistic “movement”?

That’s a very interesting question. I think it follows them in some ways. Much of it is similar in nature to Romanticism. Surely Death metal and Black Metal have postmodern elements. It is a movement, I think, and what’s interesting to me is how it has so many sub-genres within it. We can really analyze metal as a literature of it’s own making. While it’s interesting that metal artists use so much from literature, it’s even more interesting that they have enough depth and innovation to create an independent ethos.

Do the literary qualities of metal change between generations of metal, for example between NWOBHM and black metal?

That’s a good question. Some of the newer stuff seeks to be shocking for the sake of being shocking. That ruins it a little bit, I think. But even at that, one of the things metal does is put every question on the table. That’s what art does. It’s like cubism in painting or baroque in classical music. Take the norm and skew it and then re-present it to the world so they can think about it. I think new groups can ask the questions more explicitly, but I’m not sure the questions have changed. Death, pair, fear, war, pessimism, metal stability–all of these recur again and again. And they are questions that need asking. If heavy metal serves the world, it does so by interrogating notions every other approach seems afraid to interrogate. There are a lot of scary ideas in this world. And some people think that metal is one of them, I suppose. But any real metal fan will know that the real point is to talk about these things openly. Maybe that’s why we’re so loud. We talk about things no one else dares to engage. We have to speak up to be heard.

How have the students responded so far? Do you see more engagement with this as the subject matter, versus literature at large?

Way more. But, many of the students are in the class precisely because they are metalheads. Other literature classes at this level are seen as ‘have to’ humanities classes. I usually teach classical literature when I teach these classes. I get pretty good responses in those classes, but nothing like this. The students called the secretary the other day because we had a blizzard here and they wanted to make sure class was meeting. They didn’t want to miss it. Usually, a blizzard is a day off for most students, especially for a core class. This class draws people who want to be there. It’s not a fair comparison in many ways.

Thank you, Professor Jacobsen and students for taking the time to answer our questions and send over classroom materials. We hope this class becomes a regular at your college — and others!

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Demilich, Jess and the Ancient Ones, and Winterwolf live streaming concert

jess_and_the_ancient_ones-astral_sabbatMark your virtual calendar for Fri, February 22, 6:05 PM EET (which translates to 10:05 AM Central time here in the States) for a live concert which will be streaming over the internet to your screen.

In particular, this is reportedly the last ever concert of Finland’s Demilich, who despite being legendary and making legendary music, have probably seen their last days since guitarist Antti Boman is happily ensconced in Jess and the Ancient Ones.

Also playing will be Winterwolf, a band that calls to mind the buzzsaw guitar and dark melodies of God Macabre and Amorphis. Most likely the luminaries of the Finnish death metal underground will be there as well.

The concert, entitled Farewell to Rubble, includes the following bands:

  • Demilich
  • Jess and the Ancient Ones
  • Winterwolf
  • Blind Men of Doom
  • Standard Whore
  • Aben Erikois Housu Miehet
  • Cypher Acid

If you’re interested, you might as well go on over to the Google+ page for the event and add yourself. Then hit up the site to watch the video when it’s live.

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Introduction to Literature: Heavy Metal as a Literary Genre

martin_jacobsen-heavy_metal_as_a_literary_genreAfter years of people wondering about the connections between metal and literature, a thoughtful university professor listened to his students and as a result, has created a college literature course that uses metal lyrics to teach sentence structure and literary technique.

In one of his other classes, he diagrammed a sentence using the lyrics from Iron Maiden’s “Out of the Silent Planet” and found that students enjoyed the relevant yet thoughtful source material. As a result, Professor Martin Jacobsen launched a new class this year, Introduction to Literature: Heavy Metal as a Literary Genre.

According to the course syllabus, the class will “examine the forty-year history of heavy metal, interrogate major themes and how they persist and/or change with(in) the principal metal movements and sub-genres, and speculate as to the potential literary future of heavy metal.” Jacobsen has created a private Facebook group for the page and the class will use an etext for the text book.

To all of us here who have been collecting and noting the similarities between heavy metal and Romantic literature for some time, it is gratifying to see that someone else has a similar vision. Also, this class sounds fun as hell. Lucky students to have such an interesting experience!

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The Suffering and Celebration of Life in America by Shane and Amy Bugbee


The Suffering and Celebration of Life in America
by Shane and Amy Bugbee
532 pages, $50 (direct: paperback $25 ebook $10)

the_suffering_and_celebration_of_life_in_america-shane_and_amy_bugbeeShane and Amy Bugbee are no strangers to controversy. Shane helped produce the original Milwaukee Metalfests, then ran several of his own Expo of the Extreme shows, while publishing classic Ragnar Redbeard texts with intros by Anton LaVey and running a radio show called Radio Free Satan with the blessing off the occult community.

In addition, the Bugbees put fingers into about every pie in the outsider art community, from banned comic book artist Mike Diana to — well, evil metal, now that you mention it. Their book The Suffering and Celebration of Life in America is a tour of the USA to discover its roots, but it’s also a series of interviews with some of metal’s greatest minds.

Originally, Shane and Amy Bugbee, a married pair of artists and entrepreneurs, planned an adventure called A Year at the Wheel where they would drive the length and breadth of the United States during an election year and record what they saw.

Luckily these artists are also metalheads and so decided to visit with a number of classic figures in the underground or related scenes. They interviewed Jeff Becerra (twice), Ian Mackaye (Minor Threat), Averse Sefira, the West Memphis 3, metal artist Jeff Gaither, and Gene Hoglan (Dark Angel).

These interviews tend to be in-dept explorations of the motivations behind metal artists, and include a number of statements that are crushing in their honesty and profundity. In many ways, they showcase the best of metal when all of the rock-star impositions are removed.

For example, take this selection from Averse Sefira:

Some people think the only real difference between black metal and other forms of metal is the fact that you wear corpse paint and that you scream instead of growl. That’s really, really short sighted. You look at a band like Emperor. You could not write a song like ‘I Am The Black Wizards’ in death metal or thrash or anything like that. You could not write a song like ‘Blashyrkh’ the song that Immortal did in any other genre but black metal. It wants to transcend and that is why we are involved in it. (307)

Interview questions become interesting as the Bugbees interrogate their subjects about historical mysteries, and in doing so, lay bare to some of the vital issues conflicting them. For example, Jeff Becerra (Possessed) on his Satanism and censorship:

We had to take the upside down cross off of the second and third records, well we didn’t, the record company did. We actually toned down the Satanism for the second and third because it was the bonfire of the vanities, the Christians were throwing books on the fire and burning shit up that might be important. People’s moms were making them switch to catholic school cause they were getting caught with shit, like it was drugs, people were afraid of Satan then, no one is scared of Satan now… It’s a trip because if people find spirituality without fear it’s gonna be okay. Life is
scary enough at this point in time, we don’t need to put metaphysical boogie men in our children’s heads. (445)

Not all of the interviews are metal per se, but it’s hard to deny the influence of Minor Threat on underground bands who came after them. Much as punk is different than metal however, the punk outlook as expressed by Ian Mackaye (Minor Threat) is less metaphysical and more political — in fact, this may be the most significant difference between metal and punk, now that I think about it:

In my mind, at least in our culture, the overriding emphasis is on profit and wealth. I think it’s actually the modern form of power. Before there were royalty and kings, or this guy has the biggest knife and cuts off more people’s heads. Now the warriors, the really powerful people are the rich people, and profit is so dominating in all business conversations. (514)

What makes these interviews interesting (outside of the content) is that they are not in a fanzine. This is a book about driving across America to figure out what it’s all about. The goal was to discover it, and themselves, for the authors. In doing so, by approaching many classic musicians from non-standard angles, they captured a lot of what motivated them.

In addition, the Bugbees are no strangers to the type of experience that a metalhead has in a society that, whether motivated by Jesus or money or something else, doesn’t like the disobedient and too smart to conform and get in line for the easy jobs and abundant shopping. In their case, it was a professed interest in Satanism, horror movies, metal and pornography that attracted negative attention.

In America’s heartland, they had to abandon a town and a successful business when a “poison pen letter” outed them as the authors of several atheistic and not-so-very-Jesus blogs that might have endorsed Satanism. Along their trip, they lost other jobs too, as well as non-profit opportunities. In a few cases, they almost lost friends or other contacts but were able to rescue the situation.

Wherever they went, these accusations seemed to follow them. It would make anyone paranoid. It explains what so many metalheads feel in this society, which is that the instant it identifies us as outsiders, it goes on the offensive. We are seen as a threat to its way of life, whether it be conservative and Christian or politically correct and urban.

For this and other interesting explorations of what it is to be an outsider, The Suffering and Celebration of Life in America is a great read for anyone who has stepped outside of the mainstream, and wants to find a reason not just to be outside, but to celebrate it.

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The Funderground irks longtime fans

rttp_fundergroundA tension has been simmering under the surface in metal for the better part of a decade now and shows no signs of calming down. It concerns the division of metal into old and new.

Up through the late 1990s, metal was fairly consistent: it was music based on riff Jenga and distrust of society’s pleasant illusions. It was not protest music, but it was outsider music.

Then came an influx of people who were “alternative,” meaning that they wanted to escape the mainstream, but still wanted what it offered, which was essentially protest music.

In our society, popular music tends to take only a few forms. One is the standard song of individual gratification, usually love or longing. Another is protest at how people are treated.

Hardcore music was a breath of fresh air. While it was opposed to society, it did not protest how people were treated. It protested an insane existence. There was no bad guy, only a dying society.

Metal picked up on this vibe and mixed in the metaphorical and otherworldly approach of early Black Sabbath lyrics. The result was something truly outside of any perspective that was mainstream or alternative.

Now the alternative types have recaptured metal, using their superior numbers to reduce it to something palatable for mainstream and/or alternative consumption.

A counter-revolution against this tendency burst onto the underground recently when pro-OldSchool trolls took over longstanding New England metal blog “Return to the Pit”:

A place where metal is happy and not disgusting. A place where somebody would rather message you on Facebook or text you when you’re nowhere near them in the show.
A place where one man’s smile is another man’s laughter.
A place where the boisterous voices of jokes and YouTube discussion outweigh any serious topic.
A place where it’s okay to have star tattoos covering your flabby forearm.
A place where MetalArchives reviews are that of a fact.
A place where moshing and dancing lost their edge.
A place where everybody knows your name and is friends with you on Facebook.
A place where threads are made about you on a dying board that is absolutely horrible now thanks to the FUNDERGROUND.

While we can’t lend our stamp of approval to the trolling which has essentially devastated this forum, we can point out that there’s some truth in these allegations.

Since 2000, metal has increased in popularity by a vast degree. There are more fans, and more bands, than there ever have been before.

However, these aren’t the same type of bands. They sound more like late hardcore bands, who specialized in putting unrelated riffs together to achieve a “carnival music” or “variety show” effect.

Modern metal seems to have lost sight of who it is, and instead borrows its personality from crowd-pleasers like *core, indie, emo, lite jazz and rock.

The term “Funderground” refers to people who are using the underground as a way to socialize, instead of a way to make music that expresses their viewpoint on the world.

When you think about it, metal has always been anti-social and distrustful of social impulses. We can now see why: when socialization comes out, good music goes away, and with it, the best of metal fans also disappear.

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