San Jose underground metal band Pale Existence has posted its 1994 demo, “Dark Tranquility,” for those who missed the original tape to hear. Clocking in at just over 20 minutes, it shows influences from death metal, grindcore, the nascent black metal scene and doom metal, all without sabotaging any one of those by trivializing it, instead blending them into a unified voice.
Tracklist:
1. Dismal Paths
2. Dark Tranquility
3. Sickness
4 Impure
5. Subconscious Weeping
6. Visions of the Disconsolate
Personnel:
Mark Smith – vocals
Lorin Ashton – guitar and vocals
Bud Burke – guitar and vocals
Brian Glover – drums and vocals
Steve Cefala – fretless bass
Recorded by Brett Tyson at Studio B in Campbell on January 29 and February 3, 1994.
One-man black metal inspired ambient music band Burzum has released its latest track, “Forgotten Realms,” a rough cut from an upcoming album. Using many of the same effects as last year’s The Ways of Yore, the new track shows a slow descent into a reality that more mysterious than dark.
http://www.youtube.com/watch?v=GUVQ2n2yvVU
Dreams have swept me away.
Into a long forgotten realm.
Down into the depths of the Earth.
Into a hidden cavern.
Into the world below.
I walk into the forgotten past.
« Do not turn around ! »#
« Never look back ! »
Fathers and mothers from ancient times.
Ghosts from a forgotten world.
With wonder they look upon me ;
« What took you so long ? »
I wander not in darkness.
I am not lost, nor bewildered.
The path is not hidden.
The tracks are not old.
I was here a moment ago.
I am home.
I am home.
I am home.
Canada’s Rush keeps its fingers in many worlds, including that of 70s heavy metal, and as a result often attracts metalheads. Durrell Bowman attempts to explain the appeal of this band through perhaps the best method possible, which is to analyze the music itself and only secondarily and sparingly reinforce what is learned with extracts from interviews. Unlike most rock writers, he focuses on the output from the band rather than the discussion or buzz surrounding it, and as a result is able to pull out intention through the band and its reaction to the changes in the experience of its members of the years and how that translates into artistic voicing.
Experiencing Rush: A Listener’s Companion walks through Rush by eras of the band from its early hard rock days to its more progressive-rock influenced middle period to the later middle period of AOR (although this term is not used) very similar to 80s music like Boston, Asia, ZZ Top and the Eagles. In his analysis, Bowman attempts to answer one of the fundamental questions: is Rush a progressive rock band? If not, what are they? And how does this reconcile with their many different internal influences and the many different external styles, including a technologically-hip 90s format, which have cloaked the music of this band? Bowman gives his conclusions in a short introduction and then analyzes the work of the band song by song, divided into albums and the aforementioned eras. The result is a picture slowly emerging of a rock band with many different influences who wanted to play essentially power pop but with a guitar-driven appeal, like later Yes albums such as 90215. Into this, the self-taught musicians mix material from a wide range of influences as part of a philosophy of the band which Bowman slowly peels away during successive chapters: a leftist-libertarian political outlook, a personal individualism, dogmatic atheism and a studied eclecticism to find support for these ideas across different cultures and disciplines. Like their music, their philosophies are a grab-bag of what supports their fundamental worldview, which Bowman reveals as very much localized to and shaped by their experience growing up.
What Experiencing Rush: A Listener’s Companion offers to the world of music is not so much conclusions, however, as critical points for analysis. The entire book functions as an outline of the output of the artist with vital points addressed such as musical techniques used, including juicy details on time signature and scale/harmony, but also rather intelligently looking into the music as a series of patterns and avoiding a deep immersion in music theory. As a result, Bowman compares abstract patterns found in the music to what they symbolize in life, which works well for progressive rock bands who tend to be mimetic in their approach generally, but works doubly well for Rush, who are differentiated from progressive rock (although they incorporate many of its techniques) by their tendency toward music that is more symbolic or defined in human terms rather than imitating the objects or experiences the humans are undergoing. This rather fine distinction highlights why many progressive rock fans find Rush distasteful, and why many Rush fans find progressive rock inscrutable: the two take different approaches, and the Rush approach is closer to that taken by power pop bands than what progressive rock bands attempt. It both makes the music easier to comprehend, because the meaning in the lyrics is “acted out” by the music, and explains how Rush is able to escape its normative AOR format by incorporating so many different styles as if they were brush techniques in a painting, namely that it uses whatever techniques are appropriate for rendering its vision, much like it picks from disparate philosophies, literature and religion bits and pieces which it can use to illustrate its own philosophy and ideology. Through this insight Bowman stands heads above the other writers on this topic.
Turning from the technical arts of the band to the technique of the writer, Experiencing Rush: A Listener’s Companion shows us what rock journalism could be — some of us would say should be — by digging into this band in the only way that honors their efforts, which is to take them seriously as people by investigating their art for what it attempts to express as a communication between artist and fans. DMU has always taken this approach to death metal which has made us a minority in not just a metal underground but a rock scene which would rather write about where a band is from, their ironic personalities, the production of albums, how much the fans love it, or what trend the band belongs to. This treats artists like simpletons and fans like yeast with credit cards (although some might say this accurately portrays humanity anno 2015). Bowman takes the opposite approach, which is to avoid academic-ese and also rock journalist ideo-jive, and instead to look at this band with an intelligent common sense approach by picking apart each song to see what makes it work, both as a communications device and as an experience to enjoy. With the force of Rush fans behind him, hopefully Bowman can convince more of the music world to join him in this approach, which like the scientific method for materials should be the de facto standard for music.
Around a decade ago, the funderground types (NWN/FMP) started a campaign to include Venom as the “first wave of black metal,” even though before that time nearly all sources agreed that Venom were NWOBHM and probably less influential on black metal than Motorhead. But suddenly this huge push existed to bring Venom into black metal; why? Listening to Ravencult, it is clear: so that they could make mediocre heavy metal, speed it up like a punk band and add rasping vocals and call it black metal. This created an instant doubling of product to capture that boom in clued-out kids trying to buy into the black metal hype.
Ravencult drops firmly within this camp. They keep the constant forward rhythm of a war metal band and underneath it re-visit riffs from the 80s and 90s which, despite their chromatic nature, often have a basis in the rhythms and tonal changes of hard rock. The result is something that you want to like but it is too simple-minded and repetitive ultimately to provide anything but a sting of nostalgia and then lots of comforting background noise. It will never motivate anyone to any particular greatness like the old bands used to do. As they say in the funderground, at least it is true… or is that so? It might be better to sever from the past, and create something new instead. Or at least something with the same intensity of death/black metal, instead of trying to make lower intensity versions of the classics so that people can enjoy them like easy listening music or lite jazz, sitting on their comfortable sofas sipping Chivas and “appreciating” black metal.
and of course the unholy genesis of underground metal — Hellhammer, Bathory, Sodom and Slayer —
Certain movies or albums clearly reveal the presence of bad management. Either leadership by committee, which isn’t leadership so much as compromise that satisfies no one, or a bad manager who spends too much time worried about surveys, business objectives and the like to place his focus on whether or not the product is good. Such is the case with Robocop 2014 version, a movie so stunningly bad that with its obviously huge budget it can only be the result of thorough mis-management and execrably poor judgment.
Following up on a winning franchise is never easy because viewers have high expectations, but one thing is clear: the new movie must be at least within the ballpark of the old, or it will be interpreted as having the same failure as most sequels which is too many cooks in the kitchen, too many fingers in the pot, etc. The 2014 version comes nowhere close to the 1987 original on any level and even where it attempts to pay homage to the original, completely misses the point. This occurs because management decided the 2014 version must fit within the parameters for television shows, namely that each scene must have one unambiguous point and one only. Remember, that which communicates clearly wins out over the truthful when you’re dealing with the masses, and so these filmmakers decided to sacrifice not just nuance so that every idiot in the room could understand it, but also depth. The result paint-by-numbers script is as excruciating as a Creative Writing final exam, moving from point to point with absurd over-emphasis on the basics so that even if you are brick-stupid, obese, lazy, drunk and distracted, you will still understand what is going on. Which, as it turns out, is not a whole hell of a lot.
Instead of taking the intelligent course of action and creating a sequel set in 2014, the filmmakers decided to re-tell the Robocop backstory but with new actors and new settings. This becomes troublesome because they insist on dumbing this down and, as if pitching this movie to millennial women, centering the plot on the surface emotion of a generic character in its setting, rather than letting the emotion arise from this character’s struggle to understand his circumstances. Everything is surface level, cut from whole cloth in broad colors with boundaries double-underlined in thick market like an idiot kindergarten teacher might do, and the result is that the characters become caricatures. The expressive Jennifer Ehle (Pride and Prejudice) is utterly wasted in her role, and the excellent Michael Keaton and Gary Oldman are expended without purpose in theirs. Keaton portrays a CEO who dutifuly turns evil as the gimpy plot requires, instead of focusing on the fascinating side of his character which seems an amalgam of Dot-Com CEOs in his pursuit of technology and wealth with the zealous belief that nothing but good can come from progress. Oldman also experiences a character deformation as he goes from a good guy scientist to a self-interested quasi-villain to a hastily rehabilitated hero. Even Samuel L. Jackson becomes neutered as he must contort his acting to fit within the manipulated plotline. The filmmakers seem narcissistic in the worship of their own cleverness, forgetting that “writing in” details does not obscure the form of the plot itself, which shakes off their little footnotes and rampages straight into paradox.
The above are terrible sins against the artisanal craft (heh) of filmmaking. But the worst sin of all is that they removed the fun and terror from Robocop. In the original, audiences were shocked by the situation, the horror of people themselves and the self-serving decisions they made, and the clash between man and machine. The whole movie might be described as man emerging from within the machine to triumph over it. The new movie removes the tension. Combat scenes are outright boring, with Robocop playing the role of either omnipotent effortless victor or duty-bound moral martyr, but the tension of tight situations and intelligent responses to them dies in a video game simulation that looks about as boring as most first person shooters are after the week they get introduced. Even more, fight scenes are over quickly with little resolved. The movie just moves on like a checklist between points the filmmakers wanted to establish, with utterly zero dimension to the characters. It is probably difficult to botch a story with this much promise, but the director and his staff on this one did so with ease, which is about the only effortless and unforced thing about this movie. Avoid!
Idealizing the darkest edge of the first wave of 1960s rock that carried the true stamp of the counter-culture revolution that was forming, the Doors hit in 1991 just as the first Generation X kids — the children of the 1960s generation — were graduating from high school. At the time, it was perceived as glorifying the culture of the 1960s and the legend of Jim Morrison, but on seeing it many years later, it seems more a revelation of the emptiness of that time.
To understand the 1960s, one must first understand why the counter-culture was so influential. Rock music gripped the American mind because it had both messianic and commercial possibilities. As Sam Huntington observed in his epic American Politics: The Promise of Disharmony, the lack of unity in American thinking arising from its democratization causes periodic mass movements with the ecstatic character of a tent revival — like witch hunts, civil wars, moral panics — called “creedal passions” in which Americans buzz like a hive to clarify their own values. The 1960s were one such time, a generation removed from the Second World War when it became apparent that not only did society lack direction, but it seemed to be sinking further into the 1950s commercial morass at the same time its social and cultural aspects deteriorated.
As part of a youth movement that re-interpreted the American vision to be far more universal through lowering standards for entry, rock music created a democratic mass hysteria in addition to making many people very rich. Into this fertile environment that The Doors dropped their first musical salvos, adapting the fantasy, hobo, dropout, hippie and beatnik themes of early 1960s rock into music with a darker edge. This was three years before Black Sabbath and other bands dropped the common viewpoint of “peace, love, (drugs) and acceptance” to issue forth Nietzschean warnings of doom.
In the Doors, Oliver Stone approaches a figure who remains influential in rock music and through it, the counterculture and American politics, which are now still in the hands of the Baby Boomers and will soon pass to millennials (Generation X having all but dropped out). Rock music idealizes its heroes with the kind of reverence that only a circus covered in rhinestones and dreamcatchers can create, and Jim Morrison represents one of this millionaire trailer park’s attempt at legitimacy. He was a poet. He read, you know, Nietzsche and stuff. He went to college and could have graduated. He was deep, therefore we are deep, because we are part of the same activity that he was in. And in that thought we see the essence of mass movements: people want to believe that participation conveys upon them the attributes they desire, when really they are just cosplaying as people of significance. It is a revolt of the nobodies. Naturally this has its dark side for performers, and the Doors is the story of that negative side to the feedback loop.
Stone captured the transition from 1980s to 1990s cinema with fast cuts, lots of background detail, and longer shots which move through complex sets. A good deal of attention to detail went into the Doors and it shows not through the kind of detail a viewer might revisit to notice new aspects, but a kind of gestalt of each scene where it appears both perfectly realistic and as cartoonishly articulate as writers need their subjects to be. The movie follows a linear path after introducing the so-called pivotal event in Morrison’s life, which although disputed by his family he found meaningful, in which he saw a group of Navajo laborers dying after experiencing a brutal automobile accident. At first, the movie follows a biographical path. We see Jim going to UCLA film school only to drop out, meeting up with Pamela Courson in a method that in our current society would be identified as “stalkery” and “rapey,” then singing his songs to the one person who believed in his films and forming a band with him. From that point on, the movie becomes a rockumentary showing events of significance from a brief biography of the doors, including controversial performances in New Haven and Miami Beach that later led to arrests and prosecutions. During this process, it works in the American Indian theme — Baby Boomers love nothing more than new groups to universalize, and Indians (Free Leonard Peltier!) were high on their list — to show Morrison gradually colliding with his inevitable fate, just to show that this rock god was made of legend and mysticism not drug and alcohol addiction.
While Stone takes a gentle view of his subject, he also keeps a fair and balanced outlook which requires removing the pink-tinted sunglasses and seeing the 1960s for what it was: a hairy, sweaty, flabby and filthy mob united only on wanting to be part of something really big, man, behaving with the decorum of those at a carnival not a cultural revival. The concert shots and interactions between Morrison and those “closest” to him increasingly show the selfishness and self-importance of the people attracted to this scene, which remains consistent to this day as anyone in the funderground can demonstrate. On the surface, we see the tragedy of Morrison the misunderstood poet; beneath the surface, we see how the whole thing was a farce from the beginning and the audience came not for enlightenment, and cared not a whit about his Dionysiac rantings, but was there for the spectacle and the hopes that it might convey the strength of the ritual onto its individual members, like some primitive superstitious mystic rite conducted by people wearing grass skirts and holding spears. Morrison was an egotist confined to what he allowed himself to notice, and aided by drugs/alcohol in that regard, and his audience were narcissists locked into him through a BDSM reaction where they wanted to see him self-destruct and feel important for having “been there.”
Like many before and after him, Morrison became trapped by the paradox of mass culture: in order for something to be popular, it must confirm what the crowd already wants so they can project themselves onto it, and by that process it becomes unrecognizably adulterated. The public then approves of this neutered version, turns it into a herd trope, and then wonders why its magic is gone. Like carnival-goers, they then shrug and rush on to the next “new” delight, finding no importance there either because through the process of popularity, anything important in it got filtered out beforehand. This leaves guys like Morrison and Kurt Cobain in a bad light. They lack the greatness of their influences, whether the brew of William Blake, Aldous Huxley and Friedrich Nietzsche that Morrison cooked up or the cloning of hardore greats in a grunge setting that put Cobain on the map, and that leaves them as merely cheerleaders for an audience that exercises its ultimate power in not wanting to hear or understand the cheer. This drives the anti-hero leader to self-destruction as they he has become irrelevant, but delights the audience, who have a sadomasochistic relationship to celebrities where they both want to be them and want to see them fall for being the chosen ones. When Morrison ultimately self-destructs, it is as anticlimax and late arrival to the party, like a misdirected package arriving sufficiently after the holiday that no one remembers at first what it is for.
Stone wisely does not explore the various mysteries of Doors lore, such as whether Morrison died of a heroin overdose in a nearby nightclub during a flirtation with the drug in retaliation for Courson’s extensive use of it, or the various mythologies that contribute to the idyllic picture of the band’s founding and culture. He covers all the bases needed to make a big-budget high-grossing profile of Morrison, but introduces a hearty amount of artistic skepticism as well. He portrays rock as “entertainment” in the oldest sense, or people using other people to amuse themselves with no concern for the end result. He shows self-destruction and the cult of the anti-hero as a kind of egomania, where the anti-hero cannot conceive of anything beyond himself and so concocts the ultimate narcissistic act of shutting out the world permanently. Finally, he reveals the loneliness of someone who — having made his way to the top of the rock crowd — realizes that no one understands or cares who he is, or what he thinks, because their only concern is their own participation in the mass phenomenon. Probably a movie best watched twice in life, once as a teenager to pick up on the mythos, and once as an adult to see how cheap, tawdry and pointless all of it was.
As society circles the drain, some notice in art, music, literature — and video games. Increasingly misanthropic and world-cynical games like Hatred show us the direction things are going and possibly, give us a reason to fight back. Destructive Creations CEO and lead developer Jarosław Zieliński was kind enough to give us a few minutes to discuss this antisocial video game and its connection to evil metal…
What made you decide that the market was ready for an “un-PC” game about slaughtering other people seemingly at random?
I didn’t know if it was ready, actually. But observing all the shitstorm around since our reveal trailer, I think the market is ready. We’re small team from the middle of nowhere and now everywhere you have news about our game. Even Forbes! We don’t care about all the hate that is thrown in our direction. People who would like to play this title, now recognize it.
How much was this influenced by 1998’s Postal, a game with a similar theme? Any other game influences?
It was very influenced, obviously. There are many other games we played for entire life and many of them had influence for our creation, but the main inspiration is the first Postal game.
I noticed you’re a Black Witchery fan from the t-shirt in the Destructive Creations team photo. Are you the only metalhead on staff? How much did metal influence your choice of this career path?
I don’t like the “metalhead” word. I don’t listen to “metal”; I listen to some of its genres while I actually hate the others. I don’t really think there’s a link between living with this music and working on video games. Actually modding games was first in my life, since I got the first Wolfenstein 3D editor. I was like seven years old at the time. And I really doubt that making games influenced what music I listen to.
Can you name some death/black/etc metal favorites you have?
Umm, that would be a shitload of bands. I’m a lot into stuff like Revenge, Truppensturm, Bestial Raids, Black Witchery, Teitanblood, Archgoat, Wrathprayer, Goatpenis, Inquisition, Bestial Mockery, Dead Congregation, Ad Hominem, Nocturnal Graves, Goat Semen, Demonomancy etc. The list is in random order, from the top of my head, but I do have quite a spread in my taste, from Disgorge or Devourment to Enthroned or Urgehal, if you know what I mean. But it’s all in the black-death line. Someone may say that it’s dull to stick only to these genres, but I would tell him to fuck off, I don’t need more (it doesn’t mean I didn’t ever try). There’s still plenty of bands to discover.
Which genres do you dislike?
Actually: all the others. I respect thrash metal, for example, but I don’t listen to it, because I don’t like it. And I really don’t understand how someone can listen to heavy metal stuff like King Diamond or Manowar, it fucking hurts my ears, the music is cheerful and vocals sounds gay. Well, let’s say I like “evil” metal, not “cool” metal, I hope you get it. If it’s a low-distorted blastbeating about satanic tanks crushing graves of christians and hordes of MG42-armed hellspawns spreading genocide then it’s most likely my taste. :)
Why do you think “Hatred” upsets people? Is it similar to the reasons death metal and black metal at least used to upset people?
No, I don’t think so. I think metal used to upset people because they don’t understand the music itself, rather than lyrical themes. Hatred is making people crazy, because of its context, not because its shell. If we were to make the same game but with any other plot, they would accept it with no problems.
Why are people drawn to dark themes like in metal and video games? Do you think that this attraction will mean that Hatred will become a household name?
Because every one of us has some side of evil nature deeply-rooted inside. Some of us like to get along with the dark side, which is why brutal music sometimes makes the evil grin on your face or you get chills. I want the same player’s reaction while playing Hatred. I have no idea whether it will become a household name.
Can you tell us about yourself, when you got into metal, and how you ended up becoming a video game developer?
I don’t really feel like talking about myself, I have a lot of something you might call “underground nature.” Most parts of my life were strongly tied with death/black metal and still are, but I don’t like connecting it with my job publicly. My engagement with the metal scene is my private thing, while making games is my occupation (and a hobby too). You know, I’ve comercialized one of two of my biggest passions, and I will never do the same with remaining one.
Control looks into the life of Joy Division’s Ian Curtis, who committed suicide in 1980, through the eyes of his wife Deborah who wrote a book of her experience, Touching from a Distance: Ian Curtis and Joy Division upon which the movie is based.
Joy Division remain important for the world of music because most of 1980s indie aggregated Joy Division post-punk guitar technique into bouncy pop-punk and formed of it the post-rock which also influenced the chaotic post-hardcore that is the basis for metalcore and modern metal. Where the newer bands were totally circular, Joy Division created more of an unsettling atmosphere of unsystematic and dissymetric music.
The film pitches the idea that Curtis suicided because his diagnosis with epilepsy condemned him to the side-effects of the drugs he took for the condition, and the tendency of seizures to hit at moments of high emotion made him fear the things that ultimately fulfilled him, like band, family and friends. As a result he became increasingly isolated at the same time his symptoms increased, with the exception of his remora of a Euro-girlfriend, Annik Honore.
It’s an interesting thesis, but suicides are too often blamed on medical conditions instead of an honest perception of the utter misery of life. Control shows us the more innocent and purposeful world in which Joy Division arose, the strong bond between the men in the band, and the left field attack of fame and seductive power. Without being a Joy Division historian, it is hard to say how accurate its perspective is, and it may be 100% true, but Deborah Curtis gets shown in a kind light. To its credit, the film does not extensively vilify others, except perhaps the extramarital affair (I’m told these are now called “side bitches”) which is portrayed as parasitic in this and other sources.
What makes Control worth watching is that it portrays artistic force as the utterly incoherent thing that it is; musicians have no idea how to articulate what they are doing, and yet they do it and often incorporate a good deal of thinking into the end result despite being unable to explain it. If anything, the movie could have done with more band scenes — the actors practiced together and became a Joy Division cover band for the purpose of the movie, with actor Sam Riley’s interpretation of the songs as a more Morrisonian Joy Division sometimes giving them new power — and less of the family drama behind it, but it is good to see that included, as it is to see the environment in which this band arose. Joy Division remains provocative and adored to this day, joining a long line of controversial rock vocalists who self-destructed upon seeing the ruin that is modernity. Perhaps this movie would have been stronger if it, like The Doors, incorporated more of that vision, but as it is it makes for an interesting introduction to Joy Division and post-punk.
Most products are designed for people who want to get along with others. They make you feel happy and successful like you are the center of the universe and your narcissism is validated. They both make you passive, and make you cheerful, like opium or politics.
Some products are designed for gleeful misanthropes. We are the people who recognizes that in accord with Sturgeon’s law, 90% of humanity is basically chaff and the 10% are endlessly persecuted by the rest who realize they look mediocre in comparison. Imagine the slaughter of the herd…
The original Carmageddon came out in the mid-1990s just as black metal was burning and murdering its way across Europe. Inspired by the 1976 movie Death Race 2000, this video game emphasized carnage. To the horror of uptight parents, it gave points for every pedestrian killed — with bonuses for multi-kills and shattering pity objects like nuns and orphans — as well as for smashing other cars. It was followed by Carmageddon 2 in 1998 (using the dubious tag line “race war”) and then Carmageddon Total Death Race in 2000. But the Carma camp has been silent for awhile.
The wait is over. Carmageddon Reincarnation has not only been announced but is in public beta for those who wish to purchase early and murder their way to virtual happiness. For more information, click over to the Carmageddon website and begin the unholy slaughter.
In the many years of reading about metal, I have often wished for something like Compilation of Death: a zine that goes back through other zines, pulls out the best content and annotates it so that a historical record is composed from many sources. Each of the stories in this zine are like a shelf in a great library of metal, usually about a band but equally possibly a scene, a sound or a time.
What you will find among these pages is a carefully curated view of metal, which borrows whole pages from zines from the periods in which these bands were active, combines them with current-day interviews and perspectives, and assembles them into a kind of metal investigative reporting that shows us a well-rounded picture of each band or topic.
Compilation of Death carefully gives credit to each of the source zines and includes information on how to contact them, so in addition to being a feast of metal zine information, this is a promotion for the entire idea of zines, which are experiencing a renaissance as people tire of the information overload — which guarantees a predominance of low-value content — and endless useless people who clog today’s internet. Democratizing content merely means that every bad idea gets repeated thousands of times and good ideas get driven to the periphery, so that established commercial interests with the bucks to advertise on the big sites win out. Zines on the other hand are by their nature curated, meaning that someone plays the role of librarian/editor and picks bands deliberately, asks questions with intent, and reveals something unique to that subject with the resulting reporting. This is different than the assembly line process of web sites and big metal magazines, who process whatever the labels send them in roughly the same way with surface changes so that the “quirky” outlook hides the utter sameness and entropy of it all. What made zines powerful was that they had purpose, which allowed them to reveal a truth non-objectively and for reasons of itself, instead of secondary reasons like popularity and profit. Compilation of Death doubles down on this concept by not only choosing direction and topic, but picking from the vast number of zines out there the best of what is written on that topic.
These two volumes offer reading matter that can be pored over many times because they are bursting with details that become increasingly relevant the more one knows about a topic. In addition, metal historians will find many unknown but important details here confirming the motivations of bands and their art, in addition to a broader perspective on the people behind the music which is never revealed by the more uptight, formal and procedural interviews conducted by big magazines. For those who want a heavy dose of information about the underground in a form that rewards the diligent reader with a deep understanding, Compilation of Death is a treat that can be revisited time and again to bring out the nuance of its topic.
