Goatcraft, Condemner, and DMU personnel unite for a round-robin on poseurs, escapism, fantasy, commercialism, and the world of metal.
Tags: condemner, goatcraft, necropolis ad, podcast
Goatcraft, Condemner, and DMU personnel unite for a round-robin on poseurs, escapism, fantasy, commercialism, and the world of metal.
Tags: condemner, goatcraft, necropolis ad, podcast
Good episode, but I found the ending part — where you could only hear the moans from the gay orgy that had started — kind of weird and out of place.
I see you’re new here…
Indeed, DMU is gayer than an HRC convention. Welcome to the bathhouse!
Why just sodomize the weak when you can also sodomize each other?
My cock is so long that I can sodomize myself.
Not impressed. If your own anus is prolapsed out far enough, you can penetrate yourself with even a much shorter phallus.
If the prolapse reaches the turgid member, you will have created a sodomy ouroboros.
Totally awesome, thank you guys. You mentioned some artists burning out of metal after some years only to return to it later and I think it fits well with what I see as some legit reasons for “outgrowing” metal after a time, while never completely abandoning it.
Counterpoint #1: If nihilism and the outsider worldview are some of the main traits of the metal ethos, then at some point this outlook will inevitably clash with other greater life choices, like taking the political action that ensures the survival of one’s people. E.g. as a RWer today it’s wiser to be friendly to and to accept Christian Nationalism, or at the very least not outright antagonize your only potential allies with ostentatious displays of blasphemy. Here the “teen”-level debate on who’s a poseur or not becomes less important. In the end, most of the great artists were not political actors, they were just expressing a vision in the symbolic language of their time and place. In any case there’s no point in rooting one’s entire life philosophy in these aural experiences, as powerful as they can be; life is a lot more complex than that – e.g. real political action means compromises and gathering allies and whatever else one needs to win.
Also #2: music as utility is not necessarily a bad thing, like you can have a specific playlist of brainless songs (of various utility-level musical genres) for doing your household chores, while at other times returning to the great metal albums where you pay attention and immerse yourself in that sonic landscape. Perhaps this is somewhat poseur-ish, if we define the poseur more generally as the guy that’s enslaved by instrumental reasoning. But outside of appreciating metal for its true musical greatness and often valid anti-humanistic perspectives, what more can a fan do? I remember in one interview here someone was saying that the fans are always the passive energy in the mix and it’s very true: in the end only the artists are deeply-rooted in the metal ethos, by definition, and everyone else just follows along to various degrees – for the vast majority of people out there it’s just music.
The point of nihilism is to detach our thinking from some illusions. This clashes with nothing; you just do what you need to do with more efficacy. Artists express in emotion, symbol, and aesthetics what others would put in structure arguments.
Music as utility may be great in some cases — Kraftwerk saying the blues-rock of their day was great for cleaning the house — but then you let it into your head. Do you want it in there?
Tough question. When it’s a voluntary indulgence into pure entertainment – which is what easy listening music is – it becomes a sort of coping mechanism and it is indeed a weakness of spirit. Even more and looking back, using music as a soundtrack for your activities makes it unimportant; what stays with you is what you did, anything else is forgettable. And yes you’re right, we are what we regularly consume, so the more space we make for ‘useful’ music, the less we have for real, powerful music. What I would argue is that there is a place and value for everything, even the small things. In any case music is foremost a direct, emotional experience so you have to actually like it to play it, which means that the Kraftwerk guys really enjoyed their blues & rock around the house. So I’d still recommend, for instance, high-BPM techno like Klangkuenstler for high-intensity physical training.
About nihilism, to be clear: nihilism is bad. It’s a negative and unpleasant mental state that makes it hard to deal with the world. Nihilism as the equal meaninglessness of all man-made values is also what the left uses to turn this world into a circus show through ‘diversity’ and so on. Now I know that you have a different interpretation of it, as a method and thought process to get to a transcendental structure of reality – this impressive and real, but it’s also only valid for this extremely small corner of the internet and for maybe a few hundred people. Most people never dig themselves out of this hole through philosophy. Most people don’t even know they’re in a hole to begin with. They make sense of the world through their social circles, and especially through local morals and religions. They don’t care about truth as much as they do for an understanding of the world shared with others. So when an obnoxius prick like Socrates comes to break this down with seemingly naive questions, he is rightfully punished.
Anyways, all this to say that nihilism in metal doesn’t really scale outside of the aesthetic experience; it’s hard to see how it could influence mass politics or any other democratic domain since it’s a denial of their symbols. It’s enjoyable in metal as much as the constant reminder of our death and insignificance can be, but to really get to people and to change the culture at large you have to do it by communicating on their territory of morals and religions. Metal’s purpose was never really about this, I think it was an outburst of extreme and radical musical expression in spite of it.
Think this one through: they have Utopian values they proclaim to be universal, absolute, and objective.