Metalhead pipesmokers unite!

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The old saying goes that those who love to use tobacco smoke cigarettes, and those who love tobacco smoke cigars and pipes. The cigarettes give you a quicker hit because the lungs, with their much vaster absorption area, deliver nicotine to the brain within about three seconds. The cigarette ends within three to seven minutes and the craving subsides momentarily. With pipes and cigars, the nicotine slowly oozes in through the mucus membranes in the mouth, tongue and (sometimes) throat, creating a stronger dose of nicotine but without the sudden “falling off a cliff” sensation. Many metalheads smoke cigarettes, but more are branching out to pipes and cigars for the flavors, more intense dosage and less damage to the body.

Please do not read this as an anti-cigarette rant. They are wonderful, in their own right, and much less work than cigars or pipes. However, burning any leaves and inhaling them directly into your lungs 10-20 times a day would cause some kind of long term health problem as gunk — tar, ash and irritants — builds up on the alveoli. On top of that, our industry and lawmakers have decided to mandate all sorts of processing of the tobacco, so who knows what else is being inhaled. If you would not mind going into a fast food joint, taking home their lettuce, dehydrating it and sitting next to a giant pile of it burning all day, cigarettes might not bother you. And keep in mind that there are brain-boosting benefits to nicotine in addition to resistance to neurodegenerative disorders, an effect which you do not get with the charred salad.

Cigars are beyond the scope of this article, but pipes are its focus. Pipes are essentially little wooden, stone or clay cups for burning tobacco with an inhalation tube attached. The smoker fills the pipe loosely with tobacco, then ignites it with some of the many means available to us ex-hominids, inhaling the smoke into his mouth and savoring it before blowing it outward into the personal space of those around him. While the topic of smoking pipes merits a full book, this article provides an introduction to pipe smoking designed to be as simple and low-cost as possible.

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To get started, you will need:

  • A pipe. Generally between $35-$65 for a good starter pipe. Look for 0.7inch diameter bowls and filterless stems. This tool may help.
  • Tobacco. This comes in tins and bulk, usually found at Brick and Mortar (B&M) shops, and Over the Counter (OTC) usually found at drugstores and supermarkets.
  • Pipe cleaners. Each time you smoke, you will want to clean your pipe. Pipe cleaners have two ends, so that is two smokes per cleaner. It is not a terrible habit to include a bundle or package of these each time you buy tobacco.
  • A pipe nail. Demystifying this tool: it can be as simple as a key. You use one end to cut up tobacco, allowing it to collapse into an ember, and the other to tamp it after you light it for the first time. Tobacco rises like a demon unleashed when touched with fire, but compressing it allows it to smoulder so you can sip the pipe.
  • Fire. I favor the compressed cardboard matches in matchbooks, but you can use anything. For some, lighters and zippos taste horrible, so they prefer the match. The only trick is to burn off the tip before lighting.

To avoid the usual drama, let us launch into the process of smoking:

You go to some place with little wind, but some air circulation, where you have a comfortable chair. Sitting in it, you take out your tobacco. Holding the pipe over the tobacco container, let the shreds of tobacco fall into the pipe. When it is half-full, gently tamp with a finger. When it reaches the top, pinch from the center to one side and then the other, compressing the tobacco and letting it fall back into place. (Much has been written on this topic, usually under the unfortunate appellation of packing a pipe, when the correct word to use is fill: put tobacco into the pipe so there are no fully empty spaces, but fall short of compacting it so air — necessary for fire and smoke — can flow through. Ignore all other advice.)

Put the pipe in your mouth, holding it gently with teeth and firmly with lips. Light a match, and hold it vertically at a slight angle so the flame climbs the stalk of the match, then when the head has burned off, move the match over the tobacco in slow circles while inhaling. Take the smoke into your mouth and the top part of your throat if you wish, but try to avoid it leaking further down toward the lungs. You can compress it by gently blowing out the air from the front of your mouth, which draws in smoke from the pipe. The best way to inhale that I have found involves flaring the nose and drawing in air slowly but steadily.

My favorite cycle runs in seven second increments. For bigger mouthfuls, draw in your smoke, then keep it in your mouth for three seconds, then exhale and wait another four seconds. For slower sips, take one for about a half-second, then wait at least three seconds before the next. It helps to have a slight background circulation of air to keep the pipe oxygenated and smouldering well.

Many smokers do a “char and light” where they torch the top layer of tobacco, then tamp it lightly because it has risen up as it burned, and then light again to get the resulting compressed tobacco to blaze. At two-thirds through the bowl, it may be helpful to use a poker or the pointy end of your pipe nail to chop up the resulting ember and set it ablaze again. The lighting requirements vary between tobacco types, which will be addressed below.

When no more smoke comes out of the pipe, and you sense that the tobacco has been converted mostly to ash, tap it out into convenient bushes or a metal trash receptacle without a plastic bag. The ash will be hot and melt plastic. To tap out, hold the pipe in your hand and swing it downward to shake the ash out of the bowl. You may have to stir it with poker or nail beforehand.

Then comes the most important part of the ritual. If your pipe lacks a filter, run a pipe cleaner from the mouthpiece into the pipe and leave it there for a few minutes to absorb both direct and ambient moisture. This will keep your pipe fresh-tasting for its next use.

Pipe smokers vary. Some are hard-hitters who blaze through a bowl quickly, where others are sippers who have a pipe going all day for an hour at a time. If you re-light too frequently, or smoke too fast, the pipe may get hot; if this happens enough and to a great enough extreme, it may cause a condition known as “burnout” where the material of the pipe chars and cracks. To help avoid this, smoke on the seven-second method and also, allow some nice thick gunky tar to line the bowl, especially on the bottom. I always smoke some OTC aromatics, which are full of sugary flavoring that bonds together the goo and forms a kind of tar cement, down to the bottom of the bowl to layer it with a nice thick coating of glop. This glop chars over time and becomes a sort of pipe creosote that insulates against extremes.

***

Tobacco originates as leafy plant in the genus Nicotiana, which when cured, dried, pressed and shredded becomes a delicious flammable method of nicotine delivery. The great variations in what are called generically tobaccos occur in the different strains of tobacco plants, and the different methods used to grow, cure, dry, press, and cut the leaves.

That process produces a number of tobacco types, which are then combined in varying amounts into different blends, which you might think of as “tobacco recipes” because they achieve a unique flavor through the ingredients — different types of tobacco — mixed within them. These blends are also distinguished by their cut or how they are sliced, which is related to the flavor and tobacco characteristics in each blend. Many blends are then coated in flavoring known as “aromatic”; if the primary flavor to the smoking blend is the flavoring and not the underlying tobacco, the blend is referred to as an aromatic tobacco.

For the end user, tobacco is then shaped by another force — the consumer market — and placed into the following silos:

  1. Over-the-Counter (OTC). OTC tobaccos are designed for convenience. They are usually either aromatics or a type of shag-cut tobacco that is also used for Roll Your Own (RYO) cigarettes. These burn most easily, cost about $2 an ounce, and are generally mild in both flavor and nicotine level.
  2. Luxury. Like most things in our society, the good stuff only starts when you step off the mainstream and pony up some more cash. You would not buy Budweiser to drink, nor Marlboro to smoke, so you will choose a pipe tobacco made under the brand name of an established firm. A handful of producers make these tobaccos now, but they tend to be stronger and rely more on the flavor of natural tobacco, although many are also aromatics but with a wider variety of flavors than OTC.
  3. Boutique. A cottage industry has sprung up in making this variety of luxury tobacco which aims for unique and intense flavors, sometimes combining aromatic and unflavored tobaccos. These are more expensive than “regular” luxury and are made by a handful of blenders who also own mail-order tobacco shops.
  4. Vintage. In the past, everything was better. People have been saying that for generations, and apparently each were correct: the tobaccos of only 20 years ago were stronger and more flavorful. Luxury tobaccos, once considered regular tobacco, have been stored in sealed tins (if you buy one on eBay, make sure it is also “unopened” as opposed to re-sealed) and are now much sought-after.

I recommend starting with a solid OTC like Carter Hall, Prince Albert, Captain Black, Five Brothers or even Drum. These are the easiest to learn to pipe with, and give you a feeling for what mild levels of nicotine and flavor are like. In addition, they are low-cost so you will not howl and scream if you accidentally ruin a bowl or spill some.

You may find that these are pleasing enough for you and that you are content to smoke them for life. There is nothing wrong with this; many have done so and it provides the least fetishistic and complex smoking experience. Five Brothers stands out from most of these because it does not use aromatic flavoring or propylene glycol (PG), a moisturizing agent added to many OTC tobaccos. If your OTC tobacco comes out of the can or pouch and seems damp, it probably has a good dose of PG. Many aromatics, including those sold at the luxury level, also have this treatment.

From that point, the next stop is an entry-level luxury tobacco. I suggest going with a Dunhill blend because they are widely available, not overly flavored, and tend to be sliced for easy burning. You can generally get a tin of 50g/1.76oz for about $9 online or $15 in the real world, if you are in the United States; this will vary with local tobacco taxes. You may notice that you are paying quite a bit in taxes throughout this whole process, and wonder if that is in fact the impetus for the whole societal jihad against tobacco. Keep wondering. In places like Canada and Europe, they pay multiples of what you pay here. Scary.

At this point, I would stop moving up the ladder. Boutique blends are a variety of luxury blend that costs more and has more unique, ironic, oddball, quirky, and otherwise off-the-beaten path blends. However, it tends to be lower in nicotine content and it is unclear whether these weird little blends are actually that distinct from their archetypes. There are only so many types of tobacco and while many different combinations can be made, most of them resemble a few fundamental types. I have never ventured into Vintage tins and can say that, while undoubtedly these older blends were of a finer quality, that may not have been preserved over the years. Nicotine levels especially degrade. To my mind, the piping experience cannot be separated into “taste” or effect but must include both, and so the fetishism with flavor — even if grounded in science and experience — strikes me as perhaps being a mistake.

Tobacco comes in several cuts which reflect how the leaves are presented:

  • Shag. Cut laterally across the leaf, leaving an interlocked mess like peat moss that loads easily and burns well.
  • Ribbon. “Normal.” Thicker slices that seem to be vertically up and down the leaf.
  • Flake -> Ready Rubbed. Flake occurs when tobacco is pressed in blocks and then sliced; Ready Rubbed is the result of “rubbing out” those slices.
  • Plug. Tobacco is pressed together and allowed to mature that way, then cut into little pucks.
  • Cake. Like a plug, but loosely packed, resulting in a crumbly “coffee cake” style.
  • Cube. Cross-slicing the tobacco produces tiny cubes; sometimes hard to keep lit.
  • Twist -> Slices. Tobacco is twisted in plugs or flake is re-twisted in tubes, then cut into little “coin” shaped bits called slices.

The above simplifies a fairly complex process. You might also enjoy these viewpoints from P&C blender Russ Ouellette and Lane Limited manager Leonard Wortzel.

Multiple types of tobacco dot the landscape. These refer to the strain of tobacco plant and how it was cured and prepared. These are:

  • Burley. Think cigar leaves. This air-cured tobacco has a nutty flavor and higher nicotine and oil than most others. It is used to complement other tobaccos in blends, and is known for its tongue “bite” from high alkalinity.
  • Virginia. High sugar content and sweet natural taste make this type a favorite in many blends. Although this tobacco comes in many colors, its flavor stays within the mild range and makes it the basis of many blends.
  • Cavendish. This term applies to any tobacco that has been aged and cured with a heating process that brings out a fuller taste.
  • Latakia. This is Oriental tobacco which has been cured with smoke from burning oak, pine, juniper and yew wood to give it a bittersweet taste.
  • Oriental/Turkish. Sweet and low in nicotine, this is tobacco grown using the Eastern method of low soil nutrients and plenty of sun, which produces its fragrance and flavor.
  • Perique. Fermentation in its own juices after Burley tobacco is pressed into barrels gives Perique a spicy-sweet flavor. This is generally an additive to other blends to give them some spark
  • Dark Fired. Leaves are cured with smoke under carefully managed heat and humidity, producing a blend both strong in nicotine and flavor. It is used as an additive more than a main ingredient because of its intensity.

For more information, check out Russ Ouellette’s descriptions.

These are used in the following blends:

  • English. Mostly Virginia, with Latakia for body and Oriental tobaccos to provide spice.
  • Scottish. Similar to an English blend, the Scottish blend uses less Latakia and more Virginia, with little or no Orientals.
  • Balkan. Strong in Orientals and Latakia, this tobacco blend uses Virginia to balance those dominant flavors.
  • American. Although there are some similarities to the English, the American blend uses more Virginia with possible Cavendish or Kentucky style tobaccos.
  • Danish. These resemble the English, but with a deeper flavor and less spice, using more Burley and Cavendish but emphasizing stronger, more balanced flavors.

You will probably find yourself shopping by blend, which could be a substitute term for flavor. What type of smoke do you wish to taste tonight? There are several indexes for ranking different blends:

  • Harshness. How much acridity and bite there is. Strong smoke can be hard on the smoker, and “bite” is created by the alkalinity of the tobacco, which raises the pH and increases absorption of nicotine but may also cause a tangy burning sensation on the tongue.
  • Strength. You are smoking a nicotine-bearing plant. How much nicotine is delivered? A tobacco with high nicotine may be worth pounds of low-nic fruity aromatics.
  • Note. This refers to the smell left behind after the tobacco is burned. This influences both your taste of the tobacco, and what your friends, family and coworkers experience.

The de facto standard for tobacco assessments is Tobacco Reviews. Like other crowd-sourced sites such as Wikipedia and Metal-Archives, or reviews on Amazon, it is good for basic factual information and opinions from people whose judgment you have verified and who — as a result — you trust. It is not good for randomly reading reviews because most of them are written by twitchy, bitchy and queeny internet consumers who complain about all the wrong things, like all the irrelevant, and miss the point. Some of the tobaccos rated highly by this site’s users are excellent, but others are simply quirky hipster fodder. Tread carefully, and consider using the various pipe forums out there: Puff, Pipes, Smokers Forum, and Tamp and Puff. The private reviews at this location have endured because they are frequently strikingly accurate. The main point is: find someone whose opinions you respect and tastes who align with yours, even if the exact opposite of yours, and you can figure out what you will like.

***

A word on lighting pipes: some prefer magnifying glasses and sun, others coals from the fire, still others matches and apparently, most like either butane lighters or Zippos. As a diehard match user, I can say that matches fail in the wind, and there is more wind that you might think, but that they seem to create the least influence on taste. Perhaps a laser is appropriate.

The pipe world is full of both facts and lore. Lore refers to anything passed on by groups of humans in social circumstances; the idea is that if it survives a dozen generations, it might be true. In the meantime, you will be wading through mountains of nonsense and worst of all, unnecessary complexity added by people who wish to seem profound or wise. Pipe-smoking is simple: you are lighting dried leaves in a tube and inhaling. The rest is mere adjustment.

The following resources may be helpful for those seeking to know more:

Here are some good places to go shopping for pipes and luxury tobacco:

Places to buy OTC tobacco, which online is sold in bulk:

Resources for those who wish to grow or blend their own tobacco:

Tobacco blenders and brands:

If you do not see your favorite blend, it is probably an imprint licensed to and manufactured by a larger group, or a boutique variety manufactured by one of the tobacco shops linked above.

For kicks, here is a list of famous pipe smokers. You can add me on there when I get famous, but be sure to mention I detest wimpy tobacco and think it should leave the hall.

Finally, the best metal for pipe smoking…

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More on Le Triomphe du Charnier

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Beginning with an interesting melodic progression, picked on an acoustic guitar and accompanied by background noises of synthesized chords and muffled mechanical noises, the title track and introduction to Le Triomphe du Charnier suggests a world of underlying mystery and danger. After a noisy segue into the second track, we find that, not surprisingly, the music of Funeste is hardly acoustic guitar-oriented. Dual-guitar distorted riffs are constructed like a highway for heavy traffic, as one guitar militantly plugs away at a rhythm and sticks to one chord while the second guitar plays a melody that races along the foundation of the first guitar, taking twists and turns in cycles before switching to a new course once the harmonic tension is exhausted and the low-register rhythm guitar changes chords and opens up new paths for the flightier second guitar to navigate. This “lead guitar over rhythm guitar” approach is hardly a novel one for metal or rock music but Funeste pulls it off elegantly and with a very natural (rather than formulaic and unimaginative) feel, as the best of the classic black metal acts (Emperor and Immortal come to mind) have done. Vocals appear at the proper moment, reverb-laden and rather indistinct phonetically-speaking, but serving a purpose (through the stretched-out screams that decay slowly) as each vocal line connects riffs either from beginning-to-end or through transitions, from end-to-beginning.

During the second track which is the first fully proper song, Funeste displays an adroit sense of how to piece together their songs smoothly without relying on any uniform structure. The first really outstanding riff involves a downward chromatic drop that loops a handful of times before giving in to a less-disorienting melodic progression. After the lyrics have been vocalized, the progression then reiterates the downward drop once more before charging into the “outro”, the riffs that lead the song to its conclusion. This method of structuring a song is also traditional of great black metal; play a riff (A) that leads into a harmonically related riff (B), eventually looping back to the original riff (A) before boldly rushing into a new melodic territory altogether with a new riff (C).

Funeste still make a handful of strange choices that may be chalked up to oversight on their part due to inexperience, or the choices may be conscious and intended to disorient the listener. Either way, there are some awkward transitions like a “bridge” near the end of the third track, Le Passager Invisible, which is made of strange background noises and a slowly plucked guitar melody with minimal percussive intervention. The band meanders lethargically through this segment for a while before abruptly breaking into a high-speed tremolo-picked riff that closes out the song. This is likely to disorient the listener since smooth transitions have been the norm up to this point, and something like a steady increase in tension would be expected as the band moved from a slow, clean-sounding section to a high-speed aggressive-sounding section. Instead, we as listeners are lead delicately along a cliff edge, allowed to take cautious glances over the side and, then, before getting a chance to really let the danger of our predicament sink in, booted clean off the ledge and dropped into freefall. While the effect is intense, it is not congruous with the smoothly-flowing nature of the rest of the song and serves as a “magic breaker” that snaps us out of our imagination and reminds us that we are only listening to a song, not experiencing a journey.

Further, there is a tendency for the musicians (in particular, the drummer) to suffocate the gripping melodies of the guitars with redundant ornamentation. The drums were apparently played by someone with a love of hip-hop-style grooves and amphetamines. While there is nothing inherently wrong with enhancing your drumming skills with amphetamines, this guy’s style often detracts from rather than enhances the melodies because he overplays the two drums that have the sharpest percussive attack – the snare and kick drum – in flailing, jolting beats that sometimes resemble overlong fills that draw most of the listener’s attention and end up leading nowhere. This is an unforgivable sin as it achieves the opposite effect of emphasizing the most important part of the music – the melody – by obfuscating the note changes. Imagine reading an engaging story, written with carefully-chosen words, but sprinkled randomly with periods, semicolons, parentheses, and ellipses. That is akin to the experience of listening to well-written music with intrusive drums. Still annoying but to a lesser degree, a guitar will sometimes break into a nonsensical stream of artificial harmonics or other obnoxious noise, but these fits are few and far between and don’t detract so much from melody as just add some uncalled-for ornamentation.

Beyond musicianship alone, Funeste have added too many background “found sounds” or just strange digitally-manipulated noises that add nothing to the “atmosphere”, which I assume was the reasoning behind adding these extra layers. There are two reasons why this is bad:

1. The riffs that are more harmonically sparse lose their dynamic capacity from being drenched in washes of amelodic background noise, and begin to sound even denser than the full-on blasting sections.

2. It makes the band seem underconfident in their ability to let the melody carry itself and express emotion, mood, thought, sense, experience, which the melody is perfectly capable of doing if just given some breathing room.

Much of the time, new bands (particularly those trying to play black metal) try to get away with being so simplistic that they sound like a really stoned punk band that can’t count how many measures they’ve been through and end up making ten-minute songs out of the same two chord progressions. Others focus so much on “technicality” that they end up playing something like etudes for guitar wankers. Funeste is special for committing neither sin; they have given us some good melody-focused work here that will benefit from having the extraneous elements removed.

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Sadistic Possession Vivisection

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The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.

The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.

The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.

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Sierra Nevada Brewing Co. – Sierra Nevada Pale Ale

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Only an American company could come up with this: a bitter beer wracked by a sweet fruity aftertaste. It is the approach one takes to bribing children to eat the disgusting faux nutrition that is “health food,” namely by making the food as vile as possible and then dumping a bunch of sugar on top so they will eat it for that. On the tongue, Pale Ale tastes like a European delicacy like Grolsch for just a moment before undertones of vinegar kick in, followed by a sugary fruitness resembling a Kiwi fruit swimming in corn syrup. The result is vomitous, a race between extremes in which the middle point — the balance of flavors that makes a good brew — vanishes entirely. Instead, you get get hipster cred for liking this “acquired taste” while having a big dollop of cupcake icing to follow it, with the assumption that you will not vomit from the clash of tastes on the palate. In favor of this beer, it is cleaner than most American beers, without the murky swill of unintegrated fermentation byproducts that makes American beer taste like stagnant rainwater. On the other side, however, it is like a car with the engine in the trunk that you steer with the stereo. Absolutely no integration of flavor leaves it feeling more like watching a crowd of random people pass, than the smooth ballet of a good beer.

Quality rating: 2/5
Purchase rating: 1/5

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Unholy Prophecy

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The forest warmed as the late afternoon sun stroked it from above. Insects rose out of their protective hiding place in the underground and ascended thermals into the high trees where birds pursued them. Far from the solar fire too bright for humans to glance into the sky at all, a school bus surrounded by dead leaves hid under the canopy of light-absorbing leaves.

“Christ on sandwich bread,” said Dennis as he vaulted into the bus. He looked around and realized he was speaking to an empty space. Shrugging, he began preparations for the ritual. He took one of the wax-streaked dimestore candles from the ad hoc plywood shelving where the driver used to sit, and put it on an old kitchen table that was propped up in back between sofas. Lighting it, he cleared the leaves and bugs from one seat, and perched on it to enjoy the ninth cigarette of the day. As he was finishing, the emergency door at the rear of the bus batted open.

“World’s gone crazy,” said Mark Reissdorf, with his inseparable best friend Thomas Nagel in tow. They each took seats on one of the four sofas that formed the seating area at the rear of the bus. Dennis and Thomas gathered dead and fallen branches, cramming them into the fire pit as Thomas wedged a newspaper from his pocket between them. Soon a fire blazed and smoke leaked from the bus into the woods.

Finally they heard more footsteps through the leaves and Mark leaned out the door to give Sam a hand in. Sam stood taller than any of them, but also carried extra weight, the consequence of being both the bullied youngest sibling in the Bormanns household and as a result, the one his mother soothed with treats. He dug around in his insulated vest and found a plastic sandwich bag which he flung onto the table before them. “It’s from Canada,” he said. “Where’s R?”

Thomas shrugged, and Mark and Dennis made me-too motions with their eyebrows. Sam grunted, then began rooting around in the bag.

“It’s not time,” said Thomas.

“Shut up,” said Sam. He towered over Thomas, but the smaller boy held his ground. “We have to stay true to the ritual. Defenders of the Faith.”

“You’re right,” said Mark, holding the syllable for just long enough to crucify it with a short word as if punctuation: “Fag.”

They all started giggling at that point. Then the front door of the bus opened — only R used that one — and he stepped in, chilly in his sweater and jean jacket. Where the other boys had long hair, R had none whatsoever. He had in fact shaved his entire body only because he discovered that it freaked out over 85% of the people he encountered on a regular basis, where tattoos and piercings hovered in the 60s, drug use in the 50s, and casual sex in the teens. When R stepped into a room, most people recoiled in fear. He loved that.

Mark threw more wood onto the fire, which now blazed up in the fire pit and filled the bus with smoke. R took a bong and a bottle of Old Valley Road bourbon out of his backpack. Sam tossed in the bag of weed. Mark pulled out a handful of pills and a knife, and Thomas tossed in a bag with traces of cocaine. R — his real name was Ron Carpenter, but he told everyone in freshman year that his name was actually DLANOR and he was from Sumeria, so no one trusted any name he gave — pulled out a key from his pocket and unfastened the padlock on the plywood box. Inside was a portable stereo. He plugged in his off-brand MP3 player and cranked the volume to ten. No one mentioned the week they had spent burying wire to snake a line off the nearest streetlight, nearly a half-mile away, but they all swelled with pride at the ability to have their music in this remote place.

The sounds of Hellhammer filled the bus. They simply did not trust any music or — well, anything — from any more recent time. The 1980s was when it fell apart. People like to talk about what a great decade it was, but really it must have been a terrible decade, like looking out your window to see a tsunami of Ebola-infected sewage coming your way.

The ritual had begun.

“Today was unbearable,” Thomas said, taking his privilege as the physically weakest in what had become a combination support group, revolutionary meeting and occult rebellion. “Let me tell you all about it.”

***

His day began, he related, with going to his high school and sliding into his first class in a stupor of boredom. The teacher did not even notice, having a rubric which demanded she cover a certain amount of material per minute, and confronting late students only interrupted that. He performed the minimum, being half-awake at the time, since he had spent most of last night roaming the empty places of an adult world he did not understand or wish to enter. When his parents settled down after a few mixed drinks, and his brothers and sister were camped in front of the TV, he grabbed the packet of cigarettes they kept in the kitchen drawer and headed out. He just walked: through the parking lots, across the empty roads, trying doorhandles in buildings, down the alleys. If anyone had a problem with it, he had his flick knife and used to be a star on the track team, so it would be a fair combat at least.

“You can’t sit there,” said someone in his second-period English class. Still groggy, he asked why. “All the football players sit here.”

“Fuck off,” he said. It was his favorite retort to people, who he would like to murder with great pain and cruelty, but in his inner heart he knew what he really wanted to murder was the world. The all of it. The ugly parking lots everywhere, stupid triplicate forms, waiting in line for morons to tell you what to do, brain-dead churches and politicians and the people who followed them like sheep, and everyone else strung out on booze like his parents or heroin like his friends from the past year. They were all cowards. Thomas was a small kid and he knew that if one of the football players made an issue of it, he would be at a major disadvantage. But he always fought back, leaving them with enough wounds that they thought twice about trying again, a wisdom he learned during the early years of bullying in elementary school.

Instead, Danny the Irish-Polynesian football player came into the room, took one look at Thomas taking up the first seat in the front table, and turned to the kid who had warned Thomas and punched him in the shoulder. “Good job keeping my place for me,” he said and stormed off.

More football players came in. A couple threw books at the kid who failed to guard the place. No one else sat at the table. Thomas shrugged it off, and sat through the class. He heard whispers behind him but ignored them as the usual screwing around of idiots. Then Mr. Danforth heard a knock at the door and went into the hall to talk with the fat piggish administrator who had a form for him to sign. Thomas had just settled into the lull of the background hum in his brain when an unstoppable form hit him from behind, knocking the table forward against the wall and sending Thomas crashing into it. Right before he smashed his head against the edge, he tightened his hand around his pencil and instinctively stabbed upward. A howl came in response and more books and papers crashed to the floor as the table slammed into the teacher’s desk.

“What the hell is going on here?” said Danforth, coming back into the room with a sheaf of papers to muddle over later during a bottle of discount white wine. Two students stood covered in blood in a snarl of wrecked furniture and ruined papers.

“I, uh, fell,” said the kid who had warned Thomas, with Danny standing right behind him. But Danny had blood pouring from a wound in his armpit that looked suspiciously like a pencil.

“He stabbed me,” said Danny, pointing at Thomas. Danny eyed him warily. Thomas wanted him to attack again, so he could strike with the pencil. Again and again. Murdering his parents, his teachers and the people who designed this ugly, boring, codependent place.

“I didn’t move,” said Thomas. “You must have fallen on me. I guess you just stumbled on a pencil too.”

“Well what were you doing sitting in my seat?” Danny finally managed.

“There are no assigned seats. Get over yourself,” said Thomas.

“Thomas, why don’t you ever just go along with what people want?” asked Danforth. “Go to the office. Marsha will take you. Danny, go to the Nurse.”

The nerdy kid who had warned him scoffed. “Told you so,” he said.

“At least I’m not a suck-up to jocks because I’m a mouth-breathing nerd,” said Thomas. “You’re as dumb as they are. Just math-dumb not football-dumb.”

“Fuck you, Thomas,” said the kid.

“You go to the office too,” said Mr. Danforth.

Marsha walked ahead of them carrying the yellow slip of paper which said they were rejects. “You really know how to make a small incident a big one,” she said. “Why didn’t you just do what other people want?”

Thomas sighed. “Because other people are usually crazy. Most people wanted the new dam built that flooded the woods, most people wanted the new road that makes town loud, most people actually like that stupid class, and most people watch football and drink Coors Light. I can’t do it,” he said, and suddenly felt a little bit weak.

She turned to him and he saw her eyes, a gentle blue, had faded. “You better get to the Nurse,” she said. “I’ll tell Danforth you were bleeding. That’s true, at least.”

Lunch had been no different. Some guy in a Polo shirt wanted to take his chocolate milk, and Thomas used one of the jiu-jitsu moves he studied on the weekend and threw him. That was a problem, since behind him was a chair and behind that, a glass window. Both shattered as the unlucky dumbshit went sprawling. Thomas did not get to finish his chocolate milk. As the campus cop escorted him from the premises, he caught Marsha’s eye. It looked worried and amused. He shrugged and bowed ever so slightly, which caused laughter at her table. Most likely they were making fun of him.

He went to his job at the movie theater after that. Clean the floor, they said. He took several dozen wet floor signs, found a movie that would not be out for another hour, and swabbed the whole floor then began drying it. A woman exited the individual theater and Thomas took her arm and guided her around the wet floor. “It’s tricky,” he said.

“Is that blood all over your face?” she asked. Thomas shrugged. He noticed she did not go into the theater and the next thing he knew, the manager was tapping his arm. “Why is so much of the floor wet? We’ve had a complaint.”

“I swab it down first, then get it all at once with the bucket,” said Thomas. “That way I’m not putting dirty water back on the floor to swab the next section.”

“Why don’t you just do it–” said the manager, but Thomas finished his words. “– like everyone else. My way is more efficient. I can show you — ”

” — No, no,” said the manager absent-mindedly. He was short like Thomas and Thomas always liked him for that, and hoped he had found a beautiful short wife. This guy was better than most.

“You know what, I don’t give a shit,” said the manager. “You’re going to have to go home because we had a complaint.”

“Even if it’s a… uh… ah… not really true one?” said Thomas, searching for words.

“Yes, because if someone else complains, I look like a stupid asshole,” said the manager. “Your whole goal is to not make me look like a stupid asshole.”

“Even if it’s less efficient?”

The manager threw up his hands. “Yes… I mean, no. Do what is efficient. Just don’t cause complaints. Like, next time, use an empty theater.”

“Right,” said Thomas. On his way out, he passed Marsha. “Going to a movie?” he asked.

“Going to visit my Dad,” she said, and pointed to the door he had just left. Thomas slapped his palm over his face and when he looked up she was gone.

The only saving grace came as he exited the kitchen area behind the concession stand. “Hey, Tom, wait up,” said Mikey, who wanted to be called “Mike,” the longest-haired of the crew. “Can you swap a bud for some blow?”

“Better be the real deal,” said Thomas, feeling for a moment more grown up than his milktoast parents who never did anything dangerous like drugs, crime or violence.

“Hell yeah it is,” said Mikey. “Hey, I heard you served that Danny guy in class today…”

***

“Jesus, what a lot of drama,” said Mark.

“Jesus would have hated all of those people,” said Dennis. As the token Christian in the group, or so it was suspected, they tolerated him like they might a homosexual: warily. Dennis was pretty sure he was not gay but sometimes he wondered about Sam. Not like it mattered, he thought. A gay guy who was not a stupid asshole would be OK, but most gay people would be stupid assholes, because most people were stupid assholes and no one got a pass.

Sam shrugged, busy packing weed into the bowl of his custom modified EZ-rip bong. First he painstakingly separated weed from stems, the fresh herbal scent enveloping him like a memory of flowers, and reduced the weed itself to dust. He then intermixed this with blonde tobacco he got at the local tobacconist by swiping it and then buying enough lighters to cover the cost, paying for them, but leaving the lighters behind. He wouldn’t steal from Mr. Walton. The guy was OK — he actually looked up what Sam could buy at his age and applied the letter of the law. “If you ask me,” Walton had drawled, “We don’t need any of these frickin’ laws. But they don’t ask me.”

“What about you, Sam,” asked Dennis.

“Long day at the computer store,” said Sam. He had dropped out of school, then taken the GED, then gone on to work at a local computer parts store. Now he fixed computers for little old ladies and businessmen alike, and was generally appreciated for his attention to detail — forestalling future secondary complications — although it was universally noted that his manner was diffident, almost standoffish, in the way of people who distrust socialization itself.

Mark passed over a joint he rolled with some of the dirt-cheap weed he got from his cousin who grew it in the hills. It would get you high, like a 40 oz malt liquor would get you drunk, but it was such a blunting and numbing experience that it seemed to replace fun with a grinding duty to be wasted.

“Theme of the day was barriers,” Sam began after a few moments. “I fixed a computer, then all of a sudden, things were wrong.”

***

“Did you get that laptop set up?” asked his boss.

“Yeah,” said Sam. “Needed a memory upgrade. Got it. Want me to install the usual anti-virus and repair software?”

“Sure,” said the boss, and disappeared between the shelves. Sam got to work. This one was more interesting than usual: two layers of security, and many cryptic files named only with alphanumerics in incremental form, like 1C5AFE3C0D1F.docx, stored in a generic folder. This one looked like a mess. He set about making a system backup, then preparing to install the suite of software that shielded the machine against hacks, spoofs, viruses, subversions, and errors.

He was about halfway done when his boss reappeared. “Ah,” Sam heard over his shoulder.

“–what?”

“Not that one. You can’t look in there. Just package it up for delivery.”

OK, thought Sam. He slid it onto the thin metal shelves and filled out the ticket, then turned back to his other tasks. But the memory tormented him: all those files, obviously inscrutable for a reason. Why? And the high security — for what? One did not lock doors beyond which lay only the mundane. His mind spit out a plan before his ego could approve it, but then he found himself drawn to it, cursing his lizard brain for having come up with such a perfect attack.

He dashed through the next computer, filled out the form, and slid it on the shelf, dallying next to the cryptic laptop which he plugged in to the wall, linking a network cable to its port. Then he re-arranged some bags, dropped his keys, straightened up again and left before the boss could get off the phone.

Back at his workstation he quickly fixed a point of sale machine in from a subscriber, then used it to sneak along the network and send a wake-up signal to the laptop. Then he ran a program that snaked past its security and showed him the file system. He began to download the mystery files. As he was opening the first file, he heard the door chime on the front door, seventy feet away. He paused as a voice burbled at the counter.

Walking as if heading to the stash of tools near the front, he got a glimpse of the check being handed over. His mystery laptop. The guy who owned it looked boring, reserved, maybe even a little bit withdrawn, but not paranoid as he expected a spy or criminal mastermind to be. Sam had other problems however. Within a half-minute his boss would reach over to the laptop, and have to unplug it and possibly explain to the customer why. Sam stepped back into the doorway of the loading dock, where he knew no cameras were, and lit a cigarette, blowing smoke into the fire alarm.

As the boss racked up the cost and entered the credit card, an ear-splitting siren blared through the store. Sam ditched the cigarette in a nearby flower pot. As employees rushed toward the door, he walked to the counter, then dropped his wallet. Straightening up halfway, he hunched over the machine and yanked out both cables, letting them drop, then joined the others outside.

“Weird,” said the boss. “Must have been a smoke test.” As it turned out, one of the new employees had inverted a power connector and popped a capacitor, which was accepted as the source of the smoke. The customer left, happy, and Sam wandered outside to pitch out the cigarette. When he came back to his desk, the boss was waiting for him. “We have lots of these high security jobs,” he said. “Here are another four that need doing today.”

It became a longer day than Sam intended. Toward the end, as he waited for one machine to restore its operating system, he peeked into the files he found. Columns of figures, debits and credits, on a weekly basis. He shrugged, but then looked closer. There were duplicate files for each week, but the numbers were not the same, and even without much life experience Sam knew he would rather pay tax on the second set than the first.

The boss came back inside. “Listen team, we’ve had a bit of a shakeup. I need you three to take weekend shifts, and shifts during the week are getting halved.” Sam realized his only chance to keep his salary was to take weekend shifts, so he doubled up on those as he penciled himself in to the sign-up sheet. Still, it felt unfair. The stroke of a pen and his weekend was obliterated. The voice of his boss and someone at least would be out of a job, since the total hours might support two workers but not four. And he thought they had been doing well?

His eyes slid down the counter and to the open door of the office. The computer in there might have answers. Maybe even double sets of numbers. As if sensing his discontent, the boss walked over and pushed the flimsy door shut, locking it.

Indirectly, the lowered hours brought him great fortune. Arlo sold him a fat bag of Canadian weed for a good low price, since he now needed money to hit the clubs and he would not get it from his four-hour shifts. These guys are all screwed, thought Sam, as he walked into the parking lot. He nodded as he passed the boss getting into his car. “Thanks for taking those shifts,” he said.

***

R stoked the fire. “Those are some of the most bum-ass days I’ve heard of it,” he said. “All I had was a short day at work, then wandering around looking for drugs for you guys, and playing guitar.” He showed the calluses on the ends of his fingertips.

He worked at a place that installs solar panels. When he got really stoned, R (his mother called him Ronald, before she passed on from unspoken-of ailments) talked excitedly about solar cells. How they work by allowing photons, which are particles of light, to knock electrons free from atoms, and these then form a flow of electricity. How much energy is stored in each. But then the moment fades and R is back to his sullen, defiant self, like the rest of them both detesting the time he is in now and fearing them more obligatory adulthood to follow.

“I thought you were studying for your license?” asked Thomas.

“Not today,” said R. He shrugged and Thomas returned the gesture.

Inside the bus, the cheap portable stereo blared on, both more background noise and a focal point which like a string running through random objects, tightens and pulls them together into a story, with each piece revealing the reasons for its presence and the action implicated by its effect on the other objects in the string. As twilight settled on the world, it turned all colors to gray, as if it were revealing the actual lack of interest, sincerity and purpose to it all, Dennis thought.

The bong came around again. Thomas and Sam did a line, then dropped the dust into the bowl and inhaled it with the smoke. A glass of vodka floated from somewhere. “Good stuff,” said R. “Tastes more like rubbing alcohol than diesel. That’s how you know it’s quality.”

“About the same for me,” said Mark. “Went to school, fell asleep in all but two classes, then went to work where I stocked groceries for four hours, then I’m here.” He reached into his backpack and pulled out a bottle of cooking sherry, then added it to the table. He had scored that from a heap of expired goods.

“The best drink is a free drink,” said Dennis, eyeing the bottle. “I’ll tell you mine, but you have to promise not to laugh.”

***

Dennis got schooled at home. This was a condition of his parole, involving an incident with a car going too fast with alcohol, marijuana and underage women in it. He was proud of the arrest, really, and hoped to wipe it from his record at 18 and go on to, like his father, settle into a comfortable business and make an unchallenging life for himself. One night late in the evening, surrounded by the cathedral shapes of the campfire, he had wandered into a lysergic chasm and faced his inner self, and realized what he found was more like the shuffling obedience of his father than the wild maniacs he imagined he socialized with.

First chapter was photosynthesis. Dennis liked this because he found it fascinating how light could fuse together carbon and water molecules to make sugars, the building blocks of all life. The leaves in these trees came from a diet of sugar created by sunlight, rain and the carbon dioxide he and other living things exhaled. He got too into talking about that, because his mother cut him off and changed to a different subject.

His mother, embarrassed as always by her son’s failure to be a responsible citizen like his older brother Randall, made him recite the material he had memorized and then presented him with the least of life’s delights, the pre-printed test from the back of one of his history books. He had an OK grasp of the material, he thought. “Now?”

“It’s a weekly test and I won’t be able to give it tomorrow,” she said.

OK. He gave it his best shot, and felt pretty good about it, but when he came back from the kitchen where he got a soft drink, his mother was shaking her head as she ticked red marks down the page. “This isn’t good enough,” she said. He saw the grade: 61, or a D.

“Can’t you just, uh, give it a little bump?” he asked.

“No,” she said. “If I do that and you go back to school and fail, they will think I acted against the court’s instructions and I could get in trouble. You just were not good enough, Dennis. This will set you back a week before you can get back on track.”

He knew he was supposed to panic. There were a dozen weeks remaining however. “Fine,” he said. He sat there until she gave him something else to do, and when she petered out at about the same time Mrs. Taggart came by with the latest gossip from church, he slipped out the back door.

The court ordered him to stay busy, a state policy being “idle hands do the devil’s work” but not officially so, and this mandated his appearance at a job for life burnouts like himself. The Helping Hand thrift store hired people like Dennis to receive and sort donations, then sell them to well-meaning suburbanites for money that went into a hilarious anti-drug program that Dennis had suffered through, laughing and groaning in equal doses internally as choked his way through interminable days of videos and group activities.

Dennis wanted to get on register. At the register, he could listen to the radio, even if it was just alt-country, and stay away from the dirty back yard where they heaped up the stuff they could not sell before shoveling it all into the dumpsters that would get towed to the county landfill once a week. He asked Maisie, but she said his skills were not up to speed. “You need to be at least as fast as David on the keys,” she said. “You’re just not doing well enough.”

Grumbling a bit, but not too much, he spent his shift unloading stuff from the cars that stopped in the front driveway and sorting it out. He had gotten pretty good at it when Sean his supervisor flagged him down. “You’re not including children’s clothes in the instore pile? Because we can’t use those anymore, new state law.”

“I didn’t hear about that,” said Dennis.

“It’s on a circular in your box,” said Sean. “You know, in the employee area in back. Except I can tell from looking at it that you haven’t checked it for a week.” Sean was a few years older, definitely bigger and stupider, but always seemed to do things that pleased the adults, so he was super and Dennis was… well, gopher. Odd jobs man. A guy you trusted to do only really simple stuff because otherwise he would screw it up.

Dennis shrugged. “Are you sure you’re even cut out for this job?” said Sean. “I mean, asking as a friend, maybe you should be doing something else. Something where you’re able to keep up. I wouldn’t want you to, you know, feel left out.”

Left out. That summarized the sensation well: standing alone in the heap of junk, cast off from the lives of people who had matured past it or died or moved, looking for children’s clothes to cast aside and just knowing that Sean or Maisie would stare at it for ten seconds and find the one set of My First Non-Waterproof Pants or whatever and they would tell him again how he was no good at it. Dennis worked the heap until his shift was over instead, then took his final break to overlap with the passing of the hour, and left over the back fence, his box still stuffed with all the printed notices and neurotic whining these people felt they had to send to everyone even though fully half the staff could barely read.

He sneaked into the lot surrounding the school. Mark was on the roof, smoking a cigarette when he was supposed to be sweeping up the gym, a punishment for a prank involving a firecracker and a toilet several days before. Dennis waved, but Mark did not see him. Dennis as usual experiences the cold shiver of sensation that perhaps here he is not good enough either, or that they know he is either slumming it with them or they are slumming it with him, the nerdly dork who has done many things in life, none of them right. He sighed and walked until he was just about beneath the outer wall of the school.

“Dennis,” came a voice from behind him. He turned. Sean bore down on him with wide strides. “You forgot to clock out,” he said. “Maisie sent me to make sure you weren’t doing anything you’re not supposed to.”

As the lecture went on, Dennis shrugged at Mark on the roof, who by now has taken notice. Mark pitched aside the cigarette, and gestured with his hands: closer to the wall. Dennis backed up so that he and Sean were parallel to the wall, then stepped to his right until his should nearly touched the brick. Unconsciously Sean did the same. Dennis looked up to see Mark inching closer and lining up, then tossing over the water bucket he used to mop the gym. The heavy plastic bucket pitched forward as if ready to soak Sean, then straightened so that its bottom faced downward.

I should warn him, thought Dennis, but something inside him shrugged. Not good enough, Sean. The bucket hit Sean on the top of his head and although only a quarter filled with water, knocked him out cold.

“Give me five and I’ll be out of here,” Mark called on down.

As they went through the woods toward the bus, Mark rubbed his cold hands together. “Sure was good to see a friendly face. You guys are the only ones who understand just about anything. That school is so retarded it thinks it’s a genius, when really it’s a fat blob waving its flippers at the sun.”

***

Inside the bus there was silence. Then: “Heavy,” said Thomas. R agreed, passing over the joint.

“So,” he said. “I lied. I took my commercial license exam today, and I totally failed it. Too much smoking weed, not enough boring book. I took a walk along the river after that, looking for floaters, but as usual this town let me down.”

“Sucks, man,” said Dennis. He punched up the stereo with something new, an old recording by an obscure Finnish death metal band. The energy pulsed through the bus just as the beer, liquor, wine, dope and coke flooded their bloodstreams. But even more, they had finally forgiven each other for the failings each had exhibited that day.

Above them the roof of the bus made small metallic sounds as it gave up the heat of the day. Now that the sunlight had diminished and people could again look toward the sky, the trees emitted a cooling mist and scent of earthy wholeness created from the conversion of water, carbon dioxide and sunlight into sugars. The forest takes in the sun that would kill them if exposed directly to it for too long, the water the rest of the world cannot use, and makes them into new life with the breath of people like these lost boys and angry men in the bus.

The alcohol and drugs converted tension into relaxation, if not hallucination. But as the music gained power, it converted their rage into a love. First of metal itself, then of the world that can produce such music, and finally of truth itself — the truth they find in this music, and imagine must exist outside of it somewhere else — that reduces the lunacy and irrelevance of their days into a nuisance occupying its proper role, like that of ticks and leeches, not the most important thing ever as authority figures want it to be.

As the forest quieted and hallucinogens seeped into their brains the music seemed louder. They were travelers in a world of icy power chord riffs and gurgling roars, temporarily passing through a clearing where a 1950s schoolbus rusted under the ancient trees. Its light spread farther as the light faded from the day. R fell out of the bus first, laughing with intoxication, pulling Mark after him. Thomas leaped out next, then Sam, with Dennis almost piling on top of them.

Soon they were circling in the light cast from the opaque windows of the bush, swinging each other in circles and colliding like atoms transfering electrons, passing energy along in a new form as it escaped the ashen world where all momentum dies.

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M.H.X’s Chronicles – Infinite Ocean (2015)

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Playing a so-called melodic death metal in the vein of Insomnium, Chronicles try to step up onto the pop metal stage the . Infused with alternative metal inspirations and backed by keyboards playing standard progressions and happy-inspirational melodies, the only thing that tells us this is a metal release is that the drums are intense and that the vocals are growls. The squeaky-clean production is enviable and on par with pop metal divas Nightwish.  The way the music elements are carried, the contrast between sections that serve as verse-chorus rather than phrasal progressions place this squarely in the pop modality. The percussive riff carrying the voice, the single-mindedness of the contrasting riffs also point towards a metalcore inspiration. By the third track (which is actually the second song in the album) they have already introduced mellow and comforting young-man vocals.  In line with the modern tradition, when attempting to create variety, the band introduces incoherence in their music. Song’s are basically a long “inspirational melody” intro, pointless verse-chorus exchange, incoherent bridge and unrelated outro and/or verse chorus.

M.H.X.’s Chronicles have managed to unite in Infinite Ocean the diva-esque attitude of Nightwish, the boring melodic-based flatness of Insomnuim, the superficial pretentiousness of Epica and the easy-catchy, dumbed-down songwriting of metalcore inspired on Slaughter of the Soul. In other words we have here the summary of modern metal pop banality.

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Sadistic Metal Reviews 05-27-2015

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Sadistic Metal Reviews function as your goto list for albums that should be recycled as material for making more copies of actually good music, if that’s even possible. These releases deserve no better than to be piled up and flattened by a machine. They’re wasting space and resources on completely useless, half-assed art.

Ethereal – Opus Aethereum (2015)

Playing a pseudo-symphonic black metal, Ethereal play a speed metal blanketed by racing, blasting drums with no creativity at all. The blanket comes in the form of the synth special “orchestral” effects which outline melodies on top of the repetitive music which never builds up to anything. The emphasis of the music is on how fast and brutal it is alone, in the spirit of the gimmicks of Godflesh Apocalypse. There are a few beautiful moments here and there in the album and this is the sort of candy some people will latch on to, but as an integral music work, it is of extremely sparse quality.

Mellevon – Solace (2015)

Somehow trying to unite ambient, pop “metal” and deathcore, Mellevon embarrass themselves with this blatant attempt at making pseudo-progressive music, the modern misconception of what progressive music is. The songs are driven by groovy rhythms in power chords, alternated by single-string tremolos that are just the backbones for chords (as opposed to being motifs), with a synth outlining the Epica/Nightwish – like melodies with a modern cliche “prog” twist.

Opium Lord – Eye Of Earth (2015)

Your typical sludge-like experience, this band’s music goes nowhere. It all relies on one rhythm, one riff and the pushing of this sole element by upholding how “heavy” it is. Representing one of the most superficial genres, Opium Lord give us 7 tracks with 10 riffs that are “ultra-heavy”. Get ready to headbang, brainless potheads.

Saturnian Mist – Chaos Magick (2015)

Saturnian Mist play a cheap brand of alternative metal that tries very hard to be tough and to insert “extreme” elements to sound tougher. The whole attitude of this band seems to be based on that all too common sentiment of posing at being a tough kid. The songs follow a pop format, and are based on chords with screamed lyrics on top of them. Major impact is in the contrast of certain sections. Endings are just abrupt, the songs do not lead from one clear point to another, but are rather just very messy.

Svärta – Sepultus (2015)

Ah, the black metal stereotype of flat-dynamics throughout a song have lead so many astray. With the idea tha black metal consists only on flat and intense sound repeated ad nauseam without any other aim than “Creatng atmosphere”, Svärta gives the world yet another bland modern black metal album. This band at least has the sense to be relatively consistent and they try to bring riffs back, or their main ideas at least. The lacking vision shows most clearly when they insert sections with no drums and clean guitar strums out of the blue with little relation to the rest of the song in order to create the cliche anti-climax that the unimaginative minds can summon as their only proposition.

Cold Cell – Lowlife (2015)

More pseudo black metal from the modern sludge crowd with post-metal tendencies. They try to “improve” on black metal by bringing in more clean picked chords, inserting more blank spaces in the music and forcing variety on songs. Not the kind of variety that is linked strongly within a song through different musical dimensions, but the kind of variety that results from not fucking knowing what to write and so being forced to insert whatever comes into your mind. This is not creativity, this is mediocrity.

Nightwish – Forms Most Beautiful (2015)

Representing the cheapest moves by the so-called symphonic metal bands, Nightwish makes songs with long, varied intros that vary from straight-up pop flares to the modern pseudo-prog groovy intros. Do not let anything here fool you, this is is just simple and low-quality pop music with catchy leads. The entire value fans of this music give it is reduced t “nice melodies”. It’s insulting that these people even want to sell themselves as metal. This is pop music, accept it once and for all and put all these candy-rock pop in the shelf next to Miley Cyrus.

Profezia – Black Misanthropic Elite – Moon Anthem (2015)

More intense, low-fi black metal that does nothing but ride a riff and repeat it until the band feels it has filled enough minutes. Combine this with slower tracks to create variety and you have more repetitive songs that try very hard at the same trope of “creating atmosphere” by virtue of their repetition. This is as tiring on its own as it is as a result of having heard this approach by countless other mediocre bands.

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Analyze it to Life: Yes – Close to the Edge

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Ok, so, I was listening to the YES album Close to the Edge with my best friend Rick Ossian yesterday, and as is usually the case when we listen together, I started to contemplate its deeper meaning in a new way.

In a 1996 interview, Jon Anderson mentions Herman Hesse’s Siddhartha as an inspiration for this album, so there is a stated philosophical source. Even taking that statement as true, we can see in the lyrical imagery an embrace of other traditions. Acknowledging one source of inspiration does not exclude the possibility of other literary groundings. I’ve long noted Platonic elements in the classic YES albums. One could say that they are usually close to the edge of a greater understanding. Their lyrics often puzzle us, and it may be valid to postulate that the lyrics sometimes serve as way of adding the vocals into the instrumentation as an element of the overall sound. That in itself is Platonic: seeing that the surface can be altered to serve a greater truth, that it need not be only a linguistic item. That said, it is also possible that the lyrics have an allegorical sophistication that works across other traditions.

I will be arguing just this premise: that the lyrical content of Close to the Edge operates on an archetypal level, and that even if the inspiration is drawn from Hesse, YES uses framing and language from multiple traditions to connect to listeners. So, as I was listening with Plato in mind, and as I did so, I understood how it was that the Platonic elements were woven into this album. I had long suspected a Platonic basis, but yesterday, I looked at the lyrics and knew how I knew. Perhaps without meaning to do so (though there are certainly moments where it appears to be deliberate), YES incorporates imagery from the crucifixion narrative into the lyrics of this album. Those familiar elements serve as the nexus between the words and the Platonic underlay. I may never have noticed this if Rick and I had not sought to listen to this album and Analyze It to Life.

I have long held that Calvary is the most profound literary moment in the Western tradition. There are numerous reasons for this, some of which I’ll discuss. I won’t be saying anything new about the crucifixion itself; in fact, this argument rests on the familiarity of the crucifixion narrative. The thrust of this analysis will be about the ways in which crucifixion imagery activates an archetypal approach to the album. I’m arguing that the Platonic and Christian elements (and even Hesse) are parts of the same basic inventory of archetypes. I’m not seeking any outside sources (for the moment, anyway). The album, the King James Bible, and Plato are my sources. I’m not sure if this has been argued elsewhere or not. An occasional nod to Siddhartha may be needed, but this analysis is devoted to elements heretofore not interrogated. It seems very likely that YES has consciously written in multiple viewpoints, though it is possible some of the archetypal elements may have been included unconsciously. Archetypes apply to everyone, and YES may have been governed by them just as the listener is.

Whether or not they meant to activate the subconscious, YES has done so on this album. The lyrics include the words “crucified,” crucifixion,” “cross,” “preacher,” “teacher,” and “nail.” While the importance of the river can surely be tied to Siddhartha, the biblical implications of a river speak for themselves, and Lethe (the River or Forgetfulness) also plays a role at the end (the edge) of Plato’s Republic. In each instance, the river marks the edge of transformation or edification. There also appears to be a relatively clear expression of, in fact sometimes a recapitulation of, the chronology of the biblical narrative itself, and certainly the path to salvation that narrative offers plays a role in the thematic content of this album, for both individual believers and the savior who holds it. So, that chronology will surface as I explicate the references to the crucifixion narrative. Bear in mind that the purpose here is to reveal the album’s Platonic/archetypal underpinnings. The larger constructs of the actual and the ideal, the GOOD, and the glimpse are the archetypes that seem to rise to the top here, and the biblical imagery surely makes references to Siddhartha more easily apprehended for a Western listener as well. The biblical elements are the illocutionary force (suggestion) deployed in the lyrics; the archetypal elements are the perlocutionary force (perception) that makes this album the enduring masterwork that it is.

Here beginneth the lyrical analysis. I’ll take one song at a time, in the order they occur on the album: “Close to the Edge,” “And You and I,” and “Siberian Kathru.” The order is important. This isn’t an exercise in cherry-picking; it’s an enterprise in analyzing it to life.

“Close to the Edge”:

As I mentioned, there seems to be an observance of the chronological order of the crucifixion narrative, and while that sequential similarity exists in more metaphorical ways across the album, it sustains remarkable fidelity in this song. Given the fact that this song constitutes nearly half of the entire album, it is fair to say that the sequential imperative persists into the remainder of the overall work. An important question, naturally, is “Where does that narrative begin?” Drawing from the order of the album, the narrative begins with Christ’s baptism by John the Baptist. In fact, the first two verses in the song evoke this.

A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / Achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.

The Romans saw John the Baptist as a mentally unstable rabble-rouser, a “seasoned witch” stirring up religious fervor by suggesting that sins needed to be washed away (“call you from the depths of your disgrace / and rearrange your liver to the solid mental grace”). Those who sought purification from him knew that their venal human weaknesses, “the fruit of man recorded losing all against the hour,” would ultimately be cleansed by the Messiah John heralded “with music that came quickly from afar.” John the Baptist’s stated purpose is to call sinners to God’s forgiveness, anticipating the deliverer who would purify them beyond his imitative cleansing, as articulated in Matthew 3:11: I indeed baptize you with water unto repentance: but he that cometh after me is mightier than I, whose shoes I am not worthy to bear: he shall baptize you with the Holy Ghost, and with fire.”

This begins both the story of the crucifixion narrative (because it foreshadows the eventual sacrifice on the cross required for the forgiveness John suggests Jesus brings) and the Platonic underlay (John is an imitation of Jesus, who is a tangible form of the Holy Spirit). In a masterful literary move, YES has initiated a multilayered allegory in four verses.

The opening verses are followed by four more verses, then the chorus—which explains where the edge is—then another verse with a direct suggestion of divine intervention remarkably indicative of Numbers 11:9: “And when the dew fell upon the camp in the night, the manna fell upon it.” In fact, there seems to be a reference to the first part of the verse before the chorus and the second part after it (not to mention the use of the work “crucified” immediately after the use of the word “Manna”—our link to a biblical level of allegory),

And assessing points to nowhere leading every single one
A dewdrop can exalt us like the music of the sun
And take away the plain in which we move
And choose the course you’re running

Down at the end, round by the corner
(Not right away, not right away)
Close to the edge, down by a river
(Not right away, not right away)

My eyes convinced, eclipsed with the younger moon attained with love
It changed as almost strained amidst clear manna from above
I crucified my hate and held the world within my hand
There’s you, the time, the logic or the reasons we don’t understand

While this is an Old Testament verse, it sustains the idea of divine salvation, and the notion of Manna suggests communion, perhaps hinting at the Last Supper episode of the crucifixion narrative. With the river metaphor evocative of Christ’s baptism interposed as a chorus between the two halves of the verses, and especially the dew (water) and manna (bread) being placed on either side of the chorus, it does seem to echo the verse from Matthew quoted above. Further, the antistrophic “Not right way” in the chorus seems to recapitulate John’s assertion that the true savior’s arrival is imminent: the water washes away the past sins, the bread sustains the future of salvation. From a Platonic perspective, the shadows of human existence are eclipsed by the greater reality of expanded perception as portrayed in Book 7 of the Republic,

Socrates: To them, I said, the truth would be literally nothing but the shadows of the images.

Glaucon: That is certain.

S: And now look again, and see what will naturally follow if the prisoners are released and disabused of their error. At first, when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive someone saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision, -what will be his reply? And you may further imagine that his instructor is pointing to the objects as they pass and requiring him to name them, -will he not be perplexed? Will he not fancy that the shadows which he formerly saw are truer than the objects which are now shown to him?

G: Far truer.

S: And if he is compelled to look straight at the light, will he not have a pain in his eyes which will make him turn away to take and take in the objects of vision which he can see, and which he will conceive to be in reality clearer than the things which are now being shown to him?

G: True, he now

S: And suppose once more, that he is reluctantly dragged up a steep and rugged ascent, and held fast until he’s forced into the presence of the sun himself, is he not likely to be pained and irritated? When he approaches the light his eyes will be dazzled, and he will not be able to see anything at all of what are now called realities.

G: Not all in a moment, he said.

S: He will require to grow accustomed to the sight of the upper world. And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day?

G: Certainly.

S: Last of he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as he is.

YES captures this in the verse “A dewdrop can exalt us like the music of the sun.” We see the same idea expressed in Matthew 3:16: “And Jesus, when he was baptized, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him,” or the heavenly body of the Moon here, the eclipsed moon, that is. After this is the reference to “crucified my hate,” which foreshadows Luke 23:34: “Then said Jesus, Father, forgive them; for they know not what they do. And they parted his raiment, and cast lots”: a stunning Platonic juxtaposition of the eternal truth of forgiveness with the temporal human incapacity to recognize the savior for his clothing, or as YES has it “you, the time, the logic or the reasons we don’t understand”: a basic summary of the Platonic argument quoted above.

The next verses of the song evoke a more Platonic than biblical moment. That said, they do seem to include a basic archetypal motif of elevation and increased perception, of the physical and temporal manacles giving way to the apprehension of a greater truth:

Sudden problems take away the startled memory
All in all the journey takes you all the way
As apart from any reality that you’ve ever seen and known

Guessing problems only to deceive the mention
Passing paths that climb halfway into the void
As we cross from side to side, we hear the total mass retain

While these lyrics surely allude to Siddhartha, the also express the general principles of progressive illumination and serve as a reminder of the Platonic/archetypal foundation of the album: a direct rendering of the philosophical inspiration.

The next verses of the song seem to suggest Christ’s resurrection and appearance to Mary and the disciples as articulated in John 20:11-31:

11 But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, 12 And seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. 13 And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away my Lord, and I know not where they have laid him. 14 And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. 15 Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away. 16 Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master. 17 Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God. 18 Mary Magdalene came and told the disciples that she had seen the Lord, and that he had spoken these things unto her. 19 Then the same day at evening, being the first day of the week, when the doors were shut where the disciples were assembled for fear of the Jews, came Jesus and stood in the midst, and saith unto them, Peace be unto you. 20 And when he had so said, he shewed unto them his hands and his side. Then were the disciples glad, when they saw the Lord. 21 Then said Jesus to them again, Peace be unto you: as my Father hath sent me, even so send I you. 22 And when he had said this, he breathed on them, and saith unto them, Receive ye the Holy Ghost: 23 Whose soever sins ye remit, they are remitted unto them; and whose soever sins ye retain, they are retained. 24 But Thomas, one of the twelve, called Didymus, was not with them when Jesus came. 25 The other disciples therefore said unto him, We have seen the Lord. But he said unto them, Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe. 26 And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, Peace be unto you. 27 Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust it into my side: and be not faithless, but believing. 28 And Thomas answered and said unto him, My Lord and my God. 29 Jesus saith unto him, Thomas, because thou hast seen me, thou hast believed: blessed are they that have not seen, and yet have believed. 30 And many other signs truly did Jesus in the presence of his disciples, which are not written in this book: 31 But these are written, that ye might believe that Jesus is the Christ, the Son of God; and that believing ye might have life through his name.

And the YES lyrics,

In her white lace, you could clearly see the lady sadly lookin’
Sayin’ that she’d take the blame
For the crucifixion of her own domain

Two million people barely satisfy
Two hundred women watch one woman cry, too late
The eyes of honesty can achieve

Then according to the man who showed his outstretched arm to space
He turned around and pointed, revealing all the human race
I shook my head and smiled a whisper, knowing all about the place

On the hill we viewed the silence of the valley
Called to witness cycles only of the past
And we reach all this with movements in between the said remark

These lyrics nearly paraphrase the biblical account. The two million people elicits an image of the new faithful, the two hundred women symbolize the two angels, and the lady in white is the immaculately conceived Mary come to take away the body, her crucified domain, and “the man who showed his outstretched arm to space” represents the risen Jesus who instructs Mary and the disciples in how to sustain his legacy.

And You and I

The second song on the album, “And You and I,” also uses imagery from the crucifixion narrative. While the elaboration of this imagery is not as extensive or as sequentially coincident with the crucifixion narrative as “Close to the Edge,” there are several unmistakable correspondences. The first rests in the direct mention of the word “crosses,”

Oh, coins and crosses never know their fruitless worth

This verse evokes Matthew 22:21 “They say unto him, Caesar‘s. Then saith he unto them, Render therefore unto Caesar the things which are Caesar‘s; and unto God the things that are God’s.” This verse rests among the parables, great lessons articulating the differences between the temporal and eternal. Indeed, this passage works on the Platonic level as well. Christ’s message is not one of rebellion. It is a message of higher understanding, and it is delivered in parables, much the same way Socrates (or even Gautama) would do so.

The next applicable lyrics seem again to recapitulate the Christ’s baptism. Whether intentional or not, there seems to be an allegorical expression of Jesus as the preacher and John the Baptist as the “insane teacher.” Further, following from the hint of the Roman Empire’s role in the crucifixion and the subsequent replacement of that Empire with the Church, the lyrics quoted below seem to summarize the overall historical moment under examination.

Sad preacher nailed upon the colored door of time
Insane teacher be there reminded of the rhyme
There’ll be no mutant enemy we shall certify
Political ends, as sad remains, will die
Reach out as forward tastes begin to enter you

The “insane teacher” echoes the truth (“reminded of the rhyme”—temporal truth), the “sad preacher” suffers for that same truth (“nailed upon the colored door of time”—eternal truth) and the “political ends, as sad remains” collapse under the weight of the truth (“forward tastes”).

The salvation motif continues in the next verses.

I listened hard but could not see
Life tempo change out and inside me
The preacher trained in all to lose his name
The teacher travels, asking to be shown the same
In the end, we’ll agree, we’ll accept, we’ll immortalize
That the truth of the man maturing in his eyes
All complete in the sight of seeds of life with you

Speaking in first person now, the seeker articulates an emotional crisis: “I listened hard, but could not see/ life tempo change out and inside me.” The then recalls the preacher and teacher, those before him who brought the message, he ultimately unites with them in achieving the goal “in the end, we’ll agree, we’ll accept, we’ll immortalize / that the truth of the man maturing in his eyes / all complete in the sight of seeds of life with you,” an expression of salvation in the Christian sense or of transmigration in the Platonic sense. Interestingly, the lyrics here step beyond a mere retelling of the Platonic or Christian narratives and postulate the ultimate goal of both, of perhaps all philosophy: living a better life. The key to living that better life comes from what Platonists call “the glimpse” or what Christians may call an epiphany. The only way to open the “colored door of time” is if your journey for truth takes you close to the edge.

Siberian Khatru

The final song, “Siberian Khatru,” holds the fewest direct connections to the narratives being examined here. In fact, the final song extends the expression of the goal explained above. In an idealized and compressed expression of the outcome, the lyrics of the final song create a space to unite the disparate traditions under a final archetypal umbrella.

The first allusion refers to the instrument of crucifixion: the nail. However, the lyrics describe the nail in ideal terms and suggest that it is a fastener not of a person to a cross but of people to each other and to a shared vision: “Gold stainless nail / Torn through the distance of man / As they regard the summit.” Echoing the scene at Golgotha, these lyrics idealize the even and suggest that the unity of those who believe look outward toward a greater truth. Then an implication that the release is at hand rests in these lyrics, perhaps channeling the irony that the nail the used in the crucifixion ultimately became the nail that affixed the Romans to history and freed Christians to supplant them: “Cold reigning king / Hold all the secrets from you / As they produce the movement” and “Cold reigning king / Shelter the women that sing / As they produce the movement.”

The song and album then close with a list of images suggesting many traditions, of movements produced and secrets revealed:

Bluetail, tailfly

Luther in time

Suntower asking

Cover, lover

June cast, moon fast

As one changes

Heart gold, leaver

Soul mark, mover

Christian, changer

Called out, saviour

Moon gate, climber

Turn round, glider

Thus, these seemingly disparate approaches to faith have reinterpreted the same basic truth and broken free of their oppressors, much as the Platonic tradition would advance a search for truth over an acceptance of immediate circumstances. Both traditions, as well as the obvious references to nature, Jesus, Protestantism, and probably Buddhism as well, have apprehended the truth beneath the truth, which is that truth is not a static object to be held and adored but a living practice to be embraced and interrogated. As John 8:32 has it, “And ye shall know the truth, and the truth shall make you free.” As Plato and YES (and Hesse) suggest, knowing the truth results from a profound and unremitting search for glimpses of a greater reality that may be seen if you are close to the edge.

https://www.youtube.com/watch?v=GNkWac-Nm0A

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Defect Designer Posts Artwork for Upcoming Album

defect

Progressive death metal band Defect Designer announce their signing with Sleazy Rider record label.The band has posted artwork for upcoming album Ageing Accelerator. Artwork is done by Seth Siro Anthon, famous for his work with Soilwork, Paradise Lost, Moonspell, Sybreed and other acts.

Ageing Accelerator recording lineup includes:
– Flo Mounier (Cryptopsy) – drums
– Stelios Mavromitis (SepticFlesh live guitarist) – guitars
– Martin Storm-Olsen (Trollfest) – guitars and clean vocals
– Christos Antoniou (SepticFlesh) – sampling and orchestration
– Dmitry Sukhinin (Diskord) – vocals, bass and guitars
The band was originally started in Siberian Russian city Novosibirsk, and reestablbished after mainman’s relocation to Oslo, Norway. Defect Designer has a full-length album, Wax released worldwide viva My Kingdom Music.

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Profile: Death Curse Productions (Germany)

death_curse_productions_-_2015_logo

Death Curse Productions represents the new wave of smaller underground labels who are targeting niches within the mainstreamed post-underground instead of trying to drop out from the methods used by normals to exchange music. Despite offering some unconventional formats, Death Curse Productions keeps its offerings accessible to the world at large, as if daring them to look underneath the mantle of normalcy and discover the twisted, weird and alienated…

When did Death Curse Productions (DCP) get started, who started it, and what was your intent?

Death Curse Productions was founded in the year 2013 A.B. by two individuals who felt the urge to uphold the traditions of Black Metal.

The main intent behind the label’s activities was, is and always will be to create strictly limited pieces of music we approve to be worth the attention. DCP’s work concentrates on the production of quality releases in every way, be it musical, spiritual, visual or concerning design in general.

Mainly it’s quality above quantity, as nowadays the so called Black Metal ‘scene’ is all about putting out shitty releases of shitty sideprojects on a daily basis.

What type of music do you cover, and what do you do? Will this expand in the future?

We don’t determine an exact style as long as the music or the band matches our philosophy. In this case the essence of our philosophy is the glorification of death itself.

We canalize the music onto analogue media to preserve them against extinction. For now the focus is on tapes but that shall not set a restriction for what we do in the future.

In other words expansion is something we highly strive for.

Do you think underground metal is still relevant in the days of post-metal, indie-metal, jazz-metal and modern metal?

Today, in a time where those genres reached their peak of popularity, they managed to take the original values from the metal music itself and turn them into something completely depraved. The music was originally intended to be violent, raw, sinister and dangerous, instead people went forth and created something clean, peaceful and enjoyable, only in order to attract a tasteless mass of lambs and accumulate money.

Concerning the underground, especially Black Metal is declared to be dead by a lot of people, yet there’s a black flame still being kept burning by a small amount of certain individuals, who preserve the underground from being swallowed by trends and who put all their passion and devotion into creating music following the old path.

What are your favorite bands in the underground metal genres?

This is not a question we want to answer, as opinion-making is for the weak-minded, whose taste is defined by trends.

Of course there are undeniable classics everyone should be aware of, as well as some so-called newcomers who stand out in a way, they contrast from the common stuff.

If people are interested in what DCP does, where do they go for more information and/or how do they contact you?

Whoever is seriously interested in DCP, should contact us by mail.

For any updates visit the blogspot page or facebook.

Death Curse Productions 2014 releases:

DCP001 – KILL (Swe) “Inverted Funeral” tape

Yet to be released in 2015:

DCP002 – BALMOG (Esp) “Testimony Of The Abominable” tape
DCP003 – BALMOG (Esp) “Svmma Fide” tape
DCP004 – ILLUM ADORA (Ger) “Demo MMXV” tape
DCP005 – ACRIMONIOUS (Gre) “Purulence” tape

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