Condemner Posts Rehearsal Track of “Male Patratis Sunt Atra Theatra Parata”

Texas post-death metal band Condemner — which seems to combine Celtic Frost, Incantation, and Blasphemy in its sound — posted its latest rehearsal track yesterday, showcasing its desire to stack primitive chromatic riffs against rumbling discursion in order to make wandering, melancholic tracks with an undertone of violent Nietzschean-Galtonian “might is right” conflict.



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Death Metal Baron Rewilds Estate

We all love a good feel-good news story, in this case about an Irish baron who rewilded his estate:

According to the UN, the world needs to rewild and restore an area the size of China to meet commitments on nature and the climate – but not everyone applauds Ireland’s pioneering effort. “You’d be surprised when you live in a castle how many times people think you’re an idiot,” says Plunkett, the 21st baron of Dunsany.

He still loves death metal, and sports a ponytail and (fake) leather jacket, but he decided seven years ago to turn over 300 hectares of his estate to nature – no livestock, planting, sowing or weeding.

Before, the estate had just three types of grass, now it has 23. “I didn’t do it, the birds did.” Trees regenerated and multiplied – oak, ash, beech, Scots pine and black poplar. “I see a lot of saplings growing that I haven’t planted.”

Death metal emphasizes reality over human pretense. This leads us to see the importance of eternal things, instead of immediate novelty-based social gratification, and therefore treasure that which is out of human control.

On the other hand, any time you get a committee or a herd of people together, they start demanding that human desires become more important than reality, and this never works, so they double down and it becomes an obsessive mania to smash anything other than human desires.

This culminates in a state like Communism or Consumerism where human rules control everything, and as a result, life detaches from both nature and common sense, leading to a tedious existence of servitude to the lowest common denominator.


On The Origins of Heavy Metal and Assimilation

From a recent publication of Perfect Sound Forever, some information echoing our FAQ about the origin of heavy metal:

Leaving out the blues element in the late ’70s, metal pioneers Judas Priest and Mötörhead had used their heaviness while keeping in line with the attitude of punk to create a sound that was heavy rock n’ roll punk filled with economic guitar solos, much like those heard in the Ramones and Sex Pistols. In fact, Mötörhead’s 1977 self-titled debut, which had included the element of speed, had often mixed the sound of classic rock with punk and the ’70’s glam rock of Bowie and Slade. This would soon would be followed by ’80’s metal pioneers Saxon, Iron Maiden, Def Leppard, Diamond Head and Girlschool who had added a great amount of guitar dexterity to the mix becoming a prime characteristic of ’80s metal music from the beginning.

In addition, the article addresses some of the concerns with commercialization and assimilation that came straight out of the 1980s:

When considering ’80s metal, one has to recognize that although the spirit of punk from which it came had mainly focused on anarchy, anti-consumerism, anti-corporate control, much of it, particularly glam, had taken on a strong commercial aspect in the rise of a particularly increasingly commercial period. Mixed with a sporty look and big hair when an enormous mix of different music and styles had existed, after following on from punk and much that was derived from classic rock, metal music in the ’80s had flourished as corporate rock in a period when the commercialization of music saw the rise of an unstoppable corporatization on a wide international scale- indeed, major U.S. record companies were selling themselves to media moguls in Japan and Europe. In fact, metal was a music engulfed by a “give me the money decade” full of excess – drink, women, hair, drugs in a period which saw the beginning of fragmentation in music when the rebelliousness that once seemed to possess more innovativeness and originality from which it had originally stemmed from became swallowed up by commercialism.

In fact, one of the original ANUS articles, now lost to time, was about the difference between commercialism of a non-commercial genre and being within a commercial genre like Queensrÿche or Iron Maiden, who did their best despite coming from the aboveground.


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As a related project to Demigod, the Finnish death metal band Adramelech aimed to create dark tunneling atmospheres of morally ambiguous and unstable spaces in order to snap people out of their bourgeois socializing and trend-following.

You can read more about Adramelech and Demigod in our current death metal news and reviews feed.

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