Elitism is Darwinism for heavy metal

If you are a false, do not entry. – Sarcofago

Elitism gets a bad rap because it has been appropriated by hipsters to justify their interest in low-quality but obscure bands. The obscurity of those bands makes them rare, which makes them valuable in a social situation, as you can always one up someone else by suggesting something more obscure, connoting greater knowledge, experience and “being in the know” on your part. This is the inverse of elitism however which is a simple formula of quality > quantity, which hipsters confuse with simply measuring by quantity alone in order to find the least popular and equate it with the highest quality.

Inferior substitutes replacing quality originals is after all a trope if not the defining feature of what happens over time in our society. A good idea becomes edgy, then hip, and so a dumbed-down version is made for the masses to democratically share in the hipness, at which point declining quality (dumbing down) destroys whatever made the idea important in the first place. One needs look no further than the progression of Metallica from their second album to their fourth to see this in action. Over time, the complexity and intensity erodes and is replaced by a friendly, vapid and appearance-based substitute. The story arc of black metal shows this most clearly, moving from an outlaw genre that upended all rock and pop conventions to a pale imitation in the form of indie rock with incomprehensible screaming.

It is no wonder the hipsters want elitism misunderstood. It would eliminate the entirety of hipster bands by pointing out that, instead of being quality because of their rare quantity, they are impostors and pretenders. Poseurs, if you will. Then again, what defines hipsters is the formula appearance > reality, so that entire genre of people are by nature poseurs, scenesters, day-trippers, tourists, pretenders and the like. Elitism offers cynicism with hope: that by raising our standards, we can raise quality. World-weary observers may note that this has something in common with the theories of Charles Darwin, which held that better adapted creatures reproduce more and thus over the years their traits predominate; on the other hand, traits which are not used die out. Cynicism by itself leads to a dark place where nothing has value, but cynicism with hope leads out of the confusing harangue of nonsense that most people rationalize themselves into liking, and shows instead a chance to clear the clutter, value the good, and spend life on more meaningful pursuits than what is new or obscure.

Darwin gave us a warning, however. Humans now control the index of selection, and so if we value the wrong things, those will predominate over other traits and exclude those traits. For example, in black metal it became fashionable to like the novelty of hybrids with indie-rock, and those sold more as a result, and this displaced most of the original material. In turn, the originalists attempted to preserve their music through exaggerating its external characteristics, which led to self-parody and low quality. Elitism is recognition of what our ancestors could have told us: most people, most of the time, are engaged in useless or stupid activity in order to appear important. The self-importance of the individual is the death of humanity, perhaps, but it certainly forms the death of music. One needs look no further than a thread of favorite bands where each user busily types in the most obscure bands he can think of in order to appear wise.

Misanthropy has long been a trait of metal. Compassionate misanthropy would be much like cynicism with hope, or a recognition that most people are busy with the useless, but that some are not, and if we value those good, we get more of the good; on the other hand, if we ignore them, they die out. Darwin would nod and smile at this implementation of his theory. Unfortunately for humans, only some — those with the intelligence, experience and honesty/aggression to pursue the truth — can articulate the difference between gunk and glory. These are opposed by the rest because these tastemakers will point out the the Emperor has no clothes on at all, which invalidates the posing and posturing of the majority. This in turn renders the hipster, scenester and try-hard irrelevant, and they fear this and as a result fight hard against any quality > quantity assessment, which leads them to try doubly hard to find the obscure but mediocre and champion it as the apex of the genre.

Majorities however determine the order of the day. They have more money and in democratic societies, political power; their misery is that by “winning,” they self-destruct by replacing quality with inferior substitutes. The last twenty years of heavy metal reflect this anti-Darwinian approach and quality has declined proportionately. Even record labels find that following the most recent trends — the way to success in a mass society — has stopped working for them as consistently as it used to. This intensifies the desire to replace quality with quantity, especially by claiming that a small quantity or being ironic, different, unique or contrarian signals quality. On this point, hipsters join with the bourgeois mass consumer marketers in the same theory, and through two different pathways, produce the same inferior result.

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SJWs getting nervous because “hipster metal” is fading in popularity

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Take a sneak peek at this fascinating chart: over the last few months, interest in hipster “indie metal” and “post-metal” bands has been fading like interest in a Justin Bieber death metal album. This could explain the vast nervousness and agitation among that group, who had a ten-year window to take over metal and use it for their own ends by replacing the original metal fans with a larger audience of quasi-mainstream SJW-style indie hipsters.

But they have failed.

As Google trends reveals, hipstermetal has been a flash in the pan, and these bands that received huge media attention from SJW journalists have collapsed. Even much more extreme and abrasive and non-hipster bands maintain a surprising degree of relative popularity in comparison to the dying indie/hipster metal trend.

Even Windir is more popular even today than Liturgy and Wolves in the Throne Room combined. Why is it that even though all these bands try so damn hard to sound like real black metal, true fans can always tell? Moreover, people with the true metalhead personality always end up gravitating to the real stuff. I think that’s because of psychological makeup and possibly even genetics related to brain structure.

In other news, the henhouse is clucking. But how they will be screeching when the destruction specialists appear for the first time. The anticipation is unbearable. The savoring of the flavor of the moment, as SJWs realize their gambit failed and they have now again been reduced to being low-paid entry-level workers in a world that does not care about their “Male Tears” mugs and bold, independent, brave and different social justice opinions…

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SJWs miss the point on #metalgate

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SJWs are masters of disguise. Disguising their perceived enemies, that is. They excel at portraying the rest of us as rednecks, klansmen, insecure bullies, backward-ballcap jocks, and other disreputable stereotypes. The problem is that to an SJW, anyone who is not an SJW is the enemy.

This is why resistance movements like GamerGate, which just celebrated its one-year anniversary, and MetalGate, have arisen. We do not necessarily disagree with you. We disagree with how you behave, and we realize that while you behave like Bolsheviks, what motivates you is something far simpler. You’re afraid of being spotted as less important than the greats.

Metal has a good relationship with its heroes. It raises them up and continues to respect them even after their artistic energies fizzle. It does this because metal values hard logic and firm answers, much like it values unflinching realism, both of which are anathema to SJWs. Metal wants right answers and it does not play the political shell game.

This is why SJWs attacked it: they resent it for being wild and free, lawless and uncucked, as well as not under their control. Their goal is to subjugate metal and make it into their bitch. They want it to become a slave that expresses only their political viewpoints, and by doing so, reinforces their importance instead of the greats.

SJWs are also clueless because they continue doubling down even after the trajectory of history has changed. They are now as out of date as Communists in 1991. They hate this and so they are lashing out with increasing amounts of guilt like a drunken grandmother, trying to control and manipulate all of us to follow their own self-destructive, pointless quest.

As Milo Yiannopoulis writes over at Breitbart:

One of the features of GamerGate is that it includes people from every background imaginable. A survey on GamePolitics found a broad mix of liberals, conservatives, and libertarians. Gamers don’t care if you’re black, white, gay, straight, or disabled. All that matters is that you know how to game. They’ll even welcome right-wing bastards like me.

That kind of diversity and tolerance — the genuine kind — frightens cultural authoritarians, not just because they are so mercilessly intolerant to their opponents, but also because it undermines their view of the world. Gaming is that most hated of words in identity politics: a meritocracy. Who you are is unimportant. All that matters is what you know, what you can do, and if you’re being honest with yourself and others about those two things.

Metalgate opposes a leftist movement, but plenty of leftists also opposed Communism. We oppose it because its behavior is wrong and tyrannical, not because we agree or disagree with it, or even want to comment on that subject. SJWs have used that silence to portray us as the Klan or Mussolini when in fact the reality is far simpler: we are defending our music against society trying to take control of it.

Again.

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Black metal band Viranesir censored by Bandcamp

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Black metal band Viranesir from Turkey is no stranger to controversy. As revealed in a recent interview, this band exists to provoke. While artistic license generally covers this, apparently Bandcamp did not feel the tolerance and banned the band from its site, deleting the band profile.

Although that in itself is irritating if not shocking (in 2015 AD, near the end of Western Civilization itself) the broader question is that, as bands become more dependent on the internet to connect with their audience, whether companies like Bandcamp, Reverbnation, SoundCloud and Google/YouTube have too much influence through their policy of censoring “offensive” information. The band released the following statement:

You may or may not noticed that Merdumgiriz Records artist Viranesir have been banned from the online music store Bandcamp last week without any notice or explanation. I inquired about it many times without any answer. Not that I did not guess why, but I needed an explanation at least for them to live up to their word of “Discover amazing music and directly support the artists who make it.” and at least respect all the money they made off from their cut from my Viranesir sales before they suddenly swiped all the music I had up there for which I was counting on them to represent on not only my own but my labels website and all social media accounts, which still I haven’t gotten around to replacing with another alternative online streaming service.

My name is Emir Togrul and I am from southern Turkey. Very conservative place, from which I broke out somehow. Now I live in London England and run a Guerilla Record Company called Merdumgiriz for which I hand-make all the releases and merchandise. I have artists from USA, Canada, Italy, Austria, Iceland to name a few. I refuse to expand the label because I am on a quest to prove that total independence in art is possible and that fine art is a craft… Hence I hand-make every single thing and encourage my artists to do so as well. I make a very modest living but I get through, and the satisfaction I get from this work is just orgasmic. I am a Satanist and a libertine, I live life asking questions and constantly walking the dark. There is a lot of darkness in the world and I walk those paths rather than pretending they are not there. In my 24 years of existence, I have come to many realizations mainly through art, which to me is the highest occult! The biggest realization was the fact that the more you explore the dark, the more you understand it and it ceases to become a problem. I think life can become a very beautiful experience for every living thing when they go on a quest to understand darkness rather than neglecting it into a cancer.

Viranesir was formed as one of my side projects to fuel my main bands YAYLA and BLLIIGGHHTTED. Over time it became a crazy project with crazy music and crazier subject matter! I have songs called ” Heil Hitler!”, “Armenian Genocide Is Amazing”, “Child Molesting Rapist Murderer”, “I Only Like Jews When They Kill Muslims”, “I Only Like Gays When They Scream Like The Opposite Sex As I Rape Them”. I am not a nazi, nor a homphobe. I am half Turkish half Armenian (not exactly Aryan now is it:), and bisexual (aka I proudly suck cock). Not to say I have never been offensive, I have been very offensive… The most offensive thing I have ever done was to put Hitler’s name on an album on the cover of which I appear in drag (neo-nazis must have got very offended by this, I apologize guys), and saying I Love Torturing Defenseless Creatures And Eating Them referring to what I enjoy everyday as a meat eater, or perhaps say Rats Flock Into The Temple referring to Muslims (need I say more). All I ever did was to pull these taboo subjects out of their untouchable contexts and open them up for discussion, because they are very stupid and personally through a sense of humor, better be opened up for discussion in my opinion. The idiots in bandcamp didn’t get it and banned me, big deal.

What if a band is really a fucking nazi or homophobic band?

I really feel sorry for them because they will be shut up. Oh yes, I feel sorry for Homophobic, Rapist, Supremacist, Seperatist musicians and all those people. How evil I must seem to some for feeling sorry for confused people trying to express themselves through art. And the ones shutting them up will not even give them an explanation as if it was the word of Allah that they be shut up. I was suicide bombed by Jihadists of bandcamp last week, I was there and no longer am without any explanation. All my presence wiped out. Suddenly and effectively I am completely gone. Who am I to break the word of their Allah with my art? who am I to question their divine law of “Political Correctness”.

You have not stopped abuse bandcamp, you just stopped someone expressing abuse. There will be no less racist, sexist, pedophile, abusive people in the world because of what you did, there will just be less people thinking about those subjects. I congratulate you! I will continue making Entartete Kunst, wether pieces of shit like you allow me to be on your website or not! Fascist SCUM!!!

Emir Togrul
2.5.2015

In the meantime, you can route around this censorship by going to the label web site and exploring the material yourself. While Viranesir may not be at the top of your playlist, think to the future when some band you care about might be.

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Heavy metal is not a blank slate

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People do not realize that our society is in the midst of a war. A memetic war, in which one ideology will win out over the other. As we see time and time again, the different worldviews are entirely incompatible, causing the type of internal conflict that destroys empires.

Heavy metal is caught in the middle of this. Those who want to push their ideology on you have discovered it, and try to use it as a “blank slate” on which to write their messages. We found out in the 1980s that Christians did this, in the 1990s that the far-right tried, and now in the 2010s, that an echo chamber of “social justice” agitators wants to use metal as its personal billboard. Mainstream metal media — staffed mostly by such people — agrees with them. The variety of hipster known as SJWs are hoping to take over metal and use it for their own ends.

As Old Disgruntled Bastard writes:

The modern state of metal writing, as is the case with much of modern metal, has to do with the wrong kind of people being attracted to the music. Those who don’t identify metal with a higher ideal will only think of this subject as so much faffing and will continue drowning themselves in anodyne cliches, self-referential and flippant by turn. Worse yet, in a show of incredible egotism, they will expect the music to fall in line with whatever personal agenda they might be touting at that moment. It speaks of a stunted, unadventurous, and dishonest bent of mind to outright dismiss ideas that may be pariah to our own and then to run down, ad hominem, those that dare think differently.

He hits on a vital point: their goal is not to crusade against a specific evil, but to eliminate everyone who does not dedicate their life to advancing the same agenda the SJWs do. As many people have pointed out, SJWs are a bit hypocritical. They whine about injustices to women and minorities, but night after night they are in front of their computers, putting other people down instead of working in the ghettos or middle east where women are being raped and executed en masse.

This reveals the agenda of SJWs, while it surely overlaps with their left-wing political views and hipster lifestyles in which activism is ironic and fresh, is actually to make themselves appear to superior to others. SJWs are the new master race, in their own minds. By day, they are cubicle drudges with unimportant jobs who live in expensive city apartments and spend themselves into debt buying organic free-trade wine and artisanal wall hangings. By night, they are transformed into warriors, heroes, Anne Franks and Mother Theresas combined. They find their importance in “social justice” because it allows them to pretend they are better than other people, and to experience the delicious revengeful joy of forcing others to be silent and apologize. That is the thrill of SJW: subjugating others with words from the comfort of your computer, with a glass of Malaysian Anisette Merlot and a rare live Deerhoof set on the radio.

What obstructs them is the very fact that metal is not a blank slate. It has its own beliefs, which deal with the world and its problems from an entirely different angle than SJW solutions do. Its basic rule, non-conformity with society for the purpose of discovering the raw unfiltered power of nature and truth, opposes the very notion of collective action for some slogan or political issue. Metal is against politics itself. It sees politics as an outgrowth of social thinking, not an end in itself. In the metal world, politics is a distraction and SJWs are more nagging nannies who distract us from the real problems. As MetalReviews writes:

Let’s lay it down as law, if in the confines of this editorial only: Black Metal ist krieg, waging war on all, and Black Metal that isn’t krieg, that doesn’t wage war on man, god, musical boundaries and every living creature whatever colour or creed isn’t proper Black Metal – there’s more spiritual closeness between Transilvanian Hunger and La Masquerade Infernale, between De Mysteriis Dom Sathanas and 666 International than there is with something like Panopticon’s Collapse or Eldrig’s Mysterion. They may all be great albums, but the spiritual difference is greater than that of the music itself – Arcturus and Dødheimsgard are no more trying to convert you to Anarchism or Ariosophy than Darkthrone and Mayhem are.

Metal has a culture of its own. SJWs are attempting to genocide that culture and replace it with the watered-down indie rock to which metal riffs have been added that the mainstream media media have been pimping for some time. They achieve this by coordinating among themselves. Someone once plotted the communications between two groups, GamerGate and its opposition. The opposition show a trend toward conformity, where GamerGate was more chaotic and open. The SJWs of today were the authoritarians and Nazis of yesterday. A short demonstration follows.

gamergate_plot

Krieg frontman Neil Jameson — who like Decibel editor Albert Mudrian unfriended our previous Editor on Facebook for what can only be assumed to be political reasons — recently wrote a piece in which he opines on the condition of women in metal. Like most SJW articles, it begins with a justification for its demands on your attention, and threatens you with guilt:

I recently realized that I’ve been having more and more discussions with people about how women are treated within the metal scene, and music in general. Turns out my knee-jerk reaction to throw jokes at the problem wasn’t the best way to address it. This goes a lot deeper, and regardless of how it may make people uncomfortable, it’s a discourse we need to have—and keep having—because the problem isn’t going away; in fact, it’s getting worse.

This is politician-speak like might be used for the wars on terror, drugs or drunk-driving. There’s this problem, see, and it requires immediate attention. Not only that, but it’s getting worse the more we just sit here. Leap into action right now and do whatever I tell you! He goes on from there to make his big point:

As a man, I’ve never gone to a show worried that someone was going to grab my dick or give me a drink with some bullshit drug in it. It’s not because I don’t think I’m pretty; it’s because this is shit that doesn’t happen to men (I understand someone in the comments section will have a story saying that it does, but for the sake of argument, please shut the fuck up). It’s just not something we have to worry about. Women have to shrug this behavior off because they’re afraid if they speak up that it’s going to be turned around on them due to what they’re wearing, or their sexual history, or the simple fucking reason they have a vagina and guys are taught from a young age through marketing and media that we’re entitled to that. Movies and other forms of storytelling glamorize women going to shows to fuck and nothing else. The idea that they’re there because they love the music seems as absurd as a cop telling the truth during a trial.

In addition to the type of terrible writing that thinks throwing in the word “fucking” for unnecessary emphasis somehow makes it edgy, this piece shows us a lot of guilt — and no facts. We all know that there are some badly behaved people at shows, and their bad behavior takes many forms. People throwing beers, pulling non-participants into the pit, fighting with bouncers, or just being general doofuses are common enough, but not accepted nor the norm. In my experience, metalheads have generally stood up for personal boundaries to anyone transgressing them, without checking to see if the victim was a white male first. But in the Jameson piece, the rambling story goes on with reasoning about how we should stop everything to fight a problem he supposes is somehow very serious, despite no assessment of how wide of a problem this is or even whether it is a problem with metal or simply dickheads being dickheads at rock shows.

But really, the plight of women in metal is not the point. The point is that Jameson has joined the SJWs and wants their approval so he can sell them the “new” version of Krieg, which takes pride in being “open-minded,” a term that means not metal if you analyze it. As he says himself:

“We were one of the first geographical groups to really tie in non–black metal inspiration, like my covers of the Velvet Underground/The Stooges, etc., Leviathan/Lurker of Chalice’s Joy Division and Black Flag influences and covers, Nachtmystium’s interest in psychedelics and more blues-based ideas, etc.”

In other words, innovation by devolution. These bands are much older than metal and fit more into the rock paradigm than metal has. This is like stepping backward a generation and claiming “progress” as a result. Why would he pick this approach? In the SJW world, metal is bad and anything that pretends to be metal but is not is good. Therefore, bands that claim to be innovators for re-hashing older genres — which most metalheads want to escape — are to be praised, and anyone who makes metal for metal’s sake is bad and should be avoided. They need this argument to advance the illusion that metal is a blank slate, instead of the vibrant culture that it is.

What else might Jameson be doing here? Others have defined this pathology before:

A gaming term used to describe a male gamer who, in a desperate attempt to get himself laid, will attempt to woo or impress any female gamer he comes across online by being overly defensive of her and giving her special attention, such as playing as a healing class and only healing her.

That is White Knighting. In other words, men who publicly proclaim themselves sensitive to women’s issues are doing it to get laid or be accepted by a new social group. You may remember this from high school or college. At the mid-point of freshmen year, guys figure out that they can attend feminist workshops, get misty-eyed about how oppressive they are, and go home with a new girl each night. This has little to do with ideology and everything to do with human behavior. People who want acceptance into a group will memorize and repeat the appropriate chants to get what they want.

Is this what the former Lord Imperial, now short-haired Neil Jameson of The Velvet Krieg is doing? Let’s look at some of his statements from the past.

Wikipedia recalls an interview by Jameson in which he expressed a different viewpoint. Although the Wikipedia article was edited mysteriously (moderator notes: “Unexplained removal of content”) on July 5, 2013 at about the time Jameson started writing for Decibel, it can be found at the Project Gutenberg wiki. Jameson — who had just gotten out of his band Weltmacht which had pro-Nazi themes, even getting signed to pro-far-right label No Colours — was heading in an entirely different direction just seven years ago:

Krieg were boycotted in Switzerland “because I freely use offensive words like ‘nigger’ in regards to the disgusting double standards and politically correct nonsense that has spread through the world black metal scene. This is a scene that encourages violence and hatred, but if you say something against anyone besides Christians it sends a lot of people into crying fits. There was one person who wrote me saying he didn’t approve of my life ‘affirmation’ on the Satanic Warmaster split in which I, I felt very blatantly, criticised both the life loving movements and the politically correct movements, but I guess these people are too fucking involved in down syndrome to notice IRONY. Well fuck them, I don’t want the support of people who cannot read the entire idea, but rather pick at ‘dangerous’ words. When the fuck did this stupid concern for hurting people’s feelings become an issue in black metal? […] ALL PEOPLE ARE SHIT […]. As for Switzerland, we got banned from the country for using ‘nigger’ on this 7 inch, which as I stated before, was anti political correctness, NOT PRO FACIST.” Imperial added that “[u]nderneath the abrasive offensiveness lies a much greater meaning that many would take the time to inspect and study. Beneath such a bitter shell lies enlightenment. IF you can fight through my venom, then you will find truly what I am spreading through the words of Krieg.”

This viewpoints sounds like those in GamerGate and MetalGate, except that we do not use racial slurs to denigrate other groups to make our points. We just speak up for what is true against the onslaught of SJWs. Jameson’s case is probably quite normal; he has simply joined the hive mind so that he can meet more people, be cool with the other SJWs at Decibel, and advance his own career, in defiance of the heavy metal genre he once found inspiration in. In other words, SJWs in metal are simply another form of selling out and assimilation into the mainstream herd.

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#metalgate: SJW hipsters will trash metal like they trashed the Hugo Awards

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Angry hipsters are like discontented housewives: living in the midst of plenty, with any option open to them, they prefer to combine excuses for failure with a passive-aggressive attack on the world. It is as if they are seeking to justify their fedora-wearing, basement-dwelling ways in the face of the many possibilities they could have explored. Life peaks early for such people, and peaks low.

Last night’s debacle at the Hugo Awards, nominally granted for science fiction excellence, shows what happens when SJWs take over a genre: they kill it by replacing it with an inferior version of itself, and by doing so, drive away anyone interested in quality of art, music or literature. This parallels their infiltration of metal with terrible indie rock like Deafheaven, Necrophagist, BabyMetal and Wolves in the Throne Room.

They attack under the guise of humor. Remember Metalocalypse? It was Adventure Time with a butt-metal theme. Then they demand you be open minded, and spiritual, which showed up everywhere from the fruity New Age lyrics of Cynic through the recycle-your-cigarette-butts environmentalism of “Cascadian black metal.” Finally, they make the political demand: start preaching what we preach, or you are the enemy and must be destroyed.

They did the same thing in science fiction. This explains why the genre has fallen off the radar for the most part, since the “new classics” — coming on the heels of some execrable years of Fantasy hybrids — are all bad and meaningless. The days of Heinlein, Card, Asimov, Niven and other giants are removed from the present-day drivel. As writer John C. Wright described it:

Once, the Hugos were the popular award given to the best works by Frank Herbert, Robert Heinlein, Issac Asimov, Bob Silverberg, Ursula K LeGuin and Harlan Elison, and Roger Zelazny. After much patient effort, the Hugo Awards, together with the SFWA (the Science Fiction Writers of America) were controlled by a small clique of like minded creatures loyal to Mr. Hayden.

Thereafter, the Hugo voters awarded awards to the Tor authors Mr. Hayden selected based on their political correctness, and expelled those whose politics the clique found not to their taste.

None of this was done on merit. Editors and writers in the field have been silence or shoved to the sidelines thanks to the action of the clique. I mention no names in public, but those in the field recall the various false accusations leveled against numbers of people, both working for Tor and outside.

So, in effect, the Hugo Award became the Tor Award. It was given, over and over again, to works of modest merit (such as REDSHIRTS by John Scalzi) or none at all (“The Ink Readers of Doi Saket” by Thomas Olde Heuvelt) or selected solely on the grounds of their promoting political correctness or sexual abnormalities (“The Water That Falls on You from Nowhere” by John Chu).

We know this pattern: we’ve seen it!

Every month, the cozy little clique of labels and “journalists” prances out a new favorite which they claim is new because it “breaks down boundaries,” which actually means that it is indie rock music with metal grafted on top. Metal-flavored rock, in other words. That means that it is not new, or breaking barriers, but in fact reverting to what existed before metal and what many of us came to metal to escape, i.e. endless droning self-drama victimhood songs by bored people who never found anything worth giving a damn about in life.

The real story at the Hugo Awards is that the voting was corrupt: SJW hipsters were buying votes in an attempt to block all non-SJW authors from receiving awards. The whole point of being an SJW is to have a personal army, so that if you want to show the world how important you are, you can summon a whole horde of internet people to come forth from their basements and inundate whatever target you have selected. Then, you alter it — just like the SJW invasion of metal turned it into indie rock — and declare that it has “changed,” even though what has really happened was an invasion from outside.

Even WIRED magazine, normally pro-SJW like most media, noticed the clash. Its story looked in-depth at the SJW passive-aggressive phenomenon, where SJWs style themselves as anti-racist and accuse anyone who disagrees with them of — you guessed it — being racist. WIRED pointed out the origins of the backlash against this:

But from the start, Correia had some serious complaints. He felt that the Hugos had become overly dominated by what he and others call “Social Justice Warriors,” who value politics over plot development. Particular targets of Puppy derision include two 2014 Hugo winners: John Chu’s short story, “The Water That Falls on You From Nowhere,” in which a gay man decides to come out to his traditional Chinese family after the world is beset by a new phenomenon: whenever a person lies, water inexplicably falls on them; and Ann Leckie’s debut novel Ancillary Justice, whose protagonists do not see gender. Leckie conveys this by using female pronouns throughout.

Correia’s New York Times best-selling book Warbound was up against Leckie’s novel at the 2014 Hugos. (He thinks he was a finalist because of an earlier Sad Puppies lobbying effort.) He and Torgersen, a 41-year-old chief warrant officer in the Army Reserve who took over the Sad Puppies campaign this year, told me they want sci-fi to be less preachy and more fun. Both bristle at assertions made in the blogosphere that they are racist, sexist homophobes.

In fact, their argument is actually pretty interesting. They say their beef is more class-based; Torgerson says his books are blue-collar speculative fiction. The Hugos, they say, are snobby and exclusionary, and too often ignore books that are merely popular, by conservative writers. The Sad Puppies have a name for those who oppose them: CHORFS, for “Cliquish, Holier-than-thou, Obnoxious, Reactionary Fanatics.”

In other words, on one hand there are affluent college-educated MFA-attending SJWs who want to write stories about “social justice” and have an audience buy them for that reason alone. On the other hand are more traditional writers, who may not have come from a privileged background and who mostly lack a political agenda, but are writing based on content alone, and push ideology and style to the side. Their sin, according to SJWs, is not that they oppose SJW, but that they fail to make it the centerpiece of all of their works.

A cynic might see this in simple economic terms. SJWs in metal and science fiction want a captive audience: if the book talks about “social justice,” buy it like housewives picking up the latest Barbara Kingsolver book because they feel too guilty not to, and therefore SJWs always have a job. The non-SJW writers compete with this, so the SJWs want to exclude them from the scene, just like they have waged war on non-political bands in metal, claiming that denial of “social justice” beliefs equals rejection of the validity of the underlying issues those SJW beliefs purport to discuss. In other words: there is only one right way to think about these topics, and if you do not join the bandwagon, you are literally Hitler.

As in science fiction, the problem created by SJWs is not right vs. left but all of us who want a healthy genre versus those who want to take it over and use it as a zombie bullhorn for their own propaganda. We resisted it with Christians, and with the far-right, and now we must resist it with SJWs, because once they take it over it will never recover. SJWs implement a type of “soft censorship” where if journalists, they refuse to mention non-SJW bands in a positive light, and mention the SJW bands ten times more. If labels, they sign only SJW bands. The fans buy only SJW-approved material. The result creates a market that replaces metal as a whole and crowds out the original fans and new fans, attracting — and allowing in — only fellow traveler zombies. That is our future if we do not fight SJWs like we did Christian metal and the far-right in the 1990s.

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#metalgate: why SJWs became hipsters

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The hipster has one salient trait: ironism. Whatever everyone else is doing, he is not. He uses this trait in a passive-aggressive way to force acceptance through provocation. Where normal people gather, the hipster will show up looking as weird as possible, hoping that someone will say something because he knows that social pressure is on his side. If he is criticized, he can use the dominant paradigm of our age (individualism) as a weapon and claim the other party is bullying him, when in fact it is the hipster who is starting the argument by deliberately being unusual, different and “unique.”

This approach combines some of the ugliest aspects of human behavior. First is bullying, because the hipster is waiting for criticism so he can say, “Look boys, it’s just like in Napoleon Dynamite, the popular kids ganging up on all of us accepting and tolerant freaks! I’m just different, why am I the victim here?” and have an instant army of angry complainers to attack the critic. He has government on his side, which supports being freaky any way you want to so long as you pay taxes and don’t murder, and popular opinion. Second is egomania. The hipster is not concerned with truth, the future, the past or fact; he is concerned with social appearance, which serves as both his justification for existence and his weapon against others.

SJWs arose when people realized they could politicize this hipster approach. In addition to looking freaky, they took extremist positions within the dominant leftist+consumerism individualist ideology of the West. This attitude combines the liberal social attitudes of the left with the market-oriented attitudes of the right, and creates a nasty hybrid which supports freedom above all else, so long as profits (and taxes) are made. SJWs are not “different”; they are a different variety of the same. This allows them to style themselves as unique and deep thinkers without offending any of the current attitudes of society, but because they manifest these ideas in physically odd appearances and extreme versions of those accepted views, they provoke criticism and can then attack, increasing their own power in the process.

When SJWs decided to adopt metal, their first goal was to style the rest of us as aggressors. That way, the hipsters could passive-aggressively claim to be victimized and begin the group counter-attack. Their problem has been that metalheads use apathy as a weapon. We view this society as moribund and on its path to self-destruction, and so tend to consider SJWs irrelevant drama. On their second assault, SJWs refined their attack to “if you do not participate in our crusade, you are bad and must be destroyed.” This is why we now have articles on a regular basis talking about how metal is not accepting enough and must be reformed.

All of this comes as metal struggles with its own refinement, namely the smooth fusion of hardcore punk, progressive rock and heavy metal that was underground metal (death metal, black metal, grindcore and doom metal). The SJW hipsters do not like this fusion because it is too far from the warmed-over 1960s protest rock that they favor — let us face facts and admit that emo, and anything tinged with it, is basically Bob Dylan worship. Metal rode on a wave of energy caused by the need to make such a fusion, but once it was achieved, had no idea where to take it further. There were no further (coherent) extremes, nor new musical developments to occur. As a mature style, it is still waiting for fresh energy to revitalize its lexicon of techniques and conventions and put them into a new language, and while some bands have forged a path in this direction, most continue to either re-hash the past or re-hash other genres with metal flavoring. For this reason, SJWs infest it, because they sense a dying trend they can turn into something they control.

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#metalgate: SJWs make clear the agenda is making you OBEY

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To succeed in modern society, it is best to style oneself as a victim. We live in a time of victimhood politics where the person who successfully portrays themselves as being harmed finds that society steps aside to let them ahead, handing out freebies in the process.

Rape victims — whether a rape occurred or not — become overnight celebrities. Politicians gain stature for having been opposed, not for having been right. Every celebrity and actor has a story of how life harmed them early on. In a society of equals, the only way to be more equal is to be perceived as having been made less equal, thus a recompense — and rise in moral stature to “hero” — is deserved.

For most of their careers, SJWs have stayed behind the cloak of victimhood. In their view, someone out there is harming them, despite living in the nation with the best quality of life on earth, having government incentives for their hiring and renting, and being generally privileged college students working in easy media careers. They portray their crusade as correcting injustices.

But, as any cynic or observer of human behavior knows, those who perceive themselves as victims are usually simply manipulating others. Grackles — small brownish-black birds known for raiding dumpsters — will fake an injured wing to cajole extra treats from people eating at open-air cafes. This behavior is older than humanity itself. The difference with humans is that once given power, SJWs become insatiable attackers demanding that everyone else be cleared from their way. Their agenda is revenge against anyone having a better life than they are, which — since SJWs are the cause of their own underlying misery — is anyone who is not miserable.

We can see this pathology in a recent article by Laina Dawes (who unfriended me on Facebook for having a different opinion than she did) about “Heavy Metal Feminism”. Here’s the pitch:

Despite the global appeal and presence of heavy metal culture, widespread online distribution, and increasing awareness among a diverse audience, there remains great resistance to discuss ongoing sexism, racism, and other issues that can potentially dissuade fans from actively participating in the subculture. “I don’t know why it is so hard for people to understand that not everyone is just like them,” Phillips told me. And Phillips isn’t alone; other artists and journalists are questioning the pervasiveness of discriminatory practices and beliefs within a musical culture that, ironically, not only boasts of its “inclusive community” (in which membership is predicated on fandom and not gender, ethnicity, or sexual orientation), but also, because of its underground status, places an emphasis on fan participation and economic support in order to create and distribute music that will never, and doesn’t want to, receive true mainstream commercial attention.

At this point, the true message emerges: agree with us or you are bad and must be destroyed.

Never mind that what is popular is almost always wrong and corrected by the next generation, or that heavy metal might have its own way of dealing with this issues.

Despite all the citation of academic articles here, Dawes’ approach is fundamentally unscientific: cite lack of tons of female heavy metal bands as “proof,” then claim that only that will rectify the “problem,” and demand that everyone else drop everything they are doing in order to get ahead.

And throughout it all, no one answers the real question: what have these female-fronted bands done to make themselves important to metal?

After all, Lita Ford, Jo Bench, Lori Bravo, Mythic/Derketa and others have had no trouble being metalheads who also happen to be women.

But that shows us the real agenda that Dawes is pushing: she does not want women in metal, she wants propagandists. She wants women who agree with her to be shoved to the front of the line so they can drown out that bad old white male music.

Never mind that metal has never been exclusively white nor male. Never mind the legions of women who have been in bands, worked as journalists (including the underground zines that mainstream media refuses to mention), run labels or otherwise contributed vital things to metal.

They claim they are anti-fascist, these SJWs, but while they are not fascist they are authoritarians. Their goal is to replace metal with propaganda rock with the “right” opinions to cure a “problem” that is not a problem. And if you need any more reason than that to kick them to the curb, you have not been paying attention.

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#metalgate was right: SJW journalist Kim Kelly caught faking stories

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We know they coordinate stories to present the same trends/fads, and that they are fast and loose with details, but now #metalgate-involved journalist Kim Kelly has been caught faking a story. Or rather, from a couple years ago, as Metal Illuminati observed:

Do they really expect us to believe that two Seeds of Iblis members immigrated to post-war Iraq to start the band? Especially since Anahita has stated on record that they’re actively trying to score a record deal. (I doubt many A&R’s hang out in Baghdad — where Anahita claims Iblis have played concerts)

Ms. Kelly, how did you not notice that???

At the end of the day, there’s little reason to doubt that Anahita, Janaza, or Seeds of Iblis are anti-Islamic metal musicians. However, their Acrassicauda 2.0 backstory of currently living in Iraq and covertly dodging “religious authorities” as Kim Kelly’s (supposed) reporting describes just doesn’t add up. And since that was their main claim to blogosphere fame, it doesn’t seem unreasonable to promptly give them the Milli Vanilli treatment.

When we see the media darlings being introduced as “important” with nothing of note in their histories, and all of the chattering classes of supposed “metal journalism” gathering in a cult-like clique to support them, our warning signal should go off: this isn’t journalism, it’s advertising, both for the fake journalist SJW herd and their pet ideologies. While the stories being fake is not surprising, it’s good to see such solid evidence gathered against them.

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Sadistic Metal Reviews 08-08-2015

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In the Death Metal Underground, the promos are reviewed in two separate yet equally important groups: the worthy which are investigated thoroughly and the shelf turds used to test the wounding potential of artillery. These reviews are the latter.

Mastiphal – For a Glory of All Spirits, Rise for Victory (1995, reissued 2015)

Emperor started the mass delusion among basement dwellers that adding dark wave keyboards to random metal riffs constituted black metal rather than loose stool. Mastiphal obliged, stopped jerking off to Sailor Moon, and wrote carnival music around stolen metal riffs and goth rock choruses. Celtic Frost, Slayer, Deicide, and all your other favorites get the Clan of Xymox cocks. These uncut, smegma-encrusted Poles rim that Castlevania cartridge, gape it, and slam their sweaty balls away. The breakdowns are there for pulling out and sword fighting.

Also sprach Zarathutsra : man discovering tools :: Mastiphal : man discovering anilingus

Goatblood / Nuclear Perversions – Rex Judaeorum / Wolves of Apocalypse (2015)

More three chord hardcore punk played out of time by fat hipsters who want to enslave the south side of Chicago. Good luck with that pickup beat. How about a delightful goat curry instead? True island flavor. Only long pig available? It will be delicious. The succulent belly fat from all those PBRs will melt right in.

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Fat War Metal Pig Curry

1. Thoroughly restrain the long pig. Pry off the gas masks and slit the pigs’ throats over a bucket in the Jewish and Moslem tradition. If their faces are too ornamented and disgusting to look at, put the gas masks back on and savagely strike the necks until all heads are severed.

2. Let the carcasses drain of blood for the black pudding. Did you think blood libel was false? Our bodies will naturally turn theirs into excrement.

3. Be sure to cut off all metallic ornamentation. Flay all subcutaneous ink. Scalp the upper part of the body and use your blow torch to defoliate the chest hair. When butchering and gutting the carcasses, be sure to save the intestine and fat for the pudding. Discard the diseased livers.

5. Clean the intestines and cube the meat not too lean.

6. Fry the cumin, coriander, tumeric, and peppers with ghee. You may also use some of the fat obtained from the thighs and midsection.

7. Rub the curry onto the cubes and let marinate for at least twelve hours. This is a smart time to prepare the pudding.

8. Heat oil and cook the mixture in a sauce pan on low heat for hours. Cover and be careful. Do not rush with your dish’s composition but do not worry too much; like war metal, curries play themselves.

9. Serve over rice.

Ithaqua – Initation to Obscure Mysteries (2015)

Greeks broke. Greeks need foreign currency. Greeks see black metal autists who buy everything with bullet belt. Greeks know metal autist like black metal on pro-tape cassette. Limited tape trade Discogs Ebay. Rotting Christ and Varathron most true drum machine sampler Hellenic black metal. True cult early 90s. Cover them on 300 limit copies. Sell all rights of recording to label to buy case of skunky Euro piss lager. Stroke hairy Hellenic forearms. Wish you were cool. Drink away 51% youth unemployment. Kill self.

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