Profile: Death Curse Productions (Germany)

by Brett Stevens on April 28, 2015

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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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Profile: metal trader Sean Clark

by Brett Stevens on April 27, 2015

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Sean Clark has been a part of the metal underground trading and selling circle for a long time, hunting down CDs and rare vinyls across the globe. As he gears up to sell some of his excess to finance further purchases of rare Profanatica material, he was able to answer a few questions for a profile:

When did you start selling/trading CDs and why did you get into CD trading? Were you a tape trader as well?

I think that I started seriously trading music back in the mid-’90s when I lived in Australia. Mostly copying tapes and trading with local friends. I started trading CDs on a wider scale around 2000 once I moved to the USA and a friend of mine introduced me to newsgroups, etc…

What appeals to you about underground metal? Does the same thing still appeal to you? Do you listen to other music as well?

EVERYTHING. Unfortunately, I can’t say the same thing about today’s metal scene… so I just mostly keep myself busy with the stuff that I enjoyed in the past (but still do check out new bands nowadays just to make sure that I’m not missing out on something). Today’s scene is too hard to keep up to date with though… too many new releases every month.

Yes, I do listen to other music as well, but underground metal is usually about 80-90% of my music library.

What was your first encounter with the DLA/DMU and how did it ruin your life?

I honestly cannot remember how I found out about DLA/DMU…. but it was after speaking to you… must have been back in ’97? Probably on the newsgroups. I think that you bought some cds from me once though… but I knew you before I started selling/trading. We’ve had contact through various platforms for a long time now.

What current bands make you excited?

I am not so excited about many current bands because they mostly just remind me of better bands in the past. I think that most of the bands that I get excited about now aren’t even metal (Lana Del Ray, for example).

If people like the CDs you have, where do they find a list and buy them?

Everything that I have for sale is on my Facebook page : www.facebook.com/CryptsOfTrades

Click on PHOTOS and then ALBUMS… there are several photo albums there with pictures of everything that I am selling.

Good luck, Sean and let me know if you find any killer Profanatica stuff.

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Blasphemy reissues Fallen Angel of Doom on Nuclear War Now! Productions

by Brett Stevens on April 27, 2015

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Grindcore/proto-black metal band Blasphemy has announced the re-issue of its classic album Fallen Angel of Doom on Nuclear War Now! Productions for CD and vinyl, with Blasphemy official merchandizing arm Ross Bay Cult issuing a cassette version.

The band announces the “tentative” release date as June for teh CD and July for the LP. In addition, the band says the release with be perpetual: “Both the LP and CD will be kept in print for the foreseeable future to combat the endless stream of bootlegs from subhuman scums.”

Having owned and enjoyed the Wild Rags issue of this album for many years, and believing it to be the best output of this influential band, it is great to see this one ride again.

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Vexilla Regis Prodeunt Inferni – Vexilla Regis Prodeunt Inferni (2012)

by William Pilgrim on April 18, 2015

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To make meaningful commentary on a band like Vexilla Regis Prodeunt Inferni, or any other band walking the old death metal tightrope for that matter, one has to hear them in context with the specific niche in time that their sound occupies. Execute a bit of nifty time-travel in the mind and place the band concerned in the august company that it aspires to keep. Observe if it compares favourably with at least the spirit of the originals in terms of aspects like general coherency in songwriting, perpetual will to forward motion, and, above all else, that ineffable, visceral reaction that only the very best are capable of evoking. Originality in this cloistered paradigm is a disingenuous word; what the avid listener hopes for is a transmission of the same vitality that informed the heyday of this music.

Vexilla Regis Prodeunt Inferni posits no claim to innovation but that is no crime in itself. Incantation, the bread n’ butter of modern death metal, is frequently referenced in the use of flowing tremolo lines plucked from the chromatic scale. While there is nothing inherently wrong with the use of atonality in death metal – it indeed comprises much of the bedrock of the genre – it also becomes something of a cop-out in the hands of lazy bands that lack the creativity required to compose tastefully and in accordance with tradition. Vexilla Regis Prodeunt Inferni aren’t an especially lazy band and are perfectly capable of constructing riffs according to harmonic conventions as heard in the more black metal-inspired sections of this album.

Where Vexilla Regis Prodeunt Inferni falls hard is in arrangement. Songs rarely build up to any kind of crescendo, even compromising whatever momentum may have been built up initially. While any topography consists of peaks and troughs, there appears to be no aesthetic meaning to Vexilla Regis Prodeunt Inferni‘s contours. Riffs rise and fall like waves on the ocean but without any of nature’s geometry, and what results is an album that touts itself as Satanic death metal but feels curiously void of life’s irrepressible energy.

http://www.youtube.com/watch?v=E6livJb29bs

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Proxy (2013)

by Brett Stevens on February 26, 2015

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The genre of psychological horror often gets ignored because it does not deliver the tangible impact that sheer horror does, but unsettles the watcher as in the coming days that person contemplates what he has seen. Proxy attacks psychological horror by combining Swedish introspective cinema with the type of suspense found in movies like Psycho, delivering what is ultimately a biting critique of modernity.

Without giving away the plot, this movie involves the tendency of people to project and transfer their own psychological drama onto others, centered around the idea of family. In this film, people treat others like objects of their own egos, which creates secondary consequences that render characters unable to stand themselves. Through prolonged psychological exploration, including an insight into the way the world appears to those who are intensely lonely, this film explores the sources of modern alienation and why this society starts us out as alienated isolates from within our own families.

Filmed with more of a sense of intense subjective awareness than an objectivity which the camera always betrays, Proxy explores the confrontation between detached and disaffected young women and their attempts to start their own families. It shows how people project, or live vicariously through others by assuming their role in a narcissistic conception of self, and then undergo transferrence, or conditioning their own happiness or sadness on the acts of others. These conditions like PTSD and other mental afflictions follow a binary progression, in that the person holds on to the reality they can parse for as long as they can but when it cracks, it does so violently and leads to a culmination of violence and emotion that are perfectly paired into poignant yet devastating circumstances.

Like any movie tackling the inner workings of the human mind, this film touches on subjects which many of us would rather not witness because they reveal too much to us of our own fears. In particular, it has a sense of being Generation X art, reflecting the wave of children who growing up under manipulative families tended to wall off huge areas of life and stick with only what they know and trust, probably because their own parents viewed them as accessories for showing off (or blaming) like owning a British motorcar. The characters in this find no peace and no contentment as they rage through life, tricking their own perception into creating what seems like what they desire, only later finding the hollowness within, and the rapid transition to danger caused by illusion and its collapse.

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How to make a digital promo kit (DPK) or electronic promo kit (EPK)

by Brett Stevens on January 9, 2015

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If you want to promote your band or label, you are going to send out your promo among a stream of others as an Electronic Press Kit (EPK) or Digital Promotions Kit (DPK) which mean roughly the same thing. Here is how to do it well.

Your kit should contain:

  1. Name and description:

    We are skimming quickly through a thousand emails on the receiving end of your press kit. Please give us a clear band name, album name, and factual description that tells us what it sounds like and what it does well. Spare the word salad of mystical adjectives and promises, since every press release has those now.

    Band Name - Album Name
    Country, Label, length (year)

    Exploring the New Wave of Traditional Death Metal, Band Name writes hard-hitting riffs and assembles them into songs where each riff relates to the theme of the song and the other riffs. Exploring this ancient genre, Band Name finds new riff-forms and song topics, expanding the genre for an enjoyable but vicious listening experience.

    In my professional view, more words means more lies. Spit out the skinny in a paragraph. We do not need to hear how the band formed in a public toilet outside a bail bondsman in Cleveland during a thunderstorm, or the past releases from the band. We will read your links.

  2. One-click sample track:

    Place a link to the BandCamp, Rumble, SoundCloud, Odysee, BitChute, Vimeo, or YouTube video here. One track off the album will do great. Those receiving your mail are going to do a thirty-second sniff test to see if your material fits our audience. If that passes, we will then move on to listening to the rest.

  3. Streaming album:

    If you do not want to use one of the watermarking services (Haulix, PromoJukebox) use an unlisted directory on your Google Drive, DropBox, or SoundCloud. This should not require us to do anything but hit the link and start listening. Logins and downloads are at the next part of this press kit.

  4. Album download:

    If a reviewer really likes an album, on a personal or professional level, this person may grant you access to the holy grail: adding it to their own playlist, whether streaming (Spotify) or downloading files to play on their personal MP3 player. This means the name will be kept current in their minds, and they will mention it to others; word-of-mouth references within those active in the community have more weight than any other promotional activity.

    Some suggestions for MP3 archives follow, not so much to be anal and controlling but because most people do them wrong. I have a playlist full of MP3s labeled "File 7" and "Track 9". IDv3 tags make a big difference, as does having a folder that a reviewer can drag and drop from an archive to a stash and from there to the playlist.

  5. Links:

    The above should take up relatively little space. Now you can link to thinks instead of taking more more space. I would suggest:

    • Band website.
    • Bandcamp or other streaming and merch site.
    • Band biography (even if on band website).
    • Media area with big-ass pictures for reviewers to download and use in reviews, sans watermarks.
    • Label website.
    • Any related projects that band members are involved in, even if it is just a charity for lost echidnas who need scale oil in the Ontaria, CA area.

    As always, fewer words is better. "Band Name Biography" is a better link than "The Fascinating Story of How We Met, Forged Metal, and Crossed Spears." I already know the label name, so "Metal Label" is a better link than "The Occult Conjurations and Industrial Sounds of Metal Label." Similarly, "Band Name Bandcamp" makes more sense than "Stream our precious brilliance at Bandcamp."

I know: the above is really mean and reductionist, basically pure nihilism. With reviewers, you have to keep in mind that someone is sitting at a desk, with limited time and phones going off and idiots coming in to say the copier is out of toner, and looking at a stack of ten thousand emails.

I would not bother sending along every news item that comes across your desk. Announce your album with a promo; when you are available for interviews, send out an email with a title like "Band Name Available for Interviews 10/31 - 11/13 via phone, Skype, Zoom, or smoke signal." Anything else, save it up for a once-yearly band update where you can tell us who has left, who has joined, what label you have signed, and so on. I would send this with a single or interview: title it "Band Name Release New Song 'Pure Brilliance'" and then stack your news, links to reviews and interviews, lengthy personal statements, rehab announcements, and so on in that email.

Now consider the downloadable EPK/DPK:

Your EPK will be a zip archive containing your release in MP3, photos and a press release/biography. Each of these parts offers its own challenge.

  • MP3s:

    MP3s should be of a decent bitrate, usually 256k or Variable Bit Rate (VBS) equivalent, and should be tagged appropriately with band name, album name and track name correct and consistent. The MP3s themselves should be in a folder within the archive named Band Name - Album Name. This enables writers to extract it completely and view the files as they write. If you are using Exact Audio Copy or a similar program, settings allow you to specific correct tagging by default. I also recommend installing Windows Media Player 11 and using the Fraunhofer MP3 codec which is superior to the LaME codec which tends to make heavily distorted music sound plastic. I use the following naming scheme in EAC:

    Individual artist:

    %artist%\%artist% - %albumtitle%\%artist% - %tracknr2% - %title%

    Various artists:

    various\%albumtitle%\%albumtitle% - %tracknr2% - %artist% - %title%

    Drop that folder into a zip archive (PK is the industry standard, like Microsoft Word and MP3). This way, the reviewer can drag it out of the archive and have a Band Name - Album Name folder with all of the MP3s inside correctly named and tagged. This helps them find you again, which is what you want. Make this as brainless as smoking a cigarette and you will get more mentions, not fewer.

  • Press Release:

    Let us be clear about the point of a press release: it is to give writers a template full of useful information that they can include in their stories and reviews. Any other purpose is suspect.

    Press releases should fit the standard format:

    FOR IMMEDIATE RELEASE:

    Competition is Healthy Says Lemonade Stand Queen

    Hamilton, New Zealand - November 12, 2012 - Increased competition in the local lemonade stand market should be welcomed, according to the operator of popular lemonade stand "Shelly's Pure Lemonade".

    12-year-old Shelly Smith has been selling her home-made brand of lemonade from the footpath in front of her parents' North Street home for 18 months and has seen the highs and lows of the trade.

    "Stands come and go," says Ms Smith, "but when there are more stands around the vendors are more serious. They try harder and make a better product. That gives our customers confidence and sales go up."

    In recent months the number of lemonade stands in North Street has risen from three to five. Experts believe this trend will continue, with the possibility of two or even three new stands before the end of summer.

    Ms Smith feels that a stable supply of lemonade will also benefit the streets' economy.

    "People know that if they are thirsty, North Street is the place to come. With plenty of lemonade stands on this street it doesn't matter if some of the vendors take a day off. The customer is never disappointed so they always come back."

    Shelly Smith is a sole trader of lemonade and occasional cookies. Her stand at 223 North Street is usually open weekdays after school and weekends, except when she is playing with her friends or watching a movie.

    Contact:
    Shelly Smith
    email@example.com
    233 North Street,
    Hamilton,
    New Zealand
    Ph: +64-877-9233

    ###

    Your official band and label blurbs should follow there. A blurb is a hundred-word summary of what you do that tells your target audience what you are.

    Include full contact information for the label and promotions agency. If you include band contact information, people will contact the band, who may be busy; let your promotional people handle this. Include the biography in here, generally a paragraph or two but not more. Also useful to include are all band public sites such as Facebook where the band might post more images or information as needed.

    Images should include at least the cover art and a band photo, but many bands include logos as well for use as headers. These pictures should all be large (1200px+) and in a format such as JPG with minimal compression, since JPG is a lossy format and the more you compress, the more artifacts and blur you introduce.

Most labels spend little time on getting the EPK/DPK because they want reviewers to spend as little time on the music as possible, and because the people who write the reviews the labels will republish are those who are making a personal connection with staff at the label in hopes of future hiring or collaboration.

However, in my view, that backfires. Your cronies republish your stuff. That works great until it stops, mainly because people eventually realize that your blog is a republishing platform for industry PR and therefore worthless. For a starting band or label this advice may be helpful, since you are trying to break out of obscurity and into commonplace knowledge, and you need every little boost you can get.

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Remains provide albums …Of Death and Angels Burned for download

by Brett Stevens on December 25, 2014

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Mexican death metal band Remains have provided their first two releases, 2013 EP …Of Death and 2014 LP Angels Burned, for free download to fans. The band composes mid-paced death metal with atmosphere derived from the interplay of visceral and evocative riffs.

The band added a simple statement: “Download for free…If you like it… BUY IT!!!” Many longtime observers of the music industry wish others would follow this model, since there are basically two types of people who listen to metal, the day trippers and the lifers, and the lifers tend to buy everything they like if they possibly can. This model will not work for the latest Beyonce album or even the interesting-for-two-weeks-maybe legions of hipster metal, metalcore, indie metal, blackgaze, etc. bands, but it does work for death metal.

Download here:

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#metalgate SJWs prove their real purpose: censorship

by Brett Stevens on December 21, 2014

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Let us quickly get rid of a basic confusion: censorship is using social or governmental pressure to remove from view unpopular ideas that are also plausibly accurate depictions of reality. This separates the act of removing someone spraypainting “death to all metalcore” from a ban on articles about metalcore.

Social Justice Warriors (SJWs) comprise the driving force behind the incursion into metal against which #metalgate is a reaction. Metalheads do not want to be told what to think by a self-appointed cabal determining what is “true” based on their ideological agenda. It does not matter which agenda that is, only that it swallows up truth and metal equally and uses them as means toward its real goal, which is power and control.

Our first #metalgate article pointed out that the agenda of such people is inevitably control. Written by Cory van der Pol, the article detailed how political movements assimilate genres like metal, re-purposing them for the movement’s own needs. He followed this up with an article showing how the methods used by SJWs are bullying. Passive-aggressive bullying perhaps, hiding behind the pretense of morality and “good” politics, but nonetheless bullying. Then he illustrated how SJWs are associated with metalcore and indie-metal and are using it to slowly blot out real metal and replace it with this ersatz and inferior substitute. Finally, he predicted that SJWs would deny and conceal their actual goal, which is to censor — see definition above — any metal that does not fit their ideological needs and by doing so serve as a justification for their employment in media, academia and promotions.

He was 100% correct.

Today SJWs mounted a concerted campaign to remove me from the MetPol mailing list, which discusses metal and politics. As of this evening, apparently I have been removed. Here are some of the highlights:

Can the mods please block Brett Stevens / writing an article like the one natalie linked to is not only repulsive it’s misogynist.

We should take stand against this kind of thing. It’s unacceptable. It’s offensive. Especially to survivors of rape and sexual assault. – Rosie Overell

I would feel immensely safer if he were removed. – Natalie Zina Walschots

I am aiming to give #metalgate and its instigators as little oxygen as possible, but am glad Natalie brought this up here and would support the moderators if they chose to show Brett and his sympathizers the door. This is a place where people strive to broaden the understanding of metal, not narrow it, and while narrow views have a place in the world they’re not in keeping with the mission of this particular list. – Beth Winegarner

As one of the people that this piece of shit screen-shot their FB page and posted on his website, I must add that what astounds me – but doesn’t necessarily surprise me, unfortunately – is the lack of comments from both this thread and my so-called metal ‘friends’ on Facebook and Twitter about racism that surrounds the issue. – Laina Dawes

I will say, however, that I have been dismayed by this situation and I remain in awe of Laina’s courage to speak out despite the harassment and terrorization she has received. – Jeremy Wayne Wallach

This is a public list, with public archives that you can search via Google, Bing or the search engine of your choice. They are open to all and can be read by non-list members without a login or leaving any identifying information. These people are voluntarily posting this data to a public list where they hope it will be read for years to come. With this kind of outcry, it is not surprising the moderators chose to avoid damaging the list with more such drama and to remove me. It was the act of the small group — a dozen members out of a thousand — who chose to demand that I be censored and removed.

I have been a member of this list for the past year, entering in discussion about metal and providing links to resources there, without engaging in a single political opinion. To my mind, #metalgate has never been about politics and whether one side is right or not. It is about the tactics of a certain group who, in Cory’s words, use politics as the mantle behind which they assume power. In other words, they are doing it “in our best interests” and against our wishes are educating, enlightening and improving us to make us good citizens of their ideal society.

I’d like to keep this conversation going without hammering on the idiotic obvious. I appreciate the banning, but I’ll echo Olivia by quoting her: “…banning a single individual is not going to solve the problems of racism and sexism in the metal community. These prejudices are within us and among us, and begin with the complacency purchased by our various privileges.” – Sara Sutler-Cohen

My stance on this issue has always been clear: we stood up to the Christian right, then we stood up to the NSBM people, and now we’re standing up to SJWs. Metal has a unique view of life and a unique viewpoint on how to handle certain things, and it benefits no one to have metal start parroting the points of view of other groups. We should have a diversity of approaches instead of a lock-step uniform viewpoint enforced with guilt and threats of censorship and lack of tenure. My participation in this entire event was as someone opposing censorship, and those who can read will note that none of our articles here targeted the beliefs of SJWs, only their methods and motivations.

During my twenty years of writing about metal, I have sought to avoid both political dogma and commercialization. After initial experiences, I did not trust academia because of its long-standing bias in one trend or another. (And if metal hates anything, it is trends.) From starting the first underground metal site on the net, first as FTP and later as a series of web sites, I have always advocated an open mind and open discussion. This apparently is not the agenda of SJWs and despite their initial denial, they proceeded exactly as their dissenters said they would: with calls for censorship and propaganda.

In the meantime, #metalgate is gaining momentum with new articles in the work on both metal and social commentary websites. The SJWs have defeated themselves by becoming the caricature that their critics said they always were. And if we need to look for a silver lining to this cloud, it is the confirmation of that stereotype.

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Sammath Godless Arrogance pro-tape release in USA

by Brett Stevens on July 24, 2014

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Furious melodic black metal band Sammath, who meld elegant melodies with unrelenting aggression in the style of Immortal Battles in the North, will release its most recent album Godless Arrogance on pro-tape in the USA through Sylvan Screams Analog. Starting next week, copies of this legendary black metal revivalist album will make their way into stores and mailboxes across the New World.

Comments Sammath mastermind Jan Kruitwagen: “Three months after the CD and vinyl release via Hammerheart and a few weeks after the European tape release, Sammath proudly anounces Godless Arrogance on tape in the USA via Sylvan Screams Analog.” For more information about Sammath, visit the Sammath website.

Sammath first battered its way into black metal with the 1999 album Strijd which immediately turned heads for its archly inhuman beauty and crashing violence. This album expanded upon demos from several years before which were slowly refined before release, leading to a fully mature first album, which Sammath followed with three more albums before perfecting the fusion of its progressive, melodic and primal aggressive elements in Godless Arrogance.

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The problem of commercialism in metal

by Cory Van der Pol on May 3, 2014

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Some will tell you that metal cannot sell out because metal is not a large financial enterprise. The question then is, “What is large?” because if a genre supports dozens of labels, has top-grossing tours, and tens of thousands of bands, it seems that someone is getting paid more than they would otherwise.

But don’t take it from us. Look at what commercialization has done to another genre:

I was so blown away by the first “Star Wars” film when I saw it in 1977, I went back two more times the same week to wallow in its space age fantasy. But here’s the thing: George Lucas’ creation, basically a blown-up Flash Gordon adventure with better special effects, has left all too many people thinking science fiction is some computer graphics-laden space opera/western filled with shootouts, territorial disputes, evil patriarchs and trusty mounts (like the Millennium Falcon).

“Star Wars” has corrupted people’s notion of a literary genre full of ideas, turning it into a Saturday afternoon serial. And that’s more than a shame — it’s an obscenity.

He has a point, and reveals a situation parallel to that of metal. Sci-fi was too hardcore and dry for most readers, but then if you add in princesses in skimpy costumes, wookies and light sabers, suddenly it’s… an action movie with soap opera aspects. The audience can tune into that, and so can all the basement greebos who will cosplay, imitate and nerd it to death.

Metal was also originally too hardcore and dense for most listeners, but then if you added in the drama of burning churches and murders, people could really get into that wacky far-out identity. Suddenly it’s hard rock with distorted vocals and Satan. The audience can tune into that, and so all the basement neckbeards emerge to record collect and/or emo it to death.

Two sides rapidly form in any debate: one side says we should have purity of essence of what is being done, and the other side thinks that this principle should be more malleable in order to support social popularity and commerce. I say stick with the purity of essence: metal was built on years of accumulated knowledge, and turning it into entertainment flushes that all down the drain.

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