Metal blog CvltNation demands censorship and coverup

by Brett Stevens on December 11, 2015

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Turkish record label Merdumgiriz — people who might actually face law enforcement consequences for their anti-Islamic expressions — found itself in the center of yet another controversy as band Azerine withdrew from the label after pressure by modern metal blog CvltNation.

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Although only the least savvy of metal fans would go to some place named “Cult Nation” for their news, the blog has made a name for itself by covering war metal alongside the usual wash of hipster black metal and tryhard imitators. Merdumgiriz, on the other hand, is a small label which spends its time dodging Turkish religious authorities and authoritarian Western SJWs alike.

Merdumgiriz issued the following statement:

Yesterday I released the album of a so-called “extreme” metal band. I worked so hard on the released that I forgone one of my PornHub premium shemale sessions. Not to mention the money and hard work spent making merchandise. They are a band that uses Lovercraftian lyrics (the trigger on their brains must be malfunctioning for using that “racist” writer) and much “occult” symbolism. Today they wanted me to remove their entire name and work from my label like my label had Ebola saying “Pull all support for my band from any Merdumgiriz websites immediately. Members were not fully aware of the political associations with your label, we wish in no way to have any political or religious anti religious associations.”

Mind you, they share the stage and a member with Anti-Cosmic Satanist bands and frequently use upside down pentacles.

I have heard from good sources that the website CVLT NATION have told them not to work with my label. I apparently support National Socialist bands (which band is this?) anyway, this “Nazi” was kind enough to disregard the legally binding record contract those grown up men have signed with him and let them go. Not to protect their fragile feelings or PC image, but because I do not want to insult the name of “extreme art” with supporting pussies like this.

It is no secret that Viranesir uses racist and sexist terminology to open discussion and mock taboo subject matter. I think using overly offensive language will pull the strength out of taboo subjects and render them unusable for those in power.

Here are some lyrics for the VIRANESIR song HITLER RAPE:

I have lost all my sensitivity toward the taboo subjects in my life through art and I think it can be the same for everybody else. Of course, this will be a nightmare for those in power because they won’t be able to use those taboo subjects as a means of control anymore, hence they will do all within their power to not let words like “nigger, hitler, rape” lose their power. All you have to do is use them without fear. All you ever have to do is commit the greatest sin of freedom.

I am as shit as everybody else, but I seem to be the only one knowing, not fighting, even celebrating and all the while changing it…

You make fools out of yourselves doing extreme art and being pussies. You aren’t extreme, and you are not fooling anybody with screaming and playing loud. I am the real Satanist; I am LUCIFER the bringer of true black light. I change the false meaning of things into harsh truths and fight a lonely fight to break the tyranny of cosmic order, unlike pseudo-prophets singing safe songs about mythical phenomenon. Makes me vomit.

Emir Togrul
9.12.2015

While many of us are not fond of hearing some of the words in those lyrics, we realize that defending speech means defending unpopular speech, even Christian speech. And while this blog has no anti-Christian, anti-Islamic or anti-Semitic agenda, nor a racialist one, we understand that throughout human history demonized ideas have become the basis of the next era of society, and so we encourage open discussion of all topics. Viranesir, Merdumgiriz and Blighted take it further with pure provocation for the sake of pointing out how censored our society is, and for that reason as well we refuse to censor them.

Others feel differently. They have an agenda, but will not state what it is, preferring to work behind the scenes to sabotage the ability of others to express their point of view.

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By threatening to “blacklist” metal bands for not conforming to its agenda, CvltNation creates the exact opposite of a safe space: a paranoid community where people fear accidentally saying or thinking the wrong thing as their careers will then be destroyed. This is the same method of control used in totalitarian systems like Soviet Russia and Nazi Germany.

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A second band, Chronovorus, withdrew in fear of the blacklist as well. The fear spreads, and in the name… what? Fear of ideas? How metal is that?

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Dodheimsgard – Kronet til Konge (1995)

by Brett Stevens on December 10, 2015

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Kronet til Konge shows what happens when a genre overshoots its inertia. Everything labeled “Norwegian black metal” with “that sound” was selling like hotcakes, which is a rare position for metal to find itself in. The fans, labels and magazines howled for more, which is always a sign that the quantity-over-quality groupthink has arrived. This band pasted together a bunch of riffs and called it an album.

The result shows us how important metal songwriting is: it’s not just about the riffs. Good metal comes from arranging riffs so they talk to each other to create “heavy” moments which feel like realizations (or provoke them). Normal rock is designed to distract you or get you lost in a sea of bittersweet conflicting emotions. Metal builds up illusions and tears them down, then inverts the whole structure to show you a hidden truth. This is the mythological nature of metal.

Dodheimsgard are talented musicians. They have about one good riff idea per song, and are musically adept enough to cook up the other riffs and bits necessary to tie it together into a song, but these are addressing the riff itself and not some underlying topic or feeling for the song. As a result, these songs feel random and convey nothing, although it’s hard to come to this conclusion when caught in a quality riff. But the sum has to be more than the total of its parts and that leap to greatness is not made here.

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Abigail Williams – The Accuser (2015)

by Gabe Kagan on December 9, 2015

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I had high hopes for The Accuser… of a sort. I was expecting an ungainly, melodramatic symphonic black metal ala Dimmu Borgir. Unfortunately, Dimmu Borgir hasn’t released an album for Abigail Williams to ape in over five years!  Cue the necessary stylistic shift, and the dashing of my admittedly dubious hopes, founded on information about this band that was similarly out of date. The Accuser is one of those indie-darling post-black metal albums, and while it’s usually not as blatant about its weepy, depressive influences as Deafheaven or Myrkur (whom I always seem to mention in pairs), it’s still a pretty flat and bland experience.

Abigail Williams’ latest actually pulls on a fairly wide mixture of post-black approaches, although they are generally united by a consistent production. The production team decided to portray this band as just fuzzy and indistinct enough to possibly pass as ‘true’ for a moment, but not enough that the intended audience would complain about a garbled aesthetic. There’s also the occasional awkward high pitched scream strewn in the mix, but it’s an otherwise standard sound. Within this, Abigail Williams explores such things as jangling consonant guitar leads, lengthy drone sections, start-stop riffing, and so forth. Now, there is nothing innately anything about musical techniques, and this is especially the case on this album, where the songwriting is haphazard at best. The difficulty that you often run into with this sort of musical language is that it’s difficult to build off these ideas in any way, whether it be the standard theme and development shtick we advocate around here, a more ambient approach, or much of anything, really. In general, Abigail Williams has a serious problem gluing things together and seemingly tries to hide it with minor stylistic shifts within and between tracks; regardless of their intent they don’t manage to pull off such subterfuge.

For whatever small reasons, I don’t find this album quite as annoying as many of its genre contemporaries. It still is, however, a boring listen that does little of interest with the hand of tricks it’s taken.

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Destroyer 666 unveils new album

by Gabe Kagan on December 9, 2015

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The guy who went to Black Flames of Blasphemy VI seems to have liked them – Destroyer 666 is returning with a new studio album after 7 years of inactivity on that front. They’ll presumably continue to be a partial throwback to ’80s first-wave black metal on Wildfire, which is currently set for release on February 26th. The band’s frontman, K.K Warslut commented on the artwork his band has procured for this album, saying that he “…was after something very simple and very metal, being sick to death as I am with pseudo-occultniks dressing everything up in the garb of mysticism.” It’s probably not just him, although the local occultists here at DMU might take issue with that. After this album’s release, the band has a few tour dates lined up in Europe for 2016.

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Cultus Sanguine – Cultus Sanguine (1995)

by Staff on December 8, 2015

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By the mid-1990s, it was clear that death metal and black metal were winding down if not over as far as their creative impetus was concerned. The great sell-out albums were yet to come, and bands explored the time-honored method of being “new” by mixing in established genres and calling the hybrid a new path. Where hybridization works, it brings something different to a genre and makes it work within the style of that genre; when it fails, it reverts to an ancestor.

Cultus Sanguine jumped in through a mixture of doom metal, suicidal black metal and shoegaze with influences from bands like Joy Division who worked through atmosphere. This early form of post-metal emphasized theatrical vocals and melodic simple guitar lines that emphasized a trudging rhythm, making it a lot like the post-metal explosion to come but with a more forceful approach.

Unlike many of the more recent bands, Cultus Sanguine attempted a narrative approach. This became absorbed within the need of vocals and atmosphere to predominate, creating a sense of interrupted mood with heavy emphasis on its return, but ultimately the simpler, rock-style riffs and their underlying progressions did not give the band enough to work with. Now a historical curiosity, this album was lauded for its “creativity” at the time and then rapidly faded into obscurity.

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Upcoming tours – Cannibal Corpse, Obituary, Cryptopsy, Abysmal Dawn

by Gabe Kagan on December 8, 2015

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When you’re like us and operate on the assumption that most metal music is bad (or at least mediocre), you probably want to avoid Cannibal Corpse, since they’re still kind of the poster child of lame albeit studio-proficient death metal. In case you don’t, you can always see them on their upcoming US tour. As mentioned in the title, Obituary, Cryptopsy, and Abysmal Dawn will be supporting them. The first two bands in that selection admittedly produced some good content in their early days, but seem to be operating at a similar level of tired rehashes these days. Tickets will go on sale this Friday (December 11th), so you should soon be able to ignore our warning if you feel doing so is absolutely necessary.

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Buried treasures: Adversary – Forsaken (2001)

by Brett Stevens on December 7, 2015

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Adversary came to us from the heartland of Indiana and released two solid old school death metal albums, the second of which, Forsaken, may deserve more attention. This one is misunderstood because its form is old school death metal, but its heart is in classic heavy metal with melody and groove, as well as some of the more atmospheric 1980s rock.

As a result, listening to it presents a dual experience. It sounds like Num Skull or Nunslaughter doing their version of a Possessed-Venom hybrid, but with more attention to melodic guitar hooks. Vocals take the form of barfed out gruff explosions, guiding the rough-hewn riffs like a second drum track, but the heart of each song is a 1970s heavy metal riff with a broad chord progression through which melodic lead-picked figures wind. Songs mostly follow the speed metal pattern of verse-chorus with interludes and transitions, but each song is wrapped around a presentation of dynamics to bring it to a dramatic close.

While other bands worked with this formula, none have done so with such old-school technique and so this album neatly slipped between its potential audiences. Compounding this fact was the trouble that Adversary’s first album, The Winter’s Harvest, used a drum machine and so was overlooked by many. But for those wanting the feeling of 1985 — that nexus of different influences and unresolved potentials — this album deserves a second look.

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Smoking with Tolkien: Capstan – Original Navy Cut

by Brett Stevens on December 6, 2015

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J.R.R. Tolkien wrote without an outline using only the thoughts gathered in his head over long hours of smoking his pipe and staring into a fireplace. Sitting at his typewriter, head wreathed in smoke, he pounded out a first draft of the Lord of the Rings mythos, and then discarded it, beginning again from scratch. As the story took form, it left behind a litter of empty blue-painted cans of tobacco.

The tobacco was Capstan Original Navy Cut. Members of his family remember the tins proliferating around the house and being used to store household items. When Tolkien and other members of his literary group The Inklings met, nicotine burned in abundance, and they could be found by following the trail of smoke. In his books, Tolkien inserted characters finding great comfort and wisdom in their pipes much as he did in his.

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As part of a recent binge of writings by Tolkien and fellow Inkling C.S. Lewis, this writer has indulged in their favorite tobaccos. Capstan Original Navy Cut comes in “flake” form, having been pressed into table-sized cakes and then sliced into wafers about a third the size of a playing card. These are either stuffed into the pipe or “rubbed out” which converts them into ribbons of tobacco. Throughout this experiment, the thought lingers at the back of the mind: why this tobacco, and does it resemble the Longbottom Leaf or Old Toby of his legends?

Original Navy Cut is composed of pure Virginias, but the pressing and aging has converted some of their sugar and acid into a more hay-like flavor, the partial decomposition of the leaf having released its most irksome elements. What remains is a sweet smoke, with slightly more Nicotine (PBUH) than the average medium smoke, which burns evenly and rewards small “sips” or short slow puffs, as one might take while hammering out words on a typewriter. It also admirably complements the smell of typewriter ribbon, for whatever that is worth.

Virginia flakes such as this tend to appeal to either new smokers who want a blend that is sweet and strong like a cigarette, or to the experienced who can nurse a pipe for hours. Since Tolkien was a master pipe smoker, he fit the latter category, and apparently always kept a pipe going with this and other blends to power himself through late-night endurance test writing sessions. And we can enjoy the results, and the metal inspired by them.

https://www.youtube.com/watch?v=B8IC4aSq-Mg

https://www.youtube.com/watch?v=3oNVGi-dZ_E

https://www.youtube.com/watch?v=hfEakUyNit8

https://www.youtube.com/watch?v=dBWGjT-XV6g

https://www.youtube.com/watch?v=_284RNK8eCo

https://www.youtube.com/watch?v=Pq1JrJHQlAc

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Isvind – Gud (2015)

by Gabe Kagan on December 5, 2015

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Part of me still wants to like Gud. Isvind’s 4th studio album is a textbook example of how to sound like black metal, for sure, but the specific emphasis on consonant melody (mixed with some primitive and ambient elements ala Darkthrone) make for a substyle that at least can be done well in the right hands. Under this admittedly pleasing exterior, though, lies a heart of incoherence and confusion. Isvind, at least in 2015, is random to the core, and their inability to properly organize their songs makes for a tedious 45 minutes.

While this pervasive failure makes it more difficult to zero in on any one flaw, a few are at least more prominent and demanding of attention. One thing I immediately noticed were the presence of gimmicky female vocals – after the short but dissonant prelude at the beginning of the first track, they are scattered very sparsely throughout the rest of the tracks. They fail to add much beyond the occasional peak of shrill dissonance. As I kept analyzing Gud‘s tracks, I found that the tracks were full of these distractions in various forms, whether it was extra instrumentation, or stark shifts in tempo or tonality or other aspects of the songwriting. Each one of these is the musicological equivalent of being constantly pestered by a small child who demands your attention; eventually you get used to it, but that doesn’t make it any less frustrating. To their credit, Isvind manages to incorporate a great deal of dissonance into what is primarily a melodic and consonant style, which makes for some interesting isolated riffs, but since they can’t string the sections of their songs together properly, it almost doesn’t matter. To be fair, I don’t think this problem is caused specifically by the musical exploration, since other black metal bands (read: Averse Sefira) have written far more coherent and therefore interesting songs than are present on display here.

Still, I can’t recommend this in good conscience. It’s not quite as nonsensically random as Myrkur or a Krallice, but it’s a lot closer in spirit to those albums than what its aesthetics may lead you to believe on your initial listen.

P.S: I almost pluralized listens, but you shouldn’t give this album that much attention.

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Vader to release 2nd album of cover songs

by Gabe Kagan on December 5, 2015

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Back in the day, Vader earned a bit of extra notoriety by releasing the original Future of the Past and presumably documenting their influences (and their taste for Depeche Mode) through cover songs. Nearly 20 years later, they’re doing it again. Future of the Past II: Hell in the East showcases a set of somewhat more obscure bands, trading in familiar speed/thrash acts for the Polish underground of the 1980s, as well as a few outliers like Krabathor from the Czech Republic. This cover compilation will be released on December 14th, along with another separate pressing of Vader’s demos and a re-release of Future of the Past [I]. I do not know why Poland produced such a disproportionate amount of metal during its last years under communism; Vader, having lived through it may very well have a better grasp on the causes.

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