Chris Whited (King Conquer) under assault for comments

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Chris Whited, from mainstream metal band King Conquer, allegedly got jumped in the pit by some adversaries at a recent concert. But what has attracted attention from the reality-blind SJW journalist camp is what he said afterwards:

So I Moshed last night for adaliahs last song because it was there last day with us, and some pussy got butthurt and scooped me up from behind and slammed my face on the concrete(which knocked me out) then 4 other pussy ass faggots decided to kick me in the face while I was on the ground already knocked out, and then none of them would fight anyone one on one. And then they all lied to the cops about what happened. Long story short, I woke up in the hospital with no clue about anything that happened. Crazy, that’s never happened to me before.

In particular, it seems his use of the term “faggot” — used in different contexts by men around the world to refer to both homosexuals and men they dislike — has attracted the Language Police who want us all to feel guilty for not outright attacking him. Nevermind if you think his use was bad form; you are bad, and should feel bad, if you do not outright condemn him and join the other people without lives who gather on the internet nightly to fetishize outrage.

Metal Insider leapt on the SJW bandwagon with its shrill-voiced preaching about how terrible this all is:

There are two regrettable things about this: that it happened and that Whited feels the need to throw around the word “faggot.” Granted, he’s understandably angry in light of a cheap shot, and it’s cowardly to literally kick a man when he’s down. And if the venue had no security that would take care of any pit violence, that’s an amateur move on their part. And the police doing nothing about it likely added to the frustration. That being said, he lost a lot of sympathy as soon as he wrote that word not once but twice. Even if it was in the heat of passion, there’s no need to be homophobic about it.

The problem for them is that his thinking does not conform to what they view as “social justice,” which is both their hobby and their way of being better than you. Where humans once went to church and bragged about how many Hail Marys they had said, now they get onto Tumblr and brag about how morally correct they are by being politically correct. Same psychology, different era.

In the meantime, realistic and reasonable people are wondering: what is wrong with simply not engaging in the behavior? In other words, who cares what he said — fix yourself, first, and that is not limited to the easy method of changing your language for ideological reasons. We all have our own failings, but it is easier and feels better to attack someone else for something trivial they did, even if it may make sense in their local community, culture or friend group. Or even as an artistic statement of some kind. But SJWs are not about thinking, freedom of speech or even friendship. They are about control, and controlling you through guilt, no matter how many lives it ruins.

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Bloodstrike to release debut – In Death We Rot

Bloodstrike - In Death We Rot (2015)

Inspired by the buzzing Boss pedals of the Swedish death metal scene (and even featuring a cover of a track by Grave), Bloodstrike from Colorado has announced that their full length debut In Death We Rot will be released to the public on September 25th. Samples suggest a fairly basic, hardcore punk inflected recording that might come in handy at house parties. The band released the following press statement:

Combining the putrid licks & groove of early 90s Stockholm with the dark and cryptic delivery of early 90s death metal in the Midwestern United States, Denver, Colorado’s Bloodstrike are showing us what it means to truly redefine darkness with their first full length LP. GraveEntombedDismember with a smattering of Bolt Thrower and early Obituary are all present here, so If you are searching for an old school sound in 2015, Bloodstrike is the answer.

After a head spinning (and splattering) demo in 2014, the quintet of metal veterans (having spent time in Silencer, Moth, and Havok to name a few) will not stop until the piles of rotten bodies their brand of death metal harvests, blot out the sun. If you prefer the ominous and rawer end of the death metal spectrum rather than what many of today’s studio wiz kids have to offer than look no further, Bloodstrike will be the best addition to your hall of suffering!!

Holly Wedel | Vocals
Jeff Alexis | Guitars
Joe Piker | Guitars
Rhiannon Wisniewski | Bass

Ryan Alexander Bloom | Drums

Artwork courtesy of the legendary Mark Riddick
“Soulless” written by Grave & released by Century Media Records 1994.

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Trench Warfare – Perversion Warfare (2015)

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War metal was born when worship of Blasphemy, Zyklon-B, Sarcofago, Impaled Nazarene and Beherit merged with the newly-simplified post-Nordic black metal, but many of us noted that Blasphemy and Sarcofago in particular had more in common with their punk and grind ancestors than black metal as it evolved. Trench Warfare cuts to the roots of war metal by making grindcore with metal rhythms and intensity, and by breaking out of the stop-start patterns of most war metal produce an unrelenting assault that bears down with the intensity of full-bore death metal.

Perversion Warfare consists of three tracks which build high-energy primitive riffing in the Blasphemy style and expand to more traditional grindcore and death metal forms, commenting on the riff that forms the bulk of each song with a series of complementary and oppositional motifs that keep the momentum rolling through rhythm and pattern. Layered on this are urgent martial drums that comment extensively on the change in material, sort of like Destroyer 666 given a technical tune-up, and chanting defiant vocals which resemble a cross between Blasphemy, Blood and early Mika Luttinen. Songs do not relax the strident attack but do come to clear peaks and have a form shaped around that, which avoids the formless grindcore glaze-over that occurs with many bands attempting this style.

Three tracks do not give enough of an impression to tell where this band will go in the future, but it provides an insight into how they intend to make war metal both interesting and militant. Riffs here evoke Napalm Death and Immolation as often as Vulcano or Conqueror, and the way riffs comment on one another to build songs is more death metal than war metal, despite the general approach to riff-writing being more welcome to acknowledging its roots in grindcore and expanding upon them. The result is surging combat energy which creates a narrowed and critical view of the human experience, reducing our social pretense to the practicality of open battle, but infuses into that a delight in survival which — as with all good metal — gives life new meaning through darkness merging into light.

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Panic in SJW-land over being made accountable for their behavior

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Kim Kelly, the SJW journalist caught faking stories for metal magazines, expressed outrage that DeathMetal.org would do basic research about her and publish an article forcing her to be accountable for her past statements and activity. You can see the full Twitter drama here including white knighting by internet tough guys. Notice how research becomes “stalking” when someone else does it, but it’s “research” when Kelly does it.

Kelly, who has no criticism for her fellow Vice NSBM-wannabe-turned-SJW-journalist Neil Jameson, has made a career of using lack of compliance with SJW issues to tear down careers of musicians. That is, of course, after she broke herself into the business as PR flack for notorious provacateurs Anal Cunt. MetalGate — inspired by GamerGate — was the first coherent resistance to the SJW invasion of heavy metal.

It is typical for SJWs to be hypocritical. For them, ideology is social and also how they hope to attract an audience which will feel guilty for not listening to them, therefore will feel a compulsion to buy SJW propaganda, like Chinese under Communism buying the Red Book or even a Czech grocer putting a sign in his window. This is about audience, and replacing the metal audience with a new group, which is why SJWs get upset when called out on that. They are not here to bring accountability. They are here, like any other lobbyist or corporate group, to sell products. And they really, really do not want you to look behind that curtain.

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Thevetat releases Desecration of Divine Presence

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Thevetat (ex-Ceremonium) has unleashed its most recent record Desecration of Divine Presence on vinyl for metalheads who like the kind of immersive, cavernous death metal and black metal that Incantation, Profanatica and Immolation made famous. The band issued the following press release:

Another day to spread death! Clearly, it is evident this effort attracts a vile kind. Good deeds unpunished… Fellow wolves, send a message to this page for your orders.
Two color variations are available.
Experience the madness.
There is much minded from beasts. Ave Satani.

Some people need a reminder. “Desecration of Divine Presence” is available now and orders are being taken on this page. This is merciless death devoted to the end of the world. Make your desires known to the devil. Speak for the dead!!!!!!!!!!!!!!!!!!!!!!!!

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Deiphago accused of violent assault

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Aggressive war metal band Deiphago are rumored to be violent in other ways, too: Curt Johnson’s (Iron Force, Mutant Supremacy) girlfriend Natalia alleges that Sidalpa of Deiphago punched her in the face when she went backstage to get a beer from the beers left there for the bands.

Johnson relates:

I wasn’t present at the time but I guess Natalia was backstage and went for a beer from one of the bins and sidalpa from deiphago punched her in the face and knocked her out. I was watching inquisition and came out right before they finished and saw her face, apparently they left right after the shit happened.

Some observers have noted that Natalia was not approved to go backstage, and the beers there may have been for the bands only and not girlfriends. The full story has yet to emerge, and apparently there is no police report.

The problem with situations like this — as we saw with the Duke Lacrosse case, the Columbia rape case, and other false accusations — is that jumping to conclusions and forming a lynch mob to destroy someone based solely on one person’s accusation is a terrible idea that will lead to misery. There is a reason we have police, courts and law and use those to objectively (as much as possible) determine guilt and innocence, instead of taking one person’s word as fact and using it to ruin the life of another.

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As you can see, the usual forces are ready to jump to conclusions and are getting excited for a righteous justification for destroying someone else. The revenge-instinct of the herd is strong in them. Sadly, others who should know better are making the same mistake (I was unfriended by this person shortly after the exchange you see here):

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This statement shows the mentality of the mob:

they are going to the police to try to press charges. if you’re the type who is going to defend a guy who punched a gal in the face for grabbing a beer, then fled the club…you need to unfriend me now

The technique used above is to attempt to say that demanding a fair trial before kicking off the lynch mob and defending the accused are the same thing, when in fact nothing in his defense was said. All that was said was: we should figure out the actual facts before firing up the lynch mob.

No proof has been established yet other than (1) a photo of a woman who could have received those injuries in any number of ways and (2) a story from Mr. Johnson. Those are not by themselves proof, and the lack of a police report is puzzling, since at least around here, the cops are pretty excited to investigate assaults. Pattison wants you to believe that anyone who demands a fair trial is in fact defending this guy against unproven accusations. By all means bring him to trial, if you have the evidence, but do not accuse me of “defending” him when what I am asking for is actual facts and not gossip, rumors and hearsay.

While apparently this kind of anti-factual commentary is the normal on the internet, it is also the norm among people who burn witches, lynch black people, stone heretics and bully non-conformists. It is the logic of the herd and the angry, defensive, spiteful and resentful animal inside of every human being. It is the low point of our species, not its moral height as these over-excited and angry people want you to believe.

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We’ll post more as the story develops, including the crucial questions: (1) are the facts true as reported by Natalia and those who claim to be witnesses? (2) are the injuries from the assault, or from impact with the floor or another object, and were they self-inflicted? (3) was a police report filed, since people with a strong case tend to file police reports, while people with weak cases tend to go to the internet for revenge as a means of hitting back at the other guy, not establishing justice?

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David Ingram (Benediction, Bolt Thrower) has tantrum over defense of free speech

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Popular music is a hard gig. To maximize your chances, you quit doing everything else and it becomes your only option in life. Then if that turns out poorly, you have the choice of being a 40-year-old shelf stocker at the local grocery, or swallowing your pride and becoming a cheesy third-ring entertainment figure. For this reason, musicians — especially those who first bands did not make the final cut of election to “favorite” of the public — tend to pander, flatter and provoke the public whenever they can. The resulting drama is the only thing standing between them and putting those cans on the shelves.

And yet, drama finds us all. It started on Twitter. Drama often starts on Twitter:

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To clarify what is happening here: some armchair white knight decides that because some guy out there does not like homosexuals, there must be a social activity consisting of people gathering to hate on this guy. As usual, I point out the reality-based analysis which is that his opinion does not concern us; let him do his thing, and you do yours, and stop being a busybody nanny state jackbooted interloper simply because your life is boring and your society is failing and you want a scapegoat for all your problems. Grow up, in other words.

That set off a chain of nasty replies. According to David Ingram (Benediction, Bolt Thrower): if you defend free speech, you are on the side of “hate” and you are a very, very bad person. To him, defending the right of people to coexist is the same as endorsing the most extreme of their opinions, even though I never said anything in support of what the guy said, only his right to say it and the maturity of letting him enjoy that freedom over there without our action against him. Free speech works when the other guy says what he wants, and you say what you want, and you do not directly intervene in one another. Boycotts and mob attacks change that, even if non-violent, and we all suffer as a result.

Not wanting to let a good dialogue drop, I took it up with Ingram when one of his promotional spams hit our inbox:

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Again we see the formula: defend free speech and you are a Nazi.

Join the angry mob and you are “good.”

Interesting to see Mr. Ingram cave to this. I suspect he is just doing it to try to keep his (flagging) career alive, and I have sympathy for that. But one can never truly have sympathy for those who use bad logic and are motivated more by hatred (of anyone who disagrees with them) than a desire to do right.

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Cruciamentum – Charnel Passages (2015)

Cruciamentum - Charnel Passages (2015)
AKA Unholy Cult II. I suppose it would be unreasonable to ask Cruciamentum’s full length debut after several years of formative demos, EPs, and a brief period of disunion not to be instrumentally refined and polished as crystal clear as death metal allows; I reference Immolation’s 2002 effort not because Charnel Passages is a clear aesthetic match for it (although both are more melodic than the usual straight-ahead DM while not quite qualifying for the “melodic” buzzword), but the sense of rising formulas that could very well strangle any band.

What bugs me most about Charnel Passages is that Cruciamentum is competent. The members know how to construct lengthy, relatively varied death metal songs that avoid the worst excesses of the random and nonsensical. This puts them far ahead of most of the disorganized or simply flat acts out there. Presumably, their study of various greats in the genre has taught them how to construct riffs, drum patterns, song sections from their various influences and recombine them as desired. While they lean primarily on the percussive, rhythmically complex style of the old New York death metal scene, there are tinges of so many other contributors to death metal scattered throughout. These are minuscule at best and don’t draw much attention to their incongruities unless the listener is actively searching for them. Ultimately, it works in the band’s favor, and these incorporated influences showcase them as knowledgeable musicians passionate about their beloved death metal recordings and able to assemble new tracks with no major flaws in their construction.

However, Charnel Passages fails to rise beyond this level of stewardship. It is as if they are so devoted to imitating the great moments of the past that they are unable to build off them. In the process of listening to this album for review, I was constantly bombarded with moments where I found a transition slightly jarring, a breakdown slightly overblown, a blasting section more out of obligation than of narrative strength. Were I less attentive, I would probably not notice these, but they would still gradually push me away and towards proven classics. As a result, while it probably meets the average listener’s standards and will force its way onto many a best-of list of 2015, I expect it to be condemned to obscurity in the long run, popping up occasionally in internet discussions of “lost gems of the 2010s”. If it weren’t so close to being a good record, this wouldn’t be as much of a tragedy.

To be honest, it’s possible I may end up giving Cruciamentum the benefit of the doubt in the long run. Critics have been known to double back on their old opinions from time to time, and considering its level of quality, Charnel Souls seems like the sort of album I could change my position on very easily.

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Firestone Walker Brewing Company – Double Jack Double India Pale Ale

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My whole life has consisted of failure to appreciate the true depth of human stupidity. Most people are stupid, and they are both pretentious and unaware how transparent they are. Many of them spend time telling me “how it is” when they are so off-base that the disconnect from reality is onerous. But I digress: hipsters captured the beer industry and are posing at having knowledge while making bad beers.

Double Jack is one such bad beer. Monkey see, monkey do: hipsters realized that bitter beers with citrusy flavors were a signal our bloated and over-rated press corps was using to recognize quality, so they started making beers like Double Jack which signal all the right stuff but, because they are assembled of signals, have no internal structure or consistency and end up with the flavor of random junk. This beer immediately hits you with a strong grapefruit sensation, under which you will note a thin beer of anonymous flavor. The bitterness remains present, probably delivering rave reviews from idiots, but unlike a good beer, where all of the flavors work together toward some direction, it remains separate here. That may be a metaphor for this beer.

It is as if someone went through the reviews on Beer Advocate and highlighted all the key descriptive terms, then added those as features to an otherwise generic beer. None of the mild integration of yeast is here that you might find in a good beer, nor is there any overall flavor. Instead, there is bitterness, a yeasty backlash, a watery beer taste, then a slightly soapy beer flavor, and finally, the realization that this brew is surging with sugar and acid which means your post-party tacos are going to be a digestive challenge. It is not terrible like a mainstream American beer, but awful like lost potential: with someone who had a working brain, this could have been a great beer with these ingredients. Instead it is overpriced hype for hipsters to pass their time before smoking American Spirits among the ruins of their civilization. At 9.4% alcohol by volume, it at least allows a person to get decently tipsy on a bottle, but that does not make up for the wasted opportunity to not have drunk this beer, and to have purchased another one instead.

Quality rating:

1/5

Purchase rating:

0/5

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Mgła – Exercises in Futility (2015)

Mgła - Exercises in Futility (2015)

A recent discovery of mine, if far from a newcomer to metal music; Mgła plays a sort of streamlined melodic black metal on Exercises in Futility. There are no real divergences from this formula, even in their slightest form, and even any residual rock or traditional metal influence is assimilated deeply into the overall sound and form of the music. It’s easy to pass this album off as repetitive, dull, and pointless at first glance, but the constraints of this style have bred some much-needed creativity. Continued listening highlights the band’s ability to successfully vary their compositions in a narrower range than most of my recent reviews. This is a difficult skill to learn, and its payoff is often subtle to the point of inaudibility, but the band’s efforts paid off; they’ve secured this listener’s interest and showcased their potential prowess as songwriters.

In general, Mgła leans towards the consonant, the ambient, and (at moments of weakness) the predictable. Exercises in Futility is driven primarily by very simplistic riffs and sometimes even single chord drones, but frequently overlays melodic, treble heavy guitar lead counterpoint over the exceptionally basic chord patterns that serve as its foundation. The rhythm section is muted in comparison to the guitars, but it dutifully follows their acrobatics by offering up its own new patterns as the tracks evolve. While I rarely found my ears focusing in on the drums, I was pleased by how the drummer didn’t treat his subsidiary position as an excuse to mindlessly blast or simply keep time. This was more of a problem with the vocalist, who admittedly also handles guitar and bass. For how prominently the vocals are mixed, the unending sameness of their techniques and how unaffected they are by any other aspect of the recording is quite a setback. Still, the instrumentation tends better than the alternative (incompetence), and when every metal band with a budget can assume their performances will be studio quality, the ability to add nuance is quite important.

Exercises in Futility is still not a particularly diverse album, although it doesn’t necessarily need to be one to be worthy of attention. Its biggest weakness is most likely that its tracks don’t develop particularly well over their duration, although the songs at least have clear (if basic) structures, which suggests some non-trivial effort towards this end. Other problems with this recording are relatively trivial in comparison, as strength of narrative/communication is perhaps the one aspect this genre’s elites can safely say they share. To truly unlock their own potential, the band members will have to cut repetition and achieve a greater level of focus and precision when constructing their songs. They may very well be able to pull it off if they’re willing to put forth the effort.

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