Num Skull – Ritually Abused re-issue has fatal flaws

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The late 80s were an extremely volatile time for metal music. The speed metal movement that had started a handful of years prior was simultaneously peaking and sounding its death rattle. The noises coming from Europe and developing in New England were firing warning shots across the bow of metal as it had been known in full-out, transformational revolution. 1988 saw the release of Bathory Blood Fire Death, Bolt Thrower In Battle There Is No Law, Napalm Death From Enslavement To Obliteration, Carcass Reek Of Putrefaction, and demos from Paradise Lost, Samael, Rotting Christ, Rigor Mortis (pre-Immolation) and Exmortis, just to name a few. One can only imagine that this must have placed tremendous pressure on fledgling speed metal bands as the music world they thought they knew crumbled around them.

Very few of them escaped this period intact. Bands that had issued one or two great albums seemed to perceive that they could not continue as they had been. They saw a fork in the road: either trying to emulate one of the “big four” or struggling to “get harder” to keep up with the tectonic shift death and black metal were creating. Either move alienated the fan base they had built and universally failed as a result. This writer cannot think of one band that consciously changed vocalists and/or styles that got better because of said shift at that time.

This is not a lesson in music history or an album review, but it is important to understand the context of a given release. It is easy today to call up a band, a song, an album, and sample it immediately, piece by piece. Consuming historical output in a vacuum, outside of the understanding of the environment in which it was produced and unleashed, is simply folly. The timeline of modern metal, now at over three solid decades, conveys the idea that there were obvious plateaus and curves, slow and deliberate. However, focusing in closer reveals that there were a great many peaks and valleys along the way, some single high points among a lot of noisy low points.

Focusing on the US, 1988 saw some fine thrash releases from Nuclear Assault, Rigor Mortis, Vio-Lence, Wehrmächt, Wasted Youth, Wargasm, and the subject of this writing, Num Skull. Num Skull’s release of Ritually Abused, while not a game-changer, was significant. It toed the line of death metal; one can hear some hints of Immolation in some of the riffs on this album. The spitting delivery and effects on the vocals were very unique and helped set them apart. And, perhaps most importantly, it remains one of the very few releases from a midwestern-US band at that time. The midwest had the proto-death stylings of Macabre and Impetigo, the progressive metal of Anacrusis, the punk of Life Sentence, and the thrash of Zoetrope, but for thrash that edged closely to death metal, Num Skull were it. Ritually Abused caught them at their peak, before they decided they needed to be yet another poor-to-mediocre “brutal” death metal band to be discarded as also-rans. They were extremely talented, high-energy, and unique in a musical world filling up with same-ness.

Fast-forward to 2014. The original Ritually Abused is criminally difficult to find, with the lone CD pressing fetching triple-digits on eBay and in trading circles. When Relapse announced that finally, after much pleading, they were going to reissue it, complete with bonus track, it seemed time to rejoice. A limited-run of 300 units, pressed on purple vinyl, was promised, along with a CD and new apparel. This was an opportunity for younger listeners to hear what was a peak during the swan song of the US thrash movement with some proto-death metal tendencies, and for the label to pay respect to one of their deceased children, Medusa Records, with a release that helped put them on the map.

Upon inspection, the colors on the cover appear richer and the back cover has a new layout. Opening it, there is a basic lyrics sheet and plain sleeve. OK, so it’s not a deluxe reissue — this is not ideal but it is forgivable. After all, at least this piece of history was unearthed and given new life. Dropping the needle, fond memories of youth are replaced with jarring incongruity and disjointedness. What was originally a quick, seductive and declarative introduction of “The End” (“The end is near…”) followed by the huge, rhythmic hook of the title track was now the machine gun blast of “Death And Innocence”. Confused, a listener might consult the track listing again. As written, it shows the familiar order with the addition of a bonus track originally written for one of their demos:

  1. The End
  2. Ritually Abused
  3. Death And Innocence
  4. No Morals
  5. Friday’s Child
  6. Off with Your Head
  7. The Henchman
  8. Pirate’s Night
  9. Turn of a Screw
  10. Kiss Me, Kill Me
  11. Rigor Mortis
  12. Murder By The Minister (Bonus Track)

However, the lists of tracks as present on the disc is as follows:

    Side A

  1. Death And Innocence
  2. No Morals
  3. Friday’s Child
  4. Off With Your Head
  5. The Henchman
  6. Pirate’s Night
  7. Side B

  8. Turn Of A Screw
  9. Kiss Me, Kill Me
  10. Rigor Mortis
  11. Murder By The Minister (Bonus Track)
  12. The End
  13. Ritually Abused

The CD is also thus plagued. Such a clear display of “no fucks given” from the label dismantles the flow and intent of the original album and leaves the listener with a much less effective product. The lack of even basic quality control on this, after over a quarter of a century of waiting, demonstrates the fact that Relapse had no respect for this band or this release, a piece of its history. Relapse passed up an opportunity to finally give this release some deserved love and perhaps atone in some small way for the massive ignoring and lack of promotion payed to this upon its original release in favor of a quick cash-grab from their back catalog.

One wonders what little effort it may have taken to reach out to the band and seek their input and involvement on such a reissue. This has been done repeatedly lately to a high degree of success and satisfaction from fans; albums from Sacrifice, Darkthrone, and Bl’ast are prime examples of how to do proper reissues. Alternately, a few sentences from label leaders or peers about what the band meant to them at the time, initial reactions to hearing the album, etc. — anything — would have been a nice inclusion. At absolute minimum, a simple CD-to-vinyl rip using the 2002 disc as source material, while not giving a proper vinyl sound, would have resulted in a correct track listing and required exactly zero effort. It seems Relapse went out of their way to fuck this up, as though they gave the pressing plant some idea that there was a band called Num Skull that once upon a time had an album entitled Ritually Abused and let them figure out how to press it, never once checking any test pressings prior to collecting money and shipping another product about which they are ambivalent.

At their genesis, one likes to think that most record labels start with the idea of giving voice to deserving artists that would otherwise go unheard and unnoticed by other labels. In the mind of the listener, a label also bears the responsibility of curator of a slice of music history. Dear reader, what is the half life of such a fantasy? At what point does a label simply become a business with no artistic integrity left in their empty souls? At what point does churning out album after album of whatever flavor of the day fits best into the accepted formula that will sell enough product to turn a profit become more attractive than unleashing quality, moving music? Some rhetorical questions without answers, but one would think re-issuing a “lost” gem that requires minimal investment of money or time would be a simple feat if the label had one cell of shit-giving left.

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Sadistic Metal Reviews 12-27-14

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Nothing is less metal than accepting everyone and everything. Metal discriminates. Fundamentally, we recognize that most people have their head in their clouds and like craven mice prefer comforting illusions to even only moderately disturbing truths. In fact, over 90% of everything is simply disorganized garbage made by distracted mice. For this reason, we unleash our cruelty and separate the music from the squeaking with Sadistic Metal Reviews

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Arkham – “Demo 2014”

It may become necessary to invent a genre for this style because it shows up frequently. It might be called “narrative speed metal” for music that adds heavy metal and death metal into speed metal but fundamentally follows the vocal line for song development, as if narrated as background action by the lyrics. The dominant influence on Arkham seems to be Iron Maiden, whose harmonized riffing and song structures bleed through, but the band has chosen a death metal vocal and a basic speed metal verse-chorus approach with introductory riffs leading to change in the verse riff for each section of the song. Good riffs, and good sense of melody, but this band ends up being too linear in narrative and the chaotic vocals interrupt their melodic songwriting.

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Bloodscribe – Prologue to the Apocalypse

Fairly standard brutal percussive death metal in the post-Internal Bleeding style that is essentially deathcore but with more internal coherence through simplicity. The problem with this genre is that, like Cannibal Corpse and the post-Suffocation clones that inspired it, it requires reducing itself to a catchy guttural vocal phrase and distracting riffs with lots of squeaks and squeals but very little put together into tremolo or complex textures. The result is that this is the musical equivalent of elevator music, just a lot more intense sonically and with far better technique. It misses (however) the mind-blowing aspects of death metal and replaces them with the toe-tapping, head-bouncing and brick-eating mental state of listening to someone force a jackhammer around a sewer line.

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Gnosis – The Third-Eye Gate

This band of some local repute comes to us playing the style that some call shuffle metal. In this genre, the vocalist chants and the drums race to catch up while guitars strobe a two chord riff in the background. It has the gratifying tremolo sound of early Florida death metal but the vocal dominance inevitably makes this combination sing-song and thus the foreboding sense comes apart, replaced by the feeling that one is in a local pub, drinking a warm brew, listening to the local band whose songs are as familiar as backyard dirt at this point and while improving, never seem to get good. Interesting ideas appear on this album but never develop because they are too busy keeping the chanty choruses going for the Budweiser drinkers who are wondering if they should pass out or vomit first. If this band wanted to get good, they would lose the vocal hook and replace it with monotone until the guitars sounded good, then re-write vocals to fit the guitars.

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Nameless One – Thousand Memories and Nameless Sword

Essentially Iron Maiden styled heavy metal with death metal vocals and riffs thrown in for emphasis, Nameless One achieve a reasonable fusion of the genres but cannot hide the sickly sweet pop music underlying their Iron Maiden tribute composition. It is catchy and elegant in the way Iron Maiden is, but everything wraps up too nicely and the result is a sense of listening to one of those pop bands that pop up and vanish overnight in the dance music community. All instruments are executed with aplomb and solos are highly professional, and no song drops into lower-quality riffs, suggesting these guys have good quality control. Riffs are cut from archetypes, and the fusion is a little goofy, but the real sin here is making Iron Maiden into a candy pop band and thus making it as saccharine form of the irritation of nails on a chalk board.

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Winds of Genocide – Usurping the Throne of Disease

This album is hilarious. Imagine taking a standard hard rock album and trying to do it in the style of Blasphemy (yes, the Ross Bay one). Then add vocals which linger past the phrase or lead the vocals much like a pop band, and allow individual musicians to show off in the process. The result is unintentionally comedic as it sounds like Hollywood hired a bunch of Charles Bronson style tough guys to make Poison relevant again. In an attempt to hide the roots of this music, the band play fast and loud and layer it in vocals of several types, including the electronically processed chant and the barking chihuahua howl. For comedy’s sake they throw in citations to Sarcofago, Von and other ultra-basic bands, but no experienced listener will be able to get past the hard rock progressions and bouncy glam metal riffs even if played in detuned, double BOSS HM2 distortion’d power chords. Do not listen when stoned, as you might have a laugh attack.

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Crucifyre – Black Magic Fire

crucifyre-black_magic_fire

Late entries in the attempt to partake in the retro-Swedish death metal sound, Crucifyre comes with an impressive pedigree of B-level Swedish death metal bands contributing members to this new project. To realize this vision, they combined heavy metal verses with Sodom-style chanted choruses and melodic death metal touches using the Swedish death metal modified d-beat under the skin. The result is not stylistically terrible except that it satisfies none of the cravings associated with its constituent parts, and instead makes a very “modern metal” collage which makes sense linearly but taken as a whole expresses nothing.

In addition, the melodies and vocal rhythms used here are simple in the way radio jingles are (as opposed to the “broken air conditioner that needs oil” way that Cannibal Corpse-derived bands can be) and the combination makes this music simply annoying. Catchy rhythms, sing-song melodies and a jumble of riffs thrown together seemingly both hastily and craftily creates a sensation of being in a Disney ride where each new riff is a new attraction and each represents a general gesture at an idea, not an attempt to unite a theme through all the different parts. This creates a feeling of rotation to the songs as they cycle past.

Making retro death metal is not easy, nor is it usually advisable. Death metal does best when motivated by a strong vision and hence a clear aesthetic voice and thus selective use of the techniques available to it after three generations of metal and punk. What happens with Black Magic Fire is instead the an attempt to make music like one would make a burrito: dump in some death metal asada, top it off with heavy metal cheese, then scatter some d-beat rice and German speed metal lettuce through the mix and wrap it up. Then hope it makes sense. This album does not, and does so in the most brain-liquefying simplistic way possible.

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#metalgate reminder: SJWs tried banning metal in the USSR

Bands the SJWs in the USSR tried to ban

Uproxx unearthed a list of bands that SJWs in the Soviet Union tried to ban for reasons such as nationalism, racism, neofascism, sex, eroticism and their favorite, “Anti-Soviet propaganda.”

Included on this list were Black Sabbath, Alice Cooper, Nazareth, AC/DC, Iron Maiden, Judas Priest and Kiss. As we go through another round of political figures attempting to brand metal as evil and force people to ostracize it, it helps us remember who their ideological ancestors are.

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The Best Underground Metal of 2014

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William Burroughs often wrote about the “edge,” or the liminal threshold between states. The last real edge year for underground metal was 2009 when strong contenders and new voices united to defend extreme metal against the onslaught of imitators making Potemkin village metal from hipster flair and lite-jazz fireworks but underneath it, nothing but disorganized songwriting and an absence of something to express. As the underground has come back with a vengeance, it has begun to displace the imitators because their music simply does not measure up. This has created a backlash as the hipsters defend their territory with guilt, ostentation, pretense and surface-level novelty. On the other hand, the underground has produced some strong contenders. And so we move forward through the past to the future, remembering that what is true is eternal, and trends, novelties, fads, hipsters and other transient moments pass quickly away…
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Atomic Aggressor – Sights of Suffering

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Calling a band “technical” — not to be confused with musicianship as popular circles frequently do — creates general indifference among those accustomed to seeing this term used as a selling point. The industry generally uses the term for bands that cannot compose meaningful songs and so encrust them in adornments of musical acrobatics, creating artistic Potemkin villages which offer a cornucopia of musical fireworks on the surface but emptiness beneath. Many believe that musicality is only valid if the artist consciously intended to give the music a certain technical quality. This could not be further from the truth.

The best music has often comes from technically competent artists, but this does not mean that their music is guided by a handbook of rules, but the other way around: they use technical flair to elaborate on the ideas that motivate their music. When an musician has a superior talent for organizing notes into melodies, aligning melodies into harmonies and building sections that flow and speak to one another as seemingly essential parts of a whole, this process can be reverse-engineered by a clever and knowledgeable analyst. But like software reverse engineering itself, we only arrive at technical explanations about the originating commands that give the result its nature, not the programmer’s feelings, train of thought or the content they hope to communicate through their art.

Morbid Angel Altars of Madness is lauded as as a young genius’ masterpiece born out of raging emotion and unprecedented innovation in the then-young genre of death metal. Only new or superficial fans of the genre are oblivious to the achievements of this album that go well beyond mere historical relevance. Whether or not Trey Azagthoth planned each twist with the implied theoretical knowledge behind them is not important, although we can assume he may not have because such fervor as these pieces present is only possible coming from the deepest well of human emotion. Yet scrutinizing of them at several levels reveal logical explanations for the impact, drive and fluid development that they showcase.

As a short example we may take a look at “Chapel of Ghouls”. The song itself can be explained as using E major as its main or home key. As in classical music it ventures into the parallel minor and uses off-key passing tones for color. The most important of this is the fact that the guitars in the recording are tuned in E-flat standard tuning, which means that the repetitive muted strumming of the open low string consists of strumming the D (enharmonic equivalent of E flat) note, the seventh in the scale of E major. This gives the chugs a malevolent and dissonant feel. Another thing that should be mentioned is that the first two riff clusters in Chapel of Ghouls are quite unstable, each being in period form (antecedent and consequent phrases which mirror each other, but only the second one resolving). These riffs do not resolve convincingly (they do not land on either the tonic or the dominant when the consequent cadences), giving these both a satisfying feel and a need to continue and be completely resolved which appears to the listener as a will forward instead of a complete thought. This resolution is achieved on the third riff which finally leads to the tonic, but does not rest there, avoiding the typical full-stop feeling by switching into the relative minor (thereby using a flattened third and sixth which sound like off-key passing tones in the context of the major setting) and syncopating the rhythm while an atonal solo blazes above. And so the song is carried on with the mark of genius that cannot be now denied even by those who do not share a personal preference for the song. The songs in this album are not even remotely atonal or even overall dissonant; they make heavy use of the latter with striking effect while the atonality is reserved for solos which mark peaks and tornadoes of raw emotion that are never out of place here and which seem to be born out of the depths of this music.

Atomic Aggressor Sights of Suffering presents us with something that would be best described as a tribute to Altars of Madness-era Morbid Angel. But unlike Morbid Angel, Atomic Aggressor’s songs do not show Azagthoth’s structural cleverness and talent for directing and channeling emotion unavoidably towards strategic points in the song where powerful emotion surges. In fact, it is because this band is bent on sounding like early Morbid Angel that they are completely oblivious to the subtlety of the original composition and thus just manage to place riff after riff which sound like a more retro (sounding a little on the speed metal side at times) version of who they are trying to imitate. The vocals make this intention to imitate even more palpable not only in terms of the style of the growls but the way certain passages are emphasized or rounded off by grunts which in this far weaker music only manage to sound comical, especially if one is familiar with the original band. There is not much to say about this album because it is no more and no less than a bland, third-rate imitation.

https://www.youtube.com/watch?v=y_Lq2WEqj1o

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Merry Christmas

krampus

While we may have our differences with religion, which seems to be the aggregate of human projection more than an honest interpretation of reality, Christmas is a time to enjoy with your family and listen to tons of death metal. Have a great one.

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Satanic cult The Temple of THEM releases Oto Anorha issue #34

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The Australia-based Satanic cult The Temple of THEM has released the 34th issue of its publication, Oto Anorha, as a free download online. The publication comes out intermittently according to the whims of the organization, which maintains an informal presence on the internet on Facebook.

Packed with illustrations, rites, scene reports and theory on the nature of Satanism, Oto Anorha offers the skeptic and devoted cultist alike an insight into this naturalistic but intensely focused branch of Satanism.

The Temple of THEM claims to be moving into the “second phase” of its thirty-year reign with the launch of a new local group in Australia, new goals and guidelines, and an outlook that matches its metaphysical goals to physical components.

For more information, see the Lulu page for the 205mb download.

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Satan’s Host – Pre-Dating God (2015)

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Satan’s Host create power metal with death metal influences like a hybrid of Kreator and Blind Guardian creating music in an Iron Maiden mold. Slight death metal influences intrude on riff construction in some of the songs but the majority are good old-fashioned heavy metal with speed metal technique periodically sparkled with some more extreme expressions here and there.
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#metalgate goes mainstream

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2014 will be remembered as the year when people woke up to how our minds are controlled by media. In every area of life, ideological fanatics have taken over and tried to gain control. In metal, #metalgate pushed back against these people not so much from outright disagreement with their intent but absolute hatred of their method — control through guilt — which reminds us of organized religion, high school disciplinarians, and other authoritarian types.

#metalgate has not gone away. First, Social Justice Warriors (SJWs) denied that it was happening. Then they blamed it on #gamergate. Then they claimed #metalgate had failed. In the process, however, #metalgate and #gamergate have been absorbed by the larger culture around us as people push back against the people who are getting a free ride in media, academia and entertainment by having the “right” opinions, and using guilt to force everyone to hire them and treat them as important. When in fact, most of them are semi-competent as their actions during #metalgate show.

Our own editor was kicked off a mailing list for having the wrong opinions. His satirical article which pointed out that punishments for rape are disproportionate given the nature of most “rapes” as post-sex regret, in the hands of SJWs, became treated like an actual rape. Academics and journalists on the list talked about how his words made them “afraid.” Then they kicked him off and closed their mailing list so outsiders cannot observe what goes on there. By doing so, they have made it clear that only SJWs are welcome. This reminds me of the JournoList scandal, in which media elites were using a mailing list to agree on how they would shape public opinion. Whether or not you agree with the opinions of the journalists in question, these are sleazy tactics that have more in common with totalitarian propaganda machines than a free society.

The conflict is spreading into the public sphere from several angles. #metalgate supporter and heavy metal frontman David Draiman (Disturbed) recently pushed back against the media in defense of his ancestral homeland, Israel:

“The mainstream media is setting the stage for a new Holocaust. They are the reason that this anti-Semitic fervor has been perpetuated over the entire globe,” said Draiman, who is the son of Israelis and the grandson of Holocaust survivors.

“It’s interesting how the media loved the state of Israel and loved our story when we were the underdog, and now that we’re no longer the underdog, now that we have the ability and the military might and the intestinal fortitude to always defend ourselves and defend our people and defend our right to exist, they damn us for that and they condemn us for that,” the heavy metal frontman added.

As Sam Dunn’s Global Metal illustrated, one aspect of metal is that it attaches very well to national cultures and helps people see national pride in a different way. In Israel, this means bands like Salem, Kever and Melechesh who do not shy away from the conflict in their homeland. Instead of taking an SJW-style viewpoint that there is a “right side of history” and claiming that anyone who disagrees is a racist (or sexist, homophobe, etc.), these bands explored the conflict to see what was actually driving people toward aggression. This is the metal way: we see conflict as growth, war as necessary, and we look underneath the surface illusion of society to see what is actually there. If you listen to society, you get social statements, media talking heads and neat tidy categories in politics. If you think like a metalhead, you look at the reasons for the conflict much like a scientist examines events in nature. You do not moralize, you explain.

Writing in The Federalist, Robert Tracinski discovers the high stakes of the current struggle between SJWs and the rest of us, and gives #metalgate a mention as well:

But this year, I discovered that while I might not be interested in the culture war, the culture war is interested in me. It’s interested in all of us.

This is the year when we were served notice that we won’t be allowed to stand on the sidelines, because we will not be allowed to think differently from the left.

Although The Federalist is a bit too right-wing for me, others have noticed from the other side of the spectrum. Over at Medium, Dave Pell writes about how social networking has created a culture in which we crucify people for saying things that offend others:

I worry that these new realities will lead us down path towards self-censorship. Sharing was fun at first. But now we can see the potential costs. And the risks associated with broadcasting our thoughts just might be enough to turn the era of open digital communication into the age of shut the fuck up.

Over at Spiked, editor Brendan O’Neill writes about how paranoia of this kind of public shaming and destruction is causing people to self-censor themselves, and how this makes us very much like the people who see as evil totalitarians.

Self-censorship is the worst form of censorship, for it encourages people to internalise illiberalism. It plants a secret censor in every boardroom and newsroom and gallery and even in people’s minds — an invisible tut-tutter constantly warning us ‘don’t say that’ and ‘don’t show that’ because, in the words of Index on Censorship, there’s ‘the possibility of a hostile response’. It nurtures risk-aversion, even moral cowardice, and it discourages people from taking great leaps of the mind or pushing culture in a new and provocative direction. It stultifies the soul. It hampers the human spirit itself. And worst of all, it inflames the intolerant: the more people self-censor, the more the censorious will demand it, whether it’s Oxford students, Guardian feminists, or foreign tyrants. If Guardians of Peace really is North Korea, then that shows that the West has become so allergic to liberty that even that tyrannical hermit state is taking lessons from us, borrowing from our book of using online intimidation to make offensive speakers apologise and retract.

Not only that, from a somewhat disturbing news article earlier today, you can see the rise of censorship in action in this story of a teenager who posted a (perhaps 4chan-ish) joke about a garbage truck accident.

The 19-year-old, believed to be Ross Loraine, from Sunderland, handed himself in to police yesterday evening after a number of complaints were made about the tweet.

He is alleged to have written: “So a bin lorry has crashed into 100 people in Glasgow eh, probably the most trash its ever picked up in one day that.”

Northumbria Police said he was arrested on suspicion of making a malicious communication and had been bailed while they made further inquiries into the incident.

I don’t want to defend this joke. I want to defend his ability to make this joke and for me to ignore it, much like I ignore misogyny in Cannibal Corpse lyrics and comically amateurish socialist propaganda in Napalm Death lyrics. I see those two lyrical missteps as coming from the same place, which is a desire to play with powerful and offensive symbols. Metal would scream “Fire!” in a crowded theater, blaspheme in church, eat cake in the bathroom and cross-dress at football games. It’s just what we do. We are part trolls and part people who do not trust society and its tendency to create a veneer of simple answers that conceal what is actually going on, which in our case is a very sick society possible on the verge of collapse.

Frenzied grand constructions, wars and great rituals are among the common responses of ancient leaders to crises. These demonstrate powerful responses by the leaders (enhancing their threatened hold on power), but almost never really address the problems themselves. A cynic might characterize the giant U.S. stimulus bill of 2009 as such an effort.

Leaders may recognize that they are not addressing the real problems, but they rationalize their actions with the argument that they must first politically survive in order to later address the hard problems and sacrifices. Of course, they usually don’t ever actually get around to addressing the fundamental problems later, either because they don’t make it through the initial crisis or because, even later, they are not willing to risk sacrificing their own position (or “career”) with needed measures that usually require tough sacrifices by the population.

We live in troubled times. SJWs insist that they are revolutionaries who are bringing us some kind of new enlightenment but in actuality they are repeating to us the same ideas from the 1960s that our parents and grandparents thought were new and fresh. Way to not think outside of the box, guys. While SJWs insist they are rebels against the Establishment, the truth is that they are the establishment. Government regulations and laws have created situations where offending someone, even if that offense is not sensible, can result the outsider being fired. SJWs use this threat passive-aggressively to force others out of the way so SJWs can promote their own brand of hipster “metal,” take positions in media and academia, and generally get their own way through means other than competence. This is similar to accusations in #gamergate, where female games journalists with no qualifications were getting promoted at a rate that correlated highly with their sexual conquests in the media in-group that included their employers. In “Let’s have a national conversation about race — so we can figure out whom to fire”, Eugene Volokh writes in the Washington Post:

Even without the risk of litigation, many people have long been cautious about talking about matters that their listeners might feel strongly about a deep and personal level — race, religion, politics, sexuality, and more. Nonetheless, it seems to me that the risk of vast liability has been an important factor in dramatically increasing the cost of expressing one’s candid views about race (especially at work), and in deterring people from expressing those views.

That’s what #metalgate is about. Make a joke about a garbage truck crash, or say anything about race that deviates from the official Title VII opinions set out by American laws and courts, and you are the bad guy and you will be fired. But this can be used as a weapon. An SJW comes along and says, “Promote me or I’ll claim you said something sexist, racist or homophobic.” Or they find some way to construe a relatively innocent statement as such. Or maybe you make a joke about a garbage truck. They now control you because you are indebted to them for not destroying your career, so you have to hire them. They then maneuver others like them on staff. If you wonder why journalists and academics write about things that have seemingly no relation to everyday life, this is why. You are looking at a jobs program based on government anti-discrimination law abused by a small group of hipsters who want to dominate the discussion and exclude anyone who does not agree — this is different than disagreeing — with them.

Metal and gaming are not alone. Other areas of life have been affected by these people as well, since being able to get yourself hired or promoted because of guilt makes it easy to succeed. But in 2014, people started pushing back. Metal contributed an important part of the conversation with #metalgate, and as this pushback gains momentum we will likely see more from that quarter.

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