Like the band with whom it shares members, Cóndor, the hardcore/thrash band Personal Device — the name refers to “antipersonnel devices,” not Fleshlights — makes music with a lot of promise that sells itself short by demonstrating theory instead of creating experiences.
Art contains ideas as much as any essay, and those who deny that are morons, but it is encoded through the sensual, emotional and intellectual experience of appreciating something of great beauty and power. This is how metal makes beauty out of ugliness and reveals to us the forgotten ideas of ancient history in a form we can now recognize. It is also why Christian, Nazi and SJW music falls short, because it is preaching and illustrating theory more than it is taking us on a magic ride through the world of its ideas in application.
Personal Device thrives when the band members get in touch with their inner rebellious but sensible youth. They bash out hardcore-based tunes with metal riff framing, sounding like Emperor covering Iggy Pop or G.G. Allin sometimes, and put these in songs with some breathing room a lot like early Suicidal Tendencies. Riff quality is very good. So is their ability to know when to bring on the power and when to let a rhythm ride to its natural conclusion. Moments on this album, like on Cóndor’s works, are so good they burst with potential and make you think you have discovered a new classic.
It is interrupted however by a tendency to demonstrate. Either they show how they can fit in a blues part, use an unnecessary spoken word piece, or expand song structures to include the non-relevant for the point of making a point, but it breaks the flow of the album and adulterates the good stuff. This also blighted Cóndor Duin: theory is only good when put into practice, in a way that converts the cerebral into the existential and experiential. At the risk of ruining this review by doing the same, I will step off that soap box and summarize.
This is a great album within another album. Many good ideas ooze from the fabric of En Puerto. Their first album however had more of a feeling of a garage project designed just to be music that the musicians — enlightened as they are by theory, and their theoretical background is known to me and quite substantial — found themselves liking, not just in “body” (how it feels and sounds) but in “mind” (what it delivers) and possibly in “soul” (how it makes poetic the condition of life). The best albums do all three, and their first was closer because it was less obsessively engineered in the front-brain and more unleashed from within. Moments of En Puerto do the same, and if they cut the rest out, they’d have an album on par with DRI’s Four of a Kind or Cryptic Slaughter Money Talks. Here’s hoping for album three.5 Comments
Metal rarely got attention from respectable institutions during its early days. As officially designated social enemies and rebels, metalheads were perceived as being antagonists of such institutions who did not necessarily agree with their basic principles like the hippies did. However, with the lightening of metal this has changed, and academics, the corporate world and now the Smithsonian Museum have taken an interest in metal.
Slayer: The Origins of Thrash in San Francisco, CA is a five-minute video which looks at the creation of speed metal as it happened in San Francisco, California, following up on the work of bands like Motorhead, Satan and Blitzkrieg in the UK when hybridized with hardcore punk. It shows the respectable institutions of society recognizing not just Slayer, and speed metal, but that a thriving and viable sub-culture has existed within their society for almost thirty years.3 Comments
For over twenty years, this site and its predecessors have advanced the idea that heavy metal bears much in common thematically with the Romantic movement in literature, arts and music. Multiple parallels exist between what metal idealizes, and what the Romantics did.
Consider one of the better summaries of Romantic philosophy available:
Romanticism can be seen as a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental.
Among the characteristic attitudes of Romanticism were the following: a deepened appreciation of the beauties of nature; a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities; a preoccupation with the genius, the hero, and the exceptional figure in general, and a focus on his passions and inner struggles; a new view of the artist as a supremely individual creator, whose creative spirit is more important than strict adherence to formal rules and traditional procedures; an emphasis upon imagination as a gateway to transcendent experience and spiritual truth; an obsessive interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic.
Let us put those attributes in simplified form:
At this point, the argument makes itself, because metal frequently exhibits all of these. Naturalism manifests itself along with introspection, or a reliance on the beast within over the reasoning that becomes external when codified. Anti-rationalism and anti-formalism become a similar crossover, with a distrust of justification, rules, laws, public morals and arbitrary versions of abstract theory. Elitism is apparent both in metal’s innate hierarchy, manifested in both its quest for the hardest and heaviest music possible, and the tiered layers of importance signaled through what band is on a metalhead’s t-shirt. Occultism has been with metal from its early days, both through the horror movie and religion-inspired metaphysical explorations of Black Sabbath and the creation of epic, Tolkien-style spiritual mythology from Slayer through black metal.
Finally, we come to nationalism, which proves a troubling subject because of the ghost of Adolf Hitler which seems to loom large over all modern endeavors. While the National Socialists were nationalists (nationalism + socialism = national socialism), they were not alone in this, nor was their interpretation universal. Most saw nationalism as a glorification of national culture and a reason to turn away foreigners and not genocide them, although the numerous black and death metal lyrics about mass killing and WWII confuse the issue. Clearly Slayer were not pro-Nazi as their pejorative lyrics to “Angel of Death” illustrate, and while much of black metal — Burzum, Darkthrone, Graveland, and Emperor among others — endorsed outright national socialism, most bands took a more traditional nationalist path through pride in their identity and by reflex action, the rejection of anything which would dilute it. As the multicultural states of the West roil themselves yet again with ethnic unrest, we have to wonder if the “middle path” of Immortal, Mayhem, Enslaved and Storm might not have been a better one.
Yet nationalism is only one part of the bigger picture, although an inseparable one. People who favor a surface reading of history tend to opine that nationalism only occurred with the Enlightenment, confusing the formation of nation-states with the existence of nations, which are in fact the opposite of nation-states. A nation-state defines itself politically; a nation, both ethnically and culturally. Where the Nazis believed they could define a nation via a state with an exclusive ethnic delineation — although they had no problem admitting those who were mixed, and consequently 150,000 soldiers of mixed-Jewish heritage fought for Hitler — the Romantic-era nationalists tended to be more like Elias Lönnrot in focusing on a positive method of unification by strengthening culture against the dual onslaught of the Enlightement and the Industrial Revolution. In black metal, the form of elitism known as misanthropy crosses over with this nationalism, which seems it could be summarized as preserving the best of an ethnic group and killing off the cultureless, valueless, soft-handed beta cuck city dwellers who litter the countryside when on vacation and do nothing of value in their cubicle jobs.
The important point about Romanticism as noted above is that it rejected the Enlightenment. That dogma held that the human being itself was the highest good; Romanticism held that specific human beings, denoted by their ability to have specific thought process and mental abilities, was the highest form. Where the Enlightenment mandated a mob, the Romanticists demanded a hierarchy of realists (introspection leads to “know thyself” and thus a better understanding of reality itself). This puts Romanticism in perpetual clash with the dominant paradigm of our time, even if it is also popular with silly people who want to pretend to be deep for a few years from high school until their second job. We might distinguish between actual Romanticism and theater department Romanticism, or even “#yolo Romanticism,” which comprises the latter category.
Where do we see Romanticism in metal? First and foremost, in topic: metal bands tend to visualize life as a conflict between a thoughtless herd and a few realists who bring the heavy reality. It also shows up in the lyrics frequently, although not as clearly as in Romantic poetry. But let us begin our exploration of Romanticism with one of those classics, albeit a very popular one:
The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon,
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.–Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.
– The World is Too Much With Us, William Wordsworth (1789)
From that we venture to a rather Romantic composition by Black Sabbath which seems out of place considering the stereotype of metal lyrics. Its poetic imagery is nearly pastoral, but still incorporates at least some of the rage of nature (“red sun” & cockerels cry”).
Red sun rising in the sky
Sleeping village, cockerels cry
Soft breeze blowing in the trees
Peace of mind, feel at ease
– Black Sabbath, “Sleeping Village,” Black Sabbath (1970)
Then, for a mixed Enlightenment/Romanticism approach, there is this rather defiant piece by Metallica which takes teenage resentment of incompetent adulthood and a one-size-fits-all egalitarian and utilitarian society and channels that anger into a statement of defiance based in the individual, but reasoning from objective problems with society at large:
Rape my mind and destroy my feelings
Don’t tell my what to do
I don’t care now, ’cause I’m on my side
And I can see through you
Feed my brain with your so called standards
Who says that I ain’t right
Break away from your common fashion
See through your blurry sight
Out of my own, out to be free
One with my mind, they just can’t see
No need to hear things that they say
Life is for my own to live my own way
– Metallica, “Escape,” Ride the Lightning (1984)
Slayer took this general approach and converted it into a mythology that was as much Christian — avoidance of Satan, and fascination with the mythos of The Fall — as it was occult, incorporating elements of both alongside some defiant egotism. In this piece, the individual declares himself the opposition of all that is approved of (symbolized by “God” and “lie”) and takes on a mystical, spectral and vengeful presence:
Screams and nightmares
Of a life I want
Can’t see living this lie no
A world I haunt
You’ve lost all control of my
Heart and soul
Satan holds my future
Watch it unfold
I am the Antichrist
It’s what I was meant to be
Your God left me behind
And set my soul to be free
– Slayer, “The Antichrist,” Show No Mercy (1983)
Perhaps the most evocative lyric to my mind, and recalling scenes from another southern writer, William Faulkner, the Texas thrash band Dirty Rotten Imbeciles (DRI) wrote this paean to resistance to modern society on the basis of its ugliness and numbness. Again, the utilitarian — a culmination of Enlightenment thought — shows itself to be the enemy of the individual, but the individual points to larger things of importance (nature, beauty) as the reason for his enmity:
They block out the landscape with giant signs
Covered with pretty girls and catchy lines
Put up fences and cement the ground
To dull my senses, keep the flowers down
– Dirty Rotten Imbeciles (D.R.I.), “Give My Taxes,” Dealing With It (1985)
Finally, we come to a more stylized statement of the Slayer/DRI approach, in which the individual has like Friedrich Nietzsche rejected the definition of “good” used by the dying civilization. Instead, he is the enemy of humankind for having “(mis)understood” “this romantic place.” The usage of “romantic” here clearly refers to Romantic, and not lowercase-r romantic as in the rather icky novels with Thomas Kinkade covers. Much like Zarathustra, this individual rejects love (“hateful”) and civilization itself (“savages”) with a form of evil that originates in nature versus human delusion. Its call to destroy the excess of society and replace it with woods evokes the elitism and misanthropy of black metal, in that it sees most humans as “talking monkeys with car keys” (Kam Lee, Massacre).
Hateful savages, strong black minds
Out of the forest, kill the human kind
Burn the settlements and grow the woods
Until this romantic place is understood!
– Absurd, “Green Heart,” Raubritter/Grimmige Volksmusik (2007)
Perhaps this subject will receive future study instead of the rather politically-inclined pieces about race and gender in metal, neither of which seem to matter to metalheads except at the level of the political. Men and women of all races and creeds happily mix at metal shows, completely disagreeing with each other but, because they see civilization as failed, realizing they are not defending a social order but maintaining their own separate ones. This Romantic view sees the modern state as a parasite and modern society as a corrupt bourgeois entity dedicated to its own pleasure and wealth at the expense of shared good things like woods and truth. With that outlook, almost every metalhead can agree at least.21 Comments
Finland’s hardcore crossover thrash quintet, Forseen HKI, has announced the band’s very first American tour, as the band prepares to attend This Is Hardcore Fest. Leading off Forseen HKI’s upcoming US tour in support of their Helsinki Savagery debut LP, the band will hit the stage at the mighty annual This Is Hardcore in Philadelphia on Sunday, July 26th, set to play alongside The Exploited, H20, Negative Approach, All Out War, Power Trip, Rival Mob, Slapshot, Twitching Tongues and many others. Directly after the fest appearance, the band will hit the East Coast alongside Power Trip and Red Death for a week of dates, after which they’ll split off on their own ongoing rogue mission into the Upper Midwest states and back to the East Coast, ending the trek in Baltimore on August 9th, with a total of sixteen shows confirmed.
Forseen HKI Helsinki Savagery Over America Tour Dates:
- 7/26/2015 Electric Factory – Philadelphia, PA @ This Is Hardcore Fest
- 7/27/2015 Strange Matter – Richmond, VA w/ Power Trip, Red Death, Barge
- 7/28/2015 Kings – Raleigh, NC w/ Power Trip, Red Death [info]
- 7/29/2015 Rock N Roll Hotel – Washington, DC w/ Power Trip, Red Death, Protestor
- 7/30/2015 Cuisine en Locale – Boston, MA w/ Power Trip, Red Death, Boston Strangler, Fury, Freedom Intent
- 7/31/2015 Warren American Legion – Warren, NJ w/ Power Trip, Red Death, Razorheads
- 8/01/2015 Palisades – Brooklyn, NY w/ Power Trip, Red Death
- 8/02/2015 Amityville Music Hall – Amityville, NY w/ Power Trip, Red Death
- 8/03/2015 Bug Jar – Rochester, NY
- 8/04/2015 Zenith – Detroit, MI
- 8/05/2015 Mt. Happy – Chicago, IL
- 8/06/2015 Indiana City Brewing Co. – Indianapolis, IN
- 8/07/2015 The Foundry – Lakewood, OH
- 8/08/2015 Mr. Roboto Project – Pittsburgh, PA [matinee]
- 8/08/2015 The Rock Room – Pittsburgh, PA [night]
- 8/09/2015 Charm City Art Space – Baltimore, MD [matinee]
Thrash band Survival have released their third album and is available at bandcamp.
Shayda is an album that should be listened to as a unit and not as a collection of songs. As such it is concept-oriented. Each idea remains as long as it is needed. No gimmick, no over-stretching of ideas. Survival also escapes the monochromatic expression of most bands in this genre and delivers a variety of expressions within a voice further unified in this album by its concept.
Having been called everything from thrash to death or melodic death metal, Dew-Scented play metalcore in its original inception, as inspired by At the Gates’ style on Slaughter of the Soul. Everything from the simple drums which half of the time fall into variations of fast d-beats, catchy and short melodic ideas on the guitars with a tendency towards breakdowns for variety, to the blatant imitation of Tomas Lindberg. Being an heir to this tradition reviled by the fans of the old school styles and hailed as an improvement and distillation of the best aspects of the older music by the mainstream audience, Intermination invites a comparison with At the Gates’ come back album released last year, At War with Reality.
While the seminal band tried to bridge a gap between fans of its older and later styles by taking its metalcore-founding album and introducing more complex elements as visited in Terminal Spirit Disease and vaguely from With Fear I Kiss the Burning Darkness, thereby creating a middle-of-the-road offering that pleased neither group, Dew-Scented plant themselves solidly on the style developed in Slaughter of the Soul and part faithfully from there to create variations without bringing down the delicate and extremely constricted walls delimiting the definition of this minimalist, extreme pop genre.
Being the catchy, duple-time riff-fest that this genre is, Dew-Scented do a phenomenal job at creating solid, punching riffs which if not necessarily connect concretely with each other too well throughout a song (given the shock-oriented nature of this modern style), go a long way to maintain the drive of songs by switching and keeping the overall feel, avoiding the over-use of a particular riff. Without any ill-will towards this talented band, we must clarify that the album presents a very flat result, which is a necessary result of the definition of the genre as driven by impacting riffs and sonic shock tactics. The tight upholding of ideals of the genre in Dew-Scented’s hands, even with their carefully and appropriately crafted variations, becomes a hindrance in the context of a crippling genre.No Comments
Hailing from Italy, Final Fright play ripping speed metal right out of the mid 1980s. Established in 2010, the band played covers, released the demo Abusive Grindhouse in 2012 and now in 2015 present us with their first full-length album, Artificial Perfection.
Unabashedly retro in their choice of style, Final Fright feels completely at home and does not try to impose modern conventions on the language of this particular brand of speed metal. Neither is the band copy pasting from particular acts. Artificial Perfection sounds like a someone learning and dominating a foreign language. When this happens, the music does not come out sounding like a cardboard front disguising something else, but the artists are able to express themselves as native speakers in the lingo of the genre.
But speaking a language does not necessarily imply you have something worth saying. So it is that the honest and proficient handling of the musical language by Final Fright is satisfactory and even enjoyable but unexceptional all the same. People looking for bouncy, authentic speed metal in a different mouth and voice but offering nothing different will find this is a fantastic release for them.1 Comment
A riff-salad is often deemed to be intrinsically affiliated to music with no order and random ideas. But the best use of this song-writing approach make use of different kinds relationships between one riff and the next, and between all riffs in the song. Given the superficial independence of motifs and patterns of different riffs, stylistic consistency is, above all, indispensable.
Advertised as Thrash, UnKured make schyzophrenic music materializing the worse riff-salad nightmares. Not only does each new riff that comes do away with whatever the previous riff was saying, but influences from the most undefined and messy prog-speed albums like The Sound of Perseverance to almost deathcore-like breakdown rhythms and back to late 1980s barking death metal make an appearance.
Fans looking for the fun provided by Chuck Schuldiner’s naivete will enjoy this release even though this is less organized and more confusing for anyone trying to get an integral view of the music.4 Comments
“All viable players will be considered. If you can play anything and everything onSpeak English or Die, you are welcome! Classic-era Slayer worship is also a plus. Contact the band at email@example.com. Join us in the war on morons!”
BIRTH A.D. released I Blame You in March 2013 on Unspeakable Axe Records. Purchase and/or stream the album Here.