In the late 1980s and early 1990s, this was a regular metal magazine that you could get for free at record stores in Houston.
Every concert and new record release was in it. Not only that, but it covered ANUSian topics -- much like the Metal AE -- such as the history of metal, music theory, what defined metal, genrology, the spirit of metal and the clash between metal and the counter-culture as well as the pop-culture above it.
The website has a comprehensive archive of their late 1980s and early 1990s issues, which focus on a mixture of heavy metal, speed metal and the birthing of death metal. The approach is professional even if the methods are homebrew:
The arch-wizards over at DEATHMETAL.ORG summon forth an article covering the breadth of Finnish underground metal, and cap it off with a hour of music in a compilation of Finnish bands both well-known, and totally unknown.
We are proud to present a sequence of tracks collected by Fenno-American Death Metal connoisseur Benjamin Tianen in tribute to Finland and its strain of artists and conjurers. This compilation of obscure quality Finnish Death Metal is recommended for listening in the twilit hours of day, preferably in rather uninhabited locations as most of Finland is. If there is one teaching one must bring home from Finnish artists and Finnish school of mental exploration, it is that one must not love happiness as much as one loves truth.
From a notoriously fractious and insightful source, a rant that nails it -- on Facebook, of all places:
It's from "formula" in metal music that has either been the downfall or the up rise in the genre and among many of the bands. When bands set a distinct genre - and a set "formula" is established, once those bands begin the mix or change that formula, is when they take a risk of failing.
Sure some newer fans may take to the new formula - but those already established fans in the formula have a certain "taste" for what they prefer. Change the 'taste' - take the risk of having the already established fan base spitting it out after the first bite. Sure, some will attempt to stick around and nibble at the edges... attempting to find a similair taste and familiar feeling...
They will even attempt to make excuses, attempt to rationalize it, and even go as far as to use controversial behaviors or feelings in an attempt to explain in a rational or logical manner their intrepid points. They wish to avoid any true explanation of the utter disgust and disappointment they are truly feeling, and thus hide behind pitiful excuses and whitewashed ideals and values.
However, in my opinion - when a band decides to forsake the formula that works, and forsakes integrity in exchange to gain âa piece of breadâ (make $money) - I personally do not feel my loyalty is any longer of importance to the band. They have already decided that my personal opinion is no longer valid, and that other fans too that may share the same or similair opinions are also no longer important as well.
Integrity and pride more so than often get's washed away in favor of the notoriety and tempting promise of "fame and glory".
As well... with "formula" when a new genre is attempted to be made - by changing an already established genre, and trying to "mix" in something new to that genre. It is NOT likely to be accepted by those fans who already - as I said above - have an established taste for what the genre already has been dishing out.
Perfect example: DEATH-CORE is NOT DEATH METAL!
And as I said above -
some newer fans may take to the new formula - they will even attempt to make excuses, attempt to rationalize it...
even go as far as to pretend to accept is as inevitable change.
Translating into cause->effect logic:
Formula means repeating what others did.
However, that "what others did" is an effect, not a cause.
The cause of what they did was the need to translate an idea/mood into music.
The effect was how they did it.
You can't get the same effect by imitating their effect; instead, you must rediscover their cause.
But if your motive is fame/notoriety/kvltstatus/$$$ instead of "making art" (to translate that idea/mood into music), you will not understand that cause.
Metal is the spawn of early punk, progressive rock and horror film soundtracks -- it's more Anton Bruckner than Chuck Berry, more King Crimson than Blue Cheer, more Jethro Tull and Procul Harum than Led Zeppelin, and more Iggy Pop than The Beatles.
As a result, it takes integrity/authenticity seriously -- it is music of the Idea, and by that I do not mean dogma or the reality-detached idea, but an enmeshment with reality.
Like Romantic literature, it is born of a time in crisis... it is mixed-blood, with some blood being the feel-good prole average (rock) and some being the rising above (ambitious music->art).
Romantic literature had both Shelley and Blake, after all. Wordsworth and Keats; Coleridge and Bram Stoker (later Romantic literature sort of diverged into Gothic lit).
What does it mean?
When metal loses its honest intent to create art, and to translate an idea/mood into music, it becomes window-dressing: pandering to the crowd for popularity points.
And then, it becomes the same callow manipulation we're running away from, and that running away got us into metal.
Despite 20+ years of experience in the music industry, I remain a deliberate outsider. I cannot be bought; if I like your band, it's because it's good, and not that I want to get paid, care about you personally or expect you to like me. This is why I'm an outsider. I'm not part of the paycheck chain that seems to influence peoples' judgment and make them whores. - "Home taping is killing music -- mp3s are saving it" @ Anal-Examiner.com
It's true though: being social gets you screwed.
People expect you to be a whore, so that if they treat you like a friend, you're obligated to support their band.
The problem is that this cuts out quality control.
Instead, it's a bunch of false friends sitting around supporting each others' go-nowhere do-nothing make-work local bands.
Hobbyists versus people who have talent, in other words. The hobbyists have nothing better to do; their day jobs in service industries aren't going to get any more exciting. Might as well be a big cheese on stage for a few minutes.
They have one dogma, and it's that people should be rewarded for participation, not excellence.
This is why local scenes are cancerous morasses of ethical quicksand that suffocate any band or musician of quality. (A quality band will rise above the herd, and when people look at the herd so far below the other band, it makes the herd look bad. For that reason, the herd tries to squash any band of quality that rises.)
At first I just wanted to know how it drew the shapes so fast without flickering. Then I wondered how it made sounds. Before long I had disassembled and printed the entire game. I penned colored lines to signify the loops. Named the anonymous routines. Reconstructed many of the shapes on graph paper.
Astonishingly, I could read thought processes as easily as their results. I was seeing into the mind of the developer! The process was invigorating.
Euphoria is half wasted if not shared it with others, so gathering up my early printouts, I headed for campus. I gleefully flagged the first CS guys I knew from the hallway and bent their ears for twenty minutes. I explained the color coded arrows, memory location notations. Showed off my bitmap grids and shared my new insights into high speed blitting. Both nodded in appreciation as I spoke.
When I finished speaking I didnât get the response I had expected. The first said something to the effect of, âWow! But are you allowed to do that?â The second followed with, âI thought it was protected? I mean like company secrets.â The odd non sequitur was a bit deflating. They hadnât empathized at all. They recognized my triumph as something akin to a salacious conquest. Gossip to be discussed in hushed tones. I could see curiosity in their eyes yet wariness on their face. As if they risked ostracism just for knowing. Iâd peeked through a forbidden window to lear at someoneâs naked code.
These were upper level CS honor students. Geeks in most regards. But unlike me they hadnât grown up fighting to learn computers. They had gone to college because thatâs what high school honor students do. Once finished with their core classes they had to choose some major and computers seemed like the future.
Only Loyd actually shared my feelings. I brought my printouts into his office almost as a last resort. He looked at my diagramming with a Cheshire grin commenting on each page before I could complete a sentence. He shared a couple of disassembly stories of his own. It wasnât a long talk, five or ten minutes, but it was re-inflating. Loyd and I were totally different on the outside but inside we were somehow alike. - "Detente"
The problem with the music industry isn't the industry. Money-grubbing suit-wearing bastards? Yep, they built the modern world, especially the good parts. They operate very consistently by making sure they provide what people want to buy.
The problem with the music industry is the flakiness of the people in it, specifically musicians, and specifically, all those local bands and supporting acts who drama- and karma-whore for attention so that you have to consider their trivial band alongside any that might be good.
This process drives away quality musicians.
The only solution is to be an outsider. Seek no friends, take no cash, expect everyone to hate you.
It seems harsh, but that way, you not only keep your soul, but get to keep your ability to tell garbage from gold intact.
Metal has always had a dual nature. Part of it wants to be epic soundtracks that transport us away; part of it wants to be rockin' party tunes.
Metal is both Ennio Morricone and Spinal Tap. At the same time.
While much of the rock-n-roll influence can be blamed on moron magnets like Deep Purple and Led Zeppelin, or even the doofus metal writers who insist that metal began with The Who and Cream, a lot of the blame needs to fall on Black Sabbath as well, although they almost escaped. When their songs fail, it's usually because they gave up on creating some kind of mood and went for more warmed-over rock music vapidity.
You can see this thread of rock-n-roll -- jaunty, bouncy, offbeat, ironic, pentatonic, simplistic -- running all the way through metal. It's like a congenital trait marring a family line. Among other things, it's easy to tell because rock-n-roll is exclusively on the surface. It tells you what it's thinking and what you should think; it may be cryptic, but there's never another level of interpretation. It's made for mass consumption.
Metal at its best is more something you absorb, then intuit meaning from. It tends to be chaotic, using chromatic scales as its base for ultimately melodic and rhythmic freedom, but then trades away that freedom when it makes the ongoing narrative of song structure trump all else. It is both anarchistic and the anti-anarchistic in that it insists on reality. It's not about personal drama, love affairs and how you feel after some trivial event. It's about the breadth of existence, the big picture, and how interesting life is if we just quit that personal drama.
But the thread of dumb bouncy music remains. What do these have in common?
Pantera - Far Beyond Driven
At the Gates - Slaughter of the Soul
Lamb of God - Ashes of the Wake
Meshuggah - Chaosphere
Arch Enemy - Wages of Sin
Opeth - My Arms, Your Hearse
Alestorm - Back Through Time
Gojira - From Marths to Therius
Mastodon - Leviathan
The Haunted - Revolver
Baroness - The Blue Album
All of the above are basially rock albums using metal technique. These don't expand your mind; they put it into the rock mode of personal drama, bouncy drums, familiar and yet not really exciting pentatonic noodling. Since the music is unexceptional, the aesthetic must be powerful: they trick out their music by playing it at different speeds, adding weird instrumentation, adding weird imagery, and the like. But it's not really musically different. Baroness is closer to Hootie and the Blowfish and the Dave Matthews band than metal; Gojira is closer to Fugazi and Mudhoney than metal; The Haunted and Pantera are closer to Biohazard and Sick of It All than metal.
Do we ever get bored of this? The audience for it obviously does not, but they pass by so quickly.
The lifetimer metal fan is a better bet if you're a band. Make seven quality albums and metalheads will buy them for the rest of your life.
It's better than taking a one-time lump sum by recording your five sold-out metal-flavored rock albums, and being forgotten by your witless fans within two years.
"It is to symbolize the end of the American dream and the beginning of the decline and fall of the American Empire. America is falling apart at the seams for a variety of reasons and so in order to call attention to that, we call attention to what the catalyst was; why people are so self-centered these days and totally in it for themselves. This is how every single empire fell throughout history, when the people get too rich and stuck up and snotty..."
Jello Biafra-The Dead Kennedys (via Folk and Faith)
This perspective is correct, but only a part of the truth needed.
Metal completed the picture: the problem is humanistic morality, which keeps us from looking at the transcendent, as we're too busy trying not to hurt anyone's feelings.
Our society is awash in cowardice and pandering to the fearful.
If you don't like ARCH ENEMY, you're misogynistic.
If you don't like GOJIRA, you're racist.
If you don't like NILE, you're Anti-Semitic.
If you don't like SUFFOCATION, you're classist.
If you don't like LAMB OF GOD, you're religiously intolerant.
If you don't like CAVALERA CONSPIRACY, you're elitist.
If you don't like CRADLE OF FILTH, you're closed-minded.
If you don't like OPETH, you're not intellectual.
If you don't like MESHUGGAH, you're not one of the good guitarists.
If you don't like DEVIN TOWNSEND, you're arbitrary.
If you don't like JIMI HENDRIX, you're uncultured.
If you don't like SIX FEET UNDER, you're not in touch with the common man.
If you don't like BORIS, you're unimaginative.
If you don't like JESU, you're insensitive.
If you don't like ANIMALS AS LEADERS, you're unintelligent.
If you don't like MASTODON, you're unartistic.
If you don't like BARONESS, you're uptight.
If you don't like THE SWORD, you're celibate.
If you don't like WOLVES IN THE THRONE ROOM, you're just no fun.
If you don't like ULVER, you're uneducated.
If you don't like ISIS, you're illiterate.
If you don't like BETWEEN THE BURIED AND ME, you're shortsighted.
If you don't like KVERTELAK, you're antiquated.
If you don't like SUNN O))), you're obsolete.
If you don't like AGALLOCH, you're one-dimensional.
People like you who sit around listening to classics like DEMILICH, INCANTATION, MASSACRA, OBITUARY, INFESTER, DEMIGOD, IMMOLATION, ATHEIST, THERION, HELLHAMMER, BATHORY, SLAYER, DISCHARGE, AMEBIX, DARKTHRONE, BURZUM, EMPEROR, IMMORTAL, ENSLAVED, GORGOROTH, RIGOR MORTIS, MAYHEM, MERCILESS, BOLT THROWER, SUFFOCATION, NIHILIST, CARNAGE, AT THE GATES, SKEPTICISM, WINTER, DISEMBOWELMENT, MORBID ANGEL, POSSESSED, NECROVORE, MASSACRE, GROTESQUE, DISSECTION, ILDJARN, BLOOD, MASTER, CIANIDE, BAPHOMET, BEHERIT, SUMMONING, BELIAL, DBC, COC, DRI, FEARLESS IRANIANS FROM HELL, DEAD HORSE, LUDWIG VAN BEETHOVEN, MALEVOLENT CREATION, GEHENNA, FRANZ SCHUBERT, ANGEL WITCH, JUDAS PRIEST, IRON MAIDEN, BLITZKRIEG, WITCHFINDER GENERAL, EXODUS, NUCLEAR ASSAULT, ASSASSIN, CORONER, SAMAEL, FALLEN CHRIST, ANTON BRUCKNER, OBLIVEON, GORGUTS, SUPURATION, LOUDBLAST, KONG, WOLFGANG AMADEUS MOZART, NUNSLAUGHTER, NUM SKULL, SEPULTURA, SARCOFAGO, MOTORHEAD, PRONG, ROBERT SCHUMANN, IMPRECATION, BLASPHEMY, NUCLEAR DEATH, MOLESTED and UNLEASHED are just bitter, old, gray, ugly, failed, burnt-out, dumb, uneducated, trailer-dwelling, smelly, unsociable people that no one really likes and no one will have sex with, so you'll die alone in the stench of your own waste.
When people say they detest elitism, it's easy to show them that this is not the case.
Slocrates: Tell me, Thrashmyasscus, why do you think elitism is wrong?
Thrashmyasscus: Clearly, it prioritizes some people above others.
Slocrates: But were you not opining that Justin Bieber sucked cock earlier?
Thrashmyasscus: Yes, but that's Bieber. His music is beyond bad.
Slocrates: Ah! So we agree that some music is good, and some music is bad.
Thrashmyasscus: Yes, but --
Slocrates: And so we also fuckin' agree that it's just a matter of degree between hating Bieber because he's a useless talentless faggot, and hating "Radikult" because it's a moronic Marilyn Manson ripoff fifteen years too late?
Thrashmyasscus: Of course. Both of those are worthless.
Slocrates: So then it is only a matter of degree when I say that Necrophagist, Cannibal Corpse, Cradle of Filth, Pantera, Meshuggah and Craft are douchebag low-IQ trailer-dwelling shit, and that Demigod's Slumber of Sullen Eyes is a work beyond compare?
Thrashmyasscus: That's not the point. You're comparing apples and oranges.
Slocrates: Fine, then. What about if I say that black metal from 1990-1994 produced many great bands, but that since 1994, black metal has produced very few?
Thrashmyasscus: Then I'd say you are being judgmental.
Slocrates: And yet when we pointed out that Cannibal Corpse was whale dreck, and Bieber was shit, and yet praised Demigod, you did not mind?
Thrashmyasscus: Slocrates, these are night and day differences. You're splitting hairs.
Slocrates: To someone who disliked all metal, the differences might not appear so great.
Thrashmyasscus: Well, that's true, but the point is that elitists are too discerning.
Slocrates: In your view, elitists are not wrong because they choose good music over bad, but because they raise the bar too much?
Thrashmyasscus: That's not what I mean at all, -- but I take your point. Music is subjective, Slocrates. You can't judge it.
Slocrates: It seems we are having a different debate. If music is subjective, why are any bands at all popular?
Thrashmyasscus: It's purely random.
Slocrates: And yet both of us agree that Justin Bieber is a cock-horfing turd of a musician. How do we know this?
Thrashmyasscus: The simplistic songs... the moronic lyrics... his wailing voice... I must rape...
Slocrates: As you say, it's then a matter of degree. Much as from a distance a man and a dog appear closer in height, from a distance "Radikult" and "Chapel of Ghouls" appear closer in quality. Then what you think is wrong with the elitist is that he is too close to the music at hand.
Thrashmyasscus: Fuck you!
They have no idea why they detest elitism. At first, it just seems unfair; next, the standards are too high; finally, they accuse you of being an elitist so you sound cool to the kids at school. They will probably do this while holding an Opeth or Obscura record, which they will just have finished beating about the heads of their friend group, telling them how enlightened and musically proficient it is in contrast to whatever crap those morons are listening to.
I have a different supposition: they hate elitism because it says participation alone is not enough.
The participation alone people want to believe that all music is basically the same, and if you learn to play guitar and make some songs, then record them, you're part of the club.
Elitists say "not so fast" and demand instead that you do all of the above, and also make quality music.
For an elitist, the focus is on the music; it's on the end results. Who cares about the rest?
The problem with this of course is that it means participation is not enough. One has to get good. That requires that one have certain innate talents, and apply oneself.
Naturally, this isn't popular with the Crowd. They'd rather hear that you can get out there with a guitar, record whatever sloppy and incoherent crap runs through your mind, and then be part of the club. Everyone else then owes it to you to support you, because you tried. Everyone is equal on the level of participation.
What irks such people is that to history, and any sane observers, participation is nothing. Achievement is all. And not all can achieve, and this upsets them to learn, because they came to metal to get away from the achievement-requiring standards of (life|school|social groups above 105 average IQ|the Dayton-Hudson Corporation employee handbook).
Metal is their escape, and you're ruining it for them.
But if you don't, they'll ruin your metal by inundating the scene with low quality music.
When that happens, no one will find the good stuff, and good musicians will go elsewhere. Why work hard to make good music so a bunch of participation-is-everything fans can blow it off?
Participation is nothing; the end result is all.
If you were playing basketball, you wouldn't want a guy on your team who thought "trying" to get the ball in the hoop was enough. No; you want the guy who gets it in there.
When someone fixes your roof, you don't want some guy who "tries" to do it right. You want someone who succeeds.
Music is no different, and it's a secret hidden in plain sight that this is true, because there are so many participants (who have nothing else in life but a job making sandwiches, a dingy apartment and a string of failed relationships) who want to force us all to believe that participation is equal to achievement.
It sounds like they have a mental health problem, doesn't it?
Beherit - At the Devil's Studio 1990: more like the later EPs, a sonically-experimental take on these songs that were more Blasphemy like on The Oath of Black Blood but gained some power in their austere, minimal, aloof presentation on the second album.
Cianide - Gods of Death: A big improvement over Hell's Rebirth; a more self-conscious album, this one deliberately merges their Motorhead, Celtic Frost and Master origins in a new, streamlined form of the oldest of old school.
Ejacula radio on KPFT 90.1: for those of you in Houston and awake from 3 am - 6 am on Friday mornings, this is the dark and shadowy metal show that has stalked this realm for 19 years.
These made it to Examiner to keep that source alive; despite having terrible software, distant editors and mostly celebrity content, Examiner is a great place to promote metal and make it into mainstream news.
We live in a world that preaches dumbing down: be equal, be safe and mediocre, pander to others by making everything very, very simple and similar to the other stuff they like.
If you can imagine a long line of sheep, chasing each other through the night, and as the night goes on and starlight flickers across them, you see in their faces the features of wolves...
But one thing that cracks me up: the notion of quality.
Most people, dumbed down by this society and perhaps by their genetic code, can understand quality of tangible substance. For example, a jazzy beat. Good guitar tone. High speed chaotic songs. Really sick vocals.
They can even identify that it's harder to play than average, or that it has "different parts," like a melodic slow part and then an acoustic part, then some high-speed guitar, etc.
What they can't do is string any of this together.
To them, a band like Necrophagist that plays fast riffs in a random order, and whose songs literally signify nothing, is just as good as a band like Camel who carefully string together melodies to tell a tale -- and make sure it's a tale that draws us in, has emotional and intellectual substance, as well as a good rippin' gut-hitting theme, like the battle for independence or to find a holy grail of some sort or another.
These people literally cannot tell the difference between random riffs bands (Cradle of Filth, Cannibal Corpse) and well-architected, sensible patterns that tell a story (Massacra, Atheist, Incantation). To them it's all the same, because the parts are the same.
It's as if I build two structures out of plywood:
A reproduction of the Palace at Versailles
A standard suburban home
These people will walk up to them and say something like, "Well, that first one's bigger, but they're both made out of plywood. Over here, I've got a house I made from sugarcubes. That's totally unique, dude!"
When we talk about modernity as a time of shallow thinkers...
The lads over at A FIST IN THE ASS OF GOD have put together a compilation of undernoticed speed metal bands from the 1980s and 1990s. If you love this stuff, it's quite good; if you don't, it's some of the more interesting edges of the genre so you can finally get "For Whom the Bell Tolls" out of your head.
Here's the god-ass-packing tracklist:
1. Protector (Germany) "Protector of Death" (1986)
2. Morbid Saint (USA) "Assassin" (1988)
3. Soothsayer (Canada) "Build the Terrorism" (1986)
4. Burnt Offering (USA) "Power of Death" (1989)
5. Hobbs' Angel Of Death (Australia) "Cold Steel" (1988)
6. Toxodeth (Mexico) "Black Doom" (1988)
7. Dolmen (USA) "The Ritual Night" (1989)
8. Pentagram [Mezarkabul] (Turkey) "Intro (Wreck)/Rotten Dogs" (1990)
9. Messiah (Switzerland) "Hyper Borea" (1987)
10. Ulysses Siren (USA) "Above the Ashes" (1987)
11. InfernÃ¤l MÃ¤jesty (Canada) "Into the Unknown" (1988)
12. Sindrome (USA) "Rapture in Blood" (1987)
13. Anacrusis (USA) "Imprisoned" (1988)
14. Sacred Reich (USA) "No Believers" (1987)
15. Nasty Savage (USA) "Fear Beyond the Vision" (1985)
16. LÃ¤Ã¤z Rockit (USA) "Last Breath" (1987)
17. Demonax (USA) "Evil's Cast Aside" (1984)
18. Holy Terror (USA) "Debt of Pain" (1988)
Radikult, v., to engage in any grossly directionless, phenomenally incompetent and cosmically purposeless activity. For example: "We got there late, and at that point the only people there were fat neckbeards Radikulting on Segways, so we left."
If you needed confirmation the proles are running the show:
Like a stunning, stylized nightmare, Mike Hill's first ground-rattling growl on Path of Totality is "CHAOS REIGNS." It's enough to conjure that memorable scene from Lars Von Trier's controversial film, Antichrist, in which a self-disemboweling fox cryptically and prophetically utters these two words to Willem Defoe's character. If anything, it sets the tone for a dark, fully absorbing listen on Tombs' second album.
With Path of Totality, out June 7, the Brooklyn metal trio takes its disparate influences and distills an expansive palette using thick, controlled brushstrokes. The industrial sledgehammer of Godflesh meets the blast-beated darkness of early Darkthrone in "To Cross the Land," while "Vermillion" intones a sinister psychedelic swirl over an impressive rhythm section preparing for war. The atmospheric Goth-rock of The Cure presides over "Passageways" and "Black Heaven," as the dead-eyed stare of Swans â the members of Tombs are admittedly huge fans â lurks in unlit corridors. But while the band's wide-ranging music libraries are on display, Path of Totality functions as something new, mostly because its extremity is tempered by a dynamic push and pull, accentuated by the spacious production of John Congleton, whose diverse clientele includes Explosions in the Sky, Baroness, Modest Mouse and St. Vincent. - National People's Radio
Wow, look it has lots of different stuff in it. Translation: no direction.
Looks like a big-name indie producer made it. Translation: "post-metal" means indie with slow drums and distortion.
It's on NPR. Translation: it's OK by government and industry, thus as far from underground as you can get, no matter how underground it pretends to be.
TERRORIZER is back with a new album and the line-up consists of Pete on drums, Anthony Rezhawk, David Vincent on Bass and Katina Culture on guitar. The new album is in its final stage of production and will be out early 2012.
No word on whether they'll do a 28 second cover of "Radikult."
Journalist Nathan Birk went in investigation of the Blasphemy phenomenon, and was able to wrest an interview from these guys 20+ years past their original works of hateful, apostatic skinhead black metal/grindcore crossover. Excerpts from the interview are published on the Zero Tolerance blog. Some insights:
Both Blasphemy albums are equally classic in my opinion, but why do you think Fallen Angel Of Doom resounds so powerfully with so many people over a number of generations?
DeathLord: Blasphemy were focused only on Blasphemy during the Fallen Angel Of Doom era. Soon after that, even as early as the Gods Of War era, their energies were spread to other interests.
Black Winds: Let me put it to you this way â I wrote the song âBlood Upon The Altarâ from Gods Of War after a bottle and a half of tequila!
Maybe... because Fallen Angel of Doom is the far better album.
While Blasphemy have certainly wielded a global influence on new generations of black/death metal, it seems the biggest pockets of influence are situated in the US, Canada, Australia, and parts of South America and South East Asia â to what do you attribute this to? That Blasphemy wield influence on countries that areâ¦well, less purely âwhiteâ?
DeathLord: Where do you get this information?! I can find you 25 Burzum clones from Brazil and another 10 from Australia! Also, Burzum record sales are better than Blasphemy record sales in every country you mentioned, so explain why these âless purely whiteâ people are into that style? All metal, all genres, is a worldwide phenomenon. You are obviously speaking about Europe in this question, yet we get the most requests to bring our live ritual out there and I get the most orders for Blasphemy merchandise from there, too. And to add to this, it doesnât get more âwhiteâ than Finland, yet I hear Beherit, Satanic Evil, early Impaled Nazarene, Archgoat, and newer bands like OfDoom and Black Feast, etc, that have a distinct bestial sound with a Blasphemy influence. Blasphemy are indeed âglobalâ and equally listened to, per capita, in all regions of the world. I know this firsthand through my distro and contacts.
Black Winds: The South Americans are probably the biggest black metallers in the world. If we played a show down there with Mystifier or Impurity or someone, there would be thousands there! Traditional Sodomizerâs band Tyrants Blood just played down there, and it was crazy! We donât notice skin colour, only how black metal people are.
He ducked the question with a false comparison.
So, how would you address charges of Blasphemy âresting on your laurelsâ? Meaning, playing those reunion shows but without any new material in almost two decadesâ¦?
Black Winds: Tough. If you donât like it, donât come and see it.
DeathLord: Have you ever noticed that people go crazy at a show when the band plays their old songs and are bored to tears when they do a set of newer material? Well, we donât only hype up the crowd with a few old tunes, we play them ALL! They are eaten up with total frenzy for the entire duration of the live ritual! But, to answer your question, weâre Blasphemy and we do whatever the fuck we want! We donât answer to any âchargesâ against us.
Well, it's sensible. If you're not going to be able to write newer material that's better than the old stuff, you should just play the old stuff.
Interesting how bands like BEHERIT continued improving, BURZUM sold out worse than Metallica after peaking late, and ENSLAVED have become something entirely different, namely a hard rock/jam band. BLASPHEMY have stayed true to their roots, even if their answers in this interview aren't entirely logical. Birk asks the right questions; he could ask all the old stuff, but instead he asked them about their place in the metal canon, and got some intriguing answers.
We were sad to hear of the passing of Seth Putnam, vocalist/guitarist for Anal Cunt and Vaginal Jesus, recently. Mr. Putnam was a top-notch troll who poked fun at the parts of life we were afraid to bring to light.
In honor of his life, here are some interesting quotations of his from the interview we did with him a few years back in Heidenlarm Zine #4:
there is no "cut and dry" approach to what i like and dislike. a lot of bands i originally hated end up being some of my favorite bands (village people,culture club,morbid angel,etc). i tend to not like too much after 1985 though.
i don't really pay attention to what goes on in the world very much. i'm not that interested. i've had times when i had some interest here and there, but not in a long time. i think the worst thing going on is forced multiculturalism and wiggers. if you compare t.v. and popular things now to even as short as 20 years ago, everything is completely different.
it's a miracle if i see anyone at an "underground" show that i'd see in the early 80's. whether you like it or not, underground music is a fad for most people. the ones who stick with it are the ones that i will usually talk to (if i am friends with them). getting upset about people not "being into it" anymore is useless, because i know most of these people will be lawyers in a couple of years.
i hate people and i try to be not involved with society as much as possible. just about everything anyone says makes me angry. the world has gotten so much gayer in the last few years. i try my best to have no idea what's going on in the world. - Heidenlarm Zine #4
One of the other old school metal sites is Brian N. Russ' BNRmetal.com. If you've read these pages for awhile, you know that Vijay Prozak and our other writers enjoy this site for its pithy characterizations of several generations of metal.
It's a far better resource than Metal-Archives, who are so upset by old school sites that they censor both BNRmetal and anus.com on their forum, and the odious wikipedia which was clearly written by marketers and truly clueless "fans" of mainstream music that wants to be "bad" like that underground music. In fact, it's where my research often starts for new bands, followed by going to a blogspot and downloading the damn thing.
BNRmetal.com is now holding a contest, "Vote for The Best Death Metal Album Of All Time," which pairs some old favorites against each other:
What started as an amusing satire of the "National Day of Prayer" (an ostentatious activity, since prayer is by definition personal) has bloomed into a civil rights campaign.
The International Day of Slayer came and went this year on June 6, and was celebrated worldwide by all metalheads wise enough to realize this is their chance at political, social and academic recognition.
With each passing year, and more International Day of Slayer celebration, people outside the metal community have been taking note of it -- as an identity, as a culture and as a way of life.
No review of the new Morbid Angel is enclosed here; by the time you read to the end, you'll know why.
First supposition: there's no point wallowing in what you hate.
Second supposition: if a linear trend toward worse is in existence, it is most likely that the most recent products are bad.
Combine those two.
Morbid Angel was a great and promising band for the first three albums because they were cruising on the strength of material they wrote in their lean and hungry days. By lean and hungry days, I mean their time in Tampa, working in a car wash, living together in the same house, doing an assload of drugs and most importantly, writing and playing the material that would be on the first album. As in, playing it over and over again until they got it right. This is a lot like what Slayer did in the early days.
Abominations of Desolation was a great album, but a bit disorganized. Mike Browning offered creative and prescient material; David Vincent acted like an MBA or business manager, cutting it down to the bare essence. As a result, Altars of Madness and the non-frufru parts of Blessed Are the Sick are pure power and come across without any fat on them. Having reached a degree of musical maturity, they knocked out Covenant ...but just barely. The instrumental was convenient, many of the other tracks were ideas capitalized on from rejected earlier songs, they threw in an incongruous cover of "Angel of Disease" and wrote a few new songs that were powerful but not connected as a unit like those on the first two albums.
That was their great creative output.
Do you really need someone to bash the albums after that?
Let's try this: once you enter the music industry, someone else owns your rectum. They own the right to open it up and put something into it. The reason for this is that musicians are as a whole sloppy people who don't read contracts, refuse to understand business, and pretend that this stuff doesn't matter in order to compensate.
As a result, they're ripe for picking by the music industry. There's no point blaming the music industry; in fact, they're the heroes here because they are taking the output of dramatic, over-self-indulgent, narcissistic perpetual adolescents and shaping it into a product so those same quasi-functional people can continue existing. However, as a result, they take over the role of parent... and have to remind the musicians to make output.
In the meantime, the musicians are looking at the market. Death metal sells fifty thousand records; Pantera, Slayer, Marilyn Manson, Metallica, Megadeth, Tool, Primus, Rage Against the Machine, Nirvana, Mudhoney and Sonic Youth sell millions of records. That's what the market looked like in 1995. So with some urging from the record label, bands change. Here they make a fatal mistake: their fans like them because they're not Nirvana/Pantera, and trying to be something you're not is a good way to become an inferior copy of it. (The correct response at this point is to make your albums more technical, more passionate and more realistic, but that's difficult and requires you to NOT buy the comfy townhouse, but go back to the shitty day job at the car wash and living in a house together, making music. You have to give your life to it, for the most part. Sure, maybe you could live elsewhere in a townhouse, but each step into comfort puts you further from being able to knock off work and race home, looking forward to jamming all night and getting the music really right. Not the product -- the music. But I digress.)
A lot of death metal bands, about 1994, realized they were kissing cousins of the Nirvana/Pantera/Tool crowd, and that if those guys were making an assload of money, maybe the death metal bands could too, if they just changed a bit. They changed, became inferior copies of the others, and promptly stepped out of the history books. Had they just kept making quality music, they would have lived in shitty housing for another seven years, then suddenly had an Introduction to Microeconomics moment: when you have seven albums out, and they're all really good, you don't sell as many records as Pantera does with one album, but you have a constant stream of fans who see you as "the real deal" and while they buy fewer albums, they buy consistently. And they buy all of the albums, so your first album charts about the same as your most recent. (This was proven by Metallica, before they went fluff, having all four of their albums and one EP in the top 200.)
With all that in mind, you know what happened to Morbid Angel. It must've been ugly: lots of fighting over trivial stuff, lots of negotiating about contracts they never read before they signed them, lots of hatred between band members blaming each other for the failure. And almost no time spent thinking about the music, about making music that they (Morbid Angel) would be really excited to hear, not think was on par with whatever Tool or Pantera were puking out at the time.
Do you really want a review of the new Morbid Angel? Formulas Fatal to the Flesh was good; everything else has been a failure. Domination tried to combine grunge, Pantera and death metal; Heretic was pure Pantera-doing-Tool; the live album was decent but everyone wanted to hear Brunelle solos on the older stuff; Gateways to Annihilation was just confused between styles, and now there' s a new one, which most likely continues this progression.
We're not looking at a musical entity called Morbid Angel anymore; we're looking at a business. This business succeeds by hoodwinking teenage morons into buying trendy crap. This is a workable business model only because our society values morons, protects them, and wants to ensure that we're all equal so the morons drown out the smart people. The guys in Morbid Angel agree with this. However, right now, they either puke out another commercialish album and capitalism on the raped necrophile whore of their good name, or they go back to working at the car wash.
What would you do?
Yeah, I thought so.
by Steve Brettens, Lontinuak, Pijay Vrozak and L.M. Hencken
Content-rich metal magazine HESSIAN has just unleashed its fourth issue onto the world, "The Return of Darkness and Evil."
1. Prologue by Kaveh
2. Marching Homewards by Helmholtz
3. Mozartâs 25th Symphony: Review by Skald
4. Evola and the Mountain by TheWaters
5. Mithras and Mithraism as Hessian Archetype by TheWaters
6. Satanic Essence: The Symbolic Reality of the Adversary by Xavier
7. Technology: A Hessian Perspective by Kaveh
8. The Battle of Tours by TheWaters
9. Black Funeral â Vukolak: Review by Skald
10. Hessianism: Considerations and Orientations Helmholtz
From one of my favorite blogs, in the intersection between Men's Feminism (sorry... men's rights), right-wing futurist politics, and social mockery:
Metal is the modern music genre that is closest to classical music, capturing feelings of vastness, romanticism, and heroism that other genres simply donât have. More importantly, metal is music with purpose. Itâs music with a defined philosophy, an end goal, and a reason for existing â the exact opposite of pretentious avant-garde tunes that appropriate symbols, sounds and names for no other reason than to be âcreative,â or because theyâre âironicâ:
Metalâs sense of purpose makes it incomprehensible to superficial thinkers like hipsters, which is why when they try to make metal music, the results are beyond godawful.
Black metal first started in Norway in the late 80â²s and early 90â²s, roughly around the same time that new musical strains of youth in revolt were catching on in the U.S. The same era that gave us the misanthropic howls of Burzum and Mayhem also gave us Nirvanaâs existential angst, Guns âN Rosesâ violent machismo, and N.W.A.âs aggressive black ghetto pride. It was another great youth upheaval, not as big as the 60â²s but still prominent in its own right. Whatâs the thin red thread connecting Kurt Cobain, Ice Cube and Varg Vikernes, and why isnât black metal mentioned in the same breath as grunge and gangsta rap?
Answer â all these musical genres were pioneered by Generation X, the first generation to grow up in a world dominated by feminism, multiculturalism, consumerism and all the other lovely byproducts of the sixties. Feminism automatically made anyone with a Y chromosome an enemy of the state, tearing apart families and turning black America into a matriarchal hellhole, and anti-racism and multiculturalism made white men doubly marked for execution. Meanwhile, anything that was left of native American or Western culture was being crowded out by the consumerist cancer, its race to the bottom fostering nothing but cheap pop tunes, stupid movies and advertising. Gen X was born with one foot in the old world and the other in the new, giving them an acute sense that something was wrong with the world. Cobainâs singing about the pointlessness of life and Ice Cubeâs rapping about getting revenge on the po-lice sprang from the same source â alienation from American society.
The same spirit of alienation fueled the birth of black metal, doubled in intensity because of the conformist nature of the society from which it sprang. Weâre talking about Norway here, one of those Scandinavian countries that idiot liberals love to praise. âOh yah, those Norwegians and Danes and Swedes are so happy. Theyâve got paid daycare for working moms and they selflessly bring in hordes of refugees from the third world to give them better lives and theyâre SO forward-thinking when it comes to womenâs rights. How could anyone not love all that?â But while American GenXers were content to remain aimlessly raging against the Man, black metal musicians formulated an actual philosophy beyond fatalistic whining, and actually took steps to implement this philosophy. And thus, the people who claimed to be on the side of the âyoofâ turned against an actual youth movement that rejected everything they held dear. - IMF
Black metal was the only outpouring of artistic or philosophical spirit in Generation X.
Everything else was a repeat of the past (Nirvana) or co-opted by commercial society, "canned rebellion" for teenagers thinking only of themselves and not about the consequences of their actions (all rap, Tool, Rage Against the Machine, Ministry).
If the answer were as simple as repeat what the hippies endorsed in 1968, kids, we'd be there by now.
Instead, black metal went to the core of conservatism -- a conservation of culture, heritage, and natural environment, for the purpose of giving meaning to the individual through participation in a abstract yet realistic ongoing goal.
Liberalism offers more direct participation, in individualism. You, by being a brave individual, do your own thing -- like everyone else. As it turns out, there aren't many different things to do, so you end up a job-enslaved media sheep like the rest. But at least you were able to raise your fist for -- what? feminism, civil rights, the oppressed, gay rights; heck, anything not really related to changing the course of history and humanity's future.
Generation X grew up in the old America. We saw what 1950s-1970s America was like: somewhat boring, but honest.
Post-1968, America turned toward liberalism of the hippie type. Everything fell apart. The Glorious People's Revolution turned out to have boring, Soviet-like consequences: cities of uniform blocks, jobs of slavery to incompetents, a failing government, an official dogma (of diversity, equality and democracy) that doesn't work in reality, and thus a system eating itself out from within.
The same people did it, in France, Russia and the USA. No, I don't mean a specific ethnic group from the middle east -- if only life were so easy and brainless (though they always make enemies for their high participation rate). I mean the Crowd. The underconfident, dumb but not stupid, clever but not smart, stuck in the middle and raging egomaniacs. They're damaged by broken homes, confused by a world where they are not God, and they want to rage and make an official announcement that we are all equal, so that the rest of us must respect them instead of casting them aside like the nobodies they are.
Hipsters are the same phenomenon. Boring-ass normal people decide to be egodramatic, get some social attention, and use socialization as an alternate path around reality itself. Politics can be used to the same end, as can money. But at the end of the day, you are your character, and being a hipster does nothing for that.
Black metal was a drift back to reality, as was death metal ("Only Death is True"). They cut through the fantasy world of a modern time and forced us all to wake up for a few moments. It's important not to let that legacy die.
Sorcier des Glaces has finally finished recording its third album called "The puressence of primitive forests" that will be released on July 25th on Mankind's demise records. A limited edition of 100 copies will include "Snowland" (original master) as a second CD. - Mankind's Demise
This is part of the band's triptych:
We can officially confirm that a third opus is in the making. So there are
going to be 3 new chapters in the Sorcier Des Glaces' saga. The first one
is "The Puressence of Primitive Forests", expect a release date in July
2011 on the Quebec label Mankind's Demise Records. A cover song will be
featured on the album, our version of Hungary's TORMENTOR "Tormentor I" (we
covered the first version of that song, originally appeared on "The 7th Day
of Doom" in 1987). Mankind's Demise will also release a limited 2CD edition of the album that will include a remastered version of our first album (1998' Snowland). I
know that the album has never been officially available, we've been asked
so many times for that so now this is your chance!
We wish to make the second album ("North") available not too far after
"Puressence...", all depends on how things will turn out.
Concerning the third and final chapter, it's actually in the making, all
songs are composed and some parts are already recorded as I write these
lines. It will be called "Ritual of the End". Hopefully we will record
three cover songs too for that album, 3 bands that are very influential for
Sorcier Des Glaces' sound and material since the beginning. Here are the
projected track-listing of the album:
1- Under the Moonlight
2- Morbid Ritual
4- The Frozen sword of Midnight
5- The sign of the End
6- Slumbering in the Dark (outro)
Slayer is an emblem of metal: fast, powerful, still alien to the mainstream after 28 years.
If every other religious, ethnic and political group gets their own holiday, we deserve one too.
How to Celebrate
* Listen to Slayer at full blast in your car.
* Listen to Slayer at full blast in your home.
* Listen to Slayer at full blast at your place of employment.
* Listen to Slayer at full blast in any public place you prefer.
DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of Slayer. National holidays in America aren't just about celebrating; they're about forcing it upon non-participants.
Taking that participation to a problematic level
* Stage a "Slay-out." Don't go to work. Listen to Slayer.
* Have a huge block party that clogs up a street in your neighborhood. Blast Slayer albums all evening. Get police cruisers and helicopters on the scene. Finish with a full-scale riot.
* Spray paint Slayer logos on churches, synagogues, or cemeteries.
* Play Slayer covers with your own band (since 99% of your riffs are stolen from Slayer anyway).
* Kill the neighbor's dog and blame it on Slayer.
Morbus 666 is a project of Imprecation vocalist and Bahimiron multi-instrumentalist Dave Herrera, who has a number of projects of note and clearly understands underground metal as the living, untameable thing it is. The band have just releases Mortuus Cultus on Graveless Slumber Records, and you can now hear a track from it:
Morbus 666- Baphe Metis (Absorption into Wisdom)
GSR is now taking preorders on the debut material from one of the newest and in my opinion best Texas black metal bands, Morbus 666! Comprised of members of Bahimiron, Adumus, Imprecation, and Thornspawn, Morbus delivers venomous vile black metal in the old ways! This album unleashes 5 tracks of morbidly twisted black metal in the Behexen meets early Enthroned vein, all for the glory of the Horned One! All preorders and an unspecified number of first editions will come with 7" bonus artwork outer sleeve as well as stickers and possibly more!
1) Summon the Cult of Pentagram
2) Baphe Metis (Absorption into Wisdom)
3) Possessed by the Glory of Lucifer
4) Those of the Devil's Flesh
5) Poisonous Blood
Yosuke Konishi (NWN) returned to KFJC radio to do another six hours of radio madness. If you like old school and new-underground metal mixed in about equal proportions, this show is filthy loud and fast, and evil.
HOMOSEXUAL-THEMED PUNK BAND seeks guitarist and drummer
Bassist and rhythm guitarist seek second guitarist and
drummer for punk band heavily influenced by DISCHARGE
and ASSUCK. Must be reliable, no hard drugs, no police
records (we want to tour). Band name is
ASSCHARGE. Contact us Box 211
OLD SCHOOL DEATH METAL BAND seeks chumps
Hey you, remember when death metal was huge?
So do we! We bought the same gear, have the
classic sound, and we write songs like drug
addled teenagers. If nostalgia has you by the
balls, call us. Box 644.
BREADMAKER FOR SALE
If you remember the trends of the past, you know
these were hot little items in the late 1990s. Everyone
I know had one. Now I've got them all. Make an offer...
any offer. Box 665.
Shane Bugbee, who with his wive Amy conducted the "365 days at the wheel" that interviewed Averse Sefira in Texas, has posted 100 hours of his radio show "three ring radio" @ archive.orgâ¦ here's a link, search "three ring radio" for 100 shows including interviews with folks like tommy chong, king diamond, penn jillette, seka, andy kahn, isacc bonowitz, max cavalera, tempest storm, george petros, wes beech, Roger Miret, get boys, phil anselmo, Nicolas Claux, Dr. Helen Morrison, Timothy Wylie, PETER GILMORE and so much more.
If you like apocalyptic synthpop and dark neofolk, consider Aural Apocalypse. Their playlist looks like this:
Haus Arafna: Heart Beats Blood Flows
Johann Merrich: Energieumwandlung
Finger Painted Death: Mescaline
Forests and Communism: Verschwinden
The Tiroler Horn Section: Call 911
Osewoudt: Ogen van Stro
The Blue Hour: The Night is Windless
Theandria: The Evening Darkens Over
Ritual Front: On Mother Earth (ÐÐ° Ð¡ÑÑÐ¾Ð¹ ÐÐµÐ¼Ð»Ðµ)
Voice of Eye: The End of All Things
Apologist: Away (edit)
Lingua Fungi: God on a Raft of Serpents
Atomtrakt: Stunde Null
Barbarossa Umtrunk: Oberland Freikorps
Kriegsfall-U: Same Entities
Spirits in Ambiance: The Sheltering Sky
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