Romanticism in heavy metal

by Brett Stevens on August 3, 2015

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:

  • Naturalism
  • Anti-rationalism
  • Introspection
  • Elitism
  • Anti-formalism
  • Transcendentalism
  • Nationalism
  • Occultism

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.

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Interview: Desecresy (2015)

by Brett Stevens on August 1, 2015

A few weeks ago, the opportunity to interview Finnish band Desecresy presented itself. Having been a long-time fan of their three solid albums of old school death metal with melodic and doom-death touches, I leaped at the opportunity. Little did I know that I would be fortunate enough to speak to both members of this dark and intense band, Tommy Gronqvist who plays all instruments, and Jarno Nurmi who commands vocals. Nor could I know that Desecresy fans have a lot to look forward to in the coming years. I expected intelligent and challenging answers, and neither I — nor you, Dear Reader — will be disappointed. Read on for my interrogation of these musical mood-crafters from the dark Finnish woods and caves…

Desecresy was born in 2009, but both of you played in other bands previously. Why the change to Desecresy, and what did you intend to do differently in Desecresy?

Tommi: Starting up Desecresy I wanted to concentrate more in the songwriting and creating instead of live playing. That is why there was never full line up gathered for Desecresy since there is no real need to have a separate guy for each instrument. From the beginning it was clear that Desecresy was more about the mood and therefor the song structures on the first album were less complicated compared to the Death Metal I had worked on before. Desecresy was never meant to be a tribute band or plain old school/retro band. Towards recent times, I have been happy to see that there are people who seem to get that.

Jarno: Yes, there definitely seems to be more understanding nowadays that we, among some others, are not merely an old-school death metal band. I think the beginning was quite fluent because there was no need to find more musicians, though it naturally took some time to get into the new thing after finishing others. Maybe there was also a certain kind of counter-reaction to the schedules and struggles of a band that plays live like we did earlier but it has proved to be more than just a reaction and we’ve had the chance to work effectively and release albums without problems with members joining and leaving.

What does the name “Desecresy” mean, or where is it from? (It might be a neologism of “desecreation” + “heresy”?)

Tommi: You could also throw secrecy in that neologism. Of course Desecresy is not a “real” word so its meaning is more in the feel of it than an actual description. I think of it as something that lies hidden not yet revealed.

I think changes of the seasons and changes of light in particular effects the music in the north. I don’t only mean natural environments either. For instance, colossal concrete or metal structures such as industrial buildings, bridges, water towers etc. have a surreal feel of space and solitude that can also transcend to music.

Jarno: Yes and this idea of something hidden and unveiled has been one of the guidelines to me when considering the art of Desecresy and writing lyrics for example.

Your music is often described as doom-death, or slower death metal with doom metal influences. What doom metal bands influenced you? Were you inspired by nearby doom like Skepticism and Thergothon? What death metal influenced you? Did you have any other influences, including non-musical ones?

Tommi: The doomyness mainly comes from comparatively dropped tempo and the atmosphere, that is not so often searched by Death Metal bands. I haven’t listened much to the bands you mentioned. I do like some Doom/ Doom Death bands but to use them as reference of influence would be misleading. To mention some influential death metal bands I would say Abhorrence, Bolt Thrower, Demigod, Grave, Immolation, Incantation etc. I try not to be too much influenced by any particular band, so trying to make these lists always feels somewhat forced.

Non-musically the surrounding environment over all gives its own influence. I think changes of the seasons and changes of light in particular effects the music in the north. I don’t only mean natural environments either. For instance, colossal concrete or metal structures such as industrial buildings, bridges, water towers etc. have a surreal feel of space and solitude that can also transcend to music. “Infinite Halls” is one example of influence and inspiration from such surroundings.

Jarno: Surely playing death metal means we’re automatically influenced by at least some of the old bands, for example the ones Tommi mentioned but they are definitely only a part of the big picture. In the earlier years when playing in some other bands there was probably more will to sound like someone else or do something similar but not that much anymore. I have been a big fan of the Finnish death metal bands as well as the ones from the US and UK, for example Demigod, early Sentenced, Incantation, Immolation, Bolt Thrower and Benediction. Lot of black metal has influenced me, Burzum, Graveland, early Behemoth, Hate Forest, Ulver etc. I have to admit that I haven’t been following doom metal that much, only some early Candlemass and Solitude Aeturnus.

I find non-musical inspiration from mythology and history as well as nature. Some easily noticeable traces of these are visible in the lyrical concepts of Desecresy, refering especially to Greco-Roman and Northern mythology but these are usually handled through interpretative and renewing process. Some experiences of everyday life do influence song-writing but in such subtlety that the songs or lyrics don’t lose their feeling of otherness or remoteness. Literature inspires me a lot, such as Hermann Hesse, Knut Hamsun, Philip K. Dick, Aldous Huxley and many of the old masters of literature, poetry and philosophy.

Desecresy songs often make use of a single-picked rhythm lead melody over power chord rhythm guitar, which I compare to early Paradise Lost and the second part of Burzum “Key to the Gate” in a recent review. Were these influences? What prompted you to choose this musical direction? What do you like about it?

Tommi: I can’t really say those bands are influences to Desecresy, but similarities between bands don’t always come from direct absorption of influence. The similarities may be representative of where the bands are coming from musically and where they are going to. Even bands with different musical backgrounds may come to explore similar elements. Through Desecresy I want to search deeper to the dark and atmospheric feel without forgetting the core of Death Metal. This style works better for having memorable songs compared to some other forms of Death Metal (great in their own ways too) that concentrate on speed, technical maneuvering or just brutality.

Jarno: Early Paradise Lost and Burzum are both fine examples of highly inspiring and often atmospheric music that has depth in it and both have original feeling and mood in their releases. If we can speak of influences, attaining the atmosphere and depth with music is certainly something to seek and I believe in this sense some bands like Bolt Thrower and Demigod have also brought the realization that this kind of things can be done. I enjoy the certain seriousness there is in Desecresy and the strict concept of the art.

On Arches of Entropy, a death metal and Bolt Thrower-style grindcore sound can be heard. Why did you choose this style, and why did you migrate toward more Scandinavian death metal sounding material on The Doom Skeptron (more Abhorrence than Bolt Thrower)? (What inspired the title “Arches of Entropy”?)

Tommi: First of all, early Death Metal bands from Finland (which is not included in Scandinavia) such as Abhorrence, had different sound from the Swedish (Scandinavian) Death Metal! Sorry I’ll just step down from my soapbox here. I know what you mean by “Scandinavian.” Anyways… There was never an attempt to swing our style from one influence towards another. Merely to migrate towards our own sound. Every album is a counter reaction to the previous one, so some aspects are more present than others in each album. Probably that is why they may give different associations of bands to the listener. The title of the debut album refers to crypts containing the seeds of destructive forces.

Literature inspires me a lot, such as Hermann Hesse, Knut Hamsun, Philip K. Dick, Aldous Huxley and many of the old masters of literature, poetry and philosophy.

Jarno: Arches of Entropy was the primitive beginning and I enjoy it as such. Raw and primitive, yet the mood and atmosphere is already there. The Doom Skeptron evolved a bit further and naturally Chasmic Transcendence was again a new step on this path. Interestingly the form of an arch has stayed visible in our album cover art for each of the first three albums and I’d like to think of this as a symbol of getting deeper in the original idea and bringing it into being. So the same “destructive force” has stayed there and has been looked at from different views without getting too much into one-sided naive and simple outlook at it.

As a two-person band, touring would be difficult. Do you have any plans to play live, and how would you pull it off?

Tommi: We haven’t been planning live sets, but I don’t want to restrain us by declaring that we would never do that. We would have to scratch up some kind of live session band to do it of course.

Jarno: As playing live is not among our priorities I think it would demand a very special occasion to ever do so. I don’t see it happening yet but who knows what the future might bring.

Much of your music seems to exhibit a contrast between death metal style interlocking riffing of an intensely structural nature, and atmospheric parts of a more relaxed and layered approach. What do these compositional techniques represent or what are they intended to do, and how does the contrast work in your songwriting?

Tommi: The use of those different approaches is there to create a mindset that is not aggressive or filled with pacified wonder, but somehow beyond those stages. That contrast is the biggest challenge in the music of Desecresy. Atmosphere is easily disturbed by structural changes in riffing and drum work, but Death Metal on the other hand often relies on the intensity of those changes. It is a guest to discover the philosopher’s stone to combine those elements to be simultaneously present in harmony.

On Chasmic Transcendence, there seem to be some influences from newer styles of metal, but adapted to the old school ways. What were these influences, and how did you put them into your own musical language so to preserve the old school feeling?

Tommi: Chasmic Transcendence is an album that could not have been recorded in the early 90s, and our goal was never just to repeat what was done back then, even though we are influenced by bands of that era. Again it is impossible to point some specific influences that would have been used to increase the modernity of the album. Everything I have ever heard influences what I come up with. What matters is how those influences are harnessed to create something new.

Jarno: It’s difficult to point out what influences the album holds in itself and I’m also a bit afraid of over-analyzing our work publicly. I feel it’s like a result of everything that was done to that point during the existence of Desecresy. It couldn’t have been done in the early 90s but it’s also an album that couldn’t have been done by any other band either.

Your songs are highly distinctive individually, but also seem to work together as an album of similar themes and related ideas. Do you “design” albums as a whole according to a plan or concept, or does this similarity come from other factors? What effect do you think it creates?

Tommi: The songs are first worked with separately but later, as there is more material and the lines of the album begin to form, there will be consideration of how much of which elements should be presented in each song. Certain similarity within the songs keeps the album whole. Jumping around too much between styles and states of mind only creates a tasteless mishmash.

Chasmic Transcendence was selected by DMU as one of the best of 2014. Your other albums belong on best of lists for their respective years as well. Are you getting the amount of fan attentiveness you hoped for? Is it difficult for original acts in metal at this point in time? Why?

Tommi: We have noticed that Chasmic Transcendence was included in your list and some other best of 2014 lists as well. It is gratifying to get that kind of recognition! I am so used to negative feedback that it has been a pleasant surprise to me. I think we are getting enough fan attentiveness. Things shouldn’t be too difficult for any band these days unless they are motivated by money or some rock stardom fantasy.

Atmosphere is easily disturbed by structural changes in riffing and drum work, but Death Metal on the other hand often relies on the intensity of those changes.

Jarno: I have been very happy to receive all the positive words and feedback from deathmetal.org and from people who contact us via email or facebook etc. It feels like we have received more attention after Chasmic Transcendence and of course it takes years of work to build up some reputation and we’re still relatively unknown. Yet I know we’re not really making it easier at all for people to find out about Desecresy as we don’t tour and don’t promote aggressively and to many we’re probably not the easiest music to listen to and get into. I think that healthy amount of elitism is needed and I am quite happy how things are slowly progressing.

Do you have plans to develop your musical style in different ways, such as longer songs, instrumental songs or more technical elements? Have you ever considered experimenting with longer melodies like Summoning?

Tommi: Maybe there will be longer more technical songs or maybe there will be shorter more primitive songs, or both. The songs form in the process. There can’t be that specific plan before hand of what will come. There may be longer melodies heard in the future but the repetition of a shorter melody is a deliberate choice in Desecresy songs.

Speaking of those leads I have a little bone to pick about that in depth analysis of Chasmic Transcendence on deathmetal.org. There was some complaint about the monotonous and simplistic use of lead guitars and how they are linked to the other parts of the songs. Desecresy‘s guitar leads are not meant to launch to some traditional ballad guitar solo wanking! They are meant to be minimalistic and nihilistic. Their purpose is not to be sentimental, but to set a certain stoic mental state.

Jarno: Some want us to be more aggressive and brutal, or more melodic or epic or faster or whatever but it would turn us into completely different band if we followed suggestions that people write in the internet. Yet experimenting on what works with Desecresy and what does not is certainly an on-going process but I’d say there is a certain artistic ideal for Desecresy and straying from that wouldn’t possibly bring good results. Anyway, as long as it’s reasonable and the purpose is clear I think there’s still a lot possibilities for songs that are for instance longer just like on the Chasmic Transcendence we had mostly shorter songs.

When you compose songs, what do you start with (a concept, an image, a riff, a melody, a structural idea)? When do the vocals and lyrics come in? How do you know when a song is “ready” for release?

Tommi: The composition of a Desecresy song can start with any of the things you mentioned. Lyrics and vocals come in at stage where other instruments are recorded and songs are other wise some what complete. There are sometimes changes made to the songs at the very last stage of the process. Eventually you just have to let go of the songs and the album and call it a day. That is surprisingly difficult mentally after a year or so of working on them.

Many claim the internet killed the death metal underground. Is this so, in your view? How is the underground doing? Does it still exist?

Tommi: In some ways the internet has killed the underground as it was defined in the pre-internet time, but that is not necessarily a bad thing. Sure you don’t need as much commitment anymore when anyone can find and listen to some obscure bands with just couple of clicks. On the other hand, since you don’t need to belong to a specific social circle to find those bands, more individuals have a possibility to find something great by their selves regardless of their connections. I also think that in the end, the underground metal is and always has been a bit vague term.

One could claim that something like Finnish Death Metal of the early 90s for instance could not have happened if there had been internet at the time, because there would have been too much world wide interaction restraining some initial characteristics to appear. I wouldn’t necessarily agree with that. I am sure however that without the internet, many of those bands would be unknown to most of the people that now are aware of them — including me.

We have just finished our fourth album called Stoic Death, which will be out somewhere in the future, so keep an eye open for that!

Jarno: I don’t always know what people mean when they speak of the underground. I am not at all interested in every shitty band that there is trying to gain some underground reputation, yet I think most of the interesting bands that I listen to are part of the underground. In the past it was more difficult to find the right bands for yourself as you might not get much information from anywhere. Nowadays it’s probably equally difficult to find the bands because the internet is overflown with music and things to hear and it’s just too easy to become deaf and numb. The good side is that you can find interesting things by yourself without getting in touch with all the stupid people hanging around in the scene.

I think people easily accept bands that are not doing anything interesting after all and the internet gave every band almost equal possibilities to gain attention which is nowadays easily achieved if you have a funny or stupid idea of how to market your band to the audience. Some years ago some people could just call their new band religious or orthodox black metal and attain a mysterious image and the attention was guaranteed. Of course such deception will never last long but it always hinders the things that later on turn to be the most important things of a certain period. This is probably how it has always been and will be and somewhere beneath the hype and superficial facade the underground is doing just fine.

I know you both have day jobs and normal lives. What is your practice schedule like, and how does Desecresy fit into your lives? Are your families and friends (and jobs) accepting of what you do?

Tommi: I have not been condemned to hell by anyone I know this far.

I do kind of keep my band activities to myself because there isn’t much reason to share that with people who are not into it. As we don’t have a line up to play live, we don’t really practice together. I work on the instruments and record them. After that Jarno records his vocals.

Jarno: I think friends as well as other acquaintance have been quite supportive. I don’t speak much of my views or interests with my family or colleagues, though, and after all I’m not really interested if they support them or not. Schedule-wise it’s sometimes a bit complicated but I think we’ve had quite steady progress and not as much trouble as there could have been had there been a full line-up to rehearse with.

How do you achieve your distortion? What technique do you use to make your albums sound subterranean but clear and loud without being overpowering like some modern productions?

Tommi: Distortion mainly comes from Line6 über metal distortion pedal and the original Boss Heavy Metal II (Japan version). I don’t want to bore anyone with more details, nor do I want to give out the secrets of the trade, so to speak. I think there is a bit of home distillery side flavor in the Desecresy sound that much of the modern productions lack.

What’s next for Desecresy — are you writing material, thinking up ideas, and/or plotting world domination? If people want to know more about Desecresy, what should they do? Will you ever tour Texas and help us shoot guns, drink beer and wrestle alligators?

Tommi: Well that tour seems unlikely and from what I hear Texans don’t need help shooting guns or wrestling alligators! But as Finns we could extend a helping hand towards that beer. I know I like draining Budweiser down my throat! Or maybe there’s some more local Texas beers, I don’t know..

We have just finished our fourth album called Stoic Death, which will be out somewhere in the future, so keep an eye open for that! We are working on that world domination but meanwhile you can contact us in desecresy@hotmail.com or through desecresy@facebook.com.

I guess that’s all from me. Thank you for the interview! Appreciate your interest!

Jarno: Though we don’t tour or play gigs I do encourage someone to book us somewhere on the other side of the globe just to have some beers, I wouldn’t mind! Meanwhile I hope The Stoic Death will be out as soon as possible! Thank you for the interview and your great work with Death Metal Underground!

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Invention versus novelty in metal

by Brett Stevens on July 31, 2015

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There is an experience like deja vu which feels more like parallax motion. This sensation is that of seeing parallels between two things which, visually at least, seem to have nothing in common. And yet it also feels like racing over open ground in a landscape of discovery. Consider this observation from a pipe collecting writer:

Some innovations are not innovative at all. They are ideas that have been explored–and even made–long before. That the current experimenter is ignorant of previous attempts does not make the effort novel. It also does not make revising an idea or revisiting a solution unworthy. But don’t make untrue claims. Socrates’ observation that “There is nothing new under the sun” is almost always true.

Other “innovations” are transparent attempts at attention-getting. Putting products out there that exclaim “Look at me! I’m SO leading edge! I’m an artist!” might work for Miley Cyrus, but the average pipemaker’s target audience is somewhat less naïve nor impressionable, but you wouldn’t know it by looking at some of the work being touted on Facebook pipe groups these days.

What amazes me even more is that the work on the ridiculous end of the sublime-to-ridiculous continuum attracts its champions, and they seem eager to whoop and hurrah without engaging in any critical discourse at all. It’s hype, hype, hype. In my view, hyping isn’t helpful because it inhibits thoughtful conversations that might contribute to improving or at least refining the innovations being touted.

He draws a distinction between what we might call invention, or application of new ideas to a realistic use, as distinct from novelty, which is the creation of “new” ideas for newness’ sake. In metal terms, it takes some brains and guts to create a sublime form of a metal genre, but any idiot can add ska, jazz and rockabilly to Pantera and come up with something “new.”

Metalcore in particular is consumed by this view of novelty as a target. Since its songs are built in the post-hardcore random collage style, just about anything fits into a metalcore band, which is why it has aesthetically-diverse but musically-similar acts like Animals as Leaders, Obscura, Behemoth, The Haunted and The Red Chord under the same genre banner. Each riff is like a different act in a variety show. This is why it has the “carnival music” approach: its compositional structure is verse chorus with an extended musical appositive in which the random is prized more than the coherent, or that which flows from one point to another in a sensible narrative.

Some would say this is its artistic appeal, that metalcore expresses the randomness and purposeless directionless consumption of our time. That may be true, but the best art does not merely protest, but forms beauty out of sense and makes it compelling in a new way. Others might defend metalcore as “open-minded,” as was popular with bad gimmick death metal bands in the early 1990s, and even early mathcore experiments. Yet randomness is not open-mindedness; it is refusal to make up one’s mind, and by burying the audience under different elements, essentially hiding what one thinks and hedging one’s bests. How do you criticize a band that has a riff from every imaginable style in each song, except to note that greater randomness produces greater proximity to background noise? Andy Warhol might sell metalcore as an avant garde representation of the background noise of the city.

And yet, we had two-riffs plus breakdowns bands back in the day. Metalcore itself is an extension of post-hardcore, which was a late 1980s thing. None of this “innovation” is in fact new; it is merely recycling the same old sad elements, like the clichés in movies where every rebellious character has to ride a Harley, drink Jack Daniels, smoke Reds and listen to heavy metal. Generally the pattern for metalcore bands is that they find something that people want but do not understand, then make a simplified — in this case, random — version of it, and then pimp it out. Opeth for example made their career off the idea of being too deep for most people, but were basically a re-hash of what Cemetary and Tiamat did five years before. Meshuggah took what Exhorder and Vio-lence did with speed metal riffs but made it more obvious, simplified and put it to a jazz-style complex offbeat structure, but added nothing new musically, and in fact took away most of the musicality. Cradle of Filth figured out that if someone made a heavy metal band that sounded like black metal, it would outsell the original. And so on.

Here is a useful definition regarding metalcore:

A blend of hardcore and metal music that evolved in the mid-to-late 90’s with bands like Unbroken, Earth Crisis, Harvest, Endeavor, Poison The Well and Unearth. There is a liberal use of breakdowns in the music and the lyrical themes range from the political to the personal.

Compare to a similar definition for deathcore:

Deathcore is a style of extreme music often confused by its fans with death metal. Deathcore draws heavily from the “malcore” style of metalcore in the sense that elements of its sound, both in composition and production, are rejected by the more conservative metal culture (ex. death/black/thrash/sludge metal). Deathcore differs from metalcore in the sense that it is generally faster, more heavy, and tending toward darker themes such as are present in death metal. Deathcore is also notorious for the excessive use of breakdowns, an element also present (but less frequent) in death metal and other ‘true’ metal genres. Hardcore dancing, a dance style in which fans swing their arms and legs violently in rhythm, has become hugely popular among deathcore fans, and is a trademark of live deathcore shows.

Despite many fans’ beliefs, deathcore is vastly different from traditional death metal. Musically, the deathcore song structure is generally much more formulaic than that of death metal; songs tend to have one or two guitar riffs, several breakdowns, and possibly a chorus. Deathcore composition is also much less complex, many songs featuring doubled guitar parts or simple guitar harmonies, with the bass guitar being almost entirely indistinguishable.

Our normal impulse is to say “Well, you listen to what you like, and I will listen to what I like.” That is the socially correct answer at least which is one reason why it is wrong: social preference selects for the unreal because people prefer illusion. The problem is that when idiot music shows up, idiots show up, and they outnumber anyone competent. If they can appropriate the style of your genre and make a dumbed-down sugar, salt and fat added version of it, they will replace you. You will not keep listening to what you like because no new versions of it will come out because no musician will touch a genre infested by idiots unless he or she wants to profit from idiots. Your genre will be assimilated and replaced. That is exactly what happened to metal since 1994.

Some people moan any time a person wants to connect metal with social trends, history or other traditional forms of analysis. that is because those people want to keep metal as a hobby, a product and something special removed from everything else that is just there to be enjoyed. But on the other hand, many artists have given up more comfortable lives cranking out alt-country, indie rock or rap to spend their time trying to make quality metal, and it seems pointless to disrespect and ignore that. If we look at metal through the historical development of an artistic movement, it becomes clear that it offers not just another version of the same rock ‘n’ roll idea, but an entirely different idea. Rock is, like all post-Enlightenment thought, about the primacy of the individual. Metal rebels against that with hard realism.

Perhaps the hard realism is right. After all, this society is miserable — another one of those things that metal reminds us of daily — and besotted with lies, committing ecocide against nature, forcing people into miserable jobs, and specializes in tearing down beautiful things to replace them with strip malls and endless rules. I would go so far as to say this is the worst age of humanity, except for the mindlessly selfish, who sure love that 500-channel cable and easy jobs and fast credit that make them feel like kings in the tiny little fraction of the universe that they notice. Over time I have come to observe that the smarter someone is, the more aware they are not just of particular ideas or facts but of space, area, time and their own smallness. An idiot thinks he is the sole occupant of the planet; a medium-intelligence person is aware of his community; a genius is aware of the cosmos, the past and future of humanity as a whole, and the people even far from him. Metal rebels against our society both on the basis that it is formed of affectionate-sounding lies, and that it is ugly, pointless, boring and crass.

But that is “alternative history” to the majority of people. They believe — because they want to believe — that our time is the apex of humanity. And technologically, surely it is, although most of this stuff seems like fumbly-fidgety rehashes of 1970s inventions like UNIX and networking. They ignore the vast misery not just among the impoverished, but among the successful, and the utter boredom of the purposeless nature of modern life. Every generation, social order decays further and people become more like witches, of dishonest, selfish, petty, and oblivious character. Each generation can say to the one after, “Stuff’s worse than when I was a kid, so have an iPod and we’ll call it even, OK?” As long as we stick with official history there is nothing we can do with that. As others have noted, perhaps the root of invention as opposed to novelty is a willingness to leap off the platform of official history and look into other reasons, not new but realistic and truthful instead of merely socially popular ones.

Speaking of alternative history, I encountered this passage today. You might call it Libertarians for Monarchy. It takes an economist’s view of the change in history, and shows how alternative history might have been right, after all, and how we might all just be living in denial and cruising on the wealth of the past (Hans-Hermann Hoppe via Outside In:

A king owned the territory and could hand it on to his son, and thus tried to preserve its value. A democratic ruler was and is a temporary caretaker and thus tries to maximize current government income of all sorts at the expense of capital values, and thus wastes. […] Here are some of the consequences: during the monarchical age before World War I, government expenditure as a percent of GNP was rarely higher than 5%. Since then it has typically risen to around 50%. Prior to World War I, government employment was typically less than 3% of total employment. Since then it has increased to between 15 and 20%. The monarchical age was characterized by a commodity money (gold) and the purchasing power of money gradually increased. In contrast, the democratic age is the age of paper money whose purchasing power has permanently decreased. […] Kings went deeper and deeper into debt, but at least during peacetime they typically reduced their debt load. During the democratic era government debt has increased in war and in peace to incredible heights. Real interest rates during the monarchical age had gradually fallen to somewhere around 2½%. Since then, real interest rates (nominal rates adjusted for inflation) have risen to somewhere around 5% — equal to 15th-century rates. Legislation virtually did not exist until the end of the 19th century. Today, in a single year, tens of thousands of laws and regulations are passed. Savings rates are declining instead of increasing with increasing incomes, and indicators of family disintegration and crime are moving constantly upward.

In a time when popularity determines success, appearance is more important than reality. This is what gives rise to novelty, or essentially — as our pipe smoker above reminded us — re-visiting of old ideas in bizarre new forms that entice the herd because they are different and unique, which is how all of those bonobos view themselves and want to assert as their reason for having importance. We call most of them hipsters, but the phenomenon is broader than that; we live in a time that is appearance-over-substance, and as long as metal panders to that demographic, its fortunes will not improve.

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VI releases De Praestigiis Angelorum preview track

by Brett Stevens on July 24, 2015

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VI, the French black metal supergroup comprised of members from Antaeus and Aosoth, has released the improbably-named “Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.” sample track from De Praestigiis Angelorum, permitting a short review.

Like later Antaeus, this band is hollow. It is not outright fake, but it aims to control your mind by pleasing you with surface characteristics and missing what lies beneath. Much as the first Antaeus had possibility in that it attempted to upkeep some of the ideas of the past that worked, but never quite got there, and then the band backed off of that direction with later releases, VI has a strong surface of old school black metal — fast rhythms, the right minor-key riffs, the right texturing of melody and grinding — but at its core there is nothing. You might look at this as simply a better take on Deathspell Omega, but there is no transcendent passion in these songs, only a somewhat cynical knowledge of how to make music sound brainy and violent at the same time.

What propelled original black metal was a strong emotionality based in a worldview inspired by logical analysis, not social feelings, about human problems. VI reverses this with a song about the social feeling of belong in black metal and thinking how austere, relentless and different you are just for listening to this, and yet it has no substance. The band ably combines two riffs and variations for the initial part, then drifts off into a patchwork of ideas that fit together rhythmically but crush any chance for expressing a consistent or developing theme. What you get is like American beer: it has all the right ingredients, in the wrong order, with no idea uniting it all except to please the average fool for long enough that he will buy it again. Avoid this FMP/NWN release.

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Heavy metal linked to systemic thinking

by Brett Stevens on July 24, 2015

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Researchers have found that heavy metal fans tend to be systemic thinkers, leading to the supposition that systemic thinkers like heavy metal because its structure, themes or musicality rewards those who think on a systemic level. As one summary read:

Participants were then subjected to 50 short pieces of music spanning 26 different styles, and asked to give each a rating between one and 10.

People who scored highly on empathy were more likely to be drawn to R&B, soft rock and folk.

In contrast those who score more highly on systemising tended to like music by heavy metal bands and more complex, avant-garde jazz.

In other words, people who think at an empathic level reward music which is emotional on its surface, but those who think structurally and broadly like metal fans tend to only feel rewarded when the emotion emerges from the conflicts within the music itself, more like “set/setting” than adding some minor notes to a melody or dramatic vocals.

As research finds many ways further into metal, the conclusion becomes clear that people like metal for different reasons than other mainstream music. While metal academia itself has not raised this point directly, this research and other recent revelations about the mentality of metal suggest that direction is a rewarding area of study.

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Sammath to reissue debut LP on Hammerheart

by Brett Stevens on July 24, 2015

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Sammath unleashed its debut album Strijd in 1999 to not much fanfare. The black metal community had essentially collapsed under a wave of Dimmu Borgir/Cradle of Filth clones, and the underground had retreated to the Full Moon Productions board to re-style punk riffs as black metal and make boring music that is forgotten at this time. Almost no one wanted to simply keep their eye on what had worked and make it return.

As our review published at the time opined, however, Strijd succeeded because it conveyed both the elegance and violence of black metal, instead of becoming a top hatted children’s show satire focusing only on what the Thomas Kinkade fans of the world think is “elegant” (in America at least, every pretentious but incompetent person must have at least one Thomas Kinkade painting, Ansel Adams print, and dreamcatcher). Sammath brought back the ancient feeling, the meditative look at a life shrouded in darkness, and the misanthropy and intolerance for stupidity and lies that made black metal so satisfying in the midst of the lie-drenched 1990s.

Hammerheart Records has been focusing more of its attention on resurrecting classics and picking out modern bands with the same power, which seems to signal that the great metalcore trend is on the wane and people are looking for the kind of power they found in traditional metal genres, again. Strijd delivers this in high-powered generous doses but also maintains its introspective side, creating the perfect melancholic warrior album for a dying world. Although a date for the vinyl re-issue has not been specified, it is something to look forward to sometime in the latter half of 2015.

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Deverills Nexion releasing A Sinister Tarot on Ajna Offensive

by Brett Stevens on July 24, 2015

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Cult ritual ambient/discovered sounds band Deverills Nexion will release its upcoming The Sinister Tarot – A Musickal Working, Instruments Modern and Voice LP with a 12 page A5 booklet via Ajna Offensive later this month. Consisting of ritual formatting to instrumental and natural sounds, the music of Deverills Nexion fits in with bands such as Lull and Lustmord who create background ambient, although with an occult flair.

The LP will be distributed in Europe by The Sinister Flame (email them to reserve a copy), and is also available from the band website. The band describes the work with the following press release:

The Sinister Tarot is a variant of the “standard” tarot. It is described fully in the Order of Nine Angles’ key guide to practical Satanism, NAOS. Each track is an interpretation in sound of a specific card (from the major arcana only for the purposes of this “album”).

The musick herein can be seen as well as heard, being a spontaneous manifestation expressed through the magickal meditations of each element, associative and dissociative, linear or otherwise. The musick, like that of the individualized tarot cards of the sinister deck, being self-divined, self-made, self-sourced to a largely personal degree, still has immense relevance for others as it further informs and enriches the egregore of the Septenary path that is ONA.

With visualizations in sound of:
Col Cruachan, the hill of the wizard (1. The Magickian)
Forest tides (4. Lord of the Earth)
Inversely twisting oak gibbet (12. The Hanged Man)
The geryne of Satan (8. Change)
Sisters of the starry mere (10. Wyrd)
Ere the dancers depart (19. The Sun)
A Deverills man at the Bladud’s Head (20. The Aeon)
The glade of flowery broken skulls (3. Mistress of Earth)
Bestride a corpse with my face (14. Hel)
A curious long barrow view, one of many (0. The Fool)
Dawn’s flow (17.The Star)

http://www.youtube.com/watch?v=7efkGOL2CyM

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Can we admit that metalcore is the glam metal of our time?

by Brett Stevens on July 24, 2015

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In the early 1990s, a new music burst forth. The dark sounds of Black Sabbath and the guitar-oriented heavy rock of Deep Purple and Led Zeppelin merged and, through the wizardry of Hollywood-style image, became a new genre that hyper-extended the characteristics of the most rebellious music in the previous generation of rock. This was called glam metal, and you may recognize it by names like Motley Crue, Poison, Twisted Sister, Quiet Riot, Cinderella, Van Halen, Ratt and Winger.

Glam metal stood out from other rock at the time. It was more technical, featuring early shred guitar wizardry, and more visual, incorporating gender-bending into its image as well as tattoos, long hair and leather. For the radio music of the era, it was one of the more advanced and outside the mainstream sounds one could purchase at the local record shack. Kids liked it because it drove parents mad; politicians responded by trying to criminalize it with Tipper Gore and the PMRC targeting glam metal bands for their overly-sexual lyrics about outré topics such as drugs, suicide and promiscuity.

What makes glam metal stand out is to look at the backdrop of music at the time. Most bands were taking advantage of newly-available electronic instruments and more options in the studio, and were focused more toward being synthpop or album-oriented rock. The nascent indie rock movement, to explode with bands like REM and U2, dwelt still in the basements. Punk had died and punk hardcore was unlistenable by most, as were bands like Motorhead and the NWOBHM who were still just a bit too loud, and too controversial. Glam allowed people to be rebels without really rebelling against anything, because glam rock was just what David Bowie and Sid Vicious were doing with the actual danger removed and all the imagery turned up to eleven.

Compare this to the present time. Radio is much louder, and rap-based music has replaced synthpop. Indie rock became huge and expanded into emo and post-Joy Division quasi guitar ambient bands. The old dad rock like Springsteen and Mellencamp faded like an autumn sunset, and while millions of niches exist, most people hit up the big favorites. Metal is the radio now, too, and thanks to nu-metal — the second generation of rap/rock — people are accustomed to heavy distortion, detuned guitars and raucous drums. People wearing bizarre costumes and masks while acting out self-destructive tropes are common. What remains to shock the parents of today?

Much like glam metal, metalcore attempts to pick everything that stood out in the past generation and amplify it. The introspective despair of indie rock joins the progressive stylings of 90s bands and the whine of alternative rock; the proto-djent of Pantera and Helmet shows up as well, alongside the deliberately random songwriting of emo and post-hardcore bands. Add them all together and you have a template for making infinite music: an aesthetic of randomness, with high technicality, and metal power but not its threatening antisociality, melded together into a product that is more like a jam session than a planned event. This resembles what happened after progressive rock fiddled the first time, and jam bands showed up that merged jazz, progressive and rock into expanded-format songs that wandered. Metalcore can take any form, whether melodic death metal or math-influenced grindcore, because it is at heart a philosophy much like glam was. It takes what shocked the last generation, adds it all together, and ramps up the imagery to deliver a “new” (old) product.

If we are honest, we will admit that metalcore is the glam metal of today. Designed to shock, it pretends at being “underground” only to keep its indie cred, and relies on the disturbing self-absorption of indie and emo to make parents quake. Formed of too many elements to support together in one coherent genre, it focuses on incoherence, and ties it together with imagery. It emphasizes technicality, which thanks to endless instructional videos and better access to guitar equipment (thanks Guitar Center!) has cranked up a notch, but uses it as a means to the end of its appearance. While band members no longer dress up in clothing of the opposite gender and tease their hair, they perform the equivalent through their embrace of passivity, feminism and self-pity as fundamental values. This shocks parents as much as glam metal did, and has correspondingly bad effects on metal as a whole.

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Economics of metal

by Brett Stevens on July 23, 2015

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Metal is fun and this is one of its greatest strengths. But great strengths are also great weaknesses, and the fun in metal leads to people to assume the usual forces do not act within it. One such force is economics, both in the sale of music and the sale of attention.

We can visualize the metal world as a giant economy based on who is listening to and talking about which release. Money is replaced by stereo-hours (or earbud-hours) with those being of unequal value. For example, a record company exec or top-ranked writer listening to an album may have more import than the average fan because such a role in the metal economy means that the exec or writer lures more people to specific releases. Both writers and execs make their money by betting on a type of stock market where the releases they choose as important either rise or fall, with corresponding consequences for the career in question.

With this in mind, we can look at the flow of new releases as a type of market. The more releases there are, the less each one is valuable; the more accurate information there is about new music, the more likely consumer choice is to be informed choice and reflect some measure of quality. When there are too many releases, all are disproportionately worth more, with the big mainstream bands — analogous to blue chip stocks — seeming like better options to the consumer than taking a chance in a sea of bands that seem to be about equal in potential. When all record reviews praise every new album, consumers have no information, and turn toward buying from established bands, even if the quality is sub-par.

Similarly, the effect of digital downloading can be modeled. Leaving aside purchases of digital music for a moment, we can look at the effects of downloading the latest releases from mega.nz or torrents. When the cost is free, the consumer may value that album less, but more importantly, the consumer is suddenly swimming in utter tons of music. If you have 500gb of death metal on your hard drive, it is unlikely that you will have the time or energy to listen to even a tenth of that. The more music that is downloaded, the less any particular release is likely to get stereo-hours.

Looking even further, we can see the impact of the metal community. When the metal community is supportive of every release that comes out, it means that none stand out and as a result, all get fewer listens. Where a healthy economy has some clear winners, a blind endorsement for all releases means that consumers know nothing about differences between them in quality — leaving aside aesthetic/genre for the moment — and so end up purchasing blindly or not at all. When digital downloads are available for free, or streaming online is free, the consumer sees less of a reason to visit a band for more than a few listens.

And extending this a bit further, the more similar bands are to one another, both aesthetically and in quality, the less likely consumers are to choose any one. This type of “heat death” of the metal markets occurs when consumers lack information about bands or cannot find substantial differences between them. At that point, the smart strategy for a metal listener is to download something new on a regular basis and listen to it for a few weeks because, heck, it is about like every other release in quality and sound. They know it will last for only a few weeks, so there is no point in buying it. I suggest that it is this phenomenon — a glut of similar-sounding and similar-quality metal bands — and not digital piracy itself that is terrorizing the music industry.

Industries tend to respond to a narrowing of the market by increasing frequency of product release. This in turn creates a glut, and tends to drive quality down, because in order to release regularly they need people who will bash out something obvious instead of spend time ruminating on it. Further, industry does not want expensive single units, as occur when musicians try to make a career of it, but — much like information technology hiring — prefer the young and clueless who they can use to make a release or two for low cost. All of these contribute to an oversupply of releases, a situation which is made worse by the tendency of journalists to champion almost all of these releases, which makes consumers less likely to purchase any single one.

Let us then consider the role of the Elitist. If we use the non-hipster definition of elitist, the term comes to mean those who prefer quality over quantity. That means that instead of 500gb of similar-sounding and similar-quality bands, this person wants 50gb of high-quality bands that may or may not be similar-sounding. Elitists create a different type of pressure on the metal market, which is concentration: they create winners who rise above the herd, because the non-hipster elitist also tends to be a type of “power user” of metal who spreads information to friends and influential people. When an elitist likes something, unlike when an average person does, the consumer is offered a strong signal of quality or interest. This creates a tendency to rely on elitists more, much like experienced music consumers read the cynical reviewers because they do not have the time or energy to sort through many indistinguishable releases.

Elitists may be the answer to the music industry’s woes. With labels releasing as fast as they can, and journalists praising almost everything, the result is a “heat death” of the market. When elitists step in and separate the good from the merely adequate, this creates contours to the market and allows some bands to win, which creates a pressure on bands to not simply produce, but produce well, encouraging an expenditure of more time, thought and effort on the releases in question. These elitists are distinct from hipster elitists, who do not value quality over quantity but value novelty over both, and specialize in bands that — whether good or bad, as the hipster elitist is agnostic to quality — are weird, quirky, odd or ironic. This creates a market pressure that rewards the trivial and manufactures niches which can then be further developed by non-hipster elitists who sort the best above the rest.

Similarly, since online downloading does not appear to be going away, the non-hipster elitist serves a role in making downloading work for the music industry: by selecting some bands as good, they signal that these are worth buying while the others are merely worth downloading. We have no data on how many people who download actually listen to the music they capture, but one thought is that like many collectors of free things, they simply hoard it — especially since they lack the time to actually listen to all of it. The average person may be able to hear twelve hours of music a day, but they can probably only listen to five or six before they lose track of the differences. Listening requires concentration and not very many people have even four hours a day to actually pay attention to music.

As an explorer of metal music, I have downloaded at least 500gb in my lifetime. 99% of it goes right back to where it came: ashes to ashes, bits to zeroes. The remaining one percent gets purchased and, from informal conversations with other metalheads, I am far from alone in this. For this reason, I have for years encouraged “natural selection” downloading, because it means that instead of buying blind, consumers devote their attention to music that they like. Streaming sites like Spotify, Bandcamp, Soundcloud and ReverbNation have arisen to address this need, and informally many users report scanning those tracks before deciding to make an illegal download. Whether or not the user eventually purchases the music, it is succeeding in the market for attention, and this leads to its propagation among metalheads and greater likelihood of being purchased.

Few will say so publicly, but in private many journalists, fans and workers in the industry will admit that metal has lost quality massively since 1994. Not coincidentally, its popularity has been steadily rising since that time, as has its availability. While many blame the internet and digital downloads for collapse of metal, the model above suggests that it is not the means of consumption, but the glut of the market that is causing the woes of the music industry and fans alike. While unpopular, non-hipster elitists may represent a solution to this problem.

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Kaeck releases new track “Akolieten van de nacht” from Stormkult

by Brett Stevens on July 23, 2015

kaeck_-_stormkult_-_folter_records_august_2015

In preparation for their upcoming album Stormkult, which sees release on Folter Records worldwide on August 28, Kaeck has released a new track “Akolieten van de nacht” which shows the internal variation of this powerful album. Detouring more into classic black metal territory, Kaeck nonetheless give it a tour de force renovation with simple but powerful riffs in a contexture of ideas that creates a constant rush of discovery.

Folter Records has made Kaeck Stormkult available for pre-order in its digital shop. Having heard the album, I look forward to it being unleashed into the light like a demon escaping from hell, and bringing the typical intolerant occultism and vigilant Nietzschean Darwinism that defines the black metal genre.

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