Obscure Oracle sneak previews “Pray for Nothing”

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Texas heavy metal band Obscure Oracle has released its latest work, a track which takes us back to both the early 1980s and its grandiose power metal, and an improved version of the melodic death metal of the mid-90s. “Pray for Nothing” features 1980s style choruses with less repetitive verses than bands of that nature would use, sliding into melodic guitar riffing that would have At the Gates envious, but used sparingly like an Iron Maiden/Judas Priest era band would have used. This track foreshadows great things to come from this original Texan band! Because it is a sneak preview, you cannot hear the track at this time, but you can catch the band live just a few months ago:

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Swarming streams “Hideous” from Cacophony of Ripping Flesh: Recordings 2010-2012

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Swarming brings together experienced old school death metal personnel from Finland and Sweden to slash out a putrid, raw, grinding and crusty form of death metal that borrows as much from Autopsy and Carcass as it does Demigod and Dismember. For Halloween, Dead Beat Media has released Cacophony of Ripping Flesh: Recordings 2010-2012 which collects the complete works of the band during the first two years of its existence.

Check out the exclusive stream of “The Hideous Incantation” right here:

Storming death metal riffs gain support from an underpinning of melody balanced by the sickening, dragging and decomposing riffs that like the unsteady hand of a drunken surgeon dragging scalpels through flesh, induce a mood of hopeless darkness and perverse enjoyment of the world’s suicide. Demonstrating competence in both the technicalities of death metal and the intricacies of rock guitar, Swarming show death metal at its most engaging and yet repulsive.

Biography

Swarming (formed in February 2010) is a Finnish-Swedish collaboration with Lasse from Hooded Menace, Phlegethon, and Ruinebell, and Rogga from Paganizer, Ribspreader, and Humanity Delete. The guys share the same passion for raw and filthy music and that is what they are here to deliver with Swarming. Downtuned and putrid, grinding, crusty death metal!

Swarming Cacophony of Ripping Flesh – Recordings 2010-2012 compiles tracks recorded during the band’s existence so far including the two tracks from Swarming/Zombie Ritual split (Doomentia 2010). Cover artwork comes from David of Extremely Rotten Records. The album was mixed by the band and mastered by Mikko Saastamoinen (whose other works include Hooded Menace, Ruinebell and Vacant Coffin).

Thanks to Jill at Dead Beat Media, we are able to offer you this exclusive album track stream on Halloween 2015. As you are gorging on candy and cider, take a moment to vomit purulent blood with Swarming!

    Tracklist

  1. The Hideous Incantation
  2. Reeking of the Bowels
  3. It Came From the Graveyard
  4. Hacksaw Holiday
  5. Feasting on Drowned Flesh
  6. Amputation Frenzy
  7. Convulsing Into Eternal Doom
  8. Premature Embalming

You can find the CD and cassette at the Dead Beat Media store at deadbeatshop.bigcartel.com and keep track of the band through Facebook pages for Dead Beat Media and Swarming.

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House of Atreus – The Spear and the Ichor That Follows (2015)

House of Atreus - The Spear and the Ichor That Follows (2015)
Review by Daniel McCormick
House of Atreus, a four piece hailing from Minneapolis, are a relatively newer melodic death metal act. 2015 saw the release of their first full length, The Spear and the Ichor that Follows, and the overall reception appears to be quite positive. The lyrics and imagery focus on Greek and Roman  mythology, though, much like the band Baltak’s Macedonian premise, this is not necessarily easily derived from the music alone. I have mixed feelings about this release – it has grown on me a little, but I find there are a few flaws worth noting.
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Domains – Sinister Ceremonies (2014)

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Guest post by former editor David Rosales

In the reception of a new work of art (rather than a commercial product), there are two main ways of going about evaluating its worth. The first is to assess its qualities on their own and their overall result as a unitary agent. The second is to consider its relative worth in terms of the time and place when it was produced as well as taking a utilitarian view point that can give a “function” to it. The first of these two is the hardest as it requires technical and philosophical insights working holistically, the background for which is not obtained through casual acquaintance of history or plain repetition of “classics” of the genre. It requires years of internalization of both composition methods and a constant meditation on the powers behind music as pertaining to the human mind. The latter is naturally the common choice by virtue of its extreme relativism, which makes almost any interpretation, whether negative or positive, admissible and excusable.

Sinister Ceremonies came out last year, apparently made some waves and popped up in “Best of the year” lists. While it did not make it to DMU’s own list, this may be more due to a lack of diligence on part of the staff than anything else. But given the limited manpower the site wields and the overwhelming number of records released per year, it is not surprising that even an outstanding record flies by unnoticed, let alone a commendable but unimpressive and ultimately irrelevant effort like Domains’. The opinion of the average metal journalist/critic/blogue means little after all, and their majority support of anything is an indicator of lowest common denominator appeal (fuck democracy).

Taking the simple-minded relativist stance, Sinister Ceremonies comes out with a full checklist as it is both balanced, intelligible, catchy, easy to listen to, and to some, perhaps even “brutal” and “dark”. Objectively, to be fair, the songwriting here is actually sober and very self-conscious. The constructions and composition methodology is clear textbook — but perhaps too clear. Its unimaginative and extremely conservative adherence to proven techniques at all levels from riff execution to build-ups and long-range developments are a sure score with conservative underground listeners with a mid-range attention span but fall short of a complete work. What this means is that while the album covers the basics of metal songwriting exemplarily, the full art of composition — its power to attribute meaning and direction to passages weaving into a story — is something that may be entirely foreign to the band.

Finally, the minor achievement that constitutes Domains’ “solid” composition is only a highlight because of the depressive state of affairs of the modern metal landscape, when mediocrity and capricious nonsense made by non-musicians (“professional” or not) reign supreme. In and of itself, Domains Sinister Ceremonies will garner passing and only temporary attention by some conservative types, but its shallow waters will prove an uneventful disappointment for the more serious listener in search of a dungeon to brave.

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Ares Kingdom – The Unburiable Dead (2015)

Ares Kingdom - The Unburiable Dead (2015)
Article written by Daniel McCormick

Over four bitter cold days in February of 1934, there was an uprising in Austria. Tyranny was the victor then, and in the executions which followed, but the killing left its mark on history in the numerous “Unburiable Dead”. Stephen Vincent Benét wrote on the lingering ghost of this conflict, those “Unburiable Dead” in his ‘Ode to the Austrian Socialists’, which carries with it a central theme that I believe a quote from Chuck Keller, Ares Kingdom’s sole song writer, describes well:
“History tells: the veneer of civilization is very thin, and the world remains governed by the aggressive use of force… despite appeals to logic and reason, you get our world—the kingdom of Ares.”

 For while the gilding of modernity instills an inability to fully appreciate to the horrors of history, and we find ennui at the heart of much that is claimed to be injustice in our first world padded cells, the voice, these specters, still speak to us.

Now, turn back the hands of time twenty years prior to the Austrian Civil war and we find ourselves staring down the thick steel of a Vickers machine gun, at the onset of WWI. This is the stage for Ares Kingdom’s third full length album, a concept album of sorts, and a memorial in its own right to the “Unburiable Dead” and the vicissitudes which enveloped nations. From an unprecedented influx in engineering and patents that took place over the forty years prior to the onset of war came the engines of death capable of destruction beyond the understanding of the milieu which bore them. Such misery and violence underlies the imagery of the first four tracks, and, like Zarathustra come down from the peaks, the final three pieces are as songs of experience and wisdom, or is it despondency and spleen? Nonetheless, the album bears a easily followed framework, and one befitting the subject matter.

The music carries a continuity through out the album, and is very much in step with what one has come to expect from Ares Kingdom. Melodic and death stylings seem tied to a steel spine of traditional thrash, and at times verging on an extreme form of heavy metal. Alex Blume performs the vocals with great consistency, and while his range may be minimal the execution is imbued with virile aggression. Alex’s bass work seems solid, and to expectation but doesn’t offer me much on which to build commentary- may be it’s a different story in a live environment? Mike Miller’s percussion does well to accentuate and amplify the dynamics, though I did find myself with the nagging feeling that I was wishing it to go places at times which it never did. With a stand out performance in “Nom De Guerre”, “Demoralize” didn’t seem to indulge my attention in the same way, and overall the drums are greater than sufficient but well beneath virtuoso. A tight backing, as it were, for the main interest.

Chuck Keller’s guitar work, as I’ve come to expect, is the specific reason to seek this album out. If you’ve ever caught one of Ares Kingdom’s live sets, you’d know what I was talking about. Highly creative with technical prowess and gear capable of capturing a dense, traditional, metal tonality, the sound achieved on this album is a paramount effort. The high production values only further the experience. Chuck expressed in interviews that this album was a long time in the making, having begun writing some five years prior to release, and I believe there is much evidence of that. The music communicates – having been well developed, with a harmonious rhythmic body that consistently builds in intuitive and accessible manners, and which drives, with excess, the emoting of phrasing. Essentially, this is a brilliantly written and executed album by a true underground veteran.

This is an epic work, and I give full recommendation. It is astonishing that this comes from such a region of the US so destitute in quality metal music, though all the more reason for lending of support to a lone voice in a sea of banal creations by insipid hipsters and wannabe trash.
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Why metal and SJWs are natural enemies

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The casual observer seeing how metalheads and SJWs, who descend more from crustfund punk and emo than metal, might ascertain that the two groups are radically different. This observer might even note how many of the “tryhard” types are in fact thinly-disguised SJWs. But at first appearance, the reason for this separation will be misunderstood.

An average person will see metal as wild and lawless, like a combination of the Wild West and medieval Europe, where SJWs are more like modern Europe: very morally righteous, sensitive and inclusive. This difference separates metalheads from SJWs, but it is not the primal reason why the two are different. It serves as a guidepost to that end however.

Black Sabbath launched themselves during the height of the hippie period. At that time, the popular narrative that people told themselves was that history from the Napoleonic Wars to 1945 was just one big mistake, and the way to defeat it was love, through people power and pacifism and universal acceptance. Apparently none of these people studied history or they would have known how frequently this trope comes up, and how it usually ends! Black Sabbath saw through what these hippies were saying an argued it was more of the same, and that humanity was in denial of reality and has been choosing various “human realities” instead of actual reality, to its doom.

In human experience, our most common error is self-delusion. When that is discovered, we usually choose another self-delusion. The classic example is the alcoholic who runs into the arms of a tent revivalist, and becomes addicted to another set of false promises. Another is the woman who flees her marriage only to find out years later that the new boyfriend she chose is a lot like the last husband. Voters run from one party to another, as they go from one cell phone company to another, thinking that “the other guy” might have answers. And he never does. The reason why is that he is also selling an illusion, because only illusions sell.

This leads us to why metal is different from rock and why it is the natural enemy of SJWs: metal is against illusions. SJWs want you to pick one illusion over others, but metal points out that whatever is popular is illusion and is wrong. We need some other way of looking at the world than what “most people” want to believe is true about it because it makes them look good, feel important and think they are unique. Humanity is basically a large organic machine for producing lies, and every group wants us to substitute their lie for the dominant lie, but all of these lies have their root in the same idea: that what we feel, judge and emote is more important than reality itself.

Look at politics. It is a wasteland. As notorious shock realist author Tom Wolfe once wrote in a letter to a friend:

The Republican Party as now constituted is obviously too stupid to survive…. What is to be done? Of course, that was Lenin’s line and the only lucid one he ever wrote. The answer is nothing. America’s position is unassailable. We are the imperial Rome of the 3rd Millennium. Our government is a CSX train on a track. People on one side (the left) yell at it, and people on the other side (the right) yell at it, but the train’s only going to go down the track. Thank God for that. That’s why I find American politics too boring to write about. Nixon is forced from office. Does a military junta rise up? Do the tanks roll? Give me a break.

Let us separate “rock music thinking” from “real world thinking.” Not in the way that our great-grandparents did, where rock was bad and work was good, but in the manner of people who recognize that popular music is entertainment which pretends to be profound, but is the opposite of art which explores profound subjects through realism. Entertainment wants you to think it has all the answers, but ultimately it is a social phenomenon, like chatting up a girl near the keg at a frat party. It says what flatters its listeners. It wants them to think they are profound, interesting, vivid, heck… it wants them to think they are the stars on the stage… because that sells rock music, and lets all these musicians and labels and journalists keep up the nice cushy lifestyle instead of the job managing a Target or 7-11 they would have had, had rock not come along.

Rock music thinking is advertising. It wants you to think that you can be all the cool in the world for just this one next purchase, whether a tshirt or CD. It needs to offer you highly dumbed-down and simplified ideas that make you feel like you are in control of the world. Why get into the nuances of international politics and millennium-long analyzes of the health of empires? Just say “love is the answer.” All the people will flock to that, not so much as they are idiots — although most of them are — but because they are self-deluding. They want that easy, convenient answer because it makes them feel in control.

SJWs are part of rock music thinking. They have gone from “love is the answer” to “tolerance is the answer,” forgetting that like so many Utopian quests this one will involve denying human nature and human needs, and as a result will require increasing degrees of force to make it work. They also ignore the somewhat banal reality that people mostly do not like each other and tend to associate in groups of people like themselves as a barrier to the broader world. In consequence, what SJWs preach is illusion just like the other illusions. Look at them all.

The public conservatives in this world are arch-dumbshits who think that if they adopt liberal ideas about equality, but keep industry and war going on, we will somehow turn out OK. Their great fiction is that if you just go to a job and spend all of your life there, and then manage your affairs responsibly, society will somehow follow your lead. Actually, they never think that far, because they are dumbshits, as mentioned above.

Liberals also fit in the dumbshit category. They think that if every person is just “free” and “equal,” society will magically self-organize into a permanent Burning Man of love and happiness. They ignore the fact that most people are inveterate liars who avoid the truth compulsively, and that what makes happy societies is forcing those stupid fucks to obey reality instead of their own neurotic, fruity minds. Liberals also like to give away things for free, taking from the useful and giving to the useless and spending themselves out of money, at which point their societies collapse. Europe and the USA are about to collapse from this phenomenon. More dumbshits.

Nazis — and I really don’t want to get into splitting hairs about who’s a fascist, a neo-Nazi, a white nationalist, a racialist or just a bigot — are also in the arch-dumbshit camp. They are SJWs of the far-right. Where SJWs think that tolerance is the answer, Nazis think that intolerance is the answer, and that if we just remove the mud races and Eternal Jews everything will be OK. This ignores the problem that most white people are stupid as bricks and dishonest as whores, and that our society needs a redesign from the top-down not bottom-up. I think Nazis more resemble Communists than they want to think. They are right in that diversity has never worked throughout history, but wrong in who they blame, which joins them in the dumbshit camp.

The far-left might be even stupider. None of them realize that the ideas they are chasing are from 1789 and 1867, but go back even farther to the religious fanatics of the 1500s. They are claiming very old and debunked ideas as a “new way” that will somehow magically avoid all the problems that human society has known since the dawn of time. If we all just went vegan, listened to posi-techno, and gave everyone free money, they think, all causes for conflict would be eliminated. But life is a cause of conflict because that is how it negotiates change so that the more realistic prevails over the self-deluding. Humans don’t want to be reminded of that, because it points out that Darwinistic natural selection (DNS) might take our lives at any moment if we delude ourselves, yet self-delusion is our nature. I see the far-left as overgrown children trying to pretend life is not happening to them.

Libertarians are like Nazis: extreme dogmatics who do not realize the leftist roots of their own philosophy. The idea of the free market I get and support because it allows better products and services to become available without some bureaucrat giving them the rubber-stamp. In fact, the libertarian idea of replacing most of society with a market has merit. The problem is that then we’re back at conservative anarchism where we assume that magically, the tiny group of people doing the right thing will win out over the self-deluding herd. Ain’t gonna happen. Libertarianism is another form of voting where the good people neutralize themselves by never, ever stooping so low as to tell others what to do, and then the masses roll right over them on their way to the Budweiser, light cigarettes and sugary cheeseburgers.

I’m not sure there are any other philosophies in politics worth considering. Anarchism is fun because in small groups, people who know and like each other can collaborate, but it falls apart after that. Communitarianism and distributism and all those other hybrids are ways to try to make socialism work within some kind of cultural context, but those fall apart because the idea of getting free stuff beats out any conditions placed on it. Traditionalism is interesting, but it’s basically Nietzsche for Christians, which makes it less useful, and the idea that religion can substitute for the structure of society — which is generally culture, leadership and religion, informed by economics — is laughable in itself. Same for Rastafarians and atheists I suppose.

Delusionists want to ignore the obvious: this world is hell. We have made a disaster out of civilization and are leading ourselves to collapse. There is no escape from the end, at least until we stop our fundamental error, which is assuming that delusion can substitute for realism, which is just like the alcoholic insisting that he’ll be OK if he only drinks clear liquors, or the tent revivalist telling you that all will be okay if you just believe and ignore the world around you (including the hand in your pocket). Humans tend toward self-deception because it flatters us that we are in control. Politics reflects this with many varieties of denial.

The point I make in insulting every political group that I can think of is this: metal wants to end human delusion, and everyone else wants their type of human delusion to be “validated” by everyone else. This is why metal hates SJWs; SJWs are apologists for our current society because they believe that with just a little tweak to our delusion, we make make the illusion work, when metal reminds us that we are the new Roman Empire falling because we have introduced too much internal conflict and lack a shared purpose. You can only have a shared purpose if you are focused on reality, and as human societies grow and become wealthy, they empower their people to deny reality and become self-deluding. Metal wins over all these silly varieties of illusion.

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On writing negative reviews

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Back in the days of information scarcity when metal fans found bands through fifteen-generation tapes and xeroxes of pasted-together fanzines, I made the decision to focus on bands of quality. People needed more than anything else a shopping list when they wrote to Wild Rags or Relapse with an order form; as Relapse mailorder grew and essentially became the center of the underground mail order scene, the copywriting got more exuberant and people became even more confused. They needed solid information in the form of “reviews” that actually assessed the material and came up with solid reasons why it might be worth listening to for more than a few months. Looking down a list of of releases with two-line descriptions that ended with “it’ll tear your head off!” gave people nothing, and in the limited hours they had for finding new metal, they needed descriptive writing that could show them what stood out above the rest.

For that reason, I wrote positive reviews and ignored the bands that did not strike me as interesting enough to hear for repeated listens over the years. As Karl Marx reminds us, time is money and conversely, money is time, exchanged by working hours for what can then be spent. Money spent on the wrong bands damges fans. It also damages the health of the scene. Worse, it creates a Darwinistic negative effect where bands are rewarded for slapping out some haphazard or soulless material but getting a good cover, signing to the right label, or having solid promotion, and then getting rewarded for this mediocre content but good marketing. Quality reviews enforce natural selection on metal where the best rises.

Over time the market shifted. With the rise of big metal magazines which would cover the underground, and then the internet, there was no longer a shortage of information. The opposite problem presented itself: we were literally drowning in information. Magazines published thousands of reviews, most of which described some of the surface attributes of a band and then praised it as the next best thing. Internet websites emulated them and became cheerleaders more than critical voices. People now had so many options that they needed not only a list of things to look out for, but defenses against the hype and promotion. They needed solid reasons why some bands were just promotion and aesthetics with no content.

I wish that during this time I had written more critical reviews. I should have been shouting from the rooftops that the first Opeth was warmed-over hard rock made in a cryptic pseudo-progressive format to give basement dwellers some reason to think they were more “deep” than their friends. I should have screamed at the first Slayer to deviate from their unbroken quality, Divine Intervention, and pointed out that the band would have kept its old audience and new by not imitating the past, but keeping up the quality and compositional style of the past instead of going toward vocal-driven hard rock. I should have called out every band of the two types that make metal fail, the false-authentic “tryhard” bands that imitate the surface of past greats, and the “open minded” bands that borrow from old genres and call the hybrid a new thing. But I was stuck in the old mode of trying to find the good in a stream of so-so.

The problem with this approach became obvious over time: there were few gems, but a constant stream of news, and by dropping out of that news stream, I failed to comment on what people were seeing on their screens and pages. They needed guidance from experienced hands who could say, “Nope, seen this before — it’s Bruce Springsteen riffs tricked out as jazz rock with some metal flourishes.” Or, equally important, to ask why it was that a band sounded exactly like Celtic Frost or Blasphemy but the songs had none of the personality and variation of those bands. With the information overload, metal needed mean voices to provide counter-arguments to the excuses and trends offered in the promotions.

For this reason, in the latest incarnation of this site we launched the sadistic style of writing metal reviews. We take the highly-hyped and show why it is hollow, empty and meaningless. The point is not the band itself, but the series of tropes used by labels and magazines to sell this band. If they claim it is open-minded, we need to show how it is merely an imitation of the past in an older genre than metal. If they claim it is trve, its utter lack of ideas and simultaneous aping of the past needs to be revealed. People need mental weapons against the onslaught of advertising coming from both big media and thousands of little over-enthusiastic blogs.

Those of us who write do so — if we are good — to convey some kind of information, usually the type of learning one gains with experience. We can peer beneath the layers of production, marketing, trendy chatter and hype and get to the real question: is this music interesting enough to listen to for months and years, instead of another passing fad? This helps keep metal healthy by ensuring that the good releases get rewarded and the bad forgotten. For many years, I failed you all in this capacity, and I hope to rectify it with well-placed cruelty laying bare the essence of this music.

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“Can Latinos be Nazis?”

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Speaking of performances quietly cancelled because of perceived political views of the band, the Phoenix New Times brings us a hilarious story about SJW-induced panic over political incorrectness:

The bands’ members are mostly of Mexican descent , bringing up the question, can Latinos be Nazis?

The headliner, Nokturnal Warfare, is a Los Angeles-based group describing itself as a “nican tlaca black metal” band, a reference to a nativist Mexican pride movement. It might seem counter-intuitive for Mexican radicals to associate themselves with neo-Nazis, but there exists an offshoot of national socialist black metal (NSBM, a.k.a. Nazi metal) that has melded with certain strains of Mexican pride movements. A Spanish-language NSBM label called Pagan National Socialist Organization includes bands that feature hybrid images such as swastikas made from Aztec symbols.

The storyline is the same: show is booked, SJWs find some incriminating imagery on Facebook and swarm together in a Tumblr hive, promoter cancels show but is afraid to say why. Then we run into these ludicrous questions about whether these guys are actually Nazis considering that they are not white and not German. The hilarity accelerates:

On the band’s use of swastikas: “The swastika we use is the Mexica, better known as the Aztec swastika. It symbolizes the sun, primarily the sun war god Huitzilopochtli who was the supreme god of the southern native Mexica. … The swastika IS a Mesoamerican sacred pagan symbol. All because the third Reich uses it doesn’t mean we use it the same.”

They do sort of have a point. Swastikas show up in American Indian culture and the related Mesoamerican cultures, much as swastikas show up in Japanese, Finnish, Korean, Indian, Buddhist and Hindu imagery. Before the second World War, swastikas were common in American advertisements, including for Coca-Cola. This ruins the idea that a swastika has to mean whites hating non-whites. Even more, it calls to mind the question: if any group has pride in itself, does that make them Nazis?

Such questions are beyond the scope of this article.

What is within its scope is the problem metal faces with SJWs: they find new meaning in life by destroying the art of others. Their goal is not to expand meaning, but to collapse it into two categories. Either you agree to bleat the SJW orthodoxy, or you are an enemy of the state, an ideological dropout who should be treated as a mental patient. The hypocrisy of it is that most SJWs are white trust-fund babies who went to expensive colleges to learn this stuff, and now use it to assuage their deep inner doubt as they labor on in utter failures of lives.

This brings to mind other times SJW ideology has collided with reality, such as when bisexual Turks troll around with Nazi and racist imagery just to provoke the sheer stupidity of the herd. The SJWs are the herd; they are being trolled in the classic sense, which occurs when people poke at the sacred cows and taboos of an uptight group knowing that the group will lash out in hilarious ways. This is not much different than the Church of Lucifer opening a “church” in a tourist trap or metal bands using themes of war, eugenics, Darwinism, disease and apocalypse to momentarily stir their audience into brief glimpses of something like thought.

In the meantime, another show is cancelled and SJWs attempt to sweep the band under the rug, terrified that somewhere out there the rest of us might make up our own minds. With SJWs, like with Nazis and Stalinists, you either say the right thing… or you must be destroyed. It’s not surprising that metal continues to clash with these intolerant, small-minded and bigoted SJWs, exploding into the conflict we call “Metalgate” because it reflects the same attempts at industry takeover by SJWs as we saw in GamerGate. As with the gaming industry, SJWs have failed to take over metal, and are now fighting a rearguard action to try to save their fractured sense of self-esteem.

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Maryland Deathfest organizers confirm Disma removal from California Deathfest for SJW reasons

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As reported previously, the California Deathfest (produced by Maryland Deathfest) has booted death metal band Disma for alleged un-PC associations. The organizers of the Maryland Deathfest refused to answer queries by our journalists and others about the reason why Disma was booted.

And then, they publicly denied it:

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Unfortunately for them, a metal defender confirmed that the dismissal was politically motivated by reaching out to vocalist Craig Pillard (Incantation, Disciples of Mockery):

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His statement read:

they removed Disma!
with no announcement to make us look like the assholes

yes, its true the liberal agenda pc assholes got to the promoter of those shows and we removed Disma which is a not affiliated with any political group at all… but it only helps us for people naturally will get drawn to us more because of this now… thanks for your support for Disma

At this point, the Maryland Deathfest organizers began backpedaling about their reason for refusing to make a statement:

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As they tell it, you see, it was not because they did not want to make a statement, but because in some imagined division in our mind, we — and the others who wrote to them — were not “journalists.” Never mind the hundreds of death metal, black metal and heavy metal bands who see us that way, or the work we do. This was a convenient lie for them to escape accountability. As word of Pillard’s statement spread, however, the retreat and backpedaling began in earnest.

Even worse for them is the fact that this issue has come up before with Disma. SJWs complained in Austin, and Disma was yanked there, too, despite there being no evidence or clarification that Craig Pillard is actually involved with any of these political beliefs. Even more, since Disma has a guitarist of Jewish heritage, it is highly unlikely and even laughable that the band would have any political leaning.

No, this was a witch-hunt, pure and simple. It makes SJWs feel powerful to force the world to bend to their ways, and when they can use guilt as a weapon and force others to obey the voices inside their own heads, they almost feel validated. Almost, because they keep doing it again and again. As Metalgate has proven, SJWs are not the most successful, good-looking, intelligent or competent people, which is why they form an angry mob. The people who could not make Onward to Golgotha get an almost sexual thrill from taking down those who could.

This is why Metalgate exists: to defend artistic expression from the small-minded nanny society witch hunters. Here is Pillard’s statement from the last time Disma was witch-hunted by SJWs after their Walter Mitty style cube jobs:

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“To the less than one tenth of one percent of the bleeding hypocritical liberalists and to anyone that actually cares, this is my first and final statement; Disma-in no way, shape, or form, has any significance to the ideas of project Sturmfuhrer. On my part alone, the solo projekt known as Sturmfuhrer was a musical and social experiment in the extreme; its purpose was not meant for your pleasure, but for your pain. If I have offended anyone, then it has fulfilled its intended purpose. I do not belong to, or associate with any ideological group in any capacity. To penalize the collective band known as Disma, would be hypocritical and absurd. Thank you for the extra press! – Craig Pillard”

Beef, its whats for dinner!!!

Like many metal musicians, Pillard pushed the boundaries of what is socially acceptable in order to make a point. He was not making propaganda, i.e. music that tells you to think a certain way. This was an artistic statement. But SJWs, bored and lonely in their successless lives, always seek new targets. To give them a sense of purpose. To make them feel important. Even to convince them for a few moments that they are actually good people, instead of mediocrities with the moral caliber of a boiled clam. And Maryland Deathfest gave in, then lied about it, and then lied some more, all to protect this tiny group of people who have never created any metal worth listening to.

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Brouwerij Affligem – Affligem Dubbel (2015)

brouwerij_affligem_-_affligem_double

What sort of beer would you want at a metal gig? Strong, savage perhaps, but flavorful. What about a metal gig with keyboards? There you might have Affligem Dubbel, a tasty and strong double-fermented beer with a fruity and spicy undertone that is less extreme than found in most Belgian ales. It pours in a thick medium brown stream with minimal head, and immediately presents the scents of a rich beer. In flavor, it is mostly a darker sensation with mostly a malt flavor, some bitterness from spices (coriander in a blend unique to this variety of beer) and as it spreads and warms on the tongue, a fruity flavor like apple and pear baked together with a citrus topping. Alcohol flavor melds smoothly with the beer and is hardly detectable, melding into a strong caramelized flavor with a pleasant aftertaste of molasses. If you want a comparison to more familiar beers, consider this a richer and denser German-style version of Newcastle Brown Ale as made by Belgium corporations… err, Trappist monks (the first hipsters to popularize the beard). At 6.8% alcohol, this beast provides enough of a dose in a single 750ml serving to satisfy the metalhead who still wants to remember the show. Affligem Dubbel succeeds at making a beer for daily enjoyment, which is a process of understanding how flavors meld to make a satisfying beer experience, and its wide availability suggests it is geared for a market other than the foodie-style novelty crowd. It does not yet rise to the level of an iconic taste like many of the best-loved beers, but presents a solid middle ground which incorporates the Belgian style without going over the top. While many of the nu-Belgian style coriander-and-citrus beers are outright disgusting, this one is worth the time and fighting through the burly men with long bears and tattoos who are buying IPAs at the beer counter.

Quality rating: 4/5
Purchase rating: 3/5

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