Malevolent Creation – Dead Man’s Path (2015)

Malevolent Creation - Dead Man's Path (2015)

Malevolent Creation has been in my listening backlog for many, many years on the strength of a few tracks from Retribution. I never got to them, because I was constantly distracted by trendier bands (brands). When I first acquired Dead Man’s Path, I theorized that since the band’s been around for nearly 30 years and retains some of its original members, this was not going to be a major stylistic departure from those past works lest long-time fans abandon them in droves. The flipside of this, as evidenced by my experience with similar types of recent releases such as Repentless, is that I expected that regardless of the final quality, I expected a streamlined version of MC’s past style.

My listening throws this into question. Malevolent Creation’s early works tended towards the ancestral end of death metal, with obvious speed/thrash metal roots poking out of an otherwise standard monophonic, dissonant approach. Dead Man’s Path recalls something of this, but as predicted, it turned out more conventionally musical, with more consonant melody and a denser production (out with Scott Burns and in with Dan Swanö). Add in a somber march of an intro, and a renewed emphasis on vocal patterns, and you have a release that has definitely streamlined itself. It doesn’t rock the boat much, and it does still pass the aesthetic litmus tests that define death metal, but the production and packaging isn’t particularly interesting to write about beyond its most basic qualities.

Unlike most of the bands that take this approach, however, Malevolent Creation does a good job of applying their musical practice to write better songs. To my understanding, they were never a particularly complex act, and most of these songs rely at least in part on obvious verses and choruses. However, good use of tempo and rhythm shifts in particular keep things from getting too skull-crushingly obvious and predictable. The band members also showcase enough compositional awareness to move integral song elements around between tracks to obfuscate the formulas a bit. I would personally have liked to hear more variation in riff styles, as some of the songs here (“Corporate Weaponry” in particular) suggest that such could be successfully incorporated while retaining the strong points of the band’s approach. That, however, is a small flaw in an otherwise very solid package.

To be fair, I was not expecting the strengths of Dead Man’s Path to be so covert, but they are the sort of elements that take some time to properly dissect and understand. However, this makes it a more valuable and perhaps integral work than most of what passes through the review queue here.

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Scale The Summit – V (2015)

Scale The Summit - V (2015)

Everyone has at least one person in their network who is obsessed with “smart” music; your local government will provide you with a complimentary one if you have any doubts. You can tell music is “smart” by the fact it’s either instrumentally complex, aesthetically gimmicky, or even merely composed of band members who agree with some of your socialpolitical opinions. V is not the first to the best of my knowledge, but its ties to the djent and “progressive metal” scenes give Scale the Summit a built in audience full of such people. The relatively clean guitar tones and otherwise frequent moments of gentle strumming make me question the metal label, but I’m not yet the type to judge music solely by its genre. It does mean, however, that I’ve mentally shelved this on the progressive rock shelves along with acts like Camel and Yes, which admittedly are radically different in overall approach, but at least give this album some stern competition which it desperately needs.

V is actually a collection of jazz fusion instrumentals that presumably took some time to practice and learn even for the band’s technically skilled musicians. Much has been written on the idea of jazz-metal fusions, but Scale the Summit seems quite archetypal in that regard, relying on thorough-composed songwriting with distinct sections over improvisation, but favoring lighter, cleaner tones and sounds even at their most intense. One thing that divides me is how rigidly and academically the band approaches song structure – tracks here are full of obvious “We’re going to vary the song by modulating to another key or changing the drum pattern” type moments that probably look well-planned if you consult the corresponding tablature, but don’t work out in practice for being too jarring or too frequently followed by an obvious pause. This might be something to expect from such a rhythm-heavy style, but it still strikes me as a notable weakness, and one that makes some of these songs so self-conscious that it interferes with their overall memorability and impact.

Ultimately, I find Scale the Summit to be aesthetically pleasing, and I can derive some intellectual satisfaction from piecing together the theoretical level of their music, which is more than I can say for a lot of so-called progressive metal. I can’t guarantee that I won’t plunder V for some of these technical ideas. Employing this prowess towards more interesting and less obvious (less formulaic) songwriting is going to be quite a challenge, though. I can’t guarantee you that Scale the Summit will do the same, since they seem pretty content with their current technically proficient but otherwise ephemeral style.

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Interview: Oovenmeester of Noordelingen (2015)

noordelingen_-_cover

With the recent release of Kaeck Stormkult, it seemed a good time to look into the members of the band that is leading the charge toward primal yet melodic black metal. Two members of the group come from Noordelingen, a black metal band from the Netherlands, and were placated with the carcass of a fresh-killed hipster for long enough to conduct this interview.

When did NOORDELINGEN begin?

Oovenmeester: I think it began in 2010 as a spontaneous project. I had the lyrics already and Swerc was up for a new project.

I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.

What does the name mean?

Oovenmeester: The name means “those from the north” Or “dwellers of the north.” We both live or have lived in Groningen which is a province and city in the northern part of the Netherlands. And I have a lot of affiliation with both city and province. The lyrics used in Noordelingen are stories based in a medieval, fantastical version of this region. Where drunk horses graze under a brown moon, giant homarids look for the rare and valuable substance known as URFT and de kattenmepper van Groningen (the cathunter of Groningen) can be found stalking the streets.

It is different from the term “Noorderlingen”?

Oovenmeester: I think Noorderlingen is the official Dutch spelling, but that’s just not right for us. Just not right… It doesn’t have the right taste.

Who is in the band?

Oovenmeester: Just Swerc and the Oovenmeester that’s enough!

What were your musical influences, and how did that change as you began writing?

Oovenmeester: I think Lugubrum is a very important factor for me. They have absurd lyrics which I really like. With a similar smell and feeling.

Musically you can’t compare it to them, while Noordelingen is more melodic and faster.

What material have you released, and how do people get it? Is there any source of news or information on the band?

Oovenmeester: just follow your nose. Furthermore, there is nothing official out, but I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.

I understand you’re now involved with KJELD / SAMMATH members in a project named KAECK. How did this come about, and how is it different from NOORDELINGEN? Will NOORDELINGEN continue?

Oovenmeester: I was asked by Swerc to provide lyrics and vocals for Kaeck. Its content and style are very different indeed. Kaeck is about visiting dark places in your mind. And has a more to the point aggressiveness in it. Where Noordelingen has more of a filthy vibe to it. We will probably continue Noordelingen at some point. But we have nothing planned yet.

We do this for ourselves. If others like it as well, then it’s just a good bonus.

Is it hard for quality black metal to get noticed these days?

Swerc: Depends of what you mean with ‘noticed’ actually. If you want interviews, tours and lots of releases, then yes. But I think the scene is very active and always looking for new quality music. If you are good enough, you will be noticed. But that’s not our priority. We have a very busy normal life, so ‘getting big’ isn’t our goal. We do this for ourselves. If others like it as well, then it’s just a good bonus.

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Darkthrone to rerelease Soulside Journey on September 25th

Darkthrone - Soulside Journey (1990)

Even Peaceville Records is getting in on the compact cassette revival. While Soulside Journey is far from stereotypical for Darkthrone, and furthermore already saw a cassette re-release in 1996, this is still a fine addition to your collection in its various forms for the strength of its content. Prior to creating several genre-defining works of black metal, Soulside Journey showcases the band performing a musically literate and melodramatic variant of death metal. It’s an admittedly sparse and atmospheric take on the genre that takes some acclimation to fully understand, but one that rewards attentive listeners. Funnily enough, this dodges the convenient upcoming 25th anniversaries of Darkthrone’s upcoming material, but those are likely too obvious for the record labels to ignore in the coming years. In the meantime, Darkthrone will probably see a great deal of reissues – the questionable Black, Death, and Beyond compilation, for instance, was recently reprinted on compact discs.

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The differences between politeness and political correctness

duel

When our society fell apart, we lost politeness. In our modern view, politeness consists of validating other people whether they deserve it or not, especially if what they are doing is stupid or destructive. “It’s all good, man,” is the refrain of our time, inspired by our hippie grandparents.

Politeness originally evolved as a way to disagree without making it personal. With its replacement, Political Correctness (PC), everything is personal. Under politeness, you could disagree vehemently with a fellow citizen and then go on your way and still be friends. With PC, you have no reason to disagree with him unless he is bad — which used to be reserved for pedophiles, rapists, thieves and the like — but being un-PC is reason enough to consider him bad.

Members of the cult of PC will drop friendships with people who disagree with them. Where an impolite person would be simply shunned, in the PC mindset the only way to lose someone is to make them out to be a villain or enemy. They achieve this status by failing to universally validate all of the people they encounter. Dislike of someone’s behavior is considered dislike of the person themselves, and reason enough to exile the person who dared notice the bad behavior.

Consider this conversation:

Person 1: You’ll like Sally, she’s nice.

Person 2: Everyone here is nice.

Person 1: Yeah, but I know Sally.

Person 2: Why do you hate most people?

Under politeness, it was understood — and this is too complex for PC people — that saying Sally was nice was a way of vouching for her. But PC does not allow you to selectively approve of anything. Either it is all good (“, man”) or you are an enemy who targets some people by the simple act of not approving of them. In the same way, PC people demand that you relinquish any personal preference or opinion other than a positive one.

Person 1: I really like tech-deth.

Person 2: Which bands?

Person 1: Oh, anything, really. All of it is good.

Person 2: I only like Shove This Microphone Into My Rectum.

Person 1: Only? There’s a lot more good than that. Lighten up, citizen. Expand your calm.

Politeness allowed people to converse on the basis of exchanging information. This meant that an answer could be reached, or at least viewpoints could be fully articulated and people could mull it over later. Under PC, the right answer is always the same answer: everyone is right, we just really like one answer (but the others are fine, too, not that there’s anything wrong with that). It is essentially an agree to disagree for all debates, factual questions, logical questions and preferences.

Person 1: Incantation is the best old-school death metal band.

Person 2: Naw, I like Death better.

Person 3: We all have our preferences and all of them are good.

Person 2: That’s just your opinion, man.

Needless to say, PC is the defense of people who are underconfident in their beliefs. If they honestly thought that being a slut, being a hipster or liking stupid music was acceptable, they would not be trying to force you to validate it through universal acceptance. They would be instead proudly liking what they like and would be able to articulate why. PC replaces the need to have a why (or facts, or logic) for any belief. Instead, they simply regard everything as a subjective preference …except… when someone has a negative preference, then they gang up on that person and wreck his life.

When we shifted from politeness to PC, we lost the ability to have principles and get to a right answer at the end of a discussion. Instead, everything is now a Facebook wall: people spouting off about whatever they encounter, hoping to appear different enough to stand out, with nothing being wrong but also nothing being right, and so nothing is decided and nothing is acted upon. In this state of entropy, we sit decisionless and await some fortunate apocalypse which will deliver us from this utter tedium of being alive.

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Skepticism – Ordeal (2015)

skepticism_ordeal

Our previous editor got his hands on some version of Ordeal and was not particularly fond of it; in particular he criticized it for being “self-referential” and lacking in well thought out composition. In doing so he cast a great shadow over my hopes for this album, but one I could not even acknowledge until I had listened for myself and determined whether or not his criticisms were accurate. It was a very persuasive argument in the mean time; the very title of the album, the fact it contained two rerecordings of previous Skepticism tracks, the gimmicky recording technique, and so forth come together to predict validity without actually being sufficient indication of the contents within.

Actually listening to the album immediately put me into mind of one major lesson I derive from my own personal review efforts: I respond more quickly to music that reminds me of my own efforts as a musician, and Skepticism with their funeral doom style is the antithesis of myself. While my experience with the band’s previous efforts is limited, their particular take on the subgenre is still interesting on some level, as their overall choice of tonality and instrumentation seems to absorb all the doom and depression one might expect and replace it with the musical equivalent of barren, but sublime natural landscapes – mountain peaks, desert canyons, and so forth. That’s the ideal, at least; given that Ordeal‘s sloth makes it superficially resemble ambient music, and that plenty of both metal and ambient musicians turn towards Earth’s ecosystems for inspiration, it seems a reasonable goal. Still, something deeper and more fundamental wasn’t clicking, and in an attempt to more quickly absorb the structures of this album into my mind, I turned to pitch-shifting algorithms.

While playing Ordeal at three times its intended speed ended up making everything sound daft, it helped to reveal the underlying structures of Skepticism’s music. It turns out that, at least from a mathematical perspective, these compositions are definitely janky, as they are full of sudden shifts to subtly different material at odd intervals. In a style as slow and orderly as this, that seems a poor fit and makes for anything but an organic approach. This exercise also suggested, rather more sinisterly, that Skepticism’s compositions are perhaps assembled at a higher speed and then stretched out as necessary to create longer tracks. While I can’t confirm anything about how the music was constructed, I would not be fretting about it so much if the end result was not held back by its own awkwardness, and if the laggardly tempos didn’t make appreciating any musical moments a chore.

Since the rest of the band’s discography is at least superficially similar to this, I can at least extend Skepticism a hearty congratulations for making me doubt the value of the rest of their discography. That, if anything, is a (dubious) honor, but hardly one worthy of praise.

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Satan to release Atom by Atom on October 2nd

Satan - Atom by Atom (2015)

Since we quite enjoyed Satan’s previous album (Life Sentence), it only makes sense to give their latest a mention as well. Satan’s musical style is understandably descended from the popular NWOBHM styles of the late ’70s and ’80s, but also showcases some musical techniques that would become influential in the speed and power metal camps, and their most recent albums adopt a similar style with understandably better studio polish. While this followup is not set to officially release for a few weeks, the band has released a track for promotional purposes. “The Devil’s Infantry” changes little if anything from Satan’s recent past, and hopefully the rest of the album will live up to the high standards it and the previous album set for the band.

https://www.youtube.com/watch?v=FQrtNA2VIMo

 

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News of the Censorship – September 17, 2015

As long as there are human societies, people will attempt to control the information that goes out to the group. People can be easily manipulated, especially in groups, and that creates both a fear of unnecessarily incendiary material on the positive side, or subversion of the dominant paradigm and narrative on the dark side.

Here’s what happened this week with censorship and the response to it.

  • Angela Merkel wants Facebook to censor dissent on immigration.

    Former East German politician Angela Merkel, now the putative head of the European Union, has made the statement that Facebook should censor racial commentary including speech against the recent immigration surge into Europe:

    Politicians and celebrities have voiced concern about a rise of xenophobic comments in German on Facebook and other social media platforms because of the refugee crisis.

    “When people stir up sedition on social networks using their real name, it’s not only the state that has to act, but also Facebook as a company should do something against these paroles,” Merkel told regional newspaper Rheinische Post.

    The problem with this of course is that it includes both the rude and cruel speech of those who fling racial slurs, and those who merely mention the issue and possibly critique it. Merkel did not say “ban racial slurs”; she argues for the banning of “racial commentary,” which in theory could include this post. She reveals her East German roots with this one.

  • Reddit censor Ellen Pao fails to appeal failed gender discrimination suit.

    Former Reddit interim CEO Ellen Pao, who tried to implement the banning of controversial content by topic and not texture (such as slurs) on Reddit and was partially successful, was working at Reddit after being fired from a law firm which she was suing on the grounds of gender discrimination. They said she under-performed; she said they discriminated against her. Most suits of this type get settled to avoid publicity, which means that many people get a payout for simply bringing the suit. The firm, Kleiner Perkins Caufield & Byers, fought back instead and won. Pao appealed and was widely hailed as a hero by SJW journalists, even as she was acting on Reddit to shut down any speech on certain topics, even if factual, logical and polite.

    Ellen Pao is dropping her appeal of the gender discrimination suit she lost against her former employer, venture capital firm Kleiner Perkins Caufield & Byers. Pao sued KPCB in 2012, claiming that women were not given fair consideration in the male-dominated workplace. She also said that a male colleague with whom she had an affair unfairly cut her out of e-mail correspondence and upper management did nothing about it. She was fired soon after filing her suit. After a bruising month-long trial in which her personal character and work performance were repeatedly brought into question, a jury of six men and six woman ruled that there was no evidence of gender discrimination.

    The failure of her appeal means that Pao is out for the legal costs of her initial suit. This shows a court (and jury) spanking down such spurious suits by not only denying her victory, but also forcing her to bear some of the cost of making the accusation. This perhaps reveals the amount of damage such unnecessary profiteering has cost firms.

  • Cartoon exhibit fights back against censorship and terror

    Pittsburgh City Paper reports that a cartoon exhibit is fighting back against censorship and threats to speech in the wake of the Charlie Hebdo attack, the Jyllands-Posten cartoon fatwa, and a shooting at a “Draw Mohammed” cartoon contest in Texas which seems to have been designed to provoke Muslim fundamentalists. The exhibit touches on many issues related to free speech and free expression:

    Slinging Satire: Political Cartoons and the First Amendment, curated by Rob Rogers, the Pittsburgh Post-Gazette cartoonist and ToonSeum board president, courageously takes on civil rights, racial inequality, terrorism and the impact of art on politics.

    The provocative exhibit features digital prints donated by 20 renowned artists from newspapers and online publications across the country, including the Los Angeles Times, The Washington Post, the Chicago Tribune and The Boston Globe.

    The most striking part of the exhibit is “Je Suis Charlie,” a tribute to those fallen in the Al Qaeda attack at French satirical publication Charlie Hebdo this past January.

    It is unlikely that this event will be popular among the extremist set but it aims to re-establish certain liberties taken by writers and artists in the past that are currently threatened by censorship or violence from many sides.

  • Gentleman’s barbershop fined for not cutting woman’s hair.

    In a desire to provoke denial and create a sense of personal injury, a woman entered a barbershop which advertises itself as specializing in the cutting of men’s hair, was as expected refused service, and has now invoked Government to force us all to be nice precious snowflakes who get along with each other. Never mind that barbershops for men have existed for centuries much like their female counterpart. The state imposed its demands with an investigation:

    Now, the business is at the center of a heated debate after owner John Interval was fined $750 for refusing to cut a woman’s hair.

    She filed an action with the state’s Bureau of Professional and Occupational Affairs.

    That agency imposed the fine for gender discrimination after a state investigator visited the business and interviewed Interval.

    This continues a habit in American and European law of forcing people to serve every other conceivable customer, even if illogical, and limits both their speech and free expression in how they run their businesses. While this is being argued as a victory for freedom, in fact it deprives people of freedom to operate a business for a specific clientele.

  • Charlie Hebdo could be sued after mocking refugee death.

    No stranger to controversy, and recovering after the slaughter of most of its upper staff by extremists, French satire magazine Charlie Hebdo faces a new foe: government. According to its detractors, the magazine has crossed the line into full-on racism, which is illegal in France despite being a matter of free speech:

    But barrister Peter Herbert, Chair of the Society of Black Lawyers and former vice chair of the Metropolitan Police Authority, was among many who said Charlie Hebdo had overstepped the mark.

    Mr Herbert alleged on Twitter that the magazine was a “racist, xenophobic and ideologically bankrupt publication that represents the moral decay of France”.

    He added: ‘The Society of Black Lawyers will consider reporting this as incitement to hate crime & persecution before the International Criminal Court.’

    This will have chilling effects for speech as the definition of racism expands at the convenience of government and media. It seems ludicrous on its face to assume that criticism of someone who is of another race must naturally be racist, instead of assuming that they are being treated just like anyone else, since Charlie Hebdo somewhat ineptly mocks everything and anything.

  • SJWs attack RPG-style games, causing companies to adopt censorship policies.

    RPGs are for hardcore nerds who love Dungeons & Dragons and related games. SJWs however insist that everyone obeys their maniacal doctrine… even when those people are already obeying it. A game called Tournament of Rapists aroused SJW ire, but apparently no one read anything about it, because in the game players battle these rapists, SJW-style. SJWs could not be bothered to do the research and attacked, causing at least one company to adopt an official censorship policy:

    Steve Wieck, CEO of DriveThruRPG, issued his final response to the controversy on Tuesday. In a long blog post, they explained that they had come to an agreement with the publishers of Tournament of Rapists, and that the title would be removed from the store.

    Wieck also announced a new policy on offensive content, whereby RPGs reported as offensive would be screened on a case-by-case basis. Wieck announced that he would be the “final arbiter” of what was deemed to be too offensive for the store, and informed readers that he would “err toward including content, even when it challenges readers and deals with sensitive issues, so long as it does so maturely and not gratuitously.”

    This continues the assault on free speech in games on the basis of “moral” grounds known as Social Justice, which apparently holds that everyone must tolerate and pretend to like everyone else at all times, or you are all very racist. As with other forms of speech restriction, this plays right into the hands of governments and corporations who wish to find a way to restrict criticism of their immigration, H1-B or other policies.

  • The Supreme Court has made it harder for local governments to crack down on political advertising.

    You know those political signs that pop up like mushrooms or exhumed corpses on lawns during election season? One local community regulated them, and the ensuing lawsuit made it to the Supreme Court, which ruled that not only was there nothing wrong with the signs in question, but that local governments did not have the power to regulate advertising of that nature.

    From the New York Times:

    Though just two months old, the decision has already required lower courts to strike down laws barring panhandling, automated phone calls and “ballot selfies.”

    …The key move in Justice Thomas’s opinion was the vast expansion of what counts as content-based. The court used to say laws were content-based if they were adopted to suppress speech with which the government disagreed.

    Justice Thomas took a different approach. Any law that singles out a topic for regulation, he said, discriminates based on content and is therefore presumptively unconstitutional.

    On the surface this appears a win for free speech, but may experience pushback as it ties the hands of localities to stop nuisance behaviors like panhandling and automated phone calls. Time will tell whether the court is accountable like elected politicians are supposed to be, or if this type of restriction is permanently gone.

There’s our roundup for this week of juicy censorship and speech rights related stories for you. Hang tight for more anarchic fun in the weeks ahead.

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Blood – Christbait re-release coming on September 28th

Blood - Christbait (1992)

Vic Records is rereleasing Blood’s 1992 album Christbait on September 28th. This German death metal/grindcore act received some praise in the old archives for successfully adding some conventional musicality to a standard formula. In that regard this is similar to how Carcass and Napalm Death expanded their sounds on Symphonies of Sickness and Harmony Corruption; Christbait is similarly more intelligible and elaborate than Blood’s previous work (although still fairly simplistic) while retaining much of its intensity. Newer bands would do well to learn from these examples if they want to create works of similar quality.

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