The underground realizes it is infested with hipsters… from within

satan_laughs_as_you_eternally_rotMuch as I love the title From Beyond, I think an altogether scarier title would be “From Within.” The things that really get you are the ones you can’t see because they’re behind your eyes. Metal got blindsided by one of these in the last decade.

What happened was that black metal ran out of ideas, and death metal ran out of energy, in about 1995 or 1998 depending on who you talk to. What came after that was metalcore and nu-metal, which are so close in compositional style — both very much closer to rock than metal — that we group them together as nu-core.

The response of metal was unfortunate. Ignoring the advice of sage elders, the metal fans who remained circled the wagons and insisted on ideological purity. No, not of the kind that excludes stuff incompatible with metal, like rock and rap. But literally, a hell-bent desire to repeat the past nearly exactly as it happened.

It’s like tourism. Charlemagne fought here, so you stand here and take a picture. Leonardo da Vinci sketched here, so you eat pizza here and Instagram it to your colleagues back home. Metal tourism involves pretending you’re Darkthone and it’s 1991 for the first time and you’re being a massive innovator by coming up with a new sound.

Except you’re not. It’s 1999 or 2013 and you’re in a bedroom with garage band, making another recombinant album for another recombinant audience. They’ll praise it to the skies for two weeks, then drift on to something else because basically it’s generic, and then popularity becomes a game of making people like your stuff by being their internet buddies.

This kind of toxic environment gave the Full Moon Productions bulletin board such a bad name the label basically quit. FMPers could be counted on to buy lots of records, but that’s like 1000 per pressing, and since they’re so elite and rare, spend a lot of money on them. Other than that, it was favoritism, infighting, backstabbing, and other pointless activity.

Now, in the unlikeliest of places, Nuclear War Now! productions forum has come to face the same problem — and it’s dawning on metalheads that this isn’t limited to a specific place or time, but is a universal human failing like hipsterism:

From the Devil’s Tomb was pretty good imo, but of course the tryhards will disagree. These fags change taste like underwear. Just look at the recent Wrathprayer thread. Now it is “overrated”, but a year ago these same poseurs were worshipping it like it’s the best thing ever since sex. – Candlemass

The vitriol picked up speed:

I’ve come to understand this board is full of kvltist wanna-be’s who are in fact a bunch of hipsters trying to follow trends to appear “elite”, though only a fractional minority truly “gets it”. Thoth

This post isn’t designed to mock the NWN board, or even the FMP board, or the people involved. They’re important because they’ve been perceptive enough to notice something that’s gone wrong with the metal community: it went within, and in doing so, lost its sense of what made it great. Now it’s the emotional equivalent of burnt-out old men, either repeating the past or cynically making derivative crap because they can sell it.

Our future lies beyond these barriers.

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The war on hipsters is accelerating

Taylor Swift

Many don’t see this as a metal topic, but as Cianide would say, “Metal never bends!” What does bend, to trends? The hipster and all other people who think a surface-level view of life is important.

A hipster is someone who leverages all aspects of their personality, art and social group for the kind of invisible magic karma points that “popularity” and “notoriety” confer upon the narcissistic personality. Like cultists, hipsters have shattered self-esteem and seek to compensate by knowing things that other people don’t know, specifically traded in artistic and cultural artifacts that are special — like the hipsters themselves — for being unique, odd, “different,” unconventional, distinctive, etc.

Notice what’s missing in there: realistic, accurate, informative and/or useful.

Hipsters originally shunned metal because metal is by nature a warlike genre. We look past the surface level of life’s drama, expressed dually by individual narcissism and social group zombie hive mind thinking, and instead pay attention to the situation beyond the individual. The heavy stuff: war, death, metaphysics, infinity, disease, history, the occult and the esoteric.

In 2008, Adbusters magazine blew the lid off the rising millennial hipster epidemic by proclaiming hipsters the dead end of Western civilization. An excerpt:

Ever since the Allies bombed the Axis into submission, Western civilization has had a succession of counter-culture movements that have energetically challenged the status quo. Each successive decade of the post-war era has seen it smash social standards, riot and fight to revolutionize every aspect of music, art, government and civil society.

But after punk was plasticized and hip hop lost its impetus for social change, all of the formerly dominant streams of “counter-culture” have merged together. Now, one mutating, trans-Atlantic melting pot of styles, tastes and behavior has come to define the generally indefinable idea of the “Hipster.”

An artificial appropriation of different styles from different eras, the hipster represents the end of Western civilization – a culture lost in the superficiality of its past and unable to create any new meaning. Not only is it unsustainable, it is suicidal. While previous youth movements have challenged the dysfunction and decadence of their elders, today we have the “hipster” – a youth subculture that mirrors the doomed shallowness of mainstream society.

Since that time, the hipster epidemic has only become more pervasive. Famous for being ironic, in order to be unconventional and different, hipsters wander through life making art out of garbage, Instagraming their oddball tastes in food, liveblogging their personal drama, treating their children like press agents for themselves, and generally making society more vapid, plastic, superficial, oblivious, trivial and vain.

Luckily, world leaders and authority figures are stepping in to help out.

First, North Korea is helping by threatening immediate war. But this isn’t a war on the USA. It’s a war on hipsters:

Some Texans, however, suggested the path in fact led 95 miles south to Austin, the state’s capital, and speculated that Mr Kim had taken against the liberal enclave’s young “hipster” population.

North Korea probably doesn’t get a lot of US papers. They probably don’t get too many Americans over there who aren’t credulous tourists or formal State Department types. However, they do get the internet. To them, America is an unending stream of Pinterest, Facebook, Reddit and FourSquare. From their point of view, the US = hipsters. So they’re taking out the real hipster capital of this place, and hope that will kill our culture like an ant mound poisoned with cianide.

From a completely different angle, Taylor Swift is mocking hipsters with her new single, including Instagram-style photographs, ironic hipster classes, and bittersweet lyrics that are poignant through indecision. She is hoping to curry her fanbase, composed of legions of young women with disposable income, to wage war on the hipster. This might succeed even better than Kim Jong-un’s nuclear attack.

And covering the domestic front, Boston’s police department are cracking down on hipster house parties featuring boring two-note pop punk bands with ironic themes about getting lost on life’s highway. Apparently, the officers are impersonating trendy hipsters in order to figure out where the hip ones are congregating in suburban houses, where they and their bad bands and PBR make noise until 4 am, prompting not one but many homeowners to open fire with rusty old weapons from the last real war.

While by themselves none of these seem significant, when added up these commonalities point to one thing: a world-wide backlash against the hipster and its superficial, ironic and selfish ways. As the hipster falls, metal rises, so we’re glad to see this development.

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The Funderground irks longtime fans

rttp_fundergroundA tension has been simmering under the surface in metal for the better part of a decade now and shows no signs of calming down. It concerns the division of metal into old and new.

Up through the late 1990s, metal was fairly consistent: it was music based on riff Jenga and distrust of society’s pleasant illusions. It was not protest music, but it was outsider music.

Then came an influx of people who were “alternative,” meaning that they wanted to escape the mainstream, but still wanted what it offered, which was essentially protest music.

In our society, popular music tends to take only a few forms. One is the standard song of individual gratification, usually love or longing. Another is protest at how people are treated.

Hardcore music was a breath of fresh air. While it was opposed to society, it did not protest how people were treated. It protested an insane existence. There was no bad guy, only a dying society.

Metal picked up on this vibe and mixed in the metaphorical and otherworldly approach of early Black Sabbath lyrics. The result was something truly outside of any perspective that was mainstream or alternative.

Now the alternative types have recaptured metal, using their superior numbers to reduce it to something palatable for mainstream and/or alternative consumption.

A counter-revolution against this tendency burst onto the underground recently when pro-OldSchool trolls took over longstanding New England metal blog “Return to the Pit”:

A place where metal is happy and not disgusting. A place where somebody would rather message you on Facebook or text you when you’re nowhere near them in the show.
A place where one man’s smile is another man’s laughter.
A place where the boisterous voices of jokes and YouTube discussion outweigh any serious topic.
A place where it’s okay to have star tattoos covering your flabby forearm.
A place where MetalArchives reviews are that of a fact.
A place where moshing and dancing lost their edge.
A place where everybody knows your name and is friends with you on Facebook.
A place where threads are made about you on a dying board that is absolutely horrible now thanks to the FUNDERGROUND.

While we can’t lend our stamp of approval to the trolling which has essentially devastated this forum, we can point out that there’s some truth in these allegations.

Since 2000, metal has increased in popularity by a vast degree. There are more fans, and more bands, than there ever have been before.

However, these aren’t the same type of bands. They sound more like late hardcore bands, who specialized in putting unrelated riffs together to achieve a “carnival music” or “variety show” effect.

Modern metal seems to have lost sight of who it is, and instead borrows its personality from crowd-pleasers like *core, indie, emo, lite jazz and rock.

The term “Funderground” refers to people who are using the underground as a way to socialize, instead of a way to make music that expresses their viewpoint on the world.

When you think about it, metal has always been anti-social and distrustful of social impulses. We can now see why: when socialization comes out, good music goes away, and with it, the best of metal fans also disappear.

http://www.youtube.com/watch?v=-t0affoV5rI

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