Posts Tagged ‘conformity’

Black sheeps bred in turbulent times: metal, hardcore punk and industrial

Monday, August 3rd, 2009

At all times, the function of art is to bring its audience as close to reality as possible, whether that reality is circunscribed to a certain group, in which its particular culture connects the group to a larger living frame, or by looking at that frame directly, not as members of race, nation or even as humans, but as conscious beings wishing to be more aware of the structure of the universe.

In healthy times, art is seen as necessary for the purpose described above. In sick, decadent times, on the other hand, the situation is drastically different. In times that are ruled by delusion and deception, true art is seen as dangerous, albeit the craft that could potentially create true works of art still exist. Such craft, however, doesn’t reach such heights in most cases, and generally the result is as empty as the values of the time the works were created.

In other words: false art is universally prefered and recognized over true art.

Three genres of music were, at least on their origins and their respective better days, not only true to the strict definition of what art is, but were created as a reaction to the present situation. Those genres are hardcore punk, industrial and heavy metal. These initially were the vehicles in which discontented youngsters with artistic talent and a sharper consciousness which allowed them to view the world in a more realistic fashion could pour their ideas and frustration in sonic form. Hardcore punk took a public-friendly style crafted by marketing and deconstructed it, making it more violent, minimalistic and less rigidly enclosed into a singular form. In the same way, industrial took mainstream music, mixed it with electronically generated sounds and turn that combination into a harsh and cold environment which reminded the listener of the monotonous sound of the industrial machinery that defines our times.

Metal was born into the industrial settings of England by taking rock music and injecting a strong dose of fatalism into it, influenced no doubt by the bleak and dehumanizing surroundings that the first metal heroes experienced. With time, the genre made gigantic leaps, evolving into a nihilistic, naturalistic and romantic artform which splitted from the mainstream forms (the “craft”) from which it initially developed.

Consequentially, those three genres of music are the most hated and ridiculed by the majority of people in today’s society. The fight against these was not only limited to finger pointing, but as a process of assimilation in which the spineless crowd filling the pockets of the mainstream music industry attempted to streamline the genres to make them more tame and accessible.

So, as much as there is false and true art, there is also false metal, false punk, and false industrial, with the proportion of true and false having a certain ratio to it. The struggle for each hessian, then, is to know the true from the false, and how? Easy: recognize that only a modest percentage of metal is worthy of your time; skew the rest; don’t listen to hipsters and other social manipulators; listen and buy only the music you most closely connect to; stay away from scenes: most are dens of manipulation in which the social takes precedence over the artistic, and you will waste valuable time listening to the drivel those people will shove down your throat, so you can be either as “open minded” or “elite” as them.

Lastly, remember the golden rule: if something (music, ideas) is hated with an irrational passion, give it a chance. It may probably be worth something. Be brave, and go against the grain, and you will reach for the best.

The ugly side of life is pure beauty for the hessian

Monday, July 20th, 2009

There’s a very nice short story from the booklet of Burzum’s album Filosofem that reminds me a lot of the misunderstood path that the hessian chooses as life:

Creeping And Crawling, Rustling And Fluttering

“There are two natural lights in this world, the sun and the moon. The first distorts the appearance of the other, often until it is unrecognizable. The sun gives us colour, warmth and clarity, while the moon gives us no colour, coldness and unclarity. We live in the sunlight, and we make artificial sunlight, after Arvakr and Alsvinnr, send by Sol, have drawn down the sun in sea in the West, because we like colour, warmth and clarity. The starting-point of our reality lies in this light; when Naglfaris’ wife, Night, comes, our world disappears in a certain way. She is illuminated by a light, that we don’t like, the colourless, cold and indistinct moonlight. Strange beings show themselves in the woods and the people draw back into their reliable, small houses. Out there, only the forces of darkness reign, yes, in the most true meaning of the word. The world becomes a total different one, for some the world becomes a place worth living. For those, who want to challenge these giants, who are brought to us by the moon in the shape of uncontrollable powers of nature, the world finally becomes a place really worth living in.”

Burzum.org english translation from norwegian – booklet of Filosofem.

We live in a world where light and darkness interact with each other to conform the whole of the universe with both its living and inanimated elements.

Most people in our modern era would like to see only the light and forget about the other side of the coin. In this way, humans become self-centered and irresponsible as we mentally split from any notion that would seem scary or unconfortable. Hell, we don’t even watch the killing that takes place to put steaks on our table. Hence, most of us fail to see any connection(s) between our actions and the ensuing negative consequences towards our world. Ever wondered why human society is so fucked up, like the lyrics of Napalm Death, Morbid Angel, Slayer and countless other acts have been telling us throughout the years? Because society is essentially an undifferentiated mass of people that agree on very few things, many of them childish and self-destructive, like this mentality.

That’s what metal sought to fight by offering a morbid, depressing and yet very real view of the negative side that our enlightened, yet pussified society tries so pathetically to hide from: war, plague, death, blood, guts, natural selection, Satan, witchcraft, environmental death, stupid religions, stupid secular beliefs and so on and on, the purpose of it impeled by this one thought: that the only way to live sanely is to recognize both sides of the coin and embrace them as equal parts of existence.

That’s a perspective that has been from the very beginning of the metal genre. Even its forefathers had this very death metal view of life:

We’ve all got this opinion about the world today, you see. We’re aware that, at some time, a big change is going to come. With SAD WINGS OF DESTINY, we’re telling people to enjoy life, but at the same time be prepared for something that could happen. Tracks like ‘Genocide’, ‘Tyrant’, ‘Epitaph’ and ‘Prelude’ seem to us to follow this idea through – they act as possible preludes to this change…

(…)

We don’t want to be set up as prophets or disciples; we’re just five aware guys stuck in the middle of a lot of complacent people. Now everybody enjoys life, but we think it should be brought to people’s attention that, at any moment, we could all be wiped out… We’re far from being pessimists.

Judas Priest’s interview with Sounds Magazine, May 8, 1976. Quoted from the Judas Priest Info Pages

Like the music they love, hessians firmly believe on the crude realities of individual mortality and the potential collective doom that could be triggered by our stupidity, irresponsibility and delusional beliefs: these are the strange beings that show themselves in the woods at night. Only instead of retreating to our comfy houses and pretend they don’t exist, we choose to face them.

It’s for this reason that hessians like to live their lives on the edge of things, sometimes by doing a lot of reckless behaviour, but mostly by having beliefs that are considered taboo by the majority of people. We embrace those taboos joyfully because they give life their meaning. Denying them is to deny life itself, and in this process we kill our souls and become faceless drones fighting for political power, money and other delusions given by the shadows cast by the fire in the chimneys of our warm, small and reliable houses.

From the past comes the storms: metal’s connection to the past

Monday, June 15th, 2009

black-sabbath-tyr-1990-downloadMetal, through its lyricism and imagery, and some might say, its feeling, tries in a very obvious way to link itself to the past, whether by telling the story of the armies that fought in World War II or by describing things that happened in a far more remote past time, like events so past us that they become almost mythical. Why is that?

As previously commented on another post, metal not only is an alternative to modernity as a way to see and understand life, but its opposite. And that was intended from the very beginning…a rebellion towards what metal artists saw as a complacent world filled with domesticated robots disconnected from their environment.

As a counterposition towards that mentality, heavy metal offers an inspired vision of how things were in a past when life was a lot more violent and rougher, and yet strangely, healthier for the challenges it offered daily. We can see that connection most obviously in heavy and speed/thrash metal, but the more compositionally advanced forms of extreme metal aren’t divorced from the idea either.

In that approach there is a unique message implied, which is: by arriving to a materially advanced state of civilization in which life is safer, we’d actually done a devil’s bargain – we have completely moved away from doing things that may potentially be hurting and unsafe, unlike those times in which life was violent and challenging and yet, despite that, we lived in a state of connection with nature made by the very things that threatened us each day.

Most of the people living now don’t know how to make a fire or wield a sword because they don’t need to: we got gas ovens and professional armies now, which are certainly great things to have in this modern age, no doubt, but the problem lies in that we have skewed challenges altogether expecting that everything be given to us in a silver platter. In other words: we have domesticated ourselves, and in the process we have lost a part of our souls. Suddenly, life no longer has meaning besides getting new things to make ourselves happy and more comfortable.

That’s what metal is against, and by rescuing the past it tries to give us lessons, like a grandfather telling a story of his own childhood in order to communicate an experience we young people might find usable. In the same way, metal gives us, red-blooded people with a thirst for life and challenge, an alternative view to the conformism we see everyday around us.

Along the black mountainside scattered
By the campfires awaiting the dawn
Two times a hundred men in battles
Tried by the steel in the arrow axe and the sword

By battle worn hunger torn awaitening
For the sun to break through the cold haze
And for the banners of Ebal to appear
On the hill in the suns first warm rays

The elder among the men looked deep into
The fire and spoke loud with pride
Tomorrow is a fine day to die

Bathory – A Fine Day to Die – “Blood, Fire, Death” album

Lyrics like the above evoke awful images to most people, but for the hessian, beneath the death, the blood and the fighting, there is a quest for glory and self-improvement and, as modern day warriors, we are able by listening and understanding the music to feel a part of the rush that ancient warriors must have felt.

greek-battle-of-marathon-1Bands like Manowar, Motörhead, Bolt Thrower, Omen, Dio and, of course, Iron Maiden have brought the past to the table many times for that reason, and many bands have made entire careers out of it. They evoke a time we want to revive in our hearts for daily inspiration.

Yet, as romantic our souls may be, we don’t want to repeat the errors of the past as much as we don’t want to screw things up as badly as modern peoples.

And this is why metal also takes the idea of evocation further by exploring the mythical world of fantasy. But that’s another topic. In the meantime, let us hessians rescue the past, both through music and books and learn from it so we can be the ancient men of the modern ages. The past lives on us!

Decline and fall of metal?

Wednesday, May 13th, 2009

Intelligent hessians may be more or less worried about the significant decrease in quality of albums coming out each year since 1995 or so. Like the social decay around us, it seems so pervasive that it’s easy to be fatalistic about it: “metal is dead” comes from the same frame of mind as “there’s no future”. Bollocks. The future is determined by those who build and create. Without those people, only destruction and stupidity can be the default. Should we blame idiots for being idiots and morons for being morons? No, but we can blame intelligent and creative individuals for being lazy and not bringing more quality works to the table.

The latest works by Celtic Frost, Profanatica and Beherit prove that, while there may not be more aesthetical and technical innovations in metal, there’s still a lot more room to cover when it comes to create great music.

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