Throughout history, some individuals have profoundly influenced metal music and culture without playing a single note. Dante Alighieri. John Milton. Friedrich Nietzsche. Snorri Sturluson and Brynjolfr Sveinsson, who preserved the manuscripts that are now known as Norse mythology. Richard Wagner, whose dramatic music paved the way for today's epic metal. And, of course, the Beast 666 himself, Aleister Crowley.
Modern Satanism and a lot of today's occultism and Paganism wouldn't exist without Crowley's philosophy of Thelema - a self-empowering, martial blend of spirituality and ritual that draws upon Egyptian, Kabbalistic, Nietzschean and Tantric influences. Conceived in 1904, the Law of Thelema - do what thou wilt - was a potent antidote to Victorian attitudes. Metal serves much of the same purpose today.
More importantly, I'm not sure what Behemoth would sing about if it weren't for Uncle Al. Even if lighting a bunch of candles and chanting at midnight is not your horn of mead, you've got to thank Crowley for contributing to Behemoth's existence.
Spiritual initiation is, roughly speaking, the process of becoming more aware of yourself, becoming more efficient and in control of your life through meditation and ritual. Whether you believe this works through religious or psychological means, it's a big part of many people's lives. Initiation in the Aeon of the Child discusses this in the context of Thelema, which posits that now that we're in the individual age (in Crowley's historical theory: Aeon of the Child, the previous ones were the Aeons of the Mother (matriarchal) and the Father (patriarchal)), we have a different formula of initiation. No longer must the spiritual seeker symbolically 'die' and then be reborn, like Christ or in some respects Buddha, to reach 'enlightenment'. And the 'enlightenment' reached by seekers in this new era is (according to Gunther), psychologically speaking, different from the old conception, since it recognizes both the darkness and the light. Gunther explains it much better than I can: if you are interested, go read the book!
Gunther explains a lot of Crowley's difficult technical writings in language that's clear to the new seeker. He draws upon the psychological theories of Jung to relate these Kabbalistic or alchemical ideas to modern thinking, and he discusses the lifelong process of initiation in a topic by topic manner.
While I do disagree with Gunther on some points, for example, his suggestion that the resurrection formula - which is also the shamanic formula, mind you- is completely obsolete for every seeker, spiritual books qua spiritual books are intensely personal with respect to their authors. They cannot reveal absolute, scientifically proven truth, but only one person's perspective on something that's difficult to quantify. Gunther certainly understands Crowley's often obscure writing style, and while he does infuse it with his own strain of thought, this book will no doubt help many a newbie.
For what it is, Initiation is infinitely better than a lot of spiritual texts you will find floating on the 'New Age' shelf, such as "Teen Witch".
Thursday, September 17, 2009
Darkestrah - Epos
Today I'm presenting two reviews: an album and a book. Book reviews are a new idea that I'm playing with for this site: please tell me what you think! I'll be covering books (that I like!) that I feel black metal fans would like, ranging from alternative spirituality to dark fiction, science fiction, epic historical material, and modern nonfiction.
Darkestrah - Epos (2007)
Darkestrah are most commonly known as 'the female-fronted band from Kyrgyzstan' (who now live in Germany), but aside from representing their cultural heritage on albums such as Sary Oy (2003) and The Great Silk Road (2008), they specialize in our favorite sort of music, atmospheric black metal. Darkestrah are very Drudkh-esque in their expansive yet indigenous sound, though they lean slightly more proggy/epic than raw like Drudkh.
On this album, Kriegtalith and co. certainly seem to be channeling the same current as Wolves in the Throne Room did in Two Hunters, complete with long stretches of nature sounds, tribalesque drumming and a strong feeling of genius loci. I feel that their usage of indigenous influences - from the traditional singing in the last 6 minutes to the temir komuz (jaw harp) - was very well placed. I felt that the eerie, didgeridoo-like sound of the komuz was especially effective when juxtaposed with acoustic guitar and rain sounds.
The WiTTR comparison is especially appropriate in light of Epos' text, which exhorts the destruction of civilization in order to return to a tribal state and shamanic faith. I especially liked this couplet discussing Kriegtalith's view of post-modernity:
"It forgot the past, it will not disclose the future,
it will bury the great secrets within itself."
Epos is certainly an album that keeps us from forgetting the past or neglecting to disclose the future.
Darkestrah - Epos (2007)
Darkestrah are most commonly known as 'the female-fronted band from Kyrgyzstan' (who now live in Germany), but aside from representing their cultural heritage on albums such as Sary Oy (2003) and The Great Silk Road (2008), they specialize in our favorite sort of music, atmospheric black metal. Darkestrah are very Drudkh-esque in their expansive yet indigenous sound, though they lean slightly more proggy/epic than raw like Drudkh.
On this album, Kriegtalith and co. certainly seem to be channeling the same current as Wolves in the Throne Room did in Two Hunters, complete with long stretches of nature sounds, tribalesque drumming and a strong feeling of genius loci. I feel that their usage of indigenous influences - from the traditional singing in the last 6 minutes to the temir komuz (jaw harp) - was very well placed. I felt that the eerie, didgeridoo-like sound of the komuz was especially effective when juxtaposed with acoustic guitar and rain sounds.
The WiTTR comparison is especially appropriate in light of Epos' text, which exhorts the destruction of civilization in order to return to a tribal state and shamanic faith. I especially liked this couplet discussing Kriegtalith's view of post-modernity:
"It forgot the past, it will not disclose the future,
it will bury the great secrets within itself."
Epos is certainly an album that keeps us from forgetting the past or neglecting to disclose the future.
Thursday, May 28, 2009
Wolves in the Throne Room: Keeping Black Metal Trve (and American!)
Beginning on May 16th in Chicago, Wolves in the Throne Room have been on tour with Krallice and A Storm of Light, revitalizing the black metal scene and burning churches (OK, maybe not so much) in a country that has needed it the most: America. Wolves in the Throne Room have even had the opportunity to play one of the biggest festivals in the states, Maryland Death Fest, alongside Mayhem, Marduk, Atheist and Pestilence.
Outside of Webster Hall in New York, a long line of people (yes, a line!) were waiting anxiously to enter, as tickets and ID's were checked obnoxiously slow. After waiting almost half an hour to enter (even though doors had opened over 45 minutes prior), I finally reached the packed basement. A Storm of Light set the mood for the night with their sludgy doom metal presence. Their live show is
powerful and just as atmospheric as their LP. As for Krallice, well, any band with Colin Marston (Behold... the Arctopus, Byla) needs no introduction. Their style of progressve black metal is crowd friendly in the sense that the hooks will cause any onlooker to nod their head, even for just a bit (of course until they change the time signature). Lastly, Wolves in the Throne Room took the stage with their intense fog machines and candles spread over the stage, which made it even sweeter to watch them. Their intense set was almost non-stop, with little to no crowd discussion. Their style is definitely a matured and revivised form of black metal, comparing this to black metal in its purest sense. Going as far as deeming them a "post-black metal" act, as controversial as it may seem, could most certainly be argued. Even though most of the tour is complete, if one has the opportunity to see this tour, I would approve.
Photos Courtesy of Bill Shouldis via MetalInsider.Net
Wednesday, May 6, 2009
Ramblings on metal culture and geekdom
(x-posted fom Live Journal)
An 'Op-Ed'
I was listening to some Dissection today. Storm of the Light's Bane. This got me thinking. Modern metal is contradictory and liminal. It is an 'outsider' music/culture that is mainstream - metalheads like to cultivate this badass, elite, oppressed attitude but everyone's listened to a Maiden or Sabbath song at least once in their lives. Metal is coarse, grotesque and transcendental. But this article isn't about the music itself, which you can go hear on lastfm or the back pages of this site (download, people!)
Modern metal culture (thenceforth referred to as 'metal') is a safe space for kids labeled 'geeks' and 'freaks' to assert themselves with a set of 'given' rules - the foremost of which is not giving a shit what people think. It is also an answer to the postmodern while questioning the modern- and the premodern. It's also become a space for immigrant men, particularly from Latin America, Europe, Asia and the Middle East, to assert a space for themselves.
While hip hop, punk and goth negotiate the dominant paradigm by being explicitly racialized, gendered, exoticized and classed, non-NSBM metal seeks to move away from this. Black metal doesn't mean God Forbid (who are thrash). Female-fronted bands are only noted as such if they're in a certain florid genre (Nightwish, Sirenia). It also embraces neurodiversity. ADHD? Try speed metal. Depressed? Doom metal's for you. Bipolar? How about melodic death? Metal defines itself as a brotherhood by being individualistic within an tacit collectivism, instead of pussyfooting around and singing Kumbayah.
The most empowering thing about metal is its rage against the 'geek' idea. Intelligence is strength. Knowledge is power. Dreams are strength and power. Depression can be strength. You become stronger than the jocks - you are stronger than the brute-force jocks. Because you can see change- you are change, and you can assert yourself. Revenge of the nerds, but as the nerds take their revenge they become more than nerds.
While there is a 'metal way of dress' it is not enforced the way 'goth' is. Again - as contradictory - it is 'more metal' to wear a suit and tie than wear a metal shirt and be unemployed. Within metal's defined liminality, charged with power, we make manifest our internal power. Playing Dungeons and Dragons isn't just accepted here, dragons and swords become symbols of strength and virility. Verbal intelligence is respected, like mathematical is in the engineering world. There is a different social order, almost tribal. It is deeply emotional, yet controlled. Unrestrained, Romantic-era emotion is 'emo', but the deep melancholy expressed in black-doom metal, the fury in death metal, the romance in gothic metal is the essence of what it is because it is brought together with strength, purpose and art. Experiencing this together in a concert is what creates the metal brotherhood.
There is in metal society a refreshing honesty and an attitude of continual, Nietzschean self-improvement - of change and vitality - rather than mindless acceptance. Metalheads regularly challenge each other as 'posers'. But does that matter, in the end? Does being fat, gay or straight matter? Metal is about perhaps the illusory core of humanity. Hip hop and punk rock are postmodern, but metal's attitude is pre-modern. In that way, hip hop espouses an agnostic humanism, while metal espouses a heathen humanism.
Metal culture also accepts what others call 'escapism'. It's accepted to read science fiction and comic books. Metal is comic book music, look at the song 'Iron Man'. At the same time, metal doesn't promote escapism for escapism's sake, or intellectualism for intellectualism's sake. It is deeply Teutonic in its practicality, roundly deriding pure escapists as 'losers'. Metal is not for the body, but for the mind, and the spirit lost to the body, yet reasserted in moshing and crowd-surfing. It is rock and roll stripped of its germinal mating-dance. Not sex in the back of a car, but harnessing that force Tantrically and using it to reassert the renewed self.
An 'Op-Ed'
I was listening to some Dissection today. Storm of the Light's Bane. This got me thinking. Modern metal is contradictory and liminal. It is an 'outsider' music/culture that is mainstream - metalheads like to cultivate this badass, elite, oppressed attitude but everyone's listened to a Maiden or Sabbath song at least once in their lives. Metal is coarse, grotesque and transcendental. But this article isn't about the music itself, which you can go hear on lastfm or the back pages of this site (download, people!)
Modern metal culture (thenceforth referred to as 'metal') is a safe space for kids labeled 'geeks' and 'freaks' to assert themselves with a set of 'given' rules - the foremost of which is not giving a shit what people think. It is also an answer to the postmodern while questioning the modern- and the premodern. It's also become a space for immigrant men, particularly from Latin America, Europe, Asia and the Middle East, to assert a space for themselves.
While hip hop, punk and goth negotiate the dominant paradigm by being explicitly racialized, gendered, exoticized and classed, non-NSBM metal seeks to move away from this. Black metal doesn't mean God Forbid (who are thrash). Female-fronted bands are only noted as such if they're in a certain florid genre (Nightwish, Sirenia). It also embraces neurodiversity. ADHD? Try speed metal. Depressed? Doom metal's for you. Bipolar? How about melodic death? Metal defines itself as a brotherhood by being individualistic within an tacit collectivism, instead of pussyfooting around and singing Kumbayah.
The most empowering thing about metal is its rage against the 'geek' idea. Intelligence is strength. Knowledge is power. Dreams are strength and power. Depression can be strength. You become stronger than the jocks - you are stronger than the brute-force jocks. Because you can see change- you are change, and you can assert yourself. Revenge of the nerds, but as the nerds take their revenge they become more than nerds.
While there is a 'metal way of dress' it is not enforced the way 'goth' is. Again - as contradictory - it is 'more metal' to wear a suit and tie than wear a metal shirt and be unemployed. Within metal's defined liminality, charged with power, we make manifest our internal power. Playing Dungeons and Dragons isn't just accepted here, dragons and swords become symbols of strength and virility. Verbal intelligence is respected, like mathematical is in the engineering world. There is a different social order, almost tribal. It is deeply emotional, yet controlled. Unrestrained, Romantic-era emotion is 'emo', but the deep melancholy expressed in black-doom metal, the fury in death metal, the romance in gothic metal is the essence of what it is because it is brought together with strength, purpose and art. Experiencing this together in a concert is what creates the metal brotherhood.
There is in metal society a refreshing honesty and an attitude of continual, Nietzschean self-improvement - of change and vitality - rather than mindless acceptance. Metalheads regularly challenge each other as 'posers'. But does that matter, in the end? Does being fat, gay or straight matter? Metal is about perhaps the illusory core of humanity. Hip hop and punk rock are postmodern, but metal's attitude is pre-modern. In that way, hip hop espouses an agnostic humanism, while metal espouses a heathen humanism.
Metal culture also accepts what others call 'escapism'. It's accepted to read science fiction and comic books. Metal is comic book music, look at the song 'Iron Man'. At the same time, metal doesn't promote escapism for escapism's sake, or intellectualism for intellectualism's sake. It is deeply Teutonic in its practicality, roundly deriding pure escapists as 'losers'. Metal is not for the body, but for the mind, and the spirit lost to the body, yet reasserted in moshing and crowd-surfing. It is rock and roll stripped of its germinal mating-dance. Not sex in the back of a car, but harnessing that force Tantrically and using it to reassert the renewed self.
Monday, April 20, 2009
Black Metal Cookie Recipe
... And here's how I make black metal cookies....
Black Metal Chocolate Chocolate Chip Cookies
2 cups flour
1 1/2 cup butter or margarine, melted
1 1/2 cup brown sugar
2 eggs or 2 tbsp. flax seed egg replacer
1 tbsp baking powder (not soda) - I recommend 'Calumet'
2 cups chocolate chips
Pinch salt
1/2 cup cocoa powder
You know the drill - mix liquids and sugar, mix solids and chocolate chips, make flattened balls and bake at 375 F / 190 C for ~ 10 minutes.
Black Metal Chocolate Chocolate Chip Cookies
2 cups flour
1 1/2 cup butter or margarine, melted
1 1/2 cup brown sugar
2 eggs or 2 tbsp. flax seed egg replacer
1 tbsp baking powder (not soda) - I recommend 'Calumet'
2 cups chocolate chips
Pinch salt
1/2 cup cocoa powder
You know the drill - mix liquids and sugar, mix solids and chocolate chips, make flattened balls and bake at 375 F / 190 C for ~ 10 minutes.
Black Metal Cookies!
My friend Nick found this video... LOL...
Happy 420 to all you stoner metalheads and metalhead stoners out there!
Monday, February 23, 2009
Blodarv- Beyond Life
Beyond life is the fourth release and first EP by the Danish black metal band. It features three tracks that would later make their appearance in different versions on various other releases and one that had already appeared in a different version. The three tracks of which are based on the death of lead vocalist Hugin’s lover Linaria Amlech and this can be felt in the tracks.
The first track Langt Vaek Fra Livet is a slow dirge style song with fuzzed guitars, melodic composed parts, and slow mournful drums. Above this are vocalist Hugin’s mid level screeching accented by the clean female vocals of fellow band member Isaz. All of these elements combine together to deliver an excellent song that is at the same time beautiful and moving while dark and depressive.
The second track Death of Linaria is a haunting spoken word ambient track consisting of fuzz, repetitive keys, and Hugin’s near silent whispers. If this sounds boring then you should give it a listen. Listen to the lyrics and think upon what this track is about and you have before you a truly mesmerizing and powerful piece of “music”.
The third and final track Beyond Life is the most “black metal” of the three filled with more fuzzed guitars melodic leads, and Hugin’s screetches. The drums are incredibly buried making them nearly inaudible but at a point where they really add more to the song this way. The song slowly builds and goes ever higher and higher following the guitars and Hugin’s increasingly powerful vocals as he tells his dreamlike tale and by the end reaches what I would describe as a minimalist epic.
All in all this is a solid release and contains three of the bands best tracks in my opinion and tells the first part in the continuing tale of Linaria.
Link: www.blodarv.org
The first track Langt Vaek Fra Livet is a slow dirge style song with fuzzed guitars, melodic composed parts, and slow mournful drums. Above this are vocalist Hugin’s mid level screeching accented by the clean female vocals of fellow band member Isaz. All of these elements combine together to deliver an excellent song that is at the same time beautiful and moving while dark and depressive.
The second track Death of Linaria is a haunting spoken word ambient track consisting of fuzz, repetitive keys, and Hugin’s near silent whispers. If this sounds boring then you should give it a listen. Listen to the lyrics and think upon what this track is about and you have before you a truly mesmerizing and powerful piece of “music”.
The third and final track Beyond Life is the most “black metal” of the three filled with more fuzzed guitars melodic leads, and Hugin’s screetches. The drums are incredibly buried making them nearly inaudible but at a point where they really add more to the song this way. The song slowly builds and goes ever higher and higher following the guitars and Hugin’s increasingly powerful vocals as he tells his dreamlike tale and by the end reaches what I would describe as a minimalist epic.
All in all this is a solid release and contains three of the bands best tracks in my opinion and tells the first part in the continuing tale of Linaria.
Link: www.blodarv.org
Subscribe to:
Posts (Atom)
