August 30, 2016 § Leave a comment
Anorectal Ulceration play goregrind like Neurovisceral Exhumation, old Regurgitate, and pre-noise Last Days Of Humanity. Fans familiar with those names will know what to expect here; there are no moments of levity, no East European goofing around to be found on From Flesh To Liquid Mess. Anorectal Ulceration are part of a growing, underground goregrind scene (see Parazitosis, Biological Monstrosity, Hyperemesis, etc) attempting to resurrect the violence and atmosphere so sorely lacking in the Obscene Extreme brand of party-grind.
The template is simple enough; intros from Italian horror movies and Faces Of Death-style clips, pinging snares, and rapidly transitioning power chords announcing a descent into grinding fury. Like all classic goregrind, Anorectal Ulceration has a fleeting sense of thick groove about it, but not as a gratuitous end in itself; groove occasionally alleviates some tension, and is used as a plot device by much of the genre to keep touch with its roots, but the palpable feeling is, and ought to be, one of being hounded by a force of sonic terrorism.
This is fiercely subjective, but my fascination with goregrind done well has persisted over time, same as how the first thing I still key into Google search is “best horror films <insert decade>“. Unlike self-righteous grindcore, or the posturing of war metal – the two closest approximations to this style of music – goregrind retains a guileless humility about it. Lemmy Kilmister once sang, “Something in humanity is real keen to know. These days everybody gets to go to the murder show“. Goregrind gets this, and needs no cover of sophistication to convey the sentiment.
August 22, 2016 § Leave a comment
Black metal arose out of the maladjustment and disenchantment of a young generation with the over-the-top commercialism of the world around them. This angst found release in the techniques that black metal innovated, and the stubbornly lo-fi and inaccessible forms in which the music presented itself. The first sought to sufficiently differentiate black metal from death metal on the musical level, to evolve a more narrative style of metal that previous incarnations were incapable of. The second, however, along with accompaniments like corpse paint and pseudonyms, in many ways captured the true black metal ethic: the killing of the ego, the subordination of the personal to the external, a steadfast and impenetrable elitism, designed to be inaccessible to all but the most dedicated.
In time, both these pillars of black metal came to be thought of as pastiche, or a passiondead sine qua non. Bands, perhaps up to the early 00s even, continued reproducing both facets with diligent study, however, the impetus present to the original bands was lost. Not only did the techniques which black metal created to assert its identity lose their orientation and slide back towards the percussively choppy realm of death metal, but, in even greater contravention of its natively iconoclastic spirit, black metal came to be a by-the-numbers endeavour to be made with pristine clarity inside a state-of-the-art studio.
The public latched on to this incremental accessibility and showered their heroes with great adulation. The instant that black metal musicians themselves grasped this development sounded the ultimate death knell for the genre. When relatively slight concessions could bring in such favour, imagine the rewards that might lie further down the road of mass appeasement! Of all metal sub-genres, black metal musicians of the modern era are perhaps the most adept at tailoring their music to the demands of a varied clientele. In this pursuit, they try to democratically meet their fans’ expectations by reducing their music to a chemical experiment in the laboratory, an assiduous toying around with the beads of an ABACUS scale, to arrive at just the right compound.
Is all of this a purposely cynical fraud perpetrated by black metal bands in secret congress? That would be stretching credulity, but collective consciousness in a subculture waxes and wanes in direct relation to its environment. But isn’t the environment today, if anything, even more crass and whored-out than it was during the birthing of the genre? Where all discourse has come to be subsumed under a uniformly egalitarian, transnationalist, “intersectionalist” rubric? What stops modern black metal bands from regaining some quantum of the vitality that spurred the originals? What is it that I mean by “the impetus is lost”?
The challenges of the world don’t stay constant. What existed thirty years ago was an isolated, localized world; what exists today is far more inflated in scope, but also, paradoxically and perhaps as a direct outcome, far more intrusive on the personal and communal plane. People like Rob Darken and Varg Vikernes have realized this, in thought and in their music, with varying effectiveness, but in both cases by avoiding the stagnancy that surrounds them, by eschewing almost entirely the ambit of traditional black metal.
To the rest of the field, playing black metal has become a job, with all the stultification of the mind that a job entails. Playing black metal today is like getting up in the morning, taking a shit, brushing your teeth, putting on business casuals, and heading out for the 9-5. But what stirs the spirit in any of this? What inflames the passions? What is the one monumental, waking thought that occupies the mind? Does black metal, the way it is today, believe itself to be a catalyst for any kind of sublative, transcendent movement?
These more than anything else are the questions that black metal musicians ought to be asking of themselves. And if the answers lie outside the purview of the style, then so be it.
August 20, 2016 § Leave a comment
I think we err in thinking of values as being unimpeachably universal, homogeneous principles. Rather, consider that values aren’t atomic units, but receptacles into which aspects of the collective human experience pour into. A value ought to arise of a weighing at the scales, of discrete yet tangentially-related events and considerations, which then coalesce around each other to create a composite, namely the said value. As then follows, values aren’t eternal, static placeholders; instead, they exist in a state of flux over different epochs.
I explicitly say the collective human experience, because it is only when one begins to view a human being and his acts in conjunction with other, similarly sentient human beings and their acts, that the concept of value becomes crystallized and achieves real meaning. Good and bad are the dichotomies to which all consideration of values eventually devolves to, but what could they possibly mean to a hypothetical someone who chooses to live away from human contact?
One could say that for such a hermit, the idea, and even the practical application, of good and bad can be simplified to a binary, algorithmic choice, but this can be so only when the individual thinks in terms of his self-interest and nothing else. But what is good for one may be evil for another; such an elementary concept of values then necessarily becomes untenable as the individual’s sphere of interests expands and comes to include other individuals.
For any holistic, all-encompassing edifice of values to exist, one that can bring under its aegis a wider community – a nation – it is important to realize that the idea of good and bad cannot exist in a vacuum. Instead, it needs to be generated by a lateral dissection through layers, of both time and space, much like a metaphorical white oak spreading its roots through the undersoil, unseen to the regular eye. A course of action – and courses of action, by definition, are designed out of a desire for the greater good – needs to reconcile itself with the chain of cause and effect in historical space that has brought it to pass. This requires a shedding of the temptation to easy categories, a willingness to introspect, to confront our past, and to simultaneously circumscribe that chain of cause-effect and our sphere of interests, as they relate to each other, and pertinent to what we want our future to be.