Confusing prescription with opinion

With subjective opinion being one of the rare things you can actually call your own, it strikes me as odd when people respond to an invitation to write a piece for Black Metal Revolution with comments amounting to, “If people don’t already know about this record, what can I tell them?”

The “invitation” is an offer to share your insights into the Black Metal record you most revere; to explore the symbiotic relationship between the author and their nominated record. Due to the subjective nature of music there really is no such thing as “good” or “bad” music. Quality, like beauty is all in the eye of the beholder.

"There is no difference between Noise and Music in my work. I have no idea what you 

term ‘Music’ and ‘Noise’. It's different depending on each person. If ‘Noise’ means 

uncomfortable sound, then pop music is noise to me." Masami Akita, Merzbow.

The author’s nominated record possesses merit because the listener deems it worthy of reverie. Outside this relationship, the record is just an object; a product of someone’s imagination, efforts, convictions one hopes, but an object just the same.

So the concept of opinion here is strictly experiential – it is your vision of this record that is being sought and an interpretation unshackled by the influence of individuals exerting which records that are supposedly valid or true. To tap deep into the essence of why your chosen opus matters to you should render all other considerations redundant. My fundamental concern is for readers to be able to channel your vision and either discover an offering they hadn’t had the opportunity to prior, or at least determine an unconsidered perspective.

Pre-empting reader response is futile, they will extrapolate the messages as they see fit. Considering the likely audience for a publication such as Black Metal Revolution, it is naïve to consider it some sort of “rule book” or “guide to BM for the uninitiated” as there is no prescribed list of the records that should and should not be included. There are offerings I would like to see adorn the books pages, but this is not something I intend to contrive as it is at odds with the production’s essence.

A submission to BMR is a clear account of a record that matters to the author and why. Sure it can be more should you wish it to be. Some are better equipped than others to provide such an insight, though creative prowess is not necessarily a gateway to divination. VON is always going to appeal to me over some sort of pompous, overblown and overproduced act like Dream Theater; though try to explain to a Dream Theatre fan WHY that is the case is futile. The language of reverie is different for all individuals who are truly channeling their innermost.

Another opus worthy of the book's pages?

Ulver 'Nattens Madrigal'

Though Black Metal Revolution has now received approx 100 completed submissions, there are still a great many releases that I hope to see covered in the book's pages. The following is not one I actually expect to see profiled, but felt compelled to offer something on this myself. As noted in previous entries I have already composed my personal submission  (my piece on Burzum's 'Hvis Lyset Tar Oss' can be viewed here) so it's not as though the following discourse on Ulver will be featured, but it does give prospective authors another point of view should they be seeking inspiration...

Without question, reverie for Ulver's third offering deserves a space within the pages of Black metal Revolution. An album in which the accolades awarded it are steeped in the most cherished of mid 90's BM cliches; had it manifested earlier than it did, it would have possibly been the record by which the barometer for those terms was set.

Radiating most directly the trance-like elements of Darkthrone's 'Transilvanian Hunger', the sound materilises as a more sonic, savage expulsion which is amazingly melodious without ever being crass or obvious. Where 'Hunger' appears saturated, Ulver have generated a storm of sound that while visceral is also separated and dynamic. I suggest the expertise of the performance and execution to be most responsible for this result.

Though the above-held position is not unique to me alone, there is of course another path of exploration that needs to be addressed. It was not a secret that Ulver intended this to be their final dalliance in the BM sound sphere, and though I had no idea of what would materialise on successor (William Blake's Marriage Of Heaven and Hell) I believe this declaration had set in motion some sort of psychic rot where this musical epiphany was tarnished before even being heard. I imagine that had the band continued under another moniker, that this ill feeling may have been less significant, though I wonder if I am simply at odds with the idea of a band choosing not to perform BM any longer. I framed Ulver as channelling the same lunacy as their contemporaries. Obviously this is a shortcoming on my part, complicated by the nature of the fanatic no less.

Further bedevilled by the affiliation with Century Media, it seemed the band had distanced themselves from what they were perceived to be. 'Nattens...' felt somewhat contrived, though I wonder whether there is any more to that than a difficulty in aligning myself to the idea that a band could plan and execute three releases prior to recording any of them and know exactly how the story would end. It felt like anathema to the art and craft of playing in a band. Corrupting the orthodoxy of vision, trial, and revision to guide the outcome. While I don't generally care for convention, some mediums will never reach their true potential if not adequately explored. Granted this assessment is a simplistic one and
within the boundaries of any apparent absolutes are untold variables.

The cover does this release no justice, but whenever I put this record on, the scourging guitar sound forms images of glacier cold currents of unbridled electrical current and though the thrill of the journey's commencement does not continue through to the album's conclusion, Garm's vocal wrath, Skoll's fluid and energizing bass highlighted with rapacious drumming and the "did they?" actually record this deep, deep in the woods is always enough to keep me clearing the decks for at least one more round.

For more on Black Metal Revolution, click here
To contact me about submitting your own piece, click here

Black Metal Revolution 2010 - The Year that was...

My goal for Black Metal Revolution in 2010 was indeed greater than the manifest reality, but whether that means the year was unsuccessful is an entirely different debate. Intending to print this year, I'm not sure at what stage I realised this was not probable, though instead of lamenting what wasn't, 2010 remained a positive one with a collection of over 90 strong submissions that will appear between the book's covers.

Having posted a series of previews which you can see here, it would be erroneous to suggest these are the highlights of the collection, but what they do appear as are pieces that work well in isolation of their contemporaries. And while online seems a wholly suitable platform for some of the longer submissions, I think there's a degree of excitement to be found in the prospect of a listener taking the time to pull the record in question off the shelf and play it in concert with the pages or even chapters that are slowly materialising on some of BM's most revered artists and their records. And some of the more epic submissions demand this; a truth I can attest.

In one sense, the delays have provided for opportunities to include releases that even three months ago would not have been possible. Order From Chaos' 'Dawn Bringer' being one such recording, having never before been realised on the vinyl format, and recently announced as part of an NWN box set discography slated for 2011. If you were unaware, the book is only accepting submissions on recordings that have materialised on vinyl. If you were unaware of the importance for me in having submissions on OFC, consider yourself enlightened.

The demise of 2010 finds me still chasing a host of bands I seemed to have been chasing this time last year, though I deem all these acts well worthy of inclusion and acknowledge that what I am pursuing is conceptually simple, sometimes finding the right words to articulate that which you hold above all else is another matter entirely. This is not exactly teaching me patience, but it does no harm...

I have posted lists here and there covering all the artists who have submitted pieces thus far, so I won't revisit that at this time , but what I will say is that the year saw offerings come from a host of hordes truly important to me. Among those, Proscriptor from Absu, Master from Bestial Mockery, Impurath from Black Witchery, RR of Blasphemophagher fame, Denial Of God's Ustu, Azgorgh, the menace behind Drowning The Light, Tormentor from Gorgoroth, Meads Of Asphodel's Metatron, and submissions from the expected voices behind entities such as Toxic Holocaust, Rites Of Thy Degringolade, Profanatica, Satanic Warmaster, Sperm Of Antichrist, Raspberry Bulbs, Negative Plane, Morbosidad, Midnight and many more...

Having read through the close to 100 submissions I have acquired, it is clear that the goal of 333 needs to be met in order to adequately cover the quintessential BM records I deem necessary for inclusion. In no way are people coerced into writing or not writing about specific offerings though considering the myriad of master-works that have materialised since Venom's '82 monument, it's desirable to see as many of these recordings discussed in this light.

At a glance, the following are yet to find an author putting them under the microscope - so to speak. I for one am hoping to see at least some of these adopted...

IMMORTAL Diabolical Fullmoon Mysticism
DARKTHRONE Transilvanian Hunger
BURZUM Burzum, Det Som Engang Var
GEHENNA Descending, First Spell
MASTER'S HAMMER Jilmenice Occultist
HAVOHEJ Dethrone The Son Of God
DISSECTION The Somberlain
MARDUK Dark Endless
MORBID December Moon
MERCILESS The Awakening
MAYHEM Grand Declaration Of War
PROFANATICA Split W/ Masacre
CARPATHIAN FOREST Chasms, Caves...
TORMENTOR Anno Domini
KAT Metal and Hell
BEHERIT Oath, Drawing Down The Moon
CELTIC FROST Emperor's Return
EMPEROR In The Nightside Eclipse
ENSLAVED Vikingligr Veldis
NECROMANTIA Scarlet Evil
SATYRICON The Shadowthrone
SIGH Scorn Defeat
TORGEIST Time Of Sabbath, Devoted To Satan

This list should not suggest that in order for an record to be revered that it must be drawing on 20 years old either. I see more of this on the horizon...

Onwards into 2011 we go with a goal of at least reaching the 200th submission...

When inclusion violates the legacy... or the perception thereof!

Inevitably, there are artists whose inclusion in Black Metal Revolution would bolster interest in the project and while I am bewitched enough by their potential involvement to pursue the opportunity, there are occasions when I find myself satisfied with a rejection. If that sounds retarded, chances are you think the whole BMR project is, but if you find yourself intrigued by this concept, read on and I will elaborate.

The most obvious individual connected to this thinking is Varg Vikernes. Having sworn allegiance to Burzum as far back as '94 I know I'm not alone in recognizing Vikernes as a unique entity. Unlike the almost exclusive majority of the book's participants, it's almost as though the "influence" for his music came from anything but other metal bands. When Varg was quoted as saying, "I see Burzum as a dream without holds in reality. It is to stimulate the fantasy of mortals, to make them dream," I have to say that I found and still find inspiration in that statement. It's not an absurd declaration of arrogance or alienation from the herd; it resounds for me as a true intimation of the spirit and sound of Burzum as coming from somewhere "else" - not simply from the grooves of a contemporaries' record...

Prior to contacting the now readily contactable Vikernes I had already considered the approach as a futile one. The fact I became haunted by the possibility he may agree to do it gave me poise to think it worth putting out there, even if I felt I already knew how the response would read. What did encourage me to finally make contact was the notion that I couldn't recall any interviews where Varg actively spoke about other bands or records that he had been inspired by. I imagined something "exclusive" in a sense... almost wondering if I'd be the first person to even approach him about wider aspects of his music - especially after 1993. Though I had interviewed Vikernes for Heresy #3 (approx '98) I too was guilty of revelling in the knowledge that a figure such as this had grander and more topical concerns to discuss than records spun as a teenager. And who is going to argue with that? Granted, my interview targeted his electro-ambient music above everything else, but...

I called up a few old interviews when I started writing this and beyond his known associations - Darkthrone, Immortal and his passion for Bathory, I wasn't able to locate much that referenced the primordial essence of Burzum - at least where his BM output is concerned. And though I think 'Hlidskjalf' and 'Daudi Baldr's' are interesting enough, it is the '91 - '93 period that sets my spirit aflame! Vikernes revealed many of those electro artists who had made an impression on him in an interview with <a href="http://www.burzum.com/burzum/library/interviews/sounds_of_death_5/" target=_"blank">SOD Magazine</a> back in '95 and I guess by this time, discussing Black Metal had ceased to be a detail of interest for him, nor was it a point to probe for those seeking interviews.

In the end, I'm glad he elected not to write a piece for BMR. I have no specific idea as to where Burzum came from, and I'm content in that space...

Black Metal Revolution - Misconceptions

The book is definitely starting to make waves, and not all of them positive ones it seems. Of course, anything worth doing will see its share of detractors, so I can’t say I am disappointed. On one hand I have relished the extent to which people have read “between the lines” so to speak in interpreting the book’s intention and admittedly I find myself confronted with ideas I hadn’t previously considered. On the other hand, it has inspired a need within me to provide some clarity.

In wanting to further spread the word about this quest of mine, I posted an update on a UK forum. Interesting in that it generated a deal of discussion, disappointing that no one seemed to care or understand what the book was actually about, yet all appeared hasty to strike a blow, irrespective of how ludicrous or erroneous their assumptions of the book’s true intention.

This got me thinking that it may be time to share a few thoughts on what I see unfolding and how I see the project continuing. Not to suggest the course is any different to that on which it began, but as stated, clarity is needed.

Almost 30 years since Venom unleashed ‘Black Metal’ there have been untold visions of what BM should be; numerous trends, movements and authorities clamoring for the definitive statement, but the reality is that as long as people “bear arms” under its flag, divergent thought will continue and BM will evolve. The term “religious” was not commonplace in ’94; in fact it was not a term used at all at that time. Does that make the contemporary Religious BM movement irrelevant? No, it is another of the myriad of channels in which BM has existed. Rest assured, there will be more.

It was suggested to me, on a more personal level, that one of the book’s intentions was to unite Black Metal. This is definitely not the case. My acceptance of Black Metal being an ever-evolving medium is in direct opposition to that statement. No singular vision will ever be empirical, no rule ever all consuming.

For the purpose of this project I attempted to distil BM right down to a couple of its core elements and what I extrapolated from this assessment was that BM musicians are generally pro-active in discussing
their influences and are themselves collectors of bands they swear allegiance to. From a genre point of view, that I chose BM is less the reality than it chose me. Having long been an acolyte myself, I, like others of my ilk have found opus after opus that satisfied a myriad of needs both musically and intellectually and I have never longed for a stylistic evolution that wasn’t able to be met under its ever expanding scope. I don’t suggest BM to be music alone, but I would argue that no matter what your philosophical stance on it, those who have themselves forged BM bands have drunk deeply from the channels that preceded their own and by that rationale, hold some of those previous manifestations in higher regard that others. So, I decided that musicians discussing their most revered BM records would make for an interesting read. Especially as that criteria was unfettered by any specific convention other than I didn’t want people to write album reviews.

Which raises an interesting point in response to another suggestion that a work such as this “normalizes” BM. As long as bands are releasing music, they have no long-term control over what will become of it, what sort of legacy will develop and who will listen to it. Look at the Black Legions. It took almost a decade for hysteria for form around that cult. What makes one outlet more valid than the other? Is a cover version of a classic track more valid than a written piece on the album that it came from? Is not more discerned from the written word, assuming it is executed with finesse and insight?

I purposefully used the term Revolution as I found appeal in its ambiguous nature. As stated earlier, it inspired me that people saw more in the conveyance of the book’s message than may have been intended, but recent developments have generated thinking that this too is a point worth clarifying. I make no apologies for positioning BM as a revolutionary form of music. Is it the same as Communism or Fascism? No. Will it be a tool to overthrow government, generate social change or incite fear into the hearts of masses of religious devotees? Not likely. Has it proven to be a genre in which some phenomenal and seldom matched musical visions have been unveiled? The answer is a resounding yes.

So, in that context, it is a revolutionary expression.

The other side of this coin is the simpler of the two; the attachment to the archaic format that is the vinyl record. As the book’s criteria cites, all submissions must have been released on vinyl. The association of 333 submissions with 33 & 1/3 revolutions per minute is not happenstance. Drop the needle onto an LP and watch it go round; watch it revolve. There’s not a lot more to it than that.

Finally, there isn’t an elaborate master plan for printing a zillion copies of this book and for it to become a best seller. I expect those who submitted pieces for it to be interested in the end result and BM acolytes who are wanting another vessel to further explore in the realm of classic offerings discussed within its pages should also find it holds merit. Ultimately if anyone reading these pieces gets the inspiration to listen to one of these chosen records and hear it through the perspective of another, hopefully gaining something even greater through this ritual, then the greatest goal has been achieved.

Black Metal Revolution - A Question Of Duplicates

Black Metal Revolution Blog #3 - Originally posted at Metal Maniacs March 13th, 2010

For those of you who may not of heard of this project, Black Metal Revolution is a forthcoming book that will profile a series of black metal musicians and artists from across the ages discussing their most revered black metal record.

The approach is as subjective as you will and the goal is to capture the personal experience of the person writing as well as something of the essence they have drawn from the record in question.

Take a look at a selection of previews from the book to gain a better idea by clicking here.

A question I have found myself answering a lot of late is one pertaining to duplicate entries. The answer is yes, there will be duplicate submissions. Can you really imagine only one person wanting to write about ‘Under The Sign Of The Black Mark’? Naturally, I can’t have a book filled with 200 commentaries on Bathory, so I have to cap it somewhere, but the idea of the book is not for people to find records that they alone can write about; rather, the point is for the artist writing to express for the readers just what it is that the record they are writing about means to them.

When you think about it, even the greatest records hold zero significance if people don’t listen to them and neglect to bestow acclaim onto them. Without getting into debate as to what even constitutes “the greatest”, the book is looking to hear from people who have themselves made contributions, be they musical or artistic, and what it is that makes their most revered records the cult classics they believe them to be. So if five people wrote about ‘Under The Sign Of The Black Mark’ ideally those five experiences are different and engaging enough to inspire readers as well as providing insights into the authors of the piece. While a select few exclusives have been granted, it’s not something I want to do too much of and on a case by case basis this will continually be assessed.

The other peril of course with granting exclusives is that the opportunity to write about your most acclaimed record may be lost. An individual enamoured with the book’s idea and concept sees that ‘Fallen Angel Of Doom’ has already been written about. Are they not to be included? Is the assumption to be made that whoever got to it first proffered an all encompassing essay on this opus? The answer is NO! The way that certain records inspire and are seen as revolutionary is dependent on more than existence alone. What lurks within the grooves of these illustrious platters is something potentially unique for all who indulge.

I mentioned earlier the inclusion of musicians and artists. I am really blown away to reveal that I received a piece from none other than Joe Petagno this week. A really killer offering on none other than Bathory. For those unfamiliar with Joe, check out a troupe called Motorhead and you’ll get an idea of what’s Joe’s art is all about. And in addition to that, Dennis Dread has recently revealed the new Darkthrone cover as well as his acceptance of our invitation to be part of the book.

For more on these amazing artists:

Joe Petagno's official site
Dennis Dread's official site

An expanded view...

I thought it would be an optimum time to post more evolved thoughts about the Black Metal Revolution project via a blog. I have in the past published a series of blogs at the Metal Maniacs site which I will republish here. The idea more often than not is reiteration of the project's goals and to address the sometimes absurd conclusions people have drawn about the book and its intentions.

If you've stumbled across this via a means other than Black Metal Revolution the project as I have been referring to it is a collection of commentaries by BM artists and musicians about their most revered Black Metal record. The one they hold above all else. These are not reviews however, rather anecdotal portrayals of the author's relationship to their chosen record. I want to expand the understanding that not all experiences with music are master/slave relationships and that there is actually a symbiotic affinity where the writer is of equal importance to the release they are writing about it. Realistically the offering in question possesses status ONLY because the listener, who is in this case the author, grants it such.

Music is completely subjective. Nothing about it makes it "good". It is the experience of the listener that validates its worth...

Take a look at some previews from Black Metal Revolution . This will reiterate what I am talking about...