Milwaukee MetalFest XI: attempt to review
Leonid Makarovsky
I can't believe no one reviewed MetalFest yet. Was it only me who's got
Internet access attended the festival?
Anyway, here's the attempt. (comments, flames etc are welcome).
Milwaukee MetalFest XI, July 25th - July 26th, Eagles Ballroom, Milwaukee.
Eagles ballroom in downtown Milwaukee used to be a place where people
would practice and perform ballroom dance. Only white males were able
to enter this place until the "political correction" took a place and
the venue got open for everyone. And this place also does NOT have air
condition so everyone is sweating like horse. Eagles has 2 stages - the
rave stage and the ballroom stage. The bands are given from 20 to 30
minutes frame of time to perform(unless headliners). The bad thing is that
the schedule is made so that the starting and finish time of the band on Rave
stage is exactly the same as that of the band performing at Ballroom stage.
The worse thing is very offten the bands of the same style would
be performing simulteniously (i.e. if the band plays brutal death at
ballroom, another brutal death metal band is performing at Rave etc).
The only 1 copy of the schedule of the bands is hanging near the cashier so
it is not convinient to walk 4 floors down and up just to see who's
playing. They don't provide each floor with a schedule. So very offten
people just sit there and have no clue what band is playing. I'm not
gonna try to review every band (it's just not possible) even though I
tried to see as many as possible on friday, but will review only the ones
I noticed.
Friday, july 25th.
Ballroom stage:
Nightmares End - very well played doom with death influences and
incredible singer.
Ballroom stage:
I dunno the name of the band, but I caught the very last song they
played - was superfast death metal with really weird sound, and I
recognized a Slayer cover "Evil Has No Boundaries". Very nice cover.
Rave stage:
I think it was Angel Corpse (2 skinhead guys) trying to sound like
Funeral Winds. Nothing special.
Rave stage:
I caught this band in the middle of the set that also had 2 skinheads,
that looked like guys from Crowbar. I even started to think it was them,
but when I recognized the song "Ave Sathanas", I realized it was Acheron.
Of course there were a bunch of booths from Napalm America to Noise
Records etc etc in the venue that were selling the CDs, T-shirts,
spikes&leather etc etc.
Rave stage:
Bloodstorm. This band impressed me the most. Very well played fast black
metal. The frontman (guitarist and the singer) has a great stage presence
- a cross between Cronos and David Vincent from Morbid Angel. That's the
only band that would wear corpsepaint. This frontman would later be a
session player for ABSU (he'd stay in the middle, but wouldn't sing
for ABSU).
Ballroom stage:
Obituary - I think they were on friday. Obituary is Obituary, what
more needs to say. The crowd was into them.
Ballroom stage:
Napalm Death - skipped them. (Were they on friday?).
Main event ballroom stage.
Exodus re-union. Exodus were tight and played their stuff only from
Bounded by Blood. There's not much to say anything else. If you like
Bounded By Blood, you should check them out. The worst thing was that
at the same time at the
Rave ABSU were performing which I also wanted to see. So in the
middle of Exodus set I went there to check them out. As soon as I entered
the Rave, I saw drummer breathing fire. Ohh well, entertaiment for
14 yrs old? Apparently he knew that Exodus was playing upstairs so he
did say "We're gonna show you another lesson in violence."
As I said a Bloodstorm frontman with corpse paint was playing
guitar for them, he was standing in the middle (between ABSU guitarist and
ABSU bassist). The ABSU members were without corpse paint. And the surprising
thing was that drummer was a lead vocalist. Basically he didn't do too
badly, but it was very clear that drummer who plays extreme metal can
not both sing and play drums perfectly. One good thing was that his mike
attached to his head was not falling off during the singing, though it was
falling off everytime he was announcing new titles and spoke to the
audience. His overall singing was not good enough so I left right away
to see Exodus again.
The main event S. O. D. at ballroom stage.
First off nice backdrop. Introduction and just a S. O. D. T-shirt
(that's the backdrop) is rising. They put a hellotta a good show.
I liked them live better than on the classic album Speak English or Die.
I think they played pretty much every song off that album. At the encore
they played "A ballad of Jimmy Hendrix" - you know 3 seconds of "Purple
Haze" and then Billy Millano would go "You Dead". The next track was
3 second sampler from The Doors - and Billy Milano went "You dead too".
The next was the sample from "Smells Like Teen Spirits" and again
"You dead". Love it or hate it, but this is how it was.
The friday show was over. 10 hours of loud extreme metal with almost
no break and no aircondition. I was really tired.
I hooked with the guy Tom Wren who stayed at the same hotel with me
(Hospitality Inn). He has his fanzine Carcharoth, check this out
if you have a chance. He also did an interview with Abaddon from
Venom for Milwaukee MetalFest 'zine. If you've attended the festival,
you should've gotten this 'zine and promo CD for free as a part of a
grab bag so check out this interview. The funny thing is that Tom
called Abaddon to his house in Newcastle, England and was interviewing
him over the phone. Fortunately, Abaddon turned out to be a very nice guy.
Saturday, july 26th.
So next day me and Tom decided to go just by the time Venom
supposed to be on stage in order not to get tired and to skip the
rest of the shit. But then I got a call to my room from Tom who was
saying that he got nothing to do in his room and we'd rather do nothing
in the venue, than in the room. So we were waiting for the bus when a car
with 3 other metalheads from our hotel stops by and offering us a ride.
That was Dustin from Nuclear Blast America and 2 guys from HYPOCRISY.
So Dustin would ask me what 'zine I was running. I'd say I had no 'zine
and had no band, I was just a fan who flew here from Boston, mainly
to see Venom. Fair enough. They told me that they were from Hypocrisy
from Sweden. Since I'd always been pronouncing this band in a russian
way as "HEE PO KREE SEE" and had been putting accent in a different place,
when Dustin pronounced it in normal american english way, I didn't
recognized the word and told them that I had never heard of them and
asked them if they had any CDs out at all. Then in 5 minutes I was staring
at Dustin T-shirt and realized that I knew the band and their sideproject
THE ABYSS very well. Fuck, I felt like a dork. Of course, I told them
that I knew them, but would just mispronounce their name.
Anyway, this time I mostly was hanging around with people than rather go
there and listen to the bands. Tom had an interview with Avernus scheduled.
So we both went in the basement and there were 2 guys from Macabre
performing with acoustic guitars in front of like 30 people. I hanged
around a little with them after they finished while Tom was interviewing
Avernus. Then I went to see Avernus at ballroom stage, but wasn't
impressed with their lead singer at all while female singer was
performing rather well.
The rave stage.
Obliveon. This was canadian band that I always wanted to see. I have their
From This Day Forward and Nemesis. Very tight performance, but only for
25 minutes. Ohh well.
The rave stage.
Deathkids. Ok I didn't like their music at all - just standart brutal
death, but..... just wait till you know the line up.
Harley Wooten - vox and gutar 10 years old(!!!!!!!!!!!!!!!!!!!!)
Kenny Wooten - drums (12 years old, his brother)
Ken Wooten senior - bass (their father).
This is very impressive. The 10 year old kid who looks like a normal
10 year old kid and who talks like a normal 10 year old kid, would
go on the stage and would unleash the brutal death metal growlings
alternating it with black metal high screechings with no breaks between
alternating. Fuck, that was impressive, though I do suspect that he was
using effects. When I asked him after their set if it was his voice, he
told me yes, he wasn't using any effects. However, I'm very skeptical
about this: The sentence is sung in growling vocals until a middle of the
word where it's suddenly switched to screeching vocals so the rest of
the word and the rest of the sentence is sung in this key and vice versa
kinda like King Diamond is doing. I decided it was inpolite to ask him to
growl without a mic while he was signing CDs, so I didn't.
Ballroom stage:
Macabre. I wanted to see the band. I'm familiar with their Beyond The
Wall of Sleep EP that includes Black Sabbath cover Behind The Wall of
Sleep. I caught them only in the middle of their set since they started
10 minutes earlier. They were excellent, but it wasn't my cup of tea.
Ballroom stage:
Broken Hope (were they on saturday). This band does nothing for me,
so I was just waiting till they were done.
Ballroom stage:
Hypocrisy. Fucking tight, powerful, heavy and fast (when they were not
slow). They got the crowd going fucking nuts.
Ballroom stage:
Cradle of Filth. I'm not a fan of this band, however I must admit that
they were excellent and much better than on studio CDs. They had a stage
show with lights and stuff. All guys performed very well and especially
I liked the singer. The guy was doing black metal screeching and normal
(clean) vocal. He was nuts. His voice was really powerful. The downside
was that they had this chick on the stage (she was overweight too).
I dunno what the fuck she was trying to do, but if she wanted to dance,
she was rather bad. If she wanted to look like a Vempire, she rather looked
like a dirty slut from the street.
Ballroom stage:
The main event for the whole festival: V E N O fucking M.
After CoF was done we were waiting for a fucking hour for Venom to take
the stage. The guys would perform a soundcheck, then lights check, then
check if the lightcheck didn't break a sound - performing soundcheck again,
then lights check etc etc... That was hilarious and many people got pissed
about it. Tom was screeming "Fuck the lights and bombs, just fucking get
there and play". I actually had different opinion. I wanted it to be a
fucking great show, so I didn't mind them preparing the stage for whatever
amount of time it takes. I was just a little nervous that the reason it
was taking so long might've been whether something happened to the band members.
But finally I heard the sound and was still wondering if it was a part of
the soundcheck or the actual intro. Then I heard "We're are gentlemen from
the..." and that's it, it was VENOM finally taking the stage at 1am sunday
morning. Then there was guitar intro to 7 Gates of Hell, then drums and
then BOOM - the fireworks. That was fucking unexpectabally loud and bright.
Well, I have the videos of 1984 and 1985 of Venom and I saw it there, but
when you see it in a real life, it feels different. So after the first
firework I was just banging my head until the end of the show. I'm not
gonna review Venom show, except I'll provide the setlist. If you wanna know
what Venom was like, get one of their videos: 1984 The 7 Depths of Hell
and/or 1985 Alive in '85. Venom was pretty much the same as on these
videos, but VERY FUCKING LOUD. I knew what I was paying for (hotel, airlines,
Ticketmaster) and I got exactly what I wanted to get and what I expected.
Setlist in no order.
7 Gates of Hell
Die Hard
5 new songs including The Evil One. One of the rest of these new songs
sounded like Carnivouras off Prime Evil so I wasn't sure if it was this
one or just sounded similar.
Welcome To Hell
Black Metal
Warhead
In Nominee Satanas
Countess Bathory
Bloodlust
Witching Hour (encore)
I think that's it. 2 things. Couple of times I couldn't hear Mantas'
guitar, so I think they should've taken longer to do their soundcheck.
Few times it looked like Cronos tried to use kinda new style of vocals.
Forget it dude, it's not working, stick to the old style.
--Leonid
Blaine Buxton
Leonid Makarovsky wrote:
>
> I can't believe no one reviewed MetalFest yet. Was it only me who's got
> Internet access attended the festival?
http://www.geocities.com/SunsetStrip/Palms/6579/
My review is kind of short, but it is rather lengthy. It's hard to
review 24 hours of music especially when you didn't know who was playing
most of the time.....
---------------------------------------------------------
Blaine "Animal" Buxton "I'm alive my friend,
Software Engineering Chameleon I left the shadows
Smalltalk, Java, C++, Lisp far behind me..."
-Blind Guardian
Leonid Makarovsky
Leonid Makarovsky (ve...@cs.bu.edu) wrote:
: Setlist in no order.
: 7 Gates of Hell
: Die Hard
: 5 new songs including The Evil One. One of the rest of these new songs
: sounded like Carnivouras off Prime Evil so I wasn't sure if it was this
: one or just sounded similar.
: Welcome To Hell
: Black Metal
: Warhead
: In Nominee Satanas
: Countess Bathory
: Bloodlust
: Witching Hour (encore)
I forgot Buried Alive!
--Leonid
Leonid Makarovsky
goden (ContaminationHazardUrbanDisposal) wrote:
First off I do like ABSU 2nds CD. Were you at Metalfest?
: >badly, but it was very clear that drummer who plays extreme metal can
: >not both sing and play drums perfectly.
I meant doing 2 things at the same time. In a studio he plays drums and
sings at different time.
: Have you listened to Deceased... ? The vocalist is also the drummer
The only thing I know by them is Lack of Corpse.
: and he does the best I've ever heard in that combination. Never knew
: the Absu drummer was also the vocalist, though. He's damn good.
He wasn't singing as I expected so I left. I probably would've stayed
if it weren't for Exodus.
--Leonid
goden
ve...@cs.bu.edu (Leonid Makarovsky) vomited forth:
>First off I do like ABSU 2nds CD. Were you at Metalfest?
Nope.
>: Have you listened to Deceased... ? The vocalist is also the drummer
>The only thing I know by them is Lack of Corpse.
If you get a chance, you might want to check out 'The Blueprints for
Madness' and the new one, 'Fearless Undead Machines'. Although I
haven't heard 'Fearless...', I'm sure it's just as good, if not
better, than 'The Blueprints...', which, imnsfho, was fucking killer.
--
"Oncoming traffic yields to ME!"
--a friend of mine
http://www.mindspring.com/~goden/index.htm
goden
ve...@cs.bu.edu (Leonid Makarovsky) vomited forth:
>Rave ABSU were performing which I also wanted to see. So in the
>middle of Exodus set I went there to check them out. As soon as I entered
>the Rave, I saw drummer breathing fire. Ohh well, entertaiment for
>14 yrs old?
Too bad for you. Absu is a kick ass band.
>And the surprising
>thing was that drummer was a lead vocalist. Basically he didn't do too
>badly, but it was very clear that drummer who plays extreme metal can
>not both sing and play drums perfectly.
Have you listened to Deceased... ? The vocalist is also the drummer
and he does the best I've ever heard in that combination. Never knew
the Absu drummer was also the vocalist, though. He's damn good.
>Then I went to see Avernus at ballroom stage, but wasn't
>impressed with their lead singer at all while female singer was
>performing rather well.
Their new stuff pretty much sucks. They either need to go back to the
'Sadness' style or break up.
Wrath
> I can't believe no one reviewed MetalFest yet. Was it only me who's got
> Internet access attended the festival?
Nope- I was there too. And I will supplement your comments with my own.
> Anyway, here's the attempt. (comments, flames etc are welcome).
>
> Milwaukee MetalFest XI, July 25th - July 26th, Eagles Ballroom, Milwaukee.
> Eagles ballroom in downtown Milwaukee used to be a place where people
> would practice and perform ballroom dance. Only white males were able
> to enter this place until the "political correction" took a place and
> the venue got open for everyone.
Um... what? I'm not sure what that means. Anyway Eagles has got to be the
coolest place ever to hold such an event. The building is VERY old, and it
has a classic, almost haunted look to it. Iron railings, high ceilings-
it's all very forboding and perfect for the Fest. BUT- the main ballroom
has HIDEOUS acoustics, so unless you stand right in front of the stage,
you will hear nothing but echo-choked noise from the band! I couldn't
understand a word Billy Milano from SOD was saying when he talked to the
audience!
And this place also does NOT have air
> condition so everyone is sweating like horse. Eagles has 2 stages - the
> rave stage and the ballroom stage.
Hell yeah. It was sweltering.
The bands are given from 20 to 30
> minutes frame of time to perform(unless headliners). The bad thing is that
> the schedule is made so that the starting and finish time of the band on Rave
> stage is exactly the same as that of the band performing at Ballroom stage.
> The worse thing is very offten the bands of the same style would
> be performing simulteniously (i.e. if the band plays brutal death at
> ballroom, another brutal death metal band is performing at Rave etc).
> The only 1 copy of the schedule of the bands is hanging near the cashier so
> it is not convinient to walk 4 floors down and up just to see who's
> playing. They don't provide each floor with a schedule. So very offten
> people just sit there and have no clue what band is playing. I'm not
> gonna try to review every band (it's just not possible) even though I
> tried to see as many as possible on friday, but will review only the ones
> I noticed.
>
> Friday, july 25th.
> Ballroom stage:
> I dunno the name of the band, but I caught the very last song they
> played - was superfast death metal with really weird sound, and I
> recognized a Slayer cover "Evil Has No Boundaries". Very nice cover.
The band was called "Engraved" (whatever.) and they were apparently a
Slayer cover band.
> Rave stage:
> I think it was Angel Corpse (2 skinhead guys) trying to sound like
> Funeral Winds. Nothing special.
Angel Corpse were pretty brutal, actually. I wasn't a fan before, but I
think they won me over. "Altars of Madness"-styled speed/death!
> Rave stage:
> I caught this band in the middle of the set that also had 2 skinheads,
> that looked like guys from Crowbar. I even started to think it was them,
> but when I recognized the song "Ave Sathanas", I realized it was Acheron.
They suck. They're Nazis, too. Fuck them.
> Of course there were a bunch of booths from Napalm America to Noise
> Records etc etc in the venue that were selling the CDs, T-shirts,
> spikes&leather etc etc.
The booths were SOOOOOO disappointing! There wasn't that big a variety,
and the prices weren't in the least bit competitive!
> Rave stage:
> Bloodstorm. This band impressed me the most. Very well played fast black
> metal. The frontman (guitarist and the singer) has a great stage presence
> - a cross between Cronos and David Vincent from Morbid Angel. That's the
> only band that would wear corpsepaint. This frontman would later be a
> session player for ABSU (he'd stay in the middle, but wouldn't sing
> for ABSU).
The frontman's name is Mazzadurus, and I think he is amazing. So good, in
fact, that he blew away the other guys in his own band! What a fantastic
black mteal performer! BTW He did indeed sing for ABSU on this show- quite
a bit in fact. I think he fits in better with that band.
> Ballroom stage:
> Obituary - I think they were on friday. Obituary is Obituary, what
> more needs to say. The crowd was into them.
While Obituary played, Satistic Intent was on the Rave stage, and they
were really heavy. They closed with their cover of "Return to the Eve".
Nice work.
> Ballroom stage:
> Napalm Death - skipped them. (Were they on friday?).
So did I. Instead I saw Incantation give their greatest performance ever
(and I've seen them six times!) They were surprisingly brutal, even for
them.
> Main event ballroom stage.
> Exodus re-union. Exodus were tight and played their stuff only from
> Bounded by Blood. There's not much to say anything else. If you like
> Bounded By Blood, you should check them out. The worst thing was that
> at the same time at the
> Rave ABSU were performing which I also wanted to see. So in the
> middle of Exodus set I went there to check them out. As soon as I entered
> the Rave, I saw drummer breathing fire. Ohh well, entertaiment for
> 14 yrs old? Apparently he knew that Exodus was playing upstairs so he
> did say "We're gonna show you another lesson in violence."
> As I said a Bloodstorm frontman with corpse paint was playing
> guitar for them, he was standing in the middle (between ABSU guitarist and
> ABSU bassist). The ABSU members were without corpse paint. And the surprising
> thing was that drummer was a lead vocalist. Basically he didn't do too
> badly, but it was very clear that drummer who plays extreme metal can
> not both sing and play drums perfectly. One good thing was that his mike
> attached to his head was not falling off during the singing, though it was
> falling off everytime he was announcing new titles and spoke to the
> audience. His overall singing was not good enough so I left right away
> to see Exodus again.
Uh... yeah. Absu gave an incredibly convincing performance. Again, this
was a band I was lukewarm towards, but man, if they didn't change my
attitude! They were fast, tight, and insane- the way black metal should
be!
> The main event S. O. D. at ballroom stage.
> First off nice backdrop. Introduction and just a S. O. D. T-shirt
> (that's the backdrop) is rising. They put a hellotta a good show.
> I liked them live better than on the classic album Speak English or Die.
> I think they played pretty much every song off that album. At the encore
> they played "A ballad of Jimmy Hendrix" - you know 3 seconds of "Purple
> Haze" and then Billy Millano would go "You Dead". The next track was
> 3 second sampler from The Doors - and Billy Milano went "You dead too".
> The next was the sample from "Smells Like Teen Spirits" and again
> "You dead". Love it or hate it, but this is how it was.
> The friday show was over. 10 hours of loud extreme metal with almost
> no break and no aircondition. I was really tired.
Everyone in SOD seemed really sick of doing that gig. They're all burnt
out, let's face it. And you're hearing this from a long-time fan.
Basically, they just re-enacted their live album. Few surprises, and they
weren't tight at all.
> Saturday, july 26th.
> So next day me and Tom decided to go just by the time Venom
> supposed to be on stage in order not to get tired and to skip the
> rest of the shit.
That would have been wise. I got there at 3:00, and was bored out of my
mind for about 5 hours. most of the Sat bands were boring!
> The rave stage.
> Deathkids. Ok I didn't like their music at all - just standart brutal
> death, but..... just wait till you know the line up.
> Harley Wooten - vox and gutar 10 years old(!!!!!!!!!!!!!!!!!!!!)
> Kenny Wooten - drums (12 years old, his brother)
> Ken Wooten senior - bass (their father).
> This is very impressive. The 10 year old kid who looks like a normal
> 10 year old kid and who talks like a normal 10 year old kid, would
> go on the stage and would unleash the brutal death metal growlings
> alternating it with black metal high screechings with no breaks between
> alternating. Fuck, that was impressive, though I do suspect that he was
> using effects. When I asked him after their set if it was his voice, he
> told me yes, he wasn't using any effects. However, I'm very skeptical
> about this: The sentence is sung in growling vocals until a middle of the
> word where it's suddenly switched to screeching vocals so the rest of
> the word and the rest of the sentence is sung in this key and vice versa
> kinda like King Diamond is doing. I decided it was inpolite to ask him to
> growl without a mic while he was signing CDs, so I didn't.
Those kids could teach all the half-assed generic death metal bands out
there a thing or two. I was backstage during Death Kids set-up, and Kenny
did NOT use an effect pedal. Impressive, no?
> Ballroom stage:
> Macabre. I wanted to see the band. I'm familiar with their Beyond The
> Wall of Sleep EP that includes Black Sabbath cover Behind The Wall of
> Sleep. I caught them only in the middle of their set since they started
> 10 minutes earlier. They were excellent, but it wasn't my cup of tea.
They came on earlier as sceduled. I missed all songs but Ed Gein. They did
a good job though.
> Ballroom stage:
> Broken Hope (were they on saturday). This band does nothing for me,
> so I was just waiting till they were done.
If you had to ask me what death metal band I unconditionally hated, it
would be Broken Hope. Their music sucks, and the guys in the band are
morons! Did you see them when they did that guitar giveaway after Cradle?
What a bunch of rocker fuck-ups! They came on by annoucing something like,
"And now, one of the heaviest bands around!" and I thought, "Wow!
Incantation's going to play again??" heh heh.
I went and saw Cryptopsy on the Rave stage instead. They were good, and
the pit was huge. I do miss Lord Worm on vocals though, since the new guy
is good, but he doesn't have that weird image that makes Canadian
hyperblast bands so fun and unique...
> Ballroom stage:
> Hypocrisy. Fucking tight, powerful, heavy and fast (when they were not
> slow). They got the crowd going fucking nuts.
Yep. They did a good job. The crowd sure did like them.
> Ballroom stage:
> Cradle of Filth. I'm not a fan of this band, however I must admit that
> they were excellent and much better than on studio CDs. They had a stage
> show with lights and stuff.
The lights were very effective. I liked the set up.
All guys performed very well and especially
> I liked the singer. The guy was doing black metal screeching and normal
> (clean) vocal.
Yeah! They were cool and viscious! Dani is a phenominal frontman- he had
the crowd in the palm of his hand....
> The downside was that they had this chick on the stage (she was
overweight too). I dunno what the fuck she was trying to do, but if she
wanted to dance,
> she was rather bad. If she wanted to look like a Vempire, she rather looked
> like a dirty slut from the street.
Whoa. That's really harsh. For clarity, I believe that was Dani's
girlfriend (at least for the weekend), and I get the feeling that she was
up there for that reason. Yeah, it was clear that she wasn't a dancer by
trade, but man, that last remark was kind of uncool all the same.
Cradle played:
-To Eve the Art of Witchcraft
-Forest Whispers My Name
-Malice Through the Looking Glass
-Nocturnal Supremacy
-Red Roses for the Devil's Whore
Good set!!
I was exhausted- I didn't stay for Venom.
Wrath
Leonid Makarovsky
One thing I forgot to mention. There was Miika from Impaled Nazarene - fucking
skinhead, but very funny guy. He wasn't playing, but was there just as a
spectator. I hooked up with him on saturday and he told me
"I fucking wanted to see Exodus and S. O. D., but unfortunately I drank too
much so just before their set I passed out and was sleeping on the stairs. Then
my friends would wake me up and told me to go home. I said, wait, what
about Exodus and S. O. D.? I wanna see them. They said, they already played.
I was really pissed."
--Leonid
Azag-thoth
Contamination Hazard Urban Disposal (goden) wrote:
>Too bad for you. Absu is a kick ass band.
i have Barathum VITRIOL...is this one of their better efforts?
-Daemonic
goden
xy...@mindspring.com (Azag-thoth) vomited forth:
>Contamination Hazard Urban Disposal (goden) wrote:
>>Too bad for you. Absu is a kick ass band.
>i have Barathum VITRIOL...is this one of their better efforts?
Haven't heard that one. My favorite is 'The Sun of Tiphareth'. The new
one is good, but I haven't had enough time to listen to all of it (my
dub is missing a couple songs, too), but it's great so far. I haven't
heard any of the demos or 7"'s either.
Miika Kuusinen
ve...@cs.bu.edu (Leonid Makarovsky) writes:
> about Exodus and S. O. D.? I wanna see them. They said, they already played.
> I was really pissed."
You must be referring to Mika Luttinen NOT Miika, the lead singer of
Impaled Nazarene. Somehow very typical finnish concert behaviour in behalf
of him if you ask me.
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Hate
blah blah blah (xy...@mindspring.com (Azag-thoth))
>Contamination Hazard Urban Disposal (goden) wrote:
>>Too bad for you. Absu is a kick ass band.
>i have Barathum VITRIOL...is this one of their better efforts?
its ABSU's definitive release...the others are ok-ish, but waay too
pretentious...and boring, might i add...
****************************visit*****************************
* Tracks Of Creation Webzine (http://www.ratw.com/creation/) *
**************************************************************
* for the latest on death/black/extreme music. *
* I write for it. Read it or I will kill you. *
**************************************************************
/} Brett A. Benzie
// hat...@dcc.net.au
/{ /> http://www.dcc.net.au/~hatred/
,__________///----/{___________________________________________________
/|==========|/\|-----/___________________________________________________\
\|==========|\/|-----\___________________________________________________/
'~~~~~~~~~~\\\----\{
\{ \>remove "DeathToSpam" from my email address to reply.
\\
\}
Azag-thoth
hat...@dcc.net.auDeathToSpam (Hate) wrote:
>blah blah blah (xy...@mindspring.com (Azag-thoth))
>
>>Contamination Hazard Urban Disposal (goden) wrote:
>>>Too bad for you. Absu is a kick ass band.
>>i have Barathum VITRIOL...is this one of their better efforts?
>its ABSU's definitive release...the others are ok-ish, but waay too
>pretentious...and boring, might i add...
vitriol sounded kind of simplistic to me...so i dunno what all the
hype's about, then. but i kind of like the intro/outro...:)
-Daemonic
Leonid Makarovsky
Wrath (under...@mail.utexas.edu) wrote:
: > Milwaukee MetalFest XI, July 25th - July 26th, Eagles Ballroom, Milwaukee.
: > Eagles ballroom in downtown Milwaukee used to be a place where people
: > would practice and perform ballroom dance. Only white males were able
: > to enter this place until the "political correction" took a place and
: > the venue got open for everyone.
: Um... what? I'm not sure what that means. Anyway Eagles has got to be the
That means that no blacks, no women were allowed in into Eagles.
: The booths were SOOOOOO disappointing! There wasn't that big a variety,
: and the prices weren't in the least bit competitive!
Century Media had their stuff for $10 next day so it wasn't that bad.
: The frontman's name is Mazzadurus, and I think he is amazing. So good, in
: fact, that he blew away the other guys in his own band! What a fantastic
: black mteal performer! BTW He did indeed sing for ABSU on this show- quite
: a bit in fact. I think he fits in better with that band.
Well, I must've missed that part since I was at Exodus.
: While Obituary played, Satistic Intent was on the Rave stage, and they
: were really heavy. They closed with their cover of "Return to the Eve".
: Nice work.
Should've checked Sadistic Intent.
: > she was rather bad. If she wanted to look like a Vempire, she rather looked
: > like a dirty slut from the street.
: Whoa. That's really harsh. For clarity, I believe that was Dani's
: girlfriend (at least for the weekend), and I get the feeling that she was
: up there for that reason. Yeah, it was clear that she wasn't a dancer by
: trade, but man, that last remark was kind of uncool all the same.
Well, first off I didn't say she *was* a slut, but she looked like it. Second,
never said being and/or looking like slut is a bad thing at all.
: I was exhausted- I didn't stay for Venom.
Big mistake. I was tired and sleepy, but I woke up during Venom.
--Leonid
Laurent Seiter
Hate wrote:
> >i have Barathum VITRIOL...is this one of their better efforts?
>
> its ABSU's definitive release...the others are ok-ish, but waay too
> pretentious...and boring, might i add...
Rfffffrhhhmm !!!! I can't breathe anymore.
--
___________________________________________________
Laurent SEITER
mailto:lse...@crim.ca
angel of apostasy
On Sun, 03 Aug 1997 05:49:48 GMT, xy...@mindspring.com (Azag-thoth) wrote:
>vitriol sounded kind of simplistic to me...so i dunno what all the
>hype's about, then. but i kind of like the intro/outro...:)
"Third Storm of Cythraul" is their best -- fast Mercyful Fate type stuff -- but
they are not the most stimulating metal band, although I like their material,
y'know?
EVIL
FAQ: Introduction to Metal
Archive name: Introduction to Metal
Author: ANUS staff
Last Update: August 06, 1997
Version: 0.1B
---
Newsgroups:
alt.rock-n-roll.metal, alt.rock-n-roll.metal.heavy,
alt.rock-n-roll.metal.death, alt.music.black-metal,
alt.thrash, alt.rock-n-roll.progressive, alt.rock-n-roll.metal.black,
alt.rock-n-roll.metal.doom
1. What is metal music?
1.1 What is metal?
2. What is ?
2.1 heavy metal
2.2 speed metal/thrash
2.3 death metal
2.4 black metal
2.5 grindcore
2.6 styles
2.6.1 "doom metal"
2.6.2 "industrial metal"
3. What is philosophical ideology?
3.1 nihilism
3.2 romanticism
3.3 evil mysticism
4. Who listens to metal?
4.1 everyone
4.2 hessian studies
5. What are the metal groups?
5.1 extant groups
5.2 history
5.3 suggested futures
5.4 etiquette/rules
6. What are other net resources?
6.1 IRC
6.2 WWW
7. Where can I buy and sell metal?
7.1 labels
7.2 mail order
7.3 net sales
7.4 tape trading
8. Who did this FAQ?
8.1 authorship
8.2 contact
---
1. What is metal music?
1.1 What is metal?
Metal is a genre of music which refuses to compromise the
inherent nihilism of life as it seeks more romanticist
outpourings of emotion and ideal. Coming from the underground
the music is closely joined to intensely alienated social values
but translates this dissent into a non-political yet unwaveringly
steadfast metaphorical resistance to mainstream thought process.
A form of music based in the theory of classical music and the
rhythm and format of blues-based rock, heavy metal emerged as a
form of popular music in 1969 and has undergone various changes
since, mutating as it evolves into what it always has been. With
its extremist minimalism supported by its aesthetic of violence
and destruction metal loses many popular music fans, which
contributes alternatively to its evolution in minimalist rawness
and to its progressive nature bringing forth more complex
structures.
2. What is ?
2.1 heavy metal
Heavy metal arose from loud simple blues and is defined by
its primary progenitors: Black Sabbath. Taking the rhythm of
blues and jazz and using it to underlay minimalist epic
power-chord riffs, Black Sabbath took the blues to the next
step of insidious artful subversion and glorification of the
anarchistic freedom of demonic lust. Alongside hard rock
originators Led Zeppelin the blues raised its twisted and
morally dubious head again in mainstream rock; where Led
Zeppelin augmented rock's knowledge of harmonic structure
Black Sabbath reinvented it altogether, being in the mind of
one prominent critic "the second most important rock band to
the Beatles."
Some will doubt this distinction and classify Led Zeppelin
and their family of blues-form hard rock as similarly heavy
metal, but this makes no sense given the clear composition
direction within Black Sabbath's music: 1) more ambient beat
structures focusing less on phrase than granular looping
repetition, 2) dissonant elemental riffs with abrupt cycles,
3) bizarre song structures and experimental elements. During
their reign Black Sabbath built the foundation for the
harmonic essence of grunge, created a rhythmic synchronicity
in punk and rock, and opened experimentation in noise music,
ambient beat-music, and progressive minimalism. The period
from 1969-1977 bore the most influence of their work, a
morose conclusion to the hippie rock of the middle sixties.
Other influential music from this period: MC5, Jimi Hendrix,
the Doors.
2.2 speed metal/thrash
As the seventies waned metal faded into a sad repetition of
the image of its glory. Excess and a lack of musical
innovation lead metal to still waters, where it drifted into
either the hair-and-makeup wailing guitar tradition of
stadium metal or the rising punk movement. Exceptions were
Iron Maiden, who brought melody and narrative tempos to heavy
metal, and Motorhead, whose proto-punk progressive metal
grated against tradition and sensibilities with its biker
graffitti narrative of nihilism in modern culture. These
acts brought to a close the fading image of blues-oriented
rock ("heavy metal") and the rise of the inherent progressive
anti-aesthetic minimalism in bands such as Black Sabbath,
spawning separate tendencies at once.
In reciprocation to the decay, a furious tendency toward
hardcore punk use of strumming rhythm over driving percussion
simultaneously developed alongside the melodic and
progressive tendencies of the more inspirational bands of
previous generations. The counterpoint of punk -- whose
violent rhythms and anti-consonant phrasing were vanguard of
the new deconstruction of pessimism -- was the glitter-laden
complexity of heavy metal, complete with classical melodies
and rock virtuosity; the fusion of these two begat speed
metal, racing tempo music using the muffled strum to form
hard-edged and precision riffs with embedded melody.
Of these rising acts Metallica (1982), sister act Megadeth
(1984), and northern cousins Exodus (1984) were the primary
disseminators of groundbreaking material. Metallica, of
special note for their use of open chords, complex harmonics
and melodic composition, began their career in emulation of
faster versions of older metal bands. Soon acquiring musical
skills and theoretical counseling in the dual virtuoso team
of Kirk Hammet (lead guitar) and Cliff Burton (bass),
Metallica grew in renown and peaked in musical development
with _Master of Puppets_, combining the complex composition
of seventies progressive rock bands with the thundering
domination of violent hardcore. Burton died soon after in a
tour bus accident and the band never recovered, but soon they
had spawned 1) groups of emulators and innovators in the
style of muffled-strum epileptic-tempo speed metal and 2)
other groups interested in the possibilities of
metal/hardcore fusion, so that by 1987 when they retired the
metal scene had become more extreme and more erudite almost
overnight.
Before the peak of speed metal had even begun Alief, TX,
hardcore crossover band Dirty Rotten Imbeciles were busy
inventing the Sabbathified hyper-punk fusion that would
project their extreme views and emotions upon a fragile
audience.
Deliberately low-fi and abrasive, DRI's first two albums
featured an unheard of brevity (18-25 second songs) and
trenchant criticisms of modern society. This earned them
famein both metal and hardcore scenes as they injected needed
energy into both genres. Cryptic Slaughter and MDC (an
acronym of varying significances) followed with even more
acerbic anthems of distrust and anarchy; Cryptic Slaughter
are especially interesting for their basic death metal on
the
latter side of 1987's _Convicted_.
Despite innovation in both genres, speed metal was destined
to collide with corporate megaculture and thrash was to burn
out its intensity as audiences moved away from the extreme
to
the more commercial in both hardcore and metal genres. The
fomenting anger of the metal scene, as well as the increasing
destruction of the planet and world superpower fascism,
prompted retaliation with the negation of speed metal's
"heavy metal" vocabulary of consonance through the most
nihilistic form of musical expression to date: DEATH METAL.
2.3 death metal
When society seemed even more hopelessly fallen into
acceptance and worship of its own collapse, the conventional
tonality and "save the world" messages of speed metal and its
ancestor, heavy metal, became too trite and ridiculous for
the newest generations of alienated youth.
Discarding harmony and nihilistically embracing the chromatic
scale as law, early death metal bands espoused beliefs in the
evil and orderless, the chaotic and the painful. Their
rhythmic violence and insistence upon wildly-constructed and
atonal guitar solos made them an instant target of both
critique and shameless ripoff. The first wave of this
technique, from Slayer (1982), had its roots in the old-style
metal of Judas Priest or Kiss but evolved to become faster,
ripping-strum styled metal that shifted with muscle over
rigid, ambient repetitive beats. However the second wave --
Possessed (1985), Morbid Angel (1987), Deathstrike (1987),
Rigor Mortis (1986) -- were more obscurely and bizarrely
formed from raw innovation and chromatic scales.
As the decade waned and humanity seemed further flung into
the pit of materialism, death metal reached toward the
progressive and explored the extremes of melody (At the
Gates), ambience (Obituary), percussion (Suffocation),
atonality (Deicide), and microtonal music (Atheist).
Simultaneously however the bulk of death metal shifted toward
a more percussive and chromatic style, composing their
material visually from power chord forms along the bottom
three strings of the guitar.
By 1992 the peak had been reached, and afterwards
soundalikeness pervaded all but the most
individually-conceived bands. The overuse of death metal's
nihilistic inventions -- chromatic open phrasing and chaotic
soloing -- had made that genre, like hardcore punk a decade
before, the anti-commercial musical breakdown that in the
end
made it easier for ripoffs to dress up the same material in
production values. Not only that, but a horrible trendy
underground had developed around the idea of righteousness
and moral good; consequently, they bankrupted death metal's
ideals by conforming to mainstream expectations, and their
music lead itself back toward the dogmatic, tendentious, and
most of all judgmental system of scales and harmonies. Back
into the blues, there was suddenly a clear peak --
significance and value -- arbitrarily imposed by scale
structures that truncated the value of the music and
made its ability for chaos limited to aesthetics only.
2.4 black metal
As if to rectify this stagnation another form of metal
arising through the same channels of heritage began to spread
its wings and develop its raw essence -- ambience, melody,
and stark nihilistic structuralism -- as it came closer to
underground consciousness. The first of these bands were
Hellhammer (1984) and Bathory (1986), with the former playing
slower sensually rhythmic material while the latter banged
out mutating riffs over strict simplistic ambient
drum-machine percussion.
Where death metal went for logical appeals black metal
presupposed the end of the world and celebrated decadence,
destruction, and agony as a means of exploiting the social
climate to its own revelation. The melodramatic, overstaged
and ludicrous "evil" presence of these figures drew attention
to their mythological interpretation of the coming -- or
perhaps ongoing -- apocalypse.
2.5 grindcore
An important genetic component of death metal, grindcore
arose from the ashes of hardcore and thrash as the alienated
punk-rockers and sociopathic metalheads of the world sought
something more extreme, more evocative of the
discompatibility they felt as a process of soul. With the
rise of Napalm Death (1985) and Carcass (1987) in England the
genre was well-founded as an alternatingly slower or faster
version of punk, with bar chords colliding at high speed
outside of the blasting furnace of rhythm. Deliberately
dissynchronized timing, detuned instruments and guttural
distorted howls of vocal brought this genre to the attention
of death metal heads who appropriated vocal and tuning
habits, and to the innovative mind of Napalm Death-founder
Justin Broadrick who made "industrial grindcore"
with 1988's _Streetcleaner_ and immediately created a detour
for angry metalheads and industrialites and punkers to make
crossover music that was as unfriendly as industrial sounds
like it should be.
In 1994, Napalm Death's "Fear, Emptiness, Despair" sounded
almost the last note for grindcore as its course of
innovation started to veer from the minimalistic to
abrasively coarse and simple, death metal-like music with
complex jazz-y rhythms.
Grindcore, like hardcore, thrash, speed metal and early forms
of death metal, continues to this day, but most innovation
remains at the aesthetic level and the original thrust has
been lost.
2.6 styles
2.6.1 doom
"Doom metal" does not merit a separate genre because it
is one of two things: 1) very slow heavy metal or 2)
very
slow death metal. Although its ideology is more gothic
and its aesthetic morbid, no significant changes have
been wrought from inventors Black Sabbath (1969) and the
doom work on Morbid Angel's _Blessed Are the Sick_ 1991.
Of note: Winter, Cianide, early Cathedral.
2.6.2 industrial
"Industrial" as used in the record industry denotes a
reliance on electronic beat equipment and often digital
sounds. However, it does not govern the music
underneath, which is almost always rock or heavy metal
in
essence.
The exception being Godflesh, whose innovation
prompted
mainstream acts Ministry (1989) and Nine Inch Nails
(1991) toward their more extreme commercial
rock-industrial.
3. What is philosophical ideology?
3.1 nihilism
Nihilism leaves a complex etymology in the Oxford English
Dictionary: "Total rejection of current religious beliefs or
moral principles, often involving a general sense of despair
and the belief that life is devoid of meaning." This gives a
historical sense of the word as something anti-religious,
anti-moral, and anti-meaing, but does not explain the root of
that: a belief in the lack of arbitrary values except the
immanent and contextlessness function-value. Nihilism
rejects conventional valuations and replaces them with the
pragmatic assessments of science and atheism, allowing
freedom of movement before considering precedent and
normativity.
In modern times nihilism is a dual entity, composed of
emotional nihilism or the breakdown of all values or caring
(closer to apathy) as well as the nihilism described above,
which is merely a removal of arbitrary illusion as imposed by
social conditioning. Metal has always espoused some form of
nihilism, from its roots in god-rejection and social cynicism
to its over-glorious heavy metal days when no excess was
enough and nothing was too ludicrous. Death metal took
nihilism to new extremes of rational description of human
irrationality, fragility, and doom, but black metal takes
nihilism a step further and assumes it as a weapon against
conventional moral and spiritual restrictions.
3.2 romanticism
A fragment from the OED defines romanticism as "tending
towards or characterized by romance as a stylistic basis or
principle of literature, art or music; designating to a
movement or style during the late 18th and early 19th
centuries in Europe marked by an emphasis on feeling,
individuality and _passion_ rather than classical form and
order, and preferring grandeur or picturesqueness to finish
and proportion." This snippet defines both the style and
content of romanticist works, at least as commonly known;
investigating metal reveals their inspiration.
The distinguishing characteristic of metal throughout its
history has been its youth-culture rejection of the
established world (youth reject their world for they can
afford to; once they are educated to lose hope they find
themselves in an easier existence) and declarations of
autonomy from the surrounding world and its disease of
bourgeouis commercialism, sexual elitism, intellectual denial
or spiritual cowardice, depending on what generation of metal
is expounding. In this metal has affirmed the rejection of
proportion/symmetry and the overthrow of external principles
which would control such as morals and aesthetics (finish);
the root of this tendency is the dependence on passion that
takes over when one has accepted science (see Nihilism, 3.1).
The romantic movement of literature in Europe (predominantly
England and France) inspired poetry and existential
literature such as Mary Shelley's _Frankenstein_, the story
of a creature brought to life finding his essence unfolding
as he grows, only to realize the conditions of his life doom
him to obscurity and isolation. These works are the
ancestors of the seminal modernists James Joyce, William
Faulkner, and W.S. Burroughs, as well as the genesis of
genres such as science fiction, fantasy, and horror. The
fascination with the eldritch and morbid, the biological and
the destructive, as well as the unfolding question of
humanity's place in a technological world, are hallmarks of
this movement leading a clear trail through history to
today's metal movements, especially black metal in which all
logic is rejected in favor of total emotional hatred and
nihilistic passion for the abstract.
These lyrics explain best: (the freezing moon)
3.3 evil mysticism
People often ask why metal is fascinated with evil and has
been since its inception in Black Sabbath, who were formed
partially to enable their occult beliefs a forum. The
answers perhaps lie in the definitions of romanticism and
nihilism coming together for a dark but empowering worldwide:
as if inspired by Dionysius, the crafty god of wine of the
Greek era, or by Fenris, the wolf of apocalypse of the Norse,
metal bands have rejected order in favor of chaos and
hedonism. The hedonism is explainable to the materialistic
parametrics of nihilism combined with the passion and
life-seeking sensuality of romanticism, and the chaos is the
midnight tempest which buffets away the weak and encourages
autonomy and independent direction in those who would
survive. Humanity's path toward apocalypse has made even
more trenchant these views, and consequently varying
interpretations of evil exist in metal today.
Some have even taken this farther, to associate the
Bacchus/Dionysius spirit of mind with its Nietzschean
metaphor of the brave, independent, and analytical yet
impassioned artist struggling in a world of sleepers. I have
said too much and will leave it there.
3.3.1
To discuss the topic as briefly as possible, several
popular types of satanists and their beliefs include:
- LaVey satanists: They use The_Satanic_Bible as an
inspiration or basis for their belief system, which is
closely related to humanism. They do not necessarily
believe in the existance of supernatural figures,
including god and satan, and believe that worshipping
these imaginary figures does no good and is degrading.
A good reference on this Satanism is The_Satanic_Bible
by Anton Szandor LaVey.
- "Hollywood" Satanists: This group uses a combination
of the name Satan, Satanic worship, Satanic rituals,
and
Satanic references to shock and offend those who buy
into the "Satan is evil" that mainstream groups/cults
have propagated. They often are poorly educated in the
occult and more well studied occultists will reveal
errors and lack of knowledge in their statements on
Satanism.
- Devil-worshippers: There are few, if any, of these
groups in Satanism. Christians would like you to
believe otherwise. You are advised to not take
statements from their religious opposition as truth,
when it is far more likely to be a strawman.
4. Who listens to metal?
4.1 everyone
Generally, metal fans are human beings who have grown up in
similar environments to most people in their areas of origin,
with worldwide presence in a Poisson distribution.
4.2 hessian studies
Political organization for metal fans and for academic
appreciation of the heavy metal subculture(s) comes from the
Hessian Studies Center, on the web at
.
5. What are the USENET metal groups?
5.1 extant groups
Current USENET groups about heavy metal or metal music:
alt.rock-n-roll.metal - commercial metal
alt.rock-n-roll.metal.heavy - commercial metal and grunge
alt.rock-n-roll.metal.death - death metal
alt.rock-n-roll.metal.black - black metal
alt.music.black-metal - black metal
alt.rock-n-roll.metal.progressive - prog commercial metal
alt.rock-n-roll.metal.doom - doom/commercial metal
alt.thrash - thrash music
5.2 history
One of USENET's earliest hierarchies was the alt.rock-n-roll
hierarchy, started to complement .sex and .drugs in the
middle eighties. By the next decade, a .metal had been added
and by the early nineties a new group, .metal.heavy was added
to accomodate "heavier" metal, not knowing that "heavy metal"
is a keyword for more commercial, rock-based offerings.
Somewhere in this time alt.thrash was created for
skateboarders and taken over by crossover music fans.
In order to advance this hierarchy to a contemporary state of
metal knowledge, in 1993 I created the newsgroup
alt.rock-n-roll.metal.death, which was followed by
.progressive, .doom, and the incongruous
alt.music.black-metal
in the middle 1990s.
5.3 suggested futures
Metal newsgroups should function to empower the most possible
users both as reference and interactive medium. Thus the
best way to split their identities is to divide them
according to musical genre tree and history, as that is how
they are marketed and how people will know to find them:
alt.rock-n-roll.metal - general commercial metal
alt.rock-n-roll.metal.heavy - "heavy metal"
alt.rock-n-roll.metal.doom - doom metal
alt.music.grindcore - grindcore
alt.music.metal.death - death metal
alt.music.metal.black - black metal
alt.music.thrash - thrash music
alt.rock-n-roll.metal.lifestyle - metal lifestyle
alt.rock-n-roll.metal.commercial - products and ads
5.4 etiquette/rules
Metalheads are naturally anarchistic, and so there is no need
for rules. A few good ideas:
1 - Look to see if someone has asked/answered your questions
by scanning the Subject: lines of your news messages, and
then by using http://www.dejanews.com/ or
http://www.reference.com/ to find older messages on that
topic.
2 - Avoid taking USENET seriously; it is a playground for
minds and personalities, and much of what goes on is not
"serious" in that it is not "real," but is serious in that
someone is attempting to communicate something, even quite
possibly something of which they are not yet fully aware.
3 - To avoid getting unwanted commercial email from bulk
marketers gathering lists out of USENET databases, enter your
From: line as shown below:
From: pres...@whitehouse.gov,re...@email.here (Name)
6. What are other net resources?
6.1 IRC
Internet Relay Chat, while being a bastion of the petty and
authoritarian, has some useful contributions in the form of
active worldwide metalhead chat. Check out these channels
for metal discussion:
#metal
#metal_rulez
#death_metal
#black_metal
#blackmetal
#blackplague
#hessian
#slayer
6.2 WWW
This author cannot speak comprehensively for the Net, and so
issues general pointers to starting points for Net metal
exploration:
- http://www.anus.com/metal/: The Dark Legions archive
has reviews by this author as well as information and
analysis of death metal, black metal, speed metal, heavy
metal and grindcore bands.
- http://www.anus.com/hsc/: The Hessian Studies Center
is a political action group for metalheads worldwide.
- http://www.aberry.demon.co.uk/metallinks/: Over four
thousand metal links to bands, labels, distros and
others.
- http://www.student.nada.kth.se/~d90-two/music/:
Thomas
Wolmer's massive site of meta lists and genre trees,
worth visiting.
- http://www.lut.fi/~mega/: Mega has assembled one of
the larger sites of discographic information and metal
news.
- http://www.intercom.no/~kulde/main.html: The darker
sides of black metal covered by an often first-hand
source.
- http://bigdipper.umd.edu/index/metal.html: Archives
USENET reviews and resources.
7. Where can I buy and sell metal?
7.1 labels
Adipocere Records
152, Rue de Acaias
01700 Miribel France
fax: (+33) 78.55.34.64
tel: (+33) 78.55.34.64
Cacaphonous Records
231 Portobello Road
London W11 1LT England
Candlelight
PO Box 328
High Wycombe, Bucks HP15 6TY England
Century Media
1453 A 14th St. #324
Santa Monica, CA 90404
url: http://www.centurymedia.com/
email: u...@centurymedia.com
Cruel Moon Productions/Cold Meat Industries
P.O. Box 1881
581 17 Linköping
SWEDEN
Earache Records
P.O. Box 144
Nottingham NG3 4GE
U.K.
email: earac...@aol.com
url: http://www.earache.com/
Fierce/Futurist
6 Greene St., 2nd floor
New York, NY 10013
fax: (212) 941-9409
email: sin...@aol.com
Full Moon Productions
948 Callahan Court
Lakeland, FL 33801
tel: 813-682-3146
fax: 813-682-3146
url: http://www.darkwoods.net/
Gothic Records
PO Box 265
Downey, CA 90241-9998
fax: (310) 862-1956
tel: (310) 862-1956
url: http://www.sadisticintent.com/
Grind Gore
PO Box 1833
Bayonne, NJ 07002
fax: (201) 436-1640
tel: (201) 436-1640
Listenable Records
18 Quai Duguay Trouin
62480 Le Portel France
Malicious Records
c/o G.W.
Box 210408
72027 Tübingen 21
Germany
Mausoleum
PO Box 6700 Dept SD1
FDR Station
New York, NY 10150-6700
tel: (212) 832-0627
Metal Blade Records
2345 Erringer Rd, suite 108
Simi Valley, CA 93065
url: http://www.iuma.com/Metal_Blade/home.html
Misanthropy Records
PO Box 9
Hadleigh Suffolk IP7 5AU England
Moonfog Productions
PO Box 289
1450 Nesoddtangen Norway
Moribund Records
PO Box 77314
Seattle, WA 98177-0314
Napalm Records
Fichtenstrasse 34
8790 Eisenerz Austria
Napalm Records America
PO Box 480141
Denver, CO 80248-0141
fax: (303) 837-0643
Necropolis Records
PO Box 14815
Fremont, CA 94539-4815
fax: (510) 623-0927
email: necr...@aol.com
url: http://www.necropolisrec.com/
Noise Records
8721 Sunset Blvd. #P6
W. Hollywood, CA 90069
tel: (310) 289-2515
Osmose Productions
B.P. 57
F-62990 Beauranville
France
fax: (+33) 3.21.86.32.60
Tel: (+33) 3.21.81.03.74
Pavement Music
17 W 703A Butterfield Rd.
Oakbrook Terrace, IL 60181
Peaceville
P.O. Box 17
Dewsbury W York WF12BAA
U.K.
url: http://www.peaceville.com/
Relapse Records
P.O. Box 251
Millersville, PA, 17551
U.S.A.
tel: 1-717-397-5616
url: http://www.relapse.com/index2.html
email: rel...@relapse.com
Shiver Records
c/o Hans de Wyngaert
Amerstraat 112
3200 Aarshcot Belgium
tel: 016-56.91.93
Silent Scream Records
36 River St.
Rochester, NH 03867
Unisound International Rec.
84 Acadimias Street
106 78, Athens
GREECE
TEL: (01) 33 02 748
FAX: (01) 33 43 244
Wild Rags
2207 W. Whittier Blvd.
Montebello, CA 90640
tel: (213) 726-9593
7.2 mail order
Blue Grape Merchandising, Inc.
225 Lafayette St., Suite 407
N.Y., N.Y. 10012 U.S.A.
tel: 1-800-47-GRAPE (10am - 6pm)
Cursed Productions
PO Box 302
Elkhart, IN 46515-0302
Dark Symphonies
P.O. Box 547
Billerica, MA 01821
USA
tel: (508) 663-8871
fax: (508) 663-9594
email: darks...@aol.com
url: http://www.borg.com/~lordxul/ds1.htm
Morbid Madness Distribution
ZIEGELGUT 12
7206 IGIS
SWITZERLAND
Moribund Records
P.O. Box 77314
Seattle, WA 98177-0314
Necropolis Records
PO Box 14815
Fremont, CA 94539-4815
fax: (510) 623-0927
email: necr...@aol.com
url: http://www.necropolisrec.com/
Red Stream Records, RedStream
P.O. Box 342
Camp Hill, PA 17001-0342
USA
email: reds...@aol.com
url:
http://www.users.interport.net/~spidr/labels/rstream.html
Visceral Productions
P.O. Box 1142
Mentor, OH 44061-1142
U.S.A.
tel: 216 257 6690
fax: 216 257 6719
url: http://www.visceralproductions.com/
email: v...@visceralproductions.com
7.3 net sales
Net sales are common as they allow the seller to receive
$6-12 for a CD otherwise returning $2-4 at a record store or
$0.50-2 at a corporate music outlet. Most transactions occur
through a posted ad in USENET and an email agreement, then
check or cash or money order transfer followed by shipping.
Yes, this runs on the honor system, but what doesn't? If you
get ripped off by a merchant, you _could_ sue -- if you had
ten thousand dollars and several years to wait. Remember
that how you treat others influences the likelihood of how
you will be treated.
When selling, post a list of CD's, prices, and terms and
conditions (postage, quality of merchandise, time required)
with a Subject: line beginning with CDSALE: and you will get
the most response by convention. When buying, ask conditions
and consider asking for a bulk discount if purchasing many
items. Always keep contact information for the seller,
because if the package doesn't arrive, you want to ask before
slinging accusations. However, if something goes wrong and
nothing happens for a couple of months, post a message to the
metal groups explaining your experience and asking for
advice.
Usually the seller will either wake up and give you straight
answers or the underground will boycott the fuckhead.
7.4 tape trading
Some consider tape trading "illegal" and "immoral," but such
things make no difference to a busy metalhead, especially
when tape trading is the background of diversity in metal.
Finding new bands is difficult, especially with catalog
descriptions like "Necro-fuck carnal excretory metal" and
"Trollish folkloric sado-metal," so often people will spend
time and effort making custom sampler tapes for friends in
exchange for a similar offering. This allows metalheads
worldwide to hear a much broader range of music than if they
were confined to hearing only what they could afford, and
spreads different kinds of music to the different groups of
people who appreciate each kind. Not only does it benefit the
fans and the bands, but by extension the labels, who in
exchange for hosting the capital that funds each new release
take most of the profits for their own satiation. For this
reason, it is the opinion of this writer that it is best to
keep tape trading as a metal institution.
On the newsgroups or via IRC or via personal web pages you
can make contact with other individuals wishing to tape
trade, and then arrange for the trade in email or by phone.
Spread everything you can, especially demo bands, who self
produce their tapes and sell them through local or
metal-specialty record stores.
8. Who did this FAQ?
8.1 authorship
The staff of the Amerikan Nihilist Underground Society and
the Hessian Studies Center contributed extensively to this
FAQ. Portions written by Spinoza Ray Prozak, a DJ at KSPC FM
(88.7) in the eastern Los Angeles basin.
8.2 contact
For contact, corrections or additions, please email
h...@anus.com.
© Copyright 1994-1997 Hessian Studies Center
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