Meqe jemi ne heavy, i degjon njeri Diamond Head? Keta, Metallica-t i cilesojne si influencim ndaj tyre, madje Metallica kane bere cover shume kenge te Diamond Head si The Prince, Helpless, Am I Evil?, It's Electric. Albumin "Lightning the Nations" te Diamond Head une ua rekomandoj te gjitheve.
The prince eshte nje nga kenget me te bukura te Garage,inc ndersa Am I evil eshte llahtar fare...e kam degjuar live nga metallica ne 2003,eshte nje perle e vertete...
Kam nja 2-3 dite qe vazhdimisht degjoj Atreyu. (Kto s'jane Heavy Metal, por stili i muzikes eshte Metalcore .) E kam ciklike, cdo 3-4 muj i hy keq fare ktyre. Kur t'mesohet veshi fillon e kupton sa melodjoz jan.
Per si tip mini-introduction, degjoni kenget:
Lip Gloss and Black
The remembrance ballad
Ex's and Oh's
Lexova nje artikull ne gazet sot ku fliste x nje statistik rreth fans te muzikes heavy metal:
"jan njerzit,rinia ne krye, me nje kuocent (?) te inteligjences - IQ - superior,nen krahasim me te tjeret" [hiq prezentfolsen /pf/images/graemlins/laugh.gif doja ti thoshja - sa padrejtsi ne kte bot! ]
E kishte ber nje universitet kte kerkim ,si mbaj mend emrin .
...thjesht nje kurjozitet,asgje me shum .
Siç thonte nje shprehje latine: "ai qe jep mesazhet,s'ka rendsi" - e pafajshme, aj min /pf/images/graemlins/tonguee.gif.
Kjo me poshte eshte per ata qe kane durim te lexojne, dhe mbi te gjitha deshire per te mesuar!!!
A. Heavy Metal
With heavy metal, the style of Black Sabbath was solidified, but deeply hybridized with the progressive rock, Celtic folk and electric blues fusion of Led Zeppelin, having influences also from aggro-prog bands like King Crimson and Jade Warrior. The late 1960s culminated in rock being bored with itself, and after the Beatles went progressive and British and American blues-rock guitarists aimed for more lengthy, complex works, rock essentially turning progressive in nature. "Progressive" is perhaps a misnomer, as there's no "progress" in re-incorporating influences from classical music, but for rock it was progress from the simplistic pop of the 1950s to incorporate new styles and vastly adulterate the blues framework of rock (the blues is a syncopated version of Celtic and German folk-pop, formed in America of the mixture of cultures; like most popular music on all continents, it features easily transposed chord progressions and a basic song structure which allows easy melodic improvisation).
This music, tame as it sounds today, was a turd in the punchbowl among the progressive and folksy, mostly pacifistic and hedonistic rock of the time. Unlike the good times and party hearty vibe of most music, metal, like dissident apocalyptic rockers the Doors before it, was "heavy" in that it took on weighty existential topics and its partying was self-destructive, an expression of impending doom. It was not happy fun include everyone music; it was for darker souls, those more likely to strike out in anger at the world, and those who felt a need to reject more than embrace recent social changes. Consequently, it embraced dark imagery, with Iron Maiden taking on occult topics, Motorhead wearing Iron Crosses (a symbol of the defeated National Socialist regime in Germany), and Judas Priest not only writing songs about WWII but openly accepting a demonic, warlike persona.
Alone this would be cause enough to say metal was divergent from rock of the time, but the musical factor of its development was important. Unlike the harmony-based, short-cycle riffs of rock, metal almost exclusively used moveable power chords, which can be played in any position along the neck of the guitar in quick sequence, thus lending to riffs written as phrases (like classical, or jazz) more than rhythmic variations built around open chords. This both simplified the music to the point where it was highly accessible, and gave it a dark sound which lent itself, as in classical composition, toward a narrative song structure in which riffs form motifs that resolve themselves over the course of a song. While clearly much of the heritage of this style comes from the lengthy classical-borrowing epics of progressive rock, between the raw nature of the inverted fifth and the thunderous effect of chordal phrases buffeting the listener, it produced a gnarled, feral sound.
Even more alarmingly, for those who wanted to immerse themselves in the hippie pop of the time, metal was openly embracing of the wilderness (similar to the concept of "the frontier" in the music of the Doors) and replaced a desire for moral certitude with a desire for the lawless. Its musicians wrote about ancient times, about battle and death, and seemed to be searching through the haze of the counterculture for something of eternal meaning, which explains to some degree the vast amount of ecclesiastical and occult symbolism in all metal bands of the period. Indeed, in Venom and Angel Witch and many other NWOBHM (New Wave of British Heavy Metal) acts, there was an almost exclusive focus on the dark side and on the spiritual figures society rejected for not being tamed, such as Lord Satan himself.
Using occult imagery to reflect political topics was also popular, and is best exemplified by what became the prototype of all "Satanic" metal lyrics to follow, Black Sabbath's "War Pigs":
Generals gathered in their masses,
just like witches at black masses.
Evil minds that plot destruction,
sorcerers of death's construction.
In the fields the bodies burning,
as the war machine keeps turning.
Death and hatred to mankind,
poisoning their brainwashed minds.
Oh lord, yeah!
Politicians hide themselves away.
They only started the war.
Why should they go out to fight?
They leave that role to the poor, yeah.
Time will tell on their power minds,
making war just for fun.
Treating people just like pawns in chess,
wait till their judgement day comes, yeah.
Now in darkness world stops turning,
ashes where the bodies burning.
No more War Pigs have the power,
Hand of God has struck the hour.
Day of judgement, God is calling,
on their knees the war pigs crawling.
Begging mercies for their sins,
Satan, laughing, spreads his wings.
Oh lord, yeah!
- War Pigs, Black Sabbath
In this song, a humanity distracted by political and monetary concerns turns its back on reality, thus a travesty occurs and is unnoticed by all while, in the last verse, the demonic figure of hatred and death triumphs.
Heavy metal grew prodigiously from 1972 to just after the turn of the decade, and at that point was replaced by newer styles which represented a re-infusion of hardcore punk styles; unlike punk, hardcore punk did not follow pop song structures nor did it use conventional harmonics, often consisting of two or three power chords per song, rhythmic and droning riffing, and songs that like small operas were built around their own topics. If a song was about death, it might end abruptly; a song about war might diverge into a middle interlude with no immediate relation to the previous works. What drove hardcore punk was the insistent pace of its music, and the power chord phrases that resembled the topics of each song much as each song's structure resembled the topic being discussed. Lyrics and music were united. However, hardcore was quite simple and soon drowned in a sea of imitators.
B. Speed Metal and Thrash
Like hardcore, the next generation of metal was confrontational with its alienation and took a political and socially-critical angle; because of the Cold War going on at the time, most of these artists believed themselves to be the victims of centralized government and its political wars detached from the daily lives of the people, and thus the ethics of the music were highly populist and individualistic. The latter tendency would save later generations from being absorbed by the former, as hardcore was almost entirely by 1985, at which point the musical quality declined rapidly (to embrace populist politics means, in a liberal democratic era, to abandon dissidence for an extremism of the dominant rhetoric of the age). As hardcore died, it passed on its genetic material to metal, and the best examples of this were Discharge and the Exploited and GBH, whose stylistic attitudes appeared through succeeding generations of metal.
Arguably the first genre to emerge was speed metal, which followed expanded heavy metal structures but used muffled strumming to turn ringing chords into short explosive bursts of bass-intensive sound. This made the music more aesthetically menacing, and for a long time, guaranteed it zero airplay. On the other end of the spectrum, thrash music made less frequent use of muffled chords but took on two forms: metal riffs in punk song structures (COC, DRI) and punk riffs in metal song structures (Cryptic Slaughter, dead horse). Speed metal tended to use metal riffs in metal song structures but show the influence of hardcore music in riff texturing, which evoked the sounds of one-chord rhythm riffing, and in general uptempo songwriting and abrupt changes in melodic line within each song. Perhaps the best examples of speed metal were Metallica, Exodus and Slayer; the first two were based around muffled-chord player, while the latter focused on playing quick fluid phrases known for their complexity, and using introductory sequences of riffs like a progressive band in simple, aggressive form.
They block out the landscape with giant signs
Covered with pretty girls and catchy lines
Put up the fences and cement the ground
To dull my senses, keep the flowers down
- Give My Taxes Back, Dirty Rotten Imbeciles
Thrash died out early, because there is only so much one can do with short, fast songs (frequently under thirty seconds). Speed metal proved to be too close to the heavy metal song format, and since there was more money and future for the musicians in radio-friendly heavy metal than battering-ram speed metal, most speed metal bands by the turn of the decade mutated into heavy metal acts with "speed metal influences," in the case of Metallica eventually going on to incorporate country music into their sound. This "selling out" of speed metal reflected a fundamental division in metal at the time, namely the perception that one could not speak the truth in public, and thus anything popular had compromised reality for a public reality which sold records. This belief was also echoed in the indie, grunge, rap, techno and punk music of the time.
Thrash bands tended to write a mixture of "political" songs and more direct, existential critiques of modern society; for example, in DRI's "Give my taxes back." Speed metal bands incorporated a fair amount of such existential critique as well, for example Metallica's "Escape."
Feel no pain, but my life ain't easy
I know I'm my best friend
No one cares, but I'm so much stronger
I'll fight until the end
To escape from the true false world
Can't get caught in the endless circle
Ring of stupidity
Out of my own, out to be free
One with my mind, they just can't see
No need to hear things that they say
Life is for my own to live my own way
Rape my mind and destroy my feelings
Don't tell my what to do
I don't care now, 'cause I'm on my side
And I can see through you
Feed my brain with your so-called standards
Who says that I ain't right
Break away from your common fashion
See through your blurry sight
Out of my own, out to be free
One with my mind, they just can't see
No need to hear things that they say
Life is for my own to live my own way
See they try to bring the hammer down
No damn chains can hold me to the ground
Life is for my own to live my own way
- Escape, Metallica
However, the majority of songs in speed metal rotated around fear of government, nuclear war, apocalypse, social issues and occult topics. What was common to both movements was a belief that the path of progress as a general item was missing the point, and that somehow there was something inarticulable in polite society that needed to be done. As time went on, however, even these genres fell short because of their popularity, in the view of many metal artists, and thus the next step was taken.
C. Grindcore and Death Metal
It is probably a mistake to view grindcore as anything but an extremist extension of thrash, but much as Venom contributed aesthetics in the form of primitive punkish riffing and over-the-top Satanic and occult lyrics, grindcore contributed the biologically distorted vocals which would also be a trait of death metal and black metal. These are achieved by, much as one overdrives an amplifier to distort sound, pitching one's vocal chords in a position too low or too high for the sound produced, and then forcing it through violently (it will become clear around 2020, when these musicians hit their fifties, whether or not this causes a dramatic increase in throat cancer). Hardcore musicians used an approximation of this, much like the growling surly cadences of Wattie with the Exploited, but grindcore took it to a new extreme, in songs which were punkish and abruptly short like those of thrash, but even more inclined toward chromatic and harmonically-nullifying chord progressions. This was a music beyond protest; it destroyed music itself in order to create a wall of sound which was unnacceptable in any social listening, would never get radio airplay and annoyed and disturbed anyone not acquainted with the genre.
Grindcore lyrics were usually political, in a paranoid and anarchistic view of the world, but could be quite insightful, as this example from Swedish band Carbonized:
Early grindcore bands worth mentioning are Napalm Death and Carcass, both from the UK, and related projects, also both related to industrial grindcore band Godflesh. Napalm Death was known for songs as short as one second; the band deliberately played out of time with each other during certain sections of song to achieve a muddy, blurring, discoordinated effect that made it impossible to tell what was occurring until the next phrase rose out of the muck. Their lyrics were explicitly political and generally leftist, but also highly critical of society as a whole including its populist aspects. Carcass took another route and wrote lyrics using complex latinate words from medical textbooks, describing in playful and mocking fashion the process of dying, being mutilated, and experiencing disease (the emphasis on complex latinate language was shared by bands such as Slayer and Judas Priest). The unstated purpose of this seemed to be to remind the audience that mortality is real, and thus life is indeed quite short, and therefore: we're playing for keeps with our public actions and private decisions, because life is limited and death very near and the consequences of our actions will catch up to us. Interestingly, grindcore occurred almost entirely before the end of the Cold War (roughly: 1989), as if someone finally listened.
Welcome citizen of our adorable nation
Serve and be a part of us in modern time
Parents have never existed; your blood, state property
Leave personality; total trust will make security
Your ears - our information
Your eyes - our sight
Implanted in society - only for the security
From childhood to the grave
Every step will be safe as we are behind
Guided through life blessed in our birth
So our secret son welcome to the promised life...
- For the Security, Carbonized
Death metal arose roughly concurrently with grindcore, but only became solidified as a style during the waning days of grind; it borrowed vocals and techniques from grindcore, but emphasized precision and clear structure instead of confusion. Musically, it resembles speed metal re-hybridized with hardcore, then run through a progressive filter: songs are epic in structure, but often chromatic in harmony, with "free jazz" styled improvisation for lead solos and determining the course of phrase. Like most heavy metal to date, it emphasized phrasal songwriting, where riffs were not so much recursion as they were phrases that evolved throughout a song, except even to a greater extreme in death metal . Breaking from the hardcore tradition, it resurrected some of the grandeur and refined apocalyptic presentation of music from the Doors through early heavy metal. For the first time, something as abrupt and disturbing as Black Sabbath had been in 1969 had again come to metal, as if overcoming the Led Zeppelin influence and focusing purely on primitive music written into lengthy, narrative structures like progressive rock or classical. However, it was limited by its emphasis on chromatic rhythm riffing, and its use of a single chord shape, the inverted fifth.
If one had to give death metal a birthdate, it would probably be 1985; in this year, bands such as Possessed and Sepultura took the thrash-influenced proto-death/proto-black metal of bands like Sodom, Bathory and Hellhammer and made a more rhythmic, architecturally structured music of a "riff salad" which arranged related ideas in motifs and used them to illustrate the passage of an idea through a song; it is most similar to opera or classical music, albeit done in a far simpler style within the format of rock music: drums, two guitars, bass and vocals. These used the death metal vocal style which was distinct from that of grindcore in that greater enunciation occurred, yet often there were subverbal sounds used for emphasis (this is a longstanding rock and blues tradition). By 1987, when Necrovore from Texas recorded their demo finalizing the death metal style and Massacra in France had expanded the genre to include classically-evocative high-speed riff narratives, bands such as Morbid Angel and Morpheus (Descends) were already defining styles of death metal . Interestingly, in Europe, the new style was incorporated into speed metal in bands like Kreator and Destruction; in America, hybrids also existed, such as Rigor Mortis ( speed metal vocals and song structure, death metal riff styles) and Death Strike/Master (punk riffs, death metal vocals and song structure).
Because the early death metal and black metal bands shared a genesis in acts like Sodom, Bathory, Possessed and Celtic Frost, much of the pre-history of death metal is addressed in the following section.
Thrash bands had awesome tshirts like the late-model DRI shirt this kid is wearingWith the emergence of genre-defining acts like Morbid Angel, Deicide, Incantation, Immolation and Suffocation, death metal defined itself as a clear style of several components. Some, like Morbid Angel, were an updated version of Slayer, an updated version of Judas Priest itself, and used speed metal song structures with death metal riffs, topics and presentation. Others, like Suffocation, used an extreme form of speed metal riffing, with its choppy percussive muted-strummed chords, a form embraced to a lesser degree by Deicide, who focused on intensity and searing atonal solos. Immolation was a hybrid between these that used slower tempos in alternation with faster, more percussive moments in song. Incantation created dirges that picked up tempo into slurries of fast chords, with the barest moments of asymmetrical melody gracing the tirade accompanied by blast.
These bands (among others) represented the first wave of death metal ; it's important to note that without Morpheus (now Morpheus Descends), Suffocation would not exist, and that Morbid Angel derived much of its aesthetic and melodic components from Necrovore; Deicide seems like a faster, healthier, more technical version of Slayer's "Reign in Blood." In this division of styles is visible the varying degree of influences from metal's past, including speed metal and thrash and grindcore, and this conflict of interpretations over technique led to a splintering in agreement on how the music should be composed, with some favoring a primarily rhythmic approach like that of speed metal bands, and others reaching toward outright melodic music or music that were it not chromatic would be melodic in structure, since it was exclusively phrasal. (The oft-mentioned Death, whose speed metal hybrid death metal eventually disintegrated into heavy metal with death metal vocals, deserve a footnote but no more, as without the massive overhype this band was above average but conveyed mainly by influences from other acts.)
Death metal went through several generations. The first was the 1985-1988 style best exemplified by Sepultura and Massacra; the next two years brought its classic style, as shown by the bands mentioned in the previous paragraph. After that, a divergence occurred. First, the Swedish death metal bands, who had been present but mostly unknown outside Sweden, took predominance with bands like Entombed, Therion, At the Gates, Dismember and Suffer. These used rigid riff playing in a shifting frame of tempo reference, in a style pioneered by Asphyx and Sinister (from the Netherlands) among others, but added to it a blistering new form of distortion which increased the tremelo effect of their riffs, elliding notes together into a liquid flow of melody (interesting, Robert Fripp from King Crimson invented an extreme form of this with his "Frippertronics" ambient music). This caused the emphasis in songs to shift from chromatic rhythm playing to a firm pace with many changes, over which melodic phrasal composition formed the expository work of each song. This increased the complexity of the music, and gave composers more with which to work, in part spawning a series of progressive-influenced death metal bands.
It's been my dream
To enter the stream
To let carnates know
What life really means
If one understands
That's all I can ask
Life to you
is such a wretched task!
- An Incarnation's Dream, Atheist
From Florida came Atheist, who wrote jazz-technique-influenced death metal that used classic metal narrative melodic songwriting, establishing with their landmark "Unquestionable Presence" the formative nature of the post-classic death metal genre. Alongside them came a series of bands, including Gorguts from Canada and Demilich from Finland, who pushed boundaries in harmony and melody further without giving up the structuralist form of death metal (interestingly, Deicide's second album, "Legion," also belongs to this category). Amorphis rounded out the ground by producing an album of simple riffs in epic, emotional songs - this was "The Karelian Isthmus," and its influence is understated to this day. This was the golden age of fully mature death metal , and it culminated around 1994 when the form itself became limiting, in part because death metal audiences expected "brutal" sounds of a simplistic and sonic nature, but also in part because death metal retained too much of speed metal and hardcore punk in its presentation to escape its own impetus, namely the shock of growling vocals and pounding, nihilistically chromatic riffs. Consequently, the next genre to emerge rectified this situation, after a brief downtime in which mainstream influences merged with underground, even influencing the most popular radio genre of the day.
D. Doom Metal and Grunge
During the early 1990s, an offshoot movement of death metal merged with the older style of heavy droning rock that Black Sabbath had pioneered, and formed doom metal, a genre fragment that immediately offered enough possiblity that it rapidly mutated and then died under its own weight. The most evident acts in this category were Cathedral and My Dying Bride; Cathedral made rock-oriented, heavy, and unbearably slow songs which centered around mournful topics and a certain amount of self-pity, while My Dying Bride fully immersed themselves in the maudlin but increased the instrumental aspects of the genre, incorporating interleaving melodies and violin accompaniment (something also attempted on At the Gates' second full-length). Rounding out the genre were bands such as Winter, Thergothon and Skepticism, with the former making nearly industrial slow and grinding bizarre music, and the latter two - as if incorporating a Dead Can Dance influence - producing slowly developing melodic songs with soundtrack-like mood regulation through keyboards and noise. All of these bands shared a common element: they worked with drone, and by the nature of drone, used melodies diminishing in interval over time such that they started from open harmony and ended in near-chromatic entropy.
Influenced in part by Celtic Frost and other classic metal and punk bands, Nirvana burst onto the mainstream radio with a new style called "grunge" that was part metal and punk, but mostly mournful, out-of-the-closet angsty rock which featured droning vocals and simple punklike riffs. Other interesting acts were Mudhoney and Alice in Chains; both enjoyed popularity with metalheads, with the most crossover being with doom audiences. This is in part because musically, these two genres were the most similar, and aesthetically, they both addressed a fatalism which some overcame and others (Goodbye Mr. Cobain) did not. Fatalism is the belief that one can do nothing about one's fate but mourn it as a means of accepting it; it is easily confused with nihilism, or a belief in nothing but the inherent value of ultimate reality, and general negativity, which can be either a form of aggression or passive self-pity like fatalism. Doom metal explored these areas, but what pleased the crowd most were bands that did not escape their fatalism, thus soon the genre shot its wad and died. Grunge suffered a similar fate, modulating gradually into pop-punk which was musically like grunge infused with candy rock and energetic punk rhythms, giving people on the radio a break from the grim as the Clinton administration (counterculture liberalism triumphing over "the establishment") and the Internet boom (newfound wealth, a new frontier) developed.
E. Black Metal
Black metal musicians are known for their feral and pagan ways, including killing weak peopleBlack metal was born at the same moment as death metal , and initially, was indistinguishable from it. Early bands such as Sodom and Bathory were like speed metal mixed with thrash, which re-incorporated the type of epic song that Black Sabbath had popularized with their less radio-friendly pieces. It is impossible here to negate the influence of Motorhead, who used simple punk/progressive riffs in metal songs, and Venom, who created the aesthetics of simple song, insistent rhythm and occult lyrics with growling voice; these two bands influenced this genre the most. Interestingly, the birth of proto-death/proto-black metal bands such as Sodom and Hellhammer and Bathory was in 1983, at the same time American speed metal bands like Slayer were first recording. This parallel development reflected the dual nature of American and European metal, with Europeans instinctively taking to melodic composition while Americans developed rhythm and technique.
The bloody history from the past
Deceased humans now forgotten
An age of legends and fear
A time now so distant
Less numbered as they were their lives
So primitive and pagan
Superstitions were a part of the life
So unprotected in the dark nights
The past is alive
The past is alive
Woeful people with pale faces
Staring obsessed at the moon
Some memories will never go away
And they will forever be here
- Pagan Fears, Mayhem
After the birth of this new form of metal, the first form to be like hardcore punk "underground" and thus distributed by an informal network of small labels and zines in an effort to escape commercialization and the corruption of viewpoint that comes with it, metal veered toward the most achievable idea first: death metal . Its mostly rhythmic and chromatic basis allowed it to be fully explored from the early eighties until the early 1990s, at which point the first black metal based on the lessons of death metal , or "modern black metal," emerged. The first wave of bands were almost exclusively from the same Scandinavian countries that had produced death metal of a melodic nature, and comprised Immortal, Mayhem, Beherit, Gorgoroth, Burzum, Enslaved, Darkthrone and Emperor. These foundational acts essentially defined the genre; in Greece, a hybrid form of heavy metal and black metal emerged with Varathron and Rotting Christ, who shared members who had previously been in death metal bands (arguably, Rotting Christ's first album is death metal , and the name clearly belongs to the death metal and not black metal genre). In America, the only foundational modern black metal band was Havohej, which contained personnel who had formerly been in Incantation.
Unlike death metal, black metal was explicitly melodic in composition, although there were multiple interpretations of how to compose it. Immortal started out resembling later Bathory, but evolved into fast melodies of power chords over incomprehensibly fast, muddled drumming, which demoted the influence of drums to secondary and let guitars function as the primary composition instrument, with vocals (!) being the predominant rhythm instrument. Darkthrone began not far from a hybrid between Swedish death metal and doom metal, but quickly began a tribute to the more extreme aspects of older Bathory, with songs staged dramatically such that a story unfolded and was presented as one might in a theatre, with percussion and pacing to match the scene. Burzum resembled the best of death metal in its smoothly chained collection of riffs and narrative, mimetic composition, but over time moved closer to ambient music. Emperor and Gorgoroth were neoclassical music over traditional drums at a higher pace, with less focus on fills than on counterbalancing internal rhythms within songs. Between these techniques and the range of melody - with varied emotions, moods and developing phrases based on previous motifs - modern black metal represents the highest evolution of metal as a technical and artistic musical genre.
F. Black Hardcore and Nu-Metal
Black metal was both music and a circus, in that news of the murders coming out of normally peaceful Scandinavia, the fascist and neo-Nazi beliefs of many of the bands, and of course the sensation of music that embraced occult and naturalistic themes in a literal sense, symbolism both by Lucifer and the wolf in winter, howling over his weaker prey, contributed to an atmosphere of suspending the normal rules of society. Once the creative instigators of the genre had said their piece and retired, or settled for making music of a more crowd-pleasing aspect, the new civilization created by black metal was replaced by those who wished to inhabit it and have what it created for themselves.
There is a serpent in every Eden
Slick as grease and cold as ice
There is a lie in every meaning
Rest assured to fool you twice
In this age of utter madness
We maintain we are in control
And ending life before deliverance
While countries are both bought and sold
Holy writtings hokus-pokus
Blaze of glory and crucifix
Prepried costly credit salvations
TV-preachers and dirty tricks
Don't trust nobody
It will cost you much too much
Beware of the dagger
It caress you at first touch
O, all small creatures
It is the twilight if the gods
When the foundations to our existence
Begins to crumble one by one
And legislations protects its breakers
And he who was wrong but paid the most won
Even the gods of countless religions
Holds no powers against this tide
Of degeneration because we have now found
That there is no thrones up there in the sky
Run from this fire
It will burn your very soul
Its flames reaching higher
Comed this far there is no hold
O, all small creatures
It is the twilight if the gods
- Twilight of the Gods, Bathory
What emerged of this was the same inevitable end that had swallowed hardcore, grindcore, speed metal and death metal , namely the surging of the crowd to occupy the space, imitating the aesthetics of the music but unable to reproduce the content that made it stand head and shoulders above the crowd. True to the nature of all popular movements, these reverted to a populist viewpoint; instead of using Satan or lawless nature as metaphor, they took them literally. Thus came about a wave of bands making Satanic music and purporting to "hate everyone equality" and "want death for all humanity," without realizing they'd been played like a rental fiddle. The emulators did not have the musical subtlety of the original, and thus started making music that resembled punk rock with the trappings of black metal. It is fair and historically accurate to call this black hardcore.
Unlike the metal before it, this music did not aim to be distinctive but focused on fitting into the most popular definitions of the genre, which were by nature narrow, or on being "unique" by taking that format and modifying it in "unexpected" ways, usually by hybridizing with known genres that had existed before black metal. There is not much to say about this surge of pointless excess except that it failed to achieve the artistic intensity of classic modern black metal, thus like all emulations, all it had to give it importance was its chronological currency, and that faded quickly since there were now "new" bands every week. Like hardcore before it, it died when the leaders left and soon every fan had a band, label, zine or distro, and thus quickly the concentration on relevant content was replaced with a hurry to produce something and sell it. It wasn't commercialization per se, since this has all remained in the underground, but it's another kind of selling out: deferring to the crowd who has pulled away from the mainstream, but has no answers beyond being "different" by doing the same old thing. The music is interchangeable, and serves as an epitaph rather than a continuation for black metal.
Classical culture in Greece and Rome and Scandinavia and India produced the heights of humanity's cultural ambitionHardcore in its final days had much the same quality. When the focus shifted from the art to the fans and their self-image, the bands began to sound like each other as new musicians first cloned the old and then began competing on trivial levels of "newness," such as different sounds or imagery. The core of the music called black hardcore is the same as hardcore, emo, punk rock, and even rock itself; it's based on either the three-chord theory in its simplest form, or toneless rhythm riffing, and songs tend to have a verse-chorus structure with any additional portions existing purely for the aesthetics of being "different." What may have been learned is that there's more than one way to sell out, and only one way to make music of lasting significance: to focus on the artistic and emotional and logical attributes of the music, and to push to create not something "new" but something that addresses reality and the experience of people living through it, including what ideals they might have - and their reasons for being dissidents. This isn't to suggest that music should preach, but that it should put into practice its beliefs and create art - objects that praise the meaningful aspects of life - instead of trying to create a placeholder.
In roughly 1996, this decline became evident, and consequently metal fragmented once again. The dichotomy between mainstream and underground widened, and then closed, as mainstream bands began adopting the same techniques as underground, and fans looking into the underground found product that was not musically distinct from the mainstream pop as classic death and black metal had been. This vast failure of spirit, and collapse of metal culture, gave rise to nu-metal and similar genres in the mainstream. To understand why this music was formulated as it was, we must backtrack a slight bit.
While we may believe
our world - our reality
to be that is - is but one
manifestation of the essence
Other planes lie beyond the reach
of normal sense and common roads
But they are no less real
than what we see or touch or feel
Denied by the blind church
'cause these are not the words of God
- the same God that burnt the knowing
- Lost Wisdom, Burzum
As speed metal was dying, Europeans were hybridizing it with death metal styles and producing something which filled the gap, but it was not popular in America, thus a new hybrid was formed here: it used the chord progressions and composition style of rock, the technique of speed metal and the aesthetics of death metal mixed with an urban sense of self-importance and righteous anger (observant readers will note this anger resembles the ressentiment that Nietzsche describes so thoroughly). Pantera was the forerunner of this new music, but in the underground itself, a second-rate death metal band named Cannibal Corpse quickly mutated into its own extreme version of this new form. Both of these bands were vastly popular. In black metal, some Englishmen named Cradle of Filth began rehashing heavy metal of the Iron Maiden and Judas Priest era with black metal vocals and speed, and became equally popular. It is not important that Pantera borrowed its style from Exhorder and Prong, or that Cannibal Corpse borrowed theirs from Suffocation, but that these styles were borrowed and not invented, and thus able to be filled with content not relevant to their creation.
What remains of the nu-metal and black hardcore movements is the knowledge that once again, popularity took over, and bands instead of leading began to follow the desires their audience had in common, which tend to be of a lowest common denominator (perhaps a parallel to democracy is appropriate here; leaders in democracy do not lead, but read opinion polls and act out what they perceive as the simplest expression of the desire of their electorates). Ultimately, this was fatal to the metal movement as it existed, but the terminal decay started before, when the ideas germaine to the creation of these unique styles of music were expressed but the crowd still wanted more product (CDs, tshirts, DVDs, cigarette lighters). It remains enigmatic how such dissident genres can be so easily taken over, but perhaps the truth is that sheep can wear wolves' clothing as well, and that because something is labelled as being dissident does not mean it understands the thought process behind reaching that state enough to express something relevant to it. Much as Christianity invaded pagan culture from within, and soon subverted it and turned its people against themselves, popularity - whether commercial or of the trend-underground type - invaded metal and divided it permanently.
<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: Maxper</div><div class="ubbcode-body">Besoj se ajo statistika ja fut kot se filozofia e metalit nuk ka lidhje me inteligjencen hahahaha kuptojeni si te doni
i don't give a fuck (do thoshit ju e?) eeeeee </div></div>
Gjithkush flet dhe fillon nga vetvetja,ti t'tujat /ubb/images/%%GRAEMLIN_URL%%/wink.gif .
Faktikisht te jesh nje ndjekes i ksaj rryme,esht disi impenjative : esht nje "do ut des" i ngarkuar.
ishte nje statistik interesante ku i vetmi shkak esht ngacmimi i kurjozitetit,jo me tej.
Ti shkru ktu se do nej lapidar gjo eh?
Une shkruj ate qe du,ti gjithashtu : ti , si thu?
aurora muzika nuk eshte impenjim zakonisht. robi e degjo se i ngjall emocjone te caktuara. eshte e vertete qe ka kenge qe duhet ti "mesosh" ti degjosh (sepse jane kenge jo lineare me ulje e ngritje ritmi psh), por zakonisht ne nje album te nje grupi metal pelqehen 4-5 kenge qe jane superhite, dhe te tjerat i zbulon dalengadale duke degjuar e ridegjuar albumin.
<div class="ubbcode-block"><div class="ubbcode-header">Originally Posted By: personazh</div><div class="ubbcode-body">aurora muzika nuk eshte impenjim zakonisht.
dmth ti mohon nje "moral" dhe imponon moralin t'tat. Hipokrizi e bukur.
<div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">robi e degjo se i ngjall emocjone te caktuara.</div></div>
Emocjonet s'kan kufij - de Gustibus.
<div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">eshte e vertete qe ka kenge qe duhet ti "mesosh" ti degjosh (sepse jane kenge jo lineare me ulje e ngritje ritmi psh), por zakonisht ne nje album te nje grupi metal pelqehen 4-5 kenge qe jane superhite, dhe te tjerat i zbulon dalengadale duke degjuar e ridegjuar albumin. </div></div>
Ti s'mund ti vesh nje limit si "pelqehen zakonisht nje tot & co." ,
synori impenjim nuk ishte nje éngagment alla Sartre :
edhe pse gjithçka nese pelqehet realisht , ka gjithmon nje far kujdesi ne disa zgjidhje.
Nese shkruaj tek disa tema,si kjo psh, duhet te njoh objektin e diskutimit-duhet te njoh shqipen-kompjutrin : jan rregulla,"impenjime" (lol) por kurre nje Limit.
Gjithsesi nje headbanger/metalhead/defender i vertet njihet , ato qe shkojn nga fryn era dhe s'ja kan haberin gjithashtu.
s'ka moral fare aty aurore, dhe as loje fjalesh te kota. muzika eshte kenaqesi puro. sa per emocjonet jena shum dakort qe te dy mesa kuptoj. ate qe te ngjall nje kenge metal nuk ta ngjall nje kenge e çfardo rryme tjeter. lexo shkrimin e Glamdring me siper, sepse une po fillova te shkruaj se ç'emocjone percjell nje tekst dhe muzike metal, nga burojne, thjesht do perseris gjera te thena.
dhe sa per limitet e pelqimit, une e mendoj ne ate menyre qe e kam thene me siper, pra: ne na terheqin kenge te caktuara nga nje grup (ku futet dhe metali), dhe me pas i blejme albumin dhe i degjojme te tjerat, nga ku shpesh zbulohen dhe kenge te tjera te bukura dhe te tjera qe s'i ma men as titullin. tashi ec e me thuaj ti mua nese brenda ne album ka kenge qe te pelqejne te gjitha, ose asnjera. te pakte jane grupet metal qe kane bere albume teresisht te bukur, dhe ata kane hyre ne historine boterore te muzikes.
dhe i gjo e funit: s'ka nevoj me nejt me pat pamje dhe menim metalar me thith nga kjo lloj muzike.
Ti flet me germat e tuja - s'lexo pergjigjien time dhe as kuptimin qe i kam dhen kombinimit t'germave qe kam shtyp.
<div class="ubbcode-block"><div class="ubbcode-header">Quote:</div><div class="ubbcode-body">s'ka moral aty auror"</div></div>
p.s Prap me lojen e moralit ti? Boll tashi,se na murrzhite /ubb/images/%%GRAEMLIN_URL%%/frown.gif .
= ti don t'me besh moral qe s'ka moral? moral pra osht ne ky i joti,se po perseritem kot.