#and that you dehumanize the targets for the sake of profit?

[yergink]

here's the thing. i fully understand that sometimes art is purposefully built to be taxing or amateur or difficult to engage with, and i can appreciate the intent behind those decisions, but at the same time sometimes it's just. it's just that you made a thing bad on purpose and now i don't want to keep looking at it. 

[happymetalgirl]

Black Lives Matter (adapted from previous post)

I was finishing up my April albums post but I honestly couldn’t write about the albums I needed to without getting this out there first, and (as usual) it ended up being really long, so I separated it and made it its own post here.

I’m writing this part now at the beginning of June after an already tumultuous April and May, and now I’m just making myself sit down and do this because, well, honestly, it’s been pretty hard to justify spending my time writing about anything else with all all of what is going on right now. (I can’t wait to see what July throws at us.) But again, in all seriousness, I’m not looking for any pity or sympathy for my relatively mild circumstances at all because in all honesty, my assorted privileges have allowed my life to be pretty okay and proceed mostly uninterrupted in the midst of everything going on.

I’ll start by disseminating any ambiguity on what I’ll be talking about in these paragraphs. As I write this in the midst of a respiratory virus pandemic, another epidemic (possibly pandemic) of racist police brutality that has always existed in a culture of unhinged toxic masculinity in the United States has exploded to unbelievable and disgusting levels against Black people and peaceful protesters, ironically in wake of protests against fucking police violence, all of which is only emboldened and encouraged by local and federal leadership that is showcasing its oppressive, totalitarian ambitions in its unprecedented attempted revocations of its citizens constitutional and human rights.

I’ll make the necessary side note that this increasingly oligarchical government subservient to the will of military and prison industry has already shown its complete disregard for human rights for decades upon decades now through its violation of human rights through offensive wars and sanctions against other countries and its dehumanization of the refugees and immigrants who its actions create.

If you haven’t already checked out of this from all the political correctness breaching your conservative bubble (good job not being that person), but you’re upset because tHiS iS sUpPoSeD tO bE a MuSiC bLoG, uh, you’re on the wrong website buddy, and the potential tipping point of a long-awaited revolution in the midst of an economic depression, a viral pandemic, and a dual crisis of grotesque police violence and evolutionary transformation of proto-fascism into fascist dictatorship is no time to go about business as usual.

BUT OKAY, ENOUGH INTRODUCTION AND ENOUGH ABOUT ME! The point of this is to spotlight what to do in the wake of all of this. First of all, I don’t have all the answers and my perspective is as limited as any person’s, so if you’re an expert on any of these matters or if you have insight from having experiences that I as a white cis male have not had, if anything I’m bringing up here could be better in any way, feel absolutely free (but not obligated) to let me know.

Okay, so lots of problems at hand. The big, all-encompassing one facing all of humanity of course is the ecological disruption caused by industrially driven human-catalyzed climate change, and the rot of everything crystallizing at this current moment feeds into exacerbating that catastrophe, the next wide-reaching issue being capitalism, whose prioritization of profit and short-term gains is incredibly ill-equipped to handle a slow emergency like climate change or a more acute emergency like a global pandemic. Here in the U.S. we have a federal government so infested with corporate corruption to maximize capital profits for the country’s most wealthy that they couldn’t even choose the obvious solution of pausing the economy and providing for its people for the duration of the pandemic in the interest of public health over the appallingly quick choice of protecting the financial interests of the corporate “donors” that help them hold their positions of power, at the risk of maybe closing the gap a tiny bit between the truly despicably wealthy and the growing number of hopelessly impoverished. So while the wealthy get protection of their assets from the slow-down of business (you know, ‘cause the pandemic), the people in most need of help because of that slow-down and plunged into spiking unemployment get shit from the people meant to represent them. And that’s just the corporate rot that rears its head as a result of a pandemic!

Even in “normal” times, capitalism in this country has built its foundation on slave labor and justifying the use of slavery through racism (even after it became illegal to outright own people as slaves). That cornerstone of free/cheap labor that this country’s economy is built on whose role was served by slavery was filled by outsourcing to countries with an easily exploitable lower class (whose conditions are often exacerbated by U.S. meddling on behalf of business interests) and prison labor made possible by mass incarceration that has targeted similarly vulnerable people and communities of color through strategic, racially profiled over-policing of minority communities trapped in poverty through historic systemic racism.

The study of that global climate change I mentioned earlier is referred to as a crisis study because there isn’t an unlimited time to do something about it, and the ever-changing conditions and pivotal events of the world effect what needs to be done to combat it (and what it is too late to do). This current crisis of police brutality is one of those types of critical moments, for climate change and social justice. Police brutality didn’t become an issue when George Floyd was murdered on May 25th 2020; it’s been an ugly facet of this multifactedly ugly country for a long time now, but its being brought to light has instigated an uprising the likes of which has not been seen in a long while, and with it, an especially insidious aggression toward it by the increasingly fascist government and its authoritarian figurehead (to the point of threatening institution of martial law and suspending first amendment rights and habeas corpus) that at this point serves only to maintain complacency for the benefit of the ruling class and to the detriment of the disproportionately non-white lower working class (treated as a slave class). Consequently this is a pivotal time that obligates widespread action and ceasing of silence from privileged people like me who have been able to get away with writing about music largely apolitically for years. This is a time when we either plunge unfathomably further into the depths of fascism at the hands of the ruling class and the silence of the less-effected or we consolidate in this moment of broad energizing to both enact substantive change on the critical issue of police brutality and set a precedent and build momentum to achieve justice for LGBTQIA+ folk, other racial minorities and marginalized groups, and make the critical changes need to avoid civilizational dissolution in the face of the imperative to mitigate our impact on global warming.

Speaking of that change and the actions that this moment implores of us all to contribute our energy to: the most immediately critical issue at our feet, to both save human lives from being taken unjustly at the hands of police brutality and to galvanize this revolution to be able to demand further justice and critical social transformation, is ending police brutality. Being an institution born out of rounding up escaped slaves and given the state-supported monopoly on violence that attracts largely those seeking to satiate sadism with the license to that monopolized violence, police culture is inherently toxic and not worth even preserving for the sake of transforming structurally. While abolishing the police is obviously too ambitious of an immediate goal, there are a lot of proposed steps to defunding and largely dismantling the police as a whole. The project Campaign Zero outlines and pushes for ten tangible reforms that would (some of which have recently been proposed in Colorado) decrease police violence, especially in the majority-Black communities that suffer from it the most. The “8 Can’t Wait” proposal that has been making rounds lately is part of Campaign Zero, and donations to these projects are of course, quite helpful and a good start for this blossoming movement. Furthermore, donations to local bail funds is especially important at this time with police making wanton arrests of peaceful protests (and also just random Black people not making any disruption) to support the people going out and protesting. Because this money of course gets siphoned into the courts, and then partially to law enforcement, it’s important to also direct funds to organizations where that money will not later be used against us, but again, keeping people able to protest is of utmost importance, since that it what is driving positive change in this moment.

Also helpful is direct support of the people on the frontlines of these protests. It is a time for privileged people to take action in solidarity and support, but not one for privileged groups to take over or “lead” the movement. Right now, this is about who is hurting the most and who is being oppressed the most, and right now that is Black people, by police, hence BLACK LIVES MATTER. Now is not a time for even underprivileged white people to use these protests’ likelihood of escalating to indulge in venting frustrations against the system by inciting police violence that puts Black people disproportionately in more danger in such situations. Now is the time to use that privilege of being less prone to racism police violence to whatever extent possible to protect the people of color protesting. And again, this isn’t about being white saviors or martyrs, this is about supporting people in the way they wish, so don’t listen to my advice over the insight and requests of what Black people and the Black community have. And by all means, fucking listen to them! Read from them! Engage in good-faith conversation with them (though don’t expect any individual Black person to give you a seminar on racism when there are ample resources that don’t demand someone devoting their precious time to you)! Learn where the limits of your perspective fail you! And for fuck’s sake, don’t just cherry pick the word of one token Black friend that happens to have some class privilege to conveniently discount the testimonies of other Black people!

Lastly, on a personal note to the metalheads that read this blog, I think this is a particularly important time for the metal community, not to center itself, but to bring itself alongside social justice in a more complete way than it has in the past. Former Opeth and current Soen drummer Martín López said last year in an interview published in Blabbermouth that the metal community is very behind the curve on sociopolitical issues, and the response to his saying that from the metal community that floods Blabbermouth comment sections basically just made the case for the exact point he was making. And it’s a shame because I think such a huge part of metal is about standing up to injustice as part of or in support of the oppressed, or at least such a huge part of the metal I gravitate toward is. Without sounding too spiritual or cheesy because I’m not a really spiritual person, I feel like when I see the injustice going on, I feel that spirit of metal in all of it on the side of the oppressed. I feel like all the grindcore and deathcore and thrash and death metal I’ve been binging lately is in the spirit of the protesters standing up to and, when they have to, fighting back against the unjustified aggression of the police, and looking back at old, certified classic albums like …And Justice for All, Toxicity, and Chaos A.D. and more recent albums like Machine Head’s The Blackening, and Thy Art Is Murder’s Human Target, and Venom Prison’s Samsara, it’s always been about standing up to this kind of bullshit. So I think if there ever was a time since Sabbath birthed it for metal to prove that it’s as important as it makes itself out to be and as important as it is to everyone who listens to it in such a way that they read an obscure blog about it, now is that time to show that it’s not just about being an angry white guy. Now is the time to make Martín López happy by proving him wrong.

Well, in typical Happymetalboy fashion, I can’t seem to make anything brief.

[aiklahori]

The RSS, which is the paramilitary Hindu organization of India, has conquered another mosque in that country, marching forward with its anti-minority fascist agenda under the leadership of Prime Minister Modi, who is himself a member of RSS.

Modi was in fact banned from entering the USA, UK and Canada because he presided over a massacre of Muslims as the RSS demolished this 500-year-old Babri mosque on Dec 6, 1992.

The land of Mahatma Gandhi has been taken over by his killers. Today, the chief of the RSS is enjoying the same security in India as the Prime Minister of India. That is fitting, as RSS runs India today.

Institution after institution has been taken over by the RSS. India’s Supreme Court is one such institution. The Supreme Court has acknowledged that the installation of idols in the Masjid was illegal. It has also called the demolishing of the Masjid in 1992 while the police and administration watched illegal. However, by ruling in favor of those who committed the heinous acts, and claim it to be the birthplace of Ram with no supporting evidence, the Supreme Court has now legalized their actions by awarding the mosque and its endowment of 65 acres to Hindu extremists.

Bricks and mortar do not matter. It is the trauma being inflicted on 200 million Indian Muslims that matters the most. Bit by bit, they are being ghettoized and turned into second-class citizens of their homeland. That is exactly what the RSS wants.

Today India is the only country in the world with two genocide alerts in place. One is in its state of Assam, where the government has stripped 1.9 million Muslims of their citizenship. The second is for Indian-occupied Kashmir, where rape, torture, and the kidnapping of young boys has become the Indian army’s modus operandi.  

Long ago, the RSS declared Indian Muslims are like the Jews of Nazi Germany, and that they will deal with them as Hitler dealt with the Jews. What they must remember, however, is what happened to Hitler and his ideology.

Thinking Points

The cycle of terror-war-Islamophobia continues to produce trauma, mental as well as physical. The governments and armies of China, India, and Burma, and the Central African Republic have all used the same tactics to target the Uighurs, the Kashmiris, the Rohingya and Muslims in the Central African Republic. It starts with accusations of being foreigners, terrorists, and extremists. This dehumanization then lays the groundwork for rape, torture, and ultimately, genocide.

What can Muslims do to break the vicious cycle of terror-war-Islamophobia?

The masters of Islamophobia operate from the United States, where they benefit from hundreds of millions of dollars from non-profit organizations set up to promote their deadly agenda. What budget have American Muslims and their allies allocated to counter this deadly propaganda that is killing our brothers and sisters around the world?

Masjids are the usual target of Islamophobes worldwide

Mosques have also been a target in Europe, the United States, and Canada as well. However, law enforcement in these countries protects mosques and prosecutes the criminals

Extremists are targeting thousands of mosques in India. Prayer for Muslims at the mosque next to the historic Taj Mahal has already been prohibited. And calls are being made to turn Taj Mahal to Ram  Mahal

China is demolishing mosques and churches

In Burma, thousands of Rohingya mosques have been razed to the ground

US Ambassador Samantha Power told the United Nations four years ago ........ that almost all mosques in the Central African Republic are demolished.

Etiquette of Criticizing others

First, think about your motives before speaking. Our aim when speaking up and speaking out must be for the sake of God, His acceptance and love. And God loves human interconnectedness and goodwill, not hate and intolerance

Muslims must be just. While criticizing RSS extremists, we must not generalize their deadly deeds to all Hindus and all Indians. Otherwise, we will be guilty of dehumanization as well

Islam emphasizes the importance of not insulting other people’s faith or beliefs (6:108). We must remember this when making our points

Talking Points

In your family

It is important to emphasize that freedom of religion in America, law and order, and our democracy make America a better place for people of all religions to practice their faith. These freedoms must be protected. This is yet another reason to be engaged and active in our election cycle

Ask children what they know about Islamophobia

Children are a part of the global village. They need to know what is happening to Muslims abroad

Can your family plan to devote time and money this election cycle to protect our freedoms?

Can you volunteer 3 hours a week for 3 months to protect the freedom of Muslims in Kashmir, India, China and Burma?

In the mosque

We request that the points mentioned here be used in Khutbas to educate the community about 1. The state of Indian Muslims 2. The cycle of terror-war-Islamophobia 3. The importance of religious freedom in Islam and in the American constitution. 4. The demolition of mosques around the world.

Here is an article by Imam Malik Mujahid about human connectedness in Islam that can be used for a Khutba

Action Items for Hindu Americans

There are some Hindu Americans who are concerned about what is happening in India. But their voices are rarely heard, while RSS-oriented groups in America are loud. It is giving India a bad name and leading people to generalize about the country and its people. If Muslim Americans publicly speak out against terrorists and the RSS, it is important for Hindu Americans to liberate themselves from Indian nationalism enough to distance themselves from RSS and the Hindutva ideology

Since non-resident Indians have special rights in India, they should work to move India towards openness and democracy. Pass a resolution in Hindu Temples and Hindu organizations to

Ask the Indian government to allow the U.S. Commission on International Religious Freedom (USCIRF) to visit India, which they have so far denied.

Ask the Indian government to allow US Senators and Congresspersons to visit Kashmir and Assam, which they have also so far denied.

Ask the Indian government to allow the United Nations full access to investigate, which has also been denied.

Strongly condemn the RSS and Hindutva ideology

[clubofinfo]

Expert: Mass shootings have become routine in the United States and speak to a society that relies on violence to feed the coffers of the merchants of death. Given the profits made by arms manufacturers, the defense industry, gun dealers and the lobbyists who represent them in Congress, it comes as no surprise that the culture of violence cannot be abstracted from either the culture of business or the corruption of politics. Violence runs through US society like an electric current offering instant pleasure from all cultural sources, whether it be the nightly news or a television series that glorifies serial killers. — Professor Henry A. Giroux, “Gun Culture and the American Nightmare of Violence”, January 13, 2016. We are caught in a vicious cycle. With alarming regularity, the nation is being subjected to a spate of violence that terrorizes the public, destabilizes the country’s fragile ecosystem, and gives the government greater justifications to crack down, lock down, and institute even more authoritarian policies for the so-called sake of national security without many objections from the citizenry. Take the school shooting that took place at Marjory Stoneman Douglas High School in Parkland, Fla., on Valentine’s Day: 17 people, students and teachers alike, were killed by Nikolas Cruz, a 19-year-old former student armed with a gas mask, smoke grenades, magazines of ammunition, and an AR-15 style semiautomatic rifle. This shooting, which is being chalked up to mental illness by the 19-year-old assassin, came months after a series of mass shootings in late 2017, one at a church in Texas and the other at an outdoor country music concert in Las Vegas. In both the Texas and Las Vegas attacks, the shooters were dressed like a soldier or militarized police officer and armed with military-style weapons. As usual following one of these shootings, there is a vocal outcry for enacting more strident gun control measures, more mental health checks, and heightened school security measures. Also as usual, in the midst of the finger-pointing, no one is pointing a finger at the American police state or the war-drenched, violence-imbued, profit-driven military industrial complex, both of which have made violence America’s calling card. Ask yourself: Why do these mass shootings keep happening? Who are these shooters modelling themselves after? Where are they finding the inspiration for their weaponry and tactics? Whose stance and techniques are they mirroring? Mass shootings have taken place at churches, in nightclubs, on college campuses, on military bases, in elementary schools, in government offices, and at concerts. In almost every instance, you can connect the dots back to the military-industrial complex, which continues to dominate, dictate and shape almost every aspect of our lives. We are a military culture engaged in continuous warfare. We have been a nation at war for most of our existence. We are a nation that makes a living from killing through defense contracts, weapons manufacturing and endless wars. We are being fed a steady diet of violence through our entertainment, news and politics. All of the military equipment featured in blockbuster movies is provided—at taxpayer expense—in exchange for carefully placed promotional spots. Back when I was a boy growing up in the 1950s, almost every classic sci-fi movie ended with the  heroic American military saving the day, whether it was battle tanks in Invaders from Mars (1953) or military roadblocks in Invasion of the Body Snatchers (1956). What I didn’t know then as a schoolboy was the extent to which the Pentagon was paying to be cast as America’s savior. By the time my own kids were growing up, it was Jerry Bruckheimer’s blockbuster film Top Gun—created with Pentagon assistance and equipment—that boosted civic pride in the military. Now it’s my grandkids’ turn to be awed and overwhelmed by child-focused military propaganda in the X-Men movies. Same goes for The Avengers and Superman and the Transformers. (Don’t even get me started on the war propaganda churned out by the toymakers.) Even reality TV shows have gotten in on the gig, with the Pentagon’s entertainment office influencing “American Idol,” “The X-Factor,” “Masterchef,” “Cupcake Wars,” numerous Oprah Winfrey shows, “Ice Road Truckers,” “Battlefield Priests,” “America’s Got Talent,” “Hawaii Five-O,” lots of BBC, History Channel and National Geographic documentaries, “War Dogs,” and “Big Kitchens.” And that’s just a sampling. It’s estimated that U.S. military intelligence agencies (including the NSA) have influenced over 1,800 movies and TV shows. And then there are the growing number of video games, a number of which are engineered by or created for the military, which have accustomed players to interactive war play through military simulations and first-person shooter scenarios. This is how you acclimate a population to war. This is how you cultivate loyalty to a war machine. This is how, to borrow from the subtitle to the 1964 film Dr. Strangelove, you teach a nation to “stop worrying and love the bomb.” As journalist David Sirota writes for Salon:  [C]ollusion between the military and Hollywood – including allowing Pentagon officials to line edit scripts – is once again on the rise, with new television programs and movies slated to celebrate the Navy SEALs…. major Hollywood directors remain more than happy to ideologically slant their films in precisely the pro-war, pro-militarist direction that the Pentagon demands in exchange for taxpayer-subsidized access to military hardware. Why is the Pentagon (and the CIA and the government at large) so focused on using Hollywood as a propaganda machine? To those who profit from war, it is as Sirota recognizes: a ‘product’ to be sold via pop culture products that sanitize war and, in the process, boost recruitment numbers….At a time when more and more Americans are questioning the fundamental tenets of militarism (i.e., budget-busting defense expenditures, never-ending wars/occupations, etc.), military officials are desperate to turn the public opinion tide back in a pro-militarist direction — and they know pop culture is the most effective tool to achieve that goal. The media, eager to score higher ratings, has been equally complicit in making (real) war more palatable to the public by packaging it as TV friendly. This is what professor Roger Stahl refers to as the representation of a “clean war”: a war “without victims, without bodies, and without suffering”: ‘Dehumanize destruction’ by extracting all human imagery from target areas … The language used to describe the clean war is as antiseptic as the pictures. Bombings are ‘air strikes.’ A future bombsite is a ‘target of opportunity.’ Unarmed areas are ‘soft targets.’ Civilians are ‘collateral damage.’ Destruction is always ‘surgical.’ By and large, the clean war wiped the humanity of civilians from the screen … Create conditions by which war appears short, abstract, sanitized and even aesthetically beautiful. Minimize any sense of death: of soldiers or civilians. This is how you sell war to a populace that may have grown weary of endless wars: sanitize the war coverage of anything graphic or discomfiting (present a clean war), gloss over the actual numbers of soldiers and civilians killed (human cost), cast the business of killing humans in a more abstract, palatable fashion (such as a hunt), demonize one’s opponents, and make the weapons of war a source of wonder and delight. “This obsession with weapons of war has a name: technofetishism,” explains Stahl. “Weapons appear to take on a magical aura. They become centerpieces in a cult of worship.” “Apart from gazing at the majesty of these bombs, we were also invited to step inside these high-tech machines and take them for a spin,” said Stahl. “Or if we have the means, we can purchase one of the military vehicles on the consumer market. Not only are we invited to fantasize about being in the driver’s seat, we are routinely invited to peer through the crosshairs too. These repeated modes of imaging war cultivate new modes of perception, new relationships to the tools of state violence. In other words,we become accustomed to ‘seeing‘ through the machines of war.” In order to sell war, you have to feed the public’s appetite for entertainment. Not satisfied with peddling its war propaganda through Hollywood, reality TV shows and embedded journalists whose reports came across as glorified promotional ads for the military, the Pentagon turned to sports to further advance its agenda, “tying the symbols of sports with the symbols of war.” The military has been firmly entrenched in the nation’s sports spectacles ever since, having co-opted football, basketball, even NASCAR. This is how you sustain the nation’s appetite for war. No wonder entertainment violence is the hottest selling ticket at the box office. As professor Henry Giroux points out: Popular culture not only trades in violence as entertainment, but also it delivers violence to a society addicted to a pleasure principle steeped in graphic and extreme images of human suffering, mayhem and torture. No wonder the government continues to whet the nation’s appetite for violence and war through paid propaganda programs (seeded throughout sports entertainment, Hollywood blockbusters and video games)—what Stahl refers to as “militainment“—that glorify the military and serve as recruiting tools for America’s expanding military empire. No wonder Americans from a very young age are being groomed to enlist as foot soldiers—even virtual ones—in America’s Army (coincidentally, that’s also the name of a first person shooter video game produced by the military). Explorer scouts, for example, are one of the most popular recruiting tools for the military and its civilian counterparts (law enforcement, Border Patrol, and the FBI). Writing for The Atlantic, a former Explorer scout described the highlight of the program: monthly weekend maneuvers with the National Guard where scouts “got to fire live rounds from M16s, M60 machine guns, and M203 grenade launchers… we would have urban firefights (shooting blanks, of course) in Combat Town, a warren of concrete buildings designed for just that purpose. The exercise always devolved into a free-for-all, with all of us weekend warriors emptying clip after clip of blanks until we couldn’t see past the end of our rifles for all the smoke in the air.” No wonder the United States is the number one consumer, exporter and perpetrator of violence and violent weapons in the world. Seriously, America spends more money on war than the combined military budgets of China, Russia, the United Kingdom, Japan, France, Saudi Arabia, India, Germany, Italy and Brazil. America polices the globe, with 800 military bases and troops stationed in 160 countries. Moreover, the war hawks have turned the American homeland into a quasi-battlefield with military gear, weapons and tactics. In turn, domestic police forces have become roving extensions of the military—a standing army. So when you talk about the Florida shooting, keep in mind that you’re not dealing with a single shooter scenario. Rather, you’re dealing with a sophisticated, far-reaching war machine that has woven itself into the very fabric of this nation. You want to stop the gun violence? Stop the worship of violence that permeates our culture. Stop glorifying the military industrial complex with flyovers and salutes during sports spectacles. Stop acting as if there is anything patriotic about military exercises and occupations that bomb hospitals and schools. Stop treating guns and war as entertainment fodder in movies, music, video games, toys, amusement parks, reality TV and more. Stop distributing weapons of war to the local police and turning them into extensions of the military—weapons that have no business being anywhere but on a battlefield. This breakdown—triggered by polarizing circus politics, media-fed mass hysteria, militarization and militainment (the selling of war and violence as entertainment), a sense of hopelessness and powerlessness in the face of growing corruption, the government’s alienation from its populace, and an economy that has much of the population struggling to get by—is manifesting itself in madness, mayhem and an utter disregard for the very principles and liberties that have kept us out of the clutches of totalitarianism for so long. Stop falling for the military industrial complex’s psychological war games. Nikolas Cruz may have pulled the trigger that resulted in the mayhem in Parkland, Fla., but something else is driving the madness. As Stahl concludes, “War has come to look very much like a video game. As viewers of the TV war, we are treated to endless flyovers. We are immersed in a general spirit of play. We are shown countless computer animations that contribute a sense of virtuality. We play alongside news anchors who watch on their monitors. We sit in front of the crosshairs directing missiles with a sense of interactivity. The destruction, if shown at all, seems unreal, distant. These repeated images foster habitual fantasies of crossing over.” We’ve got to do more than react in a knee-jerk fashion. Those who want safety at all costs will clamor for more gun control measures (if not an outright ban on weapons for non-military, non-police personnel), widespread mental health screening of the general population and greater scrutiny of military veterans, more threat assessments and behavioral sensing warnings, more CCTV cameras with facial recognition capabilities, more “See Something, Say Something” programs aimed at turning Americans into snitches and spies, more metal detectors and whole-body imaging devices at soft targets, more roaming squads of militarized police empowered to do random bag searches, more fusion centers to centralize and disseminate information to law enforcement agencies, and more surveillance of what Americans say and do, where they go, what they buy and how they spend their time. All of these measures play into the government’s hands. As we have learned the hard way, the phantom promise of safety in exchange for restricted or regulated liberty is a false, misguided doctrine that has no basis in the truth. What we need is a thoughtful, measured, apolitical response to these shootings and the violence that is plaguing our nation. As I point out in my book Battlefield America: The War on the American People, the solution to most problems must start locally, in our homes, in our neighborhoods, and in our communities. We’ve got to de-militarize our police and lower the levels of violence here and abroad, whether it’s violence we export to other countries, violence we glorify in entertainment, or violence we revel in when it’s leveled at our so-called enemies, politically or otherwise. Our prolonged exposure to the toxic culture of the American police state is deadly. http://clubof.info/

[sine-of-nomine-blog]

Browsing fashion and street-wear sites for my hypothetical rich self is a frequent hobby of mine.  I have found fashion photography to be the perfect marriage of hyper-modern photography styles and hyper-modern fashion; and I would be lying if I said I didn't have the 150th anniversary edition of Vogue on my coffee table.  Everything about the major labels like Gucci, Louis Vuitton, or Versace scream attention to detail and being fashion forward, but their price tags also have quite an intense voice as well.

One of the stigmas associated with fashion is that it is very elitist, pretentious and dehumanizing.  These stigmas are not wrong.  You would be hard pressed to find clothing from one of the heavy hitting labels that costs less than 300 dollars.  These major labels sell cotton sweatshirts or standard tees just like Target, but the name on the tag increases the price astronomically.  It is not uncommon to find a blank gray tee on one of these sites for over 200 dollars. Despite this, people still play along.

Brand loyalty absolutely puzzles me.  I can understand if the name of a label is artistically displayed or incorporated in an inventive way into the clothing, but the act of buying something fairly universal exclusively from a high end label just because of the association is wild.  This blind trust that because the tag says Armani and not GAP despite being identical just for the sake of not appearing “authentic” seems like the epitome of capitalism.  A brand develops a reputation for being extremely high-end and reminds you that it will make you a high-end person in order to make absolutely insane profit margins is a business model that shouldn’t work, but is only becoming more popular.

The consistently exorbitant price tags heavily discriminate who can actually participate in this brand display-off, which is the main contributor to the stigma of fashion being pretentious or completely unreachable for anyone not in the upper class.  This however is not a rant against high end fashion labels, as this capitalist microcosm should allow them to exist, but rather the hypebeasts and promoters who push this agenda on a more personal level.

[happymetalgirl]

April 2020

WELL! I have been gone awhile, very busy, and look what happens when I slow down writing about metal: the world starts to fucking fall apart. But no, in all seriousness. I’m writing this part now at the beginning of June after an already tumultuous April and May, and now I’m just making myself sit down and do this because, well, honestly, it’s been pretty hard to justify spending my time writing about music with all the fuck shit going on right now. (I can’t wait to see what July throws at us.) But again, in all seriousness, I’m not looking for any pity or sympathy for my relatively mild circumstances at all because in all honesty, my white privilege has allowed my life to be pretty okay and proceed mostly uninterrupted in the midst of everything going on.

I’m probably going to repost this part in its own post, but I feel like I have to get this out of the way before I write any more about music. I’ll start by disseminating any ambiguity on what I’ll be talking about in these paragraphs that I am intentionally bolding.

As I write this in the midst of a fucking respiratory virus pandemic, another epidemic (possibly pandemic) of racist police brutality that has always existed in a culture of unhinged toxic masculinity in my increasingly embarrassing country has exploded to unbelievable and disgusting levels against Black people and peaceful protesters in the United States, ironically in wake of protests against fucking police violence, all of which is only emboldened and encouraged by local and federal leadership that is showcasing its oppressive, totalitarian ambitions in its unprecedented attempted revocations of its citizens constitutional and human rights.

I’ll make the necessary side note that this increasingly oligarchical government subservient to the will of military and prison industry has already shown its complete disregard for human rights for decades upon decades now through its violation of human rights through offensive wars and sanctions against other countries and its dehumanization of the refugees and immigrants who its actions create.

If you haven’t already checked out of this from all the political correctness breaching your conservative bubble (good job not being that person), but you’re upset because tHiS iS sUpPoSeD tO bE a MuSiC bLoG, uh, you’re on the wrong website buddy, and the potential tipping point of a long-awaited revolution in the midst of an economic depression, a viral pandemic, and a dual crisis of grotesque police violence and evolutionary transformation of proto-fascism into fascist dictatorship is no time to go about business as usual.

BUT HOLY SHIT, ENOUGH INTRODUCTION AND ENOUGH ABOUT ME! The point of this is to spotlight what to do in the wake of all of this. First of all, I don’t have all the answers and my perspective is as limited as any person’s, so if you’re an expert on any of these matters or if you have insight from having experiences that I as a white cis male have not had, if anything I’m bringing up here could be better in any way, feel absolutely free (but not obligated) to let me know.

Okay, so lots of problems at hand. The big, all-encompassing one facing all of humanity of course is the ecological disruption caused by industrially driven human-catalyzed climate change, and the rot of everything crystallizing at this current moment feeds into exacerbating that catastrophe, the next wide-reaching issue being capitalism, whose prioritization of profit and short-term gains is incredibly ill-equipped to handle a slow emergency like climate change or a more acute emergency like a global pandemic. Here in the U.S. we have a federal government so infested with corporate corruption to maximize capital profits for the country’s most wealthy that they couldn’t even choose the obvious solution of pausing the economy and providing for its people for the duration of the pandemic in the interest of public health over the appallingly quick choice of protecting the financial interests of the corporate “donors” that help them hold their positions of power, at the risk of maybe closing the gap a tiny bit between the truly despicably wealthy and the growing number of hopelessly impoverished. So while the wealthy get protection of their assets from the slow-down of business (you know, ‘cause the pandemic), the people in most need of help because of that slow-down and plunged into spiking unemployment get shit from the people meant to represent them. And that’s just the corporate rot that rears its head as a result of a pandemic!

Even in “normal” times, capitalism in this country has built its foundation on slave labor and justifying the use of slavery through racism (even after it became illegal to outright own people as slaves). That cornerstone of free/cheap labor that this country’s economy is built on whose role was served by slavery was filled by outsourcing to countries with an easily exploitable lower class (whose conditions are often exacerbated by U.S. meddling on behalf of business interests) and prison labor made possible by mass incarceration that has targeted similarly vulnerable people and communities of color through strategic, racially profiled over-policing of minority communities trapped in poverty through historic systemic racism.

The study of that global climate change I mentioned earlier is referred to as a crisis study because there isn’t an unlimited time to do something about it, and the ever-changing conditions and pivotal events of the world effect what needs to be done to combat it (and what it is too late to do). This current crisis of police brutality is one of those types of critical moments, for climate change and social justice. Police brutality didn’t become an issue when George Floyd was murdered on May 25th 2020; it’s been an ugly facet of this multifactedly ugly country for a long time now, but its being brought to light has instigated an uprising the likes of which has not been seen in a long while, and with it, an especially insidious aggression toward it by the increasingly fascist government and its authoritarian figurehead (to the point of threatening institution of martial law and suspending first amendment rights and habeas corpus) that at this point serves only to maintain complacency for the benefit of the ruling class and to the detriment of the disproportionately non-white lower working class (treated as a slave class). Consequently this is a pivotal time that obligates widespread action and ceasing of silence from privileged people like me who have been able to get away with writing about music largely apolitically for years. This is a time when we either plunge unfathomably further into the depths of fascism at the hands of the ruling class and the silence of the less-effected or we consolidate in this moment of broad energizing to both enact substantive change on the critical issue of police brutality and set a precedent and build momentum to achieve justice for LGBTQIA+ folk, other racial minorities and marginalized groups, and make the critical changes need to avoid civilizational dissolution in the face of the imperative to mitigate our impact on global warming.

Speaking of that change and the actions that this moment implores of us all to contribute our energy to: the most immediately critical issue at our feet, to both save human lives from being taken unjustly at the hands of police brutality and to galvanize this revolution to be able to demand further justice and critical social transformation, is ending police brutality. Being an institution born out of rounding up escaped slaves and given the state-supported monopoly on violence that attracts largely those seeking to satiate sadism with the license to that monopolized violence, police culture is inherently toxic and not worth even preserving for the sake of transforming structurally. While abolishing the police is obviously too ambitious of an immediate goal, there are a lot of proposed steps to defunding and largely dismantling the police as a whole. The project Campaign Zero outlines and pushes for ten tangible reforms that would (some of which have recently been proposed in Colorado) decrease police violence, especially in the majority-Black communities that suffer from it the most. The “8 Can’t Wait” proposal that has been making rounds lately is part of Campaign Zero, and donations to these projects are of course, quite helpful and a good start for this blossoming movement. Furthermore, donations to local bail funds is especially important at this time with police making wanton arrests of peaceful protests (and also just random Black people not making any disruption) to support the people going out and protesting. Because this money of course gets siphoned into the courts, and then partially to law enforcement, it’s important to also direct funds to organizations where that money will not later be used against us, but again, keeping people able to protest is of utmost importance, since that it what is driving positive change in this moment.

Also helpful is direct support of the people on the frontlines of these protests. It is a time for privileged people to take action in solidarity and support, but not one for privileged groups to take over or “lead” the movement. Right now, this is about who is hurting the most and who is being oppressed the most, and right now that is Black people, by police, hence BLACK LIVES MATTER. Now is not a time for even underprivileged white people to use these protests’ likelihood of escalating to indulge in venting frustrations against the system by inciting police violence that puts Black people disproportionately in more danger in such situations. Now is the time to use that privilege of being less prone to racism police violence to whatever extent possible to protect the people of color protesting. And again, this isn’t about being white saviors or martyrs, this is about supporting people in the way they wish, so don’t listen to my advice over the insight and requests of what Black people and the Black community have. And by all means, fucking listen to them! Read from them! Engage in good-faith conversation with them (though don’t expect any individual Black person to give you a seminar on racism, there are ample resources that don’t demand someone devoting their precious time to you)! Learn where the limits of your perspective fail you! And for fuck’s sake, don’t just cherry pick the word of one token Black friend that happens to have some class privilege to conveniently discount the testimonies of other Black people!

Lastly, on a personal note to the metalheads that read this blog, I think this is a particularly important time for the metal community, not to center itself, but to bring itself alongside social justice in a more complete way than it has in the past. Former Opeth and current Soen drummer Martín López said last year in an interview published in Blabbermouth that the metal community is very behind the curve on sociopolitical issues, and the response to his saying that from the metal community that floods Blabbermouth comment sections basically just made the case for the exact point he was making. And it’s a shame because I think such a huge part of metal is about standing up to injustice as part of or in support of the oppressed, or at least such a huge part of the metal I gravitate toward is. Without sounding too spiritual or cheesy because I’m not a really spiritual person, I feel like when I see the injustice going on, I feel that spirit of metal in all of it on the side of the oppressed. I feel like all the grindcore and deathcore and thrash and death metal I’ve been binging lately is in the spirit of the protesters standing up to and, when they have to, fighting back against the unjustified aggression of the police, and looking back at old, certified classic albums like ...And Justice for All, Toxicity, and Chaos A.D. and more recent albums like Machine Head’s The Blackening, and Thy Art Is Murder’s Human Target, and Venom Prison’s Samsara, it’s always been about standing up to this kind of bullshit. So I think if there ever was a time since Sabbath birthed it for metal to prove that it’s as important as it makes itself out to be and as important as it is to everyone who listens to it in such a way that they read an obscure blog about it, now is that time to show that it’s not just about being an angry white guy. Now is the time to make Martín López happy by proving him wrong.

Well, in typical Happymetalboy fashion, I can’t seem to make anything brief. So, with that said, let’s talk about the metal music that came out in the good ol’ days of April 2020. Wow. 

Well, April was a pretty big month. Lots of albums coming out, the whole music industry still the throes of the pandemic, it’s a damn shame we got what might be the best album I’ve ever reviewed on this blog in the midst of all this soul-crushing stagnance and financial despair in the music world. I mean, I’m certainly very glad to be getting such a great album among other great albums at a time when music is definitely helping me to keep going as well. It just sucks knowing these artists aren’t going to be able to tour in celebration of their great artistic achievements, and the first one on this list definitely deserves to celebrate.

Oranssi Pazuzu - Mestarin Kynsi

I already reviewed the Finnish band’s fifth full-length in great detail, which I highly suggest checking out because I wrote a lot about that album and I wrote it quite enthusiastically. It feels weird in a way to make the rest of the albums on this list follow my recount of an album that I already detailed in great length to be one of the best albums I have heard in years, quite possibly the best album I’ve reviewed in this blog’s existence, but I have to make sure that it doesn’t get lost at the end of this undoubtedly long-ass post. Anyway, Oranssi Pazuzu have fucking outdone themselves on this one and in many ways, black metal in general. The band have been building their synthy, psychedelic sound for over a decade now, but Mestarin Kynsi is the crystallization of everything the band has been working toward, which I think last year’s Waste of Space Orchestra collaboration played a big part in catalyzing. The album is so immersive and in so many ways feels like it has a soul of its own, made possible by the band’s absolute chemistry and dedication to ego-lessly channeling this album’s transcendent ethos as a team rather than elevating themselves individually, and what they conjure on here is such a leap up from their already heady psychedelic black metal and out of this fucking world. Mestarin Kynsi is the kind of terrifying, yet transfixing light that pulls you in even as you know of its malevolence, because it is just too goddamn beautiful and compelling to resist. The score should be such a big deal, but I know that any time this kind of score is thrown out there it prompts all sorts of distracting question regarding the flaws of the album, but I stand by my original score. I love this album, and I don’t see anything about it that makes me think it’s any less.

10/10

Okay, now on to the unfortunate rest of April’s releases that had to follow this up.

Testament - Titans of Creation

Testament rode a pretty vibrant comeback wave with Chuck Billy’s beating cancer on 2008’s The Formation of Damnation and 2012’s Dark Roots of the Earth, but that hot steak came to an end on the rather droll effort they put out in 2016, Brotherhood of the Snake. Back when concerts were a thing, I caught them when they opened up for the rest of the stacked lineup of Slayer’s farewell tour; they put on a great show, and I was reminded of what made them, still, such a prominent force in thrash, hopeful for a rejuvenation on whatever record came next. And as much as I wish I liked this new album of theirs more, I just can’t get into it all that much for so many of the same reasons I couldn’t get into its predecessor. I’d say it has much brighter moments, but it suffers from much of the same recycling of thrash compositional tropes (with not enough elaboration) that Brotherhood of the Snake did. It’s the kind of album that at first listen will seem flavorful and engaging, but it loses it pretty quickly like a snack that isn’t that filling or easy to keep eating due to it’s overwhelming taste, despite its empty calories.

5/10

Abysmal Dawn - Phylogenesis

After six years during which I had thought they might have disbanded or been dropped from Relapse Records, Abysmal Dawn return from the shadows on Season of Mist with the tight, concise brand of modestly technical modern death metal that made them such a sell in the first place on their fifth record, Phylogenesis. Not deviating at all from what they know they do well, Abysmal Dawn stick to a direct death metal attack with no bells and whistles, relying on their speed and agility to guide them, and their strengths serve them well as they manage to highlight what makes death metal so appealing at its core.

8/10

WVRM - Colony Collapse

While not listening to Oranssi Pazuzu or straight-up depressive shit, I have had a massive hankering for filthy grindcore that has been graciously satiated in part by WVRM’s Colony Collapse. Airing heavily on the hardcore side of the genre, incorporating some slower slamming grooves and deep, dirty gutteral vocals into their otherwise true-to-the-genre grindcore, WVRM do indeed put forth a more intense slab of grindcore than your usual twenty-something minute LP, which is made possible largely by the dynamic that they inject with their willingness to incorporate so much tasty, hardcore riffage and nasty sludge.

7/10

Red - Declaration

After what I’ve now come to see as their worst album, 2017′s Gone, Red immediately bounce back onto the positive trajectory that Of Beauty and Rage set them on and back to the symphonic 2000′s alternative metal that they built their early reputation on, with their shortest, possibly most direct album to date, comprised of just ten tight tracks that focus their cathartic brand of alternative metal into surprisingly dense packages that undoubtedly include some of the best of the band’s whole career, like “All for You”, “The Evening Hate”, and the especially cathartic “The War We Made”. I can only hope every band that has stumbled so hard lately can pick themselves back up as quickly and convincingly as Red has on their aptly named seventh LP here.

8/10

August Burns Red - Guardians

I have to say, despite being a pretty standard slab of melodic 2010’s metalcore, this album has kind of grown on me a bit in the past few weeks of listening to it. The album shows that the band are doing well to keep an eye on what’s going on in metalcore, stylistically spanning old and new pretty well. And while we sometimes get cheesy Hot Topic melodicism on songs like “Lighthouse”, other tracks encapsulate old and new in the space of a single song with respectable tact. The track “Defender” for example features two metalcore breakdowns, the first of which is generic as fuck from the 2000’s, but the second is distinctly more creative and forward-thinking, showing that the band are aware of the genre’s evolution and their trajectory alongside it. I also have to point out the highlight “Dismembered Memory” is in the track list with its emotive, Gothenburg-style guitar melody mixed with some distinct Architects-inspired vocal melodies. The closing track, “Three Fountains”, also ends the album on a strong note with its powerful melodic vocals in particular. Again, most of this project is pretty unsurprising metalcore, but the band at least shows some sense of awareness of how to progress their sound, and the strength of the highlights here makes the album worth at least checking out to find them.

6/10

Benighted - Obscene Repressed

While it is a well-performed, well-produced offering, Obscene Repressed is little more than a competent modern horror/brutal death metal album whose campiness in its shots for grotesqueness and creepiness can actually end up working against it. It’s a fun enough death metal album for while it’s on with some impressive flashes of percussion in particular, but it’s memorable mostly for its goofy moments and much less for its songwriting.

6/10

Aborted - La Grande Mascarade

Well, three more songs of relentless modern brutal death metal from Aborted is surely hard to get worked up about, and that goes in the positive and negative direction. On the EP’s three tracks, the band basically just goes through the motions in a way that makes me question what the point of putting these tracks out on this EP as opposed to keeping them for the next album (and potentially grooming them further) was. I mean, I can’t complain too much, the band are solid on these cuts in all the ways we come to expect them to be, but what makes these songs unfit for the next album or really demands they be released on this EP?

6/10

Nine Inch Nails - Ghosts V: Together & Ghosts VI: Locusts

I don’t want to knock Nine Inch Nails’ more ambient works, as I do think Trent Reznor has proven he has the chops to thrive in dark ambiance, but I just couldn’t get too excited about this watered down three hours worth of dark ambiance that he put out this year. It certainly works on the baseline level that all dark ambient music operates on an generally seeks to achieve, but it really doesn’t go above and beyond anywhere and it just kind of settles for the passing grade. At the most charitable, both are the kinds of ambient albums that exist solely to provide an eerie, droning sonic background with a few notable shifts coming from song to song, but that’s not enough to get me excited for either of them.

5/10 & 6/10

The Black Dahlia Murder - Verminous

I have to say, I’ve kind of softened in my earlier perception The Black Dahlia Murder being overrated, and Verminous is an album that really helps their case. Its name is pretty apt for the band’s blackened style of melodeath in general, but the dynamic between their delicious melodic side and their muscularly heavy side on Verminous is quite possibly at its most comprehensively displayed. I know that the band’s fans don’t really see them as having any misses in their catalog, though there seems to be some consistent favoritism toward Nocturnal, but I would wager that Verminous has captured their composition at its most advanced and their sound its most savory.

8/10

MASTER BOOT RECORD - Floppy Disk Overdrive

I’ve not been keeping up too closely with the prolific MASTER BOOT RECORD project, but I do regret missing and not covering the dynamic Internet Protocol EP that was released last year. Floppy Disk Overdrive, aptly named, is a bit more of the usual overload of synthetically instrumental, chiptune-seasoned death metal that keeps me from getting too excited about new MASTER BOOT RECORD releases. Once again, the focus is on solid production of the instruments and minor tricks with the sonic aesthetic, but composition again seems to fall by the wayside, and there isn’t enough intriguing stylistic diversity to make up for it.

5/10

Caustic Wound - Death Posture

More delicious, nasty grindcore to ravage my ears with in between listens to Oranssi Pazuzu and Okkervil River. The debut album by the Seattle-based supergroup of sorts is as pummeling as I would expect given the pedigree of the members involved. Death Posture is nasty, gutteral, and relentless in all the ways anyone could want their grindcore to be. The monstrously bellowing growls in particular make me feel like I’m listening to Primitive Man playing grindcore (which is a good thing). While I have been in quite the grindcore binge lately, Death Posture is more than just your standard, straight-line-through grindcore record, taking an old-school death metal knack for dynamic accents, tasty isolated bass lines, bursts of speed, bursts of thickened walls of sound, and wailing solos. It sounds sort of like if Morbid Angel was directing Primitive Man’s deathgrind adventure, also a good thing. I definitely love this one, probably my favorite grindcore album so far this year.

8/10

Khemmis - Doomed Heavy Metal

While we (if not just I) eagerly await the Colorado act’s forthcoming Nuclear Blast debut (and follow-up to 2018′s perfect Desolation), the band offers a little compilation EP to hold us over until then. Of the six tracks, only the first is new material (and it’s a cover song), two are songs from previous non-album releases, and the other three are live tracks. The band’s cover of Dio’s “Rainbow in the Dark” transposes the iconic keyboard part onto guitar in classic Khemmis fashion, and the vocal and guitar harmonies give the already inspiring song a new sense of melancholic triumph that I have come to love so much from Khemmis. It’s definitely worth checking out for the fresh take it offers to the Dio classic. As for the rest of the EP, the one-off single “Empty Throne” feels rather B-side-level by the band’s lofty standards, as does their odd, but enjoyable melodic doom rendition of the folk tune “A Conversation with Death”. The sampling of live cuts gets one great song from each of the band’s previous LPs, and the band sounds pretty true to their studio form for the most part, the vocals on “Bloodletting” being noticeably rough though.

Compilation in the Dark/10

Me and That Man - New Man, New Songs, Same Shit, Vol. 1

The second album from Nergal’s folky satanic rock side project comes with a pretty star-studded line-up, and honestly it’s a pretty fun time and I don’t have many complaints about the concise, catchy tunes that Nergal and company are churning out. “Run with the Devil” is a brilliantly composed opener, “Burning Churches” is a catchy-as-fuck pub-type tune, and guests Ihsahn, Corey Taylor, and especially Matt Heafy showcase the versatility of their vocal styles on their respective features. It’s more a fun heresy-laden time explicitly not overthought than the usual heady blackened death metal that Behemoth pedals.

7/10

Medico Peste - ב :The Black Bile

Taking very apparent cues from black metal’s (and experimental metal’s) more esoteric figures like Deathspell Omega and even Tool, Medico Peste comes through with an at least very aesthetically intriguing listen, even if some of the compositions run kind of long without enough in the way of substantive musical ideas to last quite as long as they’re intended to. While the influences the band wears on their sleeve are at least quite respectably sonically pervasive, it can get occasionally uncanny. The main riff of “All Too Human” sounds like it could have come straight from the Ænema recording sessions, and “Numinous Catastrophe” even sounds like it pulls from Oranssi Pazuzu. But despite the influences on its sleeves, ב :The Black Bile is unique and diverse enough as a whole to sustain an exciting listen and one that I have enjoyed returning to.

7/10

Omega Infinity - Solar Spectre

I had not heard of Omega Infinity until this album, and out of the gate it really sounded like some cliché ambient black metal, but as the album unfolds, it really does reveal itself to be so much more than that. Hard to capture in a single word, the cosmos-themed album definitely captures the wide, chilling vastness of space through instrumental and compositional techniques that provide a fittingly alien, but not explicitly sci-fi, twist on the usual elements of ambient black metal, and it works wonderfully. 

8/10

Black Curse - Endless Wound

I heard a good bit of hype over this project, but I’m honestly having a hard time hearing what’s supposed to be such a big deal. We’ve got some solid performances and the occasional compositional flash of brilliance, but for the most part, Endless Wound is very standard blackened death metal with meek ambitions. Like don’t get me wrong, it’s not awful, and I don’t hate it. It just doesn’t depart nearly enough from the beaten, and crowded, path or really stand above the crowd on that path enough to get me excited. I kind of wish the band would delve more into the slower, sludgier, more savory sections of they dip their toes in, like that of “Enraptured by Decay” and the more eccentric takes on black metal dark ritualism on “Seared Eyes”. But until they really commit more to things they can do to get their head above the death metal crowd, it’s going to be hard to get excited about another Black Curse project in the near future.

5/10

Vermicide Violence - The Praxis of Prophylaxis

It was only a matter of time until the pandemic delivered unto us an at least partially coronavirus-themed medical deathcore album, which I am of course not complaining about the obnoxious, ridiculous prospect of. There is a lot of silly, gimmicky deathcore (and metal in general) out there that is pretty superficial, but also plenty that makes a lot of great use of whatever gimmick it’s applying. In this case, the natural grotesquery (if that’s a word) of medical practice does give Vermicide Violence just that little bit of extra tangibility and realness to the nasty deathcore they’re pedaling. From breakdown lines of “vaccinate your fucking kids” and “you only hear once so just buy fucking plugs” (a twist on Suicide Silence’s “You Only Live Once”) to songs about asthmatic asphyxiation, coronavirus infection, West Nile virus, and breast cancer, it’s at the very least somewhat lyrically fresh and fun for any medical metalheads to have a good time nerding out with.

6/10

Vatican Falling - WAR

So I found out about Vatican Falling through the deathcoredads meme page, don’t judge me, but I’m glad I did, because this album, WAR, is some deliciously disgusting deathcore with lots of different flavors. They’re not exactly pushing any boundaries for the genre, but WAR certainly does branch out into melodic territory more boldly and successfully than your average deathcore album, and with good results. It has its low points where some of the experimentation doesn’t work, like the annoyingly repetitive clean vocal sample on the title track, but for the most part, the band’s use of more tangible, cleaner melodies goes over well and supplements the music nicely with a sense of raised stakes. If anything, I wish they did more in that vein because the band’s deathcore grooves at the core aren’t as above average on their own. That being said, songs like “King of Vermin” and “Kill All Humans” show that the band can really raise their game at the base deathcore front and outcompete their contemporaries if they need to.

6/10

Ulcerate - Stare into Death and Be Still

Stare into Death and Be Still is the sixth album from sonically ambitious New Zealanders, Ulcerate. Continuing to push their brand of atmospheric, blackened technical death metal to further reaches of the unknown, guitarist Michael Hoggard’s fluid, multi-faceted melodic work continues to play a pivotal role in steering the atmospheric tone of the album, while Jamie Saint Merat’s impressive following of the music’s odd time signature shifts boosts the album’s energy with tasteful technicality while simultaneously not being too obnoxiously flashy and showcasing some flavorful technical drumming chops. The guitar work takes on so many different shapes and styles, but probably most often reminds me of the winding angularity of Portal with the primal humanness and ritual catharsis of later/current Behemoth, with some more ambient detours taken here and there that hearken to Isis and even more doom-oriented projects like Bell Witch. The swirling together of influences here is so seamless and immersive, and honestly some of Ulcerate’s best. This is not to discount Paul Kelland’s contributions of emotively harmonious bass lines and consistently bestial, yet also somehow soulful, death metal bellowing to the album’s sound; I think his contributions in particular are what help this album feel meaningful and human and not just like some soulless piece of experimental art with a little too much of its head up its ass. For an hour, this album feels like listening to the best aspects of several different styles of cutting-edge death metal, black metal, and doom metal rolled into one masterful super-album that still manages to strike a dreadful chord all its own. Yeah, this is a pretty damn great album.

9/10

Katatonia - City Burials

Honestly, the vast majority of this album feels like Katatonia going through the motions and just playing it safe, never really committing to any really bold performance or composition moves, just coasting off The Fall of Hearts. It certainly passes by the usual Katatonia rubric, but it certainly won’t be going down as one of the band’s most revered.

5/10

Trivium - What the Dead Men Say

I somehow missed out on the entire first half of this album being released as singles, but I sure caught all the hype surrounding the band’s ninth album leading up to its release and all the preemptive praise it was receiving, and I’m kind of glad I got to experience it as a whole without the experience of the singles because I feel like I can honestly soberly assess it and say that it’s definitely not the masterpiece it’s being hyped up to be. The band definitely have found their groove in the various melodic, proggy, thrashy alternative metal styles they play, but this album really just feels like the band are just feeling themselves, in the sense that they’re kind of playing it safe, but bold enough with what they know they do well to kind of mask that. The band’s ninth album is pretty noticeably a continuation of their eighth, The Sin and the Sentence, which had some of Trivium’s most potent alternative metalcore bangers to date, but also some of their most confusingly tepid compositions on the other side of their spectrum. What the Dead Men Say kind of just maintains the band’s trajectory on their previous album and narrows that range from high to low. The low points, like “Bleed into Me” and (to a lesser extent) “The Catastrophist”, aren’t as low, but the high points aren’t as high, and I don’t think I’ll be returning to the better parts of this album, like “The Defiant”, “Amongst the Shadows and the Stones”, and “Sickness Unto You” as much as I will the plethora of highlights from The Sin and the Sentence. Overall, it kind of just feels like Trivium coasting a bit, but the band is genuinely at that level of evolution in their sound where they have made a lot of gradual refinements over time to get here but haven’t just repeated themselves, so they can kind of get away with it. Even if it’s not my favorite Trivium album, it’s sure a hell of a lot better than anything Trapt has ever released.

7/10