I get the feeling he's more likely to instigate an act of terrorism than do the deed, but he should definitely be on every list of potential terrorists, as should anyone connected to him. This particular case just seems really tenuous (based on the evidence/connection being presented -- but who knows what else they've got on him).
Murder AND arson AND I think some weapons charges, too. But he actually got 21 (of which served only 15), which is the max sentence in Norway. Breivik himself only got 21 years.
Scenester metalcore is a total joke but it's culturally irrelevant and I think it at least has the potential to be an OK gateway for kids to discover good music. Nu-metal was truly destructive on a global scale. I was never a fan of Deftones or SOAD but both bands had unique ambitions and visions, and were victims of nu-metal more than they were perpetrators. I'd even say Slipknot weren't the worst thing in the world, just way too cartoon-y to be taken seriously, and way too bland to produce music of lasting value. The rest of them deserve to be burned alive (not literally, except in the case of Limp Bizkit).
This is a tough one to answer! In part because I'm not comfortable trying to speak for "purists" when I'm part of the "problem" but mostly because that comparison is FUCKING INSANE. There was never -- NEVER -- anything worse than nu-metal. It was the worst thing to happen to metal, ever, in the genre's history. Deafheaven are an incredible band; they are advancing the genre; they are GREAT for metal. Fucking Limp Bizkit truly nearly killed metal.
I think it's that dilettantish fickleness that is most frustrating to the purist. I have a theory somewhere in here that needs to be untangled from a nest of random feelings and observations but BASICALLY it's not the presence of "outsiders" that makes "insiders" uncomfortable; it's the presence of "outsiders" who just sort of come inside, wander around for a few minutes, point and laugh and leave. I think "kvlt metal fans" KNOW "most indie fans are fickle and will move on eventually to something else." And I think that's the cause of a lot of psychic damage and defensiveness.
I'd have to go back to it myself to pick out details -- and maybe in doing so I'd like it less than I did last year -- but I've always found it to be a very catchy, great-sounding rock record. I understand why PJ fanatics react negatively to it, though, and I think it helps that I'm not a PJ fanatic, just a guy who's followed their career since day 1.
You're eliding the principle issue: This is not a "problem," per se -- it's probably not a problem AT ALL, and certainly not one that merits increased security measures.
NO VENUE has banned the use of camera phones at rock/pop concerts. Certain rock/pop bands have requested that audiences not use camera phones at concerts. Are you suggesting these venues employ beefed-up security details for those bands who make such requests? Are you suggesting these venues empower their existing security staffs to bust heads when those bands play? Neither will happen. And neither is necessary! My guess is, when Savages made their request to fans, fans complied. Why exactly do you want security involved?
It's not actually a "problem," though, is it? And your solution for addressing it is unrealistic. Working out such an arrangement is almost definitely beyond the scope of the bands we're discussing here (i.e., Savages, as opposed to Barbara Streisand or something). And frankly this is what makes the entire issue so convoluted and case-specific. Look, in brief:
1. Security is employed (and insured) by the venue, not the performer. The "no-cameraphone" rule is not a venue policy (whereas smoking is prohibited by law, etc.). In theory, I suppose, a venue could adopt a blanket "no-pictures" policy, and work with security on ways to implement such a policy, but think that one through: Most venues are probably pretty hesitant to ask attendees to NOT take pictures -- there's immense and immeasurable value in being mentioned on Instagram 100 or so times a night. ("Look at me I'm at #name_of_theater to see @SheAndHim!" or whatever.) It's more effective than advertising and much, much cheaper.
2. Have you ever worked security at a show? It's a fucking hard gig. Crowds are unpredictable and often amorphous. Alcohol makes people more prone to rash and/or dangerous behavior. Why would any venue ask a small security team to take on an entirely new and very demanding responsibility -- one that requires they wade into thickly packed crowds, single out offenders (in the dark), and warn/remove them? At very least it's a constant distraction and an invitation for complaints, bad Yelp reviews, general dissatisfaction, etc. If something went really wrong and somebody got injured, it could mean lawsuits, investigations, suspensions, etc. There's almost no good that can come of it.
3. The no-moshing thing is a bad comparison because Ian MacKaye CAN stop a show, tell the bullies in the crowd to cool it, and maybe even get a guard into the fray to remove anyone who's getting rough. Jhenny Beth CANNOT stop short in the middle of "She WIll," point into the crowd, and say, "Over there! Guy in the blue T-shirt! Quit taking pics!" Or maybe she could -- once? -- but it would get weird fast. So the guy smiles sheepishly and puts away his phone? And she stopped the show for that? That's literally your best case scenario and it gets worse fast. The signs achieve the same end with much less distraction, no? In fact, the signs are actually probably the BEST way for musicians to discourage fans from taking pictures; bringing in security is probably the worst.
Oh, thanks! Frankly they're probably eager to erase those releases from the official record to some extent because it's simply easier to sell a "debut" to media: Outlets that cover underground music are less likely to pay attention to a new band that already has an unwieldy, lengthy discography. ("Hey check out this hot new band! This is their sixth album!") But it's also (probably) because those releases are closer to demos than traditional LPs, whereas Deep Trip was recorded in a good studio with good personnel for a good label. But I'm just guessing. It may be no more than an unclear word choice on Sacred Bones' part with no greater meaning.
Oh totally. I've seen Mark Kozelek (Sun Kil Moon) a bunch of times; you could hear a pin drop. And he'll mock you mercilessly for pulling out a cell phone.
To be clear, if I were to use Discogs.com for "research," I would've said this is their SEVENTH album. Which is why no one uses Discogs for research. As I wrote about the band last month, Deep Trip "follows a handful of limited-run releases." I called it the debut here because that's essentially the language they're using in their own bio, which reads: "This line-up has released several cassettes on their own label Ascetic House, a small run LP, Void on Jolly Dream and have an upcoming limited edition 7” on Suicide Squeeze Records. Deep Trip is their first proper studio record."
Every public forum has its own etiquette, established over time; consider the difference between applause at a football game and applause at a golfing event. By and large, the setting -- not the performer -- determines that etiquette. A musician's intentions are (perhaps) especially irrelevant, because most musicians visualize an idealized setting that demands the audience participate, engage, but do so reverently. For example, most musicians would intend for you to experience their recorded work uninterrupted, giving each song complete focus and repeated listens. That's rarely how a listener chooses to experience recorded music, though. Does that make the non-ideal listener's behavior crass or disrespectful?
I'm glad you called me out on this. No joke: Five minutes after I left the office yesterday, I realized that "Silence Your Phones" was a play on "Silence Yourself." I felt like a bit of an idiot! But clever reference aside, that language is a little soft; silencing a phone is a pretty specific action, one that has nothing to do with using one's phone as a camera. It politely asks only that the audience be courteous -- the tone is not meant to scold. And I totally disagree on this point: It's not consistent at all with Savages' dour, humorless "manifesto" style. It's just the opposite -- they're actually being a little playful! "Silence Your Phones" is the same command issued in movie theaters prior to the main feature, and it neatly resembles Savages' album title.
The rest of Savages' request, though, seems pretty sincere and straightforward: They believe the audience taking pictures prevents total immersion. I agree! I also believe that being jostled and/or being forced to jostle all night -- because the bar and/or bathroom are nowhere near the stage -- prevents total immersion. I also believe that aggressive dancing prevents total immersion. I also believe that bored passivity prevents total immersion. I'm also not a fan of the encore ritual, oversold venues, insufficient air conditioning, disgusting bathrooms, lines, leg cramps, headliners who don't go on till 11 p.m. or later, really tall people, really drunk people, people who huddle up to smoke pot, people who make out with their significant other all night, people who smell bad, people with backpacks, people who shout shit at the performer (song requests, "I love you!," etc.), people who start fights, people who do a lot of texting/tweeting/note-taking/etc.
All of these things prevent total immersion, for me. Total immersion is pretty difficult to achieve. At least three of the above behaviors/characteristics are more distracting to me than cameras. But I disagree that there's a right or wrong way to experience a show, or even that "the music" is somehow sacrosanct in this context. I imagine the hordes of screaming teenagers prevented total immersion at Beatles concerts. I kinda think getting showered in phlegm at a Sex Pistols gig would've made it hard to appreciate the performance. There were probably a lot of annoying guys on acid at Grateful Dead shows -- and annoying guys on molly at EDM festivals. Ian MacKaye used to stop the show and berate people for moshing at Fugazi gigs. Low fans famously shush the crowd around them. But concerts are an organic experience, and a shared experience. At Beatles shows, screaming teenagers were part of the experience, and at at Low shows, shushers are part of the experience, and they don't necessarily make it better, but they're essential to the milieu.
Savages are a DEVASTATING live act. They left me breathless at SXSW, irrespective of picture-takers (a group that included me, I admit). Why didn't they tell us to "silence" our phones? Probably, I imagine, because they were at SXSW to generate buzz, and social media is the most effective way to achieve this. When every music blogger in the world is at your gig -- and you haven't yet released your first record -- you probably don't want to "silence" the media. This is what bugs me the most: You'll never see a band on the way up or way down telling people to put away their phones -- they WANT YOU to talk about them on Twitter, to share their pictures on Instagram; they even want you to share pictures of you and your friends at their concert! It's only bands in this sweet spot -- where the coverage is a guarantee, or a non-issue -- that these commands are issued. And it elevates a subset of the audience to a position of holy authority or cop. "This is OUR show. You want to take pictures? Do it at YOUR show."
Totally reading and loving this, Carson. Agreed across the board. I recommend starting with Watain's Sworn To The Dark, which I think is their best-sounding record -- just massive -- and contains arguably their best songs, period.
@Aaron: YES.
@Miska: YES.
@Shuffles: YES.
I've listened to this song two dozen times today. At least. Amazing. AMAZING!!! Cannot wait for this record. Cannot wait to listen to it, write about it, and see motherfucking Carcass tour for it. I'm busting, man, I really am.
Full disclosure: I'm a big Kanye fan, and I'd much rather listen to Kanye than the Beach Boys. But it's troll-y as fuck to do that in a list like this. It's also kind of disrespectful to hip-hop. When I was writing this post, I wrote the following sentence without actually looking at the list:
"Naturally any list of the 100 Greatest Albums Ever is going to have one of maybe three possible Beatles albums in the top spot ... also to be expected in the top 10 are Pet Sounds and Nevermind and London Calling and Thriller ..."
But when I first wrote that sentence, I had Nation Of Millions in there, not London Calling. Again, without actually looking at EW's list. And then I checked the actual list and saw Nation Of Millions at fucking SIXTY EIGHT. Now think about what that says about how EW views rap music. There's only one rap record in the top 10, and it came out three years ago? Meanwhile the genre's classics are slowly dropping off, while Pet Sounds and Nevermind remain firmly entrenched? I dunno man. This kind of thing deserves a thesis, not a blog comment, but it really struck me in a negative way.
I aim to slay, Broydrick! But I can't take credit for "wheedly-deedlies." That blurb was written by Aaron Lariviere (all the individual blurbs are bylined individually, full name in the first mention, first and last initial in every subsequent mention). Aaron's writing slays me, too. So does Jungle Rot!
I don't mean to troll my own story (or give my story the appearance of an act of trolling), but as a fan, I actually prefer Carcass's Heartwork and At The Gates' Slaughter Of The Soul (which is my favorite metal album ever) to Covenant. But I don't consider Gothenburg "melodic" death metal to be true death metal, and I kind of consider Heartwork to be Gothenburg death metal: it's made by an English band, but largely shaped by the influence of Swedish guitarist Mike Amott, who followed Heartwork by leaving Carcass, forming Arch Enemy, and -- along with At The Gates -- giving birth to the Gothenburg sound.
There are no limitations to speak of. It's just "Song Of The Summer 2013" as you define it, and then when we get something approaching consensus, we'll narrow it down to something manageable (10 - 20 tracks I'm guessing) and do an official poll. Democracy in action!
In a roundabout way, it actually will help artists get more compensation, insofar as it's basically a sales tool: the iTunes Radio endgame isn't to provide a streaming service, but to more effctively market music as product and drive iTunes sales. Listeners will be encouraged and given the opportunity to buy music more immediately than they do at Spotify or Pandora, where the service is primarily trying to sell itself. That's a net positive for the artist, probably, assuming it's an effective sales tool. For the user, though, it's kind of dubious, for a bunch of reasons. Furthermore, iTunes royalties aren't exactly great, and it's not as though iTunes has the artist in mind when trying to sell songs at .99 apiece. But in theory, Artist X stands to make more money via iTunes Radio than he does via Pandora, albeit indirectly.
I was a big fan of both Bad Religion and Pearl Jam in '93, and I'll be the first to say that, "American Jesus" aside, this was a legitimately terrible record. Yet "American Jesus" is one of BR's best songs, maybe their best. (Pretty sure EV sings on that song, too.)
Sometime in September, as far as I know. Century Media sent out super-early advances of both VV and the new Pinkish Black and they're both fantastic; as soon as any music from either is made available I'll post it on Stereogum. Definitely worthy of your excitement.
Nice! I would've had Inter Arma in my honorable mentions but wanted to get in some non-metal stuff too, so I left it off to make some space. It's one of the year's best for sure.
Yeah, I think that's a pretty fair assessment. I have trouble not grading this on a curve, because there was real potential for this album to be a disastrous embarrassment (and I more or less expected as much). It's obviously not that -- at its worst it's adequate: some great stuff from Iommi and Geezer; Ozzy sounds as good as he has on any overly processed post-Diary Ozzy solo album (a group which includes some decent albums); and Wilk is non-intrusive, if non-revelatory. But at its best, all those elements come together and just work for me. And the fact that it works at all makes me think, "Hey this is actually pretty good!" But it plainly can't be compared to any classic Ozzy/Dio Sab albums, or classic Ozzy solo albums; it would be like comparing a particularly spry retired ballplayer on Old Timers Day to Reggie Jackson in his prime. IMO the ceiling for this was, "This is better than I thought it would be!" And it absolutely hits that ceiling for me.
I'm a big Altar Of Plagues fan -- I wrote a huge piece on Mammal for my old newspaper and I had a Teethed Glory track at No. 1 on the 2nd installment of the Black Market back in March -- but I've had trouble connecting with the new album. I actually think they're doing something quite similar to what Flourishing did (more successfully) on their last album. That said, I think Flourishing are one of the most original and undefinable groups in metal today, and I don't disagree with your assessment of AoP's groundbreaking approach. I just don't think Teethed Glory delivers an experience on par with Sunbather -- it's an album I appreciate more than I love or get lost in (whereas Mammal completely transported me). I'm open to rediscovering it, and I'll give it more time, but I'll also take your bet (though even if I were to win, I'd never ask you to relinquish your life or gig at Cvlt Nation, nor would I put my own such assets on the line. Maybe a beer?).
Carson, this is the best. One note on ASG -- FWIW "Blood Drive" might be my least favorite song on Blood Drive the album, but it's the only one I could embed here (and it's still really good). That album is excellent and if there's any justice, it's going to get a lot of attention the way Baroness got a lot of attention last year. (There is no justice, of course.) P4K was streaming the whole thing but I can't find it now. Seek it out, though, for sure.
Love u Raptor Jesus. Thanks for the kind words. So happy to hear that my enthusiasm convinced you to spend some time with that record. Does my heart good.
I want to jump in this convo but I'm so busy over here. Thanks for all the kind words, and thanks for caring about this stuff.
I just hit publish on the May edition of our metal column, the Black Market, in which we talk about a lot more metal-related stuff than just Deafheaven (who are still prominently discussed!):
http://www.stereogum.com/1368151/the-black-market-the-month-in-metal-may-2013/list/
Thanks again. More soon.
Thanks, Carson. I just saw Cobalt's first-ever live show at MDF. It was a moving, overwhelming experience. (I actually wrote up their entry in the MDF program; if I can scare up a PDF I'll share it here for you to read, it's got some good intel.) Phil's back from Iraq for a hot second so they are doing a micro-tour. I'm going to see them again this Friday at St. Vitus. Probably my favorite USBM band. Gin is a massive album, as is the one that precedes it, Eater Of Birds.
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