First up - credits where credit is due. This is published without permission of the author, whom I believe is Adam Kadmon of Davthvs Appendix. If anyone desires this removed, it shall be done. I wish to share it though, since it sums up a lot of things more concisely than I would ever be capable of.
Second, I believe the author's native tongue would not be english, and a few subtleties of language should in no way detract from the message.
Third, anyone who thinks this text is elitist, or is just dropping in to post a headbang smiley should waste their time elsewhere. I've posted this here to stimulate a bit of interesting discussion on an uncommon topic.
There's quite a few other passages of interest I may type out later, but the main point is contained below.
Onwards...
Listening to the doomy end parts of "Sudden Combustion" on the Corpse Molestation demo '92, I get to think this is old material - not ten or a dozen years, but thousands of years - it is the primordial breath of Tiamat's demons. You just don't get vibrations like this from Diabolic or Nile - true Death Metal is alchemy, for from this filth and obscurity, these only partially controlled invocations, one can see Babylon.
Through the years this alchemy has been disturbed by the gradual "refinement" of death metal: the old bands sought to develop in some sense, but by trying to vary their formulas, they soon, one after another, infallably lost it - for this musick is a very precise science, where your calculations and laboratory experiments have to be just right - the chance for you to succeed is very small, the chance to fail are everywhere. And the more consciously you put an effort to reach it, the more certainly you fail, because the glare of Pazuzu is not recognised by the eye of rationality. But the opposite.
The never before heard, unbelievable experiments of subconscious brutality as expressed by the likes of demo-era Morbid Angel, Incubus and Necrovore had already started to fade behind by the time of the early 90's when the last pieces were flushed ashore - this also marking the change of tide, the death metal movement having exploded exponentially, it inspired thousands of clueless. And each following generation was exposed to a larger amount of death/black metal - with an ever diminishing percentage of the vital genes.
So with time, the bestial, only barely controlled chaos had developed/civilized/degenerated into a hairless creature fully aware of its own actions. Or rather: the primal, subconscious streams were now replaced by 'intellect' and 'consciousness' and even when the youthful hunger may have been there, it was melted together with influences from third generation radio-friendly mediocrity.
Mutilated from France, who were rather well known not long ago (but far from the fame they should have deserved already in the late 80's!) will serve as an example of what bestiality I;m speaking about. I never got to hear them back then which proves that my recent obsession with their demos has nothing to do with personal nostalgia (which is nothing wrong in itself) - in short, their demos still to this day possess the frenzy of the time before Death Metal had been dragged out into the light and meticulously explored, losing its aura of mystery. Still, the core was never found. The essence is not trapped.
While fine-tuning their sound and adjusting their triggers, people seemed to forget it was the filth, the obscurity, the stench of the grave that WAS the Death itself. One has to recognise the Death Metal from the death metal. It is very easy. To start with, the latter will already be crying about the unclean sound of the former.
For a more common example, Jocelyn Pook's "Masked Ball" in the film "Eyes Wide Shut" has vibrations of ancient horrors, almost magnetic in its ambience. It is the call. It is a call from the Outside, into this clean, safe, modern world - the unintelligible murmurs of "Masked Ball" don't fit into the rational mind of th emodern man. He shuns it. Or he may choose to cherish these calls... as one does through true Death Metal.
I said Babylon, but the early Sumer with its less manlike gods is more relevant - these old gods have this magnetism, being so old they seem timeless. It's like the Great Old Ones whose tentacles threaten to slither in from th eback doors of the subconscious, inciting fear all the same as reminding about one's primordial origin, before arrival of the white light gods and their unnatural temples of rationality... for in the end it is these strange, awe-filled worlds of darkness that is our home.
Few arts have plunged so deep into the bestial, and the subconscious, as this musick I am speaking about, so appropriately called Death Metal. Here, but only if it is genuine (all else is mistake), you can recognise the unblinking glare of Pazuzu. The face of Satan.
Second, I believe the author's native tongue would not be english, and a few subtleties of language should in no way detract from the message.
Third, anyone who thinks this text is elitist, or is just dropping in to post a headbang smiley should waste their time elsewhere. I've posted this here to stimulate a bit of interesting discussion on an uncommon topic.
There's quite a few other passages of interest I may type out later, but the main point is contained below.
Onwards...
Listening to the doomy end parts of "Sudden Combustion" on the Corpse Molestation demo '92, I get to think this is old material - not ten or a dozen years, but thousands of years - it is the primordial breath of Tiamat's demons. You just don't get vibrations like this from Diabolic or Nile - true Death Metal is alchemy, for from this filth and obscurity, these only partially controlled invocations, one can see Babylon.
Through the years this alchemy has been disturbed by the gradual "refinement" of death metal: the old bands sought to develop in some sense, but by trying to vary their formulas, they soon, one after another, infallably lost it - for this musick is a very precise science, where your calculations and laboratory experiments have to be just right - the chance for you to succeed is very small, the chance to fail are everywhere. And the more consciously you put an effort to reach it, the more certainly you fail, because the glare of Pazuzu is not recognised by the eye of rationality. But the opposite.
The never before heard, unbelievable experiments of subconscious brutality as expressed by the likes of demo-era Morbid Angel, Incubus and Necrovore had already started to fade behind by the time of the early 90's when the last pieces were flushed ashore - this also marking the change of tide, the death metal movement having exploded exponentially, it inspired thousands of clueless. And each following generation was exposed to a larger amount of death/black metal - with an ever diminishing percentage of the vital genes.
So with time, the bestial, only barely controlled chaos had developed/civilized/degenerated into a hairless creature fully aware of its own actions. Or rather: the primal, subconscious streams were now replaced by 'intellect' and 'consciousness' and even when the youthful hunger may have been there, it was melted together with influences from third generation radio-friendly mediocrity.
Mutilated from France, who were rather well known not long ago (but far from the fame they should have deserved already in the late 80's!) will serve as an example of what bestiality I;m speaking about. I never got to hear them back then which proves that my recent obsession with their demos has nothing to do with personal nostalgia (which is nothing wrong in itself) - in short, their demos still to this day possess the frenzy of the time before Death Metal had been dragged out into the light and meticulously explored, losing its aura of mystery. Still, the core was never found. The essence is not trapped.
While fine-tuning their sound and adjusting their triggers, people seemed to forget it was the filth, the obscurity, the stench of the grave that WAS the Death itself. One has to recognise the Death Metal from the death metal. It is very easy. To start with, the latter will already be crying about the unclean sound of the former.
For a more common example, Jocelyn Pook's "Masked Ball" in the film "Eyes Wide Shut" has vibrations of ancient horrors, almost magnetic in its ambience. It is the call. It is a call from the Outside, into this clean, safe, modern world - the unintelligible murmurs of "Masked Ball" don't fit into the rational mind of th emodern man. He shuns it. Or he may choose to cherish these calls... as one does through true Death Metal.
I said Babylon, but the early Sumer with its less manlike gods is more relevant - these old gods have this magnetism, being so old they seem timeless. It's like the Great Old Ones whose tentacles threaten to slither in from th eback doors of the subconscious, inciting fear all the same as reminding about one's primordial origin, before arrival of the white light gods and their unnatural temples of rationality... for in the end it is these strange, awe-filled worlds of darkness that is our home.
Few arts have plunged so deep into the bestial, and the subconscious, as this musick I am speaking about, so appropriately called Death Metal. Here, but only if it is genuine (all else is mistake), you can recognise the unblinking glare of Pazuzu. The face of Satan.
*Runs to the nearest ebay.com*
