@JohnnyDessu I've been a black metal fan and musician since before I was legally allowed into the gigs I was attending, and I'm at the point where I know we can do better as a subculture and I am going to be annoying about it. :D
I am more than happy to answer any questions and provide recommendations in that spirit.
Sure. As I mentioned, most of their albums are explicitly "anti-religious" (note that Metatron identifies with pagan subculture but idk his personal beliefs), anti-Christian BM that narrates the dangers of extremism, and while they are overtly anti-racist and anti-fascist, I personally feel that they don't know the meaning of punching down. They fuck with islamophobic imagery, and have had guest vocals by Hoest from Taake.
Former bassist Richard Weeks (yeah, the Gaylord person) called out vocalist Metatron over islamophobia upon leaving, and while they (Richard is nonbinary) have their own issues and I don't really want to enter the orbit of the obvious underlying personal drama vortex here, it's another small weight on the scale of criticism.
I don't hold the band's many, many collaborators responsible for Metatron's apparent islamophobia, but when it comes to The Meads of Asphodel and The Wolves of Avalon, personally, I will find other things to listen to until Metatron actually shows some standards about who he associates with and clarifies where he stands if he's going to claim to have egalitarian beliefs.
They're not NSBM or anything, but I'm just tired of unexamined prejudice, and if it feels that I'm holding the self-proclaimed anti-fascist, anti-nazi, anti-racist band to a higher standard than those who don't even bother expressing an opinion about these things...
Well, I probably am, because those positions come with an onus of responsibility.
Black metal fans might be interested to know that guitarist Huw Lloyd Langton and keyboard player Tim Blake are among several Hawkwind members to have collaborated with The Meads of Asphodel.
(Note: The Meads are overtly left-wing, but their 'anti-religious' BM is edgy at best, and I'm not comfortable with people who keep company with Hoest from Taake or any members of Drudkh. I can expand this note for anyone who needs excessive black metal drama in their life.)
A musical setting of a poem by troubled vocalist Robert Calvert, this dystopian affair was originally released in a more muted form on 1977's Quark, Strangeness and Charm, but I vastly prefer the vocal performance on this astonishing live version, here from an anthology re-release, found on the Live 1979 album. It's heavy, intense, bleak, and Tim Blake's electronics are god-tier.
@ezmyrelda noooo, it's an area that fascinates me, but that I missed out on when I was getting into music production in the 90s. Sequencers are very much something I want to learn more about.
@ezmyrelda I have this obsession with 80s and 90s proto-MIDI, General MIDI and extended GM synths, plus some FM synthesisers.
I've also got a Yamaha CX5M, a few different Roland Sound Canvases (no SC-88 yet, but an SC-55 Mk2, and a first gen SCC-1), a Yamaha SW1000XG, various Yamaha CT-1302A based sound cards and keyboards....
Basically if it sounds hypersynthesied and incredibly fake, I'm all over it. :D
This and your next post have touched on something (calls to be as publicly out as possible at any cost) that's been troubling me in the current discourse.
But I've got a fair number of followers so wanted to check before exposing you to them.
Anarcho-Syndicalist wandering monster. Writes stuff. Makes things. Tech writing, software preservation, game dev, weird fiction, some occult references.Follow reqs welcome.Non-binary. Likes bicycles, strength training, anti-fascist black metal, the Ultima CRPG series.Experimental games & Twine abuse at https://mightyowlbear.com/ and https://13-owls.itch.ioSinister game reviews at https://hauntedgames.net/Work alt: @owlbearAvatar by MaxiMJdev~twoot~