Catholics & Catholicism

Question:

is the price high as hell? per holy one?

Response:

yes! 2 cans please!

Response:

Rip the sacred flesh Sodomize the holy asshole Drink the red blood of the mother of earth Masturbation on the dead body of christ The king of Jews is dead and so are the lies Vomit on the host of Heaven Masturbate on the throne of God Break the seals of angels Drink the sweet blood of Christ Taste the flesh of the priest Sodomize holy nuns The king of Jews is a liar The Heavens will burn Dethrone the son of God God is dead Holyness is gone Purity is gone Prayers are burned Covered in black shit Rape the holy ghost Unclean birth of Jesus Christ Heaven will fall Fuck the church Fuck Christ Fuck the Virgin Fuck the gods of Heaven Fuck the name of Jesus

Response:

is that means no?

Response:

ONLY BLASPHEMOUS HORSERADISH IST TRUE

Response:

can i have something for free?

Response:

seriously you got any freebies?

Response:

HORSERADISH?

Response:

[ Feature ] On the Reformation of Metallic Art and Cultural Ideals by Jordan "The question now is ‘Where do we go from here?’ There seems to be no obvious answer, no new movement waiting in the wings to boost the flagging creative fortunes of metal. However, I believe the seeds have been planted for the next revolution in metal, but it will take courage and dedication to for these seeds to bear fruit, for the seeds were planted primarily by Burzum and Graveland, and the fruit they will bear is metal that becomes self-consciously the music of collective identity. But where identity was merely one aspect of the art of Burzum and Graveland, it must be the defining reality of the next movement. We must understand that metal is wholly the product of Indo-European civilization, and embrace that fact. Metal must look once more to the classical tradition, to the example of Wagner and Sibelius, and a new music must be crafted whose central focus is upon shared identity, tradition and mythology. The dead hand of populist moralism with its guilt-laden objections to ‘racism’ must be cast off and the principles of identity, hierarchy and elitism affirmed without shame or compromise. Otherwise, we may very well be witnessing the death of metal." – Mornelithe Falconsbane, Metal, Race, and the Art of Identity I. Dissection The question of how to advance metal’s artistic horizons has become intricately connected to issues of culture and identity, and by extension the ultimate taboo of ethnicity and racism. The most recent and significant metallic movements-death metal and black metal-have sought to craft an _expression of European romanticism in the modern age, deriving central values and ideals from the pre-Judeo-Christian ideologies of Pagan Europe. The modern metalhead finds himself torn between two distinct camps: those who feel that metal must be transformed into a cultural _expression of Eurocentric ideals, and those who contend that the entire concept of ideology, race, and culture are wholly irrelevant to metallic pursuits. From this author’s understanding, the assertion of complete and total

disconnection between metal and European ideals seems wholly invalid; it is obvious that metal has at the very least a superficial link to European culture, as can be seen even in the proto-metal of Led Zeppelin and their flirtations with Norse mythology. Yet the issue is complicated by the fact that, historically speaking, metal is not the product of exclusively Indo-European civilization. Metal has always been something of a bastard child, a synthesis of traditional values and European musical structure with African-American rhythmic sensibilities and rock n’ roll instrumentation. Heavy metal pioneers Black Sabbath emerged out of the electric blues scene that a young Eric Clapton and undeveloped Led Zeppelin fronted in the early seventies. The inherent ties to blues and, by extension, African-American cultural tradition cannot be denied without a hefty amount of unfounded historical revision. That said, the reason that Black Sabbath can be classified as heavy metal and Led Zeppelin cannot is largely due to the efforts of the former to distance itself from the blues-based electric rock of the era. It can be confidently held that metal should be defined primarily by its desire to break away from the cultural miscegenation that gave it birth. Each successive generation has taken greater and greater steps towards advancing metal in the direction of a "new classical music" based entirely upon European experience, values, and compositional tradition. The question becomes: If the goal of metal’s artistic progress appears to be the recreation of traditional western art music, why not simply forget about electric guitars and compose romantic epics for a legitimate symphony orchestra? The answer lies in metal’s deep structure-its fundamental, driving ideological components. Metal is simultaneously a product of the modern age and a rebellion against it. Metal turns to the past in order to gain insight into how culture might be centered less on democratic moralism and rampant monetarism, and more on a heroic, pagan ideal of individual will and the triumph of the strong. Metallic culture however, unlike the ancient world from which it draws its inspiration, is not pre-moral: it is post-moral. As such, a simple and direct revival of old-world values cannot function because such a construct can only lead to further stagnation and a denial of cultural knowledge that we have acquired during the last century. Such is the central metallic paradox. We must march ever forward towards a new artistic future even as we gaze towards the past in an effort to subvert the insanity of modernity by preserving cultural tradition and rejuvenating ancient values. The past must not simply be revived, but reinterpreted. In order to create something of true cultural worth, the values of our ancestors must be combined with the concerns and sensibilities of our modern selves to form a distinct and relevant contemporary synthesis. Ultimately the central focus in metal is not on the literal value sets of the ancient world per se (although this is certainly an important component). The driving element is the yearning itself, the raw experience of the realization that we wish we were born several centuries earlier, living in a different time, surrounded by a different world. Metal is not the articulation of historically accurate cultural revivalism-if this were the case, metal would have been assimilated into neo-folk movements-rather it is the first person narrative of the contemporary romantic, longing to travel to a distant existence where honor, courage, heroism, and naturalist ideals reign supreme. It is from this central concern that metal derives its vehement nihilism, its obsession with trans-valuated darkness and the tragedy of the human condition. This ideal finds _expression in metal’s violently simple instrumentation and abrasive sonic construction, in which grand poetry and epic statements are built out of minimalist elements that speak simultaneously to the profound pain of existence as well as the cosmic beauty inherent in our suffering. These elements are the products of contemporary experience, and it is for this reason that there is worth in developing metal as a distinct and unique art form, drawing on European musical/ideological tradition, but ultimately retaining an identity rooted in the 21st century. And so it seems that columnist M. Falconsbane is entirely correct in his assertion that metal must be recognized as a European art form and advance along suitable cultural paths. Despite the fact that metal has emerged historically from a counterculture centered around blues and rock, the metallic ethos must be carried to its logical conclusion and become the music of a pan-European "collective identity." Metal must truly take the next step in its evolution and purge itself of foreign cultural influence, lest it succumb to a dysgenic deterioration wrought by novelty-oriented hybridization and a prioritization of aesthetic over ideology. II. Reformation This author proposes four compositional reforms that could bring about change coherently, if not swiftly: 1. Eliminate exaggerated emphasis on rhythm as derived from Afro-centric musical influence, including the use of backbeats, rock n’ roll based metronomic time keeping, and incessant polyrhythm; return percussion to the primary role of accentuation that it served in European orchestral composition. Also study the use of rhythm in European folk traditions and incorporate where appropriate. 2. De-emphasize metal’s historical obsession with live performance/technical virtuosity and focus on the creation of carefully controlled artistic products in the form of contemporary recordings. Utilize studio techniques to introduce greater dynamic variation and textural depth into metal’s sonic construction. 3. Approach composition using a conceptual, motivic foundation in the tradition of Wagner, centered around the gradual evolution and development of primary themes and leitmotivs rather than simple AB coda structures and blues derived repetition of riffs and melodic fragments. 4. Compose central conceptual material and librettos from European mythology, archetypal constructs relating to the heroic ideal, and folk narrative. Create original works understanding that a balance between adherence to tradition and contemporary reinterpretation is the only way to advance metal ideologically. Although four separate points are listed for the sake of convenience and clarity, we should really consider these reforms as existing within two overarching conceptual groups: points one and two speak towards a change in metal’s musical aesthetic, whereas points three and four speak towards a change in metal’s conceptual framework and compositional approach. Each of these two groups and their respective components will be taken in turn and discussed in some detail in order to elaborate on the potential implications of these suggested reforms. II A. Musical Aesthetic-Rhythm By eliminating or lessening the metronomic rigidity of metal’s rhythmic foundation and replacing it with more involved and subtle percussive accentuation, an organic aesthetic can be achieved that would be impossible to realize with conventional drumming technique. Fluidity of motion and a greater level of expressive articulation are essential if metal is to truly distance itself from the dance oriented "four-to-the-floor" rhythms of popular music and hark to the romantic lyricism of 19th century symphonic works. Many will no doubt revile at this suggestion on the grounds that metal’s relentless rhythmic drive is one of the genre’s most direct expressions of violence and nihilism. While this concern is certainly legitimate, I would assert that a general sensibility of aggression can be preserved by carefully manipulating other … read more »

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