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[Αντιστοίχηση Μαθημάτων ΝΠΣ με ΠΠΣ]

Επίσημη ενημέρωση για Αντιστοίχηση Μαθημάτων ΝΠΣ με ΠΠΣ και η συζήτηση στο forum.

[AstralWind]

Ρε γελοιε μη σπαμαρεις κομματια απο το ιδιο αλμπουμ. Μετα εγω σπαω μπαλες.

Glam Christian metal λεμε και κλαιμε.
<a href="https://www.youtube.com/watch?v=AvdAh_rmckY" target="_blank">http://www.youtube.com/watch?v=AvdAh_rmckY</a>

Στηριζουμε λωριδες.

[lady_of_winter]

πσσττ astralwind ασε τα πιστολακια και τις λακ..και ακου λιγο καθαρο και ανοθευτο ατσαλι
<a href="https://www.youtube.com/watch?v=ZtDGw5VeP2E" target="_blank">http://www.youtube.com/watch?v=ZtDGw5VeP2E</a>

[g]

Dark Quarterer
 
<a href="https://www.youtube.com/watch?v=AZZ3TG9QhaA" target="_blank">http://www.youtube.com/watch?v=AZZ3TG9QhaA</a>

Dark Quarter are mighty. In their own special dimension they are probably the most important Heavy Metal band there is. Fact is though that this dimension is not well populated, as they're relatively unknown. That is wrong and unfair and therefore this article is fair and just. I don't often try to sell bands to readers on Poetry of Subculture but this'll be as close as I'll get because Dark Quarterer are still active (unlike most other bands covered here) and most importantly are putting out wonderful music that's very much worth the attention.

This Italian band reputedly came together circa 1974 but they waited for more than a decade before they put out this, their debut album. Though I can only theorize as to why such a delay was necessary, my theories are to do with the basic troubles of say, procuring a multitrack sound board in Italy in the late seventies to record your Heavy Metal record. In 2011, and especially for say, a reader from the US, those sorts of problems might be considered positively banal but hey, Italy's right next to Greece and it still isn't the easiest or cheapest thing to get together the resources to record a debut here, so I can sort of understand it. There's good in the bad, however, because Dark Quarterer probably benefitted from spending ten years in the proverbial woodshed. Their sound is a parallel evolution from the rest of 80's Heavy Metal. I'm getting the feeling that they started out as a progressive rock (or pomp rock) act and got into Heavy Metal exactly as it was emerging in the early eighties. There's a curious meeting of influences here, half Manowar, half Genesis. Not to scare anybody off though, this isn't to say that the record is confused. I'd say, from an aesthetic point of view that Heavy Metal (that is to say, Manowar) "won" in this mixture. This debut is resolutely concerned with the high spirit, the illogical romance, the almost magical potency of sound that can be captured only through low cultural trends that nobody important really pays attention to. The many parallels between progressive rock and metal aside, it's certain that bands like Genesis and Yes were aimed for public scrutiny from their conceptual beginning (progressive rock doesn't work in cryptic light) whereas Dark Quarterer were so obscure that even when this record first came out it sounded like a curious relic. 20 years later we'd have trouble to imagine a record with such an unrefined sound at all, it's an almost impossible mixture of peaked treble, dueling bass and guitar, reverb-heavy vocals, clearly recorded live without many overdubs, mistakes included and all. It somehow works, though this is a sound that makes the listener work for it. Modern mastering practices dictate that everything must be clear and fried, bass kicks go there, distorted wall of guitars goes here in the front, there is no bass guitar. That is the current sound of metal and against this calculated and safe extremity Dark Quarterer sound as aged as they are. No, not even aged, this record's probably confounding for people that expect a mix to make any sort of sense. It's a fossil. Like a vestigial organ of an older permutation, it survives as information. Like a wing on an animal that chose to crawl on the ground for the easier nourishment of worms ( ), it withers with every generation, atrophying to nothingness in disuse, all but for a memory of where once its blood had traveled. But wings exist to take to the air and so even 20 years later, the promise of Dark Quarterer pulsates with raw life. It takes work, but there's magic here.

Concentration is key. Dark Quarterer hold within their sound the performing quality, the easy fingers of a progressive rock band from the 70s. They do not play in the stiff, monophonic manner that was in vogue in Heavy Metal the year this record came out. Instead they flirt with after-the-beat accents, syncopated rhythms, chromatic enrichment of their phrases. These things come naturally, they flow through their songs as if to say "This is the only way to compose and perform Heavy Metal". Dark Quarterer, in a curious way, then, hold in their ranks highly prized Heavy Metal virtuosos: far from the stereotype of limp-wristed egocentric shredders wanking away in the limelight. Instead, capable performers that translate their personal desire through the focus of group concert. Nobody is overplaying on their own, they overplay all together, all the time. Most bands of that era would wait for a solo section to attempt a humble counterpoint between main melody and their embellishment. Dark Quarterer, with a gusto that makes it seem more easy than it is, navigate through parallel melodies, key changes and bright variation of their main phrases that would be the envy of various self-declared serious composers. They're just a power trio, and all this is achieved with sweat running down foreheads, with a manic urgency that signals a personal end, with a passion that can only manifest when someone is for real.

Every moment of this record is epic in the sense of the word that predates the conception of "epic metal". I am talking about goosebumps and emotional elevation. Pathos overflows. Their dazzling singer, Gianni Nepi, whose high-pitched scream one would expect to dominate, is in conversation with every solo, every drum fill. This band sings in concert and when one is finally used to their song and their antiquated sound and their quirks, it is moving. Their antiquity becomes a return to the sky, their oddness becomes their idiosyncrasy and you love them for it. You are in their universe and you are listening to the greatest Heavy Metal band there ever was. I guess this is what happens when a talented band takes ten years to record their debut?

In records of this caliber there usually isn't any filler. The opener, "Red Hot Gloves" destroys barriers and its monstrous brother, "Colossus of Argil" sets siege but it is "Gates of Hell", the third track, that conquers me, finally. Follow the music along with the words:

I have decided
To live as a rebel
Without showing
Never my face smiling

Without giving my help
To live as the worst man
And slandering all my friends
Hating who is loving me

Don't try to change me
I don't believe it may be
Let the evil be my food

I have decided
I don't ask your pardon
And every time I take my revenge
For all the good around me

And I shall dress myself
In red and black
As Blood and Death
Before the last breath
Gates of hell will open

And I shall fly
Into the deeper place
To usurp Lucifer's Throne

These words in the hands of a simple Heavy Metal band would be adorned with the arrogance of those that have lived nothing. Not to say that anyone in the band has had the experience of sitting on the throne of the underworld, but here's the thing: when Dark Quarterer were singing this on their debut, they were old men already. This isn't a lyric from a teenager that somehow made it to the debut a couple of years later. They mean this shit. Where the premise of this song by a young Manowar would be performed with a lofty, aristrocratic morbidity, here instead Dark Quarterer present it with a Doric stoicism. Heavy Metal is about skeletons and demons, blood and violence, right? Dark Quarterer rise above the popular status of their genre. The funeral drum beat emerges from the sound of the beating heart and signals a melancholic pride about ones damnation that even the damned mourn but willfully carry. This has been the choice and let it be remembered forever that it was a horrid one, cursed and lonesome. The solo after the chorus seals with its fervor the passion and honesty of this admittance. This song has been for me one of the greatest of the genre and it has opened my eyes, when I heard it years ago, as to the potential of Heavy Metal. I've returned to this song again and again, no less impressed and no less affected. How high a somewhat clumsy lyric can be elevated through passion and performance and emotion. As I fantastically pursued the path of this damned protagonist and at the same time, felt repulsed by the shards of dark matter that surround its chaos core: lord of light, usurper of Lucifer's throne - I wondered how that life would be.

This song, with its kind way, shaped me. It shaped me in a way that peers, school and family rarely managed. It urged me to confront the worst aspects of my character and realize that choice is much less the issue than it is to bring to the light the dark glamours that influence every one of them. It's not a song about what is right and wrong, it is a song about desire and tragedy. Fantasy, at least, should be free to travel all trajectories of choice, it shouldn't be ridiculous to wonder how that life could be. There's a lesson in everything deemed ridiculous and unworthy of attention by modernity.

That is the power of Heavy Metal for those that love it: It tears away the many layers of identity and found labels and all the other bullshit we citizens flatter ourselves with and it takes us back to when we were children and our spectral wings had not yet atrophied. It makes us face the limits and the desires we have yet to conquer. The promise in Dark Quarterer - and every great Heavy Metal band has in its premise a promise - is that it will hold inside it that memory, even 20 years later when we are old men. It will never lie to you or let you forget. That the song ends as it starts - with the sound of heartbeat - tells us so. We should remember that we are still alive and we should be glad for all the good things around us, yet as the long shadows of aspersion are cast and contours of a madness take shape, concentration is the key, the awareness that every story we imagine can be for a time, ring true. The lessons found in fantasy.


http://poetry-of-subculture.blogspot.gr/2011/08/dark-quarterer.html


να τον διαβάζετε παιδιά αυτόν τον ΔΑΣΚΑΛΟ .

[AstralWind]

Ωραιος ο g ομολογω οτι δε το χα ακουσει ποτε ολοκληρο το αλμπουμ. Θα γινει συντομα:
Και το μπλογκ πολυ καλο φαινεται οσο ειδα.

πσσττ astralwind ασε τα πιστολακια και τις λακ..και ακου λιγο καθαρο και ανοθευτο ατσαλι

Οταν λεμε καθαρο και ανοθευτο ατσαλι εννοουμε αυτο;
<a href="https://www.youtube.com/watch?v=jHWpnx7pHhQ" target="_blank">http://www.youtube.com/watch?v=jHWpnx7pHhQ</a>
Μην το ακουσετε καν..

Τεσπα ντροπη να μην εχουμε ανεβασει ακομα ΤΗ μπαντα:
<a href="https://www.youtube.com/watch?v=k0yHSdJKDnw" target="_blank">http://www.youtube.com/watch?v=k0yHSdJKDnw</a>

[lady_of_winter]

Γρκουπαρα οι Dark Quarter

Οταν λεμε καθαρο και ανοθευτο ατσαλι εννοουμε αυτο;
<a href="https://www.youtube.com/watch?v=jHWpnx7pHhQ" target="_blank">http://www.youtube.com/watch?v=jHWpnx7pHhQ</a>
Μην το ακουσετε καν..

Astralwind μην τολμησεις και ξαναπιασεις στο στομα σου τους Stormwitch 

<a href="https://www.youtube.com/watch?v=7hytBqqE3Io" target="_blank">http://www.youtube.com/watch?v=7hytBqqE3Io</a>

[AstralWind]

Δε θα τους ξαναπιασω γιατι δεν εχω λογο.
Ravensire στηριζουμε παντως και θα τους ακουσουμε και μαρτιο. (αν παμε νωρις και δεν αργησουμε παλι.)

Εχει η Αφρικη μεταλ;
Εχει και σπερνει κιολας:
<a href="https://www.youtube.com/watch?v=qeCiNC1pkvc" target="_blank">http://www.youtube.com/watch?v=qeCiNC1pkvc</a>

[Xbaremenos]

Ωραίος G! Τον έλιωσα το δίσκο αυτές τις μέρες, φοβερός ...

<a href="https://www.youtube.com/watch?v=TCV3SD7LwS0" target="_blank">http://www.youtube.com/watch?v=TCV3SD7LwS0</a>

[Xbaremenos]

 

<a href="https://www.youtube.com/watch?v=vd23NXZMHdA" target="_blank">http://www.youtube.com/watch?v=vd23NXZMHdA</a>

[Xbaremenos]

Δε πειράζει που δε γράφει κανείς, θα το χτίσω μόνος μου το θρεντ 

Πάμε για λίγο Γαλλικό :

<a href="https://www.youtube.com/watch?v=oaENKUBwtX8" target="_blank">http://www.youtube.com/watch?v=oaENKUBwtX8</a>


Υ.Γ : Όλο το Sortilège (EP) τα σπάει, αλλά είπα να μη το ποστάρω ολόκληρο

[AstralWind]

Απο sortilege αξιζει ολο μα ΟΛΟ ομως το metamorphosis. (Προτιμαω την αγγλικη εκδοση )
Οχι οτι αυτο που ανεβασε ο βαρεμενος δε γαμει αλλα αυτο ειναι ενα επιπεδο πιο πανω.

Και μιας που πηγαμε Γαλλια μερια.
Επος

<a href="https://www.youtube.com/watch?v=X8eTbkJNE1c" target="_blank">http://www.youtube.com/watch?v=X8eTbkJNE1c</a>

Η μπαντα εχει μονο ενα demo του 1986 με τρια κομματια. Αυτο ξεχωριζει. Με καλυτερη παραγωγη θα ρεζιλευε πολυ κοσμο

[g]

What's Heavy Metal still around for?

Retro-thrash, True Death Metal,  NWOBHM worship, so much god-darned black metal. For every record that you ever loved, that ever sounded vital and important to you there are now 20 clone bands that will play the same thing, dress it up in the same way and perform and produce it better. To match your expectations, no, to match your inflated recollection of how it sounded at the time. Yet, curiously empty a feeling when the music is actually played.

I finally get it. The reason these bands exist is not to cynically make money or to be famous or to get respect by their peers or anything like that (well, not primarily, at least). The reason these bands exist is because they're trying to protect metal music. They're trying to protect a tender part inside of them that resonates to it. A youthful, teen-aged part of themselves. From Watain to Municipal Waste, there's no more perfect way to explain why they're here. It's not to overcome the past or to take a tangential path outside of it for its own sake. They're here to protect a memory.

The access point of memory is in performance. To be more exact, if memory is an internal process - the reminiscing or recollecting of something - the externalization of the forces that are triggered by that memory must be a gesture, a movement, a symbolic action, in order to awaken a similar memory in others. Heavy Metal people lack the tools to make this performance radical and it is only due to their youth and the cultural zeitgeist that they ever did anything radical back in the '80s and '90s. This is clear, aside from the experience with the thing-in-itself, also from countless interviews where famed metal musicians exhibit a startling intellectual and spiritual vacuousness. Were these people really the ones making these amazing records? No. It was the time and place conspiring just as much as any one person's talent that made these records.

Ingrained in the tradition of Heavy Metal as we understand it now are none of the political or philosophical tools required to overcome the power of history itself, as nobody put them in there. The era is passed and without it the necessary analytical tools to re-contextualize the inherent pathos and rebellion of Heavy Metal are gone. Heavy Metal is now ingrained in culture as something eternal. Isn't that what we always wanted? Well... eternity's getting pretty old, you know? Olddd. It has a lawn and a mortgage.

It's a bitter thing that progressive metal, the closest we ever got to iconoclasm, is now normalized as just one more evolutionary path in the great benevolent tree of Heavy Metal where all genres like each other and the savvy metalhead picks their favorite fruit from any equal branch.

So, a performance to protect something tender inside the soul of a lonely person. The way to protect is by shielding the perimeter. Take a music that is inherently contradictory, sometimes ambiguous, vague, sometimes outright nonsensical and surgically remove all these aspects to its form and content, leave only the strong, the firm, the muscular tone, the terror of its texture. I dare you: nearly every record you love from the classic Heavy Metal pantheon has something to it that you would get embarrassed about. Tinny production. Off-key vocals. Bad drumming. Nasty solos. Idiotic cover. Questionable lyrics. Awful outfits.

New Heavy Metal music has been made robust, it has been made something to be proud of only in retrospect, only via retconning. The masculine performance that we desired our teenage years to have been, now magically is here. We can pretend that's how it always was. It's Kenn Nardi overcompressing the hell out of a weird record that was of a place and time. Of course that's how it always was, otherwise we must have been confused teenagers lost in ourselves, clutching at something, anything in the darkness sharp enough to carve a hole in our chest.

Romance is a black stone. It sits at the bottom of the mirror pool. A lying reflection of the moon that many a beautiful (and some not so much) youth followed to their drowned end. Strike the stone and blood will pour out, a river of blood that streams forever. That red mistress demands one thing of youth: "Destroy yourself, so that you may live forever".


Tall order! We can't do that! We hear the call. We're not 30, 40, 50 years old. We remember the call. But we can't do that. So we will hide this wound that will not close, we will build walls just as endless, dams infinitely big to hold the blood within. Nobody will get to our hearts if these walls are just perfect.

So, here's to occult black metal. Here's  to Incantation-clones up the wazoo. Here's to a million thrash bands playing the Exodus riff. Here's to more tenor power metal that any stomach could stomach. Here's to a million doom bands playing the same morose pentatonic riff. No weirdness. No nonsense. No ambiguity. No answer to the unanswerable question. No hubris. No exit. No point.

Modern Heavy Metal is here to make us feel better.




Tyson GoughDecember 16, 2013 at 10:43 AM

In my mind, one question remains unanswered. Why are the teenagers of today starting neo-thrash, black metal, and old school death metal bands? Are they lost and confused or feeding off of a nostalgia for something they've never known? Could 2014 produce a genuine Hellhammer?

Reply
HelmDecember 16, 2013 at 11:31 AM

Because they feel an obligation to their dad, to make him proud. That's the most maddening thing, because nobody made great Heavy Metal by trying to please the great Heavy Metal ghost.

http://poetry-of-subculture.blogspot.gr/2013/12/whats-heavy-metal-still-around-for.html#comment-form

[Xbaremenos]

<a href="https://www.youtube.com/watch?v=PU6H5rTBiTg" target="_blank">http://www.youtube.com/watch?v=PU6H5rTBiTg</a>

[AstralWind]

Και μια που έρχονται κιόλας:

<a href="https://www.youtube.com/watch?v=luFWtHHo35A" target="_blank">http://www.youtube.com/watch?v=luFWtHHo35A</a>

[AstralWind]

Α ναι και αυτοι έρχονται:

<a href="https://www.youtube.com/watch?v=nPMCcc54w3s" target="_blank">http://www.youtube.com/watch?v=nPMCcc54w3s</a>

 

[Γρηγόρης]

Πάρτε ολόκληρο άλμπουμ!

<a href="https://www.youtube.com/watch?v=hMcBOvOuhoY" target="_blank">http://www.youtube.com/watch?v=hMcBOvOuhoY</a>

ΥΓ: γιατί δεν μου εμφανίζει τα βίντεο στο φόρουμ ρε παιδιά;