Saturday, June 14, 2018
Lovecraft distilled the gothic elements from gothic romance and discarded the rest of it. Just like he took all the bleakest and most horrifying elements of supernatural literature and isolated those core images and filtered it through his misanthropic anti natalist nihilism known as cosmicism.
Lovecraft's work had almost no characterization. Let alone anything remotely human for readers to relate to. It transgressed all that and spitefully refused to pander to simple minded readers who needed a linear narrative and character development to sugarcoat the horror of his work. In his refusal to pander to accepted standards of what proper writing is supposed
to be his work was all the more powerful and disturbing as a result.
Lovecraft's imagery was also at times vague and subjective. Prompting the readers to fill in the blanks with images from their own psyche. As a result, Lovecraft was able to coerce readers through understated details to imagine personalized visions of hellish nightmares from their own minds and this as a result made Lovecraft's work more powerful then overly descriptive formulaic writers who gave readers clean precise descriptions.
Like Lovecraft removed the romance from Gothic Romance, a lot of extreme metal took all the pop and rock elements out of thrash and heavy metal and even stripped out most of the blues influences. Leaving by a cold monstrous sound of pure evil. This was taken to an even further extreme by power electronics and noise artists carrying on what true industrial stood for before it became associated with raver trash dance music and false mall metal with keyboards. In what is in effect the auditory equivalent of Lovecraft's prose.
As a result weak minded sheeple can't handle it. They try to disarm their revulsion and claim to appreciate some metal, but they cant handle true metal, metal refined and distilled down to its brutal core of pure evil. Remorselessly and unrelentingly dissociated from anything remotely relatable to the common mass of mankind. Something the common cattle can't even decipher.
They will claim that its too loud, too distorted, the lyrics are just screaming, or cry about the unintelligible lyrics that they simply can't understand.
Its interesting cattle accustomed to pop music will typically say similar things about jazz. You play jazz for a lot of sheep they will complain about the lack of vocals and the timings they cant follow. But these aren't valid criticisms .
Its like an illiterate crackhead giving a book a bad review because the words were too advanced for his reading level.
Or a child criticizing a gourmet dinner because there's no sugar in it and he just wants to eat candy... Or a toothless senile old man complaining about food being too hard to chew.
Their suggestions to make the music they disapprove of more acceptable to their palette are all centered around debasing down to the level they can understand. Making things safe for everyone. Weakening it and sugarcoating it for civilians. This is the tyranny of the masses in action and the type of forced equality that destroys individualism like what Vonnegut was satirizing in Welcome To The Monkeyhouse.
They'rer also completely blind and ignorant of the passion and the energy behind the music. John Shirley wrote a great description of live Punk Rock in his cult cyberpunk science fiction classic 'City Come-A-walking'. He said the fact that the lyrics were indecipherable and unintelligible didn't matter because the sheer passion and energy behind the performance overcompensated for all of that.
But they don't get that. They're actually, in a lot of cases, frightened of music with actual emotion and feeling behind it. Buying releases from shock acts whose extreme lyrics are actually just a misunderstood metaphor for something acceptable and politically correct. Prefering dead clean sterile remastered studio versions of radio hits over live bootleg deep cuts where the band is actually taking their mask off.
You listen to the live Joy Division material, is raw,violent, and distorted. Ian Curtis' voice cracks and becomes frantic. The fluctuations in volume heighten the delivery. It's the sound of Curtis bearing his soul to the crowd and letting his emotions bleed through the microphone. In the last years of his life before he committed suicide. The Martin Hannet production material is cold and definitive but it also tones down and censors a lot of what Curtis was trying to convey.
On albums Black Sabbath's heaviness dosn't reach the level of modern acts like Electric Wizard. Sabbath's Live at Asbury Park New Jersey bootleg from the seventies is as essential as Paranoid. It's Sabbath live in the flesh with all the proto metal doom conveyed in a more heavy context due to the mafia produced board mix that isn't cleaned up and post processed by major label hired gun studio exec engineers for proper radio airplay.
--end of part 3--
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I'm Mykel Board, and I post for Kyle because no one else will. If you're interested in my own ideas, you can read me at: mykelsblog.blogspot.com
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