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The Black Market: The Month In Metal – June 2. At the very beginning of this month, Stereogum ran a Band To Watch feature on the progressive metal band Astronoid. Black Market contributor/editor emeritus Michael Nelson wrote the piece, and did a far better job describing their approach than I ever could: Astronoid’s debut LP, Air, is rooted in climactic major- key post/black metal — think Deafheaven or Woods Of Desolation — filled with blast beats and blazing solos, but where nearly all other bands of that ilk approach singing only in the form of screams, hisses, whispers, and roars, Astronoid deal in clean, textured, multi- layered vocals. They write soaring, aching, gigantic melodies that recall My Bloody Valentine, Mew, Slowdive, and Sigur R. The combination of those attacks — the shredding, thrilling instrumentation and the powerful, beautiful singing — isn’t entirely new, of course. You’ll hear it, to some extent or another, on albums like Ulver’s 1. Bergtatt, and the 2. LP from Amesoeurs, among others. But you’ve never heard it done like this before. Listening to Air, I hear shades of all the aforementioned groups, as well as a host of others: Explosions In The Sky, Envy, Fuck Buttons, Fang Island, the Smashing Pumpkins, Red House Painters, Bends- era Radiohead, Agalloch, Japandroids, even Jimmy Eat World and Andrew W. K. If you’ve not heard Astronoid (which you can do here), you can at least imagine from this description that they are an accessible, populist band by the standards of the extreme metal world. That means they’re guaranteed to piss certain people off. For a variety of reasons, broad swathes of metal’s core fanbase treats bands of Astronoid’s sort — up- and- comers who use aspects of the metal template to make novel hybrid music that appeals to casual fans — as gentrifying interlopers. There’s a lot of armchair psychoanalysis to be done in the name of explaining this tendency, but for now, suffice it to say that Astronoid are gonna get that cold- shoulder treatment too, if they haven’t experienced it already. Personally, I’m not feeling the band’s music. Regardless of craftsmanship, the endlessly swelling joy waves Astronoid aim to evoke aren’t something I really want from a metal band. CP @2011-11-18 10:37:50 : Het gaat niet om constructief de beste oplossing zoeken voor inwoners die wat willen realiseren. Het is op Wieringen nog steeds, of je hebt. While The Walking Dead Season 7 premiere will reveal which of the 11 survivors Negan killed, we make the individual arguments for each character's potential reprieve. At the very beginning of this month, Stereogum ran a Band To Watch feature on the progressive metal band Astronoid. Black Market contributor/editor emeritus Michael. I find myself on the naysaying side of the divide with bands like Astronoid most of the time, but I’m still glad that they’re around. In fact, it seems to me that the very existence of the thriving underground metal world arguably depends on such gentler bands to an extent. That claim sounds excessive in the context of a still- teensy- weensy band like Astronoid, and it’s a tough pill to swallow for a community of people who pride themselves on operating outside of the mainstream. Still, it makes a fair amount of intuitive sense from a historical perspective. To the extent that said hordes have ever materialized, they’ve arrived in the guise of trendy boom- and- bust subgenres — hair metal in the ’8. Astronoid — that have played vital roles in retaining a place for metal in the broader public consciousness. People sneer at these styles, rightly at times, but each has nonetheless introduced new generations of wide- eyed young people to the wonders of guitar distortion, palm muting, and ridiculously stylized vocals. And introducing lots of people to basic elements of metal is a boon to the wackadoo underground shit we typically go hard after in this column, because metal is sufficiently off- putting at first blush that only a fraction of people who hear even the accessible sort will be able to stomach it, and only a fraction of those people will really fall in love with the stuff and follow the rabbit hole all the way down. Metal is basically like hot sauce in this way. You can’t jump straight into eating the exotic specialty- store nuclear ghost pepper shit, because the untempered palate will experience its flavor as a form of incomprehensible self- torture that only the depraved would volunteer for. You gotta start with Tabasco and Cholula and Frank’s Red Hot, and work your way up from there if you wanna figure out that world. For most people, sticking with Tabasco and Cholula and Frank’s Red Hot is fine, because they’re not wired to become hot sauce fanatics. But if you’re the kind of person who can explain the Scoville heat scale from memory and you want customer demand to support a bustling market for nuclear ghost pepper hot sauce, it’s in your interest for more people to try Tabasco. None of this stuff is new, but it bears repeating once in a while. Metal is essentially driven by a subculture of people dedicated to it, and subcultures aren’t self- sustaining — they need to draw in new people to survive. Astronoid are just one amongst many bands who’ve helped this process along, and that’s valuable to me if it helps engender the kind of music that we Black Marketers (that’s Michael, Ian Chainey, Wyatt Marshall, Aaron Lariviere, and me) settled on this month. Unsurprisingly, it gets mighty spicy down there. Hope your palate’s ready. Imperium Dekadenz – “Only Fragments Of Light”Location: Villingen- Schwenningen, Germany. Subgenre: black metal. Readers of the Black Market should feel right at home listening to Imperium Dekadenz — hook- laden, vaguely pagan, atmospheric black metal is comfort food for most of us, and rightly so. It’s easy to listen to, hits hard enough (but not too hard), and it scratches the black metal itch while delivering sweet melodic release. Imperium Dekadenz have a particularly silly band name (a running theme in this genre; see below; e. I won’t waste your time overselling what they do when we both know exactly what this is going to sound like: Writing about their last album back in 2. I said they “specialize in gorgeous, widescreen grandeur — playing epic black metal by way of Disintegration,” and that holds true in 2. What’s insane is that we now live in a world where it’s easy to take this stuff for granted. This year alone we’ve seen stellar records from the likes of Harakiri For The Sky, Forteresse, Uada, Wode, Fuath, Draugnim, and Nadra, which is to say we live in wondrous times. If you like any (or all) of those bands, look no further. Godstopper – “Shoulder”Location: Toronto, Canada. Subgenre: noise rock. Like most things late ’8. And like most things that come back in a big way, noise rock tends to lose something of its original spirit in the revivalist format — most often, the missing piece is appealing and idiosyncratic songcraft. Feedback and skronking aside, the best noise rock acts never forgot that they were, y’know, rock acts, and wrote idiomatic tunes you could remember after the album ended. In contrast to many of their latter- day peers, Toronto’s Godstopper have increasingly chosen to double down on melody over fuzz — funky timings and Melvins- esque trudges serve to support maddeningly earwormy vocal hooks, rather than bullying them out of the way. This approach pays major dividends on “Shoulder,” the first single from the upcoming Who Tries Anymore 1. But the part that’ll really suck you in is the sublime vocal harmonies that frontman Mike Simpson layers over the song like fishnet over a boulder. Numenorean – “Thirst”Location: Calgary, Canada. Subgenre: post- black metal. Calgary’s Numenorean self- categorize as “post- black metal,” a term that is often used interchangeably with “atmospheric black metal” — but to me, the Canadian five- piece belong more to the atavistic subgenre called “depressive suicidal black metal.” These days, you don’t see many bands claiming the DSBM tag — probably because they’ve mostly realized that it’s hard enough to get people to listen to tsunami- sized, tremelo- picked scream/blast epics that last longer than your standard student film even without advertising the fact that the music evokes/inspires “depressive/suicidal” feelings. The irony is, depressive suicidal black metal often sounds anything but. The subgenre deals in sweeping, pulse- raising, triumphant- sounding anthems. Numenorean are a young band; their forthcoming LP, Home, is their debut, and it’s preceded only by a two- song demo released in 2. Yet they do this stuff with rare confidence and craftsmanship; their songs shift terrains with fluidity, power, and grace, moving with furious speed to gorgeous melodic climaxes that somehow feel both unexpected as a car crash and inevitable as a sunrise. These tricks aren’t easy to pull off, but nobody listens to this kind of music for degree of difficulty; they listen because it’s stirring, evocative, exciting. They listen because it hits a nerve or a sweet spot or a deeply buried, deeply personal truth. And Numenorean hit hard. Revocation – “Monolithic Ignorance”Location: Boston, MASubgenre: technical death/thrash metal. Revocation are essentially survivors of a mass extinction. When they first appeared in 2. Cryptic Warning, the style they play — sleek, technical death/thrash metal with a gleaming modern presentation — was at the apex of its popularity. The future looked like an unbroken stretch of harmonized twin- guitar leads and quantized kick drums. It was not to last, of course. By the end of the last decade, death metal had experienced a backlash against all the processed speed and melody, and had largely retreated into more primitive territory. But some acts that got their footholds during those years have thrived in the period since, thanks to a combination of hard work in the studio and even harder touring. Great Is Our Sin is Revocation’s sixth album in an eight- year span, during which they’ve also pursued an exhausting package- tour schedule over much of the globe. 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When it reopens at the Film Forum in New York Friday, it will once again ignite audiences with sinuous yet explosive concert numbers from the Rolling Stones’ 1. Mick Jagger was at his jangly prime. Gimme Danger, Ein Film von Jim Jarmusch mit Iggy Pop, Ron Asheton. Gimme Danger Tab by Iggy Pop Learn to play guitar by chord and tabs and use our crd diagrams, transpose the key and more. For his pick, Mick Jagger went with 1969's 'Gimme Shelter.' NPR's Melissa Block suggests that the two talk over the song, to which Jagger jokingly responds. Gimme Danger est un film r. Synopsis : Apparu pour la premi But it frames those performances with pictures of Jagger in front of a film viewer, watching footage of the ’6. Dec. 6 of that year at the isolated Altamont Speedway in Livermore, Calif., and the band’s embattled appearance there before a freaked- out crowd and a violent clutch of Hells Angels. At the soul- shriveling climax, a knife flashes — and a murder unspools on- screen. The image is so blunt and Jagger’s response to it so shrouded or implacable, that the film becomes disturbing in an almost primordial way. In the rock dishonor roll that includes the Who concert in Cincinnati in 1. Pearl Jam in Roskilde, Denmark, this year, no name flashes out more luridly than Altamont. At Altamont, even a star — Jefferson Airplane lead singer Marty Balin — was knocked out. With 8. 50 injured, two dead in a hit- and- run, another drowned and an 1. Hells Angel, Altamont was awful enough to have arbiters of hipness call for the kids of Woodstock Nation to be put in stocks. The making of — and response to — the film of the concert, “Gimme Shelter,” proved to be just as tumultuous: It drew the most dynamic rock stars, rock writers, documentary- makers and movie critics of its era into an intellectual mosh pit. The story of this movie and its discontents is a pop- cultural saga that stars Jagger and Pauline Kael and Vincent Canby; Haskell Wexler and Greil Marcus and Stanley Booth; and includes cameos from the likes of George Lucas and Walter Murch. The way the film’s three directors — David and Albert Maysles and Charlotte Zwerin — shape the material, the movie is a tribute to the Stones as popular artists wrapped inside a cautionary tale for the counterculture. The filmmakers crystallize the jagged contradictions that gave rise to an epochal fiasco. From the start, the atmosphere is ripe for catastrophe. ![]() ![]() The entire enterprise is all too willful. There’s something perilously off about the blend of the Stones’ zonked brand of superstar noblesse oblige, fabled attorney Melvin Belli’s high- powered maneuvering on behalf of the group and the surrounding attempts at seat- of- the- pants, grass- roots organizing. When disaster strikes and strikes again — first with the Angels’ leaded pool cues, later with the flaunting of a gun and the slice of that knife — it’s doubly excruciating because we see it coming. Zwerin and the Maysles slow the moment of the murder down for Jagger (and for us) on an editing table. The shot is shadowy and we know we’re not getting the whole story. But the harrowing context gives the deadly scene an apocalyptic stature. It’s part of a colossal, mass bad trip. They said it was exploitative, too small for the subject — even, since the Stones financed part of it, a made- to- order job designed to restore the group’s tarnished reputation. He’s the director of the Criterion Collection — the company that will release “Gimme Shelter” on DVD and that, along with Janus Films and Home Vision Cinema, spearheaded the theatrical re- release. While conceding that the filmmakers had caught Jagger’s “feral intensity” with acute “editing of the images to the music,” Kael said that “the filmed death at Altamont” was part of a “cinima viriti spectacular.” She condemned the movie with rhetorical questions: “If events are created to be photographed, is the movie that records them a documentary, or does it function in a twilight zone? Is it the cinema of fact when the facts are manufactured for the cinema?” (Kael is an old friend of mine. When I told her that her original review was still, in Albert Maysles’ words, a “thorn in his side,” she cheerfully remarked, “Tough shit!”) Canby panned the film, under the title “Making Murder Pay”: in another New York Times piece Albert Goldman complained that the movie “really uses its brightly colored footage whitewash the Rolling Stones, who must share some of the responsibility for the disaster and who also, as it happens, are the people who hired the filmmakers.” Arthur Schlesinger Jr. It was, he said, “unduly protective, not just of the Stones but of the Woodstock myth of the young.” And a few years later, in 1. Marcus, by then a book columnist at Rolling Stone, wrote that “the Stones were shown as victims, as if the purpose of the film was not to deal with real events, but to absolve those who paid for the film of any responsibility for those events.” See the movie in a theater today and you’ll wonder what this critical rumble was all about. Younger viewers, especially, will probably be dumbfounded when they come upon these charges: Watching the Stones watch this wreck of an event in “Gimme Shelter,” they won’t think for a second that the filmmakers were trying to make the rock stars look like choirboys. The Cannes Film Festival is going to be rocking next week, thanks to a special midnight premiere of Jim Jarmusch’s Stooges-centric documentary, 'Gimme Danger.'.At worst the Stones’ responses are pitifully inadequate. During the actual cataclysm, they seem despairing and confused; even months afterward, they appear to be in shock. The movie never asks us to forget that the Stones were the concert’s prime movers. And the filmmakers don’t beg any indulgence for themselves. True, they never lay out within the film that the Stones had hired them. And they don’t touch on the role the movie played in precipitating the concert’s last- minute move from Sears Point Raceway in Sonoma to Altamont Speedway. Why are they showing this chronicle to the Stones? Are they themselves looking for the Stones’ approval — and our blessing? As I thought about the movie and interviewed a dozen people who either worked on it or attended the concert, several directed me toward the Jan. Rolling Stone, which devoted 1. Altamont under the headline, “Let It Bleed.” It is often spoken of as the ultimate authority on the event. But when it comes to the widespread misrepresentation of the movie, I discovered, it was more like a smoking gun. Marcus was at Altamont and with 1. Rolling Stone; John Burks edited their contributions, newsweekly style, into one headlong unsigned piece. It’s a mammoth and laudable example of on- the- spot journalism, and it helped redefine the concert in the public consciousness as the anti- Woodstock. The legend of Altamont as apocalypse was largely based on that Rolling Stone cover story. Unfortunately, it contains a dozen short paragraphs on the movie that pin the blame for the disaster on the making of the movie. These paragraphs are pocked with errors, and lamentable in tone as well as content. They read as if they were written by someone who’d never been close to the making of any kind of movie. The magazine’s chief movie critic at the time, Michael Goodwin, was at the concert, but his contributions to the piece were limited to a transcription of Jagger’s exhortations for the crowd to calm down and “be cool”; Goodwin had recited the words into his tape recorder as Jagger said them, so they wouldn’t get lost in the mob noise. The introductory sentence to the movie section lays down some heavy attitude: “It may surprise many of the people who suffered Altamont to discover that they were, in effect, unpaid extras in a full production color motion picture.” A cameraman says David Maysles told him to ignore a large naked woman “freaking out backstage” and shoot only “beautiful things.” The whole account portrays the filmmakers as slick hired guns helping the Stones beat “Woodstock” to the screen, using Hells Angels as their bodyguards. Typical sentence: “The Stones figure they spent something like $8. Altamont affair, including helicopters, which isn’t bad at all — when you consider . The “movie set” and “unpaid extras” slams from the Rolling Stone article are echoed, for example, in Kael’s statement that “the free concert was staged and lighted to be photographed, and the three hundred thousand people who attended it were the unpaid cast of thousands.” There’s one problem: It isn’t accurate. Kael’s review argued against automatically accepting any film that looks as real as the truth; it’s a brilliant and potent critique of the cinima viriti school of documentary filmmaking in fashion at the time. But even if you embrace her argument, what she had to say about the making of “Gimme Shelter” doesn’t fit the Maysles’ method. They relied for their effects on molding found material, not spending time and money — which they didn’t have much of at Altamont anyway — devising a reality “spectacular.” It’s understandable that young, rock- oriented moralists looking to explain the disaster would turn moviemakers into villains. And the Maysles and Zwerin may have also misled their critics by putting the film together in a confident and seemingly inevitable way, as if Altamont were always its final destination and Mick Jagger’s storm- cloud stare always its endpoint. But “Gimme Shelter” is not about manipulating events — it’s about letting events get away from you. It presents the ultimate appalling oneiric vision of “going with the flow.” Over the past three weeks, I discussed it with the surviving co- directors, Albert Maysles and Charlotte Zwerin (David Maysles died in 1. Stephen Lighthill and Walter Murch; a Salon editor and former Altamont volunteer, Douglas Cruickshank; three writers who worked on the Rolling Stone Altamont issue (Goodwin, Burks and Marcus); and no less than two Stans and a Stefan — the Maysles’ right- hand man, Stan Goldstein; Rolling Stones biographer Stanley Booth; and Stefan Ponek, a DJ at San Francisco underground radio station KSAN, who ran a post- Altamont talk show excerpted in the movie. I’m convinced that “Gimme Shelter” was less an act of exploitation than an attempt to derive order from chaos — or at least cut the chaos down to size. We don’t know what American prices should be. We’re not fucking businessmen. In fact, yeah, we’ll have a free concert,'” he says. 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