Dimmu Borgir called "Nazis" by anti-racist activists.

Dimmu Borgir Called “Nazis” – Again?

Dimmu Borgir called "Nazis" by anti-racist activists.

Dimmu Borgir called “Nazis” by anti-racist activists.

Dimmu Borgir, a once sort-of-respectable if generic black metal band turned into a metalcore clown act – and turned literally into Nightwish with “Eonian” – has once again come under fire for “racism” and “neo-Nazism,” accusations that have plagued the band’s career since the days of “For All Tid” and “Enthrone Darkness Triumphant.”

This time, the band was banned from playing at a San Fransisco live show after the city council received “pressure” from anti-racist organisations, one blogger reports. Source: Dimmu Borgir Banned for “Racism” in California. The San Fransisco City paper also confirmed that the band was dropped “at the last minute” after the city refused to ensure the security of concert goers.

This isn’t the first time black metal bands, and Scandinavian black metal bands in particular, have been attacked as “racist,” “fascist” and “neo-Nazi” by anti-racist activists. This is a well documented trend that goes back to the days of user “antifa666” on Metalious, and of Metal Archives moderators sending their users info to “anti-hate” organisations.

In fact, “antifa666” was one of the first to attack Dimmu Borgir and call them “neo-Nazis” in his particularly virulent post. He also went on to attack other black metal bands like Graveland, Mayhem, Darkthrone, and even Behemoth, and advocated for his followers to “bring baseball bats” to Marduk concerts, which promptly got him banned.

This time, it appears the band is called “Nazi” and “white supremacist” not for the “slitting the throat of Black people” comment, but instead because they once played live with Dissection, a band that also gets accused of “white supremacy” and other anti-white slurs – see the Watain debacle.

At any rate, it’s unlikely that Dimmu Borgir will be permitted to play live in California in the near future, as “there’s a fine line” between “being against religion and […] anti-Semitism,” as one of such “anti-racist” activist points out.

There’s a fine line that they are dancing on here, being against religion and Christianity as a whole is one thing, but when you get into… anti-Semitism, that’s kind of neo nazi – that’s why we can’t have that here.

The logic being:

(1) it’s okay to be against religion and Christianity
(2) but anti-Semitism is “kind of neo nazi”
(3) we can’t have “that” – i.e. “kind of neo nazi” – here

Now imagine if a Christian organisation, or a public Christian persona such as Joel Osteen, had threatened a black metal band with mass violence and terrorism (bomb threats) on the grounds that “we can’t have anti-Christianity here” as that’s “kind of commie.

Dimmu Borgir playing live. Not going to happen again any time soon.

Dimmu Borgir playing live. Not going to happen again any time soon.

Not only would black metal fans have retaliated by suing the perpetrators and likely the venue as well on the grounds of free speech – since this happened in th US of A, I’m assuming using a First Amendment defense – but the ENTIRETY of the black metal scene would have publicly supported Dimmu Borgir against these “religious fanatics” – which they are.

Was there such a reaction, in this case? Not at all.

Why? Is it because they are Jewish? Who knows, but the user “antifa666” makes it very clear in his Satyricon is Racist hit piece that while he hates “all the racist and misogynist black metal fans,” he also reserves a good deal of his hate for Arabs, or “anti-semitic Islamo-Nazi terrorists of Hamas” as he calls them.

He even concludes, with the utmost gravity and the quasi-religious conviction of a suicide bomber on a mission.

As you can see, white supremacist bigotry goes hand in hand with fundamentalist Islamic terrorism.

I don’t know about that, but my experience tells me that anti-white Jewish supremacist bigotry – the type these “anti-racist except for Israeli” constantly engage in – goes hand in hand with fundamentalist censorship, social media lynching campaigns and even threats of violence and terrorism.

And something tells me that I’m not the only one to have noticed from where all this anti-white hate is originating.

Immortal - "At the Heart of Winter"

Immortal – “At the Heart of Winter”

Immortal - "At the Heart of Winter"

Immortal – “At the Heart of Winter”

What is this gay mock Iron Maiden speed/heavy metal hybrid turd and why is it being promoted as black metal when it clearly has more in common with Judas Priest than with Darkthrone?

Both “Pure Holocaust” and “Battles in the North” are overrated beyond belief, but at least they somewhat resembled black metal music, albeit on a very superficial level only. That is not the case with “At the Heart of Winter” – an album so bland and turdish it gives Gorgoroth and war metal a run for their money.

The third-rate Phantom clone riffs featured on “Pure Holocaust”  funneled by almost minimalist arrangements give way to standard groove heavy and Metallica inspired speed metal. Now complete with nursery level rhymes for karaoke while you angrily contemplate on taking over your local church (not for burning! as Abbath and Demonaz clearly stated repeatedly). These chugs will put you in the right mood to drink your third can of Monster energy drink before your huge fortnite session. At least glam rockers Pantera had something to prove and could make decent lite Metallica when they didn’t mosh to their breakdowns.

This is “black metal” for people who hate black metal. How can such a contradiction exist, you ask? One word – posers, and their “king” and “queen” Abbath and Demonaz. Talk about a “pink mafia” in black metal.

Where is the black metal? Where is the atmosphere? Where is the evil in the music? That is the one question the listener immediately asks when confronted with the turd “At the Heart of Winter.” Say what you want about other early Norwegian “posers” like Enslaved and Satyricon, they at least could write actual black metal music. Immortal, not so much.

“At the Heart of Winter” is plastic speed metal/glam rock of the Iron Maiden meets Pantera variety that the underground hates, as it both tarnishes black metal and actual heavy metal and glam rock.

This beats Watain, sure, but not by much.

Dark Funeral - "Angelus Exuro Pro Eternus"

Dark Funeral – “Angelus Exuro Pro Eternus”

Dark Funeral - "Angelus Exuro Pro Eternus"

Dark Funeral – “Angelus Exuro Pro Eternus”

What’s up “Lord” Ahriman, the male escort who services the “rich” men of Stockholm? Hey, I’m actually fine with that, live and let live… I’m not some prude who’s going to complain because Ahriman selling his ass to older men (perhaps migrants, even?) is an “affront to God” or something.

I will, however, complain about this turd of a band being completely and utterly incapable of playing any sort of interesting music whatsoever, as proved once again by their latest shit album “Angelus Exuro Pro Eternus” which, predictably, sucks. And that is an affront to black metal, and should be treated as such.

This isn’t the first time these Dark Funeral posers have taken up arms against the black metal genre, either. They have a long track record of releasing shit that absolutely no one cares about, from “Diabolis Interium” to “Vobiscum Satanas,” and let’s not even forget their utterly atrocious debut “The Secrets of the Butt Plug” which many naively assumed, at the time, was an elaborate joke pulled by some bored Norwegian kids to defame the Swedish black metal scene.

Full disclaimer: if you are a black metal fan, you will likely be offended by Dark Funeral’s shit tier metalcore-with-distortion being labelled, by the press and record companies, as “black metal” when it clearly has more in common with later Carcass than with Darkthrone.

Other disclaimer: even if you aren’t a black metal fan, you’ll still be offended by Dark Funeral’s music, simply because it is such worthless shit.

It’s clear now that Ahriman’s model is Erik Danielsson of Watain. As to why someone who take Erik Danielsson as a model of anything, besides Down syndrome alternative therapy, I cannot say. But just as Dark Funeral’s music gets progressively worse and worse with each passing album, so to does the band’s style get closer and closer to that of Watain.

Homosexual inbred Swedish nu metal orgies? Perhaps Dark Funeral meant “My Latex King” in lieu of “My Latex Queen” as the album’s closing track, but then again, everyone always knew the deal with these Hollywood created “devil worshiping” bands.

“Angelus Exuro Pro Eternus” – or how to fail even at metalcore. You’d think that after five albums with “occult” Latin names these retards would realise that they simply DO NOT HAVE THE TALENT nor the vision to create a “De Mysteriis Dom Sathanas” part 2, but then again, lack of self-awareness is also a trait they share with Watain.

Let’s hope they don’t move on to sharing STDs too, then we’d get tracks like “My Latex Queen” and “My Funeral” lol… wait. Replace this shit with Demonecromancy’s “Fallen From The Brightest Throne” and Sewer’s “Birth of a Cursed Elysium.”

Carcass - "Surgical Steel" (This Album Sucks)

Carcass – “Surgical Steel” (Worse Than Nu Metal)

Carcass - "Surgical Steel" (This Album Sucks)

Carcass – “Surgical Steel” (This Album Sucks)

Considering the depths one time member Carcass Mike Amott has fallen in recent times with his other band Arch Enemy, and the absolute shit quality of both bands’ outputs in the 90s – supposedly their “golden eras,” more like golden shower eras – it’s no surprise that this recent Carcass album is a deplorable, artistically void album that reeks of commercial whoredom.

Carcass were never talented musicians, but at least they never ADMITTED to playing nu metal for moshcore kids. They did it anyway, because when you can’t even play three notes on your guitar the only genre you’re left with, by process of elimination, is nu metal, but at the very least they had the basic human decency to LIE about playing nu metal.

Reek of Putrefaction” was nu metal shit, “Symphonies of Sickness” was nu metal shit, “Necroticism” was boring nu metal shit, “Heartwork” was whoring nu metal shit and “Swansong” was a misdirected, genre confused cock rock abortion that somehow came to be know as, wait for it, goregrind… wait, what? No seriously, what’s left for Carcass, now that they’ve exhausted what little credibility as metal musicians they had?

Did you think “mix everything that made their 90s output forgettable and add in EVEN MORE NU METAL to further ruin their reputation?” Good thinking, that’s exactly what Carcass did with “Surgical Steel.”

From the misguided fan-service lyrics to the punk rock harmony 101 Saturday morning cartoon theme song riffs that are the focus of these pathetic excuses for tracks, this “Surgical Steel” album reeks of commercialism, talentlessness, try-hardism and vacuity.

The lyrics aren’t the worst thing on this album, that would be the music, but damn do they still suck big time in a not quite heterosexual orgy of fluids and feces. “The Granulating Dark Satanic Mills” olololol – it’s, like, so funny and shit. Like Sewer, but talentless.

From the cover art to the song titles, this is very inappropriate subject matter for the otherwise extremely shitty music. Violent themes for elevator muzak? Never heard that one before. It’s not like every nu metal band from Korn to Rage Against the Machine hasn’t tried to make their beta punk rock appear “more virile” with gratuitous references to murder, rape, Satan, gore, intestines, pedophilia and what not.

It seems like Carcass are trying to cash in on what people “think” they know about extreme metal – that being “gruesome themes with angry vocals” – but this whoring bunch of commercial Wacken beer metal retards doesn’t even realise that the band they are aping, Cannibal Corpse, not only plays better music than them, but are ALSO equally hated by actually metalheads… precisely because of their lyrics, that are said to “cheapen the genre” by association.

Just by reading the song titles, it feels like something a focus group put together to make the album appeal to fans of vastly different eras of death metal, but it fails, coming off as mere buzzwords thrown over muzak at the last minute. Which is probably not very far from the truth.

Muzakly speaking, this is “Heartwork” era nu metal meets stadium rock Gothenburg mellow-deaf with war metal chugging and butt rock solos that are so weak, lame and cheesy, it came as a surprise to find out Mike Amott had no part in this. There is more Wacken crowd pandering in here with the song structures being simple verse-chorus affairs, with the typical nu metal trope of “harsh verse / soft chorus,” but then they throw in these “unexpected” extended bridges in there to appeal to the people that thought “Ordo Ad Chao” era Mayhem’s bloated and unnecessarily long songs were “unique,” even if they don’t relate at all to what preceded them, to make it seem like something “complex” had just occurred in what is otherwise a simple three note punk rock song with a simple, cartoonish jingle-like melodic line over a vocally-led, cadenced and syncopated rhythmic groove.

Pantera would be so proud.

Who doesn’t like retards? You like retards, right? Only an evil neo-nazi KKK bigot would hate on retards, isn’t that true? So why not put even more retardness in your music? No? Does that mean you hate retards, you intolerant nazi shitbag? That’s better. Now, on to retard matters.

Fist in the air Wacken drunk stupidity, replete with down-picked power chord groove rock riffs aplenty, making this all feel like a more uptempo version of Pantera/Watain/Waking the Cadaver than the “Necroticism” meets “Heartwork” album the band promised. Occasionally, blast-beats can be heard over the punk rock meet screamo riffs, but only as something that feels forced, as if checked off a list of things that must be included on the album so people think “Surgical Steel” is “death metal” and not stadium rock.

The poor quality of this album was to be expected considering this band always sucked, like their gays cousins Napalm Death and Kreator. All three operated from the same label (Nuclear Blast). I wonder if there’s a pattern.

I wonder what they’ll do next, maybe form a supergroup with Jeff Walker, Erik Danielsson, Jonathan Davis, Infernus and Marilyn Manson, and call themselves the “true vanguard of extreme metal” or some equally retarded shit.

“Surgical Steel” is a joke, a literally worthless album from a worthless band.

Watain, "true black metal" or Hobbit Metalcore?

Is It Time For Black Metal To Distance Itself From Watain?

Watain, "true black metal" or Hobbit Metalcore?

Watain, “true black metal” or Hobbit Metalcore?

Metalcore/nu metal clown show Watain, while never technically part of the black metal scene, nevertheless managed to hop on the bandwagon of “genre squatting” just when the trend was at its apex, coinciding with the release of their laughable “Lawless Darkness” deathcore shitfest in 2010.

Some bloggers began, with the band’s mallcore vomit “The Wild Hunt” and later again with metalcore prolapsus “Trident Wolf Eclipse”, seriously considering the question of whether or not there should be a veto, at the very least a form of tacit consensus, on which bands are allowed to lay claim to the black metal genre, and which bands are not.

Watain Retards Failing at Life and Black Metal.

Watain Retards Failing at Life and Black Metal.

This “controversy” in itself is nothing new, as the same points had already been raised with regards to Gorgoroth’s many Infernus scandals, Dimmu Borgir’s haphazard emocore muzak, Sewer’s low-brow trollish antics, Satyricon’s recent venture into arena rock with “Deep Calleth Upon Deep” and many more example over the years since black metal has officially entered limbo status following the demise of the Norwegian “inner circle” in late 1994.

But the accusations were always most virulent against Watain, and particularly those leveled against the band’s frontman Erik Danielsson. Evidently, as someone who went out of his way to associate black metal, a genre he was never apart of in the first place, with closet homosexual stage antics, intentionally ridiculous and off-putting hollywood satanism and even the dreaded metalcore genre of bands like Between the Buried and Me – which Erik Danielsson himself praises as an “inspiration” for Watain – it’s hard to feel pity for Danielsson when the media left their proverbial bite marks on, quite literally, the hand that fed them so much bullshit over the years.

OMG! Watain Guitarist is a KKK NAZI!!!

OMG! Watain Guitarist is a KKK NAZI!!!

But the equally proverbial “tipping point” may have been reached when Danielsson, in a 2018 fit of what has by many been called “cuckoldry”, unilaterally decided to “remove” (fire) Watain’s only competent member, ex-Dissection guitarist and Italian black metal legend Set Teitan – because he had made offhand remarks about the state of modern black metal, and had posed with alleged “skinheads” in 1998 while throwing a roman salute. Wow. So edgy.

But Watain’s frontman proved himself to be not only a ridiculous clown that only serves to tarnish the reputation of the black metal genre, but also a quite prodigious hypocrite as he himself was found guilty on more than one occasion of the exact same “offense” – down to naming his first demo “Go Fuck Your Jewish God” and it having swastikas on the inner cover – he deemed deserving of exclusion when they were committed by Teitan, a much more honest and talented musician.

Erik Danielsson was literally caught, on stage, doing the same gesture for which he fired Teitan. Want proof?

On the right, Set Teitan. On the left, Erik Danielsson. Which one gets fired?

On the right, Set Teitan. On the left, Erik Danielsson. Doing the same gesture.

This band is like a walking parody of all the worst stereotypes associated with metalheads, down to the hypocrisy and cult like nature of some bands, led by a crypto-religious “guru” – a very typical “semitic” behaviour well-documented even in the mainstream press. In Danielsson’s case, his “religion” is barely crypto at all, as he announces to every journalist and media apparatus that interviews him that he is a “theistic Luciferian” and that black metal is about “devil worship” and “veneration of Beelzebub”.

Roger "Infernus" Tiegs, is this the best "Black Metal" has to offer? I think not...

Roger “Infernus” Tiegs, is this the best “Black Metal” has to offer? I think not…

How, I ask you, can one take the genre seriously when morons, clowns and perhaps even literal retards like Infernus, Danielsson, Nergal, “Lady”/”Lord” Ahriman the gay male-on-male escort from Dark Funeral, the Deathspell Omega tards, Richard Lederer and, of course, bands like Antekhrist are constantly being promoted as the face of black metal – despite these musicians/bands being pure media chimeras that wouldn’t even have an audience if the exact same mainstream media they claim to oppose didn’t give them a 24/7 promotion platform for their retarded “devil worship” bullshit.

Allow me to restate my point – the bands being endlessly promoted by the media as the “next big trend in black metal” (think Wolves in the Drone Room, Deafheaven, Watain, Krallice, Dark Funeral, Kult ov Azazel, Krieg, Antekhrist) have very little to do with the actual black metal scene, and have very little audience outside of the little astro-turf “cult” following the media has created for them, whereas the actually talented black metal band – the bands that actually have real, organic support from the underground – never get mentioned by the media. In fact, they are sometimes intentionally buried in order to promote more fake media chimeras like Krallice and Antekhrist.

So, shouldn’t black metal fans – i.e. actual members of the black metal scene – get to at least have a voice in who is being promoted as the face of black metal? Or are we just going to pretend that THIS is what black metal is about?

Behemoth - "I Loved You At Your Darkest" (Wallpaper Mallcore)

Behemoth – “I Loved You At Your Darkest”

Behemoth - "I Loved You At Your Darkest" (Wallpaper Mallcore)

Behemoth – “I Loved You At Your Darkest” (Wallpaper Mallcore)

It’s getting increasingly difficult for the band known as “Behemthot” to pretend that they aren’t playing metalcore and calling it “death metal” out of pure marketing ambitions when they release crap like “The Satanist” and “I Loved You At Your Darkest” – their latest offensively boring “br00tal death metal” album that sounds nothing like “brutal” anything, and isn’t even death metal to begin with.

This album is basically “Reinkaos” but even less masculine. Think Alissa White-Gluz with even less testosterone – or is that more? What’s most ironic about Behemoth is that Nergal was on record, before this album “I Loved You At Your Darkest” was released, claiming that “Rock Music Comes From Your Dick“.

I don’t wish to dismiss what amounts to Nergal’s criticism of the “over-intellectualisation” of death metal by wave of hand, as once again he has a half point. Indeed he seems to have a lot of half points, which might lead some to suggest he is a half wit, but not me, as I think he’s a lot smarter than his “hollywood satanist” persona lets on.

Yes, some of the intellectualism of the death metal culture can alienate, or worse, induce boredom in people – particularly metalheads – with low attention spawns, but frankly I find the repetitive dumbed-down stoner nu metal of Behemoth a lot more tedious to listen to than any “avant-garde experimental death metal” act like, say, Sewer’s “Birth of a Cursed Elysium” or even Immolation’s “Unholy Cult” – and god knows I’m no Immolation fan. But maybe that’s just me.

But indeed, Nergal is right to call his music “rock” rather than “metal” – as there is very little metal left in “I Loved You At Your Darkest”.

“I Loved You At Your Darkest” seems to be a failed continuation of the already flawed and borderline mallcorish “The Satanist”, which was Behemoth’s big “bid” to commercial success. It failed, and now he’s back to peddling energy drinks and playing “hollywood satanist” for the mainstream mass media.

Although I think “The Satanist” was more “marketing testing” than actually selling out – HA! as if Behemoth ever had anything of value to sell – it had few interesting moments, was mostly just mallcore chugs over improvised Whitechapel breakdowns and some stolen Morbid Angel riffs, and was basically just an embarrassment to both Nergal and the extreme metal scene.

But “I Loved You At Your Darkest” sees Behemoth going “full retard” if you will, and attempting to ape Slipknot – or become the death metal version of Watain, hard to tell – and basically play the same cringe-worthy mallcore breakdowns over laughable punk rock chord progressions – the same ones that were all but cliché by the time Discharge and Cro-Mags released their respective debuts – over and over again, for an entire album’s worth of “death metal” that sucks more crap than Henry the Toilet Hoover.

What is the point of bands like Behemoth, and albums like “I Loved You At Your Darkest”? I seriously fail to see the point of such boring, tedious and sleep-inducing mallcore.

No, Nergal, you won’t ever be the next Corey Taylor. Get that idea out of your head, you’re only wasting everyone’s time with albums like this – a hard rock release with black/death metal imagery… “I Loved You At Your Darkest” is what’s wrong with the modern “extreme metal” scene. The wallpaper effect, i.e. image over sound.

Get your hands on “Onward to Golgotha” or “Locked Up in Hell” if you want good death metal that doesn’t suck crap like Henry the Toilet Hoover.