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Home | Afdelingen & Instituten | Econometrics and Operations Research |
Welcome to the Department of Econometrics and Operations Research. We are a group of driven researchers striving for science with purpose by pushing the academic frontier and publishing in the top international outlets in our field. We like to collaborate with outside partners to link academic advancement with real world problems. Our teaching mission is to empower students with the methodological skills and continuing curiosity to contribute to solving today's challenges in business and economics. Read more about our BSc in Econometrics and Operations Research, our BSc specialization in Econometrics and Data Science, our MSc in Econometrics and Operations Research and our minor programme Applied Econometrics.
André Lucas
Contact: a.lucas@vu.nl
Siem Jan Koopman (4) and Andre Lucas (6) are also in 2019 among the first ten of this year's Top 40 of Economists in The Netherlands. The Economentop 40 is published annually by Economisch Statistische Berichten (ESB). You can read the entire article (in Dutch) here.
Andre Lucas received an Open Competition grant (250k) from NWO for a PhD student on Dynamic clustering for business model identification and financial stability. The project aims to develop new methodology to study the dynamics of financial business models and their convergence/divergence in times of stress and under non-standard monetary policies. The results will be applied to the European banking sector and will be developed in a network that involves prime regulatory players such as the ECB and BIS as well as national central banks.
Bachelor programmes awarded 'Top Rated Programme' distinction
In the 2020 Keuzegids Universiteiten, students of the bachelor's programmes in Econometrics and Operations Research and Econometrics and Operations Research: Econometrics and Data Science at VU Amsterdam assessed our programme as the best in its field of study! See also
Julia Schaumburg awarded The Eagle Prize
Julia Schaumburg was awarded the "Engle Prize" from the Journal of Financial Econometrics for her 2016 article "Beyond dimension two: A test for higher-order tail risk". The journal awards this prize to a young scholar who published the best article over the preceding three years. The prize comes with an award of $1500.
NWO Open Competition grant for Andre Lucas
Paper accepted to the Journal of Econometrics
Expected utility and catastrophic risk in a stochastic economy–climate model by Jan Magnus is accepted to the Journal of Econometrics.
Vidi grant for Chico Blasques
The Netherlands Organisation for Scientific Research has awarded Francisco Blasques a Vidi grant for his research "Econometric methods for incorrect models". Econometric models offer simplistic and stylized representations of vastly complex economies. Statistical methods used in econometrics are designed to be reliable and efficient only when the model provides a perfect description of reality. This project investigates new econometric methods that are optimal in situations when the model is not perfect.!
Econometrics Summer Workshop August 2019
The Econometrics Summer Workshop to be held on Wednesday, Aug. 21 - Friday, Aug. 30 2019 is now open for registration! Are you a student entering the Econometrics Master or a PhD student, and interested in attending a summer workshop covering all the basic econometrics methods and tools for analyzing both cross-sectional and time-series data? Then please find more details and register for the course here!
Junior and senior faculty positions
We are looking for new colleagues to accommodate our growth. Are you enthusiastic about Econometrics and Data Science? Then we invite you to apply for our junior or senior positions. Read more.
Master Econometrics and Operations Research rated as Top Programme
In the Masters selection guide 2019, students rate the Master programme in Econometrics and Operations Research as Top Programme.
The Masters selection guide 2019 is published by the Centre for Higher Education Information to help students choose a master's programme.
On Saturday, March 9th, the VU Master's Day will take place. On this day, you're introduced to our master programme
Econometrics and Operations Research. For the complete programme and registration, please visit masters.vu.nl.
Two professors EOR in top 10 of ESB Economentop 40
Siem Jan Koopman (4) and Andre Lucas (8) are in the Top 10 of this year's Top 40 of Economists in The Netherlands. The Economentop 40 is published annually by Economisch Statistische Berichten (ESB). Ten researchers of Vrije Universiteit Amsterdam are in the Economists top 40, from which nine members are affiliated with the School of Business and Economics. You can read the entire article (in Dutch) here.
Farewell Symposium prof. Gerrit Timmer
On 31 October, professor Gerrit Timmer retired from the Vrije Universiteit Amsterdam. Besides being CEO of Ortec, he was more than 25 years professor of Bedrijfseconometrie at the department of Econometrics and Operations Reseach. In honour of his retirement we organize the symposium "Is Data Science the new Operations Research" on 31 January 2019, to be held in the Auditorium of Symphony Building in Amsterdam from 2:00 - 6:30 pm. For the programme and registration click here.
In the 2019 Keuzegids Universiteiten, students of the bachelor's programmes in Econometrics and Operations Research and Econometrics and Operations Research: Econometrics and Data Science at VU Amsterdam assessed our programme as the best in its field of study!
Paper forthcoming in Journal of Financial Econometrics
Fractional Integration and Fat Tails for Realized Covariance Kernels and Returns by Andre Lucas is forthcoming in Journal of Financial Econometrics .
SBE Diversity Fund awarded to Siem Jan Koopman
Siem Jan Koopman received financial support from the diversity fund of the School of Business and Economics. The fund is established to increase gender diversity among academic personnel and support talented female researchers in their academic career development. Janneke van Brummelen, VU EOR alumna and current Tinbergen Institute MPhil student will be hired to conduct research during Spring 2019 under the supervision of Siem Jan Koopman.
Paper accepted to the Journal of Applied Econometrics
CCE Estimation of Factor‐Augmented Regression Models with more Factors than Observables by Hande Karabiyik is accepted to the Journal of Applied Econometrics.
VIDI grant for Neil Olver
Neil Olver has started his Vidi grant (€800.000) by NWO for his research 'Usable algorithms for network optimization'. Networks of many kinds have been growing in size and importance. The same mathematical problems about efficiently designing and utilizing networks occur in many different contexts. This project will uncover new algorithms for these problems that are faster, more accurate and more revealing. He is an Assistant Professor in the Department of Econometrics and Operations Research.
VENI grant for Geert Mesters
Geert Mesters has started his Veni Grant by NWO for his research 'Testing Networks'. Network structures have large implications for aggregate output in economics and financial stability in finance. A key difficulty is that these networks are typically not observed. In this research we develop methodology that facilitates testing different network structures that are estimated from large time series panels. He is assistant professor at the Universitat Pompeu Fabra in Barcelona and will conduct his Veni research at the Department of Econometrics and Operations Research.
Forthcoming paper in Social Choice and Welfare
The paper 'A Bargaining Experiment with Asymmetric Institutions and Preferences' by Harold Houba is forthcoming in the journal Social Choice and Welfare. Read paper .
Paper accepted to Environmental Modelling & Software
The paper 'Implementation of stochastic multi attribute analysis (SMAA) in comparative environmental assessments' co-authored by Reinout Heijungs has been accepted to Environmental Modelling & Software.
Ilka van de Werve Fellow at NCSR
Since July, Ilka van de Werve is a fellow of the Life-course Cluster at The Netherlands Institute for the Study of Crime and Law Enforcement (NSCR). Read more .
Julia Schaumberg awarded a Lamfalussy Fellowship
In April Julia Schaumburg was awarded a Lamfalussy Fellowship by the European Central Bank for her proposal "Networking the Yield Curve". Read more .


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Death Metal Angola in theaters this fall
by Cory Van der Pol on August 21, 2014
Death Metal Angola tells the story of Angolan couple Sonia and Wilker who want to put on the first national rock festival in their country. They hope that this will unite a people broken by constant warfare, unrest, poverty an corruption.
In the trailer, Death Metal Angola lets us hear some of the music from Angola. It has death vocals, but sounds more like a hybrid between blues and grindcore riffs, with lots of lead fills and a more relaxed rhythm. As death metal and related genres seem to adapt to local cultures and musical preferences wherever they go, this provides an interesting insight into Angolan music.
The film will see theatrical release in early November and is being described as both a film about death metal and a film about war.
Death Metal Angola movie
DEATH METAL ANGOLA TRAILER from CABULA6 on Vimeo.
Tags: angola, death metal, death metal angola, movies, vladar company
5 metal bands that took their blasphemy seriously
by Aaron Lynn on August 21, 2014
Assuredly, I say to you, all sins will be forgiven the sons of men, and whatever blasphemies they may utter; but he who blasphemes against the Holy Spirit never has forgiveness, but is subject to eternal condemnation. — Mark 3:29
Many metal bands feature occultist or Satanic imagery and lyrics. However, some metal bands took this Bible verse as a challenge and created blasphemy on a theological level, denying God with a philosophical basis.
Since metal has always been fervently anti-dogma and a firm believer in a boundaryless existence, the notion of sin is, in itself, a sin. Here are five anthems of rejection that took the final step and committed the unpardonable sin.
Incantation – "Rotting Spiritual Embodiment" (Onward to Golgotha)
Taking a mortalistic approach, Rotting Spiritual Embodiment claims that the Holy Spirit dies with the body that it inhabits, thus affirming an absence of all metaphysics and a sheer physical basis to life itself. This form of materialism proves more dominating than even atheism as it denies the basis for a holy presence and argues instead that it is mere physical illusion. The crushing and darkened power chords seem to compel the embodiment — the physical form of the spirit — further and further into obscurity.
Holy apparition, seeking death to save.
Sins of the flesh, the cadaver is unfit.
Penetrate the mind and body, spirit is incarnated.
Spiritual entrapment.
Spiritual deformity…
Foolish ghost of god.
Embodied with the putrid corpse.
Trapped within the flesh.
Forever rots in misery…
Morbid Angel – "Blasphemy" (Altars of Madness)
A call to arms for blasphemy and a declaration of a life free from the clutches of religious dogma, this song takes a straightforward approach to blasphemy through invective condemning God and arguing for his invalidity. It also directly blasphemes the holy spirit in the chorus. Complete with Satanic and Thelemic philosophy, this is a sonic symphony straight from the fiery depths.
I am the god of gods
Master of the art
I desecrate the chaste
Writhe in the flesh
Chant the blasphemy
Mockery of the messiah
We curse the holy ghost
Enslaver of the weak
God of lies and greed
God of hypocrisy
We laugh at your bastard child
No god shall come before me
Blaspheme the ghost
Blasphemy of the holy ghost
Do what thou wilt shall be the whole of the law
Rebel against the church
Drink from the chalice of blasphemy
Rise up against the enslaver
Immolation – "I Feel Nothing" (Here in After)
Immolation, while anti-religious, never took much of a Satanic approach to their opposition. They present their views from a more atheistic standpoint, and in the pulverizing song, "I Feel Nothing," Immolation pose the question: Where is the Holy Spirit? The song describes a person who cannot feel the Holy Spirit within them and they refuses to force themselves to believe, so they reject its existence along with the rest of the trinity.
Your prayers,
I don't feel them in my heart
It is not hate
That I stare coldly at the son of god
I can not force the blood of Christ
To flow through me
God is love and his love is dead
Drown your sorrows in prayer
But your prayers will never change the world
I separate myself
From those who chase the spirit
I can't fall to my knees
And pretend like all the rest
This is a soul that doesn't need saving
Their paradise not mine; an illusion I will not believe
Divine presence of perfection, turns sour in my gaze
Why should I feel compassion for the suffering of your God
For all the pain he allows, I give him what he deserves
In the name of the Father,
Where is the Holy Spirit, I feel nothing
As I stare upon the crucifix, I feel nothing for a God I never knew
I refuse to embrace, and live by his word
I take not of his body
I take not of his blood
I don't need salvation
Or his forgiveness
I don't want his kingdom
My kingdom is here
http://www.youtube.com/watch?v=AEb8S49w-Oc
Deicide – "Behead the Prophet (No Lord Shall Live)" (Legion)
When you think of blasphemous death metal, Deicide undoubtedly comes to mind among the first few entries. Not only does the band name advocate the murder of God but the entire approach of the band denies any form of inherent or mystical order. In "Behead the Prophet (No Lord Shall Live)," Deicide describe the Holy Spirit as foredoomed and proclaim a devilish victory over the holy.
Deny resurrection, behead the Nazarene son
Foredoomed holy spirit, our war at last be won
Legion crush Jehovah, see through the faceless dog
Untie our world from Satan
You know it can't be done
Wipe away this world of unworth
Decapitation, Satanic rebirth
Off with his head to sever his soul
Beheaded prophet the suffer is yours
"Forever….."
Virgin, mother murdered, once warned but now is dead
Destroyed heaven's kingdom, in flames the righteous fled
Legion, thou has waited, to face the sacred dog
Satan's revelation, this world will always be ours
End of god the way it must be
Behead the prophet, let Satan free…
No god, no lord shall live
What always has should never been
Behead the prophet and we win
No man to begotten, infant Jesus dead
End of god forever, cast among the souls of Hell
Thou who has imprisoned, suffer by your own demise
Execrate the revelation, MASTER SATAN RISE!
Thou who has imprisoned,
Execrate the revelation,
MASTER SATAN RISE!
Havohej – "Dethrone the Son of God" (Dethrone the Son of God)
Concluding this list is a cold and blasphemous sermon from the great Paul Ledney of Profanatica, Havohej, Incantation and Revenant among others. To go too far in depth about this piece would be to undermine its experiential value to new listeners. I'll say only this: "Dethrone the Son of God" is the spirit of rejection translated into a litany embracing hell over the "pure" but delusional spirit of believers.
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
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
Tags: apostasy, blasphemy, Heavy Metal, heresy, Occultism, satanic heavy metal, Satanism
Downside of MP3s: no enjoyment of whole album
Who am I to criticize wide and frequent use of technology? It has brought great benefits and much landfill, as well as seeming to fill our time with activities that are both "work" and "fun" at the same moment. It has made life easier, and made the list of stuff to do longer. I suppose it is a mixed bag.
In general, I am fond of MP3s. "Try before buy" provides a great principle for buying music that in theory would lead to the rejection of the usual stuff and embrace of the distinctive and elevated. This would (again, in theory) give consumers better music and give small bands a chance against big industry bands.
In practice, people simply become overwhelmed with the sheer amount of stuff, which spams their brains, and thus they download a ton and a half of metal and listen to all of it once, which leads to the conclusion that it is all about the same in value. In turn, that causes them to stop worrying about quality and to download anything above "barely acceptable" and put it on their playlist. This favors the big industry, which can use its advertising power to overwhelm those spammed brains and so people go back to the 1980s condition of buying whatever is advertised and ex post facto finding a way to like it.
So, maybe MP3s are not the savior of the music industry. And a relatively recent Abigor interview raises another point: MP3s ruin our appreciation of the album as a whole as if it were a communication from a band to its audience. Instead, we are awash in easily queued and listened music, which by reducing our effort in hearing it reduces our ability to perceive it.
[E]verything should be viewed as one piece of art, not just the sound that's coming out of a studio in whatsoever form, be it vinyl, CD, a file (originating "from the connection in the wall", that's the horizon teenagers have these days.
They don't care and they're not as informed as we were – when we liked certain albums back then we knew the lyrics, could draw the logo and knew every dot on the cover or who was in the thanx list. Today it's about a track in the MP3 playlist only, albums matter less and less). An MP3 player can't capture, it simply isn't, such a piece of art. People tear individual tracks out of the album context to an MP3 playlist and the music looses it's meaning and also it's value.
How much is such an MP3 worth? Nothing. And therefore people lose respect of the artist's work as well. They forget that this soundfile actually has a history full of sweat and blood, and quiet some people put in a lot of money before the first cent comes back from sales, all this seems like a long lost echo when I hear people talk about their MP3s. People that talk about their record collection have a different access.
All of this reminds me of the "bad old days" before the internet and underground alike when people heard new stuff on the radio and listened to that without even thinking there might be an option. The same four companies owned every radio station in the major cities, and the same six labels owned everything played by those radio stations. Not much has changed, except that what is driving people to that same old stuff is the vast amount of musical spam coming out in MP3 format designed for people who cannot tell the difference between plausible and mediocre music.
Tags: Heavy Metal, industry, mp3s, radio
Why listen to metal when all it gets you is funny looks
by Rob Jones on August 19, 2014
Every metal fan knows it: the look of incredulity on someone's face when halfway through a conversation you mention that you listen to heavy metal. It's a look that says, "Hmm… He seemed otherwise sane and cultured when we were just talking… Didn't notice he had any problems understanding society's unspoken rules on personal space or (sniff) hygiene… Why would he listen to that neanderthal drivel?"
That look presupposes a tired old trope of modern culture which is that the enlightened listen only to sensitive indie bands who sing about either love or "social issues." These bands sing softly and semi-ironically about real world things like love, heartache, drugs or the quest for world peace. In contrast, metal embraces comically violent and magical subjects fit only for basement-dwelling neckbeards who play D&D on Saturday nights and rednecks who wear kitschy looking t-shirts with pictures of wolves howling at the moon on them. This "enlightened" mentality is similar to the trendy outlook that presumes all smart people should care about the same fashionable political causes.
I listen to metal music with its fantastic lyrics and imagery — rather than music with lyrics about real world stuff or political fashions — because it's an escape. After I'm done hearing about the dramas of my friends, co-workers and families the last thing I want to do on my own time is listen to someone else croon about all their problems. Real world subjects are depressing to hear about precisely because they're so commonplace and everyday. This includes the political, because the only reason people talk, sing or demonstrate about political issues is to make themselves look cool, which is a way to get new girlfriends, meet drug connections and gather around a social group.
Metal to me is anything but escapist. It is metaphorically accurate where the idea that human drama describes the universe is solipsistic. Nature is mercilessly hostile to human life, which can be snuffed out at any minute and one day inevitably will be. I spend much of my time contemplating the finality of death and the implications it has for our everyday choices and morality. Metal music by focusing on the bigger things — and by having an often ruthlessly dark sense of humour about human frailty — reminds me of the bigger questions in life and reflects the topics I think are really worth talking about.
Even more, metal gives a certain hope by expanding our view of the world beyond personal drama and political fashion. In a society where secularism and scientific rationalism have all but won out, it's nearly impossible to believe there is anything magical or esoteric about the world. Whilst I am quite happy we live in a time when backwoods superstitions are not the basis of our science and medicine, there is something nonetheless dispiriting knowing there's no such thing as miracles, no demons or sorcery, and no great cosmic quest to set ourselves to, just the weekday commute and a beer in front of the TV whilst watching sports on the weekend. That we live in a universe ordered by mathematics and the office timesheet. I think most metalheads recognise this and secretly yearn for an excuse to be able to see their world in terms of something grand and magical, whether that be through the prism of The Lord of the Rings style epics or by believing that reality is all ultimately a battle of wills between God and Satan.
H.P. Lovecraft, who is not surprisingly the biggest influence on metal lyrics in literature, articulated this kind of feeling about the modern rational age better than anyone else. A fervent advocate of the secular and scientific way of thinking as the only way to understand our universe, Lovecraft nonetheless posed his fiction as a great cosmic gambit: what if we're wrong and the universe is in fact populated by powerful forces and beings beyond our control and far beyond the possibility of our comprehension? In other words, what if what we think is "rational" is in fact our own human projection and nothing else, and we will not find out until something dark and unseen attacks? Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn!
For me, what begins as a question of why someone would listen to Ildjarn and not The Smiths ultimately boils down to how one views the world: either to see everything as knowable and within the grasp of human understanding, if we only figure out the maths behind it; or through the metal lens which views humans as tiny, arrogant and probably doomed. The former to me seems painfully dull and conformist, whilst the latter is dangerous but leaves plenty of possibilities open and ready to be explored. This is not a dichotomy between science and religion, because metalheads accept science, but a question of forward decisions: looking to what is important, what paths we should explore, and what might inspire us to be "better," instead of merely safe, logical and inoffensive as science can advise us to be.
This conflict exists between a worldview that is hubristic about the capabilities of humanity ("Peace, science and John Lennon CDs will save the world!") and a worldview that is more suspicious of straight and narrow paths. This second worldview that thinks there is always an undiscovered frontier over the next hill, always a need to veer off the well-trodden path, always going to be a reason to have to get your hands dirty. A worldview that embraces the inconveniences, imperfections and overall strangeness of being alive as actually part of the beauty of it. It rediscovers humanity by escaping our notion of humanity as perfect and instead looks to a universe of perpetual conflict and destruction for meaning. This is the world of metal and it is more real than your safe and trendy indie rock will ever pretend to be.
Tags: fashion, Heavy Metal, indie rock, unpopularity
Sadistic Metal Reviews 08-18-14
What are Sadistic Metal Reviews? People engage in the pretense that they are gods who can determine what is true because they want it to be true, instead of what is obvious. They deny reality to make themselves seem important like the pointless egotists they are. Instead, we put the metal before our personal needs and pick the best. Those who cannot handle this, leave the hall!
Morbid Slaughter – Wicca
Comprising two tracks of punkish early black metal tinged with the energy of a Motorhead or Impaled Nazarene, Morbid Slaughter aim to make music within the 1980s style of catchy simple music that also calls to mind Necrosanct and Slaughter Lord. Songs invoke melody for choruses and guide themselves with necrotic gasped vocals that sound like invective of an evil overlord conveying his legions to covert and merciless deeds. Songs fit the format of most proto-death bands in that there is verse, chorus and then a transitional or conclusive detour which returns to the immensely catchy chorus. This band will find its toughest competition is itself, and when they do a full-length will find themselves challenged by the need for songs to be distinct enough from each other to develop a personality to the album and each song. Clearly this band knows the early works of the years before death metal and black metal finalized themselves and can exploit that riff lexicon to great effect, albeit simplified by the punkish forward drive to simplicity.
Ramhorn – Lykophobos
With one foot firmly in past and present, Ramhorn attempts to integrate 1980s sounds like those of Kreator and Metallica with modern metal styled vocals, but manages to retain the sentimentality and passion of the earlier form and use it to constrain the otherwise more linear tendencies of current metal. Like Kreator, this band is chorus-heavy with emphasis on interlocking vocal rhythms to propel the sound forward, and borrowing from a wide riff lexicon it mixes a punkish sound with melodic speed metal riffing to contrast its more rigidly rhythmic hooks that underscore choruses. Vocals tend toward the black metal shriek with more clarity of enunciation and while certain riffs embrace a more modern sense of rhythm molded around the vocals, a strong old school influence mediates them. Much of the album centers around mid-paced tempi to accommodate this sound but varies riff form enough that the similarity contributes to the overall emotional atmosphere of the music. The old school parts, ranging from Iron Maiden through death metal at its peak, resonate well with this approach but the black metal-ish vocals seem out of place. On the whole, this album puts forth a solid if not dramatically exciting effort that has more integrity and consequent actual musical enjoyment than most of its contemporaries.
Hod – Book of the Worm
The Texas horde return with another assault of high-intensity multi-genre metal. On its surface, this band resembles Angelcorpse hybridized with Watain using some of the riff tendencies of the newer post-Nile/Behemoth charging death metal and blackened death metal bands. Underneath this however a wide variety of riffs simmer, quoting from and expanding upon speed metal, heavy metal, punk and early proto-black metal bands. The constant charging blast, reminiscent of Fallen Christ, allows the guitars to change riffs regularly in the rotational style that Behemoth perfected. Where Hod has really improved is in the vocals which take the whispered spoken style to a new extreme, borrowing the internal rhythmic variation of modern metal styles and giving it a more sinister air. The vocals guide the song and riffs change to accent those words with atmosphere. If anything, this band could benefit from both more variation and less; it would be great to see some of these death metal riffs explore different riff forms than the 4-5 the band has nailed, and it would help focus the music for it to pick a genre and grow more specifically in that direction, even expanding it as these musicians do with contemporary forms. While internal riff complementary behavior could be better, the randomness that plagues most local bands has not visited Hod. Of note also are the early-Deicide-ish chaotic but rhythmically varied leads which add depth to the songs.
Obscure Oracle – Roots of Existence
Obscure Oracle homebrews metal that combines liberally from many influences but keeps a focus on a NWOBHM/progressive metal hybrid enriched with late speed metal and some death metal technique. The band faces a challenge in trying to wrap these influences into a compositional voice that is consistent enough to communicate. Vocals chase the death metal style rasp with higher and lower register versions accompanying one another. Lead guitars explore not only diverse styles of music but the harmonization that NWOBHM made famous, which in addition to numerous classic riff archetypes places this band firmly within that zone. In addition, the band borrows and expands upon tropes from speed metal, notably Testament and Metallica. Much of Roots of Existence verges more toward melodic metal that avoids the Scandinavian style and instead uses complex song structures and the rhythms of 1970s progressive bands to flesh out the parts of guitar melody, but transitions between passages with death metal-styled tremolo riffing. The band could work on integrating its different styles more smoothly into a voice so that oil-on-water separation does not occur, and with some of its detours into progressive and blues territory might make sure that it avoids all known templates, including progressive ones. On the whole this album shows the creativity and idiosyncratic combination of styles that fueled the early years of death metal, but packed into a power metal infused style that keeps the band both current and coherent with the traditional spirit of metal.
Blood Urn – Unchain the Abhorrent
Creating within the old school death metal that favors vast internal contrast, Blood Urn craft songs which culminate in musical vistas composed of riffs leading up to decisive moments of conflict and differentiation. Riffs use extensive chromatic fills but not exclusively so as wrappers for rock rhythm as most of the nu-death post-Nile bands, and songs achieve enough internal variety to suggest purpose. The high degree of internal balance results in collections of riffs that are picked for their place in the song, not a song made of the riffs, for the most part, with an internal process of equalization bringing highly disparate riffs together. Vocals take on the older style of deep chanting independent of the rhythms of drums or guitar that gives an arch feel to the material. The sense of otherworldly power and removal from the mundane is borne out by the higher density of this demo than most contemporary metal albums because although the newer material has more detail, it also has less internal communication, and thus the detail appears as on the surface only, like a form of adornment and not structure. Like other newer old school bands such as Herpes, Blood Urn focuses on atmosphere, in this case enhanced by its competent and somewhat more rock-star guitar than older school bands tried. If these adventurers are able to keep up the underground spirit of distrust for all things that pacify and satiate the thundering herd, the solid groundwork of this demo could blossom into a potent style.
Tags: blood urn, hod, morbid slaughter, obscure oracle, ramhorn
5 albums that sold out and damaged metal
When a band is accused of "selling out," the first instinct most people have is to attack the definition of that phrase. In reality, "selling out" is easily delineated: changing your music/art/writing to reflect what the audience expects.
In metal, selling out usually consists of making the music happier, simpler, less tormented and more pretentious. This allows the people who are dedicated to not noticing anything real about their world to listen to it and have it confirm their existing bias that the best course in life will be to "keep on keeping on" by shopping, voting, bragging at the water cooler, watching television, eating fast food and otherwise being oblivious to everything.
Selling out can be compared to the difference between a home-grilled hamburger and a fast food burger. The home-grilled burger uses real meat, spiced and cooked with care, and does not look elegant but is a good balance of taste and nutrition. The fast food burger is made from ground-up bits of animals, filled out with soybeans and sugar, and most people prefer it because it tastes more like candy and nutrition, lol.
When a metal band sells out, it makes the conscious decision to alter its music to appeal to some audience. This can include an "outsider" audience that only likes ultra-lofi two-chord bands, or the usual meaning, where the music gets closer to big radio pop. When metal bands sell out, they damage metal by bringing in all the stuff metal tried to escape in the first place.
These five albums represent some of the worst sellouts in metal history.
At the Gates – Slaughter of the Soul
The first At the Gates album took our breath away. A weird mix of metal, folk, progressive and classical, it achieved an idiosyncratic voice of its own the way early death metal was prone to do. Then the band faltered, losing a key member and recording albums that did not feel with albums. Suddenly, this new album burst onto the scene and the old school death metal heads rushed forward to find… the exact opposite of what made this band great. Instead of inventive death metal, Slaughter of the Soul brought a warmed-over version of Metallica Ride the Lightning that had been given the Swedish melodic metal treatment. Songs swung easily with simple melodies that would have fit better in a television commercial or schoolyard song, and song structures fit an entirely predictable mold. Nothing challenged the listener; everything was sweetened, like biting into a hot glazed donut with extra icing. It made you feel icky inside, as if you had just been assimilated by the vast mass of people in modern culture who forcibly ignore any incoming ideas which do not fit into their own ego-worship and denial. However, the album was a stunning commercial success and inspired the metalcore movement, in which post-At the Gates band The Haunted applied this template to late hardcore and created a whole new audience.
Metallica – Metallica
When metalheads first heard "One" on the radio, the general sentiment was worry. We all knew of the temptation of radio metal where bands toured in luxury buses and got loads of cocaine, chicks and fast cars. But …And Justice For All had its musical moments despite the awful rock-style drumming and simplified catchy songs, so the hope was that Metallica had gotten it out of their system. Then came the self-titled monstrosity. The first hint was the choice of eponymous name late in the career of Metallica, which suggested a break with the past. Then, the new logo: silver foil-embossed, stylized and slick. Then we heard "Enter Sandman" on the radio and fears were realized. Gone were the complex song structures and innovative riffs, but the use of melodic composition on guitar persisted from …And Justice For All, albeit in a form that fit well into the MTV lineup. Songs backed away from topics that might unsettle people into fairy tales about fears and personal drama, including the rage drama that Pantera was making famous. Metallica fans hung their heads, neatly folded their tshirts and put them at the back of the drawer, and covered their tattoos with black bars. Metallica had finally sold out.
Death – Individual Thought Patterns
As the 1990s progressed, death metal emerged as the clear next big thing. This came after nearly a decade of the music industry denying its existence, mocking it, and doing their best to conceal it. A number of them made overtures: if you could just drop the scary alienation, anger and post-human view of the world, maybe The Industry would work for you like it did for the Crue, AC/DC, etc. At this point, Chuck Schuldiner of Death was putting a lot of effort into making himself the founding father of death metal, and he fired his previous band for a mostly new group who came up with a heavy metal/death metal hybrid. That alone would have been bad, but what was worse was that he changed the music artistically as well as stylistically. The rage at a numb, callous and selfish world was replaced with personal drama, overplayed public compassion, and the kind of hollow rage that people sitting in air-conditioned homes direct at a world that "just doesn't understand me." Even worse, the music itself became saccharine. The wild lion of death metal became a neutered animal dependent on daily feedings of peer group approval. Not surprisingly, people loved it then and hardly mention it now.
Morbid Angel – Domination
After the public hounding that Ilud Divinum Insanus received, most fans forgot the previous great Morbid Angel disappointment that essentially fragmented the band. Thousands of death metal bands languishing in obscurity perked up when they saw Far Beyond Driven flirt with Exhorder-styled extreme metal and still make hordes of money. In the timeless and impeccably insane logic of record labels, it was suggested that death metal bands take the same route even though it would mean abandoning their fans and yet not being able to fully dumb down enough for the brocore generation. Morbid Angel came out with this disaster of a fourth album in order to try to bridge the gap and ended up (predictably) failing both. Where previous Morbid Angel albums showed inventive songs, Domination featured one interesting riff per song slowed down and mated with another couple of sludgy, partially doomy, and unforgivably bouncy Pantera-styled riffs. To accommodate the injection of nonsense into death metal songs, Morbid Angel broke them down into simpler songs that resembled the happy go lucky "beer metal" songs of the past: verse-chorus, chanty foot-tapping title of song repeated, and an artistic outlook which more resembled wounded anger than any kind of delving toward a hidden truth. After this album, the band fell apart and reconstituted itself in new forms, trying to recapture some vein of composition that might appeal to lots of MTV-reprogrammed listeners and yet still be death metal. Much like Bigfoot and the perpetual motion machine, it might be out there somewhere, but as of yet Morbid Angel has not found it.
Dimmu Borgir – Enthrone Darkness Triumphant
As soon as black metal hit the newsstands with stories of church arson and murder, record company stooges devoted many hours of thought to the simple question of how they could re-package it for the Hot Topic kids. Dimmu Borgir found the first workable solution with Enthrone Darkness Triumphant which mixed mall-goth, Cradle of Filth, and carnival music to come up with a style that reveled in its own randomness and made its listeners feel profound for having picked up an incoherent but inscrutable mess. The lush keyboards of mainstream Gothic dance music mixed with the darker rhythms of Nine Inch Nails and guitar influences from rock/metal/rap hybrids in order to interrupt the occasional black metal riff so it never came to fruition. The result became the artistic equivalent of a pop tart: thin bread crust around mystery ingredients mixed with sugar. Naturally, people loved it because it allowed them to "be black metal" (ist krieg!) without leaving behind the same digestible pap they had been swallowing for years under the rock banner. But the CDs seemed to fly out of stores, and black metal fans changed from lonely dissidents to bloated mall denizens looking for a new thrill to blot out the days of tedium as they tried to pretend they wanted to even be alive. Even more importantly, this album opened the door to "black metal" as a container for whatever you wanted to throw in it, which made the truly dark hearts of the record company execs jump with joy and visions of bank transfers.
Image: would you trust a cigarette company with marijuana? Most likely, they would do to it what they did to tobacco, which is remove variety in flavor and replace it with innocuous but consistent brand-perfect sensations.
Tags: At the Gates, death, dimmu borgir, domination, enthrone darkness triumphant, individual thought patterns, metallica, morbid angel, Slaughter of the Soul
Judas Priest – Redeemer of Souls
Judas Priest contributed much to the science of metal riffing. Where Black Sabbath strung together power chords into long phrases, Judas Priest and Iron Maiden re-introduced lead picking to this role as well with guitars that harmonized each other; Iron Maiden focused more on melody, where Judas Priest narrowed its exploration to the use of structure in riffs to get around the predictable patterns and rhythms still inherited from rock music. The band straddled the line between rock, hard rock and heavy metal.
Tags: hard rock, Heavy Metal, judas priest, NWOBHM, power metal
At the Gates finishes recording new album At War With Reality
by Brett Stevens on August 14, 2014
Swedish melodic death metal band turned melodic speed metal band At the Gates finished recording its latest album At War With Reality and plans release on October 27th in Europe and October 28th in North America via Century Media Records.
Vocalist Tomas Lindberg issued the following statement:
We are very excited to finally have finished this new album. An album that we've been working on for over a year now. It's by far the most challenging record that we have made, but it's an honest album and I think that you will feel that it is faithful to the legacy of AT THE GATES.
We have, through the process of creating it, been true to ourselves and our art. From hearing the first demos that Anders presented to the band last summer, through the extensive stages of songwriting, pre-production, rehearsals, recording and mixing, we now finally got the finished album in our hands.
We are very happy to have managed to produce an album that we feel is truly 'us'. Something we can all stand behind one hundred percent. I can't wait 'til you all get to hear it!
Recorded with Fredrik Nordström at Studio Fredman and mixed by Jens Bogren at Fascination Street Studios, At War With Reality shows the return of the classic At the Gates lineup with their first new material since best-selling but fan-disappointing Slaughter of the Soul, which showed the band drifting toward Metallica Ride the Lightning era speed metal given the melodic Swedish metal treatment.
The band recorded this in-studio statement:
http://www.youtube.com/watch?v=l0vkElvuk-c
Simultaneously, the band have announced an international tour for 2015. Dates are as follows:
AT THE GATES + support:
20.11.2014 – Tampere (Finland) – Klubi
21.11.2014 – Jyväskylä (Finland) – Lutako
22.11.2014 – Helsinki (Finland) – Nosturi
AT THE GATES, GRAVE, MORBUS CHRON:
27.11.2014 – Göteborg (Sweden) – Trägårn
28.11.2014 – Stockholm (Sweden) – Arenan
29.11.2014 – Malmö (Sweden) – KB
AT THE GATES, TRIPTYKON, MORBUS CHRON:
04.12.2014 – London (UK) – Forum
05.12.2014 – Manchester (UK) – Academy 2
06.12.2014 – Glasgow (UK) – Garage
07.12.2014 – Birmingham (UK) – Academy
08.12.2014 – Cardiff (UK) – Solus
10.12.2014 – Essen (Germany) – Turock
11.12.2014 – Hamburg (Germany) – Markthalle
12.12.2014 – Eindhoven (The Netherlands) – Eindhoven Metal Meeting
13.12.2014 – Leipzig (Germany) – Conne Island
14.12.2014 – Wien (Austria) – Arena
16.12.2014 – Aarau (Switzerland) – Kiff
17.12.2014 – Munich (Germany – Backstage Werk
18.12.2014 – Antwerpen (Belgium) – Trix
19.12.2014 – Cologne (Germany) – Essigfabrik
20.12.2014 – Berlin (Germany) – Postbahnhof
AT THE GATES – live 2015:
08.01.2015 – Istanbul (Turkey) – Jolly Joker
09.01.2015 – Athens (Greece) – Stage Volume 1
10.01.2015 – Thessaloniki (Greece) – Principal Club
31.01.2015 – Dublin (Ireland) – Academy
26.02.2015 – Oslo (Norway) – Vulkan Arena
29.05.2015 – Johannesburg (South Africa) – TBA
30.05.2015 – Cape Town (South Africa) – TBA
Tags: At the Gates, century media, death metal, Speed Metal
Interview: Amber R. Clifford-Napoleone
Amber R. Clifford-Napoleone is Associate Professor of Anthropology, and Curator of the McClure Archives and University Museum, at the University of Central Missouri. She specializes in the study of gender and sexuality in music scenes, and also works as in textile curation and preventive conservation.
Dr. Clifford-Napoleone also curates the largest collections of Middle Eastern traditional material culture in America. She is also a lifelong metal fan and one of the founders of the International Society for Metal Music Studies. She lives in rural Missouri with her wife, three dogs, and a very large collection of industrial metal.
We were lucky to get a few words with Dr. Clifford-Napoleone on the topic of metal and its relation to power and her study area of specialty.
You are an anthropologist. What drew you to this discipline?
I got into anthropology as a young child. I used to pretend I was Howard Carter in King Tut's tomb! I started volunteering at a museum, working for an anthropologist, when I was a freshman in high school. I planned on being an archaeologist, but I didn't like the excavations as much as the lab work. Then I started working in material culture studies and ethnography, and everything just clicked. I love the way that anthropology teaches us how to be more human, to revel in diversity as our biological imperative, to really see the world for the enormous ball of complexity that it is.
What is the anthropological perspective on heavy metal? Has this been enhanced by your own personal knowledge of and enjoyment of this genre?
Lots of folks might think anthropology and heavy metal is an odd fit, but actually anthropologists have worked on topics in heavy metal for a long time. Jeremy Wallach, one of the founders of metal studies, is a cultural anthropologist working on heavy metal in Indonesia. Sam Dunn, whom I am sure many of your readers know from his films, is an anthropologist from Canada. There are many others. For an anthropologist, all aspects of human life are considered both unique and important. That extends to heavy metal as well, and anthropologists who work on heavy metal topics discuss is cultural, social, artistic and sonic effects in all sorts of ways. As to your second question, the answer is a resounding yes. I tell my own students that they will always be successful if their career engages them in things they are passionate about. I love heavy metal, and my passion for heavy metal is absolutely part of my ability to think, talk and write about metal as an anthropologist.
You've got a book coming out in 2014 about queer fans in heavy metal. Can you tell me more about what's going to be in it?
My book on queer fans (Queerness in Heavy Metal: Metal Bent, to be published by Routledge and released in February 2015) is the result of seven years of work talking to queer fans, and researching the influence of queer performers and lyrics on heavy metal scenes. My book includes a lot of material about the role queerness played, and continues to play, in heavy metal. That includes the information I received from over 500 self-identified queer fans who took my online survey, and dozens that participated in individual interviews with me. I see my work as transdisciplinary- anthropology certainly, but also metal studies, ethnomusicology, cultural studies, gender and sexuality. I'm trying to make the case the metal is inherently a queer institution.
How do you study queer fans of heavy metal? What kind of barriers do you face in trying to contact them, learn about them and so on?
Queer fans of heavy metal are more connected than you might think. There are a handful of active discussion groups, listservs and websites devoted to queer fans of heavy metal, as well as some Facebook groups and blogs. As a queer metal fan myself, I was already a member of a lot of those groups. Once I started posting the link to the survey online, queer fans just sent it out to other lists, groups, and folks that they knew. I've also posted it on my blog and website, and always talk about it when I give lectures or papers at conferences. Because my survey is anonymous, queer fans feel pretty comfortable telling me exactly what they think too. I ended up with information from queer fans from six continents and 39 countries.
Rob Halford is generally credited with heavy metal's imagery of leather clothing, whips, motorcyles and studded leather belts. In one VH1 documentary I watched (yes a very credible source!) one of the pundits credited this imagery to the gay community in London in the 1970s. In your view, is this correct? Has heavy metal appropriated most of its image from the gay community?
In my opinion, there is absolutely no doubt that Halford started that trend, and even less doubt that it came from the gay leather community. This is one of the things I discuss in detail in my book. Did earlier metal acts wear leather jackets? Sure, taken either from post-World War II bomber jacket style, or late 1960s leather belted coats, or even from the post-war motorcycle culture in America and the Rockers in the UK. The problem is, if you take an image of Halford premiering his leather look, and set it side-by-side with Sabbath or Motorhead or even Blue Cheer, you'll see that Halford's leather is entirely different. Ozzy wore striped bell bottom jeams and a brown belted coat for many of their early appearances. Even Alice Cooper wore bell bottoms and white clothes on stage until Halford picked up a whip. If you take that same iconic image of Halford's leather look and set it next to images from gay leather culture, you have an exact match. Rob Halford has, over the years, given some different statements on whether he identified with leather culture or not, but that's where the look came from. What I find interesting is not only that heavy metal style comes from gay leather culture, but how heavy metal also appropriated the masculinity that came with that and then pretended that didn't happen. If you really think about it, if we push masculinity to its limits can we get any more masculine than muscular leather men who only have sex with other men? Funny that heavy metal keeps trying to refashion that as straight male masculinity, when it never was.
Other than overlap between members, what do you think are the similarities between the heavy metal experience and the gay experience? Are both outsider groups, thus privy to certain knowledge that the socially accepted cannot perceive, or is it something else?
I can tell you one thing for certain- the queer fans I've spoken with see and feel an overlap. One fan called this feeling "outsider togetherness," this idea that queer metal fans are outsiders in two overlapping worlds. The similarities between these overlapping outsider worlds are the kinds of similarities that anthropologists see in most marginalized groups: a coded language, symbols that mean something specific that people who are not outsiders do not understand, certain styles, and particular ways of using space. For example, let's consider the dog collar, a popular accessory in heavy metal and punk scenes. I remember in the 1980s, we all did odd jobs around my neighborhood so we could buy studded dog collars at pet stores to look tough. I had a leather studded collar that I actually took off my dog to wear, and I equated it with being tough and being metal. That was the symbol of being a metal chick. Now, many years later, I know that people in BDSM relationships refer to certain submissives as being "collared" or "under the collar." For BDSM-identified folks, seeing someone in a leather vest and a collar might mean something much more complex than just "I'm a tough metal chick." The coded ways of existing in marginalized groups is complex insider knowledge, and for queer fans of heavy metal, even more complex because you can see where the codes overlap.
You also have expertise in textiles and their conservation. Are there any parallels you can draw between the conservation of textiles and the conservation of a culture or art form? What about a lifestyle?
Conservation is a big and tricky word. The idea is that you are preventing further damage, keeping something safe for perpetuity. As a museum curator, I work with textiles so that future generations can access them, study them, and perhaps understand something about the people who used them. I think that, in some way, we are always involved in the act of conserving our culture, whether that be lifestyles or arts or anything else. We record our music, we photograph things that signal our interests, we hand down important belongings- even the selfie that we see so often in social media is an example of conserving yourself, your life. How often do you tell a story about yourself, post a pic of your dinner or your beer on Facebook, post your music and art to the web so that others can rip, save or archive it? I think that for me, and speaking as a museum curator, the biggest conservation challenge is a digital one. It will be interesting to see what is actually conserved from an increasingly digital world. After all, how many emails do we actually print to save for some future archive?
Conserving a lifestyle or an art form is difficult. As an anthropologist, I think it might even be impossible. You cannot stop change. Human beings change, their environment changes, societies expand and contract. Art objects, recordings or paintings or quilts, we can conserve those. But conserving a lifestyle suggests we can trap humans in time like ancient insects encased in amber. And we can't. Even if we could, I'm not sure we should. Heavy metal, as a subculture and an assemblage of scenes, has so many artifacts to leave behind: sounds, styles, film, images, on and on. But conserving the actual feeling of standing on a floor with a thousand other metalheads, blast beats shaking your bones, heads banging in rhythm? I don't think we could conserve that any more than we could conserve our other feelings. Heavy metal has to change too, it is a human movement.
In a blog post, you mention studying the connections between leather and metal communities. What kind of connections are these? How do we observe them?
The connections are long-standing and quite deep. The first gay rights organization chartered in the United States was a leather motorcycle club, The Satyrs. Young metalheads, and later industrial and goth metal fans, found themselves welcomed in leather bars, clubs and parties where their tastes in style were not seen as threatening. After Halford premiered his leather look the ties became even more solid: metal performers donning leather gear, leather organizations using metal imagery and language, even the appearance of metal tracks at leather bars and parties. I think the key to observing them, however, is to know the history of leather-identified people in the western world. Leather-identified folks have been vilified and stereotyped for decades, both people in the queer communities and people form the straight communities. If you really want to understand those connections, you have to engage with leather culture in a new way. A visit to the Leather Archives and Museum in Chicago is a great start, I can never thank the staff there enough for everything they do for the leather community and its history. My week there as Visiting Scholar was one of the most important intellectual periods of my career.
You refer to metal as a "transitory space." What defines a transitory space? What can be done in a transitory space that can't be done in a regular cultural/artistic space?
Transitory essentially means temporary, almost an ethereal space that will only be there for a blink in time. If we think about metal concerts, for example, I think we see a good example. Imagine a concert experience you've had: the sound, the crowd, the music in your ears and the bass thumping in your bones. But when the concert ends, the metal space evaporates. The memory of it sits in your brain and your bones, but the next concert will be nothing like the one before. Transitory spaces provide a place for playing with the rules, because it is all going up in smoke anyway. I went to a Killswitch Engage show last year, and down in the mosh pit was a very tall, extremely muscular guy in a Little Bo Peep outfit. He was moshing with ferocity, with his bonnet on and his lace skirts flapping away. Am I going to see that at every show? Hell no, I've been going to shows for 25 years and that's my first Bo Peep in the moshpit. Did I see that, hear it, feel it the same way as the guy standing next to me? Not even possible, I have no idea what he was thinking about Bo Peep. And when the show was over, Bo Peep was gone. You can't play like that in a permanent space. If I showed up at the office tomorrow in a Bo Peep outfit, I'd be sent home.
For many years I've considered metal to be music dedicated to power, where most other music is dedicated to satiation. Do you see power as important in metal? How do power, sex and attitudes toward gender reveal themselves?
Power is such a slippery concept, isn't it. Power over what, or who? Empowered or powerful? I agree, I think metal is about power. But I also think metal is about the brutality of life, about survival no matter how bloody the battle. Power in metal is so much about metal as a home for outsiders, a place where those of us who feel like we don't fit (for whatever reason) find a place where the extremity of the sound matches the extremity of our experiences. It is a power that really refuses to bow to authority, and a bodily refusal at that since metal is so physical. So in metal we're not really saying "I'm in power, I will tell you what to do," we're saying, "I'm a survivor, you can't tell me what to do." There's a fascinating dynamic in there. Sex and gender, especially for people whose bodies, desires and orientations don't fit what mainstream authority says is acceptable, fits in that conception of power. It's my body, you can't tell me what to do with it. I've read a lot online recently suggesting that hyperfeminine women in metal were anti-feminist too, and I don't agree. Third wave feminism is right in line with the thinking about power in metal. There's very little difference between "you can't tell me what to do" and "get your laws off my body." For queer folks, the power in metal also means that your refusal to bow to authority might mean losing family, friends, being isolated, and for intersex and trans folks the very real fight against a world that demands you act your body. Imagine the bodily refusal, the physical power in that individual act. This is sonic power too. You hear a song that empowers you, and it travels with you in your ears, in your memory, in your tissues. You see a show that empowers you, and the sight is branded on your brain.
In addition to your book, you're fully active in the academic community including supporting metal. What's ahead for you?
A lot. I'm giving one of the keynote lectures at the Metal and Cultural Impact conference in Ohio this November, and then getting ready for the Metal, Markets and Materials international conference in Helsinki in June 2015. I'm Treasurer for the International Society for Metal Music Studies, and we're going to have a busy year getting membership systems rolling and the first issue of the journal Metal Music Studies out to the world. I've also got some essays in a couple of forthcoming collections, one based on the presentations at the Cologne conference in 2008, and another from the meeting in Puerto Rico last March. I'm lucky, I get to spend part of my day working with the smartest metal intellectuals on Earth, bringing metal studies to the masses. I've also got a second book on the way soon, the publication of my doctoral dissertation on sexuality in jazz scene Kansas City before World War II.
Do you think academia's expanding focus on metal has brought more light to outsider communities? What do you think is responsible for the post-2006 relatively large expansion in metal and academia?
I think outsider communities are always going to be outside in some way. In truth, several of us who identify as metal scholars talk about our concerns in bringing academic attention to metal. But let's face it, metal has always received a lot of attention, and not always positive. And it survives, maybe better than it ever has before, and still just as outsider as always. If we can survive Tipper Gore and Hot Topic, then metal will be just fine. I do think that the academic work on metal will bring better, more focused attention to metal scenes and fans, instead of the tired old stereotypes. As for the increased attention, that's the work of a core of brilliant metalhead folks who are teaching, writing, and thinking about heavy metal in academic terms.
Can you tell us about your own history with metal? How did you get involved? Were you a fan first, or a researcher first?
Definitely a fan first. I started listening to metal as a kid growing up in west Texas. In my mixed-race and working class neighborhood you listened to three things: metal, country, and pop music from Mexico. I grew up listening to a tossed salad of Sabbath, Bob Wills and Menudo. First metal record I "owned" (I bootlegged it from the radio) was Black Sabbath's "Fairies Wear Boots." Then I got an 8-track of Iron Butterfly's "In A Gadda Da Vida," it was 1979 and my mom got it for me at a garage sale, I was 5. It was all downhill after that. I was a big-haired 80s glam band girl in the 80s, with posters of Motley Crue on the wall, and I have Tipper Gore to thank for turning me on to Judas Priest. By the mid to late 1990s I was a Rivethead, and I still love industrial and industrial goth metal. I started reading academic work about metal when I was in graduate school in the late 1990s. By the time I was done with my dissertation, I knew I wanted to devote my research to heavy metal.
Metal folks always want to know what you're into now. I like my metal heavy, weapons grade plutonium heavy. I'm not much for thrash and speed metal. A good sludge album, a heavy shoegaze record, something dark and funereal- that's what I prefer. I also listen to records by bands with openly queer members, and a ton of classic NWOBHM. Priest is my favorite band of all time. Last show I went to was Killswitch Engage, and my next three shows are Motley Crue's farewell, Joan Jett and then Judas Priest's latest tour. And my favorite recording right now? Torche's Leather Feather.
Tags: amber clifford-napoleone, amber r. clifford-napoleone, interview, metal academia, metal academics
Swine Overlord live stream of Parables of Umbral Transcendence
Grunting percussive deathgrind band Swine Overlord unleash their Parables of Umbral Transcendence on the world on August 19, 2014. The title might lead a listener to believe this album will be more jazz-lite "technical death metal," but instead what you have here is gurgling blasting primitive and raw sound in the style of all bands inspired by Suffocation.
While much of metal has focused on hybridizing with known rock, jazz and blues genres, the deathgrind genre continues its development of its hybrid of primal death metal and raw explosive grindcore, continuing the gore and paranoid dystopic themes of its origin. Swine Overlord take a similar path with music and lyrics in the blasting mayhem and cadenced grooves of this work of utter depravity and abandonment of social trust.
To celebrate the launch of Parables of Umbral Transcendence, Gore House Productions and DeathMetal.org present the live stream of the album in its entirety:
Swine Overlord – Parables of Umbral Transcendence pre-order
Tags: deathgrind, gore house productions, slam, swine overlord
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redpajama_set_name: RedPajamaCommonCrawl


I am a freelance professional content writer working from home. As my place of work is home itself, cycling is purely for socializing and fun. In fact, I resumed cycling just about forty days back, after a gap of more than a decade. But I got used to it just within three days.
Hi folks, the latest hike in fuel prices has further strengthened the case in favor of cycling, although fuel conservation is just one of the several reasons as to why we all opted for the bicycle. I fondly hope that this constantly escalating fuel costs would encourage many more people to choose the greener mode of transportation - BICYCLE!!
Hello, I am interested in seeing comments from folks using a single speed bicycle (without gears), as I ride a bike of this very pattern. By the way, just an hour back, I finished a highly relaxing 10-km ride on my Atlas Twister. Thoroughly enjoyed it, obviously!! I actually wanted to cover a longer distance, but had to be contented with ten km as I got slightly delayed in starting from home.


text:
So You Wanna Be an Actor?
Calling all freaky-deakys: Are you covered in tattoos and piercings? Gay or lesbian and not afraid to show it? A bondage enthusiast or member of the trans-whatever community? Stop making those home movies and be in a real one. The producers of Clubfoot, a chase comedy set in the Houston club scene, are looking for extras. Warm, partying hardbodies are needed as background wallpaper for scenes shot in BAR Houston (February 18, hip party kids) and Club Go (March 7). "Both of those clubs have a great energy and atmosphere," says Clubfoot writer and director Travis Ammons. But how freaky is too freaky? "I've never heard of too freaky," he says. "Isn't that a double negative or oxymoron or something?" Ammons, along with producer and actor Tim Wrobel, hopes to shop the completed film (from their own Dizzy Stick Films) to major independent film festivals.
"We need normal people as well as party animals, all types," Ammons adds. The plot involves a young man on a first date who spots his underage sister in a club and, after attempting to take her back home to Mom, loses her and enlists the inevitable "wacky friends" to track her down from club to club. Hilarity, we suppose, ensues. "By the end of the movie, everyone's in a drag bar where a stripper gets shot in the ass and a couple of the lead actors get into drag," says Ammons. And who says they don't make realistic, quality movies anymore? For casting information, call 713-263-1226 or e-mail [email protected] or [email protected] by Wednesday, February 4. -- Bob Ruggiero
BUCA DI BEPPO'S MAMA MIA
The mid-week session with my therapist was grueling. My state of denial was now big enough to be its own country. Her advice was to go straight home and unwind over some herbal tea, but on my way home, I nixed it and decided to pull into the first bar I laid eyes upon. Buca di Beppo (5192 Buffalo Speedway, 713-665-2822) reeled me in as I was turning the corner, and five minutes later I was sipping on an unsweetened Mama Mia. It was still early, maybe a little after 5 p.m., and the bar was empty save for a middle-aged couple who appeared to be newly acquainted. People over a certain age should simply refrain from groping. It's gross. Her cell phone rang, and it was her husband. "I told you I'll be working late, Frank. Now fix your own goddamn dinner!" Her bark ended as soon as she hung up the phone, and she fell back into a Marilyn Monroe whisper. "Now, where were we?" I looked around for the bartender, who was nowhere to be found. Maybe tea wasn't such a bad idea after all.
1 1/2 ounces McCormick vodka
1 ounce Chambord
Juice of half a lime
2 packets sugar (optional)
Fill your favorite drink shaker with ice. Measure out the vodka and Chambord, followed by the lime juice. Then add the sugar, if you're so inclined. Shake vigorously, pondering if a drink is really going to make you feel better about yourself. Pour contents into an old-fashioned glass. -- J.W. Crooker
Soul Bowl
Need a little soul for your Super Bowl party? Just go to the Third Ward for the Super SoulFest, two days of food, vendors, music, poetry and sooooouuuullll. Almeda will be bustling with activity from Binz to Cleburne. Get your all-out eat on at Reggae Hut or Naturally Yours, score some art at the Black Heritage Gallery and heckle some neo-soul poets at G's and Z's. The children will enjoy the kid stuff at Peggy Park, and there will even be some zydeco on Saturday evening. But watch out if you're walking, because the Urban Cowboys and their horses will be dropping more than a little black-cowboy history on the newly bricked Almeda Road. 10 a.m. Friday and Saturday, January 30 and 31. For information, call 713-521-0900 or visit www.supersoulfest.com. Free for most events. -- Felicia Johnson-LeBlanc
FRI 1/30
Worried you just might not have a big enough bank account to mingle with Snoop Dogg after the Super Bowl at his Real Playaz Ball over at the Mercury Room? Then hustle your sweet bustle over to P. Diddy's Savoir Affair, where (insert name of imagined celebrity) might actually show up. While Snoop's handlers say they've invited everyone from Eminem to Halle Berry, P. Diddy has his own horde of maybe-they'll-show-ups, including Ashton Kutcher, over at the much larger, boomier confines of HUSH. No word on whether he'll bring Demi and the rugrats. 9 p.m. Friday, January 30. 15625 Katy Freeway. For information, call 713-330-HUSH or visit www.tickets.com. $75 to $500. -- Greg Barr


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This production will be a rare opportunity for the general public to view an absolutely powerful and moving piece of theatre on November 17 and 18!
Outside has been seen by over 35,000 students in high schools across Ontario and has twice been nominated for the Dora Mavor Moore Awards! The show is written by Paul Dunn, directed by Andrew Lamb, costumes designed by Lindsay C. Walker, set designed by Michael Greves, and sound designed by Verne Good.


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RCVS calls on Unite to get its facts right first
Nick Stace, CEO of the Royal College of Veterinary Surgeons (RCVS), has responded to a press release from Unite the Union:
"Unite's suggestion that veterinary regulation should be under the scrutiny of the Professional Standards Authority (PSA) is misguided, because the PSA is there to oversee regulation in the human healthcare sector and the RCVS already has Department for Environment, Food and Rural Affairs (Defra) and Privy Council oversight.
"Its further thoughts around the RCVS disciplinary process are out of date and missing the point. We would be very happy to help put them right and to hear any legitimate concerns they may have.
"Unite is calling for the College to no longer 'set the rules and hand down judgments', when in fact last year we successfully achieved a Legislative Reform Order, backed by the profession, to ensure that our Disciplinary and Preliminary Investigation Committees will become independent from Council.
"Unite also talks about the profession's disquiet about last year's Disciplinary Hearing into Mr Chikosi, something we are well aware of and are currently responding to by looking at the biggest area of concern, the provision of 24/7 emergency cover. Our fact-finding mission is seeking views from the profession and the public.
"More broadly, though, feedback from our First Rate Regulator initiative has shown that the profession does have confidence in our disciplinary procedures and that they are certainly not subject to 'long-standing discontent'.
"The First Rate Regulator initiative is also leading to significant improvements in the way that complaints are handled, including speed to resolution.
"Unite is seeking to recruit members of the veterinary team as members of its union and it may be more successful in that pursuit if it was to start to understand the profession better, perhaps beginning with getting its facts right.
"We would be delighted to meet with Unite to put them right where they are factually wrong, and hear what they have to say."
(Source: rcvs.org.uk)
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Cinnabon Delights are Headed to Taco Bell Locations Across Canada!
Canadians can now bite into the highly anticipated Cinnabon Delights. Image: Cinnabon
ATLANTA -- It's Delight O'clock at Taco Bell with the Canadian release of Cinnabon Delights! After taking the U.S. by storm, the irresistible Cinnabon Delights, made exclusively for and found only at Taco Bell, are finally available north of the border, for a limited time at Taco Bell locations in Canada.
Also read, MTN DEW Baja Blast Arrives at Taco Bell Canada for the First Time.
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"The fans spoke, and we listened," said Dave Mikita, SVP and President, Global Channels, FOCUS Brands. "It's important to us to make the irresistible flavors of Cinnabon accessible to as many people as possible, and introducing Cinnabon Delights to Canada was an easy decision due to the amazing fan excitement!"
"At Taco Bell, we know that amazing innovation creates amazing results," said Veronica Castillo, Head of Marketing, Taco Bell Canada. "We work hard to bring the same level of innovation into our dessert menu as we do to our main offerings. After years of Taco Bell fans asking for them, we're so excited to bring Cinnabon Delights to Canada!"
Cinnabon Delights 4-packs are available now a la carte for a suggested price of $1.99 or in a 2-pack for only $1 when ordered as a plus up to a combo. For more details on Cinnabon Delights follow Cinnabon on Twitter, Instagram and Facebook at @Cinnabon and Taco Bell Canada at @TacoBellCanada.
SOURCE Cinnabon


Jeri and Alan Edwards are celebring their 55th year of marriage.
Jeri and Alan Edwards of Carson City are celebrating their 55th wedding anniversary on Jan. 1.
The Edwards were married on New Year's Day in 1960 at St. Catherine of Siena Catholic Church in Chicago, Ill.
Alan is a retired chemist who worked in Dhahran, Saudi Arabia, from 1980 to 1986. Jeri worked in customer service at AT&T.
The couple has five children, Mary Beth Kinney of Marietta, Ga.; Patricia Bennett of Seattle, Wash.; Sharon Edwards of Denver, Colo.; Mark Edwards of Lynwood, Wash; and Daniel Edwards of St. Louis, Mo.; and two grandchildren, Nadine Bennett and Christian Kinney.
The Edwards will celebrate with their children on Dec. 31 at The Basil.


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Don't You Forget About Me, Says Siebel Systems
Two months after a bad financial report, Siebel is trying to build some buzz around its latest software release and is starting to talk about a Java-based, component-building technology it calls Nexus.
Tony Kontzer
It may have been easy to miss the latest update to Siebel Systems Inc.'s core customer-relationship-management technology, since its introduction in April came on the heels of a troubling earnings miss and a messy CEO swap.
Two months later, the company is trying to build some buzz round the release--which features improved order-management capabilities, more embedded analytics, and transaction-based pricing--and is starting to talk about a component-building technology, code-named Nexus, that it's planning to introduce later this year.
That technology is being developed in parallel with an architectural update to the company's CRM platform, Siebel CRM 8.0, which is expected to hit the market in 2006. Siebel CRM 8.0 will be the first version of Siebel's core technology built to run on Java 2 Enterprise Edition and .Net application servers rather than Siebel's proprietary app servers, says Laurent Pacalin, Siebel's VP and general manager of CRM products.
Siebel CRM 8.0 also will be designed as a component-based offering, reflecting the rapid movement its customers are making toward service-oriented architectures.
Siebel also is working on a business-process-management engine designed to help customers manage and automate transactional processes related to CRM, though Pacalin declined to divulge more details at this time.
Because such major architectural changes are in development, Siebel kept the underlying technology of its latest platform release, Siebel 7.8, largely unchanged from the previous release to simplify the upgrade process, Pacalin says. Instead, Siebel focused on taking a small step toward a service orientation by establishing transaction-based pricing to complement the trend among customers toward exposing Siebel's technology as Web services accessed through portal frameworks, a practice that mimics front-end elements of on-demand applications delivered over the Internet. Says Pacalin, "What you're seeing is a hybrid model, not only in terms of delivery, but in terms of pricing."


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redpajama_set_name: RedPajamaGithub


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