History has generously forgotten Rogers and Hammerstein's foray into German industrial metal after "The King and I."
Die Hügel sind lebendig mit dem Ton der Schreien von verdammten...
If average people in our society cared enough about the aesthetics of music to come to blows over it, I'd be absolutely thrilled.
There are a bunch of reasons why these kinds of music are compelling. A lot of it has to do with understanding and coming to terms with your own dark side. As human beings, we're capable of all kinds of good things, but we also murder, rape, wage war, slow down to look at road accidents. Instead of denying that part of us and making all our art about peace 'n' love 'n' stuff, what if we explore our aggression and deathwishes and try to understand them? And have
fun with them?
(When I listen to Emenem, I feel like I'm eavesdropping on his psychotherapy sessions. Some of his stuff is so self-revelatory it's painful, and nastily, savagely funny at the same time. Great artist, that guy.)
Extreme music is also a safe, effective way to frighten others and stake out your territory. You hear this cacophanous complicated thunderous music I'm playing? You hate it? It makes you want to cover your ears and run? Good! It's ME! MY music is making you feel that way. I understand its chaos; I love its loudness and the way it makes the inside of my skull itch. And I'm all about the way it jangles my lower chakras. Therefore I am strong and powerful, and your reaction demonstrates my control over my environment. (Which is why I've got
Behemoth on in my cubicle right now.)