menimbang: pengen sering nulis..
mengingat: blog-nya fs kurang "memadai"
memutuskan: dengan mengucap BISMILLAHHIRROHMANIRROHIIM saya pindahan blog dari FS ke blogspot dengan alamat http://hanung665.blogspot.com/
semoga dengan kepindahahan ini membawa kemajuan yang berarti..
aamiin..
oia, blog fs ini akan tetap di-update..insyaallah..:)
salam,
hanung_665
Teknik Melibas Tikungan untuk Pemula
<http://kafemotor.wordpress.com/2007/02/27/teknik-melibas-tikungan-untuk
-pemula/> Februari 27, 2007
Posted by ilham in Safety Riding
<http://id.wordpress.com/tag/safety-riding/> . trackback
<http://kafemotor.wordpress.com/2007/02/27/teknik-melibas-tikungan-untuk
-pemula/trackback/>
Apa yang membedakan orang yang baru saja bisa mengendarai motor dengan
yang sudah mahir? Tentu banyak sekali. Namun demikian, salah satu yang
paling sering membedakan pengedara yang satu dengan pengendara yang lain
adalah kemampuan menaklukkan tikungan. Hal yang sama terutama bisa
dirasakan pada saat turing. Saat peserta yang satu harus ngantri di
belakang peserta yang lain. Bahkan di arena balap pun fenomena ini
sering ditemukan.
Tentu banyak faktor yang bisa menyebabkan seorang pengendara memiliki
kecepatan lebih lambat dari pengendara lain. Bisa perbedaan jenis dan
teknologi motor, nyali pengendara, kondisi jalur yang dilalui, dst. Kita
tidak mungkin membahasnya satu-persatu di sini. Namun demikian,
setidaknya dari aspek riding style, teknik menaklukkan tikungan sangat
berperan serta.
Bagi yang sudah bangkotan dalam dunia balap maupun turing, teknik
menikung bukan masalah lagi. Belajar dari pengalaman sehari-hari mereka
bisa menikung dengan "sempurna". Tikungan bisa dilibas dengan rapi.
Tidak lebih dan tidak kurang. Lebih berarti nyelonong ke jalur lain yang
berisiko tabrakan. Kurang artinya terlalu mepet ke bahu jalan yang
artinya bisa nyusruk. Lantas bagaimanakah teknik menikung yang
sesungguhnya?
Pengertian Menikung
Secara sederhana menikung (cornering/turning) dapat didefinisikan
sebagai "membelokkan kendaraan ke arah yang dituju". Bisa kiri atau
kanan. Bisa akibat tikungan atau sekedar menghindari kendaraan atau
benda tertentu di jalan. Namun demikian, dalam dunia otomotif ada
perbedaan antara gaya menikung pada mobil dan motor.
Ketika mengendarai mobil dan ingin belok, yang perlu kita lakukan adalah
memutar stir mobil ke arah mana kita akan belok. Kalau kita ingin belok
kiri, maka stir mobil kita putar ke arah kiri. Sebaliknya, kalau ingin
belok kanan, maka stir kita putar ke arah kanan. Memutar stir akan
membuat roda depan mobil berubah arah dari semula lurus menjadi ke arah
kiri atau kanan, tergantung ke arah mana stir kita putar. Perubahan arah
roda depan pada gilirannya akan membuat mobil bergerak ke arah mana roda
depan mengarah. Roda depan mengarah ke kiri, maka mobil akan bergerak ke
kiri, roda depan mengarah ke kanan, mobil bergerak ke kanan.
Dalam setiap tikungan, mau cepat atau lambat, patah atau hairpin
(tikungan panjang melingkar), mobil melakukan teknik yang sama. Namun
pada motor, teknik demikian tidak sepenuhnya bisa diterapkan. Menikung
pada motor setidaknya memiliki tiga gaya atau teknik dengan efek yang
biasa dirasakan berbeda.
Gaya Konvensional
Gaya ini persis sama dengan gaya menikung mobil di atas. Tekniknya
dilakukan dengan memutar batang stang secara bergantian kiri atau kanan
tergantung mau belok arah mana. Gaya ini efektif pada kecepatan rendah
atau sangat rendah. Biasanya pada saat kita ingin menikung lambat pada
belokan patah dan dan sempit, gaya ini dipergunakan.
Coba perhatikan orang yang baru belajar naik motor. Badannya selalu
berusaha tegak sehingga terlihat kaku. Ketika berbelok dengan lambat
semakin terlihat tegak dan setir diputar habis ke arah tikungan. Jadi,
teknik ini sangat basic, bahkan secara naluri telah kita lakukan pada
saat awal belajar naik motor. Bagi yang sudah mahir pun gaya menikung
semacam ini masih dilakukan. Namun kecepatan aman yang disarankan di
sini hanya sampai 10km/jam. Lebih dari itu harus dengan teknik lain.
Body English (BE)
Bagaimana halnya dengan kecepatan di atas 10km/jam? Teknik yang
digunakan adalah Body English (BE) atau Counter Steering (CS). Mengapa
mengubah teknik? Karena prinsip yang terjadi pada saat itu cenderung
berbeda. Pada saat menikung pada kecepatan yang lebih tinggi, yang
terjadi adalah perubahan kemiringan motor menurut input (tekanan dan
tarikan) yang dilakukan terhadap stang. Kemiringan itu berpengaruh pada
dan dipengaruhi oleh ban yang digunakan. Berbeda dengan mobil yang
memiliki empat roda, motor hanya beroda dua. Demikian pula ban yang
digunakan berbeda. Mobil bersifat flat (rata), sementara motor bersifat
membulat.
Prinsip yang terjadi pada saat miring dalam menikung adalah perubahan
Contact Patch (CP). Semntara yang dimaksud dengan CP adalah bagian dari
ban motor yang menyentuh permukaan jalan. Ketika motor berjalan lurus,
bagian dari ban motor yang menyentuh permukaan ada di sebelah bawah ban
di bagian tengah ban. Permukaan ban motor yang membulat pun demikian.
Mempengaruhi CP sebelah kiri atau kanan, tergantung kemiringan kendaraan
dan teknik yang digunakan.
Nah, gaya BE adalah gaya memiringkan tubuh agar bisa belok. Gaya ini
menggunakan berat badan untuk memindahkan CP. Bob Sumitro, pakar
mengenai hal ini memberi contoh berikut:
"Cari jalan yang lurus dan sepi, kemudian jalankan motor dengan
kecepatan sedikitnya 30 km/jam. Setelah yakin bahwa lalu lintas sekitar
sepi, pindahkan berat badan anda ke sebelah kiri atau kanan. Begitu
berat badan anda pindah/bertumpu ke satu sisi, maka motor anda akan
bergerak ke arah mana berat badan anda bertumpu atau anda pindahkan.
Kalau berat badan anda pindahkan ke kiri motor akan belok ke kiri,
sedangkan kalau berat badan anda pindah ke kanan maka motor akan
bergerak ke kanan. Karena tahu mekanisme belok sepeda motor, saya yakin
anda bisa menebak dengan benar kenapa hal ini bisa terjadi … Jawaban
anda tepat. Sepeda motor bergerak ke arah mana anda memindahkan berat
badan karena CP dari ban motor anda pindah ke arah tersebut."
Menurut pakar satu ini, Body English ini cukup efektif untuk belok.
Namun apabila kecepatan pada saat belok agak tinggi (misalnya di atas 70
atau 80 km/jam) tidaklah demikian. Apalagi jika motor yang kita pakai
termasuk jenis cruiser atau touring bike dengan rake/trail yang panjang.
Gaya ini kurang efektif sebab radius belok kita tidak bisa setajam
tikungan, yakni dengan kata lain, gaya menikung BE bisa menimbulkan efek
cenderung melebar. Nah, pada saat itulah kita butuh gaya Counter
steering (CS).
Counter Steering (CS)
Sudah jelas tujuan Counter Steering (CS) di atas, namun bagaimana
tekniknya? CS sering dipahami secara harfiah sebagai mengarahkan stir ke
arah berlawanan. Dalam hal ini arah yang berlawanan dengan arah ke mana
kita akan menuju. Ini terdengar rancu, meskipun pada dasarnya kurang
lebih demikian. Karena itu, lebih baik kita memahaminya sebagai "metode
memiringkan motor ke arah tikungan yang dimulai dengan menekan stang
(handgrip) ke arah tikungan yang dituju (kiri atau kanan)."
Apabila ingin berbelok ke kiri, maka tangan kiri menekan stang kebawah
dan dengan otomatis tangan kanan akan menstabilkan. Pada saat yang sama
motor akan miring, namun badan cenderung tegak sebagai
counter-kestabilan motor. Dengan demikian, teknik ini juga memindahkan
CP, namun bukan dengan berat badan, tapi lebih banyak dengan permainan
tekanan tangan pada stang. Untuk lebih jelasnya mari coba latihan ala
Bob Sumitro berikut:
"Cari jalan yang sepi dan agak lebar, kalau bisa jalan yang lurus.
Sesampai di sana, kendarai sepeda motor anda sampai mencapai kecepatan
40 km/jam dan ambil posisi agak di tengah jalan. Ketika jarum speedo
mencapai angka 40, dan setelah anda pastikan bahwa lalu lintas sepi
serta tidak ada kendaran lain di sekitar anda, dorong stang kiri motor,
sedikit saja dan perlahan-lahan. Jangan heran kalau begitu stang motor
kita dorong ke kiri, maka motor akan bergerak ke kiri. Sekarang coba
lagi lakukan hal yang sama, tapi kali ini dorong stang kanan, maka motor
akan bergerak ke arah kanan."
Bagi kita yang kebanyakan menikung dengan BE, mendengar dan mempelajari
CS seperti sesuatu yang baru. Mungkin karena selama ini kita membawa
motor sesuai kebiasaan, menikung dan badan ikut membantu sudut tikungan.
Bahkan banyak pula dari kita sangat terpengaruh dengan gaya pembalap
melibas tikungan dengan memindahkan seluruh tubuh ke sisi dalam
kendaraan di mana tikungan mengarah. Sementara tidak demikian halnya
dengan CS yang menjadikan tubuh sebagai penyeimbang. Padahal sebenarnya
hampir semua orang pernah menggunakan teknik ini.
Ingat ketika masih kecil pake BMX atau waktu masih belajar-belajarnya
naik motor? Biasanya kita meliuk-liukkan kendaraan dengan menekan-nekan
setang kiri dan kanan. Alhasil seperti gaya Erik Esterada dalam film
Chips. Namun demikian, mengapa akhirnya jarang kita gunakan? Karena
makin lama kita makin senang dengan gaya belok dengan stang (pada saat
tikungan lambat dan kecepatan lambat) atau dengan gaya BE sambil
miringkan tubuh kiri dan kanan. Apa soal, kita miskonsepsi bahwa itu
lebih nyaman, gaya, & safety.
Kenyataannya, meski sudah sangat jarang kita gunakan, CS sangat menarik
(fun), efektif, dan aman. Soal fun silahkan coba sendiri. Soal efektif
karena gaya nikung CS benar menikung sesuai steering input (daya tekan
kita) pada stang. Artinya a) badan tidak terlalu capai karena tidak
perlu terlalu ikut doyong kiri kanan, b) menikung dengan CS memungkinkan
posisi badan tetap lurus sesuai kemiringan motor atau agak lebih tegak
dari kemiringan motor sehingga apabila terjadi hal-hal yang tidak
diduga, seperti ada lubang atau menghindari kendaraan yang tiba-tiba
bergerak memotong, kita tinggal menarik stang mengikuti badan yg tegak
atau miring ke arah sebaliknya.
Kenapa lebih efektif, soalnya berat badan kita tidak sedang miring ke
arah tikungan. Bayangkan betapa susahnya memindahkan berat tubuh dari
(katakanlah) sebelah kiri ke kanan secara mendadak untuk bermanuver
menghindari lubang atau kendaraan lain. Jeda waktu (duration) dan tenaga
(effort) yg digunakan pastlah lebih lama & berat. Pada teknik CS, hal
ini tidak terjadi. Alhasil, setiap manuver terasa ringan dan kecepatan
tetap bisa dipertahankan.
Demikianlah tiga gaya dan teknik basic dalam mengendarai motor
ditikungan. Sangat penting dalam berkendara sehari-hari, dan terutama
bagi para bikers yang gemar turing.
| Contents |
|---|
This is a list of black metal bands,
with country of origin in parentheses. Note that this list includes
bands that have at some point in their careers played black metal.
| Contents |
|---|
Black metal is a type of extreme heavy metal music that started in the early 1980s. The genre is characterized by an aggressive and abrasive sound, coupled with a dark atmosphere that rejects Right Hand Path sentiments.
The first bands with black metal characteristics included Bathory, Sodom, Mercyful Fate, Hellhammer/Celtic Frost and Venom. These bands were thrash metal
bands that formed the prototype for the later second generation of
black metal. The second wave of black metal started in the late 1980s
and early 1990s, primarily in Norway.
Black metal has been met with considerable hostility from mainstream
culture, mainly because of the hateful and anti-religious attitude of
many bands. Additionally, a few black metal bands have been known to
have associations with church burnings, murder, and National Socialism.
Contents[hide] |
Black metal can contain, but is not limited to, the following characteristics:
Controversial band Gorgoroth demonstrates corpsepaint, a once common element within the black metal subculture.
The term "black metal" was first coined by the British band Venom with their 1982 sophomore effort Black Metal. Although the musical style was much like thrash metal, a heavy and unrelenting emphasis on Satanic and occult
themes, both in lyrics and imagery, was distinct. The music was in many
ways unpolished in production. Guitars were far more blistering than
other subgenres of heavy metal, and very "unclean" vocals relied less
on melody than they did on raw, shreiking screams. Venom’s members also
adopted pseudonyms (the original lineup being Cronos, Mantas, and Abaddon), something not common for metal bands at the time.
Another band that can be considered pioneers of the genre was the Swedish band Bathory, led by Thomas Forsberg (under the pseudonym Quorthon).
Bathory focused on suboptimal production standards to better suit their
raspy vocals and furiously fast tempo, as heard on early albums such as
The Return. They would also become responsible for being the first band to add an element of Norse mythology
next to their occult themes, in both lyrics and album art. This was a
concept that would become influential enough to spawn an entire
sub-genre known as Viking metal, preserved for bands which focus strictly on such mythological ideals.
Other influences early on include Hellhammer, Celtic Frost, and the Danish band Mercyful Fate. King Diamond, vocalist and frontman of Mercyful Fate, was also one of the first to appear in corpsepaint,
a visual aspect of black metal that the vast majority of bands in the
1990s would take after. The "Second Wave" of black metal can be said to
owe a debt to the Italian band Death SS, which mixed horror themes with thrash metal in the late 70s and early 80s.
The "Second Wave" of black metal in the early 1990s came in part with the rise of Norwegian bands such as Darkthrone, Mayhem, Burzum, Gorgoroth, Immortal, and Emperor.
This wave not only added new atmospheric elements, but many of these
bands would also be responsible for a rash of criminal controversy, as
seen below. Classical
elements were also introduced to a small degree and popularized the
genre for a growing underground audience. Philosophically, an abbrasive
anti-Right Hand Path
sentiment became a must for any band to be finalized as "black metal".
A dark, misanthropic mentality was complimented visually with the use
of corpsepaint, which was also most prevalent during this wave as a statement to separate black metal bands from other rock bands of the era.
Cover of De Mysteriis Dom Sathanas by Mayhem.
Besides the influence of Norwegian bands, the black metal scene in Sweden grew and became important with bands such as Marduk and Dissection and in Finland with bands like Beherit and Impaled Nazarene. Elsewhere, band such as Samael, Master’s Hammer and Blasphemy had a big influence on the second wave of black metal.
An abraded, very low fidelity
recording style was common in most black metal at the time, and was
often intentional to preserve an underground quality of the genre.
Sometimes artists would branch off into related subgenres, such as death metal, keeping their Satanic
and occult mentality intact. Such a style has been deemed "Blackened
Death Metal". Mayhem’s career, for example, began mostly in the
death/black roots, moved to almost pure black, then towards death again
in their later career. It was experimentation like this that aided
black metal’s growth, but would ultimately mean the end of the second
wave by the mid-1990s, as more modern black metal bands started to
raise their production quality and introduce new instrumentation such
as synthesizers (commonly seen in industrial metal) and full-symphony orchestras.
Øystein Aarseth’s independent label, Deathlike Silence Productions,
became the first label to dedicate itself purely to black metal.
Deathlike Silence’s stated goal was to release records by bands "that
incarnated evil in its most pure state". The label would become home to
Aarseth’s own band, Mayhem, as well as other black metal acts like Burzum.
With the rising popularity of his band and others like it, the
underground success of Aarseth’s label is often credited for
encouraging other record labels that previously refused black metal
acts to then reconsider and release their material.
Headliners of the black metal scene in the early 1990s claimed
responsibility for inspiring, if not necessarily perpetrating, over a
dozen arson
attacks directed at Christian churches in Norway. Many of the buildings
were hundreds of years old, and widely regarded as important historical
landmarks. The most notable church was Norway’s Fantoft stave church, which the police believed was destroyed by the one-man band Burzum, Varg Vikernes, aka "Count Grishnackh". However, he was acquitted by the court due to lack of evidence. Burzum’s EP release, Aske,
had a cover which depicted Fantoft stave church after the arson.
Vikernes claims to have taken this picture, but this has not been
verified.
The cover of the black metal album Aske by Burzum depicts the charred remains of the Fantoft stave church.
In modern times, the church burnings have caused a minor divide
within the black metal community concerning the legitimacy of the
actions. When interviewed for the film Metal: A Headbanger’s Journey, Gaahl of the band Gorgoroth
praised the historical church burnings as "things I support", adding
"there should have been more of them, and there will be more of them".
However, other artists, as surprising as it may be, don’t support the
historical burnings. Necrobutcher, one of the current members of Mayhem,
was quoted in a mini-documentary that accompanied the same film, saying
"I think it’s ridiculous, especially the people that lit up our old
fuckin’ churches. They don’t realize that these were actually Heathen churches, before Christianity. So they fucked themselves in the ass by doing that".
In 1991, attention towards black metal increased when Mayhem’s frontman Dead committed suicide by a shotgun blast to his head. His note simply read "Excuse all the blood". The ammunition was supplied by Varg Vikernes, who played bass for Mayhem on "De Mysteriis Dom Sathanas". Dead’s body was discovered by fellow bandmate Øystein Aarseth (also known as Euronymous),
who, instead of calling the police, ran to a nearby convenience store
and bought a disposable camera to photograph the corpse. The pictures
were later stolen and one was used as the cover image for a bootleg
Mayhem album (Dawn of the Black Hearts).
Claims that Aarseth took pieces of Dead’s brains and made a stew out of
them eventually surfaced, as well as claims that the members of the
band made a necklace from the bone fragments of their friend’s skull.
The former claim was later declared false by the band, although the
latter turned out to be true[1].
Varg Vikernes of Burzum was arrested for the murder of Øystein Aarseth of Mayhem
at Aarseth’s home in 1993. According to official reports, Øystein
received a total of twenty-three stab wounds: two to the head, five to
the neck, and sixteen to the back. The circumstances of the murder are
not entirely clear. Some believe the act was a result of a power
struggle between Vikernes and Aarseth, and that the delay of Burzum
records being released on Aarseth’s label was the result of jealousy
towards Vikernes. Furthermore, Aarseth’s closing of their record store (Helvete)
may have escalated their conflict, which alluded to a financial dispute
over the profits from Burzum’s first two full-length records (Burzum and Det Som Engang Var) as well as the first Burzum EP (Aske). Rumors also claim the murder was Varg’s attempt at "out doing" Bård Faust’s stabbing of a civilian in Lillehammer the year before (see below)[2].
Vikernes himself claims that Aarseth plotted to torture and kill him
out of jealousy, and the murder was purely out of self-defense[3].
Vikernes was sentenced to 21 years in prison and has since distanced
himself from the black metal movement. He has released two albums of a
much more ambient and electronic kind of music, Dauði Baldrs in 1997 and Hliðskjálf in 1999,
but implied in a recent interview that he would write material similar
to his older works upon his release from prison. As far as Mayhem, the
murder of Aarseth nearly rendered the band extinct. However, they
continue to perform even today, fronted by original member Necrobutcher and long time drummer Hellhammer.
In 2003, a concert-goer in Norway received a fractured skull as a sheep
head flew from the stage while band member Blasphemer was cutting the
head away from the torso[4].
In 1992, Bård Faust of the band Emperor
was in Lillehammer to see the newly constructed Olympic park. A
homosexual man named Rhys Adamec approached him and suggested that they
go together in the nearby forest. Faust agreed, and once in the forest,
stabbed the man to death. After Faust committed the murder, he went
with members of Mayhem to burn Bibles and hymnals at a nearby ski-jump. In the fall of 1993, police began to investigate the murder of Øystein Aarseth from Mayhem, naming Varg Vikernes
as a suspect; this investigation eventually led to the conviction of
Faust for the murder in Lillehammer. He was interviewed for a black
metal mini-documentary that accompanied the DVD release of Metal: A Headbanger’s Journey.
There was also a conflict known as the "Dark War" between Norwegian
and Finnish black metal scenes during 1992-1993. This started when
Nuclear Holocaust of Beherit started to make prank calls in the middle of the night to Samoth of Emperor and to Mika Luttinen of Impaled Nazarene. The calls were mainly just babbling and playing of children’s songs.[1]
Luttinen somehow got the idea that the language babbled was Norwegian
and they were making death threats to him. These speculations were made
by him probably because of the tensions between Finnish and Norwegian
scenes in that time, as Euronymous wanted to lead his black metal
movement into a more occult stance, where as Finnish scene continued
with the more easy going attitude and LaVeyan Satanism.
The "war" itself was also more than just talk. In the album cover of the Impaled Nazarene’s Tol Cormpt Norz Norz Norz you can find texts like "No orders from Norway accepted" and "Kuolema Norjan kusipäille!" (Death to Norwegian assholes!).
After their first LP, Impaled Nazarene quit playing black metal and
defined their style as "Satanic death metal", disassociating themselves
from the church burnings in Norway. The Finnish band Black Crucifixion also became known to criticize Darkthrone as "posers" and "trendies" in every possible interview.[2] Beherit didn’t really participate in the conflict, yet in Norway there was a band called Fuck Beherit
which released two demos mocking the band. The conflict is also said to
have had an effect on Beherit’s decision to quit black metal, but there
isn’t anything concrete to this, only the somewhat same date. The
conflict ended as both scenes withered.
It was normal in European countries for Black metal enthusiasts to terrorize other notable Death metal
bands that were touring their country or in neighboring countries, on
the basis of their lack of apparent "evilness" (the death metal
sub-genre focuses strictly on theatrics, and is mostly devoid of major
criminal attempts and controversy, unlike black metal). Many recall a
strong Swedish death metal and Norwegian black metal rivalry.
Despite a few recent controversies surrounding members of Gorgoroth,
the black metal scene has lost much of the violence it had become known
for in the early 1990s. Towards the mid-1990s, bands began to take new
directions and increase their production quality. The introduction of
electronic instruments, such as synthesizers, signaled the end of the
second wave.
However, since the mid-1990s, an Eastern European black metal scene has been developing. Bands from the former Communist Bloc
are recording material more in-keeping with the primitive nature of the
early Norwegian artists. Many of these bands’ lyrics glorify the pagan roots of their home countries, occasionally injecting elements of indigenous folk music into their arrangements. The Latvian band Skyforger is a prime example of this new aesthetic. The black metal scene in Russia and Ukraine
has produced many bands more in keeping with the carefully arranged
sounds coming from Scandinavia, but with more appreciation for the low
fidelity aesthetic of early black metal. The Czech band Trollech are a perfect example of the "old-school" Pagan black metal band. The Ukrainian neo-Nazi Nokturnal Mortum
has achieved very large recognition in the west; their earlier albums
relied heavily on synthesizers, but their current work has a grimmer,
more abrasive feel flavored with Slavic folk instruments. Poland’s neo-Nazi band Graveland has, in recent albums, striven for a ‘medieval’ feel, resembling a more developed version of later ‘Viking’ Bathory albums, but in the past made much rawer music which still held a certain intangible folk flavor. From Romania, Negură Bunget is a prime example of traditional black metal, injecting their own indigenous mix of Dacian and Latin elements creating something original, along with a Scandinavian sound.
Bands such as Dark Funeral and extreme metal magazines such as Terrorizer believe that a third wave of influential black metal bands is emerging[citation needed], this time from France and Sweden. These include Draupnir, Deathspell Omega, Watain, Blut Aus Nord, Arkhon Infaustus, Anorexia Nervosa, Antaeus and Ofermod. Many of these bands claim to be much more interested in Satanism and/or Occultism than previous artists[citation needed]
and generally play a very raw extreme style. However, just as with the
earlier second wave Norwegian bands they have started to experiment, Deathspell Omega are influenced by Gregorian chant and Blut Aus Nord now incorporate elements of ambient industrial.
There is much controversy surrounding these new aspects; many black
metal fans feel that this industrial influence and the increased
production mean such bands do not fit within the black metal genre.
 |
This article or section may contain original research or unattributed claims. Please help Wikipedia by adding references. See the talk page for details. |
Any attempt to lay out the ideology of a musical genre is bound to
generalize to the extent that some traits are unfairly played up with
respect to certain artists, while others are laid out which do not
apply to all. Nonetheless, there is a clear ideological thrust which
can be sketched out which captures the essence of the thought behind
black metal music.
The attitude taken to art in black metal is complex. To a large extent, aesthetics are ideology. Black metal is generally held to embrace anti-Christian sentiment, misanthropy, nihilism, Paganism, or Satanic imagery, as well as in rare cases racism and nationalism.
In actuality most black metal musicians view their craft as a natural
result of their inherent misanthropy and anti-establishment Weltanschauung [citation needed]. Similarly, there is often a deep link to nature which is emphasized, being a type of naturalism, with a heavy emphasis on mortality and the unknown aspects of death. More generally, most black metal musicians are strongly anti-collectivist, critics of religion and are advocates of individualism and rational egoism, but Nationalist Socialist black metal is an exception to this case. The philosophy of Nietzsche
is perhaps that which has had the most profound influence on black
metal ideology, with strong ties between the production of art as an
expression of living, the hatred for ‘the bungled and the botched’, and
the doctrine of the übermensch as seen by Nietzsche and as expressed in black metal aesthetics [citation needed].
The majority of those involved in the scene are not outspoken with
regard to either nationalism or xenophobia (these values are almost
exclusive to the sub-genre of National Socialist black metal),
perhaps because standard black metal ideology is influenced by
anti-idealist philosophers who often regarded racism as a form of
idealism or philanthropy. Nonetheless, many black metal bands espouse a
form of nationalism that is not racism: they are merely proud of their
nation, but do not deny the right of other people of other nations to
be proud of theirs. This is part of the anti-collectivist mindset which
is sometimes held. It follows logically that homogenisation between cultures
(irrespective of race) is something to be avoided, and the way to avoid
this is to take pride in being a representative of one’s own culture,
and produce art that is distinct to it. This form of nationalism is
manifested musically by the incorporation of folk elements to some
black metal bands’ work. This often occurs well outside of the National
Socialist subgenre.
A black metal movement that deals with Neo-Nazi ideologies, often mixed in with topics pertaining to European pagan religions,
National Socialist black metal (NSBM) is more interpreted as an
ideology than a sub-genre as there is not any developed "style" to play
black metal in a National Socialist way. However, the term has stuck around not only because there are traceable movements and labels that sell NSBM exclusively, but also because it is such a hotly debated topic;
giving rise to questions like whether it does or does not coincide with
traditional black metal characteristics, or whether it should even be
considered a subform as most black metal bands do not adhere to the
ideology. Some black metal bands have been wrongly labelled NSBM, as
there is little to no evidence in the bands lyrics to prove their
ideologies. Even though NSBM bands usually have topics that concern Paganism, it should be noted that most Black Metal bands which have lyrics about paganism are not NSBM.
Despite the fact that black metal is an underground genre, there are
references to black metal in mainstream media. The cartoon show Metalocalypse is a show about an extreme metal band called Dethklok,
with many references to leading black metal artists on the names of
various buildings such as "Dimmu Burger"", "Gorgoroth’s" electric
wheelchair store, "Burzum’s" and "Behemoth" studios [citation needed]. In the videogame Guitar Hero 2,
a character named Lars Umlaut resembles a black metal musician and
blows fire. A Norweigan commercial for a laundry detergent once
depicted black metal musicians as part of the advertisement [3]. Black metal bands such as 1349, Dimmu Borgir, Bathory, Satyricon have had appearances on MTV’s Headbangers Ball.
Death metal is a sub-genre of heavy metal that evolved out of thrash metal during the early 1980s.
Contents[hide] |
Death metal generally includes violent or dark lyrics which focus on death as a nihilistic metaphor[citation needed], chromatic chord progressions and a varied song structure without a standard verse-chorus
arrangement; compositions instead emphasize an ongoing development of
themes and motifs. The genre is often identified with downtuned rhythm
guitars, fast percussion, and dynamic intensity. Blast beats,
exceedingly fast drum patterns, are frequently used to add to the
ferocity of the genre. The vocals are often grunts, snarls, and low
gurgles colloquially called death grunts
or death growls. Death grunts require use of the throat and guts,
unlike traditional singing techniques which discourage this technique.
Some people consider it an overtone style of singing. Music journalist Chad Bowar notes that, because of the similarity of the vocals to those of the Sesame Street character, the style is sometimes called "Cookie Monster vocals".[1] This term has become commonly used as a show of dislike for the genre.
Death metal is occasionally known for abrupt tempo, key, and time signature changes, and extremely fast and complex guitar and drumwork, although this is not always the case[vague]. Bands of this genre frequently utilize downtuned and distorted guitars, a downtuned, sometimes distorted bass guitar, a drum set almost universally using two bass drums
or a double bass drum pedal. Although this is the standard setup, bands
have been known to incorporate other instruments such as keyboards and saxophone. Death metal is very physically demanding of its musicians, especially in its more complex forms.
Death metal lyrics usually address more nihilistic themes than other forms of rock music (with the exception of black metal)[citation needed], usually using metaphors of a gruesome nature to explore a larger concept[citation needed].
The genre, originally an offshoot of thrash metal, was established to
celebrate the darker underlying ideas that lay dormant in metal music.
The focus on mortality along with the extreme nature of the music
likely inspired the naming of this genre.
There are three common theories on the origin of the term "death metal." The first being is the title of the Possessed song Death Metal, which was featured on their 1985 debut album Seven Churches (an album widely regarded as the first death metal album, predating Morbid Angel’s and Death’s works[citation needed]). But in the same year, a song called Death Metal appeared on the debut album Power from Hell by thrash metal band Onslaught. A 1985 demo by Death was also called Death by Metal. The second theory is that the name of genre pioneers Death was the origin of the genre’s name, since their 1987 debut album Scream Bloody Gore
made death metal a more recognised form. Their austere name has said to
have been adopted as the genre’s title. A third theory emerged in 2003
when the late Thomas ‘Quorthon’ Forsberg of black metal band Bathory claimed in an interview with the British journalist Joel McIver that he had invented the term ‘death metal’ as far back as 1984, even though his band never pursued a death metal approach[citation needed].
 |
The neutrality of this article is disputed. Please see the discussion on the talk page. |
Death metal is an offshoot of thrash metal. Thrash metal is a genre
of extremes, fast tempos, blaring distortion, yelled and shouted
vocals, and unpredictable song structures. Thrash bands experimented
with new techniques and ideas in order to push the genre further away
from mainstream rock music. The most extreme of these thrash bands
created a proto-death metal sound by playing a faster, heavier, and
darker version of standard thrash.
Genres are not usually identified solely by aesthetic form, and
black or death metal labels are not easy to apply to some bands. One
example of this is the American band Slayer, a pioneering thrash metal band. Slayer are not usually classified as a death metal band, and have never labelled themselves as such. Even so, with Reign in Blood from 1986, and subsequent works, they certainly influenced many early death metal bands[citation needed].
Around 1983, aggressive U.S. bands such as Florida’s Death, California’s Possessed, and Chicago’s Master began to form. If one would call this diffuse genre "early death metal", the first recorded examples of this would be Possessed’s album Seven Churches from 1985, Messiah’s album Hymn to Abramelin from 1986 and early demotapes by Death, followed by Death’s album Scream Bloody Gore from 1987. Morbid Angel
is another band that largely influenced the death metal scene,
releasing numerous demos and rehearsal since 1983. To their credit,
these "early death metal" bands did push the format forward, something
that would ultimately pay off in a new form of music that was
substantially different from their closest forefather, thrash metal.
The late 1980s saw the rise of death metal in Scandinavia, and in particular in Sweden with bands like Entombed (then Nihilist), God Macabre, Carnage (later Dismember) and Grave.
The debut albums of these bands were mostly released in the early 1990s
and characterised by a distinct guitar sound, which is heavily inspired
by the sound of the UK grindcore act Unseen Terror[citation needed].
The alternative standpoint is that the modern concept of death metal
— the point when it clearly decouples from the origins in heavy metal
and thrash metal — can be set to 1989 or 1990[citation needed]. Just as the original creation of NWOBHM (New Wave of British Heavy Metal) by Iron Maiden and other bands was sparked by the youthful energy of punk rock in the late 1970s, so did cross-fertilisation between metal and punk once more create something new in the late 1980s. The chaotic and often confusing development that took place around this time is well illustrated by the British band Napalm Death, often characterised as a "grindcore" band (see below). This band was simultaneously always part of the hardcore punk scene. However, Napalm Death themselves changed drastically around or before 1990, leaving grindcore behind.
In particular, on 1990s Harmony Corruption,
Napalm Death can be heard playing something most fans would call death
metal today, i.e. "modern death metal" by the above characterization.
This album clearly displays aggressive and fairly technical guitar
riffing, complex rhythmics, a sophisticated growling vocal delivery by Mark "Barney" Greenway, and thoughtful lyrics. Other bands contributing significantly to this early movement include Britain’s Bolt Thrower and Carcass, Buffalo’s Cannibal Corpse, Sweden’s Entombed, New York’s Suffocation, and Florida’s Morbid Angel[citation needed][vague].
To close the circle, the band Death put out the album Human in 1991, an example of modern death metal. The band Death’s founder Chuck Schuldiner
helped push the boundaries of uncompromising speed and technical
virtuosity, mixing in highly technical and intricate rhythm guitar work
with complex arrangements and emotive guitar solos[citation needed]. Other examples of this are Carcass’s Necroticism: Descanting the Insalubrious from 1991, Suffocation’s debut Human Waste from the same year and Entombed’s Clandestine from 1992. At this point, all the above characteristics are clearly present: abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and growling delivery.
In the late 1980s and early 1990s, various record labels began to sign death metal bands at a rapid rate. Earache Records and Roadrunner Records became the genre’s most important labels[2], with bands such as Carcass, Napalm Death, Morbid Angel, and Entombed, and Obituary, Sepultura, Pestilence, and Deicide
respectively. Although these labels had not been death metal labels to
start with (Earache was founded for grindcore and Roadrunner for
thrash), they became the genre’s flagship labels in the beginning of
the 1990s. In addition to these, other labels formed as well, such as Nuclear Blast, Century Media, and Peaceville; many of these labels would go on to achieve successes in other genres of metal throughout the 1990s.
 |
This section does not cite its references or sources. Please help improve this article by introducing appropriate citations. (help, get involved!) This article has been tagged since August 2006. |
Death metal’s popularity achieved its initial peak in the early 1990s, with some bands such as Morbid Angel
enjoying mild commercial successes; however, the genre as a whole never
broke in to the mainstream owing to its extreme nature. Nevertheless,
rather than fading away, death metal diversified in the ’90s, spawning
a rich variety of subgenres, including the following:
Melodic death metal, sometimes referred to as melodeath, is a less extreme form of death metal. Songs are typically based around Iron Maiden-esque
guitar harmonies and melodies with typically higher-pitched growls, as
opposed to traditional death metal’s brutal riffs and much lower death
grunts. Grindcore band Carcass are sometimes credited with releasing the first melodic death metal album with 1994’s Heartwork, although Swedish bands In Flames, Dark Tranquillity, and At the Gates are usually mentioned as the main pioneers and popularizers of the genre and of the Gothenburg metal sound. Since the genre’s creation, Finnish melodic death has also risen, with a more thrash metal/neoclassical influenced sound, such as those of bands like Etos, Kalmah, Norther, and early Children of Bodom.
Scandinavian death metal could be called the forerunner of melodic death metal. Bands like Entombed, Dismember, Unleashed, and the aforementioned At the Gates
helped to define the sound that would evolve into melodic death metal.
This term is generally interchangeable with melodic death metal.
Entombed (ex-Nihilist) was the band, which started to combine punk and
death/thrash riffs and set a trademark "Sunlight studios"
guitar sound - mainly created by the use of the Boss Heavy Metal
distortion pedal, creating a raw, mechanical, electric buzz, which many
bands of this genre later tried to reproduce. Nevertheless, this sound
was inspired by British deathgrind band Unseen Terror on their debut album Human Error.
Florida death metal is more rigid and percussive than the Swedish
variant, more precise, refined and traditional; in many ways this style
can be seen, at least in the early days as an extension of thrash metal, especially the Kreator/Destruction
variety, but with added complexity and brutality. It tends to be more
direct and brutal than the "technical death metal" pioneered by bands
such as Cynic and Atheist. Bands include Deicide, Malevolent Creation, Monstrosity, Obituary, Brutality, Morbid Angel, and Death though later Death’s albums fall more into the category of progressive death metal (see below).
Technical death metal,
a narrow but influential subgenre, refers to bands who are particularly
distinguished by the virtuosity of their musicians. Technical death
metal is musically characterized by chaotic riffs, atypical rhythms,
polished production, and rapidly changing time signatures. It is a term
commonly applied to such bands as Gorguts, Immolation, Necrophagist, Atheist, Decapitated, Cryptopsy, Spawn of Possession, Nile, Origin, Dying Fetus and Psycroptic.
Progressive death metal is a subgenre of death metal that incorporates characteristics such as time signature and mood changes from progressive metal.
The overlapping of genres is quite common. The genre typically
showcases death metal’s growls, blastbeats, chaotic alternating rhythms
of progressive metal, acoustic parts and the use of instruments not
common to traditional heavy metal such as the saxophone. Amorphis (Early), Opeth, Cynic, Novembre, Coprofago, Death, Pestilence, Nocturnus and Atheist
are seen as progressive death metal. This and technical death metal are
closely associated, sharing many of the same bands and often
overlapping, but have different emphasis as descriptions.
Brutal death metal developed by combining certain aspects of the song structures of grindcore/goregrind with death metal. This genre tends to be a little less technical (see above). Brutal death metal is associated with bands like Cannibal Corpse, Severe Torture, Krisiun, Disgorge, Devourment, Origin, Disavowed, Drawn and Quartered and Suffocation. One main characteristic of brutal death is the vocal style, called death grunt, which are almost always very low-pitched. The lyrics are mostly gore
related, sung in a slow and choppy manner. In addition, the guitar
riffs are usually chunky grooves or hyper fast and down-tuned, often
with pinch harmonics. The drumming is usually highly varied in style,
ranging from slow and churning to blast beat, as is often the case in grindcore. The album sound production on most brutal death metal bands albums usually have a dense sound. New York bands such as Suffocation and Florida bands such as Deicide can be considered the origins of this style.
Death/doom is a slow and melancholic subgenre inspired by and mixed with classic doom metal. The genre was created by the likes of My Dying Bride, Paradise Lost, Anathema, Winter, Asphyx and Disembowelment.
Whereas traditional doom metal relies heavily on slow tempo to create a
melancholic atmosphere, death/doom is slightly faster and emphasizes
minor-key melodies to create a similar atmosphere, and usually utilizes
a mix of death growls and singing.
Blackened death metal is a subgenre of death metal fused with the more fluid and melodic elements of black metal.
These bands also tend to adopt some of the thematic characteristics of
that genre as well; evil, Satanism, and occultism are all common topics
and images. Necrophobic, Goatwhore, Incantation, Thelema-era Behemoth, Belphegor, Zyklon, and Dissection
are examples. Rather than what the name implies, blackened death tends
to be black metal played with the intensity and musicianship of death
metal, i.e. more complex drumming with emphasis on fills as well as
lower tuned guitars utilizing the heavier attack and percussiveness of
death metal guitar playing.
Deaththrash
(also known as "Death/thrash") is a form of thrash metal with elements
of death metal, including fast drumming, guitar picking techniques such
as tremolos, death themed lyrics and possible "death growl" vocals. In
the earliest incarnation this style was the progression from thrash
metal to death metal began in 1986. These were the bands that started
the "Deaththrash" sound from their albums such as: "Reign in Blood" by Slayer, "Pleasure to Kill" by Kreator and Dark Angel’s "Darkness Descends" which inspired other thrash bands to use a dirtier sound. Some bands in this particular genre are: Benediction, Pestilence, Epidemic, and Cancer.
Grindcore is considered by some to be an even more extreme variant
of death metal and hardcore punk. However, many fans of grindcore and
music historians would place it in a genre by itself, since the genre
historically developed in parallel to death metal (both developed in
the 1980s, death metal from thrash metal and grindcore from crust punk), each influencing the development of the other, but with early grindcore having a much more obvious hardcore punk, crossover thrash, and anarcho-punk influence. Early grindcore bands include Napalm Death (considered by many to be the founder of the genre, now a Death Metal band), Carcass, Impetigo, Fear of God, Terrorizer, Extreme Noise Terror and Repulsion.
On the one hand, there are also other heavy metal sub-genres that
have come from fusions between death metal and other non-metal genres,
such as the fusion of death metal and Jazz played by Pestilence on their Spheres album, or the work of Florida bands Atheist and Cynic, the former of which sometimes went as far as to include jazz-style drum solos on albums, and the latter of which incorporated notable influences from fusion. Gorguts are another band noted for creating jazz-influenced death metal on their Obscura album. Nile have also incorporated Egyptian music and Middle Eastern themes into their style.
With the recent rise in popularity of metalcore, strong modern hardcore punk influences have also been utilized in death metal. Dying Fetus is one such band, with a handful of members having been active at times in their local hardcore scene, and even releasing an EP
with a cover song by their hardcore peers, Next Step Up, although this
adoption predates the rise of metalcore, and Dying Fetus has very
little in common with most metalcore bands.
It is also noteworthy that many bands can easily be placed in two or
more of the preceding categories, and a band’s specific categorization
is often a source of contention due to personal opinion and
interpretation.
kenapa yang begini-begini masih juga beredar?
apakah pengguna FS tidak cukup berpendidikan tuk menelaah sebelum sekedar menekan tombol FORWARD ?
fiuuh..temennya tomat..CABE DEEH..
————————————————
| From: |
 |
| Date: | localDateTimewithTimezone(”3/14/2007 12:52 AM”,”timetag1″,”ID”);Wednesday, 14 March, 2007 3:52 PM |
| Subject: | FW: Pass this on [FRIENDSTER IS REALLY CLOSING SOON] |
| Message: | ———————————- Original message from ‘fe: > > ———————————- > Original message from JuLziE: > > > > ———————————- > > Original message from -s i s y-: > > > > > > ———————————- > > > Original message from andien: > > > > > > > > ———————————- > > > > Original message from ApIeZ: > > > > > ———————————- > > > > > Original message from yana: > > > > > > > > > > > > ———————————- > > > > > > Original message from Farah: > > > > > > > > > > > > > > ———————————- > > > > > > > Original message from Fatin N: > > > > > > > > > > > > > > > > ———————————- > > > > > > > > Original message from SiAO tYnG: > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > Original message from Susan: > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > Original message from - cK’s -: > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > Original message from sEONg: > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > Original message from Jean: > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > Original message from wallase ho: > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > Original message from jackyhong: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > Original message from B’boy-Yung Huat: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > Original message from Lindy: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > > Original message from Caris: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > > > Original message from Mabel: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > > > > Original message from Carol: > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > > > > > Original message from Joslyn: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ———————————- > > > > > > > > > > > > > > > > > > > > > Original message from MeRmAiD Yu: > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > From Mr. Allen Smith (Manager of Friendster) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Friendster system is getting too crowded!! We need you to forward this to at least 20 people. We know this seems like a large number, but we need to find out who is really using their account. If you do not send this to at least 10 Friendster members, we will delete your account. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > |
From: wawan
Date: Thursday, 15 March, 2007 3:32 AM
Subject: Kepingin jadi landscaper????
Message:
1. The best equipment you have is your
eyes, heart and Mind. A pro Photographer
with his/her less than US$ 200 pocket
Camera can beat any Beginners with more
than US$ 2000 equipment easily in making
quality Photograph.
2. For Landscape, The best Zoom lens
available in this planet up to now is
your regular cheap fix wide angle lens
(16mm, 18 mm, 20mm, 24mm) and your foot
to walk closer/ further from your subject.
3. Trying to make good or excellent
photograph is not enough. You have to
aim to make a monumental photograph with
your every shot.
4. Landscaper needs at least 5 legs.
Three of them are your tripod’s.
5. Look, feel, close your eyes, create
imaginaton, open your eyes. Then Shoot.
6. You are a painter behind the
viewfinder. Think like one, see like
one, create like one.
7. Dont see landscape picture too much.
Instead look for more landscape painting
from legendary painter.
8. Skip any Landscape technic
Photography class offered to you.
Instead, take a serious class in
painting about color, perspective and
composition.
9. Only take your pocket camera when
hunting with your fellow from local
photo club. Take as much picture as you
can in the location. Dont let their
"show off" talk about equipment bother
you. Go home. Examine your shot
carefully and look for details. Make
imagination. Choose an angle. Then
Return to the place the next day when
the light is right and shot your
monumental picture.
10. The ability of the artist to breathe
"life" into their art is the essence
part of extraordinary artwork.
11. If you plan to edit every picture
you took heavily with software. Just
sell your camera and buy a good computer
system and a pocket digital camera.
12. The more often you bring bad photo
to photoshop, the more chance you have
to become a really bad Photographer.
13. Get rid all your bad picture, bad
poster you see, bad landscape magazine
picture you read. The more often you see
good composition landscape picture, the
better chance you will have to become a
good landscape photographer.
14. Patience is the key. Only take your
shot at the highest point of your
emotional curve. Ansel Adams would wait
the whole season or year just to take
one frame which closely describe his
imagination. If he missed the moment, he
would prefer to wait another year rather
than taking bad picture.
15. If you still don’t understand, read
no 1 to 14 again and again.. hahahahaha..
–
diedit seperlunya oleh saya
bener kata bro polly..
PE kombinasi 38/125 1 1/4 jadi irit banget..
dah terbukti luwuk-lamala timur 198km pergi-pulang dengan kecepatan rata 50an kph..
dunia punya cerita, cerita tentang cinta
mati karena cinta, stress karena cinta
sedikit-dikit cinta, buat film tentang cinta
mengarang lagu cinta, cinta, cinta, cinta ta
cinta pembodohan,
karena cinta membuat manusia tak karuan
cinta pembodohan,
karena cinta itu berlebihan..cinta itu racun
cinta adalah alat untuk gapai keinginan
mau ML atau mau jadi presiden
mau kaya ngomong cinta, mau manis ngomong cinta
membunuh karena cinta, cinta, cinta, cinta ta
![[1]](http://img151.imageshack.us/img151/5126/mayheminterview29ox.jpg){kind=link}