Worldwide Conspiratorial Gangster Computer God Communism

Black metal queerification
Вот, кстати, проект The Soft Pink Truth. Записал несколько лет назад
альбом с каверами на Darkthrone, Beherit, Mayhem (the list could go on):
http://thesoftpinktruth.bandcamp.com/album/why-do-the-heathen-rage

Видео с кавером на Venom, например:
The Soft Pink Truth - Black Metal
http://www.youtube.com/watch?v=cEC2hUHqEg4

Imitating the countless black metal albums that begin with ominous
intros, the album commences with “Invocation for Strength”, a spoken
word track in which a Radical Faery poem used by gay activist Arthur
Evans in his classic Witchcraft and the Gay Counterculture is read by
Drew Daniel and Antony (Antony and the Johnsons). After this queer
hymn, the rhythmic assault begins with an industrial gabber take on
Venom’s genre-founding song “Black Metal”, featuring vocals by
Baltimore artist Bryan Collins and screams from Daniel. Stark trap
beats and rave synths meet two-step house bounce on “Sadomatic Rites,”
originally by Beherit, whose electronic opus H418ov21.c was an
inspiration to Drew as he was making this album. Adding a witchy twist
to an underground metal classic, Jenn Wasner (Wye Oak, Dungeonesse)
lends her smoky, soulful voice to an orgasmic house deconstruction of
Sarcofago’s redlight anthem “Ready to Fuck.” After a surprisingly
sensitive guitar led intro, “Satanic Black Devotion” erupts with full
on screaming vocals from Terence Hannum (Locrian), paired with IDM
beats, synthetic banjo, and a rather glaring plunderphonic re-working
of a recognizable dancefloor classic. Side Two kicks off with a stark,
vogue-ball inspired rethinking of Darkthrone’s “Beholding the Throne
of Might”, with whispered vocals from London based free
improviser/composer Jennifer Walshe and a spoken interlude from David
Serrotte of the vogue ball crew House of Revlon. The goth factor
spikes on “Buried by Time and Dust”, in which Daniel’s Matmos partner
M.C. Schmidt croaks the lyrics to the vampiric Mayhem original on top
of MIDI harpsichord while a moldy 808 drops the “Planet Rock” beat. In
an Ouroboric final gesture, the album concludes with a paroxysmic take
on “Grim and Frostbitten Gay Bar” by Impaled Northern Moonforest, the
parodic fake black metal project of Anal Cunt’s Seth Putnam.
A blizzard of snippets of pop, house, crust and metal are shredded and
smothered in lo-fi screaming and arctic field recordings, ending the
album on suitably contradictory notes of mockery and celebration. The
album’s controversial artwork, which will remain redacted for the time
being due to the extreme content it portrays, fits those themes as
well, depicting a volatile, extremist scene undergoing a long overdue
queerification, coming out rich and strange, shiny and pink.