The Burning Blade

Fireaxe Newsletter - edition 8.3

March 25, 2005

"My strength is hatred, torment, and pain."
- Manowar "Hatred"

Hatred. It's an ugly word that conjures ugly visions of humans at their very worst. Seeing someone deep in hatred, with eyes glaring, nostrils flaring, and veins popping out of their flesh is something which inspires both fear and revulsion. And when we see the horrors that we inflict on others and ourselves while enraptured with hate we are shocked and repulsed and swear to resist that awful emotion. Yet hatred is a seductive feeling and once it is upon us it feels like a natural and necessary response.

But hatred isn't a completely natural emotion. Although it has origins in the fight, flight, or freeze reflex housed deep in our brains, it is the persistent and focused nature of hatred that makes it stand apart from an animalistic emotional state. In a crisis we feel an adrenaline rush which gives our bodies super- human ability for a short period of time, generally long enough to finish a fight or run away from danger. This adrenaline surge is also responsible for the rage part of hatred, where we find ourselves screaming or lashing out. But hatred is not simply rage. Hatred goes beyond simple body chemistry and lasts long after our heart rate has returned to normal. Rage comes and goes, but hatred is always with us, lurking below the surface and always ready to rise up again and explode.

Hatred can give us strength, or at least motivation, to defeat our foes. I think that hatred is essentially a low grade form of rage. When we feel hatred we tap into the fight, flight, or freeze reflex at a moderate level, giving us energy and a sense of urgency to do what we need to do to prepare for the day when we meet our foes. Because this level of rage is moderate, it can be tapped into for a longer period of time, allowing us to do time consuming or complex things as part of our preparations. We can be driven by hatred, just as we can be driven by love or the fear of its removal, and what we are driven to do is not always destructive. Hate is a powerful emotion that can be channeled into socially positive things as well as negative ones.

Hatred is all around us. One need only pick up a newspaper or turn on the television to see one of many stories which have become emotional flashpoints for our society. People line up on either side of a particular issue and vent anger at each other, many of whom have spent a great deal of time and effort in presenting their arguments. The internet is filled with rage as blogs, chat rooms, and newsgroups overflow with harsh language, insults, and uncompromising opinions. It's not a pretty picture, and you often need thick skin to wade through it if you want to become personally involved. Worse still is the steady flow of misinformation from both sides of these issues such as selective reporting, outright lies, and endless logical fallacies. And if we try to escape by switching the channel or changing the subject, it only seems to thrust us into another emotionally charged issue. It seems as if America has become a nation of rage-oholics immersed in a sea of hate. But of course, that doesn't mean that we're alone in the world in that regard.

I've noticed that I have trouble trying to get to the bottom of these flashpoint issues without becoming embroiled with emotion myself. I'm sure that many of you do as well. Perhaps it is the contagious nature of emotional issues that draws us in, but I feel that part of the reason we respond so eagerly to emotional conflicts lies in the adversarial nature of consciousness and ideologies. We naturally seek conflict since we desire to see the side which we identify with claim victory. Furthermore, conflict and the chance for redemption stimulates and motivates us. We feel alive when we involve ourselves in struggle.

Calmly trying to understand an issue and work towards a solution runs counter to our emotional needs. Compromise is unrewarding, especially when we are not materially involved in the issue, and thus we tends towards being emotionally invested voyeurs with our hearts set on total victory. To this end we often cast rationality aside. Misinformation spreads because we want to believe it. Ranting feels good when it fills us with a sense of righteousness. And because we have these needs, the media, and many others, will fulfill them. Outrage has become a commodity that we are all to willing to buy.

Speaking of hatred, Fireaxe is still hard at work crafting the next project, "Eternal Devotion to the Dark Goddess". Many people have told me that there is a lot of rage in my music and I cannot deny that there isn't. There are a lot of emotions in my music, including no small amounts of love and hope, but the darker ones are certainly prominent. I feel that the path to understanding runs through the dark corners of the mind, and so I do not hesitate to unearth what many would like to keep buried. I'm trying to reveal the big picture, not bury it in hope and idealism.

A big ‘Hello’ to anyone receiving the Burning Blade for the first time. This is the Fireaxe newsletter.

What is Art anyway?

A few months ago I was reading a review of "Food for the Gods" on by a prolific reviewer named "Crash Test". The review of the 3 CD set was unique in the fact that he spent the first two paragraphs describing how he had to overcome a number of prejudices before he could "listen to it with an open mind". His main gripe in that regard was that Fireaxe was being "hailed as the perfect album by a vocal minority of underground metal elitists" which put him off at first. In the end it took him four months to set aside his reservations and write a nice long review.

In previous newsletters I have praised my supporters for giving Fireaxe tremendous positive exposure and I will keep doing so. I really appreciate you guys. That being said, I can see Crash Test's point of view and I too am put off by things which appear to be over-hyped. But I think that Crash Test should consider that he probably never would have bothered to review "Food for the Gods" at all were it not for the glowing promotion of it which have appeared on Hype is pretty much a necessary evil in the music industry these days. Without it you don't get a second look. I'm just glad that there are people out there who are being completely honest when they write such nice things about Fireaxe. Fireaxe "hype" is the real thing.

However, the "elitism" critique raised some questions in my mind. I wondered if I deserved the elitist label. In his review, Crash Test went further in describing his struggle to overcome his prejudices against Fireaxe…

"To make matters worse, when I finally received the album in the mail, I discovered a disclaimer in the CD insert stating that FFTG is “art in it’s most pure form” and a “profound interpretation of the world around us” before concluding that “Fireaxe cannot be held responsible for the disintegration of your belief systems” as a result of listening. And you thought Michael Jackson was pretentious for proclaiming to the world that he’s the King of Pop? The way I see it, if your music is truly profound art that can change lives, you shouldn’t have to convince anybody and you sure as hell don’t have to make yourself out to be some noble sage imparting knowledge to the unlearned."

Well the part in the disclaimer regarding "the destruction of your belief system" is tongue-in-cheek humor. Of course, I've had a number of people say that they have been deeply moved by Fireaxe music, but I hardly see myself as a messiah. Crash Test obviously took that joke the wrong way. The first part of his criticism however, regarding "art in its most pure form" is something that I am serious about. I believe that Fireaxe stands apart from most music because it is very artistic. Crash Test's criticism made me think a little more about what art really is.

Before I get into my views on art, I'd like to assure you that Crash Test's review turned out to be very good. Although he had a number of the usual complaints, he did dig into the themes of the project, which is rare, and in the end gave it his seal of approval. The simple fact that my music was able to overcome his misgivings and prejudices makes his approval all the more rewarding. I can rest assured that he liked the music for the music, and not for anything else. Besides, I have to like a guy who feels that "River of Madness" is one of the highlights of "Food for the Gods" being as how it is one of my personal favorites.

So what is art anyway? It seems like the issue is another one of those emotionally charged issues. On one side you have the elitist artist snobs who are self-appointed judges of culture and transcendence. I think that Crash Test holds that view of me and my supporters. On the other side you have the sleazy corporate heads who peddle profane, sensationalistic drivel to the ignorant masses. Of course, both of these characterizations are true to a degree, but it doesn't help us in defining what art is. There is a somewhat popular position that art is in the eye of the beholder, and that no one can judge what art is for anyone else but themselves. I think that view is pretty much a cop-out. It is simply too broad of a definition and thus renders the term meaningless.

I wrote that art was "a profound interpretation of the world around us" in the disclaimer which I feel is an important part of what art is. But beyond what art is, I think that art is defined by what it does. Art makes us look at the world around us in a new way, a way which changes us permanently. That sounds like it is something which is dependent on each person who experiences it, but given that a great many of us share similar views on the world, art isn't necessarily so narrowly focused. However, it does mean that art can't be expected to move everyone in the same way if at all.

Sharing a new perspective generally means using symbolism. This is how art can have mass appeal while still forging new ground. An artist takes something that everyone understands and applies that model to something else resulting in the audience looking at a familiar subject in a completely new light. I do this relentlessly in Fireaxe music, comparing child rearing to "The Rack", fusing together the concepts of ideology and gods, and revealing the dark side of dreams. Throughout "Food for the Gods" I tell many stories of people who are far removed from us in time and social class, but yet their struggles are all too familiar, and my intent was to let you see the world from their eyes, giving you a new perspective on your own lives.

One song which stands out in this regard is "Guardian of the Realm". None of us literally goes out into an arena to fight for our king, but symbolically, almost all of us have done so. Whether you are a soldier in Iraq, a lawyer fighting to win an important case, or simply an employee trying to meet a deadline, we have all felt the things that the "Guardian" has gone through, at least through the first part of the song. We can relate to the Guardian's struggle and we can see ourselves in his place. Furthermore, many of us have come to realize that a cause that we had fought so passionately for turned out to be a lie and that our leader or ideal was not worthy of our devotion. Most of us have these feelings lying around inside us, but few of us have put them all together in the way that I describe in "Guardian of the Realm". I used symbolism to blaze the trail to a new understanding of the world. That is what I call art.

In my thinking, art differs from entertainment. I see the difference as being that art engages the mind and tries to change it while entertainment seeks mainly to pacify it. In essence, art makes you think while entertainment make you feel good. Now, it would be elitist to say that art is superior to entertainment because it is so much deeper and more meaningful, but I personally feel that each has its place. Sometimes I want to be entertained and sometimes I want to be engaged. I don't feel that entertainment should be replaced by art. Art being rare, but still accessible, is fine with me. It's just that sometimes it feels like art is a little too rare.

Now, when I said that I thought that "Food for the Gods" is "art in its most pure form", I implied that art can be diluted, mainly by commercialism or ideology. Someone might think that I am sneering at sell-outs or disparaging the popular simply because it is popular. But I think that it is a simple and obvious fact that an artist's vision and the popular trends are often very different. To be popular an artist often has to alter his vision to accommodate mainstream tastes. Since I don't have to make a living recording music, I don't have to alter my vision to suit anyone. Thus, I can keep it "pure". Anyone following how Fireaxe has progressed over the years can see how I've let my vision guide my work and how different it has become from the mainstream. I don't disparage other musicians for not doing the same or demand that they be more artistic, I just wish that they would. I'd really like to see what they are capable of when turned completely loose.

While surfing the internet I stumbled upon a short little movie that moved me in a big way. It was the inspiration for me to start thinking deeply about what art really was because one thing that I knew for sure was that the movie was art. You can view the movie here.

It's called "More" and it's only six minutes long. However, what the movie's creator is able to do in such a short time, with almost no words involved, is simply amazing. His theme is similar to ones found in Fireaxe music, so I feel that it will be worth your time to take a look at his work. You'll probably enjoy it. In just a few minutes Mark Osborne is able to completely dismantle modern society, breaking it down into its simplest and most meaningful components, and exposing the power of self-delusion and the emptiness of dreams. It's dark, and powerful, and will definitely make you think. And if you're like me, it will make you feel, strongly, as well. Not every path to the intellect requires words.

Love, hate, and fear, the core motivators

In past essays on the adversarial nature of both ideologies and consciousness I described how fear was essential in creating and maintaining consciousness and in motivating people to act in support of their ideology. I presented my case for consciousness being a permanent state of mild dissociation resulting from a number of traumatic events and how the fear of re-experiencing those events keeps the mind active and aware. I also described the role that ideology plays in encouraging the inflicting of traumas on children and shaping their minds so that the child's adversary is made to be the same as that of the ideology. In edition 6.2 of this newsletter I described the interrelationship between love and hate and how they are two sides of the same coin. In this newsletter I will dig a little deeper into what I call the core motivating forces behind human behavior: love, hate, and fear.

Fear is a powerful motivating force, but fear, like all emotions, wears off when a person is confronted with the same scary experience over and over. Humans become used to things that once made them very afraid, accepting them as a fact of life, and the intense emotions that they felt at first are reduced with each exposure. Even things as frightening as suicide bombings, artillery barrages, and torture lose their impact the more times a person is exposed to them. But according to the Fireaxe theory, we need fear to reaffirm our sense of self, and so when we become accustomed to something that we were afraid of in the past, we seek out something new to take its place.

Many people have charged that the media, our leaders, and other prominent figures are the root sources behind the constant barrage of fearful imagery that we receive on a daily basis. It is said that we would be more peaceful people if we were not exploited by others with fear. It is true that people use fear to motivate the masses, but that is only part of the story. The other part is that people have a need for fear and that they demand new adversaries to take the place of the old ones. Fear sells. Stories of love and hope are boring unless they are stories of how love and hope can overcome hatred and despair. And in such tales, the more daunting and intractable the hatred and despair is made out to be, the more rewarding the final victory is. Politicians, preachers, and the media have learned what we want and they give it to us. Some do it to exploit us, but most know that if they don't, we will change the channel, church, or regime.

But do we really seek fear? Not directly. What we are really seeking is deliverance from fear, but we cannot have the deliverance part without the fear part, and so we are drawn to fear in the hopes that we will overcome the cause of that fear. I think that the reason we seek deliverance is due to the fact that we are suffering from something that I call the "permanent psychological deficit". This deficit is a persistent state of fear and inadequacy in the mind of the individual. We can't actually get rid of that fear, but we can make it go away temporarily by going through a process where we experience a surrogate fear and either vanquish it or are delivered from it. Thus our lives are spent living through an endless series of struggles in order to achieve the victories that we crave. It also follows that the deeper our permanent psychological deficit, the more meaningful our struggles and victories must be to fulfill our need, and so some of us will take on formidable challenges in the hopes of achieving a great victory. These are only temporary solutions to the problem of continuous need, but we really have no choice because they are our only solutions.

In the introduction to this newsletter I referred to us becoming "rage-oholics", and when you consider the permanent psychological deficit and our quest to seek and destroy foes it becomes clear why hatred plays a prominent role in modern life. Victories aren't meaningful unless we are emotionally invested in the struggle. The stronger we feel about something, the more intense the highs and lows of the struggle become, and the more gratifying it is when the object of our hatred is handed defeat. This is perhaps the only reasonable explanation for why we can become so emotionally invested in events that would otherwise have no impact upon us or in people who are merely fictional characters in a book or movie. Emotional involvement, though irrational, is the key. Dispassionate analysis of a situation doesn't bring with it the same highs and lows. When we tune in a news event the last thing that we want to see is two lawyers discussing the legal details of a particular case, we want to see the extremist fanatics on either side screaming catchy slogans at each other. We don't want to see two boxers sparring and dancing, we want to see them slugging it out. And we don't want to hear about successful diplomatic efforts, we want to see bombs dropping. When we don't get what we want, we change the channel. I'm not saying that we don't appreciate peace, it just isn't entertaining.

Love and hatred are powerful emotions, they are also two sides of the same coin. Hatred is what we feel when something we love is under attack. The stronger our love for someone or something, the stronger our hatred towards that which is trying to tear that love down. When the thing that we love the most of all is under attack, our emotional investment is at its peak and our fears are at their greatest. It is in this struggle that we are the most motivated, at least potentially. Too much fear can have an incapacitating effect, rendering someone incapable of action. But those who are not too afraid are highly motivated by extreme fear, and are capable of doing anything to rescue what they love from destruction. This powerful drive is what ideologies tap into in order to make their members do their bidding.

Ideological indoctrination is all about love. Believers do not need to talk about hate because hate will go hand in hand with love. All that one needs to do to indoctrinate someone is to make them love the core ideals of the ideology. In Judaism the core ideal is Jehovah and his commandments. In Christianity the ideals are expanded to include Jesus and his revisions with Catholicism adding the Virgin Mary, the saints, and the pope to the holy order. Modern ideologies generally share freedom and equality as their central ideals and differ on the exact definitions of those terms. Members of these ideologies are made to love these concepts. On the surface this sounds absurd. How can someone come to love an abstract idea in the same way that they love real people and things? The answer is that one can explain that everything that someone loves in life for real is made possible by the ideals of the ideology. Christians are made to believe that all things good come from their god, that he created the universe, and that he can reward them with eternal bliss after death. Members of western democracies are made to believe that all their wealth, safety, and prosperity flow from a democratic system of government and a capitalistic system of economics. The difficulties of proving that life under a different ideology wouldn't be as good are generally swept under the rug. It is something that is simply assumed or explained in simple, emotional ways, such as: without a god, life would be pointless and depressing; or, without freedom, we would live under the yoke of a terrible dictator. Convincing someone that their ideology is superior isn't a high priority since loyalty is almost automatic when one is raised under a particular ideological system, and it really doesn't matter which system it is. So simple arguments suffice.

Few preach hate. It doesn't sell well. Hitler didn't preach hate. He preached nationalism. He told his fellow Germans that the Fatherland had been violated by foreigners, which was essentially true, and promised them that his party could return Germany to its former glory. He played upon what Germans once loved but had lost: their strong military tradition which had been squashed after their WWI defeat and their powerful economy which had been destroyed during the hyperinflation of the 1920's. Nationalism and restoration of their beloved country resonated with the German people, and as Hitler led them to one success after another, the desire to spread their new ideology grew out of control. We all know the rest of the story.

Christian preachers don't preach hate. They don't hang a big picture of the devil in front of the church for worshippers to throw stones at and spit on. Instead the central fixture of every Christian church is a cross. There are few symbols that capture the relationship that I have described between love and fear as well as the Christian cross. The cross is where Jesus, the most beloved figure in Christianity, was tortured to death. It is a symbol of the divine under attack and fills Christians with feelings of the fear of persecution and the promise of deliverance. Christian preachers don't need to preach hate. All that they have to do is preach the love of Jesus and the gospel. When those beliefs come under attack, the hate, and motivation to resist, manifest in their congregation on their own.

George W. Bush doesn't preach hate, he simply goes on and on about how wonderful freedom and democracy are and how those beloved ideals are threatened all across the globe by the forces of tyranny and oppression. There's no need to preach hate. That emotion comes along for the ride when Americans see their way of life under attack. As a result Americans have become more and more emotionally invested in how world events turn out. It would probably be better if we were more intellectually involved in world events, but it seems that you can either have one or the other. Americans do hateful things around the world, and we do them in the name of love.

I think that the magnitude of the permanent psychological deficit for the average person in the world is gradually growing larger. It seems that over time people have become more and more dependent on experiencing fear and deliverance as a way of life and that their need for deeper emotional investment in those experiences is growing stronger. Overall this makes people more motivated and productive, and the world is becoming very modern all over. However, it also makes people more destructive. People need more, risk more, and have more to lose in conflicts whether they are directly involved or not. But I don't think that this is necessarily a steady upward trend. I think that in groups of people, small and large, emotional investment in issues can increase rapidly, spreading like a contagion and feeding upon itself, only to explode or burn out and return to normal. Like any addiction the need for victory is manageable, you just need to restrain from binges. So I wonder, will we?

The Fireaxe theory - Outline

I. Basics - well established theories

  • 1. Emergent systems - that complex systems can arise from the interactions of simple things
  • 2. Natural selection - that organisms mutate, proliferate, and compete, with the "losers" becoming extinct
  • 3. Behavioral science - that neurological systems, at their core, function according to the rules of conditioning
  • 4. Entropy - that within a closed system, entropy always increases, which limits the amount of transformation that can occur

II. Extensions

  • 1. That consciousness is an emergent system: a complex system arising in the human mind from the interaction of simple neurons.
  • 2. That civilizations are emergent systems arising from the physical interactions of humans whether conscious or not.
  • 3. That ideologies are emergent systems arising from the psychological interactions of conscious humans
  • 4. That emergent systems follow the laws of natural selection in much the same way that organisms do
  • 5. That the universe is, by definition, a closed system

III. Contentions regarding consciousness

  • 1. That consciousness is a survival advantage
  • 2. That being a member of an ideology is a survival advantage
  • 3. That making its members conscious is a necessary part of an ideology's survival
  • 4. That consciousness is created by instilling within a person a permanent sense of inadequacy - in essence a state of constant fear
  • 5. That the deeper the sense of inadequacy, the stronger the person is motivated - generally to serve their ideology

IV. Contentions regarding ideological struggle

  • 1. That ideologies fight for survival using many methods including, but not limited to, war and enslavement
  • 2. That aggression is a survival advantage
  • 3. That aggressive ideologies make members of rival ideologies feel afraid and inadequate which in response become more aggressive, thus creating a vicious circle
  • 4. That aggressive ideologies must continue to grow or face internal strife as their aggressive members will feed on each other to satisfy their needs
  • 5. That internal struggle results in ideological mutation

V. Contentions regarding the future

  • 1. That internal strife is inevitable since the laws of entropy imply that continuous growth is not sustainable
  • 2. That the abstract bases for ideologies transcend mortality and thus suicidal aggression is not restrained by fear of death
  • 3. That ideological mutation will eventually result in the creation of a suicidal ideology which will attempt to save the human race by destroying it

How to order Fireaxe CDs

Ordering Fireaxe CD's is an informal process as I am selling them personally out of my apartment. Simply mail me a letter which contains the following:

  • 1. The names of the CDs that you want to buy.
  • 2. The address where you want the CDs sent.
  • 3. Cash, a check, or a money order for the total cost.

Here is a price list. The first number is the cost for U.S. based customers, the second is for outside the U.S. The prices include shipping and handling.

Food for the Gods: $12 / $14
Victory or Death: $5 / $7
Lovecraftian Nightmares: $5 / $7
A Dream of Death: $5 / $7

Send everything to:

Brian Voth
1301 Medical Center Dr. #415
Chula Vista, CA, 91911 USA

If you review CDs on a website or in a magazine, any one of the single CDs (Not "Food for the Gods") is free of charge in exchange for the review. In this case all I need is a request by e-mail. Please send me the URL of your review site or copy of your magazine with the review in it when it is done. If you want to exchange CDs, tapes, or stuff of equivalent value, make these requests via e-mail and we'll arrange a trade.

The CDs come with a booklet filled with awesome art, a letter about the project, and some information about the CD which can also be found on the Fireaxe site.

Lastly, if you want to print and distribute Fireaxe CDs I can send you an additional CD which contains tiff files for all the booklets, tray cards, and labels for each project. The tiff disk is free so just say the word.

The Future

I’ve been focusing so hard on "Food for the Gods" that I’ve had little time to think about what I’d like to record next. Over the past few months I’ve tossed around some ideas and have come up with a working title and theme. The next Fireaxe work will dig even deeper into the dark crevices of our society and our minds, pull forth the myths that we cling to and hold dear, and expose them all for what they are. While "A Dream of Death" explored the madness of dreams, and "Food for the Gods" described the chaos wrought upon the earth by ideologies, "Eternal Devotion to the Dark Goddess" will depict the psychological enslavement of the individual in modern times. It will be the darkest Fireaxe work ever. But don’t put your order in just yet. After wrapping up "Food for the Gods" I’ll need a while to rest and upgrade my studio. I’m spent.

My goal is to deliver music to whoever wants to hear it in whatever way is necessary. Whatever the market demands, I will supply, but I do want to avoid the mass marketing channel. Exposure is fine, but in the modern business, the substance of the music must be altered to match the demands of the marketplace. This would totally defeat the purpose of why I write music in the first place. I write music because it is a way to express my emotions. What I both think and feel goes into the songs. That is the power, Fireaxe is the channel, and any diversion diminishes the emotive effect. Thus I try to avoid such diversions. That is how art should be.

Rights to duplicate Fireaxe materials

Currently Fireaxe is not for profit. I sell the CDs for $5 each which covers the production and mailing costs. For CDs sent out of the country, I'll have to charge $7 per disk to cover the additional mailing cost. If you write reviews or put samples on your website I'll give you a CD for free. Since I am not making any money with the current recordings, you are free to make duplicates of them to distribute as long as you obey the following guidelines:

  • 1. You can only sell the duplications for the price of the medium or less, plus any delivery cost. You are not allowed to make any profit with the music.
  • 2. You should tell me how many copies you gave out and who got them so I can keep track. Also, if they have an e-mail address I'd like that as well so I can add them to the mailing list.
  • 3. You are likewise free to adorn any webpages or duplications with the gifs and jpgs on my website as long as you include an obvious link back to my website. This includes putting Fireaxe song samples on your site as well.
  • 4. You are free to play any Fireaxe songs (in unaltered form) provided you are an unsigned band without a marketting tie-in. You are not allowed to record those songs onto anything that you will sell.
  • 5. You are food for the gods.
  • 6. You are required to crank the song "Hounds of Tindalos" as loud as you can as often as you can. It's your only defense against THEM. Be warned, they come through angles. Note that the CD is round. Are your speaker cabinets square?
  • 7. Cthulhu, the Necronomicon, Hastur the Unspeakable, and all other mythos creatures are purely the inventions of Lovecraft and other fiction authors. None of it is real, at least that's what I'm going to say in court if you try to sue me for destruction of your property, house, city, or soul as a result of listening to the "Lovecraftian Nightmares" CD too much.
  • 8. You are free to play "The Rack" in school or church or any other institution bent on crushing your will and turning you into a mindless zombie slave of the corporate dominated world. Try not to develop a bad attitude about it.
  • 9. You are not free to commit suicide while listening to any Fireaxe song. I'm sorry, I'll have to prosecute. On a serious note, if you are thinking about doing it, please e-mail or call me if you have no one else to talk to. When I was in my teens the album "The Wall" by Pink Floyd used to really get to me. Just hearing songs like "Comfortably Numb", and "Hey You" would get me pretty depressed and mildly suicidal. I'm just trying to say that I've been there. If my music is having that effect on you, please get in touch. You aren't alone.

The gist of it is that you can do just about anything with the music as long as you don't profit from it and that I get some sort of credit for having written it. I'm open to any methods of distributing my music, such as compilation tapes or CDs, radio play, or recording label distribution. However, you will need my direct permission to do so or some kind of legal agreement.
Brian Voth - Creator of Fireaxe

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