In the main article about Sons of Perdition I briefly discussed the dispute about the origin of the pseudonym Zebulon Whatley. One school (Military-Sheriff theory) argues that it’s composed of the first name of the military Zebulon Montgomery Pike and the last name of sheriff Willis Whatley, while a competing school (H.P. Lovecraft theory) argues that Zebulon Whatley refers to the character Zebulon Whateley (another spelling) that appears in a couple of H.P. Lovecraft's short stories. In this blog entry I analyze the arguments and evidence.

Theory

Zebulon Whatley is a pseudonym composed of the first name of the military Zebulon Montgomery Pike and the last name of sheriff Willis Whatley.

Theoretical support

Zebulon Whatley is known for using several layers, multiple meanings and, occasionally, smokescreens.

Empirical support

The composition of the pseudonym is highlighted in yellow frames (see picture to the right) on this historical marker outside Pike County Courthouse in Zebulon, GA. 

Source criticism

The historical marker is the only emipirical evidence that supports this theory. The evidence is not strong. The infinite monkey theorem states that a monkey hitting keys at random on a typewriter keyboard for an infinite amount of time will almost surely type a given text, such as the complete works of William Shakespeare. In this case it's only the first name (Zebulon) and the last name (Whatley) on a historical marker and certainly no match for a hard hitting monkey. Zebulon Whatley, who is a Texan, is moreover not known to have any connection with the state of Georgia (except the town name Zebulon, that is). The Ambassador (normally fact-orientated and evidence-based) is for some reason a strong supporter of this theory. The theory seems far fetched even by a benevolent interpretation.  

Overall assessment

The theoretical evidence is plausible. The empirical evidence is weak. The advocates of this school will have to present some additional evidence to be taken seriously.

Theory

Zebulon Whatley refers to the character Zebulon Whateley (another spelling) that appears in a couple of H.P. Lovecraft's short stories, for example in "The Dunwich Horror" (see picture to the left).

Theoretical support

Zebulon Whatley is known for his interest in books of science, pseudoscience and religion, mythology and human behavior. 

Empirical support

Zebulon Whatley is a member of H.P. Lovecraft Historical Society. The step is thus not far to adopt a fictitious name of a H. P. Lovecraft character. 

Source criticism

Zebulon Whateley appears in "The Dunwich Horror" and is a distant relative of Wilbur Whateley from a branch of the family that was not completely mad. The Whateley's were a "decayed" family. The theory is based on the idea of a man from a poisonous family line would have left the area and started anew. It's well documented that people often change the spelling of their surname to leave the past behind. Some scholars argue that this particular excerpt from "The Dunwich Horror" is the key passage in the understanding of the pseudonym: "Old Zebulon Whateley, of a branch that hovered about halfway between soundness and decadence, made darkly wild suggestions about rites that ought to be practiced on the hill-tops." The theory seems to be comprehensive and consistent.

Overall assessment

The theoretical evidence is very plausible. The empirical evidence relative strong. The advocates of this school still have to present some hard evidence to support their theory.

Concluding remark

The evidence supporting the two competing theories are insufficient and further research is needed. Maybe Zebulon Whatley's spitting image Douglas Wheatley (a cousin?) could shed some light on this matter and advance research? You may now ask: for God's sake, why not settle the dispute by just asking Zebulon Whatley? Uhm…this is not the way we do things in Sweden. 

The Death Roots Syndicate is a free digital download label specializing in the promotion of dark country, folk, blues, americana and roots music. The Syndicate covers dark roots music in a very broad sense. The music is free (for promotion), legal (all releases are officially sanctioned by the artists) and spectacular (there's a virtual goldmine to immerse in). You can find a link to their Bandcamp page here. It's not common for the adjectives free, legal and spectacular to occur in the same sentence when it comes to music. But despite the high odds, sometimes it happens. Death Roots Syndicate is 100 percent non-profit. At the moment there are about twenty albums available for free download. Among them, three spectacular compilation albums released digitally: "The Death Roots Syndicate Volume I-III". Several "well-known" artists are represented: Sons of Perdition, Slackeye Slim, Uncle Sinner, Christian Williams and Reverend Elvis. But there are also artists that I guarantee you never heard of. It doesn't matter that the quality is shifting somewhat. It's the authenticity that counts. And there's no shortage of authenticity here, believe me. I have discovered (for me) new and fascinating music through the compilations. The selection process is loose. It doesn't matter if the song already has been released in another context or not. The artists come from US, Canada and Europe. The only thing they have in common are dark roots. The three compilations are shown below. The album covers are stylish. All cover art is designed Christian Dubé.

The three adjectives free, legal and spectacular appeal to me. It's free, which creates a small dilemma for me, since I want to pay for music and support the artists (in this case it's promotion), legal (well, you can read what I think about stealing music from artists in a blog entry here) and spectacular (the lengthy and time-consuming process of trawling the genre has been somewhat facilitated by The Death Roots Syndicate). The compilations reminds me of the fact that music is strange. When I hear Phil Collins "In The Air Tonight" I instantly think of mass consumption music safely placed on the painted center line. But Sons of Perdition's version of the song on the third compilation is really scary(!). It's obvious the same song, but quite different performed or deformed. It's just a tiny little problem with DRS. The albums are not released in the cd format. My tiresome nagging about the CD format is not new to returning visitors of this site. In this case, digital release, is for the greater good. Otherwise, it would't be released at all. The compilations wouldn’t fit on a physical cd anyway, since they are packed with music and well over the 80 minute cd limit. On the other hand, the albums are luckily enough released in FLAC format so I can make my own cd-r albums including the beautiful artwork. The people behind "The Death Roots Syndicate" perform a cultural act when they put out this kind of music. I can only imagine how much time has been spent on contacts, planning, administration and the actual production of the compilations. The Death Roots Syndicate is an anomaly in music industry, non-profit and specializing in the promotion of music that doesn't reach out so easily (for very obvious reasons). It takes equal parts commitment, endurance and obsession to pull a project like this through. You can read more about The Death Roots Syndicate here.

O'Death released their long awaited album "Out Of Hands We Go" on Northern Spy Records on October 7th. The last album "Outside" was released in 2011. Some people missed the raw and rough sound from the two first albums (not counting the cd-r "Carl Nemelka Family Photographs") on this album and was not too amused by the worked through and more melodic sound. However, in my opinion it was the right move and a natural progression for O'Death. The right direction is always forward. I got a link with a digital download in FLAC format of the new album, while waiting for the physical cd copy to arrive. I was so curious of the sound that I condescended to this despicable format. This is what I found. "Out Of Hands We Go" takes its starting point from the point where "Outside" ended. The album starts off with "Herd", a haunting and beautiful song. The banjo-picking and choruses are extraordinary. The introduction to the album is so epic that for a moment I worry that O'Death have burned everything they have in just this song. In the following songs "Wrong Time", "Roam", "Wait For Fire" and "Go & Play With Dead Horses" they prove that my concerns are unfounded. A few songs on the album "All Is Light", "Apple Moon" and "When My Dog Gets Out Let Him..." don't meet the high quality standard of the other songs on the album. But it's a small remark on an otherwise almost perfect production. The last songs of the album "We Had A Vision", "Heal In The Howling", "Isavelle" and "Reprise" are very strong and reinforces the overall impression. This is without a doubt an album full of gifted songwriting, sparse and balanced instrumentation and worked through arrangements. It can be charachterized as a highly sensitive and introspective album. But, dont worry. It's still, by normal standards, raw and rough. This album is one of the best albums this year in the "gothic country" genre. You can order the album here.

Today is the official release date of Those Poor Bastards' new album "Vicious Losers". Since I pre-ordered the album and Tribulation Recording Co. is a fleet-footed and effective company I've had the opportunity to listen to it for a couple of days. Those Poor Bastards has been very successful in maintaining a high quality throughout their albums, without repeating themselves. The new album is no exception. It has the usual and desired properties (that is) dark and gritty, but yet playful and ironic. At the same time, the approach feels fresh (in contrast to the adjective rotten which they probably are more comfortable with). Many bands in the genre have, alas, switched to a softer sound over time. However, Those Poor Bastards seems to go in the opposite direction. In my opinion, with "Vicious Losers" they raise the bar for extreme death country. The album starts off in an intermittently and cacophony manner with "I Am Lost" with rowdy guitar riffs and bass lines, pounding drums and frantic vocals. The mood for the album is hereby set. The second track is "Getting Old", almost overly hard played with ultra-distorted guitars and roaring vocals "Why is my skin melting like wax, Why is my hair so grey and thin, You're getting old buddy, Noooooo!". The third track on the album "Let Us Rot" has the classic TPB characteristics: catchy, seductive and morbid. The next track on the album is a joyous sing-a-long "Give Me Drugs", where TPB explores a number of uses and purposes for drugs. The fifth track "All Dolled Up" is a warbling piece built up with rolling bass lines and hilarious lyrics, which actually makes you wanna dance (or at least move your limbs). The track "The Lonely Man" starts with "Time for some sad stuff, honey". In this song Those Poor Bastards return to a more traditional country expression, if it wasn't for the sad and inconsolable lyrics, manifested in sentences like "I eat my dinner alone". And it gets worse. The track "Strange Dark Night" is not a bad song, it just don't stand out like the other songs on the album. The best track on the album is without any doubt the catchy "Born To Preach". "I was born to preach the gospel, And I sure do love my job". Zebulon Whatley from Sons of Perdition plays banjo, bass, slide guitar and contributes with backing vocals. The ninth track on the album, "Big Trees" is very short, only 49 seconds, but Those Poor Bastards really knows how to tell a story effectively. Big trees can, among other things, protect you from the terrible sight of neighbours. The song ends with a wish for trees to grow mighty and tall. In the next track "The Only Time" TPB tells a story where the protagonist only has any fun when he is either drunk, stoned, cheating, hurting, praying or stealing (in that order). There's, of course, a moral in it. Another great track on the album is "Trouble At Home" which has the usual TPB beat and groove, but with reggae guitar chords (!). The lyrics are quite accurate as always. The lament "I don't want to be no square" [a fate worse than death, my remark] is repeated in the lyrics of the next to last track "Loser's Prayer". There's loads of lonesome banjo picking on this track. With TPB standards it's melodic. My only negative criticism is related to the last track "Today I Saw My Funeral" which is almost eleven minutes long. It's long. The things Those Poor Bastards have to say in a song are usually said in three to four minutes. "Today I Saw My Funeral" is built up of fragments of vocals, air raid warning, telephone signal, piano strumming, radio static and other sound effects. In my opinion, the concept is not sufficiently worked through and the song doesn't meet their usual high quality standards. With that being said, "Vicious Losers" is a very good album. In fact, as many as five songs qualify for my compilation, which you can find here in the main article about Those Poor Bastards. With this album Those Poor Bastards retain their leading position in the "gothic country" genre. "Get ready for the gloom". You can order the album here.

"Legalized theft / Leaves me bereft". This excerpt of the lyrics from the merciless Morrissey song "Sorrow Will Come in the End" does not apply to my situation, but to all artists whose copyright rights are not respected and who are not getting paid for what is rightfully theirs. "Thou shalt not steal" is one of the Ten Commandments, but sadly a moral imperative in dissolution. Even swedish politicians wavers in this matter. Our resigning Prime Minister from the Moderate Party (right-wing) said: "We can't criminalize a whole generation" and later elaborated his thoughts: "We can see that the technical possibilities now exist and that we can't chase a whole generation of young people for doing something that is super easy and we don't have judicial resources to correct". This statement comes from a leader of a political party well-known for their hard attitudes in property law. Let's examine the logic. Could you imagine him say: "We can see that burglary methods have improved lately and that we can't chase people for breaking into homes and stealing things and we don't have judicial resources to correct". Personally, I don't think so. This kind of unbridled populism is not limited to this particular party. The Liberal Party, the Christian Democrats and the Centre Party (right-wing parties) are all on a slippery slope when arguing that copyright "must be adapted to technological changes". What this mean is very unclear. Copyright is however not an right-left issue. The Green Environmental Party (left-wing party) is flirting openly with former Pirate Party voters (who wants to re-establish a "balance" in copyright law) when they argue that "copyright inhibits the emergence of new culture and creates unreasonable consequences for ordinary music consumers". However, they are unable or unwilling to elaborate what they mean. The only political parties that stand up for copyright is the Social Democratic Party and the Left Party (left-wing parties). But, what can you expect? As I wrote in a blog post a couple of weeks ago, see link, politicians and music don’t go well together. It may be appropriate to end this blog entry with a greeting, to those who don't respect the artist and steal their music, in form of a quote from the above-mentioned song: "But Sorrow will come / To you in the end / And as sure as my words are pure / I praise the day that brings you pain". 

Note: The song "Sorrow Will Come in the End" refers to the law suit where drummer Mike Joyce sued Johnny Marr and Morrissey (the Smiths) for an equal share of performance and recording royalties. Joyce won the case (wrongly, of course).