Against Leviathan

by Wild's Reprisal

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petina
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petina feminist black metal is the future. Favorite track: Death of Nature.
Atmospheric Black Metal Cat
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Atmospheric Black Metal Cat Pretty good release in the Cascadian BM vein. Enjoying it . Favorite track: Gaard.
Brit Harvey
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Brit Harvey While reading the accompanying track notes upon first listen, I was introduced to the concept of " vegetarian ecofeminism" and was torn between sarcastic cackling and the urge to retch. Thankfully the music on display is as good as the fabricated socio-political ideas are bad. Favorite track: Gaard.
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about

Against Leviathan

All lyrics for Wild's Reprisal songs are excerpts from essays by ecological philosophers. In a genera of music that is heavily influenced by nature, it is critical to expand that love of the wild into action on behalf of the natural word. Having a philosophical basis for that action will only further one's resolve and effectiveness.

Gaard 8:10 This song is dedicated to Gretta Gaard. The lyrical content from this song is a reading from Gaard’s essay “'Vegetarian Ecofeminism'. In this essay Gaard explores the interconnectedness of oppressions stating that "the oppression of nonhuman animals (speciesism) as implicit within an ecofeminist analysis, arguing that speciesism functions like and is inherently linked to racism, sexism, classism, heterosexism, and naturism." and "the essay surveys vegetarian ecofeminists’ diverse origins and motivations. Then it traces the path that many vegetarian ecofeminists followed, beginning by making connections between specific objects of oppression (that is, animals and people of color, women and animals, or animals and the environment), growing to include associations among several objects of oppression (animals, people of color, women, gays and lesbians, nature), and arriving at an analysis of the structure of oppression itself. The essay then examines various conceptual developments of vegetarian ecofeminism that have contributed to ecofeminist theory overall. Finally it suggests directions for future development and activism."

Bio-Civilization 13:54 This song is dedicated to Freya Mathews. The lyrical content from this song is a reading from Mathews’ essay “Bio-civilization: a Manifesto”. “Bio-­‐civilization” is here defined by its aim of making civilization, as a social formation, consistent with the repair and ongoing flourishing of the biosphere. Very broadly speaking, this aim might be achieved by either of two approaches. The first would build on the traditional (dualistic) mentality of civilization, maintaining our sense of separation from natural systems but consciously adjusting the impact of social processes on those systems. We might call this, following the nomenclature of deep ecology, the reform approach to bio-civilization. The second, deeper approach would involve a return, in a contemporary setting, to the (non-­‐dualistic) mentality of hunter-gatherer societies, who identified themselves in terms of their place inside - not outside – natural systems and for whom the protection of natural systems was accordingly a first priority.

Death of Nature 11:18 This song is dedicated to Carolyn Merchant. The lyrical content from this song is a reading from Merchant’s essay “The Death of Nature”. The Death of Nature: Women, Ecology, and the Scientific Revolution, published in 1980, presented a view of the Scientific Revolution that challenged the hegemony of mechanistic science as a marker of progress. It argued that seventeenth-century science could be implicated in the ecological crisis, the domination of nature, and the devaluation of women in the production of scientific knowledge. In combination with increasing industrialization and the rise of capitalism that simultaneously replaced women's work like weaving with machinery, and subsumed their roles as subsistence agriculturists also drove people to live in cities, further removing them from nature and the effects of industrialised production on it. The combined effects of industrialization, scientific exploration of nature and the ascendancy of the dominion/domination metaphor over the nurturing Mother Earth one, according to Merchant, can still be felt in social and political thought, as much as it was evident in the art, philosophy and science of the 16th century.

The Power and the Promise 10:32 This song is dedicated to Karen J. Warren. The lyrical content from this song is a reading from Warren’s essay “The Power and the Promise of Ecological Feminism”. The Power and the Promise of Ecological Feminism sets out the ecofeminist agenda and philosophical framework. Warren and fellow Eco-philosopher Val Plumwood have been instrumental in developing ecofeminism as a contribution to both feminism and environmental philosophy. Ecological feminism is the position that there are important connections-historical, experiential, symbolic, theoretical-between the domination of women and the domination of nature, an understanding of which is crucial to both feminism and environmental ethics. She argues that the promise and power of ecological feminism is that it provides a distinctive framework both for preconceiving feminism and for developing an environmental ethic which takes seriously connections between the domination of woman and the domination of nature.

Neither Man nor Beast 8:28 This song is dedicated to Carol J. Adams. The lyrical content from this song is a reading from Adam’s book “Neither Man nor Beast: Feminism and the Defense of Animals “. Adams's book THE SEXUAL POLITICS OF MEAT introduced a new idea to the general public: that the eating of meat and the oppression of woman are intimately connected. According to Adams, the patriarchal mind constructs both women and animals as 'other,' and sees them only in terms of their usefulness. Insofar as women participate in meat-eating, Adams argued, they are complicit in their own oppression. In this collection of her essays, Adams, a theologian, expands on those ideas, exploring a range of subjects: abortion rights and animal rights; connections between domestic violence and violence against animals; feminist ethics and vegetarianism; racism and animal oppression; and feminist-vegetarian theology.

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released July 27, 2015

All instruments and vocals performed by Gedden.

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Some rights reserved. Please refer to individual track pages for license info.

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Wild's Reprisal Seattle, Washington

Wild’s Reprisal is the solo project of Gedden Cascadia. The music is reflective of deeply held ecocentric beliefs and a commitment to deep ecology.

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