SAD! MetalSucks Flagrantly Plagiarizes Death Metal Underground

They say imitation is the sincerest form of flattery, but such is not true when it’s done by a fat, zit-faced loser with fedora tattoos who calls himself “Emperor Rhombus.”  Because right now, plastered on the MetalSucks front page at the time of this writing, is a ridiculously obvious rip off of an editorial I did just a month ago.  Seriously, the damn thing is worse than when Nile blatantly stole the melody from the Candlemass song “Well of Souls” in their “Unas Slayer of the Gods” mess of a track.  Hell, it’s even worse than that top hat wearing Dimmu Borgir keyboardist replicating the piano from Magnum’s “Sacred Hour” and using it as the intro for Stormblast. But I guess that when your life is regulated to creeping out young girls at Selena Gomez concerts with your virgin-tier Electric Wizard shirt, you’re bound to spend much of your days fantasizing about being a true alpha badass like Brock Dorsey.

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Mayhem Tour, Washington, DC Stop Review


Article contributed to Death Metal Underground by Mike Alexander’s friend who is a Bill & Ted type of guy, you know.

I saw Mayhem play De Mysteriis Dom Sathanas, the only album of theirs that actually counts of course, last week at the Howard Theater in Washington, DC so I wanted to tell my fellow Death Metal Underground readers what’s happening inside the ANUS of this tour. That was surely an ironic choice of venue the band made there. Playing a black theater in a historically black city was strange for a band whose drummer, Hellhammer, is a badass drummer who hits like a fucking beast like a German in a tank trying to conquer Africa back from his historic racial enemies, the Polish and the Africans and Hellhammer is Greek or something so how can these losers with nothing better to do claim he’s even racist you know? Also practicing under their swastika banners and shit like that they shouldve brought out to steam roll all the drunk hipsters instead of comic book covers to hide behind onstage. I had to check this shit out to see if some shit would go down. I wanted to see if the gig would rule or if any crazy shit from hipsters, communists, or any other idiot life forms that could come out of a UFO or something would be real you know and prevent Mayhem from pounding my face in you know.

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Sadistic Metal Reviews: 10-23-2016

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Humans and metal bands are self-replenishing resources. There are always more to burn!

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Sadistic Metal Reviews 9/24/2016

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Some sorry schmuck has to shovel it into a hole and set it on fire.

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Interview with Steve Cefala (Dawning)

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Steve Cefala (R) and Birdo (L) of Dawning.

Welcome to the strange and protean world of Steve Cefala, black/doom metal musician, MMA fighter, former adult entertainment actor, and now, the force behind the returning Dawning and its unique brand of slow melodic metal with horror movie keyboards.

Dawning was born in 1996 at the hands of Mr. Cefala and a close cadre of collaborators. Dormant for many years, but never forgotten, the band was resurrected with the – – –/Dawning split that showcased a classic song for the band and gave it new arrangement and orchestration.

We were lucky to catch up with Mr. Cefala between his many high-energy ventures and get in a few words about the split, the history of Dawning, and its future both as band and concept.

When did Dawning form?

Bud Burke (now in Exhumed) and I quit Pale Existence and started Dawning in 1996. Bud and I may have done some rough Dawning recordings on his four track as early as 1995. We were juniors in high school. We had just terrorized the high school battle of the bands with our cheesy Satanic side project Desecrator (there’s so many bands called that).

Why do you think Dawning is less known that other bands from the era?

First, although not many people know about Dawning, the people I know of that like Dawning are people I respect.

But there are several reasons for Dawning’s relative obscurity. Some are obviously self-inflicted: personnel/lineup problems and changes, lack of self-promotion, etc. We were more focused on making good music and recording it than on the promo side. Also not fitting an exact genre or lack of other doom/black metal bands locally at the time did not help.

We also had offers to be published by record companies which we messed up. As we were about to record for a 10″ release, the incredibly talented bassist who was the band’s contact had a breakdown from acid and thought he was an alien… and the other guitarist Mike Rabald turned super flakey and just would not record his darn guitar tracks, despite being at the recording studio drinking ale and playing Sega Genesis every day instead! After months of that B.S., when we finally threatened to kick him out, he and the sound engineer showed up at my front door demanding cash for what we had recorded so far or they would to destroy the reel! Prick…..

For some reason, we just could not get a show at this period in time. This pissed me off because I was the first metal guy to rent the local library out and throw many underground DIY metal shows and I had set up a lot of shows for local bands with my previous band Pale Existence. Some ugly heifer from my high school ended up renting the library out and getting metal shows banned from the library due to burning bible, blood spills, and setting off fire alarms. Way to go! I also threw a lot of shows for Exhumed and a bunch of local acts at the Cupertino library. They are cool guys but they never reciprocated because we were not gore metal (I remember them helping out Gory Melanoma a lot with shows for instance) or would not kiss their ass or something. Drummer Brian and I used to tease them about them being Carcass rip offs and Matt Harvey being Mr. Rockstar. Anyways, the library shows I threw were integral in bringing the South Bay death metal scene together. They were free all ages DIY shows that united a bunch of different metal and hardcore genres.

It’s also not like people didn’t know we were available. Dawning got only three shows! The KFCJ radio show, one at a frat party in SLO, one in a gazebo teen center I rented. This was despite that I had a full band lineup from 1996-2003! A third show was set up in an alley in Gilroy and the club owner canceled the show at like 7 pm (Maelstrom was headliner) before metal heads, who showed up later like 8, could get the message.

I would mention some other excellent local bands from that era which may have been forgotten includes Gory Melanoma, Infanticide, Butt, Agents of Satan, Deity, Disembodiment, Doomed-horn, and Gorgasm! :) I am glad to see that Morbosidad is still active also :)

Originally, what did Dawning sound like — what was the intent, and what were the influences, behind the sound you were going for?

The sound I have always aimed for with Dawning is to take a synthed out movie soundtrack and cross it with raw doom or black metal guitars and vocals. With a hint of ambient (backwards vocals, chimes, timpani drums). The end of the first demo has a incredibly slow doom ending with a collage of apocalyptic samples. When I started recording this shit back in 1996 I didn’t hear anyone grinding black metal guitar chords over a doom beat. I still barely ever hear that. I guess all the black metal bands are playing doom and ambient now mostly — at least the ones who aren’t constantly blasting as if they are at some type of competitive track meet event.

“New” Dawning sounds basically exactly like original Dawning. It’s all written on the Roland JV series keyboard mostly. There were some demos we did that trended more towards black metal, and some had hippy elements.

Our influences include movie sountracks like Goblin, Angelo Badalamenti (Twin Peaks), John Carpenter scores, Vangelis, Jerry Goldsmith (the Omen), etc. as well as classic 90s doom and black metal — Winter, Disembowlment, Grief, Marduk, Darkthrone, Impaled Nazarene, and My Dying Bride. There is also some trance influence from raves and partying. On the hippier demos there’s a Hendrix and Sabbath vibe to the guitars at times.

Also, Dawning has goth/industrial influences. I listen to Godflesh, Rammstein, Depeche Mode, My Life With The Thrill Kill Cult, Type O Negative, etc.

How did that sound change over time?

  • Demo 1 – Blackened doom/new age-ish (hint of ambient). Just Bud and I, no bass.
  • Demo 2 – Live on KFJC. Groovier. More Hendrixy and more Sabbathy. Full band lineup starting with this demo. Trippier more occult-based song themes. Bouncy hippy basslines.
  • Demos 3 and 4 – More black metal. Less doom.
  • Demo 5 – Exit Bud Burke, enter Mike Beams (Exhumed). More brutal and detuned. Added elements of sludge doom.

…then back to the original sound of demo 1 again for the split. The upcoming full length is like demo 1 but with more mid-paced grooves and a few blasts besides the doom beats.

You’ve re-recorded “Divine Arrival of the Massive Hoof” for the split with – – – on Preposterous Creations. How did this split come about, and what’s new with the re-recording?

I hooked up with Phil from Presposterous Creations on a web forum where he had posted some old Dawning demo links. I was told Gary from Noothegrush (who actually recorded our live at KFJC demo back in the day) helped get Phil interested in Dawning. Chiyo and Gary (from Noothegrush) have always been most supportive of my band. I honestly think Dawning might not exist today if not for them. And I was told that John Gossard (Weakling) had also talked to Phil about us, which helped. Originally Bud was planning to come out on vacation to visit and record on the new tracks with me. But Exhumed called him and off on tour he went. Now he doesn’t return my calls or lousy Facebook messages even.

“Divine Arrival of the Massive Hoof” on the split has a new arrangement. Better recording. Also, there was a period during these most recent recordings where I was diagnosed as allergic to sunlight. This time was depressing and that gave the songs a darker tone.

A couple of years ago I noticed there was something called the “101 Rules of Black Metal” going around the internet (you can google it). I noticed a rule saying that “the exact date if the divine arrival of the massive hoof shall never be revealed under any circumstance.” It even made it on the Ozzfest official page at that time. I was a little surprised that phrase was ingrained as a rule of metal (I see no other song title as a rule — but I could be wrong). I will admit that I did want to get some credit for the notoriety of the song I had created in 1995-96 and that was part of my motivation in redoing the song and getting it published. I am extremely thankful to Phil and to Noothegrush and the handful of people including John Gossard who kept the spirit of Dawning alive on underground message boards and such. Also whoever put it in the rules of metal I am thankful but would have been better had Dawning been given proper credit.

What’s – – – like, in your words? What was the appeal in working with them?

As far as actually splitting the record with – – – , it was Phil who came to me with this idea. Personally I find the piano parts on all – – – songs to be very inspired and unique and I also love his guitar tone (it reminds me of early Ulver!). So I was honored to split the LP with – – –, though I know nothing about them it is an honor to be associated with that level of talent.

Do you think metal is in a slump, or a time of over-abundance? Are there any parallels to humanity at large?

I do not like the overall musical trends in metal. Blast beat blast beat blast beat. Hail Satan this, hail Satan that. Blast beat blast beat blast beat. Blah blah blah. Playing drums like a track meet competition.

Most of the Gothic doom bands seem really gay (not in a happy sense though) compared to My Dying Bride, at least locally. Stoner bands who are not stoney — or original. Technical death metal which gives me a headache. I also don’t like the super mainstream bands right now like Lamb of God.

Nachtmystium and Electric Wizard and a few other amazing bands in the mainstream (I enjoy Noothegrush, Ludicra, and Weakling) but there’s too much crummy bands you have to go through to find a good one. Compared to the 90s — it sucks!

Locally I fell into the boring status quo sound a little too much with my last band Condemned to Live (DJ) for a few years so I must also take my share of this blame.

And yes humanity stinks too. Pretty much everything stinks these days honestly. I stopped listening to Marduk and Vader, and then Fear Factory and bands like that when they put out that pseudo techno album in the late 90s.

Also when you play a show these days its often a pissing competition between the bands instead of a brotherhood of metal. The other bands come up to you and complain about the band order instead of introducing themselves. Or you could be informed that another guy in the other black metal band that night does not like your band etc I was playing black metal live when he was in kindergarten but hey whatever…

In the 90s we knew we were all social rejects and we bonded over that. Today these kids who grew up in a post 9-11 world live in a darker cutthroat worldview. 90s metal tended to have some sense of humor that is now absent by in large. I think the global economic depression has caused metal to lose its fun fantasy oriented spirit that it had before. By the way outside a few dive bars here like the Caravan, metal is so unpopular where I live in San Jose — everything is gangster rap this, gangster rap that. I can go out for a whole week and maybe see one metal tshirt. Funny thing is my gangster friends like Dawning and are supportive.

What do you think are the differences between black metal, doom metal and regular old heavy metal?

Honestly, it’s all over genre-ized. I honestly wouldn’t even mention my bands genre but I feel strongly we were ahead of our time and deserve a little credit, even if its just a tiny bit. Everyone is mixing black metal and doom now. Back then I heard maybe one Incantation album that did that a bit, not much else.

I can tell you locally while I respect the underground hardcore approach of many bands — mostly everyone just wants to be a genre guy and fit in, which is sad cause metal ain’t even popular in the US in mainstream pop culture so these days why worry about fitting in.

It’s sad to me. Oh well. When I talk to other musicians these days its “Hey, I like this one band, Electric Funeral — let’s do a band like that” or “Hey, I like this band Cradle of Filth lets do one of those!” Nobody wants to make their own band sound. It’s much easier to join a specific genre, follow that genre’s rules to the T, and network from just within that genre. That’s my main problem with modern metal. Of course there are exceptions.

As I understand it, you also had a career in pornography. Can you tell us about this? What was it like? How did it inform your worldview as a metal musician?

For me it was just a job. It paid better than my retail job had been paying however.

The funniest thing was when I started working in it nobody believed me. Then when I showed them proof, everyone said I was weird for bringing the mp3 with me. That’s life. It was also weird I got in through the studios that mostly filmed “blacks” (Black Market XXX for instance). Eventually I worked for some big companies including JM Productions, Immoral Productions, Bang Bros, and more. I quit right after I had a shoot with Playboy channel where I was to play guitar and shoot with Tuesday Cross as well as a pilot of series for HBO fall through.

It was surrealistic working in that industry. The scenes were sometimes elating. But at the same time the conditions of a shoot were often sterile. The bright lighting, lack of music, no pictures on the walls, taking orders from director; also I was commuting to LA for this which made it harder. It was fun but also hard work. For one thing you have to stand on one leg most of the time so the camera can see. And theres a lot more logistics and networking compared to even a normal job. One thing I will tell you is we do most scenes twice. Once for the pics on the box. Then clothes back on and film the scene on video. Also going and getting tested monthly for STDs (mandatory) was a pain in the ass and came out of pocket. And a lot of the female models were too much drama and ruined the fun.

I was also sponsored as a mixed martial arts (MMA) athlete by a clothing company at the time. Between training MMA, doing the porn shoots, and performing metal in the clubs with Condemned to Live I had a wild lifestyle. I stopped working in the films back in 2010 though. That industry suffered from piracy much like the music industry. Anyways I have a girlfriend, a normal job, and a traditional modest lifestyle now.

Is Dawning back on the warpath? Will we hear more in the coming weeks, months and years?

I create the music of Dawning for myself and for the chosen few who are willing to listen to what Dawning has to offer them. To those who will listen we offer an escape to another another dimension in which their imagination can run free.

While I have been trying to get the band going live, at this point I am tired of auditioning show-off types and have taken matters into my own hands. I am currently playing electronic drums while at the same time playing keyboards on with my other foot (Moog Tarus clone). My right hand also plays some keyboards. So I am playing drums and keyboards; the drums are electronic, so I feel like I am piloting a spaceship when I am playing I can be in my own world. Also I am not a great drummer, but I can keep the beat.

My girlfriend Charity has taken over on bass guitar for now. She has named herself Nubian WitchGoddess (is that one taken?) and I am working with a guitar player named Gabriel. If this lineup works out we will be performing very soon. The Caravan has always been supportive and said we can play anytime. Noothegrush expressed willingness to play the tiny club with us eventually, which was very nice of them. Also I personally have an entire band’s worth of equipment including every instrument and amp and drums and PA etc., so let it be known I have 100% been trying to take Dawning live for the last year or so and basically have received little to no support from local musicians in this effort. I have had many ads out with few responses. And, funny, what do you know — now that the record came out like 10 people just contacted me all of a sudden about joining. Way of the world I suppose!

There is a full length album I finished recording coming out on cassette in a few months on French label. It has some more upbeat black metal stuff but plenty of doom too. It flows. The new full length album is about the Satanic albino cult that lives high in the hills above Silicon Valley, by the way. My car broke down up there many years ago and the Sherrif told me about them and gave me gas to get the fuck out of there.

http://www.youtube.com/watch?v=u82y93yi7Ng

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Interview with filmmaker Ryan Oliver

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Continuing our coverage about the corresponding nature of horror movies and metal, as well as our continuing content of the Housecore Horror Film Festival, we present an interview with metal enthusiast and filmmaker Ryan Oliver from Deathblow Productions.

What initiated your interest in making films?

It’s a long chain of events starting with me watching the Son of Svenghoulie (local horror host) as a little kid, then making some backyard movies with the neighbor kids to theatre studies in college. At around age 30, I was an actor/writer/FX artist who had moved from Chicago to LA, and become immediately disenchanted with acting. I hung it up and got a job in a film vault at Technicolor, FX freelance work, and I wrote a shit-ton of scripts. Eventually I landed back in my hometown and was determined to stay connected to the industry and adapt the ‘big fish/small pond’ attitude towards things. I decided to start directing my own material, never looked back.

How would you compare your work with mainstream Hollywood types of productions? Are mainstream movies too predictable? If so, how do you overcome this hurdle?

Yes, a great many of them are quite predictable. But I suppose that’s a symptom of having millions of dollars at stake, making ‘safe’ choices. I don’t have to deal with that, so I’m not the best one to ask. When it comes to Deathblow, I can pretty much do anything I want/afford to do. I have no one to answer to. So, I try to write to my instincts and from my gut while keeping things as interesting and unique as possible. As a director who’s still trying to fight his way into the club, I have my own unique set of obstacles. I think it’s wasteful of my time to consider what others have going for them where I should be focusing on my own future. I will say this, I got tired of complaining about movies when I hadn’t gone through the process myself. It’s fucking hard to make a movie and to have people want to watch it, it’s double hard. So many things can go wrong from the music, talent, edit, fx, to your own idea sucking. So now that I made one and people seem to dig it, I don’t feel like the fat guy yelling at athletes from the grandstands anymore.

Being that you were featured at the Housecore Horror Film Fest, which featured both metal and horror movies, how does metal correlate to your tastes in music? Which bands have stuck with you throughout the years?

It’s not the only genre I listen to, but it’s ahead by a land-mile. Since you brought up Housecore, I’ll start with all Phil Anselmo projects. He’s an incredible frontman and I’ve bought everything he’s put out since ‘Cowboys’ I like a lot of Doom- Yob,Electric Wizard type stuff. Naturally, I’m drawn to a lot of Chicago bands like Plague Bringer, Harpoon, Witchbanger, The Atlas Moth, Indian, Pelican, Wolvhammer, Lair of the Minotaur, Bongripper, Weekend Nachos, Sweet Cobra, etc. I seek out a lot of soundtrack/soundscape stuff that is great to write or create to- Karl Sanders’ (Nile) solo albums are terrific. If I have to pick an ultimate inspiration it’s The Misfits, I know they’re not metal, but I really latched onto them from the moment I heard them. I was obsessed with these songs, the lyrics were both brutal and poetically divine and I began to see their discography (77-83) was an audible blueprint of the way I felt about the horror genre in general. For me, it was magical to discover those songs.

Do you think it’s significant that Black Sabbath chose the name of a horror movie for their band? What about that their statement in the past that they saw people enjoyed horror movies, and figured they might enjoy music with the same mood?

Sounds pretty significant to me. I don’t want to question the series of fragile events that led to Black Sabbath’s ‘sound’. I’m just glad it worked out the way it did. They’re so overly associated for pioneering metal that it feels too obvious to even bring up at times. I guess it explains their absence from my response to the last question.

Has horror movie music influenced metal? In what ways? Are there any specific instances you can think of?

I’m not a musician. I can’t play a lick of anything, so I may be totally full of shit, but when I think of, I guess you could say, stereotypical horror movie music I think of brooding moments punctuated by ‘stingers’. You know, slow strings or piano keys before a jarring ‘startle’. I hear that in metal often, bands that utilize a ‘slow to fast’ structure. Organs are another one. When I hear a pipe organ I think of two things: Classic monster movies and King Diamond. It’s a tough question, I guess I feel clumsy answering it.

Are there any similar emotions between metal and horror movies?

You know what’s interesting to me is how tough it is to fit metal into a horror film without overdoing it. You’d think it’d be like peanut butter and jelly but I personally don’t think metal compliments horror that easily. For example, John Carpenter and Allan Howarth composed the music for those early films masterfully, but I didn’t care for the metal score/soundtrack in Ghosts of Mars or JC’s Vampires. I like Carpenter on the Casio Keyboard. All those riffs chewed up the scenery for me. Now, my favorite use of metal in a film is probably Sleep in “Gummo” when the young cat hunters are first introduced tearing ass down that hill on their Mongoose bikes. Gummo isn’t exactly horror…but pretty close!

What other similarities have you found between horror movies and metal?

I have found that, for the most part, the overlapping fan bases are a collective of intelligent, well-balanced people that enjoy their lives and are easy to get along with. At least the ones I hang out with are.

Which horror flicks would you claim have had the biggest impact on your creativity?

Lots of Carpenter, Cronenberg, Exorcist 1&3, Texas Chainsaw 1&2, Everything Argento, Early Romero, Hammer Films, Troma Films, Universal Monsters.

Outside of horror I’m crazy for The Dark Crystal, 70’s cinema, Kubrick, Westerns, lots of Kung Fu & Samuari, Mad Max Trilogy, Cohen Brothers, 50’s Sci Fi, & anything weird or bizarro.

Do you derive inspiration from creating a sort of puzzle, then have the pieces fall together as the story progresses? More than just gore, but something that will stick with the viewer long after they’ve watched?

You said it! Gore, in my opinion, is best used as punctuation to a scene. It shouldn’t be the core content. I mean, it can, but I don’t think that’s wholly effective or the most interesting choice all the time. Situations, story and characters should dictate the terror. The audience will always think of something more twisted than what you can show them. It’s been said a million times, but look at the blood content of Halloween and TCM -a spatter or two at best. But everyone swears they saw it! I subscribe to that, for me it works. Tell a compelling story first, then strategically place your gore. That being said, there are some real blood-bath movies that I’m crazy about, Dead Alive, for me, is the crown jewel.

Thank you for your time. What’s ahead in the near future for Deathblow Productions?

We are in post for a new mid-length film called, “Restoration”. It’s a car culture ghost story about the spirit of a little kid who gets relocated from the prairie to a custom car & motorcycle garage. The place is loud, dirty and not to her taste so she throws a temper-tantrum one night. If you want to see a little girl spree-kill a bunch of Rockabillys then this is the movie for you!

Check out Ryan’s film “Air Conditions”:

“Air Conditions” Full Film from Ryan Oliver on Vimeo.

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Black Sabbath – 13

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Black Sabbath’s new album, 13, is a marvel. The first single “God Is Dead?” didn’t adequately prepare me for the experience of the whole work. This album contrasts the old sound and the new sound. The band frequently harkens back to their former work. I’ll note these instances when I treat the individual songs later in the review. In fact, some fans think 13 is too much like the earlier material. But they’re wrong. Surely we want them to recapture their earlier sound to some degree, but this album does much more than that. While surely somewhat nostalgic, this album does NOT fling itself into the market as a refurbished rehashing of used riffs. It’s a GREAT album. The original vibe remains as strong as ever. Fans agree and have propelled this album to #1 on the charts.

Let’s just talk about the players for a minute. Black Sabbath-for better or worse-always rests on the genius of guitarist extraordinaire, Tony Iommi. He has lost NOTHING on this album. He includes riffs and architectonic elements from ALL of his work with Black Sabbath, his recent work with Heaven and Hell, his solo albums, and perhaps even some of the blues roots that preceded Black Sabbath. His solos are as good as, or better than, his earlier work. When they do echo earlier compositions, they echo the very best soloing of his career.

Geezer Butler also plays as well here as he ever has, and a fan would do well to find anything on an earlier Sabbath album any better than his work here. Tony and Geezer seem to be playing for posterity. The lyrics of the entire album hint at the band’s contemplation of their own mortality, and surely Dio’s passing and Tony’s own illness make that inevitable. Ozzy Osbourne sounds pretty strong. His voice gets stronger as the album progresses, and some of the vocal melodies capture an Ozzy Osbourne solo sound — which was already developing on Never Say Die! (1978) back in the day. The synergy that made Black Sabbath a revolutionary band still exists in these three guys.

Brad Wilk’s drumming rounds out the record. The fan base made its displeasure at Bill’s absence very clear. Brad had a very big job trying to fill Bill Ward’s shoes. To his credit, he filled them well. We don’t hear the Butler/Ward swing anywhere on this record. Nor should we. Trying to imitate Bill would have been insulting. Brad did the job well, and he gets a big thumb’s up from this reviewer. All of these musicians in top form.

Musically, this album is VERY heavy in places. As mentioned, several of Tony’s solos equal anything he’s done so far, and his riffing remains the best there is. Lyrically, the darkness of this album stands with anything the band has ever done. The Grim Reaper peers over the horizon in nearly every song, and the tension between God and Satan (or at least the tension between the concepts of good and evil) emerges explicitly many times, as it did in their early work, when even the band were frightened by their own songs!

This review will address only the album proper, no bonus tracks. I may get an argument or two from some fans, but in general, I’ll say that the bonus tracks fail to achieve the same quality as the songs on the album. Perhaps more to the point, they do not “fit” the mood of the album proper.

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“The End of the Beginning” strikes me as the perfect title for the first track of this album. The return of the Ozzy-era line-up marks a new beginning for these elder statesmen of heavy metal. The main body of the song pays homage to the first Black Sabbath song “Black Sabbath” off the album Black Sabbath (1970). This song reflects Tony Iommi’s growth and range as a guitarist. The track opens with a heavy, doomy march of separated chords similar to “Shadow of the Wind” (The Dio Years – 2006) or “Atom and Evil” off The Devil You Know — a rather recent development used here to great effect. There are tempo changes, and the classic break that we hear on the first four albums. Some listeners may remark that they use the same sort of break in four of eight songs on the album, thus leaving them repetitive and even self-derivative. I don’t agree, but I concede they lean on this approach. It’s a part of their style and fits.

He plays two solos, as we see in Dehumanizer’s (1992) “Computer God”, using the same basic architectonics. The solos themselves soar into prominence. The first, at 4:42 or so, lasts 50 seconds, and features not only a fantastic Iommi-style lead but also a tempo change into a bluesy sound at the end. The second solo closes the song, and for around 90 seconds grows in intensity, rising to an effort VERY similar to “Lonely Is the Word” from Heaven and Hell (1980). Again, we are not talking about a mimeograph album. Tony taps into EVERYTHING he’s done. And he plays with abandon, with emotion.

Lyrically, we see a fresh address of the theme Society vs. the Individual, especially in terms of the former controlling the latter. This theme has been interrogated throughout the entire history of the band, dealing with societal issues like family collapse in “Wicked World” off Black Sabbath, economics in “Cornucopia” (Vol. 4 – 1972), psychology in “Johnny Blade,” (Never Say Die!) television in “Zero the Hero” (Born Again – 1983) and the eponymous “Mob Rules” (1983) and “Computer God” ( both self-explanatory). This song updates for the pervasiveness of the simulacrum, urging the “Reanimation of your cybersonic soul” and concluding “You don’t want to be a robot ghost / Occupied inside a human host / Analyzed and cloned relentlessly / Synthesized until they set you free.” This eight-minute opus is pure Black Sabbath.

“God Is Dead?,” the first single, at almost nine minutes, seems like two songs. The first 4:00 or so offer a kinder, gentler sound. Then the chorus hits at 2:16 and at 2:26 that super-doomy descending lick hints at the Sabbath sound. Then they go back for the next verse. At 4:05 that Sabbath discord starts and at 4:09-4:10 Tony “shakes” the chord as only he does. Then a classic Iommi riff (4:17-4:18), a reprise of the aforementioned descending lick, and an expansion the power chords at 4:10 into back-and-forth riff, classic Black Sabbath-relentless, hypnotic. At 5:38 we get to the chorus with that descending lick again. Then at 5:48 they reprise the power chords from :30 into the song that form a bridge to the break at 6:19 that seems like something off the first album or Vol. 4 (or “Falling off the Edge of the World” off Mob Rules). Then at 6:27 Geezer Butler kicks it into high gear and never lets up. All the musicians do the same thing, classic Black Sabbath. Then Geezer starts what will be one of the best performances on bass guitar in the Black Sabbath oeuvre. Even when the song slows, his playing does not. The 15-second solo (7:38–7:53) has a bluesy, 60′s sound to it. Some listeners may have preferred a longer solo, but the musicianship and intensity so far have been so powerful that a solo isn’t needed for the song to have a high point. In fact, Geezer’s playing behind the solo almost equates with soloing itself as he’s playing much faster than Tony. The final minute is the descending lick behind repeated “God is dead” chorus. The chorus leaves us with a rather definitive statement “I don’t believe that God is dead.” The supremely dark lyrics offer the good vs. evil motif that this band has defined. These lines typify the questions asked in this song: “Nowhere to run / Nowhere to hide / Wondering if we will meet again on the other side / Do you believe a word / What the good book said? / Or is it just a holy fairy tale and god is dead?” Nothing says Black Sabbath like two songs in excess of eight minutes offering pessimism and plodding riffs. What a one-two punch!

“Loner” rocks: a flat-out, straight-ahead headbanger. Some say it reminds them of “N.I.B.” It actually recalls the basic riff pattern of the main riffs from “Black Oblivion” and “Flame On” from the 2000 solo album Iommi. Lyrically, the song speaks of isolation, and the head-banging groove of the song contrasts with the seriousness of the message, tied up in the final verse: “Communication’s an impossibility / His own best friend but he’s his own worst enemy / The secrets of his past locked deep inside his head / I wonder if he will be happy when he’s dead.” Perhaps one of the hallmarks of Black Sabbath and of the metal music they pioneered is an understanding of the angst — even depression – that their listeners experience. The strong of grounding in existentialism in their work makes even an up-tempo frolic cuts into the heart of the listener. The irony of the seriousness of the theme and the elation of the riff-similar in a way to “TV Crimes” off Dehumanizer bespeaks a long-standing Sabbath tradition as well.

“Zeitgeist” immediately reminds us of “Planet Caravan” off Paranoid. In a larger sense, perhaps the beauty of “Zeitgeist” is to recall Black Sabbath’s numerous slower and/or psychedelic tunes, such as the aforementioned, “Planet Caravan,” “Solitude” off Master of Reality, and admittedly, to a much lesser degree “Changes” off Vol. 4, “Spiral Architect” off Sabbath Bloody Sabbath (1973), “She’s Gone” off Technical Ecstasy (1976), and others off Dio-era albums. No innovation exists here vis-à-vis older Sabbath tunes of a similar nature. No doubt people will like this one-especially, perhaps, people who weren’t hardcore Sabbath fans. Unremarkable in comparison to the other songs on the album, it provides a break in the heaviness — much as the other songs noted here did for those albums — this song reminds us that Black Sabbath did this too. Insofar as this album may well become a historical document, “Zeitgeist” proves a worthy inclusion.

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The opening of “Age of Reason” sounds a bit like the opening of “Follow the Tears” off The Devil You Know. Another elaborately structured offering marked by numerous genre and tempo changes, reminiscent of “Dirty Women” off Technical Ecstasy, give this song an almost proggy feeling. The opening riff while really quite doom-laden, is also rather bluesy. While the structure and overall sound of the song unmistakably heralds Black Sabbath, the melody suggests Ozzy’s solo work (not to mention an echo of “Junior’s Eyes” off Never Say Die! which presaged the Ozzy Osbourne sound in many ways). The marvelous solo in this song recalls “Zero the Hero” a bit. Tony takes his time, and the solo carries us away as only an Iommi solo can. At the risk of being repetitive, Tony Iommi has lost nothing. The guitar work here stands up to anything he’s done. Similar to the general theme of “The End of the Beginning” and many other Black Sabbath songs, the lyrics describe a hopelessness accepted by people who have lost their will to be themselves: “Sustainable extinction / A fractured human race / A jaded revolution / Disappears without a trace.”

The opening progression of “Live Forever” bears a similarity to the opening of “Lord of this World” off Master of Reality (with, again, a touch of that march of separated chords noted in “The End of the Beginning”) and then steps up the tempo to a riff strikingly similar to the up-tempo movement of “Cornucopia” off Vol. 4. This one really harkens back to the older groove. Even Brad’s use of cymbals seems rather Bill Ward-esque. While clearly adapting these older tunes, the nuanced use of the newer aesthetic and burnished sound of excellent production renders it a new song. Ozzy sings as only he can-with all the soaring menace of that same era. The lyrics of the song sustain the motif of aging and the looming presence of impending death. This song lacks the depth of the others on this album. For instance, the closing lines, “I may be dreaming or whatever / Watching my life go by / And I don’t wanna live forever / But I don’t wanna die!” certainly do not rise to the more profound, sometimes poetic, expression of the same uneasiness. I’ll neither label this song as filler nor dispute the inaccuracy of said label.

“Damaged Soul” is monumental. Clearly a tribute to their roots in the blues, this song amalgamates everything Black Sabbath not only does, but can do. Black Sabbath has made forays into the blues before, notable on the Seventh Star (1986) and the song “Dying for Love” off Cross Purposes proves a stunning blues song. But Sabbath hasn’t done this anywhere else. My first thought upon hearing it was that it sounds like Robin Trower, but heavier. There are moments in this song that sound like Electric Wizard. It almost demands a genre definition of “Doom-Blues.” Again, the soloing echoes “Lonely Is the Word.” The first solo at 3:49, lasts for about 45 seconds and never deviates from a standard blues structure. He means to play the blues here. Then at 5:26 we get another 30 seconds or so until a break takes us to another tempo. The harmonica wails into this change, and then Tony returns at 6:36 and serves up a solo of his own. While the rest of the players play the blues (and Ozzy even sustains a fine harmonica riff), the exit solo is pure Iommi. Lyrically, this may be the darkest song on this album and in the running for the darkest song they’ve ever made. Lyrically, the song calls up the career-long (or age-old?) subject of possession and reprises this album’s motif of impending death and the tension between good and evil: “I don’t mind dying ’cause I’m already dead / Pray not for the living; I’ll live in your head / Dying is easy; it’s living that’s hard / I’m losing the battle between Satan and God.”

“Dear Father” proves an indictment of Catholic Church’s priest sexual abuse tragedy, every bit as scathing and pessimistic an attack on this issue as “Wicked World,” “War Pigs” off Paranoid, or “Into the Void” off Master of Reality.” This song boasts a rather complex overall structure, featuring multiple tempo and style changes. But nothing in this song equals the rest of the album, musically. The reason for this appears to be that the band wants us to listen to the words. An album this good, with Tony and Geezer playing as well as they have ever played, with Tony playing his heart out in more than one place, would not forgo a solo without a reason. That reason must be to focus our attention on the message. The music changes every time the message changes, intensifying the merciless dissection of those merciless crimes. The closing lyrics sum up the song with perfect clarity: “Dear father forsaken, you knew what you were doing / In silence your violence has left my life in ruin.” The song closes with a repeating “In ruin, yeah” phrase, symbolizing the vile and on-going suffering caused by these atrocities. After this song ends, the rain sound effect from the beginning of the first album fades in for a few seconds, reminding us that this album not only provides a resurrection of the original line-up and sound but also offers a vital viewpoint on religion and music, contemporary issues and timeless questions.

In 13, Black Sabbath reflects both the original Black Sabbath sound, imagery, and philosophy and the influences of all their musical experience from their solo work, other incarnations of Black Sabbath, and their inherent genius. They recast the system of rock music 43 years ago, and in this “reanimation of the sequence,” they have again recast the system.

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Interview with Shane and Amy Bugbee (Milwaukee Metalfest, The Suffering and Celebration of Life in America)

the_suffering_and_celebration_of_life_in_america-shane_and_amy_bugbeeShane Bugbee and Amy Bugbee, who wrote The Suffering and Celebration of Life in America which featured interviews with Possessed, Averse Sefira and Gene Hoglan, answered our interview request with a flotilla of good information.

These are the two writer-artist-metalheads who hopped into a decade-old Suburban with $200 and drove across America, spending a year touring the USA to figure out what Americans actually believe and where the soul of America rests.

During the process, they interviewed Possessed’s Jeff Becerra twice, Gene Hoglan, Ian Mackaye, Averse Sefira and many other underground figures who have featured prominently in the evolution of metal.

They also caught the spirit of metal in their critique of society and its tendency toward herdlike conformity, along with a refusal to join in. The resulting adventures were insightful and humorous, and you can read them in the book. But for now, the interview…

I’m here in Tampa, Florida questioning Shane Bugbee and Amy Bugbee about their new book, The Suffering and Celebration of Life in America. We are most definitely not firing shotguns, drinking whisky and listening to old Sarcofago bootlegs. Let’s see what they say when I whip out this list of questions written on an old receipt for ammonium nitrate and fuel oil…

AMY: Hi Brett, thank you for asking questions, glad to answer them, thanks so much!

When did you first become a metalhead? Why? I assume it would have been easier to get into AOR or country.

AMY: I have been a metalhead since I was little girl, and when I think back to where it began, I must have been in 3rd Grade. I had a sister 5 years older than me, and we grew up in a working class community on the industrial South Side of Chicago. We would pool our allowance ($3 a week each) and buy an album — AC/DC, Black Sabbath, Led Zeppelin, Judas Priest. The first time I heard Black Sabbath I was hooked. I can remember when Ozzy left Sabbath, I remember when Bon Scott died, I was 9 or 10 and I was devastated. 

We had a record store in downtown Hammond, Indiana that we walked to almost every Saturday, called Hegewisch Records. They used to put album art on black t-shirts with hundreds of bands, I started wearing them in 4th grade. That place was like a secret world, I loved it. (The owner was murdered in 1991 – shot five times, never solved – but that’s how it is where I grew up!)

SHANE: my uncle was digging on sabbath, led zeppelin, ac/dc & zz top when I was a wee lad, so, that was a start… the first 45 I was given as a gift was elvis, the first full record, kiss destroyer and, the first cassette, van halen/fair warning… seems like my uncle liking hard rock bands helped to influence and guide me, that and the clan-ish war beat of heavy metal/hard rock that naturally attracted me…. I think the metalhead is a lost culture/clan that is split up through kings or natural catastrophe… we find each other through the music… my earliest metal memories are listening to the radio in a chicago suburb and wanting the first ozzy solo record so bad I said out loud I’d sell my soul to the devil for it… I wound up with a copy the next week… kiss on TV, I can’t recall exactly, but maybe when kiss appeared on mainstream, prime time tv, I think is was CBS who aired phantom of the park… buying a bootleg led zeppelin record from the classified ads in rolling stone – these are some of my early metal memories.

What were your favorite metal bands? What made you like these more than others?

AMY: As I mentioned I really loved Black Sabbath, and a lot of what I would now call “Hard Rock” bands. At 14, I was introduced to Metallica, Slayer, and that whole second generation of metal through a crew of friends I’d begun running with. I thought Metallica, Motorhead, and all those bands were  great, but my real loves were Venom and Slayer. I remember running to the record store the day Slayer’s Hell Awaits came out. I was working my first job at a Dairy Queen in Harvey IL, and I got myself a decent stereo and bought albums with most of my paychecks that summer. I would immediately record the albums onto cassette tapes and I took them everywhere. I was the person everyone turned to for music after a while.

So much great music then — Mercyful Fate and King Diamond, Exodus’ Bonded by Blood.  I am lyrically inclined, so Venom was something I was really drawn to. Today, there is a lot of really good and a ton of really bad metal out there, as always probably. 

Sad to say, since I lost my entire music collection I have been less inclined to buy music, and listen instead to a lot of internet metal radio and even our local community station. 

SHANE: it’s impossible for me to make a list of favorites as they will move and change, sometimes daily… here’s a quick retrospective and some of those I’ve loved through-out the years…

  • van halen
  • ozzy ozbourne
  • deicide
  • obituary
  • slayer
  • ac/dc
  • black sabbath
  • king diamond
  • destroyer 666
  • dark funeral
  • electric wizard
  • sepultura w/max only.

that’s a hard thing for me to put a reason on taste… I’d say the overall thing that sticks with me through all art is aggression and honesty… be it a painting or a song. there is of course my influences as a child, influence from peers.

seems like my uncle liking hard rock bands helped to influence and guide me, that and the clan-ish war beat of heavy metal/hard rock that naturally attracted me…. I think the metalhead is a lost culture/clan that is split up through kings or natural catastrophe… we find each other through the music…

Shane, I remember that you were involved with the Milwaukee Metalfest. I don’t think metal fans today remember how important that event was, but it was like the industry conference for metal fans (not the metal industry, which didn’t exist). How did you get involved, and what did you take away from the experience?

SHANE:
the metalfest was quite the gathering point, wasn’t it. boy, those were the days… I got involved because I had a zine (Naked Aggression) and was trying to sell jack koshick (metal fest founder) some ads, I told him I could help with sales and wanted to sell vendors tables and publish a program book I could sell ads in… I felt they could profit off of the show without all the ticket buys (pay to play) they made low end, un-signed bands take part in… I really hated the pay-to-play deal and wanted to help make the fest better… it was cool, I made enough money to live off of for six months a year but the metal fest only crumbled due to too many pay-to-plays and the fest became less and less about the music and all about the money… funny thing is, I quit because so many brothers in metal came up to me during my final metal fest, they would yell and scream about the shitty pay to play bands and the schedule, telling me they’d never play the show again, so I quit thinking I’d give up the 6 months worth of payment working on the metal fest and I’d start a fest for all those bands that would never play the metal fest again… I was going to do it for the ‘scene’ !!! hehehe, yea, right… the scene!!! the second we put together the expo of the extreme, the scene turned its back on our show and each and every band that said they’d NEVER play the metal fest, RAN to play the metal fest, and if you told the promoter of the metal fest that you were going to play my show it became the fastest way for a band to not only get booked, you’d also get paid and a decent stage time on the metal fest stage… so, the biggest take away was the ‘scene’ or ‘art’ within the metal community had gone away – it became a business and was striving to be an above ground and exploitable job vs. a pure expression… I should have just continued to play along, fighting against it all was personally satisfying, but it didn’t help my bottom line and I lost a lot of friends over that war of principles.

the black metal underground gave me hope for a bit, and on the net I’ve re-found the metal underground, so it didn’t die, it just stays in the cave.

For “The Suffering and Celebration of Life in America,” which has one of the most metal titles of any book I’ve read recently, you interviewed a number of underground metal legends, including Jeff Becerra, Gene Hoglan and Averse Sefira. How did you manage to meet so many fascinating people? Why do you think they granted interviews to you as opposed to the rest of the metal press?

SHANE: we simply asked trusted sources, friends of friends… a lot of luck went into whomever we eventually spoke to… traveling with no $$$ meant that we would find work, then a place to crash, then a gas station, then the highway. if we were lucky an interview we planned from the beginning of the trip might fit in…

as far as the interviews with us VS the metal press??? I don’t see us as metal press, just press. The metal press talks metal, so they are by their nature, predictable… and about the business of their industry… me, us, our trip was something different and exciting and I think top tiered metal heads are always looking for excitement vs. business.

AMY: I think, as with everyone we spoke to on our road trip, we were coming at things from a unique angle or perspective. We were not asking about their latest record or whatever BS they hear all the time so they were interested in being represented in a different way maybe.

I had interviewed Jeff Becerra on my defunct radio show some time back, and Gene Hoglan we’d met while living briefly in LA after our “shunning” – I’d invited him to a porn party via myspace, he said he wouldn’t know anyone, I said we just moved here so we don’t know anyone either, and he actually stopped by. Turns out a bunch of metal guys were at the party, I remember one guy falling to his knees to praise him when he walked in. Averse Sefira was a recommendation from a wise internet friend, as I was unfamiliar with their work before that. They turned out to be one of our favorite interviews.

Amy, you started out as a teenage metalhead and still proudly wear the Possessed shirts of your youth. How did your friends and family react to you being a metalhead? Can people cope with it these days at all?

AMY: To be honest, I have nothing left from my youth, my t-shirts and my record collection were lost while on the road, Jeff gave me that shirt when we stayed with him, but I get what you are saying…

As I said my sister got me into metal, our crowd was metal. We were the hardest of the hardcore in our town, but not for metal, more for drugs and mayhem and stuff. Our crew included druggies, thieves, pimps, prostitutes, guys who worked for the biker gangs and other criminal syndicates. Most of them are dead or in prison nowadays.

Ironically, the very friends who got us into Slayer and that whole wave of metal hated it when my sister and I started going to lots of shows in Chicago – to see bands like Possessed, Dark Angel, and even some hardcore bands.  They said that was just noise — Silly boys, just could not handle we were more metal than they were!  In reality, getting deeper into metal and spending less time with those people in Calumet City probably saved my life.

As far as family reaction, I was raised Atheist in a Catholic community so we were always outside of society. I’ve never been baptized, read the bible, or attended church. My parents were logic minded, they were spiritual but not Christian. I was told I was going to hell for attending public school and biting my nails by the Catholic kids on my block.  In public school, when everyone was preparing to do communion or whatever they do in second grade, and kids realized I didn’t attend any of the local churches, I was called a devil and a witch, and they stopped talking to me, so I was never part of society. If you always live outside what is “the Norm” it has no meaning to you.

You two launched yourself out on the road with what, an old Suburban and $200? Were you afraid? I think most of us are afraid to leave the morphine drip of our paychecks and grocery stores. What motivated you to do this?

SHANE: when I look back I can see a lot of feelings… but I cannot feel those feelings. I’m not above being afraid, just don’t think of it that way… this was a reverberation, a creative reaction to an aggressive action against my family… so our expression to that aggressive action was survival and revenge all rolled up into one. so, the motivation was to stay sponsored as I had been with my newspapers and creative enterprises, while at the same time finding creative ways to enact revenge on the town of ely, but responsible revenge… I wanted the world to know about ely… I wanted the world to think about ely. not the town, but the mindlessness of the collective mind. I also felt it was time our art became understood, the stuff amy & I had been doing was so-misunderstood it was easy for the other side to paint us into a corner… my friendship with Dr. LaVey, the obscene books I published, the angry, pro violent art… for me, the nucleus of what I did has always politics, I have always seen stuff like my association with the church of satan to be an artistic and political movement and NOT a belief or a religion, more of a political expression… everything I express is based in politics… so one of the major reasons I wanted to do the trip was to let our politics/art speak for themselves and, not in such an abstract way as art sometimes expresses itself, I wanted our misunderstood expression to be communicated through visceral, real life, in the flesh action… so, it was time to hit the streets and meet the enemy.

AMY:  We were terrified! But even more terrifying was the thought of canceling after months of planning, and being failures. We already felt we had so much to prove, we’d just been shunned and run out of a town, we were sleeping on my in-laws basement floor. When our sponsor pulled out and left us every reason to cancel, the alternative of having to eat crow, and find shitty jobs, and get a shitty apartment, and be stuck in some awful suburb of Chicago while the in-laws gave us the “I told ya so” speech daily was more than we could deal with, if we died on the road that was just as well. Better to go and die than stay and be failures.

Plus, when we were tipped off Adam Curry was going to take our idea and replace us with some of his contract podcasters as soon as we signed the contract (he had it in the fine print thinking we would not read it), there was no way we were going to let that false metal loser do that to us.

I understand that you were involved in a community, and were accepted and valued there, until people found out that you’d written — not worshiped, written about — the dark lord himself. They ran you out of town. Oprah wants to know “How do you feel about that?” but I want to know how you think this reflects on the nature of religion and dogma. Does it make us into monsters, or does it take one monster to turn a town against people?

SHANE: one of the main questions we asked of americans was “is there a difference between religion and spirituality?”

I felt strongly that it was the religious, not the spiritual who were the flock of blind and ignorant followers who are ultimately soldiers for corporate buffoonery… maybe a simple question, big deal, the years leading up to our road trip and this question I assumed any and all religious/spiritual believers were harmful to the future of human evolution, but at that point in my life I had met a handful of decent christians and others who were spiritual and unshakable in their beliefs and it was always these kind of spiritual folks who would have no problem hanging out with amy & myself, but the religious… beyond fearful, so afraid, they didn’t want to know.

so, our trip and the “is there a difference between religion and spirituality” question, along with all of the great answers confirmed my thoughts that religion is for weak minded scared little sheep, but, now I was able to add to my philosophy a compassionate thought about the spiritual, those who find and define a personal spirituality are thoughtful, they think, they work at it, they listen to others, the exact opposite of the closed off religious. as far as the human animal being a monster, well, the human can be scary, and if enough of us humans get together with an idea to control and manipulate people we can certainly create a monster or two for use as a tool of fear, but you need blind followers to give a monster life, so I’d say it takes a manmade monster and a whole lot of ignorant followers to turn a town against people.

AMY: It did not matter that we’d moved to the northern Minnesota wilderness because my father, who had retired up there some 15 years earlier, had had a stroke.  Everyone in my family wanted to put him in a home or stick him in their basement, and I knew either choice would kill him, the only chance he had to recover was to be where he loved to be – in his home near Ely, MN. We gave up a lot to be there for him, we had just sold our house and were planning to move to NYC. This was the total opposite of that plan, but Shane made it work, he came up with a gourmet Blueberry soda pop and soon we were bringing in semi-trucks of it. It was really taking off.

Then, we decided it was weird a tourist town had not updated their visitor’s website in over three years, so we made our own, and that expanded to doing a podcast — the first one in the Northwoods, we started an arts paper. We didn’t make a dime off that website or paper, we did it to help.

We donated a pallet of soda to help the hockey team keep their ice maintained all season, and we were trying to save the school’s art program with an event for the movie A Christmas Story when the shunning began.  

None of those good deeds mattered to anyone. Those good Christians cared not for our deeds that they could see right in front of them, or the positive relationships we had built in the community. They decided we were bad based on online work we’d done, websites in the virtual world, interviews Shane had done, some a decade old.

Even the so-called artists and thinking people of the community turned on us because they did not want the finger pointed at them. 

It all came down to an anonymous letter that three or four people were behind, it called us devil worshippers. Because of it, stores pulled our soda from shelves, I was unhired from a new job, not because people even thought what was in the letter was true really, but because they did not want to go against the grain. 

We really did not have a chance. The worst part of all was leaving my dad. 

It has had terrible long lasting effects for us. I’ve still lost jobs over this stuff, it really follows you, it scares people, and it makes us seem paranoid.

A few years back I read that more than half of the kids in “gifted programs” listen to metal, and maybe that is just it, even metal it seeks its own level, there is metal for the not-too-bright, and there is metal for the kids who are too smart for the world they were born into. I think many kids who are super smart are pretty cynical about things, and if you are sensitive or compassionate the suffering of the world is crushing.

That being said, why do you think it is that metal is fascinated with evil, Satan, murder, war, sodomy, disease, power, control and torture? It sounds like the musings of either an abused child or a child abuser. Is there any connection to how our society chooses to organize itself?

SHANE: our tribe/clan may have been broken up by war or natural catastrophe, maybe metal is a base and visceral sound for the underclass tribe/clan we all seem to belong. … or maybe metal is the sound of war and those who are attracted to metal are either natural warriors or those individuals that have stepped into a mind for war based on circumstances beyond their control… I’ve always seen metal as a life force, a clannish beat that has once again brought us together by empowering the used and abused. so maybe you have a point, I’m not sure, for me, metal is in my earliest memories… it seemed natural to me and I was abused as a child and as I recall, the early metal shows did seem to be a place where all the abused and lost met up… either that or the punk rock shows, though, it’s always seemed to me punks have very different politics vs. metalheads so, maybe it’s not the abuse, or the warmth of a parent, or the lack of attention from a teacher that drove us to leather, spikes and denim, maybe it was our natural politics of might makes right/survival of the fittest that has brought us together.

AMY: That is just who we are as metal heads, we are the people from the wrong side of the tracks, we’ve seen too much too soon, and no one in society holds out any hope for us.  We are the throwaways.  

Bands sing about what they know and where they are from, and they sing to kids who know the same. If death and destruction is what you experience, that is what you will be attracted to musically. 

I never liked pop music, it just meant nothing to me. AC/DC’s ‘Problem Child’, now THAT I could relate to. A happy kid from a nice community is not gonna want to listen to Venom. 

A few years back I read that more than half of the kids in “gifted programs” listen to metal, and maybe that is just it, even metal it seeks its own level, there is metal for the not-too-bright, and there is metal for the kids who are too smart for the world they were born into. I think many kids who are super smart are pretty cynical about things, and if you are sensitive or compassionate the suffering of the world is crushing. You got to get that out somehow, and aggressive music is as good a way as any.

I started going to a lot of metal and hardcore shows when I was in high school in the mid to late 1980s, the scene then was really small, and everyone knew everyone. There was a kinship there because we were all messed up.  In those days, if you fell in the pit someone always picked you up. There was a unity in the metal scene, it felt safe. I can remember the most outrageous hardcore people being worried if we would get home okay, driving an hour out of their way to take me home, or offering a place to stay. 

Sure there are exceptions to every rule, but I would say most metal heads are smarter than their opportunities in life provide for, and that creates frustration. Not only are they smart, but they are sensitive, maybe more sensitive than most, kind of like how tribes can pick out the kids who will become the shaman, they have that added ability to feel the world around them, I think metal heads are a lot like that. Perhaps that is where the connection comes from.

If you had any advice for teenage metalheads, based on your successes and failures (we’ve all had them), what would it be?

SHANE: dream, but do the work to manifest the dream.

through out my time producing and publishing, a lot of folks will meet me and it seems they look me up and down and try to understand how I, a person they automatically discounted could, let’s say, own his own soda company or, publish books, and the big difference between me and them, I work long hours at it, I’m totally dedicated, and when the project no longer becomes fun, I continue to struggle through it and I work even harder.

as far as my failures go, they all stem from childhood issues that took me far too long to figure out, so I would advise the metal youth to understand themselves and the reasons they are angry and then work on re-directing those energies into something creative or at the very least productive… depression is for the food of the world, don’t be food.

AMY: The best advice Shane and I got on the road – “You don’t have to be what people say you are”. That came from an 88 year old lady who really knew about the world. It may be the best advice ever.

The world is vast, and the teen years matter so little once you get out of them. If your life sucks read a lot, learn how to manage your money, and plan your escape. The kids I knew who had no goals are mostly dead.

Don’t let yourself be trapped in stagnation from fear, we are all scared.  Standing still is way scarier than moving forward if you are on a tightrope, just keep moving forward. 

And, you know that saying “You got to have something to fall back on if ___ doesn’t work out?” It’s a lie. If you have something to fall back on you will. Give your true passion 100% then if it fails, and you have exhausted all possibilities, that is when you work on plan B.

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Metal Orthodoxy

You may have noticed a metal orthodoxy forming over the years, but especially 1998 to the present. This orthodoxy emphasizes “trueness” to the concept (as well as the trappings, aesthetic, style, etc) of the original bands, and is paranoid wary of newcomers who do not embrace it.

Now that the official hipster central of the internet, The Onion, has published a metal list, we can demonstrate why metal orthodoxy exists: it’s designed to keep metal from being assimilated, or taken on by the larger genre of popular music as a style without ideas of its own.

Keeping it simple:
Ideas -> music -> genre of its own = metal orthodoxy
Just a style, any ideas = rock ‘n roll

See why there’s a distinct movement to metal orthodoxy? No one in a genre that is unique wants to be assimilated by what’s not unique, and in fact is the average of everything it has so far consumed. Rock music is like a large corporation, eating up small brands and removing what makes them unique, turning them into a label that can be stuck on just about any product in order to sell it.

Here’s The Onion’s list:

  • Agoraphobic Nosebleed, Frozen Corpse Stuffed With Dope (2002)
  • Amon Amarth, Twilight Of The Thunder God (2008)
  • Anaal Nathrakh, The Codex Necro (2001)
  • Baroness, Blue Record (2009)
  • Blut Aus Nord, The Work Which Transforms God (2003)
  • Boris, Pink (2005)
  • Converge, Jane Doe (2001)
  • Deftones, White Pony (2000)
  • The Dillinger Escape Plan, Ire Works (2007)
  • Earthless, Rhythms From A Cosmic Sky (2007)
  • Electric Wizard, Dopethrone (2000)
  • Goatwhore, Carving Out The Eyes Of God (2009)
  • Harvey Milk, Life… The Best Game In Town (2008)
  • High On Fire, Blessed Black Wings (2005)
  • Isis, Oceanic (2002)
  • The Mars Volta, Frances The Mute (2005)
  • Mastodon, Leviathan (2004)
  • Melechesh, Djinn (2001)
  • The Melvins, (A) Senile Animal (2006)
  • Meshuggah, Catch Thirtythree (2005)
  • Opeth, Watershed (2008)
  • Orthrelm, OV (2005)
  • Pelican, The Fire In Our Throats Will Beckon The Thaw (2005)
  • Pig Destroyer, Phantom Limb (2007)
  • Queens Of The Stone Age, Songs For The Deaf (2002)
  • Skeletonwitch, Breathing The Fire (2009)
  • Slayer, Christ Illusion (2006)
  • Sleep, Dopesmoker (2003)
  • The Sword, Age Of Winters (2006)
  • System Of A Down, Toxicity (2001)

Why do they like these bands? Well, first and foremost — you, dear reader, are not naieve enough to think that there’s not a financial connection here. These are bands distributed by or signed to the labels that help support The Onion and may at this point be personal friends or just “scratch my back and I’ll scratch yours” type buddies.

But next, they’re bands that rock listeners can comprehend. Except Melechesh, which is there for a different reason. And that reason is next: each band is different, meaning that it doesn’t fit into a perceived orthodoxy. Each band is “different” by being not the perceived norm, as perceived by outsiders who cannot tell the difference between Incantation and Immolation even though that difference is immediately perceptible to anyone who likes, understands and most of all pays attention to the music.

The “different” plays into the psychology of the individual. You’re just a cog in the machine. You’d like to think differently, but every day you keep doing whatever a cog does. So you find some way to be the cog that’s a cog, but also has a little something else. Interpretive dance. A flute on your death metal album. Or you’re an oddity, the one thing of type X that isn’t like the others.

See this in action, with bonus points for adding a sense of victimization — all cogs are victims, because otherwise they’d be running the machine! — added in:

Long before The Sword, Boris was getting smeared as poseur metal. It’s unlikely that would have happened if the band wasn’t Japanese, and if lead guitarist Wata wasn’t a woman

That must be it.

Not that this band is indie rock dressed up with some metal stylings and has nothing in common with metal as an idea, as a genre, but everything in common with indie rock. After all, irony is a key way to be different.

Here’s another great dickslap in the face for metal:

Metal, more than most genres, rewards consistency; a lot of headbangers would just as soon their favorite bands keep making the same record over and over. As elsewhere, though, there’s always something to be said for progress, and Goatwhore’s most recent record is a great leap forward.

The same album over and over means “the album sounds the same aesthetically.” It doesn’t mean the notes are the same; it means the distortion, tempi, vocals, and concept are similar. So it’s not the same album, is it? But for people who cannot appreciate that album, it’s important to find a good put-down so they can feel better about their own CD rack. Yeah, it’s the same old stuff. Yeah, it’s just consistent. But this other band… they’ve (gush here) progressed, which means they added a flute to their grindcore. Did they progress? No, but all of us can tell that a flute is a change, where only a few of us can tell that composition gained depth, or new emotions, even if the aesthetic remained the same.

Indie rock is what happens when you have a bunch of people making music just as vapid as Madonna or Sting, but they want some way to appear not-a-cog so they trick it out in this superficial progress using irony to be different so we know they’re the unique cogs. But their problem is that every cog thinks it’s a unique cog, so then they’re in an arms race to both trick out their own music with weirdness, causing it be basically ugly trash (this has happened to all modern art), and put down any music which does have artistic content, because it threatens them.

And at the end of the day, that’s what this Onion article is about: the fear of masses of hipsters that they missed something within the music (e.g. not adding a flute) and therefore, that they are just cogs after all. Which as they go back to their hipster “it pays nothing but I feel educated or socially important” jobs, is a bitter consolation indeed.

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