Assuredly, I say to you, all sins will be forgiven the sons of men, and whatever blasphemies they may utter; but he who blasphemes against the Holy Spirit never has forgiveness, but is subject to eternal condemnation. — Mark 3:29
Many metal bands feature occultist or Satanic imagery and lyrics. However, some metal bands took this Bible verse as a challenge and created blasphemy on a theological level, denying God with a philosophical basis.
Since metal has always been fervently anti-dogma and a firm believer in a boundaryless existence, the notion of sin is, in itself, a sin. Here are five anthems of rejection that took the final step and committed the unpardonable sin.
Incantation – “Rotting Spiritual Embodiment” (Onward to Golgotha)
Taking a mortalistic approach, Rotting Spiritual Embodiment claims that the Holy Spirit dies with the body that it inhabits, thus affirming an absence of all metaphysics and a sheer physical basis to life itself. This form of materialism proves more dominating than even atheism as it denies the basis for a holy presence and argues instead that it is mere physical illusion. The crushing and darkened power chords seem to compel the embodiment — the physical form of the spirit — further and further into obscurity.
Holy apparition, seeking death to save.
Sins of the flesh, the cadaver is unfit.
Penetrate the mind and body, spirit is incarnated.
Foolish ghost of god.
Embodied with the putrid corpse.
Trapped within the flesh.
Forever rots in misery…
Morbid Angel – “Blasphemy” (Altars of Madness)
A call to arms for blasphemy and a declaration of a life free from the clutches of religious dogma, this song takes a straightforward approach to blasphemy through invective condemning God and arguing for his invalidity. It also directly blasphemes the holy spirit in the chorus. Complete with Satanic and Thelemic philosophy, this is a sonic symphony straight from the fiery depths.
I am the god of gods
Master of the art
I desecrate the chaste
Writhe in the flesh
Chant the blasphemy
Mockery of the messiah
We curse the holy ghost
Enslaver of the weak
God of lies and greed
God of hypocrisy
We laugh at your bastard child
No god shall come before me
Blaspheme the ghost
Blasphemy of the holy ghost
Do what thou wilt shall be the whole of the law
Rebel against the church
Drink from the chalice of blasphemy
Rise up against the enslaver
Immolation – “I Feel Nothing” (Here in After)
Immolation, while anti-religious, never took much of a Satanic approach to their opposition. They present their views from a more atheistic standpoint, and in the pulverizing song, “I Feel Nothing,” Immolation pose the question: Where is the Holy Spirit? The song describes a person who cannot feel the Holy Spirit within them and they refuses to force themselves to believe, so they reject its existence along with the rest of the trinity.
I don’t feel them in my heart
It is not hate
That I stare coldly at the son of god
I can not force the blood of Christ
To flow through me
God is love and his love is dead
Drown your sorrows in prayer
But your prayers will never change the world
I separate myself
From those who chase the spirit
I can’t fall to my knees
And pretend like all the rest
This is a soul that doesn’t need saving
Their paradise not mine; an illusion I will not believe
Divine presence of perfection, turns sour in my gaze
Why should I feel compassion for the suffering of your God
For all the pain he allows, I give him what he deserves
In the name of the Father,
In the name of the Son
Where is the Holy Spirit, I feel nothing
As I stare upon the crucifix, I feel nothing for a God I never knew
I refuse to embrace, and live by his word
I take not of his body
I take not of his blood
I don’t need salvation
Or his forgiveness
I don’t want his kingdom
My kingdom is here
Deicide – “Behead the Prophet (No Lord Shall Live)” (Legion)
When you think of blasphemous death metal, Deicide undoubtedly comes to mind among the first few entries. Not only does the band name advocate the murder of God but the entire approach of the band denies any form of inherent or mystical order. In “Behead the Prophet (No Lord Shall Live),” Deicide describe the Holy Spirit as foredoomed and proclaim a devilish victory over the holy.
Deny resurrection, behead the Nazarene son
Foredoomed holy spirit, our war at last be won
Legion crush Jehovah, see through the faceless dog
Untie our world from Satan
You know it can’t be done
Wipe away this world of unworth
Decapitation, Satanic rebirth
Off with his head to sever his soul
Beheaded prophet the suffer is yours
Virgin, mother murdered, once warned but now is dead
Destroyed heaven’s kingdom, in flames the righteous fled
Legion, thou has waited, to face the sacred dog
Satan’s revelation, this world will always be ours
End of god the way it must be
Behead the prophet, let Satan free…
No god, no lord shall live
What always has should never been
No god, no lord shall live
Behead the prophet and we win
No man to begotten, infant Jesus dead
End of god forever, cast among the souls of Hell
Thou who has imprisoned, suffer by your own demise
Execrate the revelation, MASTER SATAN RISE!
Deny resurrection, behead the Nazarene son
Foredoomed holy spirit, our war at last be won
Legion crush Jehovah, see through the faceless dog
Untie our world from Satan
You know it can’t be done
No god, no lord shall live
What always has should never been
No god, no lord shall live
Behead the prophet and we win
No man to begotten, infant Jesus dead
End of god forever, cast among the souls of Hell
Thou who has imprisoned,
Execrate the revelation,
MASTER SATAN RISE!
Havohej – “Dethrone the Son of God” (Dethrone the Son of God)
Concluding this list is a cold and blasphemous sermon from the great Paul Ledney of Profanatica, Havohej, Incantation and Revenant among others. To go too far in depth about this piece would be to undermine its experiential value to new listeners. I’ll say only this: “Dethrone the Son of God” is the spirit of rejection translated into a litany embracing hell over the “pure” but delusional spirit of believers.
Rip the sacred flesh
Sodomize the holy asshole
Drink the red blood of the mother of earth
Masturbation on the dead body of Christ
The king of Jews is dead
and so are the lies
Vomit on the host of Heaven
Masturbate on the throne of God
Break the seals of angels
Drink the sweet blood of Christ
Taste the flesh of the priest
Sodomize holy nuns
The king of Jews is a liar
The Heavens will burn
Dethrone the son of God
God is dead
Holyness is gone
Purity is gone
Prayers are burned
Covered in black shit
Rape the holy ghost
Unclean birth of Jesus Christ
Heaven will fall
Fuck the church
Fuck the Virgin
Fuck the gods of Heaven
Fuck the name of Jesus
When a band is accused of “selling out,” the first instinct most people have is to attack the definition of that phrase. In reality, “selling out” is easily delineated: changing your music/art/writing to reflect what the audience expects.
In metal, selling out usually consists of making the music happier, simpler, less tormented and more pretentious. This allows the people who are dedicated to not noticing anything real about their world to listen to it and have it confirm their existing bias that the best course in life will be to “keep on keeping on” by shopping, voting, bragging at the water cooler, watching television, eating fast food and otherwise being oblivious to everything.
Selling out can be compared to the difference between a home-grilled hamburger and a fast food burger. The home-grilled burger uses real meat, spiced and cooked with care, and does not look elegant but is a good balance of taste and nutrition. The fast food burger is made from ground-up bits of animals, filled out with soybeans and sugar, and most people prefer it because it tastes more like candy and nutrition, lol.
When a metal band sells out, it makes the conscious decision to alter its music to appeal to some audience. This can include an “outsider” audience that only likes ultra-lofi two-chord bands, or the usual meaning, where the music gets closer to big radio pop. When metal bands sell out, they damage metal by bringing in all the stuff metal tried to escape in the first place.
These five albums represent some of the worst sellouts in metal history.
At the Gates – Slaughter of the Soul
The first At the Gates album took our breath away. A weird mix of metal, folk, progressive and classical, it achieved an idiosyncratic voice of its own the way early death metal was prone to do. Then the band faltered, losing a key member and recording albums that did not feel with albums. Suddenly, this new album burst onto the scene and the old school death metal heads rushed forward to find… the exact opposite of what made this band great. Instead of inventive death metal, Slaughter of the Soul brought a warmed-over version of Metallica Ride the Lightning that had been given the Swedish melodic metal treatment. Songs swung easily with simple melodies that would have fit better in a television commercial or schoolyard song, and song structures fit an entirely predictable mold. Nothing challenged the listener; everything was sweetened, like biting into a hot glazed donut with extra icing. It made you feel icky inside, as if you had just been assimilated by the vast mass of people in modern culture who forcibly ignore any incoming ideas which do not fit into their own ego-worship and denial. However, the album was a stunning commercial success and inspired the metalcore movement, in which post-At the Gates band The Haunted applied this template to late hardcore and created a whole new audience.
Metallica – Metallica
When metalheads first heard “One” on the radio, the general sentiment was worry. We all knew of the temptation of radio metal where bands toured in luxury buses and got loads of cocaine, chicks and fast cars. But …And Justice For All had its musical moments despite the awful rock-style drumming and simplified catchy songs, so the hope was that Metallica had gotten it out of their system. Then came the self-titled monstrosity. The first hint was the choice of eponymous name late in the career of Metallica, which suggested a break with the past. Then, the new logo: silver foil-embossed, stylized and slick. Then we heard “Enter Sandman” on the radio and fears were realized. Gone were the complex song structures and innovative riffs, but the use of melodic composition on guitar persisted from …And Justice For All, albeit in a form that fit well into the MTV lineup. Songs backed away from topics that might unsettle people into fairy tales about fears and personal drama, including the rage drama that Pantera was making famous. Metallica fans hung their heads, neatly folded their tshirts and put them at the back of the drawer, and covered their tattoos with black bars. Metallica had finally sold out.
Death – Individual Thought Patterns
As the 1990s progressed, death metal emerged as the clear next big thing. This came after nearly a decade of the music industry denying its existence, mocking it, and doing their best to conceal it. A number of them made overtures: if you could just drop the scary alienation, anger and post-human view of the world, maybe The Industry would work for you like it did for the Crue, AC/DC, etc. At this point, Chuck Schuldiner of Death was putting a lot of effort into making himself the founding father of death metal, and he fired his previous band for a mostly new group who came up with a heavy metal/death metal hybrid. That alone would have been bad, but what was worse was that he changed the music artistically as well as stylistically. The rage at a numb, callous and selfish world was replaced with personal drama, overplayed public compassion, and the kind of hollow rage that people sitting in air-conditioned homes direct at a world that “just doesn’t understand me.” Even worse, the music itself became saccharine. The wild lion of death metal became a neutered animal dependent on daily feedings of peer group approval. Not surprisingly, people loved it then and hardly mention it now.
Morbid Angel – Domination
After the public hounding that Ilud Divinum Insanus received, most fans forgot the previous great Morbid Angel disappointment that essentially fragmented the band. Thousands of death metal bands languishing in obscurity perked up when they saw Far Beyond Driven flirt with Exhorder-styled extreme metal and still make hordes of money. In the timeless and impeccably insane logic of record labels, it was suggested that death metal bands take the same route even though it would mean abandoning their fans and yet not being able to fully dumb down enough for the brocore generation. Morbid Angel came out with this disaster of a fourth album in order to try to bridge the gap and ended up (predictably) failing both. Where previous Morbid Angel albums showed inventive songs, Domination featured one interesting riff per song slowed down and mated with another couple of sludgy, partially doomy, and unforgivably bouncy Pantera-styled riffs. To accommodate the injection of nonsense into death metal songs, Morbid Angel broke them down into simpler songs that resembled the happy go lucky “beer metal” songs of the past: verse-chorus, chanty foot-tapping title of song repeated, and an artistic outlook which more resembled wounded anger than any kind of delving toward a hidden truth. After this album, the band fell apart and reconstituted itself in new forms, trying to recapture some vein of composition that might appeal to lots of MTV-reprogrammed listeners and yet still be death metal. Much like Bigfoot and the perpetual motion machine, it might be out there somewhere, but as of yet Morbid Angel has not found it.
Dimmu Borgir – Enthrone Darkness Triumphant
As soon as black metal hit the newsstands with stories of church arson and murder, record company stooges devoted many hours of thought to the simple question of how they could re-package it for the Hot Topic kids. Dimmu Borgir found the first workable solution with Enthrone Darkness Triumphant which mixed mall-goth, Cradle of Filth, and carnival music to come up with a style that reveled in its own randomness and made its listeners feel profound for having picked up an incoherent but inscrutable mess. The lush keyboards of mainstream Gothic dance music mixed with the darker rhythms of Nine Inch Nails and guitar influences from rock/metal/rap hybrids in order to interrupt the occasional black metal riff so it never came to fruition. The result became the artistic equivalent of a pop tart: thin bread crust around mystery ingredients mixed with sugar. Naturally, people loved it because it allowed them to “be black metal” (ist krieg!) without leaving behind the same digestible pap they had been swallowing for years under the rock banner. But the CDs seemed to fly out of stores, and black metal fans changed from lonely dissidents to bloated mall denizens looking for a new thrill to blot out the days of tedium as they tried to pretend they wanted to even be alive. Even more importantly, this album opened the door to “black metal” as a container for whatever you wanted to throw in it, which made the truly dark hearts of the record company execs jump with joy and visions of bank transfers.
Image: would you trust a cigarette company with marijuana? Most likely, they would do to it what they did to tobacco, which is remove variety in flavor and replace it with innocuous but consistent brand-perfect sensations.
What was the “message” of black metal? Like most interesting things, it doesn’t boil down to x=y format. Instead, we have some images on the surface that we must dig through to find the original idea.
Black metal expressed a love of nature, a dark melancholy, a feral atavism, a seeming joy in death and winter, and an embrace of predation and natural selection as a kind of litmus test for humanity. It loved cruelty, dark and degraded sounds, ancient ruins and ancient cultures. It hated McDonald’s, organized religion, trends, “fun” and social inclusion.
The essence of black metal might be described as anti-social. It loathed every circumstance where social rules — who is popular, who is pitied — took the place of raw personal emotion and a reality-based, nature-informed, history-wide view of actions and their consequences.
For those who love black metal, the genre must be evil. It must embrace chaos and nature and a world outside the “safety” of laws, police, shrink-wrapped products, rights and a social attitude of love and trust. It wants a world in constant conflict with fire to the oblivious and the stronger and nobler rising above the ruins. It wants life to be an ongoing challenge, a battle where great victory and great defeat are both possible. It wants this instead of a mediocre world where everyone is “safe” but there is nothing really to live for, nothing to strive for, only acceptance of the herd.
Black metal rejected the herd. It rejected individualism because individualism — the desire to get ahead by doing what everyone else is doing — forms the basis of the conformity that powers the herd. It embraced instead a kind of individuality of the sensitive thinker in a world searching for meaning that can only be found through self-definition through action.
As more and more people join the great “safe” consumerist society, the wisdom of black metal becomes clearer. It could not save black metal from erosion. It was not destruction of an idea so much as it was subversion of an idea by those who wanted to take part, so contorted the music to fit within a social role where they could be important individualists too. But that has not blotted out the message. Instead it has strengthened it.
If you ask a metalhead about the relationship between heavy metal and religion, you’ll no doubt get a few different answers. Some will tell you that it stands in firm opposition to all religion, some will list off a plethora of Christian heavy metal bands, and some have no opinion on the subject and just wanna headbang and tune out.
Perhaps there is half-truth to these assessments: Deicide’s militant anti-Christian message is obvious even to the most passive listener, but on the other hand heavy metal with Christian themed lyrics has existed since its inception with Black Sabbath. In addition, many bands use occult imagery in either an artistic or neutrally atheistic way.
But maybe there’s another road to take, maybe these assessments are analyzing the relationship incorrectly.
I was an atheist for four years of my life (age 12-16). I was fairly vocal and enthusiastic about it as well, looking upon anything religious with scorn. I was very stereotypical when it came to my atheism too: I posted anti-religious memes on social media, went into silly debates with random creationists, and I had no real understanding of science, I just vomited forth Richard Dawkins’ philosophy.
But sometime within my 16th year, my outlook changed. I began to listen to heavy metal more actively, and my atheism slowly faded into wonder. It seemingly lashed at my inflated ego and made me face the possibility of something greater than myself. It challenged me to be more ambitious with my existence, and to want more out of life.
Prior to my revelation, I had a very human-centric view of the world, but Hellhammer’s “Only Death is Real” concept made me look at this in a whole new light. Death will take everyone regardless of their status in life; in the end, it is the only victor. This is important because it weakens the ego of the individual, and forces them to look elsewhere for meaning. Humility before something more powerful than yourself (death) is an undeniably religious concept, and has grown to be the core ideology of death metal for decades.
Religion itself is very important to heavy metal, where would legends like Slayer and Morbid Angel be without it? Metal has always expressed a deep reverence for power, and what greater power than the omnipresent force of the cosmos? Some perceive it as God or Gods, some perceive it as Satan, and some perceive it as nothing more than a functional force that keeps the universe rolling. All of these possibilities are astonishing, and have inspired the greatest sense of awe and wonder in mankind throughout history.
Heavy metal has become not only my passion, but my guiding light to a life that I may not understand completely, but that I’m learning more about every day. It has taught me to appreciate and find beauty in all aspects of the world, from the worms in the earth to the birds in the sky. It — like every other aspect of an intense life — is a form of worship in itself.
So if, as a parent, you see your son/daughter with a copy of Slayer’s Hell Awaits, fear not. Heavy metal inspires a sense of wonder and passion. That wonder may very well turn their eyes to the stars, and that passion may very well ignite their flame of life.
Early death metal (Bathory, Slayer, Hellhammer, Sodom, Master) emerged as an aggregate of the past, comprised of speed metal (Metallica, Exodus, Nuclear Assault, Testament, Megadeth), late hardcore (Cro-Mags, Amebix, Discharge, The Exploited, GBH), classic heavy metal (Judas Priest, Iron Maiden, Motorhead) and thrash (DRI, COC, Cryptic Slaughter). As a result, most death metal bands exhibited some tendencies more than others, although the founding early death metal bands tended toward the type of tremolo-powered phrase-based riffing exemplified by Slayer.
For example, Deicide on its second album Legion arguably made the album that …And Justice For All wanted to be, with lots of choppy percussive riffing forming intricate textures from which a melody emerged. Early Master sounded more like a punk band with its simple song structures and emphasis on droning, protest-like vocals. Second-wave death metal like Death and Possessed had a tendency to apply speed metal song structures and riff styles. Even advanced death metal like Pestilence often sounded like a more technical and complex version of early speed metal.
But focusing on death metal requires we look at what was unique to it. Getting past the vocals and the intensity, what distinguishes it musically is its use of that tremolo-strummed phrasal riff. This in turn forced bands to escape from riffs integrated strictly with drums, and to as a result put more riffs into the song to drive changes that previous would have been done by the drums. That in turn forced bands to make those riffs fit together, what Asphyx call “riff-gluing,” so that songs avoided the “riff salad” plague that captured later speed metal.
These bands exploded onto the world from 1983-1985, inspired in part by Discharge’s Hear Nothing See Nothing Say Nothing which hit the ground in 1982. Slayer in particular stitched together classic heavy metal and ambient hardcore like Discharge and GBH and ended up with its particular formulation, taking the tremolo and riffs independent of drums from Discharge and matching them to the complex proggy structures of Judas Priest and Iron Maiden with Motorhead speed and aggression. This was what launched death metal free from the shadow of speed metal, which was the first metal genre to break out of underground status despite being — for the time — fast, aggressive and dark.
If you want to get to the core of death metal, these albums might help. They’re albums I keep returning to year after year because they have enough complexity and that unquantifiable quality of having purpose and being expressive, perhaps even emulating the life around them and converting it into a beast of mythological quality, which makes them interesting each time I pick them up. Without further ado, ladies and gentlemen, the players….
Slayer – Show No Mercy
While Hell Awaits has more expert composition, South of Heaven better control of mood and melody, and Reign in Blood more pure rhythmic intensity, Show No Mercy captures Slayer flush with the fervor of youth and the belief in big concepts. As a result, it is an intensity mystical album, uniting a narrative about war between good and evil with the actions of people on earth. It is not like Hell Awaits more solidly situated in a single mythology, nor like Reign in Blood and after an attempt to explore the dark side of modern existence in a literal sense. Instead, it is a flight of imagination mated to an apocalyptic vision of a society crumbling from within. As a result it is musically the most imaginative of Slayer albums, creating grand constructions of visions of worlds beyond that stimulate the fantasy dwelling within our otherwise obedient minds.
Massacra – Enjoy the Violence
Another early album in very much the style of Slayer but with intensity cranked to the ceiling, Enjoy the Violence shows a band intent on conveying intense energy through their music. To do this, they rely on not only near-constant breakneck speed but also vivid contrasts between the types of riffs that are used in a song, welding a rich narrative from riffs that initially seem simple like the scattered twisted bits of metal left after a battle. The result is closer to epic poem that punk music and blows conventional heavy metal and speed metal out of the water with the sense of unbridled aggression and lust for life that surges through its passages. In addition, it carries on the mythological tradition of Slayer but adds a Nietzschean spin whereby constant war for supremacy and domination is the only path not only to victory, but to personal integrity.
Morbid Angel – Abominations of Desolation
Most prefer the more refined versions of these songs from Altars of Madness and Blessed Are the Sick, but my ear favors these nuanced and unsystematic detail-heavy songs which feature more of a blending of textures into what sounds like a communication from another world heard underwater or through the croaking voice of a medium. Trey Azagthoth’s solos were best when he used his half-whole step leaps to make solos that sounded like the creation of gnarly sculptures, and these songs powered by Mike Browning’s drums and voice have more of an organic jauntiness to them than the later mechanistic tanks-crushing-the-shopping-mall sound of the full albums. In addition, this combination of songs strays from the later more interruption-based riffing this band would attempt and instead brings out their inner desire to rip all ahead go at all times, creating a suspension of reality like war itself.
Incantation – Onward to Golgotha
When the idea comes to mind of death metal at its essence, this album will be mentioned because it creates a sound unlike anything else. Incantation took the Slayer riff and song formula and slowed it down, doubled the complexity, and focused on alternating tempos and riff styles to create a building mood of immersive darkness. The result was not only aggressive, but melancholic and contemplative, like a warrior looking out over an abandoned bullet-pocked city. Detuned riffs collide and deconstruct one another, resulting in a sound like the inexorable flow of black water through underground caverns as civilizations collapse above. This rare group of musicians achieved a triumph here that none have been able to repeat individually, suggesting this album was born of a magic confluence of ideas more than a process (ham sandwiches on a conveyor belt).
Carnage – Dark Recollections
If you want “the Swedish sound” at its most powerful, Dark Recollections offers every component synthesized into a package that has not yet had time to become self-critical and neurotic, and thus is an unfettered expression of the thoughts of precocious adolescents translated into sound. The components of Swedish death metal are the modified d-beat, the use of melody to expand song development, a gritty electric explosion of guitar sound, and a tendency to write songs that are half searing budget riff and half horror movie sound track.
Sepultura – Morbid Visions/Bestial Devastation
The first EP in this two-EP package is the more classic death metal version and packs a solid blast of inventive riffcraft staged with theatrical precision into songs that form narratives of the topics denoted in their titles. But the riffs are instant creations of their own, shaped from raw chromaticism and whipped into fury by two levels of rhythm, both in the change of chords and the texturing of the sounding of them. The result owes quite a bit to Slayer, Bathory and Hellhammer, but also to the punk hardcore underlying those acts and a good knowledge of dark metal of the time, and yet is still its own animal. Nothing sounds like this except it, and by giving itself a unique voice, it conjures a power of revelation that endows these songs with lasting enjoyment for the listener.
After death metal and black metal had made their meaningful contributions, a cry rang out: support the scene!
By that it was meant that you should go to local shows, buy records, and otherwise give monetary subsistence and publicity to local bands.
They left off a key detail: which local bands?
Actually, they don’t want you to ask that question. All local bands, they hope. That way, even if their bands are talentless, they’ll be able to sell merch and music because, y’know be cool man, support the scene!
In fact, what “support the scene” really means is “abolish quality control.” Forget trying to have good metal bands, let’s just have a lot. That way everyone can play at this neat game called being as cool as Euronymous or Azagthoth.
I have a different philosophy: support the good bands, and ignore the bad. This idea is often called “natural selection.” It means that if you want a strong scene, you only support the strong candidates, and let the weak ones die out.
Post-1994 people have no idea how cruel, judgmental and intolerant the older scene was — or how much this worked to its benefit. People shunned bands that weren’t the complete package: music, lyrics, name, imagery, music, production, visual art, and personalities. The scene was more elitist than these faux-elitist hipsters could ever dream of being.
It was downright hostile to people who didn’t “get it,” where “it” was a complex and insular culture so alienated from the mainstream it saw anyone who believed society had a future to be a mental failure. It saw society itself to be insane, and headed for doom. It realized how modern life was constructed of very many ancient lies, fluffed up and re-covered to look shiny and new.
The underground is not a place for joiners. It’s not a place for me-tooers. It’s not a place for the extra people of humanity who, having nothing they really care about, go casting around for an “identity” they can manufacture out of things they buy and activities they attend.
Don’t support the scene. The scene is a parasite. Support the good metal bands, and death to the rest.
A common sentiment expressed by “diehards” (or as cynics call them “tryhards”) is that the internet ruined metal. It was a paradise before, they say. You bought zines, traded tapes, bought from small labels, and everything was pure and innocent. The demon of convenience and commerce had not yet reared its ugly head.
With the internet, it is said, all of that ended because it became easy to acquire a band by just typing the name into a search engine. There was no commitment that way, the story goes. People became accustomed to everything being easy and no longer cared about quality. They stopped going to shows and “supporting the scene.” Underground metal became armchair metal.
While I don’t doubt there is some legitimacy to those complaints, I offer another view: what made the internet kill metal was that it turned the process of being a fan inside out. In the old days, you picked bands you liked. Now, you pick bands to make your online personality look good. When someone asks a question about a type of music, you want to have something unique to answer with.
The result is blog posts and threads on forums which are dedicated to “being different.” You get zero scene cred for stating the obvious top ten, and that list can be found anywhere, so people are now craving bands that are more obscure. But the problem is that wanting something for a trait unrelated to its content means you no longer care about quality. Thus quality has plummeted as people seek novelty.
For the aboveground metalheads, this novelty-seeking manifests itself in the same trends that black metal talked about. This week it’s shoegaze; next week it will be “industrial black metal” again, or maybe punkish black metal, or ironic ABBA covers by grindcore bands, who knows. For diehards, the novelty-seeking is obscurity bias: a desire to dig back in the vault and find something that no one else knows about, then make it your favorite band ever.
The point is that no one is a fan anymore. Fans decide what’s good and celebrate it. But hipsters and scenesters have a different approach. They look for ways to make a name for themselves. “That’s my man Bill, he’s an expert in Seattle drone metal.” This is why there are ludicrous genre names in the post-internet arena, and why the advice you get on metal from the internet is almost universally garbage. It’s hipsters being hip, not people talking about quality or relevance.
The internet has made us all into hipsters. To get people to pay attention to your online profile or blog, you need to invent something “important” whether it’s there or not. You to find novelty either in the past or the present. The last thing you’re going to do is offer up some honest opinion. It’ll never get you Google AdWords dollars. It’s not unique and different enough for the social environment the internet has to offer.
Diehards need to quit complaining about the internet. It has had no different effect than moving all of metal into a dense, high social and cosmopolitan city like New York City would. City culture has always rewarded the “different,” which is why cities have always had hipsters. Bands struggled against that culture, not succeeded because of it.
What’s ironic about this whole situation is that complaining about the internet is another way of being “different.” That in turn serves to conceal the fact that since 1994, metal has produced little worth writing home about. Why has that been, you wonder? The black metallers told us: when hipsters appear, trends arrive, and then quality leaves the hall.
As author of The Heavy Metal FAQ, I have wrestled with the question of how to define metal over the years. Since it uses the same techniques as any other form of music, but used in different proportions and combinations, I have always focused on the idea that unites these uses which makes metal so obviously distinct from rock, punk and other forms of music.
To this I’d like to add another idea: metal is not literal. That is, metal tends to view the world through a symbolic or mythological lens. It does so to reflect our inward sensations about what is going on, plus a historical viewpoint which requires a more high-level view. The details don’t matter as much as the form, in metal, and we pay attention to the form and then put it in a folk-wisdom format.
Archetypal examples of this can be found in classic metal like “War Pigs” (Black Sabbath), “Hardening of the Arteries” (Slayer), “Painkiller” (Judas Priest) and “My Journey to the Stars” (Burzum). In these songs, mythological forces clash to reveal a truth of everyday life. They inform us about our time and put us into a symbolic and emotional framework with it in which we want to fight it out, fix it, struggle and win.
In contrast, most music is either sensuality-based or protest music. Sensuality-based music is exemplified by stuff like Shakira. Protest music really exploded in the 1960s, but reformed itself with punk, which took a more abstract and yet earthy view. Where the 60s bands sang about politics, punks sang about everyday life and the insanity of existence. This finally culminated in thrash, which used hints of metal’s mythology to make the personal into the universal, as in “Give My Taxes Back” (DRI), “M.A.D.” (Cryptic Slaughter), “Minds are Controlled” (COC) and “Man Unkind” (DRI).
Metal does go wrong sometimes and get literal. The worst of these are the ego-based songs, as in Pantera, or the songs about being metal and going to shows and the like, which are generally just dumb. It is not surprising that these are not favorites of the genre because they drop away from that 30,000-foot view and instead become more personal drama like the rest of our society, which explains why its institutions don’t function and its ideas are corrupt.
Interestingly, other genres are not literal either. Progressive rock was famous for songs about weird adventures in fantasy worlds that had striking parallels to our own (compare to JRR Tolkien and CS Lewis). Classical music tends toward fantastic descriptions from literature and history. These are genres of the weighty and impersonal, not the direct and immediate and personal. They have a different scope and internal language.
Jazz is the outlier. When sung, it tends toward protest and sensual lyrics. When instrumental, the sound of it suggests a combination of the two: a kind of secular (no meaning greater than the material and immediate) version of imagination, but applied to literal experience, such that it forms a kind of texture without a unifying core. It communicates the loneliness of modern isolation and a retreat into the personal complexity of the mind.
Where metal stands out among modern genres is that it still embraces this viewpoint, or at least did until the nu/mod-metal started appearing. Part of what makes such a viewpoint necessary is that metal, despite being about killer riffs, is not about the riff. It’s about many riffs stitched together to make an experience so that when the killer riff comes out, it has a meaning in context that makes it heavy. No song is heavy from just one riff. It’s heavy because when you get to that super-heavy riff, everything else has set it up to resonate.
This in part explains the audience of metal. Mythology, historical significance and topics of philosophy do not inspire the honor students, who are busy working on their careers (and the obedience-profitability nexus that these entail), or the average student, who is busy in a world of his/her own pleasures and delights. They do however appeal to the outliers, the dreamers and dissidents, who might find class boring because they find society boring and purposeless, and instead turn toward fantasy and a bigger, more abstract realism to express themselves.
We live in a land of confusion. Most people here have trouble differentiating between a conclusion and a method used to reach a conclusion.
Take for example the phrase, “That’s logical.” To most people, this conjures up a list of things that are accepted as having a basis in logic. When you ask them to parse something new, which involves applying a method to each sequential detail in order to find out how they fit together. That’s difficult; tracking conclusions and having a whitelist/blacklist of accepted ideas is easier.
If you want to know how metal calcifies itself, it is through these conclusions. Darkthrone ended up sounding the way they did as a result of their method, putting together all the pieces and coming up with a bigger direction. When bands imitate Darkthrone, none of this happens, and thus none of the music is nearly as good. They know how to imitate it from the surface inward, but they don’t know why it came about it and thus, how to charge it with the meaning the original had.
Especially threatening to popular music is the process of calcification by which the method of the past generation becomes the conclusions of the next. Darkthrone makes a great album; everyone imitates it; as a result, that sound becomes stale and disassociated from the meaning it once had.
It was once common for metalheads to complain about being misunderstood, and their music not being understood and accepted. Now it is accepted, and it has rendered it harmless. What did that rendering was all the metal bands ripping each other off, churning the original ideas into a mush of imitation. In fact, the problem is that metal when understood is in fact misunderstood, and keeping it not-understood is what is required for people to go back to method instead of just trusting its conclusions as gospel and repeating them in recombined form.
Metal is in fact like a snake consuming itself. As soon as orthodoxy is established, it is destroyed and its destroyer rises only to be in turn consumed itself. Parallels can be drawn to ocean waves cresting and then self-destructing, the need for forest fires, how predation ensures that prey animals get smarter, or other natural metaphors. What it fears is the calcification and a related process known as social acceptance. When a group of people encounters a new idea, it mocks it, then tries to destroy it, and finally accepts it. But once the idea is accepted, the process of calcification happens as society assimilates the idea as conclusion and throws out the methods, but even worse, the nature of having the idea accepted means a process of compromise which shaves off the parts of that idea that offend various segments of society (think of a PTA meeting: can’t move the parking spaces, or you upset either the church ladies, the teachers’ union, or the parking authority). Social acceptance destroys ideas through imitation and compromise.
This process goes back to metal’s birth. The members of Black Sabbath couldn’t get on board with the happy hippie world around them, so they made their own music which destroyed that illusion with powerful sound. They were reacting to the acceptance of conclusions from the past period, the 1950s, in which people were fed on Dale Carnegie style salesmanship as a means to success. As a result, society stopped being truth-oriented and started being feelings-oriented. Happy feelings meant a sale. Ten years later, happy feelings meant social success. Salespeople knew that acceptance and inclusiveness made sales, so they made their advertising as innocuous as possible. The hippie movement imitated this but used politics instead of profit (at first) as their guide.
The problem was that the hippie portion was just as fake as the 1950s salesmanship portion. Similarly, the current imitation of the 1990s black metal scene or worse, the 1980s emo and shoegaze scene, is completely fake. The fifteenth Blasphemy clone is as burnt out as the fifteenth Beatles clone or fifteenth Dale Carnegie graduate. All of it is emulation of the past through its surface, which fundamentally disturbs the metal outlook. For underground metal, all that is left is to seek total nihilism or negation of values, or to pick values that cannot be compromised and thus cannot be assimilated by society. If you want to know why metal has been drifting toward extremes lately, this might explain it.
All of this is a rather long path to saying what every teenage music fan does not want to face: it’s time to stop talking about how you are misunderstood. You don’t want to be understood. Even more, being understood would destroy your chance for growth and turn you into an identical suit-wearing conformist droid marching off to do the same stuff the last generation did, and we can see them drinking themselves to sleep every night. When people obviously don’t get what you’re about, thank them. They’re helping you grow, just like they’re helping metal grow every time they run into a WTF moment and toss it out in the dustbin.