Legendary underground death metal and black metal illustrator Chris Moyen releases his book Chris Moyen’s Thorncross: Black Ink & Metal this week on Nuclear War Now! Productions. The book will be a foot-square compilation of the artist’s work.
In addition to Moyen’s artwork, an LP will accompany the 208-page book with Archgoat’s 1991 demo “Jesus Spawn” on one side and Incantation’s 1990 rehearsal demo and first live gig on the other. This relic will complement the hardback book of black and white illustrations used by many classic bands.
Released on collector’s label Nuclear War Now! Productions, the book comes in regular and “diehard” versions. The diehard version adds a tapestry with Moyen’s artwork, with the choice of our, one of which being the classic Beherit Oath of Black Blood cover illustration.
Blackhearts is a new film about black metal after Norway in the 1990s, focusing on world black metal in the present day and how it is different from the original integral genre.
This is welcome news for those who were thinking “Aw, geez, do we need another film to tread ground well-covered by Lords of Chaos and Until the Light Takes Us?” You won’t have to suffer through a re-tread of the now-familiar early 1990s soap opera because it’s not mentioned in the movie, despite Blackhearts being the production of a Norwegian film crew.
Christian Falch, producer of Blackhearts, took the time to give us some answers to the burning questions that metal fans may have regarding this new movie.
You are the producer of the movie Blackhearts. Can you tell us what the movie is about?
I’m the producer and I co-write the script (documentaries actually do have scripts too…) with the director Fredrik Horn Akselsen. We both work for the Norwegian production company Gammaglimt AS.
Blackhearts is basically a feature length documentary about the profound impact that Norwegian black metal has had on the lives of fans and artists throughout the world. As you know, this genre has a lot of dedicated followers.
We have three main protagonists in the documentary. They are all really passionate and dedicated fans with their own black metal bands. One of them is a member of parliament in Greece, the other one is risking everything for the music because it is strictly forbidden where he lives: Iran. The third is a truly devoted Colombian Satanist. In the documentary we want to explore why black metal is so special to them and what the fascination is all about.
The story of black metal has been told a number of times, most notably through Lords of Chaos and Until the Light Takes Us. What is your documentary doing that these other sources have not?
First of all, our film will not deal with the events in the past, but rather look at the situation today. The storytelling in Blackhearts happens as the story of our different characters evolve, so this is not something retrospective, but we get do follow our three protagonists in several exciting episodes throughout the film.
I also want to mention that this documentary is being made for a wide, international audience, not only metal fans. Therefore we deal with universal topics like passion, politics, religion and dreams — of course everything still is about black metal. A great mix of everything a good documentary needs if you ask me.
Do you think it has taken us — Norway, the West and/or humanity in general — almost a generation to absorb what black metal was about?
In this documentary we will have a close look on how different cultures, religions, political situations and so on deals with the black metal phenomena. The fascinating thing is that it varies a lot! Here in Norway, the government pays black metal bands to record their albums and at the same time they would not mind flogging you for listening to Mayhem in Iran…
There are still a lot of different opinions around when it comes to what black metal is all about — and that is exactly what we want to explore and learn more about in this film.
Following up on the third question: what was black metal “about”? Do musical genres have ideals? Are those always clearly articulated? Is there a benefit in not articulating them like we articulate science and politics?
That’s a good but difficult question to answer. In my opinion black metal was about making atmospheric music with a hint of opposition to the society in general — the media (and some of the artists) made a great impact when it comes to defining the ideals behind it, but I believe that every individual had a personal, and therefore different, motivation to join the scene. I’m not a fan of putting the same ideological label on every individual or band just because they play black metal.
Speaking of politics, how are you going to deal with tricky subjects like Varg Vikernes and his political beliefs which I don’t trust myself to summarize, the murders of homosexuals by black metal musicians, the church burnings and the numerous statements of adoration for National Socialism and Stalinism by black metal musicians?
As I mentioned, we won’t go deep into the dark and difficult past of this genre, but of course we need to mention what happened and how it influenced the scene (and it still does). We would like to show that the black metal scene is more varied than most people think. We will do our best to deal with this subject as fairly as possible.
What do you think made black metal different from other forms of heavy metal, both musically and in idea?
For me, the difference is in the atmosphere, the way you feel when you listen to black metal, the images that appears in my mind…I don’t need to go into musical terms, it is the feeling of the music that makes black metal special. The idea of it all is of course to be more extreme than heavy metal and other subgenres. That’s really nothing I personally need to enjoy a good black metal band, but I have to admit that the myths surrounding some of the bands and artists attracted me in the first place, many years ago — and I still think it continues to attract new fans to this day.
Are you going to cover other extreme metal activity in Norway, like death metal bands such as Cadaver and Molested?
Unfortunately not. We simply don’t have the time to do that. Our focus will be more or less strictly on black metal. The only exception might be the appearance of Destructhor from Myrkskog and Morbid Angel.
You are apparently the metalhead among the production group. What got you into heavy metal? Do you still listen to it? Why do you like it, and what makes it relevant to you?
I’m the only metalhead in the crew…as with many fans of my generation it started with Guns ‘n Roses, hahaha, but it did not take long before I discovered other bands with more hard hitting music and once you start enjoying this kind of music it makes you start looking for the next band that takes it to a more extreme level and that’s how it goes I guess.
I still listen to all kinds of metal amongst other things, but I’m not very good at keeping up to date with all the new bands and releases. To me, music, and especially black metal is something personal and special. I don’t feel the need to share it with anyone else or even speak about it. Black metal is the little luxury I enjoy alone when there are no other distractions around. I should also mention that there is a lot of crappy black metal bands out there, guess I’m picky when it comes to this genre.
Where is Blackhearts in terms of production? When will we be able to see it? Will it be in theatres or online? How much interest does The Movie IndustryTM have in a film like this?
We have been working for two years with this documentary already and we have about 50% of the material shot. The timing of the release all depends on the financial situation of the project in the time to come, but for sure people would be able to see it sometime during 2015. We are planning a massive release on all platforms including cinema, festivals, TV and of course DVD and online.
To this day we have experienced an impressive amount of interest from distributors, international co-producers, TV broadcasters, film institutes and so on. I am really happy about this because it makes it possible for us to make this film on the level of quality I think it deserves. As far as I know, there is no documentary on black metal out there with the approach we are doing so there is a wide range of possible scenarios for the finalization and release of the finished film.
I guess the biggest question for all of us is “why”: why did black metal come about, why was it so violent, and why does it fascinate us today. Does your film address these whys?
This is the core of the film. It is a difficult question to answer, but this is why I wanted to do this film in the first place — to find out why this weird, hate promoting genre is so incredible fascinating. Hopefully we are able to understand it a bit more after seeing the finished film.
Can you tell us more about the format of the film? Is it interviews, or a narrative, or a mixture of both? Will you use black metal music in the film?
The film will be character driven. In other words, we will follow the people in real life situations and all of them have their own story that we are in the process of filming at the moment. There might be some interviews as well, but not like one would expect from a typical documentary. For example: in Blackhearts we meet an Iranian, Sina. He is the only black metal artist in his country. We first get to know him at home in Tehran, then we follow him to Norway as he is about to do his first ever live concert at the Inferno festival. Then comes the tricky part — can he ever go back home to Iran after promoting what some people consider to be blasphemy on stage?
Through following Sina’s story we will get to learn more about how strong the passion for black metal can be and how the music is still provoking authorities around the world. This is just one example and I can promise we have more fascinating stories too!
When it comes to the music in the film, people should not expect to hear lots of it, but of course it’s there when we show scenes from concerts etc. A treat for all black metal fans (and for me) is that the one and only Snorre Ruch has composed music specially for this documentary.
Last but not least, can you tell us about yourself, not necessarily as formal as a CV but a bit about film, how you came to love it, and how you came to be a movie producer.
I work as a full time documentary producer on several different films. Most of them are related to the second world war or religion and music. This is of course all topics that I am really interested in on a personal level. I never really loved films more than the next guy, but I ended up producing music videos and documentaries because it brought me to places and people that I never would have met under “normal” circumstances.
I have been doing it for the ten years now and I’m liking it more and more as time passes. One of the last documentaries I produced is called The Exorcist in the 21st Century and it has been doing quite well, specially in the US. We got unique access to one of the top exorcists in the Vatican and we followed him around the world as he was doing his thing. Therefore I have seen a about one dozen exorcism rituals being performed.
Since this interview will mostly be read by metal fans, I can reveal that the demon that reveals itself during the rituals we filmed sounded like Maniac from Mayhem at times, hahaha!
Why is Metallica’s debut classified in your website as Speed Metal and not Thrash Metal? What defines Thrash Metal and why are Metallica and Kreator placed under Speed Metal? The second question really being what defines Speed Metal?
What is speed metal? Speed metal is the music formed of the hybrid of NWOBHM and punk music. NWOBHM itself was a fusion of Black Sabbath and the “metal-like” hard rock genres of the time, including some progressive rock, given an underground and DIY outlook. The definitive speed metal album is the first Metallica work, but we could also look to Overkill, Nuclear Assault, Anthrax, Megadeth, Testament and Prong.
What is thrash metal? A marketing term for “speed metal.” Some argue that it’s a separate genre, namely speed metal with “broken beats” or d-beats, but the fact of the matter is that the d-beat-influenced drumming was already part of speed metal. Musically, anything regarded as “thrash metal” is speed metal. Hence use of that term instead.
Now, as to Kreator — why is it speed metal? Kreator is on the line between speed metal and death metal but ultimately has more in common with later speed metal like Destruction and Sodom than it does with outright death metal. It was a previous generation to the music that expanded in the late 1980s through early 1990s.
What is thrash? Thrash is a hybrid form of heavy metal and punk music preferred by thrashers, i.e. skaters. This music evolved out of the explosion of punk music at the end of the 1970s and the tendency of bands like Discharge, Amebix, The Exploited, the Cro-Mags and others to take on metal riff-styles, especially as inspired by Slayer and other heavily punk-influenced bands. However, many thrash bands used riff influences from NWOBHM or before, with Black Sabbath being prominent.
The reason we separate speed metal and thrash is that they are different movements. Speed metal is metal that incorporates some aspects of punk; thrash is a metal/punk hybrid that generally uses punk song structures and metal riffs, laying the groundwork for grindcore. There’s also no point in expanding the speed metal franchise into many different sub-types when all are essentially musically identical.
This lengthy exploration of heavy metal classics collects the highlights of interviews with bands about classic albums and assembles them into a single Q&A session. In doing so, the writers of Decibel have assembled a formidable amount of information and answered many of the hanging questions about these metal epics.
Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces covers twenty-five band/album pairings and, while not all will be enjoyed by everyone, the wizardry of its selection is that just about everyone can find at least a dozen that will interest them. It brings the classics to life in a new form.
Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces
edited by Albert Mudrian
365 pages, Da Capo Press, $14
The 25 Masterpieces
Black Sabbath – Heaven and Hell
Diamond Head – Lightning to the Nations
Celtic Frost – Morbid Tales
Slayer – Reign in Blood
Napalm Death – Scum
Repulsion – Horrified
Morbid Angel – Altars of Madness
Obituary – Cause of Death
Entombed – Left Hand Path
Paradise Lost – Gothic
Carcass – Necroticism — Descanting the Insalubrious
Cannibal Corpse – Tomb of the Mutilated
Darkthrone – Transilvanian Hunger
Kyuss – Welcome to Sky Valley
Meshuggah – Destroy Erase Improve
Monster Magnet – Dopes to Infinity
At the Gates – Slaughter of the Soul
Opeth – Orchid
Down – NOLA
Emperor – In the Nightside Eclipse
Sleep – Jerusalem
The Dillinger Escape Plan – Calculating Infinity
Botch – We Are the Romans
Converge – Jane Doe
Eyehategod – Take as Needed for Pain
Rock journalism challenges even the bravest writer. Musicians are not known for being articulate, nor is it easy to pin them down, and lore snowballs in that vacuum. For this reason it’s great to see the series of in-depth explorations that have come about recently regarding many classic events of metal. As musicians age, given that musicians have a shorter life-span than average, this is also a race against time in many cases.
Albert Mudrian’s Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces presents a welcome addition to the genre of historical metal journalism. Combing through archives, the writers of each piece compiled band statements about the album and put them together in linear form, like a conversation. The result is a whole lot of information delivered in a very digestible form, with the extraneous confusion of live interviews edited right out of the picture. It’s a good starting point for anyone looking into these historical nodal points in the evolution of metal.
Mudrian seems aware how easily a book like this could become repetitive. Not just in the answers, where musicians might make roughly similar statements about touring, band formation, the troubles of collaboration and so forth, but in the similarity of bands. If for example he added another three Swedish death metal bands, it might start to get a little bit stuffy in the virtual room he’s created. Instead, he gives us space between acts and a wide variety of acts, but avoids the really awful nu-metal and tek-deth. However, the price of that spaciousness is that he includes bands like Monster Magnet and Kyuss which really aren’t metal at all.
There are some shockers in content, too. Some of these bands, despite their professions of various depraved behaviors, are insanely business-like in how they go about getting recorded and published. Sleep, Cannibal Corpse, Dillinger Escape Plan, Botch and Converge really had their act together. For a few moments, it was more like reading Forbes than Decibel, but it’s really gratifying to see this side of the business portrayed honestly. If you want your music heard, there’s a certain amount of business activity that must precede that event.
On the whole, these chapters are extremely well edited including the choice of material. They are in question-answer form, where the questions are usually prompts about historical events or general questions applied to specific moments or activities. When an incidental or minor character is cited, he or she speaks up for a few questions and then fades out. The bulk of the material favors the most articulate band members and major actors, but the writers shoehorn in as many diverse perspectives as they can. This makes reading Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces feel like being in a comfortable pub with these bands, on a rainy day, with a tape recorder next to the ashtray.
Each chapter corresponds to a classic album and comes with an intro paragraph. If anything, here’s where the book could benefit from some uniformity and toning down the “rock journalism” aspects. Perhaps not a just-the-facts-ma’am approach, but more of an assessment of where the band fits into history and why people like them, and leave it at that. Some of these were over the top for the actual function they serve. However, among the bombast is a lot of good information.
At that point the interview(s) compiled into a single form take over. Most of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces is the bands speaking, and that is the power of Mudrian’s editing and the work of his colleagues. They’ve trimmed out the transient stuff, the window dressing and repetition, and left us with clear statements from the bands that show them in their own voices and approaching the situation at their own angle. This also helps create an epic feel to the epic interviews because it’s a compilation of the best moments of the band commenting on this album, put into one form that flows naturally.
Was the intro, “Human,” something you had conceived of before you went into the studio? Ain: Yes, we had the idea before we went into the studio — we wanted to loop a scream and make it perpetual. We also wanted to use it as an intro for the live shows. A regular human scream would never last that long, so we wanted to loop it and make it sound like a scream from hell, like how you would scream if the pain was everlasting. Warrior: We had talked about it, but we were basically still laymen, so we had no idea how we could put it together. So we told Horst what we wanted to do, and he proposed how to do it. But as I said, we only had six days to do everything. If one thing failed, we would’ve gone over budget or had to go home. So, in hindsight, it’s a miracle that tracks like “Human” or “Danse Macabre” came out the way we wanted them to. We couldn’t rehearse some of those parts, you know? I have no idea how we did that in just a few days, especially given our lack of experience. But therein lies one of the strengths of Celtic Frost to this day: Martin and I usually visualize certain pieces of music down to the last detail without even touching an instrument.
This excerpt reveals the power of Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. In the midst of the mundane description of studio struggles, Tom Warrior articulates part of the essence of his band. Many such moments of insight, casually and offhandedly mentioned in describing some rather ordinary thing, flesh out this book and make it more than a fan’s quest but a resource for musicians and anyone else curious about the origins and process of creating extreme metal.
Not everyone will agree on certain aspects of this book and naturally any choices made along these lines are divisive. However, the book has enough to offer just about anyone who loves metal so that the purchase will not be regretted, even if there are chapters you skipped. In fact, I recommend skipping those chapters and approaching this book as a buffet. No matter what sub-genres you adore, you’re going to have at least five you’re dying to read, another five you’re very excited to read, and another five you’re curious about, and the rest will be uncertain but you might find some interesting information there, as I did.
It is impossible to find just 25 to represent metal. Some of these choices are nods to the music industry and mainstream fanbase, like Dillinger Escape Plan, or to history, like Botch, who were the vanguard of the metalcore movement. Some are near-misses like the apologetic At the Gates treatment of their best-seller, but this interview also confirms a lot that reviewers said about this album, namely that it was retro to the past generation of metal and somewhat hasty. Some others, like Converge and Eyehategod, seem marginal in that these bands spent a lot of time disclaiming metal back in the day.
On the whole however Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces offers a good pan-and-scan perspective of what was going on in metal at the time, and by showing us the fly-over accumulation of variety, Mudrian and Decibel show us not only what these bands were doing, but the forces against which they were struggling to define themselves. The result is a treasure hunt of a book, bristling with secrets and previously undiscovered pathways, for those who enjoy extreme heavy metal.
Suppose that you’re a dying society (“the human race was dying out / no one left to scream and shout” – the Doors) and that you decide to give it one last hurrah. To try honesty instead of manipulation.
You might come up with punk music. It strips out everything that reeks of manipulation. The good production, gone; the complex chords, gone; any pretense of musicianship, out the window.
But then people realize that you’re going about it backward. You can’t change your methods to change your goal. You have to change your goal. That means you’re thinking about composing music in a new way, not just how you’re going to play differently with something rather familiar.
This lets loose the dogs of war.
No longer is music carved from a known pattern; the song is the pattern, and it obeys no rule other than its content. Face value is made secondary to internal value. Like it is in human, whether we have souls or not.
Musically, punk’s first wave hadn’t been all that far removed from regular rock’n’roll. “God Save the Queen,” with its hummable melody and simplistic chord changes, is clearly a relation, albeit distant, of Chuck Berry and the Rolling Stones. The difference is in the attitude, in Johnny Rotten’s adenoidal snarl.
Discharge’s revamped version of punk bore little resemblance to anything that had come before. It was faster, harsher, and often almost entirely lacking in melody. The riffs were generally three-chord affairs, but they were played at warp speed, accompanied by a rumbling bass and a merciless, galloping drumbeat. The songs rarely topped the two-minute mark. As Garry Maloney, who drummed on some of the band’s best recordings, explained to a ‘zine called Trakmarx, “We just embraced speed—the concept—not the drug—took it to its logical limit.”
Away went the blues scale, playing in uniform musical measures, and having pop song format work for you. Instead, the new vision was the lawless chromatic scale, a lack of key and thus of soaring bridge and chorus, or even any fixed song format. It was repetition made into its own undoing, a type of ambient music made from noise.
Rock ‘n’ roll died with Discharge. Others, like Amebix and The Exploited, followed. On US shores the Cro-Mags and thrash (DRI, COC, Cryptic Slaughter, Dead Horse, Fearless Iranians From Hell) further put metal into punk. With metal’s phrasal riffs and punk’s lack of structure, music got closer to ancient times.
Suddenly, the melody determined the song, and since the songs were topical, the melody was determined by the idea. Like ancient Greek dramas, where the chorus sang poetry as the story was acted out on stage, the new punk-metal hybrid entered the world of motifs and mimetic meaning, where art imitates life to tell the story of a journey or adventure and how it changed those who sallied forth.
The end of the second song, nearly eight minutes in, elicited a weak cheer, a few claps, and a robust chant of “D.R.I.”—a local thrash band on the rise, which had played earlier that night.
This was the new legion, thrash and underground metal (death metal and black metal), and it ushered in a new era. Where music was plain-spoken like punk, but mythological like metal. Where it took metal’s criticism of human behavior and used that to explain punk’s extreme political dissidence. Where people started looking at what they’d die for instead of what they’d live for.
Since that time, metal and punk have both gone through many generations. None have gotten very far from those originals who broke free however. They had to destroy before they could create and, when the dust of destruction and subsequent self-destruction finally settles, creation will begin anew.
Artist Dan Seagrave, whose works adorned the cover of classic death metal bands like Morbid Angel, Suffocation, Entombed and Pestilence, sells prints of the art uses for these classic covers. This means the underlying image, without the logo and title.
Seagrave has begun offering the art from the Morbid Angel album Altars of Madness as a large format limited edition of 99 prints and ten artist proofs. Printed on Hahnemuhle Photo Rag Pearl, the prints measure 28 inches to a side and are specially made to order for $350 each plus shipping.
In addition, he’s offering the art from the Suffocation album Effigy of the Forgotten in the same size for $270 each in an edition of 450 on Somerset Velvet matte stock paper. He cites the increased cost of printing on high-quality paper as the reason for the rise in price for this longstanding favorite.
Noted black metal logo designer Christophe Szpajdel is featured in an upcoming exhibit in New Zealand of metal and other illustrators and the logos and embellishments they create.
The exhibit will run simultaneously in Auckland at Nature: Art + Design and in Wellington at The Rogue & Vagabond from September 28 – October 15, 2013, and will feature Szpajdel as well as four New Zealand-based designers.
As underground metal expands its reach and influence, events like Ancient Modernism: An Exhibition of Letter Art and Illustration in Heavy Metal and Beyond will contribute further to understanding the meaning beneath the menacing imagery and sonically terrorizing music.
How many of you feel that metal music saved your life?
When I was suffering through high school — boring assignments, ludicrously uptight authority figures, absurdly judgmental peers, and crushing ignorance about the world and myself — heavy metal indeed saved my life.
It had several methods that saved me. The first was that it let me escape into a mood that was bigger than my everyday concerns. This helped me establish values, center myself and see day by day stuff in context. The second was that it gave me a sense of belonging to something bigger than myself, which both freed me from the judgments of others and my own tendencies toward self-obsession. Finally, it was a gateway into history and literature, philosophy and art. It was a more exciting entry point to those disciplines than the rote ancient material taught in school.
From others I have heard similar stories. When your parents are dysfunctional, heavy metal is like a window into a much wider world beyond where things can make sense even if they don’t right now. When instability is all around you, “metal never bends” or “true metal it is, or no metal at all” are not just comforting ideas but mission statements.
To some, however, heavy metal has a different mission: it states it’s OK to be different. Witness the words of this heavy metal Rabbi:
Growing up as a Jewish teen in Manhattan, he was drawn to listening to heavy metal bands. Leigh’s body found joy in the chords and musical vibration that emanated from the emphasis on bass and percussion. He also found community and faith when he attended concerts.
“I found God in a mosh pit,” said Leigh, who attended his first concert, a Twisted Sister performance in New York, when he 14. “Heavy metal saved my life. The experience of growing up deaf in the hearing world means that you grow up as a minority. So many of us have the experience growing up where we feel like we don’t fit in, or we don’t fully belong.
“I found in heavy metal a music and a culture that supported individuality and rejection of the social norm. I found a culture that said, ‘you don’t have to be like that. You’re not. It’s OK to be different, it’s OK to be you. And guess what? There’s a whole army of metal heads out here like you, that are “freaks” and don’t fit into normal society.’ And the celebration of that and the outlet for anger and frustration as a teenage adolescent male just totally resonated with me.
Not surprisingly, Leigh has been known to write his sermons while listening to heavy metal.
That commotion you hear is our entire staff converting to Judaism. Leigh has an interesting view of metal, in that it is acceptance for those who don’t fit into society.
Others take it even farther, and see metal as a rejection of society itself. Or rather, the tendency of society to make rules to protect the herd, at the expense of those who actually know something.
If you let social forces predominate in any situation, you’ll get the usual feel-good stuff that we hear in most rock ‘n’ roll music. If you are antisocial and untamed like a metalhead, you get instead a different kind of morality, based on results and passion instead of obedience.
If you want to be in a black metal band, you take yourself as an adversary of society, because that’s what black metal is.
An adversary of society. Society means both civilization, and people socialization with each other as a form of civilization order. It refers to the social groups set up that keep a society together.
Historically, black metal has opposed the socialization process. It stands against the “we can all get along” viewpoint, endorses enmity and Darwinistic predation, detests a morality of protecting the weaker and makes itself almost impossible to listen to with bad production and extreme elements. Black metal is antisocial because it sees socializing as an illness.
Traditionally, the genre has identified with the demonic to explain its rejection of social feelings:
Black metal music is music that, in essence, is diabolical and has diabolical energies…we’re talking about the wild, the untamed, ferocious, predatory aspect of it, the tribe within this music.
Perhaps it isn’t as simple as heavy metal validating non-conformity. Perhaps it does that and goes a step further by pointing out that conformity itself, as part of socializing, is what makes our society so unbearable.
Think about everything you know in this life. A new idea, band or place comes about. Few know about it and it’s great. Then others discover it. Soon it accommodates them, and it changes. What made it great is lost.
For all the time that people spend on politics, philosophy, religion and art, it’s possible that the key to the human problem is simpler than we thought. It could be in how we form societies itself, and this explains why no matter what we do we have the same problems.
Even more exciting is the possibility that heavy metal holds the answer: be less social, and less conformist, and more focused on the “wild, the untamed, ferocious, predatory aspect” of our nature instead of our civilized, let’s-all-get-along social training.
Metal Hall, our 100% true metal forum, is looking for metal fans, bands, zines, labels, radio and promoters to post their news and events to the Metal sub-forum.
While you’re there, you might enjoy the metal-based conversation, or head over to Interzone for no-holds-barred and no-topic-required conversation and raging. Unlike the rest of the internet, we don’t pretend we’re anything but memetic anarchy and social chaos.
For kicks, check out our forum FAQ (which is a complement to The Heavy Metal FAQ) which explains some of what we’re about. Then dive on in and start raising the spirits of chaos in our forum.