The Internet grew out of 1960s DARPA projects and has been with us a long time. Most of us however only began to explore it after September 1993 when AOL began mailing out all those free disks that allowed anyone (and they meant, Satan help us, literally anyone) to get on the internet. After that, the Internet became public property.
But before those times, in the days of the late 1970s through early 1990s, the BBS was king. Someone would set up a home computer on a second phone line, install and configure (or hand-code) some software, and then send out the word to others friends on their own BBSs. People traded files and wrote messages to one another, both private (email) and public (forums).
They say it is devil music. They say it is Satanic. They also mention it being the source of many teen-age suicides. Why, do you ask? Well, this file is hopefully going to bring that point to light. Finally, just when you thought everyone was against you, you have found the truth in Heavy Metal: The Untold Truth.
We, the listeners of heavy metal, have been called many a thing. Metalheads, headbangers, pieces of scum. But, why do people continually call us that? Is it because we are a minority among other listeners of music? Is it because they think we deserve it, because we refuse to listen to “their” music? Whatever the reason, for two decades now, people are still believing that everyone who listens to heavy metal is Satanic or something along that line. Have psychologists proven that striking a chord on a guitar with distortion causes the mind to turn into an uncontrollable atmosphere of evil thoughts? I think not, and the reason many think they way they do is because of the lyrics to the songs.
The lyrics are often portrayed as the root of the evil in heavy metal. One might call it is the root of all evil is in the music that the children listen to. The lyrics themselves do not imply anything such as Satan worshiping or suicide. More times than not, the lyrics sing about the cold harsh reality that befalls us all in this world. Destruction, corruption, and many things pertaining to the real-time life of people are what cause these rumors of heavy metal. Megadeth for example sing about the destruction of the planet and the corruption and manipulation of a person’s mind. Why would “normal” people listen to the horrors of real-life, when they can live in a fantasy world created by Debbie Gibson?
The harsh reality portrayed in Metallica’s tape And Justice for All is another example of the manipulation and corruption of a politician’s mind. The lyrics often speak of revolution also, such as in Queenryche’s tape Operation: Mindcrime. They imply, “Why should we have to live in a world ruled by those who can afford it, when we could be living in a much better place?” If you have read any of Metallica’s, Megadeth’s or Queensryche’s lyrics, you’ll know where I am coming from.
Another coincidence that is often blamed on heavy metal is suicide. Think about it this way. When real-time life hits you through a song, and you’re not prepared for it, you might just say fuck it, and go off the deep end. People need to be more prepared to face reality when they turn on Megadeth or Nuclear Assault.
The music itself is often and crunching to the mind. One might call it noise, but to those of us who understand it as music, it often resembles the lyrics in many ways. A good example of this is in And Justice for All. When listening to this tape, the music often prepares the listener for a cold and harsh representation of life. Such as in “One,” the intro with the helicopter puts the listener in Vietnam. The music then turns from a sad, painful melody into a hard, cold, highly distorted melody that depicts the character’s hatred toward life. This is a remarkable example of what the music part of the songs is all about. It is to set the mood. Want to live in fantasy? Go listen to Milli Vanilli. Set to take a first class ticket tour through real life? Listen to Metallica.
Slower music sets a nice pace for the slower, less knowledgeable minds. One might call a headbanger “dumb,” but nine times out of ten, the guy will survive the onslaught of political mindgames better than the smartest “normal” person would. It is much harder for a “headbanger” to be brainwashed by politicians because of the music he or she has listened to for years.
If you are a metalhead, read carefully the last few paragraphs. It is the true reason heavy metal, acid rock or whatever you call it, came around. To make people aware and to keep people from being brainwashed into mindless cyborgs that revolve around one who can afford the company. Believe me when I tell you that heavy metal is not all the noise that it seems to be; it is much more than that. It is a way of life to many.
From: Starmaster… To keep those who want to be knowledgeable full of knowledge. And to keep the pricks, pricking.
While this piece may have been written by a non-professional and inexperienced writer, he or she makes some good points. Let’s look at some of the highlights:
The lyrics sing about the cold harsh reality that befalls us all in this world. This is not protest music, where people complain, or idealistic music, where they sing about what might be. It is descriptive music that portrays the world in a way people cannot see through the fog of consumerism, politics and socialization.
The lyrics ask, “Why should we live in a world ruled by commerce, when we could be living in a much better place?” This paraphrase cuts to the core of the underground metal argument: as soon as money shows up, our priorities shift from reality to money and bad results come of that.
[The music] often resembles the lyrics. He makes a good point here. Metal’s harsh riffs are often shaped into song by the lyrics, and the two work together. It is as if the music is a delivery system for the lyrics, like ancient Greek theatre where music and drama were used to convey essentially philosophical messages.
[A headbanger] will survive the onslaught of political mindgames better than the smartest “normal” person would. This is the actual theme of the piece: politicians/money preach obliviousness and most people choose that path because they’re afraid. Metal is for those who want to go beyond and result the false world created by politics, money and popularity.
And to keep the pricks, pricking. This one is up for grabs. If you have a plausible interpretation, post it in the comments.
For what it was, a single text file uploaded onto a BBS somewhere in 1990s America, this document covers a wide range of topics and has a fairly depth-seeking thesis. Perhaps metal was stronger when more people thought like this.
Apparently Kirk Hammett’s Fear FestEvil went off without a hitch, bringing together metal fans and horror movie fans in a celebration of movie artifacts, horror movie personalities and metal bands saluting their favorite genre of film.
The festival featured performances by Exodus, Death Angel and Carcass, but also had as guests Kerry King (Slayer), Scott Ian (Anthrax/SOD), Doyle (Mistfits) and of course Hammett (Metallica) himself. In addition, you could meet movie legends like Boris Karloff’s wife and son, the man in the Godzilla suit Haruo Nakajima and a number of a directors and actresses from horror movies over the years.
“There’s a lot of horror elements that have been used in heavy metal for a long time ago. I mean, Black Sabbath was named after a movie. And that was the amazing thing. I was a horror fan and then I became a music fan and then I discovered hard rock and heavy metal and I’d see all these little pieces of imagery or song titles or lyrics borrowed from horror films throughout all these heavy metal bands. They’re made up of the same ingredients. For me, a good horror movie is fun, dynamic, exciting to watch, peaks and valleys. A good heavy metal song, for me, is the same way — exciting to listen to, peaks and valleys, really fun and energetic.”
This leads to the broader question of the connection between metal and horror movies on an artistic level. While many writers have focused on the economic connections, shared fanbase, or similar aesthetic, few have analyzed the question as Hammett has by showing how the two gesture in artistically similar ways. But this resembles statements made by Black Sabbath about the invention of early metal:
One day I thought that it seemed strange that a lot of people spend so much money to see scary movies. Nobody really wanted to listen to us, so we decided to play slightly scary music. We liked it and, yeah, that’s how it all got started. That’s the story of Black Sabbath.
As many commentators have noted, Black Sabbath came out of the late 1960s when “flower power” was still in full flourish. The band wanted to inject a note of darker reality into the notion that one could simply peace out and all would be well. In the world that Black Sabbath introduced, darkness was preeminent but invisible, much like the threatening characters in horror movies who owing to their supernatural or psychotic states can never be pinned down and isolated.
Over the years, metal has cemented its relationship with horror films with lyrical and topical allusions aplenty. As various other cultural movements run themselves over cliffs like drunken parties touring the countryside, and yet metal (and horror films) endures, it might make sense to wonder if those who see the darkness were correct after all.
Satan won 2013’s Best of the Year award from Death Metal Underground for its album Life Sentence which shows the best of NWOBHM merged into the powerful techniques of the speed metal the band inspired back in the day.
Now, for the first time, Satan is touring North America starting in April. You can catch this classic metal band (which shares personnel with Blitzkrieg) at several locations already announced for the east coast, with more to come.
If you enjoy metal anywhere from the late 1970s through late 1980s models of technical, inventive riffcraft bearing and emotionally complex metal, Satan Life Sentence provides an older and wiser take on that era with just as much invention and perhaps more intensity.
What are Sadistic Metal Reviews? When people decide that life is worth living, try to make good music. Unless they hope to make a quick buck, in which case they disguise bad music as “innovation.” We separate the good from the bad — with a machete. Come for the misery, stay for the occasional exception…
Divine Circles – Oblivion Songs
The mainstream assimilation of metal continues. This is basically coffeehouse femme-folk-rock like Jewel would have spun two decades ago when metal was still doing something relevant. Instead, it sounds like a Taylor Swift/Janis Joplin hybrid on piano while someone strums a lightly distorted guitar in the background and some bell-bottomed burnout bangs a cowbell. I can appreciate the similarity to neofolk bands, especially Hekate, or even the folk-rock tradition of the Americas. But it’s most similar to the goddamn crap they play in Starbucks or our local “alternative” (read: clean every other Tuesday) coffee shack. A girl sings about fanciful things, there’s some guitar and a lot of slightly exotic rhythm. But when you leave and drive home, you’re thankful for the silence. This has nothing to do with metal and should go back to the coffee shops.
Slipknot – Slipknot
For people who thought Korn was too musical, Roadrunner has saved the day. ANGRY MAN babbling over death metal riffs reduced 100 levels of complexity, with random vinyl scratching noises and sampling thrown in for…some reason. These riffs were lifted from a White Zombie album which lifted them from a Metallica album which borrowed them from a NWOBHM 7″ which probably borrowed them from the rantings of cavemen etched into sandstone near the local juvenile detention center. To these basic speed metal riffs, they have added abundant bounce and doubling the internal rhythm on the offbeat, which gives the illusion of complexity for about ten seconds, and they’ve wrapped them around rock melodies. Speaking of wrapped, why aren’t we calling this rap/rock? It’s obviously rap music sanitized for the people too uptight for even backpack hip-hop, thus it gets injected into rock and to disguise the obvious lameness of this combination they cover it in heavy metal stylings like melted chocolate poured over a corpse. Lyrics are moronic, riffs are moronic, album art is moronic…is anything in this band appealing to functional humans? If a vengeful god were to rain napalm on America for producing this album, it would be justified.
Éva Polgár & Sándor Vály – Gilgamesh
Art music faces one ultimate test: will people listen to it on a regular basis, in regular lives? I’m not talking about the heroin and cigarettes crowd in Williamsburg with their postmodern degrees from Brown, but normal people. Thoughtful, intelligent, realistic, well-adjusted people. Do they listen to it? Or is it something they think is neat, maybe would be good in a movie, and then politely clap and never hear it again? Gilgamesh qualifies as some of the better art music I’ve heard. It is an sonic backdrop to the famous tale, rendering in quickly played piano riffs while other instruments fill in background chording. This has more in common with industrial music and avantgarde jazz than rock, but each track creates a series of emotional sensations corresponding to its chapter of the Gilgamesh saga. It is artfully done and powerful but is too abrasive and repetitive for every day primary listening. Further, it is too arty and conceptual to find a place in the balanced life. It would make a killer soundtrack for a silent film however.
Fear of Domination – Distorted Delusions
Music designed to pander to newer listeners is often excruciating. First, it must have an obvious novelty in style that usually defeats common sense. Next, it must appeal to people whose first instinct is essentially disruption and chaos. As part of this, they favor weapons like repetition and garish aesthetics. This album will not disappoint on those points. Mixing clubby techno (itself suspiciously like disco) with metalcore and crowd-positive industrial like Rammstein, Fear of Domination spit out music that is essential keyboard-led but has background guitar and bass which are entirely obliterated by the harsh, chanty and repetitive vocals. There is not a single metal riff on the album. There is also nothing new to people who have experienced even Ministry, but a form with novelty gives this some of the appeal of more austere industrial bands. Still the repetition level and degree of obvious manipulation makes it excruciating for people who have heard more than a dozen albums.
Benighted – Carnivore Sublime
In the absence of Nu Metal, everyone is rushing to take over the territory of Limp bizkit or Korn. From bling bling tech-core band Despised Icon to recent Napalm Death to streamlined Unique Leader sounding Morbid Angel palm muting riffs, Benighted blend everything that’s hip and br00tal in the scene together as the perfect sonic weapon for the frustrated school kids. This whole album is full of preachy and overreacting jerking noise. The band’s new music video reflect all of these: attending school is bad and teachers are evil, the world is insane, so buying this album is the right way to the first step of revolution. The hilariously out of place cleared-throat howling choruses sound like any metalcore rather than death metal, they make me want to put on the Korn records instead. Nothing from Benighted’s album is remotely exciting to the ear of a longtime metal listener. The volume is louder than Grammy performer Metallica, but the music is just as bland. Benighted and their far relatives Insane Clown Posse and Fleshgod Apocalypse are definitely worth exiling from the metal world.
Fluisteraars – Dromers
What is problematic about post-metal/indie-metal, and rock music itself, is nto that it’s distinctive. Rather, like a good product, it’s created by audience surveys. What do they respond to? — put that in. What got bad response? — take it out. What was neutral? — reduce it. The problem is that you need all the colors of the rainbow to paint a picture, so just because audiences prefer blue over yellow does not mean yellow should be removed. In fact, it aims to create a monotone picture where all of it is the color audiences want in their living room and none is the less favored colors. But art is a communication of a mental journey between two points. It shows us someone emerging from a state to a higher realization and then acting on that for triumph. It reveals a mixture of emotions that signal an ultimate resolution, or at least a clarification in the mind. But what we call “modern metal” — itself a clone of the late hardcore, post-hardcore, emo and indie movements of the late 1980s through middle 1990s (Jawbreaker, Rites of Spring, Fugazi) — is like rock music designed to just be that perfect wallpaper for your life. The right shade of sweater, the right ironic frames for your glasses, the purse that makes you look like a wandering boho hippie who might just happen to have a degree in art history. It’s the cult of the ego, and the ego demands only what serves it in full and denies the experience required to get there. This is because the ego wants nothing to do with the external world, and prefers that which is “human,” namely itself and those it socializes with. Fluisteraars is 2/5 old school black metal like Enslaved and Darkthrone, and the rest the newer material in a dronining long form that uses multiple riffs derived from a single theme, like Pelican. The result is very pleasant to listen to but when it is done nothing has changed in your life. You are back shopping for wallpaper, ignoring anything outside of yourself, and consequently, missing out on anything that can be called soul.
Woods of Desolation – As the Stars
Most of people can’t tell the difference between shallow light-hearted commercial product and art, therefore the conformists can always make some metallic indie rock to troll the underground. Woods of Desolation is the black metal version of Explosions In The Sky; both of them use the highest notes of the guitar chords to outline the weary lie-down-and-die pentatonic melodies while songs build around the sweeping textures. Just like the prototype of this sub-genre Alcest, Woods of Desolation’s music is nice and sweet and flawless, it make one hard to criticize them. But the reality is, three months after the hype, those who praised it like hell initially would throw this album away for these spun sugars annoying them just as the morning wake up cell phone jingles.
Towers – II
Post-rock and post-metal generally mean attempts to recreate emo through expanded minimalist sound. Towers takes an approach more like Swans where they build a drone and then layer it with interesting textures. The result is rhythmically motivational, like a march, but ultimately can’t go anywhere because like the notion of “concept music” it can’t go anywhere but to its furthest extreme. Thus what we have is interesting, but not something you’d want to repeatedly listen to except in the background or as part of a movie soundtrack. It is not terrible in any part, and on the whole it is bland and inoffensive once you get past the “extreme” style. Arguably, Towers is the best example so far of how to make post-rock/emo into something that is not terrible. The problem is that listening to it feels like being driven over by Friday 5 pm NYC traffic, and so it’s unlikely that anyone will turn to this for repeated listens that bring out some positive aspect of being alive.
Sunn O))) and Ulver – Terrestrials
Background drone of distorted guitar vibratto and feedback. Foreground slow chords, standard post-metal. Melody slowly layered, then repeats. It goes on in a big loop. Any given second of it is inoffensive and seems like something cool might be happening, but then, if you listen to the whole thing, you realize its fatal flaw is that it’s boring. Nevermind that Lull and Fripp did this years ago but better. Nevermind that these bands were both wrecking balls to metal’s integrity. Just listen to the music: it’s repetitive, doesn’t development, and basically does nothing but establish a drone and a half of a mood. What would you do with it? Listen to it? No, this is music for you to explain to your friends. The point is that you know something they don’t and you can thus explain how profound it (and you) are. It’s no different than people going to rap concerts to pose at being gangsters or young girls who cry when Shakira sings about her hips. It’s just more pretentious.
Dodsferd – The Parasitic Survival of the Human Race
Despite the ideologically-correct title (for black metal), this band shows us the true death of black metal: it has been assimilated by punk music. This sounds, with the exception of a couple black metal open strum riffs, exactly like the same droning hardcore bands were pumping out in the early 1980s. That music was the source of the stagnation that launched underground metal. I’ve listened to this thing three times and it has no negatives. There is nothing wrong with it. There’s also nothing compelling about it; it’s just more void. Technically, it all fits together. It’s just boring and expresses nothing. It is essentially hardcore punk music from the early 1980s with better drumming and production, maybe a black metal riff every seven riffs. But if you already own Discharge and Darkthrone, there’s utterly no reason to listen to this. Even if you don’t, it makes no sense to try to listen to this instead.
Gris – À l’Âme Enflammée, l’Äme Constellée…
Oh wow. Titles in French, looks misanthropic, maybe Vlad Tepes has returned! Second coming of Loudblast, even? No, it’s emo. Riddle me this: if emo isn’t like the fat girl addicted with meth that you woke up next to in the basement and felt great shame for the next, why do people keep trying to hide it? This is the same droning yet bittersweet minor-key background noise that Jawbreaker put on their albums and before that, that emo bands kept trying to insert into punk. What is emo, after all, but the very basic tonalities of rock music translated over an upbeat groove into power chords with dissonant voicings? When you look at what can’t be used, you see what is left. In the same way that the blues scale is the classical diatonic major scale with the key-centric notes removed (and a blue note for color-note rhythm comp fudging), emo is what happens when you take all the life out of music and translate it into rules to keep an audience in suspense. It doesn’t ever go anywhere, just shifts between these same few interval progressions. And yet, there it is. And people who apparently know nothing about thinking keep buying it. This is very frilly, dressed-up, entertaining variety, but underneath all the stupid pet tricks and gaudy clothing is the same old tedium. This is the sound of a genre dying.
Frost Legion – Death of Mankind
Crossing punk and heavy metal styles with a black metal aesthetic of constant high-intensity drumming and droning riffs, Frost Legion make black metal that often sounds like it is assembled from spare parts but tries to keep a focus on the melody and savagery of black metal. Vocals are a constant rasp that varies inflection as little as possible, over active double-bass drumming reminiscent of later Ancient Rites. Riffs are often drifting melodic constellations formed of a few chords which work through permutations of loss and re-acquisition of a root note. Often the riffs are very similar to each other which causes an unsettling loss of orientation, and frequently they bring out melodies which resemble music from the 1930s, but the effect is to create a sense of longing. One thing this band could do better is dynamics; it uses nearly constant intensity most of the time which is exhausting. While song structure is essentially riff-based, these riffs may need to correlate to something else in order to make the composition memorable. The constant melodic riffing is reminiscent of Carcariass and bands of that ilk who are deeply invested in guitar creativity and sometimes lose sight of memorable songs. This is a good start and it will be interesting to see where these guys end up after they’ve had a chance to contemplate the results of listening to this album several dozen times.
Aethereal – Faceless Messiah
We walk among you. We are legion and yet can travel unnoticed in the midst of your cities. We are those who try too hard, and many of us ended up in black emtal. Aethereal brings many strengths but suffers from trying too hard. Coming from the wilds of the USA, the amazing thing about this demo is that it attempts to shape the melodic architectures of a European band. It seems caught between a more vicious Behexen-style assault and a traditional melodic metal attack shaped around Sacramentum, Dissection and perhaps even Sentenced. Most would argue this into the black metal camp on vocals alone, but it has aspects of many genres of metal. Technically precise and musically coherent, these longer songs more resemble the ambitious music before the Great Partition in black metal which set the classics in the past and brought a deluge of imitators to attempt to pollute the genre. The first track, “Scornful Skies,” launches from a battering assault of melodic chords resembling rainfall in sheets to a neo-Celtic style intricate lead riff, fading into a Dissection styled mood piece before evaporating into an interlude of gentle strumming without distortion and a return to a contortion of its origins. The second track, “Qliphothic Reflections,” resembles much more of the black metal of the post-initial era, with low use of dynamics and high intensity blasting with transitional melodic riffs leading us through a semi-circular structure. Both tracks show promise if developed. But again, the problem is trying too hard: looking at what all the great songs have, and trying to make your own version without knowing what connects them. If these guys trust their gut instinct and what they like to listen to rather than what they think they should be creating, they would do better. Take it from a guy who tries too hard in his biggest failures as a writer.
Asking Alexandria – Stand Up and Scream
If any of you were to discover that your testosterone levels were too high, and your doctor advises you to take estrogen injections: before doing that, consider listening to this album – in approximately 3 minutes, you will feel immediate results. An album like this could be created only by the results of a CIA project designed to make people believe malls are desirable. (Somewhere, Bill Hicks is turning over in his grave.) For the rest of us, upon hearing this we wish that we were in that grave. This band has the uncanny ability to not only make every song sound identical, but also every riff. Then again, most people listening to this are undergoing “spiral learning” – the repetition is something they’re used to. Please don’t listen to this. If you don’t have enough respect for yourself to avoid this, just go all the way: go to Starbucks, pick up a la- oh alright, that joke is overused. This band sucks. That’s all.
Metal-related publisher Bazillion Points (of Metalion and Only Death is Real fame) is furthering its extensive catalogue, this time with a book chronicling the exploits of heavy metal movies.
Written by Mike “McBeardo” McPadden, Heavy Metal Movies covers over 1300 films, ranging from movies explicitly about a heavy metal theme (obligatory This Is Spinal Tap entry), to movies that were metal in spirit and thus became involved in bands’ artistic development (notably Lord of the Rings and Conan the Barbarian), in addition to various violent slashers and metal documentaries. Reviews are accompanied by color photographs and promotional artwork.
Continuing the explosion of metal documentation, the book aims to appeal to both the devoted metalhead and general fans of popular culture. If this upholds the quality standards of Bazillion Points’ previous releases, this will be an excellent coffee table book for metalheads to show off to those who may be unaware of metal’s reach as an artistic phenomenon.
Today, Jeff Hanneman would have been fifty years old. The man who helped invent the sound that underlies all of underground death metal did not, as the people around him in the LA suburbs tend to do, waste his life away in repetition. Instead, he forged his own path and we celebrate him for it and the results of it.
Way back in 1983, as now, the holy grail of alienated music was the fusion of any two of its genres: metal, punk and industrial. Specifically there was great interest in using its guitar-based genres to create a new sound. Many people attempted to fuse metal and punk, and many credible sounds came out of it. One path was speed metal, which Metallica unleashed with Kill ‘Em All. Another was thrash, which DRI cut loose with Dirty Rotten LP. But still another was the foundation of death metal and black metal which was introduced by Slayer and refined the following year by Bathory, Hellhammer and Sodom.
Slayer took two things from punk and injected them into the prog-influenced songs structures of NWOBHM: they borrowed the constant tremolo strum, used by punk for drone, and the open drum patterns that allowed guitar to take the lead. Now a new style of music emerged. Rhythm guitar became the lead instrument, rapid-firing changing riffs at the audience while drums framed but did not lead the development. Riffs did not have to perfectly fit the drums which kept going in the background as a kind of timekeeper but not, as in most bands, a way of signaling the guitar to change. Further, riffs became phrasal, building on the longer chord progressions of Black Sabbath to become fully small melodies, developing in response to on another like classical motifs.
Music teachers, who were raised in the rock/jazz idea that drums lead and riffs should emphasize harmonic and a static melodic role, with the primary melodic role and lead instrument (and thus impetus for song “development”) being the voice, found Slayer to be unmusical. The record industry was appalled at this creation that unleashed the demonic side of life in such clarity; they make their money from selling happy illusions, not grim realities translated into elaborately conceived mythologies.
And yet it is this mythological tendency, dating back to “War Pigs,” that saves metal from self-consuming and burning out like hardcore punk. It is not literal; it is imaginative. It turns our focus from ourselves to the nature of power, history, nature and other forces larger than the individual, and then lets us imagine the greatness of participation in those. Where punk turned reality into a protest weapon and source of alienation, metal has turned it into a source of individual desire to do something epic with our lives. Slayer gave that mythological tendency a new voice, not just by singing about demons, vampires and The Holocaust, but by translating the sound of raw power into something you could throw on your bedroom hi-fi and be transported to a different world.
For this reason, Slayer captured the imagination of a generation and continues to enthrall us today. The early albums, which are completely written in horror movie mythology, incite in us a desire to see the hidden possibly occult underpinnings of a society gone insane. The Reign in Blood and afterwards material shows us a more punk-like grasp of all that terrifies us and sends us searching for reasons why, and if not why, how to use such things as war, murder and sadism in some constructive way. Slayer is not protest music; it acknowledges the horror, but doesn’t want to band us together into a drum circle to “stop” these horrors. It recognizes they are eternal. Instead, like the religion it loathed, Slayer drives us to find a way to accept these things as part of life itself, and look for a philosophy that shows us a reason to survive despite all these horrors.
Jeff Hanneman’s influence pervades the Slayer story. He wrote many of the band’s most epic and enduring songs, contributed the mythological outlook, and invented the musical changes described above. While he may be slighted by the Grammy’s, or ignored by a world of people seeking Shakira tunes instead of imaginative but realist metal, to those who can understand his trip — already a naturally elite group — Hanneman’s work is not just a source of wisdom, but of inspiration. In a world asleep, he stayed awake. In a world of imitation, he took his own path. Where most just wanted to participate for reward, he took on life at its most basic level and triumphed. For that reason, we’ll always celebrate his life and work.
An age of distrust.
For their performance at the Grammy awards, Metallica paired up with Chinese pianist Lang Lang for a performance of their dramatic protest song “One” originally from …And Justice for All.
According to VH1, the bond was formed in just 45 minutes of practice time the day before the performance. As you can see below, the result was smoothly integrated despite this lack of extensive practice.
Metal and classical share a defining trait in that both use narrative composition, or knitting together riffs to develop a theme over the course of a piece. This is in contrast to pop music, which is essentially binary, formed of a verse-chorus pair and a “contrast” via a bridge or turnaround. Thus Metallica’s knotwork of riffs and Lang Lang’s melodic development through structured composition are entirely compatible.
The question remains whether metal will adopt this outlook as anything other than a surface aesthetic. If it does, expect metal songs to get more densely riffy and longer with contorted structures like progressive rock, which derived its song structuring principles from classical as well.
Billing itself as a conference focused on contemplation of the social aspect of heavy metal, the conference will discuss areas such as the ethics and politics of heavy metal, judged from a background based in philosophy.
It’s difficult to formulate a judgment on the philosophical orientation of heavy metal as a whole, however what all strands of metal share is a sense of meaning and purpose in something which is outside of what is comfortable to the post-1960’s general populace – this can be considered the “heavy” within the term “heavy metal”. From proto-metal bands such as Black Sabbath scaring hippies with a reminder that getting stoned doesn’t solve humanity’s problems, to the present day; the genre manifests something which is misplaced in time, leading many within the genre to develop in interest in the past, whether that be politically or musically. How this relates to the present is an engaging topic of discussion, if chosen.
Another realm of discussion will focus on the preservation of the history of heavy metal, especially within the medium of visual art. While the music has always taken primary importance, metal has a long tradition of valuing album art, logos, and quality live photos. The conference will ask the audience for participation in a yet-to-be unveiled project for collecting and displaying these resources.
Interestingly, there will also be a “women’s studies” discussion in relation to metal. This is relevant as it represents the inclusion of heavy metal into an already-established field of inquiry, which is respected within the current academic milieu – perhaps indicating that heavy metal is beginning to be viewed as a genre serious enough to be considered for inclusion among other fields, such as theater or literature.
Those interested in keeping up to date with the conference can visit its Facebook page. Niall Scott, a speaker at the event, released a short video detailing the discussion, which can be viewed below.
Academia did not always embrace metal. When I suggested the idea in the early 1990s, it was mostly laughed off, with some notable exceptions. But the point remained: heavy metal is a unique art form in our society and a powerful indicator of our unfolding history.
Metal is unique among popular music genres because it is not dedicated to the individual, but that which is beyond the individual’s control, such as power and fate. It is also unique in that it does not preach pacifism, love, social behavior and comfort, but instead alienation, independent thought, feral amorality and nihilism. It is in short that which resists social control and rejects the notions of sociality, like guilt and love, that are used to keep social order. Metal is the lone wolf of all music.
Starting a few years ago academia began to dig into metal. Most of them are looking at it from the surface, using familiar tropes from academia, but they are starting to dig deeper. The next step is to see heavy metal for itself and to understand it on its own terms.
As a brick in this long and winding road, MIT’s Heavy Metal 101 is an attempt to introduce metal through history and musicology. The course has been going since 2006 and incorporates a number of metal albums with a somewhat “the best sellers write history” viewpoint, but otherwise hits all the right notes or at least bands.
The future of the class isn’t in doubt but the question remains whether MIT will open it up further as they have done with other classes. As MIT’s alumni page notes, “The remaining seminars will be held January 23 and 30 from 5-6 p.m. and are free and open to the public.” If we’re really lucky, they’ll make them into open courseware so anyone worldwide can participate or at least watch.
What are Sadistic Metal Reviews? It’s when we decide that good things should happen to good people and bad things should happen to boring music. Most music is either imitating a trend, or totally without purpose or content, and that makes it boring. We can find trends and purposeless noise anywhere, for free. We are cruel to the stupid, and periodically, find something worthwhile to hold up above the river of feces…
Adrenaline Mob – Men of Honor
It’s grandad’s heavy metal, kids, but with a rhythmic kick and Alice in Chains vocals. A Pantera influence in the bouncy riffing represents a modern retrospective on glam and heavy metal from the 1970s. Droning diminished scale choruses and a similar riffs stacked in a way that is both not random and not song development fleshes out the mix. Songwriting emphasizes the Big Pop Industry tendencies toward hooky choruses and distracting, somewhat aggressive verses with emphasis on stitching out the chorus rhythm in as many forms as possible, so in case you missed it the previous sixty times it will pop up again to remind you that you’re listening to “music.” People have made heavy metal version of power pop before (like Yes’ 90125) but they aimed for quality; this aims for conformity with someone snapping their fingers and being ironic behind the scenes. Warmed-over 1970s riffs 1990s influences make this a classic record company attempt to make the present generations worship the cast-offs of the past. Despite attempts to be edgy, this is a museum piece from the Hall of Boredom.
Disfiguring the Goddess – Deprive
There’s no death metal to be found on this supposedly “brutal death metal” release, nor any concept of songwriting. Choppy, percussive riffs are thrown next to nu-mu thudding in random sequences that do nothing but “groove.” It comes off as variations of rhythm guitar picking exercises played on an 8-string guitar and stitched together in ProTools. Like most of these rhythms, it’s only a matter of time before the “out there” becomes the predictable, so there’s no promise in these flights of fancy, only a return to something as mundane as the cycling rhythm of a diesel truck engine with a loose belt. Occasionally, an actual riff gets played for almost three seconds before more inconsequential rhythm chugging comes in to pacify the indie/Hot Topic demographic who use this stuff as a surrogate to nurture relationships with other idiots by sharing an interest in “wacky muzak” that makes them “different and unique”, but under the surface, is Korn with tremolo picking.
Alehammer – Barmageddon
Life is an IQ test. Your choices determine really how smart you are. If you picked this band, you failed. These guys should hang up the electrics, strap on acoustics and do children’s television. This is sing-song music for people without direction in life. Even when I was a clueless 14-year-old buying his first albums with grubby pennies I would not have considered this dung-heap of bad musical stereotypes. It sounds like the kind of stuff that characters at Disneyland would sing, or maybe a bad world music band from the background of a car commercial. It’s catchy vocal rhythms over guitars that basically serve as slaves to pounding out the catchy vocal rhythm, but it’s repetitive catchiness. It’s all hook to the degree that there’s no sweet spot, only cloying repetition. Most bands of this nature are basically bad heavy metal with jingle music at its core. Barmageddon is basically a grindcore take on the kind of simplistic fare that got called “Pirate Metal” recently. I propose a new name: Headshot Metal. If you get caught listening to this, you should be shot through the face with a high-powered rifle. It’s an insult to anyone in the genre who tries to get anything right.
Lamb of God – New American Gospel
Upon viewing this title, the prospective listener might be intrigued to ask “what is this new gospel?” Answer: the gospel of insincere mediocrity. Half-assed guitar riffs combine the worst elements of a moron’s interpretation of hardcore (autistic caveman rhythms) and speed metal (obvious riff sequences) with a fruity veneer of constipated teenager vocals. Tracks start nowhere and lead nowhere, with nothing connecting one moment to the next; a stream of irrelevance. Expect plenty of repetition which Lamb of God, like all metalcore bands, tries to disguise by being as random as possible. You know who else uses that strategy? Nu-metal bands. This is basically a kissing cousin to nu-metal anyway. It’s music designed for distracted teenagers to distract themselves further until it’s time for a lifetime career in something brainless to match their braindead approach to life. How anybody with above a single-digit IQ could enjoy this escapes me. Sadly for all of us, this title is accurate: the future of America is a populace that considers this a valuable piece of music.
Anal Blasphemy / Forbidden Eye – The Perverse Worship of Satanic Sins
Anal blasphemy starts off with three tracks of simple death metal with a strong melodic hook. It is however rather straightforward in structure which leaves creates a sense of uniformity. Riffs are very similar. The final track uses a melodic lead-picked counter-riff which adds some depth but ultimately these songs are one step removed from their beginnings, so despite the compelling rhythm and melodic hooks they might not survive repeated listens. Forbidden Eye produces a more lush approach to melodic metal which is clearly in the droning black metal camp, but avoids the pure sugar-coated repetition common to the Eastern European variant. Its weakness is that there is not much in the way of a unique voice; we’ve heard these tropes before and recognize the song patterns well. If you can imagine a Dawn or Naglfar approach with more intensive drumming that is roughly what you’ll get here, well-executed but undistinctive both melodically and stylistically.
Descend – Wither
The rock ‘n’ roll industry is a successful industry that attracts players who are highly professional. They know what the product is, and how to do do the minimum to achieve it; this practice, otherwise known as shaving margins, is based on the idea that the other guy will cut his costs to the minimum too in order to both lower price to make the product more competitive and maximize his own profit. If two guys make a widget, and one does it for five bucks less, that’s pure profit. In the same way, rock ‘n’ roll is based on fast turnover and following current trends so you can catch the media wave. I hear death metal is big now, like trendy. This album attempts a facial similarity to death metal with the whispery vocals of Unique Leader bands and lots of runaway blast beats followed by metalcore riffs, but after a while, they drop this and out come to the jazzy riffs based on a scale bent to a series of offbeats of offbeats in a complex pattern, and the soft-strummed ballad chord progressions and melodic hooks. The problem is that the guitar rhythms, like those of the vocals in hip-hop, are based on subdividing a rhythm and thus rapidly become highly repetitive, both internally and between songs. The result is that it all all fades into the background, as should this rather unambitious and directionless release.
Reciprocal – New Order of the Ages
A “thinking man” band name written in a sterile font and a “politically informed” album cover. Is this more metalcore in death metal clothing? You bet. While this band is claiming influence from Deeds of Flesh and other Unique Leader bands for legitimacy, this has more in common with Necrophagist or The Black Dahlia Murder. Mechanical groove riffs are “spiced up” with sweep arpeggios and generic Slaughter of the Soul riffs appear over blast beats for the “brutality”. This is boring music with nothing to offer. Perhaps musicians this good need a better concept to work with than shouting out Alex Jones podcasts over Guitar World lessons from metalcore guitarists played at 220 bpm. I couldn’t tell the difference between this album and any other modern tek-deaf release. If these guys were to spend less time on conspiracy websites and more time thinking about why people still turn to their old Morbid Angel and Immolation albums instead of these tek-deaf bands (or how to structure their music to not be a series of discontinuous parts), maybe they could create something useful. Otherwise, this is Origin with propaganda attached looking to steal some time from metal fans while keeping Xanax addled brofist D&B homeys (Rings of Saturn fans) satisfied with more inconsequential ADHD music which will be forgotten a week later.
Caliban – Ghost Empire
Occasionally I’m amazed that something actually got signed because it’s so terrible and then later I see it on the bestseller list. The taste of the herd will never fail to shock and amaze, mainly because what they like is simple: (1) the same old stuff but (2) in some radical new format that’s easy to see through so they can appreciate the sameness of it. Modern society is about anonymity and personal convenience, so why not music that you can project yourself upon, that requires you to know or feel absolutely nothing except the most transient of emotions? Caliban have it for. Ranty Pantera verses over djent-inspired harmonically-immobile riffs lead to sung alt-rock style choruses with lots of hook and lengthy vocalizations, but essentially no melodic development. As a result this is super-repetitive in that its song structure is circular to the point of linearity and the songs at their core consist of two-note clusters in riffs stacked up against four-note chorus vocal lines. Every now and then they get tricky and play rhythm games with riffs that were well-known before Metallica formed. The main factor that kills me is the repetition. It’s as if the whole album is a conspiracy of details designed to hide the fact that it’s basically the words of a drunk, repeating himself unsteadily and then doubling his volume and saying the same thing. This might be good music to listen while doing laundry or some other task that numbs the brain because the effect of this music is to validate tedium, repetition and simplistic pounding. Unless your brain fell out long ago, avoid this reeking turd.
Blutkult – Die letzten deutschen Ritter
I always wondered what would happen to the formal nationalists in metal. We knew that founding bands like Bathory, Darkthrone, Burzum, Mayhem, Immortal, et al were nationalistic in the sense of national pride and perhaps more. But it’s a leap from that to connect with the organized far-right parties and mentality, and for a long time, NSBM seemed like it would remain in that world. Then hipsters started like Arghoslent and Burzum and so now being a Nazi is a “lifestyle choice” like being vegan or buying a Prius… the hardcore nationalist music has changed too, as this album from Blutkult shows us. It’s a three-way split between the old Skrewdriver-styled sentimental punk music, Renaissance Faire styled Celtic-y noodly melodic music, and the droning of punk-influenced black metal such as Absurd. As someone of profoundly anti-racist and egalitarian character, I find this to be alarmingly catchy and emotional. Die letzten deutschen Ritter brings out feelings of hope in me, and I don’t like it. It’s like a surge of elegance and an old world emerging from the ruins of this one. But that makes me uneasy, as do the Wehrmacht soldiers on the cover, the black suns and the vocal samples that sound like the man with the funny moustache himself. Regardless, this is where Graveland and Absurd have been trying to go for years. If they got rid of the stupid spoken intros and just focused on letting the music rip, this might be a really compelling release.
Amoral – Wound Creations
While their current output is being lambasted for being radio friendly rock/metal, this “technical death metal” debut album is given unwarranted praise for being some kind of masterwork. Too bad this is just metalcore. Chugging groove riffs played in mechanical stop-start sequences make room for AOR “extreme” stadium metal melodies like Soilwork, and little else. While the playing is adept, the music is annoying and makes their latest album sound favorable by comparison for being honest commercial radio muzak that’s not congested with unnecessary ornamentation and fake aggression. If Nevermore made a mash up between Soilwork at it’s most commercial and Meshuggah at it’s most mechanical while Chimaira make MTV edits out of the recordings, you might end up with an album like this: sub-par music, but at least they know how to play. Too bad they sound like any other generic metalcore band signed to Century Media circa the 2000s with growl vocals (done in the metalcore faux-aggressive style). A terrible excuse for metal that without a doubt brings great shame to Finland.