The Classical-Metal connection expands


For 20+ years, first with the Dark Legions Archive and next with the Death Metal Underground, the writers behind this site have encouraged comparison with heavy metal and two things: European Romanticism in art, music, and literature; and European classical music, which overlapped with Romanticism both in a specific time period and in themes it revisits even to this day. The similarities are abundant and apparent but offensive to those who want to believe the blues-rock spectrum was part of an authentic tradition, when in fact it was a commercial product simplifying earlier styles, and that — of course — metalheads cannot have any associations more profound than the sacred indie rock and its origins in 1960s protest music.

Now, others are taking up the call. Perfect Sound Forever, one of the oldest e-zines on the net, addresses the metal-classical linkage in an article in its current edition:

I’m here to show you that rock and roll and classical are very much relatives in an, albeit, diverse musical family. First off, the sort of person who enjoys classical music is the same sort of person who would enjoy metal or heavy rock music. Research by scientists at Heriot-Watt University has found that not only are peoples’ personalities linked to their taste in music – classical and heavy metal listeners often have very similar dispositions.

“The general public has held a stereotype of heavy metal fans being suicidally depressed and a danger to themselves and society in general,” explained Adrian North, the professor who led the study. “But they are quite delicate things. Metal fans, like classical listeners, tend to be creative, gentle people, at ease with themselves. We think the answer is that both types of music, classical and heavy metal, have something of the spiritual about them — they’re very dramatic — a lot happens. ”

Perhaps more will be known about not only the similarities between these genres, but — because every cause has an effect — what similar ideas or emotions motivated artists to make such similar music centuries apart.

How SJWs destroy lives


Many do not understand why MetalGate and GamerGate have so determinedly resisted the SJW incursion. There are several reasons, but the first is that if you do not resist invasion, you become replaced as SJWs have tried to do to metal fans. The second is that most people are inert and will simply allow it to happen. The third is the most troubling: SJWs and people like them destroy the lives of innocent people, just so that SJWs can get popularity points on Tumblr.

For example, consider the case of UK scientist Timothy Hunt:

In 1983, the British biochemist Timothy Hunt discovered cyclins, a family of proteins that help regulate the life of cells. Eighteen years later, in 2001, he was awarded the Nobel Prize in Physiology and Medicine. Between June 8 and June 10 of this year, the 72-year-old Hunt went from being a universally respected and even beloved figure at the top of the scientific establishment to an instant pariah, condemned everywhere for antiquated opinions about women’s role in science that he does not, in fact, hold.

In only 48 hours, he found himself compelled to resign his positions at University College London and at the august Royal Society (where Isaac Newton and Robert Hooke once fought petty battles) after being told that failure to do so would lead to his outright firing.

But what were these “antiquated opinions”? (“Antiquated” seems to be an easier way of getting rid of things than disproving them, so it seems one of those suspicious terms that indicates lazy reasoning). Ah, here’s an explanation from the petition to have Dr. Hunt reinstated:

His jocular observation, at a conference in Korea, that men and women tend to distract one another when working together in laboratories:

“Let me tell you about my trouble with girls… three things happen when they are in the lab… you fall in love with them, they fall in love with you and when you criticise them, they cry!”

Source: The Guardian, Article by Robin McKie, 13/06/2015

He then continued: “Now seriously, I’m impressed by the economic development of Korea. And women scientists played, without doubt, an important role in it. Science needs women and you should do science despite all the obstacles, and despite monsters like me.”

Source: The Independent, Article by Heather Saul, 24/06/2015

Aside from the jokey, self-deprecating context, another deliberate irony everyone seemed to miss was that Sir Tim met his own wife whilst working in the lab! Not to mention the broader picture: “No one seems to mention his main speech in Korea in which, according to the ERC President, he was ‘very supportive towards women in science and he said that he hoped there was nothing that barred women from science” (Dame Athene Donald).

His crime: a joke about falling in love with his wife in a science lab.

His punishment: total destruction of his career with no trial and no chance of re-admission. In short, exile.

How was this done? SJWs raised a hue and cry which was then picked up by journalists, a group which overlaps significantly with SJWs because they have the same audience — people who cannot stop themselves from buying products and clicking “like” on Facebook if social guilt is involved.

As the original article observed:

The Timothy Hunt affair represents more than the gratuitous eye-blink ruination of a great man’s reputation and career. It demonstrates the danger of the extraordinary, almost worshipful deference that academia, government institutions, and above all the mainstream media now accord to social media. It is yet more evidence of the way moral panic and (virtual) mob rule can be accelerated and intensified by the minimalism of Twitter, with its 140-character posts and its apparently inherent tendency to encourage snap judgments, prejudice, and cruelty.

Fortunately, the story did not end on June 10. In the weeks following the initial assault, some of Hunt’s most ardent persecutors have been exposed as liars or blinkered ideologues, abetted by cynical hacks and academic rivals on a quest to bring him down or use him as grist to a political mill.

Across our society, people who have slept through the past three decades of thought-crime being used as a reason to destroy someone’s reputation, career, family and friendships are waking up and opposing the cancer of SJW-style persecution. In metal, the same thing is happening: we are realizing that SJWs are not helpful voices but immoral enemies who take joy in destroying the lives of innocent people. And we are pushing back.

Heavy metal channels aggression into inspiration


In contrast to previous studies showing that aggressive music boosted aggressive responses, a new study shows that instead heavy metal channels aggression into inspiration. While this goes against appearance by making it appear that one can “fight fire with fire,” it makes sense that the expression of a sensation will reduce that sensation and leave the logic behind the emotion.

One article summarized the situation through statements from the researchers:

“We found the music regulated sadness and enhanced positive emotions,” Ms Sharman said.

“When experiencing anger, extreme music fans liked to listen to music that could match their anger.

“The music helped them explore the full gamut of emotion they felt, but also left them feeling more active and inspired.

“Results showed levels of hostility, irritability and stress decreased after music was introduced, and the most significant change reported was the level of inspiration they felt.”

In other words, people who are stressed out, when they listen to aggressive music, discover the reasons for those emotions and feel inspired in turning to address them. This viewpoint seems consistent with the attraction of heavy metal for high-intensity personalities who are often very effective at what they do, but equally appalled by what is around them.

Perhaps this will not lead to blasting of heavy metal in shopping malls, since this effect only works with those who are already feeling stress, anger and aggression. The music helps them channel and understand those emotions, which is consistent with how books and other forms of music solidify wild impressions into clear calls to action.

Society wants to scare you into quitting headbanging


The relationship between heavy metal and mainstream society, with the burst of popularity of metal among those who seem to accept society at face value and like, has come to resemble a bad relationship. It reminds me of the girl who dates a rocker and starts making suggestions: wash those jeans, cut your hair, stop raging like a maniac, read The New Republic and listen to some Sarah McLachlan with me on Saturday nights instead of drinking blood in cemeteries. Soon he complies, and after that, she ditches him because now he is just like all the other guys.

In the same way, they humbled metal by making it repeat happy statements about how everything will be just fine if we are just nice to each other, then worked in their favor hackneyed and dead genres like lite jazz and indie rock. Now they are attempting to remove its sacred rituals by instilling fear in us that we will damage our brains by headbanging. As Jordan Lite (get it?) at Scientific American writes:

Head-banging can be hazardous to your health…McIntosh and Patton got down to business. Based on the popularity of the up-down style of head-banging at the concerts, and the average tempo of 11 songs deemed the best for head-banging by a minion of local musicians, the scientists developed a mathematical model of how violently you’d have to shake your noodle to hurt yourself. Their conclusion? Head-banging to a song with a tempo of 146 beats per minute can make you dazed and confused (read: give you a headache and make you dizzy) if you’re rotating your head by more than 75 degrees.

…A 15-year-old drummer in his neighborhood band suffered an aneurysm in his cervical vertebral artery, according to a 1991 case report in the journal Pediatric Neurosurgery, and Evanescence guitarist Terry Balsamo had a stroke three years ago that his docs blamed on his head-banging tendencies.

Summary for Realists: One guy suffered an aneurysm, and based on looking at the data, two guys — who have interest in writing an eye-catching paper so they can get known in their fields — theorize that headbanging may cause neck injury if done too quickly.

These masters of the obvious miss the point that we all know this. Headbanging is rarely done constantly and not always to the exact beat of the song. They tell us that “popular heavy metal often has a tempo of 180 beats per minute” neglecting to mention that banging your head three times a second is a physical impossibility. Further, metalheads rarely bang their heads exactly to the tempo, which is why this activity is often described as “chaotic.”

Rest your fears. This study is the usual fear, uncertainty and doubt (FUD) that people have used to control each other since the dawn of time. We do not know what physical conditions the one guy who had a brain aneurysm after headbanging had before headbanging. But what they want us to believe is that heavy metal will be the best boyfriend ever if we just turn it into nice, respectable lite jazz and indie, and start behaving like all the other guys, even if it removes what makes us unique and makes us boring as concrete in the process.

DBC – Dead Brain Cells

The Canadian province of Québec seems to be situated upon some geographically freakish turf that exudes such a phenomenal electromagnetism as to twist and convolute whatever waveforms happen to waft into its borders. Psuedoscientific petrology aside, Dead Brain Cells are one such Canadian faction that reinterpreted the equatorial American sounds of skatethrash and reassembled its raw energy into a hyperborean bizzarerie, with an ambition in expressing the absurd crises symptomatic of a classically Huxleyan, oblivious society lured into the grip of an Orwellian tyranny by the mesmeric attractions of self-pleasure.

Taking aesthetic inspiration from the cruelly intelligent, modern firearms cacophony of Slayer’s ‘Chemical Warfare’ but fashioning riffs over the roguish, bursting structures typified by crossover acts Suicidal Tendencies and Corrosion of Conformity, Dead Brain Cells had paradoxically succeeded in applying scientific methods to truculent vandalism. Vocals, in compliment to the factorial churn and tumble of the instruments, are delivered in a robotic rant like the outcries of a citizen-turned-automaton denigrated by a lifetime of vacuous routine; lyrics are remarkably coherent and incisive considering the band’s Québécois nationality, of course with the mother tongue of French being a perennial obstacle for all aspiring Hessians allied under the fleur-de-lis. However, it is clear from DBC’s rather involved compositional style that their telos was not merely in writing protest music, but in establishing engaging, punkishly dynamic narratives such that every song is represented as its own vignette of dystopia — a sensibility that would be incorporated into the region’s burgeoning death metal movement, with vestiges apparent in such seminal works as Considered Dead and From This Day Forward.

This eponymous debut remains one of the exceptional examples of quality crossover thrash from outside of the U.S.A. and England; it’s also required listening for any avid scholars of Canadian death metal, in order to better understand the music’s gestation from heavy, quirky progressive rock to complex and sublimely dissonant killing noise.


A planet defaced with death and decay
An atmosphere of hate
Cities destroyed
Their meanings forgotten
And fertile lands lay waste
A planet once prosperous
Its future looked bright
But an immature race had evolved
Given time and the knowledge
They soon could destroy
The planet on which they revolved
 Not one life would be spared
It wouldn’t happen again
Because there is no second chance

Vektor – Black Future


Were the year 1988/89, when Speed Metal was making it’s final, most definitive statements of dystopian frenzy and technical invention, the reverberations of this music would undoubtedly be traced back to places like Canada and Texas, detecting the names of Voivod, Obliveon, Watchtower and dead horse among others. Certainly not Arizona, where, in Vektor‘s case, these sounds have travelled to and eventually merged in an energetic experiment of nuclear fusion. To some, the last few years have been good times for Speed Metal and saw a resurgence of bands trying to capture the spirit of the 80′s. In reality, this was one of many niched exercises in nostalgia and the long out-of-date fruits of useless bands like Evile, Merciless Death, Lich King and Municipal Waste reflected the trivial trend with sounds of supreme tackiness. Vektor are among the very few in revitalising Speed Metal, creating more than just a retrospective and methodological account of that genre’s heyday. ‘Black Future’ is a work that honours the past enthusiasm for innovation and musical proficiency, thus having a mind of its own to render this music for present and future audiences.

Voivod is the most visibly emblazoned influence on this band’s aesthetic, touching everything from the logo to the trademarked discordance and the futuristic scenes of technocratic dissolution it portrays. The Obliveon influence is quite explicit also, as there’s a lot of complex and unconventional movement of individual notes that resembles some kind of robotic Pagannini-droid, disembodied from the more rhythmic sections to emphasise the Classical aspirations of this band where melody is concerned. The rhythmic sections also stress this connection via. Metallica and their revolutionary instrumentals such as ‘Call of Ktulu‘ and ‘Orion‘ (there’s even the odd riff-a-like worked into the otherwise unique and beautifully crafted compositions). These songs flow very well through the course of the album, arranged much like one would theoretically expect it to sound had the band announced that they’ve written a ‘concept album’. It progresses from scenes of human conflict, chaos and error to glimpses of dark matter and the expanses of space hitherto undiscovered, mutating the neoclassicism into crescendos of high-end, sci-fi movie score material. Vocals are piercing shrieks that sound like the most ultrasonic intonations of Destruction with a touch of Absu. The drumming is really skillful but, as with the guitar-work, is almost over-indulgent at times, bringing undue attention to staple techniques like galloping kick-drums and shredding, though these occasions are few and far between and in any case, it’s infinitely more enjoyable to hear such exponentiated energy where it really belongs.

This album took us by surprise as 2009 was drawing to a close, capping off a year filled with more quality albums than the discerning Metal listener of recent years is used to. Vektor’s grasp of their ancestry is profound and combined with an epic concept and insane and elegant musicianship, ‘Black Future’ plays out like some cosmic race towards entropy with mankind in the driver’s seat.


The Sacred and the Profane

Mircea Eliade from Romania is one of the most publically revered figures on history of religion and the philosophy of religion, even though at one point he had an interest in Garda de Fier, the Romanian fascist movement contemporary with Mussolini. Among his vast corpus of work, this treatise concerning primarily what it is that men perceive as sacred, is one of the most read and debated ones.

The point of talking about this book is that it’s the most succinct and lucid introduction to the concepts of sanctity and ritual from a neutral perspective. Theology is obsessed with the Christian material and the occultists are obsessed with whatever it is they are obsessed with at the time. Eliade, on the other hand, is remarking on the intention of ritual and temples, cosmogonical myths and how civilization deals with the problem of adjusting to time, the great destroyer, and nature/environment, the great nurturing force. It is not surprising that one finds a lot in common with the ideals of Nietzsche and Evola, such as the concept of cyclical time and eternal return. In stressing the otherness of that which is perceived as sacred, he has interesting parallels to Jungian psychology and seems to foreshadow Foucault.

I believe this book is most helpful to understanding the character of mystical and religious experience and ritual, which has a definite part in metal culture whether in the hippie-tinged early psychedelia, the archaic revivalism of black metal or death metal’s explorations of the religious-psychotic mind. Eliade’s book does have its problems such as putting forward of very generalized statements, some unclear arguments and stylistically the writing is rather bouncing. Yet it is very descriptive, luscious and inspiring. Besides being a scientist, it’s obvious that he is also fulfilling some artistic, visionary and personal aims with this study.