We’ve covered Prof. Spracklen’s journal, International Journal for Community Music, and interviewed him about the International Society of Metal Music Studies before. Here he is giving a video interview to Intellect Magazine.
3 CommentsHow metal introduces fans to foreign languages
Metal as a subject expands in different directions the more it is studied. Beyond being a genre of music with its own tonal characteristics, it is also an identifiable culture that extends worldwide. Fans who cannot understand each other find relation in the same style of music, often with unique local twists. However, some fans become so captivated by the different perspectives presented to them that they seek to understand it beyond just the sound.
The WSJ recently ran a piece on how metal has inspired listeners to become captivated by the languages they hear and attempt to learn them, in many cases successfully. Numerous university students have shaped their studies through what metal exposed them to – not just of other languages, but of an alternative way of viewing the world:
Olivia Lucas, a Harvard doctoral candidate who is working on a dissertation about Nordic metal, said people “simply want to understand what the culture is like that has produced this music.” It doesn’t take long, she said, to draw a parallel between the melancholy and gloom that underpins Finnish metal and the wider Finnish psyche. “Finns are comfortable with this feeling, and don’t feel pressure to be cheerful all the time,” Ms. Lucas, 25, said. Their music “embraces this view of the world.”
Although not directly stated in the article, this is actually common of metal on the whole – it seeks meaning not so much in what’s commonly seen as good, but rather what’s seen as bad. It revels in violence and destruction with a mystical undertone, not in contempt of life, but rather in favor of it. It recognizes that through struggle is how the great succeed, and the weak removed. It holds that values are eternal, and spiritual contentment is more satisfying than a momentary high. In short, it embraces everything that our current civilization seeks to rid itself of.
What these students have done, is to find through metal a gateway to a better experience of life. Through the experience of art, they have become enamored not just of another culture, but cognizant of what it might have to say about ours: we have lost our way. We have replaced towering cultural achievements with short mass-entertainment that the simplest prole can enjoy. Metal is our way back.
1 CommentMetal is metal, not a grab-bag of other clichés
Not for the first time I find myself reading a cringingly bad article from the Irish press about metal. This one is entitled Alt, Nu, Funk, Rap: there are many colours in the heavy metal rainbow and it ran in the Irish Times yesterday.
Ireland’s a frustrating country in which to be a metalhead. On the one hand, it’s the land that produced latter-day genre ambassadors Primordial and cool-as-fuck proto-metallers Thin Lizzy. On the other, metal in Ireland is stuck between a mass-culture slavishly obsessed with low-grade British TV and an arts/intelligentsia scene more interested in brushing up its phony posh Hiberno-English accent and patronising 3rd rate continental post-modern knock offs. Metal is a poorly-supported fringe genre; too morbid for popular culture and too loud and unpretentious to fit in with ‘sophisticated’ culture.
Because of this, as great as many Irish metallers are, the Irish metal scene is infected with a section of people with an attitude that is both happy to accept and produce novelty trash, and is simultaneously chronically under-confident about being a metaller – berating anyone who to takes it seriously. “Sure it’s only a bit of craic.”
Other than sneering at it, Irish Journalists and other arbiters of public opinion rarely take notice of metal unless they want to leech some of its credibility; an act that apparently doesn’t require any research beyond wheeling out a few tired anecdotes about barely relevant 50s/60s bands.
It’s no coincidence that today metal is growing fastest in countries with oppressive regimes, notably Iran and China. For all its genre- splitting, commercialisation and in-fighting, metal remains, in the broader socio-political field,a transgressive form of music signifying individuality and defiance of authority.
Last month leading Chinese dissident Ai Weiwei released the first single off his “avant-garde heavy metal” album. With lyrics railing against censorship and human rights abuses in China, it’s as potent – in a political way – as the opening chords of You Really Got Me must have sounded in 1964.
Sorry pal, but metal is not some nice, cuddly, inclusive sausage-fest, where everyone can listen to whatever flavour they like and we all finish off holding hands in a circle, smiling dumbly to the sound of “Kumbaya.” It is not about giving your parents the finger and escaping the oppression of society to go live in a vegan organic farm where everyone lives by love, tolerance and inclusivity.
Some of the best metal has been made by people with beliefs considered unacceptable in polite society. Metal isn’t a rejection of authority; it’s a rejection of the idea that society is the answer to our problems. Metal says: we can’t all get along. To a metaller, a greater ill than an extreme and unfriendly ideology is a wimpy attempt to pretend that the reality is more sanitary than it actually is.
Sadly for this, much of the metal he cites as counter-examples either doesn’t exist, or is of such painfully low quality as to be of no significance. Like many a media forgery, he has used one example of something — despite it getting nowhere in the genre — as an example of a “trend.” There is of course a healthy scene in Israel, but I suspect Israeli Jews would be more annoyed than flattered to read themselves being used as examples of un-metal sounding metal.
Even worse, like a salesman after a three-martini lunch, he’s trying the old trick of making metal palatable to us by claiming that it’s something we already recognize and accept. Citing ‘alt’ ‘rap’ and ‘funk’ as leading genres of metal shows almost no awareness of what defines metal and makes no account for it as anything other than an interchangeable synonym for rock. But that’s what he wants — he fears that metal might be something by itself and for itself, beyond the control of the society and social thinking he so slavishly obeys.
Whether the writer likes it or not (perhaps that should be ‘whether he knows it or not’, given the extent of investigation done appears to be sub-Wikipedia?) metal is not about fitting into a trendy political creed, but about exploring the dangerous, the feral and the ugly for the sake of transcending moralism and understanding the world as it is, not as it should be according to any given utopian outlook.
3 CommentsTags: academia, metal, metal identity
In defense of metal
I think if you’d ask most hessians, they would say that we live in the age of kali yuga. If you get a chance to speak with lower-case-c conservative people, they express the same feeling: that something is lost. That some form of refinement, culture, and civility is gone from modern culture, if you could even call it that.
One of the complaints that repeats itself regards the state of the arts, and more specifically, music. It is simplistic, they complain. It is crass, uncultured, fatalistic, naval gazing, hedonistic, idiotic and stupefying. None of these is wrong.
It saddens me, then, when people complain about rap, rock, and Lady Gaga, they usually lump metal along with the complaint. I get it, though. The way metal appears to most of the world is not as a refined style. Some of it is also the product of the vast machine of idiocy that turned music into the nightmare that it is today. They made it safe, by making it mockable.
But some of the fault lies with hessians. Not all bands are Pantera and Slipknot. There is an entire world encapsulated in the metal genera. It is one of the only styles that keeps on expanding and developing. We have some commitment, as hessians, to support metal, in the great cultural discussion that extends through the generations.
Good metal will always be there, and will always be a legitimate art form. It would be sad, however, if those who could appreciate it (they don’t have to like it) would appreciate it, instead of buying into this elaborate hoax by the impetus of insignificance espoused by commercial music.
First and foremost, metal is a legitimate art form. A legitimate form of music. Yes, there is metal which is certainly not music. Pantera and Slipknot come to mind.
However, there is something in metal, a movement that existed since its advent in Black Sabbath’s first album, which expresses immortal truths. It feels as a sort of pessimistic conservative message.
Are things running down? Is there a process of degradation, a willful suicide enacted by modern culture? This observation was expressed by Black Sabbath, in an attempt to rain on the hippy party. We won’t go into why hippies are the end of civilization right now, but know that if some movement, since its advent, was diametrically opposed to such movement, there already is some root credibility to it. The hippies wanted to create a world without values, without temples or transcendence. Metal, on the other hand, constantly seeks transcendence, enlightenment, and a form of holiness. It is not base and animalistic, but in fact, a deeply religious experience.
In metal, there is encapsulated an idea that holiness cannot exist in a vacuum. If there is holiness in life, it must be whole. Blasphemy became an act of holiness and worship of life in its fullest.
To truly love life, you must love it completely, including the scary, red in tooth and claw parts. Metal expresses these aspects in purity and vicarious form. There is no need to describe beauty, truth, and love, because you cannot accept them until you have delved into pain, struggle, overcoming, violence, exposing hypocrisy, self reliance, heroism and individuality. These ideas are the bread and butter of metal music. It is not individualism, but individuality.
Undeniably, there is a nihilistic streak in metal. It is not the passive, fatalistic kind of nihilism, but the nihilism that views happiness, success and overcoming as dependent upon choices made by the self. No avoidance of consequences, looking ugly truths in the eye. There are inescapable things in life. Death, pain, lies, predators, and all the degeneration that arises from the human condition.
Do you deny these exist? Deny their necessity? It would be like denying rot and defecation. Ignore them and you’re in for a mess. Accept their inevitability, and you get a daily battle which never ends. It’s like mowing the lawn.
Metal is the tool which shapes this view of life. It might seem bleak, but the happy warrior never despairs. It’s an existential battle, and metal is the fuel, the blood in its veins, the fire burning in its soul.
I wouldn’t be who I am today without metal. Without these immortal truths as my guides and friends. I could be there, smoking the pipe-dreams of modernity. Drinking the kool-aid. Why chose suffering and a constant fight?
Maybe because I believe in tragedies.
9 CommentsMetalcore finally admits what it is: a grab bag of random parts
Bassist Craig Horky describes Cavalcade as “self-indulgent music nerds playing Cure-influenced, Fugazi-meets-Black Sabbath bastardization … in three different tunings — with black metal vocals.” Last year, the band even worked out an ‘80s dark New Wave cover set — not a typical move from a gang of headbangers. – Heavy Meta
Modern metal bands like to pretend they’re metal, but really they’re not. Like everything else in this society, they’re a bin of odds and ends because people are afraid of offending someone by leaving something out. The result is a total lack of direction, and this is why fans of modern metal are so adamant that their music is metal. If you point out that they’re listening to a musical garbage plate, it invalidates their whole worldview, which is to not pick a clear direction, to never take a stand, and to never find anything in life worth dying for. That would interrupt their all-important quest for personal authority, wealth and social relevance.
8 CommentsTags: generation y, hipster music, metalcore, modern metal, nu-metal
Does heavy metal have broader social or political implications?
As part of my morning ritual, reading the news while half-asleep is important mainly because of the exceptions. Among the usual parade of murder, corruption, incompetence, failure, etc. there’s the occasional article that sends the coffee-cup tumbling over the edge of the table as I gasp and pull the screen closer.
Today, such an article was from the UK and entitled I’m a Conservative who loves heavy metal – here’s why, and made me spit coffee all over the sideboard. But if you read on, the article has some areas of interest.
First, like all good inner activism within politics, it begins by “outing” every single heavy-metal-loving conservative in UK politics. This is on the whole a good thing, as these people won’t be voting against their secret social identity in the future. In fact, they may be forced to actually own up to not only tolerating but enjoying heavy metal.
Next, the article contains this interesting assertion:
[H]ard rock appeals to a certain breed of Conservative. It’s not into navel-gazing; it’s rebellious, anti-authoritarian, full of strength in both the beats and the lyrics.
Although I’m not sure I know exactly what this writer means here, I think I get the general gist. Most of society is a pleasant cloud of mental images based on people selling you stuff, and that includes most politics. You’re afraid of war? I’m selling peace. You’re afraid of poverty? I’ve got a program for that. And so on, building coalitions of voters based on what they fear, and pleasant images of how these things will be fixed by government.
As a full-time cynic of course I don’t believe most problems can be fixed. In fact, if they’ve been around more than a few years and there’s not an explicitly technological solution, they probably can’t be fixed. But that’s my cynical self talking, so don’t let it bother you. I could be wrong. Most days I hope I am.
But that brings us back to the point. Metal affirms all that mankind fears, including war, disease, injustice, violence and murder. It’s not navel-gazing at all. It’s the music of those who are ready to go in there, get covered in blood and banged up, and fix things the old fashioned way, which is by killing the idiots and protecting the good people.
Then again, it may not. It may just be about shreddin’ tunes, a bong hit for the afternoon and drinks until the early hours of the morning. It could just be about hating your parents, like my parents said it was, or about dropping out of society. She has a point with the anarchic but full of strength part. Metal is like a strong leader, maybe not a political or social viewpoint however.
Maybe she has a point or maybe she doesn’t. Maybe this is conservative, although it seems universal to me. Unless you’re an avowed navel-gazer, in which case I apologize and hope you’re not on the board of my HOA. Either way, it’s an interesting question from an oddball article.
1 CommentTags: Heavy Metal, politics
Falloch: Further flushing black metal down the proverbial toilet
With lyrical themes of suicide, drugs, and aimless misanthropy on one side, and kumbaya-esque sensibilities on the other, record labels have figured out a way to sell more metal-flavored products to mainstream alt-rock America: make alt-rock that superficially “sounds like” black metal.
Don’t worry; it’s not dangerous. These songs are still the same rock chord progressions we’ve always heard on the radio. The latest new trend formed by burnt out metal musicians who are too inept to fully sell out is to play another genre of music and wrap it in the aesthetic of another. You would think people are smart enough to figure out Nachtmystium is nothing more than Joy Division with raspy vocals or that Liturgy is failed ‘avant-garde’ post-rock dressed up as black metal (much like Solefald), but when marketing dollars and ads are at work, that is unfortunately never the case. Real metalheads know this is false metal, only appearing like metal, but to the American Apparel wearing alt-rock fans who buy Pitchfork magazine and Kerrang for the next bandwagon to hop on, it’s a new fashion statement or lifestyle option. It’s something ‘new’ they can belong to.
Black metal has been absorbed into the melange of the current ‘post-metal’ trend, inspiring new ‘artists’ to create their own rearrangement of pop music under the guise of black metal with no knowledge over it’s history, music, or having any idea about the expression of the music. Falloch, a new band from Glasgow, Scotland, may just be the final word on how awful, poppy, and warped this music associated with black metal has become.
Sounding much like a skinny jeans wearings Ulver shopping at Walmart for Thursday cds, Falloch further destroys the metal ethos much further than the later output from Katatonia or Paradise Lost could have ever hoped for. The emo crooning and the open chord strumming which is suggestive of a depressive hippie get together is all there, but watch out! There is a rasp or inappropriately fast drums at times in there to appear different, unique, whatever. The themes of sadness and lost love is there, and when you wrap this all up in a package whose cover art seems to portray a “this world is lonely, pity time!” aesthetic to AFI fans, you have a winner.
What’s most unfortunate is that Candlelight, a label who once released albums like Dethrone the Son of God has released this. So a once former niche hipster trend that no record label worth their salt would touch has now become a money maker that you can ship off to Terrorizer or Metal Maniacs for promotion in a big way. While some bands are able to mimic black metal better than others, Falloch fails to do even that properly, only using the genres recent popularity to cover up fractures in their pop songwriting and overextending very simple songs for the sake of coming off as ‘different’ when in fact it’s no more different than this.
Falloch is just another tool in the machine of corporate labels’ bid to assimilate itself further into the mainstream music scene. No doubt documentaries like Metal Evolution, Until the Light Takes Us, and Promised Land of Heavy Metal being shown on VH1 or Sundance had a hand in it falling to the hands of Starbucks culture, but even those documentaries have clear cut examples on what the music is all about, showcasing real black metal:
http://www.youtube.com/watch?v=_0jyfbgyfjM
http://www.youtube.com/watch?v=VfYJu9t9hhs
Instead we have people who have consciously decided to make “black metal” that isn’t black metal, and claim it’s an “evolution” when in fact it’s a regression to what existed before black metal, because they hate their fans and think they’re stupid, and want to make some money off of them instead of treating them like human beings. It’s hard to argue against ripping off any group of people stupid enough to think this is black metal, but it’s also unethical and guarantees we’ll get more of this milktoast, lukewarm, baby-soft “black metal” flavored alt-rock.
10 CommentsThe first Hessian event: Heavy Metal Day (May 29, 1983)
I wasn’t old enough to have figured it out at the time, but according to this entertaining report, Steve Wozniak of Apple fame cobbled together a festival in 1983 whose goal was to showcase new styles of music, and in the process, showcased metal blowing away the willowy music of the previous ten years.
This isn’t to say I dislike New Wave or any of those other styles. They have their place. But in 1983, metal was raging to take over. The Cold War was in full nuclear terror of instant radioactive death, the world was unstable and conservative, and as a result most people were getting ready to go into full kumbaya mode. Metal to the rescue, with warfare, doom, death, disease, horror and hedonism!
Heavy Metal Day featured Judas Priest, Van Halen, Triumph, Motley Crue, Quiet Riot, Scorpions and Ozzy Osbourne raging across a massive stage with spectacular amplification. In short, it was the MTV metal of the day, or the stuff you’d see on the then-new invention of MTV with its music video channels, and that meant it wasn’t as extreme as what we have now, but for then, it was like a giant backlash against the gradual creeping “love will save us” mentality of 1970s music. With metal, war was back, and it was angry!
The ever-pointed Vine Neil of Motley Crue told one reporter that the significance of Heavy Metal Day was that “It was the day new wave died and rock ‘n’ roll took over.” 670,000 people attended the event, but over half of them came for Heavy Metal Day alone. The power of metal was established, and would only rise from this point onward as the world waited for the wavebreak of Slayer, Metallica, Bathory, and Hellhammer which was about to come crashing down about its ears.
Perhaps May 29 should be remembered as the day metal rose up in power and struck down the opposition to assert itself.
1 CommentTags: heavy metal day, hessian, judas priest, motley crue, ozzy osbourne, quiet riot, scorpions, steve wozniak, triumph, van halen
Speed metal history through sound
Here at the DMU, one of our goals is chronicling the history of metal, from its dual origins in hard rock & classical music up to its current form of diverse genres. The Heavy Metal FAQ is the definitive tome of metal knowledge; however, one of the best time-tested methods for communicating this information is simply through listening.
Last month, Australian radio program Burning Bitumen presented a 2 hour long aural history of speed metal, from its humble beginnings in ’70s hard rock, to the ’80s NWOBHM, up to the current state of speed metal which attempts to amalgamate the influences of the past while still striving to innovate.
For those who are new to the genre, those who would rather experience sound than read about it, or those who just want to listen to a couple hours of solid metal; this is an excellent place to begin.
3 CommentsTags: History, radio, Speed Metal
University offers degree in heavy metal, and not all are thrilled
New College Nottingham in the UK have recently announced that from September this year they will be offering students a foundation degree in Heavy Metal.
“We’ve created this pioneering course in response to student demand and Nottingham’s growing music and creative economy. At its heart is music performance so students will be forming bands, gigging and promoting, while academically delving into what makes metal such a music phenomenon. Applicants will be auditioned and will need to demonstrate an ability to play or sing up to Rock School, ABRSM or Trinity Grade 5 standard and have knowledge of music theory at ABRSM Grade 5,” the school announced in its class syllabus.
Further, New College opined, “Due to the largely unstructured nature of the music industry, the FdA in Music Performance (Heavy Metal) places a strong emphasis on the development of entrepreneurial skills designed to allow the students to work confidently on a self-employed basis.”
As supportive as I am of the growing area of metal studies in academia, this course sounds like a terrible idea – unless of course it consists of 21 hours a week forced listening to and analysis of Demilich’s Nespithe, in which case it’s worth every penny.
A budding metal musician would be much better off getting a degree in music – whether at a predominantly classical or jazz institute, they will get a much broader grounding in the theory and history of western music, and thereby understand better which bands and ideas are good and which are garbage. By the way, for those that don’t know, Grade 5 Rock School is not a very high benchmark for musicianship at all.
I’m sure that the college believe they are helping facilitate people into a niche and commercially lively area of the economy, but I wouldn’t be as optimistic as they are.
Its been a long time since the UK produced a viable classic metal band that could draw in a consistent crowd (let alone produced a noteworthy scene or movement), so its hard to think of a stable, growing sector in the UK metal economy other than Iron Maiden’s stage crew. Remember also that most metal musicians the world over will at least have to supplement their income with other work, if not wholly support their music through a day job. It’s also not as though, when business is slow, you can go play a few weddings or open mics when your stock repertoire consists of Slayer songs and originals that are probably only Slayer rip-offs.
I could of course be completely wrong about it; but if it were my kid choosing their degree — £7,000 a year for something that will only look bad on their CV — I don’t think I’d be too quick to let them test out the possibility of me being mistaken.
No quality metal band before now ever required this qualification to propel their career in the right direction or provide them with worthy scene credentials, and that will probably remain the case.
7 Comments
