Archive for the ‘metal culture’ Category

The rise and (eventual, hopeful) fall of the retro-trend

Tuesday, July 14th, 2009

Once the initial downslope of metal, following the black explosion of the early 90s, spawned genericism by the ton in the form of symphonic pseudo-black metal, wimpy brutal death metal for high school jocks and related abominations, foreboding the birth of metalcore, the devoted bangers of the old guard, along with a new crop of underground warriors high on old acts from the 80s in the heavy, speed and thrash subgenres of metal reacted by attempting to bring the old school sound back. This new movement, brought with the best of intentions, would eventually become a trend of it own. You know what they say about Hell and good intentions leading to it. I can’t think of any better example on our favorite music genre than this one.

The new movement, sometimes pejoratively, sometimes appealingly and even at times flatteringly (for some bands) dubbed as “retro”, attempted to reverse the previous stage in the devolution of metal by trying to rescue the essence of what made the classic sound superior, mimicking the style, production values and imagery of the bands caught in the “classic era” (mid 80s initially, early 90s afterwards and 70s/early 80s following) to the absurd point of even recycling riffs of well-known acts in such an obvious manner that it was ridiculous even to point out the ripping off taking place (only it wasn’t that, it was a “tribute” to the band members’ musical preferences).

The retro trend, while making sense as a form of transition from a state of complete flop to something that sucked far less, failed in its attempt because it tried to catch a sound, not an essence or a state of mind. It knew the meal that tastes good, but not the proper way to obtain the materials and cook them. It’s the musical equivalent of a Tv dinner. It failed (and continues to do so) because of the lack of realization that spirit, motivation, mentality and drive make the sound, and you can’t obtain the former from the latter, no matter how much you try.

It would be tempting to say that this created the obsession with form over substance that currently curses metal, but it didn’t . It did contribute, though, to create the present fixation with style, “trueness” and the mix of the two that currently gives the underground scene the character of a carriage stuck in the mud, unable to keep going.

And we’re really stuck here, and the only choice for us is to find an alternative. But there are really many out there and what one needs is to think outside of the box. Photocopying the past to exhaustion didn’t really improve things, but adding random aesthetical novelty won’t give metal new life either, as it was proved many times already. What needs to be done is to go back to the drawing board and think more as songwriters and musicians rather than as fans. Because fanboy-ism, like the kind pervading retro bands, won’t give metal back its glory.

Too much indiscriminate band support is negative and can eventually kill the underground

Tuesday, June 23rd, 2009

A metal scene can be defined as a network of people working to promote metal in a certain locality. If done properly, it can be extremely beneficial for the promotion of metal music, but it can also turn into something quite poisonous for the nurturing of great art in the genre.

I’ve seen it a thousand times,and probably you too: a new underground band comes out and if its mildly good it gets promoted to the four winds, sometimes even “deserving” cult or legendary status at only a few months of releasing the first demo. As having success with a band is easier than it has ever been, a local scene can fill itself with hordes upon hordes of new acts expecting its fifteen minutes under the sun, most of them crap because of their motivation.

Some see the amount of bands coming out nowadays as a good thing, but for the more observing, the current state of affairs is tragic: more bands don’t necessarily mean more bands of superior quality.

For those believing that metal is dead because there aren’t any good bands coming out in recent years, it must be said that is not entirely true – there are new bands releasing pretty good music considering their amateurishness, which means they are often far ahead from the herd. Not great nor classic stuff, but music with potential to become excellent, given some time, work and effort. Usually, you can catch them on MySpace and other music channels.

The problem with relentless promotion of the type already explained is that if mediocre stuff can be easily promoted nowadays, the music with potential can too, and that can be perjudicial in the long term for those bands, as an early bout of success in the scene can terminate its potential for further growth. I’ve also seen it. It’s like the scenesters, in non-violent way, clip a band’s wings before it learns to fly by giving the band what they want before they deserve it – recognition.

We at the Hessian Studies Center believe that great art can only come from struggle and difficulties. Don’t complain that there isn’t enough “support”, make it harder on the bands! Be more demanding! If something new doesn’t sound anywhere near like the best bands in the genre, then don’t bother. Many would cringe in horror at that approach, complaining that the number of bands would come crashing down dramatically if many took such a harsh view. Yes, it’s true…the amount of bands would be much less, yet the quality would also go up, as only the most determined warriors would make it to the top.

In such a struggling environment, it would take a lot more than meeting “the right people” or playing the “right style” of metal to get known in the scene, so there would be no more hipsters and poseurs…the key to win a place in the scene would (once again) be musical quality, feeling and expression.

If hessians took only those parameters and to the heart, the scene would once again breed music of quality like in its best days. Besides, such setting reminding one of “survival of the fittest” would adjust to the hessian spirit like a glove – after all, we are all obsessed with war, death and winning battles, why not translate that into our surroundings? And imagine, just imagine, having a new golden era of metal music with bands releasing music as good as the best from Burzum, At the Gates and Manilla Road. It can happen. And it’s up to us.

Online mixtape with the best of current underground metal added to the site

Monday, June 8th, 2009

The list below is a sample of what we believe is the best of the current crop of underground metal, made in order to keep both newcomers to the genre as well as experienced hessians aware of what good metal music is in the post-1995 era.

Underground Death / Black / Doom metal

While many of you might feel that a lot of bands are missing from this list, we don’t…this selection was made from a huge list of tracks and culled in order to preserve what is best musically…beyond any social pretensions and whining from scenesters.

We made this with objectivity in judgement and compromise, both towards the metal subculture and also to you, to make sure that you’re trading your hard earned cash for lasting music of passion and meaning.

Of course, this list will be updated every once in a while with new music as soon as a new worthy album is released/discovered by our team of dedicated bangers. Enjoy!

What is an elective culture and why does it apply to hessians?

Friday, June 5th, 2009

headbangers

You may have noticed in previous posts on this blog the phrase “elective culture” and its application to the definition of hessianism. Basically, our assertion is that hessianism is a culture in which you’re not born into. “Elective” implies here the power of choice, as all of us in some moment in our lives (early teenage years in most cases) chose to become die hard metalheads as we became enraptured by the power metal gives.

But what is the necessity for “elective cultures”? Did we have these in the past, or are these an exclusive phenomenon of our times? To answer these questions, we need to look at the bigger perspective.

Western peoples have for many decades been experiencing a lost of meaning. Being on the lead in expanding the universal ideals of free market, multiculturalism and relentless economic growth first sponsored by the USA, we have been for quite some time forgetting the value of the original cultures which once defined us.

The generations born after the 60s decade (that’s most of us) met with an unusual circunstance not known in previous eras: the lack of a general foundation in which to comprehend life and base one’s purpose in it. This role was previously given by one’s own culture. As the generations pass it’s becomming more and more difficult to find a meaning to life besides consumerism, hedonism and blind obedience to the system.

It’s not unusual, if one understands human nature, that at the lack of something fundamental one looks for a replacement to compensate. In the plethora of different groupings which characterize our modern pluralistic societies (meaning, not defined by a single culture, but by many sharing the same space), the replacement can only come in what is called an “elective culture”. Among them we have examples in certain neo-paganist sects, sports culture incarnated in dedication and fanaticism for a particular club, and hessianism, or metal culture.

Culture simply means any way of life, any way of being, any form of art. So ‘elective cultures’ like metal are just as much cultures as anything else. However, the question of legitimacy you raise seems to imply the question of whether elective cultures like metal are seen as legitimate in pluralistic societies. While the old ‘high-low culture’ distinction still remains in some parts of society, it is much weaker than it used to be. These days, most people who hate metal would still probably concede that it forms a unique cultural space.

International Day of Slayer asks the Experts: is this a good idea?

I shall go further: by sponsoring a world-view based on nature’s law and extreme realism, hessianism not only becomes a viable alternative to modernism, but its opposite. Metal lyrics and themes have quite an obsession with the past, and from the past it draws its values: heroism, warrior spirit, channeled aggression towards a noble end, etc. These are antagonistic to the modern view of life of comfort and materialism.

Now, in some of you may arise the question: are hessians born or made? Are the values of hessianism so different from the norm that you need to have certain innate psychological qualities, like an unusual lust for power? “I was born to play/listen to metal” is an assertion we hear many times from hessians. How “elective” is metal culture really? If the application of the EC label is more ambiguous than we believe, then, can hessian culture become at some point non-elective? We’ll try to touch the subject on another post.

Knowing the music you listen to is key to strengthening yourself and the metal subculture

Friday, May 22nd, 2009

I guess the following affirmation will not be a newsflash to anyone reading this, but most music sucks. What makes bad music? A number of things which are numerous and complex, but which can be distilled for the sake of simplicity into the following list:

- Poor playing/technique
- Wrong choice in production values
- Musical instruments of low quality
- Bad composition
- Lack of ideas
- The wrong motivation, or no motivation at all, for having a band and composing music.

The first three factors influence what can be called the “body” of music, or the shell, the sound itself, while the following three are part of the “soul”, the inner side of it which is the most important thing to consider as it greatly influences the “body” as well.

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Decline and fall of metal?

Wednesday, May 13th, 2009

Intelligent hessians may be more or less worried about the significant decrease in quality of albums coming out each year since 1995 or so. Like the social decay around us, it seems so pervasive that it’s easy to be fatalistic about it: “metal is dead” comes from the same frame of mind as “there’s no future”. Bollocks. The future is determined by those who build and create. Without those people, only destruction and stupidity can be the default. Should we blame idiots for being idiots and morons for being morons? No, but we can blame intelligent and creative individuals for being lazy and not bringing more quality works to the table.

The latest works by Celtic Frost, Profanatica and Beherit prove that, while there may not be more aesthetical and technical innovations in metal, there’s still a lot more room to cover when it comes to create great music.

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