Awe and the Grand Narrative

Heavy Metal has a romanticist conceit and a modernist tension inside it. The romance is ancient, or at least it pretends to be. It has a manufactured fantasy of an long-lost age of wisdom which post-temporally inspires and is inspired by it. In that ancient past, the Gods were all around us (and indeed, within us), nature was Beauty and Beauty was Truth. The horror, the awe of death is as beautiful as the bliss of birth. Not events to interpret, but symbols of inalienable Platonic ideals. That ancient, imagined script holds resonance for the listener of Heavy Metal. In a world without gods, the point of religion is access to Awe itself.

Heavy Metal is a modern type of music, it came to exist in the tail-end of the modern era and held, at least half-heartedly a conceit inside it that what it had to say was applicable to the modern world, even if in antagonism to it. It said 'this is the right way to live, or at least to imagine life, in this decrepit world'. And, of course, it faced the effects of deconstruction along with other forms of modern art (pop or not) in the decades after the collapse of the Soviet Union. 

With the end of the Cold War and the victory of capitalism, western society entered into the era of endlessness, the death of history. Art, like everything else was shaped by commerce, the prime tool of capitalism.

According to where you live in the western world and your educational level, this process might have come early or later, be more transparent or opaque. For many readers it is quite possible you weren't even born before the change was complete and do not remember a world which still held Grand Narrative ideals at heart. To offer a brief description, this is to say we now live in a world where truth is relative, there is no universal goal for humanity to agree upon, there is no clear distinctive direction for progress of the world and everything that means something can only mean that in relation to something else and also in relation to whom it is supposed to mean that and other orbiting forces and pressures. 

The line drawn between modern and post-modern art is important for us that discuss Heavy Metal. It is important because it's very different from art that is self-defining as modernist and post-modernist. Just as we live in a post-modern world regardless of whether we ascribe to postmodernist philosophical points of view willingly. The post-modern state is non-negotiable. And art that retains a modernist (or even worse, romanticist) mindset in this context faces challenges that would be alien to same art in 1970 or 1980.

To understand why post-metal rings hollow in the ears of old-school metalheads, you have to look to post-metal as willingly post-modernist music. It uses the sonic tools of metal (distortion, double bass, screams, etc) to ends clearly not modernist and not romanticist. It has no truths to offer and no ancient paths to long for. It is instead highly personal, cryptic, avoidant of any solid stance or ideal. It is music which references no Grand Narrative, it has no secret inside of it, it doesn't promise a hidden glimpse towards something bigger, whole, all-encompassing, Beautiful.

This doesn't mean that it can't be beautiful, for it often is. But the beauty is in its form and not its message. It's like architecture of a space in which no humans are meant to live. Beauty in itself, but no wonder the fascination with such curiosities does not last.
And before we boo and hiss at post-metal, let's look at modern resurgences of old types of metal, like neo-thrash, new old-school epic metal and so on. That music is not post-modernist willingly. It is however, not like the old music. It's a copy of the old music, in a post-modern era. It rings hollow not because of false ideals but because the concept of 'true ideals' in a post-modern world is suspect in itself. As odd as Heavy Metal could look and sound in the '80s, it was taken at face value by listeners because that was the way to treat art at the time. Today, when a band puts on the denim and leather and patches, all these signifiers are very clearly a surface reconstruction of elements of a deconstructed past. Truth is not at stake here, instead aesthetics.

All of modern Heavy Metal, be it post-metal or the staunchest manowar-like epic metal, is concerned with aesthetics. It knows exactly what it's trying to reference and judges itself with how closely it can achieve that predefined aesthetic vision. 

For every one of your favorite '70s and '80s Heavy Metal records, there's today, and I guarantee it, a clone band's clone album that is twice as well-played and produced as that, but without any of the spirit.

And this spirit is not a metaphysical demand from me that's strictly relevant to Heavy Metal or whatever, it is the spirit of the whole of the twentieth century that has perished.  

This is the clearest way to explain why Heavy Metal is dead and we are simply toying with the corpse.

Does this mean there can no longer be any Heavy Metal with spirit, vitality and importance in 2013? I think there can be, but not for us. Perhaps for young people who somehow inexplicably emerge with a belief in a new Grand Narrative, however dumb. For us that have survived the death of the old Ideals, Heavy Metal can only function as a time-machine. 

And the young people for whom x New Wave of New Wave of British Heavy Metal is like, so awesome, give them ten years in capitalist society, that'll fix their view on truth, beauty and progress. They will realize their heroes lied.

Now, of course, the jack in the deck is capitalism itself. It's not doing too well, lately. If it could be said that the last 20-30 years in Europe were the promised capitalist dream where enlightened individuals (never groups) rise above their peers and achieve wealth and freedom while their lessers toil at the lower classes, then we are entering an age of the capitalist nightmare, where the most the enlightened individual can hope for is to have food and a place to stay, while nine out of then of their peers simply die in the streets, deemed permanently unemployable by conglomerate banks and other overarching systems.

Could there be a resurgence of the concept of history itself? Will 'progress' again mean something and if so, what would that be? 

There are many left-field activists and politically aware people who will say to what I write that for them history never died and that their Grand humanist Narrative was always an enduring truth. To those quasi-theoretical people I can only say "yes, perhaps... but when did you last go to the cinema? When did you last watch those downloaded tv-shows from America you so love? When did you last read a good book describing the valiant ascent of an enlightened individual to the top of society? How much did you enjoy these products of capitalism whose main function is to deconstruct your social identity?" I am, myself quite on the left end of the political spectrum, but I have a sense of humor about this because I am truly a product of capitalism first and foremost. I recognize my memories of the glorious past are fantasies, and my belief in Humanity at best schizophrenic. Fervent to endorse and fight for the rights of the downtrodden, of women, of homosexuals, of immigrants, and at once mad with rage against the majority of humans that obstruct this path of ideals. The Grand Narrative is in shambles inside of me, both alive and dead at the same time. I am toying with the corpse.

These tensions might or might not be resolved (or made clearer) in my lifetime. Greece (my home country) is in complete disarray right now. The crisis is pan-European. America's not doing too hot either. Will capitalism be salvaged, the banking systems reconfigured? If so, at what cost to the system and what to the populace? Or will the reign be pulled even tighter and throw parts of the western world into outright chaos and war? Will we, to the march of the war drum remember old, manufactured Gods and nature and worship self-evident symbols of truth because we need them, again like good old fascists, or will be regain our social identity and fight for worker rights and a humanist future like good old communists? And what of that sneaking, crawling suspicion inside me that both of these paths we can take at the same time because we can not fully believe in anything anymore and we will mix and match as it suits us with the post-modernist tool-set that we have been given by inheritance?

Expose Your Pose : Second Run

Wonderful turnout on the post below. Here's my second run in the interest of science.

1. Starts with sound effects akin to some Carpenter film. Then immediately when the riff comes in, it's Aspid off of their only album 'Extravastation'. I think this is the opening song, named something something in Russian. Excellent techno-thrash, recently re-released. Very worth anyone's time if they're into weird metal. I love their vocals and their guitar sound. Snarly thrash vocals go well with Slavic languages. The left-field augmented scale guitar solos in this fusion-ish guitar tone go over the savagery beautifully. The bassist couples everything the guitarists play like he's in Coroner. Super-tight playing all around, no fat, no dud riffs, good structure. The musicianship here is easily below their full ability. I theorize all Russian metal musicians were effectively slumming it from their proper State-sanctioned classical music gigs, at least up and until the fall of the Soviet Union. The playing here has this air of effortlessness similar to Watchtower on "Control and Resistance".

2. Machinegun riff. Double bass. Bolt Thrower "Promises and LIES." The song's 'Entrenched', off of "Those Once Loyal", their best, and last album. How can a band so old pull off such a strong final record? I don't expect them to top this, I really don't expect them to put out any more records after it, frankly. Some people call this death metal, I don't hear it in there anymore, it's just very linear, very muscular Heavy Metal. The core melodic ideas and riffs could be found in the repertoire of a NWOBHM band, really. It's just the execution that is idiosyncratic (and so often copied!). It's impossible for this music to not induce some physical reaction for this listener, but since my cat is in my lap, in lieu of headbanging, I tapped the double pass patterns on the desk with my fingers. Metal (the polite way).

3. Oh, oh, this is a very distinctive guitar tone! And the riff is... am I listening to Bolt Thrower back to back here? Great slow intro. Is this off of "For Victory"? Hm, the verse riff doesn't sound like Bolt Thrower though. The harmonization is totally their style. And then it ended! I am at a loss if it's not Bolt Thrower.

I checked, it was "For War", off of For Victory. Kind of got lucky there. Good thing for Bolt Thrower than that their style's so distinctive even on their instrumentals.

4. Mayfair. Nobody else has a voice like this. This is off of "Fastest Trip to Cybertown", their last record, and the one I listen to less. This is honestly an indie rock track, something like R.E.M. would write, only with a more active bass line - remnants of progressive metal are difficult to shake off. It's catchy and melancholic, but it lacks that edge that makes Mayfair's first two albums some of the best progressive metal there's ever been. There's many bands that play indie rock like this or better than this, I mean. Nobody's ever made anything like "Behind" as far as I've found. I checked the song name and it's "Waterproof".

5. One of these horrible mid-to-fast party rock n' roll Manowar songs. I might figure out which but there's absolutely nothing here for me. I can list the Manowar songs I adore from memory (Battle Hymns, Mountains, Secret of Steel, March for Revenge, Hail to England, Gayanna, Gloves of Metal, Each Dawn I Die) and if it ain't in there, I am bound to hate it, not just feel indifferent to it. Something about "the Night" is what Adam's going on about on this song, it could be about motorcycles. It's post Kings of Metal, I can tell from the involved guitar solo. But it sucks. "Return of the Warlord", off of Hell on Wheels live, from 1997. I am deleting this. Good drumming at least.

6. Oh, oh, I know this. This'll be easy. Probably Greek. Wait, no. Is this the Burzum instrumental off of 'Det Som Engang Var'? So it is. This one shows mr. Vikerness had a good ear for more traditional types of harmony. It's quite pretty in a way. And thinking it was Greek metal makes some sense because this guitar tone was used by pretty much all the early Greek black metal bands (it's shitty in an endearing way) and because the mid-tempo melancholic feel Burzum's got going here is pretty much Mode A for Varathron, Rotting Christ et al. From here to In The Woods... it's a small leap. And from there to proper Peaceville doom/death it's just another. I like this middle ground between the premier romantic metal genres.

7. Immediately recognizable as Nevermore, off of their 'In Memory' EP. After 'Politics of Ecstasy', easily their best work. Not the best song in there though. The song's called "Matricide", I know the lyric. It's a weird composition, Loomis and company hadn't gotten a handle on how exactly to write coherently. The changes are awkward, it's even got an embarrassing kind of 'rock' vibe to it. And the vocal line on top is just bizarre. Dane had a big problem with finding suitable vocal lines for Loomis' songs since the beginning and it really didn't get better with time. He's ultimately a lyrical vocalist, best suited for music that behaves, harmonically (hi, Sanctuary!). The nightmarish industrialized metal that Loomis would get involved with didn't leave much space for someone with Dane's talents. Mr. Tate from Queensryche would have found something smart to sing over this stuff. 

The end of this song is prime Nevermore though, their next two albums can be seen in that guitar matrix phrase and the revolving phrases on top. And the change from it back to the chorus is hilarious. I still like this but I don't know if it's just nostalgia talking. That I remember a girl I was after at the time when I was listening to this a lot says it's probably the latter. And talking about girls and songs about girls, read the lyrics to the same titled song off of 'Im Memory'. Stalker anthem if there ever was one.

8. Is Winamp trying to make me cry? This is Secrecy - "The One to Adore". Ultimate teenage anxiety & nostalgia metal. Their albums are called ART IN MOTION and RAGING ROMANCE, for christ's sake. This band is amazing. There's absolutely nothing sub-par in these two albums (and even the demo "Like Burning One's Boat", it's even a bit thrashier if you'd like to see the connection between thrash-thrash, techno-thrash and then proper progressive metal). Every song is stellar. No filler. Such a range of emotion covered. So many atypical guitar ideas, and yet not to the detriment of catchiness. Superb engineering. More bands should study what Secrecy achieved here. Then again, perhaps not. There really is no other entity in metal that makes me feel like this, best keep it, uh, secret.

9. A drumkit is falling down the stairs. Seagulls through a guitar amplifier. Piano enters. Is this Zeuhl? No idea. I give up. It's very beautiful though and deserves more listens. Turns out it was "Friends of Dean Martinez", the same titled track off of "A Place in the Sun". I listen to "Random Harvest" and "In The Shadow of Your Smile" and love them, so this is an easy error on my part to rectify.

10. Haunting double-tracked vocals, their notes slightly incongruous. Damien Youth? If it's not him off of the one cassette I've downloaded, I don't know what it is. It's very beautiful and I want to listen to the whole thing. Indeed, "Hunger Circle" off of "Festival of Death". But I couldn't remember that's what the record's called, so that's a point lost. This music deserves an examination or ten by people more equipped than I, though. It's not Heavy Metal but it's equally intense and sometimes disturbing, but it's also other things, less blatant. If anyone can suggest where to go from this, be it to other Damien Youth material or other similar artists, I've got some space inside me for a little more like this. 

7/10 this time, lucky guess aside.

Expose Your Pose

When I was a teenager reading Metal Hammer GR, there was a little column whose name I can't remember where an interviewer would play ten songs for a metal musician that was featured on the issue, and the musician would strive to recognize the songs, or at least the bands. It was always an entertaining read and I do remember some famous flops by highly visible metal artists that you'd guess have never heard of metal music before. I remember also that one of the Cavalera brothers from Sepultura did sterlingly on his try.

So, I'm bringing that back. But in a whole new, horrible twist, I'm not even going to ask actual metal musicians to tell me if they recognize this or that. After all, it really is besides the point if a metal musician is also a well-read metal affictionado. For all I care, they could have never listened to anything else than two Iron Maiden songs, if their own music is great, that's fine with me. Actually, I think too much slavish devotion to 'the history of metal' and its various sacred cows might lead to unambitious metal-making, but that's besides the scope of this little experiment.

No, I'm going to ask metal bloggers. I'm not even going to select the music beforehand. They'll be hitting 'shuffle' in their grand collection of mp3s and not looking at the media player's display. I bet most people that write on the web, especially for niche metal genres won't be able to tell their Generic Death Metal #4 from their Generic Death Metal #8, but we'll see.

The rules are as follows for those that are brave:

0. Put all your media in there and shuffle. If it's on your hard drives, you have to put it there. If someone only has say, ten records on their hard drive, this does not preclude them, in fact it is a very prudent choice and they should be applauded for their skillful play.

1. No Cheating in your reports. You're only cheating yourselves with further self-delusion. Write it like it is, if you don't know what the hell is going on in your hard drive, then that's what's going on. Chalk it up to terrible debris of modernity, chalk it up to middle-lower-class upbringing urging you to collect everything you once listened to like a little pack rat. Say whatever, just don't lie about knowing what you didn't.

2. If you want to go easy on yourself, informed guesses (artist name is enough) count as positive entries. In fact, guessing what something is by elements of it being familiar to you whereas the song itself isn't, is a whole different metalhead game tradition, so you shouldn't feel too bad if you can spot a Glenn Benton in some Vital Remains or whatever. You know a few things about the things you're pretending to know a lot about, at least.

3. Recognizing the artist and the album is enough to consider that a solid plus one on your final score. Further bragging about personnel on the record, date of release or other trivia is optional and will not change the score (but feel free).

4. If you didn't know at least Artist - Record (and *especially* if you guessed wrong), you have two after-play choices. Either listen to the record attentively three times in a row and keep it, or delete it outright. Be brave! Listening to music is not supposed to be fun!

So, no more delaying the inevitable. Let all poses be exposed. I will be the first to go.


1. If you feel like playing a more difficult variation by a degree of separation, middle click here to start the link in a secondary tab and try not to look at the name of the tab while you figure it out. Read below when you get it or if you've given up. If you do better than me with my own music library, I'll bend my knee in your general direction.


Starts with a wash of reverberating distortion... no idea so far. More noise. Am I listening to some leftover industrial hidden somewhere on my hard drive? Oh, the trills of 'Night on Bare Mountain' come in, this is Mekong Delta covering Modest Mussorgsky's masterpiece, off of their own masterpiece "Dances of Death (and Other Walking Shadows)". The cover is fair and I can't complain as it served as an introduction to the composer for me. Mekong Delta would go on to cover a lot of Mussorgsky, some well, some less so but that's a whole different story. Full recognition. An auspicious start to my experiment!

2. Middle click, listen, take your guess then read below.

Hmm... I'd say America. Obvious Iron Maiden heritage. The singer doesn't sound American, though. "Hell is for Heroes"? Probable song title? This is some obvious US Metal staple that I should be really embarrassed for not - oh, "Reach for the Stars" is the obvious song title, nice corona on the chorus. Is this Cloven Hoof? If so, shame on me for not realizing straight away. This can't be off of "A Sultan's Ransom" at least, I know that record inside out. *Checks* Yes, this is Cloven Hoof, off of Dominator. "Reach for the sky". I should really listen to that record properly. But this song isn't very good. I'll make the hard choice afterwards.

3.

Oh no, dreaded post-metal, it all sounds alike! At least this is an easy one for me because I simply don't have a lot of post-metal on my archive. Obviously Isis. Off of Celestial. Is this "Collapse and Crush"? If not, it should be. *checks* Buh, Swarm Reigns Down. At least I got the correct record. Man, Isis sounded really different here as opposed to "Oceanic". The no distortion middle part here is really dry and kind of awkwardly played, they would go on to perfect that aspect of their sound later on. There's even some half-a-tone secondary voice in the bass range in here that's awfully off harmony, I guess they thought that was forward thinking at the time. Welcome to ten years of only dissonant post-metal riffing after this, thanks Isis!

4.

No idea. This sounds so completely singular (in terms of bad production), it should be impossible to not remember it though. So I simply have not listened to it enough. If this is US Power metal again I swear, I'll delete it. Waiting for the chorus to see if any of my neurons decide to weakly flicker.

This singer is not a good singer. This post-chorus boogie is awful. I think I'm desecrating some US Metal holy cow here. *Checks* Blackkout - Electric Soldiers. Well, it's US power metal alright. I think this Blackkout has ties to the infinitely more interesting "The Last Things" and which is why I even downloaded this. I think I've listened it to it once. I will review the rest of the record thrice and if the songwriting is as uninspiring as this and the singing as awkward throughout, I am deleting. Here's my first mark of shame on this playlist.

5.

Easy one. Took me two seconds. God, how I hate the voice of Haskell. The main riff of the song and how it alternates with the acoustic guitar parts is very interesting, though. Easily one of the better songs off of the gigantic irritation of a record that is "Lizard". King Crimson would never again scratch that particular faux neo-classical/jazz sore.

6. (not on youtube)

Took me until the vocals came in. Cirith Ungol, off of third third record "One Foot In Hell". At first I thought "Join the Legion" (which is the opener for their fourth and last "Paradise Lost") but it's not it. It's a testament to how generic the '80s period of Cirith Ungol sounds that one song could be on a different record and it'd fit right in. Whereas there's no possibility of mistaking any song off of their first two records as anything else at all. Still, mr. Baker is unmistakable, his voice is that of a terrible beast, one of the best there have ever been. The theme of too much US Metal continues.

7.

Thousands of years before the dawn of history, huh? Fates Warning - 'Damnation', off of their original release, "Night on Brocken". Unmistakable perfection. Also US Metal, but at least, some of *the* best US Metal. People into Jazz should have some Fates Warning on their collection. People into horrorcore should. Everyone. I headbanged.

(An interesting aside, the verse melody that Mr. Arch is employing here has been 'lifted' by Tom Phillips of While Heaven Wept, I'm pretty certain.)

8.

Oh no! Low end! Please don't let this be death metal!... *sigh*, that it is. At least it's moving very slow so I might eventually realize which doom/death band I'm listening to. Oh no, it picked up. The vocalist is positively guttural. Is this Finnish? Is this Krypt of Cerberos, perhaps? This riff sounds like Demilich, but Demilich I would never confuse with their lessers. Let me check. Yes! Crypt of Kerberos (and not the other way around). This goes on the delete pile even if I got a pretty good long shot guess out of it.

9.

Messhugah? These ambient washes in the beginning sound familiar. Is this the intro to "Contradictions Collapse"? Ah, this is certainly Messhugah. Which song however. This is going to give me trouble. At least it's *good* Messhugah. By that I mean, here they still ultimately play thrash riffs that evolve and mutate, not just 'rhythms' that evolve and mutate. There's no way I'm going to identify which song this is, Contradictions Collapse (and "None" for that matter) are so uniform, I can only tell which songs 'Gods of Rapture' and 'Cadaverous Mastication' are. *checks* Oh! Terminal Illusions off of Destroy Erase Improve. A whole record off, huh? Delete.

10.

"Dig Me", by King Crimson, off of the album "Three of a Perfect Pair". King Crimson save my ass twice in one playlist. It's impossible to mistake this song as anything else if you've ever heard it once, as it actually sounds like malfunctioning machinery. The clearly audible lyrics go on about just that. Dig me, don't bury me.


So, recapping, 9 out of 10 including guesses. But that's weak, so let's not include guesses. As per the rules, Artist - Record should count as at least partial recognition. With that criteria, 6 out of 10, which is pretty dire in itself. My pose has been exposed! How fare YOU, sir?