Heavy Metal and Society - Article Example

Heavy Metal versus Society. A society is a self-reproducing grouping of individuals occupying a particular territory, which may have its own distinctive culture and institutions (Lenski 17). Society has its nucleus and periphery: "normal" citizens, who have a job and family, sometimes could be quite intolerant of those who are not like them, those who have different life priorities and follow different world outlook. The public view of heavy metal has been consistent since its inception: in the eye of the mainstream citizen, people listen to heavy metal because they are angry, want to shock other people, and in general evade responsibility for being solid members of the community. However, to "metalheads" themselves this perception seems absolutely inadequate, because heavy metal is both a message to society and a suggestion of a different type of order. If we try to look at heavy metal as an artistic movement we will see that it is communicating something with its loud, socially-unacceptable, hedonistic and barbarian sound. It does not aim for consonance, it has always had the most distorted and aggressive vocalists and its instrumentation has always been basic. Heavy metal has embraced everything that we normally don't think about socially: death, ugliness, terror, disease, warfare, sodomy. The type of heavy music, which is generalized as "heavy metal", is much larger than this only genre - it has a long history of four decades of progress and contains many different genres (Walser 15). Heavy Metal. Progressive rock from the late 1960s started the genre of heavy metal. It emerged from the proto-metal of bands like "King Crimson", "Black Sabbath", "Led Zeppelin", "Deep Purple" (often called hard rock bands). The musicians of "Black Sabbath' used power chord riffing and dark modalities to express the paranoid nihilism. The band became a proto-metal band with morbid, yet, as fans say, poetic songs. Soon this kind of music solidified into a 1970s style of heavy metal most notably represented by "Iron Maiden", 'Judas Priest" and "Motorhead". Unlike the harmony-based, short-cycle riffs of rock, metal almost exclusively used moveable power chords, which can be played in any position along the neck of the guitar in quick sequence. So, riffs are written as phrases (like classical, or jazz) more than rhythmic variations built around open chords. This both simplified the music to the point where it was highly accessible, and gave it a dark sound which lent itself, as in classical composition, toward a narrative song structure in which riffs form motifs that resolve themselves over the course of a song. It had a gnarled, feral sound against a background of then everyday music. Speed Metal. In the early days of the cold war, speed metal arose to reflect the apocalyptic consciousness gripping heavy metal after fusion with antisocial and anarchistic hardcore punk. Bands influenced by the progressive styles of the 1970s and the abrupt, droning, explosive style of hardcore began making a fast type of metal which used palm muting as a strumming technique to produce bursts of alternating rhythmic emphasis. Classic speed metal bands are "Metallica", "Megadeth", "Slayer", "Anthrax" (these four are also sometimes called "Big Four of Thrash"), "Testament", and "Prong". Topics like war, pollution, nuclear weapons and corporate domination were sung of in either a male bass vocal or shouted in a riot style chorusing. While this music was highly complex and often inventive in structure, it remained roughly under the influence of rock-based mainstream music and passed its technique on to the underground death metal, thrash and grindcore to follow. Thrash. When hardcore and metal collided thrash emerged as a fusion of punk song stylings with metal riff styles and topics. These were one- and two-riff creations on the subject of apocalyptic and political nature. Vocals were shouted in a high-speed manner, the speed and abrupt percussive guitar techniques of the genre laid the foundation of death metal playing. Thrash remained underground and lasted for less than a decade, thus it retained its primal trio "Cryptic Slaughter", "The Dirty Rotten Imbeciles" and "Corrosion of Conformity", while other thrash groups changed their style. Grindcore. Made from the remnants of thrash and other crossover attempts, grindcore fused the death metal vocal style with high energy hardcore riffing using chromatic and counterpoint compositional techniques. It created streams of abrupt striking strum, which "grind" against one another with a primal direction in phrasing based on the rhythm of a central pair of themes. The genre was pioneered by bands like "Carcass" and "Napalm Death" in the middle 1980s. Death Metal. In the end of 1980s- beginning of 1990s this music preached total nihilism, or lack of preconceptions of belief, and a knowledge that death is more real than human political machinations. Distinguished by bass-end tuning and guttural chanting vocals, death metal exists underground by deliberately disrupting consonant aesthetic and programming the human mind at the lowest levels with natural, intuitive rhythms. Its structuralism matches its grim but self-empowering worldview - it uses muffled picking and tremolo strumming of power chords or single-string playing. The genre was led by the bands called "Possessed", "Death Sepultura", "Massacra", "Necrovore" and "Morbid Angel". Black Metal. Black metal fans claim that the genre embraces intellectual elitism and the honorable warrior mentality of the medieval era. The use of melody is the central principle of songwriting here. Long phrases harmonize internally and resolve in resounding tremolo, often creating from broken apart sound an organic torrent of tones that wrapped around each other and create a single evolving melodic line which forms the structure of each composition. Among the most important names one should name "Celtic Frost", "Sodom", "Bathory", "Darkthrone", "Mercyful Fate" and "Mayhem" - the majority of the groups were emerging between 1991-1994. It is the genre of black metal that it is so often accused of being connected with Satanism (Christe 15-19; Popoff 35, 46-79; Walser, 6-149; Weinstein 12-79, 99-176). Now let us look in detail at the musical basis of metal. One of the best-known examples is the "Devil's Interval", or tritone. In simple words, it is a musical interval that spans three whole tones, is a restless interval, classed as a dissonance in common practice music. That is why it is given the name "diabolus in musica" ("the Devil's interval") by some from the early music era to the baroque period (Walser 198). The tritone retains its "Devil in Music" character in heavy metal. The opening of Black Sabbath's signature song "Black Sabbath" makes heavy use of the tritone. Other metal songs with prominent tritones in their main riffs are Diamond Head's "Am I Evil", Metallica's "For Whom the Bell Tolls" and "Enter Sandman" and Dream Theater's "As I Am". Perhaps the single guitarist to have made the most extensive use of the tritone is Robert Fripp of "King Crimson", who used it repeatedly in "King Crimson" albums like "Larks' Tongues in Aspic", "Starless and Bible Black", and "Red". Slayer has traditionally used the tritone extensively, and their 1998 album titled "Diabolus in Musica" reflects that fact (Christe 154, 187). Sometimes devil "hides" in music - in the case of backmasking, which has always been a large source of controversy connected with metal. It is an audio technique in which sounds are recorded backwards onto a track that is meant to be played forwards. For example, Slayer's 1985 album "Hell Awaits" is called a prominent example of hidden Satanic messages in music. The album starts with a demonic-sounding voice that, when played backwards, urges "Join Us" over and over at increasing volumes. The Cradle of Filth's song "Dinner at Deviants Palace" consists almost entirely of ambient sounds and a reversed reading of the Lord's Prayer (being able to say the Lord's Prayer backwards was perceived in the Middle Ages as a sign of being a witch). Some of the controversy deals with songs that are not necessarily Satanic, but simply anti-Christian. Black metal band Darkthrone's "Transilvanian Hunger" album contains, when listened to backwards, "In the name of God, let the churches burn". Death rock group Christian Death's song "Mysterium Iniquitatis" is sung almost entirely backwards, and when reversed, expresses atheistic beliefs (Christe 204; Weinstein 88, 91). Metal music itself has always evoked response from the society, and the first people who see and feel it are the fans. There are certain common characteristics to be found in fans - whatever fans. First, internal involvement: they focus more of their time and resources intently on a specific area of interest than a non-fan would, and are not significantly concerned if non-fans (including family or friends) don't derive pleasure from the area of interest. Fans have a desire for external involvement: they are motivated to demonstrate their involvement with the area of interest through certain behaviors: attending conventions, for example. They wish to acquire: fans tend to express a strong desire to possess material objects related to the area of interest. Desire for social interaction with other fans: this again may take many forms, from casual conversation to regular face-to-face meetings such as fan club meetings and organized conventions. There is, however, a difference between a fan and a fanatic: while both have an overwhelming liking or interest in a given subject, behaviour of a fanatic will be viewed as violating prevailing social norms, while that of a fan will not violate those norms (although is usually considered unusual) (Thorne&Bruner 26). Thus, in the eye of the society metalheads are most likely fanatics, who do not see anything apart from their beloved idols and who would stop at nothing if they are told to. The society has many associations with "metalness", but "horns" hand gesture is, probably, the strongest. It is realized by stretching the index and little fingers while holding the middle and ring fingers down with the thumb. In heavy metal music, Ronnie James Dio is contributed to have used this sign first during the concerts. Dio began using the sign soon after joining "Black Sabbath" in 1979 - however, for him it was just a sign his Italian grandmother made to ward off the "evil eye", while he wanted to have his own gesture (Ozzy Osbourne used a "V", "peace"-sign). Now it has a variety of meanings in music: one of them as a reference to Satanism. Indeed, Anton LaVey, the author of the Satanic Bible and the founder of the Church of Satan, popularized it as the Satanic salute in the 1960s. Many rockers such as "King Diamond" and "Marilyn Manson", who were associated with the Church of Satan promoted the sign in heavy metal circles, thus adding fuel to the fire of society's indignation. Anyway, not all the metalheads use with the Satanic purpose - nowadays "horns" is just the most common symbol of "metalness" (Christe 65, Walser 103). Nevertheless, there are different ways to show your affiliation with heavy. Within the society it is easy to discern a person following a heavy metal fashion (it includes the style of dress, body modification, make-up, hairstyle, and so on). To those with a trained eye, normally others within the metal subculture, relatively subtle differences in clothing can speak volumes about a person's tastes. There is a peculiar fascination with the imagery of Nazi Germany among some groupings, often this is done to shock the society (although the Swastika is normally avoided, the Iron Cross is particularly popular: for example, with the Motorhead's fans). There is a certain type of fans - it includes the so-called "groupies". A groupie is a fan who seeks intimacy (most often physical, sometimes emotional) with a famous person. The term is often used derogatorily. Female groupies in particular are known for a long-standing tradition of being available for, and willing to have, sexual intercourse with the celebrities, some make themselves available to any famous celebrity (any metal band that enters the town), while others focus closely on one particular target (and becoming a "regular"). From the traditional point of view of the society, such a behavior is certainly unacceptable (Weinstein 25, 87). Any society can't stand the idea of its basic principles being defied or mocked at, which is quite natural. But before holding up to shame everything connected with Satanism it is important to learn more about this phenomenon. Satanism is a term that is normally applied by non-Satanists to those individuals who worship the entity called "Satan," and advocate the triumph of evil forces over good in the universe. However, members of the Church of Satan, the most organized Satanic group, reject this common association, as they do not actually believe in a being called "Satan," and use his name only as a symbolic allusion to certain materialistic and individualistic values. They do not in fact worship a deity called Satan, nor do they follow a principle of evil. It is interesting to note that some of their rules appear opposite to traits commonly perceived as "Satanic." Specifically, actively turning others to the worship of Satan is strongly discouraged, and the prohibition of harm against children and animals contradicts reputed Satanic fondness for sacrifice, both of which are often erroneously associated with Satanists, at least this group (Ellis 135-139). Thus, when some bands use Satanic occult imagery, it does not mean that their members are real Satanists, it might mean that they just use occult images to attract public attention without really understanding the philosophical basis of Satanism or exploring it on purpose though not belonging to any Satanist organization and not identifying themselves as Satanists. The most famous example of a musician being a Satanist or proclaiming to be such, is King Diamond, the vocalist of the Danish band "Mercyful Fate". He openly claims to be a follower of the Church of Satan leader Anton LaVey. This has caused much controversy in Diamond's career. In the early-to-mid 1980's existence of Mercyful Fate, some potential fans were repelled by the open and overt Satanism in Fate's lyrics, while others embraced it. However, there also are many interviews and much evidence to support that Diamond is not at all Satanic, in any sense of the word. He's been quoted as saying such things as: "It's all for show". Diamond's personal brand of Satanism has been paradoxical to many. He has said "I don't go for evil things" ... "the words Satan and Lucifer do not mean evil to me" and "I don't have anything against Christians or their beliefs" (in direct contrast with the philosophy of Anton LaVey and the Church of Satan). However King Diamond adorns himself with inverted crosses, Baphomet symbology and has written lyrics very hostile to Christianity. For example, one of the songs tells the story of a witch who was burnt at the stake by a Catholic Priest, but the male protagonist swears revenge on the priest who burnt her, proclaiming that he must die in the name of hell. However, with the albums released under his own name, King Diamond has downplayed the overt Satanism in favor of a "horror movie" approach, though he still wears the inverted crosses, both as jewelry and makeup (Popoff 180, 181). There exists a long list of heavy metal artists who were mislabeled as Satanists. For instance, Azagthoth, guitarist to the death metal band Morbid Angel. Though much of Morbid Angel's older songs are Satanic and very anti-religious in nature, Azagthoth has not claimed to be a Satanist, though has stated in various interviews that his view on life is that of Satanism. Dani Filth - vocalist of band Cradle of Filth. Marilyn Manson, who was even granted the status of an honorary reverend in the Church of Satan by LaVey, but never accepted or performed rituals. Manson regards it as purely an honor. Ozzy Osbourne, who was widely proclaimed a Satanist, but has never belonged. Iron Maiden were thought of as Satanists; mainly due to their popular song "The Number of the Beast" because of its many references to a Satanic Cult, and the number "666" (Christe 13, 16, 141; Weinstein 207). Metal turned the forbidden ground into music that isn't attractive in the decorative sense. Instead of demonizing the embarrassing themes, metal tries to find a place in one's worldview where they might fit as necessary in the achievement of a larger good, it says that evil is not always evil, as well as good is not always good. This view is associated with Satanism, the theme which is explored by musicians themselves to shock the audience, thus it remains socially unacceptable. That is why the "public view" of metal attempts to discredit it. One might love or hate this kind of music but one has to understand that it really exists and has many followers, it makes a great impact on millions of people, otherwise, it would have never made the traditionalists uneasy and they would have never used the mass-media to warn the society about the threat which heavy metal brings. Works cited. 1.Christe, Ian. Sound of the Beast: The Complete Headbanging History of Heavy Metal. New York: HarperCollins, 2003. 2.Ellis, Bill. Raising the Devil: Satanism, New Religions and the Media. Lexington: University Press of Kentucky, 2000. 3.Lenski, G. Human Societies: An Introduction to Macrosociology. New York: McGraw- Hill, Inc., 1974. 4.Popoff, Martin. 20th Century Rock and Roll: Heavy Metal (20th Century Rock and Roll). Collectors Guide Publishing Inc, 2000. 5.Thorne, Scott, and Gordon C. Bruner. "Qualitative Market Research." An International Journal, Volume: 9, Issue: 1, 2006. 6.Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, NH: Wesleyan University Press, 1993. 7.Weinstein, Deena. Heavy Metal: The Music and its Culture. New York: DaCapo, 2000. Read More