Crisis-period metal is metal at its most innovative. Artists are taking the genre in many different directions, some of which, as in post-metal, are challenging the very nature of what metal is and could be. But what I’m imagining is something more thoroughgoing and systematic. Innovation on its own is not enough to keep metal alive. (More…)
One way of tackling the metal crisis is to reintroduce scarcity. To some extent this is already happening. The stubborn persistence of vinyl and cassettes in metal derives from a desire to maintain scarcity. The reduction al absurdo of this tendency is releasing music in near-obsolete formats such as floppy diskettes. However, on its own, this strategy is too limited though, as not only are many such releases simultaneously released digitally. (More…)
If metal has become incoherent, there’s little sign that it is dying. Yet there are two dangers that are beginning to loom large over it. The first is that metal gradually dissipates. The music moves in a thousand different directions, by a thousand different artists. Any sense of it as an overarching idiom, a cultural identity, and a social space is lost. (More…)
Today we’re witnessing the fulfillment of the postmodern condition that figures such as Baudrillard and Lyotard first proclaimed – prematurely – in the 1980s. Abundance, and the simultaneous availability of every kind of cultural commodity threatens to ‘flatten’ out the world, creating a kind of continuous present, beyond progress, beyond history. (More…)
Historically, scarcity has played a crucial role in metal, particularly in underground extreme metal. Until recently, there were considerable logistical barriers to recording, releasing, circulating and publicising metal recordings. It took considerable time, money and commitment to make a demo, to trade it and to market it. Copying tapes, printing flyers and hand-answering fanzine interviews required a certain degree of determination. (More…)
Metal today is in crisis. Metal’s crisis doesn’t feel like a crisis. In fact it sometimes feels like quite the reverse. This is a crisis in which most are unaware that there is a crisis – and that is the crisis. The crisis is one of abundance. (More…)
Rock bands lending their ‘brand name’ to consumer products – surely the epitome of ‘selling out’? The Motorhead phone cover would seem to be the latest – and certainly not the worst – in a long tradition of branded merchandise, whose apotheosis must surely be the Kiss coffin. The critique of this kind of branding is almost as familiar as the branding itself. (More…)
I’ve spent years trying to convince the world of metal’s radical potential. I’ve followed the obscure byways of obscure extreme metal genres in search of the avant-grade potential of this most degraded form. My heart has swelled with satisfaction as – finally – The Wire, The Quietus and other bastions of elite musical opinion have begun to embrace the metallic dark side. (More…)
It wasn’t the first time I’ve seen Slayer live. As a metal fan for over twenty years it’s been hard to avoid seeing them, given the frequency with which they tour. Nor would I want to avoid seeing them. They are after all the ur-band, the mother lode of extreme metal, never wavering in their commitment to a tight-riffing, hyper-disciplined sound. (More…)
Umskiptar (“Metamorphosis,” in old Norse) is Kristian “Varg” Vikerenes’ third album since his 2009 discharge from prison. Incarcerated for the murder of former bandmate Oystein Aarseth, and arson attacks on several churches, the one-man black band (otherwise known as Burzum) remains a lightning rod for controversy. (More…)
Burzum as a grafitti tag. What could be more inevitable? A one-man black metal project, led by an unrepentant neo-Nazi and murderer, implacably opposed to modern European (multi)culture – an irresistable signifier of transgression for those who feel drawn to write on walls. If you’re going to deface a wall, let it be with a symbol of uncompromising hate. (More…)
The music business is brutal. Even if you succeed – your music gets released by a label, people buy it and fans come to your gigs – there is no guarantee that your career won’t crash and burn. The history of rock and pop is filled with artists that disappeared as suddenly as they arrived. A hit album or two and then the follow-up stiffs. In memorium: Terence Trent D’Arby, Elastica, Kula Shaker…the list goes on. (More…)