Heavy metal isn’t only for blasting out of the speakers to annoy your neighbours, or for sitting around listening in your basement wearing corpse paint as you plot a church burning or a night of smoking cigarettes in a cemetery. Throughout the years, cinema has given us some delightful gems featuring bands and fans of our beloved genre thrust into a variety of situations — often hilarious, horrifying, or both.
Production is a mystery. At a glance, it seems like a simple task: record some tracks, mix ‘em together, work out a couple kinks on GarageBand, and voilà! Album. The reality, of course, is quite a bit more complicated than that. To be successful, production must serve the music; there…
Welcome back to our Taxonomy series, where we break down umbrella genres like progressive metal, post rock and doom metal and outline all of the progressions and subgenres that have matriculated over the past few decades. The dissection of thrash metal you’ll find below contains a detailed dissection of the most crucial genre in extreme metal style. Thrash led to incredible innovations over the years, and in turn, a multiplicity of styles has made its way back into the genre’s core traits to form some of the most forward thinking metal coming out today. Seriously, many of the bands mentioned below have released records less than a year ago, and in some cases, less than a month. There’s a ton of ground to cover here, so without further ado, let’s riff on some of the best thrash you can use to mosh in your bedroom.
When I started The Devil’s Roots, it was with the intention of exploring the myriad of Satanic belief systems metal encompasses in order to distinguish their differences and find out if there is anything that unifies them. Since then, I’ve discovered that even though each school does contain a specific set of individual ideas, most do share the common theme of valuing free thinking. Like the multiple branches of Satanism itself, for the most part the Dark Lord is a metaphor for autonomy and the rejection of religious establishment having any impact or influence on our lives. A few extreme right-wing interpretations aside, I think the Devil’s influence in metal has been a positive one; His name is used to inspire individuality and symbolic poetry which has made for some pretty stellar music. And the fact that artists have used it to rifle a few feathers has only added to metal’s irresistible rebellious allure.
If there was one word to ultimately describe Miles Davis’s final handful of recordings, it would be “contentious”. While Davis was never too far away from controversy throughout his entire career, with a great number of his releases not finding proper reception until years after their release, this period of his life perhaps represented more of a disappointment by fans than any other. He’d been able to prove himself to be capable of serious experimentation with albums like Bitches Brew and On The Corner; one could only expect fans to be disappointed with the supposed lack of innovation found on The Man With The Horn.
In 1975, Miles Davis began life anew as a recluse, a hermit in the middle of Manhattan. Supported by a healthy retainer by Columbia Records and fueled by cocaine, Davis spent most of the next six years in his Upper West Side apartment, composing and practicing rarely, but mostly neglecting his musical gifts. (Whatever else went on during this “retirement” is perhaps best left untouched.) However, by 1980, Davis was back in the studio recording what would become 1981’s The Man With The Horn—his comeback record, and an album that would arguably set the standard for this new wave of his music until his untimely death nine years later.
In America during the 1960s, times they were o’ changing. Rock n’ roll was huge, Beatlemania was runnin’ wild, the Civil Rights Movement was changing the world, hippies were doing drugs and having sex all over the place, and other countercultures that opposed televangelism and conservatism in favour of individualism and free thinking were suddenly more popular than ever. Times like these also afforded men like the Church of Satan’s founder Anton LaVey to become mainstream celebrities, both feared and adorned, and if there’s one man that was essential in the emergence of Satanic philosophy becoming known in the public consciousness, it’s Lavey.
Cynic is a legendary and influential band. Since news that drummer and founding member Sean Reinert has left the band, many fans have wondered what is on the horizon, if anything. While there’s still no word on new music from co-founder and guitarist/vocalist Paul Masvidal (who vowed to continue the band), late last year, an announcement from the realm of music archaeologists got nerd minds spinning. Uroboric Forms: The Complete Demo Collection would be released and fans would maybe get some answers about how the hell Cynic went from being in Death (which was basically a Chuck Schuldiner backing gig) to dropping an absolutely groundbreaking gem in Focus. Southern Florida in the late 80s and early 90s is hallowed ground in extreme metal. Would Uroboric Forms rewrite the narrative?
The trait which unites most branches of Satanism is rejection of a Judeo-Christian deity and the embracing of one’s individualism and strength. Satanism, for the most part, is just a sexier way of being an atheist and any notion of a Devil is merely symbolic. However, theistic Satanic belief is traditional, the type that believes the Dark Lord is a real entity whom many objectively worship and revere, and while this Satan is accepted as an extension of Christian belief, the teaching’s of the big man upstairs are rejected in favor of the Fallen One. That said, theistic Satanism is also complex; while the Devil is revered as a deity, what He actually represents differs from thought pattern to thought pattern, with some such as Mayhem’s Euronymous believing in a horned one whose followers should be enslaved to, while others don’t even necessarily believe that the Devil’s roots are Judeo-Christian at all. So, just because they all believe in and worship a Satan, that doesn’t mean that all theistic folks embrace the same variation of Him. However, for the case of simplicity, all theistic Satanism rejections atheism as they believe in a deity of some kind.
Our series of longform pieces about suffering in metal has explored just about every possible facet of musicians enduring pain and hardship for their music: the endless hours of practice that leave the hands calloused and cramped; the financial rigor of devoting so much time, money, and energy to art;…