LUCIDMEDIA

Lucid Metal: A look at metal music

Written by Sebastian Frye Monday, 04 February 2008 09:17

The first thing I think you, the reader and perhaps future listener, should realize is that Metal music is a huge network of sub-styles which formed and coalesced over time into what we now consider broadly as Metal. So what is Metal? And where did it come from? And how did it become what it is now?

The history of Metal is a vast one. In a way it can stretch all the way back to the blues of the 1920's, or perhaps earlier. But there are some indisputable landmarks which can position the listener historically within what we now know as "Heavy Metal".

The emphasis of Heavy Metal music is on it's volume, lyrical or visual themes, and it's theatricality.

The very first developments of the Metal sound came with several individual songs. These songs experimented with the limits of guitar feedback, distortion, and speed. Some notable songs or artists which can be cited are The Kinks "You've Really Got Me", The Who, The Rolling Stones, Cream, and Jimi Hendrix's "Purple Haze". These songs and musicians reacted to the technology available. As amplification and recording technology advanced the possibilities of sound reproduction and resonance allowed for more powerful music. Still, these early examples were rooted in re-interpretations of, or influenced by, old blues material. Later this was scrapped when Metal music began it's more widely known foundation.

The late 60's and early 70's is the more indisputable part of Metal history, where links are easily identified and the sound begins to ferment. In the late 60's and early 70's a little band came along called Led Zeppelin. Unable to be defined as a single style or genre, Led Zeppelin used the blues as their starting point but then progressed into new territories of loudness, mythology, and originality. At the time of their debut the Beatles also released the now infamous "Helter Skelter", which was considered the most successful heavy-sounding song released by a major artist. Led Zeppelin is today regarded as one of the first Heavy-Metal groups.

A year later two bands would arise that would inspire almost every Metal head to come, either in defiance or in imitation: Black Sabbath and Deep Purple. Black Sabbath arrived at their deep dark sound from an industrial accident involving guitarist Tony Iommy, causing him to down-tune his guitar and rely on power chords and simple fingering for easier playing. Sabbath's singer Ozzy Osbourne furthered the wailing of Robert Plant into a refined singing style. Also developed was the occult lyrics and imagery first introduced by Zeppelin on their fourth album.

Deep Purple aren't quite so easily labeled as Heavy Metal but their claim to be "the loudest band on earth" and their use elements now found in prog-rock are a clear beginning for what we now know as Heavy Metal.

Once we move beyond the very popular Black Sabbath, the more familiar names in Metal begin to arrive. Bands such as Kiss, Blue Oyster Cult, The Scorpions, Thin Lizzy, Alice Cooper and Judas Priest defined Meral during the late 70's.

But in the late 70's and early 80's a new music begin to encroach upon the popularity of Metal; Punk. Punk music stripped away the polished production of Heavy Metal and adopted a do-it-yourself approach and a lo-fi sound. As a reaction to this an underground of Metal sprung up and the genre defining groups Iron Maiden, Saxon, Motorhead, Diamond Head, and Def Leppard were named the "New Wave of British Heavy Metal" by Sounds writer Geoff Barton. This new group of musicians adopted many of the facets of Punk-Rock, but maintained a core sound and a disposition for long hair and stage theatrics. In America Van Halen was upstaging Black Sabbath as their opener and the virtuoso guitarist, almost a genre onto itself, was established. Neoclassical Metal and shred guitar became a new forefront in the development of Metal. Once MTV arrived in 1981, and Van Halen became a style onto himself, bands began to form around the Los Angeles scene which would use the Glam-Rock of Kiss and Alice Cooper, coupled with technical aptness of Van Halen, to create Glam-Metal. Groups such as Motley Crue, Quiet Riot, Warrant, and W.A.S.P., alongside east coast's Twisted Sister, Poison, and Cinderella, are considered in this category of Metal. The music was now reaching a new height, and the the inclusion of The Headbangers Ball on MTV, devoted entirely to broadcasting Metal videos, brought both a new popularity to the style as well as an opposition. From the underground camps of Metal came roars of dissent. Glam Metal was labeled "lite metal" or "hair metal", and a wall was set up distinguishing the more extreme sounds from the fluffier sounds available on MTV.

A band that crossed this border was Guns N'Roses, spawning a dangerous attitude that was popular among the Hair-Metal and underground crowds. Shortly after, groups such as Jane's Addiction arrived to support this dichotomy as well. Still in support of Glam-Metal was New York's Winger, and New Jersey's Skid Row, but beneath the mainstream was an underground so complex and expansive that music critic Garry Sharpe-Young has devoted multiple volumes of encyclopedias to mapping it. And this is where we are now; at the dispersion of Metal into it's various categories: Thrash, Death, Black, Power, Doom, and Gothic.

I have collected from the aforementioned stack a sizeable portion of each of the sub groups. All of these albums are fairly new, released within a year or less, and are the very underground of the underground.

In this album review article I am taking a light-hearted approach to these albums. I don't support exhuming someone's innards, or imagine violence when I'm bored; simply, from a musical standpoint I am trying to mine the cultural worth from this batch of forgotten music. Most of the time the reviews will be outlining things which I  normally wouldn't be looking for in music and trying to put a humorous swing on things. Basically, let's keep it light (of course, Metal Heads would strongly disagree with me on this one). As Frank Zappa said when questioned about censorship "They're just words", And this is just Music.

We're going to try and make our way from one edge of the spectrum to the next. So from Alternative or Nu-Metal towards Black, and eventually to Death and Experimental.

Andensum - Lucky Witness
Crash Records

From the cover and seeming amateurishness of this group's CD I was expecting to send this album straight to the discard pile. Imagine then my delight when I was pleasantly surprised hearing the first song, "Momentum", drag me into this band's allure. Utilizing the edge of hardcore Metal with the softness of alternative Rock, Andensum make it work.

Andensum are from Bicester, Oxfordshire, U.K. and are likened to Tool, System of a Down, and Incubus. I can see the similarities, but Andensum are interesting in themselves, albeit still in the developmental stages of their sound. They've got potential though, and if the popularity of Linkin Park is a sign, then this six piece outfit will eventually find a niche of devoted fans.

The lyrics are still filled with some angst and the mastering could use a little work, but the quiet-loud dynamics are a refreshing change from the constant onslaught of screams from the darker sides of Metal.

Lower Forty-Eight - Apertures
Monotreme Records

Lower Forty-Eight were formed in 2000  and Apertures is their sophmore release,  and a promising one at that. Critics in Europe and in America were impressed with their fusion of Punk, Metal, and Indie-Rock to create a unique kind of Alternative Metal that tries to evade classification.

What I particularly appreciate about Lower Forty-Eight is their forays into more melodic and experimental territory. At times the guitars will be just slightly off key and the sound, mixed with the accomplished drumming of Phil Becker, sounds rabid; beastly; carnal; yet still highly attractive.

Lyrical content is somewhat thought out and the phrasing is very rhythmic, but I just can't understand what singer Andrew Lund is trying to convey. Mostly he uses some kind of reference to religion, but I feel the message gets lost. The group has such a dynamic though that they can forego the desperate lyrics.

Lullacry Vol.4
Century Media

Perhaps following the example of Led Zeppelin, Lullacry released their fourth album, simply called Vol.4, in 2006. The group is from Helsinki Finland and adopt a Gothic Metal style. What makes them most interesting is their use of female vocalist Tanja Lainio as their primary singer. Lullacry couples her controlled singing with some manic guitar solos, deep distortion, and plenty of crash cymbals.

Inside their music is the theatrical quality which prevails so heavily in Prog Rock and Hair Metal; it sounds as though they have pyrotechnics exploding behind them at every beat - it only makes it more prevalent when Tanja can't stop singing about fire. This music isn't exactly deep, but it's quite fun.

I'll make a point to highlight the record labels that support Metal s well. So our first is Lullacry's label: Century Media.

Century Media is a worldwide record label supporting the very specialized market of Metal and Hard Rock music. Begun in 1988 with German thrash/crossover band Despair deciding to self-release their debut album, the label continued to release records from local groups until they were able to open an office in the US. Slowly and stubbornly they stuck to distributing Metal and it seems like it has paid off.  Metal is a huge market now, as evidenced by the sheer number of Metal groups, and Century Media continues to support it.

Age of Nemesis - Terra Incognita
Magna Carta

The technical virtuosity of this band is pure Progressive Rock. Age of Nemesis sound as if they are either watching dragons battle it out in the skies, or are musically serenading them with the kind of music dragons must love; fiery operatic rock, crushing Metal distortion, and a mastery of scales (get it?).

Begun in 1997 in Hungary, Age of Nemesis, formerly Nemesis, underwent several changes in members, including the unfortunate death of original lead singer Akos Thorday, before they became what they are now. Since their inception they wanted to create music without any commercial influence. Now signed to Magna Carta the band continues to construct concept albums at their own pace.

Terra Incognita is supremely cheesy and overblown and has to be appreciated for what it is. The album follows a cohesive narrative that links song to song, but all the while you get to indulge in the complex song structures, key changes, and wordy lyrics which make Progressive Rock so much fun.

Magna Carta is a Progressive Rock label that produces what I have found to be some of the best Prog Rock I could hope for. Information on the label is sparse, but if ever you want to start listening to Prog Rock I recommend the label's Prime Cuts series as a good beginning.

Crescent Shield - The Last Of My Kind
The End Records / Cruz Del Sur

Crescent Shield began in 2000 as a side project for Onward vocalst Michael Grant and Daniel DeLucie from Destiny's End. Eventually, once Onward disbanded, the two musicians devoted all their efforts towards Crescent Shield and recruited Craig Anderson(Ignite/ Engine) on drums and Melanie Sisneros (New Eden/ The Iron Maidens/ Sinergy) from Los Angeles.

This is a fairly old release, but it's actually really cool. I feel like I'm riding on horseback, facing the setting sun, and swinging an axe at evil foes of the "Metal Horde" while listening to it. The music is technically fascinating and utilizes the Progressive Rock guitar rapidity and operatic vocals to construct something like a musical Conan quest.

At first listen they've got a striking similarity to Ozzy Osbourne era Black Sabbath and that's a huge draw for me. But they stretch it to encompass a more "neo-classical" Metal voicing with clarity and brilliance. I actually really enjoyed some of the finer moments on this record.

Bible of the Devil - Diabolic Procession
The End Records / Cruz Del Sur


Chicago IL based band Bible of the Devil are either extremely hilarious or extremely poignant; and I just don't know which one it is. I mean, I love the music; the dual guitars, Mark Hoffman and Nate Perry, riffing off each other's hard-edged, sometimes sweet, melodies while Greg Spalding tears up the drums and Darren Amaya rips bass notes. But, I can't take them seriously for their purpose: to evoke images of "human dementia, conquest, urban debauchery, and violence". I get that they are being ironic, but I could learn about all that from a history book, not a Metal album. Nonetheless, I dig their slightly eccentric brand of Progressive Punk/Metal.

These guys have so much energy they play like their 18 but look as if their 38. The frequent shifts from mid-tempo to up-tempo, and their call and response style choruses are very entertaining. The more I listen to this kind of music the more I'd love to see this stuff be played at a jousting match or a dragon slaying.

Reanimator - Thrashin The NeighborHood
Galy Records

And now we make it to Thrash Metal, that head-banger's delight which grabs the speed and tenacity of Punk and fuses it with 80's Hair Metal. Still lingering is that intense clarity of Prog Rock, but now the rapidity has been amped up considerably.

Reanimator are a group of nineteen, or younger, kids from Montreal who look like younger versions of...every other Metal Group - but, they've still got that ferocity of youth. And once you kindly begin to ignore the fact that lead singer Patrick Le Pirate is screaming with an inaudible harshness, and probably isn't saying much anyways, the group begins to sound pretty good.

What is most refreshing about these guys is that they treat Metal like Fubar did; with an almost parodic sense of humor. And then you get surprised with sudden changes into some serious virtuosity. Thank goodness for Reanimator's animated optimism, or else Metal would look pretty bleak.

Galy Records are a Metal label operating out of Verdun Quebec. Their focus appears to be on fairly local talent, and with a tilt towards younger groups that just emerging on the scene. The music has a high quality from what I've listened to, the artwork is usually interesting - I expect only good things.

Cryptopsy - Once Was Not
Century Media

First off, so many Metal bands begin albums with a slow introductions lasting about one to two minutes and then they smash with an onslaught of noise on the second song. Why? Once it may have been surprising and unexpected, but now it's redundant - especially with Speed Metal like Cryptopsy. If I begin listening to a nice nylon guitar fluttering away I don't want to listen to a barrage of noise shortly after. But, strangely enough, Cryptopsy use this to their advantage.

Using the sudden burst dynamic as the format for their album, the fragments of noise become miniature capsules of condensed emotion and music waiting for the listener to piece them together one by one. In twenty seconds of double bass kicks, the same continuous note progression, a snare hit for every sixteenth note, and a grunty growl, more images fly by than a television in a tornado.

Oh, and Cryptopsy are also from Montreal, were formed in 1992, and are coming out with a new album in 2008. And their name, Cryptopsy, doesn't mean anything.

Infected Malignity - Re:bel
Galy Records

Deeper and Darker we go into the caverns of Metal.

Just after I had condemned the slow intro followed by harsh pounding I am treated to the delightful introduction of Infected Malignity's Re:bel. I completely dig this. The seamless shift from upbeat melodies to monstrous distortion is flawless. And look - oh! - the whole album is only six songs long. Someone edited.

Infected Malignity are Death Metal at it's finest. Broadening their sound-scapes beyond constricting walls of noise opens up their palette to a more inviting listen. The song titles are so obscure they can mean anything; one song is labeled "83721600" and another is "Fictitious Follower (And Conceit Man)". But the music outshines these superficial covers and creates something actually quite intricate, interesting, and at times really really good; like...beautiful.

The group is 3 Japanese Musicians and their entire biography is this :

"In September 2004,Infected Malignity was formed by Katsuyuki (Vocals),Takuma(Guitar)and Yuuto(Drums),ex-members of Defiant Manner, for playing US style brutal death metal. Line-up was complete after Keiichi(Bass) joined in October 2004. The band recorded 3 songs demo in December 2004. Keiichi left band due to shit problems in February 2005"

Satyricon - Now, Diabolical
Century Media

Deeper, Deeper.

Now we're entering into the darkness of Black Metal. Although, according to Wikipedia, this is more Death than Black Satyricon still follow the rule of the Devil and create a much larger foundation of the occult than a group like Infected Malignity would.

A large serving of pessimism grips Satyricon's music, with lyrics such as "We entered this world for nothing/ For no-one/ For anything" Chanted in a ritualistic fashion that utilizes a swirl of drums and distortion to wrap the listener in a trance. Once Satyricon breaks into their chorus though, screaming "Diabolical...Now!", it does sound pretty cool; satanism, pessimism, or what have you.

The two members Satyr (Guitars and everything else) and Frost (Percussion) pare down metal into it's most fundamental essence and create a strangely hypnotic sound. What's really baffling is the clarity of Satyr's vocals; it's like he actually wants me to hear what he's saying, how unusual. I can't say I agree with him, but I sure do like their music.

Xasthur - Subliminal Genocide
Southern Lord

Xasthur is one man creating ambient Black Metal. Formed in 1995 by Scott Conner, aka "Malefic", Xasthur creates extremely lo-fi recordings with lyrical (?) content focusing less on Satanic or Anti-Christian themes and more on astral projection, darkness, despair...you know, the other stuff.

Now this music is Black, so Black it barely even has a musical texture. When I listen to it my mouth goes dry and I become increasingly thirsty...which means I can also receive headaches. But, it's also extremely interesting. The noises created condense air into a pinhole of screams. Guitars become a black-hole. The synthesizers create dense atmospheres, and the layers of static perpetuate an expression of darkness.

I find the content fairly melodramatic, but I can dig where Malefic is coming from. I don't feel the same way, but I can intellectually comprehend his sinister emotions. Regardless of the power of the lyrical content, the sonic qualities of the music is interesting and a new step for Black Metal.

Southern Lord are an American Record Label created in 1998 by Greg Anderson and Stephen O'Malley which focuses on doom, sludge, drone and experimental metal. Influential groups such as Pentagram, Goatsnake, Boris, Khanate, and Sunn O))), call Southern Lord their home. Previous releases which Lucidforge has reviewed include Striborg, which I found to be another interesting experimental group focusing on the extremely disturbing darker side of chanting and metal.

Orthodox - Gran Poder
Southern Lord

Coming all the way from Seville Spain, these three musicians create epic - I mean twenty seven minute epic - songs from oddly simple slow lumbering riffs which expand and contract into symphonies of dark chords and eerie electronic wailings. Deceptively simple, Orthodox contains a landscape of Metal unlike anything Thrash, Speed, or Death can deliver. Nothing is quite as ominous as twenty seven minutes of intermittent pounding, a constant dark rhythm, and an occasional crescendo rising like a crooked mountain from a sea of thick black foam.

A fine ending to an extensive article, Orthodox's minimalism points in a new direction for Metal music; away from the mis-steps of Hair and Glam and into new territories of sophistication and experimentalism.

So there you have it. Besides all the over-masculinization, the hedonism, the self-harm, the violence, the in-audability, the fantastical escapism, the Satanism, and the pessimism I think Metal has something to offer. What that is, I don't know yet.