In November, just after what many have called the election from hell, I unexpectedly found myself becoming a metalhead. This transformation was entirely accidental, but now that I’ve embraced it, there’s no turning back. To truly understand this shift, let’s take a journey back in time—around 60 years.
For most of my life, I maintained a strong connection with the currency of popular music. In the early 1970s, I turned this passion into a vocation by diving into music journalism. Interestingly, my path to this career was unplanned—I never enrolled in journalism courses. Instead, I dedicated my studies to music, majoring at Portland State University. However, my most significant musical education came from listening to the radio during the 1960s. I would return home from school, tune into KISN at around 91 on the AM dial, and spend hours immersed in the latest sounds.
During that era, music was omnipresent. The legendary sounds of the Beatles, the Rolling Stones, Ray Charles, and James Brown filled the airwaves, each contributing to a rich tapestry of emotions that reflected the decade's ideals and events. By mid-1967, amidst the famous Summer of Love and the release of the Beatles’ groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band, I discovered an album that would change my life: The Velvet Underground and Nico. This record, filled with themes of heartbreak and excess, became my first significant talking point in countless debates about rock & roll.
Over five decades of writing for Rolling Stone, I found myself increasingly assigned to explore the history of rock music. My beat became writing about historical figures and events in the genre. Although many artists from the past may have departed, their influence remained alive and relevant. As William Faulkner wisely noted, “The past is never dead. It’s not even past.” This pursuit inadvertently led me to confront metal music in ways I never anticipated.
In October, I stumbled upon a fascinating 19-volume series titled Brown Acid, produced by RidingEasy Records. Initially drawn in by the word "acid" in the albums’ titles, I soon realized this collection was not psychedelic music but rather a raw expression of heavy rock emerging from the psychedelic era. The albums encapsulate a sound that was stripped down, featuring primarily guitars, bass, drums, and vocals—elements that resonated with me deeply.
These collections represent a form of proto-metal that has been largely overlooked and underappreciated. The same can be said for the Mindrocker series, a 13-volume collection that, though out of print, is still available on platforms like Spotify.
After immersing myself in the Brown Acid series, I became curious about the developments in heavy metal since the days of the Titans tour and Black Sabbath, a band I’ve always respected. As I embarked on this journey, I was astonished by the evolution of metal music. I took a closer look at two of its significant subgenres: black metal and death metal. This exploration opened my eyes to the rich history, themes, and cultural influences that shaped these genres.
While death metal originated in America, particularly in Florida, it evolved into something much deeper in places like Norway and Sweden. Black metal, with its roots in England and Scandinavia, also expanded globally, illustrating that metal is not solely an American or British phenomenon. The themes within these genres vary widely, with black metal often delving into philosophical explorations of evil, while death metal tends to focus on musical prowess and recording techniques.
Black metal emerged as a more complex genre with troubling manifestations, particularly in Norway. This subgenre gained notoriety for its controversial figures and events, including the tragic murder of a musician within the scene and a series of church burnings that occurred in the 1990s. Despite these dark chapters, black metal has evolved, with many artists now using their platform to resist fascism and nihilism, fostering a community that values artistic expression and solidarity.
Today, black metal is a genre filled with rich sonic possibilities and creative expressions. Bands like Liturgy, led by Ravenna Hunt-Hendrix, bring a unique approach known as “transcendental black metal,” aiming to express uplifting themes through their music. Furthermore, there are numerous anti-fascist and inclusive black metal communities actively working to reshape the genre's narrative, as highlighted by journalist Kim Kelly, who has been instrumental in exposing hate bands within the scene.
Metal music has transcended borders, with vibrant scenes flourishing in countries like France, Italy, Brazil, Israel, Egypt, Japan, and China. The genre's diversity is staggering, and I have been continually impressed by the quality of international metal acts, many of which come from cultures where English is not the primary language. This global perspective brings fresh perspectives and new elements to the metal sound.
With thousands of metal bands worldwide, the scene is incredibly vast and often underrepresented in mainstream media. While there are dedicated online platforms documenting this scene, such as Angry Metal Guy, the best way to discover new music is through streaming services like Qobuz, Apple Music, Spotify, and Tidal. However, nothing compares to Bandcamp, where you can explore entire discographies and support artists directly. It has become a treasure trove of metal albums, often available at remarkably low prices.
It’s fascinating to note that both black and death metal have spawned numerous subgenres, including atmospheric black metal, progressive black metal, and Christian death metal. Each subgenre brings its unique sound and perspective, making it a challenge to keep track of all the nuances. Metal has become more of an umbrella term encompassing a vast array of styles and voices.
Despite its richness, I do have some reservations about certain aspects of metal music. The guttural vocal styles common in many bands often make lyrics difficult to comprehend, which can be a significant turnoff. Additionally, the lyrical themes in death and black metal often lean towards pessimism and darkness, which can feel repetitive over time. While great bands exist within these genres, finding a lyricist who captures profound truths akin to Bob Dylan remains elusive.
As I continue my exploration of metal music at the age of 73, I find myself on a rewarding journey that I never anticipated. Since November, I have cataloged over 7,300 albums from more than 4,000 bands, immersing myself in this world. My evenings are now consumed by the sounds of metal, even as my wife occasionally reminds me of the volume levels.
So why did I suddenly develop an obsession with metal music in my 70s? Perhaps it's the turbulent times we are living in, or maybe my sunny disposition has taken a darker turn. Regardless, I am now firmly entrenched in the world of metal, and I look forward to spending my remaining days discovering the depths of this incredible genre.
