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Metal Stuff’s 2017 Review: The Year in Metal

The Good

It was a good year for metal releases.

I think the metal community got spoiled after last year’s “metal bubble” and the Thrash revival. Compared to the incredible amount of good music that got dumped on us anything is going to seem lackluster, but 2017 was a good fucking year for heavy music (once you accept that 2016 was a happy fluke).

Metal Stuff Top 15 albums of 2017

15) Suffer in Paradise – Ephemere

Suffer in Paradise - Ephemere

Quality Funeral Doom from Russia, this album was my “October surprise” for 2017. The synth is a little weird at first, but the contrast lends to the overall atmosphere of the album.

 

14) Loss – Horizonless

Loss - Horizonless

I actually didn’t like this album the first time I listened to it. Glad I gave it another chance – guess it’s more of a grower than a shower. Not necessarily a bad thing, albums like that tend to stand the test of time.

 

13) Nortt – Endeligt

Nortt - Endeligt

Holy fuck. This solo Funeral Doom project from Denmark never disappoints. His last album (Galgenfrist) was released 10 years ago, and the decade long wait for the new album was more than worth it. Dark, gloomy, cold, and most importantly heavy as fuck.

 

12) Belphegor – Totenritual

Belphegor = Totenritual

I’ve been stoked for this album since Belphegor released the video for “Totenkult – Exegesis of Deterioration” 2 years ago. Another album that was well worth the wait.

 

 

11) Akercocke – Renaissance in Extremis

Akercocke - Renaissance in Extremis

A lot of people didn’t like the clean vocals on the album. I’ll admit, Jason isn’t getting any younger – and time has taken a bit of a toll on his vocal chords. But as a whole, that doesn’t really take away from the album for me. The band is as sharp as they’ve ever been, and while the cleans in some sections seem a bit strained, I almost wonder if that’s intentional – because if you listen to other tracks (like the one below), the cleans are pretty fucking good. I dunno, judge for yourself.

 

10) Tie (Cannibal Corpse – Red Before Black and Morbid Angel – Kingdoms Disdained)

I couldn’t choose, both bands released some quality material this year (in both cases, also significantly better than the previous release). Straightforward, in your face death metal with no bells or whistles.

 

9) Kreator – Gods of Violence

Kreator_-_Gods_of_Violence

Right on the tail end of the Thrash resurgence, Kreator dropped an excellentalbum that (like most albums released in the first half of the year) seems to have been left out of people’s top albums of the year. Why/How is beyond me, this album is quintessential thrash.

8) Bell Witch – Mirror Reaper

Bell Witch - Mirror Reaper

Probably the Funeral Doom release that received the most hype this year (for good fucking reason), the album has lived up to and surpassed any expectations I had. Mirror Reaper seemed to dance on that “invisible line” in the doom metal spectrum between Funeral Doom and Drone (not a bad thing)

 

7) Eluveitie – Evocation II

Eluveitie-Evocation-II-Pantheon

I know, I know. It’s a fucking acoustic album on a top metal albums of the year list. Since recruiting like 20 new members, it’s cool to see these guys bouncing back stronger than ever.

The band already has a full-on folk metal album in the works, and I’m as excited as a pig in shit. If the entire album holds up to the teaser single below, we’re in for a treat next year.

 

6) Mesmur – S

Mesmur-S

These guys need to cough up some merchandise so I can throw more money at them. This was another album that caught me completely off guard this year. Pure sonic embodiment of despair.

 

5) Funeris – Dismal Shapes

Funeris - Dismal Shapes

Argentinian Funeral Doom mastermind Alejandro Sabransky delivers another masterpiece. This guy just writes riffs that satisfy my addiction to heavy music. Punishingly heavy – this really is an album you need to lay down, turn off the lights, and let wash over you.

 

4) Frowning – Extinct

frowning - extinct

The sophomore release from German solo Funeral Doom act Frowning was one of the two albums I was most excited to hear this year. I’ll tell you something, Val doesn’t disappoint. This is pure Funeral Doom that doesn’t sacrifice the residual aggression and heaviness of Death Doom. I really can’t say enough good about this album, or this artist. This is what Funeral Doom is supposed to sound like.

 

3) Temple of Void – Lords of Death

Temple of Void - Lords of Death

This was the third album that caught me completely off guard and blew me out of the water this year. Dark, crushing riffs – if a “holy shit” level of heavy is what you’re looking for then look no further.

 

2) Dying Fetus – Wrong One to Fuck With

DF - Wrong one

This is another album that got a lot of beaming reviews, but failed to make most people’s end of year lists. Odd, considering the hype leading up to the album – and how well the band delivered.

1) Unleash the Archers – Apex

UTA - Apex

Favorite album of the year hands down. Hands fucking down. There’s literally nothing I can say about this album that hasn’t already been said. The musicianship is solid, and they’ve managed to capture that “American Metal” production delivering a crystal clear sonic assault directly to your ears. Brittney Slayes vocal chords are simply amazing, I’m a rather big fan of the layered harmonies on a lot of the songs. Even the concept of the album (yes, I’m a sucker for concept albums) is fucking awesome – a stone giant sleeping in a mountain is summoned by an evil sorceress to gather her sons from around the world so she can sacrifice them and gain immortality – told from the viewpoint of the stone giant. Catchy and fun while undeniably heavy and metallic, this is an album you shouldn’t miss.

Honorable Mentions:

Alestorm – No Grave but the Sea, Pallbearer – Heartless, Septicflesh – Codex Omega, Obituary – Self Titled, Myrkur – Mareridt, Electric Wizard – Wizard Bloody Wizard, Skyclad – Forward into the Past, Decapitated – Anticult, Suffocation – …of the Dark Light, Code Orange – Forever, Æther Realm – Tarot

The Year of OSDM

As predicted last year, metal moved forward from a year of thrash to a year of old-school death metal. It’s not some ground breaking revelation, that’s the order extreme metal evolved in organically.

Once you accept the fact that everything is cyclical, it makes perfect sense that the next phase of metal releases would include the original death metal pioneers.

I’d say releases by Cannibal Corpse, Morbid Angel, Obituary, Decapitated, Six Feet Under, Suffocation, and Autopsy certainly support my ongoing theory that extreme metal movements will mirror the original evolution of the sub-genres.

At this point I would like to predict a major swath of Black Metal releases next year. Dark Fortress, Isahn, Immortal, Shining, Watain, Dimmu Borgir, and Nachmystium all have material in the studio and are all expected to release albums next year – so we’ll see.

Other cool shit

There’s a new fucking Demons and Wizards album coming out next year. New Eluveitie as well.

Be excited.

Be very excited.

I don’t think there was a single bad Funeral Doom release this year. Obviously, the big story here was Bell Witch’s new album – I think there was better FD released this year, but I gotta hand it to these guys – Mirror Reaper was an excellent fucking album.

 

The Mediocre

There were bands that, by all rights, should have released some groundbreaking fucking material that just decided to coast this year.

Arch Enemy released “War Eternal Part II”, but decided to call it “Will to Power”. For fucks sake, they’ve got Jeff Loomis and this is the best thing they could come up with? Oh, and that thing when Amott said there’d never be clean vocals on an Arch Enemy album? Yeah, that’s gone. Goddamn it. I love every fucking member of this band, which is why I’m probably a little over critical, I just hate to see a super group of this magnitude cashing out so soon.

Empire of Sand by Mastodon was another one that really bugged me. “Show Yourself” was utter garbage.

Also disappointingly mediocre – TBDM, Dragonforce, GWAR, and Trivium.

 

The Bad, the Really Bad, and the Ugly

Shit went down when #rapegate hit heavy metal. Decapitated, Suicide Silence, Inanimate Existence, Twiggy (Marilyn Manson’s guitarist), Anthrax’s old guitarist Dan Spitz, Shining. I’m sure there was more. Oh yeah, Gene Simmons – that one caught me totally off guard.

Deaths:

  • 1/28 – Geoff Nicholls (Black Sabbath)
  • 2/13 – Trish Doan (Kittie)
  • 4/5 – Paul O’Neill (Trans-Siberian Orchestra)
  • 5/17 – Chris Cornell (Soundgarden)
  • 7/14 – David Zablidowsky (Trans-Siberian Orchestra)
  • 7/20 – Chester Bennington (Linkin Logs Park)
  • 9/22 – Eric Eycke (Corrosion of Conformity)
  • 10/21 – Martin Eric Ain (Celtic Frost)
  • 10/22 – Daisy Berkowitz (Marilyn Manson)
  • 11/1 – Scott Wily (Vital Remains)
  • 11/7 – Whitey Glan (Alice Cooper)
  • 11/9 – Chuck Mosley (Faith No More)
  • 12/13 – Warrel fucking Dane (Sanctuary, Nevermore)

 

Black Sabbath disbanded too.

So yeah, there’s all of that. I probably missed something.

Weird fucking year.

 

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Heavy Metal and Christianity

All human social groups share certain characteristics – on a micro level (individual interactions) and on a macro level (large-scale group dynamics). For the purposes of this article, I could choose any large social group in the world – religious or otherwise. I chose to use Christianity for two reasons.

First, the rather tenuous relationship between Metal Culture and Christianity since February 13th, 1970, when Black Sabbath released their first album.

Second – heavy metal collectively has the largest and most loyal global fanbase of any style of music (at least according to statistics released by music streaming service Spotify). Considering Christianity has the largest following of any religion on earth, they’re probably the best point of comparison (i.e. the largest faith based and entertainment based communities in the world). And you might be shocked at the number of similarities between the two.

Please keep in mind this is an observational piece, and is by no means all-encompassing. On to the discussion.

Similarities:

Both are large-scale global “bricolage” cultures

Metal and Christianity are global phenomenons, with legions of dedicated fans/followers on every populated continent. Christianity and Heavy Metal transcend language and culture, as well as economic barriers.

Christianity broke off/fractured from it’s parent culture (Judaism) when the population base reached a critical mass. It later fractured into distinct branches (Orthodox, Catholic, then Protestant with Martin Luther), which have continued to splinter into smaller sub-groups. The sheer number of different denominations is staggering, but all of them fall under the larger umbrella term of Christianity.

Metal broke off/fractured from it’s parent culture (Rock and Roll) when the fan base reached a similar critical mass. It later fractured into two distinct branches (Mainstream and Underground/Extreme), which have continued to splinter into smaller sub-genres. The sheer number of different sub-genres is staggering, but all of them fall under the larger umbrella term of Heavy Metal.

Both Share Similar Spectrums of Adherence

In both Christian and Metal cultural groups there are spectrums of adherence that range from exclusive to inclusive (and everything inbetween). This is a natural occurrence – because as the population of a group increases, so does the number of different opinions within that group.

A good example would be the “real” or “true” member debates. Within Christianity, there is an ongoing discussion in terms of what constitutes a “real” or “true” Christian. A parallel can be seen in the whole “real” or “true” metalheads v.s. posers discussion. in other words, both cultures have their fair share of “infighting” over multiple definitions of adherence.

Have you ever heard someone say, “Why do we need all these subgenres? Why can’t we just call it all metal like we used to?” or something similar? Spend enough time on metal forums, Facebook groups, or with metalheads in general and you might notice it’s a rather common topic of discussion.

Interestingly enough, when discussing the relative diversity of Christianity with Christians I’ve heard similar sentiments (We don’t need all these different denominations/I don’t know why we can’t just call it all Christianity).

There is some merit to these arguments, because all sub-genres and scenes fall under the greater spectrum of Heavy Metal just like all protestant and catholic denominations fall under the greater spectrum of Christianity. So, they’re accurate – just not very specific.

Both are Historically Male-Dominated Cultures

Considering both Christian and Heavy Metal culture are derivatives of Western Culture (which is mostly male dominated) this shouldn’t be that much of a surprise.

There is a major difference here though – Christianity was systematically set up to exclude women from positions of power pretty much since it’s inception. A good example of that would be the taboo against female priests/pastors. Metal, however, is masculinist (as opposed to patriarchal).

So, while both social systems formed with predominantly male influence – in this instance the difference is a huge one. Within the church’s social structure – rules have to be changed to allow women to serve the culture in major roles such as a priest or pastor.

Heavy metal has no such restrictions. A women entering the metal scene simply has to navigate social norms that are traditionally considered to be masculine (I’m talking about the scene here, not the industry. All Western industry is patriarchal). The proof is in the pudding here, while the two systems may seem comparable, the end result(s) of the respective social structures for different genders can clearly be seen and differentiated.

Both Christianity and Heavy Metal Have Radical “Fringe Groups”

Both Christianity and Metal Culture have a few skeletons in the closet. Heavy Metal has such gems as National Socialist Black Metal and Hatecore (technically punk, like all of the “-core” derivations, but included here because of hardcore’s association with metal), while Christianity boasts the Ku Klux Klan, the Aryan Nations and other Christian Identity groups.

“Fringe” hate groups in Metal

“Fringe” hate groups in Christianity

These fringe groups aren’t just about racism, anti-abortion violence in the United States and abroad generally has Christian undertones. And Heavy Metal has it’s own share of isolated, hate-filled violence. From the infamous church burnings and murders to instances of torture, it’s safe to say there are a few very seriously disturbed individuals on the fringes of the scene.

In both instances, the major block of the respective cultures renounce the violence of the fringe groups – but these events are so violent and atrocious it’s hard to separate them completely.

Both Have a “Ritual” Component

Sociologically speaking, a metal concert could be considered a ritual experience. Rituals aren’t limited to religious expression – for instance, shaking a person’s hand as a greeting is a common social ritual.

The metal concert is a ritual of heavy metal culture worldwide. Individual customs may vary based on location, for instance in the United States it’s generally considered taboo to wear the shirt of the band you’re going to see at a show (unless it’s a tour shirt purchased at the concert). However, in other areas of the globe this isn’t necessarily the case. Also, someone not familiar with the incredible variance of metal culture might not recognize that a Black Sabbath show and a Cannibal Corpse show are both considered to fall in the general realm of metal shows.

Likewise, a church sermon is a ritual of Christian culture worldwide. Traditions in American churches might seem foreign to those in Europe or elsewhere. Snake-handling is a tradition of some churches in the southern United States, while the custom wouldn’t be recognized anywhere else in the world. Someone not familiar with the relative diversity of Christianity might not recognize that a Russian Orthodox service and a Southern Baptist service both fall in the general realm of Christian ritual.

And in both cases, the end result of a successful “ritual” is the same – they solidify social bonds between participants.

Both Utilize an Atmosphere of Persecution to Solidify Their Respective Bases

This one’s kind of interesting – as both Heavy Metal and Christianity have a history of persecution. In fact, considering the universal symbol of Christianity is an instrument of torture used against the founder (the cross), one could argue that Christianity is based on a mindset of persecution. Likewise, the founder of heavy metal (Ozzy, through Black Sabbath) was publicly persecuted (granted, he wasn’t tortured and killed – once of the nice things about 2,000 years of cultural advancements, as an accusation of blasphemy has certainly led to public execution historically), most notably in his Suicide Solution trial in the 80’s.

Funny thing about a culture of persecution – it tends to solidify social bonds of the persecuted group and lend a universal sense of purpose through opposition of the invisible “other”. Metal bands and Priests/Pastors alike take advantage of this social mechanism rather liberally. I’m not saying it isn’t for good reason, in certain parts of the world Christians and Metalheads certainly are persecuted – and generally for the same reason. Because they both represent the spread of Western Culture in an area. Bearing this in mind, the tension between metal and christian cultures can be viewed in a different light.

Now, by definition these two groups aren’t mutually exclusive. You can be a christian (or a member of any other faith) and still be a metalhead. So, why is it that so many christian groups are against heavy metal? And why are so many metal artists and fans so vehemently against the christian church?

Short answer – on a macro level they’re after the same thing… membership. They might phrase it differently – Christianity generally says it’s around to “save people’s eternal souls”, while metal is generally there to “free people’s minds” and “promote individual thought”. But at the end of the day, the results are the same. A church saving a person’s soul generally implies participation in christian culture, and by inference the spread of that culture. Likewise, heavy metal grabbing a person’s attention and getting them to think for themselves usually includes participation and perpetuation of metal culture.

They Both Utilize Horror Themes

At first glance, this might seem ridiculous. But if you really break down the components of “Hellfire Preaching” and compare them to death metal lyrics, you’re likely to find a common denominator in horror themes.

In both instances, this is a manifestation of a culture catering to the morbid interests of their bases. Because at the end of the day, there isn’t that much difference between talking about people being tortured eternally in hell and singing about torture in any other medium. In this light heavy metal and hellfire sermons can both be viewed as extensions of horror themed entertainment. Because let’s face it, people like to be scared.

Also, there’s this.

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Romanian Government Decrees all Metal Shows Must be Approved by the Church

Following a show by the band Dark Funeral at Rock Castle, Romania (a country that upholds the controversial figure Vlad the Impaler as a savior of Western civilization) has recently announced that all future metal shows in the area will have to be approved by the orthodox church. How ironic.

The first I heard of this situation was through the facebook posts of Lord Ahriman and his band Dark Funeral.

Dark Funeral

This is part of the greater narrative between metal and the church in Eastern Europe and Russia. With events such as arresting and then deporting Behemoth, sending a military unit to break up a cannibal corpse show while banning the bands lyrics and artwork, and more recently Russian Orthodox Priests spitting on metal bands at the airport – it’s safe to say the orthodox church has a stranglehold on both the government and culture of the area. Conflict between the church and extreme metal artists is not new – and often quickly reported on by independent metal media. And up until this point, the conflict has been centered on specific bands – and metal media has been quick to report on such things.

So why is it that now, when ALL METAL is being targeted by a cooperation between the government and church of Romania, is metal media silent about this? This isn’t targeted towards a specific band – they’ve literally declared that all metal shows must be approved by the church. This sort of censorship hasn’t happened in Western Culture since the fucking dark ages. Where is the metal media when it is needed the most? Where are the Social Justice Warriors/Hipsters who bitch about minor isolated occurrences in the metal scene and make them out to be such grand struggles?

I’ll tell you where they are. While parts of the world are working hand in hand with the church to ban metal music and oppress thousands of metal fans – sites like Metal Injection, MetalSucks, Blabbermouth, Pitchfork, Lambgoat, and the like are busy promoting a band that calls itself black metal while spewing a manifesto that goes completely against the spirit of the genre. They’re literally promoting a band that would see black metal reduced to a socially acceptable construct, free of the transgression inherent in the DNA of the genre.

I guess it’s only worth writing about if it effects a rich American white kid who pretends to be edgy and like transgressive art. It’s a sad day when the metal media is so self absorbed that they miss something as huge and culturally significant as what is going on in Romania right now.

Hornsuprocksdarkfuneral2016

Thank god the members of Dark Funeral have the fucking balls to stand up for transgressive art and freedom of speech and expression in an area that obviously needs it.

 

Both the Romanian government and metal media should be ashamed of themselves for their conduct (or lack thereof) towards this situation.

EDIT:

A note to the Romanian people,

I am not writing this in any way, shape, or form to insult the Romanians as a whole. The purpose of this article is to shed some light on a disturbing situation that is unfolding in your country.

Recently there was a festival at Bucovina Rock Castle with roughly 10,000 attendees. Following the show, the cultural association “Saint Metropolitan Dosoftei” caved to pressure put on them by a local priest.

The reaction was to grant him the ability to decide which bands are allowed to play in the town. This is in violation to several sections of the Romanian Constitution.

It violated article 15 (All citizens enjoy the rights and freedoms granted to them by the Constitution and other laws, and have the duties laid down thereby) by giving the priest and his congregation the freedom to take away the freedom of the 10,000 concert attendees.

Article 15
(1) All citizens enjoy the rights and freedoms granted to them by the Constitution and other laws, and have the duties laid down thereby.

It violated Article 16 (Citizens are equal before the law and public authorities, without any privilege or discrimination) in the same manner as article 15.

Article 16
(1) Citizens are equal before the law and public authorities, without any privilege or discrimination.

(2) No one is above the law.

It violated Article 29 almost in it’s entirety by forcing the religious ideals of one group on the masses.

Article 29
(1) Freedom of thought, opinion, and religious beliefs shall not be restricted in any form whatsoever. No one shall be compelled to embrace an opinion or religion contrary to his own convictions.

(2) Freedom of conscience is guaranteed; it must be manifested in a spirit of tolerance and mutual respect.

(3) All religions shall be free and organized in accordance with their own statutes, under the terms laid down by law.

(4) Any forms, means, acts or actions of religious enmity shall be prohibited in the relationships among the cults.

(5) Religious cults shall be autonomous from the State and shall enjoy support from it, including the facilitation of religious assistance in the army, in hospitals, prisons, homes and orphanages.

(6) Parents or legal tutors have the right to ensure, in accordance with their own convictions, the education of the minor children whose responsibility devolves on them)

It violated article 30 by allowing censorship of the freedom of expression of the 10,000 concert attendees:

Article 30
(1) Freedom of expression of thoughts, opinions, or beliefs, and freedom of any creation, by words, in writing, in pictures, by sounds or other means of communication in public are inviolable.

(2) Any censorship shall be prohibited.

(3) Freedom of the press also involves the free setting up of publications.

(4) No publication shall be suppressed.

(5) The law may impose upon the mass media the obligation to make public their financing source.

(6) Freedom of expression shall not be prejudicial to the dignity, honour, privacy of a person, and to the right to one’s own image.

(7) Any defamation of the country and the nation, any instigation to a war of aggression, to national, racial, class or religious hatred, any incitement to discrimination, territorial separatism, or public violence, as well as any obscene conduct contrary to morality shall be prohibited by law.

(8) Civil liability for any information or creation made public falls upon the publisher or producer, the author, the producer of the artistic performance, the owner of the copying facilities, radio or television station, under the terms laid down by law. Indictable offences of the press shall be established by law.

It restricts access to culture guaranteed under article 33…

Article 33
(1) The access to culture is guaranteed under the law.

(2) A person’s freedom to develop his/her spirituality and to get access to the values of national and universal culture shall not be limited.

(3) The State must make sure that spiritual identity is preserved, national culture is supported, arts are stimulated, cultural legacy is protected and preserved, contemporary creativity is developed, and Romania’s cultural and artistic values are promoted throughout the world.

It opens the door to economic restrictions on local metal bands not approved by the priest, and allows for the possibility of future violations of your citizen’s rights by limiting their access to the local economy in violation of article 45.

Article 45
Free access of persons to an economic activity, free enterprise, and their exercise under the law shall be guaranteed.

And the town council members are in violation of articles 54 and 57 through this act…

Article 54
(2) Citizens holding public offices, as well as the military are liable for the loyal fulfilment of the obligations they are bound to, and shall, for this purpose, take the oath as requested by law.

Article 57
Romanian citizens, foreign citizens, and stateless persons shall exercise their constitutional rights and freedoms in good faith, without any infringement of the rights and liberties of others.

So, while I might not live in Romania – the internet allows access to your laws. And your constitution is obviously based on the United States constitution (which I am very familiar with).

Maybe instead of getting angry at a person you will never meet over the internet you can focus your energies on protecting the rights of the 10,000 people who had multiple constitutional rights violations perpetrated against them to silence a dissenting priest and his congregation. Nothing about this action is OK.

Council of Suceava

When anyone acting under the authority of a government (even a public arts council who appropriates government funding) – they are acting for that government. The Suceava Council (elected officials) have responded to a letter from a pastor – stating they will allow him to have some say in who does and does not get to play in the country. So, when I say “Romanian Government decrees” that is exactly what I mean, and it is 100% true. Because, until your government says otherwise – this is the will of the Romanian government and people. You’re allowing the church to remove the rights of taxpayers, and to dictate the use of your tax dollars into cultural events that have to be approved by the church. That’s not democracy – that’s oligarchy.

Say Hello to the Face of This Years Summer Slaughter Tour

If you don’t care who funds a festival (as long as the lineup is good) you should have no problem with this article. After all, you don’t care.

But if you’re like me, you know these people…

AA-asking-alexandria-23957158-500-344black_veil_brides_by_bleedingstarclothing

…have absolutely no place representing an extreme metal festival.

Don’t get me wrong, the lineup for Summer Slaughter this year is light years ahead of what it was last year. It’s fucking fantastic… but it’s brought to you by a movie entitled, “American Satan.”

At first glance, that seems pretty cool. The names kinda lame, but at least it seems to be a rock/metal oriented movie. But then, looking at the cast, I noticed it’s starring the lead singer of the Blackveil Brides, as well as a member of Asking Alexandria.

What the actual fuck?!?

When the Summer Slaughter tour started out, it was a force to be reckoned with. They’re continually billed as “the most extreme tour of the year” and have been pretty famously advertised as catering to fans of “extreme metal”. And for the first year of their existence, this was true.

Then came the slow descent – the lineup steadily got worse every year. I would argue that a big portion of this is due to the participation of Sumerian Records. Initially the label brought diversity to the bill, which isn’t a bad thing. It’s what you’re supposed to have at a festival. But I started noticing a pattern – a few big names in death metal were being used to add star-power to a tour that progressively started catering to an indie label (like independent startup label, not to be confused with shitty millennial/hipster Indie rock).

I’m trying to think of another tour that changed their business model to cater to an indie label with a shitty roster.

Oh wait, now I remember. The Mayhem festival.

I’ll take you one further – Mayhem started to go downhill the same year that Sumerian Records got their own stage (2013). The lineup that year was actually pretty awesome (on par with how awesome this years Summer Slaughter lineup is, considering the formats of the festivals). Post 2013, these changes cause the decline I’ve been referring to. Mayhem went so far downhill, in fact, that it literally dampened the concert draw of headliners like Slayer.

Slayer had played the same venues as Mayhem the previous year, selling out concerts. Strangely, Mayhem didn’t. But why?

Kerry King said it best:

“Do I know this tour wasn’t booked correctly? Absolutely I know this tour wasn’t booked correctly. Gary Holt made the comment that usually there’s the Main Stage, a second stage, a third stage, and then that piece of shit record stage…now what they’re calling a second stage is at best a fourth stage and they’re wondering why people aren’t showing up.

In case you’re not familiar with the whole Mayhem festival debacle, I’ll save you the trouble of a google search. It completely imploded and dissolved.

So let’s recap for a second.

Mayhem festival started out with huge names, as a rather diverse metal festival. They had some heavy hitters, and then filled the roster with up-and-comers from independent record labels that catered to scenes that weren’t even fully accepted in the metal community (This is a good thing, it’s how we keep the music going – but there’s a point, I promise. Bear with me). Slowly they allowed said the independent record label to change the business model of the tour – taking creative control. The label (Sumerian) started using this opportunity as a springboard for shameless self promotion. They even changed the business model of the tour, adding a stage exclusive to the label. After these changes, the tour had one more fantastic lineup. The tour continued with the failed business model and completely dissolved within a period of two years. And it wasn’t pretty. Even Slayer couldn’t save it. Fucking Slayer. This is just as much the fault of that complete garbage label Victory Records, but they never would have been included on the tour in the first place if Sumerian hadn’t paved the way.

Summer Slaughter started out with huge names. They were a specialized festival, but still very diverse. They started making changes and incorporating bands outside the format from a certain scene-catering record label.  Enter 2016. The Summer Slaughter tour lineup is incredible (exactly what happened when Sumerian got their own stage at Mayhem ), but the promoters have allowed Sumerian to use it as a springboard to promote their shitty movie starring members of Blackveil Brides and Asking Alexandria.

The point is…change is not, by itself, a bad thing. In fact, innovation is one thing that keeps metal going. However, when a festival makes changes that have proven to be fatal for their peers, it’s a very bad thing.

Now, I’m not knocking fans of BvB or AA. I personally, despise that style of music, but different strokes for different folks. I don’t have a problem with them, or their fans.

I do, however have a problem with them being the public faces of a tour that promotes itself like Summer Slaughter does (this isn’t the fucking Warped Tour). Especially when you connect the dots and see that this is exactly the sort of business move that shut down Mayhem. I, for one, will not let the majority of my ticket sale go to putting people from Blackveil Brides and Asking Alexandria on the big screen.

A common argument I hear in favor of this sort of sellout move is that the big tours need the money to keep going. Valid argument. Hmmm, is there something they can do to keep the festival in the running without selling out? Maybe they can do what Maryland Death Fest did. They decreased the number of stages to a manageable level, kept all the bands on the bill. A few people might be butt-hurt about it, but they made a sound business move while keeping the integrity of the festival intact. And those guys have been going for at least 5-6 years longer than Summer Slaughter. So, it is not only possible to keep the integrity of the festival intact by not bowing to corporate sponsorship – it might just add to the longevity of the event.Sponsors don’t just give you money and expect nothing in return. The guys at Maryland Death Fest know this.

I think it’s safe to say, if promoters think it’s ok for members of Asking Alexandria and Blackveil Brides to be the public faces of Summer Slaughter they deserve to go down as swiftly, painfully, and publicly as Mayhem. Long live Maryland Death Fest!

Clean Vocals: Partially Selling Out or Completely Selling Out?

Contrary to the title, I actually really like clean vocals in metal. As long as they’re not whiny and angst filled.  This does seem to be a major point of contention in the metal community.

Some people absolutely love it, and some people can’t stand it. Especially in sub-genres like Melodic Death Metal (and it’s American cousin Metalcore), clean vocals have become so commonplace it’s almost camp. Bands like In Flames, Soilwork, Scar Symmetry, Solution .45, Killswitch Engage, Shadows Fall, All that Remains, and the like have been using clean vocals for years – with great success. The list goes on.

And more recently bands like Lamb of God, Whitechapel, Hatebreed, and Amon Amarth have had clean vocals on at least one track of their albums.

The way I see it, there are two things you need to look at when evaluating a band using clean vocals.

  1. Why are they doing it? This should be pretty obvious. If a bands been playing pretty much the same thing for over a decade, sometimes they just want to switch things up. Which is cool, you have to respect artistic integrity and the willingness to branch out and try something new. If the band hasn’t gotten a lot of radio play, and suddenly they have a song with a clean chorus on your local rock station – then you know exactly why they did it. Not cool. I understand wanting to get popular, but if you’re even remotely familiar with heavy metal you should know that you aren’t getting into it for radio play.
  2. Do you like it? I’m actually talking about listening to the song objectively. Maybe this will be the song that makes things “clique” in your head and makes you enjoy a clean chorus now and then. Maybe you just absolutely hate them all, and this will only confirm it for you. If you don’t give it a chance and actually listen to it first before passing judgement – you’re just a fucktard.

Personally, I think there are certain vocalists who should never do clean vocals. I don’t see Karl Sanders from Nile or Corpsegrinder from Cannibal Corpse branching out and doing clean vocals just yet. And that’s cool – if they did I’d be more worried about the world ending.

But clean vocals are a pretty integral part of metal. Besides the obvious Judas Priest and Iron Maiden, guys like Phil Anselmo from Pantera and Warrel Dane from Nevermore have been incorporating clean vocals for years.

And if you have anything negative to say about Nevermore, you’re wrong and I hate you. Those guys fucking rule, and Jeff Loomis is a god.

In fact, even bands like Arch Enemy have been toying with the idea of incorporating clean singing. Alyssa White-Gluz did a lot of them in her prior band The Agonist (they’ve actually gotten a lot better since she left the band, Victoria is a much better fit with their sound).

Also, Manowar has clean vocals. And Manowar kills posers with steel. Your argument is invalid.

In summation, if you don’t like clean vocals pull up your big kid pants and don’t fucking listen to it.

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