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COUNTDOWN TO EXTINCTION (Posted May 13th 2010 on Metalsucks.net)

OldPeople

In the last few years, something seemed to happen and I barely noticed. Suddenly, I’m no longer the young kid at the show. I’m one of the guys hiding out by the bar. I’m not crowd surfing, not covered in sweat with my shirt off, and I’m certainly not moshing. I’m also not randomly yelling “Slayer!”, but that seems to span all demographics. I became… (gulp)… an adult. I don’t know what the range is in the ages of the followers of MetalSucks, but I’ll assume that it’s a mix of younger and older metal fans. I am 29 years old, but I still feel relatively young and energetic considering my opening salvo. I’m the youngest member of my band, and younger than a good majority of my friends in bands and the industry.

With that said, I think there comes a time for all metal heads, and probably all adults for that matter, when you look at what is popular amongst the true youth culture (16-24), and you feel as if not only do you not relate to it, but it feels alien, as if it’s creation was not meant for your consumption (which it wasn’t) – and it also seems inferior to music that you grew up with. I’m only 29, and I’m already having “back in my day” moments. It kind of scared me, and I began to wonder if I was being obtuse and a little too set in my ways, or if my analysis was accurate.

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THE LOOKS THAT KILL (Posted Mar. 17th 2010 on Metalsucks.net)

color me

I am going to assume that a decent portion of the followers of this site are themselves musicians with bands of their own. That is generally how it goes with metal. There are seamless lines blurred between the “fans” and the “bands” because, like myself, many metal patrons represent both categories. Without this large sector of musician fans, technically proficient bands that cater directly to this base (like Dream Theater, Meshuggah, and Necrophagiast) would be much less successful. So to those musicians, I would like to use this blog to shine a light on one of the harsh truths in all music and entertainment that many musicians choose to ignore –

Image matters a lot in this industry. In fact, it’s probably just as important as the music.

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DOWN WITH THE SICKNESS (Posted Feb. 22nd 2010 on Metalsucks.net)

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When it comes to music (and other things really), I tend to play devil’s advocate. If everyone is shitting on a certain band, for some reason, I become more attracted to that band and seek them out. I don’t know what it is about my personality, but I think it stems from the same perspective that inspired me to write the antagonistic blog about rethrash. It may be a character flaw, but I’m sure it has something to do with a need to be an individual. From what I gather, this website is inhabited mainly by “true” metal heads. What I define as “true” are people whom are purists in the realm of metal and usually scoff at any band or trend that reeks of premeditated commercialism or an overt play for popularity, and who usually demand a certain level of musicianship and underground credibility. These fans usually hate every Metallica record after …And Justice For All, and for that matter always prefer any particular band’s older releases, which usually have a more raw and unrefined recording quality, as well as more abstract, less traditional song writing. For example, they will prefer Carcass’s Necrotiscim to Heartwork, or Morbid Angel’s Blessed Are The Sick toDomination. Oh yeah, and these guys gave up on In Flames and Soilwork years ago.

I have a good deal of that purism in my bones, but it always seemed short sighted and close minded. You have no idea how many arguments the Adler brothers from Lamb of God and I have gotten into over the merits of a particluar Metallica or Megadeth record. If you even bring up Disturbed or Limp Bizkit on MetalSucks, it is mocked and disregarded 100% of the time. I think metal heads often have a sheep mentality because of the fear of being viewed by their peers as less credible for liking bands that aren’t considered “true” or “real” enough. We all have guilty pleasures, but the real question is “Why should we feel guilty about something we enjoy?”

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TEAR IT DOWN NOW (Posted Jan. 21st 2010 on Metalsucks.net)

hardcore_dancing

We’ve all been there. Tensions are high in some packed, sweaty venue, sparked by feverish excitement and the potential for violence. These people paid good money to enjoy some type of cathartic release. The frontman for whatever hard-nu-death-crab-metal-core outfit is brazen and demanding. Can you believe this shit? You PAID to be entertained, and this guy is telling YOU what to do! The speech goes something like this: “I want everybody in this room moving! Front to back, side to side, NO ONE STANDS STILL! When this part kicks in, I want total [Insert destructive word here like “chaos,” “mayhem,” or “bedlam” if you’re witty]. If the person next to you isn’t moving, MAKE THEM MOVE!” Than, if the action is not adequate, this screamer/pep rally organizer calls YOU some variation of “pussy” or “faggot” or really anything to make you feel like a soft, womanly bitch of a man in order to get in that pit and kick another grown man in the face, all in the spirit of making this band look like they are awesome. But then something happens, as if the air is sucked out of the room at the moment of impact – when those glorious staccato chugs kick in, the crowd is almost always powerless to its charms regardless of the obvious lack of substance. Like junk food and reality TV, we have a love affair with breakdowns.

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WHEN KEEPING IT REAL GOES WRONG (Posted Dec. 12th 2009 on Metalsucks.net)

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A couple weeks ago, I did an interview with Metal Injection for a retrospective on the highlights, trends, and cultural significance of the heavy music scene from an insider’s perspective concerning the last ten years. Near the end of the interview, I was asked if there were any sub-genres or trends that I didn’t like, or that seemed to get on my nerves. I thought about it for a minute, and generally annoying things like nu-metal or screamo or stale metalcore just seemed obvious and an easy target, when something dawned on me. I was generally annoyed by the whole ReThrash scene.

Don’t get me wrong, I love Municipal Waste, and have enjoyed the likes of Warbringer and Toxic Holocaust on occasion. I consider myself a diehard original thrash fan, counting Metallica, Megadeth, Slayer, and Testament as some of my all-time favorite bands that really imprinted themselves on my musical DNA, displaying exactly what great heavy metal should embody. After this interview, I kept thinking about this, and realized that what perturbed me wasn’t the music at all. I liked plenty of these bands. What I really didn’t like was when any type of retro trend gets way too much credit without bringing anything significantly new to the equation. So I guess my real beef is with metal critics, blogs, websites, industry aficionados, and publications, all of which tend to have an over reaching obsession with nostalgia. Not to play favorites, but I am also equally bothered by the metal media’s constant stroking of the stoner rock scene, AKA 10,000 bands that all sound like Black Sabbath.

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THE SONG REMAINS THE SAME (Posted Dec. 16th 2009 on Metalsucks.net)

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Last week, during one of my daily perusals of this very blog, I came across a rather scathing recounting of Killswitch Engage’s self-titled album, which came out earlier this year. This caught me a bit off guard, as I considered it to be one of my favorite albums of the year and a step in the right direction from Daylights Dies, which was at first very disappointing but grew on me after some time. I was even more surprised when I saw that most user comments tended to agree with the blog entry.

Most of the criticism seemed to center around Killswitch’s supposed inability to stray from their winning formula. People seemed to think that their sound had become stagnant, and that there wasn’t enough variety between albums and songs. Now I don’t disagree that KSE has a pretty standard formula for their songs and a definitive sound that really hasn’t changed a whole lot over the years, but I am disagreeing that this is necessarily a bad thing. I want to ask you guys if you think it’s better for a band to stick to a relatively confined style through their career like Hatebreed, Cannibal Corpse, or Motorhead, or is it better to expand and experiment like Mastodon, The Haunted, or Cave In.

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The Adequate Response to Criticism; An Artist’s Perspective (Posted Mar. 3rd 2009 on MetalSucks.net)

The Critic

Criticism. Criticism is something all artists who release their work on a broad scale must encounter. Many of us who do so approach these reflections in our own ways. On Metalsucks, my blogger brother, Dallas, has had the monopoly on providing that perspective in regards to God Forbid, which I think is unfortunate because I think it provides an inaccurate picture of the band’s collective or individual views. My motivations in writing this are not only to respond to the detractors of my band, but also to give an alternative view on the mindset of the motivations and mentality behind what we (who aren’t Dallas in God Forbid) do and what we hope to accomplish.

Continue reading The Adequate Response to Criticism; An Artist’s Perspective (Posted Mar. 3rd 2009 on MetalSucks.net)