Robert Neithart, Asst. News Editor—
The landscape of contemporary music is one often characterized by a decidedly fickle climate. Fads and trends seem to come along every few years, coming and going like the changing tide; they are bright flames that burn out quickly.
Notwithstanding the surge in musical trends whose relevance lies at the behest of mass media in one form or another, there exist select genres whose fundamental natures render them impervious to the same cultural and social shifts that have swept so many others into irrelevance. If I had to put my chips on the genre that would outlast the rest, there is one answer: metal.
Born out of the industrial city of Birmingham, U.K., in the late sixties, it is hard to imagine a genre with more humble beginnings than metal. Though its exact origins are contested, many metalheads, including myself, are of the opinion that the genre as we know it originated with Black Sabbath.
In contrast to the prevailing genres of the era, whose lyrical and musical themes were inoffensive by contrast, Black Sabbath’s sound and image were defined by occult themes, horror-esque lyrics and down-tuned instruments, resulting in a heavier, darker tone their contemporaries had yet to achieve.
From its earliest conception, metal sought to disrupt and upset, pushing the limits of accepted discourse within the music industry and greater society. Every tritone played and subliminal verse sung sought to challenge the status quo, creating a language and culture of social rebellion which proved attractive to many, particularly young people.
Metal wasn’t just a genre, it was a philosophy and ideology which provided a sort of catharsis for those who had grown disenchanted with the standard tenets of mainstream music. It was and remains a genre that confronts difficult questions head-on, paying little expense to criticism from those still uninitiated.
The holy trinity of metal’s primary subjects could likely be categorized into some combination of death, religion and nature. Contrary to past genres like punk or grunge, whose cultural relevance was contingent upon the socio-cultural forces of the time, the significance of metal’s subject matter cannot be diminished via shifting cultural trends because they are based on intrinsic, fundamental questions whose relevance persists not because of popular culture, but because they deal with issues that get to the heart of the human condition.
In more ways than I can count, metal is more than music. It represents a sort of collective identity and attitude with ample fortitude to stand staunch in the face of change and criticism; metal and its fans pride themselves on going against the grain. As such, criticism from mainstream media, which has a storied past in metal, only adds fuel to a fire already stoked by teenage angst, rebellion and anger.
Though it’s unlikely that metal returns to a time and place wherein 500,000 fans chant in unison to Metallica’s “Creeping Death,” the genre nevertheless maintains a loyal fanbase in those wanting something more out of their music; exactly what that desire entails is subjective.
The path each metalhead travels to arrive at their desired collection of subgenres, band tees and overpriced vinyl is paved with trial, error and rediscovery. Though a genre plagued with old-guard gatekeepers, the majority of metalheads welcome prospective fans with open arms. Metal is a home for all whose themes will bear relevance so long as people deal with questions fundamental to their existence and mortality.
Love it or hate it, metal isn’t going anywhere; we might as well embrace it.