Why heavy metal doesn’t have to be hyper masculine—take it from kid sitting out from the mosh pit
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It’s a hot August night at a dingy concert venue in Pontiac, Michigan, and the smell of man-sweat is permeating the room. I’m here to see Gojira, a progressive death metal band from France whose particularly bone-crushing guitar riffs have earned them worldwide acclaim. As with most metal shows, the venue is full of big, grimy, bearded men looking to crush someone in the pit. The band on stage is made up of the same kind of men (if a bit cleaner), commanding the fans to go nuts during the next song, which they promise will really be the heavy one. Then there’s me in the corner, standing at 5’5” and 140 pounds, maybe headbanging if my neck doesn’t hurt too bad, trying to move closer to the mosh pit so I can see the stage but not close enough to get pushed in. As Gojira launches into the fan-favorite “Backbone,” I weave through the bodies, muttering “excuse me” until I get a good view of the band beyond the slam-dancing. Then I take a shoulder to the face.
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I am a calm and low-key person, but I value intensity and aggression in my entertainment. I like football, “Breaking Bad” and violent video games. But most of all I like aggression in my music. I’ve been listening to metal avidly since I was in middle school and first heard Metallica’s “Master of Puppets.” When I was 13 I got into death metal through the jazz fusion-influenced stylings of Atheist. Today, death metal has more representation in my music library than any other genre.
Toward the end of high school and into college, I began exploring hardcore and metalcore, drawn into the visceral feeling I got from bands like Converge, Gaza and Refused (“New Noise” would be my at-bat music if I ever played in the majors). I’ve spent much of the last year learning about “powerviolence”, the brilliantly monikered hardcore subgenre in which bands with names like Hatred Surge, Despise You and Dropdead systematically destroy the listener’s eardrums in 30-second blasts of unfiltered rage.
So began my self-imposed exile from many a listening party. While my friends are having in-depth discussions about the newest Vampire Weekend album, I’m posting on Facebook to an uncaring audience about how Immolation are still the best death metal band on the goddamn planet and you should listen to “Kingdom of Conspiracy” immediately if you know what’s good for you. Gathering people for concerts has been nigh impossible for me since starting college. The most aggressive bands I’ve been able to see with undergrad friends are Thrice (who got considerably lighter over their career) and Fucked Up (who sound like the Hold Steady if the vocals were shouted instead of spoken).
On some level, my musical preferences do make me feel manlier than my friends, whatever that may mean. When I do make it to heavier shows, however, I’m out of place—the diminutive short-haired kid among the crowd of gruff veterans of the scene. The same music that makes me feel like I can level a city block when I’m listen alone in my room is somewhat emasculating in a concert setting.
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But why do I feel like less manly at metal concerts? What defines masculinity in heavy music? Historically, metal has always been filled with he-man imagery, from Manowar’s over-the-top album covers to the countless songs about Vikings. Misogyny has also been a recurring theme. Check out the album artwork from Witchfinder General’s Death Penalty or Crimson Glory’s Transcendence for example. Today, women have found more of a place in metal, but in the mainstream they are often relegated to being sex symbols that play in “wimpier” subgenres (see Cristina Scabbia of Lacuna Coil, who are essentially a heavier Evanescence).
While stereotypes often hold true in the world of heavy music, I would argue that the extreme genres should be the domain of the cultured man. The public image of metal may consist of the legions of Pantera-worshiping bro metal bands that make music for weightlifting, but in reality the genre is as culturally diverse and experimental as any musical movement in history. If the cliché that music is a universal language is true, metal is one of the best examples—there are metal bands in every corner of every country, united by a shared musical interest but putting their own unique regional twist on it as well. Someone with relatively basic knowledge of death metal, for example, should be able to recognize the difference in styles between the scenes in Stockholm, New York and Montreal.
Hardcore and its various subgenres are the same way. Although screamo fans are often the type to memorize every lyric and shout along at concerts, the quality of the music transcends language barriers. Thus, bands like Envy and Daitro have become hugely influential in the modern underground despite screaming exclusively in their native tongues (Japanese and French, respectively).
Metal bands are frequently influenced by cultures other than their own, and it comes through in their music. The genre will forever be linked to satanic and/or anti-Christian imagery, but almost every notable mythology or religion is fair game. Greco-Roman gods, Sumerian creation myths and the pharaohs of ancient Egypt are all frequent lyrical themes. The Israeli band Orphaned Land look to unite the three Abrahamic religions and bring peace to the Middle East , writing lyrics in English, Hebrew and Arabic to do so.
Women have also proven that they have a place in heavy music beyond pretty background vocals or sexual plaything status. Mel Mongeon of the Canadian grindcore act Fuck the Facts has a growl as terrifying as any man’s. Wata of the experimental Japanese group Boris is responsible for some of the heaviest guitar riffs in history. Jo Bench has been holding down the groove as bassist of the legendary Bolt Thrower for over a quarter-century.
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My point here is this: heavy music isn’t all about aggression and macho antics. What was once considered music for Neanderthals is now a sprawling and diverse set of styles filled with talented musicians from a variety of cultures. I might get tossed around in the pit, but as the genre has evolved, the physical aspect of metal has become less and less important. Instead of being the manly man, I can be the intellectual man, enjoying the artistry and musicianship on display instead of just the brutality. I’d be lying if I said that I wasn’t drawn to heavy music because of the primal feeling and adrenaline rush that a great riff and pounding drums give me.
But that doesn’t mean I have to act tough to appreciate the experience.
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Photo provided by author
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Someone with relatively basic knowledge of death metal, for example, should be able to recognize the difference in styles between the scenes in Stockholm, New York and Montreal.
interesting read, some pals 20yrs ago were into death metal – pantera, sepultura.
i dont follow death metal, could you give youtube examples of the above death metal scenes. so i could hear the stylistic differences
I’m actually doing a death metal primer at some point in the next few week, which should answer that exact question, but since you asked: The bands that came out of Sweden in the early 90s tended to have this “buzzsaw” guitar tone and play relatively midpaced stuff. A lot of them recorded at Sunlight Studios in Stockholm and many of them shared band members. There’s actually a whole book on the scene called “Swedish Death Metal” that I’ve always meant to read. Check out Entombed – https://www.youtube.com/watch?v=D6exw6xT0oo Other examples: Dismember, Unleashed, Necrophobic New York City produced a lot of… Read more »
Also Pantera aren’t even close to death metal, and Sepultura are really more of a thrash band but they occupy something of a grey area and changed their sound a lot throughout their career. you are talking about ARE, i am talking about WAS – 20yrs ago 1991 to 1994. and also in the uk( you are in the usa). my pals were very into their metal(i was into electronic club musics of the time), i have strong recollections (nothing concrete) just strong impressions of them associating pantera, and particularly particularly sepultura as being death metal. reading the wiki death… Read more »
I’m a big, bearded, white dude. I’ve been to a LOT of concerts over the years. I’ve been in the pit. Been hit with all sorts of body parts as well as anything lying around (chairs, pieces of fence, flooring). I’m not big into pain and the only reason I got into the pit was, just like you, I was trying to get closer to see the band playing. Now I’m an old, white dude. I don’t go to concerts anymore because I know if I’m too far back, I won’t be able to see the band. If I’m as… Read more »
As a veteran headbanging I have to disagree with you when it comes to misogyny if you stay away from glam bands you’ll find that women are respected as musicians and in the metal music scene(concerts).Many fans point out that some female metal musicians are good looking (Eliza Ryd, Tarja turnenen) which causes them to be seen as sex symbols but that’s merely an observation, Tarja is known universally by metalheads as a figure who is iconic in the symphonic metal scene for her operatic voice and her distinct vibratto. As for the hypermasculinity once you get past the fact… Read more »
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