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Date: 13.11.2017

Heavy Metal Parking Lot (1986)

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Music within our metal world is divided like blue states and red states. You hear the tales from the members of Judas Priest, Black Sabbath and Motorhead in various biographies and documentaries about the oppressive smoke stacks and smothered existence of factory life in towns like Birmingham, UK. It was this music that spoke to the disaffected everyman. It said that your bubbling frustration with the establishment was valid.

The truth is in heavy metal. The general depiction shows a rather unsophisticated and inebriated collection of misfit characters, representative of a certain slice of working class America of the time. Their songs were meant to be blasted and yelled along to in pubs and beer halls: The world has changed so much since then. Unadulterated blind rage has segued into nihilism and poignant apathy.

The heavy music community has splintered into about 1, different factions.

The politically tinged philosophy and lifestyle is purposefully meant to be for the strongest men of will tilted against the weakness of common religiosity. There is a fascinating documentary about Gaahl that examines his worldview, and there is nothing common about this man or the way he thinks.

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There is also the rise of brainy and studied progressive metal. Venturing to a Dream Theater show will furnish you with the luxury of experiencing several Vidal Sassoon scented ponytails and wrinkle free collared shirts tucked into Lee jeans.

But, they know things: They might be better than us, but without a fencing sword or light sabre nearby, you can probably kick their ass Pro-Tip: On a serious note, much like their nerdy counterparts in Silicon Valley, this tech-savvy bunch is probably halfway to their Dr.

Evil style plan to run the world, so I should probably stop cracking jokes. Last and definitely least is the emergence of hipster metal. Lack of self-awareness is a common theme among subcultures: The predominant identifier has to be pretentiousness, and a perceived sophistication. If Sunn O is going to feedback for 10 minutes straight, you have to be somewhat sophisticated or pretend to be to understand the abstractness of their expression.

A band like Deafheaven is a band we can all agree can be categorized as hipster metal. I find their major key, shoe gaze-y, pseudo black metal and innocuous image unappealing, but my ability to detect this phenomenon is somewhat fleeting.

There is an interesting, in-depth, albeit longwinded article on the subject here , which helped me get a better feel for detection. My tastes are fairly simple. A good song is a good song regardless of genre, although I know how subjective that assessment can be.

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I want my metal to be intelligent and well played, but being interesting and having something that grabs me, a hook, a melody, a lyric, is the most important thing. I lie somewhere in the middle with regard to either being too elitist and high-minded or playing to the lowest common denominator. I am turned off when it goes too far in either direction. Although, I am slightly uneasy with some of the jingoistic rhetoric, the populist, flyover state appeal showed that there was a demand for a sound that no one was meeting.

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If you think what they did is easy, than look at the hundreds of bands trying to follow in their footsteps and failing. There are a handful of bands that seem to appeal to the intelligentsia and common folk like Lamb of God, Mastodon, and Clutch, but this is certainly the exception, not the rule. As a human race, there are already so many things that divide us: I worry about this day when the tent pole collapses, when metal lays on the fringes, disparate and dying on the vine.

In recent years, Doc has also stretched out and tried his hand as an Op-Ed writer for sites like Metalsucks. He is now a Freelance Columnist for VH1.