dub wrote:Some possibly incoherent thoughts.
I think the chief theme and concern of metal is power. Wielding it, critiquing it, trangressing against it, embodying it, having the freedom to. That's not necessarily toughness. An obvious macho concept really. I understand the crossover; power and autonomy have been traditionally masculine traits. So metal takes on masculine trappings, denies the feminine, shit, becomes a safe space where young men can figure out their masculinity to the exclusion of women, play at mythic and legendary roles, indulge fantasy and escape from the the gender binary through a mono-gendered environment. (All metalheads are male regardless of physical gender?) Women often have to perform masculine roles to "pass" as authentic metalheads, dress like guys (or be derided as fishnet-ed "sluts"), play "masculine" roles in bands like drums, guitars, or perform their vocals in a lower register to be respected; Contrast with the feminine back-up singer, emasculated bass player, keyboardist). With the advent of post-metal (lol), older themes and trappings fall away, traditional (now-)"cheesy" metal aesthetics become confined to various subgenres, overall subculture offers the opportunity to escape the pressures and expectations of mainstream gender roles, allows new rules to be written by a community, if it wants.
Metal is inherently ridiculous. I don't know any metalheads who think they're tough guys or take themselves super-serious.
Maybe 14 year old pantera fans or something? Although I guess we never let go of that a little bit, aha
The two screams you mention are interesting, because I think they both mirror the instrumental approach of either band. Halford's vocals are powerful, they're meant to impress, not intimidate. Like a hyper technical guitar solo, they are displays of mastery.
Araya's? Well I can't imagine Angel of Death without that scream, it's one of the more human moments in a cold, unflinching song about the holocaust that walks an uncomfortable line by laying out its subject matter sans judgment. Metal doesn't need to moralise because it trusts its audience to know what's right, it's atavistic, harking back to a more cut and dried moral viewpoint, but libertarian in it's individual approach, "make up your own fucking mind". Everything Slayer sings about is horrible, they assume you know that, but by leaving out the editorial voice, the audience (who listen to metal to feel empowered) are put in the situation of listening to atrocities commited by people in power, while simultaneously feeling powerful. If it wasn't for that scream, I think you could put forward a far more powerful argument for the song crossing that line from empowerment to glorification (although as a metalhead I don't agree at all). Also it's the vocal equivalent of their guitarwork, that atonal madness and chaotic noise that signified the divorce between blues based "heavy metal" and what would come after, just fucking "metal".
I wonder, is a man who sounds like a women scarier than a diabolic figure who sounds like you would expect? What would Satan sound like? Would he defy expectation? Send shivers and disgust up the spines of those who think they're righteous?
Vocals are so hugely personal though. I'm not much of a fan of low growling death vocals, but love a good black metal rasp or just some hideous shrieking (the high pitched double-tracked bad trip of Steve Austin's stuff in TITD? Fucking great.) I get why it might not float someone else's boat. Metal's a pretty big tent though, plenty of room for everyone.
[youtube]http://www.youtube.com/watch?v=itCQrrUnsxo[/youtube]
How dare you.
Blue Oyster Cult is fucking awesome.
