Music: A to Z 09.11.09: K is for…

Posted by Chris Crowing on 09.11.2009

... the Killers, Killswitch Engage and Korn plus thoughts on vampires and generational prejudice.



A mix of indie, metalcore and nu-metal for you this week, alongside some of my trademark rambles on the subject of the current popularity of Vampires in popular fiction and how a difference in your musical generation can lead you to some rather unfair prejudices...



On Vampires...

As a former teenage Goth and an avid reader of possibly hundreds of fiction and non fiction books in the gothic / supernatural / horror / sci-fi genre, the current popularity of the Vampire mono-myth, (with Twilight, True Blood and a rumoured return to Anne Rice's Vampire Chronicles - that's Interview with the Vampire and it's sequels to the uninitiated - on the big screen) interests and amuses me.

For many years, it has been deeply passe, and often considered immature to display an interest in the supernatural, and things like Vampires in particular. While it seems reasonably 'normal' nowadays to be what my peers (that's folks who grew up in the late 90s in North East Scotland) would term 'a bit of a Goth' it was DEEPLY un-cool by most social standards back in the day.

My tendency to espouse the merits of Cradle of Filth, Metallica and other bands who were heavier that Steps, openly read fantasy and sci-fi novels as well as 'factual' books on every aspect of the supernatural was regarded as more than a bit weird. The fact that I played sports, had a season ticket for my local football team, went (underage) drinking and liked all the socially acceptable indie music my peers did didn't seem to signify - it's funny how narrow minded some people are.

Anyways, the fact that Vampires are now SO cool amuses me, and I want to air my thoughts, if only to clear my head on the subject. First, let's look at what makes Vampires cool now...

Twilight

Let me be honest at the start, I HATE the genre of 'paranormal romance' and the tendency of a large chunk of vampire and ghost novels to seem to pander towards the confused and needy sexuality (or lack of it) of teenagers. I was a big fan of Anne Rice as a teenager, and have occasionally found books by Kelley Armstrong and the Anita Blake: Vampire Hunter books to be a fun diversion - but there are NONE of them good or insightful writing, more tending to be soft porn and matinee violence for the easily pleased and gothically inclined. Not that there is anything wrong with that, but it ain't Hemingway.

As such, I was more the sceptical of Twilight's quality, given the majority of reviews talked about the ‘nice' vampires, the ‘strong-willed' female heroine and there was also a suggestion that the ‘moral majority' in the States approved of the books because Edward's abstinence from drinking Bella's blood was taken as a metaphor for abstaining from sex before marriage. Lame…

I'll admit, I haven't read the books – I'll read Harry Potter for light amusement, but not stuff aimed at fourteen year old girls – but on viewing the movie (my girlfriend was curious) I found myself quite enjoying it. A great many things came off as lame (the vamps ‘sparkling' for one) but it was actually quite dramatic, well acted and generally a very well done teen drama.

However, I just don't get how Bella is supposed to be a strong female role, with her wishy washy expressions, idiotic desire to be a vampire and be with Edward. I'm no feminist, but this wilful submissiveness is surely not what a strong minded, intelligent heroine should be about these days?

Edward is more impressive, first in repressing his bloodlust and secondly in doing his best to talk Bella out of her endless request for him to turn her into vampire. It is this interesting issue, which I DO NOT take as a metaphor for sexual abstinence which gives this series a level of interest for me. However, I've read the plot descriptions on Wikipedia and it seems that the series descends in quality…

True Blood

OK, so I'm about two episodes into True Blood and aside from the gratuitous sexuality of the show (not that that is a BAD thing, just that too much of it detracts from the plot and tends to devalue an otherwise intelligent series) I'm quite impressed. Anna Paquin has always been a good actress, and carries the show well, and thus far the ensemble seems more than competent, with some familiar faces and some newcomers.

Vampirism has always been associated with sexuality, immortality but it's pretty cool to see it used to address issues such as drug use and racism. This is the best selling point of any good supernatural, sci-fi or horror tale, in that setting a story in a world that is even 1% different to our everyday lives allows the story-teller to hold a flawed mirror up to the real world and deal with issues that would be too shocking or extreme in a direct drama, but you can easily get away with ‘because it's fantasy…'

That's why I love such tales, because they tell us more about ourselves. Then again, the series may well have devolved into a low rent ‘suck & fuck' production and I can't quite make that call based on watching the first two episodes, especially given that so many promising series lose their way after the first season or so…



Conclusion

It seems that all it takes for Vampires to become mainstream-cool again is some big budget promotion – are the kids always so easy to sway? I'm not that fussed, as for every piece of fluff like Twilight and every shiny, sexed up vehicle like True Blood, there will be much more money and exposure for less celebrated gothic fiction, discussing issues as diverse as faith, sexuality, racism, drugs, personal relationships and everything in between.

I've always been a big fan of the genre, and will continue to be so, on the proviso that the levers offered up by supernatural fiction to tell us more about ourselves are used for that, rather than just poor soft-core porn for hormonal teenagers, sad loners and frustrated middle aged women.

Generational Prejudice

This is just a quick thought brought on by something regular commenter AndrewCrow said a few weeks back about In Flames.

Now, I've heard the argument that In Flames had 'gone Emo' many times, but this is the first time I've heard that they were perceived by 'true' metallers to have 'gone Nu-Metal' back around Reroute to Remain. The fact that the Nu-Metal slur is phrased as an expression of betrayal and a lack of quality interests me as a matter of perspective.

To give you an idea of my perspective... After the indie, folk and dance music of my youth, I gave my heart over HARD to thrash & groove metal, but soon developed parallel tastes for the pop punk and nu-metal of the day.



For many years I happily enjoyed the likes of Limp Bizkit, Linkin Park and Papa Roach alongside my more 'credible' metal taste for the Four Horsemen and Fear Factory, until following the mainstream breakthrough of nu-metal ("Rollin" as a #1 single, not getting to see the Deftones in the SECC 'cause all the Linkin Park (who were supporting) fans bought tickets far quicker than I would have expected etc.) I started to perceive the commercial weight of the scene causing a great many bands who were worse than mediocre getting a great deal of time on the play lists of my local clubs. Nu-metal ran it's course, and I was a tad 'anti' for a few years - largely because the bands who had been good had transcended the genre (Deftones, Linkin Park, SOAD, Slipknot), and those who stuck with it were either always crap, or had lost it entirely (Korn, Limp Bizkit)...

Apart from that, it was apparent that 'nu-metal' had ceased to mean anything. I challenge anyone to give me a cogent argument for Korn, Deftones, Limp Bizkit, Linkin Park, Staind, Godsmack, Coal Chamber, System of a Down, Slipknot and Soulfly being part of one distinct musical genre.



Almost hard to think that guy fronts DevilDriver now...

However, a few years away from nu-metal, mostly listening to groove metal and the emergent metalcore, and I realised I missed the vibrancy and variety that the period had shown. This is admittedly a partial nostalgia for a time when I was 16-22, but I genuinely believe that it was a great time for heavy music.

Indeed, in recent months it's been increasingly clear that a slightly 'nu-metal' approach to my guitar playing is paying dividends, and mixed with my colleagues melodic death metal tendecies is producing very entertaining results...

However, for some years now my major gripe has been the popularity and commercial weight of the nascent Emo scene. While this has mellowed in recent months, I still vitriolically hate the commercial, passionless, formulaic, look-obsessed bands who seem to get a great deal of the airplay these days.

This is merely a thorn by another name, as Emo has like nu-metal before it, ceased to mean anything (explain how Coheed & Cambria, Thursday, Funeral for a Friend, Bring Me the Horizon, MCR, Avenged Sevenfold and Aiden are similar?) and is just the label dujour for a somewhat marketable alternative rock band in these times.

So, my point is my distaste for 'emo' is more a distaste for the commercial, soulless edge of the rock scene in this time, while I do not have the same wrath for nu-metal, because of nostalgia. Thus I can assume that some older campaigners than myself, can regard nu-metal as a byword for soulless, commercial trash, and instead give their affection to thrash/groove metal, which is likely in turn decried by older campaigners again.

There was good 'nu-metal', which I still hold close to my heart, and there is good 'emo' which I am learning to peel clear of the morass of crap that populates the wider scene. This is, and was always true of all forms of music.

Let us leave this generational prejudice aside, and realise there is in truth two kinds of alternative music, that which is made with skill and passion, whatever it's flavour and that which is not.

Tangential thought: Machine Head's nu-metal period is widely considered to have nearly torpedoed their career, but I still really enjoy "Desire to Fire", "the Blood, the Sweat, the Tears", "From This Day" and "Crashing Around You."



In fact, given the rise of metalcore, and the fashion for retro metal t-shirts etc. you could argue that their return to a prog/thrash dynamic for Through the Ashes of Empires and straight thrash for the Blackening could be regarded more as a following of fashion for commercial reasons, rather than an earnest statement of 'true metal' intent.

You see how your perspective can change everything? Not that it matters, Machine Head have ALWAYS been freaking awesome in my eyes...



* Please note, all 'Best...' designations are merely this writers opinion, and stand as a recommendation for new fans, rather than an attempt to make a definitive statement. I'll likely change my mind by next week anyway.

the Killers

What: Mainstream indie superstars.
From: Las Vegas, Nevada, USA
In the Beginning: Formed in 2001, they gained recognition first in UK and debut album Hot Fuss was released in 2003.
Best Album*: Hot Fuss, Sam's Town
Best Song*: "Mr Brightside", "Jenny Was a Friend of Mine", "When You Were Young", "Bones"
Recently...: Day & Age released in November 2008. "Goodnight, Travel Well" released in support of UNICEF's awareness of sex trafficking in July 2009. Rumours abound of an upcoming covers album by the band...

I liked the Killers from the first time I heard them. Appearing in a time when the charts were full of such uninspiring indie rubbish as Razorlight, the Killers honest, yet wry take on eighties anthems was a breath of fresh air. Their debut record, Hot Fuss remains one of my favourite indie releases of this decade, with songs like "All These Things That I Have Done" being ridiculously catchy, and songs like "Somebody Told Me" and "Mr. Brightside" having an undercurrent of momentum enough to satisfy the rock fan in me.



I never gave their second record Sam's Town nearly as much airtime, although whenever the band's work has crossed my path they have only ever reinforced my opinion that they are (along with Kings of Leon) probably the best mainstream indie band treading the boards at this time.



The shift from the 80s British influence of Hot Fuss to the Americana influences seen on Sam's Town suited them, and Brandon Flowers increasingly comes across as a more accessible, likeable and articulate Spingsteen. Classic American song-writing indeed…



While I am always somewhat turned off by a band which ends up being ridiculously big (the Killers sold out my local 12'000 capacity arena in about 20 minutes, and headlined Glastonbury last year, that's pretty damned huge) I continue to have a soft spot for their tendency to start true to their musical tendencies, while experimenting with different styles, from the electro-tinged 80s indie that made their name, through classic americana and even toying with dance elements on their most recent record.

Killswitch Engage

What: Metal-core poster boys who can back it up with riffs.
From: Westfield, Mass., USA
In the Beginning: Formed in 1998, self-titled debut album eventually released by RoadRunner records in 2000. Following the release of Alice or Just Breathing in 2002, original vocalist, Jesse Leach left the band for personal reasons, and they recruited Howard Jones to replace him.
Best Album*: Alive or Just Breathing, The End of Heartache, As Daylight Dies
Best Song*: "My Last Serenade", "Rose of Sharyn", "My Curse"
Recently...: A second self-titled album released on June 30th 2009, the band are currently touring in support of it and are due in the UK as part of the Taste of Chaos tour in November.

During my ex-girlfriend imposed exile from living a true metal lifestyle, my only real connection to the metal world was through Kerrang! TV and MTV2. I must admit, aside from the 2nd generation nu-metal I continue to be fond of, I really didn't feel I was missing much in the early years of this decade. This video changed that…



That song still sends shivers down my spine, and IMHO the video is a classic in terms of simplicity and allowing the band, rather than some daft storyline or special effect to be front & centre.

Yes, I know there was an album before that and it's grown close to my heart since, but "My Last Serenade" is where Killswitch started for me. The album which produced it, Alive or Just Breathing has more than it's share of killer tunes (especially "Fixation on the Darkness" and "Life to Lifeless") which were a clarion call that mainstream metal was starting to drag itself clear of the last, shameful vestiges of nu-metal and move onto something a tad more dynamic and interesting.

Their split with their original singer, the iconic Jesse Leach and recruitment of Howard Jones has generated millions of inches of blog space, forum argument and general nonsense. For my money, Jesse was an awesome, visceral singer (I haven't heard anything from his new project, so I can't really comment on that, hence the ‘was') but a combination of his no-holds-barred technique stripping his throat raw and a general unwillingness to commit to the life on 24/7 life on the road that Killswitch's success demanded of them meant he simply could not continue. Howard is also an awesome singer, a commanding presence onstage, and while many say he lacks Jesse's passion, I can't say I've ever found him lacking in that quality and he's more professional to boot!

I often find it amusing that some criticise Howard for the increasingly melodic and mainstream-acceptable nature of Killswitch's work, when he originally considered the band too melodic for his 'hardcore and dirty metal' tastes.

The first album with Jones was the now-legendary End of Heartache which broke Killswitch onto a new commercial level of exposure. The fact that the video for "End of Heartache" was heavily featured in the publicity for the massive popcorn-movie version of "Resident Evil" didn't hurt…



With one record, Killswitch became one of Roadrunner Records banner bands, and one of the foremost modern metal bands in the world. The newfound accessibility of their songs, combined with their trademark head-crushing riffs made them one of the bands to profit most from heavy music's resurgence in popularity and exposure, becoming one of the metal acts to become most palatable to the growing Emo scene. Regrettably…

This has led to many ‘true' metal-heads deriding the band as sell outs and all that usual bilious bullshit. Of course, depending on your starting perspective Killswitch can be perceived as ferociously heavy, or outright pop music. Followers of silly extreme black metal will have regarded even their earliest efforts (like they will most metal-core acts) as vacuously poppy, while melodic death metal purists will decry their hardcore influence and cry ‘sell out' at their slide into the mainstream, much as they now do to In Flames. On the other hand, RnB or pop fans will regard even the smoothest of their songs (say "Arms of Sorrow") as quite unpalatably heavy.

This debate was only heightened by their next record, the awesomely titled As Daylight Dies and I'll admit I was turned off of that record by some negative reviews from supposedly wiser friends at the time (who turned out to be friends of the bigoted, needy, fair-weather variety. Funny that…) until I borrowed it from a mate. Damn, this record is amazing, and definitely doesn't deserve many of the slurs of being an Emo record that I've heard banded about. Tunes like "My Curse", "This is Absolution" and "This Fire Burns" demand a circle pit. Observe…



It took me a while to respect that album but it's entirely possible it sees more play on my iPod than any other Killswitch record at this point in time. Funny how these things change…

I've seen KsE live once, supporting Funeral for a Friend and the Used on the Taste of Chaos tour a few years ago, which was one of the funniest gigs I've ever been to. We went to see Killswitch, and stayed to laugh at the Emo kids. One of my companions work in a local alternative clothing store and is a walking image of ‘scene' six foot two inches tall, plus Nu-Rocks. We had a stream of girls who can't have been more than fourteen coming up to us trying to talk to him, including one who can't have been more than three foot tall making an impressive vertical leap in an attempt to smack the lips on my most scene of companions. This has nothing to do with KsE, and I only mention it because it was damned hilarious.

Sadly, we never got the full Killswitch experience that night as Adam D was off injured, but hopefully I'll see the whole crew on this years Taste of Chaos, when they've got In Flames in tow.

This years self titled record took a while to grow on me, and I was certainly unimpressed by lead singles "Reckoning" and "Starting Over." However, on listening to the album, the songs are starting to grow on me, especially the opener "Never Again." Perhaps like their first, similarly eponymous record, this album is one that it takes time to love, lacking the smooth hooks and obviously infectious breaks of the records from Alive or Just Breathing to As Daylight Dies but possessing more depth for the discerning listener.

Perhaps, you decide...



One last thought, can anyone think of the last band who released two self-titled albums, or even two records with the same title? No, Queen I and Queen II don't count, cause those nice numerals at the end still keep the albums apart on my iTunes playlist, whereas the only difference between Killswitch Engage (1) and Killswitch Engage (2) on my iTunes is the fact that I bought the special edition of the new one. It's really very inconsiderate, and I guess perhaps even creatively lacking. Killswitch always have awesome, evocative, metaphor laden lyrics - could they not come up with another two words or a handy phrase for an album title?

Korn

What: Nu-metal granddaddies.
From: Bakersfield, California
In the Beginning: Formed in 1993, when the remaining members of the defunct LAPD recruited the singer of Sexart, Jon Davis. First demo Neidermeyer's Mind was recorded with Ross Robinson. Eventually, against the tone of the grunge obsessed time, they achieved a record deal with Immortal/Epic which led to their eponymous debut record.
Best Album*: Korn, Follow the Leader, Issues
Best Song*: "Blind", "Shoots & Ladders", "ADIDAS", "Got the Life", "It's On", "Freak on a Leash", "Falling Away From Me", "Make Me Bad"
Recently...: Touring through much of 2009, Korn are set to release a third Ross Robinson produced record in 2010.

As I've discussed above, nu-metal seems to get a bad rap from a lot of folks, and Korn stand as one of the banner bands for that most maligned, misunderstood and misappreciated of genres.

I contend that Korn were one of the most important bands of the 90s, and their rhythmic, detuned approach combined with their cathartic generation X lyrics were one of the things to move metal forwards from the shameful excesses of the 80s.

At the end of the day, you just can't argue with good build & release...



Their first record was rammed with quality tracks, from the above iconic number (which still gets trundled out in band practise for loosening up purposes) to tunes like "Shoots & Ladders", "Clown", "Ball Tongue" and "Faget."

Of course, they weren't consistently good, with my of their second record Life is Peachy being pretty bah, with the notable exception of one of the best chorus from the time period...



My own journey with Korn started one day in a Virgin megastore, when "Freak on a Leash" was played over the store radio. Having read about the band recently in Kerrang! magazine, I decided t take a risk on buying the single. Good call as it added a new layer to my appreciation of heaviness to my Metallica, Pantera and Fear Factory based taste at the time.

Their third album Follow the Leader remains my favourite Korn album, being the best produced, having one of the crispest drum sounds I've EVER heard (especially on "It's On") and having a rake of just really good songs, in "It's on", "Freak on a Leash", "Dead Bodies Everywhere" and "Got the Life."

The abuse-along battle with Fred Durst which is "All in the Family" is damned hilarious as well.

Korn have had albums where their musicality was perhaps sharper, and some where the lyrics were more insightful, but this is the album where it came together as songs the best.

Anyways, this song is ALWAYS a dance floor favourite...



Having made a career out of being the band where the singer was the troubled little bitch who was bullied in high school, decided to call your fourth record Issues was either a brave statement of intent, a cynical marketing ploy or a sure sign that your running out of things to say. I tend to go with the last idea as things would turn out...

Not to say that Issues is bad, in fact it's possibly my second favourite Korn album, for all that there is a lot of alleged filler on the record much of it really adds to the atmosphere if you listen to the album cover to cover - none more than opening track "Dead." Even taken as individual songs, the single "Make Me Bad", "Falling Away From Me" and "Somebody Someone" are more than respectable.

You could say that if Follow the Leader was Korn's attempt at a mainstream hit (a successful one at that) with it's crisp, clean production, then Issues was their attempt at a concept album, detailing the gradual descent into emotional decay, and arguably using their 'wall of noise' sound to it's best ever effect.



I simply cannot say the same about their albums after Issues and while many will disagree, I simply can't enjoy Untouchables, Take A Look In The Mirror, or See You On The Other Side.

The first two of those records are among Korns most solidly heavy, but it seems that they have lost their focus, and the 'hit' singles from those records, "Here to Stay" and "Right Now" lack the impact and craft of their earlier standout tracks. Sure, they are heavy as hell and fun to bounce along to but they have lapsed from percussive control to sloppy chordage, and by this stage Jon Davis' lyrics really are getting dull...



See You On The Other Side was horrid in a different way. Suffering from St.Anger syndrome with a scarily mechanical Pro Tools production, the album sounds like the band were never in the same room and it was copied and pasted together. Just a soulless, horrible record.



A terrible in concept and execution attempt at an MTV Unplugged record and an even worse record, with NO redeeming features in 2007's Untitled has reduced Korn's stock lower than I would have thought possible ten years ago.

It seems that Jonathan Davis' rabid ego, Fieldy's increasing sloppiness, David Silveria's issues that took him away from the Korn drum stool and Head's decision to find God and quit the band have destroyed what was once a cohesive, somewhat innovative and compelling act - note that I have little bad to say about Munky, but a competent guitarist can only do so much.

I'll always have a soft spot in my heart for Korn, because of their late 90s output, but since then they have become an embarrassment, and an example of all that was wrong with nu-metal...



Jcon again said nice things...Yo man, it was interesting reading about your band. When you record that demo put a link up or something, would like to hear it. And thanks for the recognition on last weeks comment. You're the man!

You can depend on the fact that when my band has something to show, I'll use my platform here to it's fullest extent. Would that compromise my journalistic integrity? I wasn't aware that I had any...

The STY also raised his head again Good column this week. If you didn't put Judas Priest I would have bitched again but you did so good for you (and me)! For next week I suggest the Kaiser Cheifs because I assume you've already done bands like Killswitch Engage and Kiss.

Actually, I haven't really talked that much about Killswitch or Kiss before. Iwas waiting till I'd consumed the new record to talk about Killswitch, and have little to say about Kiss except they are an overrated classic rock band with an awesome live show. Not a fan, sorry.

I had already selected the Killers for inclusion this week, but the Kaiser Chiefs would have been a worthy inclusion. I've always quite liked the Kaisers, as despite their popularity they retain some of the lofi, indie charm that made them an interesting act when I saw them play upstairs in the much missed Westport Bar in 1999 or 2000. Screw it, heres a video...



Gah made me laugh with...True Metal? Everyone knows 'true metal' is something like IRON. Come on.

Indeed it is, although I prefer steel or perhaps Adamantium.

Much as I love AndrewCrow's contributions, I will always regard strident exclamations of 'true' metal and other such pronouncements as a bad for of pantomime, written by and intended for children of a fragile emotional disposition. No offense...

You want true metal, I give you...



Slainte,
Chris Crowing

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