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Archive-name: heavy-metal/metal-as-physical-objects
Posting-frequency: semimonthly Last-Modified: 27-Sep-01 See reader questions & answers on this topic! - Help others by sharing your knowledge
III. Metal as Physical Manifestation
3.1 Concerts
Concerts can be a rewarding experience of metallic
sub-culture observation, if the experience is conducted
properly. Beware the haphazard, as those are the fools who
are full of excuses when someone gets stabbed or hurt.
3.1.1 Information
Index of guides to tour and concert information:
3.1.1.1 List of tour date sites
http://www.tourdates.com/
Tour dates from the ASCAP machine.
http://www.pollstar.com/
An easy way to track who's on tour
http://www.moshking.com/
Southern California metal shows
3.1.1.2 Band homepage finder
http://www.metal-links.com/
A giant metal links forest.
http://www.anus.com/metal/links.html
The FAQ maintainer's maintained links list.
http://www.iki.fi/~mega/
A massive metal page with tons of links.
3.1.1.3 Venues by city
Los Angeles
Whisky A Go Go
(310) 652-4202
8901 W Sunset Blvd Los Angeles, CA 90069
Al's Bar
305 S. Hewitt St.
Downtown L.A., CA
(213)687-3558
Gabah's (Formerly the Anti-Club):
4658 Melrose Avenue
Los Angeles, CA 90029
(213) 661-3913
San Fernando Valley:
The Cobalt
22047 Sherman Way
Canoga Park, CA
(818)348-3789
East and West Los Angeles:
The Showcase Theatre
683 S. Main St.
Corona, CA
(909)340-0988
Pasadena:
Pleasures
3570 E Foothill Blvd
Pasadena, CA 91107
(626) 795-1259
San Bernardino (#1!):
Masterdome
137 S. G St.
San Bernandino, CA
(909)276-7770
Detroit
Harpos
(313) 824-1700
14238 Harper
I-Rock Nightclub
46350 Harper
(313) 881-7625
The Old Miami
3930 Cass Ave.
Detroit, MI 48201
(313)831-3830
3.1.2 Attendance
With some attential to logic, concert attendance is
graceful and enjoyable.
3.1.2.1 Ear protection
Amplified systems within clubs sometimes go over 120 dB
in terms of effect on the listener, so it is wise to
purchase intelligent ear plugs (either the silicon
blobs or the compressible sponge probes). Anyone who
scorns you for doing this is probably deaf already, so
don't bother replying.
3.1.2.2 Social interaction
If you walk with respect for self, others, and world,
and do not interfere with the needs and spaces of
others, you will almost universally be fine. You may
witness violent cultures such as skinheads, cholos, or
deranged Hessians on speed and the best way to handle
it is gently. Provocative behavior usually will result
in violence.
Should your intelligence save you from destruction, you
will wish to display prominently the t-shirt obtained
by wearing it:
(Preferred) As your sole garment except black pants
all day on the following day.
(Acceptable) Underneath your uniform of slavery the
next working or school day, hopefully wearing some
mark of violence/evil as well.
(Degraded) As your sole garment all day for the next
three days.
3.1.2.3 Rules of evidence
It is wisest to keep all "evidence" (things that are
likely to be confiscated) on one's person in soft
objects, rather than cases. One is often frisked at
the door and all strange hard objects explored to see
if they are weapons; keeping the stuff on one's self
reduces the task of one's car being impounded and sold
by the cops.
Moving joints into concerts has always been easy for
me; I avoid socks, as they often frisk there, and
prefer to either sling the baggie under the scrotum or
in the wallet, where although it is flat, it will
rarely be disturbed (but be careful whipping out your
wallet!). Smoking joints is easy; you want no flame to
be visible near the scent of marijuana, so you curl
your hand around the joint and cup it to your mouth
like you are holding your chin. Always pass it to
partners below the line of sight, e.g. waist level, and
blow smoke toward the floor.
As far as I can tell, the only way to smuggle alcohol
in to a show is to have a woman with you, as often they
don't frisk those.
3.1.3 Merchandise
3.1.3.1 Shirts and prices
T-shirts are usually sold in XL and other sizes and are
$20 for short sleeves, $25 for longer sleeves, with the
bigger shows charging even more.
3.1.3.2 CD's
Usually bands will sell their CD's for $12-15 at
concerts or clubs. Quite often more of the profit goes
to the band instead of the distributor and possibly
more than the label, so this author enjoys buying CD's
before the encore.
3.1.3.3 Royalties breakdown
When buying t-shirts and CD's from the bands themselves
at this venue, one is directing a much larger chunk of
profit toward the band than thru a record store or mail
order from the label. Forget not that record stores
buy major releases for $7, and then sell for $12-17;
that extra money in the CD cost goes somewhere and when
there's no store, label, or venue involved, it's the
band. Order of preference for buying objects:
1) Band
2) Band at show
3) Label
4) Underground Mail Order
5) Specialty record stores
6) Chain record stores
3.2 Recordings
Purchasing metal recordings can be very sensible and
efficient if you know what you're looking for.
3.2.1 Audio
Audio is any recorded sound, whether live (bootleg or live
album) or studio (recorded with intent for release).
3.2.1.1 Live
Live sound is either a live album released by one of
the band's labels, or a bootleg recording which is
released by a fan or scammer.
3.2.1.1.1 Acquisition
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.2.1.1.2 Resources
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.2.1.2 Studio
Studio music is produced by agreement between band and
label as pushed as the regular "product" containing the
music of the band.
3.2.1.2.1 Acquisition
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.2.1.2.2 Resources
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.2.2 Video
Video is any recorded motion picture imagery, whether live
(bootleg or official concert performance) or studio
(recorded with intent for release as a separate
production).
3.2.2.1 Live
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.2.2.2 Studio
Please visit the metal links page at
http://www.evilmusic.com/metal/links/
3.3 Production
Production is how technology is used to make something sound
like the artist wishes it to, and includes a number of
acoustic and electrical disciplines.
3.3.1 Techniques
Methods of production that produce a consistent effect, as
requested.
3.3.1.1 Swedish distortion
See section I, subsection 1.5.1.
3.3.1.2 Distortion mini-FAQ
This section to be completed in the future.
3.3.1.3 Vocal effects
This section to be completed in the future.
3.3.2 Studios
Some classic studio names are mentioned often in the
annals of metal history and so are worth knowing, for that
bored day when you're wondering what the difference
between Tampa Gutteral American Death Metal production and
Norsk Arisk Frozen Tempest production.
3.3.2.1 Morrisound
http://www.morrisound.com/
Home to many famous productions, mostly from the
Florida scene of Amerikan metal: Death, Malevolent
Creation, Monstrosity, Deicide, Resurrection.
3.3.2.2 Grieghallen
Home to many famous productions from the Norse scene,
including Immortal, Enslaved, Burzum, and Gorgoroth.
3.3.2.3 Sunlight
sunlightstudio@telia.com
Home to many famous productions from the Swedish death
metal scene, including Carnage, Entombed, Dismember,
Seance.
3.3.3 Producers
These people are known for their various styles, some of
which empowered musical advancements in metal to be heard
by the masses.
3.3.3.1 Harris Johns
Producer who engineered records for Kreator, Voi Vod,
Coroner, Tankard and other bands during the middle to
late 1980s, was a madman.
3.3.3.2 Tomas Skogsberg
When the first school of Swedish death metal appeared,
it utilized a new form of blisteringly destruction
distortion, requiring a producer who could tame that
sound into coherence. Sunlight Studios and Thomas
Skogsberg forever will be remembered for that
utilization.
3.3.3.3 Pytten
Produces most of the Scandinavian school of blackmetal
at Grieghallen. First name Eirik, unknown if he is
related to the person by that name who played bass on
the first Immortal LP.
3.3.3.4 Tom Morris
The "Morrisound sound" can be either a curse or
blessing, depending on your intended audience.
Although it is mocked often for its consistency, the
Morrisound folks were the first to figure out how to
consistently preserve bass AND tone in metal music.
Some say toward the end of the American death metal
period, Morrisound was producing almost
mechanical-sounding boosted recordings that destroyed
the texture of sound.
3.3.3.5 Scott Burns
Known mainly for being the guy in the "NO MOSH - NO
CORE - NO FUN - NO TRENDS" circle on old mayhem
records, Scott Burns cranked out an amazing number of
death metal albums as producer and engineer. Some say
his work sucks, and at least a lot of it sucks, but
he's done some reasonably adept productions as well.
Also, metal bands/grindcore bands are rarely working
with matched sets of current equipment. Of late has
worked predominantly out of Morrisound Studios.
3.4 Objects
The various assorted physical objects one can get in addition
to recordings can contribute to a sense of groundedness in
the genre, but could also be a waste of time. Tshirts
however serve the useful social function of spreading
information; the band name and logo are shouted at every
occasion by intense visuals.
3.4.1 Gear
The soft goods of the metal scene.
3.4.1.1 Clothing
T-shirts: should be $15 for short sleeves, $20-25 for
longsleeves
Hooded sweats: should be $25
3.4.1.2 Patches
Generally $1-$5, these are band logos in (manly)
embroidered patches.
3.4.1.3 Armor
Many Hessians choose to make their own armor. However,
many mailorder places will sell Armor and Weapons.
3.4.1.4 Weapons
Many Hessians choose to make their own weapons, but
these too are sold through the mail. Mostly this
involves midevalism and other forms of classicism, but
often there are Hessians making nuclear weapons for
Satanic annihilation of life in the most normal
neighborhoods.
3.4.2 Distribution
Metal uses an internal network of underground
distributors, activists, and content architects in order
to ensure the distribution of ideas. It is a remarkably
efficient chaotic machine.
3.4.2.1 labels
For an updated list, see the Dark Legions archive
labels database at:
http://www.anus.com/metal/labels.html
3.4.2.2 mail order
For an updated list, see Dark Legions archive mailorder
list at:
http://www.anus.com/metal/labels.html
3.4.2.3 net sales
Net sales are common as they allow the seller to
receive $6-12 for a CD otherwise returning $2-4 at a
record store or $0.50-2 at a corporate music outlet.
Most transactions occur through a posted ad in USENET
and an email agreement, then check or cash or money
order transfer followed by shipping.
Yes, this runs on the honor system, but what doesn't?
If you get ripped off by a merchant, you _could_ sue --
if you had ten thousand dollars and several years to
wait.
Remember that how you treat others influences the
likelihood of how you will be treated.
When selling, post a list of CD's, prices, and terms
and conditions (postage, quality of merchandise, time
required) with a Subject: line beginning with CDSALE:
and you will get the most response by convention. When
buying, ask conditions and consider asking for a bulk
discount if purchasing many items.
Always keep contact information for the seller, because
if the package doesn't arrive, you want to ask before
slinging accusations. However, if something goes wrong
and the person with whom you're dealing does nothing
for a couple of months, post a message to the metal
groups explaining your experience and asking for
advice.
Usually the seller will either wake up and give you
straight answers or the underground will boycott the
person who has so dishonored themselves.
At the Dark Legions Archive, there is a list of links
to current cautions/"bad" trader list:
- http://www.evilmusic.com/metal/links/traders.html
3.4.2.4 tape trading
Some consider tape trading "illegal" and "immoral," but
such things make no difference to a busy metalhead,
especially when tape trading is the background of
diversity in metal.
Finding new bands is difficult, especially with catalog
descriptions like "Necro-fuck carnal excretory metal"
and "Trollish folkloric sado-metal," so often people
will spend time and effort making custom sampler tapes
for friends in exchange for a similar offering. This
allows metalheads worldwide to hear a much broader
range of music than if they were confined to hearing
only what they could afford, and spreads different
kinds of music to the different groups of people who
appreciate each kind.
Not only does it benefit the fans and the bands, but by
extension the labels, who in exchange for hosting the
capital that funds each new release take most of the
profits for their own satiation. For this reason, it
is the opinion of this writer that it is best to keep
tape trading as a metal institution.
On the newsgroups or via IRC or via personal web pages
you can make contact with other individuals wishing to
tape trade, and then arrange for the trade in email or
by phone.
Most IRC clients will allow you to have a DCC file
server from which you can dish out your "for
sale/trade" list, as you can post it to USENET or other
open forums.
Spread everything you can, especially demo bands, who
self produce their tapes and sell them through local or
metal-specialty record stores.
"Unauthorized duplication of this release is not only
permitted but encouraged, make a tape of the shit and
give it to a friend. This is the underground, support
it. If we were in it for the money we would have quit
long ago." - Skinless
3.4.2.5 used sales
Record stores often make more money on used CD's - for
which they pay $2-$5 and sell for $6-$10 - than
shrink-wrapped brand new versions. Hence most of them
now have some form of used music display.
Netwise buyers sell mostly used merchandise at often
better prices, if you're chary enough to buy bulk, and
transfer more of the money taken in toward buying more
metal, on the whole. Support yourself and the
underground with a person to person transaction.
A newer breed of record stores exist which specialize
in bulk resale, e.g. they have a ton of stock in a
warehouse environment. These often will sell you two
decades of metal for $25 or thereabouts.
3.5 Playing
Part of the Hessian experience is to get involved in music
making, which instigates a respect for the beauty things
create in one's mind even when the things themselves are
fully deconstructed. The "aesthetic barrier" is what
restricts most people from understanding music; they
understand it as a whole, usually based on its production
values or choices of coloring within the pieces. To be a
musician is to transcend the aesthetic barrier or to forever
be a slave to the translation factor of pushing music through
one's instrument.
3.5.1 Guitar
http://www.pst.informatik.uni-muenchen.de/~dranidis/Music/
Learning Guitar through Music Theory is an excellent
resource.
For a "metal" sound, it is recommended that you get a
guitar with deep tone and if possible double humbucker
pickups for extra crunch. Of all the picks commercially
available, the "Tortex" last the longest compared to
normal planned obselence plastic erases. Many metal
musicians swear by thicker-than-normal strings, also.
Most of the fast strumming techniques seem to be centered
around holding the guitar at a radical angle nearly over
the shoulder, and cutting diagonally across the bottom
three strings often in a circular wrist motion.
3.5.2 Drums
I have found some tricks that will allow great speed with
minimal effort. On Monday I saw a recent edition of Modern
Drummer has published a technical section by Virgil Donati
who I consider to be the master of double bass drumming.
I only got a quick glance but I know it goes through his
concepts of playing doubles on each foot. This generally
allows you greater speed and endurance than if you were
just to play singles all the time.
I used to listen to Virgil practice in a room just next to
me as I was waiting for my drum lessons and the stuff he
can do with his feet are amazing.
Unfortunately, it takes a long time to develop the
strength and accuracy of doubles on the left foot so that
it matches the right foot.
As I have continued to work on my left foot doubles, I
have found that I can utilise the speed of my right foot
to get to faster tempos without worrying the left foot too
much.
Instead of doing straight singles or doubles, I use a
mixture of the two. Doubles on my right foot and singles
on my left. This means I have groups of three notes
happening on my feet faster than I can play them with
normal singles.
The way to practice this is simply to play them as
triplets.
Left-right-right-left-right-right- etc. With the
quarter-notes in capitals it looks like this:
L r r L r r L r r L r r L r r L r r L r r L r r
Once you get to the stage where all notes sound even you
can then make this stream of notes into anything. To play
them as sixteenth notes your feet do this:
L r r l R r l r R l r r L r r l R r l r R l r r
This can feel a little weird at first because the pattern
your feet are playing resolves after 1.5 or 3 bars but
most music is in four bar phrasing so it sometimes can
seem strange to get in and out of.
Trust me though, once you practice this for a couple of
days you should be gaining in speed immediately.
I like to use this technique a bit but it is only a
passing thing until I get to using doubles on both feet.
-- Richard Beechey, richard_beechey@hotmail.com
Well, I started out as a death metal drummer so heres my
.308
1.Don't sit low(preferably so that when you sit on your
drum throne your arse is higher than your knees) .I find
it a lot easier to play doubles faster and for much longer
periods of time when I sit a little higher
2.Buy a metronome,and a book with the basic drum rudiments
3.Practise the above with legs,feet,both starting out slow
and gradually increasing speed when you feel comfortable
with the slower tempos.
Also practise playing triplets,quads,quintuplets etc. to a
steady 4/4 rock beat and "four on the floor" 8th,16th and
32nd note rolls with hands,feet,combined,slowly at first
and also learn the associated rests ie. This is all about
learning to walk before learning to run.
4.I normally play a set with the snare and ride at more or
less the same height(sitting down,a little lower than
elbow height) the hihat a little higher.Toms placed a
little higher than the snare at a small angle.Crashes and
china at about shoulder height and the splashes halfway
between the tom rims and crashes.This makes it easier to
play fast and otherwise because the movement needed is
basically minimal.
5.Listen and play along to Gene Hoglan,Sean Reinert,Tomas
Haake,Tim Alexander,Pete Sandoval,Dean Castronovo,Vinnie
Paul,Arcturus and Mayhem :)
6.Try your pedals at medium tension and the drumhead a
little tighter. More rebound and a quicker response
7.Use ankle weights and practise rudiments with big ass
drumsticks.
...A little help I suppose
8.when practising donīt tense up,when you feel like your
arms are starting to tense up, slow down to a comfortable
speed.
9.Stretch out before you start to play, pay attention to
the hands.
Warm up a little.Ignoring points 8 and 9 can lead to
serious problems in the future ( I know).Stretch out after
you finish playing.
A little help I hope
-Pyry, kaisa.lukkariniemi@inet.fi
3.5.3 Bass
I use a lot of chords in my playing. I mostly play metal
genres though which is a different situation than you are
in. I think my use of chords (2,3, and 4 note) stems from
my days playing in one-guitar groups where the need to
fill things in during solo sections drove me to cover for
the lack of a rhythm guitar. Now I play in a 5-piece with
two guitars so there's not as much room but I still find
places to let loose some excessive bass frequencies.
- Brian (Ion Vein)
For metal playing generally, look for a low action - a
little fret buzz is okay - and a basic sound that has
plenty of top and bottom. That it's generally a good bass
with a good setup, that you're comfortable playing, is
more important than the particular brand.
- David Hodges
3.5.4 Vocals
When performing death metal, grindcore, or black metal
vocals, it is important to remember that believe it or
not, one is still singing. The harsh sounds in the throat
are produced by the aggravated resonance of the vocal
cords, but the cords themselves will be damaged unless
given amplification by a whole lot of wind from below.
This brings in the diaphragm, a beltlike muscle around the
base of the lungs which allows for external pressure to
work the dual sacs as a billows. Contracting that muscle
is as easy as deep breathing; once you've memorized that
feeling enough to reproduce it, you can control this
muscle to shove more air across your vocal cords and thus
to pre-amplify your sound.
"Gorgoroth is heavy, but not the heaviest. They play a lot
in mid-tempo, and my main point of critisism is the
vocals. The singer sounds like a duck being castrated."
- Sybren, S.J.Hettinga@lr.tudelft.nl
(c) Copyright 1994-2002 Hessian Studies Center
http://www.anus.com/hsc/
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