Appreciation — April 16, 2014, 8:00 am

My Top 5 Metal Albums and Their Poetic Counterparts

Havoc, and spoil, and ruin be thy gain

The audience at Inferno Festival, Ohio. Photograph by Peter Beste, from his monograph True Norwegian Black Metal, published by Vice

The audience at Inferno Festival, Ohio. Photograph by Peter Beste, from his monograph True Norwegian Black Metal, published by Vice

Metalheads love lists. Decibel has special issues devoted to the Top 100 Death Metal Albums of All Time and the Top 100 Greatest Metal Albums of the Decade. The popular site Metal Injection runs lists like Top 10 Worst Crimes Committed by Black Metal Musicians. In connection with my article linking the genre with poetry in this month’s issue of Harper’s Magazine, it is therefore my metallic duty to compile a list of My Top 5 Metal Albums and Their Poetic Counterparts.

I’ve limited myself to records made after 1980, because otherwise I’d just list my favorite AC/DC and Black Sabbath records in alphabetical order. Also, this way I don’t have to deal with the question of whether, say, Thin Lizzy and UFO count as metal.

Which reminds me: the most annoying aspect of metal fandom is its inane insistence on policing genre boundaries. Every time I write about metal someone informs me that “Zeppelin isn’t metal” or that metal is entirely distinct from rock and roll. At the (often terrific) metal website Invisible Oranges, writer Cosmo Lee complained of Decibel’s decade list that “at least 15% of the list isn’t metal” (he also sniffed at the magazine’s profligacy with the term “hardcore,” which he feels should be reserved for “true hardcore,” ahem). This is like bitching that Taylor Swift isn’t country. Genres are fluid categories — useful as long as you don’t confuse them with dictionary definitions or algebraic equations. Is The Tempest a romance or a comedy or something else entirely? How punk is London Calling? Is this Lydia Davis thing a poem or a story? The answer is always: it depends.

1. Death, The Sound of Perseverance (Nuclear Blast, 1998). In the state with the prettiest name, the late Chuck Schuldiner basically invented death metal. This is my favorite Death record, although Human is a close second. It’s proggy, sinister, majestic. The death-obsessed Thomas Lovell Beddoes comes to mind. But the album’s on-a-dime swaps — rocketing melodies for eerie minor-key riffs for industrial brutality — call for a counterpart with weird, intricate metrics. I suggest the poems of the Jesuit priest Gerard Manley Hopkins (Schuldiner found Satanism silly, and he loved animals).

2. Slayer, Reign in Blood (Def Jam, 1986). It might be a coincidence that so many fans use the words “chaos” and “pandemonium” to describe the contradictory turmoil of this speed-metal landmark — fast, tight, in and out of control. But Chaos is Milton’s word for the “womb of Nature” containing the “dark materials” from which God creates the universe, and Pandemonium his name for the “High Capital / Of Satan and his peers.” And Milton, as Blake knew, was “of the Devil’s party without knowing it.” So Paradise Lost is the poetic counterpart of Reign in Blood (whose comic-horrific cover depicts the goatish Evil One borne across a lake of fire and blood). “Go and speed,” a personified Chaos tells Satan in the poem; “Havoc, and spoil, and ruin, are my gain.”

3. Converge, Axe to Fall (Epitaph, 2009). Converge is my favorite band. Jane Doe is, by critical fiat, their stone-cold masterpiece, but this later slab of metal punk is the one I love most. The ferocity of Jacob Bannon’s screams and Kurt Ballou’s bunker-busting guitars suggest the Flanders-Field carnage and machine-gun rhythms of Christopher Logue’s new-wave version of the Iliad’s battle scenes, All Day Permanent Red: “The noise they make while fighting is so loud / That what you see is like a silent film.”

4. Guns N’ Roses, Appetite for Destruction (Geffen, 1987). Yes, there’s filler, but this record’s had its hooks — and what hooks — in me since I first saw the video for “Sweet Child o’ Mine” in high school. Someone pointed out to me that there are more allusions to GN’R in my first book of poems, Alien vs. Predator, than to any other band or author. Therefore my own work is the poetic counterpart of Appetite for Destruction. If that’s too obnoxious, well, so are GN’R. But please also see, for destruction and appetite, Chelsey Minnis’s Poemland and Ooga-Booga by Frederick Seidel.

5. Mastodon, Remission (Relapse, 2002). Riffage. Huge, mud-caked barn doors of riffage. Aluminum siding of riffage slicing through trees of riffage in a hurricane of riffage. The American mastodon (the name means “nipple tooth,” which would also be a good name for a metal band) weighed around five tons, which is exactly how much the Atlanta band’s debut record weighs. But there’s a progressive complexity here too — Bill Kelliher (guitars) and Brann Dailor (drums) trample forests, then carefully diagram each leaf. Their fellow Atlantan James Dickey comes to mind, especially in the whiplash backwoods homily “May Day Sermon”:

       Ah, children,
There is now something else to hear:  there is now this madness of engine
Noise in the bushes     past reason     ungodly     squealing     reverting
Like a hog turned loose in the woods . . .

And, for good measure, five more favorite records (come up with your own poetic equivalents at home!): Iron Maiden, The Number of the Beast; Carcass, Necroticism: Descanting the Insalubrious; Pig Destroyer, Phantom Limb; Dissection, Storm of the Light’s Bane; Manilla Road, Crystal Logic.

Share
Single Page

More from Michael Robbins:

From the May 2014 issue

Destroy Your Safe and Happy Lives

A poet’s guide to metal

Get access to 165 years of
Harper’s for only $45.99

United States Canada

  • Kriscinda

    Jeff Walker’s lyrics on Necroticism are poetry and therefore their own poetic counterpart. I’m not even kidding.

    • Bobby

      Absolutely.

    • David Medine

      Also, Dave Mustaine did this: https://www.youtube.com/watch?v=6sHwxjkGQcU
      and should thus be banned for life from any top anything list forever — unless the word ‘douchebag’ is involved.

  • Blodssvik

    Hey sweet I can post as a guest!
    I was hoping for a Windir mention but nope! Oh well, seeing Pig Destroyer and Carcass and Carpathian Forest mentioned on Harper’s is awesome/hilarious enough to preeetty much make up for it.

  • David Medine

    Perhaps someone has already pointed this out, but drum ‘triggers’ do not ‘produce uniform beats at tempos faster than is normally possible with human arms and legs.’ Triggers simply help drummers hear their instrument better. Kick drum hits in particular may get aurally lost in the deluge of loud, noisy sound that is a metal song. The trigger simply plays back a loud, high frequency attack that cuts through the texture at the moment the drum is hit. It is still up to the drummer’s arms and legs to play fast.

    • El Janni

      Yes, but the drummer does not need to play the kicks with uniform or even specified intensity. It’s therefore easier to play faster when you don’t have to pay as much attention to technique. It’s like a guitar with super low action and tons of distortion.

  • ShockED

    I’m surprised that not one of Metallica’s albums made the list. Really?? I propose “And Justice For All” and the poetic counterpart is Dave Mustaine’s lyrics.

  • NickHolmesFan

    Lost Paradise by Paradise Lost is the equivalent of Paradise Lost. Pure, suffocating death/doom aural misery.

CATEGORIES

THE CURRENT ISSUE

August 2015

In the Shadow of the Storm

= Subscribers only.
Sign in here.
Subscribe here.

Measure for Measure

= Subscribers only.
Sign in here.
Subscribe here.

The Trouble with Israel

= Subscribers only.
Sign in here.
Subscribe here.

A Camera on Every Cop

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content

FEATURED ON HARPERS.ORG

Post
“The campaign music stopped. Hundreds of people, their faces now warped by the dread of a third bomb, began running for cover.”
Photograph © Guy Martin/Panos.
Article
Part Neither, Part Both·

= Subscribers only.
Sign in here.
Subscribe here.

“Eight months pregnant I told an old woman sitting beside me on the bus that the egg that hatched my baby came from my wife’s ovaries. I didn’t know how the old woman would take it; one can never know. She was delighted: That’s like a fairy tale!”
Mother with Children, by Gustav Klimt © akg-images
Article
What Recovery?·

= Subscribers only.
Sign in here.
Subscribe here.

“Between 2007 and 2010, Albany’s poverty rate jumped 12 points, to a record high of 39.9 percent. More than two thirds of Albany’s 76,000 residents are black, and since 2010, their poverty rate has climbed even higher, to nearly 42 percent.”
Photograph by Will Steacy
Article
Rag Time·

= Subscribers only.
Sign in here.
Subscribe here.

From a May 23 commencement address delivered at Hofstra University. Doctorow died on Tuesday. He was 84.
“We are a deeply divided nation in danger of undergoing a profound change for the worse.”
Photograph by Giuseppe Giglia
Article
The Trouble with Israel·

= Subscribers only.
Sign in here.
Subscribe here.

“We think we are the only people in the world who live with threat, but we have to work with regional leaders who will work with us. Bibi is taking the country into unprecedented international isolation.”
Photograph by Adam Golfer

Chance that a U.S. criminologist thinks abolishing the death penalty would increase the murder rate:

1 in 10

Villagers in Bangladesh found a missing woman halfway down a python’s throat.

The FAA announced it would investigate an 18-year-old Connecticut man who posted a YouTube video showing a homemade drone firing a handgun.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!

HARPER’S FINEST

Subways Are for Sleeping

By

“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”

Subscribe Today