I’m sure it’s fairly evident by now that I’m not a metalhead. Most metal I’ve heard doesn’t do much for me, but it’s for different reasons then usual: For me, it’s never been about the noise and abrasiveness, it’s been about how all metal, while advertised as being this rebellious genre, seems very formulaic. It always has the loud, precise guitars, the lyrics about blood and killing and other “shocking” topics, and of course it always has to have the awful grunting male vocals that drive me up the wall.
Basically, metal is very masculine and always has been. The music is pretty much a dick-waving contest to see who can outshock others and the entire genre seems to live in some prehistoric world where women are completely unseen and unheard, unless they’re approximating the aforementioned male vocal style of grunting incomprehensibly instead of actually, you know, singing. I love loud and abrasive music, but it has to have a purpose to really be effective. Metal is too often loud just for the sake of it.
These are just my opinions of the genre as an outsider, since I obviously have no concept of just how many different kinds of metal there are (according to Wikipedia, about 4.5 billion). Part of why I’m repulsed a bit by the genre is that it comes so close to being something I could really embrace, but bands keep indulging in the same clichés all the time. There seems to be very little growth in metal compared to other genres, as most bands are going by the same formula that it’s always had. It’s hard to blame them: Metal has a rabid fan base that will support you if you give them what they want, and what they want is the loud, fast-paced guitars, bro-tastic vocals, and songs about skinning cats for the devil.
I mention all of this because, as I’m sure most readers know by now, I’ve been increasingly frustrated with how soft and non-threatening most indie music is today. And eventually that feeling has led to me dipping my toes into the metal pool, albeit in a very cautious way with a look of disgust on my face.
Of course, the problem now was I had to find metal bands I actually liked, which avoided all of the issues I raised with the genre earlier. I’ve become a pretty big fan of the Japanese band Boris, who play loud, crushing rock music but also relentlessly experiment in other genres and resist falling into the staid clichés that I’ve come to associate with metal. Then, after some more searching, I was finally able to find my perfect metal band: SubRosa.
SubRosa are a band based in Salt Lake City, of all places, and they play the slower-paced, doom-laden metal that I’ve found myself gravitating to more than the hyper-aggressive thrash stuff. But what really makes the band unique, and what drew them to my attention, is that it’s a female-fronted group, with three different women that provide vocals. Even better, they actually sing instead of buying into this idea that all metal needs to have the same vocal style.
Two of the women also play violin, which adds an otherworldly element to the band’s sound, which is characterized by loud, sludgy riffs and slow tempos. There is a small amount of the growling vocals (usually relegated to the background), but for the most part the women sing in normal voices. The lyrics are focused on medieval, fantasy themes that remind me of Game of Thrones or Lord of the Rings, but the basic themes can be applied more universally. Overall, I find the band oddly reminiscent of the Breeders or the Raincoats, if one of those bands had randomly done a bunch of drugs, gotten obsessed with fantasy, and decided to record a metal album.
SubRosa is a textbook example of how women can really bring an effortlessly unique sound and perspective to a genre that sorely needs it. In the world of metal, just the fact that it’s women singing instead of a face-painted dude makes the band already sound completely different from their peers. Along with the violins, that turned their album No Help for the Mighty Ones into my go-to “heavy” album of 2011. It’s all the skull-crushing rock awesomeness that metal has always potentially provided, but without any of the annoying elements.
It also has a surprising amount of versatility. At times I find myself getting lost a bit in all the noise, almost like I do when listening to shoegaze. There’s even a medieval folky number, “House Carpenter,” at the end of the album, which is the kind of song that I doubt very many other metal bands could pull off.
I don’t know much about how SubRosa is received in the metal world, but they seem to be gaining popularity there, which is refreshing to see. As evidenced by a lame indie dork like me enjoying them, the band also has obvious crossover potential to indie listeners who are frustrated with the current state of music or just want to hear something different. I’m pretty sure no other band on earth sounds like SubRosa right now.