I know that the National Day of Racial Healing was four days ago, but… well, I have no excuse. That’s just what happens when you only do one post a week, and that day of the week isn’t on the holiday. In any case, this may or may not be the last time I do something for the National Day of Racial Healing, since a lot of bands like this are—sadly—still quite under the radar. We’ll cross that bridge when we come to it, though!
A literal month after I published the post from last year, something truly miraculous happened. A 100% independent band from New Delhi, India, unleashed its first album—Rakshak—and actually took the world by storm! For once, I’m not alone in loving a weird niche band from East Jabip (even though most people still liked Lamb of God, Slipknot, Lorna Shore, etc.’s albums a lot more by comparison).
What makes Bloodywood special? Well, kind of everything about them. As a folk metal band, they incorporate heavy modern instruments alongside traditional Indian ones. The music is exceptionally well-composed; and they’re not afraid to throw in some electronic sounds to spice things up. The lyrics are also exceptional, going into themes like personal struggles and politics. In fact, I think Bloodywood is perhaps the only band able to discuss the latter without trying to divide the community like an overtly Left or Rightist band would. These lyrics are conveyed—you guessed it—exceptionally well by Jayant Bhadula, who growls in Hindi, alongside Raoul Kerr’s rapping prowess.
The only Mexican musicians I listen to other than Mariachi Cobre in EPCOT’s Mexico pavilion, Cemican is a unique folk metal band that uses Mesoamerican instruments in their heavy sound. They have elaborate costumes that represent their native roots, and look fun to see in concert, based on the clips they’ve shared on Facebook. They really get the ball rolling on their third album: In Ohtli Teoyohtica In Miquiztli. They haven’t released anything new since COVID, but have been pretty busy with gigs, so they seem to be doing alright for such a niche band. Hopefully, you’ll be a fan of theirs as well.
Of course, Mexico isn’t the only country with marginalized Indigenous people (well, technically, EVERY nation has some but I’m just trying to make a segue here). Sgah’gahsowáh, the sole band member of Blackbraid, is another excellent example of native people going heavy. Hailing from the Adirondacks, this man delivers top-dollar black metal (with the occasional woodwind accompaniment) and has left a lot of people wanting more. Fortunately, as someone who sold VERY well on Bandcamp, we’re pretty likely to get more in the future. Time to be good noodles and wait!
Taiwan has had a passionate metal scene since its important pioneer band, Cthonic. However, the country in general is still pretty slept on, even in the metal community. Sounds like a perfect place for underground enthusiasts to search, with Bloody Tyrant being one potential result of said search.
It took a while for them to get the ball rolling though. Their first album, while still enjoyable, is pretty garden variety black metal, but over time, they started to incorporate the Eastern folk instrumentation that makes them stand out. Each album has gotten better, with their most recent record from 2020 being a legitimate knockout. I can’t wait to hear what’s next!
Of course, I HAVE to gush over at least one Japanese band; at least this isn’t one I’ve discussed before, like with last year’s entry. As much as I hate the excessive amount of metal genres, I feel like hanabie. (yes, the period is part of their name) should be referred to as “otakucore”. They attack with aggressive metalcore energy, dual vocalists, and an uncharacteristically silly vibe. A lot of their song titles have to do with being nerds and hikikomori (and presumably the lyrics as well?)—hence the “otaku” descriptor from before—with the occasional cultural commentary. They’re pretty new to the scene, but they’re off to a strong start, and the prestigious Dutch metal festival they’ve been booked for later this year will probably earn them international attention.
Despite the wild success of Disney’s Moana, Polynesian culture is still dying in this world. A new hope emerged in 2018 when the wildly successful New Zealand Maori metal band, Alien Weaponry, began their career in reclaiming their people’s culture. While that band is all well and good, it turns out that “Polynesian” is an umbrella term for numerous Pacific islanders. The people of French Polynesia are in even BIGGER danger; according to Te Ruki’s page on Encyclopaedia Metallum, only a few thousand people can speak their unique Tumutoan language. As far as I know, they are this ethnicity’s only voice in pop culture whatsoever.
Fortunately, it’s a damn powerful voice. In fact, they are everything I’ve wanted out of Alien Weaponry and more. However, unlike their Maori cousins, they employ primal-sounding black metal. Performed with tribal rhythms and singing in their native language, Te Ruki’s rituals knock it out of the park. The cherry on top is the use of TWO sets of percussion instruments: the usual drum kit, along with a set of traditional Polynesian drums.
Does this neofolk group even count? Sure, they represent pre-Christian Europe, which is kinda-sorta a marginalized culture, but… they’re still European. Well, for three White people, their popular music is almost scientifically proven to break barriers. I mean, just look at their policy: “Remember, we are all brothers. All people, beasts, tree and stone and wind, we all descend from the one great being that was always there, before people lived and named it, before the first seed sprouted.” I HAD to include them here, despite them technically not being a metal band (although they are still popular among metalheads, and are signed to a metal-devoted label).
In any case, Heilung is an uncharacteristically bizarre band, considering their immense fame. With pretty much no rules to their music, they can have an epic, melodic masterpiece like the embedded video… or six-plus minutes of Nordic ASMR. They mold the ancient instruments of the past into something new and otherworldly; something beyond comprehension that we can all be baffled by together, regardless of our color and creed. Heilung is one of those groups who can’t NOT be described without hyperbole, because they are just that kind of experience.
People complain about there being a lack (still) of diversity in popular culture these days, music included. Yet, as you can see from this post and its prequel from last year, that lack isn’t exactly—you know—real. Not to sound rude, but it’s honestly people’s fault for listening to the same small group of household names over and over again and never going out to discover anything new. That’s just how the mainstream works, I guess. This might be the last time I can do a post like this, but if I can find MORE good groups, then we’ll meet each other again next year.
One thought on “STILL Heavy and Colorful: More Diversity in Metal”