Metal has come a long way from leather-clad men with crazy hair. It’s a living entity that’s constantly growing, and has even come to welcome those in marginalized cultures. With all this color mixed in, the genre has exploded into a rainbow of infinite creativity. Let’s go over a small trickle of these diverse bands.
As a weeb, I have to start by discussing a Japanese band. Early on, all my music posts were exclusively about Japanese bands. And if I had to pick one for this post, it would be Wagakki Band.
Since the early 2010s, this group has combined the gentle beauty of traditional Japanese folk music with that of Western rock and metal. Despite the duality, this combo works really well. They’ve gotten enough acknowledgement to be allowed a collab with Amy Lee from Evanescence in 2020 (even though I think Wagakki Band is better than Evanescence and the honor should be Lee’s).
The problem is that they’re a bit inconsistent with their style. Even during the course of the same album, their musical style has ranged from folk metal to folk pop, the latter of which completely abandons Western instrumentation and has simplistic, easy melodies. Their newest work, 2021’s Starlight EP, is the lightest thing they have ever released. As they become more popular internationally, I worry that they will be forced to sell out and not be metal in the future. But I guess we’ll never know until their next full-length album comes out!
I was reluctant to listen to this band, considering the searing nature of their lyrics; however, I gave them a try. Living Colour, known for their first hit single ‘Cult of Personality’, is an iconic example of a band consisting entirely of Black men, which was very rare at the time, since a lot of metal bands only had White guys. Beyond that song is a discography spanning six full-length albums in an ongoing career of over three decades, and they’re working on new music right now.
The band combines funky fresh beats with hot n’ heavy metal. Naturally, a lot of the lyrics are sociopolitical commentaries on America, and—of course—racism is involved. The lyrics are brutally honest and, well, brutal. Living Colour is the only band to have me break out into uncontrollable sobbing. The song in question is ‘Flying’, their tribute to the 9/11 attacks. Of course, the rest of their stuff doesn’t slouch. Their newest album, Shade, is my favorite work from them thus far. Given the past couple years, expect their next outing to be brutal.
Due to my anxieties discussed in the New Year’s update, I might have BS’d myself into loving this band. In fact, you probably heard of them, since they are hugely popular worldwide (based on what I read about them). Regardless of if I should like this band, I’d rather listen to The Hu than any popstar.
The Hu are from Mongolia, and incorporate the corresponding folk traditions into their music. However, the fusion between Eastern and Western is very loose; there really aren’t any electric guitars at all. Despite that, the musical style—using the Mongolian instruments—is undeniably that of Western rock. Although considered metal, The Hu really aren’t “heavy.” The songs are very catchy, and definitely feel a lot more like Mongolian rock n’ roll than folk metal.
But for whatever reason, I find myself captivated by the band, even though, as a pure metalhead, I shouldn’t be. The singing techniques sound really cool, and the instruments are neat to boot. Maybe they’ll get heavier when they follow-up their debut album, The Gereg, but we’ll never know until that next album comes out!
I had zero African bands on my docket for the longest time. The only African band I had heard of was South Africa’s Vulvodynia, a super duper violent death metal outfit; no thanks! I wanted African folk metal, but there were slim pickings. Of those pickings was Tunisia’s Myrath, and while not exactly what I was looking for, I ended up developing an interest in them all the same.
Incorporating Middle Eastern instruments, Myrath is a brilliant progressive folk metal band, although they lean toward the Western end of the fusion. Their style gradually shifts toward power metal (as shown in the embedded MV) which might be off-putting for some, but the songs are still fire, so it really just shows the band’s versatility.
Alien Weaponry is one of the more recent examples of metal being used as an instrument to fight for civil rights, and quite a successful one at that. This New Zealand outfit is descended from said nation’s native people, the Maori. Sadly, New Zealand’s British-run government has been systematically stamping out what little of the Maori remain (read this article for more details). With metal, Alien Weaponry seeks to represent their heritage and raise awareness of racism.
Unfortunately, I found them to be my second least favorite band on this post. The songs in which they incorporate their Maori language are great; they have a tribal and barbaric sound (which is exemplified by the fact that they perform with no shirts on). However, that’s only half the battle. A lot of their music is sung entirely in English, and when they do this, Alien Weaponry seems like a completely different beast. While the lyrical theme of racial injustice is still part of it (albeit in a different language), the all-English songs feel very contemporary and garden-variety by comparison. I usually do a three album rule if I can at least see potential for the band to grow (a rule that may or may not have been inspired by the notorious three episode rule for anime), so I’ll keep my eye on them for now. As it stands, Alien Weaponry is a pretty typical Western-style outfit with a Polynesian paint job.
Voice of Baceprot
This young Indonesian outfit seems to be the most popular band out of everyone on this post. Of course, they happen to be my least favorite as well. However, that’s not a particularly fair assessment since they have only two singles and several covers of early 2000s metal songs that I don’t like.
What makes them attractive is that they are seriously young; I think they’re still teens. They’re also all girls who practice Islam, which apparently forbids music (at least where they’re from). VOB has become insanely successful, not only gaining a large swathe of metal fans, but the favor of political figures as well. Their critics, on the other hand, are so passionate as to threaten the girls’ lives. I don’t mean they are Internet trolls; these people have made actual, cruel attempts to murder the members of VOB.
I wanna support them, but what they have put out so far doesn’t impress me. Voice of Baceprot sounds like a very basic hard rock band. Their lyrics are definitely heavy, but the music just doesn’t accommodate. Regardless of what I think, people love them, and I’m willing to bet that a potential full-length debut album will be the most anticipated metal debut of the decade; likely the one thing that can dethrone Spiritbox. You can give them a try I guess. If you watched the embedded music video, you’ll have already heard 50% of their discography anyway.
Okay, so this is the most unorthodox band I have on here. I have included Whispered only because I want to bring up the concept of “cultural appropriation”. Like Wagakki Band, Whispered incorporates Japanese folk into heavy metal. Unlike Wagakki Band, Whispered are from Finland.
I read up on cultural appropriation, and I’m afraid that Whispered might fall under it, and their very underground status is probably what’s kept them from any upheaval. The music is really good, basically a more extreme version of Wagakki Band, with that over-the-topness of European metal. It’s actually a really, really good band. I’d almost say they’re better than Wagakki Band. They incorporate the rare fusion of melodic death with power metal, and have taught me that Wizardthrone was not at all the first band to do it (in fact, Whispered would make a perfect replacement for them if they were to disband).
Whispered is taking its sweet time, with only three albums out in the course of a decade, and no set date for the fourth album has been confirmed. The lyrical themes are mostly bushido stuff, and sometimes cover Japanese mythology, but both check out based on my own knowledge of the culture.
I don’t really know the nuances of cultural appropriation. The first and foremost thing is that it’s supposed to be offensive, but how do you know for sure? When I read up on it, I saw one example of Justin Bieber being accused just for wearing dreadlocks. Maybe he was wearing it “wrong(?)”, but I don’t know how you can be racist by wearing a cool hairstyle. Whatever the case may be, I’m concerned that the current mindset on racism will make it so that only people of a given ethnicity can be inspired by the corresponding culture. That sounds like the opposite of what needs to be done to me.
Despite the massive burst of inclusive media, there’s still a long way to go. As I mentioned before, I wanted African folk metal, specifically that of West Africa; the kind that’s represented at Disney’s Animal Kingdom and Animal Kingdom Lodge. Togo’s Arka’n Asrafokor is the first band that came up when I searched, and according to what I’ve read, they’re the only metal band from Togo to begin with.
Like many underground units, they need time. Since its formation in 2009, the band has only released one album—2019’s Zã Keli—under its old name, ARKA’N. The album isn’t just novel; it slaps. As it says on the tin, it is a fusion of metal, and those old-timey African vibes. Using English, French, and their native Ewe, there are a lot of different vocal performances you’ll hear. I particularly love when they harmonize in the latter.
According to my research, Zã Keli was very well-received when it came out, and most people who’ve listened to the band are already devoted fans. However, the fact still remained that I needed to Google Search this specific type of music for me to find them by happenstance. From what I read about them, the process of finding the necessary equipment was exceptionally difficult where they’re from, and that would probably explain why the album took so long to make. I hope that the stars will align with them in the future, because this is a band I want to see become more mainstream. While a lot of the diverse stuff in the mainstream emphasizes how great each culture is, they don’t really showcase either of those cultures “together”, if you catch my drift.
Unfortunately, it really seems that Arka’n Asrafokor is one of a kind, not just in Togo, but the world. Like I said, this is the only result I got for “African folk metal”, and that makes me feel sad. I wish this band takes over the world going into the 2020s. PLEASE.
We have a long road to travel to reach racial tolerance. In the meantime, these bands—and many more—are here to stay and won’t take no for an answer. Maybe someday, metal will remind us that we’re all human beings. If not, then pop will probably take that mantle instead. Hopefully, you’ll have been encouraged to broaden your horizon of music!
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