Feudal Heavy Metal
By Brendan Heard and Iásonas Lupus.
If you listen to fools… The Mob Rules!
– Ronnie James Dio
Heavy Metal should always contain the concept of hierarchical feudalism in its structure, lyrically and musically. It should at all times disregard the motives and tendencies of the mob, and deride their puerile suggestions and weird, unartistic pressures. The feudal metallist must be as an iron knight before those who peddle the falseness of commercialism. He must be immovable against the incessant artistic hijacking of disinterested marketeers and middle men, hindering everything righteous through their fearful, average-guy obliviousness. The counter-cultural intensity of Metal is in eternal war with the evil mainstream conformity of The Poser. The feudal metallist must always stand against this, and against the Mob generally, and always be in favor of aristocratic quality.
Heavy Metal thus requires its own feudal lords, to steward the counter-culture and keep it trü and steered towards glory and artistic fire. These protective barons, lords of their own cultural fiefdom, are tasked with weeding out the posers who advocate for pop science, secularism, globalism, effeminate values, pacifism, materialism, bourgeois morality, and most importantly, the commercialist traps of middle-men, who lurk constantly in the shadows, armed with their degrees in marketing, trendy haircuts, and fake laughs.
Heavy Metal is a kind of revival of the mystery cult of antiquity, but with electricity. It’s values are based upon a difficult honesty, warrior codes, acceptance of death, harnessing ferocious energies, and encompassing the warring spirits of the underworld and the heavens within a mythos. Their conquest is against the mob, the mainstream who understand nothing real, only the bland pursuit of safety. These people are rightly disregarded by the Feudal Metallist as hierarchically lower, and their opinion being of no consequence.
When the Feudal Metal Lord lowers his guard, even for an instant, then without fail a simpering sentimental ‘acceptance’ appears, and soon opens the gates to poseurs. These nothing-people infiltrate like rats with wishy-washy attitudes and a milky empathy for ‘everything’ including commercialism. Soon lost as ‘scary’ is the atmosphere of ritual and danger. And so the unyielding Heavy Metal feudal lord is always on the watch for feeble posturing, and despises even more the encircling middlemen with their fists of impure money, who wish to profit from energies they don’t understand. But The Metal Baron understand them all too well.
Heavy Metal does not just require such a lord, but also it’s own medieval guild, and possibly more than one guild. One for the musicians, one for technicians, one for album cover and poster artworkers. They must be provided with quality leather clothing and sound, archaic-style stone-constructed venues, so the quality of the art remains untouched by the evil and feeble taint of commercialism.
Metal can only remain dangerous and HEAVY when it is unsullied and unconcerned by the neutered values of THE MOB. The mob is an animal, frightened and slavish; metal is a guidance, a cultural buoy which lights the way for future warring and interbreeding genealogical timelines. Descendants who can decipher and recreate from honest and seeding cultural lifelines (such as metal) the vital archaic information required to create the future. The materialists and posers have no vision and create nothing.
All middle men are bad.
– Syd Barrett