How do you define a good documentary? Do you judge it on the new info it brings or do you judge it on how it opens up a niche with scarce information? The problem then also gets harder when it comes to music-related documentary where most of the people who will be watching are those who are already part of that niche.
However, documentaries have to be accessible to outsiders or else it becomes just another video reporting about a certain event or just another video log. To become too accessible would also incur more problems. In the case of a subculture that is too vocal for their own good like Metal, you will end up with hate mail and youtube insults consisting of how the documentary only covers beginner’s material.
That was the very case that Sam Dunn had to go through when filming A Headbanger’s Journey and the Extreme Metal episode of Metal Evolution. To be fair, his Metal genre tree was questionable. I think I did a better one when I was 15 at the back of my science exercise book. Not to mention the glaring omission of genres like Sludge, Doom or even Stoner probably pushed the wrong buttons on some people.
Considering how volatile the scene is at the end of the day, the very act to pull off a documentary on such a touchy subject like the Metal scene in the Bible belt states of America, are already good enough grounds to applaud.
Referring back to metric stated
in the first few lines above, Slow Southern Steel, managed to open up the scene
that could unfamiliar to the rest of the metal scene while not dumbing down too
much for general viewing. While a normal viewer may get lost at the nuances of
what the south stands for, Chris Terry managed to spread out everything into
bite-sized pieces.
The documentary is divided into several parts; one part talking about how different is the music from the scene while another part talks about the impacts of living in the South and how it affected the music. While here and there we could already tie up the strings based on the stereotypes that people have on the South based on what has been presented on television.
However, despite what we already know, like stereotypes of fire and brimstone typed families dictating the lives of others into their Christian ways, what is interesting is to what extend it has affected the music. One could say, even on a theological level, Christianity still had a strong foothold.
It becomes part of the identity of the scene where one person may take what has been taught to them about Christianity, filtered through their rebellious moments in their teenage years. Result being some of the musicians interviewed became “moderate” Christians instead where religion becomes something personal. Others than totally rejected it and went the direct opposite, up to the point of Satanism being an attractive idea to them. This could be said an interesting study on the clash of cultures, with Metal being the conduit between the two.
The documentary is divided into several parts; one part talking about how different is the music from the scene while another part talks about the impacts of living in the South and how it affected the music. While here and there we could already tie up the strings based on the stereotypes that people have on the South based on what has been presented on television.
However, despite what we already know, like stereotypes of fire and brimstone typed families dictating the lives of others into their Christian ways, what is interesting is to what extend it has affected the music. One could say, even on a theological level, Christianity still had a strong foothold.
It becomes part of the identity of the scene where one person may take what has been taught to them about Christianity, filtered through their rebellious moments in their teenage years. Result being some of the musicians interviewed became “moderate” Christians instead where religion becomes something personal. Others than totally rejected it and went the direct opposite, up to the point of Satanism being an attractive idea to them. This could be said an interesting study on the clash of cultures, with Metal being the conduit between the two.
However the more interesting part
is how the scene grew as it was portrayed here. While in bigger cities, higher
population density meant it was slightly easier to get into a band, the South
didn’t have that privilege. The exploration how bands got their first taste of
music through church groups sounded very different from how the “city folks”
who are able to get into more secular means.
The influence of country and folk while may be obvious to an outsider to the music of the South, the reach of the music told here shows how it becomes an identity. While in other areas, other music that were considered mainstream is rejected and Metal is perceived as an alternative to that culture. Country still remains as a culture that is embraced, despite how mainstream it is in those areas. It further strengthens the notion of identity the South has and something that many scenes struggle to find.
The influence of country and folk while may be obvious to an outsider to the music of the South, the reach of the music told here shows how it becomes an identity. While in other areas, other music that were considered mainstream is rejected and Metal is perceived as an alternative to that culture. Country still remains as a culture that is embraced, despite how mainstream it is in those areas. It further strengthens the notion of identity the South has and something that many scenes struggle to find.
All in all, Slow Southern Steel
is something that everyone who tries to find an identity in theirs should
watch. It is more than just the music, it is an exploration how cultures
collide and create new ones that amalgate the old and the new. While it is accessible,
but the stories found here are eye-opening, such as how the scene grew up after
Katrina in NOLA.
The bands interviewed here are no longer bands hidden in the tape trading scene but now are big bands like Eye Hate God, Kylesa, Zoroaster or even the now defunct Acid Bath but the scene didn’t come from an easy path. At times, there are lesser known bands that were interviewed and it could also act as a gateway for some. Their path was harder than usual and should be the inspiration for the other scenes out there.
The bands interviewed here are no longer bands hidden in the tape trading scene but now are big bands like Eye Hate God, Kylesa, Zoroaster or even the now defunct Acid Bath but the scene didn’t come from an easy path. At times, there are lesser known bands that were interviewed and it could also act as a gateway for some. Their path was harder than usual and should be the inspiration for the other scenes out there.
Check the documentary out for
free in the link below.
Terence A. Anthony commutes between Kuala Lumpur and Kuching. Co-Founder of Aural Chaos. He also writes for Greater Malaysia and Opinions Unleashed.
