Time to talk metal
Vicious, as I noted in an earlier post, is busy discussing the merits of metal with
Schmesse, an acquaintance of his apparently. Simply put, the former is right on and the latter is right off his rocker.
Let's start with "taste." The most obvious place to begin is food. Yes, different people enjoy different types of food. However, you'd be daft if you enjoyed poison, or something actively harmful to you.
Beauty is similar. Though gentlemen can prefer blondes, for instance, a beautiful woman is a beautiful woman. To go back to music, one need not have the requisite "taste" that would draw one to metal. However, that should not stop you from acknowledging its beauty.
A friend of mine is a good example: he isn't drawn to classical music (doesn't have the "taste" for it, in other words), yet he knows that it's a wonderful art form that he should learn to enjoy; whether he actually makes the effort is another story altogether.
This is supposed to be one of the pillars of education and, more generally, discipline. We can learn to appreciate what we may not at the moment.
Schmesse also incorrectly believes that universal beauty is not present in art. This is to separate art from any deeper meaning (the entertainment theory of art), which is dead wrong. A picture is worth a thousand words. Art and aesthetics reflect ideas and appeal to the individual through a different avenue than reason does. Art is higher, in fact, because it can relate the mysteries that reason fumbles with.
Having briefly laid this out, I want to turn to "Master of Puppets," an album and song that came up in the conversation. Though I'll focus mainly on the song in order to be brief, I do want to make one point about the album:
It has what is probably the best opening to an album I have ever heard. A lone guitar, in the classical Spanish style, strums out a simple riff. It's joined by another guitar, and the two play that simple, almost mournful riff, a few times. It lulls the listener into such a peaceful state, the quiet before the storm.
With a sudden and thunderous transition the electric guitars make their grand entrance. They play the same melody, with just a bit of a twist. Now, instead of being the soulful classically-inspired riff we first heard it's a soaring and powerful peal of thunder. Yet both riffs have the same unmistakable artistry and beauty to them.
Turning to the song "Master of Puppets" now:
It's a song about addiction. Though meant to be about drugs, it easily applies to sin or other forms of all-consuming temptation.
The story is told from the point of view of the drug (you can find these and other lyrics
here).
End of passion play, crumbling away
I'm your source of self-destruction
Veins that pump with fear, sucking darkest clear
Leading on your deaths construction
Taste me you will see
more is all you need
you're dedicated to
how I'm killing you
It's such a haughty statement. The drug takes pride in its destructive power, glories in its ability to lead this man to his doom, like a dog on a leash. All the drug must do is tug, and his slave will follow; a simple taste will drive the man to desire more and more.
Come crawling faster
obey your Master
your life burns faster
obey your Master
Master
Master of Puppets I'm pulling your strings
twisting your mind and smashing your dreams
Blinded by me, you can't see a thing
Just call my name, `cause I'll hear you scream
Master
Master
Just call my name, `cause I'll hear you scream
Master
Master
You can just picture a proud figure standing over a wretch, crawling on hands and knees, desperate for another hit. It's pitiful. This is total surrender. The addict has lost his sight. All he can do is scream for his master, who will parade him around.
Needlework the way, never you betray
life of death becoming clearer
Pain monopoly, ritual misery
chop your breakfast on a mirror
This is just a taste of the man's pain, his "ritual misery." It's a depressing thought. How can anyone live this way? Despite this repulsive existence, the drug is confident in his lordship. "Never you betray."
We hear a strangled voice cry out "master, master!" over and over, gradually fading away as the music rises; the solo has begun.
The man has succumbed to the drug. The notes flow over you like a warm wave; it's just so sleepy and pleasant. As the needle enters his veins he is at peace. The tension manifest in the lyrics seems to have melted away. The fight is lost.
However, there's a limit. The notes keep struggling to get higher, but something keeps pulling them back down. Something grounds this pleasant feeling of freedom.
The struggle ends, the guitar makes way for the drums, now loud and angry; the guitar beings to churn out a pounding, repeating sound.
Though it seemed the man had fallen, he has a new energy. He shouts at the drug, full of rage:
Master, Master, Where's the dreams that I've been after?
Master, Master, You promised only lies
Laughter, Laughter, All I hear and see is laughter
Laughter, Laughter, laughing at my cries
Face me!
The guitar is frenzied at this point. You can literally hear the war going on in the man's soul. The melody moves up and down the scale, from the high to the low and then back again. It's a pitched battle, with no clear winner.
Things eventually settle, and the main riff begins again.
Hell is worth all that, natural habitat
just a rhyme without a reason
Neverending maze, drift on numbered days
now your life is out of season
I will occupy, I will help you die
I will run to you, now I rule you too
Most of this is sung from the point of view of the drug again. However, there's that short statement, "I will run to you," which seems to come from the man. His will is broken.
For a brief moment, the guitar plays a confused, wandering riff. It stops as a chuckle, which grows into a menacing chorus of laughs, takes over. The music dies, and all we're left with is that laugh, so full of pride. The man has lost.
(The Old Oligarch, a while back, wrote about a song Metallica covered;
find his exegesis here)