Global Metal

Global Metal is lifetime head-banger Sam Dunn's second document of heavy metal music. This time we concentrate on metal as global phenomenon. We travel with Sam Dunn from China to Japan, Israel, Iran, Indonesia etc, which countries doesn't seem so metal in front. This document tells about morality, message and controversial of especially on religious countries.

Sam Dunn did it again. Global Metal is awesome both visually and by content. The document is build in fantastic way, and it tells more tales of the most powerful genre, metal-/heavy music. For most metal fans it comes by surprise that heavy metal can be found such unexpected countries like India for instance. The document proves that anthropologist-metal head Dunn knows what he's doing.

That's of the praise. Global Metal was good, but it had some disappointments as well. I would have liked to more countries, like Thailand, and Taiwan (where black metal bands like Anthelion and Crionics come from), and more darker genres - because it's more rule than exception that there is always soft genres like nu metal, heavy metal, power metal and death metal in these documents. Black metal is often totally ignored. Global Metal was also kind of short by length.

But I was quite pleased, because they did show some dark metal genres, and also a traditional Japanese genre-phenomenon Visual Kei. The document was very interesting and full of content. Sam Dunn is great because it's easy to hop in, it almost feels like I'm on the gigs myself instead just watching the screen. This document is highly recommended for every metal fans and people interested in metal out there.

It was all clear, after the roots and influences of metal were told in "Metal - A Headbanger's Journey" the next chapter was about to begin: What happens to Metal if it goes global?

I guess "ambitious" is the best word to describe the second metal documentary of Sam Dunn and Scott McFadyen - it will probably never win an Oscar - but even more hearts of metal fans. I am really thankful for the fact that the two didn't get carried away too much with certain topics. It is very interesting - especially from an anthropological point of view - to see how foreign cultures react to something almost completely western. Metal doesn't incorporate as many commercial aspects as other global trends, it transports different messages which are more genuinely reflected by the fans worldwide. I think the statement of the film is Bruce Dickinsons, who claims that kids all around the world reach a state in their development where they just want to get up, scream and go wild. It think this is the base for this film - it is normal that young people have a lot of compressed energy and anger to let loose. The times of the easter rabbit, santa clause and gnomes is over. They realize that reality is cold and tough - Metal offers them a valve to let release these feelings. It's nothing bad, in fact it should be considered a treatment. Let them go wild.

But in many cultures this behavior is not welcome and mostly not understood. This film tries to explore how kids (and adults) try to be understood and not be linked to extremist thoughts or low lives.

At some points it is explained very well, at some others it unintentionally mixes politics with culture. Although Metal definitely has certain political aspects the messages are interpreted in a very different way around the globe and unfortunately this documentary doesn't fully capture these impacts. The comments of some artists, especially Tom Araya from Slayer are rather dull and prove that some musicians have no idea of the real consequences their fans face in different parts of the world. Is this good or bad? The film leaves these decisions to the viewer...

I for myself really enjoyed this journey and though it has ups and downs it draws a very impressive momentum of a genre that has mostly chosen to go its own way.

The follow up to Metal: A HeadBangers Journey, Global Metal is rather disappointing.

Its failure lies in trying to compress a global metal scene into a 90 minute feature. It states that its purpose was an anthropological study into the heavy Metal scene globally and how (if at all) it adapts and reinvents itself in each culture. By trying to do this, it reduces its study into snippets and soundbites. Brazil (sepultara), Japan (Marty Friedman (Megadeth) and X-Japan, China (Tang Dynasty), Indonesia, India and Mid East. Imagine cramming all of this into 90minutes.

This would have been better served if it was a multi episode documentary done on A&E or Discovery.

The plus, the music. I admit to listening to metal since my childhood (Iron Maiden - Number of the Beast). Nothing gets the old heart rate up then the a good solid metal gallop. Also the introduction of some bands that we would not normally hear of in this side of the world. (Unfortunately most of the time is spent on bands (western) we all know).

Well worth a watch but don't expect an anthropological study.

This film could be considered as a "sequel" to the film Metal: A Headbanger's Journey. Saying that you must imagine where this film tries to take you, another big travel around the globe to explain Metal Music, his fans, etc. And it results really well, but I must say the final product is not as great as Sam Dunn's first film (Metal: A Headbanger's Journey). You might get kind of bored when you see it, and the reason isn't that the film has mistakes or something like that, the reason is that it's such an enormous sub-culture that the film tries to show you that the film may feel long and with a slow treatment. Once again they show us some aspects a fan may have not seen about the music or the people who hears that. It's not a film you must have to see or to own, but if you are interested into Metal or it's fans around the globe, you won't get disappointed.

A distinct improvement over "A Headbanger's Journey", which was merely an introduction for the uninitiated. GM is the perfect film to show to those spoiled, whiny, left-wing metal fans in the West how much they take for granted i.e. how good they have it in their "evil, corrupt democracies". (Like all egotistical, self-absorbed, pasty-faced princesses, Leftists think that the world owes them perfection...) Perhaps useless-yet-political bands like System Of A Down and Green Day could write some songs about the political situation in countries like Iran, Indonesia, or India for a change, instead of bitching like little girls about how supposedly hard it is to live under the "fascist" George Bush. Uninformed, arrogant, populist little PC-ists...

That metal musicians all over the world, and not just in the States, are quite dumb - and I mean DUMB (pity I can't type this word any larger) - is proved in form of Indonesia's Tenakorak: an anti-Western, anti-Semitic group. Here's a bunch of losers whose own government oppresses them in their right to listen to their music, and yet they find the energy, the time, and the interest to take up beef with the very distant and oh-so evil America. I quote the self-contradicting singer: "Zionism must be destroyed... It's not the Jewish people we're against... we want Israel eliminated from the map." Meanwhile, this funny-looking metalhead wears a crossed-out swastika on the sleeve of his clownish heavy metal leather jacket. This guy should work as a clown in McDonalds.

Japan, although over-saturated with metal tours for decades now, still has a vivacious, fanatical scene, and a fascinating one, too. I think Dunn should make an entire documentary just about the Nipponese scene. There's a hilarious, cute moment when two Japanese girls show the devil-sign and then run away from the cameras giggling. Priceless. Priceless also was getting the latest update on the whereabouts of Marty Friedman. This guy has quite clearly lost his mind. Not because he decided to live in Japan (I would, too, given half a chance), but because he is genuinely excited over the local glam crap such as X-Japan. He even describes their make-up as "beautiful". Could it be that he's in love with the members of the band?... "They play a Barry Manilow-like ballad, and then go straight to an epic metal song! How do they do this??" It's called "being cheesy", Marty...

As for Brazil, Sepultura's Max has a few things to say: "We shouldn't have to copy the States. We should have our own identity." Yes, Max, how very nice of you to realize this AFTER THE FACT. Sepultura made their world-wide breakthrough by ripping off Slayer, Testament, Exodus and just about every other major thrash band on their earlier albums, but then, almost a decade later does Max suddenly decide to create a "new, more Brazilian" image/sound for his band. What, sticking a couple of Amazon Indians into a video while playing low-key nu-metal riffs? Is that supposed to make you sound Brazilian? Ironically, their best phase was when they were ripping off American bands... Anyone who has heard true tribal Brazilian music will know how laughably deluded Max and co. must have been to promote "Roots" as some kind of an Indian tribute album.

Speaking of Indians, one of the highlights of GM was watching 30,000 Indian fans experience their first major metal concert. Sure, one can do much better than watch those old fogies Iron Maiden, but it's a start. The story behind the evolution of China's underground metal scene and its subsequent struggles provided further highlights.

Also very interesting was the Israeli segment, particularly their stance towards Slayer's "Angel Of Death" song. Tom Araya, almost as if wanting to be funny, appears in GM looking like Saddam Hussein of the bunker days. As for the song itself, Slayer have gone on record many times saying that they "neither put down nor glorify" Mengele in AOD. In other words, Slayer are morons. I've always said that it's best to ignore the mostly cretinous metal lyrics and just enjoy the music.

I have to applaud Dunn for having the cheek to ask Lars Ulrich the internet question. The greedy dwarf didn't seem too convincing in giving his support for Third World countries downloading Metallica's music for free. This guy would take the last dime out of the pocket of a desperate Iranian metal fan. Watch his face closely as he answers the question. He is: a) angry that Dunn posed it, b) still riled over the beating he took from the media over the Napster fiasco, and c) quite clearly still holds a grudge toward anyone who dares rob Metallica of an extra few bucks.

Speaking of "rob", I'd much rather have seen Rob Trujillo in GM than Lars - who simply has to appear in every single metal documentary, as if he were some kind of metal world's answer to Ron Jeremy. "Hi, I've got a few things to say – yet again! Please pay attention to me!" I thought Dunn's "we're all one global tribe" line was a bit hokey.

My music-related rants and ravings: http://rateyourmusic.com/~Fedor8. Read 'em and weep, ya whiny little gits...