Then you have the bands that make up the rest and are decent at best. Bands are included or considered as nu-metal tend not to embrace the label.

Heavy Association with MTV

I believe the best reason for this is that nu-metal was one of the genres to be pushed by MTV in the late 90s and early 2000s. Normally this wouldn’t be a bad thing. After all, a whole television network is showcasing your band’s sounds as well as those of your contemporaries.

However that’s usually where the cooperation ends. Despite having songs about youth rebellion, relationships, emotions, and everything else that would appeal to an angry 2000s teen, nu-metal was ultimately just another pool of music to fill its TV slots.

As a result, it became closely associated with MTV and its product. Actually, despite being at the other end of the rock spectrum compared to glam metal and grunge, this genre was third in line to fly the rock flag on the network.

Again, these bands got popularity and mainstream power from being featured regularly on MTV. Rock music tours where these bands were featured got attention on TV as well.

While magazines gave them some sustainable attention, the association of the wave with MTV put a rocket pack to many of them and blasted them past a few years of grinding for that attention. Remember, in the 1990s and early 2000s, eyes were on music networks.

Not everyone was going to get magazines to read about bands. Especially if you didn’t know if the bands or artists you were interested in were even going to be covered.

You knew you’d see Korn’s “Freak on A Leash” or Limp Bizkit’s “Nookie” on MTV or The Box. Plus, you’d hear interviews from them and see their performances.

Actually, It Was Just Like Glam Metal

Imagery-wise, content, and sound-wise, nu-metal was different from glam metal but it had that effect on bands that didn’t embrace the label. That’s why I say it was a wave—just like glam metal—in that some bands that just sounded heavier or more aggressive got washed up in it.

You also had acts either embraced elements of the wave just to experiment with their sound. Other bands were nu-metal early on, morphed into another genre in its early years and are were still presented as nu-metal.

Bands that come to mind are Slipknot, Fear Factory, and Deftones. Slipknot and Fear Factory had the heaviness and aggression of bands from this period while Deftones were particularly flexible with exploring sounds throughout its run.

Because they were contemporaries of other bands lumped into the wave and the media at the time had the term, bands with varying sounds got the label.

The same thing happened in the 1980s with the glam metal scene—especially in Los Angeles—with bands such as W.A.S.P, Twisted Sister, and Lizzy Borden being labeled as glam metal at the times.

Those bands just shared some of the imagery of glam bands but generally had a sound that was closer to anthemic and narrative heavy metal bands. They didn’t have the heavy pop leanings but could drop some mainstream hits.

Nu-Metal Was the Perfect for Its Time

Right alongside nu-metal was alternative metal and alternative rock. Both genres were very flexible and saw bands explore different sounds and tempos. Some bands sounded similar purely because they came out the same area and that was the wave.

Actually, nu-metal could’ve been called alternative metal the whole time. If you look at bands such as Korn, Kittie, and Slipknot on Wikipedia, alternative metal is listed under “Genres” along with nu-metal.

The truth is that they were alternative metal all along but nu-metal was better for marketing that alternative metal. It’s short, punchy, and can include alternative metal, rap metal, industrial metal all under one umbrella.

To a degree that was just lazy marketing but it beats having mainstream fans remember multiple genres…even though I feel that genres help people find specific sounds and art without having to rummage through thousands of bands.

Ultimately, the sound was perfect for the time. The nu-metal wave introduced a lot of bands that spoke to young people of the time just like grunge rock and alternative rock did early in the 1990s.

With time, revisiting their catalogues, and trying out these bands’ more recent material, you gain a new view on these bands’ musicianship and how they were above a trendy wave that only lasted a few years.

Give Them Another Listen

It’s hard for a listener because there’s so much music out there, tastes change with age, and that nu-metal label just smacks of “I remember when I used to listen to those guys.”

It just sounds like a genre you should’ve grown out of as an adult. Many bands shook the label and showed what they were doing the whole time. I say to fans who listened back then: many of those bands are still making music and some of it is good.

Hell, most of them that are still kicking around today have matured their sound to the point that it doesn’t sound anything like it did in the late 90s and early 2000s.

For them it wasn’t trying something new to shake the label or trying to cash in on an emerging genre. The nu-metal wave has bands that were influential on future bands that fall more in the metal side of rock or just heavier than their predecessors.

As for those older bands from the period, it was just natural growth as artists. My favorite band Judas Priest grew as artists over a long period.

There was a period where they explored something new to get in on an emerging style—the same with my other favorite Slayer—but with matured songwriting, they got to the point that they could attempt a different sound or a concept album.

The bigger names of the nu-metal wave are no different in that respect.

Staff Writer; James Swift, Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

In 1999, the band dropped its third album Post Orgasmic Chill. This is the album that turned me on to the band and prompted me look into the first two albums as well as Skin’s solo stuff.

An Intro to Skin

As I’ve mentioned multiple times: I’m big on singers and Skin has a powerful voice. Along with Cass on bass, Ace on the axe, and Mark Richardson on drums, Skin was a band to check out.

A lack of traction and radio play in the U.S meant that you had to really be an audiophile seeking new tunes if you were an American listener.

Born August 3, 1967 in the Brixton section of London she grew up in a “strict Jamaican” family. Her early brushes with music came via her grandfather’s basement nightclub.

While she was inspired by other music, originally, she wanted to go a more classical route and play the piano. This part of her history always interested me because that seems to be a key part in the roots of a lot of pioneering Black musicians in rock.

Many have classical or traditional training whether it was via music lessons or in the choir but the path they take is rock. That background adds to a different sound to whatever instrument.

In Skin’s case, it was these vocals that could sound soulful even when the song itself is less praise and celebratory and more rebellious and aggressive. Post-Skunk, she embarked on a solo career and also began DJing electric dance music (EDM).

Skin’s Voice

One thing to point out about Skunk Anansie is that in listening to their 90s trifecta of albums in 2021, you might realize that the overall sound is very 90s. It doesn’t sound dated but you know it came from the 90s.

There were several bands from that period that had a sound similar to Skunk’s. They might have taken the more aggressive parts or they took the stuff that leaned more towards mellow-range alternative rock.

Other bands did similar to Skunk Anansie and featured both approaches. One thing they couldn’t emulate was Skin’s voice. When you hear it, you know it belongs to a seasoned, talented singer with a set of lungs on them.

The closest comparison while still in the same genre would probably be Shirley Manson of Garbage—a band from the same period—only with a different vocal range.

Manson’s sit at contralto while Skin is in the soprano range. However, they were both able to deliver these voices that matched the direction of their respective bands at the time.

The Sound of Skunk Anansie

The best way to describe the band’s sound is that it’s a mix of everything. There’s some punk, hard rock, a drop of pop. I say “a drop” because there are some catchy songs in their catalog but a lot of their tunes have this energy and power to them.

You can attribute that to Skin’s ridiculously powerful vocals and strong instrumentals from the rest of the band. They just blend perfectly. You could actually take each member, put them in a different act, and get a different sound.

Whether it’s a good or bad sound depends on your personal tastes but you will get something different. On their 90s albums, you’re likely to hear some aggressive, intense songs alongside tunes that are soulful and more reflective but still have that same weight to them as the aggressive ones.

Again, Post Orgasmic Chill is probably the best example of this balance whereas the first three Skunk Anansie albums gave you a more aggressive mix from start to finish.

Staff Writer; James Swift, Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

And rightfully so, Glover is a singer with range and presence. Both are definite thumbs up in my book. Let’s look at another pioneer in Cleveland, Ohio’s Siki Spacek.

Black Death and Early Ohio Metal

The lead singer and guitarist for pioneering Black heavy metal band Black Death, Siki embodies everything I like about open musicians.

Just being open to different genres or bringing in elements from different eras. Black Death was the start and it came out at a time when the Ohio metal scene was getting its first bands such as Destructor, Chastain, and Axe Master. Bands were exploring both heavier and faster sounds and while many didn’t continue or release a full length, some demos show that “This band was on the right track.”

Black Death was no different in their demos with the second and third having songs worthy of full length placement.

What I dig about Siki’s vocals on this release is that there’s a lot of grit and soul to it. It gives some tracks such as “When Tears Run Red” and “Streetwalker” a different air than pounders like “Scream of the Iron Messiah” and “Here Comes the Wrecking Crew”.

Now, I’ve been listening to interviews to fill myself in about what happened with the band and Siki Spacek post-debut album. A lot occurred in metal worldwide after 1984—in Ohio metal alone—where’s like “Siki’s vocals would fit this.” I have the same thoughts about contemporary Guy Speranza of Riot. It’s a very “what if” scenario where you can plug an artist into different genres, bands, and on particular albums.

For those with long memories, think about that period where Rob Halford being interested in doing black metal was of note.

The Iron Messiah Returns

Decades later and with the band Black Death Resurrected, and Siki delivered The Return of the Iron Messiah. It fit some of what I figured Black Death would’ve grown into in a follow-up—only with modern production and a lot more experience playing. Similar to going through UK thrash veterans Onslaught’s discography—where the band got faster and even more aggressive with modern releases—Black Death Resurrected was a faster, darker BD.

The approach of this band was rooted in the original but it sounded how the band should sound almost 30 years later. That is, if we had 30 years of releases in that time to see the band grow. It was a familiar sound with new energy that delivered a new release filled with pounders.

With that said, The Return of the Iron Messiah dropped in late 2015. Where did Siki ply his vocal talents after?

Three

I touched on the Ohio metal scene of the 80s, the 21^st century of the scene saw a faster breed of bands such as Midnight and Vindicator. It also saw some solo projects and projects from OG acts such as Winters Bane, headed up by vocal veteran Tim “Ripper” Owens.

Eight years after The Return of the Iron Messiah, Siki Spacek returned with his vocal and guitar stylings. With the power trio Three, you see Siki in the mix of a darker, slower metal. There’s a 70s-early 80s doom sound with a lot of cavernousness, it also sounds like straight up late 70s metal from the period at the same time. It’s a change in pace if you’re familiar with some of the stuff Siki’s voice has been involved in but his voice fits this sound.

Ultimately, Spacek is a singer I wish there was a lot more from, heavy metal, doom, speed metal, blues, funk—straight up hard rock—the guy’s voice could fit in with a couple different genres and add an old school “street metal” sound.

If you’re familiar with the work of Siki Spacek, what are some of your favorite releases? Also, if you’re into the Ohio metal scene, share some of your favorite bands.

Staff Writer; James “Metal” Swift Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

Exciter (Judas Priest – Stained Class, 1978)

Debuting in the opening song “Exciter”, this character is described as something of a redemption-bringing powerhouse. He’s either capable of transversing space or worlds, brings light, wields powers of fire and just seems like a world-beater. From the song itself:

Everything he touches fries into a crisp.
Let him get close to you, so you’re in his trip.
First you’ll smoke and smoulder, blister up and singe.
When ignition hits you, the very soul of your being will cringe.

Stand by for Exciter.
Salvation is his task.
Stand by for Exciter.
Here he comes now.

He’s a Captain Marvel, a Goku, a Superman—someone who could turn a planet into hourglass sand with a blast from space. You know, if they were on a tight schedule or just didn’t have time for whoever is on that planet’s sh**.

Exciter could be introduced as some sort of elder god, celestial being, alien—he has the power to come and go as he pleases after all. For human mortals, Exciter would probably be described as the embodiment of the sun and he’s not beyond rewarding and punishing.

There’s some easy, low-hanging lore off the bat for Exciter as part of a Metal Gods world.

The Sentinel (Defenders of the Faith, 1984)

Often battling our last entry for the top spot of my favorite Priest character, The Sentinel is probably the easiest to brainstorm. He’d also probably be the easiest to get on screen, comic, or video game. In “The Sentinel”, he isn’t described as a galactic superhero-tier force. Instead, he’s something of a post-apocalyptic cross between Batman and Judge Dredd:

Sworn to avenge
Condemn to hell
Tempt not the blade
All fear the Sentinel

Amidst the upturned burned-out cars
The challengers await
And in their fists clutch iron bars
With which to seal his fate
Across his chest is scabbards rest
The rows of throwing knives
Whose razor points in challenged tests
Have finished many lives

I’d read that comic—especially if it’s in 2000 A.D. The Sentinel is a vigilante or perhaps a mercenary who roams what has to be a destroyed or overrun city. His existence is proof that there’s little to no order going down here. It’s a great setting for such a character and seems ready for an adaptation. There might need to be a budget to factor in special effects but not to the level of a galaxy or universe-spanning science fiction adventure such as Exciter and our third entry.

Painkiller (Painkiller, 1990)

Yes, I’m sure y’all are tired of seeing Painkiller mentioned on this site. It’s my favorite Priest album and a fun as hell listen. It’s a great drinking and reading or gaming album and the titular character is something that rivals Exciter.

Whereas Exciter is the sun or light and leans towards being a force for justice and retribution, Painkiller really seems like he could be either a force for universal and dimensional law—or chaos. He’s that powerful, that destructive and how Halford describes him as the rest of the band just saws and rips for six minutes and change is enough to warrant some adaptation.

Faster than a bullet
Terrifying scream
Enraged and full of anger
He’s half man and half machine

Rides the Metal Monster
Breathing smoke and fire
Closing in with vengeance soaring high

He is the Painkiller
This is the Painkiller

Planets devastated
Mankind’s on its knees
A saviour comes from out the skies
In answer to their pleas

What an introduction! And that’s the thing for the three characters mentioned and more to be mentioned: the basic lore is there, just make stories around that. Or start on the career-spanning concept album. I mean, I’d love a Priest comic where Painkiller appears or The Sentinel is grimly correcting wrongs indefinitely but a concept album would be cool as well.

If you’re a Judas Priest fan or know your Metal Gods lore, what characters stood out to you across their albums? Let us know in the comments!

Staff Writer; James “Metal” Swift Jr.

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.

Background of the Piece

Earlier that week, I’d listened to a couple of bands from the 1980s while scrolling Encyclopedia Metallum. I was cross-referencing for another album dive and began thinking “Honestly, these bands were harder and heavier than a lot of the other popular glam acts.” I tend to focus on bands that weren’t as successful as the headliners of the decade or dissolved—but they released a full length.

Angus gave a couple of other bands that definitely fit the bill and gave their take on the term “glam metal”:

This is pretty much my view on the bands included. They were merely using imagery to promote their stuff more. Some bands had the talent but probably didn’t have the charisma or PR to pop purely on talent. Remember this is the music industry and you’ve got to sale and be marketable to some degree. Their degree was looks.

Of course, other bands were pretty mid and got by with looks and charisma—it was very to professional wrestling. There were several bands that MTV simply lumped in because glam metal was the hot flavor at the time and the bands heavily promoted were obviously doing well.

As for the names dropped: it’s as he said revisionist history. Those bands mostly heavy and had a harder sound. Their three crimes were having buzz, being in the same touring tier as some the bands firmly in glam metal, and having a power ballad somewhere in their catalog.

I’d even add Vandenberg which I felt was more like a very heavy hard rock band. Heading for a Storm slammed from start to finish. I would add Mötley Crüe for it’s first three albums as a kind of unintentional King or Glam Metal but Skid Row seemed like a better addition to the list.

Glam Metal Ran So That Nu-Metal Could Fly

Now, I’m in my late 30s so I wasn’t around for when hair metal and glam metal ruled the world—as have been said in a VH1 docuseries or two. I was around for numeral, which we’ve gone into before. There are definite similarities between the two since the main culprit of pushing the two genre periods—MTV—was back to lumping bands into categories. Now, I’m big on genres. For research purposes and my own musical adventures, genres are a massive help.

However, when they’ve organized all willy-nilly and we have bands that maybe shouldn’t be lumped into that specific box—even if they’re both rock bands—that’s never good. I’ve listened to many a band from the late 90s-early 00s and thought “No, this is just aggressive hard rock.” Alternative rock is a dicey one as well because radio stations at the time played whatever MTV played. The harder and heavier stuff—your Marilyn Mansons and Slipknots of the world—came on after 9 PM usually but they’re all airing on this alternative rock format.

I’ve actually found more accurate answers from message boards, comments, podcasts, and blogs by passionate fans of the music. Anyway, thanks for your comment Angus! I’m still adding comments, so expect another trip Into the Mailbag soon!

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.d

Part of it could be because it seems like a waste now since music releases are eaten through so rapidly. In the 1970s or 1980s, a live album could thrive because the window between full-length releases was more flexible and often lengthier. Now, it’s like a one-and-a-half-year to two-year turnaround before fans start believing you fell off.

So, recording the performance for audio? It can seem wasteful because when will they listen to this again? How often are they going to listen to it? In the 21^st century, it makes more sense to record it for streaming video.

Personally, I’ve always felt this was a less convenient option because I’m usually working on something and listening is better than having to give my undivided attention to something. However, consumers tend to be very visually stimulated so video it is.

The Art of the Live Album

Both methods allow the fans to experience the show. Streaming video allows you to actually see everything as it happened which is great but the live album allowed your imagination to run wild. Well, it ran wild until the live tape or whatever dropped.

Again, you’ve working with audio only. If you’re chilling and focusing on the music and the audience, you probably form an idea of the performance itself from what you’ve seen or know of the songs. You know, how they’ve been performed live in the past.

I often think about those early live album fans and how they didn’t even have the resources to see previous performances. No YouTube, DailyMotion, or any of that. Hell, the technology to view it at home wasn’t widely available or of a consumer-friendly price. I doubt many record labels were clamoring to do live tapes or live Betamax. It would’ve been a loss of money.

Well, perhaps. Unless the KISS Alive tape would’ve been enough to stimulate the VCR market. If KISS had VCRs flying off the shelves, more labels would’ve just thrown bands out there since everyone believed they had the next KISS or whatever band.

My favorite live albums will always be the ones from smaller venues. While I love a big arena performance with the razzle-dazzle and stage stuff, there’s just something about the production and sound of a live album from a bar show.

“Raw” isn’t exactly the word I’m looking for because the production is cleaned up and whatever muffling is reduced as much as possible. Well, for most releases. In other cases, the audio imperfections are left because it’s authentic to the performance—and that works for me! It all goes into painting a picture of the performance, after all.

Those smaller shows actually make you feel like you’re at the actual show most of the times. A bigger show often sounds like the television broadcast version made it to the live album. It’s definitely the live show on these specific dates but they had that nice festival or label budget to work with on this show. However, some festivals you simply want to see and hear that large performance such as live albums that come out of the Wacken tour. I mean, yeah you could just go on YouTube and see these performances as well and more recently, I’ve found myself watching performances over going back and listening to live albums.

There are some I always revisit such as Judas Priest…Live from Memphis 1983 or Combat Tour Live: The Ultimate Revenge released in 1985. However, it looks as though full show uploads and the best live bits are making the live album a tedious project in the 2020s. It’s somewhat of a shame because there are acts that might never perform live or record their live performances for video. Audio might be a more cost-effective means to do a live but if there the demand isn’t there for live albums in general, that’s vault material.

What do you think? Are live albums dying or are they already in the dirt?

Staff Writer; M. Swift

This talented writer is also a podcast host, and comic book fan who loves all things old school. One may also find him on Twitter at; metalswift.