Written By Benjamin Nominet
I rarely share my opinions outside of interviews and usually let my lyrics speak for me.
However, a recent post by Nagash, leader of the band The Kovenant, made me reflect on my own stance vis-à-vis the direction that alternative scenes are currently taking, particularly in part of the metal world.
I am known, rather confidentially, for my work as singer and lyricist for the band Sybreed. And while Sybreed‘s work is inspired by both extreme forms of metal and less sonically irritating genres such as Darkwave and Industrial, the overall content of the lyrics has clearly reflected, from day one, an anti-establishment stance, an opposition to a system that aims to reduce human beings to cogs in a machine or mindless consumers.
I’ve never been interested in controversial behaviors myself, but as an artist, I understand the value of such a vehicle. Personally, I prefer to use carefully chosen words to ruffle a couple of feathers.
What matters is that we, as creators, have multiple ways to elicit a reaction, to take our fellow people out of their comfort zone, because that is the essence of art. This is where I align with the leader of The Kovenant, and probably many peers:
Let’s get back to the heart of the matter: the Metal scene seems to be consolidating its impact and presence, perhaps to a level rarely seen before.
Some of the most brutal aspects of this music have found their way into the work of acclaimed artists that very few would have described as Metal or even Rock a few years ago: basically, everyone is “djenting” a bit these days. Metal has even made its way into the Olympics.
Bands that chose to soften their sound at some point in their careers have decided to return to their roots, with varying degrees of success.
It is hugely popular on streaming platforms, and it has become more democratic and happily intermingles with other genres. Metal is now a force to be reckoned with in the Music Industry.
Having never been a guardian of the faith myself, or even remotely a die-hard metalhead – something I was constantly reminded of when Sybreed started out – I can only rejoice. I should rejoice. And yet, I feel a persistent sense of unease.
Having recently resumed my musical activities, I naturally sought to bring myself up to date. So, I went down the rabbit hole … and came out somewhat skeptical.
While some newer bands offer a perfectly valid approach to Metal, I also noticed unsettling trends: sound productions tends to be very similar, especially in terms of vocals, as if every singer is determined to be as indistinguishable as possible – I would suggest a moratorium on the excessive use of autotunes – I’ve also read quotes from musicians who invoke their predecessors but bear none of their musical hallmarks:
“Putting horns on a kitten doesn’t make it a goat.”
Besides, it’s animal abuse. Those who truly wish to honor a genre sometimes stray into caricature and imitation, a sin shared unfortunately by other recently exhumed musical forms, notably one that is determined not to let Ian Curtis‘s corpse rest in peace.
Finally, and this is what troubles me the most, there is a kind of collective emulation between various parties who seem to work toward sanitizing the last bit of edge left in Metal and turn it into a form of entertainment with no more substance or consequence than your average super-hero movie or a theme park ride.
Obviously, you can’t bathe in fire and brimstone all the time. And everyone enjoys going to see Le Cirque du Soleil now and then. Every era is entitled to its Kiss.
And its Glam Rock bands. However, even at their most fluorescent peak, bands like Mötley Crüe smelled of sulfur (which, incidentally, is a remedy for sinusitis) and the Devil was never far away.
I do get that professionals and musicians cannot live solely on concept like passion and creativity. You have to find a way to make a living, because we still live in a world where you have to pay your bills. I am myself doing a fair share business these days so I may at least break even: I sell merch, without an ounce of shame.
However, what happens when logic is turned on its head? A savvy business person starts from the premise that Metal is now popular. So, how can it be turned into a cash machine?
The answer is usually simple: broaden the audience. And to satisfy an ever-wider crowd, everything must be reduced to a common denominator. Simplify. While this logic was previously confined to all variants of Dad Rock, it is now spreading like wildfire throughout the metal scene.
The recipe becomes basically the same:
1. Roaring guitars.
2. screaming plus over-processed clean vocals
3. occasional polyrhythmic, but the content is becoming less and less daring and more and more conformist.
Corpse paint is giving way to cosplay. Some bands play it (too?) safe: no more chaos, only order, control. And profit, if possible.
Then, more and more people enjoy heaviness and loudness, but they demand the light show and pyrotechnics of a big summer festival for each gig, socially acceptable attitudes, preferably in air-conditioned venues with seats for the less energetic. All want value for money!
Crowded basements that smell of sweat and cheap beer have definitely lost their appeal for many, especially those of my generation: they’re the ones you’ll find in the seats I mentioned.
In the end, you often find yourself in front of a band that wants to crush you musically, but whose visuals are as non-threatening and gaudy as possible, with a pleasant and neatly staged show: in short, a direct path to cognitive dissonance.
Some might rightly ask who I am to judge. And it is true that my own musical career has been a chaotic journey with a few successes and rather monumental failures.
However, I always tried to walk the fine line between entertainment and raw art, because for touring bands, they are two sides of the same coin.
Of course, it’s difficult and it’s uncomfortable. You always try to maintain a balance and there’s never any respite. You never feel at peace, you’re always torn between two, three, a dozen different mindsets.
Would I like to give up this tension, embrace standardization, and resolve all this once and for all? No, because it is also exhilarating. The corollary question is: do we want bands that play deafening music while being as harmless as possible?
In an increasingly risk-averse society, do we want to lose our last bastions of danger, creativity and freedom? Personally, and to quote a friend and fellow musician who recently passed away:
I am a servant to my inner necessities Personally, I still choose chaos.
Disclaimer: this text reflects a personal opinion and is intended purely to stimulate debate. You are welcome to dismiss it as ‘a load of nonsense’ if you wish. Furthermore, with the exception of a little help in correcting my English, it is entirely the product of a more or less functional human mind with a rather flowery writing style: no AI was harmed in the writing of this piece.
Benjamin Nominet is the singer of Swiss Cyber Metal band Sybreed, but is currently focusing on his new project Locus Noir. A project that continues to push the boundaries of genre and expectation.
Locus Noir’s debut album’ Shadow Sun is due for release in 2026 on Listenable Records.
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