I had hoped that Roy Khan leaving Kamelot would be the most disappointing thing I’d ever have to write about, but here we are. For as nakedly political as I can get on Twitter (as those of you who follow me there can attest), I have always attempted to keep this blog mostly focused on music —- because other sites traffic in rumor and gossip enough, and there are too many excellent releases coming out to be wasting time with anything else. Recently however, its been hard to avoid the MetalSucks spawned stories, seemingly one after another, of a black metal band about to tour the US that has NSBM ties past or present and the subsequent outcry surrounding this, usually manifesting itself in calling for shows to be cancelled. Watain, Taake, Disma, Marduk, Incantation, Inquisition, Graveland, Uada… I’m sure I’m missing others, these stories have seemingly run into each other within the past couple years. The latest is Finland’s Horna, whose currently ongoing US tour is running headlong into an internet spread, Antifa-fueled protest where locals are being encouraged to call the venues, the surrounding businesses, and local media to get a particular show shut down.
I don’t listen to Horna, and had only vaguely heard of them before this controversy. But this story has hit close to home because I’m a Houstonian, and one of the stops on Horna’s US tour, April 3rd to be exact, is scheduled at a local Houston venue called The White Swan. There are a number of local Houston metal bands on the bill as support acts, including Spectral Manifest who have been around the scene here for quite a long time, whose drummer, one Cryptos Grimm is someone I personally know. In fact, he’s a friend of the MSRcast podcast I co-host with Cary the Metal Geek, primarily because he once sat in the co-host seat I now sit in. When a local media outlet called the Houston Press picked up on the Horna story from other outlets like Metalsucks, their writer Jef Rouner wrote up a piece in which he referred to Cryptos Grimm as a member of the alt-right, a description that was simply untrue. There was no minor amount of outrage that broke out on social media, where people in the Houston metal scene came to Cryptos’ defense, because not only was it kinda laughable that Cryptos of all people would be described as “alt-right”, it was a dangerously slanderous statement to just throw out there. It feels absolutely stupid and silly to have to do this, but it might help for context’s sake to know that Cary is Jewish (during Hanukkah there are menorahs all around the MSRcast studios), and that I’m of Indian descent, or as the term goes thesedays, a PoC (person of color). That’s the first time that I’ve ever had to mention my race or ancestry in relation to being a metal fan, ever. Because in multi-cultural Houston, its simply not an issue, no one cares. But I’m going to set aside Horna and black metal and everything else for a minute and just focus on this one topic —- that a guy was publicly slandered by a relatively popular (people can debate that point) local Houston publication and labeled something that he’s simply not.
The name Cryptos Grimm can easily be linked to his real name via a Google search, in fact I’m sure he’d be fine with me writing it here even though I’m not going to do that now (we’ve certainly referred to him on the podcast by it, in fact we just played a cut from Spectral’s newest EP on our last episode). I’ve known Cryptos personally since the year 2000, when I met him at a meeting for the MSRcast’s pre-podcast incarnation as the Mainstream Resistance Zine, which he along with a few others helped Cary put together. Back in those days he was also responsible for getting a local Borders Books and Music to stock a respectable metal section, and when he moved over to work at a local music store chain called Soundwaves, he oversaw the city’s best metal section at his particular location. I’d go down there after every paycheck Friday and sometimes in between to buy anything and everything. He’d recommend stuff to me and let me preview unknown albums on the store’s audio equipment so I wouldn’t blow money on something I didn’t like. I got into so many bands from that metal section, Therion, The Crown, Emperor, just too many to remember, and when Blind Guardian released A Night At The Opera, he held one of the few copies they’d received behind the counter for me. I’d go to local metal shows and sure enough every now and then I’d see Cryptos across the venue, lugging gear somewhere or talking with someone —- to say he’s been a fixture in the local metal scene here is to state the obvious. When I was running around with the Brimwylf guys, helping them load in gear and man their merch table at shows, I got to see Cryptos’ band Spectral Manifest play many times, they shared bills together all over Houston and even in San Antonio. The point here isn’t just that I know the guy personally, its that I and many others have known him for a long time now.
The writer of this story, Rouner, wrote off-handedly of his interaction with Cryptos that [he was] “one of the many local metal musicians I’ve ended up blocking from social media for his alt-right views”, but one scour of Cryptos’ social media feed would show the exact opposite. From what I gathered, they’ve probably had some disagreements in various comments sections on Facebook and Rouner blocked him in the past. When the Horna story popped up, Rouner took Cryptos’ public advocacy that the show should go on as planned as the sole evidence he needed to slander him as “alt-right”. He didn’t take the time to interview Cryptos, or ask around to other members of the local metal scene for their views on Cryptos and Spectral Manifest, for reasons I can’t even guess at. Too lazy? Too much work? Or is it more likely that in 2019, in our state of polarized discourse, if you don’t agree 100% with someone’s views, you’re automatically their sworn enemy and represent everything they’re fighting against? A few days after the original story was published, the Houston Press issued a retraction and published an updated version of the story with a note of error and apology attached, “An earlier version of this story contained some erroneous information about Cryptos Grimm, the drummer for Spectral Manifest which was opening for Horna. Grimm voted for Barack Obama twice and was a Bernie Sanders supporter. The Houston Press and the author of this story retract the previous information and apologize for the error”. The publication should get credit for the clarification even though it came as a result of being sent messages pointing out the slander, but Rouner did not apologize to Cryptos personally, and likely never will. Because of course.
I don’t think its a coincidence that this Horna story, just like all the stories surrounding the bands I listed above was something that started on one of the coasts, be it the San Francisco / Oakland Bay Area or Brooklyn. If the protests weren’t manifesting at those cities, certainly the publications that were flagging them are based out of there (MetalSucks, Noisey, Brooklyn Vegan, etc). Antifa is a big deal on the coasts, its membership is larger in those areas, so much so that there’s rival factions (the now infamous “Proud Boys” among them) who seek to spark a counter movement against what they perceive as SJW virtue signaling. The problem is these two groups clashing have resulted in violent altercations, predominantly in the two biggest hotbeds of Antifa-related activity… you guessed it, the Bay Area and Brooklyn. As a Houston based metal fan who’s been going to shows for nearly two decades now, these kind of clashes and conflicts are entirely alien to me. I’ve been to punk shows here, countless metal shows, and I’ve never seen a neo-Nazi presence manifest itself, never felt threatened due to the color of my skin even at shows by bands who’ve ultimately been singled out by MetalSucks for whatever reason such as Watain and Mayhem. The same goes for shows in San Antonio —- I saw Immortal’s last Texas appearance with Abbath there in a packed club full of a mostly Hispanic audience, and in Austin, I found myself standing right next to Watain’s Erik Danielsson while watching Tribulation open, and he shook my hand and clapped me on the back. When I walk into a show at any Houston venue, whether with friends or alone as is sometimes the case, I don’t fear for my safety and wonder if its okay that I’m there. The metal crowds here are a mix of races, ethnicities, gender/sexual orientations, and varying shades of skin color; you’re more likely to get people staring at what band is on your t-shirt than your actual face. And it doesn’t matter what bands are playing that night, the same rules apply for any, regardless of whether its the most brutal death or black metal, or the sweet syrupy sounds of Sonata Arctica.
I guess I’m in a position of ignorance in asking the question, “Is it really that different everywhere else?”. Because that just isn’t the reality that I experience. I know that Houston is perhaps the most multi-cultural city in the United States, or at least in contention to be named as such. I’m not naive enough to suggest that there aren’t pockets of racists in Houston or its surrounding areas, but I am telling you that its damn difficult to be an out and proud racist here and start conflicts in the open that revolve around someone’s race, because you’re vastly outnumbered if you do so. That brings me to another aspect of Houston and its metal community —- its diversity. I’m a bit of a people watcher at shows, so I guess I notice more than others might that at death and black metal shows in particular, a good percentage of the audience comes from the Hispanic and Latino communities, but there are also African American metalheads here, and Asian-American fans in the crowd too (not just me!). Off the top of my head I remember a gay couple at a recent show who didn’t feel intimidated into hiding their sexuality, and they were right to feel safe because no one paid them any particular attention. Its striking that some of the bands that MetalSucks has rallied against through their stories have already played Houston, at gigs I personally attended, and there were zero incidents of any kind. Well, I guess it would have been striking… had that not been the case for damn near every show that happens here.
I don’t hate Antifa. I feel strongly that someone has to stand up to neo-Nazi rallies and white supremacists like the one in Charlottesville and I think its good that Antifa have taken a stand, but I don’t like their coastal chapters inserting themselves into our local Houston music scene where they have no context on how things here really are. They are trying to work through a small local chapter of Antifa whom I’ve only now just discovered exists, but the evidence of the coastal chapters’ fingerprints are all over the Horna in Houston situation. There are Antifa Twitter feeds dedicated to channeling information about future campaigns and protests into the hands of potential local volunteers and who encourage the doxxing of venue owners, promoters, and other local businesses. And they wouldn’t like this ugly truth, but as someone who’s been to metal shows on weeknights here in town, the reality is that had MetalSucks never put the spotlight on this Horna tour, the band’s aforementioned Wednesday night Houston show would’ve probably come and gone with minimal attendance. How can I be so sure? Because it was scheduled at The White Swan for starters, your apartment might be bigger than that venue. My bedroom closet is certainly bigger than its bathroom. Its in a part of Houston a lot of folks don’t want to drive to, with extremely sketchy neighborhood parking (hope you don’t get towed or broken into), and for gods sake, it was a Wednesday night. Houston’s a big, nay vast city that inspires some internal convincing to get in your car and drive across. I’m sorry to pierce whatever Hollywood inspired vision Antifa had in their minds for these shows, that there’d be dudes with swastika patches and iron cross tattoos walking around pounding on the predominantly African-American population in the neighborhood the venue is located in. This grand fantasy where a tiny metal show would blossom into an alt-right festival of racist hatred. That only Antifa could show up and match them fist for fist in some Green Day American Idiot inspired punk street opera. No… just no. Horna would have lugged their gear on that tiny corner stage, played their set to a very small, likely racially diverse audience who would have some beers from that ice chest (there’s no bar there), maybe someone would’ve even BBQ-ed on the grill in the back, and then everyone would’ve gone home, and Horna would have packed up and left town.
But since the MetalSucks article went viral and stirred up Antifa, and the word went out on social media, the possibilities for what could happen at this show are dangerously up in the air. A spotlight has been shown on this event now that continues even after its original location at The White Swan has been cancelled. The show will now take place at a secret location, most likely a house somewhere and attendees will be tipped off a few hours before the show, I’d guess most likely through private channels at first and then publicly on social media. But word will get out, and apparently if the back and forth threats I’m seeing online are to be believed, Antifa or maybe just Antifa sympathizers will be seeking the location of this show with the intent to shut it down. And the folks who are going to the show are responding with their own threats, goading them to show up and “see what happens”. And there we go. What would’ve been a largely ignored event, that would’ve come and gone like the neighborhood ice cream truck is now being highlighted as a place to come for a fight. And I’m looking at Facebook comment threads right now where local metal fans who didn’t plan on going to this gig in the first place are now specifically making plans to show up to see what happens or worse, get involved in something. This would be comically ridiculous if it weren’t a little scary, with the kind of vitriolic discussion surrounding an upcoming gig that I have never seen in all my time going to shows in this city. And hopefully maybe nothing bad will happen, the band will play (to a slightly larger crowd, congrats Antifa), and online chest thumping will be left at that. Lets hope so.
I don’t know whats more troubling to me: The possibility that violence could occur at a Houston metal show over something started by people who don’t even live in Houston or the surrounding areas. Or that someone I know could be tarred as a member of the alt-right when he’s far from it by someone who lives in the same city but couldn’t give a damn about the consequences of his actions. What is happening to everyone? Why can’t we just talk about these issues within the metal scene, particularly when we all have the platforms to do so? Why can’t MetalSucks use its very popular platform to contextualize a debate about this issue, maybe even invite these bands to come on their podcast and talk about things? Why just the instant doxx-ready articles with pointed social media references to Antifa social media? Here’s a question, since its already happened to someone I know: Does everyone who attends the Horna show in Houston instantly get labelled as neo-Nazi sympathizers? Who gets to decide that? Will photographs be taken of them and uploaded online for Facebook’s facial recognition software to tag them with? Will those photos and names go viral afterwards for the concert goers’ friends and families and employers to see and simply assume the worst about them? Aren’t there bigger problems that Antifa can be dealing with or planning on protesting? Why can’t they channel their efforts on community service and a few peaceful, non-confrontational awareness efforts to build trust in local communities? We’ve got a situation going on in the country now where right-wing media and the President himself label Antifa as agitators and violence prone troublemakers, and I don’t see Antifa themselves doing anything to change that image. Shouldn’t they?
Most metal fans are by default anti-facist (yes, I’m making that statement and stand behind it), but Antifa does little to endear themselves to metal fans and possibly engage them as participants or recruits when they’re shutting down metal shows. The economics of European bands touring the United States already keeps so many of our favorite artists away from the very realistic possibility that a US tour turns out to be a financial black hole for them. Look, I don’t care a whit about Horna, but I do care about other metal bands from Finland, three of whom I’m seeing this week (Children of Bodom / Swallow the Sun / Wolfheart). If promoters decide that the risk of taking on bands from Scandinavian countries in general is too risky because they wouldn’t want to get shut down by some Antifa activity they can’t see coming, they might decide to not take a risk on any band from that region. That’s not fair to those bands, but more importantly that’s not fair to American metal fans. Before you say I’m being ridiculous, consider the plight of folk-metal band Tyr well over a decade ago, when neo-Nazi’s began using their music for their own propaganda videos and it got the band banned across Germany and parts of Europe. They had zero neo-Nazi affiliations themselves, but the taint on them nearly ruined their career and took years of a concerted media campaign to erase entirely. But in the social media era of 2019, anything goes. I wouldn’t be surprised if one day Antifa turned its sights on a band like Sabaton, whose history nerd meets power metal storytelling pulls in one of the most widely diverse crowds I’ve ever seen. They have songs about World War II, and yes that includes referencing the military forces of Nazi Germany, certainly not songs of pro-Nazi sentiment, but an accusation could be made and that association could do serious damage to one of the most cheerful metal bands to ever prance on a stage. Can you honestly say its not a possibility?
I don’t know if its possible right now to discuss Antifa with a critical eye and not be labeled as a neo-Nazi sympathizer. Metal twitter in all its grossness doesn’t have an eye towards subtlety and nuance in its various discussions, which is why I’m choosing to publish my thoughts here. Yes I’m defending a guy who’s going to drum for a band that’s opening for Horna on Wednesday night. Cryptos is more aggressive about it than I am, but I think we’re on the same spectrum of thinking in that shutting down concerts isn’t a productive way to fight against facism and neo-Nazi beliefs. Talk about it? Sure. Debate it intelligently online in a civilized manner? Yes absolutely. But to doxx local venue owners and create an atmosphere where violence could break out is the antithesis of what the local Houston metal scene has been about. When I was a teenager and was reading about black metal for the first time, the name Burzum would pop up a lot as being crucial to the subgenre’s history. So when I finally saw a copy of Filosofem in the record store, I bought it. For a long time Varg Vikernes’ exploits were more of a wild crazy story to me, and when I first started this blog I even reviewed his initial post-prison releases. But as time passed and Varg became more outspoken about his views in documentaries and his YouTube channel, I became more thoughtful about how maybe I shouldn’t cover his music at all and made the decision to stop. I learned more about his beliefs and made a personal choice to stop supporting him in any way, even with mere words. Presumably MetalSucks undertook a similar process seeing as they once supported Horna, or even Taake for that matter. Though it seems like they went in the opposite direction, and in doing so have shined an even greater spotlight on these issues, even potentially galvanizing them into polarizing conflicts. For years and years, NSBM was just something that scraped by an existence in the darkened corners of extreme undergrounds as Exhumed’s Matt Harvey pointed out in his 2017 Decibel op-ed, it wasn’t a growing movement. So why are we risking breathing new life into it by exposing it to a wider alt-right / Proud Boys audience who didn’t know about its very existence until now?