Latino Thrash Metal-Heads Kinda Know Why They’re So Angry, But Not Really
31 July 2007, 4:45 PM. By Carlos Posas
If you’re not on MySpace looking for a good time, it’s hard to remember that the social networking site was at one point a way for unknown bands to get some exposure in the biz. Deftly dodging slews of cyber-hookers, a writer for New York alternative weekly The Village Voice explores the musical facet of MySpace to find a set of Latino acts who’re bilingually reviving the ’80s genre of thrash metal to the delight of many some fans. (In case you forgot, thrash metal is the way teens unleashed their angst before emo came along and made synthesizers cool again.) So what’s the connection between such hostile music–expect band names like Merciless Death, Malicious Assault, and Violator–and the young Hispanics who produce it? After a couple of California-based thrashers shrug the association off as a non-issue, a headbanger out of Bogotá ventures a (canned) guess:
I think the interest comes from feelings of rage, and also unhappiness about certain things occurring in our countries that lead us to look for an aggressive type of music that we can identify ourselves with, and expresses something similar to what we feel.
Yeah, that wasn’t rehearsed. Wailing vocals and head-splitting guitar licks included, we still think it’s a less annoying way to make a statement than Live Earth was. At least this movement doesn’t feature Enrique Iglesias.
Hasta La Muerte: Vintage thrash metal is back with a vengeance, and it’s speaking Spanish [Village Voice]
Image [Robert Cortez / Village Voice]
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The reason Latinos have an admiration for Thrash Metal is that most are raised in a troubled environment. Thrash music is an offspring of the British punk scene, the blues and classical music. The British punks wanted to write protest songs about rebellion to the monarchy. Latinos can identify with a sense of “corrupt governement” and feelings of oppression. Don’t forget that African slaves invented the blues - songs of hope and oppression. Last, if you really listen to Spanish music, there are so many similarities to Thrash. First and foremost, dynamic percussion has always served as important tools during ceremonies for the Mayans, Aztecs and others. Of course, you had the Spanish introduce the Spanish guitar/classical technique. Mariachi is so fast and technical. Early African slaves brought their rhythms that would become Merengue, Salsa, Cumbia and Bachata. Merengue music is so fast. Early salsa was really fast, but also groovy. That groove is also heard in cumbia music. The Germans introduced the accordian. I always compare Pantera to Ramone Ayala’s conjunto music. Conjunto music has very solid beats. The moshpit is similar to indigenous ceremonial dances or bailes.
Last, good thrash musicians like Slayer and Metallica ask relevent questions regarding society. Most of their songs cover “taboo” topics such organized religion, government hypocrasy, our societal wholeness, etc. These are everyday issues for Latinos. They paint real pictures of the hardships of everyday struggle. And if you have the fortune of not being raised in that sort of environment, happy pop music satisfies the ignorant soul. For the less fortunate, sometimes a good loud song can make the best out of a bad situation. Growing up, thrash music was the ultimate societal learning tool and confidence builder. It has an underdog, “Who cares what you think” attitude. For people at the bottom of the totem pole, a daily dose Metallica can be enough to help conquer the world.