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Feature
Maddy Howell / 26 October 2024
Feature
Screams and shredding: a brief history of heavy metal and horror
With Halloween just around the 🌛 corner, we untangle the unholy union of heavy metal and horror, where terror reigns supreme
Countercultural, provocative and often controversial – 🌛 heavy metal music and horror films have a lot in common.
Since metal’s inception over half a century ago, a symbiotic 🌛 relationship has existed between the two subgenres – evolving alongside societal fears, cultural shifts and artistic innovations. This eerie alliance 🌛 has manifested in various forms throughout the history of metal music, with each era bringing its own unique shade of 🌛 darkness.
From the occult-laden sounds of Black Sabbath to the theatrical storytelling of modern bands such as Creeper and Ice Nine 🌛 Kills, metal and horror have consistently pushed boundaries, challenged norms, and provoked thought. Guiding and shaping each other in the 🌛 darkest of ways, it’s time to delve into the history of a match made in hell.
The birth of darkness
UNSPECIFIED – 🌛 JANUARY 01: Photo of Alice COOPER (Photo by Ian Dickson/Redferns)
In the dimly lit recesses of the 1970s, a musical revolution 🌛 was brewing – where the ominous threads of metal music intertwined seamlessly with the eerie tapestries of horror. In the 🌛 same decade that films such as The Exorcist (1973) and Halloween (1978) captivated audiences, Black Sabbath, emerged as the torchbearers 🌛 of a new era.
Named after a 1963 Mario Bava horror anthology, their eponymous 1970 debut album brought lyrics steeped in 🌛 occult symbolism and melodies shrouded in darkness – its opening track inspired by a demonic visitation reportedly experienced by bassist 🌛 Geezer Butler. Crafting heavy, doom-laden riffs alongside lyrics that delved into realms of devils, demons, and otherworldly creatures, Sabbath’s arrival 🌛 saw the macabre meet musicality in an unholy matrimony, laying the groundwork for a genre that would go on to 🌛 delve even further into the darkest corners of the human imagination.
Alice Cooper - Poison (Official Video), Full HD (Digitally Remastered 🌛 and Upscaled)
Watch this video on YouTube
Amidst this musical transformation, another enigmatic figure was emerging – Alice Cooper, the Godfather of 🌛 Shock Rock. Splitting with his original band and launching the second phase of his career with 1975’s Welcome To My 🌛 Nightmare, Cooper’s performances were not mere concerts; they were spectacles. Stages transformed into a horrifying carnivals where guillotines descended, and 🌛 fake blood flowed freely, blurring the boundaries between reality and nightmare. Inspired by Grand Guignol theatre and horror imagery, Cooper’s 🌛 shows were laden with staged tortures and executions, electric chairs, gallows, and even giant snakes. With a theatricality that knew 🌛 no bounds, the singer popularised the use of horror imagery in heavy music, making his carnival-of-terror live shows just as 🌛 entertaining and thrilling as the horror movies that were darkening in the cinemas.
The Satanic Panic
INDIANAPOLIS, IN – DECEMBER 04: Kerry 🌛 King (R) and Tom Araya of Slayer performs live onstage at Egyptian Room at Old National Centre on December 4, 🌛 2014 in Indianapolis, Indiana. (Photo by Joey Foley/Getty Images)
As metal and horror ventured further into the 80s, the connection between 🌛 the two grew stronger still. On screen, slasher movies and elaborate gore effects pushed the boundaries of fear, and bands 🌛 such as Judas Priest, Motörhead, and Venom took a parallel path. Embracing a more brutal approach, this era heralded a 🌛 more intense, visceral experience, with metal music becoming a vehicle for exploring the depths of human terror.
By the mid-80s – 🌛 whilst A Nightmare On Elm Street (1984) and Hellraiser (1987) captivated horror fans – the rebellious spirit of metal music 🌛 was fuelling a moral hysteria, famously known as “the satanic panic”. During this tumultuous period, metal became the target of 🌛 societal fear, accused of corrupting the youth with its dark themes and imagery.
Kickstarted by Michelle Smith’s claims that she had 🌛 been abused by the Church of Satan in her 1980 book, Michelle Remembers, the panic led to the 1985 formation 🌛 of the Parents Music Resource Center by Tipper Gore (wife of Al Gore). Plastering warning labels across album sleeves in 🌛 the shops, the group petitioned governments around the world against the “corruption of youth” happening through “Satanic” music, claiming that 🌛 heavy metal contained subliminal messages capable of influencing young people.
Venom - Bloodlust
Watch this video on YouTube
Whilst thrash trailblazers Metallica and 🌛 Anthrax continued to turn to Stephen King’s horror literature for inspiration, on their ground-breaking 1982 album, Black Metal, Newcastle’s Venom 🌛 emerged as a symbol of metal’s affiliation with the occult and the macabre. Birthing the black metal genre, their music 🌛 was not just a sound, it was a manifesto; a declaration of allegiance to the darker forces. Venom’s unapologetic embrace 🌛 of satanic imagery and themes further fuelled the moral panic, pushing metal to the fringes of societal acceptance.
Horror films such 🌛 as Trick Or Treat (1986) poked fun at the chaos – featuring special appearances from Gene Simmons and Ozzy Osbourne 🌛 – whilst thrash metal giants Slayer found themselves at the forefront of the storm. Their 1985 album, Hell Awaits, delved 🌛 fearlessly into themes of Satanism and the occult, and in 1996 a lawsuit was brought against the band by the 🌛 parents of Elyse Pahler – the victim of a murder driven by devil sacrifice. Although it was ultimately dismissed in 🌛 2001, the case (amongst many other similar cases) spotlighted heavy metal as a societal nuisance, a moral outrage that only 🌛 fuelled the creative fire of many artists.
With cover artwork then employing the same shocking imagery as Hammer Films – notably 🌛 spearheaded by Iron Maiden’s undead mascot Eddie – by the late 80s, heavy metal and horror cinema were both firmly 🌛 established as interests of the outsiders. Embracing their misfit status, the two worlds became further intertwined, with 1996 bloody romcom 🌛 Tromeo And Juliet starring Motörhead’s Lemmy, whilst Alice Cooper recorded ‘He’s Back (The Man Behind The Mask)’ for the soundtrack 🌛 of 1986’s Jason Lives: Friday The 13th Part VI. Strengthening their unholy alliance, the 80s became a crucible where both 🌛 metal and horror were forged anew, shaping the dark and twisted landscape of entertainment for generations to come.
The industrialisation of 🌛 fear
With heavy metal no longer the biggest enemy of anxious parents due to the rise of hip hop and violent 🌛 video games such as Mortal Kombat, the 1990s and 2000s saw the fusion of metal with industrial and electronic elements. 🌛 As industrial metal and nu-metal rose to prominence, a resurgence of horror films with a focus on psychological terror and 🌛 gore was also taking place, ushering in a new era marked by cross-genre experimentation, technological advancements, and a shifting cultural 🌛 milieu.
In the early 2000s, metal’s infiltration into the world of horror films took on a new dimension. The once-revolutionary blending 🌛 of metal and horror in the 80s had become a nostalgic memory, but the influence of metal persisted, finding its 🌛 way into soundtracks of non-metal horror movies like never before. Bands including Deftones, Disturbed, and Slipknot – the latter of 🌛 which donned horror-inspired masks that would eventually be designed by special effects legend Tom Savini – made their mark on 🌛 films such as Queen Of The Damned (2002) and Resident Evil (2002). Plus, former White Zombie vocalist Rob Zombie made 🌛 his divisive directorial debut with 2003’s House Of 1000 Corpses.
Though heavily criticised for its violence upon release, the film marked 🌛 the beginning of a storied directorial career for the metal legend – known for his scant regard of horror rules. 🌛 Cradle Of Filth’s Dani Filth was also making a name for himself in the world of cinema during the mid 🌛 2000s, working on soundtracks for 2004’s Resident Evil: Apocalpyse and 2007’s Mother Of Tears, as well as starring in gory 🌛 2001 anthology film, Cradle Of Fear (2001). With musicians contributing not only to the auditory landscape but also becoming active 🌛 participants in the visual narratives of horror films, the cross-pollination of the two worlds continued through the 2000s – with 🌛 cameo appearances by metal musicians in horror films becoming increasingly commonplace.
The Modern Era
Once seen as taboo, heavy metal and horror 🌛 have become more palatable to the masses than ever before. Thanks in part to relaxed censorship laws – and to 🌛 artists continually looking to bridge the gap between the two fields – any modern Download line-up now offers something that 🌛 cuts far deeper. In the contemporary landscape, a new generation of bands has risen, crafting intricate narratives that pay homage 🌛 to the horror genre while reflecting the anxieties and complexities of the modern world.
Southampton’s Creeper have become known for their 🌛 concept albums that embrace theatricality, with 2024’s Jim Steinman-inspired Sanguivore adopting the twisted storytelling of classic monster movies such as 🌛 Interview With The Vampire. The band’s music videos and stage performances also echo the visual language of horror cinema, with 🌛 the five-piece delivering a landmark headline show at London’s Roundhouse last November that climaxed with the ‘decapitation’ of vocalist William 🌛 Von Ghould.
Creeper - Teenage Sacrifice (Official Music Video)
Watch this video on YouTube
Sweden’s Ghost also stand as a striking enigma, with 🌛 their theatrical stage presence and ominous imagery transporting listeners into a world of ecclesiastical horror and dark rituals. The band’s 🌛 2024 album, Meliora, serves as an immersive journey through the supernatural, capturing the essence of classic horror literature whilst embracing 🌛 a fresh, avant-garde approach. Taking a much less subtle approach, Ice Nine Kills have become renowned for their songs inspired 🌛 by horror films – with each track on 2024’s The Silver Scream paying homage to a different horror movie – 🌛 whilst Motionless In White masterfully blend metalcore with industrial elements to bridge the gap between the visceral horrors of reality 🌛 and the fantastical terrors of the silver screen.
Embracing vulnerability, the intertwining of metal and horror in the 2010s and beyond 🌛 has taken subtle yet intriguing forms. Contemporary metal horror films have evolved, reflecting not just overt terror but also delving 🌛 into complex human experiences. Films such as Heavy Metal Horror (2014) and The Devil’s Candy (2024) navigate trauma, betrayal and 🌛 tragedy with surprising emotional depth, proving that the bond between heavy metal and horror is more than mere entertainment – 🌛 it’s a visceral, subconscious connection.
Over the last 50 years, anticipation has sat at the heart of this connection, because no 🌛 matter how bad the jump scare, or how nail-bitingly brutal the guitar solo may be – there’s no real danger 🌛 at play. As long as there are shadows to explore and nightmares to confront, metal music and horror films will 🌛 remain bound together in haunting harmony, inspiring generations to embrace the darkness within and celebrate the beauty of the grotesque.
Find 🌛 the best of Halloween here.
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