Alexandros Anesiadis – Discussing The Heroes Of The Metal Underground
1. Can you describe the methodology you used to conduct the in-depth research for “Heroes of the Metal Underground” and how it allowed you to unearth lesser-known American metal bands?
Well, it was a multi-dimensional approach; it wasn’t only based on databases such as Discogs and Metal Archives, but also researched through 1980s fanzines (I have created a small digitized library), as well as searching through forums, social media groups etc etc. See, there are many bands that released a record under the ‘Not on a label’ tag, however there are many that released in their own label (e.g. Mother Earth Records for the band Winterhawk).
2. In the book’s introduction, it’s mentioned that American metal bands during the 1980s took inspiration from punk’s DIY approach. How did this unique approach impact the music scene during that era, and what were some notable outcomes of this DIY mentality?
The DIY approach of punk really kicked things off in a tremendous way, worldwide. There was no need for a big label to release your record, nor there was a need for a promoter to organise your tour or merchandise. It happened on the verge of heyday of the arena rock era, and gave all little and tiny bands the chance to be heard. Notable outcomes? Everything that has to do with punk and hardcore and labels such as SST, Dischord, Alternative Tentacles, and an unbelievable amount of bands that were not punk (new wave, NWOBHM, US metal) that had their chance of releasing their music on their own. My personal favorite will always though be Wipers, and the vision of Greg Sage in music.
3. The book covers over one hundred American metal bands from various regions of the United States. How did you go about selecting and curating these bands, and what criteria did you use to determine their significance and influence?
It was a 50/50 selection: 50% totally unknown ones and 50% of much more notorious acts. The criteria of significance and influence were their later career, longetivity and metalheads being still fans of those bands (Cirith Ungol, Brocas Helm, Hammeron, Ruffians, Halloween…).
4. “Heroes of the Metal Underground” celebrates bands that invested their life savings into recording and pressing their songs onto albums. Could you share an inspiring or remarkable story of a band’s journey from recording their music independently to achieving recognition within the metal community?
A great story is from Detroit’s Halloween; not only did they release their first LP on their own, they went on to record this album twice! They didn’t like the original mix, and headed back to studio for 30 hours straight, playing the songs live, and mixing them with no sleep at all. The result is that their LP, ‘Dont’ Metal With Evil’ is considered as a total cult classic among metalheads.
5. The book includes interviews with the visionaries behind these metal bands. Can you tell us about one of the most memorable interviews you conducted during the writing process and what made it stand out?
Ah man! This one’s damn hard! What was really very empowering was that everybody was nice and kind, and more than willing to offer a good interview. If I had to pick one though, that would have been Rob Origlio’s (Street Child), and his documentation of the NYC scene of 1980s; metal was never a thing in NYC (as it was always punk, hardcore and garage), and he offered some great info on it.
6. Parris Mayhew (Cro-Mags) commends your clear love and fervor for this music throughout the book. How did your passion for metal influence your approach to researching and writing about these bands?
Parris is (as you know) an exceptional musician and an extremely talented director. I knoww him personally (and met him in NYC), and talked about this book (among others), prior to each release. However, I have to mention, that my passion was not focussed on heavy metal (I’m mostly a fan of harcore punk), but on DIY; this is what intrigued me, how, when and why all those US metal bands appeared (and/or disappeared) into the depths of underground. I love all things tiny and underground, so…that explains the driving force behind that.
7. With the 1980s being a pivotal decade for metal music, what were some of the key social factors that contributed to the explosion and growth of the genre during that time in the United States?
Pre-1985, metal was still tiny in the US. The explosion of glam metal, as well as the massive success of Metallica, were the reasons why by 1989 40% of the overall record sales in USA were heavy metal (or nearby) categorised. It was a new product, by young kids for young kids, and especially in the case of glam metal, it gloryfied partying and easy-going lifestyle, so it had an impact on youth.
8. The book also features images of rare records. How did you come across these rare finds, and how do you think they contribute to the overall narrative of the metal underground movement?
Crating boxes full of records-I’m a record collector myself too-as well as asking for pictures from heavy metal collectors (that happily provided them). The art on those records, even though in many cases its not-professional, reveal the charm and innocence of their creators. And I prefer them so much more to the ultra-professional, but totally unmemorable, LP covers by big labels.
9. As a writer and researcher focusing on punk and hybrid punk-metal bands in your previous books, what motivated you to shift your attention to American independent metal bands for this project?
As aforementioned, my love for DIY; I wanted to explore why all this happened in US metal of that era. Mind that, in heavy metal (overall, as a subgenre), there’s a lack of this DIY attitude. You can only find it in NWOBHM and this US metal, and since NWOBHM has been widely covered…I did the US metal equivalent.
10. Yannis Skarpelos is credited as a contributor to the book. Could you tell us about the specific contributions he made to “Heroes of the Metal Underground” and how they enhanced the book’s content?
Yannis added so much in the setting of the book, in the historic introduction, as well as making some reviews (such as in MC Blade or Cirith Ungol). Yannis is the total and all-around metalhead of this book!
11. Being based in both London and Greece, how did your geographical location influence the way you approached and discovered information about American metal bands for this book?
No, not at all. We live in a very globalized society, whether this is in London or in Greece. It was though a massively time-demanding procedure…I had to find as many as I could.
12. Metal music has a devoted and passionate fanbase. In your opinion, what sets the metal community apart from other music scenes, and how did this sense of community shape the stories and experiences shared by the bands in the book?
This is not a question, but a PhD proposal to be researched on! Well, there are huge differences and similarities, regionally and nationally in each and every case, but if I could attempt a crude explanation, this would be it: metalheads are loyal, sincere, remain fans for life, and seem to socialize mostly with akin peers in their everyday life. This is something that also happens in punks/hardcore punks, and even though we are currently living the ‘death of youth cultures’, there are still fine examples of the above.
Book Order link: https://feralhouse.com/heroes-of-the-metal-underground/
Photo credits – Nikoletta Pakalidou
