Hatred is often viewed as a purely negative emotion, but from a psychological standpoint, it can have an adaptive role, particularly in contexts where individuals or communities face oppression or trauma. This perspective aligns with the work of psychotherapist Peter Levine, who emphasises the containment and expression of 'survival energy'—the primal force that arises in response to threats or harm. Metal music, with its intense and often aggressive sound, can serve as a potent medium for this expression.
Metal Music as a conduit for processing trauma
Metal music, characterised by its loud, intense, and sometimes chaotic melodies, provides a space to process emotional pain where anger, despair and hatred (including self hatred) can be felt, and not only accepted, but paradoxically enjoyed. These emotions stem from either personal or collective trauma. The word "trauma" originates from the Greek word "τραῦμα" (trauma), which means "wound." I am referring to this psychic wound.
The genre's aggressive sound and confrontational lyrics allow listeners and performers to explore and release these intense feelings in a controlled environment. This catharsis can be therapeutic, aiding individuals in dealing with unresolved emotions and experiences. For many, especially those who have faced trauma, metal music offers a validating space where their pain and anger are not only understood but also shared and vocalised. There are indeed many people who report that metal music saved their lives for this reason and there are various playlists and albums that people create based on those songs. For me, the song “Dyers Eve” by Metallica offered me a lot of solace in my times of teenage angst, as well as Jeremy by Pearl Jam which helped me to deal with bullying at school. There are many playlists, including https://www.songsthatsavedmylife.com/learn who are a collection of artists that recorded their own versions of other artists’ songs. From this collection, I particularly like the song “Crawling” (performed by Dream State) by Linkin Park, whose singer, Chester Benington, tragically ended his life on 20th July 2017. Other songs reflect the powerlessness experienced by the destruction of our ecosystem such as “Amazonia” by Gojira, or the song “Right in Two“ by the band Tool, which critiques humanity's misuse of free will, who despite being blessed with reason and abundance, choose conflict and division.
Misattributing Causality: Metal Music and Violence
Historically, some have blamed metal music for inciting violence, misunderstanding the relationship between the two. This perspective mistakes correlation for causation, akin to blaming medicine for the illness it aims to treat. Just as taking medication is a response to sickness rather than its cause, engaging with metal music can be seen as a response to underlying emotional or societal turmoil. The intense emotions expressed through metal are not the source of violence but rather a reflection of pre-existing struggles and traumas.
By providing a safe outlet for these emotions, metal music can actually help prevent violence by allowing individuals to process their feelings in a controlled environment. This cathartic experience can be therapeutic, reducing the likelihood of these emotions manifesting in harmful ways. Understanding this dynamic is crucial for recognising the positive role that metal music can play in both personal and societal healing and therefore prevent causing more harm than good by eliminating this outlet and ostracising and alienating the person further.
War and Justice
I was inspired to write this blog, after coming across the band Cultura Tres, founded by two Venezuelan brothers, joined recently by renowned bass player and founding member of Brazilian band Sepultura with . In the song “The World and it’s Lies”, the line “lies mean war” signals the call for violence as a way out of a tyrannical and criminal government. In these cases, war, rebellion, and revolution seem inevitable and sometimes necessary responses for removing the entrenched powers that perpetuate injustice, corruption and oppression. In such contexts, the oppressed are often left with no viable alternatives, as peaceful means of redress and system change are systematically undermined or rendered ineffective. The situation in Venezuela can be likened to a hostage scenario, where its citizens are trapped by an oppressive regime and they cannot free themselves as the captors have the guns and the only options left for Venezuelans are either to plead the international community for help even through military action (as negotiation has been ineffective since the ‘kidnapper’ will not cede power and face their crimes), or by emigrating.
I want to be clear that I am not advocating for war in any context, however, the feeling, tension and desire to return to my country and not being able to because of not feeling safe to do so, as well as having seen so much suffering inflicted on countless compatriots causes me to want to see the perpetrators pay for their crimes. Historical precedents, such as the international interventions against Manuel Noriega in Panama and the Allied forces against Hitler, demonstrate that external military force can be necessary to dismantle regimes that refuse to cede power and continue to inflict suffering on their people. In Venezuela, the local population lacks the means to free themselves from the grip of such an entrenched regime.
Liberation of Survival Energy
It is important to understand the dynamics of energy release in trauma therapy, recognising that while the liberation of this energy is important for healing, the manner in which it is released has to be carefully considered. In therapeutic settings, this involves structured and safe practices that ensure energy is discharged without harm, or a backlash that can be re-traumatising or worse. In the cultural sphere of metal music, it translates into an art form that not only expresses but also contains and transforms this energy, providing both an outlet and a form of healing for many.
Peter Levine, in his work on somatic experiencing, emphasises the importance of physically manifesting and processing trauma-related energies to achieve healing. This concept is paralleled in the principles of EMDR and other therapies highlighted in The Body Keeps the Score, where Bessel van der Kolk argues that trauma is stored in the body and must be actively engaged with and processed through the body for effective healing. These therapies are predicated on the belief that confronting and working through painful experiences is essential for recovery.
The parallels between the themes of metal music and somatic therapies illustrates that engaging with and expressing deep-seated negative emotions can be a pathway to healing. This approach is not only relevant in the context of individual therapy but also reflects a broader philosophical debate about the balance between peace and conflict, advocating that true peace might sometimes require an active pursuit of justice by force.
The dilemma of whether to intervene in situations of oppression—akin to calling the police in a hostage situation—raises significant ethical questions. Intervention can sometimes lead to positive change, akin to external assistance that helps overthrow an oppressive regime. However, the potential for unintended consequences means that such actions must be carefully considered, weighing the immediate benefits against long-term impacts.
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