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77 thE fUtUrE of KorEaN mEtal The future of metal in Korea faces many obstacles, but overall, things are looking better. The past few years have seen more overseas headliners, drawing bigger crowds and exposing more people to local acts. These have included Arch Enemy, Cannibal Corpse, Cradle of Filth, Helloween, Mors Pricipium Est, Kamelot, Accept, Judas Priest, Iron Maiden, Lamb of God, Opeth and others. In the same way that Korea has become a stopover for rock bands on their way either to or from China and Japan, the country has become a similar destination for metal acts. “The Korean promoters have asked if the bands could spare a day in between the big shows in Japan and leaving Asia, and most of them could,” says Nachtmahr. “The biggest ob- stacle has been having the money to pay the bands upfront and then recoup it through ticket sales.” Dosu Kim laments this as well, as it impacts him more than most. “I have a major uphill battle,” he says. “Sometimes the number of fans showing up is pathetic and I lose money. So many people in the scene talk the talk but don’t walk the walk. They consistently have excuses for not spending money.” Choe chalks much of it up to the fact that there isn’t an established tour circuit for metal outside of Japan. “Some of the cost would be offset if there was an es- tablished route,” he says, “but that’s difficult with language barriers and not knowing which promoters in other countries they can trust.” He has recently started the website ROKrock.kr, which offers concert tickets and merchandise in English to facili- tate a greater exchange. Besides breaking up bands with its requisite military ser- vice, the perpetual state of war has had other impacts. When the international media started its fear campaign around the threatening rhetoric coming from North Korea this past spring, the uncertain climate was enough to make Brazilian death-metal headliners Krisiun cancel their spot in the Asia Metalfest in June. This kind of decision from a band whose lyrical content focuses on death and war leaves ample opportunities for trash-talking, but nonetheless shows that it is a l egitimate concern. In the meantime, two labels that focus on metal in the ROK have cropped up: Hellride and Dope. While both repre- sent a variety of domestic acts, they also obtain distribution rights for bigger overseas titles. It also seems like more and more bands are slipping into the “lifer” category, which is necessary for Korean metal to properly join the international community. Many have speculated that Korea has “caught up” eco- nomically, meaning that now is the time to expand and di- versify artistically. “Current Korean culture is very much focused on a con- sumerist ideal, one that is clean, new, packaged and con- formist,” says Choe. “As such, anything dirty, raw, disturbing or unordinary is shunned. I don’t know why that is, but may- be it has to do with Korea’s economic rise following the raw, cruel destruction of the Korean War. “On the other hand, the traditional Korean concept of ‘han,’ a kind of enduring suffering, resonates with many forms of metal,” he adds. “I believe bands like Oatheon and Sad Legend represent this repressed side of the Korean psyche … I believe Korean metal will thrive again as the popular culture matures.” The first seedlings of the next wave are already sprouting. Local favorites Remnants of the Fallen opened for Euro- pean power metal heavyweights Stratovarious this summer at the Busan Rock Festival, pushing their recently released album and video. Dark Mirror ov Tragedy is in the final stag- es of mastering its third LP, and it seems more overseas bands are voicing a curiosity about the former hermit king- dom. The founding fathers of Baekdoosan have reformed with most of the original lineup and are playing shows to old and new fans alike. Some of the diversity that metal fans crave is beginning to appear. A Doom and Kafka are producing industrial and experimental metal, while groups such as Harry Big Button, Black Medicine, and The Choppers are bringing in some of the previously absent groove and sludge influences. “Now I think the mood is changing for the better. I think we have reason to look forward to the future,” says B5NG. Seo says the international attention given to K-pop could be a boon for metal. “I just wish some of all this newfound attention to Korea’s music industry would be given to the metal scene,” says Seo. “Would it help if we called it K-metal?” ImperIal DomInatIon Ishtar