The artist has the right to sell his art but can his art remain pure when his every waking thought is consumed with generating revenue out of it? More pertinently, does such a remuneration-obsessed philosophy fit within the iconoclastic worldview of heavy metal? The trickster mind may convince the musician that he makes the music first and more worldly concerns follow later but commercial considerations have a way of hijacking pure motives, and have done so through human history. How does the musician preserve a higher ideal and a greater truth when his thoughts are infiltrated by deliberations on what profits his work will eventually bring forth? Not everyone can be capable of combining, in equal measure, zen-like isolation of time and space while immersed in creation, and an active hankering for wider acceptance and the fruits it may bear. Great metal music has always come about of a complete dissociation from the material aspects of life, even bordering on barely concealed contempt for the strictures that keep us relegated to the mortal plane. Money is a necessity in our way of doing transactions, nobody doubts that, but it is also a contaminant in everything that elevates the human species above our animal forebears.
When so many dismiss India’s Demonic Re$urrection as a joke, it isn’t because they are “jealous” of the band’s success. It isn’t because they don’t acknowledge the band’s professionalism, or their perseverance in playing less-than-mediocre music for the last fifteen years. It is because Demonic Re$urrection never seem to have taken pause and given adequate thought to heavy metal as art and idea. Hard work is not an excuse for general cluelessness nor should it be used or tolerated as a guilt-tripping mechanism. So pre-occupied have they been with commodifying their music and imploring people to purchase it, beyond all reasonable sense of human decorum, that they have lost sight, or more likely never realized, the truism: you don’t find the music, the music finds you. Instead, being the old institution that they are in these parts, they have been responsible for rearing a new generation of listeners and musicians enamoured with the same shallow, materialistic ideologies. Granted, their music is not much more than syrupy pap and as such should be treated on the same grounds as other pop. But they purport to be metal and therefore should be laughed out of hearing by real metal fans.