Those of you who are death metal fans know that Bolt Thrower retired last week. Its been a year since the passing of their drummer, Martin Kearns (Kiddie), and with that, they’ve finally laid down their instruments together.
In previous posts, I’ve mentioned that their bassist, Jo Bench, is one of my favorite low-enders. Her style is relentless and unstoppable. Whenever I talk about her with people, I end up comparing her to a steamroller, flattening everything in her path with the riffs emanating from her bass. She’s not flashy, but her groove and sensibilities mesh with Bolt Thrower’s playing so seamlessly, it makes me tear up. The duo of her and Kiddie are one of my favorite rhythm sections in metal. When I think “driving rhythm” in metal, they’re one of the teams that always come to mind.
Jo is one of the first women to gain prominence in death metal. She might actually be the first. While editing my wife’s thesis on women in extreme metal, I learned about classifications of women in metal from scholars such as Sonia Vasan and Deena Weinstein that placed them into two main categories, one of which flaunted their sexuality or gender difference to find a place in the scene and another of which adopted more “male” trappings and behaviors to fit in. I think Jo fit into the latter more than the former – although she might have somewhat sidestepped the entire issue of being a “woman in metal and/or rock” by being a musician first and woman second, when conducting herself both on- and off-stage for Bolt Thrower.