Standing woman holding her veil. Terracotta figurine, ca. 400–375 BC.

A veil is an article of clothing, worn almost exclusively by women, that is intended to cover some part of the head or face.

One view is that as a religious item, it is intended to show honor to an object or space. The actual sociocultural, psychological, and sociosexual functions of veils have not been studied extensively but most likely include the maintenance of social distance and the communication of social status and cultural identity.^[1][2] In Islamic society, various forms of the veil have been adopted from the Arab culture in which Islam arose.

History[link]

The first recorded instance of veiling for women is recorded in an Assyrian legal text from the 13th century BC, which restricted its use to noble women and forbade prostitutes and common women from adopting it. The Mycenaean Greek term a-pu-ko-wo-ko meaning "craftsman of horse veil" written in Linear B syllabic script is also attested since ca. 1300 BC.^[3][4] Ancient Greek texts have also spoken of veiling and seclusion of women being practiced among the Persian elite.^{[citation needed]} Statues from Persepolis depict women both veiled and unveiled.^{[citation needed]}

Classical Greek and Hellenistic statues sometimes depict Greek women with both their head and face covered by a veil. Caroline Galt and Lloyd Llewellyn-Jones have both argued from such representations and literary references that it was commonplace for women (at least those of higher status) in ancient Greece to cover their hair and face in public.

Depiction of Isabeau of Bavaria, queen of France, wearing veiling

For many centuries, until around 1175, Anglo-Saxon and then Anglo-Norman women, with the exception of young unmarried girls, wore veils that entirely covered their hair, and often their necks up to their chins (see wimple). Only in the Tudor period (1485), when hoods became increasingly popular, did veils of this type become less common.

For centuries, women have worn sheer veils, but only under certain circumstances. Sometimes a veil of this type was draped over and pinned to the bonnet or hat of a woman in mourning, especially at the funeral and during the subsequent period of "high mourning". They would also have been used, as an alternative to a mask, as a simple method of hiding the identity of a woman who was traveling to meet a lover, or doing anything she didn't want other people to find out about. More pragmatically, veils were also sometimes worn to protect the complexion from sun and wind damage (when un-tanned skin was fashionable), or to keep dust out of a woman's face, much as the keffiyeh is used today.

Religion[link]

In Judaism, Christianity and Islam the concept of covering the head is or was associated with propriety and modesty. Most traditional depictions of the Virgin Mary, the mother of Christ, show her veiled. During the Middle Ages most European and Byzantine married women covered their hair rather than their face, with a variety of styles of wimple, kerchiefs and headscarfs. Veiling, covering the hair rather than the face, was a common practice with church-going women until the 1960s, typically using lace, and a number of very traditional churches retain the custom. Lace face-veils are still often worn by female relatives at funerals.

In North India, Hindu women may often veil for traditional purposes, it is often the custom in rural areas to veil in front of male elders. This veil is called the Ghoonghat or Laaj. This is to show humility and respect to those elder to the woman, in particular elder males. The ghoonghat is customary especially in the westerly states of Gujarat and Rajasthan.

Although religion stands as a commonly held reason for choosing to veil, it has also reflects on political regimes and personal conviction, allowing it to serve as a medium through which personal character can be revealed.^[5]

Judaism[link]

Praying Jewish Woman wearing Tichel

After the destruction of the Temple in Jerusalem, the synagogues that were established took the design of the Tabernacle as their plan. The Ark of the Law, which contains the scrolls of the Torah, is covered with an embroidered curtain or veil called a parokhet. (See also below regarding the veiling — and unveiling — of the bride.)

Christianity[link]

Liturgy[link]

Sanctuary in the Basilique Saint-Denis showing veiling to either side of the altar^[6]

An altar cross veiled during Holy Week

Western burse and chalice veil laid over the holy vessels. There is also a maniple sitting to the right of the chalice.

Among Christian churches which have a liturgical tradition, several different types of veils are used. These veils are often symbolically tied to the veils in the Tabernacle in the wilderness and in Solomon's Temple. The purpose of these veils was not so much to obscure as to shield the most sacred things from the eyes of sinful men.

• Tabernacle veil

Used to cover the church tabernacle, particularly in the Roman Catholic tradition but in some others as well, when the Eucharist is actually stored in it. The veil, which is in part meant to remind worshippers that the (usually metal) tabernacle cabinet is meant to echo the tabernacle tent of the Hebrew Scriptures, signals that the tabernacle is actually in use. It may be of any liturgical color, but is most often either white (always appropriate for the Eucharist), cloth of gold or cloth of silver (which may substitute for any liturgical color aside from violet), or of the liturgical color of the day (red, green or violet). It may be of simple, unadorned linen or silk, or it may be fringed or otherwise decorated. It is often designed to match the vestments of the celebrants.

• Ciborium veil

The ciborium is a goblet-like metal vessel with a cover, used in the Roman Catholic Church and some others to hold the consecrated hosts of the Eucharist when, for instance, it is stored in the tabernacle or when communion is to be distributed. It may be veiled with a white cloth, usually of silk. This was formerly required but is now optional. In part, it signals that the ciborium actually contains the consecrated Eucharist at the moment.

• Chalice Veil

During Eucharistic celebrations, a veil is often used to cover the chalice and paten to prevent dust and flying insects from coming in contact with the bread and wine. Often made of rich material, the chalice veils have not only a practical purpose, but are also intended to show honor to vessels used for the sacrament.

In the West, a single chalice veil is normally used. The veil will usually be of the same material and color as the priest's vestments, though it may always be white. It covers the chalice and paten when not actually in use on the altar.

In the East, three veils are used: one for the chalice, one for the diskos (paten), and a third one (the Aër) is used to cover both. The veils for the chalice and diskos are usually square with four lappets hanging down the sides, so that when the veil is laid out flat it will be shaped like a cross. The Aër is rectangular and usually larger than the chalice veil used in the West. The Aër also figures prominently in other liturgical respects.

• Humeral Veil

The humeral veil is used in both Roman Catholic and Anglican Churches during the liturgy of Exposition and Benediction of the Blessed Sacrament, and on some other occasions when special respect is to be demonstrated to the Eucharist. From the Latin for "shoulders," it is an oblong piece of cloth worn as a short of shawl, used to symbolize a more profound awareness of the respect due to the Eucharist by shielding the celebrant's hands from actually contacting the vessel holding the Eucharist, either a monstrance or ciborium, or in some cases to shield the vessel itself from the eyes of participants. It is worn only by bishops, priests or deacons.

• Vimpa

A vimpa is a veil or shawl worn over the shoulders of servers who carry the miter and crosier in Roman Catholic liturgical functions when they are not being used by the bishop.

• Chancel Veil

In the early liturgies, there was often a veil that separated the sanctuary from the rest of the church (again, based upon the biblical description of the Tabernacle). In the Byzantine liturgy this veil developed into the iconostasis, but a veil or curtain is still used behind the Royal Doors (the main doors leading into the sanctuary), and is opened and closed at specific times during the liturgy. In the West, it developed into the Rood Veil, and later the Rood Screen, and finally the chancel rail, the low sanctuary railing in those churches that still have this. In some of the Eastern Churches (for instance, the Syrian liturgy) the use of a veil across the entire sanctuary has been retained.

• Lenten Veiling

Some churches veil their crosses during Passiontide with a fine semi-transparent mesh. The color of the veil may be black, red, purple, or white, depending upon the liturgical day and practice of the church. In traditional churches, there will sometimes be curtains placed to either side of the altar.

The Veil of our Lady is a liturgical feast celebrating the protection afforded by the intercessions of the Virgin Mary.

Traditionally, in Christianity, women were enjoined to cover their heads in church, just as it was (and still is) customary for men to remove their hat as a sign of respect. This practice is based on 1 Corinthians 11:4-16, where St. Paul writes:

Any man who prays or prophesies with his head covered brings shame upon his head. But any woman who prays or prophesies with her head unveiled brings shame upon her head, for it is one and the same thing as if she had had her head shaved. For if a woman does not have her head veiled, she may as well have her hair cut off. But if it is shameful for a woman to have her hair cut off or her head shaved, then she should wear a veil. A man, on the other hand, should not cover his head, because he is the image and glory of God, but woman is the glory of man. For man did not come from woman, but woman from man; nor was man created for woman, but woman for man; for this reason a woman should have a sign of authority on her head, because of the angels. Woman is not independent of man or man of woman in the Lord. For just as woman came from man, so man is born of woman; but all things are from God. Judge for yourselves: is it proper for a woman to pray to God with her head unveiled? Does not nature itself teach you that if a man wears his hair long it is a disgrace to him, whereas if a woman has long hair it is her glory, because long hair has been given (her) for a covering? But if anyone is inclined to be argumentative, we do not have such a custom, nor do the churches of God (New American Bible translation)

In many traditional Eastern Orthodox Churches, and in some very conservative Protestant churches as well, the custom continues of women covering their heads in church (or even when praying privately at home).

In the Roman Catholic Church, it was customary in most places before the 1960s for women to wear a headcovering in the form of a scarf, cap, veil or hat when entering a church. The practice now continues where it is seen as a matter of etiquette, courtesy, tradition or fashionable elegance rather than strictly of canon law. Traditionalist Catholics also maintain the practice.

The wearing of a headcovering was for the first time mandated as a universal rule for the Latin Rite by the Code of Canon Law of 1917,^[7] which code was abrogated by the advent of the present (1983) Code of Canon Law,^[8] though many Traditional Catholics debate whether or not this actually occurred and many groups believe the original rule to still be in place. Canon 20^[9] also states: "A later law abrogates, or derogates from, an earlier law if it states so expressly, is directly contrary to it, or completely reorders the entire matter of the earlier law." The photograph here of Mass in the Netherlands in about 1946, two decades before the changes that followed the Second Vatican Council, shows that, even at that time, when a hat was still considered part of formal dress for both women and men, wearing a headcovering at Mass was not a universal practice for Catholic women.

Women[link]

Nuns also use veil

A veil over the hair rather than the face forms part of the headdress of some orders of nuns or religious sisters; this is why a woman who becomes a nun is said "to take the veil". In medieval times married women normally covered their hair outside the house, and nun's veils are based on secular medieval styles, reflecting nuns position as "brides of Christ". In many orders, a white veil is used as the "veil of probation" during novitiate, and a dark veil for the "veil of profession" once first or solemn vows are taken — the color scheme varies with the color scheme of the habit of the order. A veil of consecration, longer and fuller, is used by some orders for final profession of solemn vows.

Nuns are the female counterparts of monks, and many monastic orders of women have retained the veil. Regarding other orders of religious sisters who are not cloistered but who work as teachers, nurses or in other "active" apostolates outside of a nunnery or monastery, some wear the veil, while some others have abolished the use of the veil, a few never had a veil to start with, but used a bonnet-style headdress even a century ago, as in the case of St. Elizabeth Ann Seton.

The fullest versions of the nun's veil cover the top of the head and flow down around and over the shoulders. In Western Christianity, it does not wrap around the neck or face. In those orders that retain one, the starched white covering about the face neck and shoulders is known as a wimple and is a separate garment.

The Catholic Church has revived the ancient practice of allowing women to profess a solemn vow as consecrated virgins. These women are set aside as sacred persons who belong only to Christ and the service of the church. They are under the direct care of the local bishop, without belonging to a particular order and receive the veil as a sign of consecration.

There has also been renewed interest in the last half century in the ancient practice of women and men dedicating themselves as anchorites or hermits, and there is a formal process whereby such persons can seek recognition of their vows by the local bishop — a veil for these women would also be traditional.

Some Anglican women's religious orders also wear a veil, differing according to the traditions of each order.

Eastern monasticism[link]

In Eastern Orthodoxy and in the Eastern Rites of the Catholic Church, a veil called an epanokamelavkion is used by both nuns and monks, in both cases covering completely the kamilavkion, a cylindrical hat they both wear. In Slavic practice, when the veil is worn over the hat, the entire headdress is referred to as a klobuk. Nuns wear an additional veil under the klobuk, called an apostolnik, which is drawn together to cover the neck and shoulders as well as their heads, leaving the face itself open.

Biblical references[link]

• Hebrew mitpahath (Ruth 3:15; marg., "sheet" or "apron;" R.V., "mantle"). In Isaiah 3:22 this word is plural, rendered "wimples;" R.V., "shawls" i.e. wraps.book of Isaiah 3:23 The glasses, and the fine linen, and the hoods, and the vails.
• Massekah (Isaiah 25:7; in Isa. 28:20 rendered "covering"). The word denotes something spread out and covering or concealing something else (comp. 2 Cor. 3:13-15).
• Masveh (Exodus 34:33, 35), the veil on the face of Moses. This verse should be read, "And when Moses had done speaking with them, he put a veil on his face," as in the Revised Version. When Moses spoke to them he was without the veil; only when he ceased speaking he put on the veil (comp. 2 Cor. 3:13, etc.).
• Paroheth (Ex. 26:31-35), the veil of the tabernacle and the temple, which hung between the holy place and the most holy (2 Chr. 3:14). In the temple a partition wall separated these two places. In it were two folding doors, which are supposed to have been always open, the entrance being concealed by the veil which the high priest lifted when he entered into the sanctuary on the day of Atonement. This veil was rent when Christ died on the cross (Matt. 27:51; Gospel of Mark 15:38; Luke 23:45).
• Tza'iph (Genesis 24:65). Rebekah "took a veil and covered herself." (See also 38:14, 19.) Hebrew women generally appeared in public without veils (12:14; 24:16; 29:10; 1 Sam. 1:12).
• Radhidh (Cant. 5:7, R.V. "mantle;" Isaiah 3:23). The word probably denotes some kind of cloak or wrapper.
• Masak, the veil which hung before the entrance to the holy place (Ex. 26:36, 37).

Note: Genesis 20:16, which the King James Version renders as: "And unto Sarah he said, Behold, I have given thy brother a thousand pieces of silver: behold, he is to thee a covering of the eyes, unto all that are with thee, and with all other: thus she was reproved" has been interpreted in one source as implied advice to Sarah to conform to a supposed custom of married women, and wear a complete veil, covering the eyes as well as the rest of the face,^[10] but the phrase is generally taken to refer not to Sarah's eyes, but to the eyes of others, and to be merely a metaphorical expression concerning vindication of Sarah (NASB, RSV), silencing criticism (GWT), allaying suspicions (NJB), righting a wrong (BBE, NLT), covering or recompensing the problem caused her (NIV, New Life Version, NIRV, TNIV, JB), a sign of her innocence (ESV, CEV, HCSB). The final phrase in the verse, which KJV takes to mean "she was reproved", is taken by almost all other versions to mean instead "she was vindicated", and the word "הוא", which KJV interprets as "he" (Abraham), is interpreted as "it" (the money). Thus, the general view is that this passage has nothing to do with material veils.

This article incorporates text from Easton's Bible Dictionary (1897), a publication now in the public domain.

Islam[link]

Women's head scarves for sale in East Jerusalem

A variety of headdresses worn by Muslim women and girls in accordance with hijab (the principle of dressing modestly) are sometimes referred to as veils. The principal aim of the Muslim veil is to hide that which men find sexually attractive. Many of these garments cover the hair, ears and throat, but do not cover the face. The khimar is a type of headscarf. The niqāb and burqa are two kinds of veils that cover most of the face except for a slit or hole for the eyes.

The Afghan burqa covers the entire body, obscuring the face completely, except for a grille or netting over the eyes to allow the wearer to see. The boshiya is a veil that may be worn over a headscarf; it covers the entire face and is made of a sheer fabric so the wearer is able to see through it. It has been suggested that the practice of wearing a veil - uncommon among the Arab tribes prior to the rise of Islam - originated in the Byzantine Empire, and then spread.^[11]

The wearing of head and especially face coverings by Muslim women has raised political issues in the West; see for example Hijab controversy in Quebec, Islamic dress controversy in Europe, Islamic scarf controversy in France, and United Kingdom debate over veils. There is also high debate of the veil in Turkey, a Muslim majority country but secular, which banned the headscarves in universities and government buildings, due to the türban (a Turkish styled headscarf) being viewed as a political symbol of Islam, see Headscarf controversy in Turkey.

Frances Perkins wearing a veil after the death of U.S. President Franklin D. Roosevelt

Hats[link]

Veils pinned to hats have survived the changing fashions of the centuries and are still common today on formal occasions that require women to wear a hat. However, these veils are generally made of netting or another material not actually designed to hide the face from view, even if the veil can be pulled down.

Wedding veils[link]

An occasion on which a Western woman is likely to wear a veil is on her white wedding day. Brides once used to wear their hair flowing down their back at their wedding to symbolise their virginity. Veils covering the hair and face became a symbolic reference to the virginity of the bride thereafter. Often in modern weddings, the ceremony of removing a face veil after the wedding to present the groom with a virgin bride is skipped, since many couples have already entered into conjugal relations prior to their wedding day - the bride either wears no face veil, or it is lifted before the ceremony begins, but this is not always the case. Further, if a bride is a virgin, she often wears the face veil through the ceremony, and then either her father lifts the veil, presenting the bride to her groom, or the groom lifts the veil to symbolically consummate the marriage, which will later become literal. Brides who are virgins may make use of the veil to symbolize and emphasize their status of purity during their wedding however, and if they do, the lifting of the veil may be ceremonially recognized as the crowning event of the wedding, when the beauty of the bride is finally revealed to the groom and the guests. It is not altogether clear that the wedding veil is a non-religious use of this item, since weddings have almost always had religious underpinnings, especially in the West. Veils, however, had been used in the West for weddings long before this. Roman brides, for instance, wore an intensely flame-colored and fulsome veil, called the flammeum, apparently intended to protect the bride from evil spirits on her wedding day. Later, the so-called velatio virginum became part of the rite of the consecration of virgins, the liturgical rite in which the church sets aside the virgin as a sacred person who belongs only to Christ.

In the 19th century, wedding veils came to symbolise the woman's virginity and modesty. The tradition of a veiled bride's face continues even today wherein, a virgin bride, especially in Christian or Jewish culture, enters the marriage ritual with a veiled face and head, and remains fully veiled, both head and face, until the ceremony concludes. After the full conclusion of the wedding ceremony, either the bride's father lifts the veil giving the bride to the groom who then kisses her, or the new groom lifts her face veil in order to kiss her, which symbolizes the groom's right to enter into conjugal relations with his bride.^[12]

The lifting of the veil was often a part of ancient wedding ritual, symbolising the groom taking possession of the wife, either as lover or as property, or the revelation of the bride by her parents to the groom for his approval.

A bride wearing a typical wedding veil

In Judaism, the tradition of wearing a veil dates back to biblical times. According to the Torah in Genesis 24:65, Isaac is brought Rebekah to marry by his father Abraham's servant. It is important to note that Rebekah did not veil herself when traveling with her lady attendants and Abraham's servant and his men to meet Isaac, but she only did so when Isaac was approaching. Just before the wedding ceremony the badeken or bedeken is held. The groom places the veil over the bride's face, and either he or the officiating Rabbi gives her a blessing. The veil stays on her face until just before the end of the wedding ceremony - when they are legally married according to Jewish law - then the groom helps lift the veil from off her face.

The most often cited interpretation for the badeken is that, according to Genesis 29, when Jacob went to marry Rachel, his father in law Laban tricked him into marrying Leah, Rachel's older and homlier sister. Many say that the veiling ceremony takes place to make sure that the groom is marrying the right bride! Some say that as the groom places the veil over his bride, he makes an implicit promise to clothe and protect her. Finally, by covering her face, the groom recognizes that he his marrying the bride for her inner beauty; while looks will fade with time, his love will be everlasting. In some ultra-orthodox traditions the bride wears an opaque veil as she is escorted down the aisle to meet her groom. This shows her complete willingness to enter into the marriage and her absolute trust that she is marrying the right man. In Judaism, a wedding is not considered valid unless the bride willingly consents to it.

In ancient Judaism the lifting of the veil took place just prior to the consummation of the marriage in sexual union. The uncovering or unveiling that takes place in the wedding ceremony is a symbol of what will take place in the marriage bed. Just as the two become one through their words spoken in wedding vows, so these words are a sign of the physical oneness that they will consummate later on. The lifting of the veil is a symbol and an anticipation of this.

In the Western world, St. Paul's words concerning how marriage symbolizes the union of Christ and His Church may underlie part of the tradition of veiling in the marriage ceremony.^[13]

Dance[link]

Veils are part of the stereotypical images of courtesans and harem women. Here, the mysterious veil hints at sensuality, an example being the dance of the seven veils. This is the context into which belly dancing veils fall, with a large repertoire of ways to wear and hold the veil, framing the body and accentuating movements. Dancing veils can be as small as a scarf or two, silk veils mounted on fans, a half circle, three-quarter circle, full circle, a rectangle up to four feet long, and as large as huge Isis wings with sticks for extensions. There is also a giant canopy type veil used by a group of dancers. Veils are made of rayon, silk, polyester, mylar and other fabrics (never wool, though). Rarely used in Egyptian cabaret style, veil dancing has always played an important part in the international world of belly dance, extending the range of the dance and offering lovely transitory imagery.^[14]

Courtesans[link]

Conversely, veils are often part of the stereotypical image of the courtesan and harem woman. Here, rather than the virginity of the bride's veil, modesty of the Muslim scarf or the piety of the nun's headdress, the mysterious veil hints at sensuality and the unknown. An example of the veil's erotic potential is the dance of the seven veils.

In this context, the term may refer to a piece of sheer cloth approximately 3 x 1.5 metres, sometimes trimmed with sequins or coins, which is used in various styles of belly dancing. A large repertoire of ways to wear and hold the veil exists, many of which are intended to frame the body from the perspective of the audience.

Male Veils[link]

Among the Tuareg, Songhai, Moors, Hausa and Fulani of West Africa, women do not traditionally wear the veil, while men do. The men's facial covering originates from the belief that such action wards off evil spirits, but most probably relates to protection against the harsh desert sands as well; in any event, it is a firmly established tradition. Men begin wearing a veil at age 25 which conceals their entire face excluding their eyes. This veil is never removed, even in front of family members.^[15][16]

In Indian, Pakistan, Bengldesh and Nepal men wear a 'sehra' on their wedding day. This is a male veil covering the whole face and neck. The sehra is made from either flowers, beads, tinsel, dry leaves or coconuts. The most common sehra is made from fresh marigolds. The groom wears this throughout the day concealing his face even during the wedding ceremony. In India today you can see the groom arriving on a horse with the sehra wrapped around his head.

Etymology[link]

"Veil" came from Latin vēlum, which also means "sail". There are two theories about the origin of the word vēlum:-

• Via the "covering" meaning, from (Indo-European root) *wel- = "to cover, to enclose".
• Via the "sail" meaning, from Indo-European *weghslom, from root *wegh- = "way" or "carry in a vehicle", because it makes the ship move.

See also[link]

• Curtain
• Purdah

References[link]

Further reading[link]

• Heath, Jennifer (ed.). (2008). The Veil: Women Writers On Its History, Lore, And Politics. University of California Press. ISBN 0-520-25518-6.

External links[link]

Wikimedia Commons has media related to: veils

• Why Does a Bride Wear a Veil? - The Veil in Judaism
• Curtain article from the Jewish Encyclopedia
• Hijab - The Muslim Veil

Bullet for My Valentine
Bullet for My Valentine performing at the 2010 Norway Rock Festival.
Background information
Origin	Bridgend, Wales, United Kingdom
Genres	Heavy metal, metalcore, thrash metal
Years active	1998–present
Labels	Columbia, Trustkill, Gun, Sony Music, Jive, RCA
Website	bulletformyvalentine.com
Members
Matthew Tuck Michael Paget Michael Thomas Jason James
Past members
Nick Crandle

Bullet for My Valentine are a Welsh heavy metal band from Bridgend, formed in 1998. The band is composed of Matthew Tuck (lead vocals, rhythm guitar), Michael Paget (lead guitar, backing vocals), Jason James (bass guitar, backing vocals), and Michael Thomas (drums). They were formed under the name Jeff Killed John and started their music career by covering songs by Metallica and Nirvana. Jeff Killed John recorded six songs which were not released; two of these tracks were reworked later in their career as Bullet for My Valentine. Financial difficulties dictated the name change, which was followed by a change in music direction. In 2002, the band secured a five-album deal with Sony BMG. The band has stated that their music is influenced by classic heavy metal acts such as Metallica, Iron Maiden, and Slayer. The band is part of the Cardiff music scene.

Bullet for My Valentine's debut album, The Poison, was released on 3 October 2005 in the United Kingdom and on 14 February 2006 in the United States to coincide with Valentine's Day hence their band name. The album entered the Billboard 200 in the US at number 128. It was certified Gold by the Recording Industry Association of America. The band made appearances at the Download Festival and Kerrang! XXV, and undertook a US tour with Rob Zombie. Bullet for My Valentine's second studio album, Scream Aim Fire, was released on 29 January 2008 and debuted at number four on the Billboard 200. The band's third album, Fever, was released on 26 April 2010 and debuted at number three on the Billboard 200. The band has sold over one million albums in the United States and nearly 2,500,000 albums worldwide and are the most-successful act in the Kerrang! Awards category of "Best British Band" with three wins.

History[link]

Jeff Killed John and record deal (1998—2005)[link]

	"Tears Don't Fall" noicon According to Scott Alisoglu of Blabbermouth.net, "Tears Don't Fall"'s "twin lead work, thrashy romps, galloping tempos, and a hot solo launch the track out of mediocrity."[1]
Problems listening to this file? See media help.

Jeff Killed John was the forerunner band to Bullet for My Valentine and was formed in 1998 by Matthew Tuck, Michael "Padge" Paget, Nick Crandle, and Michael "Moose" Thomas while studying music at Bridgend College. Playing Nirvana and Metallica cover songs, the band released a two-track EP in 2002, You/Play with Me, which was produced by Greg Haver. The EP was financed through the Pynci scheme for new Welsh musicians and the release garnered radio airplay on BBC Radio 1's broadcast at Newport's T.J.'s.^[2] Jeff Killed John's music followed the nu metal trend set by bands such as Korn and Limp Bizkit.^[2] Bassist Crandle left the band on the eve of entering the recording sessions for You/Play with Me and was replaced by Jason James.^[2] The band then changed their name to Bullet for My Valentine and reworked their musical strategy; they decided to play thrash metal songs with "harmony guitars and big angelic choruses" according to frontman Tuck.^[3]

Roadrunner Records showed interest in Bullet for My Valentine and offered the band a deal. The offer was ultimately turned down, and the band signed a five-album record deal with Sony BMG and a UK licensing deal with Visible Noise. According to Tuck, they chose Sony because, "We thought that a lot more doors would be open to us."^[3] A self-titled EP was released on 15 November 2004 in the UK. Produced by Colin Richardson, it featured five tracks and marked the band's first official release.^[2] A second EP, Hand of Blood, was released on 22 August 2005 through Trustkill Records and was only available in the US; the release contained one extra track than the self-titled EP, "4 Words (To Choke Upon)." Daniel Lukes of Decibel Magazine reviewed the EP by stating, "The worst part is that the music itself isn’t all that bad, for the genre." He went on to comment that the band should be "embarrassed" about the release.^[4] Zeromag's Josh Joyce complimented the band on "how technical they can get without confusing the kids."^[5]

[edit] The Poison (2005—2007)

Bullet for My Valentine at 2007's Earthday Birthday (depicted from left to right: Paget, James, and Tuck).

Bullet for My Valentine's debut album, The Poison, was released on 3 October 2005 in the UK and on Valentine's Day, 2006 in the US. It entered the Billboard 200 at number 128,^[6] and attained number 11 on the Independent Albums chart.^[7] On 30 January 2009, the album was certified gold by the RIAA after 500,000 copies were sold in the US.^[8] Four singles were released from The Poison: "4 Words (To Choke Upon)", "Suffocating Under Words of Sorrow (What Can I Do)", "All These Things I Hate (Revolve Around Me)", and "Tears Don't Fall".^[9] Bullet for My Valentine promoted the album by touring across the world. In 2005, with increased popularity, they played on the larger Download Festival Snickers stage;^[10] in 2006, the band were moved to near the top of the main stage bill.^[11] Other tours included opening for Metallica and Guns N' Roses in the summer of 2006,^[12] the Vans Warped Tour and Earthday Birthday. The band's headline performance at Kerrang XXV, a one-off gig at Brixton Academy in London on 28 January 2006, was filmed for their first DVD, The Poison: Live at Brixton.^[13][14] During June 2007, Tuck suffered from laryngitis, which let to an emergency tonsillectomy in July.^[15] Bullet for My Valentine were forced to cancel several shows, including supporting Metallica for three dates on their Sick of the Studio '07 tour on 29 June in Bilbao, 5 July in Vienna, and 8 July at the recently completed Wembley Stadium in London.^[16] Unable to speak, Tuck wrote that as soon as doctors cleared him he would be in the studio working on the band's next album.^[17]

[edit] Scream Aim Fire (2007—2008)

Bullet for My Valentine's second studio album, Scream Aim Fire, was recorded at Sonic Ranch Studios and was produced by Colin Richardson.^[18] Tuck commented at the time, "It's a lot more up tempo, a lot more aggressive".^[19] The album was released in the US on 29 January 2008.^[20] It sold 53,000 copies in its first week and peaked at number four on the Billboard 200.^[21] Three songs were released as singles: "Scream Aim Fire", "Hearts Burst into Fire", and "Waking the Demon".

In support of the new album, the band toured North America and Australia in the spring of 2008 for the Taste of Chaos tour alongside Atreyu, Blessthefall, and Avenged Sevenfold. Bullet for My Valentine cut short the Canada portion of the tour and flew back home to support the daughter of James who was in hospital.^[22] The band performed in North America again in the summer of 2008 as part of the No Fear Tour with Bleeding Through, Cancer Bats, and Black Tide.^[23] In late 2008, the band toured Europe, supported by Lacuna Coil, Bleeding Through, and Black Tide.^[24] In December 2008, Scream Aim Fire was re-released with four bonus tracks that were recorded during the album's studio sessions, but with re-recorded vocal-lines.^[25]

[edit] Fever (2009—2011)

Michael Paget (left) and Matthew Tuck (right) at 2006's Roskilde Festival held in Denmark.

Matt Tuck spoke to Daniel Marez of Metal Hammer in March 2009 about the band's progress on writing and recording their third album. Tuck stated that there were four or five songs that were finished and that "usually we write and record 14 tracks that I then have to write vocal lines for, but this time I’m trying to write the vocals as I write the music".^[25] Bullet for My Valentine confirmed in August 2009 that they were aiming for an early 2010 release for the new album, while Tuck stated that the upcoming record is "a lot more mature-sounding, it's a lot more classic. It'll stand the test of time [more] than both the previous things we've done".^[26] In a January 2010 interview with Rock Sound, Tuck stated explained details for the album; it would be titled Fever and that the 11-track record would have a sound closer to The Poison rather than Scream Aim Fire and would be absent of ballads.^[27]

During the summer of 2009, Bullet for My Valentine toured across the United States as part of the Mayhem Festival,^[28] alongside Killswitch Engage, Slayer, and Marilyn Manson on the main stage;^[29] they also appeared on the UK leg of the Sonisphere tour at Knebworth, headlining the second stage.^[30] The band will be headlining the second stage at the Download Festival 2010 on the Friday night.^[31] The band has also been confirmed for Nova Rock,^[32] Metaltown,^[33] Rock am Ring,^[34] Rock on the Range,^[35] The Bamboozle,^[36] Bilbao Live Festival,^[37] Fortarock^[38] and Graspop.^[39] In addition, they will be playing alongside the Big Four on the Greek leg of Sonisphere.^[40] Fever was released on 27 April 2010.^[41] A free download of a new track called "Begging For Mercy" was released on the band's website on 14 February 2010 as part of a Twitter promotion.^[42] The song "Your Betrayal" was chosen as the lead single for the album and was set to release on 9 March 2010, but, unexpectedly, was released earlier on 2 March 2010 as a digital single on iTunes Store. The second single is called "The Last Fight" and was released on 19 April. The album artwork for this studio album was released on the official website on 5 March 2010.^[41] Bullet for My Valentine announced the start their US tour in support of Fever. It began on 30 April with the bands Airbourne and Chiodos as support.^[43] On 12 March the band released the music videos for "The Last Fight" and "Your Betrayal".^[44] The band revealed the track listing on their website on 15 March, as well as other various sources that include an email to all of their subscribers on the mailing list.^[45] On 26 April the band played a secret show in London to celebrate the release of Fever. This was their only UK headline show until the end of the year.^[46]

Fourth studio album (2011—present)[link]

On 28 January 2011, Michael Paget stated that the group had already drawn proportions for the next studio album and will sound a lot like Fever. He followed-along with stating that the band plans to have the songs for it written within 2011 and will begin recording the album by the end of the year. A couple tracks left from the Fever sessions might be redone, re-arranged and re-recorded for the new record.^[47] The band played at Uproar Festival 2011, after which they began writing material for a fourth studio album. The band hopes to release the album sometime in 2012.^[48]

On 7 October, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, the band (and all other artists previously signed to these three labels) will release their future material (including their next studio album) on the RCA Records brand.^[49][50] Also in October, frontman Matt Tuck announced that he will be working on a new side project which he has described as "metal as fuck", influenced by bands such as Pantera and Slipknot.^[51] On May 1, 2012, it was revealed that the project will be called AxeWound and will feature Liam Cormier, Mike Kingswood, Joe Copcutt and Jason Bowld.

In May 2012, it was announced that Bullet For My Valentine would be playing at the South African music festival Oppikoppi. They were slated to play in the country for the Coke Zero Fest of 2009, but pulled out at the last minute to record Fever.^[52]

Musical style and influences[link]

Bullet for My Valentine are primarily deemed as a contemporary metal band. With detailed statements, their music has been described by critics as heavy metal,^[53][54] metalcore^[41][55] and thrash metal.^[56][57] The band has cited being influenced by bands such as Metallica, Annihilator, Pantera, Machine Head, Iron Maiden, Guns N' Roses,^[58] Testament, Stuck Mojo, Slayer, Judas Priest, and Megadeth.^[59] These bands inspire Bullet for My Valentine's "catchy vocals, aggressive riffs, and melodies," according to Thomas.^[60] The band describe two of their albums, The Poison and Fever, as having a "super dark" tone,^[61] Tuck went on to state that "…we're a hard rock band with metal influences, and I’ve said that from Day One.”^[27] Kirk Miller of Decibel Magazine praised the band for the effort in synchronised song structures.^[62] When asked of their views on their looks, members of the band have stated that they would not change their sound or image for a commercial approach; Tuck also commented that, "Without sounding harsh, we're more interested in what our music sounds like than what our fucking hair looks like."^[63]

Band members[link]

Current members

• Michael Paget – lead guitar, backing vocals (1998–present)
• Michael Thomas – drums (1998–present)
• Matthew Tuck – lead vocals, rhythm guitar (1998–present)
• Jason James – bass guitar, backing vocals (2003–present)

Former members

• Nick Crandle – bass guitar (1998–2003)

Timeline[link]

id:bass value:brightgreen legend:Bass guitar
id:bass;vocals value:purple legend:Bass, backing vocals
id:drums value:yellow legend:Drums
id:rhythm;vocals value:red legend:Rhythm guitar, lead vocals
id:guitar;vocals value:brightblue legend:Lead guitar, backing vocals
id:lines value:black legend:Studio albums

at:10/03/2005 color:black layer:back
at:01/29/2008 color:black layer:back
at:04/26/2010 color:black layer:back

bar:Hetfield text:"'Matthew Tuck"
bar:Lars text:"Michael Paget"
bar:Mustaine text:"Jason James"
bar:Kirk text:"Michael Thomas"
bar:Ron text:"Nick Crandle"

width:10 textcolor:black align:left anchor:from shift:(10,-4)
bar:Hetfield from:01/01/1998 till:end color:rhythm;vocals
bar:Lars from:01/01/1998 till:end color:guitar;vocals
bar:Ron from:01/01/1998 till:01/01/2003 color:bass
bar:Mustaine from:01/01/2003 till:end color:bass;vocals
bar:Kirk from:01/01/1998 till:end color:drums

Discography[link]

Studio albums

• The Poison (2005)
• Scream Aim Fire (2008)
• Fever (2010)

Awards and achievements[link]

• Welsh Music Award
  • Best Newcomer (2004)^[64]
• Metal Hammer Golden God Award
  • Best British Band (2006, 2010)^[65][66]
• Kerrang! Awards
  • Best Single for "Tears Don't Fall" (2006)^[67]
  • Best British Newcomer (2005)^[68]
  • Best British Band (2008, 2009, 2010)^[69][70]
  • Headlined Kerrang!'s 25 year anniversary tour of the UK^[71]
  • Best Live Band (2010)^[72]

References[link]