scholarly journals Religion and heavy metal music in Indonesia

Popular Music ◽  
2019 ◽  
Vol 38 (2) ◽  
pp. 276-297
Author(s):  
Kieran James ◽  
Rex Walsh
Keyword(s):  
Heavy Metal ◽  
Finger Movement ◽  
Scene Context ◽  
Metal Music ◽  
Death Metal ◽  
Heavy Metal Music ◽  
History Of ◽  
Per Se ◽  
The One

AbstractWe trace the history of Indonesian Islamic metal bands, including Purgatory, Tengkorak and Kodusa, and the One Finger Movement that revolved around these bands (centred mainly on Jakarta). We look at the differences in symbols, heroes, rituals and values between One Finger Movement bands and the Bandung (Indonesia) secular Death Metal scene. We also study Bandung Death Metal band Saffar, which was known for its Islamic lyrics on its debut album but which has been for a few years in something of a limbo owing to the departure of vocalist and lyricist Parjo. We also look at Saffar's positioning of itself as a ‘secular’ band with Islamic and Anti-Zionist lyrical themes rather than as an Islamic bandper se. This dichotomy can be best explained by the phrase ‘a band of Muslims rather than a Muslim band’. The secular Bandung scene context is a significant explanatory factor here.

scholarly journals Islamic Religion and Death Metal Music in Indonesia

2018 ◽  
Vol 30 (3) ◽  
pp. 129-152 ◽  
Author(s):  
Kierlan James ◽  
Rex John Walsh
Keyword(s):  
Religious Belief ◽  
Finger Movement ◽  
Scene Context ◽  
Metal Music ◽  
Religious Identification ◽  
Private Realm ◽  
Death Metal ◽  
Islamic Religion ◽  
Private Citizens ◽  
Per Se

The Bandung (Indonesia) Death Metal scene is known for its secular orientation whereby religion and religious belief are viewed as personal matters that should be restricted to the private realm. Metalheads may freely go the mosque or church but in their capacities as private citizens only; religious identification and activity is not permitted to infringe upon the scene’s discourses and practices. We look at the differences in discourses and practices between the Jakarta-based One Finger Movement (Islamic) bands and the Bandung secular Death Metal scene. We also study Bandung band Saffar, which was known for its Islamic lyrics on its debut album but which has been for a few years in limbo due to the departure of vocalist and lyricist Parjo. We also look at Saffar’s positioning of itself as a “secular” band with Islamic and anti-Zionist lyrical themes rather than as an Islamic band per se. The secular Bandung scene context is a significant explanatory factor.

scholarly journals A Twist in the Song: Retracing Myth and Dante´s Poem in Heavy Metal Music

2017 ◽  
Vol 15 (1) ◽  
pp. 166-185 ◽  
Author(s):  
Manuel Botero Camacho ◽  
Nuria Picón del Campo
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Divine Comedy ◽  
The Other ◽  
Academic World ◽  
Essential Step ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The Divine Comedy ◽  
The One

Abstract:The study of music is gathering strength in the academic world, although the scope is still growing, and there are plenty of elements it does not contemplate yet. As a multidisciplinary subject, music has the power of the melody and the power of the lyrics, which, apart from being able to reach any social nook, makes it a gigantic cultural tool with the force of sending any kind of message in a dynamic and effective way. The way in which heavy metal – and especially its symphonic branch – plays with this duality of melody and text, together with the mythological content where its lyrics feed on makes this genre an essential step in this kind of research. This investigation has been focused on symphonic metal as a source of mythological knowledge to build a bridge that links this genre of popular music with one of the most celebrated works of literature of all times: The  Divine Comedy: with a double purpose: on the one hand, to demonstrate the importance of this genre within our society and, on the other, to study yet one more field which has not escaped the influence of the Dantesque world.Resumen:El estudio de la música está cobrando fuerza en el mundo académico, aunque el alcance todavía está creciendo, y hay un montón de elementos que no contempla todavía. Al ser un tema multidisciplinario, la música tiene el poder de la melodía y el poder de las letras, que, además de ser capaz de llegar a cualquier rincón social, hace que sea una herramienta cultural gigantesca con la fuerza de enviar cualquier tipo de mensaje en una dinámica y manera efectiva. La manera en la que el Heavy Metal - y especialmente su rama sinfónica - juega con esta dualidad de la melodía de texto, junto con el contenido mitológico en el que sus letras se alimentan de este género se hace esencial en este tipo de investigación. Esta investigación se ha centrado en el metal sinfónico como una fuente de conocimiento mitológico para construir un puente que une el género de la música popular con una de las obras más célebres de la literatura de todos los tiempos: la Divina Comedia, con un doble objetivo: por una parte, para demostrar la importancia de este género dentro de nuestra sociedad y, por otro, para estudiar todo campo adicional que no ha escapado a la influencia del mundo dantesco. 

scholarly journals CLARA Review: K. F. B. Fletcher & Osman Umurhan (eds), 2020: Classical Antiquity in Heavy Metal Music.

CLARA ◽  
2021 ◽  
Vol 7 ◽  
Author(s):  
Bente Kiilerich
Keyword(s):  
Heavy Metal ◽  
Subject Matter ◽  
Classical Antiquity ◽  
Related Subject ◽  
Black Metal ◽  
Metal Music ◽  
Good Taste ◽  
Present Book ◽  
Death Metal ◽  
Heavy Metal Music

The concepts ‘classical antiquity’ and ‘heavy metal music’ may appear to be worlds apart. Not only are they separated chronologically but each belongs to an entirely different habitus. While the classical is associated with tradition, good taste and harmony, heavy metal is, at least by some, associated with the very opposite: the breaking of tradition, bad taste and disharmony. And yet, as the present book shows, a very large number of heavy metal bands reference antiquity in various ways, including exponents of Thrash Metal, characterised by speed and aggressiveness; Death Metal, characterised by macabre subject matter and growling vocals; Black Metal with related subject matter but less polished style, and other subgenres. Bands from countries ranging from Greece and Italy to Scandinavia incorporate classical quotations in their lyrics or rewrite ancient texts and myths. Some sing in Greek or Latin, others in Italian or English. The titles of songs, such as Hymn to Apollo, Hymn to Zeus, Medusa and so on, further show the classical inspiration.

scholarly journals ‘A Cockroach Preserved in Amber’: The Significance of Class in Critics' Representations of Heavy Metal Music and its Fans

2014 ◽  
Vol 62 (4) ◽  
pp. 719-741 ◽  
Author(s):  
Andy R. Brown ◽  
Christine Griffin
Keyword(s):  
Heavy Metal ◽  
Middle Class ◽  
Working Class ◽  
Critical Discourse Analysis ◽  
Contemporary Music ◽  
Media Representations ◽  
Critical Examination ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The Uk

In this paper we engage with new cultural theories of class that have identified media representations of ‘excessive’ white heterosexual working-class femininity as a ‘constitutive limit’ of incorporation into dominant (middle-class) modes of neoliberal subjectivity and Bourdieu's thesis that classification is a form of symbolic violence that constitutes both the classifier and the classified. However, what we explore are the implications of such arguments for those modes of white heterosexual working-class masculinity that continue to reproduce themselves in forms of overtly masculinist popular culture. We do so through a critical examination of the symbolic representation of the genre of heavy metal music within contemporary music journalism. Employing a version of critical discourse analysis, we offer an analysis of representative reviews, derived from a qualitative sample of the UK music magazine, New Musical Express (1999–2008). This weekly title, historically associated with the ideals of the ‘counter culture’, now offers leadership of musical tastes in an increasingly segmented, niche-oriented marketplace. Deploying a refined model of the inscription process outlined by Skeggs, our analysis demonstrates how contemporary music criticism symbolically attaches negative attributes and forms of personhood to the working-class male bodies identified with heavy metal culture and its audience, allowing dominant middle-class modes of cultural authority to be inscribed within matters of musical taste and distinction.

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