Textural applications of power chords in Scandinavian death metal

2017 ◽  
Vol 3 (2) ◽  
pp. 269-321
Author(s):  
Alanna Kazdan
Keyword(s):  
2019 ◽  
Vol 5 (2) ◽  
pp. 263-273 ◽  
Author(s):  
Joan Jocson-Singh

Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity and the ways in which female musicians navigate the traditionally masculine-coded subculture. I argue that for some female death metal musicians, vigilante feminism acts as a form of empowerment which enables them to coexist in a liminal space so often dominated by their male counterparts.


2016 ◽  
Vol 2 (3) ◽  
pp. 341-356
Author(s):  
Nathan Snaza ◽  
Jason Netherton
Keyword(s):  

2009 ◽  
Vol 38 (1) ◽  
pp. 67-83 ◽  
Author(s):  
Juul Mulder ◽  
Tom F.M. Ter Bogt ◽  
Quinten A.W. Raaijmakers ◽  
Saoirse Nic Gabhainn ◽  
Paul Sikkema

2017 ◽  
Author(s):  
Beau Sievers ◽  
Caitlyn Lee ◽  
William Haslett ◽  
Thalia Wheatley

People express emotion using their voice, face and movement, as well as through abstract forms as in art, architecture and music. The structure of these expressions often seems intuitively linked to its meaning: e.g., romantic poetry is written in flowery curlicues, while the logos of death metal bands use spiky script. Here we show that these associations are universally understood because they are signaled using a multi-sensory code for emotional arousal. Specifically, variation in the central tendency of the frequency spectrum of a stimulus—its spectral centroid—is used by signal senders to express emotional arousal, and by signal receivers to make emotional arousal judgments. We show that this code is used across sounds, shapes, speech, and human body movements, providing a strong multi-sensory signal that can be used to efficiently estimate an agent’s level of emotional arousal.


Author(s):  
Joanna Moore ◽  
Kori Filipek ◽  
Vana Kalenderian ◽  
Rebecca Gowland ◽  
Elliott Hamilton ◽  
...  

2018 ◽  
Vol 30 (3) ◽  
pp. 129-152 ◽  
Author(s):  
Kierlan James ◽  
Rex John Walsh

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.


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