scholarly journals Transcending Time (Feels)

2021 ◽  
Vol 27 (1) ◽  
Author(s):  
Jose M. Garza Jr.
Keyword(s):  
Heavy Metal ◽  
Black Metal ◽  
Metal Music ◽  
The Past ◽  
Death Metal ◽  
The Voice ◽  
Large Repertoire

Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scattered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post-millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.

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.

The Crisis of the Welfare State and the Politics of the Past in Black Metal and Folk Metal Subcultures

Young ◽  
2019 ◽  
Vol 28 (1) ◽  
pp. 69-84
Author(s):  
Aila Mustamo
Keyword(s):  
Heavy Metal ◽  
Welfare State ◽  
Social Democratic ◽  
Black Metal ◽  
The Past ◽  
The Social ◽  
Common Enemy ◽  
Critical Discourses ◽  
The Welfare State

Anti-modernism has always been a part of the ideology of black metal and folk metal subcultures. In addition to Christianity, a common enemy in the field of modernity is the ‘social democratic’ welfare state. Although at least black metal can be considered as a counterculture, both black metal and folk metal subgenres reflect widely shared ideas from the mainstream. Based on interview material, this article examines how members of black metal and folk metal subcultures participate in the discussion about the welfare state. It gives voice to individuals rarely heard in music media or in the gatherings of the black metal and folk metal scenes. This article brings forward critical discourses about the apolitical tradition of heavy metal subcultures. It discusses ideologies and representations, and reception of ideas shared in metal communities.

scholarly journals Głos prekursora heavymetalowego brzmienia... O autobiografii "Iron man". "Moja podróż przez niebo i piekło z Black Sabbath" Tony’ego Iommiego

2018 ◽  
Vol 3 (10) ◽  
pp. 95-107
Author(s):  
Jakub Kosek
Keyword(s):  
Heavy Metal ◽  
Autobiographical Memory ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The Voice

The voice of the precursor of heavy metal sound. About the Tony Iommi’s autobiography "Iron man". "My journey through heaven and hell with Black Sabbath" This article focuses on the some aspects of the autobiography of heavy metal music precursor Tony Iommi. Text Iron man. My journey through the sky and hell with Black Sabbath was considered in the context of category of autobiographical memory. Special attention was paid to the main characters of narrative and to the specific and crucial events of the artist’s life.

At the Threshold of the Inverted Womb

2014 ◽  
Vol 4 (2) ◽  
pp. 231-249
Author(s):  
Benjamin Olson
Keyword(s):  
Heavy Metal ◽  
Latin America ◽  
Left Hand ◽  
Black Metal ◽  
Conservative Christianity ◽  
Hand Path ◽  
Metal Music ◽  
Narrative Structures ◽  
The Caribbean ◽  
The Uk

During the 1980s and 1990s anti-cosmic Satanism emerged in the UK and Scandinavia as an attempt to merge ancient forms of Gnostic thought, highly performative, blasphemous manifestations of heavy metal subculture, and certain death-oriented, magical traditions from the Caribbean and Latin America. While culturally wide-ranging and syncretic in its theological outlook, anti-cosmic Satanism consistently emphasizes the abandonment of the physical body and a violent apocalyptic merger with an infinite satanic power. Anti-cosmic Satanism has risen in tandem with the popularity of Nordic black metal music, to which it is indelibly connected, making it one of the most controversial left-hand path traditions that has arisen since the 1980s. Paradoxically, anti-cosmic Satanism also borrows much from the folklore and narrative structures of Conservative Christianity regarding the existence of sincerely evil satanic cults. The hyper-transgressive attitudes and anti-Christian rhetoric of both black metal and anti-cosmic Satanism assert a fetishised morbidity, associating death with ultimate liberation.

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 BAHASA RUPA KOMIK BLACK METAL ISTIQOMAH PADA POS INSTAGRAM (TOKOH VAROKAH DAN SETAN)

VISUALITA ◽  
2020 ◽  
Vol 8 (2) ◽  
pp. 97-112
Author(s):  
Merlina Fatimah Nasruddin
Keyword(s):  
Heavy Metal ◽  
Visual Language ◽  
Spiritual Values ◽  
Visible Speech ◽  
Black Metal ◽  
Metal Music ◽  
Visual Style ◽  
Islamic Values ◽  
The Demonic

Achmad Deptian Djenuari Rizky is an Indonesian illustrator who carries emotional black metal themes, horror, and grim spiritual values ​​of western black metal or heavy metal in the style of his illustrations. In Black Metal Istiqomah's post Instagram upload series, Deptian raised Islamic spiritual values, propaganda values, and local values ​​that were paired with a visual theme of the expression of the flow of black metal music. Elements of black metal expression that are aggressive and tend to be rebellious with subtle Islamic values ​​and polite Islamic characteristics are two contrasting elements. The purpose of this study is to discuss the expressions and stories of each object using the Tabrani’s visual language method. The discussion on how to use speech and expressions so that it becomes visual language that can be told based on visible speech, is used to reveal which position is the element of emphasis between Islamic values ​​and thematic black metal in the visual style it carries. In Deptian's Black Metal Istiqomah Instagram post, a version of the Varokah character story with a devil character, Satan's wage is described as having a dominant portion in the frame and has a reference to the demonic illustration in European satanism.

2018. gada latviešu metālmūzikas albumi

2020 ◽  
pp. 185-200
Author(s):  
Ingars Gusāns
Keyword(s):  
Heavy Metal ◽  
Metal Music ◽  
Knowing That ◽  
Music Scene ◽  
Digital Format ◽  
First Impression ◽  
The World ◽  
The Common

The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.

Amnesia, aphasia and amnesty: the articulations of Italian colonial memory in postwar films (1946–1960)

Modern Italy ◽  
2021 ◽  
pp. 1-22
Author(s):  
Gianmarco Mancosu
Keyword(s):  
Second World War ◽  
Colonial Period ◽  
Critical Discourse ◽  
World War ◽  
The Past ◽  
Politics And Culture ◽  
National Reconstruction ◽  
The Voice ◽  
Second World ◽  
Previous Scholarship

This article aims to expose the political and cultural processes that contributed to the eradication of problematic memories of the Italian colonial period during the national reconstruction following the Second World War. It offers a systematic examination of newsreels and documentaries about the Italian former colonies that were produced between 1946 and 1960, a film corpus that has largely been neglected by previous scholarship. The article first dissects the ambiguous political scenario that characterised the production of this footage through the study of original archival findings. The footage configured a particular form of self-exculpatory memory, which obstructed a thorough critique of the colonial period while articulating a new discourse about the future presence of Italy in the former colonies. This seems to be a case of aphasia rather than amnesia, insofar as the films addressed not an absence, but an inability to comprehend and articulate a critical discourse about the past. This aphasic configuration of colonial memories will be tackled through a close reading of the voice-over and commentary. In so doing, this work suggests that the footage actively contributed to spread un-problematised narratives and memories about the colonial period, whose results still infiltrate Italian contemporary society, politics and culture.

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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