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 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 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 ‘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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