Living Metal

Description

This is the first study of its kind, focusing exclusively on scenes throughout the world; it makes an important contribution to metal studies.

Metal Scenes around the World is a collection of thirteen chapters that examine metal scenes from smaller communities like Dayton, Ohio in the USA, to entire countries, such as Estonia. The goal of the book is to expand the research on metal scenes.

This is the only book produced on metal scenes to date, and it will lead the way to more research in this new area of metal studies. The strongest element of the book is its international focus, with chapters from such diverse settings as post-apartheid South Africa, Graz, Nantes, Brazil and Turkey. The chapters are detailed, richly embedded in local histories and contexts, and provide important analyses of their respective scenes.

Foreword from Henkka Seppälä, former bassist with the Finnish metal band Children Of Bodom.

Primary readership will be composed of fans and scholars of metal music, and those in the fields of anthropology, musicology and history. The diversity of the chapters connects metal to other disciplines in the music field and the book is likely to have appeal more widely to anyone who likes music.

Acknowledgements

List of Figures

Foreword

Henkka Seppala, M.A.

 

Introduction

Dr. Bryan A. Bardine and Dr. Jerome Stueart,

Chapter 1: From The Ashes of the Fallen Empire: Heavy Metal and Community in

                   Post-Apartheid South Africa

       Edward Banchs, MA

Chapter 2: Polar Fate: Mapping Metal at the Southern Edge of the World  

        Dr. Catherine Hoad

 

Chapter 3: The Enemy Within:  Conceptualizing  Turkish Metalheads as the Ideological

                   ‘Other’

          Dr. Pierre Hecter and Douglas Mattsson, M.A.

 

Chapter 4: ‘Métal noir épique patriotique’: Analysis of historical, sociological and cultural discourses uniting metal noir québécois and Québec society.

          Mei-Ra St. Laurent, PhD

 

Chapter 5: Living Sonic Knowledge in South-Eastern Austria: The Sound History of the Metal Scene in Graz and Styria, c. 1980 to the Present

                    Dr. Peter Pichler

 

Chapter 6: Heavy Metal Scene in Osaka: Localness Now and Then

   Dr. Kei Saito

 

Chapter 7: Heart of Sadness: Fieldwork in the Copenhagen Black Metal

                   Undergrounds  Dr. Tore’ Tvarno Lind

 

Chapter 8: "Dit is Berlin":^[1] Local metal scene building and transformation in Berlin,

                   Germany

                  Dr. Wolf-Georg  Zaddach

Chapter  9:  Old and New: Cross-Generational Community in the Dayton Metal Scene       

                     Dr. Bryan A. Bardine and Jacob Hale, M.A.  

Chapter 10:  La Belle Endormie Awakened by Hellfest Open Air?: A Study of the Nantes

                     Heavy Metal Music Scene

                     Dr. Gerome Guibert and Dr. Sophie Turbe’

Chapter 11: Heavy Metal in Estonia: Cohesions and Divisions, Past and Present

                     Dr. Toni-Matti Karjalainen

Chapter 12: From the Sound of the Lathes to the Noise of the Amplifiers: The Heavy Metal          

                     And the Music Scene in the ABC Region of Brazil (1980-1990)

                     Rui Luiz Ferreira Granado, M.A. and Dr. Heloisa de Aaujo Duarte Valente     

Chapter 13 : ‘This Is the City of Hate’: Surveying the Hull Metal/Hardcore Scene

                        Dr. Lewis Kennedy

 

 

Sujets

• Musique
• Culture musicale
• Musiques du monde
• Music
• Cultural Studies
• General
• World music
• General officer
• Multiple signal classification
• Sociology
• Genres
• Styles
• Heavy Metal

Informations

• Publié par: Intellect Books
• Date de parution: 22 octobre 2021
• Nombre de lectures: 3
• EAN13: 9781789384024
• Langue: English

Extrait

Living Metal
Advances in Metal Music and Culture
Series editors: Keith Kahn-Harris and Rosemary Lucy Hill
Advances in Metal Music and Culture publishes monographs, edited collections, and short books on metal and its associated sub-genres.
Metal music studies is a fast-expanding interdisciplinary field that spans across subject area fields in the social sciences, performing arts, and humanities. Intellect’s Advances in Metal Music and Culture book series builds on and continues the series Emerald Studies in Metal Music and Culture, with the same series editors. It continues to provide a home for the growing number of scholars—from a wide variety of backgrounds—who wish to critically reflect on metal music around the world as a cultural product.

Decolonial Metal Music in Latin America
By Nelson Varas-Díaz
Living Metal: Metal Scenes around the World
Edited by Bryan A. Bardine and Jerome Stueart
Living Metal

Metal Scenes around the World
edited by
Bryan A. Bardine and Jerome Stueart
First published in the UK in 2022 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2022 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA

Copyright © 2022 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Copy editor: Newgen KnowledgeWorks
Cover designer: Aleksandra Szumlas
Production managers: Faith Newcombe and Sophia Munyengeterwa
Typesetting: Newgen KnowledgeWorks

Hardback ISBN 978-1-78938-400-0
ePDF ISBN 978-1-78938-401-7
ePub ISBN 978-1-78938-402-4

Printed and bound by Printondemand Worldwide.

To find out about all our publications, please visit
www.intellectbooks.com
There you can subscribe to our e-newsletter, browse or download our current catalogue, and buy any titles that are in print.

This is a peer-reviewed publication.
Contents
List of Figures
Acknowledgments
Foreword
Henkka Seppälä
Introduction
Bryan A. Bardine and Jerome Stueart
1. From the Ashes of the Fallen Empire: Heavy Metal and Community in Postapartheid South Africa
Edward Banchs
2. Polar Fate: Mapping Metal at the Southern Edge of the World
Catherine Hoad
3. The Enemy Within: Conceptualizing Turkish Metalheads as the Ideological “Other”
Pierre Hecker and Douglas Mattsson
4. “ Métal noir épique patriotique ”: Analysis of Historical, Sociological, and Cultural Discourses Uniting métal noir québécois and Québec Society
Mei-Ra St. Laurent
5. Living Sonic Knowledge in South-Eastern Austria: The Sound History of the Metal Scene in Graz and Styria, c .1980 to the Present
Peter Pichler
6. Heavy Metal Scene in Osaka: Localness Now and Then
Kei Saito
7. Heart of Sadness: Fieldwork in the Copenhagen Black Metal Undergrounds
Tore Tvarnø Lind
8. “Dit Is Berlin”: Local Metal Scene Building and Transformation in Berlin, Germany
Wolf-Georg Zaddach
9. Perspectives Old and New: Cross-Generational Community in the Dayton Metal Scene
Bryan A. Bardine and Jacob Hale
10. La Belle Endormie Awakened by Hellfest Open Air?: A Study of the Nantes Metal Music Scene
Gérôme Guibert and Sophie Turbé
11. Heavy Metal in Estonia: Cohesions and Divisions, Past and Present
Toni-Matti Karjalainen
12. From the Sound of the Lathes to the Noise of the Amplifiers: Heavy Metal and the Music Scene of the Greater ABC Region (São Paulo/Brazil, 1980–90)
Rui Luiz Ferreira Granado and Heloísa de Araújo Duarte Valente
13. “This Is the City of Hate”: Surveying the Hull Metal/Hardcore Scene
Lewis F. Kennedy
Notes on Contributors
Figures
I.1 Dayton’s Forces of Nature opening for Exodus at Oddbody’s Music Room.
1.1 Fans at the 2018 Krank’D Up Festival, in Gauteng. Photo credit: Nathan Ferreira.
1.2 Dayton, Ohio’s Miss May I at Krank’D Up Festival. Photo credit: Nathan Ferreira.
1.3 Soweto’s Demogoroth Satanum. Photo credit: Christelle Duvenage.
1.4 Gauteng’s Facing the Gallows. Photo credit: Mike Bell.
1.5 Roushan van Niekerk. Photo credit: Wayde Flowerday.
2.1 Map of Murihiku/Southland, 2019, Google Maps [online]. Copyright Google.
2.2 Map of Otago, 2019. Google Maps [online]. Copyright Google.
2.3 Map of Tasmania, 2019. Google Maps [online]. Copyright Google.
3.1 Murder King, Gürültü Kirliği (2014). On Air Müzik.
4.1 Territory of New France around 1745. Creative Commons Licence (cc).
4.2 Territory of Province of Québec after the royal proclamation of 1763. Creative Commons Licence (cc).
4.3 Division of the territory after the Union Act. Creative Commons Licence (cc).
4.4 Annual formation of black metal bands in Québec (1993–2000).
4.5 Back cover of the album Dans les bras des immortels (Frozen Shadows, 1999). © Sepulchral Productions 1999.
4.6 Annual formation of black metal groups in Québec (2001–09).
4.7 Front cover of the album Fiers et victorieux (Brume d’Automne 2005). © Winter Forest 2005.
4.8 Henri Julien, Le vieux de ’37, c .1904. Gouache on paper. Royalty free image, private collection.
4.9 Annual formation of black metal bands in Québec (2010–17).
5.1 Audience, Metal on the Hill, Graz, August 13, 2016. Photo credit: Peter Pichler.
5.2 Metal on the Hill “blazon” 2019. Image source: Napalm Records 2019b.
7.1 Morild live at Den Blå Planet. Photo: Jacob Dinesen, Devilution.dk. Used with permission.
7.2 Korpsånd. Copyright Korpsånd. Used with permission.
7.3 Skoggangr, self-portrait, https://www.deviantart.com/skoggangr. Courtesy of Skoggangr.
7.4 Jordslået, cover art, EP II (2019). Courtesy of Emil Toft/Jordslået.
8.1 Ticket for the concert of Kreator, Tankard, Coroner, and Sabbath in East Berlin, in March 1990. Source: Uwe Breitenborn, Berlin.
8.2 Feature about heavy metal in East-German magazine melodie & rhythmus , March 1985.
8.3 Cover of East Berlin-based magazine melodie & rhythmus featuring the East German band MCB, a Motörhead-style trio, April 1988.
8.4 Fans at a live concert in East Berlin, summer 1989. Source: Jörg Ebert, Berlin.
8.5 Concert of the East Berlin death metal band Darkland in Berlin, summer 1989. Source: Jörg Ebert, Berlin.
8.6 Berlin-based death/black metal-band Norkh at the club Tief in 2018. Source: Lemmor Photography, Berlin.
9.1 Local Dayton band Engraved Darkness’ guitarist/vocalist Johnnie Wallace performing at The Summer Slaughter Tour at Oddbody’s Music Room. Courtesy of Tom Wilson.
9.2 Local Dayton band Zuel performing at Oddbody’s Music Room. Courtesy of Tom Wilson.
10.1 Hellfest programmes, Clisson (France), 2006 to 2013. © Becom color photograph.
11.1 Survey respondents’ age, sex, duration of metal fandom, and concert going activity.
11.2 Estimation of the metal activity of the Estonian metal community versus the common public.
12.1 Rui Granado, the metropolitan region of the Greater ABC region (São Paulo, Brazil), 2020. Courtesy Rui Granado.
12.2 Patrick Nicholas Korb, ABC Headbangers reunion before a show, 1987. Color photograph. Courtesy MX band website.
12.3 Anon., MX band performing live at a show, n.d. Color photograph. Courtesy MX band website.
12.4 Rui Granado, cover art of the collection Headthrashers Live, 2018. Black and white photography. Personal archive/Rui Granado.
12.5 Anon., Devastação Nuclear band, 1987. Color photograph. Personal archive/Rui Granado.
Acknowledgments
Bryan A. Bardine
The idea for this book came about as I spent more and more time in the Dayton metal scene. Seeing all the positive experiences that scene members had and the way they support each other made me want to learn if other scenes act in similar ways.
A huge thank you to Jerome. He has been invaluable throughout the entire process as a sounding board, outstanding editor, and patient listener when frustration set in.
I’d like to thank Tom Wilson, aka Jebeneezer Law, whose photographs appear in the book’s introduction as well as in Chapter 9. He is an amazing photographer—he’s shot most of Dayton’s local bands as well as many national and international acts. He’s the best.
As always, to my wife Molly who reads my first drafts every time. Your comments invariably point me in the right direction. Without your support over the years, much of what I do may not have been possible.
Though they don’t know it—to my daughters Katie and Allie. They aren’t fans of metal but they both love music, which is all I can ask for. Maybe someday I’ll get them to a show!
Jerome Stueart
I’d like to thank Bryan for his unwavering support in this project, for taking me to concerts to ground me in the scene, and for offering me this chance to edit a book examining the culture of people who support the arts—because that’s what fans and scenes are: valuable supporters of the arts we love. We don’t examine fan communities enough—or the work they do to keep something alive. Reading these chapters lets me know how surprisingly supportive and complex metal scenes are.
I’d like to also thank Danny Chavez; Rudy Huerta; Luis, Rita, and Sandy Guerrero; and Larry Bihl, for playing metal on their boom boxes on the bus to and from the basketball away games we had in West Texas from 1985 to 1987. They were my introduction to heavy metal, and I could only turn up my earphones playing Foreigner, Air Supply, and Duran Duran so high to try and drown out the metal. I finally took my earplugs out and listened. For me, metal is tied to both getting us ready to compete and comforting us when we lost. We mostly lost. (We had only five boy basketball players from a school of fourteen high school students, the smallest high school in Texas.) Black Sabbath, Judas Priest, Iron Maiden, Metallica, AC/DC, Mötley Crüe, Ozzy—they were there for us on the bus win or lose. Tell me ho