Extreme Metal: Music and Culture on the EdgeExtreme metal--one step beyond heavy metal--can appear bizarre or terrifying to the uninitiated. Extreme metal musicians have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure 'scene', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship.Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form. |
Contents
1 | |
9 | |
2 THE SCENE AND TRANSGRESSION | 26 |
3 EXPERIENCING THE SCENE | 51 |
4 CAPITALPOWERINFRASTRUCTURE | 69 |
5 COMPARING EXTREME METAL SCENES | 97 |
6 EXTREME METAL AND SUBCULTURAL CAPITAL | 120 |
7 REFLEXIVITYMUSIC AND POLITICS | 141 |
8 THE SCENE AND MODERNITY | 157 |
APPENDIX DETAILS OF QUOTED INTERVIEWEES | 167 |
NOTES | 168 |
171 | |
183 | |
Other editions - View all
Common terms and phrases
activity album allows American anti-reflexivity appear argues attempt AVAILABLE become black metal black metal band British challenge chapter claimed close collective commitment complex concept considerable constructed continued countries critical culture death metal described detailed developed difficult discourses discussed distinctive distros dominant early effectively elements ensures example exist experience extreme metal scene fans fanzines Figure forms frequently further genres given global grindcore groups hard heavy metal highly important individual institutions interviews involved Israeli kind labels lack less live look magazine marginal mean metal bands mundane subcultural capital musicians never Norwegian particular play politics popular possible practice produced punk record reflexive relatively released remain Reproduced Satanism scene members scenic seen shows simply social society song sound space structures studies successful Swedish tape tend transgressive wide women writing