This article examines how Pain of Salvation’s album The Perfect Element: Part I (2000) develops narrative subjectivity through a range of compositional and performative parameters. We reveal a myriad of ways in which the music contributes to the expression of human subjectivity and offers significant moments of interpretive clarity. Attending to the expressive aspects of music, we focus in particular on how the song structures are articulated through the following elements: formal, harmonic, temporal, thematic and textural/timbral content. Contextualizing the concept album narrative within the genres of progressive rock and heavy metal and offering a framework for analysis derived from narrative theory, we interpret how the musical parameters convey the song lyrics and overall album concept. Pain of Salvation’s narrative of human trauma emerges through musical structures that are channelled to shape storyworld and subjectivity. Presenting analytic snapshots of the twelve album tracks, our aim is to create a sense of analytic ‘immersion’, whereby the reader engages actively with the multifaceted expressive content of words and music.
{"title":"Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)","authors":"Lori A. Burns, P. Armstrong","doi":"10.1386/mms_00055_1","DOIUrl":"https://doi.org/10.1386/mms_00055_1","url":null,"abstract":"This article examines how Pain of Salvation’s album The Perfect Element: Part I (2000) develops narrative subjectivity through a range of compositional and performative parameters. We reveal a myriad of ways in which the music contributes to the expression of human subjectivity and offers significant moments of interpretive clarity. Attending to the expressive aspects of music, we focus in particular on how the song structures are articulated through the following elements: formal, harmonic, temporal, thematic and textural/timbral content. Contextualizing the concept album narrative within the genres of progressive rock and heavy metal and offering a framework for analysis derived from narrative theory, we interpret how the musical parameters convey the song lyrics and overall album concept. Pain of Salvation’s narrative of human trauma emerges through musical structures that are channelled to shape storyworld and subjectivity. Presenting analytic snapshots of the twelve album tracks, our aim is to create a sense of analytic ‘immersion’, whereby the reader engages actively with the multifaceted expressive content of words and music.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45780545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores Nine Inch Nails’ album Year Zero (2007) with reference to what Brian Massumi calls the ‘politics of affect’ in the post 9/11 era. The sociopolitical discourse of managed threat both contextualizes and shapes the album’s conceptual basis, but also its lyricism, live manifestation and marketing. I propose a trajectory in Trent Reznor’s lyricism from an early introspective and confessional style to defensive and anxious tropes, emotions within a structure of feeling synonymous with the post 9/11 years. I argue that the album is a document that both reflects and critiques the overlapping social, cultural and political arenas of this era, and was particularly responsive to neoconservative discourse in its delivery, accompanying media and live performance.
{"title":"‘Another Version of the Truth’: The politics of affect and the externalization of threat in Trent Reznor’s Year Zero","authors":"David Deacon","doi":"10.1386/mms_00056_1","DOIUrl":"https://doi.org/10.1386/mms_00056_1","url":null,"abstract":"This article explores Nine Inch Nails’ album Year Zero (2007) with reference to what Brian Massumi calls the ‘politics of affect’ in the post 9/11 era. The sociopolitical discourse of managed threat both contextualizes and shapes the album’s conceptual basis, but also its lyricism, live manifestation and marketing. I propose a trajectory in Trent Reznor’s lyricism from an early introspective and confessional style to defensive and anxious tropes, emotions within a structure of feeling synonymous with the post 9/11 years. I argue that the album is a document that both reflects and critiques the overlapping social, cultural and political arenas of this era, and was particularly responsive to neoconservative discourse in its delivery, accompanying media and live performance.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46241987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Espíritu del Metal: LA Conformación de la escena Metalera Peruana (1981–1992) (‘The spirit of metal: Formation of the Peruvian metal scene [1981–1992]’), José Ignacio Lopez Ramirez Gastón and Giuseppe Risica Carella (2018) Lima: Sonidos Latentes Producciones y Discos Invisible, p/bk, 31 soles
{"title":"Espíritu del Metal: LA Conformación de la escena Metalera Peruana (1981–1992) (‘The spirit of metal: Formation of the Peruvian metal scene [1981–1992]’), José Ignacio Lopez Ramirez Gastón and Giuseppe Risica Carella (2018)","authors":"A. Fuentes","doi":"10.1386/mms_00060_5","DOIUrl":"https://doi.org/10.1386/mms_00060_5","url":null,"abstract":"Review of: Espíritu del Metal: LA Conformación de la escena Metalera Peruana (1981–1992) (‘The spirit of metal: Formation of the Peruvian metal scene [1981–1992]’), José Ignacio Lopez Ramirez Gastón and Giuseppe Risica Carella (2018)\u0000Lima: Sonidos Latentes Producciones y Discos Invisible, p/bk, 31 soles","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48616956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Thirty-one years later: A review of Metallica’s ‘Black Album’ and its legacy on alternative metal and alt-right politics","authors":"Stephen S. Hudson","doi":"10.1386/mms_00061_5","DOIUrl":"https://doi.org/10.1386/mms_00061_5","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44181100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mirror Reaper, by the funeral doom metal band Bell Witch, is an immense 83-minute composition in which tonal organization plays an essential role in enhancing and creating meaning. Little analytical attention has been paid to doom metal; armed with a flexible conception of theories of tonal harmony and my full transcription of the album, I show that slow, repetitive music and rich engagement with musical details are not mutually exclusive. I present an analysis in which the tonal drama centres around slowly shifting bass support for a persistent melody F natural. At first, this F appears as a dissonant ninth over an E♭, then as a hollow fifth above a B♭ and finally as a consonant major third above D♭. I understand this progression as a sonic analogue for the grieving process that, according to interviews with the band, is the album’s main focus.
{"title":"Ghostly longing: Tonality as grieving in Bell Witch’s Mirror Reaper","authors":"Calder Hannan","doi":"10.1386/mms_00049_1","DOIUrl":"https://doi.org/10.1386/mms_00049_1","url":null,"abstract":"Mirror Reaper, by the funeral doom metal band Bell Witch, is an immense 83-minute composition in which tonal organization plays an essential role in enhancing and creating meaning. Little analytical attention has been paid to doom metal; armed with a flexible conception of theories\u0000 of tonal harmony and my full transcription of the album, I show that slow, repetitive music and rich engagement with musical details are not mutually exclusive. I present an analysis in which the tonal drama centres around slowly shifting bass support for a persistent melody F natural. At\u0000 first, this F appears as a dissonant ninth over an E♭, then as a hollow fifth above a B♭ and finally as a consonant major third above D♭. I understand this progression as a sonic analogue for the grieving process that, according to interviews with the band, is the album’s\u0000 main focus.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42876410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the 2016 Dimebash event, Phil Anselmo made a Nazi salute and shouted ‘White power!’ at the end of his performance of the Pantera song ‘Walk’ onstage. The attendant YouTuber Chris R shared a video of the incident and thus provoked a discussion about racism in metal that also included widely discussed statements of Robb Flynn and Scott Ian, who both labelled Anselmo’s actions as racist. This is one of many examples that demonstrate changing information flows and increasingly fast-paced communication processes on social media platforms, including metal communities. Online platforms such as YouTube or Facebook not only enable musicians and bands to share videos, songs, tour dates or band gossip, but also to directly engage in discussions with their fans, which may also involve social and political issues. To provide an illustration of metal bands’ possibilities for online interaction, I have created a digital metal landscape that includes a set of digital tools, platforms and applications for different music- and non-music-related activities. Against this background, I discuss here contemporary metal musicians’ political and social engagement on social media and the reach of their comments within metal communities. Based on an analysis of Robb Flynn’s online presence in his The General Journals: Diary of a Frontman and Varg Vikernes’ Thulean Perspective, I will show that in the digital age, it is possible for metal musicians to become important influencers not only regarding music but also regarding social and political issues.
在2016年的Dimebash活动上，Phil Anselmo向纳粹致敬，并高呼“白人力量！”在舞台上表演潘泰拉歌曲《Walk》的最后。随之而来的YouTuber Chris R分享了这一事件的视频，从而引发了一场关于金属中种族主义的讨论，其中还包括Robb Flynn和Scott Ian的广泛讨论的言论，他们都将Anselmo的行为称为种族主义。这是社交媒体平台（包括金属社区）上不断变化的信息流和日益快节奏的传播过程的众多例子之一。YouTube或Facebook等在线平台不仅可以让音乐人和乐队分享视频、歌曲、巡演日期或乐队八卦，还可以直接与粉丝进行讨论，这也可能涉及社会和政治问题。为了说明金属乐队在线互动的可能性，我创建了一个数字金属景观，其中包括一套用于不同音乐和非音乐相关活动的数字工具、平台和应用程序。在此背景下，我在这里讨论了当代金属音乐家在社交媒体上的政治和社会参与，以及他们的评论在金属社区中的影响力。基于对Robb Flynn在《普通期刊：Frontman日记》和Varg Vikernes的《Thulean透视》中的在线表现的分析，我将表明，在数字时代，金属音乐家有可能成为重要的影响者，不仅在音乐方面，而且在社会和政治问题上。
{"title":"The dark side of blogging: Digital metal communities and metal influencers","authors":"Susanne Sackl-Sharif","doi":"10.1386/mms_00047_1","DOIUrl":"https://doi.org/10.1386/mms_00047_1","url":null,"abstract":"At the 2016 Dimebash event, Phil Anselmo made a Nazi salute and shouted ‘White power!’ at the end of his performance of the Pantera song ‘Walk’ onstage. The attendant YouTuber Chris R shared a video of the incident and thus provoked a discussion about racism\u0000 in metal that also included widely discussed statements of Robb Flynn and Scott Ian, who both labelled Anselmo’s actions as racist. This is one of many examples that demonstrate changing information flows and increasingly fast-paced communication processes on social media platforms,\u0000 including metal communities. Online platforms such as YouTube or Facebook not only enable musicians and bands to share videos, songs, tour dates or band gossip, but also to directly engage in discussions with their fans, which may also involve social and political issues. To provide an illustration\u0000 of metal bands’ possibilities for online interaction, I have created a digital metal landscape that includes a set of digital tools, platforms and applications for different music- and non-music-related activities. Against this background, I discuss here contemporary metal musicians’\u0000 political and social engagement on social media and the reach of their comments within metal communities. Based on an analysis of Robb Flynn’s online presence in his The General Journals: Diary of a Frontman and Varg Vikernes’ Thulean Perspective, I will show that in the digital\u0000 age, it is possible for metal musicians to become important influencers not only regarding music but also regarding social and political issues.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43309270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Metal music has an exceptional position in Finnish society where the genre is not marginal and the proportion of female fans is considerable. However, studies on female metal fandom emphasize that female fans are in the minority among the male-dominant metal fan community. This has led to conclusions that female fans are acting in a ‘masculine’ manner to avoid sexual harassment, and to get approval and respect for their fandom from male fans. Our aim was to study very feminine metal fans, trying to find out how they perceived their position among metal fans and how they demonstrated their femininity, especially in metal festivals. Based on the results, considering metal a masculine musical genre is not justifiable if the context is female metal fans, not female metal musicians. Very feminine female fans consumed a lot of live music and described metal as beautiful, emotional and empowering. They were quite independent and became more confident in their femininity as they grew older. Part of them demonstrated their self-confidence by dressing up in a very feminine ‐ even hyperfeminine ‐ way, and part of them dressed more modestly, seeing their femininity internally, not externally.
{"title":"Femininity in metal fanship: ‘I do not need to take anyone along’","authors":"Maarit Kinnunen, Antti Honkanen","doi":"10.1386/mms_00046_1","DOIUrl":"https://doi.org/10.1386/mms_00046_1","url":null,"abstract":"Metal music has an exceptional position in Finnish society where the genre is not marginal and the proportion of female fans is considerable. However, studies on female metal fandom emphasize that female fans are in the minority among the male-dominant metal fan community. This has\u0000 led to conclusions that female fans are acting in a ‘masculine’ manner to avoid sexual harassment, and to get approval and respect for their fandom from male fans. Our aim was to study very feminine metal fans, trying to find out how they perceived their position among metal fans\u0000 and how they demonstrated their femininity, especially in metal festivals. Based on the results, considering metal a masculine musical genre is not justifiable if the context is female metal fans, not female metal musicians. Very feminine female fans consumed a lot of live music and described\u0000 metal as beautiful, emotional and empowering. They were quite independent and became more confident in their femininity as they grew older. Part of them demonstrated their self-confidence by dressing up in a very feminine ‐ even hyperfeminine ‐ way, and part of them dressed more\u0000 modestly, seeing their femininity internally, not externally.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46375081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Acts of Resistance: Heavy Metal Music in Latin America, Nelson Varas-Díaz (dir.) (2021), Miami, FL: Florida International University","authors":"Didier Goossens","doi":"10.1386/mms_00053_5","DOIUrl":"https://doi.org/10.1386/mms_00053_5","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43036513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Niall Scott, Nedim Hassan, Nelson Varas-Díaz","doi":"10.1386/mms_00044_2","DOIUrl":"https://doi.org/10.1386/mms_00044_2","url":null,"abstract":"","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42011775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization, Samantha Holland and Karl Spracklen (eds) (2018)Bingley: Emerald Publishing Limited, 262 pp.,ISBN 978-1-78756-512-8, h/bk, £68.99, ISBN 978-1-78756-511-1, e-book,
{"title":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization, Samantha Holland and Karl Spracklen (eds) (2018)","authors":"Camille Béra","doi":"10.1386/mms_00052_5","DOIUrl":"https://doi.org/10.1386/mms_00052_5","url":null,"abstract":"Review of: Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization, Samantha Holland and Karl Spracklen (eds) (2018)Bingley: Emerald Publishing Limited, 262 pp.,ISBN 978-1-78756-512-8, h/bk, £68.99, ISBN 978-1-78756-511-1, e-book,","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47545957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：