The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.
芬兰民间史诗《卡勒瓦拉》(Kalevala, 1849年)多年来启发了各种类型的艺术家。可以说，芬兰金属音乐家开始在他们的音乐和歌词中改编史诗素材只是时间问题。本文介绍了两个歌词的两个案例研究。第一个是kotiteollissus的“Lemminkäisen laulu”(“Lemminkäinen之歌”)。这首歌是关于史诗的主要英雄之一Lemminkäinen和他与Kyllikki不幸的婚姻。它借鉴了《卡勒瓦拉》中的11 - 13首诗和小说家阿列克西斯·基维(Aleksis Kivi)的书Seitsemän veljestä(“七兄弟”)(1870年)。讨论的第二首歌曲是Mokoma的“Rautaa rinnoista”(“Iron from The breast”)。这首歌的歌词灵感来自Joseph Alanen的画作Raudan synty(“铁的起源”)(1917)。这幅画取材于《卡勒瓦拉》中一首铁诗的诞生。对这两首歌歌词的解读将表明，同一流派的艺术家对其他文化产品有更广泛的认识，包括那些受到卡勒瓦拉启发的文化产品，并且他们将史诗用于不同的目的。这两个案例研究将表明，芬兰民间诗歌的改编可以用于各种原因，如模仿当代社会或表达个人的想法和世界观。此外，对这些歌词的分析将表明这些歌曲与芬兰感以及国际金属音乐的主题和主题有关。
{"title":"Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics","authors":"Charlotte Doesburg","doi":"10.1386/mms_00051_1","DOIUrl":"https://doi.org/10.1386/mms_00051_1","url":null,"abstract":"The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two\u0000 case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11‐13\u0000 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired\u0000 by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness\u0000 of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal\u0000 ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.","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":"47153097","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 studies is now into its teenage years. It has been shaped by different fields of academic study, different ideas of how research should be done, varying ideas about the kinds of questions we should be asking and even, and importantly, varying ideas of what metal is and what counts as metal. In this article, I open up discussion about methodology and ontology in metal studies. This is a vital discussion because it goes to the heart of what we can say about metal. My aim is to prick the consciences of metal scholars in order to inspire closer examination of our standpoints as researchers. I argue that as metal scholars we are often researching the music that we love, and this can mean that we take a defensive position. Because of this, we need to be especially attentive to how our fan positions may blind us to discussing difficult aspects of our culture such as vicious misogyny and banal nationalism.
{"title":"When love and critique collide:1 Methodology, ontology, fandom and standpoint in metal research","authors":"R. Hill","doi":"10.1386/mms_00045_1","DOIUrl":"https://doi.org/10.1386/mms_00045_1","url":null,"abstract":"Metal studies is now into its teenage years. It has been shaped by different fields of academic study, different ideas of how research should be done, varying ideas about the kinds of questions we should be asking and even, and importantly, varying ideas of what metal is and\u0000 what counts as metal. In this article, I open up discussion about methodology and ontology in metal studies. This is a vital discussion because it goes to the heart of what we can say about metal. My aim is to prick the consciences of metal scholars in order to inspire closer examination of\u0000 our standpoints as researchers. I argue that as metal scholars we are often researching the music that we love, and this can mean that we take a defensive position. Because of this, we need to be especially attentive to how our fan positions may blind us to discussing difficult aspects of\u0000 our culture such as vicious misogyny and banal nationalism.","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":"44140077","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}
During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relationship has not been studied before. Based on Weinstein’s and Walser’s insights on chaos and control in metal music, the aim of this article is to evaluate the ability of metal music to either transmit or refute the War Poets’ discourse on chaos, and to study the textual and musical resources metal bands use to relay and control said discourse. For this purpose, I perform a comparative analysis of nine metal music adaptations and appropriations of six different First World War poems they are based on. A chronological path of the evolution of the First World War poetry is followed. The study concludes that, besides effectively transmitting or contesting the War Poets’ discourse on chaos, metal music exerts chaos control through its use of musical resources, especially in the case of extreme metal subgenres.
{"title":"‘We Are the Dead’: The War Poets, metal music and chaos control","authors":"Arturo Mora-Rioja","doi":"10.1386/mms_00050_1","DOIUrl":"https://doi.org/10.1386/mms_00050_1","url":null,"abstract":"During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life\u0000 in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry.\u0000 This specific relationship has not been studied before. Based on Weinstein’s and Walser’s insights on chaos and control in metal music, the aim of this article is to evaluate the ability of metal music to either transmit or refute the War Poets’ discourse on chaos, and to\u0000 study the textual and musical resources metal bands use to relay and control said discourse. For this purpose, I perform a comparative analysis of nine metal music adaptations and appropriations of six different First World War poems they are based on. A chronological path of the evolution\u0000 of the First World War poetry is followed. The study concludes that, besides effectively transmitting or contesting the War Poets’ discourse on chaos, metal music exerts chaos control through its use of musical resources, especially in the case of extreme metal subgenres.","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":"43258666","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}
Drawing on a comprehensive sample, composed of album reviews, lead or feature articles and interviews, drawn from the RS archive, my research, in Part Two of this article, shows how heavy metal in the period 1986‐91 acquires a notable level of critical or aesthetic legitimation, which it was largely denied in the preceding period, 1980‐85. However, this aesthetic as opposed to economic accreditation is conferred on particular bands and album releases rather than the genre as a whole, particularly those emerging from the thrash underground, such as Metallica and Megadeth, with the former receiving their first lead feature in Rolling Stone in January 1989, entitled ‘Heavy metal justice’. It is therefore somewhat ironic that this aesthetic approbation reaches a symbolic plateau with Robert Palmer’s **** review of Metallica’s ‘black album’, an album that in retrospect can be seen to announce a ‘crossover’ strategy that allowed the band to find a wider audience beyond the thrash underground.
{"title":"Heavy metal justice?: Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone, 1980‐91: Part two 1986‐911","authors":"Andrew R. Brown","doi":"10.1386/MMS_00048_1","DOIUrl":"https://doi.org/10.1386/MMS_00048_1","url":null,"abstract":"Drawing on a comprehensive sample, composed of album reviews, lead or feature articles and interviews, drawn from the RS archive, my research, in Part Two of this article, shows how heavy metal in the period 1986‐91 acquires a notable level of critical or aesthetic legitimation,\u0000 which it was largely denied in the preceding period, 1980‐85. However, this aesthetic as opposed to economic accreditation is conferred on particular bands and album releases rather than the genre as a whole, particularly those emerging from the thrash underground, such as Metallica\u0000 and Megadeth, with the former receiving their first lead feature in Rolling Stone in January 1989, entitled ‘Heavy metal justice’. It is therefore somewhat ironic that this aesthetic approbation reaches a symbolic plateau with Robert Palmer’s **** review of Metallica’s\u0000 ‘black album’, an album that in retrospect can be seen to announce a ‘crossover’ strategy that allowed the band to find a wider audience beyond the thrash underground.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45879424","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: Heavy-y-Metal: A través del cristal. Nuevas perspectivas culturales (‘Heavy-and-Metal: Through the looking glass. New cultural perspectives’), Fernando Galicia Poblet (ed.) (2019)Madrid: Apache Libros, 284 pp.,ISBN 978-8-41203-453-0, p/bk, €18.95
回顾:重金属:一种变形的晶体。《重金属:透过镜子》。新文化视角”)，Fernando Galicia Poblet(编)(2019)马德里:Apache Libros, 284页，ISBN 978-8-41203-453-0, p/bk，€18.95
{"title":"Heavy-y-Metal: A través del cristal. Nuevas perspectivas culturales (‘Heavy-and-Metal: Through the looking glass. New cultural perspectives’), Fernando Galicia Poblet (ed.) (2019)","authors":"S. Álvarez, M. Marchioli","doi":"10.1386/mms_00017_5","DOIUrl":"https://doi.org/10.1386/mms_00017_5","url":null,"abstract":"Review of: Heavy-y-Metal: A través del cristal. Nuevas perspectivas culturales (‘Heavy-and-Metal: Through the looking glass. New cultural perspectives’), Fernando Galicia Poblet (ed.) (2019)Madrid: Apache Libros, 284 pp.,ISBN 978-8-41203-453-0, p/bk, €18.95","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43457379","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}
The increasingly popular and influential genre known as drone metal is characterized by the interaction of amplified drones with permutational rhythms. Scholarship in the field has, so far, concentrated on distinguishing the work of various drone metal artists through ethnographic analysis of the symbols and social bonds that accumulate around the drone; the ways in which drones are conceptualized have been paid more attention than the function of the drone itself. This article follows the drone form from the inception of Minimalist musical practice in the work of La Monte Young, to contemporary developments in works incorporating the drone by major artists operating in the experimental wings of popular music. To clarify the relationship or non-relation between the drone and musical meaning, three drone-related works by Joan La Barbara, Eleh and Keiji Haino are discussed with respect to their relative proximity to, or distance from, language and/or speech. Although only Haino here could be said to have even a tangential relation to metal, each exemplar extols a primary form that drone metal can be said to elaborate upon: a voice pushed to its limits (La Barbara), amplified sound as a physical force (Eleh), monolithic homogeneity at a crawling pace (Haino). Each piece of music is also considered in terms of the subject who listens, leading to some speculative thoughts on the uses made of the drone, an assessment of its potential to resist appropriation by the culture industry and reasons for the drone’s remarkable persistence and diversity.
越来越流行和有影响力的类型被称为“无人机金属”，其特点是放大的无人机与排列节奏的相互作用。到目前为止，该领域的学术研究主要集中在通过对围绕无人机积累的符号和社会纽带的民族志分析来区分各种无人机金属艺术家的作品;无人机概念化的方式比无人机本身的功能更受关注。本文从La Monte Young作品中极简主义音乐实践的开始，到主要艺术家在流行音乐实验领域的作品中融入无人机形式的当代发展。为了澄清无人机与音乐意义之间的关系或非关系，本文讨论了Joan La Barbara, Eleh和Keiji Haino的三部与无人机相关的作品，它们与语言和/或言语的相对接近或距离。虽然只有海诺在这里可以说与金属有一点关系，但每个例子都颂扬了一种基本形式，可以说是嗡嗡金属的详细阐述:一种被推到极限的声音(La Barbara)，一种被放大的声音作为一种物理力量(Eleh)，一种爬行速度的单一同质性(海诺)。每一段音乐都是根据听众的角度来考虑的，这导致了对无人机用途的一些思辨，对其抵抗文化产业挪用的潜力的评估，以及无人机非凡的持久性和多样性的原因。
{"title":"Subject of the drone","authors":"R. Purves","doi":"10.1386/MMS_00010_1","DOIUrl":"https://doi.org/10.1386/MMS_00010_1","url":null,"abstract":"The increasingly popular and influential genre known as drone metal is characterized by the interaction of amplified drones with permutational rhythms. Scholarship in the field has, so far, concentrated on distinguishing the work of various drone metal artists through ethnographic analysis\u0000 of the symbols and social bonds that accumulate around the drone; the ways in which drones are conceptualized have been paid more attention than the function of the drone itself. This article follows the drone form from the inception of Minimalist musical practice in the work of La Monte Young,\u0000 to contemporary developments in works incorporating the drone by major artists operating in the experimental wings of popular music. To clarify the relationship or non-relation between the drone and musical meaning, three drone-related works by Joan La Barbara, Eleh and Keiji Haino are discussed\u0000 with respect to their relative proximity to, or distance from, language and/or speech. Although only Haino here could be said to have even a tangential relation to metal, each exemplar extols a primary form that drone metal can be said to elaborate upon: a voice pushed to its limits (La Barbara),\u0000 amplified sound as a physical force (Eleh), monolithic homogeneity at a crawling pace (Haino). Each piece of music is also considered in terms of the subject who listens, leading to some speculative thoughts on the uses made of the drone, an assessment of its potential to resist appropriation\u0000 by the culture industry and reasons for the drone’s remarkable persistence and diversity.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46994581","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}
Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hammer, Rock Hard and Deaf Forever. Stereotypes such as perfectionism, precision and rigidity seem to stem from historical roots, yet their projection onto ‘Teutonic metal’ is over-simplified and often out of context. History suggests that German metal bands were most successful when they exaggerated Germanness. Occasionally, bands became successful because their German features made them sound unique, even though they did not promote their heritage proactively. More often, though, bands that were unintentionally perceived as typically German were less appealing to a foreign audience. In the magazines, discussion of Teutonic attributes almost vanished in the twenty-first century. Global production practices needing to conform to international expectations of ever faster, tighter and heavier records likely made metal artists around the world adopt qualities that previously defined ‘Teutonic music’. It will therefore be interesting to see if or how German stereotypes in metal music will live on.
{"title":"From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal","authors":"Jan Herbst","doi":"10.1386/MMS_00006_1","DOIUrl":"https://doi.org/10.1386/MMS_00006_1","url":null,"abstract":"Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hammer, Rock Hard and Deaf Forever. Stereotypes such as perfectionism, precision and rigidity seem to stem from historical roots, yet their projection onto ‘Teutonic metal’ is over-simplified and often out of context. History suggests that German metal bands were most successful when they exaggerated Germanness. Occasionally, bands became successful because their German features made them sound unique, even though they did not promote their heritage proactively. More often, though, bands that were unintentionally perceived as typically German were less appealing to a foreign audience. In the magazines, discussion of Teutonic attributes almost vanished in the twenty-first century. Global production practices needing to conform to international expectations of ever faster, tighter and heavier records likely made metal artists around the world adopt qualities that previously defined ‘Teutonic music’. It will therefore be interesting to see if or how German stereotypes in metal music will live on.","PeriodicalId":36868,"journal":{"name":"Metal Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42070595","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}
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