By Matthew P. Unger
Based on ethnographic examine in the severe steel neighborhood, Unger bargains a thought-provoking examine how symbols of authenticity and defilement type social adventure in amazing methods. Exploring the numerous topics and ciphers that include this musical neighborhood, this ebook translates aesthetic resonances to be able to comprehend modern identification, politics, and social kin. after all, this booklet develops a special argument: the inner composition of the community’s track and sound moulds symbols that form, replicate, and constrain social styles of identification, distinction, and transgression. This publication contributes to the sociology of sound and track, the learn of faith in pop culture, and the function of aesthetics in lifestyle. it is going to be of curiosity to top point scholars, post-graduate scholars and students of faith, pop culture, and philosophy.
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Extra resources for Sound, Symbol, Sociality: The Aesthetic Experience of Extreme Metal Music
Metal has always had a relationship to religion, mostly negative, but it can be both vehemently anti-religious and at the same time evocative of spiritual ideas and orientations. It is irreverently individualist, obsessed with authenticity, but also concerned with ethnic and national origins. It can be racist and misogynist but also socially conscious and feminist. The music depends upon international market flows, but it also draws on the profoundly situated. The musicianship can be serious, virtuosic, and extremely technical, but some genres are simple and restrained.
I argue that extreme metal represents a certain kind of aestheticization of transgression through the sounds, symbols, and lyrical material that portrays madness, death, Satanism, horror, and gore. However, my contention is that transgression cannot fully express the myriad thematic and experiential aspects of the genre. For instance, just as we saw in the previous chapter with bands such as Voodoo Kungfu and Negura Bunget, extreme metal exhibits a diversity that is not purely transgressive but also relies on otherworldly ideas, metaphysics, spirituality, tradition, history, and identity.
P. 1 This band’s aesthetic stage presence consisted of a mix of different symbols, instruments, visual displays, and expressions from the metal genre and Chinese and Mongolian traditions. Their sound also consisted of diverse musical elements, including death, black, folk, and grindcore elements with fast and simplistic guitar patterns and riffs. They incorporated heavy groove-based rhythms, as well as breakdowns (half time sections of songs that promote a feeling of groove and release) juxtaposed by softer melodic parts and sparse instrumentation.