Blacker than Death: Recollecting the “Black Turn” in Metal Aesthetics

Reyes, Ian

doi:10.1111/jpms.12026

Cited by 68 publications

(9 citation statements)

References 8 publications

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“…But there are a few scenes which lay claim to Satanism, dark magic, heathenism: among the extreme edges of the goths influenced by esoteric, pagan and Satanist ideologies (Spracklen and Spracklen, 2012); and of course, in the heathenism, elitism and outright Satanism of black metal (Granholm 2011;Reyes 2013;Spracklen, 2006). The feeling when listening to self-described Orthodox Satanic black metal bands such as Gorgoroth or Watain, or watching a performance of those bands, is that the homage to Satan is real.…”

Section: Satanismmentioning

confidence: 99%

Sex, drugs, Satan and rock and roll: re-thinking dark leisure, from theoretical framework to an exploration of pop-rock-metal music norms

Spracklen

2017

Annals of Leisure Research

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Section: Satanismmentioning

confidence: 99%

Sex, drugs, Satan and rock and roll: re-thinking dark leisure, from theoretical framework to an exploration of pop-rock-metal music norms

Spracklen

2017

Annals of Leisure Research

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“…Since the 2010s, BM has re-emerged in new forms and also begun to be appropriated by lifestyle-focused young urban professionals. Most scholarly attention has focused solely on this often over-exposed second BM wave (Introvigne 2017;Moynihan -Søderlind 2003;McWilliams 2015;Olson 2008;Reyes 2013). Only a handful of authors have considered the genre over the longue durée of its soon to be four decades of existence (Chaker -Schermann -Urbanek 2018; Patterson 2013).…”

Section: 'Going Hard'mentioning

confidence: 99%

‘Wildlife’: Ecstatic practices of hardcore football and music fans during Czech and Slovak post-socialism

Daniel¹

2019

ČL

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This study aims to begin to fill the relative gap in research into ecstatic practices in subcultural scenes. To this end, it focuses on two more hardcore groups of football supporters (ultras and hooligans) and two extreme music scenes (black metal and crust punk). Its research methodology relies mainly on participant observation. It considers the ecstatic states of hardcore football supporters and extreme music fans with an emphasis on key contexts, practices and meanings. The study proposes to apply a model of Dionysiac ritual to interpret all these practices and discusses them in relation to the transgression of social norms and commodification in the context of late capitalism.

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“…In less distorted rock styles, such as blues rock or classic rock, major chords are frequently used (Cope, 2010;De Clercq & Temperley, 2011;Lilja, 2015), whereas in heavily distorted metal genres, most riffs are limited to power chords (Berger & Fales, 2005;Herbst, 2016;Moore, 2001;Walser, 1993). Minor chords are rarely played (De Clercq & Temperley, 2011;Lilja, 2005, p. 20), except in styles such as black metal that deliberately intend to create an unpleasant sound (Hagen, 2011;Reyes, 2013). Such sounds, however, can still be appealing to listeners for aesthetic, musical or social reasons (Berger, 1999;Hagen, 2011;Reyes, 2013).…”

Section: Pleasantness Of Guitar Chords With Different Tone Qualitiesmentioning

confidence: 99%

“…Minor chords are rarely played (De Clercq & Temperley, 2011;Lilja, 2005, p. 20), except in styles such as black metal that deliberately intend to create an unpleasant sound (Hagen, 2011;Reyes, 2013). Such sounds, however, can still be appealing to listeners for aesthetic, musical or social reasons (Berger, 1999;Hagen, 2011;Reyes, 2013).…”

Section: Pleasantness Of Guitar Chords With Different Tone Qualitiesmentioning

confidence: 99%

Distortion and Rock Guitar Harmony

Herbst

2019

Music Perception

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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Blacker than Death: Recollecting the “Black Turn” in Metal Aesthetics

Cited by 68 publications

References 8 publications

Sex, drugs, Satan and rock and roll: re-thinking dark leisure, from theoretical framework to an exploration of pop-rock-metal music norms

Sex, drugs, Satan and rock and roll: re-thinking dark leisure, from theoretical framework to an exploration of pop-rock-metal music norms

‘Wildlife’: Ecstatic practices of hardcore football and music fans during Czech and Slovak post-socialism

Distortion and Rock Guitar Harmony

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