From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism

Abstract

The German epic heavy/doom metal band Atlantean Kodex has written two concept albums based on the folklore and paganism of old Europe and the West: The Golden Bough and The White Goddess. The two albums owe their titles to two books that have influenced the rise of modern paganism, though they remain deeply problematical. In this article, I explore possibly the most important influence on Atlantean Kodex, which is also one of the most important influences on modern paganism: the 1973 horror film The Wicker Man. I discuss the ways in which the film uses the speculative folklore of Frazer and Graves to construct a set of invented traditions about paganism and its alternative, counter-Christian nature, which have made paganism appealing to extreme metal musicians and fans. In this discussion, I use examples from other metal bands and fans who have name-checked the themes and the traditions of the film. In discussing the folklore of the Wicker Man, I also explore the folk music used in the soundtrack, which has also contributed to the invention of modern paganism and extreme folk music. I conclude by suggesting that, although many pagans have adopted this extreme music and myth into their world-views, the myth of the Wicker Man is also used as a playful rejection of Christianity and its authority by those of a secular or humanist persuasion.

Nameless, but not blameless: Motherhood in Finnish heavy metal music

“…(Tompkins, 2009, p. 76) I have discussed metal music fans depicting themselves as 'others', in the context of being (were)wolves, compared to the majority of society (sheep) and in metal music lyrics, in previous publications in this journal (DiGioia, 2016). Other metal music studies scholars, such as Karl Spracklen, have discussed how The Wicker Man (1973), influenced two albums by heavy metal band Atlantean Kodex, as a means to fuel a playful rejection of both Christianity and its authority (Spracklen, 2020). Motherhood in the context of heavy metal music has also been discussed in academic literature: Joan Jocson-Singh has written about vigalante feminism (and being pregnant) in the death metal subgenre (Jocson-Singh, 2019), and with Julie Turley, has studied non-fictional heavy metal mothering (Jocson-Singh & Turley, 2019).…”