Opeth not metal: making sense of the symbolic boundary work in the leisure spaces of musicians and fans

Spracklen, Karl

doi:10.1007/s41978-018-00024-w

Cited by 8 publications

(8 citation statements)

References 46 publications

(50 reference statements)

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“…Chart positions for Infected (2011) remained unchanged, yet Bauerfeind-produced album No Sacrifice, No Victory (2009), realised with a coherent concept, won gold status. Rehiring their first producer, Swedish Fredrik Nordström, for their programmatically titled album (r)Evolution (2014) was a wise move in Bauerfeind's opinion because it meant returning to a coherent production concept and their old style -an important step, given that metal fans tend to dislike change or 'selling out' (see Spracklen, 2019). Nordström representing the Gothenburg sound (Dunn, 2004;Hillier, 2018) fits well in fan perception because, according to Bauerfeind, a Swedish band with a Swedish producer is in line with their imagined community with shared myths, values, symbols and traditions (Anderson, 1994;Cohen, 1985;Hobsbawm & Ranger, 1992).…”

Section: Discussionmentioning

confidence: 99%

Teutonic Metal: Effects of Place- and Mythology-based Labels on Record Production

Herbst

2021

Int J Sociol Leis

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Viking, Mesopotamian and Hellenic metal; place-based metal labels full of mythology are commonplace in metal music. Focusing on ‘Teutonic’ metal, this article analyses such labels through a collaboration with one of the genre’s primary record producers: Karl Bauerfeind. Reflection on sixteen selected album productions with German, British, Swedish and Brazilian bands suggests that imagined communities with symbolic boundaries and shared invented traditions not only shape fan and media discourse but have tangible effects and sonic signatures in record productions, as demonstrated by discussions between bands, producers and record companies. The findings suggest that place- or mythology-based labels evoke vivid, partly fictional, historical inspiration for artists and record producers, which are further negotiated in journalistic media and fan discourse. It is suggested that these imagined communities with respective sonic signatures are both meaningful for fans in their ‘communicative leisure’ practices and used by the music industry as ‘instrumental leisure’ in their marketing efforts.

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Section: Discussionmentioning

confidence: 99%

Teutonic Metal: Effects of Place- and Mythology-based Labels on Record Production

Herbst

2021

Int J Sociol Leis

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“…Music subcultures have a complex, sometimes difficult relationship with the entertainment industries. On the one hand, every subculture relies on the entertainment industries to provide commodified products such as music releases, merchandise and other fan memorabilia, without which no subculture can exist (Spracklen 2019). On the other hand, countercultures distinguish themselves from the mainstream for reasons like authenticity, perceived superiority or artistic quality (Kahn-Harris 2007).…”

Section: Introductionmentioning

confidence: 99%

“…Even though supposed to be freely chosen and positive for the individual, leisure activities are influenced by social, economic and political conditions (Parker 1971). Following Spracklen's (2009Spracklen's ( , 2011Spracklen's ( , 2019 argument, culture-as-leisure is inextricably linked to and produced by Adorno's (1991) culture industry. Spracklen's (2009Spracklen's ( , 2011Spracklen's ( , 2013 dichotomous definitional framework of leisure defines 'instrumental leisure' as the product of hegemonic capitalism and nation-states intended to facilitate consumption.…”

Section: Introductionmentioning

confidence: 99%

“…It is the opposite of 'communicative leisure', which is freely chosen and less influenced by capitalist, hegemonic forces. Music as a form of leisure has the potential to provide a 'communicative' space or lifeworld (Habermas 1984), but its potential is limited by the power of capital (Spracklen 2019).…”

Section: Introductionmentioning

confidence: 99%

“…(Spracklen 2019, p. 269) This article takes Spracklen's observation as a starting point to examine the relationship between metal as leisure space and profession and the culture/ recording industry. It seeks to challenge the prevailing view that portrays the industry as "the enemy" (Krumm 2012, p. 204) because of its conspicuous links to commerce (Messick 2020;Spracklen 2019), which contradicts metal's appreciation of the authentic, subversive and transgressive (Kahn-Harris 2007). Even though the metal recording industry may indeed be concerned with economic profitability to stay in business, I intend to show that, in general, it is not instrumentalist.…”

Section: Introductionmentioning

confidence: 99%

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The Recording Industry as the Enemy? A Case Study of Early West German Metal Music

Herbst

2021

Int J Sociol Leis

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Rock and metal music have a complex relationship with the entertainment industries. They rely on commodified products but are also cautious towards the capitalist system with its instrumentalist mechanisms. This article examines early metal music from West Germany in the 1980s with its rock precursors in the 1970s to shed light on the music industry’s positive side other than the commonly portrayed enemy or villain image. Using journalistic sources, including magazines, biographies, documentaries, besides the music release database Discogs, the research reconstructs the independent recording industry for metal, examining key record companies, distribution channels and production staff, as well as their principles and intentions. The findings suggest that in the formative phase of German metal, the boundaries were blurred between fans, artists and entrepreneurs, most acting out of a passion for music. Fan practices, such as music-making, journalistic writing or tape trading, became serious leisure careers, eventually enabling some of the bands, journalists and entrepreneurs to make a living from their metal-related activities; others remained “semi-professional”. Communal spirit characterised German metal, and most of “the industry” worked together with the scene. The joint efforts made it possible for Germany to develop from a weak production location for subcultural rock music compared to the dominant cultures of the USA and UK to one of the leading recording industries for metal music. Rather than “the enemy” with manipulative intentions, the independent metal industry was a cultural intermediary and enabler of subcultural production and consumption.

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Khat-chewing, Moral Spacing and Belonging: Sociological Insights into the Cultural Space of the mafrish in the Leisure Lives of Older and Middle-aged British-Somali Males

2021

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Opeth not metal: making sense of the symbolic boundary work in the leisure spaces of musicians and fans

Cited by 8 publications

References 46 publications

Teutonic Metal: Effects of Place- and Mythology-based Labels on Record Production

Teutonic Metal: Effects of Place- and Mythology-based Labels on Record Production

The Recording Industry as the Enemy? A Case Study of Early West German Metal Music

Khat-chewing, Moral Spacing and Belonging: Sociological Insights into the Cultural Space of the mafrish in the Leisure Lives of Older and Middle-aged British-Somali Males

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