Topics of the metal scene

from Wikipedia, the free encyclopedia

Some content-related complexes are named as topics of the metal scene in scene representations , which can be found in many subcurrents. These are propagated in the scene via lyrical and creative elements of metal , picked up and received by fans and serve as further points of connection within the scene. Most of these core topoi can be found in the designs of sound carriers , advertisements, stage productions, music videos and song texts by various actors in the scene as well as in the textiles and patches that often refer to such elements.

The thematic focal points that co-determine the community practice of the scene are confrontations with the figure of the devil , including various forms of occultism , literary genres such as fantasy and horror , the premodern or negatively perceived emotions such as hate and anger or fear , horror and grief . The negatively perceived emotions are contrasted with the Dionysian themes of sexuality , drug and alcohol consumption and party descriptions.

The following presentation, which is based on these points, applies to the most important and popular subject complexes negotiated across the scene. This list can meanwhile be considered neither exclusive nor absolute. Further topics can be of immanent importance for individual performers, peers or sub-currents of the scene, while hardly a current of the scene is dedicated to all topics.

devil

Illustrations of the Divine Comedy , such as the copper engraving made by Alessandro Vellutello for the 34th song , are often used in the metal scene for the design of sound carriers

The cultural scientist Manuel Trummer describes the devil as a central figure of identification and as an "omnipresent visual and ideological component of heavy metal and hard rock."

According to the educational scientist Werner Helsper, the devil in metal is primarily an “archaic metaphor for social uprising.” In the figure of the devil, the need for rebellion, destruction and uprising is concentrated. Accordingly, the frequent use of the figure can be traced back to the idealized ideas of freedom and individualism.

Serious Satanism in the theological , Gnostic or philosophical sense is limited to a few exceptions in the scene , according to the theologian Sebastian Berndt. In metal represented manifestations of a supposed Satanism, he assigns predominantly a youthful reactive Satanism. This is not permanent and primarily an expression of the rejection of Christianity, especially the organized church. Similarly, Trummer describes the devil as a “profane, subversive symbol for the rejection of church and Christianity.” This symbol is thematized in metal as different, sometimes contradicting types: as a misanthropic adversary, as a seductive trickster and as an enlightening liberator . Following the confrontation with the figure of the devil, references to hell, as a desirable place of free and excessive life or as a frightening place of supernatural horror, are part of the common scene vocabulary.

The complex of topics is often taken up lyrically and visually. References to Dante Alighieri's Divine Comedy , John Milton's Paradise Lost or Hieronymus Bosch's The Garden of Earthly Delights belong to popular motifs on sound carriers, textiles or in music videos .

Adversary and destroyer

In the role of the misanthropic adversary, the devil is portrayed as a sinister, menacing figure based on the Old Testament . As such, the "great adversary and destroyer" is described by groups like Black Sabbath "in warning, fearful words." Likewise, as a place of atonement full of suffering and agony, hell becomes a warning image of horror. Further references to hell correspond more to horror scenarios and a lust for extremes. In contrast to the warning tenor, groups like Coven stage themselves using "occult symbols and props [...] affirmatively as devil's allies". With the NWOBHM, this self-staging as a satanic musician from the Devil's Alliance became an integral part of the scene.

In both variants, the devil, according to popular belief, church teachings and horror films, is described as the personification of absolute evil. A deeper engagement with the figure and its religious implications hardly takes place in these variants in Metal. The affirmation of the symbolism of this personified evil is commonly seen as a direct protest against Christianity. Likewise, the affirmation is understood as a staging of a played own maliciousness, as for example with Venom .

Seductive trickster

AC / DC, here at a concert on the Highway-to-Hell tour 1979, use the devil and hell as symbols for a dissolute and non-conformist way of life in album designs and song texts

Another form of representation, which can be found especially in hard rock groups like AC / DC , seeks the devil as a “light-footed, confusing” cosmic trickster. In this form of representation, the devil becomes "a high-spirited, boundless, disruptive figure". As such, the devil appears far less terrifying or destructive, but appears as a seducer or hedonistic fool , who holds up a mirror to society and ironically declares the fall of man to be the ideal of an excess that lasts beyond death.

As part of this game with church dogmas and the confrontation with excessive lifestyle, Trummer names the motif of an upside-down world as an instrument of social criticism. "Political scolding, social criticism, anti-church resentments are articulated in sometimes drastic ways and comment in a crude caricaturing way in the tradition of the early modern devils."

In the context of this approach, hell becomes part of a perverted reality in which social norms have betrothed their validity without being viewed as a place of suffering and atonement. Rather, the stay in hell becomes a continuation of sin, usually in the form of an endless party. Trummer names the AC / DC piece Highway to Hell as an example. Berndt also draws the piece as an example of a "self-destructive, orgiastic doctrine of salvation" represented in metal and hard rock in which nothing is asked for and everything that is wanted is inexorably taken. Last but not least, in the stylization of hell, there is a recourse to the postulated and idealized rock 'n' roll lifestyle of freedom and individualism. In particular in Glam Metal , which is oriented towards hedonism and sexual permissiveness , further lyrical references to hell are presented as a desirable place of a free and excessive life.

Emancipatory liberator

Trummer describes the third interpretation of the devil as the one that is most widespread in metal. In this variant, the devil is represented as an “ emancipatory liberator”. Satan is in the tradition of Milton - epic Paradise Lost , interpreted as a symbol of rebellion against social conventions. The rejection of the “repressive society” personified by Satan supports the self-perception as “unruly and proud outsiders.” In this variant of the devil's portrayal , represented by groups like Order from Chaos or Celtic Frost , criticism of religion and liberalism go hand in hand.

Images such as John Martin's illustration of the pandemonium were often used as a design motif in recourse to Milton

Direct references to Milton's Paradise Lost can often be found in metal, for example in many song texts by different groups of the cover designs, which fall back on illustrations of the epic. As with the Whelm album A Gaze Blank and Pitiless as the Sun , the Sacrilege album six6six or the disaster album The Oath of an Iron Ritual for which John Martin's Paradise Lost illustration of the Pandemonium was always used as the cover. Other popular references can be found in the band of the same name and in the Cradle of Filth concept album Damnation and a Day .

Satanism and Occultism

The cultural scientist Bettina Roccor refers to the conviction of the devil as an emancipatory liberator to the philosophical Satanism of Anton Szandor LaVey and the Church of Satan as well as to the thelemic teaching of Aleister Crowley as a "world view that wants to guarantee the highest possible degree of individual self-development." The reference to philosophical Satanism found in facets of the metal scene is interpreted by her as a conscious detachment of one's own mind from social conventions and a subjective expansion of consciousness and thus described as a path to individual freedom. This desire for individual freedom, which would be expressed by interpreters such as Morbid Angel or King Diamond, would “fully correspond to the original message of Heavy Metal.” However, she also pointed out that only very few Metal followers accept the teachings of philosophical Satanism would know. The reference of a large part of the metal scene to Satanism and occultism would remain superficial and in provocations critical of the church.

In addition to other performers, the group Morbid Angel, here at a concert in 2006, brought the approach of philosophical Satanism into the metal scene

By mixing the ways in which the devil is viewed as a misanthropic adversary and as an emancipatory enlightener, identification with the devil can establish an elitist self-image. "The expansion of the Luciferic Enlightenment as the annihilation of religions goes hand in hand with a self-image as a superman free from moral constraints in the sense of Nietzsche , faced with a mass of herd people enslaved by religion." The self-idealizing elite thinking, which is thus morally free observing scene followers, based in small and separate parts of the scene social Darwinist and racist convictions. Here the concept of power, as power over oneself , "in primitive fascist visions of a satanic world empire to which the Christians and everything else 'worms' on earth must be sacrificed" becomes a reversal of the philosophical-satanistic concept of power, a power over others in the form of domination or violence.

Since the mid-1990s, according to Berndt, there have been “more occult-satanic and philosophical-satanic references” in metal. In individual cases, these references would refer to “real satanic systems”. This Satanism is limited to a “small part of the scene” and “almost exclusively to Black Metal”. Berndt makes direct reference to Jon Nödtveidt from Dissection as well as Gaahl from Gorgoroth and God Seed .

Occultism, on the other hand, is described by Sami Albert from Reverend Bizarre more as a playful occupation. In particular, the subject of witchcraft , which has been included in the lyrical repertoire of metal since the late 1980s, not least serves a stereotypical gender relationship of the seduced and spellbound man who succumbs to female charms, but whose devotion turns out to be useless. Trummer supplements this assessment with the devilish covenant affirmative self-presentation using occult symbols, which serves as a protest against Christianity and as an expression of one's own individualism.

Fantastic, pre- and anti-modern

Another topic that is frequently taken up in metal is the popular cultural imagination of the premodern . Metal performers take up a wide range of topics with three clear focal points, while none of the subject areas require authenticity. Rather, fantasy literature, Viking myths and images of the Middle Ages offer a “mythical ideal that gets along completely without historical correctness . The myths of superior male strength and clear codes of values ​​such as honor, bravery and courage are played out in the parahistoric longing space of the perceived premodern era. ”The protagonists of this imagined premodern era, who create identification, thus become“ symbols of a supposedly reactionary rebellion. ”This recurs what is cultivated in metal Image from the premodern to the historical images of the Middle Ages of Romanticism and Historicism as well as secondary medieval fantasy literature. The secondary Middle Ages are "the staged and present Middle Ages" of pop culture. "It mainly takes place in the cinema, on television, on the Internet, in PC games, in historical novels, at medieval festivals and at medieval markets." References to Richard Wagner by interpreters such as Bathory and Manowar are also sometimes placed in this context. However, there is no homogeneous picture of the premodern in the metal scene. The ideas vary among the groups and especially among the branched branches of metal. Since the beginning of the 1990s, anti-modern topoi have been propagated in some sub-styles , in the context of recourse to the real and fictitious premodern. A special role is assigned to Black Metal and the sub-style directions that have grown from it.

In these as well as in the references to the premodern, there is not only a search for spirituality and detachment from modern society, but also the core theme of a mostly youthful male search for freedom and individualism as well as a recourse to canonized pop culture. A post-apocalyptic complex of topics is also borrowed from this canon , which is mostly based on films from the 1980s. The premodern as well as the post-apocalypse are presented as follows by authors such as Hassemer, Berndt, Roccor or Leichsenring, sometimes from the perspective of those suffering from a society alienated from natural life, sometimes from the longing for a mystical and sublime sublime world and sometimes viewed from a simple juvenile pleasure in the fantastic.

Fantasy

The fantasy genre, especially sword and sorcery stories like Conan the Barbarian , entered the metal canon with the NWoBHM and Power Metal . Roccor names representatives such as Savatage , Manowar and Molly Hatchet as popular early examples of performers who dedicated themselves to this complex of topics. Like most of the core topoi of the scene, the fantasy motif can be found in the designs of sound carriers, the song texts and the stage productions of some performers. The art historian Rainer Zuch emphasizes that such fantastic elements can be found in many metal subgenre areas, but that they are “much more represented in the explicitly melodic and symphonic varieties of metal”. Despite this assessment, there are extensive references to the fantastic in Norwegian Black Metal, but these are rarely cast heroically there. Berndt emphasizes that in True Metal the self-staging of the protagonists (here he is alluding to the Manowar group) runs the risk of crossing the line to ridiculous in the "fantasy barbarian image [...]."

The scene's interest in the fantasy genre is substantiated in terms of content and history. In terms of scene history, the historian Simon Maria Hassemer draws a direct connection between the emergence of the metal scene in the 1970s and the ending fantasy fan culture of the 1960s. Roccor as well as Hassemer refer to an originally sociodemographic constellation of the metal scene. Hassemer also emphasizes that the fantasy fan culture was similar to this. During this period, both scenes were composed of predominantly white male youth from the lower social classes. In terms of content, according to Roccor, the imagined fight against evil for freedom and justice is central to the story pool. Many of the values ​​that communityize the scene find their counterpart in Sword & Sorcery poetry: masculinity, freedom, community, passion, authenticity and powerful physicality. Accordingly, the metal narrative repertoir sometimes makes use of stories and characters that have shaped the childhood and youth of the mostly male musicians and fans. “[Medieval] battle turmoil, dramatic battles with sea snakes, dragons, black knights, witches and demons. The estate always won, because it had power - just like the music. ”The fantasy narrative pattern of the hero who is superior to normal mortals, especially adolescents with their fate-given difficulties, contains further points of identification. The heroic character traits “strength, cleverness, courage and perseverance” contrast with “alienation, homelessness and loneliness”.

The representatives of Black Metal act differently when dealing with stereotypes of the Secondary Middle Ages. These performers use Tolkien's Black Language for pseudonyms, band and album titles. The secondary Middle Ages become an "adaptation film for the topics of chaos and misanthropy".

Viking myth

The picture Åsgårdsießen by Peter Nicolai Arbo was used by Bathory as the cover for the album Blood Fire Death , which is considered the initial work of Viking Metal.

According to Hassemeer, the penetration of Sword & Sorcery poetry into the canon of themes has significantly shaped the fascination for the premodern. The recourse emanating from fantasy stories in the reception of the pre-modern era remained predominantly in the fictional area. In particular, Nordic mythology , especially the Edda and the Arthus saga , would come into play here. Both offer recipients "a high potential for identification, especially for male adolescents with a civilization-critical longing for archaic concreteness about 'values ​​such as courage, honesty and loyalty [...]' (Joey DeMaio, Manowar)."

The references and affinities to the stereotypical Viking myth have been an integral part of the canon of topics since the genre was created. However, with the emergence of Viking Metal , the recourse to Nordic legends and figures experienced a deeper quantity and quality. The interpreters and recipients make no claim to authenticity. Instead, the Viking myth becomes a historical space of longing, an "originally archaic, natural and masculine culture". Historical objects such as swords, drinking horns, fur throws, amulets, etc. often form the accessories of a referring self-portrayal of the performers. Neo-romantic history paintings as well as woodcuts and archaeological finds based on graphics are used in many cases as design elements for sound carriers and the textiles referring to them. The lyrical core themes are the points of contact with the metal scene: “martial strength, thirst for adventure and drinking ability”, as well as the longing for the loyal and male-union community experience.

middle Ages

Similar to the reference to the Secondary Middle Ages, black metal interpreters use supposed references to the Middle Ages. Just as they address chaos and misanthropy with elements of fantasy literature, this is done in relation to the Middle Ages. In particular, the appeal to the plague and the presentation of fictional warriors with archaic weapons serves as a further adaptation foil for some of the central contents of the subgenre: misanthropy, chaos, decay and death. Hassemer describes the presented warrior figures as barbaric chaos warriors who represent occultism and closeness to nature.

The misanthropic impetus of Black Metal in the theming of the Middle Ages contrasts with the heroic gaze of Symphonic Metal . The performers of the genre, which works with orchestral arrangements, refer to medieval battles, sagas and myths. The usual genre singers are staged as mystical figures like Valkyries . Singers such as Tarja Turunen and Sharon den Adel appear accordingly feminine in medieval or fantastic-looking clothes and thus stand out from their fellow musicians as well as from other stereotypes represented in metal.

Anti-modern

The image Fattigmannen by Theodor Kittelsen used by Burzum to design the album Hvis lyset tar oss

According to the cultural and social scientist Jan Leichsenring, these metal sub-styles, which have mostly grown out of Black Metal, “celebrate an attitude of inwardness, closeness to nature and the turning away from modern ways of life, which in some cases is diametrically opposed to the metal mainstream.” Context of recourse to a fictitious as well as real premodern, occasionally anti-modern positions, which in particular advocate a turning away from urbanization , rationalization , mechanization , secularization and belief in progress .

Precisely because of the new occupation of metal by representatives of the second wave of Black Metal, not only did the preoccupation with the topic of Satanism and occultism take on new seriousness. Likewise, the playful Sword & Sorcery Fantasy themes of the 1980s merged with mythological writings from their own culture, natural romance and the supposedly dark Middle Ages . Nature, primarily represented in the form of forests, mountains, fog, sea or winter, is assigned a boisterous grandeur and a wonderful horror , which refers to the "archaic and overpowering compared to the modern human world". In this way, nature is associated with spirituality and a rural and as anachronistic life as possible is contrasted with a life in material prosperity . Some interpreters advocate and cultivate a self-sufficient lifestyle in rural areas. The literary scholar Sascha Pöhlmann attests to the American post-black metal band Wolves in the Throne Room an American transcendental tradition with reference to Ralph Waldo Emerson , Henry David Thoreau and Walt Whitman . This tradition, in an ecological, universal and global orientation, refuses precisely those potentially nationalistic tendencies which the anti-modern search for meaning can transport and which are echoed in other forms of metal derived from Black Metal, especially in the NSBM and in parts of Pagan Metal.

Images like Friedrich's Abbey in the Eichwald are often used as design elements in the metal scene

The rejection of modern life is understood by many interpreters and followers as a search for meaning in historical and cultural traditions. Fairy tales, legends and myths serve as an essential source of information. Following this suggestion, some interpreters established their own iconography, which in particular used fairy tale and legend illustrations such as by Theodor Kittelsen , romantic painters such as Caspar David Friedrich or works of symbolism such as Arnold Böcklin for the design of sound carriers. This recourse to symbolism and romanticism meanwhile went beyond the limits of black metal and its forms and descendants. Paintings such as Böcklin's Die Toteninsel , John Martins Pandemonium or Friederich's Das Eismeer and Abbey in the Eichwald are common motifs that are used creatively. Furthermore, interpreters of Black Metal brought myths, legends and fairy tales into the thematic complex with a new seriousness. The main currents of this approach include representatives of Black Metal, Blackgaze , NSBM and Pagan Metal.

The neo-pagan spiritual conviction of many pagan metal interpreters correlates with dealing with these topics . Representatives of the NSBM also fall back on pre-modern themes. Leichsenring describes the NSBM as “typically less interested in the technocratic side and the fascism's enthusiasm for technology, but rather in the irrational connection to the mystical, in anti-urban ideas of blood and soil , such as those represented by Alfred Rosenberg and Julius Evola .” Not In this context, at least in parts of the SS, in particular the Ahnenerbe organization, a spiritual, pagan and mystical fascism is seldom imagined.

Meanwhile, in the anti-modern context, especially by representatives of Blackgaze such as Lantlôs and Amesoeurs , urban life is thematized, but this is viewed negatively and understood as an alienation from a natural or original life.

Post-apocalypse and dystopia

In the stage costumes of groups like Gwar, the post-apocalyptic element becomes an overstylistic, ironic part of the show

Similar positions regarding a criticism of belief in progress, urbanization and mechanization were also taken in industrial metal , early sludge and post-metal . These and other playing styles, which took up elements of electronic music from the late 1980s, sometimes referred to apocalyptic , post-apocalyptic and dystopian scenarios. Artists such as Frontline Assembly and Fear Factory sometimes make references to cyberpunk .

This closes the circle to the literary-fantastic, but here somber science fiction genre . However, bands like Gwar or Monstagon take up the subject complex with rather ironic-playful references. Similar references to post-apocalyptic films such as Mad Max or Die Jugger can be found in frame and stage designs such as the Wasteland Stage and the associated Wasteland area of the Wacken Open Air.

Horror, Splatter and Gore

The masquerade of the Slipknot musicians, here singer Corey Taylor , also quotes horror film stereotypes, especially those of the 1980s slasher film .

The media scientist Florian Krautkrämer and the communication designer Jörg Petri see the connection between metal and horror films that has grown since the beginning of the scene in economic and stylistic overlaps. Economical, since another potential target group can be addressed via the other medium. Stylistic, as features can be identified that are common to both areas independently of one another. Krautkrämer and Petri cite typography as an example of such a feature.

Roccor places the affinity for horror and gore in the tradition of early metal preoccupation with mythology and fantasy stories. She describes the “weakness for sick, bloodthirsty, cruel and morbid lyrics” as characteristic of metal from the mid-1980s. The topic arose partly from delimitation and further development from the topics of the older generation of metal musicians. In another part, it is an expression of the issues that have shaped the generation itself. "For these heavies who grew up in the 70s and 80s, the horror genre is what fantasy meant for the elderly: a fascinating alternative world in which all the rules are turned upside down." The pedagogue Christoph Lücker also sees the desire for provocation, the Willing to catharsic compensation of negative emotions as well as the reflection of reality as the basis for the extreme texts. The texts take on a confrontational and socially critical impetus, particularly in the depiction of real violence. Roccor ascribes a number of functions based on reß, horror and violence depictions, which correspond to the level of development of adolescents and reflect necessary development tasks.

“The themes of 'violence' and 'death' refer to the necessary developmental step that every young person has to take: accepting the partial death of the child's ego and the (painful) development of an adult ego. […] 'Sexuality' and 'social coexistence' are […] only presented in a perverted, imperfect way. Young people in particular, in their still fragile gender and social role, recognize themselves here. […] Especially horror [scenarios] address the two dominant moods of young people: the feeling of omnipotence (lonely hero conquers evil) and the feeling of powerlessness and despair (evil lurks everywhere and strikes mercilessly). "

- Elmar Reß quotes from Bettina Roccor in Heavy Metal - Art, Commerce, Heresy

As in most scene topoi, the horror theme is not limited to music groups and their lyrics, but rather via the sound carrier design and the fashion of band shirts and frocks, an essential part of the entire scene culture. In this way, the horror motifs of some sound carriers become "part of your own body staging" through clothing. According to media scientist Julia Eckel, this could “be read as an indication that the visualization of the musically negotiated boundaries also reflects a subjective interest of fans and actors in the genre.” The occult horror film of the 1970s, the Cthulhu myth as well as splatter and gore films with different names.

Occult horror

The content-related connection to horror literature and films began in the origins of the scene. So named Black Sabbath for a horror movie and took lyrically and aesthetically regarding hammer and occult horror movies such as Rosemary's Baby , The Exorcist or The Omen of the 1960s and 1970s. This influence affected the stage and appearance of the group at the time. Especially in the adaptation of motifs from occult horror films, groups like Coven or Black Sabbath present pop-cultural ideas of demonic or satanic events. Accordingly, many such references to corresponding film motifs are in the context of the devil or demon as a sinister, threatening figure.

Cthulhu myth

Some later groups of Metal, especially those of the original Doom Metal, joined Black Sabbath's appearance and sound, which was inspired by the horror genre. In the course of dealing with horror motifs, references to the Cthulhu myth created by HP Lovecraft can often be found in metal . Groups like Samael , The Vision Bleak , Metallica and Celtic Frost use individual songs, others such as Tyranny , Electric Wizard and Head of the Demon use album concepts and those like Catacombs , Y'ha-Nthlei , Fecund Betrayal and Sulfur Aeon use entire band concepts Reference to the Cthulhu myth. For representatives of Doom Metal, Lovecraft's work is even considered a common lyrical subject matter.

Splatter and Gore

Berndt awards the representatives of the styles Grindcore and Death Metal an expanded and renewed range of horror topics in which "everything that is frightened, frightened or shocked [...] can be processed". Splatter and gore are particularly emphasized. While the use of violence is described in detail in splatter texts, the consequences of violence are explicitly presented in the Gore-texts. The staging of violence and wickedness lead, among other things, to the grotesque, sometimes openly ironic demeanor of some grindcore and death metal bands, which is more based on the splatter film genre than on religious references.

Mutual relationship

The inclination towards the complex of topics horror, splatter and gore causes overlaps with the corresponding cinematic genre. Movie reviews for theatrical and video releases are a common part of metal fanzines and magazines. According to Krautkrämer and Petri, horror films and metal influence each other.

Rob Zombie is in addition to his musical work for films such as House of 1000 Corpses and The Devil's Rejects known

“Both formations negotiate (text) content and visual topics in the field of association around death, rot, decomposition, occultism, war and destruction as well as religious, fantastic or mystical elements. Often “otherworldly” positions are taken. What is meant here are, for example, positions beyond a Christian world, in insanity, beyond ›common sense‹, but also being an outsider, beyond a bourgeois society ”. While in the field of metal the aesthetics of horror films are being adapted for sound carrier designs and stage shows, since the 1990s horror films have often used metal as part of film music. This use of metal as a soundtrack began as early as the 1980s in films such as Phenomena , The Princes of Darkness and Terror in the Opera . At the latest after the increasing use of music as the soundtrack of action films around the turn of the millennium, the horror film genre was "literally re-encoded with the music." Metal has since become a key element, particularly in slasher films . Musicians repeatedly appear as actors in films, some like the former Bathory drummer Jonas Åkerlund or Rob Zombie also as directors. With their films Horsemen , Lords of Chaos and Halloween , they refer back to metal and the associated stereotype of the disoriented white male youth from broken family relationships, sometimes without making metal the soundtrack of their own films.

War and violence

Violence is regarded as an independent topic of metal. In particular, the subgenres Death Metal , Thrash Metal and Black Metal often make use of this thematic field and take up murder, war, serial murders and other forms of violence as lyrical and creative elements. For some performers there is an overlap with the themes of horror, splatter and gore. Sub-styles such as War Metal or Depressive Suicidal Black Metal take up parts of the recourse to violence and war as lyrical and creative elements that define the style of the respective genre. Suicidal, Depressive Suicidal or Depressive Black Metal are defined by the thematic focus on self-harming behavior and suicide, whereas War Metal is defined by the topic of war. Meanwhile, both sub-styles are musically based mainly on the second wave of Black Metal. War and violence can be thematized critically, purely narrative or even affirmatively in metal, whereby the glorifying and affirmative reference is rather an exception.

Several albums by the Cannibal Corpse group, here singer George Fisher Live 2012, were indexed for their design and content glorifying violence

Roccor sees the complex as a “representation of reality in all its cruelty”, which is sometimes to be understood as an antithesis to the love-and-peace ideology of the hippies . Accordingly, she traces the establishment of the topic complex in metal back to the phase in which the scene emerged at the end of the 1960s - the time in which violence, in particular police violence and acts of violence against figures from the protest movement of the time, as well as wars, in particular the Vietnam War, helped shape current affairs. So she describes the topic of war and violence in metal as a reflection of the "contradictions of violent reality." Nevertheless, the "fascination with horror" is an essential feature of metal. According to Berndt, groups like Cannibal Corpse produce an aesthetically evil art in which violence is neither glorified nor condemned, but merely represented. Here the evil is shown as evil. Thus, "the depiction of violence [...] can be justified as an aesthetically evil work of art [...], since what is inhuman already lies in what is represented, not just in the representation." Brutal and violent content is mostly explained by the artists with an " ambivalent fascination". Media scientist Mario Anastasiadis and media and cultural scientist Marcus S. Kleiner contradict the assessment that dealing with the topic of violence and war is only due to an ambivalent fascination . They describe the complex of topics, in addition to the ambivalent fascination, as an expression of a pacifism widespread in the scene , which can be traced back to the beginnings of heavy metal. The subject area fulfills "a double function as a narrative and a political positioning field."

As a pure narrative, in the understanding of a meaningful narrative that gives the opportunity for social orientation, war is hardly received politically. In doing so, it usually serves an aesthetic staging, which is reflected in other topics in texts, sound carrier designs, items of clothing and stage structures. According to Anastasiadis and Kleiner, this happens partly apolitically, partly affirmatively. The war theme often refers to the “image of the strong, independent lone fighter” and can thus be traced back to the core themes of masculinity, physicality and freedom. In particular, Black Metal, popular in the 1990s, moved "motifs of war and combat into the center of its self-staging", while it does not take a critical position, but "integrates war, struggle and rebellion [...] into its self-image and elevates it to a model" . This guiding principle is supported by appropriate self-presentation with items of clothing such as cartridge belts, promotional photographs with firearms and sound carrier designs that show in particular heavy military equipment.

In contrast, artists like Black Sabbath created their first anti-war songs with the piece War Pigs from the album Paranoid in the 1970s . While the musicians made hardly any reference to current issues in the 1970s and early 1980s, and discussions about the wars of the 20th century remained minimal, the performers of Thrash Metal now took up armed conflicts as a critical issue. Anastasiadis and Kleiner describe this development, in which groups such as Anthrax , Metallica , Sacred Reich and Sodom sometimes formulated concrete demands to end armed conflicts and international arms deals in their songs, as the "politicization phase in heavy metal". The music journalists and genre analysts Axl Rosenberg and Christopher Krovatin describe Thrash Metal as an expression of the young generation's fear of a nuclear strike in the Cold War era .

In the course of the 1990s, songs critical of the war were published, especially in industrial and alternative metal, by artists such as Ministry , Rage Against the Machine or Prong . In particular, the attacks of September 11th, 2001 brought further politicization in metal. The re-critical reception of the consequences of September 11th came from the styles of Grindcore and Death Metal and artists such as Napalm Death and Six Feet Under . The “reception of the war on terror in heavy metal [...] not only points to the anti-war positioning that is critical of the system and the government, but also provides [...] a resonance space for a [...] widespread disbelief in the legitimation of war Bush administration. “Positions that are critical of the war and even pacifist are expressed through political content in songs or in aesthetic productions in the form of recordings, stage structures and textiles referring to them, as well as in interviews or statements made during appearances. In this way, the recipients of the music are challenged to deal with and react to the topic in the form of discussion, criticism or reproduction.

Dionysian themes

Following Weinstein, Roccor describes the area of ​​Dionysian themes as songs with sexual content as well as songs about excessive behavior. She assigns these references mainly to the more commercial style variants of the metal spectrum.

Julia Eckel describes the Dionysian theme complex as "escapist scenarios", to which Weinstein also assigns the fantastic storytelling, but which especially "celebrate Heavy Metal as a pure, world-forgotten party with sex, drugs and rock'n roll."

Sexual content

In the songs with a sexual content, the sexual act is mostly portrayed in an exaggerated manner. Roccor draws parallels to the narrative structure of pornography . “The man proves potency, strength and endurance in the sexual act and largely determines the course of the sexual act. [...] Actors are either willing objects of desire or active, insatiable seducers. ”Visualizations based on this complex of topics often fall back on such stereotypical role models. In true and glam metal in particular , such heteronormative stereotypes of gender roles are portrayed in a highly sexualized manner, linked to the scene ideal of masculinity. The band Manowar is often cited as an example of a hyper masculine staging in metal , whose stage and album designs are mostly characterized by images of warlike masculinity and whose lyrics often present sexist content.

Alcohol and drug use

Groups like Bongzilla, here at Roadburn 2016, have a positive stance on hashish consumption and appear as cannabis activists.

Roccor reckons pieces that have positive effects on drug use, alcohol and parties as further Dionysian themes. Positive references to drug use are rarely made out. Roccor refers here to representatives from the 1970s. The topic of alcohol consumption is more widespread in the scene than that of drug consumption. According to Roccor, drinking songs are part of the repertoire, meanwhile the subject only plays a subordinate role in the scene. Occasionally the theme appears as the main conceptual theme of interpreters such as Randalica , Tankard or Tom Angelripper .

The following musical styles, in which a positive lyrical and creative relationship to the consumption of drugs, in particular hashish , and occasionally other psychotropic substances , are set, are the Stoner Doom and the Stoner Sludge, which is closely related to this . Genre representatives such as Sleep , Bongzilla , Weedeater , Electric Wizard made lyrical and graphic references to drug use. In addition to psychedelic motifs and allusions , direct references to drugs such as stylized hemp leaves, bongs and smoke are often shown. Lyrically, these groups also make more reference to consumption. Some interpreters such as Michael “Muleboy” John Makela from Bongzilla appear as cannabis activists and vehemently advocate comprehensive legalization of consumption.

Emotions

The subject area of ​​emotions is dominated by self-reflective texts by the composing artists. Textual arguments with every "imaginable thought pattern" are imaginable and can be found in metal. Meanwhile, the dominant expression is occupied in different sub-scenes. The spectrum ranges from "joy through anger and aggression to grief and powerlessness". Roccor emphasizes that “depicting the cruel side of reality” dominates this topic. Negatively charged emotions would be “felt more urgent”. In contrast, positively emotional song texts would describe temporary states of happiness instead of permanent life situations and thus fall back on Dionysian topics such as sex and intoxication. The main topoi are emotions in some sub-scenes such as grief and depression in Funeral Doom or adolescent vulnerability, anger and frustration in Nu Metal . As such, the subject of emotions does not determine the metal mainstream, although emotional content, catharsic preparations and self-reflective texts can be found in almost all sub-scenes. Anger and aggression are particularly often expressed here.

Groups like Knorkator caricature different scene stereotypes from the scene with their self-portrayal, as on the cover of the album Hasenchartbreaker , as well as by means of their song texts, such as Böse

In contrast to the serious and self-reflective content, humorous and comedic aspects are also taken up in the scene. Performers such as JBO , Tankard , Knorkator or AOK are referred to as "metal fun bands" on the basis of humorous content. With such groups it is part of the concept to caricature facets of the scene, popular performers and entire sub-styles. Humorous breaks in the scene can be found in most subcurrents. Shall apply to the Black Metal caricaturing related Fan Art video clips as an ironic distancing and related self-reflection, which ironically breaking the postulated nihilism and provided with joy and fun. Other comedic references to the scene through films such as Wayne's World or This Is Spinal Tap enjoy high recognition in the scene. The comedian Bülent Ceylan and the poetry slammer Micha-El Goehre also play with stereotypes that borrow from the scene in their performances and works.

Relationship issues are also part of the standard lyrical repertoire of metal. These are rarely positive, mostly tragic relationship processes are taken up, whereby the tenor expresses anger against the partner or former partner or grief over a loss. According to Lücker, these texts deal primarily with interpersonal problems and failed relationships. Nevertheless, there are other variants of social constellations such as friendship and families. On these topics, the texts would also primarily deal with problems and loss.

Metal

Roccor describes the preoccupation with the scene and music itself as an important complex of topics of the scene, which would find its expression as a “remarkable phenomenon” in “countless songs that deal with nothing other than heavy metal itself”. Last but not least, the artists present themselves in these texts as metal fans and as part of the scene. For example, “Heavy metals always proudly praise their deep love for metal, extol volume, hardness and speed, rave about the bombastic atmosphere at concerts and thank their fans for their unconditional loyalty.” These songs, which idealize the scene themselves, are mostly used as metal anthems designated. As such, they support the emotional bond between the fan and the artist, mutually confirm a fan-star relationship and thus the ideal of community, which is confirmed both in the direct text and in the concert ritual of singing together as a barrier-free community of solidarity . In these rituals in particular, the metal anthems are particularly important, as the audience and the artist interact directly, the audience sings along with the pieces and thus confirms itself.

Lücker describes the texts on metal and the metal scene as positioning the scene in contrast to the non-scene and as a formulation of an otherwise not formally outlined scene code that transports values ​​and habitualized behavior. The sociologist Christian Heinisch adds that the song lyrics in metal act as a promise of the continuity and stability of the scene and can thus be seen as an attempt to counter the "disorientation and fast pace in modernity" with claims of continuity in the social network of the scene. Accordingly, in such metal hymns, the scene is defined as a community with religious implications. The supposed outsider role of the metal fan in society is linked with the idea of ​​elitist selectivity and specialty.

As exemplary examples of such metal hymns, which have been an integral part of the scene capital since the 1980s at the latest, Roccor cites various pieces by the band Manowar as well as Iron League by Raven , Metal on Metal by Anvil and Heavy Metal Breakdown by Grave Digger .

literature

  • Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 .
  • Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 .
  • Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 3-406-42073-7 .
  • Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 .
  • Susanne Sackl-Sharif: Gender - Metal - Video clips . Budrich UniPress, Opladen 2015, ISBN 978-3-86388-702-5 .
  • Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 .

See also

Individual evidence

  1. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 431 .
  2. ↑ Werner Helsper: The "real", the "extreme" and the symbolism of evil . To heavy metal culture. In: SPoKK (Hrsg.): Kursbuch Jugendkulturen . Bollmann, Mannheim 1997, ISBN 3-927901-86-5 , pp. 116 to 128, here p. 127 .
  3. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 93 .
  4. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 135 .
  5. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 440 .
  6. ↑ a b c d Manuel Trummer: destroyer, trickster, scout. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 436 ff .
  7. ↑ a b c d e Manuel Trummer: destroyer, trickster, scout. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 433 ff .
  8. ↑ Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 68 ff .
  9. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 433 .
  10. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 435 .
  11. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 436 .
  12. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 114 .
  13. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 164 .
  14. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 437 ff .
  15. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 170 f .
  16. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 169 f .
  17. ↑ Manuel Trummer: Destroyer, Trickster, Recon. The traditional figure of the devil in heavy metal between action, distinction and new spirituality. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 431 to 443, here p. 438 .
  18. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 171 .
  19. ↑ a b Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 134 .
  20. ↑ Sami Albert: Witchcraft and Black Magic in Doom . In: Aleksey Evdokimov (ed.): Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , pp. 280 f . (English).
  21. ↑ a b Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247-261, here p. 259 .
  22. ↑ a b Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 258 .
  23. ↑ Thomas Martin Buck: The Middle Ages in History Lessons in Schools * . To the archive as a place of learning in teaching practice. S. 2 ( To the archive as a place of learning in history.pdf ).
  24. ↑ a b Jan Leichsenring: »We demand the impossible.« On the formulation and function of anti-modern topoi in some metal sub-genres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291–303, here p. 291 .
  25. ↑ a b c Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 93 .
  26. ^ Rainer Zuch: The Art of Dying . About some structural elements in the metal aesthetic, primarily in the cover design. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 71–84, here p. 81 .
  27. ↑ a b Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 255 .
  28. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 73 .
  29. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247-261, here p. 248 .
  30. ^ Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 65 .
  31. ↑ a b Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 250 .
  32. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 251 .
  33. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247-261, here p. 252 .
  34. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 253 .
  35. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 254 .
  36. ↑ Simon Maria Hassemer: Metal Age . For the reception of the premodern in sub-genres of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 247–261, here p. 256 .
  37. ^ Amber R. Clifford-Napoleone: Queerness in Heavy Metal Music . In: Routledge Studies in Popular Music . No. 5 . Routledge, 2015, ISBN 978-0-415-72831-7 , pp. 118 f . Jasmin Froghy: Tarja . In: Sonic Seducer (Ed.): Sonic Seducer . Special edition icons. T. Vogel Musikzeitschriftenverlag, Oberhausen 2016, p.
     36 .
  38. ↑ a b Jan Leichsenring: »We demand the impossible.« On the formulation and function of anti-modern topoi in some metal sub-genres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291–303, here p. 291 f .
  39. ↑ Jan Leichsenring: »We demand the impossible.« On the formulation and function of anti-modern topoi in some metal sub-genres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291–303, here p. 293 .
  40. ^ Sascha Pöhlmann: Green is the new Black (Metal) . Wolves in the Throne Room, American Romanticism, and Ecocriticism. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 263-277, here p. 276 .
  41. ↑ a b Jan Leichsenring: "We demand the impossible." On the formulation and function of anti-modern topoi in some metal subgenres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291–303, here p. 294 ff .
  42. ↑ Jan Leichsenring: »We demand the impossible.« On the formulation and function of anti-modern topoi in some metal sub-genres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291-303, here p. 299 .
  43. ↑ Jan Leichsenring: »We demand the impossible.« On the formulation and function of anti-modern topoi in some metal sub-genres. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 291–303, here p. 300 .
  44. ^ Rainer Zuch: The Art of Dying . About some structural elements in the metal aesthetic, primarily in the cover design. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 71–84, here p. 80 .
  45. ↑ a b c d Florian Krautkrämer and Jörg Petri: Horrormetaltypo - Heavy Metal as a creative tool. On the relationship between typography, metal and horror film . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 87 .
  46. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 94 .
  47. ↑ a b Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 68 f .
  48. ↑ a b Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 78 f .
  49. ^ Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 66 .
  50. ↑ Julia Eckel: robe & Co . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 66 .
  51. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 20th f .
  52. ^ Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 76 .
  53. ↑ Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , pp. 286-294 (English).
  54. ^ Abuse directive: Death on Arrival . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 143 to 147, here p. 143 f .
  55. ↑ Florian Krautkrämer and Jörg Petri: Horrormetaltypo - Heavy Metal as a creative tool. On the relationship between typography, metal and horror film . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 90 .
  56. ↑ Florian Krautkrämer and Jörg Petri: Horrormetaltypo - Heavy Metal as a creative tool. On the relationship between typography, metal and horror film . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 92 .
  57. ↑ Florian Krautkrämer and Jörg Petri: Horrormetaltypo - Heavy Metal as a creative tool. On the relationship between typography, metal and horror film . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 92 f .
  58. ^ Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 98 f .
  59. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 208 .
  60. ↑ a b c Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 196 .
  61. ↑ Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 394 .
  62. ↑ a b Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 398 .
  63. ↑ a b Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 404 .
  64. ^ Martin Popoff: Black Sabbath: Doom Let Loose . An Illustrated History. ECW press, 2006, ISBN 1-55022-731-9 , pp. 32 f .
  65. ↑ Axl Rosenberg, Christopher Krovatin: Hellraisers . A Complete Visual History of Heavy Metal Mayhem. Race Point Publishing, New York 2017, ISBN 978-1-63106-430-2 , pp. 95 (English).
  66. ↑ Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 405 .
  67. ↑ Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 406 .
  68. ↑ Mario Anastasiadis, Marcus S. Kleiner: Politics of hardship! Building blocks of a pop culture history of political heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 407 .
  69. ^ A b Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 60 .
  70. ↑ Julia Eckel: robe & Co . On the textile typeface of heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 55 to 70, here pp. 59 and 65 .
  71. ↑ Marion Gerards: I'm a man - staging of masculinity in popular music from a socio-educational perspective . In: Caroline Spelsberg (ed.): Insights and prospects: An interdisciplinary prelude . LIT Verlag, Münster, ISBN 978-3-643-12141-7 , pp. 53–70, here p. 58 .
  72. ^ A b Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 61 .
  73. ↑ Arne Eber: Aesthetics of Doom . Ed .: ResettWorld. S. 22nd f .
  74. ↑ J. Bennett: High Times . In: Albert Mudrian (Ed.): Precious Metal . Decibel presents the Stories behind 25 extreme Metal Masterpieces. Da Capo Press, Philadelphia, ISBN 978-0-306-81806-6 , pp. 292 ff .
  75. ↑ Garry Sharpe-Young: AZ of Doom, Goth & Stoner Metal . Cherry Red Books, London 2003, ISBN 978-1-901447-14-9 .
  76. ↑ a b Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 72 .
  77. ^ A b Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 69 .
  78. ↑ Arne Ebner: The Aesthetics of Doom . Bachelor thesis, excerpts published in Fanzine Doom Metal Front. Ed .: ResetWorld. 2011, p. 29 .
  79. ^ Deena Weinstein: Playing with gender in the key of metal . In: Florian Heesch, Scott Niall (Ed.): Heavy Metal, Gender and Sexuality . Interdisciplinary Approaches. Routledge, New York 2016, ISBN 978-1-4724-2479-2 .
  80. ↑ Axl Rosenberg, Christopher Krovatin: Hellraisers . A Complete Visual History of Heavy Metal Mayhem. Race Point Publishing, New York 2017, ISBN 978-1-63106-430-2 , pp. 210 .
  81. ↑ Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 77 f .
  82. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 289 .
  83. ↑ Andreas Wagenknecht: Taking evil with humor . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 153-164, here p. 164 .
  84. ^ Herbert Schwaab: Heavy Metal Parodies . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 137-151 . Frank Schäfer: Notes on Metal . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p.
     23–38, here p. 13 f .
  85. ↑ Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 73 .
  86. ↑ a b Bettina Roccor: Heavy Metal. The bands. The fans. The opponents. CH Beck, Munich 1998, ISBN 978-3-406-42073-3 , p. 92 .
  87. ^ A b Bettina Roccor: Heavy Metal - Art, Commerce, Heresy . Iron Pages, Regensburg 1998, ISBN 3-931624-07-2 , pp. 62 .
  88. ↑ Christoph Lücker: The heavy metal phenomenon . A scene portrait. Nicole Schmenk, Oberhausen 2008, ISBN 978-3-943022-03-2 , p. 74 .
  89. ↑ Christian Heinisch: Between Cult and Culture . Claims of continuity in heavy metal. In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 411-429, here p. 424 .