This chapter is an examination of the contribution of female musicianship to the Perth metal scene, particularly in relation to the positioning of women in frontier mythology and the ways in which we might read the gothic sublime in terms of women’s experiences. While it has been recognised that Australian metal music, in general, is tied to the colonial frontier narrative, Perth’s isolation produces a particular kind of frontier narrative which can be read in relation to the gothic sublime. In this chapter, the author examines three Perth metal bands which comprise female members: Claim the Throne (featuring Jess Millea on keys and vocals), Sanzu (featuring Fatima Curley on bass) and Deadspace (featuring Shelby Jansen on bass and vocals). The author will argue that there is a motif running through Perth bands that comprise female musicians that is tied to their positioning in the Western frontier narrative and its production in relation to the gothic sublime. To do so presents one kind of way to conceptualise a metal scene on the ‘Western Front’. The author emphasises that this is not a totalising conceptualisation, rather, it is one way to suggest how context might shape women’s experiences and, perhaps more importantly for this argument, the way in which women women’s experiences and historicity in relation to the legacy of ‘frontierswomen’ inflect metal music in this scene.
Glitsos, L. (2019), "Frontierswomen and the Perth Scene: Female Metal Musicians on the ‘Western Front’ and the Construction of the Gothic Sublime", Hoad, C. (Ed.) Australian Metal Music: Identities, Scenes, and Cultures (Emerald Studies in Metal Music and Culture), Emerald Publishing Limited, Leeds, pp. 91-107. https://doi.org/10.1108/978-1-78769-167-420191004
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Copyright © 2019, Laura Glitsos