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Through the prism of intimacy, this chapter discusses how experiences of pain and loss in relation to bereavement by suicide is expressed in the black metal music and lyrics by Danish band Orm. Orm's 2019-album Ir ‘verdigris’, entangles the emotional complex and personal relations to the local, natural surroundings of the island Bornholm, including a named tree and lake, as well as local folklore and Norse mythology. As part of fieldwork, the author muddles with intimacy to define an approach sensitive enough to deal with strong and unspeakable emotions, including the idea of cultural intimacy and public embarrassment related to the issue of suicide. The author also reflects on how my participation in the pain of others informs the interpretation. The chapter suggests that Orm's black metal is doing important pain work, opening to listeners a path towards disembarrassment.

Lyrics hold a complex status, not only within the world of metal music. They are subject to diverse motivations and backgrounds within groups of individuals and may serve various functions – as poetry, as means of channelling social criticism or feelings. Lyrics may be barely perceptible as produced by human beings, they may be hard to understand and they may not even be printed in CD booklets. While some bands claim their lyrics do not matter, others translate and/or explain underlying concepts and metaphors used in the texts to ensure the listeners' understanding and intended interpretation of the words of a song in other languages than English. Thus, metal lyrics are an interesting subject for analysing various stances of identity, of cultural implications, and of politics, especially when it comes to the use of specific languages within a societal context.

In Norway, bands such as Enslaved, Solefald, and Wardruna already expressed themselves in their native languages in an early phase of their careers, simultaneously engaging in Norse themes, such as the Viking Age and Norse mythology. Based on my work on cultural identity in Norwegian metal music and three sample bands, the author will take a closer look at the interplay of lyrics, language and cultural identity. In this paper, the author will show how the bands engage in Nynorsk, Bokmål or Høgnorsk lyrics and what it means for the bands to deal with the languages' history and meaning.

The military operation of the Russian Federation on the territory of Ukraine exerted additional pressure on prices on the aluminum market since aluminum supplied by Russia accounts for about 10% of the total volume of US imports. It is known that Russia has become the largest aluminum producer after China, and now there is also an increase in aluminum production. Since electricity prices remain relatively low in Russia, especially in energy-surplus Siberia, the increase in output along with the increase in metal prices is a positive factor, since 70% of the primary aluminum produced is exported and only less than a third is consumed domestically. At the same time, high aluminum prices may constrain the expansion of domestic consumption of the metal and may force manufacturers to look for a cheaper alternative. In general, the increase in aluminum prices coincides with the general “supercycle” of raw materials in the last year and a half, and there is a chance to stabilize aluminum prices at current high levels, which will be facilitated, among other things, by new metallurgical projects in Russia. At the same time, it is worth noting that limited metal supplies will haunt the industry for most of 2022, and some experts predict that it may take up to five years to solve the problems.

Aluminum is an exchange commodity. But physical trading of this metal in most cases does not occur on the stock exchange, since more than 90% of aluminum sales with physical delivery occur under direct contracts between producers and buyers of the metal (over-the-counter market). Aluminum as an exchange commodity has standardized consumer properties, namely: the goods are interchangeable, easily transported and stored, and can be divided into batches. That is why upstream products are traded on commodity exchanges, not semifinished products or finished products. When commodity exchanges were first created, they served as a place for concluding physical contracts for the supply of such exchange-traded goods, but with the increase in trading volumes and the development of financial instruments, the role of exchanges has changed. Today, futures contracts for raw materials are traded on them – financial instruments that almost never entail a real physical supply (at the same time, this possibility is not excluded). As a result of the bidding, a price is set that serves as a guideline for producers and consumers around the world.

In 2001, Faroese Viking Metal band Týr entered a Faroese music competition with their song ‘Ormurin Langi’, which was a reinterpretation of a famous Faroese kvæÐi (a form of European ballad believed to derive from the Middle Ages) by the same name. Hearing this piece of medieval Faroese heritage represented through metal music was not something anyone had ever experienced before. This chapter will therefore explore how Faroese Viking metal – through its musical and visual style – interprets Faroese kvæÐi, which are themselves interpretations of a Faroese medieval past. The combination of Faroese traditions and contemporary metal music does have a societal and cultural effect. What, therefore, happens when the local and the global intersect and create something that cannot be considered global, but is however not purely local either, as it is in Faroese Viking Metal? The interpretation of several kvæÐi in Faroese Viking metal does not exactly perpetuate the authentic, but rather it presents them in a new form and ensures their circulation and repetition through a more globalised and popular media and Viking romanticism is therefore caught up with contemporary sociocultural imaginings of Faroese identity.