Search results

Since his death in 1993, Euronymous, guitarist of Mayhem and head of the underground label Deathlike Silence Productions, has emerged as a kind of ‘patron saint’ of black metal. Moreover, the iconography of invocations to Euronymous in album dedications aligns the ‘fallen warrior’ with the emergence of a new Dark Age precipitated by the music itself. This essay traces the development of the trope of Euronymous as a medievalised king in second wave black metal, a now-global genre that grew out of the early nineties scene in Oslo.

Extreme metal originated in North America and Europe in the late-1980s, but Australia’s adoption of the form followed closely. One of the first Australian extreme metal (AEM) acts was Sadistik Exekution from Sydney, formed in 1985. Sadistik Exekution are notable for combining musical intensity with irreverent humour and parody. They introduced global extreme metal to the trope of the Australian larrikin: a once pejorative characterisation that has become a term of endearment in contemporary Australian culture, describing a defiant and jocular personality. This trope is evident in Sadistik Exekution’s work, but it has since proliferated more broadly throughout AEM, exemplified by more recent bands like Blood Duster and King Parrot. Their music, too, is inarguably intense and provocative, but is simultaneously mocking of the solemnity of its scene and lineage. This chapter will examine how bands like Sadistik Exekution, Blood Duster and King Parrot, through their public personas and musical and paramusical texts, have subverted extreme metal coding, thereby uncovering a uniquely Australian trajectory in extreme metal style and history.

While the theme of death in the popular music subgenre of black metal has been written about descriptively, it is less frequent to find conceptual philosophical or theological analyses of death. In this piece, I aim to show how black metal's presentation of death lies in line with death as negation, instilled with strong links to Christianity's mystical apophatic theology. I will argue that this view on death shows it cannot be properly expressed in terms of affirmative language. Even where death is treated as a physical death, rather than metaphorical, it is a celebrated expression of negation. However, unlike the Christian apophatic tradition, black metal's death is not a renunciation of the physical; rather it is a complement to it. In a complex sense, even negating negations, black metal's expression of death is disturbing precisely because of its dual acceptance of death as metaphor and as physically fully realised.

This chapter explores the potential for musical medievalism within metal, exploring the ways in which metal musicians have sought to include ‘authentic’ medieval musical languages within their music. The medieval repertoire poses many challenges even for early music specialists, and the musical idioms of metal and medieval music rarely overlap, leading many medievalist metal bands to rely instead on normative metal styles with occasional references to specific identifiable melodies. The chapter focusses particularly on the American metal band Obsequiae, who have drawn inspiration particularly from the medieval polyphonic repertoire, which required creating much more oblique musical connections. Obsequiae’s albums feature acoustic guitar and harp arrangements of medieval polyphonic works, but their metal songs likewise adopt some general qualities of medieval polyphony. The obscure nature of the connections is likely beyond many listeners, but paradoxically the lack of obvious musical medievalism can also cultivate the appearance of a deeper connection.