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Heavy metal music has had a long relationship with environmental and ecological concerns, one that can be traced as far back as Black Sabbath’s ‘Into the Void’ (1971). Academic work has, however, been slow to recognise the entanglements of metal, environment and ecology in either the global or an Australian context. More recently, however, popular music scholars have begun to acknowledge how the sonic anger of black, death and other genres of extreme metal might be an appropriate medium for social and environmental commentary and protest (Lucas, 2015, p. 555). Therefore, according to Wiebe-Taylor (2009), metal’s ‘darker side is not simply about shock tactics and sensory overload…’, because, ‘metal also makes use of its harsh lyrics, sounds and visual imagery to express critical concerns about human behaviour and decision making and anxieties about the future’ (p. 89). Taking an ecocritical approach, this chapter will map and analyse the environmental concerns and ecological anxieties of Australian metal across a range of different bands and metal genres, as they emerge through three ‘dead-end’ discourses-misanthrophism, apocalypticism, Romanticism – which offer little or no hope of survival.

This chapter serves as the introduction to the edited collection, calling into focus the diverse ways in which ‘Australia’ is asserted in the spaces, scenes and practices of Australian heavy metal. This chapter responds to earlier quandaries in the sparse research on Australian metal which question if there is anything definitively ‘Australian’ about the characteristics, themes and narratives demonstrated within Australian heavy metal scenes. In response to this challenge, the author uses this chapter to establish critical foundations for addressing how Australianness has been represented ‘Downunderground’ (Phillipov, 2008, p. 215) – historically, musically and geographically, as work in this collection affirms. This introduction foregrounds the concerns of the edited collection at large, which addresses how national identity has been imagined and constructed in ways which can at once celebrate problematic patriarchal nationalist symbolism, yet also call into focus the resistant and subversive ways in which metal scenes have deconstructed, critiqued and renegotiated the parameters of what it means to be ‘Australian’. This chapter asserts that any interrogation of the ‘Australianness’ of Australian metal must problematise the notion of a singularly ‘Australian’ identity in the first instance. Here the author argues that ‘Australian metal’ as a consolidated signifier must be problematised to instead come to an understanding of the multisited ways in which ‘Australianness’ is experienced within scenes. In doing so the author establishes the critical trajectories for the edited collection at large – to track the genealogies of Australian metal as a component in a wider global scene, and consider the plurality of its contemporary manifestations.