I’ve finally started to read ‘Black Metal: Beyond the Darkness’ (Stosuy Eds). My recent penchant for musical thinking reflects a cultural and intellectual sensibility that art should aspire to be radical and affect change.
One of the things I like about the anthology is that at the outset, it tries not to tell the same old story about Black Metal, instead, portraying Black Metal as a scene, a mindset, an art form that has been claimed by many people in different ways. There are many documentaries and places where the same old stories are told about Mayhem, Burzum, Bathory and even the British band Venom. In a way those stories have formed an hegeomonic claim to the genre, and this is wrong.
I like the notion of hegemony as a conceptual frame here. I was talking to a friend who brought up to me how certain cultures have hegemonic loci that relate across cultural and linguistic boundaries: for example, how India forms a cultural hegemon to Sri Lanka or Bangladesh, or the USA to many parts of the English speaking world. Some voices are more prominent than others. When it comes to Black Metal, it is my view that the really interesting voices come from plurality, and avoiding the temptation (and it is particularly strong for me), to generalise too much.
I really liked the chapter on the overview of concurrent black metal scenes at the same time as the Norwegian movement. Poland and France have particularly brutal reputations when it comes to ‘rawness’. Greek Black metal (which I have more familiarity with in terms of 2000s bands) emphasies mysticality in their own unique way that is not imitating anyone else. One author wrote an essay about their own band from Latvia and how cultural contact was limited due to economic and cultural conditions such as the ‘Iron Curtain’ and scarcity of outside music. I thought it was interesting when Kvetkovskis of Skyforge points out how the pirated cassettes of outside metal music was brought alongside more popular outside music like Madonna.
Growing up I spent a little bit of time in the Philippines and saw the way that cultural products from outside came in. Often there aren’t really hard distinctions made between say, rock and metal; or likewise, extreme metal genres (black metal, grindcore, death metal etc.). Each country, due to their own circumstances, draws from it in a different way. It would be far too judgmental to critique a band because of the ways they categorise metal genres.
Perhaps the one thing I thought notable about many of the European black metal scenes described in the book, is how they have differing relationships to the issue of their nationality and the connection to their folk culture, particularly the relationship to Christianity and their folk culture. As I’m reading another book on Wagner at the moment, the comparisons are inevitable and too obvious. I feel that the more I read about black metal, the more I seem to understand Adorno’s perspective on Wagner. I see a certain blackness/negritude to the cultural politics of Wagner; and I also see a certain Wagnerian Romanticism about some elements of black metal scenes too.