• ‘Golden Hatred’: anti-war sentiment and transgression in death doom metal

    Author(s):
    M.Selim Yavuz (see profile)
    Date:
    2016
    Group(s):
    Music and Sound
    Subject(s):
    Cultural musicology, Metal Music Studies, Musicology, Popular Music Studies
    Item Type:
    Conference paper
    Conf. Title:
    Metal and Politics Conference
    Conf. Org.:
    Bournemouth University
    Conf. Loc.:
    Bournemouth, United Kingdom
    Conf. Date:
    9 June 2016
    Tag(s):
    anti-war, doom metal, metal music studies
    Permanent URL:
    http://dx.doi.org/10.17613/M6DW97
    Abstract:
    Doom metal music and culture have been under the influence of 1970s hippie ideologies from the beginning with the music of Black Sabbath. Tony Iommi in an interview from 2011 suggests that Black Sabbath has been using the label ‘doom’ since its early days. While during early stages of doom music, this influence or interaction took both transgressive and reinforcing roles with the ‘extreme turn’ in metal music in the 1990s, this influence became more prominent especially within the style and culture of subgenres such as stoner doom or sludge doom. These subcultures adopted the imagery, the sound, and the drug use from the hippie culture. However, even though ‘War Pigs’ remains a symbolic song in doom metal style, this 1990s adaptation excluded, for the most part, this anti-war sentiment from the subcultures mentioned. Owen Coggins shows this idea rejuvenating in drone doom subculture –a culture and style that emerged after the extreme turn- through a movement mainly focussed on the opposition to drones, i.e. the unmanned combat aerial vehicles. Death doom metal is another subgenre emerged after 1990s, which explores this anti-war sentiment consistently. Death doom culture in its sound and imagery rejects the elements of 1970s, and ethnographic data suggests that musically, the pioneers of this subgenre see themselves connected to 1980s death and black metal music rather than the more-generally-accepted roots that is Black Sabbath. Then the question arises of how one should interpret the anti-war songs existent in death doom repertoire ideologically. The proposed article analyses this repertoire in relation to its claimed roots and further shows the anti-war sentiment as a transgressive property positioned in extreme metal culture as opposed to a residue of the adaptation mentioned. Furthermore, the article shows the compelling differences between anti-war ideas in death doom and earlier styles.
    Metadata:
    Status:
    Published
    Last Updated:
    8 months ago
    License:
    Attribution-NonCommercial-NoDerivatives

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