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Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss weaves together trauma, black metal performance and disability into a story of both pain and freedom. Drawing on her years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny, and the healing power of performance.
This profoundly personal book offers a detailed explanation of autoethnography, followed by a careful exposition of the relationship between metal and gender, considering - among other things - how women are engaged with by metal music culture. After examining the various waves of black metal and how this has impacted black metal theory, the book moves on to consider female performers and performance as catharsis, including a discussion of the author's work as guitarist and vocalist with the black metal band Denigrata and her alter-ego, the 'antlered priestess' Denigrata Herself. The book concludes with some thoughts on acquired disability, freedom and peace.
The book includes a foreword from eminent gender researcher Rosemary Lucy Hill, a guest section from metal scholar Amanda DiGioia, an epilogue from Rebecca Lamont-Jiggens (a legal pracademic specialising in disability), suggestions of sources of help for those in abusive relationships and further reading for those wishing to learn more about black metal theory.
Price: $111.99
Pages: 256
Publisher: Emerald Publishing Limited
Imprint: Emerald Publishing Limited
Series: Emerald Studies in Metal Music and Culture
Publication Date:
18 December 2020
ISBN: 9781787569263
Format: Hardcover
BISACs:
'Shadrack's brave usage of autoethnography to explore how black metal is a movement beyond music presents a new and refreshing paradigm through the exploration of an often-misunderstood subculture. Her skill in intertwining methodology with her own subjective reflexivity is an important and much-needed addition to gender, music, and performance studies.'
Jasmine Hazel Shadrack is a trauma researcher, musicologist, autoethnographer, and conductor. She has played guitar in extreme metal bands for the last twenty years. She now devotes her time to researching and composing.
Chapter 1. Interpretive Performance Autoethnography
Chapter 2. “Women! Stop Ruining Metal!” Mapping Extreme Metal
Chapter 3. Black Metal’s Historical Analysis: The Story of Male Metal
Chapter 4. The Feminine Absent
Chapter 5. Of Wolves and Witches
Chapter 6. Denigrata as Performance
Chapter 7. Conclusion. Liber Sum: Restorative Visibility and the Feminine Present
Epilogue from Rebecca Lamont-Jiggens
Peroration: Dying Words as Abominable Lifeblood