Review Of Metal Literature

"Previous edition publishedi n hardcover by Decibel Books, 2015. Original edition by Feral House, 2004."--Title page verso.

Includes "A-Z of Swedish death metal bands - encyclopedia," with band histories and performers.

Death metal is one of popular music's most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Studies tend to view the music as a reflection of these listeners' social conditions and are concerned with metal's pleasures so long as these can be seen within that context: as responses to cultural and economic circumstances. Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits, in contract, offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the 'real' lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a 'technical' or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or 'reactionary.' By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening—it also offers some important starting points for a rethinking of popular music scholarship as a whole.

Downtrodden and powerless, Planeswalker Tezzeret must do everything he can to return to his former glory—even if it means relying on old enemies From the ashes of defeat, Tezzeret rises again. Beaten to within an inch of his life and left for dead by the psychic sorcerer Jace Beleren, Tezzeret has lost control of the Infinite Consortium—an interplanar cabal he commanded with a power and influence few in the Multiverse have ever achieved. Now he must turn to a former enemy for help: the dragon Nicol Bolas, perhaps the only Planeswalker in the Multiverse powerful enough to get him back on his feet. Bolas, however, has his reservations. What can Tezzeret give him that he doesn’t already have? So begins Tezzeret’s search for the secret of etherium—a magical alloy infused with all the power of the Blind Eternities—thought to have been lost with the disappearance of the great sphinx, Crucius the Mad. Tezzeret’s quest is clear, but his thirst for revenge clouds his decisions. Will he achieve his goal, or will he be bested by his own ambition?

A poetic exploration of the new world created by the collision of the biological body with technology and culture. For more than 3,000 years, humans have explored uncharted geographic and spiritual realms. Present-day explorers face new territories born from the coupling of living tissue and metal, strange lifeforms that are intelligent but unconscious, neither completely alive nor dead. Our bodies are now made of machines, images, and information. We are becoming cultural bodies in a world inhabited by cyborgs, clones, genetically modified animals, and innumerable species of human/information symbionts. Ollivier Dyens's Metal and Flesh is about two closely related phenomena: the technologically induced transformation of our perceptions of the world and the emergence of a cultural biology. Culture, according to Dyens, is taking control of the biosphere. Focusing on the twentieth century—which will be remembered as the century in which the living body was blurred, molded, and transformed by technology and culture—Dyens ruminates on the undeniable and irreversible human/machine entanglement that is changing the very nature of our lives.

'Great characters, fine writing, totally engrossing' STEPHEN KING It might have been the end of days. Instead it was the beginning of something shockingly new. They called the comet Cain, after the astronomer who discovered it. It passed 500,000 miles from Earth. We were spared planetary destruction and granted a light show like no other. But, one year later, Earth span into the debris field left by the comet and a meteor storm struck. Roads, buildings and even a small town were annihilated. The meteors impacted heavily around the dying mining town of Northfall, Minnesota. It was the night of a mysterious double murder, the deed overshadowed by the discovery that the burning remains of the rock contained an unknown substance more precious than gold: the Ninth Metal. And with that discovery, everything changed. Benjamin Percy is an award-winning novelist, celebrated comic books writer and author of the Wolverine podcast. The Ninth Metal is the first of a cycle of novels set in a shared universe. Praise for The Ninth Metal: 'Whether you choose to think of him as the Elmore Leonard of rural Minnesota or the Stephen King of Science Fiction, Percy - with his extraordinary and unrelenting eye - dishes up humanity like some kind of otherworldly blue plate special, at once deeply familiar and wildly new' Margaret Stohl, No. 1 New York Times Bestselling Author 'Take one part dystopia, one part sci-fi, two parts apocalypse, then ride them roughshod through a bleak and bloody western, and it still wouldn't get close to what Ben Percy does here, which is blow open the core of humanity's dark heart' Marlon James, Booker Prize winning author of Black Leopard, Red Wolf 'The Ninth Metal continues his streak of thrilling, incisive genre bending goodness. It's a sci-fi novel, a crime novel and a super-hero novel, too. Audacious and intelligent and exactly what I was dying to read' Victor LaValle, author of The Changeling

"That science-fiction future in which technology would make everything very good—or very bad—has not yet arrived. From our vantage point at least, no age appears to have had a deeper faith in the inevitability and imminence of such a total technological transformation than the early twentieth century. Russia was no exception."—from the introduction In the Soviet Union, it seems, armoring oneself against the world did not suffice—it was best to become metal itself. In his engaging and accessible book, Rolf Hellebust explores the aesthetic and ideological function of the metallization of the revolutionary body as revealed in Soviet literature, art, and politics. His book shows how the significance of this modern myth goes far beyond the immediate issue of the enthusiasm with which the Bolsheviks welcomed such a symbolic transfiguration and that of our own uneasy attraction to the images of metal flesh and machine-men. Hellebust's literary examples range from the famous (Pasternak's Doctor Zhivago) to the forgotten (early Soviet proletarian poets). To these he adds a mix of non-Russian references, from creation myths to comic book superheroes, medieval alchemy to Moby-Dick. He includes readings of posters, sculpture, and political discourse as well as cross-cultural comparisons to revolutionary France, industrial-age America, and Nazi Germany. The result is a fascinating portrait of the ultimate symbols of dehumanizing modernity, as refracted through the prism of utopian humanism.

Heavy metal might not have been the most likely popular music genre to become global, but it has. This collection brings together cultural studies and pop music accounts of metal around the world, including Indonesia, Malaysia, Singapore, Nepal, Brazil, Malta, Slovenia, China, Japan, Norway, Israel, Easter Island, and more.

Includes interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, this book demonstrates the power and subtlety of an often surprising and misunderstood musical form. It draws on first-hand research to explore the global extreme metal scene.