‘Fandom’ and ‘scholarship’: Comparing two cultural-historical institutions
I ended my last post on the paradox at the heart of metal studies with the suggestion that cultural history, […]
The paradox at the heart of metal studies
Over the last two days, I had the wonderful opportunity of taking part in the inspiring Hardwired VII conference at […]
On the history of the ‘metal ear’ and methodological ‘distant listening’
Currently, I am in a phase of revising some older texts on metal cultural history. During these revisions I realized […]
On interdisciplinary and transdisciplinary cooperations in metal music studies
Currently, I am putting final touches on the manuscript of my book on European metal cultural history.1 In this stage […]
Putting metal in its time!? Theoretical, methodological and empirical observations on ‘locating metal’ by a historian.
In the recent stage of gaining clearer contours as an independent field, metals studies scholars have demanded more theoretical self-reflection […]
Breaking the law!? A research agenda for a gap in scholarschip
A gap in research In 1980, Judas Priest released their classic heavy metal anthem ‘Breaking the Law’ on the British […]
Interdisciplinarity, crossover, black metal theory: a single cultural history
Next week will see the 2019 edition of the black metal theory symposium in Ljubljana on 18 and 19 April. […]
Metal (music) studies: What’s in a name?
The field we are working in is commonly referred to as metal studies or metal music studies. I prefer the […]
What about tattoos as historiographic sources?
When Bruce Dickinsion released his first solo album Tattoed Millionaire in 1990, he could not know that today every good […]
1914, ‘The Blind Leading the Blind’: How to represent history in (extreme) metal?
Recently, the Ukranian black and doom metal group 1914 issued their new long-player The Blind Leading the Blind. According to […]