Affective Intensities in Extreme Music Scenes: Cases from by Rosemary Overell (auth.)

By Rosemary Overell (auth.)

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NRT is difficult to represent and challenging to apply. The strictures of academic form, style and methods mean that more than representational moments are always already cognitised. However, this has allowed for some novel interdisciplinary approaches. These have included regarding cultural spaces as an example of a Deleuzian ‘labyrinth’ (2002), where labyrinthine landscapes contain multiple possible significations simultaneously. These representations open up Extreme Metal Music, Belonging and Ethnography 29 to more than representational space and render such spaces present in the particular moment of encounter.

He emphasises the role ‘transgressive subcultural capital’ (p. 127) plays in establishing authenticity and finding belonging, particularly for black metal fans. Transgressive subcultural capital refers to the subcultural capital gained via acts which transgress dominant culture norms. These acts range from the mundane – setting up a DIY (Do It Yourself) label,5 rather than working a regular job (p. 125) – to the more extreme. In its most extreme form, transgressive subcultural capital in extreme metal manifested itself in the, ostensibly Satanic, ‘true Norwegian black metal’ crimes of murder and church burning during the 1990s (p.

Gigs start at around 9pm and often do not finish until past midnight. As the gigs are held in pubs, punters (gig-goers) and musicians generally drink excessively during and after a gig. A relatively small cover charge (usually between AU$5 and AU$15) is paid by attendees. This money is divided between the band and the pub manager. The band usually only covers the cost of transport, and perhaps rehearsal venue fees and production expenses. They are, however, generally provided with a rider of eight to ten free beers.

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