Archive-name: heavy-metal/intro
Posting-frequency: semimonthly Last-Modified: 16-Mar-06 See reader questions & answers on this topic! - Help others by sharing your knowledge Heavy Metal FAQ: Introduction to Metal Music and Culture Archive name: Frequently Answered Questions (FAQ) about Metal FAQ Name: Introduction to Metal Author: Hessian Studies Center (http://www.hessian.org/) WWW: http://www.anus.com/metal/about/faq/ Version: 0.2 --- Newsgroups: Core: Periodic posting alt.rock-n-roll.metal, alt.rock-n-roll.metal.heavy, alt.rock-n-roll.metal.death, alt.music.black-metal, alt.thrash, alt.rock-n-roll.progressive, alt.fan.metal, alt.music.slayer, alt.music.underground.metal.death, alt.music.underground.metal Associated: Infrequest Posting alt.fan.metal, alt.rock-n-roll.metal.black, alt.rock-n-roll.metal.doom, alt.music.alternative, alt.fan.metal.{burzum|graveland|suffocation|demilich} Deprecated but occasional posting (intoxication) alt.music.black-metal.nazi,alt.homosexuality.death-metal Introduction: This periodically posted article is designed as an introduction to metal music (heavy metal, death metal, speed metal, black metal, thrash, grindcore, ambient metal) by way of an examination of the subculture which has produced this very distinctive music for three generations. It includes but is not limited to: history of metal music, philosophies of metal, metal musicians, metal newsgroups, events, CD and tshirts purchasing, Hessian experiences. Summary: This FAQ explores the development of heavy metal as a musical movement through theory and ideology, the primary influences on its growth, which seeks to overcome the negative through an existential nihilism that leads to self motivated philosophies, a transformation rooted in the self-dependent mythos of the culture and its association with occultist post-moral behavioral structures. Metal as a pattern of thought is a rebellion within postmodern ideology from structured cyclicism to structuralist dynamicism, effectively extending the principles of modernism to a post-relativity universe through a focus on transcendental kineticism, individual participation in postmoral experience, and chaotic mass destruction; it could be called an information systems theory approach. Similarly the revolution in music theory from metal is the extension of harmony from cyclic theatricism (wagnerianism) into melody for artistic, pure, complex experimentation. Subcultural genres such as metal are one of the few ways postmodern and existential thought enter mainstream life, as a meta-theory to politics and sociology. About this FAQ: This FAQ is designed to answer questions ranging from the purely quantitative to the metaphysical, and as such is divided into four sections, of which the first one (I) is a loosely organized collection of known questions and answers, the II and III are analysis, and IV represents some attempt to categorize the genre as it exists in shared virtual spaces. Authorship: The Hessian Studies Center task group is part of an organization dedicated to exploring and documenting metal as a subculture and ideology. They can be found online at: Hessian Studies Center http://www.hessian.org/ Dark Legions archive http://www.anus.com/metal/ Grindcore Dept http://www.grindcore.org/ KCUF Metal Radio http://www.kcuf.com/ Death Metal Institute http://www.deathmetal.org/ [ An up-to-date TEXT copy of this article may be found via http to http://www.anus.com/metal/about/faq. ] A. Meta-Outline I. Frequently Answered Questions I. Procurement II. Ideology III. Music Making IV. Scene Inbreeding V. Overheard VI. About this FAQ II. Metal as concept I. Music II. Culture III. Ideas IV. Applicability III. Metal as physical manifestation I. Concerts II. Recordings III. Production IV. Gear IV. Metal as virtual community I. Newsgroups II. Email Lists III. WWW IV. People V. AE's B. Total Outline I. Frequently Answered Questions (Granular) 1.1 Procurement 1.1.1 how to find? 1.1.2 distribution 1.1.3 trading 1.2 Ideology 1.2.1 black metal crimes 1.2.2 theology 1.2.3 fascism 1.2.4 christianity 1.2.5 suicide/slayer lyrics? 1.2.6 black metal disputes 1.2.7 Research list 1.3 Music making 1.3.1 technique 1.3.1.1 Blast Beats 1.3.1.2 Fast strum 1.3.1.3 Double bass 1.3.1.4 Harmonics 1.3.2 production 1.3.3 as cultural event 1.4 Scene inbreeding 1.4.1 closed minded 1.4.2 too serious 1.4.3 connection to music 1.5 Frequently Overheard Questions 1.5.1 general public 1.5.1.1 emperor/enslaved tracks 1.5.1.2 swedish distortion 1.5.1.3 blast beats 1.5.1.4 discographies 1.5.1.5 current prison totals 1.5.1.6 origin of name "heavy metal" 1.5.2 "intellectuals" see section II. 1.5.3 totally granular 1.5.3.1 drinking blood 1.5.3.2 fire-breathing 1.5.3.3 sodomy 1.6 About this FAQ? 1.6.1 authorship 1.6.2 contributorship 1.6.3 design 1.6.4 affiliated sites II. Metal as abstract concept 2.1 Music 2.1.1 Sound 2.1.1.1 Downtuned 2.1.1.2 Convergent rhythms 2.1.1.3 Tone centric 2.1.1.4 Abstract 2.1.1.5 Minimalist 2.1.2 Theory 2.1.2.1 Technique --> Structure 2.1.2.2 Melody --> Harmony 2.1.2.3 Tonality --> Dynamicism 2.1.2.4 Chaotic 2.1.2.4.1 Heisenbergian Chaos 2.1.2.4.3 Relativism --> Dynamicism 2.1.2.4.4 Absolutism --> Structure, Melody 2.1.3 Genre 2.1.3.1 Proto-metal 2.1.3.2 Heavy metal 2.1.3.2.1 "Black metal" 2.1.3.2.2 "Doom Metal" 2.1.3.2.3 "Power metal" 2.1.3.3 Speed metal 2.1.3.4 Thrash 2.1.3.5 Death metal 2.1.3.6 Black metal(2) 2.1.3.7 Grindcore 2.1.3.8 Ambient metal 2.1.3.9 Styles and crossovers 2.1.3.9.1 doom metal 2.1.3.9.2 industrial 2.1.3.9.3 black metal(1) 2.1.3.9.4 power metal 2.1.3.9.5 speed/death crossover 2.2 Culture 2.2.1 Meta-Rebellion 2.2.2 Practical Implementation of Metaphorical Complexity 2.2.2.1 Mythos 2.2.2.1.1 Culture Mythos 2.2.2.1.2 Subculture Mythos 2.2.2.3 Living after Midnight 2.2.2.1 Activities 2.2.2.2 Intoxicants 2.2.2.3 Events 2.2.2.4 Dialogues 2.2.2.4 Language 2.2.5.1 Relation to human animal 2.2.5.1.1 Gender pronouns 2.2.5.1.2 Self-reference 2.2.5.1.3 Abstract 2.3 Ideology 2.3.1 Ideals 2.3.1.1 Romanticist 2.3.1.2 Existentialist 2.3.1.3 Postmodernist 2.3.1.4 Mysticism 2.3.1.5 Shamanism 2.3.1.6 Nihilism 2.3.1.7 Organicism 2.3.1.8 Naturalism 2.3.1.9 Individualism 2.3.2 Influences 2.3.2.1 Ideologies 2.3.2.1 Rationalism 2.3.2.2 Autonomism 2.3.2.3 Existentialism 2.3.2.4 Buddhism 2.3.2.5 Classicism 2.3.2.6 Structuralism 2.3.2.7 Transcendentalist 2.3.2.2 Thinkers 2.3.3.2.2.1 Nietzsche 2.3.3.2.2.2 Kant 2.3.3.2.2.3 Deleuze 2.3.3.2.2.4 Morrison 2.3.3.2.2.5 Hitler 2.3.3.2.2.6 Burroughs 2.3.3.2.2.7 Blake 2.3.3.2.2.8 Poe 2.3.2.3 Counterculture 2.3.2.3.1 Hippie 2.3.3.1.5 Beat 2.3.3.3.3 Biker 2.3.3.1.6 Punk 2.3.3.1.7 Horror Films 2.3.3.1.8 Drugs 2.3.3.1.9 Fascism 2.3.2.4 History 2.3.2.5 Drugs 2.3.2.6 Natural Transcendentalism 2.3.4 Methods 2.3.4.1 Metaphor 2.3.4.1.1 metapatterning: comparing event to whole 2.3.4.1.2 subconscious communication 2.3.4.1.3 more complex than symbology of quantitative 2.3.4.2 Metacognitive thinking 2.3.4.2.1 Fantasies 2.3.4.2.2 Structure 2.3.4.2.3 Autonomism 2.3.4.2.4 Will 2.3.4.2.5 Inertia 2.3.4.3 Postmodernism 2.3.4.3.1 Aesthetic 2.3.4.3.2 Structure 2.3.4.3.3 Artistry 2.3.4.3.4 Philosophy 2.3.4.3.5 Presence 2.3.4.4 Cultural individualism 2.3.4.4.1 Identity 2.3.4.4.2 Ideology 2.3.4.4.3 Politics 2.3.4.4.4 Spiritualism 2.3.4.4.5 History 2.3.5 Events 2.3.5.1 Atomic bomb 2.3.5.2 Viet Nam 2.3.5.3 Reaganification 2.3.5.3 End of Cold War 2.3.5.4 Internet 2.3.5.5 Millenium 2.4 Applicability 2.4.1 Musically 2.4.1.1 Heavy music 2.4.1.2 Psychedelic/ambient 2.4.1.3 Experimental violent 2.4.1.4 Grunge 2.4.2 Aesthetically 2.4.1.1 Degraded 2.4.1.2 Stark 2.4.1.3 Structural 2.4.3 Philosophically 2.4.3.1 Hedonism 2.4.3.2 Nihilism 2.4.3.3 Romanticism 2.4.3.4 Politics 2.4.4 Decryptically 2.4.4.1 Experiential Conception of Art 2.4.4.2 Existential Gateway to Darkness III. Metal as Physical Manifestation 3.1 Concerts 3.1.1 Information 3.1.1.1 List of tour date sites 3.1.1.2 Band homepage finder 3.1.1.3 Venues by city 3.1.2 Attendance 3.1.2.1 Ear protection 3.1.2.2 Social interaction 3.1.2.3 Rules of evidence 3.1.3 Merchandise 3.1.3.1 Shirts and prices 3.1.3.2 CD's 3.1.3.3 Royalties breakdown 3.2 Recordings 3.2.1 Audio 3.2.1.1 Live 3.2.1.1.1 Acquisition 3.2.1.1.2 Resources 3.2.1.2 Studio 3.2.1.2.1 Acquisition 3.2.1.2.2 Resources 3.2.2 Video 3.2.2.1 Live 3.2.2.2 Studio 3.3 Production 3.3.1 Techniques 3.3.1.1 Swedish distortion 3.3.1.2 Distortion mini-FAQ 3.3.1.3 Vocal effects 3.3.2 Studios 3.3.2.1 Morrisound 3.3.2.2 Grieghallen 3.3.2.3 Sunlight 3.3.3 Producers 3.3.3.1 Harris Johns 3.3.3.2 Tomas Skogsberg 3.3.3.3 Pytten 3.3.3.4 Tom Morris 3.3.3.5 Scott Burns 3.4 Objects 3.4.1 Gear 3.4.1.1 Clothing 3.4.1.2 Patches 3.4.1.3 Armor 3.4.1.4 Weapons 3.4.2 Distribution 3.4.2.1 labels 3.4.2.2 mail order 3.4.2.3 net sales 3.4.2.4 tape trading 3.4.2.5 used sales 3.5 Playing 3.5.1 Guitar 3.5.2 Drums 3.5.3 Bass 3.5.4 Vocals IV. Metal as virtual community 4.1 Newsgroups 4.1.1 extant groups 4.1.2 history 4.1.3 suggested futures 4.1.4 etiquette/ethos 4.1.5 objective communication 4.2 Other net resources 4.2.1 WWW 4.2.2 IRC 4.2.3 ICQ 4.2.4 Email lists 4.3 People 4.3.1 Who listens to metal? 4.3.2 How to find metal fans? 4.4 Bands 4.4.1 Listings 4.4.2 Approaching 4.5 AE's 4.5.1 Metal AE NOTE: Not responsible for reader _reactions_ to the contents or implications of this FAQ. ================================================================ (c) Copyright 1994-2006 Hessian Studies Center @ www.hessian.org User Contributions:
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