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Extreme metal originated in North America and Europe in the late-1980s, but Australia’s adoption of the form followed closely. One of the first Australian extreme metal (AEM) acts was Sadistik Exekution from Sydney, formed in 1985. Sadistik Exekution are notable for combining musical intensity with irreverent humour and parody. They introduced global extreme metal to the trope of the Australian larrikin: a once pejorative characterisation that has become a term of endearment in contemporary Australian culture, describing a defiant and jocular personality. This trope is evident in Sadistik Exekution’s work, but it has since proliferated more broadly throughout AEM, exemplified by more recent bands like Blood Duster and King Parrot. Their music, too, is inarguably intense and provocative, but is simultaneously mocking of the solemnity of its scene and lineage. This chapter will examine how bands like Sadistik Exekution, Blood Duster and King Parrot, through their public personas and musical and paramusical texts, have subverted extreme metal coding, thereby uncovering a uniquely Australian trajectory in extreme metal style and history.

This chapter explores how, by drawing inspiration from Islamic sources for a song about Alexander the Great, death metal band Nile have created space for a more complicated view of the Middle Ages than is traditionally found in either heavy metal or Western medieval studies. Even though the historical Alexander the Great was not a medieval figure, legends about him were especially popular in the Middle Ages, and his figure in Muslim traditions was influenced by his reception in the Middle Ages. Alexander the Great is a transcultural figure. He bridges East and West, both in the trajectory of his life, and in the diffusion of his legends, which survive in multilingual and multicultural medieval versions. His story also transcends boundaries of strict periodisation: the medieval Alexander materials are as influential to current ideas about him as are materials from his own era. In this context, Nile’s 2009 album Those Whom the Gods Detest offers an interesting case study for thinking about metal medievalism. This study opens new ways of thinking about the cultural scope of heavy metal and how metal might contribute to a broadening of studies in medievalism.

This chapter offers a case study of the distinctive political activism in Taiwanese metal by analysing the intertextuality of Just Not Meant to Be (還君明珠) (2015) by Crescent Lament (恆月三途). From the perspective of a cultural insider, the author examine the socio-cultural dynamics underlying this activism and explain how Taiwanese metal attempts to tackle the troubled past of Taiwan. The author brings attention to Just Not Meant to Be's commentary about the activism it takes part in, and reflect on problematics inherent to political activism in Taiwanese metal. Finally, the author explicates the problematics in the context of metal subculture in general. Pivotal throughout this chapter are the questions: Why does Taiwanese metal replicate forms of domination it seeks to counter? What can metal subculture in general learn from Taiwanese metal and its political activism?

This contribution is an investigation into the palpable connection of extreme metal music and concepts of death, dying and mortality. Like other dark subcultures, metal has an intense infatuation with the macabre; many of its subcultures seek to uncover meaning through musical exploration into varying dark themes that emerge when thinking about death and what lies beyond the bounds of existence. From the abrasive and animalistic blood lust of death metal to the melancholic textures of black metal and the sonic void evoked in doom metal, extreme metal is a catalyst through which fans of the macabre can explore many perceptions and conceptions of corporeal fragility; the consuming pain of life, of death, and of knowing; and the existential notion of the ungraspable abyss. This chapter explores these varying conceptualisations of death in extreme metal culture, their sonic representations and their cathartic consolation: delving into the psychoanalytic reasoning and embodied sound of death.

Folk metal is an immensely varied genre but an interest in the past in general, and the remote barbarian past, in particular, is a universal and defining characteristic. Performers evoke history in a number of ways, including musical sound, visual imagery, and lyrical subject matter, but the most emphatic tactic adopted (albeit by a minority of bands) is by the use of lyrics in dead languages (defined as those with no speakers for whom they are a mother tongue). Europe has many of these, of which much the most prestigious is Latin; folk metal bands, however, tend to use one or other of the vernacular languages, invariably that spoken during the earliest and formative period of their own national group. This practice of singing in dead languages originated in 1994 with the Norwegian band Enslaved, in a period in which extreme metal bands were self-consciously rejecting English – pop music's dominant tongue – in an attempt to distance themselves from what they saw as inauthentic neo-liberal Anglo-American cultural hegemony. From its beginnings, it had strongly patriotic and nationalistic overtones but it is argued that the ancient texts from which lyrics are taken also acquire a quasi-religious character for listeners, not least because of the occulted and numinous air imparted by the opaqueness of the language. The acts that have most often composed lyrics in dead languages have been Scandinavian – singing in Old Norse – but the most popular act that currently engages in it is Eluveitie, from Switzerland, who, whilst mostly performing in modern English, include at least one song on every album in reconstructed ‘Gaulish’. This linguistic strategy is at once a means of locating Eluveitie within the ‘code’ of folk metal, a method of acquiring the sub-cultural capital associated with ‘authenticity’, and an opportunity to align themselves with internationally-familiar and popular ‘Celtic’ identity and sensibilities.