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By Rosemary Overell (auth.)

ISBN-10: 1137406771

ISBN-13: 9781137406774

ISBN-10: 1349488046

ISBN-13: 9781349488049

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And interaction with others. Berger focuses on metal as an immediate experience – rather than a cognitised aesthetic object. He suggests that metal blurs the socially constructed boundary between self/subject and thing/object (p. 19). Metal, Berger says, ‘constitute[s] a pulse’ (p. 9) of its own. Berger particularly discusses these ideas in relation to live performances of death metal. During a gig, he suggests, band members ‘feed off’ (p. 168) each other’s energy and produce an experience that moves between an embodied individual (as in listening for the drummer’s rhythmic cues) and collective, though still embodied, (spontaneously improvising together) experience (p.

83). However, her primary understanding of how scene members find belonging is through the articulation of knowledge and enjoyment of angura music; that is, through representations of subcultural capital and habitus. The exception here is Berger’s work, which discusses the embodied experiences of scene members in live music space. His examination of how death metallers experience performing live is enlightening as it accounts for the gig as a malleable process – rather than a static object that can be interpreted linguistically.

Brutal . . metal band in Osaka. (Nobu, Osaka) Brutal, however, often extends beyond the commendation of a particular musician or group. For many scene members, it is used in everyday life to indicate something they enjoy, or like: Brutal = the best; in the best possible way incompassing [sic] all elements or being the best. (Shawn, Melbourne, via email) Brutal means to me something that is good. (Andy, Melbourne, via email) In Osaka, burutaru regularly peppered scene members’ Japanese conversations, even outside of discussions of raibuhausu and music.

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


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