Browsing by Subject "black metal"
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(2021)Tässä tutkimuksessa on havainnoitu Turku Saatanalle Black Metal Festivalia etnografian keinoin, tarkoituksena analysoida Ninian Smartin esittämän seitsemän uskonnon ulottuvuuden ilmenemistä tapahtumassa, satanismin ja black metallin viitekehyksessä. Tutkimuskysymys on: kuinka seitsemän uskonnon ulottuvuutta ilmenevät Turku Saatanalle VII Black Metal Festivaleilla, satanismin ja black metallin viitekehyksessä? Black metal -musiikki ja sen alakulttuuri sekä satanismi ovat tulleet suomalaisille tutuiksi ilmiöiksi 90-luvun saatananpalvojapaniikin myötä. Mustanpuhuvuus ja saatanallinen kuvasto ovat tunnusomaisia tässä alakulttuurissa sekä monet painottavat alakulttuurin satanistisuutta ja saatanakeskeisyyttä. Black metallia voidaan tarkastella satanistisuuden musiikillisena itseilmaisuna. Satanismin juuret linkittyvät eri filosofien, kuten Macchiavellin ja Nietzschen, ajatuksiin sekä kaunokirjallisuuteen. Satanismi tuli erityisen tunnetuksi Anton LaVeyn ja tämän perustaman Saatanan kirkon myötä – tämän ollessa shokeeraavaa. Saatanan kirkko edustaa ateistista satanismia, jossa Saatana toimii ikään kuin metaforisena ideaalina, olematta kuitenkaan totta. 90-luvulla saatananpalvojapaniikin myötä erottelua saatananpalvojien ja satanistien välille pyrittiin tekemään, mutta tänä päivänä erottelu voidaan nähdä turhana. Suomessa pesäeroa ateistiseen satanismiin on tehnyt Azazelin Tähti -seura, joskin seuraan kuuluvat muutkin kuin satanistit. Turku Saatanalle VII Black Metal Festival järjestettiin vuonna 2020 maaliskuussa. Tapahtumassa esiintyi black metal -yhtyeitä kahden päivän ajan. Tutkimuksen aineisto on kerätty etnografisesti havainnoimalla ja kenttäpäiväkirja sekä muut tallenteet on analysoitu sisällönanalyysin avulla. Kaikki seitsemän uskonnon ulottuvuutta ilmenivät festivaaleilla, joskin erilaisin painotuksin. Festivaalitapahtuman luonteen vuoksi oli oletettavaa, että käytännön ja rituaalin ulottuvuus olisi muihin verrattuna yliedustettuna, sillä koko festivaalin voi itsessään nähdä rituaalisena tapahtumana. Filosofian ja säädöksen ulottuvuudet jäivät suhteellisen pienelle edustukselle, joka oli odotettavissa aineiston tyypin vuoksi. Kuitenkin kaikkia ulottuvuuksia löytyi festivaaleilta. Voidaankin siis ajatella, että black metal olisi rituaalista satanistista toimintaa, sillä rituaalin ja käytännön ulottuvuus tulisi mitä todennäköisimmin olemaan yliedustettuna myös muissa black metal -tapahtumissa.
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(2013)The study aims to depict how black metal scene members see black metal, the scene and their own identities in the changing, global mediascapes of today and how they (re-) negotiate these elements in these circumstances. In the last two decades, the new ICT have changed the world and equally so musical scenes. The question to be answered then is how a global subculture like black metal that highly values obscurity and has a strong ideology reacts to these changes as these developments result in concepts such as scene, space, identity and authenticity being challenged in today’s globalized world. Despite the little academic attention that black metal has received, it is not only interesting musically with black metal being one of the newest and most extreme metal subgenres but the black metal scene and its practices are noteworthy because of their unique connection of music and ideology as well as the global network that has existed since black metal’s inception. A qualitative multi-method research design is used to achieve an understanding of both experiences and thoughts of individual scene members as well as to try to discover a wider scenic development, negotiation behaviour and to draw a picture of scenic media use. The data was gathered by starting a thread in an online discussion forum and conducting six semi-structured interviews both face-to-face as well as online through email and written Skype chats. Scenic material such as magazines and documentaries were collected and used to support the other two data sets and add more nuances. All these materials were analysed thematically from an insider researcher perspective. In conclusion, it can be said that while there clearly was a phase of conflict in the scene to adapt to the developments it seems they have enforcedly been accepted and are seen as part of an inevitable evolution. The Internet has become the dominant media used in the black metal scene. It is acknowledged that the Internet makes access easier and faster, it shrinks the world. This is seen both as positive and negative. Scene members see it as beneficial personally as the Internet allows inexpensive and fast access to information and communication tools. For the scene however, it is seen as a threat since it renders black metal more visible and provides easier accessibility for everyone. While black metal in its core has not changed and its ideology has remained the same, the scene has developed, grown up and become more diverse and fragmented as well as lost some of its restrictiveness.
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(2023)Metal music abounds with biblical reception. In this thesis I analyze how biblical themes and scriptures are utilized in Behemoth’s songs Ora Pro Nobis Lucifer, Messe Noire, and Rom 5:8. I pay special attention to how Satan’s character and related themes are approached in the songs. I analyze band’s background from multiple angles as well as the history and special characteristics of its genre. In the actual analysis I research the lyrics of each song specifically. At the synthesis I discuss what these three songs convey together in relation to the research question. In my thesis I answer the research question How are biblical themes used and the character of Satan approached in the Behemoth’s songs Ora Pro Nobis Lucifer, Messe Noire and Rom 5:8. Each of the three songs contain extremely versatile biblical reception and biblical themes are represented in an extraordinarily intellectual and professional manner, which offers a fertile ground for exegetical analysis. Satan, as well as other Christian themes are represented openly through Christian tradition in these Behemoth’s songs, and Christian tradition itself is not denied. Instead, the Bible is openly taken advantage of. It is used to present completely opposite views compared to the purpose of the texts themselves. Biblical scriptures are often used verbatim. However, in the manner that the listener unambiguously understands that they are turned upside down and pointed towards opposite direction than the original texts. There are e.g., exact quotes from Lord’s Prayer, Book of Revelation, and Gloria Patri in the songs. In addition, Apostles’ Creed has been modified to a form that is not presented to God, but to Satan instead. However, biblical texts and themes are also being utilized in a remarkably versatile manner, and the songs are full of biblical names, stories and especially modifications of those. All in all, the lyrics show that the lyricist, primarily Adam Darski, has uttermost knowledge of biblical themes and exceptional capability to use that knowledge. Satan is approached by taking advantage of Christian themes. Crucially, Satan is being an agent who replaces God. Satan is a respected target of prayers and wishes, a suffered character, who wins God at the end. Crucial observation is, as previous literature suggests that the band and its main songwriter Adam Darski represent rational satanism that is an atheistic philosophy instead of any theistic Satanic approach. Satan is a metaphor representing the core of rational satanism: individualism and freedom. Firstly, Satan is seen as an inner power instead of any theistic character. Secondly, Satan is a metaphor for human freedom of choice and aforementioned individualism. Thirdly, Satan is, according to Darski, a misunderstood figure, which most likely refers to him often being seen in a theistic manner or as a character acting under God’s authority. This idea of a misunderstood figure can be seen in the lyrics as well. Idea of Satan as a counterpart of God is being used mostly as a tool to adduce this atheistic philosophy.
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