"Previous edition publishedi n hardcover by Decibel Books, 2015. Original edition by Feral House, 2004."--Title page verso.

Death metal is one of popular music's most extreme variants, and is typically viewed as almost monolithically nihilistic, misogynistic, and reactionary. Studies tend to view the music as a reflection of these listeners' social conditions and are concerned with metal's pleasures so long as these can be seen within that context: as responses to cultural and economic circumstances. Michelle Phillipov's Death Metal and Music Criticism: Analysis at the Limits, in contract, offers an account of listening pleasure on its own terms. Through an analysis of death metal's sonic and lyrical extremity, Phillipov shows how violence and aggression can be configured as sites for pleasure and play in death metal music, with little relation to the 'real' lives of listeners. In some cases, gruesome lyrical themes and fractured song forms invite listeners to imagine new experiences of the body and of the self. In others, the speed and complexity of the music foster a 'technical' or distanced appreciation akin to the viewing experiences of graphic horror film fans. These aspects of death metal listening are often neglected by scholarly accounts concerned with evaluating music as either 'progressive' or 'reactionary.' By contextualizing the discussion of death metal via substantial overviews of popular music studies as a field, Phillipov's Death Metal and Music Criticism highlights how the premium placed on political engagement in popular music studies not only circumscribes our understanding of the complexity and specificity of death metal, but of other musical styles as well. Exploring death metal at the limits of conventional music criticism helps not only to develop a more nuanced account of death metal listening—it also offers some important starting points for a rethinking of popular music scholarship as a whole.

'Great characters, fine writing, totally engrossing' STEPHEN KING It might have been the end of days. Instead it was the beginning of something shockingly new. They called the comet Cain, after the astronomer who discovered it. It passed 500,000 miles from Earth. We were spared planetary destruction and granted a light show like no other. But, one year later, Earth span into the debris field left by the comet and a meteor storm struck. Roads, buildings and even a small town were annihilated. The meteors impacted heavily around the dying mining town of Northfall, Minnesota. It was the night of a mysterious double murder, the deed overshadowed by the discovery that the burning remains of the rock contained an unknown substance more precious than gold: the Ninth Metal. And with that discovery, everything changed. Benjamin Percy is an award-winning novelist, celebrated comic books writer and author of the Wolverine podcast. The Ninth Metal is the first of a cycle of novels set in a shared universe. Praise for The Ninth Metal: 'Whether you choose to think of him as the Elmore Leonard of rural Minnesota or the Stephen King of Science Fiction, Percy - with his extraordinary and unrelenting eye - dishes up humanity like some kind of otherworldly blue plate special, at once deeply familiar and wildly new' Margaret Stohl, No. 1 New York Times Bestselling Author 'Take one part dystopia, one part sci-fi, two parts apocalypse, then ride them roughshod through a bleak and bloody western, and it still wouldn't get close to what Ben Percy does here, which is blow open the core of humanity's dark heart' Marlon James, Booker Prize winning author of Black Leopard, Red Wolf 'The Ninth Metal continues his streak of thrilling, incisive genre bending goodness. It's a sci-fi novel, a crime novel and a super-hero novel, too. Audacious and intelligent and exactly what I was dying to read' Victor LaValle, author of The Changeling

Includes "A-Z of Swedish death metal bands - encyclopedia," with band histories and performers.

"That science-fiction future in which technology would make everything very good—or very bad—has not yet arrived. From our vantage point at least, no age appears to have had a deeper faith in the inevitability and imminence of such a total technological transformation than the early twentieth century. Russia was no exception."—from the introduction In the Soviet Union, it seems, armoring oneself against the world did not suffice—it was best to become metal itself. In his engaging and accessible book, Rolf Hellebust explores the aesthetic and ideological function of the metallization of the revolutionary body as revealed in Soviet literature, art, and politics. His book shows how the significance of this modern myth goes far beyond the immediate issue of the enthusiasm with which the Bolsheviks welcomed such a symbolic transfiguration and that of our own uneasy attraction to the images of metal flesh and machine-men. Hellebust's literary examples range from the famous (Pasternak's Doctor Zhivago) to the forgotten (early Soviet proletarian poets). To these he adds a mix of non-Russian references, from creation myths to comic book superheroes, medieval alchemy to Moby-Dick. He includes readings of posters, sculpture, and political discourse as well as cross-cultural comparisons to revolutionary France, industrial-age America, and Nazi Germany. The result is a fascinating portrait of the ultimate symbols of dehumanizing modernity, as refracted through the prism of utopian humanism.

The Merciless Book of Metal Lists is an irreverent and illustrated compendium of the most random, funny, and challenging information about Heavy Metal from the last 40 years. You want to know which Metal albums “jumped the shark”? Curious to know what non-Metal bands Metalheads love, which album covers feature goats, embarrassing Metal fashion faux pas, and the unfortunate original names Metal bands started with? This is the book. In addition to some highly opinionated lists, this energetically designed volume features quotes, short essays, iconic four-color photography, and contributions from notable metal personalities, including Eddie Trunk, Gary Holt (Exodus), and Scott Ian (Anthrax, S.O.D.), among others. Praise for The Merciless Book of Metal Lists: “Authors Howie Abrams and Sacha Jenkins have a fun time in this ‘most opinionated compendium ever written concerning heavy metal.’ The writers are die-hard fans and knowledgeable beyond reproach…the trivia and factoids here will help you hold your own at the next Dokken after-party.” —Newsday.com

Includes interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, this book demonstrates the power and subtlety of an often surprising and misunderstood musical form. It draws on first-hand research to explore the global extreme metal scene.