Death Metal and Music Criticism
Death Metal and Music Criticism: Analysis at the Limits. By Michelle Phillipov. pp. xx + 158. (Lexington Books, Lanham, MD, 2012.95. ISBN 978-0-7391-6461-7.)
Abstract
Michelle Phillipov challenges the tendency of popular music studies to focus on questions of a political nature. The first half of the book is a thorough critique of ‘The Rise of Political Criticism’ in popular music studies with three individual chapters dedicated to case studies of punk, hip-hop, and electronic dance music (EDM). Although she does not completely reject the importance of politics in certain musical styles, she proposes that musicological inquiry that concentrates on a narrow range of popular music styles correlates with the emergence of ‘fan scholars’ who have influenced the trend to political discourse. This debate corresponds with previous work by Joanna Zylinska (The Ethics of Cultural Studies (London: Continuum, 2005)): both have suggested that scholars have acted unethically by overemphasizing the political aspects of popular music, or even by emphasizing their own politics in their investigations.
Content
Robert Upton
University of Nottingham
In this welcome new volume, Michelle Phillipov challenges the tendency of popular music studies to focus on questions of a political nature. The first half of the book is a thorough critique of ‘The Rise of Political Criticism’ in popular music studies with three individual chapters dedicated to case studies of punk, hip-hop, and electronic dance music (EDM). Although she does not completely reject the importance of politics in certain musical styles, she proposes that musicological inquiry that concentrates on a narrow range of popular music styles correlates with the emergence of ‘fan scholars’ who have influenced the trend to political discourse. This debate corresponds with previous work by Joanna Zylinska (The Ethics of Cultural Studies (London: Continuum, 2005)): both have suggested that scholars have acted unethically by overemphasizing the political aspects of popular music, or even by emphasizing their own politics in their investigations. Phillipov invites us to change the coordinates of criticism by bringing questions of pleasure to the fore. Some popular music styles have been excluded from the newly configured popular music canon owing to the ‘overriding assumption that music should in some way address and resist social inequality … [or] be readily connected to progressive politics’ (p. 68). By demonstrating how a politics-based musicological framework limits our comprehension of death metal, Phillipov poses a more compelling question: what else has popular musicology (dis)missed?
Michelle Phillipov is an academic researcher who has explored the cultural and social dimensions of death metal music. Her work examines the themes, aesthetics, and fan cultures associated with death metal, as well as the ways in which the genre is perceived and interpreted by audiences.
In her research, Phillipov has investigated various aspects of death metal music, including its lyrical content, musical style, visual imagery, and performance practices. She has explored how death metal musicians and fans navigate issues such as identity, authenticity, and community within the context of a genre that often explores themes of violence, death, and darkness.
Phillipov’s work sheds light on the complex relationship between death metal music and society, challenging stereotypes and misconceptions about the genre while highlighting its significance as a form of artistic expression and cultural critique. By exploring the experiences and perspectives of death metal musicians and fans, Phillipov’s research contributes to a deeper understanding of the role of extreme music genres in contemporary culture.
Overall, Michelle Phillipov’s research offers valuable insights into the cultural significance of death metal music and its impact on individuals and communities. Her work underscores the importance of recognizing the diversity and complexity of musical genres and subcultures, and the ways in which they shape and reflect social identities and values.
“Death Metal and Music Criticism: Analysis at the Limits” by Michelle Phillipov is a scholarly work that delves into the complex relationship between death metal music and the critical discourse surrounding it. Michelle Phillipov, an academic with interests in media, music, and cultural studies, explores how death metal, a genre often characterized by its extreme sonic and thematic elements, is analyzed and critiqued within music criticism and academic research.
Key Themes and Contributions
– Genre Analysis: Phillipov examines the characteristics that define death metal, including its musical structure, lyrical content, and cultural practices. She explores how these elements contribute to the genre’s identity and how they are received by both fans and critics.
– Critical Reception: The book investigates the ways in which death metal has been critically received, addressing the challenges that critics face when engaging with a genre that pushes the boundaries of conventional music and societal norms. Phillipov discusses the often polarized responses to death metal, ranging from its dismissal as mere noise to its celebration as a form of artistic expression.
– Cultural and Social Implications: Phillipov’s analysis extends beyond the music itself to consider the cultural and social implications of death metal. She addresses themes such as censorship, moral panic, and the genre’s engagement with issues of violence, mortality, and existential angst.
– Limits of Music Criticism: A significant contribution of Phillipov’s work is her exploration of the limits of traditional music criticism in adequately capturing the essence and appeal of death metal. She argues that the extreme nature of death metal challenges conventional critical frameworks and necessitates new approaches to understanding and evaluating this music.
Methodology
Phillipov’s methodology includes a combination of genre analysis, critical theory, and cultural studies approaches. She draws on a wide range of sources, including music reviews, fan discussions, and interviews with musicians and critics, to provide a comprehensive examination of death metal and its place within broader musical and cultural landscapes.
Impact and Relevance
“Death Metal and Music Criticism: Analysis at the Limits” contributes to a deeper understanding of not only death metal but also the broader dynamics of music criticism and genre analysis. By focusing on a genre that is often marginalized or misunderstood, Phillipov highlights the complexities and nuances of musical cultures and the challenges of engaging with them critically. Her work is relevant to scholars in musicology, cultural studies, and media studies, as well as to fans and practitioners of death metal and other extreme music genres.
Conclusion
Michelle Phillipov’s “Death Metal and Music Criticism: Analysis at the Limits” offers a nuanced and insightful exploration of death metal, challenging both the genre’s critics and its proponents to consider the deeper implications of this form of extreme music. Through her analysis, Phillipov contributes to broader conversations about the nature of music criticism, the cultural significance of extreme music, and the ways in which genres can reflect and influence societal values and anxieties.