Abstract
The phenomenon of Christian metal music has always been precariously located on the borderline between the worlds of evangelical Christianity and metal music and culture. Ever since its inception in the early 1980s, Christian metal has provoked controversy in both of these often opposing camps for different yet closely related reasons. This article discusses the historical development of Christian metal in light of its ‘double’ controversies. Looking at contemporary discursive representations within today’s transnational Christian metal scene, the article also highlights how Christian metal culture has internalized its ‘doubly’ controversial character, making it key to an adequate understanding of the phenomenon of Christian metal as a whole.
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