Abstract

The heavy metal subgenre of black metal has been a source of controversy and intrigue for the past couple of decades. From the realm of extreme metal, it has been seen as a peak that many subgenres have not reached in real-world violence, dedication and mystery. This article intervenes into this scene by examining how masculinity and whiteness are constructed through its music and subculture. By doing so, it expands the work being done not only in whiteness and gender studies, but also metal music studies. This is also an endeavour to turn to sonic rhetoric as I address the way that topics of race and gender are addressed lyrically and sonically. In this article, I uncover the intersections between how Norwegian black metal has constructed and pushed against the boundaries of race and gender through lyrics and sonic qualities in a search for freedom from hegemonic forces they were facing, and upholding.

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