Includes bibliographical references and index.

Prelims -- Chapter One: Interpretive performance autoethnography -- Chapter Two: 'Women! stop ruining metal!' mapping extreme metal -- Chapter Three: Black metal's historical analysis: the story of male metal -- Chapter Four: The feminine absent -- Chapter Five: Of wolves and witches -- Chapter Six: Denigrata as performance -- Chapter Seven: Conclusion. Liber sum: restorative visibility and the feminine present -- Epilogue: (Rebecca Lamont-Jiggens) -- Peroration: dying words as abominable lifeblood -- Glossary of terms -- Select bibliography -- Further reading -- Index.

Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss weaves together trauma, black metal performance and disability into a story of both pain and freedom. Drawing on her years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of gender-based violence, misogyny, and the healing power of performance. This profoundly personal book offers a detailed explanation of autoethnography, followed by a careful exposition of the relationship between metal and gender, considering - among other things - how women are engaged with by metal music culture. After examining the various waves of black metal and how this has impacted black metal theory, the book moves on to consider female performers and performance as catharsis, including a discussion of the author's work as guitarist and vocalist with the black metal band Denigrata and her alter-ego, the 'antlered priestess' Denigrata Herself. The book concludes with some thoughts on acquired disability, freedom and peace. The book includes a foreword from eminent gender researcher Rosemary Lucy Hill, a guest section from metal scholar Amanda DiGioia, an epilogue from Rebecca Lamont-Jiggens (a legal pracademic specialising in disability), suggestions of sources of help for those in abusive relationships and further reading for those wishing to learn more about black metal theory.

Print version record.