Opeth not metal: making sense of the symbolic boundary work in the leisure spaces of musicians and fans
Opeth not metal: making sense of the symbolic boundary work in the leisure spaces of musicians and fans
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欧佩斯而非金属：理解音乐家和歌迷休闲空间中的象征性边界工作
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发表时间：
2018
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影响因子：
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通讯作者：
K. Spracklen
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作者：
K. Spracklen
瑞典乐队Opeth在重金属行业有着长期、持续和成功的职业生涯。他们的早期专辑作为旋律死亡金属的重要贡献而广受欢迎，但乐队挣扎着生存。2001年与制作人Steven Wilson在Blackwater Park（英语：Blackwater Park）的合作给了乐队一张专辑，让他们在金属现场建立了更高的知名度，这导致了与Roadrunner Records签约并成为节日常客。然而，近年来，主唱兼词曲作者Mikael Mikeelkarkefeldt已经放弃了死亡金属咆哮和金属即兴重复的歌曲，这些歌曲的灵感来自他的唱片收藏：七十年代摇滚和前卫。在本文中，我将探讨乐队的理由，他们演变成一个进步的摇滚乐队通过在线采访和我自己的分析，然后显示如何金属球迷在网上强烈（和消极）的这种演变。在论文的最后部分，我将分析乐队和粉丝的动机，围绕着对现代性中文化产业霸权地位的反应，以及鲍曼所认为的流动现代性危机。为了乐队。我认为，他们基于乙烯基怀旧寻找真实的音乐身份是对现代金属的工具理性和非真实性的蔑视。对于粉丝来说，我认为他们的愤怒是鲍曼在休闲空间中有缺陷的消费者的愤怒。
The Swedish band Opeth have had a long, sustained and successful career in the heavy metal industry. Their early albums were well-received as important contributions to melodic death metal, but the band struggled to survive. A collaboration with producer Steven Wilson on Blackwater Park (2001) gave the band an album that allowed them to build a higher profile in the metal scene, which led to signing to Roadrunner Records and becoming festival regulars. In recent years, however, lead singer and songwriter Mikael Åkerfeldt has abandoned death-metal growls and metal riffs for songs that are inspired by his record collection: seventies rock and prog. In this paper, I will explore the band’s justification of their evolution into a progressive rock band through on-line interviews and my own analysis, before showing how metal fans on-line have reacted strongly (and negatively) to this evolution. In the final parts of the paper, I will analyse both the motivations of the band and the fans, which revolves around reactions to the hegemonic status of the cultural industries in modernity, and what Bauman identifies as the crisis of liquid modernity. For the band. I will argue that their search for an authentic musical identity based on vinyl nostalgia is an expression of contempt for the instrumental rationality and in-authenticity of modern metal. For the fans, I will argue their anger is the anger of Bauman’s flawed consumers in leisure spaces.