Musings on metal and its evolving demography

Posts tagged “women in metal

2016 EMP Pop Conference

I have so much stuff to post about, but I’ve been really negligent in updating my blogs for months. Apologies!

Anyway, here’s one item. Three weeks ago, wifey & I flew to Seattle so she could speak at a panel at the EMP Pop Conference. This year’s title was From a Whisper to a Scream: The Voice in Music. She sat on a panel called Noise Breeding Silence – Heavy Metal Voices.


Panel participants, moderated by Steve Waksman

Here’s the description from their website:

The EMP Pop Conference returns with its biggest roster of presentations yet, looking at the ways music lets us hear voices: singers, to be sure, whether virtuosos or idiosyncratic originals, but also other types of vocalizing. How do instrumentalists insert their selves into their music? When the dominant voices in our songs change, what changes with that, from personal identity to collective messages? A switch in voice—from croon to rasp to rap to Auto-Tune—alters everything it reaches. 

In dozens of panels, all free to the public (though we strongly recommend advance registration), we’ll explore musical voices across genre and time period: soul singers and rock singers, singers of exotica and Mexi-Cajun blues. Panels on goth-punk wailer Siouxsie Sioux, warbling rapper Future, and pop-rock duo Hall & Oates. Synthetic “vocaloids” and challenges to female decorum. Singing across lines of color. Good bad singing and bad good singing. Vocal coaching. Southern accents.

And here’s the description for the panel wifey was on:

Metal remains fixed as a quintessentially white male hetero form in its most visible artists and presumed demographic. The emergent field of “metal studies” has begun to document metal’s appeal to women, non-white, and LGBTQ audiences, and to millions in the developing world. This panel considers to and for whom metal seems most to be speaking. Do metal’s various subgenres (death, black, doom, grindcore, etc.) all draw on the same underlying voice? Are different strains more or less inclusive? How do questions concerning metal’s inclusivity look different from a global vantage? What can we learn from participants who occupy non-dominant positions relative to core constituencies?



Frantic Amber – Burning Insight

Interesting all-female band from four different countries (Sweden, Denmark, Japan and Colombia). Their lyrics seem a little clichéd to me, but they’re not bad, compositionally. There’s a bunch of songs from them on Youtube. I’ve only listened to 3 so far, but I like Ghost the most so far. The Japanese guitarist is a lefty, like me. The bassist uses a pick.

Originally posted on Hard n Loud:

FRANTIC AMBER is a truly international all-female melodic death metal band, with members from four different countries (Sweden, Denmark, Japan and Colombia) and based in Stockholm, Sweden. A special brand of heavy and low-tune kick ass metal with female growl and clean vocals is on the agenda so be sure to check the band out whether on the net or at live shows. The first tune here is their tune “Burning Insight” which is also the title track to their new albumn released late last year…. I’m sure you’ll all agree it’s brutal (and just the way we like it!)

View original post on Hard n Loud.

Runhild & Lasse

Wifey & I have been fans of Thorr’s Hammer for years. She actually used a sound clip from them in her presentations about Women in Extreme Metal a few times last year. I’d been wondering if Runhild was still making music, and I’m glad to see that she is. Her voice on Dommedagsnatt was nothing short of incredible to me.

burning ambulance

Runhild Gammelsaeter is a fascinating figure in underground music. Recordings are rare, performances rarer still. She emerges every few years, says what she wants to say, and disappears back to her extramusical life. She made her debut as a teenager, fronting doom band Thorr’s Hammer (formed by Stephen O’Malley and Greg Anderson) on 1996’s Dommedagsnatt EP, then went un-heard-from for nearly a decade before appearing on 2003’s White1, by O’Malley and Anderson’s new project, Sunn O))). Three more years passed, and she formed Khlyst with James Plotkin and Tim Wyskida of Khanate, making one album—2006’s Chaos is My Name—and a deliberately hard-to-find live DVD, Chaos Live. In 2008, she made her solo debut with Amplicon.

That record, released on the Utech label, was a jarring and alienating listening experience. Featuring layers of vocals, some cleanly sung and some growled in a post-death metal fashion, it…

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