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'The Barghest O' Whitby': (A Genealogical Study Of ‘THE BARGHEST O' WHITBY’: (A GENEALOGICAL STUDY OF) DEATH/DOOM METAL MUSIC(AL) NETWORK IN NORTHERN ENGLAND MEHMET SELIM YAVUZ A thesis submitted in partial fulfilment of the requirements of Leeds Beckett University for the degree of Doctor of Philosophy February 2018 ii Abstract Metal music has existed in one form or another for about half a century. While the musical style and the culture started out in a relatively unified way, with the ‘extreme turn’ of late 80s and 90s, metal culture stratified. Doom metal, being one of the oldest styles in this newly formed structure, became even more fragmented. Through amalgamations with other music styles or as further alterations on these amalgamations. I call these styles extreme doom. Death/doom is such a style. These smaller styles in metal culture have so far been investigated hierarchically. However, the implication that a hierarchy has is problematic in this context. Metal music studies is a budding field, so, we need to think more critically about the way we conceptualise the history of metal academically in these early years. Yet, so far, this stratification, with its hierarchy, has not been challenged or even discussed in detail. Scholarship often mentions these so-called ‘sub-genres’ uncritically. In order to challenge this idea, there needs to be a new model. However, because of the size and breadth of metal culture, one single work cannot come even close to covering the styles existing today. In this thesis, I attempt to draw boundaries around only death/doom to propose a way of modelling a new metal history. To achieve this, I define these newer and smaller styles as marginal styles using marginality idea of Park. Following this idea, sociology of music comes to rescue with Crossley’s music worlds. Music worlds, because of its emphasis put on the musical style -it is central-, is an intriguing perspective to look at the fragmented nature of metal music. A metal music world is a social construction performed by the participants, including musicians, fans, engineers, managers, label executives, and the press, around a metal musical style. These smaller styles, then, become ideal candidates for the application of this theory. This thesis treats death/doom in such a way using ethnographic, historical, and musicological methods. iii iv v Acknowledgements First and foremost, I would like to thank my director of studies Karl Spracklen, who gave me the opportunity to pursue this project and this degree at Leeds Beckett University. I am indebted to him and my supervisor Samantha Holland for their seemingly endless support both academically and personally during this process. I am grateful to Aaron Stainthorpe of My Dying Bride for his help and support in recruiting participants for the project. Furthermore, the interviews I had with him were instrumental in shaping this project. Of course, I would like to thank each and every one of the participants who volunteered their time and insight to this project. This thesis you will read would have been dull and quite impossible to achieve without their invaluable help. I would like to thank them all for their openness, support, and participation. I would like to thank my friends Berna Anıl Özkurt, Oğuz Özkurt, and Atay Özkurt for being who they are, Frieda van der Heijden for her help in every possible way, Lyndsay Helfrich for tolerating my incessant whining throughout this process, Sina Ödev, Reşad Çoban, and Muhammed Ali Örnek for making me remember my love for musicology, and Amanda DiGioia and Jasmine Hazel Shadrack for making conferences more bearable with their fellowship. I would like to thank Paul A. Whitehead and Fulya Çelikel Soğancı for teaching me about musicology while I was stuck in computer science, and Jane Ellen Harrison for giving me the tools to work on this project. Lastly, I would like to thank all my friends, whom I may have missed in this list, and my parents who made it possible for me to achieve this dream. vi vii Table of Contents 1. The Introduction .................................................................................................. 1 1.1. Research context ......................................................................................... 1 1.2. Aims ............................................................................................................. 4 1.3. Ethical considerations .................................................................................. 5 1.4. Chapter structure.......................................................................................... 7 2. The Literature ...................................................................................................... 9 2.1. Death metal, doom metal, and death/doom ................................................ 12 2.2. Paradigm shift ............................................................................................ 18 2.3. Art worlds and music worlds ....................................................................... 24 2.4. Symbolic interactionism .............................................................................. 28 2.5. Emotional response as participation ........................................................... 32 2.6. Popular music analysis ............................................................................... 35 2.7. Sub-genre and stylistic regions ................................................................... 40 3. The Method ....................................................................................................... 46 3.1. Ethnography ............................................................................................... 48 3.2. Participant demographics ........................................................................... 53 3.3. Archival research........................................................................................ 62 3.4. Musical analysis ......................................................................................... 64 4. The Origins ........................................................................................................ 69 4.1. Peaceville Records and punk origins .......................................................... 70 4.2. Paradise Lost ............................................................................................. 74 4.3. My Dying Bride ........................................................................................... 82 4.4. Anathema ................................................................................................... 98 4.5. The musician ............................................................................................ 104 4.6. The supporting roles ................................................................................. 107 4.7. The Peaceville Three ............................................................................... 109 4.8. Conclusion ............................................................................................... 118 5. The Style ......................................................................................................... 121 5.1. Doom and death styles ............................................................................. 125 5.2. Death/doom .............................................................................................. 126 5.2.1. Death/doom and duration ..................................................................... 127 5.2.2. Death/doom and tempo ........................................................................ 128 5.2.3. Death/doom and form ........................................................................... 138 5.2.4. Death/doom and orchestration .............................................................. 147 5.2.5. Death/doom and lyrics .......................................................................... 160 5.3. Conclusion ............................................................................................... 178 6. The Fan ........................................................................................................... 181 6.1. Researcher position ................................................................................. 182 6.2. First engagement with the music world ..................................................... 182 6.3. Fan habitual behaviour and interest ......................................................... 189 6.4. Sense of community and friction ............................................................... 204 6.5. Emotional responses as conventions of the music world .......................... 221 6.6. Conclusion ............................................................................................... 235 7. The Conclusion ............................................................................................... 238 8. Bibliography .................................................................................................... 257 9. Appendix A ...................................................................................................... 286 10. Appendix B ...................................................................................................... 289 11. Appendix C ...................................................................................................... 290 viii Table of Figures Figure 2.7.1 Metal Genealogy Map, The Metal News (n.d.)................................................. 42 Figure 3.1.1 Fan Participation Interview
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