Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)

References

1. Asmox ( 2007;), ‘ Broken, barren, desolate, disordered […] compelling: Review of The Perfect Element: Part I. ’, Metal-Archives.com, 16 January, https://www.metal-archives.com/reviews/Pain_of_Salvation/The_Perfect_Element_I/1657/asmox/87512. Accessed 1 November 2019.
   [Google Scholar]
2. Borders, James. ( 2001;), ‘ Form and the concept album: Aspects of modernism in Frank Zappa’s early releases. ’, Perspectives of New Music, 39:1, pp. 118–60.
   [Google Scholar]
3. Burns, Lori. ( 2010;), ‘ Vocal authority and listener engagement: Musical and narrative expressive strategies in the songs of female pop-rock artists, 1993–1995. ’, in M. Spicer, and J. Covach. (eds), Sounding Out Pop: Analytic Essays in Popular Music, Ann Arbor, MI:: University of Michigan Press;, pp. 154–92.
   [Google Scholar]
4. Burns, Lori. ( 2016;), ‘ The concept album as visual–sonic–textual spectacle: The transmedial storyworld of Coldplay’s Mylo Xyloto. ’, IASPM@Journal, 6:2, pp. 91–116.
   [Google Scholar]
5. Burns, Lori. ( 2019;), ‘ Interpreting transmedia and multimodal narratives: Steven Wilson’s “The Raven That Refused to Sing”. ’, in C. Scotto,, K. M. Smith, and J. L. Brackett. (eds), The Routledge Companion to Popular Music Analysis: Expanding Approaches, New York and London:: Routledge;, pp. 95–113.
   [Google Scholar]
6. Burns, Lori, and McLaren, Lora. ( 2020;), ‘ Interpreting the materials of a transmedia storyworld: Word-music-image in Steven Wilson’s Hand. Cannot. Erase. (2015). ’, in A. Bourbon, and S. Zagorski-Thomas. (eds), The Bloomsbury Handbook of Music Production, New York:: Bloomsbury Academic;, pp. 393–404.
   [Google Scholar]
7. Clarke, Eric. ( 1999;), ‘ Subject-position and the specification of invariants in music by Frank Zappa and P. J. Harvey. ’, Music Analysis, 18:3, pp. 347–74.
   [Google Scholar]
8. Cohen, Gilad. ( 2018;), ‘ “The Shadow of Yesterday’s Triumph”: Pink Floyd’s “Shine On” and the stage theory of grief. ’, Music Theory Spectrum, 40:1, pp. 106–20.
   [Google Scholar]
9. Covach, John. ( 1997;), ‘ Progressive rock, “Close to the Edge”, and the boundaries of style. ’, in J. Covach, and G. M. Boone. (eds), Understanding Rock: Essays in Musical Analysis, Oxford:: Oxford University Press;, pp. 3–31.
   [Google Scholar]
10. Covach, John. ( 2005;), ‘ Form in rock music: A primer. ’, in D. Stein. (ed.), Engaging Music: Essays in Music Analysis, Oxford:: Oxford University Press;, pp. 65–76.
    [Google Scholar]
11. DarkLyrics.com ( n.d.;), ‘ Pain of Salvation lyrics: Album: The Perfect Element. ’, http://www.darklyrics.com/lyrics/painofsalvation/theperfectelement.html. Accessed 15 November 2019.
12. Dibben, Nicola. ( 2006;), ‘ Subjectivity and the construction of emotion in the music of Björk. ’, Music Analysis, 25:1&2, pp. 171–97.
    [Google Scholar]
13. Dragonchaser, Bruce. ( 2007;), ‘ Review of The Perfect Element: Part I. ’, The Metal Crypt, 26 July, http://www.metalcrypt.com/pages/review.php?revid=3187. Accessed 20 October 2019.
    [Google Scholar]
14. DreamWeaver ( 2004;), ‘ Pain of Salvation: The Perfect Element: Part I, review. ’, Metal Storm, 3 April, http://www.metalstorm.net/pub/review.php?review_id=28. Accessed 15 October 2019.
    [Google Scholar]
15. Elicker, Martina. ( 2001;), ‘ Concept albums: Song cycles in popular music. ’, in W. Bernhart, and W. Wolf. (eds), Word and Music Studies: Essays on the Song Cycle and on Defining the Field, Amsterdam and Atlanta, GA:: Editions Rodopi;, pp. 227–48.
    [Google Scholar]
16. Gildenlöw, Daniel. ( 2007;), ‘ Pain of Salvation Daniel Gildenlow Scarsick concept P 2. ’, YouTube, 22 January, https://www.youtube.com/watch?v=f6Q0Br0A-y0. Accessed 1 October 2019.
    [Google Scholar]
17. Herman, David. ( 2009), The Basic Elements of Narrative, Chichester:: Wiley-Blackwell;.
    [Google Scholar]
18. Hesselberg, Marina. ( 2007;), ‘ Pain of Salvation. ’, Rockfreaks.net, 3 April, http://www.rockfreaks.net/interviews/111. Accessed 20 October 2019.
    [Google Scholar]
19. Holm-Hudson, Kevin. ( 2008), Genesis and The Lamb Lies Down on Broadway, Aldershot:: Ashgate Press;.
    [Google Scholar]
20. Kaminsky, Peter. ( 1992;), ‘ The popular album as song cycle: Paul Simon’s “Still Crazy After All These Years”. ’, College Music Symposium, 32, pp. 38–54.
    [Google Scholar]
21. Lambert, Philip. ( 2008;), ‘ Brian Wilson’s pet sounds. ’, Twentieth-Century Music, 5:1, pp. 109–33.
    [Google Scholar]
22. Letts, Marianne Tatom. ( 2010), Radiohead and the Resistant Concept Album: How To Disappear Completely, Bloomington, IN, and Indianapolis, IN:: Indiana University Press;.
    [Google Scholar]
23. Macan, Edward. ( 1997), Rocking the Classics: English Progressive Rock and the Counterculture, Oxford:: Oxford University Press;.
    [Google Scholar]
24. Moore, Allan. ( 2004), Aqualung, New York:: Continuum;.
    [Google Scholar]
25. Neal, Jocelyn. ( 2007;), ‘ Narrative paradigms, musical signifiers, and form as function in country music. ’, Music Theory Spectrum, 29:1, pp. 41–72.
    [Google Scholar]
26. O’Donnell, Shaugn. ( 2005;), ‘ On the path: Tracing tonal coherence in dark side of the moon. ’, in R. Reising. (ed.), ‘Speak to Me’: The Legacy of Pink Floyd’s The Dark Side of the Moon, Burlington, VT:: Ashgate;, pp. 87–103.
    [Google Scholar]
27. Osborn, Brad. ( 2011;), ‘ Understanding through: Composition in post-rock, math-metal, and other post-millennial rock genres. ’, Music Theory Online, 17:3, pp. 1–17.
    [Google Scholar]
28. Pain of Salvation ( 2000), The Perfect Element: Part I, CD, Germany:: Inside Out Music;.
    [Google Scholar]
29. Pieslak, Jonathan. ( 2008;), ‘ Sound, text and identity in Korn’s “Hey Daddy”. ’, Popular Music, 27:2, pp. 35–52.
    [Google Scholar]
30. Spicer, Mark. ( 2004;), ‘ Accumulative form in pop-rock music. ’, Twentieth-Century Music, 1:1, pp. 29–64.
    [Google Scholar]
31. Spicer, Mark. ( 2008;), ‘ Large-scale strategy and compositional design in the early music of genesis. ’, in W. Everett. (ed.), Expression in Pop-Rock Music, New York:: Routledge Press;, pp. 313–44.
    [Google Scholar]
32. Stimeling, Travis. ( 2011;), ‘ “Phases and Stages, Circles and Cycles”: Willie Nelson and the concept album. ’, Popular Music, 30:3, pp. 389–408.
    [Google Scholar]
33. St-Laurent, Méi-Ra. ( 2016;), ‘ Finally getting out of the maze: Understanding the narrative structure of extreme metal through a study of “Mad Architect” by Septicflesh. ’, Metal Music Studies, 2:1, pp. 87–108.
    [Google Scholar]
34. Burns, Lori A, and Armstrong, Patrick. ( 2021;), ‘ Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000). ’, Metal Music Studies, 7:3, pp. 357–82, https://doi.org/10.1386/mms_00055_1
    [Google Scholar]