Skip to content
1981
Volume 9, Issue 2
  • ISSN: 2052-3998
  • E-ISSN: 2052-4005

Abstract

Since its inception, metal music has been on a quest for greater heaviness. However, despite its fundamental relevance to the genre, what actually makes metal music perceptually ‘heavy’ is still poorly understood. This article examines the musical, performative and production features that contribute to the heaviness of Lorna Shore’s ‘To the Hellfire’, magazine’s metal song of the year 2021. The musicological analysis is supported by rich data from the provider Nail the Mix (NTM): the song’s original multi-track recordings; a Q&A and live mix session with the EP’s producer, Josh Schroeder, and community discussion in NTM’s Facebook group. The findings suggest that the song’s heaviness is mainly provided as a result of sonic weight, harmonic distortion, hyperreal performances, disruption and unpredictability, contrast and dynamic development towards a climax. Musically, blending metal subgenres to increase heaviness is deemed beneficial, and concerning production, automated and dynamic processing responsive to musical structures and performances is highlighted.

Funding
This study was supported by the:
  • Arts and Humanities Research Council (AHRC) (Award AH/T010991/1)
This article is Open Access under the terms of the Creative Commons Attribution 4.0 International licence (CC-BY 4.0), which permits unrestricted use, distribution and reproduction in any medium, provided the original work is properly cited. The CC BY licence permits commercial and noncommercial reuse. To view a copy of the licence, visit https://creativecommons.org/licenses/by/4.0/
Loading

Article metrics loading...

/content/journals/10.1386/mms_00105_1
2023-09-01
2025-03-16
Loading full text...

Full text loading...

/deliver/fulltext/mms/9/2/mms.9.2.189_Herbst.html?itemId=/content/journals/10.1386/mms_00105_1&mimeType=html&fmt=ahah

References

  1. Berger, H.. ( 1999), Metal, Rock, and Jazz, Hanover, NH:: University Press of New England;.
    [Google Scholar]
  2. Berger, H., and Fales, C.. ( 2005;), ‘ Heaviness in the perception of heavy metal guitar timbres: The match of perceptual and acoustic features over time. ’, in P. Greene, and T. Porcello. (eds), Wired for Sound, Middletown, CT:: Wesleyan University Press;, pp. 18197.
    [Google Scholar]
  3. Czedik-Eysenberg, I.,, Knauf, D., and Reuter, C.. ( 2017;), ‘ “Hardness” as a semantic audio descriptor for music using automatic feature extraction. ’, in M. Eibl, and M. Gaedke. (eds), Informatik 2017, Bonn:: Gesellschaft für Informatik;, pp. 10110.
    [Google Scholar]
  4. David, M.. ( 2021;), ‘ EP review:...And I Return to Nothingness. ’, Boolin Tunes , 9 August, https://boolintunes.com/2021/08/09/ep-review-lorna-shore-and-i-return-to-nothingness/. Accessed 8 July 2023.
  5. DiVita, J.. ( 2021;), ‘ Lorna Shore’s “To The Hellfire” is the 2021 song of the year. ’, Loudwire, 13 December, https://loudwire.com/lorna-shore-will-ramos-to-the-hellfire-2021-song-of-the-year/. Accessed 8 July 2023.
    [Google Scholar]
  6. Enis, E.. ( 2021;), ‘ Fan poll: 5 best songs of 2021 so far. ’, Revolver, https://www.revolvermag.com/music/fan-poll-5-best-songs-2021-so-far#5-cannibal-corpse-inhumane-harvest.
    [Google Scholar]
  7. Gamble, S.. ( 2019;), ‘ Breaking down the breakdown in twenty-first-century metal. ’, Metal Music Studies, 5:3, pp. 33754.
    [Google Scholar]
  8. Garza, J.. ( 2021;), ‘ Transcending time (feels): Riff types, timekeeping cymbals, and time feels in contemporary metal music. ’, Music Theory Online, 27:1, https://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.garza.php. Accessed 8 July 2023.
    [Google Scholar]
  9. Grossmann, H.. ( 2013), Extreme Metal Drumming, Milwaukee, WI:: Hal Leonard;.
    [Google Scholar]
  10. Hagen, R.. ( 2011;), ‘ Musical style, ideology, and mythology in Norwegian black metal. ’, in J. Wallach,, H. M. Berger, and P. D. Greene. (eds), Metal Rules the Globe, Durham, NC:: Duke University Press;, pp. 18099.
    [Google Scholar]
  11. Hannan, C.. ( 2018;), ‘ Difficulty as heaviness: Links between rhythmic difficulty and perceived heaviness in the music of Meshuggah and The Dillinger Escape Plan. ’, Metal Music Studies, 3:1, pp. 43358.
    [Google Scholar]
  12. Herbst, J.-P.. ( 2018;), ‘ Heaviness and the electric guitar: Considering the interaction between distortion and harmonic structures. ’, Metal Music Studies, 4:1, pp. 95113.
    [Google Scholar]
  13. Herbst, J.-P., and Mynett, M.. ( 2021a;), ‘ Nail the Mix: Standardization in mixing metal music. ’, Popular Music & Society, 44:5, pp. 62849.
    [Google Scholar]
  14. Herbst, J.-P., and Mynett, M.. ( 2021b;), ‘ (No?) adventures in recording land: Engineering conventions in metal music. ’, Rock Music Studies, 9:2, pp. 13756.
    [Google Scholar]
  15. Herbst, J.-P., and Mynett, M.. ( 2022a;), ‘ Toward a systematic understanding of “heaviness” in metal music production. ’, Rock Music Studies, 10:1, pp. 1637.
    [Google Scholar]
  16. Herbst, J.-P., and Mynett, M.. ( 2022b;), ‘ What is “heavy” in metal? A netnographic analysis of online forums for metal musicians and producers. ’, Popular Music and Society Studies, 45:5, pp. 63353.
    [Google Scholar]
  17. Herbst, J.-P., and Mynett, M.. ( 2023;), ‘ “I just go with what feels right”: Variance and commonality in metal music mixing practice. ’, El Oido Pensante, 11:1, pp. 431.
    [Google Scholar]
  18. Hudson, S.. ( 2021;), ‘ Compound AABA and style distinction in heavy metal. ’, Music Theory Online, 27:1, https://mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.html. Accessed 8 July 2023.
    [Google Scholar]
  19. Hudson, S.. ( 2022;), ‘ Bang your head: Construing beat through familiar drum patterns in metal music. ’, Music Theory Spectrum, 44:1, pp. 12140.
    [Google Scholar]
  20. Kennedy, L.. ( 2017;), ‘ Functions of genre in metal and hardcore music. ’, Ph.D. thesis, Hull:: University of Hull.
    [Google Scholar]
  21. Lilja, E.. ( 2019;), ‘ Harmonic function and modality in classic heavy metal. ’, Metal Music Studies, 5:3, pp. 35578.
    [Google Scholar]
  22. Lorna Shore ( 2020), Immortal, Century Media;.
    [Google Scholar]
  23. Lorna Shore ( 2021), …And I Return to Nothingness, Century Media;.
    [Google Scholar]
  24. Loudwire ( 2021;), ‘ The 35 best metal songs of 2021. ’, 6 December, https://loudwire.com/best-metal-songs-2021. Accessed 8 July 2023.
  25. Miller, J.. ( 2021;), ‘ What makes heavy metal “heavy”?. ’, The Journal of Aesthetics and Art Criticism, 80:1, pp. 7082.
    [Google Scholar]
  26. Mynett, M.. ( 2016;), ‘ The distortion paradox: Analyzing contemporary metal production. ’, in A. R. Brown,, K. Spracklen,, K. Kahn-Harris, and N. Scott. (eds), Global Metal Music and Culture, London:: Routledge;, pp. 6888.
    [Google Scholar]
  27. Mynett, M.. ( 2017), Metal Music Manual, Abingdon:: Routledge;.
    [Google Scholar]
  28. Mynett, M.. ( 2019a;), ‘ Defining contemporary metal music: Performance, sounds and practices. ’, Metal Music Studies, 5:3, pp. 297313.
    [Google Scholar]
  29. Mynett, M.. ( 2019b;), ‘ Heaviness in three dimensions: The use of sonic space in contemporary metal music production. ’, in S. Zagorski-Thomas,, K. Isakoff,, S. Lacasse, and S. Stévance. (eds), Art of Record Production, vol. 2, Abingdon:: Routledge;, pp. 6679.
    [Google Scholar]
  30. Pieslak, J.. ( 2008;), ‘ Sound, text and identity in Korn’s “Hey Daddy”. ’, Popular Music, 27:1, pp. 3552.
    [Google Scholar]
  31. Pillsbury, G.. ( 2006), Damage Incorporated: Metallica and the Production of Musical Identity, New York:: Routledge;.
    [Google Scholar]
  32. Reyes, I.. ( 2013;), ‘ Blacker than death: Recollecting the “black turn” in metal aesthetics. ’, Journal of Popular Music Studies, 25:2, pp. 24057.
    [Google Scholar]
  33. Smialek, E.. ( 2015;), ‘ Genre and expression in extreme metal music, ca. 1990–2015. ’, Ph.D. thesis, Montreal:: McGill University.
    [Google Scholar]
  34. Stewart, D.. ( 2021;), ‘ Lorna Shore: And I Return to Nothingness. ’, Punctastic , http://www.punktastic.com/album-reviews/lorna-shore-and-i-return-to-nothingness/. Accessed 7 July 2023.
  35. Thomas, N., and King, A.. ( 2019;), ‘ Production perspectives of heavy metal record producers. ’, Popular Music, 38:3, pp. 498517.
    [Google Scholar]
  36. Volák, V.. ( 2022;), ‘ Heaviness: A key concept of metal music through the lens of Deleuzian philosophy. ’, Studia de Cultura, 14:3, pp. 5362.
    [Google Scholar]
  37. Wallach, J.,, Berger, H. M., and Greene, P. D.. ( 2011;), ‘ Affective overdrive, scene dynamics, and identity in the global metal scene. ’, in J. Wallach,, H. M. Berger, and P. D. Greene. (eds), Metal Rules the Globe, Durham, NC:: Duke University Press;, pp. 333.
    [Google Scholar]
  38. Wallmark, Z.. ( 2018;), ‘ The sound of evil: Timbre, body, and sacred violence in death metal. ’, in R. Fink,, M. Latour, and Z. Wallmark. (eds), The Relentless Pursuit of Tone, New York:: Oxford University Press;, pp. 6587.
    [Google Scholar]
  39. Welsh, C.. ( 2021;), ‘ Review: Lorna Shore: …And I Return to Nothingness. ’, New Transcendence, https://new-transcendence.com/review-lorna-shore-and-i-return-to-nothingness-ep-2021/. Accessed 7 July 2023.
    [Google Scholar]
  40. Williams, D.. ( 2015;), ‘ Tracking timbral changes in metal production from 1990 to 2013. ’, Metal Music Studies, 1:1, pp. 3968.
    [Google Scholar]
/content/journals/10.1386/mms_00105_1
Loading
/content/journals/10.1386/mms_00105_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): black metal; death metal; deathcore; metalcore; production; technology
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test