Dark Sound carries the dense cultural weight of darkness; it is the undertow of music that embodi... more Dark Sound carries the dense cultural weight of darkness; it is the undertow of music that embodies melancholy, desire, grief, violence, rage, pain, loss and longing. Compelling and unnerving, dark sound immerses bodies in the darkest moments and delves into the depths of our hidden inner selves. There is a strangely perverse appeal about music that conjures intense affective states and about sound that can move its listeners to the very edge of the sayable. Through a series of case studies that include Moor Mother, Anna Calvi, Björk, Chelsea Wolfe and Diamanda Galás, D Ferrett argues that the extreme limits and transgressions of dark sound not only imply the limits of language, but are moreover tied to a cultural and historical association between darkness and the feminine within music and music discourse. Whilst the oppressive and violent associations between darkness and femininity are acknowledged, the author challenges their value to misogynistic, racist, capitalist and patriar...
The Dark Sound symposium brought together musicians, academics, researchers, writers, students, a... more The Dark Sound symposium brought together musicians, academics, researchers, writers, students, artists and members of the wider local communicty in an event dedicated to dark pop and its recurring themes of lost love, melancholia, death and desire. Over the course of two days and three nights, a series of papers, live performances, workshops and fixed media works explored the destructive character of dark ‘popular’ music as it embodies darkness and haunts the threshold of shifting cultural understandings of ‘high’ and ‘low’ art. Dark Sound symposium structured a dialogue based on questions and themes that were orientated around the seemingly paradoxical appeal of dark themes as embodied in ‘popular’ music. The symposium theme developed from a teaching module on the BA (Hons) Popular Music degree.
Nearly half a century after Luciano Berio praised the Beatles in his “Commenti al Rock” (1967), t... more Nearly half a century after Luciano Berio praised the Beatles in his “Commenti al Rock” (1967), this special issue of Volume! surveys the research carried out on the band that was, according to John Lennon, “more popular than Jesus”. In light of an impressive bibliography covering the first 50 years of what we now call “Beatles Studies”, one learns, for example, that the British Invasion originated in Paris, that Popular Music Studies began with the musicological study of popular music, that the theory of harmonic vectors can help analyze pop music or that Marshall McLuhan's concepts shed an interesting light on albums such as Abbey Road.
Dark Sound carries the dense cultural weight of darkness; it is the undertow of music that embodi... more Dark Sound carries the dense cultural weight of darkness; it is the undertow of music that embodies melancholy, desire, grief, violence, rage, pain, loss and longing. Compelling and unnerving, dark sound immerses bodies in the darkest moments and delves into the depths of our hidden inner selves. There is a strangely perverse appeal about music that conjures intense affective states and about sound that can move its listeners to the very edge of the sayable. Through a series of case studies that include Moor Mother, Anna Calvi, Björk, Chelsea Wolfe and Diamanda Galás, D Ferrett argues that the extreme limits and transgressions of dark sound not only imply the limits of language, but are moreover tied to a cultural and historical association between darkness and the feminine within music and music discourse. Whilst the oppressive and violent associations between darkness and femininity are acknowledged, the author challenges their value to misogynistic, racist, capitalist and patriar...
The Dark Sound symposium brought together musicians, academics, researchers, writers, students, a... more The Dark Sound symposium brought together musicians, academics, researchers, writers, students, artists and members of the wider local communicty in an event dedicated to dark pop and its recurring themes of lost love, melancholia, death and desire. Over the course of two days and three nights, a series of papers, live performances, workshops and fixed media works explored the destructive character of dark ‘popular’ music as it embodies darkness and haunts the threshold of shifting cultural understandings of ‘high’ and ‘low’ art. Dark Sound symposium structured a dialogue based on questions and themes that were orientated around the seemingly paradoxical appeal of dark themes as embodied in ‘popular’ music. The symposium theme developed from a teaching module on the BA (Hons) Popular Music degree.
Nearly half a century after Luciano Berio praised the Beatles in his “Commenti al Rock” (1967), t... more Nearly half a century after Luciano Berio praised the Beatles in his “Commenti al Rock” (1967), this special issue of Volume! surveys the research carried out on the band that was, according to John Lennon, “more popular than Jesus”. In light of an impressive bibliography covering the first 50 years of what we now call “Beatles Studies”, one learns, for example, that the British Invasion originated in Paris, that Popular Music Studies began with the musicological study of popular music, that the theory of harmonic vectors can help analyze pop music or that Marshall McLuhan's concepts shed an interesting light on albums such as Abbey Road.
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Volume ! by D Ferrett