Perfect Beat https://journal.equinoxpub.com/PB <p><em>Perfect Beat</em> first appeared in July 1992 and has been published by Equinox since 2009. <br />The journal's name derived from Afrika Bambaata and the Soul Sonic Force's 12-inch, 1983 single <em>Looking for the Perfect Beat</em>. As befits a journal originating in Australia, the journal remains focused on the popular music of the 'Pacific rim' and includes historical and contemporary studies with contributions invited from popular music studies, musicology, cultural studies and ethnomusicological perspectives. <a href="https://journal.equinoxpub.com/PB/about">Read more about this journal.</a></p> en-US <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> shelley.brunt@rmit.edu.au (Shelley Brunt and Oli Wilson) aparkin@equinoxpub.com (Ailsa Parkin) Tue, 31 Jan 2023 11:39:07 +0000 OJS 3.3.0.11 http://blogs.law.harvard.edu/tech/rss 60 Prickly Jim https://journal.equinoxpub.com/PB/article/view/23915 <p>Within this text, we discuss themes that cover the relationship between our personal visual art collaborations and how they relate to the heavy music scene and culture within Aotearoa. We provide background context to the origins of Prickly Jim, and display examples of the type of work we create. We explore the culture of the ‘moshpit’ in relation to our own personal experiences and the wider correspondence it has with our creative output. The pit becomes a perfect metaphor to describe the dichotomy between the aesthetics of metal and metal’s true heart. On the outside, the pit is choreographed violence, intimidating to the uninitiated. On the inside, there is a profound sense of community and belonging. Yes, we punch and shove each other, but it is in a way that could only be described as endearing.</p> Lydia Hill, Sam Stonnell Copyright (c) 2023 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23915 Tue, 31 Jan 2023 00:00:00 +0000 Will you remember https://journal.equinoxpub.com/PB/article/view/23752 <p>The official histories have mostly paved over punk in Aotearoa/New Zealand, and in particular, Neil Roberts’s action against the Whanganui Computer Centre in 1982. However, Neil Roberts Day, a community-led day of celebration and remembrance, flies in the face of this generalized forgetting. In this short ‘Riff’, I will begin to explore Neil Roberts Day commemorations through Pierre Nora’s concept of generational consciousness and the lieux des memoires, or sites of memory, and what this might mean for the punk and hardcore communities in Aotearoa/New Zealand.</p> Lauren Deacon Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23752 Tue, 31 Jan 2023 00:00:00 +0000 A sense of displacement https://journal.equinoxpub.com/PB/article/view/23750 <p>Olde Throne is a solo black metal project created by Harrison McKenzie, a young musician from Christchurch. The main theme of his music production is Scottish and Irish history and mythology, more generally themes related to Celtic culture. After spending time in 2019 in Scotland, Harrison McKenzie became increasingly interested in the history and mythology of this land far from his native home. He felt a strong emotional connection to the past of Scottish people, in fact his surname is influenced by this ancestry. His passion for Norwegian black metal, developed in his teenage years, was linked to the search for his past, giving rise to Olde Throne’s musical proposal. This ‘Riffs’ article, developed from a textual and musical analysis and corroborated by an interview with the musician of Olde Throne, attempts to highlight how nostalgia for a past, more imagined than lived, conceals a sense of displacement that finds its way out through the aggressive and extremely emotive sounds of black metal, a musical category little practised in Christchurch. Europe, as the cradle of Scottish and Irish cultures and as an ideal place to play and experience black metal, takes shape imaginatively in the sonic and lyrical coordinates of Olde Throne’s music.</p> Giordano Calvi Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23750 Tue, 31 Jan 2023 00:00:00 +0000 An annotated interview with Beastwars https://journal.equinoxpub.com/PB/article/view/23746 <p>In 2021, we interviewed Matt Hyde of Wellington’s Beastwars for our ethnographic podcast Lingua Brutallica as part of a project exploring language in metal scenes outside of America and Europe. In this annotated interview, we edit, discuss and frame the content of the interview in relation to how Hyde’s comments shed light on important conflicts between personal, local and global understandings of what makes ‘metal’ lyrics and music. The interview covers, in Hyde’s own words, his approach to metal lyrics, and how he weaves his personal experiences and New Zealand’s unique landscape into images of pagan rituals, ancient battles, death, and other emblems of international ‘metal’ practices. This distinctive taste of New Zealand metal that results brings together the local and international scenes that devour it. Through breaking up the transcript with commentary on the sociolinguistic insights Hyde provides on understandings of language, metal and identity, we explore how Hyde aligns with, resists, and feels pressured by stereotypes of ‘metal language’, producing a guided tour of how a key figure in New Zealand metal has navigated the fluidity of ‘local’ and ‘global’ language practice in metal music throughout his 15 years in the scene.</p> Jessica Kruk, Wesley C Robertson Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23746 Tue, 31 Jan 2023 00:00:00 +0000 Making metal work https://journal.equinoxpub.com/PB/article/view/23740 <p>This article explores lived experiences of heavy metal careers in Aotearoa/New Zealand as bands navigate shifting metal markets, and rapidly expanding digital landscapes for the music industry more generally. Drawing from interviews conducted with four established metal bands in Aotearoa—Blindfolded and Led to the Woods (Otautahi/Christchurch), Shepherds Reign (Tamaki Makaurau/Auckland), Stälker and Bulletbelt (both from Te Whanganui-a-Tara/Wellington)—we explore whether metal musicians are able to make music into a viable career, and furthermore how the changing commercial and technological landscapes for metal might have also brought about differing ideas of the mainstream versus the underground, commerciality versus authenticity, and amateurism versus professionalism. Such binaries, these interviews show, continue to play a complex role in how musicians experience, or reject, metal as an entrepreneurial activity, where the coincidence of genre with geography, and metal’s long-held anti-commercial and anti-establishment discourses, influence career expectations and opportunities.</p> Catherine Hoad, Ian Moore Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23740 Tue, 31 Jan 2023 00:00:00 +0000 Immersion and metal music videos https://journal.equinoxpub.com/PB/article/view/23754 <p class="Styletexte">Music videos are designed, filmed and edited to magnify the musical experience, and, when well-used, contribute to making artists stand out. With the evolution of media and technology, ‘localness’ can be broadcast worldwide, and folklore, culture and traditions are at the heart of many metal groups’ preoccupations. By making their culture a central part of their music, Alien Weaponry’s success has resulted in the Maori culture, history and legends achieving international recognition in the metal music world. ‘Kai Tangata’ and ‘Hatupatu’, the music videos directed by Alex Hargreaves, operate to further represent elements of Maori culture, by adding a visual dimension to Alien Weaponry’s use of te reo Maori, the Maori language. Using formal and comparative aesthetical analyses, reinforced by a theoretical approach, the use of immersion in this representation will be discussed. Firstly, the representation of the characters in the videos and their role in the narration will be analysed. Secondly, the affect and the dynamism brought by the rhythm and the structure of music and images will be examined. And finally, the representation of bodies, gestures and rituality will be analysed, as a representation of the Maori culture, meant for both Maori and non-Maori people.</p> Elise Girard-Despraulex Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/23754 Tue, 31 Jan 2023 00:00:00 +0000 Editorial introduction https://journal.equinoxpub.com/PB/article/view/24369 Catherine Hoad Copyright (c) 2022 Equinox Publishing Ltd. https://journal.equinoxpub.com/PB/article/view/24369 Tue, 31 Jan 2023 00:00:00 +0000