- Taschenbuch: 416 Seiten
- Verlag: It Books; Auflage: Pbk. (17. Februar 2004)
- Sprache: Englisch
- ISBN-10: 0380811278
- ISBN-13: 978-0380811274
- Größe und/oder Gewicht: 15,2 x 2,6 x 22,9 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 116.681 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Sound of the Beast: The Complete Headbanging History of Heavy Metal (Englisch) Taschenbuch – 17. Februar 2004
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Presents the evolution of heavy metal music as seen by its top metal bands, including photo spreads with accounts of legendary events and analyses of how this musical genre continues to shape each generation.
Über den Autor und weitere Mitwirkende
Ian Christe grew up in the metal strongholds of Switzerland, NewMexico, Indiana, Germany, and Washington. He moved to New York Cityin 1992, and has covered emerging technology and fringe culture forReuters, Wired, and Salon.com. His hundreds of articles on heavymetal have appeared in Spin, AP, CMJ, Metal Maniacs, and the Trouser Press Guide to '90s Rock and been cited by The New York Times.
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Einziger Kritikpunkt: Ian Christie spart sehr mit Kritik, weil er aus der Sicht eines Fans schreibt.
Fazit: Dieses in Englisch geschriebene Buch sollte bei jedem Headbanger im Regal stehen, weil es wirklich einen guten Einblick in die Metal-Welt gewährt.
I bought this book, because I needed it for a English-project in school and because I am such a big Metal fan. I was also interested in the history of metal. The book describes the beginnings of the Genre in Great Britain and the USA (with Black Sabbath and Led Zeppelin) and after that it shows a lot of other subgenres of Heavy Metal. The rich diversity in this book is gigantic! You get told about Subgenres, that you have never heard before and "The Sound of the Beast" entraps you into the Metalworld.
Critic: The author Ian Christie isn't very critical and writes obvisously from the view of a fan.
Facit: This book should be in every frame of a Headbanger, because it really gives you a great view into the metalworld.
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Now for the problems (again, I mostly like the book, but these are things that might bother some readers):
As other reviewers have noted, Christe focuses heavily on Metallica. While they are certainly one of the most influential metal bands of all time, they receive more attention here than any other band. On a related note, there is a strong Anglo-American bias. While Christe has the requisite chapter on black metal in Norway, he mostly talks about British and American bands, giving a very skewed picture of the development of metal.
He also clearly lets his own musical tastes get in the way of objectivity, with the most obvious case being the way he treats hair metal. Every time he mentions it, he denigrates it, and tries to reduce its historical importance.
The treatment of hair metal is in some ways indicative of a larger trend in the book, of whitewashing metal. If you are looking for stories of debauchery (the sex and drugs side of things), you won't find them here. Christe paints a picture of metal as socially conscious and intellectually engaged. While this is true of a lot of metal, I don't think it's true of all, or even most, metal. Similarly, Christe downplays things like Satanism, going so far as to say that metal bands only ever use it as a metaphor. Again, that's probably largely true, but it's not so simple. Over and over I got the feeling that Christe was trying to present a respectable picture of metal to outsiders. Not a bad goal, of course, but a bit disingenuous in a history.
Finally, if you're looking for any kind of musicological discussion of metal, you won't find it here. In the grand scheme of things, there's very little discussion of the music itself here.
Overall, this is a solid book and really the best thing out at the moment, but there are some glaring problems that leave me hoping that someone else will eventually write a better history of metal.
The most visible weakness of this book is the lack of discussion about the stylistic differences amongst the different sub genres. The author leaves the reader with an overall impression that metal just became faster and faster as it progressed into newer sub genres. An interested fan would be able to learn more about what makes death metal what it is by reading Wikipedia articles. There are also some questionable categorizations such as Overkill being a power metal band that skipped the Thrash movement.
This book will entertain readers mostly interested in what was happening in the metal culture throughut it's history. That being said, the author could have condensed this down into a shorter read. Many readers will appreciate the lists of key bands and albums presented in each chapter.
The most irritating thing about this book is Christe's idolization of Metallica. Most of the book is about Metalllica, the be-all end-all of heavy metal. Never mind Sabbath or Priest or the umpteen other Metal bands that pioneered and forged the beast called Heavy Metal. It really is sickening. And I like Metallica, but give them what they deserve. They did not single-handedly invent Thrash Metal, they weren't the only ones rebelling against the "system". Remember that metal was around long before they were.
Oh and that part where Metallica is credited for inventing the wheel and the internet? I don't know...
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