This thesis explores how the black metal genre has evolved and diversified into new subgenres since its codification in the early 1990s. The research looks at how the genre has remained coherent despite this diversification, exploring how it maintains common elements across its subgenres, and how subgenres can connect to the genre’s history. The diversification and coherence of black metal and its subgenres has been examined in three areas – musical, discursive, and cultural. To gather information for this thesis, the research has looked into academic literature, scenic discourses such as zine interviews, musical texts, and interviews with black metal musicians conducted for this thesis. This thesis finds that most of the diversification is driven by elements drawn from other genres of music. The diversification of black metal is primarily driven by its nature as an extreme musical genre and its spread to different demographics outside of its initial scene. However, black metal’s coherence is also maintained through several factors. Musically, generic quotations are used to anchor experimental sounds. Additionally, the genre maintains discursive continuity across its subgenres through commonly recurring discourses and aesthetics, connecting later works to their predecessors. Subcultural capital is also important to black metal’s coherence. Mundane subcultural capital enables consistency and awareness of the genre’s history and influences, whilst transgressive subcultural capital allows for innovations in black metal, bringing new influences and discourses to the genre.
| Date of Award | 6 May 2026 |
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| Original language | English |
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| Supervisor | Mark Mynett (Main Supervisor) |
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