Issue 3 “Bleeding Black Noise”

Call for Papers and Art

. Helvete, Issue 3, Bleeding Black Noise .

Proposals due August 1. closed
Published, winter 2016

“Le harsh noise, c’est le chaos volontaire, la crasse en liberté, le vide exagéré par la violence électrique. Le harsh noise est un trou noir…une extrémité horrible. […] né au bout du siècle de l’information, en essayant de faire sans elle, en s’incarnant en poussière exagérée des musiques électriques, en cendre de mort de musique sacrifiée, annulation saturée.” — Olivier Lamm
[ “Harsh noise is deliberate chaos, filth set free, the void exaggerated by electric violence. Harsh noise is a black hole… a horrible extreme. […] born at the end of the information century, trying to do without it, being embodied in the exaggerated dust of electric music, in the ashes of sacrificed music, in saturated cancellation.” ]

Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers… yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall—pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ashes and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.

This third issue of Helvete focuses on the sonic aspects of black metal, specifically noise music’s interactions with black metal—the interruptions, creations, and destructions of signals as black metal. Proposals are welcomed that discuss and experimentally demonstrate not only musical feedback but conceptual feedback as well, and the way that black metal works through feedback as a process. Experimentation, fiction, and speculation in contributions are encouraged, including writing and art that resonates as a background hum, drone, or cascades in a foregrounded scream. Preference will be given to proposals that move beyond a position of reflecting black metal towards creating black metal noise themselves.

Helvete is an open access electronic and print journal dedicated to continuing the mutual blackening of metal and theory inaugurated by the Black Metal Theory Symposia. Not to be confused with a metal studies, music criticism, ethnography, or sociology, black metal theory is a speculative and creative endeavor, one which seeks ways of thinking that “count” as black metal events—and, indeed, to see how black metal might count as thinking. Theory of black metal, and black metal of theory. Mutual blackening. Black metal as a language of contemporary art practices a transmodality between sound and vision, mutually blackening both art and metal, and thus pushing the limits of contemporary academic genres by definition.

Essay proposals may be sent to the editors at helvetejournal@gmail.com
Art proposals may be sent to helvetejournalart@gmail.com
For detailed guidelines, see the Submission Checklist on our website.
https://helvetejournal.org/forthcoming/submission-checklist/

PDF here

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