In this interview, Owen Coggins joins us to talk about the use of religious (and sacreligious) language and imagary in Drone Metal, a genre which stretches metal to low, slow, repetative extremes. Drawing on the work of Michel de Certeau, he tells David Robertson that the prevalence of language relating to mysticism and “spiritual experience” may be due to the genre’s focus on the physicality of the musical experience. Expanding out to discuss other forms of popular music which exhibit these modes of engagement, the conversation moves to consider how this case-study might open up new ways to engage with religious ideas in popular culture, and in other practices involving extreme states of bodily consciousness.
Drone music is often described with terms such as violence, aggression, pain and suffering, but it is these markers of extremity which allow a sense of catharsis, dark spirituality and even healing according to listeners. Drone metal, then, addresses deep issues of importance in rather different musical and conceptual registers to Hoondert’s requiem composers and audiences. But in exploring the sacred in music, each are equally concerned with profound themes whose impact for many will elude language.