Reight Mardy Tykes: Northernness, Peaceville Three and Death/Doom Music World


Yavuz M. S.

in: Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization, Samantha Holland,Karl Spracklen, Editor, Emerald Ink Publishing, Bradford, pp.81-99, 2018

  • Publication Type: Book Chapter / Chapter Research Book
  • Publication Date: 2018
  • Publisher: Emerald Ink Publishing
  • City: Bradford
  • Page Numbers: pp.81-99
  • Editors: Samantha Holland,Karl Spracklen, Editor
  • Istanbul University Affiliated: No

Abstract

After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.