Numerous bands and their fans see themselves as having revolutionised rock music in the late 1960s and the early 1970s and given birth to a harder style that was to become known as heavy metal. British bands Black Sabbath, Deep Purple, Led Zeppelin and The Kinks are considered pioneers within the two countries of metal’s origin; their counterparts in the US were Steppenwolf, Iron Butterfly and Blue Cheer. Although it is safe to say that these bands were among those that gave the initial spark for a musical genre that has taken hold around the globe in the more than fifty years of its existence, this introduction is not meant to debate the origins of metal.

Today, metal music is a genre popular with fans worldwide, facilitated by a vast industry with specialised professions, such as journalists, artist and repertoire managers, record producers, concert promoters and stage crews.

This chapter interrogates what it means for heavy metal to identify as ‘outsider’ music in the 2020s and beyond. Resistance, transgression and rebellion have long been central to metal’s generic identity, where metal has long traded on a reputation as ‘outsider’ music, a genre populated by proud pariahs who exist on the edge of acceptability. However, such rebellion has been troubled by metal’s commercial success, geolocal diversification and generational shifts amongst fans, where ‘resistance’ takes on different trajectories as metal manifests within multiple political zeitgeists and contexts. This chapter then explores how metal’s politics of transgression have played out in varied ways as metal communities worldwide negotiate shifting ideological contexts and markets, calling into focus questions of performative transgression and commodified dissent. This chapter thus leads with a central provocation: Is it still possible for metal to be rebellious in the twenty-first century? And has it ever really been?

Viking metal is one of the few varieties of metal music defined by the songs’ contents and visual elements rather than its sonic aspects. While a band’s music can be affiliated with folk metal, death metal or black metal, the lyrics and visual elements are clearly centred around the Viking Age, Old Norse mythology and the portrayal of Nordic nature. Time is an important feature in Viking metal lyrics and imagery and appears in the shape of a ‘past’ that can be identified as the Viking Age or as a past that lacks a time stamp. Often without a specific description of the underlying idea, the past is frequently attributed with wisdom and continuity. It appears in song lyrics and is depicted in various scenes from a seeming past or with direct reference to the Viking Age in the cover artwork of Viking metal bands. Why is the past such an important feature of Viking metal? What other aspects are deemed important? What ideological aspects do the references to the past entail? To answer these questions, I will identify defining features of Viking metal to then analyse the connotations of ‘the past’ in Viking metal.