2 Regarding visual representations of female metal artists including Gossow in music magazines, cf.The overarching aim of my investigation is to shed light on the complexity of the cultural relation between growling, gender and aggression with regard to discourse, sound and individual artistic style. This final segment will be introduced by a brief account of Gossow’s personal attitude towards her participation in the metal scene. As a final step, I will sketch a systematic approach to describe the characteristics of Gossow’s individual growling style alongside exemplary sound recordings of Arch Enemy and her vocal participation. The section on the history of growling will include observations on Gossow’sand other women’s initial participation in that practice since the 1990s.
After some introductory remarks on concepts of violence and aggression, I will investigate the gendering of growling from two different angles: first, with regard to the historical development of growling together with a critical view on the representation of growling as a masculine practice within metal discourse and second, by focussing on gendered receptions of vocal sounds.
1 Certain passages of this paper are based on my previous article on Gossow published in German as « (.)Ģ In the present article, I will discuss the extent to which growling was (or still is) gendered and how much of the gendering process results from the association of growling with aggression, itself stereotypically seen as a more masculine than feminine trait 1.
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