'Vedic metal' : a discussion of global and local identity in the practice of extreme metal in the South-Indian community in Singapore

Abstract

The recent Esplanade performance by an extreme metal quartet, Rudra, of their own material in a genre they call 'Vedic metal', disguises a number of issues: a lack of presence, the chequered fortunes of musics of popular culture in Singapore; accepting an invitation by an event company to perform and be paid for their performance as an underground group; and accepting the invitation to perform in an annual Indian arts festival, previously known and accessible only to Indian classical and folk arts practices. Since their formation in 1992, Rudra's presence and practice has posed a number of problems for local studies concerning the musicians who compose, perform and generate forms of extreme metal. Their continued existence also is indicative of the support they receive as well as sustainability of their endeavour. By focussing on the group Rudra and activities surrounding them, I will draw attention to the sound and textual material in their music, their sources and resources and speculate on the nature of their relationship from global and local perspectives.