Le cas du metal symphonique, entre dégénérescence d’un art de l’extrême et exaltation du culte de la puissance by Jason Julliot

“…After sketching a definition of symphonic metal, this article considers the sound radicality issues in the heavy metal : by reversing the balance in favour of classical instruments and by integrating female singers (potentially lyrical), symphonic metal appears to be a non-violent genre, incompatible with what is the essence of heavy metal music. However, by adding all the power of a symphony orchestra to the metal band, by appropriating the codes of neo-Hollywood symphonism, and by designing oversized gigs, the symphonic metal musician seems to be part of a “cult of power”.…”
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Le Hellfest, arène discursive. Sociologie des festivals de musique live comme sphères publiques by Gérôme Guibert

“…Because of its importance in terms of people affected or groups programmed, Hellfest, a festival of "extreme music" since 2006, has, by its magnitude, made visible heavy metal music in France, its amateurs and the cultural behaviors associated with metal scenes. …”
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