Page - 69 - in JRFM - Journal Religion Film Media, Volume 05/02

Javier Campos Calvo-Sotelo Apocalypse as Critical Dystopia in Modern Popular Music ABSTRACT The last book of the New Testament has inspired countless narratives and cultural pro- ductions. In the realm of popular music, the Apocalypse has been embraced as syn- onymous with imminent catastrophe, generating a dystopian discourse. As a tool for analysis, the concept of “critical dystopia” has built a useful means of connecting apoc- alyptic menaces, re-enchantment of the world, and social protest. At the same time, “authenticity” is a sacred dimension within rock, an antidote to commercialism and a key notion of doomsday scenarios. This article has two parts: first, a conceptual review of the state of the questions and debate involved; and second, an exposition of selected songs, followed by a summary of their main traits. KEYWORDS Apocalypse, Popular Music, Critical Dystopia, Authenticity BIOGRAPHY Javier Campos Calvo-Sotelo holds a double degree in History (Autónoma University of Madrid) and Music (Conservatory of Madrid). He earned his Doctorate in Musicology in 2008 (Complutense University of Madrid) and has been part of several research projects on popular music, modern forms of religion, Celtology, and revival; he has specialized also in areas of systematic musicology. His work has been presented in a number of publications and at international conferences. INTRODUCTION The last book of the New Testament has inspired countless narratives and cul- tural productions, most of them unaware of its complex and metaphorical con- tents.1 Apocalypse/apocalyptic has thus become a self-referential category in the collective imagination, a fascinating icon no matter its distance from the 1 I am grateful to Alejandro Campos Presas, anthropologist and a drummer in a metal band, for his valuable help in the study of heavy metal music and religious traits involved. DOI: 10.25364/05.05:2019.2.5 Apocalypse as Critical Dystopia in Modern Popular Music | 69www.jrfm.eu 2019, 5/2, 69–94