Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam

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Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam

by Mark Levine

3.30 · rating details · 106 ratings · 35 reviews

“We play heavy metal because our lives are heavy metal.”
—Reda Zine, one of the founders of the Moroccan heavy-metal scene

“Music is the weapon of the future.”
—Fela Kuti

An eighteen-year-old Moroccan who loves Black Sabbath. A twenty-two-year-old rapper from the Gaza Strip. A young Lebanese singer who quotes Bob Marley’s “Redemption Song.” They are as representative of the wo...more

Paperback, 320 pages

Published July 8th 2008 by Three Rivers Press

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Aug 16, 2008

Cwl rated it

The emergence of metal in the Middle East/North Africa is interesting and important and should be documented. Having said that, there were things about this book that irked me. The author is an academic and it shows--a recurring theme in the book is the menace of "neoliberal globalization", although the author's main evidence for said menace is untestable hearsay like "The trilingual texture of the conversation symbolized one of Abid's key points, which is that Iran is becoming ...moreThe emergence of metal in the Middle East/North Africa is interesting and important and should be documented. Having said that, there were things about this book that irked me. The author is an academic and it shows--a recurring theme in the book is the menace of "neoliberal globalization", although the author's main evidence for said menace is untestable hearsay like "The trilingual texture of the conversation symbolized one of Abid's key points, which is that Iran is becoming ever more globalized today". Almost never does the author offer direct quotes from actual metalheads to support his theory that globalization is the enemy. When he does directly quote a metalhead complaint, it's amazingly usually about overbearing religious leaders, not WTO or Wal-Mart. But because neoliberal globalization is the New Black in ivory towers, it must adorn this book like Christmas tree tinsel...checking the index of this book on metal, "globalization" gets as many pages as "death metal" and far outstrips "black metal". Bang your head, Naomi Klein.

My second objection is that someone who writes a book about metal should know about metal. I suspect that this author does not. References to Iron Maiden's mascot "Freddy" or Morbid Angel's song(?) "Altars of the Abyss" kick the book's credibility right in the junk. And certain passages...fantasizing about a rap-metal cover of Pink Floyd's "Another Brick in the Wall" and spending at least a fourth of the book talking about hip-hop are dead giveaways. Admitting that you can't tell the difference between doom (ultra-slow metal with 10 minute+ songs) and grindcore (ultra-fast metal with >1 minute songs) is not something that you want to put in your metal book.

Also, I found it annoying that the author denigrated personal satisfaction as a good-enough reason to play/enjoy music (calling it hedonism) and seemed miffed that metal bands didn't want to collaborate with the Muslim Brotherhood to stage protests or offer political critiques. The one overriding theme of metal is not Satan or neoliberal globalization, it is freedom. There can be no freedom when someone with a ridiculous beard is combing your lyrics for blasphemy or saying things like, "as long as it doesn't offend Islam, it's okay".

Hey, this would be good stuff to discuss in a book on metal in the Islamic world:
*how metal, which always used decentralized/noncorporate distribution like tape trading, has readily adapted to the Internet, making it more palpable to fans who already use the Internet to circumvent their oppressive leaders.
*how black metal in Norway was associated with terrorist actions like arson and murder, and how it's being received in countries that are often considered world hotbeds for terrorism.
*1000 Funerals, an Iranian doom band with a female member, and Saudi/Bahraini black metal bands are not mentioned here; they should be. Acrassicauda gets one paragraph.

Perhaps someone will write a book or article about such things soon.(less)

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Aug 07, 2008

Russell rated it

I thought this was a fascinating social critique on metal (and other music) and the role it plays in middle eastern societies. What was really eye opening was the amount of persecution metal, hip hop, and sometimes all forms of music undergo in all of the countries that were discussed in this book. From the more liberal regions like Dubai to the stifling regimes of countries like Iran, this book paints a vivid picture of the challenges musicians face in islamic cultures. I would recommend thi...more

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May 09, 2010

Kersplebedeb rated it

An interesting, read-it-on-a-trip, not very deep look at the politics of the Muslim world from Morocco to Pakistan, through the distorting lens of its more privileged kids who are into heavy metal.

What was interesting in this book? Some of the musical commentary, i.e. about continuities and changes in how heavy metal is played in different countries, in terms of musical technique.

The author does a very good job at sketching the multipolar nature of most of the countries i...moreAn interesting, read-it-on-a-trip, not very deep look at the politics of the Muslim world from Morocco to Pakistan, through the distorting lens of its more privileged kids who are into heavy metal.

What was interesting in this book? Some of the musical commentary, i.e. about continuities and changes in how heavy metal is played in different countries, in terms of musical technique.

The author does a very good job at sketching the multipolar nature of most of the countries in his study, the three players he returns to time and time again being the oppressive pro-american governments, the right-wing Islamic resistance movements, and (his chosen subjects) affluent alienated westernized youth involved in cultural rebellion. Absent is the working class, which he repeatedly shuffles into the right-wing Islamic resistance movements without much nuance. Absent are women as a group, except in the narratives we're already used to (oppressed, but also as a barometer of how "new" the new generation of Islamic resistance is). And certainly the left as such is non-existent.

On the plus side, he gives a good sense of the dynamic that exists between these three players, and the way in which contradictions lead to tensions which can then be harnessed politically. This was particularly well done in the cases of Morocco, Algeria and Pakistan.

More problematically, Levine repeatedly argues - both implicitly and explicitly - that the best hope for forging tolerant open societies in the region would be an alliance between the Islamic opposition and the cultural vanguard (represented here by the Muslim metalheads). He emphasizes examples of the Islamic resistance movements toning down their opposition to cultural innovation, esp. musical innovation, and tries to imply that as to the I.R.'s calls for repression of musical dissidents, that's all over now.

But Levine's primary subject is the metalheads themselves, not their would-be allies (or oppressors). So he gives himself a pass to not really delve into the politics of the I.R. beyond the surface, and doesn't even moot the possibility (for instance) that this new-found tolerance might be disingenuous, or might be part of a more complex development of forging temporary alliances.

And as for his overall take on this cultural "vanguard" (the metalheads), it's value is somewhat limited by what he himself (to his credit) makes abundantly clear: this is an upper class youth micro-culture. While he's not so critical about what this means, he gives us the facts we can expand from, right up to the crowning moment of his study and - according to him - heavy metal in the Middle East: a giant corporate-sponsored metal festival in... Dubai!

Still, an okay quick read, fwiw.(less)

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Feb 18, 2010

Leila rated it

According to historian/metalhead Mark Levine, the Muslim world is full of metal bands (and some rappers, hardcore and post punk bands). And since listening to/playing alternative music is considered Satan worship by conservative religious and political forces, being a metalhead is, by definition, a rebellious act.

The problem is, too few musical groups in the region see their role as overtly political. While criticizing the West is commonplace and acceptable in most societies, raging...more

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Jul 28, 2011

Steve Cran rated it

In the Middle East place of despotic and corrupt governments and regimes that limit personal freedoms there is a force calling for change. That force is called music. At the for front there is heavy metal and rapp. Music is away of breaking down the barriers in ethnic conflicts as well as dissemination of ideas across the Middle East. Almost everywhere they are present the metal heads or hounded and scorned both by religious intolerance and paranoid governments. Mark Levine a musician and PHD ...more

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Oct 07, 2011

Steve rated it

Incredible book! Levine is incredibly knowledgeable about history, language, music, religion and sociology and he uses it all to create an exciting, deep, and readable overview of the current politics of the Middle East and North Africa. He juxtaposes music (not just metal but rap and traditional music) against religion, and draws parallels between the current MENA political movements and the revolutions of the Eastern bloc.
Explicitly (I suspect) left unsaid are the parallels between the cu...more

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Jan 28, 2011

Rachel rated it

While the subject matter is interesting, I had a hard time getting through this book (in fact I didn't even finish). Levine clearly has a knack for reporting and includes a lot of information without unnecessary wordiness, but this style made it hard to remain engaged beyond the first few chapters. I didn't feel like I really got to know or gained much insight into any of people who make up the bands he covers. It's clear that social, religious, and political environments of each of the Islami...more

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Jan 30, 2009

BAYA Librarian rated it

Shelves: non-fiction, middle-eastern, music

M Written by a professor of Middle Eastern studies at UC Irvine, this examines how Heavy Metal music (and rap and hip-hop) influences a portion of the world's Islamic youth. As much for adults as teens, this book goes into great detail and is fascinating, but not a brisk read. Each chapter focuses on a different country, from Morocco to Pakistan, and he includes lots of interviews and anecdotes along with solid history of these regions. LeVine sees hope in the Islamic youth who identify with...more

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Apr 13, 2011

Tom rated it

The protests in Egypt earlier this year led to the downfall of the almost 50 year dictatorship of Hosni Mubarak. Millions of Egyptians, led by youth and students, took to the streets to demand his departure. Among them may very well have been a number of "metaliens" - fans and creators of metal music in Egypt - interviewed by Levine in this engaging survey of youth, subcultures and politics throughout the region.

How does extreme music interact with oppression? In his journey ...moreThe protests in Egypt earlier this year led to the downfall of the almost 50 year dictatorship of Hosni Mubarak. Millions of Egyptians, led by youth and students, took to the streets to demand his departure. Among them may very well have been a number of "metaliens" - fans and creators of metal music in Egypt - interviewed by Levine in this engaging survey of youth, subcultures and politics throughout the region.

How does extreme music interact with oppression? In his journey through the Middle East, North Africa, and South Asia, Levine explores extreme music as a mode of resistance for young people alienated by dictatorship and conservative culture. Besides expressing an appreciation for rock, metal and hip-hop throughout the region, he also explores the history of the music there and its relationship with political and cultural forces. The result is a cross-section of the edges of societies he's looking at - in Egypt, for example, he interviews metal bands as well as political dissidents such as the Muslim Brotherhood, and puts them in dialogue with each other. At the end of the day, he claims, they're all fighting for something similar, although they have some miles to go if they are to come together.

The political bent of this book - anti-imperialist, pro-freedom of expression - was pretty solid, and Levine goes out of his way to note the roots of the problems young people in these countries face in both the governments and societies of their countries as well as the US role in supporting these governments. One thing that struck me about the bands interviewed in the book was their generally middle-class nature. As the author notes, in the US and Europe, metal and hip-hop arose out of working-class roots. However, in the countries examined, these metal scenes have tended towards middle- and upper-class artists. Why this is isn't for sure, although the book suggests openness to Western culture as well as access to the means of getting the music may be a large part of it.

Levine points to the openness and against-the-grain personalities of these privileged young people, as well as a number of opposition parties and movements, as an alternative to conservative morality, militancy, and armed struggle, which appear in the book to be more appealing to poor and working-class youth. The class dynamics of these tendencies deserve greater examination. (less)

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Jul 21, 2010

Heather rated it

Shelves: 100-books-in-2010, heavy-metal

So, I went ahead and gave this book 4 out of 5 stars, not because it's particulary well-written but because i love how simply it shatters so many misconceptions about Islam and politics in the countries that so frequently make the headlines,(Iran, Egypt, Pakistan, Israel, etc) but that so few know anything about. I'm also a metal fan, so the idea that thousands of fans (many of them Muslim) at the Desert Rock concert knew every word to every Iron Maiden song they played warms my heart. Don't loo...more

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Jan 17, 2010

Vince rated it

Shelves: reviews

http://www.rockymountainnews.com/news/20...

This review originally appeared in the ROCKY MOUNTAIN NEWS

Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam

* Nonfiction. By Mark LeVine. Three Rivers Press, $13.95. Grade: A-

Book in a nutshell: As a professor of Middle Eastern history at the University of California, LeVine has spent a lot of time in the cradle of civilization and has written three scholarly books about his experi...morehttp://www.rockymountainnews.com/news/20...

This review originally appeared in the ROCKY MOUNTAIN NEWS

Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam

* Nonfiction. By Mark LeVine. Three Rivers Press, $13.95. Grade: A-

Book in a nutshell: As a professor of Middle Eastern history at the University of California, LeVine has spent a lot of time in the cradle of civilization and has written three scholarly books about his experiences, including 2005's Why They Don't Hate Us: Lifting the Veil on the Axis of Evil. But LeVine isn't some stuffy old professor. He's also an accomplished rock guitarist who's played with the likes of Mick Jagger, Chuck D and Ozomatli.

Just as there's more to LeVine than academics, in his new book he argues that there's more to Muslim culture than what Americans consume on the nightly news. There are thriving heavy metal, hip-hop and punk rock scenes in places like Egypt, Israel and Iran, and their numbers are growing as Middle Eastern youth listen to musicians as much as mullahs.

LeVine interviews members of this Middle Eastern subculture - people who risk legal prosecution for their musical proclivities - and claims that the success of this cultural movement may be a signifier of hope for democracy in the Middle East. Perhaps peace, he posits, can come through power chords.

Best tidbit: LeVine does a great job of drawing parallels between American metal in the 1980s - when metal artists were accused of practicing Satanism, promoting suicide and were even the subject of a Senate hearing - and Middle Eastern metal's present.

Pros: LeVine deftly showcases both the struggles and successes of Mideast metal artists, including the recent acceptance of concert festivals like the Desert Rock Festival in Dubai, United Arab Emirates; Boulevard des Jeunes Musiciens in Casablanca, Morocco; and the Barisa Rock for Peace Festival in Istanbul, Turkey.

Cons: The author organizes the book by country, and after a while it loses steam as the plights of the artists become too similar.

Final word: This is an excellent and entertaining read for metalheads or anyone interested in a different look at Mideast culture.

(less)

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Aug 25, 2008

Shannon rated it

This is a pretty interesting book that shows a different side of the countries written about (Israel/Palestine, Lebanon, Egypt, Morocco, Pakistan, and Iran). I don't know much about the rock scene in America, let alone in these countries. But most of us in the west certainly don't imagine Muslims rocking out to metal. The book was fairly interesting, but would have been more interesting if I were a musician or if I liked heavy metal.

I'm a bigger fan of traditional Middle Eastern m...more

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Oct 24, 2008

Michael rated it

Since I am working for a while in Egypt this is somewhat interesting, but it isn't something someone would read for fun.

~~~~~~~~~~~~

Not surprisingly, since I am in Egypt, the fifty or so pages in the chapter about Egypt specifically are the most interesting (so far).

I was amused to read, "On the way we passed the local Hardee's - which, as in New Jersey when I was growing up - has become the place for Cairo's metal population to meet after dark. At 1:0...more

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May 15, 2010

Craig Williams rated it

I picked up this book on impulse because it seemed like an interesting read. However, my interest began to fade quickly, the book began to bore me. The writer spends much of his time name dropping bands, and little time really connecting the reader to the bands he talks about. I found it difficult to invest emotion to the plight of the Middle East, or the bands who bravely perform in the face of repressive, theocratic governments. It was neat to look up some of the bands mentioned in the boo...more

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Jul 01, 2009

Severin-aime rated it

I believe this to be an example of a 21st century ethnography. The individual stories and descriptions are engaging, while demystifying attitudes of young adults in parts of the Middle East. I highly recommend this book to anyone who is interested in connections to the Middle East that aren't only concerned with religion and/or politics (although those are unavoidable issues).

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Jul 28, 2011

Hanna added it

Islamista noin yleensä kiinnostuneena sivusin kirjan kohdeyleisöä, mutta uskon sen parhaiten aukeavan musiikkidiggareiden käsissä ja ehkä tämä kirja on yksi tiili lisää rakentamaan siltaa länsi- ja arabimaiden välillä.

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Dec 05, 2008

Kishwar rated it

I had a hard time making it through this. It helped that Pakistan - the chapter I was most interested in - was at the end :)
I am not quite sure what the author's point was. Was it just a recounting of the state of heavy metal in muslim countries? Trying to prove that a link exists between politics and heavy metal? That Muslim countries are musically some years behind the west and will outgrow the need for heavy metal?

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Sep 16, 2008

Joshua rated it

Shelves: read-in-08

Interesting book regarding heavy metal and rap music and its popularity in Islamic countries in Africa and the Middle East. Some of these people who play/listen to this music have to do so under secrecy or danger to their well being because of religious leaders and governments who brand them as Satanists or against God. Jail, beatings and persacution may come their way. Now, that's dedication.

The problem is LeVine seems almost like a cheerleader for the cause rather than just being a ...more

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Aug 02, 2009

Mary rated it

What I learned... the struggle for a voice and to be heard as an individual in a place that is struggling for over-all freedom. Great tenacity of some of these musicians as well as great courage.

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Jul 07, 2011

Lhjunkie rated it

Great subject matter, great documentation of metal styles throughout the Middle East and Northern Africa, and a great pseudo-political commentary. His style of writing however is very academic and dry so I don't see it being very widely read. It's a shame though, since he went through great lengths to dispel so many myths people have of the Arabic and Islamic world.

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Sep 19, 2008

Scott rated it

Recommends it for: crckt, zach

Recommended to Scott by: Robin Hopkins

I'm still reading it but I can comfortably give it four stars before I'm done. I would have given it five but I think the guy's political outlook veers a bit too sharply into the "modern liberal (aka bourgeois) democracy will fix things" camp, and tails religion a bit too much. But I tell you what...the human connections he makes with the metal heads, hip hop kids, punks and goths all over the Muslim world are a revelation. This is a view of the Muslim world that is not bogged down in ...more

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Dec 09, 2008

Michael rated it

Shelves: pop-culture

Not as good as you would think. Although readable, it would have been better as a series of articles in a magazine. One impressive thing is how dedicated the bands are despite government harassment.

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Jul 06, 2011

Nadia rated it

Shelves: always-learning

Pretty interesting but sometimes him talking about himself jamming with the various artists detracted from the overall exploration, IMO.

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Jun 02, 2009

Susan rated it

Shelves: read_and_review

This book requires background knowledge of heavy metal and its subgenres, as well as major artists.

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Jan 27, 2009

Stefanie rated it

fabulous, with a great analysis of imperalism/colonization/globalization, too!

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May 19, 2010

إديث rated it

Shelves: books-i-own, mena

Survey of the heavy metal and underground scene from Rabat to Islamabad. Accessible writing, good source for discovering music and artists from Gazan rap to Urdu Sufi rock, and seeing how music reflects politics of the region. The most fascinating aspect of the project is the author's journey and meeting with artists across the Middle East, and hosting creative mini summits to bring together,say, Cairene rockers and Muslim Brotherhood members to discuss their common struggle towards political re...more

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Nov 18, 2008

Andri rated it

Tertarik karena judulnya. Mulai baca beberapa halaman awal. Lumayan menarik, cerita tentang perkembangan musik heavy metal di dunia Islam. Sayang gak ada cerita tentang di Indonesia, padahal Indonesia kan negara dengan jumlah muslim terbesar di dunia. Kalo udah kelar, nanti akan gw email si penulis, dan tawarkan untuk edisi revisi nanti masuk cerita perkembangan heavy metal di Indonesia. Banyak koq temen2 yg siap jadi nara sumber.

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Oct 01, 2008

Laura rated it

I'm not much for non-fiction, to be honest. This caught my eye, though. I figured, I don't know as much about Islam as I should, but I certainly know a lot about Heavy Metal. The concept was interesting.

Anyway, so far it's pretty good. I can easily set it down for a while, but pick it back up w/o missing a beat.

I gave up. I think I just need to admit I'm not a reader of non-fiction. I have yet to finish one.

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Oct 09, 2009

Jeremy rated it

Shelves: didn-t-finish-might-try-again-later

I got busy and set it aside and then picked up books. I will have to start again at a later date. I must find more time to read. Other wise it was an ok read so far. I found the stories about the middle east music scenes interesting, but as a music fan I don't to relate to the sound of middle eastern heavy metal as I have never really been exposed. I will have to go on the hunt.

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Nov 19, 2008

Gabriel rated it

Discussed at SF Gospel:

"Heavy Metal Islam... underscores the complexity of Muslim culture—a culture that the Western media paints in black-and-white."

Full post here:

http://sfgospel.typepad.com/sf_gospel/20...

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