The paths we travel: Three paradigmatic shifts in metal music studies1

This article reflects on the development of metal music studies over the past three decades by examining three key paradigms that have shaped the field: the Pathologization Paradigm , the Universal Culture Paradigm and the Distorted South Paradigm . The Pathologization Paradigm (1980s–90s) framed metal music as a risk factor for youth, linking it to negative behaviours and reinforcing moral panics. The Universal Culture Paradigm shifted focus to legitimizing metal as a cultural practice, particularly in the Global North, but often overlooked the diversity of global metal scenes. Emerging in the 2000s, the Distorted South Paradigm highlighted the unique role of metal in the Global South, exploring how the genre engages with local issues such as colonialism, violence and oppression. By mapping these paradigms, this article provides a framework to understand the evolution of metal music studies and its trajectory as an interdisciplinary and globally nuanced field.