D Ferrett is Senior Lecturer in Music at Falmouth University, UK, where she teaches cultural studies, sound studies and popular music studies. As both a writer and singer, D’s focus on the voice brings together interests in critical theory, ecology, gender studies, improvisation, pop and experimental sound practices.

Finally dark music has a woman's voice to challenge the canon with demoniacal laughter, exuberant sophistication and a deliverance from dry analyses and dualisms. This book gives the reader the writing dark music has longed for and deserves, with innovative alchemy and philosophical wonder. This book changes musicology.

• AcknowledgementsIntroduction: Cosmologies of dark feminine soundings1. Rewiring love-sick text and listening for the dark lady2. At the frozen borderline of a music lover’s discourse: The dark white voice3. Open to the demonic: A sonic articulation of desire4. The black hole song of unsounding mothers5. Becoming-shadow thing, becoming-witch: Chelsea Wolfe’s heavy mourning dirge6. Abject virtuosa, darkened virtuosity: Diamanda Galás and swarms of powerConclusion. Of the refrain: Is the future dark? NotesReferencesIndex

D Ferrett is Senior Lecturer in Music at Falmouth University, UK, where she teaches cultural studies, sound studies and popular music studies. As both a writer and singer, D’s focus on the voice brings together interests in critical theory, ecology, gender studies, improvisation, pop and experimental sound practices.

Finally dark music has a woman's voice to challenge the canon with demoniacal laughter, exuberant sophistication and a deliverance from dry analyses and dualisms. This book gives the reader the writing dark music has longed for and deserves, with innovative alchemy and philosophical wonder. This book changes musicology.

• AcknowledgementsIntroduction: Cosmologies of dark feminine soundings1. Rewiring love-sick text and listening for the dark lady2. At the frozen borderline of a music lover’s discourse: The dark white voice3. Open to the demonic: A sonic articulation of desire4. The black hole song of unsounding mothers5. Becoming-shadow thing, becoming-witch: Chelsea Wolfe’s heavy mourning dirge6. Abject virtuosa, darkened virtuosity: Diamanda Galás and swarms of powerConclusion. Of the refrain: Is the future dark? NotesReferencesIndex

D Ferrett is Senior Lecturer in Music at Falmouth University, UK, where she teaches cultural studies, sound studies and popular music studies. As both a writer and singer, D’s focus on the voice brings together interests in critical theory, ecology, gender studies, improvisation, pop and experimental sound practices.

Finally dark music has a woman's voice to challenge the canon with demoniacal laughter, exuberant sophistication and a deliverance from dry analyses and dualisms. This book gives the reader the writing dark music has longed for and deserves, with innovative alchemy and philosophical wonder. This book changes musicology.

• AcknowledgementsIntroduction: Cosmologies of dark feminine soundings1. Rewiring love-sick text and listening for the dark lady2. At the frozen borderline of a music lover’s discourse: The dark white voice3. Open to the demonic: A sonic articulation of desire4. The black hole song of unsounding mothers5. Becoming-shadow thing, becoming-witch: Chelsea Wolfe’s heavy mourning dirge6. Abject virtuosa, darkened virtuosity: Diamanda Galás and swarms of powerConclusion. Of the refrain: Is the future dark? NotesReferencesIndex