Et Ossa

Nacht Hexe is the crucible inside the abyss, the guardian at the gates, the void from which howls its agonised wounds, melding them into a Gesamtkuntswerk, a Total Artwork. A blackened legion of cacophonous lives are born by and through Nacht Hexe, a ‘perichoresis’ (Hunt-Hendrix, 2015, 279) of music, poetry, art, photography, literature, performance, and philosophy. The creative urge is a responsibility; if you feel it, you must bow down and let it flow through you. Get on your knees.

“Neque porro quisquam est qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit…”

“There is no one who loves pain itself, who seeks after it and wants to have it, simply because it is pain…”

Visual Art

A Portfolio of Visual Works

Search using the tags, in the gallery below, to focus the collection.


Musical Performance and Compositional Projects

Requiem Mass in C Minor

Ave Mater Omnes Abyssi

Nacht Hexe’s Requiem Mass in C minor, for full choir and orchestra. Drawing on the work of Thomas de Quincey’s Suspiria de Profundis (1845) and Dario Argento’s Le Tre Madri, this baroque/early classical requiem rewrites sacred music for the Divine Feminine. For fans of Mozart, Pergolesi, Palestrina and Purcell. (This score is currently being composed, and nearing completion)

Forthcoming: Dōloǔr

A dark folk collaboration with Francesca Stevens.

From the ashes of Denigrata, come Dōloûr, a dark folk collaboration that draws on the occultism and witchcraft of England’s folklore and throws it into a haunting, musical abyss. For fans of Blut Aus Nord, Lankum, and Wolves in the Throne Room.


Denigrata are an ambient, tech-fuelled black metal collective from the united kingdom.
Born from nihilism, avant-garde darkness and filth.



Upcoming Projects

All Along
The Blackwater

A Ghost Story

Weaving together the life events of a young, and rather resentful, governess, All Along the Black Water pierces the veil between life and death, reality and horror. For fans of Charlotte Brönte, Susan Hill, Daphne du Maurier and Henry James.


Below is a small selection of devotional poetry.


A record of scholarly works and activity

Positions, Roles & Memberships

Visiting lecturer in music at BIMM Berlin

Visiting lecturer in gender at the University of Missouri

Visiting lecturer in popular music and performance, the University of Falmouth, UK

Secretary to FIRE UK, the independent scholars network for the United Kingdom, 2021

Full member of NCIS, the National Coalition for Independent Scholars, 2020 –

Music Programme Leader for Progressive Connexions, 2020 –

Editorial Advisory Board for Advances in Metal Music and Culture, Intellect Books, 2021

Editorial Advisory Board for ISMMS, the International Society for Metal Music Studies, Intellect Journals, 2019


Name of Conference: ICM Conference, the Institute of Contemporary Music, London, UK.

Title: In Defence of the Art-Life Paradigm: Flourishing from the Grass Roots. 2014.

Name of Conference: Metal and Politics Conference, the University of York, UK.

Title: Femme-Liminale: Corporeal Performativity in Death Metal Music. 2014.

Name of Conference: Metal and Cultural Impact: Metal’s Role in the 21st Century. The University of Dayton, Ohio, USA.

Title: Femme-Liminale: Corporeal Performativity in Death Metal Music. 2014.

Name of Conference: GeMus Conference: Practices, Performance, Politics. Örebro University, Sweden , 2016
Title: ‘Gratiae Salutaris Percipiendae: exhumation through catharsis or how the darkness gave me light’.

Name of Conference:. Metal and Politics Conference, the University of Bournemouth

Title: Invited Keynote: ‘Extreme Metal’s Problem with Women’, 2016

Name of Conference: Trans- States Conference: the Art of Crossing Over. The University of Northampton

Title: Ritual Occultation and the Space between Worlds. Panel paper with Charmaine Sonnex , 2016.

Name of Conference: Metal in Strange Places, the University of Dayton, Ohio, USA.

Title: Mater Omnium and the Cosmic Womb of the Abyss: Nomadic Interiorities and Matrifocal Black Metal Performance, 2016

Name of Conference: Extreme Listening, Extreme Music, the University of Southern Denmark at Odense, Denmark.

Title: Mater Omnium and the Cosmic Womb of the Abyss: Nomadic Interiorities and Matrifocal Black Metal Performance, 2017.

Name of Conference: Music and Death, Progressive Connexions Conference, Vienna, Austria.

Title: Healing the Mother Wound: Grief Management and Metal Performance, 2017.

Name of Conference: Hard-Wired Metal Conference, the University of Seigen, Germany.

Title: Mater Omnium and the Cosmic Womb of the Abyss: Nomadic Interiorities and Matrifocal Black Metal Performance, 2018.

Name of Conference: Popular Music and Politics, Porto, Portugal.

Title: From Enslavement to Obliteration: Extreme Metal’s Problem with Women. 2018.

Name of Conference: Crosstown Traffic Conference, the University of Huddersfield.

Title: From Enslavement to Obliteration: Extreme Metal’s Problem with Women. 2018.

Name of Conference: Tuning Speculation: Listening to the Occult Conference, the University of Bloomington, Indiana, USA.

Title: The Howl of the Wolf Tone: Void Harmonics and Occultizing Entropy. 2018.

Name of Conference: Erasmus programme development with New Orleans Centre for Creative Arts, USA, 2018.

Name of Conference: World Metal Congress, panel speaker, Metal and Politics, London, UK.

Panel Members: Dr Jasmine Shadrack (Denigrata), Kim Kelly (journalist, The Guardian, Kerrang, The Daily Beast, NPR, Rolling Stone). Barney Greenway (vocalist, Napalm Death), Dr Niall Scott (UCLAN) and Tim Hoffman (Wacken Festival). Session moderator: Alex Milas.

Name of Conference: Trans- States: the Art of Revelation, the University of Northampton.

Title: The Howl of the Wolf Tone: Void Harmonics and Occultizing Entropy, 2019.

Name of Conference: Panel member for two sessions, one national and one international for The National Coalition for Independent Scholars.

Title: How to Turn your PhD into a Monograph.

Name of Conference: ‘How to turn your Thesis into a Monograph,’ NCIS, online 17th Nov 2020.

Name of Conference: ‘Research Overview for Fire UK’ Conference, online, 24th March 2021.

Name of Conference: The International Society for Metal Music Studies on Feminism and Metal, 15 June 2021 [online]

Hosts: Dr Rosemary Lucy Hill (University of Huddersfield) and Professor Florian Heesh (University of Siegen)

Title: Denigrata, Boundaries and Oversaturation

Guest Lecture: BIMM Berlin – 25th October 2021

Title: Black Metal, Trauma, Subjectivity and Sound

Lecture Series and Choir Masterclass: The University of Missouri, March 14th – 22nd 2022

Upcoming Conference Series: Music and Trauma, Music and Mental Health, Music and Disability through Progressive Connexions, 2021. Dr Jasmine Hazel Shadrack and Dr Rob Fisher (CEO, Progressive Connexions).

Event: Series In Process due to Covid 19 Restrictions.

Upcoming: Submitted an abstract to the 2021 ESSWE 8 Conference, in Ireland.

Publications and Research Outputs

Upcoming Co-Editorships

Embodying the Music and Death Nexus: Consolations, Salvations and Transformations, Progressive Connexions and Emerald Publishing. Forthcoming. With Marie Josephine Bennet and Gary Levy.

Metal and Dis/Ability: Crips, Crowds and Cacophony, Emerald Publishing. With Amber Clifford-Napoleone.

Academic Authorships and Performances:

Shadrack, J. H. ‘Extremities within Extremity: Sisterhood as Strategies of Resistance in the UK Metal Underground Scene’ in On Extremity: Sounds, Words, and Experiences (eds. Nelson Varas-Diaz, Niall Scott and Bryan Bardine), Lexington Press, Forthcoming

Shadrack, J. H. Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss. Emerald Publishing, 2020.,-Trauma,-Subjectivity-and-Sound/?k=9781787569263

Book Cover

‘Shadrack’s brave usage of autoethnography to explore how black metal is a movement beyond music presents a new and refreshing paradigm through the exploration of an often-misunderstood subculture. Her skill in intertwining methodology with her own subjective reflexivity is an important and much-needed addition to gender, music, and performance studies’ – Laina Dawes, author of What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal.

‘Seldom do we as scholars get to interact with a professional musician who sees their work as autoethnographic; even more seldom do we see that valuable and difficult work coming from women in genres such as heavy metal. With an eye on both critical theory and musical performance, Dr Shadrack creates an interwoven story of personal experience, gender studies and women’s studies, sexual oppression and sexual violence, and brings forth deep discussions of religion, iconography, existentialism, women’s voices in and out of metal, and the many ways in which women are symbolized, represented and delimited. It is a groundbreaking work, one that continues a line of work in gender and heavy metal that represents some of the best work on gender in publication right now. The image of Denigrata Herself, the horned goddess screaming at the patriarchy, is an icon for our times’ – Amber Clifford-Napoleone, Professor of Anthropology, University of Central Missouri, USA.

‘Dr Jasmine Shadrack has accomplished a tremendous feat in this book: as an autoethnographic study, she has combined the rigours of academic research with an unsurpassed level of insight that sets a new standard in how reflection and experience can be expressed. Despite its complexity, the text is extremely accessible and weaves a narrative, making it a guide for others on how music and the arts can be a friend to those suffering from the effects of trauma and abuse where the two intersect. This is a book of hope and a source of healing. Even though it articulates a principled stand through Shadrack’s use of black metal, the relevance of her discussion reaches far beyond the music culture where she finds her solace. Her work will resonate with a wide-ranging audience – not only those working in the field of gender, feminism, metal studies and cultural studies, but also the many victims of abuse, marginalisation and those suffering oppression’ – Dr Niall Scott, Reader in Philosophy and Popular Culture, University of Central Lancashire, UK

Death and the Senses (forthcoming 2023) edited by Christina Welch and Jasmine Hazel Shadrack, Equinox Publishing

Shadrack, J. H., Sonnex, C., & Roe, C. A. (2019). Ritual Occultation and the Space between Worlds: Exploring the discursive nature of the ‘flow’ state in Black Metal and Pagan performative practice. In McLaughlin, C. (Ed.) Trans- States: The art of crossing over. (pp. 64­–86). Fulgur Press.

Shadrack, J.H., as Nachthexe. (2020). Healing the Mother Wound: Metal Performance and Grief Management. In Bennett, M.J. and Gracon, D. (Ed.) Music and Death: Interdisciplinary Readings and Perspectives. (pp.59­–70). Emerald Publishing.

Shadrack, J. (Author), Stevens, F. (Author), Rawley, S. (Author), Cameron, J. (Author), & Cargill, D. (Author). (2017). Denigrata ‘Rex Tremendae’: English/Latin. Performance, Very Metal Art LTD.

Shadrack, J. H., Jones, R. E. (Ed.), & Davies, E. (Ed.) (2017). From Enslavement to Obliteration: extreme metal’s problem with women. In Under My Thumb: Songs that Hate Women and the Women who Love Them (Vol. 1, pp. 170-184). (Music/Politics). Repeater Books.

Shadrack, J. H. Mater Omnium and the Cosmic Womb of the Abyss: Nomadic Interiorities and Matrifocal Black Metal Performance. In Metal Music Studies Journal, Volume 4, Number 2, 1 June 2018, pp. 281­–292(12), Intellect Books,

Shadrack, J. H. Occupying the Simulation: the Sexualised Panopticon. Artéfact Revue #2, 2012,

Shadrack, J. H., Panayotov, S. (Ed.), & Lukas, D. (Ed.) (2021). Malefica: the witch as restorative feminism in matrifocal black metal performance. In Black Metal Rainbows P M Press. Available in June, 2021. For more information, or to make a purchase see the publisher’s website here.

Shadrack, J. (Director). (2017). Performance of Henry Purcell’s Dido and Aeneas.

Shadrack, J. H. (Director). (2015). Requiem Macabre. Performance of Saint-Saëns’ Opus 54 and Greig’s Hall of the Mountain King.

Shadrack, J. H. (Director). (2014). Gloriosa Fusione. Performance of Vivaldi’s Gloria, Verdi’s Dies Irae and Orff’s Carmina Burana.

McLaughlin, C. (Director), & Shadrack, J. (Performer). (2016). “Kyrie Eleison” by Denigrata. Digital or Visual Media

Shadrack, J. (Author), Stevens, F. (Author), Rawley, S. (Author), Cameron, J. (Author), Cargill, D. (Author), & Hudson, N. (Producer). (2015). Denigrata ‘Missa Defunctorum: Requiem Mass in A Minor’. Composition, Self-Released.

Shadrack, J. H. (2013). Resisting the Palimpsest: reclamation of the female cultural body. Art and Design Review, 1(2).

Shadrack, J. (Composer). (2012). Film Score Composition. Fractured (dir. Marcus Ako, Mark Holland), 2012.

Shadrack, J. H. (2011). V versus Hollywood: a discourse on polemic thievery. Studies in Comics: Alan Moore Themed Issue, 2(1).


Hagen, R. (2021). Backpatches and Elbowpatches #6: Subjectivity and Autoethnography in Metal Studies. Invisible Oranges. [Review of Screaming the Abyss (2020)]


Recorded talks & Interviews

Book Launch Discussion (2021)

The International Society for Metal Music Studies

Metal Methodology Interview (2021)

Autoenhnography, Subjectivity & Trauma