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In this paper I interpret the transformations that took place in an extreme metal scene due to online fan interactions during the first wave of music–related online social media between 2004 and 2008. I show how the online success of a band on MySpace led to the devaluation of a whole genre, and also to the decreased reputation of MySpace as a medium among fans, coining the term ‘MySpace band.’ I describe how this judgment was strongly interrelated with the common conviction among fans that the activity of a band on a social platform should not be considered as ‘work’ as opposed to ‘working hard’, playing shows and touring ‘in real life’. In another case study I examine how the use of the tagging function on Last.fm lead to conflicts regarding the categorization of the genre and ignited vivid debates in the scene. The boundaries of the scene became uncontrollable in the open online social sphere, with newcomers transforming the representation of the scene in real time. Through those case studies, on the one hand, my aim is to show the interrelation of culture and technology: how value judgments on social boundaries, genres and work ethics are closely bound up with the uses and interpretations of media platforms. On the other hand, as subcultural and post–subcultural explanation schemes too could be applied to those scenic practices, I suggest that instead of concentrating on the presumed structural nature of scenes, focusing on the discursive constructions of genre may offer a fruitful avenue for understanding collectivities of musical taste.

In this article, we argue that offline inequalities, such as core–periphery relations of the music industry, are reproduced by streaming platforms. First, we offer an overview of the reproduction of inequalities and core–periphery dynamics in the music industry. Then we illustrate this through a small-scale network analysis case study of Hungarian metal bands’ connections on Spotify. We show that the primary determinant of a given band’s international connectedness in Spotify’s algorithmic ecosystem is their international label connections. Bands on international labels have more reciprocal international connections and are more likely to be recommended based on actual genre similarity. However, bands signed with local labels or self-published tend to have domestic connections and to be paired with other artists by Spotify’s recommendation system according to their country of origin.

Introduction "…This very topography of popular music in terms of underground versus overground, margins versus centre, has been steadily dissolved this decade, partly because of the web and partly because of the economic upheavals that have beset the music industry"-wrote Simon Reynolds (2009) in an essay for The Guardian. Indeed, in recent popular and scenic discourses, and cultural criticism, there is a frequently recurring narrative, according to which unlimited access made possible by the Internet and digital platforms have, in fact, already eliminated the concept of the underground. This is because music that may be heard by practically anyone can no longer be called underground (see also Graham 2010b).

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