 Hoad finds the issue of national and racial identity central to Viking metal . For instance , she writes that when Trafford and Pluskowski claim that Manowar could not claim religious or racial identity with the Vikings when the band had a lead singer with the " ' less than wholly Scandinavian name of Joey di Maio ' , [ Trafford and Pluskowski ] are approaching a more complex and racially @-@ charged issue than their offhandedness would suggest . " Hoad states that Viking imagery may be readily appropriated , the definition of a " true " Viking is quite rigid , a rigidity with which non @-@ Nordic , and especially non @-@ White , musicians must contend with . As an example , she cites the Brazilian band Viking Throne , which claims legitimacy through European ancestry and historical references to explorations of South America by Nordic countries . The front @-@ man , Count Nidhogg , extols that " Some people understand perfectly that it doesn 't matter where you live , what 's really important is your heritage and ancestry . Even living in a South American country as Brazil we all have European blood . " Hoad argues that Viking Throne illustrates the cultural importance of claiming Viking ancestry , a culture that operates on largely geographic lines . In contrast to Viking Throne , she cites the band Slechtvalk , which is well known for its brand of Christian Viking metal , but yet goes largely without comment from the scene regarding its authenticity . Hoad speculates that the European ethnicity of the band is enough to compensate for its otherwise counter @-@ intuitive music . 
