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Gospodarek, K. (2023). "Tomorrow is cancelled”. A Characterisation of the Music and Chosen Psychological Aspects of Depressive Suicidal Black Metal. Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura, 15(4), 129–137.
Abstract: “The article shortly characterises the depressive suicidal black metal subgenre and determines the psychological impact on its listeners and creators. It also shows that the „average” heavy metal music fan declares that heavy metal affects their lives in a positive way. All information accrued in the article points to the fact that while some people report feeling worse while listening to depressive suicidal black metal music, others say that it makes them feel better, which is determined by the individual differences between them.”
(SOURCE: https://studiadecultura.uken.krakow.pl/article/view/10975)
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Zeidler, B. (2023). The Relation between American Avant‑garde Metal and Colin Marston’s Menegroth the Thousand Caves Studio.15(4), 117–128.
Abstract: “Colin Marston is a New York based music producer and multiinstrumentalist, the founder of Menegroth the Thousand Caves Studio located in Queens borough of New York. His output can be classified into two categories – musical – his contribution to musical projects such as Behold the Arctopus, Krallice, Gorguts, and production – among bands like Liturgy, Scarcity or Imperial Triumphant. The article’s main goal is to give a short biography, followed by a deep dive into Marston’s producer output in the context of American avant‑garde metal.”
(SOURCE: https://studiadecultura.uken.krakow.pl/article/view/10974)
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Sochacka, E. (2023). The Gothic Mélange of Spleen and Yé‑Yé Music in the Intermedia Project “Les Fleurs du Mal” by Therion.15(4), 103–115.
Abstract: “The article analyzes cultural, historical, and literary inspirations as well as transpositions in the textual and musical layer of songs (which are only covers), the graphic design of two CD versions, and music videos created in a theatrical convention of kitsch promoting Therion’s jubilee album Les Fleurs du Mal released in 2012. It shows the production process, the final effect of the intermedia’s synthesis of arts, and the audience’s reception from the perspective of the project’s decade of existence.”
(SOURCE: https://studiadecultura.uken.krakow.pl/article/view/10973)
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Baran, D. (2023). The Big Three of Polish Metal: TSA, Kat and Turbo in the Music Press of the Polish People’s Republic.15(4), 85–101.
Abstract: “The beginnings of Polish heavy metal date back to the turn of the 1970s and 1980s and are related to the formation of the TSA. However, it was not the beginning of the dynamic development of the Polish metal scene, just like, for example, punk rock, particularly that this genre was not widely presented in the Polish media. The situation did not change with Turbo and Kat were formed, and the bands were considered as a big 3 of “Polish metal”. This happened despite often critical assessments of their activity, especially in two general music periodicals – Magazyn Muzyczny and Non Stop. Articles from them are the subject of analysis in this article, which will present the perception of this phenomenon in Polish musical critic.”
(SOURCE: https://studiadecultura.uken.krakow.pl/article/view/10972)
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Małczyński, B. (2023). Intro and Outro Functions in the Context of Thomas Börje Forsberg’s Albums. Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura, 15(4), 75–83.
Abstract: "This essay concerns the constant meter on Thomas Börje Forsberg’s (Bathory, Quorthon) albums of introductions and outroductions (“intros” and “outros”), placed at the beginning and end of albums or performances of songs. Introductions and outroductions refer to the imagination of the transducer. Together with the album cover and lyrics, they create a kind of imaginary illustration; a kind of soundscape that cannot be heard only by auditory perception, focused on the melodic and rhythmic course. It heals, directs, specifically defines this perception, and equips to determine the importance of using association scores. External sounds are instrumentalized; the sounds are clothed with additional semantic content.
Introductions and outroductions determine the composition of the albums, fulfilling in them the scheme of a bracket or structural frame, which can, for example, be associated (especially in the first three albums by Bathory) with an attempt to imitate the course of religious conduct – a ritual order with its specific determination of application and closure. The introduction, therefore, is the task of the listener in the atmosphere of some reality (religious or quasi‑religious, mythological, socio‑political), while the outroduction is responsible for the culmination of this experience. In Forsberg’s albums, it is possible to add several generalized semantic circles into which introductions and outroductions fit. Each of these items has an album/track relation with text enabled."
(SOURCE: https://studiadecultura.uken.krakow.pl/article/view/10971)
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