|
Zulfiningrum, R., & Almayda, S. R. D. (2023). Metal Music as a Medium of Da'wah Communication (Album “7:172” Band Purgatory). Riwayat: Educational Journal of History and Humanities,, 6(2), 468–477.
|
|
|
Yusof, A., & Johan, A. (2023). “Somewhere They Belong”: Metal, Ethnicity, and Scenic Solidarities in Malaysia’s Underground Scenes (1990s to 2000s). In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 259–280). London: Lexington Books.
|
|
|
Yildirim, Y. (2023). Heavy metal in Turkey: Tracking the tensions of democratization in the 1990s. Sociology Compass, 17, e13122.
|
|
|
Wallach, J. (2023). REFORMASI-ERA POPULAR MUSIC STUDIES: Reflections of an Anti-Anti-Essentialist. In C. J. Miller, & A. McGraw (Eds.), Sounding Out the State of Indonesian Music (pp. 162–179). Ithaca: Cornell University Press.
|
|
|
Walch, F. (2023). Extreme Metal Across the Digital Divide: Music, Technology, Genre. Ph.D. thesis, The University of Texas at San Antoniohicago, Chicago, Illinois.
Abstract: This dissertation examines how the analog-digital transition influenced the development of extreme metal, interpreting its present obsession with fine sub-generic distinctions and “old-school” revivals of analog aesthetics as a means of coping with an uneasy dependence on digital media. While extreme metal’s values developed in analog networks, its transcendence of aural and bodily limits required digital prostheses. The digital divide in accessing these contested technologies structured extreme metal’s system of subgenres, which—like the remembered inconveniences of the past—memorialize now-lost resistances.
This dissertation’s arc is conceptual and chronological. Its introduction and conclusion frame its inquiry with present concerns, while the inner chapters are case studies that progress from undifferentiated analog beginnings in the 1980s to sub-generic crystallization up to the arrival of the digital audio workstation in the mid-1990s. Using archival materials, newly conducted interviews, and close readings of musical records, these case studies put vernacular theories into dialog with discourses drawn from the musicology of record production, music theory, and critical theory. Ultimately, these constellations aim to articulate a constitutive relationship between what it means to analyze, make, and enjoy popular music. This dissertation’s contributions are twofold. First, it provides models for the analysis of popular music grounded in the historically conditioned values of an aesthetic community—and how these values are adapted to disruptions. Second, this dissertation argues that (sub-)genre, as the promise of being able to repeat (increasingly narrow) aesthetic experiences, requires technologies that make this repetition possible—at least in fantasy. The Introduction uses ethnographic vignettes to establish the contemporary importance of sub-genre and nostalgia.
Chapter 1 asks why pioneering musicians can claim to have heard extreme metal before it existed, by manipulating the time-axis of existing records on tape or vinyl players. This fetish-like objectification of creativity reflects a disavowal of subjective creativity. Chapter 2 analyzes death metal drumming’s labor theory of value, demonstrating why digital drum sample replacement was both essential and intolerable for the development of the prized blast beat, which was valued as concrete time, but measured as abstract time.
An Interlude examines how moral panics around backmasking let horror-inspired album introductions transmit different messages to insiders and outsiders. Chapter 3 reconstructs the digital-analog assemblage Morrisound Studios used to create the signature hyper-real performance associated with death metal and explores how its aural trace made the digital divide audible. Chapter 4 argues that the death metal production aesthetic undermined the groove-based forms of grindcore, examining how former grindcore bands re-record their own songs in a death metal idiom. Chapter 5 contests the notion that black metal was only a return to an imagined analog past, analyzing it as a post-digital style that used the devaluation of human performance it critiqued in death metal to incorporate influences from electronic dance music. The Postlude returns to the present and considers what is at stake when resistances are lost to remediation. (source: Uchicago.edu)
|
|
|
Varas-Díaz, N., Wallach, J., Clinton, E., & Nevárez Araújo, D. (Eds.). (2023). Defiant Sounds: Heavy Metal Music in the Global South. London: Lexington Books.
|
|
|
Varas-Díaz, N., & Nevárez Araújo, D. (2023). Decolonizing the Mind’s Eye: Images of Resistance in Caribbean Metal Music. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 327–350). London: Lexington Books.
|
|
|
Varas-Díaz, N., & Kobi Farhi. (2023). The Alternative Side of the Frame: A Dialogue on Southern Inspirations. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 219–226). London: Lexington Books.
|
|
|
van Doesburg, E. (2023). The Rejection and Redemption of Technology in Black Metal. Bachelor's thesis, Radboud University, Nijmegen.
|
|
|
Turley, J., & Jocson-Singh, J. (2023). Heavy Music Mothers: Extreme Identities, Narrative Disruptions. Extreme Sounds Studies: Global Socio-Cultural Explorations. Lanham, Maryland: Lexington Books.
Abstract: "Heavy Music Mothers: Extreme Identities, Narrative Disruptions is an exploration of women and heavy music and the ways in which women have historically engaged with musicking as mothers. Julie Turley and Joan Jocson-Singh, musicking mothers themselves, largely employ an ethnographic lens, foregrounded in powerful one-on-one original interviews as vignettes that narrate thematic patterns. Other chapters examine motherhood identity embedded in respective published rock music memoirs, discussions of rock performance as a site of maternal bonding, and themes that arise when heavy music mothers write about motherhood. Autoethnographic portions throughout give the book an intimate and personal tone: one such chapter presents the concept of vigilante motherhood within an auto-ethnographic context.
The authors reference the book’s limitations, meditating on historically marginalized moms the authors predict and hope the focus will be on for the future. Heavy Music Mothers is a robust study of women and motherhood set within a music culture historically inhospitable to both women and mothers. This book, the first scholarly study of this topic, is just the beginning."
(Source: Rowman & Littlefield)
|
|