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Hoad, Catherine |
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Title |
Significantly Othered: Limp Bizkit and the Politics of Nu Metal “Otherness” |
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2023 |
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Rock Music Studies |
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t.b.c. |
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Nu metal; Otherness; Representation; Whiteness; Masculinity |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2464 |
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Author |
Gallina, Francesco |
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Title |
La fisica del rock. Da Einstein, Lovecraft e Paperino a Jeeg Robot, ai Queen e all'Universo degli Epica |
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2023 |
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Arcana |
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Roma |
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9788892772274 |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2468 |
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Author |
Batista, Marcelo R. |
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Title |
United Forces: An Archive of Brazil's Raw Metal Attack, 1986-1991 |
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Year |
2023 |
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528 |
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Brasil; Brazil; Sepultura; Carcass; Darkthrone; Mystifier; Sarcófago |
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“This massive 528pp document of the 1980s Brazilian metal uprising includes over 1,000 images, photos, and flyers in ten narrative chapters...United Forces presents the story in vivid color, along with Batista's own headbanger tale―from humble origins collecting scrap metal to buy Motörhead albums to DIY operator funneling his country's metal passion to receptive listeners in Europe and North America. The changes in Brazil during the 1980s and early 1990s serve as background for a full-bore metal revolution, as Batista's story brings to life the crucial South-of-the-equator 1980s scene that inspired all the forthcoming underground extremes to come.” (source: Amazon.com) |
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Bazillion Points |
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English |
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1935950215; 978-1935950219 |
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INTech @ brianhickam2019 @ |
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2516 |
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Author |
Davis, Amanda Blake; Sangster, Matthew |
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Title |
“Load Every Rift”: Power, Opposition, and Community in Romantic Poetry and Heavy Metal |
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Year |
2023 |
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European Romantic Review |
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34 |
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3 |
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291-302 |
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Keywords |
Romanticism (literature); Literature; Epic poetry; Intertextuality |
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1050-9585 |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2420 |
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Author |
Walch, Florian |
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Title |
Extreme Metal Across the Digital Divide: Music, Technology, Genre |
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Year |
2023 |
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301 |
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Keywords |
analog; analysis; digital; extreme metal; genre; media; music history; music theory |
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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) |
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Ph.D. thesis |
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The University of Texas at San Antoniohicago |
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Chicago, Illinois |
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English |
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INTech @ brianhickam2019 @ |
Serial |
2604 |
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Author |
Nevárez Araújo, Daniel; Varas-Díaz, Nelson; Wallach, Jeremy; Clinton, Esther |
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Title |
Introduction: Of “Metal” and Metal: A Global South Approach to Metal Studies |
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Book Chapter |
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Year |
2023 |
Publication |
Defiant Sounds. Heavy Metal Music in the Global South |
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1-6 |
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Global South |
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Lexington Books |
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London |
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no |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2422 |
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Author |
Nevárez Araújo, Daniel; Varas-Díaz, Nelson; Wallach, Jeremy; Clinton, Esther |
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Title |
Metal Music in the Distorted South: A Call for Defiance and Reflection |
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Book Chapter |
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2023 |
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Defiant Sounds. Heavy Metal Music in the Global South |
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9-30 |
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Global South; Politics; Inequality |
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Lexington Books |
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London |
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UCM-CAM @ amaranta.saguar.garcia @ |
Serial |
2423 |
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Author |
Pérez Pelayo, Marisol |
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Title |
The Legacy of the Sun: Cemican, Mesoamerican instruments, and their materiality in metal music |
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Journal Article |
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Year |
2023 |
Publication |
Riffs: Experimental Writing on Popular Music |
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7 |
Issue |
1 |
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7-21 |
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Cemican (band); Performance; Indigenous instruments; Relation to the past |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2592 |
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Author |
Zulfiningrum, Rahmawati; Almayda, Sabian Ray Dhista |
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Title |
Metal Music as a Medium of Da'wah Communication (Album “7:172” Band Purgatory) |
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2023 |
Publication |
Riwayat: Educational Journal of History and Humanities, |
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6 |
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2 |
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468-477 |
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Da'wah; Purgatory (band); Indonesian metal |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2581 |
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Author |
Holm, Christoffer |
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Title |
Power Metal – Tre låtar jämförs och genrekonventioner diskuteras [Comparing three songs and discussing genre conventions] |
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Year |
2023 |
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Power Metal; Helloween (band); Blind Guardian (band); Rhapsody of Fire (band); Conventionality |
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Bachelor's thesis |
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Linnéuniversitetet |
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Växjö |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2553 |
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