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Rivero-Vadillo, A. (2024). “An Indigenous Fucking Blood Revival”: Pagan Aesthetics in The US Indigenous Black Metal Scene. Complutense Journal of English Studies, 32, e81707.
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Silva, M. A. dos S., & Sá, S. P. de. (2014). Duas pernas, um braço: a banda Katingation e sua apropriação do death metal no cenário pós-guerra civil angolano. Comunicação Mídia E Consumo, 11(31), 65–81.
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Eckerström, P. (2022). Extreme heavy metal and blasphemy in Iran: the case of Confess. Cont Islam, . Retrieved August 7, 2024, from http://dx.doi.org/https://doi.org/10.1007/s11562-022-00493-7
Abstract: Since the revolution in 1979, the Islamic Republic of Iran has imprisoned musicians, especially punk, hip-hop, and hard rock bands, as well as those playing heavy metal subgenres. Extreme heavy metal artists and fans emerged in the 1990s. The government soon targeted them as Satanists and began a systematic crackdown on metalheads. The metalcore band Confess is the most well-known case. The band was arrested in 2015 on counts of blasphemy, disturbing public opinion through the production of music, participating in interviews with the opposition media and propaganda against the Islamic Republic of Iran, among other charges. The majority of secular countries today do not consider extreme heavy metal to be transgressive. This is not the case in contexts where religious traditions have a significant influence on society. By analysing the narrative of the band Confess, the purpose of this paper is to provide an understanding of how Iranian extreme metal musicians resist religious oppression, challenge their government, religious precepts, and social values through their music.
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Overell, R. (2021). Voicing the Real in Extreme Metal. Continental Thought & Theory, 3(3), 136–163.
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Koplow Villavicencio, J. (2022). Aproximación a la relación entre la escena metalera chilena y los pueblos originarios Mapuche, Selk’nam y Kawésqar. Contrapulso – Revista Latinoamericana De Estudios En Música Popular, 4(2), 78–93.
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Heesch, F. (2018). Voice of anarchy: Gender aspects of aggressive metal vocals. The examples of Angela Gossow (Arch Enemy). Criminocorpus: Revue hypermedian d'Histoire de la justice, des crimes et des peines, 11. Retrieved August 7, 2024, from http://dx.doi.org/https://doi.org/10.4000/criminocorpus.5726
Abstract: Issue theme: Actes du colloque: Rock et violences en Europe: Metal et violence.
- Résumé:
Growling can be regarded as a key aesthetic practice of death metal. This practice, throughout the history of the genre, has been heavily gendered; while practiced both by men and women since the early 1990s it has nevertheless been associated with masculinity, due to its perceived aggressive sound, as well as corresponding notions of perceived low pitch and noise. In 2001 Angela Gossow became the singer of the band Arch Enemy and has since established herself as one of the most outstanding female growlers within the global metal scene. An analytical look at Gossow’s individual vocal style will be applied to argue that growling could potentially contribute to a more complex understanding of how voice, gender and aggression are related. This article examines the musical phenomenon of death metal growling, as well as the marginalization of women in what has been conceived as a primarily masculine style.
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Castillo Bernal, S. (2022). Exotismo mediático. Notas sobre el Heavy Metal de inspiración prehispánica en México. Cuicuilco. Revista de ciencias antropológicas, 29(85), 41–72.
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Holzbach, A. D., Santos, M., Evangelista, S., & Oliveira, T. (2015). Heavy Metal X Funk: disputas de gênero na cultura pop a partir do canal Mamilos Molengas. In S. P. de Sá, R. Carreiro, & R. Ferraz (Eds.), Cultura pop (pp. 131–150). Salvador: EDUFBA.
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Muller, F. (2024). Cemetery meditations and Morbid Visions: death metal as a spiritual exercise. Culture and Religion An Interdisciplinary Journal, Latest Articles.
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Forshaw, J. (2011). Metal in Three Modes of Enmity: Political, Musical, Cosmic. Current Musicology, 91, 139–160.
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