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Batista, M. R. (2023). United Forces: An Archive of Brazil's Raw Metal Attack, 1986-1991. Bazillion Points.
Abstract: “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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Banchs, E., Bardine, B. A., Chilewska, A., Cintrón-Gutiérrez, L. J., Hagen, R., Madera, S. R., et al. (2023). On Extremity: From Music to Images, Words, and Experiences (N. Varas-Díaz, B. Bardine, & & N. W. R. Scott, Eds.). Extreme Sounds Studies: Global Socio-Cultural Explorations. Lexington Books.
Abstract: “On Extremity: From Music to Images, Words, and Experiences brings together transdisciplinary scholarship on sounds, images, words, and experiences (human and non-human) to reflect on the polysemic and polymorphic characteristics of extremity and the category of the extreme. The editors and authors aim to contribute to a living, breathing, and expanding definition of extremity that helps us understand what we gain, or lose, when we interact with it, create it, and share it with, or force it upon, others. The volume calls for the emergence of “extremity studies” as an area of perusal to help us navigate our current global condition.”
(source: Amazon.com)
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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)
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Rosa, H. (2023). When Monsters Roar and Angels Sing: Eine kleine Soziologie des Heavy Metal. MetalBook (Volume 1). Stuttgart, Baden-Württemberg, Germany: Kohlhammer Verlag. Retrieved May 15, 2024, from https://blog.kohlhammer.de/geschichte/heavy-metal-ist-fuer-mich-ein-trotziges-trotzdem/
Abstract: <<Ehemals Musik junger Abgehängter und Outlaws, ist Heavy Metal heute mehr und mehr in der Mitte der Gesellschaft angekommen: Wohl mehr als 10 Millionen Deutsche hören Heavy Metal. Aber warum tun sie das? Was suchen und was finden sie in dieser Musik, die von Außenstehenden oft als purer Lärm empfunden wird? Warum wimmelt es im Heavy Metal nur so von Monstern und Teufeln – und wieso schweigen auch die Götter und die Engel nicht? Was erleben Metalfans, wenn sie ihre Musik hören – und welche Erfahrung treibt sie immer wieder ins Konzert? Wieso lesen sie ständig Musikzeitschriften und hören nicht auf, CDs zu kaufen? Wie ist es zu erklären, dass 40 Prozent der Metalfans behaupten, die Musik habe ihr Leben gerettet? Und warum ist Heavy Metal stärker als die Musikindustrie? Worum geht es im Heavy Metal wirklich? Diese Fragen und mehr beantwortet Hartmut Rosa in dieser kleinen Soziologie des Heavy Metal.>>
[Once the music of young socialites and outlaws, heavy metal has now become more and more mainstream in society: more than 10 million Germans listen to heavy metal. But why do they do this? What are they looking for and what do they find in this music, which outsiders often perceive as pure noise? Why is heavy metal so full of monsters and devils – and why don't the gods and angels stay silent either? What do metal fans experience when they listen to their music – and what experience drives them to go to concert again and again? Why do they keep reading music magazines and don't stop buying CDs? How can we explain the fact that 40 percent of metal fans claim that music saved their lives? And why is heavy metal stronger than the music industry? What is heavy metal really about? Hartmut Rosa answers these questions and more in this little sociology of heavy metal.]
//
<< Der Soziologe Hartmut Rosa überträgt in „When Monsters Roar and Angels Sing. Eine kleine Soziologie des Heavy Metal“ seine vieldiskutierte Resonanztheorie ganz konkret auf das praktische Beispiel Heavy Metal. Was suchen und was finden Menschen in dieser Musik? Und was kann die Gesellschaft von der Kulturströmung Heavy Metal lernen? “Heavy Metal ist für mich ein troziges 'Trotzdem!'”, so Hartmut Rosa. Wir haben mit dem bekennenden Metalfan zu seinem neuen Buch gesprochen." >>
[In “When Monsters Roar and Angels Sing. A Short Sociology of Heavy Metal,” the sociologist Hartmut Rosa specifically transfers his much-discussed resonance theory to the practical example of heavy metal. What are people looking for and what do they find in this music? And what can society learn from the heavy metal cultural movement? “For me, heavy metal is a defiant 'Nevertheless!'” says Hartmut Rosa. We spoke to the self-confessed metal fan about his new book.]
(Source: https://shop.kohlhammer.de/)
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Scheller, J., & Neuffer, J. (2023). Make Metal Small Again. MetalBook (Volume 2). Stuttgart, Baden-Württemberg, Germany: Kohlhammer Verlag. Retrieved May 15, 2024, from https://shop.kohlhammer.de/make-metal-small-again-43435.html#147=22
Abstract: <<Metalbands stehen auf gewaltigen Bühnen, vor Verstärkertürmen und Tausenden wilder Fans. Sie trinken kübelweise Bier, rauschen in Tourbussen durch die Nacht und besingen Sex, Drogen und den Tod. Ihr größtes Ziel: Wacken. Alle Metalbands? Nein!
Eine kleine Metalband tingelt seit zwei Jahrzehnten über Dorffeste, Vereinsfeiern, Hochzeiten, Vernissagen und durch Geburtstagspartys. Sie hat keine Verstärker, keine Plattenfirma. Sie liefert annähernd CO2-neutralen Metal wie Pizza auf Bestellung und hätte einmal beinahe Angela Merkel beschallt. Sie singt nur übers Wetter und spielt im Sitzen, gediegen gekleidet und teetrinkend. Sie richtet sich gleichermaßen an Bildungsbürger, Mutbürger, Spießbürger. Ihr Name: Malmzeit. Ihr Genre: Kammermetal. Ihr Motto: Make Metal Small Again!
Tauchen Sie ein in die völlig irre Bandbiographie der kleinsten Metalband der Welt, verfasst von den Musikern selbst. Ein Buch voller bizarrer Ereignisse, das komplett erfunden sein könnte, wäre nicht jedes Wort wahr!>>
[Metal bands stand on huge stages, in front of amplifier towers and thousands of wild fans. They drink beer by the bucketful, rush through the night in tour buses and sing about sex, drugs and death. Your biggest goal: Wacken. All metal bands? No!
A small metal band has been playing at village festivals, club celebrations, weddings, openings and birthday parties for two decades. She has no amplifiers, no record company. It delivers almost CO2-neutral metal like pizza to order and once almost gave Angela Merkel sound. She just sings about the weather and plays while sitting, dressed dignified and drinking tea. It is aimed equally at educated citizens, courageous citizens and philistines. Her name: Malmzeit. Her genre: chamber metal. Their motto: Make Metal Small Again!
Immerse yourself in the completely crazy band biography of the smallest metal band in the world, written by the musicians themselves. A book full of bizarre events that could be completely made up if every word wasn't true!]
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<<Produktbeschreibung: Ende der 1960er Jahre entwickelte sich der Hard Rock weiter zu noch härteren, schnelleren Klängen. Die ersten Alben von “Black Sabbath” gelten gemeinhin als die Geburtsstunde des Heavy Metal. Obwohl wiederholt totgesagt, ist diese Musikrichtung bis heute ungemein erfolgreich und hat sich in mehrere hundert Subgenres ausdifferenziert. Einst drückte die laute und aggressive Musik den Unmut der sozial Abgehängten am gesellschaftlichen Rand aus, doch inzwischen hören auch viele Akademiker und Wohlhabende Metal. Heute wie damals geht es für die eingefleischten Metal-Fans längst nicht nur um die Musik, sondern vielmehr um ein Lebensgefühl. Und so wird noch immer der Mythos vom Outlaw zelebriert, während die Szene schon längst mitten in der Gesellschaft angelangt ist, denn allein in Deutschland hören Millionen von Menschen diese Art Musik. Als globales Kulturphänomen zieht Heavy Metal mittlerweile mehr und mehr Aufmerksamkeit auf sich und entwickelt sich in Richtung Popkultur. Gleichzeitig beschäftigt sich die Szene oft mit Themen, die in der modernen Konsumkultur verdrängt werden. Themen wie etwa Gewalt, Angst und Tod. Jörg Scheller bringt es in der NZZ (06.07.2018) auf den Punkt: “Metal ist hart, weil das Leben hart ist und der Ponyhof nie weit entfernt vom Schlachthof. Dieser Sound fordert die Konfrontation mit der dunklen Seite, aber auch persönlichen Einsatz und Verantwortung. Erkenntnisse und Entscheidungen nimmt er niemandem ab. Stets muss Metal decodiert, interpretiert, diskutiert werden. Wie moderne Kunst ist er offen in der Bedeutung. Und genau deshalb umstritten.”
Insofern ist es keine Überraschung, dass dieses Phänomen auch an den Universitäten bereits seit mehreren Jahrzehnten von diversen Disziplinen erforscht wird. Eine Unzahl hochinteressanter Studien sind das Ergebnis. Allerdings werden diese meist ausschließlich in wissenschaftlichen Fachbüchern publiziert. Hier setzt unsere Reihe “Metalbook” an, die sich ganz gezielt an ein Sachbuchpublikum wendet und spannende Themen und Phänomene aus der Metal-Szene behandeln möchte.
Höchste Zeit also, die “Metalbooks” in unsere Buchläden zu bringen ...
>>
[Product description: At the end of the 1960s, hard rock continued to develop into even harder, faster sounds. Black Sabbath's first albums are generally considered to be the birth of heavy metal. Although it has repeatedly been declared dead, this style of music is still extremely successful today and has differentiated itself into several hundred subgenres. The loud and aggressive music once expressed the discontent of those left behind on the social margins, but now many academics and wealthy people also listen to metal. Today, as then, for die-hard metal fans it's not just about the music, but rather about an attitude to life. And so the myth of the outlaw is still celebrated, while the scene has long since reached the heart of society, because in Germany alone millions of people listen to this type of music. As a global cultural phenomenon, heavy metal is now attracting more and more attention and developing into pop culture. At the same time, the scene often deals with topics that are suppressed in modern consumer culture. Topics such as violence, fear and death. Jörg Scheller sums it up in the NZZ (July 6, 2018): "Metal is hard because life is hard and the pony farm is never far from the slaughterhouse. This sound demands confrontation with the dark side, but also personal commitment and He doesn't take responsibility for insights and decisions from anyone. Metal always has to be decoded, interpreted and discussed.
In this respect, it is no surprise that this phenomenon has been researched by various disciplines at universities for several decades. The result is a multitude of highly interesting studies. However, these are usually published exclusively in scientific textbooks. This is where our “Metalbook” series comes in, which is aimed specifically at a non-fiction audience and aims to cover exciting topics and phenomena from the metal scene.
So it's high time to bring the “Metalbooks” into our bookstores...]
(Source: https://shop.kohlhammer.de/)
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Martínez, S. G. (2023). Enseñar a transgredir: Metal feminista, a través de la investigación-acción participativa, como herramienta artística de liberación y pedagógica en el aula (R. L. UniveVallecillos, & N. Varas-Díaz, Eds.). Doctoral thesis, Universidad de Granada, Escuela de Doctorado de Humanidades, Ciencias Sociales y Jurídicas, Programas de Escuela de Doctorado de Humanidades., Granada, Andalusia, Spain. Retrieved May 15, 2024, from https://digibug.ugr.es/handle/10481/89687
Abstract: Esta tesis presenta, en primer lugar, una indagación profunda sobre las manifestaciones feministas en la música y cultura metal, desde un abordaje transdisciplinar y multidimensional. En tal sentido, el texto ofrece un análisis crítico exhaustivo de los diversos discursos, procesos relacionales y prácticas corporales del metal feminista en diferentes contextos del Norte y el Sur Global, desde un enfoque interseccional, psicosociológico y pedagógico feminista. Tal análisis está basado en entrevistas en profundidad realizadas con 21 bandas feministas de metal de diferentes países, 32 letras de canciones y 19 portadas de álbumes. Así como otras fuentes complementarias, tales como imágenes promocionales, declaraciones de las bandas en medios, webs/perfiles promocionales, y perfiles personales de las/los artistas en redes sociales. De otro lado, esta tesis, entra en conversación con el campo más amplio de las artes —de forma comparativa— ofreciendo una identificación de los vínculos y distancias del metal feminista con el arte feminista de los 70. Delinea, por otro lado, un patrón didáctico observable en la práctica metal extrema feminista, que permite su conceptualización como praxis liberatoria y, finalmente, como un ejercicio bastardo de a/r/t/ografía ritual social.
En segundo término, el texto muestra el desarrollo de un proyecto de investigación-acción participativa (IAP) internacional, con la comunidad feminista del metal. La IAP —desarrollada en entornos virtuales por un grupo de 36 personas (artistas, activistas y académicas) integrantes de las escenas de metal— ofrece un diagnóstico social sobre las barreras de género que afectan la participación en las diferentes escenas de metal, en contextos del Norte y el Sur Global. Dicho diagnóstico social está desarrollado a partir de una revisión bibliográfica panorámica y una encuesta virtual global, en la que han participado 32 países. Al tiempo, la IAP ha generado varios productos destinados a la intervención/devolución comunitaria de la información obtenida.
Por ende, se ofrecen en este texto: un artículo colectivo, una web, un vídeo-hechizo en consonancia con las estrategias simbólicas del metal feminista, y la serie de vídeos explicativos No Me Toques el Ampli. Con todo, el diseño del proyecto IAP ha conseguido informar de forma rigurosa sobre la clave contextual del fenómeno de estudio objeto de esta disertación —el metal feminista—, al tiempo que ha contribuido a realizar un aporte en pro de los intereses de los sujetos/comunidades de estudio. Por último, esta tesis muestra el desarrollo de una experiencia piloto en el ámbito educativo, que ha tenido como fin explorar la potencialidad que tienen las estrategias y técnicas artísticas del metal feminista identificadas, como herramientas en el marco de las pedagogías feministas restaurativas.
En conclusión, este estudio contribuye a la comprensión de las expresiones artístico-políticas feministas dentro del campo especializado de los estudios del metal y, del arte feminista, en un sentido más amplio. Asimismo, ha servido al impulso de las reivindicaciones feministas en las escenas artísticas del metal, haciendo permeables los límites de la investigación académica —en particular dentro del campo del metal— mediante un enfoque metodológico socialmente comprometido. De otro lado, realiza un aporte a las pedagogías feministas restaurativas, a través de la exploración de una fórmula didáctica innovadora, centrada en el uso de nuevas herramientas y técnicas. En un sentido más amplio y último término, este estudio pone un granito de arena a la empresa utópica de la llamada ecología de saberes —a partir de la interacción de prácticas científicas, prácticas artísticas subalternizadas y saberes encarnados— como una fuente de conocimiento valioso, para activar un pensamiento científico interconectado, siguiendo a Boaventura de Sousa Santos (2010, pp. 52-53).
[This dissertation presents, first, an in-depth perusal of feminist artistic manifestations in metal music and culture from a transdisciplinary and multidimensional approach. In this sense, the text offers an exhaustive critic analysis of the diverse discourses, relational processes, and bodily practices of feminist metal in different contexts of the Global North and South from an intersectional, psycho-sociological, and pedagogical feminist approach. The analysis is based on in-depth interviews conducted with 21 feminist metal bands from different countries, 32 song lyrics and 19 album covers. As well as other complementary sources, such as promotional images, statements of the bands in the media, promotional websites/profiles, and personal profiles of the artists in social networks. Likewise, this dissertation, enters conversation with the broader field of the arts —in a comparative way— offering an identification of the links and distances of feminist metal with feminist art of the 1970s. On the other hand, it delineates a didactic pattern observable in extreme feminist metal music, which allows its conceptualization as a liberatory praxis and, finally, as a bastard exercise in socioritual a/r/t/ography.
Secondly, the text explains the development of an international participatory action-research (AR) project with the feminist metal community. The AR — developed in virtual environments by a group of 36 people (artists, activists, and academics) from the metal scenes— offers a social diagnosis of the gender barriers that affect participation in the different metal scenes in contexts of the Global North and South. This social diagnosis is based on a panoramic literature review and a global survey in which 32 countries participated. At the same time, the AR project has generated several products aimed at community intervention/dissemination of the information obtained.
Thus, this thesis offers the following: a collective article, a web page, a video-spell in line with the symbolic strategies of feminist metal, and the series of explanatory videos Don't Touch My Amp. All in all, the design of the AR project has succeeded in rigorously informing the contextual key to the study phenomenon object of this dissertation —feminist metal— while contributing to the interests of the subjects and community of study. Finally, this dissertation shows the development of a pilot experience in the educational field, which aimed to explore the potential of the identified feminist metal art strategies and techniques as tools within the framework of restorative feminist pedagogies.
Therefore, this study contributes to the understanding of feminist artisticpolitical expressions within the specialized field of metal studies, and feminist art in a broader sense. It has also served to advance feminist claims in the metal scenes, permeating the boundaries of academic research —particularly within the field of metal— through a methodological approach socially committed. It also contributes to feminist restorative pedagogies by exploring an innovative didactic formula focused on using new tools and techniques. In a broader sense and lastly, this study contributes to the utopian enterprise of the so-called ecology of knowledge —based on the interaction of scientific practices, subalternized artistic practices and embodied knowledge— as a source of valuable knowledge, which activates an interconnected scientific thought, following Boaventura de Sousa Santos (2010, pp. 52-53).]
* Source for both was: https://digibug.ugr.es/handle/10481/89687
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García Castiblanco, N., & Cáceres Parra, J. (2022). Voces Resonantes Memoria y Resistencia. Metal en Colombia: Memorias de violencia y resistencia para la No Repetición. Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras, 1(1). Retrieved May 15, 2024, from https://reehm.org/static/publicaciones/Disonancias_del_Metal_01.pdf
Abstract: REEHM motto: Espacio interdisciplinario integrado por diverses actores sociales, les cuales nos proponemos la reflexión y el intercambio acerca del Heavy Metal y su cultura, partiendo del diálogo realizado desde la base de la horizontalidad y la heterogeneidad.
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Hudson, S. S. (2022). Bang Your Head: Construing Beat Through Familiar Drum Patterns in Metal Music. Music Theory Spectrum, 44(1), s.p.
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Varas-Díaz, N., Hickam, B., González-Martínez, S., Castañeda, M., Galicia Poblet, F., Nieves Molina, A., et al. (2022). “Toda la sangre formando un río”. Contributions to the histories of metal music studies from the Spanish-speaking world. Metal Music Studies, 8(1), 47–68.
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Valijärvi, R. - L. (2022). Cultural trauma in the lyrics of the Estonian folk metal band Metsatöll. metal music studies, 8(1), 7–27.
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