|
Chang, L. (2024). Voicing Heavy Metal: Music, New Media, and Environmental Activism in Mainland China. Master's thesis, The Chinese University of Hong Kong, Hong Kong.
|
Dyer, R. (2026). The Underground in China: Metal, Punk, Hardcore and Noise 2013-2021. Ticehurst, East Sussex, UK: Earth Island Books.
Abstract: << 'The Underground in China' brings together more than 350 pages of photography, interviews, and first-hand observations from inside a thriving alternative music scene that rarely reaches Western audiences.
About the book:
In 2013, Ryan Dyer arrived in China with little idea of what lay beneath the surface of its music scene. Within a week, he found himself at an underground show featuring the band Rectal Wench. That night opened the door to a world few outsiders ever see.
Over the next eight years, Dyer travelled across Beijing, Tianjin, Suzhou, and Shanghai, documenting the country’s explosive punk and metal underground. Armed with a camera and a journalist’s curiosity, he attended hundreds of shows, capturing bands that express what it means to be an artist in modern China.
The Underground in China: Metal, Punk, Hardcore and Noise 2013–2021 brings together more than 350 pages of photography, interviews, and first-hand observations from inside this thriving scene. Featuring over 100 bands across genres including grindcore, black metal, hardcore punk, noise, and experimental music, the book offers a rare glimpse into a creative community that seldom reaches Western audiences.
FEATURING OVER 100 BANDS INCLUDING: The Dark Prison Massacre, Nine Treasures, Torturing Nurse, Frozen Moon, Scare the Children, Rectal Wench, Impure Injection, Suffocated, Dreamspirit, Ritual Day, Black Kirin, Gum Bleed, Dummy Toys and more!
Part photo archive, part cultural document, this is the story of China’s underground as it was lived—loud, chaotic, and defiantly alive.
About the author:
Ryan Dyer is a graduate from the University of Calgary, obtaining a degree in Communications and Media Studies. He has written for the publications MetalSucks, Metal Injection, Rue Morgue magazine, Absolute Underground magazine, New Noise magazine, Neocha and others.>>
[Source: https://www.earthislandbooks.com/product-page/the-underground-in-china-metal-punk-hardcore-and-noise-2013-2021-by-ryan-dyer]
|
|
Glatz, S. (2014). Die Entstehung der Heavy Metal-Musik in China: ein musikalischer Kulturtransfer in und nach China in den 1980er-Jahren. Ph.D. thesis, Universität Wien, Vienna.
|
|
LeVine, M. (2009). Headbanging Against Repressive Regimes: Censorship of Heavy Metal in the Middle East, North Africa, Southeast Asia and China. Copenhague: Freemuse.
|
Spok, W. (2023). Quand le Métal fait résonner la Chine : Construction d'une identité et d'un imaginaire dans une sous-culture musicale [When Metal Makes China Resonate: The Construction of an Identity and an Imaginary in a Musical Subculture]. Master's thesis, HAL Portal Thèses, Nice, France.
Abstract: << Twenty years after the first appearance of Heavy Metal in the western world, the first heavy metal bands were born in The Popular Republic of China spearheaded by Tang Dynasty. Their pioneer status as well as their music that is the product of a mix between heavy metal and Chinese traditional-inspired music will have a lasting impact on the Chinese Metal scene, that still either claims their legacy or calls to go beyond it. From the debuts of Metal in China until it's folklorisation or the refusal to“ sound exotic”, the numerous incarnations of Chinese metal are made between globalization and stakes of national/local order, like these bands that choose to express a pro-Han national identity or those who claim “another” Chinese identity.
Through a Nine months field investigation in the Chinese metal scene in Beijing, as well as the analysis of Chinese Metal diffusion supports (album artworks, lyrics, instruments, scenic visuals, etc..), this thesis aims to question the identities and imaginaries at work in the Chinese Metal using the researcher-amateur's perspective.
By focusing my work on the metal music's actors in China( mainly musicians and producers), it appeared to me that Metal is a cultural bridge( or a battlefield ) between local, national and transnational imaginaries. Far from the “exotic” image that is being maintained by the Metal scene in the West, the Chinese scene appears to be way more diversified and contrasting than the bands with a “ folkloric” sound that are way more popular outside of China's borders. Our research shows that Metal in China has made itself into Chinese Metal, a musical subculture that is crossed by musical, political and identity stakes. >>
[SOURCE: https://theses.hal.science/tel-04152882/]
|
|
Wang, Y. (2015). Formation, Industries, And Identities: Observations On Extreme Metal In Mainland China 2000-2013. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 219–229). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
|
|
Wang, Y. (2016). Observations on the Chinese metal scene (1990-2013): history, identity, industry, and social interpretation. Ph.D. thesis, University of Glasgow, Glasgow.
|
|
Yiren Zhao. (2023). Metal like a hermit: Situating the “subcultural” of Chinese metal music in the Chinese context. Metal Music Studies, 9(3), 351–357.
|
|
Yiren Zhao. (2024). Hermit Aesthetics in Chinese Metal Music: Subcultural Philosophy between Confucianism and DaoismPhilosophy between Confucianism and Daoism. Scenari. Rivista di estetica e metafisica, 21, 233–254.
|
|
Zheng, Y. (2016). ”The screaming successor”: Exploring the Chinese metal scene in contemporary Chinese society (1996-2015). Ph.D. thesis, Bowling Green State University, Ohio.
|
