Blythe, D. R. (2016). Dark Days: A Memoir. Boston, Massachusetts: Da Capo Press.
Abstract: << Lamb of god vocalist D. Randall Blythe finally tells the whole incredible story of his arrest, incarceration, trial, and acquittal for manslaughter in the Czech Republic over the tragic and accidental death of a concertgoer in this riveting, gripping, biting, bold, and brave memoir. >>
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Bogue, R. (2004). Violence in Three Shades of Metal : Death, Doom and Black. In I. Buchanan, & M. Swiboda (Eds.), Deleuze and Music (pp. 95–117). Ediinburgh: Edinburgh University Press.
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Boman, B. (2026). The First Wave of Masks in Rock and Heavy Metal and Their Successors. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 103–119). London, U.K.: Palgrave Macmillan Cham.
Abstract: << Black and white makeup of Kiss influenced later heavy metal acts such as King Diamond and, even later in the 1990s onward, Scandinavian black metal. The current chapter sketches a brief history of the usage of makeup and masks in heavy metal and related sub-genres. Black metal and to lesser extent death metal artists, use corpse paint, and occasionally masks, to portray a potentially transformative dimension of artistic personas, antinomian sociocultural values, and aggressive stage performances.
However, experts on black metal and death metal are skeptical about the extent to which these artists and values represent authentic transformation and not just superficial genre paraphernalia. Furthermore, in relation to Ghost, a popular heavy metal band from Sweden, intertextual influences from film characters are highlighted in a context signified by entertainment. Thus, masks and makeup in heavy metal might be seen as performative but with both entertaining and antagonistic elements. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_11]
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Cardwell, T. (2017). Still life and death metal: painting the battle jacket. Ph.D. thesis, University of the Arts London (United Kingdom), Ann Arbor.
Abstract: This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms.
David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
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Chaker, S. (2004). Black Metal und Death Metal. Eine empirische Untersuchung zu Religion, Gewalt und politischer Orientierung. Ph.D. thesis, Carl von Ossietzky Universität Oldenburg, Oldenburg.
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Chaker, S. (2006). ”This means war”. Krieg – Zentrales Inhaltsmonument in Black und Death Metal. In D. der S. der Musikwissenschaft, A. Firme, & R. Hocker (Eds.), Von Schlachthymnen und Protestsongs: zur Kulturgeschichte des Verhältnisses von Musik und Krieg (pp. 229–240). Bielefeld: Transcript.
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Chaker, S. (2007). ”Eiserne Ladies”: Frauen(-Bilder) im Black und Death Metal. In G. Rohmann (Ed.), Krasse Töchter Mädchen in Jugendkulturen (pp. 123–144). Berlin: Archiv der Jugendkulturen.
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Chaker, S. (2008). Death Metal Made in Germany. Mit Suffocate Bastard im Tonstudio. Journal der Jugendkulturen, 13, 43–54.
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Chaker, S. (2010). Extreme music for extreme people: black and death metal put to the test in a comparative empirical study. In N. Scott (Ed.), The metal void: first gatherings (pp. 265–278). Oxford: Inter-Disciplinary Press.
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Chaker, S. (2011). Götter des Gemetzels: Mediale Inszenierung von Tod und Gewalt im Death Metal. In R. Bartosch (Ed.), Heavy Metal Studies: Lyrics und Intertextualität (pp. 11–24). Oberhausen: Schmenk.
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