Monteanni, L. (2023). “More Metal than Metal”: Preliminary Reflections on Imagined Genealogies. Brief Encounters, 1(7).
Abstract: "Réak is the Bandung subregional variant of the “horse trance dances”: a popular group of animist performances present throughout and outside Indonesia. During theevent, a trance master coordinates a series of spirit possessions with themusical accompaniment of a percussions and shawm ensemble. Like other artforms, including metal, réak is described as ramé(tangled/interesting/noisy) and kasar (coarse) due to its chaotic social ambiance and distorted, fast-paced music.
Indeed,due to geographical proximity and the genre’s local relevance, réak is experiencing the influence ofextreme metal. Although most participants avoid hybridity, a conversation istaking place among participants, debating the aesthetic affinities between thegenres, generating a commentary stressing similarity and genealogy. Moreover, while metal bands invite réak troupes to open concerts, réak practitioners, often familiar with the metal community, appropriate the genre’s stylistic elements such as distorted electric guitars and “Metal Distortion” pedals.
Despite réak’s and metal’s resistance to assimilation, stylistic musical and extra-musical cross-fertilisation generated a non-synthetic hybridisation that safeguards genre boundaries. The discussion will be useful in laying the foundation to problematise concepts of hybridity that classic analyses of genre do not grasp."
(SOURCE: https://briefencounters-journal.co.uk/article/id/3/)
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Hoad, C. (2016). We are the Sons of the Southern Cross: Gendered Nationalisms and Imagined Community in Australian Extreme Metal.3(1), 90–107.
Abstract: "Australia's extreme metal scenes have developed largely in isolation from not only the rest of the world, but also one another. Nonetheless, extreme metal scenes throughout the Australian continent share common sentiments of national identity that allow for the formation of an imagined community across disparate locales. Such nationalistic sentiment, realized through the reiteration of the masculinist master symbols of Australian identity, enables an imagined community to be sustained across extreme metal scenes.
This article explores how music functions as a medium through which communities can be imagined and boundaries between them drawn. Australian extreme metal scenes construct and maintain a sense of nationhood and community in exclusionary, rather than conciliatory ways. The particular experience of belonging offered by Australian extreme metal scenes is hence marked by rigid parameters of what, or who, may constitute “Australianness” in the image of such communion."
(SOURCE: Journal of World Popular Music website)
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Rahadianto Sutopo, O., & Aryo Lukisworo, A. (2023). From our own voices: The meaning making of subculture among extreme metal musicians in Indonesia. Metal Music Studies, 9(3), 359–367.
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Palacios, A. (2024). The aesthetic of the unreadable: The impact of logotype readability on the corporate identity of death metal bands. Metal Music Studies, 10(3), 233–248.
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Tailleur, M., Pinquier, J., Millot, L., Vogel, C., & Lagrange, M. (2024). EMVD dataset: a dataset of extreme vocal distortion techniques used in heavy metal. In 21st International Conference on Content Based Multimedia Indexing (CBMI) (pp. 126–130). Reykjavik: Reykjavik University.
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