|
García Serrano. Marco Antonio. (2022). PIEL MESTIZA, MÁSCARAS BLANCAS. EL BLACK METAL MEXICANO: PROCESOS DE HIBRIDACIÓN, RACISMO Y BLANQUITUD. Metal de Habla Hispana, 1, 60–66.
|
|
Garrett, R. D. (2023). Breaking the Shell: Masculinity in Rock and Metal Music in America, 1990-1995. Ph.D. thesis, Ohio University, Athens.
|
Gehlke, D. E. (2022). Turned Inside Out: : The Official Story of Obituary. dB Books.
Abstract: Tampa, Florida's Obituary has been a death metal institution since 1984. Guided by the inhuman, if not unfathomably deranged vocals of John Tardy, the obscenely brutal guitar tone of Trevor Peres and rhythmic brilliance of drummer Donald Tardy, Obituary defined heaviness throughout the 1990s. Their 1989 'Slowly We Rot' and 1990 'Cause of Death' studio albums are undisputed classics, but their live prowess and unwavering dedication to their fans made them one of the metal underground's most respected bands.An unexpected five-year hiatus starting in 1998 only saw Obituary's stature grow when a new generation of bands adopted their sonic trademarks. However, their post-reformation efforts were nearly sidetracked by the perils of the music industry and inter-band tumult. Through the unbreakable bond between the Tardy brothers and Peres, Obituary emerged stronger than ever, entrenched in their rightful position as death metal vanguards.'Turned Inside Out: The Official Story of Obituary' is the fully authorized biography of Obituary, providing an unprecedented look into the band's career through in-depth interviews, studio recollections, road stories and scores of exclusive photos.
|
|
Gibson, D. L. (2022). Mechanical and artificial “nü-horror metal”: The film music of “Resident Evil”. Metal Music Studies, 8(1), 87–108.
|
Gómez Garay, L. de F. (2022). El mediascape en la escena metalera de Lima. El concepto de escena y los flujos culturales globales. Disonancias del metal: Reflexiones del 1er y 2do Encuentro Sociocultural sobre Heavy Metal: Heterogeneidades Metaleras, 1(1).
Abstract: Contacto: lucia.gomezg@pucp.pe
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.
|
|
González Hernández, J. O. (2022). Imaginarios de la maldad. El espacio como perpetrador en el goregrind mexicano. Lenguas Radicales, 1(4), 52–60.
|
|
González-Martínez, S. (2023). An Exegesis of Excess: Reverberations and Connotations of Feminisms Cartographed via Metal Music in the Global South. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 33–66). London: Lexington Books.
|
|
González-Martínez, S. (2022). The didactic role of feminist art in metal music: Coven bands as a relational device for personal improvement and social justice. Metal Music Studies, 8(3), 401–421.
|
|
Goossens, D. (2023). Reclaiming Aotearoa: Stories of Experimentation, Education, and Reflection in Aotearoa Indigenous Metal Music. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 67–90). London: Lexington Books.
|
|
Goossens, D., Varas-Díaz, N., & Banchs, E. (2022). Lost in the field: Lessons from metal music studies fieldwork in the Global South. Metal Music Studies, 8(2), 163–182.
|
