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Moores, J. R. (2021). Electric Wizards: A Tapestry of Heavy Music, 1968 to the Present. London, U.K.: Reaktion Books.
Abstract: "It began with the Beatles’ “Helter Skelter.” It was distilled to its dark essence by Black Sabbath. And it has flourished into a vibrant modern underground, epitomized by Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs. This is the evolution of heavy music. The voyage is as varied as it is illuminating: from the lysergic blunt trauma of Blue Cheer to the locked grooves of Funkadelic, the aural frightmares of Faust to the tectonic crush of Sleep, alighting on post-punk, industrial, grunge, stoner rock, and numerous other genres along the way.
Ranging from household names to obscure cult heroes and heroines, Electric Wizards demonstrates how each successive phase of heavy music was forged by what came before, outlining a rich and eclectic lineage that extends far beyond the usual boundaries of heavy rock or heavy metal. It extols those who did things differently, who introduced something fresh and exciting into this elemental tradition, whether by design, accident, or sheer chance. In doing so, Electric Wizards weaves an entirely new tapestry of heavy music." (source: Reaktion Books)
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Beach, J., R., & Naron, B. L. (2024). Beyond the Black: The Story of Metal Church. Puyallup, WA: NW Metalworx Music.
Abstract: "SYNOPSIS:
This book from NW Metalworx Books by author James R. Beach and co-author and archivist Brian L. Naron. Culled from extensive research, interviews with both past and current band members, crew members, producers, managers, friends, peers and others. Includes numerous rare images and photos, extensive concert listings, discography and a brand new forward by former Grim Reaper guitarist and friend Nick Bowcott."
“NW METALWORX MUSIC is a company formed by three northwest fans of the music scene (James R. Beach, Brian Naron and J.D. Sutton) who grew up there. We are reissuing and issuing LPs of great NW Heavy Metal and Hard Rock bands from the 70s – 90s along with a comprehensive book on the history of the scene.”
(Source: https://nwmetalworxmusic.com)
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Heaton, B. J., & Naron, B. L. (2024). Roads to Madness: The Touring History of Queensrÿche (1981-1997). Puyallup, WA: NW Metalworx Music.
Abstract: “DESCRIPTION: Roads to Madness: The Touring History of Queensrÿche (1981-1997) by Queensrÿche biographer and historian Brian J. Heaton, and Pacific Northwest metal music archivist Brian L. Naron.”
(Source: https://nwmetalworxmusic.com/)
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Beach, J. R., Naron, B. L., & Heaton, B. J. Building An Empire: The Story of Queensrÿche. Puyallup, WA: NW Metalworx Music.
Abstract: "Building An Empire: The Story of Queensrÿche examines how the five original members of the band came together in the eastern suburbs of Seattle to create some of the most influential heavy metal albums of the 1980s, including the conceptual masterpiece Operation: Mindcrime.
Discover how the band weathered the loss of key members, a changing industry at the turn of the century, a bitter lawsuit and numerous obstacles to continue a career that has spanned four decades and counting...
Written by James R. Beach, with Brian L. Naron and Brian J. Heaton, Building An Empire: The Story of Queensrÿche examines how the band evolved from album to album, weaving interviews with the band members, managers, producers, peers, family and friends to help tell this honest, riveting tale of how five guys from Seattle's Eastside overcame the odds to become one of the most respected bands in hard rock and heavy metal.
Paul Suter, the acclaimed writer from Kerrang! who broke the story on Queensrÿche in early 1983, penned the book's Foreword. Includes hundreds of rare photos and images throughout the band's career."
(source: https://nwmetalworxmusic.com/)
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Beach, J. R., Naron, B. L., Sutton, J. D., & Tolin, J. (2019). Rusted Metal: A Guide To Heavy Metal and Hard Rock Music in the Pacific Northwest (1970 – 1995).. Puyallup, WA: NW Metalworx Music.
Abstract: "DESCRIPTION: RUSTED METAL is a definitive guide to Heavy Metal and Hard Rock music in the Pacific Northwest (Oregon, Washington, Idaho and Vancouver BC) from 1970 to 1995 by local authors and music fans James R. Beach, Brian L. Naron, James D. Sutton and James Tolin. Featuring a comprehensive guide to the bands, clubs, music and more (including interviews with members of:
Metal Church, Heart, Rail, TKO, Culprit, Sanctuary, Black N' Blue, Wild Dogs, Pearl Jam, Q5, Heir Apparent, Shadow, Overlord, Panic, Malice, Glacier, Coven, Cruella, Forced Entry, Whizkey Stik, High Voltage, Widow, Wehrmacht, Gargoyle, Lipstick and many others – around 100 brand new interviews in all!). Features over 500 band bios, discography, concert listings, tons of photos, flyers, covers, merchandise, etc. as well. Large, oversized Trade Paperback book."
(source: https://nwmetalworxmusic.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 21, 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 21, 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!]
//
<<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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Trummer, M. (2024). Highway to Hell: Das Satanische im Heavy Metal. MetalBook (Volume 3). Stuttgart, Baden-Württemberg, Germany: Kohlhammer Verlag. Retrieved May 21, 2024, from https://shop.kohlhammer.de/highway-to-hell-42074.html#147=19
Abstract: <<Produktbeschreibung: Schwarze Messen, Satanismus, Teufelskult – das Satanische hat im Rock 'n' Roll seit jeher einen festen Platz. Jedenfalls warnen konservative Kräfte bereits seit den 1950er Jahren vor dem teuflischen Einfluss der Rockmusik auf Jugend, Kultur und Gesellschaft. Seit den 1970er Jahren kultivierte der Heavy Metal ganz bewusst sein Image als “Teufelsmusik” und zieht bis heute vielfältige kreative Impulse aus dem Satanischen.
Der Teufel selbst begegnet in Musik, Texten und Artworks als schillerndes, vielschichtig besetztes Symbol. Ob als schauerliche Horrorfigur, als provokanter Trickster oder als Idol in parareligiösen okkulten Systemen – er prägt die Ästhetik und Ideologie des Metal wie kaum eine andere Gestalt. Stets bleibt er dabei zugeich Spiegelbild sich verändernder soziokultureller Werte und Normen.
>>
[Product description: Black masses, Satanism, devil cult – the satanic has always had a firm place in rock 'n' roll. In any case, conservative forces have been warning about the devilish influence of rock music on youth, culture and society since the 1950s. Since the 1970s, heavy metal has consciously cultivated its image as “devil's music” and continues to draw diverse creative impulses from the satanic to this day.
The devil himself appears in music, lyrics and artwork as a shimmering, multi-layered symbol. Whether as a gruesome horror figure, a provocative trickster or an idol in parareligious occult systems – he shapes the aesthetics and ideology of metal like no other figure. It always remains a reflection of changing socio-cultural values and norms.]
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Pichler, P. (2024). Breaking the Law? Recht, Moral und Klang in der steirischen Heavy Metal-Szene seit 1980. Meta/Metal (Volume 3). Stuttgart, Baden-Württemberg, Germany: Kohlhammer Verlag.
Abstract: <<
Produktbeschreibung: Im Heavy Metal wird seit jeher der Mythos gepflegt, die gesamte Szene bewege sich außerhalb aller gesellschaftlicher und kultureller Normen. Paradigmatisch wird dieses Ideal in dem Klassiker “Breaking the Law” von Judas Priest zum Ausdruck gebracht. Obwohl sich diese Vorstellung als wichtiger Teil des Identitätsfundaments der Metal-Szene etablierte, gibt es bis heute keine Forschungen, die nach dem Zusammenhang von Rechtsbezug, Szene-Ethos und Sound im Heavy Metal fragen.
In der vorliegenden Pionierstudie untersucht der Kulturhistoriker Peter Pichler, wie die lokale Metal-Szene in Graz und der Steiermark in den letzten 40 Jahren durch diese Aspekte geprägt wurde. Dem Autor gelingt der Nachweis, dass man die Entstehung der individuellen “Klanglichkeit” des steirischen Metals durch das kulturelle Zusammenspiel von Recht, Moral und Sound erklären kann.>>
[Product description: In heavy metal, the myth has always been maintained that the entire scene operates outside of all social and cultural norms. This ideal is paradigmatically expressed in the classic “Breaking the Law” by Judas Priest. Although this idea established itself as an important part of the metal scene's foundation of identity, to date there is no research that asks about the connection between legal reference, scene ethos and sound in heavy metal.
In this pioneering study, cultural historian Peter Pichler examines how the local metal scene in Graz and Styria has been shaped by these aspects over the last 40 years. The author succeeds in proving that the emergence of the individual “sound” of Styrian metal can be explained by the cultural interplay of law, morals and sound.]
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