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Aguilar Miranda, J. N. (2023). Identidad y estética punk en Cochabamba. Perspectivas y Resistencias Musicales, 1(1), 169–198.
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Anesiadis, A., & Scarpelos, Y. (2023). Heroes of the Metal Underground: The Definitive Guide to 1980s American Independent Metal Bands. Port Townsend: Feral House.
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Artcore, W. (2023). Nefarious Artists: The Evolution and Art of Punk Rock, Post-punk, New Wave, Hardcore Punk and Alternative Rock Compilation Record, 1976-1989. (428). East Sussex, UK: Earth Island Books.
Abstract: << Long before online streaming and even TV music videos, that were
beyond the reach of many new bands outside of a lucky spin on the
radio, the compilation became the most effective way to access, and be
accessed by, the eager new ears and inquisitive minds of the then new
punk generation.
‘Nefarious Artists’ is a field study of over 500 punk
rock, post-punk, new wave, hardcore punk, and alternative rock
compilations from their beginnings in 1976 as major label samplers and
live showcases of the ‘new wave’ through their rapid evolution into a
documentary art form of D.I.Y. punk rock creativity and expression.
‘Nefarious Artists’ by Welly of Artcore Fanzine (est. 1986) charts the
genesis, evolution and art of the punk rock, post-punk, new wave,
hardcore punk, and alternative rock compilation vinyl record from 1976
to 1989. Each compilation is discussed and reviewed with
accompanying high resolution full colour scans of all the cover art and
much more to provide both context and as a journey through the
international punk rock music and developing scene of the late 1970s
and ‘80s. The compilation record played a pivotal role in the spread of
the idea and conversation of the independent punk underground and
now remain as audio and visual time capsules that capture the zeitgeist
of the music, scene and era. >>
(Source: https://www.earthislandbooks.com)
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Balíková, N. (2023). Zpráva z mezinárodní konference Metal and Religion [Report from the Metal and Religion International Conference]. Sacra, 21(1), 58–61.
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Banchs, E. (2023). Ancient, Evil, and African: Heavy Metal and Conflict in East Africa. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 283–302). London: Lexington Books.
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Banchs, E., Bardine, B. A., Chilewska, A., Cintrón-Gutiérrez, L. J., Hagen, R., Madera, S. R., et al. (2023). On Extremity: From Music to Images, Words, and Experiences (N. Varas-Díaz, B. Bardine, & & N. W. R. Scott, Eds.). Extreme Sounds Studies: Global Socio-Cultural Explorations. Lexington Books.
Abstract: “On Extremity: From Music to Images, Words, and Experiences brings together transdisciplinary scholarship on sounds, images, words, and experiences (human and non-human) to reflect on the polysemic and polymorphic characteristics of extremity and the category of the extreme. The editors and authors aim to contribute to a living, breathing, and expanding definition of extremity that helps us understand what we gain, or lose, when we interact with it, create it, and share it with, or force it upon, others. The volume calls for the emergence of “extremity studies” as an area of perusal to help us navigate our current global condition.”
(source: Amazon.com)
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Banchs, E., & Tshomarelo “Vulture” Mosaka. (2023). In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 227–232). London: Lexington Books.
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Barski, K. S. (2023). Black metal jako kontynuacja romantyzmu? O figurze artysty i stosunku do natury jako korzeniach gatunku [Black metal as a continuation of romanticism? About the figure of the artist and the attitude to nature as the roots of the genre]. Świat i Słowo [World and Word], 41(2), 325–345.
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Batista, M. R. (2023). United Forces: An Archive of Brazil's Raw Metal Attack, 1986-1991. Bazillion Points.
Abstract: “This massive 528pp document of the 1980s Brazilian metal uprising includes over 1,000 images, photos, and flyers in ten narrative chapters...United Forces presents the story in vivid color, along with Batista's own headbanger tale―from humble origins collecting scrap metal to buy Motörhead albums to DIY operator funneling his country's metal passion to receptive listeners in Europe and North America. The changes in Brazil during the 1980s and early 1990s serve as background for a full-bore metal revolution, as Batista's story brings to life the crucial South-of-the-equator 1980s scene that inspired all the forthcoming underground extremes to come.” (source: Amazon.com)
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Burns, L. (2023). Framing the Female Voice in Doom Metal: Formal and Sonic Elements in The Gathering’s “Strange Machines” (Mandylion, 1995). In W. Moylan, L. Burns, & M. Alleyne (Eds.), Analyzing Recorded Music: Collected Perspectives (323–338). Routledge.
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