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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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Alkatiri, Z., Aviandy, M., Nugraha, F. M., & Setiawan, H., Putri, Melisa Indriana. (2023). A pseudo-rebellion: Ujung Berung metalheads in the contestation of identity space in Bandung, 2010–22. Metal Music Studies, 9(2), 233–255.
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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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Arriola, G., & Trujillo, J. (2023). Revelations of Doom: Rise and Sustainability of the Peruvian Metal Scene in a Subnational Level. In J. I. López Ramírez Gastón (Ed.), Passport to Hell. Critical Studies on Peruvian Metal. Lanham: Lexington Books.
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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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Bannister, M. (2023). Joker to the thief: Trickster guitarists in 1970s stadium rock. Metal Music Studies, 2023(2), 151–169.
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