|
|
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.
|
|
|
|
Hutabarat, F., & Kusumah, I. R. A. (2015). Market Development Using Community Shared Values: The Story Of Burgerkill. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 532–543). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
|
|
|
|
James, K. (2023). Policing Death. Indonesian Death Metal Music and Alleged or Apparent Criminality. In E. Peters (Ed.), Music in Crime, Resistance, and Identity (pp. 52–62). Abingdon & New York: Routledge.
|
|
|
|
James, K., & Walsh, R. (2015). Bandung Rocks, Cibinong Shakes: Economics and Applied Ethics within the Indonesian Death-metal Community. Musicology Australia, 37(1), 28–46.
|
|
|
|
James, K. E., & Walsh, R. J. (2022). Masculinity and underground music scene participation across time: A case study from Indonesia. Metal Music Studies, 8(1), 29–46.
|
|
|
|
Kieran, J., & Walsh, R. (2019). Religion and heavy metal music in Indonesia. Popular Music; Cambridge, 38(2), 276–297.
|
|
|
|
Lee, D. W. (2018). ‘Negeri Seribu Bangsa’: Musical hybridization in contemporary Indonesian death metal. Metal Music Studies, 4(3), 531–548.
|
|
|
|
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/)
|
|
|
|
Raditya, A. (2021). Membunuh Tradisi‘: Adegan Musik Metal Dan Subkultur Madura [Killing Tradition: Metal Music Scenes And Madurese Subcultures]. Sosial : Jurnal Penelitian Ilmu-Ilmu Sosial [Social: Journal of Social Sciences Research], 22(1), 31–42.
|
|
|
|
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.
|
|
