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Barone, S. (2015). Metal Identities In Tunisia: Locality, Islam, Revolution. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 185–194). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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Boyarin, S. (2019). The New Metal Medievalism: Alexander the Great, Islamic historiography and Nile’s ”Iskander Dhul Kharnon”. In R. Barratt-Peacock, & R. Hagen (Eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (pp. 81–92). London: Emerald.
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Eckerström, P. (2022). Extreme heavy metal and blasphemy in Iran: the case of Confess. Cont Islam, . Retrieved September 23, 2024, from http://dx.doi.org/https://doi.org/10.1007/s11562-022-00493-7
Abstract: Since the revolution in 1979, the Islamic Republic of Iran has imprisoned musicians, especially punk, hip-hop, and hard rock bands, as well as those playing heavy metal subgenres. Extreme heavy metal artists and fans emerged in the 1990s. The government soon targeted them as Satanists and began a systematic crackdown on metalheads. The metalcore band Confess is the most well-known case. The band was arrested in 2015 on counts of blasphemy, disturbing public opinion through the production of music, participating in interviews with the opposition media and propaganda against the Islamic Republic of Iran, among other charges. The majority of secular countries today do not consider extreme heavy metal to be transgressive. This is not the case in contexts where religious traditions have a significant influence on society. By analysing the narrative of the band Confess, the purpose of this paper is to provide an understanding of how Iranian extreme metal musicians resist religious oppression, challenge their government, religious precepts, and social values through their music.
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