Affective Overdrive, Scene Dynamics, and Identity in the Global Metal Scene

Heavy metal figurations

“…Heavy metal subculture has developed rapidly from its origins in 1960s/1970s in Birmingham, England (Bennett, 2001), into a subculture with global significance (Wallach et al, 2011) in musicological terms (see Berger, 1999;Walser, 1992) and culturally and politically (see Kahn-Harris, 2007;Waksman, 2009;Weinstein, 2000Weinstein, , 2011. Heavy metal is also beginning to be viewed as an object of academic inquiry in its own right with organizations such as the International Society for Metal Studies, developing journals and hosting conferences that focus exclusively on the genre.…”

“…rap, grunge, funk and punk) that incorporate varying themes and stylistic identities. Wallach et al (2011) document the increasing global appeal of the genre with large fan bases developing in South America and Asia in particular. Originally, the scene developed in traditional strongholds of Great Britain and North America, as scene members lengthened social ties through the sharing of fanzines, tape trading, specialized pirate radio stations and the touring of both small and big bands.…”

Mining For Metal: Heavy Metal and the Music Library

“…Numerous essay collections provide a way to explore metal from multiple angles. Among this author's favorites are Global Metal Music and Culture ( 2016), edited by Andy R. Brown, Karl Spracklen, Keith KahnHarris, and Niall W. R. Scott; Heavy Metal: Controversies and Countercultures ( 2013), edited by Titus Hjelm, Keith Kahn-Harris, and Mark LeVine; Metal Rules the Globe (2011), edited by Jeremy Wallach, Harris M. Berger, and Paul D. Greene;and Heavy Metal Music in Britain (2016), edited by Gerd Bayer.…”

Epistemic, interpersonal, and moral stances in the construction of us and them in Christian metal lyrics

“…As such, metal music was stereotypically assumed to appeal to the interests of white, working-class males. (Wallach et al 2011b;Walser 1993;.) For example, Walser (1993: 162) sees heavy metal as 'a way of articulating and sustaining individual and communal identities that can survive such strains' as postmodernism, deindustrialization, losses of jobs, declines of income, and so on.…”