When all is lost: thrash metal, dystopia, and ecopedagogy

Buckland, Peter

doi:10.1007/s40889-016-0013-z

Cited by 3 publications

(1 citation statement)

References 24 publications

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“…En el caso particular de la música, esto se ha realizado a través de las temáticas y letras de sus canciones, el desarrollo de conciertos que tengan un menor impacto medioambiental, el uso de instrumentos reciclados y el activismo político (Prior, 2022). La música metal no ha sido la excepción a esto y ha evidenciado una posición crítica frente a la crisis ecológica que está afectando al mundo (Buckland, 2016;Collinson, 2019;Lucas, 2015Lucas, y 2019. Sin embargo, los trabajos sobre esto están circunscritos al estudio de bandas o contextos situados en el Norte Global, lo cual es relevante, ya que el metal, al igual que la crisis ecológica, es un fenómeno global que posee manifestaciones locales particulares (Brown et al, 2016;Calvo, 2018).…”

Section: Introductionunclassified

Más que gritos y distorsión: el metal chileno ante la crisis ecológica y el modelo económico extractivista

Villavicencio

2022

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El planeta está viviendo una crisis ecológica sin precedentes que es producto de la acción humana, la cual ha generado un aumento irreversible de la temperatura de la Tierra, cuyas consecuencias son una amenaza para todos los seres vivos. Ante esto, diferentes actores sociales han buscado tomar un rol más activo. La música metal no ha sido la excepción y las bandas de metal latinoamericanas han evidenciado una mirada crítica frente al modo en que esta crisis repercute en el continente. Así, este trabajo se propone analizar cómo las bandas de metal chilenas se han sumado a la discusión sobre la crisis ecológica y las consecuencias del modelo económico extractivista en el país. Con ello se buscará evidenciar que el metal en Chile es más que gritos y distorsión, y que, al igual que en otros países del continente, presenta una reflexión crítica ante el contexto ambiental actual. Para lograr aquello, la metodología de estudio consiste en un análisis sonoro y discursivo de distintas producciones musicales, mientras que los enfoques teóricos que guían esta investigación son los estudios decoloniales y socioambientales.

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Section: Introductionunclassified

Más que gritos y distorsión: el metal chileno ante la crisis ecológica y el modelo económico extractivista

Villavicencio

2022

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Immersion and metal music videos

Girard-Despraulex

2023

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Music videos are designed, filmed and edited to magnify the musical experience, and, when well-used, contribute to making artists stand out. With the evolution of media and technology, ‘localness’ can be broadcast worldwide, and folklore, culture and traditions are at the heart of many metal groups’ preoccupations. By making their culture a central part of their music, Alien Weaponry’s success has resulted in the Maori culture, history and legends achieving international recognition in the metal music world. ‘Kai Tangata’ and ‘Hatupatu’, the music videos directed by Alex Hargreaves, operate to further represent elements of Maori culture, by adding a visual dimension to Alien Weaponry’s use of te reo Maori, the Maori language. Using formal and comparative aesthetical analyses, reinforced by a theoretical approach, the use of immersion in this representation will be discussed. Firstly, the representation of the characters in the videos and their role in the narration will be analysed. Secondly, the affect and the dynamism brought by the rhythm and the structure of music and images will be examined. And finally, the representation of bodies, gestures and rituality will be analysed, as a representation of the Maori culture, meant for both Maori and non-Maori people.

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The Role of Thrash Metal in the Formation of Extreme Heavy Music (Based on the Interview of Musicians)

STOIKIV¹

2021

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The article is devoted to defining the role of thrash metal music in the foundation of extreme heavy music in the late 1980s and early 1990s. Attention focused on the importance of a separate sub-genre of heavy metal music in forming a new style of heavy music, including new vocal techniques, building more complex compositions, and expanding the lyrics' themes. Analyzed the criteria by which extreme heavy music can attribute among other sub-genres of heavy metal and defined thrash metal as a transitional stage between heavy metal and extreme music. The work is interdisciplinary, which manifested in the use of methodological approaches to history and cultural studies. The article examined various areas of development of thrash metal music, particularly the United States, where the phenomenon has appeared; Germany and Switzerland, which differed qualitatively from the American scene; and Brazil, whose musicians have set recording standards for much of the extreme music. The article identified the reasons for the popularity decline of thrash metal in the early 1990s in the context of the general development of rock music and identified the features of the evolution into extreme metal. In addition to the musical component, the article outlined the social and behavioral elements of thrash metal fans during bands' performances, which also formed the image of the extremity of metal music. Special attention in the article is devoted to the Slayer and Megadeth bands, the foundation of controversy in the subject of lyrics, which, in turn, is characterized by extreme metal. Evolving from the New Wave of British heavy metal, American thrash metal develop new features in heavy music, including fast, aggressive riffs, and sharpened the lyrics' themes, primarily political and anti-religious. Rebelled against the dominance of glam metal, thrash metal fans developed their image, which consisted of aggression and appropriate behavior during concerts. Developed in the United States, thrash metal has gained popularity in other parts of the world, whose scenes have developed their characteristics, which, in the future, influenced the formation of extreme heavy music. In the late 1980s, the US radio format shifted the demand for grunge, which supplanted thrash metal from the radio. The sub-genre began to decline and was replaced by death and black metal in the heavy metal music underground.

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When all is lost: thrash metal, dystopia, and ecopedagogy

Cited by 3 publications

References 24 publications

Más que gritos y distorsión: el metal chileno ante la crisis ecológica y el modelo económico extractivista

Más que gritos y distorsión: el metal chileno ante la crisis ecológica y el modelo económico extractivista

Immersion and metal music videos

The Role of Thrash Metal in the Formation of Extreme Heavy Music (Based on the Interview of Musicians)

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