Rebels Without a Cause? Polish Rock and Metal Music After 1989

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Andrzej Mądro
Keyword(s):  
Metal Music

2018. gada latviešu metālmūzikas albumi

2020 ◽  
pp. 185-200
Author(s):  
Ingars Gusāns
Keyword(s):  
Heavy Metal ◽  
Metal Music ◽  
Knowing That ◽  
Music Scene ◽  
Digital Format ◽  
First Impression ◽  
The World ◽  
The Common

The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.

scholarly journals (No?) Adventures in Recording Land: Engineering Conventions in Metal Music

2021 ◽  
pp. 1-20
Author(s):  
Jan-Peter Herbst ◽  
Mark Mynett
Keyword(s):  
Metal Music

scholarly journals ‘A Cockroach Preserved in Amber’: The Significance of Class in Critics' Representations of Heavy Metal Music and its Fans

2014 ◽  
Vol 62 (4) ◽  
pp. 719-741 ◽  
Author(s):  
Andy R. Brown ◽  
Christine Griffin
Keyword(s):  
Heavy Metal ◽  
Middle Class ◽  
Working Class ◽  
Critical Discourse Analysis ◽  
Contemporary Music ◽  
Media Representations ◽  
Critical Examination ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The Uk

In this paper we engage with new cultural theories of class that have identified media representations of ‘excessive’ white heterosexual working-class femininity as a ‘constitutive limit’ of incorporation into dominant (middle-class) modes of neoliberal subjectivity and Bourdieu's thesis that classification is a form of symbolic violence that constitutes both the classifier and the classified. However, what we explore are the implications of such arguments for those modes of white heterosexual working-class masculinity that continue to reproduce themselves in forms of overtly masculinist popular culture. We do so through a critical examination of the symbolic representation of the genre of heavy metal music within contemporary music journalism. Employing a version of critical discourse analysis, we offer an analysis of representative reviews, derived from a qualitative sample of the UK music magazine, New Musical Express (1999–2008). This weekly title, historically associated with the ideals of the ‘counter culture’, now offers leadership of musical tastes in an increasingly segmented, niche-oriented marketplace. Deploying a refined model of the inscription process outlined by Skeggs, our analysis demonstrates how contemporary music criticism symbolically attaches negative attributes and forms of personhood to the working-class male bodies identified with heavy metal culture and its audience, allowing dominant middle-class modes of cultural authority to be inscribed within matters of musical taste and distinction.

Latviešu metālmūzikas albumu nosaukumi

2021 ◽  
pp. 361-369
Author(s):  
Ingars Gusāns
Keyword(s):  
Current Situation ◽  
Creative Work ◽  
Distinctive Character ◽  
Literary Works ◽  
The Third ◽  
Metal Music ◽  
Local Character ◽  
The Subject ◽  
The Common

The aim of the study is to describe the titles of Latvian metal music albums, from the perspective of content, by identifying the common and distinctive character of the metallic music tradition, and perhaps even the local one. Of 241 album titles (data on Dec. 31, 2019), most are in English, some in French, Latin, Russian, some consisting of digits, and 69 titles in Latvian. These titles are the subject of the research. The main source is Encyclopaedia Metallum (www.metal-archives.com), which still does not reflect the current situation concerning Latvian metal music. Album titles in this study are viewed separately from album designs and song titles and are analysed from the perspective of content. The album title is an important part of the work that has been issued because it is an element that makes the audience/buyer pay attention to the album because it must not be forgotten that today the album is also an item that you want to sell. In general, it can be concluded that Latvian metal musicians, with their album titles in Latvian, are mostly following world trends, as evidenced by the integration in the researcher Deena Weinstein’s classification of Dionysian discourse and discourse on chaos. Most titles are more relevant to the discourse on chaos because the thematic circle of chaos is wider. Latvian mythology, along with history, is an up-to-date source for the creative work of bands that is responsible for the local feeling of the titles. A large enough number are titles that are difficult to fit in the Weinstein’s division and form the third group with philosophical titles and simply all sorts of titles. If the philosophical titles follow the world’s trends, the simple titles include the names of the events, tributes, and the titles of literary works, which give them a local character.

scholarly journals DISCURSIVE LANGUAGE PERSONALITY OF VIRTUAL FAN COMMUNITY MEMBERS

2017 ◽  
pp. 191-196
Author(s):  
Z. I. Rezanova ◽  
Yu. K. Skripko
Keyword(s):  
Communication Process ◽  
Pop Music ◽  
Specific Character ◽  
Communicative Interaction ◽  
Community Members ◽  
Parts Of Speech ◽  
Metal Music ◽  
Fan Communities ◽  
Content Analysis Method ◽  
The Given

The given article provides an analysis of collective discursive personalities of members of Internet fan communities which are devoted to performers working in two different music styles – pop and metal. Such kind of communicative interaction forms a unique discourse – the discourse of music fan Internet community which combines features of both subcultural group discourse (as the reason which led to the formation of the very fan community) and Internet discourse itself (as the environment for the given discourse). Through the use of content analysis method the authors find out both typical and specific psychological and cognitive features which fan community members implement during communication in the given discourse. These features include different ways of perception (visual vs. audial), major mindsets, emotionality level, etc. The main way of perception which is represented in the texts of conversations between pop music fan community members turns to be a visual one, while metal music fans are likely to have the audial way of perception as a major one. In the given discourse these features are represented by word groups of different perception semantics which are used by community members and belong to different parts of speech. The analysis of conversations in both fan groups demonstrates that concrete thinking could be characterized as a main way of thinking for fans of two aforementioned music styles. It is represented within the vocabulary and grammatical features used. Conversations between music fans of both types could be also characterized by a heightened emotionality level which directly depends on the specific character of music fanaticism. This specific character is based on over-positive attitude to favourite artists. The special attention is given to the system of language means which help to form general emotional background during communication process.

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