Bryan Bardine – författare

Elaborating on themes of resilience, memory, critique and metal beyond metal, this volume highlights how the development and future of metal music scholarship is predicated on the engagement with other forms of popular culture such as comics, documentaries, and popular music. Drawing from a range of theoretical perspectives and methodological approaches, Heavy Metal Studies and Popular Culture's transnational approach and rootedness in metal scholarship provides the collection with a breadth and depth that makes it a critical resource for academics and students interested in the theories and trends shaping the future of Metal Music Studies.

Though it’s given little attention – and even less serious attention – by the mainstream press, metal music has for decades been a major creative and cultural force around the world. This book brings together a group of contributors from Europe, North America and the Caribbean to make a case for metal’s place not merely on the periphery of our culture, but at its very heart. Contributors attend not merely to the music, but also the accompanying culture, and they offer intriguing insights into the rise of metal in places where it’s traditionally been little known, like the Middle East and North Africa. The result is a global portrait of metal that asserts its importance and its ongoing contribution to culture.

Though it’s given little attention – and even less serious attention – by the mainstream press, metal music has for decades been a major creative and cultural force around the world. This book brings together a group of contributors from Europe, North America and the Caribbean to make a case for metal’s place not merely on the periphery of our culture, but at its very heart. Contributors attend not merely to the music, but also the accompanying culture, and they offer intriguing insights into the rise of metal in places where it’s traditionally been little known, like the Middle East and North Africa. The result is a global portrait of metal that asserts its importance and its ongoing contribution to culture.

This is the first study of its kind, focusing exclusively on scenes throughout the world; it makes an important contribution to metal studies.

Metal Scenes around the World is a collection of thirteen chapters that examine metal scenes from smaller communities like Dayton, Ohio in the USA, to entire countries, such as Estonia. The goal of the book is to expand the research on metal scenes.

This is the only book produced on metal scenes to date, and it will lead the way to more research in this new area of metal studies. The strongest element of the book is its international focus, with chapters from such diverse settings as post-apartheid South Africa, Graz, Nantes, Brazil and Turkey. The chapters are detailed, richly embedded in local histories and contexts, and provide important analyses of their respective scenes.

Foreword from Henkka Seppälä, former bassist with the Finnish metal band Children Of Bodom.

Primary readership will be composed of fans and scholars of metal music, and those in the fields of anthropology, musicology and history. The diversity of the chapters connects metal to other disciplines in the music field and the book is likely to have appeal more widely to anyone who likes music.

This is the first study of its kind, focusing exclusively on scenes throughout the world; it makes an important contribution to metal studies.

Metal Scenes around the World is a collection of thirteen chapters that examine metal scenes from smaller communities like Dayton, Ohio in the USA, to entire countries, such as Estonia. The goal of the book is to expand the research on metal scenes.

This is the only book produced on metal scenes to date, and it will lead the way to more research in this new area of metal studies. The strongest element of the book is its international focus, with chapters from such diverse settings as post-apartheid South Africa, Graz, Nantes, Brazil and Turkey. The chapters are detailed, richly embedded in local histories and contexts, and provide important analyses of their respective scenes.

Foreword from Henkka Seppälä, former bassist with the Finnish metal band Children Of Bodom.

Primary readership will be composed of fans and scholars of metal music, and those in the fields of anthropology, musicology and history. The diversity of the chapters connects metal to other disciplines in the music field and the book is likely to have appeal more widely to anyone who likes music.