Nelson Varas-Díaz – författare

An in-depth regional discussion of heavy metal music, Heavy Metal Music in Argentina explores metal music as a catalyst for social change and site for engaging political reflection. Originally published in Spanish and sold locally in Argentina, this is the first time the work has been available in English.  

Edited by leading researchers, this collection addresses the music’s rituals, circulations, cultural products, lyrics and allows readers to rethink the place of heavy metal within Argentinean politics and economics. Exclusively written by members of the Group for Interdisciplinary Research on Argentinian Heavy Metal (GIIHMA) in a communal approach to scholarship, the book echoes the working-class voices that marked early post-dictatorship metal music in Argentina.

This is the first collection of essays on Argentine metal music. It has opened up research channels between different universities in the country while also engaging a non-academic audience, and widening the potential market for the book.

The book makes an interdisciplinary examination of a complex and fascinating object: it allows for the examination, discussion and analysis of its nationalist postulates, relationship with the Creole culture (for example, with nineteenth-century ‘gauchesca’ literature), indigenism, and with the political processes of contemporary Argentina.

Metal Music Studies, as an academic area of inquiry, has focused mostly on the music’s cultural components in Europe and the United States. The few books that have addressed metal music as a global phenomenon, have severely neglected the inclusion of Latin American countries. Argentina, with the largest and oldest metal scene in the region, has also been neglected in the existing literature. There is a growing interest in this area, as demonstrated by the emergence of documentary film on metal music in Latin America.

The book has potential use as a resource on courses in several disciplines including sociology, cultural studies, musicology, ethnomusicology, sociology and Latin American studies.  It will also be of interest to the more general readers with an interest in the musical genre.

An in-depth regional discussion of heavy metal music, Heavy Metal Music in Argentina explores metal music as a catalyst for social change and site for engaging political reflection. Originally published in Spanish and sold locally in Argentina, this is the first time the work has been available in English.  

Edited by leading researchers, this collection addresses the music’s rituals, circulations, cultural products, lyrics and allows readers to rethink the place of heavy metal within Argentinean politics and economics. Exclusively written by members of the Group for Interdisciplinary Research on Argentinian Heavy Metal (GIIHMA) in a communal approach to scholarship, the book echoes the working-class voices that marked early post-dictatorship metal music in Argentina.

This is the first collection of essays on Argentine metal music. It has opened up research channels between different universities in the country while also engaging a non-academic audience, and widening the potential market for the book.

The book makes an interdisciplinary examination of a complex and fascinating object: it allows for the examination, discussion and analysis of its nationalist postulates, relationship with the Creole culture (for example, with nineteenth-century ‘gauchesca’ literature), indigenism, and with the political processes of contemporary Argentina.

Metal Music Studies, as an academic area of inquiry, has focused mostly on the music’s cultural components in Europe and the United States. The few books that have addressed metal music as a global phenomenon, have severely neglected the inclusion of Latin American countries. Argentina, with the largest and oldest metal scene in the region, has also been neglected in the existing literature. There is a growing interest in this area, as demonstrated by the emergence of documentary film on metal music in Latin America.

The book has potential use as a resource on courses in several disciplines including sociology, cultural studies, musicology, ethnomusicology, sociology and Latin American studies.  It will also be of interest to the more general readers with an interest in the musical genre.

The long-lasting effects of colonialism are still present throughout Latin America. Racism, political persecution, ethnic extermination and extreme capitalism are some salient examples. This new book explores how heavy metal music in the region has been used to critically challenge the historical legacy of colonialism and its present-day manifestations.

Through extensive ethnographic research in Puerto Rico, Cuba, Dominican Republic, Mexico, Guatemala, Colombia, Peru, Chile and Argentina, Varas-Díaz documents how metal music listeners and musicians engage in ‘extreme decolonial dialogues’ as a strategy to challenge past and ongoing forms of oppression. This allows readers to see metal music in a different light and as a call for justice in Latin America.

Heavy metal related scholarship has made strides in the past decade. Many books have aimed to explain its origins, uses and the social meanings ascribed to the music in a variety of contexts. For the most part, these have neglected to address the region of Latin America as an area of study.

It represents a historical and sociological journey in Latin American heavy metal music through rich ethnographic engagements with performers, fans and scholars of music. Its central premise is the dialogic relationship amongst deep histories of coloniality, systematic oppression, entrenched inequalities and the expressive forms generated by ‘decolonial metal music’. The book also provides an exemplary and potentially iconic model of ethnomusicology and the anthropology of music.  

Most previous work on metal music in Latin America has relied on theoretical frameworks developed in the Global North, and is therefore limited in understanding the region through its particular history and experiences. There is no scholarship of heavy metal scholarship in the Latin American region that achieves the depth or breadth of analysis represented by this book. It provides a roadmap and a model for this emerging mode of musical analysis, by demonstrating how decolonial metal scholarship can be achieved. 

Academic readership for the book will come from multiple disciplines including cultural studies, musicology, ethnomusicology, sociology, anthropology, cultural geography, history and Latin American studies. It will be of interest to music studies programmes, as well as for methods courses on structurally informed social research. The book will also be of interest to those outside academic settings – accessibly written, with its concise reviews of historical and political-economic contexts, and its vivid storytelling, it will be of interest to consumers of the metal musical genre.

The long-lasting effects of colonialism are still present throughout Latin America. Racism, political persecution, ethnic extermination and extreme capitalism are some salient examples. This new book explores how heavy metal music in the region has been used to critically challenge the historical legacy of colonialism and its present-day manifestations.

Through extensive ethnographic research in Puerto Rico, Cuba, Dominican Republic, Mexico, Guatemala, Colombia, Peru, Chile and Argentina, Varas-Díaz documents how metal music listeners and musicians engage in ‘extreme decolonial dialogues’ as a strategy to challenge past and ongoing forms of oppression. This allows readers to see metal music in a different light and as a call for justice in Latin America.

Heavy metal related scholarship has made strides in the past decade. Many books have aimed to explain its origins, uses and the social meanings ascribed to the music in a variety of contexts. For the most part, these have neglected to address the region of Latin America as an area of study.

It represents a historical and sociological journey in Latin American heavy metal music through rich ethnographic engagements with performers, fans and scholars of music. Its central premise is the dialogic relationship amongst deep histories of coloniality, systematic oppression, entrenched inequalities and the expressive forms generated by ‘decolonial metal music’. The book also provides an exemplary and potentially iconic model of ethnomusicology and the anthropology of music.  

Most previous work on metal music in Latin America has relied on theoretical frameworks developed in the Global North, and is therefore limited in understanding the region through its particular history and experiences. There is no scholarship of heavy metal scholarship in the Latin American region that achieves the depth or breadth of analysis represented by this book. It provides a roadmap and a model for this emerging mode of musical analysis, by demonstrating how decolonial metal scholarship can be achieved. 

Academic readership for the book will come from multiple disciplines including cultural studies, musicology, ethnomusicology, sociology, anthropology, cultural geography, history and Latin American studies. It will be of interest to music studies programmes, as well as for methods courses on structurally informed social research. The book will also be of interest to those outside academic settings – accessibly written, with its concise reviews of historical and political-economic contexts, and its vivid storytelling, it will be of interest to consumers of the metal musical genre.