Metal Studies

The Department of Coins, Medals et Antiquities of the Bibliothèque
nationale de France (BnF) holds a collection of over 1,000 coins struck
by the Hellenistic kings of Bactria, descendants of the Greeks who arrived in the Central Asia following the conquests of Alexander the Great. The area over which these kings ruled consists today of parts of Afghanistan, Tajikistan, and Pakistan. After a brief period of rule under the Seleucid Empire (from the end of the fourth to the middle of the third century BCE), the region became an independent kingdom under the control
of kings who, for a little over a century, minted bronze, silver, and sometimes, gold coins, according to the existing systems of coinage in the Greek world.

Vaya jodido mundo en el que vivimos, sentencia Juan Soto en esta nueva entrega de su 'Modus Vivendi' . Una época y ni cuenta nos dimos. El 'sistema' ha sabido asimilar el espíritu de que alguna vez contagió a la cultura, convertirlo en simulación y mercancía. El mejor ejemplo de está la música. El facturando millones haciéndose pasar por subversivo, pero hasta la estética del punk ya parece humor involuntario. "Si hoy las grupo los Ramones se venden tapujos en los Walmart, tener la certeza de que algo en nuestra cultura no funciona bien".

RESUMEN La cueva de Can Sadurní (Begues, Barcelona), fue utilizada como espacio sepulcral durante el período comprendido entre el 4450-4150 cal BC. Los procesos tafonómicos que tuvieron lugar en el interior de la cueva alteraron la distribución original de la mayoría de las inhumaciones, dejando en posición primaria sólo tres de ellas. El resto de los cuerpos fueron desplazados por el suelo de la cueva. De los 2295 huesos dispersos excavados hemos identificado 1647 a partir de los cuales abordamos la reasociación mediante la aplicación de técnicas antropológicas macroscópicas para asociar o segregar las piezas esqueléticas. Se han singularizado 15 individuos, 7 adultos y 8 subadultos. La ubicación de los huesos en los cuadrantes del yacimiento permitió la restitución de la posible localización original de estos individuos dispersos. Estos resultados ofrecen una mejor caracterización del episodio funerario y una revalorización del número de individuos inhumados en la cueva durante el período. LABURPENA Can Sadurní leizea (Begues, Bartzelona) hilobien espazio gisa erabili zen K.a. 4450-4150 urteen artean (gutxi gorabehera). Leize barruan gertatutako prozesu tafonomikoek ehorzketa gehienen jatorrizko antolamendua aldatu zuten, eta horietako hiru soilik utzi zituzten posizio primarioan. Gainerako gorpuzkiak leizeko lurrean zehar mugitu ziren. Induskatutako 2295 hezur sakabanatuetatik 1647 identifikatu ditugu eta, hezur horietatik abiatuta, berriz elkartzeko lanari ekin diogu teknika antropologiko makroskopikoak erabiliz, pieza eskeletikoak elkartu edo banantzeko. 15 norbanako bereizi dira: zazpi heldu eta zortzi azpiheldu. Hezurrak aztarnategiko koadranteetan kokatuz, norbanako sakabanatuen jatorrizko kokapen posiblea leheneratu ahal izan da. Emaitza horiekin hileta-gertaeren ezaugarriak hobeto ezagut daitezke, eta berriz azter daiteke zenbat norbanako ehortzi ziren leizean aipatu aldian. (1) Col•lectiu per a la Investigació de la Prehistòria i l'Arqueologia del Garraf-Ordal (CIPAG),

In the early 1960s, Yigael Yadin excavated a number of caves at Nahal Hever in the Judean Desert, containing evidence for the final days of refugees from the Bar-Kokhba Revolt against Rome (132–136 CE). The artifacts they chose to take with them into the wilderness were fantastically preserved, including 10 iron keys, pointing to their hope to return to their homes.
Since then, dozens of iron keys have been found in excavations at the region. They comprise a varied corpus of shapes and sizes, yet this diversity has gone unnoticed. In this study, we provide a typological analysis of the keys and argue that distinct types relate to chronological periods with evident diachronic changes. Moreover, we suggest that elbow keys are a local type of Roman Iudaea, with recognizable spatial  boundaries, and possibly used solely by the local Jewish population. In
addition, we reconstruct how the keys were produced and why, by applying X-ray radiography and metallography. The local smiths utilized easily workable soft iron, in order to fabricate the artifacts’ complex shapes. It was also less likely to break, a timeless benefit when it comes to keys.

Preface de Catherine Dutheil. Si Les Nouveaux Courants Musicaux : simples produits des industries culturelles ? emporta l’adhesion lors de sa parution en 1998, c’est qu’il apportait des elements de reponse a une question fondamentale pour tout acteur implique – de pret ou de loin – dans le secteur des musiques actuelles. Meme si le contexte a change, et si les recherches se sont, depuis, affinees, investissant de nombreux champs de reflexion seulement ici effleures, ces travaux gardent tout l...

El Neolítico catalán se ha caracterizado especialmente por su excelente registro funerario. Tanto es así, que a principios del siglo XX Bosch Gimpera hablaba de la "Cultura de los Sepulcros de Fosa", denominación que sigue usándose habitualmente en la actualidad para el Neolítico Medio. En el marco de este volumen monográfico, nos centramos en los enterramientos infantiles, deteniéndonos especialmente en todos los aspectos referentes a las cuestiones antropológicas pero sin obviar otros datos que consideramos relevantes, como el ajuar asociado a los distintos individuos inhumados o la cronología de los contextos funerarios establecida a partir de las dataciones absolutas obtenidas.

The Church of the Assumption of the Blessed Virgin in Novgorod, built in 1352 on the Volotovo Field,
was destroyed by German artillery in 1941, as it was on the front line of the battle. Thanks to the joint efforts of
Germany and Russia, the restoration of the church began in 2001. During the restoration work a unique brick was
recovered from the demolished remains of the church. On the surface of this brick there is a drawing of a sailing
ship. Alexander Musin assumes that the drawing was made during the construction of the church, probably by a
workman or an architect commissioned to build the church. He may have come from Constantinople. He may also
have been familiar with the type of ship carved on the brick. It could be the ship he travelled on to Novgorod, and/or
a remnant of his hometown Constantinople, or an ex-voto for his successful journey over stormy seas and the danger
of sinking. Although the photo of this brick has appeared in various publications, the ship has never been studied
from the point of view of maritime archaeology. This article will discuss the shipbuilding technique, the type,
the origin, and the date of this ship. The ship graffito may shed light on the military and/or trade relations between
the Byzantine Empire and the Baltic, especially Novgorod, in the 13th and 14th centuries.

Following on from current debates about historical reenactment linked to right-wing extremism, the German reenactment group Ulfhednar is analyzed as an example of how strongly archaeologically inspired historical reenactment can be interwoven with branches of the subcultural fields of black/pagan metal and neopaganism showing politically extreme right-wing thought patterns. Asking how these respective fields may influence each other, the chapter shows how history reenactment of, e.g., the Germanic or Viking period can be based on accurate reconstructions/replicas of genuine archaeological finds while likewise perpetuating narratives of 19th/early 20th-century neopagan romanticism and völkisch ideas. Clearly detached from current academic discourse about the complexity of ancient societies an ancestral understanding of Germanic and Aryan ethnicity is revived that had provided the alleged historical essence for racist ideologies and politics in the early 20th century. Connecting historical reenactment with the historicizing (sub)cultures of modern ethnic paganism and the black/pagan metal music scene can powerfully link performative and sensually experienceable ways of history appropriations with extremist political agendas. Since open-air museums and similar forms of archaeological heritage maintenance frequently serve as scenery for reenactment performances they might add officially warranted credibility to such politically distorted conceptions of the past raising the question if reenactment practices could even function as an enforcement of politically constructed narratives of the past.

Resumo Reflexões sobre repatriação de objetos artísticos e culturais se entrelaçam com considerações sobre arte e sistemas de arte, coleção e o conceito de território. Na leitura crítica aqui apresentada o que se coloca como questão é a própria noção de patrimônio e sua abordagem enquanto ruína em diálogo com a abordagem de Walter Benjamin e suas célebres teses sobre o conceito de história.

Tekst tekstowi (nie)równy? O wybranych problemach interpretacji piosenek w musicalach Pierwotna tożsamość muzyczna jako wyznacznik identyfikacji artystycznej Od różnorodności do k -popu. Kultura zachodnia w południowokoreańskim kalejdoskopie Rejestracja muzyki, sposoby słuchania i transgresja dźwięku w kontekście figury "zombie" "Czy to jest życie, jakiego naprawdę pragniemy?". Postawy narcystyczne w twórczości Rogera Watersa Ile stron ma płyta? Przekraczanie fizycznych granic albumu muzycznego

A monografia explora o panorama da comunicação científica no campo da conservação-restauração, com foco em plataformas de mídia social. Aprofunda a importância dos comunicadores científicos na era digital, o uso das redes sociais para o envolvimento público no campo da conservação-restauração através da análise de estudos de caso específicos e exploração das plataformas utilizadas pelos comunicadores científicos. Se discute sobre o uso de plataformas de mídia social como canais possíveis para a comunicação científica e a necessidade de os comunicadores científicos adaptarem suas estratégias de comunicação às preferências e interesses de diferentes públicos, e incentiva o alinhamento com práticas de ciência aberta para incluir a diversidade e democratizar o acesso ao campo.

In the settlement mound of Alacahöyük, which has been systematically investigated since 1935, research on the Early Bronze Age royal tombs and evaluations of their finds are rather insufficient. For that reason the finds were reevaluated in 2009. The research results paved the way for new interpretations. In this regard, a pendant made of lapis lazuli that was found in tomb K deserves special attention, as it is one of the few finds in Anatolia at that time.

A review of a book by historian Lucie Fikarová: Plzeň punková a metalová. Punková a metalová alternativní hudební scéna v Plzni (1983–1995), Karolinum a ÚSD AV ČR, Praha 2022, 146 s. ISBN 978-80-246-5401-0 (Karolinum); 978-80-7285-272-7 (ÚSD AV ČR)

Metal T-shirts represent a fusion of music, identity, and ideology. This case study approach explores the meaning of the metal T-shirt. Findings show that the metal T-shirt had several signatory functions, such as personal taste and a provocation against the general social structure. The T-shirt represented a visual identity, and it showed a mastery of a communicative act. The study demonstrates how products, such as T-shirts, are a part of transmedia storytelling in heavy metal culture. Background: The meaning in a T-shirt This paper explores how the T-shirt can have a role in everyday cultural metal practice in which music, identity, and ideology fuse into an aesthetic experience. Snell and Hodgetts state that a T-shirt can be a material representation of social relations (Snell and Hodgetts, 2007). They connected this argument to studies of material culture, such as Tilley’s (Tilley, 2006), which promotes the idea that a core component of the social negotiation of a shared identi...

This is the first meta-analysis of all studies related to remote viewing tasks conducted up to December 2022. After applying our inclusion criteria, we selected 36 studies with a total of 40 effect sizes. Both frequentist and Bayesian meta-analyzes revealed a strong average effect size of a minimum of .34; 95% confidence intervals.22 -.45, after the exclusion of outliers, without signs of publication bias and a tiny decline effect. In raw scores, these average results correspond to a difference in hits score of 19.3%; 95% confidence intervals:13.6%–25%, above the expected chance.Among the meta-analyses of moderators, a small non-statistical difference emerged between the precognitive and clairvoyance tasks, particularly for those with an outbound agent. A comparison with meta-analytical results observed with other experimental protocols testing extrasensory perception shows the clear superiority of remote viewing.After more than 50 years of investigation of extrasensory perception, ...

This study explores how the experience of transgender performers is affected by the social environment of the heavy metal scene through a study conducted in Southeast Queensland. Aiming to develop a deeper understanding of the unique perspectives of transgender metal musicians, this study considers how their live performance and gender performance are influenced by their social environment, their trans identity, and their personal experiences within the scene. This is largely an under-researched field, with little having been investigated on the performance of trans metal musicians in particular. To investigate this gap, an ethnographic study was employed, inclusive of three semi-structured interviews with transgender metal musicians and two participant observations at gigs in Meanjin's (Brisbane) Fortitude Valley. Following this, a mixed methods approach combining thematic and narrative analysis was conducted to create several key findings. The findings suggested that in contrast to the masculine hegemony described by seminal authors, Robert Walser (1993) and Deena Weinstein (2000), Meanjin's metal scene is more trans-positive. Though transgender musicians may often 'conform' to a gendered norm as they move through the scene, participants challenged ideals described in the literature as binary and more rigid than current considerations of gender. The performers noted they found great freedom in their metal performance, and though some variance in the level of freedom was described, the metal subculture was considered a space to be free to express oneself without concern. Ultimately, with the research highlighting the rigidity of gender models and gender theory in metal studies, this study suggests that further research should be conducted to unpack the diversity of the metal scene and the gender presentations within it.

In an excerpt from his 1939 introduction to several practical proposals worthy of those means possessed by The College of Sociology, Bataille begins by saying that one of the best established results of 'the efforts man has made to discover who he really is is the absence of integrity of person,' by which he means, of course, the obliteration of individuated being; what the medievals after Aristotle, and from Anselm of Canterbury on, termed haecceitas or 'thisness,' and that which Heidegger, who, perhaps more than any other modern philosopher understood the Middle Ages, and whose own thought was profoundly influenced by it, would later term 'facticity,' that which accounts for the individuality of an individual, or the individuation of different members of a species (in Hollier ed., 1988: 333). In announcing in the first line of this text from 1939-which, by the way, would seem to encompass the whole of his philosophy, in announcing here that the obliteration or annihilation of individuated being or facticity, this thisness, this 'such a lot the gods gave to me-to me (Lovecraft), is the best established result man has made in his endeavor to discover who he really is, Bataille at once betrays what Amy Hollywood has identified, with respect to other texts from this period, as his simultaneous alignment with, and insistent divergence from, the Christian and non-Western mystical traditions (Diacritics, 1996: 74-87).

Ao longo do século XIX, as ruínas do Grande Zimbábue, o assentamento principal de um antigo reino shona que se constituiu no planalto zimbabuano, foi alvo de controvérsias acerca das origens da sociedade que construiu essas estruturas de pedra. Em documentos produzidos por exploradores e cronistas europeus, enredou-se a “hipótese fenícia”, mediante a qual o Grande Zimbábue teria sido construído por colonizadores semíticos na Antiguidade. O artigo analisa dois documentos produzidos no período, The Ruined Cities of Mashonaland (1892), de Theodore Bent, e o romance histórico Elissa (1900) de H. Rider Haggard, com ênfase nas relações entre colonialismo e encobrimento de passados africanos no entrelace da História e da Literatura.

I am at the border of my condition as a living being. My body extricates itself, as being alive, from that border. Such wastes drop so that I might live, until, from loss to loss, nothing remains in me and my entire body falls beyond the limit - cadere, cadaver. (Julia Kristeva, Powers of Horror, 1982, p.3)
My originality … is, I believe, an originality that belongs to the soil, not the seed. … Sow a seed in my soil and it will grow differently than it would in any other soil. (Ludwig Wittgenstein, Culture and Value, 1998, p. 42e)
A social-relational model of disability, where the ‘cause’ of disability is located in the interaction between impairment and socially constructed disabling barriers, is developed through a (later) Wittgensteinian framework considering both disability and metal as ‘forms of life’ where meaning is rooted in practice, in participation.  Building on Wittgenstein’s analogy of a riverbed guiding and constraining cultural practice and meaning, the common origin for much international law governing disability accessibility through mandating reasonable accommodation or adjustment, can be seen to act as a ‘dam’, directing a new, inclusive, path.
Adorno's Listener Typography and Theory about the Listener signals ideas concerning mass listening habits that gravitate around recognition rather than supposed excellence of a piece of music, in an attempt to identify who listens to what(www.icce.rug.nl). In his delineation of differentiated listener types, from emotional to expert, disabled as a category is missing. If, as Kristeva notes, ‘I am at the border of my condition’ (ibid), then what does that border mean for a disabled person who is also a metalhead?
As an extreme metal guitarist with a newly acquired disability, I have been forced to acknowledge and examine what my fandom and metal performance means now, in a landscape that is largely able-bodied. By using autoethnography, I examine the ways in which my love for metal has increased when my physicality has diminished.
By uniting the authors interdisciplinarity, drawing on the legal, the philosophical, the autoethnographic and the musicological, an impactive and unusual praxes has been developed that foregrounds differentiated ontologies and epistemologies of the disabled practitioner and listener.
This chapter seeks to examine and theorise the ways in which disability and aesthetic practice intersect to construct exclusion, and limit participation in metal communities of practice. The paper concludes that metal as an intentionally resistive, disruptive and abjective art form and construction of aesthetic community risks its valued status by perpetuating mainstream society’s exclusionary ableism. If metal thrives on its hegemonic resistance, then what does that resistance really mean for the disabled other?

Resumo: O artigo discute a criação de um corpus que serve de fonte em uma pesquisa terminológica dos termos da área da conservação e restauração de bens culturais. A pesquisa de doutoramento, realizada à luz das teorias e conceitos discutidos pela Socioterminologia e pela Teoria Comunicativa da Terminologia, propõe a elaboração de um glossário para estudantes dos cursos de graduação em Conservação e Restauração em Bens Culturais Móveis, além de discutir alguns termos significativos para uma área de especialidade ainda em estruturação no contexto do campo patrimonial. No presente artigo discute-se especificamente a metodologia e aplicação de critérios para a criação do corpus de estudo, compilado a partir dos textos publicados nos Anais dos congressos da Associação Brasileira de Conservadores-restauradores (ABRACOR). Ressalta-se a questão da necessária representatividade do corpus dentro do contexto sociocultural em que foi produzido, uma vez que é a partir dele que se pode identificar os sentidos e os significados dos termos, considerando o contexto específico em que são usados pelos especialistas. Palavras-chave: conservação; restauração; terminologia; corpus Resumen: El artículo discute la constitución de un corpus que se utiliza como fuente en una investigación terminológica de los términos del área de conservación y restauración de bienes culturales. La investigación de doctorado, realizada a la luz de las teorías y conceptos discutidos por la Socioterminología y por la Teoría Comunicativa de la Terminología, propone la elaboración de un glosario para estudiantes de cursos de Conservación y Restauración en Bienes Culturales Muebles. Asimismo, discute algunos términos significativos para un área de especialidad que todavía se está estructurando en el contexto del campo patrimonial. En el presente artículo se discute específicamente la metodología y aplicación de criterios para la creación del corpus de estudio, recopilado a partir de los textos publicados en las Actas de los congresos de la Asociación Brasileña de Conservadores-restauradores (ABRACOR). Se resalta la problemática de la representatividad del corpus en el contexto sociocultural en que se produjo, puesto que es lo que permite identificar los sentidos y los significados de los términos, considerando los contextos específicos utilizados por los expertos.

Refletir sobre os livros como objetos implica em reconhecer que, de alguma forma, são comparáveis a todo e qualquer objeto criado para cumprir as mais diferentes funções, que podem ser produzidos em série e comercializados, ou seja, tratados como mercadoria. O presente artigo visa analisar o conceito de livro do ponto de vista da documentação a luz do ponto de vista de teóricos de variadas áreas do conhecimento humano, a saber: Documentação, Ciência da Informação, Arqueologia e Museologia etc. Foi feita uma revisão de literatura acerca do livro como documento, reunindo documentalistas, historiadores e profissionais da informação. Conclui-se que Marcas de proveniência singularizam o livro, ao vinculá-lo a um proprietário particular ou a uma biblioteca. Desde que examinados como objetos, a abordagem museológica pode ser aplicada também aos livros, assinalando não apenas aspectos genéricos como o momento de sua criação/autoria, fabricação/publicação mas, sobretudo, informações sobre a ...

Metal Conference » (MHMC), organisée à Helsinki du 8 au 12 juin 2015 1. Ouvrage dense et fondateur pour le 1 L'ouvrage est disponible sous forme de livre imprimé (ISBN 978-952-60-6217-4) mais aussi, gratuitement en ligne, http://www. modernheavymetal.net/2015/06/mhm-book-onlineversion-ready.html [NdE] Bibliographie Guibert Gérôme (2012), « Présentation du dossier "metal studies" : naissance d'un champ », Volume ! La revue des musiques populaires, vol. 9, n o 2.

Copper age goods in Central Italy, though rather common in cemeteries, are rare in settlements, and of a different
kind. This apparently uneven distribution raises questions about its meaning: is it due to the different rate of investigation
in the two kind of contexts, or has it a real social-cultural meaning? This paper tries to give some hints about that,
comparing the findings from the necropolis of Selvicciola and from the neighbouring settlement of Poggio Olivasto in
Northern Latium.

This is the first meta-analysis of all studies related to remote-viewing tasks conducted up to December 2022. After applying our inclusion criteria, we selected 36 studies with a total of 40 effect sizes. Both frequentist and Bayesian meta-analyses revealed a strong average effect size of .34; 95% confidence interval: .22-.45, after the exclusion of outliers, without signs of publication bias and a minimal decline effect. In the raw scores, these average results correspond to a difference in hits score of 19.3%; 95% confidence intervals:13.6%-25%, above the expected chance. Among the meta-analyses of moderators, a small nonstatistical difference emerged between the precognitive and clairvoyance tasks, particularly for those with an outbound agent. A comparison among meta-analyses results observed with other experimental protocols testing extrasensory perception showed the clear superiority of remote viewing. After more than 50 years of investigation into extrasensory perception, remote-viewing experimental protocols appear to be the most efficient for both experimental and practical applications.

Metal Conference » (MHMC), organisée à Helsinki du 8 au 12 juin 2015 1. Ouvrage dense et fondateur pour le 1 L'ouvrage est disponible sous forme de livre imprimé (ISBN 978-952-60-6217-4) mais aussi, gratuitement en ligne, http://www. modernheavymetal.net/2015/06/mhm-book-onlineversion-ready.html [NdE] Bibliographie Guibert Gérôme (2012), « Présentation du dossier "metal studies" : naissance d'un champ », Volume ! La revue des musiques populaires, vol. 9, n o 2.

The  main  subject  of  this  article  is  the  artistic  activity  of  one  of  the  first  thrash  metal  bands  in Poland, the Acid Drinkers founded in 1986 in Poznań. The text outlines the state of indigenous  metal  music  studies and  identifies  selected  theoretical  contexts  related  to  song  studies and the multimodality of popular music culture. In the analysis of the Acid Drinkers’ work, particular attention is paid to the intertextuality of the iconography of Acid Drinkers’ album  covers,  selected  protest  songs  created  by  the  band,  and  ironic  interpretative  covers,  which also constitute an important element in the group’s discography.

Although most of our knowledge about the Eastern and Western Black Sea Region of Anatolia is limited from archaeological excavations and surveys, there are a significant number of finds waiting to be evaluated in museums and private collections. The subject of this article is two different groups of finds, one of which is preserved in a museum and the other in a private collection. Five terracotta mashrapas, with same type but different sizes, brought from Safranbolu (Paphlagonia) in the Hacıbektaş Archeology and Ethnography Museum constitute the first group of finds. The mashrapa group has features that are not very common in Anatolia and are dated to Early Bronze Age III. The other group of finds belonging to the İsmet Erçal Collection which found in the vicinity of Kumru in the inner part of Ordu Region consists of a bronze ax and a stone ax and a stone keule. Axes are among the handle-hole finds which commonly seen in the Early Bronze Age in Anatolia. The keule, with its specific form, is one of the unique finds of the Near East. These finds in the narrowed area were mostly found as grave gifts and showed us that they have a special meaning in terms of burial traditions. The find group found in Ordu and recorded to have come from Safranbolu has allowed us to make some evaluations and suggestions, although the context is not clear. The pieces in this article, which deals with the finds out of context, are among the finds with the richness and diversity of Black Sea archeology and will make new contributions to the archeology literature.

Remote viewing is a novel perceptual discipline for gaining information that is not available to the ordinary physical senses. Used extensively by so-called 'psychic spies' during the Cold War for classified military projects, it has a long history both as an intelligence gathering tool and as the subject of research and applications in the civilian world.-International Remote Viewing Association Website

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Since its inception, metal music has been on a quest for greater heaviness. However, despite its fundamental relevance to the genre, what actually makes metal music perceptually 'heavy' is still poorly understood. This article examines the musical, performative and production features that contribute to the heaviness of Lorna Shore's 'To the Hellfire', Loudwire magazine's metal song of the year 2021. The musicological analysis is supported by rich data from the provider Nail the Mix (NTM): the song's original multi-track recordings; a Q&A and live mix session with the EP's producer, Josh Schroeder, and community discussion in NTM's Facebook group. The findings suggest that the song's heaviness is mainly provided as a result of sonic weight, harmonic distortion, hyperreal performances, disruption and unpredictability, contrast and dynamic development towards a climax. Musically, blending metal subgenres to increase heaviness is deemed beneficial, and concerning production, automated and dynamic processing responsive to musical structures and performances is highlighted.

This article investigates whether and how five of the major metal subgenres differ in their harmonic practices in the 21 st century. One hundred metal tracks-twenty from each of the five subgenres of power metal, black metal, metalcore, melodic death metal and progressive metal-released since 2000 were analysed, capturing their chord progressions and modulation techniques. Tonal analysis indicated that although each subgenre seems to adopt the techniques used by the early heavy metal bands of the 1970s and 1980s, individual signature styles contribute to the desired sonic aesthetic. The study found pronounced harmonic practices in most subgenres, yet the most distinctive in power metal and black metal. While black metal focused on non-diatonic minor chords for a dark atmosphere and dissonant aesthetic, power metal emphasised the brighter Dorian mode and employed baroque and classically influenced secondary dominants and diminished seventh chords to add colour to progressions and brighten the sound.

Metal music is a genre defined by transgression, usually with the musical pursuit of heaviness. Interestingly, this commonly accepted genre-defining criterion, which can be considered as involving progress, conflicts with recent suggestions that the production of metal music is becoming more and more standardized, potentially hindering metal music's musical evolution. Based on interviews with eight leading metal producers, this study investigates the professionals' mixing approaches to determine whether they match the presumed standardization. The study finds common mixing approaches that result from the technical requirements of engineering fast, complex, and sonically dense music. However, there are significant alternatives between which producers choose to achieve the desired aesthetic outcomes. A multifaceted genre like metal with its diverse subgenres requires more than one production approach, and the unique combination and nuanced implementation of these approaches facilitate original results. With this in mind, the various production approaches, processes, and techniques appear to be evolving alongside the sub-genres and musical styles, supporting the genre's quest for transgression and heaviness.

Metal music studies defines "heaviness" as the genre's sonic signature but has rarely explored the sonics or the related discourse. This study analyzes message boards to determine how music producers and musicians use the "heavy" metaphor in their discussions. Practitioners' strategies employed to achieve heaviness are scrutinized to learn about what considerations influence their decisions. The findings suggest that while heaviness is based on a core set of musical features, it is open to appropriation, modification, and development. Heaviness has become a suitable impetus for the genre's evolution and iconically represents what metal music stands for to its community.

"Heaviness" has been one of metal music's defining features in three decades of metal scholarship. Research acknowledged its essential quality, but no comprehensive definition of musical heaviness was developed. This article, therefore, elaborates a preliminary framework of musical heaviness by identifying its constituent production, performance, and compositional components, including their relationships. The findings suggest that while structural and performative components provide the necessary foundation for heaviness, metal has been increasingly driven by its production. Since musicians reach limits, technology has become one of the primary means to produce ever heavier metal music in the genredefining quest for greater heaviness.

Viking metal, Teutonic metal, Mesopotamian metal-labels of this kind are common in fan discourse, media and academia. Whereas some research has investigated such labels and related them to the artist's stage presentation, music videos, artwork and lyrics, there is still a lack from the perspectives of music production and performance as to how such culturally and geographically associated labels differ musically. This article explores culture-specific production and performance characteristics of Teutonic metal, focusing on how metal from Germany differed from British and US-American productions in the 1980s and 1990s, during which time metal spread to Continental Europe and German speed metal achieved an international reputation for its original interpretation of metal. The study is based on a qualitative interview design with three record producers who were crucial for the rise of German metal labels

'Shredding', the fast and virtuous guitar playing, is a central stylistic element of many rock and metal genres. A recent empirical study by Slaven and Krout (2016) reported metal guitar solos having become faster over the last six decades, thus indicating that shredding still is common in metal guitar, as argued in earlier literature in rock and metal studies (Walser 1993; Waksman 2003; Weinstein 2000). The present study extends such research by experimentally investigating the effects of distortion on playability, virtuosity and expressiveness based on a multi-methodical analysis from musicology, acoustics and music informatics. The findings contribute to acoustic-based evidence of distortion's simplifying effect that increases the electric guitar's "potential as a virtuoso solo instrument" (Walser 1993: 50). Yet, the results also highlight challenges of distorted guitar playing less commonly considered in research, journalism and performance practice. The article closes by advocating greater acknowledgement of the skills required for distorted metal guitar playing.