Editorial introduction


  • Catherine Hoad Massey University




heavy metal, Aotearoa, punk, Hardcore


Banchs, Edward. 2016. Heavy Metal: Africa: Life, Passion and Heavy Metal in the Forgotten Continent. Pennsylvania: Word Association Publishers.

Baulch, Emma. 2007. Making Scenes: Reggae, Punk and Death Metal in 1990s Bali. Durham, NC: Duke University Press. DOI: https://doi.org/10.2307/j.ctv1220qx8

Beckwith, Karl. 2002. ‘“Black Metal is for White People”: Constructs of Colour and Identity within the Extreme Metal Scene’. M/C Journal 5/3. Online at http://journal.media-culture.org.au/0207/blackmetal.php (accessed 6 April 2020). https://doi.org/10.5204/mcj.1962 DOI: https://doi.org/10.5204/mcj.1962

Bendrups, Dan. 2011. ‘Nako’. In Metal Rules the Globe, ed. J. Wallach, H. M. Berger and P. D. Greene, 313–32. Durham, NC: Duke University Press. DOI: https://doi.org/10.2307/j.ctv1220q3v.16

DeHart, Cameron. 2018. ‘Metal by Numbers: Revisiting the Uneven Distribution of Heavy Metal Music’. Metal Music Studies 4/3: 559–71. https://doi.org/10.1386/mms.4.3.559_1 DOI: https://doi.org/10.1386/mms.4.3.559_1

Goossens, Didier. 2019. ‘“Maori metal”: Analysing Decolonial Glocalisation in the Themes, Performances and Discourses Surrounding Alien Weaponry’s Debut Album Tu (2018)’. MA thesis, KU Leuven, Belgium.

Heath, Doug. 2015. ‘Heavy Metal from the Antarctic Ends of the Earth: Investigating the Metal Music Identity from Invercargill, Southland, New Zealand’. In Modern Heavy Metal: Markets, Practices and Cultures, ed. Toni-Matti Karjalainen and Kimi Kärki, 230–39. Helsinki: Aalto University.

Hecker, Pierre. 2012. Turkish Metal: Music, Meaning, and Morality in a Muslim Society. London: Routledge.

Hoad, Catherine, ed. 2019. ‘Critical Introduction: What is Australian about Australian Heavy Metal?’ In Australian Heavy Metal: Scenes, Practices, Identities, edited by Catherine Hoad, 1–18. Bingley, UK: Emerald Books. DOI: https://doi.org/10.1108/978-1-78769-167-420191001

Hoad, Catherine. 2021. ‘Polar Fate: Mapping Metal at the Southern Edge of the World’. In Living Metal, ed. Bryan Bardine and Jerome Stueart, 35–54. Bristol: Intellect. DOI: https://doi.org/10.2307/j.ctv36xvw6k.8

Olson, Benjamin H. 2012. ‘This isn’t Paradise, This is Hell: Discourse, Performance and Identity in the Hawaii Metal Scene’. Doctoral dissertation, University of Hawai‘i at Manoa.

Olson, Benjamin H. 2017. ‘Within the Perpetual Pentagram: Religious Discourse in the Hawai‘i Metal Scene’. Metal Music Studies 3/1: 47–62. https://doi.org/10.1386/mms.3.1.47_1 DOI: https://doi.org/10.1386/mms.3.1.47_1

Overell, Rosemary. 2014. Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan. London: Palgrave Macmillan. DOI: https://doi.org/10.1057/9781137406774

Snell, Dave, and Darrin Hodgetts. 2007. ‘Heavy Metal, Identity and the Social Negotiation of a Community of Practice’. Journal of Community & Applied Social Psychology 17/6: 430–45. https://doi.org/10.1002/casp.943 DOI: https://doi.org/10.1002/casp.943

Spracklen, Karl. 2010. ‘True Aryan Black Metal: The Meaning of Leisure, Belonging and the Construction of Whiteness in Black Metal Music’. In Metal Void: First Gatherings, ed. N. R. W. Scott, 81–92. Oxford: Inter-Disciplinary Press.

Tecun, Arcia, and Taniela Petelo. 2021. ‘Seleka’s Profane Potency: Kava Artists and Rebellious Music in Tonga’. Perfect Beat 20/2: 134–54. https://doi.org/10.1558/prbt.40000 DOI: https://doi.org/10.1558/prbt.40000

Wallach, Jeremy, Harris M. Berger and Paul D. Greene. 2011. ‘Affective Overdrive, Scene Dynamics, and Identity in the Global Metal Scene’. In Metal Rules the Globe: Heavy Metal Music Around the World, edited by J. Wallach, H. M. Berger and P. D. Greene, 3–33. Durham, NC: Duke University Press. DOI: https://doi.org/10.2307/j.ctv1220q3v.3




How to Cite

Hoad, C. (2023). Editorial introduction. Perfect Beat, 22(1), 1–4. https://doi.org/10.1558/prbt.24369