united states of americore


heavy metal & popular culture cfp

Heavy Metal and Popular Culture 
April 4-7, 2013
Bowling Green State University
Bowling Green, Ohio, USA 
The Department of Popular Culture at Bowling Green State University, in collaboration with Heavy Fundametalisms: Metal, Music and Politics and the International Society for Metal Music Studies (ISMMS), announce the International Conference on Heavy Metal and Popular Culture. The Program Committee of the International Conference on Heavy Metal and Popular Culture invites proposals for papers, organized panels of 3-4 papers, and scholarly posters. The online submission deadline for all proposals is 1 December 2012. The conference will take place on the campus of Bowling Green State University, Bowling Green, Ohio, April 4-7, 2013. 
We envision the International Conference on Heavy Metal and Popular Culture to be a highly selective conference featuring cutting-edge scholarship on heavy metal’s many facets and forms. Papers will be organized into a single track of programming over four days—there will be no overlapping sessions. Featured at the conference will be keynote lectures by Robert Walser, Laina Dawes, and Keith Kahn-Harris, a screening of the film Motörhead Matters, three roundtables featuring Niall Scott, Steve Waksman, Deena Weinstein and other international metal scholars to be announced, and a special exhibit on facepaint and masks. 
We welcome proposals involving all facets of heavy metal musical life throughout the world, with a focus on the intersections, circuits, and mutual imbrications of heavy metal and popular culture, globally and locally. We especially welcome proposals addressing the following themes: 
Heavy Metal Consumption: In what ways has mainstream popular culture changed, prefigured or reversed the consumption of heavy metal? How has heavy metal, as a subculture, sound or style, affected popular culture? Are there new forms of popular culture for which heavy metal has become an influence? Is the intersection of heavy metal, popular culture and consumption creating new questions about authenticity, aesthetics, and soundscape? (In other words, what does it mean when obscure 1980s thrash metal tracks wind up on Guitar Hero?) 
Heavy Metal, Popular Culture and New Media: Given the rise of new media for heavy metal (social networking media, music and video systems online, gaming, music downloading technology), how has heavy metal further saturated the landscape of popular culture? Are the sounds of heavy metal changing with new technologies and popular media? 
Heavy Metal Clothing Style: From the fantastic costumes of bands such as Gwar to the ubiquitous heavy metal t-shirt, the fashion of heavy metal is a vital part of its allure, its popularity, and its criticism. Why is heavy metal style both controversial and popular? Where and how has heavy metal style intersected with fashion locally and globally? 
American Heavy Metal Popular Culture and Its Circuits: From films such as Heavy Metal Parking Lot to Kiss’ commercialism and the Osbourne family’s reality television programs, mainstream American popular culture has held a particular fascination for heavy metal, fomenting moral panics against it one day and celebrating its integrity and authenticity the next. How did American popular culture and heavy metal become so mutually imbricated? Are American popular culture’s heavy metal appropriations altering the scenes in other countries and cultures? Do local scenes, including those within the United States, seek to resist mainstream popular culture or embrace it? 
Research Poster Sessions 
The poster format provides an opportunity for conference attendees to meet informally with authors and discuss research. Each author attends her/his respective 60-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than A/C power) will be coordinated with other presenters once the Program Committee has formed sessions. 
General Guidelines 
Accepted presenters will not be required to pay conference attendance registration fees. The committee encourages proposals from graduate students and independent scholars. An individual may submit only one proposal. All proposals must be submitted through the online electronic submission process. Proposals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Posters will be organized in block sessions. For complete session proposals, the organizer must include an initial statement of 100 words explaining the rationale for the session, in addition to proposals and abstract files for each paper. 
Include the following for all submissions: 
Proposer’s name, e-mail address, and institutional affiliation or city of residence 
250-word proposal 
100-word version of your proposal suitable for publication in the conference program (.doc, .docx, .txt, or .rtf format). Include proposer's name and email, and the proposal title in this file. 
Audio and visual needs: CD player, DVD player, digital projector. Please also specify IBM or Mac platforms, and any special needs. Request of special audio and visual needs does not guarantee their availability, but presenters will be notified if their requests cannot be met. 
Specify whether you are a student. 
All materials must be electronically date-stamped by December 1, 2012 at midnight CST and emailed to Clifford at ucmo.edu with “HMPC Submission” in the subject line and required documents attached. For further information regarding the submission process: Amber R. Clifford-Napoleone, Chair, HM&PC 2013 Program Committee, Wood 136B, Department of History and Anthropology, University of Central Missouri, Warrensburg, MO 64093, USA, Clifford at ucmo.edu. 
For further information about the conference, please contact the BGSU conference organizers: 
Esther Clinton estherc at bgsu.edu 
Matt Donahue mattdon at bgsu.edu 
Jeremy Wallach jeremyw at bgsu.edu 
Department of Popular Culture, 
School of Cultural and Critical Studies, 
228 Shatzel Hall Bowling Green State University, 
Bowling Green, Ohio 43403-0190, 


“International Reggae: Traditional and Emerging Expressions in Popular Music” cfp

University of the West Indies, Mona, Kingston, Jamaica 
February 14-16, 2013 
The Institute of Caribbean Studies and the Reggae Studies Unit at the University of the West Indies, Mona announce the third International Reggae Conference (formerly Global Reggae Conference) under the theme “Traditional and Emerging Expressions in Popular Music”.            

The conference and associated events will consolidate and disseminate knowledge on Jamaican music culture and associated music forms.  This conference will also reflect on Jamaica’s attainment of 50 years and beyond and celebrate the 68th anniversary of the birth of Jamaica's premier cultural ambassador, the Hon. Robert Nesta Marley, with the hosting of the Annual Bob Marley Lecture, in affiliation with the Bob Marley Foundation.  In addition, IRC2013 will highlight the international spread of Reggae music and culture in affiliation with Europe’s acclaimed Rototom Sunsplash festival as it celebrates 20 years of showcasing Reggae Lifestyle and Culture.
Academics, researchers, artistes, musicians, scholars, cultural practitioners, entrepreneurs and music lovers from around the world will be able to share their experiences and perspectives on reggae and dancehall music in particular. The IRC2013 will also explore particular aspects of music creation and dissemination in an effort to assess the trends affecting the movement of reggae and dancehall internationally and highlight valuable strategies for enhancing the development of cultural/creative music enterprises.

Proposed conference sub-themes include but are not limited to the following:-
·      Songs of Freedom
·      Social Media and Popular Music
·      The Reggae Artiste as Cultural Ambassador
·      Gender and Sexuality in Jamaican Popular Music
·      International Reggae Music Festivals
·      Commodification of Reggae and Dancehall
·      Language and Lyrics
·      Celebrating Fashion and Style in Popular Music
·      The Artiste as Entrepreneur
·      Media, Regulation and Popular Music
·      Reggae and Dancehall as Social Capital
·      Legislative Framework for Popular Music
·      Cultural/Creative Enterprises in Popular Music
·      Digital Media and Popular Music

We welcome innovative uses of technology and creative session formats as well as traditional paper presentations.

Proposals should be no more than 300 words for each individual presentation.  For panels, include one abstract for each presentation.  Each presenter should submit a cover page with name, affiliation, contact information and a short bio (75 words or less).  Kindly specify in your proposals any specific needs or technology requirements you may have. 
DEADLINE FOR ALL SUBMISSIONS IS October 15, 2012. Email all submissions to internationalreggae at gmail.com with the heading CONFERENCE PRESENTATION PROPOSAL.

Contact the International Reggae Secretariat with queries at:-
Reggae Studies Unit
Institute of Caribbean Studies
Faculty of Humanities and Education
University of the West Indies, Mona
Kingston 7, Jamaica
Email: internationalreggae at gmail.com Tel: 1 (876) 977-1951 Fax: 1 (876) 977-3430 



freakadas comps ftw.


ne3rg, recombinacja, and rohstein: splift
nks international
rus zud


Anarcho-Punk Anthology: Call for Papers

Mike Dines is seeking contributions from the wide spectrum of musicology and social sciences for an edited text on the anarcho-punk scene of the 1980s that will reflect upon its origins, its music(s), its identity, its legacy, its membership and circulation.

Seven years ago, I was awarded my PhD for my research into the emergence of the anarcho-punk scene and, to my surprise, there are still no academic texts that fully unpack this fascinating movement and its politics. As such, I would like to put out a call for proposals in the hope that we might rectify this omission: and thus raising questions as to how we can define aesthetically, culturally, politically and ideologically the concept and meaning of the anarcho-punk scene. As such, the volume has guaranteed contributions from the likes of Andy Worthington, author of The Battle of the Beanfield and Stonehenge: Celebration and Subversion and Russell Bestley, whose co-edited book The Art of Punk is due for release. Furthermore, George McKay, Professor of Cultural Studies and Director of the Communication, Cultural & Media Studies Research Centre from the University of Salford will preface the volume. Perhaps the foremost academic in the field of alternative cultures and protest movements, George is the author of a number of books including Senseless Acts of Beauty: Cultures of Resistance since the Sixties and Glastonbury: A Very English Fair

More specifically, this volume will adopt an essentially analytical perspective so as to raise questions initially over the origins of the scene and subsequently over its form, structure and cultural significance. The work will begin with an exploration into the way in which anarcho-punk emerged from first wave punk, illuminating those aspects which anarcho-punk appropriated, as well as discarded, from its predecessor. Thereafter, this volume will raise questions over the ways in which first wave punk and anarcho-punk used the concepts and ideas surrounding the terminology and concept of ‘anarchy’. Not least, the way in which anarcho-punk moved away from using ‘anarchy’ as mere connotation and ‘shock-value’, prioritising instead a more focused political debate; a step which laid particular emphasis on personal freedom from the constraints of government legislation.

Suggestions for chapters are invited exploring any of the following themes (this list is by no means exhaustive):
• Origins and legacy
• Political Appropriation: re-defining of ‘anarchism’ within the punk scene
• Notion of local/national ‘scene’, tribes, counterculture/subculture
• Music and the Performer: creativity, authorship, identity, problems with definition, crossing musical boundaries (such as The Tofu Love Frogs, Radical Dance Faction and Blaggers ITA)
• Reception: DiY culture, activism, ‘pay-no-more’ attitude at gigs, and for vinyl and tapes.
• Lifestyle: Festival/squatting/traveller culture, vegetarianism, animal rights, ‘hunt-sabbing’, etc
• Gender, sexuality, class, ethnicity and identity
• The art of the anarcho: use of record covers and associated merchandise to convey political/social ideals, stencils, graffiti 

Other, more general, possible categories:
• The musical genres
• Associated subcultures
• Legacies
• Intellectual debates
• The media: reports, reception, gossip 

 Proposals should be 500 words maximum and should include keywords and a brief biog of the author. Submitting a proposal implies that it only contains original, non-published material and that it is not simultaneously being submitted to another publication. The deadline for submissions is 1st October 2012. A decision on inclusions will be made by 1st December 2012 and chapters will need to be finalized by1st June 2013 to allow time for final editing. Proposals should be submitted electronically to: miked71uk@yahoo.co.uk
I look forward to hearing from you!
Dr. Mike Dines


popular music and automobile culture: a one day symposium

Next Friday (22nd June, 2012)
Binks Building, University of Chester, England
9.30am-4.30pm, Room CBK 013/1
This is a free symposium. No registration is required and everyone is welcome. Please email Dr Chris Hart ( c.hart@chester.ac.uk ) if you wish to attend.
The following speakers are giving papers in two parallel streams...
Philip Tagg: Shaving, Biking and Guitar Distortion: The Rock Daredevil Trope and Rock Consumerism
Justin A. Williams: Toward a Sloanist Theory of Popular Music Production
Tim Wall and Nick Webber: Rock 'n' Roll: Cars, Convergence and Culture
Claire Evans:'It’s the Equivalent of Going Backstage at a Music Show’: Popular Music, Celebrity and Formula One
Georgina Gregory: 'She’s My Little Deuce Coupe': Freudian Transformation in the Car Songs of The Beach Boys.
Roddy Hawkins: Travelling at the Speed of Sound? Top Gear Compilations as (British) Musical Expressions of Driving
Barbara Hornberger: 'Ich will Spaß, ich geb Gas': A German Pop Song Between Fun, Society and Subversion
Phylis Johnson: Moving Sounds:  Hearing 'Route 66' on the Car Radio Then and Now
Craig Owen Jones: Driving On The A470: Cars and Roads in Welsh-language Rock and Hip-Hop Music
David Kane: The Motorcycle as a Rock Icon
Chris Lezotte: 'Born to Take the Highway': The Automobile, Women and Rock-n-Roll
Santiago Niño Morales: 'Las Chivas': Fiesta in Motion
Alice Price-Styles: 'Born To Roll’: An Examination of Jeep Culture in The Music of Masta Ace
Jon Stewart: ‘Motorpsycho Nightmare’: Bob Dylan and Car Culture
Charles E. Sykes: The Auto Assembly Line: Metaphor and Model for Motown
Tim Summers: Music in Racing Video Games

About the organisers:
Dr Chris Hart is Senior Lecturer in Advertising at Chester. He recently co-managed the largest study done to date into the economics and social impact of historic vehicles in Europe.
Dr Mark Duffett is Senior Lecturer in Media and Cultural Studies at Chester. He is known as a popular music scholar whose central interests include fandom and Elvis Presley.
Dr Beate Peter is a member of the Institute for Performance Research at Manchester Metropolitan University with research interests in music psychology and popular culture. Her comparative study of techno in Detroit and Berlin is to be published in Spring 2012.


International Institute for Ethnomethodology and Conversation Analysis Conference 2013

Theme: Technologies and Techniques
University of Waterloo
Waterloo, Ontario, Canada
August 5 - 8th, 2013
Website: http://www.regonline.ca/builder/site/Default.aspx?EventID=1104991Email: IIEMCA2013@uwaterloo.ca

"It has been to ethnomethodology's credit that the subjects we've studied in the fields of science and technology thought ethnomethodology was sociology."
 Wes Sharrock, in his 2011 acceptance of the American Sociological Association Lifetime Achievement Award.  
Ethnomethodology and Conversation Analysis have always held unique positions within the discipline of sociology especially with regard to technologies and techniques in use, whether it be Sacks and Sudnow deploying novel technological approaches to data gathering; Garfinkel, Lynch and Livingston’s seminal paper “The Work of a Discovering Science”; Anita Pomerantz, John Heritage and others’ studies of doctor-patient interaction in increasingly technologically enhanced exam rooms; the list could go on. Ethnomethodology and Conversation Analysis are also primarily concerned with the techniques actors utilize to accomplish the social, be it through workplace studies, studies of scientific knowledge, studies of interactional order, etc.  The fundamental question that confronts Ethnomethodologists and Conversation Analysts - “how does this interaction get done?” – has and will thus receive a variety of related answers. We invite papers from the international community of EM/CA scholars that address the issues, practices and phenomena related to Technologies and Techniques.  As is EM/CAs tradition, we cast these categories in the broadest possible conception, but are particularly interested in papers which address the themes of  
Technology in the Home, Workplace, or related settings; 
Technology’s Impact on Theory/Method; 
Technological Approaches to Data Analysis; 
Everyday Technology;  
and The Artful Techniques of Social Interaction.  
We are now welcoming proposals for panel session proposals from prospective panel organizers.  We will close proposals July 15th 2012. We will be accepting Abstracts for papers – no more than 200 words – between August 1st and September 15th, 2012.  Notification of acceptance will be made in November/December 2012. Conference Registration will open in January, 2013 – Details to Follow. Plenary speakers to be announced shortly. -- We look forward to welcoming you to Waterloo in August, 2013! --

On behalf of the local organizing committee - Peter Eglin, Kieran Bonner, Jeffrey Aguinaldo and Patrick Watson. 


Norient is proud to present the first volume of the Norient Academic Online Journal: 
Norient Academic Online Journal 
Vol. 1, 2012 
The issue includes following articles: 
Anja Brunner: “Local Cosmopolitan Bikutsi – Encountering Cameroonian Pop Music in Yaoundé and the Challenge of Similarity” - http://norient.com/academic/local-cosmopolitan-bikutsi 
Florian Carl: “Never go back” – Ghanaian Gospel Music, Born-Again Christianity, and the Nonconformity of the Ethnographer - http://norient.com/academic/ghanaian-gospel 
Alexandra Lippman and Gregory Scruggs: “From Funkification to Pacification: Re-Sounding Space For a New Rio de Janeiro” - http://norient.com/academic/rio-funk-2012 
Portia Seddon: “MP3 Blogging and the Urban Soundscape: Notes on the Ethnography of Mediated Music” - http://norient.com/academic/mp3-blogging-ethnography 
David-Emil Wickström: "Introduction" - http://norient.com/academic/introduction 
The peer-reviewed Norient Academic Online Journal is an online journal which appears once a year and focuses on the study of popular music from an ethnographic perspective. 
We would also like to remind you of the call for articles for volume 2 titled "The Future(s) of Music? – Notions of Prospective Musics in Utopian Movies and Literature". See
http://norient.com/academic/vol2/for more information. 
Deadline for abstracts (maximum 200 words) is May 31st, 2012. 
david-emil wickström, phd
norient academic online journal


listening test: audio effects and perceptual attributes

We are conducting an online listening test evaluating a classification system for audio effects based on perceptual attributes. In the test you will hear several short musical examples, before and after application of an audio effect. You are asked to choose a main perceptual attribute that has changed due to the sound transformation, and optionally secondary attributes. The test consists of audio examples each 5-10 seconds long. The decisions should be made spontaneously, so the test should not take too long (ca. 30 min.).
Your participation would be highly appreciated.
You can find the test at:

Thank you very much in advance,
Thomas Wilmering
Centre for Digital Music (C4DM)
Queen Mary University of London







va: our vision (sky society 2009)

01 Suxxy – Jogi Jogi V Rot Mne Nogi
02 Zhukah – Amensridah
03 Rivak – Chukchu Ne Budi
04 Tester – My Voice
05 Chaptage – One Jamy Two Junk
06 cHAzy vs. KO – Monika
07 Junglinskiy – Elefant I.I
08 Gexider – Wild Out
09 Crusty One Two – Ash of Cowards
10 Neurocoders – Games With Imaginary Friends
11 Dem Tune – Chat So Much
12 Ky39 – Intergalactic Shit
13 De Leu – Dedebebop
14 m1gUnOv – mag1c m0ments 0f chr1stmas 1llness
15 Exilis – Brand New Secondhand
16 Animal Strange Dolls – Detector
17 Bobs and Sounds – Let’s Break the Violin
18 doz410 – Insomnia
19 Crusty One Two – Viva (Outro)

like this one.



Cat.No: SKRD!!!-020
Format: 35xFile, Mp3, 320kbps
Released: 22 February 2012
Style: Breakcore, Mashcore, Terrorcore, Speedcore, Splittercore, Noise, Experimental

01. KOΔƎK - ᵔ ᵕ ℳ▲K▲ℛ☺₦‖ &&&& Ⅽℍ℮ᴲℤΣ ᵔ ᵕ (3:24)
02. Goreshit - Saturnex (5:05)
03. Happy Amen - Art Of War (4:32)
04. Reizoko Cj - Missing Power (2:19)
05. Necrodog - Type Your Lexicon (7:08)
06. Drunk Optimus - Zombies On The Dancefloor (3:22)
07. KOΔƎK feat. Tvmaskava - Rancid Slaughters Vs. Medieval Vegetables (2:59)
08. Kojan - I Know What You Did In Kindergarten!!! (2:36)
09. Hudolf - Kurewska Biba (4:42)
10. SD-501 - The Hybrid's Dreams (3:01)
11. Ecchi-chan - Military Drugs Testing (2:30)
12. Foxdye - Parlez Vous Fuck Off (3:10)
13. Horrible Rate - Meth (3:27)
14. SadisticHate - Dissemination Of The Infection (5:13)
15. Loffciamcore - Terror Rape Machine (5:08)
16. Passenger Of Shit - Leakin Septic Semen Out My Donga (4:16)
17. Noizefucker - Tibdiuqil (3:28)
18. Rohstein - Confused Party People (4:56)
19. Mental D-struction - There Is No Border Between Dreams And What We Call Reality (4:33)
20. Sweet Noise - Nie Było (The Shocker Remix) (4:54)
21. Junkie Kut - Chaostika (4:59)
22. Inward Wayfarer - The Harbor Where Our Souls Met (4:14)
23. Goreshit - We're Gonna Cut Your Dick Off, Larry (3:25)
24. Lk-47 feat. Gazza - Estremo (3:29)
25. Rot 'N' Creep - Hebephrenia (Kuosinsiipi Kuumotuskore) (3:16)
26. Loffciamcore - Game Over Haters (3:38)
27. Imil - Speedcore Paradise (2:24)
28. The M.S.P. - Cold Fog (5:02)
29. TommY RuleZ - Escape Of The Damned Soul (5:59)
30. HateWire - Mein Deutsch Ist Scheisse (3:58)
31. Dj Dentista - Destroy The Fuckin' Reggaeton (3:26)
32. Noizefucker & Painetration - My Mind On Drugs (2:49)
33. Mr. Pus - Spectrum Of Death (3:38)
34. m1dlet - The Sounds Of Sickness (3:20)
35. Egnal Ramd - War Against The Machines (3:16)


Introduction. A "Nihilistic Dreamboat to Negation?" 
Part 1. The Limits of Music Criticism 
Chapter 1. The Rise of Political Criticism 
Chapter 2. The Politics of Popular Music Studies: The Case of Punk
Chapter 3. The Search for the "New Punk": Hip Hop and Electronic Dance Music
Chapter 4. A "Promise Unfulfilled": The Problem of Metal 
Part 2. The Pleasures of Death Metal
Chapter 5. Death Metal and the Reorientation of Listening 
Chapter 6. The Pleasures of Horror
Chapter 7. "Becoming Death": Pleasure and Play in Death Metal
Chapter 8. "Bodies Prepared for Slaughter": Death Metal's "Technical" Appreciation 
Conclusion. Death Metal at the Limits


death and the rock star cfp

The recent untimely deaths of Amy Winehouse and Whitney Houston, and the resurrection of Tupac Shakur for a performance at the Coachella music festival, have focused the media spotlight, yet again, on the relationship between rock, popular music and death. The 'sex, drugs and rock’n’roll' lifestyle has left many casualties in its wake. Over time, however, as the ranks of dead musicians have grown, so the types of death involved and the reactions to them have diversified. Conversely, as the artists who were at the forefront of the rock‘n’roll revolution of the 1950s and 1960s continue to age, the idea of dying young and leaving a beautiful corpse (which gave rise, for instance, to the myth of the '27 Club’), no longer carries the same resonance that it once might have.

This volume will examine the cultural meanings associated with popular music artists and death, and the editors invite contributions on this theme. We are particularly interested in exploring how dead singers’ music and memories live on, how the media portray a singer’s death, how a singer’s death is absorbed by fans and other artists, how death generates new memories and nostalgia, and how death can be ‘used’ by different social, music and fan groups for different purposes.

An edited collection will be submitted to Ashgate, who have already expressed a keen interest in the proposal. It is anticipated that contributions from international scholars such as Andy Bennett (most recently editor of Britpop and the English Music Tradition, Ashgate, 2010) and Olivier Julien (editor of Sgt Pepper and the Beatles, Ashgate, 2008) will be included.

Proposals for chapters are invited exploring any of the following themes (this list is by no means exhaustive):

Different kinds of death: accidental deaths, suicides, spectacular deaths, quiet deaths, death from ‘natural’ causes and ‘old age’;
Life beyond death: impersonators, song covers, tributes, fan culture and memory work;
Death and worship: comparisons with sainthood, ‘pilgrimages’ to cemeteries;
Death and new media: availability of songs and performance through YouTube; accessibility of the past;
Legacies of rock stars: what happens to their music (re-issues, ‘lost’ recordings); how the music is incorporated into cultural memory (e.g. through film soundtracks);
Forgetting: deaths that fail to make a lasting impression, rediscovery and new embodiments of ‘lost’ artists;
Memory and nostalgia: retromania, cultural ‘discoveries’ of the past; generational tastes, passing down music tastes; recuperating one’s youth
Gender: differences in death between male and female stars (the tragic female?);
Death, place and identity: the importance of the geographical locations where artists lived and died;
Memorialisation, prestige and institutionalisation: the incorporation of popular music stars into official discourse; museums and tourist sites dedicated to artists (thanatotourism).
We welcome contributions from outside the ‘rock’ canon, and particularly from non-Anglophone music cultures.

Abstracts of no more than 400 words should be sent to the editors, Catherine Strong (catherine.strong at monash.edu) and Barbara Lebrun (barbara.lebrun at manchester.ac.uk) no later than 15 July 2012. Acceptance of articles will be advised by 15 October 2012 and completed chapters will be required by 1 September 2013.


sadistician: grim-sanity (2012)

breakcore/speedcore black metal remixes finally.



amenathon vol. iii

lisbent on illphabetik, the long-awaited vol. iii of the epic series.






this one:


romance not dead

breakcore.nl brings the classicore. happy st. valentine's day.


chopchop: rotten from the sewer to the grave (2011)

dubstep, hardcore, jungle on sociopath.



zeuge: more deeply (2012)
flac or mp3 on abstrakt reflections.


2011 on hydroshare.






faceblast presents: volume 1


jpms cfp

Sonic Work: Music, Labor, Value
A Special Issue of the Journal for Popular Music Studies

Call For Papers
Marina Peterson, Jesse Shipley, Guest Editors

We are interested in papers from a variety of academic fields and sonic contexts that address issues of music, labor, and value broadly conceived. Making music involves labor of various sorts, whether playing an instrument, chopping up a sample, laying down lyrics, or performing for an audience. These practices resonate in and with urban and transnational soundscapes. Taking into account the changing technologies of production, circulation and listening, making music connects in literal and metaphoric ways to making money and making a living. At the same time, music is posited as detached from so-called worldly values in various ways-religious music is taken to be spiritually transformative, popular music is often escapist, courtly music is understood as linking political power to various ideas of aesthetic beauty. Yet in all of these cases, music converts aesthetic value into material value in various ways. And while some musicians struggle to maintain control of their music away from the effects of commodification, others strive for fame and fortune and seek to brand and package their music for mass consumption. We seek to elaborate on a range of aspects of the dynamics inhering in music, labor, and value, from the meaning and nature of musical practice to the transformations linking aesthetic, economic, moral, and linguistic modes of value. We are also interested in pieces that work with sound beyond music proper. Papers should be approximately 7000 words.

Subjects might include but are not limited to
-musicians’ unions and other collectives
-representations of musical labor in literature, film, television, visual arts
-music and symbolic capital
-religion and music
-sound and urban space
-sounds of work
-changing technology and its relation to changing forms of labor
-digital and analogue, live and electronic modes of labor
-work and pay
-amateur practice
-scales of value, including local production and global circulation

Send abstracts to Jesse Shipley (jshipley at haverford.edu) or Marina Peterson (marina.peterson at gmail.com) by January 13th, 2012.