A watershed work on metal, protest, and cultural identity of the Western hemisphere sector of the Global South . . . a must read for heavy metal devotees, scholars, and researchers.

Choice

“This incredible work of ethnography, ethnomusicology, political geography and sonic ecologies reminds us not only that heavy metal and its various subgenres have always been a quintessentially global music, but that their extreme sonic force demands and enables equally innovative and powerful forms of scholarship to explore them. Nelson Varas-Diaz and Daniel Nevárez Araújo have created a landmark work of scholarship as important to metal studies as Black Sabbath, Kill 'Em All or Number of the Beast were to the music. A must-read for any students of cultural studies, popular music studies, or connoisseur of metal the way it's supposed to be heard and seen—loud and uncompromising.”

Mark LeVine, Author of We'll Play till We Die

Nelson and Daniel’s work is a powerful contribution to the world of Metal Studies as it pulls back the curtain of what metal in the Global South truly represents. Seeing Metal Music in Latin America and the Caribbean forces us to come face-to-face with our own assumptions of how we both see and hear metal in the Global South by presenting stories of resistance and rebellion in a manner that amplifies the voices of those who continue to feel colonialism hovering over them. I have a feeling this is a book that scholars and fans will be talking about for some time.

Edward Banchs, author of Scream for Me, Africa! Heavy Metal Identities in Post-Colonial Africa