Far from its sites of origin in the Global North, metal music thrives in the hands of musicians, fans, and scholars throughout other geographies of the world. Metal in the Global South, the latter defined as a geographical and symbolic space marked by the colonial dynamics of modernity, shines through in Defiant Sounds: Heavy Metal Music in the Global South. The volume brings together authors working from and/or with the Global South to reflect on the roles of metal music throughout their respective regions. With contributions spanning Latin America, Africa, the Middle East, Asia, Oceania, and Indigenous Nations, the essays position metal music at the epicenter of region-specific experiences of oppression marked by colonialism, ethnic extermination, political persecution, and war. More importantly, the authors stress how metal music is used throughout the Global South to face these oppressive experiences, foster hope, and promote an agenda that seeks to build a better world. It may be that metal's greatest contribution to human emancipation will be in the years to come, in places its originators never imagined. This volume offers evidence of that contribution already taking place in the geographical and symbolic space that we respectfully and emphatically call the Distorted South.

It is common to hear heavy metal music fans and musicians talk about the "metal community". This concept, which is widely used when referencing this musical genre, encompasses multiple complex aspects that are seldom addressed in traditional academic endeavors including shared aesthetics, musical practices, geographies, and narratives. The idea of a "metal community" recognizes that fans and musicians frequently identify as part of a collective group, larger than any particular individual. Still, when examined in detail, the idea raises more questions than answers. What criteria are used to define groups of people as part of the community? How are metal communities formed and maintained through time? How do metal communities interact with local cultures throughout the world? How will metal communities change over the lifespan of their members? Are metal communities even possible in light of the importance placed on individualism in this musical genre? These are just some of the questions that arise when the concept of "community" is used in relation to heavy metal music. And yet in the face of all these complexities, heavy metal fans continue to think of themselves as a unified collective entity. This book addresses this notion of "metal community" via the experiences of authors and fans through theoretical reflections and empirical research. Their contributions focus on how metal communities are conceptualized, created, shaped, maintained, interact with their context, and address internal tensions. The book provides scholars, and other interested in the field of metal music studies, with a state of the art reflection on how metal communities are constituted, while also addressing their limits and future challenges.