| |
Author  |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
Benefield, Adam J. |
Working with Metal: The Stylistic Characteristics of the Swedish Band Meshuggah and an Original Composition Inspired by Their Work |
2020 |
|
|
|
|
|
|
Glasper, Ian |
Terrorized: The Collected Interviews, Volume Two |
|
|
|
|
|
|
|
Hannan, Calder |
Difficulty as heaviness: Links between rhythmic difficulty and perceived heaviness in the music of Meshuggah and The Dillinger Escape Plan |
2018 |
Metal Music Studies |
4 |
433-458 |
|
|
|
Lucas, Olivia R. |
“So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen |
2018 |
Music Theory Online |
24 |
|
|
|
|
Merlini, Mattia |
A second of structured chaos: Kosmos/chaos dialectic in Meshuggah’s “Catch 33” |
2023 |
Metal Music Studies |
9 |
311-329 |
|
|
|
Pieslak, Jonathan |
Re-casting Metal: Rhythm and Meter in the Music of Meshuggah |
2007 |
Music Theory Spectrum; Oxford |
29 |
219-223,225 |
|
|
|
Smialek, Eric |
Rethinking metal aesthetics: complexity, authenticity, and audience in Meshuggah’s ”I” and ”Catch Thirtythr33.” |
2009 |
|
|
|
|
