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Suran, T. (2021). Beyond the Expression of Nihilism in Black Metal. Studia Polensia, 10(1), 141–148.
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Strickland, G. (2017). Get Patient. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 140–147). St. Louis: Void Front Press.
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Stricker, J. A. (2018). Ascending the Improbable Heights: An Examination of High-Pitched Male Heroism in Opera and Heavy Metal. Master's thesis, University of Miami, Coral Gables.
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States, D. (2024). The Bone Ballet: An Examination in the Intersectionality of Metal, Ballet, and Disability. In J. H. Shadrack, & K. Kahn-Harris (Eds.), Heavy Metal and Disability. Crips, Crowds, and Cacophonies (pp. 126–139). Bristol: Intellect.
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Stašová, G., Vrzal, M., & Nenadalová, J. (2022). A Man Behind Everything? Motivational Sources of Metal Listening Among Female Audiences. Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura, 14(3). Retrieved June 9, 2024, from http://dx.doi.org/DOI 10.24917/20837275.14.3.8
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St. Laurent, M. - R. (2021). “Métal noir épique patriotique”: Analysis of historical, sociological and cultural discourses uniting metal noir québécois and Québec society. In B. A. Bardine, & J. Stueart (Eds.), Living Metal: Metal Scenes around the World. Bristol: Intellect Books.
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Squires, V. J. (2024). Stimming in the Pit: How Autistic Heavy Metal Fans Have Remained Unseen. In J. H. Shadrack, & K. Kahn-Harris (Eds.), Heavy Metal and Disability. Crips, Crowds, and Cacophonies (pp. 113–125). Bristol: Intellect.
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Špoljarić, B. (2021). The Goat-God Motif in Heavy Metal Music: The Relevance and Meaning of the God Pan in the Black Metal Project – Arckanum. Studia Polensia, 10(1), 87–114.
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Spanu, M. (2019). ‪De Trust ? Gojira, une brève histoire du metal français au prisme des langues hurlées‪. Volume! La revue des musiques populaires, 15:2(1), 37–55.
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Souza, R. M. de Q. (2022). A performance dialógica da música extrema. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 298–313). São Paulo: Pimenta Cultural.
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