| Author |
Title |
Year |
Publication |
Volume |
Pages |
| Grant, Sam |
Resistants, stimulants and weaponization: Extreme metal music and empowerment in the Iraqi and Syrian civil conflicts |
2017 |
Metal Music Studies |
3 |
175-200 |
| Netherton, Jason |
The entrepreneurial imperative: Recording artists in extreme metal music proto-markets |
2017 |
Metal Music Studies |
3 |
369-386 |
| Mackenzie, James Alexander |
Tech noir: Aesthetic connections between Burroughs’ Naked Lunch and contemporary extreme metal |
2018 |
Metal Music Studies |
4 |
25-40 |
| Spracklen, Karl |
Throat singing as extreme Other: An exploration of Mongolian and Central Asian style in extreme metal |
2018 |
Metal Music Studies |
4 |
61-80 |
| Kirner-Ludwig, Monika; Wohlfarth, Florian |
METALinguistics: Face-threatening taboos, conceptual offensiveness and discursive transgression in extreme metal |
2018 |
Metal Music Studies |
4 |
403-432 |
| Norman, Joseph |
‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins |
2019 |
Metal Music Studies |
5 |
225-242 |
| Unger, Matthew P. |
Ode to a dying God: Debasement of Christian symbols in extreme metal |
2019 |
Metal Music Studies |
5 |
243-262 |
| Jocson-Singh, Joan |
Vigilante feminism as a form of musical protest in extreme metal music |
2019 |
Metal Music Studies |
5 |
263-273 |
| Spracklen, Karl |
From ”The Wicker Man” (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism |
2020 |
Metal Music Studies |
6 |
71-86 |
| Rubio, Salva |
Metal viejo: «lentamente nos pudrimos», o metal extremo y senectud |
2019 |
Heavy y metal, a través del cristal. Nuevas perspectivas culturales |
|
155-182 |
