| Author |
Title |
Year |
Publication |
Volume |
Pages  |
| Wallach, Jeremy |
REFORMASI-ERA POPULAR MUSIC STUDIES: Reflections of an Anti-Anti-Essentialist |
2023 |
Sounding Out the State of Indonesian Music |
|
162-179 |
| Mokrý, Matouš |
The conference “Metal and Religion”, 7-8 September 2022, Brno |
2023 |
Religio |
31 |
153-156 |
| Turley, Julie; Jocson-Singh, Joan |
Heavy Music Mothers: Extreme Identities, Narrative Disruptions |
2023 |
|
|
152 |
| Rowe, Paula |
Youth Activism and Decolonial Metal: Voice of Baceprot and Alien Weaponry as Case Studies |
2023 |
Defiant Sounds. Heavy Metal Music in the Global South |
|
137-162 |
| Le Vine, Mark |
“We Play Heavy Metal because Our Lives Are Heavy Metal”: A Generation of Metal in the Middle East and North Africa |
2023 |
Defiant Sounds. Heavy Metal Music in the Global South |
|
115-136 |
| Carey, Joshua |
Pure fucking art: Self-harm and performance art in Per ‘Dead’ Ohlin’s musical legacy |
2023 |
Metal Music Studies |
9 |
101-118 |
| Thibodeau, Anthony J.; Bond, Sage |
“A Whole New Type of Isolation”: Resilience and Hope in the Navajo Nation Metal Scene during the COVID-19 Pandemic in 2020–2021 |
2023 |
Defiant Sounds. Heavy Metal Music in the Global South |
|
91-112 |
| Friconnet, Guillaume |
A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music |
2023 |
Metal Music Studies |
9 |
77-100 |
| Kjellander Hellqvist, Eva |
”Girls just wanna be fans” – om kvinnligt fanskap [“Girls just wanna be fans” – about female fandom] |
2023 |
HumaNetten |
50 |
76-91 |
| Goossens, Didier |
Reclaiming Aotearoa: Stories of Experimentation, Education, and Reflection in Aotearoa Indigenous Metal Music |
2023 |
Defiant Sounds. Heavy Metal Music in the Global South |
|
67-90 |
