| Author |
Title |
Year |
Publication |
Volume |
Pages  |
| 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 |
| Phillipov, Michelle; Olson, Benjamin Hedge |
Extreme music for extreme people? Norwegian black metal and transcendent violence |
2013 |
Heavy metal: controversies and countercultures |
|
152-165 |
| Rodríguez-Hernández, Saúl Mauricio |
”In the Name of Satan”: Violence, Extreme Metal and Young People in Colombia in the ’80s and ’90s |
2015 |
Music at the Extremes: Essays on Sounds Outside the Mainstream |
|
143-156 |
| Overell, Rosemary |
Voicing the Real in Extreme Metal |
2021 |
Continental Thought & Theory |
3 |
136-163 |
| Kloeppel, Mark |
Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities |
|
|
|
136 |
| Franco, Edgar |
Projeto musical Ciberpajé: processos criativos de 3 EP’s pandêmicos |
2022 |
Música Extrema: ruídos, imagens e sentidos |
|
135-155 |
| Kahn-Harris, Keith |
“Roots”? the relationship between the global and the local within the Extreme Metal scene |
2006 |
The popular music studies reader |
|
128-134 |
| Nordström, Susanna |
Contextualizing Extreme-Metal Music: The Case of the Swedish Metal Nursery |
2016 |
Made in Sweden: Studies in Popular Music |
|
121-130 |
| González Hernández, José Omar |
Appropriating the extreme: Interculturality and the decolonization of the image in extreme metal in México and Colombia |
2021 |
Metal Music Studies |
7 |
119-128 |
| dos Passos, Cristiano |
O metal extremo e a questão dos gêneros: a zona cinza e o princípio de contaminação |
2022 |
Música Extrema: ruídos, imagens e sentidos |
|
111-134 |
