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Riches, G., Lashua, B., & Spracklen, K. (2013). Female, Mosher, Transgressor: A ’Moshography’ of Transgressive Practices within the Leeds Extreme Metal Scene. IASPM Journal, 4(1), 87–100.
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Kahn-Harris, K. (2006). “Roots”? the relationship between the global and the local within the Extreme Metal scene. In A. Bennett, B. Shank, & J. Toynbee (Eds.), The popular music studies reader (pp. 128–134). Milton Park: Routledge.
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Dairianathan, E. (2012). The Burden of Song: Vedic Metal in Singapore. Journal of Creative Communications, 7(3), 243–260.
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Dairianathan, E. (2011). Soundscapes in Vedic metal: a perspective from Singapore. Perfect Beat, 12(2), 167–189.
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McIver, J. (2000). Extreme Metal. London: Omnibus.
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Williams, D. (2020). Embodying the Auschwitz ”Sonderkommando” in extreme metal. Metal Music Studies, 6(3), 319–336.
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Thomson, A. (2020). Brutal Theory: Luciferian Brutalism and cultural critique in extreme metal music. Master's thesis, University of Alberta, Alberta.
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Ortiz Cora, L. E. (2020). La violencia del Metal Extremo: Musa de la cultura, detractor del Arte Rock. Estudios sobre las culturas contemporáneas, 26(52), 93–109.
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Chowenhill, R. (2020). Seeing the Invisible: New Approaches to the Analysis of Extreme Metal and an Original Composition, “raw[within](to self soothe)” for Electric Guitar, Bass, and Percussion. Ph.D. thesis, Brandeis University, Waltham.
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Olsem Kirk N., Powell, M., Anic, A., Vallerand, R. J., & Thompson, W. F. (2020). Fans of Violent Music: The Role of Passion in Positive and Negative Emotional Experience. Musicae Scientiae, OnlineFirst.
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