| Author |
Title |
Year |
Publication |
Volume |
Pages |
| Overell, Rosemary |
‘I Think Sydney’s Pretty Shit’: Melbourne Grindcore Fans and their Others |
2019 |
Australian Metal Music |
|
71-90 |
| Glitsos, Laura |
Frontierswomen and the Perth Scene: Female Metal Musicians on the ‘Western Front’ and the Construction of the Gothic Sublime |
2019 |
Australian Metal Music |
|
91-110 |
| Yalcinkaya, Can; Ahmed, Safdar |
Creeping Sharia: An Extreme Response to Islamophobia |
2019 |
Australian Metal Music |
|
111-128 |
| Collinson, Ian |
‘This is the Funeral of the Earth’: The ‘Dead-end’ Environmental Discourses of Australian Ecometal |
2019 |
Australian Metal Music |
|
129-144 |
| Spracklen, Karl |
Afterword. Being Metal, Being Australian? Reflections and an Afterword |
2019 |
Australian Metal Music |
|
145-148 |
| Bolay, Jordan |
‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost |
2019 |
Metal Music Studies |
5 |
5-20 |
| Steinken, Woodrow |
Norwegian black metal, transgression and sonic abjection |
2019 |
Metal Music Studies |
5 |
21-33 |
| Herbst, Jan-Peter |
Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology and the future of metal music from producers’ perspectives |
2019 |
Metal Music Studies |
5 |
53-69 |
| Copilaș, Emanuel |
Negative determinations of intellect: A Hegelian critique of Slayer’s phenomenology |
2019 |
Metal Music Studies |
5 |
71-87 |
| Zenerian, Eleftherios |
Vinyl records, metal fandom and fan labour: Productions and exchanges at the intersection of the cultural and financial economies |
2019 |
Metal Music Studies |
5 |
89-106 |
