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Hutcherson, B., & Haenfler, R. (2010). Musical genre as a gendered process: Authenticity in extreme metal. Studies in Symbolic Interaction, 35, 101–121.
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Seixas, L. C. (2018). Metal Extremo: Est??Tica ‌pesada” No Black Metal. Ph.D. thesis, Universidade Federal de Juiz de Fora, Juiz de Fora.
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Walzer, N. (2007). Anthropologie Du Metal Extreme. Rosieres en Haye: Camion Blanc.
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Harbert, B. J. (2013). Noise and its formless shadows: Egypt’s extreme metal as avant-garde. Nafas Dawsha. In T. Burkhalter, K. Dickinson, & B. J. Harbert (Eds.), The Arab Avant-Garde: Music, Politics, Modernity (pp. 229–272). Middletown: Wesleyan University Press.
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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. (2001). Transgression and mundanity: the global extreme metal music scene. Ph.D. thesis, Goldsmiths College, London.
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Dairianathan, E. I. (2009). Vedic metal and the South Indian community in Singapore: problems and prospects of identity. Inter-Asia Cultural Studies, 10(4), 585–608.
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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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Dairianathan, E. (2013). Vedic metal and e-mediated space: a perspective from Singapore. Asian Journal of Communication, 23(4), 348–367.
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