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Hoad, C., & Whiting, S. (2017). True Kvlt? The Cultural Capital of “Nordicness” in Extreme Metal. M/C Journal, 20(6), n..p.
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Zaddach, W. - G. (2014). »30 Jahre Ride The Lightning: So klingt unsere Tribute-CD«: Zur diskursiven Praxis des Erinnerns in der Kulturwelt Heavy und Extreme Metal. Lied und Populäre Kultur; Münster, 59, 227–241,293.
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Morris, M. (2015). Extreme Heavy Metal Music and Critical Theory. The Germanic Review, 90(4).
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Sellheim, N. P., & nueva, E. a. sitio externo E. enlace se abrirá en una ventana. (2018). ‘The rage of the Northmen’: Extreme metal and North-motivated violence. The Polar Record, 54(5-6), 339–348.
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Coggins, O. (2019). Dirty, soothing, secret magic: individualism and spirituality in New Age and extreme metal music cultures. Popular Music; Cambridge, 38(1).
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Ollivier, R., Goupil, L., Liuni, M., & Aucouturier, J. - J. (2019). Enjoy The Violence: Is Appreciation for Extreme Music the Result of Cognitive Control Over the Threat Response System? Music Perception; Berkeley, 37(2).
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Castaños, M. P. (2019). Hidden Rituals, Secret Powers And Everlasting Horrors: The Presence Of Lovecraftian Imaginary in Spanish Recent Extreme Metal / Ritos arcanos, poderes ocultos y horrores intemporales: la presencia del imaginario lovecraftiano en el metal extremo español reciente. Brumal : Revista de Investigación sobre lo Fantástico = Research Journal on the Fantastic; Bellaterra, 7(1), 81–105.
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Kahn-Harris, K. (2000). ‘Roots’? the relationship between the global and the local within the Extreme Metal scene. Popular Music, 19(1), 13–30.
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Riches, G. (2011). Embracing the Chaos: Mosh Pits, Extreme Metal Music and Liminality. Journal for Cultural Research, 15(3), 315–332.
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Kahn-Harris, K. (2009). Nem látványos szubkultúra? Határátlépés és hétköznapiság a globális extrém metal színtéren [Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene]. Replika, 65, 165–175.
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