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Vunić, K. (2021). Milton Goes (Progressive-Power) Metal: Symphony X and Milton’s “Paradise Lost” (Critique and Textual Analysis). Studia Polensia, 10(1), 115–139.
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Suran, T. (2021). Beyond the Expression of Nihilism in Black Metal. Studia Polensia, 10(1), 141–148.
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Miller, J. (2021). What Makes Heavy Metal “Heavy”? The Journal of Aesthetics and Art Criticism, 80(1), 70–82.
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Varas-Díaz, N., Hickam, B., González-Martínez, S., Castañeda, M., Galicia Poblet, F., Nieves Molina, A., et al. (2022). “Toda la sangre formando un río”. Contributions to the histories of metal music studies from the Spanish-speaking world. Metal Music Studies, 8(1), 47–68.
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Valijärvi, R. - L. (2022). Cultural trauma in the lyrics of the Estonian folk metal band Metsatöll. metal music studies, 8(1), 7–27.
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James, K. E., & Walsh, R. J. (2022). Masculinity and underground music scene participation across time: A case study from Indonesia. Metal Music Studies, 8(1), 29–46.
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Hurley, G. F. (2022). Funeral doom metal as the rhetoric of contemplation: A Burkean perspective. Metal Music Studies, 8(1), 69–85.
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Gibson, D. L. (2022). Mechanical and artificial “nü-horror metal”: The film music of “Resident Evil”. Metal Music Studies, 8(1), 87–108.
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Herbst, J. - P. (2022). “Keeper of the Seven Keys”: Audio heritage in metal music production. Metal Music Studies, 8(1), 109–126.
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Büttner, C. A., & Wehmeier, H. (2022). Ein Film aus dem Ruhrgebiet? Deindustrialisierungsgeschichte(n) und Körperpolitiken des Metals in “Thrash, Altenessen”. ffk Journal, 7, 15–36.
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