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Kneer, J., & Rieger, D. (2015). “The Memory Remains”: How Heavy Metal Fans Buffer Against the Fear of Death. Psychology of Popular Media Culture, 5(3), 1–15.
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Gracyk, T. (2016). Heavy Metal: Genre? Style? Subculture? Philosophy Compass, 11, 775–785.
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Angeler, D. (2017). Heavy Metal Music Meets Complexity and Sustainability Science. SpringerPlus, 5, 1–20.
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Rivero-Vadillo, A. (2022). Greening Black Metal: The EcoGothic Aesthethics of Botanist’s Lyrics. Ecozon@, 13(1), 106–124.
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Rapatskaya, Y. O. (2022). “ТРАДИЦИОННАЯ РУССКАЯ ДРАМА”: ПРАКТИКИ САМОРЕПРЕЗЕНТАЦИИ РОССИЙСКИХ ЭКСТРИМ-МЕТАЛ ГРУПП НА ПРИМЕРЕ SECOND TO SUN И L'HOMME ABSURDE [“Traditional Russian Drama”: Practices of self-representation of Russian extreme metal bands on the example of Second to Sun and L'Homme Absurde]. Артикульт [Articult], 2(46), 44–66.
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Juárez, T. Mexican Underground Metal 1984-1996. Schattenmann Publishings.
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Cano Barrón, J. L., & Dulude, D. (2002). Banzai Records: The Power Of The Canadian Steel Blade. UnderFire Ediciones.
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Pichler, P. (2022). “Breaking the Law...?” On the Role of Law and Legal References in the Cul- tural History of the Heavy Metal Scene in Styria since 1980. Austrian Law Journal, 2, 159–179.
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Hill, R. L. (2022). When Love and Critique Collide. Methodology, Ontology, Fandom and Standpoint in Metal Music. Samples. Open Access Journal for Popular Music Studies, 20, 197–210.
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Barratt-Peacock, R. (2022). Heavy metal made for children? Interrogating the adult/child divide in Heavysaurus’s heavy metal humour. Metal Music Studies, 8(3), 293–308.
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