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Grant, S. (2017). Resistants, stimulants and weaponization: Extreme metal music and empowerment in the Iraqi and Syrian civil conflicts. Metal Music Studies, 3(2), 175–200.
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Netherton, J. (2017). The entrepreneurial imperative: Recording artists in extreme metal music proto-markets. Metal Music Studies, 3(3), 369–386.
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Mackenzie, J. A. (2018). Tech noir: Aesthetic connections between Burroughs’ Naked Lunch and contemporary extreme metal. Metal Music Studies, 4(1), 25–40.
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Spracklen, K. (2018). Throat singing as extreme Other: An exploration of Mongolian and Central Asian style in extreme metal. Metal Music Studies, 4(1), 61–80.
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Kirner-Ludwig, M., & Wohlfarth, F. (2018). METALinguistics: Face-threatening taboos, conceptual offensiveness and discursive transgression in extreme metal. Metal Music Studies, 4(3), 403–432.
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Norman, J. (2019). ‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins. Metal Music Studies, 5(2), 225–242.
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Unger, M. P. (2019). Ode to a dying God: Debasement of Christian symbols in extreme metal. Metal Music Studies, 5(2), 243–262.
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Jocson-Singh, J. (2019). Vigilante feminism as a form of musical protest in extreme metal music. Metal Music Studies, 5(2), 263–273.
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Spracklen, K. (2020). From ”The Wicker Man” (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism. Metal Music Studies, 6(1), 71–86.
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Radovanović, B. (2016). Ideologies and Discourses: Extreme Narratives in Extreme Metal Music. AM Journal of Art and Media Studies, 10, 51–58.
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