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Faulkner, F. (2009). Get your kicks on Route 666, or Why the Devil Has All the Best Tunes: Trekking Through the Darker Side of Heavy Metal Music. In C. Balmain, & L. Drawmer (Eds.), Something Wicked This Way Comes: Essays on Evil and Human Wickedness.. Amsterdam: Rodopi.
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Pack, C. (2017). Invocando a las Tinieblas – Hitler, Heavy Metal and Contemporary Death Sqauds in El Salvador.pdf. Baltimore.
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Trummer, M. (2011). Zerstörer, Trickster, Aufklärer. Die Traditionsfigur Teufel im Heavy Metal zwischen Action, Distinktion und neuer Spiritualität. In R. F. Sascha, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 431–443). Münster: Lit.
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Wisotzki, K., & Falke, S. R. (Eds.). (2012). Böse Macht Musik: zur Ästhetik des Bösen in der Musik. Bielefeld: Transcript.
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Wallin, J. (2012). On the Plains of Gorgoroth: Black Metal, Youth Culture, and the Psychoanalytic Question of Evil. Cultural Formations, 1, n.-p.
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Hein, F. (2006). Rock et religion. Dieu(x) et la musique du Diable. Boulougne.Billancourt: Autour du LIvre.
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Scott, N. (2007). God Hates Us All: Kant, Radical Evil and the Diabolical Monstrous Human in Heavy Metal. In N. W. R. Scott (Ed.), Monsters and the Monstrous. Myths and Metaphors of Enduring Evil (pp. 201–212). New York: Rodopi.
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Ostrowski, F. - J. (2019). Vom Teufel zum Satanismus: der Wandel der Teufelsbilder im musikalischen Genre Heavy Metal, 1980-2000. Ph.D. thesis, Universität Wien, Vienna.
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Thomson, A. (2021). Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject. Metal Music Studies, 7(1), 43–60.
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Reis Alecrim, T. (2021). The Day of Doom Has Come: A representação do mal, a indústria cultural e a cultura da participação na produção do Sepultura (1984-1987). Master's thesis, Universidade de São Paulo, São Paulo.
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