| |
Author |
Title |
Year |
Publication |
Volume |
Pages |
Links |
|
|
James, Kieran Edmond; Walsh, Rex John |
Masculinity and underground music scene participation across time: A case study from Indonesia |
2022 |
Metal Music Studies |
8 |
29-46 |
|
|
|
Hurley, Gavin F. |
Funeral doom metal as the rhetoric of contemplation: A Burkean perspective |
2022 |
Metal Music Studies |
8 |
69-85 |
|
|
|
Gibson, Dylan Lawrence |
Mechanical and artificial “nü-horror metal”: The film music of “Resident Evil” |
2022 |
Metal Music Studies |
8 |
87-108 |
|
|
|
Herbst, Jan-Peter |
“Keeper of the Seven Keys”: Audio heritage in metal music production |
2022 |
Metal Music Studies |
8 |
109-126 |
|
|
|
Büttner, Christoph A.; Wehmeier, Henrik |
Ein Film aus dem Ruhrgebiet? Deindustrialisierungsgeschichte(n) und Körperpolitiken des Metals in “Thrash, Altenessen” |
2022 |
ffk Journal |
7 |
15-36 |
|
|
|
LeVine, Mark |
We'll Play Till We Die: Journeys Across a Decade of Revolutionary Music in the Muslim World |
2022 |
|
|
|
|
|
|
Thomas, Samuel |
The Devil's Party. Metal and Literature |
2022 |
The Routledge Companion to Music and Modern Literature |
|
406-415 |
|
|
|
Hofer, Dave |
PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker |
2014 |
|
|
|
|
|
|
Lukes, Daniel; Panayotov, Stanimir (eds) |
Black Metal Rainbows |
2021 |
|
|
400 |
|
|
|
Andrew Klein |
Blood, Frets and Tears |
2018 |
|
|
1'15" |
|
