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Nenadalová, J., & Menšíková, T. (2022). “Metal Studies in Central/Eastern Europe: 1st (online) Workshop” on Extreme Music and its Academic Studies. Religio: Revue pro religionistiku, 30(1), 77–80.
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Neplokh, V. (2022). Metal som filmmusik i actionkomedi [Metal as Film Music in Action Comedy]. Master's thesis, Högskolan Dalarna, Falun.
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Skeech, M. (2022). The Biology of Heavy Metal. Evolutionary Links Between Science and Culture. Doctoral thesis, University of Salford, Salford.
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Forshaw, J. (2011). Metal in Three Modes of Enmity: Political, Musical, Cosmic. Current Musicology, 91, 139–160.
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Koplow Villavicencio, J. (2022). Aproximación a la relación entre la escena metalera chilena y los pueblos originarios Mapuche, Selk’nam y Kawésqar. Contrapulso – Revista Latinoamericana De Estudios En Música Popular, 4(2), 78–93.
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Eckerström, P. (2022). Extreme heavy metal and blasphemy in Iran: the case of Confess. Cont Islam, . Retrieved August 5, 2024, from http://dx.doi.org/https://doi.org/10.1007/s11562-022-00493-7
Abstract: Since the revolution in 1979, the Islamic Republic of Iran has imprisoned musicians, especially punk, hip-hop, and hard rock bands, as well as those playing heavy metal subgenres. Extreme heavy metal artists and fans emerged in the 1990s. The government soon targeted them as Satanists and began a systematic crackdown on metalheads. The metalcore band Confess is the most well-known case. The band was arrested in 2015 on counts of blasphemy, disturbing public opinion through the production of music, participating in interviews with the opposition media and propaganda against the Islamic Republic of Iran, among other charges. The majority of secular countries today do not consider extreme heavy metal to be transgressive. This is not the case in contexts where religious traditions have a significant influence on society. By analysing the narrative of the band Confess, the purpose of this paper is to provide an understanding of how Iranian extreme metal musicians resist religious oppression, challenge their government, religious precepts, and social values through their music.
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Herbst, J. - P., & Mynett, M. (2022). What Is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers. Popular Music and Society, t.b.c., t.b.c.
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Herbst, J. - P., & Mynett, M. (2022). Toward a Systematic Understanding of “Heaviness” in Metal Music Production. Rock Music Studies, t.b.c..
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Tzu-Han Cheng, & Chen-Gia Tsai. (2016). emale Listeners’ Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs. Frontiers in Psychology, 7, art. 182.
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Tapia, R., & Mendoza, B. (2022). Hardcore punk as an effort to Indigenize the underground scene in La Paz during the neo-liberal era of resistance 1993‐2003. Metal Music Studies, 8(2), 143–161.
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