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Banchs, E. (2022). Scream for Me Africa! Heavy Metal Identities in Post-Colonial Africa. Bristol: Intellect.
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Pichler, P. (2021). „Breaking the Law…!?“ Zur Rolle von Recht und Rechtsbezug in der Kulturgeschichte der steirischen Heavy Metal-Szene seit 1980. Graz Law Working Paper, .
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Swiniartzki, M. (2021). Szene-Eliten. Selbststilisierung, soziale Praxis und postmoderne Ästhetisierung am Beispiel des norwegischen Black Metals. Archiv für Sozialgeschichte, 61, 445–472.
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Pascuchelli, M. N., & Vidal Vargas, P. (2021). Los estudios metálicos (metal studies) en Latinoamérica y Argentina: un posible estado del arte. El oído pensante, 9(2), 252–278.
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Marstal, H. (2021). Mercyful Fate's “Don't Break the Oath”. New York: Bloomsbury.
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Radovanović, B. (2021). Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies. In B. Radovanović, M. Bralović, M. Radivojević, D. L. Mihajlović, & I. Medić (Eds.), Shaping the Present through the Future. Musicology, Ethnomusicology and Contemporaneity (pp. 97–110). Belgrade: Institute of Musicology SASA.
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Swist, J. J. (2021). Headbanging to Byzantium: The Reception of the Byzantine Empire in Heavy Metal Music. In E. Künyeleri (Ed.), İstanbul’da Bu Ne Bizantinizm! / What Byzantinism is this in Istanbul! (pp. 200–229). Istanbul: İstanbul Araştırmaları Enstitüsü Yayınları.
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Pérez Pelayo, M. (2021). El mundo alegórico de Cemican: Un estudio en antropología simbólica sobre metal. Lenguas Radicales, 1(2), 7–18.
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Calvo, M. (2021). Ricardo Iorio e e metal argentino: uma genealogia dos seus nacionalismos. Tropos: Comunicação, Sociedade e Cultura, 10(2), s.p.
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Overell, R. (2021). Voicing the Real in Extreme Metal. Continental Thought & Theory, 3(3), 136–163.
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