|
Spracklen, K. (2019). Afterword. Being Metal, Being Australian? Reflections and an Afterword. In C. Hoad (Ed.), Australian Metal Music (pp. 145–148). London: Emerald.
|
|
Bolay, J. (2019). ‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost. Metal Music Studies, 5(1), 5–20.
|
|
Steinken, W. (2019). Norwegian black metal, transgression and sonic abjection. Metal Music Studies, 5(1), 21–33.
|
|
Herbst, J. - P. (2019). Old sounds with new technologies? Examining the creative potential of guitar ‘profiling’ technology and the future of metal music from producers’ perspectives. Metal Music Studies, 5(1), 53–69.
|
|
Copilaș, E. (2019). Negative determinations of intellect: A Hegelian critique of Slayer’s phenomenology. Metal Music Studies, 5(1), 71–87.
|
|
Zenerian, E. (2019). Vinyl records, metal fandom and fan labour: Productions and exchanges at the intersection of the cultural and financial economies. Metal Music Studies, 5(1), 89–106.
|
|
Epp, A. (2019). The mosh pit – An area for excess or a place of learning? Metal Music Studies, 5(1), 107–114.
|
|
Mussies, M. (2019). A mermaid’s song in distortion: The recreation of ancient myth by a medieval metal band. Metal Music Studies, 5(1), 115–125.
|
|
Eischeid, S. A., Kneer, J., & Englich, B. (2019). Peace of mind: The impact of metal gestures on stress and power. Metal Music Studies, 5(2), 137–150.
|
|
Hoffin, K. (2019). ”Sans compassion nor will to answer whoever asketh the why”: Personal sovereignty within black metal. Metal Music Studies, 5(2), 151–162.
|
