|
Skelchy, R. P. (2019). Worshippers of the sugarcane fields: Agrarian politics, symbolic inversion and black metal in Indonesia. Metal Music Studies, 5(2), 163–186.
|
|
Gibson, D. L. (2019). Postmodernism in Lou Reed and Metallica’s collaborative album ”Lulu” : The subjective perception of ”highbrow” and ”lowbrow”. Metal Music Studies, 5(2), 187–200.
|
|
Herbst, J. - P. (2019). The formation of the West German power metal scene and the question of a ‘Teutonic’ sound. Metal Music Studies, 5(2), 201–223.
|
|
Norman, J. (2019). ‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins. Metal Music Studies, 5(2), 225–242.
|
|
Unger, M. P. (2019). Ode to a dying God: Debasement of Christian symbols in extreme metal. Metal Music Studies, 5(2), 243–262.
|
|
Jocson-Singh, J. (2019). Vigilante feminism as a form of musical protest in extreme metal music. Metal Music Studies, 5(2), 263–273.
|
|
Kennedy, L. F., & Yavuz, M. S. (2019). Metal and Musicology. Metal Music Studies, 5(3), 293–296.
|
|
Mynett, M. (2019). Defining contemporary metal music: Performance, sounds and practices. Metal Music Studies, 5(3), 297–313.
|
|
Ribaldini, P. (2019). Terminology issues with the poïetic aspect of vocals in heavy metal studies: A suggestion for a multidisciplinary approach. Metal Music Studies, 5(3), 315–335.
|
|
Gamble, S. (2019). Breaking down the breakdown in twenty-first-century metal. Metal Music Studies, 5(3), 337–354.
|
