|
Chaker, S. (2014). Schwarzmetall und Todesblei: Über den Umgang mit Musik in den Black- und Death-Metal-Szenen. Berlin: Archiv.
|
|
Chaker, S. (2016). What is ‘male’ about black and death metal music? An empirical approach. In F. Heesch, & N. Scott (Eds.), Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches (pp. 147–162). New York & London: Routledge.
|
|
Díaz, N. V. (2019). Coloniality and Resistance in Latin American Metal Music: Death as Experience and Strategy. HIOL: Hispanic Issues On Line, (23), 226–251.
|
|
East, B. (2023). Death of a guitar hero: The art of metal reputation maintenance. Metal Music Studies, 9(2), 171–188.
|
|
Ekeroth, D. (2008). Swedish Death Metal. New York: Bazillion Points Books.
|
|
Erbe, M. (2016). ”This isn’t over ‘til I say it’s over!” Narratives of Male Frustration in Deathcore and Beyond. In F. Heesch, & N. Scott (Eds.), Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches (pp. 182–192). New York & London: Routledge.
|
|
Eves, N. (2024). Performing Reparative Craft: Oreet Ashery’s “Passing through Metal”. Textile. Cloth and Culture, 22(3), 571–585.
|
|
Fellezs, K. (2023). The Ultra-Violence: Death Angel and Asian American Presence/Absence in Heavy Metal. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 235–158). London: Lexington Books.
|
|
Forster, J. (2008). Commodified evil’s wayward children: black metal and death metal as purveyors of an alternative form of modern escapism. Saarbrücken: VDM Verlag Dr. Müller.
|
|
Frandsen, D. (2011). Two Steps past Insanity: The Expression of Aggression in Death Metal Music. In C. A. McKinnon, N. Scott, & K. Sollee (Eds.), Can I play with madness? Metal, dissonance, madness and alienation (pp. 35–40). Oxford: Inter-Disciplinary Press.
|