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Dairianathan, E. (2012). The Burden of Song: Vedic Metal in Singapore. Journal of Creative Communications, 7(3), 243–260.
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Dairianathan, E. (2013). Vedic metal and e-mediated space: a perspective from Singapore. Asian Journal of Communication, 23(4), 348–367.
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Dairianathan, E. I. (2009). Vedic metal and the South Indian community in Singapore: problems and prospects of identity. Inter-Asia Cultural Studies, 10(4), 585–608.
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Dawes, L. (2022). “Freedom Ain’t Free:” Race and Representation(s) in Extreme Heavy Metal. Ph.D. thesis, Columbia University, New York.
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Domergue, B. (2004). La musique extrême: un écho surgi des abîmes : culture barock et gothic flamboyant. Paris: Guibert.
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dos Passos, C. (2022). O metal extremo e a questão dos gêneros: a zona cinza e o princípio de contaminação. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 111–134). São Paulo: Pimenta Cultural.
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Fejes, J. (2017). Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music. Acta Universitatis Sapientiae, Communicatio, 4, 37–60.
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Fejes, J. (2018). The Reception of Biblical and Mythological Patterns in the Lyrics of Extreme Metal Music. Ph.D. thesis, Pázmány Péter Katolikus Egyetem, Budapest.
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Ferris, Á., & Fontanet, N. (2007). Pasaporte al infierno: un viaje sin retorno a la naturaleza de la bestia. Llinars del Vallès (Barcelona): Quarentena.
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Franco, E. (2022). Projeto musical Ciberpajé: processos criativos de 3 EP’s pandêmicos. In C. Bahy, C. dos Passos, L. M. G. Khalia, & R. Barchi (Eds.), Música Extrema: ruídos, imagens e sentidos (pp. 135–155). São Paulo: Pimenta Cultural.
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