|
|
Phillipov, M., & Olson, B. H. (2013). Extreme music for extreme people? Norwegian black metal and transcendent violence. In T. Hjelm, K. Kahn-Harris, & M. LeVine (Eds.), Heavy metal: controversies and countercultures (pp. 152–165). Bristol: Equinox.
|
|
|
|
Radovanović, B. (2016). Ideologies and Discourses: Extreme Narratives in Extreme Metal Music. AM Journal of Art and Media Studies, 10, 51–58.
|
|
|
|
Radovanović, B. (2021). Extreme Sound, “Extreme” Lifestyle? Investigating Cattle Decapitation’s Stance on the Human Impact on the Environment and Animal Rights. Studia Polensia, 10(1), 43–58.
|
|
|
|
Rapatskaya, Y. O. (2022). “ТРАДИЦИОННАЯ РУССКАЯ ДРАМА”: ПРАКТИКИ САМОРЕПРЕЗЕНТАЦИИ РОССИЙСКИХ ЭКСТРИМ-МЕТАЛ ГРУПП НА ПРИМЕРЕ SECOND TO SUN И L'HOMME ABSURDE [“Traditional Russian Drama”: Practices of self-representation of Russian extreme metal bands on the example of Second to Sun and L'Homme Absurde]. Артикульт [Articult], 2(46), 44–66.
|
|
|
|
Riches, G. (2015). Sensuous Entanglements, Assemblages And Convergences: Extreme Metal Scenes As ‘Sensory Communities’. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 265–273). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
|
|
|
|
Riches, G. (2011). Embracing the Chaos: Mosh Pits, Extreme Metal Music and Liminality. Journal for Cultural Research, 15(3), 315–332.
|
|
|
|
Riches, G., Lashua, B., & Spracklen, K. (2013). Female, Mosher, Transgressor: A ’Moshography’ of Transgressive Practices within the Leeds Extreme Metal Scene. IASPM Journal, 4(1), 87–100.
|
|
|
|
Rodríguez-Hernández, S. M. (2015). ”In the Name of Satan”: Violence, Extreme Metal and Young People in Colombia in the ’80s and ’90s. In S. A. Wilson (Ed.), Music at the Extremes: Essays on Sounds Outside the Mainstream (pp. 143–156). Jefferson: McFarland.
|
|
|
|
Rubio, S. (2011). Metal extremo: 30 años de oscuridad (1981-2011). Lleida: Milenio.
|
|
|
|
Rubio, S. (2016). Metal extremo 2: crónicas del abismo (2011-2016). Lleida: Milenio.
|
|
