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Eckerström, P. (2023). The Influence of Different Satanic Panics on the Transgressive Practices of Metal Music in Egypt, Iran, and Syria. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South. London: Lexington Books.
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Epstein, J. S., & Pratto, D. J. (1990). Heavy metal rock music juvenile delinquency and satanic identification. Popular Music and Society, 14(4), 67–76.
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Faulkner, F. (2009). Get your kicks on Route 666, or Why the Devil Has All the Best Tunes: Trekking Through the Darker Side of Heavy Metal Music. In C. Balmain, & L. Drawmer (Eds.), Something Wicked This Way Comes: Essays on Evil and Human Wickedness.. Amsterdam: Rodopi.
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Ferris, Á., & Fontanet, N. (2005). Satán 666 y las huestes del Black Metal. Llinars del Vallès: Quarentena Ediciones.
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Forsberg, K. (2010). Satanisk symbolbruk i norsk Black metal-kultur. Ph.D. thesis, Universitetet i Tromsø, Våren.
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Fridh, S. (2011). Lord Satan’s Secret Rites and Satanism as Self-Therapy: The Creation of a Masculinity Gender Identity within Black Metal. In C. A. McKinnon, N. Scott, & K. Sollee (Eds.), Can I play with madness? Metal, dissonance, madness and alienation (pp. 177–184). Oxford: Inter-Disciplinary Press.
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Fromm, R. (2011). Genese der Black Metal-Subkultur und des Neosatanismus in der Rockmusik. BPJM-Aktuell, 4, 6–12.
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Gardenour Walter, B. S. (2015). Black Metal, Forked Tongue: Satanism, Paganism, and the Persistence of the Medieval. In S. A. Wilson (Ed.), Music at the Extremes: Essays on Sounds Outside the Mainstream (pp. 115–128). Jefferson: McFarland.
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Gardenour Walter, B. S. (2015). Through the Looking Glass Darkly: Medievalism, Satanism, and the Dark Illumination of the Self in the Aesthetics of Black Metal. Helvete: A Journal of Black Metal Theory, 2, 13–27.
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Hein, F. (2006). Rock et religion. Dieu(x) et la musique du Diable. Boulougne.Billancourt: Autour du LIvre.
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