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(2018). ”Marche ou Crève”: The Band Trust and the Singular Case of the Birth of French Heavy Metal. In G. Guibert, & C. Rudent (Eds.), Made in France: studies in popular music (pp. 89–104). New York & Oxford: Routledge.
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Anderton, C., & Goodge, P. (2025). Alone in the Crowd? Live Music Audiences and Individual Experience. Popular Music, First View, 1–15.
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Avelar, I. (2001). Defeated Rallies, Mournful Anthems, and the origins of Brazilian Heavy Metal. In C. A. Perrone, & C. Dunn (Eds.), Brazilian Popular Music & Globalization (pp. 123–135). Gainesville: University of Florida Press.
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Baulch, E. (2003). Gesturing elsewhere: The identity politics of the Balinese death/thrash metal scene. Popular Music; Cambridge, 22(2), 195–215.
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Berger, H. M. (1999). Death metal tonality and the act of listening. Popular Music, 18(2), 161–178.
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Bühler, M. (2018). Kalevala Metal – Die Musik der Band Amorphis und ihr Bezug zum finnischen National-Epos [Kalevala Metal – Die Musik der Band Amorphis und ihr Bezug zum finnischen National-Epos ]. SAMPLES. Open Access Journal for Popular Music Studies, 16, s. p.
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Bujalka, E. (2019). KVLTER than thou: ‘True (Norwegian) black metal’ and the satanic politics of Bataillean ‘authenticity’. Popular Music; Cambridge, 38(3), 518–537.
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Burns, G. (1999). Marilyn Manson and the apt pupils of Littleton. Popular Music and Society, 23(3), 3–8.
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Burns, L. (2020). Unsettling Masculinity: Illness Narrative in Pain of Salvation’s “In the Passing Light of Day” (2017). In K. A. Hansen, E. Askeroi, & F. Jarman (Eds.), Popular Musicology and Identity: Essays in Honour of Stan Hawkins (196–217). Routledge.
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Burns, L. (2019). Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus. In L. Burns, & S. Hawkins (Eds.), The Bloomsbury Handbook to Popular Music Video Analysis (pp. 183–200). Bloomsbury Academic.
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