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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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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, R. G. H. (2008). German symbolism in rock music: national signification in the imagery and songs of Rammstein. Popular Music; Cambridge, 27(3), 457–472.
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Coggins, O. (2019). Dirty, soothing, secret magic: individualism and spirituality in New Age and extreme metal music cultures. Popular Music; Cambridge, 38(1).
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Hoad, C. (2018). ’He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost. Popular Music; Cambridge, 37(2), 175–192.
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Kieran, J., & Walsh, R. (2019). Religion and heavy metal music in Indonesia. Popular Music; Cambridge, 38(2), 276–297.
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Lucas, O. R. (2019). ‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist. Popular Music; Cambridge, 38(3), 481–497.
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Thomas, N., & King, A. (2019). Production perspectives of heavy metal record producers. Popular Music; Cambridge, 38(3), 498–517.
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Walser, R. (1992). Eruptions: Heavy metal appropriations of classical virtuosity. Popular Music; Cambridge, 11(3), 263.
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