| Author |
Title |
Year |
Publication |
Volume |
Pages |
| Hay, Alexander |
‘Cruelty Brought Thee Orchids’ (and irony) – The covert social satire of Cradle of Filth |
2016 |
Metal Music Studies |
2 |
125-134 |
| Hoffin, Kevin |
Decay as a black metal symbol |
2018 |
Metal Music Studies |
4 |
81-94 |
| Kahn-Harris, Keith |
‘Yours Is The Earth And Everything That’S In It’: Myths And Narratives Of Britishness In The Construction And Consumption Of Iron Maiden |
2015 |
Modern Heavy Metal: Markets, Practices and Cultures |
|
103-112 |
| Karjalainen, Toni-Matti |
Ride between Hell and Paradise: Imaginaerum as Mental Anchoring Place for the Global Nightwish Fan Community |
2016 |
Heavy Metal Music and the Communal Experience |
|
59-78 |
| Karjalainen, Toni-Matti |
Tales from the North and Beyond: Sounds of Origin as Narrative Discourses |
2018 |
Sounds of origin in heavy metal music |
|
1-40 |
| Kärki, Kimi |
”Let’s Fucking Die!”: Metallimusiikki, Pahuus Ja Kuoleman Kuvastot |
2006 |
Peili |
1 |
16-19 |
| Lesouooijenrd, Erik van |
Giving life harmoniously: animal inversion in Cattle Decapitation |
2015 |
Helvete: A Journal of Black Metal Theory |
2 |
73-93 |
| Mackenzie, James Alexander |
Tech noir: Aesthetic connections between Burroughs’ Naked Lunch and contemporary extreme metal |
2018 |
Metal Music Studies |
4 |
25-40 |
| Mendelyte, Atene |
The Still, Sad Music of Humanity in Doom Metals Romanticizing Machine |
2017 |
Criticism |
59 |
469-489 |
| Norman, Joseph |
‘[…] tentacular invisible mother divine!’: (The) Weird (in) Metal as convergence of sonic extremities and literary margins |
2019 |
Metal Music Studies |
5 |
225-242 |
