| Author |
Title |
Year |
Publication |
Volume  |
Pages |
| Granados Sevilla, Alan Edmundo |
Public revolutionaries, private conservatives: rock performances of leftist political thought |
2025 |
Popular Music |
44 |
1-16 |
| Glitsos, Laura |
“Sticky Business”: An Examination of Female Musicians in the Context of Perth’s Metal Community |
2020 |
Popular Music and Society |
43 |
93-113 |
| Lucas, Olivia R. |
“Kaitiakitanga, Whai Wāhi” and Alien Weaponry: indigenous frameworks for understanding language, identity and international success in the case of a Māori metal band |
2021 |
Popular Music |
40 |
263-280 |
| Bujalka, Eva |
KVLTER than thou: ‘True (Norwegian) black metal’ and the satanic politics of Bataillean ‘authenticity’ |
2019 |
Popular Music; Cambridge |
38 |
518-537 |
| Lucas, Olivia R. |
‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist |
2019 |
Popular Music; Cambridge |
38 |
481-497 |
| Thomas, Niall; King, Andrew |
Production perspectives of heavy metal record producers |
2019 |
Popular Music; Cambridge |
38 |
498-517 |
| Kieran, James; Walsh, Rex |
Religion and heavy metal music in Indonesia |
2019 |
Popular Music; Cambridge |
38 |
276-297 |
| Coggins, Owen |
Dirty, soothing, secret magic: individualism and spirituality in New Age and extreme metal music cultures |
2019 |
Popular Music; Cambridge |
38 |
|
| Spracklen, Karl; Lucas, Caroline; Deeks, Mark |
The Construction of Heavy Metal Identity through Heritage Narratives: A Case Study of Extreme Metal Bands in the North of England |
2014 |
Popular Music and Society |
37 |
48-64 |
| Hoad, Catherine |
’He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost |
2018 |
Popular Music; Cambridge |
37 |
175-192 |
