| |
Author |
Title |
Year |
Publication |
Volume |
Pages  |
Links |
|
|
Udarchik, Anastasia |
‘If you got a tape on, you’re committed’: The revival of cassette tapes in Toronto’s New Wave of Traditional Heavy Metal scene |
2018 |
Metal Music Studies |
4 |
41-59 |
|
|
|
DiGioia, Amanda; Naylor Davis, Charlotte |
Cursed is the Fruit of thy Womb: Inversion/Subversion and the Inscribing of Morality on Women’s Bodies in Heavy Metal |
2018 |
Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization |
|
27-42 |
|
|
|
Mackenzie, James Alexander |
Tech noir: Aesthetic connections between Burroughs’ Naked Lunch and contemporary extreme metal |
2018 |
Metal Music Studies |
4 |
25-40 |
|
|
|
Calvo, Manuela Belén |
Las escenas de la música metal: discusión teórica a partir del caso de la provincia de Buenos Aires |
2018 |
Question |
1 |
22 |
|
|
|
Hillier, Benjamin |
The aesthetic-sonic shift of melodic death metal |
2018 |
Metal Music Studies |
4 |
5-23 |
|
|
|
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 |
|
|
|
Andrew Klein |
Blood, Frets and Tears |
2018 |
|
|
1'15" |
|
|
|
Heesch, Florian |
Voice of anarchy: Gender aspects of aggressive metal vocals. The examples of Angela Gossow (Arch Enemy) |
2018 |
Criminocorpus: Revue hypermedian d'Histoire de la justice, des crimes et des peines |
11 |
1-18 |
|
|
|
Hazle, Dawn |
Delusions of grandeur? Aria and the development of Soviet metal music |
2018 |
|
|
|
|
|
|
McParland, Robert |
Myth and Magic in Heavy Metal Music |
2018 |
|
|
|
|
