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Abarza Baumann, M. (2011). Historia & concepto del black metal. Llinars del Vallès: Quarentena.
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Abbott, H., & Ardrey, C. (2018). ”Mon gosier de métal parle toutes les langues”: Translations and Transformations of Baudelaire in Black Metal Music. Esprit Créateur; Baltimore, 58(1), 130–143.
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Addergebroed. (2021). Addergebroed Book I: 2011 – 2021 and Beyond. Zwijndrecht, Belgium: Babylon Doom Cult Records.
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Addergebroed. (2024). Addergebroed Book II: 2021 – 2024. Zwijndrecht, Belgium: Addergebroed; Consouling Sounds; Amor fati Productions.
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Aesthetic Transcendence. (2012). Trine + Kim Design Studio. In T. Howells (Ed.), Black Metal: Beyond the Darkness. Black Dog Publishing.
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Akimov, R. (2022). Dungeon Synth: The Rebirth of the Legend. United Kingdom: Cult Never Dies.
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Almer, J., & Ondřej, D. (2018). “666 XXX”: Sexploitation in Czech and Slovak Black Metal and Porno-Gore Grind. Časopis za kritiko znanosti, domišljijo in novo antropologijo (Journal for the Critique of Science, Imagination, and New Anthropology), XLVI(274), 199–214.
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Apergis, C. (2019). Screaming Ancient Greek Hymns: The Case of Kawir and the Greek Black Metal Scene. In K. F. B. Fletcher, & O. Umurhan (Eds.), Classical Antiquity in Heavy Metal Music (pp. 77–96). London, New York, Oxford, New Dehli & Sydney: Bloomsbury Academic.
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Azevedo, C. (2009). É para ser escuro! – codificações do Black Metal como gênero audiovisual. Ph.D. thesis, Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro.
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Barron, L. (2024). Anti-sacred fashion: The use of profane performative costumes in the black metal music and performances of Nergal and Behemoth. Fashion, Style & Popular Culture, Online first.
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