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(2002). Rockdetector: A-Z of thrash metal. London: Cherry Red.
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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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Bellemare, L. (2016). Relocating Violence in Thrash Metal Lyrics: The Tori Amos Cover of Slayer’s Raining Blood. In F. Heesch, & N. Scott (Eds.), Heavy Metal, Gender and Sexuality: Interdisciplinary Approaches (pp. 193–208). New York & London: Routledge.
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Brown, C. M. (1995). Musical responses to oppression and alienation: Blues, spirituals, secular thrash, and Christian thrash metal music. International Journal of Politics, Culture, and Society, 8(3), 439–452.
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Cundle, T. (2022). Mass Movement: The Digital Years, Vol. Two. East Sussex, UK: Earth Island Books.
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Dome, M. (1990). Thrash metal. London: Omnibus.
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Dome, M. (1991). Thrash Metal. Valencia: Ed. la Máscara.
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Kosek, J. (2022). “Acidofilia”: The Work of the Acid Drinkers in the Discursive Landscape of Metal Music Culture. Annales Universitatis Paedagogicae Cracoviensis: Studia de Cultura, 30, 39–52.
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Lew, B., Oimonen, H., Quintana, R., Holt, G., Skolnick, A., & Flynn, R. (2011). Murder in the front row: shots from the Bay Area thrash metal epicenter. Brooklyn: Bazillion Points.
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Sánchez Mondaca, M. (2007). Thrash metal: del sonido al contenido. Origen y gestación de una contracultura. Ph.D. thesis, Universidad de Chile, Santiago de Chile.
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