Author  |
Title |
Year |
Publication |
Volume |
Pages |
|
”Marche ou Crève”: The Band Trust and the Singular Case of the Birth of French Heavy Metal |
2018 |
Made in France: studies in popular music |
|
89-104 |
| Avelar, Idelber |
Defeated Rallies, Mournful Anthems, and the origins of Brazilian Heavy Metal |
2001 |
Brazilian Popular Music & Globalization |
|
123-135 |
| Baulch, Emma |
Gesturing elsewhere: The identity politics of the Balinese death/thrash metal scene |
2003 |
Popular Music; Cambridge |
22 |
195-215 |
| Berger, Harris M. |
Death metal tonality and the act of listening |
1999 |
Popular Music |
18 |
161-178 |
| Bujalka, Eva |
KVLTER than thou: ‘True (Norwegian) black metal’ and the satanic politics of Bataillean ‘authenticity’ |
2019 |
Popular Music; Cambridge |
38 |
518-537 |
| Burns, Gary |
Marilyn Manson and the apt pupils of Littleton |
1999 |
Popular Music and Society |
23 |
3-8 |
| Burns, Lori |
Unsettling Masculinity: Illness Narrative in Pain of Salvation’s “In the Passing Light of Day” (2017) |
2020 |
Popular Musicology and Identity: Essays in Honour of Stan Hawkins |
|
196–217 |
| Burns, Lori |
Dynamic Multimodality in Extreme Metal Performance Video: Dark Tranquillity’s ‘Uniformity,’ Directed by Patric Ullaeus |
2019 |
The Bloomsbury Handbook to Popular Music Video Analysis |
|
183-200 |
| Burns, Robert G.H. |
German symbolism in rock music: national signification in the imagery and songs of Rammstein |
2008 |
Popular Music; Cambridge |
27 |
457-472 |
| Coggins, Owen |
Dirty, soothing, secret magic: individualism and spirituality in New Age and extreme metal music cultures |
2019 |
Popular Music; Cambridge |
38 |
|
