heavy metal music

Heavy metal musicFrom Wikipedia, the free encyclopediaHeavy metal

Stylistic originsBlues rock,psychedelic rock

Cultural originsLate 1960s,United StatesandUnited Kingdom

Typical instrumentsElectric guitar,bass guitar,drums,vocals,keyboards

Subgenres

Extreme metal(black metaldeath metaldoom metalthrash metal)glam metalgothic metalgroove metalpower metalprogressive metalspeed metaltraditional heavy metal(complete list)

Fusion genres

Alternative metalavant-garde metalChristian metalcrust punkdrone metalfolk metalfunk metalgrindcoreindustrial metalmetalcoreneo-classical metalnu metalpost-metalrap metalsludge metalstoner rocksymphonic metalViking metal

Regional scenes

AustraliaBay AreaBrazilBritainFinlandGermanyNorwaySwedenUnited States

Other topics

Fashionbandsumlautblast beatsubgenrespower balladhard rock

2015 in heavy metal music

Heavy metal(or simplymetal) is a genre ofrock music[1]that developed in the late 1960s and early 1970s, largely in the United States and the United Kingdom.[2]With roots inblues rockandpsychedelic rock,[3]the bands that created heavy metal developed a thick, massive sound, characterized by highly amplifieddistortion, extendedguitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are often associated withmasculinity, aggression, andmachismo.[3]The first heavy metal bands such asLed Zeppelin,Black SabbathandDeep Purpleattracted large audiences, though they were often derided by critics, a status common throughout the history of the genre. During the mid-1970s,Judas Priesthelped spur the genre's evolution by discarding much of itsbluesinfluence;[4][5]Motrheadintroduced apunk rocksensibility and an increasing emphasis on speed. Beginning in the late 1970s, bands in theNew Wave of British Heavy Metalsuch asIron MaidenandSaxonfollowed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers".During the 1980s,glam metalbecame a commercial force with groups such asMtley CreandPoison.Underground scenesproduced an array of more aggressive styles:thrash metalbroke into the mainstream with bands such asMetallica,Megadeth,Slayer, andAnthrax, while otherextreme subgenres of metalsuch asdeath metalandblack metalremainsubculturalphenomena. Since the mid-1990s popular styles have further expanded the definition of the genre. These includegroove metal(with bands such asPantera), influenced by extreme metal andhardcore punk, andnu metal(with bands such asSlipknot,KornandLinkin Park), which often incorporates elements ofgrungeandhip hop.Contents[hide] 1Characteristics 1.1Musical language 1.1.1Rhythm and tempo 1.1.2Harmony 1.1.3Typical harmonic structures 1.1.4Relationship with classical music 1.2Lyrical themes 1.3Image and fashion 1.4Physical gestures 1.5Fan subculture 2Etymology 3History 3.1Antecedents: 1950s to mid-1960s 3.2Origins: late 1960s and early 1970s 3.3Mainstream: late 1970s and 1980s 3.4Other metal genres: 1980s, 1990s, and 2000s 3.4.1Thrash metal 3.4.2Death metal 3.4.3Black metal 3.4.4Power metal 3.4.5Doom metal 3.5New fusions: 1990s and early 2000s 3.6Recent trends: midlate 2000s 4See also 5Notes 6References 7External linksCharacteristics[edit]Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes.New York TimescriticJon Pareleswrites, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rockthe breed with less syncopation, less blues, more showmanship and more brute force."[6]The typical band lineup includes adrummer, abassist, arhythm guitarist, alead guitarist, and a singer, who may or may not be an instrumentalist.Keyboard instrumentsare sometimes used to enhance the fullness of the sound.[7]

Judas Priest, performing in 2005Theelectric guitarand the sonic power that it projects through amplification has historically been the key element in heavy metal.[8]The heavy metal guitar sound comes from a combined use of high volumes and heavydistortion.[9]With rhythm guitar parts, the "heavy crunch sound in heavy metal...[is created by]palm muting" the strings with the right hand and using distortion.[10]Palm muting creates a tighter, more precise sound and it emphasizes the low end.[11]The lead role of the guitar in heavy metal often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry".[7]Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity.[12]CriticSimon Frithclaims that the metal singer's "tone of voice" is more important than the lyrics.[13]The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy".[14]Metal basslines vary widely in complexity, from holding down a lowpedal pointas a foundation to doubling complex riffs andlicksalong with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica'sCliff Burtonin the early 1980s.[15]The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision".[16]Metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity...to play the intricate patterns" used in metal.[17]A characteristic metal drumming technique is thecymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music.[14]In live performance,loudnessan "onslaught of sound," in sociologistDeena Weinstein's descriptionis considered vital.[8]In his bookMetalheads, psychologist Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war."[18]Following the lead set byJimi Hendrix,CreamandThe Who, early heavy metal acts such asBlue Cheerset new benchmarks for volume. As Blue Cheer'sDick Petersonput it, "All we knew was we wanted more power."[19]A 1977 review of a Motrhead concert noted how "excessive volume in particular figured into the band's impact."[20]Weinstein makes the case that in the same way thatmelodyis the main element ofpopand rhythm is the main focus ofhouse music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality."[8]Musical language[edit]Rhythm and tempo[edit]

An example of a rhythmic pattern used in heavy metal. The upper stave is apalm-mutedrhythm guitarpart. The lower stave is the drum part.rhythm audio

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The rhythm in metal songs is emphatic, with deliberate stresses. Weinstein observes that the wide array of sonic effects available to metal drummers enables the "rhythmic pattern to take on a complexity within its elemental drive and insistency".[14]In many heavy metal songs, the main groove is characterized by short, two-note or three-note rhythmic figuresgenerally made up of8thor16th notes. These rhythmic figures are usually performed with astaccatoattack created by using apalm-mutedtechnique on the rhythm guitar.[21]Brief, abrupt, and detachedrhythmic cellsare joined into rhythmic phrases with a distinctive, often jerky texture. These phrases are used to create rhythmic accompaniment and melodic figures calledriffs, which help to establish thematichooks. Heavy metal songs also use longer rhythmic figures such aswhole note- or dotted quarter note-length chords in slow-tempopower ballads. The tempos in early heavy metal music tended to be "slow, even ponderous".[14]By the late 1970s, however, metal bands were employing a wide variety of tempos. In the 2000s decade, metal tempos range from slow ballad tempos (quarter note = 60beats per minute) to extremely fastblast beattempos (quarter note = 350 beats per minute).[17]Harmony[edit]One of the signatures of the genre is the guitarpower chord.[22]In technical terms, the power chord is relatively simple: it involves just one maininterval, generally theperfect fifth, though anoctavemay be added as a doubling of theroot. Although the perfect fifth interval is the most common basis for the power chord,[23]power chords are also based on different intervals such as theminor third,major third,perfect fourth,diminished fifth, orminor sixth.[24]Most power chords are also played with a consistent finger arrangement that can be slid easily up and down thefretboard.[25]Typical harmonic structures[edit]Heavy metal is usually based onriffscreated with three main harmonic traits: modal scale progressions, tritone and chromatic progressions, and the use ofpedal points. Traditional heavy metal tends to employ modal scales, in particular theAeolianandPhrygian modes.[26]Harmonically speaking, this means the genre typically incorporates modal chord progressions such as the Aeolian progressions I-VI-VII, I-VII-(VI), or I-VI-IV-VII and Phrygian progressions implying the relation between I and II (I-II-I, I-II-III, or I-II-VII for example). Tense-soundingchromaticortritonerelationships are used in a number of metal chord progressions.[27][28]The tritone, an interval spanning three whole tonessuch as C and F#was a forbidden dissonance in medieval ecclesiastical singing, which led monks to call itdiabolus in musica"the devil in music".[29]Heavy metal songs often make extensive use ofpedal pointas a harmonic basis. A pedal point is a sustained tone, typically in the bass range, during which at least one foreign (i.e., dissonant) harmony is sounded in the other parts.[30]Relationship with classical music[edit]

Ritchie Blackmore, founder ofDeep PurpleandRainbow, known for the neoclassical approach in his guitar performancesRobert Walserargues that, alongside blues and R&B, the "assemblage of disparate musical styles known...as 'classical music'" has been a major influence on heavy metal since the genre's earliest days. He claims that metal's "most influential musicians have been guitar players who have also studied classical music. Their appropriation and adaptation of classical models sparked the development of a new kind of guitar virtuosity [and] changes in the harmonic and melodic language of heavy metal."[31]In an article written forGrove Music Online, Walser states that the "1980s brought on ...the widespread adaptation of chord progressions and virtuosic practices from 18th-century European models, especiallyBachandAntonio Vivaldi, by influential guitarists such asRitchie Blackmore,Marty Friedman,Jason Becker,Uli Jon Roth,Eddie Van Halen,Randy RhoadsandYngwie Malmsteen".[32]Kurt Bachmann ofBelieverhas stated that "If done correctly, metal and classical fit quite well together. Classical and metal are probably the two genres that have the most in common when it comes to feel, texture, creativity."[33]Although a number of metal musicians cite classical composers as inspiration, classical and metal are rooted in different cultural traditions and practicesclassical in theart musictradition, metal in thepopular musictradition. AsmusicologistsNicolas Cook and Nicola Dibben note, "Analyses of popular music also sometimes reveal the influence of 'art traditions.' An example is Walser's linkage of heavy metal music with the ideologies and even some of the performance practices of nineteenth-centuryRomanticism. However, it would be clearly wrong to claim that traditions such as blues, rock, heavy metal, rap or dance music derive primarily from 'art music.'"[34]Lyrical themes[edit]According to scholars David Hatch and Stephen Millward, Black Sabbath, and the numerous metal bands that they inspired, have concentrated lyrically "on dark and depressing subject matter to an extent hitherto unprecedented in any form of pop music". They take as an example Sabbath's second albumParanoid(1970), which "included songs dealing with personal trauma'Paranoid' and 'Fairies Wear Boots' (which described the unsavoury side effects of drug-taking)as well as those confronting wider issues, such as the self-explanatory 'War Pigs' and 'Hand of Doom.'"[35]Deriving from the genre's roots in blues music, sex is another important topica thread running from Led Zeppelin's suggestive lyrics to the more explicit references of glam and nu metal bands.[36]

King Diamond, known for writing conceptual lyrics about horror storiesThe thematic content of heavy metal has long been a target of criticism. According toJon Pareles, "Heavy metal's main subject matter is simple and virtually universal. With grunts, moans and subliterary lyrics, it celebrates...a party without limits.... [T]he bulk of the music is stylized and formulaic."[6]Music critics have often deemed metal lyrics juvenile and banal, and others[who?]have objected to what they see as advocacy ofmisogynyand the occult. During the 1980s, theParents Music Resource Centerpetitioned the U.S. Congress to regulate the popular music industry due to what the group asserted were objectionable lyrics, particularly those in heavy metal songs.[37]Music criticRobert Christgaucalled metal "an expressive mode it sometimes seems will be with us for as long as ordinary whiteboys fear girls, pity themselves, and are permitted to rage against a world they'll never beat".[38]In 1990, Judas Priest was sued in American court by the parents of two young men who had shot themselves five years earlier, allegedly after hearing the subliminal statement "do it" in a Priest song. While the case attracted a great deal of media attention, it was ultimately dismissed.[37]In some predominantly Muslim countries, heavy metal has been officially denounced as a threat to traditional values. In countries such as Morocco, Egypt, Lebanon, and Malaysia, there have been incidents of heavy metal musicians and fans being arrested and incarcerated.[39]Image and fashion[edit]Main article:Heavy metal fashion

Kissperforming in 2004, wearing makeupFor certain artists and bands, visual imagery plays a large role in heavy metal. In addition to its sound and lyrics, a heavy metal band's "image" is expressed in album sleeve art, logos, stage sets, clothing, andmusic videos.[40]Down-the-back long hair, according to Weinstein, is the "most crucial distinguishing feature of metal fashion."[41]Originally adopted from the hippie subculture, by the 1980s and 1990s heavy metal hair "symbolised the hate, angst and disenchantment of a generation that seemingly never felt at home", according to journalist Nader Rahman. Long hair gave members of the metal community "the power they needed to rebel against nothing in general."[42]The classic uniform of heavy metal fans consists of light colored, ripped frayed or torn blue jeans, black T-shirts, boots and black leather or jeans jackets.... T-shirts are generally emblazoned with the logos or other visual representations of favorite metal bands."[43]Metal fans also "appropriated elements from the S&M community (chains, metal studs, skulls, leather and crosses)." In the 1980s, a range of sources, from punk andgothmusic to horror films, influenced metal fashion.[44]Many metal performers of the 1970s and 1980s used radically shaped and brightly colored instruments to enhance their stage appearance.[45]Fashion and personal style was especially important for glam metal bands of the era. Performers typically wore long, dyed, hairspray-teased hair (hence the nickname, "hair metal"); makeup such as lipstick and eyeliner; gaudy clothing, including leopard-skin-printed shirts or vests and tight denim, leather, or spandex pants; and accessories such as headbands and jewelry.[45]Pioneered by the heavy metal actX Japanin the late 1980s, bands in the Japanese movement known asvisual keiwhich includes many nonmetal groupsemphasize elaborate costumes, hair, and makeup.[46]Physical gestures[edit]

Fans raise their fists and make the "devil horns" gesture at a concert by Estonian heavy metal groupMetsatllin 2006Many metal musicians when performing live engage inheadbanging, which involves rhythmically beating time with the head, often emphasized by long hair. Theil cornuto, or devil horns, hand gesture, also widespread, was popularized by vocalistRonnie James Diowhile with Black Sabbath andDio.[28]AlthoughGene SimmonsofKissclaims to have been the first to make the gesture on the 1977Love Gunalbum cover, there is speculation as to who started the phenomenon.[47]Attendees of metal concerts do not dance in the usual sense. Deena Weinstein has argued that this is due to the music's largely male audience and "extreme heterosexualist ideology." She identifies two primary body movements that substitute for dancing: headbanging and an arm thrust that is both a sign of appreciation and a rhythmic gesture.[48]The performance ofair guitaris popular among metal fans both at concerts and listening to records at home.[49]Fan subculture[edit]Main article:Heavy metal subcultureDeena Weinsteinargues that heavy metal has outlasted many other rock genres largely due to the emergence of an intense, exclusionary, strongly masculine subculture.[50]While the metal fanbase is largely young, white, male, and blue-collar, the group is "tolerant of those outside its core demographic base who follow its codes of dress, appearance, and behavior".[51]Identification with the subculture is strengthened not only by the shared experience of concert-going and shared elements of fashion, but also by contributing to metal magazines and, more recently, websites.[52]

A heavy metal fan wearing a denim jacket with band patches and artwork of the heavy metal bandsMetallica,Guns N' Roses,Iron Maiden,Slipknot,DioandLed ZeppelinThe metal scene has been characterized as a "subculture of alienation", with its own code of authenticity.[53]This code puts several demands on performers: they must appear both completely devoted to their music and loyal to the subculture that supports it; they must appear uninterested in mainstream appeal and radio hits; and they must never "sell out".[54]For the fans themselves, the code promotes "opposition to established authority, and separateness from the rest of society".[55]Musician and filmmakerRob Zombieobserves, "Most of the kids who come to my shows seem like really imaginative kids with a lot of creative energy they don't know what to do with" and that metal is "outsider music for outsiders. Nobody wants to be the weird kid; you just somehow end up being the weird kid. It's kind of like that, but with metal you have all the weird kids in one place".[56]Scholars of metal have noted the tendency of fans to classify and reject some performers (and some other fans) as "poseurs" "who pretended to be part of the subculture, but who were deemed to lack authenticity and sincerity".[53][57]Etymology[edit]The origin of the term "heavy metal" in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy, where the periodic table organizes elements of bothlightandheavy metals(e.g., uranium). An early use of the term in modern popular culture was bycounterculturalwriterWilliam S. Burroughs. His 1962 novelThe Soft Machineincludes a character known as "Uranian Willy, the Heavy Metal Kid". Burroughs's next novel,Nova Express(1964), develops the theme, usingheavy metalas a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life formsHeavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notesAnd The Insect People of Minraud with metal music".[58]The phrase was later lifted bySandy Pearlman, who used the term to describeThe Byrdsfor their supposed "aluminium style of context and effect", particularly on their albumThe Notorious Byrd Brothers(1968).[59]

Jimi Hendrix, playing in Sweden in 1967Metal historianIan Christedescribes what the components of the term mean in "hippiespeak": "heavy" is roughly synonymous with "potent" or "profound," and "metal" designates a certain type of mood, grinding and weighted as with metal.[60]The word "heavy" in this sense was a basic element ofbeatnikand later counterculturalslang, and references to "heavy music"typically slower, more amplified variations of standard pop farewere already common by the mid-1960s.Iron Butterfly's debut album, released in early 1968, was titledHeavy. The first use of "heavy metal" in a song lyric is in reference to a motorcycle in theSteppenwolfsong "Born to Be Wild", also released that year:[61]"I like smoke and lightning/Heavy metal thunder/Racin' with the wind/And the feelin' that I'm under."The first documented use of the phrase to describe a type of rock music identified to date appears in a review byBarry Gifford. In the May 11, 1968, issue ofRolling Stone, he wrote about the albumA Long Time Comin'by U.S. bandElectric Flag: "Nobody who's been listening toMike Bloomfieldeither talking or playingin the last few years could have expected this. This is the new soul music, the synthesis of white blues and heavy metal rock."[62]In January 1970Lucian K. Truscott IVreviewingLed Zeppelin IIfor theVillage Voicedescribed the sound as "heavy" and made comparisons withBlue CheerandVanilla Fudge.[63]Other early documented uses of the phrase are from reviews by criticMike Saunders. In the November 12, 1970 issue ofRolling Stone, he commented on an album put out the previous year by the British bandHumble Pie: "Safe as Yesterday Is,their first American release, proved that Humble Pie could be boring in lots of different ways. Here they were a noisy, unmelodic, heavy metal-leaden shit-rock band with the loud and noisy parts beyond doubt. There were a couple of nice songs...and one monumental pile of refuse". He described the band's latest,self-titled releaseas "more of the same 27th-rate heavy metal crap".[64]In a review ofSir Lord Baltimore'sKingdom Comein the May 1971Creem, Saunders wrote, "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book".[65]CreemcriticLester Bangsis credited with popularizing the term via his early 1970s essays on bands such as Led Zeppelin and Black Sabbath.[66]Through the decade,heavy metalwas used by certain critics as a virtually automatic putdown. In 1979, leadNew York Timespopular music criticJohn Rockwelldescribed what he called "heavy-metal rock" as "brutally aggressive music played mostly for minds clouded by drugs",[67]and, in a different article, as "a crude exaggeration of rock basics that appeals to white teenagers".[68]Coined byBlack Sabbathdrummer,Bill Ward, "downer rock" was one of the earliest terms used to describe this style of music and was applied to acts such as Sabbath andBloodrock.Classic Rockmagazine described the downer rock culture revolving around the use ofQuaaludesand the drinking of wine.[69]Later the term would be replaced by "heavy metal".[70]The terms "heavy metal" and "hard rock" have often been used interchangeably, particularly in discussing bands of the 1970s, a period when the terms were largely synonymous.[71]For example, the 1983Rolling Stone Encyclopedia of Rock & Rollincludes this passage: "known for its aggressive blues-based hard-rock style,Aerosmithwas the top American heavy-metal band of the mid-Seventies".[72]History[edit]Antecedents: 1950s to mid-1960s[edit]Heavy metal's quintessential guitar style, built around distortion-heavy riffs and power chords, traces its roots to early 1950sMemphis bluesguitaristssuch asJoe Hill Louis,Willie Johnson, and particularlyPat Hare,[73][74]who captured a "grittier, nastier, more ferocious electric guitar sound" on records such asJames Cotton's "Cotton Crop Blues" (1954);[74]the late 1950s instrumentals ofLink Wray, particularly "Rumble" (1958);[75]the early 1960ssurf rockofDick Dale, including "Let's Go Trippin'" (1961) and "Misirlou" (1962) andThe Kingsmen's version of "Louie, Louie" (1963) which made it agarage rockstandard.[76]

Cream performing on the Dutch television program Fanclub in 1968However, the genre's direct lineage begins in the mid-1960s. American blues music was a major influence on the earlyBritish rockersof the era. Bands likeThe Rolling StonesandThe Yardbirdsdevelopedblues rockby recording covers of many classic blues songs, often speeding up thetempos. As they experimented with the music, the UK blues-based bandsand the U.S. acts they influenced in turndeveloped what would become the hallmarks of heavy metal, in particular, the loud, distorted guitar sound.[19]The Kinksplayed a major role in popularising this sound with their 1964 hit "You Really Got Me".[77]In addition to The Kinks'Dave Davies, other guitarists such asThe Who'sPete Townshendand The Yardbirds'Jeff Beckwere experimenting with feedback.[78][79]Where the blues rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar.[80]Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-Marshalls" approach was seminal.[81]The combination of blues rock withpsychedelic rockformed much of the original basis for heavy metal.[82]One of the most influential bands in forging the merger of genres was the British power trioCream, who derived a massive, heavy sound fromunisonriffing between guitaristEric Claptonand bassistJack Bruce, as well asGinger Baker's double bass drumming.[83]Their first two LPs,Fresh Cream(1966) andDisraeli Gears(1967), are regarded as essential prototypes for the future style.The Jimi Hendrix Experience's debut album,Are You Experienced(1967), was also highly influential.Hendrix's virtuosic technique would be emulated by many metal guitarists and the album's most successful single, "Purple Haze", is identified by some as the first heavy metal hit.[19]During the late sixties, many psychedelic singers such asArthur Brown, began to create outlandish, theatrical and often macabre performances; which in itself became incredibly influential to many metal acts.[84][85][86]Vanilla Fudge, whosefirst albumalso came out in 1967, has been called "one of the few American links between psychedelia and what soon became heavy metal".[87]Origins: late 1960s and early 1970s[edit]See also:Traditional heavy metal

John Kay ofSteppenwolfCritics disagree over who can be thought of as the first heavy metal band. Most credit eitherLed ZeppelinorBlack Sabbath, with American commentators tending to favour Led Zeppelin and British commentators tending to favour Black Sabbath, though many give equal credit to both. A few commentatorsmainly Americanargue for other groups includingIron Butterfly,SteppenwolforBlue Cheer.[88]In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco bandBlue Cheerreleased a cover ofEddie Cochran's classic "Summertime Blues", from their debut albumVincebus Eruptum, that many consider the first true heavy metal recording.[89]The same month,Steppenwolfreleased itsself-titled debut album, including "Born to Be Wild", which refers to "heavy metal thunder" in describing a motorcycle. In July, theJeff Beck Group, whose leader had preceded Page as The Yardbirds' guitarist, released its debut record:Truthfeatured some of the "most molten, barbed, downright funny noises of all time," breaking ground for generations of metal ax-slingers.[90]In October, Page's new band,Led Zeppelin, made its live debut.The Beatles'White Album, which also came out that month, included "Helter Skelter", then one of the heaviest-sounding songs ever released by a major band.[91]The Pretty Things'rock operaS.F. Sorrow, released in December, featured "proto heavy metal" songs such as "Old Man Going" and "I See You".[92][93]In thiscountercultureperiodMC5, who began as part of the Detroit garage rock scene, developed a raw distorted style that has been seen as a major influence on the future sound of both heavy metal and later punk music.[94][95]The Stoogesalso began to establish and influence a heavy metal and later punk sound, with songs such as "I Wanna Be Your Dog", featuring pounding and distorted heavy guitar power chord riffs.[96]Pink Floydreleased two of their heaviest and loudest songs to date; "Ibiza Bar" and "The Nile Song", which was regarded as "one of the heaviest songs the band recorded".[97][98]King Crimson'sdebut albumincluded21st Century Schizoid Man, which was considered heavy metal by several critics.[99][100]

Led Zeppelinperforming atChicago Stadiumin January 1975In January 1969, Led Zeppelin'sself-titled debut albumwas released and reached number 10 on theBillboardalbum chart. In July, Zeppelin and a power trio with a Cream-inspired, but cruder sound,Grand Funk Railroad, played theAtlanta Pop Festival. That same month, another Cream-rooted trio led byLeslie WestreleasedMountain, an album filled with heavy blues rock guitar and roaring vocals. In August, the groupnow itself dubbedMountainplayed an hour-long set at theWoodstock Festival.[101]Led Zeppelin defined central aspects of the emerging genre, with Page's highly distorted guitar style and singerRobert Plant's dramatic, wailing vocals.[102]Other bands, with a more consistently heavy, "purely" metal sound, would prove equally important in codifying the genre. The 1970 releases byBlack Sabbath(Black SabbathandParanoid) andDeep Purple(In Rock) were crucial in this regard.[80]"Whole Lotta Love"

MENU0:00Sample of "Whole Lotta Love" byLed Zeppelin, fromLed Zeppelin II(1969). The heavy riff-based song, using lyrics culled from the blues.[103]

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Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitaristTony Iommisuffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering.[104]Deep Purple had fluctuated between styles in its early years, but by 1969 vocalistIan Gillanand guitaristRitchie Blackmorehad led the band toward the developing heavy metal style.[105]In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "Black Night", respectively.[106][107]That same year, two other British bands released debut albums in a heavy metal mode:Uriah HeepwithVery 'Eavy... Very 'UmbleandUFOwithUFO 1.Bloodrockreleased theirself-titled debut album, containing a collection of heavy guitar riffs, gruff style vocals and sadistic and macabre lyrics.[108]Budgiebrought the new metal sound into a power trio context.[109]The occult lyrics and imagery employed by Black Sabbath and Uriah Heep would prove particularly influential; Led Zeppelin also began foregrounding such elements with itsfourth album, released in 1971.[110]

Brian Robertson,Phil Lynott,Scott GorhamofThin Lizzyperforming during the Bad Reputation Tour, 24 November 1977On the other side of the Atlantic, the trend-setting group wasGrand Funk Railroad, described as "the most commercially successful American heavy-metal band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring".[111]Other bands identified with metal emerged in the U.S., such asBlue yster Cult(1972),Aerosmith(1973) andKiss(1974). In Germany,Scorpionsdebuted withLonesome Crowin 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple'sMachine Head(1972), quit the group in 1975 to formRainbow. These bands also built audiences via constant touring and increasingly elaborate stage shows.[80]As described above, there are arguments about whether these and other early bands truly qualify as "heavy metal" or simply as "hard rock". Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label.AC/DC, which debuted withHigh Voltagein 1975, is a prime example. The 1983Rolling Stoneencyclopedia entry begins, "Australian heavy-metal band AC/DC".[112]Rock historian Clinton Walker writes, "Calling AC/DC a heavy metal band in the seventies was as inaccurate as it is today.... [They] were a rock 'n' roll band that just happened to be heavy enough for metal".[113]The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy metal perdition".[114]In certain cases, there is little debate. After Black Sabbath, the next major example is Britain'sJudas Priest, which debuted withRocka Rollain 1974. In Christe's description,"Black Sabbath's audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy metal aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars ofThin Lizzy, in the stagecraft ofAlice Cooper, in the sizzling guitar and showy vocals ofQueen, and in the thundering medieval questions of Rainbow.... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy metal became a true genre unto itself."[115]Though Judas Priest did not have a top 40 album in the United States until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a non-bluesy, more cleanly metallic sound, was a major influence on later acts.[4]While heavy metal was growing in popularity, most critics were not enamored of the music. Objections were raised to metal's adoption of visual spectacle and other trappings of commercial artifice,[116]but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading criticRobert Christgaudescribed it as "dull and decadent...dim-witted, amoral exploitation."[117]Mainstream: late 1970s and 1980s[edit]

Iron Maiden, one of the central bands in theNew Wave of British Heavy MetalPunk rockemerged in the mid-1970s as a reaction against contemporary social conditions as well as what was perceived as the overindulgent, overproduced rock music of the time, including heavy metal. Sales of heavy metal records declined sharply in the late 1970s in the face of punk,disco, and more mainstream rock.[116]With the major labels fixated on punk, many newer British heavy metal bands were inspired by the movement's aggressive, high-energy sound and "lo-fi",do it yourselfethos. Underground metal bands began putting out cheaply recorded releases independently to small, devoted audiences.[118]Motrhead, founded in 1975, was the first important band to straddle the punk/metal divide. With the explosion of punk in 1977, others followed. British music papers such as theNMEandSoundstook notice, withSoundswriter Geoff Barton christening the movement the "New Wave of British Heavy Metal".[119]NWOBHM bands includingIron Maiden,Saxon, andDef Leppardreenergized the heavy metal genre. Following the lead set by Judas Priest and Motrhead, they toughened up the sound, reduced its blues elements, and emphasized increasingly fast tempos.[120]By 1980, the NWOBHM had broke into the mainstream, as albums by Iron Maiden and Saxon, as well as Motrhead, reached the British top 10. Though less commercially successful, other NWOBHM bands such asVenomandDiamond Headwould have a significant influence on metal's development.[121]In 1981, Motrhead became the first of this new breed of metal bands to top the UK charts withNo Sleep 'til Hammersmith.The first generation of metal bands was ceding the limelight. Deep Purple had broken up soon after Blackmore's departure in 1975, and Led Zeppelin broke up following drummerJohn Bonham's death in 1980. Black Sabbath plagued with infighting and substance abuse, while facing fierce competition with their opening band, theLos AngelesbandVan Halen.[122][123]Eddie Van Halenestablished himself as one of the leading metal guitarists of the erahis solo on "Eruption", from the band'sself-titled 1978 album, is considered a milestone.[124]Inspired by Van Halen's success, a metal scene began to develop in Southern California during the late 1970s. Based on the clubs of L.A.'sSunset Strip, bands such asQuiet Riot,Ratt,Mtley Cre, and W.A.S.P. were influenced by traditional heavy metal of the earlier 1970s.[125]These acts incorporated the theatrics (and sometimes makeup) ofglam metalor "hair metal" such asAlice Cooperand Kiss[126]Hair/glam metal bands were often visually distinguished by long, overworked hair styles accompanied by wardrobes which were sometimes considered cross-gender. The lyrics of theseglam metalbands characteristically emphasizedhedonismand wild behavior, including lyrics which involved sexual expletives and the use of narcotics.[127]"Purgatory"

MENU0:00Sample of "Purgatory" byIron Maiden, from the albumKillers(1981). The early Iron Maiden sound was a mix of punk rock speed and heavy metal guitar work typical of the New Wave of British Heavy Metal.

"Hot for Teacher"

MENU0:00Sample of "Hot for Teacher" byVan Halen, from the album1984(1984). This sample demonstrates their sound's similarity to the glam metal style.

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In the wake of the New Wave of British Heavy Metal and Judas Priest's breakthroughBritish Steel(1980), heavy metal became increasingly popular in the early 1980s. Many metal artists benefited from the exposure they received onMTV, which began airing in 1981sales often soared if a band's videos screened on the channel.[128]Def Leppard's videos forPyromania(1983) made them superstars in America and Quiet Riot became the first domestic heavy metal band to top theBillboardchart withMetal Health(1983). One of the seminal events in metal's growing popularity was the 1983US Festivalin California, where the "heavy metal day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mtley Cre, Judas Priest, and others drew the largest audiences of the three-day event.[129]Between 1983 and 1984, heavy metal went from an 8 percent to a 20 percent share of all recordings sold in the U.S.[130]Several major professional magazines devoted to the genre were launched, includingKerrang!(in 1981) andMetal Hammer(in 1984), as well as a host of fan journals. In 1985,Billboarddeclared, "Metal has broadened its audience base. Metal music is no longer the exclusive domain of male teenagers. The metal audience has become older (college-aged), younger (pre-teen), and more female".[131]By the mid-1980s, glam metal was a dominant presence on the U.S. charts,music television, and the arena concert circuit. New bands such as L.A.'sWarrantand acts from the East Coast likePoisonandCinderellabecame major draws, while Mtley Cre and Ratt remained very popular. Bridging the stylistic gap between hard rock and glam metal,New Jersey'sBon Jovibecame enormously successful with its third album,Slippery When Wet(1986). The similarly styled Swedish bandEuropebecame international stars withThe Final Countdown(1986). Itstitle trackhit number 1 in 25 countries.[132]In 1987, MTV launched a show,Headbanger's Ball, devoted exclusively to heavy metal videos. However, the metal audience had begun to factionalize, with those in many underground metal scenes favoring more extreme sounds and disparaging the popular style as "light metal" or "hair metal".[133]One band that reached diverse audiences wasGuns N' Roses. In contrast to their glam metal contemporaries in L.A., they were seen as much more raw and dangerous. With the release of their chart-toppingAppetite for Destruction(1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years".[134]The following year,Jane's Addictionemerged from the same L.A. hard-rock club scene with its major label debut,Nothing's Shocking. Reviewing the album,Rolling Stonedeclared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin".[135]The group was one of the first to be identified with the "alternative metal" trend that would come to the fore in the next decade. Meanwhile, new bands such as New York'sWingerand New Jersey'sSkid Rowsustained the popularity of the glam metal style.[136]Other metal genres: 1980s, 1990s, and 2000s[edit]Manysubgenres of heavy metaldeveloped outside of the commercial mainstream during the 1980s.[137]Several attempts have been made to map the complex world of underground metal, most notably by the editors ofAllMusic, as well as criticGarry Sharpe-Young. Sharpe-Young's multivolume metal encyclopedia separates the underground into five major categories:thrash metal,death metal,black metal,power metal, and the related subgenres ofdoomandgothic metal.[138]Thrash metal[edit]For more details on this topic, seethrash metal.

Thrash metal bandSlayerperforming in 2007 in front of a wall of speaker stacks.Thrash metal emerged in the early 1980s under the influence ofhardcore punkand the New Wave of British Heavy Metal,[139]particularly songs in the revved-up style known asspeed metal. The movement began in the United States, withBay Area thrash metalbeing the leading scene. The sound developed by thrash groups was faster and more aggressive than that of the original metal bands and their glam metal successors.[139]Low-register guitar riffs are typically overlaid withshreddingleads. Lyrics often expressnihilisticviews or deal withsocial issuesusing visceral, gory language. Thrash has been described as a form of "urban blight music" and "a palefaced cousin of rap".[140]"Angel of Death"

MENU0:00Slayer's "Angel of Death", fromReign in Blood(1986), which features the fast, technically complex musicianship typical of thrash metal

The subgenre was popularized by the "Big Four of Thrash":Metallica,Anthrax,Megadeth, andSlayer.[141]Three German bands,Kreator,Sodom, andDestruction, played a central role in bringing the style to Europe. Others, including San Francisco Bay Area'sTestamentandExodus, New Jersey'sOverkill, and Brazil'sSepultura, also had a significant impact. Although thrash began as an underground movement, and remained largely that for almost a decade, the leading bands of the scene began to reach a wider audience. Metallica brought the sound into the top 40 of theBillboardalbum chart in 1986 withMaster of Puppets, the genre's first platinum record.[142]Two years later, the band's...And Justice for Allhit number 6, while Megadeth and Anthrax also had top 40 records on the American charts.[143]Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records:Reign in Blood(1986) was credited for incorporating heavier guitartimbres, and for including explicit depictions of death, suffering, violence and occult into thrash metal's lyricism.[144]Slayer attracted a following amongfar-right skinheads, and accusations of promoting violence andNazithemes have dogged the band.[145]Even though Slayer did not receive substantial media exposure, their music played a key role in the development ofextreme metal.[146]In the early 1990s, thrash achieved breakout success, challenging and redefining the metal mainstream.[147]Metallica'sself-titled 1991 albumtopped theBillboardchart,[148]as the band established international following.[149]Megadeth'sCountdown to Extinction(1992) debuted at number two,[150]Anthrax and Slayer cracked the top 10,[151]and albums by regional bands such as Testament and Sepultura entered the top 100.[152]Death metal[edit]

Death'sChuck Schuldiner, "widely recognized as the father of death metal"[153]For more details on this topic, seedeath metal.Thrash soon began to evolve and split into more extreme metal genres. "Slayer's music was directly responsible for the rise of death metal," according to MTV News.[154]The NWOBHM band Venom was also an important progenitor. The death metal movement in both North America and Europe adopted and emphasized the elements ofblasphemyanddiabolismemployed by such acts. Florida'sDeathand the Bay Area'sPossessedare recognized as seminal bands in the style. Both groups have been credited with inspiring the subgenre's name, the latter via its 1984 demoDeath Metaland the song "Death Metal", from its 1985 debut albumSeven Churches(1985). In the late 1980s and early 1990s, Swedish death metal became notable and melodic forms of death metal were created.[155]Death metal utilizes the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied withZ-gradeslasher movieviolence andSatanism.[156]Death metal vocals are typically bleak, involving guttural "death growls", high-pitchedscreaming, the "death rasp",[157]and other uncommon techniques.[158]Complementing the deep, aggressive vocal style are downtuned, highlydistortedguitars[156][157]and extremely fast percussion, often with rapiddouble bassdrumming and "wall of sound"styleblast beats. Frequent tempo andtime signaturechanges andsyncopationare also typical.[159]"Suffocation"

MENU0:00"Suffocation" byObituaryfrom the albumSlowly We Rot(1989)

Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets.[160]One major exception to this rule wasDeicide'sGlen Benton, who branded an inverted cross on his forehead and wore armor on stage.Morbid Angeladoptedneo-fascistimagery.[160]These two bands, along with Death andObituary, were leaders of the major death metal scene that emerged in Florida in the mid-1980s. In the UK, the related style ofgrindcore, led by bands such asNapalm DeathandExtreme Noise Terror, emerged from theanarcho-punkmovement.[156]

Photo of the burned ruins ofFantoft stave churchas depicted onBurzum's 1992 EPAskeBlack metal[edit]For more details on this topic, seeblack metal.The first wave of black metal emerged in Europe in the early and mid-1980s, led by Britain'sVenom, Denmark'sMercyful Fate, Switzerland'sHellhammerandCeltic Frost, and Sweden'sBathory. By the late 1980s, Norwegian bands such asMayhemandBurzumwere heading a second wave.[161]Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars frequently played with rapidtremolo picking, a "dark" atmosphere[158]and intentionallylo-fiproduction, with ambient noise and background hiss.[162]Satanic themes are common in black metal, though many bands take inspiration from ancientpaganism, promoting a return to supposed pre-Christian values.[163]Numerous black metal bands also "experiment with sounds from all possible forms of metal, folk, classical music, electronica and avant-garde".[157]DarkthronedrummerFenrizexplains, "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."[164]By 1990, Mayhem was regularly wearingcorpsepaint; many other black metal acts also adopted the look. Bathory inspired theViking metalandfolk metalmovements andImmortalbrought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s,[165]with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandinavian metal underground shifted to support a black metal scene that resisted being co-opted by the commercial metal industry.[166]According to formerGorgorothvocalistGaahl, "Black Metal was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."[164]"De Mysteriis Dom Sathanas"

MENU0:00The title track ofMayhem'sDe Mysteriis Dom Sathanas(1994)

By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.[167]The 1993 murder of Mayhem'sEuronymousby Burzum'sVarg Vikernesprovoked intensive media coverage.[164]Around 1996, when many in the scene felt the genre was stagnating,[168]several key bands, including Burzum and Finland'sBeherit, moved toward anambientstyle, whilesymphonic black metalwas explored by Sweden'sTiamatand Switzerland'sSamael.[169]In the late 1990s and early 2000s decade, Norway'sDimmu Borgirbrought black metal closer to the mainstream,[170]as didCradle of Filth.[171]"Don't Say a Word"

MENU0:00Sample ofSonata Arctica'sDon't Say a Wordfrom theReckoning Nightalbum (2004).

Power metal[edit]For more details on this topic, seepower metal.

Swedish power metal bandHammerFallafter a concert inMilan, Italy, in 2005During the late 1980s, the power metal scene came together largely in reaction to the harshness of death and black metal.[172]Though a relatively underground style in North America, it enjoys wide popularity in Europe, Japan, and South America. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness".[173]The prototype for the sound was established in the mid-to-late 1980s by Germany'sHelloween, which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power metal".[174]Traditional power metal bands like Sweden'sHammerFall, England'sDragonForce, and Florida'sIced Earthhave a sound clearly indebted to the classic NWOBHM style.[175]Many power metal bands such as Florida'sKamelot, Finnish groupsNightwish,StratovariusandSonata Arctica, Italy'sRhapsody of Fire, and Russia'sCatharsisfeature a keyboard-based"symphonic" sound, sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil'sAngraand Argentina'sRata Blancaare popular.[176]Closely related to power metal isprogressive metal, which adopts the complex compositional approach of bands likeRushandKing Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such asQueensrche,Fates Warning, andDream Theater. The mix of the progressive and power metal sounds is typified by New Jersey'sSymphony X, whose guitaristMichael Romeois among the most recognized of latter-day shredders.[177]Doom metal[edit]For more details on this topic, seedoom metal.Emerging in the mid-1980s with such bands as California'sSaint Vitus, Maryland'sThe Obsessed, Chicago'sTrouble, and Sweden'sCandlemass, the doom metal movement rejected other metal styles' emphasis on speed, slowing its music to a crawl. Doom metal traces its roots to the lyrical themes and musical approach of early Black Sabbath.[178]TheMelvinshave also been a significant influence on doom metal and a number of its subgenres.[179]Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.[180]The 1991 release ofForest of Equilibrium, the debut album by UK bandCathedral, helped spark a new wave of doom metal. During the same period, thedoom-deathfusion style of British bandsParadise Lost,My Dying Bride, andAnathemagave rise to European gothic metal,[181]with its signature dual-vocalist arrangements, exemplified by Norway'sTheatre of TragedyandTristania. New York'sType O Negativeintroduced an American take on the style.[182]"Country Doctor"

MENU0:00"Country Doctor" fromCrippled Lucifer(1998) by doom metal bandBurning Witch

In the United States,sludge metal, mixing doom and hardcore, emerged in the late 1980sEyehategodandCrowbarwere leaders in amajor Louisiana sludge scene. Early in the next decade, California'sKyussandSleep, inspired by the earlier doom metal bands, spearheaded the rise ofstoner metal,[183]while Seattle'sEarthhelped develop thedrone metalsubgenre.[184]The late 1990s saw new bands form such as the Los AngelesbasedGoatsnake, with a classic stoner/doom sound, andSunn O))), which crosses lines between doom, drone, anddark ambientmetaltheNew York Timeshas compared their sound to an "Indianragain the middle of an earthquake".[180]New fusions: 1990s and early 2000s[edit]For more details on this topic, seealternative metal,nu metal, andgroove metal."Walk"

MENU0:00"Walk" fromPantera'sVulgar Display of Power(1992), exemplifying the groove metal style

The era of metal's mainstream dominance in North America came to an end in the early 1990s with the emergence ofNirvanaand othergrungebands, signaling the popular breakthrough ofalternative rock.[185]Grunge acts were influenced by the heavy metal sound, but rejected the excesses of the more popular metal bands, such as their "flashy and virtuosic solos" and "appearance-driven"MTVorientation.[136]Glam metal fell out of favor due not only to the success of grunge,[186]but also because of the growing popularity of the more aggressive sound typified by Metallica and the post-thrashgroove metalofPanteraandWhite Zombie.[187]A few new, unambiguously metal bands had commercial success during the first half of the decadePantera'sFar Beyond Driventopped theBillboardchart in 1994but, "In the dull eyes of the mainstream, metal was dead".[188]Some bands tried to adapt to the new musical landscape. Metallica revamped its image: the band members cut their hair and, in 1996, headlined the alternative musical festivalLollapaloozafounded byJane's AddictionsingerPerry Farrell. While this prompted a backlash among some long-time fans,[189]Metallica remained one of the most successful bands in the world into the new century.[190]

Layne StaleyofAlice in Chains, one of the most popular acts identified withalternative metalperforming in 1992Like Jane's Addiction, many of the most popular early 1990s groups with roots in heavy metal fall under the umbrella term "alternative metal".[191]Bands in Seattle's grunge scene such asSoundgarden, credited as making a "place for heavy metal in alternative rock",[192]andAlice in Chainswere at the center of the alternative metal movement. The label was applied to a wide spectrum of other acts that fused metal with different styles:Faith No Morecombined their alternative rock sound with punk,funk, metal, andhip hop;Primusjoined elements of funk, punk,thrash metal, andexperimental music;Toolmixed metal andprogressive rock; bands such asFear Factory,MinistryandNine Inch Nailsbegan incorporating metal into theirindustrial sound, and vice versa, respectively; andMarilyn Mansonwent down a similar route, while also employing shock effects of the sort popularized by Alice Cooper. Alternative metal artists, though they did not represent a cohesive scene, were united by their willingness to experiment with the metal genre and their rejection of glam metal aesthetics (with the stagecraft of Marilyn Manson and White Zombiealso identified with alt-metalsignificant, if partial, exceptions).[191]Alternative metal's mix of styles and sounds represented "the colorful results of metal opening up to face the outside world."[193]In the mid- and late 1990s came a new wave of U.S. metal groups inspired by the alternative metal bands and their mix of genres.[194]Dubbed "nu metal", bands such asSlipknot,Linkin Park,Limp Bizkit,Papa Roach,P.O.D.,KornandDisturbedincorporated elements ranging fromdeath metalto hip hop, often includingDJsandrap-style vocals. The mix demonstrated that "pancultural metal could pay off".[195]Nu metal gained mainstream success through heavy MTV rotation and Ozzy Osbourne's 1996 introduction ofOzzfest, which led the media to talk of a resurgence of heavy metal.[196]In 1999,Billboardnoted that there were more than 500 specialty metal radio shows in the United States, nearly three times as many as ten years before.[197]While nu metal was widely popular, traditional metal fans did not fully embrace the style.[198]By early 2003, the movement's popularity was on the wane, though several nu metal acts such asKornorLimp Bizkitretained substantial followings.[199]Recent trends: midlate 2000s[edit]

Children of Bodom, performing at the 2007Masters of RockfestivalMetal remained popular in the 2000s, particularly in continental Europe. By the new millennium Scandinavia had emerged as one of the areas producing innovative and successful bands, while Belgium, The Netherlands and especially Germany were the most significant markets.[200]Established continental metal bands that placed multiple albums in the top 20 of the German charts between 2003 and 2008, including Finnish bandChildren of Bodom,[201]Norwegian act Dimmu Borgir,[202]Germany'sBlind Guardian[203]and Sweden's HammerFall.[204]Metalcore, a hybrid of extreme metal andhardcore punk,[205]emerged as a commercial force in the mid-2000s decade. It is rooted in thecrossover thrashstyle developed two decades earlier by bands such asSuicidal Tendencies,Dirty Rotten Imbeciles, andStormtroopers of Death.[206]Through the 1990s, metalcore was mostly an underground phenomenon;[207]early bands includeEarth Crisis,[208][209][210]Hogan's Heroes,[211][212]Converge,[209]Hatebreed[210][213]andShai Hulud.[214][215]By 2004, melodic metalcoreinfluenced as well bymelodic death metalwas popular enough thatKillswitch Engage'sThe End of HeartacheandShadows Fall'sThe War Withindebuted at numbers 21 and 20, respectively, on theBillboardalbum chart.[216]

Bullet for My Valentinewere one of the leading bands in themetalcoregenre.Welsh bandBullet for My Valentine's third studio albumFeverdebuted at position number 3 onThe Billboard 200and number 1 onBillboard'sRockandAlternativecharts, making it the band's most successful record to date. In recent years, metalcore bands have received prominent slots at Ozzfest and theDownload Festival.Lamb of God, a groove metal band, hit theBillboardtop 10 in 2006 withSacrament. The success of these bands and others such asTriviumandAvenged Sevenfold[217]which have released both metalcore and straight-ahead thrash albums. Bands likeMotionless In Whitehave experimented with Metalcore further by including Gothic Metal and Industrial Metal influences. Other notable experiments includeAsking Alexandriamixing Trance, this has led to an explosion of bands following this combination. One such band isSilent Descentwho mix Melodic Death Metal with trance. Evolving even further from metalcore comesmathcore, a more rhythmically complicated and progressive style brought to light by bands such asThe Dillinger Escape Plan,Converge, andProtest the Hero.[218]Mathcore's main defining quality is the use of odd time signatures, and has been described to possess rhythmic comparability to free Jazz.[219]Mastodon, which plays in a progressive/sludge style, has inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".[220]The term "retro-metal" has been used to describe bands such as Texas-basedThe Sword, California'sHigh on Fire, Sweden'sWitchcraft,[221]and Australia'sWolfmother.[221][222]The Sword'sAge of Winters(2006) drew heavily on the work of Black Sabbath and Pentagram,[223]Witchcraft added elements offolk rockand psychedelic rock,[224]and Wolfmother'sself-titled 2005 debut albumhad "Deep Purple-ish organs", "Jimmy Page-worthy chordalriffing", and lead singerAndrew Stockdalehowling "notes thatRobert Plantcan't reach anymore".[222]More recently bands like Swedish-Danish sextetAmaranthehave fused Power Metal and Melodic Death Metal with what could be considered as the unorthodox sounds of Eurodance and Europop in a metal context.[citation needed]Babymetal, who have garnered a cult-following worldwide, mix Visual Kei, Metalcore-influences, dance and theatrical elements to both their music and live performances.[citation needed]On the Extreme Metal side, bands likeSunn O)))have developeddrone metal.[citation needed]See also[edit]Heavy metal portal

Heavy metal subgenres List of heavy metal bands List of heavy metal festivals Timeline of heavy metal musicNotes[edit]1. Jump up^Du Noyer (2003), p. 96; Weinstein (2000), pp. 1113.2. Jump up^Weinstein (2000), pp. 14, 118.3. ^Jump up to:abFast (2005), pp. 8991; Weinstein (2000), pp. 7, 8, 23, 36, 103, 104.4. ^Jump up to:abWalser (1993), p. 6.5. Jump up^"As much as Sabbath started it, Priest were the ones who took it out of the blues and straight into metal." Bowe, Brian J.Judas Priest: Metal Gods.ISBN 0-7660-3621-9.6. ^Jump up to:abPareles, Jon."Heavy Metal, Weighty Words"The New York Times, July 10, 1988. Retrieved on November 14, 2007.7. ^Jump up to:abWeinstein (2000), p. 258. ^Jump up to:abcWeinstein (2000), p. 239. Jump up^Walser, Robert (1993).Running with the Devil: Power, Gender, and Madness in Heavy Metal Music.Wesleyan University Press. p. 10.ISBN 0-8195-6260-2.10. Jump up^"Lesson four- Power chords". Marshall Amps.11. Jump up^Damage Incorporated: Metallica and the Production of Musical Identity. By Glenn Pillsbury. Routledge, 201312. Jump up^Weinstein (2000), p. 2613. Jump up^Cited in Weinstein (2000), p. 2614. ^Jump up to:abcdWeinstein (2000), p. 2415. Jump up^"Cliff Burton's Legendary Career: The King of Metal Bass".Bass Player, February 2005. Retrieved on November 13, 2007.16. Jump up^Dawson, Michael."Chris Adler: More than Meets the Eye".Modern Drummer Online. Retrieved on November 13, 2007.17. ^Jump up to:abBerry and Gianni (2003), p. 8518. Jump upÂrnett (1996), p. 1419. ^Jump up to:abcWalser (1993), p. 920. Jump up^Paul Sutcliffe quoted in Waksman, Steve."Metal, Punk, and Motrhead: Generic Crossover in the Heart of the Punk Explosion".Echo: A Music-Centered Journal6.2 (Fall 2004). Retrieved on November 15, 2007.21. Jump up^"Master of Rhythm: The Importance of Tone and Right-hand Technique",Guitar Legends, April 1997, p. 9922. Jump up^Walser (1993), p. 223. Jump up^See, e.g.,Glossary of Guitar Terms. Mel Bay Publications. Retrieved on November 15, 2007.24. Jump up^"Shaping Up and Riffing Out: Using Major and Minor Power Chords to Add Colour to Your Parts",Guitar Legends, April 1997, p. 9725. Jump up^Schonbrun (2006), p. 2226. Jump up^Walser (1993), p. 4627. Jump up^Marshall, Wolf. "Power LordClimbing Chords, Evil Tritones, Giant Callouses",Guitar Legends, April 1997, p. 2928. ^Jump up to:abDunn, Sam (2005)."Metal: A Headbanger's Journey". Warner Home Video (2006). Retrieved on March 19, 2007.29. Jump up^The first explicit prohibition of that interval seems to occur with the "development ofGuido of Arezzo'shexachordalsystem which made B flat adiatonicnote, namely as the 4th degree of the hexachordal on F. From then until the end of Renaissance the tritone, nicknamed the 'diabolus in musica', was regarded as an unstable interval and rejected as a consonance" (Sadie, Stanley [1980]. "Tritone", inThe New Grove Dictionary of Music and Musicians, 1st ed. MacMillan, pp. 1545.ISBN 0-333-23111-2. See also Arnold, Denis [1983]. "Tritone", inThe New Oxford Companion to Music, Volume 1: A-J. Oxford University Press.ISBN 0-19-311316-3). During theBaroqueandClassicaleras, the interval came to be accepted, though in a specific, controlled way. It is only during theRomantic eraand inmodern classical musicthat composers have used it freely, exploiting the evil connotations with which it is culturally associated.30. Jump up^Kennedy (1985), "Pedal Point", p. 54031. Jump up^Walser (1993), p. 5832. Jump up^Walser, Robert. "Heavy metal".Grove Music Online. Accessed March 6, 2010.http://www.oxfordmusiconline.com/public/book/omo_gmo(subscription required for access).33. Jump up^Wagner, Wilson, pg. 156.34. Jump up^See Cook and Dibben (2001), p. 5635. Jump up^Hatch and Millward (1989), p. 16736. Jump up^Weinstein (1991), p. 3637. ^Jump up to:abSee, e.g., Ewing and McCann (2006), pp. 10411338. Jump up^Christgau, Robert(October 13, 1998)."Nothing's Shocking".The Village Voice(New York). RetrievedJune 22,2013.39. Jump up^Whitaker, Brian (June 2, 2003)."Highway to Hell".Guardian. Retrieved2009-03-03."Malaysia Curbs Heavy Metal Music". London: BBC News. August 4, 2001. Retrieved2009-03-03.40. Jump up^Weinstein (2000), p. 2741. Jump up^Weinstein (2000), p. 12942. Jump up^Rahman, Nader."Hair Today Gone Tomorrow".Star Weekend Magazine, July 28, 2006. Retrieved on November 20, 2007.43. Jump up^Weinstein (2000), p. 12744. Jump up^Pospiszyl, Tom."Heavy Metal".Umelec, January 2001. Retrieved on November 20, 2007.ArchivedJune 3, 2008 at theWayback Machine45. ^Jump up to:abThompson (2007), p. 135; Blush, Steven."American Hair MetalExcerpts: Selected Images and Quotes". FeralHouse.com. Retrieved on November 25, 2007.46. Jump up^Strauss, Neil (1998-06-18)."The Pop Life: End of a Life, End of an Era".The New York Times. Retrieved2008-05-09.47. Jump upÂppleford, Steve."Odyssey of the Devil Horns".MK Magazine, September 9, 2004. Retrieved on March 31, 2007.48. Jump up^Weinstein, p. 13049. Jump up^Weinstein, p. 9550. Jump up^Weinstein, pp. 103, 7, 8, 10451. Jump up^Weinstein, pp. 102, 11252. Jump up^Weinstein, pp. 181, 207, 29453. ^Jump up to:ab"Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation", Jeffrey Arnett. InQualitative Sociology; Publisher Springer Netherlands. ISSN 0162-0436 (Print) 15737837 (Online). Volume 16, Number 4 / December 1993. Pages 423443.54. Jump up^Weinstein, pp. 46, 60, 154, 27355. Jump up^Weinstein, p. 16656. Jump up^Dunn, "Metal: A Headbanger's Journey" B000EGEJIY (2006)57. Jump upÂrnett, Jeffrey Jensen (1996).Metalheads: Heavy Metal Music and Adolescent Alienation.58. Jump up^Burroughs, William S."Nova Express". New York: Grove Press, 1964. Pg. 112.59. Jump up^Malcolm Dome(Sometime in 1989 air date). "Arena: 'Heavy Metal'".Arena (Tv show). 4:06 - 4:21 minutes in.BBC.BBC Two.Check date values in:|date=(help)60. Jump up^Christe (2003), p. 1061. Jump up^Walser (1993), p. 862. Jump up^Gifford, Barry.Rolling Stone, May 11, 1968, p. 20.63. Jump up^"Riffs".Lucian K. Truscott IVfor theVillage Voice. January 22, 1970. "Led Zeppelin, popularly looked on as an English version of Blue Cheer, given to Vanilla Fudgeish heavy-handedness in all that it does, has come out with a good album, 'Led Zeppelin II' (Atlantic SD 8236). Sure, it's 'heavy.' Sure, it's volume-rock at a time when the trend seems to be toward acoustical niceties of country music".64. Jump up^Saunders, Mike (1970-11-12)."Humble Pie: 'Town and Country' (review)".Rolling Stone. Archived fromthe originalon November 30, 2007. Retrieved2007-12-17.65. Jump up^Saunders, Mike (May 1971)."Sir Lord Baltimore's 'Kingdom Come' (review)".Creem. Retrieved2007-03-17.66. Jump up^Weinstein (1991), p. 1967. Jump up^Rockwell, John.New York Times, February 4, 1979, p. D2268. Jump up^Rockwell, John.New York Times, August 13, 1979, p. C1669. Jump up^Sleazegrinder (March 2007). "The Lost Pioneers of Heavy Metal".Classic Rock.70. Jump up^Kevin Holm-Hudson,Progressive Rock Reconsidered, (Routledge, 2002),ISBN 0-8153-3715-971. Jump up^Du Noyer (2003), pp. 96, 7872. Jump up^Pareles and Romanowski (1983), p. 473. Jump up^Miller, Jim (1980).The Rolling Stone illustrated history of rock & roll.Rolling Stone(New York).ISBN0-394-51322-3. Retrieved5 July2012.Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.74. ^Jump up to:abRobert Palmer, "Church of the Sonic Guitar", pp.1338 in Anthony DeCurtis,Present Tense,Duke University Press, 1992, pp.2427.ISBN 0-8223-1265-4.75. Jump up^Strong (2004), p. 1693; Buckley (2003), p. 118776. Jump up^Buckley (2003) p. 1144.77. Jump up^Weinstein (1991), p. 18; Walser (1993), p. 978. Jump up^Wilkerson (2006), p. 19.79. Jump up^"The Yardbirds". Richie Unterberger.AllMusic. Retrieved 30 August 2011.80. ^Jump up to:abcWalser (1993), p. 1081. Jump up^McMichael (2004), p. 11282. Jump up^Weinstein (1991), p. 1683. Jump up^Charlton (2003), pp. 2323384. Jump upÛnterberger, Ritchie."Arthur Brown (Biography)". Allmusic. Retrieved2011-07-20.85. Jump up^Polly Marshall,The God of Hellfire, the Crazy Life and Times of Arthur Brown,ISBN 0-946719-77-2, SAF Publishing, 2005, page 175.86. Jump up^Polly Marshall,The God of Hellfire, the Crazy Life and Times of Arthur Brown,ISBN 0-946719-77-2, SAF Publishing, 2005, page 103.87. Jump up^Huey, Steve."Vanilla Fudge (Biography)". Allmusic. Retrieved2009-09-01.88. Jump up^Weinstein (2000), pp.1415.89. Jump up^McCleary (2004), pp. 240, 506.90. Jump up^Gene Santoro, quoted in Carson (2001), p. 86.91. Jump up^Blake (1997), p. 14392. Jump up^Strauss, Neil (1998-09-03)."The Pop Life: The First Rock Opera (No, Not 'Tommy')".New York Times. Retrieved2008-06-26.93. Jump up^Mason, Stewart."I See You: Review". Allmusic. Retrieved 2012-10-17.94. Jump up^Bukszpan (2003), p. 141.95. Jump up^Braunstein and Doyle (2002), p. 133.96. Jump up^Trynka, Paul (2007).Iggy Pop: open up and bleed. New York: Broadway Books. p.95.ISBN0-7679-2319-7.97. Jump up^Kellman, Andy."Relics, Pink Floyd: Review". Allmusic. Retrieved 2012-10-17.98. Jump up^J. DeRogatis,Turn On Your Mind: Four Decades of Great Psychedelic Rock(Milwaukee, Michigan: Hal Leonard, 2003),ISBN 0-634-05548-8, p. 132.99. Jump up^Fricke, David."King Crimson: The Power To Believe: Music Reviews: Rolling Stone". web.archive.org. Archived from theoriginal.100. Jump up^Buckley 2003, p. 477, "Opening with the cataclysmic heavy-metal of '21st Century Schizoid Man', and closing with the cathedral-sized title track,"101. Jump up^Though often identified now as "hard rock", the band's official debut album,Mountain Climbing(1970), placed 85th on the list of "Top 100 Metal Albums" compiled byHit Paraderin 1989. In November,Love Sculpture, with guitaristDave Edmunds, put outForms and Feelings, featuring a pounding, aggressive version ofKhachaturian's "Sabre Dance". Grand Funk Railroad'sSurvival(1971) placed 72nd (Walser [1993], p. 174).102. Jump up^Charlton (2003), p. 239103. Jump up^"Whole Lotta Love". RollingStone.com. 2003. Archived fromthe originalon October 14, 2007. Retrieved2007-04-03.104. Jump up^di Perna, Alan. "The History of Hard Rock: The 70's".Guitar World. March 2001.105. Jump up^Charlton (2003), p. 241106. Jump up^"Black Sabbath".Rock and Roll Hall of Fame. Retrieved8 March2010.107. Jump up^Buckley 2003, p. 232, "'Black Night', a UK #2 hit in November 1970, stole its riff from Ricky Nelson's 'Summertime'."108. Jump up^Guarisco, Donald A."Bloodrock:Bloodrock> Review".AllMusic. Retrieved 5 February 2012.109. Jump up^Henderson, Alex."Budgie(review)". Allmusic. Retrieved2009-09-15.110. Jump up^Fast (2001), pp. 7071111. Jump up^Pareles and Romanowski (1983), p. 225112. Jump up^Pareles and Romanowski (1983), p. 1113. Jump up^Walker (2001), p. 297114. Jump up^Christe (2003), p. 54115. Jump up^Christe (2003), pp. 1920116. ^Jump up to:abWalser (1993), p. 11117. Jump up^Christgau (1981), p. 49118. Jump up^Christe (2003), pp. 30, 33119. Jump up^Christe (2003), p. 33120. Jump upÊrlewine, Stephen Thomas and Prato, Greg."Judas Priest". Allmusic. Retrieved2007-04-30."GenreNew Wave of British Heavy Metal". Allmusic. Retrieved2007-03-17.121. Jump up^Weinstein (1991), p. 44122. Jump up^Popoff (2011),Black Sabbath FAQ: All That's Left to Know on the First Name in MetalP. 130123. Jump up^Christe (2003), p. 25124. Jump up^Christe (2003), p. 51125. Jump up^Rivadavia, Eduardo."Quiet Riot". Allmusic. Retrieved on March 25, 2007; Neely, Kim"Ratt". Rolling Stone. Retrieved on April 3, 2007; Barry Weber & Greg Prato."Mtley Cre". Allmusic. Retrieved on April 3, 2007; Dolas, Yiannis."Blackie Lawless Interview". Rockpages. Retrieved on April 3, 2007.ArchivedOctober 2, 2007 at theWayback Machine126. Jump up^Christe (2003), pp. 5557127. Jump up^Freeborn, Robert (June 2010). "A SELECTIVE DISCOGRAPHY OF SCANDINAVIAN HEAVY METAL MUSIC".Quarterly Journal of the Music Library Association66.4: 840850.128. Jump up^Christe (2003), p. 79129. Jump up^Weinstein (1991), p. 45130. Jump up^Walser (1993), p. 12131. Jump up^Walser (1993), pp. 1213, 182 n. 35132. Jump up^"Rock Group Europe Plan Comeback". London: BBC News. 2003-10-03. Retrieved2008-11-28.133. Jump up^Walser (1993), p. 14; Christe (2003), p. 170134. Jump up^Christe (2003), p. 165135. Jump up^Steve Pond (1988-10-20)."Jane's Addiction:Nothing's Shocking". Rolling Stone. Archived fromthe originalon October 2, 2007. Retrieved2007-05-01.136. ^Jump up to:abCovach, John."Heavy Metal, Rap, and the Rise of Alternative Rock (19821992)".What's That Sound? An Introduction to Rock and its History(W. W. Norton). Retrieved on November 16, 2007.137. Jump up^Weinstein (1991), p. 21138. Jump up^Sharpe-Young (2007), p. 2139. ^Jump up to:ab"GenreThrash Metal". Allmusic. Retrieved on March 3, 2007.140. Jump up^Moynihan, Sderlind (1998), p. 26141. Jump up^Walser (1993), p.14142. Jump up^Nicholls (1997), p. 378143. Jump up^"MetallicaArtist Chart History";"MegadethArtist Chart History";"AnthraxArtist Chart History". Billboard.com. Retrieved on April 7, 2007.ArchivedSeptember 29, 2007 at theWayback Machine144. Jump up^Phillipov (2012), p. 15, 16145. Jump up^Moynihan, Sderlind (1998), p. 30; O'Neil (2001), p. 164146. Jump up^Harrison (2011), p. 61147. Jump up^Walser (1993), p. 15148. Jump up^Billboard 200, chart date: 1991-08-31149. Jump up^Harrison (2011), p. 60150. Jump up^Billboard 200, chart date: 1992-08-01151. Jump up^Billboard 200, chart date: 1993-06-12;Billboard 200, chart date: 1994-10-15152. Jump up^Billboard 200 Chart Position: Testament Ritual, chart date: 1992-05-30;Billboard 200 Chart Position: Sepultura Chaos A.D., chart date: 1993-11-06153. Jump up^Rivadavia, Eduardo."DeathBiography". Allmusic. Retrieved on November 23, 2007.154. Jump up^The Greatest Metal Bands of All TimeSlayer. MTVNews.com. Retrieved on February 27, 2008.155. Jump upÊkeroth, Daniel (2011).156. ^Jump up to:abcMoynihan, Sderlind (1998), p. 27157. ^Jump up to:abcVan Schaik, Mark."Extreme Metal Drumming"Slagwerkkrant, March/April 2000. Retrieved on November 15, 2007.158. ^Jump up to:ab"GenreDeath Metal/Black Metal".AllMusic. Retrieved on February 27, 2007.159. Jump up^Kahn-Harris, Keith(2007).Extreme Metal: Music and Culture on the Edge.Berg Publishers.ISBN1-84520-399-2.160. ^Jump up to:abMoynihan, Sderlind (1998), p. 28161. Jump up^Christe (2003), p. 270162. Jump up^Jurek, Thom."Striborg:Nefaria". Allmusic. Retrieved on November 15, 2007163. Jump up^Moynihan, Sderlind (1998), p. 212164. ^Jump up to:abcCampion, Chris."In the Face of Death".The Observer(UK), February 20, 2005. Retrieved on April 4, 2007.165. Jump up^Christe (2003), p. 276166. Jump up^Moynihan, Sderlind (1998), pp. 3132167. Jump up^Moynihan, Sderlind (1998), pp. 271, 321, 326168. Jump up^Vikernes, Varg."A Burzum Story: Part VIThe Music". Burzum.org, July 2005; retrieved on April 4, 2007.169. Jump up^"GenreSymphonic Black Metal". Allmusic. Retrieved on April 9, 2007.170. Jump up^Tepedelen, Adem."Dimmu Borgir's 'Death Cult'".Rolling Stone, November 7, 2003. Retrieved on September 10, 2007.ArchivedOctober 31, 2007 at theWayback Machine171. Jump up^Bennett, J."Dimmu Borgir"at theWayback Machine(archived May 15, 2007).Decibel, June 2007. Retrieved on September 10, 2007.172. Jump up^"Genre Power Metal". Allmusic. Retrieved on March 20, 2007.173. Jump up^Christe (2003), p. 372174. Jump up^"Helloween Biography". Allmusic. Retrieved on April 8, 2007.175. Jump up^See, e.g., Reesman, Bryan."HammerFall:Glory to the Brave". Allmusic; Henderson, Alex."DragonForce:Sonic Firestorm". Allmusic. Both retrieved on November 11, 2007.176. Jump up^Sharpe-Young, Garry (2003).A-Z of Power Metal. London: Cherry Red Books Ltd. pp.1920,354356.ISBN1-901447-13-8.177. Jump up^"Genre Progressive Metal". Allmusic. Retrieved on March 20, 2007.178. Jump up^Christe (2003), p. 345179. Jump up^Begrand, Adrien."Blood and Thunder: The Profits of Doom". February 15, 2006. PopMatters.com. Retrieved on April 8, 2007.180. ^Jump up to:abWray, John."Heady Metal".New York Times, May 28, 2006. Retrieved on March 21, 2007.181. Jump up^Sharpe-Young (2007), pp. 246, 275; see also Stphane Leguay, "Metal Gothique" inCarnets Noirs, ditions E-dite, 3e dition, 2006,ISBN 2-84608-176-X.182. Jump up^Sharpe-Young (2007), p. 275183. Jump up^Christe (2003), p. 347184. Jump up^Jackowiak, Jason."Hex: Or Printing in the Infernal Method". Splendid Magazine, September 2005. Retrieved on March 21, 2007.185. Jump up^Christe (2003), pp. 3046; Weinstein (1991), p. 278186. Jump up^Christe (2003), p. 231187. Jump up^Birchmeier, Jason."Pantera". Allmusic.com. Retrieved on March 19, 2007.188. Jump up^Christe (2003), p. 305189. Jump up^Christe (2003), p. 312190. Jump up^Christe (2003), p. 322191. ^Jump up to:ab"GenreAlternative Metal". Allmusic. Retrieved2007-03-26.192. Jump upÊrlewine, Stephen Thomas."Soundgarden (Biography)". Allmusic. Retrieved2009-09-01.193. Jump up^Christe (2003), p. 224194. Jump up^Christe (2003), pp. 32425195. Jump up^Christe (2003), p. 329196. Jump up^Christe (2003), p. 324197. Jump up^Christe (2003), p. 344198. Jump up^Christe (2003), p. 328199. Jump up^D'angelo, Joe (2003-01-24)."Nu Metal Meltdown". MTV.com. Retrieved2007-03-28.200. Jump up^K. Kahn-Harris,Extreme Metal: Music and Culture on the Edge(Oxford: Berg, 2007),ISBN 1-84520-399-2, pp. 86 and 116.201. Jump up^"Finland's Children of Bodom Debut at #22 on Billboard Chart with New Album, 'Blooddrunk'",Guitar Player, archived fromthe originalon 23 February 2011202. Jump up^"Chartverfolgung / Dimmu Borgir / Long play",music line.de, archived fromthe originalon 23 February 2011203. Jump up^"Chartverfolgung / Blind Guardian / Long play",music line.de, archived fromthe originalon 23 February 2011204. Jump up^"Chartverfolgung / Hammer Fall / Long play",music line.de, archived fromthe originalon 23 February 2011205. Jump up^Weinstein (2000), p. 288; Christe (2003), p. 372206. Jump up^Christe (2003), p. 184207. Jump upÎ. Christe,Sound of the Beast: The Complete Headbanging History of Heavy Metal(London: HarperCollins, 2003),ISBN 0-380-81127-8, p. 184.208. Jump up^"Shai Hulud, interview with Punknews.org - 05/28/08". RetrievedFebruary 17,2012.As far as coining the term 'metalcore' or coining a sound, I don't think we did. There were bands before Shai Hulud started that my friends and I were referring to as 'metalcore'. Bands like Burn, Deadguy, Earth Crisis, even Integrity.209. ^Jump up to:abMudrian, Albert (2000).Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House.ISBN 1-932595-04-X. p.222223210. ^Jump up to:abIan Glasper,Terrorizerno. 171, June 2008, p. 78, "here the term (metalcore) is used in its original context, referencing the likes of Strife, Earth Crisis, and Integrity (...)"211. Jump up^19481999 Muze, Inc. Hogan's Heroes. "Pop Artists Beginning with 'Hod'", Phonolog, 1999, p. 1. No. 7-278B Section 207.212. Jump up^HXC Revolution."History of HC". 2007-07-14. Retrieved2012-03-18.Judge, Integrity and Hogan's Heroes were some of the earliest bands to bring this level of intensity to hardcorean amalgamation of deep, hoarse vocals (though rarely as deep or guttural as death metal); downtuned guitars and thrashy drum rhythms inspired by earlier hardcore bands; and slow staccato low-end breaks, known as breakdowns. Thrash metal and melodic death metal elements are also common in metalcore.213. Jump up^Ross Haenfler,Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press.ISBN 0-8135-3852-1, p.8788.214. Jump up^"Kill Your Stereo - Reviews: Shai Hulud - Misanthropy Pure". RetrievedFebruary 17,2012.Shai Hulud, a name that is synonymous (in heavy music circles at least) with intelligent, provocative and most importantly unique metallic hardcore. The band's earliest release is widely credited with influencing an entire generation of musicians215. Jump up^Mason, Stewart."Shai Hulud". Allmusic. Retrieved February 17, 2012. "A positively themed metalcore band with somestraight-edgeandChristianleanings, the influential Shai Hulud have maintained a strong band identity since their original formation in the mid-'90s".216. Jump up^"Killswitch Engage". Metal CallOut. Retrieved2011-04-07."Shadows Fall". Metal CallOut. Retrieved2010-08-17.217. Jump upÂvenged Sevenfold Confirmed For Ozzfest's Main Stage218. Jump up^Kevin Stewart-Panko, "The Decade in Noisecore",Terrorizerno. 75, Feb 2000, p.2223.219. Jump up^"Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developedavant-gardeversions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz."Keith Kahn-Harris(2007)Extreme Metal,Berg Publishers,ISBN 1-84520-399-2, p. 4.220. Jump up^Sharpe-Young, Garry,New Wave of American Heavy Metal(link).Edward, James."The Ghosts of Glam Metal Past". Lamentations of the Flame Princess. Retrieved2008-04-27.Begrand, Adrien."Blood and Thunder: Regeneration". PopMatters.com. Retrieved2008-05-14.221. ^Jump up to:abE. Rivadavia,"The Sword: Age of Winters",Allmusic,archivedfrom the original on February 16, 2011222. ^Jump up to:abWolfmother.Rolling Stone, April 18, 2006. Retrieved on March 31, 2007.ArchivedMarch 8, 2007 at theWayback Machine223. Jump upÂ. Begrand (February 20, 2006),"The Sword: Age of Winters",PopMatters.com,archivedfrom the original on February 16, 2011224. Jump upÊ. Rivadavia,"Witchcraft",Allmusic,archivedfrom the original on February 16, 2011References[edit] Arnold, Denis(1983). "Consecutive Intervals", inThe New Oxford Companion to Music, Volume 1: A-J. Oxford University Press.ISBN 0-19-311316-3. Arnett, Jeffrey Jensen (1996).Metalheads: Heavy Metal Music and Adolescent Alienation. Westview Press.ISBN 0-8133-2813-6. Berelian, Essi (2005).Rough Guide to Heavy Metal. Rough Guides. Foreword by Bruce Dickinson of Iron Maiden.ISBN 1-84353-415-0. Berry, Mick and Jason Gianni (2003).The Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco. See Sharp Press.ISBN 1-884365-32-9. Blake, Andrew (1997).The Land Without Music: Music, Culture and Society in Twentieth-century Britain. Manchester University Press.ISBN 0-7190-4299-2. Buckley, Peter (2003).The Rough Guide to Rock. Rough Guides.ISBN 1-84353-105-4. Braunstein, P. and Doyle, M. W.,Imagine Nation: the American Counterculture of the 1960s and '70s(London: Routledge, 2002),ISBN 0-415-93040-5. Bukszpan, D. (2003),The Encyclopedia of Heavy Metal. Barnes & Noble.ISBN 0-7607-4218-9. Carson, Annette (2001).Jeff Beck: Crazy Fingers. Backbeat Books.ISBN 0-87930-632-7. Charlton, Katherine (2003).Rock Music Styles: A History. McGraw Hill.ISBN 0-07-249555-3. Christe, Ian(2003).Sound of the Beast: The Complete Headbanging History of Heavy Metal. HarperCollins.ISBN 0-380-81127-8. Christgau, Robert(1981). "Master of Reality(1971) [review]", inChristgau's Record Guide. Ticknor & Fields.ISBN 0-89919-026-X. Cook, Nicholas, and Nicola Dibben (2001). "Musicological Approaches to Emotion", inMusic and Emotion. Oxford University Press.ISBN 0-19-263188-8. Du Noyer, Paul (ed.) (2003).The Illustrated Encyclopedia of Music. Flame Tree.ISBN 1-904041-70-1 Ekeroth, Daniel (2011),Swedish Death Metal. Bazillion Points.ISBN 978-0-9796163-1-0 Ewing, Charles Patrick, and Joseph T. McCann (2006).Minds on Trial: Great Cases in Law and Psychology. Oxford University Press.ISBN 0-19-518176-X. Fast, Susan (2001).In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford University Press.ISBN 0-19-511756-5. Fast, Susan (2005). "Led Zeppelin and the Construction of Masculinity", inMusic Cultures in the United States, ed. Ellen Koskoff. Routledge.ISBN 0-415-96588-8. Guibert, Grme, and Fabien Hein (ed.) (2007), "Les Scnes Metal. Sciences sociales et pratiques culturelles radicales",Volume! La revue des musiques populaires, n5-2, Bordeaux: ditions Mlanie Seteun.ISBN 978-2-913169-24-1. Harrison, Thomas (2011).Music of the 1980s. ABC-CLIO.ISBN 978-0-313-36599-7 Hatch, David, and Stephen Millward (1989).From Blues to Rock: An Analytical History of Pop Music. Manchester University Press.ISBN 0-7190-2349-1. Kahn-Harris, Keith and Fabien Hein (2007), "Metal studies: a bibliography",Volume! La revue des musiques populaires, n5-2, Bordeaux: ditions Mlanie Seteun.ISBN 978-2-913169-24-1. Kennedy, Michael (1985).The Oxford Dictionary of Music. Oxford University Press.ISBN 0-19-311333-3. Leguay, Stphane (2006). "Metal Gothique", inCarnets Noirs, ditions E-dite, 3rd edition,ISBN 2-84608-176-X. McCleary, John Bassett (2004).The Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s. Ten Speed Press.ISBN 1-58008-547-4. McMichael, Joe (2004).The Who Concert File. Omnibus Press.ISBN 1-84449-009-2. Moynihan, Michael, and Dirik Sderlind (1998).Lords of Chaos(2nd ed.). Feral House.ISBN 0-922915-94-6. Nicholls, David(1998).The Cambridge History of American Music. Cambridge University Press.ISBN 0-521-45429-8 O'Neil, Robert M. (2001).The First Amendment and Civil Liability. Indiana University Press.ISBN 0-253-34033-0. Pareles, Jon, and Patricia Romanowski (eds.) (1983).The Rolling Stone Encyclopedia of Rock & Roll. Rolling Stone Press/Summit Books.ISBN 0-671-44071-3. Phillipov, Michelle (2012).Death Metal and Music Criticism: Analysis at the LimitsLexington Books.ISBN 978-0-7391-6459-4 Pillsbury, Glenn T. (2006).Damage Incorporated: Metallica and the Production of Musical Identity. Routledge. Sadie, Stanley(1980). "Consecutive Fifth, Consecutive Octaves", inThe New Grove Dictionary of Music and Musicians(1st ed.). MacMillan.ISBN 0-333-23111-2. Schonbrun, Marc (2006).The Everything Guitar Chords Book. Adams Media.ISBN 1-59337-529-8. Sharpe-Young, Garry (2007).Metal: The Definitive Guide. Jawbone Press.ISBN 978-1-906002-01-5. Strong, Martin C. (2004).The Great Rock Discography. Canongate.ISBN 1-84195-615-5. Thompson, Graham (2007).American Culture in the 1980s. Edinburgh University Press.ISBN 0-7486-1910-0. Wagner, Jeff (2010).Mean Deviation: Four Decades of Progressive Heavy Metal.Bazillion Points.ISBN 978-0-9796163-3-4. Walser, Robert(1993).Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press.ISBN 0-8195-6260-2. Waksman, Steve (2009).This Ain't The Summer of Love: Conflict and Crossover in Heavy Metal and Punk. University of California Press.ISBN 0-520-25310-8. Weinstein, Deena (1991).Heavy Metal: A Cultural Sociology. Lexington.ISBN 0-669-21837-5. Revised edition: (2000).Heavy Metal: The Music and its Culture. Da Capo.ISBN 0-306-80970-2. Wilkerson, Mark Ian (2006).Amazing Journey: The Life of Pete Townshend. Bad News Press.ISBN 1-4116-7700-5. van Zoonen, Liesbet (2005).Entertaining the Citizen: When Politics and Popular Culture Converge. Rowman & Littlefield.ISBN 0-7425-2906-1. Wiederhorn, Jon.Louder Than Hell: The Definitive Oral History of Metal.It Books, 14 May 2013ISBN 978-0-06-195828-1

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