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englis Etymology The origin of the term heavy metal in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy. An early use of the term in modern popular culture was by countercultural writer William S. Burroughs. His 1962 novel The Soft Machine includes a character known as "Uranian Willy, the Heavy Metal Kid." Burroughs's next novel, Nova Express (1964), develops the theme, using heavy metal as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music."[46] Metal historian Ian Christe describes 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.[47] The word "heavy" in this sense was a basic element of beatnik and later countercultural slang, and references to "heavy music"—typically slower, more amplified variations of standard pop fare—were already common by the mid-1960s. Iron Butterfly's debut album, released in early 1968, was titled Heavy. The first recorded use of heavy metal in a song lyric is in Steppenwolf's "Born to Be Wild," also released that year:[48] "I like smoke and lightning/Heavy metal thunder/Racin' with the wind/And the feelin' that I'm under." A late, and disputed, claim about the source of the term was made by "Chas" Chandler, former manager of the Jimi Hendrix Experience. In a 1995 interview on the PBS program Rock and Roll, he asserted that heavy metal "was a term originated in a New York Times article reviewing a Jimi Hendrix performance," in which the author likened the event to "listening to heavy metal falling from the sky." A source for Chandler's claim has never been found. The first documented uses of the phrase to describe a type of rock music are from reviews by critic Mike Saunders. In the November 12, 1970, issue of Rolling Stone, he commented on an album put out the previous year by the British band Humble 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 release as "more of the same 27th-rate heavy metal crap."[49] In a review of Sir Lord Baltimore's Kingdom Come in the May 1971 Creem, Saunders wrote, "Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book."[50] Creem critic Lester Bangs is credited with popularizing the term via his early 1970s essays on bands such as Led Zeppelin and Black Sabbath.[51] Through the decade, heavy metal was used by certain critics as a virtually automatic putdown. In 1979, lead New York Times popular music critic John Rockwell described what he called "heavy-metal rock" as "brutally aggressive music played mostly for minds clouded by drugs,"[52] and, in a different article, as "a crude exaggeration of rock basics that appeals to white teenagers."[53] 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.[54] For example, the 1983 Rolling Stone Encyclopedia of Rock & Roll includes this passage: "known for its aggressive blues-based hard-rock style, Aerosmith was the top American heavy-metal band of the mid-Seventies."[55] Few would now characterize Aerosmith's classic sound, with its clear links to traditional rock and roll, as "heavy metal." Even some acts closely identified with the emergence of the genre, such as Led Zeppelin and Deep Purple, are not considered heavy metal bands by some in the present-day metal community. [edit] History [edit] Antecedents: mid-1960s American blues music was a major influence on the early British rockers. Bands like The Rolling Stones and The Yardbirds recorded covers of many classic blues songs, using electric guitar where many of the originals had used acoustic and sometimes speeding up the tempo. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy metal: At the core was a loud, distorted guitar style, built around power chords.[56] The Kinks played a major role in popularizing this sound with their 1964 hit "You Really Got Me."[57] A significant contributor to the emerging guitar sound was the feedback facilitated by the new generation of amplifiers. In addition to The Kinks' Dave Davies, other guitarists such as The Who's Pete Townshend and the Tridents' Jeff Beck were experimenting with feedback.[58] 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.[59] 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.[60] Simultaneous advances in amplification and recording technology made it possible to successfully capture the power of this heavier approach on record. The combination of blues-rock with psychedelic rock formed much of the original basis for heavy metal.[61] One of the most influential bands in forging the merger of genres was the power trio Cream, who derived a massive, heavy sound from unison riffing between guitarist Eric Clapton and bassist Jack Bruce, as well as Ginger Baker's double bass drumming.[62] Their first two LPs, Fresh Cream (1966) and Disraeli 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.[63] [edit] Origins: late 1960s and early 1970s Led Zeppelin performing in June 1969 for the French TV show Tous en scène. Led Zeppelin performing in June 1969 for the French TV show Tous en scène. In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco band Blue Cheer released a cover of Eddie Cochran's classic "Summertime Blues," from their debut album Vincebus Eruptum, that many consider the first true heavy metal recording.[64] The same month, Steppenwolf released its self-titled debut album, including "Born to Be Wild," with its "heavy metal" lyric. In July, another two epochal records came out: The Yardbirds' "Think About It"—B-side of the band's last single—with a performance by guitarist Jimmy Page anticipating the metal sound he would soon make famous; and Iron Butterfly's In-A-Gadda-Da-Vida, with its 17-minute-long title track, a prime candidate for first-ever heavy metal album. In August, The Beatles' single version of "Revolution," with its redlined guitar and drum sound, set new standards for distortion in a top-selling context. The Jeff Beck Group, whose leader had preceded Page as The Yardbirds' guitarist, released its debut record that same month: Truth featured some of the "most molten, barbed, downright funny noises of all time," breaking ground for generations of metal ax-slingers.[65] In October, Page's new band, Led Zeppelin, made its live debut. In November, Love Sculpture, with guitarist Dave Edmunds, put out Blues Helping, featuring a pounding, aggressive version of Khachaturian's "Sabre Dance." The Beatles' so-called White Album, which also came out that month, included "Helter Skelter," then one of the heaviest-sounding songs ever released by a major band.[66] In January 1969, Led Zeppelin's self-titled debut album was released and reached number 10 on the Billboard album chart. In July, Zeppelin and a power trio with a Cream-inspired, but cruder sound, Grand Funk Railroad, played the Atlanta Pop Festival. That same month, another Cream-rooted trio led by Leslie West released Mountain, an album filled with heavy blues-rock guitar and roaring vocals. In August, the group—now itself dubbed Mountain—played an hour-long set at the Woodstock Festival.[67] Grand Funk's debut album, On Time, also came out that month. In the fall, Led Zeppelin II went to number 1 and the album's single "Whole Lotta Love" hit number 4 on the Billboard pop chart. The metal revolution was under way. Music samples: "Whole Lotta Love" Play sound Sample of "Whole Lotta Love" by Led Zeppelin, from Led Zeppelin II (1969). The heavy riff-based song, using lyrics culled from blues songwriter Willie Dixon, reached number four on the Billboard charts.[68] Problems listening to the file? See media help. Led Zeppelin defined central aspects of the emerging genre, with Page's highly distorted guitar style and singer Robert Plant's dramatic, wailing vocals.[69] Other bands, with a more consistently heavy, "purely" metal sound, would prove equally important in codifying the genre. The 1970 releases by Black Sabbath (Black Sabbath and Paranoid) and Deep Purple (Deep Purple in Rock) were crucial in this regard.[70] Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist Tony Iommi suffered 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.[71] Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist Ian Gillan and guitarist Ritchie Blackmore had led the band toward the developing heavy metal style.[72] In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "Black Night," respectively. That same year, three other British bands released debut albums in a heavy metal mode: Uriah Heep with Very 'eavy... Very 'umble, UFO with UFO 1, and Black Widow with Sacrifice. Wishbone Ash, though not commonly identified as metal, introduced a dual-lead/rhythm-guitar style that many metal bands of the following generation would adopt. The occult lyrics and imagery employed by Black Sabbath, Uriah Heep, and Black Widow would prove particularly influential; Led Zeppelin also began foregrounding such elements with its fourth album, released in 1971. Tony Iommi and Ozzy Osbourne of Black Sabbath onstage on January 29, 1973. Tony Iommi and Ozzy Osbourne of Black Sabbath onstage on January 29, 1973. On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy-metal band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring."[73] Other bands identified with metal emerged in the U.S., such as Dust (first LP in 1971), Blue Öyster Cult (1972), and Kiss (1974). In Germany, the Scorpions debuted with Lonesome Crow in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's Machine Head (1972), quit the group in 1975 to form Rainbow. These bands also built audiences via constant touring and increasingly elaborate stage shows.[74] 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 with High Voltage in 1975, is a prime example. The 1983 Rolling Stone encyclopedia entry begins, "Australian heavy-metal band AC/DC..."[75] 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."[76] 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."[77] In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's Judas Priest, which debuted with Rocka Rolla in 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 of Thin Lizzy, in the stagecraft of Alice Cooper, in the sizzling guitar and showy vocals of Queen, 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.[78] Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a nonbluesy, more cleanly metallic sound, was a major influence on later acts.[79] 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,[80] but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as "dull and decadent...dim-witted, amoral exploitation."[81] [edit] Mainstream: late 1970s and 1980s Iron Maiden were one of the central bands in the punk rock–inspired New Wave of British Heavy Metal. Iron Maiden were one of the central bands in the punk rock–inspired New Wave of British Heavy Metal. Punk rock emerged 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.[82] 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 yourself ethos. Underground metal bands began putting out cheaply recorded releases independently to small, devoted audiences.[83] British music papers such as the NME and Sounds began to take notice, with Sounds writer Geoff Barton christening the movement the "New Wave of British Heavy Metal."[84] NWOBHM bands including Iron Maiden, Motörhead, Saxon, Diamond Head, and Def Leppard reenergized the heavy metal genre. Following Judas Priest's lead, they toughened up the sound, reduced its blues elements, and emphasized increasingly fast tempos.[85] In 1980, NWOBHM broke into the mainstream, as albums by Iron Maiden, Motörhead, and Saxon reached the British top 10. The next year, Motörhead became the first band in the movement to top the UK charts with No Sleep 'til Hammersmith. Other NWOBHM bands, such as Diamond Head and Venom, though less successful would also have a significant influence on metal's development.[86] 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 folded in 1980. Black Sabbath was routinely upstaged in concert by its opening act, the Los Angeles band Van Halen.[87] Eddie Van Halen established himself as one of the leading metal guitar virtuosos of the era—his solo on "Eruption," from the band's self-titled 1978 album, is considered a milestone.[88] Randy Rhoads and Yngwie J. Malmsteen also became famed virtuosos, associated with what would be known as the neoclassical metal style. The adoption of classical elements had been spearheaded by Blackmore and the Scorpions' Uli Jon Roth; this next generation progressed to occasionally using classical nylon-stringed guitars, as Rhoads does on "Dee" from former Sabbath lead singer Ozzy Osbourne's first solo album, Blizzard of Ozz (1980). Music samples: "Purgatory" Play sound Sample of "Purgatory" by Iron Maiden, from the album Killers (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. Problems listening to the file? See media help. "Hot for Teacher" Play sound Sample of "Hot for Teacher" by Van Halen, from the album 1984 (1984). This sample demonstrates their sound's similarity to the glam metal style. Problems listening to the file? See media help. Inspired by Van Halen's success, a metal scene began to develop in Southern California, particularly Los Angeles, during the late 1970s. Based around the clubs of L.A.'s Sunset Strip, bands such as Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P. were influenced by traditional heavy metal of the earlier 1970s[89] and incorporated the theatrics (and sometimes makeup) of glam rock acts such as Alice Cooper and Kiss.[90] The lyrics of these glam metal bands characteristically emphasized hedonism and wild behavior. Musically, the style was distinguished by rapid-fire shred guitar solos, anthemic choruses, and a relatively pop-oriented melodic approach. The glam metal movement—along with similarly styled acts such as New York's Twisted Sister—became a major force in metal and the wider spectrum of rock music. In the wake of the New Wave of British Heavy Metal and Judas Priest's breakthrough British Steel (1980), heavy metal became increasingly popular in the early 1980s. Many metal artists benefited from the exposure they received on MTV, which began airing in 1981—sales often soared if a band's videos screened on the channel.[91] Def Leppard's videos for Pyromania (1983) made them superstars in America and Quiet Riot became the first domestic heavy metal band to top the Billboard chart with Metal Health (1983). One of the seminal events in metal's growing popularity was the 1983 US Festival in California, where the "heavy metal day" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest, and others drew the largest audiences of the three-day event.[92] Between 1983 and 1984, heavy metal went from an 8 percent to a 20 percent share of all recordings sold in the U.S.[93] Several major professional magazines devoted to the genre were launched, including Kerrang! (in 1981) and Metal Hammer (in 1984), as well as a host of fan journals. In 1985, Billboard declared, "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."[94] 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.'s Warrant and acts from the East Coast like Poison and Cinderella became major draws, while Mötley Crüe and Ratt remained very popular. Bridging the stylistic gap between hard rock and glam metal, New Jersey's Bon Jovi became enormously successful with its third album, Slippery When Wet (1986). 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 "lite metal" or "hair metal."[95] One band that reached diverse audiences was Guns N' Roses. In contrast to their glam metal contemporaries in L.A., they were seen as much rawer and more dangerous. With the release of their chart-topping Appetite for Destruction (1987), they "recharged and almost single-handedly sustained the Sunset Strip sleaze system for several years."[96] The following year, Jane's Addiction emerged from the same L.A. hard-rock club scene with its major label debut, Nothing's Shocking. Reviewing the album, Rolling Stone declared, "as much as any band in existence, Jane's Addiction is the true heir to Led Zeppelin."[97] 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's Winger and New Jersey's Skid Row sustained the popularity of the glam metal style.[39] [edit] Underground metal: 1980s, 1990s, and 2000s Many subgenres of heavy metal developed outside of the commercial mainstream during the 1980s.[98] Several attempts have been made to map the complex world of underground metal, most notably by the editors of the All Music Guide, as well as critic Garry 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 of doom and gothic metal. [edit] Thrash metal For more details on this topic, see Thrash metal Slayer's Reign in Blood (1986) was a landmark thrash metal album. Slayer's Reign in Blood (1986) was a landmark thrash metal album. Thrash metal emerged in the early 1980s under the influence of hardcore punk and the New Wave of British Heavy Metal,[99] particularly songs in the revved-up style known as speed metal. The movement began in the United States, with the leading scene in the San Francisco Bay Area. The sound developed by thrash groups was faster and more aggressive than that of the original metal bands and their glam metal successors.[99] Low-register guitar riffs are typically overlaid with shredding leads. Lyrics often express nihilistic views or deal with social issues using visceral, gory language. Thrash has been described as a form of "urban blight music" and "a palefaced cousin of rap."[100] Music sample: "Angel of Death" Play sound Slayer's "Angel of Death," from Reign in Blood (1986), which features the fast, technically complex musicianship typical of thrash metal Problems listening to the file? See media help. The subgenre was popularized by the "Big Four of Thrash": Anthrax, Megadeth, Metallica, and Slayer.[101] Three German bands, Kreator, Sodom, and Destruction, played a central role in bringing the style to Europe. Others, including San Francisco's Testament and Exodus, New Jersey's Overkill, and Brazil's Sepultura, also had a significant impact. While thrash began as an underground scene, and remained largely that for almost a decade, the leading bands in the movement began to reach a wider audience. Metallica brought the sound into the top 40 of the Billboard album chart in 1986 with Master of Puppets; two years later, the band's ...And Justice for All hit number 6, while Megadeth and Anthrax had top 40 records.[102] 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 described by Kerrang! as the "heaviest album of all time."[103] Two decades later, Metal Hammer named it the best album of the preceding twenty years.[104] Slayer attracted a following among far-right skinheads, and accusations of promoting violence and Nazi themes have dogged the band.[105] In the early 1990s, thrash achieved breakout success, challenging and redefining the metal mainstream.[106] Metallica's self-titled 1991 album topped the Billboard chart, Megadeth's Countdown to Extinction (1992) hit number 2, Anthrax and Slayer cracked the top 10, and albums by regional bands such as Testament and Sepultura entered the top 100. [edit] Death metal For more details on this topic, see Death metal Death's Chuck Schuldiner, "widely recognized as the father of death metal" Death's Chuck Schuldiner, "widely recognized as the father of death metal"[107] 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.[108] The NWOBHM band Venom was also an important progenitor. The death metal movement in both North America and Europe adopted and emphasized the elements of blasphemy and diabolism employed by such acts. Florida's Death and the Bay Area's Possessed are recognized as seminal bands in the style. Both groups have been credited with inspiring the subgenre's name, the latter via its 1984 demo Death Metal and the song "Death Metal," from its 1985 debut album Seven Churches (1985). Death metal utilizes the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with Z-grade slasher movie violence and Satanism.[109] Death metal vocals are typically bleak, involving guttural "death growls," high-pitched screaming, the "death rasp,"[110] and other uncommon techniques.[111] Complementing the deep, aggressive vocal style are downtuned, highly distorted guitars[109][110] and extremely fast percussion, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical. Music sample: "Suffocation" Play sound "Suffocation" by Obituary from the album Slowly We Rot (1989) Problems listening to the file? See media help. 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.[112] One major exception to this rule was Deicide's Glen Benton, who branded an inverted cross on his forehead and wore armor on stage. Morbid Angel adopted neo-fascist imagery.[112] These two bands, along with Death and Obituary, were leaders of the major death metal scene that emerged in Florida in the mid-1980s. In the UK, the related style of grindcore, led by bands such as Napalm Death and Extreme Noise Terror, emerged out of the anarcho-punk movement.[113] A large Scandinavian death metal scene, with bands such as Sweden's Entombed and Dismember, began to develop as well. Out of this evolved a melodic death metal sound, typified by Swedish bands such as In Flames and Dark Tranquillity and Finland's Children of Bodom and Kalmah. By the 1990s, American technical death metal bands such as Atheist and Cynic were showcasing astonishing levels of guitar speed and technicality. [edit] Black metal For more details on this topic, see Black metal Photo of the burned ruins of Fantoft stave church depicted on Burzum's 1992 EP Aske. Photo of the burned ruins of Fantoft stave church depicted on Burzum's 1992 EP Aske. The first wave of black metal emerged in Europe in the early and mid-1980s, led by Britain's Venom, Denmark's Mercyful Fate, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory. By the late 1980s, Norwegian bands such as Mayhem, Burzum, and Emperor were heading a second wave.[114] Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars frequently played with rapid tremolo picking, a "dark" atmosphere[111] and intentionally lo-fi production, with ambient noise and background hiss.[115] Satanic themes are common in black metal, though many bands take inspiration from ancient paganism, promoting a return to pre-Christian values.[116] Numerous black metal bands also "experiment with sounds from all possible forms of metal, folk, classical music, electronica and avant-garde."[110] Darkthrone drummer Fenriz explains, "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."[117] By 1990, Mayhem was regularly wearing corpsepaint; many other black metal acts also adopted the look. Bathory inspired the Viking metal and folk metal movements and Immortal brought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s,[118] with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandanavian metal underground shifted to support a black metal scene that resisted co-option.[119] According to Gorgoroth vocalist Gaahl, "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."[117] Music sample: "De Mysteriis Dom Sathanas" Play sound The title track of Mayhem's De Mysteriis Dom Sathanas (1994) Problems listening to the file? See media help. By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.[120] The 1993 murder of Mayhem's Euronymous by Burzum's Varg Vikernes provoked intensive media coverage.[117] Around 1996, when many in the scene felt the genre was stagnating,[121] several key bands, including Burzum and Finland's Beherit, moved toward an ambient style, while symphonic black metal was explored by Sweden's Tiamat and Switzerland's Samael.[122] In the late 1990s and early 2000s, Norway's Dimmu Borgir brought black metal closer to the mainstream,[123] as did Cradle of Filth, which Metal Hammer calls England's most successful metal band since Iron Maiden.[124] Critically lauded contemporary acts include Sweden's traditionalist Watain,[125] France's more experimental Deathspell Omega,[126] and America's one-man Xasthur.[127] [edit] Power metal For more details on this topic, see Power metal HammerFall, live in Milano, Italy, 2005. HammerFall, live in Milano, Italy, 2005. During the early 1990s, the power metal scene came together largely in reaction to the harshness of death and black metal.[128] Though a relatively underground style in North America, it enjoys wide popularity in Europe. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness."[129] The prototype for the sound was established in the mid- to late 1980s by Germany's Helloween, 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."[130] New York's Manowar and Virgin Steele were pioneering American bands. Yngwie J. Malmsteen's Rising Force (1984) was crucial in popularizing the ultrafast electric guitar style known as "shredding" as well as the merger of metal with classical music elements, developments that have strongly influenced power metal. Music sample: "Dark Avenger" Play sound Manowar's "Dark Avenger," from Battle Hymns (1982) Problems listening to the file? See media help. Traditional power metal bands like Sweden's HammerFall and England's DragonForce have a sound clearly indebted to the classic NWOBHM style.[131] Many power metal bands such as Florida's Kamelot, Italy's Rhapsody of Fire, and Russia's Catharsis feature 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's Angra and Argentina's Rata Blanca are popular. Closely related to power metal is progressive metal, which adopts the complex compositional approach of bands like Rush and King Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, Fates Warning, and Dream Theater. The mix of the progressive and power metal sounds is typified by New Jersey's Symphony X, whose guitarist Michael Romeo is among the most recognized of latter-day shredders.[132] [edit] Doom and gothic metal For more details on this topic, see Doom metal and Gothic metal ØØ Void (2000), drone doom band Sunn O)))'s debut. ØØ Void (2000), drone doom band Sunn O)))'s debut. Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's The Obsessed, Chicago's Trouble, and Sweden's Candlemass, 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[133] and Sabbath contemporaries such as Blue Cheer, Pentagram, and Black Widow.[134] The Melvins have also been a significant influence on doom metal and a number of its subgenres.[135] Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.[136] Music sample: "Country Doctor" Play sound "Country Doctor" from Crippled Lucifer (1998) by doom metal band Burning Witch Problems listening to the file? See media help. The 1991 release of Forest of Equilibrium, the debut album by UK band Cathedral, helped spark a new wave of doom metal. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic metal,[137] with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style.[138] Led by the Swedish band Therion's incorporation of classical elements, gothic metal in turn spawned a symphonic metal movement including Australia's Virgin Black, Finland's Nightwish, and the Netherlands' Within Temptation and After Forever. In the United States, sludge metal, mixing doom and hardcore, emerged in the late 1980s—Eyehategod and Crowbar were leaders a major Louisiana sludge scene. Early in the next decade, California's Kyuss and Sleep, inspired by the earlier doom metal bands, spearheaded the rise of stoner metal,[139] while Seattle's Earth helped develop the drone metal subgenre.[140] The late 1990s saw new bands form such as the Los Angeles–based Goatsnake, with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and dark ambient metal—the New York Times has compared their sound to an "Indian raga in the middle of an earthquake".[136] In 2006, Atlanta's Mastodon, whose equally hard-to-define style mixes progressive and sludge, broke into the Billboard top 40 with Blood Mountain. indonesia Etimologi Asal istilah logam berat dalam konteks musik tidak pasti. Ungkapan telah digunakan selama berabad-abad dalam bidang kimia dan metalurgi. Awal penggunaan istilah budaya populer modern ini oleh penulis countercultural William S. Burroughs. Novel 1962-nya Soft Machine mencakup sebuah karakter yang dikenal sebagai "Uranus Willy, Heavy Metal Kid." Burroughs novel berikutnya, Nova Express (1964), mengembangkan tema, dengan menggunakan logam berat sebagai metafora untuk obat-obatan adiktif: "Dengan penyakit dan obat-obatan orgasme yg tak ada kelamin serta bentuk-bentuk kehidupan parasit-Heavy Metal Orang Uranus terbungkus kabut biru dingin menguap catatan bank-And The Serangga Umat Minraud dengan musik metal. "[46] Ian Christe logam sejarawan menggambarkan apa komponen-komponen istilah berarti dalam "hippiespeak": "berat" adalah kira-kira sama dengan "ampuh" atau "mendalam," dan "logam" menunjuk jenis tertentu suasana hati, grinding dan berbobot seperti logam. [47] Kata "berat" dalam pengertian ini adalah unsur dasar dan kemudian countercultural hippi slang, dan referensi untuk "musik berat"-biasanya lebih lambat, lebih diperkuat variasi tarif-pop standar sudah umum pada pertengahan tahun 1960-an. Kupu-kupu besi debut album, dirilis pada awal 1968, berjudul Heavy. Tercatat pertama penggunaan logam berat dalam lirik lagu dalam Steppenwolf's "Born to Be Wild," juga dirilis tahun itu: [48] "Aku seperti asap dan kilat / Heavy metal thunder / Racin 'dengan angin / Dan feelin' bahwa aku di bawah. " Yang terlambat, dan diperselisihkan, klaim mengenai sumber istilah itu dibuat oleh "Chas" Chandler, mantan manajer Jimi Hendrix Experience. Dalam wawancara pada tahun 1995 program PBS Rock and Roll, ia menegaskan bahwa logam berat "adalah istilah berasal dari sebuah artikel New York Times Jimi Hendrix meninjau kinerja," di mana pengarang menyamakan acara untuk "mendengarkan logam berat yang jatuh dari langit. " Sebuah sumber klaim Chandler tidak pernah ditemukan. Didokumentasikan pertama penggunaan ungkapan untuk menggambarkan jenis musik rock adalah dari tinjauan oleh kritikus Mike Saunders. Pada November 12, 1970, edisi Rolling Stone, ia berkomentar dalam sebuah album memadamkan tahun sebelumnya oleh band Inggris Humble Pie: "Kemarin Apakah Aman Seperti, Amerika pertama mereka rilis, membuktikan bahwa Humble Pie dapat membosankan dalam banyak cara yang berbeda. Di sini mereka yang bising, unmelodic, logam berat-berat kotoran-band rock dengan keras dan berisik bagian diragukan lagi. Ada beberapa lagu bagus ... dan satu yang monumental tumpukan sampah. " Dia menggambarkan band terbaru, berjudul melepaskan diri sebagai "lebih dari 27-tingkat yang sama logam berat omong kosong." [49] Dalam tinjauan Sir Lord Baltimore's Kingdom Come di Mei 1971 Creem, Saunders menulis, "Sir Lord Baltimore tampaknya telah turun tepuk hampir semua logam berat terbaik trik dalam buku. "[50] Lester Bangs Creem kritikus dipuji dengan mempopulerkan istilah melalui awal tahun 1970-an esai-esai tentang band-band seperti Led Zeppelin dan Black Sabbath. [51] Melalui dekade , logam berat digunakan oleh kritikus tertentu sebagai merendahkan otomatis praktis. Pada tahun 1979, memimpin New York Times kritikus musik populer John Rockwell menggambarkan apa yang ia sebut "heavy-metal rock" sebagai "brutal agresif musik yang dimainkan sebagian besar untuk pikiran tertutup oleh narkoba," [52] dan, dalam artikel yang berbeda, sebagai "kasar berlebihan dasar batu putih yang menarik bagi remaja. "[53] Istilah "logam berat" dan "hard rock" sering kali digunakan secara bergantian, terutama dalam membahas band-band tahun 1970-an, suatu periode ketika sebagian besar istilah-istilah sinonim. [54] Sebagai contoh, tahun 1983 Rolling Stone Encyclopedia of Rock & Roll mencakup bagian ini: "dikenal dengan agresif blues berbasis gaya hard rock, Aerosmith adalah top heavy-metal pada pertengahan tahun tujuh puluhan." [55] Hanya sedikit akan sekarang ciri klasik Aerosmith suara, dengan jelas link ke batu tradisional and roll, sebagai "logam berat." Bahkan beberapa tindakan erat diidentifikasi dengan munculnya genre, seperti Led Zeppelin dan Deep Purple, tidak dianggap sebagai logam berat band oleh beberapa orang di zaman sekarang masyarakat logam. [sunting] Sejarah [sunting] pendahulunya: pertengahan 1960-an Musik blues american pengaruh besar pada awal rocker Inggris. Band-band seperti The Rolling Stones dan The Yardbirds dicatat mencakup banyak lagu-lagu blues klasik, dengan menggunakan gitar listrik di mana banyak dari aslinya yang digunakan akustik dan kadang-kadang mempercepat tempo. Ketika mereka bereksperimen dengan musik, Inggris berbasis blues band-dan Amerika Serikat dipengaruhi tindakan mereka pada gilirannya-mengembangkan apa yang akan menjadi keunggulan dari logam berat: Pada intinya adalah seorang keras, gaya gitar terdistorsi, dibangun di sekitar power chords. [ 56] The Kinks memainkan peran penting dalam mempopulerkan suara ini dengan 1.964 hit "Kau Sungguh Got Me." [57] Seorang kontributor yang signifikan atas munculnya suara gitar adalah umpan balik yang difasilitasi oleh generasi baru amplifier. Selain The Kinks 'Dave Davies, gitaris lain seperti The Status Pete Townshend dan Tridents' Jeff Beck yang bereksperimen dengan umpan balik. [58] Di mana blues-rock gaya permainan drum mulai keluar terutama sebagai ketukan acak sederhana kit kecil, drumer mulai menggunakan lebih berotot, kompleks, dan diperkuat pendekatan yang sesuai dan didengarkan terhadap gitar semakin keras. [59] Vocalists juga diubah teknik mereka dan meningkatkan ketergantungan mereka pada amplifikasi, sering menjadi lebih bergaya dan dramatis. Dalam hal volume tipis, terutama dalam live performance, The Who's "besar-keras-dinding-dari-Marshall" pendekatan mani. [60] Simultaneous amplifikasi dan kemajuan dalam teknologi rekaman yang memungkinkan untuk berhasil menangkap kekuatan pendekatan ini lebih berat tercatat. Kombinasi blues-rock Psychedelic rock dengan membentuk sebagian besar dasar asli logam berat. [61] Salah satu band paling berpengaruh dalam membentuk genre merger adalah kekuatan trio Cream, yang diturunkan secara besar-besaran, suara berat dari serempak riffing antara gitaris Eric Clapton dan bassist Jack Bruce, serta Ginger Baker's double bass drum. [62] pertama mereka dua piringan hitam, Fresh Cream (1966) dan Disraeli Gears (1967) dianggap sebagai prototipe penting untuk masa depan gaya. The Jimi Hendrix Experience's debut album, Are You Experienced (1967), juga sangat berpengaruh. Teknik virtuoso Hendrix akan ditiru oleh banyak gitaris metal dan album single paling sukses, "Purple Haze," diidentifikasi oleh beberapa orang sebagai logam berat pertama memukul. [63] [sunting] Asal: akhir 1960-an dan awal 1970-an Led Zeppelin tampil pada bulan Juni 1969 untuk acara TV Perancis Tous en scène. Led Zeppelin tampil pada bulan Juni 1969 untuk acara TV Perancis Tous en scène. Pada tahun 1968, suara yang akan menjadi dikenal sebagai logam berat mulai menyatu. Bahwa Januari, San Francisco band Blue Cheer merilis sebuah penutup klasik Eddie Cochran "Summertime Blues," dari album debut mereka Vincebus Eruptum, bahwa banyak mempertimbangkan logam berat sejati pertama rekaman. [64] Pada bulan yang sama, dirilis Steppenwolf diri berjudul debut album, termasuk "Born to Be Wild," dengan "logam berat" lyric. Pada bulan Juli, dua catatan dr jaman yg penting keluar: The Yardbirds ' "Think About It"-B-sisi band tunggal terakhir dengan kinerja oleh gitaris Jimmy Page mengantisipasi suara logam ia akan segera membuat terkenal dan Iron Butterfly's In - A-gadda-Da-Vida, dengan 17-menit-judul lagu lama, kandidat utama untuk pertama kalinya album logam berat. Pada bulan Agustus, The Beatles 'versi tunggal "Revolusi," dengan gitar dan drum redlined suara, menetapkan standar baru untuk distorsi dalam konteks terlaris. The Jeff Beck Group, pemimpin yang telah mendahului Page sebagai The Yardbirds 'gitaris, merilis debut bulan catatan yang sama: Kebenaran menampilkan beberapa "paling cair, berduri, sangat lucu suara sepanjang masa," dasar melanggar generasi kapak logam -slingers. [65] Pada bulan Oktober, Page band baru, Led Zeppelin, membuat debut yang hidup. Pada bulan November, Love Patung, dengan gitaris Dave Edmunds, Blues Membantu dipadamkan, menampilkan berdebar, versi agresif Khachaturian's "Sabre Dance." The Beatles 'apa yang disebut White Album, yang juga keluar bulan itu, termasuk "Helter Skelter," maka salah satu lagu yang terdengar terberat yang pernah dirilis oleh band besar. [66] Pada Januari 1969, Led Zeppelin's debut album dirilis dan mencapai nomor 10 di Billboard album chart. Pada bulan Juli, Zeppelin dan kekuatan trio dengan Cream-terinspirasi, tapi cruder suara, Grand Funk Railroad, memainkan Atlanta Pop Festival. Bulan yang sama, berakar Cream-lain trio dipimpin oleh Leslie West dirilis Mountain, sebuah album penuh dengan blues-rock berat gitar dan raungan vokal. Pada bulan Agustus, kelompok-sekarang sendiri dijuluki Mountain-bermain selama satu jam ditetapkan pada Festival Woodstock. [67] Grand Funk's debut album, On Time, juga keluar bulan itu. Pada musim gugur, Led Zeppelin II pergi ke nomor 1 dan album tunggal "Whole Lotta Love" hit nomor 4 di Billboard pop chart. Revolusi logam sedang berlangsung. Musik sampel: "Whole Lotta Love" Putar suara Sample of "Whole Lotta Love" by Led Zeppelin, dari Led Zeppelin II (1969). Riff berat berbasis lagu, menggunakan lirik diambil dari pencipta lagu blues Willie Dixon, mencapai nomor empat di tangga lagu Billboard. [68] Masalah mendengarkan file? Lihat media membantu. Led Zeppelin mendefinisikan aspek-aspek utama yang muncul genre, dengan Page's sangat terdistorsi gaya gitar dan penyanyi Robert Plant's dramatis, meraung vokal. [69] band lain, dengan berat yang lebih konsisten, "murni" suara logam, akan terbukti sama pentingnya dalam kodifikasi yang genre. Rilis tahun 1970 oleh Black Sabbath (Black Sabbath dan Paranoid) dan Deep Purple (Deep Purple di Rock) sangat krusial dalam hal ini. [70] Black Sabbath telah mengembangkan suara yang sangat berat sebagian karena kecelakaan industri gitaris Tony Iommi menderita sebelum cofounding band. Tidak dapat bermain normal, Iommi harus menyetel gitarnya ke bawah untuk lebih mudah mengeluh dan bergantung pada power chords dengan jari mereka yang relatif sederhana. [71] Deep Purple telah berfluktuasi antara gaya dalam tahun-tahun awal, tetapi dengan 1969 Ian Gillan vokalis dan gitaris Ritchie Blackmore memimpin band menuju mengembangkan gaya logam berat. [72] Pada tahun 1970, Black Sabbath dan Deep Purple mencetak hits besar chart Inggris dengan "Paranoid" dan "Black Night," masing-masing. Pada tahun yang sama, tiga band-band Inggris lainnya merilis album debutnya dalam modus logam berat: Uriah Heep dengan Sangat 'eavy ... Sangat 'umble, UFO dengan UFO 1, dan Black Widow dengan Pengorbanan. Wishbone Ash, meskipun tidak biasanya diidentifikasi sebagai logam, memperkenalkan gaya dual-lead/rhythm-guitar bahwa banyak band-band metal generasi berikut akan mengadopsi. Okultisme lirik dan citra yang dipekerjakan oleh Black Sabbath, Uriah Heep, dan Black Widow akan membuktikan terutama berpengaruh; Led Zeppelin juga mulai foregrounding elemen dengan album keempat, dirilis pada tahun 1971. Tony Iommi dan Ozzy Osbourne dari Black Sabbath di atas panggung pada 29 Januari 1973. Tony Iommi dan Ozzy Osbourne dari Black Sabbath di atas panggung pada 29 Januari 1973. Di sisi lain Atlantik, kecenderungan-kelompok pengaturan Grand Funk Railroad, "yang paling sukses secara komersial heavy-metal dari 1970 sampai mereka bubar pada tahun 1976, [mereka] yang didirikan tahun tujuh puluhan rumus sukses: terus-menerus melakukan tur." [ 73] band lainnya diidentifikasi dengan logam muncul di AS, seperti Dust (LP pertama pada tahun 1971), Blue Oyster Cult (1972), dan Kiss (1974). Di Jerman, Scorpions debut dengan Lonesome Crow pada tahun 1972. Blackmore, yang telah muncul sebagai virtuoso solo dengan Deep Purple Machine Head (1972), berhenti kelompok pada tahun 1975 untuk membentuk Rainbow. Band-band ini juga dibangun penonton melalui tur konstan dan semakin rumit pertunjukan panggung. [74] Seperti dijelaskan di atas, ada argumen tentang apakah ini dan band-band awal benar-benar memenuhi syarat sebagai "logam berat" atau hanya sebagai "hard rock." Mereka lebih dekat dengan akar musik blues atau menempatkan penekanan lebih besar pada sekarang melodi umumnya dianggap berasal dari label yang terakhir. AC / DC, yang debut dengan Tegangan Tinggi pada tahun 1975, adalah contoh utama. Rolling Stone tahun 1983 masuk bebas dimulai, "Australia band heavy-metal AC / DC ..."[ 75] Rock sejarawan Clinton Walker menulis," Memanggil AC / DC sebuah band heavy metal pada tahun tujuh puluhan ini sebagai tidak akurat seperti sekarang ini. ... [Mereka] adalah sebuah band rock'n'roll yang kebetulan cukup berat logam. "[76] Persoalannya tidak hanya salah satu dari pergeseran definisi, tetapi juga yang gigih perbedaan antara gaya musik dan penonton identifikasi: Ian Christe menggambarkan bagaimana band "menjadi batu loncatan yang menyebabkan sejumlah besar penggemar musik rock keras ke logam berat kebinasaan." [77] Dalam kasus tertentu, ada sedikit perdebatan. Setelah Black Sabbath, contoh utama berikutnya adalah Britain's Judas Priest, yang debut dengan Rocka Rolla pada tahun 1974. Dalam uraian Christe, Black Sabbath's penonton ... tersisa untuk mengais-ngais untuk suara dengan dampak yang serupa. Pada pertengahan 1970-an, estetika logam berat bisa melihat, seperti binatang mistis, di kompleks murung ganda bass dan gitar dari Thin Lizzy, di stagecraft dari Alice Cooper, pada gitar dan mencolok mendesis vokal Ratu, dan dalam menggelegar Rainbow pertanyaan abad pertengahan .... Judas Priest datang untuk menyatukan dan memperkuat beragam ini menyoroti dari hard rock's sonik palet. Untuk pertama kalinya, heavy metal menjadi genre sejati tersendiri. [78] Judas Priest Meskipun tidak punya top 40 album di Amerika Serikat sampai tahun 1980, bagi banyak itu adalah hari Sabat definitif pasca-band heavy metal; gitar kembarannya-serangan, yang menampilkan tempo cepat dan nonbluesy, lebih bersih suara metalik, adalah seorang besar pengaruh terhadap tindakan-tindakan kemudian. [79] Sementara logam berat semakin populer, sebagian besar kritikus tidak terpesona oleh musik. Keberatan terangkat ke adopsi logam tontonan visual dan simbol-simbol komersial lainnya buatan, [80] tetapi pelanggaran utama yang dirasakan adalah musik dan lirik kekosongan: meninjau sebuah Black Sabbath album pada awal tahun 1970-an, kritikus terkemuka Robert Christgau menggambarkannya sebagai "membosankan dan dekaden ... bodoh, amoral eksploitasi. "[81] [sunting] Mainstream: akhir 1970-an dan 1980-an Iron Maiden adalah salah satu pusat band dalam punk rock terinspirasi New Wave of British Heavy Metal. Iron Maiden adalah salah satu pusat band dalam punk rock terinspirasi New Wave of British Heavy Metal. Punk rock muncul pada pertengahan 1970-an sebagai reaksi terhadap kondisi sosial kontemporer dan juga apa yang dianggap sebagai overindulgent, overproduced musik rock saat itu, termasuk logam berat. Penjualan catatan logam berat menurun tajam pada akhir tahun 1970-an dalam menghadapi punk, disko, dan lebih mainstream rock. [82] Dengan terpaku pada major label punk, banyak yang lebih baru band-band heavy metal Inggris yang diilhami oleh gerakan yang agresif, high - energi suara dan "lo-fi", melakukannya sendiri etos. Band-band metal underground memadamkan murah mulai dicatat rilis secara independen kecil, setia khalayak. [83] kertas musik Inggris seperti NME dan Suara mulai memperhatikan, dengan penulis Geoff Barton Sounds pembaptisan gerakan "New Wave of British Heavy Metal. "[84] NWOBHM band termasuk Iron Maiden, Motörhead, Saxon, Diamond Head, dan Def Leppard reenergized genre metal yang berat. Judas Priest Setelah memimpin, mereka tangguh sampai suara, mengurangi unsur blues, dan menekankan semakin cepat tempo. [85] Pada tahun 1980, NWOBHM masuk ke arus utama, seperti album oleh Iron Maiden, Motörhead, dan Saxon mencapai British top 10. Tahun berikutnya, Motörhead menjadi band pertama dalam gerakan ke atas tangga lagu Inggris dengan No Sleep 'til Hammersmith. NWOBHM lain band, seperti Diamond Head dan Venom, meskipun kurang berhasil juga akan memiliki pengaruh yang signifikan pada pengembangan logam. [86] Generasi pertama adalah penyerahan metal pusat perhatian. Deep Purple telah putus segera setelah kepergian Blackmore pada tahun 1975, dan Led Zeppelin dilipat pada tahun 1980. Black Sabbath dikalahkan secara rutin dalam konser oleh pembuka, Los Angeles band Van Halen. [87] Eddie Van Halen membuktikan dirinya sebagai salah satu virtuoso gitar metal terkemuka dari era-solo di "Letusan," dari band itu sendiri -1978 berjudul album, dianggap sebagai tonggak sejarah. [88] Randy Rhoads dan Yngwie J. Malmsteen juga menjadi terkenal virtuoso, berhubungan dengan apa yang akan dikenal sebagai neoklasik metal. Adopsi unsur-unsur klasik telah dipelopori oleh Blackmore dan Scorpions 'Uli Jon Roth; ini berlanjut ke generasi berikutnya kadang-kadang menggunakan senar nilon klasik gitar, sebagai Rhoads tidak pada "Dee" dari Sabat mantan vokalis Ozzy Osbourne album solo pertama, Badai Salju of Ozz (1980). Musik sampel: "Numata" Putar suara Contoh dari "api pencucian" oleh Iron Maiden, dari album Killers (1981). Iron Maiden awal suara adalah campuran dari punk rock dan heavy metal kecepatan gitar khas dari New Wave of British Heavy Metal. Masalah mendengarkan file? Lihat media membantu. "Hot for Teacher" Putar suara Contoh dari "Hot for Teacher" by Van Halen, dari album 1984 (1984). Sampel ini menunjukkan suara mereka yang kesamaan dengan gaya glam metal. Masalah mendengarkan file? Lihat media membantu. Terinspirasi oleh keberhasilan Van Halen, adegan logam mulai berkembang di California Selatan, terutama Los Angeles, pada akhir 1970-an. Berbasis di klub LA's Sunset Strip, band-band seperti Quiet Riot, Ratt, Mötley Crüe, dan WASP dipengaruhi oleh logam berat tradisional dari awal tahun 1970-an [89] dan memasukkan drama (dan kadang-kadang make-up) dari glam rock tindakan seperti Alice Cooper dan Kiss. [90] Lirik glam metal ini menekankan khas perilaku hedonisme dan liar. Musik, gaya ini dibedakan oleh api cepat rusak gitar solo, anthemic chorus, dan yang relatif pop-pendekatan yang berorientasi pada melodi. Glam metal yang gerakan-bersama dengan tindakan ditata serupa seperti New York Twisted Sister-menjadi kekuatan utama dalam logam dan spektrum yang lebih luas musik rock. Dalam bangun dari New Wave of British Heavy Metal dan terobosan Judas Priest British Steel (1980), logam berat menjadi semakin populer di awal 1980-an. Banyak seniman logam manfaat dari pemaparan yang mereka terima di MTV, yang mulai ditayangkan pada 1981-penjualan sering melambung jika sebuah band's videos ditayangkan di saluran. [91] Def Leppard's video untuk Pyromania (1983) membuat mereka superstar di Amerika dan Quiet Riot menjadi domestik pertama band heavy metal ke atas chart Billboard dengan Metal Health (1983). Salah satu peristiwa seminalis logam tumbuh dalam popularitas adalah tahun 1983 US Festival di California, dimana "logam berat hari" featuring Ozzy Osbourne, Van Halen, Scorpions, Mötley Crüe, Judas Priest, dan lain-lain menarik penonton terbesar dari tiga hari acara. [92] Antara tahun 1983 dan 1984, logam berat pergi dari 8 persen ke 20 persen saham dari semua rekaman yang dijual di Amerika Serikat [93] Beberapa majalah profesional utama ditujukan untuk genre diluncurkan, termasuk Kerrang! (tahun 1981) dan Metal Hammer (tahun 1984), serta sejumlah fan jurnal. Pada tahun 1985, Billboard menyatakan, "Metal telah memperluas basis pendengar. Logam musik tidak lagi eksklusif domain remaja laki-laki. Penonton logam telah menjadi tua (kuliah-umur), lebih muda (pra-remaja), dan lebih perempuan." [94] Pada pertengahan 1980-an, glam metal adalah kehadiran dominan di chart US, musik televisi, dan rangkaian konser arena. Band-band baru seperti LA Waran dan bertindak dari Pantai Timur seperti Poison dan Cinderella menjadi menarik besar, sementara Mötley Crüe dan Ratt tetap sangat populer. Gaya menjembatani kesenjangan antara hard rock dan glam metal, New Jersey's Bon Jovi menjadi sangat sukses dengan album ketiga, Slippery When Wet (1986). Pada tahun 1987, MTV meluncurkan acara, Headbanger's Ball, yang ditujukan khusus untuk logam berat video. Namun, penonton logam mulai factionalize, dengan mereka yang banyak adegan logam bawah tanah yang lebih ekstrim memihak suara dan meremehkan gaya populer sebagai "lite logam" atau "rambut logam." [95] Satu band yang mencapai audiens yang beragam Guns N 'Roses. Berbeda dengan mereka sezaman glam metal di LA, mereka dilihat sebagai rawer banyak dan lebih berbahaya. Dengan mereka merilis chart-topping Appetite for Destruction (1987), mereka "diisi ulang dan hampir seorang diri menopang Sunset Strip sistem pekerjaan buruk selama beberapa tahun." [96] Pada tahun berikutnya, Jane's Addiction muncul dari LA yang sama keras adegan klub rock major label dengan debut, Nothing's Shocking. Meninjau album, Rolling Stone menyatakan, "seperti halnya band ada, Jane's Addiction adalah pewaris sejati Led Zeppelin." [97] Kelompok ini salah satu yang pertama kali diidentikkan dengan "alternatif logam" tren yang akan datang ke permukaan di dekade berikutnya. Sementara itu, band-band baru seperti New York Winger dan New Jersey's Skid Row berkelanjutan popularitas glam metal. [39] [sunting] Underground logam: 1980-an, 1990-an, dan 2000-an Banyak subgenre heavy metal yang dikembangkan di luar arus utama komersial selama 1980-an. [98] Beberapa usaha telah dilakukan untuk peta dunia yang kompleks bawah tanah logam, terutama oleh para editor All Music Guide, serta kritikus Garry Sharpe - muda. Sharpe-Young multivolume memisahkan logam bebas bawah tanah ke dalam lima kategori utama: thrash metal, death metal, black metal, power metal, dan subgenre terkait malapetaka dan gothic metal. [sunting] Thrash metal Untuk detail lebih lanjut tentang topik ini, lihat Thrash metal Slayer's Reign in Blood (1986) adalah album metal thrash tengara. Slayer's Reign in Blood (1986) adalah album metal thrash tengara. Thrash metal muncul pada awal tahun 1980-an di bawah pengaruh hardcore punk dan New Wave of British Heavy Metal, [99] terutama lagu-lagu dalam gaya revved-up kecepatan dikenal sebagai logam. Gerakan dimulai di Amerika Serikat, dengan adegan terkemuka di San Francisco Bay Area. Suara yang dikembangkan oleh kelompok-kelompok thrash lebih cepat dan lebih agresif daripada yang asli metal dan glam metal penerus mereka. [99] rendah mendaftar riff gitar biasanya dilapis dengan memotong-motong petunjuk. Lyrics nihilistik sering mengungkapkan pandangan atau berurusan dengan isu-isu sosial menggunakan mendalam, bahasa berdarah. Thrash telah digambarkan sebagai bentuk "penyakit perkotaan musik" dan "sepupu palefaced rap." [100] Musik sampel: "Malaikat Maut" Putar suara Slayer's "Malaikat Maut," dari Reign in Blood (1986), yang menampilkan cepat, secara teknis kompleks khas musisi metal thrash Masalah mendengarkan file? Lihat media membantu. The subgenre ini dipopulerkan oleh "Big Four of Thrash": Anthrax, Megadeth, Metallica, dan Slayer. [101] Tiga band Jerman, Kreator, Sodom, dan Pemusnahan, memainkan peran sentral dalam membawa gaya ke Eropa. Lain, termasuk Perjanjian San Fransisco dan Keluaran, New Jersey's Overkill, dan Brazil's Sepultura, juga memiliki dampak yang signifikan. Sementara thrash dimulai sebagai sebuah adegan bawah tanah, dan tetap sebagian besar yang selama hampir satu dekade, band-band terkemuka dalam gerakan mulai menjangkau khalayak yang lebih luas. Metallica membawa suara ke atas 40 dari chart album Billboard pada tahun 1986 dengan Master of Puppets; dua tahun kemudian, band ini ... Dan Keadilan untuk Semua hit nomor 6, sedangkan Megadeth dan Anthrax telah atas 40 records. [102] Meskipun kurang sukses secara komersial dibanding The Big Four, Slayer merilis salah satu catatan definitif genre: Reign in Blood (1986) digambarkan oleh Kerrang! sebagai "album terberat sepanjang masa." [103] Dua dekade kemudian, Metal Hammer menamai album terbaik dua puluh tahun sebelumnya. [104] Slayer menarik pengikut di kalangan skinhead jauh-kanan, dan tuduhan mempromosikan kekerasan dan Nazi tema telah mantap band. [105] Pada awal 1990-an, thrash pelarian mencapai kesuksesan, menantang dan mendefinisikan ulang arus utama logam. [106] Metallica's self-1991 berjudul album puncak chart Billboard, Megadeth's Countdown to Extinction (1992) hit nomor 2 , Anthrax dan Slayer retak atas 10, dan album oleh band-band daerah seperti Perjanjian dan Sepultura memasuki atas 100. [sunting] Death metal Untuk detail lebih lanjut tentang topik ini, lihat Death metal Kematian Chuck Schuldiner, "secara luas diakui sebagai bapak death metal" Kematian Chuck Schuldiner, "secara luas diakui sebagai bapak death metal" [107] Thrash segera mulai berkembang dan terbagi menjadi genre metal yang lebih ekstrem. "Slayer's musik itu secara langsung bertanggung jawab atas kebangkitan death metal," menurut MTV News. [108] The band Venom NWOBHM juga nenek moyang penting. Logam kematian gerakan di Amerika Utara dan Eropa diadopsi dan menekankan unsur-unsur kultus setan menghujat dan dipekerjakan oleh tindakan seperti itu. Florida Kematian dan Bay Area's Dimiliki yang dikenali sebagai band mani dalam gaya. Kedua kelompok telah dikreditkan dengan inspirasi pada nama subgenre, yang terakhir melalui demo para 1984 Death Metal dan lagu "Death Metal," dari album perdana 1985 Tujuh Gereja-gereja (1985). Death metal memanfaatkan kecepatan dan agresi dari kedua thrash dan hardcore, digabung dengan lirik sibuk dengan Z-grade film pedang kekerasan dan Satanisme. [109] Death metal biasanya vokal suram, melibatkan parau "kematian menggeram," menjerit bernada tinggi, yang "kematian kukur," [110] dan teknik-teknik umum lainnya. [111] Melengkapi dalam, agresif adalah gaya vokal downtuned, sangat menyimpang gitar [109] [110] dan perkusi sangat cepat, sering kali dengan cepat double bass drum dan "dinding suara "ledakan gaya ketukan. Sering tempo dan waktu perubahan tanda tangan dan sinkopasi juga khas. Musik sampel: "Suffocation" Putar suara "Suffocation" oleh Obituary dari album Perlahan Kami Rot (1989) Masalah mendengarkan file? Lihat media membantu. Death metal, seperti thrash metal, umumnya menolak drama gaya logam sebelumnya, bukannya memilih untuk penampilan sehari-hari merobek celana jins dan jaket kulit biasa. [112] Salah satu pengecualian utama untuk aturan ini adalah Deicide's Glen Benton, yang bermerek salib terbalik dahi dan memakai baju besi di atas panggung. Morbid Angel mengadopsi citra neo-fasis. [112] Kedua band, bersama dengan Maut dan Obituary, adalah pemimpin dari logam kematian utama adegan yang muncul di Florida pada pertengahan 1980-an. Di Inggris, gaya terkait grindcore, dipimpin oleh band-band seperti Napalm Death dan Extreme Noise Terror, muncul dari gerakan anarko-punk. [113] Sebagian besar death metal Skandinavia adegan, dengan band-band seperti dimakamkan di Swedia dan memotong-motong, mulai berkembang juga. Keluar dari berevolusi death metal melodis suara, ditandai oleh Swedia band-band seperti In Flames dan Dark Tranquillity dan Finlandia's Children of Bodom dan Kalmah. Pada tahun 1990-an, American death metal band teknis seperti Atheist dan Sinis yang menampilkan tingkat gitar menakjubkan kecepatan dan teknis. [sunting] Black metal Untuk detail lebih lanjut tentang topik ini, lihat Black metal Foto reruntuhan yang terbakar gereja paranada Fantoft digambarkan di EP 1992 Burzum's Aske. Foto reruntuhan yang terbakar gereja paranada Fantoft digambarkan di EP 1992 Burzum's Aske. Gelombang pertama logam hitam muncul di Eropa pada awal dan pertengahan 1980-an, yang dipimpin oleh Britain's Venom, denmark's Mercyful Takdir, Swiss's Hellhammer dan Celtic Frost, dan Swedia's Bathory. Pada akhir 1980-an, band-band Norwegia seperti Mayhem, Burzum, dan Kaisar sedang menuju gelombang kedua. [114] Black metal bervariasi dalam gaya dan kualitas produksi, meskipun kebanyakan band menjerit dan menggeram menekankan vokal, gitar distorsi yang sangat sering bermain dengan cepat tremolo memilih, sebuah "gelap" suasana [111] dan sengaja lo-fi produksi, dengan latar belakang Ambient kebisingan dan mendesis. [115] Setan tema yang umum di black metal, walaupun banyak band mengambil inspirasi dari paganisme kuno, mempromosikan kembali ke pra -nilai-nilai Kristen. [116] Banyak band-band black metal juga "bereksperimen dengan suara-suara dari semua kemungkinan bentuk logam, folk, musik klasik, elektronika dan avant-garde." [110] Darkthrone drumer Fenriz menjelaskan, "Hal itu ada hubungannya dengan produksi, lirik, cara mereka berpakaian dan komitmen untuk membuat jelek, mentah, barang muram. Tak ada suara generik. "[117] Pada tahun 1990, Mayhem secara teratur memakai corpsepaint; banyak tindakan logam hitam juga mengadopsi melihat. Bathory terinspirasi Viking logam logam dan gerakan rakyat dan Immortal membawa ledakan beats sampai kedepan. Beberapa band di Skandinavia adegan logam hitam menjadi cukup berkaitan dengan kekerasan di awal 1990-an, [118] dengan Mayhem dan Burzum terkait dengan membakar gereja. Hype komersial tumbuh sekitar death metal menghasilkan reaksi, mulai di Norwegia, banyak dari logam Scandanavian bawah tanah bergeser untuk mendukung adegan logam hitam yang menolak co-opsi. [119] Menurut vokalis Gorgoroth Gaahl, "Black Metal tidak pernah dimaksudkan untuk mencapai penonton .... [Kami] mempunyai musuh bersama yang, tentu saja, Kristen, sosialisme dan segala sesuatu yang melambangkan demokrasi. "[117] Musik sampel: "De Mysteriis Dom Sathanas" Putar suara Judul lagu dari Mayhem De Mysteriis Dom Sathanas (1994) Masalah mendengarkan file? Lihat media membantu. Pada tahun 1992, adegan-adegan logam hitam telah mulai muncul di daerah-daerah di luar Skandinavia, termasuk Jerman, Perancis, dan Polandia. [120] pembunuhan tahun 1993 Mayhem Øystein Aarseth oleh Burzum's Varg Vikernes intensif memprovokasi liputan media. [117] Sekitar tahun 1996, ketika banyak di adegan merasa genre itu stagnan, [121] beberapa band kunci, termasuk Burzum dan Finlandia's Beherit, bergerak ke arah gaya ambien, sementara simfoni black metal ini dieksplorasi oleh Tiamat dan Swedia Swiss Samael. [122] Pada akhir tahun 1990-an dan awal 2000-an , Norwegia's Dimmu Borgir logam hitam membawa lebih dekat ke mainstream, [123] seperti yang dilakukan Cradle of Filth, Metal Hammer panggilan yang paling sukses di Inggris band metal sejak Iron Maiden. [124] genting memuji pertunjukan kontemporer tradisionalis termasuk Swedia Watain, [125] Perancis's lebih eksperimental Deathspell Omega, [126] dan Amerika satu orang Xasthur. [127] [sunting] Power metal Untuk detail lebih lanjut tentang topik ini, lihat Power metal HammerFall, tinggal di Milano, Italia, 2005. HammerFall, tinggal di Milano, Italia, 2005. Pada awal 1990-an, power metal, adegan datang bersama sebagian besar sebagai reaksi kerasnya kematian dan black metal. [128] Meskipun gaya yang relatif bawah tanah di Amerika Utara, ini menikmati popularitas yang luas di Eropa. Power metal berfokus pada optimis, epik melodi dan tema yang "menarik pendengar rasa keberanian dan keindahan." [129] Prototipe suara didirikan pada pertengahan sampai akhir 1980-an oleh Jerman's Helloween, yang mengkombinasikan kekuatan riff, pendekatan melodius, dan bernada tinggi, "bersih" gaya bernyanyi band-band seperti Judas Priest dan Iron Maiden dengan thrash kecepatan dan energi, "crystalliz [ing] the sonic bahan-bahan dari apa yang sekarang dikenal sebagai power metal." [130] New York Manowar dan Virgin Steele adalah perintis band-band Amerika. Yngwie J. Malmsteen 's Rising Force (1984) sangat penting dalam mempopulerkan gaya ultrafast gitar listrik yang dikenal sebagai "merobek-robek" serta merger antara logam dengan unsur-unsur musik klasik, perkembangan yang sudah sangat mempengaruhi power metal. Musik sampel: "Dark Avenger" Putar suara Manowar's "Dark Avenger," dari Battle Hymns (1982) Masalah mendengarkan file? Lihat media membantu. Tradisional power metal, band-band seperti HammerFall Swedia dan Inggris DragonForce memiliki suara dengan jelas berutang budi pada gaya klasik NWOBHM. [131] Banyak power metal, band-band seperti Florida Kamelot, Italia, Rhapsody of Fire, dan Rusia's Katarsis fitur keyboard berbasis "simfoni" suara , kadang-kadang menggunakan orkestra dan penyanyi opera. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's Rata Blanca are popular. Closely related to power metal is progressive metal, which adopts the complex compositional approach of bands like Rush and King Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, Fates Warning, and Dream Theater. The mix of the progressive and power metal sounds is typified by New Jersey's Symphony X, whose guitarist Michael Romeo is among the most recognized of latter-day shredders.[132] [edit] Doom and gothic metal For more details on this topic, see Doom metal and Gothic metal ØØ Void (2000), drone doom band Sunn O)))'s debut. ØØ Void (2000), drone doom band Sunn O)))'s debut. Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's The Obsessed, Chicago's Trouble, and Sweden's Candlemass, 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[133] and Sabbath contemporaries such as Blue Cheer, Pentagram, and Black Widow.[134] The Melvins have also been a significant influence on doom metal and a number of its subgenres.[135] Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.[136] Music sample: "Country Doctor" Play sound "Country Doctor" from Crippled Lucifer (1998) by doom metal band Burning Witch Problems listening to the file? Lihat media membantu. The 1991 release of Forest of Equilibrium, the debut album by UK band Cathedral, helped spark a new wave of doom metal. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic metal,[137] with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style.[138] Led by the Swedish band Therion's incorporation of classical elements, gothic metal in turn spawned a symphonic metal movement including Australia's Virgin Black, Finland's Nightwish, and the Netherlands' Within Temptation and After Forever. In the United States, sludge metal, mixing doom and hardcore, emerged in the late 1980s—Eyehategod and Crowbar were leaders a major Louisiana sludge scene. Early in the next decade, California's Kyuss and Sleep, inspired by the earlier doom metal bands, spearheaded the rise of stoner metal,[139] while Seattle's Earth helped develop the drone metal subgenre.[140] The late 1990s saw new bands form such as the Los Angeles–based Goatsnake, with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and dark ambient metal—the New York Times has compared their sound to an "Indian raga in the middle of an earthquake".[136] In 2006, Atlanta's Mastodon, whose equally hard-to-define style mixes progressive and sludge, broke into the Billboard top 40 with Blood Mountain.