Heavy Metal (Heavy Metal)

Among the many rock genres, heavy metal is the most extreme in terms of volume, machismo and dramatic style. There are many variations on the heavy metal sound genre, but they all strive to achieve their best by focusing on loud effects, distorted guitar playing (often playing riffs), and simple, thumping melodies. Heavy metal has been a source of controversy for as long as it has existed - critics have traditionally attacked the theatrics for its deliberate appeal to mostly teenagers, and some conservative groups have often protested what they felt were harmful, evil undertones. lyrics. Despite all the difficulties, heavy metal has become a stable and popular form of rock music since its birth, capable enough to adapt to the period and still maintain its core appeal that is perfectly uneroded. Despite its rebellious form in American vocal choices, heavy metal is very much a British creation. The initial seeds of heavy metal were sown in the British blues movement of the 1960s, especially among bands who found it difficult to adapt to the naturalng of American blues. This rhythm was more irregular, enhancing the use of electronic instruments as a more important feature, especially by innovative musicians like the Kinks, the Who, Jimi Hendrix, Cream and the Jeff Beck Group. However, as evidence can be presented to prove it, the original real metal band was Led Zeppelin. Initially, Zep played blues tunes heavier and louder than anyone else, and quickly created a massive, textured style of heavy rock by drawing on many musical sources. Less refined but perhaps more influential was Black Sabbath, whose dark, brooding guitar riffs created a fantasy apocalypse filled with drugs, death and supernatural mystification. The style was subsequently abandoned by Zep and Sabbath, and many American bands in the 1970s transformed heavy metal into a more accessible form; the catchy tunes and brutal stage presence of Alice Cooper and Kiss; Aerosmith's sleazy boogie; Van Halen's flashy guitar intros and wild party rock. In the late 1970s, some of the hidden British bands that became part of the new wave of British heavy metal (including Judas Priest, Iron Maiden, Motorhead) began to play metal faster, leaner, and use more intimidation. Their emergence provided influence for the new American metal of the 1980s - thrash metal. This new thing was defined as a breakthrough in the new mainstream popularity of metal, and its emergence was represented by Def Leppards Pyromania. Metal was most enjoyable during its glory days in the 1980s, due to the large number of glammed-up pop metal bands. In addition to thrash metal bands playing complex riffs fiercely, they sometimes incorporated some soft vocal works. Thrash bands like Metallica and Megadeth developed cult followings that propelled them into the mainstream at the same time that garage shed their pop-metal trappings. Mainstream metal in the '90s centered around a new hybrid called alternative metal, which (in its commercially effective form) combined grinding trash and grunge influences through the boom years of hip-hop and industrial. During this time, the underground grew in a rougher, grimmer style, giving rise to two similar, thrash-derived styles known as death metal and black metal, which created some of the most important abrasive, violent, ultra-speedy music and metal in the world. Graphic shock tactics never shown.

Alternative Metal

In its infancy, alternative metal developed its style with an unusual sensibility relative to those that could be directly classified.

Heavy metal was at the core of the music, but these bands were too irregular and their influences too eclectic for underground thrash metal, so their main fans were people who liked heavy guitar rock. However, after garage music helped enrich alternative metal and gain a large audience, especially as more aggressive bands gradually refined their sound, alternative metal began to become the most popular style of heavy metal in the 1990s. While it exhibits almost minimal heavy metal classification, its form is very different from the alternative metal of the early 1980s. Meanwhile, most of the surviving hardcore punk bands had moved on to the metal scene, pushing underground guitar-heavy rock bands to look elsewhere for inspiration. The earliest alternative metal with heavy metal style was divided into avant-garde rock (Janes Addiction, Primus), garage punk (Soundgarden, Corrosion of Conformity), noise rock (the Jesus Lizard, Helmet), and funk (Faith No More, Living Color). , rap (Faith No More, Biohazard), industrial (Ministry, Nine Inch Nails), psychedelia (Soundgarden, Monster Magnet), and even world music (later Sepultura). All this evolution did not happen in a specific scene, but was just a growing desire to try the pure performance form that had become increasingly dependent on instruments. Some of these bands eventually achieved great mass appeal, particularly through touring, and they also laid the foundations for the alternative rock that emerged in 1993-94, with the formation of bands such as Rage Against the Machine and Korn. Rap metal represented by Tool, dissonant music represented by Tool, and heavy music represented by White Zombie. . . . and popular breakthroughs represented by Nine Inch Nails. These bands would become the most influential force in the sound production and style of the alternative metal genre during the remainder of the '90s, along with Pantera's thick, dissolving riffs that distinguished them from any thrash metal band. Like many alternative metal bands, Pantera are serious, grim and visceral, but they demonstrate how this can be manly. In the mid-to-late 1990s, most of the new alternative metal bands began to play a style that mixed thrash, rap, industrial, hardcore punk and garage. This new sound included more of a grindcore character and aggressive attack than hooks or memorable riffs, and therefore relied more on studio recordings to achieve its power; however, it captured the hidden mainstream of teenagers The masculinity represented by metal thus became a commercial cult. Bands like Korn, Marilyn Manson, and Limp Bizkit, which sometimes featured aggro-matal, nu-metal, or (incorrectly) hardcore content, were the biggest stars of the new movement, and by the end of the decade, countless new bands Started to perform a style similar to the ironic (given alternative metals vehement rejection of hair metals attitude) that was similar to the micro-metal branch of the late 1980s.

Indie Rock (indie rock)

The name indie rock comes from the word "indie", which represents the idea of ??doing things according to the ideas of one's own band and releasing records. share, low-budget features. Although most independent genres of music rely on the main company's brand to enter the market and capture sales share, their decision-making process is still based on their own ideas.

Likewise, indie rock is free to explore sounds, emotions, and lyrical themes without pandering to popular tastes—the profits of popular and personal tastes are not the same (although they do, after all, want to be in the business) stay). It has its roots in American underground and alternative rock of the 1980s, although underground rock has evolved slightly since then. It feels like the term is being used a lot, and indie rock really separated itself from alternative rock around the time Nirvana hit the mainstream. Popular taste gradually transformed alternative into new forms of serious hardcore, making it more predictable and testosterone-driven in the process. Indie rock is an expression of a subculture; not all alternative rock was inspired by Nirvana, and not all wanted to be. Although indie rock has not clearly separated itself from commercial punk groups, it does not particularly care whether the band continues to be independent or sells out to the mainstream; it is generally believed that it is impossible to create multiple musical forms of indie rock and conform to the general public. The taste reaches a balance between these two aspects. There are almost any number of reasons for the incompatible characteristics of indie rock bands, but here are a few: The music can be too volatile and naive; too weird; too sensitive and melancholic; too decadent and morbid; too spacey Thoughtful and hypnotic; too egotistical and emotionally tied to the lyrics; too lo-fi and low-budget in its production; too much edge in the tones and riffs; too grim and abrasive; too packed with Sonic Youth/Dinosaur Jr./Pixies/Jesus amp; Mary Chain-style guitar noise; too much tilt and breakage in song structure; too much experimentation or other influences from non-mainstream musical styles. Regardless of this particular nature, the creators and listeners of this type of rock are very similar to the beginning of alternative music. Despite this intersection, indie rock is still very cautious about excessive testosterone. Of course indie rock never had a lot of influence or a strong feel; it just rarely, or never, felt macho. By the time the 1990s arrived, indie rock had developed into a number of sub-trends similar to its neighboring musical forms (indie pop, dream pop, noise-pop, lo-fi, math rock, posr-rock, space rock, sadcore , or their like), all of which do seem to keep the balance of the underground phenomenon.

Industrial Metal

While pure industrial takes its main cues from experimental music and electronic dance music, industrial metal makes the distorted noise of the electric guitar a part of the music. important component. Some industrial metal bands base their songs around metal-style guitar riffs, while others use more of the harsh harshness and abrasive texture it can create. Industrial metal, on the other hand, is generally more aggressive than straight-ahead metal, which has helped the style cross over to audiences accustomed to guitar-based metal and alternative music. Industrial metal lyrics also reflect the aggression of darkness and standard heavy metal, although the sensibility is filtered through a personal sense of alienation from punk and alternative rock. Whether its rage is directed at humanity or society, industrial metal has always expressed a sense of bleakness and tortured anxiety, expressing through its wall-pounding noise a near-desperate alienation from the edge of the world. Ministry were one of the first bands to popularize industrial metal in the late 1980s, with their signature building on riffing on jackhammer guitar, electronics, experimentation and distortion; however, it was Nine Inch Nails who really came into their own in the early 90s. A band that brought their sound to the mainstream because of Trent Reznor's talent for songwriting and multi-layered production.

Inspired by NIN's success, many similar sounds suddenly appeared on alternative radio. By the end of the decade, many popular alternative metal bands appropriately integrated the excellent works of industrial metal electronics into their aggressive hybrid music styles.

Post-Grunge (post-grunge)

Soon after Seattle garage music had an impact on American mainstream music, a group of so-called post-garage-style bands appeared. The main difference between them and Seattle garage music is that Seattle garage music firmly follows the underground alternative rock style of the 1980s, while post-garage music is more conceptually based on the garage music style-internal form of widely popular, ideological Serious heavy rock - influenced by. Therefore, many post-garage bands simply imitate the stylistic expression of garage music, but do not have the independent characteristics of the original garage art. Post-garage bands inherit the angst-filled, calm and introspective style of typical garage music and regard it as a necessary element of garage art. Even in their low years, post-garage bands maintained a very serious and sober attitude towards their own existence. Eventually, the unique elements of garage music became an essential and indispensable component of orthodox music. Post-garage style influenced almost the entire mainstream mature heavy rock music of the 1990s. Although the music contains alternative elements, post-garage is still a mainstream commercial music - its rich and flowing garage guitar playing is beautiful and smooth, and is popular among people. Many bands are stylistically similar but not identical; in addition to old-school garage music, post-garage also draws on early '80s raucous pop, punk pop, revival ska, alternative metal, and classic memorial rock. Additionally, a subset of weird post-garage items are popular for their dark humor rather than low-key melancholy. Post-garage music surfaced soon after the birth of old-style garage music; nirvana, which represented the old-school garage style, entered its peak period in early 1992. Just a few years later, post-garage-style bush bands and candlebox bands also gained huge popularity. success. After the initial heyday of old-school garage music, the post-garage genre began to emerge, and a new wave of bands emerged in the mid-to-late 1990s; some of which continued to be popular, while others were short-lived. To this day, the post-garage style is still thriving, with creed and matchbox20 being two of the most popular bands in the style in the United States.

Progressive Metal (Progressive Metal)

Progressive metal mixes the percussion, volume, and aggression elements of metal with the grand pseudo-classical flamboyance of progressive rock. Of course, some bands emphasize the influence of one element on the other - for example, dream theater. They tend to be more avant-garde than the other bands - but all of them embody the basic flamboyant style of their music. Represented by Pink Floydian and Queensryche, progressive metal surfaced in the late 1980s. At one time, progressive metal was fairly secretive (although metal albums like and justice for all were as numerous and categorized as progressive metal albums), and throughout the '90s, progressive metal maintained a low profile. exist. However, its popularity was enough to create crossovers, most notably in queensryches' "silent lucidity". Despite this, progressive metal did not gain much economic traction in the 1990s. Bands such as queensryche and dream theater have become symbols of this style in this decade. However, by the end of the 1990s, progressive metal had undoubtedly become the unanimous direction for the hardcore fanatics.

Death Metal/Black Metal (Death/Black Metal)

Death metal comes from the thrash metal of the late 1980s.

Taking it to extremes with gritty lyrics and a morbid obsession with thrash, death metal is--as its name suggests--solely about death, pain, and torture. These brutally cold lyrics are repeated loudly and heavily, a style influenced by slow metal like Black Sabbath, of which Metallica is a typical example. Death metal bands were also influenced by the complex song structures of 1970s art rock, although most of these complex song structures were learned from Metallica. Death metal never had a huge hit with the masses, but for some die-hard heavy metal fans, Metallica and Guns N Roses were the best - and they bought millions in the late '80s and early '90s. records --- or pop metal, like Poison. Death/black metal maintained a small but loyal following of fans during the 1990s.

Goth Metal

Gothic metal is surrounded by the dark, constantly noisy icy atmosphere of gothic rock and the aggression of heavy metal, and has found a sense of drama and use of metal. Religion, horror and lyrical appeal adorn the middle ground that exists between the two styles. Gothic metal like pre-punk, ambiguous antique, metal bands like Rainbow, Dio and Judas Priest have been described as the secondary voice of goth, if there are no more characteristics, then in addition to the real Gothic metal has always been directly influenced by gothic rock, with ethereal synth effects and a ghostly feel being as important as guitar riffs. Gothic metal therefore often reserves a plea for listeners to stand on both sides of the scale. Gothic metal first emerged in the mid-1980s, centered in Los Angeles, so it is often called "death metal", where Christian Death took place. Many gothic metal bands, after jumping around in the United States and Europe, broke out to a wider alternative metal audience in the 1990s through tongue-in-cheek Type 0 Negative. During the latter 10 years, gothic metal was also considered to be sought after by black metal bands

Punk (Punk)

Punk rock is the most original rock music - composed of a simple and pleasant sound It consists of the main melody and three chords. The change is that punk rock plays the old rock and roll of the past faster and more passionately. Because some bands had a one-sided understanding of the punk music style--including the garage rock bands of the 1960s and the Velvet Underground, the Stooges, and the New York Dolls--the punk music genre did not formally take shape until the mid-1970s. Many new bands in the West no longer emphasize the ultra-musical form that is different from mainstream hard-core rock, but go straight to the essence of music. The first punk band in New York was the Ramones; in London it was represented by the Sex Pistols. Although their musical expressions were different—the Ramones were light and casual, while the Pistols emphasized repetitive passages—these unique attempts revolutionized both American and British music. The style of music. Punk music has always existed quietly in the United States, eventually giving birth to the concepts of hardcore rock and indie rock in the 1980s. In the UK, punk rock became the darling of the public. Sex pistols were seen as a serious subversion of government and monarchy. What's more, more and more bands are getting into punk rock. Some bands almost copied the original style of the Pistols, while others created new elements of their own, such as the sharp rock of the Buzzcocks, the anthemic reggae rock of the Clash, and the artistic experiments of Wire and Joy Division.

Soon, punk split into post-punk (more artistic and experimental than the original), new wave (more oriental pop), and hardcore rock (a form of punk music that is more intense, fast, and aggressive). Throughout the Eighties, both Britain and the United States associated the definition of punk with hard and rock. In the early 1990s, a group of punk revivalists—represented by Green Day and Rancid—emerged from the American underground music scene. This group of new forces brought punk music back to its original style and tried to add heavy metal elements to its music.

Acid Rock

Acid rock is an intense, loud variation of psychedelic rock. It draws on the best of Cream and Jimi Hendrix improvisation, both of which have passed their prime. Acid relied on shifting guitars, mellow vocals and long improvisations. Acid rock didn't exist for long - during the lifetime of hallucinogens, it continued to develop and form a center - and the last remaining bands evolved into heavy metal bands.

Blues-Rock (Blues-Rock)

Much early rock and roll was based on the blues, but blues-rock had not fully developed into a recognized genre until the late 1960s. Blues rock focuses on two defining characteristics - traditional three-chord blues songs and instrumental improvisation. Combining small band jazz with the ever-expanding raucousness of rock, traditional blues rock - bands like Cream, which came from the traditional British blues style of Alexis Korner and John Mayall, and the Paul Butterfield Blues Band and Canned in the United States Heat—also experimented with long improvisations common on jazz records and blues concerts. This hybrid quickly became popular, and many bands immediately began imitating them, even louder and more riffy than theirs. In the early 1970s, the boundaries between blues rock and hardcore were becoming increasingly blurred, with jazz-based bands like ZZ Top absorbing performance techniques from album rock works to blur their blues roots. However, blues rock gradually moved away from hardcore, and some bands continued to play, rewrite, and compose songs according to blues standards. In the '80s and '90s, blues rock was more solid than it had been in the '60s and '70s, even when players like the Fabulous Thunderbirds and Stevie Ray Vaughan toyed with the status of rock performers. By the 1980s, blues rock had become as recognized a tradition as the blues.

Anarchist Punk

When Johnny Rotten roared 'I want... anarchic chaos' on the Sex Pistols' debut record At times, it can incite the audience more than those who hold the government's beliefs deeply. However, many punk bands who took this creed deep into their souls were not just blindly opposed to power but to the government of this kind of thinking, or at least the hypocritical and abusive government. Anarchist punk bands were either right-wing (the Dead Kennedys), repressed working class (the Exploited), or both; whatever its origins, it was popularized through its radical ideas. Unified. Most of anarchist punk is an offshoot of hardcore punk, since they all emerged around the same time, and anarchist punk often presents itself in a rougher style, more for the musical layman. Part of the reason for this is that this style of music is based on the ideology of personal freedom (musical personal outlet should be available to everyone, regardless of technical ability), and this idea gradually becomes more important than the music itself. . But it is also important to be able to fully understand through the music that this belief is as radical as it is preached.

Therefore, anarchist punk is recognized as being generally loud, fast and as rough as its technical expertise. The most representative anarcho-punk band is Crass, because of their extraordinary musical structure and the lifestyle of their band members that adheres to their playing ideas.

Britpop (British rock)

The Beatles established a long period of traditional British harmonious music, and the guitar pop band is a traditional form that is often updated through music movements. However, Britpop adopted many bands from the 1990s who used traditional music more than any previous period. Although the music form originated during the British independence era, Britpop has great commercial value---the genre's bands can be financially rewarding, they are shiny and addictive, as Like mainstream pop singers, they have created a new spiritual environment for the lives of a new generation of British young people. It is targeted by the younger generation in the UK: because Britpop cares little about whether its route will make it less acceptable to American audiences, it allows the younger generation in the UK to fully feel that it sings about their lives, their culture and their music. Pursue. Britpop's youthful energy and thirst for recognition had an impact not only on the older players in the low-key shoegazer bands of the early '90s, but also on America's dour garage scene and the musicians behind the newly emerging electronic dance music underground. certain influence. From a musical point of view, British rock follows the Beatles, and of course also incorporates the pastoral sound of the Kinks in the late 1960s, mid-tempo music (the Who, the Small Faces), and psychedelia of the 1970s (David Bowie, T. Rax, Roxy Music),

punk and new wave (the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello), and the alternative guitar pop of the Smiths. All these musicians are the essence of British music---they use obvious British thinking to greatly develop their imagination, write lyrics and compose music. This is why they have almost no influence compared with American Cult and have caused the single form of British rock. A big factor. Split among influences, Britpop has found its most immediate roots in Manchester, a place that emphasizes good times and catchy tunes with a heavy emphasis on shoegazer aesthetics. The Stone Roses' decadent pop style and rock star attitude were a major part of the creation of Britpop, but the true father of Britpop belongs to Suede. When they first released their self-titled album in 1993, their fusion of glam-rock authority and the Smiths' refined style worked to unexpected success. Suede opened the door for even more intense breakthroughs in 1994 for Blur (Parklife) and Oasis (Definitely Maybe), who quickly became two of Britpop's most popular stars. Inspired by the success of the first two, bands that exploded onto the music scene in a dazzling way, bands with similar styles emerged: Elastica, Pulp, Supergrass, and the Boo Radleys were also ranked among the superstars. By 1996, only Oasis had truly become a mainstream star in the American music scene. In 1997, the popular halo of British rock gradually disappeared, which was the period when Oasis looked back on the poor performance of its third album and the Blurs turned to American independent rock. However, even among the superstars who have slowly faded away in this movement, there are still some who continue to maintain strong snobbery, and a smaller number of early traditional rock still maintain the classical style and continue to survive.

Glam Rock

Often confused with 1980s micro-metal (at least to American listeners), glam rock is almost exclusively British, and in the UK The mid-1970s were very popular. Glam rock was fairly simple, broken guitar rock that was completely embraced by the masses for its exaggerated brutality. Much of this music is unsettling and catchy, using bubblegum-pop pop-rock dance beats from youth and the rocking rhythms of early rock. But those innocent voices were overwritten in the interpretation process and turned into unnatural, dazzling showmanship and sex. In fact, a big reason why glam rock never made it to the U.S. market was that its performers were deliberately focused on sex, wearing shoes, outlandish costumes, and visually attired for sexual effect. Generally speaking, glam rock is divided into two factions. The most popular was T. Rex's intentionally random use of debris; leader Marc Bolan pioneered the idea of ??confusing trend consciousness and creating a style that was all about sex and goofy comedy -- or brought it into another mainstream. A road characterized by its face. Bands like Gary Glitter, Sweet, and Slade followed the T. Rex aesthetic and refined it into another style, which became known as glitter (more exclusively British).

But because this style relies so heavily on imagination, confusion has a surprising artistic side, epitomized by David Bowie and Roxy Music. The genre is more comedic and ambitious, both musically and lyrically; bewilderment music serves as a platform for those who carve out the characters they want, craft their sense of style into full artistry, and explore the darkness that lurks beneath the surface of pop's dazzling music. Musicians provide opportunities. Beyond that, the independent American glam rock band is the New York Dolls. Their natural Stonesy proto-punk sounds different from similar British bands, but their trashy aesthetic and cross-dressing costumes make them Clearly classified into this camp. Glam rock reached its peak in 1976, when most of its remaining key players left the style or gave up their jobs. However, bewilderment music had a certain influence on kids who grew up mainly in the British punk movement, and even more so on the theatrically dark pre-punk scene.

Punk Revival

In the 1970s, punk music had been developing in the direction of mainstream American music. By the 1980s, a number of bands representing the backbone had emerged. In the early 1990s—nearly 20 years after the emergence of punk music—the United States released its first homegrown punk rock percussion albums and singles. At their core, revival punk bands were traditionalists - they continued the music of such stalwart punk bands as the Sex Pistols, the Stooges, the Jam, the Exploited, Black Flag, Dead Kennedys, the Descendants and many others. style. Since punk evolved into speed metal in the late 1980s, these traditional punk bands have naturally become much more intense in musical expression than they originally were. However, this is part of the reason why punk music has attracted a large number of listeners in the United States - the music is simpler Intense, much like faster and more violent garage rock. The first punk revivalist bands to invade mainstream American music were Green Day and Offspring. Their success spurred a group of followers to unite, such as Rancid, Nofx, Pennywise, and Pansy Division. Meanwhile, the largely ignored 1980s Punk bands such as Bad Religion and underground punk genres such as Third Boska Revival thrust into the spotlight.

Visual Rock (Visual Rock)

The English name is Visual Rock.

Originated in Europe and America in the 1970s. The visual kei band is characterized by its exaggerated and beautiful shapes and strong visual stimulation. It is a kind of commercial music with great commercial potential and sensational effect. After 20 years of development and commercial operation, this music form has already gained a broad market base and consumer groups in Asia. Later, the Japanese began to imitate and then develop VISUAL ROCK. The unique aesthetic concepts conveyed by visual kei bands catered to the younger generation. aesthetics and entertainment direction, and derived a pan-cultural phenomenon, which covers records, clothing and other business fields. While bringing huge reputation to the band, it also brings huge financial resources to related industries.

From a musical perspective, it is the inheritance and development of European and American ANDROGYNOUS (yin-yang rock), GLITTER ROCK (glam rock), and THEEATER (exaggerated rock). Visual kei (Japanese: ヴィジュアル kei) is developed from Japanese rock. A type of orchestra. The name visual kei actually has nothing to do with any music genre, and is used to refer to bands with exaggerated costumes and makeup. X/X Japan is one of the earliest visual kei rock bands and is also the most important visual kei rock band. The general name Visual Rock comes from its full name. X/X Japan not only promoted the development of visual kei rock into mainstream culture, but also sparked a rock craze across Asia. Yoshiki, the leader of However, visual rock music is not a genre established based on music style, so it will not be inherited in terms of music style. "Combining visual expression with music" is the most important key for a visual kei rock band.