About Metal Music

Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".

In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of funk and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

Source: Wikipedia



MMA Metal subgenres

Alternative Metal Avant-garde Metal
Black Metal Death Metal Doom Metal Drone Metal
Folk Metal
Glam Metal
Gothic Metal
Grindcore Groove Metal
Hard Rock Hardcore Punk Heavy Metal Industrial Metal
Metalcore Neoclassical metal
Power Metal
Progressive Metal
Sludge Metal Speed Metal
Stoner Metal
Symphonic Metal
Thrash Metal Trance Metal
US Power Metal
Viking Metal
Metal Related Genres

Alternative Metal

Alternative Metal, or Alt Metal for short, is a sub-genre of metal music that has it's roots in the mid-1980s. It's sound comes from the mixing of metal with elements that are uncharacteristic to the metal genre, such as funk and hip-hop, but not in such an experimental way as to be considered Avant-Garde Metal. Some of these alternative metal fusions gave risen to some distinct sub-genres of it's own, with Nu Metal being a notable metal movement from the mid-1990s.

Alternative Metal Sub-Genres

Funk Metal

Nu Metal

Rap Metal

Sub-genre collaborators (+ Child subs and Heavy Alternative Rock):

Atmospheric Black Metal

The most commonly played among the sub-genres of black metal, Atmospheric Black Metal artists typically draw the genre into a less aggressive direction. While much of the black metal genre as whole may be deemed as atmospheric (especially when compared to other extreme metal styles like thrash metal and death metal), atmospheric black metal acts take things a step further. Keyboard use is common in the style, though not mandatory, while the music's pace tends to be slow to mid. Well known performers include Burzum, Darkspace and Fen.

Different types of atmospheric black metal artists may incorporate elements of ambient music, folk music, post-rock or sludge metal, as well as drawing on aspects of other black metal styles, such as Summoning, whose music is both atmospheric black metal and symphonic black metal.

Alternative names for the genre include Ambient Black Metal and Post-Black Metal, the latter typically referring to those artists who draw influence from post-rock and/or sludge metal, but is sometimes also used interchangeably with atmospheric black metal.

Inclusive Atmospheric Black Metal Sub-Genres

Blackgaze is a sub-genre of atmospheric black metal so named for its resemblance to shoegaze music. It may include influences from the neoclassical darkwave and post-punk music genres.

Return to Black Metal

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Atmospheric Sludge Metal

Atmospheric Sludge Metal or Post-Sludge Metal is style that mixes the hardcore doom of Sludge Metal with the atmospherics of Post Rock, often with progressive stylings. Atmospheric Sludge Metal was pioneered by US bands such as Neurosis, Isis and Pelican, building on earlier explorations by bands such as Melvins and Swans.

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Avant-garde Metal

Avant-garde metal, experimental metal, or art metal is a subgenre of heavy metal music characterised by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard sounds, instruments, and song structures.

The term avant-garde metal refers to bands and musicians who "incorporate new and innovative elements in metal, who break conventions, tear down walls, violate borders." The genre has also been described as "the art of creating deep and strange atmospheres by experimenting with new instruments and sounds, strange vocals, unconventional song structures, rhythms and harmonies, unusual lyrics or uncommon artwork" or alternatively, "progressive, psychedelic, surrealistic, phantasmagoric, expressionistic, dissonant or extravagant interpretations of extreme metal."

Source: http://en.wikipedia.org/wiki/Avant-garde_metal

Sub-genre collaborators (shared with Progressive Metal):
  • siLLy puPPy
  • DippoMagoo
  • Sisslith
  • adg211288


Black Metal

Black Metal is an extreme subgenre of heavy metal. It often employs fast tempos, shrieked vocals, highly distorted guitars played with tremolo picking, double-kick drumming, and unconventional song structure.

During the 1980s, certain thrash metal bands established a prototype for black metal. This so-called "first wave" included bands such as Venom, Bathory, Hellhammer and Celtic Frost. A "second wave" emerged in the early 1990s, which consisted primarily of Norwegian bands such as Mayhem, Burzum, Darkthrone, Immortal and Emperor. This scene developed the black metal style into a distinct genre.

Black metal has been met with considerable hostility from mainstream culture, mainly due to the misanthropic and anti-Christian ideology of many artists. Additionally, some musicians have been associated with church burnings, murder or National Socialism. For these reasons and others, black metal is often viewed as an underground form of music.

Black Metal Sub-Genres

Atmospheric Black Metal

Depressive Black Metal

Melodic Black Metal

Pagan Black Metal

Symphonic Black Metal

War Metal

Source: http://en.wikipedia.org/wiki/Black_metal

Sub-genre collaborators:
  • adg211288 (leader)
  • 666sharon666
  • TheHeavyMetalCat

Brutal Death Metal

Brutal death metal emphasizes brutality in music and lyrics. The guitar distortion often has a lot of bottom, and the players make use of pinched harmonics, heavy riffage and very fast palm-muted picking, while the drumming typically incorporates blastbeats and fast double bass drum work. In terms of composition and performance, brutal death metal is often complex and technical, as one tune typically contains several, often difficult-to-perform, sections. The vocals typically consist of low pitch growls, sometimes combined with screams and shrieks, and the lyrics typically deal with violence, mutilation, violation and murder, described in gory detail. Slam death metal is sometime considered a distinct subgenre of brutal death metal because of its focus on heavy breakdowns and moshpit-friendly midtempo brutal riffage at the expense of speed and intensity. Examples of brutal death metal bands are Suffocation, Cannibal Corpse, Hate Eternal, Severe Torture, Infernal Torment, Benighted, and early Illdisposed.

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Crossover Thrash

Crossover thrash, often abbreviated to crossover, is a form of thrash metal that contains more hardcore punk elements than standard thrash. It is sometimes referred to as punk metal, though this is generally incorrect due to the existence of other music genres that combine forms of punk rock and heavy metal, such as grunge, crust punk, sludge, grindcore and more recently metalcore and its subgenres.

While thrash metal is heavily influenced by hardcore punk, the overall sound of crossover thrash is more punk-influenced yet more metal-sounding and aggressive than traditional hardcore punk and thrashcore. The term was coined by the band D.R.I. with their album Crossover, released in 1987.

The term 'crossover' is based on the metaphor of crossing over from one genre into the other, thus capturing artists the operate within the transition zone between thrash metal and hardcore punk. With the metaphor comes the conception of directionality, such that the genre is applied to hardcore and crust punk artists who have crossed over into thrash metal territory, such as D.R.I., Discharge, The Exploited, The Accüsed, Agnostic Front and Suicidal Tendencies (who eventually ventured into alternative metal), and thrash metal artists who crossed over into hardcore punk territory, such as Nuclear Assault and S.O.D.

A number of death metal bands (especially those of the first wave of Swedish death metal) draw on hardcore punk, mainly because their members listen to crossover thrash - these bands are included under the death metal subgenre here at the MMA.

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Crust Punk

Crust Punk is a form of hardcore punk that was born out of the English anarcho-punk movement in the mid-1980s with the bands Amebix and Antisect.

In its original form, crust punk (or simply crust) is very metallic, with strong elements of speed metal (Motörhead's style is noticeably present) and, more recently, extreme metal styles such as black and death metal.

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Cybergrind

Cybergrind is a genre mixing Electronic and Grindcore. Bands that play this style make use of synths, computers, and drum machines in addition to the usual guitars and bass, while some bands use synths, MIDI files, and drum machines exclusively.

Many Cybergrind bands tend to have little to no influence or relation to metal. Japan's Catasexual Urge Motivation formed in 1992 is generally considered the first Cybergrind group with a drum machine nicknamed Cyber E.M.F. Other notable Cybergrind bands include the United States Agoraphobic Nosebleed formed in 1994, and Australia's The Berzerker formed in 1995.

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Death 'n' Roll

Death ‘n’ roll bands incorporates groovy riffs and beats as well as other elements from more traditional metal and hardrock, such as more rock-oriented guitar solos and simpler riffage, into their style, and often make use of midtempo paces. This style arose in the 1990s in the wake of the popularity of Pantera’s groove-oriented heavy metal, which revolutionized thrash metal and influenced other types of metal, too. Entombed and Gorefest were among the creators of death ‘n’ roll, and other examples of death ‘n’ roll artists are Six Feet Under, Debauchery, We Are the Damned, and Malignant Tumour.

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Death Metal

Death metal is an extreme subgenre of heavy metal. It typically employs heavily distorted guitars, deep growling vocals, blast beat drumming, and complex song structures with multiple tempo changes.

Building from the musical structure of thrash metal, death metal emerged during the mid 1980s. It was mainly inspired by thrash metal acts like Slayer, Kreator and Celtic Frost. Along with the band Death and its frontman Chuck Schuldiner (who is often referred to as "the father of death metal"), bands like Possessed and Morbid Angel are often considered pioneers of the genre. In the late 1980s and early 1990s, death metal gained more media attention as popular record labels like Earache and Roadrunner began to sign death metal bands at a rapid rate. Since then, death metal has diversified, spawning a rich variety of subgenres.

Inclusive death metal music subgenres:

  • Brutal death metal See: http://www.metalmusicarchives.com/subgenre/brutal-death-metal
  • Melodic death metal See: http://www.metalmusicarchives.com/subgenre/melodic-death-metal
  • Swedish death metal, also referred to as Scandinavian death metal, should not be confused with melodeath. This genre is characterized by its focus on raw energy and aggression. The guitars are typically extremely distorted and downtuned, and, in addition to traditional death metal elements, artists within this subgenre also draw on hardcore punk and early thrash metal. While not restricted to Sweden, the genre is called death metal because it was largely popularized by death metal artists from Sweden, such as Carnage, Nihilist, early Entombed, Dismember, Grave, and Unleashed. Seeing that many of the prominent artists within this genre were located in around Stockholm, it is sometimes referred to as the Stockholm sound in contrast with the Gothenburg sound. While big in the 1990s, the popularity of this genre waned in the 2000s, as melodeath became more popular, but recently a number of bands based in Eastern Europe, such as Brutally Deceased and Morbider, have taken up the Stockholm sound and are bringing it back onto the scene.
  • Death-grind combines elements from death metal with element of grindcore. From grindcore, the genre inherits song brevity (with the average length being 2:30), emphasis on fast picking and blastbeating as well as the lyrical content (which means that a lot of death-grind deals with gore, pornography or socio-politics). From death metal, it inherits song complexity and focus on performance and technique, although guitar solos are not as common as in other styles of death metal. When Napalm Death started to gravitate towards death metal from pure grindcore, they developed a death-grind sound, and they are probably the most influential band in the death-grind genre. Other death-grind acts are Lock Up, Terrorizer, and Pig Destroyer. On MMA, those death-grind artists and releases that lean more towards grindcore are included under grindcore, while those that lean more towards death metal are included under death metal.
  • Technical/progressive (or tech/prog) death metal See: http://www.metalmusicarchives.com/subgenre/technical-death-metal
  • Blackened death metal combines death metal and black metal, of lyrically the focus is typically on Satanism, occultism and anti-religion. Behemoth is considered one of the most influential blackened death metal bands.
  • Death ‘n’ roll See: http://www.metalmusicarchives.com/subgenre/death-n-roll


The following subgenres are NOT listed under death metal in the MMA:

  • Grindcore: has its own sugbenre section.
  • Death-thrash: included under thrash metal.
  • Deathcore: included under metalcore.
  • Doom-death: included under doom metal.


Source: http://en.wikipedia.org/wiki/Death_metal

Written by Time Signature.

Sub-genre collaborators:
  • Nightfly (leader)
  • Vim Fuego
  • TheHeavyMetalCat

Death-Doom Metal

Death doom as the name suggests is an extreme metal sub-genre that incorporates elements of death metal into doom. It typically incorporates death growl vocals and aggressive down-tuned guitar parts into slower doom tempos though double kick drum patterns may be used. Its roots can be traced back to the eighties when thrash and early death metal bands started to incorporate doom into their sound. Dream Death are an early example which can be heard on their debut album Journey Into Mystery from 1987 along with bands such as My Dying Bride, Paradise Lost and Autopsy.

Death doom also had an influence on Gothic metal and played a large part in establishing the funeral doom sub-genre in the nineties.

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Deathcore

Deathcore, which emerged in the early 2000s, is a sub-genre of metalcore that fuses elements of hardcore punk and death metal. Deathcore is similar to metalcore musically, except it is generally heavier, with a stronger emphasis on blast beats, death metal growling vocals, and more intense breakdowns. The genre has enjoyed moderate popularity in the extreme metal scene.

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Deathgrind

Deathgrind is a genre mixing Death Metal and Grindcore. Bands that play in this style typically are heavier sounding and more technical in playing and song structure than your average Grindcore band. Deathgrind is closely related to both Goregrind and Pornogrind stylistically. Notable Deathgrind bands include the United States' Brutal Truth formed in 1990, the United States Cephalic Carnage formed in 1992, the United Kingdom's Defecation formed in 1987, Germany's Blood formed in 1986, and the United States' Righteous Pigs formed in 1987. Bands that play Deathgrind can be found on MMA under both Grindcore and Death Metal, depending on where the emphasis lies.

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Depressive Black Metal

Depressive Black Metal or Depressive Suicidal Black Metal (DSBM) in full, is one of the sub-genres of black metal music. It tends to be more monotone, repetitive and droning with an aim to be hypnotic. Ambient influences may be included and while there is some crossover with atmospheric black metal especially, the mood intended to be put across by this style is very different. Vocals in depressive black metal bands tend to drift from the traditional raspy growls and into something more akin to a despairing wail. Lyrical themes will also usually deal with subjects of depression and suicide. It is not music designed for a happy listener.

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Doom Metal

Doom metal is an extreme form of heavy metal music that typically uses slower tempos, low-tuned guitars and a much 'thicker' or 'heavier' sound than other metal genres. Both the music and the lyrics intend to evoke a sense of despair, dread, and impending doom. The genre is strongly influenced by the early work of Black Sabbath, who formed a prototype for doom metal with songs such as "Black Sabbath" and "Into the Void". During the first half of the 1980s, a number of bands from England (Pagan Altar, Witchfinder General) and the United States (Pentagram, Saint Vitus, Trouble) defined doom metal as a distinct genre.

Source: http://en.wikipedia.org/wiki/Doom_metal

Sub-genre collaborators (+ child sub-genres and shared with Stoner Metal and Drone Metal):
  • Nightfly (leader)
  • MorniumGoatahl

Drone Metal

Drone Metal blends the slower tempos and heaviness of doom metal with longer song durations. Vocals are usually growled and screamed, and an emphasis is placed on the electric guitar. Many songs lack traditional rhythm, but create a large wall of sound, drawing comparisons to post-metal.

Instrumentation featured by bands as diverse as Black Sabbath, Sleep, Swans, and Sonic Youth has had a very positive influence on the genre.

Additionally, minimalist composers inspired pioneers of the genre such as Earth, Burning Witch, and Boris. Other popular bands in this genre are Sunn O))) and Teeth Of Lions Rule The Divine.

Source: https://en.wikipedia.org/wiki/Drone_metal#Characteristics

Sub-genre collaborators (shared with Stoner Metal and Doom Metal):
  • Nightfly (leader)
  • MorniumGoatahl

Electronicore

Electronicore (also known as Trancecore or Synthcore) is a fusion of metalcore with elements of various electronic music genres, such as trance, electronica, and dubstep.

Electronicore is characterized by typical metalcore instrumentation, breakdowns, and heavy use of sequencers, conventional instrument recorded-note samplers, electronic tone-generating synthesizers, auto-tuned singing, and screamed vocals. The degree to which metalcore characteristics are incorporated may vary. In addition to electronica, the fusion may involve a variety of other electronic music genres, including techno, trance, dubstep, electro, and dance.

Notable artists who contributed to the development of electronicore include Attack Attack! in the USA and Enter Shikari in the UK.

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Folk Metal

Folk metal is a sub-genre of heavy metal music that originated in Europe in the early 1990’s and has since become more widespread. Folk metal, as the name suggests, is a fusion between various heavy metal styles and folk music. English band Skyclad is often credited for being the creators of folk metal for their 1991 album The Wayward Sons of Mother Earth, which featured a full time violinist alongside the more commonplace metal band setup of vocals, guitars, bass and drums. Many artists have since greatly expanded on the use of such instruments, with mandolins, banjos, flutes, whistles, bodhráns, hurdy gurdy and more all being featured in various folk metal releases.

There is no standard as to which metal genres can be merged with folk music to create folk metal, with bands ranging from more traditional heavy metal influences to extreme metal, with black metal being a common choice. Likewise there is no standard on how the folk influences should be utilised within a folk metal band. Mostly notably folk metal bands may or may not incorporate traditional instruments such as violins or tin whistles alongside the metal instrumentation. Some bands prefer to rely solely on keyboards to create a folksy atmosphere in their music (such as the first two albums by Russian band Arkona), while others prefer to play folksy lead melodies on electric guitars (such as German band Wolfchant and Norwegian band Storm). Because there are no standard norms for either side of folk metal it has grown considerably since the release of The Wayward Sons of Mother Earth to become one of the most diverse metal genres to exist. Bands can now range from the melodic to the extreme.

Since the genre's genesis, several regional variants of folk metal have also developed, the most notable being Celtic metal, Medieval metal and Oriental metal. The bands Cruachan (from Ireland), Subway to Sally (from Germany) and Orphaned Land (from Israel) are considered to be among the pioneers of each style respectively. While sometimes included under Oriental metal, metal music that makes use of folk elements from Eastern Asia is sometimes considered a folk metal subgenre of its own or distributed among other metal genres. For instance, Tang Dynasty and Fu Xi are both known for incorporating traditional Chinese instrumentation into their music, but the former are normally considered a traditional heavy metal band while the latter are considered a doom metal band.

Yet more terms have been coined that are commonly associated with folk metal: Viking metal and pagan metal. These terms however, while they can refer to folk metal, can just as often refer to another style entirely, the other style often being black metal. Terms such as these are usually used in regard to an artist based on their lyrical themes, rather than the sound of their music and as such artists labelled as such can sound very different from each other.

Folk metal has also often been crossed with other established genres of metal music to form distinct hybrids between two metal styles, where the folk influences may or may not be present in every song the artist writes, such as the power metal act Falconer. It is also not uncommon in modern metal music for folk influences to crop up as a rare occurrence such as in an introductory instrumental or even in a regular song.

The genre has become increasingly popular among metal fans over the years, reaching new heights in the 2000’s. Today folk metal bands hail from all over the world, although the genre itself remains most popular in Europe. Many bands have gained widespread attention from the metal press with bands such as Korpiklaani, Ensiferum and Finntroll numbering among the world’s most successful folk metal bands as of 2011.

Inclusive Folk Metal Genres

Celtic Metal is folk metal that draws specifically on Celtic folk music as a source for it's folk elements.

Medieval Metal is folk metal that draws specifically on medieval music as a source for it's folk elements. It is common for Medieval Metal bands to sing in German.

Oriental Metal is folk metal which draws influence from Middle-Eastern folk music such as Jewish and Arabic. The style tends to be more distinct than either Celtic Metal or Medieval Metal, which many listeners often just call Folk Metal.

- Written by adg211288 with the input of the Metal Music Archives Admin Team

Sub-genre collaborators (shared with Viking Metal):
  • adg211288

Funeral Doom Metal

Funeral doom is a sub-genre of doom metal which has many of the hallmarks of more traditional doom, e.g. low tuned guitar work creating an extremely heavy sound and slow tempos. The tempos in funeral doom are generally even slower and often likened to and give the impression of a funeral dirge. It contains death doom elements and often shares the growl style vocal work of that sub-genre as well as cleaner mournful vocals. The use of keyboards is common, generally used to create atmospheric ambient passages. Bands such as Sketicism, Thergothon, Esoteric and Evoken are considered pioneers of the genre in the early nineties.

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Funk Metal

Funk Metal is a sub-genre of metal that came to be in the mid-late 80's with bands like Red Hot Chili Peppers, Faith No More, Living Colour, and Electric Boys. The genre reached its peak of popularity in the early 90's, after Faith No More’s hit single Epic from the album The Real Thing. Primus, Fishbone, 24-7 Spyz, Infectious Grooves, and Extreme were among the best well-known players of the genre, but funk metal included many short lived bands which remained underground.

Funk metal is a genre often characterised by slap bass and funky syncopation blended with various types of metal, as well as a sense of humour. One of the first bands to mix funk and metal, along with many other genres, was Washington DC hardcore/fusion band Bad Brains, although Red Hot Chili Peppers' self-titled debut was perhaps the biggest influence on the genre, with the track "Green Heaven" the earliest combination of funk and metal riffs.

Bands mixed funk with many different metal genres. Living Colour and Mindfunk focused primarily on combining funk with heavy metal, while Extreme and Electric Boys combined it with glam metal. The heavier end of the spectrum saw Mordred, Scatterbrain and Suicidal Tendencies side-project Infectious Grooves mix funk with thrash. Many more thrash metal bands incorporated funk metal elements in some of their 90's albums without becoming primarily funk metal. Death Angel included influences of funk metal on their 1990 album Act III and Suicidal Tendencies began incorporating the style on their Lights... Camera... Revolution! album of the same year.

A sense of humour can be seen throughout the entire genre, in various forms. Often the lyrics are comedic or surreal, Primus and Scatterbrain being two prominent examples, with song titles like “My Name is Mud” and “Don't Call Me Dude”. Faith No More sometimes included mini skits, such as in “Death March” from 1987's Introduce Yourself. Some bands like Extreme and Living Colour often had a more socio-political focus to their lyrics.

The genre had lost much of its popularity by the late 90's, as other trends in the metal scene, such as Nu Metal, were reaching their height. Some Nu-Metal bands made use of funk metal elements in their earlier material such as Powerman 5000, Sugar Ray and Sick Puppies. Incubus kept the funk metal genre alive during this time with their S.C.I.E.N.C.E. album (1997), although they switched to a more heavy alternative rock style by the end of the decade.

While few bands play funk metal anymore, bands like comedy metal band Psychostick incorporate elements of it, along with many other genres.

-Written by Unitron, 2017

Return to Alternative Metal

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Glam Metal

Glam metal (also known as hair metal) is a subgenre of heavy metal that arose in the late 1970s and early 1980s in the United States, particularly on the Los Angeles Sunset Strip music scene. It was popular throughout the 1980s and briefly in the early 1990s, combining the flamboyant look of glam rock and playing a power-chord based hard rock musical style.

Musically, glam metal songs are traditional heavy metal songs with pop-influenced catchy hooks and guitar riffs. Like other heavy metal songs of the 1980s, they often feature shred guitar solos. Glam metal performers became infamous for their debauched lifestyles of late-night parties (widely covered in the tabloid press), very long backcombed hair, use of make-up, gaudy clothing and accessories (chiefly consisting of tight denim or leather jeans, spandex, and headbands). Many of these traits were reminiscent of glam rock.

Source: http://en.wikipedia.org/wiki/Glam_metal

Sub-genre collaborators (shared with Hard Rock and Heavy Metal):
  • 666sharon666 (Leader)

Goregrind

Goregrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature extremely violent or medical terminology for lyrics, extreme, and for artwork (often times very real pictures), a deviation from the political messages of most Hardcore bands, and many bands make use of pitch shifted or extremely low guttural vocals. The credit for the first Goregrind band goes the United Kingdom's Carcass, formed in 1985 who's debut Reek Of Putrefaction became a favourite of DJ John Peel. Other notable early Goregrind acts include Sweden's General Surgery formed in 1988, United States' Impetigo formed in 1987, and the Netherland's Last Days Of Humanity formed in 1989.

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Gothic Metal

Gothic metal or goth metal is a subgenre of heavy metal music. Gothic metal combines the aggression of heavy metal with the dark melancholy of gothic rock. The genre originated during the early 1990s in Europe as an outgrowth of death/doom, a fusion of death metal and doom metal. The music of gothic metal is diverse with bands known to adopt the gothic approach to different styles of heavy metal music. Lyrics are generally melodramatic and mournful with inspiration from gothic fiction as well as personal experiences.

Pioneers of gothic metal include Paradise Lost, Theater Of Tragedy, The 3rd And The Mortal. Other pioneers from the first half of the 1990s include Type O Negative from the United States, Tiamat from Sweden, and The Gathering from the Netherlands. Norwegian band Theatre of Tragedy developed the "beauty and the beast" aesthetic of combining aggressive male vocals with clean female vocals, a contrast that has since been adopted by many gothic metal groups. During the mid-1990s, Moonspell, Theatres des Vampires and Cradle of Filth brought the gothic approach to black metal. By the end of the decade, a symphonic metal variant of gothic metal had been developed by Tristania and Within Temptation.

In the 21st century, gothic metal has moved towards the mainstream in Europe, particularly in Finland where groups such as The 69 Eyes, Entwine, HIM, Lullacry, Poisonblack and Sentenced have released hit singles or chart-topping albums. In the US, however, only a few bands such as Lacuna Coil, Evanescence have found commercial success.

Source: http://en.wikipedia.org/wiki/Gothic_metal

Sub-genre collaborators (shared with Symphonic Metal):
  • DippoMagoo


Grindcore

Grindcore is an extreme metal genre formed in the mid 1980's from a marriage of Hardcore Punk, Crust Punk, Thrashcore and the then embryonic Death Metal genre.

Grindcore took Hardcore and Crust Punk's drive for blistering speed and short song format and Death Metal's meatier and heavier sound, as well as taking some influence from Industrial and Noise. A typical Grindcore song on average is about 30 seconds to two minutes long, and usually features downtuned and overdriven guitars and bass with fairly simple punk styled riffs alternating between lightning fast and slower groovier passages. Grindcore drumming usually consists of inhumanly fast blast beating and sometimes slower d-beats. Vocals range from Death Metal growls and grunts to high pitched shrieks, with some bands employing a more Hardcore style of shouted vocals.

Lyrically Grindcore bands usually fall into two camps, ones with political lyrics and messages of many Hardcore bands and the Gore obsessed bands that permeate Death Metal.

The first bands that usually take credit with creating the typical Grindcore sound are the United Kingdom's Napalm Death, formed in 1982, and first releasing the From Enslavement To Obliteration demo in 1986, and the full studio album Scum in 1987, the American band Regurgitation formed in 1986, and releasing the Organic Backwash demo in 1986, before changing their name to O.L.D. and recording the Old Lady Drivers album in 1988, and the United States' Genocide formed in 1985, who would record three demos in 1986, before changing their name to Repulsion and recording the Horrified studio album, which wouldn't be released until 1989 after the group had split up for the first time. Other notable early Grindcore acts include the United Kingdom's Extreme Noise Terror formed in 1985 (though they consider themselves as Hardcore punk), the United States' Terrorizer formed in 1987 featuring many members who would go on to be in other well-known and influential acts, Belgium's Agathocles formed in 1985 who dub their style of Grindcore 'Mincecore', United Kingdom's Unseen Terror formed in 1986 featuring members of Napalm Death, Italy's Cripple Bastards formed originally under the name of Grimcorpses before changing sound and name, Japan's legendary group S.O.B. formed in 1983, and others.

Some bands that must be mentioned for being highly influential to the development of Grindcore, include the Hardcore Punk of Siege, Deep Wound, Discharge, GISM, Amebix, Larm, Asocial, as well as Industrial/No Wave group Swans, and the Industrial group Throbbing Gristle.

Grindcore has also spawned many sub genres.

• Deathgrind.

Deathgrind is a genre mixing Death Metal and Grindcore. Bands that play in this style typically are heavier sounding and more technical in playing and song structure than your average Grindcore band. Deathgrind is closely related to both Goregrind and Pornogrind stylistically. Notable Deathgrind bands include the United States' Brutal Truth formed in 1990, the United States Cephalic Carnage formed in 1992, the United Kingdom's Defecation formed in 1987, Germany's Blood formed in 1986, and the United States' Righteous Pigs formed in 1987. Bands that play Deathgrind can be found on MMA under both Grindcore and Death Metal, depending on where the emphasis lies.

• Goregrind.

Goregrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature extremely violent or medical terminology for lyrics, extreme, and for artwork (often times very real pictures), a deviation from the political messages of most Hardcore bands, and many bands make use of pitch shifted or extremely low guttural vocals. The credit for the first Goregrind band goes the United Kingdom's Carcass, formed in 1985 who's debut Reek Of Putrefaction became a favourite of DJ John Peel. Other notable early Goregrind acts include Sweden's General Surgery formed in 1988, United States' Impetigo formed in 1987, and the Netherland's Last Days Of Humanity formed in 1989.

• Pornogrind.

Pornogrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature the use of porn obsessed imagery and lyrics, extremely distorted and pitch shifted vocals, and often times incorporate much slower and groovy sections within songs. Notable Pornogrind bands include the United States' Meat Shits formed in 1989, and Germany's Gut formed in 1991.

• Cybergrind.

Cybergrind is a genre mixing Electronic and Grindcore. Bands that play this style make use of synths, computers, and drum machines in addition to the usual guitars and bass, while some bands use synths, MIDI files, and drum machines exclusively. Many Cybergrind bands tend to have little to no influence or relation to metal. Japan's Catasexual Urge Motivation formed in 1992 is generally considered the first Cybergrind group with a drum machine nicknamed Cyber E.M.F. Other notable Cybergrind bands include the United States Agoraphobic Nosebleed formed in 1994, and Australia's The Berzerker formed in 1995.

• Noisecore.

Noisecore is a genre mixing Hardcore, Noise Rock, and early Grindcore. Bands that play this style of Hardcore/Grindcore usually eschew any form of song structure, in favour of rapid blast beats or fast random playing with riff-less guitar and bass noise, and indecipherable vocal growls and shrieks. Many Noisecore songs don't even hit the 30 second mark, being short blasts and explosions of chaotic sound. Notable Noisecore bands include Australia's Seven Minutes Of Nausea formed in 1985, United States Anal Cunt formed in 1988, United Kingdom's Sore Throat formed in 1987, Switzerland's Fear Of God formed in 1988, and Japan's The Gerogerigegege formed in 1985. Bands that play Noisecore can be found on MMA under both Grindcore and Hardcore, depending on which style is ascendant.

• Fastcore/Thrashcore.

Thrashcore is a genre of Hardcore and early Grindcore. Bands that play in this style of Hardcore/Grindcore are discernible for making use of shorter song structures, faster tempos, and blast beating, more than regular Hardcore bands, and for this Thrashcore can be considered a forerunner to Grindcore and Powerviolence, As many early Grindcore bands took influence from early D.R.I., Deep Wound, and Septic Death. While many Thrashcore artists are labelled as Hardcore here on MMA, some can be considered closer to Grindcore, these bands include Japan's S.O.B. formed in 1983, and the United States' Siege formed in 1981, and Britain's Atavistic formed in 1985. Bands that play Thrashcore can be found on MMA under both Grindcore and Hardcore, depending on where the emphasis rests.

• Powerviolence.

Powerviolence is a genre of Hardcore and early Grindcore. Bands that play in this style are distinguishable from Grindcore and Hardcore for extremely short song lengths with often and sudden tempo changes, and shouted Hardcore vocals. Powerviolence bands draw on early Thrashcore, Hardcore, and Grindcore for inspiration, such as Scum era Napalm Death, Siege, Deep Wound, Cryptic Slaughter, and early D.R.I. Notable Powerviolence bands include the United States' Infest formed in 1986, the United States' Plutocracy formed in 1988, the United States' Hellnation formed in 1988, the United States' Capitalist Casualties formed in 1987, Germany's Yacopsae formed in 1990, and the United States' Man Is The Bastard formed in 1990. Bands that play Powerviolence can be found on MMA under both Grindcore and Hardcore, depending on which is closer to the band's sound.

Sub-genre collaborators (+ child sub-genres):
  • Vim Fuego (leader)

Groove Metal

Groove metal is also known as neo-thrash, post-thrash, or power groove, groove metal consists of slow or mid-tempo and down tuned thrash riffs, bluesy guitar solos, greatly emphasized drum work and harsh vocals. Pantera is considered the most important groove metal act and very much revolutionized the thrash metal genre, and were followed by other influential acts like Machine Head. So great was the impact on thrash metal by groove acts like Pantera and Machine Head that already established thrash metal acts changed their style in a more groovy direction. For example, speed metal veterans Overkill took a more groove metal oriented direction on "I Hear Black", as did Exodus on "Force of Habit" and Sacred Reich on "Independent". While these would quickly return to their roots, other bands, such as Anthrax, continued to explore groove metal to the extent that their music was not even considered as thrash metal anymore. In their exploration of groove metal on "Chaos A.D." and "Roots", Sepultura gave rise to the sub-subgenre of tribal metal, whose central feature is primitive and groovy riffage. Many alternative metal bands, especially those belonging to the nu metal wave, would draw on groove metal, and perhaps that is why many post-1993 releases by acts like Anthrax and Sepultura are considered alternative metal releases. Groove metal also found its way into death metal, giving birth to the subgenre of death 'n' roll, which is included under death metal on the MMA.

Sub-genre collaborators (shared with Speed Metal and Thrash Metal):
  • Vim Fuego (leader)
  • Nightfly

Hard Rock

Hard rock, or heavy rock, is a genre of rock music which is tied in with heavy metal at several levels. The hard rock sound is typically characterized by heavily distorted guitars, potent riffage, and strong and solid drums which, along with the bass, constitute the rhythm section, while the vocals are often aggressive and draw primarily on expression, as hard rock vocalists often incorporate screams, wails, growls, raspiness and falsetto voice and other techniques that one rarely encounters in types of popular music outside of the rock music sphere. Hard rock is heavier, more aggressive and harsher than pop rock and many other types of rock music and is thus based on the same aesthetic as much heavy metal music is.

Hard rock emerged in the mid 1960s and early 1970s as musicians within various rock subgenres of that era (such as, for instance, blues rock, progressive rock, psychedelic rock, southern rock, boogie rock and garage rock among others) began experimenting with distortion, heaviness, intensity and aggression. The sound that such artists developed would eventually become the sound associated with heavy metal music in general, and the early hard rock sound is often considered identical to the proto-metal sound, and, at the time, the terms ‘hard rock’, ‘heavy rock’, and ‘heavy metal’ were synonymous.

As artists like Black Sabbath and Deep Purple, and later Judas Priest, began to gradually move their music away from its blues roots and into darker territory, ‘heavy metal’ began to be used with reference to the type of music resulting from this darker and more intense type of rock music, while many other artists who contributed to the establishment of the proto-metal sound retained their blues influences, and also began incorporating other elements into their music, and by the 1980s, hard rock was generally considered more commercially oriented and more melodic than heavy metal music. The histories of hard rock and heavy metal remained intertwined, though, as many hard rock artists would often take their music into heavy metal territory and incorporate elements from various subtypes of heavy metal into their music, while heavy metal artists would continue to draw on influences from both contemporary and early hard rock. Also, many artists would experiment with both heavy metal music and hard rock, releasing albums and singles some of which fall under the hard rock rubric while others fall under the heavy metal rubric. In addition, several subgenres and movements in heavy metal have close associations with hard rock - for instance, many NWoBHM artists would extensively draw on hard rock (some even being more hard rock than heavy metal), while glam metal is often conflated with hard rock.

The term ‘hard rock’ is used in a number of different ways. Sometimes, it is used as an antonym of ‘soft rock’ which refers to pop rock, folk rock and other types of rock music which do not emphasize distorted guitars – this definition is very broad and includes any type of guitar-driven rock, not necessarily related to heavy metal music, including punk rock, grunge and even Brit pop. Another broad definition is the use of the term ‘hard rock’ with reference to heavy metal music in general, while a more specific use of the term is restricted to blues-based pentatonic rock music performed with intensity and heaviness on distorted guitars, thus excluding many artists who combine rock with elements from heavy metal. Another definition, which is the one that the MMA operates with, emphasizes the heaviness of hard rock compared to other types of rock music as well as its relation to metal, placing hard rock within the sphere of heavy metal music on the scale of heaviness and intensity underneath traditional heavy metal, but above other types of rock music. On this definition the ethos that characterizes heavy metal music in general, is applied to hard rock as well, thus largely excluding rock genres like punk rock and grunge rock (with exceptions, of course), as well as individual artists and releases whose sound cannot be said to bear any similarity to heavy metal music or to have any relation to heavy metal music at all. This definition cuts across rock music subgenres, and will thus include artists from, say, southern rock or AOR whose sound involves a considerable amount of heavy metal elements while excluding other southern rock or AOR artists that do not integrate heavy metal elements into their music.

Inclusive Hard Rock Genres

Heavy Psych Also known as Psychedelic Hard Rock or Hard Psych, heavy psych is a fusion genre between hard rock and psychedelic rock developed by acts such as Blue Cheer and Vanilla Fudge in the late 1960's. As such many early heavy psych acts can also be found under proto-metal on the MMA. Like with all hard rock on MMA, heavy psych acts are only included if they have been deemed to have a relevance to heavy metal music. Examples of later heavy psych acts include Blood Ceremony (whose work also leans into doom metal), Purson and Jess and the Ancient Ones.

Heavy Prog Also known as Progressive Hard Rock, heavy prog acts add a harder edge to their core progressive rock sound, which may or may not include metal elements as well, but are still primarily progressive rock artists. Like with all hard rock on MMA, heavy prog acts are only included if they have been deemed to have a relevance to heavy metal music, though as always this distinction need not apply to every release the artist has made. Examples of acts in the MMA database with heavy prog releases include Porcupine Tree, Arena and Touchstone.

Sub-genre collaborators (+ child sub-genres (except Heavy Alternative Rock) & shared with Heavy Metal and Glam Metal):
  • 666sharon666 (Leader)


Biography written by Time Signature. The Inclusive Genre section written by adg211288.

Hardcore Punk

Hardcore punk is a punk rock subgenre - or rather a set of punk rock subgenres - which is closely related to heavy metal music, because many hardcore artists include several elements from metal in their music, and many metal artists, likewise, include several hardcore elements in their music (several metal subgenres have their roots in hardcore punk music such as thrash metal, grindcore, metalcore, Stockholm death metal, sludge metal, and nu metal). In fact, hardcore can be said to form a continuum from pure punk to primarily metal-oriented music, and many metalheads consider hardcore to be, if not a metal genre, then at least part of the universe of heavy metal music.

Hardcore arose in the late 1970s and gained considerable popularity in the 1980s. It was originally a reaction against the adoption of mainstream society of the aesthetics and lifestyle associated with punk rock as well as the intellectualization of punk rock in Europe. Inheriting the rock instrumentation of punk rock (vocals, guitars, bass, and drums), hardcore musicians would infuse more aggression into their music, speeding up the tempos considerably and inserting heavy and groovy breakdowns into their compositions. Although a global phenomenon, there are two important geographical centers in the development of the genre - namely, the USA and the UK. American hardcore was inspired by the likes of The Dead Kennedys and The Ramones, fusing it with influences from overseas. There were, and still are, several local hardcore scenes in the USA, with the NYC hardcore scene (which often includes the New Jersey scene) probably being the most influential one, spawning bands like Agnostic Front, Misfits, Warzone, Kraut, Mucky Pup, and The Undead, many of which are of crucial importance to metal music as well. Other important early American hardcore bands were Dirty Rotten Imbeciles (D.R.I.) from Texas, The Accüsed from Washington state, Gang Green from Boston, Minor Threat from Washington D.C., and Black Flag and Suicidal Tendencies from Los Angeles. The UK hardcore scene very much sprung from the harsh style of Discharge and The Exploited as well as Amebix which combined elements from early punk rock with elements of NWoBHM, with Motörhead being a particularly important influence; UK hardcore evolved into crust, which would prove to be influential on both death metal and black metal.

Borrowing from heavy metal music, hardcore would itself have an influence on the development of a new subgenre of heavy metal in the early-to-mid 80s - namely, thrash metal, as American metal musicians started to combine the harsh and aggressive style of UK bands like Discharge and The Exploited and US bands like The Misfits and Black Flag on the one hand with the more intricate and technically advanced style of NWoBHM. Despite the similarities in music, the hardcore and thrash metal scenes were separate, and when the members of the two scenes met, violence would often ensue. However, the animosity between the two scenes would eventually disappear, resulting in a hybrid hardcore-thrash style called crossover-thrash, as hardcore artists started incorporating thrash metal elements into their style (perhaps most notably Agnostic Front, D.R.I., and Suicidal Tendencies among others) and thrash metal artists would start to incorporate hardcore into their style (Nuclear Assault being an important example of this). New bands that featured members of both scenes were even established, most notably Stormtroopers of Death (S.O.D.).

Because of the influence of metal upon many early hardcore bands, the term metallic hardcore is sometimes used with reference to hardcore nd crust bands that either make use of elements from various heavy metal subgenres or hardcore bands that are, for other reasons, associated with heavy metal music. In other words, the 'metallic hardcore' label applies to bands at the more metal-oriented end of the hardcore-metal continuum. Typical features of metallic hardcore are the grooves, riffage, and drum patterns associated with hardcore punk and elements associated with heavy metal music, such as guitar leads, double bass drums, palm-muted riffing and, often, productions which, while DIY, are not deliberately underproduced. It should be noted that, here at the MMA, the hardcore subgenre only includes metallic hardcore bands.

In addition to 'standard' metallic hardcore, inclusive hardcore genres on the MMA are:

  • Crust: crust, or crust punk, with its own sub-genre here on MMA, Crust is typically used with reference to the hardcore punk tradition established in the UK by the likes of Discharge, Amebix and Hellbastard. It combines the energy and aggression of punk music with the power and darkness of heavy metal music, early crust punk drew inspiration from the music of the likes of Black Sabbath, Venom, Bathory and Motörhead, while rejecting the lyrical matter often associated with metal at the time. Characteristic of crust punk are heavily distorted guitars and dominant bass frequencies, given the impression of a very dirty sound, and many crust bands also embrace the d-beat drumming style popularized by Discharge, which was in turn inspired by Motörhead. Another typical feature is the use of both very fast tempos and extremely heavy tempos, and harsh guttural vocals are not uncommon. And offspring of crust punk is grindcore which was invented by Napalm Death and Carcass under the influence of Extreme Noise Terror (who would later embrace grindcore aesthetics themselves). Many bands on the Stockholm death metal scene of the early 1990s would incorporate numerous elements from crust punk into their sound as would early American sludge metal bands like The Melvins and Neurosis, while Hellhammer/Celtic Frost would draw inspiration from Discharge, resulting in derivatives of d-beating figuring in black metal. More recently, crust bands have infused elements from death metal, black metal, thrash metal and sludge metal, into their music. Examples of crust bands included in the MMA are Extreme Noise Terror, Amebix, Discharge, Acephalix, Wolfbrigade, Nuclear Death Terror, and Hellbastard. Many modern crust bands have infused so many death metal elements into their music that it makes more sense to consider them death metal bands, in which case the bands, or releases, in question are included under death metal, as is the case of a number of Acephalix and Bastard Priest releases. Other crust bands crossed over into thrash metal territory as is the case of Hellbastard's late releases and Amebix' "Monolith"; in this case the relevant releases are included under thrash metal. Crust Punk
  • UK82: UK82 is a hardcore punk style that includes those early second-wave punk bands who retained a strong punk sound but added the heavy drum beats and distorted guitar sound of NWoBHM bands to produce a punk and metal hybrid. Examples of bands playing in the UK82 style would be G.B.H and The Exploited.
  • New York Hardcore: New York Hardcore, or NYHC, was more than just a scene. NYHC bands had a distinctive metallic sound incorporating thrash metal riffs and also took influence from the British Oi! movement. NYHC had a strong influence over the development of metalcore and beatdown hardcore.
  • Crossover thrash: Crossover thrash, often abbreviated to crossover, is a form of thrash metal that contains more hardcore punk elements than standard thrash. It is sometimes referred to as punk metal, though this is generally incorrect due to the existence of other music genres that combine forms of punk rock and heavy metal, such as grunge, crust punk, and more recently metalcore and its subgenres. While thrash metal is heavily influenced by hardcore punk, the overall sound of crossover thrash is more punk-influenced yet more metal-sounding and aggressive than traditional hardcore punk and thrashcore. The term was coined by the band D.R.I. with their album "Crossover", released in 1987. The term 'crossover' is based on the metaphor of crossing over from one genre into the other, thus capturing artists the operate within the transition zone between thrash metal and hardcore punk. With the metaphor comes the conception of directionality, such that the genre is applied to hardcore and crust punk artists who have crossed over into thrash metal territory, such as D.R.I., Discharge, The Exploited, The Accüsed, Agnostic Front and Suicidal Tendencies (who eventually ventured into alternative metal), and thrash metal artists who crossed over into hardcore punk territory, such as Nuclear Assault and S.O.D. In the MMA database, crossover bands and releases that lean more towards thrash metal are included under thrash metal, while those that lean more towards metallic hardcore are included under hardcore.
  • Thrashcore: thrashcore and the closely related subgenre skatepunk are often placed in the crossover continuum. Thrashcore is basically metallic hardcore played at very high speed (often featuring simple guitar figures performed with palm-muting), sometimes using blastbeats, and makes use of microsongs. Skatepunk is a more melodic, but just as aggressive and fast, variant of thrashcore, used as soundtracks in skateboarding videos (with many of the artists being skateboarders themselves). D.R.I. and Voetsek as well as Cryptic Slaughter, Septic Death and A.N.S. all started out thrashcore bands and eventually took their music in a more thrash metal-oriented direction. In the MMA database, thrashcore bands and releases that are more hardcore than thrash are included under hardcore while those that are more thrash metal oriented are included under thrash metal; some thrashcore bands have taken their music in a more grindcore-oriented direction, in which case they are included under grindcore.
  • Powerviolence: Powerviolence or Power Violence is a style of hardcore punk that grew out of thrashcore. Songs tend to be short and aggressive and are often accompanied by frequent tempo changes and socio-political lyrics. While powerviolence bands remain musically grounded in hardcore punk, the scene has strongly influenced the development of grindcore and some crossover between the genres exist.
  • Post-hardcore: post-hardcore combines hardcore elements with elements from alternative rock, alternative metal, noise rock and sludge metal, and is often also often characterized by an avant-garde approach. Some post-hardcore acts have inherited the metallic elements from metallic hardcore, while others infuse post-metal into their sound. Such metallic post-hardcore bands are included in the MMA - if the hardcore elements are prevalent, then they are filed under hardcore; otherwise they are categorized under the most appropriate metal subgenre as is the case of, for instance, Wolves Like Us. Post-hardcore bands with no metal elements or not relevance to metal are not included in the MMA.
  • Sludgecore: sludge metal was born as a hybrid of hardcore punk and crust punk on the one hand and doom metal, southern metal and stoner metal on the other hand. Some sludge bands emphasize the tempos and aggression of metallic hardcore and crust, prioritizing these over the slow tempos of doom metal and stoner metal. Such artists and releases - if the hardcore and crust elements are dominant - are included under hardcore rather than sludge metal. Examples of such bands are I Exist and Hard Charger.
  • Beatdown: Beatdown hardcore is a style of hardcore punk that tends to be very metallic, often drawing inspiration from brutal and slam death metal, while remaining closer to hardcore than a typical metalcore or deathcore band would. The style sits on the cusp between hardcore punk and metalcore and deathcore, and beatdown bands often cross over into decidedly metal territory. Where they do, bands and releases are filed under metalcore or deathcore on MMA. An example of one such band might be Hatebreed.
  • D-beat: D-Beat is a metal-influenced style of hardcore punk named after and popularised by the band Discharge. D-Beat features a recognizable d-beat drum pattern, usually has shouted vocals and is stylistically and thematically similar to Anarcho-Punk.


The following hardcore-related subgenres are included in the MMA, but not under the hardcore genre:

  • Metalcore: metalcore has its own subgenre, as it has evolved into a popular metal genre of its own.
  • Deathcore: deathcore - a hybrid genre that combines metalcore and death metal - is considered a metalcore subgenre, and deathcore bands and releases are included in the deathcore child-sub under metalcore.
  • Mathcore: as with deathcore, mathcore - highly technical and progressive metalcore - is considered a subgenre of metalcore, and mathcore bands and releases will be included under metalcore (or deathcore). Those math metal bands that have more in common with progressive metal will be included under progressive metal.
  • Grindcore: although derived from crust punk, grindcore has developed into an extreme metal genre in itself and is given a subgenre of its own. Some grindcore acts started out as crust, powerviolence or thrashcore bands and then developed into grindcore bands, as is the case of Extreme Noise Terror. In this case, crust, powerviolence or thrashcore releases are included under hardcore while grindcore releases are included under grindcore.
  • Other punk-metal hybrids: punk-metal hybrids that do not draw on hardcore or crust or related genres, but rather on other punk rock genres are included under the most appropriate metal genre. Thus Kvelertak who combines punk rock, hard rock and black metal is included under hard rock, and Motörhead and Brats who combine early punk rock and traditional heavy metal are included under traditional heavy metal, while Oktan and The Spittin' Cobras who combine dirty hard rock 'n' roll and punk rock are also included under hard rock.


Note that hardcore punk, crust punk, thrashcore, skate punk and other purely punk-oriented artists with little or no relevance to metal music are not included in the MMA database. If a metal band in the MMA has released a non-metal punk-oriented release, that release will be included under Non-Metal, as is the case of Lawnmower Deth's album "Billy" which is a pop punk album along the lines of Green Day.

Sub-genre collaborators (+ child sub-genres & shared with Metalcore):
  • Bosh66 (leader)

Heavy Alternative Rock

Heavy Alternative Rock, also known as Alternative Hard Rock, is a catch-all sub-genre used to encompass the various alternative rock artists that play heavy music that don't necessarily descend, at least directly, from the traditional hard rock spectrum. It notably includes grunge and post-grunge bands, both of which can be heavy but of a different heritage to traditional blues based hard rock acts, but it may also include actual hard rock acts and releases that borrow heavily from alternative rock to create a fusion sound. Some examples of this include Nickelback (hard rock/post-grunge), Dizzy Mizz Lizzy (hard rock/alternative rock) and Foo Fighters (hard rock/alternative rock/post-grunge), at least on some releases, such as Wasting Light (2011).

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Heavy Metal

Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with masculinity and machismo.

The first heavy metal bands (Proto) such as Led Zeppelin, Black Sabbath and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre’s evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal (NWoBHM) such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as “metalheads” or “headbangers”.

Visit the NWoBHM sub-genre page for more details on this particular music movement.

Source: http://en.wikipedia.org/wiki/Traditional_Heavy_Metal

Inclusive Traditional Heavy Metal Genres

Melodic Metal is often short for Melodic Heavy Metal and as such is usually included under Traditional Heavy Metal on the MMA. On rare occasions Melodic Metal releases may also be included under Power Metal however, such as Arven's Black is the Colour (2013).

Sub-genre collaborators (+ child sub-genres & shared with Hard Rock and Glam Metal):
  • 666sharon666 (Leader)

Industrial Metal

Industrial Metal is a sub-genre of metal music that is known for combining industrial music and various other forms of electronic music with various forms of heavy metal. While it is known as being founded in the late 80's by artists like Slab!, Godflesh, and Ministry, the band Killing Joke are widely known as being the forerunners, starting as a post-punk act with industrial elements. The band eventually switched to the style they helped create during the 90's, which was the peak of industrial metal's popularity. Many critically acclaimed industrial metal albums were released during this time. Skinny Puppy should also be mentioned as a big influence on the genre.

While Industrial Metal bands have made use of a wide range of styles of electronic and heavy metal, there are a few styles that are more notable. Many of the early industrial metal bands blended thrash metal or sludge metal with their industrial sound. Ministry, KMFDM, Varga, and Die Krupps are some notable acts of the industrial thrash variety, while Godflesh and the early albums of Pitchshifter included sludge elements. Sometimes bands would combine both sludge and thrash elements, such as Treponem Pal. Some of the more mainstream industrial acts, like Nine Inch Nails and Marilyn Manson, added in an alternative rock element to the style. Some of the more notable specific sub-genres include:

Industrial Black Metal is a more recent form of industrial metal, the most notable act being Samael, who switched from pure black metal to an industrial-infused sound on their album "Passage". Industrial Black Metal combines raw black metal vocals with elements of both black metal and industrial thrash. Other notable acts include Aborym, The Axis of Perdition, and Dødheimsgard. However, many industrial black metal bands are more black metal than industrial, so many industrial black metal acts are placed under black metal.

Neue Deutsche Härte (New German Hardness) is a music scene in Germany, which is known for combining the crunching riffs of groove metal or thrash metal with heavy dance beats. The most notable band in this scene is Rammstien, who are known for creating some controversial music videos. Other acts in the scene include Oomph! and Megaherz.

Cyber Metal, taking more influence from EBM (Electronic Body Music) and Aggrotech, is usually used to describe industrial metal acts that are on the more extreme side. Cyber Metal bands typically have more use of atmospherics and harsh vocals. Notable acts include Fear Factory and Sybreed, though other industrial metal bands have included elements of cyber metal, such as Static-X.

Some bands, like Nailbomb and Strapping Young Lad, make use of a vast selection of influences along with industrial. The former is sometimes known as industrial death metal, which is less prominent than Cyber Metal which has death metal as only one of it's influences. Both bands are placed under industrial, as industrial extreme metal gives a good idea of the bands' overall sound.

Industrial metal has shown its influence throughout the genres of metal, so there are some bands that take influence from industrial metal while being mainly a separate genre. Bands like Prong, Voivod, Meathook Seed, and Ultraspank have taken influence from industrial, but have largely stayed closer to their respective genres. It has also shown its influence with bands more commonly associated with regular industrial music. Front Line Assembly has a few industrial metal albums spread throughout their largely electronic discography, and Aggrotech band Combichrist eventually switched to an industrial metal sound.

- Genre biography written by Unitron.

Sub-genre collaborators (shared with Trance Metal):

Mathcore

Mathcore is a progressive, rhythmically complex and dissonant style of metalcore that emerged in the 1990s. It was pioneered by bands such as Converge, Coalesce, Botch, The Dillinger Escape Plan and Candiria.

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Melodic Black Metal

Melodic Black Metal is a sub-genre of black metal music. It features a higher focus on melodic guitar playing and sometimes keyboards than the more traditionally styled black metal acts do. They also tend to have more polished production values and a more direct style of songwriting focusing on riffs over atmosphere. Melodic black metal acts are also more likely to include some clean vocals in addition to growls in their music compared to more traditionally styled black metal acts. There is some crossover with symphonic black metal and artists that have produced releases in both styles, such as Dimmu Borgir and Cradle of Filth, are common.

Some of the most well known melodic black metal acts include Dissection, an early pioneer of the genre, along with Sacramentum. Windir, Kvist and Melechesh are also considered key melodic black metal acts.

Return to Black Metal

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Melodic Death Metal

Melodic death metal, also referred to as melodeath, combines elements from death metal with elements from thrash metal, more traditional heavy metal and even hard rock. A typical feature of melodic death metal is the use of Iron Maiden-like twin guitar harmonies, melodic guitar leads and inherently melodic upbeat thrash riffage, and the guitars are often downtuned to B; sometimes synths and electronica elements occur in melodic death metal, too. The vocals are typically growled, shrieked or screamed, but some artists combine these harsh vocals with clean singing. Swedish artists in and around the city of Gothenburg have been especially influential in melodic death metal, leading to the establishment of the Gothenburg sound which has also made its way into metalcore and, more recently, power metal and progressive metal. Here on MMA, metalcore artists who make use of the Gothenburg sound, such as Nothing Divine, are included under metalcore, and power metal artists that make us of the Gothenburg sound, such as Raintime and Amaranthe, are included under power metal, while progressive metal artists that make use of the Gothenburg sound, such as James Labrie, are included under progressive metal. Sometimes a division is made between “melodeath” as a genre term referring specifically to melodic death metal based on the Gothenburg sound and “melodic death metal” as a term referring to more traditional death metal which emphasizes melody, as in the case of Terra Tenebrae, Arkan, and late Bolt Thrower. Carcass’ “Heartwork” is considered to be among the first melodic death metal releases, while artists like At the Gates, In Flames, Dark Tranquility, and Arch Enemy are among the most influential melodic death metal artists, and other examples are late Illdisposed, Deadlock, Amon Amarth, Omnium Gatherum, and Blood Stain Child.

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Melodic Metalcore

Melodic metalcore is a subgenre of metalcore, with a heavy emphasis on melodic instrumentation, blast beats, metalcore-stylised breakdowns and clean singing. The genre has seen commercial success for employing a "more accessible and commercial style" than typical metalcore. Many notable melodic metalcore bands have been influenced by melodic death metal.

Where metalcore evolved out of hardcore punk with added metal elements such as double bass drumming and thrash-like guitar and vocals, melodic metalcore often stemmed from metal bands adopting hardcore punk elements.

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Metal Related

Metal Related is a term used on Metal Music Archives (MMA) to describe artists and releases that, although not metal enough to be placed under any of the MMA metal sub-genres, still contain a reasonable amount of metal elements.

While this tag will often be applied to releases by artists who do indeed have more fully-fledged metal releases such as Opeth's Heritage or most releases by A.C.T. after their debut, the site will often take in artists that have no releases in metal sub-genres, as Metal Related artists due to the metal elements on some or all of their releases. Examples of such artists are Neal Morse for his 2007 album Sola Scriptura, Galahad for their later releases and Beardfish for their 2012 album The Void.

As such the actual music on releases with the Metal Related sub-genre can vary greatly, both in terms of the main style and the metal elements that flavour the music.

- Written by adg211288 (August 2015)

Sub-genre collaborators:

The Metal Related team is always the same as the standing admin team. Currently:

  • adg211288
  • Bosh66
  • 666sharon666
  • Vim Fuego
  • Nightfly


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Metal Related Genres

Metal Related is a term used on Metal Music Archives (MMA) in regard to artists that, although they do not play metal themselves, still have a place within the metal scene.

On MMA the aim is to build up a complete picture of the metal music genre and its associated scene, and the Metal Related Genres umbrella sub allows the inclusion of related bands and side projects of metal musicians to be included in the site database, along with artists that exist on the fringes of the metal scene by including elements of metal in their music, but haven't ever made a fully fledged metal album. There are also sections for some of the more closely related genres to metal.

There are five sections to the metal related section on MMA: Hard Rock (encompasses heavy psych and heavier progressive rock and more), Hardcore & Crust (punk genres that can sometimes be metallic), Metal Related (releases with metal elements), Non-Metal (mostly a catch all for releases that don't otherwise fit, but also sometimes used for related bands and side-projects to be included on MMA) and Proto-Metal (artists involved in the early development of the metal genre). Each sub-genre is governed by its own rules and policies, some with dedicated teams and some handled by the site admins. More can be learned about each by listing their individual sub-genre pages.

Nothing is ever added directly to the parent Metal Related Genres page. It is merely an umbrella sub used to group the five child sub-genres in one place.

Metalcore

Metalcore, a portmanteau of metallic hardcore, is a fusion sub-genre of heavy metal. The genre is a diverse blend of a number of elements, melding the genre’s roots in hardcore punk with death metal and and thrash metal. The genre saw its beginnings in the late 80s when bands such as Integrity, Earth Crisis, and Converge began to fuse elements of the hardcore punk scene with the heavy metal and thrash metal scene. Metalcore is not the first metal-hardcore hybrid, and a distinction is made between metalcore and crossover thrash, which is a hybrid of thrash metal and hardcore punk, but which, unlike metalcore which is broader in scope, focuses on a number of specific elements from both genres.

These bands began to develop a similar style, with linear compositions with aggressive verses and melodic chorus with an emphasis on breakdowns, where the music slows and becomes much heavier, which is conducive to moshing and head banging. Breakdowns are generally considered as the defining element of metalcore. From 1989 to 1995, this style of music exploded in popularity in the underground metal community. After 1995, numerous bands began to put more emphasis on melody in their metalcore, fusing more melodic death metal, post-hardcore, and occasionally emo elements into their music. By the late 90s and early 2000s, many metalcore bands had attained a very popular status, with bands such as Avenged Sevenfold, Killswitch Engage, and Atreyu enjoying popularity outside of the normal metalcore scene and successful album sales.

Much of the metalcore genre has a similar and distinct style, which is based upon intense vocal work, much of which is either screamed or growled, and some artists combine these with clean melodic vocals in choruses and other passages, heavy and often at times technical instrumentation with a heavy emphasis on down-tuned, palm muted guitar and double bass-based drumming, and a heavy emphasis on breakdowns and solos. Although some bands are exceptions to this style, the vast majority of metalcore bands share this similar style.

A number of distinct sub-genres of metalcore have emerged over the years, the most prominent being deathcore, mathcore, melodic metalcore and electronicore / trancecore. All have their own child-subs on MMA.

Mathcore emerged in the mid-90s with the work of bands such as Converge, The Dillinger Escape Plan, and Botch, is the fusion of elements of math rock, which is rock based on complex time signatures, rhythms, and instrumentation, and metal genres such as thrash metal, death metal, and metalcore itself. This genre has a heavy emphasis on speed, aggressiveness, and intense instrumentation.

Deathcore, which emerged in the early 2000s, is another sub-genre of metalcore which fuses elements of hardcore punk with death metal, technical death metal or brutal death metal. Hardcore fused with melodic death metal is usually refered to melodic metalcore.

Melodic Metalcore can also be called out as a subgenre with acts like Avenged Sevenfold and Killswitch Engage and other acts who mix hardcore punk with melodic death metal.

Electronicore / Trancecore / Synthcore emerged in the 2000s, melding metalcore and post-hardcore with electronic elements. The style was made popular by bands such as Attack Attack!, Crossfaith, Enter Shikari and The Browning.

Another electronic / metalcore hybrid that has gained some recognition is Nintendocore. Nintendocore fuses chiptune and video game music with modern hardcore punk and heavy metal and was pioneered by groups such as Horse the Band. Increasingly non-Nintendocore bands are utilising the style too as it has become more maintream.

Progressive Metalcore can also be called out as a distinct style, which some include under mathcore, while others distinguish between mathcore and progressive metalcore, with mathcore emphasising technicality and progressive metalcore displaying progressive traits without necessarily being technical. Many progressive metalcore bands describe their music as "djent".

A small but increasingly common style of metalcore is a combination with nu-metal, often called Nu-Metalcore. These bands will be found under metalcore or nu-metal, depending on which style they are closer to.

Metalcore bands such as Winds of Plague and Across the Sun have begun to incorporate symphonic elements into their style, suggesting the rise of yet another metalcore subgenre - namely, symphonic metalcore (with its corresponding symphonic deathcore).

Metalcore Inclusive Genres:

deathcore electronicore mathcore melodic-metalcore nintendocore


Written by Andyman1125 with embellishment from the Metal Music Archives admin team.

Sub-genre collaborators (+ child sub-genres & shared with Hardcore Punk):
  • Bosh66 (leader)

Neoclassical metal

Neoclassical Metal is a sub-genre of metal music that draws strong influence from classical music in its playing and composition style. The most notable performer of the genre is Yngwie Malmsteen.

While neoclassical metal bands do exist, with a notable branch of the genre being neoclassical power metal, it is more commonly played by solo performers such as the aforementioned Yngwie Malmsteen. Instrumental artists are very common in the neoclassical metal genre.

Sub-genre collaborators (shared with Power Metal & US Power Metal):
  • DippoMagoo (leader)
  • adg211288
  • Sisslith

Nintendocore

Nintendocore (also known as NEScore and Nerdcore) is a fusion primarily of melodic metalcore and post-hardcore with chiptune and video game music, pioneered by groups such as Horse The Band.

While many Nintendocore bands produce music with the extreme metal sound of metalcore, some have completely replaced traditional instrumentation with electronics, an approach not uncommon in cybergrind.

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Nu Metal

Nu metal is a genre which stemmed from alternative metal that emerged in the 1990's. Like it's parent genre, it also draws in different sounds previously not mixed with heavy metal. It takes heavy influence from groove metal, funk metal, hardcore punk, grunge, and other late 80's/early 90's genres. Also like alternative metal, nu metal often showcases off-kilter, syncopated guitar sections, usually with little-to-no guitar solos and unusual time signatures. What differentiated nu metal greatly from other metal subgenres however was it's hip-hop elements, such as sampling, turntablism, and electronic infusions. This hip-hop influence can also put rapping at the forefront, but nu metal can also showcase clean singing, screaming, and growling.

The creation of nu metal came with the New Wave of American Heavy Metal, along many other genres such as groove metal, metalcore, and industrial metal. One of nu metal's biggest breakouts onto the scene was with Korn's self-titled debut in 1994, which is often considered to be one of the most important records in the development of the genre. Other acts continued to emerge following Korn's debut, such as Slipknot, Nothingface, Mudvayne, Coal Chamber, Staind, and others later in the 90's and continuing into the 2000's.

Although many consider nu metal to be a reasonable facet to metal music, many bands labeled as such have gone on to reject it as a sort of cultural misnomer. Many bands such as Staind and Korn recognize "nu metal" as a mark of inadequacy that people use do discredit the music that they make. Others like Coal Chamber and Limp Bizkit stand by the label, expressing that they believe nu metal to be something that "broke musical ground", as Coal Chamber vocalist Dez Fafara said. To this day, the legitimacy of the mark of nu metal is one still debated heatedly throughout the metal world.

In the 2010's a hybrid fusion of metalcore and nu metal came with bands like Atilla and Issues, as well as albums from previously established metalcore acts like Suicide Silences's The Black Crown (2011) and Of Mice and Men's Restoring Force (2014). These albums and acts incorporated metalcore vocals along with aforementioned nu metal characteristics like turntabalism.

- Biography written by aglasshouse.

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NWoBHM

The NWOBHM was a movement which gained media recognition in the late 1970s, achieved international attention by the early 1980s, and gave way to a snowball effect which has led to the development of many different styles, and the hugely increased popularity and diversity of heavy metal music.

Heavy metal music, unlike many other music genres, has evolved and matured over many decades, proving itself to be more than a simple fashion statement. The NWOBHM represented a sudden explosion of interest in the music and experimentation within the field, which was echoed across the Atlantic a few years later in the development of Thrash Metal and its various offspring.

The way in which it arose echoes the garage band and underground music phenomenon of the 1960s, with a striking feature being that bands were usually derived from fans of the music. This created a very protective culture, in which bands strove to develop their own sounds and styles to make them stand out from the rapidly expanding pack.

This in turn bred a tendency towards a technical proficiency of a rather flamboyant nature, echoing and sometimes imitating Progressive Rock bands, who had been somewhat stifled by the explosion of punk rock earlier in the 1970s.

It has been often cited that The NWOBHM drew its energy from the preceding wave of punk rock and, due to the open nature of the music, in some cases this is true. But Heavy Metal had always had a level of driving energy, right from the early hard rock pioneers such as Blue Cheer, Deep Purple, Blue Oyster Cult and the Scorpions through to the heavier Glam Rock acts such as Slade and The Sweet. This energy seemed to culminate in the music of Judas Priest, who were undoubtedly the most important musical influence on the NWoBHM.

What did arise from punk was the whole DIY aspect - the fact that anyone with any level of musical ability could form a band, record a demo and distribute it themselves among friends and fans, and this aspect was core to the way in which the NWoBHM grew and disseminated around the world. Metallica famously would listen to these demo tapes and decide to create their own, despite the fact that Lars Ulrich was yet to set up his drum kit, let alone play it.

Some bands, such as Diamond Head and Def Leppard even went as far as to set up their own record label in order to release their material (Happy Face and Bludgeon Riffola respectively). Many bands signed to small independent labels, and labels such as Neat records sprang up specifically to promote Heavy Metal music. A number of compilations appeared, such as "Lead Weight", "New Electric Warriors" and "Metal for Muthas".

Spearleaders for the movement, Iron Maiden, recorded a live set at the Sound House before signing to major label EMI, and were thus in the fortunate position of being able to have the EMI promotion machine available to promote their innovative and highly influential brand of metal at just the right time (Maiden had actually been in existence for at least 3 years before the NWoBHM). Def Leppard quickly got signed by Vertigo, Diamond Head were disastrously signed by MCA, and Sheffield-based Saxon signed to French disco label Carrere!

Despite often scathing critical backlash, the music was heavily promoted by the likes of Sounds journalist Gary Barton, who is credited with coining the term New Wave of Heavy Metal, Rock DJ Neal Kay, who played recordings of new acts extensively at London's Sound House, and Radio 1 DJ Tommy Vance. Magazines dedicated to the music, such as Metal Forces and Kerrang! sprang up, and later, Vance began to include a section called Rock Wars, dedicated to unsigned acts in his Friday night Rock Show.

But while the major label acts were crucial in the musics continued development and dissemination, it was the smaller acts, often acts with only one or two demos under their belts, that made the music what it was, and ensured that, while the signed acts either went on to international stardom or disintegrated completely, the music itself continued to evolve at an ever-increasing pace.

As for the musical style itsef, contrary to popular opinion, many early NWoBHM bands would incorporate 12-bar blues in their rhythm parts, and the minor pentatonic scale in lead guitar solos. This can make it hard to distinguish the music from Hard Rock, which is essentially blues rock played through high-gain amplifiers.

The bands that really stand out from this time are the bands that broke away from the hard rock traditions, modelling their compositions on structures with extended intros, outros and instrumental breaks, usually featuring extensive guitar solos.

But it was not just about how complex the music could be; Beacuse of it's origins, there was a strong emphasis on crowd involvement, and many bands wrote anthemic songs with strong, straightforward melodies with that in mind. There was also the question of band identity and originality, and bands such as Samson and Holocaust seemed to re-invent themselves and their style with each successive song.

The music covered an extraordinarily wide range of styles, almost always centered around an aggressive, high gain guitar sound, typified by the Marshall JCM 800 amplifier and Gibson humbucker equipped guitars. Vocals were pushed hard, to sound either high-pitched and scream-like, following the lead of the likes of Led Zeppelin or Deep Purple, or, less commonly, growly like Motorhead or menacing like Ozzy Osbourne.

More was expected of bass players, who needed not only to provide a solid, rhythmic root note foundation, but to join in with ever more elaborate passages between extended musical sections, and drummers were required to be versatile enough to cope with both very slow, atmospheric music and ever-increasing speed.

The very challenging nature of the music they were writing and lack of funding for professional studio costs meant that quite often bands found it difficult to play and record their own material, so demos often sound extremely rough in these days of inexpensive computer recording environments.

But the music is frequently inspired and inspiring, contains many surprises for those who think they've heard it all, and, of course, still rocks hard!

Written by Certif1ed (May 2010)

Sub-genre collaborators:

Same as Traditional Heavy Metal.

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Pagan Black Metal

Pagan Black Metal is a sub-genre of Black Metal music that musically sits somewhere between the traditional black metal sound as pioneered by the early Norwegian black metal scene and Melodic Black Metal. The atmosphere of the genre is generally raw and primitive sounding yet the guitars tend towards a less abrasive and more melodic tone. In addition, pagan black metal makes use of a degree of folk influences, either played on real instruments or replicated through modern technology. Clean singing will often be featured alongside black metal growling. It shares some similarities to Viking Metal, and due to its folk elements many pagan black metal artists have also produced releases that may be considered fully-fledged Folk Metal.

Return to Black Metal

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Pornogrind

Pornogrind is a genre mixing Death Metal and Grindcore. Bands playing in this style feature the use of porn obsessed imagery and lyrics, extremely distorted and pitch shifted vocals, and often times incorporate much slower and groovy sections within songs. Notable Pornogrind bands include the United States' Meat Shits formed in 1989, and Germany's Gut formed in 1991.

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Power Metal

Introduction

Power Metal is one of the sub-genres of heavy metal music that first appeared during the 1980's, drawing influence from traditional heavy metal, especially the New Wave of British Heavy Metal, and speed metal. The term power metal actually refers to two different but closely related metal styles, nowadays known as US/American Power Metal (USPM) and European Power Metal (or Melodic Power Metal), named after the geographic regions in which the styles originated. Artists from either place are not tied down to playing that particular kind of power metal of course, such as the US band Kamelot who play the European style, while there are also artists from other countries who play power metal such as Brazil's Angra and Japan's Galneryus. These days power metal bands come from many places and have many different styles, documented further on. This page primarily deals with the European brand of power metal, with USPM placed under its own child sub-genre.

European Power Metal

Though it developed a little later than USPM, in the late 1980's, specifically Germany, the European, melodic power metal sound is no doubt what most first think of when the term power metal is mentioned. Indeed it is more distinct in sound than USPM, but features the same basic influences, with the key difference to USPM being that European power metal draws more heavily on the speed metal influences rather than traditional heavy metal ones. Indeed in the late 1980's power metal was instead referred to as melodic speed metal.

European power metal is widely credited to have been started by Germany's Helloween in 1987 with the release of their Keeper of the Seven Keys Part I album. Prior to that, Helloween had been a speed metal band. Blind Guardian, another popular German power metal act, had similar roots while other bands such as Grave Digger started more in the traditional heavy metal vein. Others like Running Wild blended both before becoming power metal bands later in their careers. Compared to USPM European power metal acts often feature keyboards, catchy lyrics and are generally less hard hitting, though the German scene is quite notable for its additional heaviness. Popular power metal acts from other countries include Italy's Rhapsody of Fire, Finland's Stratovarius and Sweden's Sabaton.

Sub-genres of Power Metal

Aside from the standard USPM and European power metal styles, there are a number of different sub-genres, or hybrid genres in some cases, of power metal that have since developed.

Symphonic Power Metal: A style of power metal typically only applicable to the European sound, symphonic power metal increases the use of keyboards to create a symphonic backing, drawing on classical music. The use of symphonic elements in such bands can vary greatly with some artists using them as a main element of their sound, such as Rhapsody of Fire, while some merely use symphonic elements to flavour their music, such as Avantasia. Symphonic power metal releases are always placed under power metal on MMA.

Heavy Power Metal: Not to be confused with USPM, which is closer to traditional heavy metal to begin with, this refers to a hybrid of European power metal with traditional heavy metal. Bands are typically less speed orientated than pure melodic power metal acts. HammerFall is a heavy power metal act from Sweden while Nightmare are from France. Some artists which fall into this category featured a harder hitting, more aggressive sound, such as Grave Digger of Germany, but are still considered to belong to the European power metal genre rather than USPM. They are included under power metal on MMA, although some such artists have also made albums more directly rooted in traditional heavy metal and have those tagged accordingly. Some of the older heavy power metal acts, including Grave Digger and Nightmare, started as heavy metal acts before adding power metal into their sounds later in their careers.

Folk Power Metal: The folk metal as a genre can take its metal elements from almost any other metal genre going, including power metal. Elvenking and Falconer are folk power metal bands. They are typically included under folk metal on MMA, but with cases such as Falconer where folk influences are normally minimal per album, they are included under power metal instead. Additionally some power metal artists, especially Blind Guardian but also Grave Digger, have utilised folk influences in their music.

Power-Thrash: A hybrid of power metal and thrash metal, which can be considered sister genres due to both evolving from speed metal. The so called blue collar USPM can also be considered to be power-thrash but the term typically refers to European power metal mixed with thrash metal, although the early work of Iced Earth is considered to be power-thrash. The mix of elements can vary even within the same artist with some being primarily power metal and others primarily thrash metal. As well as Iced Earth, Dark Empire and Paradox have also released power-thrash albums, while some power metal bands have included thrash metal elements in their sound in smaller amounts, such as Seven Kingdoms and Persuader. Power-thrash artists are treated on a case by case basis on MMA, for example Tales of the Weird (2012) by Paradox is placed under thrash metal, but The Fateful dark (2014) by Savage Messiah is placed under power metal.

Progressive Power Metal: Drawing influences from progressive rock and metal music as well as power metal of either the European or US variety, these acts are typically included under power metal on MMA, such as Pyramaze and Kamelot. The exception is when an artist’s progressive influences become the most recognisable thing about their sound. Illusion Suite is an example of such a progressive power metal act. Vandroya and Wuthering Heights are progressive power metal bands, the latter of which also being classifiable under folk power metal.

Neo-classical Power Metal: Melodic power metal that uses neo-classical guitar playing for its lead guitar parts. Magic Kingdom and Concerto Moon are neo-classical power metal acts, while other power metal acts such as Amberian Dawn and At Vance have incorporated aspects of neo-classical metal into their sounds. As there is no neo-classical metal sub on MMA all such acts are placed under power metal by default, while non-power metal based neo-classical acts are typically placed under traditional heavy metal, or sometimes progressive metal, with which there can also be crossover, as with Symphony X.

Extreme Power Metal: This particular sub-genre combines power metal with melodic death metal and covers artists such as Children of Bodom, the first album of Wintersun and to a lesser extent the first album from Seven Kingdoms. Extreme power metal typically features power metal music but with primarily growling vocals rather than power metal’s traditional clean singing. Such artists are treated with a case by case basis as to their placement on MMA. The genre is sometimes also called Power-Death.

Power Metal Inclusive Genres

Melodic Metal is sometimes included under Power Metal but usually under Traditional Heavy Metal. Melodic metal features a presence of melody akin to European power metal but lacks the focus on speed. Many melodic metal releases tend to use some actual power metal elements as well as hard rock and sometimes other genres. An example of a melodic metal release that is placed under power metal instead of traditional heavy metal is Arven's Black is the Colour (2013).

- Written by adg211288 (April 2013)

Sub-genre collaborators (shared with US Power Metal & Neoclassical Metal):
  • DippoMagoo (leader)
  • adg211288
  • Sisslith

Progressive Metal

Progressive metal, more commonly know as prog metal, is characterized by genre transgression and instrumental virtuosity. Its signature features are guitar driven songs that have complex time signatures and very intricate playing.

Progressive metal as a genre is associated with acts such as Dream Theater, Fates Warning and Queensrÿche, who had their heyday in the early 1990s, but progressive elements have been fused into metal virtually since the inception of metal. For instance, on their early releases, Black Sabbath would incorporate jazzy passages into their compositions, while also drawing on other genres, and many proto-metal acts also had backgrounds in progressive rock and heavy psychedelic rock. In the early to mid 1980s, some NWoBHM groups, such as Iron Maiden would find direct inspiration in progressive rock acts like Genesis, Yes, and King Crimson and incorporate progressive elements, such as complex song structures, twin guitars and changes in time and tempo into their style, while the cult band Mercyful Fate were known for blatantly disregarding the conventions of composition in popular music, opting for complex and unusual song structures.

So, progressiveness was a part of metal since the inception of the genre, but it was not until the late 1980s and mid 1990s as bands like Watchtower, Fates Warning, Queensrÿche, Psychotic Waltz, and Dream Theater that progressive metal became established as an independent subgenre. These bands would draw both on previously established metal genres, like NWOBHM, and progressive rock acts of the 1960s, 70s and 80s. Especially Dream Theater would become iconic of the genre, and their instrumentation, which includes prominent keyboards, became the blueprint for many progressive metal bands to follow. The music that came out was very diverse and even symphonic at times. Not all of it was overly technical, though some bands such as Dream Theater were very technical, while others, like Fates Warning and Watchtower emphasized odd time signature. Psychotic Waltz incorporated psychedelia into their sound, and Queensrÿche began to operate with complex lyrical themes.

After progressive metal had been somewhat popular for some time, it began to take on more extreme forms such as progressive death metal, and so on. Bands such as Edge of Sanity and Atheist took prog metal to greater heights with their infusion of prog and death metal. Atheist also added a jazz/fusion sound to their music to make it true progressive death metal, as did Pestilence on their jazz-influenced Spheres. Also during this time, bands such as Opeth and Voivod changed their style to a more progressive sound. While Voivod changed in the early 1990’s, Opeth became a more progressive metal band in the late 1990’s which was probably an effect of the progressive metal movement that was going on at the time. Some already established metal acts in other genres would similarly cross over into progressive metal territory, such as Savatage, who - although having a background in traditional metal and power metal - released several progressive metal albums. In parallel with the development of progressive extreme metal genres, many power metal acts would take their music in a more progressive direction, resulting in the subgenre of progressive power metal (which is included under power metal here at the MMA) some of which, like Kamelot and Savatage, would eventually become fully fledged progressive metal acts.

Most bands in the progressive metal genre have their own unique style; whether it is more spacey, more symphonic, or more technical while others follow the Dream Theater configuration to a smaller or greater extent (these are sometimes referred to as 'traditional progressive metal' bands), but they all have an equal balance between the influences. Over the years progressive metal has gained the title of having longer songs then regular metal, and while this is mostly true, it isn’t always.

These bands are here because they are different, in a sense, than regular metal bands because they not only include metal but different genres as well, such as jazz/fusion, prog rock, and classical music, and put them all together to make an enjoyable sound. Bands and releases who include progressive elements in their music, but whose central sound is more firmly anchored in another genre are placed in that genre - for instance, Enslaved, whose style is progressive and experimental but still quite firmly based in their black metal roots, are placed in the black metal category, while mathcore and progressive metalcore bands are placed in metalcore.

Sub-genre collaborators (shared with Avant-Garde Metal):
  • siLLy puPPy
  • DippoMagoo
  • Sisslith
  • adg211288

Proto-Metal

The combination of blues-rock with psychedelic rock formed much of the original basis for heavy metal.One of the most influential bands in forging the merger of genres was the British 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. 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. Vanilla Fudge, whose first album also came out in 1967, have been called "one of the few American links between psychedelia and what soon became heavy metal."

Source: http://en.wikipedia.org/wiki/Proto_metal#Antecedents:_mid-1960s

Sub-genre collaborators:
  • voila_la_scorie

Rap Metal

Rap metal is a metal sub-genre that fuses rapping with various styles of metal. It technically began in the 80's, but didn't gain prominence until the early 90's when more bands started to devote their sound to the style.

The first combination of rapping with metal is noted to be the novelty single Metal Rap by the Lone Rager, alter-ego of the founder of metal label Megaforce Records. The idea of rap metal being more of a novelty or one-off thing continued into the 80's, with thrash metal bands like Anthrax and Bulldozer playing with the idea (I'm the Man for the former and Dance Got Sick! for the latter). Anthrax would do more metal and hip hop mixes in the 90's though, collaborating with hip hop group Public Enemy for a cover of their Bring the Noise as well as doing a cover of Beastie Boys' Looking Down the Barrel of a Gun. On the hip hop side of things, both Beastie Boys and Public Enemy would sometimes sample metal songs, and later Cypress Hill would as well and even go in a rap metal-influenced direction for a couple albums.

After funk metal/alternative metal band Faith No More struck a hit with their rap metal song Epic in 1989, rap metal started to take off as a genre that both metal and hip hop bands would make use of. Hip hop group Boo-Yaa T.R.I.B.E.'s 1990 debut album features a rap metal song in the form of Pickin' Up Metal, and they would later release a rap metal album in 1997. Hardcore/groove metal band Biohazard went in a rap metal direction with their 1992 album Urban Disicpline, and rapper Tairrie B. would form the rap metal band Manhole. Perhaps the most famous example is rapper Ice-T forming the thrash/rap metal band Body Count and becoming a key figure in both the hip hop and metal scenes. The soundtrack to Judgement Night also helped to popularize the combination of rap/hip-hop with rock/metal, with it featuring collaborations between rock and metal bands with rappers and hip hop groups.

When bands started forming as rap metal in the 90's, some bands blended rapping with a funk metal basis such as Rage Against the Machine and H-Blockx, while others like Stuck Mojo and Clawfinger took more from groove/thrash metal. During the nu metal boom, among the eclectic mix of bands, there were rap metal-oriented groups such as Powerman 5000, Limp Bizkit, Linkin Park, (h?d) p.e., Guano Apes, P.O.D., and Papa Roach among others. Some of these bands took rap metal further by utilizing more elements of hip hop than just rapping, particularly (h?d) p.e. and the early albums of Powerman 5000 with their blending of metal riffs with hip hop rhythms and turbtablism. The aforementioned (h?d) p.e. as well as metalcore/nu metal band Candiria even have some pure hip hop tracks spread across several of their albums.

(Introduction by Unitron)

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Sludge Metal

Sludge metal generally combines the slow tempos, heavy rhythms and dark, pessimistic atmosphere of doom metal with the aggression, shouted vocals and occasional fast tempos of hardcore punk.

Post Sludge / Atmospheric Sludge metal This metal movement takes influences from post-rock as well as from sludge metal. While it is in many ways similar to post-rock, post-sludge metal tends to include lower-tuned guitars, darker themes and tones, and heavier drums. Post-sludge stresses emotion, contrasting the ambiance of post-rock with the weight and bombast of metal. Vocals are deemphasized or non-existent, and lyrics tend to be equally abstract: often thematic or philosophical in nature. It was originally a largely American phenomenon, but also included in its development some Japanese bands. Bands like Neurosis, Isis, Cult of Luna, and Pelican write lengthy songs (typically five or six per album) that can range from light and guitar-driven to extremely heavy, drum and bass-driven.

Atmospheric Sludge Metal

Post-metal as with atmospheric sludge is a genre that uses metal music to create a sound that draws heavily on atmospheres and textures.

This approach was used by many sludge metal bands including ISIS, Neurosis and Pelican, combining post-rock techniques with sludge metal. Bands in other genres including black metal and doom also combined those styles with atmospheric elements to create metal best described as atmospheric black metal or atmospheric doom metal (or atmospheric folk metal etc). Those bands are listed in MMA under atmospheric sludge metal, atmospheric black metal, doom metal or whatever core style best describes them.

A number of bands originally rooted in those styles moved away from their original sludge (or other) metal roots, increasingly focusing on the post-metal elements of their sound. Others were never based on those styles of metal and took their influences directly from post-rock, adding metal elements to create a more abrasive and expansive sound. These bands are listed as post-metal.

Post-metal is captured as a child-sub of sludge metal on MMA to reflect the stylistic origins of many post-metal bands in atmospheric sludge metal, albeit those origins have largely been left behind.

Sub-genre collaborators:
  • Bosh66 (leader)

Speed Metal

Speed Metal is a sub-genre of heavy metal music. As the name implies the genre is characterised by its focus on fast playing style and because of this it is often considered to be the progenitor of both thrash metal and power metal. In actuality thrash metal was emerging around the same time as speed metal (and had overtaken it within a couple of years), however much of early thrash metal bears trademarks of speed metal as well, including the Big Four thrash metal bands, Metallica, Megadeth, Slayer and Anthrax. This has led to some to use the two terms interchangeably, however speed metal is considered to allow for more melody and less aggressive playing than thrash metal, containing more influence from the music's roots in traditional heavy metal and less from hardcore punk (though speed metal/punk hybrid artists are not unheard of). Additionally speed metal bands are less likely to use growled or shouted vocals than thrash metal. Speed metal's influence on European style power metal, which emerged in the late eighties, was much greater, with many early Euro power metal bands, including Helloween, Blind Guardian and Rage, starting their careers with more speed metal based sounds before becoming power metal acts.

While the roots of speed metal may be traced back even further with tracks such as Deep Purple's Highway Star or Queen's Stone Cold Crazy often credited as being proto-speed metal, it was traditional heavy metal bands such as Motörhead, Accept and Judas Priest that are considered to have had the most influence on the speed metal sound and can be said to have produced individual speed metal songs (such as Accept's Fast as a Shark) before there were any actual speed metal bands or albums.

Some of the first artists to really kick-start speed metal as a genre were Venom, Running Wild and Atomkraft, with Venom releasing the Welcome to Hell album in 1981, which could be considered the first speed metal album. Though as is common for speed metal, all these bands had elements of other genres in their sound as artists that exclusively or even primarily play speed metal are comparatively rare next to other metal sub-genres, though there are many thrash/speed, power/speed and heavy/speed metal bands in existence, who each may or may not have made some speed metal dominated albums. An early notable band to play a primarily speed metal based music was Exciter, who released their debut album Heavy Metal Maniac in 1983 and have mostly stuck with their speed metal dominant sound ever since, though they have also released speed/heavy and speed/thrash releases. Venom later turned to making more heavy and thrash metal based albums while Running Wild become an early example of Euro style power metal and later a more straight heavy metal based act.

Most well known examples of speed metal, which along with the aforementioned also includes Agent Steel, Angel Dust (early) and Savage Grace, are from the eighties. There has however been something of a speed metal renaissance starting in the late 2000's with examples of newer speed metal bands including Ranger, Demona, Speedwolf and Evil Invaders.

In addition to classic speed metal sounds, the genre has had a notable merger with black metal to create a blackened speed metal sound, typically consisting of speed metal guitar riffs with black metal vocals styles and an altogether dirtier atmosphere compared to straight speed metal bands or other hybrid styles, taking their cues from the early template laid down by Venom. Examples of blackened speed metal bands include Joel Grind, Bulldozing Bastard, Occult Burial and Midnight.

Certain neoclassical metal artists such as Joe Stump and Marty Friedman have also used speed metal to form the basis of their music on certain releases, such as Stump's 2004 album Speed Metal Messiah or Friedman's 1988 album Dragon's Kiss.

On MMA, speed/thrash and speed/power metal releases will typically be placed under thrash and power metal respectively, while speed/heavy releases will be placed under speed metal. Blackened speed metal will usually be included under speed metal with the work of neoclassical based artists will be included under neoclassical metal.

- Genre definition written by 666sharon666.

Sub-genre collaborators (shared with Thrash Metal and Groove Metal):
  • Vim Fuego (leader)
  • Nightfly

Stoner Metal

Stoner Metal is a sub-genre of metal music that rose into prominence in the early 1990's, pioneered by bands such as Kyuss, Monster Magnet, Sleep, as well as the grunge band Soundgarden. The genre is known for it's fusion of the sludgy riffing of doom metal, the fuzzy distortion of psychedelic rock, and various other styles of music such as blues rock and southern rock.

The origins of the genre is often attributed to early metal bands like Black Sabbath and Blue Cheer. The former's Master of Reality album of 1971 was especially influential in the development of the genre, sometimes even being cited as the first stoner metal album. Space Rock pioneers Hawkwind are also noted to have a substantial impact on the genre, with many stoner rock and metal bands taking elements from space rock. Stoner Metal pioneers Monster Magnet covered Hawkwind's "Brainstorm" on their 1993 album Superjudge. Hardcore punk is also sometimes cited as influencing the genre, with Kyuss's Josh Homme and John Garcia stating Black Flag's My War album of 1984 as having an impact.

Some stoner metal bands took more from blues rock and southern rock, and blended it with their own take on the stoner sound. Corrosion of Conformity and Clutch are among these acts, with the former starting out as a crossover thrash/hardcore punk band in the 80's before bringing in a southern/stoner sound on their 1991 album Blind. Speaking of hardcore, bands such as High on Fire and Kylesa are often considered stoner-sludge metal due to their common usage of hardcore punk elements.

Stoner-doom metal: Stoner doom was pioneered by bands such as Sleep and Cathedral, who started their careers playing traditional doom metal. While much of stoner metal takes influence from doom metal, stoner doom puts more emphasis on said influence. Notable examples include Sleep's Dopesmoker, Cathedral's The Carnival Bizzare, Electric Wizard's Dopethrone, and Acid King's Busse Woods. Some stoner doom releases are placed under doom if there is more of a focus on doom than a balance between the two.

Stoner Rock, while having much in common with it's metal offshoot, has less of a focus on the metal aspect of the sound and is included in the Hard Rock sub-genre on MMA.

- Biography written by Unitron.

Sub-genre collaborators (shared with Doom Metal and Drone Metal):
  • Nightfly (leader)
  • MorniumGoatahl

Symphonic Black Metal

Symphonic Black Metal incorporates symphonic or orchestral elements as a backdrop for a number of other black metal sounds (such as atmospheric or melodic black metal), while also being a distinct genre in its own right.

Return to Black Metal

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Symphonic Metal

Symphonic metal, sometimes known as operatic metal when referring to artists fronted by an (usually female) operatic singer, is a sub-genre of heavy metal music. Symphonic metal is heavily influenced by classical music, with bands creating symphonies to back a more traditional metal setup of vocals, guitars, bass and drums. The sound is most typically created with a synthesiser; however actual orchestration is often used as well, and choirs are also a commodity within the genre. Unlike other metal music styles, the keyboards generally have more of a leading role in an artist’s sound than the guitars.

Symphonic metal finds its roots in the Swedish band Therion, who originally played death metal. The 1996 album Yeah! Yeah! Die! Die! Death Metal Symphony in Deep C by Finnish band Waltari is also considered to have been an important influence on the genre. Therion had dabbled in experimental ideas and classical influences, but with the release of their fifth album Theli in 1996 the band was producing what is now considered to be symphonic metal. Such releases provided the template for bands such as Nightwish and Within Temptation, who both released their first albums in 1997, although each had elements of other genres in their sounds, those being power and folk metal on Nightwish’s Angel’s Fall First and gothic metal on Within Temptation’s Enter, which is actually best considered a gothic metal release, although the band would later become more symphonic based with the release of their second album, Mother Earth in 2000. Although the birth of symphonic metal as a genre is associated with the late 90s, metal artists had made use of symphonic elements long before that - for instance, Celtic Frost's To Mega Therion (1985) and Into the Pandemonium (1987) both contain tracks that feature symphonic elements, and in 1969, proto-metallers Deep Purple released Concerto for Group and Orchestra which features The Royal Philharmonic Orchestra.

The term symphonic metal is sometimes used to describe any band that uses symphonic elements, particularly if those symphonic elements are greater than what is normal for the genre in question. There are a few notable and common hybrid symphonic metal styles; symphonic black metal, symphonic power metal and symphonic gothic metal, although there are some less common hybrids such as symphonic death metal, and with the emergence of artists like Across the Sun and Winds of Plague, symphonic metalcore. Each of these styles retains the elements of said style without the symphonic prefix however, which means that when considering symphonic metal as a standalone genre there are not as many artists that can be considered as such as there may initially appear. Even many of the most known artists of the style containing many elements of other metal styles, such as power metal in Nightwish and progressive metal in Epica. Therefore symphonic metal bands are best defined as such if they have a dominant classical influence to them. This is especially important where symphonic gothic metal acts are concerned, as there can be much overlap between the two styles.

While many symphonic metal bands feature a female lead singer, it is not a staple of the genre, although such bands tend to have been more commercial successful both within and without of the metal circles due to having more mainstream accessibility to their music. Many female vocalists in the genre sing in an operatic classical style, which works to effect with the classical inspired symphonic backing. It is this particular brand of symphonic metal that has been alternately labelled as operatic metal. Some artists such as Epica, After Forever, and the early work of Within Temptation combines the female vocals with death growls, in a style that is commonly referred to as ‘Beauty and the Beast’ vocals. This approach has also been utilised in some female fronted gothic metal artists.

Although symphonic metal is widely seen as one of the more commercial metal genres, there exists an extreme variant of the style. Taking more cues from extreme metal sub-genres than normal but retaining the dominant classical influence, the term is best used to describe bands that are influenced by black and death metal, but keeping their main focus on the classical influences. Such artists are less common however, and the term extreme symphonic metal has been used interchangeably with symphonic black metal.

- Written by adg211288 with the input of the Metal Music Archives Admin Team

Sub-genre collaborators (shared with Gothic Metal):
  • DippoMagoo

Technical Death Metal

Technical/progressive (or tech/prog) death metal is considered a legitimate genre by some (or even two legitimate genres), while others argue that it is a pseudo-genre. Bands included in this genre take emphasize technicality in their music, in the form of complex riffs and/or complex song structures, while others apply the ethos of progressive music more broadly without straying from their basic death metal sound. Death, Cynic and Atheist are considered central bands in the establishment of tech/prog death metal. Some bands, like Necrophagist, Obscura, and Braindrill, emphasize technique in their style and are considered technical death metal acts, while others, such as Opeth, Neuraxis, Sectu, and Nocturnus are considered primarily progressive death metal. Sometimes, jazz death metal is listed as a separate subgenre and comprises artists who incorporate elements from fusion jazz into their death metal style, such as Atheist, Cynic and Pestilence on “Spheres”. Given that brutal death metal bands tend to emphasize technique and compositional complexity, many brutal death metal bands, such as Suffocation and Hate Eternal, are also categorized as technical death metal bands. Some tech/prog death metal bands are so progressive on some releases that these are considered progressive metal rather than death metal, as is the case of some Atheist, Opeth and Cynic releases, that they are filed under progressive metal in the MMA rather than under death metal.

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Technical Thrash Metal

(coming soon)

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Thrash Metal

Thrash metal is a subgenre of heavy metal that is characterized by its fast tempo and aggression. Thrash metal songs typically use fast, percussive and low-register guitar riffs, overlaid with shredding-style lead work. Thrash metal lyrics often deal with social issues using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The "Big Four" bands of thrash metal are Anthrax, Megadeth, Metallica, and Slayer, who simultaneously created and popularized the genre in the early 1980s.

The origins of thrash metal are generally traced to the late 1970s and early 1980s, when a number of bands began incorporating the sound of the New Wave of British Heavy Metal, creating a new genre and developing into a separate movement from punk rock and hardcore. This genre is more aggressive compared to its relative, speed metal, and can be seen in part to be a reaction to the lighter, more widely acceptable sounds and themes of glam metal.

Thrash metal generally features fast tempos, low-register, complex guitar riffs, high-register guitar solos, double bass drumming, and aggressive vocals. Most thrash guitar solos are played at high speed, as they are usually characterized by shredding, and use techniques such as sweep picking, legato phrasing, alternate picking, string skipping, and two-hand tapping. Thrash lead guitarists are often influenced by the New Wave of British Heavy Metal movement. Thrash guitar riffs often use chromatic scales and emphasize the tritone and diminished intervals, instead of using conventional single scale based riffing. For example, the main riff of Metallica's "Master of Puppets" is a chromatic descent, followed by a chromatic ascent based on the tritone. Rhythm guitar playing is characterized by extensive palm muting and down picking to give the riffs a chugging sound, along with extensive use of the pedal point technique (creating what can be considered a distinctive, 'thrashy' sound). Speed, pacing, and time-changes also define thrash metal. Thrash tends to have an accelerating feel which may be due in large part to its aggressive drumming style. For example, thrash drummers often use two bass drums, or a double-bass pedal, in order to create a relentless, driving beat. Cymbal stops/chokes are often used to transition from one riff to another or to precede an acceleration in tempo. To keep up with the other instruments, many thrash bassists use a pick. However, some prominent thrash metal bassists have used their fingers, such as Frank Bello, Greg Christian, Jack Gibson, Steve DiGiorgio, Robert Trujillo and the late Cliff Burton. Several bassists use a distorted bass tone, an approach popularized by Burton and Motörhead's Lemmy.

Lyrical themes in thrash metal include isolation, alienation, corruption, injustice, addiction, suicide, murder, warfare, and other maladies that afflict the individual and society. Humor and irony can occasionally be found, but they are limited, and are the exception rather than the rule.

Inclusive thrash metal music subgenres:
  • Crossover thrash, often abbreviated to crossover, is a form of thrash metal that contains more hardcore punk elements than standard thrash. It is sometimes referred to as punk metal, though this is generally incorrect due to the existence of other music genres that combine forms of punk rock and heavy metal, such as grunge, crust punk, and more recently metalcore and its subgenres. While thrash metal is heavily influenced by hardcore punk, the overall sound of crossover thrash is more punk-influenced yet more metal-sounding and aggressive than traditional hardcore punk and thrashcore. The term was coined by the band D.R.I. with their album Crossover, released in 1987. The term 'crossover' is based on the metaphor of crossing over from one genre into the other, thus capturing artists the operate within the transition zone between thrash metal and hardcore punk. With the metaphor comes the conception of directionality, such that the genre is applied to hardcore and crust punk artists who have crossed over into thrash metal territory, such as D.R.I., Discharge, The Exploited, The Accüsed, Agnostic Front and Suicidal Tendencies (who eventually ventured into alternative metal), and thrash metal artists who crossed over into hardcore punk territory, such as Nuclear Assault and S.O.D. A number of death metal bands (especially those of the first wave of Swedish death metal) draw on hardcore punk, mainly because their members listen to crossover thrash - these bands are included under the death metal subgenre here at the MMA.
  • Death-thrash combines elements from thrash metal and death metal. The most common type of death-thrash is based on thrash metal music (often played a bit faster than standard thrash metal) with growled vocals. Sepultura's "Schizophrenia", "Beneath the Remains", and "Arise" are considered examples of death-thrash. Given that death metal is derived from thrash metal, many early death metal bands played a style that was anchored thrash metal and could be considered death-thrash. Many of those artists are included under the death metal genre here on MMA.
  • Technical/progressive (or tech/prog) thrash metal is considered a legitimate genre by some (or even two legitimate genres), while others argue that it is a pseudo-genre. Bands included in this genre take emphasize technicality in their music, in the form of complex riffs and/or complex song structures, while others apply the ethos of progressive music more broadly without straying from their basic thrash metal sound. Examples of artists that are sometimes considered tech/prog thrash metal acts are Dark Angel, Death Angel (especially on "Act III"), Annihilator, Artillery (especially on "By Inheritance", "When Death Comes", and "My Blood"), and Invocator. Releases like "Master of Puppets" and "...And Justice For All" by Metallica are quite progressively oriented with complex song structures and numerous sections per song. Some bands like Voivod, Antithesis and Watchtower took the progressive approach so far that they are primarily considered progressive metal artists rather than thrash metal artists.
  • Blackened thrash metal is thrash metal with black metal elements. Its thrash metal basis is more primitive and akin to early German thrash metal. Examples of blackened thrash metal bands are Assaulter, Aura Noir, and The Metaphor. It should be mentioned that much early black metal, such as Venom and Hellhammer/Celtic Frost actually had its roots in thrash metal.


Source: http://en.wikipedia.org/wiki/Thrash_metal

Written by Time Signature.

Sub-genre collaborators (+ child sub-genres & shared with Speed Metal and Groove Metal):
  • Vim Fuego (leader)
  • Nightfly

Traditional Doom Metal

Traditional Doom Metal is one of the sub-genres of the Doom Metal genre. It can be seen as one of the earliest recognised forms of metal music, found as early as Heavy Metal itself through the work of Black Sabbath, who can be seen as the biggest influence on the development of the first actual doom metal acts in the late seventies and early eighties. Up until about 1985 the key founding doom metal acts were Pentagram (A.K.A. Death Row), Witchfinder General, Pagan Altar, Trouble and Saint Vitus. Two of these bands, Witchfinder General and Pagan Altar, were also heavily associated with the New Wave of British Heavy Metal, the only acts of the movement to be playing doom.

Due to it appearing first, traditional doom metal is often seen to be an interchangeable term with doom metal, and in its early days that would have been fair. Since then the doom metal genre has diversified considerably, including the development of other sub-genres including Death-Doom Metal, Funeral Doom Metal and Stoner Doom Metal, so the term doom metal on its own has come to be seen as a general term and traditional doom metal to be a sub-genre meaning something more specific, that being doom metal which still has strong ties to its heavy metal roots. This can come out in the music in the form of faster playing than that employed by other types of doom metal act, though it isn't considered essential for something to be traditional doom metal. What is considered essential in the genre is the use of clean, melodic vocals. Any dominate harsh or growled vocals typically preclude an artist or release from being considered traditional doom.

Traditional doom metal is sometimes also known as Epic Doom Metal, though some use the two terms to mean different things and the latter isn't as widely recognised as the former and the two share many similarities, so it is better to consider epic doom to be a variant on traditional doom, that variation coming in the form of a classical influence to the doom sound, which may come in the form of operatic singing. Acts such as Candlemass and Solitude Aeturnus are among those commonly credited with playing epic doom, though are usually branded under the traditional doom metal banner. Both though are slightly later key acts of the sub-genre, with Candlemass releasing their debut Epicus Doomicus Metallicus in 1986 and Solitude Aeturnus being one of the key acts of the nineties. Candlemass especially has gone onto be arguably the best known act of traditional doom metal, with Epicus Doomicus Metallicus and the following album Nightfall in particular often credited as two of the genre's best albums along with Pentagram's self-titled debut, Trouble's Psalm 9 and Pagan Altar's self-titled debut (A.K.A. Volume 1 or Judgement of the Dead).

While antiquated, like with traditional heavy metal itself traditional doom metal is still a commonly played form of music with old guard artists like Pentagram still going and many new acts like Argus, Pallbearer, Spirit Adrift and perhaps most notably The Doomsday Kingdom, a new project of Candlemass founder Leif Edling, flying its flag. It's influence has also found it's way into a modern heavy psych scene through acts such as Blood Ceremony, Uncle Acid and Ides of Gemini.

- Genre definition written by MorniumGoatahl.

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Trance Metal

Trance Metal, sometimes known as Dance Metal, is a recent metal sub-genre. It often combines uplifting electronic dance/pop melodies with the melodic sound of power metal and melodic death metal. One of the most popular acts is Amaranthe.

Electronicore (Sometimes known as Trancecore), while sharing some influences with trance metal, is still primarily metalcore. Therefore, it is included as a sub-genre under Metalcore. electronicore

- Genre biography written by Unitron.

Sub-genre collaborators (shared with Industrial Metal):

US Power Metal

United States Power Metal, USPM for short and sometimes alternately called American Power Metal is one of the two main types of heavy metal music to use the term power metal, the other being European Power Metal. Like European Power Metal, the United States in the name refers to the genre's origins, rather than any specific requirement for artists to be from the US in order to play the style, though most USPM acts are, indeed, American.

USPM first appeared in 1983. It's development could be described as the American reaction to the New Wave of British Heavy Metal. US bands wanted to go one better than their UK counterparts and so the sound that would become known as USPM began to take shape. They played faster and more aggressively, albeit not to the levels of thrash metal, though some artists would cross over with thrash as well as speed metal. Generally USPM bands were closer in style to their traditional heavy metal roots, especially when compared to the later European power metal sound, which is commonly called just Power Metal without the European prefix, with USPM used just to differentiate. It is because of these vast differences that some metal fans have trouble with recognizing the two forms of power metal as the same genre. They're not wrong either, but also not entirely correct. The best way to describe power metal as a whole is that it's a cross between traditional heavy metal and speed metal. US power metal acts kept the genre closer to traditional heavy metal while European power metal acts kept it closer to speed metal. The idea was to add power to the music that other heavy metal bands at the time didn't have. USPM acts just did it a different way to what is now more widely accepted as the (European) power metal sound.

Typically, the USPM term is used to label artists that sit somewhere between traditional heavy metal and thrash metal, with some artists leaning more towards one or the other and often completely crossing over with the other style. USPM vocalists tend to use high register singing, something which is also heard in European power metal, though it is not considered an essential ingredient in the USPM sound, with some vocalists taking the music in a rougher direction.

There is quite a level of variance within US power metal. Some artists are more hard hitting and thrashy, while others take the music in a slower, more melodic and progressive direction. The two types of USPM are commonly known as Blue-collar USPM and White-collar USPM respectively.

Blue-collar USPM artists feature the harder, thrashy sound. The artists Helstar (who eventually adopted a more thrash metal based sound), Jag Panzer and Riot are some of the more well known blue-collar USPM acts. Some artists in this style of USPM have been known to take the genre quite close to the European power metal sound, such as Iced Earth, further demonstrating the relation between the two types of power metal music.

White-collar USPM artists are less hard hitting, adding more melody and progressive elements to the USPM sound. The band Crimson Glory is considered a prime example of this type of USPM, while others would be Pharaoh and Heir Apparent. Certain acts more commonly known as progressive metal acts such as Fates Warning are also considered to be a part of USPM.

- Biography written by adg211288.

Sub-genre collaborators (shared with Power Metal & Neoclassical Metal):
  • DippoMagoo (leader)
  • adg211288
  • Sisslith

Viking Metal

Viking Metal is one of the sub-genres of metal music. As a style it takes ideas also found in Black Metal and Folk Metal, so can be seen as a descendent of them, similar to how power metal descended from speed metal, or stoner metal from doom metal. While this mix forms the basis for viking metal, the genre has diversified over the years, with some artists incorporating symphonic metal, doom metal, death metal and even traditional heavy metal. The genre takes its name from the common lyrical theme of the Viking Age, as well as Norse Mythology in general, which is also regular represented in the artist's imagery and artwork.

The viking metal sound is defined by taking elements of black metal music, though with more clean vocals typically applied than in actual black metal styles, and adding anthemic keyboards and influences from Nordic folk music. Due to its close relationship, many artists can fairly be describing as both viking and black metal or both viking and folk metal, if not all three. Although accepted as a fully-fledged genre in its own right, these crossovers with black metal and folk metal do make it so that what may be considered a 'pure' (or close to it) viking metal release to be comparatively rare next to other genres of metal.

Bathory, a Swedish act that started off by playing black/thrash metal, was a pioneer of the Viking Metal style and remains its best known act, being especially known for the albums Hammerheart (1990) and Twilight of the Gods (1991). Other notable acts of the genre include Mithotyn and Falkenbach.

The viking metal term is often confused with any metal act who writes with a viking theme, the most notable act erroneously identified as viking metal being Sweden's Amon Amarth, who play melodic death metal. The style has also incorrectly been considered to be restricted to Scandinavian artists, another misnomer as viking metal is a musical style and a band can hail from anywhere in the world.

- Style definition written by adg211288.

Sub-genre collaborators (shared with Folk Metal):
  • adg211288


Important: The Viking Metal sub-genre on Metal Music Archives is new and as such its contents may not fully reflect all the viking metal artists and releases currently in the database at this time. If you spot something you feel needs moving, please report it via our forum. Thank you.

War Metal

War Metal, also known as Bestial Black Metal, is a style of metal music that fuses elements of black metal and death metal, but is considered district from more traditional black/death metal fusions and blackened death metal sounds. Though considered a sub-genre of black metal, the genre does draw extensively from death metal as well, with death metal style growling being a prominent feature of the style, compared to other types of black metal which favour a more raspy style. This can often lead to misidentification of war metal bands, especially since the style also eschews many of the black metal genre's other typical traits, such as trebly tremolo picked guitar playing, which is often replaced by fast, down-tuned power crowds. The production sound of war metal tends to come across as muddy and chaotic, rather than cold and atmospheric.

Canada's Blasphemy are commonly considered to be the first band to truly play the genre known as war metal. Other reasonably known names in the field include Archgoat and Morbosidad. The genre remains, however, a very niche style that few play and even fewer can claim familiarity with.

War metal can also draw on grindcore, especially in regard to playing speed and the tendency for artists to write short songs, with many war metal albums clocking in at under forty or even thirty minutes. Though not as associated with grindcore as it is death metal, some artists have been credited for fusing war metal and grindcore together, such as Revenge from Canada.

The name of the genre comes from the prevalent themes of war and nuclear holocaust that artists of the genre use, though like with any style of metal war metal bands can cover any kind of subject matter and in this respect the more accurate name for the style is actually Bestial Black Metal. However War Metal is the name more commonly used and as such is the name displayed on Metal Music Archives.

- Style definition written by adg211288.

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