Music Metal

Download Evanesence Albums

2010-01-30T13:10:00.001+07:00

Origin (2000)
American
rock

Track listing
1. "Origin" - 0:35
2. "Whisper" (Origin version) - 3:56
3. "Imaginary" (Origin version) - 3:31
4. "My Immortal" (Origin version) - 4:26
5. "Where Will You Go" (Origin version) - 3:47
6. "Field of Innocence" - 5:13
7. "Even in Death" - 4:09
8. "Anywhere" - 6:03
9. "Lies" - 3:49
10. "Away from Me" - 3:30
11. "Eternal" (Instrumental) - 7:22

Download

The Open Door (2006)
American
rock

Track listing
1. "Sweet Sacrifice" - 3:05
2. "Call Me When You're Sober" - 3:34
3. "Weight of the World" - 3:37
4. "Lithium" - 3:44
5. "Cloud Nine" - 4:22
6. "Snow White Queen" - 4:22
7. "Lacrymosa" - 3:37
8. "Like You" - 4:16
9. "Lose Control" - 4:50
10. "The Only One" - 4:40
11. "Your Star" - 4:43
12. "All That I'm Living For" - 3:48
13. "Good Enough" - 5:31

Download

Thanks To: mediafirealbums
undestroyer.blogspot.com

Download Dying fetus Albums

2010-01-28T21:58:00.001+07:00

Purification through Violence (1996)
American
death metal

Track listing
1. Blunt Force Trauma
2. Beaten into Submission
3. Skull Fucked
4. Permanently Disfigured
5. Raped on the Altar
6. Nothing Left to Pray For
7. Nocturnal Crucifixion
8. Skum (Fuck the Weak) (cover of Napalm Death)

Download

Destroy the Opposition (2000)
American
death metal

Track listing
1. "Praise the Lord (Opium of the Masses)" – 5:31
2. "Destroy the Opposition" – 5:11
3. "Born in Sodom" – 4:46
4. "Epidemic of Hate" – 4:42
5. "Pissing in the Mainstream" – 1:57
6. "In Times of War" – 3:08
7. "For Us or Against Us" – 5:34
8. "Justifiable Homicide" – 5:35
9. "Reduced To Slavery" - 3:27

Download

Descend into Depravity (2009)
American
death metal

Track listing
1. Your Treachery Will Die with You (3:34)
2. Shepherd's Commandment (4:27)
3. Hopeless Insurrection (4:31)
4. Conceived into Enslavement (4:23)
5. Atrocious by Nature (3:50)
6. Descend into Depravity (5:00)
7. At What Expense (4:36)
8. Ethos of Coercion (3:15)

Download

Thanks To: mediafirealbums
undestroyer.blogspot.com

Download Dream Theater Albums

2010-01-28T21:46:00.001+07:00

When Dream and Day Unite (1989)
American
progressive metal

Track listing
1. "A Fortune in Lies" - 5:12
2. "Status Seeker" - 4:15
3. "The Ytse Jam"(instrumental) - 5:43
4. "The Killing Hand" - 8:40
I. "The Observance"
II. "Ancient Renewal"
III. "The Stray Seed"
IV. "Thorns"
V. "Exodus"
5. "Light Fuse and Get Away" - 7:23
6. "Afterlife" - 5:27
7. "The Ones Who Help to Set the Sun" - 8:04
8. "Only a Matter of Time" - 6:35

Download

Images and Words (1992)
American
progressive metal

Track listing
1. "Pull Me Under" - 8:11
2. "Another Day" - 4:24
3. "Take the Time" - 8:21
4. "Surrounded" - 5:30
5. "Metropolis, Pt. I: The Miracle and the Sleeper" - 9:32
6. "Under a Glass Moon" - 7:04
7. "Wait for Sleep" - 2:32
8. "Learning to Live" - 11:31

Download

Awake (1994))
American
progressive metal

Track listing
1. "6:00" - 5:31
2. "Caught in a Web" - 5:28
3. "Innocence Faded" - 5:43
4. "A Mind Beside Itself: I. Erotomania" - 6:45
5. "A Mind Beside Itself: II. Voices" - 9:53
6. "A Mind Beside Itself: III. The Silent Man" - 3:48
7. "The Mirror" - 6:45
8. "Lie" - 6:34
9. "Lifting Shadows Off a Dream" - 6:05
10. "Scarred" - 11:00
11. "Space-Dye Vest" - 7:29

Download

Thanks To: mediafirealbums
undestroyer.blogspot.com

Download Children of Bodom Albums

2010-01-22T19:39:00.001+07:00

Something Wild (1997)
Finnish
heavy metal

Track listing
1. "Deadnight Warrior" 3:22
2. "In The Shadows" 6:01
3. "Red Light In My Eyes (Part 1)" 4:28
4. "Red Light In My Eyes (Part 2)" 3:50
5. "Lake Bodom" 4:02
6. "The Nail" 6:18
7. "Touch Like Angel Of Death" 7:47

Download

Hatebreeder (1999)
Finnish
heavy metal

Track listing
1. "Warheart" 4:07
2. "Silent Night, Bodom Night" 3:12
3. "Hatebreeder" 4:20
4. "Bed of Razors" 3:56
5. "Towards Dead End" 4:53
6. "Black Widow" 3:58
7. "Wrath Within" 3:53
8. "Children of Bodom" 5:13
9. "Downfall" 4:33
10. "No Commands" 4:44
11. "Aces High" 4:2

Download

Thanks To: mediafirealbums
Undestroyer.blogspot.com

Download Iron Maiden Albums

2010-01-22T19:23:00.001+07:00

Iron Maiden (1980)
English
heavy metal

Track listing
1. "Prowler" – 3:52
2. "Remember Tomorrow" – 5:27
3. "Running Free" – 3:14
4. "Phantom of the Opera" – 7:20
5. "Transylvania" – 4:19
6. "Strange World" – 5:40
7. "Sanctuary" – 3:14
8. "Charlotte the Harlot" – 4:10
9. "Iron Maiden" – 3:31

Download

Killers (1981)English
heavy metal

Track listing
1. "The Ides of March" – 1:45
2. "Wrathchild" – 2:54
3. "Murders in the Rue Morgue" – 4:19
4. "Another Life" – 3:22
5. "Genghis Khan" – 3:06
6. "Innocent Exile" – 3:53
7. "Killers" – 5:01
8. "Twilight Zone" – 2:34
9. "Prodigal Son" – 6:11
10. "Purgatory" – 3:21
11. "Drifter" – 4:48

Download

Thanks To: mediafirealbums
Undestroyer.blogspot.com

Download Cradle of Filth Albums

2010-01-22T19:05:00.002+07:00

The Principle of Evil Made Flesh (1994)
English
Extreme metal

Track listing
1. "Darkness Our Bride (Jugular Wedding)" – 2:00 [instrumental]
2. "The Principle of Evil Made Flesh" – 4:34
3. "The Forest Whispers My Name" – 5:06
4. "Iscariot" – 2:33 [instrumental]
5. "The Black Goddess Rises" – 6:48
6. "One Final Graven Kiss" – 2:15 [instrumental]
7. "A Crescendo of Passion Bleeding" – 5:30
8. "To Eve the Art of Witchcraft" – 5:28
9. "Of Mist and Midnight Skies" – 8:10
10. "In Secret Love We Drown" – 1:29 [instrumental]
11. "A Dream of Wolves in the Snow" – 2:10
12. "Summer Dying Fast" – 5:39
13. "Imperium Tenebrarum" – 0:49 (hidden track)

Download part1
Download part2

Dusk... and Her Embrace (1996)
English
Extreme metal

Track listing
1. "Humana Inspired to Nightmare" – 1:23 [instrumental]
2. "Heaven Torn Asunder" – 7:06
3. "Funeral in Carpathia" – 8:24
4. "A Gothic Romance (Red Roses for the Devil's Whore)" – 8:35
5. "Malice Through the Looking Glass" – 5:30
6. "Dusk and Her Embrace" – 6:09
7. "The Graveyard by Moonlight" – 2:28 [instrumental]
8. "Beauty Slept in Sodom" – 6:32
9. "Haunted Shores" (Featuring Cronos from Venom) – 7:04

Download

Thanks To: mediafirealbums
Undestroyer.blogspot.com

Download Anthrax Albums

2010-01-21T02:18:00.002+07:00

Fistful of Metal (1984)
USA
Heavy metal

Track listing
1. "Deathrider" 3:30
2. "Metal Thrashing Mad" 2:39
3. "I'm Eighteen" 4:02
4. "Panic" 3:58
5. "Subjugator" 4:38
6. "Soldiers of Metal" 2:55
7. "Death from Above" 5:00
8. "Anthrax" 3:24
9. "Across the River" 1:26
10. "Howling Furies" 3:55

Download

Spreading the Disease (1985)
USA
Heavy metal

Track listing
1. "A.I.R." 5:45
2. "Lone Justice" 4:36
3. "Madhouse" 4:19
4. "S.S.C./Stand or Fall" 4:08
5. "The Enemy" 5:25
6. "Aftershock" 4:28
7. "Armed and Dangerous" 5:43
8. "Medusa" 4:44
9. "Gung-Ho" 4:34

Download

Thanks To: mediafirealbums.blogspot.com
undestroyer.blogspot.com
Strory Of Anthrax

Download Black Sabbath Albums

2010-01-18T23:32:00.011+07:00

Black Sabbath (1970)
English
Heavy metal

Track listing
1. "Black Sabbath" – 6:16
2. "The Wizard" – 4:24
3. "Behind the Wall of Sleep" – 3:38
4. "N.I.B." – 6:06
5. "Evil Woman" – 3:25
6. "Sleeping Village" – 3:46
7. "Warning" – 10:32

Download

Paranoid (1970)
English
Heavy metal

Track listing
1. "War Pigs" – 7:55
2. "Paranoid" – 2:47
3. "Planet Caravan" – 4:24
4. "Iron Man" – 5:53
5. "Electric Funeral" – 4:47
6. "Hand of Doom" – 7:07
7. "Rat Salad" – 2:29
8. "Fairies Wear Boots" – 6:13

Download

Short stories about Black Sabbath
Thans To: www.bunalti.com
undestroyer.blogspot.com

Black Sabbath

2010-01-18T23:23:00.003+07:00

Short stories about Black Sabbath

Black Sabbath are an English rock band, formed in Birmingham in 1968 by Ozzy Osbourne (lead vocals), Tony Iommi (guitar), Terry "Geezer" Butler (bass), and Bill Ward (drums and percussion). The band has since experienced multiple lineup changes, with a total of twenty-two former members. Originally formed as a heavy blues-rock band named Earth, the band began incorporating occult- and horror-inspired lyrics with tuned-down guitars, changing their name to Black Sabbath and achieving multiple gold and platinum records in the 1970s.

As one of the first and most influential heavy metal bands of all time, Black Sabbath helped define the genre with releases such as quadruple-platinum Paranoid, released in 1970. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list, behind Led Zeppelin. They have sold over 15 million records in the United States alone. Rolling Stone has posited the band as 'the heavy-metal kings of the '70s'.
Vocalist Ozzy Osbourne's drinking led to his firing from the band in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. After a few albums with Dio's vocals and his songwriting collaborations, Black Sabbath endured a revolving lineup in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin. In 1992, Iommi and Butler rejoined Dio and drummer Vinny Appice to record Dehumanizer. The original lineup reunited with Osbourne in 1997 and released a live album, Reunion. The early/mid 1980s line-up featuring Iommi, Butler, Dio, and Appice reformed in 2006 under the title, Heaven & Hell.

Formation and early days (1968–1969)
Following the breakup of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues band in Aston, Birmingham. The two enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "Ozzy Zig requires gig- has own PA". The new group was initially named The Polka Tulk Blues Company, after an Indian clothes emporium, and also featured slide guitarist Jimmy Phillips and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band changed their name to Earth, and continued as a four-piece without Phillips and Clarke.

Earth played club shows in England, Denmark, and Germany; their set-list consisted of cover songs by Jimi Hendrix, Blue Cheer, and Cream, as well as lengthy improvised blues jams. In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on the The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth in January 1969. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on you got to work for it.
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth, and decided to change their name again. A movie theatre across the street from the band's rehearsal room was showing the 1963 Boris Karloff horror film Black Sabbath. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne wrote the lyrics for a song called "Black Sabbath," which was inspired by the work of occult writer Dennis Wheatley, along with a vision that Butler had of a black-hooded figure standing at the foot of his bed. Making use of the musical tritone, also known as "The Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.

Free Download
Thanks To: Wikipedia.org
undestroyer.blogspot.com
Official Site: www.blacksabbath.com

Story of Slayer

2010-01-17T12:12:00.003+07:00

Slayer is an American heavy metal band from Huntington Park, California, formed in 1981. The band was founded by guitarists Jeff Hanneman and Kerry King. Slayer rose to fame with their 1986 release, Reign in Blood, which has been called "the heaviest album of all time" by Kerrang!. The band is credited as one of the "Big Four" of thrash metal, along with Metallica, Anthrax and Megadeth.

Slayer's musical traits involve fast tremolo picking, atonal guitar solos, double bass drumming, and shouting vocals. The band's lyrics and album art, which cover topics such as serial killers, Satanism, religion and warfare have generated album bans, delays, lawsuits and strong criticism from religious groups and the public.

Since their debut record in 1983, the band has released two live albums, one box set, four videos, two extended plays, and eleven studio albums, four of which have received gold certification in the United States. The band has received three Grammy nominations, winning one in 2007 for the song "Eyes of the Insane", and one in 2008 for the song "Final Six". They have headlined music festivals worldwide, including Unholy Alliance, Download and Ozzfest.

History
Early days (1981–1982)
Slayer was formed in 1981, when guitarist Kerry King met Jeff Hanneman while auditioning for a band. The two recruited bassist and vocalist Tom Araya, who had played with King before in the band Quits (previously called Tradewinds). Drummer Dave Lombardo was recruited when he met King while delivering a pizza. The band played cover versions of Iron Maiden and Judas Priest songs at clubs and parties in Southern California. Early shows relied on a Satanic image, which featured pentagrams, make-up, spikes, and inverted crosses. Rumors that the band was originally known as Dragonslayer, after the 1981 movie of the same name, were denied by King: "We never were; it's a myth to this day.

The band was offered to open for Bitch at the Woodstock Club in Los Angeles, performing eight songs — six being covers. While performing Iron Maiden's "Phantom of the Opera" the band was spotted by Brian Slagel, a former music journalist who had recently founded Metal Blade Records. Impressed with Slayer's performance, Slagel met with the band backstage and asked them to record an original song, "Aggressive Perfector" (About this sound sample (help·info)) for his upcoming Metal Massacre III compilation. The band agreed and the song created underground buzz, which led to Slagel offering the band a recording contract with Metal Blade.

Show No Mercy (1983–1984)
Without a recording budget, the band was forced to self-finance its debut album. Combining the savings of Araya, who was employed as a respiratory therapist, and money borrowed from King's father, the band entered the studio in November 1983. The album was rushed into release, hitting shelves three weeks after tracks were completed. Show No Mercy, released in December 1983 by Metal Blade Records, generated underground popularity for the band, and they began their first national club tour in 1984 to promote the album traveling in Araya's Camaro towing a U-Haul trailer. The tour gave the band additional popularity; sales of Show No Mercy reached more than 20,000 in the US and another 20,000 worldwide.

In August 1984, Slayer released a three song EP titled Haunting the Chapel. The EP featured a darker, more thrash-oriented style than its predecessor, and laid the groundwork for the future direction of the band. The opening track, "Chemical Warfare," has become a live staple, played at nearly every show since 1984. After the release of Haunting the Chapel, Slayer made its live European debut at the Heavy Sounds Festival in Belgium opening for UFO, returning to the US to begin the Haunting The West Coast tour.

Following the tour, King temporarily left Slayer to join Dave Mustaine's new band Megadeth. Hanneman was worried about King's decision, stating in an interview "I guess we’re gonna get a new guitar player." While Mustaine wanted King to stay on a permanent basis, King rejoined Slayer after five shows, stating Megadeth was "taking too much of my time." The split caused a rift between King and Mustaine, which evolved into a long running feud between the two bands. Following King's return, the band embarked on the 1984 Combat Tour, with Venom and Exodus, and released a live album titled Live Undead in November.

Hell Awaits (1985–1986)
Slayer released its first live home video in 1985, dubbed Combat Tour: The Ultimate Revenge. The video featured live footage filmed at New York's Studio 54 club, on the band's 1984 tour with Venom and Exodus. By early 1985, Show No Mercy had sold over 40,000 copies, which led to the band returning to the studio to record a second full length album. Metal Blade financed a recording budget, which allowed the band to hire producer Ron Fair.

Released in September 1985, Slayer's second full length release Hell Awaits expanded on the darkness of Haunting the Chapel, with hell and Satan as common song subjects. The album was the band's most progressive offering, featuring longer and more complex song structures. The intro is a backwards recording of a demonic-sounding voice repeating "Join us," ending with "Welcome back" before the track begins. The album was a hit, with fans choosing Slayer for best band, best live band, Hell Awaits as 1985's best album, and Dave Lombardo as best drummer in the British magazine Metal Forces' 1985 Readers Poll. Download This Album

Reign in Blood (1986–1987)
Following the success of Hell Awaits, Slayer was offered a recording contract with Russell Simmons and Rick Rubin's newly founded Def Jam Records, a largely rap-based label. The band accepted and with an experienced producer and major label recording budget, the band underwent a sonic makeover resulting in shorter, faster songs with clearer production. Gone were the complex arrangements and long songs featured on Hell Awaits, ditched in favor of stripped down, thrash metal influenced song structures.

Def Jam's distributor, Columbia Records, refused to release the album Reign in Blood due to its graphic cover art and lyrical themes. For example, "Angel of Death" detailed Holocaust concentration camps and the human experiments conducted by Nazi physician Josef Mengele. The album was distributed by Geffen Records on October 7, 1986. However, due to the controversy, Reign in Blood did not appear on Geffen Records’ release schedule. Although the album received virtually no radio airplay, it became the band's first to enter the Billboard 200, debuting at #94, and the band's first album certified gold in the United States.

In October 1986, Slayer embarked on the Reign in Pain world tour, with Overkill in the US, and Malice in Europe. The band was added as the opening act on W.A.S.P.'s US tour, but just one month in, drummer Lombardo left the band: "I wasn't making any money. I figured if we were gonna be doing this professionally, on a major label, I wanted my rent and utilities paid. To continue with the tour, Slayer enlisted Tony Scaglione of Whiplash. However, Lombardo's wife convinced Dave to return in 1987. At the insistence of Rubin, Slayer recorded a cover version of Iron Butterfly's "In-A-Gadda-Da-Vida" for the film Less Than Zero. Although the band was not happy with the final product, Hanneman deeming it "a poor representation of Slayer" and King labeling it "a hunk of shit", it was one of their first songs to garner radio airplay.

South of Heaven (1988–1989)

Slayer returned to the studio to record their fourth studio album. To contrast the speed of Reign in Blood, the band consciously decided to slow down the tempos, and incorporate more melodic singing. Hanneman asserted; "We knew we couldn’t top Reign in Blood, so we had to slow down. We knew whatever we did was gonna be compared to that album, and I remember we actually discussed slowing down. It was weird—we’ve never done that on an album, before or since.
1988's South of Heaven received mixed responses from both fans and critics, although it was Slayer's most commercially successful release at the time, debuting at #57 on the Billboard 200, and the second album to receive gold certification in the United States. Press response to the album was mixed, with Allmusic citing the album as "disturbing and powerful, and Kim Nelly of Rolling Stone calling it "genuinely offensive satanic drivel". King says "that album was my most lackluster performance," although Araya called it a "late bloomer" which eventually grew on people.

Seasons in the Abyss (1990–1993)
Slayer returned to the studio with co-producer Andy Wallace in 1989, to record their fifth studio album. Following the backlash created by South of Heaven, Slayer returned to the "pounding speed of Reign in Blood", while retaining their newfound melodic sense. Seasons in the Abyss, released on October 25, 1990, was the first Slayer album to be released under Rubin's new Def American label, as he parted ways with Def Jam owner Russell Simmons over creative differences. The album debuted at #44 on the Billboard 200, and was certified gold in 1992. The title track spawned Slayer's second music video, which was filmed in front of the Giza pyramids in Egypt prior to the Gulf War.

Slayer returned as a live act in September 1990 to co-headline the European Clash of the Titans tour with Megadeth, Suicidal Tendencies, and Testament. During the sold out European leg of this tour tickets fetched up to 1,000 Deutschmark ($680 USD) on the black market. With the popularity of American thrash at its peak, the tour was extended to the US beginning in May 1991, with Megadeth, Anthrax and opening act Alice in Chains. The band released a double live album, Decade of Aggression in 1991, to celebrate ten years. The compilation debuted at #55 on the Billboard 200.

In May 1992, Lombardo quit the band due to conflicts with other members, as well as arguments over his wish to bring his wife on tour. Lombardo formed his own band Grip Inc, with Voodoocult guitarist Waldemar Sorychta, and Slayer recruited former Forbidden drummer Paul Bostaph to fill his place. Slayer made its debut appearance with Bostaph at the 1992 Monsters of Rock festival at Castle Donington. Bostaph's first studio effort was a medley of three Exploited songs, "War", "UK '82", and "Disorder", with rapper Ice T, for the Judgment Night movie soundtrack in 1993. See all, about the slayer

Writing and style
Early works were praised for their "breakneck speed and instrumental prowess," combining the structure of hardcore tempos and speed metal the band released fast, aggressive material. The album Reign in Blood is the band's fastest, performed at an average of 220 beats per minute. The album Diabolus in Musica was the band's first with drop D tuning, God Hates Us All the first with C# tuning. Allmusic cited the album as "abandoning the extravagancies and accessibility of their late-'80s/early-'90s work and returning to perfect the raw approach", with some fans labeling it nu metal.

Hanneman and King’s dual guitar solos have been called "wildly chaotic,"and "twisted genius." Drummer Lombardo uses two bass drums, instead of the double kick which is used on a single bass drum. Lombardo's speed and aggression earned him the title of the “godfather of double bass” by Drummerworld. Lombardo states his reasons for using two bass drums: "When you hit the bass drum the head is still resonating. When you hit it in the same place right after that you kinda get a 'slapback' from the bass drum head hitting the other pedal. You're not letting them breathe." When playing the double bass Lombardo uses the "heel-up" technique.

Hanneman, King and Araya contribute to the band's lyrics, and Lombardo, King and Hanneman create the music, with assistance from Araya. Araya's first contribution to lyrical content was 1988's South of Heaven, forming a lyric writing partnership with Hanneman, which can overshadow the creative input of King. Hanneman states writing lyrics and music is a "free for all"; "It’s all just whoever comes up with what. Sometimes I’ll be more on a roll and I’ll have more stuff, same with Kerry—it’s whoever's hot, really. Anybody can write anything; if it’s good we use it, if not we don’t.

When writing new material, the band writes the music before incorporating lyrics. King or Hanneman will use a 24-track and drum machine to show band members the riff they have created, and to get their opinion. Either King, Hanneman or Lombardo will mention if any alterations can be made. The band will play the riff to get the basic song structure, and figure out where the lyrics and solos will be placed. Hanneman, King and Araya tend to have different lyrical influences. Hanneman's lyrics deal with Nazis and similar topics. King's lyrics are generally just very anti-religious. Araya's lyrics usually deal with less controversial topics than Hanneman and King such as serial killers and warfare.

Controversy
Slayer has been accused of holding Nazi sympathies, due to the band's eagle logo bearing resemblance to the Eagle atop swastika, and the lyrics of "Angel of Death. The lyrics of "Angel of Death" were inspired by the acts of Josef Mengele, the doctor who conducted human experiments on Jewish and Gypsy prisoners during World War II at the Auschwitz concentration camp, and was dubbed the "Angel of Death" by inmates. Throughout their career, the band members were asked about these accusations, and have stated numerous times they do not condone Nazism and are merely interested in the subject.

Slayer's cover of Minor Threat's "Guilty of Being White" raised questions about a possible message of white supremacy in the band's music. The controversy surrounding the cover involved the changing of the refrain "guilty of being white" to "guilty of being right," at the song's ending. This incensed Minor Threat frontman Ian MacKaye, who stated "that is so offensive to me. King said it was changed for "tongue-in-cheek" humor as he thought the allegation of racism at the time was "ridiculous.

In a 2004 interview with Araya, when asked, "Did critics realize you were wallowing in parody?", Araya replied, "No. People thought we were serious!...back then you had that PMRC, who literally took everything to heart, when in actuality you're trying to create an image. You're trying to scare people on purpose.Araya also denied rumors that Slayer members are Satanists, but they find the subject of Satanism interesting and "we are all on this planet to learn and experience.
The song "Jihad" of the album Christ Illusion sparked controversy among families of the September 11 victims. The song deals with the attack from the perspective of a religious terrorist. The band stated the song is spoken through perspective without being sympathetic to the cause, and supports neither side.[94] Seventeen bus benches promoting the album in Fullerton, California were deemed offensive by city officials. They felt the Antichrist and skull were inappropriate, and felt the name "Slayer" pertains to a murderer. City officials contacted the band's record label and demanded that the ads be removed. All seventeen benches were removed.

In India, the album was recalled by EMI India after protests with Christian religious groups due to the nature of the graphic artwork. The album cover was designed by Slayer's longtime collaborator Larry Carroll and features Christ in a "sea of despair", while having amputated arms, missing an eye, while standing in a sea of blood with severed heads. Joseph Dias of the Mumbai Christian group Catholic Secular Forum in India took "strong exception" to the original album artwork, and issued a memorandum to Mumbai's police commissioner in protest.On October 11, 2006, EMI announced that all stocks had been destroyed, noting it had no plans to re-release the record in India in the future.

Thanks To: Wikipedia.org
undestroyer.blogspot.com
Official Site:www.slayer.net

Story Of Anthrax

2010-01-17T10:27:00.005+07:00

Anthrax is an American heavy metal band from New York City, formed in 1981. The band was one of the most popular of the 1980s thrash metal scene and is notable for being the first to combine heavy metal with rap music. When thrash metal began to gain a major following in the mid-late 1980s, Anthrax were dubbed one of the "big four" of thrash metal alongside Metallica, Megadeth, and Slayer.

History
Early days (1981)
Anthrax was formed in mid-1981 by guitarists Scott Ian and Danny Lilker. They found the band's name in a biology textbook and claimed it because it sounded sufficiently evil to them. John Connelly (Nuclear Assault) jammed with them a few times while trying out for the band, but never actually joined. John Connelly ended up being a roadie for the band for many of their early shows. Drummer Dave Weiss and a bassist named Kenny Kushner were other original members. Kenny Kushner was replaced very early on by Paul Kahn, who was found to be insufficient as well, so Lilker chose to take over on bass and Greg Walls joined as lead guitarist and vocalist Neil Turbin, who the band found after going through a series of temporary vocalists (including Ian's 14-year-old brother Jason). Weiss left and was replaced by Greg D'Angelo (White Lion) on drums, who left the band in spring of 1983 while recording the second demo.

Neil Turbin era (1982–1984)
Neil Turbin joined the band in late August 1982 and performed two weeks later at Great Gildersleeves on September 12, 1982. This line-up made frequent live performances in the New York/New Jersey tri-state area. The line-up recorded a NWOBHM-sounding demo in July 1982. Greg Walls left in the summer of 1983, and Bob Berry, who was recommended to Neil Turbin by Rhett Forrester of Riot, temporarily replaced him.
Lead guitarist Dan Spitz soon joined the band, replacing Bob Berry. With Spitz, the second demo was recorded. In September, Charlie Benante replaced Greg D'Angelo on drums. This lineup recorded the "Soldiers of Metal" 7" single, produced by Ross the Boss of Manowar. The B-side of this single still featured one of the old demos with Greg D'Angelo on drums, and is the only official recording to feature D'Angelo. This demo won them a recording deal with Megaforce Records. The band recorded their debut album, Fistful of Metal, in late 1983. The album reached #8 on the British Charts and garnered some international attention for Anthrax. It was released in January 1984, followed by a US tour, during which tensions grew between Danny Lilker and the rest of the band due to Lilker's non-paying of rehearsal rent, lateness, sloppiness and unprofessional demeanor.[citation needed] Lilker was released from the band and he went on to form Nuclear Assault with former Anthrax roadie John Connelly.

Charlie Benante's nephew Frank Bello replaced Lilker on bass guitar. Turbin was fired in late August 1984. Matt Fallon was a temporary replacement on vocals in late 1984. Also in late 1984, the band appeared as a four-piece, "The Diseased", with Scott Ian on vocals. They performed a few hardcore punk covers. Vocalist Joey Belladonna was hired on February 27, 1985, and an EP titled Armed and Dangerous was recorded. Some older material was added to fill out the EP including two live tracks from early 1984, and the two songs from the "Soldiers of Metal" 7". Later in 1985, Ian, Benante, and Danny Lilker appeared on the S.O.D. album Speak English or Die. Anthrax's next album, Spreading the Disease, came out in the same year followed by a US tour and a European tour supporting Metallica.

Neil Turbin formed his own band, Deathriders, in early 2003 and is touring the US and Japan in 2008 and releasing an album entitled Back With a Vengeance in 2009. He has stated that he does not want reconciliation with Scott and Charlie of Anthrax.

Joey Belladonna era (1985–1992)
Anthrax were, almost from the start, noticeable among their peers for their willingness to experiment with genre and image. During the late 1980s, the band radically departed from the "traditional" heavy metal look in favour of a brightly colored "surfer" jam shorts style of appearance. They were known for introducing a humorous side to their music, in contrast to the serious mindedness of fellow metal bands such as the other "Big Four Of Thrash": Slayer, Metallica and Megadeth.
In 1985 the band released their second studio album Spreading the Disease which contained the hit "Madhouse"; and in 1987, Anthrax released their third album, Among the Living. This album began a lyrical trend that focused on movies, comic books and Stephen King novels. All these elements would for years become typical lyrical themes Anthrax fans would come to expect. "I Am the Law" is a tribute to comic book hero Judge Dredd. "Efilnikufesin (N.F.L.)" (which, when spelled backwards, reads "nise fukin life") is about comedian John Belushi's drug addiction and death. "Indians" and the mosh pit anthem "Caught in a Mosh" are both considered Anthrax classics today. The album was dedicated to the memory of Cliff Burton, the late Metallica bass player. The band continued its success, sticking to the thrash metal genre of Among the Living on the album State of Euphoria. The single "Antisocial," originally by French heavy metal band Trust was a staple on MTV in regular rotation as well as on Headbangers Ball.

In 1989, MTV held a contest in which the winner would get to have the band come to their home and trash it. The contest was won by a female fan, and the band subsequently came to her house and caused havoc. This was the inspiration for the band's 1992 appearance on Married... with Children, where the main characters of the show win a similar television contest.

In 1990, Anthrax released the more serious Persistence of Time to even greater success than State of Euphoria. The album was considerably darker but much more technical and progressive than Anthrax's previous work. This made it a hit with metalheads who were afraid to embrace the band because of their "silly" side. The biggest single off the album was a cover of Joe Jackson's "Got the Time". Jackson himself even claimed that he enjoyed Anthrax's cover version of his song.[citation needed] The band's own original song "In My World" as well as "Belly of the Beast" were extremely and moderately successful, respectively. Anthrax was always a band prone to experimentation; in 1987, they appeared on the title track of rap group U.T.F.O.'s album Lethal. In 1991, they collaborated with pioneering rap artists Public Enemy on a joint version of PE's "Bring the Noise", although Anthrax already did a fusion of rap and heavy metal in the form of "I'm the Man" in 1987, a comedic song originally slated to be played with the Beastie Boys (although they did not actually get to play this song with Anthrax until a 1991 remake). "Bring the Noise" was a hit, and the band had a successful joint tour with Public Enemy.
[edit] John Bush era (1992–2004)

In 1992, Anthrax ended an era by parting ways with vocalist Joey Belladonna and replacing him with ex-Armored Saint vocalist John Bush. The band also left Island Records and signed with Elektra Records to release Sound of White Noise in 1993.

Though it was quite a change from their earlier work (it was more a "heavy grunge" oriented, especially because of the vocals) , White Noise received mostly positive reviews and "Only" was a major hit (in the liner notes for Return of the Killer A's, Ian says James Hetfield once told him it was a "perfect song"). Bush's voice lent a gravitas and weight to a collection of well-thought-out and technically excellent tracks. In keeping with the band's now-trademark eye for unlikely collaborations, classical composer Angelo Badalamenti provided music for the track "Black Lodge," a tribute to the TV show "Twin Peaks". Importantly, the album demonstrated that the band had shed its sometimes cartoonish outlook in favor of mature, thoughtful songwriting, a trend which had begun on their previous studio album Persistence of Time.

During the hiatus between Sound of White Noise and Stomp 442, longtime guitarist Dan Spitz left the band to quit music and become a watchmaker, leaving Anthrax as a quartet for years. In 1995, the band released Stomp 442, an album for which Elektra refused to provide real promotion—it quickly disappeared without a trace. Obviously upset at what they felt was an attempt by the label to kill the album, Anthrax attempted to sever ties with Elektra.

Anthrax signed with independent label Ignition Records, and in 1998 managed to release Volume 8: The Threat Is Real, a punishing album that had the potential to return Anthrax to the top of the metal heap. Unfortunately, almost immediately after Volume 8: The Threat Is Real's release, the label they were signed to went bankrupt and disappeared, making the album difficult to find. Regrouping, the band signed with another label, Beyond Records, and released a greatest-hits album Return of the Killer A's, although Beyond soon went out of business as well. During this period, a two-vocalist tour featuring both Joey Belladonna and John Bush was proposed and set to go, until Bush decided to pull out at the last minute.[citation needed]

During the 2001 anthrax attacks in the United States, the band altered its website to provide information about the disease, because many people had come there due to simply entering anthrax.com in their browsers. Amid what could have become a PR nightmare for the band, Anthrax issued a press release on October 10, 2001, that jokingly mentioned that they were going to change the name of the band to "something more friendly, like 'Basket Full of Puppies'." The band later put a nail in the coffin of all of the name-change rumors that erupted from the press release at the New York Steel 9/11 benefit concert in November 2001, when they took the stage wearing boiler suits with a different word on each one that, when they stood single-file in a specific order, spelled out the sentence "WE'RE NOT CHANGING OUR NAME". A picture of the band wearing the suits can be seen on the inner tray card of We've Come for You All.

Despite the hardships and various legal entanglements regarding who had the rights to certain albums, Anthrax managed to soldier on. In 2002, new lead guitarist Rob Caggiano joined the band, and the following year the band released We've Come for You All, through Sanctuary Records—an album hailed by the metal press as a long-awaited return to form.

In early 2004, the band returned to the studio to record The Greater of Two Evils—a "live in the studio" re-recording of the band's early work with the then-current lineup. Around the same time, bassist Frank Bello announced he was leaving the band to join Helmet and was replaced on tour by former Armored Saint and Fates Warning bassist Joey Vera.

Among the Living reunion (2005–2007)
On April 1, 2005, the band announced that the Among the Living lineup of Scott Ian, Charlie Benante, Dan Spitz, Joey Belladonna, and Frank Bello would be reforming. On solo-dates of the tours, for the first time ever, they performed the entire 1987 album Among the Living.

On January 24, 2007, Scott Ian posted a message to Blabbermouth.net,

Finally, we're going back to work. We're going to Chicago to work our asses off and write a record. One problem... no singer. We were offered a direct support slot on a major tour this spring and Joey [Belladonna] decided he did not want to move forward. The reunion is over. We tried to make it work but I guess that's the problem, you can't 'make' something work. My curiosity was piqued by the idea of what Anthrax would sound like now with Joey singing. Over the last few months we've discussed this endlessly to no avail. The problems that were there could not be fixed no matter how hard we tried and in the end Joey made the decision.

John Bush on returning (2007, 2009)
After the end of Anthrax's reunion tour, much speculation was cast over whether John Bush would return. Bush has stated that (as of February 7), he was not ready to commit to Anthrax again. In May 2007, Scott Ian said that the announcement of who will be singing for Anthrax would be made at the end of June, though the actual announcement didn't come until December.

In June 2007, John Bush was interviewed by Rock Hard, about being asked to return to Anthrax, and whether or not he is bitter about the reunion. He replied:

"No. Bitter is not the way I wanna be about anything. I'm not bitter at all. There was probably not a perfect way to do that, what they did. It was like, how are they gonna say...? I mean, they asked me to do it—the tour with Joey—and it just wasn't right for me, I couldn't do it. So, whatever...if they felt they had to do that, I understand. It wasn't like I was going, 'Yeah, do it. That's great.' But once it happened, I was like, 'okay.' It was like a book ended. It's okay. I mean, it's much better to look at it that way than to be angry or frustrated, 'cause I really don't feel that way."

When asked if he was approached to rejoin the band once Belladonna left the group, Bush said,

"I was asked to write, and it just wasn't right for me. I couldn't go back and say, 'Here I am...' It would be like coming in with my tail between my legs, and that's not right for me. I just couldn't do that. It just didn't feel right to do that. It was about soul, your gut. How does that feel? Does it feel right? Good enough. Sold. Answer."

John Bush did appear with Anthrax for Sonisphere 2009 festival in the UK. Due to the overwhelming fan response following John Bush's performance, a 'Bring Back Bush' campaign was set up and subsequently endorsed by Scott Ian.

On September 3, 2009, it was announced that John Bush will be yet again singing with Anthrax at the Loud Park '09 Festival in Japan on October 17, 2009.

Anthrax with John Bush on vocals are also scheduled to take part in the February 2010, 5-show touring Soundwave 2010 festival in Australia. While details still aren't clear as to whether or not Bush's membership in the band is permanent, drummer Charlie Benante has said that the band is "in the process of regrouping with John Bush. We played two shows with him, and we are looking forward to proceeding with this lineup." Anthrax has also confirmed a "big 4 tour" (with Metallica, Megadeth, and Slayer). This will be the first time that all four bands have played together.

Dan Nelson era (2007–2009)
On December 10, 2007, it was announced the band's new vocalist would be Dan Nelson, formerly of Devilsize. Around the same time, it was confirmed that Rob Caggiano would return as lead guitarist.

On May 28, 2008 Anthrax played their first show in 19 months at The Double Door in Chicago. Along with new singer Dan Nelson, the band played new material which was well received by the sold-out crowd. This was despite having some equipment problems—which the band took in stride with the classic humor for which they are known.

Also with singer Dan Nelson, Anthrax played Korea for the first time on August 17, 2008.

In his monthly Food Coma column, which was posted on December 22, 2008, Anthrax's Scott Ian revealed that he'd "been in the studio working on the new Anthrax album since November 4." Ian went on to say that drums, bass and rhythm had been laid down on a total of 19 tracks, and that the process of laying down vocals had begun. "We should be mixing at the end of January and soon after that giving birth to a really pissed off, loud, fast and heavy child." In a subsequent May 2009 Food Coma column, Scott announced that the album was being mixed by Dave Fortman whose previous credits include both of Evanescence's multi-platinum selling albums and Slipknot's fourth studio album titled All Hope Is Gone. In a post to the Anthrax website, Charlie Benante stated that "Worship Music should be out in May".

On Saturday March 7, 2009 Anthrax played Bogota, Colombia for the first time in their career, opening for Iron Maiden.

On July 21, 2009 Anthrax's manager, Izvor Zivkovic, confirmed the departure of Dan Nelson, due to an as yet unspecified illness, which Nelson has since denied, saying: "I was never seriously ill or sick at all, as reported in Anthrax’s 7/17/09 press release. This extremely inflammatory statement hurt me tremendously. This statement misled fans, friends and family members into believing that I was seriously ill when I was not. I was not aware such a statement was being issued and it came as a total shock to me, as I’m sure it did to all of you. It was the other band members’ decision to cancel the tour dates, not mine. I was ready, willing and able to do my job. After issuing the press release the other band members decided, on their own accord, that I had 'resigned' from the band. I never resigned from the band.

Side projects
Several members have launched affiliated side projects, such as Scott Ian's project with Anthrax drummer Charlie Benante, original Anthrax bassist/lead guitarist Danny Lilker and Billy Milano called Stormtroopers of Death. After leaving Anthrax, Joey Belladonna began a series of solo albums, Belladonna, Spells of Fear, and 03, and John Bush is involved with his former band Armored Saint and original Anthrax vocalist Neil Turbin has been touring Japan, Europe, Mexico and US with his band Deathriders and recording their debut album "Back With A Vengeance" slated for release in 2009.

Guest musicians
A number of Anthrax albums have featured guests, most notably Dimebag Darrell, who appeared on "King Size" and "Riding Shotgun" from Stomp 442; "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real; and "Strap It On" and "Cadillac Rock Box" from We've Come for You All. Vocalist Roger Daltrey of The Who has also appeared on the band's We've Come for You All disc, providing backing vocals for "Taking the Music Back". Phil Anselmo of Pantera appears on Volume 8: The Threat Is Real, on the song "Killing Box." Public Enemy worked with Anthrax on a metal version of, "Bring the Noise" from Public Enemy's album "It Takes a Nation of Millions to Hold Us Back".

Thanks To: Wikipedia.org
undestroyer.blogspot.com
Official Site : www.anthrax.com
Free Download

Extreme metal

2010-01-17T00:53:00.006+07:00

Extreme metal is an umbrella term, somewhat loosely defined, for a number of related heavy metal subgenres that have developed since the 1980s. Though the term does not refer to any specific style or sound, it most commonly refers to music associated with thrash metal, black metal, death metal, and doom metal.
Though not well-known to mainstream music fans, extreme metal has influenced an array of musical performers inside and outside of heavy metal, and thrives in various devoted subcultures.

Definitions
"Extreme" can be meant to describe any of the following traits: music (whether it's intended to be faster, more aggressive, abrasive or "heavier" than other metal styles), lyrics (dealing with darker, more sensational topics and themes), vocals (which often use guttural, harsh or abrasive singing), or appearance and stage demeanor (using corpse paint, Satanic or occult imagery). The "extreme" label is most commonly applied to bands whose music is extreme; for example, few would consider Kiss or Alice Cooper to be extreme metal, though they could be considered to employ "extreme" elements in their appearance and stage demeanor for their time.

According to ethnographer Keith Kahn-Harris, the defining characteristics of extreme metal can all be regarded as clearly transgressive: the "extreme" traits noted above are all intended to violate or transgress given cultural, artistic, social or aesthetic boundaries.

Given the vagueness of existing definitions and considering the limitations such definitions have, there are many artists for whom the usage of the term "extreme metal" is a subject of debate. However, Kahn-Harris also notes that many musicians and fans see such debates over style and genre as useless and unnecessary, or at least as given undue attention.

Characteristics

Structure

Though songs in traditional heavy metal may be louder, harsher or more abrasive than rock music in general, the underlying elements of melody, harmony and rhythm are generally similar to those in rock and pop music. Conventional melodies – one of the key elements of popular music – are often of limited importance in extreme metal, if not absent entirely, although chord progressions are still present and important. Extreme metal songs rarely have the central focus of a melodic "pop hook," and when present, melodic elements more typically provide an instrumental backdrop rather than a central focus.Vocals
One of the more apparent characteristics of extreme metal is the vocals. Extreme metal singing includes various extended techniques; from harsh, guttural death growls (characteristic of death metal) to high-pitched shrieking (characteristic of black metal). Thrash metal vocalists commonly employ a harsh or shouted vocal style. Extreme metal vocalists can use one or more techniques, and some bands have multiple singers.

Tempo

Extreme metal is also characterized by its unusual tempo, which may range from very fast-paced –thrash, death and black metal can occasionally approach the extraordinary range of 300 beats per minute–to the extremely slow, as in funeral doom and drone doom. Drummers often utilize double-kick, double bass and blast beats, though not all make use of these techniques. Kahn-Harris notes that many extreme metal drummers take great pride in creating and playing drum patterns that are complex and demanding.

Guitars

Guitars in extreme metal are commonly distorted to create a thick or abrasive tone. Guitars are frequently tuned below the standard E: thrash metal and black metal guitarists usually tune a half or a whole-step down, while death metal and doom metal often tune even lower. Seven-string guitars (rather than the more common six-string guitars) are not unusual in extreme metal, particularly in death and doom metal. Kahn-Harris notes that extreme metal tends to defy the "riff-guitar solo" paradigm of heavy metal: Guitar solos are often of less importance in extreme metal than in other metal styles, and the chord progressions (or "riffs") in extreme metal are often unusual, complex and demanding.

History

Below is a basic summary explaining how the three primary extreme metal genres evolved:

Heavy metal (late 1960s)
New Wave of British Heavy Metal (late 1970s)
Speed metal (early 1980s)
Thrash metal (early 1980s)
Black metal, Death metal (mid-late 1980s)

Origins (1970s)

Heavy metal music was developed in the late 1960s as a louder, more emphatic form of blues-rock. Heavy metal pioneers like Black Sabbath, Led Zeppelin and Deep Purple all had strong roots in blues-roc, and although heavy metal was harder and louder than its predecessor, it retained a strong blues feel. A noted precursor to extreme metal, Budgie, "was among the heaviest metal of its day".
However, by the late 1970s, some heavy metal musicians were drifting away from the genre's blues roots. The most notable development was the so-called "New Wave of British Heavy Metal" (NWOBHM), which included groups like Iron Maiden, Saxon and Motörhead. These bands toned down the blues elements of earlier acts, increased the tempo, and adopted a harsher, tougher sound inspired by punk rock.

Early development (early 1980s)

The NWOBHM group Venom are widely considered one of the more important groups in the creation of extreme metal. Though critics have often characterized Venom's musicianship as mediocre or worse,the band was nonetheless influential. Their songs were among the fastest of their era, with harsh vocals and blatantly Satanic imagery. Their albums Welcome to Hell (1981) and Black Metal (1982) are regarded as foundational influences on extreme metal. Venom's members also adopted stage names intended to help create a menacing and mysterious persona. Though the practice is not universal, many extreme metal musicians have similarly adopted stage names, especially in black metal.

The early 1980s saw the development of speed metal and thrash metal, two distinct but nonetheless closely related styles that both drew influence from punk rock (particularly the emphasis on very fast tempos, 2/4 or implied 2/4 time, and brief songs found in hardcore punk). The "big four" of thrash metal (the American groups Anthrax, Megadeth, Slayer and Metallica) proved that extreme metal was a commercially viable force.

Diversification (mid 1980s–present)

According to Kahn-Harris, the mid-to-late 1980s saw vital new developments: death metal and grindcore. Both genres are partly distinguished by their use of blast beats, down-tuned electric guitars and growled vocals. At the beginning of the 1990s, the Norwegian black metal scene emerged, which helped to define black metal as a distinct genre.

Extreme metal earned an unprecedented level of international mainstream attention in the early and mid-1990s. Pioneering record label Earache Records, for example, signed a distribution deal with major label Columbia Records. However, much of the attention towards extreme metal was negative and focused on arsons on Christian churches and murders associated with the early Norwegian black metal scene.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Deathcore

2010-01-17T00:09:00.008+07:00

Deathcore is an amalgamation of two musical styles: metalcore and death metal.

Characteristics
Deathcore is heavily influenced by modern death metal in its speed, heaviness, and approach to chromatic, heavily palm muted riffing and dissonance. Traditional growls, and screaming are prevalent, and sometimes metalcore yelling or shouting vocals are included. Much of deathcore features breakdowns and melodic riffs common in metalcore.

History

Though an early hybrid of death metal and crossover thrash was practiced by Michigan's Repulsion, New York death metal veterans Suffocation and Maryland's Dying Fetus were among the first death metal groups to make the breakdown a staple in their music. Additionally, the straight edge hardcore group Earth Crisis borrowed a great deal from death metal, as did Converge and Hatebreed. Before the rise of deathcore, bands such as Abscess and Unseen Terror used the term to describe hardcore punk/death metal hybrids. Germany's Blood also released a 1986 demo entitled Deathcore, while another German group, formed in 1987 and related to Blood, used "Deathcore" as a band name.

Deathcore seems to have most prominence within the southwestern United States, especially Arizona and California (most notably the Coachella Valley), which are home to many notable bands and various festivals.

Band	Country	Formed
The Acacia Strain	USA	2001
A Different Breed of Killer	USA	2006
The Agonist	Canada	2004
The Agony Scene	USA	2001
All Shall Perish	USA	2002
Animosity	USA	2000
Arsonists Get All the Girls	USA	2005
As Blood Runs Black	USA	2004
Asesino	USA	2002
The Black Dahlia Murder	USA	2000
Born of Osiris	USA	2007
Bring Me the Horizon	UK	2004
Burning Skies	UK	2002
Caliban	Germany	1997
Carnifex	USA	2005
The Concubine	USA	2003
Cryptopsy	Canada	1988
Dance Club Massacre	USA	2004
Dead Man in Reno	USA	2003
Despised Icon	Canada	2002
Elysia	USA	2003
Emmure	USA	2003
Eternal Lord	UK	2005
Frontside	Poland	1993
Glass Casket	USA	2001
God Forbid	USA	1997
Heaven Shall Burn	Germany	1997
Job for a Cowboy	USA	2002
Killwhitneydead	USA	2001
Knights of the Abyss	USA	2005
Malefice	UK	2003
Maroon	Germany	1998
Mendeed	UK	2000
Molotov Solution	USA	2004
Mortal Treason	USA	2001
My Bitter End	USA	2002
Nights Like These	USA	2003
Oceano	USA	2006
The Red Chord	USA	1999
The Red Death‎	USA	2002
The Red Shore	Australia	2004
Rose Funeral	USA	2005
Salt the Wound	USA	2001
See You Next Tuesday	USA	2005
Shot Down Sun	USA	2001
Suicide Silence	USA	2002
Through the Eyes of the Dead	USA	2002
Whitechapel	USA	2006
Winds of Plague	USA	2002

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Metalcore

2010-01-16T23:45:00.004+07:00

Metalcore is a fusion genre incorporating elements of hardcore punk and extreme metal. The name is a portmanteau of hardcore punk and heavy metal. The term took on its current meaning in the mid-1990s, describing bands like Earth Crisis, Deadguy and Integrity. The earliest of these groups, Integrity, began performing in 1988. Metalcore is distinguished from other punk metal fusions by its emphasis on breakdowns: slower, intense passages conducive to moshing.

History
Precursors (1977–1984)
Main article: Hardcore punk
Black Flag and Bad Brains, among the originators of hardcore, admired and emulated Black Sabbath. British street punk groups such as Discharge and The Exploited also took inspiration from heavy metal. The Misfits put out the Earth A.D. album, becoming a crucial influence on thrash. Nonetheless, punk and metal cultures and music remained separate through the first half of the 1980s.

Crossover thrash (1984–1988)
Main article: Crossover thrash
Cross-pollination between metal and hardcore eventually birthed the crossover thrash scene, which gestated at a Berkeley club called Ruthie's, in 1984. The term "metalcore" was originally used to refer to these crossover groups. Hardcore punk groups Corrosion of Conformity, Dirty Rotten Imbeciles and Suicidal Tendencies played alongside thrash metal groups like Metallica and Slayer. This scene influenced the skinhead wing of New York hardcore, which also began in 1984, and included groups such as Cro-Mags, Murphy's Law, Agnostic Front and Warzone. The Cro-Mags were among the most influential of these bands, drawing equally from Bad Brains, Motörhead, and Black Sabbath. Cro-Mags also embraced straight edge and, surprisingly enough, Krishna consciousness. Other New York straight edge groups included Gorilla Biscuits, Crumbsuckers, and Youth of Today, who inaugurated the youth crew style. 1985 saw the development of the hardcore breakdown, an amalgamation of Bad Brains' reggae and metal backgrounds, which encouraged moshing. Agnostic Front's 1986 album Cause for Alarm, a collaboration with Peter Steele, was a watershed in the intertwining of hardcore and metal.

Metallic hardcore (1989–2000)
Between 1989 and 1995, a new wave of hardcore bands emerged. These included Integrity, Earth Crisis, Converge, Shai Hulud,Starkweather, Judge, Bloodlet, Strife, Rorschach, Cave In, Vision of Disorder Hatebreed, and Candiria. Integrity drew influence primarily from the Japanese hardcore terrorism of G.I.S.M. and the metal of Slayer, with more subtle elements of Septic Death, Samhain, Motörhead, and Joy Division. And Earth Crisis, Converge, and Hatebreed borrowed from death metal. Shai Hulud's Hearts Once Nourished with Hope and Compassion and Earth Crisis's 1995 album Destroy the Machines was particularly influential. In guitarist Scott Crouse's words,
“It was a very mixed reaction. I'm often quoted as saying that Earth Crisis was the first hardcore band with a metal sound. Of course we weren't the first, but I think we definitely took it to another level. We heard a lot of, 'These guys are trying to be Pantera,' which we all took as a great compliment."
Biohazard, Coalesce, and Overcast were also important early metalcore groups. These groups are sometimes referred to as "metallic hardcore".

Melodic metalcore (1997–present)
In the late 1990s, a third wave of metalcore groups appeared, who placed significantly greater emphasis on melody.The First metalcore band to have such elements was Zao then later on such bands as Unearth, Bullet for My Valentine, Killswitch Engage, Trivium (early), Shadows Fall, All That Remains, Underoath and Atreyu emerged and are now the most commercially successful practitioners of metalcore.

Other notable metalcore bands include Haste the Day, Darkest Hour, Caliban, Bleeding Through, August Burns Red, Demon Hunter, It Dies Today, The Devil Wears Prada , and The Autumn Offering. These groups took major influence, cues, and writing styles from melodic death metal bands, particularly In Flames and At the Gates. Melodic metalcore frequently makes use of clean vocals, and is significantly less dissonant than other metalcore. Some of these groups, such as Shadows Fall, have voiced an affection for '80s glam metal. Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums".

In the mid-2000s, Metalcore emerged as a commercial force, with several independent metal labels, including Century Media and Metal Blade, signing metalcore bands. By 2004, melodic metalcore had become popular enough that Killswitch Engage's The End of Heartache, and Shadows Fall's The War Within debuted at numbers 21 and 20, respectively, on the Billboard album chart. All That Remains' single "Two Weeks" peaked at number nine at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. Welsh metalcore band Bullet for My Valentine's second album, Scream Aim Fire, went straight to #4 on the Billboard 200. Underoath's fifth album Define the Great Line, released in 2006, peaked at #2 on the Billboard 200 charts, selling 98,000 copies in its first week. Hatebreed, God Forbid, and As I Lay Dying have also charted. Underoath's most recent album Lost in the Sound of Separation has reached #8 on the Billboard 200 and has sold 56,000 copies in its first week of sales in the U.S. alone. Killswitch Engage's self-titled fifth album has reached #7 on the Billboard 200.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Nu metal

2010-01-16T23:05:00.002+07:00

Nu metal is a genre of music that blends heavy metal elements with other styles, such as hip hop and grunge.

Origins
The term "nu metal" was first used for a review of a mid-October 1995 Coal Chamber concert in Spin magazine in the form "new metal". The considerations on "nu metal" vs. "new metal" are present at the end of the "Get Thrashed" movie.

Like the bands of its antecedent, funk metal, many nu metal bands came from California (such as Korn, Deftones and P.O.D.).

Nu metal initially began with Korn's demo-tape, Neidermeyer's Mind, released in 1993. Korn's signature sound came from an attempt to emulate chords used by Mr. Bungle's guitar player Trey Spruance, which they referred to as "the moveable Bungle chord". They have also cited Mike Patton's other band Faith No More in Kerrang!'s The Greatest Videos of All Time in 2006, saying that Korn was influenced by them because they did something unusual with a metal band. Nu metal bands also often state more conventional metal acts as an influence, particularly Black Sabbath.

Korn use 7-string guitars over traditional 6-string guitars. Steve Vai had originally introduced them onto the market for technical guitar players. Munky, the guitarist from Korn, was not a technical player so he decided to take the 7-string guitar in a different direction.

Producer Ross Robinson was labelled by some as "The Godfather of nu metal" due to his producing of successful nu metal albums, such as Korn's first album.

Mainstream popularity
Nu metal's mainstream popularity came in 1998 with the success of Korn's third album Follow the Leader, which sold 9 million copies worldwide. The following year many bands began receiving airplay and were in heavy rotation on MTV. Bands whose albums became hits that year included Coal Chamber, Limp Bizkit and Staind.

Many of the bands that formed the first wave of nu metal came out of the Los Angeles scene, many playing the same venues and all knowing of each other. That scene included Static-X, Coal Chamber, and Spineshank. There were other bands from outside of L.A, such as Des Moines's Slipknot, Atlanta's Sevendust, Jacksonville's Limp Bizkit, Chicago's Disturbed, Phoenix's Soulfly and Lawrence, Massachusetts' Godsmack.

Another contribution to nu metal's popularity was festival tours such as Family Values Tour, Lollapalooza and Ozzfest. The 30th anniversary of Woodstock also featured nu metal bands.

Through the turn of the century, more bands broke out like Linkin Park whose debut album "Hybrid Theory" became a platinum hit and Papa Roach whose major label debut Infest also became a platinum hit. Other bands like P.O.D. and Disturbed also had mainstream success. By 2001, nu metal reached its peak as record labels signed many nu metal bands. Though new bands were breaking out, established bands who helped start the genre had successful hit albums like Staind's Break the Cycle, P.O.D.'s Satellite, Slipknot's Iowa.

By 2002, signs that nu metal's mainstream popularity was dying down were apparent. Korn's long awaited fifth album Untouchables, Linkin Park's "Meteora" and Papa Roach's third album Lovehatetragedy did not sell as well as their previous albums. Nu metal bands became less played on rock radio stations and MTV began focusing on pop punk and emo bands. Since then, some bands have changed their sound to hard rock, alternative rock or alternative metal.

Musical traits
Nu metal bands often feature aggressive vocals ranging from melodic singing, guttural screaming, and shouting from various forms of metal, hardcore punk, and like funk metal; rapping is sometimes used.

Korn's Jonathan Davis, Linkin Park's Mike Shinoda and Chester Bennington, Chevelle's Pete Loeffler, Slipknot's Corey Taylor, Taproot's Stephen Richards, Disturbed's David Draiman and Limp Bizkit's Fred Durst have all cited Maynard James Keenan's signature style as their main influence, with Durst also calling the band Tool both his biggest musical influence and favorite band. Mike Patton of Faith No More is also credited for vocally influencing nu metal.

Nu metal bass parts are often reminiscent of hip hop or funk grooves, and in some songs, slap bass technique is used. The bass in nu metal is occasionally the driving force behind the music. Many nu metal bassists use 5-string over 4-string bass guitars.

Many nu metal bands feature a DJ for additional rhythmic instrumentation (such as music sampling, scratching and electronic backgrounds). Examples of nu metal DJs include Frank Delgado of Deftones, Sid Wilson of Slipknot, Mr. Hahn of Linkin Park, and DJ Lethal of Limp Bizkit.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Death metal

2010-01-16T15:17:00.000+07:00

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.

Characteristics
Instrumentation
The setup most frequently used within the death metal genre is two guitarists, a bass player, a vocalist and a drummer almost universally using two bass drums or a double bass drum pedal. Although this is the standard setup, bands have been known to occasionally incorporate other instruments such as electronic keyboards.

The genre is often identified by fast, highly distorted and downtuned guitars, played with techniques such as palm muting and tremolo picking. The percussion is usually fast and dynamic; blast beats, double bass and exceedingly fast drum patterns frequently add to the ferocity of the genre.

Death metal is known for its abrupt tempo, key, and time signature changes, as well as fast and complex guitar and drumwork. Death metal may include chromatic chord progressions and a varied song structure, rarely employing the standard verse-chorus arrangement. These compositions tend to emphasize an ongoing development of themes and motifs.

Vocals and lyrics
Death metal vocals are often guttural roars, grunts, snarls, and low gurgles colloquially called death grunts or death growls. The style is sometimes referred to as Cookie Monster vocals, tongue-in-cheek, because of the similarity with the popular Sesame Street character of the same name. Although often criticized, death growls serve the aesthetic purpose of matching death metal's violent or bleak lyrical content.

The lyrical themes of death metal often invoke slasher film-stylized violence, but may also extend to topics like Satanism, anti-religion, Occultism, mysticism, philosophy and social commentary. However, few death metal musicians actively practice occultism, mysticism, or Satanism. Although violence may be explored in various other genres as well, death metal elaborates on the details of extreme acts, including mutilation, dissection, torture, rape and necrophilia. Sociologist Keith Kahn-Harris commented this apparent glamorization of violence may be attributed to a "fascination" with the human body that all people share to some degree, a fascination which mixes desire and disgust. Heavy metal author Gavin Baddeley also stated there does seem to be a connection between "how acquainted one is with their own mortality" and "how much they crave images of death and violence" via the media. Additionally, contributing artists to the genre often defend death metal as little more than an extreme form of art and entertainment, similar to horror films in the motion picture industry. This rationalization has brought such musicians under fire from activists internationally, who claim that this is often lost on a large number of adolescents, who are left with the glamorization of such violence without social context or awareness of why such imagery is stimulating.

According to Alex Webster, bassist of Cannibal Corpse, "The gory lyrics are probably not, as much as people say, [what's keeping us] from being mainstream. Like, 'Death metal would never go into the mainstream because the lyrics are too gory?' I think it's really the music, because violent entertainment is totally mainstream.

Origin of the term
There are several theories how the term "death metal" originated. One theory is the name originates from an early pioneer of the genre, Death. A Florida journalist explained to his readers Death play their own kind of metal: "Death's Metal". Others contest Death is not the origin, but the harsh vocals and morbid lyrical content generally inspired the genre. Another possible origin is a fanzine called Death Metal, started by Thomas Fischer and Martin Ain of Hellhammer and Celtic Frost. The name was later given to the 1984 compilation Death Metal released by Noise Records. The term might also have originated from other recordings. Possessed's 1984 demo is called Death Metal, and a song with the same name is featured on their 1985 debut album Seven Churches. A demo released by Death in 1983 is called Death by Metal.

Early history (before 1991)
Emergence
British heavy metal band Venom crystallized the elements of what later became known as thrash metal, death metal and black metal, with their 1981 album Welcome to Hell. Their dark, blistering sound, harsh vocals, and macabre, proudly Satanic imagery proved a major inspiration for extreme metal bands. Another highly influential band, Slayer, formed in 1981. Although the band was a thrash metal act, Slayer's music was more violent than their thrash contemporaries Metallica, Megadeth and Exodus. Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war and Satanism won Slayer a rabid cult following. According to Allmusic, Slayer's third album Reign in Blood "inspired the entire death metal genre". and had a big impact on the genre leaders.
Possessed, a band that formed in the San Francisco Bay Area during 1983, was attributed by Allmusic.com as having a Slayer influence on their 1985 album, Seven Churches. Although Possessed's brand of metal resembled Slayer's fast and Satanic thrash metal style, they are often cited as the "first" death metal band. This is largely because of the grunted vocals which set the stage for death metal's breakaway from thrash metal. The 1984 demo Death Metal and 1985 album Seven Churches are regarded as their most influential material.

Not long after the dawn of Possessed, a second influential metal band was formed in Florida: Death. Death, originally called Mantas, was formed during 1983 by Chuck Schuldiner, Kam Lee, and Rick Rozz. In 1984 they released their first demo entitled Death by Metal, followed by several more. The tapes circulated through the tape trader world, quickly establishing the band's name. With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene. Fast, dark minor-key riffs and fierce solos were complemented with fast drumming, creating a style that would catch on in tape trading circles.[45][46] Subsequently, Schuldiner has been "widely recognized as the Father of Death Metal".

Along with Possessed and Death, other pioneers of death metal in the United States include Autopsy, Necrophagia, Master, Morbid Angel, Massacre, Atheist, Obituary and Cannibal Corpse.

An early death metal album, Season of the Dead, was released by Necrophagia in 1987. That same year saw the release of Death's Scream Bloody Gore, which some writers consider the genre's first "proper" release.

Growing popularity
By 1989, many bands had been signed by eager record labels wanting to cash in on the subgenre, including Florida's Obituary, Morbid Angel and Deicide. This collective of death metal bands hailing from Florida are often labeled as "Florida death metal". Death metal spread to Sweden in the mid 1980s, and flourished in the latter part of the decade, with pioneers such as Nihilist, Entombed, Carnage, Dismember and Unleashed. In the early 1990s, the rise of typically melodic "Gothenburg metal" was recognized, with bands such as Dark Tranquillity, At the Gates, and In Flames.
Following the original death metal innovators, new subgenres began by the end of the decade. British band Napalm Death became increasingly associated with death metal, in particular, on 1990's Harmony Corruption. This album displays aggressive and fairly technical guitar riffing, complex rhythmics, a sophisticated growling vocal delivery by Mark "Barney" Greenway, and thoughtful lyrics, leading to the creation of the "deathgrind" subgenre. Other bands contributing significantly to this early movement include Britain's Bolt Thrower and Carcass, and New York's Suffocation.

To close the circle, Death released their fourth album Human in 1991, an example of modern death metal. Death's founder Schuldiner helped push the boundaries of uncompromising speed and technical virtuosity, mixing technical and intricate rhythm guitar work with complex arrangements and emotive guitar solos. Other examples are Carcass's Necroticism - Descanting the Insalubrious, Suffocation's Effigy of the Forgotten and Entombed's Clandestine from 1991. At this point, all the above characteristics are present: abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and growling vocal delivery.

Earache Records, Relativity Records and Roadrunner Records became the genre's most important labels, with Earache releasing albums by Carcass, Napalm Death, Morbid Angel, and Entombed, and Roadrunner releasing albums by Obituary, and Pestilence. Although these labels had not been death metal labels, initially, they became the genre's flagship labels in the beginning of the 1990s. In addition to these, other labels formed as well, such as Nuclear Blast, Century Media Records, and Peaceville. Many of these labels would go on to achieve successes in other genres of metal throughout the 1990s.

In September 1990, Death's manager Eric Greif held one of the first North American death metal festivals, Day of Death, in Milwaukee suburb Waukesha, Wisconsin, and featured 26 bands including Autopsy, Hellwitch, Obliveon, Revenant, Viogression, Immolation, Atheist, and Cynic.

Later history (1991 onward)
Death metal's popularity achieved its peak between the 1992–93 era, with some bands such as Morbid Angel, Cannibal Corpse and Obituary enjoying mild commercial successes. However, the genre as a whole never broke in to the mainstream. The genre's mounting popularity may have been partly responsible for a strong rivalry between Norwegian black metal and Swedish death metal scenes. Fenriz of Darkthrone has noted that Norwegian black metal musicians were "fed up with the whole death metal scene" at the time. Death metal diversified in the 1990s, spawning a rich variety of subgenres.

Subgenres
It should be noted that cited examples are not necessarily exclusive to one particular style. Many bands can easily be placed in two or more of the following categories, and a band's specific categorization is often a source of contention due to personal opinion and interpretation.

* Melodic death metal: Scandinavian death metal could be considered the forerunner of "melodic death metal". Melodic death metal, sometimes referred to as "melodeath", is heavy metal music mixed with some death metal elements, such as growled vocals and the liberal use of blastbeats. Songs are typically based around Iron Maiden-esque guitar harmonies and melodies with typically higher-pitched growls, as opposed to traditional death metal's brutal riffs and much lower death grunts. Carcass is sometimes credited with releasing the first melodic death metal album with 1993's Heartwork, although Swedish bands In Flames, Dark Tranquillity, and At the Gates are usually mentioned as the main pioneers of the genre and of the Gothenburg metal sound.

* Technical death metal: Technical death metal and 'progressive death metal' are related terms that refer to bands distinguished by the complexity of their music. Common traits are dynamic song structures, uncommon time signatures, atypical rhythms and unusual harmonies and melodies. Bands described as technical death metal or progressive death metal usually fuse common death metal aesthetics with elements of progressive rock, jazz or classical music. While the term technical death metal is sometimes used to describe bands that focus on speed and extremity as well as complexity, the line between progressive and technical death metal is thin. "Tech death" and "prog death", for short, are terms commonly applied to such bands as Cryptopsy, Edge of Sanity, Opeth, Origin and Sadist. Cynic, Atheist, Pestilence and Gorguts are examples of bands noted for creating jazz-influenced death metal. Necrophagist and Spawn of Possession are known for a classical music influenced death metal style. Death metal pioneers Death also refined their style in a more progressive direction in their final years.

* Death/doom: Death/doom is a style that combines the slow tempos and melancholic atmosphere of doom metal with the deep growling vocals and double-kick drumming of death metal. The style emerged during the late 1980s and gained a certain amount of popularity during the 1990s. It was pioneered by bands such as Autopsy, Winter, Asphyx, Disembowelment, Paradise Lost, and My Dying Bride.
* Blackened death metal: is a subgenre of death metal that incorporates black metal elements. These bands also often tend to adopt some of the thematic characteristics of that genre as well: evil, Satanism, and occultism are all common topics and images. The style was influenced by bands such as Sarcófago, Blasphemy, Beherit and Impaled Nazarene. In the mid 1990s it was developed further by bands such as Belphegor, Behemoth, Akercocke, Zyklon and Sacramentum.

* Goregrind and deathgrind: This style mixes the intensity, speed, and brevity of grindcore with the complexity of death metal. It differs from death metal in that guitar solos are often a rarity, shrieked vocals are more prominent as the main vocal style (though death growls are still utilized and some deathgrind bands make more use of the latter vocal style), and songs are generally shorter in length, usually between one and three minutes. The style differs from grindcore in the more technical approach and less evident hardcore punk influence and aesthetics. Some notable examples of deathgrind are Brujeria, Cattle Decapitation, Cephalic Carnage, Soilent Green, Pig Destroyer, Circle of Dead Children and Rotten Sound.

* Deathcore: With the rise in popularity of metalcore, some of its traits have been incorporated into death metal. Bands such as Suicide Silence, Salt the Wound and early music from Job for a Cowboy combine metalcore with death metal influences. Characteristics of death metal, such as fast drumming (including blast beats), down-tuned guitars, tremolo picking and partially growled vocals, are combined with screamed vocals, melodic riffs and breakdowns.

Other fusions and subgenres
There are other heavy metal music subgenres that have come from fusions between death metal and other non-metal genres, such as the fusion of death metal and jazz. Atheist and Cynic are two examples. The former of went as far as to include jazz-style drum solos on albums, and the latter incorporated elements of jazz fusion. Nile have also incorporated Egyptian music and Middle Eastern themes into their work, while Alchemist have incorporated psychedelia along with Aboriginal music. Some groups, such as Nightfall and Eternal Tears of Sorrow, have incorporated keyboards and symphonic elements, creating a fusion of symphonic metal and death metal, sometimes referred to as symphonic death metal.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Punk rock

2010-01-16T14:28:00.004+07:00

Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.

By late 1976, bands such as the Ramones, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. By the turn of the century, pop punk had been adopted by the mainstream, with bands such as Green Day and The Offspring bringing the genre widespread popularity.

Characteristics
Philosophy
The first wave of punk rock aimed to be aggressively modern, distancing itself from the bombast and sentimentality of early 1970s rock. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll."John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music."In critic Robert Christgau's description, "It was also a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth."Patti Smith, in contrast, suggests in the documentary 25 Years of Punk that the hippies and the punk rockers were linked by a common anti-establishment mentality.

Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but still felt the need to express themselves through music".In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band."The title of a 1980 single by New York punk band The Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach.

Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared The Clash song "1977". The previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". Even as nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future"; in the later words of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling thing in England."While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do.

The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually "[e]veryone got called a poseur".

Musical and lyrical elements
Punk rock bands often emulate the bare musical structures and arrangements of 1960s garage rock. Typical punk rock instrumentation includes one or two electric guitars, an electric bass, and a drum kit, along with vocals. Punk rock songs tend to be shorter than those of other popular genres—on the Ramones' debut album, for instance, half of the fourteen tracks are under two minutes long. Most early punk rock songs retained a traditional rock 'n' roll verse-chorus form and 4/4 time signature. However, punk rock bands in the movement's second wave and afterward have often broken from this format. In critic Steven Blush's description, "The Sex Pistols were still rock'n'roll...like the craziest version of Chuck Berry. Hardcore was a radical departure from that. It wasn't verse-chorus rock. It dispelled any notion of what songwriting is supposed to be. It's its own form.

Punk rock vocals sometimes sound nasal, and lyrics are often shouted instead of sung in a conventional sense, particularly in hardcore styles. The vocal approach is characterized by a lack of variety; shifts in pitch, volume, or intonational style are relatively infrequent—the Sex Pistols' Johnny Rotten constituting a significant exception. Complicated guitar solos are considered self-indulgent and unnecessary, although basic guitar breaks are common.Guitar parts tend to include highly distorted power chords or barre chords, creating a characteristic sound described by Christgau as a "buzzsaw drone".Some punk rock bands take a surf rock approach with a lighter, twangier guitar tone. Others, such as Robert Quine, lead guitarist of The Voidoids, have employed a wild, "gonzo" attack, a style that stretches back through The Velvet Underground to the 1950s recordings of Ike Turner. Bass guitar lines are often uncomplicated; the quintessential approach is a relentless, repetitive "forced rhythm", although some punk rock bass players—such as Mike Watt of The Minutemen and Firehose—emphasize more technical bass lines. Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule. Hardcore drumming tends to be especially fast. Production tends to be minimalistic, with tracks sometimes laid down on home tape recorders or simple four-track portastudios. The typical objective is to have the recording sound unmanipulated and "real", reflecting the commitment and "authenticity" of a live performance. Punk recordings thus often have a lo-fi quality, with the sound left relatively unpolished in the mastering process; recordings may contain dialogue between band members, false starts, and background noise.

Punk rock lyrics are typically frank and confrontational; compared to the lyrics of other popular music genres, they frequently comment on social and political issues. Trend-setting songs such as The Clash's "Career Opportunities" and Chelsea's "Right to Work" deal with unemployment and the grim realities of urban life. Especially in early British punk, a central goal was to outrage and shock the mainstream. The Sex Pistols classics "Anarchy in the U.K." and "God Save the Queen" openly disparage the British political system and social mores. There is also a characteristic strain of anti-sentimental depictions of relationships and sex, exemplified by "Love Comes in Spurts", written by Richard Hell and recorded by him with The Voidoids. Anomie, variously expressed in the poetic terms of Hell's "Blank Generation" and the bluntness of the Ramones' "Now I Wanna Sniff Some Glue", is a common theme. Identifying punk with such topics aligns with the view expressed by V. Vale, founder of San Francisco fanzine Search and Destroy: "Punk was a total cultural revolt. It was a hardcore confrontation with the black side of history and culture, right-wing imagery, sexual taboos, a delving into it that had never been done before by any generation in such a thorough way."However, many punk rock lyrics deal in more traditional rock 'n' roll themes of courtship, heartbreak, and hanging out; the approach ranges from the deadpan, aggressive simplicity of Ramones standards such as "I Wanna Be Your Boyfriend"to the more unambiguously sincere style of many later pop punk groups.

Visual and other elements
The classic punk rock look among male U.S. musicians harkens back to the T-shirt, motorcycle jacket, and jeans ensemble favored by American greasers of the 1950s associated with the rockabilly scene and by British rockers of the 1960s. The cover of the Ramones' 1976 debut album, featuring a shot of the band by Punk photographer Roberta Bayley, set forth the basic elements of a style that was soon widely emulated by rock musicians both punk and nonpunk. Richard Hell's more androgynous, ragamuffin look—and reputed invention of the safety-pin aesthetic—was a major influence on Sex Pistols impresario Malcolm McLaren and, in turn, British punk style. McLaren's partner, fashion designer, Vivienne Westwood, credits Johnny Rotten as the first British punk to rip his shirt, and Sex Pistols bassist Sid Vicious as the first to use safety pins. Early female punk musicians displayed styles ranging from Siouxsie Sioux's bondage gear to Patti Smith's "straight-from-the-gutter androgyny". The former proved much more influential on female fan styles. Over time, tattoos, piercings, and metal-studded and -spiked accessories became increasingly common elements of punk fashion among both musicians and fans, a "style of adornment calculated to disturb and outrage".The typical male punk haircut was originally short and choppy; the Mohawk later emerged as a characteristic style. Those in hardcore scenes often adopt a skinhead look.
The characteristic stage performance style of male punk musicians does not deviate significantly from the macho postures classically associated with rock music. Female punk musicians broke more clearly from earlier styles. Scholar John Strohm suggests that they did so by creating personas of a type conventionally seen as masculine: "They adopted a tough, unladylike pose that borrowed more from the macho swagger of sixties garage bands than from the calculated bad-girl image of bands like The Runaways."Scholar Dave Laing describes how bassist Gaye Advert adopted fashion elements associated with male musicians only to generate a stage persona readily consumed as "sexy". Laing focuses on more innovative and challenging performance styles, seen in the various erotically destabilizing approaches of Siouxsie Sioux, The Slits' Ari Up, and X-Ray Spex's Poly Styrene.

The lack of emphatic syncopation led punk dance to "deviant" forms. The characteristic style was originally the pogo. Sid Vicious, before he became the Sex Pistols' bassist, is credited with initiating the pogo in Britain as an attendee at one of their concerts. Moshing is typical at hardcore shows. The lack of conventional dance rhythms was a central factor in limiting punk's mainstream commercial impact.

Breaking down the distance between performer and audience is central to the punk ethic. Fan participation at concerts is thus important; during the movement's first heyday, it was often provoked in an adversarial manner—apparently perverse, but appropriately "punk". First-wave British punk bands such as the Pistols and The Damned insulted and otherwise goaded the audience into intense reactions. Laing has identified three primary forms of audience physical response to goading: can throwing, stage invasion, and spitting or "gobbing". In the hardcore realm, stage invasion is often a prelude to stage diving. In addition to the numerous fans who have started or joined punk bands, audience members also become important participants via the scene's many amateur periodicals—in England, according to Laing, punk "was the first musical genre to spawn fanzines in any significant numbers".

Origin of the term punk
Prior to the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young male hustler, a gangster, a hoodlum, or a ruffian". As Legs McNeil explains, "On TV, if you watched cop shows, Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers would call you. It meant that you were the lowest."The first known use of the phrase punk rock appeared in the Chicago Tribune on March 22, 1970, attributed to Ed Sanders, cofounder of New York's anarcho-prankster band The Fugs. Sanders was quoted describing a solo album of his as "punk rock—redneck sentimentality". In the December 1970 issue of Creem, Lester Bangs, mocking more mainstream rock musicians, ironically referred to Iggy Pop as "that Stooge punk". Suicide's Alan Vega credits this usage with inspiring his duo to bill its gigs as a "punk mass" for the next couple of years.

Dave Marsh was the first music critic to employ the term punk rock: in the May 1971 issue of Creem, he described ? and the Mysterians, one of the most popular 1960s garage rock acts, as giving a "landmark exposition of punk rock". In June 1972, the fanzine Flash included a "Punk Top Ten" of 1960s albums. That year, Lenny Kaye used the term in the liner notes of the anthology album Nuggets to refer to 1960s garage bands such as The Standells, The Sonics, and The Seeds. The fanzine Bomp! also used punk in this sense. In February 1973, Terry Atkinson of the Los Angeles Times, reviewing the debut album by a hard rock band, Aerosmith, declared that it "achieves all that punk-rock bands strive for but most miss."Three months later, Billy Altman launched the short-lived punk magazine.

In May 1974, Los Angeles Times critic Robert Hilburn reviewed the second New York Dolls album, Too Much Too Soon. "I told ya the New York Dolls were the real thing", he wrote. "And now, we've got the album to prove it.... It is, in fact, perhaps the best example of raw, thumb-your-nose-at-the-world, punk rock since the Rolling Stones' 'Exile on Main Street.'"Bassist Jeff Jensen of Boston's Real Kids reports of a show that year, "A reviewer for one of the free entertainment magazines of the time caught the act and gave us a great review, calling us a 'punk band.' ... [W]e all sort of looked at each other and said, 'What's punk?

By 1975, punk was being used to describe acts as diverse as the Patti Smith Group—with lead guitarist Lenny Kaye—the Bay City Rollers, and Bruce Springsteen. As the scene at New York's CBGB club attracted notice, a name was sought for the developing sound. Club owner Hilly Kristal called the movement "street rock"; John Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs". Holmstrom, McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term."It was pretty obvious that the word was getting very popular", Holmstrom later remarked. "We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Hardcore

2010-01-16T14:01:00.005+07:00

Hardcore

Hardcore is a generic term used to describe something more extreme than the usual version.

Some common usage:
* Music hardcore - some types of music (not related to each other).
o Hardcore punk is a subgenre of punk rock, sometimes considered to be associated with heavy metal music
o Hardcore techno is a subgenre of techno that is closely linked with the style Gabba, and including the Happy hardcore
o Hardcore hip hop is a subgenre of hip hop lyrics typical confrontational and loud rhythms.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Heavy metal

2010-01-16T06:25:00.001+07:00

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.

Characteristics
Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes. New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force."The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are sometimes used to enhance the fullness of the sound.

The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal. The lead role of the guitar in heavy metal often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims that the metal singer's "tone of voice" is more important than the lyrics. Metal vocals vary widely in style, from the multioctave, theatrical approach of Judas Priest's Rob Halford and Iron Maiden's Bruce Dickinson, to the gruff style of Motörhead's Lemmy and Metallica's James Hetfield, to the growling of many death metal performers.

The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy". Metal basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton in the early 1980s.

The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision". Metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity...to play the intricate patterns" used in metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music.

In live performance, loudness—an "onslaught of sound," in sociologist Deena Weinstein's description—is considered vital. In his book Metalheads, psychologist Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war." Following the lead set by Jimi Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for volume. As Blue Cheer's Dick Peterson put it, "All we knew was we wanted more power."[14] A 1977 review of a Motörhead concert noted how "excessive volume in particular figured into the band’s impact."Weinstein makes the case that in the same way that melody is the main element of pop and rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality.

History
Antecedents: mid-1960s
While heavy metal's quintessential guitar style, built around distortion-heavy riffs and power chords, traces its roots to the late 1950s instrumentals of American Link Wray, the genre's direct lineage begins in the mid-1960s. American blues music was a major influence on the early British rockers of the era. Bands like The Rolling Stones and The Yardbirds developed blues-rock by recording covers of many classic blues songs, often speeding up the tempos. As they experimented with the music, the UK blues-based bands—and the U.S. acts they influenced in turn—developed what would become the hallmarks of heavy metal, in particular, the loud, distorted guitar sound. The Kinks played a major role in popularizing this sound with their 1964 hit "You Really Got Me." A significant contributor to the emerging guitar sound was the feedback facilitated by the new generation of amplifiers.

In addition to The Kinks' Dave Davies, other guitarists such as The Who's Pete Townshend and the Tridents' Jeff Beck were experimenting with feedback.[64] Where the blues-rock drumming style started out largely as simple shuffle beats on small kits, drummers began using a more muscular, complex, and amplified approach to match and be heard against the increasingly loud guitar. Vocalists similarly modified their technique and increased their reliance on amplification, often becoming more stylized and dramatic. In terms of sheer volume, especially in live performance, The Who's "bigger-louder-wall-of-Marshalls" approach was seminal. Simultaneous advances in amplification and recording technology made it possible to successfully capture the power of this heavier approach on record.

The combination of blues-rock with psychedelic rock formed much of the original basis for heavy metal. 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.

Origins: late 1960s and early 1970s
In 1968, the sound that would become known as heavy metal began to coalesce. That January, the San Francisco band Blue Cheer released a cover of Eddie Cochran's classic "Summertime Blues," from their debut album Vincebus Eruptum, that many consider the first true heavy metal recording. The same month, Steppenwolf released its self-titled debut album, including "Born to Be Wild," which refers to "heavy metal" in the lyrics. In July, another two epochal records came out: The Yardbirds' "Think About It"—B-side of the band's last single—with a performance by guitarist Jimmy Page anticipating the metal sound he would soon make famous; and Iron Butterfly's In-A-Gadda-Da-Vida, with its 17-minute-long title track, a prime candidate for first-ever heavy metal album. In August, The Beatles' single version of "Revolution," with its redlined guitar and drum sound, set new standards for distortion in a top-selling context.

The Jeff Beck Group, whose leader had preceded Page as The Yardbirds' guitarist, released its debut record that same month: Truth featured some of the "most molten, barbed, downright funny noises of all time," breaking ground for generations of metal ax-slingers. In October, Page's new band, Led Zeppelin, made its live debut. The Beatles' so-called White Album, which also came out that month, included "Helter Skelter," then one of the heaviest-sounding songs ever released by a major band. The Pretty Things' rock opera S.F. Sorrow, released in December, featured "proto heavy metal" songs such as "Old Man Going.

In January 1969, Led Zeppelin's self-titled debut album was released and reached number 10 on the Billboard album chart. In July, Zeppelin and a power trio with a Cream-inspired, but cruder sound, Grand Funk Railroad, played the Atlanta Pop Festival. That same month, another Cream-rooted trio led by Leslie West released Mountain, an album filled with heavy blues-rock guitar and roaring vocals. In August, the group—now itself dubbed Mountain—played an hour-long set at the Woodstock Festival. Grand Funk's debut album, On Time, also came out that month. In the fall, Led Zeppelin II went to number 1 and the album's single "Whole Lotta Love" hit number 4 on the Billboard pop chart. The metal revolution was under way.
Led Zeppelin defined central aspects of the emerging genre, with Page's highly distorted guitar style and singer Robert Plant's dramatic, wailing vocals. Other bands, with a more consistently heavy, "purely" metal sound, would prove equally important in codifying the genre. The 1970 releases by Black Sabbath (Black Sabbath and Paranoid) and Deep Purple (In Rock) were crucial in this regard. Black Sabbath had developed a particularly heavy sound in part due to an industrial accident guitarist Tony Iommi suffered before cofounding the band. Unable to play normally, Iommi had to tune his guitar down for easier fretting and rely on power chords with their relatively simple fingering. Deep Purple had fluctuated between styles in its early years, but by 1969 vocalist Ian Gillan and guitarist Ritchie Blackmore had led the band toward the developing heavy metal style. In 1970, Black Sabbath and Deep Purple scored major UK chart hits with "Paranoid" and "Black Night," respectively. That same year, two other British bands released debut albums in a heavy metal mode: Uriah Heep with Very 'eavy... Very 'umble and UFO with UFO 1. Budgie brought the new metal sound into a power trio context. The occult lyrics and imagery employed by Black Sabbath and Uriah Heep would prove particularly influential; Led Zeppelin also began foregrounding such elements with its fourth album, released in 1971.
On the other side of the Atlantic, the trend-setting group was Grand Funk Railroad, "the most commercially successful American heavy-metal band from 1970 until they disbanded in 1976, [they] established the Seventies success formula: continuous touring." Other bands identified with metal emerged in the U.S., such as Dust (first LP in 1971), Blue Öyster Cult (1972), and Kiss (1974). In Germany, the Scorpions debuted with Lonesome Crow in 1972. Blackmore, who had emerged as a virtuoso soloist with Deep Purple's Machine Head (1972), quit the group in 1975 to form Rainbow. These bands also built audiences via constant touring and increasingly elaborate stage shows. As described above, there are arguments about whether these and other early bands truly qualify as "heavy metal" or simply as "hard rock." Those closer to the music's blues roots or placing greater emphasis on melody are now commonly ascribed the latter label. AC/DC, which debuted with High Voltage in 1976, is a prime example. The 1983 Rolling Stone encyclopedia entry begins, "Australian heavy-metal band AC/DC..." Rock historian Clinton Walker writes, "Calling AC/DC a heavy metal band in the seventies was as inaccurate as it is today.... [They] were a rock 'n' roll band that just happened to be heavy enough for metal." The issue is not only one of shifting definitions, but also a persistent distinction between musical style and audience identification: Ian Christe describes how the band "became the stepping-stone that led huge numbers of hard rock fans into heavy metal perdition.
In certain cases, there is little debate. After Black Sabbath, the next major example is Britain's Judas Priest, which debuted with Rocka Rolla in 1974. In Christe's description, Black Sabbath's

audience was...left to scavenge for sounds with similar impact. By the mid-1970s, heavy metal aesthetic could be spotted, like a mythical beast, in the moody bass and complex dual guitars of Thin Lizzy, in the stagecraft of Alice Cooper, in the sizzling guitar and showy vocals of Queen, and in the thundering medieval questions of Rainbow.... Judas Priest arrived to unify and amplify these diverse highlights from hard rock's sonic palette. For the first time, heavy metal became a true genre unto itself.

Though Judas Priest did not have a top 40 album in the U.S. until 1980, for many it was the definitive post-Sabbath heavy metal band; its twin-guitar attack, featuring rapid tempos and a nonbluesy, more cleanly metallic sound, was a major influence on later acts. While heavy metal was growing in popularity, most critics were not enamored of the music. Objections were raised to metal's adoption of visual spectacle and other trappings of commercial artifice, but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as "dull and decadent...dim-witted, amoral exploitation.

Thanks To : Wikipedia.org
undestroyer.blogspot.com

Thrash metal

2010-01-15T23:25:00.001+07:00

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.

Musical traits
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, 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.

History

Origins
NWOBHM bands directly influenced the development of early thrash. The early work of artists such as Diamond Head, Iron Maiden, Judas Priest, Venom, Motörhead, Tygers of Pan Tang, Raven, and Angel Witch, among others, introduced the fast-paced instrumentation that became essential aspects of thrash.

Featured on Judas Priest's British Steel, "Rapid Fire", has been noted as a "proto-thrash" song.

In 1981, a Southern California band by the name of Leather Charm wrote a song entitled "Hit the Lights". Leather Charm soon disbanded and the band's primary songwriter, vocalist/rhythm guitarist James Hetfield met drummer Lars Ulrich through a classified ad. Together, James and Lars formed Metallica, the first of the "Big Four" thrash bands, with lead guitarist Dave Mustaine, who would later form Megadeth, another of the "Big Four" originators of thrash, and bassist Ron McGovney. Metallica later relocated to the San Francisco Bay Area. McGovney was replaced with Cliff Burton, and Mustaine was later replaced with Kirk Hammett. The band released "Hit the Lights" on their first studio album, Kill 'Em All, in July 25, 1983.

Another "Big Four" thrash band formed in Southern California in 1981, when guitarists Jeff Hanneman and Kerry King met while auditioning for the same band and subsequently decided to form a band of their own. Hanneman and King recruited vocalist/bassist Tom Araya, a former respiratory therapist, and drummer Dave Lombardo, a pizza delivery driver, and Slayer was formed. Slayer was discovered by Metal Blade Records executive Brian Slagel while performing Iron Maiden's "Phantom of the Opera" at a show, and were promptly signed to the label. In December 1983, less than six months after the release of Kill 'Em All, Slayer put out their debut album, Show No Mercy.

The European thrash scene that began in early 1982 was almost exclusively influenced by the most aggressive music both Germany and England were producing at that time[citation needed]. British bands such as Tank, Raven and Venom, along with German metal exports Accept, motivated musicians from central Europe to start bands of their own, eventually producing German thrash exports such as Sodom, Kreator and Destruction.

In the early 80s Canada produced influential speed metal bands like Toronto's Anvil and Ottawa's Exciter whose insistence upon fast playing and aggressiveness is considered a main influence to proper thrash metal [citation needed]. Bands such as Montreal's Voivod were one of the first bands to combine progressive rock influences with speed metal.

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Hardcore punk

2010-01-15T22:46:00.001+07:00

Hardcore punk, often referred to as simply hardcore, is a subgenre of punk rock that originated primarily in North America (though, early examples could be found throughout the world) in the late 1970s. The new sound was generally faster, thicker, and heavier than earlier punk rock. Early hardcore has a quick tempo with drums and vocals in time, whereas modern hardcore punk has drums and vocals which may not be on beat with the tempo.

Hardcore spawned several fusion genres and subgenres, some of which experienced mainstream success, such as melodic hardcore, metalcore, post-hardcore , thrash metal and emo.

In the United States, the music genre that became known as hardcore punk originated in different areas in the early 1980s, with notable centers of activity in California, Washington, D.C., New York City, Michigan, and Boston.

The origin of the term hardcore punk is uncertain. The Vancouver-based band D.O.A. may have helped to popularize the term with the title of their 1981 album, Hardcore '81. Until about 1983, the term hardcore was used sparingly, and mainly as a descriptive term. (i.e., a band would be called a "hardcore band" and a concert would be a "hardcore show"). American teenagers who were fans of hardcore punk simply considered themselves fans of punk – although they were not necessarily interested in the original punk rock sound of the mid-late 1970s (e.g., Ramones, Sex Pistols, The Clash, or The Damned). In many circles, hardcore was an in-group term, meaning music by people like us. Since most bands had little access to any means of production, hardcore lauded a do-it-yourself (DIY) approach. In most cities the hardcore scene relied on inexpensively-made DIY recordings created on four-track recorders and sold at concerts or by mail. Concerts were promoted by photocopied zines, community radio shows, and affixing posters to walls and telephone poles. Hardcore punk fans adopted a dressed-down style of T-shirts, jeans, and crewcut-style haircuts. While 1977-era punk had used DIY clothing as well, such as torn pants held together with safety pins, the dressed-down style of the 1980s hardcore scene contrasted with the more elaborate and provocative fashion styles of late 1970s punk rockers, which included make-up, elaborate hairdos and avant-garde clothing experiments.

During the same period, there was a parallel development in the United Kingdom of a British form of hardcore punk or street punk. British hardcore bands such as Discharge and Chaos UK took the existing late 1970s punk sound and added the incessant, heavy drumbeats and distorted guitar sound of New Wave of British Heavy Metal (NWOBHM) bands such as Motörhead and Iron Maiden. This contributed to the development of the thrash metal sound of the 1980s but also the crust punk/d-beat sound.

History
Pioneers
Michael Azerrad's book Our Band Could Be Your Life and Steven Blush's book and documentary film American Hardcore describe three bands — Black Flag, Bad Brains, and Minor Threat — as the most important and influential in the genre. A major influence on hardcore punk was The Damned's album Damned Damned Damned because of its fast tempos and strange timing and riffs. Azerrad calls Black Flag the genre’s "godfathers"; credits Bad Brains, formed in Washington, D.C. in 1977, with introducing "light speed tempos" to hardcore; and describes Minor Threat as the "definitive" hardcore punk band.

Black Flag, formed by guitarist and songwriter Greg Ginn in Los Angeles in 1976, had a major impact on the Los Angeles scene – and later the wider North American scene – with their raw, confrontational sound and DIY approach. Tours in 1980 and 1981 brought Black Flag in contact with developing hardcore scenes in many parts of North America, and blazed trails followed by other touring bands. Bad Brains, formed in Washington, DC in 1977, incorporated elements of heavy metal and reggae, and their early work often emphasized some of the fastest tempos in rock music. Minor Threat, formed in Washington D.C. in 1980, played an aggressive, fast style directly influenced by Bad Brains. The band inspired the straight edge movement with their song, "Straight Edge".

Other bands in scenes across the country were developing and experimenting with the "hardcore" sound before these pioneers. An example is The Germs crossover appeal between old school punk rock and hardcore punk.

Other early notable bands
According to Brendan Mullen, founder of the Los Angeles punk club The Masque, the first U.S. tour of The Damned in 1977 found them favoring very fast tempos, causing a "sensation" among fans and musicians, and helping inspire the first wave of U.S. west coast hardcore punk.

San Francisco's Dead Kennedys formed in 1978 and released their first single "California Über Alles" in 1979. By the time they released the In God We Trust, Inc. EP in 1981, Dead Kennedys were playing very fast tempos. The Misfits (of New Jersey) were a 1977-style punk band involved in New York’s Max's Kansas City scene. Their horror film aesthetic was popular among early hardcore fans. In 1981, the Misfits integrated high-speed thrash songs into their set. Hüsker Dü was formed in Saint Paul, Minnesota in 1979 as a post-punk/New Wave band, but soon became a loud and fast hard punk band. Hüsker Dü released the 1982 live album Land Speed Record, which has been called a "breakneck force like no other... Not for the faint of heart."By 1985, the band morphed into one of the seminal alternative rock bands. In 1982, Bad Religion released How Could Hell Be Any Worse?, which is considered a benchmark hardcore album, and which secured them as one of the most enduring outfits of the early 1980s hardcore scene.

By 1981, many more hardcore punk bands began to perform and release recordings, including 7 Seconds of Reno, Nevada who formed in 1979; M.I.A of Las Vegas, Nevada; Negative Approach and Degenerates of Detroit; The Meatmen of Lansing, Michigan; The Necros of Maumee, Ohio; The Effigies of Chicago; SS Decontrol, DYS, Negative FX, Jerry's Kids, and Gang Green of Boston; The Mob and Agnostic Front of New York City. The Beastie Boys, more widely known for their later hip hop music, were one of the first recorded hardcore bands in New York City. Negative FX, perhaps the most popular hardcore band in Boston around early 1982, did not appear on record while they were together. They were largely unknown outside their own area until a posthumous album was released in 1984. In Honolulu, the skater surfer fueled community juxtaposed well in the tropical tourist city. Bands like Super Rad Ohana, The Sharx, and Devil Dog thrived from '81 -'87. Devil Dog frontman Raoul Vehill recreated the dayglo thrash scene in his autobiographical novel, Hawaii Punk, published by Enlightened Pyramid.

Notable early hardcore punk records include The Angry Samoans’ first LP, the Big Boys/The Dicks Live at Raul's Club split LP, the Boston-area compilation This Is Boston, Not L.A., Minor Threat's 7" EPs, JFA's Blatant Localism EP, the New York–area compilations New York Thrash and The Big Apple Rotten To The Core, Agnostic Front's United Blood 7", Negative Approach's eponymous EP and the DC-area compilation record Flex Your Head.

Early media support and criticism
An influential radio show in the Los Angeles area was Rodney on the ROQ, which started airing on the commercial station KROQ in 1976. DJ Rodney Bingenheimer played many styles of music and helped popularize what was called Beach Punk, a rowdy suburban style played by mostly teenage bands in the Huntington Beach area and in conservative Orange County. Early radio support in New Jersey came from Pat Duncan, who hosted live punk and hardcore bands weekly on WFMU since 1979. In New York City, Tim Sommer hosted Noise The Show on WNYU. In 1982 and 1983, MTV put the hardcore punk band Kraut on mild rotation. College radio was the main media outlet for hardcore punk in most of North America. The Berkeley, California public radio station KPFA featured the Maximum RocknRoll radio show with DJs Tim Yohannan and Jeff Bale, who played the younger Northern California bands. Several zines, such as Flipside and Maximum RocknRoll, also helped spread the new punk style. A few college stations faced FCC action due to the broadcasting of indecent lyrics associated with hardcore songs.

Concerts in the early hardcore scene increasingly became sites of violent battles between police and concertgoers, especially in Los Angeles. Reputed violence at hardcore concerts was featured in episodes of the popular television shows CHiPs and Quincy, M.E., in which Los Angeles hardcore punks were depicted as being involved in murder and mayhem.

The hardcore punk scene in Los Angeles was the subject of a 1981 documentary featuring interviews of musicians and fans by Penelope Spheeris entitled "The Decline of Western Civilization".

Early history in Europe
The Netherlands, Finland, Sweden, and Germany have had notably active hardcore scenes. In the United Kingdom, street punk (also known as UK hardcore or UK82) bands occupied the cultural space that American-style hardcore did elsewhere. These UK bands at times showed a musical similarity to American hardcore, often including quick tempos and chord changes, and they generally had similar political and social sensibilities. However, they represented a case of parallel evolution, having been musically inspired by oi! bands and the speed metal band Motörhead. UK band Discharge played a huge role in influencing early Swedish hardcore bands, and many hardcore bands from that region still have a strong Discharge and Motörhead influence. British anarcho-punk bands shared an uncompromising political philosophy and an abrasive aesthetic with American hardcore.

American hardcore bands that visited the UK (such as Black Flag and U.S. Chaos in 1981–1982) encountered ambivalent attitudes, but European hardcore bands suffered no such prejudice in the United States.

In the more underground part of the UK punk scene, a new hardcore sound and scene developed, inspired by continental European, Scandinavian, Japanese and American bands. Their sound – only heard at concerts and on demo tapes and compilations in the mid 1980s – evolved into metal bands such as Heresy, Napalm Death and Extreme Noise Terror. There were many 1980s bands that could be described as sounding like something in between the styles of the dominating UK and US bands. The Stupids (a UK band influenced by US hardcore) gained brief but widespread college-radio airplay in the US. Examples of European bands that continued to play the original style of hardcore in the 1990s include Voorhees, Totalitär, Disfear and Sin Dios.

After the fall of the Iron Curtain in eastern Europe, many hardcore bands were created or became more publicly known (after hiding in garages and being known only by small circles of underground fans).

Thanks To: Wikipedia.org
undestroyer.blogspot.com

Grindcore

2010-01-15T22:12:00.007+07:00

Grindcore is an extreme music genre that emerged during the mid–1980s. It draws inspiration from some of the most abrasive music genres – including death metal, industrial music, noise and the more extreme varieties of hardcore punk.
Grindcore is characterized by heavily distorted, down-tuned guitars, high speed tempo, blast beats, and vocals which consist of growls and high-pitched screams. Early groups like Siege and Napalm Death are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and black humor.

An infamous trait of grindcore is the "microsong". Several bands have produced songs that are only seconds in length. British band Napalm Death holds the Guinness World Record for shortest song ever recorded with the one-second "You Suffer" (1987). Many bands record simple phrases that may be rhymically sprawled out across an instrumental lasting only a couple of bars in length. Anal Cunt and Agoraphobic Nosebleed are also prime examples.
A variety of "microgenres" have subsequently emerged, often used to label bands according to a few alternative traits that deviate from standard grindcore, including goregrind, focused on horror themes, and pornogrind, fixated on pornographic lyrical themes. Other offshoots include noisegrind (especially raw and chaotic) and electrogrind (incorporating electronic elements). Although an influential phenomenon on hardcore punk and other popular genres, grindcore itself remains an underground form of music.

Characteristics
Grindcore relies on standard hardcore punk and heavy metal instrumentation: electric guitar, bass and drums. However, grindcore alters the usual practices of metal or rock music with regard to song structure and tone. The vocal style is "ranging from high-pitched shrieks to low, throat-shredding growls and barks." In some cases, lyrics may not even exist. Vocals may be used as merely an added sound effect, a common practice with bands such as the experimental Naked City.

A characteristic of some grindcore songs is the "microsong", lasting only a few seconds. In 2001, the Guinness Book of World Records awarded Brutal Truth the record for "Shortest Music Video" for 1994's "Collateral Damage" (the song lasts four seconds). In 2007, the video for the Napalm Death song "You Suffer" set a new "Shortest Music Video" record: 1.3 seconds. Beyond the microsong, it is characteristic of grindcore to have short songs in general; Carcass' debut album Reek of Putrefaction (1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. Japanische Kampfhörspiele's Luxusvernichtung (2009) consists of 54 'sonic poems' with a total length of under 20 minutes.

Many grindcore groups experiment with down-tuned guitars. While the vinyl A-side of Napalm Death's debut, 1987's Scum, is set to standard tuning, on side B, the guitars are tuned down 2½ steps. Their second album and 1989's EP were tuned to C♯. Harmony Corruption, their third release, was tuned up to a D. Bolt Thrower went further, dropping 3½ steps down (A).

Blast beat

The blast beat is a drum beat characteristic of grindcore in all its forms, although its usage predates the genre itself. In Adam MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the kick drum, snare and ride, crash, or hi-hat cymbal."Blast beats have been described as "maniacal percussive explosions, less about rhythm per se than sheer sonic violence." Napalm Death coined the term, though this style of drumming had previously been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish D-beat group Asocial on their 1982 demo. D.R.I. ("No Sense"), Sepultura ("Antichrist"), S.O.D. ("Milk"), Sarcófago ("Satanas"), and Repulsion also included the technique prior to Napalm Death's emergence.

Lyrical themes

Grindcore lyrics are typically provocative. A number of grindcore musicians are committed to political and ethical causes. For example, Napalm Death's songs address a variety of anarchist concerns, in the tradition of anarcho-punk. These themes include anti-racism, feminism, anti-militarism, and anti-capitalism. Other grindcore groups, such as Cattle Decapitation and Carcass, have expressed disgust with human behavior, animal abuse, and are, in some cases, vegetarians. Carcass' work in particular is often identified as the origin of the goregrind style, which is devoted to "bodily" themes. Groups that shift their bodily focus to sexual matters, such as Gut and the Meat Shits, are sometimes referred to as pornogrind. Seth Putnam's lyrics are notorious for their black comedy, while The Locust tend toward satirical collage, indebted to William S. Burroughs' cut-up method.

History

Precursors

The early grindcore scene relied on an international network of tape trading and DIY production. The most widely acknowledged precursors of the grindcore sound are Siege, a hardcore punk group, and Repulsion, an early death metal outfit. Siege, from Weymouth, Massachusetts, were influenced by classic American hardcore (Minor Threat, Black Flag, Void) and by British groups like Discharge, Venom, and Motörhead. Siege's goal was maximum velocity: "We would listen to the fastest punk and hardcore bands we could find and say, ‘Okay, we’re gonna deliberately write something that is faster than them'", drummer Robert Williams recalled.

Repulsion, from Flint, Michigan, cited street punk groups like Discharge and Charged GBH, crossover thrash such as Dirty Rotten Imbeciles and Corrosion of Conformity, thrash metal like Slayer, Metallica, and Sodom, early black metal (Venom) and death metal (Possessed), hardcore punk, like Black Flag, and older hard rock, as inspirational. The group is often credited with inventing the classic grind blast beat (played at 190 bpm), as well as its distinctive bass tone. Shane Embury, in particular, advocates the band as the origin of Napalm Death's later innovations. Kevin Sharp of Brutal Truth declares that "Horrified was and still is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion.

Other groups in the British grindcore scene, such as Heresy and Unseen Terror, have emphasized the influence of American hardcore punk, including Septic Death, as well as Swedish D-beat. Sore Throat cites Discharge, Disorder, and a variety of European D-beat and thrash metal groups, including Hellhammer, and American hardcore groups, such as Poison Idea and DRI.Japanese hardcore, particularly GISM, is also mentioned by a number of originators of the style.Other key groups cited by current and former members of Napalm Death as formative influences include Discharge, Amebix, Throbbing Gristle, and the aforementioned Dirty Rotten Imbeciles. Post-punk, such as Killing Joke and Joy Division,was also cited as an influence on early Napalm Death.

Thanks To: wikipedia.org
undestroyer.blogspot.com

Suffocation

2010-01-15T20:34:00.019+07:00

Suffocation is an American death metal band that was formed in 1989 in New York. The band comprises vocalist Frank Mullen, guitarists Terrance Hobbs and Guy Marchais, drummer Mike Smith and bassist Derek Boyer. Suffocation rose to prominence of death metal and created a blueprint for the genre for the 1990's with their 1991 debut album Effigy of the Forgotten and released six studio albums since its formation.

The band's grindcore-influenced technical death metal style uses guttural vocals with a bottom-heavy guitar sound; complex, fast guitar riffs and drumming, and "sophisticated" sense of songwriting.

History
Suffocation was formed in 1989 in Long Island, New York, comprising vocalist Frank Mullen, guitarists Terrance Hobbs and Doug Cerrito, bassist Chris Richards, and drummer Mike Smith. The band's first EP, Human Waste, was released through Relapse Records in 1991. The full-length debut album, Effigy of the Forgotten, was released by Roadrunner Records the same year and became influential in death metal and grindcore genre. After the following album, Breeding the Spawn, was released in 1993, Smith left the band and was replaced by Doug Bohn.

The 1995 release Pierced from Within, which received substantially better production than the previous release, was followed by extensive tours in Europe, Canada, Mexico and the United States. In 1998, Suffocation released the EP Despise the Sun via Vulture Records and disbanded soon after. The EP was re-released later in 2000 and 2002 by Relapse Records.

Suffocation reformed in 2003 with Smith and in April 2004, Relapse Records released Souls to Deny. After the band played more than 400 shows in the United States and Europe including the Wacken Festival in Germany, playing to over 33,000 fans, Suffocation released their self-titled album, Suffocation, in 2006.In 2007, the band was featured in The History Channel's promotional video for The Dark Ages documentary, playing the song "Bind, Torture, Kill".In 2008, the band signed to the German Nuclear Blast Records and released their latest album Blood Oath in 2009.The release of a documentary film Legacy Of Violence is set for 2010.

Musical style and legacy
Suffocation's technical death metal style is influenced by grindcore. The band uses "outrageously guttural vocals with a bottom-heavy guitar foundation, blistering speed, unparalleled brutality and sophisticated sense of songwriting, complex time changes and lead and rhythm guitar acrobatics". With their debut album, Effigy of the Forgotten, Suffocation rose to prominence of death metal and created a blueprint for the genre for the 1990's,retaining their typical style after the reunion in 2000's. According to Allmusic, Mullen is one of the best vocalists in the genre.

Discography

Studio albums

DVDs

Legacy Of Violence (2010)

Extended plays

Human Waste (EP, 1991)
Despise the Sun (EP, 1998)

Other

Reincremated (demo, 1990)
Live Death (split, 1994)
The Best of Suffocation (compilation album, 2008)
Close of a Chapter: Live in Quebec City 2005 (live album, 2009)

Thanks To:

Wikipedia.org

undestroyer.blogspot.com

Download Limp Bizkit Albums

2010-01-14T21:56:00.003+07:00

Significant Other

Tracklist :

1. Intro
2. Just Like This
3. Nookie
4. Break Stuff
5. Re-arranged
6. I’m Broke
7. Nobody Like You
8. Don’t Go Off Wandering
9. 9 Teen 90 Nine
10. N 2 Gether Now
11. Trust?
12. No Sex
13. Show Me What You Got
14. A Lesson Learned
15. Outro

Genre: Nu Metal / Rapcore

Download Album

Greatest Hitz

Tracklist :

1. Counterfeit
2. Faith
3. Nookie
4. Break Stuff
5. Re-Arranged
6. N 2 Gether Now
7. Take A Look Around
8. My Generation
9. Rollin (Air Raid Vehicle)
10. My Way
11. Boiler
12. Eat You Alive
13. Behind Blue Eyes
14. Build A Bridge
15. Why
16. Lean on Me
17. Home Sweet Home-Bittersweet Symphony

Music Metal

Download Evanesence Albums

Download Dying fetus Albums

Download Dream Theater Albums

Download Children of Bodom Albums

Download Iron Maiden Albums

Download Cradle of Filth Albums

Download Anthrax Albums

Download Black Sabbath Albums

Black Sabbath

Story of Slayer

Story Of Anthrax

Extreme metal

Structure

Tempo

Guitars

History

Origins (1970s)

Early development (early 1980s)

Diversification (mid 1980s–present)

Deathcore

Metalcore

Nu metal

Death metal

Punk rock

Hardcore

Heavy metal

Thrash metal

Hardcore punk

Grindcore

Blast beat

Lyrical themes

History

Suffocation

Discography

Download Limp Bizkit Albums

Significant Other

Greatest Hitz

Rock Im Park 2001

Download Behemoth Albums

Evangelion

Download Arch Enemy Albums

The Root of All Evil

Rise Of The Tyrant

Download All Shall Perish Albums

The Price Of Existence

Awaken The Dreamers

Download Sepultura Albums

A-Lex

Download Steve Vai Albums

Where The Wild Things Are

Download Suffocation Albums

Effigy Of The Forgotten

Blood Oath

Download Hoobastank Albums

The Greatest Hits

Hoobastank

The Reason

For(n)ever

Download Ignite Albums

Our Darkest Days [Limited Tour Edition

Download 311 Albums

Uplifter

Sejarah Musik Metal Di Indonesia

Music Metal

Download System of a Down Albums

System of a Down

Toxicity

Steal This Album!

Hypnotize

Mezmerize

Download VA – Indonesian Superstar Albums

VA – Indonesian Superstar

Download Walls Of Jericho Albums

The American Dream

With Devils Amongst Us All

Download Caliban Albums

The Awakening

Shadow Hearts

The Undying Darkness