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Heavy Metal History (Part 3)

Black Metal

Photo of the burned ruins of Fantoft stave church on Burzum's 1992 EP Aske.The first wave of black metal emerged in Europe in the early and mid-1980s, led by Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory.[87] By the late 1980s, a second wave, primarily Scandanavian, was given birth to by bands such as Mayhem, Burzum, and Emperor.[88][89] Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars, and a "dark" atmosphere.[84] Darkthrone drummer Fenriz explains, "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."[90] Satanic themes are common in black metal, though many bands take inspiration from ancient paganism, promoting a return to pre-Christian values.

Music sample:
De Mysteriis Dom Sathanas (file info) — play in browser (beta)
"De Mysteriis Dom Sathanas" by Mayhem (1994).

Even as Bathory inspired the Viking metal and folk metal movements, other bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s.[92] By 1990, Mayhem had begun to wear corpsepaint during concerts and band photo shoots. Mayhem and Burzum soon became mired in accusations of church burning and Satanism. By 1991, the rush by record labels to sign death metal bands created a backlash, and the underground shifted to support bands that resisted the co-option and dilution of their scenes.[93] According to Gorgoroth vocalist Gaahl, "Black Metal was never meant to reach an audience.... [We] had a common enemy which was, of course, Christianity, socialism and everything that democracy stands for."[90] The 1993 murder of Mayhem's Euronymous by Burzum's Varg Vikernes brought worldwide attention to the scene.

By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France, and Poland.[95] Around 1996, when many in the scene felt the genre was stagnating,[96][97] several key bands, including Burzum and Beherit, moved toward an ambient style, while symphonic black metal was explored by Tiamat and Switzerland's Samael.[98] Black metal is still widely played, and some argue that the genre has had a third wave. References to "third wave" black metal usually identify particular bands such as Dimmu Borgir and Old Man's Child, although the term is sometimes applied to post-1996 bands in general.


Power Metal

HammerFall, live in Milano, Italy, 2005.During the early 1990s, the power metal scene came together largely in reaction to the harshness of death and black metal.[99] Though a relatively underground style in North America, it enjoys wide popularity in Europe. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness."[100] The prototype for the sound was established in the mid- to late 1980s by Germany's Helloween, which combined the power riffs, melodic approach, and high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power metal."[101] New York's Manowar and Virgin Steele were pioneering American bands. Yngwie J. Malmsteen's Rising Force (1984) was crucial in popularizing the ultrafast electric guitar style known as "shredding" as well as the merger of metal with classical music elements, developments that have strongly influenced power metal.

Music sample:
"Dark Avenger" (1982) (file info) — play in browser (beta)
Manowar's "Dark Avenger", from Battle Hymns (1982)

Traditional power metal bands like Sweden's HammerFall and England's DragonForce have a sound relatively close to classic heavy metal. Many recent power metal bands such as Finland's Nightwish, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's Rata Blanca are popular.

Closely related to power metal is progressive metal, which adopts the complex compositional approach of bands like Rush and King Crimson. This style emerged in the United States in the early and mid-1980s, with innovators such as Queensrÿche, Fates Warning, and Dream Theater. In 1990, Queensrÿche released the triple-platinum Empire. The mix of the progressive and power metal sounds is typified by New Jersey's Symphony X, whose guitarist Michael Romeo is among the most recognized of latter-day shredders.


Doom and Gothic Metal

Sunn O))) pioneered drone metal in the early 2000s.Emerging in the mid-1980s with such bands as California's Saint Vitus, Maryland's The Obsessed, Chicago's Trouble, and Sweden's Candlemass, the doom metal movement rejected other metal styles' emphasis on speed, slowing its music to a crawl. Doom metal traces its roots back to early Black Sabbath albums, and incorporates lyrical themes and musical approaches indebted to Sabbath[103] and Sabbath contemporaries such as Blue Cheer, Pentagram, and Black Widow.[104] The Melvins have also been a significant influence on doom metal and a number of its subgenres.[105] Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.[106]

Music sample:
Country Doctor (file info) — play in browser (beta)
"Country Doctor" by Burning Witch, taken from the album Crippled Lucifer (1998)

The 1991 release of Forest of Equilibrium, the debut album by UK band Cathedral, helped spark a new wave of doom metal. During the same period, the doom-death fusion style of British bands Paradise Lost, My Dying Bride, and Anathema gave rise to European gothic metal, with its signature dual-vocalist arrangements, exemplified by Norway's Theatre of Tragedy and Tristania. New York's Type O Negative introduced an American take on the style. Led by the Swedish band Therion's incorporation of classical elements, gothic metal in turn spawned a symphonic metal movement including Australia's Virgin Black, Liechtenstein's WeltenBrand, and the Netherlands' Within Temptation.

In the United States, sludge metal, mixing doom and hardcore, emerged in the late 1980s—Eyehategod and Crowbar were leaders in a major Louisiana sludge scene. Early in the next decade, California's Kyuss and Sleep, inspired by the earlier doom metal bands, spearheaded the rise of stoner metal,[107] while Seattle's Earth helped develop the drone metal subgenre. The late 1990s saw the emergence of new bands such as the Los Angeles–based Goatsnake, with a classic stoner/doom sound, and Sunn O))), which crosses lines between doom, drone, and dark ambient metal—the New York Times has compared their sound to an "Indian raga in the middle of an earthquake".[106] In 2006, Atlanta's Mastodon, whose equally hard-to-define style mixes progressive and sludge, broke into the Billboard top 40 with Blood Mountain.