2 Tone
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2 Tone (or Two Tone) is a music genre created in England in the late 1970s by fusing elements of ska, punk rock, rocksteady, reggae and new wave. Within the history of ska, 2 Tone is classified as its second wave, and is the precursor of the third wave ska scene of the 1980s and 1990s.
The 2 Tone sound was developed by young musicians in Coventry, West Midlands, England who grew up hearing 1960s Jamaican music. They combined influences from ska, reggae and rocksteady with elements of punk rock and new wave. Bands considered part of the genre include: The Specials, The Selecter, The Beat, Madness, Bad Manners and The Bodysnatchers |
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Acid rock
Acid rock is a form of psychedelic rock, which is characterized by long instrumental solos, few (if any) lyrics and musical improvisation. Tom Wolfe describes the LSD-influenced music of The Doors, The Jimi Hendrix Experience, Pink Floyd, Iron Butterfly, Big Brother & The Holding Company, Cream, Vanilla Fudge, Jefferson Airplane, Ultimate Spinach, Black Sabbath, Blue Cheer, Quicksilver Messenger Service, The Great Society, Stone Garden and the Grateful Dead as "acid rock" in his book about Ken Kesey and the Acid Tests, The Electric Kool-Aid Acid Test
"Acid rock" also refers to the subset of psychedelic rock bands that were part of, or were influenced by, the San Francisco Sound, and which played loud, "heavy" music featuring long improvised solos.
Acid rock got its name because it served as "background" music for acid trips in underground parties in the 1960s (e.g. the Merry Pranksters' "Acid Tests").("Acid" is a slang term for LSD.) In an interview with Rolling Stone, Jerry Garcia quoted Grateful Dead band member Phil Lesh stating, "acid rock is what you listen to when you are high on acid."
"Acid rock" also refers to the subset of psychedelic rock bands that were part of, or were influenced by, the San Francisco Sound, and which played loud, "heavy" music featuring long improvised solos.
Acid rock got its name because it served as "background" music for acid trips in underground parties in the 1960s (e.g. the Merry Pranksters' "Acid Tests").("Acid" is a slang term for LSD.) In an interview with Rolling Stone, Jerry Garcia quoted Grateful Dead band member Phil Lesh stating, "acid rock is what you listen to when you are high on acid."
Afro-punk
Afro-punk (sometimes spelled Afropunk or AfroPunk) refers to the participation of African Americans and other black people in the punk and alternative music cultures. Afro-punks make up a minority in the North American punk scene. However, they represent a majority in the punk culture in predominantly black regions of the world that have burgeoning punk communities, such as in parts of Africa. There are many punk rock bands with black members, and several with lineups that are all black.
Notable bands that can be linked to the Afro-punk community include: Death, Pure Hell, Bad Brains, Suicidal Tendencies, Dead Kennedys, Reagan Youth,Fishbone, Wesley Willis Fiasco, Suffrajett, The Templars, Santigold, and Time Again. Afro-punk has become a movement, comparable to the grassroots punk-related movements of the gay community in queercore, and of women in the riot grrrl scene. |
Alternative country
Alternative country (sometimes alt-country), insurgent country,or Americana is a loosely defined sub-genre of country music, which includes acts that differ significantly in style from mainstream or pop country music. It has been used to describe country music bands and artists that have incorporated influences ranging from roots rock, bluegrass, rockabilly, honky-tonk, alternative rock, folk rock, and sometimes punk
It is generally agreed that alternative country drew on traditional American country music, the music of working people, preserved and celebrated by practitioners such as Woody Guthrie, Hank Williams, and The Carter Family, often cited as major influences. Another major influence was country rock, the result of fusing country music with a rock & roll sound. The artist most commonly thought to have originated country rock is Gram Parsons (who referred to his sound as "Cosmic American Music"), although Michael Nesmith, and Steve Earle are frequently identified as important innovators. |
Alternative dance
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Alternative dance or indie dance (also referred to as underground dance in the US) is a musical genre that mixes various rock subgenres with electronic dance music. Although largely confined to the British Isles, it has gained American and worldwide exposure through acts such as New Order in the 1980s and The Prodigy in the 1990s.
Allmusic states that alternative dance mixes the "melodic song structure of alternative and indie rock with the electronic beats, synths and/or samples, and club orientation of post-disco dance music". The Sacramento Bee calls it "postmodern–Eurosynth–technopop–New Wave in a blender" |
Alternative metal
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Alternative metal (or alt-metal) is a style of heavy metal and alternative rock.
Alternative metal usually takes elements of heavy metal with influences from genres like alternative rock and other genres not normally associated with metal.Alternative metal bands are often characterized by heavy guitar riffs, melodic vocals, unconventional sounds within other heavy metal genres, unconventional song structures and sometimes experimental approaches to heavy music. The term has been in usage since the 1980s, although it came into prominence in the 1990s. It has spawned several subgenres, including nu metal, which expands the alternative metal sound, commonly adding influences from hip hop and thrash metal. The origins of the genre can be traced back to funk rock music of the early to mid-1980s, when alternative bands like Fishbone, Faith No More and The Red Hot Chili Peppers started mixing heavy metal with funk, creating the alternative metal subgenre funk metal.Other early bands in the genre also came from hardcore punk backgrounds |
Alternative rock
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Alternative rock (also called alternative music, alt rock or simply alternative) is a genre of rock music that emerged from the independent music underground of the 1980s and became widely popular by the 1990s. Although the term was most commonly associated in its commercial heyday with a loud, distorted guitar sound, its original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style, or simply the independent, D.I.Y. ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, that is seen to be descended from punk rock (including some examples of punk itself, as well as new wave, and post-punk).
Alternative rock is a broad umbrella term consisting of music that differs greatly in terms of its sound, its social context, and its regional roots. By the end of the 1980s magazines and zines, college radio airplay, and word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as gothic rock, jangle pop, noise pop, C86, Madchester, industrial rock, and shoegazing. Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R.E.M., had even signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, and most acts remained signed to independent labels and received relatively little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became commercially successful. Throughout the 1980s, alternative rock was mainly an underground phenomenon. While on occasion a song would become a commercial hit or albums would receive critical praise in mainstream publications like Rolling Stone, alternative rock in the 1980s was primarily relegated to independent record labels, fanzines, and college radio stations. |
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Anatolian rock
Anatolian rock (Turkish: Anadolu Rock) is a fusion of Turkish folk and rock music. It emerged during the mid-1960s, soon after rock groups such as The Beatles, The Rolling Stones, Led Zeppelin, Yes, Status Quo and Omega became popular in Turkey. Examples of this style include Turkish musicians such as Cem Karaca, Barış Manço, Erkin Koray, Fikret Kızılok, Cahit Oben, Selçuk Alagöz, Edip Akbayram alongside bands such as Moğollar, Silüetler, Kurtalan Ekspres, Grup Çığrışım, Grup Çağrışım, Mavi Işıklar, Apaşlar, Kaygısızlar, Haramiler, Modern Folk Üçlüsü and Kardaşlar. Today, Anatolian rock includes music derived from both traditional Turkish folk music and rock
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Art punk
Art punk or avant punk refers to post-punk music of an experimental bent, or with connections to art school, the art world, or the avant garde.
The earliest bands to be described as "art-punk" were bands from the New York scene of the mid-1970s such as the New York Dolls, Television, and Patti Smith. Bands such as Wire (most of whom had been art students),and The Ex, who have incorporated jazz, noise and ethnic music into their punk rock sound, took elements from the avant garde and were described as "avant-punk". Later band such as Dog Faced Hermans followed a similar path.The No Wave scene of the late 1970s and early 1980s is seen as a branch of art punk, and was described by Martin Rev of Suicide as "a valid avant-garde extension of rock". Other bands described as "art punk" include Fugazi, and Goes Cube. Crass have also been described as art-punk due to their incorporation of other art forms into their performances |
Art rock
Art rock is a subgenre of rock music that originated in the United Kingdom in the 1960s, with influences from art (avant-garde and classical) music. The first usage of the term, according to Merriam-Webster Online Dictionary, was in 1968. Art rock was a form of music which wanted to "extend the limits of rock & roll", and opted for a more experimental and conceptual outlook on music. Art rock took influences from several genres, notably classical music, yet also jazz in later compositions.Art rock, due to its classical influences and experimental nature, has often been used synonymously with progressive rock; nevertheless, there are differences between the genres, with progressive putting a greater emphasis on symphony and melody, whilst the former tends to focus on avant-garde and "novel sonic structure". Art rock, as a term, can also be used to refer to either classically driven rock, or a progressive rock-folk fusion,making it an eclectic genre.
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Baruque pop
Baroque pop, baroque rock, or English baroque, often used interchangeably with chamber pop/rock,is a pop rock music subgenre which originated in the United States and United Kingdom. It emerged in the mid-1960s as a fusion of pop rock and classical music, in particular that of the baroque and classical eras.
Baroque pop reached its height of success in the mid-to-late 1960s, with several prominent groups and artists both emerging or incorporating the genre within their repertoire; these include The Beach Boys, The Moody Blues, The Beatles, The Left Banke, The Rolling Stones, Love, and Procol Harum, amongst others. Baroque pop's mainstream popularity faded by the 1970s, partially because punk rock, disco and hard rock took over; nonetheless, music was still produced within the genre's tradition, and it exerted an influence on several subgenres. Such includes the arrival of chamber pop in the 1990s, which contained ornate productions and classical influences, while contesting much of the time's low fidelity musical aesthetic. Furthermore, since the 1990s, baroque pop has seen a revival; several prominent artists, such as Belle and Sebastian, Regina Spektor and The Divine Comedy, have performed or incorporated elements of the genre in their work |
Baggy
Baggy was a British dance-oriented rock music genre popular in the late 1980s and early 1990s.
The scene was heavily influenced by Madchester, although it was not geographically confined to Manchester. Many Madchester bands could also be described as Baggy, and vice versa. Baggy was characterised by psychedelia- and acid house-influenced guitar music, often with a funky drummer beat, similar to the work of the Happy Mondays, Northside and The Stone Roses. The scene was named after the loose-fitting clothing worn by the bands and fans. Some bands, such as The Mock Turtles and The Soup Dragons, reinvented their sound and image to fit in with the new scene. This led some critics to accuse baggy bands of bandwagon-jumping and derivative songwriting. There was also a crossover between dance and indie, and vice versa. |
Bandana trash
Bandana thrash is a subgenre of thrashcore, associated with power violence and crossover thrash that began to explore their debt to earlier form of extreme punk music. The term comes in reference to the headgear preferred by many of the performers. The Ideology of Bandana Thrash is: DIY ethic, in many cases Straight Edge, Street life, anticonsumerism, and most importantly the worldwide unity, this fact referred in many songs like "Bandana United Us" of GxHx, "Intercontinental Bandana Union", of What Happens Next? as well in the manifesto of Conquest For Death "Many nations, one underground".Some bandana thrash bands are:
A.N.S DS-13 Vitamin X What Happens Next? |
Beat music
Beat music, British beat, or Merseybeat (for bands from Liverpool beside the River Mersey) is a pop and rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll, doo-wop, skiffle and R&B. The beat movement provided most of the bands responsible for the British invasion of the American pop charts in the period after 1964, and provided the model for many important developments in pop and rock music, including the format of the rock group around lead, rhythm and bass guitars with drums.
Beat groups usually had simple guitar-dominated line-ups, with vocal harmonies and catchy tunes.The most common instrumentation of beat groups featured lead, rhythm and bass guitars plus drums, as popularised by The Beatles, The Searchers, Gerry & The Pacemakers and othersitars with drums. |
Bent edges
Bent edge or curved edge was an off shoot of hardcore punk that was formed to be a counter-movement to straight edge. At the time straight edge was starting to gain traction and support. Bent edge was also part of a rising anti-Dischord sentiment among many people in the punk scene.
It was started by members of Washington, DC hardcore scene who were fed up with the rigidness and intolerance in the nascent straight edge scene.To combat straight edge, they started throwing beer and drug-fuelled punk shows.The point of these shows was to be the complete antithesis of straight edge. Many adherents to this lifestyle became known for their heavy drug and alcohol use. Quickly, this idea spread throughout the US. As early as 1982, only a year after Straight Edge was released, kids were approaching Minor Threat while they were on tour telling them that they were bent or curved edge. To Ian Mackaye, "the anti-movement started before the movement began. People were rebelling against straight edge before there was even a movement to rebel against" |
Big beat
Big beat is a style of music that typically uses heavy breakbeats and synthesizer-generated loops and patterns common to techno and acid house. The term has been used since the mid-1990s by the British music press to describe music by artists such as The Prodigy, Cut La Roc, Fatboy Slim, The Chemical Brothers, The Crystal Method, and Propellerheads.Big beat tends to feature distorted, compressed breakbeats at tempos between 120 to 140 beats per minute, acid house-style synthesizer lines, and heavy loops from 60s and 70s funk, jazz, rock, and pop songs. They are often punctuated with punk-style vocals and driven by intense, distorted basslines with conventional pop and techno song structures. Big beat tracks have a sound that includes crescendos, builds, drops, dramatic sound effects, such as explosions or sirens, and extended drum rolls. As with several other dance genres at the time, the use of effects such as filters, phasing, and flanging was commonplace.
Notable big beat artists The Prodigy Fatboy Slim FC Kahuna Freestylers Groove Armada Basement Jaxx and many more |
Bisrock
BisRock is the subgenre of Pinoy rock, propagated by the Cebu rock music industry in the Philippines. The term, which is in the blended form, comes from the Cebuano words Bisaya, referring the Visayan language, and rock, for rock music. The term was coined by Cebuano writer Januar E. Yap in 2002 and was first applied to Missing Filemon's first album.
Earning wide reception among the young in the Visayas and Mindanao, Bisrock is a fairly recent cultural phenomenon. The style started around the 1980s, when Cebu's rock scene was beginning to be labeled as "Bisrock". During this time, a group of musicians from the University of San Carlos coined the local music scene as Bisrock in support of patriotism for the Cebuano music scene. However, this genre is debatable as Bisrock seems to be popular only in Cebu. As it is, the movement died down around 2009, as even Missing Filemon themselves distanced itself from the term "Bisrock." |
Black metal
Black metal is an extreme subgenre of heavy metal music. Common traits include fast tempos, shrieked vocals, highly distorted guitars played with tremolo picking, blast beat drumming, raw (lo-fi) recording and unconventional song structures.
During the 1980s, several thrash metal bands formed a prototype for black metal. This so-called "first wave" included bands such as Venom, Bathory, Hellhammer and Celtic Frost. A "second wave" arose in the early 1990s, spearheaded by Norwegian bands such as Mayhem, Burzum, Darkthrone, Immortal and Emperor. The early Norwegian black metal scene developed the style of their forebears into a distinct genre. Norwegian-inspired black metal scenes emerged throughout Europe and North America, although some other scenes developed their own styles with no connection to the Norwegian one. Much like punk, the black metal community generally condemns the seeking of mainstream success or attention, preferring the genre to remain underground. |
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Blues rock
Blues rock is a musical genre combining bluesy improvisations over the twelve-bar blues and extended boogie jams with rock and roll styles. The core of the blues rock sound is created by the electric guitar, piano, bass guitar and drum kit, with the electric guitar usually amplified through a tube guitar amplifier, giving it an overdriven character.A classic example of blues rock is Cream's "Crossroads" first released on their Wheels of Fire album. It was adapted from Robert Johnson's "Cross Road Blues" and "Traveling Riverside Blues". It fuses some of the lyrical and musical styles of blues with rock-styled tempo and guitar solos.
The style began to develop in the mid-1960s in Britain and the United States. UK Bands, such as The Rolling Stones, The Yardbirds and The Animals and American bands such as the Butterfield Blues Band and the Siegel–Schwall Band, experimented with music from the older American bluesmen, like Albert King, Howlin' Wolf, Robert Johnson, Jimmy Reed, Muddy Waters, and B.B. King.While the early blues rock bands "attempted to play long, involved improvisations which were commonplace on jazz records",by the 1970s, blues rock got heavier and more riff-based.By the "early '70s, the lines between blues rock and hard rock were barely visible", as bands began recording rock-style albums. In the 1980s and 1990s, blues rock acts returned to their bluesy roots, and some of these, such as the Fabulous Thunderbirds and Stevie Ray Vaughan, flirted with rock stardom." |
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Brazillian trash metal
Brazilian thrash metal is a regional scene of thrash metal music that originated during the 1980s in Brazil. Along with Bay Area thrash metal, and Teutonic thrash metal, it was one of the major scenes of thrash metal in the 1980s. Though not as large or well known as the North American or European thrash movements, it is still a pivotal point in heavy metal, as it bridges the gap between the thrash of the mid-80s and the death metal scene later in the decade, as well as part of the first-wave black metal.During the early eighties, bands from the U.S., Germany and Canada, such as Metallica, Slayer (USA), Destruction, Kreator (Germany), Voivod and Exciter (Canada) appeared. At the same time, Brazil had a growing scene as well, and were also influenced by the same music: NWoBHM and hardcore.
Brazilian rock has its roots in the 60s, developing from the movement called Jovem Guarda, passing through the stages of progressive rock and finally transgressing into heavy metal. In 1982, the first Brazilian heavy metal LP was released by the band Stress from the city of Belém from northern Brazil. The punk scene in São Paulo was emerging as well, the band Restos de Nada ("Remains of Nothing") were formed in 1978. The European and North American heavy metal and hardcore have been a great influence on all these bands, but the first thrash metal (or speed metal) album released officially in Brazil was a split album between two bands in 1984. The split album Ultimatum, with bands Dorsal Atlântica and Metalmorphose, came out around the same time as Kill 'Em All by Metallica, War and Pain by Voivod, and Sentence of Death by Destruction. Dorsal Atlântica from Rio de Janeiro were pioneers because of their record being officially released, but there were other bands releasing demos, like Vulcano from São Paulo and Sepultura from Belo Horizonte. |
Breakcore
Breakcore is a style of electronic dance music largely influenced by hardcore techno, drum and bass, digital hardcore and industrial music that is characterized by its use of heavy kick drums, breaks and a wide palette of sampling sources, played at high tempos.
The most defining characteristic of breakcore is the drum work, which is often based on the manipulation of the Amen break and other classic jungle and hip-hop breaks, at high BPM. The techniques applied to achieve this differs from musician to musician, some preferring to cut up and rearrange the breaks, while others merely distort and loop breaks or apply various effects such as delay and chorus to alter the break's timbre. Cello rock
Cello rock and cello metal are subgenres of rock music characterized by the use of cellos (as well as other bowed string instruments such as the violin and viola) as primary instruments, alongside or in place of more traditional rock instruments such as electric guitars, electric bass guitar, and drum set.
Cellos, often in groups of three or more, are used to create a sound, rhythm, and texture similar to that of familiar rock music, but distinctly reshaped by the unique timbres and more traditional genres of the cello (in particular) and other string instruments used. The cellos and other stringed instruments are often amplified and/or modified electronically, and often played in a manner imitative of the sound of electric guitars. They are often combined with other elements typical of rock music such as rock-style vocals and drumming Notable cello rock artist Apocalyptica Coppelius Primitivit Melo-M DaGamba 2Cellos |
Cantebury sound
The Canterbury scene (or Canterbury sound) is a term used to loosely describe the group of progressive rock, avant-garde and jazz musicians, many of whom were based around the city of Canterbury, Kent, England during the late 1960s and early 1970s. Many prominent British avant-garde or fusion musicians began their career in Canterbury bands, such as Hugh Hopper, Steve Hillage, Dave Stewart (the keyboardist), Robert Wyatt, Kevin Ayers, Daevid Allen, Mike Ratledge, Fred Frith, and Peter Blegvad. Over the years, with band membership changes and new bands evolving, the term has been used to describe a musical style or subgenre, rather than a regional group of musicians.
Celtic punk
Celtic punk is punk rock mixed with traditional Celtic music. The genre was founded in the 1980s by The Pogues, a band of punk musicians in London who celebrated their Irish heritage. Celtic punk bands often play covers of traditional Irish or Scottish folk and political songs, as well as original compositions.Prevalent themes in Celtic punk music include politics, culture, drinking and workinCeltic punk's origin is in the 1960s and 1970s folk rock musicians who played electric folk in England and Celtic rock in Ireland and Scotland, as well as in more traditional Celtic folk bands such as The Dubliners and The Clancy Brothers.The Dunfermline, Scotland band The Skids were possibly the first UK punk band to add a strong folk music element, as they did on their 1981 album Joy. Around the same time in London, England, Shane MacGowan and Spider Stacy began experimenting with a sound that became The Pogues.
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Britpop
Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. In the wake of the musical invasion into the United Kingdom of American grunge bands, new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, Sleeper, Elastica and The Verve.
Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade. Britpop bands were influenced by British guitar music of the past, particularly movements and genres such as the British Invasion, glam rock, and punk rock. Specific influences varied: Blur and Oasis drew from The Kinks and The Beatles, respectively, while Elastica had a fondness for arty punk rock. Regardless, all Britpop artists projected a sense of reverence for the sounds of the pas |
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