Celtic metal
Celtic metal is a subgenre of folk metal that developed in the 1990s in Ireland. As the name suggests, the genre is a fusion of Melodic Death Metal and Celtic music. The early pioneers of the genre were the three Irish bands Cruachan, Primordial and Waylander. The genre has since expanded beyond Irish shores and is known to be performed today by bands from numerous other countries.
The origins of Celtic metal can be traced to the earliest known exponent of folk metal, the English band Skyclad. Their "ambitious" and "groundbreaking" debut album The Wayward Sons of Mother Earth was released in 1990 with the song "The Widdershins Jig" acclaimed as "particularly significant" and "a certain first in the realms of Metal". This debut album made an impact on a young Keith Fay who had formed a Tolkien-inspired black metal band by the name of Minas Tirith. |
Celtic rock
Celtic rock is a genre of folk rock and a form of Celtic fusion which incorporates Celtic music, instrumentation and themes into a rock music context. It has been extremely prolific since the early 1970s and can be seen as a key foundation of the development of highly successful mainstream Celtic bands and popular musical performers, as well as creating important derivatives through further fusions. It has played a major role in the maintenance and definition of regional and national identities and in fostering a pan-Celtic culture. It has also helped to communicate those cultures to external audiences.
The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music.This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish Bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in native Celtic languages or dialects and by the use of traditional rhythms and cadences in otherwise conventional rock music. Christian metal
Christian metal, also known as white metal, is a form of heavy metal music usually defined by its message using song lyrics as well as the dedication of the band members to Christianity. Christian metal is typically performed by professed Christians sometimes principally for Christians who listen to heavy metal music and often produced and distributed through various Christian networks.
Christian metal bands exist in all the subgenres of heavy metal music, and the only common link among most Christian metal bands are the lyrics. The Christian themes are often melded with the subjects of the genre the band is rooted in, regularly providing a Christian take on the subject matter. It has been argued that the marginal yet transnational Christian metal subculture provides its core members an alternative religious expression and Christian identity, and that the music serves the purpose of offering a positive alternative or counterbalance to 'secular' metal music which is known for its generally dark and negative message. Christian metal emerged in the late 1970s as a means of evangelism to the wider heavy metal music scene, and was pioneered by American bands Resurrection Band, Petra and Sweden's Jerusalem. Los Angeles' Stryper achieved wide success in the 1980s. |
Chicano rock
Chicano rock is rock music performed by Mexican American (Chicano) groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specifically Latin instruments or sounds. The main unifying factor, whether or not any explicitly Latin American music is heard, is a strong R&B influence, and a rather independent and rebellious approach to making music that comes from outside the music industry. Chicano Rock also consisted of different instruments such as the Saxophone, or Trumpet and other woodwind and brass instruments.
There are two undercurrents in Chicano rock. One is a devotion to the original rhythm and blues and country roots of Rock and roll. Ritchie Valens, Sunny & the Sunglows, The Sir Douglas Quintet, Thee Midniters, Los Lobos, Malo, War, Tierra, and El Chicano all have made music that is heavily based on 1950s R&B, even when general trends moved away from the original sound of rock as time went by. Another characteristic is the openness to Latin American sounds and influences. Trini Lopez, Santana, Malo, and other Chicano 'Latin Rock' groups follow this approach with their fusions of R&B, Jazz, and Caribbean sounds; but all of the groups and performers have some of these influences. Los Lobos in particular alternates between R&B/roots rock and the Tex-Mex/Latin rock style |
Christian punk
Christian punk is a form of Christian music and a subgenre of punk rock with some degree of Christian lyrical content. Much disagreement persists about the boundaries of the subgenre, and the extent that their lyrics are explicitly Christian varies among bands. For example, The Crucified explicitly rejected the classification of "Christian punk" while staying within the Christian music industry.
Given the nature of punk and some of its subgenres, such as hardcore punk, many bands have been rejected by the Christian and CCM music industry. Some bands generally avoid specific mention of God or Jesus; likewise some bands may specifically reject the CCM label or express disdain for that niche of the music industry. For example, Ninety Pound Wuss vocalist Jeff Suffering said about the breakup of the band in 2000, "...[N]obody wanted to continue playing in [the] "Christian" music industry.Christian punk's origins during the wider 1980s punk rock scene are somewhat obscure. The rise of the Jesus Movement and its cultural institutions, such as Jesus People USA (JPUSA), served as an incubator for various Christian subcultures including punk, in part through JPUSA's label Grrr Records Crashdog is one characteristically punk band that was rooted in JPUSA |
Christian rock
Christian rock is a form of rock music played by individuals and bands whose members are Christians and who often focus the lyrics on matters concerned with the Christian faith. The extent to which their lyrics are explicitly Christian varies between bands. Many bands who perform Christian rock have ties to the contemporary Christian music labels, media outlets, and festivals, while other bands are independent.
Among the first bands that played Christian rock was The Crusaders, a Southern Californian garage rock band, whose November 1966 Tower Records album Make a Joyful Noise with Drums and Guitars is considered one of the first gospel rock releases, or even "the first record of Christian rock", and Mind Garage, "arguably the first band of its kind", whose 1967 Electric Liturgy was recorded in 1969 at RCA's "Nashville Sound" studio. Larry Norman, often described as the "father of Christian rock music",and in his later years "the Grandfather of Christian rock", who, in 1969 recorded and released Upon This Rock, "the first commercially released Jesus rock album",challenged a view held by some conservative Christians (predominantly fundamentalists) that rock music was anti-Christian. There are multiple definitions of what qualifies as a "Christian rock" band. Christian rock bands that explicitly state their beliefs and use religious imagery in their lyrics, like Servant, Third Day, and Petra, tend to be considered a part of the contemporary Christian music (CCM) industry. Other bands perform music influenced by their faith or containing Christian imagery, but see their audience as the general public. For example, Bono of U2 combines many elements of spirituality and faith into his lyrics, but the band is not directly labeled as a "Christian rock" band. |
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Coldwave
Coldwave (also written as cold wave) is a French variant of post-punk music, primarily spread in France, South Belgium and Romandy.
The term "coldwave" was first used by journalist Vivien Goldman in British paper Sounds in 1977 in an article about Siouxsie and the Banshees. Coldwave was inspired by post-punk groups such as Siouxsie and the Banshees and Joy Division. In 1977, Siouxsie and the Banshees described their music as "cold, machine-like and passionate at the same time" and Sounds magazine prophecised about the band: "Listen to the cold wave roar from the '70s into the '80s".Siouxsie and the Banshees' first album, The Scream, released in November 1978, was also pictured as "cold wave" by music historian Simon Reynolds.For critics, coldwave also applies to Martin Hannett's production for Joy Division, prominent in the late 1970s and early 1980s. Hannett first met Joy Division in late 1978. His first recording with the band was for the song "Digital" for the compilation A Factory Sample |
Comedy rock
Comedy rock is rock music mixed with comedy, often satire and parody.
Early USA examples include Stan Freberg, who lampooned artists such as Elvis Presley, Harry Belafonte and The Platters, and Sheb Wooley whose "Purple People Eater" reached No. 1 on the Billboard pop chart in 1958 and stayed there 6 weeks. In Britain during the 1950s and early 1960s comedians such as Charlie Drake and The Goons frequently appeared in the top ten with humorous rock 'n' roll records - the latter, along with Lewis Carroll and Edward Lear, were to influence the word-play of John Lennon's lyrics. Later British groups specialised in comedy: these included The Scaffold, The Bonzo Dog Doo-Dah Band and Alberto y Los Trios Paranoias. Later in Britain, in the 2000s, Mitch Benn released several studio albums that satirised current affairs using various musical genres, but mainly rock. His 2012 Breaking Strings album was critically acclaimed for its rock sensibility. Some comedy rock artists, such as Frank Zappa, and more recently Tenacious D and Flight of the Conchords create songs with amusing, witty, and/or over-the-top lyrics. Other acts such as Dread Zeppelin, Beatallica, and GWAR rely more on gimmicks such as outrageous costumes or genre-mixing for comic effect. |
Country rock
Country rock is a subgenre of country music, formed from the fusion of rock with country. The term is generally used to refer to the wave of rock musicians who began to record country-flavored records in the late 1960s and early 1970s, beginning with Bob Dylan and The Byrds; reaching its greatest popularity in the 1970s with artists like Emmylou Harris and the Eagles.Rock and roll has often been seen as a combination of rhythm and blues with country music, a fusion particularly evident in 1950s rockabilly, and there has been cross-pollination throughout the history of both genres, however, the term country-rock is generally used to refer to the wave of rock musicians of the late 1960s and early 1970s who began to record rock records using country themes, vocal styles and additional instrumentation, most characteristically pedal steel guitar.
Country influences can be heard on rock records through the 1960s, including The Beatles' 1964 recordings "I'll Cry Instead", "Baby's in Black" and "I Don't Want to Spoil the Party", on the Rolling Stones "High and Dry" (1966), as well as Buffalo Springfield's "Go and Say Goodbye" (1966) and "Kind Woman" (1968). In 1966, as many rock artists moved increasingly towards expansive and experimental psychedelia, Bob Dylan spearheaded the back-to-basics roots revival when he went to Nashville to record the album Blonde on Blonde, using notable local musicians like Charlie McCoy. This, and the subsequent more clearly country-influenced albums, John Wesley Harding (1967) and Nashville Skyline (1969), have been seen as creating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians.The greatest commercial success for country rock came in the 1970s, with the Doobie Brothers mixing in elements of R&B, Emmylou Harris (a former backing singer for Parsons) becoming the "Queen of country-rock" and Linda Ronstadt creating a highly successful pop-oriented brand of the genre. |
Cowpunk
Cowpunk or Country punk is a subgenre of punk rock that began in the UK and California in the late 1970s and early 1980s. It combines punk rock or New Wave with country music, folk music, and blues in sound, subject matter, attitude, and style. Many of the musicians in this scene have now become associated with alternative country or roots rock.A 1984 New York Times article on the emerging aesthetic acknowledged cowpunk as one of several catch-all terms critics were using to categorize the country-influenced music of otherwise unrelated punk and New Wave bands. The article briefly summarized the music's history, at least in the U.S., saying that in the early 1980s, several punk and New Wave bands had begun collecting classic country records, and soon thereafter began performing high-tempo cover versions of their favorite songs, and that new bands had also formed around the idea. By 1984, there were dozens of bands in both the U.S. and England "personalizing country music and making it palatable for the MTV Generation
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Crossover thrash
Crossover thrash (often abbreviated to crossover, sometimes called also punk metal) is a form of thrash metal and hardcore punk which had mixed both genres together or had influences from each other. The genre lies on a continuum between heavy metal and punk rock. Other genres on the same continuum have significant overlap with crossover thrash, and besides tradition hardcore punk and thrash metal, include such related genres as thrashcore, grindcore and skate punk.The genre is often confused with thrashcore, which is essentially a faster hardcore punk rather than a more punk-oriented form of metal. Throughout the early and mid 1980s, the term "thrash" was often used as a synonym for hardcore punk (as in the New York Thrash compilation of 1982). The term "thrashcore" to distinguish acts of the genre from others was not coined until at least 1993
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Crunkcore
Crunkcore (also called crunk punk, screamo-crunk, crunk rock, and scrunk) is a musical genre that combines crunk hip-hop with elements of screamo. The Boston Phoenix described it as "a combination of minimalist Southern hip-hop, Auto-Tune croons, techno breakdowns, barked vocals, and party-till-you-puke poetics". Inland Empire Weekly described the genre as combining "post-hardcore and heavy metal licks with crunk."According to the Boston Phoenix, writer and musician Jessica Hopper claims that the influences for crunkcore can be traced back to 2005 when Panic! at the Disco mixed emo with electronics.But Warped Tour co-creator and CEO Kevin Lyman calls the group 3OH!3 as "the real tipping point for scrunk", and said that "though 3OH!3 doesn't incorporate the blood-curdling screams of many scrunk acts, they were the first emo-influenced act to depart from traditional instruments in favor of pre-programmed beats", while still retaining many of the stylistic elements of em
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Crust punk
Crust punk (often simply crust) is a form of music influenced by anarcho-punk, hardcore punk and extreme metal.The style, which evolved in the mid-1980s in England, often has songs with dark and pessimistic lyrics that linger on political and social ills. The term "crust" was coined by Hellbastard on their 1986 Ripper Crust demo.
Crust is partly defined by its "bassy" and "dirty" sound. It is often played at a fast tempo with occasional slow sections. Vocals are usually guttural and may be grunted, growled or screamed. Crust punk takes cues from the anarcho-punk of Crass and Discharge and the extreme metal of bands like Venom, Celtic Frost and Motörhead. While the term was first associated with Hellbastard, Amebix have been described as the originators of the style |
Dance punk
Dance-punk (also known as disco-punk) is a music genre that emerged in the late 1970s, and is closely associated with the post-punk and new wave movements.Many groups in the post-punk era adopted a more rhythmic tempo, conducive to dancing. These bands were influenced by disco, Synth and other dance music popular at the time as well as being anticipated by some of the 1970s work of Sparks, Iggy Pop, and some recordings by the German groups referred to as Krautrock. Groups of influence from the 1980s included Public Image Ltd., Gang of Four, New Order, Killing Joke, The Cure,and Siouxsie and the Banshees.
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Dance rock
Dance-rock (originally called new music) is a post-disco movement connected with post-punk genres (including no wave and new wave music) with fewer R&B/funk influences, originated in the early 1980s, following the mainstream death of punk rock and disco.
Examples of early dance-rock include Gina X's "No G.D.M.",artists such as Dinosaur L, Liquid Liquid and Polyrock, and the compilation album Disco Not Disco.Originally predicted that new wave and rock would replace disco in the dance clubs, however, a mix of post-disco, rock and new wave took its place instead. The first wave of artists arrived with New Order, Prince, Human League, Blondie, Tom Tom Club and Devo, followed by Darryl Hall & John Oates, Thompson Twins, Haircut 100, ABC, Depeche Mode and Spandau Ballet. |
Dark cabaret
Dark cabaret may be a simple description of the theme and mood of a cabaret performance, but more recently has come to define a particular musical genre which draws on the aesthetics of the decadent, risqué German Weimar-era cabarets, burlesque and vaudeville shows with the stylings of post-1970s goth and punk music.
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Dark rock
Dark rock (or dark alternative) is a broad style of music that, as with gothic rock, alternative rock and heavy metal, generally shares the same musical and lyrical tones to varying degrees, though not directly considered a part of either the goth or metal subcultures.Dark rock music accompanies a variety of concepts and musical styles, though its fundamental characteristics include morose and romantic lyrics often dealing with the subjects of love and death, as well as haunting and gloomy musical atmospheres. Dark rock uses more alternative rock elements than heavy metal, and compositions use more electronic nuances (especially synthetic pianos) without abandoning metal entirely.
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Dark wave
Dark wave or darkwave is a music genre that began in the late 1970s, coinciding with the popularity of new wave and post-punk. Building on those basic principles, dark wave added dark, introspective lyrics and an undertone of sorrow for some bands. In the 1980s, a subculture developed alongside dark wave music, whose members were called "wavers" or "dark wavers"
D-beat
D-beat (also known as discrust, discore, Swedish hardcore or kängpunk) is a style of hardcore punk Created in 1977 by Terry "Tezz" Bones, the drummer of Discharge and Broken Bones. Developed in the early 1980s by imitators of Discharge, after whom the genre is named, as well as a drum beat characteristic of this subgenre. Discharge may have themselves inherited the beat from Motörhead. The first such group was The Varukers. D-beat is closely associated with crust punk, which is a heavier, more complex variation. The style was particularly popular in Sweden, and developed there by groups such as Anti Cimex, Mob 47, Driller Killer, and No Security. Other D-beat groups include Doom, from the UK; Disclose, from Japan; Crucifix and Final Conflict, from the U.S.; Ratos de Porão, from Brazil; and MG15, from Spain. While the style initially developed in the early 1980s, a number of new groups working within the subgenre emerged in the mid-1990s. These include the Swedish groups Wolfpack, Totalitär, Avskum, Skitsystem and Disfear.D-beat began in the United Kingdom as a subgenre of street punk or hardcore punk inspired by Discharge. Discharge formed in 1977 in Stoke-on-Trent, England, initially played a basic variety of street punk inspired by the Sex Pistols and The Clash. In 1979, the group changed its line-up and began a new style indebted to heavy metal. At this time Terry "Tez" Roberts developed their characteristic drum beat, for which the D-beat subgenre is named.
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Death 'n' roll
Death 'n' roll (portmanteau of death metal and rock 'n' roll) is the subgenre of death metal music that incorporates hard rock-inspired elements to the overall sound. The achieved effect is that of death metal's trademark combination of growled vocals and highly distorted detuned guitar riffing with elements reminiscent of 1970s hard rock and heavy metal. Notable examples include Six Feet Under, Entombed and Gorefest. While "death 'n' roll" tag was first associated with Entombed, Daniel Ekeroth associates the style with a previous group called Furbowl. After Entombed's breakthrough release, Wolverine Blues, the band became associated with what the music press dubbed as "death 'n' roll", a label which has followed Entombed's career ever since.
Another noteworthy death 'n' roll release is Soul Survivor, Gorefest's 1996 effort. This album showed more than a passing nod to classic rock.Proof of that influence was the club tour organized by the band that same year, where Gorefest played songs by AC/DC, Black Sabbath and Deep Purple. |
Deathcore
Deathcore is a music fusion genre that combines sounds and characteristics of death metal with sounds and characteristics of metalcore, hardcore punk or both. It is defined by death metal riffs, blast beats and use of hardcore punk/metalcore breakdowns. Deathcore seems to have most prominence within the southwestern United States, especially Arizona and inland southern California (mostly the Coachella Valley), which are home to many notable bands and various festivals
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Death-doom
Death/doom, sometimes written as death-doom or deathdoom, is an extreme subgenre of heavy metal. It combines the slow tempos and pessimistic or depressive mood of doom metal with the deep growling vocals and double kick drumming of death metal.The genre emerged in the mid-1980s and gained a certain amount of popularity during the 1990s, but had become less common by the turn of the 21st century. In turn, death/doom gave rise to the closely related genre of funeral doom as well as to the more melodic and romantic gothic metal.The death/doom genre originated in the mid-1980s when early progenitors like Dream Death began to mix traditional doom metal with the sounds of thrash and the nascent death metal scene
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Deathgrind
Deathgrind (sometimes written as death-grind or death/grind) is a musical genre that fuses death metal and grindcore. The genre, along with pornogrind, is related to the goregrind subgenre. Zero Tolerance described deathgrind as "grindcore and brutal death metal colliding head on." Danny Lilker described deathgrind as "combining the technicality of death metal with the intensity of grindcore.
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