Jersey Shore sound
The Jersey Shore sound is a genre of rock and roll popularized at the Jersey Shore on the Atlantic Ocean coast of New Jersey, United States, that goes by a variety of names or, more often, is defined by its artists. A synthesis of pre-Beatles rock and roll and pre-Motown rhythm and blues, the genre enjoyed a vogue from roughly the late 1960s through the mid-1980s, although it still exists today.The Jersey Shore sound evolved from the mixing of pre-Beatles rock and roll, rhythm and blues, doo-wop, and the urban culture of the Mid-Atlantic states, especially Pennsylvania (more specifically Philadelphia), Maryland, Rhode Island, Connecticut, New York, and, of course, New Jersey. The form has a strong Italian-American influence, in as much as many of the form's key precursors and artists, from Frankie Valli through Bruce Springsteen, are of Italian ancestry and urban background.Jersey Shore music shares two thematic elements with its contemporary (and in many respects related) genres of Heartland rock and Roots rock: a focus on the daily lives of people (in this case, those living in the stereotypically industrial society of Northern and Central Jersey), and a sense of being the underdog (a theme in the genre from The Four Seasons' "Rag Doll", "Walk Like a Man", and "Big Man in Town" and through Bruce Springsteen's Darkness on the Edge of Town). The New Jersey sound has also been heavily influenced by Italian accordion music. In the example of Bruce Springsteen’s E Street Band there are three musicians who are accordion players: organist Danny Federici (now replaced by Charles Giordano), guitarist Nils Lofgren, and pianist Roy Bittan. All three practiced accordion in its classical form and played in their younger years. This music has carried onto the stage and became an integral part of the music that shaped the New Jersey sound. Many piano and keyboard parts have a distinct sound of a call and answer reaction to the lyrics sung. Solidly thrumming guitar lines echo American V-8 engines so beloved by Jersey teenagers of the era. Piano, Hammond organ, and glockenspiel emphasize the melody lines. The glockenspiel sounds were provided by a Jenco Celeste that Danny Federici owned. In the E-Street band the keyboard parts are arranged with the glockenspiel and Roy Bittan's top notes on piano being played in unison. This combination is distinctly a New Jersey sound; Bruce Springsteen has said the keyboard parts are an extension of the calliope sounds heard on the carousels located on Jersey Shore boardwalks. Danny Federici was instrumental in creating this sound in Bruce Springsteen's music. Many New Jersey horn sections have used similar phrasing that the keyboards play. This is evident with the Southside Johnny and the Asbury Jukes sound. There has been influence from Van Morrison in terms of some song structure and with keyboard parts as well.
Jangle pop
Jangle pop is a genre of alternative rock from the mid-1980s that "marked a return to the chiming or jangly guitars and pop melodies of the '60s", as exemplified by The Byrds, with electric twelve-string guitars and power pop song structures. Mid-1980s jangle pop was a non-mainstream "pop-based format" with "some folk-rock overtones". Between 1983 and 1987, the description "jangle pop" was, in the US, used to describe bands like R.E.M., Let's Active and Tom Petty, and a subgenre called "Paisley Underground", which incorporated psychedelic influences. In the UK the term was applied to the new wave of raw and immediate sounding melodic guitar-bands collected on the NME's C86 (and later CD86) compilations.
Krautrock
Krautrock is an umbrella term for the rock and electronic music influenced experimental music that originated in Germany in the late 1960s. The term is a result of the English-speaking world's reception of the music at the time and not a reference to any one particular scene, style, or movement, as many krautrock artists were not familiar with one another. BBC DJ John Peel in particular is largely credited with spreading the reputation of krautrock outside of the German-speaking world.
Largely divorced from the traditional blues and rock & roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of post-punk, alternative rock and New Age music. Key artists associated with the tag include Can, Amon Düül II, Ash Ra Tempel, Faust, Popol Vuh, Cluster, Tangerine Dream, Klaus Schulze, Neu!, and Kraftwerk.Krautrock is an eclectic and often very original mix of post-psychedelic jamming and moody progressive rock mixed with ideas from contemporary experimental classical music (especially composer Karlheinz Stockhausen, with whom, for example, Irmin Schmidt and Holger Czukay of Can had previously studied) and from the new experimental directions that emerged in jazz during the 1960s and 1970s (mainly the free jazz pieces by Ornette Coleman or Albert Ayler). Moving away from the patterns of song structure and melody of much rock music in America and Britain, some in the movement also drove the music to a more mechanical and electronic sound (a group of 5 expatriate Americans, The Monks, who toured playing beat music clubs throughout Germany, were also exploring this industrial/mechanical sound, as evidenced on their 1965 German-only release LP "Black Monk Time"). The key component characterizing the groups gathered under the term is the synthesis of rock and roll rhythm and energy with a decided will to distance themselves from specifically American blues origins, but to draw on German or other sources instead. Jean-Hervé Peron of Faust says: "We were trying to put aside everything we had heard in rock 'n' roll, the three-chord pattern, the lyrics. We had the urge of saying something completely different." |
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Madchester
Madchester was a British music scene that developed in Manchester, England, towards the late 1980s and into the early 1990s. The music that emerged from the scene mixed alternative rock, psychedelic rock and dance music. Artists associated with the scene included New Order, Happy Mondays, The Stone Roses, Inspiral Carpets, Northside, 808 State, James, The Charlatans, The Fall, A Guy Called Gerald, and other bands. At that time, the Haçienda nightclub was a major catalyst for the distinctive musical ethos in the city that was called the Second Summer of Love.
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Manila sound
Manila Sound is a musical genre in the Philippines that begun in the early 1970s in Manila, flourished and peaked in the mid to late 1970s, and waned in popularity by the early 1980s. It is often considered the "bright side" of the Martial Law era and has influenced all modern genres in the country by being the forerunner to OPM.Manila Sound is typified and was popularized by the pop rock band Hotdog with its many hit singles, "Ikaw Ang Miss Universe Ng Buhay Ko" ("You Are the Miss Universe Of My Life"), "Panaginip" ("Dream"), "Langit Na Naman" ("Heaven Once Again"), "O Lumapit Ka" ("Oh, Come Closer") and "Bitin Sa Iyo" ("Left Hanging Over You"), among others. The name "Manila Sound" may have been derived from Hotdog's hit single "'Manila'", which has come to epitomize this genre.
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Mathcore
Mathcore is a rhythmically complex and dissonant style of metalcore. It has its roots in bands such as Converge, Botch, and The Dillinger Escape Plan. The term mathcore is suggested by analogy with math rock. Both math rock and mathcore make use of unusual time signatures. Math rock groups such as Slint, Don Caballero, Shellac, and Drive Like Jehu have some influence on mathcore, though mathcore is more closely related to metalcore. Prominent mathcore groups have been associated with grindcore.An early antecedent to mathcore was practiced by Black Flag, in 1984, with the album My War: "Its seven-minute metal dirges and fusion-style time signatures proved too much for many fans".Many groups from the mathcore scene paid tribute to Black Flag for the album Black on Black.
Medieval metal
Medieval metal or medieval rock is a subgenre of folk metal that blends hard rock or heavy metal music with medieval folk music. Medieval metal is mostly restricted to Germany where it is known as Mittelalter-Metal or Mittelalter-Rock.The genre emerged from the middle of the 1990s with contributions from Subway to Sally, In Extremo and Schandmaul. The style is characterised by the prominent use of a wide variety of traditional folk and medieval instruments.The medieval folk band Corvus Corax, was formed in 1989 and released a debut album in the same year. The group relies on period instruments that include the cister, hurdy gurdy, biniou, buccina, davul, riq and cornetto curvo with the most prominent being the shawm and bagpipes. They are also known for their use of source material, adopting melodies from medieval literature written in an old system of notation called neumes but otherwise using their own interpretations for arrangements and the rhythm.
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Math core
Math rock is a rhythmically complex, often guitar-based, style of experimental rock and indie rock music that emerged in the late 1990s, influenced by progressive rock bands like King Crimson and 20th century minimalist composers such as Steve Reich. It is characterized by complex, atypical rhythmic structures (including irregular stopping and starting), counterpoint, odd time signatures, angular melodies, and extended, often dissonant, chords.Whereas most rock music uses a basic 4/4 meter (however accented or syncopated), math rock frequently uses asymmetrical time signatures such as 7/8, 11/8, or 13/8, or features constantly changing meters based on various groupings of 2 and 3. This rhythmic complexity, seen as "mathematical" in character by many listeners and critics, is what gives the genre its name.
The sound is usually dominated by guitars and drums as in traditional rock, and because of the complex rhythms, drummers of math rock groups have a tendency to stick out more often than in other groups. It is commonplace to find guitarists in math rock groups using the "tapping" method of guitar playing, and loop pedals are occasionally incorporated, such as in the group Battles. Guitars are also often played in clean tones more than in other upbeat rock songs, but distortion is also used, depending on the group. |
Medieval folk rock
Medieval folk rock, medieval rock or medieval folk is a musical sub-genre that emerged in the early 1970s in England and Germany which combined elements of early music with rock music. It grew out of the electric folk and progressive folk movements of the later 1960s. Despite the name, the term was used indiscriminately to categorise performers who incorporated elements of medieval, renaissance and baroque music into their work and sometimes to describe groups who used few, or no electric instruments. This sub-genre reached its height towards the middle of the 1970s when it achieved some mainstream success in Britain, but within a few years most groups had either disbanded, or were absorbed into the wider movements of progressive folk and progressive rock. Nevertheless, the genre had a considerable impact within progressive rock where early music and medievalism in general, was a major influence and through that in the development of heavy metal. Medieval folk rock is characterised by three major elements used in various combinations. First, the playing of extant early music involving rock instrumentation. Second, the creation of original music that incorporates compositional features of early music, such as musical modes. Third, the incorporation of the sounds of early music into rock songs, through vocal techniques, the use of additional instruments that characterise early music, or the simulation of early music sounds on rock instruments (for example, the use of a drone sound on an electric guitar).A final element that does not affect the nature of the music, but often accompanies it, is the adoption of perceived elements of ‘medievalism’ in lyrics, actions, dress or artwork.
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Melodic death metal
Melodic death metal (also referred to as melodeath) is an extreme subgenre of heavy metal music that combines elements from the New Wave of British Heavy Metal (NWOBHM) with elements of death metal. The style originated and developed in Sweden during the early and mid-1990s (pioneered by bands Dark Tranquility, At the Gates, and In Flames). The Swedish death metal scene did much to popularize the style, which soon centered in the "Gothenburg metal" scene in Gothenburg, Sweden.Melodic death metal uses components of NWOBHM, in particular the fast riffing and harmonic guitar lines, but also is influenced by the characteristics of death metal like heavily distorted guitars, fast double-bass drum patterns and sometimes blast beats some even utilizing elements from other genres such as black metal (Dark Tranquility on their notably influential album The Gallery) and thrash metal (At the Gates on their also influential 1995 release Slaughter of the Soul).The vocal style of the genre may be a combination of harsh screaming, clean vocals, and death growls, if not emphasizing one of these styles over the rest
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Melodic hardcore
Melodic Hardcore is a subgenre of hardcore punk with a strong emphasis on melody and complexity in its guitar work. It is defined with the fast drum patterns of typical hardcore, shouting vocals and chiming melodic riffs.Melodic Hardcore initially emerged out of the Los Angeles hardcore scene, with the Descendents. In 1988, the Descendents worked with a new vocalist, Dave Smalley of DYS and Dag Nasty. Bad Religion, from the San Fernando Valley, also worked in this vein,recording their classic How Could Hell Be Any Worse? in 1981.
The Faith 1983 EP Subject to Change deserves to be thought of as one of the first melodic hardcore records, as significant to the form as Bad Religion or the Descendents; the whole scene would sound markedly different without this precursor.[4] This Washington D.C. band with their last release began to push the boundaries of early post-hardcore. Dag Nasty is a touchstone band, hailing from mid-1980s DC, with Dave Smalley of Boston's DYS on vocals and Brian Baker (ex-Minor Threat) on guitar. Ashley Cotter from ct soon joined the band but she was arrested soon after and the band disjoined. Dag Nasty's sound was an extension of the direction Minor Threat was developing with the Out Of Step LP before they broke up |
Metal core
Metalcore is a broad fusion genre of extreme metal and hardcore punk. The name is an amalgam of the names of the two genres, distinguished by its emphasis on breakdowns, which are slow, intense passages that are conducive to moshing.Pioneering bands, such as— Hogan's Heroes, Earth Crisis, and Integrity, —are described to lean more toward hardcore punk, whereas latter bands--Killswitch Engage, Underoath, All That Remains, Trivium, As I Lay Dying, Bullet for My Valentine, and The Devil Wears Prada —are described to lean more towards metal. Sepultura, who has been credited to "laying the foundation" for the genre, and Pantera, who influenced Trivium, Atreyu, Bleeding Through and Unearth, have been influential in the development of metalcore.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. 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.
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Nardcore
Nardcore is a hardcore punk movement that came out of Southern California in the early 1980s, originating in Silver Strand Beach, Oxnard and Port Hueneme. Early bands in the Nardcore scene included Agression, Dr. Know, False Confession, Ill Repute, Habeas Corpus, RKL and Scared Straight. The first venues to regularly host punk shows in the Oxnard area were Casa Tropical (a quonset hut at the Oxnard Airport), Town and Country (Port Hueneme), Skate Palace (Port Hueneme), and Casa de la Raza (Santa Barbara).
Much of the early promotion of Nardcore came from Mystic Records, in Hollywood, California, its Founder Doug Moody and Mystic Promotion Director Mark Wilkins. Mystic not only launched many bands onto vinyl, but also promoted the Nardcore scene as a whole.The name is a reference to the Oxnard, California hardcore punk scene. This suburban community, sixty miles north of Los Angeles, California, was the spawning ground for many hardcore punk bands of the early '80s and became a hotbed for punk and skate bands; collectively, their sound became known as "Nardcore." Nardcore tends to have a lot of the same characteristics as skate punk, but has a sound closer to traditional hardcore punk than skate punk. The nardcore symbol (a common design feature in logos on record covers and tattoos) was scribbled in a notebook years ago by Ismael Hernandez of Dr. Know |
NDH
Neue Deutsche Härte ("New German Hardness", NDH), also known as Die Neue Härte, German electronic metal or dance metal (tanzmetall), is a subgenre of rock music. The term was invented by the German music press after the release of the debut album Herzeleid (1995) by Rammstein.It describes a crossover style that is influenced by German rock, industrial metal, alternative metal, groove metal, and hard rock combining it with elements from electronica and techno. The lyrics are generally in German. It uses the basic setup of instruments for metal: electric guitar, bass guitar, drums and vocals, with keyboard, synthesizers and samples. Emphasis is on a demonstration of predominance, by over-pronouncing certain syllables and letters (such as the uvular trill). The vocals are thus dominantly presenting in deep, male, and clean voice. Some bands use screaming and death growls, which is also common, being heard in certain songs by Oomph!, Rammstein, Stahlhammer (literally "Steel Hammer"), Samsas Traum and Megaherz. NDH imagery is often strongly masculine, dark, industrial, and at times military-like, depending on the group and the song. Guitars are tuned low, usually to drop D or C, and are generally heavily distorted. Sometimes the bass tone is equalized to sound more like the sub-bass heard in techno music.
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Neu Deutsche Welle
Neue Deutsche Welle (New German Wave, often abbreviated NDW) is a genre of German music originally derived from punk rock and New Wave music. The term "Neue Deutsche Welle" was first coined by journalist Alfred Hilsberg, whose article about the movement titled "Neue Deutsche Welle — Aus grauer Städte Mauern" ("New German Wave — From Grey Cities' Walls") was published in the German magazine Sounds in 1979.The history of the Neue Deutsche Welle consists of two major parts. From its beginnings to 1981, the Neue Deutsche Welle was mostly an underground movement with roots in British punk and New Wave music; it quickly developed into an original and distinct style, influenced in no small part by the different sound and rhythm of the German language which many of the bands had adapted from early on. Whilst some of the lyrics of artists like Nena and Ideal epitomized the Zeitgeist of urban Germany during the Cold War, others used the language in a surreal way, merely playing with the sound or graphic quality of the language rather than using it to express meaning, as done by bands and artists like Spliff, Joachim Witt and Trio.
From about 1980 on, the music industry began noticing the Neue Deutsche Welle; however, due to the idiosyncratic nature of the music, the focus shifted to creating new bands more compatible with the mainstream, rather than promoting existing bands. Many one-hit wonders and short-lived bands appeared and were forgotten again in rapid succession, and the overly broad application of the "NDW" label to these bands as well as to almost any German musicians not using English lyrics, even if their music was apparently not influenced at all by the 'original' NDW (including pure Rock bands like BAP or even Udo Lindenberg) quickly led to the decay of the entire genre when many of the original musicians turned their backs in frustration. Around 1983/1984, the era of the Neue Deutsche Welle came to an early end, following the oversaturation of the market with what was perceived as stereotypical, manufactured hits. |
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Neo-classical metal
Neo-classical metal is a subgenre of heavy metal that is heavily influenced by classical music and usually features very technical playing,consisting of elements borrowed from both classical and heavy metal music. Deep Purple pioneered the sub-genre with the famous Concerto for Group and Orchestra composed by Jon Lord. Later, Yngwie Malmsteen became the most notable musician in the sub-genre, and contributed greatly to the development of the style in the 1980s. Other notable players in the genre are Uli Jon Roth, Randy Rhoads, Michael Angelo Batio, Chris Impellitteri, Jason Becker, Andy LaRocque, Paul Gilbert, Luca Turilli, Jeff Loomis, Michael Romeo, Tony MacAlpine and Vinnie Moore. In Rainbow's albums from 1975 to 1978 include hints of the genre, such pieces as "Stargazer" and "Gates of Babylon".Neo-classical metal takes its name from a broad conception of classical music. In this it is a concept distinct from how neoclassicism is understood within the classical music tradition. Neoclassical music usually refers to the movement in musical modernism in which composers gained influence from the Classical period. This period roughly spans the years from 1750 to 1810 with the best known composers of strictly classical music including Mozart and Haydn and also Beethoven during the early part of his career before he laid the musical foundations of the Romantic movement in music. The Classical period was a time in which rigidly structured musical forms such as the sonata, symphony and string quartet were developed. Musical neoclassicism developed roughly a century after the end of the Classical period and peaked during the years in between the two World Wars. It was a reaction against late 19th and early 20th-century Romanticism as embodied in the works of composers such as Richard Wagner and Gustav Mahler who had stretched both musical language and musical form to produce massive works where the limits of tonality were broken. Neoclassical composers include both Igor Stravinsky and Paul Hindemith.
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Neoclassical dark wave
Neoclassical dark wave refers to a music genre within the dark wave movement. It is characterized by the use of ethereal atmosphere and angelic female voices but also adds strong influences from classical music. Neoclassical dark wave is distinct from the art music form known as neoclassical music, a style of classical music dating from the early twentieth century. In the context of popular music, the term 'neoclassical' is frequently used to refer to music influenced by classical (including elements from the baroque, classical, romantic, impressionistic music), including styles like Neoclassical dark wave as well as Neoclassical metal and Neoclassical new age.
Neo-progressive rock
Neo-progressive rock (or often shortened to neo-prog, not to be confused with the significantly more modern new prog) is a sub-genre of progressive rock, developed in the UK and popular in the 1980s, although it lives on today.
Neo-progressive rock is characterized by deeply emotional content, often delivered via dramatic lyrics and a generous use of imagery and theatricality on-stage. The music is mostly the product of careful composition, relying less heavily on improvised jamming. The subgenre relies very much on clean, melodic & emotional electric guitar solos, combined with keyboards. The main musical influences on the neo-prog genre are Genesis, Yes, Camel, Marillion and Pink Floyd. Early neo-prog was marked by sophisticated lyrics and often dark themes. While the accessibility of neo-prog by the mainstream is debatable, the form did generally seem more radio-friendly, with shorter tracks, than earlier progressive rock. Nonetheless, neo-prog never achieved the heights of popular success that the first wave of progressive rock in the 1970s did, with only one band, Marillion, achieving arena status. |
