DOCSLIB.ORG

Queen of Distortion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Queen of Distortion Queen of Distortion Presse Info Queen of Distortion, founded in 2018, is a female fronted metal Band from Germany, characterized by melodic, power, true and progressive metal influences. They are formed on a classic Vocal, Bass, Drums and two Guitars lineup that leaves no wishes to metal enthusiasts and covers a wide range of styles within their music. The members themselves had various shows during their former bands and went across Europe and south America touring to reach 10 up to 35.000 people of audience and supported dozens of well known bands. Queen of Distortion is well prepared for upcoming shows in 2019. An EP „rising from the fallen” is available since the 4th of January 2019, the long-player will be recorded during the second and third quarter of 2019. All members gained touring experience over the last decades, so expect them to play nearby you very soon. If you want to support the band, find them on www.facebook.com/QueenofDistortion2018 or at www.q-o-d.de. Full Biography Queen of Distortion, founded in 2018 by 5 former members of bands who already got in touch with stages across Europe and south America, is a female fronted metal band from Germany who's genre is somewhat characterized by a portion of different rock but mostly metal genres. The over all construct of their music is native to true metal influences with some odd progressive cross elements and reaches to melodic guitar work like you would find in power and melodic metal. Who is the Queen? Queen of Distortion is a good remarkable name for the band. On one hand, “Distortion” is a vocal technique, that is practiced and well presented by their female lead singer Chris and then there is “The Queen” as a fictive Character of a story that is continued from album to album. The story is only available within the booklets of their records, an introduction to it will be released in 2019 on their website. This is somehow a cue to people who don't buy full albums anymore. Since the band is female fronted with a rough and assertive voice, the Queen of Distortion leaves no unfulfilled wishes to heavy metal enthusiasts. The classic lineup of Vocals, Drums, Bass and 2 Guitars is almost perfect to handle a wide spectrum of influences. Accentuated drum and bass lines and the heavy guitar riffing during strophes and choruses bring their music to a point where music is going to be fun for their audience. The over all experience of the band can be described with over 2000 shows, audience from 10 up to 35.000, they are studio, live, touring, support, headliner, jingle and interview safe and have more than 20 albums and EP's recorded. The band is also able to play their shows with just one of their guitarist, which then brings a different but pleasant touch to them. Queen of Distortion would declare them selves as a "bare metal band" but their different influences are more than noticeable through all of their tracks. Chris T'Anti her style of singing is rough and represents the band, the music and the lyrics quite perfect. She is a vocal coach that learned singing during her early years where she already was fascinated by metal music but never discovered herself into this genre. She made up her voice over a classical vocal degree and sung for different Top-40 Bands as also Rock/Pop cover acts. Her enthusiasm went that much into Rock / Metal music, that she decided to find members to fulfill this wish in 2018. Queen of Distortion is in fact her first rock related metal band but you won't think about her in another genre. Carsten Bätge Carsten is making music since he is 14. He was always fascinated by Bass instruments especially in metal music. His first strikes went through bands that made German rock music with odd instruments like keyboards and percussion's. His first real deal came with 1992 as he founded a band called Alien Power where he made his parts in lead vocals and bass. The band unlikely separated due to an injury of their drummer. Another noticeable band he afterwards played with was Random from Wuppertal/Düsseldorf. Their impression reaches to support touring with U.D.O and other metal related giants of the 80s and 90s. Carsten 1999 founded the band Carbid! which was founded as a fun-cover band with record deal for own material in 2011. The band existed 18 years, released two Longplayers with own material and separated in 2017. Torsten Schirmer Torsten started playing guitar at the age of 13. He quickly taught himself the first chords during the era of the NWOBHM before he went over to the more deadly and dark side of Metal that earned him an energetic hard rhythm and great soloistic skills. He had his first stage experience at the age of 17 and moved through several Bands like Silent Terror, Pain for Pleasure, Suspiria, Inward Infect Gladiators, MATHYR, Disrepute, Time to Bleed, Carbid!. His unique songwriting and guitar playing combines different genres of Metal and gives their songs what they need to be special. Holger Schilling Holger came up from a progressive influence, which makes the over all concept of the band quite interesting. Clear defined double bass parts, odd breaks and also tight discretion in parts where you would expect something different are remarkable for the Band. He played in various Metal, Rock, Pop, Blues and Southern Rock Bands. These different influences were made up by idols like Dream Theater, Queensryche and so on. He also joined Carbid! In 2015 is is therefore part of the prehistoric era of Queen of Distortion. Geronimo Stade Geronimo discovered the guitar to be his instrument at the age of 8. After a steep learning phase of round about 8 years he made it to his first rock cover-band at the age of 16. His first real deal was Seventh Avenue in 1999. He went out for various shows across Europe and south America and also had record releases, he left the band in 2004 and started out as guitar teacher associated with a pop rock project that made him to become an touring guitarist. Some of his impressions reach to supports of (among others) Joe Cocker, ASIA, Barclay James Harvest, Guthrie Govan, Vader, Die Apokalyptischen Reiter. During this period he also played on different Studio Projects for German, UK & Canadian metal bands. His style can be classified somewhere in the neo classical Rock / Metal genre with open chord rhythms and arpeggiated leads with also funky licks. He self describes him as an indie Rock enthusiast. .
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • University of Oklahoma Graduate College Performing Gender: Hell Hath No Fury Like a Woman Horned a Thesis Submitted to the Gradu
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PERFORMING GENDER: HELL HATH NO FURY LIKE A WOMAN HORNED A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF ARTS By GLENN FLANSBURG Norman, Oklahoma 2021 PERFORMING GENDER: HELL HATH NO FURY LIKE A WOMAN HORNED A THESIS APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY THE COMMITTEE CONSISTING OF Dr. Ralph Beliveau, Chair Dr. Meta Carstarphen Dr. Casey Gerber © Copyright by GLENN FLANSBURG 2021 All Rights Reserved. iv TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Introduction .................................................................................................................................... 1 Heavy Metal Reigns…and Quickly Dies ....................................................................................... 1 Music as Discourse ...................................................................................................................... 2 The Hegemony of Heavy Metal .................................................................................................. 2 Theory ......................................................................................................................................... 3 Encoding/Decoding Theory ..................................................................................................... 3 Feminist Communication
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Metaldata: Heavy Metal Scholarship in the Music Department and The
    Dr. Sonia Archer-Capuzzo Dr. Guy Capuzzo . Growing respect in scholarly and music communities . Interdisciplinary . Music theory . Sociology . Music History . Ethnomusicology . Cultural studies . Religious studies . Psychology . “A term used since the early 1970s to designate a subgenre of hard rock music…. During the 1960s, British hard rock bands and the American guitarist Jimi Hendrix developed a more distorted guitar sound and heavier drums and bass that led to a separation of heavy metal from other blues-based rock. Albums by Led Zeppelin, Black Sabbath and Deep Purple in 1970 codified the new genre, which was marked by distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers. During the 1970s performers such as AC/DC, Judas Priest, Kiss and Alice Cooper toured incessantly with elaborate stage shows, building a fan base for an internationally-successful style.” (Grove Music Online, “Heavy metal”) . “Heavy metal fans became known as ‘headbangers’ on account of the vigorous nodding motions that sometimes mark their appreciation of the music.” (Grove Music Online, “Heavy metal”) . Multiple sub-genres . What’s the difference between speed metal and death metal, and does anyone really care? (The answer is YES!) . Collection development . Are there standard things every library should have?? . Cataloging . The standard difficulties with cataloging popular music . Reference . Do people even know you have this stuff? . And what did this person just ask me? . Library of Congress added first heavy metal recording for preservation March 2016: Master of Puppets . Library of Congress: search for “heavy metal music” April 2017 . 176 print resources - 25 published 1980s, 25 published 1990s, 125+ published 2000s .
    [Show full text]
  • Progressive Metal Monterrey, Mx
    PROGRESSIVE METAL MONTERREY, MX Booking & Management: [email protected] PROGRESSIVE METAL MONTERREY, MX Status: Active Formation: 2008 Lyrics: Afterlife, Cosmic Horror, Duality, Entropy, Creation, Evolution /theadventequation BIOGRAPHY Officially active band since 2008, resulting in an EP named “Sounds From Within” on the same year, recorded in their hometown, Monterrey Mexico. First Full Length Album “Limitless Life Reflections” released through Concreto Records (Independent Label) with national distribution and great public reception; giving the band the opportunity to play in important events and festivals around Mexico. Participating as opening acts for, Haggard, Opeth, Tesseract, Dark Tranquility Second Full Length Album “Remnants Of Oblivion” released digitally on December 2020 and physically by Mexico’s Label Concreto Records accompanied by a solid return plan to social media and current streaming platforms. Album reception with very positive reviews from critics, nominated album of the week in several countries in LATAM as well as referred to as extraordinarily executed within Progressive & Technical Metal zines and nominated to best release of 2020 within Mexico & different other countries CARLOS LICEA ROBERTO CHARLES LUIS GOMEZ MARGIL H. VALLEJO Piano & Keyboards Drums & Percussion Guitars Bass & Vocals Click to Listen to Each Album DISCOGRAPHY LIMITLESS LIFE REFLECTIONS Full Length Album – 2012 A 60-minute juggernaut of power and beauty. Produced, engineered & mixed by Charles A. Leal at Psicofonia Studio, with Studio Mastering by Jens Bogren (Opeth, Katatonia, Amon Amarth, Devin Townsend) at Fascination Street studios, Örebro, Sweden, and general Artwork by Colin Marks ( Scar Symmetry, Whitechapel, Suffocation) at Rain Song Design, London, England. REMNANTS OF OBLIVION NEW FULL LENGTH ALBUM – December 4th, 2020 A duality between heaviness & melody that translates into a complete musical & emotional experience.
    [Show full text]
  • Everett Rock Band/Musician List "GH"
    Everett Rock Band/Musician List "G-H" Last Update: 6/28/2020 "G-H" List for Bands/Musicians Genre* From & Genre a Gamble in the Litter F I Mukilteo Minimalist / Folk / Indie G2 RB S H IL R&B/Soul / rap / hip hop Gabe Mintz I R A Seattle Indie / Rock / Acoustic Gabe Rozzell/Decency F C Gabe Rozzell and The Decency Portland Folk / Country Gabriel Kahane P Brooklyn, NY Pop Gabriel Mintz I Seattle Indie Gabriel Teodros H Rp S S Seattle/Brooklyn NY Hip Hop / Rap / Soul Gabriel The marine I Long Island Indie Gabriel WolfChild SS F A Olympia Singer Songwriter / folk / Acoustic Gaby Moreno Al S A North Hollywood, CA Alternative / Soul / Acoustic Gackstatter R Fk Seattle Rock / Funk Gadjo Gypsies J Sw A Bellingham Jazz / Swing / Acoustic GadZooks P Pk Seattle Pop Pk Gaelic Storm W Ce A R Nashville, TN World / Celtic / Acoustic Rock Gail Pettis J Sw Seattle Jazz / Swing Galapagos Band Pr R Ex Bellingham progressive/experimental rock Galaxy R Seattle Rock Gallery of Souls CR Lake Stevens Rock / Powerpop / Classic Rock Gallowglass Ce F A Bellingham traditional folk and Irish tunes Gallowmaker DM Pk Bellingham Deathrock/Surf Punk Gallows Hymn Pr F M Bellingham Progressive Folk Metal Gallus Brothers C B Bellingham's Country / Blues / Death Metal Galperin R New York City bossa nova rock GAMBLERS MARK Sf Ry El Monte CA Psychobilly / Rockabilly / Surf Games Of Slaughter M Shelton Death Metal / Metal GammaJet Al R Seattle Alternative / Rock gannGGreen H RB Kent Hip Hop / R&B Garage Heroes B G R Poulsbo Blues / Garage / Rock Garage Voice I R Seattle's Indie
    [Show full text]
  • Pressbook PROGRESSIVE DEATH METAL
    PROGRESSIVE DEATH METAL Pressbook Presentation Born in November 2014, KERA is a Parisian progressive death metal band. Kera is influenced by bands like Textures, Hypno5e, Dream Theater, Opeth, Meshuggah or even Gojira. In march 2015, KERA releases a promotional EP (3 titles and 19 minutes) and a music clip for the song « Architect of Chaos ». Then, followed around ten shows in several french cities, next to some of the rising bands of the french metal scene (Beyond the Styx, Hypno5e, Elyose, GaidjinN, Monolyth, Corrosive Elements, Mantra, and so on). Early in 2016, the band presents its new singer and the single « Delusion », to let its fans hear the band evolution , in its composition approach, its image and its line-up. « Delusion » sums up the main influences of the band in 5 intense and effective minutes. Kera’s line-up will next be final with the arrival of its new bassist in October 2016 ALBUM Kera will be recording its album, Hysteresis, in April 2017, and this album will be available during Fall of 2017. Growing in its member’s mind since their first EP in 2015, this album will be Kera’s first LP, and first production since its line-up is complete. This album is a concept album dealing with mental illness and emotional traumas persistence. The songs are rather long (5 songs out of the 8 constituting the album are longer than 7 minutes), and are using lots of complex musical theme (modulations and non symmetric metrics). This album is inspired with all Kera’s influences, leading the auditor into its universe, in which violent and effective riff can be heard right after some aerial parts.
    [Show full text]
  • Music & Entertainment
    Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Music & Entertainment Tuesday 18th & Wednesday 19th May 2021 at 10:00 Viewing by strict appointment from 6th May For enquires relating to the Special Auction Services auction, please contact: Plenty Close Off Hambridge Road NEWBURY RG14 5RL Telephone: 01635 580595 Email: [email protected] www.specialauctionservices.com David Martin Dave Howe Music & Music & Entertainment Entertainment Due to the nature of the items in this auction, buyers must satisfy themselves concerning their authenticity prior to bidding and returns will not be accepted, subject to our Terms and Conditions. Additional images are available on request. Buyers Premium with SAS & SAS LIVE: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 25% plus Value Added Tax making a total of 30% of the Hammer Price 10. Iron Maiden Box Set, The First Start of Day One Ten Years Box Set - twenty 12” singles in ten Double Packs released 1990 on EMI (no cat number) - Box was only available The Iron Maiden sections in this auction by mail order with tokens collected from comprise the first part of Peter Boden’s buying the records - some wear to edges Iron Maiden collection (the second part and corners of the Box, Sleeves and vinyl will be auctioned in July) mainly Excellent to EX+ Peter was an Iron Maiden Superfan and £100-150 avid memorabilia collector and the items 4. Iron Maiden LP, The X Factor coming up in this and the July auction 11. Iron Maiden Picture Disc, were his pride and joy, carefully collected Double Album - UK Clear Vinyl release 1995 on EMI (EMD 1087) - Gatefold Sleeve Seventh Son of a Seventh Son - UK Picture over 30 years.
    [Show full text]
  • The Mars Volta and the Symbolic Boundaries of Progressive Rock
    GENRE AND/AS DISTINCTION: THE MARS VOLTA AND THE SYMBOLIC BOUNDARIES OF PROGRESSIVE ROCK R. Justin Frankeny A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Musicology in the School of Music. Chapel Hill 2020 Approved by: Aaron Harcus Michael A. Figueroa David F. Garcia © 2020 R. Justin Frankeny ALL RIGHTS RESERVED ii ABSTRACT R. Justin Frankeny: Genre and/as Distinction: The Mars Volta and the Symbolic Boundaries of Progressive Rock (Under the direction of Dr. Aaron Harcus) In the early 2000’s, The Mars Volta’s popularity among prog(ressive) rock fandom was, in many ways, a conundrum. Unlike 1970s prog rock that drew heavily on Western classical music, TMV members Omar Rodriguez-Lopez and Cedric Bixler-Zavala routinely insisted on the integral importance of salsa music to their style and asserted an ambivalent relationship to classic prog rock. This thesis builds on existing scholarship on cultural omnivorousness to assert that an increase in omnivorous musical tastes since prog rock’s inception in the 1970s not only explains The Mars Volta’s affiliation with the genre in the early 2000s, but also explains their mixed reception within a divided prog rock fanbase. Contrary to existing scholarship that suggests that the omnivore had largely supplanted the highbrow snob, this study suggests that the snob persisted in the prog rock fanbase during progressive rock’s resurgence (ca. 1997-2012), as distinguished by their assertion of the superiority of prog rock through discourses of musical complexity adapted from classical music.
    [Show full text]
  • Phoenix Rising Spielzeit: 42:29 VÖ: 26.06.2020
    Band: Kenziner (FIN) Genre: Neo-Classical / Progressive / Power Metal Label: Pure Steel Records Album: Phoenix Rising Spielzeit: 42:29 VÖ: 26.06.2020 Neo-Classical Progressive Power Metal. Das ist schon mal eine ordentliche Ansage. Und wie fast immer, wenn mit Genrebezeichnungen um sich TRACKLIST geworfen wird, werde ich echt neugierig, ob auch drin ist, was draufsteht. 01. Eye Of Horus 02. Listen To The Devil Direkt zu Beginn wird bereits Vollgas gegeben. Alles ist sehr schnell und 03. Shadow Of The Moon vollgepackt mit Noten und Gesang. Erst "Shadow Of The Moon" verschafft 04. Tears Of Destiny die ersten Verschnaufspausen, wenn auch sehr kleine. Auch gibt es hier die 05. The Mirror ersten Anzeichen von Neo-Klassik in Form kürzerer Licks, die als Übergang 06. Osiris Rising zwischen zwei Passagen genutzt werden. 07. Curse Of The Pharaoh 08. To Hell And Back Kleiner Exkurs: Neo-Klassik 09. Phoenix Rising 10. The Miracle Der Begriff "Neo-Klassik" ist musikalisch zum Beispiel in Dark Wave, Electro und Metal vertreten und zeichnet sich in diesen Genres jeweils anders aus. In der Kunstmusik ist auch vom Neo-Klassizismus die Rede und hat auch dort wieder seine eigene Auslegung. Auf Metal bezogen, wird mit Neo-Klassik eine starke Orientierung an klassischer Musik verbunden. Das zeigt sich vor allem in sehr virtuosem Gitarrenspiel, das sehr an Melodien von Vivaldi oder LINEUP J.S.Bach erinnern kann. Prominente Vertreter dieser Richtung sind Ritchie Peter "Zinny" Zalesky - Vocals Blackmore, Yngwie Malmsteen oder Bands wie Rhapsody of Fire und Children Jarno Keskinen - Guitars of Bodom. (Sehr zu empfehlen: Auf YouTube mal nach Alexi Laihos Cover von Jupi Hjelt - Bass Ariel Perchuk - Keyboards Vivaldis Sommer suchen).
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Considering Genre in Metal Music © Benjamin Hillier, 2020. The
    Considering Genre in Metal Music © Benjamin Hillier, 2020. The definitive, peer reviewed, and edited version of this article is published in Metal Music Studies, Volume 6, Number 1, pp. 5-26, 2020, doi: https://doi.org/10.1386/mms_00002_1 Keywords: extreme metal, genre, heavy metal, metal musicology, metal studies, music analysis Introduction In the late 1980s and early 1990s metal music experienced a widespread fracturing of musical styles resulting in the proliferation of a vast number of subgenres under the broad umbrella of 'metal'. This was especially prevalent amongst the collection of subgenres commonly referred to as 'extreme metal'. The differences between these subgenres are of deep importance to many fans and musicians for whom genre is an integral element of their musical identity and authenticity as ‘metalheads’ (Smialek, 2015). Despite this acknowledged importance, there is still a need to establish what Kahn-Harris calls ‘a widely accepted vocabulary for identifying the constituent musical features of metal’ (2011: 252). Metal studies broadly remains ‘undertheorized and undermethdologized’ (Weinstein, 2016: 29) with a need to clarify its academic rigour (Savigny and Schaap, 2018). It is these needs that this article seeks to address by analyzing the relevant literature discussing genre in metal and responding to the shortcomings identified. This article proposes both a taxonomy for classifying metal subgenres and a model that provides a series of interconnected characteristics to assist in defining these subgenres. By clearly outlining ways in which we might organize the different ‘levels’ of subgenres, this article aims to provide a common vocabulary for metal studies scholars to use when analyzing genres and their relationships.
    [Show full text]