Blues to Metal What Is Blues?

Total Page:16

File Type:pdf, Size:1020Kb

Blues to Metal What Is Blues? Blues to metal What is blues? Initially called American work songs, they were written and composed by the African-American people in the deep south of the U.S during the late 19th century. Usually written using the Pentatonic scale or the Dorian Mode over a 4/4 time signature. What is metal? Society & Culture of the 1960’s - Cold War Climate & Anti War Demonstrations - Civil Rights Movements & Environmental Degradation - Flower Power, Hippies & the Counterculture Music on Eve of Sabbath’s Arrival - Amazing talents & albums offering feel-good factor - Led Zeppelin & Deep Purple laying foundations for a heavier sound Black Sabbath Industrial Birmingham, 1968 Black Sabbath: the so-called pioneers of Heavy Metal Industry Reaction “We used to do these auditions for record companies, and they’d just leave after the third song...I’ll always remember one producer told us to go away, learn how to play and learn how to write some decent song. We were rejected again and again, by company after company”. -Geezer Butler- The Big Takeover! Sold over 75 million records worldwide UK Music Hall of Fame Rock&Roll Hall of Fame 2 Grammy Awards: Best Metal Performance “Black Sabbath” “Paranoid” Number 8 in the UK Number 1 in the UK Blues influences on metal Buddy guy Ozzy Osbourne Muddy waters Jimi Hendrix The Siege of metal music ! 26 sub genres ! Countless derivatives (metal evolution, 2011) Metal in the modern age Top ten selling albums of 2017 Metallica Linkin Park Metallica 585,500 Foo Fighters Metallica 258,200 215,700 212,700 154,700 Linkin Park Metallica Queens of the Stone Age Metallica Guns & Roses 141,000 125,350 123,250 117,600 115,150 (Kennelty, 2018) What is this That stands Before me - Black sabbath Bibliography Iron Maiden in 10 Songs | Consequence of Sound. [ONLINE] Available at: https://consequenceofsound.net/2015/09/iron- maiden-in-10-songs/. [Accessed 19 October 2018]. File:Robert Johnson.png - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/File:Robert_Johnson.png. [Accessed 19 October 2018]. The Big 4 by MrNiklas3697 on DeviantArt. [ONLINE] Available at: https://www.deviantart.com/mrniklas3697/art/The- Big-4-448401167. [Accessed 19 October 2018]. Time. [ONLINE] Available at: http://time.com/3859914/bb-king-celebrities-tribute/. [Accessed 19 October 2018]. Pantera: A Mandatory Listen for Millennials – Gaurang Bailoor – Medium. [ONLINE] Available at: https://medium.com/ @gaurang_b/pantera-a-mandatory-listen-for-millennials-1b077ab12de9. [Accessed 19 October 2018]. perlin, j. (2018). A Brief History of Metal | Heavy Metal 101 @ MIT. [online] Metal.mit.edu. Available at: https://metal.mit.edu/brief-history-metal [Accessed 22 Oct. 2018]. Pearson, T. (2018). 1970s Music History including Seventies Styles, Bands And Artists. [online] Thepeoplehistory.com. Available at: http:// www.thepeoplehistory.com/70smusic.html [Accessed 22 Oct. 2018]. bibliography Grow, K. and Grow, K. (2018). Black Sabbath on Sixties Origins: ‘We Were Rejected Again and Again’ – Rolling Stone. [online] Rollingstone.com. Available at: https://www.rollingstone.com/music/music-features/black-sabbath-on-sixties-origins-we-were-rejected-again-and-again-192645/ [Accessed 22 Oct. 2018]. Invisibleoranges.com. (2018). [online] Available at: http://www.invisibleoranges.com/black-sabbaths-blues [Accessed 22 Oct. 2018]. Connick, T. (2018). The bands shaping the future of heavy music - NME. [online] NME. Available at: https://www.nme.com/blogs/future-heavy-metal- hardcore-code-orange-parkway-drive-2268850 [Accessed 22 Oct. 2018]. Kennelty, G. (2018). The Top Selling 15 Metal & Hard Rock Albums Of 2018 So Far. [online] Metal Injection. Available at: http:// www.metalinjection.net/its-just-business/record-sales/here-are-the-top-selling-15-metal-hard-rock-albums-of-2018 [Accessed 22 Oct. 2018]. Insider, M. (2018). Metal by Numbers: the best selling metal and rock of 2017Metal Insider. [online] Metal Insider. Available at: https:// www.metalinsider.net/columns/metal-by-numbers/metal-by-numbers-the-best-selling-metal-and-rock-of-2017 [Accessed 22 Oct. 2018]. metal evolution. (2011). [video] Directed by s. dunn. u.s.a: banger films..
Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • 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]
  • Hipster Black Metal?
    Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists.
    [Show full text]
  • Extreme Metal: Subculture, Genre, and Structure
    Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions.
    [Show full text]
  • True Black Metal: Authenticity, Nostalgia, and Transgression in The
    1 True Black Metal: Authenticity, Nostalgia, and Transgression in the Black Metal Scene Joel Skadiang 430018518 A treatise submitted in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) Department of Gender and Cultural Studies The University of Sydney June 2017 This thesis has not been submitted for examination at this or any other university 2 Table of Contents Page List of Figures 3 Abstract 4 Introduction 6 History of Black Metal 10 Aesthetics of the Second Wave 31 Subcultural Capital, Kvltness, and Authentic Participation 40 Virtual Ethnography 53 Conclusion 66 Bibliography 69 3 List of Figures Page Figure 1 Venom (Teamrock 2005) 14 Figure 2 Mayhem (The Quietus 2014) 17 Figure 3 Immortal Norwegian Arts 2015 17 Figure 4 Black Metal Logo from Helvete Basement (Wikipedia: Date Unknown) 25 Figure 5 Bathory’s (1985) and Venom’s (1981) Album Covers 25 Figure 6 Post on R/BlackMetal (Reddit 2016) 49 Figure 7 Post and Comment Karma of Reddit User (Reddit 2016) 49 Figure 8 Rules of R/BlackMetal (Reddit 2016) 58 Figure 9 Policing of Boundaries in R/BlackMetal (Reddit 2016) 59 Figure 10 Parody of Black Metal Aesthetic on R/MetalMemes (Reddit 2017) 59 Figure 11 Parody of Black Metal Fans and Response (Reddit 2017) 61 4 Abstract Black metal as a distinct genre of popular music is characterized by a general yearning for authenticity. This authenticity can be expressed through production values, musical techniques adopted, and style of dress and presentation among members of the scene. In this context, members of the scene are presented with a dilemma given the demand to both showcase individuality in their taste and style while also conforming to what it means to be “true” or authentic within the scene.
    [Show full text]
  • [email protected] Website: Nightshift.Oxfordmusic.Net Free Every Month
    email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 126 January Oxford’s Music Magazine 2006 Harry Angel The Devil’s in the Music Interview inside Photo by Miles Walkden Photo by Miles Plus The new bands to watch in 2006 NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 Evenings and Boywithatoy are among the local NEWNEWSS artists remixing the band. PINDROP PERFORMANCES is a new Nightshift: PO Box 312, Kidlington, OX5 1ZU monthly live music club night launched this Phone: 01865 372255 email: [email protected] month at The Port Mahon in St Clement’s. Pindrop aims to showcase the best up and coming alternative folk and electronic acts THIS YEAR’S OXFORD PUNT will take while the ground floor venue frontage will around. The first night takes place on Sunday place on Wednesday 10th May. Arrangements include a new bar area. A timetable for the 29th January and features Brickwork Lizards, for the annual showcase of the best unsigned refurbishment is yet to be finalised; in the The Thumb Quintet and Dan Glazebrook and music in Oxfordshire, organised by Nightshift, meantime the Zodiac is booking its spring Josie Webber. Each event starts at 5pm and are almost complete, with five venues already programme. Notable gigs already confirmed finishes at 8pm and tickets are limited to 35. confirmed and two more to be confirmed. As include: The Kooks (10th February), Julian Get them from Polar Bear on Cowley Road. ever, the Punt will kick off at Borders in Cope (14th Feb), The Paddingtons (16th Feb), Magdalen Street before moving on to Jongleurs, Regina Spektor (16th Feb), Battle (4th March), OXFORDBANDS.COM has launched an The Wheatsheaf, The City Tavern and finishing The Buzzcocks (5th Mar), Cave In (6th Mar), 65 updated version of its interactive venue guide.
    [Show full text]
  • Using Heavy Metal Music to Promote Technological and Socio-Cultural Un- Derstanding
    Paper ID #5928 Using Heavy Metal Music to Promote Technological and Socio-cultural Un- derstanding Dr. Brian P Kirkmeyer, Miami University Brian P. Kirkmeyer is the Karen Buchwald Wright Assistant Dean for Student Success and Instructor in the School of Engineering and Applied Science at Miami University in Oxford, Ohio. He specializes in recruitment, advising, retention and placement of undergraduate students. He currently serves as Director At Large of ASEE’s Women in Engineering Division (WIED), and previously served WIED as Secre- tary. He earned his Ph.D. and M.S. degrees in Materials Science and Engineering from the University of Pennsylvania and his B.S. in Materials Science and Engineering from Purdue University. Page 23.1317.1 Page c American Society for Engineering Education, 2013 Using Heavy Metal Music to Promote Technological and Socio-cultural Understanding Abstract Heavy metal is one of the most misinterpreted musical genres in existence, while also arguably one of the most intelligent, insightful and technologically-rich genres. Heavy metal‟s history has facilitated multiple engineering developments in its quest for extremity as well as containing a wealth of commentary about global, social, religious and political cultures. A course has been created to help students explore these engineering developments and social commentary in order to promote understanding of the interplay between the technologies and cultural phenomena. This presentation will provide a synopsis of the course and its success over its developmental period. The course utilizes heavy metal‟s influences and history to examine where culture and music collide. It then goes further to study the music‟s relationship with progress in engineering and design.
    [Show full text]
  • Využití Bicích Nástrojů V Metalové Hudbě
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra bicích nástrojů Studijní obor: Hra na bicí nástroje Využití bicích nástrojů v metalové hudbě Bakalářská práce Autor práce: Miroslav Šonka Vedoucí práce: MgA. Stanislav Pliska Oponent práce: MgA. Martin Kleibl Brno 2014 Bibliografický záznam ŠONKA, Miroslav. Využití bicích nástrojů v metalové hudbě [The use of percussion instruments in metal music]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra bicích nástrojů, rok 2014, 64 s. Vedoucí diplomové práce MgA. Stanislav Pliska. Anotace Diplomová práce „Využití bicích nástrojů v metalové hudbě“ pojednává o hře na bicí nástroje v daném žánru, popisuje zvuk metalové bicí soupravy, různé způsoby hry, techniky v rámci držení paliček a pedálové techniky. Pojednává též o cvičných metodách. Annotation The thesis "The use of percussion instruments in metal music" is about playing the drums in the genre, solves sound metal drum sets, different ways of playing techniques in the context of holding drumsticks and pedal technique. It deals with the training methods. Klíčové slova Metalová bicí souprava, metalové žánry, metalové paterny, techniky držení paliček, pedálové techniky, cvičné metody Key words Metal drum sets, metal genres, metal patterns, sticks techniques, pedal techniques, training methods Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jsem v ní uvedené zdroje. V Brně, dne 31. července 2014 Miroslav Šonka Obsah 1 Úvod..................................................................................................................................................6
    [Show full text]
  • Metal Music Since the 1980S
    Marrington, Mark ORCID: https://orcid.org/0000-0001-5404-2546 (2017) From DJ to djent- step: Technology and the re-coding of metal music since the 1980s. Metal Music Studies, 3 (2). pp. 251-268. Downloaded from: http://ray.yorksj.ac.uk/id/eprint/2328/ The version presented here may differ from the published version or version of record. If you intend to cite from the work you are advised to consult the publisher's version: http://dx.doi.org/10.1386/mms.3.2.251_1 Research at York St John (RaY) is an institutional repository. It supports the principles of open access by making the research outputs of the University available in digital form. Copyright of the items stored in RaY reside with the authors and/or other copyright owners. Users may access full text items free of charge, and may download a copy for private study or non-commercial research. For further reuse terms, see licence terms governing individual outputs. Institutional Repository Policy Statement RaY Research at the University of York St John For more information please contact RaY at [email protected] Mark Marrington, From DJ to djent-step: Technology and the re-coding of metal music since the 1980s Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University. He has previously held teaching positions at Leeds College of Music and the University of Leeds (School of Electronic and Electrical Engineering). Mark has published chapters with Cambridge University Press, Bloomsbury Academic, Routledge and Future Technology Press and contributed articles to British Music, Soundboard, the Musical Times and the Journal on the Art of Record Production.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Fantasi Dalam Dark Play Empat Vokalis Ekstrem Metal Perempuan Di Indonesia
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI BERMAIN- MAIN DALAM TRANSGRESI: FANTASI DALAM DARK PLAY EMPAT VOKALIS EKSTREM METAL PEREMPUAN DI INDONESIA TITLE PAGE Tesis Untuk memenuhi persyaratan mendapat gelar Magister Humaniora (M. Hum.) di Program Magister Kajian Budaya, Universitas Sanata Dharma Disusun oleh Yulianus Febriarko NIM: 166322002 PROGRAM MAGISTER KAJIAN BUDAYA UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Febriarko, Yulianus. 2020. Bermain-main dalam Transgresi: Fantasi dalam Dark play Empat Vokalis Ekstrem Metal Perempuan di Indonesia. Yogyakarta: Magister Kajian Budaya. Universitas Sanata Dharma. Skena musik ekstrem metal selama ini dipandang sebagai sebuah skena yang didominasi laki-laki dan dibangun berdasarkan imaji-imaji maskulinitas sehingga perempuan yang ingin ikut ambil bagian di dalamnya harus menyesuaikan dengan aturan-aturan dan kode- kode maskulin. Tindakan misoginis dan penyingkiran sifat-sifat feminin terlihat dari praktik-praktik yang terjadi di skena ekstrem metal yang membuat perempuan terpinggirkan. Hal ini memungkinkan kekuatan dan kontrol laki-laki direproduksi terus menerus lewat praktik transgresi yang menjadi ciri khas ekstrem metal. Meski begitu, banyak perempuan yang tetap terjun dan terlibat di skena ekstrem metal sebagai vokalis yang aktif dan berkarya dalam band ekstrem metal. Melalui pendekatan kualitatif, studi ini mengeksplorasi daya performance empat vokalis ekstrem metal perempuan di Indonesia yang terdiri dari Fransisca Ayu dari band metalcore
    [Show full text]
  • Malay Metalheads: Situating Metal Music Culture in Brunei
    Situations 10.2 (2017): 7–26 ISSN: 2288–7822 Malay Metalheads: Situating Metal Music Culture in Brunei Amalina Timbang (University of Edinburgh) Zawawi Ibrahim (Universiti Brunei Darussalam) Abstract As a global phenomenon metal music has created a worldwide community that constructs its own unique subculture. In Brunei, popular culture takes its own particularistic form of articulation due to the existence of contestations for hegemony between the youth and the Malay Islamic state. The dominant state ideology of Melayu Islam Beraja (MIB) or Malay Islamic Monarchy plays a pivotal role in influencing and reshaping the local sense of a metal community. In the Brunei context, an important feature of the Malay metalhead community is the fact that it does not duplicate the metal cultural blueprint of its western origins. Contrary to international metal communities, there is an inadequacy of public space to perform the role of a metalhead (i.e. live performances), and it is difficult to undertake music-related activities in Brunei. As the public domain is constantly regulated by MIB, the Malay metalhead community is totally grounded in the realm of the private sphere. This article explores three important issues: first, the creation of the Malay metalhead culture; second, the convergence of the MIB identity and the metalhead identity; and third, the hybridization of global and local metal cultures. Keywords: metal music, Bruneian popular music, Melayu Islam Beraja (MIB), Malay metalheads, music subculture, metal community, glocalization, hybridization, popular culture 8 Amalina Timbang and Zawawi Ibrahim Introduction: The General Background of Popular Music in Brunei Popular culture and music have always exerted a powerful allure among young people in Brunei Darussalam, and there are various hybridized subcultures within the small Malay Islamic nation.
    [Show full text]