Volume XXXIII Issue 8
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Charris Efthimiou Metallica's Tone Colour Characteristics of Their Riffs
Charris Efthimiou Metallica’s Tone Colour Characteristics of their Riffs (1983–1986) and the Differences between Slayer and the New Wave of British Heavy Metal Annotation The aim of this article is to consider the design of the riffs of Angel of Death and other songs from the first three albums by Slayer (Show No Mercy 1983, Hell Awaits 1985 and Reign in Blood 1986) from a music analytical point of view (including tone-colour analysis of the riffs). If Slayer’s riff design (from 1983 to 1986) is considered from an overall perspective, the following results can be observed: • A rapid tempo and a constant change in the tone-colours of the guitar (palm mute, powerchords and monophonic melodies) characterise the sound of most riffs from the first three albums of this band. • Although the number of tone colours is limited, exact repetitions of tone colours are avoided. • Melodies in thirds, sixths and octaves are rare. At the same time (1983–1986) and in the same geographic area (U.S. West Coast), the band Metallica found their own compositional path within the thrash metal genre. Although the two bands dedicate their songs to very different topics, there are significant proximity points in the section of riff design. The same music-analytical methods (such as the analysis of tone- colours) are used with Metallica again. Thus, on the one hand, correlations can be determined and special features unique with Slayer’s music can be highlighted on the other. Furthermore, in order to determine other similarities and differences, the riffs of Metallica and Slayer will be compared with riffs by bands belonging to the NWoBHM (New Wave of British Heavy Metal) and were active in the years 1983–1986 (including Iron Maiden and Motörhead). -
Viking Interview: Q&A with Jamey Jasta by Daniel Offner When
Viking Interview: Q&A with Jamey Jasta By Daniel Offner When uttered, the name “Hatebreed” brings many things to mind, but what stands out most is the vocal talent of Jamey Jasta. Jasta, along with band mate Chris Beattie, founded the band in 1994 out of New Haven, Connecticut. Jasta is not only the lead singer of Hatebreed but has also gone off to do successful side projects with bands Icepick and Kingdom of Sorrow. He has also gone off to host MTV’s reincarnation of the 80’s hit program Headbanger’s Ball. This year Jamey will be touring with both Hatebreed (on the Jagermeister Music Tour) and Kingdom of Sorrow (at Ozzfest in Texas). The following is my Viking Interview with Jamey Jasta. Viking News: Where did the name Hatebreed come from? Jamey Jasta: “From the Misfits song ‘Hatebreeders’. We just took off the ‘e-r- s’.” VN: What inspired you guys to play music? JJ: “Well I think when me and (Chris) Beattie started the band we were already in other bands, and the other bands fizzled out. So to start this band and to play this music the inspiration was to do something bigger and better and more focused. But I think initially for both of us we were just drawn to music because of the community in itself.” VN: What type of bands influenced your style of music as a whole? JJ: “I would say bands like Slayer, Sepultura, Obituary, Entombed and more metal stuff like Carcass. On the hardcore side Agnostic Front, Killing Time, Sheer Terror, Integrity, Earth Crisis and bands like that.” VN: You mentioned Agnostic Front, which is playing the Dour Festival with you guys in Belgium. -
Live to the Metal Music Živi Uz Metal Muziku
LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms. -
Drummer Bracket Template
First Round Second Round Sweet 16 Elite 8 Final Four Championship Final Four Elite 8 Sweet 16 Second Round First Round Peter Criss-Kiss Robert Bourbon-Linkin Park Neal Sanderson-Three Days Grace Neal Sanderson-Three Days Grace Morgan Rose-Sevendust Morgan Rose-Sevendust Matt Sorem-GNR Paul Bostaph-Slayer Clown-Slipknot Charlie Benante-Anthrax Paul Bostaph-Slayer Paul Bostaph-Slayer Morgan Rose-Sevendust Clown-Slipknot Ray Luzier-KoRn Matt McDonough-Mudvayne Neal Peart-Rush Matt Cameron-Pearl Jam Ginger Fish-Manson Ray Luzier-KoRn Winner Matt Cameron-Pearl Jam Joey Kramer-Aerosmith Matt McDonough-Mudvayne Matt McDonough-Mudvayne Neal Peart-Rush Neal Peart-Rush Chad Gracey-Live Matt McDonough-Mudvayne Vinnie Paul-Pantera Neal Peart-Rush Sam Loeffler-Chevelle Lars Ulrich-Metallica Tommy Lee-Motley Crue Shannon Larkin-Godsmack Taylor Hawkins-Foo Roy Mayogra-Stone Sour Lars Ulrich-Metallica Taylor Hawkins-Foo Fighters Ben Anderson-Nothing More Jay Weinberg-Slipknot Jay Weinberg-Slipknot Ron Welty-Offspring Ron Welty-Offspring Alex Shelnett-ADTR Jay Weinberg-Slipknot Taylor Hawkins-Foo Fighters Butch Vig-Garbage Vinnie Paul-Pantera Tre Cool-Green Day Tommy Lee-Motley Crue Shannon Larkin-Godsmack Eric Carr-Kiss John Alfredsson-Avatar Tre Cool-Green Day Neal Peart-Rush Robb Rivera-Nonpoint Robb Rivera-Nonpoint Bill Ward-Black Sabbath Tommy Lee-Motley Crue Shannon Larkin-Godsmack Shannon Larkin-Godsmack Tommy Lee-Motley Crue Chris Adler-Lamb of God Tommy Lee-Motley Crue Neal Peart-Rush Vinnie Paul-Pantera Joey Jordison-Slipknot Sean Kinney-Alice -
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 . -
KNOTFEST Brasil Anuncia Lineup De Sua Primeira Edição No País
KNOTFEST Brasil anuncia lineup de sua primeira edição no País Elenco histórico vai reunir Bring Me The Horizon, Sepultura, Trivium, Mr Bungle, Motionless in White, além do Slipknot, para a primeira edição brasileira de um dos maiores festivais de rock e metal no mundo Festival acontece no Sambódromo do Anhembi, em São Paulo, dia 18 de dezembro de 2022 O lineup conta também com Vended, Project46, Armored Dawn e uma MEGA BANDA surpresa ainda não anunciada! Ingressos à venda em Eventim.com.br a partir de 19 de agosto, às 10h00 Um dos maiores festivais de hard rock e metal no mundo, que celebra um estilo de vida e a cultura do rock e do metal, o KNOTFEST chega ao Brasil pela primeira vez em 2022 com um line-up mais que especial. Além do headliner do festival, Slipknot, nove outras bandas estão confirmadas para se apresentar no Sambódromo do Anhembi, em 18 de dezembro do próximo ano, dividindo-se em dois grandes palcos e 12 horas de festival. O Bring Me the Horizon, banda inglesa cuja importância cresce vertiginosamente a cada ano, já figura entre as mais importantes do gênero no mundo, e que leva o público à loucura em suas apresentações, sempre considerada uma das melhores atrações em todos os festivais mundiais dos quais participa, estará no KNOTFEST para mostrar seu som eclético, que mistura o rock pesado a ritmos como o pop, o eletrônico e o hip-hop. Além disso, a multiplatinada Sepultura, a mais famosa, consagrada e internacional banda do gênero no país, que lançou disco novo em plena pandemia, Quadra, também estará trazendo novidades para os palcos do evento, mostrando a força do metal brasileiro. -
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 . -
Dave Lombardo: Feeling Suicidal
FEELING SUICIDAL Dave LombardoBY DAVID JARNSTROM don’t keep track of Slayer,” Lombardo—54 years young in days—which suits his spontaneous Dave Lombardo says over the February—is headed in the opposite disposition perfectly. “It’s invigorating “Iphone matter-of-factly. “I have too direction, cracking the throttle on his going from one project to another,” much to deal with over here.” Currently storied career. he says. “I finished a six-week enjoying some well-earned downtime at Splitting time between crossover Dead Cross European tour this his Southern California home, the ever- pioneers Suicidal Tendencies, horror- summer, hopped a plane in Amsterdam genial drummer couldn’t care less that punk icons The Misfits, and hardcore the next day and started a Suicidal the legendary thrash metal band he supergroup Dead Cross (featuring tour in New York the day after that. co-founded as a teen is in the midst of a co-conspirator Mike Patton of Faith No No rehearsal, just straight to the stage. two-year farewell tour. While Slayer More and Mr. Bungle on vocals), I’d done my homework and was on point. slowly rides off into the sunset, Lombardo barely has time to think these Music is music, you know?” 24 DRUM! Spring 2019 DRUMmagazine.com MILOSZ BAUZA PHOTO Lombardo claims it was a “no-brainer” drums. There’s so much that contributes Lombardo is also looking forward to when Suicidal Tendencies frontman Mike to playing with real feeling. It’s something writing new Dead Cross material this Muir asked him to join the band, which— that can’t really be taught—some people winter. -
The Need for a New Slayer Statute in North Carolina, 24 Campbell L
Campbell Law Review Volume 24 Article 6 Issue 2 Spring 2002 January 2002 The eedN for a New Slayer Statute in North Carolina Julie Waller Hampton Follow this and additional works at: http://scholarship.law.campbell.edu/clr Part of the Legal Remedies Commons Recommended Citation Julie Waller Hampton, The Need for a New Slayer Statute in North Carolina, 24 Campbell L. Rev. 295 (2002). This Comment is brought to you for free and open access by Scholarly Repository @ Campbell University School of Law. It has been accepted for inclusion in Campbell Law Review by an authorized administrator of Scholarly Repository @ Campbell University School of Law. Hampton: The Need for a New Slayer Statute in North Carolina THE NEED FOR A NEW SLAYER STATUTE IN NORTH CAROLINA* I. INTRODUCTION A forty-year-old woman drove her elderly mother to the doctor as she did every week. They were running behind schedule when the daughter briefly stopped at an intersection and looked for oncoming traffic. As the daughter pushed through the intersection, a truck struck her car on the passenger side. As a result of the accident, the woman's elderly mother died. Assuming her actions were negligent, should the daughter's failure to see the truck preclude her from inherit- ing from her mother as a natural object of her bounty? The common sense answer is no. The daughter did not intention- ally kill her mother. In fact, the daughter is fortunate that her negli- gence did not kill her. The mother probably would not wish to disinherit the daughter in light of the circumstances. -
The Spiritual Temperature of Contemporary Popular Music REILLY
The “Spiritual Temperature” of Contemporary Popular Music: An Alternative to the Legal Regulation of Death-Metal and Gangsta-Rap Lyrics Tracy Reilly* ABSTR ACT The purpose of this Article is to contribute to the volume of legal scholarship that focuses on popular music lyrics and their effects on children. This interdisciplinary cross-section of law and culture has been analyzed by legal scholars, philosophers, and psychologists throughout history. This Article specifically focuses on the recent public uproar over the increasingly violent and lewd content of death- metal and gangsta-rap music and its alleged negative influence on children. Many legal scholars have written about how legal and political efforts throughout history to regulate contemporary genres of popular music in the name of the protection of children’s morals and well-being have ultimately been foiled by the proper judicial application of solid First Amendment free-speech principles. Because the First Amendment prevents musicians from being held liable for their lyrics, and prevents the content of lyrics from being regulated, some scholars have suggested that the perceived problems with popular music lyrics could be dealt with by increasing public awareness and group action. * Assistant Professor of Law, University of Dayton School of Law, Program in Law & Technology, Dayton, Ohio. J.D., Valparaiso University School of Law, 1995; B.A., Northern Illinois University, 1990. The author would like to dedicate this Article to the loving memory of her first and best teacher, friend and mentor—her mother, Eileen Reilly. She would also like to thank her husband, Mark Budka, for his constant love and support; Kelly Henrici, Executive Director of the Program in Law & Technology, for her insightful comments and continuous encouragement; and Dean Lisa Kloppenberg and the University of Dayton School of Law for research support. -
At the 12Th PRG Live Entertainment Awards - Udo Lindenberg to Rock the Frankfurt Festhalle on 3 April 2017
“Keine Panik” (“Don’t Panic”) at the 12th PRG Live Entertainment Awards - Udo Lindenberg to rock the Frankfurt Festhalle on 3 April 2017 The President of Panic himself will be honouring the gala for the 12th PRG Live Entertainment Awards (LEAs) with his presence in the Frankfurt Festhalle on Monday 3 April: on the opulently-decorated stage, Udo Lindenberg will once again show that he is still playing in the Champions League of German rock music even after a five-decades-long career, with his energetic performance and breathtaking showmanship. The LEA audience will get a taster of his “Keine Panik” tour, with which the resident of Hamburg was able to fill the biggest venues and stadiums in Germany in 2016. Udo Lindenberg / picture Tine Acke Helmut Zerlett / picture Nadine Dilly Last year Lindenberg received an award from the LEA jury with his promoter and manager Roland Temme. Now he’s returning to Frankfurt for the Live Entertainment event. “We’re delighted that Udo likes the LEAs so much,” says Professor Jens Michow, CEO of the LEA Veranstaltungs GmbH events corporation and Executive Producer of the awards gala. “Our guests can look forward to a really special performance.” However, the German rock pioneer’s performance is only one highlight of the musical programme at the LEAs 2017, which are expected to attract 1,400 guests. Other musical performances will include Helmut Zerlette, who will grace the gala along with his band. And Max Giesinger and the break- dance group DDC will also take to the stage. LEAs meet Virtual Reality: live stream also available as a 360-degree 3D event This year, the organisers of the LEAs are blazing new pathways with their moving-image transmission of the event. -
The Final Countdown Begins: SLAYER Announces the Final Campaign the Last Leg of Its Farewell World Tour with Primus, Ministry, and Philip H
The final countdown begins: SLAYER announces The Final Campaign The last leg of its Farewell World Tour with Primus, Ministry, and Philip H. Anselmo & The Illegals Tickets will go on sale on Friday, July 12 at 10 a.m. COLORADO SPRINGS (July 9, 2019) — On Saturday, November 2, Slayer - Tom Araya/bass and vocals, Kerry King/guitars, Gary Holt/guitars, and Paul Bostaph/ drums - will set off on The Final Campaign, the seventh and final leg of its farewell world tour. This last hurrah will start at the Explore Asheville Arena in Asheville, North Carolina, and see the band taking its goodbye bow at the Los Angeles Forum on Saturday, November 30. The tour will stop in Colorado Springs at The Broadmoor World Arena on Wednesday, November 20. Accompanying Slayer for this last ride are Primus, Ministry and Philip H. Anselmo & The Illegals performing a vulgar display of Pantera. Tickets go on sale this Friday, July 12 at 10 a.m. local; limited VIP packages will be available. All tickets can be purchased at The Broadmoor World Arena box office, BroadmoorWorldArena.com, AXS.com or via phone at (719) 520-SHOW. Slayer’s Final World Tour began on May 10, 2018, with the band’s intention to play as many places as possible to make it easy for the fans to see one last Slayer show and say goodbye. By the time the 18-month trek wraps on November 30, the band will have completed seven tour legs plus a series of one-off major summer festivals, performing more than 140 shows in 30 countries and 40 U.S.