DOCSLIB.ORG

Powerviolence and Doom,Hxc: Salad Days Showcases DIY Punk,Hxc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Powerviolence and Doom,Hxc: Salad Days Showcases DIY Punk,Hxc HxC: Festival Season in PVD Festival season is upon us. As soon as the weekend of the 4th passes there are shows all weekend, every weekend for the rest of the month. If you have time to get out to shows between the PVD Fringe Fest and the 48 Hour Film Festival, making it out to see Dropdead and B Dolan at The Met on Jul 11 should be at the top of your to-do list. PVD locals Dropdead have been in the punk hardcore scene since the ’90s. Their beat-down, crust-punk-influenced music has kept fans wanting more for 20 years. If that style of punk isn’t what you are looking for, the guys at Firehouse 13 are having a weekend full of Oi! bands. The Oi! style of punk is mainly influenced by the 1970s UK bands, while interweaving punk and ska. Patriot and Yellow Stitches will start around 8:30pm on Jul 11, and if you’re trying to get some BBQ in before the show, Brass N Ammo are holding an outdoor chow-down at 6:30pm. If that isn’t enough, the annual Warped Tour and Rockstar Energy Mayhem Festival take place the following weekends. 7/11: Firehouse 13 — Patriot, Yellow Stitches, The Usual Suspect, Iron Chin 7/11: The Met — B Dolan, Dropdead, Ask The Dead and More 7/13: DV8 — Knocked Loose, No Way Out, Degrader, Waste Of Life, Divided Life, Brittle Bones, Insidious, Suckerpunch 7/14: Xfinity Center — Warped Tour 7/25: Xfinity Center — Mayhem Festival 7/25: As220 — Rampant Decay, Deathface, Timecop Beach Party 7/28: As220 — Windhand, Pilgrim, Second Grave HxC: Coming Out of Hibernation With summer finally breaking through, bands have come out of hibernation and between now and August you can catch some of your favorites around PVD. The trending tours of old school punk bands is continuing this month, with the English street punk band GBH taking over The Met on June 17. With 30 years of punk under their belt, they’re a great start to an even better weekend. Only a couple days later, my personal favorite, Anti-Flag, will pass through on tour for their recently released album, American Spring. Check them out at Simon’s 677 on June 19. That’s only the beginning. Between As220 and Firehouse 13 there will be something going on each night. And on the first Tuesday of each month until July 2, Firehouse 13 and Brass N Ammo teamed up to have a vinyl record exchange night where you can buy and sell your records. It wouldn’t be a Tuesday at Firehouse if there weren’t free tacos, so you can expect those as well! If that doesn’t have you looking forward to the rest of this summer, then I am sure Warped Tour and Providence’s Annual Foo Fest will. All the pop punk fans out there will be glad to know that our good friends Trophy Wives will be exposed to even more people on this year’s Warped Tour. You can catch them, Citizen, Hundredth, H20 and many more big names at this year’s tour, which comes to Mansfield on July 14. Although there is some time between now and As220’s Foo Fest, which takes place on Aug 8, it’s hard not to look forward to this year’s amazing line-up and headliners. As220 is known for their creative and cultural support in PVD, and this DIY-supportive venue is hosting more than 20 bands for this year’s fest. Ranging from punk to folk, the all-day event has a little something for everyone. Between Fucking Invincible, V-sect and Gymshorts, plus the main headliners, Deerhoof, and the local headliners, The Low Anthem and Death Vessel, it might be hard not to stay all day so you won’t miss any of these amazing musicians. This is just a sneak peek of all that is going on this summer in PVD. If you’re in town and looking for some punk or hardcore music, just check out these venues. With so much to look forward to, even making it out to just one event will be a treat! June 6: As220; I Eat Rocks, Bad Motherfucker, The Famines, Mis(s)invader June 7: Lupos; Less Than Jake, Reel Big Fish, Ballyhoo! June 8: Firehouse 13; Disrotted, Minimum Wage Assassins, Upheaval, Ratstab, David Carradine June 14: Firehouse 13; Coliseum, Child Bite, Aneurysm, Cross-Armed Calculator June 17: The Met; GBH, Total Chaos, The Down & Outs June 19: Simons 677; Anti-Flag, The Homeless Gospel, After the Fall HxC: Powerviolence and Doom If you were one of the lucky ones to see Full of Hell and The Body last month in PVD, then you can agree that each time these guys make it to town they use every ounce of energy and passion they have. Full of Hell is a self-proclaimed grindcore powerviolence band with hardcore and punk influences. They use the special combination of hardcore, grind and noise to create their specific sound. Using guitar feedback and pedals they bend the original sound of their guitars and vocals to produce a heavier and more intense experience. Full of Hell drags you by the feet to stay on the same pulsating wavelength, giving you a full body experience of sound. Originally from PVD but now residing in Portland, The Body is a two piece sludge-doom band described by fans as a notorious group with the ability to rearrange your organs with their heaviness. Their pounding doom version of metal creeps into your ears, leaving an unforgettable sound. You can catch these chilling, sound pulverizing bands at Machines with Magnets on Sun, May 17. Opening for these two powerhouse groups are Humanbeast, Clean and Suicide Slide. May 6: Firehouse 13 — Capsize, Rarity, Great American Ghost, Rat Trap, Full Body Shot May 16: As220 — Sweet Jesus, Caught In A Crowd, Death Injection, Some Nerve May 17: Machines With Magnets — The Body, Full Of Hell, Humanbeast, Clean, Suicide Slide May 23: Dusk — Fuming Mouth, Rat Trap, Deathstate, Monsignor Meth, Mass Graves May 26: Simons 677 — D.R.I, Reason To Fight, On Your Deathbed May 31: Psychic Readings — The Wrong, V-sect, Smile Bag, Wokling, Teen Death HxC: Salad Days Showcases DIY Punk As220 is holding a screening of the brand new DIY documentary Salad Days on April 10. The punk hardcore community holds Minor Threat, Fugazi, Bad Brains and many more in high regard and name them as influences in their music. Punk and DIY has always gone hand in hand, and these aforementioned bands put a stamp on what a group of people can accomplish without big record labels and managers. In the ’80s into the ’90s, punk and hardcore musicians booked their own shows, pressed their own vinyl and made statements without thought to the law or government. This documentary highlights the underground music scene in Washington DC that caused a whiplash of alternative music across the country. Over the years there have been multiple documentaries trying to get across what exactly started this epidemic of hardcore and punk, but what makes Salad Days different is that the story is told by the scene’s originators. It includes interviews with Ian MacKaye, Henry Rollins, Dave Grohl, Alec MacKaye and many more. “Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction,” says Scott Crawford, creator of Salad Days. Providence’s DIY community is alive and well and can be seen at venues across the city. AS220 prides itself on being a home for all artistic expression, making it the perfect place to view this influential documentary. Don’t miss out on this screening on April 10 at 8pm at the AS220 Main Stage. April 4: As220 — Sete Star Sept, Lotus Fucker, Sadist, Clean April 10: As220 (before Salad Days viewing) — Sweet Jesus, Big Mouth April 11: Aurora Pvd — Inertia, Sunrot, 1 Local TBA April 14: Deep Desert — Full Of Hell, The Body April 17: As220 — Weak Teeth, Violent Sons, New Strange, Public Policy April 25: Firehouse 13 — The Casualties, Burning Streets, The Alley Saints, Honest John, Devils Twins HxC: March Is Roaring The locals are taking over Providence this month; venues are set up with the best local punk and hardcore bands the city has to offer. Firehouse and the guys from Brass N Ammo are pulling together a killer lineup for a nice Wed night show on March 11 with the locals in Barber Cop and fan favorites from Boston, StreetSweeper and Creeps. The following Monday, March 16, Riotous Outburst Records is bringing the Swedish band Nightmare City to Firehouse with Psycho, Slutvomit from Seattle, and local grindcore band Power Whores. Providence locals Dropdead and Fucking Invincible will tear up As220 with V-sect and Wokling on March 25. These guys can put on a show, and it will sell out. Simons is bringing Boston hardcore veterans Bane and one of New York’s favorite hardcore bands, Backtrack, together on March 26 as the kickoff to Bane’s US tour. This season is sure to be full of crazy shows each weekend. If you can’t make it out to any of this month’s shows, April is just as jam packed with pounding music and shows you do not want to miss. March 7: The Funky Jungle — Nuclear Age, Spirits, Ugly, Cross-Armed Calculator March 11: Firehouse 13 — Barge/Holy Land, StreetSweeper, Rat Trap, Barber Cop, Creeps March 16: Firehouse 13 — Psycho, Slutvomit, Nightmare City, Power Whores March 25: As220 — Dropdead, Fucking Invincible, V-Sect, Wokling March 26: Simons 677 — Bane, Backtrack, Malfunction, Reason to Fight, Lines Drawn March 28: The Funky Jungle — Night Birds, No Problem, Beartrap, Wokling March 31: The Met — New Found Glory, Turnstile, This Wild Life, Turnover HxC: Weak Teeth’s Latest Grabs You by the Neck Providence locals Weak Teeth are back with the follow-up to their 2012 EP What A Plague You Are.
Load more

Recommended publications
  • Grindcore.Pdf
    Obsah: 1. Úvod..........................................................................................................................2 1.1 Ideová východiska práce.............................................................................2 1.2 Stav bádání, primární a sekundární literatura.............................................3 1.3 Definice grindcore, důležité pojmy.............................................................3 1.4 Členění práce a metodologie.......................................................................6 1.5 Cíl práce......................................................................................................8 2. Historický úvod – žánrová typologie........................................................................9 2.1 Počátky žánru a dva hlavní proudy grindcoru............................................9 2.2 Další vývoj grindcoru................................................................................13 3. Grindcore – hledání extrémního hudebního projevu ….........................................17 3.1 Transformace zpěvu..................................................................................17 3.2 Vývoj rytmu, rytmické sekce....................................................................19 3.3 Vývoj hry na kytaru a baskytaru …..........................................................20 3.4 Vývoj formy a mikrostruktury..................................................................20 3.5 Goregrindové intro....................................................................................22
    [Show full text]
  • Razorcake Issue #82 As A
    RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS.
    [Show full text]
  • Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
    MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4.
    [Show full text]
  • Elena Is Not What I Body and Remove Toxins
    VISIT HTTP://SPARTANDAILY.COM VIDEO SPORTS Hi: 68o A WEEKEND SPARTANS HOLD STROLL Lo: 43o ALONG THE ON TO CLOSE WIN OVER DONS GUADALUPE Tuesday RIVER PAGE 10 February 3, 2015 Volume 144 • Issue 4 Serving San Jose State University since 1934 LOCAL NEWS Electronic duo amps up Philz Coff ee Disney opens doors for SJSU design team BY VANESSA GONGORA @_princessness_ Disney continues to make dreams come true for future designers. Four students from San Jose State University were chosen by Walt Disney Imagineering as one of the top six college teams of its 24th Imaginations Design Competition. The top six fi nal teams were awarded a fi ve-day, all-expense-paid trip to Glendale, Calif., from Jan. 26–30, where they presented their projects to Imag- ineering executives and took part in an awards cere- mony on Jan. 30. According to the press release from Walt Disney Imagineering, the competition was created and spon- sored by Walt Disney Imagineering with the purpose of seeking out and nurturing the next generation of diverse Imagineers. This year’s Imaginations Design Competition consisted of students from American universities and Samson So | Spartan Daily colleges taking what Disney does best today and ap- Gavin Neves, one-half of the San Jose electronic duo “Hexes” performs “Witchhunt” at Philz plying it to transportation within a well-known city. Coffee’s weekly open mic night on Monday, Feb. 2. Open mic nights take place every Monday at The team’s Disney transportation creation needed the coffee shop from 6:30 p.m. to 9:15 p.m.
    [Show full text]
  • GOREGRIND​​: Música Extrema E Política ​​Underground1 Evelyn
    GOREGRIND: música extrema e política underground1 ​ ​ Evelyn Christine da Silva Matos2 Resumo Este estudo relata pontos centrais que definem o gênero musical goregrind. A ​ ​ análise visa delinear o estilo, atentando a nuances e pertinências deste na vida social urbana. Utiliza-se dos conceitos “subcultura” e “cultura juvenil” nas reflexões, além de atender à legitimação baseada em compreensões simbólicas e sensoriais para formação de grupos; e situa o paradigma da hegemonia através da tradição e da normalização dos formatos sociais a fim de aproximar estilos que o subvertem. O artigo contribui com a apresentação do underground por meio de um dos estilos que o corresponde e encaminha à concepção parceira entre estilos subversivos da modernidade e pós-modernidade. Palavras-chave: música extrema; underground; cena. Abstract This study reports central points that define the musical genre goregrind. The analysis aims to delineate the style, considering the nuances and pertinences of this in urban social life. The concepts "subculture" and "youth culture" are used in the reflections, in addition to attending the legitimation based on symbolic and sensorial understandings for group formation; and situates the paradigm of hegemony through tradition and the normalization of social formats in order to approximate styles that subvert it. The article contributes to the presentation of the underground through one of the styles that corresponds to it and leads to the conception of the subversive styles of modernity and postmodernity. Key-words: extreme music; underground; scene. 1 Artigo submetido à 31ª Reunião Brasileira de Antropologia, realizada entre os dias 09 e 12 de dezembro de 2018, Brasília/DF.
    [Show full text]
  • Screamo Bands and Artists List
    Screamo Bands and Artists List Anomie https://www.listvote.com/lists/music/artists/anomie-567578/albums One Hundred Steps https://www.listvote.com/lists/music/artists/one-hundred-steps-10340978/albums The Third Memory https://www.listvote.com/lists/music/artists/the-third-memory-3522992/albums The Vaine https://www.listvote.com/lists/music/artists/the-vaine-10946051/albums Waifle https://www.listvote.com/lists/music/artists/waifle-106641938/albums Bert McCracken https://www.listvote.com/lists/music/artists/bert-mccracken-793753/albums Amanda Woodward https://www.listvote.com/lists/music/artists/amanda-woodward-580065/albums On the Last Day https://www.listvote.com/lists/music/artists/on-the-last-day-638842/albums Circle Takes the https://www.listvote.com/lists/music/artists/circle-takes-the-square-678948/albums Square Andorra~atkins https://www.listvote.com/lists/music/artists/andorra~atkins-492751/albums Pg. 99 https://www.listvote.com/lists/music/artists/pg.-99-709143/albums Raein https://www.listvote.com/lists/music/artists/raein-946817/albums I Set My Friends On https://www.listvote.com/lists/music/artists/i-set-my-friends-on-fire-800133/albums Fire Daïtro https://www.listvote.com/lists/music/artists/da%C3%AFtro-10228/albums Joliette https://www.listvote.com/lists/music/artists/joliette-25412414/albums Snöras https://www.listvote.com/lists/music/artists/sn%C3%B6ras-10672786/albums United Nations (band) https://www.listvote.com/lists/music/artists/united-nations-%28band%29-7888317/albums Usurp Synapse https://www.listvote.com/lists/music/artists/usurp-synapse-7902265/albums
    [Show full text]
  • “Punk Rock Is My Religion”
    “Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area.
    [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]
  • Now Exclusively Distributed by ACXDC Street Date: He Had It Coming, 7˝ AVAILABLE NOW!
    PRESENTS RELEASES FROM: ACXDC, ARCHAGATHUS, ASSHOLEPARADE, BACKSLIDER, BEARTRAP, BRIAN WALSBY, CAPITALIST CASUALTIES, CHEST PAIN, CONGA FURY, EDDIE BROCK, GET DESTROYED, LAPSE, MAGRUDERGRIND, MALPRACTICE INSURANCE, MEHKAGO N.T., NASHGUL, NOCOMPLY, OSK, P.L.F., RAPE REVENGE, SEX PRISONER, SIDETRACKED, SHITSTORM, SUFFERING LUNA, TORCH RUNNER, TOTAL FUCKING DESTRUCTION, XBRAINIAX Now Exclusively Distributed by ACXDC Street Date: He Had It Coming, 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Los Angeles, CA Key Markets: LA & CA, Texas, Arizona, DC, Baltimore MD, New York, Canada, Germany For Fans of: MAGRUDERGRIND, NASUM, NAPALM DEATH, DESPISE YOU ANTI-CHRIST DEMON CORE’s He Had it Coming repress features the original six song EP released in 2005 plus two tracks from the same session off the A Sign Of Impending Doom Compilation. The band formed in 2003, recorded these songs in 2005 and then vanished for awhile on a many- year hiatus, only to resurface and record and release a brilliant new EP and begin touring again in 2011/2012. The original EP is long sought after ARTIST: ACXDC by grindcore and powerviolence fiends around the country and this is your TITLE: He Had It Coming chance to grab the limited repress. LABEL: TO LIVE A LIE CAT#: TLAL64AB Marketing Points: FORMAT: 7˝ GENRE: Grindcore • Hugely Popular Band BOX LOT: NA • Repress of Long Sold Out EP SRLP: $5.48 • Huge Seller UPC: 616983334836 • Two Extra Songs In Additional To Originals EXPORT: NO RESTRICTIONS • Two Bonus Songs Never Before Pressed To Vinyl, In Additional To Originals Tracklist: 1. Dumb N Dumbshit 2. Death Spare Not The Tiger 3. Anti-Christ Demon Core 4.
    [Show full text]
  • From Crass to Thrash, to Squeakers: the Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive From Crass to Thrash, to Squeakers: The Suspicious Turn to Metal in UK Punk and Hardcore Post ‘85. Otto Sompank I always loved the simplicity and visceral feel of all forms of punk. From the Pistols take on the New York Dolls rock, or the UK Subs aggressive punk take on rhythm and blues. The stark reality Crass and the anarchist-punk scene was informed with aspects of obscure seventies rock too, for example Pete Wright’s prog bass lines in places. Granted. Perhaps the most famous and intense link to rock and punk was Motorhead. While their early output and LP’s definitely had a clear nod to punk (Lemmy playing for the Damned), they appealed to most punks back then with their sheer aggression and intensity. It’s clear Motorhead and Black Sabbath influenced a lot of street-punk and the ferocious tones of Discharge and their Scandinavian counterparts such as Riistetyt, Kaaos and Anti Cimex. The early links were there but the influence of late 1970s early 80s NWOBM (New Wave of British Heavy Metal) and street punk, Discharge etc. in turn influenced Metallica, Anthrax and Exodus in the early eighties. Most of them can occasionally be seen sporting Discharge, Broken Bones and GBH shirts on their early record-sleeve pictures. Not only that, Newcastle band Venom were equally influential in the mix of new genre forms germinating in the early 1980s. One of the early examples of the incorporation of rock and metal into the UK punk scene came from Discharge.
    [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]
  • Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
    "THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr.
    [Show full text]