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Extreme metal

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Title: Extreme metal  
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Subject: Heavy metal subgenres, Black metal, Doom metal, Heavy metal music, Cradle of Filth
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Extreme metal

Extreme metal is a loosely defined umbrella term for a number of related heavy metal music subgenres that have developed since the early 1980s. It has been defined as a "cluster of metal subgenres characterized by sonic, verbal and visual transgression." [1] The term usually refers to a more abrasive, harsher, underground, non-commercialized style or sound associated with the doom metal, speed metal, thrash metal, black metal, and death metal genres.[2]

Though many extreme sub-styles are not very well known to mainstream music fans, extreme metal has influenced an array of musical performers inside and outside of heavy metal.

Contents

  • Definitions 1
  • History 2
  • Extreme metal genres 3
    • Primary genres 3.1
    • Subgenres of primary genres 3.2
    • Fusion genres 3.3
      • Fusions between primary genres 3.3.1
      • Fusions with other metal styles 3.3.2
      • Fusions with hardcore punk and punk rock styles 3.3.3
      • Fusion with rock styles 3.3.4
      • Fusions with various other musical styles 3.3.5
    • Derivatives 3.4
  • References 4

Definitions

"Extreme" can be meant to describe any of the following musical elements: instrumentation (whether it is intended to be faster, more aggressive, abrasive or "heavier" than other metal styles), lyrics (dealing with darker, more sensational topics and themes), vocals (which often use guttural, harsh or abrasive singing), or appearance and stage demeanor (using corpse paint, Satanic or occult imagery). The "extreme" label is most commonly applied to bands whose music is extreme; for example, few would consider Kiss or Alice Cooper to be extreme metal, though they could be considered to employ "extreme" elements in their appearance and stage demeanor for their time.

"Extreme metal’s sonic excess is characterized by high levels of distortion (also in the vocals – grunting or screaming), less focus on guitar solos and melody, emphasis on technical control, and fast tempos (at times, more than 200 beats per minute). Its thematic transgression can be found in more overt and/or serious references to Satanism and the darker aspects of human existence that are considered out of bounds or distasteful, such as death, suicide and war."[3] "Visual transgression [can include]...medieval weaponry [and] bloody/horrific artwork."[4]

According to ethnographer Keith Kahn-Harris,[5] the defining characteristics of extreme metal can all be regarded as clearly transgressive: the "extreme" traits noted above are all intended to violate or transgress given cultural, artistic, social or aesthetic boundaries.

Given the vagueness of existing definitions and considering the limitations such definitions have, there are many artists for whom the usage of the term "extreme metal" is a subject of debate.[5] However, Kahn-Harris also notes that many musicians and fans see such debates over style and genre as useless and unnecessary, or at least as given undue attention.

History

Below is a basic summary explaining how the primary extreme metal genres evolved:

Extreme metal genres

Primary genres

Subgenres of primary genres

Fusion genres

Fusions between primary genres

Fusions with other metal styles

Fusions with hardcore punk and punk rock styles

Fusion with rock styles

Fusions with various other musical styles

Derivatives

Although the following derivatives have extreme influences, they are usually not considered extreme themselves:

References

  1. ^ Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol.4, no.1 (2014) p. 101
  2. ^ K. Kahn-Harris, Extreme Metal: Music and Culture on the Edge (Berg Publishers, 2007), ISBN 1-84520-399-2, p. 31.
  3. ^ Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol.4, no.1 (2014) p. 103
  4. ^ Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in Journal of the International Association for the Study of Popular Music. Vol.4, no.1 (2014) p. 103
  5. ^ a b c d e Kahn-Harris, Keith, Extreme Metal: Music and Culture on the Edge, Oxford: Berg, 2007, ISBN 1-84520-399-2.
  6. ^ Doom metal at Allmusic
  7. ^ Wolf-Rüdiger Mühlmann: War Black Metal: Die Extremsten der Extremen. Was bleibt, ist Schutt und Asche. In: Rock Hard, no. 279, p. 71-73.
  8. ^ Hayes, Craig. "Pallbearer - Sorrow And Extinction Review".  
  9. ^ Newshound, Terrorizer. review"ITALIAN BLACKENED DOOMSTERS FORGOTTEN TOMB PLAN RELEASE".  
  10. ^ Marsicano, Dan. review"Ordo Obsidium - Orbis Tertius Review".  
  11. ^ Mason, Stewart. "Glass Casket".  
  12. ^ Brown, Jonathon (2007-09-06). "Everything you ever wanted to know about pop (but were too old to ask)". London:  
  13. ^ Purcell, Natalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture. McFarland. p. 24.  
  14. ^ Lee, Cosmo; Voegtlin, Stewart. "Into the void: Stylus Magazine's Beginner's Guide to Metal - Article - Stylus Magazine".  
  15. ^ Huey, Steve. "Eyehategod".  
  16. ^ Howells, Tom. "Blackgaze: meet the bands taking black metal out of the shadows". the Guardian. Retrieved 2015-10-05. 
  17. ^ Cosmo Lee. "Stylus magazine review". www.stylusmagazine.com. Retrieved 2008-07-18. “Death ’n’ roll” arose with Entombed’s 1993 album Wolverine Blues ... Wolverine Blues was like ’70s hard rock tuned down and run through massive distortion and death growls. 
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