Editing Heavy metal music (section)

===Other heavy metal genres: 1980s, 1990s and 2000s===
[[File:Suicidal Tendencies @ Capitol (18 5 2011) (5770925587).jpg|thumb|left|alt=The drummer from the band Suicidal Tendencies, Eric Moore, is shown behind his drumkit. One hand is raised with the index finger and pinky extended.|Drummer [[List of Suicidal Tendencies band members|Eric Moore]] from [[crossover thrash]] band [[Suicidal Tendencies]]]]
Many [[list of heavy metal genres|subgenres of heavy metal]] developed outside of the commercial mainstream during the 1980s,<ref>Weinstein (1991), p. 21</ref> such as [[crossover thrash]]. Several attempts have been made to map the complex world of underground metal, most notably by the editors of [[AllMusic]], as well as critic [[Rockdetector|Garry Sharpe-Young]]. Sharpe-Young's multivolume metal encyclopedia separates the underground into five major categories: [[thrash metal]], [[death metal]], [[black metal]], [[power metal]] and the related subgenres of [[doom metal|doom]] and [[gothic metal]].<ref>Sharpe-Young (2007), p. 2</ref>

In 1990, a review in ''Rolling Stone'' suggested retiring the term "heavy metal" as the genre was "ridiculously vague".<ref name="rs-1990">{{cite web|archive-url=https://web.archive.org/web/20080108121842/http://www.rollingstone.com/artists/anthrax/albums/album/302316/review/5946559/persistence_of_time|url=https://www.rollingstone.com/artists/anthrax/albums/album/302316/review/5946559/persistence_of_time|access-date=17 July 2015|archive-date=8 January 2008|title=Anthrax: Persistence of Time|last=Neely|first=Kim|date=4 October 1990|url-status=dead|work=[[Rolling Stone (magazine)|Rolling Stone]]}}</ref> The article stated that the term only fueled "misperceptions of rock & roll bigots who still assume that five bands as different as [[Ratt]], [[Extreme (band)|Extreme]], [[Anthrax (American band)|Anthrax]], [[Danzig (band)|Danzig]] and [[Mother Love Bone]]" sound the same.<ref name="rs-1990" />

====Thrash metal====
{{Main|Thrash metal}}
[[File:Slayer, The Fields of Rock, 2007.jpg|upright=1.1|thumb|alt=The band Slayer is shown at concert. From left to right are an electric guitarist, a bass player (also singing), an electric guitarists, and a drummer. The first guitarist and bassist have long hair. The right-most guitarist has a bald head. The drummer has two bass drums.|Thrash metal band [[Slayer]] performing in 2007 in front of a wall of speaker stacks]]
Thrash metal emerged in the early 1980s under the influence of [[hardcore punk]] and the New Wave of British Heavy Metal,<ref name=GTM>[{{AllMusic|class=style|id=speed-thrash-metal-ma0000002874|pure_url=yes}} "Genre—Thrash Metal"]. AllMusic. Retrieved 3 March 007</ref> particularly songs in the revved-up style known as [[speed metal]]. The movement began in the United States, with [[Bay Area thrash metal]] being the leading scene. The sound developed by thrash groups was faster and more aggressive than that of the original metal bands and their glam metal successors.<ref name=GTM/> Low-register guitar riffs are typically overlaid with [[shred guitar|shredding]] leads. Lyrics often express [[nihilism|nihilistic]] views or deal with [[social issues]] using visceral, gory language. Thrash has been described as a form of "urban blight music" and "a palefaced cousin of rap".<ref>Moynihan, Søderlind (1998), p. 26</ref>

The subgenre was popularized by the "Big Four of Thrash": [[Metallica]], [[Anthrax (American band)|Anthrax]], [[Megadeth]] and [[Slayer]].<ref>Walser (1993), p.14</ref> Three German bands, [[Kreator]], [[Sodom (band)|Sodom]] and [[Destruction (band)|Destruction]], played a central role in bringing the style to Europe. Others, including the San Francisco Bay Area's [[Testament (band)|Testament]] and [[Exodus (band)|Exodus]], New Jersey's [[Overkill (band)|Overkill]], and Brazil's [[Sepultura]] and [[Sarcófago]], also had a significant impact. Although thrash metal began as an underground movement, and remained largely that for almost a decade, the leading bands of the scene began to reach a wider audience. Metallica brought the sound into the top 40 of the ''Billboard'' album chart in 1986 with ''[[Master of Puppets]]'', the genre's first Platinum record.<ref>Nicholls (1997), p. 378</ref> Two years later, the band's album ''[[...And Justice for All (album)|...{{nbsp}}And Justice for All]]'' hit No. 6, while Megadeth and Anthrax also had top 40 records on the American charts.<ref>[{{BillboardURLbyName|artist=Metallica|chart=all}} "Metallica—Artist Chart History"]; [{{BillboardURLbyName|artist=Megadeth|chart=all}} "Megadeth—Artist Chart History"]; [{{BillboardURLbyName|artist=Anthrax|chart=all}} "Anthrax—Artist Chart History"]. Billboard.com. Retrieved 7 April 2007</ref>

Though less commercially successful than the rest of the Big Four, Slayer released one of the genre's definitive records: ''[[Reign in Blood]]'' (1986) was credited for incorporating heavier guitar [[timbre]]s and including explicit depictions of death, suffering, violence and occult into thrash metal's lyricism.<ref>Phillipov (2012), p. 15, 16</ref> Slayer attracted a following among [[white power skinhead|far-right skinheads]], and accusations of promoting violence and [[Nazism|Nazi]] themes have dogged the band.<ref>Moynihan, Søderlind (1998), p. 30; O'Neil (2001), p. 164</ref> Even though Slayer did not receive substantial media exposure, their music played a key role in the development of [[extreme metal]].<ref>Harrison (2011), p. 61</ref>

In the early 1990s, bands that got their start in thrash metal achieved breakout success, challenging and redefining the metal mainstream.<ref>Walser (1993), p. 15</ref> Metallica's [[Metallica (album)|self-titled 1991 album]] topped the ''Billboard'' chart,<ref>{{cite magazine|url=http://www.billboard.com/charts/1991-08-31/billboard-200 |title=Top 200 Albums|magazine=Billboard|date=22 January 2015|access-date=9 January 2022}}</ref> as the band established an international following.<ref>Harrison (2011), p. 60</ref> Megadeth's ''[[Countdown to Extinction]]'' (1992) debuted at No. 2,<ref>{{cite magazine|url=http://www.billboard.com/charts/1992-08-01/billboard-200 |title=Top 200 Albums|magazine=Billboard|date=22 January 2015|access-date=9 January 2022}}</ref> Anthrax and Slayer cracked the top 10,<ref>{{cite magazine|url=http://www.billboard.com/charts/1993-06-12/billboard-200 |title=Top 200 Albums|magazine=Billboard|date=22 January 2015|access-date=9 January 2022}}</ref> and albums by regional bands such as Testament and Sepultura entered the top 100.<ref>[{{BillboardURLbyName|artist=testament|chart=all}} Billboard 200 Chart Position: Testament – ''Ritual'', chart date: 30 May 1992]; [{{BillboardURLbyName|artist=sepultura|chart=all}} Billboard 200 Chart Position: Sepultura – ''Chaos A.D.'', chart date: 6 November 1993]</ref>

====Death metal====
{{Main|Death metal}}
[[File:Chuck Schuldiner.jpg|thumb|left|upright=0.7|alt=A man, Chuck Schuldiner, is shown on a dark shoreline. He has long hair, black pants and a black shirt, and a black leather jacket.|[[Death (metal band)|Death]]'s [[Chuck Schuldiner]], "widely recognized as the father of death metal"<ref>Rivadavia, Eduardo. [{{AllMusic|class=artist|id=death-mn0000228323|pure_url=yes}} "Death—Biography"]. AllMusic. Retrieved on 23 November 2007</ref>]]

Thrash metal soon began to evolve and split into more extreme metal genres. "Slayer's music was directly responsible for the rise of death metal," according to MTV News.<ref>[http://www.mtv.com/bands/m/metal/greatest_metal_bands/071406/index7.jhtml The Greatest Metal Bands of All Time—Slayer] {{webarchive |url=https://web.archive.org/web/20060718224746/http://www.mtv.com/bands/m/metal/greatest_metal_bands/071406/index7.jhtml |date=18 July 2006 }}. MTVNews.com. Retrieved on 27 February 2008</ref> The NWOBHM band Venom was also an important progenitor. The death metal movement in both North America and Europe adopted and emphasized the elements of [[blasphemy]] and [[diabolism]] employed by such acts. Florida's [[Death (metal band)|Death]], San Francisco Bay Area's [[Possessed (band)|Possessed]] and Ohio's [[Necrophagia]]<ref>{{cite web|url=https://www.allmusic.com/artist/necrophagia-mn0000862214/biography|title=Necrophagia – Biography & History – AllMusic|website=AllMusic|access-date=29 June 2018}}</ref> are recognized as seminal bands in the style. All three have been credited with inspiring the subgenre's name. Possessed in particular did so via their 1984 demo, ''Death Metal'', and their song "Death Metal", which came from their 1985 debut album, ''[[Seven Churches (album)|Seven Churches]]''. In the late 1980s and early 1990s, Swedish death metal became notable and melodic forms of death metal were created.<ref>Ekeroth, Daniel (2011)</ref>

Death metal utilizes the speed and aggression of both thrash and hardcore, fused with lyrics preoccupied with [[Z movie|Z-grade]] [[slasher film|slasher movie]] violence and [[Satanism]].<ref name=LOC27>Moynihan, Søderlind (1998), p. 27</ref> Death metal vocals are typically bleak, involving guttural "[[death growl]]s", high-pitched [[screaming (music)|screaming]], the "death rasp"<ref name=VS>Van Schaik, Mark. [http://www.emptywords.org/SK04-2000.htm "Extreme Metal Drumming"] ''Slagwerkkrant'', March/April 2000. Retrieved on 15 November 2007</ref> and other uncommon techniques.<ref name="Genre—Death Metal/Black Metal">[{{AllMusic|class=explore|id=style/d384|pure_url=yes}} "Genre—Death Metal/Black Metal"]. [[AllMusic]]. Retrieved on 27 February 2007</ref> Complementing the deep, aggressive vocal style are down-tuned, heavily [[distortion (guitar)|distorted]] guitars<ref name=LOC27/><ref name=VS/> and extremely fast percussion, often with rapid [[bass drum|double bass]] drumming and "wall of sound"–style [[blast beats]]. Frequent tempo and [[time signature]] changes and [[syncopation]] are also typical.<ref>{{cite book |last=Kahn-Harris|first=Keith|author-link=Keith Kahn-Harris|year=2007|title=Extreme Metal: Music and Culture on the Edge|publisher=[[Berg Publishers]] |isbn=978-1-84520-399-3}}</ref>

Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets.<ref name=MS28>Moynihan, Søderlind (1998), p. 28</ref> One major exception to this rule was [[Deicide (band)|Deicide]]'s [[Glen Benton]], who branded an inverted cross on his forehead and wore armor on stage. [[Morbid Angel]] adopted [[neo-fascist]] imagery.<ref name=MS28/> These two bands, along with Death and [[Obituary (band)|Obituary]], were leaders of the major death metal scene that emerged in Florida in the mid-1980s. In the U.K., the related style of [[grindcore]], led by bands such as [[Napalm Death]] and [[Extreme Noise Terror]], emerged from the [[anarcho-punk]] movement.<ref name=LOC27/>

====Black metal====
{{Main|Black metal}}

The first wave of black metal emerged in Europe in the early and mid-1980s, led by the United Kingdom's [[Venom (band)|Venom]], Denmark's [[Mercyful Fate]], Switzerland's [[Hellhammer]] and [[Celtic Frost]], and Sweden's [[Bathory (band)|Bathory]]. By the late 1980s, Norwegian bands such as [[Mayhem (band)|Mayhem]] and [[Burzum]] were heading a second wave.<ref>Christe (2003), p. 270</ref> Black metal varies considerably in style and production quality, although most bands emphasize shrieked and growled vocals, highly distorted guitars frequently played with rapid [[tremolo picking]], a dark atmosphere<ref name="Genre—Death Metal/Black Metal"/> and intentionally lo-fi production, often with ambient noise and background hiss.<ref>Jurek, Thom. [{{AllMusic|class=album|id=nefaria-mw0000567088|pure_url=yes}} "Striborg: ''Nefaria''"]. AllMusic. Retrieved on 15 November 2007</ref>

Satanic themes are common in black metal, though many bands take inspiration from ancient [[paganism]], promoting a return to supposed pre-Christian values.<ref>Moynihan, Søderlind (1998), p. 212</ref> Numerous black metal bands also "experiment with sounds from all possible forms of metal, folk, classical music, electronica and avant-garde".<ref name=VS/> [[Darkthrone]] drummer [[Fenriz]] explained: "It had something to do with production, lyrics, the way they dressed and a commitment to making ugly, raw, grim stuff. There wasn't a generic sound."<ref name=Campion>Campion, Chris. [https://www.theguardian.com/music/2005/feb/20/popandrock4#article_continue "In the Face of Death"]. ''The Observer'' (UK), 20 February 2005. Retrieved on 4 April 2007</ref>

Although bands such as [[Sarcófago]] had been donning [[corpsepaint]], by 1990, Mayhem was regularly wearing it; many other black metal acts also adopted the look. Bathory inspired the [[Viking metal]] and [[folk metal]] movements, and [[Immortal (band)|Immortal]] brought blast beats to the fore. Some bands in the Scandinavian black metal scene became associated with considerable violence in the early 1990s,<ref>Christe (2003), p. 276</ref> with Mayhem and Burzum linked to church burnings. Growing commercial hype around death metal generated a backlash; beginning in Norway, much of the Scandinavian metal underground shifted to support a black metal scene that resisted being co-opted by the commercial metal industry.<ref>Moynihan, Søderlind (1998), pp. 31–32</ref>

By 1992, black metal scenes had begun to emerge in areas outside Scandinavia, including Germany, France and Poland.<ref>Moynihan, Søderlind (1998), pp. 271, 321, 326</ref> The 1993 murder of Mayhem's [[Euronymous]] by Burzum's [[Varg Vikernes]] provoked intensive media coverage.<ref name=Campion/> Around 1996, when many in the scene felt the genre was stagnating,<ref>Vikernes, Varg. [http://www.burzum.org/eng/library/a_burzum_story06.shtml "A Burzum Story: Part VI—The Music"]. Burzum.org, July 2005; retrieved on 4 April 2007</ref> several key bands, including Burzum and Finland's [[Beherit (band)|Beherit]], moved toward an [[dark ambient|ambient]] style, while [[symphonic black metal]] was explored by Sweden's [[Tiamat (band)|Tiamat]] and Switzerland's [[Samael (band)|Samael]].<ref>[{{AllMusic|class=style|id=symphonic-black-metal-ma0000012290|pure_url=yes}} "Genre—Symphonic Black Metal"]. AllMusic. Retrieved on 9 April 2007</ref> In the late 1990s and early 2000s, Norway's [[Dimmu Borgir]] and England's [[Cradle of Filth]] brought black metal closer to the mainstream.<ref>Tepedelen, Adem. {{usurped|1=[https://web.archive.org/web/20071031005254/http://www.rollingstone.com/artists/dimmuborgir/articles/story/5935933/dimmu_borgirs_death_cult "Dimmu Borgir's 'Death Cult'"]}} (Archived at {{usurped|1=[https://web.archive.org/web/20071031005254/http://www.rollingstone.com/artists/dimmuborgir/articles/story/5935933/dimmu_borgirs_death_cult Wayback]}} on 31 October 2007). ''Rolling Stone'', 7 November 2003. Retrieved on 10 September 2007</ref><ref>Bennett, J. {{usurped|1=[https://web.archive.org/web/20070515040459/http://www.decibelmagazine.com/features/jun2007/dimmuborgir.aspx "Dimmu Borgir"]}}. ''Decibel'', June 2007. Retrieved on 10 September 2007</ref>

====Power metal====
{{Main|Power metal}}
[[File:Rhapsody_Buenos_Aires_2010.JPG|thumb|Italian band [[Rhapsody of Fire]] performing in Buenos Aires in 2010]]
During the late 1980s, the power metal scene came together largely in reaction to the harshness of death and black metal.<ref name="Genre - Power Metal">[{{AllMusic|class=style|id=power-metal-ma0000011913|pure_url=yes}} "Genre – Power Metal"]. AllMusic. Retrieved on 20 March 2007</ref> Though a relatively underground style in North America, it enjoys wide popularity in Europe, Japan and South America. Power metal focuses on upbeat, epic melodies and themes that "appeal to the listener's sense of valor and loveliness".<ref>Christe (2003), p. 372</ref> The prototype for the sound was established in the mid- to late 1980s by Germany's [[Helloween]], who, in their 1987 and 1988 ''[[Keeper of the Seven Keys]]'' albums, combined the power riffs, melodic approach and a high-pitched, "clean" singing style of bands like Judas Priest and Iron Maiden with thrash's speed and energy, "crystalliz[ing] the sonic ingredients of what is now known as power metal".<ref>[{{AllMusic|class=artist|id=helloween-mn0000957340|pure_url=yes}} "Helloween – Biography"]. AllMusic. Retrieved on 8 April 2007</ref>

Traditional power metal bands like Sweden's [[HammerFall]], England's [[DragonForce]] and the U.S.'s [[Iced Earth]] have a sound clearly indebted to the classic NWOBHM style.<ref>See, e.g., Reesman, Bryan. [{{AllMusic|class=album|id=glory-to-the-brave-mw0000233637|pure_url=yes}} "HammerFall: ''Glory to the Brave''"]. AllMusic; Henderson, Alex. [{{AllMusic|class=album|id=sonic-firestorm-mw0000333007|pure_url=yes}} "DragonForce: ''Sonic Firestorm''"]. AllMusic. Both retrieved on 11 November 2007</ref> Many power metal bands such as the U.S.'s [[Kamelot]], Finland's [[Nightwish]], [[Stratovarius]] and [[Sonata Arctica]], Italy's [[Rhapsody of Fire]] and Russia's [[Catharsis (Russian band)|Catharsis]] feature a keyboard-based [[Symphonic power metal|"symphonic" sound]], sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's [[Angra (band)|Angra]] and Argentina's [[Rata Blanca]] are popular.<ref name="A-Z of Power Metal">{{cite book |last=Sharpe-Young |first=Garry |year=2003 |title=A-Z of Power Metal |location=London |publisher=Cherry Red Books Ltd. |pages=19–20,354–356 |isbn=978-1-901447-13-2}}</ref>

Closely related to power metal is [[progressive metal]], which adopts the complex compositional approach of bands like [[Rush (band)|Rush]] and [[King Crimson]]. This style emerged in the United States in the early and mid-1980s, with innovators such as [[Queensrÿche]], [[Fates Warning]] and [[Dream Theater]]. The mix of the progressive and power metal sounds is typified by New Jersey's [[Symphony X]], whose guitarist [[Michael Romeo]] is among the most recognized of latter-day shredders.<ref name="Genre - Progressive Metal">[{{AllMusic|class=style|id=progressive-metal-ma0000002797|pure_url=yes}} "Genre – Progressive Metal"]. AllMusic. Retrieved on 20 March 2007</ref>

====Doom metal====
{{Main|Doom metal}}

Emerging in the mid-1980s with such bands as California's [[Saint Vitus (band)|Saint Vitus]], Maryland's [[The Obsessed]], Chicago's [[Trouble (band)|Trouble]] and Sweden's [[Candlemass (band)|Candlemass]], the doom metal movement rejected other metal styles' emphasis on speed, slowing its music to a crawl. Doom metal traces its roots to the lyrical themes and musical approach of early Black Sabbath.<ref>Christe (2003), p. 345</ref> The [[Melvins]] have also been a significant influence on doom metal and a number of its subgenres.<ref>Begrand, Adrien. [http://www.PopMatters.com/columns/begrand/060215.shtml "Blood and Thunder: The Profits of Doom"]. 15 February 2006. [[popmatters.com]]. Retrieved on 8 April 2007</ref> Doom metal emphasizes melody, melancholy tempos and a sepulchral mood relative to many other varieties of metal.<ref name=NYT1>Wray, John. [https://www.nytimes.com/2006/05/28/magazine/28artmetal.html?ei=5090&en=68f0bcd99797d7a3&ex=1306468800&partner=rssuserland&emc=rss&pagewanted=all "Heady Metal"]. ''New York Times'', 28 May 2006. Retrieved on 21 March 2007</ref>

The 1991 release of ''[[Forest of Equilibrium]]'', the debut album by U.K. band [[Cathedral (band)|Cathedral]], helped spark a new wave of doom metal. During the same period, the [[death/doom|doom-death]] fusion style of British bands [[Paradise Lost (band)|Paradise Lost]], [[My Dying Bride]] and [[Anathema (band)|Anathema]] gave rise to European [[gothic metal]].<ref>Sharpe-Young (2007), pp. 246, 275; see also Stéphane Leguay, "Metal Gothique" in ''Carnets Noirs'', éditions E-dite, 3e édition, 2006, {{ISBN|2-84608-176-X}}</ref> with its signature dual-vocalist arrangements, exemplified by Norway's [[Theatre of Tragedy]] and [[Tristania (band)|Tristania]]. New York's [[Type O Negative]] introduced an American take on the style.<ref>Sharpe-Young (2007), p. 275</ref>

In the United States, [[sludge metal]], which mixes doom metal and hardcore punk, emerged in the late 1980s; [[Eyehategod]] and [[Crowbar (US band)|Crowbar]] were leaders in a [[Music of New Orleans#Heavy metal|major Louisiana sludge scene]]. Early in the next decade, California's [[Kyuss]] and [[Sleep (band)|Sleep]], inspired by the earlier doom metal bands, spearheaded the rise of [[stoner metal]],<ref>Christe (2003), p. 347</ref> while Seattle's [[Earth (American band)|Earth]] helped develop the [[drone metal]] subgenre.<ref>Jackowiak, Jason. [http://www.splendidezine.com/review.html?reviewid=1125311580560974 "Hex: Or Printing in the Infernal Method"] {{webarchive|url=https://web.archive.org/web/20080927052955/http://www.splendidezine.com/review.html?reviewid=1125311580560974 |date=27 September 2008 }}. Splendid Magazine, September 2005. Retrieved on 21 March 2007</ref> The late 1990s saw new bands form such as the Los Angeles–based [[Goatsnake]], with a classic stoner/doom sound, and [[Sunn O)))]], which crosses lines between doom, drone and [[dark ambient]] metal; the ''New York Times'' has compared their sound to an "[[Music of India|Indian]] [[raga]] in the middle of an earthquake".<ref name=NYT1/>