Drone metal

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Drone metal or drone doom [1] is a style of heavy metal that melds the slow tempos and heaviness of doom metal with the long-duration tones of drone music. [2] [3] Drone metal is sometimes associated with post-metal [4] or experimental metal. [5]

Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom. With roots in blues rock, psychedelic rock, and acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. The genre's lyrics and performance styles are sometimes associated with aggression and machismo.

Doom metal is an extreme subgenre of heavy metal music that typically uses slower tempos, low-tuned guitars and a much "thicker" or "heavier" sound than other heavy metal genres. Both the music and the lyrics intend to evoke a sense of despair, dread, and impending doom. The genre is strongly influenced by the early work of Black Sabbath, who formed a prototype for doom metal with songs such as "Black Sabbath", "Children of the Grave", "Electric Funeral" and "Into the Void". During the first half of the 1980s, a number of bands from England, the United States and Sweden defined doom metal as a distinct genre.

Drone music, drone-based music, or simply drone, is a subgenre of minimal music that emphasizes the use of sustained sounds, notes, or tone clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".

Contents

Characteristics

Typically, the electric guitar is performed with a large amount of reverb or audio feedback [2] while vocals, if present, are usually growled or screamed. Songs often lack beat or rhythm in the traditional sense and are typically very long. The experience of a drone metal performance has been compared by novelist John Wray in The New York Times to listening to an Indian raga in the middle of an earthquake. [2] Wray also states, "It's hard to imagine any music being heavier or, for that matter, very much slower." [2] A pioneer band of drone metal called Sunn O))) has indicated a kinship with sound sculpture. [2] Jan Tumlir indicates a "sustained infra-sound rumble of sub-bass—so-called brown noise". [3]

Death growl voice type

A death growl is a vocal style usually employed by death metal singers but also used in other heavy metal styles, such as metalcore. Death growls are sometimes criticized for their "ugliness". However, the harshness of death growls is in keeping with death metal's abrasive music style and often dark and obscene subject matter. The progressively more forceful enunciation of metal vocals has been noted from heavy metal to thrash metal to death metal.

John Wray (novelist) novelist and essayist

John Henderson, better known by his pen name John Wray, is a novelist and regular contributor to The New York Times Magazine. Born in Washington, D.C., of an American father and Austrian mother, he is a citizen of both countries. He grew up in Buffalo, New York, attended the Nichols School for his high school education, and then graduated from Oberlin College, majoring in Biology. He dropped out of graduate school twice: first from New York University’s M.F.A. program in poetry, where he won an Academy of American Poets Prize, and then, a few years later, from Columbia University’s fiction program. He currently lives in Mexico City.

Raga melodic mode in South Asian music

A raga or raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.

Connections with other art forms

Stephen O'Malley from Sunn O))) collaborated on an installation with artist Banks Violette, who has likened drone metal to the work of Donald Judd. [2] Tumlir locates a precedent in Robert Rauschenberg. [3] Violette points out, however, that drone metal is "as much a physiological phenomenon as an acoustic one", [2] with an attendant physicality. O'Malley has also mentioned an appreciation for Cormac McCarthy and Richard Serra. [1] Rhys Chatham's Essentialist included projections by Robert Longo. [5] Jim Jarmusch's 2009 film The Limits of Control features music by a number of drone metal groups. [6] Jarmusch said, "I love these kind of visual landscapes they make, and they really inspired things for me for my film ..., because when I write I'm listening to things that inspire me in the direction of whatever world I'm imagining. Boris and Sunn O))) and Earth were really instrumental in me just finding a place in my head." [7]

Stephen OMalley American musician

Stephen O'Malley is a guitarist, producer, composer, and visual artist from Seattle, Washington who has conceptualized and participated in numerous drone doom, death/doom, and experimental music groups, most notably Sunn O))).

Sunn O))) American band

Sunn O))) is an American experimental metal band from Seattle, Washington, that formed in 1998. The band is known for an extremely heavy sound that blends diverse genres including drone, black metal, dark ambient, and noise rock, and for very loud live performances. Supported by a varying cast of collaborators, the band was formed by two core members: Stephen O'Malley and Greg Anderson.

Banks Violette is an artist based in New York.

History

1990s

Sunn O))) at The Middle East in 2006 Sunn2.jpg
Sunn O))) at The Middle East in 2006

Drone metal was first established by Earth, [8] a group from Olympia, Washington, formed in 1989, which has been described as "minimalist post-grunge". [2] Earth took inspiration from the sludge metal of Melvins and the minimalist music of La Monte Young, among other sources. Stephen O'Malley's group Burning Witch, formed five years later, also in Seattle, continued in this tradition, incorporating unusual vocals and bursts of audio feedback. The group initially recorded for the prominent powerviolence label Slap-a-Ham. O'Malley's subsequent group, Sunn O))), [2] [3] initially formed as a tribute to Earth, is most responsible for the contemporary prominence of the drone metal style. Godflesh is also a stated influence on many groups. Boris, [2] [9] from Tokyo, also developed a style of drone metal, parallel with the Seattle groups, as did Corrupted, from Osaka.

Earth (American band) American musical group

Earth is an American musical group based in Olympia, Washington, formed in 1989 and led by the guitarist Dylan Carlson. Earth's music is nearly all instrumental, and can be divided into two distinct stages. Their early work is characterized by distortion, droning, minimalism, and lengthy, repetitive song structures. The band's later output reduces the distortion while incorporating elements of country, jazz rock, and folk. Earth is recognized as a pioneer of drone metal, with the band's Earth 2 being regarded as a milestone of the genre.

Olympia, Washington State capital and city in Washington, United States

Olympia is the capital of the U.S. state of Washington and the county seat of Thurston County. European settlers claimed the area in 1846, with the Treaty of Medicine Creek initiated in 1854, and the Treaty of Olympia initiated in January 1856.

Post-grunge is a rock music subgenre that emerged in the 1990s. Originally, the term was used almost pejoratively to label bands such as Bush, Candlebox and Collective Soul that emulated the original sound of grunge.

2000s

Nadja (Toronto), Locrian [10] (US), Jesu (UK), Black Boned Angel (Wellington, New Zealand), Khanate (New York City), Ocean (Portland, Maine), Growing [11] (New York City), KTL (Washington/London), Ascend [12] and Eagle Twin (USA), [13] Teeth of Lions Rule the Divine (Nottingham, England), Conan (Liverpool, England) and Moss (Southampton, England) are prominent drone metal groups that formed in the early 21st century. Noise musicians, such as Kevin Drumm and Oren Ambarchi, have also worked in the style. [14] Rhys Chatham's Essentialist project is a contribution to drone metal by an elder composer, [5] attempting to "arrive at an a priori essence of heavy metal, reducing it to a basic chord progression". [15]

Nadja (band) band

Nadja is a duo of Aidan Baker and Leah Buckareff. Nadja began in 2003 as a solo project for Baker to explore the heavier/noisier side of his experimental/ambient music performed mainly on the electric guitar. In 2005 Buckareff joined in order to make the project more than just a studio endeavour and to allow Nadja to perform live.

Locrian (band)

Locrian is an experimental music/drone rock band which formed in Chicago, Illinois, United States in late 2005 and is currently based in Chicago and Baltimore, Maryland. The band features Terence Hannum, Steven Hess, and André Foisy. The group incorporates influences from multiple genres including ambient, black metal, noise, drone, industrial, and electronics, and cite One Eyed God Prophecy, Uranus, Yes, Genesis, Brian Eno, and Robert Fripp as influences. Locrian lyrics and artwork evoke dystopic and apocalyptic imagery. Over their ten-year history, Locrian have released six studio albums, three collaborative albums, and numerous limited edition releases.

Jesu (band) British post-metal band

Jesu is a British experimental band formed in 2003 by Justin Broadrick following the 2002 breakup of his band Godflesh. It is named after the last song on Hymns, the final album of Godflesh's initial run. Jesu's sound is heavily layered and textured, incorporating a diverse mix of influences. Broadrick himself has stated that "...it's very loosely speaking pop/rock/metal/electronica ... I'm intentionally writing what I consider to be coherent "pop" songs".

See also

Related Research Articles

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References

  1. 1 2 Brandon Stosuy, "Heavy Metal: It's Alive and Flourishing", Slate, August 19, 2005. Access date: August 22, 2008.
  2. 1 2 3 4 5 6 7 8 9 10 John Wray, "Heady Metal", New York Times, May 28, 2006. Access date: August 18, 2008.
  3. 1 2 3 4 Jan Tumlir, "Primal dirge", Artforum, April 2006. Access date: August 22, 2008.
  4. Jon Caramanica, "The Alchemy of Art World Heavy Metal". International Herald Tribune, September 20, 2005. Access date: August 25, 2008.
  5. 1 2 3 Steve Smith, "Where Classic Avant-Garde Gets a Hint of Heavy Metal", New York Times, September 13, 2006. Access date: August 28, 2008.
  6. Pitchfork news, March 11, 2009. Access date: March 21, 2009.
  7. Jim Jarmusch and Alan Licht, "Invisible Jukebox", The Wire 309, November 2009, p. 23.
  8. Jason Jackowiak, Splendid, September 14, 2005. "Archived copy". Archived from the original on 2008-09-27. Retrieved 2008-09-15. Access date: August 23, 2008.
  9. Spall, Oliver (2007-12-10). "Sunn O))) and Boris present Altar" . Retrieved 2008-08-22.
  10. Stosuy, Brandon. "Locrian's Ode to Extinction". Pitchfork. Retrieved 8 March 2017.
  11. James Parker, The Boston Phoenix, June 15, 2006. "Archived copy". Archived from the original on 2008-12-08. Retrieved 2008-08-22. Access date: August 22, 2008
  12. Ample Fire Within review, "Soundcheck", The Wire, July 2008, p. 45.
  13. Kim Kelly, "Choice Cuts", Terrorizer #189, October 2009, p. 22.
  14. Joe Panzner, Sheer Hellish Miasma review, Stylus, September 1, 2003. "Archived copy". Archived from the original on 2008-08-28. Retrieved 2008-08-23. Access date: August 23, 2008.
  15. ,:.ELU OF THE NINE- Maurerische Trauermusik coming 2010.: