Post metal

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Post metal

Development phase: Early 1990s
Place of origin: United States
United Kingdom
Stylistic precursors
Doom Metal · Post-Hardcore · Post-Industrial
Pioneers
Godflesh · Neurosis · Skin Chamber
Instruments typical of the genre
Electric guitar · Electric bass · Drums · Keyboard · Sampler
Important forerunners
Black Flag · Swans

As a post-metal is one in the early 1990s from the post-hardcore Resulting subgenre of Doom Metal called.

The crossover of doom metal, post-hardcore, folkloric instruments and rhythms , as well as the dynamics of rhythm, riffing and singing are considered to be groundbreaking . In the course of this dynamic, the framework of metal and hardcore is juxtaposed by some performers with longer ambient or acoustic passages. The singing , which is often polyphonic and mostly roared , is occasionally contrasted with clear singing , speaking or whispering.

The style was particularly influenced by the Neurosis group . Her album Souls at Zero is described as the original musical work of the style. In addition to neurosis, the volume Isis is assigned a special meaning for the distribution, development and reception as a genre. As a result of the success of the Isis album Oceanic , the music of similarly acting artists received increased attention, which was increasingly received as a coherent genre. Various interpreters assigned to the genre rejected the term post-metal as an artificial drawer. Despite the reference by some interpreters that the term does not encompass any scene , there are similarities in content, aesthetics and audience.

The genre spread internationally after the success of Isis and reached its first commercial and creative peak in the 2000s. The music summarized under the term was differentiated more diverse and varied. Many new and already active performers subsequently became more popular and music groups from other sub-styles of metal increasingly took up elements of the genre.

Definition

For groups like Russian Circles, here at the Roadburn Festival , the term did not establish itself as a style name until the 2000s

The term post-metal is used differently. In addition to a specific concept of style, the designation is a vague umbrella and collective term for musical developments that use elements of metal or originate from metal, but are not generally attributed to metal.

The term post-metal is applied on the one hand to a narrowly defined style and on the other hand to the musical and socio-cultural crossover of extreme metal and pop - cultural avant-garde , whereby interpreters of independent musical styles such as drone doom , alternative metal or depressive black metal are sometimes considered post-metal to be titled. With reference to Big Brave and Chelsea Wolfe , the nonfiction author and music journalist JJ Anselmi describes the dichotomy of the term.

"Post-Metal has become the go-to term for music that follows Isis and Neurosis's formula of quiet to loud and loud to quiet. If it's supposed to reflect the transition of modernism into postmodernism, though, the label should apply to artists that explore metal's spirit by defamilarizing it, and presenting it in new formula. "

“Post-metal has become the term for music that follows the formula of Isis and Neurosis: quiet too loud and loud too quiet. However, if it is to reflect the transition from modernity to postmodernism , the term should apply to artists who explore the spirit of metal by alienating it and presenting it in a new form. "

- JJ Anselmi: Doomed to Fail p. 330

Despite the rejection of the term by different interpreters, the concept of style has aesthetic, content, design and musical similarities that justify a summary of some similarly oriented interpreters under the common concept of style.

Use as a collective term

The term post-metal has been used for various music groups since the 1990s. The variety of styles of the groups subsumed under post-metal ranged from progressive alternative metal by Helmet (band) and tool to the experimental doom metal group The Melvins and the drone-doom project Earth to post-industrial by Scorn . Comparable to other formations with the prefix post- a hybrid position in which this music was located was indicated. On the one hand the music belongs to the field of metal, on the other hand the music is characterized by continued differentiation. The music journalist Simon Reynolds describes the definition of post-rock and post-metal as being closely related to one another, as not being a direct delimitation from a previous cultural movement, as is the case with the term post-punk , but as a " The feeling of going beyond the boundaries of a musical genre without completely giving up its legacy of attitude and prerequisite. ”The term does not describe a uniform, but a wealth of enormously diverse genre that emerged from metal in the early 1990s and were in a mutual interaction .

Despite the increasing establishment as an independent stylistic term after the turn of the millennium, the term also remained as a collective term. In addition to the performers of the style, this also includes groups that show little reference to the representatives of the style, for example those who can hardly be assigned to a style term such as Ulver , representatives of Drone Doom such as Sunn O))) or Nadja and representatives of the Blackgaze like Deafheaven or Wolves in the Throne Room .

Use as a genre term

Building on developments in post-hardcore and post-industrial, post-metal emerged in the early 1990s. In the mid-2000s, with the increasing success of Neurosis , Cult of Luna and especially Isis , whose style was based on that of Neurosis, a concrete style emerged under the name of Post-Metal, to which the term was henceforth permanently applied . It is usually assumed that the term for the style spread in reviews of the Isis album Oceanic based on the term post-rock and subsequently established for other, similar music groups. Robin Jahdi of the British music magazine Fact speculates that “after the material released by Relapse and Hydra Head became slower, more bass-heavy and more abstract, the name post-metal came about: This is most likely due to the fact that post-rock had a similar spectrum at this time covered. "

This style is sometimes referred to as metal gauze , based on the shoegazing genre. Alternatively, it is also the terminus Atmospheric Sludge, based on the timely resulting Sludge familiar were often associated with which neurosis and other early performers. The music is occasionally referred to as a noise core . The performers often reject the common style description as post-metal. Some musicians emphasize that they have no personal reference to the designation and name the attribution as an artificial drawer, which is used for categorization by music journalists and fans, but does not capture an actual scene .

Style classification

Although many of the interpreters assigned to the genre reject the common style designation as an artificial drawer. In addition to the musical direction, many groups can see similarities in content and aesthetics. With references to symbolism , surrealism and different mythologies , representatives of the genre often deal with similar topics.

content

Many groups present cryptic texts with a subjective reference. Metaphorical lyrics that convey personal contemplations and emotions are among the most frequently used elements of the genre. Usually negative experiences or emotions such as grief, anger, isolation, loneliness or depression are discussed. Political issues are also occasionally taken up in Post-Metal, whereby the groups usually refrain from taking on topical issues and rather address global factors such as environmental destruction or globalization . Likewise, the role of the individual is often taken up in modern society. It is not uncommon for people to be seen as victims of society or as incompatible with it. Industrialization and mechanization are also taken up in this context. Some interpreters use mythological , occult or literary motifs and symbols.

Visualization

The representatives of post-metal use similar design elements for many sound carriers. Often abstract graphics through to simple colored surfaces with lettering, occasionally with light gradients and flying sparks in longer exposures are used. A recurring element are symbolic images and graphics, ranging from ouroborus and fire wheel to the use of symbolist photographs and paintings. Images of natural phenomena and buildings are also used frequently. Such images are often photographed from a great distance or shown with a color scheme that approximates late twilight. People or band images, on the other hand, are rarely found as a design element. The groups often perform live with video installations that also take up such design elements.

In addition, Aaron Turner and Seldon Hunt appear very often as artists for the representatives of post-metal. While Turner's style is described as "abstract and surreal , with a penchant for fantastic landscapes and unusual structures", Hunt's style is emphasized as being carried by "attention to detail and complexity".

Musical classification

Bryant Clifford Meyer, as the guitarist of Isis and Red Sparowes, helped shape the dynamic guitar playing of post-metal

Post-metal is an instrumental-dominated style of music that emerged as a crossover of doom metal and post-hardcore under the influence of post-industrial , grunge , noise rock , shoegazing and gothic rock . A trend towards folkloric instruments and rhythms that convey a corresponding dynamic is considered to be groundbreaking . This dynamic is considered to be one of the essential characteristics of the genre and extends from rhythm, riffing and singing to almost all facets of the music presented to the overall structure of some releases that contrast the framework of metal and hardcore with longer ambient or acoustic passages.

The singing, which often appears to be polyphonic, is occasionally sung in several voices and mostly faded into the background, varies between plaintive and roaring voices. So the vocals are mostly roared and only occasionally contrasted by clear vocals. If involved, women usually appear as a sparingly used counterpart to the roaring male lead singer. Many groups cooperate with guest singers. Music groups with a permanent singer are rather rare compared to groups with singers. These female singers are usually not opposed to a singer, so that they sing in both the harsh and the quiet passages. With Year of No Light , Pelican , Red Sparowes and Russian Circles , some bands that for the most part dispense with the use of vocals are located in post-metal.

The guitar playing, which is often played by several musicians, is usually perceived as hard , but still acts in a constant change between loud and soft passages. The dynamics of aggressive "recurring riff-volleys" and " noise attacks" with screaming vocals and quiet, almost "silence dominated" phases, "in which a delicate woman's voice slowly creeps up" are emphasized .

Some representatives reinforced the elements of post-rock and ambient contained in post-metal and added elements of math-rock in the guitar playing and rhythm in a further development of the Atmospheric Sludge . With the increased emphasis on math rock, parallels were drawn with alternative metal and alternative rock bands such as Tool and Dredg .

Genre history

The group Neurosis, here on an official promotional photo from 1992, laid an important foundation stone for the development of post-metal with the album Souls at Zero, which was released in the same year

As early as the early 1980s, representatives of punk were experimenting with styles that were previously viewed as incompatible. This mélange produced an abundance of heterogeneous, subculture-oriented rock music that clearly stood out from punk. In particular, the commercially unsuccessful Doom Metal , had an impact in the 1980s on overlapping developments between the crust-punk , punk, hardcore-punk , and post-industrial scene and metal. The cultural and musical overlaps then found artistic expression in the emergence of styles such as sludge and post-metal.

With the emergence of groups such as Neurosis , Godflesh and Skin Chamber from these subcultural references , the first retrospectives were partly attributed to post-metal publications. The Neurosis album Souls at Zero is the original release of the genre. After the success of the Isis album Oceanic , the music of similarly acting artists received increasing attention in the 2000s. From then on, new and already active performers were grouped under the common style term. In a subsequent first commercial and creative climax, the music summarized under the term was further developed in a more diverse and varied manner.

precursor

In the mid-1980s, the hardcore punk band Black Flag experimented with elements of Doom Metal for the first time. The second page of the 1984 album My War , influenced by Black Sabbath , marked a significant point in the emergence of post-hardcore . This half of the album is considered a groundbreaking innovation, which combined the energy of hardcore punk with the expressive possibilities of doom metal. Black Flag combined a guitar game taken from metal with Henry Rollins' roaring vocals and lyrics that expressed disorientation, nihilism and self-contempt. With its pioneering role in post-hardcore, the album had a lasting impact on the development of post-metal. Among other things, Scott Kelly named My War as an important inspiration for the style played with Neurosis.

The albums Cop and Greed by the New York noise rock formation Swans , released in 1984 and 1986, are assigned a similar significance . The albums, which mark the turning point between the harshly aggressive post-industrial and no-wave sound, to avant-garde and perceived as dark noise rock. The albums were later discussed as harbingers of industrial metal as well as post-metal and were cited as a major influence by post-metal musicians like Neurosis singer Scott Kelly. Neurosis collaborated with Swans keyboardist and singer Jarboe for an album in 2003 . In particular, the mixture with folkloric elements is attributed to the influence of the group.

Pioneers

Justin K. Broadrick laid a cornerstone of the genre with Godflesh, here live in 1996

Skin Chamber's Paul Lemos stated that the style of Skin Chamber played on the 1991 and 1993 albums Wound and Trial was inspired by the Swans group. Roadrunner Records also drew a direct comparison and placed Skin Chamber in the tradition of the Swans albums Cop and Greed . The style of Skin Chamber is mostly subordinate to Industrial Metal, however, it was closer to the music of Godflesh earlier and therefore rated as an equally early and leveling variant of Post-Metal. Godflesh, founded in 1988 by Justin K. Broadrick , and Skin Chamber, presented a sluggish industrial metal inspired by Doom Metal and Swans. Godflesh combined a minimalist, slow, repetitive rhythm with heavily distorted and slowly played guitars on Godflesh and Streetcleaner in 1988 and 1989 . Godflesh were later covered by Isis and pioneered by Aaron Turner. Broadrick's follow-up project Jesu was also signed by Turner for Hydra Head Records .

Although Godflesh and Skin Chamber are retrospectively attributed to post-metal, the album Souls at Zero by Neurosis is considered the first full-fledged release in the genre. Lars Brinkmann emphasizes the importance of the album for the magazine Spex , so on Souls at Zero “everything that was [needed] by hundreds of bands in the next 15 years to deal with the interfaces metal / hardcore and noise / rock was narrowed down to be able to rub sore. ”As indicated by Brinkmann, many of the following performers referred to neurosis and adapted parts of the stylistic elements they established. Groups like Amenra , Dirge , Buried Inside , Overmars and Zatokrev make direct reference to neurosis as an influence. Accordingly, the follow-up album Enemy of the Sun , released in 1993, is also regarded as a further milestone in the genre. According to Garry Sharpe-Young, style fragments from grunge , gothic rock and metal flowed into the musical concept of noise rock, post-hardcore and doom metal on these albums . According to Daniel Buszpan, Neurosis took up elements of the industrial as well as folk instruments and rhythms for the first time . Particularly this changed rhythm is assigned an idiosyncratic and style-defining dynamic. Likewise, the changeable and partly polyphonic singing, which has the effect of a collective and varies between pleading, screaming and whimpering , is emphasized. The style-defining and perceived as harsh guitar playing was compared to "noisy guitar walls". Despite the often emphasized severity, the band acts with a constant change between loud and quiet passages.

Godflesh, Skin Chamber and Neurosis, which were assigned to different musical styles in the 1990s, were initially without imitators who would have legitimized a summary as an independent style. Neurosis was mostly perceived together with groups like EyeHateGod and Buzzov • en and rated as an avant-garde and atmospheric representative of the sludge they played. Accordingly, the term Atmospheric Sludge is synonymous with post-metal. Godflesh and Skin Chamber, on the other hand, were mostly assigned to burgeoning industrial metal and industrial rock around groups like Ministry , Pitchshifter and Nine Inch Nails . A common perception as a representative of a style only took place retrospectively after the turn of the millennium. Skin Chamber disbanded in 1993. Godflesh, on the other hand, reoriented himself musically in 1996 with Songs of Love and Hate . Only Neurosis, which differentiated the style with Through Silver in Blood 1996 and Times of Grace 1999, remained stuck in style through the 1990s. It was not until the turn of the millennium that the French Dirge (1998: Down Last Level ), the American Isis (2000: Celestial ) and Old Man Gloom (2000: Meditations in B ) as well as the Swedish Cult of Luna (2001: Cult of Luna ) emerged Groups whose style was directly influenced by Neurosis, Godflesh and Skin Chamber.

Establishment

Aaron Turner of Isis, Sumac and Old Man Gloom and owner of Hydra Head Records is considered one of the central figures in post-metal

The Neurosis album Through Silver in Blood , from 1996, and Oceanic , Isis' second studio album, released in 2002, are decisive for the sustainable perception under a common genre term .

According to JJ Anselmi, the influence of Through Silver in Blood on the genre and spread of the genre is “undeniable”. In particular, the cooperation with the Relapse Records label caused a noticeably greater public for the band and the style they played. The intensity and quality of the music presented on the album were decisive for the cultural reverberation and influence.

Isis varied the style adapted from Neurosis and reinforced the elements of post-rock and ambient contained in post-metal . Oceanic was discussed as a further development of Atmospheric Sludge , combining ideas from Neurosis with the math rock from Slint , the post rock from Sigur Rós and the ambient from Brian Eno . Occasionally the concept album is promoted to progressive alternative metal and alternative rock bands such as Tool and Dredg . The dynamic consisted of aggressive “recurring riff volleys” and “ noise attacks, in which singer Aaron Turner screamed his lungs out”, and quiet phases, “tone runs dominated by silence to which a delicate woman's voice 'creeps up' very slowly, which at first cannot be accommodated at all, but then comes together to form a whole ”emphasized. With this, Isis presented a mixture in the spectrum of post-metal, which was offered similarly to that of Neurosis on A Sun that Never Sets a year earlier. According to Patrick Kennedy from Allmusic , Neurosis had raised their previously “cultivated dialectical dynamics of calm and loud arrangements to a Mahler- esque even more reflective, contemplative level with A Sun that Never Sets .” The album was considered an innovation of Neurosis since Souls at Zero well-groomed style that has lost its expressiveness through prolonged repetition. It was "largely characterized by acoustic guitars and soft, folk-like vocals." A Sun that Never Sets was discussed less positively than the Oceanic , which was released a year later and was made responsible for the spread of the style. As a result of the critical success, the number of publications that corresponded to the style between Isis and Neurosis increased internationally. Groups that were already active also received increased attention. In discussions, Isis in particular was viewed as a “blueprint” for subsequent projects. The style designation Post-Metal is attributed to the critical success of the album. Due to the "new, unheard sound, various experts felt compelled to speak of post metal as the metallic counterpart to post rock."

Dissemination and further development

After 2002, the number of albums released in the genre increased rapidly. Many of the performers who followed the album Oceanic were discussed on an ongoing basis as part of a style or even as an imitation of an already known group.

Slightly delayed and influenced by American bands, some Fennoscandinavian bands such as Burst , Callisto , Siberian , Late Night Venture and Cult of Luna also started playing post-metal. The most popular representative of the style in Europe is the Swedish formation Cult of Luna, which achieved a first respectable success with the 2004 album Salvation and subsequently with several albums a success with critics and audiences. Other European bands such as the German The Ocean or the French Dirge and Year of No Light emerged in a similar period, but were less popular. Since then, numerous international projects have emerged whose style corresponded to post-metal. So with Amenra , Oathbreaker , Hive Destruction, a close Belgian scene emerged, which sees itself as a supportive artist collective and operates under the name Church of Ra . Other international performers such as the Swedish Seven Nautical Miles , Walk Through Fire and Abandon , the Danish LLNN , the Spanish Toundra , the French Lost in Kiev , and Overmars the Polish Obscure Sphinx, the Lithuanian Erdve , the American Ganon , and Mouth of the Architect the British Bossk , and Manatees the Russian Fading Waves the Syrian Owls and the German Tephra , Shakhtyor and Downfall of Gaia were also noted following the release of Oceanic .

Up until the release of Oceanic , Aaron Turner had founded Hydra Head Records in 1995, and the musicians from Neurosis had founded Neurot Recordings in 1999, each of which helped shape the genre. Alongside Hydra Head and Neurot, the Translation Loss label, founded in 2002, is one of the leading companies in the style. Hydra Head released albums and EPs by Jesu, Neurosis, Botch , Old Man Gloom, Cult of Luna, Pelican and Godflesh. Neurot, on the other hand, Neurosis, Battle of Mice , Amenra, Isis, Red Sparowes , Made Out of Babies and A Storm of Light . Mouth of the Architect, Year of No Light and Rosetta have been published via Translation Loss .

Deepening the dynamics and transition into progressive alternative metal

With Mouth of the Architect (2004: Time and Withering ), The Ocean (2004: Fluxion ), Rosetta (2005: The Galilean Satellites ), Ganon (2006: In the Dead of Sleep ), Seven Nautical Miles (Every Ocean Reserved) and Ortega (2010: 1634 ) followed the success of Oceanic groups that followed Isis' new path. Already existing bands took up the idea of ​​deepening the dynamics and incorporating longer, calm passages. Isis himself (2004: Panopticon ), Cult of Luna (2004: Salvation ), the Godflesh follow-up project Jesu (2004: Jesu ) and Dirge have played with similar ideas since then. The French dirge started on And Shall the Sky Descend in 2004 to present pieces in an epic length with an elegiac mood. Meanwhile, the quiet passages, which usually last several minutes, are described as "[l] drawn sound surfaces", which are differentiated from "repetitive [n] chord progressions, brute [r] riff power". Ortega, on the other hand, also reinforced the psychedelic and symphonic elements in the dynamic on their debut. In particular, the increased use of isolated string instruments was highlighted as a special feature. Neurosis presented the approach to emphasize the non-metal instruments more strongly in 2002 on A Sun that Never Sets and Dirge in 2007 on Wings of Lead Over Dormant Seas .

Bands like Obscure Sphinx, here singer Zofia “Wielebna” Fraś, present metal music between progressive, alternative, post-metal and other musical styles

Some of the groups emphasizing the dynamics strengthened the progressive element of the music, right up to developments from post-metal to progressive metal , such as Callisto , who left post-metal with Providence in 2009 , as did The Ocean in 2010 with Heliocentric , Mouth of the Architect 2016 with Path of Eight or Isis, which left post-metal in 2006 with In the Absence of Truth . Many new and old groups such as Callisto, Ganon, Obscure Sphinx and The Ocean have since played on a ridge between Progressive Metal, Alternative Metal and Post-Metal, which, among other things, was placed in the tradition of the progressive alternative metal band Tool.

Some interpreters, who chose a similar approach to Isis on Oceanic , varied the calm passages in the dynamics towards the adoption of elements of dark jazz : Callisto (2006: Noir ) and Walk Through Fire (2014: Hope is Misery ) in particular acted with the Dark jazz-related passages and corresponding instruments. Walk Through Fire brought in long, reduced piano tracks and Callisto also brought in reduced, isolated wind instruments and strings.

Continuation of the neurosis tradition

Other groups like Amenra (2003: Mass I ), Swarm of the Lotus (2004: When White Becomes Black ), Zatokrev (2004: Zatokrev ), Overmars (2005: Affliction, Endocrine ... Vertigo ), Tephra (2007: A Modicum of Truth ), A Storm of Light (2008: And We Wept the Black Ocean Within ) and LLNN (2015: Loss ) tended to fall back on the stylistic elements established by Neurosis with Souls at Zero . Like the early Cult of Luna or the early Isis, these groups were placed in the direct tradition of the music of Neurosis. Some such as Amenra, Overmars, Zatokrev or A Storm of Light were accused of this closeness as an epigonism.

Purely instrumental performers

Since their second album, Year of No Light, here Jérôme Alban, have been playing purely instrumental post-metal like some other groups

With Pelican (2003: Australiasia ), Red Sparowes (2005: At the Soundless Dawn ), Irepress (2005: Samus Octology ), Russian Circles (2006: Enter ), Omega Massif (2007: Ghost Town ), Tempel (2010: On the Steps of the Temple ), Hive Destruction (2011: Secretvm / Veritas ) and Shakhtyor (2012: Shakhtyor ) were joined by groups that largely avoided the use of vocals. The band Year of No Light took over the idea after their singer left and decided not to replace him. With Ausserwelt from 2010, Year of No Light joined the post-metal groups without a singer. The German post-rock group Long Distance Calling increased the metal portion on Avoid the Light in 2009 and has since been one of the increasingly instrumental post-metal bands. Some of these performers occasionally resort to guest singers. The predominantly instrumental variant of Post-Metal is attested to be similar to Isis, while clear differences are usually made out to the harder Neurosis. Groups like Pelican have a stronger tendency to epic post-rock play.

Under the influence of black metal

Likewise, the basic style ideas were expanded by some interpreters to include facets of the Norwegian Second Wave of Black Metal , but without the ideological, satanic reference. Performers like Callisto (2004: True Nature Unfolds ), Year of No Light (2006: Nord ), Tombs (2007: Tombs ), Downfall of Gaia (2010: Epos ), Twilight (2010: Monument to Time End ), Oathbreaker (2011 : Mælstrøm ), Fading Waves (2011: The Sense of Space ), Eulen (2011: Mother Tree ) or A Secret Revealed (2015: The Bleakness ) mixed the ideas of post-metal with for the Norwegian representatives of the second wave of black metal common style elements such as screaming , blastbeats and tremolo riffing , which were used in the eruptive phase.

Performers of a similar, but independent of post-metal crossover between stylistic elements of black metal and post-rock as well as shoegazing are known as blackgaze and are associated with the development of post-metal. Occasionally, performers of this style such as Sombres Forêts and Les Discrets refer to representatives of post-metal.

Groups with front women

Julie Christmas, here live with Made Out Of Babies 2008, is one of the few female singers in the genre

In 2005 Made Out of Babies released their debut album Trophy on Neurot and blended the sound of Neurosis with the noise rock of Jesus Lizard and the vocals of front woman Julie Christmas . Christmas became a well-known musician in the genre in the years that followed. With her, unlike many of the male singers, whose singing is more likely to be perceived as part of the overall picture, the “music forms the basic framework for the performance of women”. After her debut for Mouth of the Architect (2008: Quietly ) and Cult of Luna (2016: Mariner ), she sang as a guest and in the supergroup Battle of Mice from 2005 to 2009 and shaped the perception of female singers in the genre with her presence in style . Despite the positive reception of the singer, women rarely remained an integral part of the band. Many groups, however, cooperated with guest singers. Along with Christmas and Zofia “Wielebna” Fraś from Obscure Sphinx, Caro Tanghe from Oathbreaker is one of the most well-known singers of the style.

Interaction with Death Doom

With the releases of Oceanwake (2012: Kingdom ), Whelm (2013: A Gaze Blank and Pitiless as the Sun ) and Idre (2014: Idre ), the mixing of post-metal with elements of Death Doom increased. However, this hybrid style posted less commercial success than the connection to Black Metal before. Most of the representatives of this mixture of styles tie in primarily with the early groups of the genre and cultivate a more aggressive and deconstructivist style compared to the groups that fall back on Black Metal. The Australian group The Nihilistic Front (2006: The Four Seasons in Misery ) makes direct reference to Godflesh's early work.

Other interpreters of Death Doom and its sequelae Gothic Metal and Funeral Doom such as Hanging Garden (2009: TEOTWAWKI ), Monads (2011: Intellectus Iudicat Veritatem ), Reido (2011: -11 ), Abske Fides (2012: Abske Fides ), Bereft (2012: Leichenhaus ), Ketch (2016: The Anthems of Dread ) or Faal (2018: Desolate Grief ) also draw on ideas from post-metal.

Cultural classification

Post-Metal does not have an independent scene with its own cultural characteristics. The audience of the music is mainly composed of followers of metal , alternative and independent . The appearance of the audience appears mixed accordingly. According to the music journalist Simon Reynolds , there is a predominantly aesthetic continuity between the followers of post-metal and those of the metal scene. The “tendency to morbidity and darkness”, which is reflected in “gloomy clothes and long hair, tormented, incomprehensible growled vocals” as well as in “bombastically verbose texts, song titles and band names”, is more like a connection between metal and the post -Metal scene "as a kind of riffing" or a common "palette of guitar sounds".

Popular representatives

literature

  • JJ Anselmi: Doomed to Fail . The Incredibly Loud History of Doom, Sludge, and Post-metal. Rare Bird Books, 2020, ISBN 978-1-64428-064-5 (English).
  • Axl Rosenberg, Christopher Krovatin: Hellraisers . A Complete Visual History of Heavy Metal Mayhem. Race Point Publishing, New York 2017, ISBN 978-1-63106-430-2 (English).
  • Garry Sharpe-Young: AZ of Doom, Goth & Stoner Metal . Rockdetector, 2003, ISBN 978-1-901447-14-9 (English).

Web links

Individual evidence

  1. ^ JJ Anselmi: Doomed to Fail . The Incredibly Loud History of Doom, Sludge, and Post-metal. Rare Bird Books, 2020, ISBN 978-1-64428-064-5 , pp. 330 (English).
  2. ↑ Helmet Rediscovery. X-Press Magazine, archived from the original on August 31, 2007 ; accessed on March 25, 2019 .
  3. ^ Troy J. Augusto: Reverb, 9/01. Variety, archived from the original on February 4, 2016 ; accessed on March 25, 2019 .
  4. ↑ Jon Wiederhorn: A Brief History of Post-Metal. Bandcamp, archived from the original on August 13, 2018 ; accessed on March 25, 2019 .
  5. ^ Peter Buckley: The Rough Guide to Rock . Penguin Book, London 2003, ISBN 1-85828-457-0 , pp. 908 .
  6. ↑ a b Simon Reynolds: Grunge's Long Shadow. Slate, May 29, 2009; accessed October 22, 2019 .
  7. ↑ Jon Wiederhorn: A Brief History of Post-Metal. Bandcamp, archived from the original on August 13, 2018 ; accessed on March 25, 2019 . Where to start post-metal. The Obelisk, accessed March 25, 2019 .
  8. ^ Maxwell Heilman: Neurosis brings post-metal back to its roots. Chimes, accessed March 25, 2019 .
  9. ↑ a b c Isis: Oceanic. Metal1, accessed March 25, 2019 .
  10. ↑ Robin Jahdi: The 40 best post-metal records ever made. Fact, accessed on March 25, 2019 .
  11. ↑ Irepress: Samus Octology. Metal Injection, accessed March 28, 2019 . Jon Wiederhorn: A Brief History of Post-Metal. Bandcamp, archived from the original on August 13, 2018 ; accessed on March 25, 2019 . Where to start post-metal. The Obelisk, accessed March 25, 2019 .
  12. ↑ a b c EatThatPhonebook: Neurosis: Through Silver in Blood. Progarchives, accessed March 25, 2019 .
  13. ^ Cult of Luna: The Beyond. metal.de, accessed on March 25, 2019 . Captain Chaos: Isis: In The Absence of Truth. Vampster, accessed March 28, 2019 .
  14. ↑ a b Pfaelzer: Interview with Stéphane L. Neckbreacker, accessed on March 25, 2019 .
  15. ↑ Ross Feratu: Isis. Ox fanzine, accessed March 27, 2019 . Björn Gieseler: About owls, hits on the head and bastards. Bloodchamber, Retrieved March 27, 2019 . Leif Bearikson: Groundbreakers: Neurosis' Souls at Zero. Toilet ov Hell, accessed March 27, 2019 . Old Guard: Cult of Luna - Somewhere Along the Highway Review. Your Last Rites, accessed March 27, 2019 . Herzebeth: Cult Of Luna interview (06/2006). metalstorm, accessed March 27, 2019 .
  16. ↑ soulsatzero: Neurosis Steve von Till. Metalnews, accessed March 27, 2019 . Ross Feratu: Isis. Ox fanzine, accessed March 27, 2019 . invisible oranges : neurosis Souls at Zero a retrospective. invisibleoranges.com, accessed March 27, 2019 . Recluse: The Neurosis Mysteries Part I. VISUP, accessed March 27, 2019 .
  17. ↑ Arne Eber: Aesthetics of Doom . S. 207 ff .
  18. ^ Garry Sharpe-Young: New Wave of American Heavy Metal . Zonda Books Limited, New Plymouth 2005, ISBN 0-9582684-0-1 , pp. 222 . Daniel Bukszpan: The Encyclopedia of Heavy Metal . Sterling, 2012, ISBN 978-1-4027-9230-4 , pp.
     171 .
  19. ↑ a b c d Hendrik Kramer: Souls at Zero. Power Metal, accessed March 25, 2019 .
  20. ↑ Alexander Eitner: The Ties that Blind. Metal News, archived from the original on April 25, 2014 ; accessed on March 25, 2019 . JJ Anselmi: Doomed to Fail . The Incredibly Loud History of Doom, Sludge, and Post-metal. Rare Bird Books, 2020, ISBN 978-1-64428-064-5 , pp.
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This article was added to the list of articles worth reading on November 22, 2019 in this version .