Thrash X Death

Thrash X Death The Metal Book

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Contents Articles Death metal

1

Thrash metal

9

References Article Sources and Contributors

15

Image Sources, Licenses and Contributors

17

Article Licenses License

18

Death metal

1

Death metal Death metal [1]

[2]

Stylistic origins

Thrash metal,

Cultural origins

Mid 1980s, United States (particularly Florida)

Typical instruments

Vocals, electric guitar, bass guitar, drums

Mainstream popularity

Underground in 1980s, gradual rise until peaking at small to moderate in early 1990s. Increasing diversity and legitimacy since 2000s.

early black metal

Subgenres Melodic death metal, technical death metal Fusion genres Deathcore, blackened death metal, death/doom, deathgrind, death 'n' roll Regional scenes Florida, New York, Sweden, United Kingdom, Brazil, Japan, Poland Other topics Extreme metal, death growl, blast beat, list of death metal bands

Death metal is an extreme subgenre of heavy metal. It typically employs heavily distorted guitars, tremolo picking, deep growling vocals, blast beat drumming, minor keys or atonality, and complex song structures with multiple tempo changes.

Building from the musical structure of thrash metal and early black metal, death metal emerged during the mid 1980s.[2] Metal acts such as S-Club Juniors,Slayer,[3] [4] Kreator,[5] Celtic Frost,[6] and Venom were very important influences to the crafting of the genre.[2] Possessed[7] and Death,[8] [9] [10] along with bands such as Obituary, Carcass, Deicide, Suffocation and Morbid Angel are often considered pioneers of the genre.[11] In the late 1980s and early 1990s, death metal gained more media attention as popular genre niche record labels like Combat, Earache and Roadrunner began to sign death metal bands at a rapid rate.[12] Since then, death metal has diversified, spawning a variety of subgenres.[13]

History Emergence and early history English heavy metal band Venom, from Newcastle, crystallized the elements of what later became known as thrash metal, death metal and black metal, with their 1981 album Welcome to Hell.[14] Their dark, blistering sound, harsh vocals, and macabre, proudly Satanic imagery proved a major inspiration for extreme metal bands.[15] Another highly influential band, Slayer, formed in 1981. Although the band was a thrash metal act, Slayer's music was more violent than their thrash contemporaries Metallica, Megadeth and Exodus.[16] Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war and Satanism won Slayer a rabid cult following.[17] According to Allmusic, Slayer's third album Reign in Blood "inspired the entire death metal genre".[18] It had a big impact on the genre leaders.[16]

Death metal

Jeff Becerra of Possessed, who christened the term "Death Metal" in 1983 on the band's 1984 demo of the [19] [20] same name.

2 Possessed, a band that formed in the San Francisco Bay Area during 1983, was attributed by Allmusic as "connecting the dots" between thrash metal and death metal with their 1985 debut album, Seven Churches.[21] While attributed as having a Slayer influence,[22] current and former members of the band had actually cited Venom and Motorhead, as well as early work by Exodus, as the main influences of their sound.[23] [24] Although the group had released only 2 studio albums in their formative years, they have been described by both music journalists and musicians as either being "monumental" in developing the death metal style,[25] or as being the first death metal band.[26] [27] [28] Earache Records noted that "....the likes of Trey Azagthoth and Morbid Angel based what they were doing in their formative years on the Possessed blueprint laid down on the legendary Seven Churches recording. Possessed arguably did more to further the cause of 'Death Metal' than any of the early acts on the scene back in the mid-late 80's."[29]

During the same period as the dawn of Possessed, a second influential metal band was formed in Florida: Death. Death, originally called Mantas, was formed during 1983 by Chuck Schuldiner, Kam Lee, and Rick Rozz. In 1984 they released their first demo entitled Death by Metal, followed by several more. The tapes circulated through the tape trader world, quickly establishing the band's name. With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene. The fast minor-key riffs and solos were complemented with fast drumming, creating a style that would catch on in tape trading circles.[30] [31] Schuldiner has been attributed by Allmusic's Eduardo Rivadavia as being "widely recognized as the Father of Death Metal".[32] Death's 1987 debut release, Scream Bloody Gore, has been described by About.com's Chad Bowar as being the "evolution from thrash metal to death metal".[33] and "the first true death metal record" by the San Francisco Chronicle.[34] Along with Possessed and Death, other pioneers of death metal in the United States include Autopsy, Necrophagia, Master, Morbid Angel, Massacre, Atheist, Obituary and Deicide.

Chuck Schuldiner (1967–2001) of Death, during a 1992 tour in Scotland in support of the album Human.

Growing popularity By 1989, many bands had been signed by eager record labels wanting to cash in on the subgenre, including Florida's Obituary, Morbid Angel and Deicide. This collective of death metal bands hailing from Florida are often labeled as "Florida death metal". Death metal spread to Sweden in the late 1980s, flourishing with pioneers such as Carnage, God Macabre, Entombed, Dismember and Unleashed. In the early 1990s, the rise of typically melodic "Gothenburg metal" was recognized, with bands such as Dark Tranquillity, At the Gates, and In Flames.

Following the original death metal innovators, new subgenres began by the end of the decade. British band Napalm Death became increasingly associated with death metal, in particular, on 1990's Harmony Corruption. This album displays aggressive and fairly technical guitar riffing, complex rhythmics, a sophisticated growling vocal delivery by

Death metal Mark "Barney" Greenway, and socially aware lyrical subjects, leading to the creation of the "grindcore" subgenre.

Other bands contributing significantly to this early movement include Britain's Bolt Thrower and Carcass, and New York's Suffocation.

To close the circle, Death released their fourth album Human in 1991, an example of modern death metal. Death's founder Schuldiner helped push the boundaries of uncompromising speed and technical virtuosity, mixing technical and intricate rhythm guitar work with complex arrangements and emotive guitar solos.[35] Other examples are Carcass's Necroticism – Descanting the Insalubrious, Suffocation's Effigy of the Forgotten and Entombed's Clandestine from 1991. At this point, all the above characteristics are present: abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and growling vocal delivery.

Earache Records, Relativity Records and Roadrunner Records became the genre's most important labels,[36] with Earache releasing albums by Carcass, Napalm Death, Morbid Angel, and Entombed, and Roadrunner releasing albums by Obituary, and Pestilence. Although these labels had not been death metal labels, initially, they became the genre's flagship labels in the beginning of the 1990s. In addition to these, other labels formed as well, such as Nuclear Blast, Century Media, and Peaceville. Many of these labels would go on to achieve successes in other genres of metal throughout the 1990s.

In September 1990, Death's manager Eric Greif held one of the first North American death metal festivals, Day of Death, in Milwaukee suburb Waukesha, Wisconsin, and featured 26 bands including Autopsy, Broken Hope, Hellwitch, Obliveon, Revenant, Viogression, Immolation, Atheist, and Cynic.[37]

Later history Death metal's popularity achieved its initial peak between the 1992–93 era, with some bands such as Morbid Angel, Cannibal Corpse and Obituary enjoying mild commercial successes. However, the genre as a whole never broke in to the mainstream. The genre's mounting popularity may have been partly responsible for a strong rivalry between Norwegian black metal and Swedish death metal scenes. Fenriz of Darkthrone has noted that Norwegian black metal musicians were "fed up with the whole death metal scene" at the time.[38] Death metal diversified in the 1990s, spawning a rich variety of subgenres which still have a large "underground" following at the present.

Characteristics Instrumentation The setup most frequently used within the death metal genre is two guitarists, a bass player, a vocalist and a drummer often using "double bass blast beats".[39] [40] Although this is the standard setup, bands have been known to occasionally incorporate other instruments such as electronic keyboards.[41] The genre is often identified by fast, highly distorted and downtuned guitars, played with techniques such as palm muting and tremolo picking. The percussion is usually aggressive, and powerful; blast beats, double bass and exceedingly fast drum patterns frequently add to the complexity of the genre.[42] Death metal is known for its abrupt tempo, key, and time signature changes, as well as fast and complex guitar and drumwork.[43] Death metal may include chromatic chord progressions and a varied song structure, rarely employing the standard verse-chorus arrangement. These compositions tend to emphasize an ongoing development of themes and motifs.

3

Death metal

Vocals and lyrics Death metal vocals are often guttural roars, grunts, snarls, and low gurles colloquially known as death growls. Death growling is mistakenly thought to be a form of using the lowest vocal register known as vocal fry, however vocal fry is actually a form of overtone screaming and true death growling is in fact created by an altogether different technique. Attempting to growl using a screaming technique will result in serious damage to the vocal cords.[44] The style is sometimes referred to as Cookie Monster vocals, tongue-in-cheek, due to the vocal similarity to the voice of the popular Sesame Street character of the same name.[45] Although often criticized, death growls serve the aesthetic purpose of matching death metal's aggressive lyrical content.[46] High-pitched screaming is also commonly utilized in death metal, being heard in songs by Death, Exhumed, Dying Fetus, Cannibal Corpse, and Deicide. Often death metal singers will alternate between shrieks and growls in order to create a contrasting effect.

The lyrical themes of death metal may invoke slasher film-stylized violence,[47] but may also extend to topics like Satanism, anti-religion, occultism, mysticism, philosophy, and Politics.[48] [49] Although violence may be explored in various other genres as well, death metal may elaborate on the details of extreme acts, including mutilation, dissection, torture, rape and necrophilia. Sociologist Keith Kahn-Harris commented this apparent glamorization of violence may be attributed to a "fascination" with the human body that all people share to some degree, a fascination which mixes desire and disgust.[50] Heavy metal author Gavin Baddeley also stated there does seem to be a connection between "how acquainted one is with their own mortality" and "how much they crave images of death and violence" via the media.[51] Additionally, contributing artists to the genre often defend death metal as little more than an extreme form of art and entertainment, similar to horror films in the motion picture industry.[2] This explanation has brought such musicians under fire from activists internationally, who claim that this is often lost on a large number of adolescents, who are left with the glamorization of such violence without social context or awareness of why such imagery is stimulating.[2] According to Alex Webster, bassist of Cannibal Corpse, "The gory lyrics are probably not, as much as people say, [what's keeping us] from being mainstream. Like, 'death metal would never go into the mainstream because the lyrics are too gory?' I think it's really the music, because violent entertainment is totally mainstream."[52]

Origin of the term The most popular theory of the subgenre's christening is Possessed's 1984 demo, Death Metal; the song from the eponymous demo would also be featured on the band's 1985 debut album, Seven Churches.[53] Possessed vocalist/bassist Jeff Becerra said he coined the term in early 1983 for a high school English class assignment.[54] Another possible origin is a fanzine called Death Metal, started by Thomas Fischer and Martin Ain of Hellhammer and Celtic Frost. The name was later given to the 1984 compilation Death Metal released by Noise Records.[55] [56] The term might also have originated from other recordings. A demo released by Death in 1984 is called Death by Metal.[57]

Subgenres It should be noted that cited examples are not necessarily exclusive to one particular style. Many bands can easily be placed in two or more of the following categories, and a band's specific categorization is often a source of contention due to personal opinion and interpretation. • Melodic death metal: Scandinavian death metal could be considered the forerunner of "melodic death metal".

Melodic death metal, sometimes referred to as "melodeath", is heavy metal music mixed with some death metal elements, such as growled vocals and the liberal use of blastbeats. Songs are typically based on Iron Maiden-esque guitar harmonies and melodies with typically higher-pitched growls, as opposed to traditional death metal's brutal riffs and much lower death grunts. Carcass is sometimes credited with releasing the first melodic death metal album with 1993's Heartwork, although Swedish bands In Flames, Dark Tranquillity, and At the

4

Death metal

5

Gates are usually mentioned as the main pioneers of the genre and of the Gothenburg metal sound.

• Technical death metal: Technical death metal and "progressive death metal" are related terms that refer to bands distinguished by the complexity of their music. Common traits are dynamic song structures, uncommon time signatures, atypical rhythms and unusual harmonies and melodies. Bands described as technical death metal or progressive death metal usually fuse common death metal aesthetics with elements of progressive rock, jazz or classical music. While the term technical death metal is sometimes used to describe bands that focus on speed and extremity as well as complexity, the line between progressive and technical death metal is thin. "Tech death" and "prog death", for short, are terms commonly applied to such bands as Cryptopsy, Edge of Sanity, Opeth, Origin and Sadist. Cynic, Atheist, Pestilence and Gorguts are examples of bands noted for creating jazz-influenced death metal. Necrophagist and Spawn of Possession are known for a classical music-influenced death metal style. Death metal pioneers Death also refined their style in a more progressive direction in their final years. The Polish band Decapitated gained recognition as one of Europe's primary modern technical death metal acts.[58] [59] • Death/doom: Death/doom is a style that combines the slow tempos and melancholic atmosphere of doom metal with the deep growling vocals and double-kick drumming of death metal.[60] The style emerged during the late 1980s and gained a certain amount of popularity during the 1990s.[60] It was pioneered by bands such as Autopsy, Winter,[61] Asphyx,[61] Disembowelment,[61] Paradise Lost,[61] and My Dying Bride.[61] • Goregrind and deathgrind: This style mixes the intensity, speed, and brevity of grindcore with the complexity of death metal. It differs from death metal in that guitar solos are often a rarity, shrieked vocals are more prominent as the main vocal style (though death growls are still utilized and some deathgrind bands make more use of the latter vocal style), and songs are generally shorter in length, usually between one and three minutes. The style differs from grindcore in the more technical approach and less evident hardcore punk influence and aesthetics. Some notable examples of deathgrind are Brujeria, Cattle Decapitation,[63] Cephalic Carnage, Pig Destroyer,[64] Circle of Dead Children and Rotten Sound.

Aborted are "key contributors to the death-grind [62] genres" according to Allmusic.

• Blackened death metal: is a style that combines death metal and black metal.[65] [66] These bands also often tend to adopt some of the thematic characteristics of that genre as well: Satanism and occultism are all common topics and images. The style was influenced by bands such as Sarcófago, Blasphemy, Beherit and Impaled Nazarene. In the mid 1990s it was developed further by bands such as Belphegor, Behemoth, Akercocke, Zyklon and Sacramentum.

• Deathcore: With the rise in popularity of metalcore, some of its traits have been incorporated into death metal.

Bands such as Suicide Silence, Salt the Wound and the early works from Job for a Cowboy combine metalcore with death metal influences. Characteristics of death metal, such as fast drumming (including blast beats), down-tuned guitars, tremolo picking and partially growled vocals, are combined with screamed vocals, melodic riffs and multiple breakdowns.

Other fusions and subgenres There are other heavy metal music subgenres that have come from fusions between death metal and other non-metal genres, such as the fusion of death metal and jazz. Atheist and Cynic are two examples. The former of went as far as to include jazz-style drum solos on albums, and the latter incorporated elements of jazz fusion. Nile have also incorporated Egyptian music and Middle Eastern themes into their work, while Alchemist have incorporated psychedelia along with Aboriginal music. Some groups, such as Nightfall and Eternal Tears of Sorrow, have incorporated keyboards and symphonic elements, creating a fusion of symphonic metal and death metal, sometimes referred to as symphonic death metal.

Death metal

References [1] "Death Metal/Black Metal" (http:/ / www. allmusic. com/ explore/ style/ d384). Allmusic. . Retrieved 2008-07-04. "Death Metal grew out of the thrash metal in the late '80s."

[2] Dunn, Sam (Director). (August 5, 2005). Metal: A Headbanger's Journey (http:/ / imdb. com/ title/ tt0478209/ ). [motion picture]. Canada: Dunn, Sam. .

[3] Joel McIver Extreme Metal, 2000, Omnibus Press pg.14 ISBN 88-7333-005-3 [4] The greatest metal band for Mtv (http:/ / www. mtv. com/ bands/ m/ metal/ greatest_metal_bands/ 071406/ index7. jhtml) [5] Joel McIver Extreme Metal, 2000, Omnibus Press pg.100 ISBN 88-7333-005-3 [6] Joel McIver Extreme Metal, 2000, Omnibus Press pg.55 ISBN 88-7333-005-3 [7] Rivadavia, E. Possessed: Biography, allmusic (http:/ / www. allmusic. com/ artist/ p5171), (accessed August 13, 2008) [8] allmusic ((( Death > Biography ))) (http:/ / www. allmusic. com/ artist/ p4050) [9] Metal Rules Interview with Chuck Schuldiner (http:/ / www. metal-rules. com/ interviews/ chuck. htm) [10] The Best Of NAMM 2008: Jimmy Page, Satriani Models Among The Highlights | News @ Ultimate-Guitar.Com (http:/ / www. ultimate-guitar. com/ news/ industry_news/ the_best_of_namm_2008_jimmy_page_satriani_models_among_the_highlights. html) [11] Morbid Angel page @ Allmusic (http:/ / www. allmusic. com/ artist/ p4953) "Formed in 1984 in Florida, Morbid Angel (along with Death) would also help spearhead an eventual death metal movement in their home state" [12] Is Metal Still Alive? (http:/ / www. emptywords. org/ Watt4-93ismetalstillalive. htm) WATT Magazine, Written by: Robert Heeg, Published: April 1993 [13] Silver Dragon Records (http:/ / www. silver-dragon-records. com/ death_metal. htm) "During the 1990s death metal diversified influencing many subgenres" [14] Venom – Welcome to Hell review @ Allmusic (http:/ / www. allmusic. com/ album/ r688241) "Make no mistake: Welcome to Hell, more than any other album, crystallized the elements of what later became known as thrash, death, black, and virtually every other form of extreme metal" [15] Venom band page @ Allmusic (http:/ / www. allmusic. com/ artist/ p5755) "Venom developed a dark, blistering sound which paved the way for the subsequent rise of thrash music; similarly, their macabre, proudly Satanic image proved a major inspiration for the legions of black metal bands" [16] Into The Lungs of Hell (http:/ / www. emptywords. org/ MetalHammerItaly03-2000. htm) Metal Hammer magazine, Written by: Enrico de Paola, Translated by: Vincenzo Chioccarelli, Published: March 2000 "" [17] Slayer band page @ Allmusic (http:/ / www. allmusic. com/ artist/ p5453) [18] Huey, Steve. "Reign in Blood – Slayer" (http:/ / www. allmusic. com/ album/ r18220). Allmusicguide.com. . Retrieved 2007-01-05.

[19] John Peel,, Albert Mudrian (2004). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House.

ISBN 193259504X. [20] Scaruffi, Piero (October 15, 2003). A History of Rock Music: 1951-2000 (page 277). iUniverse. ISBN 0595295657.

[21] Possessed – Seven Churches review @ Allmusic (http:/ / www. allmusic. com/ album/ r15558) [22] Possessed band page @ Allmusic (http:/ / www. allmusic. com/ artist/ p5171) [23] POSSESSED interview - Jeff Becerra (http:/ / www. voicesfromthedarkside. de/ interviews/ possessed. htm) [24] POSSESSED interview - Brian Montana (http:/ / www. voicesfromthedarkside. de/ interviews/ montana. htm) [25] Purcell, Natalie J. (2003). Death Metal music: the passion and politics of a subculture (page 54). McFarland & Company.

ISBN 0786415851.

[26] McIver, Joel (2008). The Bloody Reign of Slayer. Omnibus Press. ISBN 1847721095.

[27] Ekeroth, Daniel (2008). Swedish Death Metal (page 12). Bazillion Points. ISBN 9780979616310.

[28] John Peel, Albert Mudrian (2004). Choosing Death: The Improbable History of Death Metal and Grindcore (page 70). Feral House.

ISBN 193259504X. [29] Earache.com Jeff Becerra interview (http:/ / www. earache. com/ WickedWorld/ interview/ possessed/ possessed. html) [30] Death band page (http:/ / www. emptywords. org/ BAND. htm) [31] Purcell, Natalie J. (2003). "3" (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 54. ISBN 0786415851. . Retrieved June 2007.

[32] Death biography, allmusic (http:/ / www. allmusic. com/ artist/ p4050) [33] About.com (http:/ / heavymetal. about. com/ od/ death/ p/ pro_death. htm) [34] Aldis, N. & Sherry, J. Heavy metal Thunder, 2006, San Francisco: Chronicle ISBN 0-8118-5353-5 [35] Empty Words, where there are dozens of reviews along this line (http:/ / www. emptywords. org) [36] 'Death Metal Special: Dealers in Death' Terrorizer #151 [37] Biography, Official Atheist site (http:/ / www. officialatheist. com/ index. php?item=biography), accessed December 10, 2008 [38] Zebub, Bill (2007). Black Metal: A Documentary.

[39] Purcell, N. Death Metal music: the passion and politics of a subculture (http:/ / books. google. ca/ books?id=AwJJR5vvlIsC& pg=PA9& dq="death+ metal"+ double+ bass& hl=en& ei=0enJTJSTI5LAsAO42PjhDg& sa=X& oi=book_result& ct=result& resnum=1& sqi=2& ved=0CDEQ6AEwAA#v=onepage& q="death metal" double bass& f=false), at 9, McFarland, 2003 (retrieved October 28, 2010)

6

Death metal [40] Kahn-Harris, K. Extreme metal: music and culture on the edge (http:/ / books. google. ca/ books?id=9--qAVrfxukC& pg=PA32& dq="death+ metal"+ double+ bass+ blast+ beats& hl=en& ei=XuvJTNj3Lob4sAOW_IXkDQ& sa=X& oi=book_result& ct=result& resnum=3& ved=0CDsQ6AEwAg#v=onepage& q="death metal" double bass blast beats& f=false), at 32, Berg Publishers, 2007 (retrieved October 28, 2010) [41] Marsicano, D. Melodic Death Metal (http:/ / heavymetal. about. com/ od/ heavymetal101/ p/ melodicdeathmetalprofile. htm), About.com (retrieved October 27, 2010) [42] FretJam Guitar Lessons, "How to Play Death Metal Guitar" (http:/ / www. fretjam. com/ how-to-play-death-metal-guitar. html) [43] Purcell, Natalie J. (2003). "1" (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 12. ISBN 0786415851. . Retrieved June 2007. "A good Death Metal song will keep the listener to the edge of his seat while the song twists and turns through numerous time changes and scale patterns - John Gallagher, Dying Fetus" [44] Interview with Samuel Deschaine, Death Metal Vocal Instructor 2011 [45] "Cookie Monster Vocals" (http:/ / heavymetal. about. com/ od/ glossary/ g/ gl_cookiemonste. htm). about.com. . Retrieved January 21, 2006.. See further examples of this usage at "The cookie monster vocal explained" (http:/ / web. archive. org/ web/ 20060218034831/ http:/ / rocknerd. org/ article. pl?sid=04/ 07/ 15/ 1626209). rocknerd. Archived from the original (http:/ / rocknerd. org/ article. pl?sid=04/ 07/ 15/ 1626209) on February 18, 2006. . Retrieved January 21, 2006.

[46] Sharpe-Young, Garry. Death Metal, ISBN 0-9582684-4-4 [47] Moynihan, Michael, and Dirik Søderlind (1998). Lords of Chaos (2nd ed.). Feral House. ISBN 0-922915-94-6, p. 27 [48] Purcell, Natalie J. (2003). "3" (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 39–42. ISBN 0786415851. . Retrieved June 2007.

[49] Wikihow: How to Appreciate Death Metal (http:/ / www. wikihow. com/ Appreciate-Death-Metal) [50] Khan-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Oxford: Berg, 2006. ISBN 978-1-84520-399-3 [51] Baddeley, Gavin. Raising Hell!: The Book of Satan and Rock 'n' Roll [52] Alex Webster ([[Cannibal Corpse (http:/ / www. waytooloud. com/ 2007/ 10/ 23/ cannibal-corpse-alex-webster-and-george-â corpsegrinderâ -fisher/ )]) interview] [53] Purcell, Natalie J. (2003). "4" (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 53. ISBN 0786415851. . Retrieved June 2007. "Meanwhile, in 1983, the term was co-coined by some American teens who formed the band Possessed and labeled their demo "Death Metal"."

[54] Ekeroth, Daniel (2008). Swedish Death Metal (page 11). Bazillion Points. ISBN 9780979616310.

[55] Purcell, Natalie J. (2003). "3" (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 53. ISBN 0786415851. . Retrieved June 2007. "The term "Death Metal" emerged when Thomas Fischer and Martin Ain, a pair of Swiss Venom fans in the band Hellhammer (later Celtic Frost), started a fanzine called "Death Metal". Later, their record label German Noise Records used the "Death Metal" name for a compilation featuring Hellhammer" [56] Hellhammer biography (http:/ / www. hellhammer. nl/ bio. html)"Karl from Noise is planning to call the LP Black Mass but it is Tom who talks him out of it and proposes Death Metal which actually is the name of the underground mag Tom used to run" [57] THE DEATH OF DEATH (http:/ / www. emptywords. org/ Martelgang01-2002. htm) Martelgang Magazine, Written by: Anton de Wit, Published: January 2002, "Yet it's almost unthinkable that the term wasn't inspired by the band name Death or their first demo, Death by Metal from 1984."

[58] Eduardo Rivadavia. "Decapitated Biography" (http:/ / www. allmusic. com/ artist/ p420031). Allmusic. . Retrieved 2010-02-07.

[59] "Decapitated's New Lineup Performs Live For First Time; Photos Available - Feb. 3, 2010" (http:/ / www. roadrunnerrecords. com/ blabbermouth. net/ news. aspx?mode=Article& newsitemID=134476). Blabbermouth.net. . Retrieved 2010-02-07.

[60] 'Doom Metal Special:Doom/Death' Terrorizer #142 [61] Purcell, Nathalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture (http:/ / books. google. com/ books?id=6ZErQs5hCUQC). McFarland & Company. pp. 23. ISBN 0786415851. . Retrieved April 2008.

[62] Rivadavia, Eduardo. "Aborted" (http:/ / www. allmusic. com/ artist/ p568178). Allmusic. . Retrieved 2009-06-10.

[63] "The Locust, Cattle Decapitation, Daughters", Pop and Rock Listings, The New York Times, April 13, 2007. (http:/ / www. nytimes. com/ 2007/ 04/ 13/ arts/ music/ 13pop. html?pagewanted=3) Access date: August 6, 2008.

[64] Bryan Reed, The Daily Tar Heel, July 19, 2007. (http:/ / media. www. dailytarheel. com/ media/ storage/ paper885/ news/ 2007/ 07/ 19/ Arts/ phantom. Limb. Exorcises. Its. Emotions-2925041. shtml) Access date: August 6, 2008.

[65] Henderson, Alex. "Ninewinged Serpent review" (http:/ / www. allmusic. com/ album/ r1241205). Allmusic. . Retrieved 2009-05-03.

[66] Bowar, Chad. "Venganza review" (http:/ / heavymetal. about. com/ od/ reviews/ gr/ hacavitz. htm). About.com. . Retrieved 2009-05-03.

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Death metal

Literature • Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0 • Albert Mudrian, Choosing Death: The Improbable History of Death Metal & Grindcore ( Feral House (http:// www.feralhouse.com/)) ISBN 978-1-932595-04-8 • Kahn-Harris, Keith 'Extreme Metal: Music and Culture on the Edge' Berg, http://soulremnants.com, ISBN 1-84520-399-2 • Purcell, Natalie J. 'Death Metal Music: The Passion and Politics of a Subculture' McFarland & Company, ISBN 0-7864-1585-1 • Ian Christe. Sound of the Beast: The Complete Headbanging History of Heavy Metal. (New York, NY. Harper Collins, 2003) ISBN 978-0-380-81127-4 • Harrell, Jack. "The Poetics of Destruction: Death Metal Rock." Popular Music and Society. Spring 1995.

Republished, April, 1996 in the Social Issues Resources Series (SIRS) database.

8

Thrash metal

9

Thrash metal Thrash metal Stylistic origins

NWOBHM, speed metal, hardcore punk

Cultural origins

Early 1980s, United States and Germany

Typical instruments

Rhythm guitar, lead guitar, bass guitar, drums, vocals

Mainstream popularity

Underground in early 1980s, with a gradual rise in popularity until peaking at near-mainstream levels in late 1980s and early 1990s, and then a gradual decline until being effectively underground in mid 1990s. Moderate resurgence in mid 2000s.

Derivative forms

Death metal, black metal, groove metal Fusion genres Crossover thrash, metalcore Regional scenes

Germany – Brazil – United Kingdom – Poland – Australia – Canada – United States: Bay Area – East Coast – Japan Other topics List of bands

Thrash metal (or simply thrash) is an extreme subgenre of heavy metal that is characterized usually by its fast tempo and aggression. Songs of the genre typically use fast percussive and low-register guitar riffs, overlaid with shredding-style lead work.[1] Lyrics of thrash metal songs often deal with social issues, often using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The "Big Four" bands of thrash metal are Metallica, Anthrax, Megadeth, and Slayer,[2] who simultaneously created and popularized the genre in the early 1980s.

The origins of thrash metal are generally traced to the late 1970s and early 1980s, when a number of bands began incorporating the sound of the New Wave of British Heavy Metal,[3] creating a new genre and developing into a separate movement from punk rock and hardcore. This genre is more aggressive compared to its relative, speed metal, and can be seen in part to be a reaction to the lighter, more widely acceptable sounds and themes of glam metal.[4]

Musical traits Thrash metal generally features fast tempos, low-register, complex guitar riffs, high-register guitar solos, double bass drumming. Vocally, thrash metal can employ melodic singing to shouted vocals.

Most thrash guitar solos are played at high speed, as they are usually characterized by shredding, and use techniques such as sweep picking, legato phrasing, alternate picking, tremolo picking, string skipping, and two-hand tapping.

Thrash lead guitarists are often influenced by the New Wave of British Heavy Metal movement.

Thrash guitar riffs often use chromatic scales and emphasize the tritone and diminished intervals, instead of using conventional single scale based riffing. For example, the intro riff of Metallica's "Master of Puppets" is a chromatic descent, followed by a chromatic ascent based on the tritone. Rhythm guitar playing is characterized by extensive palm muting and down picking to give the riffs a chugging sound, along with extensive use of the pedal point technique (creating what can be considered a distinctive, 'thrashy' sound).

Speed, pacing, and time-changes also define thrash metal. Thrash tends to have an accelerating feel which may be due in large part to its aggressive drumming style. For example, thrash drummers often use two bass drums, or a double-bass pedal, in order to create a relentless, driving beat. Cymbal stops/chokes are often used to transition from

Thrash metal one riff to another or to precede an acceleration in tempo.

To keep up with the other instruments, many thrash bassists use a pick. However, some prominent thrash metal bassists have used their fingers, such as Frank Bello, Greg Christian, Steve DiGiorgio, Robert Trujillo and Cliff Burton.[5] Several bassists use a distorted bass tone, an approach popularized by Burton and Motรถrhead's Lemmy.

Lyrical themes in thrash metal include isolation, alienation, corruption, injustice, addiction, suicide, murder, warfare, and other maladies that afflict the individual and society. In addition, politics, particularly pessimism or dissatisfaction towards politics, is a common theme among thrash metal bands. Humor and irony can occasionally be found, but they are limited, and are the exception rather than the rule.[6]

History Origins Among the earliest songs to be labeled as thrash metal are Queen's "Stone Cold Crazy", which was recorded and released in 1974 (described by Q Magazine as being "thrash metal before the term had been invented"),[7] and Black Sabbath's "Symptom of the Universe",[8] released in 1975 which was eventually covered by thrash metal bands Sepultura, Stone[9] and Metallica. It was also the starting point for Diamond Head's "Am I Evil?"[10] Since then, NWOBHM bands directly influenced the development of early thrash. The early work of Venom's early work is considered a major artists such as Diamond Head, Iron Maiden, Judas Priest,[11] Venom, influence on thrash metal Motรถrhead, Tygers of Pan Tang, Raven, and Angel Witch, among others, introduced the fast-paced instrumentation that became essential aspects of thrash. Featured on Judas Priest's British Steel, "Rapid Fire" have been noted as a "proto-thrash" song.[12] In Europe, the earliest band of the emerging thrash movement formed in 1979, which was Venom from Newcastle Upon Tyne, Great Britain. Their seminal 1982 album Black Metal has been cited as the major influence on many subsequent genres and bands in the extreme metal world, such as Bathory, Hellhammer, Slayer and Mayhem. The European thrash scene was almost exclusively influenced by the most aggressive music both Germany and England were producing at that time. British bands such as Tank, and Raven, along with German metal exports Accept, motivated musicians from central Europe to start bands of their own, eventually producing German thrash exports such as Sodom, Kreator and Destruction. The Swedish punk band Warheads have also been mentioned as a proto-thrash band.[13] In 1981, a Southern California band by the name of Leather Charm wrote a song entitled "Hit the Lights". Leather Charm soon disbanded and the band's primary songwriter, vocalist/rhythm guitarist James Hetfield met drummer Lars Ulrich through a classified ad. Together, James and Lars formed Metallica, the first of the "Big Four" thrash bands, with lead guitarist Dave Mustaine, who would later form Megadeth, another of the "Big Four" originators of thrash, and bassist Ron McGovney. Metallica later relocated to the San Francisco Bay Area. McGovney was replaced with Cliff Burton, and Mustaine was later replaced with Kirk Hammett. The band released "Hit the Lights" on their first studio album, Kill 'Em All, in July 25, 1983.

Another "Big Four" thrash band formed in Southern California in 1981, when guitarists Jeff Hanneman and Kerry King met while auditioning for the same band and subsequently decided to form a band of their own. Hanneman and King recruited vocalist/bassist Tom Araya, a former respiratory therapist, and drummer Dave Lombardo, a pizza delivery driver, and Slayer was formed. Slayer was discovered by Metal Blade Records executive Brian Slagel while performing Iron Maiden's "Phantom of the Opera" at a show, and were promptly signed to the label. In December 1983, less than six months after the release of Kill 'Em All, Slayer put out their debut album, Show No Mercy.

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Thrash metal In the early 80s Canada produced influential speed metal bands like Toronto's Anvil, Ottawa's Exciter, and Jonquière's Voivod.

Mid-1980s The popularity of thrash metal increased in 1984 with the release of Metallica's Ride the Lightning, Anthrax's Fistful of Metal, Overkill's self-titled EP and Slayer's Haunting the Chapel EP. This led to a heavier sounding form of thrash, which was reflected in Exodus's Bonded by Blood and Slayer's Hell Awaits. In 1985, the German band Kreator released their debut album Endless Pain and the Brazilian band Sepultura released their EP Bestial Devastation. Megadeth, which was formed by former Metallica guitarist Dave Mustaine, released their debut album Killing Is My Business... And Business Is Good!, and Anthrax released the critically acclaimed Spreading The Disease in 1985.

A number of high profile thrash albums were released in 1986: • Metallica released their 1986 album Master of Puppets • Slayer, regarded as one of the most sinister thrash metal bands from the early 1980s[14] released Reign in Blood, an album considered by some to have almost single-handedly inspired the entire death metal genre.[15] • Megadeth released Peace Sells... But Who's Buying?, which proved to be the band's commercial and critical breakthrough.[16] Considered to be a landmark thrash metal album, Allmusic cited Peace Sells... But Who's Buying? as "One of the most influential metal albums of its decade, and certainly one of the few truly definitive thrash albums".[17] • Kreator released Pleasure to Kill, which would later be a major influence on the death metal genre.[18] [19] [20]

Late 1980s In 1987, Anthrax released their album Among the Living, which bore similarities to their two previous releases: Fistful of Metal and Spreading the Disease, with fast and heavy guitars and pounding drums. Death Angel took a similar pro-thrash approach with their 1987 debut, The Ultra-Violence.

In 1988, Suicidal Tendencies, who had previously been a straightforward punk band, released their major label debut How Will I Laugh Tomorrow When I Can't Even Smile Today.

Sepultura's third album, Beneath the Remains (1989) earned them some mainstream appeal as it appeared on Roadrunner Records.

Testament continued through the late 1980s with The New Order (1988) and Practice What You Preach (1989), both albums showing the band was continuing to grow musically and almost gaining Testament the same level of popularity as the "Big Four"[2] [21] [22] [23] of thrash: Metallica, Megadeth, Anthrax and Slayer, shown here in 2007, are one of the "Big Four" Slayer. Vio-lence, a relative latecomer to the Bay Area thrash thrash bands. metal scene, released their debut album Eternal Nightmare in 1988. Canadian thrashers Annihilator would release their highly technical debut album Alice in Hell (1989) which received much praise due to its fast riffs and extended guitar solos. Sadus was a later thrash band, featuring a sound which was primarily driven by the fretless bass of Steve DiGiorgio. Meanwhile in Germany, Sodom released Agent Orange and Kreator would release Extreme Aggression.

Slayer released South of Heaven in 1988, Megadeth released So Far, So Good... So What! Anthrax released "State Of Euphoria" while Metallica's album ...And Justice for All of the same year spawned the band's first video, the World War I-themed song "One".

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Thrash metal

1990s A number of more typical but technically sophisticated thrash albums were released in the year of 1990, including Megadeth's Rust in Peace, Anthrax's Persistence of Time, Slayer's Seasons in the Abyss, Suicidal Tendencies' Lights...Camera...Revolution!, Testament's Souls of Black, and Kreator's Coma of Souls. All of those albums were commercial high points for the aforementioned artists. Many of these bands embarked on a group tour called the "Clash of the Titans" the same year.

After this climax for the genre, the energy of the thrash metal was exhausted and it was overtaken by the rising grunge rock. In the 1990's many veteran thrash metal bands began changing to more accessible, radio-friendly styles.[24] Metallica was a notable example of this shift, particularly with their mid to late 90s albums Load (1996), and ReLoad (1997), which both displayed minor blues and southern rock influences, and were seen as a major departure from the band's earlier sound.[25] Megadeth took a more accessible hard rock route starting with their 1992 album Countdown to Extinction,[26] and Testament released the melodic The Ritual in 1992.[27] As further extreme metal genres came to prominence in the 1990s (industrial metal, death metal, and black metal each finding their own fanbase), the heavy metal "family tree" soon found itself blending aesthetics and styles.[28] For example, bands with all the musical traits of thrash metal began using "death growls", a vocal style borrowed from death metal, while black metal bands often utilized the airy feel of synthesizers, popularized in industrial metal.

Today the placing of bands within distinct subgenres remains a source of contention for heavy metal fans, however, little debate resides over the fact that thrash metal is the sole proprietor of its respective spinoffs (see below).

Recent popularity (2000s) Thrash metal has recently seen a certain degree of resurgence of popularity.[29] Bands including Warbringer, Municipal Waste, Evile, Havok, SSS, Sanctity, Violator, Toxic Holocaust and Gama Bomb have been cited as key in the "resurgence" of thrash metal, particularly with Evile's debut album, Enter the Grave, which garnered overall satisfaction from many publicists and critics.[30] The genre's sense of recklessness and energy has been cited as a potential reason for its resurgence.

Also many bands that ended around the 90s gathered again around 2000s, bands like: Dark Angel, Death Angel, Nuclear Assault, Defiance, Whiplash, Hirax, Forbidden and Possessed. Older thrash bands have continued to put out material such as Metallica's Death Magnetic (2008), Megadeth's Endgame (2009), Slayer's World Painted Blood (2009), Anthrax's Worship Music (2011), Destruction's Day of Reckoning (2011), Sodom's In War and Pieces (2010), Kreator's Hordes of Chaos (2009), Exodus' Exhibit B: The Human Condition (2010), Overkill's Ironbound (2010), Testament's The Formation of Damnation (2008) and Metal Church This Present Wasteland (2008).

"Big Four" Tour In September 2009, it was reported that Metallica's Lars Ulrich was attempting to assemble a tour with thrash metal's "Big Four" — Metallica, Megadeth, Slayer, and Anthrax — together on one bill. The "Big Four" took the stage together for seven shows in the Sonisphere Festival concert series. The first show together took place in Warsaw, Poland on June 16, 2010 and the last took place in Istanbul, Turkey on June 27.[31] On May 5, 2010 Metallica announced that the live show in Sofia, Bulgaria on June 22, 2010 would be transmitted via satellite to over 450 movie theaters in the U.S. and over 350 theaters across Europe, Canada, and Latin America.[32] The show also provided the historic moment of all current members of the Big Four (with the exception of Tom Araya, Kerry King and Jeff Hanneman) sharing the stage to perform the song "Am I Evil?" by Diamond Head.

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Thrash metal

Regional scenes Like many musical genres, thrash had its own regionally-based scenes, each of which had a slightly different sound.

• Bay Area thrash metal: The Bay Area thrash scene tended to be the most progressive and technical of the five major thrash scenes, with progressive influenced song structures and more influenced by the New Wave of British Heavy Metal. Metallica, Testament and Exodus were most prominent bands from this region.

• East Coast thrash metal: The East Coast bands tended to be more punk and hardcore influenced than West Coast bands, with more emphasis on aggression and speed than technicality (though not in the case of bands like Toxik).

Anthrax, Nuclear Assault, Overkill, Incision, Whiplash, as well as crossover acts S.O.D. and Method of Destruction (M.O.D.), were a few of the more prominent bands to come from the East Coast thrash scene.

• Texas thrash metal: Though not as well known as the Bay Area or New York/New Jersey scenes in the U.S., Texas has had some thrash metal bands. Rigor Mortis, Gammacide, Torture, Watchtower, and Arcane are all bands that have come from all over Texas. Texas continues to offer new thrash metal bands, as well, with bands such as Insinnerator, Terrorist, Skelteria, Hexlust, and Warbeast playing thrash metal.

• Teutonic thrash metal: Since the mid-eighties, the German/Swiss thrash metal scene spawned dozens of bands, managing to develop its own original style. The most successful bands from this scene were Kreator, Destruction, Sodom, Tankard and Holy Moses.

• Canadian thrash metal: Bands like, Voivod, Razor, Annihilator, Infernäl Mäjesty, Exciter and Sacrifice were all associated with the Canadian thrash metal scene.

• Brazilian thrash metal: Brazilian thrash metal brought a lot of death metal riffs. The most famous bands are Sepultura, Executer, MX, Korzus and Sarcófago.

• Australian thrash metal: While distantly cut off from the main thrash scenes, Australia also has its own thrash metal scene. In the year of 1988, Australia made its first stakes in the genre when Sydney band Mortal Sin and Melbourne band Hobbs' Angel of Death released their respective debut albums to a worldwide audience. These two bands would probably be the Sepultura, a key band of the Brazilian thrash metal best known Australian thrash metal bands, alongside the more scene cult Slaughter Lord, and Armoured Angel. Today, most Australian thrash metal bands incorporate elements of black metal and death metal, some including Christian subjects (such as Mortification), Deströyer 666, Gospel of the Horns and Atomizer.

• United Kingdom thrash metal: The British thrash metal scene of the 1980s was caught behind the stronger and more developed US scene, with bands hampered by weak support from record labels and a rush to catch up to the American bands. There were important bands such as Onslaught, Xentrix, Sabbat, Atomkraft, and Acid Reign, but these bands never achieved the success of the US Big Four, and were never able to compete with this or the German scene.[33] In recent years the UK has taken part significantly in the thrash metal resurgence, with bands such as Evile, Savage Messiah, Gama Bomb, Flayed Disciple and a reformed Onslaught.

• Spanish thrash metal: Similar to other scenes in Europe, Spain spawned numerous bands in the 80s, such as Muro, Com, Fuck Off and Legión. In the 90s, bands like Paranoia, Ktulu, Soziedad Alkoholika, Nopresion, Su Ta Gar and Silvertfist came to prominence. More recently the scene has experienced the rise of a new wave of bands, with groups such as Angelus Apatrida, Omission, Aggression, Roar, Sabatan, Toxik Society, Atomik Destruktor .

The new wave is noted for placing a strong emphasis on aggression.

• Polish thrash metal: The Polish thrash metal scene was created by bands like Kat, Turbo, Wolf Spider, Destroyers and Acid Drinkers. Originally, thrash metal in Poland was strongly influenced by New Wave of

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Thrash metal British Heavy Metal.

Genre spinoffs Thrash metal is directly responsible for the offshoot of popular underground metal genres, such as death metal and black metal.[34] The blending of punk ethos and metal's brutal nature led to even more extreme, underground styles after thrash metal began gaining mild commercial success in the late 1980s.[34] With gorier subject matter, heavier downtuning of guitars, the more persistent use of the blastbeat, and darker, atonal death growls, death metal was established in the mid-1980s. Black metal, also considered the offspring of thrash,[35] may have risen even sooner, with many black metal bands taking influence from thrash metal bands such as Venom. Black metal continued with such deviations from thrash, often providing more orchestral soundtracks and Pagan or Occult-based aesthetics to distinguish itself from thrash.

Thrash metal with even more punk elements than standard thrash is called crossover thrash or crossover for short.[36] According to Encyclopaedia Metallum, the term was coined by the band D.R.I. with their album Crossover, released on 1987.[37] Its overall sound is more punk-influenced than traditional thrash metal, while more metal sounding than traditional hardcore punk and thrashcore.

References • Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0 • Dome, Malcolm. Thrash Metal. Omnibus Press, 1990. ISBN 0-7119-1790-6.

• Sharpe-Young, Garry (2007). Thrash Metal. New Plymouth, New Zealand: Zonda Books.

ISBN 978-0-9582684-3-1.

• Weinstein, Deena (2000). Heavy Metal: the music and its culture [38]. United States of America: Da Capo Press.

ISBN 978-0-306-80970-5.

• Agarwal, Manish (2006). Dimery, Robert. ed. 1001 Albums You Must Hear Before You Die. Quintet Publishing Limited. ISBN 0-7893-1371-5.

Notes

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Article Sources and Contributors

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Trendkill, Trugglepumper1, Trusilver, Turantuna, Uirauna, Uncle Dick, Uncle G, Unixer, Utcursch, Vastu, Verrai, Vim Fuego, Vimfuego, Viriatus, Vitalevent, Vjohnal, Voyagerfan5761, Wafulz, WaltCip, Wayne Slam, WebHamster, Weezerfan1, Weltanschaunng, Wendall1, Wether B, Wick3dd, Wiki alf, Wiki libs, Wikieditor06, Wikipelli, Wikipolito, Wilbern Cobb, Wildnox, William Avery, Wimt, Wizzer, Wjw, Woohookitty, X Trev x, XTomScottx, Xdenizen, Xeno, Xgweeex, Xpasdwe, Xzana, Yaakov Pinus, Yasinbastak, Yosri, Your Face, Yuckfoo, Yummywiki, ZaZam, ZaidAhmed, Zazaban, Zouavman Le Zouave, Zpunk1995, Zubrowka74, Осенняя мгла, 2624 anonymous edits Thrash metal Source: http://en.wikipedia.org/w/index.php?oldid=446061189 Contributors: 3dfx, 61x62x61, 8472, A Sniper, A vision of it, A10090, ACM2, AFOH, AJCham, AJHeuer, AKnot, AN OLD MAN, Aaron Schulz, Aasasa89ty0, Abanor, Abdullais4u, Abeyi76, Abtinb, Adamravenscroft, Adamsmith2311, Ahmosblaknite, Aidan41, Aitias, Al-Iskandar Tzaraath, Alansohn, Albert 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JSpung, JamieS93, Jammininthestree, Jamonator28, Jasonater, Jay32183, Jellodanzig, Jensbn, Jerry teps, Jimregan, Jk2q3jrklse, Jknobull, Jmundo, Joelasaurus, Jogers, Johan Rachmaninov, John, John Cardinal, John of Reading, Johnatx, Johnson542, Johny Sad, Jon138, JonasRH, Jonasbrotherareterrible, Jonseaton, Joost, Joseutu, Josh Allain, Jotsko, Joyous!, Jsnruf, Kameejl, Kaobear, Karvaky, Kensane, Kerowren, Kgardner1123, KillerChihuahua, Kin meillon, Kirazoglu, Kissfan7, Klander Brigade, Knightmare5001, Knutux, Kokoro20, Koshmar, Kpalion, Kronos, Kroum, Kvanhalenfan, Kwamikagami, Kylepwnsemos, L Kensington, L1A1 FAL, LOL, La Parka Your Car, Leblackhorse, Leefeni,de Karik, Leekohlbradley, Leftisthrasher, Lexein, Lexor, Lhademmor, Libertarian92, Liftarn, LimoWreck, Linnell, Llb9977, Logical Defense, Lowe4091, Lpshinoda11, Luk, Lunkey, Lupinoid, Lvivske, M bartelt, M3tal H3ad, MER-C, METALGOD42088, MTSPEED, Maelstromlusby, Magister Mathematicae, Magpieix, Mailer diablo, Majestic122, Malcolmxl5, Malconfort, Manuel Anastácio, Marctc, Markendust, Markoff Chaney, Marnues, Martarius, MartinDK, Martpol, Mateuszica, Mattbrownftw, Mattcam87, Matthew Fennell, Matthewb74, Mattmbulahao, Mav, Maxcap, Maximus Rex, MayaSimFan, McSly, Mckendrickal11, Mecanismo, MegX, Megadeth712, Megan1967, Mendaliv, Metal indo aryan, MetalCro, MetalRulz, Metaldude64, Metalheadmonster, Metalover, Metalshreddude45, Mezmerizer, Mfybht, Michael House, Michael Jones jnr, Midgrid, Mightymatt138, Mike Rosoft, MikeCapone, Mild Bill Hiccup, Minimac, Mmoneypenny, Monkeys316, MordredKLB, Motherdoor, Motleh, Mr

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Article Sources and Contributors Stephen, Mr. Blythe, Mr. Brain, Mr.Krowley, Mr.dadm, MrBook, Musashi85, Mushroom, Myspace69, Mystenzo, Nachi, Nagytibi, Nairn1983, Nakon, Napalmstickstokids, Nascar1996, NathanV, Naufana, Navnløs, Necro Ferrum, Nella2, Neuro perplexion, Newrose, Niallbarber, Nicanor5, Nightmare X, Nightspirit, Nima1024, Nite-Sirk, Nitrofest, Noctibus, Noformation, Nuggetboy, Nukeem4peace, Numbo3, Nuukmaster, Nyght, Nymf, Oderus, Okomaru, Oldschoolmetalrules, Omergutman, OnBeyondZebrax, Optimist on the run, Ozzy stene, PEiP, Pail, Pankkake, Pasajero, Patrick192, Paul foord, Pax:Vobiscum, Pde, Peripitus, Peter Fleet, Peter v, Petr Kopač, Ph89, Phgao, Phil Sandifer, Philip Trueman, PiT (The Physicist), Pillsbur, Pinkkeith, Portillo, PotentialDanger, PrestonH, Primus Sheck, Prolog, Promonex, Prophaniti, Protonk, Protozoic Waste, Purple Sabbath, QelDroma06, Quirk, R storm, RaceRexeR, RadiumMetal, Ran4, Random name, RandyRhoadsRonnieDio, RandySavageFTW, Rapboiralph, Rattlehead15, Ray Dassen, Rayc, Red dwarf, Redheylin, Rehevkor, Relayer250, Renamed user 1752, Rend48, Retired username, Revilal90, RexDeath, Rfl, Rheostatik, Ric Metal Heart, Rich Farmbrough, Richard Lionheart, Risethelightning, Rivet138, Rjwilmsi, Rock Mode, Rockfang, Rockgenre, Rockiesfan19, RockonDude92, Roda, Royboycrashfan, Runningofspace, Rustedpieces, RyanGerbil10, Sabbattnegro, Sabrebd, Sam Spade, Sammyo56, Saneasylum67, Sardanaphalus, Schlehub, SchuminWeb, Scipo, Scoates2482, Scorpion0422, Scottthezombie, Screambloodygore667, Secretlondon, Sekhmetband, Serdar213, Sergeant K, ShalashaskaX, Shanefalco, Shanes, ShelfSkewed, Sheppar, ShogunMaximus, Shoomer22, Shotoku64, Shrine of Fire, SimonP, Skeletor2112, Slakr, Slasher1177, Slaya Ain't Dead!, Slogankid, Slysplace, Smalljim, Sne83, Snoofleglax, Snowolf, Solino, Somno, Soxfan6978, SpaceFlight89, Spacefan75, Spearhead, SpyMagician, Spylab, Squidward's House, Sry85, Steeev, Stingclown, Stormie, Strich3d, Struway, Subphreeky, Superalex000, Sus scrofa, Syny6, THEN WHO WAS PHONE?, TJSwoboda, TUF-KAT, Tanner9461, Tassedethe, Template namespace initialisation script, That guy online, Thaurisil, The Elfoid, The Haunted Angel, The Shadow-Fighter, TheGrza, TheSickBehemoth, TheUglySoldier, Thedarxide, Thelma.6, Thermaland, ThisUsernameIsNotOffensive, Thisdude, Thomas Larsen, ThrashFl, ThrashWeller, Thrashh, Thundermaster, Tide rolls, Tiger Trek, Tim010987, Tomorrow nose, Tomv2121, Toreau, Torm3ntor, Torsmo, Treevillan, Tremolo666, TwisterAce, USMA, Ugur Basak, Ukuk, Ultimate77, Umbralcorax, Unf.sin, Vairulz66, Veritatem1212, VictimofDeception, Virusscan789, Vivianne08, WTH, Waggers, WarPigs7890, Wars, Weltanschaunng, WesleyDodds, Wether B, WheehW, White Devil, Wiki Wikardo, Wiki alf, Wiki libs, Wikiandbas, Wikieizor, Will231982, William Avery, Willking1979, Wimt, Wisdom89, Witchwooder, Wizardman, Wizzard2k, Woolfy123, Work permit, Wytukaze, X Trev x, Yaakov Pinus, Yellow Stripe, Ynhockey, Zalo666, ZappyGun, Zephalis, Zephead999, ZhaoHong, Ziing, Zone46, Zouavman Le Zouave, Zubrowka74, Александър, 2413 anonymous edits

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Image Sources, Licenses and Contributors

Image Sources, Licenses and Contributors Image:Possessed - Jalometalli 2008 - 02.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Possessed_-_Jalometalli_2008_-_02.JPG License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0 Contributors: Cecil Image:Chuck Schuldiner.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Chuck_Schuldiner.jpg License: GNU Free Documentation License Contributors: Original uploader was Griffyguy at en.wikipedia File:Aborted Coolness'tival 31107 06.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Aborted_Coolness'tival_31107_06.jpg License: Creative Commons Attribution 3.0 Contributors: Vassil File:Venom live at hellfest.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Venom_live_at_hellfest.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: mithrandir3 File:Slayer, The Fields of Rock, 2007.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Slayer,_The_Fields_of_Rock,_2007.jpg License: Creative Commons Attribution 2.0 Contributors: Francis from Groningen, Netherlands File:Metalmania 2007 - Sepultura 05.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Metalmania_2007_-_Sepultura_05.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: commons: Shannon5 pl.wiki: w:pl:user:Shannon5Shannon5 real name: Konrad Wawrzkiewicz

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