Cover of The Buff Medwaysost-hardcore developed in the US, particularly in the Chicago and Washington, D.C areas, in the early-to-mid 1980s, with bands that were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer song formats, more complex musical structures and sometimes more melodic lyrics. Existing bands that moved on from hardcore included Fugazi.[256] From the late 1980s they were followed by bands including Quicksand,[257] Girls Against Boys[258] and The Jesus Lizard.[259] Bands that formed in the 1990s included Thursday,[260] Thrice,[261] Finch,[262] and Poison the Well.[263]
Emo also emerged from the hardcore scene in 1980s Washington, D.C., initially as "emocore", used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style.[264] The style was pioneered by bands Rites of Spring and Embrace, the last formed by Ian MacKaye, whose Dischord Records became a major centre for the emerging D.C. emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses and Fugazi.[264] Fugazi emerged as the definitive early emo band, gaining a fanbase among alternative rock followers, not least for their overtly anti-commercial stance.[264] The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels.[264] The mid-'90s sound of emo was defined by bands like Jawbreaker and Sunny Day Real Estate who incorporated elements of grunge and more melodic rock.[265] Only after the breakthrough of grunge and pop punk into the mainstream did emo come to wider attention with the success of Weezer's Pinkerton (1996) album, which utilised pop punk.[264] Late 1990s bands drew on the work of Fugazi, SDRE, Jawbreaker and Weezer, including The Promise Ring, The Get Up Kids, Braid, Texas Is the Reason, Joan of Arc, Jets to Brazil and most successfully Jimmy Eat World, and by the end of the millennium it was one of the more popular indie styles in the US.[264]
Emo broke into mainstream culture in the early 2000s with the platinum-selling success of Jimmy Eat World's Bleed American (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003).[266] The new emo had a much more mainstream sound then in the 90s and a far greater appeal amongst adolescents than its earlier incarnations.[266] At the same time, use of the term emo expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion.[267] The term emo has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy[268] and My Chemical Romance[269] and disparate groups such as Paramore[268] and Panic at the Disco,[270] even when they protest the label. By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts.[260][261] A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of screamo.[271] Around this time, a new wave of post-hardcore bands began to emerge onto the scene that incorporated more pop punk and alternative rock styles into their music, including The Used,[272] Hawthorne Heights,[273] Senses Fail,[274] From First to Last[275] and Emery[276] and Canadian bands Silverstein[277] and Alexisonfire.[278] British bands like Funeral For A Friend,[279] The Blackout[280] and Enter Shikari also made headway.[281]
[edit]Garage rock/post-punk revival
Main articles: Garage rock revival and Post-punk revival
The Strokes performing in 2006
In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or New Wave revival.[282][283][284][285] Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.[286] There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.[287] The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The Detroit Cobras[288] and that of New York Radio 4, Yeah Yeah Yeahs and The Rapture.[289] Elsewhere, other lesser-known acts such as Billy Childish and The Buff Medways from Britain,[290] The (International) Noise Conspiracy from Sweden,[291] The 5.6.7.8's from Japan,[292] and the Oblivians from Memphis enjoyed underground, regional or national success.[293]
The commercial breakthrough from these scenes was led by four bands: The Strokes, who emerged from the New York club scene with their début album Is This It (2001); The White Stripes, from Detroit, with their third album White Blood Cells (2001); The Hives from Sweden after their compilation album Your New Favourite Band (2001); and The Vines from Australia with Highly Evolved (2002).[294] They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.[295] A second wave of bands that managed to gain international recognition as a result of the movement included Black Rebel Motorcycle Club, The Killers, Interpol and Kings of Leon from the US,[296] The Libertines, Arctic Monkeys, Bloc Party, Editors, Franz Ferdinand and Placebo from the UK,[297] Jet from Australia[298] and The Datsuns and The D4 from New Zealand.[299]
[edit]Contemporary heavy metal, metalcore and retro metal
Main article: Heavy metal music
See also: Metalcore and New Wave of American Heavy Metal
Children of Bodom, performing at the 2007 Masters of Rock festival
Metal remained popular in the 2000s, particularly in continental Europe. By the new millennium Scandinavia had emerged as one of the areas producing innovative and successful bands, while Belgium, Holland and especially Germany were the most significant markets.[300] Established continental metal bands that placed multiple albums in the top 20 of the German charts between 2003 and 2008, including Finnish band Children of Bodom,[301] Norwegian act Dimmu Borgir,[302] Germany's Blind Guardian[303] and Sweden's HammerFall.[304]
Metalcore, originally an American hybrid of thrash metal and hardcore punk, emerged as a commercial force in the mid-2000s.[305][306] It was rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death and remained an underground phenomenon through the 1990s.[307] By 2004, melodic metalcore, influenced by melodic death metal, was sufficiently popular for Killswitch Engage's The End of Heartache and Shadows Fall's The War Within to debut at number 21 and number 20, respectively, on the Billboard album chart.[308][309] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with Scream Aim Fire (2008).[310] Metalcore bands have received prominent slots at Ozzfest and the Download Festival.[311] Lamb of God, with a related blend of metal styles, reached number 2 on the Billboard charts in 2009 with Wrath.[312]
The success of these bands and others such as Trivium, who have released both metalcore and straight-ahead thrash albums, and Mastodon, who played in a progressive/sludge style, inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".[313][314] Its roots have been traced to the music of acts like Pantera, Biohazard and Machine Head, drawing on New York hardcore, thrash metal and punk, helping to inspire a move away from the Nu Metal of the early 2000s and a return to riffs and guitar solos.[315][316]
The term "retro-metal" has been applied to such bands as Texas-based The Sword, California's High on Fire, Sweden's Witchcraft, and Australia's Wolfmother.[317] The Sword's Age of Winters (2006), drew heavily on the work of Black Sabbath and Pentagram,[318] while Witchcraft added elements of folk and psychedelic rock[319] and Wolfmother's self-titled 2005 debut album combined elements of the sounds of Deep Purple and Led Zeppelin.[320]
[edit]Digital electronic rock
Main article: Electronic rock
See also: Laptronica, Indie electronic, Electroclash, Dance-punk, New rave, and Synthpop
Gaspard Augé and Xavier de Rosnay of Justice in 2001
In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer.[321] This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet,[322] and new forms of performance such as laptronica[321] and live coding.[323] These techniques also began to be used by existing bands, as with industrial rock act Nine Inch Nails' album Year Zero (2007),[324] and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.
Indie electronic, which had begun in the early 1990s with bands like Stereolab and Disco Inferno, took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, and Ratatat from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels.[325][326] The electroclash sub-genre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track "Space Invaders Are Smoking Grass" (1998),[327] and pursued by artists including Felix da Housecat,[328] Peaches, Chicks on Speed,[329] and Ladytron.[330] It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre.[331] Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud.[332] In Britain the combination of indie with dance-punk was dubbed new rave in publicity for The Klaxons and the term was picked up and applied by the NME to bands[333] including Trash Fashion,[334] New Young Pony Club,[335] Hadouken!, Late of the Pier, Test Icicles[336] and Shitdisco,[333] forming a scene with a similar visual aesthetic to earlier rave music.[333][337]
Renewed interest in electronic music and nostalgia for the 1980s led to the beginnings of a synthpop revival, with acts including Adult and Fischerspooner. In 2003-4 it began to move into the mainstream with Ladytron, the Postal Service, Cut Copy, the Bravery and, with most commercial success, The Killers all producing records that incorporated vintage synthesizer sounds and styles which contrasted with the dominant sounds of post-grunge and nu-metal.[338] The style was picked up by a large number of performers, particularly female solo artists, leading the British and other media to proclaim a new era of the female electropop star. Artists named included British acts Little Boots, La Roux and Ladyhawke.[339][340] Male acts that emerged in the same period included Calvin Harris,[341] Frankmusik,[342] Hurts,[343] Kaskade,[344] LMFAO,[345] and Owl City, whose single "Fireflies" (2009) reached the top of the Billboard chart.[346][347]
[edit]Social impact
Main article: Social effects of rock music
The 1969 Woodstock Festival was seen as a celebration of the counter-cultural lifestyle.
The worldwide popularity of rock music meant that it became a major influence on culture, fashion and social attitudes. Different sub-genres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rockers subcultures, which revolved around US rock and roll.[348] The counter-culture of the 1960s was closely associated with psychedelic rock.[348] The mid-1970s punk subculture began in the US, but it was given a distinctive look by British designer Vivian Westwood, a look which spread worldwide.[349] Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles.[350]
When an international rock culture developed, it was able to supplant cinema as the major sources of fashion influence.[351] Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance.[351] Rock fashions have been seen as combining elements of different cultures and periods, as well as expressing divergent views on sexuality and gender, and rock music in general has been noted and criticised for facilitating greater sexual freedom.[351][352] Rock has also been associated with various forms of drug use, including the stimulants taken by some mods in the early to mid-1960s, through the LSD linked with psychedelic rock in the late 1960s and early 1970s; and sometimes to cannabis, cocaine and heroin, all of which have been eulogised in song.[353][354]
Rock has been credited with changing attitudes to race by opening up African-American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that culture.[355][356] While rock music has absorbed many influences and introduced Western audiences to different musical traditions,[357] the global spread of rock music has been interpreted as a form of cultural imperialism.[358] Rock music inherited the folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment.[359] Political activism reached a mainstream peak with the "Do They Know It's Christmas?" single (1984) and Live Aid concert for Ethiopia in 1985, which, while successfully raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.
Since its early development rock music has been associated with rebellion against social and political norms, most obviously in early rock and roll's rejection of an adult-dominated culture, the counter-culture's rejection of consumerism and conformity and punk's rejection of all forms of social convention,[361] however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.
No comments:
Post a Comment