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用户:苏廉昕/Sandbox

金属蕊
风格起源Crossover thrash - [1]硬蕊庞克 - 重金属音乐 - 鞭笞金属 - youth crew[2]
文化起源1980年代末期的美国、英国。
典型乐器电吉他 - 电贝斯 - 鼓 (双大鼓) - 主唱
类型分支
Mathcore - 旋律金属蕊
融合类型
死蕊金属 - Nintendocore
地区乐坛
马萨诸塞州 - 新泽西州 - 纽约
其他主题
Breakdown - straight edge - punk metal

金属蕊（英语：Metalcore）中译或作金属核（中译较少用），是重金属音乐的一个分支，融合了极端金属与硬蕊庞克（hardcore punk）的众多特色，以两种相似曲风的混成词命名（金属乐的 Metal 与硬蕊的 hardcore）。此名称在1990年中期开始被用来形容Earth Crisis、Deadguy和Integrity等乐团。[3]现今知名的Metalcore乐团有Killswitch Engage, Underoath、All That Remains、As I Lay Dying和The Devil Wears Prada等[4] Metalcore比起其他的庞克金属更大量地运用breakdown桥段[5]，形成较慢、厚重、适合冲撞的乐句[6]。在过去五年间，此乐风已经有了长足的发展。

历史

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起源 (1977–1984)

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Crossover thrash (1984–1988)

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旋律金属蕊
风格起源金属蕊、旋死金属、后硬核
文化起源1900年末期的英国与美国
典型乐器电吉他、电贝斯、鼓组 (双大鼓)
类型分支
死蕊金属
地区乐坛
澳洲 - 德国 - Massachusetts - Russia
其他主题
Breakdown - punk metal

旋律金属蕊 (1995–现在)

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Template:Synthesis In the early 1990s, a third wave of metalcore groups appeared, who placed significantly greater emphasis on melody. These bands combined more modern elements of punk and metal and tend to fuse melodic death metal and post-hardcore, and in some examples the use of emo.[7] The first bands to have blended such elements such as Avenged Sevenfold, Killswitch Engage, All That Remains, and Atreyu[8][9] emerged and are now the most commercially successful practitioners of metalcore. These groups took major influence, cues, and writing styles from Swedish melodic death metal bands, particularly In Flames, Dark Tranquillity and At the Gates.[8][10] Melodic metalcore frequently makes use of clean vocals,[11][12][13] and is significantly less dissonant than other metalcore. Some of these groups, such as Shadows Fall, have voiced an affection for '80s glam metal.[14] Melodic metalcore groups have been described as "embrac[ing] '80s metal clichés", such as "inordinate amounts of smoke machines, rippin' solos, [and] three bass drums".[9]

商业化发展 (2000年中 - 现在)

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In the mid-2000s, metalcore emerged as a commercial force, with several independent metal labels, including Century Media and Metal Blade, signing metalcore bands. By 2004, metalcore had become popular enough that Killswitch Engage's The End of Heartache,[15] and Shadows Fall's The War Within[16] debuted at numbers 21 and 20, respectively, on the Billboard album chart. All That Remains' single "Two Weeks" peaked at number nine at the Mainstream Rock Tracks chart in the U.S. The song peaked on the Modern Rock Tracks chart at number 38. Welsh metalcore band Bullet for My Valentine's second album, Scream Aim Fire, went straight to #4 on the Billboard 200,[17] later surpassing this in 2010 with their third album Fever, which debuted at #3. Underoath's fifth album Define the Great Line, released in 2006, peaked at #2 on the Billboard 200 charts, selling 98,000 copies in its first week.[18] The Devil Wears Prada has achieved much commercial success with their most recent album, With Roots Above and Branches Below, peaking at #11 on the Billboard 200 upon its release.[19] Trivium has met with very strong success, making top 25 positions on the charts in several countries, including the USA, and top 10 positions in both Australia and the UK, even making Gold status in the UK. Hatebreed, God Forbid, and As I Lay Dying have also charted.[20][21][22] Underoath's album Lost in the Sound of Separation reached #8 on the Billboard 200 and sold 56,000 copies in its first week of sales in the U.S. alone,[23] with Killswitch Engage's self-titled fifth album reaching #7 on the Billboard 200 and selling 58,000 copies.[24]

特色

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Vocals

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The vocalizing technique in metalcore is generally screamed vocals, particularly common among many 1990s metalcore groups. Today many metalcore bands combine screaming vocals with the usage of clean vocals usually during the bridge or chorus of a song.[11]


Ideologies

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Metalcore emerged from the milieu surrounding youth crew hardcore punk subculture, with many of the groups adhering to straight edge beliefs (abstention from drugs and alcohol), although Integrity was a notable exception.[4] Converge was notable for their focus on personal anguish and experiences of failed romantic love.[25][26] Dwid Hellion, frontman of Integrity, advocated the "Holy Terror Church of Final Judgment", an apocalyptic belief system related to Gnosticism and Catharism.[1] Several members of contemporary metalcore bands are practicing Christians, including members of Zao,[27] The Devil Wears Prada, As I Lay Dying,[28] August Burns Red, Texas in July, Demon Hunter, Oh, Sleeper and Underoath.[29][30]

Subgenres

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Mathcore

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主条目：Mathcore

Mathcore began with the mid-'90s work of Converge,[31] Botch[32][33] and The Dillinger Escape Plan.[34] The term mathcore is suggested by analogy with math rock. Mathcore is characterized by speed, technical riffing, and unusual time signatures.[35][36] Bands such as Fear Before,[37] are bands that incorporate metalcore standards along with time signatures and progressive elements.

Deathcore

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主条目：Deathcore

Deathcore is an amalgamation of metalcore, hardcore punk and death metal.[38][39][40] While remaining a subgenre of metalcore, deathcore is heavily influenced by death metal in its speed, heaviness, and approach to chromatic, heavily palm muted riffing, dissonance, and frequent key changes.[来源请求] Deathcore often features breakdowns and melodic riffs.

See also

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References

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  1. ^ 1.0 1.1 Blood Runs Deep: 23 Bands Who Shaped the Scene. Alternative Press. July 7, 2008: 110. 
  2. ^ Christopher Pearson, "Beer and Loathing in New Jersey: Earth Crisis in Concert", January 20, 1999. Access date: June 20, 2008. Wayback Machine archive
  3. ^ Shai Hulud, interview with Punknews.org - 05/28/08. [2008-09-21]. As far as coining the term 'metalcore' or coining a sound, I don’t think we did. There were bands before Shai Hulud started that my friends and I were referring to as 'metalcore'. Bands like Burn, Deadguy, Earth Crisis, even Integrity. These bands that were heavier than the average hardcore bands. These bands that were more progressive than the average hardcore band. My friends and I would always refer to them as 'metalcore' because it wasn’t purely hardcore and it wasn’t purely metal. It was like a heavier hardcore band with hardcore ethics and attitude but clearly a metal influence. So we would joke around and say 'Hey, it’s metalcore. Cool!' But it was definitely a tongue-in-cheek term. 
  4. ^ 4.0 4.1 Blood Runs Deep: 23 Bands Who Shaped the Scene. Alternative Press. July 7, 2008: 110, 118. 
  5. ^ "The best part of every metalcore song is the breakdown, the part where the drums drop out and the guitars slow their frantic gallop to a devastating, precise crunch-riff and everyone in the moshpit goes extra nuts." - Tom Breihan. "Status Ain't Hood". "Live: Trivium, the Jackson 5 of Underground Metal". The Village Voice. Daily Voice. October 11, 2006. Access date: July 21, 2008.
  6. ^ 引用错误：没有为名为mosh的参考文献提供内容
  7. ^ Lee, Cosmo; Voegtlin, Stewart. Into the void: Stylus Magazine's Beginner's Guide to Metal - Article - Stylus Magazine. Stylus Magazine. [17 May 2010]. 
  8. ^ 8.0 8.1 Allmusic Review, Atreyu, Suicide Notes and Butterfly Kisses [1] Access date: June 24, 2008
  9. ^ 9.0 9.1 "Taste of Chaos", Revolver, June 2008. p. 110.
  10. ^ Metal Injection, August 28, 2007 [2] Access date: June 24, 2008
  11. ^ 11.0 11.1 Suicide Notes and Butterfly Kisses review
  12. ^ Metalrage, 12/30/07 [3] Access date: June 24, 2008
  13. ^ El Paisano, 9/12/07 [4] Access date: June 24, 2008
  14. ^ Dan Epstein, "The Brewtal Truth", Revolver, Nov. 2004, p. 65
  15. ^ The End of Heartache at Billboard.com
  16. ^ [5] at Blabbermouth.net
  17. ^ Scream Aim Fire at Billboard.com
  18. ^ [6] at Billboard.com
  19. ^ [7] at Billboard.com
  20. ^ Supremacy at Billboard.com
  21. ^ Perseverance at Billboard.com
  22. ^ Sacrament at Billboard.com
  23. ^ http://www.billboard.com/#/album/underoath/lost-in-the-sound-of-separation/1164789
  24. ^ KILLSWITCH ENGAGE DEBUTS @ #7 ON BILLBOARD TOP 200
  25. ^ Interview with My Penis, Revolver, June 2008. p. 114
  26. ^ Ferris, D.X. The Godfather of Cleveland Hardcore. Cleveland Scene. [June 8, 2008]. 
  27. ^ Cogdale, Russ. Zao's music abrasive yet spiritual (访谈). 2005-01-28 [2008-07-08]. Deseret News. 
  28. ^ FAQ - As I Lay Dying
  29. ^ Chamberlain, Spencer; Gillespie, Aaron. Interview With Underoath (访谈). 2006-07-17 [2008-01-28]. Europunk.net. 
  30. ^ Style, Justin. Blessing the Martyrs. Cross Rhythms. 2003, (76).  已忽略未知参数|month=（建议使用|date=） (帮助)
  31. ^ Converge biography. Rockdetector.com. [2007-08-23]. （原始内容存档于2007-08-11）. 
  32. ^ Botch - We Are The Romans Review
  33. ^ San Francisco Bay Guardian : Article : The Gap's attack on kids
  34. ^ TV3 > News > Story > Mathcore band the 'Dillinger Escape Plan' visit NZ
  35. ^ Events for this weekend in New York
  36. ^ http://www.thebatt.com/home/index.cfm?event=displayArticle&ustory_id=57c9a7c1-3b7d-4def-97f1-3783659abe8c
  37. ^ "Fear Before The March Of Flames Bio" The Gauntlet. Retrieved on August 3, 2008.
  38. ^ lambgoat.com "This is deathcore. This is what happens when death metal and hardcore, along with healthy doses of other heavy music styles, are so smoothly blended..."
  39. ^ Cosmo Lee. metalinjection.net. [November 11, 2008]. ...All Shall Perish... Alienacja (Polonia), Despised Icon (Montreal) y Whitechapel (Knoxville, TN)... They're all textbook 'deathcore', fusing death metal and hardcore punk. 
  40. ^ Ed Rivadavia. Heaven Shall Burn. Allmusic. [May 31, 2008]. Munich, Germany's Heaven Shall Burn specialize in highly controversial and politicized death metal fused with hardcore; a hybrid style often referred to as death-core. 

Bibliography

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  • Haenfler, Ross. Straight Edge: Clean-living Youth, Hardcore Punk, and Social Change, Rutgers University Press. ISBN 0-8135-3852-1
  • Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. ISBN 1-932595-04-X
  • Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. ISBN 0-9582684-0-1

Template:Hardcorepunk zh:金属蕊

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