GAME OVER – Try again?

I recently stumbled over the realization that I know several songs titled “Game Over”. In itself this is neither unusual nor in any way exciting, but then I came to think about those two words’ versatility. “Game Over” can mean that something, in most cases a relationship (thanks to Pop music…), is over; that the game of life is – or will soon be – over for someone (which makes the title particularly popular among rappers and would-be gangsters); that one is victorious while the other has failed. I grew curious and went on a journey through the world wide web. This is what I found…


Machine Head – The song “Game Over” features the Thrash Metal band’s latest record “Bloodstone & Diamonds” (2015). Its lyrics appear to hint at the band’s breakup with and the end of a friendship to their longtime bass player Adam Duce, but also object rather generally to the notion that life is a game:

And you say that life is just a game and

Everyone who plays is just a pawn

And shame on me it went so long

How could I’ve been so wrong?

I’ve forever gone colder

If life is just a game then Game over

Skindred – The energetic song “Game Over” by the British Ragga Metal heroes is part of their album “Union Black” (2011) and comprised of a wild, stomping beat, clear singing (Benji Webbe at his best) and weirdly cool electronic elements. In 2011, the song was part of a Metal Hammer compilation, which is where I first made contact with Skindred and fell irreversibly in love. Another game, another fight:

You play the game the aim to win, to whip the smile right off ya face

For he who fights and runs away, will live to fight another day!

Game over! Pass the control

Game over! Pass the control

You’re done dead already and you got to move over

Game over! Pass the control!


A Life Divided – The German Synth Rock band has been touring with Industrial Rockers Oomph!, Eisbrecher and supported Apocalyptica. “Game Over” is part of their 2013 record “The Great Escape”.


Insolence – A very freaky intro to their version of “Game Over” gives credit to the various influences the band incorporate into their Nu Metal.


Nuclear Assault – Dan Lilker founded the band after leaving Anthrax in 1984. Even though for him the game thus was far from over, the single “Game Over” features the album of the same title that appeared in 1986. No singing, this time…


You want to get less metallic? Try these:

Solid Pop/ rock from Last Amanda.

Veeeery strange: Hadouken!

Rap-HipHop-Dubstep, fast, faster, fastest: McFee.

Sweet, really: VV Brown. There’s also a version without the megaphone…

Game over in it’s original sense, plus weird and funny: Dj Mad Dog.


GAME OVER – Wanna try again?


Love, Hate, Sex, Pain

My last two posts gave the misleading impression that all Heavy Metal lyrically cares and complains about was the dirty business of war, politics, and racist exclusion. However, the beautiful side of life, that of love and sex, ranks high among the most famous topics as well. What binds both realms is the emotionality with which they are approached. Of course, Metallic lyrics find darkness even within the positive, turning towards love’s counterpart hate, and emotional excess, which is obsession. This post’s headline is actually the title of a Godsmack song from their 2010 album “The Oracle”, and the line “Love, hate, sex, pain, it’s complicating me sometimes” describes four of the most intriguing elements of human emotional life.

In some ways Metal is “kind of an extension of the Blues”, Machine Head’s lead singer Robb Flynn suggests in a 2004 interview with Faceculture. “We’re a Metal band and, […] we write about the darker sides of life,” he elaborates. “There’s plenty of bands out there writing about love and flowers and bunny rabbits, you know, happy stuff, and that’s just Pop music.” Feeling blue has turned into feeling bluesy. The Blues is a musical genre that originates in African-American Folk and slave music and mostly tells tales of personal woes. Today, some mysterious quality in Metal music appears to make it especially attractive for the dark, the negative and the melancholic, but this tendency is not pointless: everyone needs a valve for their emotions. Why not let them into music? If musicians can lighten their hearts while writing and singing, then perhaps the lovesick, bad-mooded, pessimistic or demotivated Metalhead out there will find listening to these songs equally relieving. Psychologically, music definitely has a particular value, unrivalled by any other medium. Music therapy is versatile and effective; music has a potential for easing, healing, relaxing.

From the vast amount of lyrics revolving around painful topics such as unrequited love, excessive hate, burning obsession or the maelstrom of addiction we can easily infer that Metal is frequently employed as a form of therapy. Robb Flynn has made Metal his personal Blues by reflecting on his adoption. Lawrence Matthew Cardine was abandoned by his parents when he was an infant, then adopted by a couple who gave him the name Robert Conrad Flynn, and love. The musical result of Flynn’s struggle, “Left Unfinished” (from the album “Through the Ashes of Empires”, 2003) is hard to misinterpret and painful to hear. Flynn describes his struggle to understand why he was born at all and then abandonded. He reaches this powerful conclusion:

You never could love me
I’m glad that you never did
My parents that raised me
Had plenty of that to give
And for that
I’ll love them forever with all my heart
But to you
Don’t let there be no mistake about it
Fuck you, you cocksucker
Fuck you, you whore
I’ll live my life the opposite of what you are
Love will be my rock
The rock that I stand on

He resolves that he will “give to this world what you [his real parents] couldn’t give, love the unwanted, every child born discarded.” Flynn somehow comes to terms with his adoption, and the song develops from the bleak view of a scornful and misunderstood boy to the resolution of a man to be the opposite of his parents and build his life on love.

A relationship which is ended not by the ceasing of affection but by death is at the heart of another very profound Heavy Metal love song (if I may indeed coin a term such as Heavy Metal love song without reaping nothing but contempt…): “Cemetery Gates” is part of Pantera’s famous record “Cowboys from Hell” (1990) and allows for much interpretation. Besides, the song is proof for Dimebag Abbott’s beautiful guitar work. After the death of his girl (my interpretation only), he who tells the story feels “lost within my plans for life, it all seems so unreal. I’m a man cut in half in this world, left in my misery.” He feels painfully incomplete, at a loss for tears, and needs to stop living in the past. “Believe the word,” he claims, “I will unlock my door and pass the cemetery gates.” Will he pass those gates and come to terms with his calamity? Or will he pass those gates as a body, finally resolving to kill himself and end his miserable half-life? Pantera leave the decision to us. They treat the issue of loss with a note of power and despair, outlining it as that sublime tragedy it really is.

Iowa’s monster Slipknot, appropriate to their habit of cultivating the extreme, pass from love to obsession and from anger to hate in about a nanosecond. In their record “Prosthetics” (from the album “Slipknot”, 1999), Corey Taylor, I interpret, tells a story of kidnap and abuse. I hate the idea of people having to suffer such agony, yet I can’t help admiring the songs because it always makes my hair stand on end.

Even if you run I will find you

I decided I want you, now I know I need

If you can’t be bought, tougher than I thought
Keep in mind, I am with you
Never left out fate, can’t concentrate, even if you run

You will be mine

He goes on to advise:

Better make yourself at home, you’re here to stay
You won’t bother me, if you let me bother you

All the doors are locked, all the windows shut
Keep in mind, I watch you
Never leave my side, never leave me, fucker even if you run

The terrifying image of madness and hopelessness is sharpened by Taylor’s ever escalating screams of remorse:

What the fuck is different man? I can’t believe I’m doin’ this
Dammit man I knew it was a mistake
You brought it outta me, mistake
Heavy Metal is a collection of motley songs and styles, lyrics and issues. Love and all its disarray is a significant element of heavy music. You want further songs on love, hate, sex and pain?

“Everything Ends” from Slipknot’s “Iowa” (2001) could be a helpless tirade of pain after a breakup (“You are wrong, fucked and overrated, I think I’m gonna be sick and it’s your fault. This is the end of everything, you are the end of everything…”)

The song “Skeptic” by the same band (from “.5: The Gray Chapter”, 2014) might be a song about Jesus (a startling idea my boyfriend recently uttered and which would fit in many respects) as well as a loving remembrance of their bass player Paul Gray who died in 2010. (“And our hero, martyr, missionary. God – he was the best of us. The world will never see another crazy motherfucker like you, the world will never know another man as amazing as you…”)

“Hollow” by Pantera (from “Vulgar Display of Power”, 1992) once again centres on loss, and in an interview with Metalhammer in 2012 Phil Anselmo mused that at the time he wrote the song he was actually much too young to understand the truth of these words. (“He as hollow as I alone. A shell of my friend, just flesh and bone. There’s no soul, he sees no love. I shake my fists at skies above, mad at God…”)

German Industrial Rockers Rammstein must have written at least several dozen of songs revolving around love and sex. Just try “Heirate mich” (a simultaneously tragic and amusing song about a necrophiliac, from their debut “Herzeleid”, 1996) , “Amour” (a poetic tale of the wild beast love, from “Reise, Reise”, 2004) and “Liebe ist für alle da” (the story of a greedy hunter and a chased beauty, from the 2006 album of the same name).

The Butter on the Bread of Metal

If Heavy Metal was bread, what then would be the butter? Hoping that you forgive me for comparing Metal to dry bread, my answer is: solos! A driving riff is enjoyable, and a heavy beat can definitely make us nod appreciatively, a growling bass might satisfy, a screaming voice can urge us to scream along – but only a solo can make usually reasonable adults play the air guitar, headbang like maniacs or close their eyes with a featherbrained smile on their faces. If a solid Metal song is the basis of a good mood, a perfect solo is the extra on top.

The term derives from the Italian word for ‘alone’, ‘solo’. However, for their musical solos the Italians use the term ‘assolo’. Hinting at its Latin origin, the plural form is ‘soli’, yet today the anglicised plural ‘solos’ is common. Soloing has a long musical history. Early classical music already employed a solo voice or instrument leading the listener through the composition. In Jazz and Dixie music solos are praised particularly: if onstage, every member of the band usually gets the opportunity to play at least one solo. At times, all these solos occur in the same song, one after the other, and are immediately applauded for by the audience. In modern music, Rock and Metal in particular, soloing has reached a new dimension: faster, longer, and as complex as possible.

One of the first champions of soloing was Eddie Van Halen, the legendary Dutch guitarist of the Californian band Van Halen. While young Edward Van Halen at first studied classical piano, then learnt to play the drums, his brother Alex Van Halen started strumming the guitar. It is said that Alex secretly sneaked into his brother’s room to play his drums, and when Eddie finally caught Alex red-handed, both agreed on swapping their professions. This decision turned out quiet successful. Eddie Van Halen’s widely known solo instrumental “Eruption”, part of their debut album “Van Halen” (1978), is said to have just been the guitarist’s warm-up exercise that had been recorded by accident, and which should bring its originator a brilliant reputation as a guitar god. While the original lasts only 1:44 minutes, Van Halen stretched the solo onstage into incredible 11 minutes. Both versions are amazing to hear and, in the second case, to see:


Another band famous for its fantastic guitar work during the eighties was British Artrock jewel Queen. Brian May is blessed with the talent to tailor every solo to its specific song, and he is proficient in a variety of styles. The guitar-centred song “Bijou” features the album “Innuendo” (1991) – and May, despite Queen existing with only half the original members today, still plays it live. In 2008, Freddie Mercury’s vocals were imported and the singer was shown larger than life on screen. Brian May was 61 at that time, and his soloing has lost nothing of its appeal over the years:

If you want the original, you’ll find it at:

Amazing as well, yet no solo of Brian May, is the Flamenco passage in Queen’s mysterious song “Innuendo” (from the album of the same name, 1991). It was played by Yes guitarist Steve Howe, who ran into the band in Montreux rather accidentally and was persuaded by May, Taylor and Mercury to do some “crazy Spanish guitar flying around over the top.” The result sounds thus:


While you find many purely instrumental compositions in the wide world of Heavy Metal and Rock, the common song is often adorned with a solo as well. One musician who had made his mark in the Metal scene before deceasing much too early was Dimebag Abbott, Pantera’s famous guitarist. In an admirable way Abbott combined harsh guitar screeching with smooth whirls of sound, charging any song with energy or depth. As his main influences Abbott cited Ace Frehley (KISS), Tony Iommi (Black Sabbath), Eddie Van Halen (Van Halen, especially “Eruption”), Pete Willis (Def Leppard), Kerry King (Slayer) and several other artists. Three of his solos have been incorporated into Guitar World magazine’s Top 100 of all time: his soloing in “Walk” (from “Vulgar Display of Power”, 1992), “Cemetery Gates” (from “Cowboys from Hell”, 1990) and “Floods” (from “The Great Southern Trendkill”, 1996) is exceptional indeed. However, I want to introduce you to one of the less loudly praised solos of Abbott, which is the one giving “A New Level” (from “Vulgar Display of Power”, 1992) the final polish:


One of my favourite solos crowns Chimaira’s pearl “Six” (from their self-titled album, 2005), which is actually one of my favourite songs as well. Apart from the record being packed with variety, the solo is – I cannot express it in a better way – simply cool! It needs a while to develop, because Rob Arnold’s solo parts are interrupted by all the instruments falling in several times. Patience will be rewarded!


American Thrashers Machine Head are especially known for their “double-solos”, which means that Robb Flynn and Phil Demmel play their solos together and this way may reach an even greater complexity. Apart from containing a thrilling solo, “Vim” (from “Through the Ashes of Empires”, 2003) wonderfully displays Machine Head’s long time drummer Dave McClain’s astonishing skills. If he was not mentioned in my favourite-drummers-post, it was by accident!


The soloing of American Melodeath monsters Scar Symmetry has a very clear quality. Per Nilsson’s solos are precise, finely composed and highly addictive, like the one in “Illuminoid Dream Sequence” (from “The Unseen Empire”, 2011):

Scar Symmetry even dared to start off a song with a solo, which has produced an amazing result. “Seers of the Eschaton” (from “The Unseen Empire”, 2011) is a real blast from the start:


All these great solos create the impression that for soloing you necessarily need a guitar, which of course is wrong. Since I have praised ex-Slipknot drummer Joey Jordison in my latest post, I need not say much: watch Joey Jordison’s awesome live playing-and-turning performance!


Solos make the Heavy Metal world go round.

Get the Drumheads Burning!

Drum magic by the Master: Joey Jordison

Drum magic by the Master: Joey Jordison

If we were asked to explain Heavy Metal and be as stereotypical as possible, one of the first details to mention would be the guitar work. Preferably loud and shrill, brute or extravagant, this instrument has dominated heavy music from the very start. We would possibly enumerate long hair, leather, chains and spikes, tattoos, harsh voices and moshpits, but we ever forget the one instrument that holds Heavy Metal together: the drums! Imagining a Metal song without drums is like hoovering without a vacuum-cleaner – simply impossible. (Forgive me for this most unsuitable comparison.) Joey Jordison, the Iowa monster Slipknot’s longtime drummer and chief composer, once stated that he generally builds his songs around a drum pattern that brings together all the single elements making up a song. If you think about it, you might conclude that he was right: any sound is inevitably dominated by its underlying rhythm.

Roger Taylor in 1982

Oldschool: Roger Taylor in 1982

Despite having forever had a special taste and talent for rhythm, I learned to play the drums rather late in my teenage life. Even before that, however, I nurtured a close bond to musicians’ drumming styles and fell for bands who showed creativity behind their drumsets. Naturally, the drummer I first encountered stayed an important figure that will not loose its position all too soon. Roger Taylor, in his capacity as drummer for Queen, impressed not only with undeniable coolness but with a clear and crisp drumming style, precise as a clockwork and individual in every song. Besides, many of his rhythms were just as cool as he. Now, aged 65, Taylor still plays live shows, generally alongside Queen guitarist Brian May.

Simple, structured, great: “Headlong” (from “Innuendo”, 1991)

Equally energetic is their song “One Vision” from the 1986 album “A Kind of Magic”:

Impressive and disturbing: “I’m going slightly mad” from “Innuendo” (1991):


Perhaps the full opposite to smartly grinning Whisky-voiced Roger Taylor is the above-mentioned drumming wonder Joey Jordison, mostly present with long hair, wearing , if not the typical Slipknot overall, preferably black gear. He was next in line and his rhythms confuse and fascinate me at the same time. Active within projects such as Slipknot, Murderdolls and Scar the Martyr since 1994, Jordison has become a constant in the Metal drum scene, beside being proficient in more than a handful further instruments, including bass, piano and violin. Jordison is a master at the cymbals and the double-pedal, soaring up to extreme speed. Moreover, during Slipknot shows he was rotating on a platform while playing a solo – a feat which needs extreme concentration and body tension. Small wonder that the musician is often booked by various bands for studio sessions, recording the drums for bands of which he is no official part, or for touring. Among these bands are Korn, Metallica, Satyricon, Rob Zombie and Ministry, to name just a few. Since 2004, the talented musician is working on the producer side as well, being involved with Roadrunner Records.

The Master at work:

Try out the amazing pace of a typical Jordison song. “[sic]” from Slipknot’s 1999 selftitled album definitely rushes past:

Four years older, but not a mite slower: Jordison’s drumming in “The Nameless” (from “Vol. 3: The Subliminal Verses” (2004) is high-speed perfection:


I became involved with American Metal hybrids Chimaira next, and grew addicted to the clear style of drummer Andols Herrick, who has accompanied Chimaira on and off over the years. Although the band chose to break up officially in September 2014, they managed to leave a handful of great records wirh amazing drum work. I admire Herrick’s concise cuts and perfect double-bass technique. The same goes for Chimaira’s one-time drummer Kevin Talley (Dying Fetus, Misery Index), who played on the band’s self-titled record.

The song which actually made me listen Chimaira closely was “Everything You Love”, a pearl on “Chimaira” (2005):

After Herrick’s return to the band in 2006, Chimaira actually felt resurrected, which resulted in a powerful album titled “Resurrection”. Enjoy some musical “Pleasure in Pain”:

For me personally, “Coming Alive” (from “The Infection”, 2009) is one of Chimaira’s best records, a perfect example for how rhythm actually MAKES the song:



Heavy Metal Nationwide

I’m back in Germany after nine truly revealing days in South England. Apart from the British nation’s undeniable eccentricity (no offence, mates!), the folks over there are a talkative, cordial people who enjoy a little chat with strangers such as me now and then, and who do not hesitate to offer help or pay compliments. Next to exploring whether the stereotypes about the Brits are actually true or not, I have discovered living proof for my thesis of nationwide Heavy Metal boundaries. I found it in a restaurant in Looe/ Cornwall. My boyfriend, a huge fan of Metallic noise as well, was wearing a band shirt when we went for dinner. It was a shirt of American band Disturbed, displaying a fist-brandishing gloomy creature (which, by the way, is their mascot The Guy) and belonging to the first album recorded under their current band name, “The Sickness” (2000). We were served our meals by a young British waiter, who then addressed my boyfriend, mentioning that he liked Disturbed as well. This is proof for my claim insofar as we could go for any place in the world and always find someone who does not only share our taste, but openly shows his or her heavy preferences in a constant search for new companions and bands to discover. It is small wonder that experiences shared worldwide are generally events of music, and it appears logical that Heavy Metal exports are greatest, since Metalheads seem to be the most sincere fans of all genres. Just think of the border-smashing legends Rammstein or Metallica

The Guy live in Dallas (Picture by John Peterson)

The Guy live in Dallas (photo taken by John Peterson)

Considered from the angle of classification, Disturbed is a very controversial band. Neither do they play what the strict and traditional listeners term “true” Heavy Metal, nor do they deliver pure Hardrock. The categories of Alternative Metal and – due to the bands year of birth, 1994 – Nu Metal have been called forward as well. The category “alternative” might fit best, because it designates a type of music hitherto unheard of, and Disturbed really succeed in surprising their listeners. Their music is founded on heavy and often low-pitched riffs, shaped by vocalist David Draiman’s exceptional voice and made round by classical Metallic lyrics with a pinch of drama and much depth. Personally, I have always been quite impressed with Draiman’s vocals, because he does not only offer a powerful clean voice, but also has quite a number of different sounds in stock that make you perk up your ears. In contrast to many heavy contemporaries, Disturbed also manage to produce serious mid-tempo records. In 2000, the band Brawl lost the singer who had performed on their demo-tape, recruited a new vocalist and was re-named Disturbed. “The Sickness” was published in the same year and slingshot Disturbed into fame and fortune. They first toured under the wing of famous shockers Marilyn Manson. Oustanding on their debut is the song “Violence Fetish”: Their second record “Believe” (2002) did not disappoint their crowd in the least, including tracks like “Liberate”: Disturbed’s 2008 album “Indestructible” features some outright serious content. “Inside the Fire” displays the suicide of a young woman, albeit quite artfully. Draiman introduces the video with a short appeal to viewers and listeners not to ignore telltale signs and help those suffering from a suicidal mood. As a cover band, Disturbed do a good job as well. Their debut features a cover version of the well-known Tears for Fears song “Shout”. The New Wave band had published the original in 1984. Which one is more fun? Compare and decide for yourself: [Note: The second, third and fifth video cannot be watched directly on this blog. Click the play button, then right-click YouTube and have your PC open up a separate tab.] Planet Earth might be vast, but the Heavy Metal world is actually small enough for us to find each other. Why not go searching?

Happy Metal: Light Songs for Cloudy Days

Heavy Metal is generally associated with gloom, lyrical violence, a nihilistic perspective on politics, society and respective norms, and frequently with a certain seriousness. While this is true for many heavy songs, the Metallic waves have washed ashore some quite positive musicians as well. Any Metal decade has produced bands with a distinctive potential for cheerful rebellion, party songs, records with a tendency for fans to chant along – those songs, in short, which upon hearing the first notes make you nod appreciatively, shake your backside, waggle your head and grin. There are days when we need some cheering up and it is a good thing if you have some musical choice at hand.

If I feel gloomy or anxious, I love to put a record of Scandinavian Pagan/ Folk/ Viking-Metalists Finntroll into the player. This classification sounds somewhat weird, but actually the borders between the three styles are so blurred that I couldn’t go for one category without stepping on someone’s toe. Finntroll came into existence in 1997. Their vocalist Jan “Katla” Jämsen was forced to retire for treating a tumor in his vocal chords after the release of their second album “Jaktens Tid” (2001), and many turns of the line-up carrousel resulted in Mathias “Vreth” Lillmåns to join Finntroll in 2006. Generally, Finntroll like to growl tales and legends of (fictional) ancient kings and trolls, and they do so in Swedish, because Katla was part of the Swedish-speaking minority in Finland. I only know the band’s latest albums “Nifelvind” (2010) and “Blodsvept” (2013), but these are rich in hymns. Watch “Den Frusna Munnen” (from “Nifelvind”) live:

Lighter material also fills the ranks of Nu Metal. If he is not shouting complaint or f-words (sorry for the abbreviation, but I don’t know how frank I can write in public) at his listeners, Fred Durst of Limp Bizkit performs loads of songs inspiring good mood, at least in me. Their renowned “Chocolate Starfish and Hot Dog Flavored Water” (2000) is furious, amusing, dynamic and can actually make you dance. It’s still Metal, whatever industrious critics might argue. Just keep rollin’… (from the above-mentioned album):

Equally energetic are Skindred, whom I already have mentioned once in a while, but not honoured in the fashion I deem suitable. The Ragga-Metal-Punk-Hip-Hop combo (vocalist Benji Webbe’s personal description) stormed the stages in 1998, fascinating and confusing the average Metalhead with their bizarre mixture of elements from many musical realms: Metal, Punk, Dancehall, Hardcore and Ska are only a small choice. The dynamic group around the black front man of Welsh origin is known for their critical reflections on youth and gang violence, power abuse by the police, racism and drugs – but at the same time for their party songs brimming with energy, an intense communication with fans when onstage and their firm belief in love and unity as expressed in countless lyrics. Fans can be ever curious as to which new musical elements will contribute to Skindred’s next record. Tap your feet along to “Rat Race” (from “Roots Rock Riot”, 2008):

Going further back into Heavy Metal history, some of the happiest Metalheads were definitely Twisted Sister and AC/DC, both through their peppy sound and rebellious lyrics. These bands governed the 1980s and nested in the young and innocents’ heads. Twisted Sister taught their fans: “You can’t stop Rock ‘n’ Roll!” (from their album of the same title, 1983)

Do you grin just now?

NWoAHM: Renewed Attack

Headbang on...

Masses of flying hair…

Heavy musical developments from the late eighties into the 21st century were diverse, and entwined with almost any other genre. Metal suffered drawbacks and phases of depression, luxuriated in grandiose upswings and mated with many alternative styles. Today, all these exciting events and new bands are subsumed under the heading of the New Wave of American Heavy Metal, in short NWoAHM. The name is inspired by the famous New Wave of British Heavy Metal (NWoBHM), and describes Middle American musical developments from the early 1990s into the new century. This movement’s roots lie in Nu Metal and Neo Thrash as played by Pantera, Biohazard, Machine Head and Slipknot, who were the first to help Metal back onto its former throne. During this era, Metal was accompanied by countless influences, among them Hardcore and Punk Rock. In turn, Hardcore bands included heavier material into their sound as well.

Over decades, the NWoAHM has generated numerous subgenres of Heavy Metal, such as Melodic Death Metal (also called Göteborger Schule), Progressive Metal, Metalcore, Emo and Screamo, Groove Metal, Alternative Metal, White (Christian) Metal, and Hardcore Punk.

Other, more independent genres also benefitted from the renewed upswing of Heavy Metal. Hardcore gave birth to Metalcore, while Grindcore constituted the most extreme variant of this music which was ever produced.

For a better order and shorter posts I have decided to feed this wave to you in several parts. The Core styles will be the first to do the honour.