Last week on Voices of The Void, we discussed the idea of fachs in the metal world. If you haven’t read up on the Dio fach, do yourself a favor and get caught up. After Dio established his voice as uniquely metal, new personalities quickly hit the scene with new vocal ideas. The next big metal voice was Rob Halford, frontman of legendary metal gods, Judas Priest. For this segment about him, you can follow along with our nifty Spotify playlist at the end.
Luckily, sometimes, in rare cases, lost bands can return. Whether this return involves an actual, physical reappearance of the band members or a renewed interest in the music and recognition of the importance of it to the history of metal, it is something to be cherished and celebrated. One such case is Cirith Ungol, one of the first metal bands. Formed in 1972, Cirith Ungol was one of the bands to first play what will later be recognized as doom metal but also contributed much to progressive metal and power metal, the latter mostly through their lyrics, cover art and track names. And yet, five or so years ago, no one outside of very dedicated circles was even aware these guys existed; what happened?
Due to the way we’ve decided to divide up the time zones, correspondence with an international audience from the humble southern continent of Australia often feels akin to looking into the past. Yet, despite this perceived futurism, Australian culture often trails its American and European counterparts by some distance. So it is that, while the northern thrash revival has come and (more-or-less) gone, the Australian metal scene is currently experiencing the biggest genre boom it has undergone since thrash metal originally emerged in the mid ‘80s. Back then, we brought our own quality acts to the fold, most notably in the form(s) of Mortal Sin and Hobbs Angel of Death, and the Allegiance in the ’90s. Yet, while the style had effectively remained dormant since then, the last five-to-ten years have seen an explosion in the amount of world-class thrash metal bands to have emerged from these southern shores.
Welcome back to Genre Genesis. For newcomers, here’s a brief overview of how this works. Three of the other editors – Nick, Scott, and Eden – have partners who are, shall we say, not nearly as invested in heavier music as we tend to be, and so their knowledge of the…
I guess this was inevitable. When I originally conceived of this column, there was a lot of details I wanted to get into. Vocalists who started as screamers and turned into great clean singers. Vocalists who pioneered new styles. Vocalists who simply have unique voices. But before we get into all of that, I feel as though we have to establish some of the basics of metal singing. Back in the 70s, metal singers were simply rock singers with a louder band behind them. There weren’t distinctive styles. However, as metal became more and more separate from hard rock, the playing styles of each instrument involved in making metal developed their own identity and distinct style. In opera and classical singing, teachers and singers refer to voice types as “fachs”. The fach system was developed by the Germans to make casting operas easier. As we talk about the emerging styles of metal singing, I will be using this term. Arguably, the first metal fach was the Dio-fach. So, to establish these metal basics, I will be doing an overview of Ronnie James Dio’s voice, his career, and how he established this fach.
Hey everyone, welcome to a new feature we’re gonna try out here at Heavy Blog. Now, we may all seem like total loner shut-ins based on the amount of new music we devour both collectively and individually on a weekly basis, but a good chunk of us are actually in…
Last week’s vocalist was Quorthon, the father of black metal vocals. Appropriately, this week we are focusing on the father of death metal, Chuck Schuldiner. While Chuck’s most valuable contributions to the death metal genre were probably his compositions and abilities on the guitar, his vocals are still quite something. Chuck is different than Quorthon in that he didn’t single-handedly invent the death metal vocal style. Other vocalists like Jeff Becerra, Mille Petrozza, and Tom G. Warrior had huge parts in creating this sound too. However, Chuck had a few key elements to his vocal delivery that were especially remarkable. Let’s start at the very beginning.
Welcome back to Part 2 of our retrospective on one of black and extreme metal’s paradoxically most popular and overlooked acts: Cradle of Filth. This part covers everything from 2004’s Nymphetamine to the present day and tries to pin down exactly why their reputation has suffered during this period, even though they’ve still been putting out some fairly decent albums. Refresh yourself with Part 1, and follow through to the end for a quick wrap up and some speculation on what the future holds for the band nearly a half-century into their sordid career.
Music operates in cycles and waves, with the energy generated from one, feeding directly into another. This is one of the major ways that we see genres and styles achieve growth. One particular genre that we have seen outgrow its roots and reach with newly grown tentacles into ever-evolving styles is hardcore. Just look around at the number of sub-genres that include the affix of “core” to their names. In this piece we look at the bands who evolved hardcore in both subtle and major ways to arrive at what we now know as “metalcore.” First, we take a look at some of the bands who were most directly tied to hardcore in its last iteration before metalcore truly came into being.
Hello, it is I, the resident science fiction nerd for Heavy Blog (there are actually two of us now that Joshua has joined our ranks). A year or so ago, I covered Clipping.’s phenomenal Splendor & Misery, dissecting its themes and lyrics. In the process, I tried to give an overview of “afrofuturism”, a media spanning genre which uses science fiction and futurist thought to conceive of racially radical ideas and propose a counterpoint to what is often a white dominated genre. As I wanted to keep the posts from getting insanely long (they were already really long), I could only touch upon afrofuturism briefly and, seeing as that’s my medium of choice, I focused on its presence in literature. How good of Clipping. themselves then to help me shed light on less known but not less important instances of the movement/genre/way of thought.