重金属摇滚音乐（Heavy Metal）介绍

　　重金属HEAVY METAL，简单来说，就是用稍微超常的力度来演奏摇滚乐。吉他，作为这种音乐的主要元素，在演奏时比通常响一点，更具复仇感。贝司的位量也前移了，就像“谁人”(WHO，THE)乐队的约翰·恩特威斯尔(John Entwistle)在演奏《我的年代：魔术汽车》(My Generation: Magic BMs)一样。以前，只有在爵士乐中贝司被当做主要乐器，但现在它已变得和演唱一样重要。与普通流行音乐相比，鼓打得更重更快，这对听众造成一种冲击。最后是歌手——他让听众体验到死亡、性、毒品或酒精和其他新生事物冲击的情绪和感觉，并使那些在流行音乐中出现过的主题显得更真实可信，可能更骇人。

      Heavy Metal（重金属）特色。这种音乐形式可能起源于英格兰的“黑色安息日”(BLACK SABBATH)，其名字就够邪恶，它立刻显示了音乐可能成为的形象：黑暗、神秘、粗俗、反叛。由于缺乏对未知的恐惧，这种音乐的娱乐性得到了认可。该乐队同名专辑于1970年出版，充分表现了上述形象，被很多人称为暴虐的乐队。“黑色安息日”并不介意别人的想法，弹出了人人都愿意听的和弦。他们的歌曲常常表现对未知的发现，对很多青少年来说颇具吸引力，使人轻易联想到乐队努力寻找真正的自我。其音乐有力、响亮，也很重，它就是重金属。从此这种音乐经历了许多变迁，对那些无法理解它的人，它变成了许多麻烦。

      （美军日前传出利用重金属摇滚乐来虐待囚犯，曾经在关塔那摩遭到囚禁的犯人指控，狱卒会24小时以极大的音量播放音乐，让犯人精神上相当痛苦。利用重金属、摇滚、饶舌甚至儿歌等歌曲，一天24小时以极大的音量播放，让囚犯有如遭到音乐轰炸。 曾经遭受此类折磨的前关塔那摩囚犯回忆，“真的是非常可怕，你知道想想看你听这种音乐可能会发疯，因为实在是太吵了。”囚犯表示，美军现在就是用这种方法虐待犯人，除了牢房内的扩音器外，连走道上都会放着大型音箱，狱卒持续进行音乐轰炸，让囚犯身心受创，他们已经打算向美国政府提出控诉。至于被拿来当成轰炸武器的歌曲，多出自“九寸钉”、“讨伐体制”等团体，他们得知后也相当生气，觉得自己的作品被拿来虐囚，完全违反他们创作的本意，也打算向美国政府提出告诉。）

 

　　70年代中后期，当朋克大行其道时(此时迪斯科也如日中天)，大西洋两岸的许多人看到别人在聚光灯下出风头，开始厌烦在地窖里演奏。在英格兰，当时有太多的乐队等待被发掘，其中的一部分在美国受到注视。这即是所谓的“不列颠重金属新浪潮”(New Wave of British Heavy Metal，简称NWOBHM)。大洋彼岸的美国，听“齐柏林飞船”(LED ZEPPELIN)“空中铁匠”(AEROSMITH)、“深紫”(DEEP PURPLE)和“是”(YES)乐队长大的新一代音乐家开始组建自己的乐队，这样这种形式成为主流。不仅在英美，澳大利亚和德国都有一流的重金属乐队。

　　英格兰的年轻人对他们所听到的更感焦虑，他们选择了把音乐做得更黑暗、更快，第一个这样做的乐队是“摩托党”。随后具有冒险精神的美国青少年发现与其进口那些他们喜欢的“不列颠重金属新浪潮”的唱片，还不如模仿他们所听到的，效法他们的演奏风格。其中一些乐队借鉴了朋克摇滚的风格，创造出一种更响、更硬、更快的金属乐，被称为“鞭笞金属”(thrash—metal)，这种形式成型于1982年。一些乐队把节奏作为最关键的元素，一个来自南加利福尼亚州的年轻音乐家杰夫·达尔(Jeff Dahl)被认为是第一个用“速度金属”(speed-metal)词组的人。“鞭笞金属”和“速度金属”本质上是一致的，只是前者速度略慢，更强调吉他演奏。

      从此，一切都疯狂了。那些歌颂世界末日的乐队叫“死亡金属”(death-metal)乐队；那些讲述地狱和恶魔的被冠以“黑色金属”。不久一些年轻的英国乐队开始尝试“碾核金属”(Grindcore)，这是一种超级快速的音乐，歌词莫名其妙，重得无与伦比。同时也有很多重金属乐队，固守其根源，与那些千变万化的乐队一样有力而大胆。喧嚣、令人厌恶、意味深长、威力无穷、粗俗下流、快速、更快、具有毁灭性、革新性、才华横溢、一种生活方式：这就是重金属。

 

      重金属分类

　　Black Metal 黑色金属

　　以邪恶、异教崇拜以及撒旦思想为其主要诉求，通常在歌词含有反基督、反宗教的倾向即被归为黑金属，除了传统重金属固定乐器之外，经常会使用其他乐器如钢琴、小提琴，或歌剧的女高音，在歌曲中营造出一股诡异又吓人的恐怖气氛。“黑金属”以来自北欧的重金属团体最具代表性。

　　代表性乐队：Emperor, Mayhem, Enslaved, Dark Funeral

 

　　Death 死亡金属

　　乐风以“鞭击金属”或“碾核”为其背景演化而成。电吉他快速的反复，几无旋律的和弦，速击狂踩的双大鼓，主唱咬牙不清的低吟狂吼，歌词以死亡仇恨为主题，充满了尸体、内脏、肢解、分尸、奸尸、恋尸癖、食尸、虐待等变态字眼。“死亡金属”以来自佛罗里达州的重金属乐队最具代表性。

　　代表性乐队：Death, Carcass, Cannibal Corpse, Suffocation

 

　　Doom 毁灭金属

　　节奏和速度都很慢，非常的慢，较不激烈也不大具有攻击性，但仍是相当拥有重量感的音乐。通常具有非常干净的音乐和歌声，但有时也有粗暴野蛮的声音出现。

　　代表性乐队：Solitude Aeturnus, Cathedral, Candlemass

 

　　Glam Metal 华丽金属

　　通常指一个重金属乐队的舞台表演方式或外在形象以夸张的浓妆艳抹或俊俏的外型来吸引乐迷，这类的乐队大多是偶像团体。“华丽金属”的乐风不会太重，歌词也无太深入之含义，属于较流行的重金属音乐，是主流金属的分支。

　　代表性乐团：Kiss, Poison, Warrant, Twisted Sister, Motley Crue

 

　　Grindcore 碾核

　　类似“朋克”但极具重量的音乐，主唱低鸣深沉的狂吼咆哮、电吉他超麻辣的音色再加上极快速的反复节拍及密集鼓点，构成一种几无旋律的重金属乐风，乐曲的长度都很短，从两秒钟到三分钟不等。“碾核”为一种极为冷僻的重金属乐风，大多数“死亡金属”乐队都采用此一乐风。

　　代表性乐队：Napalm Death

 

　　Grunge 垃圾（颓废？）

　　另类摇滚的同义词。起源于西雅图的类金属(metal-like)另类摇滚，基本上Grunge属于另类摇滚而不应归类到重金属之下。

　　代表性乐队：Nirvana, Pearl Jam, Mudhoney, Alice In Chains

 

　　Hardcore 硬核

　　源自于“朋克”，歌词直言不讳粗鄙不堪，音乐如同噪音一般。

 

　　Hard Rock 重摇滚

　　比重金属乐“轻”一点的音乐。

　　代表性乐队：Foreigner, Blue Oyster Cult, Heart, Cinderella

 

　　Heavy Metal 重金属

　　“重金属”必须具备狂吼咆哮或高亢激昂的嗓音、电吉他大量失真的音色、再以密集快速的鼓点和低沉有力的贝司填满整个听觉的背景空间，而构成一种含有高爆发力，快速度，重量感及破坏性等元素的改良式摇滚乐。通常泛指传统的主流派重金属或无法分类到其他重金属流派里的重金属乐。

　　代表性乐队：AC/DC, Accept, Judas Priest, Iron Maiden, W.A.S.P.

 

　　Industrial Metal 工业金属

　　采用大量冰冷的电脑采样音效，穿插以机械或金属器具的撞击声代替传统打击乐器，加上电子式的节拍，是很象科技舞曲的重金属乐，但仍保留重金属的大量失真效果。

　　代表性乐队：Fear Factory, Ministry, Nine Inch Nails

 

　　Neo-Classical 新古典金属

　　受古典音乐极深，在重金属乐中加入大量古典音乐元素。

　　代表性乐队： Angra

 

　　Pop Metal 流行金属

　　在重金属摇滚中加入流行音乐之元素，可说是重金属摇滚和流行音乐妥协结合的折中产品，是极易为主流市场之音乐消费者所接受的重金属摇滚乐。

　　代表性乐队：Def Leppard, Mr Big, White Lion

 

　　Power Metal 强力金属

　　拥有类似“速度金属”的速度和“鞭击金属”的重量压迫感，但旋律性不及“速度金属”，爆发力也不及“鞭击金属”。

　　代表性乐队：Pantera, Armored Saint, Wild Dogs

 

　　Progressive Metal 前卫金属

　　风格有别于传统重金属，在歌曲中采用大量复杂华丽的编曲，或在歌词中传达出某些前进思想供听者一个想象思考的空间。

　　代表性乐队：Queensryche, Fate Warning, Dream Theater

 

　　Punk 朋克

　　歌词中传达某些叛逆思想及对生活环境、文化、社会、政治等的不满情绪，而音乐缺乏协调性无特定风格，是一种相当嘈杂的音乐，通常一群能将乐器弄出声音来的人就可以组一个朋克乐队。

　　代表性乐队：Clash, Sex Pistols

 

　　Speed Metal 速度金属

　　速度为其标榜的主要特色。经常会和“鞭击金属”产生混淆，通常“速度金属”的音乐较具旋律性，主唱歌词咬字较清楚，吉他间奏富旋律性且快速而流畅；而“鞭击金属”则较缺乏旋律性，完全一速度、重量、压迫感和破坏力并重。通常“鞭击金属”乐队和“速度金属”乐队的乐手们都拥有纯熟高超的乐器演奏技巧。

　　代表性乐队：Helloween, Gamma Ray, Riot, Rage

 

　　Thrash Metal 鞭击金属

　　速度也极快，具有相当快速的反复节拍(riff)，电吉他粗麻的音色刷出剽悍的和弦，极具破坏力及压迫感的速踩双大鼓，主唱粗暴狂吼式的唱腔配合电吉他快速的节奏急速地唱出几无旋律的曲调。“鞭击金属”以来自旧金山湾区的重金属乐队最具代表性。

代表性乐队：Metallica, Megadeth, Slayer, Anthrax, Death Angel, Testament, Exodus, Destruction, Kreator, Coroner, Overkill

 

      Heavy Metal（重金属）。重金属是在音量，男子气概和戏剧化风格上最为极端的。在重金属声音的体裁上有很多的变种，但是他们都通过在喧吵的效果，失真吉他的演奏（通常演奏重复段）和简单，重击旋律上尽量取得共识。重金属自从它存在那天开始就不断引起争论---批评家从传统上抨击了那种故意吸引大部分青少年的舞台剧效果，还有一些保守的组合经常抗议他们所感到的包含有害，邪恶意味的歌词。尽管有重重困难，重金属从它的诞生就还是成为了稳定流行的摇滚音乐形式，有足够的能力去适合这个时期，仍能保持它完美的未被侵蚀的核心吸引力。尽管如美国在声道选择上的叛逆的形式，重金属在很大程度上还是英国的创造物。最初重金属的种子是在60年代英国蓝调运动中被播下的，特别是在那些发觉已很难适应美国蓝调natural swing的乐队中。这种韵律更加没有规则，增强了电子乐器的使用成为更加重要的特点，特别是通过像the Kinks, the Who, Jimi Hendrix, Cream和the Jeff Beck Group这些创新的乐手。然而，正如可提出证据加以证明的那样，最初真正的金属乐队是Led Zeppelin。最开始，Zep演奏蓝调曲调比任何人都更为沉重和喧吵，并且通过获取许多音乐源极很快创造一种以大规模，有质感为代表的重型摇滚。更少精细但是可能更大影响力的是Black Sabbath，他的黑暗，沉闷的吉他重复段创造了一种幻想中的世界末日，充满了毒品，死亡和超自然的迷惑。接下来被Zep和Sabbath所丢弃的这种风格，很多美国的乐队在70年代把重金属更改为更易接近的的形式；Alice Ccooper和Kiss易记的曲调和残暴的舞台表演；Aerosmith的sleazy boogie；Van Halen的浮华吉他引子和狂热的派对摇滚。在70年代末期，一些隐藏的英国乐队号成为英国重金属新浪潮（包括Judas Priest, Iron Maiden, Motorhead）开始演奏金属更为快速，倾斜和使用更多恐吓。他们的出现为80年代新的美国金属---鞭挞金属提供了影响力，这个新事物定性于对金属新主流流行的突破，它的出现是以Def Leppards Pyromania为代表的。金属在80年代的辉煌期里是最为享受的，由于大量的glammed-up流行金属乐队，除了鞭挞金属乐队激烈演奏复杂的重复段外，有时会融入些柔美的声乐作品。像Metallica和Megadeth这样的鞭挞乐队形成了狂热的歌迷从而在车库脱去了他们流行金属外衣的同一时间推动他们进入了主流。90年代的主流金属以一种新的叫做另类金属的混合物为中心，它（在它有效的商业形式上）通过hip-hop和工业的繁荣期结合了grinding trash和grunge的影响力。其间，地下以更粗糙，阴冷的风格成长，产生了两种类似的，起源于鞭挞的风格，被叫做死亡金属和黑暗金属，他们创作了一些最为重要的研磨，剧烈，超速的音乐和金属世界从未展示的graphic shock tactics。

 

      Heavy metal music

 

      Heavy metal (often referred to simply as metal) is a genre of rock music. that developed in the late 1960s and early 1970s, largely in England and the United States.With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles are generally associated with machismo and masculine sexuality.

 

      Early heavy metal bands such as Led Zeppelin, Black Sabbath, and Deep Purple attracted large audiences, though they were often critically reviled, a status common throughout the history of the genre. In the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".

 

      In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of funk and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

 

      Characteristics/Heavy metal music

      Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes. The New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are often used to enhance the fullness of the sound. The loud, distorted Hammond organ and occasionally the magnetic tape-based mellotron were popular with early metal bands; these instruments were displaced in the 1980s by electronic keyboard synthesizers. Today, keyboards are used in styles such as progressive metal, power metal, and symphonic metal. Some nu metal bands incorporate hip hop elements, which may include a DJ scratching and creating various sound effects.

 

      Judas Priest, performing in 2005The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal. Guitars are often played with distortion pedals through heavily overdriven tube amplifiers to create a thick, powerful, "heavy" sound. In the early 1970s, some popular metal groups began cofeaturing two guitarists. Leading bands such as Judas Priest and Iron Maiden followed this pattern of having two or three guitarists share the roles of both lead and rhythm guitar. A central element of much heavy metal is the guitar solo, a form of cadenza. As the genre developed, more intricate solos and riffs became an integral part of the style. Guitarists use sweep-picking, tapping, and other advanced techniques for rapid playing, and many styles of metal emphasize virtuosic displays.

 

      The lead role of the guitar in heavy metal often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims that the metal singer's "tone of voice" is more important than the lyrics. Metal vocals vary widely in style, from the multioctave, theatrical approach of Judas Priest's Rob Halford and Iron Maiden's Bruce Dickinson, to the gruff style of Motörhead's Lemmy and Metallica's James Hetfield, to the straight-out screaming and growling of At the Gates' Tomas Lindberg, to the phlegm-clogged, possessed style of black metal singers such as Mayhem's Dead.

 

      The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy". Metal basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton in the early 1980s. Metal bassists frequently use picks instead of fingerstyle plucking, to get a stronger, clearer articulation. A few use shred guitar–style techniques such as tapping and sweep picking. In some styles, such as thrash and death metal, the bass may be distorted with a bass overdrive pedal for a heavier, thicker sound. Nu metal as well as death metal bassists often use a five- or six-string bass (or a detuned instrument) with an extended lower range.

 

      Metallica, performing in 2003The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision". Metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity...to play the intricate patterns" used in metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music. Aside from the standard toms, bass drum, snare, and hi-hat, ride, and crash cymbals used in many rock drumkits, there is often a double bass drum, additional toms, a number of additional cymbals (e.g., splash and extra crash cymbals), and other instruments such as a cowbell.

 

      In live performance, loudness—an "onslaught of sound," in Deena Weinstein's description—is considered vital. In his book Metalheads, Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war." Following the lead set by Jimi Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for volume. As Blue Cheer's Dick Peterson puts it, "All we knew was we wanted more power." Reviewing a Motörhead concert in 1977, Paul Sutcliffe noted how "excessive volume in particular figured into the band’s impact." Weinstein makes the case that in the same way that melody is the main element of pop and rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality." Heavy metal's fixation on loudness was mocked in the rockumentary spoof This Is Spinal Tap, in which a metal guitarist claims to have modified his amplifiers to "go to eleven."