
shredhead7
Active member
I'm late to the party as usual. I'm 37, so 80's hair/power metal is what I relate to the most. I grew up on Racer X, Queensryche, Fates Warning, Crimson Glory, et al. Getting into death metal (including all bands that growl/cookie monster) wasn't something that happened over night. I had a friend that was in a DM band in 92 and he turned me onto Death and Atheist, which then got me into Cynic. That was the extent of it though.
In 2000 I got three CD's that changed all of that. I will call these gateway's, though they are all from 95-98 or so. The first is routinely listed as one of the best, if not most influential death metal CD to come out in the last 15 years. They took Maiden riffs and put an industrial back beat similar to Nine Inch Nails. There are almost no solos, but the result became melodic death metal. This is the band that everyone else wanted to be. Every song is 3 or so minutes long, and each has the coolest riffs around. Simple. To the point.
The second is Arch Enemy's third release. These guys shred, but with taste. The Michael Schenker influence is worn proudly with these guys, as is their love of things 80's when it wasn't popular to do so. Their downside is that each cd usually only contains 3 great songs and the rest are sort of meh. Having said that, the solos are epic and melodic, and both brothers (guitar players) have some of the best vibrato around.
My last gateway is a little known band called Darkane. These guys write progressive styled death metal. One part Meshuggah, one part Debussy. There are three cool things about this band that set them apart for me. The first is the drummer is amazing. Not in the all of the place all of the time, he has a little of that, but he just writes what fits the songs and knows when to grove and when to be creative. Second, they did the clean chorus first in DM. You could say that Fear Factory did or Cynic, but both of those are vocodor parts. Lastly, the riffs aren't 4 beat riffs. Usually a band has one riff per measure, or they make the measure fit the riff. Darkane usually ties the 4th quarter or eighth note into the next beats first quarter. This stretches the melody and allows the drummer to syncopate a lot more, while also bringing up the subtle classic influence.
In 2000 I got three CD's that changed all of that. I will call these gateway's, though they are all from 95-98 or so. The first is routinely listed as one of the best, if not most influential death metal CD to come out in the last 15 years. They took Maiden riffs and put an industrial back beat similar to Nine Inch Nails. There are almost no solos, but the result became melodic death metal. This is the band that everyone else wanted to be. Every song is 3 or so minutes long, and each has the coolest riffs around. Simple. To the point.
The second is Arch Enemy's third release. These guys shred, but with taste. The Michael Schenker influence is worn proudly with these guys, as is their love of things 80's when it wasn't popular to do so. Their downside is that each cd usually only contains 3 great songs and the rest are sort of meh. Having said that, the solos are epic and melodic, and both brothers (guitar players) have some of the best vibrato around.
My last gateway is a little known band called Darkane. These guys write progressive styled death metal. One part Meshuggah, one part Debussy. There are three cool things about this band that set them apart for me. The first is the drummer is amazing. Not in the all of the place all of the time, he has a little of that, but he just writes what fits the songs and knows when to grove and when to be creative. Second, they did the clean chorus first in DM. You could say that Fear Factory did or Cynic, but both of those are vocodor parts. Lastly, the riffs aren't 4 beat riffs. Usually a band has one riff per measure, or they make the measure fit the riff. Darkane usually ties the 4th quarter or eighth note into the next beats first quarter. This stretches the melody and allows the drummer to syncopate a lot more, while also bringing up the subtle classic influence.