Crossover thrash

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Crossover thrash (often abbreviated to crossover) is a form of thrash metal and hardcore punk which had mixed both genres together or had influences from each other. The genre lies on a continuum between heavy metal and punk rock. Other genres on the same continuum have significant overlap with crossover thrash, and besides traditional hardcore punk and thrash metal, include related styles such as thrashcore, grindcore and skate punk.

Terminological ambiguity[edit]

The genre is often confused with thrashcore, which is essentially a faster hardcore punk rather than a more punk-oriented form of metal.[1][2] Throughout the early and mid 1980s, the term "thrash" was often used as a synonym for hardcore punk (as in the New York Thrash compilation of 1982). The term "thrashcore" to distinguish acts of the genre from others was not coined until at least 1993.[3] Many crossover bands, such as D.R.I., began as influential thrashcore bands.[1] The "-core" suffix of "thrashcore" is sometimes used to distinguish it from crossover thrash and thrash metal, the latter of which is often referred to simply as "thrash", which in turn is rarely used to refer to crossover thrash or thrashcore. Thrashcore is occasionally used by the music press to refer to thrash metal-inflected metalcore.[4]

History[edit]

Crossover thrash evolved when performers in metal began borrowing elements of hardcore punk's music. Void and their 1982 Split LP with fellow D.C. band The Faith are hailed as one of the earliest examples of hardcore/heavy metal crossover and their chaotic musical approach is often cited as particularly influential.[5][6][7] Punk-based metal bands generally evolved into the genre by developing a more technically advanced approach than the average hardcore outfit (which focused on very fast tempos and very brief songs),[8] these bands were more metal-sounding and aggressive than traditional hardcore punk and thrashcore.[9]

Especially early on, crossover thrash had a strong affinity with skate punk, but gradually became more and more the province of metal audiences. The scene gestated at a Berkeley club called Ruthie's, in 1984.[10] The term "metalcore" was originally used to refer to these crossover groups.[1]

Mike Muir frontman of Crossover thrash band Suicidal Tendencies

As Steven Blush says,

Hardcore punk groups Corrosion of Conformity,[12][13][14][15] Dirty Rotten Imbeciles[16] and Suicidal Tendencies[17][18] played alongside thrash metal groups like Megadeth, Anthrax, Metallica and Slayer. This scene influenced the skinhead wing of New York hardcore, which began in 1984, and included crossover groups such as Cro-Mags,[19] Murphy's Law, Agnostic Front,[20][21] and Warzone.[22]

Other prominent crossover thrash groups include Nuclear Assault, Stormtroopers of Death,[16][23] Hogan's Heroes,[24][25][26] SSD, Cryptic Slaughter, The Boneless Ones, The Exploited, and Discharge.

Musical characteristics[edit]

Crossover incorporates fast paced thrash riffs mixed with breakdown riffs commonly used in hardcore and helped forge a derivative known as groove metal (sometimes referred to as post-thrash)[citation needed]. Drumming is typically done at high speed, with D-beats sometimes being used.[27][verification needed]

List of crossover thrash bands[edit]

References[edit]

  1. ^ a b c Felix von Havoc. "Maximum Rock'n'Roll #198". Retrieved June 20, 2008. 
  2. ^ "Powerviolence: The Dysfunctional Family of Bllleeeeaaauuurrrgghhh!!". Terrorizer no. 172. July 2008. p. 36-37.
  3. ^ As Max Ward writes, "625 started in 1993 in order to help out the local Bay Area thrashcore scene." Ward, Max (2000). "About 625". 625 Thrashcore. Retrieved June 5, 2008. 
  4. ^ Stewart Voegtlin, "Soulfly Cranks Up the Thrash and Triggers a Debacle", Village Voice, July 29, 2008. [1] Access date: July 31, 2008.
  5. ^ Burton, Brent (2011-08-30). "Two classic D.C. hardcore bands empty their vaults". Washington City Paper. Retrieved 2012-08-11. 
  6. ^ "Faith/Void Split". Sputnikmusic. 2011-06-05. Retrieved 2012-08-11. 
  7. ^ "The Faith/Void Split LP". Allmusic. Retrieved 2012-08-11. 
  8. ^ "Fast, Cheap and Out of Control/Director Paul Rachman retraces the history of punk rock.". Filmmaker Magazine. Sep 22, 2006. 
  9. ^ "Hardcore And Crust". Metal Music Archives. 2011-06-05. Retrieved 2014-09-27. 
  10. ^ Blush, p. 115
  11. ^ Reed, Bryan C. "Corrosion of Conformity: An oral history of 30 years | Music Essay". Indy Week. Retrieved 2012-10-17. 
  12. ^ Blush, p. 193
  13. ^ "Mywire.com". Mywire.com. Retrieved 2012-10-17. 
  14. ^ "Welcome to ActivePaper". Digitalnewspapers.libraries.psu.edu. Retrieved 2012-10-17. 
  15. ^ "Pickups.(guitar playing and recording techniques of artists and music groups)". Guitar Player. February 1, 2001. 
  16. ^ a b Peter Jandreus, The Encyclopedia of Swedish Punk 1977-1987, Stockholm: Premium Publishing, 2008, p. 11.
  17. ^ Christe, Ian: Sound of the Beast: The Complete Headbanging History of Heavy Metal (2003), p. 184
  18. ^ Rockpages.gr interview with Suicidal Tendencies
  19. ^ Best Heavy Metal Albums Of 1986
  20. ^ The Gauntlet :: Shadows Fall - Heavy Metal - News - Shadows Fall Videos - Shadows Fall Ringtones - mp3s - Tabs - Wallpaper - lyrics
  21. ^ Blush, p. 186
  22. ^ Blush, p. 188
  23. ^ Anthrax, Danzig, Children Of Bodom & More: Metal File - News Story | Music, Celebrity, Artist News | MTV News
  24. ^ * 1948-1999 Muze, Inc. POP Artists beginning with HOD, Phonolog, 1999, p. 1.No. 7-278B Section 207
  25. ^ * Metalcore Magazine "Forbes, Chris. Tell Us About The Crossover Scene You Were A Part Of In The Eighies, June 20, 2007". Retrieved 2012-02-22. 
  26. ^ * Decolator, Paul. New Jersey. Maximum RockNRoll, July 1986, p. 41.
  27. ^ "Blood Runs Deep: 23 Bands Who Shaped the Scene". Alternative Press. July 7, 2008. p. 110. 
  28. ^ "The Accused Sign to Southern Lord, Ready The Curse Of Martha Splatterhead". http://exclaim.ca/. 
  29. ^ "Ludichrist MusicMight biography". 
  30. ^ "BILLY MILANO's M.O.D. Returns To Live Stage In Austin (Video)". 
  31. ^ "14 Thrash Albums You Need to Own". Revolver Magazine. 

Bibliography[edit]