Sludge(EU)

DEFINITION

Sludge metal is a kind of heavy metal subgenre that is created by the combination of doom metal and hardcore punk. Its composition is hard/dense with a vociferous vocal and stands out with incompatible instruments and contrasting tempo. Also known as Sludge/Sludgecore. The term sludge is a metaphor that refers to slow and pale atmosphere of this mixture initiated by metal and punk. While the bands have the pessimistic tendency of doom metal in heavy rhythms, there are also examples integrated into the speed of hardcore punk.

HISTORY AND DEVELOPMENT

While Melvins of Washington laid the foundation for both the grunge and sludge metal field in the 1980s, some sector environments claim that Lynyrd Skynyrd, Greg Ginn, Trouble, Saint Vitus, Gore and Swans; who were influential for genre according to Black Sabbath, Black Flag and the genre's leading names. The initial sludge conception was incorporated into Flipper's slow punk boundaries, and Swans's work "Cop" and Black Flag's "My War" were assumed to be skeletal for genre by some circles. Melvins's early recordings Six Songs (1986) and Gluey Porch Treatments (1987) were considered the first sludge recordings. Early sludge metal bands are also inspired by industrial names like CMB, Chrome and Swans.

Alice in Chains, another group that first appeared on the Grunge scene was featured in the early sludge names with their first productions; meanwhile Neurosis from Oakland was not fall from the current. In the early 1990s, several names from Louisiana developed the sludge species that had this effect and tendency; Globally known are Eyehategod, Crowbar and Acid Bath, Buzzov•en/Grief from the east side. Phil Anselmo describes his view of the developing genre as follows: "Everything was fast, fast and fast in the ground. It was the rule of the day. But when Melvins first appeared with Gluey Porch Treatments, the molds were really broken, especially in New Orleans. However, all the old Black Sabbath is back, you start digging and you come across Saint Vitus, Witchfinder and Pentagram. "

FURTHER PRODUCTIONS

Accompanied by the sludge concept that spans the southern and eastern US territory, Jose Carlos Santos drew attention to the shift of focus created by their first albums in his critique of the British band Iron Monkey: "Coincidence or not, sludge sets began to open up to the rest of the world, and in the last decade to mention mini scenes or small projects could be seen in any country you want." The advanced productions were given examples of contemporary bands such as Corrupted, Dumb Numbers, Lair of the Minotaur, Old Man Gloom and Kylesa, while Georgia was identified as a sludge source with reference to names such as Mastodon, Baroness and Black Tusk. In the late 1990s, many types of sludge metal bands synthesized with post-rock/metal elements and this post-rock/sludge transition was influenced by Neurosis's experimental style from early to mid 1990s. For the practitioners names such as Isis, Pelican and Cult of Luna were recorded.

DISTRIBUTION OF MIXED PRODUCTIONS

16 (hardcore punk and sludge metal)

Alice in Chains (sludge metal, grunge and alternative metal)

Baroness (sludge metal and progressive metal)

Inter Arma (death doom metal, sludge metal and black metal)

Buzzov•en (sludge metal and hardcore punk)

Boris (drone metal, stoner metal and sludge metal)

Cancer Bats (sludge metal, hardcore punk and southern rock)

Circle Takes the Square (sludge metal, screamo and post-hardcore)

Dystopia (crust punk and sludge metal)

Fudge Tunnel (sludge metal, noise rock and alternative metal)

Helms Alee (post-hardcore, sludge metal and shoegaze)

KEN Mode (sludge metal, noise rock and post-hardcore)

Kingdom of Sorrow (hardcore punk, sludge metal and metalcore)

Lair of the Minotaur (sludge metal, doom metal and thrash metal)

Mastodon (progressive metal, sludge metal and alternative metal)

Mistress (sludge metal and death metal)

Nights Like These (deathcore and sludge metal)

Tombs (black metal, post-metal and sludge metal)

Part Chimp (sludge metal and noise rock)

Raw Radar War (hardcore punk, crust and sludge metal)

Slugdge (blackened death metal, sludge metal and progressive metal)

Sofa King Killer (stoner rock/metal and sludge metal)

Soilent Green (sludge metal and grindcore)

This Gift Is a Curse (sludge metal, black metal and post-hardcore/metal)

Godflesh (industrial metal and sludge metal)

Will Haven (sludge metal, post-hardcore and noisecore)

Fall of Efrafa (neocrust, post-metal and sludge metal)

Celeste (black metal, sludge and post-hardcore)

Khanate (drone, doom metal and sludge metal)

Black Flag (hardcore punk, post-hardcore and sludge metal)

Spotify Playlist:

https://open.spotify.com/playlist/2pUD3RjtQDWHqNOD7wZfZ1?si=SMK6xTEGSn2HQSUg3i7-Eg

The statement also writes the groups in which the subfunctions begin and end:

Doom/Stoner: Primitive Man - SubRosa, Post-Metal: Rosetta - Tesa, Mixed Sludge: 16 - Entropia

In Addition: It's one of my favorite places for a long time. In terms of accessibility I left the mixed genres in English and added different groups to playlist because some groups on chart not in spotify. In general you can get an idea of the table/species that it is affected by. My favorite sludge piece is the "Perséphone" duo of Year of No Light. Stay good yall.

Resources:

https://rateyourmusic.com/genre/Sludge+Metal/

https://en.wikipedia.org/wiki/Sludge_metal

https://www.albumoftheyear.org/genre/42-sludge-metal/2017/exclaim/

https://rateyourmusic.com/list/Wuztastic/wuzs_guide_to_sludge_stoner_doom/

High Resolution:

https://i.hizliresim.com/EOOozZ.jpg

https://yadi.sk/i/-_IYYTIURGNYEw

#sludge

Post-rock(EU)

DEFINITION

Post-rock is an experimental rock derivative that examines the track structures, riffs and timbres of traditional rock. Groups are usually instrumental. Guitars, drums and similar instruments can be combined with electronic instruments. The genre appeared on the stage of indie and underground music in the early 1980s and early 1990s. In addition, it is similar to contemporary indie music by interacting with various genres within electronica, jazz, dub and minimalist classics due to its distancing from the rock order. Initially while groups like Talk Talk and Slint formed the basis of the genre, the post-rock term was found in 1994 by journalist Simon Reynolds for Bark Psychosis's album "Hex". Reynolds extended this invention in May 1994 due to the issue of The Wire.

Reynolds, the man who write about groups like Seefeel, Disco Inferno and Techno Animals described the genre as follows: "Using rock instruments for non-rock purposes and using guitars as facilitators of timbres and textures instead of riffs and power chords." Based on the earliest use of the term Christopher Porterfield stressed that in September 1967, in the cover story of Time magazine the Beatles group and producer George Martin used the studio to push possibilities of the studio, leading to evolution: "The best post-rock sounds present and pop music has become something like never before: an art form." Post-rock scene with drone music was influenced by the 1970s krautrock particularly the "motoric" rhythms that were characteristic. The genre post-rock which develops itself in the light of genres such as krautrock, ambient, psychedelia, prog/space/math rock and minimalist classic is also associated with fields such as post-punk, chamber jazz, contemporary classical and avant-garde electronica.

HISTORY AND DEVELOPMENT

In the late 1960s the post-rock was influenced by US band Velvet Underground and their understanding of dronology: "a term that easily identifies fifty percent of today's post-rock activity." Continue on in a 2004 article by Stylus Magazine, if David Bowie's album "Low" was released twenty years later said it would be considered post-rock. Described as undisputed first post-rock band by NME magazine, the British band Public Image Ltd almost abandoned traditional rock and roll structures with reference to John Lydon's encrypted streams of dub and intense krautrock atmosphere on their second album Metal Box. The Heat group one of the shining stars of the transition to 1980 has been compared to names like Slint, Swans and Stereolab and has been considered to: "the band already discovered the genre" in some environments with its unique combination of avant-prog, krautrock and industrial.

Since the early 1990s a driving force for post-rock, the assumed art rock/new wave mix Talk Talk and math/post-hardcore mix Slint has been running the same goal although they run in different areas. Initially used to describe groups such as Stereolab, Laika, Disco Inferno, Moonshake and Pram post-rock has been used frequently for various jazz, krautrock, instrumental and electronica mixed productions that emerged after 1994. Tortoise's second album "Millions Now Living Will Never Die" has become a symbol of the post-rock, while Cul de Sac, Tortoise, Labradford and the Stars of the Lid are clearly known as pioneers of the American post-rock movement and many groups (Do Make Say Think, Isotope 217, etc.) started to record with inspiration from the sound environment called Tortoise-sound. In the late 1990s John McEntire of Tortoise and Jim O'Rourke of Brise-Glace/Gastr del Sol became important idols for many groups. The most prominent post-rock bands of the period and the near future are Godspeed You! Black Emperor, A Silver Mt. Zion and Fly Pan Am are also mentioned.

CONSTRUCTIONS IN 2000'S

At the beginning of the 2000s some critic's expressions and groups such as Tortoise, Cul de Sac or Mogwai rejected the label of the genre which led to controversial environments. These groups emphasized the usefulness of a wide range of styles regardless of the type of "x" or "y" defined by others. Despite most harsh and intense criticism post-rock retained its importance and position. Later, Radiohead released the album "Kid A" which is a turning point in their musical styles. Sigur Rós, who mixes post-rock with dream pop/alternative fields, became one of the best post-rock bands of 2000s with the publication of Ágætis byrjun in 1999 and with his growing popularity parts of Hoppípolla were used in the film/serials and trailers including the BBC's Planet Earth. Explosions in the Sky, 65daysofstatic, This Will Destroy You, Do Make Say Think and Mono were considered the most competent and known post-rock bands of new millennium.

After a break of nearly 13 years, experimental rock band Swans released a series of albums featuring post-rock elements especially "Be Kind" which ranked in top 40 for the US and UK with the others. Swedish post-rock band Oh Hiroshima received positive feedback in 2015 with the album "In Silence We Yearn". Externally in the field of post-rock, the recent of large-scale experimental activities and other genres blending has taken priority. Groups such as Cult of Luna, Isis, Russian Circles, Palms and Pelican combine metal with post-rock styles. As a result of the fusion type called post-metal names such as Giant Squid, Battle of Mice or Callisto from the sludge/sludge metal field were considered to be pioneers of the mixed genre. Similarly, names such as Altar of Plagues, Lantlôs and Agalloch combine post-rock/black metal genres with traditional and obsolete structures but through such groups as Deafheaven these fuses not only combined with one or two types but also combined in many genres/areas and laid the groundwork for enormous currents and sound environments.

In addition: After the post-metal I arranged it on it. It's worth noting that I didn't put groups such as Talk Talk or Bark Psychosis into the table due to either the subtitle mismatch or existing other basic groups. Also I didn't add ASMZ and Set Fire to Flames because there would be 3 GYBE in the chart. In general you can get an idea from the chart/derived species. My favorite post-rock piece is Labradford's "Everlast". Stay good yall.

Resources:

https://en.wikipedia.org/wiki/Post-rock

https://collapseundertheempire.com/post-rock/

https://www.reddit.com/r/postrock/comments/7rnpfm/what_is_post_rock_music_to_you/

https://rateyourmusic.com/list/Baboonius/post-rock-a-guide/

High Resolution:

https://yadi.sk/i/lDSyClRmck3XDg

https://i.hizliresim.com/mXk67Z.jpg

#postrock

Post-rock

TANIM

Post-rock, geleneksel rock'ın parça yapılarını, rifflerini ve tınılarını inceleyen bir deneysel rock türevidir. Gruplar genellikle enstrümantaldır. Gitarlar, davullar ve benzeri çalgılar elektronik enstrümanlarla kombinlenme özelliği gösterir. Tür, 1980'lerin ve 1990'ların başında indie ve yeraltı müziğin sahnesinde belirdi. Yanı sıra rock düzeninden uzaklaşması sebebiyle elektronika, caz, dub ve minimalist klasiklerin dahilinde çeşitli türlerle etkileşerek çağdaş indie müziğiyle benzerliği söz konusu. Başlarda Talk Talk ve Slint gibi gruplar türün temelini oluştururken post-rock terimi 1994'te Bark Psychosis'in albümü "Hex" için gazeteci Simon Reynolds tarafından bulundu. Reynolds, bu buluşu Mayıs 1994'te The Wire'ın sayısından sebeplenerek genişletti.

Seefeel, Disco Inferno ve Techno Animals gibi gruplar hakkında yazan Reynolds, türü şu şekilde tanımladı: "Rock enstrümasyonlarını rock olmayan amaçlarla kullanıp gitarları riffler ve güç akorları yerine, tınıların ve dokuların kolaylaştırıcıları olarak kullanmak." Terimin en erken kullanımına binaen Christopher Porterfield, Eylül 1967'de Time dergisinin kapak hikayesinde Beatles grubunun ve yapımcı George Martin'in stüdyoyu bulunan olanakları zorlayarak kullandığını, bunun bir evrime öncü olduğunu vurguladı: "Mevcut post-rock seslerinin en iyisi ve pop müziğin daha önce hiç olmadığı bir şey haline gelmesi: bir sanat formuna." Drone müziğiyle sahada boy gösteren post-rock, 1970'lerin krautrock'ından özellikle de karakteristiği olan "motorik" ritimlerinden etkilenerek potansiyelinin zirvesine doğru yol almaya başladı. Krautrock, ambient(çevresel), psychedelia, prog/space/math rock ve minimalist klasik gibi türlerin ışığında kendini geliştiren bu tür post-punk, chamber jazz, çağdaş klasik ve avangart elektronika gibi alanlarla da ayrıca ilişkili.

TARİHÇE VE GELİŞİM

Post-rock, 1960'ların sonunda ABD grubu Velvet Underground'dan ve grubun dronoloji anlayışından: "günümüzdeki post-rock aktivitesinin yüzde ellisini rahatlıkla tanımlayan bir terim" oldukça etkilendi. Devamında Stylus Dergisi tarafından yayınlanan 2004 tarihli bir makalede, David Bowie'nin "Low" adlı albümünün yirmi yıl sonra piyasaya girmesiyle post-rock olarak değerlendirileceği belirtildi. NME dergisi tarafından tartışmasız ilk post-rock grubu olarak tanımlanan İngiliz grup Public Image Ltd, ikinci albümleri Metal Box'ta tekrarlanan dub ve yoğun krautrock atmosferiyle John Lydon'ın şifreli bilinç akışlarının referansıyla geleneksel rock and roll yapılarını neredeyse tamamen terk etti. 1980'e geçiş sürecinin parlayan yıldızlarından biri olan The Heat grubu Slint, Swans ve Stereolab gibi isimlerle karşılaştırıldıktan sonra kendine has avant-prog, krautrock ve endüstriyel kombinasyonlarıyla bazı çevrelerce türü önceden keşfetmiş kabul edildi.

1990'ların başından beri post-rock için itici bir güç varsayılan art rock/new wave karması Talk Talk ve math/post-hardcore karmasıyla Slint farklı alanlarda koşturmalarına rağmen aynı amacı benimsediler. Başlangıçta Stereolab, Laika, Disco Inferno, Moonshake ve Pram gibi grupları tanımlamak için kullanılan post-rock, 1994'ten sonra hayat bulan çeşitli caz, krautrock, enstrümantal ve elektronika karmalı yapımlar için de sıkça kullanıldı. Cul de Sac, Tortoise, Labradford ve Stars of the Lid gibi isimler açıkça Amerikan post-rock hareketinin öncüleri olarak bilinirken, Tortoise'ın ikinci albümü "Millions Now Living Will Never Die" grubu post-rock'ın bir sembolü haline getirdi ve birçok grup(Do Make Say Think, Isotope 217 vb.) Tortoise-sound denilen ses çevresinden esinlenerek kayıt almaya başladı. 1990'ların sonunda Tortoise'dan John McEntire ve Brise-Glace/Gastr del Sol'dan Jim O'Rourke birçok grup için önemli idol kaynağı oldu. Dönemin ve yakın geleceğin en seçkin post-rock grupları Consellation Records'tan Godspeed You! Black Emperor, A Silver Mt. Zion ve Fly Pan Am olarak ayrıca belirtilir.

2000'LERDE OLUŞAN YAPIMLAR

2000'lerin başında bazı eleştirmenin dışavurumları ve Tortoise, Cul de Sac ya da Mogwai gibi grupların türün etiketini reddetmesiyle tartışmalı ortamlara temel atıldı. Söz konusu gruplar diğerleri tarafından tanımlanan "x" ya da "y" türüne bağlı kalmadan geniş bir stil yelpazesinin kullanışlığını vurguladı. Çoğu sert ve yoğun eleştiriye rağmen post-rock önemini ve korumunu korudu. Devamında Radiohead müzikal stillerinde bir dönüm noktası olan "Kid A" albümünü yayınladı. Post-rock anlayışını dream pop/alternatif alanlarıyla karmalayan Sigur Rós, 1999'da Ágætis byrjun'un yayınlanmasıyla 2000'li yılların en iyi post-rock grupları arasında yer alırken artan popülerliğiyle BBC'nin Planet Earth'ü de dahil olmak üzere film/dizi müziklerinde ve fragmanlarında Hoppípolla'nın parçaları kullanıldı. Explosions in the Sky, 65daysofstatic, This Will Destroy You, Do Make Say Think ve Mono yeni binyılın en yetkin ve bilinen post-rock grupları arasına girdi.

Yaklaşık 13 yıllık bir aradan sonra, deneysel rock grubu Swans özellikle ABD ve İngiltere için ilk 40'ta bulunan "Be Kind" ve diğerleri olmak üzere post-rock öğelerini barındıran bir dizi albüm yayınladı. İsveçli post-rock grubu Oh Hiroshima, 2015 yılında yayınladığı "In Silence We Yearn" albümüyle olumlu tepkiler topladı. Harici olarak post-rock alanında son zamanlarda geniş çaplı deneysel etkinliklerin ve diğer türlerin harmanlanması öncelik aldı. Cult of Luna, Isis, Russian Circles, Palms ve Pelican gibi gruplar metal'i post-rock stilleriyle birleştirdi. Ortaya çıkan post-metal adındaki füzyon türünün etkisiyle sludge/sludge metal alanından Giant Squid, Battle of Mice ya da Callisto gibi isimler karma türün öncüsü sayıldı. Benzer şekilde Altar of Plagues, Lantlôs ve Agalloch gibi isimler post-rock/black metal türlerini geleneksel ve eskimiş yapılarıyla birleştirirken Deafheaven gibi grupların aracılığıyla bu kaynaşmalar bir ya da iki türle kalmayıp birçok türle/alanda birleştirilip muazzam akımlara ve ses ortamlarına zemin hazırladı.

Spotify Playlist: https://open.spotify.com/playlist/7ms5IqTCkDtj28N02jJsoA?si=hivEyEvqROuGqLJl_q1cpA

Ek Olarak: Post-metal'den sonra bunu da üstüne düzenledim. Talk Talk ya da Bark Psychosis gibi grupları gerek alt başlık uyuşmazlığı gerek halihazırda bulunan temel gruplardan dolayı koymadım tabloya belirtmekte fayda var. Ayrıca ASMZ ve Set Fire to Flames'i tabloda 3 tane GYBE olacağı için eklemedim. Genel olarak tablodan/türediği türlerden fikir sahibi olabilirsiniz. Benim en sevdiğim post-rock parçası Labradford'un "Everlast" adlı eseridir. Esen kalın.

Kaynaklar:

https://en.wikipedia.org/wiki/Post-rock

https://collapseundertheempire.com/post-rock/

https://www.reddit.com/r/postrock/comments/7rnpfm/what_is_post_rock_music_to_you/

https://rateyourmusic.com/list/Baboonius/post-rock-a-guide/

Yüksek Çözünürlük:

https://i.hizliresim.com/odk3Pm.jpg

https://yadi.sk/i/8fNfRnTpZTLwPA

#postrock

Post-metal(EU)

DEFINITION

Post-metal is a sub-genre formed with a post-rock/hardcore mix while sensually resting on heavy metal. The conventional atmosphere of the extreme metal is accompanied by experimental layers of other species. This species, which is studied at the same table as avant-garde metal, is also associated with drone, sludge and industrial metal. Vocals are usually screaming or clean. It is also known as metalgaze. The leading names of Isis, Boris and Pelican and similar names in the work of doom metal attracts attention to the excess, as well as with referance of Deafheaven, Alcest and An Autumn for Crippled Children is also known as the derivative of blackgaze.

HISTORY AND DEVELOPMENT

Post-metal's early work in the light of the avant-garde sensitivity of post-metal was recorded in the 1980s and early 1990s through heavy metal and post-punk synthesis, accompanied by names like Godflesh, Swans, Gore and Fugazi. After the term post-rock was introduced in 1994, the trend became increasingly swollen, while groups of post-hardcore and experimental origin began to incorporate boundary/psychedelic tendencies into the metal. Neurosis's "Souls at Zero" and Godflesh's "Pure" were retrospectively regarded as the first post-metal recordings. Godflesh's 1989 industrial production "Streetcleaner" had a stagnant and heavy music, while "Pure" was a work that encouraged larger structures and long noisy layers.

In addition, Neurosis continued its dynamism without compromising the doom and post-punk atmosphere. The band's fifth album "Through Silver in Blood" was described by the British music magazine Terrorizer as the classic of post-metal genre, while Fact Magazine assumed the best post-metal album of all time. Similarly, the first release of drone metal pioneer Earth's in 1991 and Kurt Cobain's guest vocal "Extra-Capsular Extraction" are closely associated with the post-metal flow. Fact author Robin Jahdi also emphasizes the relationship between the jazz/metallic hardcore mix in the 1990s noisecore field, such as bands Botch, Kiss It Goodbye and Coalesce.

CONSTRUCTIONS IN 2000'

The "Oceanic" album of the Isis group, which was formed by Aaron Turner's Hydra Head Records in 2002 was considered a common meeting point for multi-layered sounds, curved guitars and intense hardcore vocals. At the same time, Hydra recorded such extraordinary names like Pelican and Jesu. Inspired by names as Neurosis, Godflesh and Mogwai; Pelican instrumentally improved himself, Jesu explored ambient guitar compositions after the disintegration of Godflesh and headed for the shoegaze/slowcore area. In addition, black metal opened the door to a new approach by spreading out of Scandinavia and integrating post-metal into its speed and predator for universalization.

Pioneers of this approach names: Agalloch founded in 1995, which includes doom/black metal, progressive rock and folk. Parallel to Neurosis which released their second album "Two Hunters" in 2007 the USBM group Wolves in the Throne Room is an example. One of the extreme examples of internationally spreading post-metal, the Japanese band Boris which originated in 1992 has also been influenced by the works of Dronevil and Pink and some works with the drone metal group Sunn O))). Further, Cult of Luna from Swedish which owes musicology discipline to Isis's Oceanic during accession from various European communities, Amenra from Belgium who was sighted as a serious competitor to the group's authority in the industry by recording at Neurosis's studio and the layered/heavy project Year of No Light known for its sludge-oriented intense instrumental compositions from France, became one of the names affected by this current movement.

In Addition: In general you can get an idea from the table or from the species that it derives from/acts on. My favorite post-metal piece is Isis's "Threshold of Transformation". Stay good yall.

Resources:
https://daily.bandcamp.com/2016/08/04/a-brief-history-of-post-metal/
https://www.factmag.com/2015/06/24/40-best-post-metal/
https://en.wikipedia.org/wiki/Post-metal
https://rateyourmusic.com/genre/Post-Metal/

High Resolution:
https://i.hizliresim.com/7BApLW.jpg
https://yadi.sk/i/1GL3eva4CcLp7Q

#postmetal