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Pogi rock

Mon, 01 Jan 0001 00:00:00 +0000

Reception#

Some critics of the term “Pogi rock” first thought certain bands were too attractive to be regarded seriously in the music industry. However, their musical ability and confident demeanor helped them transcend this preconception. They later marked their success with separate concerts, celebrating both long-time fans and new supporters. Reflecting on the label, Sponge Cola frontman Yael Yuzon said, “People just needed to coin something and that’s alright. At least, we were called pogi rock, not pangit rock.” “Pogi rock” wasn’t a common term back then, the mix of “romantic” lyrics and “clean-cut” looks came to define bands like Callalily. The Varsitarian publication described the style as more image-driven than raw rock, noting that “pogi rock” refers to bands known more for their looks than their music.

Polish hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

History#

The first Polish performer to use rap was the actor Piotr Fronczewski, who, under the pseudonym Franek Kimono, released an album of the same name in 1984. However, it did not feature the beats typical of hip-hop, but was rather conceived as a parody of disco music. Another pioneer of Polish rap was Kazik Staszewski, who released his first solo album in 1991, which partly featured rap. Staszewski also incorporated rap into his later work, often blending it with other musical genres. A year later, PM Cool Lee released the album East on the Mic, which featured two songs in Polish. Lee was from Kielce, but in Warsaw in 1991, the duo Trials X recorded the demo album “Fekalia”, which was released in the UZI store in 1992. Warsaw soon emerged as a center for hip hop, after KOLOR, a radio station, began broadcasting Kolor Shock, hosted by Bogna Świątkowska, Paul Jackson, an African American expatriate, Sylvia Opoku from London, and DJ Volt, whose crew, 1kHz, became performing stars in their own right in 1995. In 1994, the duo Trials X recorded the album “Prawda, Cel, Przesłanie” (Truth, Purpose, Message) in the S4 studio, which was released in the spring of 1995. Volt also founded the first Polish independent hip hop label, B.E.A.T. Records. Although the label did not last long, it did introduce groups like Trzyha and Molesta. In Poznań, PH Kopalnia’s Polski Rap - Zakazane Piosenki (Polish rap - Forbidden Songs). Now known as Liroy, the former PM Cool Lee released Alboom in 1995, which included the hit “Scyzoryk” (Penknife). The most recognizable Polish hip hop band abroad is Kaliber 44 which is definitely the most popular hip-hop band in Poland. This band was the first Polish music band to give concerts in the USA, including in Chicago and New York. One of the members AbradAb achieved numerous successes after the group’s suspension, winning 4 Fryderyk Awards or MTV Europe Music Awards.

Polish jazz

Mon, 01 Jan 0001 00:00:00 +0000

Before communism (1930–39)#

The beginning of jazz in Poland is difficult to determine. As early as the 1930s, clubs in Warsaw, Kraków, Rzeszów or Poznań would play some jazz. This tended to be swing and some of it was influenced by the traditional classical music. American popular music (particularly songs by George Gershwin) was in great demand. Eddie Rosner is considered to be the first Polish jazz musician of significance.

Polish opera

Mon, 01 Jan 0001 00:00:00 +0000

17th century#

Operas were first performed in Poland during the Baroque era in the reign of Sigismund III Vasa (1587-1632). The king himself had no interest in the arts, but his son Władysław IV (reigned 1632-1648) was an enthusiast and patron of opera while he was still a prince. In 1625 Francesca Caccini wrote an opera for Władysław when he visited Italy. This opera, La liberazione di Ruggiero dall’isola d’Alcina, was also performed in Warsaw in 1628; this is the earliest verified performance of an Italian opera outside of Italy. Gli amori di Aci e Galatea by Santi Orlandi was also performed in 1628. When Władysław became king, he had operas staged in the hall of the royal castle and he invited Marco Scacchi’s opera troupe to Poland. A dramma per musica (as serious Italian opera was known at the time) entitled Giuditta, based on the Biblical story of Judith, was performed in 1635. The composer was probably Virgilio Puccitelli. During the reign of Władysław IV a dozen or so operas were performed whose music has not survived. https://web.archive.org/web/20070926235133/http://www.polmic.pl/historia_muzyki_desc.php?id=7&lang=en

Polish reggae

Mon, 01 Jan 0001 00:00:00 +0000

History#

Bob Marley’s music is credited as introducing reggae to Poland, and beginning a vibrant reggae movement there. According to reggae studies professor Carolyn Cooper, Marley’s lyrics of “resistance against the system” have been a basis of inspiration for some human rights demonstrations in Poland. Another influence was British Rastafarian band Misty in Roots, who played live in the country in 1983 and 1986. In the 1980s Polish Rastafarians appeared. The first Polish reggae song was performed by the band Budka Suflera in 1974 - Sen o dolinie, music by Bill Withers - Ain’t No Sunshine, Polish lyrics by Krzysztof Cugowski. The first homegrown Polish reggae groups started in the 1980s, and some even took on the reggae look, complete with dreadlocks. Some Polish reggae groups were included on the compilation album MUP: Reggae from Around the World, on RAS Records. an annual music festival in Żary, Poland. Polish-language reggae has retained its popularity over the years, and an all-Polish-language radio station in New York state is more likely to play reggae music than polka music (which might not come as a surprise, since polka music does not originate from Poland).

Political hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

Conscious hip-hop#

Conscious hip-hop (also known as socially conscious hip-hop or conscious rap) is a subgenre of hip hop that challenges the dominant cultural, social, political, sociopolitical, philosophical, and economic consensus, Some themes of conscious hip hop include social conscience, religion, culture, the economy, depictions of the struggles of ordinary people, and aversion to or commentary on crime and violence, as well as potentially Afrocentricity. Conscious hip hop often seeks to raise awareness of social issues, sometimes leaving the listeners to form their own opinions rather than advocating for certain ideas and demanding actions like political hip hop. Conscious hip hop artists often use their music to express their views on a wide range of topics, including politics, race, poverty, and the environment.

Political music in China

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Political music may be practically viewed at the political and ideology level. There are basically two ends of the spectrum. The light end is the typical “Patriotic Music”. It is usually performed by some collection of instrument or orchestra. It is equivalent to national anthems performed in other countries, perhaps taken more seriously by the Chinese government. The extreme end is termed “Revolutionary Music”.

Origin#

After the fall of the Qing Dynasty, the New Culture Movement was initiated to promote a new national culture, including a new national music guoyue, and greater patriotism. Identity and national pride became important during the Second Sino-Japanese War and the Chinese Civil War throughout the 1930s. A left-wing music movement to promote music with anti-Imperialist and anti-feudal content called New Music (新音乐) began in the 1930s.

Political podcast

Mon, 01 Jan 0001 00:00:00 +0000

Background#

With increasing growth of the Internet and new technologies and devices to disseminate information digitally such as laptop computers and smartphones, political podcasts have become an “emerging industry” according to Nicholas Quah of NiemanLab. Since then, many new programs have been created. Most political podcasts maintain a connection with an existing news source; for example, the podcast Start Making Sense is closely allied with its parent publication, The Nation magazine. Podcast growth was spurred in 2016 by the United States presidential election.

Polka

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

The term polka referring to the dance is believed to derive from the Czech words “půlka”, meaning “half-step”. Czech cultural historian Čeněk Zíbrt attributes the term to the Czech word půlka (half), referring to both the half-tempo and the half-jump step of the dance. The name was changed to “Polka” as an expression of honour and sympathy for Poland and the Poles after the November Uprising 1830–1831. “Polka” meaning, in both the Czech and Polish languages, “Polish woman”. The name was widely introduced into the major European languages in the early 1840s.

Polo (flamenco palo)

Mon, 01 Jan 0001 00:00:00 +0000

Poetic and musical structure#

The stanza of the polo is the cuarteta romanceada, typical of most flamenco songs and Spanish folklore: four octosyllabic verses, the second and fourth rhyming in assonance. It is usually sung with the following typical lines: Carmona tiene una fuente con catorce o quince caños con un letrero que dice: ¡Viva el polo sevillano! Translation: Carmona has a fountain With fourteen or fifteen jets And an inscription that reads Long live the Sevillan polo! Often, the last line is replaced by another saying: “Viva el polo de Tobalo” (“Long live the polo de Tobalo”). This is curious, as the melody used is not that of the polo de Tobalo, but that of the polo natural. Some lines are partially repeated, and there are also two series of melismas sung on one vowel in the middle and at the end of the stanza, which separate the song in two sections. The stanza is therefore rendered like this: Carmona tiene una fuente con catorce con catorce o quince caños oooh oooh oooh etc. (melismas) con un letrero que dice y que y viva el polo viva el polo de Tobalo oooh ooh ooh etc. As to the metre and musical mode, they are the same as for the soleá, that is 12-beat metre (or alternating 3/4 and 6/8) and Phrygian mode (for more information, see article on soleá). The guitar accompaniment and falsetas are also inspired by the soleá, although some special arpeggios are included after the second line of each section (“con catorce” and “y viva el polo”) and during the singing of the melismas. It is always accompanied in the guitar chord position of E for the tonic. Musicologist Hipólito Rossy stated that the song was in major mode and 3-beat metre (Rossy 1966 1998), but he was not very familiar with this palo, as all recordings show the typical soleá rhythm and Phrygian mode. He might have been influenced by the recording of singer Jacinto Almadén, in which guitarist Perico el del Lunar certainly uses some chords insinuating the major mode.

Polo (music)

Mon, 01 Jan 0001 00:00:00 +0000

Lyrical form#

The Polo from Margarita is sung in octosyllabic or hendecasyllabic verses with varying rhyme schemes. Typically the stanzas are composed of four verses, and common rhyme schemes include ABAB and ABBA. Traditionally, however, the polo, like the malagueña and galerón has been sung in décima form, that is, ten verses of eight syllables each, with an “ABBAACCDDC” rhyme scheme. It is typical for each verse in the polo to be sung twice, which has lent to it being sung as a duet on occasion. The theme of the polo’s lyrics are typically centered around life in the island of Margarita and the states of Sucre, and Anzoátegui. As a result, the imagery and habits of coastal life are frequently the subject of the polo, as evidenced by the following stanza: The theme of love is also common in polos, both as isolated stanzas and as the main focus of the text. Some artists who illustrate the romantically-oriented polo include Gualberto Ibarreto and the quartet Serenata Guayanesa. An excerpt of the “Polo de la soledad” (Polo of solitude) by Serenata reads as follows:

Polonaise

Mon, 01 Jan 0001 00:00:00 +0000

Influence of Polonaise in music#

The notation alla polacca ( means “polonaise”) on a musical score indicates that the piece should be played with the rhythm and character of a polonaise. For example, the third movement of Beethoven’s Triple Concerto op. 56, marked “Rondo alla polacca,” the last movement in Weber’s Clarinet Concerto No. 2 is marked “Alla Polacca”, his Horn Concertino likewise ends with a polka movement, and the finale of Chopin’s Variations on “Là ci darem la mano” both feature this notation. In his book Classic Music: Expression, Form, and Style, Leonard G. Ratner cites the fourth movement from Beethoven’s Serenade in D major, Op. 8, marked “Allegretto alla Polacca,” as a representative example of the polonaise dance topic (Ratner 1980, pp. 12–13). Frédéric Chopin’s polonaises are generally the best known of all polonaises in classical music. However, there had been a long tradition of polonaises in Western European music at least a century before Chopin. Händel wrote a famous one, and Wilhelm Fiedemann Bach wrote a number of in major-minor pairs. Other composers who wrote polonaises or pieces in polonaise rhythm include Johann Sebastian Bach, George Frideric Handel, Georg Philipp Telemann, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Danzi, Bernhard Henrik Crusell, Karol Kurpiński, Józef Elsner, Maria Agata Szymanowska, Henryk Wieniawski, Franz Schubert, Carl Maria von Weber, Clara Schumann, Robert Schumann, Franz Liszt, Johann Kaspar Mertz, Moritz Moszkowski, Modest Mussorgsky, Nicolai Rimsky-Korsakov, Pyotr Ilyich Tchaikovsky and Alexander Scriabin. Another more recent prolific polonaise composer was the American Edward Alexander MacDowell. John Philip Sousa wrote the Presidential Polonaise, intended to keep visitors moving briskly through the White House receiving line. Sousa wrote it in 1886 after a suggestion from then-President of the United States Chester A. Arthur, who found it undignified, temporarily replacing Hail to the Chief as the presidential march under Sousa’s leadership of the United States Marine Band. Tchaikovsky’s opera Eugene Onegin, an adaption of Alexander Pushkin’s novel in poetry verse, includes a famous polonaise.

Polska (dance)

Mon, 01 Jan 0001 00:00:00 +0000

Evolution#

As suggested by the name, the roots of the polska are often traced back to the influence of the Polish court throughout the northern countries during the early 17th century. (Polska also happens to be homonymous with the Swedish word for the Polish language.) This view is sometimes challenged by those who see earlier evidence of the musical tradition in Nordic visor or songs, that may have become grafted onto the newer foreign influences when the court dances began to filter out into the middle class and rural communities. In addition, some earlier triple meter dances and melodies may have evolved into the polska. The polska dances were likely inspired by court dances such as the polonaise or the time minuet involving larger sets of people. Some see traces of the evolution from set dances to couples dances and from duple time to triple time in the minuets, still danced in some communities of Finland and Denmark. In these, the dance starts with a large set of dancers dancing a slower formal section and ends with couples or foursomes dancing a faster, more energetic polska section. In the late 1600s it was common in northern Europe that only the slower Alla breve or section of the music was written down on paper, as paper was expensive. The musicians were expected to be able to improvise a dance in which was based on the same motivic material as the previous dance. The parts played in were the ones evolving to the modern polska. In the prevalent time form, polska dances were most common in Norway, Sweden and Swedish-speaking Finland, but with versions seen in Finnish-speaking Finland and in Denmark. It is best to discuss these dances by country as their regional histories, while contemporaneous, were quite varied and the dances known today differ significantly from one country to the next.

Polyphonic era

Mon, 01 Jan 0001 00:00:00 +0000

Gothic period (c. 1170–c. 1310)#

Earliest forms of notated polyphonic music are developed known as ars antiqua or “ancient art”.

Ars nova (14th century)#

New techniques of rhythm and melody brought more feeling to the music, paving the way for the first important polyphonic music schools. “Ars nova” means “new art”.

Important polyphonic schools (15th–16th centuries)#

Netherland (Flemish) School: Guillaume Dufay (1400–1474), Josquin des Prez (c. 1450–1521), and Orlande de Lassus (1532–1594)
Venetian School: Adrian Willaert (c. 1488–1562), and Giovanni Gabrieli (c. 1557–c.1612)
Roman School: Giovanni Pierluigi da Palestrina (c. 1525–1594), and Tomás Luis de Victoria (c. 1548–1611)

Secular polyphonic music (16th century)#

William Byrd (1543–1623)
Thomas Morley (1557–1603)
Claudio Monteverdi (1567–1643)
Orlando Gibbons (1583–1625)

Baroque period#

During the Baroque period, forms become more elaborate, attention paid to dramatic effect, choruses combined with arias, duets and quartets with choral music accompanied by instruments. New church forms developed such as the oratorio, the passion, and the cantata. *Heinrich Schütz (1585–1672) *Giacomo Carissimi (1605–1674) *J. S. Bach (1685–1750) *G. F. Handel (1685–1759)

Polyphonic song of Epirus

Mon, 01 Jan 0001 00:00:00 +0000

In Greece#

Among Greeks, polyphonic song is found in the northern part of the Greek region of Ioannina; in Ano Pogoni, (Ktismata, Dolo, Parakalamos) and some villages north of Konitsa), as well as in very few villages in northeastern Thesprotia (Tsamantas, Lias, Vavouri, Povla). Among the Greek minorities in southern Albania, polyphonic singing is performed in the regions of Dropull, Pogon (Kato Pogoni) (Poliçan) and the cities of Delvinë, Himara, Sarandë and Gjirokastër. Greek polyphonic groups can include six different parts: taker (partis), turner (gyristis), spinner (klostis), isokrates, rihtis (the one who “drops” the voice) and foreteller (prologistis). Songs are performed in two (taker and turner or taker and isokrates), three, four or five voices. In five-voice singing all parts are present, while the role of the spinner and the rihtis is performed by one part. The main voice, the taker, can be sung either by men or women, but it can also alternate between them. Greek polyphonic groups usually consist of 4 to 12 persons. Among Greeks a second kind of polyphonic singing differing in maximum roughness is also performed in Karpathos and Pontos. In 2020, the Polyphonic Caravan, which is a Greek project with the purpose of researching, safeguarding and promoting the Epirus polyphonic song since 1998, was inscribed in the UNESCO Intangible Cultural Heritage List of Good Safeguarding Practices.

Polyphony

Mon, 01 Jan 0001 00:00:00 +0000

Antecedents#

Polyphony in traditional music has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa, Europe and Oceania. There are two contradictory approaches to explaining the origins of vocal polyphony: the Cultural Model and the Evolutionary Model. According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came about as the natural development of primordial monophonic singing; this leads to polyphonic traditions gradually replacing monophonic traditions. According to the Evolutionary Model, polyphonic singing is connected to earlier stages of human evolution, as an important part of a hominid defence system, and traditions of polyphony are gradually disappearing all over the world.

Pontic Greek music

Mon, 01 Jan 0001 00:00:00 +0000

Cultural role#

When Pontian refugees came from the Pontos to Greece in the 1920s, they brought traditions of music and folklore with them. Between the 1950s and the 1980s, Pontian clubs used music, dance, and folklore to portray themselves as both patriotic Greeks and as a distinct group unto themselves. At the time, Pontian singers tended to censor songs with Turkish verses in order to assimilate into Greek society. In the 1980s, as the original generation of Pontian refugees began to die off, Pontian musicians focused on remembering the original refugees and their experience. Musicians began to openly perform Pontian songs with Turkish verses, such as “Tsambasin.” A , or , is an important form of social get-together for Pontians in the 21st century, describing “a banquet where music is the main activity.” gatherings feature music, including , or “tabletop melodies.” Tablemates go back and forth, singing original or remembered rhyming couplets to one another. The couplets are in iambic meter or trochaic meter. The provides instrumental support. The goal of a performance is to express emotions through the use of remembered verses, and to share these feelings with one’s community. Couplets may be used to communicate sorrow, to express longing, or to flirt. Scholar Ioannis Tsekouras argues that gatherings first emerged among refugees as ways to discuss their memories of genocide and deportation.

Pop

Mon, 01 Jan 0001 00:00:00 +0000

Arts, entertainment, and media#

Pop music, a musical genre

Artists#

POP, a Japanese idol group now known as Gang Parade
Pop! (British group)
Pop! featuring Angie Hart, an Australian band

Albums and EPs#

Pop (Fanatic Crisis album), 2021
Pop (Gas album)
Pop (Joachim Witt album)
Pop (Mao Abe album)
Pop (Same Difference album)
Pop (Tones on Tail album)
Pop (U2 album)
Pop, an album by Topi Sorsakoski and Agents
P.O.P, The Mad Capsule Markets album
Pop! The First 20 Hits, an album by English duo Erasure
P.O.P. (EP), by Marina Satti

Songs#

“Pop” (NSYNC song), 2001
“Pop!” (Nayeon song), 2022
“Pop”, a song by A.R. Kane
“Pop”, a song by Ari Lennox from Shea Butter Baby
“Pop”, a song by La Oreja de Van Gogh from El viaje de Copperpot
“Pop”, a song by Death Grips from No Love Deep Web
“Pop!”, a song from The Wedding Singer musical
“Pop”, a song by Harry Styles from Kiss All the Time. Disco, Occasionally

Periodicals#

Pop (fashion magazine), a British publication
Pop Magazine, a sports magazine

Television#

Pop (American TV channel), formerly TVGN
Pop (British and Irish TV channel), for children
Pop (Slovenian TV channel), Slovenia
Pop (Pakistani TV channel), for children
Pop (Italy), for children
“Pop” (The Bear), a 2023 episode of The Bear TV series

Toys#

POP! vinyl figurines from Funko
Princess of Power, Mattel toys

Video games#

Prince of Persia, video game franchise
Pop (video game)

Other uses in arts, entertainment, and media#

PoP!, the fictional band in Music and Lyrics
Pokémon Organized Play, trading cards

Commerce#

Pop, slang for pawning goods with a pawnbroker
Pay on production
Point of purchase, used often in retail
Proof of principle
Proof-of-payment, a fare collection approach

Organizations#

Eton Society, nickname
Pencils of Promise, a charity
Pop, a US company owned by Advance Publications Inc.
POP Bank Group, a banking group in Finland

Places#

Gregorio Luperón International Airport (IATA code POP), Puerto Plata, Dominican Republic
Pop, a tributary of the river Jijia in eastern Romania
Pop, Uzbekistan, a town in Namangan Region, Uzbekistan
Poppleton railway station (station code), York, England

People#

Pop (nickname)
Pop (surname), a Romanian surname
Pop Chalee (1906–1993), American painter, muralist, performer and singer born Merina Lujan
Pop Harukaze, a.k.a. Caitlyn Goodwyn, a fictional character from the anime/manga series Ojamajo Doremi
Iggy Pop (born 1947), American musician
Jimmy Pop (born 1972), American musician
Pop Smoke (1999–2020), American rapper

Computing#

Operation removing element from a stack (abstract data type)
Package on package, IC packaging
Point of presence, a demarcation point between communicating entities
POP and POP3, Internet e-mail Post Office Protocols
POP-1 POP-2 POP-11, programming languages
Pop! OS, a Linux distribution

Other uses in science and technology#

Pop (physics), sixth derivative of position
Parallel Ocean Program, an ocean circulation model
Paroxypropione, P.O.P.
Persistent organic pollutant
Probability of precipitation, in weather forecasting
Progestogen-only pill, a contraceptive
Pelvic organ prolapse, a gynecological condition
Blind rivet
Plaster of Paris, plaster made from dehydrated gypsum
Pop, a recording noise from plosives, see pop filter

Sport#

Pop (professional wrestling), a crowd cheer
POP Championship (Princess of Pro-Wrestling), Japan

Other uses#

POP (Point of Purchase typeface), in Japanese Kanji
Pop (ghost), in Thai folklore
Pop (train)
The first month of the Haabʼ in the Mayan calendar
Pacific Ocean Park, an amusement park
Problem-oriented policing
Pop, a truncation of the word popular, e.g., popular culture → pop culture
Pop, dialect for soft drink
Pop, an informal term for a father or occasionally a grandfather
Pop., an abbreviation for population
Pop Mie, an instant cup noodle brand which is a sub-brand of Indomie, first introduced in Indonesia in 1991

Pop kreatif

Mon, 01 Jan 0001 00:00:00 +0000

Definition#

The term “pop kreatif” first appeared in Indonesian media in the 1980s. Other terms associated with the genre include “contemporary pop,” “trendy pop,” and “high-class pop” (pop kelas atas). The ban on pop melankolis had created an opportunity for musicians experimenting with jazz fusion and new wave styles, characterized by heavy use of synthesizers, to rise to prominence. To academic Kitano, he draws parallels between pop kreatif and the work of Japanese artists like Yamashita Tatsuro, likening it to the evolution of Japanese pop into what is often referred to as “new music.” He suggests that pop kreatif represents a form of contemporary or trendy pop, characterized by its innovative approach. Whilst at its core, pop kreatif stands out as a genre that caters to urban, cosmopolitan audiences, reflecting modern influences and tastes that set it apart from traditional mainstream music.

Pop melankolis

Mon, 01 Jan 0001 00:00:00 +0000

Definition#

The term “pop melankolis” was coined by Indonesian songwriter Rinto Harahap to describe his style of music, which was described as “cengeng” (whiny or weepy) by Harmoko. It is also known as “pop manis” (sweet pop). The music of pop melankolis is characterized by elementary chord progressions harkening back to American traditional pop from the 1950s-1960s, as heard in songs like “Unchained Melody”, which follows the progression of C major – A minor – F major – G major, sometimes with additional variations like E minor or D minor. This structure gives pop melankolis its signature sentimental and sorrowful feel, making songs in this genre easily recognizable for their evocative and poignant mood. Instruments used include guitars, keyboards and drums, and often include synthesizers especially in the 1980s. Answer songs, a staple of country music in the 1950s, was also a common trend in this subgenre.

Pop melayu

Mon, 01 Jan 0001 00:00:00 +0000

History#

The progenitor of this genre is the frequent movement of bangsawan acts between Malaya, Deli (now Medan), Riau Islands and Java which later developed into Orkes Melayu (“Malay orchestra”) starting in the 1930s, their compositions took from Indian and Arabic influences played with Western instruments, while their song lyrics often took from pantun. Malayan-Singaporean cinema was often a huge inspiration, especially from P. Ramlee. In 1960s Singapore, many ‘fast guitar groups’ (kumpulan gitar rancak, abbreviated as kugiran) sprung among the Malay community there influenced by contemporary Western music incorporating similar traditions. Since the 2010s, There are two pop melayu streams including the classification which is popular in Malaysia and the other is in Indonesia. In Indonesia early, pop melayu was popular in the mid-2000s which was pioneered by ST12. Until now, there have been many popular music groups with this genre. Those that managed to penetrate the domestic and international markets included ST12, Wali, Kangen Band, Armada, Radja, Hijau Daun, Dadali, Repvblik, Demeises, and others. The success of the pop melayu genre in dominating the market share in Indonesia, Malaysia and Brunei in general has also changed the color of the arrangements of pop genre music groups which were originally popular.

Pop metal

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Pop metal is a variation of heavy metal which emphasizes catchy pop-influenced hooks and guitar riffs. It was influenced by the anthemic choruses of arena rock. In the “definitive metal family tree” of his documentary Metal: A Headbanger’s Journey, anthropologist Sam Dunn differentiates pop metal, which includes bands like Def Leppard, Europe, and Whitesnake, from glam metal bands that include Mötley Crüe and Poison.

History#

The catchy hard rock of Kiss and Van Halen in the 1970s helped spawn the genre, The arrival of grunge in 1991 largely turned audiences away from pop metal. Andrew W.K., Architects, Bring Me the Horizon, Coheed and Cambria, Dead by April, Evanescence, Halestorm, Ghost, In Flames, In This Moment, Issues, Lacuna Coil, Poppy, Shinedown, The Pretty Reckless, We Are the Fallen, and Weezer.

Pop music

Mon, 01 Jan 0001 00:00:00 +0000

Definitions and etymology#

David Hatch and Stephen Millward describe pop music as “a body of music which is distinguishable from popular, jazz, and folk music”. David Boyle, a music researcher, states pop music as any type of music that a person has been exposed to by the mass media. Most individuals think that pop music is just the singles charts and not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. As a genre, pop music is seen to exist and develop separately. Therefore, the term “pop music” may be used to describe a distinct genre, designed to appeal to all, often characterized as “instant singles-based music aimed at teenagers” in contrast to rock music as “album-based music for adults”. The term “pop song” was first used in 1926, in the sense of a piece of music “having popular appeal”. Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues, and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term “pop music” “originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced”. The Oxford Dictionary of Music states that while pop’s “earlier meaning meant concerts appealing to a wide audience … since the late 1950s, however, pop has had the special meaning of non-classical mus ic , usually in the form of songs, performed by such artists as The Beatles, The Rolling Stones, ABBA, etc.” Grove Music Online also states that “in the early 1960s, the term ‘pop music’ competed terminologically with beat music in England , while in the US its coverage overlapped (as it still does) with that of ‘rock and roll. While rock aspired to authenticity and an expansion of the possibilities of popular music, According to British musicologist Simon Frith, pop music is produced “as a matter of enterprise not art”, and is “designed to appeal to everyone” but “doesn’t come from any particular place or mark off any particular taste”. Frith adds that it is “not driven by any significant ambition except profit and commercial reward … and, in musical terms, it is essentially conservative”. It is “provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below. … Pop is not a do-it-yourself music but is professionally produced and packaged”.

Pop music in Ukraine

Mon, 01 Jan 0001 00:00:00 +0000

Emergence#

Development of Ukrainian pop music started in the late 1960s with the emergence of big-beat youth bands and vocal-instrumental ensembles such as Vodohrai, Hrono, Dzvony, Smerichka, Stozhary etc. During the Soviet era this type of music was known as “Estrada”.

1970s#

The 1970s saw the emergence of a number of folk rock groups in Ukraine. One of the most prominent was a group known as Kobza which included 2 electric banduras. It began as an instrumental group playing folk inspired cool jazz. Other groups gradually appeared on the scene primarily from Western Ukraine such as Medikus and Smerichka. Major contributions to Ukrainian pop music were made by songwriter Volodymyr Ivasiuk and singers Sofia Rotaru and Nazariy Yaremchuk. In a development the KGB defined as “radio hooliganism”, from the end of the sixties thousands of high-school and college students In Dnipropetrovsk became ham radio enthusiasts, recording and rebroadcasting western popular music. Annual KGB reports regularly drew a connection between anti-Soviet behavior and enthusiasm for western pop culture, but in 1980 conceded that all ideological and police efforts had failed to stem its spread.

Pop rap

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

AllMusic describes pop rap as “a marriage of hip-hop beats and raps with strong melodic hooks, which are usually featured as part of the chorus section in a standard pop-song structure.” Pop rap also tends to have less aggressive lyrics than street-level rap music. However, some 1990s artists fused pop rap with a more aggressive attitude to defuse backlash on their own accessibility.

History#

In the 1980s, rap artists including Run-DMC and LL Cool J set up the blueprints and origins of pop rap as they suddenly broke into the mainstream. Later, rap artists such as Tone Loc, Young MC, and Fresh Prince then made party tunes and used their storytelling abilities as they became popular. During the 1990s, pop rap began to expand even more as hip-hop music also began to connect strongly with dance music and R&B. They caused pop rap to be “derided (and, occasionally, taken to court) for its willingness to borrow” from best-known hit singles. By the end of the 1990s and early 2000s, rappers such as Ja Rule fused gangsta rap themes with 1980s pop and soul elements; pop rap was dominated by many artists. During the late 2000s and early 2010s, many rap artists who used pop rap in their music had emerged such as Nicki Minaj, Drake, will.i.am from the Black Eyed Peas, LMFAO, Illslick, Flo Rida, Pitbull and Wiz Khalifa.

Pop rock

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics and etymology#

Much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms “pop rock” and “power pop” have been used to describe more commercially successful music that uses elements from, or the form of, rock music. Writer Johan Fornas views pop rock as “one single, continuous genre field”, rather than distinct categories. The term “pop” has been used since the early 1940s to refer to popular music in general, but in the mid-1950s, it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. As of the 2010s, “guitar pop rock” and “indie rock” are roughly synonymous terms. “Jangle” is a noun-adjective that music critics often use in reference to guitar pop with a bright mood.

Pop screamo

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Pop screamo builds upon the template of traditional screamo, but differentiates itself by incorporating melodic, sung vocals and metal influenced riffs. It additionally embraces elements of emo pop, and the dissonant metalcore style of Deadguy, Botch, Converge and Coalesce. Some bands in the genre also incorporated elements from other 2000s post-hardcore styles. Oftentimes, verses feature unclean vocals, while choruses use clean singing. breakdowns are also frequently used, oftentimes during a song’s bridge. Alternative Press Magazine described it as a subgenre of post-hardcore, while Ultimate Guitar editor Jorge Martins called it a subgenre of the post-hardcore subgenre screamo.

Pop-punk

Mon, 01 Jan 0001 00:00:00 +0000

Definition and characteristics#

Pop-punk is variously described as a punk subgenre, Writers at The A.V. Club described pop-punk as a punk subgenre that has “essentially been around as long as punk itself” with roots in the “classic pop of the Beatles, the Kinks, and the Beach Boys, often pitting sweet harmonies against bratty, rowdy riffs.” According to Ryan Cooper of About.com, “pop-punk is a style that owes more to The Beatles and ’60s pop than other sub-genres of punk”. There is considerable overlap between power pop and pop-punk, and the two styles are often conflated. In Brian Cogan’s The Encyclopedia of Punk Music and Culture (2006) pop-punk is characterized as “a catchy, faster version of power pop.” AllMusic defines “punk-pop” as “a post-grunge strand of alternative rock” that combines the textures and fast tempos of punk rock with the “melodies and chord changes” of power pop. In the 1990s, there was overlap between pop-punk and skate punk. Music journalist Ben Myers wrote that the two terms were synonymous. Rock writer Greg Shaw, who wrote extensively about power pop and took credit for codifying the genre in the 1970s, originally defined power pop itself as a hybrid style of punk and pop. Green Day frontman Billie Joe Armstrong, who described power pop as “the greatest music on Earth that no one likes”, whether it’s something like Cheap Trick or another band “. opined that the pop-punk term was an oxymoron: “You’re either punk or you’re not.” Writing in Shake Some Action: The Ultimate Guide to Power Pop (2007), actor Robbie Rist felt that much of the genre merely consisted of pop bands who “add the ‘punk’ moniker so the kids will think they are pissing off their parents.” Rolling Stone, in an article about pop-punk, wrote that the term was a retroactive label for punk bands who had “always championed great songwriting alongside their anti-authoritarian stance. And punk’s focus on speed, concision and three-chord simplicity is a natural fit with pop’s core values.” Bill Lamb, also from About.com, writes that pop-punk is a variant of punk music that features “a hard and fast guitar and drums base but powered by pop melodies like much of ’70s punk rock.” Lyrically, pop-punk often addresses adolescent themes of lust, romantic relationships, heartbreak, drugs, suburbia, and rebellion. Some pop-punk lyrics make an emphasis on jokes and humor. The New Yorkers Amanda Petrush summarized that the “rawness” of pop-punk “lies not in the music” but by conveying the “spectrum of human experience, all that longing and self-doubt.”

Popcorn (Belgian music style)

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

The Popcorn music scene first developed from dances held at the Groove discotheque in Ostend, where mid-tempo soul and ska music played by DJ Freddy Cousaert became popular in the late 1960s. Cousaert was later responsible for Marvin Gaye’s move to Belgium in the early 1980s. In September 1969, a café, De Oude Hoeve, opened in a converted farm barn at Vrasene near Antwerp, and began holding dance competitions on Sunday afternoons. Soon up to 3,000 people began attending each week, dancing in a “slow swing” style to soul and funk records. The café was renamed the Popcorn – after the James Brown hit “The Popcorn”—and DJ Gilbert Govaert began playing more early soul and other records from the 1960s to suit the dance style. Following the Popcorn club’s popularity, other clubs sprang up playing music in a similar style. These included the Festival in Antwerp, the Gatsby in Vliermaal, and the Versailles, beside the beach at Ostend. As well as Cousaert and Govaert, other leading DJs included Jeff Callebaut, Gerry Franken, and Georges Toniotti. Radio stations were set up to play the music, and rare music on obscure labels became especially prized. The scene in Belgium, in many ways, paralleled the Northern soul scene in Britain, but with a slower swing style of music favoured, rather than the fast dance styles characteristic of Northern soul. In some cases, DJs slowed down records, by pitch control and by playing 45 rpm discs at 33 rpm, to achieve the desired tempo and rhythm. The range of the music also broadened, to include some British and Italian pop music from the early 1960s, and eventually local bands were formed to emulate the style.

Popcorn (Romanian music style)

Mon, 01 Jan 0001 00:00:00 +0000

History#

In Romania, dance music started growing in popularity in the underground scene after the fall of the Ceaușescu communist regime in 1989. Since then, the Mamaia resort had established itself as a venue for international DJs. Romania’s entry into the European Union in 2007 facilitated contact with international music for local musicians and songwriters. It is featured on their 2010 studio album Popcorn, after which the genre is named. Production trio Play & Win were also involved in the genre’s development and worked on material for Akcent and Inna, among others. The genre eventually became mainstream internationally, with “Stereo Love” by Edward Maya and Vika Jigulina, and “Mr. Saxobeat” by Alexandra Stan notably developing into worldwide hit singles. The popularity of popcorn music declined after the early 2010s. Other notable artists include Tom Boxer, Antonia, Andreea Bănică, Deepside Deejays, Nick Kamarera, DJ Rynno, Sylvia, DJ Sava and Raluka.

Popular music

Mon, 01 Jan 0001 00:00:00 +0000

Definition#

Scholars have classified music as “popular” based on various factors, including whether a song or piece becomes known to listeners mainly from hearing the music (in contrast with classical music, in which many musicians learn pieces from sheet music). This includes its appeal to diverse listeners, its treatment as a marketplace commodity in a capitalist context, and other factors. Evaluating appeal based on size of audience (mass appeal) or whether audience is of a certain social class is another way to define popular music, but this, too, has problems in that social categories of people cannot be applied accurately to musical styles. Manuel states that one criticism of popular music is that it is produced by large media conglomerates and passively consumed by the public, who merely buy or reject what music is being produced. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, which negates the previous conception of popular music. Anahid Kassabian separated popular music into four categories: * “popular as populist”, or having overtones of liberation and expression; see jazz, Latin music, and rhythm and blues. * “popular as folk”, or stating that the music is written by the people, for the people; see country music, reggae, and gospel music. * “popular as counterculture”, or empowering citizens to act against the oppression they face; see punk rock, heavy metal music, and hip-hop. * “popular as mass”, or the music becomes the tool for oppression. A society’s popular music reflects the ideals that are prevalent at the time it is performed or published. David Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values. In his mind, a liking “for the nasty, brutish, and short intensifies a common semipopular tendency in which lyrical and conceptual sophistication are applauded while musical sophistication—jazz chops or classical design or avant-garde innovation—is left to the specialists.” American folk singer Pete Seeger defined pop music as “professional music which draws upon both folk music and fine arts music”.

Popular music in Croatia

Mon, 01 Jan 0001 00:00:00 +0000

1940s and 1950s#

Ivo Robić was one of the first acclaimed popular music artists in Yugoslav Croatia. He emerged in the late 1940s and later launched a very successful international career as well, closely cooperating with the famous composer and Polydor producer Bert Kaempfert, whom he convinced to produce the then upcoming act The Beatles after seeing them performing in the Top Ten Club in Hamburg. Robić is the author of the famous schlager that was later popularized by Frank Sinatra as Strangers in the Night. The Croatian rock music began in the 1950s, and one of the first classic rock-n-roll performers was Karlo Metikoš from Zagreb. He moved to Paris, France where he started a successful international career under the pseudonym Matt Collins. He recorded for Philips Records and had an opportunity to meet legends such as Jerry Lee Lewis and Paul Anka.

Popular music in Yugoslavia

Mon, 01 Jan 0001 00:00:00 +0000

History#

Although sometimes considered as an Eastern Bloc country, the Socialist Federal Republic of Yugoslavia was a founding member of the Non-Aligned Movement and as such, it was far more open to western influences compared to the other socialist states. Yugoslavs enjoyed freedom of travel greater than that of other socialist states and had an easy access to Western popular culture. The western-influenced pop and rock music was socially accepted, the Yugoslav pop and rock music scene was well developed and covered in the media, which included numerous magazines, radio and TV shows. Numerous artists even played for president Josip Broz Tito himself, notably Bijelo Dugme, Zdravko Čolić and Rani Mraz. SFR Yugoslavia was the only communist country which was taking part in the Eurovision Song Contest. It joined in the 1961 contest even before some Western and NATO nations such as Portugal, Ireland, Greece and Turkey, which joined in 1964, 1965, 1974 and 1975 respectively.

Popular music of Manchester

Mon, 01 Jan 0001 00:00:00 +0000

Pop groups of the 1960s and early 1970s#

Manchester and its surrounding area had an impressive music scene before 1976, with groups in the 1960s including the Hollies, the Bee Gees, Herman’s Hermits, Wayne Fontana and the Mindbenders, and Freddie and the Dreamers. Barclay James Harvest formed in nearby Oldham in 1966 and 10cc in Stockport in the early 1970s. Top of the Pops was also recorded by the BBC at this time in the city. Manchester bands Freddie and the Dreamers, Wayne Fontana and the Mindbenders and Herman’s Hermits topped the American Billboard charts consecutively during mid-April – May 1965. In 1965, all three bands were numbers 1, 2 and 3 on the US Billboard top 100 for one week. Graham Nash of the Hollies moved to California to become part of the rapidly expanding music scene there. With the exception of Graham Gouldman of 10cc and Eric Stewart of the Mindbenders (who built Strawberry Studios in Stockport, the UK’s first world class recording studio outside London), and Keith Hopwood of Herman’s Hermits (whose Pluto Studios started in the same building as Strawberry, then spent 1977–1987 in the centre of Manchester), there was little reinvestment in Manchester from its local musicians who had been successful. Philomena Lynott (1930-2019), the Irish mother of Thin Lizzy frontman Phil Lynott, ran the Clifton Grange Hotel (on the corner of Wellington Road and Alness Road) in Whalley Range from 1966 to 1980. On visits to Manchester, Phil Lynott would stay with her there, and took inspiration from the colourful ‘showbiz’ clientele he met who frequented the hotel. The Thin Lizzy songs “Clifton Grange Hotel”, “Johnny The Fox Meets Jimmy The Weed” and “The Boys Are Back in Town” were inspired by characters and events in the hotel during the period.

Pornogrind

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

The genre is related and similar to goregrind but does bear distinguishing features. Besides the eponymous emphasis on graphic sexual themes in lyrics and album artwork, which “would keep these records out of most stores”, Natalie Purcell, however, in her book Death Metal Music: The Passion and Politics of a Subculture, suggests that pornogrind is defined solely on the basis of its lyrical content and unique imagery, its focus on pornographic content. Notable bands of the genre include Gut and Cock and Ball Torture.

Porro

Mon, 01 Jan 0001 00:00:00 +0000

Types#

The two types of folkloric porro are porro palitiao and porro tapao.

Porro palitiao#

The term “palitiao” is derived from the way the bombo drum is struck along its rim to produce the sound of a cowbell. This type of porro is associated with the Sinú River, and its surrounding cities and towns. Some would agree on San Pelayo, Colombia, Córdoba as its place of birth. This is the reason why it can also take the name of porro pelayero. In orchestrated variants, porro palitiao or pelayero is known as gaita. See La Sonora Cordobesa and Pacho Galán for exemplary orro palitiao and gaita music.

Posi music

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

Early posi music certainly had some roots in traditional folk music, in the genre labeled protest music. While much of protest music would not fit into the simple definition of posi music, a subjective opinion could easily include songs like “We Shall Overcome” by Pete Seeger or “If I Had a Hammer” performed by Peter Paul and Mary. Deeper roots were nourished by New Thought musicians and posi music finally emerged as a fully defined concept when pioneers of the genre, Karl Anthony, Shanti Norman, Charley Thweatt, and Leroy White created music that was not focused on theology, but instead on more inclusive themes. Unlike gospel and contemporary worship music, posi music’s lyrics are less specifically spiritual. By focusing on the human spirit and world community, posi music embraces musicians from any religion. As the genre has evolved, it has been adopted by artists following many different spiritual paths ranging from New Thought, Agapism, Judaism, Christian Science and Catholicism to Buddhism, Pantheism and Seicho-no-Ie. There are groups of posi music artists who are dedicating most, if not all, of their music specifically to uplifting or motivational topics. As favor for the genre has grown, entire record labels have been dedicated to publication of posi music. As always, a selection of mainstream pop music would also fit into the genre of posi music, touching on major themes such as friendship and gratitude. Examples would be the hit songs “You’ve Got A Friend” by James Taylor, “Bridge Over Troubled Water” by Simon and Garfunkel, and “Thank You For Being A Friend” by Andrew Gold. Of course, countless others would fit the bill; gratitude songs could once again go all the way back to Bob Hope’s “Thanks for the Memory,” right up to songs simply entitled “Thank You” by Dido or Natalie Merchant.

Positive hardcore

Mon, 01 Jan 0001 00:00:00 +0000

History#

Since the term was coined in the 1980s, it has been applied to a divergent group of musical styles and bands including 7 Seconds, Youth of Today, Good Clean Fun, and The Wonder Years. Early positive hardcore bands in the 1980s and 1990s sang about social issues such as the treatment of the LGBT community by the hardcore punk scene These were topics that the hardliners rejected. In the late 2000s through the 2010s there has been a renaissance in the genre. Instead of being a backlash against hardline, the renaissance comes from a backlash against the dominant metalcore bands in the scene during the 2010s.

Posse cut

Mon, 01 Jan 0001 00:00:00 +0000

History#

Many classic early hip hop tracks, such as Afrika Bambaataa & the Soul Sonic Force’s “Zulu Nation Throwdown”, took the form of a posse cut. The posse cut became established in the eighties as a way for rappers to give exposure to their friends, or their posse. However, towards the end of the eighties and the start of the nineties, the posse cut began to be used as an “All-Stars” device to bring together rappers who had respect for each other’s skills on the microphone, or a way to unite various well-known and respected artists to deliver an important message.

Post-bop

Mon, 01 Jan 0001 00:00:00 +0000

Definitions and uses#

The term post-bop has a variety of usages which vary widely. Some writers have defined post-bop with specificity, but these sources conflict with one another. Others have written that post-bop is not a musical period but a specific body of music that emerged in the late 1950s and 1960s that combined principles of bebop, hard bop, modal jazz, avant-garde and free jazz, but also departed from earlier traditions in jazz. Still other writers have defined post-bop as a genre of small-combo jazz that evolved in the early to mid 1960s in the United States that was pioneered by Miles Davis (the central figure in the development of this genre), in conjunction with Charles Mingus, Wayne Shorter, Herbie Hancock, John Coltrane and Jackie McLean, which crafted syntheses of hard bop with contemporaneous developments in avant-garde jazz, modal jazz and free jazz that resulted in music with a complex and experimental flavor though still rooted in bop tradition, featuring less of the blues and soul leanings predominant in hard bop. The movement had a significant impact on subsequent generations of both acoustic jazz and fusion musicians. According to musicologist Jeremy Yudkin, post-bop does not follow “the conventions of bop or the apparently formless freedom of the new jazz”. He wrote in his definition of the subgenre: According to scholar Keith Waters, some of the traits found in post-bop recordings are: a slower harmonic rhythm characteristic of modal jazz, techniques for playing “inside” and “outside” the underlying harmonic structure, an interactive (or conversational) approach to rhythm section accompaniment, unusual harmonic progressions, use of harmonic or metric superimposition, unusual underlying formal designs for head statements and chorus structure improvisation, or the abandonment entirely of underlying chorus structure beneath improvisation. Miles Davis was particularly influential in the development of small-combo jazz post-bop in the 1960s. His second quintet was active during 1964 to 1968 and featured pianist Herbie Hancock, bassist Ron Carter, saxophonist Wayne Shorter, and drummer Tony Williams. They recorded six studio albums that, according to All About Jazz’s C. Michael Bailey, introduced post-bop: E.S.P. (1965), Miles Smiles (1967), Sorcerer (1967), Nefertiti (1968), Miles in the Sky (1968), and Filles de Kilimanjaro (1968).

Post-Britpop

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Many bands in the post-Britpop era avoided the Britpop label while still producing music derived from it. The music of most bands was guitar-based, particularly the Beatles, the Rolling Stones and the Small Faces, with American influences. Bands from the era utilized specific elements from 1970s British rock and pop music. This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success. They have been seen as presenting the image of the rock star as an ordinary person, or “boy-next-door” and their increasingly melodic music was criticised for being bland or derivative.

Post-disco

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Drum machines, synthesizers, sequencers were either partly or entirely dominant in a composition or mixed up with various acoustic instruments, depending on the artist and on the year. Electronic instruments became more and more prevalent for each year during the period and dominated the genre completely by the mid 1980s. Darryl Payne argued about the minimal approach of post-disco, saying: The main forces in post-disco were the 12" single format and short-lived collaborations (many of them one-hit wonders) while indie record producers were instrumental in the musical direction of what the scene was headed to. The music that mostly catered to dance and urban audiences later managed to influence more popular and mainstream acts like Madonna, New Order or Pet Shop Boys.

Post-dubstep

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

The tempo of music typically characterised as post-dubstep is approximately 130 beats per minute. The drum patterns in post-dubstep take a more minimalistic and experimental approach, featuring eclectic, broken drum patterns derived from but not fitting dubstep, focusing on adding atmosphere and texture rather than driving energy.

History#

The production duo Mount Kimbie is often associated with the origination of the term post-dubstep, and James Blake as its “poster boy”. with the scene being largely absorbed later in the 2010s by genres such as UK bass, alternative R&B, and other developments in dubstep.

Post-grunge

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

During the 1990s, a post-grunge sound emerged that emulated the attitudes and music of grunge, particularly its thick, distorted guitars, but with a less intense and less abrasive tone. and incorporated influences from other genres such as classic rock, alternative metal, On some occasions, music features both an electric guitar and an acoustic guitar playing simultaneously. Hence, Graham Hartmann of Metal Injection noted that the genre’s second wave “had a vice grip on rock radio from the mid-to-late 2000s—arguably the last time a wave of rock experienced mainstream popularity.” A “major rift” between grunge and is in the lyrical substance of the music; grunge often expressed emotion through loose metaphors or third-person narratives, while post-grunge was known for being direct and blunt. While describing lyrics that are common in , Sasha Geffen of Consequence of Sound wrote that “plunged directly into the Geffen also wrote that most post-grunge songs that achieved mainstream success “call after a prospective or past companion in the first person”. Post-grunge lyrics also tend to be about topics such as relationships, romance and drug addiction. According to Geffen, “grunge’s frontmen posed with their addictions; songwriters sought redemption for them”. Geffen then states that post-grunge songs “fit the mold of songs made for… teenage boys and girls” who were “longing for a distant someone”.

Post-hardcore

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Hardcore punk typically features very fast tempos, loud volume, and heavy bass levels, as well as a “do-it-yourself” ethic. Post-hardcore generally incorporates more complex chord shapes and progressions. According to SiriusXM, “tempos could be slow, or as fast as metal, and singing was allowed to be inventive.” British post-punk of the late 1970s and early 1980s has been seen as influential on the musical development of post-hardcore bands.

Origins (1980s)#

Groups such as Minutemen, Naked Raygun, and The Effigies, Los Angeles’ Saccharine Trust mixed Minutemen’s sound with that of post-punk acts The Fall and Gang of Four on early releases like their EP Paganicons, helping to further the burgeoning genre. During the early- to mid-1980s, the desire to experiment with hardcore’s basic template expanded to many musicians that had been associated with the genre or had strong roots in it. David Grubbs-related bands Bastro and Bitch Magnet, and Steve Albini’s Big Black, Rapeman, are also associated with post-hardcore. made themselves known for their strict DIY ethic, After the issuing of the “Il Duce” single and between the release of their only two full-length studio albums, Big Black left Homestead for Touch and Go Records, that, according to Stephen Thomas Erlewine, “laid the groundwork for much of the distorted, grinding alternative punk rockers of the ’90s”. In 1984, Minneapolis punk band Hüsker Dü released their second studio album, Zen Arcade, considered a key post-hardcore record. and Rolling Stone. Outside the United States, post-hardcore would take shape in the works of the Canadian group Nomeansno, related with Jello Biafra and his independently run label Alternative Tentacles, and that had been active since 1979. The magazine Dusted noted that the group’s 1989’s release Wrong was “one of the most aggressive and powerful opuses in post-hardcore ever made”.

Post-Internet (music)

Mon, 01 Jan 0001 00:00:00 +0000

Etymology#

The term “post-Internet” was originally coined by artist Marisa Olson in 2006 to describe contemporary art that focused on the Internet’s ubiquity in the 21st century. In 2015, writing for Vice magazine, Robert Barry aimed to define post-Internet music in an article entitled “So What Is Post-Internet Music, Anyway?”. He stated that at the time the idea of “post-Internet music” was scarce and usually applied to the work of Holly Herndon and London’s PC Music record label and art collective founded by musician A. G. Cook. According to Barry, Max Pearl and Michelle Lhooq, writing in THUMP, argued PC Music was “post-internet art” and there was a connection between their sound and the post-Internet video work of Ryan Trecartin. However, Barry ultimately credits Irish composer Jennifer Walshe with introducing the idea of “post-Internet music” on Facebook in the spring of 2015. In 2016, High Brow Magazine wrote an article on popular music in the post-Internet era, writer Sandra Canosa described “post-Internet” as not implying being beyond the Internet but denoting that it is no longer a novelty and has become part of everyday life. Writer Peter Defraene stated for HumanHuman, “The movement then takes this self-awareness as its new subject. The result is a metastate of looking.” In 2018, music and culture critic Adam Harper wrote an article entitled “Charting the evolution of post-internet music” for Red Bull Music Academy. He stated that post-Internet music concerned art that “addressed the effects of digital technology on modern ways of seeing and living”. Additionally, Harper remarked that post-Internet art was usually “art that was based in relatively traditional gallery and art-school settings rather than an online culture itself, even if often drew from online culture.” He cites that a quantity of “post-internet music” has been released under similar circumstances, including on outmoded media such as vinyl or cassette, with Gatekeeper’s Young Chronos appearing as an exception due to the album being released on The Pirate Bay and a USB flash drive. Harper argued that “the whole notion of a musical expression that portrays a particular (past or present) cultural milieu with a degree of artistic distance – especially ironic distance – has been criticised as ‘conceptual.’ Conceptual music, it’s argued or implied, is music about ideas or postures rather than emotions; its makers are veiled pretenders rather than authentic, expressive artists. Much of the criticism of what some would call post-internet music (‘accelerationist’ music is another term) has taken this angle.”

Post-metal

Mon, 01 Jan 0001 00:00:00 +0000

Predecessors#

The groundwork for post-metal was laid in the 1980s and early 1990s by various artists (mostly in the US) combining heavy metal and punk rock sounds with an “avant-garde sensibility”, such as the Melvins (particularly on 1991’s Bullhead), The Flying Luttenbachers, Justin Broadrick of Napalm Death and Godflesh, Many of these artists emerged from hardcore punk and post-punk circles but their combination of sonic violence with experimentation and eclecticism made them difficult to categorize under any one genre.

Post-no wave

Mon, 01 Jan 0001 00:00:00 +0000

History#

Shortly after the recording of No New York in 1978, no wave, as an avant-garde movement and music scene, started disintegrating. The Gynecologists disbanded in 1978, Mars followed between 1978/1979, Teenage Jesus and the Jerks in 1979, Theoretical Girls in 1981, James Chance and the Contortions in 1981 and DNA in 1982. Several key artists then focused on non-musical projects or delved into more accessible rock genres. Lydia Lunch went on a solo career as a post-punk act, Rhys Chatham and Glenn Branca developed totalism in electric guitar ensembles, Arto Lindsay embarked on free improvisation and avant-garde jazz collaborations; others, such as Ut, The Lounge Lizards and Mofungo, continued playing until the 1990s, but far removed from their no wave roots. During this period, posthumous studio recordings and VV.AA. compilations from the scene were published for the first time, contributing to its underground popularity. While new generations of musicians outside the scene and from all around the world had been influenced by no-wave music, played with former scenesters —for instance, members from Sonic Youth and Swans played in Chatham’s and Branca’s ensembles— or claimed to be its successors. Thus, no longer a scene or a movement, a post-no wave came into existence. Although other expressions have been used to describe this kind of music (second wave of no wave

Post-noise

Mon, 01 Jan 0001 00:00:00 +0000

Etymology and characteristics#

In August 2009, writer David Keenan coined the term “hypnagogic pop” in the article Childhood’s End in issue 306 of the British music magazine The Wire. Keenan also noted the commonalities between hypnagogic pop and noise music, stating that “Like Noise before it, Hypnagogic pop fetishises the outmoded media of its infancy, releasing albums on cassette, celebrating the video era and obsessing over the reality-scrambling potential of photocopied art.” In 2009, musician Daniel Lopatin described post-noise as a move away from “macho” noise music. Hypnagogic pop has been cited as growing out of post-noise music. On September 28, 2009, writer Emilie Friedlander would post an article on hypnagogic pop stating, “I commend Keenan a hundred times over for putting into words something that was on the tip of many a critical tongue over the past year but that no one had the guts articulate as something so sweeping as a cultural movement: the rise of a lo-fi post-noise psychedelia that moves past noise’s rejection of consonance and sort of unconscious adherence to the 20th century high modernist ideal of autonomous art (art that engages in discourse with contemporary culture precisely by refusing such a discourse, though noise typically refuses a discourse with academic constructs of this kind as well)”. In Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (2013), author Eldritch Priest describes “lo-fi post-noise psychedelia” as “often drone-heavy and noise-inclined, this music is characterized by a logic of deformation that aims to disfigure without obliterating samples, timbres, and impressions noticeably culled from a musical past that never was.” Priest refers to what writer David Keenan labelled “wasteland 1980s cultural signifiers” to describe how “Indulgence in these warped signifiers is what gives the music its spectral identity.” Additionally, Priest stated that the style blends “outmoded media’s high noise to signal ratio with an affected anti-virtuosity”, and elaborated “Rather than sampling 1980s pop culture with contemporary technology, one can hear composers recycling the tropes of experimental art music from the 1950s and 1970s, tropes that Michael Nyman compiled and categorized as ‘indeterminacy,’ ‘process,’ ’ephemerality,’ and the ’non-identity’ of a work. But we can also hear the debt to conceptual art and free jazz that helped evolve experimental music in the 1970s into sound art, something that Hauntology and Hypnagogic Pop don’t exhibit owing to the rock and dance background of their practitioners.” In Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music (2016), author Stephen Graham defines post-noise as a wide subgenre of noise music which breaks apart noise music’s orthodoxies, “inserting newer influences and references from popular culture alongside dyschronic affects … and subliminal modalities.” It can even add “some commercial appeal.” alongside German progressive electronic and kosmische musik artists such as Tangerine Dream, Klaus Schulze, Vangelis and Edgar Froese. In 2010, The Guardian published an article by music critic Simon Reynolds where he stated “post-noise microscenes like glo-fi” were maintaining “the tape trade tradition, releasing music in small-run editions as low as 30 copies and wrapping them in surreal photocopy-collage artwork”.

Post-progressive

Mon, 01 Jan 0001 00:00:00 +0000

Definition#

“Post-progressive” is rock music which distinguishes itself from the persistent style of 1970s prog, seeking a return to the genre’s original principles. The “post” is meant to acknowledge the development of other forms of avant-garde and popular music since the mid 1970s; it does not reference “postmodernism”. Purveyors explicitly embrace new computer technologies and sounds. Some post-progressive bands still draw upon selective aspects of vintage prog, even as they actively seek to distance themselves from the style. Particular influences on latter-20th century post-progressive artists include Jimi Hendrix, Frank Zappa, the Beatles, and King Crimson. In the opinion of King Crimson’s Robert Fripp, progressive music was an attitude, not a style. He believed that genuinely “progressive” music pushes stylistic and conceptual boundaries outwards through the appropriation of procedures from classical music or jazz, and that once “progressive rock” ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre’s premise had ceased to be “progressive”. According to Paul Hegarty and Martin Halliwell, post-progressive did not directly derive from psychedelia, folk, and jazz as prog rock did, instead citing “explicit reference points of post-progressive music” lying within ambient, folk rock, forms of jazz, krautrock, the minimalism of New York art rock, and electronic music. Academic Kevin Holm-Hudson argues that “progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics … one may wonder where progressive rock ’ends’ and becomes psychedelia, free jazz, experimental art music, or heavy metal.” He categorizes post-progressive as a subgenre of progressive rock, whereas post-rock is a subgenre of alternative rock. Nosound’s Giancarlo Erra believes that “post-prog”—deployed by the label Kscope—denotes a mixture of progressive rock and post-rock. Hegarty and Halliwell note: “Post-progressive identifies progressive rock that stems from sources other than progressive rock. This does not spread the net to include all avant-rock from the 1980s and 1990s … post-progressive rock feeds a more explicit return to prog: in other words, a return that is not one. This trend is best exemplified by two British avant-rock acts of the 1980s and early 1990s: David Sylvian and Talk Talk.”

Post-punk

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

Post-punk refers to an era and diverse music genre that emerged from the cultural milieu of punk rock in the late 1970s. In 1976, New York poetry magazine Contact published the earliest known use of the term “post-punk” in an interview with painter and poet Jack Micheline, the interviewer asked Micheline, “What are your thoughts moving in a post-punk beat period?”. On 26 November 1977, Sounds magazine published an issue entitled “New Musick”, with editorials by English journalists Jane Suck and Jon Savage. Savage wrote a piece on an emerging scene and style of music known as “new musick”, suggesting that punk rock was becoming stagnant and evolving into new, more experimental forms, which he noted as “post punk projections”. He mentioned Pere Ubu, while describing Throbbing Gristle and Devo as promoting “spontaneous physical reaction”. He described the style as exhibiting “more overt reggae/dub influence”, sounding “the same/manufactured in a factory,” and characterized Subway Sect, the Prefects, Siouxsie and the Banshees, the Slits, and Wire as exploring “harsh urban scrapings/controlled white noise/massively accented drumming”. Music historian Clinton Heylin stated, “it would be a while before New Musick metamorphosed into post-punk, these cub reporters were already hoping to chart punk’s future course.” According to Mimi Haddon, writers such as Simon Reynolds and Theo Cateforis have cited Savage’s editorial as “the starting point for the emergence of the post-punk genre.” Writer David Wilkinson states, “there was a sense of renewed excitement about what would be dubbed ‘post-punk’”. According to writer Ian Gittins, some journalists opted for the term “art punk” to describe artists who “delivered garage rock’s adrenalin rush with a moderate degree of intelligence”, though it was sometimes used by critics as a pejorative. Heylin cites that in March 1979, Simon Frith proposed the term “Afterpunk” in an issue of Melody Maker, which stated “1979 is the year of Afterpunk”, though Heylin defined the term as a “non-starter”, further stating, “he Frith did recognize that punk was changing, nay evolving; and, like Paul Morley, he predicted that the battle would be between the chart-conscious and the art-conscious, or as he designated them, the populists and the progressives”. At the time, “post-punk” was used interchangeably with “new musick” and “new wave”, though the terms became differentiated as their styles perceptibly narrowed.

Post-punk revival

Mon, 01 Jan 0001 00:00:00 +0000

Definitions and characteristics#

The term post-punk was coined to describe groups who took punk and experimented with more challenging musical structures and lyrical themes, and a self-consciously art-based image, while retaining punk’s initial iconoclastic stance. In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream. They were variously characterized as part of a garage rock, new wave or post-punk revival. Inspired by the original sounds and aesthetics of garage rock of the 1960s and new wave and post-punk of the late 1970s and early 1980s, They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans, often drawing on fashion of the 1950s and 1960s, There was an emphasis on “rock authenticity” that was seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop Because the bands came from countries around the world, cited diverse influences and adopted differing styles of dress, their unity as a genre has been disputed. For garage rock historian Eric James Abbey, these were diverse bands that appropriated (or were given) the label “garage” to gain a degree of credibility. Additionally, cultural theorist Mark Fisher opined that Franz Ferdinand were taking influences from the ’80s Scottish post-punk scene by comparing their sound to bands like Josef K. Subsequently, Franz Ferdinand would go on to cover the song “Get Up and Use Me” by Scottish post-punk band the Fire Engines. Others identified this movement as another wave of garage rock revivalism, with NME in 2003 designating it a “new garage rock revolution”, or simply a “new rock revolution”. According to music critic Jim DeRogatis, the Strokes, the White Stripes and the Hives all had a sound “to some extent rooted in Nuggets-era garage rock”.

Post-rock

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Post-rock emphasizes the exploration and use of textures, timbres, and non-rock influences. Rather than relying on traditional song structures or riffs, it—as a musical aesthetic—focuses on atmosphere and mood to create a musically evocative experience. Post-rock incorporates stylings and traits from a variety of musical genres and scenes, including indie rock and its forms like slowcore and math rock, as well as krautrock, ambient music, psychedelia, progressive rock, space rock, tape music, minimalist classical, British IDM, jazz (including avant-garde jazz and cool jazz), dub, Often, first wave post-rock groups exhibited influence from the krautrock of the 1970s, particularly the motorik, the characteristic krautrock rhythm, and its one- or two-chord melodicism. These influences were also pivotal for the substyle of ambient pop, where the framework of post-rock was applied to indie pop. Post-rock acts frequently blend traditional rock instrumentation and stylistic elements with electronic and digital production, using this combination to explore a wider range of textures, timbres, and musical styles. The genre originated in the indie and underground music scenes of the 1980s and 1990s in Europe and North America, but it became increasingly distinct from the conventions of indie rock of that era, while simultaneously influencing indie rock.

Postminimalism

Mon, 01 Jan 0001 00:00:00 +0000

Visual art#

Postminimalist visual art uses minimalism either as a conceptual art aesthetic or a generative art practice. Like Fluxus, postminimalism is more of an artistic tendency than a particular style, but in general, postminimalist artworks often use everyday objects, simple materials, and sometimes take on a pure formalist aesthetic or post-conceptual approaches. However, since postminimalism includes such a diverse and disparate group of artists, it is impossible to enumerate all the continuities and similarities between them. But as two opposing examples, take the work of Eva Hesse and her use of modern art grids and minimalist seriality that were usually hand-made, introducing a human element into minimalism in contrast to the machine fabrication more typical of the minimalism of someone like Carl Andre. American sculptor Christopher Wilmarth falls within the post-Minimalist movement alongside Eva Hesse and Bruce Nauman. Wilmarth’s work eschewed the perfect machine-made aesthetic of the minimalists, yet also resisted the process-oriented excess of much 1970s postminimalist sculpture. Richard Serra was another prominent postminimalist though his large metal sculptures are completely machine made.

Postmodern music

Mon, 01 Jan 0001 00:00:00 +0000

The postmodernist musical attitude#

Postmodernism in music is not a distinct musical style, but rather refers to music of the postmodern era. Postmodernist music, on the other hand, shares characteristics with postmodernist art—that is, art that comes after and reacts against modernism (see Modernism in Music). Rebecca Day, Lecturer in Music Analysis, writes “within music criticism, postmodernism is seen to represent a conscious move away from the perceptibly damaging hegemony of binaries such as aestheticism/formalism, subject/object, unity/disunity, part/whole, that were seen to dominate former aesthetic discourse, and that when left unchallenged (as postmodernists claim of modernist discourse) are thought to de-humanise music analysis”. Fredric Jameson, a major figure in the thinking on postmodernism and culture, calls postmodernism “the cultural dominant of the logic of late capitalism”, meaning that, through globalization, postmodern culture is tied inextricably with capitalism (Mark Fisher, writing 20 years later, goes further, essentially calling it the sole cultural possibility). Drawing from Jameson and other theorists, David Beard and Kenneth Gloag argue that, in music, postmodernism is not just an attitude but also an inevitability in the current cultural climate of fragmentation. As early as 1938, Theodor Adorno had already identified a trend toward the dissolution of “a culturally dominant set of values”, citing the commodification of all genres as beginning of the end of genre or value distinctions in music. In some respects, Postmodern music could be categorized as simply the music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism, but with Jameson in mind, it is clear these definitions are inadequate. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of modernism, but in fact postmodern music is more to do with functionality and the effect of globalization than it is with a specific reaction, movement, or attitude. In the face of capitalism, Jameson says, “It is safest to grasp the concept of the postmodern as an attempt to think the present historically in an age that has forgotten how to think historically in the first place”.

Powada

Mon, 01 Jan 0001 00:00:00 +0000

Powada during Maratha Empire#

The composer-cum-singers of the powadas are known as Shahirs. The professional Powada singers formed a guild or caste called the Gondhalis. The earliest notable powada was The Killing of Afzal Khan (अफझल खानाचा वध) by Agnidas, which recorded Shivaji’s encounter with Afzal Khan. The next notable powada was Tanaji Malusare (तानाजी मालुसरे ) by Tulsidas, which gave an account of the capture of Sinhagad Fort by Tanaji. Another notable contemporary powada was Baji Pasalkar (बाजी पासलकर ) by Yamaji Bhaskar. They are also mentioned in the 13th century Marathi scripture Dnyaneshwari. During the Maratha Confederacy rule, several celebrated Shahir poet-singers, which include Ram Joshi (1762–1812), Anant Phandi (1744–1819), Honaji Bala (1754–1844) and Prabhakar (1769–1843) also composed powadas.

Power electronics (music genre)

Mon, 01 Jan 0001 00:00:00 +0000

Etymology and characteristics#

The name of the genre was coined by William Bennett of Whitehouse as part of the sleeve notes to their 1982 album Psychopathia Sexualis. Tellus Audio Cassette Magazine produced a compilation compact cassette tape called Power Electronics in 1986 that was curated by Joseph Nechvatal. Power electronics is generally atonal and, like most noise music, features a lack of conventional melody or rhythm. To match its sonic excess, it often includes thematic and visual content that might be considered extreme, whether in lyrics, artwork, or live performance. The genre sometimes involves screamed, distorted vocals, alongside the use of analogue synthesizers, and static screeches of feedback. It has been known to invite visceral reactions from both listeners and critics. Power electronics is related to the early Industrial Records scene, but later releases had more in common with noise music.

Power metal

Mon, 01 Jan 0001 00:00:00 +0000

Stylistic origins#

Anthropologist Sam Dunn traced the origins of power metal back to the late 1970s, when the groundwork for power metal lyrical style was laid down by Ronnie James Dio. The fantasy-oriented lyrics he wrote for Rainbow, concentrated around medieval, renaissance, folk, and science fiction themes, directly influenced modern power metal bands. According to Dunn, the songs “Stargazer” and “A Light in the Black” from the 1976 album Rising, as well as “Kill the King” and “Lady of the Lake” from the 1978 album Long Live Rock ’n’ Roll, might be among the earliest examples of power metal. In his 2011 documentary series Metal Evolution, Dunn further explained how Rob Halford of Judas Priest created a blueprint for power metal vocal delivery. His almost constant high-pitched singing became one of the main characteristics of power metal. The twin-guitar sound promoted by Judas Priest’s duo of K. K. Downing and Glenn Tipton also highly influenced this subgenre. Another British band, Iron Maiden, brought epic and melodic sensibility to metal, creating anthemic, singalong music, an approach widely embraced by modern power metal musicians. Referred to as the “main prototype” of the power metal genre, Iron Maiden was heavily influenced by Heaven and Hell and Mob Rules (the first two albums of Black Sabbath’s Dio-era), which would also go on to influence modern power metal. The emergence of the early German power metal scene in particular was made possible by Scorpions and Accept. Swedish guitarist Yngwie Malmsteen made a significant impact on many future power metal guitarists, with his accurate and fast neo-classical style. His bandmate Jens Johansson modernized the keyboard sound of Deep Purple’s Jon Lord, which was further incorporated into the genre. Manowar’s mythological sword and sorcery lyrics influenced a number of power metal bands. Throughout the early 1980s (especially during 1982 and 1983), the US power metal style first emerged from traditional heavy metal, the new wave of British heavy metal (NWOBHM), and thrash/speed metal backgrounds. Although the genre’s precise stylistic origins are often contested, acts such as Cirith Ungol, Jag Panzer, Manilla Road, Omen, Riot, Savatage, Metal Church and Warlord are generally believed to have influenced the earliest development of the style. More concretely, in 1987 German band Helloween released their second album, Keeper of the Seven Keys: Part I, cited by AllMusic as “a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands”. This release influenced a European power metal style to evolve, which proliferated throughout the globe and since the start of the 1990s is still the most commonly heard style of power metal.

Power noise

Mon, 01 Jan 0001 00:00:00 +0000

1990s#

Power noise takes inspiration from Spanish industrial act Esplendor Geométrico, active since 1980, and other artists such as Le Syndicat, active since 1982. The Belgian group Dive also anticipated the style in the early ’90s along with a number of releases on the harder or harsher end of the techno spectrum such as several early vinyl EP releases by Aphex Twin. The term “power noise” was coined by Raoul Roucka of Noisex in 1997, with the track “United (Power Noise Movement)”. The genre was exposed to the U.S. industrial scene by the electro-industrial act Wumpscut, who signed Noisex to the label Mental Ulcer Forges. The first power noise artists were mostly German. In addition to Noisex, these included Asche, Morgenstern, P·A·L, Synapscape, and Feindflug. The Belgians Axiome, Hypnoskull, Imminent, Ah Cama-Sotz, Sonar, and This Morn’ Omina, also developed the genre. Black Lung, an Australian, and Orphx, Canadians, were also active in the style at this time. Japanoise musicians, such as Merzbow, Aube, and Contagious Orgasm, have also made use of prominent rhythms.

Power pop

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Power pop is an energetic variant of pop rock based on melodic hooks, encapsulated as “catchy tunes with an attitude”. AllMusic describes the style as “a cross between the crunching hard rock of the Who and the sweet melodicism of the Beatles and the Beach Boys, with the ringing guitars of the Byrds thrown in for good measure”. Virtually every artist of the genre has been a rock band consisting of white male musicians who engaged with the song forms, vocal arrangements, chord progressions, rhythm patterns, instrumentation, or overall sound associated with groups of the mid-1960s British Invasion era. An essential feature of power pop is that its cheerful sounding arrangements are supported by a sense of “yearning”, “longing”, or “despair” similar to formative works such as “Wouldn’t It Be Nice” (the Beach Boys, 1966) and “Pictures of Lily” (the Who, 1967). This might be achieved with an unexpected harmonic change or lyrics that refer to “tonight”, “tomorrow night”, “Saturday night”, and so on. Power pop was also noted for its lack of irony and its reverence to classic pop craft.

Powerviolence

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

While powerviolence is closely related to thrashcore (often referred to simply as “thrash”), it is markedly different from thrash metal in both sound and approach. Powerviolence groups tend to be very raw and under-produced. This is true of both their sound and packaging. Some groups (e.g. Man Is the Bastard and Dystopia) took influence from anarcho-punk and crust punk, emphasizing animal rights and anti-militarism. Groups such as Despise You and Lack of Interest wrote lyrics about misanthropy, drugs, and inner-city issues. Groups such as Spazz and Charles Bronson, on the other hand, wrote lyrics mocking points of interest for hardcore and metal fans. Their lyrics often consisted of inside jokes that referenced specific people, many of whom were unfamiliar to those outside the band. Other groups associated with powerviolence included The Locust, Dropdead, Black Army Jacket, Hellnation, Powercup, Sordo, Chulo and Rorschach. The doom metal group Burning Witch (who released music on the Slap-A-Ham label) often played shows with powerviolence groups.