Exodus (If Metallica are great, Exodus are godly)

Copy the this link for album download of Exodus:
http://www.4shared.com/file/107598151/95e2ff14/Exodus-Bonded_by_Blood__1985_.html
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Exodus is a thrash metal band formed in 1980. Kirk Hammett was an original member and appeared on the band's demo, but never recorded a studio album with Exodus before leaving to join Metallica. The one constant over the years is guitarist Gary Holt, who has been the backbone of the band since 1981. Through multiple lineup changes he has been the constant.
After recording a demo in 1982, Exodus recorded their debut album Bonded In Blood, which was released in 1985. It remains one of the most influential thrash metal albums ever, and was named the Best Heavy Metal Album Of 1985 by this site. The band's lineup for that album included vocalist Paul Baloff, guitarists Holt and Rick Hunolt, bassist Rob McKillop and drummer Tom Hunting.
New Vocalist:

Baloff left Exodus in 1986 and was replaced by Steve "Zetro" Souza. The band released Pleasures Of The Flesh in 1987, followed by Fabulous Disaster (1989), Impact Is Imminent (1990), Good Friendly Violent Fun (live, 1991) and Force Of Habit (1992). The band then called it quits for a few years. They reunited with vocalist Paul Baloff in 1997 for the live album Another Lesson In Violence before splitting again.
Reunion And Tragedy:

In 2001 Exodus reunited for the Thrash Of The Titans benefit show for Testament's Chuck Billy. It was supposed to be a one night reunion, but everything clicked and the band began writing music together again. Tragically, Paul Baloff died of a stroke in 2002. After searching for a new vocalist, Steve "Zetro" Sousa rejoined Exodus for 2004's Tempo Of The Damned.
A New Vocalist for A New Era

Souza left the band after that album and was eventually replaced by Rob Dukes after a couple of other vocalists were briefly with the band. Longtime guitarist Rick Hunolt also left the band and was replaced by Lee Altus. Drummer Tom Hunting also quit, and Paul Bostaph (Slayer) took his place. That lineup released the very well received Shovel Headed Kill Machine in 2005.
Still Thrashing:

In 2007, drummer Tom Hunting rejoined Exodus. The band released the first of a 2 part album in 2007. The Atrocity Exhibition - Exhibit A will be followed by The Atrocity Exhibition - Exhibit B in 2008.

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Sano Prakash By Atomic Bush
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ASANTUSTA ATHMA by CRUENTUS

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Whitechapel

From left to right: Ben Savage - Guitar, Alex Wade - Guitar, Gabe Crisp - Bass, Phil Bozeman - Vocals, Kevin Lane - Drums, Zach Householder - GuitarFormed in February 2006 by Phil Bozeman, Brandon Cagle, and Ben Savage, Knoxville, Tennessee’s Whitechapel seamlessly meld death metal, grind, and hardcore to create a blistering brand of modern death metal that leaves fans no other choice but to throw themselves into an uncontrollable frenzy on the dance floor.

In early 2006, the band finished a six song demo, which was made available exclusively on their MySpace page. By November of 2006, Whitechapel gained the attention of Siege of Amida Records for a record deal in Europe with US distribution through Candlelight Records. November also brought on new drummer, Kevin Lane, who brought an entirely new level of professionalism and technicality to the band. An accident in May of 2007 forced Brandon Cagle to depart, but was quickly replaced by Zach Householder and the lineup has held strong ever since.

Whitechapel’s musical chops shine through on their debut album, The Somatic Defilement (released via Candlelight and S.O.A.R.). The record systematically crushed those who opened their ears to it and propelled Whitechapel onto the worldwide metal scene, and has kept the band on the road ever since. They’ve shared the stage with Darkest Hour, The Red Chord, Cephalic Carnage, The Devil Wears Prada, crushed the audience at 2007’s Saints and Sinners Festival in New Jersey and will be heading out on the road in June with the Summer Slaughter Tour featuring The Black Dahlia Murder, Cryptopsy, Dying Fetus, and more!

Whitechapel stands out in today’s overcrowded metal scene due in part to their ability to fuse memorable and even groovy riffs with crushing breakdowns, tremolo picking at neck breaking speeds, and incredibly evil and dissonant sounds. Their songs demand repeated listens and gang vocals at shows are common place. Metal Maniacs even took note of the band’s unique approach to metal guitars and their incredible work ethic: “A noted characteristic is Whitechapel’s three guitar assault; without a doubt an impressive apocalyptic sound. Propelled by the band’s DIY ethics, Whitechapel is a driving force that will continue to grow through hard work and determination.”

This is a band that is true to their music and honest in their delivery. They refuse to be ignored and will continue to bring their crushing metal to show after show until metal heads worldwide have experienced the manic intensity that is Whitechapel! Expect the bands Metal Blade Records debut This is Exile in July 2008. Catch Whitechapel’s blistering and highly energetic live show on the Summer Slaughter Tour alongside metal heavy weights The Black Dahlia Murder, as well as Vader, Kataklysm, Cryptopsy, Despised Icon, Aborted, and Psycroptic just to name a few.

Legion of the damned (download also aviliable)

Legion of the damned unleashed their first thrashing metal storm on the 6th of January 2006. "Malevolent rapture" was an uncompromising slab of killer death/thrash reminiscent of the masters of the eighties packed in a modern killer sound by Andy Classen and received many killer reviews in the press. The band showed to be able to combine furious thrash mayhem with midpaced neckbreaking rhythms, translocating the realm of the eighties into the new millenium.

Since "Malevolent rapture" the band has been destroying the stage on the No Mercy Festivals together with Cannibal Corpse and Kataklysm, and playing festivals such as Rockhard Festival, Summerbreeze, Up from the ground and Wacken open air, as well as a minitour in September 2006 with veterans Destruction in the Netherlands. During the No Mercy Festivals Harold Gielen joined the band on bass, increasing the ferocious power of this well-oiled warmachine on stage. Between the gigs the band was busy writing new songs for the next album.

In December/January of 2006/2007 Legion of the damned joined forces with Sodom and Finntroll playing shows in Holland, Germany, Belgium and Switzerland showing the audience what they can expect in the future...

Legion of the damned returned with "Sons of the jackal" in January 2007, featuring 10 songs that surpass the previous material, more dark, more violent and more diverse but still delivering the razorsharp riffing with utmost precisions, tight as hell drumming by Erik Fleuren and hateful vocals by Maurice Swinkels which sound even more menacing and vicious than before. The production by Andy Classen at Stage one studio outdoes the job on the previous album. That Legion of the damned know the tools of the trade is displayed in the violent hammering of "Sons of the jackal", the devilish anthem "Diabolist", the primitive stomping of "Death is my master", the sinister midpaced power of "Infernal wrath" or the fast kreator style butchery in "Avenging archangel". The album "Sons of the jackal" even made it to the official german album charts on place number 54.

After a succesful tour with Kreator and Celtic Frost, and so, intentensivly playing shows all across europe in 2007, in 2008 Legion of the damned released "Feel the blade", a rerelease album from their previous band Occult's "Elegy for the weak", the album got superb reviews in all major magazines across Europe and not even entered the official album charts again in Germany, but also in Finland, Norway and Austria. "Feel the blade" got officially released in South America by NuclearBlast, Finland by Stay Heavy Records, North America by Season of mist , Norway by Indie and in Japan by Spiritual beast Records.

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Here I have posted some links where you can download

Song Title : Home(Acoustic)

Artist : Daughtry

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Mindless self indlugence songs download use the following links copy those links to your explorers


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Raise against the machine

RATM one of the unforgettable band in the history of music. RATM can be called as the single history of revolutionary Music. The mind and heart of music will always be bowing there heads infront of Raise Against The Machine's music and words.

Rage Against The Machine

[1991]

First public performance, somebody's living room, Orange County, California.

[1992]

Self-produced 12-song cassette released. Includes "Bullet In The Head"this original version is later included on Epic debut album. Through fan club and at live shows, this tape sells over 5,000 copies.

07/13/1992

Rage support Porno For Pyros on the latter's debut performance, Los Angeles, CA.

09/11/1992

First of two shows on the second stage of Lollapalooza II, Irvine Meadows, Los Angeles, California.

10/01/1992

First European tour begins, supporting Suicidal Tendencies (through 10/24/1992).

11/06/1992

Rage Against The Machine released on Epic Records.

12/26/1992

"On the strength of the album, they must be viewed as one of the most original and virtuosic new rock bands in the nation..." Timothy White, Billboard.

03/08/1993

Rage begin US tour with House Of Pain.

07/18/1993

Appearing at Lollapalooza III in Philadelphia, Rage create a silent protest against censorship by standing naked on stage for 15 minutes without singing or playing a note. Each band member has duct tape across his mouth and a letter scrawled on his chest, spelling out "P-M-R-C."

09/11/1993

Rage headline sold-out Anti-Nazi League benefit, Brixton Academy, London, England. Supporting acts include Lush, Senser, Headswim and Green Apple Quickstep. Show raises money for League activities, publicizes 10/16/1993 anti-Nazi march.

10/14/1993

Rage begin headlining US tour with "Rock For Choice" benefit at The Palladium, Hollywood, California.

11/04/1993

First sold-out headlining show at Roseland, New York City.

11/17/1993

Rage begin a US tour with Cypress Hill in Denver, Colorado.

12/19/1993

MTV "120 Minutes" premier of "Freedom" video, directed by Peter Christopherson. The video combines live performance footage with scenes from 1992 documentary Incident At Oglala and text from Peter Matthiessen's In The Spirit Of Crazy Horse.

01/23/1994

Rage headline Rock For Choice benefit, The Palladium, Hollywood, CA. Also appearing: Screaming Trees, Eddie Vedder, Mary's Danish, 7 Year Bitch, Green Apple Quick Step, Exene Cervenka.

02/01/1994

"Freedom" is the #1 video in the country, according to CVC Broadcast & Cable Top 50 chart.

04/28/1994

Rage organize a benefit concert "For The Freedom Of Leonard Peltier," California State University, Dominguez Hills, California. Rage headlines a bill including Cypress Hill, Quicksand, Mother Tongue, X and Stanford Prison Experi-ment, with guest appearance by the Beastie Boys. A check for $75,235.91 is later presented to the Leonard Peltier Defense Fund.

10/22/1994

Rage play "Latinpalooza," a joint benefit for Leonard Peltier Defense Fund, United Farm Workers, and Para Los Niños, at Grand Olympic Grounds, Los Angeles, CA. Cypress Hill, Ligher Shade Of Brown, Fobia, Little Joe Y La Familia, and Thee Midnighters share the bill.

12/30/1994

Higher Learning, with music from film directed by John Singleton, is released on Epic Soundtrax. It features new Rage track, "Year Of Tha Boomer-ang," which is later included on Evil Empire.

08/17/1994

Rage Against The Machine is certified platinum for sales of one million copies. The album also certified platinum in Canada, UK, France, Belgium, and Chile; double platinum in New Zealand; and gold in Germany, Denmark, Holland, Norway, Sweden, Switzerland, Australia.

08/13/1995

Rage organize and headline a benefit concert at the Capitol Ballroom, Washington, D.C. The show raises more than $8,000 for the International Concerned Friends And Family Of Mumia Abu-Jamal. Also appearing: Handsome, Sullivan Brothers, Girls Against Boys, Chuck D. of Public Enemy, and Kathleen Hanna of Bikini Kill.

04/13/1996

Rage appear on NBC's "Saturday Night live." Their two-song performance is cut to one song when the band attempts to hang inverted American flags from their amplifiers.

04/14/1996

Rage video for "Bulls On Parade," directed by Peter Christopherson, premiers on MTV's "120 Minutes."

04/16/1996

Evil Empire is released on Epic Records.

04/20/1996

Rage play free concert at the Velodrome at California State University, Dominguez Hills, California.

05/03/1996

Rage begin a headlining European tour in Madrid.

05/04/1996

Evil Empire enter Billboard Top 200 Albums chart at #1*.

06/16/1996

Rage play the Tibetan Freedom Concert, Golden Gate Park, San Francisco. The two-day event draws a sell-out crowd of over 100,000 making it the largest U.S. benefit concert since live Aid in 1985, according to event producers Bill Graham Presents. Proceeds go to the Milarepa Fund, a San Francisco non-profit group working for the cultural survival of Tibet. Also appearing: Beastie Boys, Smashing Pumpkins, Fugees, Red Hot Chili Peppers, John Lee Hooker, Beck, Sonic Youth, Yoko Ono, De La Soul, Richie Havens.

07/16/1996

Rage begin a headlining US tour in Atlanta, GA including five nights at Roseland in New York City; four shows at the Hollywood Palladium, and three performances as the special guest band on the main stage of Lollapalooza.

07/31/1996

(1) Rage's "Bulls On Parade," directed by Peter Christopherson, is nominated for Best Hard Rock Video in the MTV Video Music Awards. (2) Evil Empire certified platinum for US sales of more than one million copies.

09/04/1996

Rage begin a West Coast headlining tour in San Jose, CA with dates through 10/10/1996.

01/04/1997

Two songs from Evil Empire, "Bulls On Parade" and "Tire Me," are nominated for Best Hard Rock Performance and Best Metal Performance respectively in the 38th Annual Grammy Awards sponsored by the National Academy of Recording Arts and Sciences.

01/08/1997

Rage Against The Machine is certified double platinum for US sales of more than two million copies.

01/20/1997

More than 50 US commercial radio stations carry the two-hour debut of "Radio Free L.A." The broadcast includes two live sets by a band comprised of Tom Morello (guitar), Zack de la Rocha (vocal), Flea (bass, of Red Hot Chili Peppers), and Steven Perkins (drums, of Porno For Pyros), including versions of "Down Rodeo," "Vietnow," "Tire Me," "People Of The Sun," "Bulls On Parade," and "Year Of The Boomerang." Also featured are live performances by Beck and Cypress Hill, and commentary by Leonard Peltier, Mumia Abu-Jamal, Noam Chomsky, Amy Ray (Indigo Girls), and Chuck D (Public Enemy).

02/26/1997

"Tire Me" wins Best Metal Performance in the Grammy Awards ceremonies held at Madison Square Garden in New York.

04/25/1997

At Sam Boyd Stadium in Las Vegas, Rage Against The Machine begin a series of stadium concerts supporting U2. Rage's net earnings from these performances are donated to a group of activist organizations, including Friends & Family of Mumia Abu-Jamal; FAIR (Fairness and Accuracy In Reporting); the National Commission for Democracy in Mexico; FZLN (Zapatista Front For National liberation); and Women Alive.

08/21/1997

In West Palm Beach, Florida, Rage begin a headlining US tour with special guests Wu-Tang Clan. The Wu withdraw from the tour after just one week of shows; subsequent opening slots are filled by Foo Fighters and The Roots, among others.

10/30/1997

Evil Empire is certified double platinum.

11/25/1997

Rage release a self-titled full-length home video, concert footage, non-album songs, and full-length, uncensored versions of the band's controversial music videos. The home video comes with a bonus CD single: a new Rage studio recording of Bruce Springsteen's "The Ghost of Tom Joad."

12/13/1997

In Santa Monica, California, Rage's Tom Morello is arrested during civil disobedience in a "March Of Conscience" against sweatshop labor. The arrests are part of a protest by garment workers and their supporters against sweatshop abuses by Guess? Inc. In the same week, advertisements appear on billboards and bus shelters in Las Vegas and New York reading. A caption under a photo of the band reads: "Rage Against Sweatshops: We Don't Wear Guess? - A Message from Rage Against The Machine and UNITE (Union of Needletrades Industrial and Textile Employees)."

01/06/1998

"People Of The Sun," from Evil Empire, is nominated for Best Hard Rock Performance in the 39th Annual Grammy Awards.

01/12/1998

The home video is certified US platinum for sales of 100,000 copies.

02//1998

Rage record "No Shelter."

05//1998

Rehearsals begin for The Battle of Los Angeles.

06/30/1998

Live & Rare, a compilation of live and rare performances is released only in Japan in advance of their summer tour dates. It is an album made up of "official bootlegs" such as the cover of N.W.A.'s "Fuck The Police"

09/01/1998

Recording of The Battle of Los Angeles begins (completed 10/01/1998).

01/23/1999

Unadvertised show at the 500-capacity Troubador in Los Angeles.

01/28/1999

Rage organize and headline a benefit concert at the Continental Airlines Arena in East Rutherford, NJ, with proceeds donated to the International Concerned Family And Friends Of Mumia Abu-Jamal. Also appearing are Black Star, Bad Religion and the Beastie Boys.

01/05/1999

"No Shelter," Rage's track on the platinum Godzilla soundtrack, is nominated for Best Metal Performance in the 40th Annual Grammy Awards.

04/12/1999

In Geneva, Switzerland, Zack de la Rocha speaks before a full session of the International Commission of Human Rights of the United Nations on the case of Mumia Abu-Jamal and the application of the death penalty in the United States.

04/24/1999

Zack addresses a rally for Mumia Abu-Jamal rally in Philadelphia, Pennsylvania. Later in the day, he presents a check for $80,000 to to the International Concerned Family And Friends Of Mumia Abu-Jamal, representing proceeds from the 1/28/1999 benefit concert.

06/13/1999

Rage Against The Machine play the Tibetan Freedom Concert at Alpine Valley in East Troy, Wisconsin. The bill also includes The Cult, Run DMC, the Beastie Boys, Blondie, live, Biz Markie, Outkast, The Roots, Otis Rush, and Pearl Jam's Eddie Vedder.

07/25/1999

Rage perform at Woodstock 99 in Rome, New York. A song from the set, "Bulls On Parade," is later included on the Epic double album Woodstock 99 (released 10/19/1999).

07/30/1999

Performance at the Mount Fuji Festival in Naeba, Japan

08/01/1999

Performance at Olympic Park in Seoul, South Korea.

08/03/1999

Performance at Blaisdell Arena in Honolulu, Hawaii.

10/10/1999

Rage headline the Coachella Festival in Indio, California.

10/12/1999

"Guerrilla Radio," the first single from The Battle of Los Angeles, arrives in stores.

11/02/1999

On Election Day, Rage's third album The Battle of Los Angeles is released on Epic Records. The band makes its first ever appearance on "Late Night With David Letterman" (CBS network), performing "Guerrilla Radio" live on the streets of midtown Manhattan.

01/26/2000

The shoot for the music video for "Sleep Now In The Fire," directed by Michael Moore, caused the doors of the New York Stock Exchange to be closed and the band to be escorted from the site by security, after band members attempted to gain entry into the Exchange. Trading on the Exchange floor, however, continued uninterrupted.

07/25/2000

Rhyme and Reason 2000 is cancelled due to a shoulder injury sustained by Beastie Boys' Mike D.

08/01/2000

The 5-track CD single of "Testify" is released in the US.

08/16/2000

After weeks of harried negotiations, a federal judge's ruling and some luck, Rage Against the Machine manages to stage a blistering, politically charged concert at the very doorstep of the Democratic National Convention at Staples Center.

09/13/2000

Rage Against The Machine performed their last shows before they disbanded on September 12 and 13th, 2000.

10/18/2000

RATM disbands.

11/07/2000

The Single from "Renegades", "Renegades of Funk", begins radio airplay.

12/05/2000

"Renegades" Hits the streets as a collection of songs originally written and recorded by artists such as MC5, The Stooges, EPMD, Bob Dylan, Minor Threat, The Rolling Stones, Afrika Bambaataa, Devo, Volume 10, Erik B and Rakim, and Cypress Hill. In keeping with the spirit and concept of the Renegades album, a newly remixed, alternate version of Bruce Springsteen's "The Ghost of Tom Joad" (previously only available as a single along with Rage's 1997 home video) was also included.

02/20/2001

"The Battle of Mexico City" DVD is released... a full-length concert and video journal of the band's trip to Mexico City which was clearly one of the musical and political highlights of RATM's career.

02/21/2001

RATM wins Best Hard Rock Performance for "Guerrilla Radio" at the 43rd Grammy Awards

03/13/2001

Tom Meets with Mumia Abu-Jamal in the SCI Greene penitentiary, taking messages from fans on the site along with him to deliver to Mumia.

4/21/2001

Timmy C, Brad Wilk and Tom Morello from Rage Against the Machine participate in the protest against the Free Trade Area of the Americas (FTAA) in San Ysidro, California.

09/2001

Following the 9/11 attacks, Clear Channel creates a list of "songs with questionable lyrics." RATM has the distinction of being the only band to have all its songs on the list.

12/08/2002

"Renegades Of Funk" is nominated for Best Hard Rock Performance

11/25/2003

Live At The Grand Olympic Auditorium is released on CD containing performances from the final 2 shows of 2000.

12/09/2003

Live At The Grand Olympic Auditorium is released on DVD consisting of the September 13th show in LA as well as their performance at the 2000 Democratic National Convention in Los Angeles.

01/22/2007

Coachella Valley Music and Arts Festival confirms RATM's plan to re-unite and headline the final day of the Southern California festival.

04/29/2007

Rage Against The Machine closes the Coachella Valley Music And Arts Festival to the largest crowd of the weekend.

07/27/2007

Rage Against The Machine and Evil Empire are certified triple platinum in the US with sales over 3,000,000.

07/28/2007

RATM headline the Hip Hop festival Rock The Bells, in Randalls Island, NY in the first of a 2 night sold out stand with Wu Tang Clan, Public Enemy and Cypress Hill.

08/18/2007

Rock The Bells dates featuring RATM as headliner concludes at McCovey Cove in SF following their So Cal appearance at the Hyundai Pavilion on August 11.

08/24/2007

Rage Against the Machine play their first non-festival concert in 7 years at the Alpine Valley Music Theater in East Troy, Wisconsin.

10/26/2007

Rage co-headline the New Orleans Voodoo Music Experience.

10/28/2007

Rage headline the third annual VEGOOSE Festival in Las Vegas, Nevada. This appearance is the last scheduled show of 2007.

Biography of SLIPKNOT

Slipknot were brought together by Paul and Shawn along with Anders Colsefni (ex-singer) in Des Moines, Iowa in 1995. The band has been through many changes since then to reach the current 9 member status it has now. Slipknot consider themselves as a family unit and each of the nine members are assigned a number between 0-8. The group mascarade the rock scene in their individual masks, each representing a personality, and there draping jumpsuits. Rather than hiding themselves, Slipknot feel they are showing their true personalities and inner selves with the masks which also add to the flavour and intensity of the music due to the sheer awkwardness of the masks. The band consists of 3 percussionists, 2 guitarists, 1 bassist, 1 DJ, 1 sampler and 1 lead singer, the complex heavy metal sound, mixed with riffs of rap, hip hop and in the good old days funk, jazz and disco has been matched by no other and following the release of MFKR. Slipknot has been climbing and climbing, gaining new fans and support with the release of the self-titled album which soon stormed to platinum status. Nine guys? That cant work? In fact it works perfectly! And now Iowa has been placed back onto the map.

more about Metal

Metal began in prototype form with Black Sabbath, whose trademark occultism symbolized life in terms of the eternal and ideal, while their gritty, sensual, lawless guitar gave significance to the immediate and real. The resulting fusion of the bohemian generation with a nihilistic, dark and morbid streak birthed early metal. Those who had rejected the hippies and found no solace in social order embraced this music and lost bohemians everywhere began to find new directions in this sound.

Having been thus born of the rock tradition early metal remained much within that framework, with dual lineages existing in Black Sabbath, the proto-metal architecturalists, and Led Zeppelin, the blues-folk-rock extravagantists. While the 1970s struggled to develop further the innovations in rock between 1965-1969 the influences that hit metal were primarily from European progressive rock. These musicians used classical theory to give narrative context to themes which in the popular music style repeat through cycling short complementary phrases or riffs which center motives. This technique migrated classical styles adapted from acoustic guitar and espoused structure over total improvisation.

As metal grew in the middle 1970s, its fragmented nature brought it both commercial success and hilarity as a retarded younger brother to rock. The rock side coupled with trash rock bands and formed stadium metal, which was the apex of metal's popularity and the nadir of its creativity, with bands being known for musical illiteracy, hedonistic excess and often mind-wrenching stupidity in interviews. These bands would come into full flower in the 1980s, but marked their territory well before the turn of the decade. On the other hand, however, some of the most dramatic growth in metal occurred when bands merged progressive leanings with desires for traditional solid, sing-along songs.

From this fork in the metal path came three greats whose influences cannot be underestimated, birthed in the early 1970s but becoming most dramatically influential in the 1980s: Judas Priest, Motorhead, and Iron Maiden. Each had musicians from a progressive background who added new ideas to rock and metal, whether the neoclassical guitar duo of K.K. Downing and Glen Tipton or the melodic basslines of Steve Harris of Iron Maiden. Even Motorhead, the simplest and most basic of the three, wrote songs with a melodic baroque tendency that rivalled that of the Beatles, except without the flourishes and happy feelings. Bridging between psychedelic space rock like founder Lemmy Kilmister's Hawkwind, aggressive punk and simplified metal-rock in the style of Blue Cheer, Motorhead sounded like a glass-gargling vagabond and an impromptu jail session band, but developed much of the technique and basic riff forms for the hybrid music to come.

The more obscure and threatening NWOBHM bands grew with the subgenre in the 1970s to oppose commercial slickness with direct and primal music. Angel Witch and Diamond Head and eventually Venom tore technique to its basics to get to the ballad-meets-firefight balance of rebel music. All of these fused the DIY attitude of punk bands with the epic nature of metal and created as a result music that was bold and far-reaching but accessible, both to fans and to those who would like to pick up their own instruments and emulate it.

Philosophy of Metal music

This was a confrontation with the "abyss" as first described by existentialist F.W Nietzsche: the awareness that life is finite and of functional, transactional maintenance; that we are both predator and prey, and that we have no control over our lives or death. To Nietzsche, and thinkers such as Arthur Schopenhauer before him, to realize this was an "undergoing," or embracing of nihilism: the belief that there is no value other than the inherent, physical interaction of the natural world. To a nihilist, there is no inherent morality or value, thus there is no reason to view social status and financial success as ultimate goals, only as methods to a path ranked by subjectively-derived importance. This view threatens the beliefs and punishments used to hold Western society together since roughly AD 1000.

Regardless of benevolent social objectives, Nietzsche argued, religion and society were cults that banished death through the "revenge" that morality offered in giving the individual a vector by which to be "better" than the world itself, and by being "equal" to all others, immune to comparison (a symbolic form of predation triggered by Charles Darwin's arguments on "survival of the fittest). In essence, Nietzsche saw social behavior itself as an enemy of reality recognition in the individual and thus, like morality, an ingrained influence that would prompt rebellion and instability within a society that would know no other recourse than moral norming.

Heavy metal, as the music most visibly fascinated with death and suffering (and most likely to mention Nietzsche), addresses the sublimated issue of Nietzsche's abyss in Western society, which has based its founding principles and individual social and mystical values upon the polarity of "good" and "evil," is an identification with the enemy. In the Judeo-Christian view, death and suffering are an enemy which is banished with "good" behavior in the hopes of heavenly (and earthly) reward. In secular form, egalitarian capitalist liberal democracy "empowers" the individual and gives him or her the moral "freedom" to act without regard for the natural world, thus being immune to predation and any form of assessment outside of the social and fiscal. When one embraces the breadth of history (outside of the current civilization), the nihilistic lack of eternal presence of value, the predominance of death and predation, and the logic of feral impulse, one has directly challenged both modern capitalist liberal democracy and the extensive religious (Judeo-Christian) and secular (liberalism) heritage upon which it is built.

8,000 years before Christ there was a religion in Northern India which addressed these issues in a sense without dualism; it believed that life is known to humans through sensual (eyes, ears, taste, smell, touch) perception of a reality composed of ideas which was similar in structure to both nature and the process of thought itself. In this religion the Faustian spirit was clearly present, as while a heroic deed was more important than survival, personal mortality was clearly affirmed. Thus there was both meaning and death, and no absolute God or Heaven to reconcile the two. This required the individual to declare values worthy of filling a life, and worth dying for, and from this origin the ancient heroic civilizations were spawned. Metal's belief system is closer to this than to any modern equivalent, thus it is sensible to posit a closure of the cycle and its renewal in the ideas gestured by heavy metal music.

Introduction To Metal music

Metal music began as the work of the youth born after the superpower age began, during a highly developmental period for Western civilization in which it, having defeated fascism and nationalism and other old-world evolution-based systems of government, considered itself highly evolved in a humanistic state of liberal democracy which benefitted the individual more than any system previously on record. During this era, society served citizens in their quest for the most convenient lifestyle possible, and any questions or goals outside of this worldview were not considered: it was considered a "progressive" continuation of human development from a primitive evolutionary "red in tooth and claw" state to one in which social concepts of justice and morality defined the life of the individual. The individual has triumphed over the natural world, and faces none of the uncertainty of mortal existence brought about by physical competition and predation.

Politically (the global quest for egalitarian society) and socially (the empowerment of new groups and loss of consensus) humanity viewed itself as getting ahead and being superior to other forms of civilization, including the equally egalitarian but totalitarian Communist empires of the Soviet Union and China, but as the thermonuclear age dawned in the 1950s, this dichotomy came to define the "free West" as much as its enemies.

The first generation after WWII created early proto-metal in a time when all older knowledge and social order was being overturned in the wake of an impulse to redesign the world to avoid the "evils" of the previous generation. The people of this age, and coming ages, were new in that they could not recall a time of direct experience of nature as necessary; the grocery stores, modern medicine and industrial economies of their time took care of all of their needs, and no unbroken natural world could any longer be found except on specialty tours. Their civilization had become exclusively introspective and was losing contact with the (natural) world beyond its self-defined boundaries.

During this time, a "peace" movement which embraced pacifism and egalitarian individualism was gaining popularity at the forefront of the counterculture, a phenomenon which had existed since in the 1950s smart marketers (namely Allen Freed) had promoted rock music as an alternative to the staid, traditional, monogamous and sober lives of Protestant, Anglo-Saxon Americans. With WWII polarizing the world against first German and later Russian "enemies," and Viet Nam revealing the moral bankruptcy of benevolent superpowers motivated by their economies, society was becoming more dependent upon the ideological tradition building over the last 2,000 years: focus on the individual, or individualism, as politically expressed in egalitarianism and liberal democracy. This was expressed in both culture and counterculture.

In contrast, metal music emphasized morbidity and glorified ancient civilizations as well as heroic struggles, merging the gothic attitudes of art rock with the broad scope of progressive rock, but most of all, its sound emphasized heavy: a literal reality that cut through all of our words and symbols and grand theories, to remind us that we are mortal and not ultimately able to control our lifespan or the inherent abilities we have. This clashed drastically with both the pacifist hippie movement and the religious and industrial sentiments of the broader society surrounding it.