Punk Rock Metalpunk-rock metal
Arcticolo - PUNK I METAL - Affinity ed Influenze (Affinity and Influence)
It is difficult to find a rock music world with a short and long term impact comparable to that caused by punk in the second half of the 1970s. A revolution that redesigned every angle of view for artists of that time: the purely musical, the conceptual and often no less important than the appearance.
Indeed, it is completely impossible to imagine much of modern music after 1977 without the influence of punk, which is more or less pronounced and more or less distorted. One of the genres that has most felt the devastating shock of punk, which often involuntarily absorbs certain aspects or values, is undoubtedly heavy metal, in almost every form.
IN THE BIRTH: THE END OF THE 70'S Both punk and metal have origins and ancestors older than their official birthdays. Getting lost in such an analysis would be too easy, so I take forever the dates that are now canonized: 1977 for punk, with the real explosion of the genre and culture that took place thanks to the unconsciousness and media presence that the pilots of Sex Pistols enjoyed; for metal an exact date is less recognizable:
Regardless of Deep Purple, Led Zeppelin and Black Sabbath, who are still strongly associated with blue and rock, the cornerstone of the genre is often regarded as Judas Priest's Stained Class, 1978. Needless to say, such dates are simple hints, not absolute truths, and I think that debating is quite an end in itself; what's interesting is the fact that the genres are almost the same age and punk could not help but somehow influence a new movement, the New Wave Of British Heavy Metal.
Punkrock had no real political connotations at least in the beginning and consisted of provocation at any price: From the most famous cases of swastikas on the west of the pistols to the most famous suburban groups, punk in this sense is immediately recognizable for its extremism.
Metal will never really feel the need for such a rebellion, and punk will fashionably recover from punk, especially the clothes and look straightaiolo (often built). To be punk means to be a damn son of a bitch, one who made the sidewalk his kingdom, a cursed son of a homeland cheered by the shame of the monarchy, with no future and with the desire to charity the face of his neighbour (Johnny Rotten).
Metal, a more intimate genre in itself, preferred to have less conspicuous external features, to retain the hair of his ancestors and to leave grooves and spines to the moodiest and sublime punks. But that was never really a punk thing for me, it was a pure metal thing. Groups with conscience and political ideas soon came to punk rock.
Metal has hardly ever thought of conveying such messages by preferring to deal with all other issues; it shares much more often the challenge to religions, although in this area, too, it often does so in a more intimate way than the pure urge for destruction that characterizes punk. The metalworkers of that time were more attracted by the spirit of punk, by the spirit of reunion, by the desire to commit themselves to the music they loved: see the large number of fanzines created in those years and the round of records made at that time, on one side and on the other.
So we can talk about hard-core. As a subgenre of punk rock, it represents an inevitable development: all virtuosities are forgotten, the accelerator is pressed, the distortion is pumped, the voice is burned and the lyrics become more and more political and social. Groups like Mischfits, Discharge, Exploited, Black Flag and so on are absolutely crucial for the birth of Extreme Metal.
Maybe Venom, who halfway between Metal and Punk with Welcome To Hell (1981) and Black Metal (1982) will lay the foundation for the birth of albums like Kill âEm All and Show No Mercy and then comes to Metal, Déath and goals we all know today.
Shortly thereafter the so-called Punk Metal, the intersection between hard core Punk and velocity Metal, arrives: Motorhead are again in an almost ambiguous position with the arrival of bands like Suicidal Tendencies or Dirty Rote Imbecilles. Not to mention the honors attached to their inspirations by artists close to metal: Slayer's undisputed stance mostly includes hard-core punk covers; Metallica's Garage Inc. sees tracks by Discharge, Misfits, League Anti-Nowhere among his tracks; GunsânâRoses' almost complete The Spaghetti Incident? consists of punk rock covers and so on.
Fair and due recognition, because the flowering of the music we love is also due to punk with all its currents and contradictions. @Silvia, in principle I agree with your impressions, only I do not know if you think that at all as far as Halford is concerned, maybe you do not know everything wrong, but I have some influence or Afflatus, even if he is not stressed, I find him more in the octant records, because before Priest personally gives me a certain consistency with Hard Rock arena rock 70.
Whoever writes now - this is the seed of Lambru - has always claimed that metal, punk, heavycore, can get along very well with each other, and when we drink together at concerts, I hope that we are many to see D.R.I.. in Poviglio we will also make our speeches about what is better or worse, I hope someone will make some videos and then resent our philosophical speeches... mmhhhhh... I think of myself as a great advocate of friendship between metal workers and punk, because in the end we have many things in common.
I don't know if you talked about it in the previous comments, but I never understood this "conflict" between those who listen to metal and those who listen to punk. There are two similar genres that have contributed to the explosion and birth of subgenres and unique and spectacular groups. I, besides listening to Metal in its many forms, am also a lover of Punkrock, not much Sex Pistols and Clash, but I love Ramones.
Who the punk and who the metal in general, down with the commercials! The Motorheads also owe something to the Punk and vice versa, they come from the same time at the end. Punk is the sound of "dirty and alcoholic", of which the Motorheads are the founders, where their influence is very strong.
In the end, everyone owes something to someone else, based on different eras, as the rockabilly was one of the first forms of rock'n'roll by Elvis in the 50s and goes further back to the black blue of African Americans indelible part of rock. In the case of the Iron and NWOBHM groups in general I believe that the affinities to punk are more due to the poverty of the means than to anything else and to the very healthy desire (if not in words) to fry the ass of the old bands.
Iron Maiden's first recording was recorded with 25,000 lira monopoly, it has a crackling and dirty sound, and from this point of view it is close to punk. Metal owes a lot to punk: speed, aggression, was the genre that turned rock into metal since the first Maiden had a slight punk influence; for the rest punk never attracted me so much.
@Lament: I agree with the guns, which I also like very much in brackets, because from my point of view punk and metal have always polluted each other just because two sides of the same medal are solid. Punk has the immediacy, metal the rationality. And if Venom, Enginehead, Metal, ST, STnr, Slave, Megadeth suck on you, you're in the wrong place.
From collision to coarseness to drama... here we have to look for the political nature of punk. As for Italian punk, which is often underestimated..... If we had to track down all the proto-punkism, we would go into the American garages of the early 1960s, like sonics, wailers, etc., all loud, often self-produced, still more often known only in their area, but with the intention of keeping the stone dung when the UK raid began to soften it.
So I think it makes more sense to limit yourself to New York in the mid 70's, where different bands have shaped those sounds that were called punk just a year later. I would like to point out one thing: we are actually speaking canonically of "Punk of'77", but it is a fake. The main difference between punk and metal, before the style, is 'cultural'.
Metal originates from the instutional rock of the 70s; the punk of the garages and indie rock; different paths, sometimes similar goals. I had a strong punk skid, too. GBH, Discharge, Pasti and Black Flag, an infinity of Italian groups, the Diavlery Productions... I remember that there was often friction between metal workers and punk to beast, in fact things were of the 90s, today I would say anything but.....
I come from there: from punk and hardcore...the transition to metal was natural! Great good times my 90s! punk and metal are there to unite, everything that is extreme and fast in metal is due to the violence of punk, especially the so called second wave of hardcore: the battered, unloaded, gifted in the UK. In the US come small threats, bad flags, bad fits etc. thrust, gridcore, crossover all from there. Metal groups could combine this power and speed with the technique. punk and metal always mixed!
If it is the case that metal workers and punk often fought against each other, it is also the case that it is normal to meet with a festivals today as it was then. Punk might lack this attitude to counter-power, but maybe something is moving or at least I hope!
Yeah, to a certain extent that healthy and gross punk, I miss it..................................................................................................................................................................................