Metalternative: The Hidden Genre

Years: 1995-2004-??? 

 

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Don't you know what Metallternative is? NOOOO??? Don't worry, I don't either.

Hahaha! I can see your What! face. You're probably wondering: "Metalternative? WTF? Now Corvan has really gone crazy from listening to so much music?" And naturally, almost all of the genres from the previous Ages of Rock should sound at least familiar to you. You may not be fans of all the genres I've described, but you've at least heard them mentioned at some point and are aware of their existence. But Metalternative?

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The point is, there's a hidden genre, one that has received relatively little publicity and that doesn't fit the characteristics of absolutely any other genre. It's not Metal, nor Nu Metal. It's not Alternative, it's not Indie, it's not Hip Hop, it's not Progressive... However, it seems to take some small traits from each one and masterfully combine them to create a completely identifiable subgenre that basically set the tone during the turn of the millennium.

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These bands didn't form a movement as solid and united as, for example, Grunge or Brit Rock; rather, they each followed their own path, and while they shared a common vision in some ways, they never formed a cohesive bloc. While they didn't necessarily all necessarily possess all these elements, the basic characteristics were a great, great power, with powerful and highly distorted guitars. Vocals were generally deep, dark, and very low, although this isn't universal, and some also had mid-range and high-pitched vocals. Another characteristic is that many of these bands had members who were incredibly skilled on their respective instruments, some of the last semi-virtuosos of rock, sometimes forming truly impressive combos. This led to complex song structures, deviating from the simpler standards of Alternative Rock, adding solos, harmonies, and complex melodies, but still not reaching the level of Progressive. Finally, their political and social commitment. It's not typical of all these bands, but most of them were involved in one way or another with lyrics that were more socially charged, critical, and aggressive than those of any other genre, perhaps dating back to 1970s punk. They generally took an anti-war stance (rather than pacifist), or in favor of Third World countries, and against the abrasive policies of the United States. Oh, I almost forgot! In some cases, these bands are based in the United States, but they have diverse origins, from Mexican, Cuban, Armenian immigrants, etc. This allows them to have a more objective view of the role the United States plays in the world. Some groups reached their peak after 9/11, when Bush announced the attack on Afghanistan and later Iraq. These bands were the first to speak out against it and call for greater social awareness, because they had already been doing so, and weren't mere opportunistic posers who jumped on the bandwagon like many groups or artists.

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Finally, and this isn't a generalization, but most of them had started in the mid-90s and, due to their heavier, underground sound, had been forced to sign with independent labels. Towards the end of the decade, the decline of Grunge and Brit Rock began to give them a bit more exposure, and they began to leave the underground circuit, focusing on a fan base that wasn't satisfied with the electronic and pop trends of the turn of the millennium; a deeper and more intelligent audience, therefore, that didn't need these groups broadcast on MTV to appreciate their quality. Some bands would later sign with larger labels, but in general, it was they who bore the brunt of the technological shift from CDs to MP3s, which severely impacted the major labels and substantially changed the distribution and marketing that had been in place practically since the 70s. In fact, the change actually benefited them, if not commercially, then in terms of making their music known through Napster, Torrents, etc., and the nascent technology that allowed songs or albums to be downloaded. While the plastic "Hartists" were writhing in anger and trying not to find a way to stop this internet outflow, the Alternative Metalists weren't really interested in becoming billionaires; in fact, it was something they fought against, so they took advantage of this new technology and the internet boom to spread their music, even at the cost of not making much money from it. Being on an independent label also allowed them to maintain their ideological independence and be able to attack the system without restrictions. For this reason, this hidden genre received rather little attention from mainstream media like MTV and hasn't really been considered by anyone.

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I'm going to take a risk by identifying Primus as the direct predecessor of Metalternative. They aren't one of the bands that meet all the characteristics, particularly in the political sense of their lyrics. While they wield a very distinctive dark humor, Primus offers criticism through irreverence and ridicule, but not as directly as later bands. Nor does it fit precisely into this group of bands in terms of style: Primus uses a high-pitched, distinctive voice and plays a lot with funk. However, I mark them as a precursor to this subgenre, as they set the standard with their bizarre sounds, influenced by punk and sometimes grunge, but also extremely heavy and dark, bordering on metal. Furthermore, they marked the trend of making non-commercial, challenging music that demanded a little more from their audience. And finally, because they initiated the trend of virtuoso members with impressive technical ability, who also have a knack for inserting more melodic and accessible lines, further removed from prog. I'm speaking specifically of Les Claypool, bassist and pillar of the group, who brought the bass back to the forefront and left everyone speechless with his abilities. The band formed in California in 1984. Their first albums, Suck On This and Frizzle Fry, were more Red Hot Chili Peppers-influenced and had a much more funky, street-wise style, but from the start it was clear that the genius here was Claypool. Later, there were changes in guitar and drums, and the sounds became darker and denser, with influences from Grunge and Alternative music in general, without abandoning the dark and experimental overtones. They even incorporated the cello, replacing the electric bass before Apocalyptica became known. They've generally kept a low profile, with a very specific group of fans, and perhaps their greatest moment of fame came when they composed the theme song for the series South Park and with their 1999 album Antipop, the group's last before Les left for other projects. But Primus is a must-see for all bass fans, and was undoubtedly an influence on purely alternative metal bands.

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Then we have Rage Against the Machine, one of the first groups in this subgenre, although more inclined toward hip hop and high-pitched vocals. RATM formed in 1991, also in LA, with Zack de la Rocha (of Mexican descent) on charismatic vocals, Tom Morello (of Italian, Cuban, and Kenyan descent) on guitar, bassist Tim Commeford, and drummer Brad Walk. From the beginning, the band was an explosive cocktail of punk, trash, hip hop, and unusually defiant lyrics. In other words, they didn't hide behind Primus's irreverence; they called things by their name, and from the outset, they openly opposed Yankee imperialism, corporatism, American foreign policy, and, in general, a leftist tendency, but in a more intellectual and defiant way. This made their self-titled debut album in '92 a huge success, and by '93 they were headlining Lollapalooza. With just three albums released (besides their debut, there's Evil Empire and The Battle of LA), they became an impressive force in the United States, but also one of Latin America's favorite bands, due to their significance and the band's empathy for the region. Morello stood out as one of the best guitarists of his generation: powerful, highly creative, with very intelligent and unconventional solos, and also using experimental sound techniques with pedals and phasing. His stance didn't stop with his lyrics, and the band strongly supported organizations ranging from Buddhists, UNITE, to the Mexican EZLN. They openly opposed the Republican presidential candidates. However, the band collapsed in 2000, at the height of their fame, with Zach announcing his departure from the band due to "artistic and political differences." Under the surface, it's rumored that Zach refused to tour Latin America, betraying all the principles he championed. Apparently, touring Latin America was the first condition for officially reactivating the band in 2009, although they're definitely not as prominent as they once were. In the meantime, it's common knowledge that Morello, Commeford, and Walk joined Chris Cornell to form Audioslave.

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Incubus is another California band that emerged in the early 90s with Brandon Boyd on vocals, Mike Einzinger on guitar, and José Pasillas, of Mexican origin. Their first two albums weren't very well-known, but since then, a great attention to detail and a certain experimental aura have been evident, with the inclusion of samples and masterful guitar playing, with careful riffs capable of creating haunting atmospheres, even adding a zither to the songs. Success came with the albums "Make Yourself" and "Morning View," where they blend powerful guitar with delicate, bittersweet atmospheres. Their vocals aren't typically deep, either, but rather a mid-range capable of reaching high tones, with a distinctive color characteristic of Brandon, along with complex two- or three-part harmonies, making the vocals one of the band's key characteristics. While not overtly political in their lyrics, Incubus has always been linked to causes and festivals, traveling frequently to Latin America, leading protests against the Bush regime, which led to their being banned from MTV, or with songs that are less directly critical, such as "Talk Shows on Mute."

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System Of A Down formed in California in 1994, although all its members are of Armenian origin. In this case, all are truly imposing on their respective instruments, and we have a band full of virtuosos who form a true sonic steamroller. Serj Tankian, for starters, is a vocalist with a dark, rather low-pitched voice, deep and thick, but capable of reaching very high tones. Daron Malakian is a very creative guitarist, who fills with countless figures and manages to transition melancholic arpeggios to a very hard bass in a matter of seconds. Shavo Odadjian is also enormous on bass, very fast and capable of filling any gap left by his bandmates, while John Dolmayan is considered by all to be one of the best drummers of his generation. SOAD, as many know them, released their debut album in 1998, achieving minor success that helped them make it to Ozzfest, the festival that catapulted them, although their greatest success came with 2001's Toxicity and 2002's Steal This Album. SOAD has always had an extremely political stance, criticizing the 1915 Armenian genocide and taking a devilishly critical stance toward Bush and his war on terror, with highly socially charged videos like "Boom!", which featured impressive footage of mega-marches around the world against Bush's attack on Iraq. After 2006, the band split up due to alleged issues between members, but they made their mark as one of the bands with the most rabid lyrics and spectacular instrumentation.

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Godsmack is a band usually considered a metal band. They may not have as political a stance as the previous ones, but they've always seemed to me to fit more into this group of bands without a defined genre. Led by Sully Erna, with a voice that's also deep, deep, and sinister, the band is characterized by its power, but above all by its spectacular percussion, which Sully himself sometimes joins in. The riffs are dense, reminiscent of Alice In Chains and the doom-like style of Black Sabbath, full of energy, but with a certain darkness. I don't know if anyone can really be considered a virtuoso, but they're all very good on their instruments, and together, they're simply spectacular.

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Then we have Tool, whom many consider more progressive. They formed in 1990 in California, with Maynard James Keenan on vocals, Adam Jones on guitar, Danny Carey on drums, and Justin Chancellor on bass. Their first album leaned more toward metal, then Ænima (1996) leaned more toward alternative, with more accomplished, yet equally explosive, sounds. With Lateralus (2001), they began to move more toward prog. They don't really have a label, and they aren't overly political either, but their devilishly powerful and intelligent sound makes them a perfect fit for alternative metal.

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I was even thinking of a list of about 20, but the last ones I can remember are A Perfect Circle, a supergroup formed in 1999 that includes James Keenan of Tool, Josh Freese of NIN, James Iha of Smashin' Pumpkins, and Billy Howerdel of Ashes Divide, among others. It's an impressive project with prog tendencies, but without being SO complex, and maintaining a balance with the power they unleash from one moment to the next. Initially, they weren't particularly activist-oriented either, but their third and final album, Emotive, was released on November 2, 2004, the day of the presidential elections in the US (the date of Bushit's re-election). The album included a few covers of anti-war songs, such as Lennon's "Imagine" (What a cover, gentlemen, what a cover!!! MY RESPECTS!) or Joni Mitchell's "Fiddle and the Drum," with a clear political message. Shortly after, each member returned to their various projects, and just recently, they reactivated A Perfect Circle.

 

Ah! I'm glad to hear the contributions. Maybe not all of them have all the characteristics of the above, but they share the same era, power, and attitude, so I'm happy to add their suggestions: Korn, Linkin Park, Slipknot (for me, all three are Nu Metal, but oh well!), Pantera, Deftones, Rammstein, Disturbed, Sepultura, Faith No More, Living Colour (these two are more like background), Three Days Grace, Rob Zombie.

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My initial list was much longer, but I didn't write them down, and I think I need a couple of six-songs to remember them all, hahahahaha. At The Drive In and Mars Volta come to mind (same in this case), but here I must accept that they're much more experimental and leaning toward Prog. But I think you can understand the characteristics of the genre, right? Needless to say, alternative metal reached its peak during the difficult transition from the '90s to the '00s, especially with the start of the war on terror after 9/11. However, most of these bands fizzled out or lost influence at the beginning of the second half of the 2000s, and although some remain or have reunited, their prime is definitely behind them.

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What do you think? Did I get too carried away? Do you see any other bands that could make it in? Do you already want the Indie Era? Should I focus on writing reviews instead of inventing genres? Are they trying to kick me out?

 

I'd better go get that six-pack and see if I can remember the others...

 

By Corvan

Mar/23/2011

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