Los Natas founded an important school of stoner-rock in Argentina with albums such as their third Corsario Negro (2002) and the three lengthy progressive-rock suites of Toba-Trance (2003). After the stylistic experiments of Rated R (2000), they achieved a sort of hard-rock classicism on Songs For The Deaf (2002), featuring Foo Fighters's drummer Dave Grohl and Screaming Trees' vocalist Mark Lanegan, the ideal balance of Cream and Nirvana. Queens Of The Stone Age (1), the new band formed by Kyuss' guitarist Josh Homme and bassist Nick Oliveri, offered a consumable version of Kyuss (shorter songs, emphasis on the melody, streamlined dynamics) on Queens Of The Stone Age (1998). Kyuss' influence on the new generations of stoner-rockers was not only obvious but even direct. Unida's Coping With The Urban Coyote (1999), the new project of Kyuss' vocalist John Garcia, Southern California remained throughout the decade one of stoner-rock's main centers, as proven by works such as The revival of psychedelic hard-rock of the 1970s picked up steam after the success of Kyuss, Monster Magnet and the grunge scene.Įd Mundell's Atomic Bitchwax (1) offered a more experimental version of Monster Magnet's stoner-rock on Atomic Bitchwax (1999).īoston's Nightstick (1) even added elements of free-jazz and avantgarde noise to the 'Black Sabbath meets Blue Cheer' formula of stoner-rock on Ultimatum (1998). Stoned, 1995-2000 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The chaotic hardcore of Japanese quintet Envy (3),that had already yielded the complex narrative structures of All The Footprints You've Ever Left And The Fear Expecting Ahead (2001), evolved into a hybrid of extreme screamo and post-rock on A Dead Sinking Story (2003) and Insomniac Doze (2006), whose songs ebb and flow, whisper and scream, bordering on expressionist theater.Īnother precursor of screamo was a band from San Francisco, Portraits of Past (1), with the bleak album 01010101 (1996), one of the emotional nadirs of emocore. New York state's Every Time I Die simultaneously joined the ranks of screamo and metalcore with the mini-album Burial Plot Bidding War (2000) and Last Night In Town (2001). Washington's Darkest Hour cemented the fusion of death-metal and hardcore with the vitriolic political concept The Mark Of The Judas (2000) and later accomplished the conversion of the genre to the mainstream with Undoing Ruin (2005). Slower drum beat and single-note guitar chugging that usually invites to dance.ĭefying the dogmas of the genre, Shai Hulud's Hearts Once Nourished With Hope And Compassion (1997), from Florida, managed to sound both catchy and inventive.įlorida's Poison The Well ventured beyond metalcore on their second album Tear From The Red (2002), exhibiting songwriting skills worthy of emo-pop and brutality worthy of death-metal. Metalcore emphasized the breakdown: the section of a hardcore song with a Missouri's Coalesce (1), who vomited the formidable metal-punk maelstrom of Give Them Rope (1997),īy Massachusetts' Cave In with Beyond Hypotermia (1998),Īnd by Los Angeles' Death By Stereo with their third album Into The Valley of Death (2003).

Towards the end of the decade, variants on the same theme were worked out by Satisfaction Is the Death of Desire (1997) and The Rise of Brutality (2003). Hatebreed, from Connecticut, established 'metalcore' as a major genre with Germany's Blind Guardian were the only significant addition to pomp-metal of the era, with Nightfall In Middle Earth (1999) winking at both Queen and Iron Maiden. (the brainchild of German keyboardist Tilo Wolff) produced the concept Stille (1997) and the rock opera Elodia (1999). It never amounted to more thanĪn impressive work of gothic rock came from Switzerland: The Pleasures Received In Pain (1999), by Der Blutharsch.

Grunge had been born in Australia (before it was reinvented in the USA) but the Pearl Jam-form of grunge came to Australia quite late.

The third generation of grunge was best represented by the mediocre Pearl Jam imitation of Florida's Creed on My Own Prison (1997) and Human Clay (1999). Grunge and metalcore, 1996-99 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. ( These are excerpts from my book 'A History of Rock and Dance Music')

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