Is Metal's Sub-Genre Explosion Beneficial or a Necessity?

Metal music, especially, is known for its intricate and diverse range of sub-genres. These sub-genres have been a part of its identity for decades, but the proliferation and blending of these sub-genres raise questions about their necessity and usefulness.

The Argument Against Over-Subdivision

Many argue that the excessive categorization of metal sub-genres is excessive and unhelpful. For instance, a single band might incorporate power, death, black, thrash, symphonic, and jazz elements into their music. Labeling such diverse amalgamations with a single genre or sub-genre definition can be confusing and limiting. This approach can lead to the idea that sub-genres are rigid boxes, but in reality, music often doesn't fit neatly into such categories.

The Case for Maintaining Sub-Genres

However, others believe that sub-genres are crucial. They serve as essential indicators of a band's sound and style, which can aid listeners in quickly understanding and appreciating an artist's work. For example, if a band identifies itself as black metal, it can be assumed that the music will have certain characteristics, such as dissonant guitars, shrieked vocals, and atmospheric elements. This information can be incredibly useful in the age of streaming platforms like Spotify.

Sub-Genres as Musical Indicators

Some listeners, particularly those who are familiar with specific sub-genres, use these labels as a shortcut to gauge whether they will enjoy a particular band's music. For instance:

tIf a band is labeled as black metal, the listener might say, "I'll dig it." tDealt death metal? "I'll dig it." tBlack gaze? "I'll hate it." tDeath doom? "I'll hate it."

This process can save a lot of time in discovering new music and avoiding those that won't appeal to one's tastes.

The Downplaying of Genres in Rock

For years, many have criticized the usefulness of genres in rock music. While genres can be helpful, they are not the sole determinant of a listener's enjoyment. Preferences are multifaceted and can vary widely even within a genre. For example, liking new wave music from the 1980s doesn't necessarily mean one will enjoy all new wave music. Similarly, disliking pop and country doesn't mean one dislikes all artists in these genres.

Genres as Labels

Some argue that genres, particularly when overly specific, can be misleading. For instance, the Echo and the Bunnymen, often labeled as new wave and post-punk, might not align perfectly with these descriptions. New wave usually features synthesizers and guitarless or guitar-light compositions, while post-punk can be broadly defined, making it less useful as a descriptor.

Conclusion

Ultimately, whether sub-genres are necessary or not depends on the listener's perspective and the context. For music enthusiasts, sub-genres can be tools to discover new music and understand an artist's style. For others, they are less important and can be ignored in favor of personal preference and individual taste. Whether you are a casual listener or a music critic, the approach to categorization and genre labels can shape your experience in the vast world of metal and beyond.