Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Metal Music Studies
  4. Volume 5, Issue 3
  5. Article
Volume 5, Issue 3
  • ISSN: 2052-3998
  • E-ISSN: 2052-4005

Abstract

In this article, I introduce the breakdown as a formal structure identified in certain styles of modern metal, especially metalcore. Breakdowns are widely considered to be distinct sections of a song, much like a verse or chorus: this observation provides the basis for defining breakdowns structurally using music analysis. Responding to the nascent field of research on popular music fandom, I next discuss curatorial practices focusing upon breakdowns, where online fan communities collect their favourites, rate them and compare how they are employed in metal music. Moving beyond their use as extracts of recorded tracks, I investigate some possible uses and accompaniments for breakdowns in live settings. In particular, metal performance scenarios can emphasize breakdowns as opportunities for moshing and other forms of collective motion. Finally, I consider potential listening experiences of breakdowns (and their accessibility), from catharsis and emotional release to communal belonging.

© 2019 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/mms.5.3.337_1
2019-09-01
2025-06-18
Loading full text...

Full text loading...

References

  1. A Day To Remember ( 2009;), ‘ Mr. Highway’s Thinking about the End. ’, Homesick, mp3 , Chicago:: Victory Records;.
     [Google Scholar]
  2. Alex Delarge. ( 2010;), ‘ Best underground / new breakdowns. ’, YouTube , https://www.youtube.com/watch?v=MCgrvp2s2ww. Accessed 28 September 2018.
  3. Arnett, Jeffrey. ( 1991;), ‘ Adolescents and heavy metal music: From the mouths of metalheads. ’, Youth & Society, 23:1, pp. 76–98.
     [Google Scholar]
  4. Bassist4TBTH ( 2008;), ‘ Slowest breakdowns. ’, YouTube , https://www.youtube.com/watch?v=7rye1NPyaLU. Accessed 28 September 2018.
  5. Berger, H. M., and Fales, C.. ( 2005;), ‘ “Heaviness” in the perception of heavy metal guitar timbres: The match of perceptual and acoustic features over time. ’, in P. D. Greene, and T. Porcello. (eds), Wired for Sound: Engineering and Technologies in Sonic Cultures, Middletown, CT:: Wesleyan University Press;, pp. 181–97.
     [Google Scholar]
  6. BetweenTwoShores ( 2011;), ‘ Top 10 trancecore/electrocore breakdowns vol. 1 (never heard before). ’, YouTube , https://www.youtube.com/watch?v=X7z962s535o. Accessed 28 September 2018.
  7. Black Sabbath ( 1970;), ‘ Hand of Doom. ’, Paranoid, mp3 , London:: Vertigo;.
     [Google Scholar]
  8. Black Sabbath ( 1971;), ‘ Lord of This World. ’, Master of Reality, mp3 , London:: Vertigo;.
     [Google Scholar]
  9. Booth, Paul. ( 2015;), ‘ Fans’ list-making: Memory, influence, and argument in the “event” of fandom. ’, MATRIZes, 9:2, pp. 85–107.
     [Google Scholar]
  10. Born of Osiris ( 2007;), ‘ Abstract Art. ’, The New Reign, mp3 , Washington:: Sumerian;.
     [Google Scholar]
  11. Brown, Andy R.. ( 2011;), ‘ No method in the madness? The problem of the cultural reading in Robert Walser’s running with the devil: Power, madness and gender in heavy metal music and recent metal studies. ’, in C. A. McKinnon,, N. Scott, and K. Sollee. (eds), Can I Play with Madness? Metal, Dissonance, Madness and Alienation, Oxford:: Inter-Disciplinary Press;, pp. 63–72.
     [Google Scholar]
  12. Cannibal Corpse ( 1992;), ‘ Hammer Smashed Face. ’, Tomb of the Mutilated, mp3 , Agoura Hills:: Metal Blade Records;.
     [Google Scholar]
  13. Capuzzo, Guy. ( 2018;), ‘ Rhythmic deviance in the music of Meshuggah. ’, Music Theory Spectrum, 40:1, pp. 121–37.
     [Google Scholar]
  14. Clarke, Eric F.. ( 2005), Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, Oxford and New York:: Oxford University Press;.
     [Google Scholar]
  15. CM ( 2017;), ‘ Top 10 breakdowns 2017 – Part one. ’, YouTube , https://www.youtube.com/watch?v=UGhFTjGSmVw. Accessed 28 September 2018.
  16. Covach, John. ( 2005;), ‘ Form in rock music: A primer. ’, in D. Stein. (ed.), Engaging Music: Essays in Musical Analysis, New York:: Oxford University Press;, pp. 65–76.
     [Google Scholar]
  17. Cox, Arnie. ( 2016), Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking, Bloomington and Indianapolis:: Indiana University Press;.
     [Google Scholar]
  18. Currents ( 2017;), ‘ Silence. ’, The Place I Feel Safest, mp3 , Donzdorf:: Nuclear Blast;.
     [Google Scholar]
  19. Dangerkids ( 2013;), ‘ Hostage. ’, Collapse, mp3 , Beaverton:: Rise Records;.
     [Google Scholar]
  20. de Clercq, Trevor. ( 2016;), ‘ Measuring a measure: Absolute time as a factor for determining bar lengths and meter in pop/rock music. ’, Music Theory Online, 22:3, https://mtosmt.org/issues/mto.16.22.3/mto.16.22.3.declercq.html. Accessed 27 June 2018.
     [Google Scholar]
  21. Delvestius ( 2014;), ‘ Good *metal* breakdowns?. ’, Reddit , 14 April, https://www.reddit.com/r/Metal/comments/231iir/good_metal_breakdowns/. Accessed 28 September 2018.
  22. The Devil Wears Prada ( 2010;), ‘ Escape. ’, Zombie, mp3 , West Windsor:: Ferret;.
     [Google Scholar]
  23. Eatmemisterowl ( 2012;), ‘ HD of mice & men – Ohioisonfire & O.G. Loko (live at the Vans Warped tour 2012). ’, YouTube , https://www.youtube.com/watch?v=UTDzzUma1DM. Accessed 11 January 2019.
  24. El Tio Jarcor :v ( 2016;), ‘ Top 10 “bleh/oh” breakdowns part I. ’, YouTube , https://www.youtube.com/watch?v=xc3MZP7etiM. Accessed 28 September 2018.
  25. Fast, Susan. ( 2001), In the Houses of the Holy: Led Zeppelin and the Power of Rock Music, New York:: Oxford University Press;.
     [Google Scholar]
  26. Halnon, Karen B.. ( 2004;), ‘ Inside shock music carnival: Spectacle as contested terrain. ’, Critical Sociology, 30:3, pp. 743–79.
     [Google Scholar]
  27. Harding, Charlie. ( 2016;), ‘ How the pop-drop became the sound of 2016. ’, Billboard , 19 December, https://www.billboard.com/articles/columns/pop/7625628/pop-drop-sound-of-2016-chainsmokers-justin-bieber-switched-on-pop. Accessed 26 September 2018.
  28. Hill, Rosemary L.. ( 2011;), ‘ Is emo metal? Gendered boundaries and new horizons in the metal community. ’, Journal for Cultural Research, 15:3, pp. 297–313.
     [Google Scholar]
  29. Hill, Rosemary L.. ( 2014;), ‘ Reconceptualising hard rock and metal fans as a group: Imaginary community. ’, International Journal of Community Music, 7:2, pp. 173–88.
     [Google Scholar]
  30. I See Stars ( 2013;), ‘ Murder Mitten. ’, New Demons, mp3 , Washington:: Sumerian;.
     [Google Scholar]
  31. James, Robin. ( 2015), Resilience & Melancholy: Pop Music, Feminism, Neoliberalism, Alresford:: Zero Books;.
     [Google Scholar]
  32. Jared Dines ( 2015;), ‘ 10 types of breakdowns. ’, YouTube , https://www.youtube.com/watch?v=7UPjLu5pHnE. Accessed 28 September 2018.
  33. Johnson, Bruce, and Cloonan, Martin. ( 2009), Dark Side of the Tune: Popular Music and Violence, Sunrrey:: Ashgate;.
     [Google Scholar]
  34. Kahn-Harris, Keith. ( 2007), Extreme Metal: Music and Culture on the Edge, Oxford and New York:: Berg;.
     [Google Scholar]
  35. Kahn-Harris, Keith. ( 2011;), ‘ Metal studies: Intellectual fragmentation or organic intellectualism?. ’, Journal for Cultural Research, 15:3, pp. 251–53.
     [Google Scholar]
  36. Kennedy, Lewis F.. ( 2018;), ‘ Functions of genre in metal and hardcore music. ’, Ph.D. thesis, Kingston-upon-Hull: University of Hull.
     [Google Scholar]
  37. Led Zeppelin ( 1975;), ‘ Kashmir. ’, Physical Graffiti, mp3 , London:: Swan Song;.
     [Google Scholar]
  38. London, Justin. ( 2012), Hearing in Time: Psychological Aspects of Musical Meter, , 2nd ed.., New York:: Oxford University Press;.
     [Google Scholar]
  39. Loudwire ( 2017;), ‘ 10 sickest breakdowns of all time. ’, YouTube , https://www.youtube.com/watch?v=HCx0vLoLYzo. Accessed 27 September 2018.
  40. Lucas Demon ( 2018;), ‘ Top 8 Japan breakdowns deathcore. ’, YouTube , https://www.youtube.com/watch?v=npNuQ00Etts. Accessed 28 September 2018.
  41. McDonald, David A.. ( 2009;), ‘ Poetics and the performance of violence in Israel/Palestine. ’, Ethnomusicology, 53:1, pp. 58–85.
     [Google Scholar]
  42. Metallica ( 1988;), ‘ One. ’, …And Justice for All, mp3 , New York:: Elektra Records;.
     [Google Scholar]
  43. Moore, Doug. ( 2012;), ‘ The heavy part: Slowdowns, slams, and breakdowns. ’, Invisible Oranges , 30 July, http://www.invisibleoranges.com/feature-the-heavy-part-slowdowns-slams-and-breakdowns-doug-moore-raw/. Accessed 28 September 2018.
  44. Osborn, Bradley. T.. ( 2010;), ‘ Beyond verse and chorus: Experimental formal structures in post-millennial rock music. ’, Ph.D. thesis, Washington: University of Washington.
     [Google Scholar]
  45. Overell, R.. ( 2013;), ‘ ‘[I] hate girls and emo[tion]s’: Negotiating masculinity in grindcore music. ’, in T. Hjelm,, K. Kahn-Harris, and M. LeVine. (eds), Heavy Metal: Controversies and Countercultures, London:: Equinox;, pp. 201–27.
     [Google Scholar]
  46. Pantera ( 1990;), ‘ Domination. ’, Cowboys from Hell, mp3 , New York:: Atco Records;.
     [Google Scholar]
  47. Parkway Drive ( 2007;), ‘ Boneyards. ’, Horizons, mp3 , Los Angeles:: Epitaph;.
     [Google Scholar]
  48. Pieslak, Jonathan. ( 2007;), ‘ Re-casting metal: Rhythm and meter in the music of Meshuggah. ’, Music Theory Spectrum, 29:2, pp. 219–46.
     [Google Scholar]
  49. Pillsbury, Glenn T.. ( 2006), Damage Incorporated: Metallica and the Production of Musical Identity, New York and London:: Routledge;.
     [Google Scholar]
  50. Purcell, Natalie J.. ( 2003), Death Metal Music: The Passion and Politics of a Subculture, Jefferson, NC and London:: McFarland & Company;.
     [Google Scholar]
  51. Riches, Gabrielle. ( 2011;), ‘ Embracing the chaos: Mosh pits, extreme metal music and liminality. ’, Journal for Cultural Research, 15:3, pp. 315–32.
     [Google Scholar]
  52. Riches, Gabrielle. ( 2014;), ‘ Brothers of metal! Heavy metal masculinities, moshpit practices and homosociality. ’, in S. Roberts. (ed.), Debating Modern Masculinities: Change, Continuity, Crisis?, Basingstoke:: Palgrave Macmillan;, pp. 88–105.
     [Google Scholar]
  53. Sepultura ( 1991;), ‘ Dead Embryonic Cells. ’, Arise, mp3 , New York:: Roadrunner;.
     [Google Scholar]
  54. Sergeant, D. ( 2011;), ‘ What is the best breakdown of all time???. ’, MetalSucks , 13 April, http://www.metalsucks.net/2011/04/13/what-is-the-best-breakdown-of-all-time/. Accessed 28 September 2018.
  55. Slayer ( 1986;), ‘ Raining Blood. ’, Reign in Blood, mp3 , New York:: Def Jam;.
     [Google Scholar]
  56. Smialek, Eric T.. ( 2015;), ‘ Genre and expression in extreme metal music, ca. 1990–2015. ’, Ph.D. thesis, Montréal: McGill University.
     [Google Scholar]
  57. Solberg, R. T.. ( 2014;), ‘ “Waiting for the Bass to Drop”: Correlations between intense emotional experiences and production techniques in build-up and drop sections of electronic dance music. ’, Dancecult: Journal of Electronic Dance Music Culture, 6:1, pp. 61–82.
     [Google Scholar]
  58. spikehell18 ( 2011;), ‘ Top 28 most brutal breakdowns in metal EVER!. ’, YouTube , https://www.youtube.com/watch?v=7CCbj5xZrCQ. Accessed 27 September 2018.
  59. Tyler TheDrummerr ( 2013;), ‘ Most eargasmic breakdowns ever | Part 8. ’, YouTube , https://www.youtube.com/watch?v=HTIkl5b-JoQ. Accessed 27 September 2018.
  60. UNFD ( 2014;), ‘ In hearts wake – Truenorth. ’, YouTube , https://www.youtube.com/watch?v=4x0VzfISF_o. Accessed 28 September 2018.
  61. Vasan, Sonia. ( 2011;), ‘ The price of rebellion: Gender boundaries in the death metal scene. ’, Journal for Cultural Research, 15:3, pp. 333–49.
     [Google Scholar]
  62. Veil of Maya ( 2012;), ‘ Numerical Scheme. ’, Eclipse, mp3 , Washington:: Sumerian;.
     [Google Scholar]
  63. Waka Flocka Flame ( 2012;), ‘ Hard In Da Paint. ’, Flockaveli, mp3 , Burbank:: Asylum Records;.
     [Google Scholar]
  64. Walser, Robert. ( 2014), Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, , new ed.., Middletown, CT:: Wesleyan University Press;.
     [Google Scholar]
  65. Wu, David. ( 2017;), ‘ Six reasons why your breakdowns suck. ’, MetalSucks , 21 February, http://www.metalsucks.net/2017/02/21/six-reasons-why-your-breakdowns-suck/. Accessed 28 September 2018.
  66. Gamble, S.. ( 2019;), ‘ Breaking down the breakdown in twenty-first-century metal. ’, Metal Music Studies, 5:3, pp. 337–354, doi: 10.1386/mms.5.3.337_1
     [Google Scholar]
/content/journals/10.1386/mms.5.3.337_1
Loading
Breaking down the breakdown in twenty-first-century metal
Metal Music Studies 5, 337 (2019); https://doi.org/10.1386/mms.5.3.337_1
/content/journals/10.1386/mms.5.3.337_1
/content/journals/10.1386/mms.5.3.337_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): analysis; breakdowns; fandom; listening; metal; metalcore; moshing; music

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test