Djent - is a genre in the underground metal scene. The word "djent" is an onomatopoeia for a heavily palm-muted, distorted guitar chord. It is generally considered to have been made popular by Fredrik Thordendal of Meshuggah. Typically, the word is used to refer to music that makes use of this sound, to the sound itself, or to the scene that revolves around it. Its meaning is the subject of much debate, and there is some controversy in regards to its classification as a new subgenre. The Internet has been key to the development and distribution of djent music, with websites such as got-djent.com, SoundCloud and the guitar forum sevenstring.org playing a large part in creating fanbases for many more popular djent bands such as Periphery.
Although Meshuggah are typically credited as the fathers of djent, bands and musicians considered to have instigated the birth of the modern djent scene are Periphery, TesseracT, Chimp Spanner, Vildhjarta and the now defunct band Fellsilent. Other bands of the scene are Monuments, Volumes, and The Contortionist. Some progressive metal bands that are not part of the scene have some similar characteristics, and are also sometimes referred to as djent. These include Textures, SikTh, Born of Osiris, After the Burial, Mnemic, Veil of Maya, Animals as Leaders and Meshuggah themselves. Djent guitarists and bassists typically use extended range instruments in extremely low tunings, another influence of Meshuggah.
While the origin of the word is generally agreed upon, its precise meaning is contested and it is used in a variety of different ways.
Djent, in its original meaning, is simply a short, metallic, palm-muted sound made by an electric guitar using mid to high range gain. The guitars often have a very prominent midrange tone and the bass guitar usually has a distorted tone focused towards the low frequencies. Another type of sound often referred to as djent is achieved by low tuned, open note syncopated riffing, often used during a breakdown for more metalcore influenced bands.
Djent is also used as a stylistic grouping of bands that incorporate these sounds into their music. It is argued by many that this grouping constitutes a new subgenre of metal, but equally many are vehemently opposed to this notion.
Djent drumming is often characterized by complex polyrhythmic patterns, with the snare often maintaining a 4/4 pulse, while the bass drum follows the rhythmic patterns of the guitar playing. Djent drumming is very well known for its likeness to jazz in the sense of its use of numerous ghost notes and its steady pulse (usually on the hi-hat). Djent drummers include Thomas Haake of Meshuggah, Travis Orbin of Sky Eats Airplane and Navene Koperweiz of Animals as Leaders.
Though djent incorporates heavy and polyrhythmic guitar riffs, polyrhythmic drum beats, and harsh vocals, it also incorporates ambient, melodic passages, utilizing clean and chorused guitar tones and conventionally sung vocals. Some djent artists are instrumental, such as Animals as Leaders and Chimp Spanner.
As a style descriptor, it describes music that makes use of the palm-muted chord that the word originally referred to. This leaves room for various other musical qualities, with only one element that remains consistent across bands and songs. Many modern progressive metal bands have been associated with the genre when their use of the chord is in fact limited. This seems to be in accordance with the typical evolution of a musical genre. Modern progressive metal bands may be mislabeled as Djent simply because Djent bands take much influence from the progressive metal genre, meaning that these bands share many stylistic traits such as odd time signatures, technically challenging and complex instrumentation and unclean vocals. Recent trends also tend to feature generous use of keyboards, ambient sounds, minimal-to-extensive use of synthesizers and programmed electronics, heavy digital processing and the addition of elements found in jazz fusion.
Djent - is used to describe a certain kind of guitar tone characterized by medium-high gain, a quick-release noise gate to emphasize staccato playing, a cut of most bass below 200Hz for a tight low end, a slight boost around 800hz for clarity, and a noticeable boost around 1.6Khz to emphasize pick attack. When a two-octave power chord is palm-muted with this tone, a “djent” sound is created rather than the typical chunkier sound.
Source: Urban Dictionary
Additional Info :
Hardcore techno has given us donk, electronica has skweee, and now heavy metal can boast the addition of its own onomatopoeic microgenre: djent. The sound of a heavily digitally processed power chord, djent is the name for the elastic, syncopated guitar riff beloved of a new breed of progressive metal musicians. So far, so muso – but the interesting thing about djent is that this scene doesn't exist in a traditional geographic sense. Although inspired by bands such as Sweden's tech-metal pioneers Meshuggah – who coined the term "djent" a decade ago – and the British band Sikth, the genre and its distinctive sound has been driven forward by bedroom guitarists using virtual amp setups and computer recording programmes, then trading songs, riffs and tips on online forums – a kind of Second Life for guitar geeks.
"Djent is really an online phenomenon," explains Sander Dieleman, webmaster of got-djent.com. "The internet gives young artists a way to easily share their music, and it's very easy to produce professional-sounding music in your bedroom. If you want to play djent, all you need is a guitar, a computer, a guitar interface and understanding neighbours."
While such home recording techniques have been the preserve of digital recording artists producing techno, dubstep and electronica for some years now, it took the perseverance of one guitarist, Misha Mansoor, to bring this 21st-century philosophy to the metal realm. It was his online sharing of solo compositions (and liberal use of the term "djent") over the past five years that kickstarted the movement, with a whole host of djent and djent-influenced bands springing up worldwide over the last year.
"I just saw it as the name for a palm-muted chord, but now it has popped up as a genre," Mansoor says. "It's kind of surprising." And the release of the debut album by his band Periphery has dragged djent from the virtual world into the real one. The Maryland group have just completed a successful European tour with like-minded UK acts TesseracT and Monuments (titled The League of Extraordinary Djentlemen tour, naturally), and this summer they will rub shoulders with the likes of Slayer, Metallica and Slipknot at the UK leg of the Sonisphere festival. But embarking on the traditional metal pursuit of hitting the road doesn't mean they've left their online roots behind. "I'd say that 95% of people who turn up to our shows are bedroom musicians or gear nerds like me," says Mansoor. "Other bands get groupies; we get guys who want to know what string gauges I use or what programmes I record with."
More than most genres, metal has a chequered history when it comes to the internet, not least Metallica's public spat with file-sharing website Napster. For the old guard, it has been something to fear; but for this new generation, it represents opportunity and a way to circumvent the established networks. "It's very hard for someone who has built their entire careers or empires on a certain way of life to accept something which transforms that as anything other than destructive," Mansoor says. "But people who are able to see opportunity in the new system are the ones that will survive. We are taking advantage of this uncertainty, this blank page, of how the music industry is going take shape over the next five or 10 years."
And despite its geeky roots and its occasionally dizzying technical nature, Mansoor is confident djent can make an impact on the mainstream. "It's not prog for the sake of prog, or just showing off and confusing people. There's stuff there that will appeal to the casual listener. It can be pretty radio-friendly," he argues. Dieleman, however, is more circumspect: "Outside the scene, I suspect djent may be looked down upon – it's not 'true metal' after all. But we don't really care. We keep to ourselves pretty much."
Source : http://www.guardian.co.uk/music/2011/mar/03/djent-metal-geeks
Why djent? Why now?
This new movement that has seemed to overtake the entire metal genre within a matter of several months has its upsides and downfalls. Djent, aptly titled by none other than one of its founding musicians, Misha “Bulb” Mansoor, has become increasingly popular with young DIY bands around America, utilizing humble home studios and downtuned or extended range guitars for the soul purpose (in my opinion, mind you) of ripping off Meshuggah. Now, there is a strong reason why many of these bands choose to go this route with their music. Here are the several that I find the most irritating or misplaced.
With a fragment of musical knowledge, pretty much anyone can play odd-timed symmetrical riffs, and they all sound pretty awesome when played in a supra-low tuning. The issue presented is now that there are FAR TOO MANY people doing jus this. There is no creativity, there is no ingenuity, there is no innovation. This has become a trend.
They may have “innovated,” but utilized musical techniques that don’t suit the djent sound as well. Particularly, the use of singing within the vein of the modern “young hardcore” sound. A pre-pubescent boy singing isn’t the most pleasing thing to hear, and detracts from any music in my mind. The least brutal thing I could think of is Justin Bieber singing over any Meshuggah song.
There are only a handful of artists with legitimate skill and talent within the genre. And when I say a handful, I literally mean like five or six bands. Everyone else is utter shit, worthless to the entire music industry, and clogging the internet with their copyright infringing fuckery. And the difference between those bands and the rest of them are the facts that maybe they use some of the same techniques, but they’ve definitely expanded upon and created something unique that can contribute to the metal genre.
Now, I’m betting you guys want to know what bands those are. And I know I’ll catch some grief for being so bluntly honest about it, but this is my music blog and if you don’t like my opinions, well that’s the basis of American life, and you can start your own blog and preach your own opinions!
The obvious choice in my readers’ minds is probably Periphery, a band so essential to this entire article, there probably wouldn’t be a djent movement without them. Well, here’s the thing. They are good, extremely talented musicians with a lot of potential, but their debut album was kinda shitty. It doesn’t take a musical genius to see that these dudes know what the fuck they are doing, and are fully capable of writing unique and creative songs, but for some reason, they waited until the last song on the album to truly showcase that. And that song was 15 minutes long, something that just doesn’t work for this genre (being progressive but short…oxymoron but fathomable). Every other song has its moments of clarity, but is muddled down by the trudging, boring, and downright disinteresting parts. And, the fact that their vocalist just doesn’t sound that great. It’s very clear that he can sing with the best of ‘em, but his vocals are mixed so strangely and sit within the final master that it certainly distracts me. Overall, they are still a band to watch carefully and I’m sure as they mature as a band (this lineup is the longest lasting in the band’s entire history), they will find their stride more effectively.
Uneven Structure started off as one of those aforementioned DIY bands with a couple computer programs and 8-string guitars, creating music and uploading it to youtube of all places for critique. But that all changed as the band released a teaser of their latest album, Februus. Suddenly, this band had transformed into something totally unique, creating massive ambient textures surrounding lateral guitar riffing, with both devastating screams and unbelievable singing. I mean, INCREDIBLE singing!!! The band being recently signed to Basick Records even further cements them with the top dogs in the category, and I couldn’t be more excited for a new release (exaggerated…I’m really much more excited for just about every album this year, but this is the only djent album I’m anticipating).
Tesseract, hailing from Britain and containing members from the defunct Fellsilent, has what it takes to create masterful music in general. The fact that they play a fusion of djent and truly progressive rock/metal sets them apart from the rest of the trend-following sheep. Utilizing clean vocals more often than not, incorporating strange instrumentation, and actual melody reminiscent of early art rock like Genesis and Yes!, their debut album is a joy to listen to, as well as interesting to dissect and analyze. It is everything that made Rush so awesome to listen to, it sounds big, it has rememberable melodies, catchy sections and wacky instrumental sections.
Benea Reach, though a fairly older band (at least, older than most of the previous ones), has much more potential as the band to destroy djent from the inside. They use the same big production style, the same silly technique, but create songs that are actually heavy, actually emotional, and actually intelligent. They don’t fake anything, their last album was released in 2008, before Periphery was anywhere near a signed band, and Meshuggah had yet to release ObZen (the album of choice for most djent noobs to rip riffs from). They rip, they lay down the groove, they relax and build atmosphere, and they create music that’s completely worthwhile to listen to.
There are the few instrumental bands making waves for not only djent but instrumental music in general, however they share too much similarity with progressive music or solo-guitar music to be classified either way. And for a band like Animals As Leaders, they’ll continue to bend genre and break boundaries. Others include Chimp Spanner, Piotrek Gruszka, Cloudkicker, and Kevin Suter.
I haven’t completely given up on this movement yet, but I’ve certainly stopped hoping for something unique with every band that seems to pop up on a youtube search. There are some prospects out there still (We Are the Illusion for one) and there is still some room for improvement.
List Of Djent Bands :
MESHUGGAH (Father of Djent)
Meshuggah first attracted international attention with the 1995 release Destroy Erase Improve for its fusion of fast-tempo death metal, thrash metal and progressive metal with jazz fusion elements. Since its 2002 album Nothing, Meshuggah has used downtuned eight-string guitars. Meshuggah has become known for innovative musical style, complex, polymetered song structures and polyrhythms. They were labeled as one of the ten most important hard and heavy bands by Rolling Stone and as the most important band in metal by Alternative Press. Meshuggah has found little mainstream success as yet, but is a significant act in extreme underground music.
Periphery was formed by guitarist Misha Mansoor in 2005. He slowly gained a reputation on the Internet, primarily via a regularly-updated Soundclick account, Meshuggah and John Petrucci forums, and the sevenstring.org message boards. Before and during Periphery’s tenure in the metal scene, Mansoor developed a reputation for doing his own audio production, the majority of which was performed with a home computer and a Pod XT during this period.
is a one-man-band created in France in 2009 by Rémi Gallego. Oscillating between electronic, ambient, mathcore and progressive metal, he released his first demo called « The Doppler Effect » in December 2009, then a second one called « CRITICAL.ERROR » in July 2010.
Since the formation of the band’s five-piece line-up in spring 2007, TesseracT have picked up richly deserved props from peers (Textures, Meshuggah) and press alike (Metal Hammer, Rock Sound, Scuzz). Following the release of their 2007 demo, TesseracT continue to cultivate a growing International fanbase, through well recieved UK and European tour dates and internet word of mouth. Their reputation of delivering jaw-dropping live performances has been furthered fuelled through appearances at Bloodstock, Hammerfest, Caos Emergente in portugal and the recent Hellfire 2 festival at the Birmingham NEC arena.
SikTh formed in late 1999, but consolidated their line-up in March 2001. That line-up consisted of dual vocalists Mikee Goodman and Justin Hill, guitarists Dan Weller and Graham Pinney, bassist James Leach and drummer/percussionist Dan Foord.
Their first official release was an EP titled Let the Transmitting Begin. Released in 2002, it featured three tracks, as well as a limited edition live CD from the BBC Radio 1 recordings of the same songs.
Source : http://www.google.co.uk/url?sa=t&source=web&cd=4&ved=0CDQQFjAD&url=http%3A%2F%2Fwheretheblog.wordpress.com%2F2010%2F12%2F25%2Fmy-top-25-djent-bands-this-december-25-2010-merry-christmas%2F&ei=BwreTYLDEIHIhAfjr5XNCg&usg=AFQjCNFA3KWIyYVJz084XlbrE3JPkS81WA
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