Part VI Page 2
More recently, doom metal has seen its efforts accompanied and influenced by a more gothic and atmospheric influence, in which haunting female vocals that alternate with male death metal growls have already become a standard. Theatre of Tragedy and Tristania have formed what is perhaps the measuring point for this newer approach, called doom metal by some but bearing characteristics that differentiate both styles. This, however, is far from being noticeable in just a couple of bands, as many newcomers have taken to the approach, while others, such as Tiamat and The 3rd and the Mortal, explore the use of acoustic guitars and wide atmospheres reminiscent of Pink Floyd, and Theatre of Tragedy switches gear into the exploration of electronic music intertwined with metal.
Meanwhile, back in the Eighties and out of the doom metal scene and the Misfits was Glenn Danzig, the man responsible for Samhain and Danzig. The first was much heavier than the punk music of the Misfits, yet it shared much of the aforementioned band's shock imagery. Shortly after the release of November Coming Fire, Danzig disbanded Samhain and created Danzig, which's self-titled debut album consisted of a variety of feelings which ranged from haunting to melodic to powerful, all circling about the soulful persona of Glenn Danzig. The unique musical style, reminiscent at times of early Black Sabbath, along with its openly Satanic image, lasted during four outstanding albums, only to change direction after the industrial metal revolution of the Nineties. Along with the aforementioned bands, Loudness and King Diamond, then formerly of Mercyful Fate, would also help maintain a more traditional heavy metal sound alive throughout that decade. King Diamond moved progressively away from speed metal and gradually incorporated his grunts and high-pitched squeals increasingly into his music, while the Japanese Loudness released constantly powerful albums throughout the Eighties, such as Thunder In the East and Soldier of Fortune. Others like GWAR, Haunted Garage, and Green Jelly expanded on the shock rock approach by worrying more about costumes, stage shows and videos than about music, alienating censorship organizations along with bands like the controversial and infamous W.A.S.P.
