It is rather commonplace among certain circles to engage in lamentations over the current state of 金属 和 a perceived disconnect between the classic glory days of high adventure with contemporary mediocrity.
Long-time readers of this site for example are probably quite 采用d to hearing – or even expressing –诸如“自1994年以来金属已经死亡”之类的观点 [或93或95甚至96，具体取决于谁在讲话].
为了更深入地了解这个“问题”，至关重要的是要了解这并不一定意味着没有“好”问题。– or even “great” – 金属 albums released since the early 90’s. Even our legendarily exigent site founder has made note of numerous releases from 最近十年， 乃至 前一年，他认为至少具有一定程度的音乐知名度。
The 1970’s 和 early 1980’s saw the codification of the “classic/traditional” Heavy 金属 风格, the mid-80’s the codification of Speed/Thrash 金属, 和 the late 80’s/early 90’s codification of Death 和 Black 金属. Despite the autistic drive of Internet 采用rs to make up countless fictional sub-genres, these are the main 风格s of 金属 [其“一些简短思想”文章的可能主题]. Accordingly, no new major 类型s/styles/“languages” have been pioneered since the mid-90’s, 和 consequently, a relative dearth of truly iconic 和 original 声音ing new 金属.
Indeed it seems the best way to summarize the situation with Nowadays 金属 is that:
For the past two decades, the issue with new 金属 bands is that they either try to focus on formally “sounding like 金属” [and thus sacrifice 独创性], or alternatively indulge themselves as being “more than 金属” [and thus sacrifice 金属lic Desolation].
We are all familiar with the former scenario. It seems that almost any modern band gets its 声音 defined solely 通过 comparison to older bands or 风格s, not to mention general “retro” 和 “worship band” phenomena. “These guys 声音 just like an awesome cross between 毒液和莫特黑德”, “This new record 声音s just like Swedish Death 金属 but with a bit of an old-school 鞭打 kick”，等等，等等。
(Of course, upon encountering such statements as “this 声音s like classic band x!”, the question that should immediately arise within any discerning individual’s mind is naturally “why would I want to listen to this when classic band x already exists?”)
Examples of the latter is anything from the modern Indie/Post-Rock incorporating so-called “Black 金属” to explorations of explicitly Classical-influence, Jazzy “Prog”, Electro-Folk, 和/or “Atonal”/12-tone, etc. with, uh, “highly varying” degrees of success.
A possible piece of general advice to upcoming artists could be to primarily focus on making powerful, honest, quality music before worrying 关于 fitting into specific 类型 trappings/sounds of old [毕竟 黑色安息日 never consciously set out to make “Heavy 金属” when they created their legendary masterworks]……然而，在使用六弦亵渎之怒时，充满活力的汽车燃烧的必要性却丝毫不减。