American Head Charge

小簡(jiǎn)介
粗野、喧鬧、神經(jīng)質(zhì)般的緊迫焦慮，這極端化的形象也許是American Head Charge留給我們的第一印象，然而這支明尼蘇達(dá)波利斯樂(lè)隊(duì)的另一面卻鮮為人知。American Head Charge可以說(shuō)是如今金屬樂(lè)壇里最富有頭腦、最為吸引人的樂(lè)隊(duì)之一了。Martin和樂(lè)隊(duì)如今的貝斯手Chad的相遇于一個(gè)康復(fù)中心，從此他們便開(kāi)始了一起的合作，并組建樂(lè)隊(duì)。American Head Charge的歌激烈而憤怒，卻飽含真摯的情感，在他們的歌中充滿(mǎn)著不和諧的節(jié)拍、扭曲的歌曲結(jié)構(gòu)，還有震耳欲聾碾磨鼓膜的樂(lè)段——這同時(shí)與明快鮮亮的部分形成強(qiáng)烈的對(duì)照，并突顯音樂(lè)中力度的強(qiáng)烈轉(zhuǎn)變。
成立早期樂(lè)隊(duì)風(fēng)格為說(shuō)唱金屬，現(xiàn)在已成為美國(guó)重金屬新激流(NWOAHM)的重要一員
Born out of a chance meeting in rehab between Cameron Heacock and Chad Hanks, Minneapolis-based industrial metal collective American Head Charge match their brutally executed music with their behavior. Heacock and Hanks, now known as Martin Cock and Mr. H.C. Banks III, formed AHC in the late '90s, releasing their critically acclaimed debut, War of Art, in 2001. The record scored the band -- which by then included guitarist Bryan Ottoson, keyboardist Justin Fowler, and drummer Christopher Emery -- a coveted slot on that year's Ozzfest tour, at which point the group splintered into a violent, drug-fueled nonentity that became known more for its on-stage/backstage mayhem than for its excellent musicianship. As the year progressed, the bandmembers, despite frequent trips back to rehab and the occasional near-suicidal meltdown, managed to continue to filter their rage into creativity, resulting in their 2005 ambitious sophomore effort, Feeding, their first for the Nitrus/DRT label.