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Thankfully, things quickly get back on track with an electrifying sprint down the home stretch to the finish line. Kirk and Trujillo jam out the riff to London Calling by The Clash, while James dedicates Moth Into The Flame to the capital's favourite fallen daughter, Amy Winehouse .

According to Ian Christe , avant-garde metal emerged from death metal as a number of musicians "abandoned the tightly wound structure of the music and experimented with abstractions of its founding elements". [5] Progressive rock has also been cited as an influence. [6] Some early examples are the King Crimson releases Larks' Tongues in Aspic and Red in 1973 and 1974 respectively, [7] [8] with the latter album's title track defining an "avant-metal style" that Robert Fripp would revisit years later. [8] Another early example is the 1976 Led Zeppelin album Presence . [9] Pioneers of avant-garde metal include Celtic Frost , [10] Gorguts , Boris , [11] Earth , [12] Helmet , [13] Mayhem , [14] maudlin of the Well , [15] Neurosis , [16] Sunn O))) , [17] Mr. Bungle , [18] Today is the Day , and Voivod . [10] In the late 1990s, Misanthropy Records emerged as a promoter of Norwegian avant-garde metal until it folded in 2000, [19] and, according to Jeff Wagner, in the late 1990s and early 2000s, a so-called "new wave of avant-garde metal" was spearheaded by The End Records . [19] Wagner states that "with the support of [Misanthropy and The End Records] and other specialty labels, metal's new avant-garde had arrived." [19] Some other record labels which promote avant-garde metal are Aurora Borealis, [20] The Flenser , [21] Holy Records , [22] Hydra Head Records , [23] Ipecac Recordings , [24] Napalm Records , [25] the Release Entertainment imprint of Relapse Records , [26] Seventh Rule Recordings , [27] and Southern Lord Records . [28] In the United States, local avant-garde metal scenes have emerged in the San Francisco Bay Area with bands such as Giant Squid , Grayceon , and Ludicra , [29] in Boston , with bands such as Isis , Kayo Dot , and maudlin of the Well , and in Seattle . [30] According to The New York Times , some regional scenes that developed in the mid-1990s included the cities of Tokyo , Los Angeles , and Oslo . [11]

In 1990, Faith No More 's song " Epic " peaked at number 9 on the Billboard Hot 100 . [37] 311 became popular in the 1990s; the band's self-titled album was certified 3x platinum by the Recording Industry Association of America (RIAA) in 1998. [38] 311's album Transistor was certified platinum by the RIAA one month after its release date. [39] In 1996, Rage Against the Machine's album Evil Empire peaked at number 1 on the Billboard 200 . [40] Evil Empire was certified 3x platinum by the RIAA on May 24, 2000. [41] Rage Against the Machine's self-titled album also was certified 3x platinum by the RIAA on May 24, 2000. [42] Rage Against the Machine's self-titled album peaked at number 2 on the Catalog Albums chart in 1996. [43] In 1998, Kid Rock released his album Devil Without a Cause . The album was very popular; selling a lot during both 1999 and 2000, Devil Without a Cause eventually was certified 11x platinum by the RIAA. [44] Limp Bizkit's 1999 album Significant Other peaked at number 1 on the Billboard 200, selling 643,874 copies in its first week of release, topping over one million sold in two weeks, [45] and being eventually certified 7x platinum. [46] Significant Other sold at least 7,237,123 copies in the United States. [47] In November 1999, Rage Against the Machine's album The Battle of Los Angeles peaked at number 1 on the Billboard 200. [40] The Battle of Los Angeles was certified 2x platinum by the RIAA one month after its release date. [48]

It’s one of the most indelible images of the 1960s: Dustin Hoffman, the first time that most moviegoers had ever seen him, heading through the Los Angeles airport, a gaze of powerfully morose blankness on his face as Simon & Garfunkel’s rapturous ode to despair floods the soundtrack. By the time the opening credits of “The Graduate” are over, we already know, just as a result of that song, more about what’s haunting Hoffman’s Ben than almost anything else in the movie will tell us. And when the song returns at the end, after Ben has “won the girl,” what it shows you is that in our alienated new youth culture, you can run, but you can’t hide, from the sound of silence.


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