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Blam! music

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This fanfiction article, Blam! music, was written by Distant Tide. Please do not edit this fiction without the writer's permission.


Blam! is a contemporary hybrid genre combining elements of Electronica and Heavy metal music that gained popularity in the late twenty-fifth century among the Unified Earth Government colonies and the Insurrectionist movement. Favored for its often deafening percussion and anti-Earth subject matter, Blam! music has often served as cadence beats for public demonstrations and riots against police and security forces. The genre's name derives from the onomatopoeia of a firearm discharge, however, some later observers suggested the name insinuated a "blame" culture in relation to its resist music origins and the derived use by different ideological factions to push their messages through musical interpretation.

Originally suppressed during the Insurrection, government agencies took steps to minimize and combat the genre's popularity through and after the Human-Covenant War. However, the music's popularity persisted, making several resurgences over the decades. Blam! musicians often wear masks and helmets to hide their identities and carry portable DJ kits. Genre participants often associate with hacktivist organizations like the Pacem Network as propagators of their music.

The Blam! genre has also transformed over time, leading to new subgenres such as Blarg! disseminating from Sangheili refugee youth and Oni-Blam!, a pro-UEG counter-genre using similar musical techniques and rumored to originate from within the Office of Naval Intelligence. The bar for entry into the Blam! genre is fairly low and it is common for enthusiasts to make their own Blam! tracks. A popular but baseless rumor claims that Blam! music can disrupt the effects of supposed lethal sound weaponry, preventing untraceable assassinations.

Subgenres[]

Grand-Blam![]

Riot1

Blam!'s genre origins began as tools to sustain protests and riots during the Insurrection era.

Grand-Blam! refers to the experimental, early-age Blam! songs prominent from the Insurrection's prime. Lyrics are fairly consistent, discussing topics of colonial freedom and fighting against Earth-based imperialism. Sometimes lyrics were basic protest directions, guiding and organizing rioters in chaotic confrontations with police and security forces. The music was less about entertainment value and more for motivating protests or contributing to protests in an active role. Musicians were typically unknown, basking in their anonymity and recognized by their online pseudonyms. Sometimes musicians were anonymous collectives rather than individuals.

Popular Example(s):
  • "Rockerboy" by Red[2]
  • "Colonypunk" by Red[2]
  • "Far Isle" by F0r3v3r
  • "The Fist" by $oundbyte
  • "Charge!" by cR Bait
  • "Define Peace" by Pacem Network
  • "Freedom Fighter" by Fighter
  • "Don't Stop Moving" by Pacem Network
  • "Innie Drummer Boy" by URF_Bobbi
  • "Everyman" by James P. Biag[3]


Neo-Blam![]

Neo-Blam! refers to the brief resurgence of the Blam! genre during the period immediately after the Human-Covenant War. Similar to Grand-Blam!, Neo-Blam! is also insurgent-themed, intended to motivate popular rebellion against the Unified Earth Government. Unlike its predecessor, however, it is more entertainment-inclined and less obnoxious and intrusive. Neo-Blam! features more lyrical verses and more traditional music theory. The musical topics also tend to be more niche.

Popular Example(s):
  • "Kropotkin Rock" by R3d.Bl@ck[4]
  • "Free Giraud" by Free Giraud Inc.[5]


Boom![]

Boom! is considered the non-political, non-intrusive subgenre of Blam! music. While sharing the usual genre stylings of bombastic beats and limited vocals with Grand-Blam!, Boom! is not limited to a single subgenre style like other flavors of Blam! and features what seems to be the most diverse taste of the genre. Generally Boom! is popular with the post-Covenant War youth, of all backgrounds, and can be found playing in colonial and Earth nightclubs alike. It is often favored as motivational music and even played by some military units during physical training.

Popular Example(s):
  • "Rock Anthem for Saving the World" by Marty The Elder[6]
  • "Blow Me Away" by Broken Benji[6]
  • "Fanon" by The Founders


Oni-Blam![]

Oni-Blam! is a popular counter-movement Blam! subgenre, rumored to have originated from within the Office of Naval Intelligence, at least according to rebel conspiracy theorists. Oni-Blam! gained its designation from the rumors. In practice, the subgenre gained popularity with youth during post-Covenant War period, regardless of their ideologies. The music is less bombastic and features more lyrical work, similar to the Boom! genre. Unlike the suppression of Grand-Blam!, Oni-Blam! has rarely, if ever, been censored by government agencies. Many contributing artists to the so-called Oni-Blam! subgenre can be associated with the contemporary military-industrial complex. Oni-Blam! is not particularly popular with Blam! elitists.

Popular Example(s):
  • "Reach" by Marty The Elder[6]
  • "Fight For Her" by The O'Donnells[6]
  • "Believe" by Dylan Park
  • "Gungnir Mix" by Salvatori[6]
  • "Axios!" by Em'Sully[7]


Blarg![]

ProphetofSwag

An image of the purported "Prophet of Swag," its authenticity remains suspect.

Blarg! is a subgenre of Blam! born of Covenant refugees stranded on human worlds after the Human-Covenant War. While as loud and obnoxious as other Blam! subgenres, Blarg! is tailored to the sensibilities and sensitivities of Sangheili youth, many overexposed to human popular culture. Attempts at interesting a human audience have produced mixed results, drawing both success and complaints of incoherency. Academically among humans, Blarg! has also come to encompass any similar musical styles with Covenant origin. Blarg! is occasionally referred to as "Covenant-Blam!" or "alien white noise."

Popular Example(s):
  • "Wort Wort Wort" by Earth's Shipmaster
  • "Dear Demon" by Prophet of Swag[8]
  • "Born in 'da Passage" by The Baby Kongs[9]
  • "Sanghelios Über Alles" by Kaidon's Bastards[10]

Notable Contributors[]

Individuals[]

  • Dylan Park: Former Marine and Covenant War veteran, "Fotus"[11] Park is a costume-touting rocker with a varied musical discography. An original member of the military-style rockband Fist of the Unicorn, he has played both in a group and as a solo act. His contributions to Blam! generally fall under ONI-Blam! subgenre.
  • Earth's Shipmaster: An anonymous Sangheili refugee operating out of the Low Benefaction integrated alien slum, Earth's Shipmaster is believed to be the original propagator of Blarg!, the alien subgenre of Blam!. His musical pieces are popular with human and alien youth alike, including culturally-conservative Swords of Sanghelios territory. However, their method of distribution beyond Earth remains unknown.
  • Marty The Elder: A highly-secretive musician with considerable contributions to the Blam! genre, his identity remains anonymous however there is speculation that he was among the first composers for the Blam! genre. While his works continued to be released through 2558, his musical pieces tended to vary across the political spectrum causing some confusion to his allegiances and intent.
"Rising from humble beginnings as a lyrical scribe within the Ministry of Bling, San’Shyuum prodigy Craybae Can’Teven soon found himself elevated to the title Prophet of Swag. Free from the trappings of a far more basic political persuasion, the Prophet of Swag was able to leverage his station to build a vivacious and vocal following who hung on every wild-waddled word. Craybae underpinned his philosophies with ancient late-20th century manuscripts that he assumed were of Forerunner origin, which included such wisdom as “The rejected stone is now the cornerstone. Sort of like the Master Builder when I make my way home.” Craybae's lyrical anthology "Back for More" was considered an unrivaled artistic achievement amongst the creative elite."
― Canon Fauxder, Issue 1: Believe[12]
  • Salvatori: A frequent collaborator with Marty The Elder in the reemergence of Blam! popularity, however, he too is something of a mysterious entity. His work has an apparent classical take on the Blam! genre while the political content generally follows tradition of ONI-Blam!.

Collectives[]

DT Dona Nobis Pacem

The Pacem Network, a Insurrectionist hacktivist group.

  • Pacem Network: A group of Insurrectionist hacktivists without a central command hierarchy, operating across ChatterNet with assistance of home-grown artificial intelligence. Their contributions to the Blam! genre go back to the very beginning of the Insurrection and the musical protest movement. They often make reference to decolonization themes from the twenty-first and twenty-second centuries.
  • Red: The face of the Grand-Blam! subgenre and possibly the entire Blam! genre collective. Active during the Insurrection, the anonymous musician did not make a reemergence with the post-War resurgence of the Blam! genre. Given his inactivity, many policy analysts and fans believe he either retired or died at some point during the Insurrection or Covenant War. A cult following claiming Red still lives exists though not much is known about the shady religious organization fostered around the musician's legacy[13].
  • The Founders: An unlikely collective of self-described "angry, groundbreaking" musicians that want to redefine the Blam! genre from the ground up. They often claim to be superior to original works from the Insurrection era, however, their contributions to the genre seem rather inconsequential. While their music has drawn a decent fanbase, it can be said that nobody takes their claims outside the music seriously.
  • The O'Donnells: Self-described family group that makes Blam! music among other genres. Very diverse discography. Some fans suspect a relation between The O'Donnells and Marty The Elder but no conclusive evidence has been brought forward yet.

See Also[]

Appearances[]

References[]

  1. ↑ Ghost in the Shell: Global Neural Network, Redbloods - Panel assembly by Alex de Campi, Giannis Milonogiannis, Daniela Miwa, Jodi Wynne
  2. ↑ 2.0 2.1 Indirect reference to Cyberpunk 2077 developer, CD Projekt Red. The Rockerboy character class from the Cyberpunk franchise directly inspired the Blam! music article.
  3. ↑ James P. Biag is a background character by the user Distant Tide. Biag is the author of the Insurrectionist manifesto, The Poltergiest, and is known to dabble in dozens of unrelated hobbies, calling himself an "everyman."
  4. ↑ Commune of Kropotkin by slowfuture.
  5. ↑ Reference to Benjamin Giraud from the Halo 5 marketing campaign, Hunt the Truth.
  6. ↑ 6.0 6.1 6.2 6.3 6.4 Direct references to music and musicians related to the Halo franchise. See: Marty O'Donnell, Michael Salvatori, and Breaking Benjamin.
  7. ↑ Running gag by user Distant Tide to include the canon character Michael Sullivan in any odd, comedic human media ideas during the post-Covenant War period.
  8. ↑ Song title inspired by rapper Eminem's Stan; the fanon song references John-117. Artist name is taken from an April Fools' character created by 343 Industries: The Prophet of Swag.
  9. ↑ Song title and band name suggested by user Slower Than Most. Song title likely based on Born in the USA by rock musician Bruce Springsteen. Story behind the song name and band name is that Jiralhanae youth were born and raised aboard the criminal luxury cruiseliner, the Transcendent Passage, the band adopted a human monikor for their species as their band name.
  10. ↑ Song title inspired by the punk rock band, Dead Kennedys, and their song California Über Alles. The fanon song name is German, translated roughly as "Sanghelios above everything." Song and band names suggested by user Slower Than Most.
  11. ↑ Nickname taken from wearing a costume similar in appearance to FOTUS-class MJOLNIR power armor.
  12. ↑ Halo Waypoint: Canon Fodder 2015 April Fools Ed. "Believe"
  13. ↑ Indirect reference to the paper-and-dice roleplaying game Cyberpunk 2020 by publisher R. Talsorian Games. One of the cyberpunk gangs featured in the edition was called The Elvises because they worshipped Elvis Presley and often received cybernetic enhancements to impersonate their idol.
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