Last Updated on January 8, 2026 by Christian Adams
The letters of the alphabet may have been created equal, but you can’t say the same thing about rock music genres. The letter D has more than its share of misfits and malformations. Can you guess why? I’ll give you two words: death and doom. If I knew I’d be writing about and listening to so much metal music, I probably wouldn’t have started this whole “rock genres explained” gambit. Sigh.
Nevertheless, we soldier on with our march to explain the most popular rock genres that start with the letter D.
Dance punk
| Origins: | Late 1970s American and British post-punk and new wave |
| Peak popularity: | 1977–1989, 2001–present |
| Defining artists: | Talking Heads, Gang of Four, English Beat |
| Exemplary album: | Gang of Four, Entertainment! (1979) |
Dance punk, also known as disco punk or punk funk, emerged in the late 1970s, blending the raw energy of punk rock with upbeat tempos, thick bass lines, and danceable rhythms and grooves. Bands like Talking Heads and Gang of Four pioneered this fusion, incorporating funk and disco elements into their punk sound. Other groups associated with the dance punk genre include Public Image Ltd., Sparks, and New Order.
The genre slowly declined throughout the 1990s but enjoyed a post-punk revival in the early 2000s with acts such as LCD Soundsystem, Franz Ferdinand, and Arctic Monkeys, who infused modern electronic influences into the style.
Dance rock
| Origins: | Late 1970s post-disco, new wave, and post-punk |
| Peak popularity: | 1980–1993 |
| Defining artists: | Duran Duran, Simple Minds, Devo |
| Exemplary track: | “Emotional Rescue” by the Rolling Stones (1983) |
A merger of post-disco and post-punk appeared in the late 1970s and gained prominence in the 1980s. Bluntly, if it’s got a guitar riff, keyboards, and 120+ beats per minute to encourage dancing, you could call it dance-rock. A vast swath of music from the Rolling Stones, David Bowie, INXS, and Depeche Mode falls under the dance-rock genre. Other examples include Prince, New Order, Blondie, and Talking Heads.
“Another One Bites the Dust” by Queen (1980) was an early indicator of dance rock. However, I don’t remember anybody talking about “dance-rock” in 1980, so the term is a contrivance.
Dark cabaret
| Origins: | 1930s experimental German cabaret (Bertholt Brecht and Kurt Weill) |
| Peak popularity: | 1974–2009 |
| Defining artists: | The Doors, Steve Harley & Cockney Rebel, Marc Almond, Nina Hagen, Dresden Dolls |
| Exemplary tracks: | “Hideaway” by Steve Harley and & Cockney Rebel (1973) and “Du hast den Farbfilm vergessen” by Nina Hagen (2004) |
Believe it or not, the Doors were an important precursor to what’s called dark cabaret (or dark burlesque). They were among the first rock bands to record a Brecht & Weill composition. “Alabama Song (Whiskey Bar)” appears on their 1967 debut album. Today, the genre is Weimar-era theatrical cabaret with the edginess of punk and goth aesthetics. It often features minor key melodies, dark themes, and a dramatic flair reminiscent of burlesque and vaudeville performances.
The main idea is to be musically captivating and visually striking, with a touch of the morose or spooky, but not quite into the shock rock spectrum.
Dark rock
| Origins: | n/a |
| Peak popularity: | n/a |
| Defining artists: | n/a |
| Must-hear album: | n/a |
Another redundant genre of rock, another name for goth rock. Who does this remind you of? Somber tones, minor key progressions, atmospheric instrumentation, and existentialism. If you said, “The Cure,” you’re on the money.
Darkwave
| Origins: | Early 1980s European music press |
| Peak popularity: | 1980–1991 |
| Defining artists: | Bauhaus, Joy Division, the Cure, Siouxsie and the Banshees, the Sisters of Mercy, Anne Clark, Depeche Mode, Gary Numan |
| Must-hear album: | n/a |
A European media contrivance used to describe a variant of new wave and post-punk that emerged in the late 1970s, blending the mercurial aesthetics of post-punk with new wave technology. It features synthesizer-driven tropes, self-absorbed lyrics, runny mascara, and a sad atmosphere. The term was used to embrace new wave and post-punk artists within yet beyond the goth spectrum, as many groups were eager to distance themselves from the gothic association.
D-beat
| Origins: | Late 1970s European hardcore punk |
| Peak popularity: | 1980–present |
| Defining artists: | Discharge, Anti Cimex, Crucifix, Mob 47 |
| Exemplary track: | “Hear Nothing See Nothing Say Nothing” by Discharge |
D-beat is a subgenre of hardcore punk, characterized by its galloping drum beat pattern credited to the English hardcore band Discharge, but Motörhead and the Buzzcocks were famous for it, too. The D-beat has influenced thousands of hardcore punk bands, but the style was particularly popular in Sweden, with groups such as Crude SS, Anti Cimex, and Mob 47.
D-beat is closely associated with crust punk, a heavier, more complex variation. You’ll understand D-beat within the first 10 seconds of “Hear Nothing See Nothing Say Nothing”.
Death n’ Roll
| Origins: | Early 1990s European metal |
| Peak popularity: | 1992–2000 |
| Defining artists: | Entombed, Carcass, Six Feet Under, Gorefest |
| Exemplary track: | Entombed, “Wolverine Blues” (1993) |
A portmanteau of death metal and 1970s classic hard rock, first associated with Swedish death metal pioneers Entombed. You get the relentless assault of a Hetfield chug with grooves and rifts lifted from Aerosmith and Led Zeppelin. The detuned guitars and growling vocals remind you we’re still in death metal territory, but oddly, kind of catchy. Many songs have rock n’ roll-inspired structure, so the theory behind death ‘n’ roll is not a wall of blllarrrggggghhhhhffffefeoeeeeeeoooooo.
Deathcore
| Origins: | Late 1990s death metal |
| Peak popularity: | 2004–2012 |
| Defining artists: | Suicide Silence, Whitechapel, Bring Me the Horizon |
| Representative cut: | “Can You Feel My Heart” by Bring Me the Horizon (2013) |
The lines get blurred with the “core” subgenres of heavy metal and death metal. Subgenres splinter like balsa wood. In this case, death metal and metalcore. Deathcore is an extreme metal genre characterized by brutal guitar riffs and blast beats of death metal with the breakdowns and aggressive vocals of metalcore. The breakdowns are the only element that distinguishes deathcore from several other genres.
Like so many other rock genres (see: butt rock, college rock, jangle pop, lad rock, sadcore, et. al) many deathcore artists don’t want to be associated with deathcore.
Death doom
| Origins: | Late 1980s gothic metal |
| Peak popularity: | 1984–2000 |
| Defining artists: | My Dying Bride, Paradise Lost |
| Exemplary cut: | “Your Broken Shore” by My Dying Bride |
Death doom is a dull merger of the slow tempos, heavy riffs, and depressive mood of doom metal with the deep growls and intensity of death metal. In turn, death doom gave rise to the closely related genres of gothic metal and funeral doom.
Deathgrind
| Origins: | Late 1980s extreme metal |
| Peak popularity: | 1989–present |
| Defining artists: | Cattle Decaptitation, Misery Index, Exhumed |
| Listen at your own risk: | “Forced Gender Reassignment” by Cattle Decapitation (2012) |
The modus operandi of deathgrind is musical brutality. It’s a purposefully hybrid genre that joins the relentless fury of grindcore with the chops and heaviness of death metal. One of the flagship bands is called Cattle Decapitation. I think everybody knows what’s going on with these guys.
Death metal
| Origins: | Mid 1980s thrash and hardcore punk |
| Peak popularity: | 1985–present |
| Defining artists: | Death, Morbid Angel, Celtic Frost, Venom, Deicide, Obituary |
| Exemplary track: | “Immortal Rites” by Morbid Angel (1989) |
Not to be confused with black metal, death metal is an extreme subgenre of heavy metal that emerged in the mid-1980s. It’s known for its aggressive, blast-beat drumming; heavily distorted and low-tuned guitars, played with techniques such as palm muting and tremolo picking; deep growling or screaming vocals, abrupt tempo, key, and time signature changes; and chromatic chord progressions. Lyrics often explore themes of death, violence, and the macabre.
Pioneering bands like Death and Morbid Angel established the genre. Over the years, death metal has expanded into dozens of subgenres, including (but not limited to) symphonic death metal, melodic death metal, death-doom, deathgrind, goregrind, pornogrind, and deathcore.
Death rock
| Origins: | Early 1980s Los Angeles post-punk, goth, and glam rock |
| Peak popularity: | 1981–1996 |
| Defining artists: | Christian Death, 45 Grave, Sex Gang Children, Alien Sex Fiend |
| Exemplary cut: | “Romeo’s Distress” by Christian Death (1982) |
Emerging from the Los Angeles punk rock scene in the late 1970s, death rock blended punk with gothic and glam rock visuals and elements of horror film scores. It features haunting melodies, nihilist lyrics, and an overall eerie atmosphere. Halloween music that takes itself a bit too seriously. Bands like Christian Death and 45 Grave are seminal acts in this genre, influencing the development of gothic rock and the broader goth subculture.
Desert blues
| Origins: | 1980s northern and west Africa |
| Peak popularity: | n/a |
| Defining artists: | Ali Farka Touré, Mdou Moctar, Bombino |
| Must-hear album: | Ali Farka Toure (with Ry Cooder), Talking Timbuktu (1994) |
If you’re familiar with Ali Farka Touré, you’re familiar with desert music. It’s a fusion of traditional Tuareg music and electric blues originating from the Sahara region. Sung primarily in the Tamasheq language, its lyrics trade in themes of rebellion and desert nomadic life. Traditional instruments like the tende drum and teherdent lute lay the foundation, while modern artists incorporate electric guitars and drum kits.
Digital hardcore
| Origins: | Early 1990s German industrial rock |
| Peak popularity: | 1994–2010 |
| Defining artists: | Atari Teenage Riot |
| Exemplary track: | “Speed” by Atari Teenage Riot (1994) |
One of the few rock genres created intentionally, in this case, by and for the German band Atari Teenage Riot. The term ‘digital hardcore’ was coined by ATR frontman Alec Empire in the early 1990s. The genre fuses elements of hardcore punk with techno and drum and bass. Characterized by fast tempos, heavy use of distortion, and politically charged lyrics, it’s more of an auditory assault than a musical listening experience.
Disco
| Origins: | Late 1960s dance music |
| Peak popularity: | 1969–1980 |
| Defining artists: | Bee Gees, ABBA, Donna Summer, Gloria Gaynor |
| Exemplary cut: | n/a |
I was there for Disco Demolition Night. I saw the whole thing. Disco is dead, and it never should have been allowed to live.
Djent
| Origins: | Mid 1990s progressive metal |
| Peak popularity: | 1995–present |
| Defining artists: | Meshuggah, Periphery, Animals as Leaders, Tesseract |
| Exemplary cut: | “Bleed” by Meshuggah (2008) |
You know how all the early Metallica songs have a distinctive chugging guitar sound? Think “Master of Puppets”. It’s like a little bit of a riff, followed by chugging on a low note. I call it the Hetfield chug. It sounds a lot like “djent-djent-djent-djent.” Listen to the Meshuggah song and tell me you don’t hear it!
Djent is a subgenre of progressive metal based entirely on the Hetfield chug. According to ChatGPT, bands like Meshuggah and Periphery are known for complex time signatures, extended-range guitars, and a blend of melodic and harsh vocals.
There’s a 2018 blog post on Revolver where the guitar player from Meshuggah apologizes for his role in the creation of djent, which is the sweetest form of irony known to man.
Dolewave
| Origins: | Late 2000s Australian indie rock |
| Peak popularity: | 2010–present |
| Defining artists: | Twerps, Dick Diver, and Courtney Barnett |
| Cool cut: | “Avant Gardener” by Courtney Barnett (2013) |
Distinctly Australian, dolewave surfaced in the early 2010s, characterized by jangly guitars, lo-fi production, and introspective lyrics reflecting suburban life and youthful ennui. The term, initially an ironic in-joke, references “the dole,” Australia’s unemployment benefit, highlighting themes of underemployment and artistic pursuit. The genre resonates with a laid-back, DIY ethos, and dances dangerously close to twee pop.
Doom metal
| Origins: | Mid-1970s heavy metal |
| Peak popularity: | 1978–1990 |
| Defining artists: | Pentagram, Saint Vitus, Trouble, and Candlemass have been referred to as “the Big Four of Doom Metal” |
| Exemplary track: | “Forever My Queen” by Pentagram (2001) |
Doom metal is characterized by its slow tempos, thick guitar riffs, and an overarching sense of despair and melancholy. Good lord, where have we heard that before? Oh yeah, deathcore, deathgrind, death metal, and doom-death. I defy the average listener to identify the difference between them.
Drawing inspiration from Black Sabbath’s early work, bands like Candlemass and Saint Vitus play long-ass songs and whinge about death, doom, and the fear of death.
Dream pop
| Origins: | 1980s British gothic and neo-psychedelic rock |
| Peak popularity: | 1984–present |
| Defining artists: | This Mortal Coil, Cocteau Twins, Slowdive, Lush, Mazzy Star, Galaxie 500, Beach House |
| Must-hear album: | This Mortal Coil, It’ll End in Tears (1984) or Galaxie 500, On Fire (1989) |
Blending elements of post-punk, ambient, and psychedelia, dream pop is a Gwenyth Paltrow playlist of “atmospheric, ethereal soundscapes, reverb-laden guitars, and soft, breathy vocals.” Bands like Cocteau Twins and Mazzy Star are quintessential dream pop artists who emphasized texture and mood over traditional song structures.
My Bloody Valentine and shoegaze are likely to be brought up in a discussion about dream pop, but I think they were far too loud and abrasive for the genre.
Drone metal
| Origins: | Early 1990s extreme and doom metal |
| Peak popularity: | 1994–2000 |
| Defining artists: | Earth, Sunn O))), Godflesh |
| Representative track: | “It Took the Night to Believe” by Sunn O))) |
Fuck me with these metal genres, man. But I’ll tell you something. Few descriptors fit the sound of a genre quite like drone metal. Imagine a human-sized angry hornet. Drone metal, also known as drone doom, has the minimalist, slow tempos and heaviness of doom metal with the sustained tones and repetition of drone music.
Pioneered by bands like Earth and Sunn O))), it features prolonged, monolithic guitar riffs, sparse drumming, and an emphasis on volume and texture. It’s innocuous noise, sometimes, blurring the line between music, ambient sound, and misdemeanor assault.
Dunedin Sound
| Origins: | Early 1980s New Zealand alternative rock |
| Peak popularity: | 1982–1996 |
| Defining artists: | The Chills, The Clean, Tall Dwarves, and The Bats |
| Must-hear album: | The Clean, Tally Ho! (1982) |
The Dunedin Sound is a style of indie pop that originated in Dunedin, New Zealand, during the early 1980s. It’s characterized by jangly guitars, lo-fi production, and melodic songwriting with a pensive twist. Bands like The Chills, The Clean, and The Bats were central to this movement, often releasing music on Flying Nun Records. The sound influenced American indie rock bands like Yo Lo Tengo, Superchunk, and Pavement.
Dungeon synth
| Origins: | Early 1990s Norwegian black metal and ambient synth rock |
| Peak popularity: | 1992–2009 |
| Defining artists: | Mortiis, Burzum, Depressive Silence |
| Representative cut: | “Parasite God” by Mortiis (2001) |
What do you get when black metal meets dark ambient metal? Dungeon synth, emerging in the early 1990s, intertwines dark, atmospheric soundscapes with medieval and fantasy themes. Originating as an offshoot of black metal, it replaces guitars with synthesizers to evoke the ambiance of ancient dungeons and mythical realms. So, it’s the musical equivalent of Game of Thrones?
Did you enjoy the latest roundup of rock genres? Let us know what you think in the comments! And, as always, let me know if I missed something.
