July 1, 2021
Words: Mackenzie Hall
Even though rock, metal, and hardcore genres rarely overlap with pop music, we owe a lot to Top 40 hits. Pop songs provide the perfect material for metal bands to reinterpret in their own unique, screamy ways. These covers often bring a fresh perspective to well-known tracks, making them more intense and sometimes even more enjoyable.
Fall Out Boy, known for their punk flair, added their touch to one of Michael Jackson’s biggest hits. Released along with their live album/DVD “**** Live In Phoenix,” the video features interesting cameos and plenty of wind machines. John Mayer’s appearance remains unexplained, but the video is a perfect time capsule of alt-rock history.
A Day To Remember completely transformed Kelly Clarkson’s angsty anthem, adding plenty of screaming and breakdowns. I Prevail’s career took off with their cover of a pop princess’s hit, now sitting at almost 60 million views on YouTube. Originally part of Punk Goes Pop Vol. 6, it has since grown into wider scene consciousness.
New Found Glory has been putting their spin on songs from movies for decades. Their cover from “She’s All That” has turned into one of their biggest songs. Limp Bizkit, known for their outrageous behavior, showcased it all in their cover of a Wham! classic. The video captures their ‘90s tour antics perfectly.
Far took Ginuwine’s smooth R&B hit “Pony” and added a rock groove, full of synths and ironic use of auto-tune. Their version retains the original’s sex appeal and then some. Linkin Park covered Adele’s breakout hit, staying true to the original with Chester Bennington’s soaring vocals perfectly matching the simple keyboard accompaniment.
Korn combined their nu-metal style with Cameo’s ‘80s soul-funk in a cover that sticks surprisingly close to the original. Alien Ant Farm, known for doing things their way, created a hilarious music video for their cover, featuring a talented nine-year-old, a well-behaved chimp, and a car explosion.
Lower Than Atlantis gave Vanessa Carlton’s piano-led ballad a full rock spin, complete with chugging guitars. Sleeping With Sirens’ Kellin Quinn, a fan of the Goo Goo Dolls, eventually included their biggest hit in the band’s live set. The stripped-back piano and acoustic guitar approach lets his vocals shine.
Framing Hanley went viral 11 years ago with their take on Lil Wayne’s original, featuring a sultry strip poker game and a video-arcing pool scene. Paramore tried their hand at a Drake hit in Radio 1’s Live Lounge, with Hayley Williams’ performance bringing her own magic to the Beeb studios.
Our Last Night, known for specializing in covers, reinvented Katy Perry’s “Dark Horse” with a heavy adaptation. The Amity Affliction put their post-hardcore spin on The Weeknd’s mega-hit, featuring a zombie love story in the midst of an apocalypse. We Came As Romans embraced the electro-beats of The Wanted’s song, adding thrashing guitars and backing screams.
Next Step’s 2018 interpretation of Katy Perry’s “I Kissed a Girl” mixes grungy and guttural singing with alternative metal heaviness, resulting in a strikingly darker vibe. HIM’s cover of Chris Isaak’s “Wicked Game” assimilates it into their gothic metal formula, creating a sleek and sharp angst-filled version.
Type O Negative’s cover of Seals and Crofts’ “Summer Breeze” is uniquely grim and grimy, thanks to Peter Steele’s unmistakable bellows and rough instrumentation. Rammstein’s approach to Depeche Mode’s “Stripped” removes virtually all ties to synth-pop, creating one of their most tuneful and reserved pieces.
DevilDriver’s rendition of AWOLNATION’s “Sail” retains much of the original’s feel but adds far more cinematic and technical bite. Fear Factory’s cover of Gary Numan’s “Cars” features Numan’s voice alongside deeper timbre and crunchy guitar riffs, playing a significant part in Fear Factory’s mainstream success.
Children of Bodom’s cover of Britney Spears’ “Oops!… I Did It Again” transforms the dance-pop darling into a sinisterly satirical gem. Ice Nine Kills’ cover of Adele’s “Someone Like You” applies the epic emotionalism and full-bodied arrangements of their main styles, resulting in a denser and more dramatic creation.
System of a Down’s cover of Berlin’s “The Metro” is a stark departure from the original, with thick bass lines, steady beats, and poignant singing. Limp Bizkit’s adaptation of George Michael’s “Faith” is playful and corrosive, making it a lot of fun despite Fred Durst’s less-than-stellar vocals.
These metal covers of pop songs showcase the creativity and versatility of metal bands, proving that a good track can transcend genres.
