Hawaii (band)

Lore & Background

Hawaii was formed in 1981 by guitarist Marty Friedman, who had previously played in Deuce. The band initially operated under the name Vixen and recorded several demos. They appeared on the compilation U.S. Metal Vol. II in 1982, and released the Made In Hawaii EP in 1983. Another early recording appeared on Metal Massacre II under the name Aloha, with Lisa Ruiz on lead vocals replacing Kim La Chance. The band's discography includes the album One Nation Underground (1983), the EP Loud, Wild and Heavy (1985), and the album The Natives Are Restless (1986). After Hawaii split up, Marty Friedman formed the band Cacophony with Jason Becker. Bassist/vocalist Gary St. Pierre later joined Vicious Rumors, but did not sing on their 1985 debut album Soldiers of the Night; that album's vocalist was Carl Albert.

Reader's Guide

Hawaii occupies a minor but noteworthy place in the history of American heavy metal, primarily as an early vehicle for guitarist Marty Friedman, who would later gain fame with Cacophony and Megadeth. The band's shifting lineups and name changes—from Vixen to Aloha to Hawaii—reflect the fluid underground scene of the early 1980s. Their recordings, particularly the Made In Hawaii EP and One Nation Underground, are of interest to collectors of early US power and speed metal. The band's legacy is also tied to Gary St. Pierre, who became the lead vocalist for Vicious Rumors on their debut album. Kim La Chance's later work and her role in compiling the Vixen – The Works demo collection helped preserve the band's early output. Though Hawaii never achieved mainstream success, their music remains a footnote in the development of the shred guitar style that Friedman and Becker would later popularize.

Did You Know?

• After Hawaii split up, Marty Friedman formed Cacophony with Jason Becker.
• Kim La Chance was executive producer of the Vixen – The Works (2003) demo compilation.
• Gary St. Pierre did not sing on Vicious Rumors' debut album Soldiers of the Night; the vocalist was Carl Albert.

Origins and Dual Lineage

Speed metal emerged in the late 1970s as a subgenre of heavy metal, drawing from two distinct parent traditions: the New Wave of British Heavy Metal and hardcore punk. This dual lineage gave the genre its particular character, combining the riff-driven weight of British metal with the raw velocity and aggression of punk. The late 1970s timing places its birth at a pivotal moment when both parent scenes were crystallizing their identities. The convergence of these two worlds—one rooted in traditional British rock sensibilities, the other in the stripped-down ferocity of punk—created a new sonic space. Speed metal inherited the technical ambition from one side and the relentless pace from the other, forging a sound that would carve out its own territory within the heavy metal landscape.

Sonic Identity and Performance Demands

AllMusic characterized speed metal as extremely fast, abrasive, and technically demanding. These three descriptors capture the genre's essential sonic profile and set it apart from neighboring styles. The emphasis on extreme speed distinguishes it from slower, more atmospheric forms of metal, pushing tempo to a level that challenges both performers and listeners. The abrasiveness points to a raw, unpolished attack—a sonic texture that prioritizes intensity over smoothness. The technical demand suggests that musicians working in this style must possess a high level of proficiency, navigating complex riffs and rapid passages with precision. Together, these qualities define what makes speed metal distinct within the broader heavy metal family. The genre demands physical and musical commitment from its practitioners, creating a sound that is as physically intense as it is intellectually engaging for those who appreciate its intricacies.

Place in the Metal Taxonomy

Speed metal occupies a specific position in the heavy metal taxonomy. It is classified as a subgenre of heavy metal music, placing it within a larger family of related styles that share common DNA while differing in execution. The Wikipedia article listing speed metal bands sits alongside a broader reference to heavy metal bands organized by genre, indicating that speed metal is one recognizable node in a larger network of metal subgenres. This categorization helps listeners, scholars, and musicians navigate the many branches of metal music. By distinguishing speed metal's particular sonic and rhythmic identity from adjacent genres, the taxonomic framework provides a useful map for understanding how different metal styles relate to one another. The genre's placement as a subgenre—rather than a standalone category—acknowledges both its distinctiveness and its shared heritage with the wider metal tradition.

Documentation and Community Memory

The existence of a dedicated Wikipedia list for speed metal bands, along with a Wikimedia Commons media collection tagged to the genre, reflects speed metal's established place in music documentation and community memory. These online resources serve as reference points for fans, researchers, and musicians exploring the scene and its history. The fact that speed metal has its own categorized listing—separate from but cross-linked to the broader heavy metal genre lists—underscores its recognition as a distinct musical movement with its own community of practitioners and listeners. The Wikimedia Commons collection further suggests that visual and audio materials related to speed metal have been gathered and preserved for public access. Together, these archival efforts demonstrate that speed metal, despite its relatively narrow scope within the metal world, has generated enough cultural output and fan engagement to warrant dedicated documentation spaces.

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