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| KERRANG! (magazine) | |
|---|---|
| Title | KERRANG! |
| Category | Music magazine |
| Frequency | Weekly (1975–2020); monthly/biweekly variants |
| Publisher | Bauer Media Group; later Wasted Talent Ltd. |
| Firstdate | 1981 |
| Country | United Kingdom |
| Language | English |
KERRANG! (magazine) is a British music publication founded in 1981 focused on rock, heavy metal, punk and alternative genres. It grew from a one-sheet insert into a national weekly known for championing acts across New Wave of British Heavy Metal, thrash metal, grunge, metalcore and punk rock scenes. The title became a cultural barometer for bands like Iron Maiden, Metallica, Nirvana, Slipknot and Bring Me the Horizon while interacting with festivals such as Download Festival and institutions like the BRIT Awards.
Originally launched in 1981 as a supplement to Sounds amid the rise of the New Wave of British Heavy Metal and alongside publications like Melody Maker and NME, the magazine quickly established an independent identity. Early coverage promoted acts such as Def Leppard, Saxon, Motorhead and Venom while documenting scenes in cities like London, Birmingham, Sheffield and Leeds. Throughout the 1980s and 1990s it chronicled the emergence of thrash metal bands including Slayer, Megadeth and Anthrax, and later provided pivotal coverage of Seattle-based bands such as Nirvana, Pearl Jam, Alice in Chains and Soundgarden. Publisher changes involving groups like EMAP and Bauer Media Group influenced editorial shifts; the magazine adapted during the 2000s to spotlight emo and post-hardcore acts including My Chemical Romance, Paramore, Fall Out Boy and Taking Back Sunday. Ownership transitions in the 2010s and 2020s paralleled a wider print industry contraction seen across titles like Rolling Stone and Alternative Press.
The magazine combined concert reviews, album reviews, interviews, and cover features with specialized columns. Long-form interviews featured figures such as Ozzy Osbourne, James Hetfield, Kurt Cobain, Chester Bennington and Corey Taylor; scene reports covered regions like Los Angeles, New York City, Tokyo and Berlin. Recurring features included charts, readers’ polls, photography portfolios and equipment spotlights referencing manufacturers like Fender, Gibson, Marshall and Peavey. Special issues highlighted retrospectives on landmark releases like Iron Maiden's albums, Metallica's discography, and movements including grunge and nu metal, while editorial framings engaged with industry events such as the Kerrang! Awards and tour cycles like Ozzfest and Warped Tour.
At its peak as a weekly, circulation figures placed the title among the leading UK music weeklies alongside NME and Q. Distribution networks included national newsagents such as WHSmith and independent record stores tied to labels like Roadrunner Records, Epitaph Records and Century Media Records. Internationally, the magazine reached readers in markets where scenes flourished—United States, Australia, Japan, Germany and Brazil—and influenced retail practices at chains like HMV and online retailers connected to entities such as Amazon. Declining print sales across the 2010s mirrored shifts also experienced by Spin and Kerrang! Radio-linked media ventures.
Responding to broader digital disruption exemplified by platforms like MySpace, YouTube, Facebook and Instagram, the magazine expanded its website and social channels to host multimedia content, video interviews, livestreams and playlists. Partnerships and features engaged streaming services such as Spotify and video platforms like Vimeo. The editorial team experimented with podcasts, RSS feeds and mobile apps while integrating with ticketing services for tours promoted through platforms including Ticketmaster and Eventbrite. This transition paralleled moves by legacy outlets like Billboard and Pitchfork as the brand sought to monetize digital subscriptions, advertising and branded events.
The publication launched awards and live events that elevated the profile of new and established artists. The annual awards ceremonies and showcases put acts such as Bullet for My Valentine, Bring Me the Horizon, Paramore and Architects onstage alongside veterans like Slash and Iron Maiden affiliates. Spin-offs and extensions included branded radio shows, compilation CDs, festival partnerships with Download Festival and curated tours akin to Warped Tour lineups. Collaborations involved industry stakeholders such as Live Nation, AEG Presents and record labels from Warner Music Group to Universal Music Group.
The magazine shaped public perceptions of heavy music in the UK and internationally, helping launch careers for bands from Birmingham to Los Angeles and influencing scenes associated with metalcore, post-hardcore and gothic rock. Its editorial stances drew praise from fans and criticism from commentators in outlets like The Guardian and The Telegraph for coverage choices and perceived commercial shifts. Academics and cultural critics studying subcultures referenced the title alongside works on punk rock and heavy metal scenes, and its archives remain a resource for researchers examining the evolution of contemporary rock, alternative and metal movements.
Category:Music magazines published in the United Kingdom