Coming from a rich artistic tradition and enormous cultural heritage, Britain is thought to be the cradle of metal and has produced countless other music genres. Arguably, it has produced a large number of doom-metal artists over the years. By the end of the 1990s, three English bands had become the most influential in doom metal: MyDying Bride, Anathema, and Paradise Lost (AKA the Peaceville Three). Their counterparts in the American continent were Type O Negative, Solitude Aeturnus, and Sleep, among others.
During this decade, doom metal had made important developments in the Nordic countries, with Swedish bands like Candlemass, Cult of Luna, Memento Mori, and Katatonia, together with Theatre of Tragedy, Funeral, and Tristania in Norway.
A number of these artists focused on experimenting with doom or some of its elements at that stage. Although not a novelty, the incorporation of female singers and instrumentalists in metal bands was then a trend; it attracted a different kind of public, as the metal fandom was becoming broader by each decade.
Mixing the sadness of doom with death metal guttural vocals had become a fashion in doom music industry; this formula gave place to the formation of a sub-genre called death/doom metal. Power/doom metal was another strong trend that had been forming since the 1980s. The different styles that came out of doom metal music genre eventually changed their names completely.
As a matter of fact, doom has grown so much over the last few years that even the most dedicated experts find it challenging to classify all of its subcategories; many would compare this task to fighting Hydra, as it becomes increasingly more complicated. A number of attempts to create a diagram or “family tree” of all the sub-genres have been pushed forward; however, those behind the project tend to be biased by personal taste and everyone comes up with different results.