One thing I have noticed to be pretty common in early and classic 80’s heavy metal is a chord progression between the V and the VI.
This use of the progression to alter between tension (the V or V7 harmony) and uncomplete resolution (the VI). The listener wants to hear the tonic, but instead gets the minor triad that governs over the natural minor scale.
It creates a somber and unresolved sound without falling away from the key center. You can still hear this progression in the major key area without over using the I chord:
You can also change the order and have the V chord on the first measures of the phrases, but it might create a poor distribution of tension and resolution according to the hierarchy of the song form:
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