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| '''Death metal''' is a sub-genre of ] that was evolved from ] during the mid 1980's. Commonly recognized characteristics include rhythmic, chromatic progressions and a narrative or "story telling" song structure, such that there is not a verse-chorus cycle as much as an ongoing development of themes and motifs. Aesthetically, it is usually identified by violent rhythm guitar, fast percussion and dynamic intensity. "]s" are frequently used to add to the ferocity of the music. The vocals are commonly low gurgles named growl, death growl, or death grunt. This kind of vocalising is distorted by use of the throat, unlike traditional singing technique which discourages it. |
'''Death metal''' is a sub-genre of ] that was evolved from ] during the mid 1980's. Commonly recognized characteristics include rhythmic, chromatic progressions and a narrative or "story telling" song structure, such that there is not a verse-chorus cycle as much as an ongoing development of themes and motifs. Aesthetically, it is usually identified by violent rhythm guitar, fast percussion and dynamic intensity. "]s" are frequently used to add to the ferocity of the music. The vocals are commonly low gurgles named growl, death growl, or death grunt. This kind of vocalising is distorted by use of the throat, unlike traditional singing technique which discourages it. Those not familiar with the genre sometimes confuse it with "]". | ||
| Death metal's subject matter usually addresses more nihilistic themes than any other genre, usually using metaphors of a gruesome or "evil" nature to represent a larger concept. The focus on mortality along with the extreme nature of the music likely inspired the naming of this genre as "death" metal. | Death metal's subject matter usually addresses more nihilistic themes than any other genre, usually using metaphors of a gruesome or "evil" nature to represent a larger concept. The focus on mortality along with the extreme nature of the music likely inspired the naming of this genre as "death" metal. | ||
Revision as of 02:32, 22 January 2006
 | It has been suggested that Florida death metal be merged into this article. (Discuss) |
| It has been suggested that Brutal death metal be merged into this article. (Discuss) |
Death metal is a sub-genre of Heavy Metal that was evolved from Thrash Metal during the mid 1980's. Commonly recognized characteristics include rhythmic, chromatic progressions and a narrative or "story telling" song structure, such that there is not a verse-chorus cycle as much as an ongoing development of themes and motifs. Aesthetically, it is usually identified by violent rhythm guitar, fast percussion and dynamic intensity. "Blast beats" are frequently used to add to the ferocity of the music. The vocals are commonly low gurgles named growl, death growl, or death grunt. This kind of vocalising is distorted by use of the throat, unlike traditional singing technique which discourages it. Those not familiar with the genre sometimes confuse it with "Deathrock".
Death metal's subject matter usually addresses more nihilistic themes than any other genre, usually using metaphors of a gruesome or "evil" nature to represent a larger concept. The focus on mortality along with the extreme nature of the music likely inspired the naming of this genre as "death" metal.
Death metal is commonly known for abrupt tempo and count/time signature changes, and extremely fast and complex guitar and drumwork, although this is not always the case. Bands of this genre frequently utilize downtuned and distorted guitars, a downtuned, sometimes distorted bass guitar, a drum set (almost universally using two bass drums). Although this is the standard setup, bands have been known to incorporate other instruments such as keyboards.
Early history (up to 1991)
Death metal is clearly an outgrowth of heavy metal, but the full story is complex and interesting, and is the subject of some debate among fans and musicians.
Although growling vocals are usually the prime factor in identifying death metal, this by itself would also include albums such as Welcome to Hell from 1981 by British metal group Venom—an important early Heavy Metal group—where the vocals may be mostly "growling", but the music is not what is generally meant by "death metal" today, as it is irrational to define a genre by aesthetics only. An example of this is the band Slayer, who many consider the forefathers of the genre, although they are not purely death metal, they actually are one of the "Big Four" to pioneer Thrash Metal and have given a significant amount influence to other notable death metal bands. It has been said that Slayer's early music, most notably Reign In Blood and Hell Awaits are hugely influential.
Many fans place the birth of death metal around 1985, due to U.S. bands such as Florida's Death and California's Possessed. This music, although fitting the above description of "extreme brutality and speed" for its time, did not create anything significantly new compared to their immediate predecessors, and one would be hard pressed to identify strong and specific musical differences between, say Death's debut album from 1987 and same-period work by speed metal bands such as the Brazilian Sepultura or even the aforementioned Venom, except perhaps slightly "growlier" vocals.
To their credit, early "death metal" bands such as Death did push the format forward, something that would ultimately pay off in a new form of music that was substantially different from their closest forefather, thrash metal. Chuck Schuldiner (Human era) with the help of Cynic's Paul Masvidal, and Sean Reinert are considered the creators of melodic death metal and technical death metal, pushing the boundaries of uncompromising technicality, speed, and virtuosity. Chuck Schuldiner in later works after the highly acclaimed album Human, pushed musical prowess and virtuosity to the absolute heights of the metal genre, mixing in highly technical and intricate rhythm work, with complex arrangements and emotive solos.
Other death metal historians maintain that the 1985 brand of "death metal" is more aptly summarised by the oft-used moniker "post-thrash" and that the band Death receives inflated credit partly because of its name. Under this paradigm, the modern concept of "death metal"—the point when it clearly decouples from the origins in heavy metal and thrash metal—can be set to 1989 or 1990.
Just as in the original creation of NWOBHM (New Wave of British Heavy Metal) by Iron Maiden and other bands was sparked by the youthful energy of punk rock in the late 1970s, so did cross-fertilisation between metal and punk once more create something new in the late 1980s. The chaotic and often confusing development that took place around this time is well illustrated by the band Napalm Death, often characterised as a "grindcore" band (see below). This band was simultaneously always part of the hardcore punk scene. However, Napalm Death themselves changed drastically around or before 1990, leaving grindcore (and most of the band members) behind, and on 1990's Harmony Corruption they can be heard playing something one might call "death metal" by the above characterisation. In fact, the project band Terrorizer's album, World Downfall (1989), is clear signs that some merging of hardcore punk and thrash metal is going on.
Many similar works rapidly appeared hot on the heels of Harmony Corruption: Britain's Bolt Thrower, Britain's Carcass, Sweden's Entombed, New York's Suffocation, and Florida's Morbid Angel. But it would be Suffocation's 1991 debut, Effigy of the Forgotten, that would go down in history for combining extreme technicality with uncompromising brutality characteristic of grindcore. They are known today as death metal's most plagiarized act, having part in the spawning of brutal death metal and technical death metal. At this point, all the above characteristics are clearly present: abrupt tempo and count changes, occasionally extremely fast drumwork, morbid lyrics and growling delivery.
Later developments (1990s onwards)
During the 1990s, death metal grew in many directions, spawning a rich variety of subgenres, including the following:
- Melodic death metal, where harmonies and melodies are much more present in the guitarwork. Although more melodic, it can sound more raw than the more precise sounding American variety. This subgenre is mostly associated with Sweden, especially in Gothenburg, as well as Norway and Finland (see Scandinavian death metal). The genre finds its best representation in At the Gates, In Flames, Dark Tranquillity, and Arch Enemy. The Iron Maiden-esque techniques employed by these "Gothenburg" bands formed a riff-lexicon frequently used by many metalcore bands that have risen in popularity since 2001. Because of this style's origin, these bands are (often mockingly) called Gothencore (See: metalcore). Many metal fans consider this genre to be separate from true death metal.
- Florida Death Metal, which includes some of the most notable bands. They are more rigid and percussive than the Swedish variant, more precise, refined and traditional compared to Deathgrind, yet more direct and brutal than the Technical variety. Bands include Deicide, Monstrosity, Obituary, Cannibal Corpse, Death (some albums are technical as well).
- Technical death metal, a narrow, but influential subgenre where musical complexity and skill is the main focus. It is represented by bands like Gorguts, Necrophagist, Cynic, Atheist, Origin, and eventually, Death.
- Brutal death metal, developed by combining certain aspects of the song structures of goregrind with death metal. Brutal Death Metal is associated with bands like Devourment, Vomit Remnants, and Internal Suffering.
- Death/doom, which is a slowed down, melancholic subgenre, inspired by classic doom metal. It was created by the likes of Asphyx, Disembowelment, My Dying Bride, Anathema, and Paradise Lost.
- Slam death metal, characterised by frequent Hardcore-like breakdowns and low grunting vocals. Internal Bleeding, Devourment (they also borrow heavily from Goregrind), and Dying Fetus are slam death metal bands.
- Blackened death, which is death metal mixed with black metal stylistic influences, notable in the vocals and riffing style. Dissection is a prime example of this genre, as is Emperor on their IX Equilibrium album, and Zyklon (featuring former members of Emperor).
- Death Thrash (also called Deathrash), which is Thrash with elements of death metal including speed, guitar picking techniques and vocals. In the earliest incarnation this style was the progression from Thrash metal to death metal. Some bands are Benediction, Cancer, Konkhra and Criminal. Some Sepultura albums could also be classified this way.
Grindcore is considered by some to be an even more extreme variant of death metal. However, many fans of grindcore and music historians would place it in a genre by itself, since the genre historically developed in parallel to death metal (both developed in the 1980s, death metal from thrash metal and grindcore from hardcore punk), each influencing the development of the other, but with early grindcore having a much more obvious hardcore punk and peace punk influence. Some early grind bands: Napalm Death, Electro Hippies, Fear of God. Grindcore eventually increased in speed and harshness, into newer bands such as Narcosis, Pigsty, and Agoraphobic Nosebleed.
There are also other heavy metal subgenres that have come from fusions between death metal and other non-metal genres, such as the fusion of death metal and Jazz played by Pestilence on their Spheres album, or the work of Flordia bands Atheist and Cynic, the former of which sometimes went as far as to include jazz-style drum solos on albums, and the latter of which incorporated notable influences from fusion.
Key artists
Key death metal bands include Atheist, Autopsy, Carcass, Cryptopsy, Death, Deicide, Entombed, Morbid Angel, Napalm Death, Obituary, Possessed, and Suffocation.
See also
External links
- Carnage Inc. - Thousands of band profiles, audio, videos, lyrics, images and more
- DeathMetal.com
- Genre analysis and historical information