Death Metal

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Death metal is an extreme subgenre of heavy metal. It typically employs heavily distorted guitars, deep growling vocals, blast beat drumming, and complex song structures with multiple tempo changes.

Building from the musical structure of thrash metal, death metal emerged during the mid 1980s. It was mainly inspired by thrash metal acts like Slayer, Kreator and Celtic Frost. Along with the band Death and its frontman Chuck Schuldiner (who is often referred to as "the father of death metal"), bands like Possessed and Morbid Angel are often considered pioneers of the genre. In the late 1980s and early 1990s, death metal gained more media attention as popular record labels like Earache and Roadrunner began to sign death metal bands at a rapid rate. Since then, death metal has diversified, spawning a rich variety of subgenres.

Inclusive death metal music subgenres:

  • Brutal death metal See: http://www.metalmusicarchives.com/subgenre/brutal-death-metal
  • Melodic death metal See: http://www.metalmusicarchives.com/subgenre/melodic-death-metal
  • Swedish death metal, also referred to as Scandinavian death metal, should not be confused with melodeath. This genre is characterized by its focus on raw energy and aggression. The guitars are typically extremely distorted and downtuned, and, in addition to traditional death metal elements, artists within this subgenre also draw on hardcore punk and early thrash metal. While not restricted to Sweden, the genre is called death metal because it was largely popularized by death metal artists from Sweden, such as Carnage, Nihilist, early Entombed, Dismember, Grave, and Unleashed. Seeing that many of the prominent artists within this genre were located in around Stockholm, it is sometimes referred to as the Stockholm sound in contrast with the Gothenburg sound. While big in the 1990s, the popularity of this genre waned in the 2000s, as melodeath became more popular, but recently a number of bands based in Eastern Europe, such as Brutally Deceased and Morbider, have taken up the Stockholm sound and are bringing it back onto the scene.
  • Death-grind combines elements from death metal with element of grindcore. From grindcore, the genre inherits song brevity (with the average length being 2:30), emphasis on fast picking and blastbeating as well as the lyrical content (which means that a lot of death-grind deals with gore, pornography or socio-politics). From death metal, it inherits song complexity and focus on performance and technique, although guitar solos are not as common as in other styles of death metal. When Napalm Death started to gravitate towards death metal from pure grindcore, they developed a death-grind sound, and they are probably the most influential band in the death-grind genre. Other death-grind acts are Lock Up, Terrorizer, and Pig Destroyer. On MMA, those death-grind artists and releases that lean more towards grindcore are included under grindcore, while those that lean more towards death metal are included under death metal.
  • Technical/progressive (or tech/prog) death metal See: http://www.metalmusicarchives.com/subgenre/technical-death-metal
  • Blackened death metal combines death metal and black metal, of lyrically the focus is typically on Satanism, occultism and anti-religion. Behemoth is considered one of the most influential blackened death metal bands.
  • Death ‘n’ roll See: http://www.metalmusicarchives.com/subgenre/death-n-roll


The following subgenres are NOT listed under death metal in the MMA:

  • Grindcore: has its own sugbenre section.
  • Death-thrash: included under thrash metal.
  • Deathcore: included under metalcore.
  • Doom-death: included under doom metal.


Source: http://en.wikipedia.org/wiki/Death_metal

Written by Time Signature.

Sub-genre collaborators:
  • Nightfly (leader)
  • Vim Fuego
  • TheHeavyMetalCat

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death metal Music Reviews

ACID DEATH Hall of Mirrors

Album · 2015 · Technical Death Metal
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UMUR
"Hall of Mirrors" is the 4th full-length studio album by Greek technical/progressive death/thrash metal act Acid Death. The album was released through 7Hard Records in September 2015. It´s the successor to "Eidolon" from 2012 although the two full-length releases are bridged by the 2013 "MisleD 2013 Re-recorded" EP. There has been one lineup change since "Eidolon (2012)" as guitarist Kostas Karavelas has been replaced by John Anagnostou.

Stylistically the material on "Hall of Mirrors" continue in the same technical/progressive death metal direction as the material on "Eidolon (2012)". It´s music strongly influenced by the early 90s technical/progressive death metal scene (artists like Death and especially the Italian Sadist come to mind). It´s a bit more contemporary sounding though, which means it´s a little more heavy and groove oriented than the 90s influences. The title track is for example a full fledged groove metal track.

"Hall of Mirrors" features a well sounding production job, tight and skilled musicianship, and the material is well written and effective. The combination of 90s technical/progressive death metal elements and more contemporary heavy groove metal oriented elements won´t please all listeners, but there´s nothing wrong with the execution or the overall album package. This is a quality release and a 3.5 star (70%) rating is deserved.

SEPULTURA Morbid Visions

Album · 1986 · Death Metal
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UMUR
"Morbid Visions" is the debut full-length studio album by Brazilian death/thrash metal act Sepultura. The album was released through Cogumelo Records in November 1986. It was recorded and mixed in only 7 days in August 1986 at Estudio Vice Versa, Belo Horizonte. It´s a 16 track recording. The original album consists of 8 tracks and a playing time of 34:40 minutes. Later reissues include the 5 Sepultura tracks from the December 1985 "Bestial Devastation / Século XX" split with Overdose as bonus material. The original vinyl pressing included the first movement of "Carmina Burana" by Carl Orff as an intro to the album, but later reissues omit that piece.

The music on the album is death/thrash metal strongly influenced by artists like as Kreator, Sodom, Celtic Frost and Possessed (the earliest output of those acts). Opinions vary and some consider "Morbid Visions" one of the earliest death metal releases, but I´d say it´s more an example of an early death/thrash metal release, and I´d even say most of the album leans more towards teutonic thrash metal then death metal. In other words an early hybrid of death and thrash metal. All tracks on the album are raw, filthy, and mean sounding, hammering away with pounding drums, thin sounding thrashy guitars, and Max Cavalera´s raw semi-growling/throaty singing on top.

"Morbid Visions" is not an album packed with standout tracks, but I´d mention the opening title track as one and also "Troops of Doom". In the case of the later predominantly because of the catchy and powerful heavy opening riff. "Troops of Doom" has been re-recorded by the band (in the studio) and is also a song Sepultura usually play live (at least in the days when Cavalera was still fronting the band). The sound production is not particularly well sounding, and while some may find its rawness and hollow sound charming/authentic, the production values on the bonus tracks from "Bestial Devastation" (1985) are actually much better sounding and more impactful.

So this is an album for those who enjoy the early teutonic thrash metal releases and other contemporary South American thrash metal ditto. Raw, brutal, simple and spewing out aggression and primitive occult lyrics. Upon conclusion I can´t say "Morbid Visions" blows me away, but a 3 star (60%) rating is still warranted.

OPETH The Candlelight Years

Boxset / Compilation · 2008 · Death Metal
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Warthur
This is a convenient way of collecting Opeth's first three albums all in one fell swoop. Though Morningrise is far and away the best album here, the other two albums presented are nice bonuses on top of that star attraction; Orchid captures the band in the process of gradually finding their sound, whilst My Arms, Your Hearse has a bleak, almost black metal-inspired aesthetic which makes it perhaps Opeth's darkest and murkiest release. Each disc has a few bonus tracks, giving a full overview of the band's earliest era, making this a good purchase so long as you're happy with not getting the full artwork.

FLOURISHING The Sum of All Fossils

Album · 2011 · Technical Death Metal
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Nightfly
Metal Music Archives Reviewer's Challenge: June 2022

New York’s Flourishing are a new band to me and having released this, The Sum Of All Fossils, their one and only album back in 2011 it’s easy to see how they passed me by. Still, better late than never and I’m always intrigued by death metal bands that go down the dissonant road. It’s a branch of death metal that is difficult to do well as it’s all too easy to fall into the trap of producing a cacophonous mess. Bands like Immolation and Gorguts have been doing it so well for so long I find myself constantly referencing them when listening to like-minded bands. Okay, the former may not be as extreme as some but to my ears they have perfected it, with the right balance between discord and crushing compelling riffs.

The Sum Of All Fossils like most of its ilk won’t reveal itself immediately. This sort of stuff requires time and patience as by its nature you have to dig deeper to find the rewards. You don’t always get them of course but fortunately it’s worth spending some time with Flourishing. I could list far better examples of technical death metal on the dissonant side of things but these guys are no slouches. A pre-requisite is strong musicianship which this trio clearly have, to be able to follow all the twists and turns that they throw at you. Most importantly though it still needs great riffs to back it all up. This is where they lose a few marks as whilst you’ll find them at times I’m not convinced by them and not drawn in. They do introduce lighter moments which are welcome though don’t always work like on Momentary Senses but serve their purpose by making the heavier parts even more crushing. When they get it right though, which they do frequently, it’s really very good like on Summary. At just over four minutes it’s the shortest song on the album and cuts out any unnecessary flab.

The production is decent too though I would have preferred the drums a bit heavier as they are a bit on the thin side, but each instrument is clearly heard in the mix as are the vocals which whilst being unexceptional do the job.

Overall then I quite enjoyed The Sum Of All Fossils and it’s a shame they didn’t follow it up with album number 2 (they split up in 2014) as I’m sure they could have developed their songwriting skills considerably. They did however follow it up with an EP which showed promise. Still it’s a decent if small legacy.

SUPPRESSION The Sorrow of Soul Through Flesh

Album · 2022 · Death Metal
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BitterJalapeno
Formed in 2012, Suppression is a Chilean death metal band comprising members of thrash metal band Ripper. Following the release of their first EP “Repugnant Remains” in 2019, the band is back to assault the senses once again with their first full-length offering “The Sorrow of Soul Through Flesh” released by Unspeakable Axe Records. It displays a marked progression from the rough death metal of the aforementioned EP with distinct developments in songwriting, stylistic diversity and production. Firmly rooted in old school death metal, it shows an obvious influence from the brutality of “Consuming Impulse” era Pestilence combined with more convoluted structures, paying homage to the likes of Suffocation and Atheist. Suppression has done a great job of keeping this old school sound alive while successfully combining it with a range of influences from more modern styles of death metal and a mild progressive edge.

The material is highly technical but not to the point of qualifying as tech death proper. Thunderous, evil riffs dominate the soundscape supported by ocean-deep basslines, frenetic blast beats and wildly parched vocals. Ominous guitar solos are frequent, providing a melodic factor but conversely, hints of dissonance are present - the band have been conservative in this respect, avoiding taking the claustrophobic route of bands such as Ulcerate and Ad Nauseam. The jarring guitar and fluidity of the bass work on “Misunderstanding Reality” bring the album to its progressive peak without losing any of the sadistic heaviness. Deep grooves provide further diversity on “Unperpetual Misery” while album closer “Extortion Behaviours” showcases Suppression’s ability to mix mind-bending cacophony with more studious parts to great effect. The whole package is assisted by the excellent production of the legendary Colin Marston and as expected, the overall sound projected is incomprehensibly powerful and barbarically heavy, while allowing all elements of the music to breathe organically and be heard with a great degree of clarity.

Despite a commendable performance from the entire band, the star of the show is undoubtedly Pablo Cortés who pulls of a phenomenal performance on fretless bass. His slick basslines provide a wonderfully rich texture throughout but shine through particularly when allowed to let loose on frequent bass-only breakdowns, swelling and contracting exuberantly, adding a touch of jazz influence to the affair. For the best examples, see the frenetic opener “Lifelessness”, the marginally slower “Oveerfeeding Gaps” or the atmospheric “Unwinding Harmonies”. Even though the overall musical style is drastically different, it’s a bass performance that reminds me of post-sludge band Intronaut’s masterpiece “Prehistoricisms” albeit in a less delicate fashion.

Any death metal fan can testify to the fact the genre has splintered into many diverse tangents since its birth in the 80s and with the help of the on-demand world in which we now reside, an overwhelming number of artists are releasing material. As such, it can prove difficult for bands to produce music which stands above that of their peers. It’s clear that Suppression deserve respect for having achieved this in an environment of such saturation and can be considered a strong force in the current death global metal scene.

death metal movie reviews

NAPALM DEATH Punishment in Capitals

Movie · 2003 · Death Metal
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Kingcrimsonprog
Punishment In Capitals is a 2002 live DVD (also available on CD) by British extreme metal icons Napalm Death, released after their triumphant Enemy Of The Music Business album won back the praise of fans and critics after their experimental string of records in the nineties.

The band play a mixture of every era in their career up to that point, the catchy nineties singles ‘Breed To Breathe,’ and ‘Greed Killing,’ sit side by side with mid era death inspired fare such as ‘Suffer The Children,’ and ‘World Keeps Turning,’ which blends against the band’s early grindcore material era like ‘Scum,’ ‘Lucid Fairy Tale,’ and the famous ‘You Suffer,’ in a set list which also leans heavily on the band’s then newest, and still arguably best album Enemy Of The Music Business.

Standout tracks include an energetic version of ‘Hung,’ as well as ‘Can’t Play Won’t Play,’ and ‘Narcoleptic,’ which was as yet unreleased at the time of recording. With a set-list of this caliber, Punishment In Capitals should be a rewarding viewing experience for most Napalm Death fans and would serve well as an introduction to the band for potential fans as well.

Interestingly, the DVD recording retains all the dead air, waiting out-of-breathe and other non-musical moments in between tracks, presenting you the gig as it actually happened and not inter-cutting the show with outside material to create some false sense of professionalism or excitement. This is a double edged sword as it is commendable but may still irritate viewers raised on slicker, fast paced major label DVD releases.

The production is fairly good in terms of audio recording quality and mix, with simple camera work and editing covering the visual side of things. Although not the most impressive looking DVD ever released, it serves well for Napalm Death to deliver an energetic a sweaty performance. My only major gripe is that for the first half of the show shots of drummer Danny Herrera are very few and far between, but this is remedied later on.

There are a fair amount of extras too, including two bootleg quality recordings in Tokyo from 1996, a six track selection from a Chilean gig in 1997 as well as a hidden Easter Egg (a live-in-a-TV-studio version of ‘If The Truth Be Known,’ accessible by making the image’s eyes glow red my navigating the menu.) In addition to the musical extras there is also a documentary, which while not masterfully crafted is worth at least one watch, covering topics such as Barney’s haircut, the effect of foreign food on the bowels and the charity for which this gig was in aide of.

Overall, Punishment In Capitals is a worthwhile DVD purchase that will give you a good selection of Napalm Death material, both in the concert itself and with a nice selection of extras. Definitely recommended viewing for fans of the band.

ZYKLON Storm Detonation Live

Movie · 2006 · Death Metal
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Kingcrimsonprog
This DVD captures Norwegian death metal band Zyklon on their 'Aeon,' era tour Live; the tracklisting on the wonderful but slightly short DVD is made up of tracks from the bands excellent first two albums.

The band are on top form and deliver the material fantastically live, They never miss a step, and are ruthlessly professional.

Song's from the band's debut album are much better here with new singer Tony 'SecthDamon,' Ingebrigtsen. Who has a better voice to match the material than Daemon did.

Furthermore the audio and visual quality is great, and apart from a little intro interrupting the first 20 seconds of fan favorite 'Core Solution,' there's very little to complain about whatsoever.

Indeed, with such a brilliant performance, a good production and an excellent track listing, this DVD is a real must-have for any Zyklon fan.

AMON AMARTH Wrath of the Norsemen

Movie · 2006 · Melodic Death Metal
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Kingcrimsonprog
Talk about value for money, from a band like Amon Amarth you wouldn’t expect them to be able to afford such a crazily generous and in depth DVD package when some of the bigger bands can’t afford anything even half this good.

The Set comes in a glorious 3 DVD digipak with detailed artwork, a full booklet and an awesome little viking crown that keeps it closed. Then you get Five full concerts (with 22, 16,13, 11 and 9 tracks respectively) and a documentary.

The main feature; a 22 track concert from Cologne in 2005 is an incredible affair with crystal clear sound, Huge guitar tones, amazingly heavy drums and nice clunky bass. The camera work is of a higher quality than even some of the biggest metal bands’ DVDs and again the sound is immense.

Then theres the performance, the band are absolutely electric delivering furious renditions of material from all eras a their career from the massive ‘Amon Amarth,’ and ‘Fate of Norns,’ to catchy closer ‘Death In Fire,’ and the crowd just lap it up.

Vocalist Johan Hegg absolutely commands the stage, engaging the crowd at every opportunity and singing his heart out while the band hammer through their classics like ‘heavy,’ is going out of style.

On top of all that you have a great light show, huge Amon Amath banners, more pyro than a kiss concert and an interlude with about thirty Viking reenactors sword fighting on stage! That feature is worth the money alone, the show is probably one of the best metal concerts on the market and I can’t stress how good the sound and picture are; then on top of all that you get the rest of the set, featuring virtually ever Amon Amarth song ever written, and performances from ‘Waken Open Air festival,’ ‘Summer Breeze Festival,’ and two more indoor concerts in Europe.

If you like Amon Amarth Buy this right now. If you don’t, you will within thirty seconds of watching this.

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