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

ENTOMBED Left Hand Path

Album · 1990 · Death Metal
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SilentScream213
Good god. Death Metal was born in the late 80’s, but most of that stuff isn’t a huge leap away from extreme Thrash and Black metal of the same decade. Even the albums that had broken from carrying clear Thrash influence still sound like a genre in development. This beast sounds like it could have been released yesterday.

Entombed took one step back and two forward. They slowed down a bit, and instead of trying to outdo their peers with technical prowess or blistering intensity, dug themselves a grave and adopted a truly sepulchral sound. Insanely downtuned guitars with a sludgy buzz sound like they’re cutting through a murky swamp, while the rhythm section lays tight and varying beats that pound at a steady mid-tempo (by extreme metal standards). The vocals are the deepest growls laid to record by 1990, and there is a very cold, grave atmosphere that runs somewhat contrary to the genre’s roots in hellfire. The blue cover could play into this as much as the band’s icy homeland – but this is unmistakably the closest to true, cold death that Death Metal had ever gotten at the time

CRAWLSPACE Deny

EP · 1996 · Death Metal
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siLLy puPPy
CRAWLSPACE seems to be a popular name in the world of death metal since there were three bands, one from Germany, one from Belgium and this one from Grimsby, England. There was a fourth power / thrash metal band from Massachusetts, USA but none of these bands were significant and only one released a full-length album.

Like many of these fly by night metal bands, little info exists regarding its history but this CRAWLSPACE consisted of Jamie Hunter (vocals, guitar), George Newton (guitar), Martin Glenton (drums) and Steve Topp (bass) and released two short EPs.

This first one DENY came out in 1996 with only two tracks. CRAWLSPACE was stuck in the late 80s old school death metal scene and drank from the wellspring of bands like Morbid Angel, Obituary, Bolt Thrower and many Swedish bands like Grave.

There is absolutely nothing to get excited about here but it is a curiosity that the United Kingdom is one of the richest nations on the planet in virtually every genre of music imaginable but for some reason the east coast of the country from Scarborough down to Norwich hasn’t seen a significant number of metal or other genres emerge.

Whatever the case, this vinyl 7” that came out on the Flashpoint label yielded one other EP titled ”Ignite The Sky” in 1999 and then disappeared into obscurity. Vocalist Jamie Hunter then joined the Mansfield death metal band Evoke but the members seem to have disappeared into the ethers for eternity.

MORGUE Eroded Thoughts

Album · 1993 · Death Metal
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UMUR
"Eroded Thoughts" is the debut full-length studio album by US, Illinois based death metal act Morgue. The album was released through Grind Core International in 1993. Morgue were formed in 1990 and released two demos before releasing "Eroded Thoughts". "Eroded Thoughts" is their sole studio album as Morgue disbanded in 1995. Morgue were a four-piece, but two different drummers performed on "Eroded Thoughts".

Stylistically the material on the 7 track, 31:40 minutes long album is old school death metal. Downtuned riffs, some pretty well played guitar leads, heavy drumming, and brutal growling (partially intelligible). In fact this is pretty much the epitome of early 90s US death metal. The material is well written and effective, the musicianship is on a high level on all posts, and the sound production is raw and powerful, suiting the material perfectly. So you can put check marks on all those elements, which are usually what makes an old school death metal album great...

...and "Eroded Thoughts" is actually a pretty great quality death metal release. The only issue here being that Morgue don´t really have a sound which sets them apart from other contemporary artists. That doesn´t mean "Eroded Thoughts" is not a solid death metal release, but it does mean it lacks the final element of originality to elevate it to a higher level. A 3.5 star (70%) rating is still deserved though, and "Eroded Thoughts" certainly is worth a listen if you enjoy the style.

MACABRE (IL) Murder Metal

Album · 2003 · Death Metal
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UMUR
"Murder Metal" is the 4th full-length studio album by US, Illinois based death/grindcore act Macabre. The album was released through Decomposed Records in September 2003. It´s the successor to "Dahmer" from 2000, although the band did release the "Morbid Campfire Songs (2002)" EP under the Macabre Minstrels monicker between the two full-length albums.

As opposed to it´s predecessor, which was a concept album, where all tracks followed the life and crimes of US serial killer Jeffrey Dahmer, "Murder Metal" is, like "Gloom (1989)" and "Sinister Slaughter (1993)", composed of individual tracks each telling the story of various serial killers and murderes. So the overall lyrical concept hasn´t changed and stylistically "Murder Metal" also feels like the natural successor to "Dahmer (2000)". Both albums feature similar sounding and very powerful Neil Kernon productions, and a rather adventurous (yet still relatively simple) combination of thrash, death, and grindcore, and various other influences ranging from folk traditionals to nursery-rhyme type melodies. The vocal part of Macabre´s music has always been one of their greatest assets, and something which made them stand out, and that trend continues on "Murder Metal", where the vocals vary between deep death metal growling, a more aggressive type of growling, high pitched hysterical screaming, and various types of clean vocals.

The instrumental part of the album is very well performed too. The guitars are sharp, the bass is clearly audible in the mix, which helps cement how talented Nefarious really is, and Dennis the Menace is nothing short of a drummer extraordinaire. The way he drives the music forward and is in complete control of making rhythm- and tempo changes in the most natural fashion, is an absolute joy to listen to.

"Murder Metal" features 13 tracks and a full playing time of 44:19 minutes. As something a bit different the album closes with the 12:48 minutes long "Fritz Haarman der Metzger" (featuring German lyrics and a slight black metal influence). A track length which is highly unusual for a band who usually write songs between 1 and 3 minutes long. It´s not a long "epic" track though (although there actually are a couple of epic moments featured on the track) and it stops after 5 minutes, which are then followed by 5 minutes of low noises, before a "hidden" track kicks in for the last 2 minutes of the track. To my ears the low noise section is a bit of a shame and slightly annoying. Especially considering the brilliance of the two other parts of the track. But that is about my only complaint when it comes to "Murder Metal", which is otherwise packed with high quality material. It´s raw, powerful, and quite unique sounding, and should appeal to those who prefer their extreme metal to sound unconventional.

It´s hard to pick highlights, as all tracks deserve equal praise, but the above mentioned "Fritz Haarman der Metzger", "Fatal Foot Fetish", and "Morbid Minister" are to my ears some of the standout tracks. I´d also like to give a special mention to "The Hillside Stranglers", which features part of the same chorus melody and lyrics as were also featured on "The Vampire of Düsseldorf" from "Sinister Slaughter (1993)". That´s what the late Frank Zappa would have referred to as conceptual continuity, and it works pretty well here. Who would have thought that Frank Zappa and Macabre were kindred spirits. Of course they both made a spoof of the cover artwork for "Sgt. Pepper's Lonely Hearts Club Band (1967)" by The Beatles, but still...the point here being that there is more to Macabre than meets the eye/ear.

Upon conclusion "Murder Metal" is another high quality release by Macabre, and considering the extremely high quality of "Dahmer (2000)", it´s safe to say the band were on an artistic roll in those years. "Dahmer (2000)" still stands as the peak/masterpiece of their career, but "Murder Metal" isn´t far behind, and a 4.5 star (90%) rating is fully deserved.

AD NAUSEAM Imperative Imperceptible Impulse

Album · 2021 · Technical Death Metal
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siLLy puPPy
AD NAUSEUM hit the ground running in the world of avant-garde tech death metal in 2015 with its lauded “Nihil Quam Vacuitas Ordinatum Est” which proved to be the second coming of Gorguts’ classic “Obscura” wrapped in completely new clothing. With bantering wails of sonic swarms of atonal and jagged guitar riffs teased out into unthinkable detachment, AD NAUSEUM proved they were worthy successors and pretty much handed honorable post doctorates in “Obscura” studies which they so successfully took to the next level in the world of avant-garde metal excess.

If any band can be accused of nerding out to the max, surely it’s this quartet of unorthodox musicians hailing from Scio, Italy which is just a hop, skip and a jump from the city of Venice. Having gotten the unrelenting angst out of their system after a debut album that excelled in a relentless attack so frighteningly intense that it was advised to avoid for those who were faint of heart, after six long years AD NAUSEUM returns with its second coming in the form of IMPERATIVE IMPERCEPTIBLE IMPULSE and as well as leaving the Latin locutions behind, so too does AD NAUSEUM jettison the full speed throttle that dominated the debut.

While the 20th century integral serialism and avant-garde classical underpinnings of the debut rarely peeked out of the bantering din, IMPERATIVE IMPERCEPTIBLE IMPULSE showcases a more relaxed AD NAUSEUM that has allowed less abrasive moments of contemplation to intermingle within the incessant metal brawl that continues the bantering din of the Gorguts playbook. Album #2 features six tracks, all of which exceed the eight minute mark with “Coincidentia oppositorum” racing past the twelve. With a running time of 57 minutes, IMPERATIVE IMPERCEPTIBLE IMPULSE offers a more balanced approach laid down on the debut with an extraordinary attention to details that displays this band’s outstanding commitment to crafting some of the most forward thinking avant-garde metal of the decade.

While still steeped in tech death clothing with growly vocals, aggressive technical guitar wizardry and abrasive atonalities, AD NAUSEUM has like many of its contemporaries in reality drifted off into a totally new world of extreme metal that doesn’t really fit into the established orthodoxies of death, black, sludge, progressive etc metal. While currently only the term avant-garde can really fit the bill, AD NAUSEUM continues the death metal immediacy with the Deathspell Omega abstractness and Meshuggah-like disscontempt of established paradigms. On this sophomore release, AD NAUSEUM pretty much takes all the features of the debut and amplifies them severalfold.

This is the kind of metal monstrosity that has alienated a lot of traditional metalheads for sure as this type of experimental abstractness has totally left the gravitational pull of classic metal approaches and ventured into unknown territory where it seems there is no end in sight as these types of bands venture ever further into the unexplored terrains. AD NAUSEUM seems to have perfected a balancing act here as it delivers unrelenting brutality in the form of atonal dissonance riff barrages wrapped up in progressive tech death clothing however the moments of non-metal shine through much more brightly and feature interesting orchestrations that evoke a keen sense of 20th century classical composers ranging from Arnold Schoeberg and John Cage to free dissonance and experimentalism of Charles Ives and Edgard Verèse. Metal bands like this are truly the new avant-garde classical. There are more moments on this one that remind me of Kayo Dot or Maudlin of the Well than album #1.

This is truly abstractionist’s paradise as AD NAUSEUM really understands the dynamics of metal-in-opposition and develops their post-Obscura-ism even further. Graced with a keen attention to production values as well as over-the-top metal dynamism, this band has truly mastered the true intent of avant-garde extreme metal and showcases a more mature album although many will be instantly alienated by the jagged uninviting soundscapes presented. Advanced metal who study calculus for fun. This is not the instantly warm and fuzzy metal of decades prior but rather the ultimate expression in nerd metal run amok. Personally i love this shit and AD NAUSEUM has unleashed a brilliant followup to its already ambitious debut.

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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