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

death metal top albums

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MAYAN Antagonise Album Cover Antagonise
MAYAN
4.84 | 9 ratings
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DEATH Symbolic Album Cover Symbolic
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ESOCTRILIHUM Pandaemorthium (Forbidden Formulas To Awaken The Blind Sovereigns Of Nothingness) Album Cover Pandaemorthium (Forbidden Formulas To Awaken The Blind Sovereigns Of Nothingness)
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death metal Music Reviews

BUTAMACHO Reunión de Brujos

Album · 2011 · Death Metal
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siLLy puPPy
Chile has been on fire in the last couple decades with its revival of the rotten and macabre style of blackened death metal brought to the world by bands like Asphyx, Bolt Thrower, Autopsy and Atomic Aggessor. This band emerged in 2009 in the far southern city of Castro which is practically as far as you can drive down the coast of Chile before the sparse settlements give way to the vastness of the Patagonian wilderness. This trio started out as a quartet with the early lineup of Alonso Gomez (guitar), Walter Guinel (bass), Carlos Miranda (drums) and Boris Vivar (vocals, 2009-11) with this debut REUNIÓN DE BRUJOS (Meeting Of The Warlocks) the only to feature growler Boris Vivar.

The band has released three albums since its inception with this debut coming out in 2011 on the Pacto label. A rather short collection of six tracks at just under 33 minutes in that murky gray area where you ask if it’s an EP or a bonafide album but nevertheless BUTAMACHO cranks up the volume and distortion up to maximum decibelage on this debut with a veritable mix of old school death metal in the vein of old Incantation along with moments of doom metal mixed in for good measure. The band blurs the line between the ugly nasty blackened world of war metal with the more no nonsense old school variety of death metal but with a lo-fi downtuned approach the band’s evil as fuck sound delivery is a nice nasty treat of filthy raw and unpolished death metal from the Chilean underground. Fans of early Incantation will love this one.

Graced with distinct tracks that feature varying grooves, rhythms and melodic touches underlying the grimy exterior, BUTAMACHO’s debut showcases a mix of crafty death metal that alternates speedier blastbeat infused outbursts with more reserved groovier parts that trade in the heavy pummelation for a series of cymbal majesty. The riffing is both set to quickened monstrous assault speed to more doomy slower oozing effects. Vivar’s vocals are permanently set to low guttural growls keeping the brutal below Hades effect the primary mode of action here. The band’s morbid cover art will evoke a sense of nostalgia for the old school death metal crowds who miss the days of horror, gore and display of skeletons that still carried a shock value back in the day. The band eschews any technical or progressive tendencies leaving those modernizations up to bands like Inanna who are carrying the nation into the next phase of death metal splendor.

While i wouldn’t consider BUTAMACHO’s approach here revolutionary or even a significant deviation from what has been done a million times before, the band does deliver a somewhat unique mix of percussive drive and riffing action that when taken as a whole is quite a pleasing presentation of filthy festering death metal from the abyss. Some say this is the only true death metal. While i wouldn’t quite agree i do concur that there is nothing like this old school variety that allows the cover art imagery and somewhat streamlined songwriting simplicity to not get in the way of a distortion infused noisefest. The band appears to still be active and continues to haunt southern Chile delivering enough high octane energy to melt Patagonian glaciers. A nice mix of elements that is pretty much unknown outside the confines of the Chilean homeland. Remote bands from bumfuck regions of the world have made quite a splash in recent years. BUTAMACHO is just one of many in the Chilean underground causing quite a stir

INFERNAL DOOM Just the Beginning

Album · 2005 · Melodic Death Metal
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siLLy puPPy
Perhaps the most southern based death metal band on the entire planet, INFERNAL DOOM emerged from the extreme southern Patagonian city of Punta Arenas, Chile in 1999 and has been keeping warm in its proximity to Antarctica by unleashing its own brand of melodic technically infused death metal. The band has released four albums in its quarter of a century existence with this debut JUST THE BEGINNING debuting in 2005. Initially released only as a CD-R, the band has since found supporting labels and the album was reissued in 2015 in a more appropriate CD and digital format.

With an ever changing lineup over the decades this earliest offering features Jaime Bustamante (vocals, guitar), Marcelo Oyarzo (guitar), Marco Alvarez (bass) and Vladimir Vukovic (drums). While labeled generally as death metal, this debut is a strange sounding album that sounds a bit like melo-death with doses of technicalities only the vocals aren’t of the guttural growl variety but rather a raspy scream from the abyss effect. The band releases its albums in the English language thus projecting an international intent of marketing.

The album of nine tracks and about 47 minutes of playing time comes across more like a progressive metal album with death metal crossover over aspects somewhat akin to a weaker style of Death, Cynic or even Atheist. In fact the band considers itself progressive death metal. The music while not incompetent doesn’t quite measure up to the ambitions though with lazy drumming (most of the time) and rather monotonous guitar riffing (for the most part). The tempos often drop down to such slow speeds that it completely escapes being death metal altogether especially when the clean vocals are thrown in. The overall effect is a little too polished to sound threatening and yet not competent enough to sound like a compelling progressive metal album either.

The second instrumental “Without Scape” sounds more akin to the melodic heavy metal instrumentals delivered by 80s bands such as Iron Maiden however it’s a bit more energetic and based in extreme metal with heavier drumming and more distorted guitar riffing. The closing “Beginning Of The End” is the longest track and most progressive track at just over 11 minutes long and starts out with some demented chanting before bursting into a heavy metal attack. The track features varying tempos and some slide guitar moments as well as what sounds like fretless bass. It’s also probably the most competent track on the album however even so it’s mostly an extended jamming type of track with a receptive riffing cycle and a bunch of guitar squeals and antics. Nice noisy as fuck ending though! Decent but nothing mind blowing either.

Granted this was a primeval debut that found a band in one of the remotest regions of the planet finding its way onto a much larger world’s stage. To my ears this sounds a bit amateurish even with the short electronic instrumental “Butterfly Effect” which is more of an ambient clean guitar intermission. It’s a decent album with nothing inherently wrong but sounds like it suffers from an identity crisis as if it doesn’t know if it wants to be prog, prog metal or death metal and in the end doesn’t really sound like any of the above. Basically what drags this album down is the samey songwriting approach. This is my first exposure to INFERNAL DOOM so most likely their newer albums are much more competent. This one however is just a bit too underwhelming for my liking however not offensively so in any way. Just average.

IMMOLATION Failures for Gods

Album · 1999 · Death Metal
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SilentScream213
After the incredible Here in After, I was prepared for Failures for Gods to similarly break my spine and send me to a place of misanthropic misery where no god can touch me. I was ready for twisted riffs to fill me with infernal black flames and ravage my soul while the drums mimicked the beatdown of an unworthy god. That triumphant album cover of the devil gazing upon his subjects was the final piece.

Perhaps I expected too much. For somewhere between the two albums, Immolation seems to have lost something key. By rights, the music is expertly played. The drumming is inhuman, the songwriting is interesting, the vocals slay. On its own, it’s a great album. But this is essentially a strong Tech/Dissodeath influenced Death Metal album… not the follow up to one of the greatest albums in that genre ever.

Trying to put my finger on what’s missing here, it’s the memorability. Despite being highly Dissodeath influenced, Here in After featured some incredibly memorable riffs, often repeating their strongest, catchiest riffs multiple times in order for you to latch onto something amidst the brutal chaos, leaving each song memorable and strong. Failures for Gods… just doesn’t have that. I can’t remember a single riff off the album.

And that’s pretty par for the course when it comes to Dissodeath, but it goes to show why Here in After is a whole other breed. Failures for Gods is a great album that is sure to satisfy fans of the genre. But as a follow up to one of the greatest albums by one of the greatest bands in that style, you could call it a… “Failure.”

PATHOLOGY Unholy Descent

Album · 2024 · Brutal Death Metal
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Kev Rowland
Pathology are back with their twelfth studio album, and their third with the same line-up of Dave Astor (drums), Daniel Richardson (guitars), Richard Jackson (bass) and Obie Flett (vocals). Astor is the only person who has been there since the beginning and is also known for being a founder of Cattle Decapitation in the Nineties (where he provided bass and vocals). Since their inception in 2006, Pathology have created quite a name for themselves in the brutal death genre, and I was certainly a fan of their last album, ‘The Everlasting Plague’, and it is great to see just how strong this outfit have become since Astor undertook a reset in 2018 when he invited Flett back into the fold (he had briefly been in the band in 2010) along with two new members.

This release was designed, recorded and mixed at Sharkbite Studios by Zack Ohren (Aborted, All Shall Perish, Decrepit Birth) in June 2023, mastered by Alan Douches at West West Side Music (Origin, Cannibal Corpse, Cattle Decapitation) while the cover artwork is by Pär Olofsson (Exodus, Abysmal Dawn, Immolation), so even before putting this on there is a certain level of expectation. I am glad to say that is reached with a death metal release which is both pummelling and complex. The drums are everywhere, while the guitars are hugely complicated, providing both chords and runs in an intertwining pattern which is somehow melodic and massively over the top at the same time, with the bass switching between backing up the guitars and going into foundation mode. Then at the front we have the growls of Flett who appears to be at risk of losing his lungs at any moment. Given who was involved, it is no surprise that the sound is top quality, the result being an album which really rewards being played at high volume – there is a depth within which makes this powerful and easy to listen to, without ever remotely falling into anything like easy listening.

Over the years there has been a significant output from these guys (Astor’s old band, Cattle Decapitation, has released half the number of albums in the same period), yet there is no doubt that there is no reduction in quality as this is a blast from beginning to end.

SUPPLICIUM Resurrection of the Shadows

Album · 2008 · Melodic Death Metal
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siLLy puPPy
SUPPLICIUM is a blackened melodic death metal band from Santa Cruz de la Sierra, Bolivia and is virtually unknown outside of its homeland. It’s origins date back to as far back as 1995 and the band consists of Omar (vocals), Roger (bass), Freddy (guitar), Christian (guitar), Marco (keyboards, vocals), Gonzalo (drums), John (guitar and Tadashi (bass). All members have stuck together throughout the decades and the band is still officially active although it has only released a few demos and this sole album RESURRECTION OF THE SHADOWS in 2008.

While starting out as a death-doom metal band, its sound morphed into a more melodic At The Gates type of Swedish melo-death with blackened influences especially in the raspy vocals. This lone album features eight tracks at a playing time of 36 minutes and pretty much showcases a rather generic approach to the whole melo-death sound with rather predictable repetitive riffing and the standard melodic guitar solos that follow. The band features the expected twin guitar harmonic approach more prevalent of classic heavy metal bands like Iron Maiden and Judas Priest than old school death metal.

The tracks are a bit on the sweetened saccharin side of the equation and although i love certain bands in the melo-death camp, many just don’t work out so well and unfortunately SUPPLICIUM is one of them that is just a bit too underwhelming for my liking. It’s all a listenable experience as the musicians are all competent at their retrospective instruments and even the vocals are dynamically brash and deliver the goods however the songwriting itself is a bit on the weak side with a series of samey sounding tracks that rely on the same melodic riffing techniques and by the numbers melo-death accoutrements. There are also dueling vocal performances with different extreme styles. On the positive side the guitar tones are spot on and the band does deliver a thunderous roar that at least keeps things firmly in the death metal camp. There is also an atmospheric keyboard presence in the backdrop keeping it all a bit airy.

It’s not unthinkable that this band could emerge with something far superior to this effort if it has taken the last several years since this album’s release to craft some more interesting songwriting techniques but basically this is just a standard example of melo-death that doesn’t either offend or excite. It’s like a melo-death comfort food that simply fills the space while you’re attending to other tasks at hand. As an active listener though i don’t find this compelling enough to get excited about but in a far flung place like Santa Cruz, Bolivia this band probably has a loyal following as an exciting live act in a region with few options. A competent and well performed album that just doesn’t compete on the world’s stage but that’s not for lack of talent but rather a rather bland creative approach.

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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