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Depressive Black Metal or Depressive Suicidal Black Metal (DSBM) in full, is one of the sub-genres of black metal music. It tends to be more monotone, repetitive and droning with an aim to be hypnotic. Ambient influences may be included and while there is some crossover with atmospheric black metal especially, the mood intended to be put across by this style is very different. Vocals in depressive black metal bands tend to drift from the traditional raspy growls and into something more akin to a despairing wail. Lyrical themes will also usually deal with subjects of depression and suicide. It is not music designed for a happy listener.

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XASTHUR To Violate the Oblivious Album Cover To Violate the Oblivious
4.71 | 5 ratings
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SHINING V: Halmstad Album Cover V: Halmstad
4.23 | 15 ratings
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TODESSTOß Ebne Graun Album Cover Ebne Graun
4.25 | 4 ratings
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SHINING IV: The Eerie Cold Album Cover IV: The Eerie Cold
4.05 | 12 ratings
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BETHLEHEM Dictius Te Necare Album Cover Dictius Te Necare
4.10 | 5 ratings
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GRIS Il Était une Forêt... Album Cover Il Était une Forêt...
4.00 | 7 ratings
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GRIS À l'âme enflammée, l'äme constellée... Album Cover À l'âme enflammée, l'äme constellée...
4.04 | 5 ratings
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XASTHUR Subliminal Genocide Album Cover Subliminal Genocide
4.00 | 5 ratings
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SILENCER Death - Pierce Me Album Cover Death - Pierce Me
3.80 | 5 ratings
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LEVIATHAN (CA) The Tenth Sub Level of Suicide Album Cover The Tenth Sub Level of Suicide
3.73 | 15 ratings
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SHINING I: Within Deep Dark Chambers Album Cover I: Within Deep Dark Chambers
3.75 | 5 ratings
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XASTHUR Telepathic With the Deceased Album Cover Telepathic With the Deceased
3.75 | 4 ratings
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TODESSTOß Ebne Graun

Album · 2017 · Depressive Black Metal
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Todesstoß's Ebne Graun offers perhaps the most bizarre album cover I've seen for a while - it's your standard depressive black metal imagery of Death standing over a shrouded corpse in a coffin in a wasteland, except Death is wearing a galaxy-spangled glam rock jumpsuit and RAWKIN' OUT on a day-glo guitar, and a mystery glow is kindled within the shrouded form. The music you get here is similarly bizarre - a mashup of the glum atmosphere of depressive black metal, the epic track lengths and slow movements of funeral doom, and a slice of weird synthesiser tinklings for spice. Like the cover, it's a weird mixture of elements, but it kind of works.

THERESIA An Invitation To Darkness

Album · 2018 · Depressive Black Metal
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After making their debut on the Wisteria Records Various Artists Compilation METAL MADNESS: VOLUME ONE, the Japanese turned Canadian depressive black metal band THERESIA make their true debut with their first EP release AN INVITATION TO DARKNESS. While the band formed in Japan in 2016 they moved to both the UK and Canada and somehow ended up in the unlikely setting of Regina, Saskatchewan.

All along the band was more into noise rock than metal but their influences also include Gothic rock like Christian Death as well as the Japanese band Sodom And Silencer. Somehow the trio found themselves more in black metal mode with hints of the noise, punk and Goth in the mix, however with pummeling distorted guitar riffs, angry shouted vocals and a muted bass that fuses with the murky guitar parts, there is no mistaking this for anything other than black metal with lyrics screamed out in both English and Japanese.

The band is led by vocalist Ikiryō with Misaki on both drums and guitar and Okiku on bass. This EP is way too short while although it has four tracks, the first and last are simply an ambient intro and a short crust punk outro. The short opener “Dear Kayo… An Invitation For Darkness” begins like the first Black Sabbath album with thunder and church bells chiming with some Japanese poetry being read.

The only two real songs are “Funeral Games” which nicely continues the bell chimes and breaks in true depressive black metal riffing along with pummeling percussion that isn’t exactly blastbeat style but certainly has energetic bursts of pummelation that equal the intensity. The vocals offer glimpses of bleak hopelessness and unhappiness perhaps obtained through all that moving from country to country and ending up in one of the coldest nations on Earth!

“The Graves Of Passion” has an even more disturbed sound with insanely crazy distorted guitars, a frenetic percussive pattern and even more unhinged vocals angrily vociferating through the din. The flow is very much of second wave black metal with a straight forward delivery and not overly unlike many other bands of the 90s and early 2000s. The final closer “Deathmask” sounds more crust punk but with a blackened veneer followed by a short snippet of spoken words at the end.

THERESIA shows promise with a strong drive and excellent delivery of black metal however the EP is way too short. I believe a debut should at least be 20 minutes long and offer a variety of tracks even if set in the same genre mode. While performed quite well THERESIA needs to work on some sort of way of differentiating themselves from the legions of other black metal bands out there. Definitely one to look out for but just getting their feet wet in the morbid metal games of the 21st century. Definitely worth checking out but it seems like it’s just getting started and then ends!


Album · 2012 · Depressive Black Metal
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The self-titled debut album of Slovakian act Einsamtod, released in 2012, clearly doesn't set out to be an easy album to get into. Nor should it, since it belongs to the depressive black metal genre, but even so, this one certainly knows how to throw its listener right in at the deep end, greeting the ears with what initially appears to just be a wall of fuzzy noise and screams. This abrasive assault is surely enough to put off all but the most determined of listeners. But those who get past this, will find an unexpected gem of an album.

This is the opening track, Freezing End, which at 8:46 in length is actually the shortest that the five track album has on offer. Once you get over how incredibly raw Einsamtod have made their sound, you'll be able to start appreciating the atmosphere that the duo, instrumentalist Smrtislav and vocalist Nefastvm, have managed to create. Intricate melodies have been inserted into the lo-fi fuzz, resulting in a dark atmospheric journey that is an quickly compelling to the enthusiast as the initial barrage of fuzz is anathema to others.

Each does does have a tendency to begin in much the same way, but once you get used to what Einsamtod is about the album proves excellent across it's duration. There's just one problem with it, during track four, the dark ambient piece Journey Through a Land Forlorn and it's nothing to do with the composition or performance. It's a technical problem with the release. There's a noticeable glitch where the music jumps that is incredibly jarring. At first I think this was a problem with my personal copy and upon my first listen I was all but ready to get onto the supplier I bought it from to complain when something made me decide to look up the song online. And lo and behold, the exact same glitch occurs, so it's not a problem with my particular press.

This may explain why on the vinyl version, which was released the following year in 2013, has had this track pulled. One has to wonder why such a glitch made it to press on the CD version though. It seems incredibly unprofessional and somewhat spoils what is otherwise clearly an essential release of the depressive black metal genre and even though the track is an ambient one I can't help but think it's removal would be a detraction to the vinyl version, since it adds variety to the release.

That issue aside, I do absolutely consider Einsamtod to be an essential album. One day I hope these guys find it in themselves to do it the justice it deserves and properly fix that botched recording of Journey Through a Land Forlorn rather than just retconning it out of the album. I may even buy it again if they did. That's how good it is.

XASTHUR Subliminal Genocide

Album · 2006 · Depressive Black Metal
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Continuing and intensifying the approach of To Violate the Oblivious (even the cover art looks similar), Subliminal Genocide finds Xasthur main man Malefic continuing his project of applying atmospheric black metal techniques to depressive black metal mood and subject matter. Oppressively doomy and refreshingly experimental by turns, the album feels like a sort of weird opposite of psychedelia - whilst psychedelic music tries to open up your mind to wild vistas, Xasthur's music is more numbing, yielding an anaesthetic haze in which everything winds down until only the music is left. Maybe it's not a wild divergence the from the rest of his black metal material, but it's a decent entry in his discography.

PALE MIST Spreading My Wings into the Abyss That Calls

Album · 2016 · Depressive Black Metal
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Spreading My Wings into the Abyss That Calls (2016) is the second full-length album by UK depressive black metal act Pale Mist. The solo project of Glomor, he's released an EP and a split in the time since the debut album Where the Darkness Is Praised (2012) was released. The album was originally released on CD and digital formats by Sinister Stench Productions with a limited cassette release following in 2017 through Heidenwut Productions.

The album opens with Through the Thick Fog of Misery and Woe, an instrumental that slowly builds up the album towards it's first vocal track, which is the title track Spreading My Wings into the Abyss That Calls, which is noticeable more aggressive than the former, where the guitars have quite a jangly tone, which is repeated in other tracks of the album including the eighteen minute long Embraced by the Pale Mist. I rather like the tone of those parts actually; they give the record what in my experience of the black metal genre as a whole is an atypical sound. There are also quite a few more clean tone parts used on the album as well, including a second instrumental, Gazing, Opening the Barriers. When used in the tracks with vocals though the clean parts when combined with the growls create a surprisingly dark vibe, more so than the heavier parts of the album manage. The album's finale is The Welcoming Glow of the Moon, another long track at just over twelve minutes.

Though the album as a whole does fit the mood of a depressive black metal release due to its rather bleak sound and a semi-raw production it's overall a lot more accessible than some such bands are. Glomor sticks to using growls, albeit fairly tortured sounding ones, and doesn't throw any of those wailing and whimpering like clean vocals that some DSBM bands like Taiga or Todesstoß use. You know, the kind that can really grate on one's nerves after a while. Fortunately there's none of that nonsense here and Spreading My Wings into the Abyss That Calls is a better album for it. I didn't hear of this album until after the year of its release, but I definitely count it as one of my best 2016 finds from after the event.

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