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

Building off the speed and complexity of thrash metal, death metal emerged during the mid 1980s. It was mainly inspired by thrash metal acts like Slayer and Kreator and early black metal acts like Celtic Frost. Along with the band Death and its frontman Chuck Schuldiner (who is often hailed 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 Records and Roadrunner Records began to sign death metal bands at a rapid rate. Since then, death metal has diversified, spawning a rich variety of subgenres.

Death metal is considered an "underground" form of music, and has been met with considerable hostility from mainstream culture, mainly because of the socially unattractive themes, imagery and stage personae surrounding many bands.

Characteristics

Instrumentation

The setup most frequently used in death metal is two electric guitars, a bass guitar, a vocalist and a drum kit almost universally using two bass drums or a double bass drum pedal. Although this is the standard setup, bands have been known to incorporate other instruments such as electronic keyboards.

The genre is often identified by fast, highly distorted and downtuned guitars, played with techniques such as palm muting and tremolo picking. The percussion is usually fast and dynamic; blast beats, double bass and exceedingly fast drum patterns frequently add to the ferocity of the genre.

Death metal is known for its abrupt tempo, key, and time signature changes, as well as fast and complex guitar and drumwork. Death metal may include chromatic chord progressions and a varied song structure, rarely employing the standard verse-chorus arrangement. These compositions tend to emphasize an ongoing development of themes and motifs.

Vocals and lyrics

Death metal vocals are often guttural roars, grunts, snarls, and low gurgles colloquially called death grunts or death growls. This vocal style is sometimes referred to as Cookie Monster vocals, tongue-in-cheek, because of the similarity with the popular Sesame Street character of the same name. Although often criticized, death growls serve the aesthetic purpose of matching death metal's violent or bleak lyrical content.

Death metal's lyrical themes often invoke Z-grade slasher and splatter movie violence, but may also extend to contain themes of Satanism, criticism of religion, Occultism, mysticism, and/or social commentary. Although violence may be explored in various other genres as well, death metal elaborates on the details of extreme acts, including mutilation, dissection, torture, rape and necrophilia. Sociologist Keith Kahn-Harris (author of Extreme Metal: Music and Culture on the Edge) commented that this may be attributed to a "fascination" with the human body that all people share to some degree, a "primal desire", and that although the genre often glamorizes violence and obscurities, there is equally as much fear and disgust amid the exploration. Heavy metal author Gavin Baddeley also stated that there does seem to be a connection between "how acquainted one is with their own mortality" and "how much they crave images of death and violence" via the media. Additionally, contributing artists to the genre often defend death metal as little more than an extreme form of art and entertainment, similar to horror films in the motion picture industry. This rationalization has brought such musicians under fire from activists internationally, who claim that this is often lost on a large number of adolescents, who are left with the glamorization of such violence without social context or awareness of why such imagery is stimulating.

According to Alex Webster, bassist of Cannibal Corpse, "The gory lyrics are probably not, as much as people say, from being mainstream. Like, 'Death metal would never go into the mainstream because the lyrics are too gory?' I think it's really the music, because violent entertainment is totally mainstream."

Origin of the term

There are several theories how the term "death metal" originated. One theory is that the name originates from an early pioneer of the genre, Death. A Florida journalist explained to his readers that Death play their own kind of metal: "Death's Metal". Others contest that Death is not the origin, but that the harsh vocals and morbid lyrical content generally inspired the genre. Another possible origin is a fanzine called "Death Metal", started by Thomas Fischer and Martin Ain of the band Hellhammer (later Celtic Frost). The name was later given to the 1984 compilation Death Metal released by Hellhammer's label Noise Records. The term might also have originated from other recordings. Possessed's 1984 demo is called Death Metal, and a song with the same name is featured on their 1985 debut album Seven Churches. A demo released by Death in 1983 is called Death by Metal.

Early history (before 1991)

Emergence

The history of death metal begins in the early 1980s. A style emerged that was between black metal and thrash metal. European bands like Venom, Bathory, and Hellhammer, and bands from the US like Possessed and Slayer formed the basis of this extreme heavy metal music style. From these founding acts styles diversified into death and black metal. Template:Sound sample box align leftTemplate:Sample box end

The British band Venom crystallized the elements of what later became known as thrash metal, death metal and black metal, with their 1981 album Welcome to Hell. Their dark, blistering sound, harsh vocals, and macabre, proudly Satanic imagery proved a major inspiration for extreme metal bands. Another highly influential band, Slayer, formed in 1981. Although the band was a thrash metal act, Slayer's music was more violent than their thrash contemporaries Metallica, Megadeth and Exodus. Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war and Satanism won Slayer a rabid cult following. Slayer released their first album, Show No Mercy, in 1983. According to Allmusic, their 1986 album Reign in Blood "inspired the entire death metal genre" and had a big impact on the genre leaders.

Possessed, a band that formed in San Francisco during 1983, was influenced by early Slayer. Although Possessed's brand of metal resembled Slayer's fast and Satanic thrash metal they are often cited as the "first" death metal band. This is largely because of the grunted vocals which set the stage for death metal's breakaway from thrash metal. The 1984 demo Death Metal and 1985 album Seven Churches are regarded as their most influential material.

Not long after the dawn of Possessed, a second influential metal band was formed in Florida: Death. Death, originally called Mantas, was formed during 1983 by Chuck Schuldiner, Kam Lee, and Rick Rozz. In 1984 they released their first demo entitled Death by Metal, followed by several more. The tapes circulated through the tape trader world, quickly establishing the band's name. With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene. Fast, dark minor-key riffs and fierce solos were complimented with fast drumming, creating a style that would catch on in tape trading circles. Subsequently, Schuldiner has been "widely recognized as the father of death metal".

Along with Possessed and Death, other pioneers of death metal in the United States include Autopsy, Necrophagia, Death Strike, Morbid Angel, Massacre, Atheist, and Obituary.

An early death metal album, Season of the Dead, was released by Necrophagia in 1987. That same year saw the release of Death's Scream Bloody Gore, which some writers consider the genre's first "proper" release.

Growing popularity

By 1989, many bands had been signed by eager record labels wanting to cash in on the subgenre, including Florida's Obituary, Morbid Angel and Deicide. This collective of death metal bands hailing from Florida are often labeled as "Florida death metal". Death metal spread to Sweden in the mid 1980s, and flourished in the latter part of the decade, with pioneers such as Nihilist, Entombed, Dismember and Unleashed. In the early 1990s, the rise of typically melodic "Gothenburg metal" was recognized, with bands such as Dark Tranquillity and, later, At the Gates, In Flames and Soilwork. Template:Sound sample box align rightTemplate:Sample box end

Following the original death metal innovators, new subgenres began by the end of the decade. British band Napalm Death became increasingly associated with death metal, in particular, on 1990's Harmony Corruption. This album displays aggressive and fairly technical guitar riffing, complex rhythmics, a sophisticated growling vocal delivery by Mark "Barney" Greenway, and thoughtful lyrics, leading to the creation of the "deathgrind" subgenre. Other bands contributing significantly to this early movement include Britain's Bolt Thrower and Carcass, and New York's Suffocation.

To close the circle, Death released Human in 1991, an example of modern death metal. Death's founder Schuldiner helped push the boundaries of uncompromising speed and technical virtuosity, mixing technical and intricate rhythm guitar work with complex arrangements and emotive guitar solos. Other examples are Carcass's Necroticism: Descanting the Insalubrious, Suffocation's Effigy of the Forgotten and Entombed's Clandestine from 1991. At this point, all the above characteristics are present: abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and growling vocal delivery.

Earache Records, Relativity Records and Roadrunner Records became the genre's most important labels, with Earache releasing albums by Carcass, Napalm Death, Morbid Angel, and Entombed, and Roadrunner releasing albums by Obituary, Sepultura, and Pestilence. Although these labels had not been death metal labels, initially, they became the genre's flagship labels in the beginning of the 1990s. In addition to these, other labels formed as well, such as Nuclear Blast, Century Media Records, and Peaceville. Many of these labels would go on to achieve successes in other genres of metal throughout the 1990s.

In September 1990, Death's manager Eric Greif held one of the first North American death metal festivals, Day of Death, in Milwaukee suburb Waukesha, Wisconsin, and featured 26 bands including Autopsy, Hellwitch, Obliveon, Revenant, Viogression, Immolation, Atheist, and Cynic.

Later history (1991–present)

Death metal's popularity achieved its peak between the 1992–93 era, with some bands such as Morbid Angel, Cannibal Corpse and Obituary enjoying mild commercial successes. However, the genre as a whole never broke in to the mainstream. The genre's mounting popularity may have been partly responsible for a strong rivalry between Norwegian black metal and Swedish death metal scenes. Fenriz of Darkthrone has noted that Norwegian black metal musicians were "fed up with the whole death metal scene" at the time. Death metal diversified in the 1990s, spawning a rich variety of subgenres.

Subgenres

It should be noted that cited examples are not necessarily exclusive to one particular style. Many bands can easily be placed in two or more of the following categories, and a band's specific categorization is often a source of contention due to personal opinion and interpretation.

• Melodic death metal: Scandinavian death metal could be considered the forerunner of "melodic death metal". Melodic death metal, sometimes referred to as "melodeath", is heavy metal music mixed with some death metal elements, such as growled vocals and the liberal use of blastbeats. Songs are typically based around Iron Maiden-esque guitar harmonies and melodies with typically higher-pitched growls, as opposed to traditional death metal's brutal riffs and much lower death grunts. Carcass is sometimes credited with releasing the first melodic death metal album with 1993's Heartwork, although Swedish bands In Flames, Dark Tranquillity, and At the Gates are usually mentioned as the main pioneers of the genre and of the Gothenburg metal sound. Additionally, Afflicted, Amon Amarth, Unleashed and Tiamat helped to define the sound that would evolve into common melodic death metal.

• Technical death metal: Technical death metal and 'progressive death metal' are related terms that refer to bands distinguished by the complexity of their music. Common traits are dynamic song structures, uncommon time signatures, atypical rhythms and unusual harmonies and melodies. Bands described as technical death metal or progressive death metal usually fuse common death metal aesthetics with elements of progressive rock, jazz or classical music. While the term technical death metal is sometimes used to describe bands that focus on speed and extremity as well as complexity, the line between progressive and technical death metal is thin. "Tech death" and "prog death", for short, are terms commonly applied to such bands as Cryptopsy, Edge of Sanity, Opeth, Origin and Sadist. Cynic, Atheist, Pestilence and Gorguts are examples of bands noted for creating jazz-influenced death metal. Necrophagist and Spawn of Possession are known for a classical music influenced death metal style. Death metal pioneers Death also refined their style in a more progressive direction in their final years.

• Brutal death metal: Brutal death metal developed by combining death metal with aspects of grindcore, and took death metal to greater extremes in terms of speed and aggression. Brutal death metal tends to be drum-heavy and rhythm oriented leaving little room for melody and harmony. Typically, guitar riffs make use of fast tremolo picking, and heavy palm muting for a percussive effect. The drum lines are fast and blast beats are predominant. Brutal death metal vocalists employ low-pitched death grunts and the lyrics are often, but not always gore related. Some bands occasionally alternate fast and aggressive parts with slower grooves and breakdowns. Bands who focus more on these slower groovy parts and breakdowns are sometimes referred to as slam death metal. Certain bands in this genre, for example Nile and Suffocation, have also been categorized as technical death metal. There is a sizable overlap between the two genres, as some bands not only focus on speed and aggression but also incorporate technical and progressive elements. Brutal death metal is also associated with bands like Cannibal Corpse, Disgorge and Hate Eternal.

• Death/Doom : Death/doom (also known as doom/death) is a style that combines the slow tempos and melancholic atmosphere of doom metal with the deep growling vocals and double-kick drumming of death metal. The style emerged during the late 1980s and gained a certain amount of popularity during the 1990s. It was pioneered by bands such as Autopsy, Winter, Asphyx, Disembowelment, Paradise Lost, and My Dying Bride. Death doom subsequently gave rise to the gothic metal genre.

• Blackened death metal: Blackened death metal is a subgenre of death metal fused with the more fluid and melodic elements of black metal. These bands also often tend to adopt some of the thematic characteristics of that genre as well: evil, Satanism, and occultism are all common topics and images. Early influences for blackened death metal include death metal bands such as Morbid Angel, Deicide, Acheron, and Immolation. Some examples of this subgenre include Akercocke, Behemoth, Belphegor , Zyklon, and Sacramentum.

• Deathgrind or goregrind: This style mixes the intensity, speed, and brevity of grindcore with the complexity of death metal. It differs from death metal in that guitar solos are often a rarity, shrieked vocals are more prominent as the main vocal style (though death growls are still utilized and some deathgrind bands make more use of the latter vocal style), and songs are generally shorter in length, usually between one and three minutes. The style differs from grindcore in the more technical approach and less evident hardcore punk influence and aesthetics. Some notable examples of deathgrind are Brujeria, Cattle Decapitation, Cephalic Carnage, Soilent Green, Pig Destroyer, Circle of Dead Children and Rotten Sound.

• Deathcore: With the rise in popularity of melodic metalcore, some of its traits have been incorporated into death metal. Bands like Job for a Cowboy (on their first EP Doom) and Suicide Silence combine melodic metalcore with death metal influences. Death metal characteristics, such as fast drumming (including blast beats), down-tuned guitars, tremolo picking and partially growled vocals, are combined with melodic riffs and breakdowns. In the case of some groups such as Despised Icon and Bring Me the Horizon, lyrical themes are less focused on gore and violence, and more on personal issues.

Other fusion subgenres

There are other heavy metal music subgenres that have come from fusions between death metal and other non-metal genres, such as the fusion of death metal and jazz. Atheist and Cynic are two examples. The former of went as far as to include jazz-style drum solos on albums, and the latter incorporated elements of jazz fusion. Nile have also incorporated Egyptian music and Middle Eastern themes into their work, while Alchemist have incorporated psychedelia along with Aboriginal music. Some groups, such as Nightfall and Eternal Tears of Sorrow, have incorporated keyboards and symphonic elements, creating a fusion of symphonic metal and death metal, sometimes referred to as symphonic death metal.

See also

• List of death metal bands
• Death growl
• Blast beat
• Extreme metal

References

1. "Death Metal/Black Metal". Allmusic. Retrieved 2008-07-04. Death Metal grew out of the thrash metal in the late '80s.
2. ^ Dunn, Sam (Director) (August 5). Metal: A Headbanger's Journey (motion picture). Canada: Dunn, Sam. {{cite AV media}}: Check date values in: |date= and |year= / |date= mismatch (help)
3. Joel McIver Extreme Metal, 2000, Omnibus Press pg.14 ISBN 88-7333-005-3
4. The greatest metal band for Mtv
5. Joel McIver Extreme Metal, 2000, Omnibus Press pg.100 ISBN 88-7333-005-3
6. Joel McIver Extreme Metal, 2000, Omnibus Press pg.55 ISBN 88-7333-005-3
7. allmusic ((( Death > Biography )))
8. Metal Rules Interview with Chuck Schuldiner
9. The Best Of NAMM 2008: Jimmy Page, Satriani Models Among The Highlights | News @ Ultimate-Guitar.Com
10. Rivadavia, E. Possessed: Biography, allmusic, (accessed August 13, 2008)
11. Morbid Angel page @ Allmusic "Formed in 1984 in Florida, Morbid Angel (along with Death) would also help spearhead an eventual death metal movement in their home state"
12. Is Metal Still Alive? WATT Magazine, Written by: Robert Heeg, Published: April 1993
13. Silver Dragon Records "During the 1990s death metal diversified influencing many subgenres"
14. Deathmetal.org "The golden years of death metal were from 1988 to 1994, during which time the classics of the genre and all of its variations formed"
15. BBC News: "Investigating the 'death metal' murders"
16. FretJam Guitar Lessons, "How to Play Death Metal Guitar"
17. DeathMetal.ca "all the above characteristics are clearly present: abrupt tempo and count changes, on occasion extremely fast drumming, morbid lyrics and growling delivery"
18. Purcell, Natalie J. "1". Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. p. 12. ISBN 0786415851. A good Death Metal song will keep the listener to the edge of his seat while the song twists and turns through numerous time changes and scale patterns - John Gallagher, Dying Fetus {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
19. Deathmetal.org "We say death metal is "structuralist" because, in contrast to rock music, its goal is not a recursive rhythm riff that encourages constant intensity through verse-chorus structure"
20. "Cookie Monster Vocals". about.com. Retrieved January 21 2006. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |dateformat= ignored (help). See further examples of this usage at "The cookie monster vocal explained". rocknerd. Retrieved January 21 2006. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |dateformat= ignored (help)
21. "The categorization of death metal". metalstorm.ee. Retrieved January 21 2006. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |dateformat= ignored (help)
22. Sharpe-Young, Garry. Death Metal, ISBN 0958268444
23. Moynihan, Michael, and Dirik Søderlind (1998). Lords of Chaos (2nd ed.). Feral House. ISBN 0-922915-94-6, p. 27
24. Deathmetal.org "However, few practise mysticism and most seem to use it solely as metaphorology for their works"
25. Purcell, Natalie J. "3". Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. pp. 39–42. ISBN 0786415851. {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
26. Khan-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Oxford: Berg, 2006. ISBN 9781845203993
27. Baddeley, Gavin. Raising Hell!: The Book of Satan and Rock 'n' Roll
28. Dunn, Sam (Director) (August 5). Metal: A Headbanger's Journey (motion picture). Canada: Dunn, Sam. {{cite AV media}}: Check date values in: |date= and |year= / |date= mismatch (help)
29. Alex Webster (Cannibal Corpse) interview
30. Nunslaughter interview "The term Death Metal was coined by a Florida journalist that was explaining to his readers that Death play their own kind of metal it is “Deaths Metal” so we owe the term to him but I think it was a global movement. Bathory's demo was 1983 and so was Hellhammers first demo"
31. Death / meer dan death metal Aardschok Magazine, Written by: Robert Haagsma, Published: April 1995 "The definition death metal was called into being because of the drift of the lyrics - death in all its shapes - and the death rasp which the "singers" use. That one of the founders of the genre is going by the name Death might be a coincidence"
32. Purcell, Natalie J. "3". Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. p. 53. ISBN 0786415851. The term "Death Metal" emerged when Thomas Fischer and Martin Ain, a pair of Swiss Venom fans in the band Hellhammer (later Celtic Frost), started a fanzine called "Death Metal". Later, their record label German Noise Records used the "Death Metal" name for a compilation featuring Hellhammer {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
33. Hellhammer biography"Karl from Noise is planning to call the LP Black Mass but it is Tom who talks him out of it and proposes Death Metal which actually is the name of the underground mag Tom used to run"
34. Encyclopaedia Metallum "Possessed are hailed as the godfathers of the death metal genre ... They're considered the first death metal group with the name coming from their first demo entitled, Death Metal."
35. Purcell, Natalie J. "4". Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. p. 53. ISBN 0786415851. Meanwhile, in 1983, the term was co-coined by some American teens who formed the band Possessed and labeled their demo "Death Metal". {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
36. THE DEATH OF DEATH Martelgang Magazine, Written by: Anton de Wit, Published: January 2002, "Yet it's almost unthinkable that the term wasn't inspired by the band name Death or their first demo, Death By Metal from 1983."
37. Deathmetal.org
38. Venom – Welcome to Hell review @ Allmusic "Make no mistake: Welcome to Hell, more than any other album, crystallized the elements of what later became known as thrash, death, black, and virtually every other form of extreme metal"
39. Venom band page @ Allmusic "Venom developed a dark, blistering sound which paved the way for the subsequent rise of thrash music; similarly, their macabre, proudly Satanic image proved a major inspiration for the legions of black metal bands"
40. ^ Into The Lungs of Hell Metal Hammer magazine, Written by: Enrico de Paola, Translated by: Vincenzo Chioccarelli, Published: March 2000 ""
41. Slayer band page @ Allmusic
42. Huey, Steve. "Reign in Blood – Slayer". Allmusicguide.com. Retrieved 2007-01-05.
43. Rivadavia, Eduardo. "Death—Biography". Allmusic. Retrieved on November 23, 2007.
44. ^ Possessed – Seven Churches review @ Allmusic "the band definitely displayed a strong Slayer influence; but it was ... Jeff Becerra who first introduced the barely decipherable grunting vocal style which would epitomize the death metal genre"
45. Possessed band page @ Allmusic "the brutal Seven Churches was arguably the first true death metal album and set the stage for the genre's breakaway from thrash"
46. Possessed band page @ Encyclopaedia Metallum "Possessed are hailed as the godfathers of the death metal genre ... They are considered the first death metal group with the name coming from their first demo entitled, ``Death Metal.``"
47. Possessed - Seven Churches review @ Metal Observer "This band gets props from everyone and it isn't surprising, as they essentially invented Death Metal waaaayy back in about 1983"
48. Death band page
49. Purcell, Natalie J. "3". Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. p. 54. ISBN 0786415851. {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
50. Death biography, allmusic
51. About.com
52. Empty Words, where there are dozens of reviews along this line
53. 'Death Metal Special: Dealers in Death' Terrorizer #151
54. Biography, Official Atheist site, accessed December 10, 2008
55. Zebub, Bill (2007). Black Metal: A Documentary.
56. Diskreet - Infernal Rise Review
57. ^ 'Doom Metal Special:Doom/Death' Terrorizer #142
58. ^ Purcell, Nathalie J. (2003). Death Metal Music: The Passion and Politics of a Subculture. McFarland & Company. p. 23. ISBN 0786415851. {{cite book}}: Unknown parameter |accessmonth= ignored (|access-date= suggested) (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
59. "The Locust, Cattle Decapitation, Daughters", Pop and Rock Listings, The New York Times, April 13, 2007. Access date: August 6, 2008.
60. Bryan Reed, The Daily Tar Heel, July 19, 2007. Access date: August 6, 2008.

Literature

• Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0
• Albert Mudrian, Choosing Death: The Improbable History of Death Metal & Grindcore (Feral House) ISBN 978-1-932595-04-8
• Kahn-Harris, Keith 'Extreme Metal: Music and Culture on the Edge' Berg, http://soulremnants.com, ISBN 1-8452-0399-2
• Purcell, Natalie J. 'Death Metal Music: The Passion and Politics of a Subculture' McFarland & Company, ISBN 0786415851
• Ian Christe. Sound of the Beast: The Complete Headbanging History of Heavy Metal. (New York, NY. Harper Collins, 2003) ISBN 978-0380811274
• Harrell, Jack. "The Poetics of Destruction: Death Metal Rock." Popular Music and Society. Spring 1995. Republished, April, 1996 in the Social Issues Resources Series (SIRS) database.

Template:Death metal

• Death metal
• Heavy metal subgenres