A interview with Jairo Tormentor who played lead guitar on Sepultura‘s legendary early, more blackened releases Bestial Devastation and Morbid Visions,was translated from Portuguese by a Reddit user named cantapaya and posted to the social justice warrior, autist, and Marxist infested dumpster. The two-part interview is incredibly extensive and entertaining.
Fenriz has been in the mainstream news lately for winning an election to his local town council by circulating a photo of him holding his stray cat Nugatti. He won election for a four year term as the second back up councilor who steps in when the first replacement is unavailable.
Starting in the mid to late Eighties, many of the originators of death and black metal started to commercialize their music into straight speed metal for mass appeal to a bar show, beer metal audience; social concert goers in the uniforms of leather jackets, band tees, and high tops who treated shows as a time to socialize and shoot the shit with their friends while listening to typical bands that never challenged their musical preconceptions or startled them away from their ritualized moshing. Just a few years prior, many of these types would’ve been the same idiots seen in Heavy Metal Parking Lot. While most of their peers moved on from Judas Priest to Motley Crue and Guns ‘n’ Roses, many listened to what was considered an “acceptable” fusion of heavy metal and radio rock played by groups like post-Ride the Lightning Metallica, Anthrax, and Testament.
Article by David Rosales.
On their tantalizing debut album, Zealotry showed charm that often characterizes first releases. Debuting bands earnestly try to capture the aura of the music as they juggle with the technical aspects of playing it. First albums often come off as awkward or even flawed but there still containing endearing and thoroughly captivating elements. Many groups lose this enchantment in their sophomore album only to recover it with the third. This happened to Sepultura, who reached the pinnacle of their transcendental contributions on their only death metal album, Morbid Visions. They followed it with a boring mass of riffs with no heads or tails. Their much superior 1989 speed metal album, Beneath the Remains, fortunately corrected this. Hopefully, this will be the case with Zealotry as well.
The Last Witness plays like an extension of The Charnel Expanse‘s final track, “The Unmaking”, the least structured song on the album. The band tangentially explored the technical ramifications found by playing their particular style. From the creators’ perspective, this seemed like a clear path. In taking this choice to focus on a narrower voice, the evocative deficiencies of that streamlined, tremolo-picked, sequence-of-riffs approach had to be compensated for. This was completely ignored and instead there is a heavier emphasis on playing the technical parts of the songs correctly.
Musically, there is a lot of worthwhile content here; It just doesn’t tell a story as much as give scattered visions that are not arranged properly, do not have clear beginnings, and even less conclusions. The painstaking composition in a self-conscious style with a corrective attitude is extremely promising. This is admittedly the hard route as it requires extreme discipline; it is the classical composer’s way for reaching to perfection on all fronts. However, composers need many, many errors before turning trial into triumph.
As it stands, The Last Witness is a collection of exquisite details into which a very attentive reader can dive. He will discover many forms but nothing solid enough to materialize a clear vision. In part, this is due to the tendency towards extreme variation and superficial indulgence of musicianship, and too much escapism in the codas. Follow the title track attentively to hear what I am referring to. The problems here mirror those of Monsieur Tougas on his side project except that Zealotry has a much more individualized voice.
Zealotry would also do well to stay away from the death and war metal influences with atmospheric pretensions seen in the empty music of Phobocosm. Instead, they should work on their motific death metal, develop the themes to establish long-range links, and fully utilize their proper sense of breathing space. Zealotry should play to their strengths instead of diverging horribly and incoherently as in the final track, “Silence”. I am sure with practice and discipline, the time will come when this band will dominate a wider range of expressions. For now, shaping up this very narrow music into that which breathes, lives, and envisions a story is still a goal.
Article (obviously) by David Rosales
Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
- Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
- Deep Purple – Stormbringer
- Rush – Rush
- King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
- Judas Priest – Sin After Sin
- Motörhead – Motörhead
- Iron Maiden – Iron Maiden
- Black Sabbath – Heaven and Hell
- Angel Witch – Angel Witch
- Cirith Ungol – Cirith Ungol
- Metallica – Kill ‘Em All
- Slayer – Show No Mercy
- Iron Maiden – Piece of Mind
- Mercyful Fate – Melissa
- Manilla Road – Crystal Logic
- Manowar – Into Glory Ride
- Slayer – Reign in Blood
- Metallica – Master of Puppets
- Kreator – Pleasure to Kill
- Morbid Angel – Abominations of Desolation
- Sepultura – Morbid Visions
- Fates Warning – Awaken the Guardian
- Candlemass – Epicus Doomicus Metallicus
- Sepultura – Beneath the Remains
- Morbid Angel – Altars of Madness
- Bolt Thrower – Realm of Chaos
- Voivod – Nothingface
- Helstar – Nosferatu
- Powermad – Absolute Power
- Rigor Mortis – Freaks
- Pestilence – Consuming Impulse
- Burzum – Burzum
- At the Gates – The Red in the Sky is Ours
- Demigod – Slumber of Sullen Eyes
- Morpheus Descends – Ritual of Infinity
- Therion – Beyond Sanctorum
- Sinister – Cross the Styx
- Amorphis – The Karelian Isthmus
- Deicide – Legion
- Incantation – Onward to Golgotha
- Atrocity – Longing for Death
- Autopsy – Mental Funeral
- Cadaver – …In Pains
- Asphyx – Last One on Earth
- Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
- Darkthrone – A Blaze in the Northern Sky
- Emperor – Wrath of the Tyrant
- Graveland – In the Glare of Burning Churches
- Immortal – Diabolical Full Moon Mysticism
- Sacramentum – Finis Malorum
- Skepticism – Stormcrowfleet
- Suffocation – Pierced from Within
- Vader – De Profundis
- Gorgoroth – The Antichrist
- Graveland – Thousand Swords
- Summoning – Minas Morgul
- Deicide – Once Upon the Cross
- Sacramentum – Far Away from the Sun
- Immortal – Battles in the North
- Abigor – Nachthymmen (From the Twilight Kingdom)
- Funeral – Tragedies
- Dissection – Storm of the Light’s Bane
- Iced Earth – Burnt Offerings
- Gorguts – Obscura
- Vader – Black to the Blind
Incantation – Diabolical Conquest
- Dawn – Slaughtersun
- Sorcier des Glaces – Snowland
- Angelcorpse – Exterminate
- Blind Guardian – Nightfall in Middle-Earth
- Symphony X – Twilight of the Gods
- Rhapsody – Symphony of Enchanted Lands
- Suffocation – Despise the Sun
- Absurd – Asgardsrei
- Soulburn – Feeding on Angels
- Arghoslent – Galloping Through the Battle Ruins
- Master – Faith is in Season
- Skepticism – Lead and Aether
- Gorguts – From Wisdom to Hate
- Absu – Tara
- Martyr – Extracting the Core
- Lost Horizon – Awakening the World
- Deeds of Flesh – Mark of the Legion
- Averse Sefira – Battle’s Clarion
- Graveland – Raise Your Sword!
- Krieg – The Black Plague
- Avzhia – The Key of Throne
- Quo Vadis – Defiant Imagination
- Blotted Science – The Machinations of Dementia
- Avzhia – In My Domains
- Krieg – The Isolationist
- Burzum – Belus
- Divine Eve – Vengeful and Obstinate
- Atlantean Kodex – The Golden Bough
- Graveland – Cold Winter Blades
- Profanatica – Disgusting Blasphemies Against God
- Autopsy – The Tomb Within
- Overkill – Iron Bound
- Decrepitaph – Beyond the Cursed Tombs
- Black Sabbath – 13
- Condor – Nadia
- Graveland – Thunderbolts of the Gods
- Satan – Life Sentence
- Argus – Beyond the Martyrs
- Autopsy – Headless Ritual
- Profanatica – Thy Kingdom Cum
- Imprecation – Satanae Tenebris Infinita
- Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
From a recent interview with our editor:
You and the other reviewers are notorious for having incredibly harsh reviews. What would you say are your favorite metal albums of all time?
These metal albums have stayed in weekly rotation over the years:
- Massacra – Final Holocaust
- Slayer – Show No Mercy
- Incantation – Onward to Golgotha
- Sepultura – Morbid Visions/Bestial Devastation
- Deicide – Legion
- Beherit – Drawing Down the Moon
- Cianide – A Descent Into Hell
- Atheist – Unquestionable Presence
- Demilich – Nespithe
- Demoncy – Joined in Darkness
The reason my analysis is different than that of other metal sites is that populist writers prioritize surface novelty and underlying similarity to mainstream rock, where I look at metal as a form of art in its own right. It should be measured by the quality of its internal organization and ability to artistically represent a vision of power. The popular “best of” lists specialize in bands that will be forgotten in a few years because when the novelty is gone, they are the same old stuff you could get anywhere else.
I keep a copy of Sepultura Morbid Visions/Bestial Devastation in every room in the house. I dislike being too far from one at any given time.
What contemporary bands should we be paying attention to?
In music as in all things, I am an elitist. This means that I want the best music available because time is short and there is no point wasting it on the trivial. Keep an eye on Demoncy, Sammath, Blaspherian, Kjeld, Desecresy, Kaeck, Blood Urn, and Kever.
Some accuse your site of manufacturing a controversy with MetalGate but the SJW infiltration of political correctness in metal has technically been going on since the late 90s. Do you think metal can actually be tamed by leftists and what is your perspective on the attempts to make metal safe?
SJWs are incapable of understanding the aesthetics of metal, which is why all leftist music tends to be metal-flavored riffing wrapped around rock or punk. Metal music sounds the way it does because its outward form represents what its composers wish to communicate. Ignoring lyrics and imagery, which are entirely secondary to composition much as production is, the music itself conveys an abstract and distant sound that makes beauty out of ugliness through a respect for power. In metal, what is powerful creates excellence, and from within that comes the elegance of form and portrayal of reality that makes great art.
Rock takes the opposite view. It is basically intense repetition with an ironic twist at the end, which means that it differentiates itself through “message.” People love catchy lyrics that embody some idea they find appealing at the time, but these are always experiences based in the individual, which is why almost all of rock music is love songs or “protest music” that wails about how inconvenient it is that some complex idea stands between the individual and a good time. You cannot both be pro-nationalist and listen to rock music.
Metal came about when Black Sabbath wanted to interrupt the hippies — what they called SJWs back when they opposed The Establishment — with some “heavy” (hippie slang for intense, epic and terrifying) realism. The West was falling apart, and the popular movements insisted that if we just focused on peace, love and happiness, all our problems would magically vanish. This focus on reality makes metal appear right-wing to leftists. It embraces consequentialism, worship of the ancient, distrust of the narcissism in the individual, and the idea of conflict itself, so that those who are strongest win. This inherently clashes with the individualist groupthink of the left, which seeks to avoid conflict and manage people indirectly through guilt.
When SJWs make metal, it ends up sounding like punk rock or rock because those forms of “protest music” reflect the individualist and yet group-oriented mentality of the SJW. Like the Christians with their “white metal” in the 1980s and the many times commercial record labels have tried to launch rock bands disguised as metal to capture the metal audience, social justice workers (SJWs) are trying to force entry by liberal ideas into metal so they can take over the space of culture that it dominates, and its audience, and indoctrinate them in leftism. Both media and labels support this because it is cheaper to make rock bands than metal bands.
Metalgate rose to resist this conspiracy and call it what it is, which is an attempt to control our minds through propaganda in music, as well as a gambit to replace what we know of as metal with a “safe” version based in indie rock. Most people do not know it, but metal generates a lot of income because metal fans are loyal to the genre over the course of their lives. Record labels could make a lot of money if they could sell the same old pap with metal flavoring. Luckily metalheads are resisting as they have resisted every attempt to assimilate their genre into rock ‘n roll, break its spirit and make it repeat the same dogma that exists in every other genre of music.
When the new genre of death metal emerged, no one knew what to call it at first. It grew out of a time when metal was just managing to break out of its last assimilation by rock, the late 1970s and early 1980s glam, through speed metal bands like Metallica. As soon as those broke through, others followed with an even more alienated and disturbing sound with what came to be called “death metal.”
Since that time, advertisers and marketers have descended on the phrase. Outsiderness means authenticity and authenticity sells products. Every product that wants to tag itself with rebellious, “fun” and nonconformist would benefit from using the term. But before it became another media tag-line, death metal constituted the most vital genre that existed outside that form of social control.
Its origins remain in murky obscurity, but can be tracked through the bands that innovated the sound. Read on for the five albums that invented this sound.
1. Sepultura – Morbid Visions/Bestial Devastation
Way back in 1985, Sepultura released Bestial Devastation as a fully mature death metal album including unorthodox song form that fit to content and Slayer-style introductions with related motifs to new riffs. Fast and furious in the style that Morbid Angel, Massacra and Vader later developed, this tremolo-picked fury joined Morbid Visions on a release to commemorate these early and massively influential works. Notably this band also spun off guitarist Wagner Antichrist to Sarcofago who later kept black metal alive in the intermediate years between Hellhammer/Bathory/Sodom and Mayhem. Although this early release was recorded with borrowed instruments in what sounds like a dungeon with DC power, many of the elements that became central to death metal presented themselves here: complex riff changes fit together by theme, abrupt breaks, layering by repeating at double speed, use of chaotic guitar highlights, and vocal drops over transitional riffs. For its primitive origins, Morbid Visions/Bestial Devastation demonstrates death metal entering its maturation process after early years of using loan-techniques from related metal and punk genres.
2. Possessed – Seven Churches
Like many early albums attempting to forge a death metal path, Seven Churches borrows much of its technique from earlier styles of metal. In particular, much of speed metal persists here in song structure and rhythmic sensibility, but Possessed nailed the infernal voice that would become an easily noticed characteristic of the genre and gave it its name. This album slashes through songs that mostly follow riff-chorus song format but interrupt it with discursive passages such as the famous melodic riff on “The Exorcist.” Riff shifts generally occur at significant points in the song rather than as extensions of the standard format, which gives this release a chaotic and uneven feel fitting its subject matter. Its song titles embraced outright positive feelings about Satan, which in the 1980s was enough to cause a listener social problems. The lyrics no longer warned of the possibility of evil, but the certainty of it and the necessity of embracing it to avoid the rotted and calcified lies of the “good.” Its pacing and riff forms often resemble those of speed metal as well as its tendency toward bouncing rhythms which favor the offbeat, where later death metal bands might have adopted a more downbeat approach. Despite spanning these genres, Seven Churches lent so much to the new death metal genre that it forever seems appropriate to associate it with death metal.
3. Death Strike – Fuckin’ Death
Paul Speckmann contributed much to the rising death metal movement under a bevy of different names: Master, Death Strike, Funeral Bitch, Abomination and Speckmann Project. His basic approach took 1960s protest rock, violent punk, and early dark heavy metal and mixed them into what basically sounded like rudimentary metal with punk rhythms. Death Strike emerged in 1985 with death vocals and grinding riffs but Speckmann’s demos had exemplified these attributes for at least two years at that point. While the result sounds spacious for modern death metal ears and uses variants on standard song format almost exclusively, this early embrace of the aesthetics of violent chaos and radically simplified riffing set many on their path down to the fiery depths of death metal.
4. Morbid Angel – Abominations of Desolation
The first Morbid Angel album made it to a limited release only on a small label in Tampa, Florida, and so was lost to time until Earache re-issued it in 1991 as a full release. Featuring the drum and vocal talents of Mike Browning (Nocturnus, After Death) this early powerhouse showed the unique and progressive rock influenced songwriting that would appear on later Morbid Angel but without the similarity of aesthetic. Abundant lead guitar spills out all over, songs vary tempo widely, and riffs span many more forms than the solidified final Altars of Madness — which shares most of its songs with this album after three years of refinement while band members worked at a car wash — would demonstrate. Some of lead guitarist Trey Azagthoth’s most creative and psychedelic playing adorns this release, as well as songs that stray into doom metal and progressive metal territory. While this album followed a battered and twisted path to release, it made itself known to the tape-traders who were the backbone of non-mainstream metal in the 1980s, and from there influenced the entire genre.
5. Necrovore – “Divus de Mortuus” demo
Speaking of demos, some of death metal’s most profound work never made it to vinyl or polycarbonate. Traders passed around demos and most band members were traders or had zines and got copies of demos in for review. “Divus de Mortuus” appeared in 1987 after some years of rehearsal and live tapes circulated among the demo circuit and immediately galvanized many. In particular, its influence can be felt on Morbid Angel, whose David Vincent adopted the more aggressive vocals and warlike posturing of vocalist Jon DePlachett. While the riffs on this demo focus more on abrasiveness and less on phrase, many of the elements inherited through Hellhammer and Slayer shine through here on what might be described as the first atmospheric death metal release. While this demo may never make it into stores, its influence spread outward from Texas to Florida and Europe beyond and it lives on in the death metal that followed it.
Early death metal (Bathory, Slayer, Hellhammer, Sodom, Master) emerged as an aggregate of the past, comprised of speed metal (Metallica, Exodus, Nuclear Assault, Testament, Megadeth), late hardcore (Cro-Mags, Amebix, Discharge, The Exploited, GBH), classic heavy metal (Judas Priest, Iron Maiden, Motorhead) and thrash (DRI, COC, Cryptic Slaughter). As a result, most death metal bands exhibited some tendencies more than others, although the founding early death metal bands tended toward the type of tremolo-powered phrase-based riffing exemplified by Slayer.
For example, Deicide on its second album Legion arguably made the album that …And Justice For All wanted to be, with lots of choppy percussive riffing forming intricate textures from which a melody emerged. Early Master sounded more like a punk band with its simple song structures and emphasis on droning, protest-like vocals. Second-wave death metal like Death and Possessed had a tendency to apply speed metal song structures and riff styles. Even advanced death metal like Pestilence often sounded like a more technical and complex version of early speed metal.
But focusing on death metal requires we look at what was unique to it. Getting past the vocals and the intensity, what distinguishes it musically is its use of that tremolo-strummed phrasal riff. This in turn forced bands to escape from riffs integrated strictly with drums, and to as a result put more riffs into the song to drive changes that previous would have been done by the drums. That in turn forced bands to make those riffs fit together, what Asphyx call “riff-gluing,” so that songs avoided the “riff salad” plague that captured later speed metal.
These bands exploded onto the world from 1983-1985, inspired in part by Discharge’s Hear Nothing See Nothing Say Nothing which hit the ground in 1982. Slayer in particular stitched together classic heavy metal and ambient hardcore like Discharge and GBH and ended up with its particular formulation, taking the tremolo and riffs independent of drums from Discharge and matching them to the complex proggy structures of Judas Priest and Iron Maiden with Motorhead speed and aggression. This was what launched death metal free from the shadow of speed metal, which was the first metal genre to break out of underground status despite being — for the time — fast, aggressive and dark.
If you want to get to the core of death metal, these albums might help. They’re albums I keep returning to year after year because they have enough complexity and that unquantifiable quality of having purpose and being expressive, perhaps even emulating the life around them and converting it into a beast of mythological quality, which makes them interesting each time I pick them up. Without further ado, ladies and gentlemen, the players….
Slayer – Show No Mercy
While Hell Awaits has more expert composition, South of Heaven better control of mood and melody, and Reign in Blood more pure rhythmic intensity, Show No Mercy captures Slayer flush with the fervor of youth and the belief in big concepts. As a result, it is an intensity mystical album, uniting a narrative about war between good and evil with the actions of people on earth. It is not like Hell Awaits more solidly situated in a single mythology, nor like Reign in Blood and after an attempt to explore the dark side of modern existence in a literal sense. Instead, it is a flight of imagination mated to an apocalyptic vision of a society crumbling from within. As a result it is musically the most imaginative of Slayer albums, creating grand constructions of visions of worlds beyond that stimulate the fantasy dwelling within our otherwise obedient minds.
Massacra – Enjoy the Violence
Another early album in very much the style of Slayer but with intensity cranked to the ceiling, Enjoy the Violence shows a band intent on conveying intense energy through their music. To do this, they rely on not only near-constant breakneck speed but also vivid contrasts between the types of riffs that are used in a song, welding a rich narrative from riffs that initially seem simple like the scattered twisted bits of metal left after a battle. The result is closer to epic poem that punk music and blows conventional heavy metal and speed metal out of the water with the sense of unbridled aggression and lust for life that surges through its passages. In addition, it carries on the mythological tradition of Slayer but adds a Nietzschean spin whereby constant war for supremacy and domination is the only path not only to victory, but to personal integrity.
Morbid Angel – Abominations of Desolation
Most prefer the more refined versions of these songs from Altars of Madness and Blessed Are the Sick, but my ear favors these nuanced and unsystematic detail-heavy songs which feature more of a blending of textures into what sounds like a communication from another world heard underwater or through the croaking voice of a medium. Trey Azagthoth’s solos were best when he used his half-whole step leaps to make solos that sounded like the creation of gnarly sculptures, and these songs powered by Mike Browning’s drums and voice have more of an organic jauntiness to them than the later mechanistic tanks-crushing-the-shopping-mall sound of the full albums. In addition, this combination of songs strays from the later more interruption-based riffing this band would attempt and instead brings out their inner desire to rip all ahead go at all times, creating a suspension of reality like war itself.
Incantation – Onward to Golgotha
When the idea comes to mind of death metal at its essence, this album will be mentioned because it creates a sound unlike anything else. Incantation took the Slayer riff and song formula and slowed it down, doubled the complexity, and focused on alternating tempos and riff styles to create a building mood of immersive darkness. The result was not only aggressive, but melancholic and contemplative, like a warrior looking out over an abandoned bullet-pocked city. Detuned riffs collide and deconstruct one another, resulting in a sound like the inexorable flow of black water through underground caverns as civilizations collapse above. This rare group of musicians achieved a triumph here that none have been able to repeat individually, suggesting this album was born of a magic confluence of ideas more than a process (ham sandwiches on a conveyor belt).
Carnage – Dark Recollections
If you want “the Swedish sound” at its most powerful, Dark Recollections offers every component synthesized into a package that has not yet had time to become self-critical and neurotic, and thus is an unfettered expression of the thoughts of precocious adolescents translated into sound. The components of Swedish death metal are the modified d-beat, the use of melody to expand song development, a gritty electric explosion of guitar sound, and a tendency to write songs that are half searing budget riff and half horror movie sound track.
Sepultura – Morbid Visions/Bestial Devastation
The first EP in this two-EP package is the more classic death metal version and packs a solid blast of inventive riffcraft staged with theatrical precision into songs that form narratives of the topics denoted in their titles. But the riffs are instant creations of their own, shaped from raw chromaticism and whipped into fury by two levels of rhythm, both in the change of chords and the texturing of the sounding of them. The result owes quite a bit to Slayer, Bathory and Hellhammer, but also to the punk hardcore underlying those acts and a good knowledge of dark metal of the time, and yet is still its own animal. Nothing sounds like this except it, and by giving itself a unique voice, it conjures a power of revelation that endows these songs with lasting enjoyment for the listener.
A cold swimming pool presents a challenge. Do you dip in a toe, and prolong the agony? I suggest instead holding your breath and jumping straight in, so that when you get over the shivers you’ll be ready to rip.
Exploring death metal is the same way. This genre rewards those who immerse themselves in it and figure out its nuances so that they can derive its purpose. Death metal is after all an intensely artistic movement that carefully rejects the world around it. To get into it, you need to leave the world behind and go to planet death metal.
Luckily, planet death metal is not far away. Since the genre birthed itself in the years 1983-1986, it has undergone many mutations, but no real changes since about 1996. That leaves 13 years, 17 years ago, as the vital time period. This means that death metal is now relatively cheap to acquire.
To immerse yourself in death metal, buy yourself a starter collection. This list of classics ought to do it:
- Formative Generation: 1983-1986 ($60)
- Slayer – Show No Mercy ($6)
- Slayer – Hell Awaits ($7)
- Slayer – Reign in Blood ($6)
- Slayer – South of Heaven ($6)
- Celtic Frost – Morbid Tales/Emperor’s Return ($7)
- Bathory – Blood Fire Death ($7)
- Sepultura – Morbid Visions/Bestial Devastation ($4)
- Possessed – Seven Churches ($9)
- Morbid Angel – Abominations of Desolation ($8)
- Classic Years: 1987-1992 ($39)
This isn’t a complete collection, but it gives you everything you need to get immersed in this vital genre. There’s a lot more to explore, including the next generation of death metal and the many niches of metal’s evolution.
However, for less money than it takes to fill up a Suburban, you can have yourself the beginnings of a death metal collection. You could buy six nu-metal or metalcore albums for these prices, or you could simply score some real music and do yourself a favor.
We can only know the present by knowing the past. In the case of heavy metal, it is a murky past obscured by both the grandiose rockstar dreams of individuals and the manipulative fingers of a voracious industry.
Metal arose through a complicated narrative worthy of a lost empire, and by knowing this history, we can know more of the music we enjoy today.
Specifically of interest are a number of threads that interweave throughout the history of the genre, both as outside influences and later as internal habits, which influence its twisting path from something a lot like rock to a genre entirely separate.
This story then is a tale of how many became one, or how they found something in common among themselves, and how it has taken years of creative people hammering on the parts to meld them into one single thing, known as heavy metal.
However, no one really likes a lengthy essay. Instead, here’s metal’s history the best way it can be experienced: by listening to it.
1968-1970 — the origins
Three threads ran alongside each other: punk, proto-metal and progressive rock. All three are on the edge of being metal, since the type of progressive rock in question is raw and disturbing and not of the “everybody be happy love friends” hippie style. This is music that thinks our society is disturbed, and that therefore many of the values we reject are worth a closer look. Some is fatalist-nihilist, like the self-destructive tendencies of punk, where progressive rock is more clinical, and metal more epic (looking for meaning in the ancients, in nature, the occult and conflict).
Iggy and the Stooges – Raw Power
Black Sabbath – Black Sabbath
King Crimson – In the Court of the Crimson King
1971-1981 — maturation
A lot happened here, but basically, metal became more like its ancestors (hard rock), progressive rock faded out, and punk got more rock-music-like. The punk from this era is more like normal rock music than the outsider stuff it originally was, but also gains some aggression from Motorhead, who may technically be metal but were born of a progressive rock band (Hawkwind) and sounded very punk and inspired the next generation of punks to be louder, lewder, etc.
Punk music arose from the earlier work by Iggy and the Stooges, but formalized itself into a pop genre that used guitars more like keyboards than like the guitar fireworks of conventional guitar-intense bands like Cream and The Who.
Ramones – Ramones
Misfits – Static Age
An exception to the metal of the period was NWOBHM (New Wave of British Heavy Metal). DIY and extreme for the day, it left behind the Led Zeppelin-styled “hard rock” vein of metal and got away from Sabbath’s detuned doom and gloom to make energetic, mythological but also somewhat excited-about-life metal.
Motorhead – Motorhead
Satan – Court in the Act
Angel Witch – Angel Witch
Iron Maiden – Killers
Judas Priest – Sin After Sin
1982-1987 — the peak
Punk got its act together, in part inspired by the more commercial bands like Ramones and Sex Pistols. This is where hardcore punk really happened. That in turn spurred a revolution because music had finally left rock behind, and by mating the nihilistic (no inherent rules) composition of punk with the longer-phrase riffs of metal (derived from horror movie soundtracks), the riff styles of death metal and black metal were born, and the progressive song structures of speed metal evolved. At the same time, essentialist movements in punk hybrids (thrash) and metal (doom) emerged, sending many back to the roots of these subgenres.
Discharge – Hear Nothing, See Nothing, Say Nothing
The Exploited – Death Before Dishonour
Amebix – Arise!
A second generation arose in the USA (all of the above bands are UK):
Cro – Mags – The Age of Quarrel
Black Flag – Damaged
Minor Threat – Discography
1983 — the big branching: speed, thrash and death/black
1983 is a crucial year, and so it gets its own entry. Metal and punk cross-influenced each other. The result was a lot more metal. If you’re familiar with nu-metal or more radio style metal, start with speed metal, as it’s the most like really violent rock music with influences from progressive rock in song structure. If you like messy punk (!!!) try some thrash. And if you’ve already given your soul to Satan, try death/black. With death/black, there’s also some influences from progressive rock, although they’re balanced with punk technique which makes for a chaotic spawn.
Speed metal took the complex song forms of progressive rock, the muted-strum guitar riffing of the NWOBHM bands like Blitzkrieg, and added to it the high energy of punk hardcore and came up with songs that kept getting faster and faster. This shocked people of the day, and was the primary reason speed metal bands were different from the NWOBHM that came before them, hence it was dubbed “speed metal.”
Metallica – Kill ‘Em All
Nuclear Assault – Game Over
Megadeth – Rust in Peace
Testament – The New Order
Thrash is a hybrid genre that takes punk songs and puts metal riffs in them. Its name arises from “thrasher,” or skater, and those were the people who embraced this style of music that was more extreme than metal or hardcore at the time. While it leans toward punk, it used metal riffs, and wrote short songs that in the punk style lambasted society but in the metal style tended to mythologize the resulting conflict.
DRI – Dirty Rotten LP
Cryptic Slaughter – Convicted
Corrosion of Conformity – Animosity
Like thrash, this was a hybrid of metal and punk that leaned toward the punk side for song structures, and the metal side for riffs.
Napalm Death – Scum
Terrorizer – World Downfall
Repulsion – Horrified
Carcass – Reek of Putrefaction
In 1983, these bands contributed just about equally to the new sound. In the largest part inspired by NWOBHM like Venom and Motorhead filtered through aggro-hardcore like GBH and Discharge, the unholy triad invented underground metal to come.
Bathory – The Return
Hellhammer – Apocalyptic Raids
Slayer – Show No Mercy
Once proto-death/black metal had occurred, people began to expand on the formula. One side decided to make it more technical, and riffy, and taking after Hellhammer’s “Triumph of Death” and the increasingly mind-bending riffing of Slayer, made it use mazes of mostly chromatic phrasal riffs. On the other side, some wanted to preserve the atmosphere of the simpler songs that Bathory and Hellhammer had to offer, but injected melody and loosened up the drums to keep it from being as clear and rigid as death metal. While that latter group went off to figure out black metal, the death metal team experienced a boom of creativity and excess during 1985-1995.
Possessed – Seven Churches
Sepultura – Morbid Visions/Bestial Devastation
Necrovore – Divus Te Mortuus
Morbid Angel – Abominations of Desolation
While death metal was just starting up, other bands were trying to figure out how to make melodic ambient metal, structured equally after early melodic metal and free-floating songs like Slayer’s “Necrophiliac.” The result had chaotic drums, deliberately bad sound quality to avoid becoming a trend or something which could be imitated, and high shrieking vocals to death metal’s guttural growl. Taking a cue from Bathory, Slayer and Hellhammer, it also embraced the occult and esoteric and rejected conventional social norms and religions.
Sarcofago – INRI
Blasphemy – Fallen Angel of Doom
Merciless – The Awakening
As black metal matured, it moved into Norway, possibly inspired by the previous generation of melodic Swedish death metal bands who used high sustain through heavy distortion to make melodic songs which featured less constant riff-changing than the bigger bands from overseas.
Immortal – Diabolical Full Moon Mysticism
Mayhem – De Mysteriis Dom Sathanas
Darkthrone – Under a Funeral Moon
Burzum – Burzum
Emperor – Wrath of the Tyrant
Gorgoroth – Pentagram
Enslaved – Vikinglgr Veldi
This is just the beginning; there’s a lot more after this in all of the genres, which kept developing in their own ways. This is only an introduction to the history of it all, and is not designed to be comprehensive…