In the past, this site — the Dark Legions Archive and its new extension in the Death Metal Underground — was once part of a larger site which we shall not name (which itself arose out of distant nerddom) and together, the users of those communities would come together to make change in the world.30 Comments
the anus.com metal development team was lucky to catch lori bravo during a break from work with her new band, Raped. she was kind enough to consent to an off-the-cuff interview which had some remarkable results.
as those who are fans of early death metal know, lori and her band nuclear death were instrumental in developing the genre in its early days. still carrying touches of thrash from the previous generation, she and her bandmates forged forward with a unique and devastating style of music. read on to learn what inflames her passion and willpower toward the making of metal.
Nuclear Death sounded to me like it descended halfway from the progressive extremist speed metal (“thrash”) of the previous decade, mixing that with its fundamentally deathy influence. If you could name something that you’d heard in the time leading up to the creation of the nuclear death works, what influenced you the most?
I would say…Discharge,Venom,Mercyful Fate,Black Flag and Russian Classical.
What art do you enjoy outside of metal?
Actually…I do not listen to alot of ‘metal’…..I am into punk and hardcore, jazz and fusion, classical, indie-rock…..and of course the works of Goya, Picasso, Bosch, Giger, Mapelthorpe, Giger, Rimbaud, Smith, Morrison, Plath, Baudelaire, Whitman, Kerouac, Manson, Wilde, Cobain, Saffo……..etc.
Do you consider art to have relative grades of complexity?
Of course…but I also….believe the most simplest of lines can be most complex in nature.
Is your current band metal, or a metal fusion? i ask because many metal artists choose after an underground success to turn to the mainstream somewhat, mostly looking for new worlds to conquer.
I do not believe that I have even achieved what you dubbed as ‘successful’…..My new band is called RAPED…and it is a fusion of my anger,jealousy,hatred,hopefulness and liberation from boyfriends,bullshit and sexism!!!I call it arte-sexed-dark-edged-fuckyourface-off music….or GRRRLCORE!!
What do you think about drugs, group sex and fascism?
Drugs are how we as a society seem to cope…I mean EVERYBODY’S on SOMETHING!!!Group sex is great…do it SAFELY….I am in the sex business..I strip….SAFTEY..PEOPLE….I CAN’T STRESS THAT POINT ENOUGH!!!Fascism in shit…but it is a big part of life…..I don’t think it is going to go away…so we,as artists,need to address the issue and alert the public on how much it ruins us internally and externally as many times as we can write a song ,paint a canvas, make a film or make a statement!
If you saw a black spot on a purely white wall, would you consider the wall to have an entrance, or the spot to have a boundary?
Entrance…I don’t beleive in boundaries…that is limited to me…I don’t like limits!!!!
What in your mind are the usefulness of these states: caprice and serendipity?
I Love impulsiveness in all things!!!! Spur of the moment……A whim of change….some of the best things are built from this lovely little spurt!Beautiful ‘accidents’…..serendipity is how I have managed to write every fucking thing that is good and paint a canvas that is worth viewing!!!!! I am a creative FUCKUP!!!
If you were suspended in a reality where another Nuclear Death album might be made, what in your mind might it sound like?
If Steve and I did another…I think it would be an in your face muse….RAPED is the result of what ND spawned.
If you had four minutes to give advice to a young metal band, it might be…?
Don’t sign anything without a lawyer, never compromise your principles, be yourselves, listen to your inner voices and take NO shit!!!!
What do you think about commerce, morality and the holiday of Easter?
Trade and buy/sell rules the world…enjoy it…Sexually-speaking…let’s fuck!Even I have morals…..Have CLASS people! You can be Hardcore without losing your integrity….Easter…..I like the iconography aspects and rituals…..rising from death…aint it sweet…..Bunnies for everyone!!!!!
I like the shorter song format with some bands, offhandedly naming Carcass and DRI, as it allows a fragment of a consciousness to momentarily express itself and vanish, where a full song might have to artificially include other subject matter to flesh out the shit. Then again, if you write your lyrics when wasted or careless, what flows might be pure subconscious dialogue and therefore might be effective. It seemed to me some study went into the Nuclear Death lyrics, no matter how hasty their creation. What sorts of ideas and systems of thought were influencing you at the time?
Alcohol,drugs,reading,sex,fear and dreams.
What do you think of capitalism, Christianity and Zionism?
Good and bad….I hate corporate-owned anything…but what are you going to do….do it yourself and put it on the net……christianity has been so fucking twisted and raped of its origins and beliefs,honestly,I think Christ would want to kill those fuckers,I believe every people should be able to ‘go home’…we all deserve our place.
Are you a large fan of any mainstream media?
I am pop cultured,you know? I like anything that I find interesting!
Often relationships in bands are as stressed as two cops dating. Do you have any advice in the most general sense in this area?
Fuck….it’s a marriage,respect eachother.
Do you own guns or dogs, and what kind of vehicle do you drive? Do you see these questions as destructive to the persona of a metal artist and therefore not worth answering? I hope so, but if not let me know. I want one of the new glock .357s to take out that pesky streetlight.
I own a 45 and a single-shot….I am slave to 5 cats…I cycle..I never have driven.
The aura combined of artistic form and content that is metaphorically relevant in a wrenching evocation of the sickness and desires of the current time, if present intelligently, can form the basis for powerful metal. Do these ideas “strike a chord” with any of your own?
I think we are a highly intelligent form of music…..we present to the listener what one may or may not want to face.Look…if you have shit lyrics…I don’t care how great the music is…..I won’t give you a second thought.
Do you have plans to write a book?
Yes……I have poetry,as well as a tell-all in the worx
If i were a gangbanger, anytime I shot someone, I’d say “you’d better hope for reincarnation!” Do you think reincarnation is likely, or is it another for the “wishful thinking” file?
I think it is bullshit…..This is MY fucking unique soul..when I die that is it!
Have you heard Burzum, Dead Brain Cells or Absurd?
No….turn me on……
What do you think are the faults of www.anus.com/metal, and why do you think many people hate us?
Because you are too intelligent for most dumbfuck metal-heads…..fuck ’em…you RULE!!!!
Do you visit any bulletin boards, chat rooms or use an instant messenger?
Oh yes….My s/n is insectbride…..I am a member of Hole’s message board,Distillers,TSOL’s…oh yessssssssss!!!!
Is Saddam Hussein a CIA plant?
Could be…..dunno….I think he is an android.
If you had no limitations and could make any music you would choose, how would your music differ?
Listen to RAPED….I have no limitations!!!!I know what I like.
What makes Arizona for you an attractive place of residence? After I drove through I considered moving, as it had a laid backness to the city.
I hate it…..That is why I am moving to LA,permanently in May!!!!I love the filth,corruption,trashedout ways of big cities…I am from Chicago…for fuxsake!!!!
Many thanks for any answers you can do. Some of these questions will be unanswerable, but I have designed them based on your other interview so that you will have fun with them, I hope. I will send you finished copy and we’ll cut any that don’t succeed. Hails and vomits…
..Thanx…I had a great time with your interview…….one of the best I have gotten in a while…..actually, I found ALL answerable!!!! I can rap for hours,Love…….New Nuclear Death/RAPED contact is my Email!!!!
IN DEATH AND CRUELTY….VO/Lori
The Christian concept of a god—the god as the patron of the sick, the god as a spinner of cobwebs, the god as a spirit—is one of the most corrupt concepts that has ever been set up in the world: it probably touches low-water mark in the ebbing evolution of the god-type. God degenerated into the contradiction of life. Instead of being its transfiguration and eternal Yea! In him war is declared on life, on nature, on the will to live! God becomes the formula for every slander upon the “here and now,” and for every lie about the “beyond”! In him nothingness is deified, and the will to nothingness is made holy! . . .
– F.W. Nietzsche, The Antichrist
Written by Devamitra
Midsummer’s sylvan possession will claim many lives tonight by drowning, stabbing, hanging and other morbid rituals that cloud the light of the greatest Finnish celebration. It can be said that the spiritual conflict between the barrenness of the Finnish urban life and the sudden plunge into the freshness of nature undertaken by most at this time of the year, combined with the gargantuan intake of alcohol, causes a temporary collapse of the veil of the civilization, when festivals end as festivals must. Under the deceptive tolerance of the society, dark depths boil and murderous impulses become sublimated thoughts. Some of these undercurrents were illuminated and analyzed almost as topics of transcendental philosophy in the dark contemplative statements of Finnish Death Metal, one of the strongest musical movements that ever arose from Finnish soil and also unarguably one of the strongest Death Metal scenes of the period. It is a testament to creativity that it’s still very hard to pin down a certain easily recognizable ‘Finnish sound’, but this does not mean a lack of mental images connecting them.
Among the first were the playful Death Metal / Grindcore crossover Xysma, the brutal Disgrace and the dreamier but less eloquent Funebre from the historic capital of Turku. In nearby Loimaa the discipline of Demigod and Adramelech formulated occult and mythological visions from these roots. The true monument of the early scene was created by Abhorrence from the modern capital of Helsinki, in their devastating demos that displayed the ferocity of old school black metal alongside articulate influences from British and Swedish Death Metal movements. Later the heritage of Abhorrence spawned into the more ‘professional’ folk influenced narratives of Amorphis des
pite the fact that the earlier band was far from amateurish itself. Besides Xysma, also bands from the wooded Birkaland county were heavily influenced by punk and thrash especially in anti-authoritarian spirit: Rippikoulu, Convulse, Purtenance and Lubricant. A counterpart were the quasi-Byronian melancholic poets of Ostrobothnia, heirs of the strict religious sects of the Bothnian coast: Sentenced, Cartilage and Wings. The same mystical traits combined with grindcore, Sarcofago and lots of booze in Beherit, Belial (“Wisdom of Darkness”) and Impaled Nazarene, who composed the classics of Finnish Black Metal contemporaneously (not successively as in the world at large) to the Death Metal movement. The promising Necropsy from Lahti released a strong split album ‘Unholy Domain’ with Demigod but never managed to release a full-length album back in the day, while the cryptic and absolutely unique one album wonder Demilich from thrash capital Kuopio set the bar for Finnish ‘progressive’ Death Metal extremely high on ‘Nespithe’; only Unholy from Imatra or Paraxism from Jyväskylä (who did not release an album) could compete in sublime weirdness. Mordicus from North Karelia also left a legacy of one quality album, ‘Dances from Left’, while fellow Joensuu mystics Phlegethon only released demos and one EP before some of the same individuals surfaced in the Doomdeath tribute band Hooded Menace. The quest to bring back moments of old school Death Metal majesty brought about by later bands such as Devilry, Slugathor, Deathspawned Destroyer, Ascended and Lie in Ruins is discussed in more detail in our article “Ascension of Sepulchral Echoes: A Finnish Death Metal Revival”.
We are proud to present a sequence of tracks collected by Fenno-American Death Metal connoisseur Benjamin Tianen in tribute to Finland and its strain of artists and conjurers. This compilation of obscure quality Finnish Death Metal is recommended for listening in the twilit hours of day, preferably in rather uninhabited locations as most of Finland is. If there is one teaching one must bring home from Finnish artists and Finnish school of mental exploration, it is that one must not love happiness as much as one loves truth.
Visitors remembers the Western shores of Finland mostly from their warm summer days, windstorms and chilly nights of Autumn. The dunes of the shore of Yyteriare unique in the whole Scandinavian region while most of the towns carry relics of past industries but have failed to establish themselves in modern or digital age, remaining secluded communities with little vital attractions to the youngsters. Thus it is not surprising that towns such as the historic Uusikaupunki, a weird silent nature-surrounded industrial port that has always baffled my spirit, gave birth to multiple demo level death metal insanities in the early 90′s.
Coprophilia described the twisted and tangled nature of woods, human remains and animal entrails on the four songs of their one and only demo, playing distinctive and intricate heavy metal influenced straightforward melodies to lend catchiness to songs that in their spontaneous clarity bring into focus the main influences for old Finnish death metal: heavy metal, Bay Area speed metal, horror music and UK bands in the vein of Napalm Death.
More sarcastic, irritant and grinding, Necrobiosis pummeled a simplistic punk-o-rama riffspace almost like Blasphemy or Archgoat would have done it except using the concluding expectancy common to dual vocal grindcore so that the grunts and screams echo exactly the phrases played by the rhythm guitar. Lead guitars often recall metal guitarists’ introductory practice pieces in the vein of Iron Maiden and Rainbow, as was the case with not only Coprophilia, but also Amorphis, Sentenced and many other greats. Curiously for a word I had never heard before, Necrobiosis was also picked as the band name around the same time by guys a couple of hundred kilometers away in Riihimäki. You might know this band better by a name they thought of later: Skepticism.
In an era when Finnish death metal was a freaky force of nature, punishing everything in its path, Necropsy from Lahti, Finland, was doomed to obscurity as many of their peers, the likes of Mordicus, Convulse, Funebre and Abhorrence. In five years (1989-1993) they created 7 demo tapes and appeared on one 7″EP and a split LP with Demigod on the infamous Seraphic Decay label. Thrashing and grinding, organic and brutalous death metal of this kind would freshen up the scene of today immensely and thus we welcome the rumours that Necropsy is staging a comeback in true old school spirit to show the weakened versions of Carcasses and Pestilences who still holds the true spirit of unholy death.
What force in the inner core of man gives birth to death metal impulse? Is it fear, hatred, obstinence, passion, paranoia, vision or celebration of power? “Rippikoulu” is Finnish for “confirmation school”, which is an institution partaken by Finnish teenagers in order to be educated in the rituals and tenets of the Lutheran church. Celebrated usually in a camp away from the city and the participants’ homes, it ironically has a habit of devolving into a minor orgy of sin while the sole motivation of attendance for most is the hope of the meager sums of money elderly relatives usually bestow upon one, after the confirmation. When small town death metal cults produced their blasphemic demo output, it’s not far-fetched to say that it was this kind of absurd experiences with organized religion that led them to deny and spontaneously analyze the hypocritical, indoctrinating social customs that lead a child or a man to accept Christ for the sake of community and convenience, while at the same time materialistically mocking the values of the spiritual tradition.
Valkeakoski was another boring town even by Finnish standards which used to smell like feces because of the paper industry, an example of climate perfect for original death metal. At surface, the most notable characteristic of Rippikoulu was their use of Finnish language for invocation, which has often been abused but at the right hands and in the right mouth withholds the tremendous syllabic power feared by Nordic warriors since the Bronze Age, as recounted in Kalevalan mythos. The stupendous music of Rippikoulu’s two demos, “Mutaation Aiheuttama Sisäinen Mätäneminen” (“internal rotting by mutation”) and “Musta Seremonia” (“black ceremony”), bridge the grindcore influenced ecstatic physicality of Xysma with earthen, suffocated sludge in contorted, space-and-time stretching rhythmic dynamicism reminiscent of Winter‘s and diSEMBOWELMENT‘s most psychedelic lapses. It gives the impression of a blind, tormented prophet shouting fragmented glimpses of pure vision to the darkened, apocalyptic world with barely any ears left to listen to human voice amidst the collapse of industrial infrastructure. In the slow, emotional leads one could hear Paradise Lost, but in its warlike sparseness and logic, even nihilism, it’s something closer to the most doomed moments of Bolt Thrower’s “War Master” while the almost ridiculously disembodied parody of gloomy gothic organ in “Musta Seremonia” brings to mind Unholy‘s drugged haze; Faustian sorrow and blasphemous sense of humor united in one single strangely reverent and innocent package which is without question another forgotten jewel of the olden Finnish death metal scene.1 Comment
Yes, the mighty french legend SUPURATION (aka SUP) are back from the crematory in form of a retrospective collection CD which includes all the earliest and most brutal stuff of the band from ’89 /’90 when they were in their most Death Metal shape right before they started to experiment with clean vocals and more varied sounds.
“Back from the Crematory” is the generic title of this cult release which is planned for an imminent release on September 16th. The CD includes the awesome band’s debut self-financed mini CD “Sultry Obsession” (’90), their only demo “Official Rehearsal” (’90) as well as the impossible-to-find demo of the band’s very 1st studio recording “Haunted” under their previous monicker ETSICROXE as well as a 9-song live show, both from ’89.
This masterpiece comes with remastered sound and packed in a total old-fashioned layout in contrat to their latter weird & sophisticated designs. Includes killer 12-pages booklet featuring an exclusive retro-interview, liner notes, cover and tons of old photos & flyers. This definitely a must-have release not only for every SUPURATION fan, but for every lover of the good old Death Metal from late 80’s and early 90’s!!No Comments
Nielsen Symphonies Nos 1 & 6, the second release in Sir Colin Davis’s acclaimed Nielsen Symphony Cycle, is now available to pre-order on our website for only £7.99. Pre-orders will be sent out a week early on 30 January 2012. Official release date is 6 February 2012.No Comments
“Styles” are divisions of a subgenre not pronounced enough to warrant a new subgenre. “Sounds” are aesthetic variants of a subgenre. Just as “doom metal” means music that is either heavy metal or death metal played slowly with morbid/gothic surfacing, “sounds” differentiate groups of similar musical approach from each other. The evolution of “sounds” can be viewed as a hierarchy of specialized technique and aesthetic within a genre, the technique creating an effect that reveals the intent of the creators as communicated to the listener.
Technique and “Sounds”
Aesthetic and “Styles”
You can understand the styles of heavy metal by looking at the musical techniques and theory used, the aeshetic created, and the patterns of underlying structure pursued (as you can do in differentiated not just genres but types of music). Styles of death metal, black metal, heavy metal and crossover metal divide into “containers” for stylistic and compositional tendencies which reveal the interpretative structures in the music evoking the larger meta-perception or “life philosophy” beneath.
Aesthetic — or styles, arrangement, and production decisions — “works” where it supports the internal compositional structures of whatever music it encloses. Technique and production and performance come together to produce an aesthetic, which matches a compositional style, which in turn reflects the ideas that inspired the artist to communicate with his or her audience.
Heavy metal, in general, is music of loud, intense, nihilistic, feral, atavistic sound that reduces the individual and places them in a context of history where they are nothing (some would call this realism or nihilism). Accepting the reaction of despair to the violence and paranoia and insanity of human world living in denial of fear/death, and turning it into a living, willful, and distinctive nihilism that affirms nothingness as a gateway into more profound realms of thought — this is the goal of heavy metal, and it has many voices, or styles.
By playing off of internal rhythms, metal bands achieve syncopation — the inversion of stress in a passage. Normally strong beats are weak and the weak are strong; this effect is often achieved through polyrhythmic overlay by double-bass in death metal bands or by the chaotic, threshing blast beat of blackmetal drummers.
The variation enables an excited internal sub-rhythm to drive the song, as many bands do with double bass drums, letting snare and high hat/cymbal disassociate for key structural textures.
“Hell Awaits” and beyond featured the granddaddy of double-bass technique.
“Deicide” featured songs with anti-synchronized pump-beat percussion similar to the “Jaws” theme.
The master planners of moving syncopated air and bass drum integration.
“Shadows in the Deep” used this technique to warlike effect via guitar player forearm.
Using multiple rhythms to enhance layering effects bands create multiple dimensions of rhythmic space, using a normally linear framework in new shapes and often long or indeterminate phrases. This can occur in the dominant rhythmic instrument (guitars) or the background rhythm (drums/bass).
Some bands have taken this to extremes of chaos piling into itself, revealing an inner consistency and beauty, where others have interpreted this in the way of more contemporary ambient composers and have layered counterpoint or complementary rhythms in complex neo-electronic compositions.
“Pure Holocaust” features raging chaotic polyrhythm and ambient melody.
“Hvis Lyset Tar Oss” layered repetition to create epic meta-structures.
- Morbid Angel
“Altars of Madness” began with an inverted polyrhythmic beat.
“De Mysteriis Dom Sathanas” used high-speed polyrhythms under ambient guitar.
Explosive or definitive notes in a phrase are accentuated by percussion in drums or stringed instrument. Most often in guitars this occurs in the bands who muffle chords and strum staccato or interplay phrasing for conclusive effect, more than open-ended styles.
“Master of Puppets” used emphatic muffled chords for percussive centering in riffs.
“Effigy of the Forgotten” used intricate polyrhythmic progressions to center complex songs.
“Beneath the Remains” combined speed metal percussive strumming and death metal speeds.
Often bands give texture to rhythms by playing multiple levels of rhythm. For example, a guitar changing chords has a dominant rhythm in the beats on which the change occurs, but the chords themselves have a layer of rhythm in the speed with which they are strummed, or in death metal technique, at which their two most essential notes are varied through strumming or hammering. Even further, often the strumming itself has an independent texture which moves with the composition as a whole.
“Haunting the Chapel” invented the flying wrist technique of achieving hummingbird tremelo strumming.
“Shadows in the Deep” featured slow masterpieces of micromotion and precision.
- Morbid Angel
After their monumental “Altars of Madness” which used this technique to create ambient melody and rhythm, Morbid Angel used it for prog-rock precision in the details of their epic “Blessed Are the Sick.”
“De Mysteriis Dom Sathanas” features ambient strumming over Bathory-style rigid percussion matrix.
- Rigor Mortis
“Rigor Mortis” and more significantly “Freaks” built this technique into classical melody and structure.
These Norwegians made rhythmic expectancy a part of their half-sliding, half-paused progressive metal.
“Normal” melodies are used by older styles of heavy metal and sometimes by progressive bands integrating a jazz or rock influence. They are built around the scales used by these forms of music historically and in present essence, and as such are more easily recognized by listeners familiar with more mainstream music.
“Unquestionable Presence” built jazz harmony into a style of melodic progressive death metal.
“Kill ‘Em All” brought metal’s separate blues legacy into focus with new styles and heavy metal essence.
- At the Gates
“Slaughter of the Soul,” this band’s final work, made use of mainstreamification in the death metal sound.
Using dissonant alignment of notes in melodies produces a mournful yet technical sound, so many bands use this technique in both melodic and harmonic construction.
From “Dimension Hatross” onward Voivod have built songs around dissonant melodic tension.
“From This Day Forward” established the ability of dissonance and atonality to build complex jazzlike compositions.
“Pure Holocaust” and “Blizzard Beasts” feature dissonant melody and use of inversion contra rhythm.
Atonal arrangements of notes produce bizarre and perverse melodies, causing instigation of uprising in the mentality of the listener. The “not tonal” nature of this etymology comes from the lack of a fixed scale, or use of an cycling scale of arbitrary tones.
Most metal musicians use this style of composition in conjunction with chromatic scales, dynamically acquiring tone centers through counterpoint and experimenting with classical music theory in key-less anti-melodic architectures.
- Morbid Angel
“Altars of Madness” through “Covenant” used atonal solos to great effect over dissonant compositions.
“Legion” used atonal lead guitar to emphasize the nihilism of chromatic composition.
In the style of classical composers from years past augmented with an focus geared more toward an attention span “in the now,” metal bands often use modal layers to create songs.
These layers, each forming a portion of the main melody in the song which changes over time to narrate song development, create a resonant harmony which the composer can change to develop the complex matrix of emotions required to manipulate atmospheric mood.
This style easily succumbs to being only technique, but is useful for developing a language of melody in which harmony serves a subordinate role.
Simple in outcome but complex in how far it varies from predictable in conception, the music of Burzum unfolds longer narrative by manipulating environmental depth to melody.
Short deranged pieces create atmosphere through two or three melodies sequenced in different orders to form narrative, with layers of two-note modal complements influencing direction in mood.
Classical harmonic formations stay within the same key and manipulate different registers of mode or tone. The chromatic scales and intricate arpeggio formations of death and black metal lay their ancestry here and develop into a more direct sense of musical motion.
- Morbid Angel
“Altars of Madness” evolved this technique into fast-picking and ambient relationship to beat, accentuating it with atonal lead guitars.
“Feasting the Beast” demonstrated this technique in an ambient but violent setting.
“Det Som Engang Var” built simple classical music out of power chord arpeggios.
The freedom and complexity of jazz harmonics attracted many metal composers, who have worked in that area to create bizarre and startling freaks of brutality.
“Unquestionable Presence” built jazz harmony into a style of melodic progressive death metal.
“Kill ‘Em All” brought metal’s separate blues legacy into focus with new styles and heavy metal essence.
“Nespithe” built bizarre harmonies from rudimentary fusionesque randomness
Oftentimes rock-n-roll influences creep into metal bands and are easily identified by their influence on the dominant rhythms, and by the more mainstream tonal ideas of the pieces. Since rock is essentially blues filtered through the cowboy hobo country music eyepiece, these bands often bear a lot in common with jazz-influence acts.
“Kill ‘Em All” brought metal’s separate blues legacy into focus with new styles and heavy metal essence.
Most rock songs come of the verse-chorus tradition and consequently so does unstudied death and black metal, as well as most grindcore. The tedium of this technique is sometimes temporarily alleviated by adding another structure or riff pattern on top of the double elements of cycle but even this is transparent.
When many riffs are joined to form a progression of ideas not as much concerned with creating a piece but a sequence of moods a narrative composition occurs; others call this “riff salad” or “grab-bag metal.”
- Malevolent Creation
Music created with massive conceptions in mind often builds entirely unconventional structures to serve the individualized needs of each song. At this level of composition, nothing is as fits the norm as each piece has an entirely custom use in unique and intricate compositions where details matter.
“In the Nightside Eclipse” featured drifting and meandering songs built around central melodies.
“Hvis Lyset Tar Oss” used bafflingly simple and distinctive riffs in layers to create epic compositions.
- Morbid Angel
“Altars of Madness” often sequenced seemingly jarring changes in the smoothness of compositional integration.
“Orion” from Master of Puppets introduced this technique to the metal community at large.
Like rock and blues before it, people sing these. With melodic voices and enunciation of words. Though sometimes it seems bizarre now, most people like ALL of their entertainment to sound this way.
A mid-eighties hybrid of Slayer metal and Iron Maiden rock, their album Nosferatu used sung vocals to pragmatic effect.
Hardcore punk brought us angry shouting for vocals and it re-appears from time to time in death and black metal but is limited by the clarity and monotone of vocal it produces through uniform emphasis.
The majority of modern metal works utilize this style, yet it arose from crossover music like grindcore after being inspired by the grand old growler of metal, Lemmy Kilmeister of Motorhead, whose membership in both heavy metal and punk communities affirms his historical importance.
Metal originally adopted the gravely cigarette-burnt and alcohol-eroded voice of punk rock’s more deested vocalists, favoring its obscurity and the difficulty of marketing such an indistinct image in the world of concrete images concealing nebulous actualities and negligible rewards.
By reducing timbre from absolute tone to gritty, naturalistic, distortion and shearing melody to textural variance only, this style de-emphasizes vocals while making their presence fit into the texture of the music, allowing more dynamic variation in composition.
- Napalm Death
“Scum” revealed extremes of this technique for their potential in disturbing the aesthetic sensibilities of listeners.
“Seven Churches” brought the voice forth in primal form.
- The Exploited
With a sequence of groundbreaking hardcore albums the Exploited let the voice get growlier each time.
- Morbid Angel
Death metal cofounders Morbid Angel implemented this technique to great effect on “Altars of Madness” and beyond.
A more fragile sound, more like a warning than the guttural vocals of death metal, this high pitched muffled shriek is distorted so that it sounds like warnings from the dead.
Used vocals to accentuate melody in majestic pieces of speedy production and demonic drive.
Fragments of melody in vocals harmonized with miminalist riffing to expand mood.
The master of searing growls with both texture and punctuation in rhythm, MkM paces each piece with violence and depth.
Droning melodic vocals within distorted chaos frame the structural changes in this music.
Taking over from Black Sabbath when too much Led Zeppelin clonage invaded the airwaves, NWOBHM bands used more punkish riffing with more precise, technological structures in phrasing. The imagination ran wild and fantasy/mideval concepts in lyrics developed here.
As Sabbath was slow, the doom metal genre demanded slower and more dramatically manic depressive songwriting. These bands bridge power chords across glacial rhythm for atmospheric impact. Often accompanied by drugs, esp. marijuana.
Probed right after NWOBHM made its appearance, narrative bands strung together collages of riff and transition to make unfolding retellings of experience. This style is eternal and re-emerges every generation.
Viewed by many as the nadir of metal, stadium metal is influenced by post-progressive rock atmospheric bands who used instrumentalism and pure pop hook to make sentimental but explosive songs. In metal this translates to an epic ballad flavor to everything. Once again, an eternal style which recurs with each new cycle of metal.
Punk is simplified 1950s rock voiced in power chords and sequenced to a pulsing basic rhythm. Vocals and aesthetic emphasized dirt and unsteadiness, and disregard of musicality freed bands from the form and compositional dynamic of rock music. Often bouncy or humorous, punk music moves with a friendly but simple motion.
Anthemic workingclass punk with often abrasive sounds mixed with guitar work reminiscent of surf bands from the generation before, Oi came into its own as its own influence in the next generation of hardcore.
Building tension through emphasis on melodic notes within otherwise rigid progressions, a subset of the hardcore community made music with constant unchanging percussion and fluidly shifting riffs.
The earliest hardcore to secede from normalcy became truly a handful of power chords grinding against one another in conflicted progressions and interrupted rhythm. This music is essentially similar to grindcore after the first generation.
The major innovation of speed metal was the muffled, explosive strumming of power chords to produce a sound of impact and resurrect the power of rhythm guitar in rock music.
Bands like Prong produced the first hypnotic rhythm “mellow” metal which while violent in methods of creation produced an atmosphere of calm and allowed emotional aspects of the art within to emerge.
Some bands aspired to the fantasy- and progressive-inspired works of NWOBHM and toward that aim produced neoclassical and often lengthy works. The most commonly known example of this is Metallica’s “Orion.”
From the 1970s progressive bands metalheads began making larger structures and wider gains in technique in the rendering of intricate but impact-oriented music. While power chord riffing remains predominant, many progressive metal bands moved beyond the accepted “progressive” sound and created theoretically literate avantgarde works.
Misnamed speed/death metal hybrid bands were called “thrash metal” because of their violent and self-conflicted music, aggressive attitudes and thrash-based ideological assertions. The origin of the term “thrash metal” is European big corporate media magazines trying to sell speed metal as something more extreme than what it was.
A style that emerged as the speed metal genre was dying, power metal is speed metal riffing played either in an epic heavy metal or tuffguy pseudo-death metal style.
One branch of thrash reveals more of its punk influence, and in bands like MDC or COC expressed itself with loosely hardcore songs played quickly with a metal influence in phrasing, but in punk song structures and major keys.
The other half of the thrash tree demonstrates a more metallic approach and is a proto-death-metal hybrid subgenre, found most clearly in the early works of Cryptic Slaughter and the later works of DRI.
Open intervals and precise furiously fast structures distinguish this variant. Bands like Repulsion and Terrorizer defined this style.
The schizophrenic out of time rhythms and blurry, organic, lavaging rush of this style produced disorientation and loss of individual characteristics in the rising phenomena of chaos.
Loosely derived from Discharge, this genre worked melodic hardcore into a blurring ripple of speed and fury that unleashed itself in short bursts of anger.
In the style of the mighty Assück, these bands created pounding furious rhythms from even intervals of the fretboard, roaring forth in some complexity but mostly disassociative, violent, random, disorienting music.
From the pure origins of death metal, the faster styles took after bands like Slayer, early Sepultura and Massacra in making architectures of intricate rhythm and melodic construction.
Derived from the slamming, explosive street-level speed metal of Exodus or Exhorder, percussive death metal evolved from the New York Death Metal and Tampa Death Metal sounds to become a generic style of impact-oriented, explosive muffled strum death metal.
“Hate” is mastery of this style.
New York Death Metal (NYDM)
Explosively percussive and equal parts speed metal and angst-ridden New York Hardcore (NYHC), this music flew from the depths with guttural vocals, edgy rhythm riffing and essaylike song structures. In two styles, one of which is more percussive than its longer phrased variant.
Florida Death Metal
Some of the most “heavy metal” of the death metal movement, the Florida bands mated bold rhythm to the pulsing rhythm of early percussive death metal and created the most defiant, monstrously simple and direct metal of the era.
Swedish Death Metal
The first major evolution of theory occurred within the Swedish Death Metal movement, where Sunlight Studios/Thomas Skogsberg(tm) fuzztone production and longer phrases contributed to a melodicity fully evolving with At the Gates.
Continuing the progressive tradition in metal, the progressive death bands adhered to a style which was part rock with jazz and classical influences, and part the wily fingered “technical” death metal of a previous generation.
Jazz/death metal hybrid.
Later albums: jazz/metal.
Harmonically rich, offtime rhythms.
Became highly technical.
Technicalists and romantic artists.
Used violin and lead diminishing melody guitar work.
A stylistic hybrid, deathgrind is death metal using the simpler song structures and rhythmic expectancy riffing of grindgore. So far, nothing of stature has emerged from this style.
This term is marketing slang for retro bands making faster speed metal music using death metal picking technique and vocals.
From Göthenberg, Sweden, came a series of bands emulating At the Gates by making technical, jazz-and-rock influenced death metal. This only became a problem after “Slaughter of the Soul,” when At the Gates sent out the word to become commercial rock music hidden within death metal stylings.
Pre-At the Gates.
Template for this style.
Black metal that is heavy metal derived from this death metal style.
The moribund, self-pitying and sentimental style of doom metal has emerged in both heavy metal and death metal genres, where it is essentially the same music played with an emphasis on slow chord changes and resonant, recursive resolutions.
Chaotic and nihilistic blasts of short information in three-note riffs founded this style, which through reduction of assumed musicality focused on the information of its communication.
Early experiments in structuralism allowed melody to serve as a fundamental principle and therefore emphasized use of the melodic sound in riff construction and chord voicing.
Melodic, heavy metal
Some relapsed to a former style and made melodic stadium metal of NWOBHM era with black metal vocals and technique.
For the few who sought more extremity a style of grinding metal with nihilistic clipped emanations of information in abrupt explosions of riff was created, with variants moving closer to grindcore or pure unleashed melodicity.
Descended from the devotees of Bathory “Blood, Fire, Death,” this genre works folk song nationalism and epic narrative of multi-generational movements on the level of a people, creating symbolic black metal with lengthy melodies.
Minimalism taken to the furthest extreme hybridized with metal produced an electronic music influenced genre which favored unchanging simple beats (similar to Discharge) under shifting melodic context- and lexically-sensitive phrase evolution.
“Transylvanian Hunger” is the best of this style.
“Pure Holocaust” is a related idea.
Focuses on matching rhythm to expectation of a tone and then wearing it out, like the tedium of living in a dying society, anticipating radical change.
The music of Kraftwerk and its descendants, this is long melody evolving over a complex beat structure, often without human vocals.
Emphatic and pulsating dance music that was a fundamental influence on developing techno and industrial genres, EBM sounds like what Nine Inch Nails would be if executed by Godflesh or Beherit.
Influenced by throwbacks to mideval and music from before recorded history, ritual ambient uses simple melodic patterns in evolution and a primal sense of rhythm to emphasize its constructs.
Somewhat of a summary of the genre as a whole excluding most popular music influences from EBM, neoclassical ambient/industrial uses technological instrumentation and song structure to emphasize classical influences in melodic construction.No Comments
Thrash combined the short, fast songs of hardcore punk bands with the more structured, architected and melodic aspects of metal riffing. Deriving its name from the skaters who listened to it, called “thrashers,” thrash was a true crossover genre in that it was not purely metal and not purely punk, which both caused it trouble finding an initial audience and made it almost universally accessible. Its songs, often under thirty seconds, blasted away at society not so much from ideological principles but to mock and criticize the end result of ideology, which was a numb utilitarian society oblivious to the passage of time or the possibility of meaning to human existence.
After hardcore made music harder and faster, speed metal upgraded heavy metal by mixing hardcore speed and aggression with the architectural riffs of NWOBHM, and downgraded the reliance on pentatonic scales in favor of minor-key complex riffing. The technique that defines speed metal is the muted strum, where the palm of the strumming hands rests on the strings, making a short percussive blast of distortion instead of a ringing chord. As a result, speed metal sounded like the machines of the 1980s: blasting like factories, rattling like tank treads and chattering like computers and their printers.
A further evolution of the sound hardcore punk created and thrash developed, grindcore slams together abrasive riffs in order to achieve a release from intensity at the end of each song. Its name comes from that grinding, caused by fast alternation between chromatic notes and the contrast with rigid whole note patterns that lift the listener up from the directionless thrashing. Where purest, grindcore celebrates individual life and rejects social mores by reminding us that we are mortal, frail and the clock is ticking, so we need to cast aside the pointless and frustrating (grinding) in life and replace it with open spaces of our own imaginations.