By the time Despise The Sun was released, Suffocation were on top of the death metal world and had at this point already influenced the rising slam and brutal death metal styles that would inundate and signal the downfall of the whole genre as the technicality and the percussive nature of the music would be the focal point rather than the incredible songwriting present. This short EP would prove to be the band’s final charge as they would soon break up only to reform a few years later, but without Doug Cerrito the band drifted off into mediocrity and tired attempts at pleasing the deathcore crowd. “Catatonia” was initially on the Human Waste EP and showed a band that was composing music far beyond the maturity of the individual band members. In the same way as heroes Morbid Angel, Suffocation took songs from the initial recorded output and expanded on it for later works. Both versions of the song are nearly identical and vary only in performance and production.
Introduction and initial motif
A drum intro quickly introduces a simple descending chromatic riff that focuses on pounding the root note on the first beat of every bar as the fast-picked notes rush towards the root note. The drums crash around until finding stability as Frank Mullen’s harsh guttural roar enters and the riff soon leaves for another minimalist power chord sequence that eschews the root note to create an almost atonal melody that resolves first on a minor third then on a major third and quickly finds the root note before evolving into a stream of single notes. These single notes move the composition to a twisted sense of stability as they utilize a consonant leap in octaves but moving through the diminished fifth to form a chromatic ascent. The melody relies on two octave chords but through the added use of dissonant notes it avoids complacency in familiar territory and seeks to explore the possibilities that are now open. In typical Suffocation fashion the melody is moved up a major third as it progresses before ending on the composition’s main motif. The main motif starts with a flow of simple palm muted power chords half a tone higher than the root note which Morbid Angel popularized so that the static progression still creates tension by refusing to return to a place of comfort and stubbornly maintaining its place. This motif is then followed by the ending of the previous section but moved down a whole tone. This returns the composition to stability and allows the band to play with all those previously introduced. A second ending to the riff appears and is almost chromatic but resides within Suffocation’s vicious sense of melody.
Force fed immobilization
Man made liquid controlling my limbs
I want to die, no reason for living
Dealing with complications life brings
A corpse with no thoughts
No feelings or perceptions of life
The pleasures of death I foresee
Nightmares and day mares combining
To torture my being – This torture inhibits my life
Here the lyrics present a victim that has been held in total captivity with no control over his body as he forced to remain in a state of artificial nothingness. The narrator has nothing binding him to life as his psyche is destroyed, and he seeks to attain death as he is burdened by this form of torture. The harsh rhythms combined with the oppressing sense of melody evoke flawlessly how the narrator has been beaten down mercilessly into nothing. The previous single note melody appears in its entirety and this time allows us to delve further into the narrator’s mind.
The world is a graveyard of fools left to cope
With the torment and regret of man now deceased
Ghouls are released to destroy the race
Which we call human beings
Humanity has sealed its fate with its actions and there is nothing left to do nor to mourn as mankind is about to be destroyed. The C# root note is suddenly established in this section that appears suddenly with a riff comprised of a speed metal gallop that uses various tremolo melodies as a tail. The whole passage uses no chromatic tones or anything deviating from the natural minor scale allowing a new set of motifs to take dominance in the composition as the previous slow parts had achieved their maximum potential. The first part of the melody consists of a three-note progression played in staccato while dispersed by the endless charge of the low string and uses the major third which has always been an undervalued foundation upon which Suffocation rely on. The major third is the base for Suffocation’s twisted sense of melody and disappeared from the band when Doug Cerrito left and the motifs became much less interesting. The tremolo picked sections of this riff are descending minor thirds arpeggios hinting towards the narrator’s sadness.
Existence is torn from my soul
Perdition is what is believed to be see
Suffering from the inside
Nefarious is the way
You choose to be – Left with no will to live
My intestinal wall begins to cave in
Trapped as they say
I begin to rot here as I lay
Let us note Frank Mullen’s maturity when comparing this vocal section on both versions on the song. In the Human Waste version, the voice is not yet fully developed and he struggles to maintain a consistent tone and output whereas on the Despise the Sun his gruff deep throaty aesthetic is pushed to the extreme and the fast hip hop cadence does not deter the consistency in both volume and tone. A truly remarkable development from an already great singer. Those who would emulate his deep vocals forgot to add the power that conveys the hatred he expresses and sought to reproduce the low tones through pig squeals and inhaled vocals and would sound like a parody of Mullen’s trademark growl. The protagonist is detached from reality as his body can no longer withstand the pain and accepts the end as there is no will to fight. There is no anger conveyed, just misery with no hope of redemption as the narrator awaits his death.
A tremolo picked section appears as the tension continues to increase. The melody is long and very similar to what the Norwegian bands were doing as it is extensively in the minor scale but uses adjacent tones between the more consonant ones to increase anticipation for a resolution. A slight break of half a second shifts the root note again down a whole tone as another speed metal rhythm similar to the last one is introduced. This time we are treated to two different tails as one is a fast almost chromatic power chord assault and the other is a chromatic ascent of two major thirds showing how much mileage and variation Suffocation can create through one simple technique and a strong understanding of composition. The narrator continues his attack in this passage as Mullen emphasizes the stronger beats in the phrase adding more power to the overall part.
Time to take a look
At what has begun to pass before me
Die a slow death
It now begins to take its toll
The narrator has finally closed the chapter on how humanity and himself ended in this situation and now seeks to look towards what is going
to happen in the present. Though the pain of his torture is starting to break his will.
The initial motif as “Catatonia” is growled enters again, and though it may be the exact same riff used in the beginning, the context is completely different as this is a passing passage that like a catapult transfers all the energy from the built-up tension to an incredibly satisfying climax that engages in all out combat as the song reaches a level that the great majority of metal bands can only imagine. The melody as excellent as it is, is nothing that hasn’t been heard at this stage of Death metal’s maturity but the context and the little rhythmic embellishments are what allows this melody to unleash more than its own potential. The first power chord which works in triggering the rest of the phrase like a set of falling dominoes, is played slightly after the beat causing the listener to lower their guard before being taken by surprise. On the other side the phrase finishes slightly early making the listener crave more. Both tools utilized during the climax make this simple melody incredibly powerful. The melody is caveman like in how it consists of a stream of alternating minor and major thirds two note arpeggios in rapid succession as they then move up and down a fourth. The legato playing which to the uninitiated means smooth and in the case of the case with minimal input from the picking hand allows the notes to be expressed cleanly without the attack of the string modifying the nature of the tone.
Scared as I lay here dead
From this infectious disease
I want to rise from here
To recover what is mine
Now in a complete twist of fate our hero through a combination of fear and the primal urgency decides to deny his fate and to what he has previously expected to happen. Though his body is destroyed and is no longer living there is an unfathomable will to atone the errors of the past and is the essence of what Suffocation conveys. Through hardships and unrelenting trials of this cold heartless world we have created, the human will is the only thing that can redeem of us and not through reason or calculated thought but by the most basic of instincts can we achieve joy in life.
A solo erupts as the band turns to a more consonant melody consisting of a variation of minor third, diminished fifth, major third and ending away from the root note progression that the band had now cemented into the listener’s mind. Cryptopsy would base their classic works on the concept of a solo played on top of a consonant tremolo picked melody. The solo sees Hobbs go through a variety of techniques while confining himself in the realm of previously established motifs not to express horror but a rebirth of life or an ascendance to a higher state that signifies the protagonist’s change after the previous outburst and is optimistic of what they final outcome may be. A new riff emerges that is rebellious and defiant while summarizing succinctly the relationship between the chromaticism of the piece and the motifs taken from natural minor scale. A chromatic base that uses the chromatic ending from a previous motif while combining that with the final motif the band introduces here which is just an elemental minor scale ascent that stabilizes the insanity shown here from a musical perspective.
Abdicate your position in life
Now that you lie deceased
Rising from the tomb you own
To take what is rightfully yours
The lyrics urge the listener to give up on past glories and failures and to take control of one’s current situation and all that stops them from reaching their full potential and from that point to retrieve and regain all that belongs to them and what they deserve. Through showing a bleak world that is empty and nihilistic rather than one full of evil, Suffocation perfectly demonstrate their understanding of the real evils of our world and not through mundane examples but through a febrile imagination that is at the very heart of their music. Soon after previous climax returns in full force again showing that the battle is not won once but by attrition and that the will can only be tested by time. As the vocals end and this grandiose composition ends on the climax but with this time chromatic power chords and the right hand in full action as the band conveys one last time that other evils await our hero through the ominous effect created by the frustration of not having a resolution during a short chromatic sequence.
Suffocation create an entirely unique universe within a small set of rules that allows them to find new unexplored paths through those rules where as a lack of these rules may have tempted Suffocation to try the simpler paths that have already been trod. The redemption trope has been used endlessly and superficially throughout the existence of pop culture but can any musical artist claim coming this close to create such a horrifying world that truly evokes our own existence and then to find redemption and victory when there is none to be found. For that Suffocation stand on top of the Death metal pantheon with a few other select musicians and the band represents the ultimate objective in metal. Triumph in the face of this existence that is brought upon us.
Tags: death metal, suffocation
18 thoughts on “Analysis of Suffocation’s “Catatonia””
niggercation (Editor’s note: Please observe the mental cancer demonstrated by this fine specimen!)
You are a homo! Go back to your gay shemale music you fag! I stand atop the highest of mountains and proclaim rape the shemales! Sodomize the trannies! No tranny shall be spared.
editor’s note: though we have always been against censorship, there are limits to the amount of idiocy we can tolerate!
i honestly am fucking starting to hate you guys and your hypocrisy
dmu has lost its anarchistic spirit. too bad. the uncensored community has always been key here because it’s in the spirit of darwinism. now it’s a safe space for the latest flunky as brett’s somewhere in a Texas whorehouse getting high on macbook bongs.
Rather than cry, try to at least say something constructive that benefits the community. Rather than making a list of Suffocation’s album and adding racial slurs to them, make an observation that others have missed out.
but you guys say and have alot of brutal images on here
Repost the list! It’s probably funny.
That’s because you’re an idiot.
It should be noted that it is not a C# root note on Human Waste, but C. Suffocation tuned to C standard for Human Waste and Effigy, C# for Breeding and everything after. Even stranger, the Reincremation demo is in D standard. I have always wondered about this change in tuning, perhaps it was to not sound like Death, then not to sound like Immolation and Incantation, to occupy their own tuning. Or it could just be a string gauge issue, could not maintain intonation in C standard.
Mud at lower tunings is also a real issue for those guys since they’ve always used the Dimarzio Super Distortion as their bridge pickup, even moreso in the ’90s when they were using 24.6″ scale guitars.
Hobbs used an Ibanez RG570 which was 25.5″ and Doug used a Jackson Professional Soloist which is also 25.5″. They did use the super distortions which they still love. I honestly, now thinking about it, the C# tuning may have come from an attempt at more clarity during the Breeding the Spawn recording, which was, to them, sabotaged by Roadrunner/Roadracer not allowing them to use Scott Burns, so they used the engineer from Human Waste, Paul Bagin. 24.6″ is no scale length for any guitar; Fender scale length is 25.5, Gibson is 24.75″ and BC Rich 24 5/8″.
5/8 = .625, which rounds to .6. I was under the impression they were using BC Rich in those days, I guess not?
Also, Gibsons aren’t actually 24.75″. They’re advertised that way, but they got that measurement by adding the intonation distance of the low E string to the total scale length. The actual scale length of a Gibson is 24.5625″
Well damn, I did not know that. No they were not using BC Rich. Early on, way early on, Hobbs had a white NJ Warlock, like Max Cavalera’s, but opted for various Ibanez’s, including a black RG570, then he stripped the paint off it for a natural look, or perhaps a different model, a weird model RG with what looks like a rare 24 fret Sabre series neck, and then some 24 fret strat in 98. Cerrito never used BC Rich, he was fairly loyal to Jackson/Charvel and even had a Fender HM Strat in black. The BC Rich usage came about in the reunion days with both Hobbs and Guy both using custom shop models as well as various older models, some going back to the early eighties like Guy’s Warlock II’s, which funnily enough, are some of the only models that have the 25.5″ scale length for BC Rich.
Suffocation are such a nice band. Tbey always have such sick riffs on them resoving so nice. They sound so good.
The first and best Suffocation song.
There’s a shirt with the bald black dude as a cartoon character, I actually done seent it in person. It’s such an obvious “hey this band has a black dude in it, look at this drawing! I exclusively listen to black dudes metal!” I’m surprised there isn’t a Mystifier shirt that says THERE’S BLACK DUDES IN THIS BAND on the back in a CRYPTIC FONT.
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