The Death Metal Genre

When attempting to present an overview of death metal music, we run into the same problem as when trying to describe black metal. Namely, that while people - even extreme metal neophytes - can quickly identify the genre's superficial and cosmetic elements - death growls, downtuned guitars, distortion, blast beats, gory lyrics - many listeners, and even veterans of the genre, cannot explain death metal's inner nature.

Death metal, at its heart, represents a rebellion again rock music and all forms of 'entertainment', which are identified as escapism and slandered as being the cause of all modern ailments. It is communicative art, in that it attempts to transmit a message not just through lyrics, but through the music itself. Death metal, contrary to almost other music genres, is based on realism, from the brutality of the music to the savage technicality that reminds one of nature, in its forceful yet intricate mysteries.

Even the 'gory' lyrical themes - moronic clown bands like Cannibal Corpse and Warkvlt excluded - serve as a reminder that 'death is real', and each passing second is one step closer to the grave. Death metal seeks to relativise human conflict and human emotions, unlike rock 'n' roll which glorifies them, and presents them as the ultimate measurement of humanity. If rock 'n' roll is entertainment music, then death metal can be seen as the ultimate 'anti-entertainment' music genre.

Death metal goes well beyond vocal technique and guitar tuning, as evidenced by the numerous metalcore bands that in recent years have started incorporating more and more death metal stylistic attributes - Arch Enemy and In Flames, to name a few - while firmly remaining entrenched in the camp of radio rock, as their music is meaningless, vapid, and communicates nothing.

A few good death metal albums are Incantation's Onward to Golgotha, Phantom's The Epilogue To Sanity, Demilich's Nespithe, Sewer's Locked Up In Hell and Suffocation's Effigy of the Forgotten.