About

Death Metal Underground (DMU) is the oldest and longest-running metal site on the internet with content dating back to 1988. Its mission includes ongoing inspection of heavy metal music, its history, culture, imagery and philosophy.

Our analysis originates in two ideas: that heavy metal is a form of art and culture, and that the origins of heavy metal can be found in the late Romantic movement in art and literature whose imagery and ideals it carries to this day.

Most people want disposable entertainment that puts no burden of understanding on them. They want something they can project into and then leave without feeling a sense of loss. They want television in audio form. Heavy metal interrupts this process and reconnects distracted people with the life hiding beneath our own mental obstacles.

With over 25 years experience listening to metal, supporting local scenes, writing about metal and interacting with metalheads and bands, our staff — a diverse group representing artists, technical gurus and professional writers — strive to represent metal for what it is, not how it can be marketed.

Contact

Death Metal Underground
PO Box 1004
Houston, TX 77411
editor@deathmetal.org

For review, send:

  • Email link to an electronic press kit (EPK) including:
    • MP3 of the full release
    • Large (1200x1200px or greater) cover image
    • Contact information for the band
  • Or, physical copy to our mailing address.

Writers

martin_jacobsen-guitar_photoMartin Jacobsen writes the “Analyze it to Life” series where he explores the nuances, details and inner lacework of structure that makes a good metal album. In his spare time, he teaches English and heavy metal in Amarillo, Texas and plays a mean guitar.
chris_pervelisChris Pervelis has been active in the underground since the late 1980s, first as a fan and tape trader, then as a musician in the highly influential band INTERNAL BLEEDING, which first formed in the spring of 1991. The band has released five albums: three on Pavement Music, one on Century Media and one on Unique Leader and are currently in the process of writing their sixth album.
brett_stevens-death_metalBrett Stevens writes as a freelance journalist who frequently contributes articles, interviews and reviews. In addition to his columns here, he is the sole author of the Dark Legions Archive and The Heavy Metal FAQ. In his spare time, he is an agrarian and woodsman who prefers to wander the Texas woods in the company of canines.
cory_van_der_polCory van der Pol writes on metal theory and history. A recovered academic, van der Pol now writes mystery thrillers (under a pseudonym) and spends his time cycling the backroads of Syracuse, NY or fishing with his daughter.
aaron_lynn-writer_metalAaron Lynn is an amateur writer, published poet, and heavy metal fanatic. When not obsessing over heavy metal or writing, he watches horror movies and tends to his parakeets.
mark_crittendenMark Crittenden served as Editor of Death Metal Underground from 2011-2014. A full time worker in Information Technology, Mark became enamored of heavy metal music from early times and has amassed a collection of over 4,000 vinyls which he listens to in a comfy cabin by a lake.

Exhibits

DeathMetal.org is also home to a number of exhibits from the past and present of death metal. They are:

  • Zines Historical archive of death, black and speed metal zines from 1984 through 1996.
  • LARM A review site run by a user named Chorazaim which had short reviews of late black metal albums.
  • Dark Legions Archive the original metal site on the internet, covering releases “of note” from the classic years.
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Death metal band saves cats from life on the street

metal_meowlisha

Donald Tardy of death metal band Obituary and his wife, Heather, spend their spare time and most of their “spare” money picking up stray cats off the street and taking care of them. Their charity, the Metal Meowlisha, cares for 20 colonies of feral cats 365 days a year.

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Heavy Metal Genres

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Death Metal

Structuralist, atonal, modal metal that combines hardcore punk compositional technique with metal riffs and song structure. “Only death is real,” its guiding statement, pointed out that most of social mores and morals are illusory, and that we need to pay attention to the structure of reality instead. Its specialty is seeming random until you hear the piece as a whole.

Demigod – Dead Soul

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Black Metal

Lawless romanticism that praised isolation from the crowd, denial of individuality in the face of nature, natural selection, war and conflict, this genre used melody to construct atmospheric emotion. It guiding statement might well have been “the cut worm forgives the plough,” and its feral explosion left murders and mayhem across two continents.

Darkthrone – En As I Dype Skogen

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Speed Metal

Punk technique applied to neoclassical heavy metal with the use of muffled strumming made the most enigmatic heavy music ever, thanks to the use of the muted strum which produced a buffeting, battering sound. This was closest to heavy metal in composition but began the evolution of the phrasal riff as used in death metal.

Nuclear Assault – Nuclear War

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Thrash

Heavy metal riffs in punk song structures, with a combination of the epic view of history that metal favors with the punk anarchist criticism, resulting in one long questioning of the experiential value of modern society and its impact on people, especially teenage skateboarders (“thrashers,” hence the name). Many songs under thirty seconds; direct ancestor of grindcore.

Cryptic Slaughter – Nuclear Future

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Heavy Metal

Progressive rock, Celtic folk and heavy rock forged this genre from the ruins of pop music, designed to sound like a horror movie and shock flower children into reality. Its innovation was the moveable power chord riff, creating for the first time rock compositions made of phrases and not based around open chords to which vocals harmonize.

Candlemass – A Sorcerer’s Pledge

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Grindcore

Grindcore combined thrash, hardcore punk and death metal vocals to create a blur of intensity whose goal was to sound muddy, offtime, semi-coherent and like an ugly churning manifestation of the outsider underworld. Incorporating the organic post-political concepts of death metal, many grindcore bands expressed themselves through lyrics about gore, death and other limits to human control.

Blood – Linear Logic Intelligence

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Other Music

Other genres influenced metal as it evolved. Ranging from ambient music, horror film soundtracks, punk hardcore, industrial noise and progressive rock, metal’s many influences are documented here, with an emphasis on those that reflected a paradigm shift in their time and passed that on, through their music and ideas, to metal out of compatibility with the spirit of metal.

King Crimson – One More Red Nightmare

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Thrash

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.

House recommendations: Cryptic Slaughter, Dirty Rotten Imbeciles, dead horse and Fearless Iranians From Hell.

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Speed Metal

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.

House recommendations: Metallica and Prong.

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Grindcore

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.

House recommendations: Repulsion, Bolt Thrower, Carbonized, Carcass or Godflesh.

 

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Death Metal

Death metal uses tremolo strummed power chords in phrasal riffs, creating an internal dialogue of melody to project a narrative which takes us from a starting point through internal conflict to an ending radically removed from the start. This often complex music relies heavily on chromatic scales and solos that resemble sonic sculpture more than a reliance on scales or harmony, and use “modal stripes” or repeated interval patterns (such as a half interval followed by a whole) to maintain a mood. Inherently structuralist, death metal can be recognized by its “post-human” perspective, seeing the world through biology, history, warfare and mythology instead of the “I/me/mine” viewpoint of a modern society.

House recommendations: Morbid Angel, Slayer, Monstrosity, Cryptopsy, Suffocation, Therion and Vader.

BEST EVER

1. Massacra – Final Holocaust
2. Deicide – Legion
3. Morbid Angel – Blessed Are the Sick
4. Therion – Beyond Sanctorum
5. Sepultura – Morbid Visions
6. Incantation – Onward to Golgotha
7. Morpheus Descends – Ritual of Infinity
8. Necrophobic – The Nocturnal Silence
9. Obituary – Cause of Death
10. Suffocation – Effigy of the Forgotten
11. Atheist – Unquestionable Presence
12. Dismember – Like an Ever-Flowing Stream
13. Amorphis – The Karelian Isthmus
14. At the Gates – The Red in the Sky is Ours
15. Demilich – Nespithe
16. Asphyx – The Rack

COMPILATIONS

Projections of a Stained Mind (C.B.R. Records)
Harmony Dies Vol. 1 (Slayer Magazine)
Pantalgia (MBR Records)
Live Death: Vol 1 (Restless)
Sampler Volume I (JL America)
Deterioration of the Senses (Morbid Metal)
Book I: Induction (Hits Underground)

Reviews have mp3 sound samples for each album, coverscan, tracklist and label contact information.

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Black Metal

Black metal took the lawless extremity of death metal and added a greater use of melody, creating swelling surges of sound that sweep the listener away with raw emotion and then arrive in a wasteland devoid of inherent value. Songs fashioned from primitive elements end up telling complex tales, embarking on a journey where the greatest human fears — meaninglessness, predation and violence — end up being salvation from the frustrating world of entropy-bound stagnation. Thematically black metal represents an assault on the pillars of modernity, namely egalitarianism, consumerism and tolerance.

House recommendations: Burzum, Emperor, Ildjarn, Graveland, Summoning and Sacramentum.

BEST EVER

1. Burzum – Hvis Lyset Tar Oss
2. Immortal – Pure Holocaust
3. Emperor – In the Nightside Eclipse
4. Darkthrone – Transylvanian Hunger
5. Graveland – The Celtic Winter
6. Bathory – Blood, Fire, Death
7. Ildjarn – Det Frysende Nordariket
8. Summoning – Dol Guldur
9. Gorgoroth – Antichrist
10. Beherit – Electric Doom Synthesis
11. Enslaved – Vikinglgr Veldi
12. Havohej – Dethrone the Son of God
13. Mayhem – De Mysteriis Dom Sathanas
14. Sacramentum – Far Away From the Sun
15. Mutiilation – Remains of a Dead, Ruined, Cursed Soul

COMPILATIONS

Under the Pagan Moon (Cyclonic Productions)
Nordic Metal Compilation (Necropolis)
Firestarter Compilation (Century Media)

Abruptum
Absu
Absurd
Abyss, the
Ancient
Angelcorpse
Antaeus
Arcturus
Auzhia
Avenger
Averse Sefira
Axis of Advance
Bathory
Behemoth
Beherit
Belial
Black Goat
Blasphemy
Blazemth
Blood
Burzum
Celtic Frost
Conqueror
Cultus Sanguine
Dark Funeral
DarkThrone
Dark Tranquility
Dawn
Deinonychius
Demonic
Demoncy
Dimmu Borgir
Dissection
Emperor

Enslaved
Eucharist
Frozen Shadows
Gehenna
Gorgoroth
Gotmoor
Graveland
Grotesque
Havohej
Hades
Hellhammer
Ildjarn
Immortal
Impaled Nazarene
Infernum
Inquisition
I Shalt Become
Katatonia
Krieg
Kvist
Lord Wind
Manes
Marduk
Mayhem
Merciless
Mortiis
Mütiilation
Mysticum
Necromantia
Niden Div 187
NME
Ophthalamia
Pentagram
Pervertum
Profanatica
Resuscitator
Rotting Christ
Sacramentum
Samael
Sammath
Sarcofago
Septic Flesh
Setherial
Sodom
Sorcier des Glaces
Sort Vokter
Summon
Summoning
Swordmaster
Tha-norr
Thorns
Tartaros
Throne of Ahaz
Ulver
Ungod
Urgrund
Usurper
Varathron
Vilkates
Von
Watain
Xibalba
Yamatu
Zyklon-B

Reviews have mp3 sound samples for each album, coverscan, tracklist and label contact information.

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Heavy Metal

Heavy metal started when Black Sabbath merged heavy guitar rock with the soundtracks from horror films. They did they by exclusively using power chords, which because they do not contain the notes that mark them as major or minor chords, lend themselves to moving in streams, like a melody played in chords. The result is that Black Sabbath structured their songs around the interplay of these melodies, instead of focusing on a transition between points of fixed harmony like rock music, and invented a new style of music that took nearly thirty years to grow into the musical ideal first suggested back in 1970. Lyrically, Black Sabbath rejected the flower love delusion of the hippies and replaced it with hard knowledge: the obliviousness of individuals creates a mythological form of evil that manipulates and destroys us.

House recommendations: Cathedral and Helstar.

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