Depressed black metal

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Depressed black metal

Development phase: Late 1990s
Place of origin: Scandinavia
Stylistic precursors
Black Metal · Dark Metal · Dark Ambient
Pioneers
Abyssic Hate · Malvery · Nortt · Shining · Silencer
Instruments typical of the genre
Electric guitar · Electric bass · Drums · Keyboard
Pioneer
Bethlehem · Burzum · Manes · Strid

Depressive Black Metal ( DBM for short ), Suicidal Black Metal ( SBM for short ) or Depressive Suicidal Black Metal ( DSBM for short ) are the names of a subgenre of metal that emerged from Black Metal in the late 1990s . The genre became internationally known and notorious during the 2000s due to controversy surrounding some of the protagonists.

history

precursor

As the forerunners of Depressive Black Metal, musicians and reviewers especially name the interpreters Burzum , Manes , Strid and Bethlehem .

The album Hvis lyset tar oss by Burzum is an important forerunner of the DBM

The Burzum project is considered a particular influence. The style, which was already characterized on the self-titled debut “by a slower tempo, echoing screams, simple drum rhythms and a guitar playing that should spread in Depressive Black Metal”, stood out from Black Metal of the same generation. Wolf-Rüdiger Mühlmann called the third Burzum album Hvis lyset tar oss in Rock Hard magazine an "(involuntary) pioneer of so-called suicidal black metal [s]". According to the scene journalist, photographer and non-fiction author Dayal Patterson, “Burzum owes its historic status [...] not least to the unprecedented gift of the only songwriter Varg Vikernes to set sadness and longing for a way out to music.” Early genre representatives such as Nortt , Shining and Silencer confirm this assessment and make direct reference to Burzum and Hvis lyset tar oss . The musician Nortt speaks of a "direct musical foundation stone" that Burzum in particular would have laid for the Nortt project. Niklas Kvarforth also names Burzum a central influence on the style played by Shining. The silencer guitarist Andreas “Leere” Casado also describes Hvis lyset tar oss as an important source of ideas for his guitar playing.

The Manes from Trondheim are also counted among the influential forerunners of the DBM by Patterson. He described the first demo tape by the Maanens Natt group as "something faded away, [with which] the project promptly set itself apart from the rest of the scene." The demo was "a deeply atmospheric journey through cold northern nights [...], on which [... ] paired melancholic arpeggios at a controlled tempo with brisk, urgent riffs . ”In addition, there is the use of a synthesizer and singing between solemn speech and guttural barking. The atmosphere created in this way influenced different DBM representatives. Kvarforth and Scott "Malefic" Conner from Xasthur joined Manes as guest vocalists on later recordings. Kvarforth in particular emphasizes Mane's influence on the style played by Shining.

With Strid Patterson names another, less well-known, Norwegian band as a forerunner of the DBM. With the demo track End of Life from 1993, recorded as a battle , the group changed their style from "rude noise" to "gloom with more atmosphere and less speed and excruciating screams," which were found in groups of the DBM. The demo End of Life and the EP Strid , released in 1994 on Malicious Records, offered “methodical and thematic innovations that set standards in the DSBM.” Kvarforth and Casado in particular emphasized the influence of Strid.

Retrospectively, music magazines such as Decibel have given the German dark metal band Bethlehem an important pioneering role in the genre. So goods by Albert Mudrian the first albums of the group "an important catalyst for the development of the genre as a more independent variant of this music that many of the familiar features dismissed of Black Metal and some new took along the way." The co-operating with Bethlehem label Prophecy Productions advertises the group as the founder of Depressive Black Metal. According to Patterson, the band sounded "spooky, tormented and deeply sad" from the start. Bethlehem, who refused to be called Black Metal from the beginning of their career and coined the expression Dark Metal, had other topics than the usual black metal content of Satanism, hatred or nature. Bethlehem used "inner contemplation and self-contemplation by trying to fathom being human on the basis of biographical work, but to the same extent also pursuing abstract philosophical or spiritual questions." Elsewhere Patterson added that Bethlehem was particularly different from other groups that were influential for the DBM in terms of content and gave the DBM an essential thematic aspect.

"Although Norwegians like Burzum, Thorns , Manes or Strid had smuggled oppression and hopelessness into Black Metal, Bethlehem unmistakably and analogously stiffened on depression or, above all, suicide [.]"

- Dayal Patterson

Groups like Shining, Silencer and Forgotten Tomb sought contact with Bethlehem. Singer Andreas Classen was invited by Kvarforth to sing Shinings I - Within Deep Dark Chambers . Silencers, on the other hand, invited drummer Steve Wolz to their studio recordings via Bethlehem. The Silencer guitarist Casado Bethlehem also assigned the most significant pioneering role in terms of the development of the DBM. He himself stated that he only played music based on the model of Bethlehem with Silencer. He suspects that "Suicidal Black Metal would have developed even without a Silencer, because of Bethlehem, but also Shining." (Andreas "Leere" Casado)

The theologian Sebastian Berndt puts the genre in the tradition of the early Mayhem , whose singer Per Yngve "Dead" Ohlin "attracted attention through bloody self-harm on stage". The Dead, who is considered to be “depressed and unapproachable”, not only creates “real rituals” on stage by burying his stage outfit and allowing it to rot, injuring himself or throwing pig's heads into the audience, but also shaped the turn towards self-harm, depression , Darkness, satanism and the occult .

Patterson sees Thorns as another forerunner of the DBM. He assumes that the influence of Thorns is comparable to that of Burzum. He attests to Thorns' early releases a far-reaching influence in terms of turning away from the aggressive atmosphere that dominates Black Metal. "It sounded incomparably sinister - oppressive as well as constricting - and stood out for its subtle introversion between the more hateful Mayhem and Darkthrone ." Contrary to Patterson's assessment of Thorns' influence, neither group is referring who initiated the subgenre, on Thorns.

Alongside Strid, Manes, Burzum and Bethlehem, Kvarforth describes the rock band Kent as an important influence on his own style. Casado, on the other hand, sees Dead Can Dance , Kvist and Enslaved as pioneering factors that have influenced the atmospheric and playful direction of Silencer. In particular, he integrated the quiet and atmospheric tones of Dead Can Dance into the musical direction of Silencer. In addition to Burzum, Nortt cites the dark ambient project Aghast and the funeral doom band Thergothon as important influencing factors.

Establishment as a genre

From the second half of the 1990s, various interpreters appeared who provided their music and ideology generated from Black Metal with suicidal or depressive texts and who were first perceived as a subgenre of metal around the turn of the millennium.

The Canadians from Malvery and the Swedes from Silencer are counted among the first groups to focus on the suicidal and depressive aspect of Black Metal . Both groups were united by the atmosphere presented and the texts that focus on self-harm, suicide and depression. Musically, however, both differed significantly from each other. While Malvery was more oriented towards the guitar and drums playing of Death Metal , Silencers increasingly played Black Metal with the occasional use of clear guitars and piano tracks. On Metalstorm , the singing of both groups is highlighted as "unique" and "groundbreaking". While for Nattramn von Silencer the delusional nature of his high-pitched screams is emphasized, the singing of Amer LeChâtier is described by Malvery as suffering and tormented. LeChâtier committed suicide in 1999. Malvery Mortal Entrenchment's debut album in Requiem was released posthumously. According to rumors, Nattramn went to a psychiatric hospital after the release of the Silencer debut Death - Pierce Me in 2001, fled and allegedly committed an amocture . Further rumors about Silencer were forced by the design of the album. A photo by Nattramn showed him bare-chested, apparently covered in blood, with a mask and stained bandages on his hands from which pigs' feet protrude. Based on this picture, it was assumed that Nattramn had "tortured himself during the recordings and finally amputated his hands in order to exchange them for the pig's feet". Patterson calls Silencer, largely independent of the rumors about the singer, “one of the first 'modern' DSBM formations” and ascribes it to an important role in the creation and shaping of the subgenre. As a special value that should affect subsequent groups, it denotes the Nattramns singing, sometimes of early Paradise Lost admonishing songwriting and "focus on weakness rather than muscle-flexing". The result is considered to be a new line-up of a musical expression of pain, depression and madness.

Kvarforth performing with Shining in 2011

As one of the most popular groups in the style, the Shining, founded in 1996, shaped perception as a genre with their debut album I - Within Deep Dark Chambers, which was released in 2000 . The musical development of Shining is considered to be closely linked to that of Silencer. Kvarforth and Casado got to know each other through the Shining singer Robert, with whom Casado had previously made music, which resulted in a friendship and a lively exchange of musical ideas. According to Patterson, "the acquaintance [...] not only helped shape the two bands, but also many stylistic elements that flowed into the new trend of Depressive Black Metal." That is how Casado Kvarforth suggested Burzum, among others.

Kvarforth, who stated that he wanted to "feed" his listeners with self-destructive and suicidal images and texts, shaped the DBM musically, aesthetically and in terms of content, while Shining became one of the most popular projects of the style. According to Casado, Kvarforth was the one "who came with razor blades and all that." Kvarforth staged and celebrated self-harm and the confrontation of the audience as part of Shining's appearances. With controversial appearances, Shining gained notoriety in the scene and shaped the appearance in the DBM through self-injuries during the concerts. Kvarforth is also criticized for handing out razor blades to his audience and inviting them to use these blades to injure themselves during the live event.

Another group that has helped to consolidate the genre is the NSBM band Abyssic Hate . The music of the 2001 debut Suicidal Emotions was seen as an adaptation of the early Burzum. The atmosphere, texts and design, on the other hand, indicated the subject of self-harm, depression and suicide. A similar influence from Burzum, combined with the themes of the DBM, is attributed to the American project Xasthur . The debut album Nocturnal Poisoning from 2002 is regarded as an expression of depression, frustration and hatred and as one of the most important works of the DBM.

The Danish project Nortt combined the content aspect of the DBM with musical forms of expression of Funeral Doom, Black Metal and Dark Ambient, thus expanding the expressive possibilities of Depressive Black Metal. The demo recordings of the project were already highly praised by critics. The album Ligfærd , released in 2005, was rated as “one of the darkest and most life-denying albums of all time”. The American project Leviathan , whose debut The Tenth Sub Level of Suicide , which appeared in 2003, dealt with different aspects of suicide and introduced other new stylistic elements, such as the heavily alienated vocals and “classic 80s heavy riffs ”, was equally highly praised . With influences from Gothic Rock and Post-Punk , which were particularly noticeable in the bass game, Lifelover brought further possible elements into the style on their debut Pulver 2006. In addition, Kim “()” Carlsson's howling singing and the use of samples from children's television and porn films are considered special ideas.

Hype and creative stagnation

After controversies about the disappearance of Kvarforth in 2006 and the Shining concert in Halmstad in 2007, at which Kvarforth reached razor blades into the audience, the genre received increased attention and experienced mostly negative media hype in the metal scene . Among other things, Wolf-Rüdiger Mühlmann made direct reference to the performance in a review in Rock Hard for the Shining album V - Halmstad , called Kvarforth “a bad piece of shit with an asshole character” and the band “Volldeppen”. The hype surrounding Kvarforth, Shining and the DBM led to an increased reception of new and old performers. A circumstance that was described as a trend in Black Metal in the scene .

Despite the increased popularity of international DBM groups such as the Americans I'm in a Coffin and Happy Days , the Canadians Sombres Forêts , the Australians Austere and Woods of Desolation , the Italians Forgotten Tomb , the Swedes Hypotermia , the Norwegians Joyless , the French Mourning Dawn , the Czechs Trist , the Germans Total Negation or the Danes Make a Change… Kill Yourself was often seen by outsiders as a marginal phenomenon in metal. The genre chronicler Dayal Patterson, on the other hand, calls it "one of the more popular forms of the multifaceted genre Black Metal".

Some established Extreme Metal interpreters such as Zingultus von Nagelfar , Graupel and Endstille rejected the Depressive Black Metal and called it “whine” and “ emo shit” that did not match the “ready to fight” attitude of the original Black Metals is compatible, criticized. Patterson also speculates that the DBM appeals to an audience that would hardly be interested in Black Metal without this subgenre.

Until the mid-2010s, the DBM was also seen as creatively exhausted. With the increasing popularization of the genre, an increasing standardization in the reception of the genre took place over the years, which does not do justice to the diversity of the groups that initiated and popularized the style. Patterson cites groups such as Abyssic Hate, Lifelover, Xasthur and Forgotten Woods as examples of the former diversity of the style. In the increasingly reduced perception of the style, this was accused of stagnation. New groups were often accused of plagiarizing well-known names. An abundance of imitations of popular representatives was also discussed in reviews.

style

The common theme of the style is depression , self-destructive and self-harming behavior , and suicide . This complex of topics can be found in the song texts, the arrangements for the release of the sound carrier and the performances of the performers. Some representatives are also prone to self-harm, up to and including self-mutilation, during the admission process.

The music is partly based on the style of Norwegian bands of the second wave of Black Metal , but is not generally assigned to the genre due to the satanic content that is lacking for many DBM interpreters but is inherent in Black Metal . Such a distinction is often omitted in reports on the genre. Some interpreters of the DBM took up this question and made explicit reference to the relationship of their own music to Satanism, as a fundamental ideology of Black Metal. Patterson underlines this impression and sees the DBM and its representatives in a similar position as performers of post-black metal . Although the music shows "traits of the origins of the genre", it puts these in a different context "in order to create something completely new culturally and musically."

content

DBM deals primarily with the topics of depression, darkness, loneliness, death, suicide, self-harm and misanthropy in connection with an atmosphere that is mostly perceived as melancholy, sad, depressing, desperate and melancholy.

The artist Janet Silk describes the complex of themes as multifaceted, geared towards different suicidal motives and acts. According to her, the aspect of ritual cleansing plays a central role in the DBM. According to Silk, the performers confront the audience with central questions about life and death, before the conviction of free will . The ongoing confrontation with the subject of suicide reminds the listener of the possibility of deciding for or against life.

"There is admiration and respect for those who overcome the 'will to live', the body and those who choose to be masters of their destiny."

- Janet Silk: Open a Vein: Suicidal Black Metal and Enlightenment

Nortt in particular places the depressive atmosphere and the texts relating to dying, death and self-harming behavior in the tradition of the satanic ideology of Black Metal. On the other hand, Kvarforth rejected the designation of Black Metal for his band Shining, which has a central meaning for the DBM, due to the lack of satanic lyrics, although he sees himself as a devil worshiper . In relation to his ideas about the Shining, the presence and the ideals of the group, Kvarforth emphasizes a negativity that should be expressed.

"It was about not setting fire to a church, but fucking your life if you want to experience real negativity."

- Niklas Kvarforth

The aim of the music conceived in this way is the destruction of life by spreading hatred, self-hatred and madness. The term suicidal black metal also goes back to Kvarforth. However, after many groups presented DBM under different conditions and, in his opinion, wanted to “express their self-pity and use their music as a shitty form of therapy” in the DBM, he abandoned the name. His original "intention was to use the music as a weapon against the listener" to create insecurity, aggression and auto-aggression. The Danish project Nortt pursues a similar approach, in which texts and music convey darkness and desolation and “leave no hope or salvation but death”.

Among those interpreters who criticize Kvarforth there are groups like Wedard , whose music, according to their own statements, “is also about intensely bad depressive feelings”, but there is “also a light at the end of the tunnel”. Kim Carlsson of Hypothermia describes DBM as a creative expression derived from the feeling of depression.

Thus, the content of the DBM stands in the field of tension between catharsic expression, music as a disturbing attack on the recipient and the protection of death as the only salvation.

Visualization

Many of the DBM's performers are prone to self-harm during their concerts, including Niklas Kvarforth from Shining, Kim Carlsson from Hypothermia and Lifelover, and Graf von Baphomet from Psychonaut 4 . Critics refer to this behavior as a questionable staging and show. Silk sees in Deads suicide, which has become a myth, the first harbinger of this performative staging in the DBM, in which the boundary between the ideas presented in the lyrics and the real actions breaks. According to her, the self-harming behavior in the DBM particularly refers to the ideological superstructure of Black Metal and celebrates self-harm and self-destruction as its expression. Silk assumes that this staging is intended to force the audience into the activity in a confrontational manner and thus bridge the barrier between audience and artist.

In accordance with the content and the appearances, images of self-inflicted injuries or implied suicidal acts are often used to design the album.

Musical classification

The style is often perceived as simple. The focus is on the atmosphere, which is created especially through the use of amplifier distortion and dark ambient passages. The tempo is considered to be slowed down and the singing to be reduced. Longer minimalist phases as well as undistorted guitars are common in the DBM. The music of the DBM is nevertheless based on the broad spectrum of Black Metal. Most of the representatives of the DBM use the raw production of the early Burzum and the repetitive riffing of the Norwegian second wave of Black Metal . The singing varies between the screeching singing , speaking, screaming and other forms of expression that are typical of Norwegian Black Metal , which are described as whining, breathing, crying and wailing. An echo effect placed on the voice is often used. Most performers tend to play at a medium to slow tempo. Occasionally there is overlap with Death Doom and Black Doom up to Funeral Doom . Accordingly, playing the drums is considered simple by many performers. While this has blast beats at times , it mostly consists of slow, simple rhythms. The style is often presented by one-man projects that sometimes involve the use of a drum computer . Many of the songs, which are very long for Black Metal, are kept slow and atmospheric, with samples and longer ambient passages, using keyboards and synthetically introduced organs or string instruments.

Popular representatives

literature

  • Janet Silk: Open a Vein: Suicidal Black Metal and Enlightenment . In: Amelia Ishmael, Zareen Price, Aspasia Stephanou, Ben Woodard (eds.): Helvete . A Journal of Black Metal Theory. Punctum Books, New York City 2013, pp. 5 to 20 (English, limited preview in Google Book search).
  • Dayal Patterson: Black Metal . The Cult Never Dies Vol. 1. Index Verlag, Wittlich 2017, ISBN 978-3-936878-30-1 , DSBM, p. 301 to 382 .

Individual evidence

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  42. ↑ Dayal Patterson: SDBM Introduction . The Cult Never Dies Vol. 1. Index Verlag, Wittlich 2017, ISBN 978-3-936878-30-1 , Strid, p. 302 .
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