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Funeral Doom, a.k.a. Extreme Doom. Although a demanding listen, it reached the metal mainstream from 2010 up. It is considered the most extreme heavy genre, along with grindcore.

History

An offshoot of death-doom metal,^[1] the genre was mostly inspired by the work of Autopsy,^[2][3][4] Winter,^[2][3][4][5] Cathedral^[3][4][5][6] and early Paradise Lost.^{[3][4][5][6][7]} Funeral Doom truly came into being in the mid-1990s, especially Finland.^[1] Thergothon is frequently pointed out as the starting point of the genre,^{[1][5][8][9][10][11]} although Skepticism and Unholy aren't far behind.^[1][12][13] Outside Scandinavia, the lines between Death-doom and Funeral Doom pioneers were less clear cut.^[1] disEMBOWLMENT, from Australia,^[2][14][15] Birmingham-based Esoteric,^[16] and American act Evoken are examples.

With the turn of the millenium came with newer bands, such as Shape of Despair,^[8] and "Nautik Doom" group Ahab.^[17] Funeral Doom scenes cropped up over the world, such as the one in Russia.^[18] Like no metal subgenre before it, the internet boom greatly helped Funeral Doom reach new fans.^[8] By the 2010s, Funeral Doom eventually reached into metal's mainstream.^[19]

Another sign of Funeral Doom's increasing status was Peaceville's move to buy the rights of Avantgarde Music's back catalogue.^[20] Responsible for launching the careers of Autopsy, Paradise Lost, My Dying Bride and Anathema, Peaceville was the major player in shaping what became known as death-doom.^[21] This now meant that Peaceville had a significant stake in Funeral Doom's history: it owned all of Thergothon's and Unholy's discography, along with two Evoken albums.^{[22][23][24][25][26][27][28]}

Musical style

Chronicles of Chaos co-editor Pedro Azevedo described funeral doom's core sound as a mix of "downtuned guitars, ponderous drumming, church organs and cavernous death vox" done at an "extremely slow" pace.^[29] Though it kept death metal's low-tuning and death growls, Funeral Doom eschewed most it's complex song structures and rapid tempo changes in a favor of a minimalist approach and slower tempos. Depending on the band, it keeps some genre-specific characteristics of death-doom, such as violins and female vocals.^[29] Some consider it the most extreme of all extreme metal subgenres.

Funeral Doom's name supposedly came from Skepticism's pipe organ-like keyboard timbre, which reminded listeners of funeral music.^[30] Keyboardist Eero Pöyry said that "I position myself as a church organ player in a metal band".^[31] Furthermore, Pöyry explained that, at the time,

Although it has a substantial following, Funeral Doom has also it's share of criticism. To the average listener, Funeral Doom might sound "boring and repetitive".^[29] The increasing popularity of Funeral Doom also meant that it now had it's "share of hangers-on and can act as a repository for pseudo-literary teen poetry and artless abstraction, so a certain critical scrutiny has become necessary."^[8]

Themes

Thematically, Funeral Doom avoided the "Peaceville Three"'s gothic sensibilities in favor of a more nihilistic world view.^[29][32]

Bibliography

• 'Harry' Hinchliffe, James (2006). "Funeral Doom/Drone Doom: Hearse Play". Terrorizer. 143. London: 44–45.

• 'Harry' Hinchliffe, James (2006). "Thergothon - 'Stream from the Heavens' (1993)". Terrorizer. 144. London: 54.

• Minton, James; Kelly, Kim; Selby, Jenn (2009). "Filth Parade". Terrorizer. 188. London: 56.

• Tracey, Ciarán (2006). "Doom/Death: United In Grief". Terrorizer. 142. London: 54–55.

Extras

To a certain degree Funeral Doom kept true to death-doom's original spirit, whilst death-doom bands themselves veered toward gothic metal or dabbled with progressive rock [1] (Amorphis, Anathema or The Gathering [2] [3]).

^[33]

Sources

• Terrorizer #144 - May 2006
  • The Depths of Doom (p. 54)
    • Funeral Doom / Drone Doom (p. 54)
      • James 'Harry' Hinchliffe: Thergothon - 'Stream from the Heavens' (1993): "So leaden and unremittingly heavy that many have found it almost an endurance test. Thergothon's album is an airless, joyless, claustrophic crush, and not for the faint-hearted. It's hardly surprising that the band called it quits after this, but Pandora's box couldn't be closed - the birth of an entire genre of funeral doom could easily be laid at the feet of 'Stream from the Heavens'" (p. 54).
      • James 'Harry' Hinchliffe: Unholy - 'The Second Ring of Power' (1994): "These Finns' obsession with lethargic tempos, mental anguish, hallucinogenic substance abuse and shamanism arguably achieved its finest balance on their second album, 'The Second Ring of Power'. Now finally laid to rest, not that their line-up ever seemed comfortable, Unholy are responsible for demonstrating how tolerant doom's appetite for wlful, ritualistic weirdness was."
      • Olivier 'Zoltar' Badin: Funeral - 'Tragedies' (1995): "When Norway was all about spikes and battles in the north, came this. Far from their amateurish demo 'Tristesse', Funeral's debut album features its home-country's typical gloominess engulfed in pure early My Dying Bride worship, yet played three times slower. Lightened somewhat by delicate acoustic intros and mourning female vocals, its extreme sense of contrast is nothing but heartrending."
      • James 'Harry' Hinchliffe: Skepticism - 'Stromcrowfleet' (1995): "Sure, some of the keyboard sounds didn't age well, but Skepticism's sonambulist misery demonstrated that funeral doom needn't be quite so one-track-minded. It was gloomy and sombre, of course, but 'Stormcrowfleet' had depth, expansiveness and a restraint that lent them a distinctive and particular majesty. Truly, as they would later assert, a mix of lead and aether."
      • James 'Harry' Hinchliffe: Esoteric - 'Metamorphogenisis' (1999): "Was it incipient funeral doom, extreme doom/death, acid-psychedelic doom or a freak unclassifiable, millenial worldfuck that maybe even struggled to be called metal of any kind? Drenched in guitar effects and baffling in scale, 'Metamorphogenesis's staggering mastery of magnitude and density sounded like buildings falling down and heralded the coming of a reinvigorated Esoteric."
      • Olivier 'Zoltar' Badin: Shape of Despair - 'Shades of...' (2000): "Celebrating the marriage of extreme doom and Cold Meat Industry's school of dark ambient, 'Shades Of...' recalls nothing less than the scene in the 1973 movie 'Soylent Green' where Edward G Robinson is slowly sedated to death while contemplating beautiful images of what the Earth once was. Slowly drowning in a bottomless dark abyss never sounded so beautiful..."

Danzig

Musical style

4p is simutaneously a look back and a step forward. From (the scorching ferocity of) opener "Brand New God", raging with Misfits-like hardcore punk intensity, to more general tone of the album, darker and less.

The album was also a risky step forward, in the sense of being Danzig's first true forray true into industrial metal. At least half of songs have some hallmarks of the genre: processed vocals, over-distorted drum machines, samples and loops. (Metakl Hammer.de). "I have to keep looking forward" said Danzig, justified this style change. His flirtations with industrial music would carry on to Blackacidevil and 6:66 Satan's Child. "I have to keep looking forward", said Danzig of thus stylistic change.^[34][35]

The album includes "White Devil Rise", recorded during the sessions for Danzig 4 in response to racist comments by Louis Farrakhan and his use of the term "The White Devil" to describe the white race.^[36][37] Danzig has explained that the song is his conjecture as to what would happen if Farrakhan incited the passive white race to rise up and start a race war: "No one wants to see a race war. It would be terrible, so the song's saying, 'Be careful what you wish for.'"^[38][36]

Glenn Danzig spoke fondly of the track "Satan's Crucifiction", describing it as one of his favorite songs on the set.^[37] According to Danzig, the song was written to anger American Recordings, the band's label at the time.^[37] Eerie Von explained it had also been played during rehearsals to scare off unwelcome executives from the label who might happen upon the band's recording sessions. The song title is misspelled "Crucifiction", perhaps intentionally as a pun. The song was performed live for the first time in the fall of 2007, and was a regular in the Danzig set-list during the fall 2008 'Blackest of the Black' tour.

Links: [4][5][6][7][8]

Misfits Discography

In contrast to the opening cut on Danzig 3 ("Godless"), Danzig 4 opens with "Brand New God," which is also perphaps evidence that he was letting his love of Jack Kirby's Fourth World Trilogy finally directly influence his songs (Danzig 6:66 had a deep cut called "Apokalips" - only one letter difference between the song title and the home world of Darkseid). Like and unlike "Godless", however, which starts off Samhain-like and then sinks under the weight of its own chords, "Brand New God" sounds almost like vintage Misfits (particularly "Die, Die My Darling") and keeps up the intensity for the whole track. "Little Whip" is about exactly what you think it is. "Dominion," the track that follows "Until You Call On the Dark" (see above), somewhat soft-pedals its approach, and sounds a lot like the Ramones' "I'm Not Afraid of Life." "Bringer of Death" starts out a power ballad, then shifts gears in the middle eight, letting out a mighty blast of near-thrash before settling back into a groove that teeters on the brink of actually swinging. "Sadistikal," on the other hand, sounds like an outtake from Rob Zombie's Hellbilly Deluxe, with Glenn's effects-drenched voice. The video sucks, too. It is an unfortunate shape of things to come. Things improve a bit with "Son of the Morning Star," a quiet/loud track that is simply and cleanly produced and cuts back considerably on the bombast. "Stalker Song" is a creepy as the title implies and manages to scare up a genuine sense of dread. On the other hand, all "Let It Be Captured" scares up a genuine sense of boredom. Even then, it is miles ahead of "Invocation," which is all chant-y and Glenn's organ (get your mind out of the gutter). Oh well, at least the album cover is rendered legendary comic book artist Mike Kaluta (The Shadow). (p. 152). [9]

Phil Anselmo

I've known Glenn - Danzig, that is - since about 1990. He's always taken under his black wing. And he's always been a big brother to me, man... I mean, this is something I would never pass over, ever. [10]

[11]

Beginnings (1986-1987)

On July 14, 1986, Samhain performed at The Ritz in New York in what was to be their final show. In attendance was Rick Rubin, who was scouting for potential bands to sign to his record label, Def Jam Recordings. Rubin initially wished to only sign Danzig himself, with the intent of making him the vocalist for a hard rock supergroup that Rubin envisioned. However, Danzig refused to sign to Rubin's label without including Samhain's bassist Eerie Von. In 1987, he added John Christ on guitar and Chuck Biscuits (ex-Black Flag) on drums.[4] To reflect the change in musical direction and avoid having to start anew after future lineup changes, Glenn, on Rubin's advice, changed the name of Samhain to his surname, Danzig.[5]

New Music Seminar in 1986. Though Rubin raved backstage at The Ritz about wanting to sign Samhain, the truth was that he really only wanted to sign Glenn Danzig, and build a new group around him. "I was never a Misfits fan," Rubin told Kerrang! in 1988. "I didn't like them and I actually thought they were terrible. But I always knew that Glenn was a great singer and that he had great songwriting potential that hadn't been fully realized." Rubin wasn't a fan of Misfits or Samhain, but he saw songwriting potential in Glenn Danzig. Good musicians. Danzig insisted that Eerie Von remain on bass,

After signing with Def Jam (which would be renamed Def American in time for Danzig's release), Danzig and Rubin spent six months searching for the right lead guitarist; ohn Christ, a then previously unknown guitar player from Baltimore. "He came in and we had 10 minutes left [of studio time]," Danzig recalled to Hollywood Book and Poster. "He was waiting all night, so we said, 'You got 10 minutes.' He came on like blazes. He beat out all the competition, so he got it. Rick really liked him, [and] I liked his leads better than anyone else's." Once Christ officially joined the band in February 1987. The next... Drummer slot. Danzig had two favorite drummers two top choices: Chuck Biscuits, formely of D.O.A., Black Flag, Circle Jerks and the Red Hot Chili Peppers, and "Philthy Animal" Taylor, ex-Motörhead drummer. Both Danzig and Rubin decided that Taylor "might be kind of old and set in his ways" about his playing style, and picked Chuck Biscuits instead.

Professional ratings

Review scores
Source	Rating
AllMusic	[39]
Chicago Tribune	[40]
Ox-Fanzine	Favourable[41]

Sources

[12]

[13]

Did the "Peaceville Three" really invent Gothic Metal?

It is common knowledge that Paradise Lost initiated with Gothic - female vocals, the orchestral flourishes, the goth rock influence - but it was really with Icon that the blueprint of goth metal was laid. The other two british death-doom bands, My Dying Bride and Anathema, soon followed suit. What I rarely see in articles about goth metal metal's history is the aknowledgement of the role that deathrock pioneers Christian Death played in the genesis of the style.

Case in point: their 1989 double album All the Love, All the Hate, especially the latter. It was released two full years before Gothic, it clearly shows a gothic rock band experimenting with heavy metal riffs. Some examples:

• Track #6: "Climate of Violence" is almost a tribute to Slayer. The solo is vintage Slayer: fast and furious cromatic tremolo picking with whammy bar weirdness.

Example: the chorus sectuon of "Born in a Womb, Died in a Tomb" [14] has a slight resemblance... Which reminds me directly of Slayer's "..." from South of Heaven.

It will probably be tough Musicaindustrial (talk) 14:19, 13 April 2020 (UTC)

Tiamat

Link: [15] [16].

Paramaecium

• Links: [17] [18] [19] [20] [21] [22] [23]

Forest of Equilibrium

Autopsy

• THE 15 GREATEST DEATH METAL ALBUMS OF THE '90S [24].

• Entombed [25].

• Katatonia.^[42]

• Shape of Despair - Funeral Doom - Autopsy - Mental Funeral [26]

• Abscess had a lot more... leeway. You can definitely hear a strong punk influence in Abscess, we never hit that. Then we also did some weird psychedelic stuff on the last few albums, but always kept it brutal and deadly and all that stuff. [27]

• Adam Munoz has worked with Abscess from 2000 up until the band's end in 2010, then with Autopsy since the reformation in 2009. He manages to capture the dirty and gritty sound that is the hallmark of your music. Today, so many death metal albums go for that super clean and polished sound. You don't even use triggers, samples, anything like that. How important is it to you to preserve the old ways of Autopsy?

It’s everything. It's not even the old ways, it’s the real ways to me, like real instruments, not what a computer is going to tell you is an instrument and triggers or whatever. I’ve never done that and I can't understand that whole thing. For me you know every band doesn’t use it all the way, but for me why would I not want my drums to sound like drums? I like the sound of real instruments. It’s as simple as that. And you can't get any nuances out of the trigger no matter how hard or soft it's gonna have the exact same sound. You can't do like a cool like build up drum roll or like you know a quieter to louder things like that will sound the same every time all the time. It just makes it sound neutered to me, I don’t understand, but, you know, click tracks and all those things. I can play in time, I don't need that s--t. [28]

• You played on Death's debut album, Scream Bloody Gore, which was just you and Chuck Schuldiner. [29]

• [30]
• [31]
• [32]
• [33]
• [34]
• [35]
• [36]
• [37]
• [38]
• [39]
• [40]
• [41]
• [42]
• [43]

One Second

• [44]
• [45].
• The best time I ever had — and the worst time I ever had — was being signed to EMI in the late '90s. * When we left EMI — or got ejected from EMI — we owed them a million pounds. I guess, at the time, possibly two million dollars. And they just wrote it off. * The late ’90s stuff didn’t sell? That’s the most accessible stuff you’ve ever done. It did sell, but not in EMI terms. It’s like we were Robbie Williams’ tax bill for that year. [46]
• It’s very strange how — I’ve noticed this from many years of doing this — you can bring a record out and everyone hates it, but 10 years later it’s kind of cool to like it. I mean, our Gothic album, our second album ever, we couldn’t get a release for that in Europe. Me and Hammy (Paul Halmshaw) from Peaceville Records had to travel to Holland and beg the people to put it out. They said, “What is it? It’s not really death metal or doom metal. I don’t know what it is, man.” I’m like, “Please put it out.” A year or two later: “Yeah, this is a fucking important record. So influential.” [47]
• ‘One Second’, I felt, was quite a nice blend of electronic and what we’d done with ‘Draconian Times’; different enough that we weren’t feeling like we were repeating ourselves. I mean, if we’d have done four ‘Draconian Times’ in a row, we’d have split up. We’ve never been like; “all right, this one’s doing well, let’s do more”. To be honest with you, if something does well, we’re more likely to change. [48]
• One Second (MFN) is our best-selling album but that had a lukewarm response from some areas. Host was too much too soon for some people. We needed a change from the metal thrash mania after touring Icon (MFN) and Draconian Times for so long.” [49]
• What are your feelings on One Second 20 years on? Nick: I mean, it’s the album that we sort of decided to go down a different route. It was a big departure from the one before it. I still think there’s some really great material on that album, so, that whole period, from that album and then on and on to Host, I think there’s some really good material from that time. [50]
• We just didn’t stop touring and writing those kind of songs: those up-tempo, heavy, thrashy sort of songs. We’d done it for so long and we just wanted to try something else really. And I think we kind of overkilled it with it maybe. So then after that, we just needed a change just to keep it fresh. [51]
• What made you guys choose the title One Second for that album? Nick: The cover artwork, the concept. Ross Halfin came up with it. It was like, on the front she’s awake, and on the back her eyes are closed. So it’s like, one second you’re alive, one second you’re dead. But, how that tied in with the actual title I have no idea, but I just liked the idea that she was awake then she was dead. I presume she is dead now, because she was quite old then. [52]
• “I think it was a really important album – we kind of went off on a tangent from the last few albums prior to it. It was a very experimental phase for the band for better or for worse, and we’re still doing it, so I wouldn’t change anything we did.” [53]
• [54]
• [55]

Decomposed

Links: [56] [57] [58].

History

Decomposed formed in 1990 in London, UK.^[43] It rose from the ashes of death metal outfit Lord of Putrefaction, with included Jus Oborn, later of Electric Wizard. [59] After two demos they released Funeral Obsession single came out in 1992.^[43] The band toured regularly with Anathema and My Dying Bride. The band eventually got picked up by Candlelight Records, which released their debut, Hope Finally Died. After releasing their debut album, they drifted apart. [60]

Musical style & themes

The band got aquainted with Paradise Lost, Cathedral and Winter demos through the underground tape trading scene This influenced a change in direction, to a slower pace, heavier stuff. Also inspired by Revenant and german technical death metal band Atrocity. Lyrical themes inspired by old Hammer Horror movies and "the darker side of the human psyche." [61]

Legacy

American funeral doom pionners Evoken point out that Hope Finally Died is one of the cornerstones of the death-doom metal genre, alongside releases by Winter, Paradise Lost, Anathema, My Dying Bride and others. [62]

References