Death Metal:
Concept:
The name says it all. This is music about death. The death of men and civilizations. The decay of bodies, minds and societies. Disintegration: physical, psychological, spiritual. Where it touches upon the arcane or the occult, it uses these as metaphors chaos, disorder and lawless power unrestrained by moral artifice.
Aesthetic:
Riff forms typically alternate between pulverizing blasts of precise, staccato rhythm, longer tremolo picked phrases, and occasional dirge-tempo doomlike passages. "Melody" lines tend to be built around chromatic movement. Voice-from-the-grave vocals. In general, songs demand a relatively high level of technical proficiency.
Composition:
Songs are built around a remorseless internal logic where each riff or chain of riffs develops and elaborates upon what came before, forming something like a sonic story or a musical travelogue of a descent into hell. Frequentoften uncomfortably radicalshifts of tempo imitate the pervasive experience of disorder in life.
Black Metal:
Concept:
If death metal might be said to be centrally concerned with embracing the inescapable reality of death and disorder, then black metal might usefully be seen as positing a sort of mythic counterorder to the dull, slave order of modern society. Black metal celebrates the vital experience of life pushed to the edge. It is a music of struggle, strife and strident battle. Mindful at the same time of what can be wonand how much has been lost.
Aesthetic:
In general, black metal builds complexity from riffs built around typically simple, treble driven tremolo picked phrases, with occasional forays into more percussive or marchlike territory. Drums are generally deployed to ambient effect, creating a constant pulse rather than helping to define phrase shapes. Shrieked vocals. Melodies generally draw on classical or folk sources.
Composition:
Black metal is constructed from a kind of dream logic. Unlike death metal, songs frequently stray from a purely narrative form, and structure emerges as much through allusion and association as through any purely linear development of a 'story.' Trancelike repetition as a common device reinforces the dream quality, as does production, which often results in a mix where key elements of musical subtext, and often even primary context, can only be indistinctly apprehended as fleetingly resonant tones emerging from the backwash of distortion, only to vanish as if they were half remembered images lost at the edge of sleep and wakefulness.