Technical death metal (sometimes called tech-death or progressive death metal) is a musical subgenre of death metal that focuses on complex rhythms, riffs and song structures. Technical experimentation in death metal began in the late '80s and early '90s by bands such as Death, Atheist and Cynic. In 1990, Nocturnus released their debut album, The Key, which was followed by Sarcófago's third album, The Laws of Scourge, featuring a change in their musical style, black metal/thrash metal to technical death metal. Atheist's second album, Unquestionable Presence, Pestilence's third album, Testimony of the Ancients, and Death's fourth album, Human, were all released the very next year. Human and later Death albums have proven especially influential on later '90s technical death metal bands. In 1991, New York's grindcore-influenced Suffocation released the Effigy of the Forgotten debut album, which focused on speed and brutality with "sophisticated" sense of songwriting and subsequently became groundbreaking in the genre.
Phil Freeman, ex-editor of Metal Edge, has described the sub-genre of technical death metal as "the hidden side of its genre, having more in common with prog-rock and jazz fusion than with the mechanistic, Satan-obsessed grinding that's the music's dominant public image."
Read more about Technical Death Metal: List of Technical Death Metal Bands
Famous quotes containing the words technical, death and/or metal:
“I rather think the cinema will die. Look at the energy being exerted to revive it—yesterday it was color, today three dimensions. I don’t give it forty years more. Witness the decline of conversation. Only the Irish have remained incomparable conversationalists, maybe because technical progress has passed them by.”
—Orson Welles (1915–1984)
“But the life of Spirit is not the life that shrinks from death and keeps itself untouched by devastation, but rather the life that endures it and maintains itself in it. It wins its truth only when, in utter dismemberment, it finds itself.... Spirit is this power only by looking the negative in the face, and tarrying with it. This tarrying with the negative is the magical power that converts it into being. This power is identical with what we earlier called the Subject.”
—Georg Wilhelm Friedrich Hegel (1770–1831)
“And, indeed, is there not something holy about a great kitchen?... The scoured gleam of row upon row of metal vessels dangling from hooks or reposing on their shelves till needed with the air of so many chalices waiting for the celebration of the sacrament of food. And the range like an altar, yes, before which my mother bowed in perpetual homage, a fringe of sweat upon her upper lip and the fire glowing in her cheeks.”
—Angela Carter (1940–1992)