The formation of Death Metal was gradual, evolving roughly from 1983 to 1987 before officially asserting itself as a formally established and definitive sub-genre during the years of 1988 to 1989. The natural increase of speed and aggression, as well as lyrical violence, occurred during this development, most noticeable in the works of bands such as Possessed, Slayer, Kreator, and Sepultura, each of whom are not Death Metal in the true sense of the description, but played crucial roles in the formation of the style by pushing the speed-level and anger of earlier speed metal and hardcore to uncharted extremes. Late-1980s to early1990s albums from Obituary, Carcass, Entombed, Morbid Angel, Autopsy, Repulsion, and Death initiated the style in clearly defined intentions and stylistic characteristics that became formulated as a distinct division of Heavy Metal. The primary unifying stylistic features emerged in the form of chromatic riffs executed through roaring distortion, arranged in patterns unconventional (even to Metal’s standards at the time) with the purpose of aesthetic resolution, rapid double-bass and blast-beat drumming, a severely coagulated rhythmical weight, and, perhaps its most alienating and antisocial element, a ferocious growling vocal which acted as the voice of primal ferocity unnatural to common human expression, particularly in the artistic sense. Heavy Metal in its original intention was always meant to be rebellious and off-putting, and each stage of its evolution raised this intention to a higher level of intensity like the rising rage within a wounded yet vengeful beast. Death Metal was the culmination of twenty years of this increasing fury in a form of itself which wiped away all of the trivialities of its past expressions in a nihilistic gesture in order to focus itself on the primordial essence of the world and existence within it.

Death Metal’s thematic exploration of causes of death, often concentrated on the most horrifying incidents and/or processes which border on the morbidly comical, communicates a deconstructive process of stripping away all obstructions in the search for the base condition of existence, which is a universal mortality that equally mocks and supplies meaning to all endeavors of the living. In its simplest expression, this music articulates the absolute rule and power of death over the living, exhibited in countless forms and without mercy or selectivity. In a time dominated by trivial entertainment and superficial insignificance disguised as serious media-sourced information, all of which, through its various outlets of popular culture reaffirmation/manipulation, neglects death as fundamental reality, Death Metal retaliates with a grim reminder that we are in fact physical and finite creatures who are subject to disgusting organic processes with decay as final destiny. The sometimes ludicrously gory and repulsively detailed lyrics of decomposition and disfigurement represent a nihilism through words as does the music through its structural alterations and rhythmic constancy, in that, while approaching the craft with dead seriousness that transcends the music into lifestyle, it is understood that if one takes death too seriously, one falls into the danger of existing as a slave in the chains of fear of death, and misses out on truly living, as in experiencing life rather than drifting through it mechanically. One must learn to mock death much as death mocks all life in order to escape slavery to its dread, but this can be accomplished only after one has gone through the necessary process of accepting death as ultimate conqueror, by staring it in the face, acknowledging its natural superiority, and choosing life in spite of this seemingly impossible realization.

Death Metal flourished most actively during the years of 1989-1992, with most of the classic works of the style produced during this era. Two major regional scenes prospered in this time, one in Tampa, Florida, in the U.S., and one in Stockholm, Sweden. Each region featured a central production studio, Morrisound Studios in Florida and Sunlight Studio in Sweden, which was responsible for producing the majority of albums released by bands in its respective area, as well as bands traveling from outside the location. Each region formulated a distinct style of Death Metal that became identifiable as a descriptive characteristic. Floridian bands generally favored a blazing technical brutality that emphasized instrumental and structural proficiency, a well-calculated strike presented in accurate design of unfolding orchestration. The Swedish style of Death Metal was a more direct blast of primal rage driven by relentless, Hardcore-inspired rhythms, with an emphasis more on mood and atmosphere through dark melody and primordial anger rather than on accuracy of execution and instrumental technique. Smaller scenes sprouted up around the globe, with notable mentions being the New York/New Jersey scene in the U.S. and South America, before a less regionally concentrated globalization of the style took shape in the mid-90s.

By 1993, Death Metal as a thriving sub-genre had given way to Black Metal, which offered listeners a style of metal more abundant in emotional appeal, atmospheric grandeur, and spiritual exultation than anything the genre had produced previously. Death Metal’s short-lived alignment with the mainstream, particularly the ill-fated partnership between longtime Death Metal label Earache and major label Columbia, was a final blow to its vitality and integrity, as it brought forth the demise of a few prominent acts (Carcass in particular), and diluted the purity of the style by initiating mainstream influences in the name of mass appeal. A number of major bands who remained active either altered their stylistic approach away from pure Death Metal (Entombed, Sentenced, Amorphis) or continued to make music that, while on the surface it remained true to the traditional methods of earlier work, failed to be anything more than a pale imitation (Deicide, Morbid Angel, Dismember). The late-1990s saw a rebirth of sorts with newer bands such as Nile, Decapitated, and Hate Eternal turning in potent works, initiating a surge of activity among newer bands and revitalizing the spirit of a few older bands, though the honest and informed listener is hard-pressed to find more than a handful of Death Metal albums released since 1994 that would be worthy of being mentioned in the same tone of reverence as the classic works of the late 80s/early 90s. This can be largely attributed to overly-produced albums with an emphasis on mechanistic technique over distinctive songwriting and captivating mood, which results in music that looks and sounds the part, but is empty of the spirit and motivation of the early great works. Like any artistic movement, Death Metal’s highest achievements arrived during the time when it was pursued by those youthful and passionately motivated few who were responsible for shaping and defining it. Even they, in the following years, have failed to produce music that can stand up to their initial efforts. Once tainted by the demands of adulthood, the pressure of living up to their own hailed material and the experience of business in the music world, these bands felt a different motivation that was not capable of transcendent inspiration.

Progressive - Technical and highly accomplished instrumentalism displayed in labyrinthine compositions, featuring sudden time-changes, unconventional melodic and harmonic sequence, and complex rhythmic patterns. Some bands, such as Atheist and later Pestilence employ jazz-oriented themes in rhythmic fluidity and spontaneity. Other bands find inspiration in the adventures of progressive rock structures and symphonic orchestration. Notable examples are Atheist, Death, Edge Of Sanity, Atrocity, Afflicted, and Disharmonic Orchestra.

Grindcore - Emerging from a fusion of hardcore/punk, thrash, and death metal, Grindcore is known for its brevity on compositional duration, blunt-force attack in rhythmic intensity, punk-inspired simplicity of massively distorted riffs, whiplash drumming, and relentlessly angry growl-shout vocals. Lyrical themes tend toward the political and social. Notable examples are Napalm Death, early Bolt Thrower, Brutal Truth, Nasum, and Cephalic Carnage.

Gore - Sometimes referred to as goregrind or brutal death metal, this strain of death metal features bands who emphasize over-the-top imagery and lyrics of horror and gore. Vocals are deeper in tone than normal death metal growling, like a monstrous burping, guitars are swarmed in thick fuzz of distortion with frenzied riffs, and heavy use of blastbeat drumming guiding extremely fast rhythms. Notable bands are early Carcass, Deeds Of Flesh, Exhumed, and Autopsy.

Gothenburg - Out of Gothenburg, Sweden, in the early to mid-1990s arose a number of bands who combined the raw aggression of death metal with the catchy guitar melodies of traditional metal bands like Iron Maiden and Judas Priest, sometimes dubbed as the New Wave of Swedish Melodic Death Metal. Now a worldwide style, this heavily melodic death metal is generally more up-beat and listener friendly, featuring traditional song-structures and more personal lyrics. Examples are later At The Gates, In Flames, Dark Tranquility, Sentenced, Sacrilege, and early Soilwork.

Death ‘N’ Roll - A combination of raw rock 'n' roll and death metal. Riffs and rhythms are typically rock-oriented in technique, yet the attack on the instruments and the weight of the music, along with the barked vocals, bring a death metal urgency. The attitude of the music is similar to the character of traditional garage rock. A number of these bands were once pure death metal before bringing rock influences into their sound. Examples are Entombed (post-1992), Carcass (post-1994), Babylon Whores, mid-1990s Gorefest.