Depressive Suicidal Black Metal (DSBM) is a bleak, slow-to-mid‑tempo strain of black metal that emphasizes despair, isolation, and introspection.
Musically, it blends tremolo‑picked minor‑key riffs, sparse or lurching drums, and lo‑fi or deliberately raw production with long, hypnotic song forms. Vocals typically range from tortured shrieks and cries to hollow whispers and spoken passages. Many artists incorporate clean guitar, piano, or dark ambient interludes to deepen the atmosphere.
Lyrically, themes often address depression and existential pain. These topics are presented as aesthetic subject matter rather than instructions; listeners and creators should approach them with care and sensitivity.
DSBM took shape in the late 1990s as some artists within the second wave of black metal slowed tempos, foregrounded melancholic melody, and wrote lyrics centered on personal despair. Early Scandinavian acts (notably in Sweden) established the template: minimalist riff cycles, cold production, and intensely expressive vocals.
In the early 2000s, a wave of projects from Sweden, France, Germany, the United States, and Central Europe solidified the style. DIY recording, tape hiss, and room reverb were embraced as aesthetic choices, while long-form songs with simple harmonic motion created a trance‑like, depressive atmosphere. Online forums, netlabels, and file‑sharing communities helped the sound spread globally.
Characteristic elements included lo‑fi production, mid‑slow pacing, repetitive motifs, and the use of clean, reverb‑drenched guitars or piano between harsher sections. Because many releases address self‑destructive thoughts, the genre has long been discussed in terms of ethics and presentation. Modern practitioners often include content notes and frame the music as catharsis rather than endorsement of harmful actions.
Over time, DSBM intersected with atmospheric black metal, dark ambient, and shoegaze, helping set conditions for blackgaze and informing aspects of doomgaze. While retaining its core traits, contemporary artists experiment with cleaner production, post‑punk inflections, and cinematic arrangements, showing the style’s ongoing evolution.