Gutturaler Gesang (German Wikipedia)

Analysis of information sources in references of the Wikipedia article "Gutturaler Gesang" in German language version.

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8,366th place
6,876th place
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66th place
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IABotmemento.invalid

  • „Quorthon’s vocals ranged from a high wailing shriek to a low croaking moan. Bathory’s vocals are one of the earliest examples of the departure from traditional singing that would characterize extreme metal in years to come. Around the same time in the United States the band Death was experimenting with a low barking style of vocals that would give birth to the ‘death growl’ style of vocals popular in death metal, but nothing at that time sounded anything like the unholy caterwauling that Quorthon was inflicting upon his listeners.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 18 f.
  • „Apart from Bathory, there were other experimental rumblings coming from Sweden’s metal scene in the late eighties. Stockholm became a fertile breeding ground for what was gradually becoming known as death metal. Inspired by a combination of hardcore punk and American thrash metal, Swedish bands like Grave, Nihilist and Entombed began to form. As Natalie J. Purcell explains, death metal took the speed, technicality and aggression of thrash metal bands like Possessed and Slayer, tuned down the guitars, sped up the drums and added the low, guttural, grunting ‘death growl’ vocals that characterize the style.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 21.
  • „In Florida, bands like Morbid Angel, Death and Obituary were taking thrash metal to another level of speed and ‘brutality.’ The low, barking ‘death growl’ style of vocals was perfected in Florida as was the clean, crisp production sound characteristic of numerous Florida bands.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 22.

believermag.com

  • „The First Wave of black metal (the aforementioned Venom along with the Danish band Mercyful Fate fronted by King Diamond, Sweden’s Bathory, and Switzerland’s Hellhammer, who later became Celtic Frost) influenced the future sound of black metal by laying down the general aesthetic and sonic template. Bathory’s lo-fidelity recordings, Satanic lyrics, and grim vocal style were especially important.“ Brandon Stosuy: A Blaze in the North American Sky.

mein-italien.info

ohiolink.edu

etd.ohiolink.edu

  • „The high operatic vocals of heavy metal and the low grunting of death metal are exchanged for sexless, inhuman, agonized screaming in black metal. The overall affect is claustrophobic, haunting and evocative. A black metal fan whom I interviewed explained his first impression of black metal to me by saying, ‘The vocals were more shrieking, it wasn’t so guttural. Yeah, it was just something different. Something about it just struck a cord.’“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (PDF) Bowling Green State University, Mai 2008, S. 9.
  • „Quorthon’s vocals ranged from a high wailing shriek to a low croaking moan. Bathory’s vocals are one of the earliest examples of the departure from traditional singing that would characterize extreme metal in years to come. Around the same time in the United States the band Death was experimenting with a low barking style of vocals that would give birth to the ‘death growl’ style of vocals popular in death metal, but nothing at that time sounded anything like the unholy caterwauling that Quorthon was inflicting upon his listeners.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 18 f.
  • „Apart from Bathory, there were other experimental rumblings coming from Sweden’s metal scene in the late eighties. Stockholm became a fertile breeding ground for what was gradually becoming known as death metal. Inspired by a combination of hardcore punk and American thrash metal, Swedish bands like Grave, Nihilist and Entombed began to form. As Natalie J. Purcell explains, death metal took the speed, technicality and aggression of thrash metal bands like Possessed and Slayer, tuned down the guitars, sped up the drums and added the low, guttural, grunting ‘death growl’ vocals that characterize the style.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 21.
  • „In Florida, bands like Morbid Angel, Death and Obituary were taking thrash metal to another level of speed and ‘brutality.’ The low, barking ‘death growl’ style of vocals was perfected in Florida as was the clean, crisp production sound characteristic of numerous Florida bands.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 22.

redirecter.toolforge.org

  • „Quorthon’s vocals ranged from a high wailing shriek to a low croaking moan. Bathory’s vocals are one of the earliest examples of the departure from traditional singing that would characterize extreme metal in years to come. Around the same time in the United States the band Death was experimenting with a low barking style of vocals that would give birth to the ‘death growl’ style of vocals popular in death metal, but nothing at that time sounded anything like the unholy caterwauling that Quorthon was inflicting upon his listeners.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 18 f.
  • „Apart from Bathory, there were other experimental rumblings coming from Sweden’s metal scene in the late eighties. Stockholm became a fertile breeding ground for what was gradually becoming known as death metal. Inspired by a combination of hardcore punk and American thrash metal, Swedish bands like Grave, Nihilist and Entombed began to form. As Natalie J. Purcell explains, death metal took the speed, technicality and aggression of thrash metal bands like Possessed and Slayer, tuned down the guitars, sped up the drums and added the low, guttural, grunting ‘death growl’ vocals that characterize the style.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 21.
  • „In Florida, bands like Morbid Angel, Death and Obituary were taking thrash metal to another level of speed and ‘brutality.’ The low, barking ‘death growl’ style of vocals was perfected in Florida as was the clean, crisp production sound characteristic of numerous Florida bands.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 22.

spiegel.de

web.archive.org

  • „Quorthon’s vocals ranged from a high wailing shriek to a low croaking moan. Bathory’s vocals are one of the earliest examples of the departure from traditional singing that would characterize extreme metal in years to come. Around the same time in the United States the band Death was experimenting with a low barking style of vocals that would give birth to the ‘death growl’ style of vocals popular in death metal, but nothing at that time sounded anything like the unholy caterwauling that Quorthon was inflicting upon his listeners.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 18 f.
  • „Apart from Bathory, there were other experimental rumblings coming from Sweden’s metal scene in the late eighties. Stockholm became a fertile breeding ground for what was gradually becoming known as death metal. Inspired by a combination of hardcore punk and American thrash metal, Swedish bands like Grave, Nihilist and Entombed began to form. As Natalie J. Purcell explains, death metal took the speed, technicality and aggression of thrash metal bands like Possessed and Slayer, tuned down the guitars, sped up the drums and added the low, guttural, grunting ‘death growl’ vocals that characterize the style.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 21.
  • „In Florida, bands like Morbid Angel, Death and Obituary were taking thrash metal to another level of speed and ‘brutality.’ The low, barking ‘death growl’ style of vocals was perfected in Florida as was the clean, crisp production sound characteristic of numerous Florida bands.“ Benjamin Hedge Olson: I Am The Black Wizards: Multiplicity, Mysticism And Identity In Black Metal Music And Culture. (Memento des Originals vom 30. Juli 2019 im Internet Archive)  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2Vorlage:Webachiv/IABot/etd.ohiolink.edu (PDF) Bowling Green State University, Mai 2008, S. 22.