It's completely unnatural, an explosion of force that comes from the belly through the throat.
[Here's more analysis, with mp3s and a comparison with another Oz musical icon.]
It's completely unnatural, an explosion of force that comes from the belly through the throat.
[Here's more analysis, with mp3s and a comparison with another Oz musical icon.]
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Fantastic stuff -- Oz finally weighs in!
The quoted Angela Gussow [sic] is a great example to use since her "cookie monster" approach (not tempered with sing-song detours) kinda ruins Arch Enemy for me -- I like the racket but can't handle the voice too well. I can deal with the growling verses a lot better if I know a melodic bridge and/or rave-up chorus is on the way. If only, say, Lacuna Coil's Cristina Scabbia or The Gathering's Anneke van Giersbergen could be merged with Gossow to create the ultimate "death metal" frontwoman.
The WFMU piece uses In Flames' "Pinball Map" (great track) as an example of this style, but I think that Anders Friden is a bit of a stretch post-1997's Whoracle (Cf. a track like "Come Clarity"). Compared to other purveyors, a track like "Pinball Map" is ear candy pop and even Friden's growly moments do not approach C-Mo.
Off to work on my essay re the influence of Count von Count on doom metal.
Angela Gossow, flicking a metal jab.