There has been an element of sorrow and gloom within black metal, almost since the very beginning. Songs such as Venom's "Buried Alive", Hellhammer's "Triumph of Death" and Bathory's "Call from the Grave" all possessed a sombre atmosphere, to one extent or another. This was expanded upon in the early 1990s as various bands incorporated an increasing number of mournful melodies into their overall sound, including Burzum, Darkthrone, Strid, Dissection and so on. From tortured screams to miserable guitar riffs, this sort of negative and depressive vibe certainly has a place in black metal, but only as one part of the greater whole. In time, bands came along that sought to focus on this one aspect and no other. Thus was born the so-called depressive black metal movement.

In recent years, the subgenre of 'depressive suicidal black metal' (DSBM) has gained a troubling amount of popularity. However, this trend represents a misguided, shallow interpretation of what black metal should truly embody. Instead of the raw, chaotic intensity that once defined the genre, DSBM is often more about aesthetic and melodrama than the sinister, cold atmosphere that made black metal iconic.

At its core, black metal has always been about more than just sound. The early bands focused on creating a dark, ominous atmosphere and exploring themes of the occult, evil, and rebellion against religious dogma, while rejecting the mainstream music scene. It was driven by a desire to embrace darkness, anti-Christian sentiment, and individualism, not simply by distorted guitars and blast beats. Bands like Bathory, Mayhem, Burzum, and Darkthrone defined this vision, distancing themselves from mainstream culture to delve into the more sinister aspects of human nature and the occult. This is where DSBM falls short.

Rather than pushing boundaries or maintaining the genre’s grim outlook, DSBM seems more preoccupied with creating a melodramatic sound that caters to an angsty, teenage audience. The "suicidal" aspect often feels more like a gimmick than an expression of genuine despair. Many of these bands take elements from black metal—the fuzzy guitar tones, the lo-fi production, the cold atmosphere—and soften them into something palatable and digestible, more suited for an emo crowd than fans of true black metal. It’s as if these bands are playing dress-up, copying the aesthetic without fully understanding the meaning of black metal.

In fact, many of these bands end up sounding like pale imitations, with all the cheapness of a modern, overproduced project that lacks both edge and authenticity. Instead of conveying raw, primal energy, these acts often lean heavily on digital effects, making the music feel sterile and processed. This is particularly evident in bands that rely heavily on synthesized elements or drum programming, which can easily be spotted due to their mechanical, artificial nature.

A significant issue with this style is the usual vocal performance. While black metal vocals convey anguish and primal screams—often expressing deep hatred, DSBM vocals tend to be whiny and self-pitying. Sterbend and Shining are perfect examples of this. Niklas's attempt at tortured screams in Livets Ändhållplats is more akin to a temper tantrum than genuine anguish, and Typhon of Sterbend sounds more like a little girl squealing at the sight of a spider than the tortured, anguished cries of Varg Vikernes on the old Burzum albums. These vocals are weak, high-pitched, and devoid of intensity or any sense of true despair. The lack of emotional depth or sincerity in DSBM vocals detracts from whatever it is that they're trying to accomplish. There’s no rawness or ferocity—just a hollow imitation of the real thing.

Many DSBM bands, like Xasthur and Leviathan, attempt to replicate the iconic sound of Burzum, especially its lo-fi, raw atmosphere. But where Burzum’s music carries a certain weight, intensity, and authenticity, These bands just rip off the key elements—grainy production, cold, distant vocals—without the soul or depth. Burzum's essence is tied to its connection with nihilism and alienation from the modern world, feelings that are lost when DSBM bands turn it into a trend. These bands don't embody the desperation or isolation of the early black metal pioneers; instead, they mimic the surface-level elements, turning them into hollow imitations.

Several bands within the DSBM movement exemplify these issues. Sterbend, for example, with its attempts to merge depressive themes with black metal, feels less like an exploration of the depths of human despair and more like an attempt to evoke pity. The music lacks the raw aggression black metal is known for, and the overall package feels contrived rather than authentic.

Shining’s Livets ändhållplats is a prime example of DSBM taking everything good about black metal, throwing it out the window, and replacing it with self-indulgent, cringe-worthy melodrama. Musically, it tries to imitate actual black metal—Burzum, Strid, and Bethlehem are clearly listed on the ‘influences’ section, but you wouldn’t know it by listening. It’s as if they’ve heard these bands in passing but missed the entire point. Instead of the raw, chaotic energy of true black metal, that which truly connects with the listener on a primal level, we get a watered-down, pathetic version. This romanticized, self-pitying portrayal of depression, with the band even going as far as naming songs like "Att med kniv göra sig illa" (translated: ‘To Hurt Oneself With A Knife’), it's neither dark nor profound, it's just embarrassing. While black metal has often explored sorrow and darkness, there’s a line between conveying pain and simply indulging in attention-seeking antics. Shining crosses that line, reducing black metal’s deeper themes to nothing more than a cry for attention—a tactic that just comes off as cringeworthy and incredibly shallow. The album cover says it all. They're doing exactly what black metal was never about: pandering to weak, self-indulgent themes and trying to shock people who can’t tell the difference between true darkness and hollow, meaningless imagery.

Sterbend’s Dwelling Lifeless is a textbook example of DSBM gone wrong. Hailing from Germany, this band’s debut album is a patchwork of stolen Burzum riffs and embarrassingly weak vocals. The album’s production tries to sound raw but ends up too polished, with guitars that lack any real feeling and drums that are too clean for black metal.

ColdWorld takes the same issues to a new level. This project feels like a low-budget bedroom recording that takes the most modern, uninspired aspects of black metal and amplifies them. Much like Xasthur, ColdWorld drowns its vocals in digital effects, robbing them of any real emotion. The guitars are soft, too warm for black metal, and the synths dominate much of the sound, leaving the music feeling more like a bland horror movie soundtrack than anything genuinely dark or emotional. And the drum programming? It’s as if they tried to replicate the rawness of black metal, but ended up with something that’s neither organic nor powerful, just mechanical and lifeless.

Xasthur exemplifies everything wrong with the trend. There is nothing remotely dark about it. Like many others, Malefic never understood the true spirit of black metal. Instead, he appropriated the weakest elements of the style and failed miserably in his attempt to emulate them, churning out a string of pointless albums and splits. It's frustrating to see talentless acts gain notoriety with such garbage while far better bands went unnoticed. Xasthur never captured the genuine darkness that defined older black metal, instead delivering mundane tracks made worse by whimpering vocals that evoke fragility rather than the intense anger and hatred the genre is known for.

Ultimately, DSBM is a trend that cheapens the true spirit of black metal. It leans too heavily on aesthetic and surface-level portrayals of despair while ignoring the aggressive, raw nature that defined the genre. There’s no real energy or authenticity here—just a hollow attempt to capture darkness without understanding the deeper forces behind black metal’s origins.

A lot of people enjoy this shallow trash, but it simply doesn’t resonate with those who appreciate the true essence of black metal. Black metal was about individualism, rejecting trends, and embracing something darker and more powerful. This so-called 'depressive' trash is simply fake and feels too soft, too forced, and too disconnected from the intensity and depth that made black metal what it once was. Like so many things, this is just a disgusting trend that never should have existed and needs to die.