Three-Dimensional Doom: My Dying Bride's “Your Broken Shore” (2020)

Research output: Chapter in Book/Report/Conference proceedingChapterpeer-review

Abstract

Yorkshire's My Dying Bride (MDB) are regularly viewed as the founding fathers of the doom metal movement. Along with other associated/amalgamated subgenres (symphonic-doom; gothic-doom; death-doom; epic-doom, etc.) doom metal emphasizes slow performance tempi/subdivisions, which is regularly accompanied by a focus on atmosphere/ambience. The slower performance aesthetics involved in doom metal music provides greater space between the notes/musical events, sometimes referred to as inter-onset intervals (IOIs). IOIs are the length of time between the musical events of a given performance; so the interval between the onset of one transient and the onset of the next transient. IOIs have a profound impact on the way we perceive the frequency content, dynamics, and ambience/effects of recorded music. Music that has relatively large IOIs, reflecting slower performances/subdivisions (which, in addition to doom metal, includes most hip-hop and R&B) affords greater space for both reverb/ambience and longer/slower low-frequency wavelengths, to expire within before the next performance event. Using “Your Broken Shore” by My Dying Bride as a case study, this chapter's analytic goals are to examine and provide an understanding of how the “space between the notes” of slower performances can be manipulated and optimized.
Original languageEnglish
Title of host publicationAnalyzing Recorded Music
Subtitle of host publicationCollected Perspectives on Popular Music Tracks
EditorsWilliam Moylan, Lori Burns, Mike Alleyne
PublisherRoutledge
Chapter17
Pages294-304
Number of pages11
Edition1st
ISBN (Electronic)9781000819649, 9781003089926
ISBN (Print)9780367546328, 9780367546311
DOIs
Publication statusPublished - 29 Dec 2022

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