Death Metal Band Members Released After "Satanic Ritual" Murder
Death Metal, Crime, and Controversy: The Release of Royce Casey and Jacob Delashmutt
This week, one of the darkest chapters in the history of metal returned to the spotlight. Two former teenage bandmates, Royce Casey and Jacob Delashmutt, convicted in the 1995 murder of 15-year-old Elyse Pahler in California, have been released on parole after serving nearly three decades behind bars. The case had long been framed in the media as a “satanic ritual killing” linked to death metal culture, sparking a moral panic that stigmatized extreme music through the late 90s and beyond.
The three assailants, then teenagers playing together in a local death metal band, lured Elyse to a remote field near Arroyo Grande, where they murdered her. Prosecutors argued that the killing was part of a twisted plan inspired by violent lyrics and an obsession with sacrifice, particularly influenced by bands like Slayer. The crime became one of the most infamous examples used by critics to attack metal’s lyrical extremity, with lawsuits even attempting (and failing) to hold Slayer accountable for “inciting” violence.
Now, decades later, their release reignites debates around justice, rehabilitation, and the cultural scapegoating of metal.
Royce Casey, who confessed and cooperated with authorities, was seen by the parole board as genuinely remorseful. Elyse’s father, heartbreakingly, supported Casey’s release, acknowledging his transformation over 28 years in prison.
Jacob Delashmutt, however, faced opposition from Elyse’s family, who questioned the sincerity of his remorse. His release was more controversial, with prosecutors and relatives arguing that justice had not been fully served.
The tragedy had long-lasting repercussions not only for Elyse’s family, but also for the reputation of extreme metal in America. At the height of the “satanic panic,” the murder fueled sensationalist headlines painting death metal as a dangerous influence, overshadowing the fact that most of the scene is rooted in art, catharsis, and expression rather than literal violence.
Today, as these men step back into society, the story is less about music and more about the complexities of crime, punishment, and redemption. Yet for the metal community, it is impossible to separate this case from the broader narrative of how outsider culture was demonized in the mainstream media, and how one horrific crime left scars that still echo through conversations about censorship, morality, and artistic responsibility.
