Black Metal

Black metal - Wikipedia https://en.wikipedia.
org/wiki/Black_metal
Black metal
From Wikipedia, the free encyclopedia
Black metal is an extreme subgenre and subculture of heavy

metal music. Common traits include fast tempos, a shrieking Black metal
vocal style,[7][8][9] heavily distorted guitars played with
Stylistic origins Thrash metal[1] death metal[2]
tremolo picking, raw (lo-fi) recording, unconventional song
hardcore punk[3][4]
structures, and an emphasis on atmosphere. Artists often
appear in corpse paint and adopt pseudonyms. Cultural origins 1980s,
England Norway Sweden
During the 1980s, several thrash and death metal bands
Typical Vocals electric guitar
formed a prototype for black metal.[2] This so-called first
instruments bass guitar drums
wave included bands such as Venom, Bathory, Mercyful Fate,
Hellhammer and Celtic Frost.[10] A second wave arose in the Subgenres
early 1990s, spearheaded by Norwegian bands such as Ambient black metal industrial black metal
Mayhem, Darkthrone, Burzum, Immortal, Emperor, symphonic black metal war metal
Satyricon and Gorgoroth. The early Norwegian black metal
Fusion genres
scene developed the style of their forebears into a distinct
genre. Norwegian-inspired black metal scenes emerged Black 'n' roll black-doom blackened death metal
throughout Europe and North America, although some other blackgaze pagan metal Viking metal
scenes developed their own styles independently. Some Regional scenes
prominent Swedish bands spawned during this second wave,
France Greece Norway Poland Russia
such as Marduk, Nifelheim and Dark Funeral.[11]
Ukraine United States[5][6] Sweden
Initially a synonym for "Satanic metal,"[12] black metal is Local scenes
often met with hostility from mainstream culture, due to the
Les Lgions Noires Early Norwegian scene
actions and ideologies associated with it. Many artists
express extreme anti-Christian and misanthropic views, Other topics
advocating various forms of Satanism or ethnic paganism. In Shrieking National Socialist black metal
the 1990s, members of the scene were responsible for a spate unblack metal
of church burnings and murders. There is also a small
neo-Nazi movement within black metal, although it has been
shunned by many prominent artists.[11][13][14] Generally, black metal strives to remain underground,
inaccessible to the mainstream and those who are not committed.[15]
Contents
1 Characteristics
1.1 Instrumentation and song structure
1.2 Vocals and lyrics
1.3 Imagery and performances
1.4 Production
2 History
2.1 First wave
2.2 Second wave
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Black metal - Wikipedia https://en.wikipedia.org/wiki/Black_metal
2.2.1 Helvete and Deathlike Silence

2.2.2 Dead's suicide
2.2.3 Church burnings
2.2.4 Murder of Euronymous
2.2.5 Outside Norway
2.3 After the second wave
3 Stylistic divisions
4 Ideology
4.1 Satanism
4.2 Neo-Nazism
4.3 Unblack metal
5 Media
5.1 Documentaries on black metal
5.2 References in media
6 See also
7 References
7.1 Sources
8 Further reading
Characteristics
Although contemporary black metal typically refers to the Norwegian style with shrieking vocals and raw
production, the term has also been applied to bands with widely differing sounds.[11][16]
Instrumentation and song structure
Norwegian-inspired black metal guitarists usually favor high-pitched or trebly guitar tones and heavy
distortion.[17] The guitar is usually played with fast, un-muted tremolo picking.[17][18][19] Guitarists often use
dissonancealong with specific scales, intervals and chord progressionsto create a sense of dread. The
tritone, or flat-fifth, is often used. Guitar solos and low guitar tunings are rare in black metal.[19] The bass guitar
is seldom used to play stand-alone melodies. It is not uncommon for the bass to be muted against the guitar,[19]
or for it to homophonically follow the low-pitched riffs of the guitar. While electronic keyboards were initially
"not heard in [this] type of music", Dimmu Borgir say they started using keyboards "in the background" and
then started using them as a "proper instrument" for creating "atmosphere".[20] Some newer black metal bands
began raising their production quality and introducing additional instruments such as synthesizers and even
orchestras.
The drumming is usually fast and relies on double-bass and blast beats to maintain tempos that can sometimes
approach 300 beats per minute. These fast tempos require great skill and physical stamina, typified by black
metal drummers Frost (Kjetil-Vidar Haraldstad) and Hellhammer (Jan Axel Blomberg).[21] Even still,
authenticity is still prioritized over technique. "This professionalism has to go," insists well-respected drummer
and metal historian Fenriz (Gylve Fenris Nagell) of Darkthrone. "I want to de-learn playing drums, I want to
play primitive and simple, I don't want to play like a drum solo all the time and make these complicated
riffs".[22]
Black metal songs often stray from conventional song structure and often lack clear verse-chorus sections.
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Instead, many black metal songs contain lengthy and repetitive instrumental sections. The Greek style
established by Rotting Christ, Necromantia and Varathron[23]has more traditional heavy metal[24] and death
metal[25] traits than Norwegian black metal.
Vocals and lyrics
Traditional black metal bands tend to favor raspy, high-pitched

vocals which include techniques such as shrieking, screaming, and
snarling,[17][19] a vocal style influenced by Quorthon of Bathory.[27]
Death growls, common in the death metal genre, are sometimes
used, but less frequently than the characteristic black metal shriek.
[28][29]
Members of Gorgoroth wearing typical

Black metal lyrics typically attack Christianity and the other black metal gear such as corpse paint,
institutional religions,[19] often using apocalyptic language. Satanic spikes and bullet belts. The band was
lyrics are common,[30] and many see them as essential to black formed by guitarist Infernus to express his
metal. For Satanist black metal artists, "Black metal songs are Satanist beliefs.[26]
meant to be like Calvinist sermons; deadly serious attempts to unite
the true believers".[31] Misanthropy, global catastrophe, war, death,
destruction and rebirth are also common themes.[30] Another topic often found in black metal lyrics is that of
the wild and extreme aspects and phenomena of the natural world, particularly the wilderness, forests,
mountains, winter, storms, and blizzards.[32] Black metal also has a fascination with the distant past. Many
bands write about the mythology and folklore[33] of their homelands and promote a revival of pre-Christian,
pagan traditions. A significant number of bands write lyrics only in their native language and a few (e.g.
Arckanum) have lyrics in archaic languages. For more information about black metal lyrics, see the ideology
section below.
Imagery and performances
Many bands choose not to play live.[34][35] Many of those who do play live maintain that their performances
"are not for entertainment or spectacle. Sincerity, authenticity and extremity are valued above all else".[36] Some
bands consider their concerts to be rituals[36] and often make use of stage props and theatrics. Bands such as
Mayhem and Gorgoroth are noted for their controversial shows, which have featured impaled animal heads,
mock crucifixions, medieval weaponry and band members doused in animal blood.[37] A few vocalists, such as
Dead, Maniac and Kvarforth, are known for cutting themselves while singing onstage.
Black metal artists often appear dressed in black with combat boots, bullet belts, spiked wristbands[30] and
inverted crosses and pentagrams to reinforce their anti-Christian or anti-religious stance.[10] However, the most
stand-out trait is their use of corpse paint black and white face paint sometimes mixed with real or fake blood,
which is used to create a corpse-like or demonic appearance.
The imagery of black metal reflects its lyrics and ideology. In the early 1990s, most pioneering black metal
artists had minimalist album covers featuring xeroxed black-and-white pictures and/or writing.[11] This was
partly a reaction against death metal bands, who at that time had begun to use brightly colored album
artwork.[11] Many purist black metal artists have continued this style. Black metal album covers are typically
dark and tend to be atmospheric or provocative; some feature natural or fantasy landscapes (for example
Burzum's Filosofem and Emperor's In the Nightside Eclipse) while others are violent, sexually transgressive,
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sacrilegious, or iconoclastic (for example Marduk's Fuck Me Jesus and

Dimmu Borgir's In Sorte Diaboli).
Production
The earliest black metal artists had very limited resources, which meant
that recordings would often be done in homes or basements,[17] giving their
recordings a distinctive "lo-fi" quality. However, even when success
allowed access to professional studios, many artists instead chose to
continue making lo-fi recordings.[19][30] Artists believed that by doing so,
they would both stay true to the genre's underground roots as well as make
the music sound more "raw" or "cold."[30] A well-known example of this
approach is on the album Transilvanian Hunger by Darkthrone, a band who
Johnathan Selzer of Terrorizer magazine says "represent the DIY aspect of
black metal."[30] In addition, lo-fi production was used to keep black metal A common black metal
inaccessible or unappealing to mainstream music fans and those who are convention is the use of corpse
not committed. Many have claimed that black metal was originally paint, black-and-white make-up
intended only for those who were part of the scene and not for a wider intended to make the wearer look
audience.[30] Vocalist Gaahl said that during its early years, "Black metal inhuman, corpse-like, or demonic.
was never meant to reach an audience, it was purely for our own Shown here: Taalroth of French
satisfaction".[18] Pagan black metal band Hindvir.
History
The conventional history of black metal is that pioneers like Venom, Bathory and Hellhammer were part of a
"first wave", and that a "second wave" was begun by the early Norwegian scene; especially by Mayhem
vocalist, Dead's suicide,[38] Mayhem's leader, Euronymous, who founded the Norwegian scene after Dead's
suicide,[39] and Darkthrone's album A Blaze in the Northern Sky.[40][41][42] There are also some who argue that
albums like Sarcfago's I.N.R.I.[43] or Samael's Worship Him[44] began the second wave.
First wave
The first wave of black metal refers to those bands during the 1980s who
influenced the black metal sound and formed a prototype for the genre.
They were often speed metal or thrash metal bands.[10][45]
The term "black metal" was coined by the English band Venom with their
second album Black Metal (1982). Although deemed thrash metal rather
than black metal by today's standards,[30] the album's lyrics and imagery
focused more on anti-Christian and Satanic themes than any before it. Their
music was fast, unpolished in production and with raspy or grunted vocals. Venom's album titled Black Metal
Venom's members also adopted pseudonyms, a practice that would become inspired the name of the genre
widespread among black metal musicians.
Another major influence on black metal was the Swedish band Bathory. The band, led by Thomas Forsberg
(a.k.a. Quorthon), created "the blueprint for Scandinavian black metal".[46] Not only was Bathory's music dark,
fast, heavily distorted, lo-fi and with anti-Christian themes, Quorthon was also the first to use the shrieked
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vocals that came to define black metal.[27] The band played in this style on their
first four albums: Bathory (1984), The Return (1985), Under the Sign of the
Black Mark (1987) and Blood Fire Death (1988). With Blood Fire Death and the
two following albums, Bathory pioneered the style that would become known as
Viking metal.
Hellhammer, from Switzerland, "made truly raw and brutal music"[47] with Satanic
lyrics, and became an important influence on later black metal;[48] "Their simple
yet effective riffs and fast guitar sound were groundbreaking, anticipating the later
trademark sound of early Swedish death metal".[47] In 1984, members of
Quorthon of the band Hellhammer formed Celtic Frost,[49] whose music "explored more orchestral and
Bathory breathing fire
experimental territories. The lyrics also became more personal, with topics about
inner feelings and majestic stories. But for a couple of years, Celtic Frost was one
of the world's most extreme and original metal bands, with a huge impact on the
mid-90's black metal scene".[47] Tom G. Warrior of Hellhammer and Celtic Frost credited English hardcore
punk band Discharge as "a revolution, much like Venom", saying, "When I heard the first two Discharge
records, I was blown away. I was just starting to play an instrument and I had no idea you could go so far."[50]
The Danish band Mercyful Fate influenced the Norwegian scene with their imagery and lyrics.[51] Frontman
King Diamond, who wore ghoulish black-and-white facepaint on stage, may be one of the inspirators of what
became known as 'corpse paint'. Other acts which adopted a similar appearance on stage were Misfits, Celtic
Frost and the Brazilian extreme metal band Sarcfago.[52] Other artists usually considered part of this
movement include Kreator, Sodom and Destruction (from Germany),[53] Bulldozer and Death SS (from
Italy),[16] whose vocalist Steve Sylvester was a member of the Ordo Templi Orientis.[54]
In 1987, in the fifth issue of his Slayer fanzine, Metalion wrote that "the latest fad of black/Satanic bands seems
to be over",[55] the tradition being continued by a few bands like Incubus[55] and Morbid Angel[55] (from the
United States), Sabbat (from Great Britain),[55] Tormentor (from Hungary), Sarcfago (from Brazil), Grotesque,
[56][57] early Tiamat[56][58] and Treblinka[57][59] (from Sweden). Other early black metal bands include Sabbat
(formed 1983 in Japan),[60] Parabellum (formed 1983 in Colombia),[61] Salem (formed 1985 in Israel) and
Mortuary Drape (formed 1986 in Italy).[62] Japanese band Sigh formed in 1990 and was in regular contact with
key members of the Norwegian scene. Their debut album, Scorn Defeat, became "a cult classic in the black
metal world".[63] In the years before the Norwegian black metal scene arose, important recordings were released
by Root and Master's Hammer (from Czechoslovakia), Von (from the United States), Rotting Christ (from
Greece), Samael (from Switzerland) and Blasphemy (from Canada), whose debut album Fallen Angel of Doom
(1990) is considered one of the most influential records for the war metal style.[64][65][66] Fenriz of the
Norwegian band Darkthrone called Master's Hammer's debut album Ritual "the first Norwegian black metal
album, even though they are from Czechoslovakia".[67]
In 1990 and 1991, Northern European metal acts began to release music influenced by these bands or the older
ones from the first wave. In Sweden, this included Marduk, Dissection, Nifelheim and Abruptum. In Finland,
there emerged a scene that mixed the first wave black metal style with elements of death metal and grindcore;
this included Beherit, Archgoat and Impaled Nazarene, whose debut album Tol Cormpt Norz Norz Norz Rock
Hard journalist Wolf-Rdiger Mhlmann considers a part of war metal's roots.[68] Bands such as Demoncy and
Profanatica emerged during this time in the United States, when death metal was more popular among extreme
metal fans. The Norwegian band Mayhem's concert in Leipzig with Eminenz and Manos in 1990, later released
as Live in Leipzig, was said to have had a strong influence on the East German scene[69] and is even called the
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unofficial beginning of German black metal.[70]
Second wave
The second wave of black metal began in the early 1990s and was
spearheaded by the Norwegian black metal scene. During 19901993, a
number of Norwegian artists began performing and releasing a new kind of
black metal music; this included Mayhem, Darkthrone, Burzum, Immortal,
Emperor, Satyricon, Enslaved, Thorns, Carpathian Forest and Gorgoroth.
They developed the style of their 1980s forebears into a distinct genre. This
was partly thanks to a new kind of guitar playing developed by Snorre
'Blackthorn' Ruch of Stigma Diabolicum/Thorns and ystein 'Euronymous'
Aarseth of Mayhem.[11][18] Fenriz of Darkthrone described it as being Norwegian black metal band
Immortal influenced countless
"derived from Bathory"[72] and noted that "those kinds of riffs became the
bands in the black metal genre.[71]
new order for a lot of bands in the '90s".[73]
The wearing of corpse paint became standard, and was a way for many black metal artists to distinguish
themselves from other metal bands of the era.[30] The scene also had an ideology and ethos. Artists were bitterly
opposed to Christianity and presented themselves as misanthropic Devil worshippers who wanted to spread
terror, hatred and evil. They professed to be serious in their views and vowed to act on them. Ihsahn of Emperor
said that they sought to "create fear among people"[74] and "be in opposition to society".[75] The scene was
exclusive and created boundaries around itself, incorporating only those who were "true" and attempting to
expel all "posers".[76] Some members of the scene were responsible for a spate of church burnings and murder,
which eventually drew attention to it and led to a number of artists being imprisoned.
Helvete and Deathlike Silence
During MayJune 1991,[77] Euronymous of Mayhem opened an

independent record shop named Helvete (Norwegian for hell) in Oslo. It
quickly became the focal point of Norway's emerging black metal scene
and a meeting place for many of its musicians; especially the members of
Mayhem, Burzum, Emperor and Thorns.[78] Jon 'Metalion' Kristiansen,
writer of the fanzine Slayer, said that the opening of Helvete was "the
creation of the whole Norwegian black metal scene".[39] In its basement,
Euronymous founded an independent record label named Deathlike Silence
Productions. With the rising popularity of his band and others like it, the The basement of Helvete,
underground success of Euronymous's label is often credited for showing graffiti from the early
encouraging other record labels, who had previously shunned black metal 1990s
acts, to then reconsider and release their material.
Dead's suicide
On 8 April 1991, Mayhem vocalist Per Yngve Ohlin (who called himself "Dead") committed suicide while
alone in a house shared by the band.[79][80] Fellow musicians described Dead as odd, introverted and depressed.
Before going onstage he went to great lengths to make himself look like a corpse and would cut his arms while
singing.[18] Mayhem's drummer, Hellhammer, said that Dead was the first to wear the distinctive corpse paint
that became widespread in the scene.[81] He was found with slit wrists and a shotgun wound to the head. Dead's
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suicide note apologized for firing the weapon indoors and ended: "Excuse all the blood".[80][82] Before calling
the police, Euronymous got a disposable camera and photographed the body,[83] after re-arranging some items.
One of these photographs was later used as the cover of a bootleg live album, Dawn of the Black Hearts.[81]
Euronymous made necklaces with bits of Dead's skull and gave some to musicians he deemed worthy.[10]
Rumors also spread that he had made a stew with bits of his brain.[30][79] Euronymous used Dead's suicide to
foster Mayhem's evil image and claimed Dead had killed himself because extreme metal had become trendy and
commercialized.[84] Mayhem bassist Jrn 'Necrobutcher' Stubberud noted that "people became more aware of
the black metal scene after Dead had shot himself [...] I think it was Dead's suicide that really changed the
scene".[85]
Two other members of the early Norwegian scene would later commit suicide: Erik 'Grim' Brdreskift (of
Immortal, Borknagar, Gorgoroth) in 1999[86][87][88] and Espen 'Storm' Andersen (of Strid) in 2001.[89]
Church burnings
In 1992, members of the Norwegian black metal scene began a wave of

arson attacks on Christian churches. By 1996, there had been at least 50
such attacks in Norway.[78] Some of the buildings were hundreds of years
old and seen as important historical landmarks. The first to be burnt down
was Norway's Fantoft stave church. Police believe Varg Vikernes of
Burzum was responsible.[78] The cover of Burzum's EP Aske ("ashes") is a
photograph of the destroyed church. In May 1994, Vikernes was found
guilty for burning down Holmenkollen Chapel, Skjold Church and sane
Church.[72][90] To coincide with the release of Mayhem's De Mysteriis Dom
Sathanas, Vikernes and Euronymous had also allegedly plotted to bomb
Nidaros Cathedral, which appears on the album cover. The musicians
Faust,[91] Samoth,[92] (both of Emperor) and Jrn Inge Tunsberg (of Hades
Almighty)[92][78] were also convicted for church arsons. Members of the
Swedish scene started to burn churches in 1993.[93]
The Fantoft stave church
Those convicted for church burnings showed no remorse and described
their actions as a symbolic "retaliation" against Christianity in Norway.[94]
Mayhem drummer Hellhammer said he had called for attacks on mosques and Hindu temples, on the basis that
they were more foreign.[95] Today, opinions on the church burnings differ within the black metal community.
Many, such as Infernus and Gaahl of Gorgoroth, continue to praise the church burnings, with the latter saying
"there should have been more of them, and there will be more of them".[10] Others, such as Necrobutcher and
Kjetil Manheim of Mayhem and Abbath of Immortal,[10] see the church burnings as having been futile.
Manheim claimed that many arsons were "just people trying to gain acceptance" within the black metal
scene.[79] Watain vocalist Erik Danielsson respected the attacks, but said of those responsible: "the only
Christianity they defeated was the last piece of Christianity within themselves. Which is a very good beginning,
of course".[96]
Murder of Euronymous
In early 1993, animosity arose between Euronymous and Vikernes.[97] On the night of 10 August 1993, Varg
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Vikernes (of Burzum) and Snorre 'Blackthorn' Ruch (of Thorns) drove from Bergen to Euronymous's apartment
in Oslo. When they arrived a confrontation began and Vikernes stabbed Euronymous to death. His body was
found outside the apartment with 23 cut wounds two to the head, five to the neck, and sixteen to the back.[98]
It has been speculated that the murder was the result of either a power struggle, a financial dispute over Burzum
records or an attempt at outdoing a stabbing in Lillehammer the year before by Faust.[99] Vikernes denies all of
these, claiming that he attacked Euronymous in self-defense. He says that Euronymous had plotted to stun him
with an electroshock weapon, tie him up and torture him to death while videotaping the event.[72] He said
Euronymous planned to use a meeting about an unsigned contract to ambush him.[72][100] Vikernes claims he
intended to hand Euronymous the signed contract that night and "tell him to fuck off", but that Euronymous
panicked and attacked him first.[100] He also claims that most of the cuts were from broken glass Euronymous
had fallen on during the struggle.[100] The self-defense story is doubted by Faust[101] and other members of the
scene.
Vikernes was arrested on 19 August 1993, in Bergen.[102] Many other members of the scene were taken in for
questioning around the same time. Some of them confessed to their crimes and implicated others. In May 1994,
Vikernes was sentenced to 21 years in prison (Norway's maximum penalty) for the murder of Euronymous, the
arson of four churches, and for possession of 150 kg of explosives. However, he only confessed to the latter.
Two churches were burnt the day he was sentenced, "presumably as a statement of symbolic support".[92]
Vikernes smiled when his verdict was read and the picture was widely reprinted in the news media. Blackthorn
was sentenced to eight years in prison for being an accomplice to the murder.[92] That month saw the release of
Mayhem's album De Mysteriis Dom Sathanas, which featured Euronymous on guitar and Vikernes on bass
guitar.[18] Euronymous's family had asked Mayhem's drummer, Hellhammer, to remove the bass tracks recorded
by Vikernes, but Hellhammer said: "I thought it was appropriate that the murderer and victim were on the same
record".[18] In 2003, Vikernes failed to return to Tnsberg prison after being given a short leave. He was
re-arrested shortly after while driving a stolen car with various weapons.[103] Vikernes was released on parole in
2009.[104][105]
Outside Norway
Black metal scenes also emerged on the European mainland during

the early 1990s, inspired by the Norwegian scene or the older
bands, or both. In Poland, a scene was spearheaded by Graveland
and Behemoth. In France, a close-knit group of musicians known as
Les Lgions Noires emerged; this included artists such as
Mtiilation, Vlad Tepes, Belketre and Torgeist. In Belgium, there
were acts such as Ancient Rites and Enthroned. Bands such as
Black Funeral, Grand Belial's Key and Judas Iscariot emerged
during this time in the United States. Black Funeral, from Houston, English black metal band Cradle of Filth
formed in 1993, was associated with black magic and performing at Metalmania in 2005
Satanism.[106]
A notable black metal group in England was Cradle of Filth, who released three demos in a black/death metal
style with symphonic flourishes, followed by a studio album, which featured a then-unusual hybrid style of
black and gothic metal. The band then abandoned black metal for gothic metal,[107] becoming one of the most
successful extreme metal bands to date. John Serba of AllMusic commented that their first album "made waves
in the early black metal scene, putting Cradle of Filth on the tips of metalheads' tongues, whether in praise of
the band's brazen attempts to break the black metal mold or in derision for its 'commercialization' of an
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underground phenomenon that was proud of its grimy heritage".[108] Some black metal fans did not consider
Cradle of Filth to be black metal. When asked if he considers Cradle of Filth a black metal band, vocalist Dani
Filth said he considers them black metal in terms of philosophy and atmosphere, but not in other ways.[109]
Another English band called Necropolis never released any music, but "began a desecratory assault against
churches and cemeteries in their area" and "almost caused Black Metal to be banned in Britain as a result".[110]
Dayal Patterson says successful acts like Cradle of Filth "provoked an even greater extremity [of negative
opinion] from the underground" scene due to concerns about "selling out".[111]
The controversy surrounding Absurd drew attention to the German black metal scene. In 1993, the members
murdered a boy from their school, Sandro Beyer.[112] A photo of Beyer's gravestone is on the cover of one of
their demos,[113] Thuringian Pagan Madness, along with pro-Nazi statements. It was recorded in prison and
released in Poland by Graveland drummer Capricornus.[114] The band's early music was influenced by Oi! and
Rock Against Communism (RAC),[115] and described as being "more akin to '60s garage punk than some of the
[] Black Metal of their contemporaries".[116] Alexander von Meilenwald from German band Nagelfar
considers Ungod's 1993 debut Circle of the Seven Infernal Pacts, Desaster's 1994 demo Lost in the Ages,
Tha-Norr's 1995 album Wolfenzeitalter, Lunar Aurora's 1996 debut Weltengnger and Katharsis's 2000 debut
666[117] to be the most important recordings for the German scene.[69] He said they were "not necessarily the
best German releases, but they all kicked off something".[69]
After the second wave
In the beginning of the second wave, the different scenes developed

their own styles; as Alan 'Nemtheanga' Averill says, "you had the Greek
sound and the Finnish sound, and the Norwegian sound".[11] By the
mid-1990s, the style of the Norwegian scene was being adopted by
bands worldwide, and in 1998, Kerrang! journalist Malcolm Dome said
that "black metal as we know it in 1998 owes more to Norway and to
Scandinavia than any other particular country".[78] Newer black metal
bands also began raising their production quality and introducing
additional instruments such as synthesizers and even full-symphony
orchestras. By the late 1990s, the underground concluded that several of Dimmu Borgir (pictured) plays black
the Norwegian pioneerslike Emperor,[65][119] Immortal,[65][119] metal music that features synthesizers
Dimmu Borgir,[119] Ancient,[65][119] Covenant/The Kovenant,[119] and and orchestras.[118]
Satyricon[65]had commercialized[65][119] or sold out to the
mainstream and "big bastard labels".[119] Dayal Patterson states that successful acts like Dimmu Borgir
"provoked and even greater extremity [of negative opinion] from the underground" regarding the view that that
these bands had "sold out".[111]
After Euronymous's death, "some bands went more towards the Viking metal and epic style, while some bands
went deeper into the abyss".[96] Since 1993, the Swedish scene had carried out church burnings, grave
desecration and other violent acts. In 1995, Jon Ndtveidt of Dissection joined the Misanthropic Luciferian
Order (MLO).[120] In 1997, he and another MLO member were arrested and charged with shooting dead a
37-year-old man. It was said he was killed "out of anger" because he had "harassed" the two men. Ndtveidt
received a 10-year sentence.[121] As the victim was a homosexual immigrant, Dissection was accused of being a
Nazi band,[122] but Ndtveidt denied this and dismissed racism and nationalism.[122][123]
The Swedish band Shining, founded in 1996, began writing music almost exclusively about depression and
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suicide, musically inspired by Strid and by Burzum's albums Hvis lyset tar oss and Filosofem.[124] Vocalist
Niklas Kvarforth wanted to "force feed" his listeners "with self-destructive and suicidal imagery and lyrics".[96]
In the beginning he used the term "suicidal black metal" for his music.[96][125] However, he stopped using the
term in 2001 because it had begun to be used by a slew of other bands, who he felt had misinterpreted his
vision[96][125] and were using the music as a kind of therapy[96][125] rather than a weapon against the listener as
Kvarforth intended.[125] He said that he "wouldn't call Shining a black metal band" and called the "suicidal
black metal" term a "foolish idea".[96]
According to Erik Danielsson, when his band Watain formed in 1998

there were very few bands who took black metal as seriously as the
early Norwegian scene had.[96] A newer generation of Swedish Satanic
bands like Watain and Ondskapt, supposedly inspired by Ofermod,
[126][127] the new band of Nefandus member Belfagor, put this scene
"into a new light". Kvarforth said, "It seems like people actually [got]
afraid again".[96] "The current Swedish black metal scene has a
particularly ambitious and articulate understanding of mysticism and its
validity to black metal. Many Swedish black metal bands, most notably
Watain and Dissection, are [or were] affiliated with the Temple of the
Black Light, or Misanthropic Luciferian Order [] a Theistic, Gnostic,
Satanic organization based in Sweden".[128] Upon his release in 2004,
Jon Ndtveidt restarted Dissection with new members who he felt were
able to "stand behind and live up to the demands of Dissection's Satanic
concept".[129] He started calling Dissection "the sonic propaganda unit
of the MLO"[130][131] and released a third full-length album, Reinkaos.
The lyrics contain magical formulae from the Liber Azerate and are
based on the organization's teachings.[132] After the album's release and Watain singer Erik Danielsson in torn
a few concerts, Ndtveidt said that he had "reached the limitations of clothes and covered with blood
music as a tool for expressing what I want to express, for myself and the
handful of others that I care about" and disbanded Dissection[131] before
committing suicide.[133]
A part of the underground scene adopted a Jungian interpretation of the church burnings and other acts of the
early scene as the re-emergence of ancient archetypes, which Kadmon of Allerseelen and the authors of Lords of
Chaos had implied in their writings.[134][40] They mixed this interpretation with Paganism and Nationalism.[40]
Varg Vikernes was seen as "an ideological messiah" by some,[135] although Vikernes had disassociated himself
from black metal[135][136] and his neo-Nazism had nothing to do with that subculture.[136] This led to the rise of
National Socialist black metal (NSBM), which Hendrik Mbus of Absurd calls "the logical conclusion" of the
Norwegian black metal "movement".[40] Other parts of the scene oppose NSBM as it is "indelibly linked with
As Tr and opposed to Satanism", or look upon Nazism "with vague skepticism and indifference".[137]
Members of the NSBM scene, among others, see the Norwegian bands as poseurs whose "ideology is cheap",
although they still respect Vikernes and Burzum, whom Grand Belial's Key vocalist Richard Mills called "the
only Norwegian band that remains unapologetic and literally convicted of his beliefs".[135]
In France, besides Les Lgions Noires (The Black Legions), a NSBM scene arose. Members of French band
Funeral desecrated a grave in Toulon in June 1996, and a 19-year-old black metal fan stabbed a priest to death
in Mulhouse on Christmas Eve 1996.[138] According to MkM of Antaeus, the early French scene "was quite
easy to divide: either you were NSBM and you had the support from zine and the audience, or you were part of
10 of 27 18-05-17 15:52
the black legions and you had that 'cult' aura".[139] Many French bands, like Deathspell Omega and Aosoth,
have an avantgarde approach[140] and a disharmonic sound that is representative of that scene.[141]
The early American black metal bands remained underground. Some of themlike Grand Belial's Key and
Judas Iscariotjoined an international NSBM organization called the Pagan Front, although Judas Iscariot sole
member Akhenaten left the organization.[142] Other bands like Averse Sefira never had any link with
Nazism.[142] The US bands have no common style. Many were musically inspired by Burzum but did not
necessarily adopt Vikernes's ideas.[142] Profanatica's music is close to death metal,[143] while Demoncy were
accused of ripping off Gorgoroth riffs.[144] There also emerged bands like Xasthur and Leviathan[35] (whose
music is inspired by Burzum[142] and whose lyrics focus on topics such as depression and suicide),[145][146]
Nachtmystium,[35] Krallice,[35][147] Wolves in the Throne Room[35][147] (a band linked to the crust punk scene
and the environmental movement),[148][149] and Liturgy (whose frontman Hunter Hunt-Hendrix wants to
replace traditional black metal's "death and atrophy" with "life and hypertrophy").[35][150] These bands eschew
black metal's traditional lyrical content for "something more Whitman-esque"[35] and have been rejected by
some traditional black-metallers for their ideologies[151] and the post-rock and shoegazing influences some of
them have adopted.[147]
In Australia, a scene led by bands like Destryer 666, Vomitor, Hobbs' Angel of Death, Nocturnal Graves and
Gospel of the Horns arose. This scene's typical style is a mixture of old school black metal and raw thrash metal
influenced by old Celtic Frost, Bathory, Venom and Sodom but also with its own elements.[152]
Melechesh was formed in Jerusalem in 1993, "the first overtly anti-Christian band to exist in one of the holiest
cities in the world".[153] Melechesh began as a straightforward black metal act with their first foray into folk
metal occurring on their 1996 EP The Siege of Lachish.[154] Their subsequent albums straddled black, death,
and thrash metal.[155] Another band, Arallu, was formed in the late 1990s and has relationships with Melechesh
and Salem.[156][157] Melechesh and Arallu perform a style they call "Mesopotamian Black Metal", a blend of
black metal and Mesopotamian folk music.[153][157]
Since the 2000s, a number of anti-Islamic and anti-religious black metal bandswhose members come from
Muslim backgroundshave emerged in the Middle East. Janaza, believed to be Iraq's first female black metal
artist, released the demo Burning Quran Ceremony in 2010. Its frontwoman, Anahita, claimed her parents and
brother were killed by a suicide bomb during the Iraq War. Another Iraqi band, Seeds of Iblis, released their
debut EP Jihad Against Islam in 2011 through French label Legion of Death. These bands, along with Tadnees
(from Saudi Arabia), False Allah (from Bahrain) and Mosque of Satan (from Lebanon), style themselves as the
"Arabic Anti-Islamic Legion". Another Lebanese band, Ayat, drew much attention with their debut album Six
Years of Dormant Hatred, released through North American label Moribund Records in 2008.[158] Some
European bands have also begun expressing anti-Islamic views, most notably the Norwegian band Taake.[159]
Stylistic divisions
Regarding the sound of black metal, there are two conflicting groups within the genre: "those that stay true to
the genre's roots, and those that introduce progressive elements".[30] The former believe that the music should
always be minimalist performed only with the standard guitar-bass-drums setup and recorded in a low fidelity
style. One supporter of this train of thought is Blake Judd of Nachtmystium, who has rejected labeling his band
black metal for its departure from the genre's typical sound.[160] Snorre Ruch of Thorns, on the other hand, has
said that modern black metal is "too narrow" and believes that this was "not the idea at the beginning".[161]
11 of 27 18-05-17 15:52
Since the 1990s, different styles of black metal have emerged and some have melded Norwegian-style black
metal with other genres.
Ambient black metal is a style of black metal which relies on heavy incorporation of atmospheric,
sometimes dreamy textures, and is therefore less aggressive. It often features synthesizers or classical
instrumentation, typically for melody or ethereal "shimmering" over the wall of sound provided by the
guitars. The music is usually slow to mid paced with rare blast beat usage, without any abrupt changes
and generally features slowly developing, sometimes repetitive melodies and riffs, which separate it from
other black metal styles. Subject matter usually concerns nature, folklore, mythology, and personal
introspection.[162] Artists include Agalloch,[163] Wolves in the Throne Room[163] and Velvet Cacoon.[164]
Black 'n' roll is a style of black metal that incorporates elements from 1970s hard rock and glam
rock,[165] as well as rock and roll music.[166] Examples of black 'n' roll bands include Kvelertak,[167]
Vreid[168] and Khold.[166][169] Bands such as Satyricon,[166][170][171] Darkthrone,[172] Nachtmystium,[173]
Nidingr,[174] Craft[166] and Sarke also experimented with the genre.[175]
Black-doom or blackened doom melds doom metal with black metal.[176][177] Examples of blackened
doom bands are Barathrum,[178] Forgotten Tomb, Woods of Ypres[179] and Katatonia.[180]
Blackened death metal melds death metal with black metal.[181][182] Examples of blackened death metal
bands are Belphegor,[183] Behemoth,[184] Akercocke[185] and Sacramentum.[186]
Blackgaze incorporates common black metal elements such as blast beat drumming and high-pitched
screamed vocals with the melodic and heavily distorted guitar styles typically associated with
shoegazing.[187] It is associated with bands such as Deafheaven[188] and Alcest.[189]
Pagan metal is metal music with lyrics and imagery that focus on paganism. The Norwegian band In the
Woods... was one of the first bands commonly viewed as pagan metal.[190] In the mid-1990s, Irish bands
such as Cruachan[191] and Primordial[190][192] and Russian band Satarial began to combine black metal
with Irish folk music.
Symphonic black metal is a style of black metal that incorporates symphonic and orchestral elements.
This may include the usage of instruments found in symphony orchestras (piano, violin, cello, flute and
keyboards), "clean" or operatic vocals and guitars with less distortion.
Industrial black metal is a style of black metal that incorporates elements of industrial music.
Mysticum, formed in 1991,[193] was the first of these groups.[194] DHG (Ddheimsgard), Thorns from
Norway and Blut Aus Nord, N.K.V.D. and Blacklodge from France, have been acclaimed for their
incorporation of industrial elements.[195] Other industrial black metal musicians include Samael,[196] The
Axis of Perdition,[197] Aborym,[198] and ...And Oceans.[199] In addition, The Kovenant,[200] Mortiis and
Ulver emerged from the Norwegian black metal scene, but later chose to experiment with industrial
music.[201][202]
Viking metal is characterized by a common lyrical and thematic focus on Norse mythology, Norse
paganism, and the Viking Age. With origins in black metal and Nordic folk music, it is typically
manifested as Nordic folk-influenced black metal. Some common traits include a slow-paced and heavy
riffing style, anthemic choruses, use of both clean and harsh vocals, a frequent reliance on folk
instrumentation, and, often, the use of keyboards for atmospheric effect. Viking metal developed in the
1980s through the mid-1990s as a rejection of Satanism and the occult, instead embracing the Vikings and
paganism as the leaders of opposition to Christianity. It is similar, in lyrics, sound, and thematic imagery,
to pagan metal, but pagan metal has a broader mythological focus and utilizes folk instrumentation more
extensively. The origin of Viking metal can be traced to the albums Blood Fire Death (1988) and
Hammerheart (1990) by Swedish band Bathory.[203] Enslaved, Burzum, Emperor, Storm and Falkenbach
helped further develop the genre in the early through mid-1990s. Though originated from black metal,
12 of 27 18-05-17 15:52
some death metal bands such as Unleashed and Amon Amarth are included in the style.
War metal,[64] also known as war black metal[65] or bestial black metal,[66] is an aggressive,[65]
cacophonous[64] and chaotic[64][65] black metal style, described by Rock Hard journalist Wolf-Rdiger
Mhlmann as "rabid"[65] and "hammering".[65] Important influences include first wave band Sodom,
[64][65] first wave/death metal band Possessed[65] as well as old grindcore, black and death metal bands
like Repulsion,[64][65] Autopsy,[65] Sarcfago[64][65][66][68] and the first two Sepultura releases.[65][68]
War metal bands include Blasphemy,[64][65][68] Archgoat,[65] Impiety,[65] In Battle,[204] and Zyklon-
B.[205]
Ideology
Unlike other kinds of metal, black metal is associated with an ideology and
ethos. It is fiercely opposed to Christianity[10] and the other main institutional
religions, Islam and Judaism. Many black metal bands are Satanists and see
Satanism as a key part of black metal. Others advocate ethnic Paganism, "often
coupled with nationalism",[206][207] although the early Pagan bands did not call
themselves 'black metal'.[190][208][209]
Black metal tends to be misanthropic and hostile to modern society.[30] It is "a

reaction against the mundanity, insincerity and emotional emptiness that
participants feel is intrinsic to modern secular culture".[210] The black metal
scene tends to oppose political correctness, humanitarianism, consumerism,
globalization and homogeneity.[211][212][213] Aaron Weaver from Wolves in the
Taake vocalist Hoest the Throne Room said: "black metal is an artistic movement that is critiquing
inverted Christian cross is
modernity on a fundamental level, saying that the modern world view is
often used by black-metallers missing something".[214] As part of this, black metal glorifies nature and has a
to signify their opposition to fascination with the distant past.[215][216] It has been likened to Romanticism
Christianity and there is an undercurrent of romantic nationalism in the genre.[217][218] Sam
Dunn noted that "unlike any other heavy metal scene, the culture and the place
is incorporated into the music and imagery".[10] Individualism is also an
important part of black metal,[10] with Fenriz of Darkthrone describing black metal as "individualism above
all".[219] Unlike other kinds of metal, black metal has numerous one-man bands. However, followers of
Euronymous tended to be anti-individualistic,[220] and it has been noted that "Black Metal is characterized by a
conflict between radical individualism and group identity and by an attempt to accept both polarities
simultaneously".[215]
In his master's thesis, Benjamin Hedge Olson wrote that some artists can be seen as transcendentalists.
Dissatisfied with a "world that they feel is devoid of spiritual and cultural significance",[221] they try to leave or
"transcend" their "mundane physical forms" and become one with the divine.[222] This is done through their
concerts, which he describes as "musical rituals" that involve self-mortification and taking on an alternative,
"spiritual persona" (for example by the wearing of costume and face paint).[223]
Satanism
Black metal was originally a term for extreme metal bands with Satanic lyrics and imagery. However, most of
13 of 27 18-05-17 15:52
the 'first wave' bands (including Venom, who coined the term 'black metal') were
not Satanists and rather used Satanic themes or artwork to provoke controversy or
gain attention. One of the few exceptions was Mercyful Fate singer and Church of
Satan member King Diamond, whom Michael Moynihan calls "one of the only
performers of the '80s Satanic metal who was more than just a poseur using a
devilish image for shock value".[224]
In the early 1990s, many Norwegian

black-metallers presented themselves
The pentagram is
as genuine Devil worshippers.[225]
commonly used by bands
Mayhem's Euronymous was the key
in the genre
figure behind this.[220] They attacked
the Church of Satan for its "freedom
and life-loving" views;[226] the theistic Satanism they espoused was
an inversion of Christianity. Benjamin Hedge Olson wrote that they
"transform[ed] Venom's quasi-Satanic stage theatrics into a form of
Video shoot for "Carving a Giant" by cultural expression unique from other forms of metal or Satanism"
Gorgoroth, which features mock and "abandoned the mundane identities and ambitions of other
crucifixions forms of metal in favor of religious and ideological fanaticism".[220]
Some prominent scene memberssuch as Euronymous and
Faust[16][53]stated that only bands who are Satanists can be called
'black metal'. Bands with a Norwegian style, but without Satanic lyrics, tended to use other names for their
music.[190][208][209] This view is still held by many artists such as Infernus,[227] Arioch,[228] Nornagest and
Erik Danielsson.[229] Some bands, like the reformed Dissection[129][131] and Watain,[230] insist that all members
must be of the same Satanic belief, whereas Michael Ford of Black Funeral[106] and MkM of Antaeus[231]
believe black metal must be Satanic but not all band members need to be Satanists. Otherssuch as Jan Axel
Blomberg,[232] Sigurd Wongraven[30] and Eric Horner[233]believe that black metal does not need to be
Satanic. An article in Metalion's Slayer fanzine attacked musicians that "care more about their guitars than the
actual essence onto which the whole concept was and is based upon", and insisted that "the music itself doesn't
come as the first priority".[234] Bands with a similar style but with Pagan lyrics tend to be referred to as 'Pagan
Metal' by many 'purist' black-metallers.[235]
Others shun Satanism, seeing it as "Judeo-Christian" in origin,[236][237] and regard Satanists as perpetuating the
"Judeo-Christian" worldview.[238] Quorthon of Bathory said he used 'Satan' to provoke and attack Christianity.
However, with his third and fourth albums he began "attacking Christianity from a different angle", realizing
that Satanism is a "Christian product".[237] Nevertheless, some artists use Satan as a symbol or metaphor for
their beliefs. This includes LaVeyan Satanists (who are atheist) and others. Vocalist Gaahl, who considers
himself a Norse Shaman,[239] said: "We use the word 'Satanist' because it is Christian world and we have to
speak their language [...] When I use the word 'Satan', it means the natural order, the will of a man, the will to
grow, the will to become the superman".[240] Varg Vikernes called himself a Satanist in early interviews but
"now downplays his former interest in Satanism", saying he was using Satan as a symbol for Odin as the
'adversary' of the Christian God.[241] He saw Satanism as "an introduction to more indigenous heathen
beliefs".[242] Despite the high amount of Satanism in black metal, some black metal bands such as Carach
Angren,[243] Immortal[244] and Enslaved[245][246] do not have Satanic lyrics.
Neo-Nazism
14 of 27 18-05-17 15:52
National Socialist black metal (NSBM) is a name for black metal by artists who promote neo-Nazi or similar
beliefs through their lyrics and imagery. They typically meld neo-Nazi ideology with ethnic European
paganism, but a few meld these beliefs with Satanism or occultism. Some commentators see this ideology as a
natural development of the black metal worldview. Members of the early Norwegian scene flirted with
neo-Nazism, but this was partly an attempt to provoke.[247] Varg Vikerneswho now refers to his ideology as
'Odalism'[248]is credited with popularizing such views within the scene.[249][250] NSBM emerged in the
mid-1990s and was spearheaded by artists such as Absurd (from Germany), Graveland, Infernum and Veles
(from Poland), Nokturnal Mortum and Hate Forest (from Ukraine), Branikald (from Russia) and Grand Belial's
Key (from the US). It is particularly strong in the former Eastern Bloc. There are dozens of NSBM bands,
several independent record labels and zines devoted to NSBM, and festivals associated with it. Some black
metal bands have been wrongly labeled as NSBM for exploring Nazi Germany in their lyrics or referencing it
for shock value.
Although there is an undercurrent of 'right-wing' nationalism in black metal,[251][252][253] NSBM artists are a
small minority within the genre.[253][254] While some black-metallers boycott NSBM artists, many are
indifferent or appreciate the music without supporting the musicians.[137] NSBM has been criticized by some
prominent and influential black metal artists including Jon Ndtveidt,[123] Tormentor,[255] King ov Hell,[13]
Infernus,[14] Dark Funeral,[11][256] Richard Lederer,[257] Michael Ford,[258] and Arkhon Infaustus.[11] Some
liken Nazism to Christianity in that it is authoritarian, collectivist, and a "herd mentality".[123][255] Olson writes
that the shunning of Nazism by some black-metallers "has nothing to do with notions of a 'universal humanity'
or a rejection of hate" but that Nazism is shunned "because its hatred is too specific and exclusive".[259]
As a reaction to NSBM, a small number of "Red and Anarchist black metal" (RABM) artists emerged. They
espouse left-wing ideologies such as Marxism or anarchism/green anarchism,[260] and tend to mix crust punk
with black metal.[260][261][262] Artists labelled RABM include Iskra, Panopticon, Skagos,[260] Storm of
Sedition,[261] Not A Cost,[261] Black Kronstadt,[261] and Vidargangr.[263]
Unblack metal
A few artists have adopted the typical black metal sound and esthetic, but promote
Christianity through their lyrics and imagery.[264] These artists have been labelled
either "unblack metal" or "Christian black metal". The first unblack metal record,
Hellig Usvart (1994) by Australian artist Horde, was a provocative parody of
Norwegian black metal. It sparked controversy, and death threats were issued against
Horde. Norwegian Christian band Antestor adopted a black metal style in the late
1990s.
Many in the black metal scene see "Christian black metal" as an oxymoron[265] and
believe that black metal cannot be Christian.[30] In fact, the early unblack metal groups
The Norwegian
Horde and Antestor refused to call their music "black metal" because they did not
unblack metal band
share its ethos. Horde called its music "holy unblack metal"[266] and Antestor Antestor
preferred the term "sorrow metal".[267] Horde member Jayson Sherlock later said "I
will never understand why Christians think they can play Black Metal. I really don't
think they understand what true Black Metal is".[268] However, many current unblack metal bands, such as
Crimson Moonlight, feel that black metal has changed from an ideological movement to a purely musical genre,
and thus call their music 'black metal'.[265]
15 of 27 18-05-17 15:52
Media
Documentaries on black metal
Det svarte alvor (1994)

Satan Rides the Media (1998)
Black Metal (1998), a Belgian documentary by Marilyn Watelet.[269]
Norsk Black Metal (2003) was aired on Norwegian TV by the Norwegian Broadcasting Corporation
(NRK).
Metal: A Headbanger's Journey (2005) touches on black metal in the early 1990s, and includes an
extensive 25-minute feature on the DVD release.
True Norwegian Black Metal (2007) is a five-part feature from VICE. It explores some of the aspects of
the lifestyle, beliefs and controversies surrounding former Gorgoroth vocalist Gaahl.[270]
Black Metal: A Documentary (2007), produced by Bill Zebub, explores the world of black metal from the
point of view of the artists. There is no narrator and no one outside of black metal takes part in any
interview or storytelling.
Pure Fucking Mayhem (2009) tells the story of the black metal band Mayhem and the tragedies
surrounding them.[271]
Murder Music: A History of Black Metal (2007)
Once Upon a Time in Norway (2008)
Black Metal Satanica (2008)
Until the Light Takes Us (2009) explores black metal's origins and subculture, featuring exclusive
interviews and including rare footage from the Black Circle's early days.
Loputon Gehennan Liekki (Eternal Flame of Gehenna)(2011) Finnish black metal documentary
Out of the Black A Black Metal Documentary (2012), an examination of the musical and social origins
of black metal while exploring the full spectrum of the religious ideology within the scene. Also
examines black metal in America and the multiple differences between the American and the
Scandinavian scene.[272]
One Man Metal (2012) explores the lifestyle and thoughts of the members of the three one-man bands
Xasthur, Leviathan and Striborg.[273]
Attention! Black Metal (2012)
References in media
A black metal mockumentary Legalize Murder was released in 2006.

The cartoon show Metalocalypse is about an extreme metal band called Dethklok, with many references
to leading black metal artists on the names of various businesses, such as Fintroll's convenience store,
Dimmu Burger, Gorgoroth's electric wheelchair store, Carpathian Forest High School, Marduk's Putt &
Stuff, Burzum's hot-dogs and Behemoth studios (the man who owns Behemoth studios is also named Mr.
Grishnackh). In the episode "Dethdad", Dethklok travels to Norway to both visit Toki's dying father and
the original black metal record store, much to the dismay of the band members when they find out the
store does not sell any of their music, described by the owner as being "too digital".
A Norwegian commercial for a laundry detergent once depicted black metal musicians as part of the
advertisement.[274]
Black metal bands such as 1349, Emperor, Behemoth, Dimmu Borgir, Enslaved and Satyricon have had
their videos make appearances on MTV's Headbangers Ball.
16 of 27 18-05-17 15:52
Comedian Brian Posehn made a visual reference to Norwegian black metal bands in the music video for
his comedy song "Metal by Numbers".[275]
A KFC commercial (https://www.youtube.com/watch?v=UO1rYr4BXAI) screened in Canada (2008) and
Australia (2010) featuring a fictional black metal band called Hellvetica. Onstage, the band's singer does
a fire-eating trick. Once backstage, he takes a bite of the spicy KFC chicken and declares, "Oh man, that
is hot".
An episode of Bones featured the discovery of a human skeleton at a black metal concert in Norway. The
episode was called "Mayhem on a Cross" and is the twenty-first episode of the fourth season.
There are many references to black/extreme metal bands (Bathory, Marduk, Cradle of Filth and Dimmu
Borgir) in ke Edwardson's 1999 crime novel Sun and Shadow (Sol och skugga). The plot involves the
music of a fictional Canadian black metal band called Sacrament. As part of the inquiry, Inspector Winter
tries to distinguish between black and death metal artists.[276]
See also
List of black metal bands
Wikimedia Commons has
Shrieking media related to Black
metal music groups.
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Ekeroth, Daniel (2008). Swedish Death Metal. New York: Bazillion Points Books.
ISBN 978-0-9796163-1-0.
Kugelberg, John, ed. (2008). True Norwegian Black Metal. Beste, Peter (photographer). New York:
Power House Books. ISBN 978-1-57687-435-6.
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Chrie (photographer). Metalphoto Publisher. ISBN 978-90-816734-1-9.
Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Port Townsend: Feral House.
ISBN 978-1-936239-75-7.
Pattison, Louis; Richardson, Nick; Stosuy, Brandon, eds. (2012). Black Metal: Beyond the Darkness
(http://blackdogonline.com/music/black-metal.html). Black Dog Publishing. ISBN 978-1-907317-72-9.
Swinford, Dean (2013). Death Metal Epic (Book I: The Inverted Katabasis). Dayton: Atlatl Press.
ISBN 978-0-9883484-3-1.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Black_metal&oldid=780208775"
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2000s in music 2010s in music 21st-century music genres Heavy metal genres Extreme metal
Obscenity controversies in music Music genres with cultural origins in Norway
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Black metal - Wikipedia https://en.wikipedia.

Black metal is an extreme subgenre and subculture of heavy

2.2.1 Helvete and Deathlike Silence

Instrumentation and song structure

Vocals and lyrics

Traditional black metal bands tend to favor raspy, high-pitched

Members of Gorgoroth wearing typical

Imagery and performances

sacrilegious, or iconoclastic (for example Marduk's Fuck Me Jesus and

unofficial beginning of German black metal.[70]

Helvete and Deathlike Silence

During MayJune 1991,[77] Euronymous of Mayhem opened an

In 1992, members of the Norwegian black metal scene began a wave of

Black metal scenes also emerged on the European mainland during

After the second wave

In the beginning of the second wave, the different scenes developed

According to Erik Danielsson, when his band Watain formed in 1998

Black metal tends to be misanthropic and hostile to modern society.[30] It is "a

In the early 1990s, many Norwegian

Det svarte alvor (1994)

A black metal mockumentary Legalize Murder was released in 2006.

15. Olson 2008, p. 30.

45. Sharpe-Young, Garry. Metal: The Definitive Guide. p. 208.

78. Satan Rides the Media. 1998.

147. Heiko Behr: Black Metal: Da kreischt die Avantgarde (http://www.zeit.de/kultur/musik/2011-12/blackmetal

196. Samael, metal-archives.com, 3 September 2011. [3] (http://www.metal-archives.com/bands/Samael/31) Access date:

223. Olson 2008, p. 50.

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