Black Metal: History and evolution
Black Metal is one of the most unnatural and odd things in the world of music. It is accepted as the clowning, it is ignored, non-understood, non-respected and not loved… But this all is not what the musicians strived to. Having taken hate, cruelty, perversion, antispirituality, misanthropy as their protégés instead of love and respect, they did not have any intent to be neither idols of publicity, nor clowns to them.
People must hate us as we never meant to create the band they were to love.
Euronymous (Mayhem band), interview of 1992.
Black metal owes its name to the Venom 1982 року. album of 1982. Englishmen paved the way: real occult devil metal – that is what we need! There were many bands from the different corners of Earth to start moving in this direction: Swedes Bathory, Swiss Hellhammer (hereinafter Celtic Frost), Norwegians Mayhem and 666, Germans Sodom, Italians Bulldozer, Australians Slaughter Lord, Brazilians Sarcófago, Japanese Sabbat and others. Nowadays this era is considered to be the first wave, so called "proto-black". Musically they all played thrash-metal with the experiments in sound, satanic stamp on their image and real rampage on the scene. Should be mentioned, that such collectives seeded the fear even among "hard metal" fans, not to mention others, innocent random observers.
Our sound has appeared from the desire to be maximally quick, brutal and extremely aggressive.
Steve Hughes, now actor & comic (Slaughter Lord band), interview of 1998.
The first album which can be ranked to black metal genre without a twinge of conscience is Bathory’s "Under the Sign of the Black Mark". It was spring of the 1987 and it signalized "new life": five years old embryo finally evolved into the complete organism
On this stage black metal was absolutely primitive, artless. The blast-beats likeness appeared (thanks to Eduardo "D.D. Crazy" from Sarcófago), but they were not extra quick yet. Vocals transformed into the perverted sound form of aggression: screaming with the high tessiture and shrilly wails, growling which was not singing but fast evil speaking. Soon, based on the first two, new inhale and shrike techniques appeared. Continuous "satan", mystics and debauchery of the most sophisticated forms dominated in the lyrics. Musicians got their canonic look, so called "corpsepaint". It is believed that Per Yngve "Dead" Ohlin (Mayhem member), was the first one to make corpsepaint, and not because he wanted to emulate Alice Cooper’s or Kim Petersen’s war-paint. He really wanted to look like deadman. Following this goal, he even earthed his clothes before the concerts to dig them out then and to wear. Omnifarious additional elements of the gloomy image entered the use: belts with the bullets, ankle boots, black spiked oversleeves, inverted crosses, pentagrams, etc.
The number of bands, desiring to join such stylistic, was huge. They are: Thorns, Burzum (Norway; great and awful!), Blasphemy (Canada), Mystifier (Brasilia), Inquisition (Columbia), Samael (Switzerland; now their art is rarely remembered), Beherit, Archgoat, Impaled Nazarene (Finland), Von, Profanatica (USA), Chapel of Ghouls (France; will create legendary "Black Legions" in future), Dissection, Grotesque (Sweden; thanks to them melodic Sweden black/death now exists), Tormentor (Hungary; the first band of Attila Csihar), Mortuary Drape (Italy), Abhorer, Nuctemeron, Impiety (Singapore), Apator, Exmortes (Netherlands; actually these two played noise, though earned some cult status among the "goat metal" fans), Rotting Christ, Varathron, Necromantia (Greece), Sadistik Exekution (Australia) и etc.
Keep in mind, back then significant for the future evolving of black metal Norwegian bands Immortal and Darkthrone. already began to record their demos. Although they’ve started from death-metal, the decisive point in the genre sound forming is up to them exactly. The majority of contemporary then collectives disbanded soon (to rest in cult), but the most restrained of them continued their musical way, having changed their sound cardinally.
— Which bans inspired you?
— Old Venom, Old Bathory and, of course, Hellhammer.
Paul Ledney (Profanatica band), interview of 2002.
Starting in 1992, the "third wave" has come. Hell ball is reigned by Norway – incomparable queen of the North. Owing to sound director Tomas Skogsberg, with whom Darkthrone, worked for those times, black metal got its distinctive buzzing guitar. Extra-fast blast beats solidly came to use and in general musicians started to play better technically. Overall, this wave exactly is that canonic black metal mostly spoken about. Collectives of it actively & numberly grew, that’s why we should divide them by scenes: Norwegian, Swedish, Finnish, French, Greek, Australian, Japanese, North American and all the rest.
I never hear what vocalist sings about at all.
Fenriz (Darkthrone band), interview of 2007.
Norway-blackers appeared to be tough kids, whose youthful maximalism and ruthful anarchism leaded to the events more significant though not less horrible. It all began with petty pranks and "The Inner Black Circle of Norway", but soon was replaced by gestures "worthier". These were getting churches on fire, graves desecration, public provocations, violence and murder propaganda (including suicide). Madness apogee was left behind when Varg Vikernes (Burzum) was put in jail for the Euronymous (Mayhem), murder, and Dead killed himself by shooting from the shotgun right into his head. Since then the performance image and near-musical activity became nothing but a farce, instead of real vision expression (what was proved in a funny way by guys from Immortal, band, having become the heroes of comic video).
Among Norway bands of that period, the most iconic and popular were next ones: Satyricon, Gorgoroth, Carpathian Forest, Gehenna, Urgehal, Ragnarok, Tsjuder, Taake, Ulver (typical); Emperor, Dimmu Borgir (founders of the symphonic black-metal); Helheim, Enslaved (decided to make black metal "national", i.e. the music about Vikings); Strid, Forgotten Woods (started to bring some specific notes of hopelessness, depression into the genre); Arcturus, Morgul, Ved Buens Ende... (got into madcap experiments with the sound); Mysticum (created the industrial black metal, having replaced alive drummer with the drum-machine) and many-many more different.
The followers of Thorns, who Mayhem, Enslaved,
Emperor, Satyricon and Burzum certainly are, unlikely have their roots in music from Venom and Celtic Frost.
Satyr (Satyricon band), interview of 2000.
Swedes were "sworn brothers" (more often – enemies) to the Norwegians. Were in one surrounding with them but sounded differently. Göteborg and its scene of death metal could not leave black metal without any influence – all typical bands of the region had representative death-metal sound though due to their image and words, they considered themselves "true blackers" (first of all it relates to Dissection and Grotesque). Mostly the scene here was formed by such collectives: Marduk, Naglfar, Dark Funeral, Arckanum (typical); Abruptum (specific and untraditional band for the scene which mixes black-metal with noise and ambient); Setherial, Sorhin, Gehennah (bands of a lower range) and others. This scene still doesn’t lose its attraction in the eyes of fans what is demonstrated by permanent abundance of new and activity of good old bands (Armagedda, Pest, Watain, Craft, Ondskapt, Necroplasma, Shining etc).
Death metal scene was huge. But what we’ve made was something totally different and extreme.
Morgan Håkansson (Marduk band), interview of 2004.
There was raw, mettle and cheerful black metal in Suomi country. Presenting the opposite of the adjacent Scandinavian kingdoms’ bands, the leading Finnish black metallers were reluctant to concede in anything. And it should be admitted they got it well done! Marko Laiho, Jari Pirinen & co (Beherit band) notably influenced genre formation, bypassing the Norwegians and Swedes. Furthermore, unbelievable success of the Impaled Nazarene made Euronymous blindly rage: he put the stamp on musicians by adding them to the "death list" and sending "death notes".
This all does not really correspond to the popular nowadays stereotype of "melodic country" sticked to Finland because of the amount of sweet-sounding bands. But these are the vicissitudes of fate.
Representatives: Archgoat, Horna, Behexen, Moonsorrow, Wyrd, Woods of Belial etc.
The lyrics of black metal are very primitive.
But this is only lyrics… blasphemy and sick jokes…
Marko Laiho (Beherit band), interview of 1993.
French school is nothing else but "Les Légions Noires" ("Black Legions"). Strange and mystic formation which fought the "partisan" war against "trendy" black metal (meaning Norway bands) to finally accept its defeat and to put the end of the "third wave" by this. There always were legends surrounding "Black Legions" spread by members personally or by the ones who wanted to earn some fame using their cassettes’ popularity (sounds paradoxically, doesn’t it?). Mystification, the aura of unknown – this all was like magnet for the people who care even less about music itself. Talking in economics language, demand significantly exceeded the supply, syne the supply was easy to fake (public "swallowed" anyway) – this is where the frauds pastured. Musically "Black Legions" were authentic, interesting, but low-fi and the simplicity of idea were easy to recreate. The most popular among these projects were Mütiilation, Belkètre, Brenoritvrezorkre, Torgeist, Moëvöt і Vlad Tepes. In general, their activity grandly influenced the contemporary scene of France among which such ones were especially in honor: Deathspell Omega, Hell Militia (guys with real devil-worshiping "religion" – play so called orthodox black metal); Peste Noire (perhaps the most poetic and original of all black-metal bands ever existed); Blut aus Nord (one more mysterious but genius characters); Glorior Belli, Vediog Svaor (lovers of the vintage rock); Antaeus, Aosoth, Temple of Baal, Borgia, Malleus Maleficarum (masters of the French version of black & death mix, though more sophisticated than Swedes have it) etc.
Сатанізм — це відчувати задоволення, коли живі істоти страждають, стікають кров'ю, вмирають.
Учасники Deathspell Omega, interview of 2000.
Greece, despite current situation, was great and mystic scene. It spent all its history in the shadow of Scandinavians that is why not much is spoken about it now. Enthusiasm of Greece plenipotentiaries of the "second wave" (Rotting Christ, Varathron, Necromantia) and its symbiosis with the traditional ancient mythology have made the local bands cohort truly special. It is used to consider them playing "Hellenic" black metal.
Representatives are: Nergal, Agatus, Zephyrous, Fiendish Nymph, Zemial and the whole pleiad of younger "black metal" adepts (among which even girl ensemble exists called Astarte!).
Greece black metal scene was so real, so great and powerful. What we have now is more bands but only for the trend and nothing else!
Necroabyssious (Varathron band), interview of 1997.
Australian scene can be talked about as the school of "military" black metal (music on the edge of black/thrash/death; practicing of marching inserts usage, shootings, explosions, sirens and other militaristic stuff) although it is reflected by depressive tones sometimes. Notwithstanding of the distance, local scene kept very powerful and untrivial bands. Such ones should be highlighted there Slaughter Lord, Sadistik Exekution (were mentioned before); Reverend Kriss Hades (the solo project of aforecited band’s member); Bestial Warlust, Deströyer 666, Abominator, Vomitor, Atomizer (militarists); Abyssic Hate, Striborg (depressive) etc.
Little remark should be made – military black metal is, of course, a far-fetched term.
I used to kick the shit out of other Sad-Ex members for they’re playing too slow.
Dave Slave (Sadistik Exekution band), interview of 2005.
Japan… it is famous for its filigree musical work but at the same time – for the outright nonsense instead of music. The first black metal band here was freaking cool (read evil and cheerful) Sabbat, which came through all the black metal "waves" and is still on the road. Sooner they have got Abigail and Sigh Tokyo bands as their fellows. The distinctive feature of Abigail (as also of Sabbat) is the number of released works – they publish ones by hundreds, including dozens of concerts and splits with little-known bands from the whole world. What is about Sigh – they are the first (or maybe the second) avant-gardists of black metal who make unbelievably wonderful albums as for their sounding. The history of black metal genre in the rising sun country ends here: there are only a few of worthy bands. Also here may be mentioned such ones as Barbatos (solo project of the Abigail member Yasuyuki Suzuki) and girls band Gallhammer.
Venom and Bathory bands are my heroes! I stole many guitar riffs from them.
Yasuyuki Suzuki (Abigail band), interview of 2005.
"Black metal school" is a too loud name for the US and Canada of 90’s. It is more appropriate to say about its later period of formation. In the times of the "third wave" black metal was rare, poor, middling Judas Iscariot and Demoncy, were its origins and also were those who took part in the "third wave". It has also left the mark withing the poverty of Mexican latitudes – monstrous guys under the name of Xibalba. played there. After that new age brought its notable changes. With popularity arrival to the American continent (though it was moving towards one with the lowest speed) new formations appeared there. They are: atmospheric bands of Cascadia (Wolves in the Throne Room, Fauna, Echtra, Alda); "depressivers" (Leviathan, Xasthur, Vrolok, Velvet Cacoon); "Goat metal cult" followers (Morbosidad, Obeisance, Black Witchery, Manticore); fans of the progressive/technical play (Weakling, Nachtmystium, Krallice, Liturgy) and many others.
The motion impulse of black metal for us is abyssal ecology.
Wolves in the Throne Room, members, interview of 2006.
Observing the else world we can name some more projects of that time as worthy: Summoning, Abigor, Belphegor (Austria), Enthroned, Lugubrum (Belgium), Aborym (Italy), Bethlehem (Germany), Behemoth (Poland), Negură Bunget (Romania), Melechesh (Israel). Sure, this list was supposed to be much longer, especially if including "pops" who at dawn of their career accidentally played black metal for the obscure reason... but we’ll put the dot here.
It seems that there was nothing original after Beatles.
Nergal of (Behemoth band), interview of 2005.
They say black metal was dead by the year of 1997th as history (but not as a genre) because of all expression ways depleted and it becomes mainstream thanks to art of Dimmu Borgir (Norway) and Cradle of Filth (Great Britain; perhaps, the most famous band among all existing). It has no sense to continue narration in chronological order so we omit the time factor and start to move by styles.
True & Raw Black Metal
From the very start black metal was such one. Messy raw sound and very simple inelaborate music (sometimes very alike to death metal). During the "second wave" period (Von, Profanatica, Beherit, Blasphemy) and to the "third wave" (Darkthrone, Judas Iscariot, "Black Legions") – all bands were likely to be brought to the common denominator of "rightness", "truthfulness" and to call ones "raw" (meaning real bad "toilet" sounding). The variety of future experiments caused many subgenres in 1992-93’s and that real black metal was stated as a cult since then. Of course it was still played but such euphoria among the listeners could not be reached again. Nowadays "back to the origins" has lead to special "goat metal" appearance. Its features are total perverse and debauchery which could be seen in their releases design, lyrics, names, in all together!
The contemporaries of goat metal are: Black Witchery, Manticore, Nuclear Desecration, Witch Tomb, Obeisance (USA); Sadogoat, Sadomator, Purification Kommando (Denmark); Revenge, Necroholocaust (Canada); Anal Blasphemy, Blasphemous Evil (Finland); Anal Vomit, Goat Semen (Peru); Teitanblood, Proclamation (Spain); Sadistik Goathammer, Morbid Goat Fornicator (Chile); Morbosidad (Mexico); Blasphemophager (Italy); Goatpenis (Brazil) etc.
The contemporaries of a "pure breed": Horna, Behexen (Finland); Katharsis, Darkened Nocturn Slaughtercult (Germany); 1349 (Norway); Unlord (Netherlands); Craft (Sweden); Древедь (Russia); Лютомысл (Ukraine) etc.
Symphonic & Melodic Black Metal
Subgenre name speaks for itself. The bigger part of distinctive features is inherited from the traditional metal - screaming, high-speed play tempo, tremolo, blast beat. Nevertheless, there are some substantial differences: guitar is under less distortion, music has the melody (i.e it is more adapted for singing), special attention is paid to the guitar (and not only to its) solos, as it is in power-metal or gothic metal. Pure vocals are frequently used (especially women ones, e.g. soprano). From the technical point of view, such black metal is more difficult to perform.
The main difference between symphonic and melodic black metal is in the orchestral arrangement using: it is typical to have numerous classic musical instruments (synthesized as well) for the first one, and the second type only has the pronounced melodic of the compositions.
The subgenres foundation was laid by Norwegians Emperor. In the 1992 they were the first to soften the slaughtering sound using keyboards although their music did not become "easier". Simultaneously one more Norwegian band was experimenting with the keyboards – Arcturus, but they came closer to black metal itself later (in the 1995th). This "shtick" got further evolving by musicians of Limbonic Art. Motherland and cosmos became popular thematics for such bands.
СWorld acceptance of symphonic black metal was brought to genre by Dimmu Borgir collective (Norwegian, again). Plenty of arrangements gave them the opportunity to record the legendary 2001st year album "Puritanical Euphoric Misanthropia" with real symphonic orchestra of Göteborg opera. On its turn the precedence amid melodic black metal is held by Britain Cradle of Filth.
It becomes clear from aforesaid that such music is not in favor amongst the ardent black-metalists though it is popular in the wider circle of listeners.
The famous representatives are: Nocte Obducta, Agathodaimon, Dark Fortress, Mystic Circle, Ninnghizhidda (Germany); Theatres des Vampires, Abhor, Abyssos, Graveworm (Italy); Old Man's Child, Enslavement of Beauty (Norway); Darzamat, Vesania (Poland); Naglfar (Sweden); Gloomy Grim (Finland), Anorexia Nervosa (France); Sirius (Portugal); Sear Bliss (Hungary); Ордалион (Russia) etc.
Depressive & Suicidal Black Metal
Much inconsistent and general classification which takes such unsteady feature like mood as the base: depressive, melancholic, desperate. So where the inconsistency is? The point is that such bands often concede to some heroin post-punk if to talk of its sad & decadent atmosphere but proudful (and pathos) epithet "depressive" is exalted to the cult greatness in the best black metal traditions. Subgenre owes its birth to suicide of Per Yngve Ohlin from Mayhem, nicknamed "Dead" and also to music of Varg Vikernes (Burzum) and Storm (Strid) Norwegian projects, specific by their atmosphere.
The first real "black-metalists of despair" were Forgotten Woods (Norway) and Bethlehem (Germany). These bands exactly recorded the full-length debut albums paving the path to a new direction. In general, it can’t be said they played music of the alike type: there was enough place for the avant-garde breath (like Norwegian ones have it), and for the monolith sound of doom-metal (German’s case), and for the original "black" features (both). In such a mess the subgenre continued its evolution. Idea was evolved by the Australian Shane Rout (Abyssic Hate), who turned music into peculiar accompaniment to a suicide (45 minutes long demo "Life is a Pain in the Neck" – the 1996th year; "Suicidal Emotions" album – year of 2000. Specific and unlike everything existing vocals appeared – shrike (very high and nervous scream on the edge of crying), diluted by inhale (singing on inhalation) during the culmination moments.
In total we have three variants of the "depressivers": black metal with the outstanding experimental approach where genre’s origins are lost under the lay of new ideas; black metal on the edge of doom-metal, i.e. slow and gloomy, maximally negative; suicidal black metal whose enormous monotonous tracks with the indescribably annoyed screechy vocals follow one and only trifling goal – suicide.
Representatives of the first type: Pensées Nocturnes, Mortifera, Amesoeurs, Alcest (France); A Forest of Stars, Fen, Caïna (Great Britain); Gris, Miserere Luminis (Canada); Weakling (USA); Lifelover (Sweden); Joyless (Norway) etc.
Representatives of the second type: Funeral Mourning, Elysian Blaze (Australia); Shining, Livsnekad (Sweden); Urna, Beatrìk (Italy); Hjarnidaudi (Norway); Dolorian (Finland); Nortt (Denmark); Nachtvorst (Netherlands); The Ruins of Beverast (Germany); Trist (Czech); Dysthymia (Iceland) etc.
Representatives of the third type: Nyktalgia, Anti, Sterbend, Nargaroth (Germany); Leviathan, Xasthur, Vrolok (USA); Silencer, Anhedonia (Sweden); Striborg, Woods of Desolation (Australia); Forgotten Tomb (Italy); Monarque (Canada); Totalselfhatred (Finland); Nocturnal Depression (France) etc.
Atmospheric & Ambient Black Metal
It is one more group of genres about which unstoppable debates keep going on. The only undoubted thing is that such music was made real by Burzum (on "Hvis lyset tar oss" album). In addition its echoes can be found among the "Black Legions" records (Brenoritvrezorkre), totally concentrated on the morose message.
Atmosphere (word called to characterize especially expressive sound and effect which it causes to listeners) is the uniting base here. For example, the epic atmosphere of Tolkien world was recreated in the 1995th by Austrian band Summoning beloved amidst the whole world, which was the reason to put it into the one logical row with Burzum. At first such sound was created with help of "landscape" keys, as for now all kinds of "gadgets" characteristic for the post-rock or alike genres are in use.
But this was not all. It turned out that black metal can be mixed up with ambient not less effectively by tracks (one like this, and one like that) than musically, creating more new inconsistences in the listeners’ minds. The highlight of such bands was their mediocrity (what they try to compensate by releases number).
All in all, "atmospheric" bands adore forest thematic, also nature, cosmos. Their decor is made in full accordance with their music: each new album is adorned by photocard of a regular lonely tree or foggy woods, at best the unknown painter’s cold landscape is used as a cover.
Representatives: Agalloch, Njiqahdda, Wolves in the Throne Room, Echtra, Alda, Panopticon, Woe (USA); Lunar Aurora, Wedard, The Ruins of Beverast, Coldworld, Vinterrikket (Germany); Drudkh, Hate Forest (Ukraine); Ancient Wisdom, Lustre (Sweden); Darkspace, Paysage d'Hiver (Switzerland); Ildjarn, Jotunspor (Norway); Mgła (Poland); Negură Bunget (Romania); Altar of Plagues (Ireland); Urfaust (Netherlands); De Silence et d'Ombre (France); Forest Silence (Hungary); Potentiam (Iceland); Ajattara (Finland) etc.
Viking & Pagan Black Metal
Let’s clarify right away: all variants of names are possible here. In author’s point of view, black metal cannot be "national" (i.e. no nation in the world had the analogues of black metal in the ancient times), but what it can do without a doubt is to combine music with odes to different pagan gods or with the songs about ancient Vikings, Celts, Slavs, etc.
The first "Vikings" of black metal were Swedish musicians of the Bathory, the second and the third ones were Norwegian Helheim and Enslaved. After them the historical thematics among the Scandinavian bands became so popular that it seems impossible to list the exact number of bands involved. Bands from another countries caught the "trend" as well, beginning to write about their folk heritage or banally use the Scandinavian thematic (like the French Himinbjörg, Canadian Sig:Ar:Tyr). Frequently for such type of music the pipes, reedpipes, flutes, jew's harp and other national instruments are used. The ethnical melodies of the lands bands origin from are true to type, too.
Representatives: Drudkh, Kroda, Dragobrath (Ukraine); Mithotyn, Thyrfing, Månegarm (Sweden); Primordial, Cruachan, Waylander (Ireland); Einherjer, Windir, Kampfar (Norway); Falkenbach, Finster Forst, Black Messiah (Germany); Moonsorrow, Wyrd (Finland); Кобь (Russia); Skyforger (Latvia); Negură Bunget (Romania); Melechesh (Israel); Hiverna (Canada); Angantyr (Denmark); Yaotl Mictlan (Mexica); Odious (Egypt) etc.
Black Metal with Industrial, Noise, Drone Elements
There always was certain connection between black metal and electronic music. The bands we should thank for this were Norwegian Thorns and Sweden Abruptum. Frankly speaking, the Dutch bands Apator and Exmortes, who have black metal reputation though actually were recording odd satanic noise without any allusion to metal, managed to get there first.
Necessary things for recording such music were drum-machine and keyboards. After that various analogue and digital devices joined the process characteristic for more inventive "electronicals".
Bands Mysticum (Norway), Aborym (Italy) and Blut aus Nord (France). have brought popularity and distribution to the subgenre. I also would like to mention guys from the Ulver, band here but they so cardinally moved from "black" to electronic music that talking about any symbiosis is off the mark. Many alike bands mention the influence of notorious British Godflesh (including aforecited Blut aus Nord).
There should be a remark made: often, in the case of such bands, we are talking about electronic music rather than metal (in its traditional sense).
Representatives: Black Hole Generator, Sturmgeist, The Konsortium, Hjarnidaudi (Norway); Enbilulugugal, The Mausoleums, Fauna, Mamaleek (USA); Blacklodge, Diapsiquir, Godkiller (France); Weltbrand, Gnaw Their Tongues (Netherlands); Abigor, F.P.G.S. (Austria); Woods of Belial (Finland); Thee Maldoror Kollective (Italy); Yhdarl (Belgium); Black Vomit (Great Britain); Underjordiska (Sweden); Funereal Moon (Mexica); Nyne (Greece) etc.
Post-Black, Avant-garde & Experimental Black Metal
It appeared as the innovatory, nonstandard direction of black metal having become the ground of numerous different distinctive bands soon. It can be characterized by complicating the compositions structure, polyphonic sounding, eclectics, mixing "incongruous" genres
The first avant-gardists according to the time factor were Norwegian Arcturus, Japanese Sigh and French Blut aus Nord (although there were many bands already in 1997th who moved beyond the borders of traditional black-metal).
Many collectives mentioned in the previous classifications also fit the post-black definition. For example, "post-black" term is frequently used for the description of more complicated music structure which is 100% black metal by its spirit (Deathspell Omega, late Mayhem).
Representatives: Morgul, Ved Buens Ende..., Solefald, Borknagar, Enslaved, Mayhem, Fleurety, Khold, Angst Skvadron (Norway); Nachtmystium, Ludicra, Krallice, Liturgy, Twilight, Blood Cult, Tjolgtjar, Wrnlrd (USA); Peste Noire, Smohalla, Glorior Belli, Vediog Svaor, Antaeus (France); Oranssi Pazuzu, Circle of Ouroborus (Finland); Lugubrum, Gorath (Belgium); Ephel Duath, Thee Maldoror Kollective (Italy); A Forest of Stars, Anaal Nathrakh (Great Britain); Thy Catafalque (Hungary); Altar of Plagues (Ireland); Mirrorthrone (Swiss); Dornenreich (Austria), Lux Occulta (Poland) etc.
National Socialist Black Metal
To many people it is incomprehensible why to mix art with politics (more precisely, ideology). But black metal is the special type of art. The less fans band has – the more it is cult. So in most of such cases the reason of this disunited symbiosis is trifle – band just wants to reduce its fan-base, not big already. Of course there are other motives, too but explanation is unclear here.
Bands’ genre affiliation is defined by lyrics, oriented on racism, Nazism and antisemitism. In addition the majority of musicians mix Nazism with its nation glorification what relates this genre to the previous classification. Music can vary from the explicit punk and folk rock and to the average black metal (anymore this would be called NSBM, even if there is no black metal).
No representatives would be written there, you better don’t dive into it
Other Tendencies in Black Metal
Among less popular streams noticed to have sinful connection with black metal we would pay attention to the next ones: blackened death-metal, thrash-metal and blackened crust.
1. Blackened Death Metal. Usual compound of two genres which can show up in the different elements of sounding. It became popular thanks to the Sweden and Polish bands. High quality of death metal is typical for it. Bands playing in the feedback (the "second wave") have nothing to do with this classification.
Representatives: Marduk, Kill, In Aeternum, Necrophobic, Jormundgand, Sacramentum (Sweden); Behemoth, Infernal War, Stillborn (Poland); Zyklon, Gehenna, Cadaver (Norway); Angelcorpse, Goatwhore, Book of Black Earth (USA); Antaeus, Temple of Baal, Borgia (France); Belphegor (Austria); Akercocke (Great Britain); Panzerchrist (Denmark); Shub Niggurath (Mexica); Nepente (Columbia) etc.
2. Blackened Thrash Metal. The modern embodiment of the "first wave" proto-black.
Representatives: Absu, Skeletonwitch, Usurper, Devastator (USA); Nocturnal Breed, Aura Noir (Norway); Nifelheim, Gehennah (Sweden); Abigail (Japan); Necrodeath (Italy); Occult (Netherlands); Bloodthirst (Poland); Demonizer (Belgium); Trench Hell (Australia); Ruins (Germany) etc.
3. Blackened Crust & Punk. Odd hybrid appearance of black metal and crust-punk is connected with Canadian Black Kronstadt band’s activity back in 90’s. But real public acceptance this scene felt only in the next decade (especially thanks to the efforts of magnificent duo named Fenris and Nocturno Cult aka Darkthrone).
Representatives: Massmord, Hotbild, Martyrdöd, Radioskugga, Agrimonia, Aktiv Dödshjälp, Ett Sista Andetag (Sweden); Summon the Crows, Kvelertak, Okkultokrati (Norway); Altare, Völkermord (Germany); Bone Awl, Raspberry Bulbs (USA); Iskra (Canada); Gallhammer (Japan); Noia (Italy); Antimelodix (Russia); Life is Hell (Ukraine) etc.
Dmytro Tovstonog (aka Atompunk)
