Black metal

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Black metal can contain, but is not limited to, the following characteristics:

• Fast, overdriven guitars played using alternate picking or tremolo picking.
• Highly distorted and drawn out power chords.
• Relatively thin or thick guitar tone — usually not in the middle (mid frequencies are thus scooped out, leaving solely the treble and bass; sometimes with the bass also removed.
• Pendulum strumming may be applied to fully voiced chords (usually minor) in a denser portion of a piece. The chords may also deliberately shift fully voiced minor barre chords up or down despite the applications suggested by music theory, such as E minor to C minor, which is usually avoided for its extreme dissonance.
• Frequent use of chromatics, shifted up and down by semitones from a given central tonic to create an uneasy atmosphere, as well as the tritone interval. There is also frequent altering of already established scales for a more dissonant, "evil" sound, such as the harmonic minor.

• Double bass, blast beat, and D-beat drumming
• Fast, repetitive, aggressive drums, often with blast beats. At other times, the drums can take a slower role usually accompanied by a very dry and empty tone — especially for the effect of the atmosphere of the music. On occasion, some groups such as Burzum and Xasthur will dispense with drums altogether in certain song segments.
• Some bands use drum machines instead of a human drummer.

• A distinct rasped vocal style, a very guttural rasp or a high-pitched shriek, which is reminiscent of torture. This is one of the more obvious categories that sets it the genre apart from death metal, which often uses a very deep style of growl, grunt or roar. This is basically standard in all black metal bands, although there are exceptions. Some bands, particularly symphonic black metal bands, incorporate clean vocals mainly for atmospheric purposes.
• Often there is a reverberation effect on the vocals, to make them sound more cavernous and atmospheric.
• Some black metal songs are complemented with choir-like vocals by males or females, much like a Gregorian chant.
• Most black metal bands sing of similar themes. The most common themes involve religious beliefs of Satanic, Pagan, or occult, and an opposition to Christianity. Lyrics may often celebrate the cold, darkness, forests, and other natural surroundings of northern European countries, as well as their folklore and history. Lyrics also explore the darkest aspects of life, including war, misanthropy, desolation, and the Apocalypse.
• Lyrical content may be also inspired by fantasy, in particular the works of Tolkien set in Middle-earth. The Austrian band Summoning focuses almost exclusively on Tolkien Middle-earth for its lyrical content. Other bands create their own fictional realms. For instance, certain songs by Immortal depict an imaginary kingdom called Blashyrkh. Bal-Sagoth also creates fantasy stories that are inspired by writers like Robert E. Howard and H.P. Lovecraft.

  File:Gorgoroth Band 1.jpg

• Unconventional song structures that are devoid of verse and chorus segments, and contain extended and repetitive instrumental passages, with less use of vocals than other styles of metal.
• Less focus on dynamic rhythm than death metal. Very few black metal bands exhibit the rhythmic complexity inherent in death metal and even if they do, they usually exhibit at least a few of the above-listed criteria if they are still generally classified as black metal.
• Occasional electronic keyboard use. The harpsichord, violin, organ, and choir settings are most common, which gives the music an orchestral feel or a cathedral-like setting.
• Some bands tend to use keyboards very frequently, whether it be as an instrument or even as the basis of their entire sound. They are generally placed under the symphonic black metal label.
• Certain bands have recorded with full symphony orchestras, such as Dimmu Borgir.
• Limited production used intentionally as a statement against mainstream music and/or to reflect the mood of the music by creating a certain atmosphere. As mentioned earlier, this 'underproduced' effect is often achieved by cutting out mid frequencies, leaving just the treble and/or bass frequency range. It is often said that this was due to a low budget, but this often wasn't the case. This production style is often considered an essential element of 'true' black metal, with Darkthrone's Transilvanian Hunger album being a highly influential example of this production style.

• Unlike other musical genres, where live musical performances are an essential component of the genre, many black metal bands do not play live. Some bands, like Darkthrone, refuse to play live. Others, such as Clandestine Blaze, Leviathan and Xasthur are not live bands because they consist of only one member. However, some one-member bands, such as Black Torment and Satanic Warmaster, perform live with extra musicians specifically signed for live performance purposes. A significant number of bands with a full line-up, like Gorgoroth and Dark Funeral do play live concerts. Bands such as the aforementioned involve theatrics that are coherent with the nature of the music (generally perceived as gruesome).
• Many black metal musicians adopt a 'neo-medieval' costume style that may include leather, spikes, bondage gear, "archaic" armor and weaponry.
• Album covers are usually atmospheric or iconic. Some feature natural or fantastical landscapes, like Burzum's Filosofem or Emperor's In The Nightside Eclipse. Other album covers may be violent, perverted, or iconoclastic, like Abyssic Hate's Suicidal Emotions or Marduk's Opus Nocturne.
• Some musicians may adopt a stage name, often based in mythology or folklore. Emperor's Bård Eithun referred to himself as Faust.
• One of the most striking features in black metal is the use of facial corpsepaint, the use of black and white make-up to make the wearer look like a decomposing corpse or plague victim. In modern times, the concept has faded, with bands like Emperor claiming the image has lost its original meaning. However, others like Gorgoroth and Dimmu Borgir still wear corpsepaint.

The earliest black metal music can be traced back the late 1970s and the beginning of the 1980s, with the emergence of what would later be known as the "First Wave" of black metal bands. This wave included the British band Venom, whose full-length debut album, Welcome to Hell (1981), and the 1982 follow-up aptly titled Black Metal, was a huge inspiration to the future black metal scene (not to emerge until around a decade later)^{[citation needed]}. The music was in many ways similar to later black metal, sharing with it a less than polished production, "unclean" vocals, and elements of that overall harshness which would later come to define the genre. Venom's clothing style was also similar to that of the future black metal bands, including leather pants and spiked wristbands. Furthermore, Venom's members adopted pseudonyms, the original line-up being Cronos, Mantas, and Abaddon.

Another early source of inspiration for the black metal scene was the Swedish band Bathory, led by Quorthon (Thomas Forsberg)^{[citation needed]}. Bathory were in many respects pioneers of the black metal genre, tweaking the suboptimal production standards of Venom to better suit their raspy vocals and furiously fast tempo, as heard on early albums such as The Return. Bathory would continue to innovate, adding elements such as acoustic instruments, Scandinavian folk music themes, and lyrics heavily influenced by Norse mythology, which would become influential enough to spawn an entire sub-genre known as Viking metal^{[citation needed]}.

Other influences include Hellhammer, Celtic Frost, and the Danish band Mercyful Fate, which featured occult and blasphemous themes, something later black metal bands would embrace wholeheartedly^{[citation needed]}. King Diamond, vocalist and front man of Mercyful Fate, was one of the first to appear in corpsepaint, something the vast majority of the black metal bands of the 1990s would imitate^{[citation needed]}. Lastly, the "Second Wave" of black metal can be said to owe a debt to the Italian band Death SS, which mixed horror themes with thrash metal in the late 1970s and early 1980s^{[citation needed]}.

Black metal congealed in its current form through the influence of "second wave" Norwegian bands such as Darkthrone, Satyricon, Mayhem, Burzum, Gorgoroth, Immortal, and Emperor, who began with the earlier style and introduced elements from mainstream heavy metal^{[citation needed]}, classical music^{[citation needed]} and popularised the style to a growing underground audience^{[citation needed]}. Their influence is most apparent in the Satanic or pagan imagery, anti-Christian lyrics and occult themes^{[citation needed]}. The use of corpsepaint was also most prevalent during this wave^{[citation needed]}.

Besides the influence of Norwegian bands, in the beginning of the 1990s the black metal scene in Sweden grew and became important with bands such as Marduk and Dissection and in Finland with bands like Beherit and Impaled Nazarene^{[citation needed]}. Elsewhere, band such as Samael, Master's Hammer and Blasphemy had a big influence on the second wave of black metal^{[citation needed]}.

An abraded, very low fidelity recording style is common in most black metal. Modern evolution of many of the older genre-leading bands have had a vast change in sound, and by many - and most of the times, even the band - are no longer considered black metal^{[citation needed]}. Such examples include Mayhem's career that began mostly in the death/black roots, moved to almost pure black, then towards death again in their later career. Also, Behemoth, who started off as black metal, moved towards a hybrid of black metal and death metal known as blackened death metal, before eventually focusing on pure death metal elements. Modern offshoots of this original black metal sound have incorporated atmospheric elements using ambient guitar and keyboard passages such as organ sounds or other miscellaneous instruments.

One of the major influences of the first black metal bands were the English band Venom. Although Venom cannot be credited as a true black metal band or the sole founders of the genre, they were a major influence and one of the first bands to use Satanic and dark lyrical themes in their music. Even though Venom's musical style had more in common with thrash metal or NWOBHM, they did have a great influence on the first black metal bands of the late 80's/early 90's. In the late 1980s and early 1990s, one of the most prominent figures of the Norwegian scene was the studio, where Mayhem and a number of other bands that were signed to Øystein Aarseth's independent label, Deathlike Silence Productions, began to record. Deathlike Silence's stated goal was to release records by bands "that incarnated evil in its most pure state."

Headliners of the black metal scene in the early 1990s claimed responsibility for inspiring, if not necessarily perpetrating, over a dozen arson attacks directed at Christian churches in Norway. Many of the buildings were hundreds of years old, and widely regarded as important historical landmarks. The most notable church was Norway's Fantoft stave church, which the police believed was destroyed by the one-man band Burzum, Varg Vikernes, aka "Count Grishnackh". However, he was acquitted by the court due to lack of evidence. Burzum's EP release, Aske, had a cover which depicted Fantoft stave church after the arson. Vikernes claims to have taken this picture, but this has not been verified.

In modern times, the church burnings have caused a minor divide within the black metal community concerning the legitimacy of the actions. When interviewed for the film Metal: A Headbanger's Journey, Gaahl of the band Gorgoroth praised the historical church burnings as "things I support", adding "there should have been more of them, and there will be more of them". However, other artists, as surprising as it may be, don't support the historical burnings. Necrobutcher, one of the current members of Mayhem, was quoted in a mini-documentary that accompanied the same film, saying "I think it's ridiculous, especially the people that lit up our old fuckin' churches. They don't realize that these were actually Heathen churches, before Christianity. So they fucked themselves in the ass by doing that".

In 1991, attention towards black metal increased when Mayhem's frontman Dead committed suicide by a shotgun blast to his head. His note simply read "Excuse all the blood". The ammunition was supplied by Varg Vikernes, who played bass for Mayhem on "De Mysteriis Dom Sathanas". Dead's body was discovered by fellow bandmate Øystein Aarseth (also known as Euronymous), who, instead of calling the police, ran to a nearby convenience store and bought a disposable camera to photograph the corpse. The pictures were later stolen and one was used as the cover image for a bootleg Mayhem album (Dawn of the Black Hearts). Claims that Aarseth took pieces of Dead's brains and made a stew out of them eventually surfaced, as well as claims that the members of the band made a necklace from the bone fragments of their friend's skull. The former claim was later declared false by the band, although the latter turned out to be true[1].

Varg Vikernes of Burzum was arrested for the murder of Øystein Aarseth of Mayhem at Aarseth's home in 1993. According to official reports, Øystein received a total of twenty-three stab wounds: two to the head, five to the neck, and sixteen to the back. The circumstances of the murder are not entirely clear. Some believe the act was a result of a power struggle between Vikernes and Aarseth, and that the delay of Burzum records being released on Aarseth's label was the result of jealousy towards Vikernes. Furthermore, Aarseth's closing of their record store (Helvete) may have escalated their conflict, which alluded to a financial dispute over the profits from Burzum's first two full-length records (Burzum and Det Som Engang Var) as well as the first Burzum EP (Aske). Rumors also claim the murder was Varg's attempt at "out doing" Bård Faust's stabbing of a civilian in Lillehammer the year before (see below)[2]. Vikernes himself claims that Aarseth plotted to torture and kill him out of jealousy, and the murder was purely out of self-defense[3]. Vikernes was sentenced to 21 years in prison and has since distanced himself from the black metal movement. He has released two albums of a much more ambient and electronic kind of music, Dauði Baldrs in 1997 and Hliðskjálf in 1999, but implied in a recent interview that he would write material similar to his older works upon his release from prison. As far as Mayhem, the murder of Aarseth nearly rendered the band extinct. However, they continue to perform even today, fronted by original member Necrobutcher and long time drummer Hellhammer. In 2003, a concert-goer in Norway received a fractured skull as a sheep head flew from the stage while band member Blasphemer was cutting the head away from the torso[4].

In 1992, Bård Faust of the band Emperor was in Lillehammer to see the newly constructed Olympic park. A homosexual man named Rhys Adamec approached him and suggested that they go together in the nearby forest. Faust agreed, and once in the forest, stabbed the man to death. After Faust committed the murder, he went with members of Mayhem to burn Bibles and hymnals at a nearby ski-jump. In the fall of 1993, police began to investigate the murder of Øystein Aarseth from Mayhem, naming Varg Vikernes as a suspect; this investigation eventually led to the conviction of Faust for the murder in Lillehammer. He was interviewed for a black metal mini-documentary that accompanied the DVD release of Metal: A Headbanger's Journey.

There was also a conflict known as the "Dark War" between Norwegian and Finnish black metal scenes during 1992-1993. This started when Nuclear Holocaust of Beherit started to make prank calls in the middle of the night to Samoth of Emperor and to Mika Luttinen of Impaled Nazarene. The calls were mainly just babbling and playing of children's songs.^[1] Luttinen somehow got the idea that the language babbled was Norwegian and they were making death threats to him. These speculations were made by him probably because of the tensions between Finnish and Norwegian scenes in that time, as Euronymous wanted to lead his black metal movement into a more occult stance, where as Finnish scene continued with the more easy going attitude and LaVeyan Satanism.

The "war" itself was also more than just talk. In the album cover of the Impaled Nazarene's Tol Cormpt Norz Norz Norz you can find texts like "No orders from Norway accepted" and "Kuolema Norjan kusipäille!" (Death to Norwegian assholes!). After their first LP, Impaled Nazarene quit playing black metal and defined their style as "Satanic death metal", disassociating themselves from the church burnings in Norway. The Finnish band Black Crucifixion also became known to criticize Darkthrone as "posers" and "trendies" in every possible interview.^[2] Beherit didn't really participate in the conflict, yet in Norway there was a band called Fuck Beherit which released two demos mocking the band. The conflict is also said to have had an effect on Beherit's decision to quit black metal, but there isn't anything concrete to this, only the somewhat same date. The conflict ended as both scenes withered.

It was normal in European countries for Black metal enthusiasts to terrorize other notable Death metal bands that were touring their country or in neighboring countries, on the basis of their lack of apparent "evilness" (the death metal sub-genre focuses strictly on theatrics, and is mostly devoid of major criminal attempts and controversy, unlike black metal). Many recall a strong Swedish death metal and Norwegian black metal rivalry.

Despite a few recent controversies surrounding members of Gorgoroth, the black metal scene has lost much of the violence it had become known for in the early 1990s. Towards the mid-1990s, bands began to take new directions and increase their production quality. The introduction of electronic instruments, such as synthesizers, signaled the end of the second wave.

However, since the mid-1990s, an Eastern European black metal scene has been developing. Bands from the former Communist Bloc are recording material more in-keeping with the primitive nature of the early Norwegian artists. Many of these bands' lyrics glorify the pagan roots of their home countries, occasionally injecting elements of indigenous folk music into their arrangements. The Latvian band Skyforger is a prime example of this new aesthetic. The black metal scene in Russia and Ukraine has produced many bands more in keeping with the carefully arranged sounds coming from Scandinavia, but with more appreciation for the low fidelity aesthetic of early black metal. The Czech band Trollech are a perfect example of the "old-school" Pagan black metal band. The Ukrainian neo-Nazi Nokturnal Mortum has achieved very large recognition in the west; their earlier albums relied heavily on synthesizers, but their current work has a grimmer, more abrasive feel flavored with Slavic folk instruments. Poland's neo-Nazi band Graveland has, in recent albums, striven for a 'medieval' feel, resembling a more developed version of later 'Viking' Bathory albums, but in the past made much rawer music which still held a certain intangible folk flavor. From Romania, Negură Bunget is a prime example of traditional black metal, injecting their own indigenous mix of Dacian and Latin elements creating something original, along with a Scandinavian sound.

Bands such as Dark Funeral and extreme metal magazines such as Terrorizer believe that a third wave of influential black metal bands is emerging^{[citation needed]}, this time from France and Sweden. These include Draupnir, Deathspell Omega, Watain, Blut Aus Nord, Arkhon Infaustus, Anorexia Nervosa, Antaeus and Ofermod. Many of these bands claim to be much more interested in Satanism and/or Occultism than previous artists^{[citation needed]} and generally play a very raw extreme style. However, just as with the earlier second wave Norwegian bands they have started to experiment, Deathspell Omega are influenced by Gregorian chant and Blut Aus Nord now incorporate elements of ambient industrial. There is much controversy surrounding these new aspects; many black metal fans feel that this industrial influence and the increased production mean such bands do not fit within the black metal genre.

Any attempt to lay out the ideology of a musical genre is bound to generalize to the extent that some traits are unfairly played up with respect to certain artists, while others are laid out which do not apply to all. Nonetheless, there is a clear ideological thrust which can be sketched out which captures the essence of the thought behind black metal music.

The attitude taken to art in black metal is complex. To a large extent, aesthetics are ideology. Black metal is generally held to embrace anti-Christian sentiment, misanthropy, nihilism, Paganism, or Satanic imagery, as well as in rare cases racism and nationalism. In actuality most black metal musicians view their craft as a natural result of their inherent misanthropy and anti-establishment Weltanschauung ^{[citation needed]}. Similarly, there is often a deep link to nature which is emphasized, being a type of naturalism, with a heavy emphasis on mortality and the unknown aspects of death. More generally, most black metal musicians are strongly anti-collectivist, critics of religion and are advocates of individualism and rational egoism, but Nationalist Socialist black metal is an exception to this case. The philosophy of Nietzsche is perhaps that which has had the most profound influence on black metal ideology, with strong ties between the production of art as an expression of living, the hatred for 'the bungled and the botched', and the doctrine of the übermensch as seen by Nietzsche and as expressed in black metal aesthetics ^{[citation needed]}.

The majority of those involved in the scene are not outspoken with regard to either nationalism or xenophobia (these values are almost exclusive to the sub-genre of National Socialist black metal), perhaps because standard black metal ideology is influenced by anti-idealist philosophers who often regarded racism as a form of idealism or philanthropy. Nonetheless, many black metal bands espouse a form of nationalism that is not racism: they are merely proud of their nation, but do not deny the right of other people of other nations to be proud of theirs. This is part of the anti-collectivist mindset which is sometimes held. It follows logically that homogenisation between cultures (irrespective of race) is something to be avoided, and the way to avoid this is to take pride in being a representative of one's own culture, and produce art that is distinct to it. This form of nationalism is manifested musically by the incorporation of folk elements to some black metal bands' work. This often occurs well outside of the National Socialist subgenre.

A black metal movement that deals with Neo-Nazi ideologies, often mixed in with topics pertaining to European pagan religions, National Socialist black metal (NSBM) is more interpreted as an ideology than a sub-genre as there is not any developed "style" to play black metal in a National Socialist way. However, the term has stuck around not only because there are traceable movements and labels that sell NSBM exclusively, but also because it is such a hotly debated topic; giving rise to questions like whether it does or does not coincide with traditional black metal characteristics, or whether it should even be considered a subform as most black metal bands do not adhere to the ideology. Some black metal bands have been wrongly labelled NSBM, as there is little to no evidence in the bands lyrics to prove their ideologies. Even though NSBM bands usually have topics that concern Paganism, it should be noted that most Black Metal bands which have lyrics about paganism are not NSBM.

Despite the fact that black metal is an underground genre, there are references to black metal in mainstream media. The cartoon show Metalocalypse is a show about an extreme metal band called Dethklok, with many references to leading black metal artists on the names of various buildings such as "Dimmu Burger"", "Gorgoroth's" electric wheelchair store, "Burzum's" and "Behemoth" studios ^{[citation needed]}. In the videogame Guitar Hero 2, a character named Lars Umlaut resembles a black metal musician and blows fire. A Norweigan commercial for a laundry detergent once depicted black metal musicians as part of the advertisement ^[3]. Black metal bands such as 1349, Dimmu Borgir, Bathory, Satyricon have had appearances on MTV's Headbangers Ball.

• Black Metal Inner Circle
• List of black metal bands
• Unblack metal

• Moynihan, Michael. Lords of Chaos: The Bloody Rise of the Satanic Metal Underground. Venice: Feral House, 2006. ISBN 0-922915-48-2
• Jones, Karl. 'A blaze in the northern sky' : black metal music and subculture ; an interactionist account. Manchester : University of Manchester, Department of Sociology, 2003. ISBN 0946180601

• Black Metal UK
• The Origins of Black Metal Publication > Articles > The Origins of Black Metal