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Origins
The genre that came seemingly last of all the metal genres was the one that considered its ideals the most seriously and consequently,
produced a radically distinctive form of music. While black metal was somewhat of the cousin of speed and death metal during
its early days, during the 1990s it bloomed into full musical form after developing a philosophy more coherent with its dark
aesthetic than the hedonism and liberalism of the past. In a consequent blaze of controversy, the black metal genre streaked
across the public perspective briefly before proliferating into a variety of styles and mainstream versions of its sound,
forcing older variants out as a flood of similar bands absorbed the genre.
The Early Years
Black metal existed first as a singular concept in aesthetics, and later began to proliferate musically, only differentiating
itself from death metal in the theoretical arena when its philosophical divergence became clear to the Norwegians in the early
1990s. A comparison from history can be found in the invention of the telephone; while Alexander Graham Bell invented the
phone itself, the complex switching systems necessary to connect multiple parties within a city awaited later inventors. Similarly,
the aesthetics (appearance and stylistic refinements of music) of black metal were created long before it really existed as
a genre, influencing a period of long lull in the 1980s.
There is confusion as to who "invented" black metal, but it is clear that like death metal, its origins came from the same
general area and were spread across creators worldwide contributing to the process. While Venom were the first band to grab
headlines with their sensationally stripped down riffing and overtly occultist yet ludicrous image, it was Bathory, Sodom,
and Celtic Frost who gave the genre its enduring form. Where Venom was limited musically to deconstructed heavy metal, these
bands took the neoclassical phrasing and minor key melodies of NWOBHM bands like Angel Witch, Judas Priest and Iron Maiden
and matched them up with the droning three-note roar of early crustcore as exemplified by Discharge. As both bands depended
on diminished melodies in power chord riffing it was a seamless match.
During this formative era of black metal, several general styles emerged. First was Bathory with a smoothly flowing, fast-tremolo
picked flow of sound over consistent throbbing drums; next was Sodom, making three-chord primitivism which moved at high speed
with unsteady and abrupt changes of riff, tempo and texture; also included were Hellhammer, who specialized in droning minimalist
music that often resembled hardcore punk played in minor keys, and Celtic Frost, the continuation of that band into grandiloquent
constructions resembling the musical staging of operatic scenes; finally, there was Venom, who continued to produce their
heavy metal/punk hybrid which delighted in using the simplest possible musical devices to convey the broadest changes available.
From this time onward, the genre slept while innovations were made in the death metal camp, with a few notable exceptions
soon to be covered. The same year that Bathory unleashed its first opus brought about a small but intense wave of hardcore/metal
hybrids front by Slayer but including within the next two years formative works from Sepultura, Possessed, and Morbid Angel.
While the basic approach of death metal was to create intricate arrangements using extended phrasing in an architectural style,
its essential approach involved rhythm and chromatic progressions that did not admit much obvious melody. The tightly-woven,
complex and interlocked riffing used by early death metal bands produced a sense of deconstruction and immersion but gave
little new direction. As the genre wound up for its grand entrance, black metal again split from the pack in the 1987-1988
era with Sarcofago and Mayhem, and was then silent for another four years while death metal raged.
Sarcofago presented something offensive, abrupt and even ludicrous to people of the time who were schooled in the riff salad
style of death metal, with stilted and broken sounding rhythm changes matching awkward, nearly imbecilic riffs, which fit
together into songs with an uncanny, barely discernible continuity. While the majority of the formative work of Sarcofago,
"I.N.R.I.," was abrasively disassociative rhythm riffing, the album held itself together with some admirably sonorous yet
barely logical melodies, seemingly as if formulated on a whim by demons of a distracted but perversely insightful mentality.
Ignored at the time by most, Sarcofago in part generated the impetus toward the bizarre and primitive that spurred the next
generation of black metal into action.
Simultaneous to the release of "I.N.R.I." was the fourth release from Sweden's Bathory, "Blood, Fire, Death," in which the
rippingly fast and simple works of earlier albums had been turned into theatrical yet emotive quasi-operatic pieces in which
rasping vocals and singing coincided and song structures staged dramatic encounters of their parts more than repeating cyclic
patterns. Across the water in Norway, Mayhem were putting the finishing touches on a massively incompetent but enigmatic work
known as "Deathcrush," in which tortuous guitar patterns arced over drumming with the grace of an exhausted pack animal, and
horrific howling vocals textured the mix. The following year, Merciless assembled "The Awakening," a fast speed metal album
with touches of death but an undeniably morbid melodic sensation. Together these releases defined what would go into the mix
of the genre coming next: the aggression and grandeur of Bathory, the abrupt and convoluted structures of Sarcofago, the rough
aesthetic of Mayhem and the dramatic staging of Celtic Frost, who had just unleashed their discontinuous but impressive masterpiece
"Into the Pandemonium."
The Modern Era
Again some years went by in which death metal was the primary focus of the community and fans. Where mainstream metal had
vanished under the dual onslaught of grunge and the progressive selling out of speed and heavy metal bands like Metallica
and Testament, the underground shot to the forefront of the minds of those who expected metal, and consequently, became the
area where development in metal occurred while the more popular bands did their best to reiterate their essential sound and
presence as a means of not losing ground. As death metal became more accepted, however, it became slowly infested with the
same mentality that clogged mainstream metal: an under-confident, socially dependent, accepting and undiscriminating mentality,
which placed excellent bands next to derivative, unimaginative acts without thinking twice.
Born of the desire to surpass this mess, the modern era of black metal began in Norway with the first releases from Darkthrone,
Immortal, Emperor, Burzum and Mayhem. Each differed from the death metal before it in an emphasis on melodic composition and
intricate, classically-inspired song structures, which functioned as motifs, returning to not verses or choruses but clusters
of riffs and musical ideas, which framed their concepts in a setting, not unlike the work of an opera or ancient Greek tragedy.
This new form of metal was more vivid and emotionally evocative than the thunderous assault of death metal, and also less
concerned with the immediate social values around it; it embraced independent thinking, a dislike for all social dogmas and
humanism, a Romanticist love of nature and predation, and a penchant for fantasy and thoughts of ancient times.
The reaction of the death metal boy's club was unanimous: "fags!" However, the new style rapidly gained ground and soon a
second generation of the modern era, including bands like Ancient, Gorgoroth, Graveland, Behemoth, Abigor and Gehenna among
others landed in the crowd. Many of these bands were inspired as were original black metal pioneers Darkthrone by the melodic
tremolo picking of Swedish death metal bands from the previous generation, which caused the pace to be picked up as the aggression,
but the fundamental differences remained. From the reaction to the first wave of black metal, and a desire to get "purer"
and farther away from the possible infestation of death metal bands, black metal bands starting with Darkthrone on "Ablaze
in the Northern Sky" began to use a fuzzed-out, lo-fi sound and primal song structures similar to those of Hellhammer, early
Bathory, and Venom.
While this initially drove away the more sycophantic fans, it was a failing strategy for the same reasons it failed in the
production of hardcore music: it made the genre extremely easy to emulate. As demonstrated by bands such as Dark Funeral,
it was easy to transition from death metal and make primitive and fast melodic black metal songs, which sold in the underground,
and soon there were more ex-death metal, ex-crustcore and ex-rock personnel surging into the scene. By the time of the middle
1990s, bands such as The Abyss and Marduk had joined the party, creating in their process templates, which any bands could
use to emulate the style - and did.
In a few short years, the genre had gone from a handful of bands making distinctive music to a horde of bands making indistinguishable
music identified only by novelty factors of instrumentation, voice and concept. Nothing was any longer being achieved in the
central group of black metal bands, so most of the "old guard" of Norwegian bands backed out and allowed their music to dissipate,
as indicated by Darkthrone claiming their "Total Death" album would be final one from the band. As the hordes of scenesters
and clone rock artists gathered, bands such as Graveland, Summoning and Ildjarn began experimenting in ambient forms of the
original style, writing longer melodies and integrating semi-symphonic instrumentation in digital form in some cases and making
rawer, less rock-like music in the case of Ildjarn.
The Drama
Much has been said about the dramatic entry of the Norwegian scene in the early 1990s. Articles ranting about the terror the
"Inner Circle" and "Black Circle" would bring to Christian society overstated the case, and so by the year 2000 most fans
were tired of hearing the same stories of the genesis of the scene. These will be mentioned here only for the purpose of conveying
the ideology of black metal, and its effect upon society at large that in turn reflected the response of civilization to black
metal and some of the factors that contributed to its demise.
In the beginning, there were a handful of black metal bands in Norway loosely unified around some ideals and a few meeting
places, including the shop Euronymous from Mayhem ran called Helvete (Hell). There is some debate over whether or not there
was a formal "Black Circle" as initially was claimed by American and British publications, but clearly, the members of these
bands communicated and met within the 4.5 million person country. Strange things began happening in Norway: churches burned,
a homosexual man was slit open, miscellaneous assaults and grave desecrations occurred, and then to cap it off, Euronymous
was stabbed one night in his apartment. Furthermore, implications of fascism and/or Nazi beliefs were pointed at many members
of the underground, most of who quickly denied them.
First, the vocalist Dead of Mayhem committed suicide with a large knife and shotgun, leaving a note "Excuse all the blood."
Some time later, Varg Vikernes of Burzum was arrested for burning churches and murdering Euronymous; at the time of this writing,
he is still serving his term (when arrested, Vikernes was near famished from lack of money to buy food, yet had 150kg of explosive
in his basement for use in destruction of churches). Over 20 other black metal musicians and fans were arrested for burning
churches; a total of 77 burned in Scandinavia during that time, although not all have been definitively linked to "Satanists."
Several other musicians did time for killings, assaults, desecrations or unrelated arsons, including Jon Notveidt in Sweden
who served 8 years for being accessory to a killing, and Hendrik Moebus in Germany, who served several years as accessory
to a murder before being arrested for making a Roman salute while on parole. While the carnage was not widespread, the effect
was; Europe saw a wakeup call to some Pagan values and anti-Judeo-Christian sentiment, and America saw a chance at rebellion
and consequently, marketing.
Further, the community of black metal had a chance to demonstrate its values. While most members of the scene when pressed
denied they had been involved in fascist or Nazi politics, they were indifferent to the roles of others in such things. Equally
noncommittal were many around Euronymous after his murder; Hellhammer, the drummer of Euronymous' band Mayhem, shrugged and
said, "One of them had to die," when queried about the feud between Vikernes and Euronymous. Most bands interviewed spoke
positively of nature, negatively of Christianity, and displayed disdain for social behavior that placed the lives of individuals
above that of a collective movement. This made many uneasy, especially intolerant, peaceful, and normally quite uneventful
Scandinavia.
The Aftermath
When the mainstream bands such as Dimmu Borgir, Cradle of Filth and Marduk, that attracted hundreds of thousands to black
metal, are confronted with the ideology of the founders of modern black metal, they quickly shake their heads and walk away.
"Not for us, thanks." In addition, their music is fundamentally different from that of the underground bands; where the originators
of this style used diatonic and chromatic riffs and melodic modes, most of the "aboveground" black metal uses pentatonic scaling
and much of the same riffs and rhythms of metal bands from the 1970s. Thus is exemplified a split in the genre: the bands
who are doing what metal bands always have, and the bands who are moving away from traditional metal toward a more neoclassical,
less rock-n-roll, more intricate musical form.
This split extends to every area of the black metal scene at the time of this writing. On one side, let's call it the "left,"
there are bands who embrace the current era and its variant aesthetics, including the mainstream genres outside of metal;
a good example here would be Ulver or Sigh, both of who create postmodern metal from fragments and samples of other genres
arranged into pieces delineated by key or rhythm. On the right would be the classicists, the old-schoolers who only support
either black metal in the established tradition or who embrace a "purity" of both musical rawness and ideological allusion
to the Greco-Roman, Viking or fascist values. For all intents and purposes, this split is permanent, with the sides diverging
into assimilation on the left and obscurity on the right, yet somehow they keep attracting audience, albeit a degraded one.
Some would say that there was a mystique about black metal that took a long time to die; it didn't break in 1996, when
The Abyss made an album so textbook Norwegian black metal that it provided a template for other bands to follow, and it didn't
even break in 1998 when all but a handful of the original bands had moved on to making more contented music. The year after
however appears to have brought the death of black metal in a form emerging from within, similar to the story of Baldr's death
that conceptualizes a later Burzum album: betrayal from within. When the first of the more mainstream bands emerged, the underground
took a clue from Darkthrone and it became de rigeur for the non-commercial bands to slap out albums with monochrome art and
blindingly distorted low-technicality music. As before however, this made it easy for further emulation to occur, diluting
a genre with exactly what it opposed, and turning it from a movement where concept, music and action were joined into another
form of entertainment for couch-bound teenagers.
Black Metal Belief Systems
Conventional wisdom in the Judeo-Christian west holds that nature is lawless, dangerous and pointless; to give life meaning,
there must be a moral goal, such as civilization itself: the conquering of natural frontiers and environments, taming of natural
impulses in humans, and reduction of the law of the fittest - an equalization, as F.W. Nietzsche and later others pointed
out. Nietzsche saw this equalization as a form of "revenge" on nature by depriving nature of what makes it threatening to
the individual human, namely the potential imminent death - a form of judgment - for being less than capable in a situation
calling for endurance and survival.
Sixty years after Nietzsche's most influential period of work, explosions on the Polish border awakened the globe to the Second
World War. In this war, a conflict between the most fundamental division of ideology was established: collectivism versus
individualism, with the latter favoring the kind of product-oriented, technologically-based, container-logical lifestyles
currently seen in the first world nations. It was those insular and self-pleasing ways of living that first irked black metallers,
and demonstrated to them a social devolution: there was no longer any competence needed, only obliviousness. Many black metallers,
like Nietzsche, found greater inspiration in nature than in post-Judeo-Christian western society, and identified what Christians
find horrible - the bloody, competitive, anti-individualist character of nature - to be an example of the most sublime beauty.
The ideological inclination of black metal remains disturbing to most and illegal in many countries. Yet it is not unique
to black metal; as history shifted in the 1960s from a predominantly conservative society to a liberal society, thanks to
the counterculture, and its effects were only felt with the children growing up in the 1980s, their response mirrors that
of some who rejected the flower powery view of the politics and society. Among the thinkers and dissidents now coming back
into favor are ecological fascists like Pentti Linkola and Theodore Kaczynski, as well as various stripes of nationalist and
racial separatist leaders. (The Anti-Defamation League, a Jewish self-defense organization, claims that National Socialist
and Neo-Nazi movements are increasing "worldwide.") It's hard to see what the future holds but this controversy remains in
the forefront of not only black metal, but international politics, as shown by the amount of air time it is given by the entertainment
industry, news media and American/U.N. politicians.
Interestingly, black metal joins not only the far right, but also the far left, in many of its sentiments. As the world anti-globalist
and anti-capitalist movement picks up speed, it echoes many of the ideals of black metal: natural ecosystems; ethnic uniqueness;
population control; an end to technology-driven, product-oriented, convenience-based lifestyles. Protestors across the world
in anti-war and anti-globalism protests would be shocked to know they have something in common with a group of bloodthirsty
church-burning fascists who idealize the occult, but perhaps would be glad at least for a sympathetic ear. Interestingly also,
the "modern primitives" movement as seen in events like the Burning Man festival and the survivalist trend around the time
of Y2K align themselves in the same general direction these ideals seem to be taking, but the final synthesis has not yet
been heard.
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