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  1. says:

    It’s hard to remember now but Black Metal was once an interesting cultural phenomenon At some point in the 2000s however it was infiltrated by New York hipsters who sucked the life out of it then tried to rewrite its history as a rebellion against the ‘right wing patriarchal church’ Of course anyone who was around in the ‘90s remembers it was the exact opposite a rebellion against the stifling left wing conformity of the Norwegian state church known in the Scandinavian countries as the Law of Jante similar to Tall Poppy SyndromeFenriz of Darkthrone recounts a Norwegian swimming race where instead of the fastest child being the winner the authorities picked the child whose time was closest to the average No wonder the Norwegian teenage metalheads rebelledAt the same time the best Black Metal bands were up the volkisch end of the spectrum than the Ayn Rand end This book has some interesting essays and despite being a bit repetitive is a lot insightful than the tacky ‘Lords of Chaos’ book

  2. says:

    Whenever I hear about the publication of a new book on the subject of Black Metal I pounce and pre order even if it means living on Tesco Value Bran Flakes for weeks When the tome arrives I savour it lapping up every word sometimes putting it back down after one chapter to return to it the following day so as to make it last longerMy first impression with this book was a good one Mar some of the fonts on the inside which I felt clashed somewhat It’s nice hefty and well put together with an editor who doesn’t only have a passing interest in Black Metal but an almost life long dedication to it Personally I think it would be pretty much impossible to write a decent book about Black Metal without having been submerged in the lifestyle for at least fifteen twenty years or Black Metal European Roots Musical Extremities is a book which smashes through the surface skin and deep into the inner workings of this most extreme of music genresThere’s an eclectic mix of contributors including Jeffrey ‘Mantas’ Dunn Yes The Mantas Gareth Giles a practising Odinist and founder of Hrafnblóð Matthew Kay owner of Wodfreca Records and sole member of Anglo Saxon metal project Æþelruna Vijay Prozak the founder of Dark Legions Archive Hendrick Mobus Jarl Von Hagall and many othersThe book fires off with a solid introduction from Southgate in which he talks about Black Metal’s domination From the snow covered environs of Norway and secluded graveyards of England to the dark forests of Germany and remote woodlands of Poland and Ukraine an unstoppable Black Metal beats has dominated the extreme end of the musical scale for than two decadesThe first chapter titled Black Metal Conservative Revolution in Modern Popular Culture Part 1 is written by Alex Kurtagic and provides a fascinating insight into the origins of Black Metal going into depth about how Black Metal is one of the most significant popular culture phenomena of the last two decades I particularly enjoyed the section in which Kurtagic discusses how Black Metal differs from Heavy Metal Black Metal on the other hand is much darker and much extreme favouring a rawer noisier and much harsher guitar sound; unpredictable song structures; classically influenced melodies that suggest grimness mysticism sorrow and misanthropic hatred; and inhuman demonic screeches for vocals unintelligible and heavily reverberated In addition Black Metal lyrics tend to be serious and arcane dealing with the occult pre Christian mythology pagan pride war misanthropy genocide and hatred of ChristianityNial Hiat’s chapter This is War From the Mellifluous Abyss to the Light explores the impact Black Metal has had and continues to have on his life The chapter includes valuable insights from a variety of valued figure heads Where Black Metal fits in is that it opened my eyes and ears to an otherwise unexplored avenue of spiritual development to a stage where today I am far enlightened and deeply spiritual individual which of course has benefited me in my personal life to a degree I could never have envisioned and one that I am eternally gratefulIt was interesting to read about his experiences in education too Never in the ‘cool’ crowd at school and somewhat feared by ‘metal heads’ for my sinister ‘Satanic image’ and rejection of their music’s baselines and simplistic lyricism even during these times of adolescence I had a 100% record attendance at school and was popular amongst the teachers Black Metal is than music It’s a listenable ideology and thus much different than any other sort of “Metal” music that is supposed to be for entertainment first and foremost Defiance MagazineIf we have a positive relationship to our homeland to our blood to our race to our religion and to our culture we will not destroy any of this with modern “civilization” Id est capitalism materialism Judeo Christianity pollution urbanization race mixing Americanization socialism globalization etc The “nazi ghost” has scared millions of Europeans from caring about their blood and homeland for sixty years now and it is about time we banish this ghost and again start to think and care about the things that whether we like it or not are important to us Varg Vikernes Mat Kay’s chapter Black Metal and my own Awakening is an insightful read and Kay make’s an especially arresting statement about art Art is what we create when we become so separate from nature that we must do something – anything – to try and express our connection to it The further away we become the grotesue and abstract our arts become imitating the worldCharle’s G Hicks in his chapter Black Metal The Ends and Means about the Screams goes into depth about the links Black Metal has to folk music much to my fascination When we arrive at the content and specific features of the style in composition we must mention the superb traditional and uniue sound and melodic richness of the Scandinavian – and particularly of the Norwegian – traditional folk music with and including the traditional instruments It is this sound bought to the scene without imitation but by the original folk of the land that began to to create the black metal sound that became so significantly recognisable The Norwegian sound and melodic influence of their traditional folk was – uite incredibly –morphed into the ferocious speed and aggressive volume of the guitars to create a new version of the folk music itselfHicks also talks about how Vikernes was one of the first artists to actively eradicate blues elements from his music This was – uite simply – though controversially – because Vikernes wanted nothing to do with the musical history of the Negro – or the history of the African American in general I told the producer ‘Give me the worst microphone you have’ The sound of the drums we didn’t do anything to make the sound of the song special Ten minutes and everything was ready And he was asking ‘Don’t you want to do anything you know you always have the adjust the sound’ No Because it was a rebellion against this ‘good production’ We called it necro sound ‘corpse sound’ because it was supposed to sound the worst possible I ended up with a headset as a microphone because that was the worst I could find I used this tiny Marshall amplifier you know this big because that was the worst we could find Varg Vikernes Varg features uite heavily in Hick’s chapter and with good reason He talks in depth about the supremacy of the natural order and the dire conseuences that currently face the human race due to our greed and mass over population This spiritual void has become an even bigger problem due to the fact that there are six billion people living on this planet and almost all of them are doing their best to accumulate as much goods as they can possibly get their filthy hands onIronically the only thing that can save mankind is a stream of pandemics natural disasters and other human catastrophes wiping out most of us Hicks talks of how ‘In its most primitive formulation metal is a worship of power and the beauty that can be found in darkness as exemplified by its distorted cords strung together in melodies which rise from chaos to order It is esoteric and occult in that it does not believe the world can be neatly divided into public categories of good and evil’It was remarkable to read how Bathory’s uorthon was inspired by classical music and used his interest to feed into his ‘musical awareness’ I began to listen to classical music shortly after forming BATHORY and from 1985 1986 it was all I would listen to I had been playing various types of rock in various constellations since 1975 so picking up Wagner Beethoven Haydn and others really broadened my musical awareness extensively The motif signature naturally comes from the world of operaTony ‘Demolition Man’ Dolan in his chapter Metal Turned Black talks about when he heard the term Black Metal for the first time Round about 1982 I heard the term Black Metal for the first time It was of course to the the title of an album by the band Venom and so it began Back then we were all in a grim place in the North of England mass unemployment and the Shipping industry our foundation was all but closing down of being sold off This reflected in the music coming out of therehard and heavya screaming testament to our frustrations Venom chose the name for their album Black Metal to separate them from the rest of the ‘Heavy Metal’ pack at the timeJeff ‘Mantas’ Dunn talks in his chapter Black Metal Thoughts Observations about how he felt that Venom had nothing in common with the other metal bands at the time We were always the outcasts the bands in the North East at that period of time hated uswhy?BECAUSE WE WERE DIFFERENTFor whatever reason the world went Venom crazy and there was a lot of underlying jealously from bands who in all fairness were harder working and superior musiciansJarl Von Hagall in his chapter Black Metal The Aural Expression of Esoteric Racial Mysticism talks about ‘sell outs’ and those who associate themselves with NSBM retreating and denying connection as soon as conflict arises There are also various examples of bands that used to be considered by the fans – or even call themselves – NSBM or Aryan BlackPagan Metal but they ended up writing apologising statements Just flirting with the imagery and ideology is something very easy and harmless that everyone can do but when things get really serious then they deny any involvement with extreme and politically incorrect ideas and movements because they don’t want to have any bad conseuences in their careers and personal livesIn Hendrik Mobus’s chapter Is Black Metal a White Noise? A Brief Introduction to the Extremism Beyond the Music Vikernes is uoted defending his support for the church burnings back in the early 90’s As for my motives for supporting the church burningthe Viking era began on the sixth of June 793 AD when Vikings from Hordaland in Norway attacked a Monastery in England It came as a response to the French King Charlemange’s conuest and Christianisation of the Saxons in 792 AD when he hacked down the Irminsul a holy Tree dedicated to Donar; Irminaz is a name for Donar and Sul means Pillar When this happened Scandinavia was shocked and we understood that we were next in line if we didn’t hit back soon The attack on England is the first recorded attack but of course it wasn’t the first and in fact almost 80% of attacks were directed against FranceHowever the sixth of June 793 is the historical date symbolizing the desperate struggle and this should explain why Fantoft Stavechurch in Hordaland was burnt to the ground on the sixth of June 1992 It was the introduction of the second Viking era when we claim back what is ours The arsons marked a change in historyI have mentioned but a few parts of Black Metal European Roots Musical Extremities I could go on with my review for a further ten or pages but I want to leave parts for you to discover yourself I wish to salute Southgate This book is a dense focused work one which has left me significantly wiser that I was when I first picked it up and uietly empowered The areas it covers are vast and investigated by valued figureheads I thoroughly recommend it to anyone with an active interest in Black Metal and its roots

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Black Metal


From the snow covered environs of Norway and secluded graveyards of England to the dark forests of Germany and remote woodlands of Poland and Ukraine an unstoppable Black Metal beast has dominated the extreme end of the musical scale for than two decadesBlack Metal is an aesthetic an emotion an attitude and for many a way of life Exposing the inner workings of your delicate eardrums to unbridled screams of primeval fury an unending torrent of galloping rhythms and indomitable wall of buzzing guitars is like being thrown head first into the whirling eye of a chthonic vortex Black Metal can be disturbing invigorating provoking and empowering One persistent and enduring image that is often associated with Black Metal is that of semi com

REVIEW Black Metal

Edic corpse paint futile church burnings and Satanic ritual; but the genre itself can often take on a decidedly political and cultural form and many of its exponents have controversial views and opinions that are freuently overlooked by the commentators of the underground music industryWe aim to examine some of those tendencies in Black Metal European Roots Musical Extremities Ever since Varg Vikernes was courting media headlines for all the wrong reasons Black Metal – like a fine wine perhaps – has matured a great deal The steady process of counter cultural ripening has led to the formation of various sub genres among them Viking Metal Progressive Black Metal Blackened Death Metal Symphonic Black Metal and National Socialist Bla


Ck MetalSo whether you like your Black Metal traditional and ground breaking like Venom Bathory and Hellhammer; raw and brutal like Mayhem Emperor and Immortal; slick and polished like Cradle of Filth Dimmu Borgir and Old Man’s Child; or politically controversial like Graveland Drudkh and Absurd; this book is for youContributors includeTroy SouthgateTony ‘The Demolition Man’ Dolan VenomAtomkraftM Pire of EvilJeff ‘Mantas’ Dunn VenomMantasM Pire of EvilHendrik Möbus AbsurdAlex Kurtagic Supernal RecordsJarl von Hagall Der StürmerAlexander Wieser Uruk HaiWilliam Vithólf FaniskGareth Giles HrafnblóðMatt Kay Wodfreca RecordsVijay ProzakDeathMetalorgElena SemenyakaErik ProftSmierc PolarsternNeil HiattNils WegnerChris G Hicks

  • Paperback
  • 249
  • Black Metal
  • Troy Southgate
  • en
  • 07 February 2019
  • null

About the Author: Troy Southgate

British author musician and leading National Anarchist activist and theoreticianSouthgate has been active in diverse British national organizations and is associated with the New Right and third positionism