Black Metal and Anonymity: A Traditionalist Perspective

Experience dictates that the modern black metal listener is in essence a “hipster”; a self referential, individualist, egocentric and more or less self-pitying individual. Moreover, experience also dictates that the modern and profane black metal musician has more in common with the lowly pop artist than with the principles and individuals that helped to create the original Norwegian black metal movement.

There was once a moment in time when black metal, like all great artistic movements strove to express something eternal, whether that was the paradoxical juxtaposition of beauty and death, the joy in battle and the growth that ensues due to struggle, or the essentially inexpressible infinite cosmos.     

One of the more salient features of the nascent black metal scenes was the romantic obsession those involved had with the past. Black metal’s obsession with bygone ages pointed to a nascent, articulated, although perhaps not fully defined, desire to rediscover traditional knowledge, including the mythology, and the social and traditional norms that defined their venerable, Indo-European culture, namely Norse. As these individuals invaded the undergrowth of wisdom distilled in the remaining works of bygone ages, listeners, onlookers and now later historians were and are provided with a glimpse into the workings of a movement that pre-eminently strove to rediscover lost wisdom and to participate and explore the multifaceted plains of reality, and its highest level therein, namely the Supreme Principle. 

This desire to participate in the highest level of reality can be used to shed light on the enigmatic drive to self-imposed anonymity, such that these original European Mystics indeed strove towards. As we traverse the iconography and interviews, or lack thereof, of the original black metal scene we are forced to recognize the tools by which these individuals imposed anonymity among themselves; one recalls the corpse paint, used primarily although not exclusively to obscure their physical attributes. Indeed, we recall, the use of pseudonym to obscure, nay to eschew their name and ego. Recall lastly, the ambiguous relationship these individuals had with media, in itself the pre-emptive tool for modern ego worship, as either non-existent or outright hostile. Regardless of later sensational developments in the scene, the originators reveled in a mystique of anonymity that pointed not to a new marketing gimmick but rather to the participation in a higher principle or reality, from which peek their ego and its gratification seemed comic.      

Awaiting the sign of the horns
A thousand black clouds storms
Blasphemous Northern rites
Mysticism touched
Pentagrams burning 

-Immortal, “Unholy Forces of Evil”

The Main purveyors of the early black metal scene, and especially the Scandinavian Mystic Varg Vikernes seemed to be in fact consciously aware of this higher reality, from whence all proceeds. Commenting on the “illusory” nature of material reality, and its reliance upon a higher principle for its substantial and formal manifestation, the lyrics of “Lost Wisdom” proclaim:    

While we may believe, our World, our reality
to be that is, is but one manifestation of the Essence

-Burzum, “Lost Wisdom”    

Although such an outright recognition of the Supreme Principle is rarely encountered as explicitly in other black metal bands of the time, the anonymity and symbolism utilized by many of the protagonists within the scene, for example Enslaved and their conscious decision to explore the themes surrounding the Norse gods and the profound metaphysical symbolism implied therein, seems to point to an implicit recognition of higher principles, and perhaps the higher principle itself, from whence an expression of anonymity logically follows.    

Rene Guenon teaches us that it is a mere modern deviation from the Supreme Principle and traditional doctrine that has led to current notions of crass individualism, ego worship and “originality”. Current artists are very nearly obsessed with having works attributed to their ego, and such modern profanities have even led scholars on an endless search to provide the public, and novelty seekers, with the names of those artists who completed Medieval masterpieces. Of course these Medieval artists, due to their participation in the higher Principle from which all things emanate, had not the hubris to associate their works solely with their own ego. Likewise, a search for traditional knowledge and the participation of and recognition of a supreme Principle led to a general anonymity amongst the original black metal adherents from Norway. This participation precludes the notion of anonymity described as “infra-human”, implying the dissolution of a particular in a crowd, but entails rather a participation in a higher supra-individual order. Consider the words of Rene Guenon:       

The being that has attained a supra-individual state is by that fact alone, released from all the limiting conditions of individuality, that is to say it is beyond determinations of name and form that constitute the essence and the substance of its individuality as such; thus it is truly anonymous because in it the ‘ego’ has effaced itself and disappeared completely before the ’Self’    

-”The Reign of Quantity and The Signs of the Time” 

The key to understanding what has been said above is to recognize that in this case the Ego has effaced itself in the face of the higher Principle from which it has emanated, nay from which all things, states and possibilities emanate, while in itself remaining unaffected and unchanged by this manifestation. It is the ego that produces the “subject vs. object” sensation and produces the dichotomy of “I and Thou”. However, participation in the Supreme Principle implies a transformation, in which one becomes consciously aware that all of existence is indeed one, and that all must fundamentally be attributed to It, the Supreme Principle. Indeed, all dichotomies will have been overcome, the barriers of subject versus object will have been overcome, and one will attain immortality. Hence, in aspiring to this reality and perhaps participating in it, Black Metal musicians were quick to live among the shadows, obscure, nameless, formless, recognizing themselves and their works as naught but one of the infinite possibilities inherent in the supreme principle. It should therefore come as no surprise in connection with these thoughts that certain musicians chose such pseudonym’s as if to reflect cosmic principles, representative of the venerable Indo-European tradition of the Norsemen.

Brahman cannot be realized by those who are subject to greed, fear and anger.
Brahman cannot be realized by those who are subject to the pride of name and fame.

-”Tejobindu Upanishad”    

Delving deep into primordial traditions long forgotten, those Scandinavian mystics seem to have uncovered long forgotten mystic truths, hidden within the depths of the most primordial of the Indo-European traditions – Hinduism. It should come as no surprise to those familiar with Indo-European traditions that a study of, and adherence to strict Traditional principles, a fascination with the Norse Legends combined with some occult influences, however badly understood, would lead the black metal warrior down the road of ‘Self’ discovery. It is well known that Odin himself is etymologically derived from Gwoden, another name for Indra, a God venerated as the leader of God’s in the Hindu Pantheon. With the inherent and complimentary relationship between these two Indo European worldviews, namely Hinduism and Norse Mythology established, not only etymologically but through the recognition that all true traditions aspire to the same essential goal, realization of the Supreme Priciple, it is fair to conclude that both contain within themselves the seed for mystical realization, or a knowledge of the “essence”. Of necessity, we turn to Hinduism, a more complete metaphysical system to fill in some of the blanks as to what Vikernes and company were aspiring to during the apex of the black metal phenomenon.    

Return to the ring of our forefathers gods
The flames of Midgard’s fires and ancient mysticism still are     

-Enslaved, “Fires of Midgard”    

According to Hindu tradition the purpose of life is to become united with the ‘Self’, Brahman, the Supreme Principle, that which is enshrined in the hearts of all, according to ones station in life and capacity to do so. Again, this is the same Supreme Principle alluded to above, from which participation in, a true supra-individual anonymity necessarily springs. Although the original black metal purveyors may not have been consciously aware of the heights to which they were ascending, nor of the full traditional implications of what they were doing, it comes as no surprise that when re-discovering their traditional legends that they would inadvertently ascribe to the goal of, and rediscover some of the outstanding tenants of a more primordial, and complete Indo-European tradition, Hinduism, whose purpose again, much like that of the ancient Norse religion, was and still is to help facilitate the discovery of ‘Self’ knowledge, participation therein and the realization that all proceeds from the Supreme Principle.     

 ”Once again, truth is one, and it is the same for all those who, by whatever way, have attained to its understanding.” 

-Rene Guenon, “Oriental Metaphysics” 

9 Comments »

1. 

   Wow, excellent article. Keep up the good work.

   Comment by magog — May 5, 2010 @ 04:11

2. 

   Agreed. Concise and elucidative, very much appreciated.

   Comment by los — May 6, 2010 @ 14:06

3. 

   \m/

   Comment by GentlemanOfTheMorningAsses — May 7, 2010 @ 08:10

4. 

   Wow. I don’t like black metal, bur I think, that you have done a great job really

   Comment by PoD-Stas — May 8, 2010 @ 18:32

5. [...] Reverence and irreverence are both omnipresent concepts in metal, quite paradoxically.  Religious and Latinate language are commonplace, as well as Christian symbols (indeed, as far back as even the very name of Black Sabbath), all in a seeming effort to denounce Judeo-Christianity and a false “afterworld”.  Having demolished and destroyed that which comes from the world of light, it puts in the place of this over-arching after-purpose often a Nietzschean, Pagan, or occultist outlook , all of which offer deep reverence towards life, a hunger for experience, a desire for Being, disregarding dualistic ways of perception and morality.  Consider the classic lines from Morbid Angel’s “Immortal Rites”.  It seems rather than metal being a rejection of all things religious (as it is too often made out to be), it is a yearning for a deeper spirituality, for true religion.  The obsession with the occult and pre-Christian is not simply a convenient weapon to arm oneself against the corruption of values that many found abhorrent in Christianity, but a path in its own right towards different ones, towards Being. [...]

   Pingback by Hessian [ Heavy Metal Music and Culture ] :: Contact — May 25, 2010 @ 09:28

6. 

   While I concur that this article was written well, and articulated the desired subject matter admirably, I find several problems with the composition as a whole.
   1. Presumably you are ffunctioning under the assumption that ananemity represents this “supreme aspect,” which can lead to immortality, which is the primary reason for black metal artists’ attempts to remain anonomous. However, this is abstracting to a level that diverges from the truth, I.E, black metal artists’ often used contrived stage names not for the necessity of concealing their identities, but rather to personalize the music, independently represent themes they were in alignment with, and to personify those themes. For example, “Dead,” an artist killed in the 90s, was described as an reclusive individual who had a fascination with death. Accordingly, his stage name. In fact, this very use of specific stage names represents a way for listeners of the genre to specify persons within the music, and assign them characteristics. Thereby, I’d say this directly contradicts your claims.
   2. You never address one of the fundamental aspects of black metal, or, at least, when you do it is in passing. That would be religion, or, more specifically, the rejection of some religions and the promotion of other belief systems. Primarily, this took the form of Satanism, and the rejection of Christianity. Satanism, not being a specific religion, but more a philosophy, could be represented much by Paganistic mythologies such as Norse mythology, and the themes of Satanism, individualism, self-fulfillment, etc, are all represented by the music and by the subject matter addressed in black metal songs. This was more than lyrical presentation; it was heavily contingent upon the listener being of similar beliefs and drew upon these to give the music not only meaning, but also power.
   Furthermore: “There was once a moment in time when black metal, like all great artistic movements strove to express something eternal, whether that was the paradoxical juxtaposition of beauty and death, the joy in battle and the growth that ensues due to struggle, or the essentially inexpressible infinite cosmos.”
   This statement implies an attempt to explore the cosmos, the supreme, leading then to the extrapolation that black metal sought to explore the divine, the godlike, while in contrast the genre was primarily originated to blasphame the cosmic, to reject it. As stated by Gaal of the black metal band Gorgoroth, “Originally black metal wasn’t for the listener, it wasfor us.”

   I’d be interested to see how you respond.

   Comment by Jonathon Taylor — June 7, 2010 @ 03:40

7. 

   First, thank you for the compliment and i am glad you enojyed the article even if you have problems with it.

   I will respond to you objections individually, although i am unsure what some of your questions are about i will try my best.

   1. Anonymity is the logical extension of the recognition that ones ego is a very small and insignificant part of the supreme godhead, that more than nought causes illusion within the mind of man. When one realizes that all things are in fact emanations of the supreme including ones artistic creations one can no longer justify attributing one’s artistic works to their personal ego and there own personal, individualized and atomic self. When you say that Dead chose a psedonym in order to personalize different aspects of himself and thereby be understood in this way and characterized as such i believe that you undermine you own claim that i am thereby contradicting myself. I would argue that Dead by realizing that the characteristics that defined who he was he did not emanate from his own atomic and again individualized self but rather from a higher source, chose not to have those very characteristics associated with his name and personal ego. One may even argue that Dead chose his pseudonym because he wanted to be the anthropomorphic representation of forces higher than his own ego that are more closely related to universal forces and the “supreme principle”.

   2. The entire article was about religion. Although i barely touch upon Satanism this is because i believe that many in the original Black Metal scene were more concerned with returning to traditional, non dualistic and healthier viewpoints that depended on a willingness to come to terms with and explore dark themes such as Satan and what he represents, especially considering the use of Satan as a symbol in modern society. Mysticism and traditional teachings stand in stark contrast to the modern world and have been subsequently demonized and are usually associated Satan and satanic teachings. Black metal musicians suspicious of the modern world and having little outlet for discovering deeper metaphysical truths probably turned to Satanism in some way or another as a symbolic and acessible support meant to help them along their way or SELF realization. However, i find the strict association of Black Metal with Satanism more than dubious as the overt use of satanic symbolism associated with Black Metal seems more a commercial construct later placed over top of black metal as a means of explaning it (and badly at that) than the result of the Black Metal’s original and espoused ideology. I am unsure what kind of self fullfillment or individualism you are speaking of outside of latter development in the Emperor camp, but i would be curious to know why you seem to think that a person expressing their essential nature through music would be in contradiction with the notion that they strove to attain union with a godhead, considering that their essential nature itself emanates from this same source. To express ones essential nature is to know ones essential nature and to know this, is to know God. There is no contradiction here, unless what the artist is trying to do is to attain fullfillment through gratification of their own ego,which i argue real black metal musicians are not trying to do.

   3. Black Metal was about rejecting the cosmic? I thought it was about every mans “Journey to the stars”? Or the “Majesty of the Night Sky”, the Infinity of Thoughts, or the Cosmic Keys. I would hardly say that Black Metal was about blaspheming the cosmic, but rather an exploration of all its essential components overlooked by modern society.

   I hope i have answered some of your concerns, thank you for challenging my ideas and forcing me to test their validity, this is exactly the kind of interesting conversation i was hoping this article would stimulate.

   Comment by TheWaters — June 9, 2010 @ 01:42

8. 

   In regards to this:

   “Presumably you are ffunctioning under the assumption that ananemity represents this “supreme aspect,” which can lead to immortality, which is the primary reason for black metal artists’ attempts to remain anonomous.”

   Anonymity does not represent the “Supreme Aspect”- it is the logical extension of the recognition that all proceeds from the one this one supreme source- and not from your own ego.

   Choosing a pseudonym to represent the essential characteristics that define oneself in contrast to the accidental features of ones ego hardly seems in conflict with the larger argument. It is almost like these artists discovered their true self and vocation’s, defined traditionally, and named themselves accordingly and had little regard for whether what they expressed would help them to reap rewards, concieved in terms of ego worship and material wealth.

   Comment by TheWaters — June 9, 2010 @ 17:26

9. [...] music. In the same way that Varg took Paganism away from the neo-Pagans and revealed the underlying Essence of what is usually otherwise depicted as a quaint and obsolete mythology of demigods, the mystical [...]

   Pingback by Death Metal Album of the Week: Dark Tranquillity – Skydancer « DeathMetal.Org — September 2, 2010 @ 04:32

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