How to get into black metal


An experienced music listener who is new to black metal asked for a doorway into the genre. This raises the question of how to appreciate black metal, which like most things in life is mostly mental preparation. Without context, black metal seems like any other loud genre, and it becomes harder to distinguish the newer tryhard junk from the original.

The best way to gain context is to walk through the history of the genre from oldest to newest. This approach, common in art, literature and philosophy, allows people to see what developed from what and what the reasoning for that was and therefore, what the reasoning is behind what is here now.

The result of this query was a simple list to urge people to explore this genre further. This list originates in the history of black metal music, but also in influences that can be identified among the bands as immediately relevant. Toward the end it extends more into general conjecture based on what shows up later in highly different form among the black metal works of relevance listed above it.

I. Proto- Metal

  1. Bathory – The Return
  2. Slayer – Hell Awaits
  3. Hellhammer – Apocalyptic Raids
  4. Sodom – Persecution Mania

II. Interim

  1. Sarcofago – INRI
  2. Merciless – The Awakening
  3. Blasphemy – Fallen Angel of Doom
  4. Von – Satanic Blood

III. Black metal

  1. Immortal – Diabolical Full Moon Mysticism
  2. Mayhem – De Mysteriis Dom Sathanas
  3. Burzum – Burzum/Aske
  4. Emperor/Enslaved – Split
  5. Darkthrone – Under a Funeral Moon
  6. Beherit – Drawing Down the Moon
  7. Varathron – His Majesty in the Swamp
  8. Havohej – Dethrone the Son of God
  9. Impaled Nazarene – Ugra-Karma
  10. Samael – Worship Him

IV. Second Wave

  1. Gorgoroth – Antichrist
  2. Graveland – The Celtic Winter
  3. Ancient – Svartalvheim
  4. Sacramentum – Far Away From the Sun
  5. Ildjarn – Forest Poetry
  6. Summoning – Dol Guldur
  7. Zyklon-B – Blood Must Be Shed
  8. Gehenna – First Spell
  9. Behemoth – From the Pagan Vastlands

V. Extended Contemporary

  1. Demoncy – Joined in Darkness
  2. Sammath – Godless Arrogance
  3. Mutiilation – Remains of a Ruined, Cursed, Dead Soul
  4. Absurd – Asgardsrei

For immediate death metal background to black metal:

  1. At the Gates – The Red in the Sky is Ours
  2. Carnage – Dark Recollections
  3. Godflesh – Streetcleaner

For heavy metal background to black metal:

  1. Mercyful Fate – Don’t Break the Oath
  2. Venom – Possessed
  3. Angel Witch – Angel Witch
  4. Destruction/Tormentor – Demos

For hardcore punk background to all metal:

  1. Discharge – Hear Nothing See Nothing Say Nothing
  2. Amebix – No Sanctuary
  3. The Exploited – Death Before Dishonour
  4. Cro-Mags – Age of Quarrel

For electronic music background to underground metal:

  1. Kraftwerk – Trans-Europe Express
  2. Tangerine Dream – Phaedra

For progressive rock background to metal:

  1. King Crimson – In the Court of the Crimson King
  2. Yes – Tales from Topographic Oceans
  3. Camel – Camel
  4. Greenslade – Greenslade

For classical background to metal:

  1. Anton Bruckner – Symphony No. 4
  2. Richard Wagner – Tannhäuser
  3. Franz Schubert – Unfinished Symphony
  4. Mozart – Symphony 41
  5. Haydn – Symphony 82
  6. Bach – Partita No. 5 in G major

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Endless War : The Similarities Between Metal and Wrestling


Wrestling is the oldest sport in existence. One can find it in any culture on earth, Egyptian hieroglyphs depict various techniques, Islam recognizes it as one of the main sports for preparation in combat and European knights trained extensively as a lot of armored fights quickly become tests of who could pin who to be able to deal a finishing blow with a dagger through the gaps in the plate armor. Throughout the years wrestling has proven to be the best art for all forms of combat as every region in the world has at least one form of indigenous wrestling.



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The Problem With Metal Isn’t Just The Taake Poop Swastika Incident

Back in the day, Taake was the black metal band you settled for because all the old bands were no longer recording great stuff and your only other option was bedroom black metal. They were not bad, but had more in common with the melodic heavy metal hybrids that combined death metal with power metal riffing and pretty melodies. That makes it weird in a time where Taake is one of the better options out there.



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You know your nation has reached peak sadism when kids are using the shooting deaths of their classmates to catapult themselves into celebrity stardom.  That means the time has come for frequent, merciless, rapid fire sadistic metal reviews.




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Death Metal Underground’s wise founder Brett Stevens posted a thoughtful article last weekend about the duality of exterior and interior being.  It describes how in these modern times we’re seeing an illusion of non-conformity that masks the conformity of thought and nature within.  This is an effective tactic of those in power be they media, silicon valley, deep state, or (in the case of metal) record executives and journalists:  get people to look different, but think the same.  This also masterfully articulates why metal is at its lowest creative point in the entire history of its existence: fans and musicians alike have accepted conformity of thought and sound through satisfaction with mere non-conformist aesthetics and culture.  And the only way to escape this rut is to violently rebel against everything we have been conditioned to believe is “metal” and “metal culture.”



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Troll 2 and (the Joy of) Miscategorized Metal

Tower Records and Musicland didn’t seem to have much the other day.  So I went by Camelot music instead. I was wearing my old green Slayer demon head shirt. I had built up points at that store, and they gave me a free purple shirt with their logo on it. I hated the shirt and donated it to Goodwill.  In the metal section was the cassette soundtrack to Troll 2. I was almost certain this was a mis-categorization.  I didn’t have the money to buy it that day and it sold out before I could get my hands on it.



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Weathering the Storm as a Republican Metalhead

November 8th, 2016.  Manhattan, NY.  Election night.  I was there.

Wading back and forth between a crowd of suits and red hats gathered outside the Fox News building on 6th ave and a similar group gathered a few blocks north outside the Hilton hotel where the soon-to-be President-Elect was present, I celebrated ecstatically as electoral college results came in showing my favorite politician on the cusp of capturing the presidency.  All of us were over the moon with excitement and bliss, particularly because New York City had seldom presented a place where support of the man the media branded as Hitler 2.0 could be expressed openly.

While walking home and passing virtually every media truck parked for a mile along the road where America’s next President prepared his victory speech, a young NPR reporter excitedly rushed over to me with her microphone and cameraman after seeing the ridiculous “Trump 2020” pins on my shirt.  I agreed to her request for interview and explained why I thought Trump’s non-interventionist foreign policy and realist economic objectives would benefit the country’s middle and working classes.  Admitting her surprise to learn that I was a compliance director working near Wall St. and not the basic redneck Trump voter the media had branded us as, she asked if I was excited about the likelihood of supporting Trump being more socially acceptable now that he was president.  “Yeah” I said “It finally won’t be taboo now!”

We could not have been more wrong.


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Heavy Metal In Academia

The last two decades has witnessed an exponential growth of studies devoted to popular music, coupled with a re-evaluation of past theories and models for interpretation and analysis. This paradigm shift has sparked interest in music “at the fringes” which in turn has led to the unlikely emergence of “metal studies”: a multi-disciplinary field of research centered around all things related to metal music.



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Pestilence Attempts Comeback But Forgets What Makes Death Metal Great

Listen to a track from the upcoming Hadeon from longstanding Dutch band Pestilence, one is immediately struck by the similarity to late-1990s Morbid Angel: the riffs are there, albeit a bit impatient and tightly circular, but the whole experience is not. What is missing? To understand this, we must go to the core of what made death metal what it is.

If you wanted to explain to a normal person what death metal is, looking at the core of its spirit, you might haul out Slayer Hell Awaits, Hellhammer Apocalyptic Raids, and Bathory The Return… because these influenced the techniques, composition, and spirit of death metal. From Hellhammer and Slayer, it got its song structure and aesthetics; from Bathory its themes and riff technique.

Death metal took the original idea of metal, formed when Black Sabbath and others began using power chords to make phrasal riffs instead of harmony-oriented open chord riffs, and developed it further. This is different than doing something “new” or “progressing” because it means undertaking the much harder task of developing an idea further at a structural level instead of just changing aesthetics.

With the rise of underground metal, death metal adopted chromatic riffing and made the interplay between riffs form a narrative to each song. This abolished typical rock song structure and, because the guitar served as a melodic instrument instead of a harmonic one, forced vocals, bass and drums into a background role. How well the riffs fit together and portrayed an atmosphere, idea, or sensation defined the quality of the music.

Pestilence came from a solid death metal background with Consuming Impulse but showed a speed metal styled approach on Malleus Maleficarum, and this tension has stayed with the band for its entire career. The speed metal style of verse and chorus built on a singular theme that is present in the music is easier to jam on and use harmony to complement, where death metal rarely explicitly states its theme, only silhouetting it in the interaction between its many riffs. With speed metal, bands can set up a chord progression and develop it in layers of internal commentary like jazz, and this puts vocals back in position number one among the lead instruments.

“Non-Physical Existent” is a two-riff song with both based on the same note progression. It creates its intensity through the clash between a ripping circular high speed riff and a slower chromatic riff that uses odd harmony to distinguish notes in an otherwise linear theme. The song breaks into a solo section over one of the riffs, and has a type of turnaround the drops into the faster riff as a return. But there is no real interplay nor any narrative.

From the riffs themselves, this is a good song, but unfortunately, it is not death metal. Nor will it last because essentially it is a closed-circuit video of itself, a riff commented on by another, without resembling any particular experience or emotion, therefore being a null journey, more like stasis in space while riffs loop. It is better than not bad, but still not of real interest to the death metal fan.


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BREAKING:  On the last day of 2017, our editor predicted that a trans-gender wave of metal bands would arrive in 2018.  We are already getting our first dose of this a with “pink metal” pioneers PEOSPHOROS–  the world’s first all-trans metal band (excluding Cradle of Filth).  Destined to become the new face (and genitals) of metal and new heroes of progressive liberal metal scenesters everywhere, Peosphoros have immediately made their presence felt by declaring war on the most dangerous and anti-human genre of all: black metal.  It takes guts to take pioneer a foray into metal, the most masculine of all music genres, but how does Peosphoros’s trap-metal fare musically?



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