Ethereal second-wave black metal band Graveland will be touring across Europe in 2018, continuing a series of selected dates in Germany, Poland, and Ukraine. At these shows, the band will be playing songs from its compilation of re-recorded Graveland songs with the classic feel but without the “old days” bad production, 1050 Years of Pagan Cult, which is available through Heritage Records.5 Comments
What are THEY trying to silence?
What is too DANGEROUS?
BIGGER THAN METAL
Who is behind?
Countermeasures in play
Candi Canes anyone?
We see all
We know all
Take your Prozak
Enjoy the Show
In Brett Stevens Nihilism, the author introduces an article consisting of a series of twelve lessons which he describes as an awakening to the reality of life. A tinge of morality seemingly colors the lessons, but upon closer look, the prescriptions given are described in a way that one can see them arising from causal, qualitative observations.
In all this, there is, of course, the singular opinion of the author. In approaching a discussion and description of said ideas, the latter will be kept in mind, opting to expand, interpret and focus. Also, in order to respect the integrity of the book wherein these appear, they will not be spelled out either in their titles nor in their original exposition.
We can only know the present by knowing the past. In the case of heavy metal, it is a murky past obscured by both the grandiose rockstar dreams of individuals and the manipulative fingers of a voracious industry.
Metal arose through a complicated narrative worthy of a lost empire, and by knowing this history, we can know more of the music we enjoy today.
Specifically of interest are a number of threads that interweave throughout the history of the genre, both as outside influences and later as internal habits, which influence its twisting path from something a lot like rock to a genre entirely separate.
This story then is a tale of how many became one, or how they found something in common among themselves, and how it has taken years of creative people hammering on the parts to meld them into one single thing, known as heavy metal.
However, no one really likes a lengthy essay. Instead, here’s metal’s history the best way it can be experienced: by listening to it.
1968-1970 — the origins
Three threads ran alongside each other: punk, proto-metal and progressive rock. All three are on the edge of being metal, since the type of progressive rock in question is raw and disturbing and not of the “everybody be happy love friends” hippie style. This is music that thinks our society is disturbed, and that therefore many of the values we reject are worth a closer look. Some is fatalist-nihilist, like the self-destructive tendencies of punk, where progressive rock is more clinical, and metal more epic (looking for meaning in the ancients, in nature, the occult and conflict).
Iggy and the Stooges – Raw Power
Black Sabbath – Black Sabbath
King Crimson – In the Court of the Crimson King
1971-1981 — maturation
A lot happened here, but basically, metal became more like its ancestors (hard rock), progressive rock faded out, and punk got more rock-music-like. The punk from this era is more like normal rock music than the outsider stuff it originally was, but also gains some aggression from Motorhead, who may technically be metal but were born of a progressive rock band (Hawkwind) and sounded very punk and inspired the next generation of punks to be louder, lewder, etc.
Punk music arose from the earlier work by Iggy and the Stooges, but formalized itself into a pop genre that used guitars more like keyboards than like the guitar fireworks of conventional guitar-intense bands like Cream and The Who.
Ramones – Ramones
Misfits – Static Age
An exception to the metal of the period was NWOBHM (New Wave of British Heavy Metal). DIY and extreme for the day, it left behind the Led Zeppelin-styled “hard rock” vein of metal and got away from Sabbath’s detuned doom and gloom to make energetic, mythological but also somewhat excited-about-life metal.
Motorhead – Motorhead
Satan – Court in the Act
Angel Witch – Angel Witch
Iron Maiden – Killers
Judas Priest – Sin After Sin
1982-1987 — the peak
Punk got its act together, in part inspired by the more commercial bands like Ramones and Sex Pistols. This is where hardcore punk really happened. That in turn spurred a revolution because music had finally left rock behind, and by mating the nihilistic (no inherent rules) composition of punk with the longer-phrase riffs of metal (derived from horror movie soundtracks), the riff styles of death metal and black metal were born, and the progressive song structures of speed metal evolved. At the same time, essentialist movements in punk hybrids (thrash) and metal (doom) emerged, sending many back to the roots of these subgenres.
Discharge – Hear Nothing, See Nothing, Say Nothing
The Exploited – Death Before Dishonour
Amebix – Arise!
A second generation arose in the USA (all of the above bands are UK):
Cro – Mags – The Age of Quarrel
Black Flag – Damaged
Minor Threat – Discography
1983 — the big branching: speed, thrash and death/black
1983 is a crucial year, and so it gets its own entry. Metal and punk cross-influenced each other. The result was a lot more metal. If you’re familiar with nu-metal or more radio style metal, start with speed metal, as it’s the most like really violent rock music with influences from progressive rock in song structure. If you like messy punk (!!!) try some thrash. And if you’ve already given your soul to Satan, try death/black. With death/black, there’s also some influences from progressive rock, although they’re balanced with punk technique which makes for a chaotic spawn.
Speed metal took the complex song forms of progressive rock, the muted-strum guitar riffing of the NWOBHM bands like Blitzkrieg, and added to it the high energy of punk hardcore and came up with songs that kept getting faster and faster. This shocked people of the day, and was the primary reason speed metal bands were different from the NWOBHM that came before them, hence it was dubbed “speed metal.”
Metallica – Kill ‘Em All
Nuclear Assault – Game Over
Megadeth – Rust in Peace
Testament – The New Order
Thrash is a hybrid genre that takes punk songs and puts metal riffs in them. Its name arises from “thrasher,” or skater, and those were the people who embraced this style of music that was more extreme than metal or hardcore at the time. While it leans toward punk, it used metal riffs, and wrote short songs that in the punk style lambasted society but in the metal style tended to mythologize the resulting conflict.
DRI – Dirty Rotten LP
Cryptic Slaughter – Convicted
Corrosion of Conformity – Animosity
Like thrash, this was a hybrid of metal and punk that leaned toward the punk side for song structures, and the metal side for riffs.
Napalm Death – Scum
Terrorizer – World Downfall
Repulsion – Horrified
Carcass – Reek of Putrefaction
In 1983, these bands contributed just about equally to the new sound. In the largest part inspired by NWOBHM like Venom and Motorhead filtered through aggro-hardcore like GBH and Discharge, the unholy triad invented underground metal to come.
Bathory – The Return
Hellhammer – Apocalyptic Raids
Slayer – Show No Mercy
Once proto-death/black metal had occurred, people began to expand on the formula. One side decided to make it more technical, and riffy, and taking after Hellhammer’s “Triumph of Death” and the increasingly mind-bending riffing of Slayer, made it use mazes of mostly chromatic phrasal riffs. On the other side, some wanted to preserve the atmosphere of the simpler songs that Bathory and Hellhammer had to offer, but injected melody and loosened up the drums to keep it from being as clear and rigid as death metal. While that latter group went off to figure out black metal, the death metal team experienced a boom of creativity and excess during 1985-1995.
Possessed – Seven Churches
Sepultura – Morbid Visions/Bestial Devastation
Necrovore – Divus Te Mortuus
Morbid Angel – Abominations of Desolation
While death metal was just starting up, other bands were trying to figure out how to make melodic ambient metal, structured equally after early melodic metal and free-floating songs like Slayer’s “Necrophiliac.” The result had chaotic drums, deliberately bad sound quality to avoid becoming a trend or something which could be imitated, and high shrieking vocals to death metal’s guttural growl. Taking a cue from Bathory, Slayer and Hellhammer, it also embraced the occult and esoteric and rejected conventional social norms and religions.
Sarcofago – INRI
Blasphemy – Fallen Angel of Doom
Merciless – The Awakening
As black metal matured, it moved into Norway, possibly inspired by the previous generation of melodic Swedish death metal bands who used high sustain through heavy distortion to make melodic songs which featured less constant riff-changing than the bigger bands from overseas.
Immortal – Diabolical Full Moon Mysticism
Mayhem – De Mysteriis Dom Sathanas
Darkthrone – Under a Funeral Moon
Burzum – Burzum
Emperor – Wrath of the Tyrant
Gorgoroth – Pentagram
Enslaved – Vikinglgr Veldi
This is just the beginning; there’s a lot more after this in all of the genres, which kept developing in their own ways. This is only an introduction to the history of it all, and is not designed to be comprehensive…13 Comments
It was fortunate to get in touch with this band as it gives a new perspective to the mix of interviews here: a black metal band from Israel who are pro-Israel and pro-Judaism/Jewish culture, from the sounds of what they say here. Because of linguistic confusion, it was hard to figure out exactly where they stand on many issues and Ze’ev declined to answer some of the “hot issue” questions, but what is remarkable revealed here is the attitudes toward black metal of people living in a place that to most of us, is inconceivably remote and linked to one of the great enemies of black metal, Jehovah. Many thanks to Ze’ev for taking a chance on us and giving a lengthy interview which was interrupted only when Palestinians in bulky overcoats began to arrive nearby…
What is the difference between humans and animals?
The difference between humans and animals is that animals act with their instincts alone and that is why you can’t accuse them of animalistic behavior.
Do you believe that a deity exists, as a physical or otherworldly manifestation outside of the world of symbols?
I’m not a religious person, I think everyone can believe in what they want as long as they don’t hurt anyone and as long as they don’t force you to think like them. I don’t believe in god the way most people do, I think “god” is the good things in everyone
What do you see as the ideals shared by black metal bands? If you see no shared ideals, please describe how we have all arrived at roughly similarly sounding music.
In my opinion, Black metal especially share style, subjects and visuallity, this style fits dark subjects and that is why the music sounds similar and you can define a band as black metal.
What are the historical origins of black metal music?
I think “Venom” brought this style.
When you founded salem (in 1985, as your bio claims) what bands were influencing you then and what do you feel you added to metal at the time?
Salem was formed in 1985, at the time our main influences were “venom”, “slayer” “black sabbath” et cetera. I think “Salem” and bands like “Mayhem” “Masacre” “Merciless” et cetera, brought the next generation to metal with new ideas, new instruments and more…
How would you describe the music you have written for Collective Demise?
“Collective demise” is very aggressive, although it has a lot of melodies and harmonies. I think that “Collective demise” reflects a certain adolescence of Salem, the fact that it’s more aggresive and much faster distinguish it from our previous releases.
“Collective Demise” contains 12 new songs which textually are snapshots of our reality since September 2001 and musically explore new territories; The use of Afro-Cuban Percussion on “Dead Eyes” and “Slave”, Arabic darbuka on “Broken Yet United” and “Act of Terror”, female vocals on “Coming End of Reason”, “Feed on Your Grief”, “Act of War” and “Al Taster” and the most sophisticated second guitar harmonies ever submitted to reel.
“Al Taster” is also the first single and video off the album released in Israel on June 19th 2002. This song is a cover of an old Jewish hymn. Lyrics are taken from Psalms, chapter 102, verse 3.
This album is the first Salem offering for KMG/ System Shock in Germany. Earlier this year Salem signed a 3-album contract with this well-established label.
Psalm 102: A prayer of an afflicted man. When he is faint and pours out his lament before the LORD.
1 Hear my prayer, O LORD ;
let my cry for help come to you.
2 Do not hide your face from me
when I am in distress.
Turn your ear to me;
when I call, answer me quickly.
3 For my days vanish like smoke;
my bones burn like glowing embers.
4 My heart is blighted and withered like grass;
I forget to eat my food.
5 Because of my loud groaning
I am reduced to skin and bones.
6 I am like a desert owl,
like an owl among the ruins.
7 I lie awake; I have become
like a bird alone on a roof.
8 All day long my enemies taunt me;
those who rail against me use my name as a curse.
9 For I eat ashes as my food
and mingle my drink with tears
10 because of your great wrath,
for you have taken me up and thrown me aside.
11 My days are like the evening shadow;
I wither away like grass.
12 But you, O LORD , sit enthroned forever;
your renown endures through all generations.
13 You will arise and have compassion on Zion,
for it is time to show favor to her;
the appointed time has come.
14 For her stones are dear to your servants;
her very dust moves them to pity.
15 The nations will fear the name of the LORD ,
all the kings of the earth will revere your glory.
16 For the LORD will rebuild Zion
and appear in his glory.
17 He will respond to the prayer of the destitute;
he will not despise their plea.
18 Let this be written for a future generation,
that a people not yet created may praise the LORD :
19 “The LORD looked down from his sanctuary on high,
from heaven he viewed the earth,
20 to hear the groans of the prisoners
and release those condemned to death.”
21 So the name of the LORD will be declared in Zion
and his praise in Jerusalem
22 when the peoples and the kingdoms
assemble to worship the LORD .
23 In the course of my life he broke my strength;
he cut short my days.
24 So I said:
“Do not take me away, O my God, in the midst of my days;
your years go on through all generations.
25 In the beginning you laid the foundations of the earth,
and the heavens are the work of your hands.
26 They will perish, but you remain;
they will all wear out like a garment.
Like clothing you will change them
and they will be discarded.
27 But you remain the same,
and your years will never end.
28 The children of your servants will live in your presence;
their descendants will be established before you.”
In your bio it says: “Kaddish” also featured a cover song called “Ha’ayara Bo’eret” (the town is on fire), a song that is being associated with The Holocaust. This national controversy found its way to the Israeli parliament for a discussion of whether or not it is appropriate for a metal band to play such songs.
Why would it be inappropriate for a metal band to cover such songs?
This is a very sensitive subject and some people thought the music is too aggresive, but eventually we decided that it is appropriate to cover songs like that, and that is why we did it, after all we are a democratic country with freedom of speech.
What do you think are the causes of the current conflict between Iraq, Afghanistan and the USA?
T E R R O R!!!
It seems to me Israel and the USA are similar, in that both are countries of immigrants founded for religions reasons. Do you see this as true?
There is no doubt that Israel and USA are similar, except i don’t think that Israel was founded for religions reasons only, The main reson was Zionism.
What is like living in a place that is currently under somewhat warlike conditions?
In Israel it’s impossible to ignore the news since it has a direct effect on your daily life and as a result you have songs. It’s hard to cope with the fear of being somewhere crowded (like busses, restaurants, or even live shows) without knowing how it will end. The fact that innocent civilians are dying gives you an helplessness feeling. It is difficult for us to see a solution for it right now, but we don’t know what tomorrow will bring – therefore we try to keep hoping.
How do you feel toward the Palestinians who live in Israel?
I don’t have a problem with the palestinians who live in Israel, i think they are suffering because a minority of fanatical who believe in terror.
Why do you think the UN decided Israel should be created in the first place?
Well, the Jews were living all over the world, they had no country, and they suffered holocaust all over Europe, 6,000,000 was killed! that fact shocked the whole world and the result was that the UN decided to create Israel. ( It’s a pity that 6,000,000 had to die so that we’ll have a country).
When you are writing songs, how do you create them – from lyrics, from a melody, or from a general concept? Which members write most of the songs?
Every member of the band is writing material, and in most cases We are all meeting, listening to it and choosing what we like, eventually we build song, after that we are writing a lyrics to it. When the song is ready, We can change it , so a song is not realy ready until we record it
Do you think metal is an expression of rebellion, or does it have deeper significance?
Maybe in the past it was some kind of rebellion, but today,in my opinion, it has lot of significance, otherwise i wouldn’t keep doing it for so many years!
In America, we have fanatical Christians who both would like us to make war on Iraq but also would like to ban certain types of metal. Do you have a comment on that?
I don’t think it’s right to ban music. We are living in democratic countries and we have the freedom of speech and creation . About making war with Iraq – I think Iraq is a country that supports and exportes terror, so USA have to do something to stop it.
How is Christianity viewed in Israel?
Israel is a country that contain all the religions. We think everyone can believe in anything as long as you don’t force your opinion on us.
Do you have any anti-Christian lyrics?
Do you feel you have gotten the right promotion for a band that has been around since 1985?
We didn’t get the right promotion because our old record companies saved money on publicity and tours. We were very disappointed, but i hope our new record company – KMG/System shock will do much better work.
Do you like any current black metal bands and if so, who?
of course! bands like “Limbonic art”, “Arallu”, and more…
If you could tour the world with any band, who would it be?
Are there many metal bands in Israel?
The metal scene in Israel is great, we have some good bands with a lot of potential like: “Arallu”, “Nail-Within”, “Lehavoth”, “Untropia”, “Meleches”, “Orphaned Land” A lot of kids listen to metal and support it and come to live shows.
Have there been any church-burnings, or temple-burnings (not sure if I have the right word there) from black metal where you live?
What is your stance on the concept and spiritual significance of grave desecrations?
I think it horrible! not bcause of the deads, but because of the people who love them, and want to use this place to remember them.
Do you see there as being a difference between commercial metal bands and underground metal?
There is a difference, underground metal don’t compromise and that is why they aren’t earning money like the commercial metal bands.
What’s next for Salem?
A European tour, The release of album Number 5, and then we’ll see. We want to remain active as long as we feel that we have something to say and that there’s someone who’s interested to hear it. Salem try to be as much original and come up with good material cause we work a lot on the songs to make them interesting and have no rush to write songs that will end up being crap in the end. We will continue as long as we have support from our fans in Israel and worldwide.
What do you do outside of the band for intellectual, physical and spiritual stimulation?
First of all, I have a family – a wife and a beutiful girl, and i like being with them, I also like exercise Martial art “Tai-box”, create web sites, playing with Salem, and helping metal bands- I produced several bands like “Arallu”, “Azazel” ,”Aztec”, “Betrayer” , and i just returned from germany, helping producing “Nail within” with Harris Jones.
Do any members of Salem use drugs?
We don’t do drugs. We once had a member in Salem that used drugs and the result of that is that he is in psychiatric hospital to this very day. that freaked us out.
Some blackmetallers think that the music should be all about death, no hope, total destruction, watching the earth burn, etc. Others have families and lives outside of the musical scene. Do you have families? What is your feeling on this attitude?
As i mention before, i have a wonderful family. I’m against death and destruction, but the music is about those things because we’re living in it.
At what moment did you first feel like a “real band” or think, “wow, this is going to be our future”?
The day we recieved our first album and i held it!
In ancient mysticism, man was not viewed as separate from nature. Do you think this view has changed?
People ruined most of nature, and separated themeselves from it.
Is it possible that humans influence the outcome of events with their thoughts alone?
People, and their actions causes the outcomes! I dont think that a bus or a restaurant or even the twin towers exploded because of thoughts alone.
Do you believe UFOs visit Earth and if so, are they alien visitors or do they have malevolent intent?
I think it pretentious to think that we are alone in the universe. I don’t know what their intentions, maybe they just curious, wouldn’t you be? :-)
Do you believe in “good” and “evil”?
Yes. I believe that everyone has good and evil in him.
Thank you very much for your support. Keep metal alive! For more information about Salem, you can visit our web site: http://www.salemband.com
One would be bound to despair of our national character, too, if it had already become so inextricably entangled in its culture, indeed entirely at one with it, as is horrifyingly evident in the case of civilized France; the very thing which was France’s great advantage for a long time, and the cause of its vast superiority, namely the identity of people and culture, should now, as we contemplate the consequences, make us thank our good fortune that this questionable culture of ours still has nothing in common with the noble core of our national character. Instead, all our hopes reach out longingly towards the perception that beneath this restlessly agitated cultural life and senseless education there lies hidden a magnificent, inwardly healthy, ancient strength, which admittedly only stirs powerfully in momentous times and then returns to dreaming of some future awakening.
– F.W. Nietzsche, The Birth of Tragedy
There stood he, on his chariot made of gold
He did reveal the trinity of secrets old.
A sceptre of iron could mercy bring.
A shield of gold, the Creator and king,
And the great sword of steel.
– Manowar, Secret of Steel
It has been asserted that the earliest application of the term ‘power metal’ was the 1982 Metallica demo of that same title; then how exactly has it come to label the fantastic, spirited, even ‘fruity’ kind of music that is currently known as ‘power metal’? Well, the fact of the matter is that the term simply did not catch on with what eventually became the thrash and speed metal genres, whereas the melodic speed metal in Germany (Helloween, Blind Guardian, Running Wild, etc.) developed in the late 1980’s and early 1990’s to coalesce into the genre now popularly known as ‘power metal’. The reason why these bands were labeled differently from their more traditional sounding forerunners was their thematic and musical distinction; these bands dispensed with the darker, ‘doom and gloom’ perspectives of archetypal metal in favour of a much more positive, almost ‘happy’ outlook, and this really came through in the refreshing and inquisitive albums produced in the genre’s youth.
Power metal is something of an enigma in the annals of heavy metal: how does a movement deeply immersed in the fantastic folklore of Europe and beyond, and which borrows openly from Queen and the like, relate at all to the more twisted and obscure worlds of death and black metal? The answer is that the whole genre cannot be measured linearly as you would the passing years; it is to be viewed, rather, as a healthy maple tree, with dozens of branches emerging from the trunk, all headed in different directions but with the same fundamental constitution. Heavy metal represents, after all, a perennial expression of the epic, the tragic, and the victorious, and it would surely be unjust to evoke these eternal artistic truths merely through the medium of the Gothic nightmare, the Lovecraftian dreamscape; power metal exists, therefore, as a keen and adventurous opposite, enabling metal to travel to places impossible in other, darker vehicles.
While the power metal of Europe is characteristically bright and optimistic on both the lyrical and instrumental fronts, the bands that derive from the United States take on a bit of a different slant; their work is generally darker, and more focused on building upon the foundation started by the NWOBHM, etc., which admittedly makes ‘USPM’ sometimes difficult to distinguish from good old-fashioned ‘heavy metal’. The distinction, however, is an important one, and to help delineate the differences between the genres, we need to recall the common elements that allow us to classify the Europeanbands into ‘power metal’. Sure, there are the basic similarities that are inherited from the same earlier English and German bands, but the crux pf European power metal is its fundamental underlying aim: to illustrate a mythic world (which could very well be our own reality interpreted in an imaginative light) that is at once real and fanciful, and to do so with a generally enthusiastic persuasion. If we are to throw all the European and American bands of the style under the same ‘power metal’ banner, then this intent, this ‘underlying aim’, must be identical in USPM.
If we consider the early black metal movement from Norway, and how it sought to unearth hidden truths through a dark, mystical aesthetic, we may actually find a parallel to what we mean. While both indubitably desire to ‘illustrate a mythic world at once real and fanciful’, black metal clearly purports to showcase an altogether averse side of that reality when power metal simply means to approach it like a narrative, a folk legend, demonstrating its nature through popular song and poetry. In a kind of microcosm of this, power metal from Europe is the visualization of things of the light, of a dramatic victory of life over death, whereas stateside power metal tends to convey a colder picture of these things: the former focuses on the regal hero, and his conquest over his villains and oppressors, whereas the latter focuses on the villains and the oppressors, and its hero is not so much the Aragorn of Tolkien fame, but Conan the Barbarian rather, a powerful yet lawless ‘antihero’ in the style of Omen’s ‘Axeman’!
When the bands from Europe broach whatever subject it is that they wish to express, it will be in a style that is as precise and accurate as as it is dramatic and theatric; the raw power of the music is dropped in favour of an immaculate finesse: this is simply in their nature. As for the Americans, however, a central goal is outlined from the beginning, and the path towards it is narrow but straight and unyielding, concentrated on the living rhythm of the thing rather than on the fine points of its aesthetic and artistic impressions. There may be yet other differences, to be sure, but none of them are more divergent than this simple preference in method; European and power metal are brothers at heart with similar identities and similar intentions. Now, to deliver the best of power metal post-haste!
Whenever somebody thinks of power metal, he is likely thinking of the particularly dramatic style growing out of Europe, unless it is the popular barbarians in Manowar; indeed, Helloween’s ‘Keeper of the Seven Keys’ albums, Blind Guardian’s ‘Tales from the Twilight World’, and Rage’s ‘Secrets in a Weird World’ are veritable classics of the type. The music itself is, generally speaking, a sort of joyous hybrid consisting of Iron Maiden, thrash metal, and J.R.R. Tolkien, and is ultimately united by a strong sense of adventure and myth as is evinced by the themes widely explored by virtually every band involved in the scene. So, a taste for speedy rhythms, confessedly goofy, ‘cheesy’ lyrics, and plenty of high-calibre guitar solos is pretty much mandatory for anyone who wants to walk in the footsteps of the following albums…
Blind Guardian “Nightfall in Middle-earth”
In a word: What would Tolkien say?
As far as rankings go, this is the only album that is absolutely set in stone on this entire list. ‘Nightfall in Middle-earth’ is the ascendant apex of power metal; it is the crystallized embodiment of the genre’s ideal. The reason for offering such profound adulation really comes down to the band’s ability to transcend the limits of power metal whilst playing within them; they have nailed the ‘folky’, popular element of music with a peculiar ingenuity that comprehensively impresses upon the basic musical format of the genre; in other words, Blind Guardian has done for power metal what Johannes Brahms had done for Romantic music with his ‘Hungarian Dances’.
In narrating a large portion of Tolkien’s most ‘historical’ epic, The Silmarillion, Blind Guardian succeeds in demonstrating the raw power of a living mythos and a visceral pathos, as well as the simple wonders of storytelling, through a dynamic interplay between a tight rhythm section and an innovative mastery of the axe that Herr Ohlbrich presents for us, the audience; and the vocals of Hansi Kuersch, the real conduit of the myth’s passion, are never better, cutting through the music with a certain feeling that conveys the appropriate emotion, the appropriate strength needed to evoke the right imagery. ‘Nightfall in Middle-earth’ is an independent artistic monument: it is not a mere ‘ode to Tolkien’, or some such tribute, but a fully accomplished string of songs that successfully brings the majesty of Tolkien’s mythic world to the equally wonderful world of metal.
Helloween “The Keeper of the Seven Keys” Pt. I & II
In a word: The epitome of power metal
It is an indisputable fact that Helloween is no less than the very quintessence of power metal; from the triumphant ‘Initiation’ to the epic climax of the title track in Pt. II, there is nothing that escapes the boundaries, nothing that does not inherently belong in what the genre has come to mean. The outstanding evidence for this thesis can be found, as vague as it may sound, in the general spirit of the music: there is an excited, joyous pitch that pervades every aspect of the albums, and it draws the listener into the music, attempting to transport this transcendent gladness unto him. This is musically accomplished through a fast, upbeat rhythm, quick and virile riffs and solos, and of course through rich, charming vocals of Michael Kiske that are at once evocative and powerful.
Beyond the individual components, however, Helloween is a band that brought to metal not only a new and positive way of playing, but also a more or less original perspective on metal: they have come here in good humour, to have fun, and to never take life more seriously than it has to be. The final effect of all this is a pair of albums that are perhaps the most widely imitated in the entire genre, and the real cause of this is obvious: nowhere is the singular idea of power metal more manifest, more alive, and more euphoric than in ‘The Keeper of the Seven Keys’.
Gamma Ray “Land of the Free”
In a word: Helloween reborn
With original Helloween visionary Kai Hansen at the helm, Gamma Ray can and should be perceived as the true heir to the ‘Keeper’ albums of the late eighties – building off of a passionate drive forward on all instruments, and with Hansen’s emphatic vocals in firm control, all of the basic ingredients that conspired to make Helloween what it is are fully intact. What makes Gamma Ray so important, however, is that its creation of ‘Land of the Free’ ends nearly a decade of sterility from the Helloween camp; Gamma Ray has effectively resurrected the original spirit that caused the birth of so many clones.
As for the album itself, there is a sincere approach to the songwriting; there is a definite connection between all parts to form a good, coherent song; the riffs are brighter, more focused and vibrant, whereas the percussion lays a strong, fertile foundation for every melody, every chorus; in short, the masters reveal in ‘Land of the Free’ how to really invoke the mad and happy spirits of power metal. Interestingly, in an event that is based more in fact than in coincidence or irony, ‘Land of the Free’, at 1996, was released right before the resurgent waves of power metal took shape at the end of the nineties, just like the ‘Keeper’ albums in the twilight of the eighties…
Lost Horizon “Awakening the World”
In a word: Death metal turned upside down
Assembled from the remains of the death metal band Luciferion, Sweden’s Lost Horizon apply its former Satanic autonomy and egoistic ambitions to a new, far more personal mode of free will and individual freedom and power. Energetic and motivated, ‘Awakening the World’ moves quickly, showcasing a fluent sense of songwriting and technique that gladly transcends the sterile plains and generic conventions of recent power metal. The players have a strong taste for the old-school, and yet their collective synergy, with a special mention to the tireless guitars, which provide a seemingly inexhaustible supply of clever hooks and passionate leads, is wholly innovative in its united vision and dynamic execution; this makes for a convincing display of refreshing songcraft, which in turn injects something original and commanding into the old-school template; in summary, the legendary Helloween undergoes yet further renovations, and is re-invigorated into one of the few leading warriors of modern power metal. Indeed, excluding the few pointless ‘minitracks’ found on the record, ‘Awakening the World’, with all of its vigour and spirited determination, is the perfect testament to the full extent and capability of the independent human will.
Blind Guardian “Tales from the Twilight World”
In a word: Only Blind Guardian could merit such blatant disregard for the rules
Having released two speed metal classics in ‘Battalions of Fear’ and ‘Follow the Blind’ just prior to this record, Blind Guardian were ready to move firmly into the nascent realm of power metal. Rather than dropping all established identity in their process of growth, however, the guys from Krefeld, Germany initiate a deep melodic shift into the existent speed metal basis, allowing a subtle change to make a significant effect on the overall sound. The result is a more focused, more defined direction than what the two previous efforts had known; in addition to a lyrical and mythological construction that builds on what they had already started, albeit primitively, this meant that ‘Tales from the Twilight World’ became the first real power metal album that Blind Guardian would create.
Angra “Temple of Shadows”
In a word: Fresh, unique, articulate
It is certainly not an oversight of ours to include a Brazilian band in a list of allegedly European acts, but it certainly would be an oversight on anyone’s part to exclude Angra for that fact alone; indeed, Angra actually exemplify the strictly European style, often much more so than its intercontinental counterparts. On this particular album, ‘Temple of Shadows’, we believe that Angra hit its creative peak, even without Andre Matos, the legendary songwriter who had such a profound effect on their earlier records.
Angra has always been about fusing the flashy and melodic speed of early power metal with an accurate and concise technical performance arrayed in a way that many have termed ‘progressive’; this is no different on the present album, where speed and ‘progressivisms’ take on appropriately supplementary roles, allowing the melodies to embrace centre stage, and, apart from the occasional yet needless sentimental moment, they excel in the spotlight. With a concentrated, coherent method of songwriting, not to mention the impressive technical prowess of either axe, the melodic leads and solos are certain highlights of every song and, combined with a strong, classic understanding of the chorus and its importance, they are both literally and figuratively instrumental in making ‘Temple of Shadows’ a modern power metal classic.
Running Wild “Black Hand Inn”
In a word: Iron Maiden meets Accept meets Captain Blackbeard meets six bottles of rum
A typical occurrence in the development of any which power metal band is an attachment to some particular image or identity that is somewhat removed from ‘ordinary life’. So, in addition to faeries, elves and dragons of Italian symphonic bands like Rhapsody, we have Blind Guardian paying particular homage to the worlds of J.R.R. Tolkien; Grave Digger unearthing the historical remains of old, forgotten battles; and Running Wild, a band that was evidently dissatisfied with singing about the devil and had moved on to pirates instead.
There is not really a substantive or profound depth that drives the music onwards; this is simply a band that lures the listener in with the promise of a fun, exciting story about pirates (which is of course told by a drunk), and then promptly barrages him with easy, carousing rhythms that are inevitably met by a strong, anthemic chorus. Iron Maiden make their presence known on this record through the occasional galloping riff, as well as the many guitar harmonies, whereas the Running Wild anthem is unmistakably imbued with the infectious talents of their fellow Germans, Accept. Altogether, the band’s vision is not any higher than what many contemporary ‘folk metal’ bands attempt; namely, to create inebriated, party music. The difference is that, with their reliance on the well-tested techniques of bands like Iron Maiden, Accept, and Helloween, and with a perfectly suitable theme that can rouse any prole to drink, these Teutonic pirates actually succeed where the faux-vikings fail dismally.
Pagan’s Mind “Celestial Entrance”
In a word: Symphony X done right
While Pagan’s Mind is often referred to as ‘progressive metal’, we happen to think of its work as being far more along the lines of modern power metal, which is mainly due its focus on drafting songs that emphasize the traditional melody and rhythm combination, as opposed to whatever it is that actually constitutes the average Dream Theater album; when Jorn Lofstad launches into a solo, we can safely wager that it will not be prolonged into the pretentious affair of noodling for half an hour a la John Petrucci.
This is a good album because the band has (1) a firm grounding in the basics of what makes metal what it is; and (2) because they have just enough impetus to advance: where others might founder in the sterile waters of mediocrity, Pagan’s Mind actually manipulate its excellent instrumentation into well-structured compositions that reflect a band that clearly knows what it wants to achieve, and accordingly goes out and achieves it. So, through a strong sense of rhythm and a penchant for the dramatic, Pagan’s Mind combines the intricate work of a clever, flashy guitarist, the reliable rhythm section, with a typically illustrious vocalist to construct Celestial Entrance, an album that sounds precisely what its title implies: the epic adventure into the astral spheres.
It can be argued that while the charismatic and often operatic vocals lead the advance for the European bands, it is the powerof the simple yet efficient riff that drives the American bands forward. Indeed, the feeling of an honest, ‘blue-collar’ sentiment pervades many of the more emblematic records of this kind, and it does not get any more present than in an old-school technique of guitar playing; nothing fancy, nothing extra, it just gets the job done. This does not in any way blunt the efforts of these bands as they endeavour to create something epic, something that can even be called ‘mythological’ by the standards of our day; on the contrary, the stripped-down sound of many early albums helps produce the effect of being of modest birth, which allows them to be classified as ‘popular’ and even ‘folky’, the proper requirements of any nascent myth. Finally, to cite the execution of these theories, we give to you nine of the best USPM albums extant… (We have given the Americans an extra album due to their superiority in the sheer quantity of good power metal albums released over the years.)
Manowar “Into Glory Ride”
In a word: Comprehensively feudal
When it comes to picking the best Manowar album, any one of the first four would be a respectable choice; every which one is a proud testament to band’s core spirit, to the band’s purely honest will to play the kind of metal that is more barbaric than civilized, more feral than cultivated. ‘Into Glory Ride’ strikes a particularly powerful chord for us, however, and this is as much due to its consistency as its extra concentration on the epic narrative, which is constructed in an almost ‘cartoonish’ tribute to metal and to death.
The music is simple, written to the effect of a moving rhythm and a rousing anthem; the corresponding lyrics are more charming and pompous than they are cheesy, and they are essential in creating a medieval atmosphere of outlaws the ‘anything-goes’ attitude of the Wild West. The best reason for this band to receive the highest rank, however, is not merely for its flawless presentation of an honest yet primitive idea, but for how direct and how iconic this idea has become in its fullest execution: Manowar truly represents the fundamental vision of American power metal.
Iced Earth “Burnt Offerings”
In a word: An honest monument to the memory of Dante’s Inferno
In contrast with virtually every other featured in these lists, ‘Burnt Offerings’ evinces a conscious effort on the part of the songwriters to something darkly malignant, something sinister. Although firmly rooted in the melodic tradition of Iron Maiden, this album is steeped in the Faustian temptation to explore the infernal plains, to pursue the flame of self-discovery. This nefarious vision is revealed not only through the thematically relevant lyrics that cover everything from tragic love to Dante’s Inferno, but more importantly through the music itself: the guitars in particular exude a deep and molten darkness, providing profound and often chilling melodies as well as a layered rhythm that either gallops forth rapidly, or marches on slowly in a mystical calm not far removed from that of many doom metal acts. The dynamic vocals of Matt Barlow are at once dramatic, powerful, and are perfectly eloquent in conveying the appropriate emotion, especially of sadness and of wrath; the percussion, on the other hand, is straight-forward and simplistic, which is all that is needed to contribute to the pulsing, imperial rhythm. All of this is assembled and passed through an abyssal, velvet production that infuses the music with an invaluable sense of enduring darkness.
‘Burnt Offerings’ is really about an inverted heroism, a nocturnal pathos that gasps dryly and thrashes uncontrollably in the unfathomable depths; it is the musical monument to Satan’s legion as summoned by John Milton in the 17th Century. Where other American bands of this style commonly create something revolving around ‘practical reality’, Iced Earth is instead inspired to invoke an album that is crafted in the genuinely artistic sense, which enables ‘Burnt Offerings’ to really draw out its genuinely artistic qualities, which include but are not limited to its potent aesthetical romanticism, its fiery rebellion of a righteous condemnation, and finally its paradoxical delight in striving for the impossible.
Sanctuary “Into the Mirror Black”
In a word: Rhythmic power as opposed to moronic groove
Just before the stifling effect of the grunge scene overwhelmed the Seattle area, there was still a band that truly believed in the basics of heavy metal: Sanctuary. ‘Into the Mirror Black’ is the second of two quality albums made by a band that really epitomizes American power metal: heavy and forward riffs planted in a traditional format of composition, clear and stylized vocals, and lyrics that directly relate to practical reality and human emotion.
In Sanctuary’s case, the lyrics are particularly philosophic and investigative; they deliberately seek out the answers of some of the more obscure questions, and employ the technique of asking their own questions to the desired effect of placing emphasis where emphasis is needed. There is an almost poetic meter to the way that the lyrics are stressed, a rhythmic harmony that is evenly matched with an intelligent creation of riffs that accord with the meter of any which verse. This is important to remark upon not only because one of the key aims of this record is the exposition of several lyrical themes, but mostly because ‘Into the Mirror Black’ is built fundamentally around rhythm, and this particular sense of rhythm is not so much manufactured through the percussion and bass as it is by the guitars and vocals. So, yes, of course there are the lightning solos, the pounding battery and the occasional melody, but far more essential than all of this is the bold, relentless rhythm to which all else is subservient.
Crimson Glory “Crimson Glory”
In a word: Romanticism as Mary Shelley knew it
In the typical metal band, there is likely an emphasis on something, a particular area in which the band excels; we can mention that Slayer, for instance, was exceptional in pacing forward at a speed that few could immediately handle; or we can mention that Bathory was brilliant in evoking simple but dreadful subjects through simple but abrasive songwriting, and somehow being all the more fearsome for it. In this vein, Crimson Glory is excellent at putting together a song that subsists, indeed thrives on its melodic intuition: without that keen, delicate pulling of the strings, without the subtle taste in melancholy, everything would disintegrate.
All aspects of Crimson Glory, from the dramatic introductions to the starry chorus, from each sad rhythm to every slender, passionate solo, all of it depends on this fully pervasive emphasis on melody. The reason for this has already been hinted at: ‘Crimson Glory’ is a tragic album. Melody is seldom more useful than in conveying a deep and immutable sadness; the notes, while sufficient in number to prevent an outright dirge, are usually slower, downcast, hopelessly inflected by that precious melancholy sought by every romantic poet. While this album is obviously not overtly tragic, its subtleties are more than enough to allow us a glimpse of its true pathetic nature; indeed, its character is not really like that of the despondent misanthrope who cannot view life without seeing death as well, but more like that of a patient lover, the lover who is momentarily divorced from his opposite and yet at heart knows and feels that she is destined to return.
Manilla Road “Open the Gates”
In a word: A legendary band in the right circles
Manilla Road released several cult albums that have become essential to the traditional and power metal genres. ‘Open the Gates’, like sister records ‘ Crystal Logic’ and ‘The Deluge’, utilizes a low, throaty production that conveys their unique guitar and vocal sounds in the rough and hardened way that best suits the fundaments of classic Manilla Road. The axework resembles something sanguine and archaic: an image of an army of rusting skeletal soldiers is evoked by the creaking riffs that rumble over the heated rocks of the battlefield, as well as by the elongated solos that twist and turn in no predictable pattern until the tracks’ climax and descent is fulfilled. The music establishes the appropriate imagery for what the collective imagination of the band envisions: wide, perilous landscapes marked by the comings and goings of dread legions and tyrannical dragons; the colour scheme pervading the artistic schema is a vivid and unmistakable red in the likeness of a fast and ageless fire.
Nestled in the gentle plains of Kansas, Manilla Road has established a firm foothold in the annals of heavy metal with the attainment of an identity that is entirely its own; even with the most modest of song structures, ‘Open the Gates’ is successful in its ambition to recreate a fiery, mythic world through a dramatic and persuasive vocalist, destructive and bloody riffing, and that ever persistent struggle to perceive and grasp the Epic, the richest content in every story.
Savatage “Hall of the Mountain King”
In a word: Let the curtains fall
There has always been something purposefully theatrical about Savatage – the sense that the band is putting on some poignant story between the curtains is never absent in any Savatage album. Before Jon Oliva remembered his Italian roots and emphasized the story over the metal, he was deeply involved with an album that is actually more metal than it is melodramatic. The musicianship in ‘Hall of the Mountain King’ is fairly intricate and developed, although Jon’s brother Criss is rarely shy of occasionally firing in a simply, catchy riff; on the whole, however, the music is classy and orchestrated by a general motif revolving around that old art of telling tales the Italian way.
It might well appear that Savatage is not really of the American type of power metal; this is true to an extent, since these New Yorkers definitely focus on a neat and theatrical presentation of an appropriate theme; it is equally true that the music certainly comes across as Classically inspired, even going so far as to include a metal rendition of Grieg’s legendary ‘In der Halle des Bergkoenigs’. Beyond all of this, however, there is a peculiar, indefinable ‘dirtiness’ which is indisputably American by nature that infiltrates all aspects of Savatage; from Jon’s gritty vocals to Criss’s riffs and reckless solos, the bold advance of the Yankee puts its taint on a seemingly neoclassical, a seemingly European band.
Omen “Battle Cry”
In a word: Just look at any track title…
Beyond the justice and the caprice of society, beyond the state of sedentary existence, the law of the lawless rules unchallenged. Omen immediately brings to mind two possible landscapes: the first is of an exiled band of brigands and strongmen, fighting whomever for food, fun, or coin; the second is of a post-apocalyptic world similar to the dystopia of Snake Plisskin fame. In the end, however, the sights, smells, and noises of any age are irrelevant, for the fundamental idea that this album conveys is a timeless one: the barbarian, the ‘law unto oneself’ ideal of savages everywhere; it is unquestionably the focal point of this highly direct and uncompromising album.
The music is equally straightforward; quick yet still mid-paced verse sections are clearly rhythmic, nothing extraneous whatsoever; the chorus is typically anthemic, beckoning the listener to join in this gladiatorial brawl, or at least to sing along. However simple this album comes across as, it does not suffer anything by it, for really its execution of the perennial imagery of fighting outlaws is efficient and apt; after all, one can hardly expect or even imagine any band to arrange a full, technically adept orchestral composition to record the legends of a Conan or a Mad Max.
Hammers of Misfortune “The Bastard”
In a word: Mystical legends as told by a Satyr
While Mike Scalzi may be more renowned for his work in The Lord Weird Slough Feg, a band supposed to be at the forefront of a resurgence in traditional metal, we find that his more interesting project is undoubtedly Hammers of Misfortune. An outstanding reason for this assertion is that hammers is a novel production, a band that provides us with a much needed new perspective on heavy, trad, power, whatever kind of metal that this album actually falls into; ‘The Bastard’ is refreshing for this alliance of multiple concordant elements, for its eclectic understanding of musical creation.
The vocals, consisting of both male and female, both clean and bestial, are at the crux of the record, giving the unique story behind it an appropriately dramatic, even thespian approach: each voice seems to resemble either a character involved in the concept or an aloof narrator. The riffing is similarly diverse: the guitars flow easily, albeit in irregular patterns, curling and bending through each phrase, allowing an almost serpentine atmosphere to materialize; this does not, however, restrict the players from constructing rather inspiring melodic passages, or from submitting a low and swaying rhythm. ‘The Bastard’, for all its eccentricity and deviations from what we might call ‘normal songwriting’, is still an album with a resolute identity; in both lyrical and strictly musical content, Hammers of Misfortune is yet another metal band that invokes the spirit of a folky, medieval tradition to create a folky, medieval album.
Cirith Ungol “King of the Dead”
In a word: Where doom metal and fantasy collide
‘King of the Dead’ is one of those albums that defy any single classification: it is not only doom, it is not only power, and it is certainly not at all NWOBHM. There is, however, a single band that can be distinguished above all others in terms of influence: that band is Black Sabbath. While many of Cirith Ungol’s defining characteristics are fairly different from those of ’Sabbath, the traits in guitar wizardry are more or less identical; the movement of the song is wholly dependent on these slow, rumbling, repetitive riffs that crawl on and on; the song builds up into a zenith a behemoth of strength, powered by these simple, dreadful riffs that never relent. The vocals, on the other hand, are unique and virtuosic; Tim Baker’s voice is a mild shriek, as it were, a high-pitch, high-volume rasp.
The overall sum of the parts is a skeletal aesthetic that complies with the overt motif of Tolkien’s ghostly legion, which is of course ruled by the king of the dead. The black, crumbling riffs partnered with the neat, scratching solos depict a horrible chamber whilst the uncomfortable vocals unleash the eternal anguish of its prisoners. The name of the band and of this album really epitomizes the nature of both: Cirith Ungol is not content to simply look through the Lord of the Rings and be amazed at the immortal elves, or to stand in awe of a defiant, manly heroism; infact, Cirith Ungol will never be content until every proud and noble city is the lair of maggots and goblin filth, until every tall man is made short and swarthy due to some dark hubris; indeed, Cirith Ungol will never be content until every path, every secret passage becomes the private hunting ground of wild and wicked spiders.
In the sky a mighty eagle
Doesn’t care about what’s illegal
On its wings the rainbow’s light
It’s flying to eternity
– Helloween, Eagle Fly Free
Written by Xavier
Tags: angra, Awakening the World, Battle Cry, Black Hand Inn, blind guardian, Burnt Offerings, Celestial Entrance, cirith ungol, Crimson Glory, Gamma Ray, genre, Hall of the Mountain King, Hammers of Misfortune, Heavy Metal, helloween, iced earth, Into Glory Ride, Into the Mirror Black, King of the Dead, Land of the Free, Lost Horizon, manilla road, manowar, Nightfall in Middle-Earth, Omen, Open the Gates, Pagan's Mind, power metal, Running Wild, sanctuary, Savatage, Speed Metal, Tales from the Twilight World, Temple of Shadows, The Bastard, The Keeper of the Seven Keys, zine-zines
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 which 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 entrace, 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 akward, 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 discontiguous 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 underconfident, 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.
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 whom 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 in tolerant, peaceful and normally quite uneventful Scandinavia.
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 either only support 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 couchbound 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 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.
After the initiation of modern black metal in the Scandinavian style, a fragmentation occurred along the general lines of techniques used to unify song composition, creating a number of subdivisions in the black metal subgenre [genre = metal, subgenre = black]. The following are general descriptions of these substyles and what they implied for changes in black metal as a whole.
The heavy metal style of black metal, descended directly from Venom and NWOBHM bands like Angel Witch who inspired them, is essentially rock music with some neoclassical influences in the loosest sense. Pentatonic, verse chorus music that stays within basic harmony, heavy metal/rock-styled black metal is recognizable for its radio friendly ways, redundant harmonic constructions and verse/chorus arrangements. Good examples include Venom of course, Dimmu Borgir albums after Stormblast, Cradle of Filth and Dissection.
Descended from Hellhammer and some early Bathory, this is mostly rhythm music which like hardcore punk is fashioned from the harmonic space of a basic interval between two anchoring notes, often a fifth. While this style is easy to do, it is difficult to do well, as the number of bands emulating Hellhammer and falling far short of what Hellhammer produced have found.
Symphonic styles and epic song structures often seem to go together, as seen in bands like Summoning, Graveland, Heidenreich and early Emperor. Where most bands indulge some complexity, these bands aspire to a demi-operatic state of unifying concept with staging, projecting a theatrical view of the action described in a song through the pure sound and arrangement of riffs. These bands are often the closest to classical music in types of melody and depth of layering, but it is important to note that epic is mainly a description of the complexity and arrangement of a band, not its techniques, so there is complete overlap with other styles mentioned here.
Music designed to utilize the undulating nature of the sweep picking of a guitar as suspended between unchanging percussion of a basic nature, this style is inspired by generations of metal with ambient experimentation, including Slayer, Von, Massacra, and Bathory. The most notorious band working in this group is Burzum, but other bands such as Nargaroth, I Shalt Become, Ildjarn and Darkthrone have created great works in this area.
The oldest style of modern black metal, the melodic compositional approach was first utilized by Norwegian bands looking for a way to make simple power chord music more than thudding rhythm and chromatic patterns. Immortal’s “Pure Holocaust” is the best example of this, with highspeed tremolo picking whipping distorted noise into a flood of searing yet beautiful sound, but there are also examples to be found in Behemoth, Darkthrone, Mayhem and Sacramentum.No Comments