Like gangster rap, black metal drew a great deal of its charisma from its claims of countercultural authenticity, a realness defined not by criminal boasts and urban play-by-plays but by an ultimately spiritual fidelity to misanthropy and infernal nihilism—an uncompromising (if easily parodied) Satanic sensibility salted with occasional bursts of violence, obscenity, and tabloid controversy. But as the genre grew in popularity, an interesting mythological transformation occurred. Classic bands like Ulver, Windir, and Enslaved left the Christian devil aside to reach for an older, pagan stratum of Norse and heathen lore (”Viking metal” is now its own subgenre). In their quest to express the atmosphere of awe and gloom that permeates these ancient ways, black-metal acts began extending and deepening their use of melodies, both folkloric and epic. What emerged was a powerful dark-side Romanticism, perhaps the most unalloyed descendent of old-school Sturm und Drang that we have.http://metal-blogs.com/death/2007/11/14/environmentalism-romanticism-and-heavy-metal/
It's nice to see someone taking popular music seriously. I think I like any movement that combines Romanticism with an aversion to the Nanny State, and the selfish fatuousness of most people, rich or poor.