Mayhem announces details of Esoteric Warfare

mayhem-esoteric_warfare

Former black metal, now modern metal band Mayhem have announced further details about their upcoming album via Season of Mist. Entitled Esoteric Warfare, the track list can be viewed below:

  1. Watcher
  2. Psywar
  3. Trinity
  4. Pandaemon
  5. Mylab
  6. Six Seconds
  7. Throne of Time
  8. Corpse of Care
  9. Posthuman
  10. Aion Suntalia

The album is set to be released on May 23, with a US release date on May 27. It will be available for pre-order next Wednesday, March 26.

Additionally, the band has planned a European tour to support the album’s release, with two festival dates currently scheduled later in the year:

  • 14 May 14 Hamburg (DE) Markthalle
  • 16 May 14 Bochum (DE) Matrix
  • 17 May 14 Köln (DE) Essigfabrik
  • 18 May 14 Eindhoven (NL) Effenaar
  • 20 May 14 Bruxelles (BE) AB
  • 21 May 14 London (GB) Electric Ballroom
  • 22 May 14 Paris (FR) Le Divan du Monde
  • 23 May 14 Winterthur (CH) Gaswerk
  • 24 May 14 Milan (IT) Factory
  • 26 May 14 Bratislava (SK) Randal
  • 27 May 14 München (DE) Backstage Club
  • 28 May 14 Berlin (DE) C-Club
  • 29 May 14 Warsaw (PL) Proxima
  • 30 May 14 Plzen (CZ) Metalfest Open Air Festival
  • 31 May 14 København (DK) Pumpehuset
  • 28 Jun 14 Lausanne (CH) Les Docks (Inferno Festival)
  • 08 Aug 14 Øya (NO) Tøyenparken (Øya Festival)

The album’s first single, entitled Psywar is scheduled for release on April 26. It contains of an alternate mastering of the titular track (our review can be found here), in addition to a track entitled “From Beyond the Event Horizon”, taken from the scrapped 2012 Budapest Sessions.

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Mayhem – “Psywar”

mayhem-psywar

Norwegian black metal band Mayhem have released the first side of their upcoming single, entitled “Psywar.” At 3.5 minutes it shows the band continuing their foray into modern extreme metal aesthetics.

The track starts out with palm-muted tremolo picking, which shares more with simplistic death metal than the band’s history of black metal. The verse begins with shouted vocals, with the guitar riff beginning to incorporate modern black metal’s ambiguous arpeggiated aesthetics; which then over-take the track in a short breakdown section, consisting of needling treble notes and “profound” whispered vocals. The track then goes back into action with rather standard modern black metal minor chord strumming, before a short homage back to basic death metal which concludes the track. In short, formulaic and predictable, though it is put together well and probably will garner the band financial reward.

Mayhem was noteworthy for its foundational role in shaping the Norwegian black metal scene. Although a few other bands may have had a more prodigious output, the role provided by the band in organizing the metal scene and the strength of its De Mysteriis Dom Sathanas album cemented the band’s legendary status.

For those who are intrigued by what’s presented on this single, but wish to hear the band in its former higher state, visit our Mayhem review archive here.

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Until the Light Takes Us: Review

This long-awaited independent film documentary finally hit London as part of the Raindance film festival, as metalheads and indie pricks alike filled the seats to watch what has been promoted as the least sensationalist take on the all too familiar events surrounding the Inner Circle and that Scandinavian wave of Black Metal. ‘Until the Light Takes Us’ presents the story through the thoughts of some important figures from that scene, most notably Burzum’s Varg Vikernes and Fenriz of Darkthrone, who are able to articulate more of what constituted the worldview of that movement, from two very different perspectives – Varg as the idealist finding himself trapped within his surroundings and Fenriz as a former idealist now trapped within himself. For example, the Count Grishnackh likens his experience in prison to being in a monastery, as it imposes a strong sense of discipline on him, conducive to self-development, engaging with reality at the level of ‘ideas’ and the eternal quest for ‘Truth’. Fenriz, on the other hand, looks pretty directionless and resentful of the events that culminated in his loss of spirit to the extent that he describes his current music with Darkthrone as like petting dogs (the fans) and inspiring them to share his misery, possibly offing themselves as a result.

This film is clearly a chance for those involved to speak about such things after the initial media attention and exposure had long ago infected the exclusivist purity of Norwegian Black Metal. As such, it is not really a film about Black Metal. No clear picture is put together as to be able to explain what Black Metal is, although larger conclusions can be drawn as streams of dialogue intersect and are placed alongside appropriate imagery and Nordic scenery. The anti-Judeo-Christian sentiments of church burnings and the anti-consumerist, anti-westernisation implications of Helvete’s radical ideology are explored with reasonable depth, but there is nothing much said about what they affirmed and found beauty in, which is the real impulse behind many classic Black Metal albums. Combined with what seemed to be the ultimate fate of these artists as some form of social ostracisation and self-destruction (captured by Satyricon’s Frost and his throat-slitting public art display, and Dead’s suicide), Black Metal – whatever it is – comes off as a dark curiosity ultimately yielding fatalistic results. Fair enough, that’s not the purpose of the movie, but for a Black Metal initiate, this film offers little more than surplus interview material. It’s interesting as a documentary, exploring the detrimental effects of media bullshit super-imposed on an ideological and artistic movement that stood well outside of what the media can express in it’s limited lexicon, and provides content for those interested to further research this cryptic genre.

– Written by ObscuraHessian

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Iconoclasm Sweeps Norvegia: Impressions of Norwegian Death Metal

1. Introduction
2. Pure Fucking Metal: The 80′s Underground
3. Vomit: Still Rotting CD
4. Mayhem: Deathcrush MLP
5. Cadaver: Hallucinating Anxiety LP
6. Darkthrone: Soulside Journey LP
7. Mortem: Slow Death EP
8. Old Funeral: The Older Ones CD
9. Thou Shalt Suffer: Into The Woods Of Belial CD
10. Arcturus: My Angel EP
11. Thyabhorrent: Death Rides At Dawn EP
12. Generalization: A Statement Of The End

Written by Devamitra with Fenriz (Darkthrone), Anders (Cadaver) and Manheim (Mayhem)

Introduction

 

I have had this Vision
of a voyage in mind and soul
Through silent Somniferous scenes
within the enclosed chambers of my
untouched spiritual experiences
Soaring through damp air
Seeing faces, twisting, plunging through my colour

– Darkthrone, Soulside Journey

 

From the downbeat plays by Henrik Ibsen to the introverted nightmare paintings of Edvard Munch, the Expressionist era of Norwegian art had a hundred years ago remembered the voices of the dead and listened to the weeping of the living.

Art connoisseurs took note of the summoned ancestors and the frozen shades of the Norse era, that had been united into jagged juxtapositions of a modern life and an industrializing society – a world of pain. As Norway rose in material wealth throughout the 20th century and discovered the dubious ideals of social democracy, the nation was forced to hide their deep embedded pride, honour and dignity into the bottomless domains of subconscious and hidden symbolism. Ghosts of the Nazi occupation haunted and shame caused people to understand moral problems. If grandmothers and grandfathers still had remembered the rites of witchcraft, the oaths spoken to the wallowing mist of the fjords, they were now abandoned to a worldview committed to science, humanism and well-being.

Pure Fucking Metal: The 80’s Underground

Young minds were seething with fury, anxiety and barely contained stellar potency of creation. Norway around them was filled with McDonalds, idiotic TV programs and insipid pop by A-Ha. The generation between 16 and 19 years of age had integrated into their worldview the stylistic tenets of punk, thrash and heavy metal, whose nexuses in the beginning were the heavy capitalist societies of the USA and the UK. The resulting chemistry was to inspire the manifestation of the most evil and brutal sounds possible, in retaliation towards the satiated ideal of “peace” that reeked of old, dying people and blasphemed the Viking ideal of death through battle.

Sweden, always ahead in trends of Western Europe and America, had led the path towards the Scandinavian idea of death metal with the original black metal sorcery of Bathory and followed with a string of demo-level bands (Corpse, Hellfire, Obscurity, Morbid and Sorcery to name some) years before death metal mania exploded. Finland lagged behind with Norway until Xysma and Abhorrence opened the gates of Hell there and death metal bands formed by school pals and neighbours surged from even the quietest suburbs that barely knew about heavy metal, as in Sweden.

Fenriz: There was no scene in Norway. For instance the Swedish punk scene wasn’t only 10 times as strong as Norway in early 80′s… try thirty times bigger! Finland was just a bit better with metal, but much better with punk. So we were like a third world country, and it was Mayhem and the Slayer mag that put us on the map originally in ’84-’88 (more intensely ’85-’87). Then a bunch of us others joined the underground with our bands too.

One without the experience of death metal life without public attention can not dive into the extreme and alienated emotion of a morbid artist who is intent on creating noisy demos with batches of cruel artwork, releasing only tapes or meager 7″ EP’s on mostly rip-off labels and this has to be kept in mind when the eternal “rock star” accusations are levelled towards the same people now. The spiritual impact of what these misfits created in the 80′s was as extreme of a phenomenon, if not more, than to commit crimes known to everyone in the vicinity. They were practically admitting to being insane.

Fenriz: There weren’t any fans. Everyone had own bands and were because of this isolation of course total maniacs. We had to make our own fans here, ha ha. But punks liked us, and we played good show at Blitz, famous Oslo punk house in 1990. Norway was not important, it was only underground work with snail mail that was important to me. That was 90% of my work.

Anders: This was before the Internet and to get a hold of an album like “Reek of Putrefaction” by Carcass meant
you had something truly extreme in your hands. The whole idea of being true and anti-normal came mostly from Euronymous and his developing Black metal philosophy. He had a strong impact on all of us and it was hard to get away from his force so to speak.

Manheim: It felt good, I can tell you that much. People didn’t understand it much. A lot of musicians and friends around us told us that we wasted our talent, and it wasn’t music that the average listener liked. But we didn’t make the music for the masses, we did it for our selves and for the few around the world that liked extreme music. We tried to make something new, and I do think we succeeded on that one.

In musical respect, the kickstart of the scene was from the capital Oslo, a violent clash between the anti-social, minimalist riff of hardcore and the agility exercise of speed metal; these sounds can particularly be heard in the demos of Vomit. Mayhem, also from Oslo, initially represented a similar style of music and Vomit members sometimes filled positions in Mayhem and vice versa, but it was soon to be conjoined with the extreme attitudes belonging to black metal, far before any other band in the world adhered to them. Small town (Kolbotn) thrash kids Gylve Fenris, Ivar and Anders created Black Death, which combined the speed metal of Destruction or Dark Angel with humorous lyrics relating to their daily life and later developed into the extreme entity that is Darkthrone.

Fenriz: 80′s metal scene was nothing in Norway, we made it ourselves, and broke away from all (lack of) standard here. Global underground was everything to us. Norway was not important, but became much better in ’89. Impostor was also a cool band, but had nothing to do with death metal.

Vomit: Still Rotting CD

The hyperactive Vomit was never to get a professional release for their material back in the day; this recent compilation hosts demos and rehearsals and the same line-up also reformed as Kvikksolvguttene in the 90′s to play some old and new songs. This CD contains several demo versions of the same tracks but it’s easy to listen all the way to such basic, catchy and hilarious manifests. Surprisingly sensitive, like a much simpler Slayer, this hyper-organic sequence of thrash aims its nuclear warheads towards society because of the realization that it is malfunctioning. It gives memories of early COC and Cryptic Slaughter, even Minor Threat in its high energy fueled rebellion – just check “Demonoid”‘s violence. The assaulting harsh vocals ranting about the legions from Hell remember Venom.

Musical cues from Kreator and Sodom in tracks such as “Rotting Flesh”, while rudimentary, suggest the evil power of proto death metal — confrontational punk metal in the spirit of Sepultura’s first album: non-produced and immature. When slowing down to groovy and grinding, the chaotic leads and chromatic chord progressions sound like a band from the old Earache catalogue. The primal energy in tracks such as “Armies of Hell” is simply infectious, inspiring to action for the sake of feeling, thrill and power, like this was a middle finger against the city, these kids were hanging out, overturning police cars and breaking windows. Overall it’s much better than today’s retro bands in a similar style.

FenrizVomit was the rawest well played band in mid-80′s, death thrash, completely awesome, as good as “Hell Awaits” or Dark Angel’s “Darkness Descends”.

AndersThe first Mayhem EP “Deathcrush” came out in 1987 and this is by far the most interesting release of the time.

Mayhem: Deathcrush MLP

Mayhem overturned the Norwegian underground with their maniacal proto-black metal, with an air reeking of chainsaw murders, snuff movies and glue sniffing. The barbaric simplicity of the songs defies even the logic of Hellhammer. We are witnessing the birth-gasps of the BM underground here as krautrock’s Conrad Schnitzler’s magniloquent, twisted avantgarde intro leads into an infernal journey through vistas of butchered early black metal. The recipe is mixing together the primal elements of speed metal and punk, then mangling them as unrecognizable traces of rock music that used to be “fun” but now torn to sarcastic pieces in the hands of bestial psychopaths. Any kind of elegance or progression was unknown to these guys. They make up for this bluntness by organizing with raw vitality and a clear purpose for doing it this way as the pieces of the image fit together. While Euronymous’ riffing is primitive-inventive and Manheim’s heavy drumming is perfect for the material, one can hear that the songs are still mostly in the level of demo versions for a band of Mayhem’s stature developing slowly towards their full potential. The impudently vicious lyrical side centered on gore and blasphemy would fare better through the mouth of the next vocalist Dead while on these recordings Messiah (not Marcolin!) stands out as the superior of Maniac of the two featured voices, as his Sodom-influenced pacing lends power to the old demo track “Pure Fucking Armageddon”.

ManheimThe band image and style was something that came quite early. But it wasn’t the reason for the formation of the band. We started the band because we shared the same ambition to make something different and extreme. I’ve tried to explain it on my blog post “Am I evil”. I recommend that you watch the documentaries “Pure Fucking Mayhem” and “Once Upon a Time in Norway”. The main musical influences were of course metal related, in combination with extreme musical genres. Lyrics were inspired by many sources, but were specifically designed to fit the musical soundscape and the aggressive image surrounding the Mayhem concept. The interest for avantgarde music was something Euro and I shared. We also formed a project we called L.E.G.O. where we explored ideas and concepts within noise and experimental music.

FenrizMayhem was unique, but not an inspiration for death metal. Euronymous only liked death metal up to “Scream Bloody Gore”. He was sceptical to Autopsy when I played him the demo in ’89. But we loved and still love Autopsy of course.

Cadaver was the next major band to heed the call to arms, from the small coastal town of Råde nearer to Sweden, playing a version of death metal not too far removed from the bass heavy, electric sound that was already becoming huge in Sweden and not surprisingly, Cadaver was to be the first Norwegian death metal band to release a full-length album on a label, racing past Darkthrone who still continued developing through a serious of demos in death, doom and black metal style incorporating a psychedelic tendency that was unique, Norwegian and unforgettable, actually sounding more like the Munch paintings come to life than loud rock rebels. By this time various other death metal bands were spawned by the soil which had absorbed the blood of the sacrifices to Odin. Like mushrooms bands such as Old Funeral from the pagan and occultist infested Bergen, Thou Shalt Suffer from the sports and music obsessed Telemark countryside and Mortem from “global” Oslo sprung up, all being practicing grounds for a legion of musicians destined to fame and glory in future projects.

Cadaver: Hallucinating Anxiety LP

The viral and persistent Cadaver took the death metal art in Norway to a new level: besides violating the listener with speed, the intricate composition aims to rip through artificial examinations of reality through morbid revelations. This controlled and logical death metal experience is not quite the absolute psychic expressionism of Darkthrone’s masterpiece but musically soars high above the previous releases and most of what was to follow. Quoting Celtic Frost and Morbid Angel for listenability, hardcore influenced beats underpin a consistently brutal and bludgeoning riffwork in Carcass’ minimalist vein, bringing to mind images of an industrial age wasteland. Vocals are harsh, grating commands in the rhythm of Brazilian bands, promising continuity of experience all the way into grim death. While hateful, arrogant and mid-paced, centered around gore and loss of hope, some of the most beautiful tendencies of Scandinavian death metal already arise on this release and are made all the better by incorporating the best of the deconstructivist tendencies from grindcore music. Twisted and narrative in arrangement, the barbarous and thundering old school death metal riffs of Cadaver proceed to explain the magic of reality in their series of devastating conclusions, proving the album a long lasting gem.

AndersWe had a variety of favorite bands that inspired us at the time. Apart from the bands mentioned we were all into Napalm Death, Kreator, Sodom, Slayer, Death, Autopsy, Paradise Lost, Mayhem, Equinox and not forget Voivod. We were a part of the scene and into all the stuff that came out on demos etc. too so it is not right to say we were influenced by just a few bands. We were into hardcore stuff like A.O.D., S.O.D., Carnivore etc. as well as black metal bands. It was a wild mix.

FenrizCadaver was absolutely great in ’88 and ’89, we played with them and saw them live many, many times! Cadaver was the first Norwegian death metal release, we came right after with the 2nd.

Darkthrone: Soulside Journey LP

An album released 20 years ahead of its time, it’s one of those timeless classics that defy description and comparison. Even today it’s impossible to find death metal that sounds quite like it. It somewhat escaped people’s attention back in the day and has existed on the verge of rediscovery with the sporadic bootleg and official releases of the Darkthrone demos but is still not very widely known among the Darkthrone fanbase. Resembling Celtic Frost taken by the hand of a witch doctor through a series of cosmogonic explanations while on an LSD trip, what starts as gnarly and crawling doomdeath becomes an experience from the beyond. The album has very little in the way of the overbearing brutality of Florida death metal or the catchy Slayer-punk riffing of the Swedes, but it is full of parts that stick to mind and make you come back to its sequences of mystical, foreboding and inconclusive themes and landscapes. Some of the resolutions of its parts are almost disgusting in their divergence from habitual speed metal, death and thrash and they wrack the mind. The evil and brooding melodies crawl over your neck like alien insectoids. Nocturno Culto’s vocals already show their depth and power and so do Fenriz’ inimitable lyrics. On this release Fenriz’ unique drumming skills are the most apparent; pure cult in the making. The eerie use of synths heard on this album would undoubtedly have spiced up some of the later Darkthrone material too. This is the birth of “death metal for the intellectual”.

FenrizThere’s only one Celtic Frost riff on “Soulside Journey”! We were inspired by Possessed, Autopsy, Death, Nihilist, Sepultura (“Schizophrenia” album only), Nocturnus (2nd demo), Devastation (Chicago) and such, Black Sabbath too… but most importantly we had a mission statement: all the riffs should be able to slow down and play on a synth as horror movie effects. So we played technical horror death metal with doom elements and also our eternal inspiration, visions of the universe: even our first demo in early ’88 had an outer space painting as cover.

AndersThe Darkthrone debut album has some great songs in it and it blew me away at the time. It sounds very Swedish and if it had the grim sound of lets say Autopsy it could have showed a different path for Norwegian death metal along with us for young bands at the time. Who knows?

Mortem: Slow Death EP

Mortem’s seldom heard EP boasted some of the most catchy riffs of Norway’s early death metal and one of drum legend Hellhammer’s earliest performances on record. Mortem joins the company of Vomit in aiming to produce the death metal experience with hardcore-like simplicity. Tracks such as “Milena” and “Slow Death” are pure headbanging mania, not much else, though the latter also has an interesting modal type of guitar solo. Considering the general sound quality, drums are surprisingly clear and powerful and show Hellhammer’s early skill in arranging rhythm. Such elements and the beautiful intro to “Nightmare” leave one wondering a bit how it would have been if this band had recorded an album. The heavily distorted vocal performance is of a dubious benefit, like an overblown imitation of Maniac’s already annoying screams on “Deathcrush”. However, they lend a chaotic, absurd and insane element to the proceedings of what is rather usual demo level death metal from a young band.

Old Funeral: The Older Ones CD

At times nearly reminiscent of “Soulside Journey” in enwrapping the listener with pure twisted melody riffs, its surprising that this compilation of material from some of the most interesting line-ups (future Immortal, Burzum and Hades members) of death metal is not too much celebrated. It’s easy to already hear traces of the epic ambient guitar that would characterize the members’ later bands – the Wagnerian “My Tyrant Grace” could easily be an early Immortal recording. Old Funeral’s recordings do often fall short of brilliance, songs having good parts but being incomplete. Old Funeral had potential to be a magnificent band but sadly never got a stable enough line-up or enough work and attention to make it happen. At worst (“Lyktemenn”) the material is unorganized and thrashy, emotionally anguished in a selfish way and using half written heavy metal influenced melodies in a despicable way, inconclusively jumping from one phrase to the next – obscure but not visionary or evolving, just a collection of moods. “Into Hades” approximates early doomdeath. “Abduction of Limbs” is inspired by technical US death metal and succeeds in building an evil ambience. “Devoured Carcass” is more obviously Scandinavian in manufacture, akin to the barbarous blasphemies of Treblinka or Beherit as microbic riffs intone trances of darkness in a nightmare of lost souls. Slower funereal passages on the compilation echo traces of ancient Cemetary and Therion. The black thrashing of “Skin and Bone” reminds of Bathory or early Voivod while throwing some sparkling, clever leads into the mix, creating a surprisingly war metal-like high energy plutonium explosion. This ripping and rocking track manages to approximate brilliance. The core simplicity of most of Old Funeral’s material will hinder the pleasure of the elitist metal listener, but much of it remains highly listenable as even the live recordings work surprisingly well.

Thou Shalt Suffer: Into The Woods Of Belial CD

Thou Shalt Suffer was the product of an already long development from band formations such as Dark Device, Xerasia and Embryonic, composed of future music-magicians who would form Emperor, Ildjarn and the Akkerhaugen sound studio. Mostly early 90′s Swedish satanic death metal in style, Thou Shalt Suffer assaulted the listener with disorganized yet compelling demo level death metal noise with submerged, intense and evil soundscape. Seriously brutal in nature, interlocking chromatic riffs in the vein of Incantation or early Amorphis race on, sporadically bursting into uncontrolled grind. Vocals are super-dramatic in Ihsahn’s craziest early style, ranging from humorously weird to total evil and synths repeat a few doomy patterns, foreshadowing Ihsahn’s later neo-symphonic obsessions. The songs are expectedly not quite there and everything sounds unplanned and spontaneous but for pure spirit it can be quite exhilarating to listen to it today. The discordant, fractured and genius stream of melody of the main riffing recalls ideas later developed further in beautiful way while the expert rhythm guitar is able to create the texture of an infernal landscape. Fragmented but compelling, it should go without saying that it has already done more than most of today’s death metal releases. A special award should be presented for the long experimental outro track “Obscurity Supreme”, seething with a truly avantgarde ambition beyond the later “art metal” habits, worthy of its title.

Arcturus: My Angel EP

The Mortem line-up returned with this piece of madness before plunging into black metal sounds using this band name. Arcturus started its career reminiscent of Swedish second tier satanic death metal bands in the vein of Tiamat, cutting through the intricacies of the narrative death metal of Cadaver and Darkthrone to hammer out Wagnerian power chord doom, with not much appreciation for subtle nuances. The first track “My Angel” starts out psychedelic and impressive, foreshadowing the deep symbolic exploration of the internal cosmos done later by bands such as Tartaros. However, in Arcturus it remains as just another eclectic act, as the dramatic development proceeds in an expected way. While the impressive parts are there it doesn’t reach the magnanimous stature it’s trying to achieve, with the keyboard melodies from film soundtracks and the evil vocals reminiscent of early Samael. “Morax” is a track with gothic, Cathedral-inspired doomdeath wrapped in a synth layer of Nocturnus. Arcturus attempted to obtain a complex, insane atmosphere of invocation but it was not to be their forte; the careening splendour of “Aspera Hiems Symfonia” would be better music.

Thyabhorrent: Death Rides At Dawn EP

Thyabhorrent, led by Occultus (another figure from the early black metal history around Mayhem and Helvete), specialized in simple death metal which used some speed metal riffs and emotive lead guitar interludes. Occasionally similar to Dissection, it seems to carry an eerie foreshadow of Gothenburg and today’s mainstream death metal style while still proudly enwrapped in the mystique of the Norwegian underground. The catchy metal riffing and try-hard vocals in “Condemnation” are halfway to serious power, falling short of the atmosphere obtained by almost all other works of the era. The good riffs are wasted by the very simplistic construction of songs and the unfortunate tendency to rip a wrong context: heavy metal. “Occultus Brujeria” displays an elegantly romantic tendency which could have been something with more development: doomy clean vocals herald simple black metal of expressive, gothic, über-dramatic character. Some of the interludes suggest ideas that could have turned this into an elaborate progressive black metal band but as it stands, it’s a much weaker and tamer version of the kind of material released by Necromantia, Burzum or Isengard early on.

Generalization: A Statement Of The End

The original death metal underground of Norway was alienated, silent and private and thus gave a chance to develop all these ideas towards their full fruition. When the scene burst into the attention of a million of trendy fans, it dealt a blow to the atmosphere that could not be recovered from it. The sanity of the fragile artistic mindset required that the adherents move away towards new areas of quietude and purity (“away from the noise of the marketplace” in the words of Nietzsche) to continue the serious contemplation of darkness. What follows is the history of the early 90′s black metal phenomenon; Cadaver remains the sole band of the ancient underground that is still around cranking out evil death metal.

Anders: We split up in 2004 – so no, we are not around. To call Death Metal trendy is a sidetracking of the whole thing. I don’t share the idea that we ever played something trendy. To play death metal in 1999 was as un-trendy as it could be. I call what I play death metal still because it is my playing style. Death metal can mean much more that most people think. I am a death metal man by hand and a black metal man by soul.

Fenriz: I can with my hand on my heart say that I only bought like 5-6 death metal releases in 1990, and maybe 2 in 1991… or none. The studios like Morrisound and Sunlight were fresh in the very beginning, but organic sound is the best and I quickly learnt to hate these click click bass drum sounds that started to ruin metal in ’89 and have completely ruined generations of metalheads later on. In ’89 death metal compilation tapes were overflowing the underground, I had already been through hard rock and heavy metal and power and thrash and everything possible, then I saw that thrash metal got boring and too copied and the same thing happened with death metal, it was too many bands, but the sound was good in ’89. But to me, I heard Hungarian Tormentor on one of those tapes, and got back into more “evil” sound again, like Destruction “Infernal Overkill” and such, as I hadn’t listened to them for a while. I saw it as just thrash, but after getting an evil revelation with Tormentor, I saw a lot of the thrash I had from before in a new black light, and I got more and more into Bathory. And in 1990 I mostly listened to the more primitive stuff, but our craft was technical death metal and we needed to complete our album. Even after our album we had lots of material pouring out of us (became “Goatlord” album) but it had to stop with this technical style, we were all agreeing on this except Dag. We took a U-turn unto the primitive lane in 1991.

Even a cursory investigation to the workings of the early Norwegian metal underground should dissolve one of the most persistent illusions about Norwegian black metal bands such as Burzum and Immortal: that they did not know how to handle their instruments, or did not have an extensive background in musical expression. Do you think they simply wanted to pose evil with corpsepaint? They were talented musicians who had years of experience playing technical styles of death metal before the black metal explosion. The simplified sound of black metal was due to the ethics of black metal and the spirit of black metal. The black metal resurgence intended to develop metal music to a new level of intensity and create a purer atmosphere, unpolluted by the social agreements of the new death metal people.

For most metal fans Norwegian death metal means either black metal or the new digitally produced bands in the vein of Zyklon and Blood Red Throne. The intent of this excursion has been to show how pure death metal was the fundamental force in establishing the original Norwegian underground metal scene and how it ultimately grew into the most vital and archaic musical movement of the 90′s, Norwegian black metal.

Anders: The bands such as Darkthrone, Mayhem and Immortal were in fact very inspired by death metal. If you listen to the latest Emperor, Satyricon, Dimmu Borgir albums they all have strong elements of death metal in them. The scene that was to become the Norwegian black metal scene was never a “one-way-street”. The issues with Swedish bands in ’91-’93 was mainly about the fact that death metal became conformed, predictable and non-dangerous. The strong standing of the black metal scene overshadowed any death metal band for many many years and this is still the case.

Manheim: I of course felt and feel proud of being responsible for giving people inspiration. That so many people in Norway and around the globe have taken this further is of the good. Of course there’s a lot of bands that appeared that didn’t do anything else than copying those before them, but the development of genres like Norwegian BM and others shows that there’s a lot of creativity and wonderful musical contribution that has been done after Mayhem released its first demos and “Deathcrush”. My personal favorite releases are Darkthrone’s early works – and if I have to choose, “Under a Funeral Moon”.

Fenriz still works on Darkthrone, promotes his favorite underground bands and speaks against forest industry. Anders has been playing live guitar and bass for major bands such as Celtic Frost and Satyricon. Manheim composes and performs experimental music and writes a good blog on culture and music. Deathmetal.org thanks them all for their kind contribution.

Cosmic Fear arrives, I hold a dead one,
Surrounded by my many candles
(I burn to cleanse the air)
Rotten Unclean Sacrifice Nightmares
Unreal Psychedelic Journey
Ride The Darkside
Search The Soulside

– Darkthrone, Soulside Journey

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History of the band Mayhem

Like a dark breath of forbidden fantasy, black metal came into a world of orderly containers and sprayed them with foaming blood, black bile, and most of all a poisonous uncertainty about the safely egalitarian but boring lifestyle of the first world. In this genre, Mayhem were the band that by sheer persistence evolved into being one of the founders of the new black metal style, but only after years of thrashing in the dark and confusion of the fatalistic tendencies that eventually brought the band to artistic collapse.

Formed in the early 1980s by Oystein Aarseth, or Euronymous, the band released two demos which built upon what Bathory and Celtic Frost had achieved by making it more minimal, less coherent, and less friendly to the ears; in truth, the first anti-social music. The latter of these, “Pure Fucking Armageddon,” had attributes of extreme crustcore infused into its fractured heavy metal stylings, bringing criticism from a metal world which was then just beginning to accept Morbid Angel, Kreator, Destruction and others as a new form of “music.”

As time went on, two important things happened: first, Mayhem released “Deathcrush,” their first release and the best snapshot of the musical style they were attempting to produce, and second, the vocalist “Dead” [Per Yngwe Ohlin] from the Swedish band Morbid joined Mayhem to replace previous vocalist Maniac. The underground was slow at first to embrace the newer music, but soon there was a firm niche carved out for Mayhem: those who rejected the desire for logicality, in the modernist style, that death metal represented. As Euronymous said, “Black Metal is so extreme that not anyone can get into it. This isn’t any funny hobby which stupid kids shall have after they comes home from school.”

With the introduction of Dead, the conceptual impetus behind the band changed, and soon the blocky and deliberately awkward music of “Deathcrush” was metamorphosizing into a sleeker, melodic variant with more dynamic change in the songs, producing different “settings” to tell a tale, somewhat like a micro-opera in harsh guitars and howling vocals. Similarly, the appearance of the band went from t-shirts and jeans to black clothing, black boots and facepaint – corpsepaint – in black and white. In concert, Dead cut himself onstage, surrounded by the carcasses and heads of slaughtered animals. A full rejection of the positivity, pity and focus on individual lives of democratic humanism, the new appearance and music of Mayhem emphasized the bold, terrifying, morally ambiguous and deathlike in life itself. To understand it, one had to realize that the passion given to the music was an affirmation of life, but a different form of life, than that endorsed by the nominally Christian Nordic countries.

With this change, the following of Mayhem increased, especially as their recognizably different image placed them ahead of other musical efforts in the world of metal as less socialized and thus more extreme. Mayhem played a series of concerts across Europe, but recording and songwriting were sporadic, thus little material emerged from this period. At the end of it, Dead, in a moment of nihilism and darkness in 1991, slashed both his wrists and blew out his brains with a shotgun, leaving only a note: “Please excuse all the blood.” Euronymous, upon returning to the band’s shared dwellingspace to discover the cold corpse, took pieces of the brain and integrated them in a stew of ham and vegetables for the pleasure of eating human flesh; the band’s drummer, Hellhammer, took pieces of the shattered skullcap and made them into a necklace. As if a primitive ritual, the members of Mayhem paid their respects in death as in life: with coldness, feral opportunism, and a denial of any “sanctity” or “feelings” toward life, even that of a friend and collaborator. As Euronymous said later, about his form of “evil,” “It is basically hate to humankind. I have no friends, just the guys I’m allied with. If my girlfriend dies I won’t cry, I will missuse the corpse.”

During this time, Euronymous and his band were instrumental in the forming of a new black metal social group, or “scene,” centered around his record store in Oslo called Helvete [Hell]; the downstairs was a necrotic and bleak excuse for a commercial establishment in which the hatred and disassociation from commercial process was as much a barrier to purchase as anything else, but the upstairs was a practice room where Nazi flags and weapons hung over instruments decorated with inverted crosses. During the daytime, the store was a gathering place for musicians and fans of an anti-social nature; at night, Euronymous indoctrinated those who might be useful to the scene by inviting them to wild parties in which orgiastic appetites for alcohol fueled self-mutilation and eventually, rampant church and graveyard desecration [in Europe and many older American towns, the graveyard surrounds the church – a strangely forthright admission of the role of religion in society!]. Euronymous also started the first record label of the modern black metal movement, Deathlike Silence Productions. While these events stood against everything that Norwegian society of the time valued, authorities were permissive and did not “connect the dots” until far later.

It was at this time that many of extremist views, such as the skinhead-turned-rocker Kristian Vikernes – also performing in Burzum, joined the circle – and joined Mayhem on bass. Vikernes was an interesting counterpoint to those in the association so far; he was a hater of life but, like Dead, had an uncanny passion for life through art, and seemed to value his time in nature, away from people and their imaginary rules. His intent could be summarized in his most clarion statement, “I see Burzum as a dream without holds in reality. It is to stimulate the fantasy of mortals, to make them dream” – a replacement of morality with the über-Romanticist ethos of adventure and heroic classicism. Between the Gothic neoclassicism of Dead and the postmodern Romanticism of Vikernes, black metal became more than a style of music, but an ideological and social tool for change away from a highly regimented, moralistic society. Vikernes again: “We want to create the most possible fear, chaos and agony so that the idiotic and friendly Christian society can break down. We are overall not interested in that the truth comes through. When we spread lies we cause confusion and confusion leads to chaos and at last breakdown. People shall be oppressed and we support everything that oppresses man and takes from him his feelings as free individuals.”

It was part of this denial of the supremacy of the lives of individuals over ideas, emotions and even real-world activities that helped what happened next to occur. Two polar opposites existed in black metal, the fatalism and negativity of Euronymous versus the political and violent doctrine of Vikernes, and these were brought into conflict through the personalities. Vikernes claims Euronymous delayed the release of Burzum albums [on Deathlike Silence] by spending the money instead on degenerate pursuits; Euronymous presumably did not care and was more interested in the upcoming Mayhem release, which was moving slowly because of the personality conflicts in the band. Eventually, reality followed imaginary projections: on the night of August 10, 1993, Euronymous was stabbed to death by Vikernes; of 26 knife wounds, 2 were to the head, five to the neck and 19 to the back. Thus began the projection of Mayhem into legend, since it provided black metal in the modern sense with not only its first model of technique and imagery, but also its first martyrs. Dead was eulogized in a 1992 release, “Live in Leipzig,” which recorded an excessively bloody and violent Mayhem concert in East Germany. Teaming up with Attila Csihar of Tormentor, the remaining members of Mayhem put out “De Mysteriis Dom Sathanas,” one of the most impassioned black metal albums released, yet one with its feet firmly grounded in old-school Venom/Bathory heavy metal styles. Their nihilism was so great they left Vikernes’ bass tracks on the album next to the guitar work of the man he killed, claiming in the press to have removed them so not to attract unwelcome attention from his family.

While the lives of its members had mostly run their course, and its most epic work had been produced, at least in conceptual form, before these deaths, afterwards the social and political importance of Mayhem was fully recognized. First, it gave many a central point with which to identify the new movement, and generated a wave of publicity especially in unison with the news of 22 churches burned in Norway, mostly by black metal “Satanists.” Even more importantly, Euronymous himself became a central figure, and his ideas [and those of Dead and Vikernes, who heavily influenced him] became dissected and discussed across the globe. Not only was this influential in the fanbase, but labels and bands worldwide began to see the importance of the new black metal movement: unlike anything from popular music since the 1960s, this was shocking; the people in black metal lived on the edge and fought to the death, something metal bands had always sung about but never acted out, much to the derision of punkers and other underground fans. The image of Helvete – the church of the anti-life – became predominant in the minds of many when conceptualizing new forms of social expression to the anti-oversocialization impetus that black metal and heavy metal share. In the years following the death of Euronymous, the focus he brought to the scene brought it to a dramatic rise and sudden death, as in late 1997 the genre became swamped with commercial bands in the mainstream style.

Mayhem itself continued on in the form of two major works, “Wolf’s Lair Abyss” in 1997 and “A Grand Declaration of War” in 2000, interspersed with numerous live albums and re-releases. where “De Mysteriis…” continues to be their most popular work, “Wolf’s Lair Abyss” is regarded by many as a highly proficient black metal album in the style of Satyricon mixed with old Mayhem, producing something with the same rhythmic thrust as “De Mysteriis” but with less of the operatic lack of total consistency in songs. “A Grand Declaration of War” is more problematic, taking a divergence into math-metal and pseudo-progressive stylings, which creates an album which sounds more like soundtrack than foreground listening, with Marilyn Manson influences in both songwriting and image. Because of this, and other factors such as the vast commercialization of black metal during the last six years, Mayhem is effectively dead in the underground and a small player with a devoted fanbase in the mainstream metal scene at this time. However, for every person who gets into black metal, the chorus of voices suggesting “De Mysteriis…” has an effect, for people continue to buy it at a great rate and praise it as immortal metal music and unmatched spirit in a genre filled mostly with angry people of little imagination.

Regardless of the current tedium of record sales and popularity contests, Mayhem contributed an indelible influence on not only metal, but music of resistance to socialization as a whole. Their ideology – part blank-faced fatalism, part fascism and part feral atavism – was carried upwards by the voices of many who were similarly frustrated with the pity-oriented egalitarian society of the first world, which preached that avoiding death was more important than achieving heroic or passionate things. Against this belief system black metal, and Mayhem most visibly, agitated. “True satanists are superhumans,” stated Euronymous in a now-infamous interview. A few years later, Vikernes gave a clearer view: “Strife is evolution, peace is degeneration.” This did not sit well with not only Christians and Jews, but also many people who had become dependent upon society and its pity toward those who are less-able as a whole, thus raising a cry against black metal as music of “hate” or “intolerance.” While those would clearly like to file black metal into a wholly political category, the raw artistry and imagination of bands like Mayhem make that appear a one-dimensional look at the story. As Ihsahn from fellow Nordic rockers Emperor said, “You’ll never understand me because you sit in the audience at a horror movie. I’m up on the screen.” There is no place in the current society for bands like Mayhem; they are beyond its rules and mental conditioning, and always will be. And for this, wherever anguish at social predominance grinds, there will be new fans of the fundamental works of Mayhem, which not only outlive their creators but will forever be a mythos larger than life itself.

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