It’s actually happening.  After decades of “will they” speculation, directors picking up and dropping the project, rumors of Twilight actors playing Varg Vikernes, and a boycott by virtually every member of the original scene the Rory Culkin led bastardization of Norway’s finest Lords of Chaos premiered at Sundance this week.  In the ultimate defeat, death, and burial of Norweigian black metal- a movement opposed to everything commercial, financial, and mainstream- we will soon see a polished Hollywood narrative of this beloved movement pollution theaters across the globe.



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Ancient – Trolltaar Reissue

Ancient‘s last hurrah, the Trolltaar EP, has been reissued by Sleaszy Rider Records with three bonus live tracks from 1993 according to the band’s Facebook page. Trolltaar saw Ancient develop cyclical simple Enslaved style riffs into extended black metal epics inspired by the virtuosity of longer 1970s popular progressive rock songs from Yes, Pink Floyd, Camel, and Led Zeppelin. Ancient were one of the few death or black metal bands inspired by popular rock music where the mass-market inspirations did not render them impotent as a metal band at least at first. Ancient, lacking a truly distinct riffing style of their own, eventually ran out of ideas and decided to play Hot Topic rock after Svartalvheim and Trolltaar but that is a topic for another time.



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A Blaze in the Northern Sky Turns Twenty-Five

Darkthrone‘s second album, A Blaze in the Northern Sky, turns twenty-five today. For much of the mid 90s, Darkthrone constantly referred to A Blaze in the Northern Sky as their first album as it was the first commercially released record to adopt the quick and dirty “necro” production style and to have been part of the Norwegian black metal second wave initiated by Mayhem. However most of the individual musical inspirations were audible on their prior Soulside Journey album recorded at Sunlight Studio; the compositions on A Blaze in the Northern Sky were just much more sparse and droning due to different overall compositional goals reflecting the shift from progressive death metal riff mazes to minimalistic Hellhammerism.



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Emperor: Metal for Mordor

The music of Emperor is commonly misconceived by the mainstream metal media and certain YouTube clowns to be merely an atmospheric wall of sound or symphonic black metal orchestration engineered for superficial, surface level aesthetic appeal to an audience atypical for black metal. This is in fact not the case. In the Nightside Eclipse is just as perplexing to typical headbangers on first encounter as it was upon release in 1994. Mainstream audiences are even more flabbergasted and regard the record as a mere curiosity produced by those murderous church burners, preferring Emperor’s more rock-structured later work such as Anthems to the Welkin at Dusk, which abandoned the band’s signature riffing style and method in exchange for ones influenced by more stereotypical Norwegian B-listers such as Enslaved and Kvist. Emperor did eventually sell out, becoming technical guitar wank, rock-structured heavy metal after their rhythm guitarist Samoth and drummer Faust were imprisoned in 1994 and their songwriting influence subsequently waned. Yet In the Nightside Eclipse‘s hymns to Satan and Sauron remain as natural mutations of their metallic predecessors’ attempts to imitate horror scores and classical music’s overwhelming power of sublimity.



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