We will not enter into space as employees of an astronautic administration or as “volunteers” of a state project, but as masters without slaves reviewing their domains: the entire universe pillaged for the workers councils
March 12, 2014 § Leave a comment
The annals of Black Metal are fraught with violence,” intone Michael Moynihan and Didrik Søderlind at the beginning of their 1998 history Lords of Chaos: The Bloody Rise of the Satanic Metal Underground, “exploding in both self-administered suicidal shotgun blasts and cold-blooded, knife-blade murders. The number of deaths incurred worldwide is hard to calculate, but the frenzied nature of the killings bestows them with an unmistakable essence. As merciless as the murders have been, the ongoing campaign of church arsons adds psychological terror and religious intimidation to the list of Black Metal’s arsenal.”
This extraordinary passage raises troubling questions for music criticism, such as: Aren’t suicidal shotgun blasts self-administered by definition? Isn’t murder always merciless? What is the “list” of an “arsenal”? And most important: Why is this bullshit all the average music fan knows about black metal?
Well, I suppose Satanism, arson, and murder are sort of attention-grabbing. And it wasn’t so long ago that I didn’t know Fenriz from a hole in the northern sky myself. My metal acumen extended to AC/DC, the first few Sabbath records, a little Slayer, and Appetite for Destruction. I was begging the local record store clerk to let me buy his advance copy of the new Pavement CD. Black metal seemed to be trying too hard—WE ARE SO EVIL, FOR REAL—while indie rock could barely get out of bed, which was more my speed.
But at some point, indie began to seem overly safe and insular. The world doesn’t need another article about how boring indie rock is, so I’ll just skip to the part where I heard Darkthrone’s Transilvanian Hunger [sic] for the first time. Then I’ll skip to the next day, when I heard it for the 10th time. Soon Emperor and Bathory and Immortal and other early black-metal bands began to infest my apartment with their brambly logos. Metal gave me a new lease on rock ‘n’ roll, and it was black metal that set the paperwork in motion. Brothers and sisters, I am here to testify that pale, sickly beings once created a beautiful racket under the Scandinavian moon.
I often find myself called upon to explain the difference between black metal and death metal (usually to people like my sister who have just asked me to turn down the wrong one). read more
Tagged: aaron aites, audrey ewell, øystein “euronymous” aarseth, bathory, black metal, black metal: evolution of the cult, conrad "cronos" lant, daniel rostén, darkthrone, dayal patterson, death grunts, death metal, devil worship, didrik søderlind, erik danielsson, fenriz, funeral mist, kjetil manheim, lords of chaos: the bloody rise of the satanic metal underground, marduk, mayhem, michael moynihan, michael robbins, national socialist black metal, per ohlin, satanism, sven kristiansen, terje vik schei, tom g warrior, transilvanian hunger, under the sign of the black mark, until the light takes us, venom, watain