Black Metal: Evolution of the Cult
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Black Metal: Evolution of the Cult features over one hundred exclusive new and archival interviews with the genre's most central figures. It is the most comprehensive guide yet to this fascinating and controversial form of extreme metal. It is encyclopaedic in length and breadth.
From the early 1980s pioneers to its fiery rebirth in Scandinavia through to today's increasingly diverse groups, this epic tome captures the movement's development in unparalleled detail and images through such bands and personalities as Dimmu Borgir, Mayhem, Behemoth, Tormentor, Emperor, Darkthrone, Samael, Gorgoroth, and many dozens of others.
Increasingly influential, black metal continues to grow and expand as a musical form as well as the subject of serious and satirical, animated, documentary, and narrative feature films.
Publisher Feral House has already published the most famous and award-winning book about this subculture, Lords of Chaos, soon to become a narrative feature film directed by Jonas Ackerlund, an ex-black metal musician who has directed feature films and award-wining videos for the likes of Madonna and Lady Gaga.
metal, being more endorsing of the libertine lifestyle and chaos, is kind of open for more experimentation. Black metal has an extraordinary sway or depth to it aside from the actual music. It sounds fucking pompous but it has a spirituality to it. In a way it’s not just music, that was the initial draw for me and one of the few things I still respect about it now.” 44 SIGH “Venom, Celtic Frost, Mercyful Fate, Black Sabbath, Iron Maiden, Frank Zappa, Franz Liszt, Schubert, Debussy, The
would potentially drag on forever if I was to ever regain any advantage. So we needed something else to occupy our evenings with, and Fenriz suggested making some music together. In the back of my head I thought that this would work well with what Aldrahn and I was doing, so I suggested it. Fenriz was very hesitant, but after twisting his arm a bit, he agreed to have a rehearsal with us. The rehearsal killed, [but] Fenriz was quick to point out that he was not joining. Aldrahn and I said, ‘Okay,
most probably those bootlegs took a part also. That was not a ‘return,’ because we never really split. Let’s call it rather awake [sic].” The work was typically eccentric, but more surprisingly featured (some) music not entirely dissimilar from their first two albums, frequently touching on black metal territories alongside Šlágry-esque experimentation and electronics. “I think you’ll safely recognize a true black metal band only by its lyrics, don’t trust just what you hear sound-wise,” warns
necessarily very easy to listen to. I hope someone sees that in my music.” —Snorre Ruch (Stigma Diabolicum/Thorns) “Metal in the eighties was hectic, often complex and intense. Monotony was seldom heard, but one black metal album had just that—Bathory’s Under the Sign of the Black Mark. However, it was well ahead of its time, and didn’t ‘take’ as much as it could in 1986. The decade wasn’t ready for repetitive coldness. Five more years of hectic metal and the world was ready for it, we
Norz, stating “NO ORDERS FROM NORWAY ACCEPTED!!!!!!!!!!” “I used to have many pen pals in Norway,” Holocausto explains, “but it evolved into a situation where you had to be on ‘their side’ or you become their enemy. I had my own interests, so couldn’t care less to belong to any ‘Norwegian mafia.’ There were a couple of anonymous death threats, I remember some guys from Enslaved threw shit over me and Varg was kind of pissed. I lost a couple of trades, but overall, I didn’t see Beherit as a major