Black Metal

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Black Metal is an extreme subgenre of heavy metal. It often employs fast tempos, shrieked vocals, highly distorted guitars played with tremolo picking, double-kick drumming, and unconventional song structure.

During the 1980s, certain thrash metal bands established a prototype for black metal. This so-called "first wave" included bands such as Venom, Bathory, Hellhammer and Celtic Frost. A "second wave" emerged in the early 1990s, which consisted primarily of Norwegian bands such as Mayhem, Burzum, Darkthrone, Immortal and Emperor. This scene developed the black metal style into a distinct genre.

Black metal has been met with considerable hostility from mainstream culture, mainly due to the misanthropic and anti-Christian ideology of many artists. Additionally, some musicians have been associated with church burnings, murder or National Socialism. For these reasons and others, black metal is often viewed as an underground form of music.

Black Metal Sub-Genres

Atmospheric Black Metal

Depressive Black Metal

Melodic Black Metal

Pagan Black Metal

Symphonic Black Metal

War Metal

Source: http://en.wikipedia.org/wiki/Black_metal

Sub-genre collaborators:
  • adg211288 (leader)
  • 666sharon666
  • TheHeavyMetalCat

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NAGELFAR Hünengrab im Herbst Album Cover Hünengrab im Herbst
NAGELFAR
4.74 | 12 ratings
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DEATHSPELL OMEGA Veritas Diaboli Manet in Aeternum: Chaining the Katechon Album Cover Veritas Diaboli Manet in Aeternum: Chaining the Katechon
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black metal Music Reviews

BLUT AUS NORD The Mystical Beast of Rebellion

Album · 2001 · Atmospheric Black Metal
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siLLy puPPy
BLUT AUS NORD formed all the way back in 1994 as the solo project of Vindsval but as a black metal band only managed to release two albums in the 90s however on “Ultima Thulée” and “Memoria Vetusta I: Fathers of the Icy Age,” what began as a somewhat traditional atmospheric black metal project slowly developed into more progressive and experimental realms outside the orthodoxies of the typical Darkthrone inspired second wave. While its questionable if the project was intended to be a permanent ongoing one or just one of many to see which experiments find the biggest audience, after 1996’s “Memoria Vetusta I,” Vindsval set the project aside for five whole years while he dabbled in other bands such as “Children Of Maani” and “The Eye.”

After all was said and done, it seemed that the BLUT AUS NORD albums were gaining the most traction so that was the trajectory Vindsval has remained on ever since. It wouldn’t be until 2001 that BLUT AUS NORD would officially release the third album THE MYSTICAL BEAST OF REBELLION and for the first time session musicians were given credit. Vindsval handled the usual guitar and vocal combo pack, W.D. Feld performed on drums and keyboards whereas Nahaim handled bass duties. This third offering was basically a transition album from the project’s second wave black metal roots to the more esoteric experiments that followed. This album has appeared in two significantly different forms.

The original release with the darkened hues of brown and mysterious symbolic faces on the album cover consisted of only six tracks, each titled “The Fall” followed by “Chapter” and the accompanying Roman numeral. Often considered one of the weakest early BLUT AUS NORD albums due to the inconsistent quality, the album was re-released in 2010 with a completely different album cover. That one displayed a strange MYTHICAL BEAST that looks like what i would imagine to be a were-goat if such a thing existed. This re-release contains a second album or disc that adds an additional three tracks but due to the more progressive and experimental nature, these three tracks approach the 40 minute mark and essentially constitute a new album. I highly recommend this version if you set out to purchase this album as it’s this second bonus album that is far superior to the ho hum original track listing.

The original album is very much a mixed bag. In fact mostly an empty bag. The first four tracks almost sound like the same mix of repetitive guitar riffs and chord progressions with only minor variations undetectable to the passive listener. Sounding more like early Darkthrone than anything of the 21st century progressive era of BLUT AUS NORD, it’s almost as if Vindsval resurrected some demos out of the vault just to take up space. Not a stellar idea for an album that emerged five years after its predecessor. Hardly anything to get excited about given the quickened evolution of the black metal paradigms splintering into disparate factions. About as exciting as a faux bloodbath in Easter egg dye. It’s amazingly dull and monotonous. Only the beastly calls in between tracks stand out as something to pinpoint one’s attention upon. If there’s ever a black metal album that can put you to sleep, the first four tracks of this one should do the trick.

Luckily the album redeems itself from being a total waste of time with track 5, “The Fall: Chapter V” which suddenly transmogrifies into a bona fide interesting listening experience. The beastly calls announce the change and instead of a quickened buzzsaw guitar riff-fest in hyperdrive, the tempo is slowed down into a doomy dirge-like dread and the beast grunts continue as the track plods along with heavy distorted guitars, a murky hidden bass and a lazy drumbeat slowly build the gloomy atmospheric cloud covers and then begin to ratchet up the tension with bizarre guitar antics. Some kinds of guitar bends and a huge improvement in vocals over the generic nature of the earlier tracks. The finale “The Fall: Chapter VI” continues the developments and is equally enthralling however the album ends with an irritating 3 minutes of silence. I HATE THAT!!!!!

NOW, ABOUT THE RE-ISSUE, the ONLY ONE TO CHECK OUT REALLY

Given the lackluster selections presented on the original mostly demo quality release of THE MYTHICAL BEAST OF REBELLION, it was a wise decision for Vindsval to make it worthwhile for newbies to add a bunch of bonus material and i’m happy to say that this bonus material is far superior to anything on the original release. Stylistically these three newer tracks are intended to supplement the original material by keeping the theme intact. Therefore we get “The Fall: Chapter 7.7” followed by the two more same titles that tack on “7.77” and “7.777” which adds a little twist. These tracks display the same doomy plodding of the “Chapters V” and “VI” but takes those ideas to the logical conclusions. The tracks retain the same snail’s pace trot but are fortified with extremely angular riffs with jangly dissonance indicating that the emergence of Deathspell Omega’s popularity since the first release in 2001 clearly played a role in Vindsval’s approach.

The three tracks comprise a complete album’s worth of material. “Chapter 7.7” slinks over the eight minute mark, “Chapter 7.77” oozes past the nine and the grand finale “Chapter 7.777” clocks in at 21 seconds past the 19 minute mark however as lengthy as these tracks are, they all share the same characteristics. All slowly stomp down black metal alley with jagged razor sharp guitar angularities and deeply buried raspy vocals not so prominent as on the original release. The progressive elements are subtle but distinctly complex as the tritone attack of the guitars, bass and drums drift in and out of sync while darkened atmospheric overcasts keep the darkened doom effect in full obscureness. Overall both discs of this collection are extremely repetitive and hypnotic however it’s this second newer one that offers more subtle variations that keep the listening experience more active and also at this point BLUT AUS NORD has mastered the art of sonic terror, which has remained a steadfast trait of the underground extreme metal scene of France.

The original release of THE MYTHICAL BEAST OF REBELLION is perhaps the weakest album in the project’s lengthy canon and only worthy of 2 stars, however the second disc is an intricately designed slab of blackened doom metal worthy of a 4 star rating so if i had to average the two albums together then it’s an obvious 3 stars. I cannot stress though how imperative it is to only purchase the version of this album with the bonus tracks. I simply pretend that the second disc is what the original album was supposed to be and ignore what actually was put out in 2001. Still though even the original isn’t a complete waste of time, only about 2/3 of it is. Vindsval would completely resurrect BLUT AUS NORD from hibernation and never again allow so much time to lapse between albums. His next album “The Work Which Transforms God” took things to an even more sophisticated level and brought the project into the big boys club of extreme metal and things would never be the same.

BLUT AUS NORD Memoria Vetusta I: Fathers of the Icy Age

Album · 1996 · Atmospheric Black Metal
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siLLy puPPy
Sure the Scandinavian nations were the first dementors of doom and din to usher in the first raging sonic fury of the black metal universe starting all the way back in the 80s when Bon Jovi was still “Living On A Prayer,” but as the 21st century wrested control over an expired millennium, it seems that the nation of France was poised to take the reins and steer the black metal beast into far more bizarre experimental arenas. Initiated by the Satanic theologies of Deathspell Omega, France has since consistently generated some of the most far-reaching examples of avant-garde and progressive black metal ranging from the medieval melancholy of Peste Noire to the psychedelic ambient surreality of Murmuüre.

The Mondeville based BLUT AUS NORD is amongst the early pioneers of more progressively infused black metal. Basically the solo project of Vindsval, the project started out in 1993 with two demo releases appearing before the 1995 debut “Ultima Thulée” which joined the wolf pack of black metal artists who were quickly expanding the subgenere’s range into an ever diversified sound spectrum. Defiantly ahead of the pack, the albums of the 1990s may not quite be as complex as the one’s that followed but on the second BLUT AUS NORD album titled MEMORIA VETUSTA I: FATHERS OF THE ICY AGE the blueprints were designed for a diversified soundscape to expand its tentacles into ever progressive pastures.

By incorporating icy atmospheres and expansive progressive meanderings, Vindsval was well on his way to becoming one of the 21st century’s masterminds of black metal evolution. MEMORIA VETUSTA I: FATHERS OF THE ICY AGE basically picks up where “Ultima Tulée” left off with the ideas presented evolving into more majestic monstrous black metal magic. All instruments once again played exclusively by Vindsval, MEMORIA VETUSTA I stands out in the sea of anti-Christian rage and Viking metal odes of yore and tackles the more esoteric subject matter that revolves around metaphysical subjects and all things deeply occult. The compositions are extended into massive sprawls of buzzsaw guitar distortion oscillating over the horizons of frigid winter landscapes accompanied by murky bass lines, percussive bombast and atmospheric cloud covers.

Upon first listen, BLUT AUS NORD can sound a lot like any other black metal band from the second wave of the 90s. Tremelo picking guitar style distorted to high heaven, buried raspy vocals screaming out from the suffocating din and an energetic percussive bombast that while not exactly blastbeating, still offers a veritable drum kit workout or two. Where BLUT AUS NORD stands out at this period of time is in the sophistication of how the compositions are constructed. Eschewing the simple straightforward approach, BLUT AUS NORD tackled more labyrinthine song structures that wend and win through various passages with an infinite supply of riffing variations and occasional outbursts into folky medieval sounding clean vocals that evoke a connection to the Viking metal scene of the north.

For those who are initiated, there actually is a storyline buried in the raw lo-fi outbursts of noise laden orotundity but for those not inclined to follow the epic tales of wolves and dwarfhills, then a completely ignorant approach is even more mystifying and probably even more gratifying as many of these storylines don’t pass the muster under closer scrutiny. Along for the ride on the undulating peaks and troughs of the guitar riffs are higher register guitar licks that often threaten to burst into fully fueled solos but they always stop short and simply repeat the melody in a more pronounced manner above the raging riff machine from whence it spawns.

All in all, MEMORIA VETUSTA I: FATHERS OF THE ICY AGE is a very mature second offering from one of France’s most enduring examples of progressively infused black metal and an excellent bridge into the more avant-garde and experimental releases to follow. Loaded with sophisticated twists and turns and icy atmospheres guiding the journey through a never-ending journey, BLUT AUS NORD’s earliest albums may not tackle the same eeriness that the later more acclaimed albums touch upon but are excellent examples of black metal in their own right. Musically, MEMORIA VETUSTA I falls somewhere between the intense fury of early Emperor albums and the slower tempos of Greek pioneers such as Rotting Christ. The compositions exhibit sophistication and variations but unleash them subtlety and in a very reserved manner. This is the type of music that engages in a stampeding repetition and just changes things up a little every now and then until you realize that everything has become something else. Best of all, this is a consistent album from beginning to end.

ANAAL NATHRAKH Hell Is Empty, and All the Devils Are Here

Album · 2007 · Black Metal
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Warthur
The tortured shriek of VITRIOL - possibly one of the most terrifying vocalists in black metal - heralds another outing for Anaal Nathrakh. With Napalm Death's Shane Embury guesting on bass, there's a certain influence from the death metal end of grindcore creeping in here and there, which further cements Anaal Nathrakh's credentials as purveyors of some of the most extreme sounds in metal.

As usual, they show a great knack of incorporating these sounds into their music whilst still keeping the centre of gravity within their particular take on black metal, and they also keep proceedings short and sweet. Anaal Nathrakh are one of those bands who understand that an album that's not even 40 minutes long but is a gripping, intense ride all the way through is often better than an album that's an hour long at the cost of including some filler.

ANAAL NATHRAKH The Codex Necro

Album · 2001 · Black Metal
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Warthur
To my ears the Codex Necro at first sounded like a fairly straight ahead black metal album, and for much of its running time that's exactly what it is, but it pays off attentive listening well. Anaal Nathrakh's core duo consist of talented multi-instrumentalist Irrumator and impassioned screaming frontman VITRIOL, and what's clear from a listen to this is that whilst this is a consciously black metal-oriented album, the pair were also paying close attention to what was going on in grindcore and the more industrial-influenced side of metal at the time.

With these influences creeping in around the edges like rust corroding the seal on a drum of toxic waste, Anaal Nathrakh are able to invest their black metal attack with a set of textures that previously hadn't been heard much in a black metal context, but in retrospect really helped establish the tone they were going for. The band show a particular knack for getting the most out of the studio without their work appearing overly sanitised as a result of that, and on the whole the debut sets a strong foundation for an auspicious career to come.

MGŁA Age of Excuse

Album · 2019 · Black Metal
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siLLy puPPy
Black metal has emerged as one of the most creative and fertile grounds in all the metal universe where countless hybrids of musical genres have cross-pollinated and resulted in some of the most forward-thinking stylistic approaches in the entire metal universe so it always boggles my mind when a rather ordinary run of the mill band seems to emerge from the darkened battlefields and achieve a major victory in terms of commercial success and popularity. The Polish black metal outfit MGŁA is exactly one of those types of bands that i’m talking about and this band ain’t no Behemoth or Batushka.

Having formed in 2000 as the duo of multi-instrumentalist Mikołaj "M." Żentara with the collaboration of drummer Dariusz "Daren" Piper after playing together in Kriegmaschine, Daren moved on in 2006 just as M continued on to create a series of EPs and full-length albums and since then has steadily enamored the black metal world like very few have in recent days once the current drummer / percussionist Darkside (Maciej Kowalski) joined forces and conspired to conquer the world from their dark metal headquarters in Krakow, Poland.

MGŁA found its niche and has stuck to it ever since rarely deviating from its status quo and has been called the Amon Amarth of black metal in the process and that’s not an unthinkable comparison actually. Just like its death metal Swedish counterpart, MGŁA takes a melodic approach on the more extreme examples of the sub-genre and tames the once dissonant rage into more harmonic and accessible chunks of the blackened noise parade. Here in 2019, this duo has released its fourth full-length album AGE OF EXCUSE and not surprisingly continues where the previous “Exercises In Futility” left off.

While i’ve been aware of MGŁA (Polish for “fog”) for many years now, my scant exposure to a few tracks here and there has never prompted me to actually investigate further. Well, after the band releases another album with many fans going gaga, i figured it was probably time to fully digest a complete album in its entirety and AGE OF EXCUSE proved to be the easiest point of reference since it’s the most current album at this moment. Accusations of Nazi sympathies and other vicious rumors aside, MGŁA comes off as a rather generic black metal band that does everything by the books and really adds zilch to the sub-genre of black metal at all and no matter how hard i try to understand what the big whoopty-do is about this band, i remained baffled.

While nothing on AGE OF EXCUSE (or any other MGŁA release) is bad by any stretch of the imagination, neither does this band add any creative interpretations nor does it excel in any technical wizardry that sets it apart from the legions of imitators out there. The one thing they do exhibit quite well is the fact that the melodic constructs are instantly catchy much like Amon Amarth, Rotting Christ, Dimmu Borgir or a whole host of others however unlike all of THOSE bands, MGŁA just seems insincere to me and going through the motions. My first impression is that the band is basically copping a melodic take on the Deathspell Omega sound. Miikko Aspa styled raspy vocals drenched in evil, slightly off tune guitar on dissonance light and rather monotonous drumming techniques dominate AGE OF EXCUSE from beginning to end.

Another complaint about this album (and band) is that it begins to sound quite monotonous halfway through. Now it’s quite common for many to claim that a black metal album is monotonous and that is quite true for the untrained ear but the genre is all about detecting the subtleties beneath the carpet bombing of din that assaults the senses from every perceived angle. MGŁA delivers the same tritone laced chord progressions and monotonous groove with impunity. Yeah, there are some drumming outbursts from time to time and as i’ve stated, the album is perfectly listenable but as someone who has spanned the entire spectrum of black metal from its nascent origins with bands like Celtic Frost and Bathory to the more avant-garde experiments that range from Ukraine’s Graal to Norway’s Dødheimsgard, i just do not detect anything spectacular here.

Repeated listens do offer that magical ear hook experience for sure but at the end of the day i just can’t shake that this band is just playing the melodic alter ego of the much superior Deathspell Omega. Yeah, i do understand to a point. As metal ages and artists develop bolder and more avant-garde styles of musical expression, some of it is a little alienating for newbies trying to latch onto the relevance of the sub-genre but personally i would always recommend going back to the earliest examples of melodic black metal over this been-there-dont-that-before retro metal any day. Excluding bands like Emperor or Dimmu Borgir that implemented synthesizers to nurture a more melodic approach, bands like Dissection, Kvist, Nagelfar, Melechesh, Windir or Sacramentum just to name a few were much more creative in their delivery. As open minded as i am about music, once in a while a certain band makes me hit a brick wall and i just have an immediate reaction and in the case of MGŁA i am perplexed why it has become so revered while i just get a meh ho hum reaction. Oh well.

black metal movie reviews

ENSLAVED Live Retaliation

Movie · 2003 · Black Metal
Cover art Buy this album from MMA partners
FMOTP
No reviews yet & only 3 ratings for the great ENSLAVED's 1st video production? To quote Will Smith, "That...is unacceptable." Live Retaliation is a very worthy representation of ENSLAVED live. The concert itself is a bit short, but the band shows its skill in playing their varied and fairly complex music. They play a good mix of their oldest songs and more recent ones; Monumension was the band's most recent album at the time.

The audio tracks are a very nice addition, for folks who don't own a lot of their records. Grutle doesn't interact extensively with the audience in concert, beyond introducing the songs & band members. However, that's a problem I have with the great majority of live concerts. The audio quality could be clearer at times, but I'm quibbling. If you love some progressive rock along with your extreme metal, nobody does it better than ENSLAVED. This is well worth your time and money!

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