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

black metal top albums

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PROGENIE TERRESTRE PURA
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black metal Music Reviews

PAYSAGE D'HIVER Die Berge

Album · 2024 · Atmospheric Black Metal
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siLLy puPPy
Chugging buzzsaw guitars, lo-fi production fuzziness, demonic vocal rasping piercing the wall of shadowy din with adrenalized rampages altering with creeping advances. These are the now well established attributes of Tobias Möckl’s one man band PAYSAGE D’HIVER which since 1998 has continued to deliver the sounds of a turbulent winter storm with no end. This Swiss soldier in the black metal army (as well as key member of Möckl’s other well known band, Darkspace), returns with another whopping blast of Arctic chill with his newest release DIE BERGE, the German words meaning “The Mountains” thus showcased on a dismal album cover of grainy black and white vagueness. Unleashing another ferocious attack of ambient atmospheric black metal some 26 years after the debut “Steineiche,” PAYSAGE D’HIVER is up to album #15 this time around and follows in the footsteps of the more modern releases with a sprawling running time of almost 103 minutes.

Despite the lengthy sojourn into the frigid icy sonic swells that rumble on for well over an hour, DIE BERGE features a mere 7 tracks with every single track but one hitting the 11-minute mark with the grandest of sprawlers coming first in the form of “Urgrund” which slinks past the 18-minute playing time. Now that’s a lot of jagged wintery downtuned distortion to soak in but somehow once again Mr Möckl showcases his knack to craft hostile frosty soundscapes that march on through lengthy processions like an intrepid journey into the unknown during the hostile shivery moments of winter delivered in a demeanor as chilling and inclement as the inhospitable apices of the Swiss Alps. Appearing as the sole contributor under the moniker Wintherr, his compositions on DIE BERGE emulate a nasty blizzard lambasting the peaks in musical form with oscillating swells of lo-fi distortion and the blurred distinction between treble and bass accompanied by the pacifying melodic touches of the atmospheric keyboard runs that so gracefully slink in and out of the treacherous soundscapes. Blastbeats and tranquilized drum percussion trades off with moments of a unifying bleakness as the bantering guitar and bass swells deliver maximum bombast.

While the world of black metal continues to splinter off in a great number of variations, PAYSAGE D’HIVER offers that respite into the world of darkened lo-fi grittiness that launched the Norwegian second wave black metal scene some 30 years ago and retains that general vibe which has become somewhat diluted and altered with the advent of more progressive and experimental black metal of the 21st century. DIE BERGE like the general PAYSAGE D’HIVER canon offers that much needed transcendental escape into a nightmarish and ominous journey into the turbulent black metal disarray that tames chaotic soundscapes into melodic almost post-metal like cyclical loops that rumble on for long segments of time yet somehow never seem to grow stale as the chugging riffs and hypnotic repetitive motifs slowly churn on for minutes on end. It’s very much the black metal equivalent to laying on the ground and simply watching the clouds drift by with subtle variations oozing out at glacial speeds. The album’s seven tracks may be lengthy but each forges its own identity despite deriving inspiration from the same playbook. Despite the simplicity of the melodic structure, the album is utterly mesmerizing and casts the perfect spell to allow the protracted paragons to perform their wintery magic.

Don’t expect any Alpine folk interpretations or experimental touches. PAYSAGE D’HIVER isn’t one to throw curveballs but rather delivers comfort metal of the frigid variety for those accustomed to the long drawn out processions into gelid wintery soundscapes that Wintherr has possibly become the most adept at crafting. DIE BERGE may not differ substantially from PAYSAGE D’HIVER’s long and well-established canon significantly but nevertheless this guy really knows how to keep the consistency in his work without falling from grace. Black metal is a fickle beast and can easily be slayed by too much regalia adornment. In the case of PAYSAGE D’HIVER it seems that keeping it simple without too much excess fluff has been the magic bullet that has propelled Wintherr and his project well into the 21st century with no signs of running out of gas. While i wouldn’t call DIE BERGE any sort of advancement in the established stylistic approach, i can say that Wintherr has delivered another wickedly delightful slice of chillingly frosty atmospheric black metal that keeps his legacy churning along.

ZEAL AND ARDOR Zeal And Ardor

Demo · 2014 · Black Metal
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UMUR
"Zeal & Ardor" is the first demo recording by Swiss/US metal act Zeal & Ardor and it was independently released as a digital demo album in June 2014. Mainman behind the project Manuel Gagneux was born in Basel, Switzerland but moved to New York in his early twenties and started chamber pop group Birdmask. Zeal & Ardor was originally just meant to be a fun side-project for Gagneux, but it soon grew so popular that it became his main project.

Gagneux recorded all instruments and vocals on the demo (including programming the drums). Featuring 10 tracks and a total playing time of 24:57 it´s a bit short to be called an album release, but also a bit long to be labelled a demo, so demo album is probably a valid description of the release.

Other than a few places, you wouldn´t think of this release as a demo if you listened to it though, and it´s actually a bit hard to understand why Gagneux has made it an effort to disassociate himself from it or at least make it very hard for his fans to listen to it. Especially considering that the material featured on the demo is exclusive to this release. I could understand it if the quality of the material or the sound production values were sub par, but that´s not th case at all. This is a very well sounding release.

Stylistically Gagneux aimed at creating a project which combined African-American spirituals (slave songs) with black metal, but there is also an electronic music element in the music of Zeal & Ardor as well as nods toward industrial rock/metal, and soul and blues. It´s just a huge melting pot of different music styles and influences and somehow Gagneux makes it work. His soulful and expressive clean vocals are powerful and pleasant, and his extreme metal vocals are decent too. Honestly the black metal sections and influences on this release are relatively limited and you could probably play a good deal of this release to most people without them noticing the extreme metal element. So it´s not an "in your face" type aggression that Gagneux have built into his music, but a more subtle and often melodic black metal influence.

As written above this is a high quality demo release in terms of production values, performances, and also when it comes to the varied songwriting. Maybe a little more of a red thread through the compositions is lacking, but it´s nothing serious and this is still a very interesting first release from Zeal & Ardor. A 3.5 star (70%) rating is deserved.

EXECUTIONER'S TORMENT Eternal Fog

EP · 2021 · Atmospheric Black Metal
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siLLy puPPy
EXECUTIONER’S TORMENT was a black metal band from Santa Clarita, California that consisted of the two teenagers Baaron Murk and Kakophonix. While it’s unknown when these two miscreants got together to conspire to craft their strange fusion of black metal and classical cello music, the band recorded four tracks between 2008 and 2010 and didn’t release anything until this archival EP titled ETERNAL FOG found a home on Bandcamp in 2021.

The four tracks on ETERNAL FOG may be few but utterly unique as far as anything i’ve ever experienced due to the fact that this duo crafted the perfect fusion of second wave sounding blacking metal with virtuoso cello performances that sort of sound like chamber rock with a touch of Yo-Yo Ma cello virtuosity thrown in. The cello basically serves as a substitute for keyboards in the context of melodic black metal.

The opening “The Forsests of Infinite Darkness Pt 1” is purely acoustic with a guitar and cello setting the melancholic mood with the closing title track serving the same purpose. The two acoustic numbers bookend the middle two tracks which feature both acoustic segments as well as heavier distorted black metal that tackles the usual characteristics of raspy vocals, repetitive cyclical loops of guitar riffs and blastbeats. The cello finds its way into the black metal aspects as well making this music sound like no other.

As interesting and melodic as this one is, it’s the production that’s a little clunky as the cello doesn’t quite mix well with the black metal aspects. These were basically demos that were decided to be released over a decade down the road so they surely would’ve been polished and spruced up for an “official” album release. This is actually pretty good for what it is even in the demo stage though and i wish these guys would’ve stuck it out to make a real finished product. If the idea of early black metal Darkthrone meets early acoustic cello based Apocalyptica sounds appealing then you might dig this. Very cool but serious flaws at the same time.

ÆTHĔRĬA CONSCĬENTĬA The Blossoming

Album · 2024 · Atmospheric Black Metal
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siLLy puPPy
While the breve diacritical mark seems to have usurped the umlaut in the battle of attention getting gimmicks in the world of extreme metal, Nantes, France based ÆTHERIA CONSCIENTIA jettisoned the cumbersome vowel shorteners on its sophomore album assuming constant complaints of keyboard limitations in typing such unnecessary accessories became a nuisance. Nomenclature fashion faux pas’ aside this avant-garde progressive metal band that looks as much for its influences to the world of 70s prog rock acts like King Crimson as it does modern art metal masters such as Krallice and Mare Cognitum has forged ahead over the past years with an ever expansive stylistic approach that continues to siphon up disparate influences like a high powered vacuum cleaner at the cash wash.

THE BLOSSOMING is the band’s third effort and continues the eclectic pilings of atmospheric black metal, prog and psychedelia with a touch of jazz fusion decorating the side lines. This is one of those bands that likes to spice up its black metal entree so intensely that in the end it becomes more like a bento box of tasty treats dished out in controlled doses as not to make anything really stand out too intensely as to steal the show so to speak. This album of six tracks that adopts the classic album running time of 44 minutes retains its rampaging atmospheric black metal angst that unfurl into posty progressive song structures that find moments of saxophone splendor and Middle Eastern grooves and rhythms adding a touch of exoticism to the mix. While Paul Breheret dominates with his blackened raspy vocal screams from the abyss, guest musicians add a touch of world fusion as if a black metal band had decided to crash a party at the sheik’s pad and the merriment ensued.

While black metal has hybridized with what seems like every musical expression this side of the next galaxy, the mix with Middle Eastern elements is not one that is very common and for whatever reason doesn’t seem to work as well as it should possibly because the spiritually uplifting Arabic musical scales and rhythmic drive is in a way the antithesis of the scary brutal alienating nature of black metal although Christian liturgical choirs have worked out quite well. The moments where these elements accent the black metal are fine but it seems like when the metal is dropped and the bellydance party is about to begin it dilutes the effect of what black metal is supposed to deliver. It’s an interesting experiment for sure but not one that sounds totally convincing either. Jazzy Middle Eastern tinged black metal just seems like bloodthirsty warriors trying to have a soiree in a roving jazzy night club act traveling through the sandy deserts of Saudi Arabia on the way to Mecca.

Side quips aside ÆTHERIA CONSCIENTIA doesn’t deliver a compelling style of black metal that really sounds that different from about a million other bands that have emerged in the last couple decades with a rather generic chord progression run and what often sounds like an over polished production job which favors the smoothness of the jazz and Arabic flavors rather than emphasizing the nasty nature of the black metal. I don’t know. This band has its following and it’s not a horrible effort by any means, in fact it’s actually intriguing how they piecemealed it all together in logical manner that doesn’t sound terribly stilted but at the same time the entire shebang just doesn’t feel as developed as it could be with many loose ends needed to be tied up before launching the rocket ship to Mars. A bit more diversity in the riffing department with more emphasis on more interesting songwriting would go a long way.

While i’m always a fan of experimental metal that boldly goes where no headbangers have gone before, sometimes we have to admit that certain experiments just don’t jive as well as we’d like especially when basic songwriting techniques are abandoned in favor of gimmicky hybridization effects that could have worked well in the proper context but lack the vision to place them there. That is the problem i have with THE BLOSSOMING and ÆTHERIA CONSCIENTIA itself for that matter. I can’t put my finger on it but beneath all the bells and whistles of the jazzy side streaming and Arabic excursions onto the world’s playground lies a rather generic and uninventive black metal band that hadn’t mastered its basic premise before decorating it with accessories. A decent album even if i don’t find it ridiculously exciting.

HADOTOR Extremismo a Zion

EP · 2008 · Black Metal
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siLLy puPPy
Extreme underground black metal from Chile. HADOTOR comes from the northern coastal city of Iquique and is somewhat unique in that it doesn’t deliver the typical anti-Christian rhetoric that many hateful black metal bands crank out but rather attacks pre-Christian Judaism which when taken logically delivered the roots of Christianity so why not just nip it in the bud before it ever gets to maturity! This band formed in 1997 and even though technically still active has only released a full length and this EP titled EXTREMISMO A ZION which obviously delivers a hatred for the current state of Zionism and how it has infiltrate the entire planet.

This EP of only about sixteen minutes features vocalist Johnny Magallanes, Patricio Magallanes, guitarist Óscar Pinto and drummer Vitas Constandinis. The tracks are short with only two over three minutes and the album is like a cross between second wave Darkthrone black metal and crust punk. The band exercises extreme bombast with super fast tempos, buzzsaw guitars and the old school second wave black metal characteristics such as blastbeats and a vile hatred for just about anything that moves it sounds like! Comparable to some of the fastest second wave black metal bands like Dissection, Satyricon or Taake, HADOTOR imbues itself in a kvlt black metal purity that will appeal to those who loathe the hybridization effect that black metal has ventured into in the ensuing decades.

It’s a competent release with all the musicians on fire delivering a machine gun percussive drive, the blurred distinction between buzzsaw guitars and bass bombast and a frenetically raspy screaming typical of the old school second wave playbook. Nothing new or original here in the least and the unintelligible lyrics are presented in the Spanish language. The EP ends as quickly as it begins and delivers a rampaging set of six tracks that pretty much hit like a lightning bolt and then shoulder off into who knows where. Overall a nice delivery of energetic black metal but about as generic as it gets in term of originality. Probably one of those bands that’s shocking to see live especially if hateful diatribe is inserted between tracks in a live performance. Why hate one religion when you can hate em all i always say. It’s about time Judaism got as much hatred in black metal as Christianity. Oy vey!

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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