What Makes “True” Black Metal ?

True Black Metal Evil.

True Black Metal Evil.

While it’s easy – and increasingly common – for marketers and other shills to slam adjectives such as “trve,” “kvlt,” “dark”, “evil” and what not to what’s essentially rock music masquerading as either black or death metal, depending on the target audience, in order to sell more albums labelled as something “true,” as they call it.

I recommend these two in depth exposés of the “post-black metal” sham on one hand, and the completely fake “orthodox black metal” astroturf on the other.

In the midst of all that, one can wonder what exactly is “true” black metal ? Or, phrased another way, what makes black metal unique as an art form ?

Black metal and death metal are often reduced to mere aesthetics (“corpsepaint”) and superficial musical technique (harsh vocals, blast beats, reverb, guitar distortion).

But taking note of aesthetics and technique alone is not only futile and poserish, it also tells us nothing about the true spirit of black metal lying underneath the more obvious musical traits. Indeed, both Rembrandt and a 5-year-old retard can use paint brushes… what they do differently is what matters, the rest is commentary.

Take note of these micro-symphonies:

This is True Black Metal.

This is True Black Metal.

Phantom – The Epilogue to Sanity
Neraines – Astral Colossus
Incantation – Devoured Death
Vermin – Endless Tears of a Shattered Hourglass
Burzum – My Journey to the Stars
Demonecromancy – As Sorrows Became Bloodlust

All six “match” the superficial descriptors of black metal: distortion, vocal technique, blast-beats, tremolo-picked riffs… but that’s not what’s important to notice, nor is it what makes these masterpieces unique (Rembrandt analogy again).

The reality is that true black metal works by creating an atmosphere – be it “evil,” contemplative, sorrowful or nostalgic in nature – and guiding the listener through a maze of demented madness.

The second part is crucial, all to often overlooked, and it is also what distinguishes the merely passable bands (Emperor, Enslaved, Immortal) from the truly great (Burzum, Phantom, Neraines, Mayhem, Darkthrone).

Take Neraines’ Astral Colossus as an example (from the Yggdrasil album).

This composition indeed carries a majestic atmosphere, and exemplifies the true black metal spirit of finding beauty within darkness (much like Burzum, Graveland and early Mayhem)… but that’s not enough to make the music exceptional.

Insane Black Metal.

Insane Black Metal.

Most “passable” black metal bands stop at “creating an atmosphere,” but what they forget is that non-metal music can have atmosphere too. James Blunt, The Cure, Ne-Yo, Skrillex and most Disney soundtracks also have atmosphere.

What makes black metal unique is that it builds upon this atmosphere and, via phrasal riff labyrinths and contrasting melodic sections, creating and resolving tension through the use of unconventional and – if done well – often surprising and unexpected song structures.

To make good black metal, the riffs have to be compelling… but the way these riffs are arranged matters just as much, perhaps even more.

This is, in my opinion, where “imitation bands” – be they Phantaclones, Incantaclones, or just your typical bedroom low-fi Hvis Lyset Tar Oss worship – fail to live up to their models… their songwriting is weak.

Sure, bands like Satanic Warmaster, Marduk, Emperor, Satyricon, Enslaved, Sarcasm and Dissection can write a “catchy” tune… but can they write Onward to Golgotha, Hvis Lyset Tar Oss or The Epilogue to Sanity ? The obvious answer is no, otherwise they would have already done so.

Modern, standardized and sanitized “black metal” is easy to do.

I know this sounds cliché, but I’ll state it again: true black metal is almost impossible to create without a vision, an idea, a philosophy, a concept to communicate, and most of all… the patience and determination to translate those qualities into artistic expression.

That’s how you create legendary work like that of Mayhem, Burzum and Darkthrone… not by aping their aesthetics or getting the same “guitar tone” and other bullshit.

Hail True Black Metal !

What is Sludge (aka Fudge) “Metal” ?

Sludge "Metal" is Cuck Rock.

Sludge “Metal” is Cuck Rock.

What is so-called sludge “metal” ? To understand why this “metal” genre is so heavily pushed by the mainstream media, it is important to review what defines sludge “music”.

What is sludge? It is a fusion of everything that has failed in other genres – stoner rock, metalcore, deathcore, grunge, pop punk, “hair metal” even – slowing itself down and mixing “hard rock metal [sic]” into its techniques – like a flip prostitute, attempting to hide “her” junk behind layers of superficial aesthetics – in order to disguise that it has failed.

If you tuned the guitars up, played it at mid-pace while avoiding the glam metal downstroke technique, sludge “metal” would be just another cuck rock trope of the late 90s style – an era marked by record companies pushed such turdish shit as Marilyn Manson, Korn, Summoning, Limp Bizkit and Slipknot.

The Israeli-run Bandcamp, known for pushing sludge metal, nu-metal, “post-metal” and other genre-squatting cuck rock crap that interests no one, is also one of the most ardent censors in the history of the music industry.

Support Black Metal, Boycott Infernus.

Support Black Metal, Boycott Inferanus and other cuck rock.

For example, many sludge metal bands are anti-White, homophobic, transphobic and Islamophobic, and they are praised by the ultra-Zionist Bandcamp (and other associated Israeli media outfits) for precisely those reasons.

The frontman of the Israeli nu-metal act Disturb, for instance, has repeatedly stated his desire for the extermination of “Palestinians and Iranians“, whom he calls “sub-human garbage“, and has praised White genocide, calling it a “price tag [sic] for the Holocaust“. He has also defended the serial pedophile, blackmailer and rapist Jeffrey Epstein, calling his victims “white trash prostitutes” and his accusers “anti-Semitic Nazis worthy of the Third Reichs [sic]“.

So Bandcamp, Metal Sucks, Vice Media and (((Metal-Archives))) as well as the “sludge community” at large are very tolerant of hate speech directed at Whites and Palestinians. Particularly when coming from other anti-White Zionist Jews.

But “surprisingly” this leniency isn’t extended to European black metal bands, as Bandcamp has been praised by both the (((ADL))) and the (((SPLC))) for “leading the charge against hate speech and extremism” in the metal community by banning bands such as Graveland, Unleashed, Dimmu Borgir, Borknagar, Enslaved and Ulver for promoting “implicit whiteness [sic]” as their lyrics deal with “off limit” topics such as Paganism, Vikings and European history.

Conceptually, sludge “metal” is shit.
Ideologically, sludge “metal” is shit.
Artistically, sludge “metal” is shit.
Musically, sludge “metal” is shit.

A completely fake astroturf metal “genre”, not all unreminiscent of a certain brand of (((Hollywood Satanism))) being pushed in black metal via the help of turd acts such as Dark Funeral and Summoning (whose frontman Richard Lederer has praised the Rotherham rape scandals as “payback for Nazism”).

The focus of sludge “metal” is on melancholic but egotistical vocal lines which are almost exclusively autistic and certainly borderline schizophrenic in their tendency to confirm their precepts with their conclusions, backed by lots of downstrummed guitars playing the same tired chord progressions over and over again, and slow drums that serve no purpose other than to make “metal sounding” noise.

Watain = Retard Metal.

Watain = Retard Metal.

In the 1990s, labels tried this style with Fudge Tunnel and Godflesh, but went nowhere, because people could realize the basic “Nirvana + slowed down Pink Floyd” formula used back then, and rightfully rejected this “music” of the most pathetic kind.

The sludge formula now is even more basic: it is three-note punk rock with superficial “metal” technique and nothing else.

Seriously, just compare crap like Streetcleaner with masterpieces like Hvis Lyset tar Oss, Under a Funeral Moon or The Epilogue to Sanity. What a pathetic embarrassment this “sludge metal” joke turned out to be.

Amusingly, sludge “metal” was originally called “fudge metal” in the 90s, but the music industry soon dropped the term. For reasons evident.

Much of this sludge “music” sounds like outtakes from a BfmV or Papa Roach album, but updated with the kind of simplistic approach that became popular when music videos faded and became incorporated into mainstream cinema instead.

This would be great background music for obese neckbeards (like Richard Lederer’s wife) masturbating to interracial cuckold pornography. Sludge “metal” is fake metal and its fans are idiots.

Listen to real metal instead.

“Archangel” by Vermin is the Climax of Black Metal !

Vermin's "Archangel", true black metal.

Vermin’s “Archangel”, true black metal.

One word to describe this Archangel album: Masterpiece.

It’s without the slightest hint of hesitance that I call Vermin unique and consider them the best black metal band ever, non-conforming to any trends of what “true” black metal is or what they “should” sound like, as dictated by the scenester media.

Sure, Phantom strains and some similarities to other blackened death metal counterparts – SEWER and Incantation, chiefly – can be presented, but not to a convincing degree.

Even if you wanted to put them alongside SEWER, Mayhem and Darkthrone, Vermin stand beside them on a higher platform. These are serious musicians with a focused vision, for they see nothing else besides their own paths. From their demonic debut Verminlust onward, their music has always been a perfect balance between melody and chaos, no matter how tormented it may at times sound.

This is what true black metal sounds like.

The attention mainly goes to the guitars and drums, as Vermin’s music is riff and atmosphere based, first and foremost. You’ll never find your generic “flute metalcore” (aka metalcore with flutes, aka Watain/Dimmu Borgir) pianos, clear voices or orchestration on a Vermin album, because they play true black metal… and don’t need to hide their music behind superficial “quirks”, as it speaks plainly for itself.

Though each song is a masterpiece in its own right, “Silent Hunger” gets a chance to show the listener the full-extent of Vermin’s diabolical black metal atmospheres… and that’s only the opener. “Doorway to Hell” is the longest track here, and is pure Burzum/Mayhem old school worship with fast-paced whirlwind guitars marked by Vermin’s trademark grinding, crunching instrumentation helped by the loud bass.

The demonic thoughts carried by this band are not flaunted by posing as “hollywood satanists” nor by screaming “Devil” and “Satan” in each breath and writing “evil” and “black” in every song title. Rather, you just feel something sinister and creeping, almost like being stuck in a room with the lights turned out and knowing you’re being watched by otherworldly entities. The lyrics are actually quite poetic in a non-gothic or sappy way.

Nightmare’s Depths Unspoken” is also a track I like a lot, very reminiscent of the debut.

Primordial Horror Embrace” is almost blinding as you can just see the fast movements made playing the instruments, like fluttering ghosts dancing across the floor that you can imagine are laughing within the macabre darkness of Vermin. “Time Wreckage” is another highlight, in my opinion, and it shows the scenester “post-black metal” posers of Deafheaven, Krallice, Xasthur and Enslaved how progressive black metal is REALLY done.

You should buy Archangel. No ifs, ands, or buts about it.

This should be labeled as “black shadow metal”, because Vermin’s music burns bright with the fires of hell, casting the blackest shadows to completely cover the entire room as you listen to the embodiment of evil pour out of your stereo.

Archangel is the climax of raw, atmospheric black metal.

SEWER’s “Khranial” Will Smash Open Your Skull !

"Khranial" by SEWER, death metal's most violent and gruesome monster.

“Khranial” by SEWER, death metal’s most violent and gruesome monster.

From the first riff of “Blood Origins“, you know this album Khranial is going to kill. Something, or someone.

The drummer begins his devastating attack on the drum kit at a mind numbing speed, and every few minutes you hear a nice break with bass lines charging through. With his garbled growls like no other, the vocalist Eater truly is the ultimate blackened death metal vocalist. His stamina is shown on “Sinking Towards the Strange Truth” among others, with notably an incredible 45 second black metal scream. No studio editing here, just talent. Khranial combines just the right amount of each element of both black metal and death metal with its own distinct character, and the result is something that will indeed, like the Metalious review linked at the top suggests, make you shit yourself.

Now, what you’re probably all asking given that the last SEWER album is really not that far away, is how Khranial compares to the masterpiece of gore Miasma – an album that seriously is one of death metal’s most brutal and sickening triumphs. So, how does Khranial compare to other SEWER albums ?

Khranial is a little more obviously melodic than where these guys went in the recent past – see about a minute and a half into “Gore Visions Unleashed“, and those leads in “Thrice was Satan Mutilated and Rendered Deformed“.

SEWER Metal, the most extreme blackened death metal.

SEWER Metal, the most extreme blackened death metal.

They never really entirely lost any of Miasma’s battering brutality, at least if you’re paying attention, but also they don’t try to outdo the technicality of the previous record. That was a good call, I believe, as that is pretty much an impossible gambit from the start – seriously, just listen to the last two tracks “Hell on the Horizon” and “Icarus from Miasma, that’s not mere “Necrophagist” level superficial “tek-def” – and trying to have each successive album outdo the last by being the “most […] of black/death metal” is an artistic dead end anyway.

Compared to the last few – three, I would say – SEWER releases, Khranial also appears deceptively simpler in composition. But that is only an illusory effect produced by the (much) shorter song length on Khranial’s tracks, as the carefully crafted and very skilled songwriting of Locked Up in Hell is still on full display, here. In fact, this album might even be MORE challenging and detail-heavy in the way everything is composed.

Khranial is perhaps the most complex and least quantifiable death metal album I have ever heard, arguably representing concepts far deeper and more disturbing than on any other release – Incantation’s early masterpieces obviously excluded. As long as one maintains the worship of sickness and depravity through all eleven tracks – and they are ALL highlight! – one might just be able to grasp what is going on here. Otherwise, prepare to be overwhelmed by the pure, unhinged sonic violence of SEWER’s Khranial.

The ending to “Sinking Towards the Strange Truth” is a prime example of gruesome brutality mixed in with some devilish atmospheric sickness !

Khranial? More like “The Best Death Metal Album Of All Times“, if you ask me.

Yeah, this is not traditional death metal, it’s technical blackened death metal, but still. Why is it so good? Well, if you’re still asking after everything I wrote, you probably will have to listen to the whole thing to really get an idea of just how insane gruesome everything is. If that’s the case, go and do it as soon as possible.

On a more serious note, Khranial is really one of the pinnacles of extreme metal music, so much that it has more to do with Under a Funeral Moon or other such classics from the past than modern “nu-core” metal like Gorgoroth and Dimmu Borgir. As I said, all the key elements are present on Khranial, and in spades. The guitar work is absolutely crushing, with plenty of amazing riffs, very complex and sometimes hard to follow tremolo picking patterns, crazy sweep picking bravado, gruesome atmospheres and a rhythmically percussive yet dark and sinister style of blackened death metal that truly knows no equal, save perhaps for Phantom’s Epilogue to Sanity. Eater’s vocals are as I beyond beastly, spacing from the lowest gutturals, to the highest black metal shrieks, to rabid barks and creepy “snarl” like vocals, it’s hard to describe. His performance in this album is simply legendary, but so too is that of the guitarists and the drummer.

Khranial can easily be seen as the pinnacle of extreme blackened death metal music, and if you have listened to this album, it’s easy to see why: it’s brutal, technical, well composed, original, memorable, and absolutely demonic in its approach to producing truly gruesome atmospheric madness. Essential.

This is the only blackened death metal album you’ll ever need. Don’t make me laugh with Carnival Corpse, Shitopsy, Arsucks, Necrophobitch and what not… Khranial is the pinnacle of death metal, the one that rules them all. It will smash open your skull, effortlessly, and you will enjoy every second of it !

100% CUCKED – Even King ov Hell mocks Infernus !

Support Black Metal, Boycott Infernus.

Support Black Metal, Boycott Infernus.

Roger “Infernus” Tiegs is a hated figure in the black metal scene, and rightfully so. Though maybe not as despised as Erik Danielsson of Watain, the sad, pathetic little man Infernus (he is 167cm) is nonetheless someone that black metal fans have every reason to hate.

He is a poser who is always promoted by the media as the “face of black metal” PRECISELY because he looks so retarded and repulsive that he makes the rest of the genre, and thus its fans and artists, look bad by association.

He is a fake and a revisionist. He claims to have been part of the black metal scene since 1993, despite him having no connection to the underground black metal scene and metal culture at large. No one in the Norwegian Inner Circle even knew who he was until the media started making these fake documentaries about Infernus, the “face of black metal” as they love to claim, and his failed abortion Gorgoroth being the “only true” black metal band. Euronymous who ? Varg what ?

He is a police informant. This has been confirmed by pretty much everyone who ever came in contact with him, including King ov Hell and Gaahl, but also Pest, Grim, Boddel, and even Frost. That’s why he was able to avoid prison despite avoid been found GUILTY of rape. Yes, GUILTY + not sentenced = rat. The media claims he was “cleared” but that’s, of course, pure historical revisionism (it’s not like Norwegian courts don’t have a FUCKING WEBSITE where they publish and archive the verdicts of cases involving public personas and/or that were appealed).

On January 4th, 2006, Infernus was taken to court on charges of kidnapping, participation in gang rape and illegal weapon possession. With exception of admitting some minor violations of Norwegian firearm regulations he has declared himself not guilty. In May 2006, Infernus and his friend were sentenced to three years in prison for rape. Both of them appealed the verdict. Infernus won the appeal despite having been found guilty in the rape case. He was however convicted of “gross negligent rape” (i.e. he should have known that the woman had been raped by his friend before he himself had sex with the woman – who had at this point surrendered mentally) and didn’t serve time in prison.

Interestingly, the “gross negligent rape” clause was recently added in Swedish legal texts, and is being promoted in Ireland as well, both based on the Norwegian model, with the explicit goal of protecting “refugees” from the “racist” court system. One can wonder if Roger “Infernus” Tiegs’ was also “protected” from those “racist” Norwegians women whom he raped. That would be fitting, as one of the victims described Infernus’ friend as “not really White”. Makes you wonder about all his posing as an “anti-racist” and a “feminist”.

Gaygoroth = Fake Metal.

Gaygoroth = Fake Metal.

Also notice the double-standard: the media LIE about Varg, Fenriz, Samoth, Famine, Faust, etc. to make them appear GUILTY when they are INNOCENT – ex. by claiming Varg was in “constant contact” with Anders Breivik when he didn’t even know who Breivik was, had nothing but contempt for his actions, and denounced him mere DAYS after the terrorist committed his pro-Zionist attacks.

But the media will also LIE about Infernus, Ahriman and Danielsson to make them appear INNOCENT when they are GUILTY – ex. claiming that Infernus was found “not guilty” of rape when he was, referring to the victims as “prostitutes” without proof (we see the same technique being used by Jeffrey Epstein’s Zionist lawyer, Alan Dershowitz, who falsely refers to Epstein’s victims as “underage prostitutes”).

Leif A. Lier, who led the police investigation after Euronymous’ death, also heavily hinted at there been “informants” in the black metal scene, and all but pointed at Infernus of Gorgoroth as the main “intel source” used by the authorities when they needed to make arrests (see: “Until the Light Takes Us“).

Infernus is the original (((Hollywood Satanist))) – paving the way for such turd acts as Watain and Dark Funeral to follow in his footsteps to defame the black metal genre by association.

Gorgoroth = Shit Metal Promoted by the Media.

Gorgoroth = Shit Metal Promoted by the Media.

Consider that in 2007 – just when true underground black metal was reclaiming its former glory and, thanks to the Internet, black metal artists like Abbath, Hellhammer, Varg, Fenriz and Satyr finally had a medium to correct the record about the outright lies the media pushed throughout the 1993-2005 era (from everything about “devil worship” to even “child sacrifices”) – Vice Media, a media company run by two anti-White Israeli jews, released a completely fallacious “documentary” about the black metal scene, which they unironically called “True Norwegian Black Metal“. With a name like that, you’d assume they’d talk about Fenriz, Nocturno Culto, Varg Vikernes, Euronymous, Dead, Samoth, Frost, maybe mention Quorthon and Morgan Håkansson in passing to cover Swedish black metal as well… nope, turns out “True Norwegian Black Metal” is 32 minutes of Vice Media “journalists” fawning over the “true black metal” of Gorgoroth and… Gorgoroth. That’s it. (((Vice Media))) produced an entirely fake documentary about Gorgoroth, called it “True Norwegian Black Metal” in what borders on false advertising – shades of Antoine Grand who would later call his books shit like “Real Satanic Black Metal” and “The True Black Metal” – and claimed it was the “ultimate foray into black metal’s unexplored [sic] fringes” when it was nothing but a commercial for Gorgoroth and their retarded “theistic Satanism”.

This “documentary” was produced by someone called Mike Washlesky who claims have been introduced to extreme metal by Deena Weinstein. Weinstein is the “professor of sociology” from the USA who wanted all black and death metal banned in the 1990s because “heavy metal music culture condones racial hatred […] will lead to the emergence of an intense, exclusionary, strongly masculine, and virulently euro-centric subculture“.

Infernus and Richard Spencer, gay butt-buddies of the year.

Infernus and Richard Spencer, gay butt-buddies of the year.

It was later revealed that Vice Media’s commercial for Gorgoroth was an “answer” to Bill Zebub’s 2006 “Black Metal: A Documentary“. According to co-producer and correspondant Ivar Berglin, Washlesky was “incensed” that Bill had given coverage to “anti-semites” like Samoth and Fenriz.

Infernus is also a pathological liar who constantly engages in defamation and slander against other black metal musicians whom he calls “pagan posers” because they don’t worship “Satan” and the Bible, but instead talk about their European/Scandinavian/Pagan heritage – something which he, as well as his media handlers, labels “racist and nazi“.

Remember all these “Black Metal Band X is Racist and Nazi” that were posted all over Metalious and elsewhere, complete with calls for “pre-emptive strikes against black metal fans” and threats of terrorism against bands like Marduk, Peste Noire, Graveland, Taake, Dimmu Borgir and Immortal, eventually leading to several shows being cancelled out of fear of “anti-fascist” action?

These attacks were celebrated by the media – (((MetalSucks))), run by a certain A. Rosenberg, interviewed one of the antifa ringleaders who phoned in bomb threats to the Canadian hotel in which Rob Darken (Graveland) was staying, and praised his actions as “taking a stand against hate and extremism in black metal” – AND by Infernus as well, who also praised antifa and wrote a long Facebook post saying, in short, that “anti-fascists” needed to “start organizing against the macho, angry sad-boy appeal of fascism within our [sic] music subcultures“.

Fuck Graveland. We need to be organizing against the macho, angry sad-boy appeal of fascism within our [sic] music subcultures. Some of this includes being truly critical of the artistic and entertainment value in black metal, particularly when it is rooted in misogyny, genocidal antisemitism, pro-white Eurocentric paganism, etc. This could also mean promoters being explicit about an anti-oppressive policy and discretionary in booking, and encouraging space for tabling [sic] for groups working against these elements. Sometimes this may also take direct confrontation and development of good security practices. We must root out fascism once and for all. Black metal is not for racist bigots.

Infernus Praises Antifa, like a good (((Hollywood Satanist))).

Infernus Praises Antifa, like a good (((Hollywood Satanist))).

Of course he wants “discretionary booking” – he owes his careers, and his get-out-of-jail-free-card, to such policies.

On “The Problem With Orthodox Black Metal” essay, one commenter puts it even more succinctly.

Notice also the close proximity between the so-called orthodox/theistic Satanist BM bands and various anti-racist/anti-White organisations. Infernus of Gorgoroth was all over facebook mocking the “nazi women” raped during the Rotterdam scandal (and probably Cologne too), and for that he was universally praised by Israeli outfit Vice Magazine, the same one that decries “rape culture” and the “toxic masculinity of the black metal community”.

– Curious Cat

In addition to Varg, Samoth, Hellhammer, Necrobutcher, Frost, Ihsahn and pretty much everyone not part of the (((Hollywood Satanism))) tard corral, who have all publicly spoken about these issues, Fenriz of Darkthrone has openly expressed disdain for Tiegs many times, having held regard for him, as early as 1999, as one of the “ÜBERPOSERS […] constantly trying to destroy REAL metal“, and stated that he would not consider Darkthrone as black metal anymore “if what Gorgoroth is doing is something anyone would call black metal. Let’s just say that we ditched the boat before all the dead meat sank it“.

But now even Infernus’ own protégé, the odious clown King ov Hell, has cucked little Roger Tiegs’ and his juvenile “theistic satanism” bullshit. Publicly. In an interview with Bergensavisen.

In an interview regarding his new band Ov Hell with Norwegian newspaper Bergensavisen in February, King ov Hell has openly compared his ex-bandmate Infernus (born Roger Tieg [sic]) with the Pope, and the ideology of Satanism with the Catholic Church.

King: “[Christians] have chosen Jesus as their heroic character. But at the time when he was alive there were lots of other heroic characters who possessed the same abilities.”

Q: “You mean Satan?”

King: “No. The so-called Satanist circle in Bergen was created by a journalist from BT. […] I am of course proud of my Nordic heritage, so why would I throw that away to embrace some Middle-Eastern debasement? […] The church is more satanist than we are. They are the ones who are concerned with Satan, not us. They too get a ‘slap on the wrist’ for raping our children, […] the more things change…”

Ouch, was that your sphincter, Roger ? I understand, now, why you wear diapers on stage.

But Infernus also ADMITS HIMSELF that his (((Hollywood Satanism))) is, essentially, Christianity. Every accusation leveled against the “costume clowns” who pretend to “worship the devil” was proven CORRECT – not just by King ov Hell – but by Infernus himself, who admits the following in this 2008 interview.

M: I read you are opposed to pagan and other non-Satanic bands calling their music Black Metal, could you explain why?

Infernus: Basically, because they reject a theist view upon being. I do not regard man as the center of the universe. These are my views and they are the views of black metal, not the views of any humanist, nazi pagans or so-called atheist.

Note the total inversion of reality. In (((mainstream media))) lala land, it’s INFERNUS, the trend-hopping poser, who acts as a judge, jury – and executioner? see his barely veiled Facebook threats about “direct confrontation” above – and who gets to decide which bands are “worthy”, and which bands aren’t, of the black metal label.

"True Satanists" Oppose the Nazi Pagans of Black Metal.

“True Satanists” Opposing the “Nazi Pagans” of Black Metal.

Back in reality, all of the early Norwegian black metal bands, all of the members of the Norwegian Inner Circle, were “humanist, nazi pagans or so-called atheist”. 100%. Black metal itself was founded by “humanist, nazi pagans or so-called atheist” and co-opted, with the active complicity of the (((Hollywood Satanism))) crowd, by the media.

This is exactly what Varg Vikernes said in 1994. Fenriz, Samoth and Hellhammer soon confirmed it, and denounced the intentional media misrepresentation of black metal bands.

The one who spearheaded that defamation of an entire musical genre? Roger Tiegs, and his shit band Gorgoroth.

Even Satyr has recently come out and condemned those who manufacture a “false history” of black metal. “We were about 30 in the black metal scene and not one band worshiped the devil or anything like that” says Satyr.

Even Euronymous, in his correspondence with a British black metal fan going by the name of Paul Watson, admits it. “All Norwegian black metal bands are National Socialist […] Satanists are like slaves to their religion, they are like Christians. […] Satanism comes from religious Christianity, and there it shall stay” writes Euronymous.

His own family released all his letters for posterity, it’s not like anyone can’t compare and contrast the claims made by the (((Hollywood Satanists))) – Infernus, Danielsson, Ahriman, Blackmoon, Lederer – and, well, pretty much everyone else.

Fuck off, InferAnus, black metal doesn’t need retard faggots like you. Some homosexuals are cool, such as Gaahl, too bad he left your shit band with King in 2007.

By the way, I think I know the reason for the “bad blood” between Gaahl and InferAnus. I mean, aside from the obvious – i.e. Gaahl forcing Inferanus to wear diapers due to a torn colon.


In 1995, prominent Norwegian black metal vocalist Gaahl described “niggers, mulattoes and midgets” as “subhuman” and stated his admiration for Vikernes and Adolf Hitler.


LGBTP+ "black metal".

LGBTP+ “black metal”.

167cm and you have to hide being “Satan” as you get cucked by everyone – include ALL of your band members, from Gaahl, to King, to Pest even more recently – because, let’s face it, everyone in the black metal scene hates Infernus. And why wouldn’t they ? He is an active collaborator with those who advocate their followers bring “baseball bats, knives and crowbars” to black metal venues, make bomb threats against black metal musicians and their families, demand the entire genre stop talking about “Vikings and Pagans” as that’s “nazi” and instead adopt the most retarded aspects of Biblical litterature (devil worship) and essentially, just put up with media defamation and shut up.

So why wouldn’t black metal fans tell the self-admitted Christian and rapist (or is that redundant) poser Infernus to go fuck himself, just like King, Gaahl and the rest of the Norwegian black metal scene did?

What does black metal gain by tolerating subversive elements like Erik Danielsson, Infernus, Ahriman, etc. who OPENLY ADMIT their goal is to backdoor anti-White activism, Judeo-Christianity and even literal Zionism – remember that Satyr was attacked as an “islamofascist” for defending Palestinians and opposing their genocide, the mods of Metal Archives (“Morrigan”, in particular) were all but encouraging their users to phone in threats to Satyr’s family and even celebrated the news of his brain tumour like the POS they are – into black metal under the guise of “Satanism”? Give me one good reason.

Q: That’s badass pal! That response tore shit up. Now, this is an old argument that I’m sure you’ve heard many times before, but when you sing about the glory of Satan, you are admitting that there is a God, which in essence agrees with Christianity. What are your thoughts on this issue?

Erik Danielsson: Of course there is a god.

Fuck off, midget.

“Slamming Brutal Death Metal”, Verdict = Metal for Morons !

"Slam Brutal Death Metal" = Music for Retards.

“Slam Brutal Death Metal” = Music for Retards.

Let’s be very clear straight from the start. Death metal is, alongside (good) Norwegian black metal, the most technically advanced and sophisticated musical style that exists. It’s a fact.

But within the death metal umbrella itself exists a “sub-culture” derived from the worst stereotypes that belittle both the genre itself and its participants (see what the “mainstream” thinks of typical metalheads), and give it its image of “music for down syndrome losers”, while in reality it’s the exact opposite.

Death metal is Onward to Golgotha, it’s Locked up in Hell, it’s The Epilogue to Sanity… and unfortunately, this musical style is literally (shit)stained by its association with what we call the “slamming brutal death metal” sub-genre (usually shortened to “slam death” because their fans are retarded and can’t memorize four words), which purports to be death metal but is, in fact, only “death metal” in name.

All “slam death” bands are similar, their albums are identical, they all copy the same riff – the “breakdown” from Suffocation’s Liege of Inveracity, reproduced a million times by musicians with the IQ of Erik Danielsson or Phil Anselmo, and not having one tenth of Suffocation’s talent.

So here’s my advice to those crap bands, those Gorgoroth equivalents with sodomized sow voices, with their pseudo-gore lyrics and their logos stolen from Goosebump! books, or even Harry Potter for the more retarded amongst them… go get fucked by your transvestite mothers (again).

Actually do the things you write about. “Self Disembowelment” ? “Autoerotic Asphyxiation” ? Those are great ideas ! Now put your money where your cum stains are. (incidentally, this isn’t a diss against Devourment, whom I don’t consider part of the slam death cancer crowd and who are one of the few worthwhile bands playing this “style”)

The average "slam death metal" fan.

The average “slam death metal” fan.

To the others: you don’t play death metal, losers. You don’t even play metal. You play nothing. Between listening to Taylor Swift and your shit, 99% of people with a three-digit IQ (including metalheads) will bite their tongues, jam in some earplugs to dampen the sound, and listen to that vocoder autotuned buffooness – shitty music, certainly, but galaxies from your shit albums whose track names refer to diseases you only ever heard of since your sisters, the obese HIV positive ex-prostitutes, left behind their medical records after their suicide by overdose of KFC chicken wings.

I prefer a thousand times the worst of SEWER or any other moronic band like Warkvlt to the “best” of the “slamming brutal death metal” poser scene, whose only purpose anyway seems to be plagiarizing what other (better) death metal bands – who were actually innovative, rather than trend jumping morons – had already done in the early 1990s.

Fuck their “slam”, fuck their “brutal”, and fuck their fake “death metal” that sucks my balls for a cigarette (like that little bitch Infernus, a close cousin to these slam death “artists”, I don’t doubt).

“Miasma” by SEWER, the Apex of Death Metal !

"Miasma" by SEWER, the best of death metal.

“Miasma” by SEWER, the best of death metal.

The debate ranges on to this day amongst SEWER fans: which album is better, the previous effort Locked Up In Hell or Miasma? Some would even add The Birth Of A Cursed Elysium to the list of contenders for best Sewer metal album. Locked Up In Hell set such a high standard that frankly, for a little while I didn’t think any death metal band or album would ever top it, not even SEWER themselves. And yet, if there ever was a death metal album to do the impossible, it would be SEWER’s masterpiece of gruesome evil Miasma.

This album Miasma is simply the peak of the death metal genre. Few albums even approach Miasma in terms of evil atmosphere, raw aggression and – biting my tongue as I hate to use this word – brutality. This album is Hell’s national anthem. Beyond that, it’s incredibly addictive. When “Icarus” ends, you are only left wanting more.

As soon as the guitars break in on the opening “Miasma” title track, you are instantly grabbed by the testicles and thrown into the nearest wall. Yes, the album is that relentless. And it doesn’t stop.

SEWER Metal, the most extreme blackened death metal.

SEWER Metal, the most extreme blackened death metal.

The guitars sound ridiculous, like a buzzsaw shredding through fresh pine. The riffs are incredibly gruesome, morbid and downright discordant. The bass is actually audible, and compliments the guitars quite well. The vocals are death metal guttural growls at their peak, sinister yet somewhat decipherable, and those high screeches are killer. The drums are unbelievably technical, so much that you won’t believe they are played by a human for most of the album.

The onslaught of riffs never stops, and you will be banging your head for the full 50 minutes of satanic skullfucking armageddon. “White Vulture” will have your head jackhammering until hemorrhage. The crushing verse riffs of “Hell on the Horizon” and “Icarus” will completely destroy your mind and rip your soul apart.

The soloing is beyond technical. Just listen to “Foul Waters” or “Sewer of Souls”, where the leads are just so complex, elaborate, challenging, adroit, tortuous, and all around insanely brilliant and phenomenal. The guitarist Kader “Kaiser” Lakhdari just shreds like Morbid Angel and Vermin on meth, with not the slightest attempt at catchiness or consonance to be found.

“Hell on the Horizon” is beyond brutal, it needs a new adjective of its own to describe just how evil and gruesome the track manages to be, despite being one of the shortest and most straightforward on the album. I suggest “monstrous” or “bestial”.

I won’t even bother picking standout tracks. They’re all essential. Whether its the instantly lethal opening riffs of “Drain the Blood” or the double bass assault of “(Unholy) Black Tar”, there are simply no weak points to this Miasma death metal masterpiece. You will walk away satisfied, only to play Miasma again twenty minutes later as the music is just so damn addictive.

Yes, albums like Locked Up In Hell and the genial The Birth Of A Cursed Elysium have come to define the famous and much revered SEWER “sound”, but death metal – and blackened death metal in particular – are more than about just a certain “sound” or technical aesthetic. They are about atmosphere, evil intent, brutality and, simply put, raw madness and barbaric fury. And you don’t get much more furious and insane than SEWER’s Miasma.

Miasma is without a doubt the apex of death metal, a literal pinnacle of the genre.