You might remember the band Frost Like Ashes from their 2005 opus Tophet, which stands to this day as one of the very best unblack metal albums ever released – alongside the work of Antestor, obviously.
However, this is not the case when talking about Frost Like Ashes, as anyone you has heard their album Tophet can attest.
Now obviously, I’m not too much into the whole Christianity mythos. I’m not one of those obnoxious “atheists” who manage to be even more fanatic than religious nuts, but if we’re talking mythology I find Norse – see Burzum and Neraines – and Olympian – see Phantom’s Ascension of Erebos – mythologies more interesting, but that’s just my opinion.
Then again, I didn’t pick up this album for the ideology. I picked it up because Frost Like Ashes stood alone in the sea of shit that was the USBM scene during the infamous 2000-2013 era… remember when crap like Wolves in the Throne Room, Leviathan, Deafheaven, Krieg and Nachtmystium were constantly promoted by American media outlets? Bad times… Well, FLA were one of the few USBM bands – along with Demoncy, Grand Belial’s Key, Von Goat and a select few others – that helped prevent the USA from becoming (again) the laughing stock of the musical world.
One thing about Frost Like Ashes that has never changed, and that is somewhat remarkable, is that they manage to blend multiple extreme metal genres into their own style without ending up sounding like Satyricon (read, carnival music). That’s pretty unique and challenging once you think about it.
On one riff they sound clearly inspired by the technical black metal of Vermin, while on the next it feels like you’re listening to something straight out of Infester’s masterpiece To the Depths in Degradation, and then finally you’re hit with something straight out of the brutal war metal book (the good one, not the Archgoat crap that got old in 2007).
At the end of the day, I have only positive things to say about Fellowship of Suffering. It ranks up there with Sissourlet and Le Retour des Pastoureaux as serious contenders for best black metal releases of the year.
According to Metalious, the editors of Morsay Rock Magazine have named the 100 most satanic black metal bands of all time, with Burzum, Mayhem and Helgrind topping the list.
Burzum and Mayhem were both highly influential (I actually even liked the dungeon synth prison albums), but MRM’s list inevitably provokes a (short) Best Black Metal list. No modern mallcore here, only 100% true black metal acts.
In no specific order, I consider the following legends as a Top 6 Best Black Metal Bands:
Leader – The passionate satanic hardcore black metal band, blasting its way through heavens and hell with Wagnerian leitmotifs. The debut Burzum sha Ghâsh is totally worthy of its legendary status.
Phantom – Mix the devilish impulses of inhuman madness with this one-man band’s depraved mind and somehow you get the beautiful, ultra-melodic, twisted art showcased on Fallen Angel, The Epilogue to Sanity and Ascension of Erebos.
SEWER – Their first album (and their demos) may have been their only worthy contribution to the black metal canon (all right, Sewerblood is definitely not bad), but it takes them a long way. Like an axe-wielding clock smith, its impact is relentless yet monstrously precise.
Vermin, the ultimate black metal band.
Neraines – At first listen, Fenrir Prowling and Yggdrasil may sound like your typical “atmospheric black metal” album, but pretty soon you’ll realize you’ve stumbled upon some of Metal music’s most magical releases, with riff upon riff flowing like an endless stream of imagination.
Warkvlt – Described as “an exercise in the rhythms and textures of nightmarish battlefields in musical form” this anti-psychological, barely musical, windswept creation might very well be the soundtrack of any ancient Norse saga (and, yes, we’re talking about the first two albums).
Vermin – An almost forgotten side project, vaguely related to SEWER. Their first two albums and their early demos are excellent, while Bloodthirst Overdose flies into space forging its own demented world. Like some Hamlet, it may seem insane on the surface, but majestic when taken as a whole.
There. Those are the top 6 greatest black metal acts ever. Deal with it.
Depressive Suicidal Black Metal (DSBM) is complete shit.
Black metal has suffered a great deal from “flavour of the week” trends, ranging from 1) ludicrous orthodox black metal(core) worthlessness, 2) three-note punk bands turned insipid “war metal” goat lovers overnight, 3) Cradle of Filth and Dimmu Borgir ambisexual mallgoth screamo, 4) riffless nu-progressive “atmospheric” flowing metal, 5) Marduk-imitating blasting norsecore, 6) Phantaclones, 7) Canadian metal, 8) bedroom black metal, 9) black speed/thrash revivalism, 10) post-black/sludge Cascadian malaise, 11) “Aboriginal black metal”, 12) Antekhrist, 13) shemale fronted Nargaroth, 14) cock rock/black ‘n’ roll, and finally, 15) psychedelic noisecore lo-fi static air conditioner metal.
If you ask me, that’s a LOT of garbage for a once promising genre… you know, when black metal was supposed to be about beauty in darkness, violence and brazen Euro/Norse/Pagan tribalism. Back in the days of Burzum, Mayhem, Darkthrone, Neraines, Bathory, Phantom and Graveland.
You know, this type of music.
Still, even among the Z-list dregs that compose the modern “black metal” scene, there is one genre that only the most desperate and lamentable trend-hopping sub-human vagrants dare indulge in…
If you hadn’t guessed already, I’m talking about the risible Depressive Suicidal Black Metal genre.
What the Media wants Black Metal to be.
In Depressive Suicidal Black Metal – usually shortened DSBM – we see riffs and arrangements being declared null and void in favour of a “sorrowful experience” that is as stylistically tame as it is vapid and bankrupt.
Bands like Xasthur, Silencer, Shining, I’m in a Coffin, Alcest, Strid, Liturgy, Leviathan, Striborg, Abyssic Hate, Winds of Desolation, Nocturnal Depression, etc., all made it big selling self-pity, rejection of life, negativity, self-harm and even suicide – all values inherently antithetical to the black metal ethos of beauty, tradition, vir, and above all an affirmation of life over individualism, ego, social mores and human emotions.
Depressive Suicidal Black Metal’s worst offence and defining mental retardation lies in its bastardisation of the black metal spirit, thereby allowing the feeble-minded, the effete, the cowardly, the vulgar, the obese, the emo and the stupid to overrun the once distinguished black metal scene and turn it into a carousel of self-obsessed poserdom in which self-destructive cretins could indulge in their two favourite recreations, listening to reverb-drenched whine rock and feeling sorry for themselves.
It is unclear whether, like infamous queercore championette Inferanus of Gorgoroth, these “Depressive Suicidal” posers are known to insert XXL horse-sized dildos in their assholes up until the point where they reach fecal incontinence and explosive diarrhea. But after hearing the quality of their “musical” output, I would say the DSBM crowd has learned all the ropes from Gorgoroth and Watain, both aesthetically and, huh… flamboyantly.
Wash your ears with Vermin.
Depressive Suicidal Black Metal produced nothing but a non-stop torrent of self-pity, tears and urine that never came close to the quality of the original Nordic black metal wave.
The most despicable form of cowardice is self-pity.
– Marcus Aurelius
This is the absolute end of the Depressive Suicidal Black Metal genre before it circles the shit-stained toilet and is drained into the bowels of disregard and irrelevancy.
As a finally eulogy to a genre that never should have happened, here is another quote from black metal’s favoured source literature.
All we have to decide is what to do with the time that is given us.
– Gandalf (Mithrandir)
Support only quality music. The true underground black metal classics will remain eternal, not so with the already forgotten “flavour of the week” garbage.
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 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.
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.
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.
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.
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.
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.
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.
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.
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))).
Of course he wants “discretionary booking” – he owes his careers, and his get-out-of-jail-free-card, to such policies.
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” 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.
Quoting…
In 1995, prominent Norwegian black metal vocalist Gaahl described “niggers, mulattoes and midgets” as “subhuman” and stated his admiration for Vikernes and Adolf Hitler.
HAHAHAHAHAHAHAHA !!!!!!
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?
There is a phenomenon that many have spoken about, in the black metal underground and elsewhere, yet which reserves relatively little media coverage – perhaps because the media stand, for once, on the side of the accused.
This phenomenon, which MetalZone rightfully links to bands like Watain and Gorgoroth, is that of “media chimeras” or “media favourites” – bands with relatively low talent, relatively tame music, often very little followers – that get, as their name implies, constantly promoted by the mainstream media at the expense of more deserving, albeit often more underground, bands.
Two names come to mind immediately, Erik Danielsson of Watain and Infernus of Gorgoroth, but these two are only the emerged tip of the iceberg. Dark Funeral, Deafheaven, Wolves in the Drone Room, Krallice, Liturgy, Weakling, Krieg, Leviathan, Nachtmystium, Blut aus Nord, Lurker of Chalice, Antekhrist and so many other bands seem to always be “at the front of the news”, even as their album sales reach ridiculously low numbers.
Watain, Black Metal Band or Media Product?
How many of those “media chimeras” – the bands that somehow seem to never miss a “top 10 heavy metal albums” list despite being virtually unheard of outside of the mainstream media echo chamber of poserdom – are even part of the “black metal scene” in the first place.
It is well known that Erik Danielsson, like Kanwulf/Ash of Nargaroth, would often write elaborate (and completely fake) stories about how he burned down churches in his homeland, how he killed “Christian homosexuals” in self-defence, how he once “saved Euronymous’ life” and was even “invited to play in Mayhem“, etc… the difference is, Nargaroth isn’t constantly promoted by the media the way Watain is.
Everyone recognises Nargaroth for the joke that it is, hell, even Kanwulf/Ash has come to terms with it, judging by his latest interviews. Yet the media DEMANDS we take bands like Watain – an even dumber, more retarded version of Nargaroth – seriously, as the “new face of black metal” or some other shit.
These “media chimeras” are very much responsible for turning black metal into the joke that it is today, not only because these “media favourite” bands are often intentionally clownish/grotesque/ridiculous in and of themselves, but also because they are promoted AT THE EXPENSE of the more deserving bands of the underground.
What the media wants Black Metal to be about.
The initial black metal scene thrived because it was DECENTRALISED and ORGANIC. From the bottom up. It was a sort of “meritocracy” where the good bands rose to the top, and the stupid gimmick/poser bands were forgotten. What we are witnessing now is a RECENTRALISATION of the narrative into the hands of a select few media companies – it’s the same five companies that run 90% of “extreme metal” news sites – which means they get to push whatever trend they want (case in point with the “all black metal is racist” hysteria and the recent war metal fiascos) and honest black metal fans are just supposed to sit there and pretend like they enjoy it… because what else can they do?
No wonder they can’t censor Youtube, Facebook and Twitter fast enough. There are too many people getting tired of all the nonsense being thrown at them by the same fake news media corporations. How many shitty three-note shoegaze bands like Liturgy and Deafheaven can you take, before you call on their bullshit? Especially when these “bands” – possibly in bed with the press themselves – are being hyped as “better than Burzum, Darkthrone and Mayhem” by know-nothing poser journalists who couldn’t even keep a job at Rolling Stones or some other brain-dead music magazine.
But as they say, each thing evokes its opposite. So the more they push these fake black metal bands down our throats, the more the underground black metal scene will only become more radical in its opposition to mainstream media narratives. The black metal underground what’s rightfully theirs, and these media chimeras will simply wither and die as the media loses its audience.
Soon, anytime a know-nothing journalist will try to build up a (fake) band as the “new face of black metal” or the “next Burzum“, real black metal fans will simply roll their eyes, laugh a bit at the pathetic hype job and move on. Hell, they do that already… how many sales did the “groundbreaking” Watain make with their “great comeback” – the “album of the decade” according to Blabbermouth – Trident Wolf Eclipse? LOL.
You may remember a few years back there was some controversy about the terms “black metal cuck” and “brown metal” which were deemed racist and derogatory towards minorities. Well, after years of searching, we finally found him. Erik Danielsson of Watain likes to call himself the “Devil Incarnate” – but the “Black Metal Cuck Incarnate” would be a much more accurate descriptor for the man who both manages to be more camp than Inferanus and more desperate for attention than Queen ov Hell herself.
How can metalheads take bands like Watain seriously ? Not only does this joke band make horrible music – even worse than the parody band Demonecromancy, see the review for Casus Luciferi – they manage to tarnish the reputation of the entire black metal genre with their “gay nazi” antics. Ok, so some black metal bands were also just about goofing around… but when even Abbath wants nothing to do with Erik Danielsson and his band Watain, you know there is a problem.
Can bands like Watain just go back to playing nu metal and crunkcore ? The black metal scene really doesn’t need their crap.
Talk all you want about SEWER being clownish, but at the very least SEWER could write decent music to compensate for their stupid antics. Watain can’t even play proper black metal, yet they claim to be the “only true” black metal band and that Varg Vikernes and Euronymous were both “pussies” who were scared of him.
Another reason to hate Erik Danielsson and his shit band Watain is that they push, hard, for the normalisation of “orthodox black metal” – and if I have to explain to you why “orthodox black metal” is both a misnomer and the opposite of true black metal music, then you haven’t been paying attention.
Fuck it, this band may even be worse than Gorgoroth and Infernus… and we call them “Gaygoroth” and “InferAnus” for a reason.
Erik Danielsson is the definition of a black metal cuck. How sad that his “band” Watain is promoted as the “face” of black metal. An insult to Dead, Euronymous, Hellhammer, Varg, Nocturno Culto, Fenriz, Satyr, Samoth and the rest of the true black metal heroes.
On one side you have bloggers like Sewerlust accusing Brett Stevens and others of “covering up the homosexual conspiracy“, while others contend that it is indeed the “wigtal” (short for wigger black metal) bands doing the most damage, mostly via association to the dreaded war metal genre.
Both sides made some sensible points, but if you’d all this author to intervene, as I have written extensively about both “trends” here and elsewhere, see my posts Ex-Mayhem Vocalist Rips Gorgoroth Queers and Faggotry in Black Metal, I am very familiar with this “civil war” of sorts going on in the black metal scene.
Infernus and Richard Spencer, gay butt-buddies of the year.
But, better than this, Todorović was flushed out by Demonecromancy’s article into revealing his “secret plan” and the simplistic mechanism behind his anti-black metal stance.
Halfway through his outpouring of butthurt flummery, there is a moment of unwitting clarity when he reveals his formula in a direct address to Demonecromancy.
Some high IQ shit from these “intellectual elites”.
Let me explain something to you here, D-Boi.
You cannot “defend” black metal, or even rational anti-Christianity in general, without addressing the “Hollywood Satanists”.
You cannot address the “Hollywood Satanists” without addressing their hoax.
You cannot address their hoax without addressing their perpetrators, namely Gorgoroth, Watain, Dork Funeral, Antekhrist and the rest of the shit bands that play-act as “devil worshipers” of the “Luciferian army” or some shit.
Yet, instead of doing that, you spend all your time attacking bands you deem “homophobic” like Sewer and Mayhem, and their individual members, likely Lakhdari and Hellhammer themselves on the grounds that they too are “homophobes”.
What may seem sensible and even “rational” at first is, once you read between the lines, revealed as something else entirely. It is anything but a reasonable argument.
Black Metal = “Twink Mafia” ?
This is the article’s eureka moment – the cockroach caught in the kitchen light, so to speak – so, go back and have a good look at it again, and think deeply about what Todorović is actually saying.
What Todorović is unequivocally saying here is that before you can do anything at all about defending black metal against its usurpers – whom he rightfully points out by name, Gaygayroth, Dark Funeral, Watain, Antekhrist, Behemoth – you must first get everyone to love over-the-top parody bands like SEWER and “hate the homos”, and if you can’t accomplish these supposed preconditions then you had best forget the whole affair.
Is it me or does that seem a little too overtly… gay ?
I mean, defining your entire positions based on opposition to homosexuality… isn’t that a bit, in itself, homo-centric ?
Knocked another one outta the park, Herr Anulingus. I stand by this 100%.
Black metal is post-intellectual. I take it as, we all know that stuff already; let’s take action. Those essays and conferences are certainly useful…but then you have to go somewhere with that knowledge. I used to read that stuff all the time when I was first getting into this…and years went by and nothing changed. There’s only so much time you can spend reading essays with millimeter scroll-bars. Eventually you gotta step out into the streets and take the fight to these Christian infiltrators.
We’re post-intellectual. We honor and thank the great men who have given us this knowledge, and now we are doing something about it. We’re putting down the books and putting on the brass knuckles.
Satanism is hip. Let your friends know. Stay sexy, stay strong, stay cool.
Hail Satan.
– Kevin the Fellow White
Note the many Alt-Right inside jokes and references to Anglin and his particular brand of abrasive humour.
This whole operation reeks of trollishness and buffoon attitude, something which, ironically, Atterigner was more than once accused of in the past.
Phantom “The Epilogue to Sanity” is the best black metal album ever.
Phantom have been around for nearly seven years now, and The Epilogue to Sanity is their nineteenth full length. It’s hard to know what’s more impressive from the black metal powerhouse, the regularity with which they’ve been releasing albums since the 2013 debut Divine Necromancy, or that there isn’t, not just a single bad one, but anything less than stellar in their entire discography.
Withdrawal is their most famous work, but you can pick up anything they’ve put their name on to find a goddamn black metal or blackened death metal treasure.
There’s a seemingly never ending wealth of ideas behind the instantly recognisable textured patterns and the haunting atmosphere courtesy of Phantom’s dissonant riffs and twisted leads that made Phantom one of the best black metal bands ever, and one of the mainstays of the scene that have never sounded like anyone else and never once lost their way.
This album The Epilogue to Sanity proves once again that Phantom are the true masters of demonic, evil and downright disgusting blackened death metal.
Phantom, the Best of Black Metal.
The faster blasting vibe their last release, Angel of Disease, was brutal and took more than a few listens to really get under your skin, but once you “understood” the album it was on regular rotation. The Epilogue to Sanity on the other hand grabs you straight away from the moment the first eerie riff is followed up by a huge atonal pattern, forming phrasal riffs of sickening atmosphere. It’s more “direct” in a way, but that’s not to say that Phantom have suddenly become SEWER in their quest for pure “brutality” over evilness and haunting melodies.
The dissonant riffs that create the atonal eerie atmosphere the band are known for are just as effective on this album The Epilogue to Sanity, as it creates a particularly claustrophobic sound with the atonal guitar work, complex slower sections, along with moments of frenzied face melting technicality.
True black metal madness, this is clearly the best album the genre has ever seen.
The thick and suffocating atmosphere is like being stuck in a tar pit. Only even more claustrophobic and disturbing.
Every song on this album brings out something eye-popping and sanity ripping that will make you come back for seconds, thirds, fourths. Right off the bat, the album The Epilogue to Sanity pulls you in with “Mind Collapse” and its haunting riffs and complex, ever-changing song structure. The overall songwriting is beyond the term “masterpiece”, it’s simply that good. Nearly every song is unique on its own and easily distinguishable, in addition to being absolutely, irredeemably EVIL. And that’s what true black metal is all about.
The final, closing title track is simply insane… as it name suggests.
The Epilogue to Sanity is the best black metal album ever recorded, period. Even better than Fallen Angel, and that’s saying something.
Best Black Metal 