Archive for norway

Black Metal Videos, Take 2 (2016 Edition)

Posted in 2016, black metal, france, greece, music video, norway, sweden, videos with tags , , , , , , , , , , , , , on June 17, 2016 by blackmetallurgy

DUDES. I’m sorry this is late. I got bogged down in work and homework and then I went to see Jaws in a theater and I forgot to post. Anyway, here’s this spacefiller post that I’m totally not happy with. Hopefully someone gets something out of it.

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The other day, I read back over the post that I did on black metal music videos a few years ago, and decided it was probably time for another. This coincided with the release of the new Dark Funeral video for “Unchain My Soul,” which is astoundingly goofy and worthy of sharing (although the song is very decent, says the girl who doesn’t like Dark Funeral all that much). There’s not much of a point to this post beyond “look at this cool stuff that has happened” and some observations about the changing nature of black metal cinematography, but it’s always good to have more music video fodder, yes?

So let’s just start Dark Funeral, shall we? Dark Funeral has a new album coming out this year, and I actually like “Unchain My Soul,” despite my typical stance that they haven’t done anything good since the 90s (it’s horribly overproduced, in my opinion, but it’s catchy). The video, however, J described as looking “like a video game from 2004.” I’m not sure what the message is here, unless it is that dark hooded figures associated with black metal and Satan like to walk in the woods, which is kind of a given. Although the pig’s head is a nice touch in a throwback-to-the-early-nineties-Mayhem sort of way. (Aaand I’ll be reviewing this album soon over at Burning Fist, so yay!)

My personal favorite part of this video is the flaming pentagram and inverted crosses. It’s got a certain “Satan’s first Geocities website” flair to it.

Fortunately for all of us, it seems that we may get more silly black metal videos as Dark Funeral’s competition over in Norway, Dimmu Borgir, have promised us a new album for 2016. You know you’re excited for more stuff like this. I share this one because it’s obviously the best Dimmu lineup.

I also share it because I don’t know what’s going on here. At all. But it’s going on in glorious, high definition.

Rotting Christ has also been busy with the video-releasing in support of their (awesome, excellent, you need to check it out if you haven’t) new album Rituals. First of all, there’s this little gem that I yelled a bit about last week, which is a hymn to Shiva, and then No Clean Singing brought this to my attention a couple of days ago, making me glad I held off on this post. Watching this video brings out even more really cool aspects of the record, and now I’m looking forward more than I was before to doing a review of this for y’all.

Additionally, Abbath’s new video for Winterbane is also really cool. You get traditional Immortal synchronized headbanging, but that’s… about it really. There’s no crabwalk, and this video actual features a shaman-ish troll-ish forest creature thing… I have no way to accurately describe it. But it crawls into the water all Jenny Greenteeth-like, but since I’m pretty sure the imagery isn’t Celtic that doesn’t fit. Either way, it’s super cool, and where the stars go all sparkly at 3:07 makes me super happy. King ov Hell’s bass lines also get emphasis in the video, which is cool (hooray for bass in black metal!) and Abbath’s look at the end is fantastic.

Bonus- there’s an un-corpse-painted Abbath face in this video.

At the risk of inundating you with lyric videos, because that is the hip thing to do if you are black metal band putting out music in 2016, I will leave you here with an older video. I like to imagine that Aosoth made this video at the behest of a long-suffering agent, and chose the longest song on the album out of which to make a terrifying visual. It’s gloriously creepy and obnoxious because of it’s sheer length, and you get to listen to Aosoth while it plays (you luckies).

Enjoy, kids. And I’ll be back soon where I will assuredly scream about fun things like the fact that I get to see SHINING and PANOPTICON in the fall and DESTROYER 666 and GHOST next month and that MARDUK ❤ is coming back to play in ma ville. Also the brand spanking new book that Necrobutcher wrote that appeared on my doorstep yesterday, and all sorts of fun things.

-H

 

 

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Towards the Pantheon: 20 Years of In the Nightside Eclipse

Posted in anniversary, black metal, norway, true norwegian black metal with tags , , , , , , on December 27, 2014 by blackmetallurgy

I’ve said it once, and I know I’ll say it again, but Emperor really might be the best black metal band ever in my book. Their musicianship is brilliant, and the fact that they were able to compose such masterpieces so young is absolutely astounding. And nothing quite shows off what the young band was capable of like 1994’s In the Nightside Eclipse. Melodic, thunderously heavy, and as off-putting as it is lovely, Emperor’s debut full-length is an album that sits pretty near the top on most fan’s lists of the greatest black metal albums of all time.

While many bands have done the symphonic black metal thing since Emperor’s heyday, none have managed to pull it off quite as well as Emperor themselves. Because the keyboards and symphonic bits are not just embellishment in Emperor’s music in the same way that it is in the music of so many bands- the symphonic bits are integrated deeply into the fabric of the music itself, causing the songs to exhibit a shared genotype. Although In the Nightside Eclipse is not as cohesive as the later Anthems to the Welkin at Dusk in terms of the album sounding really seriously like a freaking symphony, you can definitely hear the start of something approaching that theme-like approach on Nightside.

The cover art is every bit as magnificent as the album itself, featuring goblin-like creatures wielding all manner of nasty-looking medieval weapons and storming towards a castle. The Death figure from the band’s demo, Wrath of the Tyrant, oversees the festivities, and the bright moon casts its shadow over roiling clouds and dark mountains. Fittingly, the setting looks a lot like Norway, with its craggy peaks and spear-like evergreens, and considering that the inside artwork (at least that on my CD version) depicts a Viking battle, I’d say that the culture of the frozen North is pretty much stamped all over the Satanic emanations of this album. For me, the most awe-inspiring aspect of the artwork is the way the landscape is bathed in the moonlight, a mix of frosty blue and purplish hues that I have come to associate with Necrolord’s work.

An HD wallpaper rendition by aerock36 on deviantart.

An HD wallpaper rendition by aerock36 on deviantart.

From fanarttv.com

From fanarttv.com

Nightside also contains some of Emperor’s most instantly recognizable tracks. Of course, “I Am the Black Wizards” is probably the fan favorite, a rad 8-bit cover by Darth Eniak having made waves on YouTube. And when I saw Ihsahn perform at Maryland Deathfest and he soundchecked with the opening riff to that song, I will admit that I sort of had a moment of fangirl madness. My favorite track on Nightside, however, is probably “Inno A Satana;” the classical-inspired riffs in the song emphasize what I love most about Emperor, their majesty and sheer musicianship.

2014 marks the 20th anniversary of what is easily one of the greatest black metal masterpieces ever created. Emperor’s debut full-length spawned a slew of imitators, but none have ever quite managed to compare. I was lucky enough to find a mint-condition LP of In the Nightside Eclipse earlier this year (the Back on Black edition), and I was overjoyed, as Emperor was my main reason for purchasing a record player. And now I’m going to go listen to it some more, because it’s never not a good time for Emperor.

-Hagalaz

Happy Belated 20th Birthday, De Mysteriis Dom Sathanas!

Posted in 2014, black metal, black metal history, mayhem, norway, true norwegian black metal with tags , , , , , on June 4, 2014 by blackmetallurgy

I remember the first time I heard Mayhem. It was probably November of 2009, and I was sitting on the floor in my room in my home town, my laptop on the floor beside me, wrapping a Christmas gift for my mom (Yes, it was early. I was living at home that year and I wasn’t home when she wasn’t very often. I had to seize the moment). I had just begun to delve deeper into black metal that wouldn’t get me made fun of, and I’d been marveling at Marduk and jamming out to Immortal on Pandora all day. And I had heard about Mayhem (I’d heard PLENTY; 21 year old me was pretty squeamish, and I wasn’t sure how I felt about the whole thing), but I had a hard time imagining that they could really be all that good. After all, they were famous for dying prematurely, yes?

And then Funeral Fog came on my Pandora station. It was love at first blastbeat. I grabbed my laptop, and by the time the song was over, Amazon.com was processing my order of De Mysteriis Dom Sathanas.

Mayhem’s first full-length record has awed, inspired, and baffled metal fans the world over in its 20 year life span. While many aspects of the music are inexplicable (a friend of mine told me that he just couldn’t seem to figure out “what Attila was going for with those vocals” no matter how much he listens to it), huge swaths of the thing’s history are just flat out unsettling. For instance, DMDS remains, to this day, the only record on which a murderer plays alongside his victim. Not to mention the fact that the lyrics to Life Eternal are part of Dead’s suicide note (I’m still trying to decide if I find that inclusion sweet or creepy). But despite its struggles the little album that barely could has become an integral part of black metal history, and remains required listening for anyone remotely into extreme metal.

And while yes, I am sure, we would have all loved to hear Dead’s vocals on the album (or at least on a super-secret, previously unreleased version of it), I personally have always liked Attila’s vocal work on DMDS. Yes. It is weird. But who better to get to do vocals on songs written by a man who died in his “I Heart Transylvania” shirt than a brilliant Hungarian musician with an impressive track record (Tormentor was quite a big deal. That pesky Iron Curtain kept getting in the way, though)? The vocals are unconventional, yes, but they are creepy as hell, and considering the legacy that Attila was acting as a part of, creepy far outweighs traditional. Plus, his chanting on the title track is chill-inducing.

But vocals aren’t the only big deal with DMDS. We also must pay homage to the musical stylings of black metal’s godfather himself, Euronymous, whose intentionally-shitty-sounding tri-tone chord spawned an entire subgenre. De Mysteriis was dedicated to Euronymous,- who died before it was released- and rightfully so; while Deathcrush is absolutely fantastic, it doesn’t represent the second-wave that has, for the most part, become synonymous with the entire subgenre in the way that DMDS does.

And of course those drums. The thing that got me. Hellhammer is a god on the kit, and I am a firm believer in the suggestion that the album that became the defining line for black metal in the 90s would not have existed in the same form without Hellhammer’s musicianship. It certainly would have never seen the light of day without his determination to push through and get the damned thing done, despite the horrific hardships that plagued the band.

There are a million reasons why De Mysteriis Dom Sathanas deserves a birthday notice, even if it is a little bit late. That bass riff on Pagan Fears is simply one of them (I figured I’d throw a bass shoutout in there, even though I don’t have a very high opinion of Mr. Vikernes and Necrobutcher didn’t play on the album). However, perhaps it’s greatest accomplishment is its monumental status as a relic representing both the birth of a new era and the demise of an older one.

Well, that, and the fact that, despite two horrendously violent deaths, jail sentences, Iron Curtains, and enough disharmony to fuel the powder keg that was Mayhem in the late 80s and early 90s, we actually have an album like De Mysteriis Dom Sathanas to listen to.

-H

I am really stoked

Posted in black metal, mayhem, new shit, norway, true norwegian black metal with tags , , , , on May 12, 2014 by blackmetallurgy

About the new Mayhem album. Can’t wait to hear it all the way through, because this is awesome.

Haters gon’ hate.

-H

Iskald’s Nedom og Nord and Kampfar’s Djevelmakt at Burning Fist

Posted in black metal, blackened folk, blackened thrash, burning fist, norway, Reviews with tags , , , , , , , on April 15, 2014 by blackmetallurgy

Hi all,

My review of the new Iskald album, Nedom og Nord, is up at Burning Fist. I just submitted a review for Folge Dem Wind’s new one as well, which you will hear me gush about on here in a few days.

Likewise, here is the link for my review of the new Kampfar, Djevelmakt.

Ave.

-Hagalaz

Hey Dead

Posted in black metal, black metal history, dead, mayhem, memorial, norway, sweden with tags , , , , , , , on April 9, 2014 by blackmetallurgy

I didn’t forget you. I just got crazy busy and didn’t make a post in time. I’m sorry.

Keeping my reflections private this year, at least for now. Maybe I’ll spill later. Probably I will. But right now I can’t.

Suffice it to say that I haven’t forgotten you.

Hope your rest is peaceful.

-H

More Reviews at Burning Fist: Gehenna and Hecate Enthroned

Posted in black metal, blogs, burning fist, norway, Reviews, symphonic black metal, uk with tags , , , , , , , , on January 29, 2014 by blackmetallurgy

I wrote more reviews for Burning Fist, this time of Gehenna and Hecate Enthroned‘s new albums (2013 releases). Follow the links!

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Also, I promise I am doing things. I’m just moving slowly. Trying to get back in the groove of school.

-H