It is said that music makes the world go round. It transcends across countries, continents, cultures, and language barriers and cuts right to the heart and soul of people. No matter what genre of music someone connects to, the fact is that there is that connection. As a musician yourself, you understand just how incredible it is to play in front of a live audience, feel their reaction, make that connection, and affect people.
Extreme metal’s relation to extreme politics provides a variety of examples. From Slayer’s ‘Angel of Death’ in the 1980’s to the Norwegian black metal scene in the 1990’s to the current strain of National Socialist Black Metal on extreme politics have played a role in extreme metal either aesthetically or ideologically.
In 1995, Chuck Schuldiner, an animal-lover with a habit of wearing a shirt decorated with kittens during interviews, lamented that he had never really intended to create the genre known as Death Metal (in Morton, 2010).
The relationship between black metal and Satanism is complex. From LaVey’s side, Norwegian black metal artists often appeared “as essentially Christian,” at least in the sense that they were “defining Satanism by Christian standards” (in Moynihan & Søderlind 1998: 234).
If only for the benefit of those who have never had the pleasure/displeasure of being subjected to the aural assaults that Black Metal and Death Metal music constitute, it will be helpful to begin by attempting to delineate audible definitions of, and distinctions between, both Black Metal and Death Metal.
Eugene Martone, his Fender Telecaster slung around his shoulder, walks tentatively onto the stage. He is here to play for the soul of his friend, bluesman Willie Brown, a harmonica player who in his youth made a deal with the Devil in return for musical virtuosity.
What forces are at work when blood runs black? From Beherit’s ‘Oath of Black Blood’ to Mütilation’s ‘Black Imperial Blood’ to Behexen’s ‘My Stigmas Bleeding Black’ to Xasthur, for whom “shadows of human suffering have found a home, watered with blackened blood”, black metal hotwires the historical poetics of early modern humoral theory, summoning the sanguine urge of celebration, and the choleric rage of the berserker, only to pollute these Hippocratic streams of blood and bile with the cold and dry essence of black bile.