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Revision as of 12:50, 14 January 2025 edit3family6 (talk | contribs)Autopatrolled, Extended confirmed users, Mass message senders, Pending changes reviewers27,135 edits Undid revision 1269367550 by Issan Sumisu (talk) see New wave of British heavy metal, an FA. The difference between genre, movement, and scene is nebulous, anywayTag: Undo← Previous edit Revision as of 13:07, 14 January 2025 edit undo3family6 (talk | contribs)Autopatrolled, Extended confirmed users, Mass message senders, Pending changes reviewers27,135 edits adding explanatory noteTag: Visual edit: SwitchedNext edit →
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{{Infobox music genre {{Infobox music genre
| name = First-wave black metal | name = First-wave black metal
| stylistic_origins = ]{{*}}]{{*}}] | stylistic_origins = ]{{*}}]{{*}}]{{efn|name=fn1}}
| cultural_origins = Early 1980s, Europe | cultural_origins = Early 1980s, Europe
| derivatives = ]{{*}}crust punk | derivatives = ]{{*}}crust punk{{efn|name=fn1}}
}} }}
], vocalist and guitarist for influential first wave of black metal bands ] and ]]] ], vocalist and guitarist for influential first wave of black metal bands ] and ]]]
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The term "black metal" was coined by the English band Venom with their second album '']'' (1982).<ref name=murdermusic>{{cite AV media|last=Dome |first=Michael |author-link=Malcolm Dome |year=2007 |title=Murder Music: Black Metal |type=motion picture |time={{time needed|date=October 2018}} |publisher=Rockworld TV}}</ref> Playing a style bordering ] or ], the album initiated the first wave of black metal, forming an early prototype for the genre.<ref name=sam>{{cite video |last=Dunn |first=Sam |year=2005 |title=] |type=motion picture |publisher=Seville Pictures}}</ref><ref>{{cite book |last=Sharpe-Young |first=Garry |title=Metal: The Definitive Guide |page=208}}</ref> The band introduced many tropes that became ubiquitous in the genre, such as ] lyrics and imagery, as well as stage names, costumes and face paint meant to strike fear.<ref>{{cite book |last1=Patterson |first1=Dayal |title=] |date=2013 |publisher=Cult Never Dies |pages=14–17}}</ref> The term "black metal" was coined by the English band Venom with their second album '']'' (1982).<ref name=murdermusic>{{cite AV media|last=Dome |first=Michael |author-link=Malcolm Dome |year=2007 |title=Murder Music: Black Metal |type=motion picture |time={{time needed|date=October 2018}} |publisher=Rockworld TV}}</ref> Playing a style bordering ] or ], the album initiated the first wave of black metal, forming an early prototype for the genre.<ref name=sam>{{cite video |last=Dunn |first=Sam |year=2005 |title=] |type=motion picture |publisher=Seville Pictures}}</ref><ref>{{cite book |last=Sharpe-Young |first=Garry |title=Metal: The Definitive Guide |page=208}}</ref> The band introduced many tropes that became ubiquitous in the genre, such as ] lyrics and imagery, as well as stage names, costumes and face paint meant to strike fear.<ref>{{cite book |last1=Patterson |first1=Dayal |title=] |date=2013 |publisher=Cult Never Dies |pages=14–17}}</ref>


], from Switzerland, "made truly raw and brutal music"<ref name=ekeroth244>Daniel Ekeroth: . Second edition. Brooklyn, NY: Bazillion Points 2009, p. 244, accessed on 24 January 2013.</ref> with Satanic lyrics, and became an important influence on later black metal;{{sfn|Moynihan|Søderlind|2003|p=10}} "Their simple yet effective riffs and fast guitar sound were groundbreaking, anticipating the later trademark sound of early Swedish death metal".<ref name=ekeroth244/> In 1984, members of Hellhammer formed ],<ref> {{Webarchive|url=https://web.archive.org/web/20160304080527/http://www.triptykon.net/vcf/band/biography.html |date=4 March 2016 }}, accessed on 24 January 2013.</ref> whose music "explored more orchestral and experimental territories. The lyrics also became more personal, with topics about inner feelings and majestic stories. But for a couple of years, Celtic Frost was one of the world's most extreme and original metal bands, with a huge impact on the mid-1990s black metal scene".<ref name=ekeroth244/> Black metal and ] evolved alongside one another, with the members of early crust band ] and early black metal band Hellhammer ] with one another.<ref name="Hobson, 2022">{{cite web |last1=Hobson |first1=Rich |title=The 12 heaviest punk albums of all time |url=https://www.loudersound.com/features/the-12-heaviest-punk-albums-of-all-time |website=] |date=30 November 2021 |access-date=30 December 2024}}</ref> Thus, pioneering black metal bands such as Hellhammer, ] and ] were inspired by crust punk,<ref>{{cite book|last1=Patterson|first1=Dayal|title=Black Metal: Evolution of the Cult|date=2013|publisher=Feral House|location=Port Townsend|isbn=9781936239757|page=249 |quote=Just as earlier bands such as Venom, Bathory, Hellhammer, and Mayhem took inspiration from hardcore and crust punk alongside extreme metal, so have more contemporary groups such as Japan's Gallhammer, Canada's Iskra, and Sweden's Martyrdöd.}}</ref> and early crust punk bands such as ], Amebix and ] were influenced by Hellhammer and Celtic Frost.<ref name="Rise of Crust">{{cite web|last=Von Havoc |first=Felix |title=Rise of Crust |publisher=Profane Existence |date=1 January 1984 |url=http://www.havocrex.com/press/article/3/83 |access-date=16 June 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080615163312/http://www.havocrex.com/press/article/3/83 |archive-date=15 June 2008 }}</ref> ], from Switzerland, "made truly raw and brutal music"<ref name=ekeroth244>Daniel Ekeroth: . Second edition. Brooklyn, NY: Bazillion Points 2009, p. 244, accessed on 24 January 2013.</ref> with Satanic lyrics, and became an important influence on later black metal;{{sfn|Moynihan|Søderlind|2003|p=10}} "Their simple yet effective riffs and fast guitar sound were groundbreaking, anticipating the later trademark sound of early Swedish death metal".<ref name=ekeroth244/> In 1984, members of Hellhammer formed ],<ref> {{Webarchive|url=https://web.archive.org/web/20160304080527/http://www.triptykon.net/vcf/band/biography.html |date=4 March 2016 }}, accessed on 24 January 2013.</ref> whose music "explored more orchestral and experimental territories. The lyrics also became more personal, with topics about inner feelings and majestic stories. But for a couple of years, Celtic Frost was one of the world's most extreme and original metal bands, with a huge impact on the mid-1990s black metal scene".<ref name=ekeroth244/> Black metal and ] evolved alongside one another, with the members of early crust band ] and early black metal band Hellhammer ] with one another.<ref name="Hobson, 2022">{{cite web |last1=Hobson |first1=Rich |title=The 12 heaviest punk albums of all time |url=https://www.loudersound.com/features/the-12-heaviest-punk-albums-of-all-time |website=] |date=30 November 2021 |access-date=30 December 2024}}</ref> Thus, pioneering black metal bands such as Hellhammer, ] and ] were inspired by crust punk,<ref name=crustinfluence>{{cite book|last1=Patterson|first1=Dayal|title=Black Metal: Evolution of the Cult|date=2013|publisher=Feral House|location=Port Townsend|isbn=9781936239757|page=249 |quote=Just as earlier bands such as Venom, Bathory, Hellhammer, and Mayhem took inspiration from hardcore and crust punk alongside extreme metal, so have more contemporary groups such as Japan's Gallhammer, Canada's Iskra, and Sweden's Martyrdöd.}}</ref> and early crust punk bands such as ], Amebix and ] were influenced by Hellhammer and Celtic Frost.<ref name="Rise of Crust">{{cite web|last=Von Havoc |first=Felix |title=Rise of Crust |publisher=Profane Existence |date=1 January 1984 |url=http://www.havocrex.com/press/article/3/83 |access-date=16 June 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080615163312/http://www.havocrex.com/press/article/3/83 |archive-date=15 June 2008 }}</ref>


Another influential early band was ] from Sweden.{{sfn|Moynihan|Søderlind|2003|p=21}} Bathory's music was dark, fast, heavily distorted, lo-fi, portrayed anti-Christian themes, and included shrieked vocals that later became a common trait.{{sfn|Olson|2008|p=18f}} Their third album '']'' (1987) was the first record in the genre to subvert most traditional rock tropes, in a way that led journalist ] that "undoubtedly... create the black metal sound as we know it".<ref>{{cite book |last1=Patterson |first1=Dayal |title=] |date=2013 |publisher=Cult Never Dies |page=43}}</ref> Another influential early band was ] from Sweden.{{sfn|Moynihan|Søderlind|2003|p=21}} Bathory's music was dark, fast, heavily distorted, lo-fi, portrayed anti-Christian themes, and included shrieked vocals that later became a common trait.{{sfn|Olson|2008|p=18f}} Their third album '']'' (1987) was the first record in the genre to subvert most traditional rock tropes, in a way that led journalist ] that "undoubtedly... create the black metal sound as we know it".<ref>{{cite book |last1=Patterson |first1=Dayal |title=] |date=2013 |publisher=Cult Never Dies |page=43}}</ref>
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*] *]
*] *]

== Notes ==
{{notelist|30em||refs=
{{efn|name=fn1|Crust punk and first-wave black metal were contemporary and influenced each other.<ref name=crustinfluence /><ref name="Rise of Crust" />}}
}}


== References == == References ==

Revision as of 13:07, 14 January 2025

Early form of the black metal genre

First-wave black metal
Stylistic originsNew wave of British heavy metal • speed metal • crust punk
Cultural originsEarly 1980s, Europe
Derivative formsExtreme metal • crust punk
Thomas Gabriel Fischer, vocalist and guitarist for influential first wave of black metal bands Hellhammer and Celtic Frost

The first wave of black metal was a musical movement of black metal which took place between roughly 1982 and 1991. Stylistically distinct to the genre's quintessential later sound, the earliest bands in this first wave played a primordial form of extreme metal that was still indebted to traditional heavy metal. The movement was an origin point for a variety of styles including black metal, thrash metal, crust punk, death metal and war metal.

Venom initiated the movement, with their second album Black Metal (1982) giving it its name. In the subsequent years, the style was expanded by Bathory, Mercyful Fate, Hellhammer and Celtic Frost. The thrash metal genre grew out of the style of these bands, with the early works of thrash bands Kreator, Sodom, Destruction and Slayer being a part of the first wave of black metal, as was the early work of death metal pioneers Possessed and Death. By 1987, this wave had largely declined, however influential releases continued to be issued by Parabellum, Tormentor, Samael and Rotting Christ. At this time, the works of Sarcófago and Blasphemy helped to pioneer war metal, while in the early Norwegian black metal scene, Mayhem and Thorns developed the style which come to define the subsequent waves of black metal.

Characteristics

During first wave black metal, distinct borders of the genre had not been set, instead, black metal bands existed in a broader extreme metal umbrella alongside the earliest groups in death metal, grindcore and thrash metal. It was not until around 1987 that these styles began to develop definitions distinct from one another, and the borders of what now constitutes black metal were drawn.

Music historian Joel McIver called Satanic lyrics and imagery the defining characteristic of the first wave of black metal. However, most bands in the wave were not Satanists; rather, they used Satanic themes to provoke controversy or gain attention. One of the few exceptions was Mercyful Fate singer and Church of Satan member King Diamond, whom Lords of Chaos authors Michael J. Moynihan and Didrik Søderlind called "one of the only performers of the '80s Satanic metal who was more than just a poseur using a devilish image for shock value".

Metal Injection writer J Andrew cited the "the speed and attitude" of punk rock and hardcore punk as what seperated the style of the first wave of black metal from earlier styles of heavy metal. PopMatters writer Craig Hayes specifically credited the legacy of Discharge as "crucial in black metal's development", recalling their influence in Venom, Bathory, Hellhammer and Mayhem.

History

Origins: 1982–1986

Venom's second album, Black Metal (1982), was the beginning of the movement

The term "black metal" was coined by the English band Venom with their second album Black Metal (1982). Playing a style bordering speed metal or thrash metal, the album initiated the first wave of black metal, forming an early prototype for the genre. The band introduced many tropes that became ubiquitous in the genre, such as blasphemous lyrics and imagery, as well as stage names, costumes and face paint meant to strike fear.

Hellhammer, from Switzerland, "made truly raw and brutal music" with Satanic lyrics, and became an important influence on later black metal; "Their simple yet effective riffs and fast guitar sound were groundbreaking, anticipating the later trademark sound of early Swedish death metal". In 1984, members of Hellhammer formed Celtic Frost, whose music "explored more orchestral and experimental territories. The lyrics also became more personal, with topics about inner feelings and majestic stories. But for a couple of years, Celtic Frost was one of the world's most extreme and original metal bands, with a huge impact on the mid-1990s black metal scene". Black metal and crust punk evolved alongside one another, with the members of early crust band Amebix and early black metal band Hellhammer tape trading with one another. Thus, pioneering black metal bands such as Hellhammer, Bathory and Mayhem were inspired by crust punk, and early crust punk bands such as Sacrilege, Amebix and Antisect were influenced by Hellhammer and Celtic Frost.

Another influential early band was Bathory from Sweden. Bathory's music was dark, fast, heavily distorted, lo-fi, portrayed anti-Christian themes, and included shrieked vocals that later became a common trait. Their third album Under the Sign of the Black Mark (1987) was the first record in the genre to subvert most traditional rock tropes, in a way that led journalist Dayal Patterson that "undoubtedly... create the black metal sound as we know it".

The Danish band Mercyful Fate influenced the Norwegian scene with their imagery and lyrics. Frontman King Diamond, who wore ghoulish black-and-white facepaint on stage, was one of the inspirators of what became known as 'corpse paint'. Other artists that were a part of this wave included England's Onslaught, Italy's Bulldozer and Death SS, Japan's Sabbat and Colombia's Parabellum.

Spreading influence

Sodom, a pioneering thrash metal band who was a part of the first wave of black metal

The influence of the first wave of black metal soon spread, influencing the development of the thrash metal genre, with Scott Ian of thrash metal band Anthrax even crediting Venom as being a "thrash band before thrash existed". German Teutonic thrash metal bands Kreator, Sodom and Destruction, as well as Slayer from the United States, put a greater emphasis on the influence of first wave black metal and in turn influenced much of the subsequent acts in the style. According to writer Dayal Patterson in his book Black Metal: Evolution of the Cult, the early works of these four bands are still often considered a part of the movement.

Possessed, from the San Francisco Bay Area grew out of the first wave black metal scene, and would go on to be described by AllMusic as "connecting the dots" between thrash metal and death metal with their 1985 debut album, Seven Churches. The band had actually cited Venom and Motörhead, as well as early work by Exodus, as the main influences on their sound. Although the group had released only two studio albums and an EP in their formative years, they have been described by music journalists and musicians as either being "monumental" in developing the death metal style, or as being the first death metal band. In Orlando, Florida, Mantas, following a similar progression, from playing a Venom-inspired sound, before changing their name to Death and beginning to play death metal. The band made a major impact in the emerging Florida death metal scene, Schuldiner has been credited by AllMusic's Eduardo Rivadavia for being widely recognised as the "Father of Death Metal". and their debut album, Scream Bloody Gore (1987), has been described as "the first true death metal record" by the San Francisco Chronicle.

Developments: 1987–1991

Attila Csihar, vocalist for Tormentor and Mayhem

In 1987, in the fifth issue of his Slayer fanzine, Jon 'Metalion' Kristiansen wrote that "the latest fad of black/Satanic bands seems to be over", citing United States bands Incubus and Morbid Angel, as well as Sabbat from Great Britain as some of the few continuing the genre. However, black metal continued in the underground, with scenes developing in Czechoslovakia with Root, Törr and Master's Hammer and Brazil with Sepultura, Vulcano, Holocausto and Sarcófago, Sarcófago's debut album I.N.R.I. (1987), was widely influential on subsequent acts in the genre, especially the second wave Norwegian scene and groups in the war metal style. BrooklynVegan writer Kim Kelly calling it "a gigantic influence on black metal's sound, aesthetics, and attitude."

In Sweden, Mefisto, Obscurity and Merciless were some of the earliest bands to follow in Bathory's footsteps, combining their sound with influences from German groups like Sodom and Destruction. Although Mefisto and Obscurity only released two demos each, and rarely performed live, Merciless became prominent in the extreme metal underground. Their live performances became notorious for bassist Fredrik Karlén's reckless behaviour, including climbing up buildings and jumping off of balconies. Furthermore, the band's 1988 demo Realm of the Dark, led to them becoming the first Swedish extreme metal band after Bathory to be signed to a record label, in this case of Euronymous's label Deathlike Silence Productions, who released Merciless's 1990 debut album The Awakening. Other black metal bands in Sweden from this time included Grotesque, Tiamat and Morbid.

Furthermore, during this time other influential records in the genre were released by Von (from the United States), Rotting Christ (from Greece), Tormentor (from Hungary), Mortuary Drape (from Italy), Kat (from Poland), Samael (from Switzerland) and Blasphemy (from Canada). Blasphemy's debut album Fallen Angel of Doom (1990) is considered one of the most influential records for the war metal style. Fenriz of the Norwegian band Darkthrone called Master's Hammer's debut album Ritual "the first Norwegian black metal album, even though they are from Czechoslovakia".

Mayhem's debut EP Deathcrush (1987) was one of the most influential releases from the first wave of black metal, largely founding the early Norwegian black metal scene. Mayhem guitarist Øystein "Euronymous" Aarseth and Snorre "Blackthorn" Ruch of Thorns developed a style of riffing where guitarists played full chords utilising all the strings of the guitar instead of relying on power chords, which typically use only two or three strings, which would become a key element of the subsequent waves of black metal. In the book Lords of Chaos, Mayhem were credited as the band who combined the influence of the desperate styles of black metal's first wave and created the style that is understood as black metal today.

Legacy

The second wave of black metal began in 1991, with Rock Hard magazine crediting Samael's Worship Him (1 April 1991) as its beginnings, while, Metal Hammer writer Enrico Ahlig cited it as beginning with the 8 April 1991 suicide of then-Mayhem and former Morbid vocalist Dead.

The black-thrash genre is a revival of the sound of early first wave black metal bands such as Venom, Sodom and Sarcófago, with notable acts including Aura Noir and Nifelheim. Decibel have conflated first wave black metal with black-thrash. Black 'n' roll is another genre which revives the movement's sound.

See also

Notes

  1. ^ Crust punk and first-wave black metal were contemporary and influenced each other.

References

  1. ^ Andrew, J (September 2015). "EDITORIALSOrigins of Evil: The Birth of Extreme Metal". Retrieved 22 November 2024.
  2. McIver, Joel (2009). Justice for All – The Truth About Metallica (updated ed.). Omnibus Press. ISBN 9780857120090. Retrieved 4 September 2012.
  3. Moynihan & Søderlind 2003, p. 16.
  4. Hayes, Craig (29 May 2012). "LOVE, AND OTHER INDELIBLE STAINS". PopMatters. Retrieved 13 January 2025.
  5. Dome, Michael (2007). Murder Music: Black Metal (motion picture). Rockworld TV. Event occurs at .
  6. Dunn, Sam (2005). Metal: A Headbanger's Journey (motion picture). Seville Pictures.
  7. Sharpe-Young, Garry. Metal: The Definitive Guide. p. 208.
  8. Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Cult Never Dies. pp. 14–17.
  9. ^ Daniel Ekeroth: Swedish Death Metal. Second edition. Brooklyn, NY: Bazillion Points 2009, p. 244, accessed on 24 January 2013.
  10. Moynihan & Søderlind 2003, p. 10.
  11. Biography Archived 4 March 2016 at the Wayback Machine, accessed on 24 January 2013.
  12. Hobson, Rich (30 November 2021). "The 12 heaviest punk albums of all time". Metal Hammer. Retrieved 30 December 2024.
  13. ^ Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Port Townsend: Feral House. p. 249. ISBN 9781936239757. Just as earlier bands such as Venom, Bathory, Hellhammer, and Mayhem took inspiration from hardcore and crust punk alongside extreme metal, so have more contemporary groups such as Japan's Gallhammer, Canada's Iskra, and Sweden's Martyrdöd.
  14. ^ Von Havoc, Felix (1 January 1984). "Rise of Crust". Profane Existence. Archived from the original on 15 June 2008. Retrieved 16 June 2008.
  15. Moynihan & Søderlind 2003, p. 21.
  16. Olson 2008, p. 18f.
  17. Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Cult Never Dies. p. 43.
  18. Moynihan & Søderlind 1998, p. 14-16.
  19. Bille, Torben, ed. (2002). Dansk rockleksikon (in Danish) (1st ed.). Politikens Forlag. p. 314. ISBN 87-567-6525-8. En af grundlæggerne af 'black metal': heavy metal med udtalt satanistiske tekster.
  20. Nielsen, Jens-Emil (2014). 80'er rock: Dansk rock 1980-1990 (in Danish) (1st ed.). Her & Nu. p. 74. ISBN 978-87-93093-85-0. sataniske tekster, som gør, at de er med til at skabe undergenren black metal. satanic lyrics, which entails that they are involved in creating the subgenre black metal.]
  21. Moynihan & Søderlind 1998, p. 36.
  22. Emperor. In: Jon Kristiansen: Metalion: The Slayer Mag Diaries. Brooklyn, NY: Bazillion Points Books 2011, p. 274.
  23. Ronald Ziegler: Merchandise whorery, accessed on 23 June 2013.
  24. Sharpe-Young, Garry. "Parabellum biography". MusicMight. Archived from the original on 27 January 2016. Retrieved 23 June 2013.
  25. "10 songs that invented thrash metal, according to Anthrax guitarist Scott Ian". Classic Rock. 20 January 2024. Retrieved 13 January 2025.
  26. Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Cult Never Dies. p. 75. While Venom, Mercyful Fate, Bathory, and Hellhammer/Celtic Frost are generally considered the most pivotal in kick-starting the black metal genre, the bands in this chapter also played a significant hand in its development... The German trio of Sodom, Kreator, and Destruction, as well as the American act Slayer, are a perfect case in point.
  27. Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Cult Never Dies. p. 75. the first-era black metal bands such as Venom, Bathory, Possessed, Hellhammer, and Celtic Frost
  28. Rivadavia, Eduardo. "Possessed: Seven Churches". AllMusic. Retrieved 14 February 2014.
  29. ^ Purcell 2003, p. 54. sfn error: no target: CITEREFPurcell2003 (help)
  30. McIver, Joel (2008). The Bloody Reign of Slayer. Omnibus Press. ISBN 978-1-84772-109-9.
  31. Ekeroth 2008, p. 12. sfn error: multiple targets (2×): CITEREFEkeroth2008 (help)
  32. Mudrian 2004, p. 70. sfn error: no target: CITEREFMudrian2004 (help)
  33. Mudrian, Albert; Peel, John; Carlson, Scott (2016). Choosing death: the improbable history of death metal & grindcore (Revised and expanded death-luxe ed.). New York: Bazillion Points Books. pp. 23–27. ISBN 978-1935950165. Rick came to me and said, 'I got this band you've gotta listen to. It's like Motörhead, but even more extreme.' And he happened to bring in Black Metal from Venom, and that sealed it for me. I was like, 'Yes, we can do music like this.'" Venom's musical interpretation of the New Wave of British Heavy Metal may have been crude and their lyrical interpretation utterly juvenile, but it was all the inspiration DeLillo and Lee needed. Soon the pair decided to form a band of their own.
  34. Rivadavia, Eduardo. "Death Biography". AllMusic. Retrieved 13 August 2008.
  35. Aldis, N.; Sherry, J. (2006). "Heavy metal Thunder". San Francisco Chronicle.
  36. Incubus. In: Jon Kristiansen: Metalion: The Slayer Mag Diaries. Brooklyn, NY: Bazillion Points Books 2011, p. 88.
  37. LAGER, JUSTIN THUNDER (23 August 2021). "A HISTORY OF CZECH AND SLOVAK HEAVY SOUNDS". Retrieved 20 November 2024.
  38. ^ Patterson, Dayal (19 July 2016). "10 of the best old school black metal albums". Metal Hammer. Retrieved 20 November 2024.
  39. Deller, Alex (26 September 2023). "'Our drummer used human tibia bones': the hellish birth of Brazil's heavy metal scene". The Guardian. Retrieved 20 November 2024.
  40. ^ "The First Wave", 2005, p. 42.
  41. ^ Robert Müller: Wollt Ihr den ewigen Krieg?. Der tote Winkel. In: Metal Hammer, November 2011.
  42. ^ Wolf-Rüdiger Mühlmann: War Black Metal: Die Extremsten der Extremen. Was bleibt, ist Schutt und Asche. In: Rock Hard, no. 279, pp. 71–73.
  43. ^ Wolf-Rüdiger Mühlmann: SARCOFAGO. I.N.R.I. In: Rock Hard, Nr. 304, September 2012, p. 73.
  44. Kelly, Kim. "A rare interview with Sarcofago". Retrieved 21 November 2024.
  45. Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points. p. 67. ISBN 978-0-9796163-1-0. Up to this point, no Swedish band had really followed in Bathory's footsteps. The pioneers Obscurity and Mefisto faded after just a couple of demos. The first to break the ice were the soon-to-be classic Merciless, from the small and idyllic town of Strängnäs, sixty-five miles west of Stockholm.
    Merciless was formed in 1986 by the very young metalheads Fredrik Karlén on bass, Stefan "Stipen" Karlsson on drums, and Erik Wallin on guitar. Fredrik had previously been in a punk band, while Stipen and Erik used to play heavy metal... Unlike Obscurity and Mefisto, Merciless also started to play live gigs very early in their career-probably one of the primary reasons why Merciless eventually succeeded where Obscurity and Mefisto had failed.
  46. Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points. p. 68. ISBN 978-0-9796163-1-0. Realm of the Dark also caused quite a stir in the local metal underground. Everybody had the demo, and everybody loved it. I remember it being played endlessly at parties. The demo attracted the notorious Øystein "Euronymous" Aarseth, who soon signed them to his Deathlike Silence Productions label... So Merciless was the first really extreme Swedish metal band to get a recording deal after Bathory. They started to play numerous live gigs during this time, and were soon recognized as the leading Swedish underground metal force. They became probably as well known for their outrageous metal lifestyle as for their music. Fredrik Karlén, especially, had a wide reputation of being the madman of Swedish metal. His regular behavior included jumping between balconies, and climbing up on roofs during parties.
  47. ^ Tiamat. In: Slayer, no. 8, 1991, p. 6.
  48. Daniel Ekeroth: Swedish Death Metal. Second edition. Brooklyn, NY: Bazillion Points 2009, p. 249, accessed on 8 October 2012.
  49. Daniel Ekeroth: Swedish Death Metal. Second edition. Brooklyn, NY: Bazillion Points 2009, p. 162f., accessed on 24 September 2012.
  50. "LG PETROV, ENTOMBED VOCALIST, DEAD AT 49". Revolver. Retrieved 20 November 2024.
  51. Currin, Grayson Haver. "Satanic Blood Von". Pitchfork. Retrieved 20 November 2024.
  52. Podoshen, Jeff (20 May 2024). "Album Review: ROTTING CHRIST Pro Xristou". Retrieved 20 November 2024.
  53. Kühnemund, Götz. "Mortuary Drape Tolling 13 Knell (DLP)]". Archived from the original on 24 September 2015. Retrieved 14 June 2013.
  54. sG: 5 Klassiker. In: Rock Hard, no. 269, October 2009, p. 79.
  55. Fenriz: Darkthrone Biography and Video Clips. 21 November 2009, accessed on 24 September 2012.
  56. Patterson, Dayal (2013). Black Metal: Evolution of the Cult. Cult Never Dies. pp. 156–170.
  57. Campion, Chris (20 February 2005). "In the Face of Death". The Observer. Guardian Unlimited. Archived from the original on 13 October 2007. Retrieved 6 October 2007.
  58. Mudrian, Albert (2009). Precious Metal: Decibel Presents the Stories Behind 25 Extreme Metal Masterpieces. Da Capo Press. p. 184. ISBN 978-0-306-81806-6.
  59. Moynihan, Michael J.; Søderlind, Didrik (1998). Lords of Chaos. Feral House. p. 57. Although Venom had a large cult following in Europe, black metal was yet to develop as its own style... They recorded the first one in the summer of '86—the Pure Fucking Armageddon demo. It was much more extreme than everything else; the sound was very, very primitive and much more brutal. You couldn't hear anything as extreme as Mayhem at that time.
  60. sG: 5 Klassiker. In: Rock Hard, no. 269, October 2009, p. 79.
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Bibliography

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