Twilight of the Black Hearts

רְשִׁימ֥וֹת־תֹּ֖הוּ | Black Metal: A decaying revolt?

By: Noa

By: Noa Artzi

9-14-17

About a year ago, I interviewed Sina Winter, the man behind the Iranian Black Metal project From the Vastlands, and the protagonist of a new Black Metal documentary by Christian Falch, entitled Blackhearts. After watching the film, I remained with some reflections on the state of the art in Norway and in the world. I came to a conclusion that Black Metal becoming the greatest cultural export of a country definitely came with a price of its own. But as the worldwide cultural phenomenon that it has now become, what are our expectations for its future and what are the dangers awaiting this form of art, which seems to have touched so many black hearts in so many different corners of the world?

"Revolt against the modern world"

“Black Metal is so extreme that not anyone can get into it. This isn’t any funny hobby which stupid kids shall have after they comes home from school”. These words by Euronymous can more or less describe the spirit by which I have dedicated a meaningful part of my existence to this social and cultural movement. Back in the military I have vowed to set foot upon the sacred northern ground from which it spread unto the world once I freed myself of this final obligation. A vow which I have not yet come to fulfill, due to what I'd like to see as not entirely unfortunate circumstances. That was why, when I witnessed the passion of our 3 foreign protagonists toward the legendary northern land, I knew I had to see this film.

In case you’ve missed the interview (check it out – here), the film follows 3 Black Metal musicians from 3 different parts of the world, who are willing to risk it all and face great perils just to perform in different Black Metal festivals in Norway.

Though scattered in 3 corners of the world, their passion seemed to hit so close to home. Not to speak of the many hardships and the many hurdles that unexpectedly popped up in their way - some of which, they were yet unable to overcome. As I may have already mentioned elsewhere, I first heard about this film during a difficult time in my life when I was facing serious dilemmas concerning the future of my previous career. Even the brief introduction I got from the trailer to the 3 protagonists’ story, who were willing to risk almost everything for the music which they love, gave me the courage to make the right decision, because it showed me that I’m not the only one who believes that there’s more to it than just music. If 3 other respectable gentlemen think so, then there must be an ounce of sense in all that I’ve felt throughout these years. My long-time favorite Hellenic Black Metallers, Naer Mataron's appearance was just another reason for me to check out this film.

I honestly don't remember what I've expected to find in Norway. Probably something along the lines of an active Black Metal underground, teeming with life, record stores, Xerox zines and cassette trading as in the early 90s, to which I was secretly hoping to join in as a session musician, fanzine editor, recording artist, whatever works. Just to be part of this grand movement, just to keep the flames burning, to join this historic cultural wave. The naïveté of foreigners unaware to the change in cultural trends beyond the borders can sometimes be amusing and sad, but despite the common passion, the different perceptions which different places in the world give on the same cultural movement may sometimes be the perpetual catalyzing factor that keeps things moving, evolving or in turn adapting to the current environment. And that’s one of the things this movie seems to demonstrate.

 Originally emerging as a vessel to overcome the stylistic and ideological stagnation in Death Metal, it seems to have expanded its role as a voice which attempts to cry revolt well, largely against the modern world. And as such expanded beyond its initial negation of modern spirituality through satanic themes into an art which has not once dealt with Paganism, Traditionalism and other sociopolitical movements which waged war against the ailments of progress.

And as the cry of revolt which it is, it should forever remain untamable by any means of power known of the modern world.

In recent years, we have witnessed somewhat of a “gentrification” in Black Metal following the release of a myriad of documentary films on the topic. The most ridiculous one so far being a film adaptation of the infamous “Lords of Chaos” book, which according to rumors, even the bands themselves refused to give its producers the right to use their music. Given all this, I cannot help but wonder if as one who supports the idea of Black Metal retaining its identity as a dangerous underground cultural movement, I should even give a voice to something which might push this gentrification even further. Am I adding insult to injury by promoting a film that might contribute to this unfortunate outcome? After seeing the film, I tend to think that its virtues outweigh any such possible consequences. Beyond being packed full with universal social and individual themes beyond the scope of the music itself, this film seems to almost deal with these very same changes within this cultural movement, by highlighting the difference between the perspective of the original founders from the north and the one held by our 3 protagonists.

The Decline of the North

What would have happened were it not for the other countries?

Nowadays Black Metal in Norway has almost lost its edge. Sometimes it seems like no more than an aesthetic, no more than a pop culture meme displayed in curiosity museums in the guise of cultural heritage, as seen in this film. Being so it has lost its bite and that’s why it’s so surprisingly institutionalized there. Some events have abandoned the traditional underground music club, basement or bunker as a venue, favoring what looked like a traditional concert hall, the Black Metal exhibition room in the Rockheim museum is open to children, who are barely stricken by awe by the stories and artefacts from a time of musical legends and social turmoil, long before they were even born.

What's that? I think I can hear someone turning in his grave.

However, the loss of its bite left an empty shell of aesthetics incapable of embodying the true spirit of the movement. As can be inferred from scene where the mayor of Bergen city gives her speech in one of the Black Metal festivals, it seems as if this form of art has been reduced to no more than raspy singing accompanied by a quirky hand gesture. I could almost wish some of the positive material improvements away for the sake of having the spirit preserved in this movement’s Fatherland.

When I think of the rest of Europe, I think about bands being dropped from festivals due to political busybodies and festivals having to take security measures to keep Antifa fucktivists away. Actually, despite all difficulties these may seem to cause I’m somewhat happy to see that Black Metal has its enemies and this sort of impact because this was the original spirit of the genre. The spirit of rebellion, “A cultural caffeine”[i] that keeps us constantly re-evaluating ourselves as individuals and as a collective, a defiant reminder of truths we would rather push to the back of our minds.

Just like the message which author Jack Donovan attempted to convey with his Conflict Bindrune, “Life is Conflict. Peace is Death”, peace and boredom brings stagnation and atrophy, while a fair amount of struggle invigorates.

And that’s exactly what happened in Norway.

I must however comment here, that nothing is absolute. There are a few Norwegian consolation prizes left out there for the enthusiastic seekers. There are some old names that keep up the spirit, as Tsjuder with their masterpiece, Legion Helvette and 1349, who showcase a modern and technical sound that still manages to embody the same spirit of ravishing hatred. There are also younger acts in the vein of Nordvrede, who write lyrics dealing with current cultural invasions, to music which preserves the traditional Black Metal sound. All these are rather modern and updated but stay loyal to the original spirit.

Oh and of course there’s always the dynamic duo of Darkthrone to count on. But these too, at least Nocturno’s half, are seen in this film as escaping off into the ever-receding forests, which seem to get steadily pushed into the further corners of the country like it’s native culture, from which Norway seems to have long since alienated itself in favor of changes absurdly dubbed “progress”.

But I cannot help but wonder if these aren’t but “more of the same”. Imitations of art, which in a sense is already an imitation. If Plato somewhat condemned a certain aspect of imitation in art and poetry, what would he have said about this imitation of an imitation?

The new blood, the new perception is definitely vital, as long as it stays loyal to the ideological foundations of the cultural movement.

The decline of the True

Then of course there’s the media, which exposed all this and helped propagate this bark not bite mentality. Euronymous murdered, Vikernes got shoved into jail, the local media circus had a blast and the city was safe again. Black Metal became a “gentrified” curiosity to be displayed before children and independent film enthusiasts like a domesticated beast.

But I think, or at least hope this won’t be necessarily true in the worldwide division of this musical and cultural movement. Because bites can be something much subtler than the explosive events of the 90’s. In a world which in the name of political correctness holds a witch hunt against whatever Black Metal in my opinion stands for, blatantly saying a truth that nobody wants to hear can be explosive enough. Words generate thoughts and thoughts generate action. We are the cultural caffeine and we need people to start thinking. Some artists actually do that.

Nevertheless, some of this unfortunate responsibility on the state of nowadays Black Metal does partly fall on the shoulders of the artists themselves. Not all of them. But there are a few naughty ones.

We see this kind of responsibility in our dear Norwegian protagonists’ perspectives. They seem like really sweet guys and talented musicians, but they need to do some serious rethinking about their artistic choices.

And no, I’m not referring to their curious musical pursuits outside Black Metal or their private life. I’m not Euronymous and I don’t give a shit about artists in sweatpants. Speaking of which, I wouldn’t want to imagine the fate he would have met, were he to voice his opinions before certain French and Slavic Black Metal Musicians on their off-duty fashion choices.

Rather than all that, what really bothers me here is Arnt, who defines himself as a Black Metal musician while simultaneously speaking about willing to somewhat toss his passion away for financial reasons. Is he in only for the money? Does he believe that a high production budget is some kind of a synonym or a sufficient condition for good art? If he thinks he can afford producing Christmas carols in his home studio, he can easily afford producing extraordinary Black Metal right in there. It's all about creativity.

This is the ultimate evidence for his general disconnection from the original spirit, which among many things was the above-mentioned spirit of rebellion and a strife to artistic originality as the main objective for creativity.

As pioneer Norwegian Black Metal musician Varg Vikernes skillfully describes it in one of his articles,

“It began as a result of the fact that Death Metal had become commercialized and trendy. All the bands in 1991 sounded and looked alike. They even recorded their albums in the same sound studios. There was no originality or artistic integrity left whatsoever. We called it "Tampa production" and "Swedish production". The bands were even political correct”.

“That was the quintessence of the revolt; originality! We had to create something new and original, or else it would be rip-off and "not true" to the new spirit”.

All this makes me feel like his commitment isn’t that serious anymore, like he has lost connection from all original motives and sources of inspiration for making this kind of music, including the landscapes and harsh climate of his country which at one point of the film becomes the subject of his complaints. He seems to keep going on because of some sort of inertia.

Look Norway, if the 3 protagonists here weren't enough of a wake-up call for you to realize the current state of Black Metal affairs in your country, then you should meet a few more fellows that live not so far away from your country.

A while ago I stumbled upon an interview with MkM of Antaeus and Aosoth, where the already starving artist spoke of losing 100 USD every time he goes up on stage with his band. And if you've thought that's extreme, then think about the serious toll these gigs have on his already waning health. He has testified having fainted, having seizures and going blind after these gigs.

And guess what? He still does that. He still goes up on that stage to sacrifice his very own flesh to his dark art again and again.

Oh, and if that's not enough, then what about Famine from KPN? In a recently produced documentary, this guy testified before the cameras about his financial losses during album production and ranted on unsupportive Hellfest fans which would rather invest the price of a physical copy of an album on a beer.

But guess what? He still does that. These are called ideals, in case you've all forgotten.

Our hope lives in the hands of such exceptional people, who choose to keep the embers of Black Metal burning. Let us hope they are not a dying breed.

Black Metal ist Krieg

War seems to be another underlying theme of the film. A war waged in the 2 frontiers - political and religious.

We’ve already seen an example of the former, in the abovementioned case of Europe vs Antifa. These might become real trouble, especially if they'd somehow receive backup and funds from governmental organizations, which I hope will never happen, but what if I'd told you there are even greater, much more organized threats on Black Metal artists in other corners of the world?

Our zine founder Yossi Ben-Oz once told me about an ongoing production of a film entitled “Syrian Metal Is War”. There are corners of the world in which the war against a certain religion hasn't become a safe, empty threat. Sina’s struggle with oppressive authorities of Iran almost seems to embody a struggle between tradition and symptoms of a world affected by anti-tradition – a charisma of the divine regality of Ancient Persia versus the oppression of "spirituality" gone modern. Here’s modernity presenting a whole different nature of oppression[ii]. If it ain't the dictatorship of dollars, then it's this.

Then there's Hector, who says that him getting into metal in times meant “going to war” against some friends and family members. I can only assume it's over their different beliefs. Sounds all too familiar.

Regarding Kaiadas and Naer Mataron, there are no detailed comments on politics here, following the band’s request. But I think there is no coincidence in Mr. Kaiadas's choice of a day job as a member of the parliament, representing the Hellenic Golden Dawn. At one point he even admits that “Many Black Metallers have come and gone through the doors of Golden Dawn”, and I think there’s a very good reason for that. The party's ideology with its reverence towards the ancient Hellenic tradition and its fierce patriotism has common factors with certain aspects in the spirit of Black Metal.

Though not being an explicitly political band, Kaiadas and Naer Mataron do represent the war on the political frontier. His special connection to his country and reverence toward the ancient mythologies and traditions of his people, whether on purpose or not, come through his lyrics as well. I cannot imagine the pain of having the same country you’ve went out on a limb for put you in jail for whatever reason that have only been proven later as a ridiculously false allegation.

Speaking of which, the guys from Naer Mataron have quite of a mileage in Black Metal and in life in general. The well-seasoned warriors stretch and warm up before heading to battle, and some of them already have families of their own. They’ve been around from the beginning, they’ve witnessed the rise, the heyday and what seems to be a twilight of the genre in its land of origins – though I’m not sure about their awareness to the situation. The scene in which these 90s Black Metallers tour around “historic” Black Metal landmarks from the 90s seems almost ridiculous. Regardless of all that, they are loyal to their art as to their family and fellow band mates. No doubt they’re an inspiration for an equally age worn warrior as myself.

It was unfortunate to witness the dirty behavior of the interviewer in film, when he was trying to ease out a controversial statement out of Asmodeus and his band mate during their appearance in one of the festivals, despite their clear refusal.

Black Metal can be war. But regardless how noble their cause for strife, armies cannot march without morale, without supportive families to read their letters from the front. And our Black Metal warriors aren't too different.

All three protagonists here seem to be blessed by wonderful families, supporting their brave and talented loved ones as they head to the front. As with Naer Mataron, some even venture to the battlefront, to command upon the troop in the absence of their incarcerated leader. True story.

By the way, the man is free now, but from what I understand he cannot exit the borders of his country and is very limited with his gig options. There’s a guy named Talos replacing him now as a live session member and while he’s pretty competent, I cannot deny that these songs were written by Kaiadas for Kaiadas. Any other substitute looks terribly anemic when performing them live. But let us "thank the gods" for their will and loyalty to the art.

These supportive families were truly a beautiful, heartwarming sight that made me smile each time. And they are probably one of the most significant factors that keep these artists fighting their ongoing battle. As in all wars, morale is definitely very important here as well. No wonder the Norwegians are where they are when their unsupportive families fall asleep in their gigs!

Oh, these poor Norwegians. By now they’ve got one hell of a burn here in this item, but I must say I can only judge everything based on what was portrayed in the film. Through this narrow and not entirely unbiased glimpse the filmmakers give us. I am no stranger to the many hurdles and blockages. Being a black metal musician nowadays is a true struggle. It is a war. But then again, you should always remember what got you into this in the first place and keep that sacred flame burning.

Summary

So, for the sake of our movement, artists and followers as one, let’s not become Norway, in which Black Metal is mostly perceived as a toothless circus beast. Let’s not let it die away and be forgotten together with the death of its founders. Let’s not become another failed and forgotten artistic and social pursuit, let us avoid a fate similar to that of Futurism in Italy. Let’s make use of the global village to keep the flames burning. And we can do so by presenting Black Metal to the world in a dignified manner, while showing respect to the art and the spirit embodied in the works of its founders, as I am trying to do here.

And whoever cannot define this spirit, whoever sees this as an aesthetic, as a music only, as a theme for silly jokes and internet memes should quit. Whoever expects a financial profit, whoever has not enough passion to keep him going should politely head to the door as well. Let’s stay true to ourselves. Because Black Metal isn’t just an empty shell of music and aesthetics.

Exploring its soul may have you ending up exploring and reassessing your own soul and our soul as a human collective. [iii]Just as in the traditional philosophy behind wars and struggle, the engagement in “the smaller war” aids a man with his struggles in “the greater war”. You may never know what you’ll find and where you’ll end up. This journey isn’t without its own perils - even if you’re not living under an oppressive regime. Perils of the soul are all too real. It’s an inseparable part of this cultural movement. That’s what makes it so dangerous yet so alive, so real in a world gone so fake. And this blatant, unstoppable honesty is one of the things in true Black Metal that scares the living shit out of everybody else here. This rapport with something that’s so real, something that embodies the danger, beauty and power is a distant echo that reminds us of a greatness forgotten to us from times long past. Sina Winter sums this up pretty well by saying “this isn’t just music to me”. I understand exactly what he means. Given the album that turned his world upside down.

September 2017, Noa Artzi

[i] Reference to “The Caffeine of Europe” - F.T. Marinetti and the Futurist movement

[ii] (Evola, 1995) Revolt Against the Modern World - Chapter 12. A commentary on the consequences of tyranny replacing an aristocratic sacral regime.

[iii] (Evola, 1995) Revolt Against the Modern World - chapter 7. On the lesser and greater wars.