2000, by God Magazine

Total Page:16

File Type:pdf, Size:1020Kb

2000, by God Magazine GOD MAGAZINE interview with Tormentor - 2000, by God Magazine Ugly and raw black metal is what you can wait from Gorgoroth and the new album "Incipit Satan" but the guitarist Tormentor informs us more. Here begins the era of Gorgoroth. What’s new right now? "We have some new members and tomorrow we’ll go on tour." Do they play in any bands? "No, they are from a totally different background. They are both into jazz. Incredibly good musicans, very fast and very good. The rest of the members are the same; Me , Infernus & Gaahl." Is it a steady line-up? "I hope so. We work very well together." Do you have any expentations for the tour? "Yeah, we have some, I think. It’s quite a while since the last time we were on tour. So I think one of the last gigs we played was in Finland , Helsinki." One and half years ago. So what have you been doing since? We were supposed to go on a tour with Dismember and some other Nuclear Blast bands in autumn 98 right after the gig in Helsinki. We played in Wacken the same year but we haven’t been doing very much. We have been making some new songs and we started rehearsing in April 99 with a new drummer, but he’s out now. Then it was just Infernus and me. A lot of line-up changes but I hope this line-up will last." Are you going to have anything special on stage? "No, I don’t think so actually, becaue we are gonna warm-up for Morbid Angel and I don’t think we’ll do anything special. We’ll have a very clean brutal show just straightforward old styled kind of black metal show with corpse paint and blood. Nothing more. Perhaps later when we have the ability to make a show, we’ll try to do something really good." How is your life on the tour, only partying? "Eh, yes (laughs). Well usually there’s lots of partying. It’s really great. We have been touring in Germany for a couple of times and it’s such a nice place to party and to have a nice time. You meet a lot of ok people and of course you meet a lot of jerks too, but that’s ok. And we’ve been lucky with the bands we’ve played with. They are great guys. I’ve always been a big fan of Morbid Angel , especially the old stuff and the new album is pretty good, so it’s gonna be great to meet these guys." What does the title mean? "Well, incipit means here starts or here begins. It’s actually taken from Friedrich Nietzsche’s "Thus spake Zarathustra" but anyway it means here starts something completely different or the opposite, you know it’s year 2000. We are Gorgoroth and we haven’t changed much. It just has a better production, better sounds and not Polish shit sounds, you know what a lot bands have nowadays. It’s very brutal." Is it in the same style as "Destroyer"? "Well, it’s different. Some songs are very fast and some are more slower kind of songs, more brutal like Slayer. One of the songs is like Burzum, a bit slow and very monotous. I think that if you like Norwegian black metal, you’ll like it." Did you use synth a lot? "No, it’s not very much and not Dimmu Borgir kind of synth or something like that. It’s very low and in the background and more like kind of soundasex. It’s not anything a chord shit, if you know what I mean aaaah(sings high). You know Ivar from Enslaved helped us out with it and he’s a very clever man." I heard that it’s one step closer towards commercialism. "Yes I heard so too." So you agree? "Well, in one way I can agree. It’s something like, eh..." Easier to get into? "Yeah. Well the sound is cleaner but we’ve done now what we’ve always done. So I agree on the sound thing, but we haven’t become more commercial, we’er not selling us out. We’d like to make the songs more listenable , so you can hear what we’re doing. We make music that people should be able to listen to." Was it intentional? "With thew sound? No not actually. We wanted to have more... you know if you have a lot distortion when you play the guitar, it won’t be more brutal. It’s just gonna be more messy. And if you play like especially live it becomes a problem, because then it will be very annoying to listen to. So that’s the main reason why we chose Sunlight, you know the old death metal feeling. We just did it for ourselves, really heh and we just wanted to have another sound. You know, but it’s not Dismember kind of sound. It’s still Gorgoroth – total Gorgoroth." It was really surprising of you to chose Sunlight "Yes(laughs). It was very unpopular in 93-95. At the time nobody would go to that place. But you know Darkthrone’s first album was recorded in Sunlight. So and it’s very good studio, very nice place to be and very good people to work with. We work with a guy called Jukka. And it was really great." Were you thinking about Abyss? "Yes, we were thinking about Abyss actualy. We did the destroyer in Abyss. But they didn’t have any time for us, you know it was totally booked. But they have actually a really cool sound like with War and they have really cool sounds. The guy at Nuclear Blast said that we could go to Germany to record it with one studio on there, but I don’t like them that much. The studios often are very overproducedand the sound is too smooth, you know. Not brutal at all, just very sentimental and shitty sounds and not good at all. So that’s the reason why we tried to find some place ourselves. And then we thought about Sunlight, you know. Nobody goes there anymore. And the people at NB agreed and said "Yeah try that one" and we were happy about Sunlight. The next time we will try something else, I think. It’s ok to try something new." Have you this time made any music for it? "Yes, I made the title track and I’ve made couple of other songs that more like me and Infernus kind of did together. So I’ve done two half songs and one total song. The rest of the songs are made by Infernus." Why didn’t he do anything for "Destroyer"? "Well, he made most of the music. I think I made two songs. It says so in the back of it, you know." What about Telnes and Tiegs... "Yeah that’s right. I’m Telnes and Infernus is Tiegs. Those are our surnames and Pest wrote most of the lyrics." Shit, you made that just to fuck with the listeners mind. "(laughs) yeah, you could say so ,hehe." Why did you made "Destroyer" in the way that like almost every guy plays every instrument? "It was a lot of experimenting on that album. It was very strange because one of the songs is from 94. The one with Frost on drums. So..." What the hell are you doing? "Ah, okay, sorry I’m picking up the songs. It was a bit hard, because we played three songs live in the studio. And "Destroyer" was the last song, which we made for the album. It was the one I made with a drum machine. So it was always very different situation. We didn’t record it once at the same time. We had the ability to go to Grieghallen when we wanted to, so like most of the time it was just me and Infernus going there and you know he played drums on two of the tracks and I played all the guitars. We didn’t have any boundaries that you know now you’re going to play this and then he’s going do that. We just tried things mostly because of the spirit and atmosphere of the writing and it was possible to do it." Did you do "Satanas" in the same way? No ,we did it as more like a band but there’s one song where Infernus plays everything and did all the vocals." Have you planned any video? Well, I think if we have the opportunity. But if we are going to make a video it must be really good, because there are a lot of shitty videos and nothing is more annoying than a band you really like doing a pathetic video. Nothing is worse than that. I think that most of the black metal videos are pretty boring. I like Burzum’s Dunkelheit, that’s a cool video. So if we have the opportunity and the money we’ll do it. We just do what we wanna do. We did a recording from Wacken and we’ve been using that as a kind of promotional video and it’s very roughly mixed and it has bad sounds. But that works pretty good for Gorgoroth (laughs)." Weren’t you earlier were supposed to make two videos? "Yes, that’s true. You know Infernus and another guy went to England with a guy called David Palser.
Recommended publications
  • Soulseller Records Album Titel: Instinctus Bestialis Spielzeit: 31:18 VÖ: 12.06.2015
    Band: Gorgoroth (N) Genre: Black Metal Label: Soulseller Records Album Titel: Instinctus Bestialis Spielzeit: 31:18 VÖ: 12.06.2015 Bereits seit 1992 lärmen die norwegischen Schwarzmetaller von Gorgoroth durch alle Herren Länder. Nun erscheint mit "Instinctus Bestialis" ihr zehntes Studiowerk. Bis zu "Incipit Satan" habe ich ihre Musik noch mitverfolgt. Nach Gaahls Ausstieg 2012 und andere Besetzungswechsel, habe ich die Truppe dann ziemlich aus den Augen verloren und war daher neugierig, wie sie wohl Anno 2015 klingen!? Der Sound und die Grundstimmung der Platte sind atmosphärisch komponiert worden. Überwiegend dunkel-düster und schwermütig sind besonders die Riffs und der Klang der Gitarren. Die Stimme von Atterigner ist dezent tief und kehlig gehalten. Hin und wieder wird auch ein wenig gegrowlt und ein leichter Einschlag an Todesblei ist nicht zu überhören. Etliche Teile der Stücke sind in verschiedenen Tempi gehalten und wechseln sich ab. Überwiegend wird aber im Midtempo-bereich gezockt. Auch wenn die durchdachten Strukturen musikalisch auf hohem Niveau sein mögen, so habe ich doch von einer Band wie Gorgoroth mehr Wut, Aggression und Raserei erwartet. Vielleicht bin ich da zu traditionell eingestellt, aber dieser "melancholische" Einschlag ist für mich, in dieser Menge, einfach nicht passend; Weiterentwicklung hin oder her. Es gibt genügend neuere Combos denen diese Attitüde besser steht. Leider bleibt auch ein schleppendes Gefühl bei etlichen Titeln, welches sich beim Hören bald bei mir eingestellt hat. Zudem ist die Platte mit knapp 31 Minuten auch noch sehr kurz für ein Vollalbum. Fazit: Musikalisch liegt zwar ein qualitativ gutes und sehr düster gehaltenes Album vor, welches mich aber leider nicht wirklich packen kann.
    [Show full text]
  • Oslo, Norway – 31
    OSLO, NORWAY – 31. MARCH - 03. APRIL 2010 MAYHEM A RETROSPECTIVE OF GIANTS A VIEW FROM BERGEN TAAKE NACHTMYSTIUM THE TRANSATLANTIC PERSPECTIVE REVELATORY, TRANSFORMATIVE MAGICK JARBOE TEN YEARS OF INFERNO – THE PEOPLE TELL THEIR STORIES OSLO SURVIVOR GUIDE – CINEMATIC INFERNO – CONFERENCE – EXPO – AND MORE WWW.ROSKILDE-FESTIVAL.DK NÅ PÅ DVD OG BLU-RAY! Photo: Andrew Parker Inferno 2010 (from left): Carolin, Jan Martin, Hilde, Anders, Runa, Torje and Melanie (not present: Lars) HAIL ALL – WELCOME TO THE INFERNO METAL FESTIVALS TEN YEAR ANNIVERSARY! n annual gathering of metal, the black and extreme, the blasphemous Aand gory – music straight from hell! Worshippers from all over the world congregate for the fest of the the black metal easter in the North. YOU are hereby summoned! ron fisted, the Inferno Fest has ruled the first decade of the new Millenn- INFERNO MAGAZINE 2010 Iium. It has been a trail of hellfire. Sagas have been written and legacies Editor: Runa Lunde Strindin carved in willing flesh with new bands and new musical territory continously Writers: Gunnar Sauermann, Jonathan Seltzer, Hilde Hammer, conquered ! Bjørnar Hagen, Trond Skog, Anders Odden, Torje Norén. Photos: Andrew Parker, Alex Sjaastad, Charlotte Christiansen, Trond Skog, ail to all the bands, the crew and the volunteers, venues and clubs! Lena Carlsen. HHail to the dedicated media, labels and managements, our partners and IMX and IMC photos: Viktor Jæger collaborators! Inferno logos and illustrations, magazine layout: Hail to the Inferno audience with their dark force and energy. Asgeir Mickelson at MultiMono (www.multimo.no) With you all onboard we set our sails for the next Inferno! Advertising: Melanie Arends and Hilde Hammer at turbine agency (www.turbine.no) Join this years fest and the forthcoming gatherings in the Distribution: turbine agency + Scream Magazine years to come.
    [Show full text]
  • Press Release
    Lausanne, February 4, 2013 Press release This year, the original production of the Inferno Festival Switzerland will be the WARDRUNA – GJALLARHORN project aiming at uniting the Norwegian and Swiss cultural and musical traditions in the unique venue of the Chillon Castle. Get prepared for the amazing original and firm favourite production of the Inferno Festival Switzerland 2013, WARDRUNA – GJALLARHORN, on March 14, 2013. This project featuring Swiss Alphorns and Norwegian traditional instruments such as horns (Neverlur), percussions, flutes and vocals will be presented exclusively at the Inferno Festival Switzerland in the unique venue of the Chillon Castle (Montreux). About the project’s originators WARDRUNA is a Norwegian musical project based on ancient Nordic beliefs and rune traditions. Led by its frontman Einar Selvik and Gaahl (ex Gorgoroth, God Seed), the project is set out to make musical interpretations of various themes in the pre-christian Scandinavian traditions, using contemporary and other relevant instruments and techniques sending us back to Vikings legends and poems. Thanks to contemporary sonorities (for ex. samples) and a modern approach, WARDRUNA reaches a large audience allowing a better understanding of some of the influences that shaped Scandinavian rock. At the occasion of the Inferno 2013, the band will also play on the stage of the DOCKS on March 15, 2013. They will present their new album «Runaljod – Yggdrasil» as a world premiere and in the band’s basic formation (without Swiss Alphorns). Unite the culture and the tradition of horn of Switzerland and Norway By inviting Swiss Alphorn musicians into WARDRUNA’s Norse instrumentation, this project aims at bridging Switzerland and Norway together, two countries made of mountains, forests and glaciers where culture and exceptional natural landscapes are intimately linked together.
    [Show full text]
  • DARKWOODS MAILORDER CATALOGUE March 2018
    DARKWOODS MAILORDER CATALOGUE March 2018 DARKWOODS PAGAN BLACK METAL DI STRO / LABEL [email protected] www.darkwoods.eu Next you will find a full list with all available items in our mailorder catalogue alphabetically ordered... With the exception of the respective cover, we have included all relevant information about each item, even the format, the releasing label and the reference comment... This catalogue is updated every month, so it could not reflect the latest received products or the most recent sold-out items... please use it more as a reference than an updated list of our products... CDS / MCDS / SGCDS 1349 - Beyond the Apocalypse [CD] 11.95 EUR Second smash hit of the Norwegians 1349, nine outstanding tracks of intense, very fast and absolutely brutal black metal is what they offer us with “Beyond the Apocalypse”, with Frost even more a beast behind the drum set here than in Satyricon, excellent! [Released by Candlelight] 1349 - Demonoir [CD] 11.95 EUR Fifth full-length album of this Norwegian legion, recovering in one hand the intensity and brutality of the fantastic “Hellfire” but, at the same time, continuing with the experimental and sinister side of their music introduced in their previous work, “Revelations of the Black Flame”... [Released by Indie Recordings] 1349 - Liberation [CD] 11.95 EUR Fantastic debut full-length album of the Nordic hordes 1349 leaded by Frost (Satyricon), ten tracks of furious, violent and merciless black metal is what they show us in "Liberation", ten straightforward tracks of pure Norwegian black metal, superb! [Released by Candlelight] 1349 - Massive Cauldron of Chaos [CD] 11.95 EUR Sixth full-length album of the Norwegians 1349, with which they continue this returning path to their most brutal roots that they started with the previous “Demonoir”, perhaps not as chaotic as the title might suggested, but we could place it in the intermediate era of “Hellfire”..
    [Show full text]
  • Masterarbeit / Master's Thesis
    d o n e i t . MASTERARBEIT / MASTER’S THESIS R Tit e l der M a s t erarbei t / Titl e of the Ma s t er‘ s Thes i s e „What Never Was": a Lis t eni ng to th e Genesis of B lack Met al d M o v erf a ss t v on / s ubm itted by r Florian Walch, B A e : anges t rebt e r a k adem is c her Grad / i n par ti al f ul fi l men t o f t he requ i re men t s for the deg ree of I Ma s ter o f Art s ( MA ) n t e Wien , 2016 / V i enna 2016 r v i Studien k enn z ahl l t. Studienbla t t / A 066 836 e deg r ee p rogramm e c ode as i t appea r s o n t he st ude nt r eco rd s hee t: w Studien r i c h tu ng l t. Studienbla tt / Mas t er s t udi um Mu s i k w is s ens c ha ft U G 2002 : deg r ee p r o g r amme as i t appea r s o n t he s tud e nt r eco r d s h eet : B et r eut v on / S uper v i s or: U ni v .-Pr o f. Dr . Mi c hele C a l ella F e n t i z |l 2 3 4 Table of Contents 1.
    [Show full text]
  • Job Interview Tips
    "Let Each Become Aware" Founded 1957, Incrorated 1975 1 9 vouluime, A1J iumer~~~~~~~~~~~~~~~~~~~ IU . Monday, Uctober 7,9~~~~~~~~~~~~~~~~~~~~~~ 1996 . First CoDv Free Nat' Coming Out Day Movement, Integration, Equi0ty NADIA PERSAUD movement. The Lesbian, Gay, for everyone, but similar in community more so than any Special to the Statesman words ofUrvashi Vaid, in:Virtual ; -: Bisexual, and Transgendered that all gays and lesbians pass other presidential National Coming Out Day Reality (1995) "We proceed as if Alliance (LGBTA), located in through the heterosexual administrat i on. President is an event whose roots stem we enjoy real freedom, real Room 045A of the Student closet, the content of which is Clinton has-appointed openly from the Second National acceptance, as if we have won Union, has planned events for the usual wardrobe of gay and lesbian officials March on Washington, to lasting changes in the laws and the entire week of October7 - morality, religion, and fear. government offices. But, with October 11, 1987. - Initially, mores of our nation . But the 11. On October 9, there will The threat of homophobia the recent defeat: of the the. first step towards the actual facts and conditions that be an open mike in the is an always present shadow Employment Non- creation of National Coming we have won 'virtual' freedom Fireside Lounge in the on the gay and lesbian Discrimination Act and the Out Day (NCOD) was taken at and 'virtual' equal treatment Student Union. Everyone is community. With the aid of passing of the so-called the War Conference in 1988. under 'virtually' the same invited to speak about or PAC's like, the Human Rights Defense of Marriage Act, the The body of the conference laws as straight people." voice their opinion on lesbian, Campaign, statewide political gains of gays are consisted of at least 220 gay If you are interested in gay, bisexual, and organizations and local questionable.
    [Show full text]
  • Db:Scanner (Band)"Stephan O'mallie"@En"Maurycy "Mauser" Stefanowicz"@En "Wildeþrýð"@En Db:Nihilist (Band) "Dave Edwards"@En "Ashish Kumar"@Endb:Krieg (Band) "W.D
    db:Amalie_Bruun "Dominik Immler"@en "Frater D."@en * Gunnar* Egill Þór* Birkir* Hafþór* Næturfrost "Simon O'Laoghaire"@en db:Kimmo_Heikkinen "Uri Zelcha"@en db:1349_(band) db:Dan-Ola_Persson "Itzik Levy"@en db:The_Kovenant "Zorugelion"@en "Derek MacAmhlaigh"@en db:Lord_Morbivod db:Zonata "Goran Paleka"@en "Johan Elving"@en "Damir Adžić"@en "Ines Tančeva"@en db:Alan_Averill "Elvorn"@en "Enrique Zúñiga Gomez"@en "Nick Oakes"@en db:Marcela_Bovio "Frank Calleja"@en "Miroslav Branković"@en "Maxime Aneca - Guitar"@en "*Lex Icon*Pzy-Clone*Hellhammer*Angel*Sverd"@en db:Alejandro_Mill%C3%A1n Ines Tan?eva "Cremator , Fermentor"@en Alejandro Díaz "MasterMike"@en "Maria "Tristessa" Kolokouri"@en "Martijn Peters"@en "Ivan Vasić"@en "Filip Letinić"@en "Eduardo Falaschi"@en A. db:Viathyn Bart Teetaert - Vocals "Lior Mizrachi"@en "Nikola Mijić"@en "Loke Svarteld"@en "Koen De Croo - Bass"@en "Chris Brincat"@en "Duke"@en db:The_Kovenant "Demian Tiguez"@en "*Tomislav Crnkovic*Dave Crnkovic*Jacob Wright*Alex Kot"@en "Fermentor Cremator , Fermentor"@en db:Lori_Linstruth Ivan Kutija "César Talarico"@en "Eden Rabin"@en db:Alex_Losbäck "Artyom"@en "Sami Bachar"@en "Marchozelos"@en "Morten"@en "* Wagner Lamounier* Roberto Raffan* Jairo Guedz* Max Cavalera* Igor Cavalera* Jean Dolabella"@en Lazar Zec - Guitar "Dave Hampton"@en "Wellu Koskinen"@en "VnoM"@en db:Sabbat_(Japanese_band) "* Christofer Johnsson* Thomas Vikström* Johan Koleberg* Nalle "Grizzly" Påhlsson* Christian Vidal* Lori Lewis"@en db:Arjen_Anthony_Lucassen "Mića Kovačević"@en "Roberto Raffan"@en db:Memnock db:Henrik_Carlsson db:Throllmas "Lazar Zec - Guitar"@en "Chris Calavrias"@enEric Hazebroek "Mathias"* PauloSchlegl"@en Jr.* Andreas Kisser* Derrick Green* Eloy Casagrande"@en"Yatziv Caspi"@en "Erkki Silvennoinen"@en "Gaahnt, Nattulv, Bahznar, Dermorh"@en "Marco Cecconi"@en Antti Kilpi "Gezol"@en Koen De Croo - Bass Elizabeth Toriser "Ze'ev Tananboim"@en db:Jukka_Kolehmainen J.
    [Show full text]
  • Popular Music and Violence This Page Has Been Left Blank Intentionally Dark Side of the Tune: Popular Music and Violence
    DARK SIDE OF THE TUNE: POPULAR MUSIC AND VIOLENCE This page has been left blank intentionally Dark Side of the Tune: Popular Music and Violence BRUCE JOHNSON University of Turku, Finland Macquarie University, Australia University of Glasgow, UK MARTIN CLOONAN University of Glasgow, UK © Bruce Johnson and Martin Cloonan 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Bruce Johnson and Martin Cloonan have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington, VT 05401-4405 Surrey GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence. – (Ashgate popular and folk music series) 1. Music and violence 2. Popular music – Social aspects I. Title II. Cloonan, Martin 781.6'4 Library of Congress Cataloging-in-Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence / Bruce Johnson and Martin Cloonan. p. cm.—(Ashgate popular and folk music series) Includes bibliographical references. ISBN 978-0-7546-5872-6 (alk. paper) 1. Music and violence. 2. Popular music—Social aspects. I. Cloonan, Martin. II. Title.
    [Show full text]
  • 2000 – in Depth Zine - Interview with Tormentor
    2000 – In Depth Zine - Interview with Tormentor Norwegian black metallers, Gorgoroth, are back! Their latest release, "Incipit Satan," is a work of pure evil. The songs are a bit more refined and mature, but it's the same black metal you've grown to love. I recently got the chance to chat with Tormentor. Below we discuss the new album, the many line-up changes over the years and whether or not Gorgoroth writes love songs! Dive in and fill your head with all this extreme knowledge. Meilani: How long did it take to make "Incipit Satan?" Lyrics and all. Tormentor: Well, we were in the studio, Sunlight Studios, we used three weeks for recording and another week for mixing. Before that we rehearsed for a couple of months. We don't rehearse very much, we just rehearse right before the album. The music is mainly written by me and the other guitarist, Infernus. We get together and arrange the music and mix it and get together with all the guys. M: Was the recording process for this album any different from the recording process of the previous albums? T: Well, it was different. And that is what we wanted. We all live in the city of Bergen, in Norway. The studio we have been using is in the city. So, on the former albums we went to the studio and did what we had to do then got back to work or whatever and this time we got to Stockholm, Sweden. You're 100% into working with music all the time.
    [Show full text]
  • Music As Transgression: Masking and Sonic Abjection in Norwegian Black Metal
    MUSIC AS TRANSGRESSION: MASKING AND SONIC ABJECTION IN NORWEGIAN BLACK METAL by Woodrow Steinken B.A., New York University, 2015 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2018 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This thesis was presented by Woodrow Steinken It was defended on March 28, 2018 and approved by Olivia Bloechl, Professor, Music James Cassaro, Professor, Music Thesis Director: Deane Root, Professor, Music ii Copyright © by Woodrow Steinken 2018 iii MUSIC AS TRANSGRESSION: MASKING AND SONIC ABJECTION IN NORWEGIAN BLACK METAL Woodrow Steinken, M.A. University of Pittsburgh, 2018 In the late 1980s, the Second Wave of black metal was founded in Norway by the band Mayhem. This heavy metal scene was populated by bands such as Emperor, Darkthrone, Burzum, Gorgoroth, and Satyricon. These bands performed chaotic music, often setting lyrics with themes of Satanism, anti-Christianity, murder, rape, and torture. Extremely fast or slow tempos, unusual song structures, distortion, and lo-fi sound quality distinguished the scene stylistically from other European and American heavy metals. The individuals who created this music did so under the disguise of masks: pseudonyms and corpsepaint, a makeup style that makes one look like a corpse. Members of black metal bands also engaged in extremely violent and criminal activities, including burning churches, murdering strangers and friends for various reasons, and committing suicide. This thesis explores the connections between the music and the transgressions of this music subculture, with masking at the intersection between the two.
    [Show full text]
  • 1998, by Legion Magazine
    LEGION MAGAZINE interview with Infernus - 1998, by Legion Magazine What could we say about Gorgoroth? They are extremely brutal. Right. They are aggressive and merciless. Correct! Whatever you say, you won’t be mistaken. But what would you say if I tell you that they are also polite, calm and intelligent? Hey, the description doesn’t match all the stuff said above? No, it does not. But it is true... Actually, I talked to a great number of musicians, whose "true and evil" (or whatever you call it) image makes us, the fans of the extreme music terror, believe in all this great black metal thing. But in "normal" life or at least, in telephone calls, all these monsters of the ultimate mayhem sound quite calm and natural. And - if truth to be said - this difference and controversy sometimes really shock me: instead of barking and growling I get the politeness and a good sense of humor! What a treat! One could hardly believe that "these teachers of good manners" can smash our brains with the infernal screaming, turning our dull reality upside down! OK, I am not sure what stands behind their calmness and politeness; may be they just cool themselves down before talking to press. May be. But if they merely pretend to be that nice and intelligent, they do it really good... Gorgoroth guitarist and ideological leader Infernus didn’t surprise me either. He was no exception for me, if you see what I mean. Getting ready for the exam, a university student found some forty minutes to call our office..
    [Show full text]
  • Hello Dayal! Let's Go Back to the Beginning When the Idea of Evolution of the Cult Was Born. Why Did You Choose Black Metal?
    Hello Dayal! Let’s go back to the beginning when the idea of Evolution of the Cult was born. Why did you choose Black Metal? There are so many kinds of metal and you chose only one? I didn’t have a particular desire to write a book before that so it wasn’t like I was looking for possible subjects, rather it was the other way around - ie. that my fascination with black metal actually made me want to write a book in the first place. But I think it was also more important to write a book about black metal than any other genre at that point because so many other people were writing books, articles and making films about the genre, and the truth in the genre was being lost because mostly these people were outsiders to the movement. A very different situation to that of, say, death metal, which has several good and accurate books written by people from the scene. So my aim with Evolution of the Cult was to finally give the artists involved a proper voice and tell the real story of how this genre was born and developed. Structural composition of black metal joins primitive and multilayer set up. From one side it is an anti-these and from the other it is like tornado, which destroys everything in its path. Composition is as important ad the delivery. Can black metal exists if we remove one piece of the two elements of this music? I think what makes black metal the most fascinating genre of metal is that it is full of these opposing and contradictory tendencies.
    [Show full text]