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‘From the Dark Past’: Historiographies of Violence in Norwegian Black Metal

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Researching Subcultures, Myth and Memory

Abstract

In this chapter, Hagen explores the ways in which the violence and media spectacle of black metal in Norway has continued to haunt the genre’s history even as many of the style’s practitioners attempt to downplay it and move beyond it. Acknowledging that for many fans, the violent origin story has become an essential aspect of the subculture’s identity, gaining mythical aspects through the constant retelling of it, Hagen is left to wonder how to accurately portray the essence and je ne sais quoi of this musical subculture without ignoring its nastier aspects or engaging in an apologia for them.

Tell me what did you see there? In the darkness of the past…

—Mayhem, ‘From the Dark Past’ (1994)

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Notes

  1. 1.

    For example, in the U.S. Senate hearings, singer Dee Snider of Twisted Sister emphasized the fact that he is married, a father, a Christian, and that he does not smoke, drink, or do drugs.

  2. 2.

    G. Mørk, ‘Why Didn’t the Churches Begin to Burn a Thousand Years Earlier’ in T. Bossius, A. Häger, and K. Kahn-Harris (eds.), Religion and Popular Music in Europe: New Expressions of Sacred and Secular Identity (London: I.B. Touris, 2011), 124–144.

  3. 3.

    The most prominent examples are the tours and festival appearances for Mayhem and Emperor in 2016 and 2017 in which they commemorated the twentieth anniversaries of their 1996 albums De Mysteriis dom Sathanas and Anthems to the Welkin at Dusk, respectively. K. Grow, ‘Mayhem’s Long Dark Road to Reviving a Black-Metal Classic’, Rolling Stone, 9 February 2017, https://www.rollingstone.com/music/music-features/mayhems-long-dark-road-to-reviving-a-black-metal-classic-129097. [Accessed on 18 September 2018]; Metal Injection, ‘EMPEROR’s Ihsahn on 20 Years of Anthems, Lack of US Shows, New Album and more’, 10 August 2017, https://www.youtube.com/watch?v=bEnSldXxHdg. [Accessed on 18 September 2018].

  4. 4.

    C. Lucas, M. Deeks, and K. Spracklen, ‘Grim Up North: Northern England, Northern Europe, and Black Metal’, Journal for Cultural Research vol. 15 (2011) no. 3, 279–295.

  5. 5.

    R. Hagen, ‘Kvlt-er than Thou: Power, Suspicion, and Nostalgia within Black Metal Fandom’ in L. Duits, K. Zwaan, and S. Reijnders (eds.) The Ashgate Research Companion to Fan Cultures (London: Ashgate, 2014), 223–236. In 2014 the American website Death Metal Underground also attempted to inspire a campaign of online harassment against female metal journalists in the mold of GamerGate. See C. Van der Pol, ‘#MetalGate’, Death Metal Underground, 12 December 2014, http://www.deathmetal.org/article/metalgate. [Accessed on 20 September 2018].

  6. 6.

    R. Hagen, ‘Kvlter than Thou’; G. Mørk, ‘“With my Art I am the Fist in the Face of God”: On Old-School Black Metal’ in J.A. Petersen (ed.), Contemporary Religious Satanism (Burlington, VT: Ashgate, 2009), 171–198.

  7. 7.

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  8. 8.

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  9. 9.

    B. Hainaut, ‘Fear and Wonder: Le fantastique sombre et l’harmonie des médiantes, de Hollywood au black metal’, Volume! vol. 9 (2012) no. 2, 179–197.

  10. 10.

    Hagen, ‘Kylter than Thou’; K. Kahn-Harris, ‘Landfill Metal: The Ironies of Mediocrity’ in T. Karjalainen and K. Kärki (eds.), Modern Heavy Metal: Markets, Practices, and Cultures (Helsinki: Aalto University, 2015).

  11. 11.

    K. Kahn-Harris, ‘Landfill Metal’.

  12. 12.

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  13. 13.

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  14. 14.

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  15. 15.

    ‘Music Norway’, https://musicnorway.no. [Accessed on 20 September 2018].

  16. 16.

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  17. 17.

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  18. 18.

    H.I. Hatland, ‘Her er Gaahls kjæreste’, Bergensavisen, 30 January 2010, https://www.ba.no/puls/her-er-gaahls-kjareste/s/1-41-4835636. [Accessed on 20 September 2018]; A. Clifford-Napoleone, Queerness in Heavy Metal Music: Metal Bent (New York: Routledge 2015).

  19. 19.

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  20. 20.

    Lucas, Deeks, and Spracklen, ‘Grim up North.

  21. 21.

    J. Li, ‘Aftershock: The Cultural Politics of Commercializing Traumatic Memory’ in A. Wright (ed.), Film on the Faultline (Chicago: Intellect, 2015).

  22. 22.

    Various, Firestarter, Century Black 7900–2 (compilation; 1998).

  23. 23.

    D. Swinford, ‘Black Metal’s Medieval King: The Apotheosis of Euronymous through Album Dedications’ in R. Hagen and R. Barratt-Peacock (eds.), Medievalism and Metal Music Studies: Throwing Down the Gauntlet (Bingley, UK: Emerald, 2019).

  24. 24.

    C. Rojek, Ways of Escape: Modern Transformations in Leisure and Travel (Basingstoke, UK: Palgrave, 1993), 136–172.

  25. 25.

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  26. 26.

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  27. 27.

    P. Aasdal and M. Ledang (dirs.), Once Upon a Time in Norway. Grenzeløs Productions (documentary; 2007).

  28. 28.

    Invisible Oranges Staff, ‘Are You Talking to Me: Respecting Women in Metal’, Invisible Oranges, 18 May 2011, http://www.invisibleoranges.com/are-you-talking-to-me-respecting-women-in-metal. [Accessed on 21 September 2018]; L. Dawes, What are You Doing Here?: A Black Woman’s Life and Liberation in Heavy Metal (New York: Bazillian Points, 2012); S. Mathis, “The Problem with Heavy Metal is Metalheads: Stop Calling Everyone a Faggot’, Metal Injection, 22 October 2014, http://www.metalinjection.net/editorials/the-problem-with-heavy-metal-is-metalheads-stop-calling-everyone-a-faggot. [Accessed on 21 September 2018].

  29. 29.

    K. Kahn-Harris, Extreme Metal: Music and Culture on the Edge (Oxford: Berg, 2007), 141–157.

  30. 30.

    Ibid., 152–56.

  31. 31.

    K. Kahn-Harris, ‘Beyond Transgression: Breaking Metal’s Boundaries’, Keynote address to the Boundaries and Ties: The Place of Metal in Communities Conference, Victoria, British Columbia (2017).

  32. 32.

    K. Kahn-Harris 2007, 55–67.

  33. 33.

    J. Åkerlund (dir.), Lords of Chaos. 4 ½ Film (2018) A further layer: although Åkerlund is a well-known director of music videos and concert films for major stars like Madonna and Taylor Swift, he was also the first drummer for the iconic Swedish black metal band Bathory. The actors from the film also recreated an early Mayhem gig for the video for Metallica’s ‘ManUNkind’ (2016).

  34. 34.

    S. Dunn (dir.), Metal: A Headbanger’s Journey. Banger Productions (documentary; 2005); I. Christie, Sound of the Beast: The Complete Headbanging History of Heavy Metal (New York 2003).

  35. 35.

    T. Grude (dir.), Satan rir media (1999); M. Lundberg (dir); M. Moynihan and D. Søderlind, Lords of Chaos: The Bloody Rise of the Satanic Metal Underground (Venice, CA 1998).

  36. 36.

    K. Coogan, ‘How Black is Black Metal?’, Hitlist (February/March 1999), 33–49. It should be noted that the second edition of the book attempted to temper these aspects.

  37. 37.

    A. Aites and A. Ewell (dirs.), Until the Light Takes Us. Factory 25 (documentary; 2010).

  38. 38.

    P. Aasdal and M. Ledang (dirs.), Once Upon a Time in Norway. Grenzeløs Productions (documentary; 2007).

  39. 39.

    D. Hall (dir.), Blekkmetal (documentary; 2016).

  40. 40.

    D. Patterson, Black Metal: The Cult Never Dies, Vol. 1 (London 2015).

  41. 41.

    M. Watelet (dir.), Black Metal. Paradise Films (documentary; 1998).

  42. 42.

    The comments on the YouTube page hosting the documentary generally poke fun at the corpse-painted concert goers, although some commenters express nostalgia for the seriousness of youth. Maryljan, ‘Black Metal (1998) Documentary Belgium (with ENG subtitles)’, 10 March 2015, https://www.youtube.com/watch?v=mENpzyfENhQ. [Accessed on 24 September 2018].

  43. 43.

    J. Kristiansen, Metalion: The Slayer Mag Diaries (Brooklyn, NY: Bazillion Point, 2011); J. Stubberud, The Death Archives: Mayhem 1984–94 (New York: Omnibus, 2016).

  44. 44.

    R. Hagen, ‘Ideology and Mythology in Norwegian Black Metal’ in I. von Helden (ed.), Norwegian Native Art: Cultural Identity in Norwegian Metal Music (Zurich: Lit, 2017).

  45. 45.

    Masciandaro, Hideous Gnosis; S. Wilson, Melancology: Black Metal Theory and Ecology (Winchester, UK: Zero Books, 2013); E. Connole and N. Masciandaro, Floating Tomb: Black Metal Theory (Milan: Mimesis International, 2015).

  46. 46.

    B. Teitelbaum, Lions of the North: Sounds of the New Nordic Radical Nationalism (New York: Oxford University Press, 2017) provides an evocative example of ethnography in this vein. This potential political tension between subject and researcher may account at least in part for the popularity of American black metal bands like Wolves in the Throne Room and Panopticon as research subjects, as these bands eschew right-wing nationalism in favor of environmentalism and more progressive ideals.

  47. 47.

    A. Brown, ‘A Manifesto for Metal Studies: Or Putting the “Politics of Metal” in its Place’, Metal Music Studies vol. 4 (2018) no. 2, 343–363.

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Hagen, R. (2020). ‘From the Dark Past’: Historiographies of Violence in Norwegian Black Metal. In: van der Steen, B., Verburgh, T. (eds) Researching Subcultures, Myth and Memory. Palgrave Studies in the History of Subcultures and Popular Music. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-41909-7_8

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