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Featuring a wealth of new interviews with the genre’s most central figures, Black Metal: Evolution of the Cult offers the most comprehensive guide yet to the most controversial form of extreme metal. From the pioneers of the early ‘80s to its fiery rebirth in Scandinavia through to today’s diverse groups, this epic analysis captures the movement’s development in unparalleled depth.
“* * * * * *! The most incredible story in the history of music … a heavyweight book.”—Kerrang! “An unusual combination of true crime journalism, rock and roll reporting and underground obsessiveness, Lords of Chaos turns into one of the more fascinating reads in a long time.”—Denver Post A narrative feature film based on this award-winning book has just gone into production.
SUPERANNO Since the late 1980s, Sweden has produced over a thousand extreme heavy metal bands, spawning an unrivalled and respected regional music scene. Improbably, this marginalized teen movement crawled from small towns and suburbs to find its lasting place on the world stage. Combining personal accounts and in-depth research, the epic tale of Swedens most lethal cultural export arrives in full enlightening detail. Starred review, Publishers Weekly. Book of the Year, Decibel Magazine.Original.
In the last two decades, a bizarre and violent musical subculture called "Black Metal" has emerged in Norway. Its roots stem from a heady blend of horror movies, heavy metal music, Satanism, Paganism, and adolescent angst. In the early-mid 1990s, members of this extremist underground committed murder, burned down medieval wooden churches, and desecrated graveyards. What started as juvenile frenzy came to symbolize the start of a war against Christianity, a return to the worship of the ancient Norse gods, and the complete rejection of mainstream society.
Issue 1 ("Incipit") of Helvete: A Journal of Black Metal Theory. Not to be confused with metal studies, music criticism, ethnography, or sociology, Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events - and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on "some kind of connaturality between the two, a shared capacity for nigredo."Issue 1: Incipit includes: Zareen Price, "Dilation: Editor's Preface" - Janet Silk, "Open a Vein: Suicidal Black Metal and Enlightenment" - Timothy Morton, "At the Edge of the Smoking Pool of Death: Wolves in the Throne Room" - Elodie Lesourd, "Baptism or Death: Black Metal in Contemporary Art, Birth of a New Aesthetic Category" - Amelia Ishmael, "The Night is No Longer Dead; it has a life of its own" [featuring artwork by: Alexander Binder, Gast Bouschet and Nadine Hilbert, Ibrahim R. Ineke, Alessandro Keegan, Irena Knezevic, Allen Linder, Gean Moreno, and Nine Yamamoto-Masson] - David Prescott-Steed, "Frostbite on My Feet: Representations of Walking in Black Metal Visual Culture" - Daniel Lukes, "Black Metal Machine: Theorizing Industrial Black Metal" - Joel Cotterell, "This is Armageddon: The Dawn Motif and Black Metal's Anti-Christian Project"
Revered former Metal Maniacs editor Jeff Wagner analyses the heady side of metal in this exhaustive narrative history of a relentlessly ambitious musical subculture. Beginning with the hugely influential mid-1970s efforts of progressive rock acts Rush and King Crimson, Wagner unfurls a vast colourful tapestry of sounds and styles, from the 'Big 3' of Queensryche, Fates Warning and Dream Theater to the extreme prog pioneers Voivod, Watchtower, Celtic Frost and others.
Black Metal is a genre often maligned as overtly concerned with nihilism, destructiveness and an insular obsession with Satanism and aggressive nationalism. In reality, it is a constantly evolving vehicle for musically and ideologically progressive groups and artists, one that is increasingly forward thinking despite maintaining a purity of expression that is tied to the past. The formative events that, in equal measure, shocked and fascinated the tabloids of Norway and the international Metal underground in the early 1990s have given way to pan-academic appraisal, far-reaching musical appropriation and new conceptions of regional and stylistic self-identity. Black Metal — Beyond the Darkness aims to look past the much-discussed Second Wave spearheaded by groups and artists such as Mayhem, Burzum, Darkthrone and Emperor, with a new focus on a number of the form’s lesser-reported international scenes; developments in the selling and distribution of Black Metal through labels, stores and distros; idiosyncratic aesthetics and inherent notions of theatricality; Black Metal’s relationship with the world of Fine Art; and oral recollections of the genre’s development, amongst other topics. Illustrated with previously unseen archival photography, record covers, ephemera and other diverse aesthetic documentation of the genre, Black Metal — Beyond the Darkness includes newly commissioned essays by Nathan T Birk, Louis Pattison, Nick Richardson, Jérôme Lefèvre and Diarmuid Hester, as well as newly prefixed texts by Brandon Stosuy and Hunter Hunt-Hendrix, alongside testimonials by groups and individuals including John ‘Metalion’ Kristiansen, Ulver, Imperial, Trine + Kim Design Studio, Nicola Masciandaro and Jon “Thorns” Jamshid.

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