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Early Norwegian black metal scene
The early Norwegian black metal scene of the 1990s is credited with shaping the modern black metal genre and producing some of the most acclaimed and influential artists in extreme metal.
The scene had a distinct ethos, and its core members referred to themselves as "The Black Circle" or "Black Metal Inner Circle." This group consisted of men who congregated at the record shop Helvete ("Hell") in Oslo. In interviews, they expressed anti-Christian and misanthropic views, presenting themselves as a cult-like group of militant Satanists intent on spreading terror, hatred, and evil. They adopted pseudonyms and appeared in photographs adorned with "corpse paint" and wielding medieval weaponry. The scene was exclusive, creating boundaries around itself and incorporating only those it deemed "true" or committed. Musical integrity was paramount, and artists sought to maintain black metal's underground status.
In August 1993, several of its members were arrested, and in May 1994, they were convicted of arson, murder, assault, and possession of explosives, most notably Varg Vikernes for the murder of Euronymous. Most showed no remorse for their actions at the time. Some Norwegian media referred to them as "Satanic terrorists," and one Norwegian TV channel interviewed a woman who claimed that Satanists had sacrificed her child and killed her dog. The early Norwegian black metal scene has since been the subject of numerous books and documentaries.
The Norwegian black metal scene was vehemently opposed to Christianity and organized religion as a whole. In interviews during the early 1990s, Euronymous and other members of the scene portrayed themselves as militant misanthropic devil worshippers[better source needed] who sought to spread hatred, sorrow, and evil. They criticized the Church of Satan for being too "humane." The theistic Satanism they advocated was an inversion of Christianity. Euronymous was the key figure behind this ideology.[better source needed] He professed to support totalitarianism and to oppose compassion, peace, happiness, and fun. When asked why such statements were made to the press, Ihsahn of Emperor stated, "I think that was very much to create fear among people." He added that the scene "wanted to be in opposition to society" and "tried to concentrate more on just being 'evil' than having a real Satanic philosophy." Vikernes claimed that the reason they professed to advocate "evil" was to provoke.
According to the book Lords of Chaos, many who knew Euronymous claim that "the extreme Satanic image he projected was, in fact, just that – a projection which bore little resemblance to his real personality." Those making this assertion include Necrobutcher, Kjetil Manheim, Vikernes, and Blackthorn (the latter two were convicted for his murder). Faust stated that with Euronymous, "there was a lot of smoke but not so much fire." Mortiis, however, asserted that Euronymous "was such a devil worshipper you wouldn't believe it," while Metalion, who had known Euronymous since 1985 and considered him his best friend, remarked that Euronymous "was always telling what he thought... worshipping death and being extreme." Regarding other members of the scene, Samuel Fridh suggests that there is no evidence to support their early claims of being devil worshippers, and Leif A. Lier, who led the police investigation following Euronymous's death, stated that he and his team had not encountered a single Satanist. Faust remarked that "for some people it [Satanism] was bloody serious, but to a lot of them it was all a big hype."
In retrospect, Metalion reflected, "In the past, people just wrote about Satan, but now people meant it. I believe it was serious—maybe not all the Satanism, but definitely the approach to the music and the lifestyle. It was certainly more destructive than metal had been in the past." Tenebris from the Misanthropic Luciferian Order, a Swedish Satanic order, noted that the Norwegian scene "meant a lot as long as it lasted. Back then, in 1991, things mainly concerned black metal and ideological Satanism (not so much practical Satanism, but anyway...)... It grew quickly to become a sort of black metal army... and kind of stood and fell with Euronymous and his shop. Therefore, it vanished with his death in '93... Sadly enough, many people involved at the time betrayed their ideals and lost their interest when things fell apart. Like it was nothing more than a hype of temporary nature."
Regarding the term "black metal," Euronymous stated that it applies to any heavy metal band that identifies as theistic Satanists and writes Satanic lyrics. Such notions were echoed by other members of the scene, including Faust. At the time, bands with a style akin to Norwegian black metal but lacking Satanic lyrics tended to use alternative terms to describe their music.
Some bands within the scene were intrigued by pre-Christian Norway and its traditions, and there was an undercurrent of romantic nationalism present. Additionally, some scene members engaged with Nazi imagery, primarily as a means of provocation.[better source needed] In a private letter written in the early 1990s, Euronymous asserted that "almost all" Norwegian black metal bands at the time were "more or less Nazis." He expressed an interest in totalitarian communist states, claiming he wished to see people "rot under communist dictatorship."
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Early Norwegian black metal scene
The early Norwegian black metal scene of the 1990s is credited with shaping the modern black metal genre and producing some of the most acclaimed and influential artists in extreme metal.
The scene had a distinct ethos, and its core members referred to themselves as "The Black Circle" or "Black Metal Inner Circle." This group consisted of men who congregated at the record shop Helvete ("Hell") in Oslo. In interviews, they expressed anti-Christian and misanthropic views, presenting themselves as a cult-like group of militant Satanists intent on spreading terror, hatred, and evil. They adopted pseudonyms and appeared in photographs adorned with "corpse paint" and wielding medieval weaponry. The scene was exclusive, creating boundaries around itself and incorporating only those it deemed "true" or committed. Musical integrity was paramount, and artists sought to maintain black metal's underground status.
In August 1993, several of its members were arrested, and in May 1994, they were convicted of arson, murder, assault, and possession of explosives, most notably Varg Vikernes for the murder of Euronymous. Most showed no remorse for their actions at the time. Some Norwegian media referred to them as "Satanic terrorists," and one Norwegian TV channel interviewed a woman who claimed that Satanists had sacrificed her child and killed her dog. The early Norwegian black metal scene has since been the subject of numerous books and documentaries.
The Norwegian black metal scene was vehemently opposed to Christianity and organized religion as a whole. In interviews during the early 1990s, Euronymous and other members of the scene portrayed themselves as militant misanthropic devil worshippers[better source needed] who sought to spread hatred, sorrow, and evil. They criticized the Church of Satan for being too "humane." The theistic Satanism they advocated was an inversion of Christianity. Euronymous was the key figure behind this ideology.[better source needed] He professed to support totalitarianism and to oppose compassion, peace, happiness, and fun. When asked why such statements were made to the press, Ihsahn of Emperor stated, "I think that was very much to create fear among people." He added that the scene "wanted to be in opposition to society" and "tried to concentrate more on just being 'evil' than having a real Satanic philosophy." Vikernes claimed that the reason they professed to advocate "evil" was to provoke.
According to the book Lords of Chaos, many who knew Euronymous claim that "the extreme Satanic image he projected was, in fact, just that – a projection which bore little resemblance to his real personality." Those making this assertion include Necrobutcher, Kjetil Manheim, Vikernes, and Blackthorn (the latter two were convicted for his murder). Faust stated that with Euronymous, "there was a lot of smoke but not so much fire." Mortiis, however, asserted that Euronymous "was such a devil worshipper you wouldn't believe it," while Metalion, who had known Euronymous since 1985 and considered him his best friend, remarked that Euronymous "was always telling what he thought... worshipping death and being extreme." Regarding other members of the scene, Samuel Fridh suggests that there is no evidence to support their early claims of being devil worshippers, and Leif A. Lier, who led the police investigation following Euronymous's death, stated that he and his team had not encountered a single Satanist. Faust remarked that "for some people it [Satanism] was bloody serious, but to a lot of them it was all a big hype."
In retrospect, Metalion reflected, "In the past, people just wrote about Satan, but now people meant it. I believe it was serious—maybe not all the Satanism, but definitely the approach to the music and the lifestyle. It was certainly more destructive than metal had been in the past." Tenebris from the Misanthropic Luciferian Order, a Swedish Satanic order, noted that the Norwegian scene "meant a lot as long as it lasted. Back then, in 1991, things mainly concerned black metal and ideological Satanism (not so much practical Satanism, but anyway...)... It grew quickly to become a sort of black metal army... and kind of stood and fell with Euronymous and his shop. Therefore, it vanished with his death in '93... Sadly enough, many people involved at the time betrayed their ideals and lost their interest when things fell apart. Like it was nothing more than a hype of temporary nature."
Regarding the term "black metal," Euronymous stated that it applies to any heavy metal band that identifies as theistic Satanists and writes Satanic lyrics. Such notions were echoed by other members of the scene, including Faust. At the time, bands with a style akin to Norwegian black metal but lacking Satanic lyrics tended to use alternative terms to describe their music.
Some bands within the scene were intrigued by pre-Christian Norway and its traditions, and there was an undercurrent of romantic nationalism present. Additionally, some scene members engaged with Nazi imagery, primarily as a means of provocation.[better source needed] In a private letter written in the early 1990s, Euronymous asserted that "almost all" Norwegian black metal bands at the time were "more or less Nazis." He expressed an interest in totalitarian communist states, claiming he wished to see people "rot under communist dictatorship."