Post black metal
Post-Black-Metal is a collective term in use since the 1990s for modern developments that refer historically, aesthetically or stylistically to the second wave of Black Metal . In most cases the term is used for artists that receive musikstilistische facets of black metal and other styles of music intersect , without the ideological superstructure of black metal to follow. On the other hand, the term is used for performers who have established themselves through a cultural development from Black Metal or are connected to it through subcultural or personal overlaps.
history
The names were based on the second wave of Black Metal and the self-image cultivated by it. While groups such as Hellhammer and Bathory, which in retrospect were considered to be the first wave, often understood the satanically influenced texts only as provocation or metaphor, the groups of the second wave radicalized and internalized the content as ideology. These newer bands based their habitus and music on the first wave. Groups like Burzum , Darkthrone and Mayhem wanted to distance themselves from American representatives of Death Metal , who appeared in Bermuda shorts and tie-dye shirts , and wanted to see metal as something dangerous. Unlike their Black Metal predecessors, they didn't play with satanic lyrics, but took them seriously.
The guitarist, Mayhem founder and Deathlike Silence Productions label owner Øystein “Euronymous” Aarseth is still considered a central figure who has had a lasting impact on the self-image and development of Black Metal. Accordingly, he established an ideological basis for Black Metal that is still valid today for many followers and musicians.
"In case someone hasn't got it right - black metal has nothing to do with the music itself, both Blasphemy and Mercyful Fate are black metal, it's the LYRICS, and they must be SATANIC." If not, it is NOT black metal […] If a band cultivates and worships Satan, it's black metal. "
“In case someone hasn't understood it yet - Black Metal has nothing to do with the music itself. Blasphemy and Mercuful Fate are both Black Metal. It's the TEXTS, they have to be SATANIC. If they are not, then it is NOT Black Metal. If a band cultivates and worships Satan, it's black metal. "
Despite this limitation to an ideologically influenced music style, the second wave of Black Metal had a lasting effect on the metal scene. Subsequent music groups picked up style ideas without subscribing to ideology. Correspondingly, other stylistic terms such as Pagan Metal and Viking Metal established themselves at the beginning of the 1990s , for music styles based on Black Metal, but thematically differently oriented.
In the years that followed, the term post-black metal came up for the first time for music groups that could not be assigned to any of the established terms. However, a precise classification of the origin of the designation cannot be proven. With a further increase in the number of musical styles and groups that referred to Black Metal aesthetically and musically, the use of the term Black Metal as a comprehensive umbrella term, even without the ideological superstructure, increased. Supporters and musicians of the original Black Metal criticized this as a misuse.
With the increasing success of Blackgaze , a mixture of elements of Postrock and Shoegazing with Black Metal, in the course of the 2000s the term Post-Black-Metal spread in an almost synonymous use to Blackgaze, which in turn was used by musicians and followers of the Post- Black-Metals and Blackgaze was criticized. During this time, the first discussions about the term post-black metal took place. Reviewers and musicians were looking for a way to use the term in terms of post-punk and post-hardcore . In this interpretation, post-black metal differs from stylistic terms such as post-metal and post-rock, which name a specific style of playing, as music that stylistically distances itself from black metal without renouncing any affinity to the actual style or completely with it Breaking tradition of style.
Scope of terms
Arthur von Nagel from Metalsucks.net subsumes in a broad interpretation of the term all developments that have resulted from the stylistic formulation and crossings of Black Metal since Into the Pandemonium , without showing any direct satanic reference, under the term Post-Black-Metal.
Brad Sanders from Liturgy describes Post-Black-Metal as a musical ideal that breaks away from the meaning of Scandinavian Black Metal and ideology and makes Black Metal usable as a style element without nihilistic , misanthropic and satanic references. Robert Müller writes about post-satanic post-black metal, referring to the band Blut aus Nord , "which [...] radiates purely emotionally perfidious disturbance without all the esoteric constructs."
Von Nagel considers any musical combination with Black Metal to be potentially post-Black Metal, regardless of the ideological superstructure. Here he describes neofolk , pop music , disco , jazz , progressive rock , funk , opera music , classical and techno as outlaws for post-black metal. According to this broad definition of the term, a wide variety of music groups are assigned to post-black metal. The term is not only subordinated to groups that musically relate to Black Metal, but also to those that have established themselves through a cultural development from Black Metal or are connected to it through subcultural or personal overlaps. In addition to artists such as Vattnet Viskar , Dornenreich , Fleurety , Sigh , In the Woods… , Ved Buens Ende , Nachtmystium or Twilight , whose style still seems noticeably influenced by Black Metal, groups such as The 3rd and the Mortal , Ulver are still there to this day and Sólstafir , which have barely any musical reference to Black Metal, are included in the generic term. Accordingly, no uniform style description of the music can be derived. Rather, post-black metal includes music styles that are stylistically close to black metal (such as blackgaze and viking metal), as well as individual music groups from alternative metal , trip-hop or ambient .
Relationship to Blackgaze
With the increasing popularity of Blackgaze, the term post-black-metal became synonymous with the style, although post-black-metal can be viewed as a generic term for blackgaze. Musicians and recipients criticize the synonymous interpretation as restrictive and inadequate, since Blackgaze would be considered to be the narrower stylistic concept of the musical mixture of Black Metal and Shoegazing.
Selection of frequently assigned artists
Individual evidence
- ↑ Robin Meyer: Nachtmystium - Black Meddle II. Metal Mirror, accessed on May 19, 2014 .
- ^ Andreas Krause: Twilight III Beneath tiredents Tomb. Bloodchamber, accessed May 19, 2014 .
- ↑ a b c d e Arthur von Nagel: tiberian vocalizations arthur von nagel on post-black-metal and being a shameless metal-nerd. Metal Sucks, accessed April 20, 2015 .
- ^ Ian Christe : Sound of the Beast . The Complete Headbanging History of Heavy Metal. HarperEntertainment, New York, NY 2003, ISBN 0-380-81127-8 , pp. 272 .
- ^ Black Metal . In: Ronald Hitzler, Arne Niederbacher (Hrsg.): Life in scenes . 3rd completely revised edition. 2010, ISBN 978-3-531-15743-6 , pp. 41 .
- ^ Bård G. Eithun : The True Mayhem . In: Bård G. Eithun (ed.): Orcustus . The Shadow of the Golden Fire. No. 2 , 1992, p. 38 .
- ↑ a b Paragon Belial -… without Satanism there is no Black Metal… (Interview, 2009). Schwermetall.ch, accessed on March 31, 2016 .
- ↑ a b A.T. Bossenger, Liam Green and Jeff Terich: 10 Essential Post-Black Metal Albums. Treble Zine, accessed March 29, 2016 .
- ↑ a b Chris D: Herbst Lantlôs Interview. Decibel Magazine , accessed March 31, 2016 .
- ↑ a b Brad Sanders: Untrue And International: Living In A Post Black Metal World. The Quietus, accessed May 19, 2014 .
- ↑ Robert Müller: Blood from the North . The number of victory. In: Metal Hammer . Axel Springer Mediahouse Berlin GmbH, November 2012, ISSN 1614-2292 , p. 94 .
- ^ Robert Müller: Kingdom of thorns . Adult awakening. In: Metal Hammer . Axel Springer Mediahouse München GmbH, December 2006, ISSN 1614-2292 , p. 87 .
- ↑ Robin Meyer: Nachtmystium - Black Meddle II. Metal Mirror, accessed on May 19, 2014 .
- ^ Andreas Krause: Twilight III Beneath tiredents Tomb. Bloodchamber, accessed May 19, 2014 .
- ^ Post Black Metal. womgerazine, accessed April 20, 2015 .
- ↑ Florian Schneider: Post-metal band Vattnet Viskar streams first song from the album "Settler". Visions.de, accessed on June 10, 2016 .
- ↑ Solefald Interview. Wormgearzine, accessed March 29, 2016 .