Regular readers may remember the One Man Black Metal Band Week I did in the summer. This week will be a similar event, of far greater proportion and scope. The next five days will be entirely, without distraction, devoted to UK Black Metal bands; known henceforth as UKBM. All week I'll be introducing new and critical bands each day, then one more classic from someone who should really need no introduction (though I won't be able to help myself add a few words). There will be interviews with several of the most distinguishable and provocative artists involved across this movement, including Cäina, Ghast, Sleeping Peonies, Hateful Abandon, A Forest of Stars, and Barad-Dur; but before we proceed any further, there's no more appropriate way for me to begin than by giving you the song that named the entire genre from the band that arguably began the whole movement, once upon a time in Newcastle:
Venom - Black Metal
BLACK METAL
Venom - Black Metal
BLACK METAL
lay down your soul to the gods rock `n' roll
metal ten fold through the deadly black hole
riding hells stallions bareback and free
taking our chances with raw energy
The US Cascadian metal scene, inspired by the looser and more progressive Weakling, may be responsible for really igniting one of the flames within the genre over here, and certainly giving journalism a much easier handle with which to grasp a certain sound which has been developing. Musically the influence of the atmospheres, transcendental burst beat and progressive cosmic expanse of the likes of Xasthur, Wolves in the Throne Room, and Agalloch can be heard informing bands this side of the ocean such as Extinction, Wodensthrone, Winterfylleth and Fen, who continue similar themes with heavily British influences. In parallel to that is another strain of distinctly British influenced Black Metal that incorporates elements of cultural heritage from a much more recent history; post-punk, industrial, new-wave, and shoegaze are all appearing in the sounds of bands such as Cäina, Hateful Abandon, and Sleeping Peonies, all of which somehow manage to lash a whole new range of previously inconceivably sympathetic sounds onto an otherwise inhospitable blackened skeleton.
Black Metal in the UK is proving the genre to be as mutable as it is rigid. Whether there really are any true central tenets to it is a matter of considerable debate, and one which the UK is capriciously dismantling. Whether any of the bands in the country care whether anyone else is ploughing similar furrows or creating something else is again entirely subjective – much of the USBM discourse has revealed little evidence of conscious creative cohesion too, as Brandon Stousy's oral history of USBM is discovering. Anyone not rooted into the mid '90's aesthetic has an entire world of experimental noise, literary and sociological discourse to explore - for the kvlt purists, the UK will be a very unforgiving and alien landscape. A template for black metal certainly exists, and it is something that can almost instantly be discerned as soon as an image and sound are beheld, if not before. What, arguably, began as a movement involving fuzz tones, trance rhythms and occult themes has progressed over the years to become something of a musicological core capable of being embellished with any kind of individual ideological, environmental and cultural belief or eccentricities.
Fists ready at the face of God, mead horns up, minds open.
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