Zule's Favorite Black Metal EPs and LPs

An Entirely Objective Word-Vomit About Extreme Music, From The Desk Of Your Favorite Autist.

I believe it is time, for the sake of clarity, to write up a quick list of my personal favorite Black Metal albums and Eps. I have a particular traditionalist perspective when it comes to this artform, and I believe this will give anyone interested in Elitist Tendency some valuable insight into why I think the way I do about this shit. These are the Black Metal records that I have spent an immense amount of time gushing (emotionally and intellectually) over, and I believe each one demonstrates something very important about the nature and evolution of Black Metal. It also bears mentioning this will be a fun break for me compared to a lot of the other writing I am doing at the moment… I am limiting myself to one album per band, otherwise this list would be populated with Darkthrone and Burzum releases. I am also limiting this list to albums that fall into the second-wave category, since trying to include first-wave records would muddy the waters… making this more about my favorite extreme metal albums. This list is also in no particular order, barring the final album on the list which is the best Black Metal album ever released.

The only “honorable mention” of sorts on this list goes to the three Thorns demos released in the early 90’s. In my opinion, Grymyrk, Trøndertun, and The Thule Tape are some of the most impressive pre-1993 examples of second-wave Black Metal. They represent more of a proof-of-concept and an evolution of the Black Metal sound opposed to a serious attempt at album composition. That is the principal reason why I cannot put Thorns on this list. That being said, these demos are well worth anyone’s time. The atmosphere and depth Blackthorn achieves here is impressive, especially considering he only tracks a guitar and bass on Grymyrk.

90’s Norwegian Black Metal constitutes the heart and soul of the genre as a whole. Beginning this list with Mayhem’s debut full length album, De Mysteriis Dom Sathanas, only feels fitting. This album was the culmination of years of work by a rouge’s gallery of band members, friends, and session musicians. The result was a perfect demonstration of Black Metal’s evolution up to that point, an elevation of concept and songwriting that immediately came to define the genre Mayhem had spent a decade building up. This album is worth the hype it gets, whether you consider the history and influence of the band or not. Mayhem’s debut also heavily influenced the way I think about Black Metal and the state of the modern scene. Many of the riffs and songs on De Mysteriis Dom Sathanas are frankly, unforgettable… while most of the new albums my friends would hype-up in conversation would invariably disappear a month after first being mentioned. Some albums from this era are “popular” because they were so ubiquitous in the forming of Black Metal’s DNA. Without Mayhem and many of the tracks that would end up on De Mysteriis Dom Sathanas, Black Metal would have taken an entirely different shape. This album is one-hundred-percent worth the hype it gets.

Darkthrone is my favorite band. Across their nearly 30-year career, one album stands out as my clear favorite… Under A Funeral Moon was a defining moment for the early second-wave scene. As far as overall runtime is concerned, Blaze In The Northern Sky is mostly a death metal album. The music is largely a hangover from the Goatlord sessions mixed with a few “true” Black Metal tracks (tracks 1, 2, and 5). Transylvanian Hunger is Darkthrone’s best and most successful crack at creating an incredibly dense and high-concept album. But I am reminded with each revisit that Transylvanian Hunger is a beast of an album. Despite its popularity, it is quite difficult to listen to. Under A Funeral Moon stands in an interesting middle-ground where the band felt confident, while keeping the raw edge present on Blaze… There is an execution of vision on Funeral Moon in addition to a variety of sounds and experimentation. Fenriz mentions in the album’s commentary that the main goal was to create an incredibly “cold” sound. Members of Darkthrone were allowed to experiment with the riffs in ways that would never happen again. Under A Funeral Moon is the last record Darkthrone would record collaboratively as anything other than a two-piece band. Zephyrous’ contributions to the record are interesting, leaning into the more primitive elements of the sound the band had been developing. The seventh track “Inn i de dype skogers favn” was composed by Zephyrous, and Fenriz cites this song as one of the band’s greatest. Under A Funeral Moon deserves a bit more credit in my opinion, often being overshadowed by the albums that surround it in Darkthrone’s discography.

Satyricon’s Dark Medieval Times is one of my all-time favorite albums produced during the second-wave. It represents a real evolution of concept in conjunction with Burzum, Enslaved, and similar bands that moved away from unfettered iconoclasm and “satanism” towards an aesthetic grounded in literature, high-fantasy, and folklore. Satyricon barely beats out Enslaved or Ulver here on account of timing, since their debut album released in late 1993. This is a fantastic and often-overlooked early second-wave album that cements Satyricon as a great Black Metal band, despite everything post-Nemesis Divina being pretty terrible. Dark Medieval Times feels refined, as an album it has a level of polish that is unusual for a Black Metal album emerging at this time. This record is one of the moments where Black Metal began to distinguish itself as a genre capable of more than simple iconoclasm and devil-worship. The record pushes the concept that Black Metal is more atmospherically-oriented and consolidates a lot of the concepts explored initially by Enslaved, Burzum, Immortal, and Bathory while taking it in a new direction. Despite the more ambitious scale and vision of the record, Dark Medieval Times still has riffs that cement the band’s understanding of the genre. Satyricon’s decision to move towards an original aesthetic also makes it stand out from the Viking and D&D inspired Black Metal that was beginning to enter the zeitgeist during the early to mid-90’s. Satyricon remains an important part of the genre’s history thanks in large part to Dark Medieval Times.

Goatmoon is a divisive band that countless people listen to in secret, despite the political and ideological failings of Blackgoat. The music is that good. With the severe over-saturation of “raw Black Metal” thanks to its relative ease of production, I have been thinking about Death Before Dishonor a lot in recent years. Goatmoon’s debut is the perfect “raw” Black Metal album. Death Before Dishonor’s production is a perfect compromise between audio fidelity and ultra-traditional “corpse sound.” I can hear all the instrumental parts and vocals clearly, while still getting that incredibly satisfying jagged edge of demo-style production. Additionally, Blackgoat builds a nuanced aesthetic on the record through the incorporation of National Socialist motifs in the lyrics of a couple tracks. The juxtaposition of lyrical extremes on Death Before Dishonor is made more authentic because it is backed up by the fine-tuned raw sound Blackgoat had perfected over the course of his eight demos. Goatmoon’s debut full-length album is an incredibly refined experience, despite the on-the-surface rough presentation. There are so many small details about the songwriting, sound, and production that come together to make a compelling experience. Death Before Dishonor was a landmark record for me as a Black Metal listener, and introduced me to a new layer of bands that embraced a different level of extremity.

Judas Iscariot is a slow burn. It took me several years to begin to appreciate the music. Of all Akhenaten’s discography, Dethroned, Conquered and Forgotten stands as the highpoint of his output. While Dethroned… is only an EP (or mini-album), it is a dark descent into the heart of Black Metal that rivals any full-length USBM release. The subtle nuances of songwriting that had been developed by the band over the years are fully realized on this EP, particularly with the tracks “Journey Through Visions of War” and “March upon a Mighty Throne.” The unique sound and style Judas Iscariot had been slowly developing through the 90’s comes to fruition on these tracks. “Journey Through Visions of War” is, in my opinion, the climax of Judas Iscariot’s discography. The other three songs are faster, the vocal delivery is more ragged, the production is a perfect synthesis of grim delivery and intensity. The shorter track length and punchy delivery lends an urgency that contrasts the slow, creeping minimalism of the band’s earlier material. It is a shame that this release often is overshadowed by the studio album that would follow, To Embrace The Corpses Bleeding. Judas Iscariot’s final album is good, but it lacks the ferocity and originality of Dethroned, Conquered and Forgotten. Despite being only twenty minutes long, the atmospheric buildup and payoff on this mini-album works. The songwriting is laser-focused, Akhenaten pulls out some incredible riffs, tying everything together with a precision that is hard to emulate. I find that many bands put out some of their best music when they are allowed to focus on only a few tracks. Dethroned, Conquered and Forgotten feels like lightning in a bottle, five tracks that Akhenaten sunk a decade of experience and fervor into. Without a doubt, my favorite USBM release.

Grausamkeit is one of the most interesting second-wave Black Metal projects currently active in the scene. Thanks largely to internet meme pages, B.S.o.D has obtained a legendary and mysterious status across many online circles. The interesting thing is, despite all the completely ridiculous discourse that surrounds the project, no one disputes the legitimacy of Grausamkeit and the Black Metal B.S.o.D. has been cranking out between prison sentences since 1995. It bears mentioning, Grausamkeit is an early and innovative example of German Black Metal. The only band I can find that predates Grausamkeit by a significant margin is Absurd… Regardless, his 2002 full length album Nostalgia – Okkultes Blut makes the list because I believe it is a comprehensive example of Grausamkeit’s aesthetic and B.S.o.D’s artistic vision. Putting a Grausamkeit release here was tricky, since most of the band’s artistic output comes in the form of short demos. Initially, I wanted to include the 1999 demo Stardust, but since Nostalgia – Okkultes Blut is sonically similar and over twice as long, I had to include it on the “final” list. This is a warped, nasty, and bizarre record. B.S.o.D. takes the conventions of Black Metal he is drawing from and turns it on its head. Grausamkeit is the antithesis of bands like Dimmu Borgir. I doubt B.S.o.D. is intentionally trying to pull-off overt commentary here, but I principally see it that way. I can only describe this album as cacophonous. The instrumentation is over-the-top, with a hyperactive drum machine and synth elements that have overgrown the guitars like vines suffocating a tree. The production is wonderfully abrasive and full of glaring flaws… hisses and cracks abundant in the mix. It is shocking the cohesion and atmosphere B.S.o.D squeezes out of this chaos. The way he marries dungeon synth and Black Metal on this record is effortless and cathartic. Overall, Nostalgia – Okkultes Blut is a schizophrenic, dark, and swirling dive into Andreas Bettinger’s drug-fueled bursts of creativity. In recent years, Grausamkeit has inspired a whole deluge of copycat bands trying to imitate this fusion of genres and aesthetics and I can see why. This stuff is wildly evocative, and well worth anyone’s time.

Gorgoroth is a band that everyone likes. Outside the nine-year period where a psycho megalomaniacal gay man tried to destroy the band, Gorgoroth has produced nothing but solid releases. The best of which being 1997’s Under the Sign of Hell. The issue is this is a visually unassuming record, with a cover that looks like a Panzerfaust rip-off with non-descript text. This is what Gorgoroth does, they utilize straightforward presentation and compensate by melting your face off with the music. Under the Sign of Hell is an insane cliff-dive into some of the most frantic, explosive, and brutal Black Metal of the late-90’s. This is the record that cements Infernus as one of the greatest guitarists in Black Metal. These are real riffs with movement, texture, and dynamism. The wall of sound that Gorgoroth throws at the listener bleeds hate and energy. I am consistently surprised how many fans of Black Metal and Gorgoroth specifically have overlooked this record. The band’s demos and first two studio albums are good, but they lack the unique edge that Under The Sign Of Hell brings. I am not aware of any other records from Scandinavia during this era that match the speed or style of Under the Sign of Hell. While Gorgoroth’s albums would fall into complete disarray following its release, Under the Sign of Hell is a huge reason why I still hold Gorgoroth in such high regard.

I first listened to Kristallnacht’s Warspirit EP on a rainy January afternoon. Usually, when synths kick in on a Black Metal song, I immediately lose interest… I remember audibly saying “Oh no” when the synth keyboard kicked in, ringing out above the gritty lo-fi Black Metal permeating my speakers. After several seconds of attention, I realized something about this was different. This was an emotional, somber overtone that contributed something to the sound of Warspirit…  Something real creaking through the speakers as the keyboard simultaneously complimented and contrasted the orthodox Second Wave guitar work and blast beats. The instruments supported each other, with the vocals cutting into each phrase in satisfying ragged howls. Despite the speed and relentless tremolo-picking, there was a subdued overtone to the opening track. Everything going on sounded distant, and I could feel a sense of anemoia reaching through the piece. Like the cover of the EP, it was like staring into an old black and white photograph. “Kristallnacht,” the opening track, terminated and gave way to “Reigning with Honour & Tyranny.” I immediately grasped how the band was throwing real riffs now, cutting off the keyboards and evolving the formula laid out by the EP’s opener. Despite Kristallancht’s rather dramatic presentation, the delivery is surprisingly punchy and direct. The tracks do not drag on or meander, the band has a great sense of knowing when to repeat sequences and when to transition. While the production sounds pretty “necro,” the tracks on this album feel incredibly unified, which lends a weight and cohesion to EP’s aesthetic. After listening online, I quickly bought a copy on vinyl. While Warspirit is only fourteen-and-a-half minutes long, it is one of my favorite Black Metal vignettes to run through when I do not have much time. Warspirit is an incredibly evocative and developed example of French Black Metal tyranny.

The final album I will discuss is the greatest Black Metal record of all time, Burzum’s Filosofem. I have saved the best for last. Filosofem is a perfect unity of riffs, atmosphere, innovation, and concept. Recorded originally in 1993 but not released until ’96, Filosofem pushes the boundaries of the genre to its bleeding edge. The three “traditional” Black Metal tracks the album leads with are all instantly iconic. (Using the original Misanthropy track names) “Burzum,” “Jesu død,” and “Beholding the Daughters of the Firmament” set the standard for minimalism (in addition to Transylvanian Hunger of course) in Black Metal going forward. The riffs on Filosofem are that good, listeners want to hear them repeated over and over again across the long tracks. The guitar tone Varg manages is perfect for the style of minimalism he is pursuing. The production is extreme, the intentional self-sabotage only serves the over-arching vision of the album. Burzum has been refined here, the aesthetic of the album is laser-focused and crystal clear. The three “traditional” Black Metal tracks are only the tip of the iceberg, with the bulk of the album slowly unfolding through the two “Decrepitude” tracks and the ambient behemoth “Rundtgåing av den transcendentale egenhetens støtte.” Filosofem stretches the idea of what a Black Metal album is, takes it to its absolute limits. This is where the “sleep spell” of Burzum comes to fruition, and the liminal struggle between light and dark that the album subtly addresses was ahead of its time. The fact Filosofem has gained traction with so many outside the Black Metal zeitgeist is proof-positive of its integrity as a piece of art.

Black Metal is not an egalitarian venture, I completely support taking an elitist view on the artform. Therefore, the topic of whether or not Filosofem is the greatest Black Metal record of all time is not up for debate. This is reality.

Hopefully this not-so-brief dive into my personal taste will give perspective to the hot-take factories and album reviewers online. Like the article about buying NSBM LPs, it will be nice to have this offhand. If someone asks me for recommendations, I can send them a link. If anyone is wondering what music principally colors my opinions, I can send them a link.

It is good to be back. I have another article almost finished, and a third that is developing rapidly. Expect more very soon.

Hail the Underground