Black Metal

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- To respect the neutrality from the point of view (to avoid telling its life, making jokes, expressing its tastes) - NOT OF PRIZE LIST of groups, guitar hero, singers, musicians and others which aims at encenser its pets. That has only little utility at the informative and encyclopedic level. And that lengthens the article for nothing. - To make sure of the veracity and the reliability of information which one poses - Coherence with the title: the page is called " black metal ". - not to put capital letters at the names of kind; " black metal " does not take a capital letter, not more than " baroque or " samba". We invite the beginners to endeavor to consult the banner page and to comply with the rules and conventions. Thank you for your comprehension --> The black metal is a sub-genus of the heavy metal, characterized by an aggressive sound, a dark song guttural, and atmospheres, very often founded on a feeling anti-monk.

The black metal started in the beginning of the Années 1980 with groups as Bathory (which gave rise to the Viking metal), Mercyful Fate, and Hellhammer/Celtic Frost; like Venom with a least degree (thanks to their influence on Hellhammer/Celtic Frost). These groups, which played of the Thrash metal, created the example for the second generation of black metal. Some of these groups declare that their motivation was to fight the popular wave of Death metal American which was dominant in the scene metal of the time. The second wave of black metal, primarily Scandinavian movement, started in the end of the year 1980 and the beginning of the Années 1990, in particular in Norway.

The black metal underwent criticisms on behalf of various sectors of the company from its brutal appearance and its spirit misanthropic. Certain groups of black metal moreover were related to various facts such as the fire of an old church out of wooden (Stavkirke, in Scandinavia, by Inner Circle). In spite of, or perhaps thanks to these criticisms, the black metal became very quickly popular among the metal fans during the years 1990.

Characteristics

The black metal can have the following characteristics, without being there however limited:

Guitars

  • Of the fast guitars, subjected to a raised distortion, often played with techniques known as alternate picking and tremor picking .
  • a standard tuning, contrary to the guitars of the death metal which often use lower agreements.
  • Of the generally fine or thick stamps of guitar - most of the time not in the medium (in the same way for the frequencies: those of the medium are often forsaken, leaving only the extreme frequencies; sometimes the low frequencies are also eliminated)
  • Parfois, certain groups use a sound clean (without distortion), as the group Emperor.
  • the tremor picking can be applied to complete agreements (generally minor).
  • the use attends chromatic range, high or descended since a central point to create an unhealthy atmosphere.
  • the quasi permanent use (like in the death metal) of harmonic minor ranges (and not melody).
the guitarists of references are: Euronymous (Mayhem), Infernus (Gorgoroth), Jon nodveidt (Dissection (RIP)) Abbath (Immortal), Nocturno Culto (Darkthrone), Samoth (emperor), Satyr (Satyricon), Lord Harimhan (Dark Funeral), Morgan Hakansson (Marduk).

Battery

Device:

The black metal, from its fast style, plentiful, extreme and at the same time diversified requires a very bulky and complete device set of battery.

A double pedal or a double gross case is necessary to the interpretation of the black metal. The double gross case makes it possible to eliminate certain frictions compared to the double pedal, which allows an increase in the sensitivity and especially the maximum speed of execution. Moreover, the double gross case is appreciated often because it allows a more imposing, and massive pace of the set of battery. However the use of a double pedal allows a space saver during the transport of the material, this is why only the beaters member of a relatively known group, and this having fact of the means necessary use the double gross case.

The use from on average 5 Tom S: 3 or 4 Tom-toms, placed at the tops of large the case, like 1 or 2 floor-toms on the right of the beater (for a beater “droitier”). Those are placed acuter at most serious, from left to right. They very allow to the execution of “descents” of toms virtuosos most of the time of acute the low register, giving to the music this celerity which characterizes it.

The clear Caisse used is often 14 inches in diameter what allows a not very definite attack making it possible to homogenize the sound released by the whole set.

The presence of many Cymbale S contributes to the big size of the set: most of the time, one finds 1 charleston, a wrinkle, 2 or 3 crash landing, 2 chineses and 1 splash.

A steel structure called “rack” allows one maintains solid of the whole of the accessories of the set: toms and cymbals themselves assembled on perchettes, fixed on the rack. The use of the rack makes it possible to avoid the presence of many feet which would be less practical as well as a time-saver and of simplicity during the assembly/disassembling of the set.

In the black metal the beaters use mainly of Triggers (sensors and nonmicrophonous) and this, for several reasons:

The triggers allow an extreme regularity in the intensity of striking (and not in the frequency), which makes it possible the beater to be able to play very quickly without having sound loss of volume a fortiori when it is known that the parts of battery in black metal are very testing physically for the instrumentalist. The triggers as make it possible to have a sound more defined much and precis as microphones, which returns them very appreciated in the black metal.

techniques:

The “blast” is the pattern most characteristic of the black metal to the battery. Indeed it consists in simultaneously striking the clear case thus that the charleston (or Hi-hat) in double eighth note, at the same time as the large case outputs in thirty-second notes or double eighth notes into curly (a blow of each alternate foot) according to the case. This exercise is extremely testing for the beater which carries out it. The speed of reference, near the maximum speed of execution of the blast is approximately 120 with the black one: one can for example off hear a perfect blast with 120 with black (240 with the eighth note) at the beginning of the song “Blessings upon the throne tyranny” of Dimmu Borgir, interpreted here by a Master of the kind: Nicholas Barker.

The “gravity blast” is a particular case of the blast. It is identical to the level of the feet and the charleston. Only the manner of striking the case differs. Indeed, here the beater uses the circle of the clear case like fulcrum, like axis, to make it possible to strike the clear case even when the rod went up. This with for effect a reduction of the sound volume of the clear case but especially a multiplication by two the keying speed. Let us note that the use of triggers on the clear case allows stage the sound reduction in amplitude of this one at the time of a gravity blast.

The front “trash” consists in alternatively beating in flow of double eighth note to the hands the charleyston and the clear case by doubling the charleyston with the large case. It can be declined at the same time by beating the large case only followed by the clear case as the charleyston.

One uses also much what one could call the “basic” front (though nonsimplistic) or “of reference” which consist in beating double eighth notes (or triple) with the large case as well as eighth notes or black on a cymbal (according to the required effect) with the right hand, and by beating the second and the fourth time (in the case of a measurement into 4/4) with the clear case. This applies metric ternary just as easily in the case of.

The beaters of reference of black metal are mainly: Fenriz, Derek Roddy, Tim Yeung, Robert Prominski (or Inferno), Emil Dragutinovic (ex-Marduk, Deviating), Nicholas Barker, Jan Axel Blomberg (or Hellhammer), Kjetil Vidar Haraldstad (Frost), Vegar Larsen (Vyl), Modin Matte, Reidar Horghagen (Horg) hand-barrow eithum (faust ex emperor)

Lyric topics and vocal characteristics

  • a very particular vocal style; a piercing cry guttural, which points out torture, the hell or more generally the existential anguish. It is more or less the standard in the black metal, although there are other criteria. For example, Primordial is classified in the black metal although this group does not use the vocal style suitable for the black metal. Some groups, in particular of the groups of black symphonic metal, use also vocal melodies in more traditional frequencies, for example a choral society of voice of men, although that is used only to return a certain atmosphere.
  • an effect of reverberation on the voice to give a cavernous sound.
  • Of the words generally centered on the Satanism, the Paganism, or occults it. The words can also contain blasphemies aiming at the Christianisme.
  • Of the words celebrating the cold, the darkness, the forests, and other natural environments of Northern Europe. That reflects the Scandinaves origins of the black modern metal.
  • More and more often, by the topics of war, rejection of the others, desolation (sometimes apocalyptic)
  • the words is also often inspired by the fantasy, in particular by the works of JRR Tolkien. For example, the group Autrichien Summoning concentrates almost exclusively in the fictitious worlds described by Tolkien. Other groups create their imaginary worlds, as the group Immortal, which describes a fictitious kingdom of the name of Blashyrkh (Blach-irk delivery), controlled by a king of the name of Ravendark.

The singers of refer are: Dead (Mayhem (RIP)), Nocturno Culto (Darkthrone), Gaahl (Gorgoroth), Satyr (Satyricon) Legion (ex Marduk), Natterfrost (Carpathian Forest), Abbath (Immortal), Mortuus (Marduk), Maniac (ex Mayhem), Ishann (Emperor), Attila Cishar (Mayhem).

Atmospheric and structural elements

  • the pieces of black metal often have an abnormal structure which avoid the segments of refrains and verses and which uses wide and repetitive instrumental passages with less song than in the other kinds of metal.
  • the black metal concentrates relatively less on the dynamic rates/rhythms that the Death metal. Very few groups of black metal use rhythmic complexity suitable for the death metal, and even if some use it, they generally use some of the characteristics listed in this section to be classified in the black metal.
  • From time to time, of the groups of black metal uses keyboards. The harpsichord, the violin, organ, and the choral societies are often imitated with the keyboards. The effect concerned is an orchestral feeling or an effect pointing out to the Cathédrale S. Some groups very frequently use sometimes the keyboards, that it is used as secondary instrument or the instrument first of their sound. These groups are generally classified in the kind of the black symphonic metal.
  • Certains groups recorded their albums with complete symphony orchestras.
  • Generally, the albums of black metal are produced with a minimum of production. That is done voluntarily, either like a form of protest against the music general public, or like a means of creating an atmosphere. As mentioned above, this quality of its poor is reached by eliminating the sound frequencies from the medium, which leaves only the higher frequencies and the lower frequencies. It is often known as that it was because of very a small budget, but often, it was not the case. This style of production is often regarded as an essential component of “truth” black metal, with Transilvanian Hunger of Darkthrone being a highly influential album using this style of production.

Concerts

  • All the groups with a complete line-up, like Gorgoroth, Enthroned and Dark Funeral play live. These groups often use theatrical settings in scene in their concerts which are coherent with their music. These settings in scenes are regarded as being macabre per many metal fans. Contrary to the other musical genres where the concerts into live are regarded as an essential component of the kind, much of groups of black metal do not play into live. Certain groups refuse to play live, such as for example Northern Blut aus or Burzum. Other groups, like Clandestine Blaze, and Leviathan cannot play live because their group is made up only of one member. On the other hand, some groups which include only one member, like Satanic Warmaster or Nargaroth, make concerts with additional musicians recruited especially to play into live.
  • part of the groups of black metal use also effects (like boxes at rates/rhythms, effects of complex mixings, and sounds of environment) which often, are not adapted to the live scene.

Esthetics

  • the esthetics of the groups of black metal is often cold, sinks, sad, melancholic person, reflective, tragic, méditative, or having a dark atmosphere of nature.
  • Beaucoup of musicians of black metal adopts a vestimentary style “néo-medieval” which can include leather elements, nails, sadomasochistic elements, antiquated armours and weapons, and facial paintings called Corpse Paint.
  • the majority of the musicians of black metal decide to adopt pseudonyms, often inspired occult or imaginary characters.

The first wave

The seeds of the black metal were planted in the beginning of the Années 1980. These groups formed what much now calls the " first vague" of black metal. One of the oldest inspirations is the group English Venom. Their first album, " Welcome To Hell" , left in 1981, was an enormous inspiration for the scene black metal (which would arrive nearly ten years later), like their second album left in 1982, " Black Metal" (used in reference to the black magic). The music of Venom was similar to that of the future scene black metal in much in manners: limited production (characterized by a sound of bad quality), music " dure" , and of the songs relatively grognés, similar to the vocal technique of the black metal, although Venom had a style more NWOBHM/Thrash metal that in its more recent music. The vestimentary style of Venom was also similar to that used today by the groups of black metal: leather pants, accessories with nails, etc the members of Venom used also Pseudonyme S, the consistent original line-up of Cronos, Mantas, and Abaddon.

A more direct inspiration would be the group Swedish Bathory, which, having one member, consists only of Quorthon (of its true name Thomas Forsberg). The music played by Bathory at the beginning of its career was pure black metal, with limited production, fast tempos, demanding partitions, and the vocal technique " rauque" clean with the black metal. Bathory apparently founded this style of nowhere, the first two albums (" Bathory " and " The Return ") being perfect examples. The style of Bathory then evolved to dimensioned the more artistic of the black metal in the end of the year 1980. At that time, the black metal was a rather vague kind which had acoustic parts, Scandinavian melodies, and words concerning Scandinavian mythology. At that time, of the songs considered as impossible to circumvent today were enrengistrées, as has Fine Day To Die , which will be then taken again by the group of symphonic Black metal Emperor. Quorthon had suffered from cardiac problems during all its life, and an infarction cost him the life at the 38 years age, on June 7th, 2004.

Hellhammer, then later Celtic Frost also had an enormous impact on the black metal.

Among the other great influences the group Danish Mercyful Fate is located, which had words concerning of the occult topics (what was imitated later per many groups of black metal). King Diamond, the singer of Mercyful Fate, would be the first to have had a style Corpse Paint - esque, a style which would be used later per many groups of black metal. Mercyful Fate also began the practice of the image blasphématoire, which was a very influential factor for the black metal of vagueness according to.

Another influence is the group Italy N Death S, which mixed topics of horror with thrash metal between the end of the year 1970 and the beginning of the year 1980.

The second wave

The black metal in its form present (called the second wave of black metal, which is centered much on the theory of classical music) at summer influenced much by the Norwegian groups, like Darkthrone, Enslaved, Gorgoroth, Mayhem, Burzum, Satyricon, Immortal, and Emperor and used the musical style of the first wave of black metal while incorporating elements of the heavy metal mainstream and classical music. This influence on behalf of the first wave is more obvious in the use of pagan Sataniques imageries or, the occult lyric topics, or the words anti-Christian women.

In the beginning of the Years 1990, the scene black metal in Sweden became larger and important with groups like Marduk and Dissection. This expansion of the black metal was also present in Finland with groups like Beherit and Impaled Nazarene. Elsewhere, of the groups like Samael, Master' S Hammer, Enthroned and Blasphemy had many influences on the second wave of black metal.

A style of abraded recording, of very low fidelity, is common in the black metal. Many groups considered as leaders of the kind made evolve/move their sound with the wire of the albums. Good example is career of Mayhem which started with influences of death metal and black metal, which changed into pure black metal, then turned over towards its influences death metal. Another example is the career of Behemoth, which started with influences death metal and black metal, which then changed into pure black metal, then in an hybrid of death metal and black metal known under the name of Blackened death metal (Death blackened metal), then with their last album, The Apostasy , they play of pure brutal the death metal. The modern derivatives of its original of the black metal incorporated atmospheric elements by using ambient guitars and configurations of the keyboards similar to the organ or other sounds various and varied.

A practice distinct (but not obligatory) in the black metal is the use of Corpse Paint (painting of corpse), a special kind of white make-up and black which was used so that its carrier resembles a corpse breaking up or a victim of the Black Death. Immortal called their make-up " war paint" (painting of war). Another particular practice of the black metal is to use pseudonyms with connotations dark, Nordiques, or Satanic. This practice was started with Venom, of original sound line-up: Cronos, Mantas, and Abbadon. Other examples of this practice are Quorton, of Bathory, and Euronymous, of Mayhem.

The older groups tended to incorporate topics whimsical, mythological, and folk in their songs as well as dark and Satanic topics like much of its predecessors.

History

One of the major influences of the groups of the first wave of black metal was the group English Venom. Although the group cannot be classified like black metal, or credited as being the pioneer with the kind, Venom was a major influence and one of the first groups to use topics lyric Sataniques and dark in their music. Although the musical style of Venom has in common with the thrash metal or the NWOBHM, they had an enormous influence on the first groups of black metal in the end of the year 1980 and the beginning of the year 1990.

In 1991, the attention around the black metal increased when the singer of Mayhem, Dead, committed suicide by drawing a ball from rifle in the head. Its note of suicide read: " Excuse all the blood" (Excuse all blood). The ammunition had been given by Varg Vikernes, which played the low one for Mayhem. The suicide of Dead can be regarded as locates it for the beginning of the second wave of black metal.

The body of Dead was discovered by Aarseth (Euronymous) which, instead of calling the police force, ran in a store to buy a camera, that it used to take a photograph of the corpse to make the cover of the future album of Mayhem ( Dawn off the Black Hearts ). The legend wants that Aarseth then took pieces of the brain of Dead to carry out a traditional ritual Viking. According to the lords of chaos, Aarseth would have taken pieces of cranium of Dead to make the pendentive ones.

The fire of the Stavkirke de Fantoft arrived in 1992. The church was completely destroyed. The police force suspecta a close relation of Euronymous, Varg Vikernes (so known under the name of " Count Grishnackh"), the only member of the group Burzum, but the loads were not retained. Second CD of Burzum, Aske, had a photograph of Stravkirke de Fantoft after the fire as a cover. Vikernes states to have taken this photograph, but that was not checked. The first thousand copies of CD were sold with a Zippo lighter with the same photograph as on the album.

The fans of black metal as started to terrorize groups of death metal in round in their country under pretext as they had the air too " purs" , or not enough " méchants". This can be seen in the strong competition between the Norwegian groups of black metal and the groups of death Swedish metal.

There be also a conflict known under the name of " Dark War" (" Somber" war;) between the Norwegian and Finnish scenes black metal which lasted between 1992 and 1993. That started when Nuclear Holocausto of Beherit started to make telephone hoaxes with Samoth of Emperor and in Mika Luttinen of Impaled Nazarene. These hoaxes were simply nonsense and songs of children. Luttinen thought that the strange language used was of the Norwegian and that these hoaxes were death threats. These speculations were founded on the fact that there were tensions between the Norwegian and Finnish movements metal, because of the fact that Euronymous wanted to carry out its movement black metal towards a kind of Mavia Black Metal nun, while the Finnish scene continued with more released attitude and LaVeyien Satanism.

The " guerre" it even was almost more of the words that actions. In the booklet of the album Tol Cormpt Norz Norz Norz " of Impaled Nazarene, texts like " No orders from Norway accepted" (" no orders of Norway accéptés") or " Kuolema Norjan kusipäille! " (" Died with the assholes Norvégiens"). After their first album, Impaled Nazarene stopped playing of the black metal and defined their own kind as " Satanic death metal" , to dissociate itself from the fires of churches in Norway. The Finnish group Black Crucifixion was also known to have called Darkthrone of the " poseurs" and of the " victims of the mode" in more the share of their interviews. Although Beherit did not really take part in the conflicts, a known Norwegian group under the name of Fuck Beherit left two demonstrations making fun of the group. The conflict is sometimes quoted like one of the reasons of the decision of Beherit to leave the scene black metal, but put aside the year, there is nothing concrete on this subject. The conflict ceased when the two scenes had faded.

The circle of close relations of Aarseth (or Euronymous) accepted even more celebrity in 1993, when Vikernes killed Aarseth in the house of the last. Vikernes declared that Aarseth had envisaged to torture it and to kill it by jealousy (Vikernes received more attention than Aarseth). The murder of Aarseth was purely of the self-defense. The circumstances concerning the reasons of the murder are not entirely clear, but were generally allotted to the ideological differences and of the conflict of being able between Aarseth and Vikernes. Vikernes also declared that there were financial arguments concerning the benefit of the first two albums of Burzum ( Burzum and Det Som Engang Var ) as well as the first EP of Burzum ( Aske ) which was distributed by the company of Aarseth, Deathlike Silence Records. Many sources say that Aarseth had intentionally delayed the exit of CD of Burzum because Burzum received more attention than Mayhem. Vikernes purges a 21 years of prison firm sentence and since deviated from the movement black metal. Many people show Vikernes to be a néo-Nazi - He does not deny to be Nazi by showing that his opinions are different, especially for his admiration of the Slave people. The site of Burzum is also in Russian in addition to being in English. Vikernes since left two albums a musical style much more ambient and electronic, Dauði Baldrs , in 1997, and Hliðskjálf in 1999, although it implied in a recent interview that it would write music similar to its old CD after its coming out of prison.

Towards the end of the Years 1990, the scene black metal had lost much the violence which had saved to him such an amount of attention a few years before. Groups started to take new directions by increasing the quality of production of their sound and by using electronic instruments like keyboards. These changes mean the end of the first wave.

But since the middle of the years 1990, a scene black metal of Eastern Europe developed. Groups of the ex Communist bloc record music more faithful to the primitive nature of the Norwegian artists of the first wave. Many the words of these groups glorifiaient the pagan roots of their countries of origin, sometimes incorporating elements of indigenous folk music in their arrangements. The Latvian group Skyforger is one of the first examples of this novel mode. The scene black metal in Russia and Ukraine produced groups which used the same sounds thoroughly arranged of Scandinavia, but with much more accent on the sound of bad quality of the black metal of the first wave. The Czech group Trollech is a perfect example of the black pagan metal " old-school". The group Urkainien Nokturnal Mortum received a very great recognition in the West. Their first albums depended much on the keyboards, but their more recent music has a sound more threatening and more abrasive while using folk instruments Slaves. The group Polish Graveland passed, in their recent albums, with a more medieval sound, resembling more developed version of the albums “Viking” of Bathory. In the past, Graveland played of the music much rawer with a certain folk mood. Negură Bunget, of Romania, is an good example of the black traditional metal, by injecting their elements Dacie NS and Latin in a his Scandinavian. Other notable groups are the groups Serbes The Stone and May Result.

Groups like Dark Funeral and of the extreme metal magazines as Terrorizer thinks that a third wave of black metal is emerging. This third wave would come mainly from France and Sweden. The groups of this hypothetical wave would be Deathspell Omega, Northern Blut aus, Arkhon Infaustus, Anorexia Nervosa, Necrosaint (group of New Caledonia), Antaeus, and Ofermod. These groups declare being much more interested in the occult Satanisme and/or topics that the preceding artists, and play an extreme style much more believed. As for the second wave, the third wave tests with various sounds. Deathspell Omega is very influenced by the Gregorian chants and Northern Blut aus incorporates many elements of industrial environment in their music. There is much controversy concerning these new aspects. Many fans of black metal think that this industrial influence and the increasing means of productions mean that these groups do not return in the kind of the black metal.

Ideology

Any description of the ideology of a musical genre is intended to generalize in the sense that certain characteristics do not apply to certain artists. In spite of this fact, there is a clear ideology which summarizes the gasoline of philosophy behind the black metal.

The black metal often contains elements of the anti-Christianity, the misanthropy, the Nihilisme, the Paganisme, the Satanique imagery, and in certain cases of the Racisme and the Nationalisme, which they generally defend by claiming " pluriste" i.e. for a cultural plurism, explaining that an interbreeding of the populations would kill any culture, any idea, that there would be no more opposition, more criticism and thus more evolution. But rare are those which arrive has to clearly explain that without falling into a racism and a pure and simple xenophobia: Varg Vikernes, in its Vargsmal, for example, did not succeed. But of with dimensions musical, they regard their work as the natural result of their misanthropy and their social insulation. Generally, the majority of the musicians black metal are very anti-collectivists, critics of the religion, and support individualism and rational selfishness. The philosophy of Nietzsche east can be that which had the most impact on the ideology of the black metal, with the bonds between the creation of art and the expression of life, and the doctrines of the übermensch initiated by Nietzsche and expressed in the appearance of the musicians black metal.

The attitude of the musicians of black metal is relatively complex. Generally, appearance is ideological. It shows, as for the Death metal, a concept that the death and the other macabre taboos of the same kind are in fact of the essential aspects of the life which give him a direction and a direction. To be unaware of these things would be to be unaware of an important facet of the life. In the same manner, there is often a major bond with the nature which is accentuated. This major bond is a form of naturalism.

The great majority of the artists present in the scene black metal are neither nationalist nor xenophobe (these radical opinions are almost exclusive with the sub-genus of the National Socialist Black Metal), surely because the standard ideology of the black metal is influenced by philosophers anti-idealists who regarded racism as a form of idealism.

In spite of this fact, much of groups of black metal marry a form of patriotism which is not racist: they are rather proud of them nation, but do not disavow the right of the people of other nations to be proud of their nation. It is this part of the frame of mind anti-collectivist (very near to the Paganisme) which is sometimes held. They find logical that homogenization between the cultures (and not race ) is something to prevent, and that the only means of avoiding this homogenization is to be to trust to be a representative of its culture, and to create art which is exclusive with this culture. This weak form of patriotism is expressed musicalement by incorporating folk elements in the work of certain groups of black metal.

It also should be noted that " Hail" (with has and not an E), which is safety in the medium of the black metal, comes from English " to hail" (to greet), and does not express necessarily inclinations Nazis. is nevertheless useful to specify that '' Heil '' means the same thing as '' Hail ''. There is thus, linguistically speaking, no connotation Nazi in this mot.

Sub-genera

See too

Related articles

List of the groups of black metal

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