Abstract
This article delves into the largely unknown realm of Afrikaans black metal, a subgenre of extreme metal. It traces the genre’s roots from the origins of heavy metal in the late 1960s to the maturation of black metal in the 1990s and beyond. The article specifically examines the development of Afrikaans black metal, discussing various bands, their lyrics and themes, and relating them to the broader international black metal scene.
Heavy metal, which encompasses diverse styles since the 1960s, is characterised by fast tempos, distorted guitars, powerful rhythms, and often screamed or growled vocals. Extreme metal, a subset of heavy metal, pushes these boundaries further with radical sounds, imagery and lyrics, often considered shocking. Black metal is positioned as the most transgressive space within extreme metal, rejecting societal norms and dealing with controversial themes.
The historical development of black metal is explored in this article, starting with the pioneers of heavy metal like Led Zeppelin, Black Sabbath and Deep Purple. These bands introduced new musical styles and explored themes of the occult, mythology and rebellion. The “new wave of British heavy metal” (NWOBHM) in the late 1970s and early 1980s further solidified heavy metal, increasing speed and aggression while incorporating elements of punk and classical music.
The 1980s saw the fragmentation of heavy metal, leading to the emergence of extreme metal. Thrash metal bands like Slayer used Satanic imagery and explored themes of violence and the occult. Venom, with their albums Welcome to hell and Black metal, became a crucial influence, giving the name to the new branch of extreme metal. Other significant bands in the “first wave” of black metal include Mercyful Fate, Hellhammer / Celtic Frost, and Bathory, which established the musical and aesthetic template for the genre.
During this period, white metal (Christian metal) also emerged as a polar opposite to black metal, focusing on Christian themes and lighter musical styles. The 1980s also marked the beginning of South African heavy metal bands, although black metal did not emerge in the country until later.
The “second wave” of black metal in the 1990s saw the genre solidify and gain notoriety. Norwegian bands like Mayhem and Burzum became central figures. Mayhem was known for its macabre imagery and controversial events, including the suicide of their vocalist and the subsequent actions of their guitarist. Burzum, the solo project by Varg Vikernes, became notorious for using Norwegian lyrics, his association with church burnings, and the murder of Mayhem’s guitarist. Other Norwegian bands, like Immortal, Dark Throne, Satyricon, Gorgoroth and Emperor also contributed to the scene, with some members involved in criminal activities. Swedish band Marduk also gained prominence for its intense style and Satanic themes.
This period also saw the establishment of extreme metal in Sweden and the emergence of death metal and grindcore. These subgenres explored themes of violence, war and the occult, often with graphic lyrics.
The “third wave” of black metal, starting in the mid-1990s and continuing to the present, is characterised by geographical and stylistic expansion. Bands like Cradle of Filth and Dimmu Borgir gained mainstream attention, albeit sometimes dividing the black metal community due to their more polished sound and theatrical elements. This wave saw increased experimentation and the incorporation of various influences, leading to diversification within the genre. The influence of Dimmu Borgir is specifically mentioned as significant for Afrikaans black metal bands, as it proved that singing in one’s native language did not limit the music’s reach.
The article discusses the use of Satanic imagery and themes in black metal. While some bands genuinely explored Satanism, most used it as a symbol of rebellion against Christian society or as a calculated tactic for shock value. The Norwegian documentary Satan Rir Media (“Satan rides the media”) suggests that the media often exaggerated the Satanic element, portraying what was essentially youthful criminality as Satanism.
The article then shifts to the development of Afrikaans black metal. It notes the rise of various Afrikaans music genres in recent decades, including rap, industrial music, extreme metal and punk rock. However, black metal remains largely unknown within the Afrikaans music scene. Despite this, several Afrikaans black metal bands have emerged, incorporating the themes and aesthetics of international black metal while placing the Chaotic element within an Afrikaans context.
Specifically, the article mentions Afrikaans black metal bands such as Vrotgot, Nahul, Volkmag, Krygsmag, Ominous Reflections, Droom Alone, Swartwoud, Scathanna Wept, Stille Beendere, Onheilig, VleesAnker, Slagbees, Somerreën and Spectral Bastion. It emphasizes that these bands do not simply imitate foreign black metal, but rather adapt the genre within their own context, resulting in unique interpretations and expressions. Nahul, Slagbees and Scathanna Wept are specifically cited as drawing inspiration from Dimmu Borgir for using a native language.
The article mentions that before the 2000s, none of the early South African black metal groups recorded songs in Afrikaans. It was only in the early 2000s that Afrikaans black metal truly began to emerge.
The article concludes by highlighting the importance of examining these groups’ lyrics and themes in relation to the international black metal scene. The article sets the stage for further research into this niche but vibrant subculture within Afrikaans music, emphasising that the incorporation of local context leads to unique artistic expressions.
Keywords: Afrikaans music; black metal; Chaotic; extreme metal; heavy metal; lyrics; music scene; popular music; Satanism
- This article’s featured image was created by InkBlack Visual Art and used with the permission of Scathanna Wept.
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