In the 80’s, heavy metal bands like Metallica, Anthrax,
Megadeth, Twisted Sister, and Iron Maiden were rising to fame and causing a
large amount of controversy in the process. Accusations of devil worship and
Satanic lyrics (among other nefarious things) were thrown at these bands by
Christian organizations and media outlets worldwide. Heavy metal was rocking
the music world, challenging conventions, and providing its fair share of musical
innovations and techniques, and the fans loved it.
But near the mid-80’s, a new sub-genre of heavy metal was taking shape in Scandinavia. Heavily influenced by early thrash bands like Sodom, Sabbat, Destruction, Venom, and Hellhammer, as well as hardcore and crust punk like Sore Throat and Doom, this new type of metal was characterized by heavy, repetitive tremolo riffs, blast beats, raspy vocals, and lo-fi production. Taking its name from the Venom album of the same name, “black metal” was raw, relentless, and uncompromising, as well as largely unheard of. It wasn’t until the band Mayhem, and the controversy surrounding its members, that black metal was widely recognized by the rest of the world.
Formed in 1984 in Oslo, Norway by guitarist Øystein Aarseth (“Euronymous”), drummer Kjetil Manheim, and bassist Jørn Stubberud (“Necrobutcher”), Mayhem released several demos before finally recruiting vocalist “Maniac” and recording the pivotal EP Deathcrush. Soon afterwards, Maniac was replaced by Per Yngve Ohlin (“Dead”), a Swedish vocalist from the death metal band Morbid, and Jan Axel Von Blomberg (“Hellhammer”) took over drumming duties.
Dead was known for his strange behaviour both on and off stage. He was known to bury his clothes under the ground for weeks so they would begin to rot, and then dig them up before going on stage. Self-mutilation and dead animals/raw meat were a common sight at Mayhem live shows. Shortly after recording Live in Leipzig, Dead committed suicide in 1991. His body was found by Euronymous at their house near Kråkstad. Incredibly, Euronymous, instead of immediately calling the police, took pictures of Dead’s body, one of which was later used as the cover of the Dawn of the Black Hearts bootleg album. Dead’s suicide was the first in a series of bloody and violent events that helped bring black metal into the spotlight.
After the death of Ohlin, bassist Necrobutcher left the band and was replaced with Varg Vikernes (“Grishnackh”). Varg had his own band, Burzum (orcish for ‘Darkness’), in which he played all instruments, and was signed to Euronymous’ Deathlike Silence Productions label. Snorre Ruch (“Blackthorn”) and Attila Csihar were recruited to handle guitar and vocal duties, respectively. With the latest lineup complete, recording of the first Mayhem record, De Mysteriis Dom Sathanas, began.
The circle of friends that were involved with Mayhem and Deathlike Silence had adopted a dangerous fascination with Satanism and the occult, and a string of church burnings in Norway was linked to Euronymous and Varg of Mayhem and Samoth of Emperor, another early black metal band. This began to attract negative attention to Mayhem and the black metal scene, and bands like Burzum, Emperor, Impaled Nazarene, Bathory, and Darkthrone were lampooned by metal magazines and news publications alike for advocating a violent Satanic lifestyle. Their growing negative image wasn’t helped by the fact that Bård “Faust” Eithun, drummer of Emperor, was convicted of murder and church arson in 1992. Black metal began to see rising popularity amongst youth in both Europe and America, who idolized the musicians for their extremely controversial beliefs and the fact that they were willing to act on them.
On August 10th, 1993, Varg Vikernes and Snorre Ruch drove to Euronymous’ apartment in Oslo. Upon arrival, Varg shocked Snorre by fighting with and subsequently murdering Euronymous, stabbing him twenty-three times in the head, neck, and back. Varg claimed that Euronymous attacked him and he was only defending himself, but nevertheless, he was captured several days later, convicted of murder and church arson, and sentenced to 21 years in prison. Without founding member Euronymous, Mayhem was no more. De Mysteriis Dom Sathanas was released in 1994 and dedicated to him.
Sathanas was to be the last album by the now infamous black metal band, but in 1995, Hellhammer reformed Mayhem with original vocalist Maniac and bassist Necrobutcher, and recruited new guitarist Rune Eriksen (“Blasphemer”). Three albums, Wolf’s Lair Abyss (1997), Grand Declaration of War (2000), and Chimera (2004) were released before Maniac was replaced once again – this time by Sathanas vocalist Attila. Ordo Ad Chao was released in 2007, and is the latest Mayhem recording to date.
Mayhem is a band that sparked an incredible amount of controversy throughout their early career, but helped shape an entire sub-genre of music that can be both angry and intense, but also sad and beautiful. Many parallels can be drawn between recent black metal recordings and neo-classical, ambient, and folk pieces, and the genres are often skillfully fused together by talented composers and musicians. I have been highly influenced by modern black metal, and the constant evolution of the genre is both impressive and fascinating. Darkness and blasphemy are no longer staples of modern black metal – it has broken free from its constraints and is now a powerful force in the extreme music scene, influencing countless bands both popular and underground, and continuing to push boundaries and challenge conventions.
But near the mid-80’s, a new sub-genre of heavy metal was taking shape in Scandinavia. Heavily influenced by early thrash bands like Sodom, Sabbat, Destruction, Venom, and Hellhammer, as well as hardcore and crust punk like Sore Throat and Doom, this new type of metal was characterized by heavy, repetitive tremolo riffs, blast beats, raspy vocals, and lo-fi production. Taking its name from the Venom album of the same name, “black metal” was raw, relentless, and uncompromising, as well as largely unheard of. It wasn’t until the band Mayhem, and the controversy surrounding its members, that black metal was widely recognized by the rest of the world.
Formed in 1984 in Oslo, Norway by guitarist Øystein Aarseth (“Euronymous”), drummer Kjetil Manheim, and bassist Jørn Stubberud (“Necrobutcher”), Mayhem released several demos before finally recruiting vocalist “Maniac” and recording the pivotal EP Deathcrush. Soon afterwards, Maniac was replaced by Per Yngve Ohlin (“Dead”), a Swedish vocalist from the death metal band Morbid, and Jan Axel Von Blomberg (“Hellhammer”) took over drumming duties.
Dead was known for his strange behaviour both on and off stage. He was known to bury his clothes under the ground for weeks so they would begin to rot, and then dig them up before going on stage. Self-mutilation and dead animals/raw meat were a common sight at Mayhem live shows. Shortly after recording Live in Leipzig, Dead committed suicide in 1991. His body was found by Euronymous at their house near Kråkstad. Incredibly, Euronymous, instead of immediately calling the police, took pictures of Dead’s body, one of which was later used as the cover of the Dawn of the Black Hearts bootleg album. Dead’s suicide was the first in a series of bloody and violent events that helped bring black metal into the spotlight.
After the death of Ohlin, bassist Necrobutcher left the band and was replaced with Varg Vikernes (“Grishnackh”). Varg had his own band, Burzum (orcish for ‘Darkness’), in which he played all instruments, and was signed to Euronymous’ Deathlike Silence Productions label. Snorre Ruch (“Blackthorn”) and Attila Csihar were recruited to handle guitar and vocal duties, respectively. With the latest lineup complete, recording of the first Mayhem record, De Mysteriis Dom Sathanas, began.
The circle of friends that were involved with Mayhem and Deathlike Silence had adopted a dangerous fascination with Satanism and the occult, and a string of church burnings in Norway was linked to Euronymous and Varg of Mayhem and Samoth of Emperor, another early black metal band. This began to attract negative attention to Mayhem and the black metal scene, and bands like Burzum, Emperor, Impaled Nazarene, Bathory, and Darkthrone were lampooned by metal magazines and news publications alike for advocating a violent Satanic lifestyle. Their growing negative image wasn’t helped by the fact that Bård “Faust” Eithun, drummer of Emperor, was convicted of murder and church arson in 1992. Black metal began to see rising popularity amongst youth in both Europe and America, who idolized the musicians for their extremely controversial beliefs and the fact that they were willing to act on them.
On August 10th, 1993, Varg Vikernes and Snorre Ruch drove to Euronymous’ apartment in Oslo. Upon arrival, Varg shocked Snorre by fighting with and subsequently murdering Euronymous, stabbing him twenty-three times in the head, neck, and back. Varg claimed that Euronymous attacked him and he was only defending himself, but nevertheless, he was captured several days later, convicted of murder and church arson, and sentenced to 21 years in prison. Without founding member Euronymous, Mayhem was no more. De Mysteriis Dom Sathanas was released in 1994 and dedicated to him.
Sathanas was to be the last album by the now infamous black metal band, but in 1995, Hellhammer reformed Mayhem with original vocalist Maniac and bassist Necrobutcher, and recruited new guitarist Rune Eriksen (“Blasphemer”). Three albums, Wolf’s Lair Abyss (1997), Grand Declaration of War (2000), and Chimera (2004) were released before Maniac was replaced once again – this time by Sathanas vocalist Attila. Ordo Ad Chao was released in 2007, and is the latest Mayhem recording to date.
Mayhem is a band that sparked an incredible amount of controversy throughout their early career, but helped shape an entire sub-genre of music that can be both angry and intense, but also sad and beautiful. Many parallels can be drawn between recent black metal recordings and neo-classical, ambient, and folk pieces, and the genres are often skillfully fused together by talented composers and musicians. I have been highly influenced by modern black metal, and the constant evolution of the genre is both impressive and fascinating. Darkness and blasphemy are no longer staples of modern black metal – it has broken free from its constraints and is now a powerful force in the extreme music scene, influencing countless bands both popular and underground, and continuing to push boundaries and challenge conventions.
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