NECROM– 光从未在这里 (2019)

从整个21世纪90年代中期开始,乌克兰的黑金属乐受到了全世界听众的关注。来自这个国家(尤其是哈尔科夫地区)的Metal音乐由许多值得注意的乐队定义,这些乐队在诸如Emperor之类的键盘重音风格的“ Symphonic 黑金属”样式中进行了扩展,加入了70年代的前卫摇滚元素,颠覆性的重节奏,以及其祖先的传统斯拉夫民间音乐,创造出标志性的“史诗般”声音,将经典旋律重金属音乐的魅力与“二次浪潮”黑金属的民俗神秘愤怒相结合。



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夜尸– 钢铁之声 (2009)




During the 10th century A.D., Prince Volodymyr 和 Queen Olha before him adopted Christianity in a war-torn land with 深-rooted Pagan beliefs. Little could either of them have predicted how hard it would be to impose a foreign philosophy on the yet unbroken Slavic 精神. Over a millennium later, the politically-imposed monotheistic deathcult would be suffering a slow death while the true colors of the Slavic nation would slowly resurface out of the fires of hate.




European nations previously beyond the Iron Curtain have not been known to produce the most accomplished 黑金属. These usually make prominent use of heavy 金属 technique while overlaying folk tunes on a poorly-focused progressive structure. These may still win the hearts of the fans of underground 金属 as 诚实精神 仍然受到高度重视。这种“尽力而为”的态度很可爱,但是如此明显的天真,无论多么真实,只能走一个远。



Nokturnal Mortum的历史可以追溯到金属濒临死亡之时,即最初出现寄生和僵尸场景的交界处。乐队大二的发行在地下引起了一定程度的恶名 农历诗歌 1996年。此后,乐队只提供了一些令人信服的录音,这些录音都带有伪交响曲的风格:从专辑开始大而有史诗,然后迅速退化为滑稽的摇滚节奏和尴尬的民间音乐。

After five years away from the studio, the band returned with a folk-ambient album speckled with rock 金属 enhancements here 和 there. This was the necessary transition that would make the next album after it the most accomplished Slavic 黑金属 album to date. To be more precise, what was achieved in that following album, 钢的声音, is an accepting of the full paradigm of 黑金属 without giving up the naturalistic 和 folk-like tenor 独特(in this day 和 age, at least) to Eastern European 金属.

IV。 Golos Stali:太阳黑金属

In contrast to traditional 黑金属, the ideological bent of its Slavic counterpart demands a different approach to technique in 要么 der to better convey the necessary impression. Instead of outright occult devilry, either through blasphemy 要么 mystic conjuration, we find the remembrance of heroic personalities as well as true 活性(也就是说,通过表达生活中的平凡和非凡行为)对自然力量的崇敬和敬拜,无论是可见的还是看不见的。这种对英勇才能的钦佩体现了大地的本土精神,人们根据时代本身在特定的时间点以最高级的表达方式传达了自然本身的力量。

Nokturnal Mortum采取了谐和的和弦策略,而不是传统的地下金属的模态,即兴重音结构。这可能会阻止许多纯朴的地下主义者,但在接近时会有点耐心 钢的声音 will result in a most rewarding experience. Once past the local use of rock aesthetics incorporated into a melody-and-riff riding that is closer to the methods of 金属, the longer, repetitive structures of goal-oriented 黑金属 become clearer.

允许部分和模式沉浸在熟悉之外,并将其嵌入到收听者的脑海中。突出民谣的较轻的本性和摇摆的节奏不会引起沉思的so状状态,因此整体效果用于不同的结果。平滑而有意义的过渡以一种隐秘的方式进行,以至于听不懂的听众可能看不到它们。这些为事件的严格连续性带来了令人耳目一新的合理多样性感。与 魔法师 而法国的方法在这方面可能不是不可能的,其巨大差异在于 斯拉夫乐队,例如“夜光”或“德鲁克” 更频繁地公开显示摇滚/后摇滚的质感和音乐敏感性。

To conclude, it feels necessary to point out the outstanding use of ambient techniques that should be part of the repertoire of any 黑金属 band of any worth, whether applied explicitly 要么 otherwise. These, in combination with rock texturing, rhythms 和 guitar soloing brought to the mind of the writer the late 平克·弗洛伊德(乐队名. The result of the correct fusion of the more popular techniques showcased in the older band with the sharp focus of proper 黑金属 can result in an interesting balance. The strictness of 黑金属 seems to have been what the disconnected, apparently drug-induced passages of 平克·弗洛伊德(乐队名 required in 要么 der to contribute to the formation of a full music. These elements are humbly utilized in 钢的声音通过细心和耐心的细微工作,他们的互动和结合,产生了巨大的力量 solar 金属.


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布列维– 隐藏在空间之外 (2015)


Hailing from 乌克兰, 布列维(Буревій = Hurricane) play a modern take on 黑金属 which makes use of old school sub-styles 通过 keeping them relatively uncontaminated but subsumed under the band’s personal voice. In 隐藏在空间之外 we find the folk-oriented 黑金属 with rock sensibilities of Nokturnal Mortum, the swaying of long melodies of Drudkh, 和 a collection of strumming, tremolo picking 和 金属 riffing that meld as diverse raw material for a 黑金属 language descended 和 definitely compatible with but ultimately different from the more uniform 黑金属 of old.


This approach is somewhat of a signature among Eastern European 和 魁北克 黑金属 bands. The phenomenon is interesting when found in albums that manage to channel this almost faceless style into beautiful 和 meaningful expression. It demands a stricter attention to musical coherence in composition as the link between musical ideas will not be found in stylistic uniformity. 布列维even makes use of acoustic guitars to decorate 要么 fill passages that at first may feel like misplaced filler. A closer 和 paradoxically more comprehensive look also shows these passages are in line with the sections they connect 和 are not gimmicky interludes but articulations, points of exhalation.


一次旋转不会引起注意。它就像一片茂密的温带森林,您需要靠近并观察树木,岩石和溪流。花更多的时间和对专辑的熟悉来体验它想要传输的内容。古代斯拉夫人的自然崇拜和与骄傲的山脉,温暖的山坡和强大的河流相呼应的神秘沉思 隐藏在空间之外.


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霍尔斯is a Ukrainian 黑金属 band formed in 2004. Coming from the same general scene as 德鲁克and Nokturnal Mortum, 霍尔斯’ brand of 黑金属 is made 通过 mostly simple riffs 和 long, simple 和 slow melodies.  These are all very typical of the Slavic 黑金属 sound. Accessible to the novice listener of 黑金属, 霍尔斯offers an experience that lies closer to what purists would consider closer to 黑金属 than most mainstream acts rising the flag of the genre despite the real nature of their music


Production in this 补发 of the album is stellar, outshining that of releases 通过 countrymen Nokturnal Mortum. The rock-oriented sensibilities of this Ukranian 黑金属 could tick off purist fans of the more 极端 expressions of 黑金属, but  remains a 黑金属 album at its center. Content-wise representing little more than a mouthful for the experienced listener, this is a perfect release for those starting out with the genre. Strongly recommended as an authentic gateway album.


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How flowing 黑金属 took over the genre


有些人想知道—包括我们部分老员工— as to why we don’t feature the newer-styled 黑金属 acts like Drudkh, Blazebirth Hall, 和 the like here on Our answer is simple: they’re part of the same distraction that killed 黑金属.

It is in fact an illusion to argue that 黑金属 still exists. Rather, something exists that uses the name of 黑金属, but it’在音乐或艺术上并没有真正的关系。在地下’s mostly punk-based bands 要么 the above type of flowing 黑金属. Above that, it’s DeafHeaven:注视/情绪/独立,以为在社会上是不可接受的。

We all know how it got this way. In 1994, the momentum ran out. The 要么 iginal guys who made death 金属 和 黑金属 had each had their say 和 were bogged down in band politics, label economics 和 personal life decisions (stay with band, 要么 be able to afford food). It was clear there was not much money in underground 金属 as a career.

但是接下来的几年向我们展示了一个简单的事实:人们害怕地下金属。因此,在从事不同类型的职业之前,在地下金属行业实习可能会非常有利可图。它是“street cred”在黑帮嘻哈团体中的可比水平。这样一来,大门打开了,畜群涌入,带来了疾病。

On the underground side of things an interesting transformation took place. The 要么 iginal 黑金属 emphasized a kind of intensity that could not be replicated. So bands aimed for the next best things, which was to take that surface 和 put candy-metal underneath it. Specifically, stuff like the following:


这种风格从何而来?让’s recover the generations of 黑金属. It’s nonsense to say 黑金属 existed before the 1984-1987 generation of Bathory, Hellhammer/Celtic Frost, Sodom 和 Sarcofago. Even then, those bands were not 黑金属 per se so much as proto-underground 金属 sharing traits between death 金属 和 黑金属.

虽然其他人经常提到毒液,仁慈的命运和其他早期乐队“black 金属,” these were musically heavy 金属 acts not 黑金属 at all. They may have been inspirations, but they shared no musical relation to what was to follow, 和 yet fit within the genre descriptions given to them if one ignores subject matter. Venom was NWOBHM right alongside Motorhead, 和 Mercyful Fate fit into the proto-speed 金属 generation that overlapped with NWOBHM 和 included Tank, Satan 和 Blitzkrieg.

在原始地下一代之后,大多数乐队都在探索死亡金属,因为它具有最直接的可能性。定义死亡金属的原因是,它将即兴沙拉变成了叙事形式,从而创造了一种新型的渐进音乐,这种音乐在作曲层面上是进步的,但在机械方面肯定不是进步的!因此,这是1970年代前卫音乐(深红色之王)和朋克的完全虚无主义(放电,Cro-Mags,Amebix)的完美融合。自从Iggy与Stooges和Black Sabbath保持彼此互不干扰,直到1960年代后期到1970年代中期,这张专辑才得以融合。

The first generation of 黑金属 really came 关于 in 1990 with Immortal. Bathory had developed fully with 血,火,死 but had also regressed into the speed 金属 styles popular at the time. Immortal had a simple idea: take the approach of 血,火,死 要么 锤心 并适应1985年的力学’s 回报 to it. The result fused the 极端 with the progressive-ish yet again, 和 from it was born Immortal’的第一张专辑。话题也发生了变化,这在一定程度上是由上一代的奥丁尼奇(Bathory)和神秘主义(Slayer,Hellhammer / Celtic Frost)的理想所激发。


The next generation defined itself as the 空间 between the Emperor/Enslaved split, which really opened up 黑金属 worldwide as people could easily understand this as an aesthetic, 和 Burzum’s 赫维斯·莱塞特·塔·奥斯. The former more resembled the horror movie music 和 progressive heavy 金属 of the time, 和 the latter changed 黑金属 from something that vaguely fit into rock song-format into something entirely unrecognizable, a hybrid with ambient music 和 progressive avantgarde. But right in the middle of this generation something interesting happened.

受到Burzum的部分启发’使用旋律发展来强调更长的片段“我的星空之旅” 和 Emperor’s vast “Inno a Satana”除了Gorgoroth的更多戏剧作品,例如“Sorg,”这些乐队创作了更长的歌曲。但是,他们的旋律并未设计得尽可能与众不同,以尽可能长时间地保持空中的感觉,因此他们倾向于在旋律中使用递归模式。固定的颤音和背景节奏给了他们流畅的效果,Graveland在华尔兹节拍中充分利用了这一点,从而最大程度地脱离了现代感。‘reality.’


正是从这个模板中,Blazebirth Hall和相关的斯拉夫和哥伦比亚乐队发出了声音。但是,他们’d做了原始乐队没做过的事情:他们消除了原始乐队的模棱两可,奋斗,崇敬和坚定不移,而原始乐队本身就是从500年来欧洲原始浪漫主义思想中衍生出来的。

换句话说,制成糖果金属。它’毫不奇怪,主流行业将其与最紧密的流行音乐联系-shoe目结舌和emo / punk / indie关联起来,并迅速从中获得了芝士节:

提示:这是其他孩子在1990-1995年间曾经听过的’涅Ni乐队和潘特拉(Pantera)完整的主流音乐节已经走了。唱片公司知道这个配方有效,只需要一个时尚的新装就可以了… so they recruited 黑金属. Interesting how both the underground 和 aboveground sold out in parallel.


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德鲁克-eternal_turn_of_the_wheel德鲁克– 车轮的永恒转弯

A fantastic example of how modernity twists the heart of 黑金属 beyond recognition, this album is fruity symphonic rock masquerading as 金属 through the vocals 和 guitar tone. Songs start with nothing 和 go nowhere, though still manage to take up an inordinate amount of time. Entirely derivative of what came before it, there is nothing on this disc to make it distinguishable from the other bands in this style; though at least the groove is catchy.

zarach_baal_tharagh扎拉赫‘Baal’ Tharagh – 永恒的黑暗

发行了一百多个版本,您可能会认为这支乐队会偶然发现一个一致的公式或发展某些歌曲创作能力。错误。这使用了夸张的“通过垃圾箱记录在音箱上”美学使愚昧的人愚弄它’s 黑金属, but it’仅仅演奏了3和弦的车库摇滚,节奏稍快,节奏过快,使Xasthur听起来像“三个男高音”。有时候,会演奏早期的Satyricon / Ulver风格的哭泣即兴即兴乐段,但Stooges封面的加入证实了这个家伙应该用他有毒,空洞的胡话废除金属世界,并在酒吧里演出。

瘟疫牙齿的荣耀和伤害瘟疫祭坛– 牙齿的荣耀和伤害

“Artistic”表演舞者音乐视频和“moody”除了图像之外,瘟疫祭坛还试图通过玩Metalcore粉丝/ Facebook Headbangers的合法性“我们听到了死亡咒语欧米茄”卡。适用于临床抑郁症的一维缓慢的低垂歌曲已经不复存在了,这里是The Dillinger Escape Plan试图在进行甲基狂饮期间使他们的吉他泛音。所有关于比约克的虚假知识采访都比艺术性要强“愚蠢的死亡金属与爆炸声胡扯” doesn’改变生活的这个简单事实:在起步时尖叫着随机失谐“hitting a trash can”噪音在上面播放,不是“high art.”

阿斯福德尔的_meads_of_jesus_the_jew的谋杀案水仙粉– 犹太人的谋杀案

Another example of mashing rock together with 黑金属, this one goes for the carnival of progressive 和 “space” rock being the focus of songs, together with riffs somewhat reminiscent of 黑金属 if it were made 通过 hearing-impaired children with Down’综合征。结合了ANGRY MAN的人声和歌词,即使您当地的metalcore乐队也赞不绝口,这支乐队真正拥有了献身于赶时髦的人的所有东西。有职能的人不需要申请。

book_of_sand-destruction_not_reformation沙书– 破坏而不是改革

独立大满贯诗人的愚蠢抗议活动摇滚乐,讽刺性地扮演黑人金属,以促使人们向艾滋病研究和“spread awareness” 关于 other “social concerns”同时从明尼苏达州郊区的安全局势中反叛。这不是黑金属,就像Liturgy和Deafheaven竞技场一样’t. It’一串哭泣,苦乐参半的尖叫和弦以固定的周期非常快地弹起,而小提琴则在漫无目的地徘徊,毫无意义地鼓起了对“avant-garde.”平凡的人群友好主题被推到了最前沿“安全,友善和社交” version of “black 金属”戴着足球眼镜的足球妈妈在去迪帕克·乔普拉读书俱乐部聚会的路上可以听“food not bombs”贴纸装饰了SUV。

wan_wolves_of_the_north万– 北方狼

再来一次。无论如何,他们最近怎么称呼它?黑色n’滚?这与罂粟色的Oi朋克乐队没什么不同,它偶尔会向毒液之躯倾倒,同时炫耀Bathory和Hellhammer斑点,“forum cred”. “EXTREMEE!!!!!”瞬间发生在第三次NWN Blasphemy撕裂瞬间,但这听起来像是快乐的三弦摇滚再次翻滚。这是“black 金属” version of Nirvana’s Bleach LP.


Metalcore是愚蠢的最后前沿吗?自称是“进步和技术的死亡金属”,您可以从大学潮人的乐队照片中放心,事实并非如此。“Djent”节奏节奏,硬汉咕unt,还有“甲虫在塑料垃圾箱里嘎嘎作响”鼓的表演只是这支乐队真正的杂耍元素:拥有的拥有权演奏着他们最喜欢的时刻 誓约与三次 歌曲速度翻倍。尽管如此,这个拼盘却是如此的令人毛骨悚然和虚弱’的速度和调低频率,以至于整个频段都可能掉落“metal”行动并已经成为Paramore。

犬儒-carbon_based_anatomy犬儒– 碳基解剖


尘土行者分– 尘土行者

王座室里的狼很自命不凡,但是这…大部分曲目都毫无目的地以毫无意义的方式挣扎,类似于慢潜或灵性化,而“agonized”声音轨迹发出类似于Anathema的呜呜声,然后等待,创新就开始了!还记得人们听到黑金属时听到的黑金属吗?无聊。现在,我们已经对芬感到满意’对地下音乐世界的贡献:将声带扔到晚些时候的Katatonia歌曲上,并用狂热的声乐代替。像其他鞋迷的黑色金属渗透剂一样,这个乐队’极端的即兴演奏听起来像是O型负面单曲一样沉重,他们将不屈不挠地迫使您放弃生活,退休到无聊的生活中,他们需要购买Deepak Chopra书籍并谈论最新的《行尸走肉》插曲星巴克。

和_oceans-amgod…and Oceans – A.M.G.O.D.

每个人都知道来自芬兰的地下金属通常是“quirky”, but …和Oceans没有任何角色或想法可以通过In Flames电子游戏muzak的基础来表达无线电摇滚歌曲的手艺。那么他们如何引起注意呢?用它覆盖“strange”乐队图片,愚蠢的名字,大量的样本和电子音乐插曲。相比之下,这张专辑使1994年以后的Amorphis看起来一致。全部“avant-garde”这个乐队雇用的头’不能改变这个事实,那就是拥有艾滋病的罗伯·僵尸。

dodheimsgard-666_internationalDødheimsgard– 666国际

如果不是’t a joke…来自Dimmu Borgir“extreme”在Voivod和Marilyn Manson之间进行混音,然后用一首歌在女王风格的体育场摇滚乐中达到高潮,这支乐队大约“black 金属”在他们职业生涯的这一点上担任“摇篮”。与其他假艺术家Aborym和Ved Buens Ende一样,Dødheimsgard似乎认为将并列最愚蠢和最讨厌的声音混为一谈“harsh”金属时刻是向前发展的一步。雌雄同体的乐队形象表明,该乐队正试图吸引Dimmu购物中心哥特人群。在一个完美的世界中,这些小丑会将吉他和木锉从音乐中删除,删除无关的元素,并成为VNV Nation或Apoptygma Berserk。

心外膜切除术-厌恶_恶臭心外膜切除术– astro亵亵渎恶臭

也许人们在批评《 itu告》时是正确的,因为他们在“终结完成”时代穿着慢跑短裤,并在Madball和Agnostic Front进行巡演。我们在这里所拥有的是纯洁无邪的白痴。根本没有金属。在颤抖的节奏中长出了说唱乐句,表明在调低7弦的音色中,一个人可能会从前两个品格中搅出所有多余的噪音,但这并不会改变它,而不仅仅是在吉他上嘻哈。“英勇领主有轻率” they say…是的,但是遗忘者的雕像没有’听起来也不像吴塘氏族。

黑客主义者黑客主义者– 黑客主义者

Djent演唱说唱乐。让它安顿一会儿。阴谋论网站歌词偏向图像“social awareness” to flaunt “importance”。这是什么意思呢?憎恶被称为Hacktivist。像《外围》和《动物领袖》这样的乐队通过他们的乐队渗透到地下金属中“deep”nu-metal令人印象深刻,它’有人尝试去做并不奇怪“legitimize”在一些吉他课上,这种形式通过强迫群众喂食有效地成为了Limp Bizkit。对于所有“dissing”这张专辑旨在迎接新世界秩序,它的目的在于只有现代性和全球化才能生产出这种产品。

男爵夫人黄色和绿色男爵夫人– 黄色& Green

It’毫不奇怪,这个乐队如此之大。利用Clutch用的时髦摇滚乐“street cred”带卡车司机的帽子“stoners”,然后将“白色条纹”的广播摇滚加入到混音中,您会得到听起来更像Weezer的更具攻击性的青少年摇滚。这个乐队’音乐是如此平淡无奇,以至于如果其中一部曲目获得许可在16集和《孕妇》中使用,也就不足为奇了。

乳齿象_feist-feistodonMastodon / Feist– Feistodon

在外面的某个地方,穿着Sonic Youth T恤衫的人抽着烟在他的小指和无名指之间夹着香烟。通过与歌手兼歌手Feist的合作,Mastodon发布了他们迄今为止最时髦的随行产品。互相掩盖的歌曲揭示了这些可憎之物的真正精神–哭泣的车库岩石。您可以调低调乐器“loud”随心所欲地敲击这东西,但这只是Weezer从两侧播放Alanis Morrissette的歌曲。与本月假小贩鲍里斯(Boris)的其他口味类似,Mastodon具有讽刺意味,第一,第二。

光泽-they_awoke_to_the_scent_of_spring光泽– 他们醒来了春天的声音

If you thought nobody would ever bother make an album consisting only of distorted guitar arpeggios 和 linear synth lines, you would be wrong. How this gets filed under 黑金属 is a mystery, as this album is not even 金属 to begin with. This is hipster lullaby music, an album perfect for listening after consuming just a few too many frappuccinos. In fact, Starbucks should play this in their advertisements. They’d可能发财了。


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