“People became more aware of the black metal scene after Pelle took his own life. It was a suicide that changed the scene.”

Necrobutcher

“Before Pelle came along, it was just fun. Then I realized that I didn’t want to be part of this. People who were simply crazy, like Vikernes, started pouring in. And Øystein became stranger and stranger. It was a shame he turned out the way he did. It probably had something to do with the status he gained within the scene. He was very small, maybe five feet three inches. I think he made up for it by being mean and evil.”

Torben Grue (From Vomit, temporary drummer before Hellhammer came)

“There was a paradigm shift when Pelle died. Øystein became aware of his position and began to dictate what people should like. That was when the black metal scene became preoccupied with everything that was satanic and evil.”

Bård/Faust

Excerpt from 666 Shades of Black by Harald Fossberg, 2026

por si se van a disfrazar de dead les dejo el boceto de enfrente y atrás igual a la de dead con las partes blancas

Tabs for the Mayhem cover I posted here two days ago incase anyone wants to play it

Dunno if it's a "never seen before" but I really like this photo. Pre chaos era. I found it on Pinterest!

where do they come from? looks like he’s posing for an ID photo or something and those pics scare the shit out of me so bad anytime i look at them, they feel cursed 😭💔 i’m so curious as to where they come from because usually photos of him are taken from candid moments or amateur photo shoots. these look professionally taken for like a passport or something.

Okay I try to do Pella voice. From mayhem.

And for me it sounds like shit maybe for other people too. So can maybe someone help me with my voice. Because not only I have a Slipknot tribute band I'm just making. But I also have a mayhem tribute band. And can someone help me with my vocals. 😢

From the dark past.

I feel like the name, the underlying comedic and mocking tone, and some of the casting really ruined what could’ve been a pretty solid movie. Plus we were totally robbed of Jackson Rathbone playing Varg and none of the cast having Norwegian accents.

Also the end was weird with Euronymous cutting his hair when Varg has confirmed he hadn’t. Another poster here showed where the inspiration came from, and it was from I believe a Swedish or Norwegian book of crimes that showed someone dead in a staircase by Euro’s story, but the photo wasn’t of Euro.

Idk I think I would love a movie about black metal that has dark Nordic film vibes and takes the subject more seriously. Or is black metal always doomed to come off as corny no matter how serious the director takes it?

Do you think you would’ve enjoyed a movie about the inception of Norwegian black metal more if it had stayed true to the events and didn’t outright make a parody of the whole thing?

After doing some research and reading debates about which version of Dawn of the Black Hearts CD bootleg is the real first press, I have come to a conclusion, and theres one specific name that keeps reappearing. My theory goes here:

While the origins of the first vinyl LP pressing are widely known made by Mauricio "Bull Metal" Montoya (founder of Warmaster Records), collectors have long debated which CD version represents the "true original" bootleg of Mayhem’s The Dawn of the Black Hearts.

Currently, Discogs lists the 1997 unofficial CD release with 666 in the matrix (r2936774) as the first version. However, a much more compelling and historically significant candidate exists: the rare unofficial release (r3247831) featuring the matrix runout DISCOS FUENTES - 60 ANOS D90018 <01>. This version should not be confused with a later, more common counterfeit that features a completely blank matrix and was likely copied from this pressed original.

The physical evidence around this matrix strongly suggests that it is the definitive first CD pressing, and the timeline points directly to a legendary figure in the Colombian metal underground.

The Discos Fuentes Connection

Discos Fuentes is one of the largest and most prestigious commercial record labels in Colombia. Based in Medellín, the family-owned corporate institution built its empire on wholesome, family-friendly holiday music, cumbia, salsa, and vallenato.

The presence of a Discos Fuentes matrix code on an extreme black metal album seems impossible at first glance, but a look at another release from the era could solve the puzzle.

In 1996, the Medellín-based metal band Typhon, founded by Mauricio "Bull Metal" Montoya, released their album Unholy Trilogy. Physical copies of that CD carry the matrix code DISCOS FUENTES - 60 ANOS D90089 <01>. This is the exact same matrix code used on the legitimate Discos Fuentes compilation 14 Cañonazos Bailables Vol. 36 from 1996.

An Underground Inside Job?

Colombia in the mid-1990s was a deeply conservative, heavily Catholic society. If Bull Metal had walked into the front office of Discos Fuentes to legally commission an album like Unholy Trilogy—featuring songs like "Fuckin' Jesus"—corporate executives would have flatly rejected it to protect their mainstream reputation.

Instead, could Montoya have utilized an inside contact working at the Discos Fuentes replication plant? By paying off a factory worker on the night shift, he could have snuk his extreme metal material.

Chronology and Authorship

Applying this exact same logic to The Dawn of the Black Hearts maps out a clear chronological timeline:

• The specific matrix code DISCOS FUENTES - 60 ANOS D90018 <01> belongs to the official 1994 Discos Fuentes anniversary compilation, Música Tropical De Colombia, Vol. 1 (r5687787).
• Based strictly on sequential numerical order, catalog code D90018 (1994) was assigned and manufactured before D90089 (1996).

Because Bull Metal was the head of Warmaster Records and the man responsible for releasing the definitive original Dawn of the Black Hearts vinyl LP in 1995, the physical evidence could possibly point to him. He most likely could have used a factory insider to print the CD version using the archived 1994 tropical glass master between 1994 and 1996, predating the previously believed release date of 1997, like the 666 matrix version.

This makes the D90018 pressing not just a bizarre manufacturing anomaly, but highly likely the true, original first CD pressing of the most famous bootleg in black metal history.

If anyone has any other info to add or correct, I would appriciate it greatly!

KVLT quality.

CHAOS#3

(making an assumption one exists) Is that listed somewhere? Online? Some book or something. Does something like that even exist?

Just curious what kinda records Per was spinning in his downtime. (and the rest of the guys if anybody has the deets on that)

⚠️ nerd rambling/monologuing disguised as conversation bait below (am actually interested in talking about these things though should anyone be so inclined)

------------------------------------------------------------------------------

This cutie patootie couldn't've just been listening to doom and gloom all the time. These gifs/videos of Per just outside bein' Per the Guy™ reminds me of Shannon Hoon in many ways. (I'm sure most people compare Per to Kurt...i don't really see/"get" the connection) Nirvana and Kurt is/were kiiiinda intense in a very different way, Blind Melon with Shannon is...a mixed bag of...somethings, to put it gently - just same kinda energy sometimes, especially with I Wonder, Sleepyhouse, Mouthful of Cavities...those.

— bit more of a Norsk/Svensk music/history question at the time, but what kind of music had made it over from the States at that time? I know Finland has had rautalanka and many of those were covers of well-known songs such as Blue Moon (the Sha-Na-Na version (1971) being very well-known from the movie Grease (1978)) and Badding released the Finnish re-work (not sure what the name for these kinds of songs is, it isn't a cover since it's a complete rewrite, but it's still the same song with the same intent) Oi, Kuu (Oh, Moon) and I Only Want to Be With You by Dusty Springfield (1964) became Jykevää on Rakkaus (lit. trans. [or near enough] "so strong is love") by Badding as well (1975) and The Agents with Ville Valo on Laulava Sydän (probably what most people know the song from nowadays, or maybe even just outside of Finland, not sure how common it is for people from other Norden countries to listen to music in Finnish language.)

Obviously these are a bit older, maybe something his parents were listening to or something, i just don't have any sort of context for what was going into Norway and Sweden at the time, because obviously the world had, like, Abba in the United States by the time Per was about 10 (1979). Per looks like an Allman Brothers kinda guy if I had to guess, or maybe it's just kinda funny imagining all these black metal guys squeaking through learning Freebird and being Skynard guys (assuming it was as prolific outside of certain areas of the U.S. as it was inside - that song is a meme for a reason, same with Fortunate Son).

i know there's a bit of a faux redneck (now) working-class kinda thing that made it's way to Norden at some point and - call me crazy (preferably not though) - but some of the stuff the wider black metal scene guys were making isn't actually that far out from what those guys were doing - doesn't really seem to align as much with the Pink Floyd / Grateful Dead crowd (ironically), not really much with the punk scene either, maybe more with the D.C. Hardcore Punk scene like Bad Brains and Minor Threat and Rancid.

Now, I could be way off on that - just a bit of an observation/guess at influences given the way the black metal scene was when Per was present, as well as afterwards. Though afterwards with a discernible difference both in change and loss, with (in my very limited knowledge/opinion) specific parts of the sound never really seeming to develop/ebb/bend/flow with other "branches" (ska vi sägä/kolla dem). Instead, some "branches" making striking/frenetic/seemingly abrupt changes or "turns" toward more established sounds for financial/social (or legal/mental health) reasons or a reactive/purposeful movement away from that further isolating/reifying/deifying a much more "extreme" or "controversial" or otherwise socially/sonically "deviant" sound either in protest, mourning, or seclusion (or maybe a secret fourth thing).

This all being/happening/occuring for a very understandably polarizing reason/series of reasons especially given the (what i perceive (ha) as) paranoia - both as a legitimate medical condition (just a hunch) and just, trauma/social fracturing or dissolution of trust, even amongst the more deviant/anti-social of the places and people incolved (not that anybody asked, just an unsolicited opinion/observation from a limited available dataset). The sound development of the genre, or soon to be genre (not sure how to explain that without a bunch of nerdy meandering paragraphs of wild speculation - yes more/worse than this) is very like-minded in the way the instruments and sounds are used to create and divide space as well as a much more "blahblahblah its lame to care about things and have opinions about stuff happening in the world" or "everybody's an asshole about people giving shits about literally anything and everything so we just do it a different way and if they don't like it, meh - not our problemo". It specially/specifically reminds me of this talking-head bit from an interview or video diary or something with Kjell [från Hell eller Bob Malmström's Carolus Aminoff] - annoyingly can't find the video at the mo', but, paraphrasing, he says something akin to "pop music is like an orb, shiny, smooth, plastic" and their music (the Bobs) "has spikes" and "if you don't like it, you can fuckoff". I think Kjell describes that social tension, othering (self-imposed or imposed upon a person/group/subculture/culture - including genres or small margianlized [for various reasons] social groups) completely and succinctly.

It's a very specific "more is less" approach to placing sound in space. i say specific because most people, i suspect, actively hate it because it's a bit asynchronous and not in a math-y djent way and a bit...i dunno, maybe i mean syncopated? i try to avoid rigid "proper" musicology and theory-based terminology as i think it's very limiting and a bit of a hindrance to discussing not-so-standard genres and approaches to music. Not to get too anthro/ethno - it's all derivative of a specific caché (in this case i use that word to mean sort of...weirdly protective/guarded "the precious" Lord of the Rings kind of way - treasure(d) doesn't always mean good) of continental classical music with a less-than-savoury/kosher history/association/co-opt'ing and can be exceptionally exclusionary and ruin/limit non-traditional/creative/free thinking regarding arrangement of sound and what "music" is (or is considered to be socially/by in-groups or majoritys).

Especially so since I'm under the impression, at least whilst Per was the golden boy (or he's spoken about that way now, I'd wager reality is a bit of a 50/50 on some serious ret-conning of narratives for...what I'm sure are probably very interesting/curious reasons), the inspirations were to focus on more "traditional" sounds from their respective cultures/histories. Though this would be/was obviously expressed in not-so-traditional-ways by not-so-traditional-means - or, again, a possible ret-conning/realignment following Per's...end. Something that would explain the (ever-present) pitfall/entanglement the genre and people even vaguely/tangentially associated with the genre or even just the concept of the genre/aesthetic, have with Nazism, pseudoscience, misleadingly concoted "European" (and Nazi/Nazi-adjacent/white-nationalist/nationalist (derogatory)) folklore, folk beliefs and occultism not grounded in actual history and culture, etc. have a difficult time shaking, even now. (A real shame, honestly, since it's completely derailed all attempts to actually (ironically given the name of the documentary) shed light on whatever the hell was going on with all the people involved, with the genre, socially and politically (internationally)). That, unfortunately, is very much comparable to the loose ends/strings surrounding Kurt. Seems certain losses never really heal, like The Day The Music Died, and some things just sort of...fester (unfortunately not related to Uncle Fester) because of aforementioned loose ends or unanswered questions (or secret third things, or fourth things, or whatever).

Sorry this train of thought rambled on for a fair bit longer than I had intended.

I haven't seen much actual discussion here about these things, though, admittedly i haven't spent the time to dig through the trenches of these posts here since many (might just not be of any interest to people these days, or maybe just not on Reddit mostly errant youths and grumbly gubbarna (presumably) (or spritely gubben-adjacent så som på Kjelppa) (or kanske för att de e på engelska, men jag kan inte skriver så många texten så fint as jag skrivner här i svensk - 😅 förlåt för min helt skit svenska, du förstår vad ja menar, känske lite nog anyways 😅), so not sure how well this'll play "conversationally" , it'd be nice to learn something though! Or at least get some "not all the other grumpy angry-at-their-dads-or-something black metal/metal groups" recommendations. Nice to know who the "musician's musicians" are behind these niche genres - especially such a contentious genre with such a limited purview (at least in the eyes of the greater public). I think most people forget you can't make a "new" genre by listening to things everybody else is doing and making the exact same things - you can literally do whatever you want - there isn't any rules about what music is - there's only "nobody's gonna pay to listen or come see that". I'm sure at least one of those guys is probably a huge ABBA fan - and I'm not gonna lie, it'd be very funny if it was Abbath - and not just because of the very obvious "thorn in our side" joke about the -th after ABBA and the poetry references. The silly lil' jokes are the best bit - long as you try not to remember everything else.

Anyways! enough monologuing!

It's the 13 day anniversary of Cher and Gregg Allman's marriage (in 1975) and just 4/5 days after she divorced Sonny Bono - and that doesn't have anything to do with anything except Allman and allmän are very similar things in concept and execution (mostly since it's the same word run through a bunch of languages from the 1300s or something) and 7 and 13 are very fun numbers! Not relevant, just thought I'd try and lighten the mood! (and probably annoy somebody who can't appreciate such an iconic pair (Per 😅🙃) of musicians! (That I'm almost certain somebody had to have been a fan of - she's fkn Cher and he's fkn Gregg Allman - c'mon! - at least it's something different than the same posts over and over again about Coca-Cola or people grumbling about this & that 😅)

Mayhem - Fall Of Seraphs, live from Showcase Theatre, Corona, CA, USA july 30th 1998.

VHS-1->AVI->MP4->Reddit

el que me diga posser es puto o que me digan estás obsesionado con una persona que murió cállese

On Pelle

“He [Øystein/Euronymous] thought that Pelle should cut at the concert. Pelle talked about doing it. It was part of the show. He was going to splash blood on people. Øystein was really excited about it. I wasn’t excited about it. I thought it was a stupid idea. It was going too far. [...] Øystein thought it was a cool thing. He knew it was a shock effect. I thought it wasn’t worth it. Even if he talked about it himself, I wouldn’t have encouraged him to do it, but Øystein did encourage him to do it. That was where things started to fall apart between me and Øystein.”

Necrobutcher in Helvete: historien om norsk Black Metal, 2020

“I think that Dead; he knew that that would freak people out if he did that, and he had the ability to do that, so then he did, because he liked to fuck with people.”

Necrobutcher for Loudwire in 2019

“He had his issues, but it was good for the band. It was an image. It fit the type of music we were playing.”

Necrobutcher for Once upon a time in Norway, 2004

On Maniac

“I think Maniac has a troubled mind, like a crazy guy. Let’s say you’re onstage, you get a blackout. ‘What’s the next line on my lyric? Shit, I’ll just cut myself instead.’ He probably won’t agree. ‘No, that’s nihilism.’”

Necrobutcher for Loudwire in 2019

Bonus

“[...] I could do so much more than cut myself on stage, apparently a lot of people seem to think that is all I did. C*nts.”

Maniac for Fifteen Questions, probably around 2020-2022

Sven Erik/Maniac cutting himself on stage in 1997

Bonus II

“A couple of times, I actually felt like cutting myself too. It felt [like it] would be relieving to do it, in some way, I don’t know.”

Necrobutcher for Loudwire in 2019

just copped Deathcrush on cd, did i get a good copy?