Black Metal. Kult wiecznie żywy, tom 1

by Dayal Patterson, Bartosz Donarski (Translator)

Autor Black Metalu – Ewolucji kultu przedstawia Black Metal: Kult wiecznie żywy – Tom I! W ramach starannie dobranych wywiadów inkrustowanych wieloma niepublikowanymi wcześniej zdjęciami, Dayal zagłębia się jeszcze bardziej w historię black metalu na kartach książki, którą można traktować zarówno jako osobną pozycję, jak i część serii.

Genres: Music, Nonfiction, History

272 pages, Paperback

First published March 31, 2015

About the author

Founder of Cult Never Dies publishing

Dayal is a writer, photographer and designer. He began writing professionally in 2005, having previously created a self-published music journal entitled Crypt Magazine. Since that time he has contributed regularly to the likes of Record Collector, The Quietus, Terrorizer, Decibel, Classic Rock Presents... and, most prominently, Metal Hammer magazine, whom he has written for since 2006, providing numerous lead and cover story features. Since completing a BA honours degree in photography at London College of Communication Dayal has been taking live, portrait and promotional pictures for numerous magazines including Record Collector, Terrorizer and Metal Hammer as well as for bands, individuals and companies.

Reviews

[Sandy · Rating 5 out of 5]

After reading Evolution & Prelude, I thought I knew what to expect from this book. And I was partly right and partly wrong. It’s extremely well done and was mind blowing.

As usual Dayal’s style is remarkable. His approach is very respectable and presentation is extremely catchy. I’ve always liked his style of publishing the interviews and the careful segregation of bands,it is very interesting. I’m also happy about the fact that the book dedicated the first part to Norwegian Black Metal. After all, it’s a part that can never be forgotten.

I really enjoyed the interviews with Wardruna, Kampfar, Mastiphal, Evilfeast, Forgotten Tomb and of course Satyricon. The absence of satyricon from Evolution was nagging me and finding satyricon as the first chapter of this book was total bliss. The much elaborated insight of Polish Black Metal was so informative and I’ve learnt a lot I’ve never known about some of my favorite bands. The interview with GrimSpirit blew my mind.

The last 100 pages were the slowest. DSBM was never my cup if tea. Apart from Strid, Forgotten Tomb and Shining, there’s nothing I can enjoy from the DSBM lot. Still it was interesting to read about them, how they operate, the struggles and the inspiration. These interviews sprouts a deeper respect for those individuals. For example, even if I can’t fathom Bethlehem’s music, after reading this book, I definitely have immense respect towards Jürgen.

The best part is the feature on Kittelson. That was such an unexpected thing and I enjoyed it a lot. I’m really grateful to Dayal for writing a serious series on Black Metal and not some load of bollocks full of fairy tales.

Books in the time of Covid-19 #4
Book 21 of 2020

[Katrin · Rating 5 out of 5]

With this book I have concluded my race through all of dayal's published books. And it was a true highlight! The book is again in a more prose style, with some sections in pure interview style. I loved it very much. The book concentrates on norwegian and polish black metal as well as the depressive/suicidal subgenre. This is exactly what interests me very much. I must say I enjoyed the part about Satyricon probably the most. This band fascinates me very much, mostly because of those two so iconic, so different and still so close personalities. I also loved the part about Wardruna, just having fallen in love with them and their unique style. And yes, DSBM is one of my personal favourites, so that was a highlight, too. Dayal has such a great way of treating his interviewees. He shows utter respect for everyone, regardless of their ideology, he has a way of making his "subjects" feel truly listened to and taken seriously. Also in his other publications I have read things that I have not read anywhere else and those "revelations" are very insightful indeed. I will for sure continue to keep an eye on everything dayal will publish and can't wait for what else he has in store for us..

[OscarWendt · Rating 5 out of 5]

The volume one of Black Metal: The Cult Never Dies by Dayal Patterson is the first part of the project started to provide a more extensive insight into the genre of black metal music. His previous book, Black Metal: Evolution of the Cult is a sizeable source of knowledge about the roots and history of black metal, however this is in the new book where we find the author’s elaborations on different and more specific aspects of the subject. The whole project was initiated with a clear purpose and definite concept of the decent black metal analysis.

The structure of the book is very coherent, clearly divided into three main sections - Norwegian black metal, Polish black metal and depressive black metal. Although, they are not directly connected, it still feels relevant to say that all three chapters are equally important for the project and give readers an idea of how Patterson approaches the case. For each chapter, the author chose several bands which he considered to be the most influential or meaningful.

For a more in-depth look into the fundaments of the Norwegian black metal, as well as its less obvious outshoots, Patterson revisited Norway. Thanks to his passion, apart from thoroughly discussed Satyricon and Kampfar, we get a possibility to enjoy stories from Manes and Solefald as much as, quite interestingly, Wardruna and other creative work of Einar Selvik. It is also noteworthy that Patterson devoted a short unit to Theodor Kittelsen, a Norwegian artist often credited among black metal musicians, mainly by using his paintings as album covers and treating him as a visual form of inspiration. Personally, I found this section very educative as it helped me understand and appreciate the partial background of Norwegian black metal.

Patterson has also decided to approach Polish black metal in his new book. As far as I'm concerned, it is my favourite part of this publication. It made me strongly aware of how little I know about my most esteemed area of black metal. I think that this chapter is particularly revealing and it comes with the great selection of outfits - Xantotol, Mastiphal, Arkona, Evilfeast as much as Mgła and Kriegsmaschine. All of the examined bands contributed to a certain extent to, what Patterson calls, distinctive Polish sound. With the likes of Xantotol and Evilfeast, the author investigates the importance of the underground music for building fundaments of Polish black metal. It is intriguing to observe how, through a range of interviews with key people, the story is explained. I think this chapter is a great addition to Graveland and Behemoth discussed in the Evolution of the Cult.

The last section examines the most obscure, but surprisingly popular side of the subject - depressive/suicidial black metal, often referred to as DSBM. I think that the story behind this particular branch of black metal is well-explained and quite consistent. The sizeable section is devoted to Bethlehem as the considered pioneer of the subgenre. As many untold storied are revealed, Patterson builds up an outline of the roots of DSBM, both musical and social. Also, with bands like Strid, Silencer, Forgotten Tomb and Total Negation, various angles of DSBM are looked into. The author provides a detailed image of major musicians involved in the scene and their attitude towards the phenomenon of DSBM. I think that the choice of bands is excellent and in spite of thorough analysis, Patterson left some room for revisiting DSBM in the future.

To conclude, I think that Patterson examines each selected band with an individual approach without falling into templates. This gives the reader the ability to interpret a lot of facts independently and build a complex image of the genre. It is also worth noticing that the book is very informative, and although loaded with facts, it is exceptionally easy to read. All in all, I think it is a brilliant forecast for future releases of the author and I really look forward to next publications of Cult Never Dies project.

The book is available through Cult Never Dies web store. The limited box set contains the book itself with an alternative cover, the Cult Never Dies t-shirt and A Visual Companion. The latter includes various pictures mainly involving the discussed bands. The whole box is really well made and it can definitely be an elegant addition to your collection.

[Kostas · Rating 4 out of 5]

Dayal Patterson’s phenomenal ‘Black Metal: Evolution of the Cult’ was for me a highlight not just in black metal writing, but in ‘alternative subgenre music history’ writing in general. It takes a rare combination of factors to create such an instant classic, including a thorough knowledge of the subject matter, a spiritual bonding with the material the author writes about, and painstaking research at the heart of the book. All these elements were firmly in place in Patterson’s debut book and the fact that it was also approved by most of its notoriously difficult protagonists, can only be seen as additional evidence of the quality of this work.

It was always going to be a difficult task to reach the same level of mastery in a second book which is a continuation on the same subject matter, a book which purports –in Patterson’s words- the release of new writing on the subject and chapters that could easily have slotted into the first book had I not been limited by space. However, don’t be misled by the description above; this book is luckily much more than just a collection of material that didn’t fit in the previous tome.

Instead of a chronological outline of the black metal genre, as in the aforementioned ‘Evolution of the cult’, ‘The Cult Never Dies Volume 1’ is thematically structured around three main parts. In the first part, Norway and its scene are revisited. In the second part, Dayal expands on the Polish black metal underground. Lastly, part three explores the relatively recent phenomenon of depressive black metal.

Once again the book is packed with the sort of detail that delightfully exposes the quirks and peculiarities of the characters behind this unusual musical genre. A visual companion adds an extra dimension to the stories for those readers who absorb information visually rather than conceptually. As a relative outsider to the genre, I initially tended to find the chapters about the bands whose music I already knew, such as Satyricon, Solefald or Bethlehem, more appealing. However, reading on the rest of the interviews with their more obscure but equally eccentric colleagues, I couldn’t help checking out the music of some of these bands out of curiosity, becoming in the process more interested in them. And this is another praiseworthy attribute of this fascinating book: because the individuality and strong will of the main characters come strongly to the fore through the interviews, you can’t help as a reader doing your own research about the bands you don’t know as much about, if only to find out if their music corresponds to their often bizarre and unusual worldviews. Total Negation, Mgla and Silencer you now have a new keen listener!

The tome also touches on themes and bands that are peripheral to the black metal genre per se, but relevant within its wider cultural context. There is e.g. a chapter on Wardruna, a band that can best be described as ‘ritualistic dark folk’, but has somehow managed to capture the hearts and minds of black metal fans. Reading through the interview with fascinating main man Einar it’s not hard to see why, as I can attest myself after hearing one of his talks at Roadburn festival earlier this year. There is also a chapter on the paintings of Theodor Kittelsen, a talented Norwegian ‘romantic’ whose melancholy, mystical and nationalist artwork graces many a black metal album cover, most notably in the work of Burzum.

If there is one point of constructive criticism I could make to this work, is that I would have liked Patterson’s own views to come more clearly to the fore. Continuing to approach his subject matter as a cultural anthropologist, he manages once again to inspire unusual –and sometimes deeply disturbed- personalities to tell their stories honestly and without self-censorship. However, many of their dubious views could and should be challenged, and when the author does so, this leads to fascinating reading. E.g. there is a very interesting conversation with Cornelius of the avant-garde black metal band Solefald, where Dayal challenges his lazy notion that provocative statements are necessarily connected to right-wing political views, effectively making him admit that this issue is more complex and multifaceted than a simple left/right divide. He does something similar in interviewing Herr Morbid from Forgotten Tomb- a man who appears to have some psychopathic views on the mission on his music and its apparent goal to incite people to commit suicide and self-harm. However, rather than confronting the musician directly, Dayal carefully points out in the book that the music contains many upbeat parts –at least compared to other ‘depressive’ acts- which begs the question whether there is an element of provocation and showmanship there rather than hardcore negative views that call for self-destruction. This leads to the author reflecting on the power of music and the artists’ responsibility over the consequences of negativity espoused through their work. I would like to see more of these passages in the future, in a work perhaps conceptually centred on the author’s philosophical views, where these views can be discussed with the many interesting creative persons he is in touch with, and the results of this dialectic intercourse can be reflected upon.

Regardless of the above, this is another fascinating book by Dayal Patterson. He now firmly establishes himself as an erudite and noteworthy author, and I am already looking forward to his future work.

[Ben · Rating 4 out of 5]

The second volume in Dayal Patterson's ongoing series covering the history of black metal, and as encyclopedic as the first version, even if it covers a little less ground than the first book. The most satisfying element of this follow-up is the fact that it addresses the most obvious (and much commented on) omission of its predecessor, the lack of coverage of Satyricon, and the Moonfog label in general. Satyricon themselves made one of the most interesting journeys in the genre between 1995 - 2001, from relatively orthodox Norwegian BM to a more urban and industrial take on the genre, and Satyr's label released some of the most compelling and avant-garde material to come out of the genre during that period (as well as rescuing Darkthrone from their self-induced excommunication from Peaceville). It remains a fascinating and pivotal period during the history of the genre, and Patterson's overview is as well-researched an detail-filled as we have come to expect.
The other key component of this entry in the series is a lengthy exploration of Depressive Suicidal Black Metal (DSBM), a scene spear-headed by the likes of Bethlehem, Shining and Silencer. While Patterson is perhaps occasionally a little too credulous concerning some of the more outlandish statements of the key players in this particular faction of the genre, it is a small price to pay for the incredible level of access he has managed to obtain with respect to artists that rarely speak extensively in the music press, and (particularly for such mythologised bands as Silencer and Mutiilation), it is very enlightening to gain such insight into bands whose influences only grows with every passing year. There remains something of a contradiction at the heart of DSBM - for all of the apparent isolationism and misanthropy on the part of the artists themselves, as well as the apparent veneration of self-harm and suicide, they generally remain very much alive, continuing to release albums on large metal labels and participate in the wider scene. I'm willing to accept that there is a cathartic and therapeutic dimension to their artistic endeavours, I suspect there is an element of exaggeration and even attention-seeking that goes with the territory here, and remains unchallenged by Patterson.
These are minor criticisms though, and overall, this is a fine continuation of the work that began with 'Evolution Of The Cult', and at this point the only biography worth reading with respect to many of the bands and personalities that it covers. Not only that, but Patterson has used his own writing as a springboard to create an extreme metal distributor and publishing house that is now the fulcrum for a host of writing about underground metal that simply wouldn't exist were it not for his passion and dedication, and all of which is ever present in his own writing.

[Lucy Batson · Rating 5 out of 5]

This book is a collection of interview/essay pieces with various figures in the Norweigan, Polish, and Depressive Black Metal scenes. Dayal Patterson is an outstanding writer, and that shines through in his thoughtful lines of questioning in the interviews, as well as his own insights on various sociopolitical, moral, and other aspects of the various scenes (particularly Poland's notoriously nationalist black metal scene). Highly recommended for extreme metal fans!

[Ramakrishnan M · Rating 4 out of 5]

great book. I thought there won't be much to discover....given how elaborate this author's previous book was.
but really delighted with the stuff here. strongly recommended for any black metal fan
my personal bow to the depressive suicidal black metal coverage

[Garry Byrne · Rating 5 out of 5]

In the 45 years I've been listening to metal I am still learning new things about what makes it tick - thanks especially to this book, as another piece of the puzzle. Highly recommended.

[Marvin · Rating 4 out of 5]

Das zweite Buch von #dayalpatterson aus seiner Reihe über #BlackMetal erweitert #evolutionofthecult um zwei wichtige Aspekte: Polnischen Black Metal um #Kriegsmaschine #MGLA und #behemoth und dem #depressivesuicidalblackmetal.
Dieses Buch ist im selben Stil verfasst wie Evolution of the cult. Es gibt zu jeder Band einen Artikel, der um Interviews gestrickt ist. Das Buch enthält wieder Fotos und Albumcover der jeweiligen Bands. Besonders spannend diesbezüglich ist, dass es einen Artikel über den Künstler gibt, der unzählige Coverartworks für Black Metal Bands kreiert hat.

Leider sind die Teste linksbündig geschrieben und die Papierqualität ist schlechter; allerdings ist das Buch auch günstiger.

Immer noch eine Empfehlung wert, auch wenn es nicht an das Erstlingswerk heranreicht. 4/5

[Alejo · Rating 4 out of 5]

Focused on the more avant-garde/ambient side of Black Metal than the more aggressive bands, with Norway taking a big chunk of the book with some bands that maybe aren't as relevant to this Metal subgenre. On the othe rhand, the Polish and specially the DSBM sections are quite illustrating and provide interesting information.

[Marek · Rating 3 out of 5]

Duzo slabsza niz poprzednik. Mam wrazenie, ze wybor zespolow byl mocno stronniczy.

[Rick · Rating 3 out of 5]

I read this book before the main volume, but it did not detract from the content. Despite not knowing many of the bands covered, the interviews were full of excellent insight and information. I look forward to reading Patterson's main work.

[Phil · Rating 5 out of 5]

For me the value in Patterson's books does not lie in the reflection on the history and development of black metal and its subgenres and scenes but in the revealing of the history, background and development of the bands – in the individual band profiles which are interesting, informative and in-depth: extended liner notes. Patterson is the medium through which the artists speak about their art and it works very well.
The less you know about a band's background the more exciting this becomes. I enjoyed reading about e.g. Shining, Mysticum and Trelldom in "Evolution of the Cult" and I enjoyed reading about e.g. Strid, Silencer and Bethlehem in "The Cult Never Dies Volume One". Bethlehem in particular is a very revealing story, in past interviews Bartsch only spoke vaguely but here he tells his story in choice language and even explains the concept behind their trilogy. I hope he will not regret this openness (I see no reason to regret it though).
I do not want to spoil anything but also other bands give unexpected and surprising information.