Lords of Chaos: The Bloody Rise of the Satanic Metal Underground (Anglais) Broché – 12 janvier 2003
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Par contre, j'ai été profondément déçu par le contenu de cet ouvrage, qui se focalise beaucoup trop sur certaines personnes (comme par exemple Varg Vikernes, on dirait que tout le livre lui est consacré !!), et qui parle plus des crimes et des articles à sensation de la presse de l'époque que du Black Metal en lui-même. De plus, ces crimes et ces articles n'ont parfois qu'un rapport très lointain avec la scène Black Metal (Comme l'effarant épisode des Lords Of Chaos qui donne son nom au livre, et dont les acteurs n'ont absolument aucun rapport avec le Black Metal) , et on dirait que l'auteur a plus voulu se focaliser sur le côté polémique et viser le coup de pub plutôt que de faire un véritable compte-rendu de la naissance du Black Metal dans les années 90.
En résumé, ce livre n'apporte rien de nouveau et de pertinent dans le débat sur la question, et est plutôt à conseiller (et encore, avec beaucoup de recul, vu la peinture extrême et extrémiste qu'il fait du genre) aux gens qui ne connaissent rien au Black Metal.
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But halfway through the writers lose their momentum and it becomes a fairly unfocused look at satanism and black magic - which ultimately has little to do with the subject at hand.
The final chapters feel like repetition of much of the information in the first eight chapters, but are interesting because of the detailing of bands in different areas of the world and what different scenes are like there.
As I put in my title, this is a good book, but it could have been great with some editing.
This book is not a "history" of black metal so much as a series of accounts of individual events in the scene. From here stems my main criticism of the book: it's a bit sloppily strung together. It starts off with a breif background of satanism and occult in non-metal music, and continues with a summary of early black metal bands such as Venom and Bathory. The following section, which makes up the majority of the book, is about the occurances in the Norwegian scene, mainly focusing on Mayhem and Varg Vikernes. Then there's interviews with people trying to explain the psychology behind satanism, heathenism, racism, and general bitterness towards judeochristianity. And finally, there is a bit about the events surrounding Absurd in Germany, and short cameos of black metal scenes and associated crimes in other countries that seem to have been tacked on as an afterthought. The first half of the book is a quick read, the second half requires a bit more patience.
Overall I enjoyed this book, and would recommend it to any fan of metal with an interest in the subject. Non metal fans might enjoy the book as a true-crime account, but I think something would be lost by a reader who knew nothing of the music or had never been to a metal show and therefore knows nothing of the context.
The authors carefully explore the Norwegian political climate and the presence of the State Church as part of the environment that led to the rise of Black Metal. Heavy Metal influences from around the world are also painstakingly traced. Several interview subjects expound upon the difference between Norwegian Satanism (dedicated to destroying Christianity) and Anton LaVey's Church of Satan (focused on achieving pleasure through selfish desires and motives). In the closing chapters, the authors explore Black Metal true crime in Germany, as well as copycat pseudo-Satanic rituals, sacrifices, and crimes committed by rabid fans in the US, Finland, England and other parts of the world. While the main figures in Norway and German maintain that Black Metal murders were due to interpersonal conflicts (NOT ritual sacrifices), the younger fans in other countries seem to glorify the music and commit senseless copycat acts in tribute to their heroes.
Moynihan and Soderlind have created an exhaustively-researched treatment of music, politics, and crime. The book avoids sensationalism at all costs and presents multiple points of view, especially in the dozens of interview subjects. The text is interspersed with hundreds of illustrations of band logos, album covers, fliers, traditional religious symbols, band members on stage, growing up, and in prison, media articles, press releases, and letters. The visual accompaniment greatly enhances the reading experience.
Lords of Chaos is an in-depth look at the scene that spawned these incidents. Moynihan and Soderlind's book is probably one of the oddest true crime stories that I have ever read. It's clearly an ambitious work, and it often suffers from trying to cover too much ground at once. It's a Black Metal history that turns into a true crime novel and finally morphs into a sociological treatise on Satanism and nationalism.
It profiles a number of the prime movers in the Norwegian Black Metal scene, and has an amazing number of interesting photographs and illustrations that provide tremendous depth of detail into the subjects at hand. Moving quickly from a short history of the development of Black Metal, the authors begin to delve into the tragic events surrounding the band Mayhem. Mayhem's leader Oystein Aarseth (stage name Euronymous) and his cohorts set out to form the most sinister band imaginable, setting a cartoonish Satanic image up against a furious wall of metallic sound. Mayhem would provide the blueprint for a generation of followers, not only in sound but in background philosophy. Mayhem intended to live out their Satanic image to the hilt, proving to all that they were no mere posers. This desire for authenticity would eventually lead to a crime wave that still reverberates today, as grave desecrations and church arsons eventually led to murders and a rise of nationalistic imagery not seen since the heyday of the Nazis.
The authors have great source material and were lucky enough to get firsthand interviews with a number of the primary subjects in the book. The writing moves along at a good pace, as the reader is taken on a whirlwind tour of the Black Metal scene.
My main gripe with the book was the substandard level of editing. There were numerous misspellings and printing errors throughout the book. Also, as I stated earlier, I thought that the authors really lost track of where they were going with the book. It's a crime book with a lot of music history and cultural observation......or maybe it's a music history intertwined with a true crime novel.....or perhaps it's a sociological deconstruction based on a true crime story with Black Metal for it's background source. I don't know......it's confusing, but it somehow all works out in the end.
Truth is certainly stranger than fiction. There is no way that a writer could make up this cast of characters or the storyline that accompanies them. It's a truly amazing ride into a netherworld of Satanism and extreme music, where violence and aggression are rewarded and civilized society is reviled.
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