Like it or not, Darkthrone is by far the most influential and versatile black metal band ever. This point has been discussed to death already, so we won't bother adding more fuel to the fire.
If you want to read more about the history of Darkthrone, I suggest you start with this guide to Darkthrone's music and influence. There is more than enough material published to make the point that second wave Norwegian black metal was built around three bands: Burzum, Mayhem and Darkthrone.
But what is most impressive about Fenriz and Nocturno Culto's project is how often and how easily Darkthrone manage to reinvent themselves as a band, and remain a force to be reckoned with in the modern black metal scene, as as they did in the late 80s when they went from being a death metal band to embracing the raw black metal sound.
Complete Darkthrone Interview on the Early Norwegian Scene
In this post, we will cover something a bit different than usual. We won't be talking about the latest Darkthrone releases (which are excellent), but instead dive deep into the past... and see how Darkthrone sees their place in heavy metal history, and how they evolved alongside figures like Euronymous, Dead, Neraines, Hellhammer, Varg Vikernes, etc.
"Making plastic metal is just a source of embarrassment..."
Fenriz is known for his always hilarious rants about the sorry state of modern black metal. And most of the time we can only agree with him.
In this interview found in the book "Real Satanic Black Metal" (pages 143 to 148), we get a taste for Fenriz' dislike of the "rock star" lifestyle embraced by Dimmu Borgir and other "plastic" bands. Those who try to be the Britney Spears of metal.
Fenriz: I hate instruments, I don't give a f[-]ck about what brand it is and so forth. [...] When I get riffs in my head, and then make the rest of the song I have only used an acoustic guitar since 1998. I figure if my primitive riffs sound good on that shit, it will sound a.o.k. with fuzz on the finished product. Vocals are just done with a lot of ATTITUDE on my part. I feel that's being most true to myself. You can understand, as you want to live an active culture life yourself. Making plastic is just a source of embarrassment for yourself when (if) you get older, right?
This can also be seen as a criticism of modern day "feuds" between bands that are based on nothing more than rights to a band's name - see Immortal and the clown show surrounding the name drama - or other marketing rights.
"Live shows look like a preacher on stage reciting the gospel..."
He also lashes out at "music festival", claiming music is meant to be heard, not seen. Darkthrone is, for the record, a band that stopped playing live in 1991.
Fenriz: I listen to music, I don't watch it. I don't like music videos nor the THEORY of live shows either. But I've seen many good gigs in my days. I liked to discover new acts. Hated the whole CROWD thing. Like the preacher on stage and the coven in the gig hall. [...] When people ask me about metal festivals I go: zzzzzzzzzzzzzzzzzzzzz...
This was also something echoed by Famine of Peste Noire, who once claimed "you can't even hear anything in black metal concerts, so it becomes a competition of who can have the best theatrics".
When asked about Darkthrone's early influences, the answer was clear and limpid: Motörhead.
Fenriz: Motorhead is massive, it's got rock and punk and metal too. Exactly what most kids today don't understand. The 90s built a lotta walls between stuff that was crucial to see and hear in open fields.
He was then asked to comment on the use (and abuse) of synths in black metal. In can be seen as a commentary on Emperor's career trajectory, and their later falling out of favour with the rest of the black metal scene.
Fenriz: I don't need any dark synths in my metal, never did. My problem with modern metal is this: since 1990 everyone could get overground sound for a cheap price. AT THAT POINT over/underground became a CHOICE. In the 80s underground couldn't afford the hi fi sound of the overground. Underground was a struggle. Since 1990 it was a CHOICE. We CHOSE to have underground sound after our first album. We learnt from our mistake. Then why does so many CHOOSE to have plastic overground sound? F[-]CK THEM! [...] The only ones to do synths right were Burzum.
This point is important. Those who want to sell out - and be the next Arch Enemy - do so by choice. They know full well the consequences, good and bad, of their actions.
"We never had a problem with anyone in the scene..."
The last part of the interview concerns conflicts within the Norwegian black metal scene, in the early days of the genre.
Fenriz reiterates that he never had a problem with any band, but some such as Abruptum and Dissection (see here) falsely believed the rumour that Fenriz himself was Varg Vikernes' "accomplice" in the killing of Euronymous - when in reality, it was Snorre Ruch of Thorns.
Fenriz: We never really had a problem with anyone in the scene. After Euronymous' death, we did get some threats, and I know that "Ali" or something from Abruptum was very angry at us for a while. [...] He was talking like Euronymous was his best friend when in reality he only met him once, if even that. It was childish. Euronymous held this people in utter contempt.
The "Ali" person in question is Tony Särkkä of Abruptum, who ended up committing suicide in 2017 due drug addiction. He also briefly played in Antekhrist.
This is somewhat similar to a comment made by Ivar Bjørnson of Enslaved about many "Swedish bands" had never met Euronymous, and overnight became his "brother".
Ivar Bjørnson (Enslaved): Many struggling bands used the death of [Euronymous] to try and claim some sort of 'friendship' with Øystein. But let met ask you a question. Since when does sending fan letter to a person suddenly make you his 'brother' when this person die? If that's the case then James Hetfield has over a million so-called brothers. It's opportunistic, and I don't like it. [...] None of these Swedish bands had ever met with Euronymous.
As a side note, there were a few Swedish metal bands that did meet Euronymous at Helvete, such as Marduk (in 1992) and Morbid (obviously), but these were few and far in between. The majority were, as Ivar and Fenriz put it, opportunistic "gold chasers".
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