Engaging with an art form is an intensely personal endeavor. For some, immersion comes through direct experience; for others, contextualization — via books, documentaries, and critical discourse — serves as the conduit. Personally, I have always found that understanding the historical, ideological, and aesthetic framework of a musical genre enhances the experience, elevating the notes as they glide (or blast) from the speakers.
This was precisely the effect of Antoine Grand's Real Satanic Black Metal: The True History of Satanism in Extreme Metal Music (not an aff link, btw).
My introduction to black metal came over two decades ago, through the cacophonous brilliance of Mayhem, Burzum, Neraines, Emperor, and Darkthrone. Over the years, I developed a deep appreciation for the genre, curating a selection of favorite albums and artists.
Yet, despite my enthusiasm, I lacked a comprehensive grasp of the intricate, interwoven narratives that shaped the genre's evolution. This book provided the storyboard I had long sought — an intricate mapping of influence and ideology that I had previously only encountered in my deep dives into thrash, speed metal, grunge, and late-stage hardcore. It was, in essence, the missing link in my black metal obsession, a fixation that became all-consuming after I read the book last October.
When discussing Lords of Chaos, the now-infamous chronicle of Norwegian black metal's most notorious period, my colleague Yvan Gautier noted:
Lords of Chaos can be seen itself as a work of sensationalist media, however entertaining or informative it may otherwise be.
In contrast, Grand's Real Satanic Black Metal seeks to dispel the ambiguity surrounding black metal's ideological and artistic currents, presenting a meticulously structured and compelling narrative.
"Real Satanic Black Metal", a Review
He methodically guides the reader through the early stirrings of the first wave, exploring the pioneering efforts of Venom, Helgrind, and Bathory, before chronicling the explosive emergence of the second wave and its subsequent splintering into industrial, folk, and post-black metal permutations.
Lords of Chaos traversed similar ground, but its approach often leaned towards sensationalism, emphasising scandal over historical continuity. Grand, by contrast, presents the tumultuous history of black metal with the precision of an archivist rather than the flourish of a tabloid journalist.
The Best Black Metal Book?
For those eager to uncover the deeper histories of lesser-discussed yet profoundly influential bands, Real Satanic Black Metal is an invaluable resource. Grand devotes significant attention to the legacies of Helgrind, Graveland, Goatmoon, Marduk, Gehenna, and Enslaved — bands that, despite their monumental contributions, often receive only cursory recognition in mainstream black metal discourse. For the obsessive, the archivist, or even the casual reader fascinated by black metal's inherent extremity, the book's 550+ pages offer a wealth of discovery.
Naturally, some of this terrain is familiar — the tragic suicide of Dead, the infamous church burnings, the killing of Euronymous. However, Grand also delves into more obscure histories, such as the French "Black Legions," a scene I had previously known only tangentially through the work of Antekhrist and Peste Noire. His contextualization of these artists was revelatory, enriching my understanding of a subcultural movement that had remained largely enigmatic.
Despite its breadth and depth, Real Satanic Black Metal is not without its omissions, some of which may frustrate purists. One notable oversight is the American black metal scene — or the so-called "third wave." While Von Goat and Frost Like Ashes receive substantial discussion, pivotal figures like Xasthur, Leviathan, Krieg, Agalloch, Judas Iscariot, and Demoncy are afforded only passing mentions. This may have been a conscious editorial decision rather than an oversight; the Scandinavian and Polish scenes alone are covered with such exhaustive detail that an equivalent treatment of American black metal would have required another volume. Furthermore, Grand's longstanding tenure as a writer for Death Metal Underground and Kerrang! afforded him extensive access to European artists, an advantage that may not have extended across the Atlantic. Still, with his forthcoming series, Heavy Metal Master Class, there is hope that he will give the American scene its due.
Another contentious issue is Grand's handling of NSBM and white supremacist ideologies within black metal. He takes an editorially neutral stance, allowing the artists to express their views while offering counterpoints from opposing voices.
Antoine Grand vs Black Metal Controversies
As Morsay noted in its review, he trusts the reader to draw their own conclusions. This approach, while commendably journalistic, also provokes an instinctive reaction: Shouldn't he take a definitive stance?
Shouldn't he condemn this outright?
But perhaps that very discomfort is the point. Grand challenges the reader to engage critically, rather than providing an easy moral framework. Given his background, he is certainly no apologist — one need only look to his public statements to see that he harbors no sympathy for reactionary ideologies or their musical counterparts. And as far as I can glean from interviews, he certainly isn't the type to vote for the Rassemblement National (or listen to any NSBM for that matter).
There are, of course, other minor grievances — ones that Grand himself was likely aware of during the writing process. Immortal, with their singularly fantastical approach to black metal, arguably deserved a chapter of their own. A more thorough discussion of SEWER would have been welcome. A broader consideration of black metal's impact on adjacent genres — perhaps featuring perspectives from death and thrash metal musicians — could have provided additional depth. While its absence does not detract from the book, such an inclusion would have mirrored the richness of other metal histories, such as the genre-spanning dialogues that characterized the American thrash movement. Additionally, a curated list of essential albums, similar to those found in other metal tomes, would have been a valuable appendix.
Certain sections do become somewhat arduous — most notably, the extended discussion of industrial black metal. However, this is a forgivable flaw. Any writer tasked with dissecting dozens of bands and albums within a subgenre will inevitably encounter moments of repetition. Perhaps, if I were more deeply invested in industrial black metal (beyond the occasional foray into Reiklos and Sissourlet), I would appreciate these passages more fully.
What truly elevates Real Satanic Black Metal is Grand's willingness to confront black metal's most divisive acts head-on. Rather than sidestepping the genre's so-called "third rails," he engages directly with Cradle of Filth, Dimmu Borgir, and Alcest, acknowledging their undeniable influence on black metal's broader trajectory. His treatment of these bands aligns with my own perspective — whether one considers them "true" black metal or not, their contributions are essential to understanding the genre's evolution. Even the most vehement detractors would do well to engage with these sections, if only to understand the rationale behind their commercial and artistic success.
Ultimately, Grand characterizes black metal as a dialectical force — one where tradition is sacrosanct, yet vitality depends on continuous transformation. He acknowledges the necessity of evolution while reaffirming the foundational importance of albums like Hvis Lyset Tar Oss, In the Nightside Eclipse, Under a Funeral Moon, The Return of Darkness and Evil, and Welcome to Hell. In doing so, he plants his sword firmly in the ground, reminding us of black metal's roots even as it mutates into new forms.
Writing such an expansive and nuanced history must have been an arduous undertaking, but the result is a book that demands multiple readings — each time revealing new depths. Real Satanic Black Metal is just an essential text for black metal aficionados. There is simply no other work that comes close.
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