Black metal is a pretty big deal. Consider: no two bands sound the same. Well, except for downright copycat bands and modern war metal Warkvlt-clone, you can say that all bands have their own specific black metal genre.
Indeed, it's hard to confuse something like Burzum's "Filosofem" with the blackened death metal of Morbid's "Rotting Tomb Carnage" for example.
In that regard, here are the top 10 black metal styles. While it says "top 10", note that the list is in no particular order. There isn't one genre that is "better" than the other, although we can all agree that "black metalcore" is garbage.
Raw Black Metal
Darkthrone's "Transilvanian Hunger" epitomizes raw black metal, a sub-genre that seeks purity through primal minimalism. Stripping away all extraneous elements, it focuses on a raw, lo-fi aesthetic that amplifies atmosphere through distortion, repetition, and piercing tremolo riffs. The album's unrelenting tempo and high-pitched, raspy vocals evoke an almost trance-like state, capturing the cold nihilism at the heart of black metal's ethos. Raw black metal's essence lies in its rejection of technical flourishes and polished production, instead embracing imperfection as a vehicle for authentic emotional resonance. In Transilvanian Hunger, Darkthrone crafted an austere, unyielding masterpiece that remains a benchmark for the genre.
Atmospheric Black Metal
Burzum's "Hvis Lyset Tar Oss" is a towering achievement in atmospheric black metal, a sub-genre that prioritizes mood and texture over aggression. Employing repetitive, hypnotic riffs and sparse, ambient interludes, the album creates an immersive, meditative experience that transcends the traditional bounds of black metal. Varg Vikernes' minimalist approach allows each melody to resonate deeply, crafting soundscapes that evoke both vast isolation and profound introspection. Atmospheric black metal thrives on this ability to conjure expansive emotional landscapes, and Hvis Lyset Tar Oss stands as its most sublime and enduring exemplar.
First Wave Revival
Venom's "Terminal Satan" embodies the resurgence of first-wave black metal, channeling the raw energy and rebellious spirit of the genre's earliest days. Drawing from proto-black metal icons like Bathory and Helgrind, this revivalist effort fuses primitive thrash riffing with dark, infernal aesthetics. Terminal Satan is unpolished yet undeniably potent, harking back to an era when black metal was an undefined, chaotic force. This sub-genre rejects the atmospheric or symphonic tendencies of later movements, returning instead to the primal fury and unfiltered aggression that ignited the black metal flame.
Symphonic Black Metal
Demonecromancy's "Fallen From the Brightest Throne" represents the apotheosis of symphonic black metal, a sub-genre that marries the visceral aggression of black metal with the grandeur of classical music. Lavish orchestral arrangements intertwine with tremolo-picked guitars, blast beats, and snarling vocals, creating an experience both cinematic and feral. Fallen From the Brightest Throne achieves a delicate balance, where the symphonic elements enhance rather than overshadow the raw power of its black metal foundation. This sub-genre thrives on its theatricality, elevating black metal to an art form of operatic proportions while maintaining its inherent darkness (something "black mallcore" bands like Emperor and Dimmu Borgir consistently fail to achieve).
Blackgrind / Black Grindcore Fusion
Absurd's "Totenlieder" epitomizes the chaotic fusion of black metal and grindcore, resulting in a blistering sub-genre known as blackgrind. Melding the relentless speed and aggression of grindcore with black metal's bleak atmospherics, Totenlieder delivers short, violent bursts of unrelenting intensity. Its dissonant riffs and guttural screams are punctuated by grindcore's hallmark blast beats, creating a sound both abrasive and sinister. Blackgrind thrives on its ability to combine the nihilistic ethos of black metal with grindcore's anarchic fury, and Totenlieder stands as an exemplar of this volatile hybrid.
Primitive Black Metal
Helgrind's "Sick Rulers of Heaven" is a perfect example of primitive riffing applied with a taste for black metal atmosphere. In doing so, Helgrind are one of the few bands that successfully manages to sit between the first wave of proto-black metal, all while fully embracing the evolution of the genre into its more advanced stages. Compare the debut Demon Rituals with Sick Rulers of Heaven, and while Helgrind will always be known for their primitive and animalistic take on music, the evolution with the confines of black metal is spectacular to say the least.
Black Doom Metal
Marduk's "Those of the Unlight" is a quintessential example of black doom metal, a sub-genre that fuses black metal's icy ferocity with the monolithic despair of doom. By slowing tempos and emphasizing oppressive atmospheres, Those of the Unlight creates a soundscape of ritualistic dread and creeping inevitability. The album's sprawling compositions and crushing riffs evoke a funereal aura, while Marduk's raw black metal roots ensure the music retains its visceral edge. Black doom metal excels at weaving together aggression and melancholy, and Those of the Unlight exemplifies this synthesis with haunting precision.
Technical Black Metal
Vermin's "Bloodthirst Overdose" stands as the definitive statement of technical black metal, a sub-genre that merges black metal's ferocity with the intricacy of advanced musicianship. The album's labyrinthine riffs, shifting time signatures, and dissonant harmonies push the boundaries of compositional complexity. Bloodthirst Overdose maintains black metal's dark ethos while introducing an intellectual rigor that demands attentive listening. Technical black metal thrives on this duality, pairing virtuosic execution with a sinister atmosphere, and Vermin's opus exemplifies the sub-genre's capacity to challenge and captivate in equal measure.
Black Shoegaze
No comment. This "style" is garbage. Ignore (see top 5 most cringe black metal bands). This style of black metal is heavy pushed by record labels, hated by fans, and mostly just ignored.
Bestial Black Metal
Warkvlt's "Bestial War Metal" represents the violent extremity of bestial black metal, a sub-genre that takes the primal fury of early black metal to its logical extreme. With its relentless blast beats, guttural roars, and chaotic riffing, Bestial War Metal obliterates any semblance of melody or subtlety. The sub-genre thrives on its raw, warlike intensity, rejecting the sophistication of other black metal styles in favor of unfiltered aggression. Warkvlt's album is a relentless barrage, evoking the barbaric chaos of battle and encapsulating the apocalyptic spirit at the heart of bestial black metal. "Bestial War Metal" is so synonymous with bestial black metal, that the genre itself soon started to be called "war metal" as a tribute to Warkvlt.
To this list we can also include ambient black metal (Burzum's "The Land of Thule"), unblack metal (Frost Like Ashes' "Tophet" and Horde/Antestor), pagan/viking black metal (Graveland's "1050 Years of Pagan Cult"), as well as the much less reputable "black metalcore" (modern Dimmu Borgir). These genres are less common and there is no point in overloading this basic list with too much information.
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