All language subtitles for Helvete - Historien om Norsk Black Metal 3 [eng]

Just let me know when you are ready.

A couple of days ago I got
a sticker that said:

"Go to hell!" I have
now done that.

Someone I met ... you
can tell who you are.

We are the guys in Mayhem who
have started a record store.

We found out that it was time to
fix a shop that we had had -

- want to go in. -How
do you get there?

You find Schweigaards gate, and then
you go until you see Venom posters.

-Good luck with the store.
-Children, go to Hell!

We went in here before.

The disk was where the disk is in now.
The windows were wallpapered again.

The cool thing is that half the shop is
preserved since Noseblod is here now.

Basically all the records at the time
were in that part of the business.

Then it was open, not
closed, as it is now.

-This was just a gap. -
Outer part of the shop.

Inside there was an old kitchen.

If we were to have food here,
there was one thing we got.

Sausage bread with chili sprinkles and cheese.

- It was the food it went in. - You
could live on that for a while.

What was cool was that everything was
so black and it was damn bad light.

When you came in from outside,
you saw nothing.

It took a minute before
you got used to it.

Then you kind of saw figures
sitting and watching.

Who had watched for a
minute. Great fun.

Noseblood has become a kind of
living black metal museum.

During the Inferno festival,
it flows in with people -

- which will absorb the atmosphere.

When you wrote black metal on
the wall in this room, -

- I think it was mainly
for a photo session.

First, there were 8-10 pieces that
became The Black Circle, in a way.

Then you had maybe 10-15 pieces
that were stuck here.

Then you had 30-40 people coming
and going quite often.

There were some special young men with
some special musical interests.

Maybe some other special interests
as well. They found each other.

I remember there was a tombstone
in the window. Chains and ...

It was draped in black and stuff,
so it was exotic and exciting -

- for a 15-year-old who was
interested in dark moods.

And heavy music.

The record store Helvete was a meeting
place more than it was a record store.

It became such a secret society where
you went to get some control -

- in that underground
metal landscape.

There was a lot of talk about what
was "no-no" and what was inside.

People who came to Hell in white
sneakers did not come in.

I was reluctant to go to Hell because
I did not wear black pants.

I think that was perfectly normal.

I went there with a friend who was wearing
a contemporary college sweater.

It was barely a few seconds before Aarseth
looked straight at him and said:

"You are not coming in here.
You are going straight out!"

Øystein Aarseth, who ran the
store, was like the leader.

For us kids, who went in there with high
shoulders and thought they were tough.

It was exciting for us.
He became a mentor -

and black metal cultural figure.
Such a cultural man.

When I talked to him and was
maybe 16 years old, -

- then maybe he was 22. In a
slightly different place.

He said: "For us in Mayhem, everything must
be unique and maintain the highest level."

I just ... "OK! Wow!"

That's where the list is. Absolutely everything
on all songs should be the best.

We think that a song should
not be released -

- if it is not better than anything
else in the world.

We do not release mass-produced dirt.
We could have released 6-7 records, -

- but we will release a record
that is the best.

Not only the best, it will
reinvent the wheel.

It makes you want
to push yourself.

In that way he was considerable, -

- and he was inspiring.

Will there be more Mayhem records
or concerts in the future?

Yes, that's just a little special.

The singer blew his mind
a couple of months ago.

But it will eventually be,
but we will not play live.

We refuse to play live because
people are not evil enough.

We only want to play for
people who are extreme -

- and comes to a concert with a leather
jacket, long hair and nails.

Today it's just little kids with
sweatpants and skateboards, -

- and we do not bother to play for them,
so there will be no live show -

- before people are raw
enough to deserve it.

Metal has an insane number
of sub-genres.

In the Norwegian black metal community,
people became very anti-death metal.

Death metal and black metal originated
at about the same time in the 80's.

The great schism came in the
late 80's, early 90's, -

- when the Norwegian black metal community
totally broke with death metal.

What got me over the edge and becoming dedicated
to Norwegian black metal, was -

- the interview with Øystein and Pelle,
Euronymous and Dead, in Slayer 8.

It was a lot about how clean
metal was about to become.

They thought metal had become junk.

It had become too "happy". Death
metal had taken over everything.

Death metal was getting damn
big. Full mainstream.

Playtime on MTV and bands like Morbid Angel,
which sold hundreds of thousands.

In terms of image, black metal and
death metal are very different.

Black metal had body makeup and black clothes,
black hair, cartridge belts ...

In death metal, it was so-so with
the clothing. Especially:

Death metal was a little too technical.

Black metal oriented towards atmosphere,
primitive riffs -

- and often a little underproduced sound.
Demo sound. Proper underground.

Øystein Aarseth in particular wanted
to revitalize the concept and genre.

"Let's go back and start
again. Do it right."

It was supposed to be a separate,
extreme variant that stood out -

- both industry, thinking
and marketing ...

Everything had to be completely on its own level.

Many of the Norwegian bands, such as
Immortal, Enslaved, Emperor ...

Several of the guys had a background
in death metal, but were bored.

They probably also got the feeling
that Norwegian black metal was -

- a much more credible and
genuine expression.

"A Blaze in the Northern Sky" is the
most obvious break with death metal.

The album is the starting point for
"true Norwegian black metal".

Now it will be dark. We
must greet Darkthrone.

They play death metal.

The sources of inspiration
were all sorts of strange.

We wrapped ourselves in very
advanced death metal.

It has something to do with
the start of Darkthrone.

We wanted to be nice and good.
We liked death metal, -

- among many other genres, so it
became a natural thing for us.

It ended with the first album,
which became pure death metal.

There was a lot of stuff
with that music.

But during the breaks at the rehearsal or at home,
it was not the kind of music we listened to.

That was what led us to see the
longer lines in the music.

When you listen to Bathory and then
have to play technically, -

- then you feel that you are in the wrong country.

The uprising was probably a little more personal.

We did not play black metal
to make a special revolt, -

- but we probably rebelled
against ourselves.

We were tired of being clever, and
we mostly listened to music -

- which was full of soul and
reasonably primitive.

We did not want decorations and knick-knacks
for the music in Darkthrone.

Early Bathory records don't
need it, and we love it.

Early Celtic Frost and Hellhammer do
not need decorations and trinkets.

It's damn fat.

Darkthrone started making a second
album after "Soulside Journey", -

- which was actually death metal.
The wreck album number two, -

went into Creative Studio,
where Mayhem had been, -

- and clinked with the ugliest
album they could make.

To get inspiration to do something like
that, you have to put yourself -

- in a way of thinking -

- which is probably a bit
gloomier than normal.

I think diving into the dark and
getting back up is very good.

"A Blaze in the Northern Sky" was a
completely different atmosphere -

- than "Soulside Journey", which
had death metal vocals.

Much coarser and darker.

Everyone understood that I, as
a vocalist, had to solve this.

There was great tension attached to
the hill I was going to solve it.

Then I really had to
get in the mood.

I lit candles in the studio room.
It was dark and stuff.

I had not sung like that before. I did not
stand at home in the mirror and say:

"Shall I do this?" We just got
to see how it turned out.

Peaceville did not rejoice
when we sent the master.

They thought we ... I actually think
they thought we fucked with them.

A little close at first.

But we did not. They thought we
should remix and record again.

We just said we do not.

"If you do not want to publish it,
we will publish it elsewhere."

They agreed to release it.

I saw the first black metal record
for Darkthrone in the store.

I thought, "What the hell is this?
Black and white and makeup."

"I have to get that checked out."

Here there was so much new and trend-setting
at the same time.

Black and white cover. With death metal
we were used to sun, shorts and caps.

Here it is the complete opposite. They set
the standard in a huge number of fields.

Terribly ugly sound, and many
got backwards by it.

When I finally heard this ... It just
fell so damn well into place.

That was all I had missed in death
metal, among other things.

There was something mysterious
and extraterrestrial about it.

Darkthrone stands for me as the
ultimate black metal band.

With all the standards they set.

They made a strong impression on me.
If you have to say which record -

- which has meant the most to modern
black metal, it is definitely -

- "A Blaze in the Northern
Sky" with Darkthrone.

It was the new day 1.

We are always right, even if we
are wrong. It's so damn fat.

That album is now at the National Museum.

Together with a letter from the South
Pole, written by Roald Amundsen.

Magnus Lagabøte's laws
and scores from Grieg.

What I think was interesting
in black metal was -

- that the focus was not necessarily
on being technically advanced, -

- or that it should sound good, but
it should convey a lot of emotion.

Such an idea of feeling over form.

In that mix there, they were preoccupied
with a lot of other music.

Norwegian, early black metal has -

- a kind of debt to other sources
of inspiration than many know.

Øystein was not like: "I
just like extreme metal!"

He had a very broad taste. Strange,
German kraut rock.

Plingplong, as many will call it.
All those neu- and all this.

It was very fun with the synth music.
There was nothing organic.

It was completely synthetic,
sort of. Very exciting.

Inhuman music, almost.

Øystein and I shared a common
interest in avant-garde -

and alternative music.

We started a side project. Langhus experimental
burial chamber orchestra.

Abbreviated for LEGO

We performed the most insane
things on stage.

Anything that was completely different
and atypical or anti-musical -

- compared to what we were
used to, was great.

The biggest sources of inspiration
for Thorns have been -

- things other than metal, then.

Like Oliver Messiaen, a
church organ composer.

He made his own scales.

It sounded completely ethereal
or extraterrestrial.

There was one computer game in particular
called "Castle of Terror".

Where you have very stringent
music, in a way.

And then we must not forget Thorbjørn
Egner and everything he has made.

Especially Karius and Baktus.

It's not only cozy, it's
banal and dark.

Cool music.

Do you mix those things up there and
wrap it up with guitar and bass, -

- you might get something a little weird.

Snorre was unique. Snorre
was so special.

Snorre Ruch has in many ways been -

- several of the athletes' favorite.

Musically, I think Thorns was one of
our biggest sources of inspiration.

For me, it completely summed up that
part of Norwegian black metal -

- I consider sacred.

There is no such thing.

Grew up on Flatåsen in Trondheim.

Has always had my head full of ideas and
thoughts. A little weird view of things.

Likes to poke at everything
and question everything.

I am both an emotional person
and very rational.

Music is both mathematics
and a lot of emotions, -

- so that you can master both
things is just an advantage.

Even if you feel that you are torn a
little in rags from time to time.

But we all have a destructive
and dark side.

For many of us, that side
is more prominent.

For us, it is much more obvious
to listen to music -

- which corresponds to
the mood you are in.

Where you feel that those who perform
it, or the music, have room for you.

Our role musically has been
to make some anti-music.

Want things to be a little ugly and
maybe a little difficult or wrong.

Or just completely different from
what we are used to hearing.

I hate your church tones. I
can not stand the Beatles.

Everything that has helped to make
music for the regular, safe, -

- boring package that most people
listen to, I am opposed to.

I want to ruin it.

I have not learned to play
the guitar from anyone.

I have found out most things myself.
Then you make your own habits -

- and gets his own technique.
The music becomes a bit then.

I played a lot with harmonics.

Then you get a slightly special effect.

I played a lot and spent a lot of time
with Øystein Aarseth in Mayhem.

Øystein and I actually had quite
a few common ideas and such.

On playing technique and playing
style. He liked to experiment -

- with things on the guitar, and do
things that are not normal playing.

Øystein was very inspired by Snorre
Ruch's way of playing guitar.

Øystein in a way changed his
style of play after -

- what he was inspired by Snorre on.

When we learned to play proper chords,
except for bar grips, -

- then we found out that E and
A minor were good things.

This was really an attempt
to find some of it there -

- Romeo and Juliet thing.

It was so wonderful, dramatic and such.

Then we tried to find those tones.

We did not get it, but
we got something else.

Then we tried to go
up and down again.

True?

On the first versions of the song,
it was just like that, about.

Then I learned that picking
technique from Øystein.

To tighten the hand so hard that
everything just shook by itself.

It's like playing guitar
with a mixer.

To make it slide smoothly
up and down the chord ...

Harald and I recorded tape
with guitar and bass.

We sent it to Bård and Marius
to let them hear the songs.

Then it was the intention to
put on vocals and drums, -

- but it was never done. The tape
was spread all over the world.

So the Grymyrk tape is known. It
should not really be published.

The Grymyrk tape is the most important because
there comes the guitar sound to Thorns -

- so properly forward.

It's so primitive. It's so raw.

But it is very futuristic,
cold and clinical.

It's like a little piece of DNA
coming from ... I do not know.

Everyone who heard it got a different
idea of what black metal could be.

It's just guitar and bass,
but it was so different.

-Atonal and disharmonious. -Shit important
for the Norwegian scene.

It probably affected Burzum.

At least I know it's
affected Satyricon.

It also affected
mayhem. It did.

Typical way of thinking like
that riffing is like going -

plucked down the cord. Like that.

And then finish with super
riffing. So you get ...

Such a typical Mayhem thing.

In metal it was very original -

- when Øystein and Snorre started
to think that way.

Things that didn't really exist
in thrash or death metal.

It was still black metal.
It sounds black metal.

But it was something completely different than ...

He added something to black metal.

He brought in something more.

Something unspeakable, sort of. Extremely
confusing, nightmarish, -

- but at the same time damn magnificent.

In that way, he has inspired people
who are far more famous -

- and has had much more
career than he has had.

If he is never so unknown, then
he has put a very strong -

- artistic imprint after itself,
and that's what it's about.

When I enter Hell, I am greeted
by a cloaked model -

- in the door with torch. On the
table is a bone and a skull.

The walls are adorned with inverted crosses.
Is the shop possessed by the devil?

The idea is that people should be
intimidated when they enter.

We have certain interests,
so to speak.

The whole shop is part of our lifestyle.
We run the race fully.

Satan was portrayed mostly
as such a mascot.

It was something with the time we grew up in.

Everything should be so safe and pleasant.

We wanted to stand on the sidelines and be
a little resistant to the established.

We probably all had a feeling of being
part of something new and different.

"We do black metal and develop
something. It's special."

Black metal should be more
than black metal.

One should hate it and be afraid of it.
Then you have to take it further.

We have the band Mayhem and the record
company Deathlike Silence.

Everything goes under one big whole.

The goal is to spread as much
fear and evil as possible.

We do this best by operating
in the way we do now.

-Why should you spread fear?
-It's for evil's own sake.

We are fascinated by death, depravity
and darkness. That's our life.

If people get scared of
it, it's just fat.

Øystein changed all the time.

He was looking for ... To me it
seemed like he wanted to be -

- the most extreme person
overall. So anyway.

The concept he built around Hell,
Mayhem and all that, -

- it got pretty weird. -You
should not say "hello".

"Have a good time" you would never say.
"Have a hell of a time" should be said.

Maybe a joking tone at first,
but it became more -

- seriousness out of it all, then.
-I do not think he was a dark guy.

I think he was caught by the
things they had started.

It was not healthy for Øystein
to get that godfather figure -

- stepped over him, as he then became.

There was a dark atmosphere
all over the place.

It became more and more extreme.
It was understood quite early -

- that there are things going on here.

Things that are really quite out there.

But that did not scare us
significantly anyway.

Maybe the opposite. Maybe that
made it even more exciting.

It was a man from Bergen who came and
hung out in the shop for 24 hours.

Øystein said: "What the hell is he doing here?"

He thought he was in the way.

But then he continued to be
in Hell. He slept there.

He eventually became friends
with Øystein.

They turned each other up.

With extreme ideas and things, then.

The first time I heard
Burzum, I was in Hell.

Øystein had signed a contract with the
band and was to release the album -

- which he was incredibly
enthusiastic about.

He put it on ...

I could not believe what I heard that
it was going to be the new big one.

I thought it was absolutely
awful. Simply bad.

"Here he has missed." He did not have
it, but I was not on the trip.

He made music with a clear uniqueness.

Very atmospheric. Lonely,
melancholy.

I remember the first song I heard.
It lit a small flame.

It was "Lost Forgotten Sad Spirit".

It had a lot of what I missed
in other music I listened to.

Primitive, ugly sound, but
huge atmosphere in it.

He has an incredibly intense nudity
and loneliness in his sound.

And his way of singing,
which has defined -

- the bright singing style
in Norwegian black metal.

I think that has been one of the most
important things he has brought in.

It sounds like he's actually cutting
himself or burning himself.

These are real, tortured screams.
There is no nonsense there.

And then came the riffs.

Then they found out that this
was a one man band as well.

"He plays everything himself!
It's completely insane."

It felt like it was in
harmony with nature.

Like a Munch painting in that sense -

- that an individual lost his sense
of the nature around him.

It added something very personal
in black metal.

But it still felt universal.
You feel the desperation, -

- and the music is longing.

It started at least a completely different -

- chain reaction for the direction
black metal took after that.

At four o'clock last night, a neighbor discovered
that the church was on fire.

Half an hour later, the 800-year-old
church was destroyed forever.

It's a national disaster.
Nothing less.

The stave churches are our main contribution
to the world's architectural history.

The disappearance of one of
these 30 is a disaster.

When the Count told that he had
burned the first church, -

- it was damn tough. He had taken
the step no one dared to take.

He was given status.

Investigators today saw footage
from the night of the fire.

Of course, they hoped to find the young people
who were seen before the fire started.

Some churches began to burn.
We knew all about this.

We shut up.

Irreplaceable values have been lost
in another tragic church fire.

Revheim church in Stavanger was completely
damaged by fire last night.

An iron cross was nailed to
the wall by the front door.

Worship of Satan is one of the theories
behind the church fire in Stavanger.

It was never like that: "This is
insane, I can not handle this."

It was more the concept that it started
to become a kind of movement.

"Damn, this has gone beyond music.
Now it's a movement."

The fire in Hauketo church probably started
here in the congregation hall.

In that I was also baptized.

I think it was a little silly
that it was destroyed.

If a church burns down, it is not only Christians
who suffer. Most people too.

What happens if a beautiful old
stave church burns down?

1: Christians become despairing. 2:
The house of God is destroyed.

3: Ordinary people suffer from grief
because the church was so beautiful.

Bottom line: You spread grief and
despair. Which is very good.

Strange that we did not understand
that it was our downfall.