Mayhem and the Chaos That Was Born

An extreme form of metal music emerged in Norway during the late ’80s and early ’90s which led to an outbreak of violence, escalating into two murders and a series of sacred church burnings (Wallach 182). This paper will examine Norweigan black metal album covers to uncover their main ideologies and what led them to commit these horrific hate crimes. Specifically, looking at Mayhems bootleg album cover, Dawn of Black Hearts, as a key starting point to understand where it all started. This album depicts a controversial photograph of Mayhem's lead singer, Dead, after he had committed suicide. After Death’s suicide, it inspired other band members and bands to continue to take black metal to more radical measures. Moreover, his death was a centerpiece to a turning point for black metal; bringing it into the mainstream and provoking bands to compete for the evilest “aura”. By 1992 black metal members had started a movement of arson assaults on churches. Shockingly 4 years later more than 50 attacks had been noted (Grude). Varg Vikernes, a former member of Mayhem, became a rival ringleader behind these murders and church burnings. His album cover Aske depicted one of the many churches he was responsible for burning. The phrase black metal is a synonym for “Satanic metal” because of it’s deeply rooted anti-Christian views and hatred toward organized religion as a whole (Wallach 182). By looking at the origins of these bands it will give better insight as to how they progressively went from stage performers to criminals. Additionally, these album works are a good representation of the imagery these bands wanted to express. Norwegian black metal original initially aimed to remain underground yet it’s morbid stage performances and serious of crimes, led to hysteria in the media. Mayhem was one of the first bands to spotlight this genre and pioneered for hatred, sorrow, and evil. Formed in 1984 Oslo, Norway, the band started out as young, angry and confused teenagers who wanted to spark controversy and distinguish themselves in the black metal scene (Stevens). The first turning point for this industry was the addition of the new lead singer Per Yngve Ohlin, stage name as Dead (Stevens). Dead remodeled Mayhem and set the band in motion for its villainous actions. Stian Johannsen ("Occultus"), who briefly took over as vocalist after Dead's suicide, made this statement about him: "He [Dead] didn't see himself as human; he saw himself as a creature from another world. He said he had many visions that his blood had frozen in his veins, that he was dead. That is the reason he took that name. He knew he would die." (Moynihan 56) “I belong in the woods and have always done so...I'm not a human, this is just a dream and soon I will awake” (The Guardian, Godfrey) Dead sent Mayhem a demo tape and a crucified mouse when first asking to join the band (The Guardian, Godfrey). Mayhem immediately accepted and loved his morbid vocals that would change the style of black metal. Dead was severely depressed and would bury his stage clothes in the ground so when he would perform, he felt as if he was actually dead. He wore corpse paint, not for theatrical content but to present himself as an actual corpse. His obsession with death is linked to his childhood bullying. Being beaten so badly he was killed but brought back to life with medical help (Martin). Death would openly cut himself on stage with glass shards or whatever he could find to inflict harm on himself. He loved to express his pain, bringing a new image to Mayhem that would change black metal forever (Stevens). These heightened Mayhems live performings with their already demented stage set of carcasses and heads of slaughtered animals. Additionally, Mayhem would exil who they deemed as “fake fans” if they had not already been scared away, leaving very few people at their shows (Martin). The band advocated for a full rejection of positivity and wanted to spread their hatred through their music. Deads depression only worsened while singing for Mayhem because of their Satanic beliefs and harsh abuse of band member Euronymous (Martin). Being mentally ill and surrounded by cruel ideologies and a sadistic community, it left no room for Dead to get help. He was idolized for his misery and hopelessness and was encouraged to keep his “act” to intensify the band. Euronymous, co-founder and guitarist of Mayhem, was a key member in influencing Dead, always wanting to drive the band forward in evil and hatred (Martin). Dead had severe mental health problems which were not an “act” for him but an everyday reality of suffering. In a moment of isolation, Dead slit his wrists, slit his throat, then shot himself in the head with Euronymous shotgun. His suicide note read “excuse the blood” (Stevens). Dead helped take the band from shock value to reality, deeming Mayhem as the “ultimate evil.” By turning his persona to realism, it sparked realization to Mayhem members, imposing them to take it to the next level. Bassist of Mayhem, Jørn 'Necrobutcher' Stubberud stated ”Øystein (Euronymous) called me up the next day ... and says, "Dead has done something really cool! He killed himself. '' I thought, have you lost it? What do you mean cool? He says, "Relax, I have photos of everything". I was in shock and grief. He was just thinking how to exploit it. So I told him, "OK. Don't even fucking call me before you destroy those pictures"” (The Guardian, Godfrey). Band member Euronymous found Dead and instead of calling the police, ran to the nearest convenience store and bought a camera. He then rearranged the crime scene to fit black metals “image” (Silva 217). One of the many photos he took was used for Mayhems bootleg album cover, Dawn of Black Hearts. Euronymous used Dead's suicide to gain publicity and stated that Dead had killed himself because the black metal had become “commercialized” (Wallach 183). Euronymous became obsessed with continuing Mayhem's immoral aesthetic. The neighboring black metal band, Emperor, stated that Dead’s suicide "marked the point at which, under Euronymous' direction, the black metal scene began its obsession with all things satanic and evil" (The Guardian, Campion). Euronymous madness further by taking pieces of Deaths skull and making it into necklaces for the band members he believed worthy (Wallach 183). This resulted in a split for Mayhem. Most members were disgusted by Euronymous reaction and photographs, leaving only two members to remain. Euronymous strived to become as extreme as he previously would talk and threaten about (Martin). Euronymous’ ideology of “evil,” “It is basically hate to humankind. I have no friends, just the guys I’m allied with. If my girlfriend dies I won’t cry, I will misuse the corpse.” (Stevens) I believe Dead’s suicide made Euronymous distressed and confused. Thus to cope with the death of a band member, he felt he had to keep forcing Mayhems malicious persona. Dead was only 22 at the time of his death with Euronymous being 20 (Martin). Behind the scenes, these undeveloped adults endeavor to portray themselves as monsters and demons but were still humans. I believe these band members were perplexed, young and stupid and obtained great music potential but wistfully wasted it on the desire for the most extreme image. This album cover displays the apathy and craves Mayhem possessed to perceive themselves as the “most evil.” Dead’s suicide (my visual artifact) was a critical moment in black metal; taking this music scene from fantasy to reality. In the book Practices of Looking, it defines Counter Hegemony as “the forces in a given society that work against dominant meaning and power systems and keep those dominant meanings in constant tension and flux” (431). This relates to the ideologies of Mayhem because black metal aimed to strike controversy and go against the mainstream. This especially is scene in Mayhem’s band logo, using two upside-down crosses in the first M and the last. This is used in hopes to present right off the bat, their striking persona, hailed by anti-Christian sentiment, Satanism and deviance (Wallach 190). Practices of Looking states, “bricolage and pastiche to forge alternative styles” in a way to express oneself (230). In hindsight, meaning that counter-hegemony builds its critique or creativity from the past. Then draws inspiration from that to create something that will reach a broader audience. Norweigan black metal drew its vision from older rock bands such as Black Sabbath and King Diamond, and from there continued to take their genre to the utmost extreme (Silva 216). Moreover, Mayhem’s deeply rooted beliefs of paganism caused them to reject Christianity, renouncing the dominant culture (Wallach 190). With ideologies build off of pre-Christian and traditional Nordic beliefs, it led to Mayhem’ s church burnings (which I will detail later). Additionally, their ancient beliefs of Christians taking over their land, led them to have a bitterness towards religion as a whole (Wallach 191). Specifically looking at Dawn of Black Hearts, reveals Mayhems rejection of a traditional album cover. This album cover is a trigger to the public and is terribly hard to look at. The fact the suicide of their former lead singer, their friend, is the statement of their album markets Mayhem as radical, unfearful and unmercifal. The album propagates their wicked persona and provokes their desire for death, sorrow, and pain (Spracklen 174). Dawn of Black Hearts challenges and confronts the status quo in order to gain the title of being the most extreme in this subgenre. This album could be considered a political statement meant to emphasize their specific, twisted ideologies . Thus revealing their “viewpoint” on life itself. Black metal’s symbols, band names and album work aimed to fight and scorn the catholic church; along with anyone who they judged as not “true Norwegian black metal”. Therefore these bands were a harsh rejection of the cultural norm; perfectly fitting into the counter-hegemony theory. Following Dead’s suicide, a ring of metal bands came together and emerged what they called The Black Circle. It was intensely exclusive, only accepting those who were “true” Norwegian black medalist and seriously committed (Wallach 190). Underground in Euronymous’s record store, Helvete, were he started his own record label along with founding and leading the “militant Satanists” of the restricted black circle (Moynihan 99). Euronymous deemed himself as the leader and believed he created the infamous Norweigan black metal genre as a whole (The Guardian, Godfrey). When Var Virkins, guitarist and founder of Burzum, was introduced into the black circle, all hell broke loose. Ihsahn of Emperor stated that "if you were trusted if they knew you were serious in your views, you were accepted" by the Helvete scene. Euronymous took Vikernes, who was five years younger than him, under his wing: inviting him to play bass with Mayhem and offering to release his music as Burzum"(Moynihan 65). Vikernes “We want to create the most possible fear, chaos, and agony so that the idiotic and friendly Christian society can break down. We are overall not interested in that the truth comes through. When we spread lies we cause confusion and confusion leads to chaos and at last breakdown. People shall be oppressed and we support everything that oppresses a man and takes from him his feelings as free individuals.” (Stevens) Vikernes at first idolized Euryonmous, striving to mimic his sadistic persona. Euryonmuos helped many young black metal bands get started in the scene but specifically cooperating Vikernes. Producing and stylizing the music for his first album, Burzum (Silva 216). Vikernes was extremely troubled as well and wanted the approval of Euryonmous. In his adolescence he was apart of the neo-Nazi culture, however, with his acceptance into the black circle he intensified his beliefes (Grude). This created a power struggle between Eurynomous and Vikernes; of who could be the ultimate “evil” and leading figure of Helvete. Eurynomous had talked about burning down Christian churches because of his harsh ideologies of against Christianity. He felt that Christians had repressed and alienated his “true” Norweigan roots, thus desiring to burn them all. Although Eurynomus’ maintained and advocated these destructive ideas, he never carried through (Martin). On 6 June 1992, the Fantoft Stave Church, was burned down to the ground. Vikernes was suspected but no legal action was taken (The Guardian, Campion). Following this crime, a series of many other scared churches were burned down. Varg had carried out what Eurynmous had dreamed of doing thus creating a competition of who could be the evilest. Varg releases his EP Aske, with the album cover of a photograph of the Fantoft Stave burned down. Varg used this to make a statement to show black metal was legitimate and ready to inflict terror. Varg publicly stated in an anonymous interview with Bergens Tidende newspaper, that black metal was responsible. Using a fake name, Count Grishnackh, he took full credit for the crime. I believe this was done out of lust and power to become the leader of the black circle and establish himself in the scene. (Moynihan 95). Virknes “The goal was to scare people, promote black metal and get more customers for Helvete”(Moynihan 96). Varg believed that the interview affirmed no substantial evidence, thus the inability to prove he was involved in any crimes. Shockingly, when the article was released, Vikernes had already been arrested (Moynihan 96). With a lack of evidence, he was quickly released. Additionally, black metal was behind another terrible crime in Olympic Park. Eithin, a member of Emperor, stabbed a man to death 37 times. Eithin was not caught until years later, making black metal at the time seem invincible (The Guardian, Godfrey). “Our purpose is to spread fear and evil” (Vargs statement after being released from prison). As previously stated, being surrounded by mentally ill individuals it fostered the need to spread black metal’s terror. Each wanting to be deemed as “true Norweigan black metal” causing the need to impress and prove themselves. When these young men started thinking as a group it resulted in the force to carry out their ideologies and make them a reality. Once the first crime was committed it made atrocity less intimidating and verified pressure against black metal members (The Guardian, Campion). In Carroll William’s research, he discusses how the theory of hegemony and counter-hegemony challenge society. He concludes that the politics of hegemony have led to the birth of counter-hegemony (Williams 19). This applies to the power struggle of black metal members, specifically between Varg and Eurynomous. Eurynomous had built his empire with Helvete and the black circle, aiming to stay exclusive and remain out of the public. Yet when Varg joined the scene he disturbed Euronymous union and his vision of black metals institute. Black Metal was created to resist the dominant society and wanted to remain “underground.” Varg challenged Eurynomous by committing the first church burning and bringing black metal into the public eye. Varg’s desire to outdo and overrun Eurynomous created a rivalry between them of who could be the evilest. This led to the burning of 22 churches and the ultimate death of Eurynmous (Martin). On August 10, 1993, three black metal members, including Varg, had plotted and went to kill Eurynmous. Vikernes stabbed Eurynmous to death in his apartment, 26 times. Two of which were to the head, five to the neck and 19 to the back. Vargas stated it was self-defense because of previous death threats from Eurynomus. Others speculate it was over music rights and money (Stevens). I believe his death was a result of a power struggle, each wanting the title of “most evil.” In the end, Norweigan Black Metal overcame cultural values and reacted against hegemony, succeeding in turning this music genre into a cult. Varg Virknes was caught after the murder and was charged for the scared churches he had burned. He was sentenced to 21 years in prison, although only serving 15, now walking amongst us (The Guardian, Campion). Both of these album covers have become symbols of “true Norweigan black metal.” Dead’s suicide inspired radicalization to the black metal scene but the fact that Eurynomos documented this tragedy marked its reality from shock value to absoluteness. The theory of textual poaching appropriately applies to Dead’s death, having Eurynomos use Dawn of Black Hearts to create the new face of black metal (Practices of Looking 457). This increased Mayhem's fan base and their fascination with extremity. Dead will not be remembered as the talented musician he was and could have been. He will be remembered as a self-destructive, controversial album cover. The members of black metal were young, mentally disordered musicians who thought they could create something bigger than them, before having time to fully develop into adulthood. "Mayhem's story is the definitive black metal saga. It has a darkness which lies beyond most of our daily comprehensions, and continuing influence and legacy that sees not only the genre but also the fans, continue to be both fascinated and influenced by these true pioneers." Lars Ulrich, Metallica (The Guardian, Campion). From my research I have learned that picking a topic with little documentation is hard to work with, forcing me to look very deeply for my sources. There are a million rumors circulating this band, so I was very particular with my sources and integrated quotes to bring the reader into the minds of these extremists. I wanted to accurately portray this band and the chaos they caused in hopes to show why they felt the need to be the “most evil.” A power struggle between mentally ill adolescents revealed the true hatred a human can possess. If I were to do this research again, I would have liked to pick a lighter topic. A lot of the material was hard to read and extremely disturbing. I aimed to uncover facts from fiction and although Eurynomus did not eat part of Dead’s brain, he did encourage his suicide. These band members held irrational ideas and went to radical measures to pursue their place in black metal. I’m glad I formulated my research into a scrapbook because I think it gave a face to name rather than just words on a page. A scrapbook was perfect for my timeline, although not being digital, I could not use videos. Again there is little evidence of this scene but there were some good youtube videos from Mayhem’s old concerts in 1991-1994. I believe my research over this past semester has revealed the catastrophic aspect of what “true Norweigan black metal” so longed to be. In conclusion, I’m happy with my research but I wish I could have found richer and more factual information. Bibliography Campion, Chris (20 February 2005). "In the Face of Death". The Observer. Guardian Unlimited. Retrieved 6 October 2007. Carroll, William K. Hegemony, Counter-hegemony, Anti-hegemony. University of Victoria. Godfrey, Alex. “'Before You Know It, It's Not a Big Deal to Kill a Man': Norwegian Black Metal's Murderous Past.” The Guardian, Guardian News and Media, 22 Mar. 2019 Grude, Torstein (director) (1998). Satan rir Media (motion picture). Norway: Grude, Torstein. Martin, Ledang (director), Pål Aasdal (director) (2007). Once Upon a Time in Norway (motion picture). Another World Entertainment. Moynihan, Michael; Søderlind, Didrik (1998). Lords of Chaos (LOC). Feral House. p. 79-100. Silva, José Filipe Silva P. M. Black Metal: history, trace of character and archetype. Edited by Paula Guerra and Taina Morella, Report no. 2, Jan. 2016. Keep it Simple, Make it Fast! p. 215-219. Spracklen, Karl. "Playing with Madness in the Forest of Shadows: Dissonance, Deviance and Non-Comformity in the Black Metal Scene." Can I Play with Madness, edited by Colin A. Mckinnon et al., Oxford, United Kingdom, Inter-Disciplinary Press, 2011. Critical Issue. Stevens, Brett. "History of the band Mayhem." 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