Don't Matter lyrics

Konvict Konvict
Oh
Ohoohwooe
Oooh
Ooohhwooe

Nobody wanna see us together
But it don't matter no
Cause I got you babe
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Cause we gon' fight
Oh yes we gon' fight
Believe we gon' fight
We gon' fight
Fight for our right to love yeah
Nobody wanna see us together
But it don't matter no
Cause I got you

Nobody wanna see us together
Nobody thought we'd last forever
I feel I'm hopin' and prayin'
Things between us don't get better
Men steady comin' after you
Women steady comin' after me
Seem like everybody wanna go for self
And don't wanna respect boundaries
Tellin' you all those lies
Just to get on your side
But I must admit there was a couple secrets
I held inside
But just know that I tried
To always apologize
And I'ma have you first always in my heart
To keep you satisfied

Nobody wanna see us together
But it don't matter no
Cause I got you babe
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Cause we gon' fight
Oh yes we gon' fight
Believe we gon' fight
We gon' fight
Fight for our right to love yeah
Nobody wanna see us together
But it don't matter no
Cause I got you

Got every right to wanna leave
Got every right to wanna go
Got every right to hit the road
And never talk to me no more
You don't even have to call
Even check for me at all
Because the way I been actin' lately
Has been off the wall
Especially toward you
Puttin' girls before you
And they watchin' everything I been doin'
Just to hurt you
Most of it just ain't you
Ain't true
And they won't show you
How much of a queen you are to me
And why I love you baby

Nobody wanna see us together
But it don't matter no
Cause I got you babe
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Cause we gon' fight
Oh yes we gon' fight
Believe we gon' fight
We gon' fight
Fight for our right to love yeah
Nobody wanna see us together
But it don't matter no
Cause I got you

Oh oh oh oh oh
Cause I got you
Cause I got you
Ooooh
Cause I got you babe
Cause I got you

Nobody wanna see us together
But it don't matter no
Cause I got you babe
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Cause we gon' fight
Oh yes we gon' fight
Believe we gon' fight
We gon' fight
Fight for our right to love yeah
Nobody wanna see us together
But it don't matter no
Cause I got you
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Nobody wanna see us together
But it don't matter no
Cause I got you babe
Cause we gon' fight
Oh yes we gon' fight
Believe we gon' fight
We gon' fight
Fight for our right to love yeah
Nobody wanna see us together
But it don't matter no
Cause I got you

History of doom metal

Together with heavy metal, doom metal is the oldest form of metal music, rooted in the music of early Black Sabbath, which is often considered as one of the first metal bands amongst many metalheads. Although in the beginning of the 1970s both Black Sabbath and the American Pentagram performed a kind of music that could be considered early doom metal, neither band is generally considered an actual doom metal band. From the late 1970s to mid 1980s, bands such as Trouble, Saint Vitus and Witchfinder General contributed much to the formation of doom metal as a distinct genre. The form of music played by these artists can be described as being rooted in both the music of Black Sabbath and, especially in the case of Witchfinder General, the New Wave of British Heavy Metal. The slowness of their music is often seen by some as a reaction to the contemporary trend of constantly increasing speed in the 1980s - thrash metal and speed metal.

Doom metal first became widely recognized within the metal scene with Sweden's Candlemass, who are hailed in the mainstream metal press as one of the most important and influential doom metal bands; their 1986 album Epicus Doomicus Metallicus is considered a genre-defining release. According to the proponents of the classic doom metal style, the most prototypical doom metal band would be Saint Vitus, who released their self-titled debut album in 1984 - two years before doom metal as a genre was recognised in the mainstream metal press. Saint Vitus still remains one of the most legendary and influental bands within the genre.

Doom metal developed further in the early 1990s. The breaking point and probably the most influental doom metal band from the early 1990s to the present was Cathedral, especially their debut album Forest of Equilibrium(1991). Although it was a traditional doom release, this album opened a wide range of possible influences and directions for the coming doom metal bands.

A few death metal bands bordered the line of doom metal by slowing down their playing style, such as Sorrow or Paradise Lost on their debut. A number of bands started combining the original doom metal style that was pioneered in the 1980s with influences from death metal and other forms of extreme metal and even hard core. The first band who mixed doom with death metal may have been the heavily Celtic Frost-influenced Winter, although this style known as death/doom later became generally associated with and made popular within wider heavy metal audience by three British bands: Paradise Lost(old), My Dying Bride and old Anathema.

Although classic doom and death/doom have remained central to the present, during the 1990s the doom metal genre developed in much further styles. In the early 1990s European bands such as Thergothon and Funeral moved the basis of death/doom to the extreme. This utterly slow and often very dark style is now known as funeral doom. At the same time, American bands such as Crowbar and Eyehategod mixed certain doom metal with a lot of hardcore and even some punk influencies and created another new faction within the doom metal scene: sludge doom. Also, the band Earth (Seattle band, not to be confused with early name of Black Sabbath) pioneered the rise of drone doom, as the slowest and the most minimalistic form of doom.

A number of bands, such as The Gathering and Theatre of Tragedy took the mellower side of Paradise Lost, and started with a lot of experimentation with female vocals and keyboards and created the generally more accessible genre of gothic metal. Although this genre is generally considered to be inspired by some doom metal bands, it is not considered as doom's subgenre, but as a genre for itself. Gothic metal was seen as a mix between metal and gothic music (which is actually fairly opposite to doom metal).

Also, it has been argued that a nexus exists between doom metal, stoner rock and psychedelic music, although each of these genres have developed on their own. The stoner rock bands like Kyuss, Fu Manchu, Monster Magnet and Queens of the Stone Age share with doom metal a heavy sound and a strong Black Sabbath influence, but generally have a different objective: whereas doom metal aims for dark and moody themes and atmosphere, stoner rock aims for a groovy "feelgood" and psychedelic sound. A number of doom metal bands, however, such as Cathedral(mid) and Sleep, have combined doom metal with psychedelic influences, thereby creating a style which can be considered a hybrid form of doom metal and psychedelic rock.

Nowadays, the original brand of doom metal with clean vocals is usually labelled as a "traditional doom." One of the most important traditional doom bands in the past few years was Finnish Reverend Bizarre. Another band that plays in this style is Black Sabbath guitarist Tony Iommi's solo project Iommi with former Deep Purple/Black Sabbath vocalist Glenn Hughes on vocals/bass guitar

Early doom bands of the seventies...

Most people agree that Black Sabbath is amongst the most influential bands for all heavy metal in general, and Doom-Metal is no exception. Their early albums 'Black Sabbath', 'Paranoid', 'Master Of Reality', 'Vol. 4', 'Sabbath Bloody Sabbath', and 'Sabotage' are all without doubt, masterpieces, and without them Doom-Metal (or even metal in general) would not exist at all.

Whilst Black Sabbath were definitely well ahead of their time, and as such one of a kind, they certainly weren't without their contemporaries (Pentagram, Blue Cheer, Black Widow). Some of the earliest prototypes of Doom-Metal were in fact songs of the late sixties and early seventies that, whilst not wholly doomy, contained countless great riffs that came to shape the sound of Doom-Metal in later years. Such songs include Iron Butterfly's 'Inna Gadda Da Vida'.

One of Black Sabbath's main contemporaries - Pentagram - can be counted as one of the earliest Doom bands around, often intertwining with the band Bedemon one could perhaps best label their style of music as "Proto Doom". Black Sabbath has a huge impact on their sound but they focused more on the doomy side of this style. Thus creating some of the first ever Doom-metal records!

The eighties...

The 1980s brought with them the first bona fide Doom-Metal acts. This was the era in which bands such as Def Leppard, Warrant, and Bon Jovi came to the foregrounds and professed to be "heavy metal", and where thrash/speed and death metal bands ruled the metal scene.

The press also applied the term "heavy metal" in a nasty pigeonholing manner to any band that wore tight spandex and big hair. Whilst there are so many bands during that time that were truly deserving to fly under the banner of Doom-Metal, they were vastly outnumbered by these Glam-metal acts. The eighties were also known for the end period of the NWOBHM, another semi-fast style of metal. So in an era where speed was the prominent factor in extreme music, Doom-Metal acts where greatly outnumbered, but this is the era where Doom-metal was mostly developed and created a name for itself.

One 80s band that made Doom big was Trouble. Originally from Chicago, this band got together in 1979 but gained popularity from 1984 onwards. Trouble's music stands for slow, dragging heavy metal, clearly influenced by Black Sabbath. Due to Christian beliefs of the band and its effect on their lyrics the band initially fell under the label White-metal.

Saint Vitus, another early doom-oriented band, had perhaps the biggest influence on the Doom-metal landscape (together with Candlemass). Their early work was on SST (Greg Ginn from Black Flag's label) and was mostly fronted by Wino who gained more fame later with semi-doom majors The Obsessed. Wino became one of the most legendary figures of Doom-metal in his own right. From his beginnings with The Obsessed, moving on to St. Vitus, and re-forming The Obsessed, he became one of the most prominent and influenctial figures within the Doom-metal scene. He now frequents the Stoner scene with his current band Spirit Caravan.

In 1986, Swedish band Candlemass released the album 'Epicus Doomicus Metallicus', a milestone in early Doom-Metal. Once called "the heaviest band in the world" they picked up where Black Sabbath left off in 1976. The material on 'Epicus Doomicus Metallicus' was in the same style as old Black Sabbath (with Ozzy) but with modern contemporary influences. Candlemass' best years were those with vocalist Messiah Marcolin, a man with an exceptionally clear, deep voice. For doom newbies the CD 'As It Is, As It Was: The Best Of Candlemass' (Music For Nations, 1994) gives a good overview of their works.

Another doom pioneer in the late eighties was Lee Dorrian's band Cathedral. When Lee left Napalm Death in 1989 nobody expected such a volte face. As opposed to Napalm Death's ultra-fast music Cathedral's first releases were ultraslow, super-heavy doom in its purest form. Check out the albums 'In Memorium' and 'Forest Of Equilibrium'. Cathedral's later works are more seventies-rock oriented and the doom atmosphere has slowly faded away.

One label that was very important to this first generation of Doom-metal, and was mainly active during the very end of the eigthies to the mid nineties, was the Hellhound Label. This label signed a great deal of Doom-metal acts whose sound later became known as the "hellhound sound", industriously forming a clear foundation for future Doom-metal acts to build upon. Bands like The Obsessed and Count Raven released many records through this label.

The nineties...

The early 90s heralded a change in the Doom-Metal landscape. With Death-metal having taken over the metal torch halfway through the eighties, Doom-Metal enjoyed a revival. New bands emerged that sought a mix between original Doom-Metal and Death-metal. Early pioneers like Winter with their release 'Into Darkness' in 1990 and Thergothon with their brilliant demo 'Fhragn-nagh Yog-Sothoth' in 1991 broke through the original boundaries of traditional Doom-Metal and formed the building blocks for modern day Doom-Metal. Lets also however not forget a band like diSEMBOWELMENT.

Bands like Winter, Thergothon and diSEMBOWELMENT could not gain the success later doom bands would have with this new style. Three bands from England, whom all shared the same label, Peaceville, propelled the Death/Doom genre to the level at which it stands today; Paradise Lost being the first with their release of 'Lost Paradise' in 1990 (which still had a strong death-metal influence). With 'Gothic' in 1991 they however almost single-handed set the standard for modern-day doom.

Fellow label mates My Dying Bride succeeded in opening the gates for countless new Doom-Metal bands. Their first official release on Peaceville, 'Symphonaire Infernus Et Spera Empyrium', in 1991 already showed this band was destined for greatness and with their second full length 'Turn Loose the Swans' in 1993 they set their status as the largest modern-day Doom-Metal band. Another influence on this new form of Doom-Metal was the third Peaceville band called Anathema. Despite being one of "the big three" they always remained the smallest and least influential.

Also worth mentioning is that at the beginning of the ninties, a band called Earth (no, not Black Sabbath with their orignal name) created some of the heaviest Sabbath influenced music ever. This band became a huge influence on so-called "Drone Doom", an extreme form of Doom-metal.

Nor can we overlook the rise of an odd child within the Doom family, Sludge Doom; very heavy, miserable sounding Doom-metal that perhaps lacks the mournfull and emotions of Doom but fills those with pure filth, discust and anger. Of course also attoning to the teaching of Black Sabbath.

Midway through the nineties the need for experimentation within the metal genre as a whole also touched the Doom-Metal genre. Bands like The 3rd and the Mortal created a more atmospheric type of doom with albums like Tears Laid in Earth' and were one of the first metal bands to have a fulltime female lead singer. Following in the wake of Thergothon, slower and more extreme acts than normal Death/Doom also started to emerge like Funeral, Skepticism and Esoteric. The experimentation "disease" lead to the many different types of Doom-Metal we know today. From the slow and emotionless sounds of Esoteric, Evoken and Skepticism to the Gothic/Doom-Metal hybrids like Theatre of Tragedy. And let's not forget that there is a whole host of new and old bands who still play the orignal style of Doom from the 80s.

Owing to this flurry of experimentation, the boundaries between genres faded and various great Doom-Metal giants moved away from the sound they helped create, giving the whole Doom-Metal genre a creative input of which we have not yet seen the last. The new millenium has already proven that by making 2001 one of the best years for heavy Doom since the early ninties. This indeed promises much for the future...

DARKSEED

History shows that German Gothic Metal isn’t the most exciting sound you can listen to. However, DARKSEED’s latest longplayer "Ultimate Darkness" (Januar 2005, Massacre Records) promises to rock even this genre!

Since 1992, DARKSEED have constantly been part of the German Gothic Metal Scene which they have decisively formed by releasing two innovative demos (Sharing the Grave 1992, Darksome Thoughts 1993) and their first real outputs (“Romantic Tales” Mini-CD 1994, “Midnight Solemnly Dance” CD 1996).
From the early beginnings the band tried and kept evolving, so it wasn’t surprising that the album “Spellcraft“ (1997, Nuclear Blast) - featuring sheer power and gloomy melodies - was well received, even internationally. Born in 1999 after extensive touring across Europe, the album "Give Me Light" (Nuclear Blast) prepared the way for further development, elaborated by the following releases: a catchy mixture between atmospheric electronics and attractive melodies. "Diving Into Darkness" (2000, Nuclear Blast) and "Astral Adventures" (2003, Massacre Records) as logical consequences attracted the interest of a broadly based worldwide audience.

After more than 10 dark years, some side-projects and therefore a remarkable number of releases, Stefan Hertrich, singer and founder of DARKSEED, indulged in a yearlong creative time-out - just to return in 2004, packed with a bundle of new songs and bursting of energy. The result: 13 songs, as usual produced by the band in guitarist Thomas Herrmann´s Helion Studios and self-confidently entitled “Ultimate Darkness”.

“Ultimate Darkness” means  uncompromising deep guitars, complex electronics to create an atmospheric background, melodic and gloomy vocals and an unmistakable hard voice breaking through, wrapped in catchy song structures.
The textual spectrum is not defined by blood and roses, but by omnipresent universal and individual problems. DARKSEED politicize without being importunate or instructing. Entertaining music woven with thoughtfulness, social criticism and poetry merge to a merciless musical wall. Ultimate darkness is knocking at your door January 2005 and it’s on you whether you let it in or not.

Line-up:
Stefan Hertrich: Vocals, Electronics
Thomas Herrmann: Guitars
Tom Gilcher: Guitars
Martin Motnik: Bass
Armin Dörfler: Keyboards
Maurizio Guolo: Drums

Contact:
darkseed@darkseed.com

Website:
www.darkseed.com

If looking at Infernus' picture doesn't scare the crap out of you, Gorgoroth's music certainly will. It's black metal with a lot of death metal influences and even some doom metal sounds. It has great grooves and riffs, but also an overriding atmosphere of darkness. Drummer Frost simply crushes. He plays at breakneck speed and is the backbone of the songs

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The First Wave

The seeds of black metal were planted in the early 1980s, known as the "First Wave", the earliest inspiration being that of the British band Venom. Their debut full-length album, "Welcome To Hell" was released in 1981, and is a huge inspiration for the future black metal scene (not to emerge for around a decade later), along with their 1982 follow-up, aptly titled Black Metal (then a pun on the phrase Black Magic). The music was in many ways similar to the future black metal music; the under-production, harsh music, and the vocals were relatively growly, similar to the future rasp of black metal vocalists, though Venom took on a more NWOBHM/Thrash metal style, rather than the future sound. Venom's clothing style was also similar to that of the future black metal bands; leather trousers, spiked wrist accessories etc. Venom's members also adopted pseudonyms, the original lineup being Cronos, Mantas and Abaddon.

Though a more direct insipiration would be that of the Swedish one-man band Bathory, lead by Quorthon (real name Thomas Forsberg). Early Bathory was pure black metal, with under-production, fast tempos, sketchy playing and a rasped vocal style. Bathory seemingly performed this completely out of the blue, the debut self-titled album and the second album The Return are perfect examples. Though Bathory later evolved into a very artistic black metal band round the late-1980's, with black metal music scattered with acoustic parts and Norse melodies, with Norse mythology-based lyrics. At this time, such classic songs as A Fine Day To Die were recorded, a song later to be covered by symphonic black metal legends Emperor. Quorthon was pronounced dead on June 7, 2004.

Other big influences include the Danish band Mercyful Fate and Swiss band Celtic Frost, both of which featured heavily occult themes, a huge factor of future black metal. King Diamond, Mercyful Fate's vocalist, however, provided the first corpsepaint-esque look, which would be used by nearly every single future black metal band. Mercyful Fate also provided a blasphemous image, which was also a largely influential factor for future black metal.

The Second Wave

Black metal congealed in its current form (known as the second wave of black metal, which is rooted much more heavily in classical musical theory) through the influence of Norwegian bands such as Darkthrone, Enslaved, Burzum, Satyricon, Mayhem, Gorgoroth, Immortal, and Emperor, who began with the earlier style and introduced elements from mainstream heavy metal, classical music and popularised the style to a growing underground audience. Their influence is most apparent in the Satanic or pagan imagery, anti-Christian lyrics and occult themes.

An abraded, very low fidelity recording style is common in most black metal. Modern evolution of many of the older 'genre leading' bands have had a vast change in sound, and by many - and most of the times, even the band - are no longer considered black metal. Such examples include Mayhem's career that began mostly in the death/black roots, moved to almost pure black, then towards death again in their later career. Also, Satyricon who started off as black metal but now play a very industrial heavy hybrid of the music. Modern offshoots of this original black metal sound have incorporated atmospheric elements using ambient guitar and keyboard passages such as organ sounds or other miscellaneous instruments.

A distinct (but not intrinsic) feature of black metal is the use of corpse paint, a special kind of black and white make-up which was used to make the wearer look like a decomposing corpse or plague victim. Immortal referred to their make-up as "war paint", not carrying the same connotation as corpse paint. Another distinct feature of black metal is the use of dark, Nordic or Satanic monikers pioneered by Venom (the original line up being Cronos, Mantas & Abbadon). Examples of this include Quorthon (Bathory), Euronymous (Mayhem) and Samoth (Emperor), to name a few.

Earlier bands tended to dwell on themes of fantasy, mythology, and folklore in their songs, as well as Satanism, darkness, evil, and so on as many of their direct musical and cultural roots included these topics.

History

One of the major influences, if not very musically similar, on the first black metal bands were the English band Venom. Although Venom cannot be credited as the sole founders or even as the first true black metal band they were a major influence and one of the first bands in to use Satanist and very dark lyrical themes in their music. So whilst Venom's musical style had more in common with thrash metal or NWOBHM it must be shown that they had a great influence on the first black metal bands of the late 80's/early 90's.

In the late 1980s and early 1990s, one of the most prominent figures of the Norwegian scene was Øystein Aarseth, better known as Euronymous, the guitarist in Mayhem. Bands such as the previously mentioned Venom became more into the Satanic vibes of the genre.

The scene was deeply anti-Christian: it had a stated goal of removing the influence of Christianity and other non-Scandinavian religions from Norwegian culture and effecting a return to the nation's Norse roots. Viking Metal, an offshoot of black metal that began with Bathory's album Blood Fire Death, is stil heavily influenced by this philosophy and theme while most modern subgenres of black metal have substanially drifted from this mindset. One minority current with black metal at this time, associated with NSBM, included an element of unashamed anti-Semitism. The movement was largely directed by an 'Inner Circle', made up of Aarseth and a few close friends, from the basement of Aarseth's record store, Helvete (Hell). That location also housed a recording studio, where records were made by Mayhem and a number of other bands that were signed to Aarseth's independent label, Deathlike Silence Productions. Deathlike Silence's stated goal was to release records by bands "that incarnated evil in its most pure state."

Also around this time, there was a rash of arsons directed at Christian churches in Norway—many of the buildings were hundreds of years old, and widely regarded as important historical landmarks—that Aarseth's circle claimed responsibility for inspiring, if not necessarily perpetrating. The most notable church was Norway's Fantoft stave church, which the police believed was burned by a member of Euronymous's inner circle; the man behind the one-man band Burzum, Varg Vikernes, aka "Count Grishnackh", but he was acquitted by the court. Vikernes also played bass guitar for Mayhem. Black metal enthusiasts also started to terrorize other notable "death metal" bands that were touring their country or in neighboring countries, on the basis of their lack of apparent "evilness". Many recall a strong Swedish death metal and Norwegian black metal rivalry.

The black metal scene gained some unsought mass media attention in 1991 when Mayhem's frontman Dead committed suicide by a shotgun blast to his head. His note simply read "Excuse all the blood". The ammunition was supplied by Varg Vikernes.

His body was discovered by Aarseth who, instead of calling the police, ran to a nearby convenience store and bought a disposable camera which he used to photograph the corpse for a future Mayhem album cover (Dawn of the Black Hearts). Apocryphal reports also claim that he then took some pieces of Dead's splattered brains and made a stew out of them and/or members of the band took bone fragments from their friend's skull and made necklaces out of them.

The 'Inner Circle' received even more exposure in 1993, when Vikernes killed Aarseth in Aarseth's home, stabbing him 23 times, although Vikernes claims that Aarseth fell on broken glass while running from him and that he really stabbed him only 4 or 5 times. The circumstances surrounding the reason for the murder are not entirely clear, but have mainly been attributed to ideological differences and a power struggle between Vikernes and Aarseth. Vikernes claimed that Aarseth had plotted to kill him and that the killing was committed in partial self-defense. Vikernes also claimed that there was a financial dispute over the profits from Burzum's first two full-length records (Burzum and Det Som Engang Var) as well as the first Burzum EP (Aske) that were released through Aarseth's record label, Deathlike Silence Records. Some sources say that Aarseth intentionally delayed the release of Burzum's records, because Burzum was getting more attention than Mayhem. Vikernes was sentenced to 21 years in prison and has since distanced himself from the black metal movement and has allegedly been involved in racist movements (many claim Vikernes is a Neo-Nazi - he claims not to be as his beliefs are different, especially his admiration of Slavic people - Burzum's site is also in Russian as well as English. http://www.burzum.org/eng/library/a_burzum_story07.shtml) Vikernes has released two albums of a much more ambient and electronic kind of music, Dauði Baldrs in 1997 and Hliðskjálf in 1999, although he implied in a recent interview that he would write material similar to his older works upon his release from prison.

By the last few years of the 1990s, the black metal scene had lost much of the violence that seemed to be attached to it in the early days of the scene. Also, bands begun to make records with higher production-quality.

However, since the mid-1990s, an Eastern European black metal scene has been developing. Bands from the former Communist Bloc are recording material more in keeping with the primitive nature of the early Norwegian artists. Many of these bands' lyrics glorify the pagan roots of their home countries, occasionally injecting elements of indigenous folk music into their arrangements. The Latvian band Skyforger is a prime example of this new aesthetic. The black metal scene in Russia and Ukraine has produced many bands more in keeping with the carefully arranged sounds coming from Scandinavia, but with more appreciation for the low fidelity aesthetic of early black metal. The Czech band Trollech are a perfect example of the "old-school" Pagan black metal band. The Ukrainian neo-Nazi Nokturnal Mortum has achieved very large recognition in the west; their earlier albums relied heavily on synthesizers, but their current work has a grimmer, more abrasive feel flavored with Slavic folk instruments. Poland's neo-Nazi band Graveland has, in recent albums, striven for a 'medieval' feel, resembling a more developed version of later 'viking' Bathory albums, but in the past made much rawer music which still held a certain intangible folk flavor. From Romania, Negură Bunget is a prime example of traditional black metal, injecting their own indigenous mix of Dacian and Latin elements creating something original, along with a Scandinavian sound. Also notable are Serbian bands The Stone and May Result.

There is also a growing number of American bands playing black metal (sometimes called USBM bands). This movement has not taken a particularly clear form, but notable groups are Judas Iscariot, Absu, Grand Belial's Key, Averse Sefira, Leviathan and the death metal-influenced Acheron and Goatwhore.

Bands such as Dark Funeral  extreme metal magazines such as Terrorizer believe that a third wave of influential black metal bands is emerging, this time from France and Sweden. These include Deathspell Omega, Blut Aus Nord, Arkhon Infaustus, Anorexia Nervosa, Antaeus and Ofermod. These bands all claim to be much more interested in Satanism and/or Occultism than previous artists and generally play a very raw extreme style. However, just as with the earlier second wave Norwegian bands they have started to experiment, Deathspell Omega are influenced by Gregorian chant and Blut Aus Nord now incorporate elements of ambient techno.