In the early nineties, bands like Mayhem and Darkthrone kicked off the second wave of black metal in Norway, flooding the senses with screeching vocals, blast-beat drums, and blazing tremolo. But there have always been moments of calm in the chaos: ambient instrumentals, often incorporating medieval compositions, acoustic guitars, woodwinds, and the occasional mournful female vocal melody. These sonic shelters let the listener catch a breath while priming them for ever more brutal riffage.
The interludes also allowed for experimentation with electronic instruments. The first seven albums by Mortiis (1993 through 1999), who often performs wearing goblin-like prosthetics and describes his work from this period as “dark dungeon music,” are a prime example, as are the two science fiction–inflected Neptune Towers albums (1994, 1995), recorded by Fenriz of Darkthrone. By embracing synths, such bands tapped into modes explored by electronic pioneers like Tangerine Dream and Skinny Puppy. Just as important, they inspired a host of DIY enthusiasts, who distributed their recordings on limited runs of cassettes.
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