Kumanthong

A globetrotter, the author of STM 288 is a staunch defender and devoted researcher of black metal history, evolution and artistic richness. He has also been active in musical creation. In fact, he can be found credited in HUREN’s “HITPUSHER” [Clan Destine Records, 2018], as the person behind the electronic composition. In his own creative process, he fearlessly tries “to merge the “golden era” of black metal […] with modern electronics”.

STM 288 is a unique mix based almost in its entirety on the darkest of metal genres. Along the hour it lasts, KUMANTHONG reaches out to take us on an exciting and mysterious journey to the confines of the black metal realm. Mainly focused on the first wave and the early days of the second, apart from the sonic experience, the wisely picked tracklist proves that black metal is hugely rich and a diverse cultural movement at global level. It features treasures by artists of the likes of Strid, with their trademark depressive suicidal sound or true pioneers such as Hellhammer. Please, take a bow. “Feast of the Grand Whore” is an early lo-fi recording by Rotting Christ from 1989, with unquestionable influences from thrash, hardcore and grindcore. More experimental offerings have room too in this retrospective. Mind-blowing “Animum, Mentem Alcis…”, by the Swedish band Abruptum, goes far beyond and, with an undeniable forward-looking approach, allows listeners to dive into a sea of hyper-slow cadencies, obscure soundscapes and violence. Surprisingly, KUMANTHONG opts for tracks by Klaus Schulze to open and close the mix. For those that could think that the German is like a monkey with a snowball here, just wait until you read the author’s words below.

In 1993, Varg Vikernes murdered Euronymous. More than 25 years have passed since then, and now it is time to mourn a true legend of Black Metal. Therefore, publishing this excellent mix will be not only a great opportunity for our readers to dig in —and learn about— this cultural/social/creative movement, but also to celebrate and embrace black metal.

In the records

Kumanthong on the mix

While most people consider black metal to originate in Scandinavia during the 1990s, many of the bands who influenced this second wave came from eastern European countries during and after the collapse of the Soviet regime.

A north-south axis reaching from Oslo to Athens coincided with the disintegrating border between two parallel universes. Like many other upheavals in history this one fell victim to a massive media disinformation campaign, as exemplified by the Lords of Chaos book and movie.

Once again, the empire has re-written history in order to substantiate its false narrative. Black metal is and was a satanic anarchist movement. While other scenes held a relatively conservative attitude towards drugs, with this one there was a lot going around. Liberation from traditional religious indoctrination required some heavy doses of narcotics including speed, cocaine, MDMA, LSD and GHB. Many artists took inspiration from techno and other electronic styles and would also attend raves.

This particular incarnation was brought to an end on the 10th of August 1993. The decision to include two Klaus Schulze tracks is because the Cyborg LP was found on Euronymous’ turntable after his murder just over 25 years ago.