[翻譯] True Norwegian Black Metal《正港挪威黑金屬》

[miuccina (Go Tiger Go!)]

文章：True Norwegian Black Metal by Peter Beste
作者：Keith Kahn-Harris

原文出處：http://0rz.tw/lUBAF

隨便亂翻譯，語意不順或有誤請指正^^



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Of the many postwar subcultures, black metal is one of the most extraordinary.
Arising in the late ‘80s as a reaction to the bloated success of mainstream
heavy metal, the black metal underground sought to create a music and culture
that were unambiguously satanic, transgressive and violent.

二戰之後，黑金屬是眾多次文化中最特殊的一種。起源於80年代後，作為對重金屬音樂主
流化的反撲，黑金屬試圖創造一種絕對邪惡、叛逆與暴力的音樂和文化。





Although black metal has always been a global phenomenon, its birthplace was
Norway – beautiful, peaceful, wealthy Norway with its generous welfare state,
superb education system and excellent quality of life. In the early ‘90s the
country was rocked by an outbreak of black-metal-inspired violence. A number
of Norway’s unique wooden churches were burned down by black metallers –
an unprecedented attack on the country’s cultural and religious heritage –
some of whom were imprisoned. That wasn’t the end of it. One black metal
musician, Count Grisnacht aka Varg Vikernes of the one-man band Burzum,
was convicted of the murder of Euronymous aka Oystein Aarseth of the band
Mayhem in 1993. Another musician, Bard “Faust” Eithun, was convicted of
the murder of a homosexual stranger in 1992. More recently Gaahl, vocalist
of Gorgoroth, was imprisoned for assaulting and torturing a man in 2002.

雖然黑金屬一直以來都是全球景象，但它誕生於挪威—一個美麗、和平、富足，享有豐厚
社會福利、卓越的教育系統和優良生活品質的國家。在90年代早期，這個國家被黑金屬啟
蒙的暴力事件給撼動了。一些木造的特殊教堂被黑金屬樂手焚燬—這種針對文化與宗教遺
產的攻擊，在挪威是前所未見的。雖然某些樂手因此而被監禁，但事情並沒有結束。別名
Varg Vikernes、身為Burzum唯一團員的Count Grisnacht因為謀殺了Mayhem的團員
Euronymous，於1993年獲判有罪。1992年，另一個樂手Bard “Faust”
Eithun則因為謀殺一名陌生男同志而獲判有罪。最近一起則是Gorgoroth的主唱Gaahl在
2002年騷擾並折磨他人而被監禁。




At the centre of black metal ideology lies virulent opposition to religion,
particularly Christianity, embodied in the slogan “Support the war against
Christianity”. This opposition stems not from a humanistic reaction to
religious oppression but from a characterisation of religion as a form of
weakness, a deviation from humanity’s lustful, animalistic self. The Satanism
associated with black metal is rarely theistic, resembling instead an extreme
form of anarchism in which compassion and community are eschewed in favour of
individualism and elitism. Satanism on occasion crosses over into social
Darwinism and fascism – in interviews before and after his trial, Vikernes
espoused National Socialist beliefs. This tendency is compounded by the
“volkisch” celebrations of pre-modern, pre-Christian national origins (such
as the Vikings) often found in black metal.

黑金屬的意識形態對宗教（特別是基督教）懷有強烈敵意，這可由一些口號諸如「支持
反基督教的戰役」中看出端倪。這種敵意並非因古早的宗教壓迫而萌生，而是因為認為
基督教是種懦弱的象徵；這種懦弱只會讓人與原本的自我（自私的、獸性的）逐漸疏離
。和黑金屬結合的撒旦主義也不盡然是僅把撒旦當作唯一真神膜拜，反而比較像是某種
無政府主義的極端表現，大力提倡個人和菁英主義、排斥人道關懷與社區意識。撒旦主
義有時候會變成社會達爾文主義和法西斯主義，譬如在Varg被判刑前後的採訪中都有表
示他的國家社會主義思想。這種傾向是被「人民至上」（民粹；volkisch）的思想給強
化的，黑金屬經常歌頌尚未被現代化、基督教文明給沾染的國家起源（譬如維京祖先）
。




Although one can find black metal scenes all over the world, Norway remains
its spiritual homeland, the place where it is most developed and most
notorious. Black metal as it developed in the ‘80s and ‘90s represented a
rejection of everything contemporary Norway was about. In place of a stable,
orderly, social democratic society, black metallers advocated a chaotic,
individualistic free-for-all. The Norway celebrated in black metal is a land
of forests, inclement weather and untamed wilderness, the land of the Vikings.

雖然在世界各國都可以找到黑金屬的場景，挪威仍舊是黑金屬的神聖國度，因為挪威依
舊擁有最多的黑金屬樂團，而且都惡名昭彰。黑金屬在80年代發展以來，在90年代已經
創造出拒絕所有社會價值的形象。身處在穩定、秩序良好、（偏左）民主的挪威社會中
，黑金屬樂手提倡混亂、個人主義至上的完全自由思想。黑金屬樂手創造出的挪威是充
滿森林、嚴峻氣候和原始自然的土地，簡而言之，就是維京人的土地。





At the same time, the delicious irony of the Norwegian black metal scene is
that it is in part reliant on Norway’s wealth and its welfare provision.
The benefit system makes it easy for musicians to concentrate on making
music. The well-funded education system makes musical training and rehearsal
space easily accessible. The liberal criminal justice system allowed Faust,
a convicted murderer, to be released after only nine years in jail and for
Vikernes to record two albums while imprisoned. The Norwegian black metal
scene is, as the sociologist Asbjorn Dyrendal has dubbed it, “Social
Democratic Satanism”.

諷刺的是，正因為挪威社會的富足和社會福利的措施，黑金屬才有蓬勃發展的一天。社
會福利制度讓這些樂手可以專心創作；規劃良好的教育體系使得音樂訓練和表演場地都
能唾手可得；進步的司法制度還能讓犯下殺人罪的Faust在服刑九年後被釋放，也還讓
Varg在獄期間錄製兩張專輯。若以一句話來形容挪威的黑金屬場景，借用社會學家
Asbjorn Dyrendal所說，那就是「社會民主的撒旦主義」。





This often bizarre world is nicely captured in Peter Beste’s collection of
photographs of Norwegian black metal scene members. Over 13 visits to the
country, this American photographer immersed himself in the scene and his
hard-won familiarity with the leading black metal personalities has produced
some fascinating portraits.

這樣奇異矛盾的世界被Peter Beste拍攝的挪威黑金屬樂手給巧妙捕捉了。這名美國攝影
師在親身造訪挪威13次後，他不僅獲得一些黑金屬樂手的認可，同時也拍攝到一些令人
嘆為觀止的作品。




Many of Beste’s subjects stare at the camera directly, with an
uncompromising coldness. Look at the captions to the photos and they reveal
pseudonyms such as Nattefrost, Samoth and King Ov Hell. The desire to create
an inhuman impression is compounded by the frequent use of “corpse paint”,
a kind of face painting similar to that used by Gene Simmons of Kiss, but
less clown-like.

許多Beste拍攝的人物都直視著鏡頭，表達著不願妥協的冷酷感。對照著照片的標題，
你會認識許多樂手的藝名諸如Nattefrost, Samoth and King Ov Hell。這種試圖創造
出慘無人性的印象，通常藉由屍妝得到強化（很像Kiss的Gene Simmons的化妝，只是
沒那麼像小丑）。





Some might find such material frightening and perplexing, others may find it
mythic and powerful, still others would see it as ludicrous. It is to
Beste’s credit that he avoids all these temptations in favour of developing
a body of images that lay bare the ambiguities of the Norwegian black metal
scene.

有些人或許會因此覺得恐怖或困惑，有些人也可能覺得神秘或很有力，然而大部分的
人應該會覺得這很白癡。不過Beste並不想要傳遞任何訊息，他只是盡量把挪威黑金屬
的場景給呈獻出來，讓所有的曖昧交給讀者自行想像。





The most extreme images in the book are subtly qualified and questioned.
Pictures of Nattefrost drunk and covered in his own shit are taken in his
bathtub, as if to emphasise that his transgression is contained within the
most mundane of objects. There is bathos here, but also vulnerability. The
same is true of the many pictures taken of black metallers in the Norwegian
countryside: in the woods, on mountains and in the snow, many of the subjects
are made to appear small and insignificant (or quite simply cold). The
contradictions inherent in black metal’s simultaneous celebration of
untamed nature and untamed humanity are revealed in the insignificance
of the black metaller next to the potency of nature.

不過最極端的畫面通常都以巧妙的方式呈現出來。譬如Nattefrost喝醉之後倒臥在浴缸
裡不說，還任由自己的大便覆蓋在身上，似乎就在說明即便他努力去挑戰社會價值，最
終仍逃脫不了最世俗的東西（糞）。雖然有點矯情，但也展現出其脆弱的一面。其他的
作品也都有這種感覺，譬如一些在挪威鄉下地區拍攝的樂手照，多半都跳脫不了森林、
山野、雪地等場景，許多主角都看起來毫不起眼（或是純粹因為太冷？）。黑金屬強調
原始自然和人本獸性的矛盾，就在這微小人影與雄壯的自然景觀的對比中一覽無遺。





My favourite pictures here are the ones of Kvitrafn and of King Ov Hell in
full corpse paint taken in the old town of Bergen. In both pictures stunned,
bourgeois-looking passers-by regard the black metallers with a mixture of
puzzlement and horror. Shocking polite society is of course a classic feature
of spectacular subculture. But Beste also shows that his subjects are more
integrated into Norwegian society than might at first be apparent. There are
pictures of black metallers with their children, in their apartments, on
housing estates, on the street. There is no world but this one and black
metal scene members live in it too, sometimes looking out of place, sometimes
looking entirely comfortable.

我最喜歡的是Kvitrafn and of King Ov Hell化著屍妝在Bergen舊城區中拍攝的照片。
在這兩張照片中，看起來像是中產階級的路人無不投以驚訝、困惑又畏懼的眼光。視覺
導向的次文化當然是以驚世駭俗為目標，但Beste卻又能表現出這些金屬樂手們融合社
會的一面。譬如他拍許多樂手和他們的小孩在公寓、在家裡或在街上的照片。這些黑
金屬樂手們也是同樣生活在這個社會裡，雖然有時候看起來很格格不入，但有時候看
起來又很安逸自在。





What this collection cannot capture is the music – undeniably harsh,
characterised by fast tempos, screams and trebly guitars, but also
innovative and somehow unearthly. There is an austere, bleak beauty in the
work of Burzum, Emperor, Gorgoroth and other black metal acts. If Norwegian
black metallers themselves are caught between a desire for transgression and
violence and the inescapability of living in Norway, black metal music is
perhaps more transcendent, less inextricably tied into the circumstances of
its production.

不過這些作品無法捕捉到音樂本身—無庸置疑的吵雜、迅猛的節奏、尖叫以及刺耳的
吉他，創新卻也有點恐怖。Burzum、Emperor、Gorgoroth和其他黑金創作中確實存有
獨特的黑暗美感，傳遞出一種莊嚴性。如果挪威黑金樂手們覺得自己身處於一種夾縫
之間，想要擺脫現實社會、尋找叛逆與暴力，黑金屬音樂可能就是出自於這種情懷的
產物。









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