it Was inevitable: the essay ‘Lords of chaos’ (edited by EsPop flawlessly in our language), the fundamental essay on the ascension of the black metal satanic in the nordic countries, gave the film. The extravagant of its protagonists and their extreme music, the metal more proudly cacofónico, sharp, and noisy planet, was to a great chronicle of a musical scene absolutely underground and the fringes of the pop industry.
But there’s more, of course. Much more. is With the kids immersed in an internal war for claiming to be the most abject of the scene, began an escalation of atrocities that started with the suicide of Dead, the vocalist of one of the bands founding of the genre, Mayhem. Continued with the burning of catholic churches, Norwegian of incalculable historical value, and ended up with crimes of blood. They were involved one of the leaders of the movement, Euronymous (Rory Culkin) and the unpredictable Varg Vikernes (Emory Cohen).
The first surprise that book Lords of Chaos is that its approach is far less gloomy than expected. Be aware that the material has its share unmerciful and frightening by very terrible are the events that account, the director Jonas Åkerlund (who knows of what he speaks: he was the drummer of the legendary Bathory from 1983 to 1984) loads of black humor to the story. the Portrays its characters as memos unconscious, as children without scruple, and lovers of death and sometimes, like all this at the same time. The spectator has the impression of seeing some criminals in power, but some guys extremely disoriented.
that is why the first death of the film, essential to understand its tone, is of a rawness extraordinary: the film jumps almost without giving time to breathe with the viewer of the teen rebellion and the execution of feral cats to one of the scenes of automtilación and suicide more raw that we have seen in recent times. That’s why the very special tone of the film is one of his great achievements, at the same time sarcastic but empathetic with the characters, blown away with their atrocities but fascinated with their personalities to the limit of the sociopatía.
Perhaps the only but that we can award to the film is that you do not pay enough attention to the scene of the nordic black metal. It may seem a detail, merely circumstantial, but in this case it is not: your purpose of generating a music atrocious and abrasive is so radical and, at the same time, naive as the characters that shaped it. Maybe that decision is appropriate in the part of the rejection front that the scene showed towards the project from that announced at the beginning of the decade: many groups did not give names or themes for the emergence of, and that is a section in the original book, of great scholarship, cultural, wins street.
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The news ‘Lords of Chaos’: a chronicle of events in key youth music infernal background was originally published in Espinof by John Tones .