Friday, December 20, 2019

Bathory and the Scandinavian Metal Attack PT III: The Lost Sons of Odin

[These headlines are here to help people find the page]

Bathory Documentary

Deicide Fryshuset 1992

Ultima Thule Band

["I heard somebody wants me dead...You want me, here I am!" - Glen Benton, Fryshuset, Sweden 1992]

"In 1992, Deicide was on tour in Europe with Atrocity from Germany and Gorefest, a Dutch death metal band. In Stockholm, during the Gorefest set, a bomb was discovered on-stage. It exploded in the club in which they were playing. The bomb was located to the rear of the stage, behind a heavy, fireproof door. The explosion was big enough to deform the door and blow it off its hinges. Deicide managed to play three songs before the police decided to stop the concert and evacuate the club. At first, Benton blamed that attack on the Norwegian black metal scene, where Deicide's brand of death metal was despised. Many people blamed animal rights activists who were angered at Deicide's lyrical themes of animal sacrifice." - wikipedia

Gorefest's guitar player Frank Harthoorn recounts this event:

"...we're playing this large sports hall somewhere on the 3rd floor of this huge building called the Fryshuset... we're about 5 songs into our set when this huge BANG!! just hits us from seemingly everywhere. We all think it's fireworks, JC mouths 'Keep playing!' and we finish our set, having no idea what's going on behind the stage. We get off stage, Quorthon's there giving us the thumbs up - he was working security for the show - and right behind him this massive emergency exit door has been blown from the wall...We never did find out who was behind it...Maybe it was Norwegian black metal dudes hating on US...JC [guitars/vocals] and B had met Euronymous the night before in Oslo, and had a chat with the little caped avenger about threats he'd made to Gorefest in some publication. Didn't have much to say for himself, but some of his small pack of followers had just about reached the right age to get a drivers license and travel to Stockholm overnight. I myself to this day think it was tour manager Adam, in cohoots with the insane bus driver, stirring up shit for even more publicity. And it worked, because if the places weren't fully packed at the start of that tour 5 days before, they sure were after that night." -

Here is what Quorthon had to say about it...

"I was head of security, and I was doing my very best to sorta like, sneak around in the shadows, cause, I mean, 80% of everybody there had my picture on their walls back home... I was backstage, when Gorefest was on stage, and they played so loud, that nobody could hear the bomb, when it went off. I mean, it was a big, big fucking bomb, about let's see, feet...about 25 feet from the stage, and it was an open area I mean, it was indoors, but it was an empty space between where the bomb went off, and the stage, but still, nobody could hear it. It was just this enormous, uh, you know, impact, you know, the pressure from the bomb. And I was standing probably 5 feet away from where the bomb went off, and I still didn't hear it: cause, you know, they were playing so loud. All of a sudden, I could smell my hair burn, and, uh, there was, you know, all this dust, concrete dust flying around, and I turned around and I saw a huge, you know, burning hole in the wall. So, yeah, I was there." -

This was obviously a very significant blast, according to both Harthoorn and Quorthon. Harthoorn's description of this blast from the stage was "huge BANG!!" There is also a quote from the Swedish Death Metal book [Daniel Ekeroth] making direct reference to this sound:

"...during the middle of their set a LOUD BANG WAS HEARD. Everybody assumed the sound was part of the show, and Gorefest finished their set as usual."

Bang: a loud, sudden, explosive noise, as the discharge of a gun. -

A "BANG" is an audible sound. Harthoorn was ON THE STAGE, presumably where the music was blasting intensely. Quorthon was BEHIND the stage, probably closer to the blast than anyone else. Speakers face the crowd, so the power of the music should have been directed towards the band and the crowd. Yet, Harthoorn heard the blast and Quorthon didn't? He states 3 times in that short quote that the bomb could not be heard - and two of those times he says NOBODY could hear it.

"It was just this enormous, uh, you know, impact, you know, the pressure from the bomb."

It is very strange how much effort Quorthon puts into trying to convince the interviewer that nobody heard this blast, especially when others clearly did. I mean, what is an "enormous impact" from a bomb, but an audible blast? He makes it sound like some sort of time/space Manhattan Project type event occurred silently!

After Gorefest's set, Quorthon gives a "thumbs up" to them from backstage. A wall directly behind him just got blown open by an enormous bomb blast. Is that really a "thumbs up" moment? I'm going to assume that this "thumbs up" was to do with Gorefest completing their set, despite the blast. Seems like getting people out of the building before another blast hits would have been the more sensible action to me, as the job of security is to keep people safe! Perhaps the danger of a riot was possible, and keeping them secure meant avoiding a riot?

Quorthon was a rather tall man, but quite skinny most of his life. That doesn't mean he couldn't kick some serious ass, but we also know he had a heart problem - which he unfortunately died from eventually. Also, anyone who views enough interviews/photos with Quorthon will inevitably notice his decidedly feminine manner of speaking, posing, and carrying himself at times. There is no need to quote Pelle "Dead" Ohlin again here like I did in the previous blog, but "Rockstar attitude" and "wimp" and "poser" were words he used to describe Quorthon after their encounter in 1987. Another interviewer quoted in a previous blog stated Quorthon looked more like a "glam rocker" guy in person, comparing him to the "Cold Lake" era of Celtic Frost, commenting on his cowboy boots. Again, doesn't mean he couldn't kick some ass, but certainly doesn't spell out SECURITY GUARD CANDIDATE. Much less HEAD OF SECURITY for a show where known death threats were being made towards the bands and their members!

[The "Cold Lake" era of Celtic Frost is widely considered to be one of the great sellout embarrassments in underground metal, a reputation well earned by the above image alone. For an interviewer to compare Quorthon's "look" to that of this era of Celtic Frost is at least as extreme as any of Dead's criticisms.]

Quorthon often bragged about how many record sales Bathory has had over the years. His father was "very rich" already in the 70s, according to his ex wife. Besides running Tyfon/Black Mark, "Boss" was representing the giant German based record distributer SPV in Sweden as early as the late 80s, up till their financial issues in 2000. Quorthon had spent, according to him, a whole lot of his own money on the "One Road to Asa Bay" video for Hammerheart - which was shown on MTV. Doesn't seem like Quorthon was struggling for money in 1992, at least not to the point of needing to take a security job at a Death Metal concert where Death threats were known to have been made against the bands. But who knows?

Quorthon states that he was trying to "sneak around in the shadows" during the show because you know, "80% of everybody there" had his pretty face on their wall somewhere. This is similar to what he said in another interview I quoted in a previous blog, where he describes driving up in a limo to the famous L'moure Rock Club in New York for the first time, and "tries not to be noticed" by throngs of fans dying for autographs on their tits and hits off of his cigarette butt. Quorthon loved playing the rockstar role in public. I mean, if he didn't, he sure hammed it up when the camera pointed his direction!

My opinion is that Quorthon's explanation quoted earlier was more of his "bad acting," and that he was covering something up. I don't mean to suggest that he was BEHIND the bombing, but I think he knew more than he was stating about it. Besides his questionable recounting of the soundless "impact" of the bomb and his questionable role as "head of security" that evening, he presents what seems to me, the most plausible theory as to who planted the bomb - a theory which seems to have gone almost completely ignored by most underground media sources who have covered this event in any detail. Here is what he said about it in the same interview:

"20 feet away from there you have the militant Stockholm neo-Nazi organization have their headquarters, 20 feet away from the concert, and they have been placing bombs just about everywhere, 2 times a week for the past 12 months or so, but, I mean, you couldn't say it straight out."

Not only is Quorthon suggesting that Neo-Nazis were responsible, he further suggests that this was known, but "you couldn't say it straight out." Why not? What is this hesitance he hints at regarding the ratting out of Neo Nazis? One thing is for sure, there was a well documented Neo Nazi Skinhead presence at the Fryshuset during this time.

This next section contains a lot of information about Neo Nazi Skinheads, with a focus on Sweden around the time of the 1992 Fryshuset bombing. I would just like to make it clear that it is not my intention to glorify or justify any of the Neo Nazi activity or symbols described/pictured. Nor is it my goal to incriminate Bathory, any other band, or Pagan cult/religion/group of having a "Neo Nazi" agenda at any point in time. But if facts, sources, and/or quotations appear to lean a certain way, I will not shy away from pointing out what appears to be obvious to me. Readers may gather a different interpretation from the same information, or gather other data which is contradictory to my findings, and that is ok. People SHOULD do their own research and verify facts for themselves, rather than simply taking my, or anyone else's words for it. But for my own part here, I am striving for objectivity. Whether that is accomplished or not is up to the reader.

["Anders Erik Carlberg [1943-2013] was a Swedish socialist politician, social worker and writer...He became active in the political left, and was the leader of the Swedish Young communists in 1967-1970...In 1984, Carlberg co-founded the Fryshuset [with help from YMCA], the activity center for young people in Stockholm, Sweden, offering social projects and educational programs." - Wiki]

"For many years, the [Neo Nazi] movement was personified by a single person, Ian Stuart Donaldson. In the 1980s, he created the Nazi organization Blood & Honor, which received sales in several countries, including Sweden. In 1988 he helped a couple of skinheads in Södertälje, Peter Rindell and Göran Gustavsson, to start the militant racist magazine Vit Rebell, which later became Storm." -, Translated from Swedish

"In the summer of 1986 when riots broke out between teenage groups in Stockholm, the Swedish government asked Fryshuset to step in...But Carlberg also stirred up a great deal of controversy in the late 1980s when Fryshuset allowed Sthlm Skins, a group of young neo-Nazi skinheads, to use part of its premises...This was at a time when right-wing extremist groups were on the rise in Sweden and young skinheads used to gather in the Old Town of Stockholm...Shop owners complained that the youths were scaring off tourists and Carlberg allowed them to gather at Fryshuset...Two years later one Skinhead burnt down the premises and Sthlm Skins were allowed to move into Fryshuset's main building." -

"In the spring of 1988, Sthlm Skins got a room in the form of two construction stores in connection with the Fryshuset on Södermalm" - Expo

The above confirms that Neo Nazi skins were residing within the Fryshuset compound as early as the late 80s. Fryshuset seems to have had, and probably still has, multiple buildings. However, the above article confirms they were moved to the MAIN building, as a result of arson upon the previous one by a skinhead. [I assume this "main" building is the large building Harthoorn referred to in an earlier quote, regarding Gorefest's performance and the bomb going off] Expo calls the arsonist a "Leather Skull" in another article, which I presume to be a rival gang. Therefore, the idea that skins would attempt to destroy a building in which other radicalized skins resided, was not unprecedented in the relatively short amount of time Fryshuset existed at that point in 1992 - lending credence to Quorthon's theory.

It is also interesting to note in the article above, that SWEDISH GOVERNMENT were the ones who asked Fryshuset to "step in" and do something about the Neo Nazi Skinhead problem. We will look closer at who was funding this Skinhead project in a moment.

"The Storm magazine, now in its third issue, began to call itself "the body of White Aryan Resistance", and its subscriber register became a kind of informal membership register in what was first called "Storm's network", but which became known as VAM." - Expo

"White Aryan Resistance (Swedish: Vitt Ariskt Motstånd, VAM) was a militant neo-nazi network active in Sweden between 1991 and 1993. The name of the group was derived from the US white supremacist organisation White Aryan Resistance (WAR)...VAM has been implicated in many serious crimes in Sweden, including the infamous Malexander police-murders, car BOMBINGS of political journalists and murders of perceived opponents." - wiki

" [VAM] was a circle of few skinhead activists in Stockholm. The group engaged in theft of weapons, burglaries in mobilization stores, bank and postal robberies. A number of activists were arrested and convicted in trials between 1991 and 1993." - Expo

Notice that the Fryshuset bombing occurred exactly in the middle of VAM's criminal activity, 1992.

"The role of mass media in establishing the VAM brand cannot be overstated. In particular, the evening newspapers wrote huge volumes of articles about the "Nazi leader Klas Lund" and his organization preparing for the coming "war of war"...A new subculture that could no longer be said to be [merely] part of the skinhead movement [developed] - it was excellent to have even long hair...the clothing increasingly resembled a uniform: black boots, black military trousers, black so-called bomber jacket and black military cap. Everything except the boots taken from the US Armed Forces, despite the model's attitude to the US federal authorities." - Expo

If you read my previous blog, you may recall the section on a Norwegian documentary film called "Satan Rides the Media." This film shows how the Norwegian press was more or less responsible for sensationalizing, and PROMOTING the radicalization of Varg Vikernes, which in turn, encouraged the NSBM movement he seemed to usher in. Hense the title, "Satan Rides the Media." The above Expo quote illustrates how the Swedish media did something similar with the VAM Neo Nazi Skinhead organization. Even giving a glimpse of how this sensationalism began to spill over into, and influence the "long hair" community. Also known as, Metalheads and Rockers. Was the media simply being manipulated by some larger organization, with the long range purpose of radicalizing Scandinavian youth, and beyond?

"...VAM had in a few years developed into a unifying concept that gave rise to a radical youth movement with its own dress code and its own symbols. Only in Stockholm, around 1994, the number of black-clad right-wing teenagers who were gathered in the so-called "skinhead room" in the municipal youth house Fryshuset, and who listened to bands such as White Aggression, Division S and Svastika, counted about 1,000." - Expo

At this point it is pretty clear that the major Neo Nazi Skinhead movements in Sweden during the very early 90s were either centered around the Fryshuset dwelling, or it's members were heavily involved with it. Again, going back to Quorthon's comments earlier - it seems he had knowledge of these extreme Neo Nazi skinhead groups. But so did many Swedes apparently, as this was something in the news media often by the sound of things. So why were the skins not immediately implicated in the 1992 Fryshuset bombing, or at least publicly investigated? Perhaps they were, but I found no evidence of it - which is odd considering this was a pretty well publicized event.

[If you are on a smartphone, you must tap on the above image first, then enlarge it, in order to properly blow it up. Enlarging the screen without tapping on it first will not produce a readable image]

"Nordland was created by the young guard skins. Employees were drawn from the Riksfronten in particular and from the Stockholm Skins who received desk top training at the Fryshuset. An important role was played by Peter Rindell (Melander), former publisher of Storm and one of the ideologues behind Vam. In 1994 he began publishing a Swedish edition of the magazine Blood & Honor, Blood & Era, which became the mainstay of the white power movement's flagship, the newspaper Nordland."

Notice the direct connections here from the Sthlm Skins of Fryshuset, to the Storm Network, to Blood and Honor, then to Nordland.

Swedish Death Metal band Unleashed was featured in the above pictured Nordland magazine. Does this mean Unleashed was a Neo Nazi band? I leave that to the reader to decide, as I have not found the article in it where they are featured, so I have no idea what is said in it. But at the very least, this indicates to me a level of "normalcy" or at least "tolerance" of the White Power element in the underground Swedish Metal scene of the day. I did however find an interview with Varg Vikernes, taken from Nordland Nr 5/96. Here is an excerpt, roughly translated:

Q: You have been accused of being a Nazi multiple times. What does the swastika mean to you? What do you have to say about these accusations?

A: Svastikan is a hammer, which splits darkness. The most powerful weapon. With it, we are going to crush the skull of the Christian "god" and his captive faithful. Sorry, I'm not a Nazi, I'm a white Aryan Odenist !! Call me whatever you want. I remain proud. I take it as a compliment when I am called a Nazi. For I would rather be a Nazi than a laughable democratic cheater against my own race. Hell Wotan! Lots of the white breed!

"The Allgermanische Heidnische Front (AHF) was an international neo-Nazi organisation, active during the late 1990s and early 2000s, that espoused a form of neo-völkisch Germanic Neopaganism. It grew from the Norwegian Heathen Front (NHF), which was led and founded by the musician Varg Vikernes in 1993, although he and the organisation denied his involvement. The program was based on his first book, Vargsmål (1994), published shortly after he was convicted for church arson and the murder of fellow musician Euronymous." - wiki

The symbol pictured on the cover of Vargsmål is a Celtic Cross. "French neo-fascist groups adopted the Celtic cross as an ambiguous "Christian and pagan" symbol since the 1940s."

Below that is the logo for defunct record label Axis, who released Candlemass' 1987 album "Nightfall." Axis was owned by British label Music for Nations, who's subsidiary Under One Flag released Bathory albums in the 80s. I couldn't help noticing the logo for Axis also contained a cross and a circle, similar in proportion to the Celtic Cross - only the circle has been moved north and rotated slightly [indicated by the graph lines - which also contain a cross within them]. The red X in the word "Axis" seems to emphasizes the cross' occult meaning, which I will explain in more detail later in the blog.

[If you are on a Smart Phone, you must tap on the above image in order to then properly blow it up with the correct resolution]

Pictured above is the Nordland compilation, released 1989 on White Power Records, a sub-label of Rock-O Rama, a German label active for many years. Take note of the symbols highlighted in yellow by myself. This was before Nordland Magazine came about, but as you can see, certain terms and symbols were/are widely appropriated by Neo Nazi/White Power organizations - doesn't mean those ancient Nordic terms/symbols BELONG to such radical groups, but they can unfortunately become tainted [like the ancient swastika] to the point where prominently brandishing them on say, an album cover, might give the public perception that said artist holds the same views as the extreme political groups, whether it is true or not! With the knowledge of how people may respond to the brandishing of such terms/symbols, one knowingly runs the risk of being accused of something they may or may not be. So the artist must then make a choice: to use them anyway, and deal with the potentially violent backlash, or to express their pride in their heritage in other ways less prone to be associated with extreme groups. This obviously brings attention to the symbolism and terms Bathory has used, and the fact that Quorthon did seem to follow what was going on in the streets of Stockholm. We will look at statements made by Quorthon regarding this topic in a moment.

"The Elder Futhark Odal rune (ᛟ), also known as the Othala rune, represents the o sound. Its reconstructed Proto-Germanic name is *ōþalan "heritage; inheritance, inherited estate". - wiki

["In February [1996] the skinhead room [at Fryshuset] was visited by the king [Carl XVI Gustaf] who threw a dart with the skins and was photographed under the banner of VAM. Several immigrant associations criticized the king for the visit...Carlberg was forced to respond to the accusation that the skinhead [room] was VAM's headquarters" - Sweden's Expo Magazine. Note the Othala rune highlighted by the yellow arrow. Also, a Confederate flag can be seen partially far off to the right, a symbol of "Southern Heritage" in America. The radical skins obviously perceived a common link between the two symbols.]

"The king's concerns were prompted by attacks on a small anti-racist magazine called Expo. Its staff have been threatened repeatedly since the first edition came out last September. Several retailers have taken it off their shelves, and the printer has refused to put out any more issues after ATTACKS...When police raided the headquarters of the National Alliance, an extreme right group accused of the attacks, they seized EXPLOSIVES, tear gas, clubs, and other weapons." -

From [issue #3, 1996 issue], translated from Swedish:

"During the entire time the Fryshuset project has been going on, skinheads have been involved in various violent incidents..."

It is unclear to me what the symbolic gesture of the King's visit to the Fryshuset Skinhead room was supposed to represent to the people of Sweden, but what it clearly demonstrates is a climate of tolerance towards their presence. How this was supposed to combat the increasing violence committed by them during this turbulent time (according to the press) I am not sure.

"In 1993, a dramatic stage change occurred. Bert Karlsson signed a record deal with Ultima Thule, thus opening the doors to the breakthrough of white power music. "National" cellar music moved up the charts and Ultima Thule was awarded three gold records." - Expo

Again, what we are seeing here, is a level of acceptance, perhaps even normalcy to the White Power concept in Swedish society at the time. Ultima Thule [who formed their "Viking Rock" band the same year Bathory formed, 1984] has made it clear they do not wish to be associated with Neo Nazis. But accurate or not, they get associated with the "Neo Nazi/White Power" scene time and time again by the media. The fact a band with such a reputation, accurate or not, can have "gold records," indicates a vast difference between say, America's idea of political correctness in the 90s and Sweden's. It also indicates that the "white power" genre was lucrative at the time, and those driven by money would no doubt shave off all their hair and siege heil as many times necessary to get a piece of it. Especially in an environment where that type of music is tolerated to a degree - the consequences would be less extreme than they would in say, today's politically correct climate. But we must remember that this climate was being tolerated, even encouraged by Swedish News media of the day and by the King himself, symbolized by his little dart game in their room at Fryshuset.

"Resistance Records owns several smaller labels, most notably black metal labels Cymophane Records and Unholy Records. It is a front for Cymophane Records, which was purchased by the National Alliance, mainly to gain the rights to distribute Burzum albums in the United States...Also in 1999, Resistance Records bought Swedish white power label Nordland Records, doubling its roster." - wiki

The National Alliance was a US based Neo Nazi Organization which bought Resistance Records and the Record Production aspect of Nordland Records, Sweden, in 1999. Nordland... "merged with Folktribunen (the People's Tribune), the mouthpiece National Ungdom (National Youth (NU), the Swedish Nazi organization closest to [William] Pierce and his National Alliance...NU is lead by Erik Hagglund and Klas Lund...head in the early 1990s of the terrorist network Vitt Ariskt Motstand (White Aryan Resistance) - VAM)." [Antiseminism Worldwide 2000/1]

Getting back to the Fryshuset, and who was funding the Skinhead project, Expo magazine is again quoted below. Remember that they were ATTACKED after publishing some of this information:

"In 1988 and 1989, the business was financially supported by the social service. Between 1990 and 1995, Fryshuset's skinhead business was based on financial contributions from the Municipal Coordination Office for Crime Prevention (SBÅ)...In 1991, the board of the association Sthlm Skins at the Fryshusets consisted of nine people: Stefan (chairman) Torbjörn (vice-chairman), Hans (secretary) and Elisabet (treasurer). Roger, Erik, Roine, Robert and Sebastian served as members...Several of the board members had long criminal records behind them. Four of these would be convicted of serious crimes within two years as VAM activists."

"In the financial year 1993 SEK 150,000 was allocated to cover the premises' rental costs. In 1994, the skinhead project received a total of SEK 310,000, including grants from the General Heritage Fund. In addition to rental costs, the grants included the construction of a Viking ship. In 1995, the sba granted SEK 200,000 in grants to, among other things, be able to arrange a white power concert every month...Compared to other youth groups, skinheads have always been biased in the form of social grants and financial encouragement."

"The intention of the municipality's investment in Fryshuset's skinhead project was certainly good - to keep a bunch of quarrels away from the Old Town [Stockholm] - but the failure and unwillingness to see the reality in the white eye meant that the municipality in reality financed the construction of a racial revolutionary network.... During the same period, several people with insight into the context claimed that VAM's operations were controlled from the Fryshuset. On the other hand, it was difficult to lead the claim in evidence, and those who should have been able to present facts, such as Anders Carlberg, instead went out in the media and dismissed all claims as "innocent claims". No serious examination of the link between Nazi bank robbers and Fryshuset's skinhead association was never carried out...Fryshuset's skinhead project is a political and moral breakdown where not only Carlberg but also the politicians in the city hall bear the responsibility. The result was that the country's Nazis were able to build up a political terrorist group, which in turn laid the foundation for the many times greater movement that poses problems today."

Justification for housing the skins, as stated above, was initially presented as a way to get them off the streets. This seems like it was at first regarded as an acceptable step in their rehabilitation, or at least, a humanistic approach to the problem. However, this apparently turned into an enabling factor. Given that, one must consider whether the financiers were actually invested in the radicalized skin's activities, if not directing them. But to what end? To achieve a Nordic Neo Viking utopia, free of foreigners? Somehow I doubt it.

Bathory's final albums were titled "Nordland I" [2002] and "Nordland II" [2003]. Although "Blood on Ice" was released in 1996, it was an older album Quorthon had resurrected from about the "Hammerheart" era. So technically speaking, the Nordland albums were the first Viking themed ones he had written since "Twilight of the Gods," marking over 10 years since the last newly written Viking Metal material. Given that Bathory's "non Viking" themed 90s output was probably the least well received overall, Quorthon's decision to go "Viking" again was probably at least partially motivated by a desire to sell more records. That doesn't necessarily mean his heart wasn't in it though. In fact, there is a good argument to be made that these last 2 albums were his most earnest.

This next section is not intended to prove one way or the other, whether Quorthon had any "extreme" political intentions with his music. The following is merely an EXPLORATION of how deep Quorthon's connection was to the Viking themes in his music, and how far that passion may have extended. Regarding the Nordland title - I have no idea if the decision to name the albums "Nordland" was at all influenced by the Nordland magazine discussed earlier, but here are some quotations from Quorthon responding to such types of accusations, and on the topic of white power/Neo Nazism/Heathenry in general.

"Metal Maniacs asked me about it a couple of days ago. They asked if I knew that my albums were a big influence on the skinhead scene in the US...I disconnected all that kind of discussion when we put out an album called Hammerheart. We had a sunwheel on the back of the album, and people - especially in Germany, 'cause they're the most paranoid people in the world, anyway - got very upset about it 'cause they thought we had serious Nazi connections... The sunwheel has been carved into mountainsides for 3,000 years in Sweden. We're talking about a little historical period that was 12 years in Germany. If we should judge cultures and symbols from all over the world because of a 12-year intermission in German history, then something is wrong here. You can't chase ghosts in a white linen shop... I've seen a talk show with a Neo-Nazi and a big, fat Negro saying, "the Bible is the true book," and they refer to the same phrases in the same fucking book. So, we shouldn't look at symbols as something evil; symbols in themselves are innocent."

"We used the sun cross on the back of the album [Hammerheart]. There is a lot of political shit out in Europe, it seems you are not allowed to use Scandinavian symbols as you please." - Slayer Mag

"...Here in Sweden, although not at such a paranoid level as in Germany, Nationalism is a very hot issue. Everything that has got anything to do with Sweden or Swedish history is a bit taboo over here, don't ask me why....but underground, if that's the light way to describe it, and above too it seems these days, no one gives a shit and kicks the shit out of anyone claiming you to be a nazi or psycho when you say or show off that you are proud of either your nationality or history or whatever....This whole reborn Nationalism we see in Sweden nowadays is a result of us picking up on the Scandanavian mythology and pre christian Sweden all those years ago on BFD and HAMMERHEART...but this was never our intension in the first place...we just wanted to do something original....What you call Odinism was just simply a different topic for the lyrics and not a sign of a different sort of awareness or national pride. Well, a little maybe." - Descend Magazine

"The only reason we brought up the satanic lyrics [in the beginning] was that we were very it was like a protest thing. Just like punk or the skin movement is today..." - Slayer Magazine

"I feel, myself, like a lost son. For my entire upbringing here I was exposed to Christian propaganda. We are born into Swedish [National] Church whether we wish it or not. During school we get lessons on Christianity time and time again. Then I was never interested in either religion or history. Christianity was, of course, the Jewish history. It was when I first read about the Viking Age and Asatru that I became interested...."Under the Runes" is to begin with, just my way of saying regardless if it's in the sky, the land, or deep down in the oceans, we will fight for my father's gods right to have a place in any form of discussion when we discuss Sweden...we have a history of 2000 years of being Asa Faithful, and just 970 years of Christianity. And if they (the Swedish) don't want to talk about it, I'm prepared to fight any kind of war by the great hail, under the runes, for my father's gods. Because there are certain values from those times worth fighting for...I wrote it so that it would be taken as a SECOND WORLD WAR song. Because then I knew people would keep on picking out that lyric, and then I would keep having to answer questions about it, and would get the idea out there." - Lords of Chaos

Notice the above Quorthon quote, taken from the book "Lords of Chaos," is easily the most sincere sounding, articulate comment he has made publicly on the topic of how serious he was regarding the "Viking thing." Whether Moynihan inaccurately edited this quote to suit his own political agenda in the final version of the book or not, is impossible to know. Although Quorthon has often hinted he was misquoted by the book, he never directly states so in any interviews I have come across. He also does echo most of what is articulated in the "Lords of Chaos" quote in other places. Some of which will be shown in the next section.

Hail (as a Noun): a shout or call to attract attention: They answered the hail of the marooned boaters. - Merriam

Note Quorthon's alleged use of the phrase "by the great hail" in the above quote from "Lords of Chaos." In the lyrics to "Under the Runes," Quorthon says "by the great hail" 3 times. The 3 times it is used, it is followed by marching, fighting, or dying "Under the Runes." If Quorthon intended it to be a "second World War" song, it is then understandable that people might have interpreted this to be code for something such as "under the great HEIL," which has a more specific connotation, if you are coming from a Neo Nazi standpoint. The "Runes" can then be seen as code for the doppelte Siegrune, or "Sig" runes of the SS - not just any old sacred pre-WWII Viking Runes. For me, this is a bit vague. But since Quorthon makes direct reference to it in more than one interview, I assume there must be something to it.

"The broken sun cross used by the German Faith Movement and the 5th SS Panzer Division, also used by the Thule Society" - wiki

[The above image was taken from an interview with Moynihan at, presumably a promotional photo for his band, Blood Axis]

"The Axis powers, also known as "Rome–Berlin–Tokyo Axis" (also acronymized as "Roberto"), were the nations that fought in World War II against the Allies. The Axis powers agreed on their opposition to the Allies, but did not completely coordinate their activity...The Allies of World War II, called the United Nations from the 1 January 1942 declaration, were the countries that together opposed the Axis powers during the Second World War (1939–1945). The Allies promoted the alliance as a means to control German, Japanese and Italian aggression." - wiki

Remember the Axis Records logo from earlier? Besides the fact that it happens to contain all the shapes found in the Celtic Cross [if rearranged slightly], the word AXIS combined with the color RED suggests a BLOOD AXIS.

As we saw above, the opposition to the "Axis Powers" was the "Allies," also known as "The United Nations."[logo above] Notice how in the United Nations icon the earth is rendered in this graph style, similar to the globe pictured in the Axis Records logo. It also contains a cross within a circle.

Considering the ominous title "Music for Nations" and the politically suggestive "Under One Flag," I think there is something to all of these Record Label logos and titles - but to explore this topic further requires a digression probably better left for another blog in the future. For now though, I hope the larger implications here are starting to sink in.

[Michael Moynihan, primary author of "Lords of Chaos," clearly flirting with Sun Wheel/Celtic Cross imagery, in context of his band "Blood Axis." When pressed regarding his potential ties to Neo Nazi ideals, Moynihan always scoffs at such lines of questioning, as though they are completely unwarranted.]

PSICOTERROR: Blood Axis has a fascist/nazi connotation. What does this doctrine mean to you and why did you choose the Gothic Cross as a symbol of the band?

MOYNIHAN: I don’t think it is really correct to say we have a “connection” to such things, although of course it is true that people have accused us of being things like that, but I think they don’t even understand us in the first place…The Kruckenkreuz (or “Gothic Cross”, as you say), originates in the Soul of Pagan Europe, although it was later adopted as a Christian Cross, specifically during the Crusades. This impregnates it with a second connotation, as a symbol of the Holy War. In the 1920’s it was taken as the sigil of the Order of the New Templars, Jorg Lanz von Liebenfels’ ariosophist lodge in Austria. It is still employed as a nationalist symbol in Austria, as well as appearing in Masonic and Christian Iconography. It seemed to me a perfect symbol for controlled and contained power- the Will to Power. There are a number of other ways to view it as well: two overlapping sunweels in opposite rotation; four Thor’s Hammers projecting out of a center point; and these only confirm my instincts about adopting it. -

"I have assisted in operating White Devil Records, based in Seattle, which has issued 3 releases by Charles Manson...I had already inaugurated Storm as my own small company, doing silkscreened prints and also publishing books. I released the book "Siege" back in 1993, having already published an illustrated edition of Nietche's Antichrist..." - Not Like Most #4"

[The above image is taken from This Allerseelen release features a known occult Nazi symbol, "The Black Sun," as seen in Wewelsburg Castle's North Tower." [wiki] It is illegal to print this image in certain countries for obvious reasons. This was released in 1995 by Storm, a record label operated by Michael Moynihan, co-author of the book "Lords of Chaos."]

[The Secret King is the first book to explore many myths surrounding the popular idea of Nazi occultism, while presenting the actual esoteric rituals used by Heinrich Himmler’s SS under the influence of rune magician Karl-Maria Wiligut, the “Secret King of Germany.” - Amazon]

"The black sun (German: Schwarze Sonne) is a symbol, a type of sun wheel (German: Sonnenrad) employed in a post-Nazi Germany context by neo-Nazis, other far-right groups, and some occult subcultures, such as Satanism... - wiki"

Although I don't know if there is any connection between Moynihan's Storm Record label and the Storm Neo Nazi network mentioned earlier, I think it is a safe bet to assume Moynihan knew people would consider whether there was a connection at some point. You don't mess around with symbols like this, then release it on a label called "Storm," and expect people NOT to make Neo Nazi accusations! Someone who does this, is looking for a reaction, whether they admit it or not.

"...Michael Moynihan, a guy who had sent me tons of letters for a number of years, usually including a new issue of his occult/heathen styled fanzine and even midwinterblot greeting cards..for Michael's part in that book should the rest of it be as incorrect, I felt slightly sorry. I'd rather contribute with details and info than have people write pieces like that stuff that's entirely build on personal assumptions and not too solid accuracy."

Above it seems pretty clear that Quorthon read Moynihan's book, "Lords of Chaos," or at least the section where he is quoted.

"I am sure the people who wrote Lords Of Chaos are able to read and therefore capable of directly quoting me from several interviews throughout the years when I've talked about the Under the Runes thing. The provoking pun made in Under the Runes is no secret at all. I haven't seen or read Lords Of Chaos myself, but I have heard it contains tons of errors in regard to BATHORY. Kind of sad, I mean to produce such a pretentious piece of work and not even consider doing something so simple as dropping us a letter and ask us a few things. I think the guy's who write these books and Lexicon's of metal, write them to feel important and initiated. I was once sent a Lexicon by some German journalist who'd written a Metal Lexicon, and 75% of what he wrote on BATHORY was totally incorrect. I wrote Under the Runes in such a way it would make every paranoid German journalist go bezerk. We had had to take a lot of shit in Germany because of a sunwheel on the obverse of the cover artwork for Hammerheart. To us it was an ancient Scandinavian symbol for the sun and cycle of life, linking with the Nordic and mythological theme of the album. But in Germany, they got it all wrong, and they didn't care the sunwheel had been a perfectly normal symbol in Scandinavia for two thousand years before that twelve year jackboot period in German modern history."

Here Quorthon says he never read "Lords of Chaos", and speaks about it as if he doesn't know the author(s) at all - despite naming Moynihan and recalling items mailed by Moynihan to him in the previous quotation, taken directly from! At the same time, Quorthon does allude to a "provoking pun" in the song "Under the Runes." So perhaps this is a half admission that his quote in "Lords of Chaos" was partially correct? Quorthon also claimed he never watched his own video to "One Rode to Asa Bay" in an interview quoted in my previous blog, but I have since found an MTV clip from youtube where Quorthon introduces the video! Obviously Quorthon was the king of contradicting his own statements, but they never cease to shock and entertain in their prolific absurdities.

"I felt we had been used as a pawn in their "going-hysterical-for-the-sole-reason-of-going-hysterical" game. So after that, I decided to include "hot" issues in BATHORY lyrics every now and then. Just to keep them on their toes frothing their hearts out. People like that will find crap all over the place anyway. It's like when the church goes bezerk over a line in a Queen or Madonna song, instead of focusing on extreme Black Metal acts or the pedophiles within their own ranks. Attacking Queen and Madonna gives the church a bigger exposure as oppose to wasting their energy on lesser-known extreme Black Metal groups. They'll play the records of big acts backwards and claim to have uncovered the devils plan to conquer the world or something." -

I don't think Quorthon ever really properly explained these potentially "Nazi Leaning" messages in Bathory's music/album art - but he seems to have acknowledged that they were there.

"And you should remember that Norway is a very, very conservative country in reference to say, Sweden or Denmark. You wouldn't believe how much is forbidden over there. You could never achieve a viking society or whatever. We are no more vikings than the folks in Zimbabwe. ..So much has changed and the modern man could not lie by the standard rules and laws and ideals of the vikings...I believe that these guys [Nordic Black Metal Church Burners] not only had a crush on vikings but also had it up to their ears with satanism and neo naziism and that their "pride" in their "viking blood" was just one of several ingredients in their own soup mixed with perhaps drugs and a troubled and suppressed childhood. If any of these guys or anybody else have done similar things and claimed Bathory to be their main influence in doing so I can only say I am sorry and accept that all may not have it as easy as others to take reality for what it is and fantasy as a spice." - Descend Magazine

Over time, we see Quorthon alternate between scoffing at the idea he was "serious" about the Viking themes in his music, only to occasionally slip and display a sincere dedication to it. The following is the strongest proof I have found that he was indeed, a believer in the Heathenry/Asatru religion. This comes in the form of a recently published letter he wrote to a pen pal, author Dean Andersson. Apparently, they were mutual fans of each other's work, and Quorthon even thanks him in album credits.

[These are not the best quality, so if you are on a smart phone, it is best to tap on the image, then zoom in. If you simply zoom in without tapping first, the resolution will be very poor, or unreadable]

"Heil: to salute with the German exclamation heil...German, interjection, hail (used by the Nazis in such phrases as Heil Hitler! Hail Hitler! and Sieg heil! Hail victory!), from Middle High German, from heil, adjective, healthy, from Old High German" - Merriam

The letter is dated 1989, and is from Quorthon to an American, Mr Dean Anderson, an author of several fantasy/horror books dealing with Norse Mythology, among other things. Quorthon starts the letter "Heil Dean." Now I don't wanna get too caught up on this "HEIL" bit, but given the section above on "Under the Runes" and the whole "by the great hail" thing, it's again, very easy to interpret this through the eyes of a Neo Nazi as "code" to a "comrade." That may very well be completely off, but difficult to pass off completely as it kind of smacks you in the face right away.

In this next section, Quorthon speaks of "our heritage" and seems to include Anderson into the concept. Again, I'm not assuming as much from this, but one could easily view it from the "Nazi comrade" angle, as a subtle statement about how the message must be delivered subtly in the music, so as not to reveal the larger political agenda. On the other hand, it is fair to presume that Quorthon was simply acknowledging the fact that it was very hard to be open about one's pride in their Scandinavian history without easily being falsely branded a "Neo Nazi." I remain open to both interpretations myself, because frankly, how can anyone really presume to comprehend the full subtext of this letter as an outsider?

This is probably the most revealing, candid statement I have found anywhere from Quorthon regarding the political reality of the world he lived in, and how his dedication to the Viking concept fit in. This, at the very pivotal time he was writing "Hammerheart," which could be regarded as the quintessential Viking Metal masterpiece. For the first time that I have seen, Quorthon mentions by name a Heathen order he belonged to, [or claimed to] the Breidablikk-Gildet.

"In Sweden, the first Heathen groups developed in the 1970s; early examples included the Breidablikk-Gildet (Guild of Breidablikk) founded in 1975 and the Telge Fylking founded in 1987, the latter of which diverged from the former by emphasising a non-racialist interpretation of the religion." - wiki

"Telge Fylking had close ties to Breidablikk-gildet, a nationalistic semi- religious order founded by Arne Sjöberg in 1975." - paganism in Sweden

"The ethicist Breidablikk-gildet was made in 1975 by Arne-Sjöberg (1921-2000), with an initial structure patterned after the Good Templars. It had its most successful period in the mid-80s, with an estimated 130 members, but folded after the death of Arne-Sjöberg's death in 2000. It's main goal was cultural, rather than religious, in the narrow sense. Its focus was the cultivation of National tradition and history. This ethicist and Nationalist orientationfaciliotated contacts to militant right wing milieus, resulting on controversies with an a-racist group that was influential for the formation of later Asatru, the neo shamanic network Yggdrasil." - Norse Revival: Transformations of Germanic Neo Paganism

"Heathenry, also termed Heathenism, contemporary Germanic Paganism, or Germanic Neopaganism, is a modern Pagan religion. Scholars of religious studies classify it as a new religious movement. Developed in Europe during the early 20th century, its practitioners model it on the pre-Christian belief systems adhered to by the Germanic peoples of the Iron Age and Early Middle Ages. In an attempt to reconstruct these past belief systems, Heathenry uses surviving historical, archaeological, and folkloric evidence as a basis, although approaches to this material vary considerably." - wiki

I'm not going to attempt to interpret what Breidablikk-gildet was all about, nor am I qualified to do so. But at the very least, I think this information confirms that Quorthon had a deep personal interest in writing music which would help usher in a more Heathen, less Christian culture into Scandinavia. Whether this was his idea, or if he was just following orders is really the heart of the matter I am exploring here. Especially when you consider the extreme direction this all took in the 90s once the Church burnings started, on through today.

The original compilation containing Bathory's first recorded studio tracks, released by Tyfon Grammofone in 1984, the same year Fryshuset was founded. Also the same year Ultima Thule, from Sweden, formed.

Ultima Thule compilation, utilizing the same cover art used by Tyfon for the Scandinavian Metal Attack comp.

[Cover painting: Tors Strid Med Jättarna (English translation: "Thor's Fight with the Giants") by Mårten Eskil Winge, 1866-1872, Nationalmuseum, Stockholm.]

Obviously, this breathtaking image was created well before the rise of Hitler and the Nazi party - so the use of the Swastika in the painting, clearly has no connection. But to use this painting on an album cover post WWII is to knowingly place a Swastika on it. Obviously, most people will miss it as it is very small when not blown up this way. But an interesting question would be, "who exactly made the decision to use this image?" Quorthon would have been about 17 or 18 at the time, with 3 albums of Satan worshipping hymns to create still, and was generally busy trying to master the perfect Venom/Cronos kneeling pose. He wasn't screaming "Viking Metal pioneer" at this point in time, and there is also the fact that "Scandinavian Metal Attack" was a compilation of bands, including OZ. In fact, Bathory was added at the least minute to the comp, as the story goes.

"Fire in the Brain" was released by Tyfon before "Scandinavian Metal Attack." It is known that the hand on the cover is Quorthon's. Note the Runic styled font, the same one used on Scandinavian Metal Attack. A similar font is also used much later on Bathory's "Blood on Ice" album. When we consider the rune-styled font, the use of a historical Viking themed painting, and the title "Scandinavian Metal Attack" - all created before Bathory recorded their first notes, this demonstrates that the Viking theme Bathory would later adapt was already being used as a marketing theme by Bathorycorp. So who's idea was it? Considering Quorthon was a teenager, I would guess Boss came up with this theme. But since Boss and Quorthon are now gone, we may never know for sure.


Ultimately, I think what happened exactly at Fryshuset in 1992 is a story for someone who has inside information to tell. Unfortunately, I don't think that person has ever come forward - and I believe those who have are holding back or not telling the entire story. But whoever planted the bomb probably did not intend to hurt anyone, as they would have placed it inside the building or somewhere people were standing. The skinheads residing in the building had access to explosives and were in the midst of a violent period, as you read earlier in the blog. But they didn't seem to have a motive, leaving me to guess that if they did do it, they were acting under orders from an unseen entity.

As far as Quorthon and Bathory's potential political motivations - I think Bathory/Quorthon was acting under orders as well, even if there were some genuine statements being made in the music. I believe there was/is a larger movement to radicalize Scandinavians [and beyond] by appealing to their Nationalistic/Ethnic pride, via the government or some branch of intelligence agency, the news media, and counterculture movements/music. Whether Bathorycorp was an active participant in this or not, I think they were clearly used for this purpose, eventually manifesting into the Norwegian Church Burnings, and then into the NSBM movement. Meanwhile, ANTIFA has plenty of targets to fuel their hard left campaign - which only seems to be feeding the problem, not solving it. What I see here are pawns in an international game of divide and conquer.


This concludes my blog series on Bathory, and I do not plan on doing anymore. But there were some interesting bits of information I came across while researching this topic that I couldn't quite fit neatly into any of them. Here are a few of the more interesting ones briefly summarized for your consideration and further research.

[Logo for Swedish Record Label Tyfon Grammofone AB, run by Boss as early as 1978. Note how the record also looks like an eye.]

According to Wikipedia Germany and Rock Hard Magazine [April 2018], Stig Borje "Boss" Forsberg, at a young age, "became a sailor and worked for shipping companies and oil companies."

A "Tyfon" is a known type of horn that ships have used for many years. In fact, Kockum Sonics, based in Malmo, Sweden has been in the business of making them for at least 80 years. It seems pretty likely that Boss named his record label after this horn.

[Beckomberga Hospital was built in 1929–1935, and was intended to play an important part in the therapy of mentally ill patients. It was closed in 1995 as part of the psychiatric reform and relocation from the institutions. The hospital was once one of Europe's largest mental hospitals with 2,000 patients. According to Wikipedia, notable patients were Sigrid Hjertén - who died at the hospital in 1948 after a botched lobotomy intended to treat her schizophrenia. Nelly Sachs - admitted in 1960 after suffering a series of nervous breakdowns]

"Borje [Boss] graduated from education in psychiatric care with distinction. From 1970 worked as a psychological nurse in Beckomberga Clinic in stockholm." "At the same time he worked for Hans Edler's label Marilla, having already completed an internship with Tyfon gramophone. Shortly thereafter, he returned to this label as a music producer and produced some pop and Schlager records until about 1989." - Rock Hard, Wiki Germany, translated

[Book about the real "Lords of Chaos," from which Michael Moynihan lifted the title for his book about Black Metal, and which Jonas Akerlund also used for the film.]

I wanted to dedicate more space to this topic, but found it was just too big to include, and too far a digression from the subject of Bathory. But one very strange thing I discovered, which does not seem to be well known, is that the 1996 Florida Teen Militia group "Lords of Chaos" actually created a manifesto, which was titled "Declaration of War," which goes on to describe their anticipated "reign of Terror." Coincidentally, the next full length Mayhem release after Euronymous was killed, was called "The Grand Declaration of War," in the year 2000. There are more parallels I could get into, such as the fact that Florida Death Metal was one of the main verbal targets of Nordic Black Metal elitism, but as I said it just gets too big and I encourage readers to look into this themselves.

"After a night of destruction Kevin Foster [Florida Lords of Chaos ringleader] decided that they should form a militia dedicated to reigning terror upon the community. The creation of the group's symbol ( ( Ø ) ) came from an in joke involving a question Foster missed on a math test..."

As stated in the above Wiki quote, this "empty set" symbol represented the Florida Lords of Chaos Teen Militia group. But it is also a Scandinavian letter. This same symbol was placed in the above poster for the film adaptation of Moynihan's book. Of all Scandinavian characters they could have chosen, was this one in particular used merely because it "looks cool and adds a vaguely Nordic touch" or was it put there because it is the exact symbol used by the Florida Teen Militia? The symbol could not have been used in a more literal way, if you think about it. It's embedded in the name itself! There is also a scene in the film where the characters are staring at themselves in the mirror and Dead announces "we are the Lords of Chaos!" Well actually, no, you are not - the Florida teen militia group goes/went by that name, not the Nordic musicians portrayed in the film - but if you say so Mr scriptwriter!

[Trinity Church , a worship service formerly belonging to the Trinity Church Methodist Assembly in Stockholm , Majorsgatan 5–7, not far from Östermalmstorg . In 2014, the church location was sold to director Jonas Åkerlund.] -Wiki, Sweden

"Swedish church could be rock 'n' roll venue"
"Lady Gaga's video producer, Swede Jonas Akerlund, has bought a 120 year old church in Stockholm, Sweden for an unknown amount of money. He and his company, J Å Sweden AB, plan to use it for cultural activities. “It is a great sadness for us to have to sell it,” says Pastor Solveig Högberg of the historic Holy Trinity Methodist Church in Östermalm, Stockholm, which had been for sale because the congregation no longer has the capacity and means to manage the building. “But it still feels good that it will be used for cultural activities and not as offices as some other buyers wanted.” Jonas Åkerlund has produced music videos for Madonna, Metallica and Lady Gaga, among others. "-

[Metal Injection] "Back in 2014, it was a kind of metal news that you had purchased a church which caused some confusion. Did that church actually come in handy during the filming of Lords of Chaos?"

[Akerlund] "Unfortunately not. I wish. I still have it in Stockholm and it’s uh… it’s been under r-renovation for a time and it’s…it’s…it’s…it’s uh…yeah, it’s a fun project…."

[MI] "So it’s strictly just a renovation project?"

[Akerlund] "Yeah I mean it’s pretty big I mean and it was bad was in very bad condition when I bought it so..we been trying to save it and uh um fix it up, yeah.."

If you read the text version of the above Metal Injection interview, the stutters are taken out. But watching the video reveals no less than 10 stutters in Akerlund's short answers above. The part where he says "it's" 4 times is not an exaggeration. Akerlund got very nervous answering these. I was going to spend some time exploring why, but again, digressed too far from the topic. But if I were to write a headline for an article on this topic exclusively, it would probably read something like:

"Former Drummer of Satanic Black Metal Band buys Church, Directs film about Church Burnings"

Last bit of information is in reference to the wife of former Bathory drummer Jonas Akerlund. Bea Akerlund has worked with many of the same artists as her husband, including Lady Gaga and Madonna - but also bands like Ghost - in costume design. If you watch the youtube promotional videos for her Ikea furniture product line, you will find many motifs which are mentioned in books on the topic of mind control, such as the black/white line/checkered theme and Alice in Wonderland references. But what really struck me was this strange pillow in her product line...

When I first looked at this, I saw the word WHORE. I didn't know why, I just saw it for a second. Then I realized it does say BE A WHORE, but in an abstract manner, when the letters are shifted around. Something else that stands out is the fact that when you remove all the letters which spell out "BE A WHORE," what is left are the letters Y-O-U. The fact that the letter W functions both as a W and an E makes this harder to pass off, as all the letters, including the hidden E, can be switched around to exactly spell out YOU BE A WHORE without one single extra letter left out, or added.

I thought maybe my mind was playing tricks on me, until I started watching her promotional videos, and on this particular one titled "IKEA + Bea Åkerlund – OMEDELBAR tillfällig kollektion" you can clearly hear that the first thing she says is: BE A WHORE. Now, she can also be heard as saying BEA FOR IKEA. And I am sure that is what people would insist she is saying. But if you pay attention to her phrasing, there are distinct pauses for emphasis before and after the word "whore." Written out, it might look like this: "BE-A....WHORE..." Her voice is also very low and she sounds drugged out and/or sleep deprived to be honest. Turned on even, which is nothing out of the ordinary in advertising. Nonetheless, strange way to advertise furniture I'd say!

From the logical left brain view, it seems like you are being encouraged to think for yourself. "bewhoyouare!" But covertly, it's actually SUGGESTING on how to view yourself, simultaneously to a different part of the brain - using more of an abstract "right brain" delivery method. Just watching this short video almost makes you feel dizzy, certainly designed to be hypnotic.

As stated earlier, this gets into a whole other topic worthy of discussion and research that I simply could not begin to fit into a blog about Bathory. But considering this is the wife of Jonas Akerlund, it does support the idea that both Jonas and Bea are part of a larger intelligence campaign of some sort, which uses entertainment, fashion, and even furniture style to forward their agendas. This agenda may just be about making money, but it may very well be much more than that.



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Friday, August 30, 2019

Bathory and the Scandinavian Metal Attack PT II: Lords of Chaos

[These headlines are here to help people find the page]

Bathory documentary

Lords of Chaos Movie

Pelle Ohlin

"I used to be the ringleader of Bathory; now Bathory's my master. It's like an actor doing "Hamlet."... I'm just the actor or the civil servant of the monster Bathory...It's a role I play" - Quorthon


According to, the above picture was taken May 29th, 1987 just before Bathory's debut public appearance at Heavy Sound Record Store in Stockholm, Sweden. Quorthon [who couldn't seem to keep his fingers out of his mouth that day] and a man referred to as "Vvornth" were drinking glasses of vodka, and apparently piss drunk upon stumbling out the door to meet and greet with fans just down the street.

"by the time we arrived, we were pretty drunk. If I didn't have the pictures to prove that I was there and that in-store actually happened, I wouldn't remember ever going there doing that in-store." - Quorthon,

One of the many Bathory fans who showed up to meet "the band" was Pelle "Dead" Ohlin, who was not yet in Mayhem [although he was in underground Swedish band, Morbid]. This is obviously a very interesting historic moment for followers of early Scandinavian Black Metal, who are notoriously concerned with history and timeline. Despite this fact, Quorthon never seems to mention his meeting with Pelle anywhere, even when he does take the time to speak about this event. There is footage online of it, and supposedly Pelle is in it briefly, and can be heard instructing Quorthon to sign "to Dead." Although the footage is very low quality, a picture was also taken that day, proving Dead was there. We'll call this "The Heavy Sound Picture."

On the right is Quorthon [fingers in his mouth again], Pelle in the middle, and on the left is the same person from the black and white photo at the top of the page. If you look for this picture online, many people have this man listed as "Jonas Åkerlund." Although we know Åkerlund was the drummer for Bathory very early on, he left before the first album was recorded. So how could this be him if he had left the band years before? On the site, this guy is called Vvornth and Pålle in separate areas. Vvornth is a title Bathory didn't start using for another year and "Pålle" seems to be Swedish for Paul, or Paul Lundburg - who is listed as drummer sometimes on "Under the Sign..." [his name appears nowhere on my copy] - Boss has also stated that Quorthon played the drums on that album and "a Paul Lundbug" was never in the studio. Perhaps Jonas Åkerlund was the photographer, and that is why his name gets associated with this image and the Heavy Sound session, despite not appearing in it? Apparently there is an issue of Sweden Rock magazine which clears this up, but it was sold out last I checked and I gave up trying to find it. There is also a Bathory book in the works currently which may shed more light on this topic in the future.


Though Åkerlund left Bathory years before the Heavy Sound signing, he did direct Dead in his first video that same year, "Bewitched," by Candlemass. It is interesting to note that Dead met both Quorthon and Åkerlund the same year - presumably under completely different circumstances, and both occasions were filmed! This was also, as far as we know, the very beginning of Åkerlund's huge career in the film/entertainment industry.

"The first really big deal we got was with Music for Nations/Under one Flag and then we wrote a 3 year contract with them and released "Under the Sign of the Black Mark" - Quorthon

"Music for Nations is a British independent record label focusing mainly on rock and metal. It was a subsidiary of the larger label distributor Zomba Records, which was a division of BMG and later Sony Music Entertainment." - WIKI

Most people who have listened to a lot of 80s Thrash and Death Metal are familiar with company names like Music for Nations, Megaforce, Combat Records, Important, Noise, etc...Everything from Venom to Metallica, Bathory, Slayer, Celtic Frost, Megadeth, Exodus, you name it - something in your cassette collection has one or more of these names on it. These companies were all somehow connected in 1987.

"Combat Records was the "in house" heavy metal label for the independent powerhouse distributor Important Record Distributors. Important had several offices in the United States that promoted and sold Combat's releases. Important Records was also home to Megaforce Records in the mid-1980s...In mid-1986, the Noise label signed a deal with Combat to distribute records in the US... Neat also signed with Combat...The label had distribution deals with Music for Nations and Under One Flag for European releases of their catalog..." - WIKI

The Bathory album being promoted in 1987 was "Under the Sign of the Black Mark." This was put out by Under One Flag, which was a sub-label of Music for Nations, based out of England. Coincidentally, the album from which Candlemass' song "Bewitched" comes from, "Nightfall," was also put out on a sub-label of Music for Nations [Axis]. I assume Music for Nations/Axis paid for the Candlemass video, as they were very expensive to make in those days. This means there was a not so distant industry connection between Åkerlund and Bathory at that time - the very same year both Quorthon and Åkerlund met Dead - who sort of drifts right in between them just before moving to Norway, immediately assuming the role of most iconic singer in 2nd wave Black Metal history. As if a "satanic torch" was handed off to Dead by Quorthon - who is more or less the icon of first wave Scandinavian Black Metal.

If you recall the beginning of the "Bewitched" video, you may remember Dead and other extras carrying a coffin to a burial. As they lower the coffin into the grave, Messiah bursts out, smoke all around, and we enjoy one of the great campy moments in Metal music video history. Earlier that same year, 1987, Dead did a show with his band Morbid, and also came out of a coffin - smoke machine on full.

[SPV GmbH (also known as Schallplatten Produktion und Vertrieb GmbH) is an independent German record label....Founded on 1 January 1984, it has slowly grown to be one of the largest independent distributors and record labels worldwide. - Wiki]

"During a gig at Birkagården [1987], a youth center in Vasastan, the band [Morbid] had decorated the stage with candles and borrowed a coffin from SPV's set stores where Uffe Cederlund's dad worked. Pelle recorded the intro of the horror movie "Evil Dead" on repeat and crawls out of the coffin with smoke machines at full power." - Blod Eld Död [Blood Fire Death: A Swedish metal story]

For a singer to emerge from a coffin on stage was far from common, but not unprecedented. Artists as varied as Kind Diamond and Screaming Jay Hawkins have utilized coffins in their stage act. But it is hard not to consider that Dead, who was accepted into art school just before he died, may have had an influence on Jonas Åkerlund during the making of his Candlemass video. If so, this would indicate that Dead had a larger role in the video than just being a mere "extra," and therefore, would indicate he had a closer working relationship with Åkerlund than might have been previously assumed.

[Messiah Marcolin, bursting out of a coffin near the beginning of Candlemass' 1987 "Bewitched" video]

Another interesting thing about the above quote, is that the coffin was borrowed from SPV, due to the fact Uffe Cederlund's dad worked for them. [Uffe Cederlund helped form Nihilist/Entombed in 1987] Quorthon's father, Borje "Boss" Forsberg "took care of the exclusive distribution of SPV in Sweden and thus also came into contact with Noise International," according to his ex wife Klaudia. If you read my first blog on Bathory, you may recall the tour idea involving Noise Records around this time, which never panned out. You think this connection to SPV had something to do with that idea? I would imagine so. It would appear then that Morbid had an industry connection to Bathory in 1987, via their guitar player Uffe "Napolean Pukes" Cederlund. Seems likely that Boss probably knew, or may even have worked with Uffe's father, while Uffe was in a band with Dead. Dead was invited back to Bathorycorp after the heavy sound signing. Were there business reasons for this? We'll get into that in a moment.

While Dead and other extras are carrying the coffin in the beginning of the Candlemass video, there is a somber intro tune playing. It may sound familiar, because it was taken from a classical piece called "Marche Funebre" [Funeral March] written by Frédéric Chopin. This same musical piece is also borrowed by Quorthon during his solo on the song "A Call from the Grave," [at about 2:26] released that same year. However, Quorthon's album came out before Candlemass's. Did Candlemass copy Bathory's idea? Seems rather coincidental that they would both get released by the same parent label AND choose to lift the exact same classical piece the same year! I don't know what this means, but it does hint at more connections behind the scenes between these bands.

"Nightfall" was recorded at Sweden's Thunderload studios, the same studio Dead's band at the time, Morbid, would record their most famous "December Moon" demo that same year. This studio was owned by members of Heavy Load, so I suppose it was popular. But that's 2 connections Dead had to Candlemass in the same year, if you also count the video.

Was Dead this misanthropic "inhuman" creature who just stumbled into places where the most important individuals in Scandinavia's late 80s extreme metal history were, or is this all evidence of a young and very driven musician on a mission? Clearly, Sweden's underground Metal scene was a small world in the late 80s, but I doubt Dead went from rubbing elbows with the most important people in that scene, to Norway's most respected underground Metal band - without a very intentional effort. This was the dawn of some very important moments in extreme Scandinavian Metal history. Fans clearly saw the "star quality" in Dead, I am sure some people in the industry did as well, people like Quorthon's father Boss.

[Jack Kilmer and Jonas Åkerlund on Jonesy's Jukebox promoting the film "Lords of Chaos."]

"Jonas actually knew a lot of - knows a lot of the guys, he knew my character [in the film]..Dead and…there’s a photo actually of them hanging out in Sweden." - Jack Kilmer

Kilmer's quote above indicates that Åkerlund appears in a photo with Dead during a casual moment, as "Hanging out in Sweden" doesn't sound like a working environment to me. Did Åkerlund have some sort of relationship with Dead outside the Candlemass music video, which he has never spoken about publicly? Did Åkerlund play the role of Vvornth for a short time after he already quit Bathory, without officially informing the public? Perhaps Kilmer was mistaken, but Åkerlund doesn't correct him. In fact he says nothing and just stares directly at him stone faced for a moment [see image above, taken just after Kilmer mentions Åkerlund's relation to Dead]

The host of this interview is Steve "Jonesy" Jones, formally of the UK punk band "Sex Pistols." [a band which featured Sid Vicious, like Dead, very self destructive and also died young] While Åkerlund is staring silently at Kilmer, Jonesy says, "Jonas was probably involved with the one who got killed..." Kilmer then plays along, and says "I've had my suspicions!" Rather than respond directly to Kilmer or Jonesy's comments, Åkerlund finally says:

"I never burned a church."

None of that short bit of dialogue makes any sense at all continuity-wise. They were talking about Dead one second, Jonesy then jokes that Åkerlund may have been involved with "the one who got killed" [which makes no sense because Dead wasn't "killed," he committed suicide] then the next second Åkerlund is saying he never burned a church, even though nobody suggested or even joked that he did! I can only conclude that Åkerlund was uncomfortable with the line of topic and, with the help of Jonesy, changed the subject abruptly with a joke which made no sense from the outside. Kilmer made it clear enough, Åkerlund knew Dead and there is a picture of them in a casual situation backing up his claim [according to him]. Why is Åkerlund so hesitant to discuss details about the nature of his relationship to Dead here? He is supposed to be promoting his film in this segment, which focuses on Mayhem during the time Dead was in it. One would think he would use this as an opportunity to demonstrate his personal connection to the story, which seems oddly elusive when you really put it under a microscope. This matters because if he didn't have much of a personal attachment to the story or the characters, what drove him to make the film?

Jonesy: "So do you like that kind of music personally?"
Åkerlund: "Ummm...I used to. A lot. And in making this movie I Kinda it for myself...and realized that it's, really good."

Åkerlund gets visibly nervous answering this question, indicated by the stuttering and slowness of his response. If he likes the music, why does he stutter and squirm trying to state his opinion about it? He first says he "used to" like it. That's "past tense." That means, "I don't really like it anymore, but I used to" Then he says he "re-discovered it" while making the film. If he had to "re-discover" Nordic Black Metal AFTER he already started making the film, in order to finally "realize" that it's really good, doesn't that mean he never thought it was "really good" before that? What was motivating him when he decided to make the film, before this "post re-discovery realization" of his? Perhaps he was confident Rory Kulkin would make an Oscar winning "Euronymous?" Doubtful. So if Åkerlund wasn't into the music, why the hell did he start making the film? His personal connection to the story has been elusive as well, so the question just keeps getting louder here. Money doesn't appear to be the reason either, which we will see later.

[A drawing Dead made, referencing the dead rodent he left at Bathorycorp, just after the Heavy Sound signing.]


"The pictures of Dead and Bathory was in connection with a record signing they were having. They actually ended up getting along pretty fine. Dead and I were invited the day after to Elektra, where Boss worked. He wasn't there, apparently a bullshit trip." - Dr Schitz, Morbid

"Quorthon...was very impressed by Dead's own Bathory drawing on the back of his jacket and asked him to come down to the record company the following monday to have it photographed" [Slayer Magazine]

Apparently, Quorthon liked Dead enough to invite him and Dr Schitz back to Bathorycorp the following day. But according to Dr Schitz, Boss wasn't there and he makes no mention of Quorthon. Perhaps Quorthon was just really drunk and forgot he invited them?

"But we left a bag with the demo and a crucified mouse on a cross in the fancy reception. When we later called to check out what he thought about the tape, he freaked out and told us that we were the sickest people that he'd ever met." - Dr Schitz, Morbid

"In the date of 1/6 - 87 me and Schitzo (ass bass of Morbid) walked up to Elektra and leave there rehearsal tape and upside down cross with a nailed gun pig head on it and tied eyes with spikes through the eyes!...We leave it to the receptionist girl and told her to leave it to Ace Forsberg of Bathory. A few days later we called Borje (the Boss on the records Quorthon's father) He liked the band but not the present. We had all took this thing too seriously he told us. But I think we'd not." - Dead, in a letter to Metalian

So far, this meeting with Bathorycorp seems as though it was completely unplanned, right? Dead got invited back because Quorthon liked the Goat painting on his back. Well, here is another version of the story which makes it sound much more pre-meditated by Dead...

"When we were at Jens' place once we wondered where Pelle was said Rille. He was in the basement and would dissect a hamster. Jens was quite upset. -I was there and should take pictures, says Nisse. But when he began to chop the poor hamster with a scalpel, I had to stop. I stood and covered my ears, it was such a horrible sound when it squeaked. He would rip it up to put it on a cross and send it to Quorthon. That was the whole thing. It was so damn disgusting. And he didn't even just send it. After a week, he submitted it at the reception of Bathory record labels and the fucking letter stank terribly. It was put into the trash right away, I can imagine." - "Blod Eld Död"

If it took a week for Dead's "hamster" [he called it a Guinea Pig, which is much larger than a hamster] to begin reeking and rotting sufficiently, this means Dead would have to have given it to Bathorycorp a week after he met Quorthon, not the next day - as recounted by him and Dr Schitz. Or, he planned to submit the dead rodent and Morbid tape a week PREVIOUS to showing up upon the steps of Bathorycorp. The reason the latter story is more odd, is because he could not have known he would be invited, unless he already had communications with Bathorycorp that are unknown to the public. Seems oddly coincidental that he would dissect a rodent specifically to submit to Bathorycorp a full week before getting unsuspectingly invited there. What really happened here?

"-The image of Quorthon split for many that day, says Nisse. He [Quorthon] came walking in sunglasses, leather jacket with a lot of metal stuff that was hanging on him. He looked too much like a rock star. Someone took a card, then he made a thumbs up. What is this? He was not bad enough! -He was like Yngwie Malmsteen says Rille. -Pelle was very disappointed, continues Nisse. He turned his attention to Norway and Mayhem pretty fast. They became the new evil gods who replaced Bathory. The disappointment of Quorthon lead to Pelle's decision to send him a letter." - "Blod Eld Död"

"SERIOUSLY we think Quorthon is a POSER like Celtic, Mefisto and them…” - Dead, in a letter he wrote to Metalian after meeting Quorthon

Again, the above quote from "Blod Eld Död" indicates specifically that it was Dead's extreme disappointment with Quorthon's character which drove him to "send him a letter." So, if the decision was made after meeting Quorthon, he could not have submitted the letter less than a week later, because that is how long he supposedly waited for the thing to start smelling! SO what was he doing at Bathorycorp the day after the Heavy Sound signing, if not submitting his package? As if this story was not obscure enough, we can't seem to get the accurate version of it! But even taking into account what we do know, one can imagine why Quorthon and Boss might have been less than eager to talk about this publicly. Åkerlund's reasons for ignoring this topic are not quite as easily understood from the outside. He was right there around this time, he had to have known about this incident by the time "Lords of Chaos" was filmed.

[Åkerlund pictured in full "Metalhead" mode, Scorpions patch in clear range]


A number of Dead's letters and interviews are available online at In one of these interviews, Dead is asked how Mayhem's short tour of Germany went. Among other things, he remarks "I guess it's typically German to have short hair, mustache, and dress like SCORPIONS." Dead was very aware of what he perceived to be "trends" and he was very fond of the word POSER. If you take the time to read his interviews and letters, you will see the word POSER pop up many times. Euronymous, on the other hand, did not use this word as much, although he obviously was very opinionated. He tended to use the word TREND more [as-in TRENDY/copycats]. But in the film "Lords of Chaos," Åkerlund creates a rather one-dimensional version of Dead, and allocates some of his traits into Euronymous' character. In fact, 2 pivotal scenes in the film reference this use of the word "poser."

When Varg first meets Euronymous in the film, he has a Scorpions patch on his jacket [which would have been highly unlikely in real life because Varg had already been in an extreme metal band, Old Funeral - whereas Scorpions were viewed as more or less Arena/Hair Metal at that point] Euronymous points to the patch and calls Varg a poser. This is what sets him off into becoming the Count Grishnackh character, culminating ultimately with him MURDERING Euronymous violently. The film then reminds the viewer why Euronymous was killed, as we hear Rory Kulkin's voice narrating over the scene where Euronymous' bloodied body is being carried off. "Poser," he calls the viewer, which is how the film ends. Obviously this is some sort of "morality lesson" the writers of the film put in, which seems to be a warning that if you live by the sword, you die by the sword. But what makes this so absurd, is that the "worst" character in the film, Varg, actually makes out the best! After some years of hard time, that is.

"He gave the impression of being extremely charismatic…which annoyed the presiding judge. There were little girls there, pale, black hair and make-up who would cry out “oh, he looked at me!” As if he was a pop star.” - LARS ERIK NYGGAARD, Journalist

[Shot of Varg, taken during the first few years of his incarceration for the murder of Euronymous]

Today Varg enjoys Manson-esque cult icon status, lives as a (armed) free man on a ranch in France, has a young wife, a bunch of kids, and seems to be living his Neo-pagan "off the grid" dream lifestyle. Meanwhile, his fanbase cannot get enough of his band, youtube videos, books, roleplaying games, or whatever else he decides to put out there for consumption. Not too bad for a guy who stabbed his friend 16 times in the back, burned a bunch of churches, and helped found a Neo-Nazi organization! [Norwegian Heathen Front]

Given that the film's "moral lesson" fades away pretty quickly upon reflection, it is interesting to consider what Åkerlund might be subtly stating about Dead's demise, given that HE was the one so fond of calling others "poser" in real life. He was also the one making statements about Scorpions in his correspondences after Mayhem's brief tour. Åkerlund clearly did his homework, and was apparently using much, if not all of the same source materials I am referencing here, and has likely read these same letters written by Dead. He simply incorporated elements of these into the film script, wherever he felt like it, regardless of accuracy. He admits these types of liberties were taken, by selling the film as "based on truth, lies, and what actually happened."

[Drawing Dead did after meeting Quorthon at the Heavy Sound signing]

The above drawing, widely available in the public domain, covers a lot of what we are discussing here.

Heavy Sound was the name of the record store where Dead met Quorthon and "Vvornth."

The guy with the sunglasses and his tongue sticking out is supposed to be Quorthon [Quorthon either has his fingers in his mouth, or is sticking his tongue out just about every time someone snaps a picture of him in that video].

There is a letter that says "poser," which I assume is the letter Dead wrote/left for Quorthon with the dead rodent and Morbid demo. "Morbid Demo Out Soon" is probably a reference to the "December Moon" demo they would record a few months later. The submission of the Morbid Demo by Dead indicates that he may have been interested in getting Morbid backed by Bathorycorp. Why else would he have submitted it? Did Boss express interest in Morbid? Not too hard to imagine, Dead did quickly establish his "star quality" in 1987, according to those who attended Morbid shows. Of all people, Boss would have wanted to keep an eye on him, as he was in the business of extreme Scandinavian Metal!

"Leg of Gehenna" refers to the guitarist in Morbid, John "Gehenna" Hagström. His leaving the band is apparently what motivated Dead to give up and move to Norway, according to the book ""Blod Eld Död." But this didn't occur until after the December Moon demo came out, which was not yet recorded when Dead drew this. So what is he trying to say about Gehenna here? His leg has been cut off, and the blood reads "Black Mark," which was the [at the time] fake label put on Bathory albums. Why is Dead associating Black Mark/Bathorycorp with his guitarist getting maimed? This is some sort of inside joke, and I don't pretend to get it. But it is interesting considering Dead's bad mouthing of Quorthon and submitting of a dead rodent to Bathorycorp. Is Dead hinting at some sort of "retaliation" against his band from Bathorycorp?

"From the Dark" is a song from Morbid's demo. The lyrics speak about having an orgasm at a funeral among other obscure things. This image also seems to suggest forces are at work in the dark, behind a door which reads "Slayer Mag." Slayer Magazine covered Bathory and Mayhem as early as, or even before most any other media sources. It's editor, Metalian, was apparently directly involved with Dead joining Mayhem [Metalian also helped finance Mayhem's first release, "Pure Fucking Armageddon"]. There is no better source for the story of "Nordic Black Metal" than the Slayer Magazine archives, as far as I know. They are certainly far better than Åkerlund's film, if one wants the most accurate depiction.

This "feelin' horny" bit brings up an interesting point. What was Dead's position sexually speaking? As far as we know, he never had a girlfriend or an interest in women at all. Yet, hints of a sexual nature are brought up in the lyrics to the song "from the Dark," also referenced in the drawing. Most reading this probably haven't considered that Dead might have had a sexual identity. He was quite young, after all, and quite disturbed obviously. But I am sure like any young man, he had a sex drive - even if it was buried deep within his "crazy" character. Here his name is buried inside the Bathory goat, inverted crucifix sticking straight up like a phallus. Is he saying Quorthon, salivating as he devours all the attention from his young male fans, was "feelin' horny" that day? Is he saying that he himself was? I think he is making some sort of veiled statement there, but I leave it to the reader to decide for themselves. Dead's nick name was also "The Goat," which is why the Morbid anthology was called "Year of the Goat." This is another possible factor associating him with the goat in the drawing.

[Daniel Ekeroth is the author of "Swedish Death Metal," his name was not in Dead's drawing, it is only there because this image was probably scanned from his book, "Swedish Death Metal."]


"they [Mayhem] were never against it [the film] that’s been a rumor from day 1…especially with Euronymous parents that has the rights to the music I had to..I couldn’t make the movie without the music…all of them has been on board from day 1…Mayhem was the music I really needed" - Åkerlund, Metal Injection

"No legal issues; it’s a story that’s kind of [in the] public domain, and we have the rights to the book…we have the support of Mayhem and the music is in there…" - Åkerlund, Rolling Stone

[Lords of Chaos, the book from which Åkerlund's film takes its' name.]
[Michael Moynihan, primary author of the book "Lords of Chaos"]

[Kevin Foster, the Florida teen "ringleader" of the short lived self styled American teen terrorist group, "Lords of Chaos" from which both the book and film took their name.]

"Reached for comment, Mayhem bassist Necrobutcher – who co-founded the group with Euronymous – expressed his displeasure with the film. “This book Lords of Chaos is fucking crap and that some stupid Swedes are gonna make a movie out of it is not OK,” he tells Rolling Stone. “I will do everything I can to stop this film…. Tell the Swedes and the Hollywood people to go fuck themselves.”..The bassist also told Rolling Stone that a Norwegian company called Motion Blur has the rights to his story and that he has been spending time collaborating on a script for the film"

"Necrobutcher released an excoriating statement about the film in 2015, saying he would do everything possible stop the film. Now, two years later, he says he has heard nothing from the production. “They contacted everybody behind our backs, our crew members, all kinds of people associated with us in a very sneaky way,” he says. “It’s the wrong approach. You make a movie of a band? The first people I would contact would be the band and ask for permission to use their music. Don’t come afterwards because we won’t authorize it.”

"Attila Csihar, in a January 2019 interview, stated that the official opinion of the current Mayhem members regarding the film and its creators is a "big fuck you"; furthermore, he pointed out that the film was based on a book and only focused on Mayhem during the 1990s, not the whole black metal scene at the time. He confirmed that some Tormentor songs appear in the film, and that he himself is played by his son, Arion Csihar. Attila himself was present during the shooting of the church burning scenes." - Wiki

Based upon the above, Åkerlund seems to have lied to the press regarding the fact that Mayhem approved of the film "from day 1." It looks like the producers of the film simply obtained legal rights to Mayhem's music from Euronymous' parents, obtained legal right to use the name from Feral House [publisher of the book,] and paid off anyone else they needed to - in order to get the film made. We know Varg Vikernes completely disapproved of the idea, so unless 3 surviving members of the "De Mysteriis Dom Sathanas" recording sessions are lying, Åkerlund made this film despite the clear public disapproval of surviving members of Mayhem. Why would he do that willfully, then lie about it to the press? Just because Euronymous' parents may have authorized the use of Mayhem's early music, doesn't mean that the band Mayhem approved of it.

Attila has collaborated to a degree in the film's production. What would explain this contradiction? Well if Åkerlund and his production crew were going to make the film regardless of whether members of Mayhem were ok with it or not [which they obviously did], perhaps Mayhem would choose to participate where they could, at least to try and steer some of it in the right direction. If someone says "I'm going to make a film about YOUR band whether you like it or not. You can contribute here and there or I can just do it without any of your input." The members of Mayhem probably figured they might as well try and make what they could of those parts of the film which they were "allowed" to contribute to, rather than leave it all to Åkerlund and the producers of the film.

"I decided to do it [the film] with English-speaking actors mainly for two reasons: I wanted to make a movie for a big audience – I don’t want to make a Norwegian movie; and I wanted to make sure that I got the best actors. Being limited to Norwegian-speaking actors would have been really hard for me…" - Åkerlund, Rolling Stone

"the movie has an [pause] NC-17 rating. So, you can’t really go shopping malls. So it’s gonna be limited to certain theaters." - Åkerlund, KLOS

He didn't wanna make a Norwegian movie? Figure that one out, because I can't!

In the same KLOS interview mentioned earlier with Jonesy and Kilmer, Åkerlund states the film got an "NC-17" rating, which directly contradicts his statement about wanting to make a movie for "a big audience." How do you reach a "big audience" with an NC-17 rating? This is the most extreme rating a film can get, which naturally compromises the ability to distribute it. Kilmer didn't even know this before the interview, and reacts as if he is shocked right when Åkerlund states it. Why would a mainstream pop music video director who works with the biggest names in the business be so driven to make a film about Mayhem AGAINST the band's wishes, then totally compromise distribution by not editing it down to an R rating? Kind of defeats any commercial advantage achieved by using American actors doesn't it? What is the real reason this film was made? I found an article on which surprisingly, addresses some of the toughest points I make here. Åkerlund pretty much answers them all by being extremely vague and general, while more or less casting them aside as non-important.

[Brian "Marilyn Manson" Warner left, Jonas Åkerlund on the right, and his wife Bea in the center - playing up the 1 eyed "illuminati peak-a-boo" that is so chic these days in pop culture, her black and white checkered clothing design is part of the theme of her extremely bizarre IKEA furniture line]

"Lords of chaos is a loving, concerned, and troubled look at Black Metal" - [producers of the film]

If you read my blog on the Le Bataclan massacre, you know that Vice Media was part of the propaganda campaign during the aftermath of that event. Given that, it shouldn't be very surprising that they would want to be part of "Lords of Chaos," a story ripe for propaganda and the pushing of political/social messages out to the extreme fringe youth of society. But to what end?

"Radicalize: cause (someone) to adopt radical positions on political or social issues." -

"...the burning of churches has not been a tradition for those critical of the church in Norway. But it is used by regimes in Eastern Europe and Asia. This has happened, but then the government is behind it. Supporting it or initiating it." Rolf Rasmussen [Priest], Once Upon a Time in Norway

This very interesting quote comes from a Norwegian priest who is interviewed in the documentary "Once Upon a Time in Norway." Although I can't say if the Norwegian government was ultimately behind any of the church burnings, there was a documentary made for Norwegian television which demonstrates very clearly, that the Norwegian press was encouraging radicalization of youths via sensationalism of the church burnings and deliberate promotion of Varg Vikernes/Burzum, while cooperating with Norwegian police at the same time.

"Aarseth [Euronymous] and Vikernes used the church fires in their marketing, but it didn’t yield results. Vikernes then decided to plug the record in Bergens Tidene…Their music was finally plugged and all PR is good PR" - Wiki

"we and the photographer explained that if he intended the things he had said to obtain PR for his music then he would have to explain the arson and the killing. And we would have to be able to check the information against any police evidence and any other background. Should you be speaking the truth we will show the interview. You will achieve maximum PR for your music, which is not our topic. - Finn Bjorn Tonder - BT Journalist."

"Two friends of Vikernes interviewed him and brought the interview to the newspaper, hoping they would print it" - Lords of Chaos Book

Details on exactly how a 19 year old, soon to be murderer Varg managed to so easily get the attention of a major newspaper journalist, is something that tends to get glossed over when this story is told. Who were these "friends" of his, and what connections did they have to Norwegian press?

Mr Tonder clearly states above he made a deal with Varg, that in exchange for information on the church burnings [and the "killing of a homosexual" by Bard Faust], certain unspecified Black Metal bands would get "maximum PR." What kind of journalist would promise such a thing to a 19 year old potential church burner, and possible associate of a murderer, in an extremely conservative Christian country such as Norway, especially in the early 90s? And what made Varg think he would not get in trouble for doing this interview? He was young and arrogant, yes, but I don't think he was quite THAT stupid. I believe there is more to this press coverage and Varg Vikernes than the public is aware. I don't believe Varg shares EVERYTHING about his past - much as he loves talking about himself to this day.

“Before 1992 one Norwegian Church burned a year. From 1992 to 1996 50 churches were tried to be set alight...Nearly all papers, radio, and TV stations took up the case. Everything was tied to Vikernes in jail in Bergen. The newspapers wrote about “The Count” and he appeared on TV. He was soon a national celebrity, and an internationally known Satanist...Their music was finally plugged and all PR is good PR. In interviews youngsters down to age 13 were able to say they were satanists...Instead of telling the truth, BT continued to write its own truth. After being charged, Vikernes was always in the media. He was always news. Through it all, his band became known abroad...The church burning grew after the trial. In 5 weeks 7 churches were set alight…the media had marketed Black Metal’s antichurch ideals. The marketing worked because the Satanists were dramatized and presented excitingly to people. This lead to many youths pouring into the small BM milieu… burning churches to be like Varg..." - Satan rir media

"…He loved being in the newspapers. On TV, radio, etc He wanted it. His own PR was quite astounding. I think some parts of the media made him into a guru. They should at least have realized they made him one. He enjoyed the publicity…we realized that he was made into a guru for many youths…It was decided also in Bergens Tidene that we should drop [stop printing] pictures. Drop calling him the Count…We toned it down because we knew it was leading us astray” - Finn Bjorn Tonder

In the end, not only did Varg/Burzum get the "maximum PR" promised by Mr Tonder - the entire Nordic Black Metal story as a whole received international exposure far beyond what it would have otherwise. The correlation between an increase in church burning/radicalization of youth and the press coverage has been clearly noted by the documentary. Was it the intention of Norwegian press to use the Black Metal story to radicalize Scandinavian youth and those abroad on the fringe? Was Moynihan's book merely an extension of this "Scandinavian Metal Attack," designed to further glorify disproportionately the "extreme ideologies" held by a few of it's members? Was Moynihan's reference to the Florida Teen Terrorist group in his book's title an effort to encourage an international connection between American fringe youths, and Europe's?

"Terrorism: the systematic use of terror especially as a means of coercion -"

"Terrorism: the unlawful use of violence and intimidation, especially against civilians, in the pursuit of political aims." - Oxford Dictionary

One can pick out almost any of the Nordic Black Metal documentaries out there and discover that the destruction of churches was viewed generally as a positive symbolic gesture by many Black Metal musicians and fans alike, even by those who seemed to try and take a neutral position. Even many punk rockers had to take note - this was some rebellious shit these metalers were doing! Hatred of the Christian church is something which echoes far beyond Scandinavia and even the Heavy Metal genre itself. This is the power of such a symbolic act, properly sensationalized by the media. But do metalheads really think the media would do them such a favor without a serious alterior motive behind it? What is the long term goal here? Are we really achieving progress towards our "Neo-Tolkien" fantasy world, or are we simply foot soldiers for the "evil minds that plot destruction," as referenced in Black Sabbath's "War Pigs?" What happens AFTER Christianity is crushed? Does Odin just float in on a cloud and usher in the "New Viking Age?" Don't count on it.

With all of this in mind, we again ask the question, why did Åkerlund make a film about this topic? Let's revisit the reasons he didn't:

1 - He had a personal connection to the story
“It was only like a handful of people that got a chance to see this classic moment. Most of it happened in Norway. We [Bathory] were a few years earlier. We were in Sweden. I kind of left the scene for filmmaking pretty early.” - Åkerlund, Revolver. Whatever personal connection Åkerlund may have had to the 2nd wave Black Metal scene, it is not obvious from the outside.

2 - He loved 2nd wave Black Metal Music
He told Steve Jones on KLOS that he USED to like it. A lot. Then he "rediscovered it" while he was making the film. So he started making the film during the time he wasn't really into the music? That is, before he "rediscovered it during the making of the film?" I am sure he loves Motorhead, Dio, Sabbath, Iron Maiden, and maybe even Venom - but 2nd wave black metal? Not likely considering his history and what he has said in the press. He's just saying what he needs to say in order to make himself appear credible to the public. He's an actor to a degree.

3 - He did it for the money
The film had an NC-17 rating, greatly limiting the already modest small theatre circuit it appeared in. I'm not sure what the rules are on Netflix, but I imagine NC-17 probably doesn't serve this purpose any better there. Old school fans/musicians of Black Metal generally thought it was trash, living members of Mayhem openly disapproved of it. Åkerlund works for the biggest pop stars in the music business. Whatever small profit was made from this film, if any, he did not need it.

4 - Åkerlund just did it because he thought it was a cool story to turn into a film
Then why did he lie to the press about the fact that the members of Mayhem were totally against him making it? Why would someone want to make a documentary/biographical film about a band/person who is openly against it? There is also the fact that Åkerlund originally wasn't even involved with the film!

"Lords of Chaos is based on the 1998 book of the same name. Originally, Japanese director Sion Sono was set to direct a film based on the book, with Jackson Rathbone starring as Varg Vikernes. It would have been Sono's first English-language film. The screenplay was written by Hans Fjellestad (who was earlier reported to be the film's director as well), Ryan Page, Adam Parfrey (the book's publisher), and Sono. In July 2009, Sono stated that filming (in Norway) would begin in August or September and end in December. The film was set to be released in 2010." - Wiki

Propaganda: "information, especially of a biased or misleading nature, used to promote or publicize a particular political cause or point of view." -


While Åkerlund's "Lords of Chaos" film seems to have a message for youths on the potential extreme fringes of society, his most recent video for Madonna has a much less ambiguous message.

[If you are on a Smartphone, you must tap on the above images in order to enlarge them at the proper resolution]

Although mass shootings have been on the rise steadily for many years now, the U.S. experienced what seemed like a sudden explosion of them this year [2019]. Within the above statistics gathered from Wikipedia, we can see a clear trend of INCREASE in mass shooting frequency.

Madonna's "Madame X" album came out June 14, 2019, almost exactly in the middle of the year. The video for "God Control" was released June 26, 2019, just about when peak hysteria surrounding mass shootings was all over the news. The timing of it couldn't have been better. In it, we see a nerdy looking white guy [who looks like he stole Ace Ventura's shirt] shooting a bunch of people reflecting MadonnaCorp's carefully cultivated aesthetic - a chic and sexy blend of multi racial, multi ethnic, sexually liberal, hedonistic lovers of life. Once the viewer is heartbroken over watching these people get shot, the video pushes the solution into your face: GUN CONTROL. In sales, it is known that if you stimulate people's emotions properly, you can make them buy anything - regardless of a product's practical use. Propaganda uses the same techniques, to sell you an IDEA - and that's exactly what this video is, propaganda.

"Gun control (or firearms regulation) is the set of laws or policies that regulate the manufacture, sale, transfer, possession, modification, or use of firearms by civilians." - Wiki

It is a fact that gun regulations in America have increased constantly for the past 50 years or so. Are we any safer? The 2nd amendment was created in part to PROTECT Americans from total government oppression. Therefore, the "powers that be" have clear motivation to ENCOURAGE nutcases to go on shooting rampages, and certainly have the technology to do so! [research recently declassified MK Ultra documents directly on the CIA's webpage] Mass shooting sprees, with no apparent motives or apparent common causes, encourages the perception that more restrictions on gun access is the only logical solution. Just as I was typing up this blog, San Francisco used the Gilroy shooting to justify classifying the N.R.A. as a "domestic terrorist organization."

"The memory of a mass shooting that killed three at the Gilroy Garlic Festival was still fresh in nearby San Francisco when its Board of Supervisors unanimously voted last week to denounce the National Rifle Association. But the city’s leaders took their message a step further, declaring on Sept. 3 that the NRA is a “domestic terrorist organization” and discouraging the city from working with contractors or vendors with ties to the gun rights lobby." - Washington 9.10.19

An increase in mass shootings = justification for more restrictions on gun laws. It also helps perpetuate the gun debate, constantly reinforcing division between the "left" and the "right" nationwide. These same "powers that be" would have good reason to sponsor pop icons such as Madonna, because she delivers the solution of disarmament. Madonna happens to be a distant relative of Hillary Clinton, America's "left leaning" 2016 presidential candidate, who was defeated by right leaning, and National Rifle Association supporting Trump.

[Hi Madonna, nice one-eye X thingy! What could this mean?]

Obviously, MadonnaCorp is playing around with some strong symbolism on her latest album, and there is a whole lot I can comment on - but I leave it to the reader to look into that for themselves. The main point here is that Jonas Åkerlund has no problem making high budget propaganda videos, targeted towards Americans in this case. If you watch some of the other videos he's done over the years for Madonna, Beyonce and Lady Gaga - you will find they often flirt with the most divisive sexual, religious, and racial messages, almost as a rule! Åkerlund is a master at delivering these messages within a thickly cultivated environment of chic, sexy, sarcastic, youthful energy. This sexy/eye catching imagery and "fun" energy keeps audiences minds engaged on the shallowest levels of perception so that they don't bother to consider the deeper messages intellectually, and whether they are "healthy" or not. Who cares? Everyone looks pretty!

*** UPDATE 4.23.20 ***

Something of interest has recently been brought to my attention concerning Madonna's "Madame X" album. Here is the back cover:

[If you are on a Smartphone, tap on the photo first, in order to blow it up to the correct resolution. If you simply enlarge the screen without tapping the photo first it will be very blurry and hard to make out]

The Smith Corona is apparently an old brand of typewriter, which explains why the word "Corona" [looks kinda like GORONA there, no such brand of typewriter far as I know] appears on the one pictured. According to a pdf document posted on, "the genome for SARS-COV ends in 33 A's." I am not an expert in this field, so I encourage people to double check this information. There is however, a link to which, the same file claims, confirms this information. The information on this page is all Greek to me, but I did find a 33 "A" sequence, pictured below. The quality of these images are not great, I encourage people to go to the website themselves for confirmation.

This album was released in June of 2019, many months before the Coronavirus "pandemic" hit. All I can really add off the top of my head here is that the 33rd degree is the highest attained in Scottish Rite Freemasonry. This, in combination with Madonna's "1 - eyed" theme hints strongly at occult Freemasonic themes alluded to here and in other blogs I've done.

Oddly, a New York post article reported the same day I wrote this update, that actor Tom Hanks gave a young boy named Corona this same brand name Smith Corona typewriter!

"Tom Hanks proved once again he has a heart of gold after gifting a Corona-brand typewriter to an Australian boy who was bullied for having a name associated with the coronavirus pandemic." - Ny Post

Not apparently related, but recent rumors have been persisting online that Tom Hanks is involved with some sort of child trafficking ring - which I cannot confirm. Extremely odd anecdotes here, nonetheless.

*** END UPDATE ***

[Ok Bea Åkerlund, we see your chic little "eye of Horus" winky thing, what's your point?]



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