No Lies
noise dept.

Andulka
macklin celebrini has autism
Mike Driver
TMBGareOK. The Official They Might Be Giants tumblr
Lint Roller? I Barely Know Her
occasionally subtle
"I'm Dorothy Gale from Kansas"
Xuebing Du
Cosmic Funnies

blake kathryn
🩵 avery cochrane 🩵

tannertan36
Cosimo Galluzzi

Origami Around
todays bird

pixel skylines
The Stonewall Inn
Noah Kahan

seen from China

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seen from Malaysia
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@alicedelarge
No Lies

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Veritasomniavincit by Complot
Blessed Henry Suso by Francisco de Zurbarán, 1636-38
How do you remember Øystein some 25 years on?
"Brand Builder. RiffMaster. Tape Trader/Label Owner. Misanthrope. Megalomaniac. Totalitarian Communist. Evil Genius. Perhaps a bit of a “wanna-be” Chemist/Scientist/Showman with some P.T. Barnum mixed in!?! He may have been strangely flattered by my descriptions here. He did have a wicked sense of humor too, after all.
To clarify, these shouldn’t be read as insults to the dead.
I like to remember him as a friend and someone who was excited about the movement behind black metal. I knew him from the calls we did and the letters we shared. That’s one way of knowing someone, I suppose. Others have their own memories, I’m sure. In other ways, I agree with what [Mayhem bassist] Necrobutcher has said lately in the way he treated Dead’s death. I have a conflicts about that for sure.
As I said before, I have a lot of letters from the people involved, and what the sentiments were at the time. It’s interesting to read other interpretations or even people changing history, but that’s what happens when there’s a lot of obscure lore and legend to sift through.
How I like to think about Oystein is as the leader of the black metal movement in Norway. A man with big ideas who made a lot of them come true. He changed what people thought of black metal at the time and how dangerous it could be when done properly and at its most extreme. Most importantly for me, I liked the fact that he supported other scenes—and was in touch with so many different people across the world—as long as the vision was shared. He supported the scene by tape trading, selling music and generally creating interest and didn’t seem to care where the bands came from.
He left behind some pretty amazing music. De Mysteriis Dom Sathanas remains one of my favorite black metal albums of all time.
As far as the way I think about all the guys who are no longer here, they lived and died by the sword, and their own philosophy. I’m not one to judge, but it was good to know them, share thoughts during a youthful time of my life (and theirs), and do what we were all able to do to contribute to the black metal scene together."
Typhon (Necropolis Records)

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“Yücel has an interesting memory with Necro. At that night his place, when everyone went to sleep, Necro called his girlfriend who is in Norway by the home phone and had a long call like 1-1.5 hours. Back then calling abroad cost like house rent. Yücel was a student. We figured out this one month after they went back to Norway when the bill came. Yücel told me that and we solved it between us. I also told what happened to Euronymous just to inform him. We did not demand any money for that, never. He felt ashamed too, asked if he could compensate. I said ‘no’. ‘We managed between us.’”
Arcan (organizer of the Turkey gig)
Detail of the god Pan and two satyrs, from an etching by Giovanni Benedetto Castiglione, called Il Grechetto. Italian, c. 1645. Metropolitan Museum of Art.
From the Met:
In the 1640s, Castiglione produced a group of etchings that bring to life the world of Theocritus’ Idylls and Virgil’s Eclogues, in which Pan is frequently invoked as lord of the flocks and patron of pastoral poetry. In this etching, the resting god, wearing his usual crown of pine, receives a second crown of grape leaves. The volcano must be Etna, for the rustic verse of both the Greek Theocritus (ca. 300–260 B.C.) and the Roman Virgil (70–19 B.C.) is set in Sicily.
“The difference between death metal and black metal is most obvious when it comes to lyrics and themes. Death metal lyrics are a lot of nonsense, while black metal lyrics are more serious and darker. Øystein once said: ‘Venom just wrote about it. The Norwegian wave meant it.’”
Metalion for 666 Shades of Black by Harald Fossberg, 2026
Sérénade au clair de lune (Venise) by Lucien Lévy-Dhurmer
it’s never a normal temperature anymore it’s always some fucking bullshit

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“Guys came to Helvete from all over the country, plus Sweden - Dissection, Marduk and Abruptum. They partied and slept in the basement. When a Swedish car came up Schweigaards gate, we knew there was party time.”
Bård/Faust for 666 Shades of Black by Harald Fossberg, 2026
Tynemouth Priory, Northumberland (Thomas Girtin, c. 1793)
We've reached a new record high temperature. And now they want to build three AI data centers here.
It's good to see that newer books on Black Metal are much more nuanced. The people who did everything in the 90s were so young, a lot of people now don't understand how certain things could have happened and only like to judge, so it's good to hear people talk about it now with more life experience and reflection.
Another thing is that they give most of its space to music and create a decent balance between that and more personal stuff - not crime. VV is given extremely limited exposure and in Harald Fossberg's book (666 Shades of Black), for example, he is almost a footnote (he was asked to participate, but obviously declined). I of course understand that some people who love his music might not agree with this, especially if they want a super comprehensive book on BM, but that guy has his own platform and says whatever he wants anyways. There are also things in his book where you previously had to dig a bit deeper or buy expensive boxsets, so I hope all of this information will reach more casual fans too.
Matías' book (Born for Burning) is also not bad, although I would have strongly advised against translating it himself. There are some grammatical errors and a lot of mistakes in general, so I hope they will fix that if they ever do a second edition.
While Harald focuses only on the Norwegian scene, Matías tried to write an entire history of the genre. What bothered me is that it's hard to find info on specific bands because of the way he structured the chapters, and what completely blows my mind is that he didn't devote some time to his own corner of the world: South America. He is Argentinian, so it would have been cool to give at least a little attention to bands from there as they absolutely influenced so many people.

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“State is the name of the coldest of all cold monsters. Coldly it lies; and this lie slips from its mouth: ‘I, the state, am the people’.”
— Friedrich Nietzsche, Thus Spoke Zarathustra
“There I sat with my guitar, learning riffs. From my great hero. Call it a workshop or masterclass. Øystein was interested in the Norwegian scene and wanted to professionalize it, to take it to a higher level. He seemed passionate about presenting his vision. But despite his authority - and a ten year age difference - it felt collegial to sit and play with him.”
Ivar Bjørnson (Enslaved) for 666 Shades of Black by Harald Fossberg, 2026