Editing Viking metal (section)

== Background ==
=== Vikings ===
{{Main|Vikings}}

{{multiple image
| align     = right
| direction = vertical
| image1    = Viking ship "Lofotr".jpg
| width1    = 165
| alt1      = Lofotr ship
| caption1  = A replica longship, ''Lofotr''
| image2    = Vidfamne.jpg
| width2    = 170
| alt2      = Knarr Vindfamne
| caption2  = The ''Vindfamne'', a replica ''knarr''
| footer    = The [[longship]] and ''[[knarr]]'' enabled Vikings to embark on far-reaching military and trading expeditions.{{sfn|Couper|2015|p=34}}
}}

Viking metal features the [[Vikings]] as its subject matter and for evocative imagery. The Vikings were [[Northern Europe]]an seafarers and adventurers who, during the [[Middle Ages]], relied on sailing vessels such as [[longship]]s, ''[[knarr|knerrir]]'', and ''[[karve (ship)|karvi]]'' to explore, raid, pirate, trade, and settle along the [[Borders of the oceans#Atlantic Ocean|North Atlantic]], [[Baltic Sea|Baltic]], [[Mediterranean Sea|Mediterranean]], [[Black Sea]], and [[Caspian Sea|Caspian]] coasts and [[Eastern Europe]]an river systems.<ref>{{harvnb|Lovgren|2004}}</ref> The [[Viking Age]] is generally cited as beginning in 793, when a Viking raid struck [[Lindisfarne]], and concluding in 1066, with the death of [[Harald Hardrada]] and the [[Norman conquest of England]].<ref>{{harvnb|James|2011}}; {{harvnb|Sjåvik|2010|pp=xxiii, 6}}</ref> During this two-hundred-year period, the [[Viking expansion|Vikings ventured]] west as far as [[Ireland]] and [[Iceland]] in the North Atlantic and [[Greenland]] and what is now [[Newfoundland]] in [[North America]], south as far as the [[Kingdom of Nekor]] (Morocco), [[Italian peninsula|Italy]], [[Sicily]], and [[Constantinople]] in the Mediterranean, and southeast as far as what are now [[Belarus]], [[Russia]], and [[Ukraine]] in Eastern Europe, [[Kingdom of Georgia|Georgia]] in the [[Caucasus]], and [[Baghdad]] in the [[Middle East]].<ref> {{harvnb|Jakobsen|2013}}; {{harvnb|Kendrick|2012|pp=143–388}}; {{harvnb|Lovgren|2004}}; {{harvnb|Peterson|2016|p=230}}</ref>

The Vikings originated from the [[Nordic countries]] and the [[Baltic states]], and consisted mostly of [[North Germanic peoples|Scandinavians]], though [[Finns]], [[Estonians]], and [[Curonians]], went on voyages as well.<ref>{{harvnb|Kasekamp|2010|pp=21–23}}; {{harvnb|Gustin|Wessman|2021}}; {{harvnb|Hofstra|Samplonius|1995|pp=239-245}}</ref> [[Sami people|Sámi people]] also closely interacted with the Scandinavian Norse and engaged in widespread trade expeditions.{{snf|Gjerde|Bergstøl|2021}} While otherwise disparate peoples, they shared some commonalities in that they were not considered "civilized" and were not, at first, adherents to Christianity,{{sfn|Williams|2011}} instead following their indigenous [[Nordic religion|Nordic]] and [[Finnic mythologies|Finnic]] religions.<ref>{{harvnb|Anttonen|2012|pp=185–221}}; {{harvnb|Nordberg|2012|pp=125–126}}</ref> They often adopted Christianity upon settling in an area, intermixing the faith with their own [[paganism|pagan]] traditions, and by the end of the Viking Age, all [[Christianization of Scandinavia|Scandinavian kingdoms were Christianized]] and what remained of Viking cultures was absorbed into [[Christianity in Europe|Christian Europe]].{{sfn|Williams|2011}}

=== Nordic folk music ===
{{Main|Nordic folk music}}

Nordic folk music encompasses traditions from [[Music of Denmark|Denmark]], [[Music of Norway|Norway]], [[Music of Sweden|Sweden]], [[Music of Finland|Finland]], [[Music of Iceland|Iceland]] and the dependent countries [[Åland]], [[Music of the Faroe Islands|Faroe Islands]], and [[Music of Greenland|Greenland]], and nearby regions. Specific instruments vary between countries and regions, but some common instruments include the [[lur]],<ref name="ref1">{{harvnb|Ling|Kjellberg|Ronström|2013|pp=517–518}}; {{harvnb|Norden Folk|n.d.}}</ref> [[säckpipa]],<ref name="ref1" /> [[Hardanger fiddle]],<ref>{{harvnb|Armstrong|2002|p=359}}; {{harvnb|Norden Folk|n.d.}}</ref> [[nyckelharpa|keyed fiddle]],<ref>{{harvnb|Ling|1997|p=222}}; {{harvnb|Ling|Kjellberg|Ronström|2013|pp=517–518}}</ref> [[willow flute]],<ref name="ref2">{{harvnb|Ling|Kjellberg|Ronström|2013|pp=517–518}}; {{harvnb|Yoell|1974|p=31}}</ref> [[harp]],<ref name="ref2" /> [[Jew's harp|mouth harp]],<ref name="ref2" /> and [[horn (anatomy)|animal horns]].{{sfn|Yoell|1974|p=31}} Common genres in Nordic folk include [[ballad]]s, [[herding]] music, and [[dance music]], genres which trace back to the medieval era.<ref>{{harvnb|Ling|Kjellberg|Ronström|2013|pp=516–517}}; {{harvnb|Randel|2003|p=237}}</ref> Often, Nordic melodies will contain the [[phrase (music theory)|phrase]] C<sup>2</sup>-B-G.{{sfn|Ling|1997|p=98}}

In [[Swedish folk music]], songs are [[monophonic]], unemotional, and solemn in character, though working and festive songs might be more lively and rhythmic.{{sfn|Ling|Kjellberg|Ronström|2013|pp=517}} [[Danish traditional music|Danish]] songs melodies tend to lean toward the [[major and minor|major]].{{sfn|Ling|1997|p=98}} In [[Icelandic folk music]], the ''[[rímur]]'', a form of epic poem dating back to the medieval era and Viking Age, is prominent.<ref>{{harvnb|Hopkins|2013a|p=507}}; {{harvnb|Ling|1997|pp=91–93}}</ref> Faroese music contains dances directly descended from medieval ballad and epic poems, particularly from literature in the Icelandic tradition,{{sfn|Ling|1997|pp=91, 98}} and often follows unusual [[time signature]]s.{{sfn|Piotrowska|2015|p=107}} Many [[Music of Norway#Traditional (Folk) music|Norwegian folk]] ballads follow a four-[[stanza]] structure known as [[stev]].{{sfn|Hopkins|2013b|p=512}} Stev alternate a [[trochaic tetrameter]] with a [[trimeter]], and lines typically rhyme following an [[simple 4-line|ABCB scheme]], though stev are not standardized.{{sfn|Hopkins|2013b|p=512}} [[Music of Finland#Folk music|Finnish folk music]] tends to be based on [[Karelians|Karelian]] traditions and the meter and thematic material found in the ''[[Kalevala]]''. These themes include magic, mysticism, [[shamanism]], Viking sea voyages, Christian legends, and ballads and dance songs.{{sfn|Leistö|2013|p=523}} The older ''runo'' song tradition follows meters such as {{music|time|5|4}}, {{music|time|5|8}}, or {{music|time|2|4}}.{{sfn|Leistö|2013|p=523}} Under Swedish and German influence, a newer, round-dance tradition based on the ''runo'' emerged – the ''[[rekilaulu]]'' – and these usually follow a {{music|time|2|4}} or {{music|time|4|4}} time.{{sfn|Leistö|2013|p=523}} [[Sami music|Sámi music]] traditions (music from the Sámi people throughout [[Fennoscandia]]) historically were rather insular, exerting little influence on the music of surrounding cultures.{{sfn|Ling|Kjellberg|Ronström|2013|p=516}} Sámi music is known for [[joik]]ing, improvised singing particular to the performer.{{sfn|Armstrong|2002|p=359}} These songs are often sung accompanied by a drum.{{sfn|Armstrong|2002|p=359}}

=== Black metal ===
{{Main|Black metal}}
[[File:Mayhem-with-Attila-Csihar-Infernofestival-2010.jpg|left|thumb|[[Attila Csihar]] of [[Mayhem (band)|Mayhem]], a formative band in the [[second wave of black metal]]]]
Black metal is an [[extreme metal|extreme]] subgenre of heavy metal music that, mostly in Europe, emerged from [[speed metal]] and [[thrash metal]] in the 1980s. A "[[First wave of black metal|first wave]]" began in the early to mid-1980s, through the work of bands such as [[Venom (band)|Venom]], [[Hellhammer]], [[Celtic Frost]], [[Mercyful Fate]], and [[Bathory (band)|Bathory]].<ref>{{harvnb|Andrew|2015}}; {{harvnb|Kalis|2004}}</ref> The name black metal is taken from the 1982 [[Black Metal (Venom album)|album of the same name]] by Venom,{{sfn|Sherry|Aldis|2006|p=80}} while Bathory's 1984 [[Bathory (album)|self-titled release]] is generally regarded as the first true black metal record.{{sfn|Ferrier|n.d.a}} A "[[Second wave of black metal|second wave]]" developed in part as a reaction to the burgeoning [[death metal]] genre,{{sfn|Ekeroth|2009|p=247}} and in part inspired by the [[Teutonic thrash metal]] scene.{{sfn|Patterson|2013|p=59}} It was headed by the [[early Norwegian black metal scene]], through artists such as [[Mayhem (band)|Mayhem]], [[Darkthrone]], [[Burzum]], [[Immortal (band)|Immortal]], [[Emperor (Norwegian band)|Emperor]], [[Satyricon (band)|Satyricon]], [[Thorns (band)|Thorns]], [[Ulver]], and [[Gorgoroth (band)|Gorgoroth]].<ref>{{harvnb|Campion|2005}}; {{harvnb|Ekeroth|2009|p=247}}; {{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}</ref> The early Norwegian scene became infamous for murders, assaults, and numerous [[Black metal#Church burnings|church arsons]] committed by members of the scene.<ref>{{harvnb|Campion|2005}}; {{harvnb|Lee|Voegtlin|2006}}</ref> Black metal lyrical themes are focused on [[Satan]] and [[Satanism]], which many first-wave bands used with a tongue-in-cheek approach, contrary to the more serious beliefs and vehement [[anti-Christian sentiment]] of many second-wave bands.<ref>{{harvnb|Hagen|2011|p=190}}; {{harvnb|Kahn-Harris|2011|p=220}}; {{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}; {{harvnb|Weinstein|2011|p=42}}</ref>

Musically, the first wave of bands were just considered to be playing heavier forms of metal – Venom was part of the [[new wave of British heavy metal]], Celtic Frost was variously described as thrash metal or death metal, and [[Quorthon]] of Bathory simply labeled his music "heavy metal".{{sfn|Kalis|2004}} It was not until the second wave that black metal was more clearly defined. A key development during that period was a guitar playing style featuring fast, un-[[palm mute|muted]] [[tremolo picking]] or "buzz picking",<ref>{{harvnb|Campion|2005}}; {{harvnb|Hagen|2011|p=184}}</ref> introduced by [[Euronymous]] of Mayhem and [[Snorre Ruch]] ("Blackthorn") of Thorns.{{sfn|Campion|2005}} Other common traits for guitar playing include a high-pitched or [[treble (sound)|treble]] guitar tone and heavy [[distortion (guitar)|distortion]].{{sfn|Kahn-Harris|2007|p=4}} [[Guitar solo|Solos]] and [[guitar tuning#dropped tunings|dropped tunings]] are rare.{{sfn|Kalis|2004}} Overall, the guitar sound tends to be "thin and brittle" compared to other heavy metal genres, with the idea of "heaviness" conveyed through harshness and [[timbre|timbral]] density rather than low frequency.{{sfn|Hagen|2011|p=187}} The [[bass guitar]] tends to be buried under the guitar tones, even non-existent.<ref>{{harvnb|Hagen|2011|p=187}}; {{harvnb|Kalis|2004}}</ref> Drums and even vocals are likewise often mixed low,{{sfn|Hagen|2011|p=187}} with these production techniques resulting in a blurred "wash" of sound.{{sfn|Hagen|2011|p=187}} Vocals are usually high-pitched and raspy shrieks, screams, and snarls,<ref>{{harvnb|Hagen|2011|p=184}}; {{harvnb|Kahn-Harris|2007|p=4}}</ref> and rarely [[guttural]]s and [[death growl]]s are also employed.{{sfn|Hagen|2011|p=184}} The use of keyboards is also frequent.<ref>{{harvnb|Hagen|2011|p=184}}; {{harvnb|Kalis|2004}}</ref>

The influence of Scandinavian folk music within Norwegian black metal is apparent in the use by some guitarists belonging to that scene of [[drone (music)|drones]] and [[mode (music)|modal]] melodies reminiscent of the folk tradition.{{sfn|Hagen|2011|p=185}} [[Terje Bakken]] of [[Windir]] explained that ancient Nordic folk is easily integrated into metal idiom due to the "sad atmosphere" the two genres have in common.{{sfn|Hagen|2011|p=185}} Production values within black metal are often raw and [[lo-fi music|lo-fidelity]]. Originally, this was merely because many early second-wave bands lacked the resources to record properly,{{sfn|Kahn-Harris|2007|p=4}} but the practice was continued by successful bands in order to identify with their genre's underground origins.{{sfn|Dome|2007}} Though featuring these common traits, black metal spawned diverse musical approaches and subgenres, with some bands taking more experimental and [[avant-garde music|avant-garde]] directions.<ref name="Kalis 2004">{{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}</ref> Other bands, such as [[Cradle of Filth]] and [[Dimmu Borgir]], embraced a more commercial sound and production aesthetic instead.<ref name="Kalis 2004" />

=== Precursors ===
[[File:Manowar band.jpg|thumb|[[Manowar]] (seen here in 2009) is an early example of a band that made use of Viking themes.]]
The use of Viking themes and imagery in [[hard rock]] and [[heavy metal music]] predates the advent of Viking metal. For instance, the lyrics to [[Led Zeppelin]]'s "[[Immigrant Song]]" (1970) and "[[No Quarter (song)|No Quarter]]" (1973) feature allusions to Viking voyages, violence, and exploration,<ref>{{harvnb|Trafford|Pluskowski|2007|p=60}}; {{harvnb|McIntosh|2019|p=186}}; {{Harvnb|Rivadavia|2018}}</ref> the former being inspired by the band's visit to [[Iceland]] while on tour. The Swedish band [[Heavy Load (band)|Heavy Load]] often wrote Viking-themed songs, such as the 1978 song "Son of the Northern Light" and the 1983 songs "Singing Swords" and "Stronger than Evil" from their album ''Stronger Than Evil'' (which features an imagined Norse warrior on the cover art), the latter song which music journalist Eduardo Rivadavia claims establishes a case for Heavy Load as the first Viking metal group.<ref>{{harvnb|Rivadavia|n.d.a}}{{Harvnb|Rivadavia|2018}}</ref> Silver Mountain, another Swedish group, according to Rivadavia possessed better "Viking metal credentials" than any other predecessors to the genre; they released the song "Vikings" in 1983 on their album ''Shakin' Brains''.{{Sfn|Rivadavia|2018}}

Many other bands in the early and mid-1980s featured Viking-themed music. Two British groups released Viking-themed songs: [[Iron Maiden]] released "Invaders", a song about Norse marauders from their album [[The Number of the Beast (album)|''The Number of the Beast'']], and [[A II Z]] released "Valhalla Force" on their [[extended play]] ''No Fun After Midnight''.{{Sfn|Rivadavia|2018}} In 1985, the American group [[Pantera]] released the song "Valhalla" on their album [[I Am the Night (album)|''I Am the Night'']], and the American band [[Crimson Glory]] released a song of the same name a year later on their [[Crimson Glory (album)|self-titled debut]].{{Sfn|Rivadavia|2018}} Swedish [[neoclassical metal]] guitarist [[Yngwie Malmsteen]] sometimes featured themes of hyper-masculinity, heroic warriors, and Vikings; for example, on his 1985 album'' [[Marching Out]]''.<ref>{{harvnb|Huey|n.d.a}}; {{harvnb|von Helden|2010|p=257}}</ref> The British band [[Blitzkrieg (metal band)|Blitzkrieg]]'s 1985 album [[A Time of Changes (album)|''A Time of Changes'']] frequently references Viking themes with songs such as "Ragnorak" and "Vikings".{{Sfn|Rivadavia|2018}} [[Elixir (British band)|Elixir]], also from Britain, titled their 1986 debut ''[[The Son of Odin]]'', an album which includes a song of the same name that urges listeners to put their faith in Odin.{{Sfn|Rivadavia|2018}}

The German band [[Grave Digger (band)|Grave Digger]] and American band [[Manowar]], both of which formed in 1980, drew upon Norse myth as envisioned in [[Richard Wagner]]'s ''[[Der Ring des Nibelungen]]''.{{sfn|Heesch|2010|p=72}} Faithful Breath – which wore fur and horned helmet costumes – and [[TNT (Norwegian band)|TNT]] also experimented with Viking themes.{{sfn|admin|2010}} Manowar adopted Viking imagery much more heavily than other bands, turning out copious amounts of songs devoted to Viking lore, and became known as the "champions of the furry loincloth"; they met with ridicule even within the metal community but attracted a cult following.<ref>{{harvnb|Trafford|Pluskowski|2007|p=61}}{{Harvnb|Rivadavia|2018}}</ref> Unlike the later Viking metal bands, Manowar did not bother with the historicity of popular Viking image, and did not in any way identify with the Vikings, religiously or racially.{{sfn|Trafford|Pluskowski|2007|p=62}} Trafford and Pluskowski explain that "the Manowar version of the Vikings owes as much to [[Conan the Barbarian]] as it does to history, saga, or [[Edda]]: What matters to Manowar is untamed masculinity, and the Vikings are for them merely the archetypal barbarian males."{{sfn|Trafford|Pluskowski|2007|p=62}} Similarly, Vlad Nichols of [[Ultimate Guitar]] states that on Heavy Load's ''Stronger Than Evil'', which might be the earliest contribution to the idea of Viking metal, most of the songs have as much to do with historical Vikings as the 1958 [[The Vikings (film)|''The Vikings'']] film; that is, the portrayal of [[Norsemen]] is of warmongering invaders at best, and more so uses the Vikings as a means to sing about macho, loin-cloth wearing barbarians.{{Sfn|Nichols|2019}}