Shout out to Best Black Metal who likes to talk about “faggots” and “homos” a lot. Wonder why. This post is partially inspired by his rantings.
What do Jonathan Davis (Korn), Corey Taylor (Slipknot), Erik Danielsson (Watain), Adam Michał Darski (Behemoth), and Richard Lederer (Summoning) have in common? Answering the question “talentless nu-metal vocalists” would not be incorrect, but there’s something darker beneath the surface – all five men are rape victims.
Davis even documents the experience in graphic detail in a platinum selling album from his band, and many of Lederer’s lyrics on his DSBM side project Ice Ages are riddled with themes of sexual abuse.
Why are the executives of the record industry so keen on pushing rape victims as the new face of extreme metal?
To answer this question we have to travel back not just to the inception of black and death metal, but to the very birth of rock music itself.
Rock has always, from day one, encouraged self destructive outlooks, mentalities and behaviors.
From grunge’s “morality is useless and life is hopeless” to nu-metal’s “I’m a freak and everyone hates me” to emo and screamo “I’m lonely and will never be loved” to indie (soy) metal and rock “We failed to be what we should have been”, the message of mainstream rock and metal music has constantly be one of self destruction.
1950s: classic rock, mixed bag.
1960s: hippie rock -> hippie lifestyle.
1970s: punk -> idolizes uselessness and social exclusion.
1980s: glam/hair metal -> attack on masculinity -> metrosexual (a trend continued by its logical successor, metalcore).
1990s: grunge -> embraces depression and suicide.
2000s: nu-metal -> sexual abused losers, freak show.
2010s: goth/emo -> feminine, infantilization, metrosexual.
Extreme metal genres, and black metal in particular, were born as a rebellion against mainstream culture, and were particularly vehement towards the lyrical themes that pervaded the airwaves at the time.
Black metal was and is still seen as the ultimate apology of virility, barbarism and war, so how come its defining faces have slowly morphed into those of homosexuals (Gaahl, Infernus, Ihsahn), rape victims (Lederer, Danielsson, Nergal), retards (Antekhrist, Kanwulf, Abbath, Demonaz), male escorts (Ahriman) and literally the obese (that dude from Carpathian Forest)?
To ask the question is to answer it, media engineering.
It’s interesting to note that other than Gaahl, the Carpathian Forest fatass and maybe Abbath, none of the musicians I listed above are in any way talented, and pretty much all are despised by the black metal scene.
In other words, as I explained in Black Metal and Hollywood Satanism, they owe their careers entirely to the fact that they are promoted as the “face of black metal” by the media.
Their musical “contributions” to the genre can’t withstand scrutiny – they need the media to promote them, and the media is glad to oblige.
It’s a symbiotic relation, and one that is at its core detrimental to the genre and its serious practitioners.
Black metal is not, and never sought to be, glam metal 2.0.
The only solution is the exclusion of those bands that mimic black metal aesthetics but whose very existence is anathema to the black metal ethos (Watain, Dark Funeral, Behemoth, Summoning, all DSBM).
It’s either that or another decade of homosexual icon Erik Danielsson playing his washed up emocore all while pretending to be “true black metal”.
Demonecromancy 
I honestly believe Abbath and Demonaz to be literally retarded (as in clinical diagnosis made by medical professionals). There is no other explanation.
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Homosexuals are attracted to black metal as it seems “edgy”, the problem is that they don’t understand its underlying values and paradigms. What is left is, as you said, aping the aesthetics and lyrical content on the surface level while completely missing the substance of the music.
Despite being hyped beyond measure by the media, the worthwhile contributions of homosexuals to black metal canon is close to nil. It’s probably unfair to single out homos, as most modern black metal is so insipid that it might as well have been produced by record executive themselves in order to make Justin Bieber and Bullet for my Valentine look good by comparison, but there’s certainly a link between the inclusion of queers into the genre and the post-2000 downfall in musical quality.
Cosplaying as Nords and Vikings is, after all, a hobby of AIDS traders – like Danielsson and Infernus – since times well before black metal was even a thing.
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How is this a surprise? There are so many references to violent acts of sodomy (the very thing homos live for) in extreme metal. Ghaal is just the tip of the iceberg when it comes to an affinity for “manhole” in extreme metal.
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