It is an infamous episode in heavy metal culture: the Norwegian church arsons of the early 1990s. The media attributed them to Satanic heavy metal bands, and indeed in 1994 four heavy metal musicians were convicted of the burning of historic churches. This, and the accompanying murders, is well-known in the heavy metal community to the point of tedium, but I, as an architectural historian who cares about historic Christian churches and kvlt as fvck riffs, decided have a closer look from an historical angle. What churches were lost? Who was behind it all? Let’s find out…
“Oof, there’s a hard bit coming up… I can get this if I concentrate… ee, nailed it!”
First: what is black metal? Well the first thing is to clear up its differences to its sibling in extreme metal, death metal. It’s fair to say both are an acquired taste. Both feature extremely distorted guitars, harsh vocals and unremittingly rapid drumming. However, black metal differs in that it rarely features downtuned guitars, and instead of choppy, rhythmically complicated riffs, the sound is often based on tremolo (the same note rapidly picked), and concentrate on creating an atmosphere through hypnotic repetition. Indeed, some black metal has pushed its original rock boundaries into ambient music: something that is inconceivable with death metal. The vocals are also very different: whereas death metal vocals are a guttural growl, black metal’s are more of a high-pitched scream.
Venom’s 1982 LP Black Metal, is widely assumed as inspiring the name of the genre around 1990.
While death metal was an international phenomenon right from its start, with key bands in its development being from Florida, Sweden and England, black metal is indelibly linked with one country: Norway. However, the so-called “first wave of black metal”, was as wide-ranging as Switzerland’s genuinely innovative and experimental Celtic Frost to Newcastle’s influential but actually not-very-good Venom, but is only a retrospective appellation. At the time Celtic Frost and Venom would be called speed or plain ol’ heavy metal, but they became highly influential on the Norwegians in the late ’80s. Norwegian metal bands were keen to distinguish themselves from the Swedish death metal scene, which was developing from the influence of grindcore as started by those West-Midlands legends Napalm Death along the same lines as the Sunshine State death merchants Morbid Angel, Cannibal Corpse, and, uh, Death. Therefore the Norseboys developed certain distinctive elements from “first wave” bands to create a unique sound we now know as black metal. While bands such as Venom were really just about using Satanism in a shock-rock manner just like Arthur Brown or Alice Cooper (or, if we go back further, Berlioz, Liszt and Saint-Saens with their various parodies of the Dies Irae melody to musically express the occult), the youth of Norway started to take it all very seriously indeed.
“Oh no. I think I’ve left the immersion on” “Gaaaaah! You and your bubble baths!”
In black metal, the lyrics are often more meditative on concepts of darkness and evil, rather than slasher-film gore and violence of death metal: if death is instant horror, black is slow-boiling terror. Whereas death metal bands take the stage with just jeans and T shirts, black metal often has elaborate costumes and make-up (known as “corpse paint”) as de rigeur. Authenticity: “kvlt” and “grim” is a big part of a band’s performance. Generally, there’s a big theme of blasphemy, Satanism and anti-Christianity in the lyrics, and the idea of the return to nature-worshipping paganism: survival of the strong and primitive aggression. Even though most of them will never admit it, the whole thing for the most part is an elaborate pantomime. It was only really in the early ’90s in Scandinavia that, much like thugs who hijacked punk rock in the late ’70s and early ’80s with violent and racist agendas, the scene was poisoned by the malicious actions of a few individuals, taking advantage of a disenfranchised youth looking for a place to belong in an uncertain new world.
The destruction of churches came from the poisonous influence of a few individuals: most prominently Varg Vikernes (then often going under the pseudonym Count Grishnackh). The role of the now-deceased Øystein Aarseth (generally referred to under his stage name, Euronymous), and the circumstances of his murder by Vikernes is a subject of endless debate. The cover of the 1993 EP Aske released by Varg Vikernes under the moniker Burzum featured the burnt-out shell of Fantoft stave church. Although never convicted of this burning on the 6 June 1992, it is almost certain he committed it, and kicked off a wave of arsons that would last four years.
The largely 14thc church at Österhaninge, Sweden, where Per “Dead” Ohlin’s funeral was held. He was buried in Eastern Haninge graveyard, Stockholm
Vikernes later joined Euronymous in Mayhem, the most influential band of the scene, to fill a gap left by the departure of bassist Jørn “Necrobutcher” Stubberud after the suicide of their lead singer Per “Dead” Ohlin by self-inflicted gunshot. Euronymous took a photograph of himself with Dead’s body, and kept pieces of his skull which Necrobutcher (ironically, given his name) found legitimately disturbing. Necrobutcher in fact was very affected by the loss of his bandmate and friend Dead, even attending his funeral at a medieval church in Dead’s home country of Sweden. Dead’s suicide is usually taken as the event that pushed the scene from rambunctious youth counter-culture into the realms of dangerous extremity.
Vikernes and Euronymous allegedly plotted to bomb Nidaros Cathedral in Trondheim, which appears on the cover of their much delayed debut album De Mysteriis Dom Sathanas. However, by the time it was released on 23 May 1994, Euronymous had been murdered by Vikernes, and subsequently he was sentenced to 21 years in prison. The media interest around the case developed into hysteria, and probably had the side effect of encouraging more copycat attacks. If you don’t believe the height of the moral panic, check out a BBC local news report where a vicar from Tunbridge Wells (no, seriously) calls for Black Metal music to be banned because it sends a shiver up his spine (sounds like he really gets it then).
Nidaros Cathedral, Trondheim, Norway. 12th, 14thc, much rebuilt 19th and 20thc.
Of course, the thing is that church fires in Norway were already relatively common, due to the sheer amount of wooden churches compared to most European countries. If you lose the roof of a wooden church to fire, you’ve basically lost the building. However, during 1992-1995, the number rose dramatically. Although only four churches were torched by members of black metal bands, according to a reputable source in Norwegian heritage, there have been around 20 arson attacks that have been linked to satanist/pagan motives between 1992 and 2000. As is typical for arson, many attacks were committed by minors and thus details of the court cases restricted. I’m sure Norwegian heritage have big files on this, but obviously they have restricted the available information to discourage copycat attacks. But looking at the variously reproduced lists, what actually was been lost to black-metal arson? I have no claims of being comprehensive (except in the case of the canonical four 1992 arsons Vikernes was charged with), but these all the churches that were destroyed or severely damaged by arsons related to the black metal scene that I have located.
Fantoft, Bergen – 6 June 1992
Vintage postcard of Fantoft stave church, Bergen
This is the most notorious, also the most significant, and only medieval building robbed from us by the black metal scene arsons. However, its story as a medieval church is unique, to the point where one might question its claim to having been medieval at all. The church was originally in the remote mountain village of Fortun and was threatened with demolition due to redundancy in face of a new church with higher capacity and better suited to modern Lutheran worship had been built. In 1883 the building was saved by its removal, funded by Consul Fredrik G. Gade, over 100 miles away to be reconstructed on a new site in the coastal city of Bergen.
The church in its original setting at Fortun, Sogn.
The first thing you will notice about the old photo of the building in Fortun, is that it looks nothing like
the Bergen monument. This is because the tower, of the 17thc and the log-work chancel, were not part of the consul’s purchase, and discarded. What they were after were the parts that were constructed around the mid 12thc in the traditional Norwegian “stave” technique: where the load-bearing logs are all placed vertically. Fortun’s interior was of Borgund type, where the internal staves were tied together, to give the sense of a triforium storey inside. The lantern over the main nave roof, the distinctive dragon finials, and two-storey chancel were in fact copied from the epynomic church at Borgund. So Fantoft church as torched by (probably) Vikernes, was largely a 19thc confection.
Borgund stave church, Lærdal, Sogn og Fjordane, c.1180-1250
Fantoft church after the arson in 1992. Notice the staves which rise all the way from the ground to the roof.
There’s a number of ironies though, for what was then taken as black metal’s greatest victory. Firstly, the fact that it wasn’t even on its original location anymore, so the claim of reclaiming a pagan site was nonsense. Secondly, it was privately owned, a national monument, so he was attacking the country, rather than the Christian Church. Thirdly, the preservation of the church was due to national pride in the uniqueness of the stave church to Scandinavian architecture. In its reconstructed form, stripped of its Lutheran additions, the form it takes looks extremely pagan: indeed it has been forwarded that these stave churches reflect the form of the lost temples of the first millennium. Some of these traditional stave churches were replaced by more international Romanesque or Gothic stone buildings, and even more were lost after the Reformation as Lutheranism demanded brighter, less cluttered interiors and replaced them with glorified log cabins. The few surviving stave churches, in their almost totemic and ramshackle grandeur, are actually the closest you can get to an authentic pagan temple in Norway.
This is because the Christian Church actually practised syncretism, rather than conquest and obliteration: the missionaries of the first millennium adapted existing beliefs they encountered rather than destroying them. Basically it was like: you can keep praying to your gods, just call them saints, oh, and don’t sacrifice people or generally be an asshole. Anyway, Fantoft church was rebuilt as a pretty much exact replica.
The rebuilt Fantoft church today.
Revheim, 1 August 1992
Revheim Church, Stavanger, Rogaland by Linstow, 1865, extended 1954, restored 1993.
This church was built in 1865 and extended in 1954. It looks pretty standard, but the original architect was Hans Ditlev Franciscus von Linstow, who was the architect of the Royal Palace in Oslo.
The fire was caused by two minors. It was restored and reopened in 1994. The biggest loss was the altarpiece by Thoralf Gjesdal, an artist from Stavanger who created a new painting for the modernisation of the church in 1954. A competent local post-impressionist, but judging by this surviving Risen Christ at Orre Church in Klepp, Rogaland, his religious work was hardly remarkable stuff.
Thoralf Gjesdal, altarpiece of the Risen Christ, Orre Church, Klepp, Rogaland, 1950.
Holmenkollen Chapel, 23 August 1992
Holmenkollen chapel, near Oslo, before the fire.
This was a rather impressive stave church, but built completely anew in 1903; again part of a expression of national identity rather than a parish church on an ancient pagan site. It was for its isolated nature, as a refuge for hikers, that it was probably targeted. Vikernes was convicted of arson of this church, and it is known that Euronymous also participated. Also convicted was Bard “Faust” Eithun of the band Emperor. Faust is more infamous for his apparently homophobic murder of a man in a park in Lillehammer in 1992, for which he was given a 14-year sentence. He was released in 2003 and has resumed his career as a heavy-metal drummer. His views on the murder seem unrepentant. Therefore I wouldn’t dare ask him about the church.
The church itself was again rebuilt as an exact replica.
Skjold Church, 13 September 1992
Skjold church, Rogaland, before the fire.
This was a big Evangelical Lutheran log-built church built in 1887 burnt by Vikernes with another accomplice. On a break from the recording of Aske,
he took out session-bassist Tomas Thormodsæter “Samoth” Haugen for a spot of church burning. Samoth ended up being convicted of arson and served 16 months in prison. Samoth’s bandmate in Emperor, Ihsahn, said (while he was a bit stuck for stuff to do since his two bandmates were in prison)
“Skjold Church was a large wooden church about 100 years old. The church contained an alter [sic] board and preaching chair from the 16th century. All this was said to be of historical, Christian value. So it was to be reduced to a pile of ashes. The material damages are set to be of 13 million Norwegian Kroners. The church was still being used by a large flock of blind followers. It became a victim for true Norwegian spirit on the 13th of September Anno 1992 during a stormy night. Witnessed by the moon, this symbolic act of anti-Christian war enlightened the night with pagan flames. Heathen barbarism is one the rise. We will bring back the forgotten past of strength, pride, and victory.”
Oh yeah well maybe if you were so strong maybe you wouldn’t have crept there in the middle of the night and set fire to the meeting place of an Evangelical Lutheran congregation when there’s no one there? You big girl’s blouse.
Samoth shows regret for his acts (at least that they lost him of 16 months of his life and all the other hassles that come with having a criminal conviction: it’s pretty annoying if you want to tour other countries, for instance) and seems to want to put them down as puerile follies in adolescence, when even the best of us can be led astray.
A new church was built at Skjold, by Nils A. Vikanes, in 1998. It actually looks more interesting than old one, and begins a rejuvenation of rather typical Lutheran boxes into more creative, modern spaces.
Skjold church, Rogaland by Nils A. Vikanes, 1998
Hauketo-Prinsdal, 3 October 1992
Hauketo-Prinsdal church, Oslo, by Arne E. Sæther, 1995.
Again this seems to have been a copycat arson committed by minors, but I could not find a picture of the pre-fire church. Considering that Hauketo was only really developed as a suburb in the 1980s, and that the only description I can find of it is as a “portable church brought from Lambertseter” ( flyttbar kirke som kom fra Lambertseter
) I can assume it was of no architectural merit whatsoever. However its burning did encourage the building of this Po-Mo monstrosity, which may be the black metal scene’s greatest victory, as it might even turn the Pope into a pagan. Or at least make him think “oh no, I wish I’d brought my swimming trunks”.
Old Åsane Church, 24 December 1992
Old Church, Åsane, interior, taken in the 1930s.
Interestingly, this is the only of the black-metal arson churches that was not predominantly wooden. It was a simple church that replaced a wooden medieval one in 1795. This means that although the furnishings were lost, it could be reconstructed using the original fabric.
Along with Vikernes, Jørn Inge Tunsberg was convicted of the arson of this church and served two years in prison. Unlike Samoth, he absolutely regrets nothing. He still works as a musician, in the band Hades Almighty.
Sund, March 13 1994
Sund Church, Klokkarvik, Hordaland, by Lippe, 1876. Vintage postcard.
The burning of a Methodist church in Sarpsborg on Christmas Day 1992 caused the death of a firefighter, which may have lead to 1993 being rather a quiet year for the church burnings, when some of the kids caught up in the scene realised people might get hurt and they’d like, be in serious shit. Vikernes was arrested on 19 August 1993 for the murder of Euronoymous, which also must’ve put a damper on things as band members were incarcerated. However, there was a resurgence church arsons in Norway through 1994. Sund church was on a medieval site but but much replaced and replaced by a plain Gothic log-church designed by Conrad Fredrik von der Lippe in 1876. After its destruction by arson, it was replaced by a postmodern appropriation of the stave-church style to a modern, centrally-planned worship in 1997.
Sund Church, by Peder A Rietesund, 1997.
Seegård, March 27, 1994
Seegård church, Snertingdal, Gjøvik, vintage postcard.
The other church destroyed by arson in 1994 was built in 1781. Again, its replacement had a traditional shape but with modern flourishes, and benefits greatly from the use of local materials. It was designed by Arne Thorsrud, and opened in 1997. The spire actually fell away from the building and has been retained. The original weathervane is mounted on the new spire.
Såner, May 25 1995
Såner church, Vestby, Akershus, by bros. Furuholmen, 1880.
1995 was the last resurgence of the arsons. Såner was on the site of a medieval church, replaced in 16thc, expanded in 18thc, but totally demolished and replaced by the brothers Furuholmen in 1880 with, as you guessed it, a big white neo-Gothic log church. All the worthwhile fittings from the old church had been moved to the Norsk Folkemuseum, Bygdøy, Oslo.
The replacement was built primarily of stone, due to the requests of the congregation, again in a manner sympathetic to local style and landscape, but also practical and modern.
Såner church, by Stein Sole and Mette Gregersen Nortvedt, 1999-2000.
Innset Church, 3 November 1995
Innset church, Rennebu, Sør-Trøndelag, by Palle Joensen, 1642. Vintage photograph.
The last of the churches lost to black metal madness was also the perhaps the oldest authentic church. It was a Baroque building, dating from 1642 and attributed to the builder Palle Joensen. It was oldest timber church in Trøndelag county. It has since been rebuilt as a replica. This was one of the last successful church arsons in Norway, and perhaps the most significant other than Fantoft.
The rebuilt interior. Note the vertical “log-cabin” construction rather than the medieval “stave” type.
As much as it might horrify a lot of black metal fans, Vikernes’ goals with the church burnings was essentially exactly the same as religious extremists such as the Islamic State in Syria and the Levant. When police arrested him for murder, they found he was hording explosives, lending credence for the alleged terrorist attack planned in Trondheim. He was worse than a mere vandal or pyromaniac: he was a terrorist, pure and simple, aiming to spread fear and hysteria in support of his hateful ideology. The idea that he was reclaiming pagan sites (patently untrue in the case of Fantoft and Holmenkollen chapel, which were state owned and on virgin sites) was really a cover for his synthesis of Odinism and National Socialism. Essentially, Vikernes promoted white power, pure and simple. Many impressionable young people were pulled in by this hateful national identity he pedalled because of the mystique it hijacked. Since he was released from prison in 2009, he has lived in France, mostly due to the Norwegian government still badgering him on the debts of 13.5 million kroner the court ruled he incurred for his arsons. In 2014 he received a further conviction and six months probation for inciting racial hatred against Jews and Muslims.
“Oof, look at the die-back on that. See those lesions: it needs a proper pruning and spraying. I heard about it on GQT last Saturday”
Of course the extremist aspect that hid itself in the black metal scene is essentially extinguished from it now, although it remains fiercely counter-cultural and defiantly anti-mainstream. Mayhem are still going, with Necrobutcher on bass and Jan Axel “Hellhammer” Blomberg on drums, both who were at the centre of the infamous early ’90s scene. Both Necrobutcher and Hellhammer regret the church burnings as orchestrated by the extremely persuasive and deceptive Vikernes. Some bands, like the ever-kvlt Immortal (who, you might notice, pop-pickers, I’ve consistently used to illustrate this article), don’t even touch on Christianity, preferring to concentrate on a grim and frostbitten world, much like the celebration of Nordic landscapes and climate by Norwegian painter Johan Christian Dahl or the Finnish composer Jean Sibelius. But with more spikes.
So in conclusion, the infamous black metal scene of the early 90s only claimed one medieval structure, the rebuilt and already extensively recreated Fantoft Stave Church in Bergen. It was mostly orchestrated by one man, a foul racist, and a media hysteria encouraged copycat attacks and general mass panic. Most of the churches lost were architecturally unremarkable, and themselves had often replaced an earlier building. While the upset and fear that their loss caused is to be lamented, the modern buildings that rose in their place are to be celebrated as new landmarks in Norway’s rich culture, along with the now world-famous sound of black metal. And the fact that every church was rebuilt either the same or better than before, is testament to what a miserable failure Vikernes’ terrorism ultimately was.