Emperor

The two bands most often cited as the architects of black metal are Venom (who coined the term) and Mayhem (who brought it to next level with murder and cannibalism). But musically, neither of those acts can hold a ceremonial candle to Norway’s Emperor, whose grand, melodic brutality defined the genre. Not that its reputation was solely musical, as the members of Emperor were no slouches when it came to naughtiness. Guitarist Samoth was convicted for his participation in the infamous black-metal church burnings, ex-drummer Faust allegedly stabbed a man to death for propositioning him, and most shockingly, bassist Mortiis quit the band to become an ambient electronic elf wearing pointy rubber ears.

Amid this chaos Emperor managed to hash out a ten-year career in which it sold hundreds of thousands of CDs that synthesized punishing modern metal with grand classical swells, unique earmarks of Norwegian folk sounds, and dark, cold undertones that make goth music sound like the Chipmunks. By doing this the band managed to celebrate Norway’s musical and cultural heritage in ways that transcended (while unfortunately still embracing) the hateful anti-Christian and anti-Jew themes that underscored its country’s extreme-music scene.

Disbanding at the turn of the century with its legacy intact, Emperor recently blessed its fans with a handful of reunion shows, and will arrive this time with a vintage lineup consisting of Samoth (who didn’t make it into the States the last time around), founding vocalist Ihsahn and late-’90s drummer Trym Torson. Chicago is the U.S. tour’s first stop, so expect an influx of corpse paint–slathered miscreants from around the country to descend upon the Metro. Consequently, it might behoove the Tribune Company to make sure the band and fans don’t confuse Wrigley Field for a large wooden church.—Jake Austen