The movement that some are calling “neoambient” — a fusion of dark ambient, Conan soundtracks, and neofolk — generally arose out of the metal community. The classics of the genre converge on Lord Wind (Graveland), Burzum and Black Aria (Glenn Danzig). In addition, metal bands contributed to related forms of epic ambient, like Beherit (Electric Doom Synthesis) and Neptune Towers (Darkthrone). Newer entrants like Winglord and Hammemit explore different paths along similar directions.
But how do we trace the influences and evolution of this genre? Glenn Danzig (Misfits, Samhain, Danzig) launched a partial revolution in 1992 with his Conan-inspired Black Aria. Several years later, Burzum followed this with Daudi Baldrs and Hlidskjalf, both of which used Dead Can Dance-themed ancient world music to frame the epic nature of its compositions, giving it a feel not just of Conan-styled epic conflict, but of a cultural basis.
There’s another influence lurking just a few years before Danzig — affirmed by Rob Darken as an influence on his music in Lord Wind — which was the music of Clannad as used in the BBC series Robin of Sherwood:
https://www.youtube.com/watch?v=wha5YXUj-uo
https://www.youtube.com/watch?v=Vp925EVOlCo
https://www.youtube.com/watch?v=lkHGGMXdZWs
29 CommentsTags: beherit, burzum, clannad, conan, danzig, dark ambient, darkthrone, glenn danzig, graveland, hammemit, lord wind, misfits, neoambient, neofolk, neptune towers, samhain, soundtrack
In the mainstream press, black metal has a reputation for being solely misanthropic, heavily distorted anthems of aggression and despair that are defined by their primitive minimalism. 
