Join us in exploring five instances where black metal paid tribute to significant grunge bands!
In the words of the grunge icons Alice in Chains, “Black is all I feel / So this is how it feels to be free. […] Chaos and hate shadow me / Pain, it fills me up.”
This summarizes what it’s like to be a black metal enthusiast in a “Nutshell.”
READ MORE: 5 Most Underrated Scott Weiland Songs
Although Alice in Chains may not always immediately sound like the heaviest group in the world, it is safe to say that a good portion of their work is maximally, and thus dangerously, black — ideal for “wallow in a sea of sorrow” like a forlorn “Pale Swordsman,” who has passed too many decades hoping that a legitimate label will finally sign his obscure Darkthrone-inspired vanity project.
Along similar lines, even if the sadly deceased godhead Chris Cornell remarked that Soundgarden’s “The Day I Tried to Live” is a hopeful number and can, in fact, have an encouraging effect, others have interpreted it as a song so somber that it outdoes the “Depressive Suicidal Black Metal” movement at its own game.
Several of Cornell’s legendary peers, such as Mark Lanegan of Screaming Trees, Scott Weiland of Stone Temple Pilots, and Andrew Wood of Mother Love Bone, likewise excelled at conveying epic levels of pain (and resilience) in their art.
Our list isn’t all gloom, but it still manages to offer a brutal dose of negativity. Before proceeding, we must first give a shout-out to Vreid, who artfully tackled “Skjebnen” from Seigmen‘s grunge-laced debut EP, Pluto (1992).
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Dritt Skit, “Angry Chair” (Alice in Chains)
Quite a few black metal bands have attempted to merge their individualistic flair with the sublime songwriting of Alice in Chains, and, in general, what a failure-destined act of arrogance! However, surprising as it seems, the fecally-obsessed Dritt Skit managed to brilliantly nail “Angry Chair” on the EP Arachnid Assailant (2015), which, as can be inferred from its title, amounts to a splendidly executed genre parody.
AiC’s “Angry Chair” boasts 16 of frontman Layne Staley’s painstakingly layered vocal tracks to enhance the haunting vibe, setting the bar impossibly high. Yet, Dritt Skit’s wildly different, flesh-tearing vocal attacks and pure confidence tenaciously claw through the resistance that diehards would ordinarily feel upon hearing the late master’s words performed by anyone else. The sonic atmosphere crafted by Dritt Skit delights ears; it is true to the oppressively dark and trippy spirit of the original but contains significant alterations and an element of playfulness, which is appropriate given that the classic awakens memories of childhood (juxtaposed with the likes of NA/AA references and the infernal hellishness of strife). Dritt Skit pummel us with frenetic assaults as well as a very-black-metal transcendent, or rather soaring, feeling that interplays with the sense of doom.
Dritt Skit represent the duo of Jeramie Kling and Taylor Nordberg, who humorously call themselves “Lort Horns” and “Hovno” in this context. Over the years, these extraordinary talents have collaborated in The Absence, Infernaeon, Massacre, Inhuman Condition, Wombbath, Gus G. (live), and other worthy outfits; separately, they have participated in a long list of additional groups: Deicide, Ex Deo, Venom Inc., Overkill, Kill Division, Doro (live), etc.
LISTEN TO DRITT SKIT’S COVER OF “ANGRY CHAIR” HERE.
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Mantar, “Can I Run” (L7)
Germany’s blackened sludge duo Mantar managed to hit an unlikely home run with the risky experiment that is Grungetown Hooligans II (2020). Mantar therein beautifully honor the material of artists who are both relevant and not to today’s purposes: Mudhoney, 7 Year Bitch, Sonic Youth, Babes in Toyland, The Jesus Lizard and Mazzy Star.
In addition, the record kicks off with Mantar’s re-envisioning of L7’s “The Bomb,” which hooks listeners with its physically infectious black vitriolic aggression. The B-side commences with Mantar’s also uniquely intoxicating recording of L7’s “Can I Run” — a gem that draws attention to the topic of violence against women. Make sure to enjoy the whole album but start with the slow and unnerving “Can I Run” and the accompanying comfortingly hopeless music video.
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Forgotten Tomb, “Papercuts” (Nirvana)
Italy’s legendary Forgotten Tomb, who began in the depressive vein, have experimented with their sound over the years. One artistically daring highlight from their catalog is their arresting cover of Nirvana’s “Paper Cuts,” which they released as “Papercuts” (no spacing) on Vol. 5: 1999-2009 (2010) — Forgotten Tomb take on other important creators there and elsewhere like on the split A Tribute to GG Allin (2011).
Nirvana’s lyrics to “Paper Cuts” draw from the true story of local children who were tragically imprisoned by their parents in an attic, narrating from one of their perspectives. Forgotten Tomb, with their mix of both clean and barbaric vocals, indeed leave us feeling deeply disturbed while awakening a very primal type of fear.
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Uada, “Something in the Way” (Nirvana)
Portland, Oregon’s Uada dig into misery with their eerie rendition of Nirvana’s “Something in the Way” — a pick that has also been reimagined by the post-black metal act Chrome Waves. Uada unleashed this atmospheric and slow offering in advance of the acoustic album Interwoven (2026), which moreover features covers of Rome and Winter.
<p<Uada’s “Something in the Way” is elevated and tied together by cello which is showcased in Nirvana’s version as well: For this Uada recruited guest C.B. Brown who after thoroughly spellbinding us treats us to an unexpected bonus of an outro.
The frontman Jake Superchi went the extra mile to celebrate his influences by directing a striking yet bleak video for the track set in the majesty of nature.
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Earth Rot, “Slave” (Silverchair)
The blackened death outfit Earth Rot spawned a genuinely terrifying audial monster with their reinterpretation of Silverchair’s “Slave,” which serves as the finale of the EP Chthonian Virtues(2016).
<p Silverchair’s “Slave,” despite its mostly easy-on-the-ears clean singing includes heavy components such as crushing riffage and takes audiences on a bizarre downward spiral. Earth Rot amplify aggression and pungent stench of decay by adding their own ghastly flavor and even more exhilarating madness. Earth Rot deliver blood-gurgling growls which lend an amusing sense of novelty while actually suiting the text: “Lived too long and waited to find a place where I can die.”Toward the end this scorcher becomes a bit reminiscent of Pantera’s “Suicide Note Pt. 2.”
