Transition Of The Next Waves in Black Metal scene (in its golden era)

End of the first wave

In 1987, in the fifth issue of his Slayer fanzine, Metalion wrote that "the latest fad of Black/Satanic bands seems to be over",the tradition being continued by a few bands like Incubus and Morbid Angel  (from the United States), Sabbat (from Great Britain), Tormentor (from Hungary), Sarcófago (from Brazil), Grotesque  and Treblinca / early Tiamat (from Sweden).

Other early black metal bands include Sabbat (formed 1983 in Japan), Parabellum (formed 1983 in Colombia), Salem (formed 1985 in Israel) and Mortuary Drape (formed 1986 in Italy).^[44] Japanese band Sigh formed in 1990 and was in regular contact with key members of the Norwegian scene. Their debut album,Scorn Defeat, became "a cult classic in the black metal world".

In the years before the Norwegian black metal scene arose, important recordings were released by Root and Master's Hammer (from Czechoslovakia), Von (from the United States), Rotting Christ (from Greece), Samael (from Switzerland) and Blasphemy (from Canada), whose debut album Fallen Angel of Doom (1990) is considered one of the most influential records for the war metal style^[ (also known as war black metal or bestial black metal). Fenriz of the Norwegian band Darkthrone called Master's Hammer's debut album Ritual "the first Norwegian black metal album, even though they are from Czechoslovakia".

In 1990 and 1991, Northern European metallers began to release music influenced by these bands or the older ones from the first wave. In Sweden this included Marduk, Dissection, Nifelheim and Abruptum. In Finland, there emerged a scene that mixed first wave black metal influences with elements of death metal and grindcore; this included Beherit, Archgoat and Impaled Nazarene, whose debut album Tol Cormpt Norz Norz Norz Rock Hardjournalist Wolf-Rüdiger Mühlmann considers a part of war metal's roots. Bands such as Demoncy and Profanatica emerged during this time in the United States, when death metal was more popular among extreme metal fans. The Norwegian band Mayhem's concert in Leipzig with Eminenz and Manos in 1990, later released as Live in Leipzig, was said to have had a strong influence on the East German scene and is even called the unofficial beginning of German black metal.

Second Wave 

The second wave of black metal began in the early 1990s and was spearheaded by the Norwegian black metal scene. During 1990–1993 a number of Norwegian artists began performing and releasing a new kind of black metal music; this included Mayhem, Thorns, Burzum, Darkthrone,Immortal, Satyricon, Emperor, Enslaved,Carpathian Forest and Gorgoroth. They developed the style of their 1980s forebears into a distinct genre. This was partly thanks to a new kind of guitar playing developed by Snorre 'Blackthorn' Ruch of Stigma Diabolicum/Thorns and Øystein 'Euronymous' Aarseth of Mayhem.  of Darkthrone has credited them with this innovation in a number of interviews. He described it as being "derived from Bathory" and noted that "those kinds of riffs became the new order for a lot of bands in the '90s". Some members of these Norwegian bands would be responsible for a spate of crimes and controversy, including church burnings and murder. The scene was bitterly opposed to Christianity and organized religion as a whole. In interviews during the early 1990s, members of the scene presented themselves as misanthropic Devil worshippers who wanted to spread hatred, sorrow and evil. When asked why such statements were made to the press, Ihsahn of Emperor said that this "was very much to create fear among people"^[ and "to be in opposition to society". More detail about the scene's ideologies can be found in the ideology section. Visually, the dark themes of their music was complemented with corpsepaint, which became a way for many black metal artists to distinguish themselves from other metal bands of the era.

Helvete and Deathlike Silence

The basement of Helvete, showing graffiti from the early 1990s

During May–June 1991,Euronymous of Mayhem opened an independent record shop named Helvete (Norwegianfor 'hell') in Oslo. It quickly became the focal point of Norway's emerging black metal scene and a meeting place for many of its musicians; especially the members of Mayhem, Burzum, Emperor and Thorns. Jon 'Metalion' Kristiansen, writer of the fanzine Slayer, said that the opening of Helvete was "the creation of the whole Norwegian Black Metal scene". In its basement, Euronymous founded an independent record label named Deathlike Silence Productions. With the rising popularity of his band and others like it, the underground success of Euronymous's label is often credited for encouraging other record labels, who had previously shunned black metal acts, to then reconsider and release their material.

Dead's suicide

On 8 April 1991, Mayhem vocalist Per Yngve Ohlin (who called himself 'Dead') committed suicide while alone in a house shared by the band. Fellow musicians described Dead as odd, introverted and depressed. Before going onstage he went to great lengths to make himself look like a corpse and would cut his arms while singing. Mayhem's drummer, Hellhammer, said that Dead was the first to wear the distinctive 'corpse paint' that became widespread in the scene.

He was found with slit wrists and a shotgun wound to the head. The weapon belonged to Mayhem's guitarist, Euronymous, which lead to rumours that the shotgun was left there to be used by Dead. Dead's suicide note apologized for firing the weapon indoors and ended: "Excuse all the blood". Before calling the police, Euronymous went to a nearby shop and bought a disposable camera with which he photographed the body, after re-arranging some items. One of these photographs was later used as the cover of a bootleg live album: Dawn of the Black Hearts. 

In time, rumors spread that Euronymous had made a stew with bits of Dead's brain and had made necklaces with bits of his skull. Euronymous allegedly gave some of these necklaces to musicians he deemed worthy.bHe used Dead's suicide to foster Mayhem's 'evil' image and claimed Dead had killed himself because extreme metal had become 'trendy' and commercialized.  Mayhem bassistJørn 'Necrobutcher' Stubberud noted that "people became more aware of the [black metal] scene after Dead had shot himself, I think it was Dead's suicide that really changed the scene".

Two other members of the early Norwegian scene would later commit suicide: Erik 'Grim' Brødreskift (of Immortal, Borknagar, Gorgoroth) in 1999, and Espen 'Storm' Andersen (of Strid) in 2001.