The 5 Best Ballads in Black Metal

Nargaroth might just be the black metal band with the greatest number of top-notch options that fall into or beside the ballad category.

The somber yet romantic “Manchmal wenn Sie schläft” can be found in two different forms on the entrancing Geliebte des Regens (2003). This epic composition, which takes us on a 17-plus-minute journey through rain-soaked atmospheres, amounts to a gorgeous and nuanced representation of the lofty German spirit of old, making us want to revive our love affairs with Goethe and Novalis.

Founder Ash’s work and studies within the domain of psychology have contributed to the poetic finesse and introspection contained within many of his rewarding lyrics, as also demonstrated beautifully throughout Jahreszeiten (2009).

Granted, Ash (a former soldier with all the right weapons in his arsenal for sonic warfare) additionally knows how to leave listeners feeling “Stabbed in the Balls,” sometimes hitting us with delightfully low blows.

Watain’s genre-fusing “They Rode On” appears on the surprising album The Wild Hunt (2013), which includes accordion and fiddle.

“They Rode On” benefits from Erik Danielsson’s clean singing, extra vocals by guest Anna Norberg, acoustic guitar, lovely electric guitar work, etc. This slow and solemn ballad might just broaden your understanding of what black metal acts are able and willing to accomplish.

Leading Swedish producer and engineer Tore Stjerna ensured that this risky move was executed properly, giving “They Rode On” the sound it deserves.

The emotive “Höstdepressioner” from Erotik (2007) serves as proof of the fact that the disbanded Lifelover’s ability to evoke memories is unsurpassed in black metal.

With lyrics by LR and music by the late B, “Höstdepressioner” is a ballad of modern misery. However, the desire to re-experience this addictive song is enough to reignite a certain lust for life.

Lifelover frontman Kim Carlsson continues to release poetic masterpieces under various project banners. Together, he and 1853 (with musical assistance from Déhà) demonstrated their continued brilliance on Ritualmord’s full-length debut album, This Is Not Lifelover (2025), for instance.

The blackened folk project Storm was founded by Satyricon’s Satyr in order to express his love of Norway. He soon welcomed Darkthrone’s Fenriz, or “Herr Nagell,” and the angel-voiced Kari Rueslåtten of The 3rd and the Mortal into the fold, though the latter eventually… stormed off.

The trio’s talents combined perfectly on the catchy “Villemann,” their interpretation of the Nordic ballad “Villeman Og Magnhild.” “Villemann” is immortalized on Storm’s sole record, Nordavind (1995), which contains other adaptations of old songs and poems.

A glorious work from beginning to end, we recommend introducing your whole family to the entirety of Nordavind, which even drives Satyr’s sons wild, as he revealed on social media.

The symphonic, majestic and utterly bizarre gem “Sources to Agonies” hails from Limbonic Art’s third full-length offering, Epitome of Illusions (1998).

While the greater metal community waits impatiently for news of the Slipknot frontman, Corey Taylor’s, two cents on matters large and small, the elitist faction of the black metal scene never ceases to humbly pose the following question anew: But what does professional gatekeeper Ole A. Aune have to say?!

In a rare turn of events, this revered grandmaster of ridicule and practitioner of lethal wit actually shared some kind words: “‘Sources to Agonies’ is such an amazing song! Limbonic Art is one of my favorite bands. Their demos are crucial influences for Mare [one of the genre’s finest], among others. The vibes of those demos are unmatched till this day!”