5 Best Black Metal Covers of Thrash Songs

Peaceville Records, Flesh for Beast, Metal Blade

Join us in celebrating thrash metal with five amazing cover songs by black metal bands.

The history of black metal is inextricably linked to that of thrash metal, as some of the same groups pioneered both subgenres and extreme metal in general. In cases fair and not, certain thrash bands have been labeled as part of black metal’s “first wave.” Owing also to factors as thrash’s infectious greatness, its influence is pervasive in black metal and has colored countless of the movement’s classics.

Today, the special phenomenon known as black-thrash, epitomized by Aura Noir, continues to flourish. Meanwhile, entities like the “black deathrashing metal” stalwarts Vulture Lord similarly hearken back to the roots of brutal sonic steel. Vulture Lord have created absolutely superb covers of the thrashy extreme metal opuses “Lord of Vice” by Deliverance, “Dominios of Death” by Vulcano and “Jaws of Satan” by Sathanas.

Abbath’s rendition of Metallica’s “Trapped Under Ice” serves as a prime example of a time when a thrash banger truly seemed as if it had been written for a black metal act. As far as Metallica are concerned, there are no stronger defenders of the powerhouse than my votes for black metal’s finest experimental frontmen, Kark of Dødsengel and Vicotnik of Dødheimsgard.

Besides Abbath, an endless list of other black metal artists have successfully tackled thrash metal numbers: Rotting Christ, Nordjevel, Doedsvangr, Katechon, Svarttjern, Nifelheim, Old Man’s Child, Cradle of Filth, Moonsorrow, Mork, 1349, Enthroned, Arckanum, Alghazanth, Dark Funeral, etc.

Without further ado, we now reveal our main picks.

Sarkom, “Sodomy and Lust” (Sodom)
Norway’s Sarkom, who rank among black metal’s most fun and charismatic acts, have crafted some of the art form’s most thrilling covers. These titans wisely chose to end the unforgettable masterpiece that is Anti-Cosmic Art (2016), which features guests as TNT’s Ronni Le Tekrø, with their reinterpretation of Sodom’s “Sodomy and Lust” — an offering that goes splendidly after “Black Metal Necrophilia.”
Sarkom’s mastermind and now sole writer, Erik Unsgaard, also of So Much for Nothing, provides dangerously explosive vocals. Meanwhile, Paradigma and ex-Dødheimsgard’s Tom Kvålsvoll, who doubles as a ridiculously accomplished engineer, lends the ear-candy guitars.
As an Anti-Cosmic Art vinyl-edition bonus, Sarkom treated listeners to arguably the best black metal cover of Black Sabbath with their beautifully intense performance of “Symptom of the Universe.”
Urgehal, “Ripping Corpse” (Kreator)
On Urgehal’s third album, Atomkinder (2001), the legends from Hønefoss presented their incredibly sinister version of Kreator’s “Ripping Corpse,” boasting raw vocals that seem to perfectly convey the essence of evil. This uniquely dark audial relic is directly followed by a must-hear cover of Sepultura’s “Antichrist.”
Readers are hereby urged to explore the full catalog of Urgehal’s late frontman, Trondr Nefas (1977-2012); Sarkom honored their fallen yet immortal friend with their wonderfully lethal recording of Urgehal’s “Goatcraft Torment,” which was unveiled a decade after the original on Seen Through the Eyes of a Paedophile Priest (2016).
Khold, “Dommens Armé” (Sepultura)
The Norwegian Grammy-nominated Khold unleashed “Dommens Armé,” their glorious spin on Sepultura’s “Troops of Doom,” on Til Endes (2014), which was recorded at the studio of Dream Evil’s Fredrik Nordström and mixed by the master himself.
The composition showcases a cast of top-notch talents: Gard on vocals and guitars, Rinn on guitars, prolific composer Sarke on drums and Crowbel on bass. These uncompromising pioneers have always drawn from a variety of old-school influences and are distinguished in part by their elite approach.
Hildr, a candidate for the greatest black metal poet, artfully penned the Norwegian text, taking care to remain true to the spirit of Sepultura’s words. Her lyrics (including for this gem), English-language translations and more for Khold can be found in her book Syner (2026), whereas her material for Khold’s sister band, Tulus, can be savored in the equally magnificent Vintervolve (2026).
Marduk, ”Sex with Satan" (Piledriver)
Marduk’s take on Piledriver’s painfully catchy “Sex with Satan” amounts to a highly addictive and amusing triumph of libido. Unfortunately, it has retrospectively become a fitting way to remember the legacy of Mr. Gord “Piledriver” Kirchin (1961-2022).
This guilty pleasure premiered on the EP Glorification (1996), which contains Marduk’s reimagining of additional worthy songs — Piledriver’s “Sodomize the Dead,” Destruction’s “Total Desaster,” Bathory’s “The Return of Darkness & Evil” and Venom’s “Hellchild.”
Dissection, “Antichrist” (Slayer)
Dissection’s energetic and hard-hitting reenvisioning of Slayer’s “The Antichrist” (written as both “Anti Christ” and “Antichrist”) stands out by virtue of the disbanded outfit’s remarkable skill, thanks in large part to mainman Jon Nödtveidt (1975-2006).
This track debuted on the first volume of Black Sun Records’ Slatanic Slaughter (A Tribute to Slayer) (1995), which offers contributions from other giants, such as Hypocrisy, Enslaved, At the Gates, etc. It would resurface on the EP Where Dead Angels Lie (1996) and later reissues of Storm of the Light’s Bane (1995), on both of which an excellent cover of Tormentor’s “Elisabeth Bathory” (subjected to different spellings in the context of Dissection) can too be experienced.

Below, see a handful of bands who began as black metal but later evolved into something completely different.

11 Bands Who Started Out as Black Metal But Aren’t Anymore

These 11 bands refuse to artistically limit themselves and thus prove that Darkness transcends genres; for it is omnipresent and there to be harnessed by each individual’s unique will and set of instincts.

Gallery Credit: Jillian Drachman