“Contrast is more important than the tone itself. If you just have the hardest, heaviest tone as a constant you get numb to it”: How Zeal & Ardor are adding light and shade to black metal with plastic guitars, chunky strings and unlikely tube amps

Zeal & Ardor's Manuel Gagneux screams into the mic as Tiziano Volante lays down a riff on a stage bathed in red light.
(Image credit: Per Ole Hagen/Redferns)

Manuel Gagneux began writing music as Zeal & Ardor with a point to prove. A regular on 4chan forums around 2013, he was taking requests to mash genres together when one user, with a racist undercurrent, suggested he mixed black metal with Black music. Born to an African mother and Swiss father, he didn’t take the comment lightly, but stumbled upon something unique in the process.

The aggression of black metal proved a counterpoint, in equal parts tasteful and forceful, to African-American spirituals, blues, soul, trap and hip-hop. Suddenly, what started life as a retaliation, of taking pride in the diversity of sounds black musicians have forged throughout the history of recorded music, the project took on a life of its own.

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Phil Weller

A freelance writer with a penchant for music that gets weird, Phil is a regular contributor to Prog, Guitar World, and Total Guitar magazines and is especially keen on shining a light on unknown artists. Outside of the journalism realm, you can find him writing angular riffs in progressive metal band, Prognosis, in which he slings an 8-string Strandberg Boden Original, churning that low string through a variety of tunings. He's also a published author and is currently penning his debut novel which chucks fantasy, mythology and humanity into a great big melting pot.