1. Acheron
Band yang beraliran sesat itu misalnya Acheron, band yang berdiri pada tahun 1988, dan dibentuk oleh Pendeta Vincent Crowley di Tampa, Florida. Yang kemudian bergabung dengan Peter H. Gilmore, Magister Gereja Setan.

Dan untuk pertama kalinya, band ini merilis album yang berjudul "Messe Noir" pada tahun 1988. Album ini dibuat khusus sebagai edisi terbatas 7-inci yang juga merupakan rekor dimensi sebuah album yang belum pernah ada sebelumnya, dan untuk membuat album ini benar-benar kental terhadap aliran satanis, Acheron membuat album ini dicopy hanya untuk 666 eksemplar.

Kemudian pada tahun 1991, band ini membuat tercengang dunia dengan menerbitkan album kedua mereka yang berjudul Rites of the Black Mass (1991). Pada album tersebut, setiap lagu-lagunya mengandung ayat-ayat yang ada pada injil hitam (Satanic Bible) serta digunakan intro bergaya Gothik dan gitar solo yang membuat lagu-lagu tersebut terkesan dari dunia "Kegelapan". Lagu-lagu merekapun didasarkan atas filsafat "Satanis".

Album :
Messe Noir (1988), Rites of the Black Mass (1991), Alla Xul (1992), Satanic Victory (1992), Lex Talionis (1992), Anti-God, Anti-Christ (1996), Those Who Have Risen (1997), Necromanteion Communion (1998), Compendium Diablerie : The Demo Days (2001).

2. Angelcorpse
Band kedua yang juga termasuk band yang menganut aliran Satanisme adalah band Angelcorpse. Merupakan band yang dibentuk pada tahun 1995 oleh Pete Helmkamp dan mantan band yang dikenal sebagai Orde dari Chaos. Angelcorpse berasal dari Kansas City, tapi mereka pindah ke Tampa Florida (yang merupakan daerah penganut Satanisme) di Amerika. Musik mereka bertemakan Anti-Kristus dan peperangan. Pada tahun 1995 dan 2007 Band ini melakukan tur ke Eropa untuk mendukung band-band beraliran satanisme yang ada.

Hal lain yang berkaitan dengan band ini adalah Pete Helmkamp, personil band, menulis buku yang berjudul 'The Conqueror Manifesto.' menurutnya, hal-hal yang memandang bahwa "In the spirit of Crowley's " dan pandangan tentang "Antichrist" adalah merupakan kebenaran. Dalam bukunya tersebut Pete menuliskan upaya manusia agar bisa naik ke Quest terhadap Plateau dari Invincibility dan mencapai Godhood (Homodeus).

Album :
Goats to Azazael Demo (1995), Hammer of Gods (1996), Nuclear Hell (1997), Wolflust Single (1997), Exterminate (1998), Winds of Desecration (1999), The Inexorable (1999), Iron, Blood and Blasphemy (2000), Death Dragons of the Apocalypse (2002), Of Lucifer and Lightning (2007).

3. Cradle Of Filth
Band ketiga adalah band beraliran Black Metal-Satanis, yaitu Cradle Of Filth. Adalah band yang berasal dari Inggris dibentuk pada tahun 1992, dengan penyanyi utama Dani Filth.

Merupakan Band yang sangat erat kaitanya dengan Sihir, Mitologi, dan hal-hal yang berbau Kotoran. Selain menyanyikan alunan musik Black Metal, aliran ini juga memainkan aliran Dark Metal dan Death Metal, Vampyric Metal dan Satan Metal dan Symphonic Black Metal.

Aliran ini telah banyak berubah sejak awal mula dibentuk. Pada awalnya nuansa Death Metal begitu kelihatan, namun seiring dengan waktu berubah menjadi Black, dan yang terakhir Bernuansa Ghotic yang sangat terlihat pada lagu " Nymphetamine". Prestasi besar yang pernah diraih oleh band ini adalah merupakan band yang paling terkenal di Inggris setelah Iron Maiden.

Album :
The Principle of Evil Made Flesh (1994), Dusk... and Her Embrace (1996), Cruelty and the Beast (1998), Midian (2000), Damnation and a Day (2003), Nymphetamine (2004), Thornography (2006), Godspeed on the Devil's Thunder (2008).

4. Dimmu Borgir
Band keempat yang juga merupakan band beraliran Satanis adalah Dimmu Borgir. Adalah Band Black Metal yang berasal dari Oslo, Norwegia, dibentuk pada tahun 1993. Dibentuk oleh Shagrath, Silenoz, dan Tjodalv.

Band ini pertama kali menerbitkan album Inn i evighetens mørke pada tahun 1994. Yang kemudian merampungkan seluruh Track pada album For All Tid (1994).

Band ini diketahui sering memainkan aliran Symphonic Black Metal, Black Metal, Ritual Black Metal, dan Deathy Metal. Tema-tema yang dibahas dalam lirik lagu-lagunya hampir sama dengan Cradle Of Filth, yaitu tentang pemujaan kepada Setan, Ritual, dan Peperangan.

Album :
For all tid (1994), Stormblåst (1996), Enthrone Darkness Triumphant (1997), Spiritual Black Dimensions (1999), Puritanical Euphoric Misanthropia (2001), Death Cult Armageddon (2003), Stormblåst MMV (2005) In Sorte Diaboli (2007)

5. Arch Goat
Band kelima merupakan band Black-Death Metal, yaitu Arch Goat yang dibentuk di Finlandia. Album Pertama mereka diluncurkan pada tahun 1992 yang berjudul "Jesus Spawn". Sebuah album yang di dalamnya penuh dengan hujatan-hujatan kepada Tuhan. Style dan gaya Band ini mirip dengan Angelcorpse, yaitu anti Kristus serta banyak memainkan Filosophy Satanis. Band ini juga terkadang memainkan musik Ritual.

Album :
Jesus Spawn (1992), Angelcunt (Tales of Desecration) (1993), Angelslaying Black Fucking Metal (2004), Live Black Mass (2005), Whore of Bethlehem (2006).

6. Blasphemy
Band Satanis keenam, adalah band Black Metal yang berasal dari Kanada, dibentuk di daerah Burnaby tahun 1984 bernama Blasphemy. Debut mereka yang pertama dalah "Blood upon the Altar" pada tahun 1989, merupakan album yang berisi Hujatan-hujatan kepada Tuhan. Band ini juga pernah melakukan tur ke Jerman "**** Christ". Dalam syair-syairnya, Band ini banyak menggunakan tema-tema yang berhubungan dengan paganisme, mitologis dan lirik-lirik Anti-Kristus.

Album :
Fallen Angel of Doom (1990), Gods of War (1993), Live Ritual - Friday the 13th (2002).

7. Behemoth
Band ketujuh adalah Behemoth. Behemoth adalah band Black Metal yang berasal dari Polandia pada tahun 1991. Band ini memainkan musik dengan tema-tema Satanis, dan Ritual, dan pemujaan kepada Berhala. Band ini juga memainkan aliran musik Death Metal, ada juga yang menyebutnya sebagai Black Metal, Avantgrade Metal, Pagan Metal. Namun aliran yang sebenarnya dari band ini masih diragukan, karena band ini lebih suka tidak dilabelkan dalam genre apapun.

Album :
And the Forests Dream Eternally (EP) (1995), Sventevith (Storming Near the Baltic) (1995),Grom (1996), Bewitching the Pomerania (EP) (1997), Pandemonic Incantations (1998), Satanica (1999), Thelema.6 (2000), Antichristian Phenomenon (EP) (2001), Zos Kia Cultus (Here and Beyond) (2002), Conjuration (EP) (2003), Demigod (2004), Slaves Shall Serve (EP) (2005), The Apostasy (2007), Ezkaton (EP) (2008), Evangelion (2009).

8. Arch Enemy
Kemudian band kedelapan adalah band Melodic Death Metal yang berasal dari Swedia. Band ini bernama Arch Enemy. Band ini merilis album pertamanya pada tahun 1996 berjudul "Black Earth". Style band ini sangat mengagumkan, setiap track pada albumnya penuh dengan Melodi Gitar yang digabung dengan suara volkalis cewe (Angela Gossow) ini membuatnya begitu berkesan. Hal-hal yang dibahas dalam lagu-lagunya adalah hal-hal mengenai Kiamat, dan Anti-Kristus. Selain itu, pesonil band ini berasal dari para mantan Pemain band metal sebelumnya, seperti band Carcass, dan Yohanes Liva.

Album :
Black Earth (1996), Stigmata (1998), Burning Bridges (1999), Wages of Sin (2001), Anthems of Rebellion (2003), Doomsday Machine (2005), Rise of the Tyrant (2007).

9. Beherit
Band kesembilan, yaitu Beherit merupakan band yang dibentuk di Filnandia pada tahun 1989. Band ini sendiri memiliki arti "setan" dalam bahasa Syria. Musik mereka bertemakan kebiadapan, Anti-Kristus, Neraka, dan penghujatan. Band ini terkenal karena gaya ambient yang dimainkan personilnya, band ini juga memainkan aliran Deathcore dan Black Metal.

Album :
The Oath of Black Blood (1991), Drawing Down the Moon (1993), Dawn of Satan's Millennium (1991), Werewolf, Semen and Blood (1998), Messe Des Morts (1994), Beast of Beherit - Complete Worxxx (1999).

10. Burzum
Band kesepuluh adalah Burzum, merupakan band BlackMetal yang dibentuk oleh Varg Vikernes, pada tahun 1991 di Bergen, Norwegia. Merupakan sebuah band yang sangat gemar melakukan peperangan dan kehancuran. Selain itu, band ini juga sering membuat lagu yang bertemakan anti-Kristus.

Pada tahun 1993 Vokalis Burzum, Varg dijatuhi hukuman atas pembunuhan dan dinyatakan bersalah karena mencoba untuk membakar gereja di Norwegia.

Album :
Burzum (1992), Det som engang var (1993), Hvis lyset tar oss (1994), Filosofem (1996), Dauði Baldrs (1997), Hliðskjálf (1999), Antologi (2002).

When Detroit's auto industry blues forced John Brockmiller into retirement after 36 years on the line at General Motors, he feared his life had come to an end. He’d given everything to the company—been down at the plant each morning at the crack of dawn and gone years at a stretch without taking a sick day. But now, after decades of service, GM decided he was no longer needed.

“He was depressed and scared,” says Jeff Brockmiller Jr., John’s grandson. “When your body stops doing what it’s used to, it wants to shut down.” The outlook was bleak. If the lingering recession has knocked the entire country off balance, it’s kicked Michigan in the balls and punched out its teeth. Fortunately, though, even as auto plants downsized and factories padlocked their doors, John Brockmiller was able to find a new place to clock in—the Michigan Brewing Company in Webberville, a small town 70 miles northwest of Detroit.

One Thursday this fall, just before noon, Brockmiller zoomed across the brewery in his yellow forklift, dropped a pallet full of bottled beer off in the gymnasium-size indoor fridge, and careened back toward the loading dock, where a shiny black Cadillac Escalade had pulled in. Sitting in the passenger seat, puffing on a fat cigar, was Brockmiller’s new boss, Detroit’s ambassador,
tireless advocate, and one-man economic stimulus package: Kid Rock.

“I don’t know a lot about a lot of things, but I know about music, bourbon, raising a kid, maybe,” says Kid Rock. “And I definitely know something about beer.” As Kid Rock, 39, watched Anheuser-Busch get bought out by the Belgians and Miller sell to SAB, a South African conglomerate, he had the idea to build a truly American beer brand, which would, at the same time, create jobs to help combat Michigan’s flailing economy. He partnered with Bobby Mason, a passionate Michigan brewmaster, to produce American Badass beer, which premiered at Rock’s back-to-back sold-out shows at Detroit’s Comerica Park in July 2009, much to the
delight of the Motor City faithful, who downed more than 400 kegs of the stuff.

The Michigan Brewing Company is tucked close to the Interstate, surrounded by empty farm fields and patches of dense woods, from which deer and foxes occasionally wander, as though drawn, Homer Simpson–like, by the smell of suds. Inside, beer sloshes, cools, and ages in giant steel tanks the size of grain silos, while thousands of bottles rattle along a motorized track to be machine-filled and capped, then slapped by a frantic, octopus-armed automatic labeler. The brewery floor is bigger than a football field, and its 50-odd full-time employees use scooters, beeping carts, and even BMX bikes to scurry from one station to the next. The younger workers project an urban vibe, dressed in baggy pants and T-shirts, while their elders, in camo vests and fatigues, look prepared to head up north to track down 14-point bucks. It’s as if a small army of
Eminems and Ted Nugents were working together, with Kid Rock bridging the gap.

Rock has stopped by to check out the new bottling operation. Previously, American Badass beer had only been available on draft, mostly in the Midwest, but the next step is selling the crisp, light lager in 12- and 22-ounce bottles and expanding its distribution. Rock spends a few minutes chatting with John Brockmiller, 67; his son Jeff, 46, a production manager; and Jeff Jr., 24, a brewer’s assistant. John tells Kid Rock that he relates to his songs about women, because there was a time in his life, “between marriages,” when he dated so many women his friends
dubbed them the Brockettes.
“Did they all stand in a line?” Rock asks.

“There was some kind of line,” says the eldest Brockmiller, “but they weren’t standing!”

Kid Rock has made it his mission to do everything in his power to keep Detroit’s head up. He reps the city hard in every song and endlessly promotes Michigan in his travels. “I could go live in the sunshine anywhere in the world,” says Rock, “or in a big glass house on a mountain, but Michigan’s my home, and I love it here. I’d never want to leave it.” He gives substantial time and cash to a wide range of local charities, funds college scholarships for Detroit-area students, and has become a constant fixture at sports events and concerts. A few years ago Rock heard that a locally based clothing line he admired called Made in Detroit, which had been around since 1991, was struggling financially, so he bought a large share of the company; under his stewardship the business has flourished. American Badass beer, meanwhile, is adding new salaries to the state’s economy. For a state hemorrhaging jobs, every one counts.

After an hour, his tour of the brewery complete, Kid Rock heads for the Escalad and says goodbye to all three generations of Brockmillers. As his right-hand man, Shakes, steers onto I-96, headed back toward the city, Rock says, “There’s nothing better than seeing people you know being able to work and support their families.” He nods, lighting another cigar. “Knowing you have a little hand in it? Now, that really makes you feel good.”

Yes—this is Kid Rock, the same guy who told British tabloids before a tour, “I’m coming to snort coke, fuck bitches, and get paid.” Groupies say he’s into orgies and exhibitionism, and then things get hardcore from there. He’ll down a fifth of Jim Beam in the time it takes you to crack the bottle. And he’s known to brawl when necessary—he’s making court payments for pancaking a dude at a Waffle House in 2007. This is perhaps America’s last great unapologetically depraved rock star. Uncle Kracker, Rock’s former DJ and one of his best friends, recalls their life on tour: “There were a lot of mornings when everyone woke up and said, ‘What the fuck happened last night?’ or ‘Where the fuck are we?’ ” So if Kid Rock seems an unlikely do-gooder, keep in mind that his entire career has consisted of a series of strange turns and odd contradictions.

Born Robert James Ritchie in 1971, Rock grew up comfortably in the quiet town of Romeo, north of Detroit, where his dad owned a Lincoln dealership. As a teen Rock rebelled, drawn to Detroit’s burgeoning underground hip-hop scene, crashing with pals in the tough, black, inner-ring suburb of Mount Clemens, working at a car wash, and honing his skills scratching records and rapping. He became a hit DJing at parties, making 30 bucks a gig.
“I met him when he was 16,” says Uncle Kracker. “My first impression was that this kid knew where the fuck he was going. He was the most confident, cocky kid I’d
ever come across, but in a great way, not an I-want-to-punch-you-in-your-face kind of way. You just wanted to hop in and roll with him.”

By 18, Rock had signed with Jive Records, and ended up opening for Ice Cube and Too $hort on tour. But his debut album got little support, and Jive soon dropped
him. For the next decade Rock pounded the Detroit pavement, putting out a series of raunchy Beastie Boys–style albums, playing open mikes, and collaborating with
other up-and-coming Detroit MCs like Eminem and the Insane Clown Posse, eventually building a large, loyal local following. After selling 60,000 copies of a self-released album, he caught the eye of Atlantic Records and recorded his 11-million-selling breakthrough, Devil Without a Cause, in 1998.

For Rock the past decade has brought a blink-and-you-missed-it marriage to Pamela Anderson, a brawl at the Video Music Awards with Anderson’s ex, Tommy Lee, and a series of rock anthems and country-tinged megahits. But he’s never lost sight of his roots: In 2000 he gathered his Twisted Brown Trucker Band, and they commemorated their time on the road with matching tattoos: the Detroit Tigers’ Olde English D. “It was a pact we made,” Rock says, “to always bind us together and not
let us forget where we were from.”

Only Motown, it seems, could produce a unique talent like Kid Rock, whose music combines heavy metal, Southern rock, country, hip-hop, and even gospel and blues.
Artistically, he’s a one-man Detroit-rock melting pot with hedonistic tendencies rivaling Iggy Pop’s and a sense of music roots reminiscent of Jack White’s. He’s a
white boy raised in a black town, a country boy who loves his city, a proud Yankee who waves a Confederate flag. As Rock himself sings in one of his early hits, “You’ve never met a motherfucker quite like me.”

The Metro Detroit industrial belt is a strange patchwork weave of forgotten farmland and struggling factories. On the way to Kid Rock’s house, sagging barns slip past next to battered mills coughing black fumes from their smokestacks. For the singer it’s been agonizing to watch from close range as Michigan suffers. “You see friends who are doing well one month, and the next month they’ve got foreclosure signs up in front of their house,” he says.

For years Kid Rock has sought to offer Detroit a lifeline, and at some point he realized his instinct for helping people would inspire others to do the same. “I’m not Bono, I’m not Elton John,” he says. “I couldn’t do stuff on such a grand scale. But I know how to help people in small ways, and I’m a firm believer in helping your neighbor.”
Michigan may be where Rock hangs his hat, but his charitable efforts aren’t limited to the state. On the road he likes to watch the local news and scour local
papers looking for stories of good people down on their luck. In Ohio he read about a pizza delivery guy who was brutally robbed for $15; when he heard that
the driver lived with his mom and was trying to work his way through college, Kid Rock got in touch and paid the guy’s tuition for a year. In Florida he read about
a man who kept having the American flag stolen from off his front porch, so Rock bought him a 30-foot flagpole. He’s a huge supporter of U.S. troops, and has
played volunteer USO shows around the world. His assistance even has an international streak—through a foundation, he just paid for a home in Africa for
young HIV victims.

Drugs, booze, groupies, fisticuffs—that’s the stuff that makes headlines. But the people of Michigan know about Kid Rock’s compassion and the pride he has in his
state; in fact, he’s often called the King of the Motor City. As Uncle Kracker says, “People feel like he’s their pony, and it gives them a charge to look at him
go. He really strikes a chord with Detroiters. He doesn’t talk above them, he talks with them; he’s not just for the city, he’s of the city.”

As Shakes pilots the Escalade through Detroit’s tranquil far-north exurbs, Kid Rock grows reflective. “Yeah, I give a lot of love to this city,” he says. “But I
get a lot back. If I was in L.A., I’d just be another number. Here I really feel like somebody. I try not to take advantage of them, but there are things provided
to me that I love. I’m not gonna be in L.A. and have two courtside seats with my name stitched in them given to me as a gift. I record a new album, I know I’ll
have 50,000 of my best friends ready to come out and celebrate with me.”

The Escalade cruises along a woodsy street and cuts left down a long driveway, guarded by a massive, automobile-size Civil War cannon. Rock rolls down his window
and sucks in a gust of crisp autumn air. He smiles: “Ain’t no place like home.”

Kid Rock lives 20 minutes from his parents’ house in Romeo, where he grew up picking apples from their backyard orchard, and 40 minutes from Mount Clemens,
where he learned to rap. His house, situated on a deep 30-acre lot, is grand, even palatial, but has a comfy old-farmhouse quaintness. Inside, on the kitchen
counter, sits an honest-to-God fresh apple pie—made from apples his mother gave him. Over the fireplace mantel hangs a double-barreled shotgun. On the sofa,
watching TV, is Rock’s current girlfriend, a gorgeous brunette. “We hang pretty steady,” he allowed on the drive in, “and she’s cool as shit, but I don’t have to
call her just ’cause I’m not home by midnight. I’ll never be in that type of relationship again.”

Rock’s son, Bobby, a high school senior, troops in the door wearing a sideways ballcap and a backpack slung low. He gives a shy but friendly “what’s up,” then
heads for his bedroom to pack: He and his dad are going to Nashville in an hour to check out some colleges. For one of the world’s brashest rock stars, Rock has
found a way, between tours, to lead a surprisingly normal day-to-day life. He shoots hoops twice a week with the same pals he grew up with; he plays video games
with his son and helps him with his homework. In a studio in the garage, he noodles on his guitar and hammers out tunes.

On his new album, Born Free, due out November 16, Rock worked with legendary producer Rick Rubin, who gathered an all-star roster of musicians, including
Metallica’s James Hetfield on guitar and Red Hot Chili Peppers drummer Chad Smith. They recorded each song as a single take, all playing together. “When you play
with people who are that good,” says Rock, “it makes you elevate your game.”

As they constructed the album, Rock often asked Rubin if his new songs were too Detroit-centric. Rubin encouraged him not to dilute his lyrics’ hometown pride. “When an artist talks about something really personal,” Rubin says, “the thing that connects with people and makes it relatable is the passion conveyed.” Hearing
Kid Rock croon about Michigan is like hearing Springsteen sing about New Jersey: People hear “Detroit” but picture their own hometowns.

And Detroit will survive; of that Kid Rock is certain. The city is now like a blank canvas, he says, waiting to be remade and rebuilt. He’s encouraged by the steady trickle of young artists moving in, lured by cheap housing and the city’s rich history. Urban gardening projects have begun to sprout. The Hollywood film industry has moved in, spurred by generous state tax credits. Ford, Chrysler, and GM are clawing their way back, now in leaner and meaner shape. Michigan folks, he says, are a tough, hard-working, and resilient people, and when they get knocked down, they dust themselves off. Bobby Mason, Rock’s American Badass beer partner, believes that by celebrating the state’s toughness, Kid Rock has turned being from Michigan into a badge of honor. “He gives people hope and inspiration,” Mason says. “When you’re down and out, everyone can use someone to help you rally, to put a hand out and lift you. There’s a light at the end of the tunnel, and this time it’s not a train.”
Mason went with his brewing-company colleagues John Brockmiller, Jeff, and Jeff Jr. to Kid Rock’s 2009 Comerica Park shows, where Rock unveiled a new song called “Times Like These,” a moving tribute to the state of Michigan and the people of Detroit. “The entire stadium was standing,” recalls Jeff Brockmiller Jr. “The vibe made the hairs on my arms stand up. It was electrifying. It was like being in the world’s largest church.”

Later that night, Kid Rock says, his son Bobby confided that he’d seen hundreds of people crying during the song. “That really affected me,” Rock says. “It’s been a
long haul for everyone in this country,and it’s OK to shed some tears. But I want to take those tears of sorrow and hardship and heartbreak and turn them into tears
of in spiration and joy. Let people know we’ll always be here, watching it all go down. And we’ll still be here when it all comes back around.”

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