Although there has recently been significant work published on the relationship between twentieth-century French (anti-)philosopher Georges Bataille's theories of religion and violence, and the sound and politics of black metal, little has been done to address Bataille's and black metal's shared concern with the problem of ‘authenticity’. Their concern, determined by their complicity with ‘evil’, is centred on a critique of modernity. I will read, with a specific focus on the second wave of Norwegian black metal, black metal's connivance with evil through Bataille's notion of authentic literature. Although two very different mediums – literature and music – Bataille's concept is applicable to a reading of black metal because of his invocation of evil and the Luciferian in his interpretation of authenticity. Bataille argues that authentic literature is necessarily diabolical because of the Nietzschean form of sovereignty that the author momentarily attains at the conception of the modern world – that is, in the wake of the death of God. The authenticity that Bataille and black metal seek is therefore bound up both with godlessness and the satanic.