The black metal world is a confusing one to those who don't inhabit its inner sanctums. To most, the genre is simply cacophonous noise, where instruments are being ripped to shreds in an orgy of gore images and Satan-drenched symbolism. Yes, there is that, but also much more.

Black metal is one of the most rambunctious and louder sub-genres crowded into the heavier set of scenes. It has a dark history, mostly European, where a few bands took their lyrics to heart and began committing crimes, such as church burning or ritualistic slaughter. Yet, these examples are few and far between, and for the most part, black metal is a hell of a lot of fun. It's technical, musically bewildering and full of theatre, so much so the spectacle often overrides the music. And of course, some are better at it than others. Behind the costumes, the blood and the gore, behemoths reign - leaders of the genre who understand this world better than anyone else.

One of those bands, eight albums and nearly two decades into their career, is Salzburg, Austria's Belphegor. The trio, which has seen almost ten band member changes in its history, has become one of the most respected and entertaining black metal bands in Europe. And all this, of course, is with good reason.

First off, a quick history. Belphegor began as Betrayor, and have worked with a number of labels in the past, including Nuclear Blast and Napalm Records. Like most metal bands, they have toured the world countless times and have gone through a series of line-up changes, leaving vocalist and lead guitarist Helmuth as the only founding member remaining.

This time, they are touring with their new album, Walpurgis Rites - Hexenwahn, another brutal concoction recorded in Germany, featuring oddball album art, theatrical solos and technically proficient melodies. With Belphegor, the image is as important as the music, and historically they have been one of the best at matching visuals with music in black metal.

It's a show, first and foremost: "To us, every single album has a few strict goals," explains Helmuth as the band tour the west coast of America. "First off, we always try to get better at our respective instruments to strengthen the band, become more intense and raise our dynamics. It all must fit perfectly, the music, the insane, offensive sexual lyrical content and of course, the occult artwork. I believe this album is our strongest to date in this sense."

And the critics have received it the same way. The sheer brutality of Belphegor makes them dizzying, and the ten tracks on offer combine together to assault the senses, from start-to-finish. For the uninitiated, it's an experience unlike any other.

For the converted, it's Belphegor's best album to date. "We wanted to prove that this work is our most mature effort, and the nine tracks are more far- reaching in terms of sound collage and variation," adds the soothsayer. "We also added some ritualistic, haunting samples, which is new for us, and that's one of the strongest points of this new monster. Its always a challange to create something new. Simply put, we gave everything on this to explore our sound and take it to the next level. And as such, It is definitely Belphegor to the bone, and sounds exactly as we wanted it to."

Another trait that raises Belphegor above most, is the creativity relating to their album titles, lyrics and artwork. This aspect of their work requires explanation.

Each of their eight albums, from 2008’s Bondage Goat Zombie to earlier full-length, 2003’s Lucifer Incestus, revolves around themes of sexual brutality and the occult, so much so that the lyrics’ intensity enhances the music's loudness and power. Many of the lyrics stem from mythologies of the occult, mostly coming from demonic verse or an interpretation of Satanism, but Belphegor keep everything tongue-and-cheek, so there's always a layer of dark (very dark) humour pervading each lyric. And of course, Helmuth belches each line out as if its being pushed through the gates of hell, adding more intensity to the overall product.

With Walpurgis Rites - Hexenwahn, the tested formula remains. A loosely combined German/English theme overrides, with the band exploring themes hidden in the darkest relams of our consciousness - death, sex, violence and how the three interplay constantly. "Strictly speaking, the album title refers to the celebration on the night from April 30 to May 1," explains Helmuth.

"It's better known as the Walpurgisnacht, and historically is an excessive celebration in nature, held in the mountains or in the woods. It welcomes Satan and celebrates his theology, so to speak. The lyrics are really important to us, and I'm proud of what came up with in these songs. We always research and read a lot about the concepts in our lyrics, so we can present the best ideas possible. As such, I think it gives the sound extra power. Generally, most of the lyrics are original poems/ scripts/ incantations that I write, in either Latin, English or German. I believe you cannot translate many words, as most don't exist any more because language has changed so much with time. Plus, it's unique and I think, one of our trademarks."

While heading out to your nearest record shop and picking up Belphegor's catalogue should be on the top of your to-do list (while you’re there collecting the new Susan Boyle release, obviously), coming to see them this month at the Islington Academy would be another pre-Christmas treat. With most black metal, live is where the real emotion lets loose, and with Belphegor it's quite a show, bloody, brutal and offensively good. "Live, the demons always get what they deserve," smirks Helmuth. "But saying that, we can't wait to return to London. It's always a pleasure to shred there." Bring earplugs and expect a rock show, simple as that.

Belphegor play The Islington Academy on 11 January supported by Darkest Hour, Suicidal Angels and Resistance