This article examines aspects related to the dystopic consumption and production of the musical and performance art form known as black metal. Steeped in anti-Christian motifs, surrounded by a history of violence and brutal imagery, black metal is an extreme metal art form that has been growing steadily in popularity throughout Europe, South America, and the United States. We first examine black metal culture through the eyes of both artists and consumers, using mixed qualitative methodologies. Thereafter, we derive specific theoretical interpretations from the black metal subculture that are predicated on the emerging themes of signification, identity transformation, xenophobia, and a reconstructed mythology that all point to what we present as a dystopian consumption model. The model demonstrates how dystopia, in context, is at the heart of the symbiotic relationship between consumers and producers and is encapsulated by a specific set of processes and overarching conditions. Implications and relationships to utopian models are discussed.