Hells Heabangers Records has reissued most of Profanatica‘s works from the third millennium on CD. Including are bonus discs for completionists and obsessive compulsive collectors. Profanatitas de Domonatia, Disgusting Blasphemies Against God, and Sickened by Holy Host / The Grand Master Sessions are all pressed on gold CDs like Mobile Fidelity Sound Lab and DCC CDs from the nineties for maximum shinyness and all include bonus CDs of live shows from the early 90s that will probably be only listened to in the car or as background music at work. The Grand Master Sessions was previously vinyl only and is the one that most of the die hard underground fans who moved onto superior digital technological formats will be picking up.
Article by Lance Viggiano.
Profanatica return with a tuneful reinterpretation of their sophomore album, Disgusting Blasphemies Against God, refined by the sensibilities of the successful Sickened by Holy Host / The Grand Master Sessions EP compilation. The band presents a newfound confidence in ambient noise by using amplifier feedback as its own instrument in a more integral fashion than previous releases. The Curling Flame of Blasphemy opts for a slow burn approach where literal variations in tempo are suggestive rather than experienced. The result is ceremonious yet there is no culmination of the ritual, no climax; the whole procession ends on a dour note which does not feel conclusive regardless of its efficacy.
Article (obviously) by David Rosales
Five years have elapsed since 2010, a year that seemed to mark a slight renewal in creative forces, a kind of premonition of a metal renaissance that came after 15 years of horrid decadence following the decease of black metal as a movement. By 2013 this force was still incipient but already showed potential for future development as acts with more refined views about composition grounded themselves in tradition, promising to build monuments to a past glory for future times. Musicians from the metal underground’s classical era also formed the bulk of this rebirth, either through perfection or purification of their own take on the art.
The last two years have seen a manner of steady output that is weakened in quantity of quality releases, little manifest presence to speak of, with a few exceptions. The same can be said of the years between 2010 and 2013. This seems to be in accordance with a 3-year pendulum swing as the small cycle of metal. The long one probably signaling stronger points of birth and decay – probably decades: 1970-birth, 1980-underground, 1990-golden era, 2000-dark ages, 2010-renaissance.
It was a different time, and when Slayer, Metallica and Iron Maiden were doing their thing at the beginning of the 1980s, metal was also at a mainstream high with many poopoo acts dominating the scene. When mainstream metal drowns in its filth at the end of the decade and the 90s leave them with unmetal metal like Pantera or Soundgarden is when the underground rears its head in greater numbers.This coincides a little with what is happening now, as nu-funderground and mainstream whoring like female-fronted so-called metal flourishes in numbers just as the shock rock and glam metal (hard rock) plague in the time of Slayer.
To make matters more complicated, we have the internet, along with other means of communication and technology that allow for pockets of both good and bad music to survive with less regard to overall trends. Metal is not yet at another apocalyptic end of an era like the one that saw the explosion of death metal, we may have to wait another decade for that, but there is rise not dissimilar to the rise of underground NWOBHM and soon after speed metal. The next ebbing of the tide is at hand, but not yet its climax. What changes is not the fact that there is or there isn’t more mainstream crap, but how much excellent underground music there is. The year 1990 was a very special time marker that signaled the advent of a climax low for the mainstream and climax high for the underground.
Now, that we posit the existence of such critical years does not mean that no excellent albums occur outside of them, but that there is a sort of genre-wide, or community-wide, perhaps, pulse that pushes general tendencies. Now, according to this idea, the next “big year” in the small cycle would be 2016. Below we give an overview of these so-called big years and some band releases we are looking forward to this year.
What are your expectations in metal releases in 2016?
A quick reference to distinguished metal works in the ‘pulse’ years. Not especially comprehensive.
- Black Sabbath – Master of Reality
1974: (Not really metal, Black Sabbath is WAY ahead)
- Deep Purple – Stormbringer
- Rush – Rush
- King Crimson – Red (Editor’s note: Probably closer in spirit to future metal than others)
- Judas Priest – Sin After Sin
- Motörhead – Motörhead
- Iron Maiden – Iron Maiden
- Black Sabbath – Heaven and Hell
- Angel Witch – Angel Witch
- Cirith Ungol – Cirith Ungol
- Metallica – Kill ‘Em All
- Slayer – Show No Mercy
- Iron Maiden – Piece of Mind
- Mercyful Fate – Melissa
- Manilla Road – Crystal Logic
- Manowar – Into Glory Ride
- Slayer – Reign in Blood
- Metallica – Master of Puppets
- Kreator – Pleasure to Kill
- Morbid Angel – Abominations of Desolation
- Sepultura – Morbid Visions
- Fates Warning – Awaken the Guardian
- Candlemass – Epicus Doomicus Metallicus
- Sepultura – Beneath the Remains
- Morbid Angel – Altars of Madness
- Bolt Thrower – Realm of Chaos
- Voivod – Nothingface
- Helstar – Nosferatu
- Powermad – Absolute Power
- Rigor Mortis – Freaks
- Pestilence – Consuming Impulse
- Burzum – Burzum
- At the Gates – The Red in the Sky is Ours
- Demigod – Slumber of Sullen Eyes
- Morpheus Descends – Ritual of Infinity
- Therion – Beyond Sanctorum
- Sinister – Cross the Styx
- Amorphis – The Karelian Isthmus
- Deicide – Legion
- Incantation – Onward to Golgotha
- Atrocity – Longing for Death
- Autopsy – Mental Funeral
- Cadaver – …In Pains
- Asphyx – Last One on Earth
- Cenotaph – The Gloomy Reflections of Our Hidden Sorrows
- Darkthrone – A Blaze in the Northern Sky
- Emperor – Wrath of the Tyrant
- Graveland – In the Glare of Burning Churches
- Immortal – Diabolical Full Moon Mysticism
- Sacramentum – Finis Malorum
- Skepticism – Stormcrowfleet
- Suffocation – Pierced from Within
- Vader – De Profundis
- Gorgoroth – The Antichrist
- Graveland – Thousand Swords
- Summoning – Minas Morgul
- Deicide – Once Upon the Cross
- Sacramentum – Far Away from the Sun
- Immortal – Battles in the North
- Abigor – Nachthymmen (From the Twilight Kingdom)
- Funeral – Tragedies
- Dissection – Storm of the Light’s Bane
- Iced Earth – Burnt Offerings
- Gorguts – Obscura
- Vader – Black to the Blind
Incantation – Diabolical Conquest
- Dawn – Slaughtersun
- Sorcier des Glaces – Snowland
- Angelcorpse – Exterminate
- Blind Guardian – Nightfall in Middle-Earth
- Symphony X – Twilight of the Gods
- Rhapsody – Symphony of Enchanted Lands
- Suffocation – Despise the Sun
- Absurd – Asgardsrei
- Soulburn – Feeding on Angels
- Arghoslent – Galloping Through the Battle Ruins
- Master – Faith is in Season
- Skepticism – Lead and Aether
- Gorguts – From Wisdom to Hate
- Absu – Tara
- Martyr – Extracting the Core
- Lost Horizon – Awakening the World
- Deeds of Flesh – Mark of the Legion
- Averse Sefira – Battle’s Clarion
- Graveland – Raise Your Sword!
- Krieg – The Black Plague
- Avzhia – The Key of Throne
- Quo Vadis – Defiant Imagination
- Blotted Science – The Machinations of Dementia
- Avzhia – In My Domains
- Krieg – The Isolationist
- Burzum – Belus
- Divine Eve – Vengeful and Obstinate
- Atlantean Kodex – The Golden Bough
- Graveland – Cold Winter Blades
- Profanatica – Disgusting Blasphemies Against God
- Autopsy – The Tomb Within
- Overkill – Iron Bound
- Decrepitaph – Beyond the Cursed Tombs
- Black Sabbath – 13
- Condor – Nadia
- Graveland – Thunderbolts of the Gods
- Satan – Life Sentence
- Argus – Beyond the Martyrs
- Autopsy – Headless Ritual
- Profanatica – Thy Kingdom Cum
- Imprecation – Satanae Tenebris Infinita
- Deströyer 666? (Editor’s note: I have my doubts about this one’s possible… transcendence)
Article by Lance Viggiano
Black metal emerged as a reaction to the trend of death metal which had already established a musical vocabulary and through that achieved a higher degree of technicality as well as abstraction.
These bands took inspiration from the proto-black Hellhammer, Venom, Bathory and Sodom. The music of these early hybrid bands was quite unlike what became the second wave of black metal or death metal in that its motifs were simple yet concrete; overlaid onto a structure which juxtaposes seemingly unrelated motifs next to one another in an uncomplicated and often superficially nonsensical form. Yet, the result was surprisingly successful as a visceral and chaotic experience of raw, concrete, sensory imagery.
The black metal to follow refined this approach through retaining much of the simplicity and visceral nature of the earlier music while placing the motifs in a more logical format through phrasal composition, in which each riff has a shape created by its phrase and these form a language within each song. This and the trademark atmospheric riffs driven by waves of reverb and tremolo picking – largely invented by the Norwegian bands of note – came to define the public perception of black metal as a genre. Consequently, the Norwegian sound moved away from the rhythmic lineage of rock to music to something closer to the traditional western sensibility: harmony and melody over static, invariant rhythm as famously codified by the experimental gothic sensibilities of Transilvanian Hunger.
Profanatica, from what can be intuited from rare interviews, had strong reactions towards both the Norwegian sound and death metal itself. As such their music took on a different character which has not garnered the band near as much acclaim. The Norwegian sound is, after all, is the standard against which all black metal music is held. Given the fact that all genres are imposed by observation after the fact, it seems that the difference between Profanatica and the Norwegian giants is not one of quality, but of a band not fitting within the aesthetic boundaries of a genre that the audience expects. That and the mad rush for Norwegian black metal pushed Profanatica to the boundaries of the black metal movement where its influence on artists and hardcore fans tells a different story of its importance.
Much like the Norwegians, Profanatica refined the approach of its influences by emphasizing an incoherent structure and seemingly random construction. The motifs themselves are anything but abstract; often sounding vaguely familiar if not recycled both literally and intuitively. The listener will detect a clear sense of familiarity with the image of a particular motif, yet its contextual placement is such that it reveals a new perspective on something familiar. To draw a metaphor, it is as if one obtains a view of the same landscape from the peak of different mountains. This freedom of association allows a particular feeling, idea or image to be used as appropriate, anywhere in a song without sounding out of place. That particular innovation is unique to this band alone.
Structurally, Profanatica develop the proto-black method by emphasizing its motif contrast and non-rational composition. The infamous “Weeping in Heaven” demonstrates this technique through a collection of riff ideas which bears little relationship to one another, nor are treated in such a way that might cause the music to blend seamlessly. The contrast is emphasized which leaves the listener in a position to experience the music on an intuitive level. The result speaks to the body and it speaks towards the id. Logical progression, causality and abstract musical language are rejected abjectly. Profanatica embraces the rhythmic tradition of non-Western forms; using it to give meaning to chaos and incoherence of raw experience. Where one might perceive conceptual weakness and compositional immaturity in the early black metal music, Profanatica matured their approach to the point of strength.
The greatest contrast between the Norwegian sound and their influences lay at the relationship between the subject and the perceiver. The musical component of the proto-black bands described the emotional reactions to a phenomenon portrayed, resulting in the internal discourse one expects when reacting to the representations given to them by their nervous system. The Norwegian sound attempts to paint the external world through its musical discourse. The valuations of the perceiver are never absent quite absent and serve to describe the relationship of the internal world to the external. It asks the question, “where do we fit in the image of the world as presented?”
In a sense it attempts to categorize a dark forest in nonverbal symbols. Profanatica, resting firmly in the proto-black tradition, presents the terror of a solitary human being in a forest without describing the forest itself through its musical symbols. The dialogue then, becomes a matter of internal sensation which is untamed and instinctual. In terms of artistry, that innovation ultimately expanded the initial range of expression without reasoning categorically about it.
The effectiveness of this particular approach may be observed on the medley from the Grand Masters Sessions release. The track consists of portions of the band’s demo material stitched together to form a single track. A listener familiar with Profanatica’s back catalog will no doubt sense the familiarity of the material yet what is most striking is the functionality of the piece as a whole. Despite being composed from entirely different songs, the song involves juxtaposition of each motif and its partial ordering, and as a result manages a level of unity as a stream of consciousness which reveals new perspectives on the material through context.
Profanatitas de Domonatia (2007) distills the familiar Incantation sound made famous on their debut record Onward to Golgotha – which Paul Ledney had a strong hand in developing – by stripping the material down to its most basic instincts. The result is a fierce and destructive force of will whose aim is deconstruction. The follow up Disgusting Blasphemies Against God saw the band barbarizing the famous emotional sensitivity of black metal’s melodic heritage and assembling those remains into hideous totems. The record’s defining characteristic is, after all, something of a crescendo implying the process of construction, perhaps out of the remains of that which its predecessor tore down. The latest record, Thy Kingdom Cum, lays siege to its two previous approaches by simplifying its rhythms to the point of idiocy while contorting its melodic forms to the point of mockery. The defining character of its predominant motifs is laughter which can be gleaned easily in the opening moments of the track “False Doctrina.” The aforementioned qualities are not something which need to be abstracted from the music; they are clear and obvious.
Profanatica’s approach is much like an uncivilized warband conducting raids on the civilized. Such groups are as much a tribal patchwork out of violent young men as they are a patchwork of the spoils of their activities: contradictory compositions of the basic human and technological components of a greater civilization whose assemblage is entirely pragmatic and allows for them to serve functions other than intended, but no less effective than their original purpose. Out of elements bound tenuously is something effective, something purposeful, something deadly. The world this music operates in is one which is defined almost entirely by nature rather than one defined by humans.
Where proto-black metal is defined by its visceral nature and deconstructive character, Profanatica embrace the ignorance in a brash display of unconcern for the perfume-soaked intellectuals which decry those outside their borders. Dwelling within the primitive backwater fringe has its advantages by bearing immunity to the abstract and desperate silliness of the rest of the genre. The similarly-goaled war metal attempts to reach back into black metal’s foundations but does so in a way which reduces the motif as an objectified emotion or image into pure texture reducing its communicative efficacy. The work of Ledney and company retains the concrete sensory experiences which drove metal in each of its original incarnations and were later given musical scrutiny before completely fossilizing, allowing their art to pick the last of the low-hanging fruit of metal as a form while others languish in petty revivalism, soulless displays of technical mastery, or vapid experimentation that desperately seeks revitalization by looking to external music genres; copying but not transforming its clichés.
The wizards of Profanatica/Havohej experiment extensively with their music in both form and content, and as a result, their releases are widely varied with differing degrees of success as listening (as opposed to “theoretical”) experiences.
Thy Kingdom Cum, the most recent offering which will be unleashed by Hells Headbangers Records on November 26, unifies the threads of Profanatica by being noisy and avantgarde in its blasphemy and song structures while keeping focus on fast-paced black metal with melodic undertones and creative riffing.
Like Impaled Nazarene’s Rapture, Thy Kingdom Cum re-interprets black metal in the late-1980s ideal of fast single-string riffs which combine hints of melody with unrelenting energy. The result is like a hybrid between industrial music, punk and Wagnerian classical: great towering themes emerge from riffs that resemble bent bits of wire or the symbols on schematic diagrams. You may notice similarities to proto-black metal like Sarcofago here.
Profanatica as usual do not shy away from blasphemy but unlike some past works, on Thy Kingdom Cum they’re not writing protest rock; they are here to enjoy the blasphemy and this demonic relish gives this album the playful sense that made 1991’s Dethrone the Son of God so thoroughly a forbidden pleasure. What you’re hearing is musicians having fun raising hell, even if underneath that humorous pleasure is a deadly serious message.
Like early Havohej, Thy Kingdom Cum is fast and simple and abrades the ears with intense riffs and unique but compressed song structures. Like the band’s musical peak in Profanatitas de Domonatia this newer work shows a dedication to producing depth of music in addition to pure noise and evocative rhythm from the ever-adroit Paul Ledney drumming.
Where Profanatica‘s last album, 2010’s Disgusting Blasphemies Against God, ventured into pure textural rhythm and a grinding atmosphere, this newer incarnation of the band shows more dedication to highly motivational ripping metal riffs and through periodic melody in a shorter version of the style on Profanatitas de Domonatia, an expansion of the relevance of riff structure beyond rhythm.
As the ongoing story of Profanatica/Havohej evolves, Thy Kingdom Cum will likely be remembered as a unification of their more cerebral esoteric black metal with a digestible and intense form that conveys their message like pastoral landscapes carved in flesh. As such, it may re-awakening blackmetal to its roots.
- Foul The Air With Blasphemy
- Denounce Him
- False Doctrina
- Definite Atonement
- Thy Kingdom Cum
- Ropes of Hatred
- Water to Blood
Ares Kingdom – Incendiary
Avzhia – In My Domains
Divine Eve – Vengeful and Obstinate
Graveland – Cold Winter Blades
Immolation – Majesty and Decay
Inquisition – Ominous Doctrines of the Perpetual Mystical Macrocosm
Into Oblivion – Creation of a Monolith
Mutant Supremacy – Infinite Suffering
Profanatica – Disgusting Blasphemies Against God
Slaughter Strike – At Life’s End
Looking back on another fallen year, we might be reminded that the prior chapter of 2009 represented a global uprising of Death and Black Metal bands opposed to the phenomenon of underground Metal as a commodity as perpetuated by an impulsive, media-consumed, mass internet cult who denounce the culture of values which necessitated the very form of the music itself. This served to strengthen already riotous scenes of desecration and barbarity in extreme territories such as Australia and Canada, and forces across the United States and Europe began to mobilise with a renewed sense of dedication, guided by a selection of ancient voices who have not compromised their integrity to capture a new but deluded fanbase like their peers. The golden ages of Death and Black Metal have long since past and any campaigns to revive the spirit of Hessianism in Metal are not only in their infancy but vastly overshadowed by the populist trends that define the landscape of the genre today. As such, with the burden of anticipation on it’s shoulders, 2010 was by and large seized by veteran armies determined to distill the essence of their unholy craft from the impurities of our age, guiding further generations of warriors to victory. And though our imperious choices of 2010 are dominated by the hands of experience, a few young hordes also rose to the yawning of this battlefield to make bold and vigourous statements as the continuing legacy of true Metal’s eternal spirit.
There is a certain door that any contemporary thrash band seeking quality must go through, a certain threshold that requires imagination and the indispensable talents of assimilation to really cross; in metal today, we see countless fragile trends that depend upon a rigid nostalgia and a lifeless worship of what has already happened, fully ignorant of the fact that what has true staying power is never something that was an idle imitation of something that was actually born of genius. In contrast to these bands, specifically the ones which belong to the so-called ‘retro-thrash’ trend, Ares Kingdom is of the opposite mindset; Ares Kingdom does not want to merely copy its primary influences, but to implement and authentically incorporate these influences into a relatively bold and forward-looking composition. The basic idea of Incendiary is quite simple: destroy the phoenix so that she may be reborn, an idea which is not so far from the opening narration of the Destroyer 666 track, Rise of the Predator. The execution, on the other hand, is what brings the band closer to actually demonstrating this vision than any other insignificant band that elects to portray death and apocalypse for aesthetic reasons alone; from the dismal album artwork to the indifference in Alex’s vocals, from the sad, painful melodies to the caustic and fiery riffs and solos that Chuck Keller (Order From Chaos) delivers, the listener can derive a sure sense of impending, even immediate doom. In conclusion, Ares Kingdom is not your average headbangin’, beer-swillin’, hell-worshipping thrash metal; ‘Incendiary’ offers us all the pace and vigour of the classic eighties bands, only it is properly assimilated and raised to a higher level through the cold visage of death metal and the individual imagination of the album’s creators. While sacrificing a bit of the rampant speed of the earlier recordings, ‘Incendiary’ compensates with a thoughtful development that is essential in allowing the band to convey its dark, apocalyptic vision; in other words, through the utility of a confident and dynamic mindset, Ares Kingdom has defiantly revealed a genuine idea independent of its forebears, and in so doing has crossed the threshold that has left so many inferior bands begging at the door.
Of the artists who remain from times past, under whose names were unleashed the most disturbing and poignant sounds that defined Death Metal, Autopsy belong to a radical minority in rejecting the expectations of the contemporary audience and find their way back to the essence of their own sound on pure instinct alone. While the last couple of years has seen a rising of undead hordes practicing the ancient forms in a global campaign to transcend the pollutant mainstreamification of Death Metal, very few of these bands have really unlocked the primal secrets which were channelled into every classic of the old school – the dynamics of energy and the implementation within a brutal-violent, hysteric-emotional or transcendental-contemplative narrative, which the veteran likes of Asphyx, Autopsy and Goreaphobia have all recently demonstrated. The simple, largely hysteric level that The Tomb Within operates on makes it a powerful exercise of a seamless compositional style that is completely shaped by a savage state of consciousness, unintelligent yet impulsively aware of it’s own imminent death. Like an onrush of blood pumped through contracting arteries, guitars portray the frantic inner drama of one of Dr. Herbert West’s re-animations, diametrically opposed to his precise formulations regarding post-mortem. Atonal layering in the manner of Slayer’s more pathological works increases tension during these surging passages, punctuated by lead guitars that put to rest any hope of sanity returning. The trademark sludginess of Autopsy’s sound comes from instruments that are seemingly encased in adipocere, retaining within them all the character of their most memorable titles; not aspiring for a modern, clinical definition to their riffs but instead emphasising the rhythmic flow of energy in order to convey the sensations and suffocating experience of mortal dread. The band finds the balance once again of deathly force and doomy realisations as slower riffs offset the hysteria with tollings of morbid heaviness and an inescapable fate. Though Autopsy have stripped Death Metal to an essential skeletal frame, with the added simplicity of a horror movie-like thematic approach, this EP brings a much needed dimension of fear and madness to a world obsessed with ‘zombie horror’ as a populist, retro-hipster, marketing aesthetic.
Another excellent tonal poem by this Mexican symphonic horde sees a sense of orchestration and riff balance that has all the consistency of ‘The Key Of Throne‘ from 2004, though takes a deeper foray into the realm of cinematic, ambient orchestration that recalls what Summoning have been getting at for the last 15 years, mixed with the battle hardened epics of Lord Wind. This new turn in a more heavily instrumental form recalls what fellow countrymen The Chasm brought about in the form of last year’s Farseeing The Paranormal Abysm with a little less emphasis on the central role of vocals. Though rather than the syncretic, melodic death metal of their peers, Avzhia’s black metal assault owes it’s periphery to the best works of Emperor, Graveland, Ancient, Summoning and Xibalba, throwing them into a cohesive and bombastic mould. I would not say that this tops their previous full length, but this follow up is very worthy indeed and consolidates their status as one of the great torch bearers of what black metal stood to express, the embodiment of restoring mystical imagination in the listener.
See review here.
The unstoppable Rob Darken took again some time from swordfights and armour forging to take a look at the barbaric-modernist thematic system devised by composers such as Richard Wagner and Basil Poledouris, with a metallic energetic pulse rarely witnessed since Following the Voice of Blood; the last of the fast Graveland albums. The lack of Capricornus hardly matters because the authentic or perfectly synthesized drumkit recalls the same Celtic tribal warmarches and the raw, unsymmetric heartbeat of a primal man hunted by wolves, perfectly countered by the dark druid’s usual cold and hardened vocal delivery. A deeply neo-classical realization how to build heaviness through doomy speeds and chordal supplements still elevates the Polish seeker-initiator into a force far beyond today’s puny black and heathen metal “royalty”, looming beyond as a frightening presence of unrealized wisdom; nothing less than the Manowar of black metal, with no hint of irony or self-loathing. There exist two directions of expansion since the ethereal melodic chime of alfar nature in “From the Beginning of Time” is Summoning-esque (“Spear of Wotan” even features a variation of the “Marching Homewards” melody) while the harmonic perception takes a sudden dive into folkloric origins in the proto-rock riffing of “White Winged Hussary”, reminiscent of the most “redneckish” moments of the early albums. No essential component has been changed in a decade of work, but slight improvements of formula keep the mystically oriented listener spinning towards the distantly heard croaking ravens that herald the upcoming axe age, one that shall bless our corrupted world with a merciful blow from Wotan’s spear of un-death.
See review here.
Recent history has borne witness to developments in Black Metal that sets the music more at war against itself than with it’s traditional enemies and time has accumulated vast quantities of debris resulting from this internal crisis of identity and credibility. The shape of all the rubble is appropriately rocky, resembling the multitude of “fairy land” daydreams based on genres of alternative popular music incorporated to gain the approval of outsiders who possess no more understanding of the wolfish, warlike and mystic poetry of Black Metal’s spiritual essence, but want to claim this ‘niche market’ as their own. Even the cloak of demonic symbology, long-since regarded as a joke to even the casual listener – little more than a generic garb for posturing and associating with the genre’s ancestors – has been accordingly stripped of all occultic luminance, which shined too fiercely over the eyes of the humanist infiltrator, such that the tears of depressive-suicidal ideologies would instantly evaporate. None of these signs of the times, however, have influenced the veteran duo of Dagon and Incubus, who, in an ultimate statement of Satanic zealotry and inhuman purity, tunnel back to the hypnotic primitivism of Black Metal’s first waves, re-formulating and refining the style of early Bathory to produce an album that reveals the inherent mystical wisdom which inspires Black Metal’s sinister imagery, with no recourse to obvious cliches nor over-intellectualisations in order to clutch at some idea of artistic credibility and potency. Based on the technique of Immortal’s ‘Pure Holocaust‘, Inquisition craft expansive yet blasting soundscapes from swirling portals of riffing immediately reminiscent of ‘The Return……‘ by Bathory in it’s Punkish brevity. These are inflected by dissonant open-chords and all manner of string-bending and sliding chaos to create a legitimate sense of increasing cosmic awareness and trans-dimensional ascension, as they circulate around each song’s central melody in a bizzarely motivic fashion. This is a component that bands such as Blut Aus Nord, who aspire to embellish their songs in such an experimental way, simply do not possess. Even the most meandering of arpeggiated open-chords don’t feel derivative as they sound out powerful and song-defining melodies rather than merely filling out time and space. Similarly to fellow Latin Americans Avzhia, Inquisition create a total sense of grandeur by bringing songs to an apex of expression through essentially simple but epic power-chord riffs. The masterful percussive transitions of Incubus guide the album fluidly between the various evolutionary elements of Inquisition’s sound, from the majestically crashing and pounding cadences of Burzum to the rolling avalanche of Immortal. Ominous Doctrines of the Perpetual Mystical Macrocosm is in many ways the album that the Blashyrkh horde should have recorded instead of ‘All Shall Fall’, as even Dagon’s toneless chanting style is somehow more expressive than past vocalisations in its similarity to Abbath. But all comparisons aside, there is no doubt as to which band reigns the Black Metal underground almost alone these days as Inquisition have created another uncompromising and profound work that no other so-called Satanists have the power to match.
See review here.
The New York City borough of Brooklyn might be better known to the universal consciousness as “The Hipster Capital of the World”, “A Fantastic Place to Collect STDs”, or “Where Culture Goes to be Sodomized”, amongst other colorful and imaginative epithets. Naturally, any self-touting Metal bands originating from this region ought to be approached with utmost scrutiny, as these are all almost invariably revealed to be alternative rock acts hiding beneath a masquerade of long hair and Dionysian discord. Breaking decisively away from this brand of perfidious whoredom are nouveau death metallers Mutant Supremacy, who occupy a peculiar nexus in between Monstrosity, Dismember, and Infester — thus setting them apart from the archetypal NYDM style as well. Seemingly fueled by an intense hatred for the free-loving cosmopolitanism that surrounds them, this band constructs theatrically explosive war-anthems conceptualized around a post-nuclear-apocalyptic Hell on Earth, rife with Thrasymachan rhetoric, biological abominations, and grisly accounts of human extermination. Songwriting on this debut mostly shows a clean-cut and sharp sense of narration clearly indicative of a studied discipline in the arts of classic Slayer, although there are a few odd weak moments where stylistic confusion vomits forth a spate of old school clichés and uncompelling Flori-death/Swe-death/British Grindcore aggregates. Overall, however, there is certainly something refreshingly violent in development here, and it’s a victory to hear such a proud death knell coming from what is otherwise an utterly syphilis-addled portion of the planet.
True to form, Profanatica release a focused, energetic and iconoclastic opus that shatters and mocks any infantile and moralistic conception of reality. Both compositionally and aesthetically powerful, the production on Disgusting Blasphemies against God is both clear and full, lending itself nicely to an analysis of its subtleties and providing the clarity necessary to gain a chuckle at the expense of nearby spectators privy to the album’s intrusive vitriol. Ledney’s vocals are hilariously clear yet retain a threateningly violent quality that is becoming of this style of Black Metal. As Ledney vomits forth his blasphemic ritual, listeners are treated to a notably ominous musical atmosphere that is uncomfortably somber, deranged and challenging. Utilizing single note tremolo picking, reminiscent of a cross between a more consonant Havohej and the effective and simple melodies of VON, Ledney in is his genius, develops motifs, that while perhaps more obvious and accessible, remain potent and successfully create an intriguing state of anxiety. These motifs both seamlessly emerge from, and return to sinister Incantation style riffs which work together to develop a unity and structural coherence that while primal and simple is undoubtedly effective. The interplay between these musical variable creates an overall experience that portends the celebration of the powerful, living and animated chthonic mysteries and perhaps more pressingly the apotheosis of their necessary destructive capacities.
Toronto’s death dealers unearth the forgotten formulas of 80s-90s extreme metal in their second offering, a follow-up to the debut cassette “A Litany of Vileness”. This punk-driven death metal statement delivered by veterans of Canadian scene (former members of The Endless Blockade and Rammer) shows no mercy: it is short, volatile and dirty. Yet, at the same time the material is well weighed and balanced, blessed with the genuine feel of old-school art. The production helps conveying old metal nostalgia whereas Spartan songwriting confronts useless acrobatic tendencies of the modern scene. The band’s uncompromising music is perfectly collaborated with artwork by Moscow artist Denis Kostromitin. Standing on the shoulders of giants like Autopsy, Carnage, Pestilence, Repulsion and Discharge these reapers managed to find a voice of their own. We can only hope that this beautifully presented vinyl-only release is a “carnal promise” of Slaughter Strike’s prospects.
–The Eye in the Smoke
July 16, 2009 – Profanatica – Disgusting Blasphemies Against God review – g0d’s biggest detractors vomit again
Recently we published an account of how a Christian “black metal” band was attacked by fans who resented the encroachment of propaganda against evil into the devil’s music.
As many acknowledge, metal is very much the devil’s music. It is obsessed with social rejection, the occult, the power of nature, warfare, death, killing, disease, horror and ancient ways.
When you pick up your average heavy metal record, it is the exact opposite of the message of good, which is that we can make a perfect society where raw power doesn’t rule and where everyone is accepted.
In the world of metal, all the best laid plans of mice and men go awry in the worst possible ways. There is no perfection to society, or humankind. It is warfare and predation, red in tooth and claw, fighting it out to the end.
For this reason, metal has exhibited a fascination with Satan since its earliest days. Where the blues showed a belief in Satan’s power to help individuals, metal went elsewhere and portrayed Satan as an active metaphysical force affecting us all. As time went on, that viewpoint went from fearful (“War Pigs”) to an outright endorsement.
As one writer noted:
He asked me if I worshipped “the Devil,” looking at my iPod’s screen, where the gloriously disgusting cover of Cannibal Corpse’s The Wretched Spawn was displayed…
After shooting him a sideways glance that I hoped would be conveyed as Satanic, I thoughtfully sipped my Jack Daniels. Then I leaned in closely, asked if my black nail polish gave me away, and added that, duh, everyone who listens to metal — especially chicks –practice secret Satanic rituals that work best with the blood of an unsuspecting male. – “Is Heavy Metal Really The Devil’s Music?” by Lauren Wise, Phoenix New Times, July 23, 2012
The article goes on to have a balanced view of the metal equation, in which some newer material that is pro-Jesus gets some airplay. However, the lingering question remains… isn’t the majority of metal evil? Doesn’t the exception prove the rule?
To that end, we present the most blasphemous metal we can assemble so that you, too, might enjoy the blessings of evil:
Slayer – Altar of Sacrifice
Back in the 1980s, when Tipper Gore and her big-hair people ruled the censorship committees, this song seemed designed to fit into their worst fantasies. Its lyrics read like a Satanic ritual and its sound dwarfed anything else on the record store shelf.
Beherit – Lord of Shadows and Goldenwood
This album opens with a recited text from the Church of Satan, and then launches into some of the most primitive and evil-sounding metal ever created. This particular song hails the dark lord in a manner that by being mystical and metaphorical is almost more threatening than direct assaults.
Hellhammer – Satanic Rites
Three proto-black metal bands founded the genre: Bathory, Sodom and Hellhammer. Slayer gets some credit for technique as well, bypassing Venom who were fundamentally a heavy metal band and not really black metal in any distinctive way. Of these, Hellhammer came up with the best tribute to Satan ever invented. Obey the ritual!
Darkthrone – In the Shadow of the Horns
No list would be complete without the band who inscribed “As Wolves Among Sheep We Have Wandered” and “Darkthrone is for all the evil in man” on their early albums and claimed to be the most hated band in the world. One of the best bands in the world, if you ask me, and filled with delicious hatred for goodness.
Demoncy – Impure Blessings
If you are curious as to what it will sound like when Satan takes possession of earth, this song should tell you. Occult lyrics combine with a sound like an ineffable mechanical devourment of earth itself by forces opposed to all goodness and beauty.
Deicide – (Discography)
We could write several articles about which Deicide albums or songs are the most blasphemous, but it really is splitting hairs. From their eponymous debut to their last great album, Once Upon the Cross, this band blasted Jesus with hatred and mocked God, proclaiming Satan’s order on earth. The only reason they might not be qualified as evil is that they probably drove hordes of people to church in horror.
Blasphemy – Ritual
The Satanic Skinheads from Ross Bay brought us this disturbed homage to Satan and evil ritual. You can imagine a cemetery desecration and the broken wings of angels scattered across a dystopian wasteland, while elegant fragments of music from a more orderly time fade out on the toxic wind.
Mayhem – Life Eternal
This song smashes the idea of a pleasant afterlife with its image of eternal death. Although it does not mention God, Jesus, angels, etc. by name, it does refute the theories of these notions with a darker and more unforgiving concept.
Von – Satanic Blood
Apocalyptic evil emerges in this song that sounds like an air raid alarm being played over the chants of those who would destroy this world for Satan. Possibly one of the most minimalistic black metal bands ever, Von influenced others with its droning call to blasphemy.
Hypocrisy – God is a Lie
Threatening to choke the life out of God with their own hands, Sweden’s Hypocrisy launched into a tirade of righteous anger that has few comparisons in the world of music. This is the wrath of anti-god and it affirms that metal truly is the devil’s music.
Samael – Into the Pentagram
Named after a demon whose name is supposedly the key that unlocks the death of God, Swiss evil metal slingers Samael unleashed a torrent of occult and mystical works that refute the Bible and the best wishes of its minions. This particular track seemed custom-cut to delight those who relish apostasy.
Unleashed – For They Shall be Slain
No list of blasphemies in metal would be complete without this Viking explanation of how the Christian invaders must be destroyed and cut down where they stand. This is blasphemous, but more importantly, it’s a call to war that many heeded and still more are appreciating.
Burzum – Lost Wisdom
No assault on God would be complete without a litany of the sins of the Christians and the philosophical crisis brought on by dualistic monotheism. In this short hymn, murderer and fervent anarcho-nationalist Varg Vikernes encourages us to remember how Christianity displaced knowledge into symbols and cut out actual experience of life. It’s less rage and more an unsettling sense of deep opposition.
Havohej – Weeping in Heaven
Sounding like rebel angels who picked up instruments casually scattered around Hell in order to wax lyrical about the joys of evil, Havohej oppose all that religion and good bring with it. I vomit on God’s child!
…and last but not least…
Bathory – The Return of Darkness and Evil
Not many people understand the profundity of this song’s undoing of the Revolution that brought us goodness and light. It posits a world outside the well-intentioned order of the church and its humanist allies in which predation, war and violence rule the day instead of morality. After a millennium of trying for Utopia and creating dystopia, Bathory argues, we should return to the primitive ways before consciousness of morality, as those had better results. Unsettling.
What to take away from this all?
First, metal is the devil’s music. Even if you were Christian, like Slayer’s Tom Araya, you would want to make music that sounded evil and opposed the do-gooder notion of a moral order. Metal is not protest music, but it is discontent music, and discontent of a type that affirms all the fears humans have of life outside our social and moral order.
Next, Satan has some killer tunes.
Finally, it makes sense to look at metal in a historical context. See if the following description makes any sense to you:
Romantic poets cultivated individualism, reverence for the natural world, idealism, physical and emotional passion, and an interest in the mystic and supernatural. Romantics set themselves in opposition to the order and rationality of classical and neoclassical artistic precepts to embrace freedom and revolution in their art and politics. – “A Brief Guide to Romanticism” by the Academy of American Poets
Many of the themes that rock throughout metal would be at home in Coleridge, Blake, Milton, Goethe and Wordsworth. Like Romantic poets, metal struggles with the new world order that came about in the 1700s based on the Enlightenment. In this order, the morality of the herd was at its full power and it used the Church as its shield and justification.
And like metal, they rebelled against it then, much as blasphemy echoes the halls of rock now when metalheads compose their micro-symphonies to Satan and hymns of praise for evil.
2. Pure Fucking Metal: The 80′s Underground
3. Vomit: Still Rotting CD
4. Mayhem: Deathcrush MLP
5. Cadaver: Hallucinating Anxiety LP
6. Darkthrone: Soulside Journey LP
7. Mortem: Slow Death EP
8. Old Funeral: The Older Ones CD
9. Thou Shalt Suffer: Into The Woods Of Belial CD
10. Arcturus: My Angel EP
11. Thyabhorrent: Death Rides At Dawn EP
12. Generalization: A Statement Of The End
Written by Devamitra with Fenriz (Darkthrone), Anders (Cadaver) and Manheim (Mayhem)
I have had this Vision
of a voyage in mind and soul
Through silent Somniferous scenes
within the enclosed chambers of my
untouched spiritual experiences
Soaring through damp air
Seeing faces, twisting, plunging through my colour
– Darkthrone, Soulside Journey
From the downbeat plays by Henrik Ibsen to the introverted nightmare paintings of Edvard Munch, the Expressionist era of Norwegian art had a hundred years ago remembered the voices of the dead and listened to the weeping of the living.
Art connoisseurs took note of the summoned ancestors and the frozen shades of the Norse era, that had been united into jagged juxtapositions of a modern life and an industrializing society – a world of pain. As Norway rose in material wealth throughout the 20th century and discovered the dubious ideals of social democracy, the nation was forced to hide their deep embedded pride, honour and dignity into the bottomless domains of subconscious and hidden symbolism. Ghosts of the Nazi occupation haunted and shame caused people to understand moral problems. If grandmothers and grandfathers still had remembered the rites of witchcraft, the oaths spoken to the wallowing mist of the fjords, they were now abandoned to a worldview committed to science, humanism and well-being.
Young minds were seething with fury, anxiety and barely contained stellar potency of creation. Norway around them was filled with McDonalds, idiotic TV programs and insipid pop by A-Ha. The generation between 16 and 19 years of age had integrated into their worldview the stylistic tenets of punk, thrash and heavy metal, whose nexuses in the beginning were the heavy capitalist societies of the USA and the UK. The resulting chemistry was to inspire the manifestation of the most evil and brutal sounds possible, in retaliation towards the satiated ideal of “peace” that reeked of old, dying people and blasphemed the Viking ideal of death through battle.
Sweden, always ahead in trends of Western Europe and America, had led the path towards the Scandinavian idea of death metal with the original black metal sorcery of Bathory and followed with a string of demo-level bands (Corpse, Hellfire, Obscurity, Morbid and Sorcery to name some) years before death metal mania exploded. Finland lagged behind with Norway until Xysma and Abhorrence opened the gates of Hell there and death metal bands formed by school pals and neighbours surged from even the quietest suburbs that barely knew about heavy metal, as in Sweden.
Fenriz: There was no scene in Norway. For instance the Swedish punk scene wasn’t only 10 times as strong as Norway in early 80′s… try thirty times bigger! Finland was just a bit better with metal, but much better with punk. So we were like a third world country, and it was Mayhem and the Slayer mag that put us on the map originally in ’84-’88 (more intensely ’85-’87). Then a bunch of us others joined the underground with our bands too.
One without the experience of death metal life without public attention can not dive into the extreme and alienated emotion of a morbid artist who is intent on creating noisy demos with batches of cruel artwork, releasing only tapes or meager 7″ EP’s on mostly rip-off labels and this has to be kept in mind when the eternal “rock star” accusations are levelled towards the same people now. The spiritual impact of what these misfits created in the 80′s was as extreme of a phenomenon, if not more, than to commit crimes known to everyone in the vicinity. They were practically admitting to being insane.
Fenriz: There weren’t any fans. Everyone had own bands and were because of this isolation of course total maniacs. We had to make our own fans here, ha ha. But punks liked us, and we played good show at Blitz, famous Oslo punk house in 1990. Norway was not important, it was only underground work with snail mail that was important to me. That was 90% of my work.
Anders: This was before the Internet and to get a hold of an album like “Reek of Putrefaction” by Carcass meant
you had something truly extreme in your hands. The whole idea of being true and anti-normal came mostly from Euronymous and his developing Black metal philosophy. He had a strong impact on all of us and it was hard to get away from his force so to speak.
Manheim: It felt good, I can tell you that much. People didn’t understand it much. A lot of musicians and friends around us told us that we wasted our talent, and it wasn’t music that the average listener liked. But we didn’t make the music for the masses, we did it for our selves and for the few around the world that liked extreme music. We tried to make something new, and I do think we succeeded on that one.
In musical respect, the kickstart of the scene was from the capital Oslo, a violent clash between the anti-social, minimalist riff of hardcore and the agility exercise of speed metal; these sounds can particularly be heard in the demos of Vomit. Mayhem, also from Oslo, initially represented a similar style of music and Vomit members sometimes filled positions in Mayhem and vice versa, but it was soon to be conjoined with the extreme attitudes belonging to black metal, far before any other band in the world adhered to them. Small town (Kolbotn) thrash kids Gylve Fenris, Ivar and Anders created Black Death, which combined the speed metal of Destruction or Dark Angel with humorous lyrics relating to their daily life and later developed into the extreme entity that is Darkthrone.
Fenriz: 80′s metal scene was nothing in Norway, we made it ourselves, and broke away from all (lack of) standard here. Global underground was everything to us. Norway was not important, but became much better in ’89. Impostor was also a cool band, but had nothing to do with death metal.
The hyperactive Vomit was never to get a professional release for their material back in the day; this recent compilation hosts demos and rehearsals and the same line-up also reformed as Kvikksolvguttene in the 90′s to play some old and new songs. This CD contains several demo versions of the same tracks but it’s easy to listen all the way to such basic, catchy and hilarious manifests. Surprisingly sensitive, like a much simpler Slayer, this hyper-organic sequence of thrash aims its nuclear warheads towards society because of the realization that it is malfunctioning. It gives memories of early COC and Cryptic Slaughter, even Minor Threat in its high energy fueled rebellion – just check “Demonoid”‘s violence. The assaulting harsh vocals ranting about the legions from Hell remember Venom.
Musical cues from Kreator and Sodom in tracks such as “Rotting Flesh”, while rudimentary, suggest the evil power of proto death metal — confrontational punk metal in the spirit of Sepultura’s first album: non-produced and immature. When slowing down to groovy and grinding, the chaotic leads and chromatic chord progressions sound like a band from the old Earache catalogue. The primal energy in tracks such as “Armies of Hell” is simply infectious, inspiring to action for the sake of feeling, thrill and power, like this was a middle finger against the city, these kids were hanging out, overturning police cars and breaking windows. Overall it’s much better than today’s retro bands in a similar style.
Fenriz: Vomit was the rawest well played band in mid-80′s, death thrash, completely awesome, as good as “Hell Awaits” or Dark Angel’s “Darkness Descends”.
Anders: The first Mayhem EP “Deathcrush” came out in 1987 and this is by far the most interesting release of the time.
Mayhem overturned the Norwegian underground with their maniacal proto-black metal, with an air reeking of chainsaw murders, snuff movies and glue sniffing. The barbaric simplicity of the songs defies even the logic of Hellhammer. We are witnessing the birth-gasps of the BM underground here as krautrock’s Conrad Schnitzler’s magniloquent, twisted avantgarde intro leads into an infernal journey through vistas of butchered early black metal. The recipe is mixing together the primal elements of speed metal and punk, then mangling them as unrecognizable traces of rock music that used to be “fun” but now torn to sarcastic pieces in the hands of bestial psychopaths. Any kind of elegance or progression was unknown to these guys. They make up for this bluntness by organizing with raw vitality and a clear purpose for doing it this way as the pieces of the image fit together. While Euronymous’ riffing is primitive-inventive and Manheim’s heavy drumming is perfect for the material, one can hear that the songs are still mostly in the level of demo versions for a band of Mayhem’s stature developing slowly towards their full potential. The impudently vicious lyrical side centered on gore and blasphemy would fare better through the mouth of the next vocalist Dead while on these recordings Messiah (not Marcolin!) stands out as the superior of Maniac of the two featured voices, as his Sodom-influenced pacing lends power to the old demo track “Pure Fucking Armageddon”.
Manheim: The band image and style was something that came quite early. But it wasn’t the reason for the formation of the band. We started the band because we shared the same ambition to make something different and extreme. I’ve tried to explain it on my blog post “Am I evil”. I recommend that you watch the documentaries “Pure Fucking Mayhem” and “Once Upon a Time in Norway”. The main musical influences were of course metal related, in combination with extreme musical genres. Lyrics were inspired by many sources, but were specifically designed to fit the musical soundscape and the aggressive image surrounding the Mayhem concept. The interest for avantgarde music was something Euro and I shared. We also formed a project we called L.E.G.O. where we explored ideas and concepts within noise and experimental music.
Fenriz: Mayhem was unique, but not an inspiration for death metal. Euronymous only liked death metal up to “Scream Bloody Gore”. He was sceptical to Autopsy when I played him the demo in ’89. But we loved and still love Autopsy of course.
Cadaver was the next major band to heed the call to arms, from the small coastal town of Råde nearer to Sweden, playing a version of death metal not too far removed from the bass heavy, electric sound that was already becoming huge in Sweden and not surprisingly, Cadaver was to be the first Norwegian death metal band to release a full-length album on a label, racing past Darkthrone who still continued developing through a serious of demos in death, doom and black metal style incorporating a psychedelic tendency that was unique, Norwegian and unforgettable, actually sounding more like the Munch paintings come to life than loud rock rebels. By this time various other death metal bands were spawned by the soil which had absorbed the blood of the sacrifices to Odin. Like mushrooms bands such as Old Funeral from the pagan and occultist infested Bergen, Thou Shalt Suffer from the sports and music obsessed Telemark countryside and Mortem from “global” Oslo sprung up, all being practicing grounds for a legion of musicians destined to fame and glory in future projects.
The viral and persistent Cadaver took the death metal art in Norway to a new level: besides violating the listener with speed, the intricate composition aims to rip through artificial examinations of reality through morbid revelations. This controlled and logical death metal experience is not quite the absolute psychic expressionism of Darkthrone’s masterpiece but musically soars high above the previous releases and most of what was to follow. Quoting Celtic Frost and Morbid Angel for listenability, hardcore influenced beats underpin a consistently brutal and bludgeoning riffwork in Carcass’ minimalist vein, bringing to mind images of an industrial age wasteland. Vocals are harsh, grating commands in the rhythm of Brazilian bands, promising continuity of experience all the way into grim death. While hateful, arrogant and mid-paced, centered around gore and loss of hope, some of the most beautiful tendencies of Scandinavian death metal already arise on this release and are made all the better by incorporating the best of the deconstructivist tendencies from grindcore music. Twisted and narrative in arrangement, the barbarous and thundering old school death metal riffs of Cadaver proceed to explain the magic of reality in their series of devastating conclusions, proving the album a long lasting gem.
Anders: We had a variety of favorite bands that inspired us at the time. Apart from the bands mentioned we were all into Napalm Death, Kreator, Sodom, Slayer, Death, Autopsy, Paradise Lost, Mayhem, Equinox and not forget Voivod. We were a part of the scene and into all the stuff that came out on demos etc. too so it is not right to say we were influenced by just a few bands. We were into hardcore stuff like A.O.D., S.O.D., Carnivore etc. as well as black metal bands. It was a wild mix.
Fenriz: Cadaver was absolutely great in ’88 and ’89, we played with them and saw them live many, many times! Cadaver was the first Norwegian death metal release, we came right after with the 2nd.
An album released 20 years ahead of its time, it’s one of those timeless classics that defy description and comparison. Even today it’s impossible to find death metal that sounds quite like it. It somewhat escaped people’s attention back in the day and has existed on the verge of rediscovery with the sporadic bootleg and official releases of the Darkthrone demos but is still not very widely known among the Darkthrone fanbase. Resembling Celtic Frost taken by the hand of a witch doctor through a series of cosmogonic explanations while on an LSD trip, what starts as gnarly and crawling doomdeath becomes an experience from the beyond. The album has very little in the way of the overbearing brutality of Florida death metal or the catchy Slayer-punk riffing of the Swedes, but it is full of parts that stick to mind and make you come back to its sequences of mystical, foreboding and inconclusive themes and landscapes. Some of the resolutions of its parts are almost disgusting in their divergence from habitual speed metal, death and thrash and they wrack the mind. The evil and brooding melodies crawl over your neck like alien insectoids. Nocturno Culto’s vocals already show their depth and power and so do Fenriz’ inimitable lyrics. On this release Fenriz’ unique drumming skills are the most apparent; pure cult in the making. The eerie use of synths heard on this album would undoubtedly have spiced up some of the later Darkthrone material too. This is the birth of “death metal for the intellectual”.
Fenriz: There’s only one Celtic Frost riff on “Soulside Journey”! We were inspired by Possessed, Autopsy, Death, Nihilist, Sepultura (“Schizophrenia” album only), Nocturnus (2nd demo), Devastation (Chicago) and such, Black Sabbath too… but most importantly we had a mission statement: all the riffs should be able to slow down and play on a synth as horror movie effects. So we played technical horror death metal with doom elements and also our eternal inspiration, visions of the universe: even our first demo in early ’88 had an outer space painting as cover.
Anders: The Darkthrone debut album has some great songs in it and it blew me away at the time. It sounds very Swedish and if it had the grim sound of lets say Autopsy it could have showed a different path for Norwegian death metal along with us for young bands at the time. Who knows?
Mortem’s seldom heard EP boasted some of the most catchy riffs of Norway’s early death metal and one of drum legend Hellhammer’s earliest performances on record. Mortem joins the company of Vomit in aiming to produce the death metal experience with hardcore-like simplicity. Tracks such as “Milena” and “Slow Death” are pure headbanging mania, not much else, though the latter also has an interesting modal type of guitar solo. Considering the general sound quality, drums are surprisingly clear and powerful and show Hellhammer’s early skill in arranging rhythm. Such elements and the beautiful intro to “Nightmare” leave one wondering a bit how it would have been if this band had recorded an album. The heavily distorted vocal performance is of a dubious benefit, like an overblown imitation of Maniac’s already annoying screams on “Deathcrush”. However, they lend a chaotic, absurd and insane element to the proceedings of what is rather usual demo level death metal from a young band.
At times nearly reminiscent of “Soulside Journey” in enwrapping the listener with pure twisted melody riffs, its surprising that this compilation of material from some of the most interesting line-ups (future Immortal, Burzum and Hades members) of death metal is not too much celebrated. It’s easy to already hear traces of the epic ambient guitar that would characterize the members’ later bands – the Wagnerian “My Tyrant Grace” could easily be an early Immortal recording. Old Funeral’s recordings do often fall short of brilliance, songs having good parts but being incomplete. Old Funeral had potential to be a magnificent band but sadly never got a stable enough line-up or enough work and attention to make it happen. At worst (“Lyktemenn”) the material is unorganized and thrashy, emotionally anguished in a selfish way and using half written heavy metal influenced melodies in a despicable way, inconclusively jumping from one phrase to the next – obscure but not visionary or evolving, just a collection of moods. “Into Hades” approximates early doomdeath. “Abduction of Limbs” is inspired by technical US death metal and succeeds in building an evil ambience. “Devoured Carcass” is more obviously Scandinavian in manufacture, akin to the barbarous blasphemies of Treblinka or Beherit as microbic riffs intone trances of darkness in a nightmare of lost souls. Slower funereal passages on the compilation echo traces of ancient Cemetary and Therion. The black thrashing of “Skin and Bone” reminds of Bathory or early Voivod while throwing some sparkling, clever leads into the mix, creating a surprisingly war metal-like high energy plutonium explosion. This ripping and rocking track manages to approximate brilliance. The core simplicity of most of Old Funeral’s material will hinder the pleasure of the elitist metal listener, but much of it remains highly listenable as even the live recordings work surprisingly well.
Thou Shalt Suffer was the product of an already long development from band formations such as Dark Device, Xerasia and Embryonic, composed of future music-magicians who would form Emperor, Ildjarn and the Akkerhaugen sound studio. Mostly early 90′s Swedish satanic death metal in style, Thou Shalt Suffer assaulted the listener with disorganized yet compelling demo level death metal noise with submerged, intense and evil soundscape. Seriously brutal in nature, interlocking chromatic riffs in the vein of Incantation or early Amorphis race on, sporadically bursting into uncontrolled grind. Vocals are super-dramatic in Ihsahn’s craziest early style, ranging from humorously weird to total evil and synths repeat a few doomy patterns, foreshadowing Ihsahn’s later neo-symphonic obsessions. The songs are expectedly not quite there and everything sounds unplanned and spontaneous but for pure spirit it can be quite exhilarating to listen to it today. The discordant, fractured and genius stream of melody of the main riffing recalls ideas later developed further in beautiful way while the expert rhythm guitar is able to create the texture of an infernal landscape. Fragmented but compelling, it should go without saying that it has already done more than most of today’s death metal releases. A special award should be presented for the long experimental outro track “Obscurity Supreme”, seething with a truly avantgarde ambition beyond the later “art metal” habits, worthy of its title.
The Mortem line-up returned with this piece of madness before plunging into black metal sounds using this band name. Arcturus started its career reminiscent of Swedish second tier satanic death metal bands in the vein of Tiamat, cutting through the intricacies of the narrative death metal of Cadaver and Darkthrone to hammer out Wagnerian power chord doom, with not much appreciation for subtle nuances. The first track “My Angel” starts out psychedelic and impressive, foreshadowing the deep symbolic exploration of the internal cosmos done later by bands such as Tartaros. However, in Arcturus it remains as just another eclectic act, as the dramatic development proceeds in an expected way. While the impressive parts are there it doesn’t reach the magnanimous stature it’s trying to achieve, with the keyboard melodies from film soundtracks and the evil vocals reminiscent of early Samael. “Morax” is a track with gothic, Cathedral-inspired doomdeath wrapped in a synth layer of Nocturnus. Arcturus attempted to obtain a complex, insane atmosphere of invocation but it was not to be their forte; the careening splendour of “Aspera Hiems Symfonia” would be better music.
Thyabhorrent, led by Occultus (another figure from the early black metal history around Mayhem and Helvete), specialized in simple death metal which used some speed metal riffs and emotive lead guitar interludes. Occasionally similar to Dissection, it seems to carry an eerie foreshadow of Gothenburg and today’s mainstream death metal style while still proudly enwrapped in the mystique of the Norwegian underground. The catchy metal riffing and try-hard vocals in “Condemnation” are halfway to serious power, falling short of the atmosphere obtained by almost all other works of the era. The good riffs are wasted by the very simplistic construction of songs and the unfortunate tendency to rip a wrong context: heavy metal. “Occultus Brujeria” displays an elegantly romantic tendency which could have been something with more development: doomy clean vocals herald simple black metal of expressive, gothic, über-dramatic character. Some of the interludes suggest ideas that could have turned this into an elaborate progressive black metal band but as it stands, it’s a much weaker and tamer version of the kind of material released by Necromantia, Burzum or Isengard early on.
The original death metal underground of Norway was alienated, silent and private and thus gave a chance to develop all these ideas towards their full fruition. When the scene burst into the attention of a million of trendy fans, it dealt a blow to the atmosphere that could not be recovered from it. The sanity of the fragile artistic mindset required that the adherents move away towards new areas of quietude and purity (“away from the noise of the marketplace” in the words of Nietzsche) to continue the serious contemplation of darkness. What follows is the history of the early 90′s black metal phenomenon; Cadaver remains the sole band of the ancient underground that is still around cranking out evil death metal.
Anders: We split up in 2004 – so no, we are not around. To call Death Metal trendy is a sidetracking of the whole thing. I don’t share the idea that we ever played something trendy. To play death metal in 1999 was as un-trendy as it could be. I call what I play death metal still because it is my playing style. Death metal can mean much more that most people think. I am a death metal man by hand and a black metal man by soul.
Fenriz: I can with my hand on my heart say that I only bought like 5-6 death metal releases in 1990, and maybe 2 in 1991… or none. The studios like Morrisound and Sunlight were fresh in the very beginning, but organic sound is the best and I quickly learnt to hate these click click bass drum sounds that started to ruin metal in ’89 and have completely ruined generations of metalheads later on. In ’89 death metal compilation tapes were overflowing the underground, I had already been through hard rock and heavy metal and power and thrash and everything possible, then I saw that thrash metal got boring and too copied and the same thing happened with death metal, it was too many bands, but the sound was good in ’89. But to me, I heard Hungarian Tormentor on one of those tapes, and got back into more “evil” sound again, like Destruction “Infernal Overkill” and such, as I hadn’t listened to them for a while. I saw it as just thrash, but after getting an evil revelation with Tormentor, I saw a lot of the thrash I had from before in a new black light, and I got more and more into Bathory. And in 1990 I mostly listened to the more primitive stuff, but our craft was technical death metal and we needed to complete our album. Even after our album we had lots of material pouring out of us (became “Goatlord” album) but it had to stop with this technical style, we were all agreeing on this except Dag. We took a U-turn unto the primitive lane in 1991.
Even a cursory investigation to the workings of the early Norwegian metal underground should dissolve one of the most persistent illusions about Norwegian black metal bands such as Burzum and Immortal: that they did not know how to handle their instruments, or did not have an extensive background in musical expression. Do you think they simply wanted to pose evil with corpsepaint? They were talented musicians who had years of experience playing technical styles of death metal before the black metal explosion. The simplified sound of black metal was due to the ethics of black metal and the spirit of black metal. The black metal resurgence intended to develop metal music to a new level of intensity and create a purer atmosphere, unpolluted by the social agreements of the new death metal people.
For most metal fans Norwegian death metal means either black metal or the new digitally produced bands in the vein of Zyklon and Blood Red Throne. The intent of this excursion has been to show how pure death metal was the fundamental force in establishing the original Norwegian underground metal scene and how it ultimately grew into the most vital and archaic musical movement of the 90′s, Norwegian black metal.
Anders: The bands such as Darkthrone, Mayhem and Immortal were in fact very inspired by death metal. If you listen to the latest Emperor, Satyricon, Dimmu Borgir albums they all have strong elements of death metal in them. The scene that was to become the Norwegian black metal scene was never a “one-way-street”. The issues with Swedish bands in ’91-’93 was mainly about the fact that death metal became conformed, predictable and non-dangerous. The strong standing of the black metal scene overshadowed any death metal band for many many years and this is still the case.
Manheim: I of course felt and feel proud of being responsible for giving people inspiration. That so many people in Norway and around the globe have taken this further is of the good. Of course there’s a lot of bands that appeared that didn’t do anything else than copying those before them, but the development of genres like Norwegian BM and others shows that there’s a lot of creativity and wonderful musical contribution that has been done after Mayhem released its first demos and “Deathcrush”. My personal favorite releases are Darkthrone’s early works – and if I have to choose, “Under a Funeral Moon”.
Fenriz still works on Darkthrone, promotes his favorite underground bands and speaks against forest industry. Anders has been playing live guitar and bass for major bands such as Celtic Frost and Satyricon. Manheim composes and performs experimental music and writes a good blog on culture and music. Deathmetal.org thanks them all for their kind contribution.
Cosmic Fear arrives, I hold a dead one,
Surrounded by my many candles
(I burn to cleanse the air)
Rotten Unclean Sacrifice Nightmares
Unreal Psychedelic Journey
Ride The Darkside
Search The Soulside
– Darkthrone, Soulside Journey