Darkthrone‘s second album, A Blaze in the Northern Sky, turns twenty-five today. For much of the mid 90s, Darkthrone constantly referred to A Blaze in the Northern Sky as their first album as it was the first commercially released record to adopt the quick and dirty “necro” production style and to have been part of the Norwegian black metal second wave initiated by Mayhem. However most of the individual musical inspirations were audible on their prior Soulside Journey album recorded at Sunlight Studio; the compositions on A Blaze in the Northern Sky were just much more sparse and droning due to different overall compositional goals reflecting the shift from progressive death metal riff mazes to minimalistic Hellhammerism.
Dark Symphonies has finally reissued Molested‘s debut album, Blod-draum on CD. A remixed version from the original multi-tracked studio analog tapes is included with the original master from the Digital Audio Tape on one CD. Jump on it.
Slayer – Haunting The Chapel
Napalm Death – Mentally Murdered
Rotting Christ – Passage to Arcturo
At the Gates – Gardens of Grief
Wings – Thorns On Thy Oaken Throne
Sacramentum – Finis Malorum
Zyklon-B – Blood Must Be Shed
Vulpecula – Fons Immortalis
Divine Eve – Vengeful and Obstinate
This series of reviews shows the infectious potential of condensing the multidimensional texture of darkness and mythology into a carefully trimmed brief explosion with no room for filler or long, meaningless passages of droning, experimentation or interludes. Those who mastered the art of the metal EP or mini-LP are rare, but deserve all the more credit for their achievements. The fact that you can listen to everything we have here easily within the space of one evening does not mean that the unlocked experiences won’t stay with you forever.
Showing a strong advancement in technique and an evolution towards a darker style that would be the staple of records to come by the band, Slayer throw off the camp shackles of their excellent first album, and give a more progressive approach to songcraft yet give more emphasis on repetition within individual riffs. The violent droning guitar timbre of Discharge makes itself ever more present whilst the musical language of Judas Priest and Angel Witch works itself within those patterns. The dissonant twin soloing of King and Hanneman is more suitable to this new direction also, whilst Lombardo’s aggressive battery finds more cohesion in using less variation and being more of an ambient backdrop than before, with Araya’s unmistakable rasp encoding itself sadistically within the depths. A bleak affair that summed up the apocalyptic meanderings of the speed metal movement and the embryonic beginnings of the death metal that was yet to manifest. -Pearson
This work is like a convergence of Napalm Death and Carcass, having left From Enslavement to Obliteration and Reek or Putrefaction behind in order to expand on their styles, towards Harmony Corruption and Symphonies of Sickness respectively. By Napalm’s standards, at this point in their discography, these songs are quite lengthy and structured with an attention to detail that recaptures the subtle shifts in mechanical motion of the earliest side to Scum. This technique is re-invigorated by the cleaner production, relegating the extremity of fuzzy bass for the sake of a twin-guitar assault that creates an hypnotic and delusional sensation, and shows the input of Jesse Pintado who would go on to record another highly influential work of Grindcore – Terrorizer’s World Downfall. Composition is practically freed at very the earliest moments of songs onwards, unlike previous Napalm Death albums where these parts were used to establish exactly which single riff will become immersed in a barely discernable anarchic explosion for the rest of the 30 seconds of music. Instead, it’s given a more Death Metal treatment, e.g. in ‘The Missing Link’, the opening riff seems to degrade over time into smaller grinding patterns until the fragments are juggled like sacks of meat by morbid Death Metal riffs. This is where some of the tremelo melodies that would tear through the rotten wall of sound of Carcass finds its place, accompanied by the mocking lead guitars of Bill Steer. The human tornado, Mick Harris is even more precise than his previous effort, but doesn’t lose any of his epithet’s justification. Lee Dorrian’s vocals become more guttural and undecypherable, conceding to the futility of mainstream political discussion. The seeds of an approach closer in line with the burgeoning interest in Death Metal were sown here, simultaneously taking Grindcore one step further away from reaching the dead-end of short and simplistic outbursts of truncated riffs and hollow statements. -ObscuraHessian
Warm, playful and overflowing with the abundance of inspiration in the rediscovery of ancient shamanic techniques of mystical metal creation, the Greek pioneers of Rotting Christ forsook the aggravated modern noise of grindcore in time to ride the wave of blackness that usurped the European metal underground. Remnants and glimpses of 80’s fast modern metal (Slayer) give way to an astral, luminous intensity of synthesizers and slowly picked melodies that suspend the themes for a moment to enable the mind to stop wandering and relish the unholy moment of concentration, in a yogic gesture of blackness. Few have ever used the crushing sonic world of black and death metal to so fully immerse in ethereal ritual, and such rare examples as Drawing Down the Moon preserve plenty of subtle reminders to this widely heard classic of European black metal. As their chaotic exhortations in countless zines of the period conclude, Rotting Christ’s hybrid of gothic and black metal aimed for an architecture of the infinite, regal sunsets of lost kingdoms whose landscapes are not for the eyes of mortals, except in dreams and in death. As “Forest of N’Gai” aptly proves, black metal was at its height when not contorted to fit the schemes of a political ideology or an orthodox Satanist movement, but like the great works of literature a realm of fantasy of its own whose symbols are rooted in our deepest unconscious fears and desires. This sub-space can then be used by the analytical mind to figure the patterns of generation for a multitude of creative, even lunatic, concepts. -Devamitra
The original Gothenburg gloomy melody cult made one of their strongest statements on this early EP, pressed from demo to vinyl on the first year of the band’s existence. Fresh from life disrespecting bands such as Infestation and Grotesque, these Swedes nail the most desperate guitar harmonies since Candlemass, but infect them with the viral sensibility of a flux of death current. As if plugging the Sunlight Studios into your brains in direct interface, Svensson’s tremolos rip and rend mercilessly apart the soul of the beast that dared expose its true feelings of living in a world of hypocrisy and uncertainty. The band has preserved the most fragile moment of the Swedish death metal underground, the precarious balance between the catatonic psychosis of headbanging under alcoholic influence and the deep, burning, thoughtful soul of an encrypted Romantic in a world of pain and disguised memories. It all takes such tangible form in Tomas Lindberg’s cracking, maddened scream: “I am at the gates – Lord of Chaos – Let me sleep”. The fear and anger of At the Gates’ most revered albums will always remain something that divides audiences according to their response to such emotional cues, but “Gardens of Grief” is the un-terrorized, exuberant sound of youth that realizes the presence of death and dives into it headlong, appropriate to the Per Ohlin dedication in the liner notes. -Devamitra
An all too brief EP from Finnish gloomophiliacs Wings, as ephemeral as the tortured existence that is enshrouded in these twisted sounds of darkness-raped melody. Almost like the missing tracks from Cartilage’s cult classic ‘The Fragile Concept of Affection’, this continuation goes further to explore the sombre moods of songs like ‘Why Do I Watch The Dawn?’, in their Replicant-like reflections upon the transience of a human existence placed between the crushing, vice-grip of nothingness. Wings don’t peturb the balance of pace of slower, more expansive lakes of hypnotic melody that made up Cartilage’s contribution to their split with Altar, but there is greater focus on creating a doomier atmosphere, leaving no space for the grinding riffs of the past incarnation – a technique that parrelleled the Swedish Unleashed on their first album. Instead, an older treatment is given to the bouncier riffs, which could be heard as Punkier passages, but as this EP comes together as a whole to reveal, these bridge the narrative that seems to span across both songs with a mid-pace tempo in which the drawn out melodies pass through towards an expressive, quite neoclassical riff of totality – encompassing all the hopes that are weighed down by all the sorrows in the journey towards death. This poem in two parts is a valuable recording of Death Metal history, as a valid direction for these Finnish musicians to have taken following the demise of Cartilage, with all their weird melodic knowledge as baggage. -ObscuraHessian
A true gem, Sacramentum’s first EP showcases a style that is melodic and emotive in a manner not unlike countrymen Dissection and Unanimated. Epic, catchy and well crafted compositions are multi-layered not unlike Emperor minus keyboards, the rush of guitar notes being vibrant and lively, with little emphasis towards a rhythmic expectation, as one would expect with most heavy metal and hard rock music. Simultaneously moody yet without being whiny, this early release by Sacramentum showcases a band who are able to master quality control and bring the best out of all the elements that define their music. Alongside At The Gates, artistically the finest Swedish metal act of the 1990′s. -Pearson
Fast, raging black metal with the fury of early Deicide and the sharp harmonizing typical of Mayhem and Immortal’s ‘Pure Holocaust’ come head to head, in the guise of technically precise, abrupt songs. Shouty hardcore vocals, warm synth overlaps, a near constant blastbeat and anti-humanist lyrical concepts indicate a desire by known Norwegian musicians to advance the aggression of the black metal style and shift it’s idealogical focus away from romantic nostalgia. This brief E.P. lacks the spark of Norway’s foundational acts, but remains an influential statement of the subgenre. -Pearson
Who would have expected Chuck Keller to open the gates to very Orion itself after the folding of the aggressor squad par excellence Order from Chaos? As if a continuation of the promise of the astrological and alchemistic symbolism of the former bands’ lyrics, Vulpecula slows it down and strums soothing, yet vigorous melodies while the vocals multiple into wraith-like dimensions of rhythmic rasps and Keller’s leads occasionally burst into the aggressive, spasmous flight of an eagle amidst a thunderstorm. “Phoenix of the Creation” delves into exercises in authentic space synth, while “The First Point of Aries” harkens to the mid-paced woodland meditations that the Norwegians used to record at Grieghallen. Occasionally slightly hindered by the band’s eagerness to cram all the influences from Schulze to black metal into one short EP, the mere richness of it invites the ears to take their pleasure at will from the Babylonian garden of ponderous and prestigious movements that are achingly attractive and acceptable in their innocent refusal to complicate things with dissonance. Credit also goes for the lead guitar efforts of Keller on their traditional melodious injection which easily avoids the neutrality of more pop oriented bands trying to do the same. Almost like envisioning a “new age” approach to the genre, Vulpecula is an alien saucer amidst the orbit bound technologies of “progressive” death metal. -Devamitra
The first new release that’s being reviewed for 2010 and it’s already giving distinct impressions of the kind of quality that made 1993′s ‘As the Angels Weep’ a genuinely classic EP. Divine Eve keeps the form of this new material far simpler, stripping away the Death Metal-infected sludginess for a more rudimentary homage to early brutal music like Celtic Frost. ‘Vengeful and Obstinate’ makes its own unique statement by honing in on the nihilistic and warlike spirit of the Swiss legend’s To Mega Therion magnum opus, even invoking the same battle-horns on ‘Ravages of Heathen Men’ that bring focus to the beauty of conflict and strife in a meaningless universe. The varied tempo of grinding riffs set to a dirty bass guitar adds to the atmosphere of struggle as an outlet for this primitive, instinctual response to the world. ‘Whispers of Fire’ being the exception on this EP for the constantly up-tempo pace, it’s a pleasure to hear such slow and sludgy music churning visions of the darker universe beyond our lives of comfort and languish. The final and most devastating touch of ‘Vengeful and Obstinate’ is how Divine Eve makes extensive use of the piercing tone that Xan’s grating guitar setup produces, highlighting the spiral passage of powerchords by revealing their hidden, melodic architecture, ingenuiously managing to explain and enhance this rugged approach of legendary lineage. It’s about time the band produced a full-length and they’ve proved that they possess more than enough knowledge of unholy riffcraft to do so. -ObscuraHessian
Mord – Necrosodomic Abyss
Satyricon – The Age of Nero
Throne of Katarsis – Helvete – Det Iskalde Mørket
Aura Noir – Hades Rises
Celestial Bloodshed – Cursed, Scarred and Forever Possessed
Keep of Kalessin – Kolosus
Blood Red Throne – Souls of Damnation
1349 – Revelations of the Black Flame
Mare – Throne of the Thirteenth Witch EP
The new Osmose recruits Mord seem to have been actually born in Poland, then relocated to near Kristiansand, which is remembered as the location of a violent death metal sect in support of Varg Vikernes back in 1991 and the origin of Tchort (Blood Red Throne, Emperor, Green Carnation). Not quite living up to the bloody and progressive traditions of the area, Mord specializes in a cold, modern, thrashed-out black metal sound that could scientifically have been developed in a norsecore factory to create an endless amount of productive clones. Maybe because they are originally from Poland, they do seem to possess a better grasp of what makes Nordic black metal good than most Scandinavians around exhibit. They keep the album vile and to the point, imitating the blasphemous rhythm guitar of, besides Euronymous, Ivar Bjørnson during the phase of Enslaved when they dropped most of their classical influence and switched to riff rock. Later Ancient springs to mind in tracks such as “Opus II” which is essentially is a meeting of pop and black metal in a graveyard infested with drunked teenagers who wear makeup and like to flash stupid expressions in photos. It may sound bad but in fact, as guitar rock or something, it excels. It is simply lacking in the Romantic nature worship, warrior ideology and mysticism of Burzum, Ildjarn and the other greats. So while musically this has potential for an above average Norwegian black metal album (even though these ideas are 15 years late) it ends up as one more relic that brings black metal closer to mainstream acceptance and youth culture phenomena today, and no-one will remember it in ten years.
It should be obvious to anyone with even the slightest exposure to black metal music and ideas that while it’s arguable that he ever was a genius, for the last decade Satyricon has really gone far out of his way to create the most crowd pleasing, catchy, insipid rock’n’roll version of black metal. It sounds quite redundant to say in 2009 that this kind of music is abhorrent to “Euronymous’ ideals” or the Weltanschauung of the scene that existed in 1991-95 but I can’t help it. This is simply so far from anything that was great in old Norwegian black metal, what made me and so many others interested and follow the events and music with awe inspired by mystique. In this music there is no trace of passion, only of pure professional approach to musicianship and studio production, not even oriented to mastery of the style (in jazz sense) but to a desire to make money and gain profit. This sort of capitalist black metal makes for a new genre in itself. Mechanical, vapid and outdated, it mostly sounds like a collection of random groove metal tunes given a superficial black metal treatment (raped by the half beaten corpse of norsecore) for the mainstream listeners who want to get a piece of black metal’s evil but refuse to go all the way to possession. Precise riffs and metronomic drumming approach Rammstein-like monotony as they are arranged into the laziest sequence and development imaginable. Frost’s sometimes interesting drumscapes have been lost to the adult contemporary studio values and his fans are probably better off listening to 1349 or one of the other bands he plays/played in. Satyr is not trying to play Voivod riffs anymore (as he was doing in Rebel Extravaganza) nor can he duplicate the fast thrashy parts of Nemesis Divina – these new riffs by Satyr have a habit of getting old before the song is over.
While the gloomy shroud of 21st century black metal clichés weighs like lead upon Throne of Katarsis, a sense of ambition and greatness, the carefully followed tread of frozen melody including an airy vastness copied from In the Nightside Eclipse or early Taake and some elegant and progressive forms makes this rise above the level of total weakness. Like Isvind and Tsjuder, Throne of Katarsis explore the melodic territory in between Darkthrone and Emperor in an effort to replicate the impression of transcendent evil boiling in the depths. Fast percussion underlies the sonic depression of dubiously plodding, soaring but monotone and unenergetic low production (Grieghallen copy) guitars repeating spherical themes (rotating the minor chords “De Mysteriis” style during the slow parts over and over again to give the melancholic feeling) over to vastness. The best of the musical ideas are hidden by the desire to create a standard black metal album, as they probably succumbed to creating an album too quickly and thinking that it’s enough to put out cold and intensity-devouring two-penny riffs that have been overused for 20 years – bulk Norwegian black metal in good and bad.
I do remember the Apollyon/Aggressor duo Aura Noir as a high-energy, motor powered and tradition respecting black metal cult from the days of the bewitching “Dreams Like Deserts” MCD, never afraid to rock out nor experiment with unusual guitar and drum techniques – even cross-quoting with Ved Buens Ende material. Something really devastating has happened and I don’t know if it has to do with Aggressor’s falling down from a balcony or something, but they sound totally drunk, tired and old on this album. I mean, if you think that Darkthrone nowadays sounds like a lazy beer-swilling band from the pub, try this one! I can hear they are trying to play like Sodom, but I can’t hear any Germanic “raaaaaah!” mania. I can hear Autopsy, but I can’t hear the stinking amputated corpses rising all around to wreak their vengeance upon the societies of the living. I can hear hardcore, but I can’t hear the decisive violent power of wrath against conformity. So, what is there left? It sounds a bit Southern Lord-y – you know, ironic old metal fan hipster who likes to get stoned out of his mind and listen to feel-good old-times metal. By the way, the drum production sounds like MIDI – utter failure. If you want real speed/black metal power, go for the originals, this one is a weak joke.
It would be quite interesting to see if someone, somewhere in Norway, has during the year released black metal or death metal which does not a) try to duplicate the old Grieghallen soundscape with in the most generic no-sense-of-style manner, b) fill their album with a load of budget riffs called depressive black metal by the kids (which is actually C, D, E minor again… and again…). Anyway, while Celestial Bloodshed has ripped off these ideas from better bands, they are 50% better in their songcraft than Watain, Funeral Mist and other generic black metal of the era. Also, they have been able to create inner beauty towards the realization of the music in melodic intensity. Additionally, the fullness of the soundscape and the implications of the structure make this release more grim, oppressive and grinding than the mainsteam manipulations of Norwegian metal which can not be but a good thing. After a beautiful intro which sounds somewhat like one of the demos from Equimanthorn (Absu members’ ritual project) the album pounds into a lexicon of guitar techniques borrowed from a range of musicians from Mayhem to Enslaved, with a dynamic range from slow romantic soulseeking to blasphemous speeds, sometimes bridged with jarring changes, while death metal influenced vicious, likeable and personal (down to some insistent mannerisms) vocals pace like hammer upon an anvil the grim predictions of mortal future and the drummer operates battery like Faust and Hellhammer used to in the early 90′s. While all of this is not fully developed yet into pure communication, it speaks with instant, amazed, satanic impressions of life facing the darkness of Infinity – Celestial Bloodshed has replicated the old school with care, honesty and vicious intent.
Keep of Kalessin arouse my interest during their demo days, as 1997′s “Skygger av Sorg” repeated the style of old Satyricon in a series of simple, emotional song fragments that revealed a sad beauty lying underneath the grim soundscape. I had heard some less interesting newer material but it is truly shocking what they have submerged into now – an arrogant, over-produced tribute to the honor of Greek warriors through quasi-talented commercial death metal. Synth washes and expressive vocals (in the vein of Nergal when he’s really pissed off in the later Behemoth albums) fill this piece of plastic because they want to sound big and they want to play on a stadium. I am convinced that someone with their musicianship should be able to create a listenable and consistent album, but these super fast blastbeats and commercial heavy metal oriented song dynamics from quiet to loud make this just a faux extreme version of something like Spearhead or Deströyer 666, made worse by the angry shouter vocalist. The people interested only in dry technique and production standards will love this for being an emphatic and empty opera of sharp drumwork and the constantly shifting death metal type fast guitars and entertainment value. They are also happy that it lacks the primal natural force of old Norwegian metal, because it might be distrubing. The sense of space created should be one of a studio or a big venue, instead of a woodland crypt, right? This amount of polishing emphasizes the superficiality of the entire composure, down to metalcore action computer game synchronized by MIDI in Kolossus, where accurate but inconsequential fast drum beats follow cheap-ass tremolo melodies from the pits of norsecore Hell and the vocalist sounds angry at people at the nearby mall and emo pop chorus in “Ascendant” which doesn’t even fit the music underneath. Likewise the arabic solos in the middle part of “Kolossus” don’t seem to have anything to do with the metal riffs, nor do the “300″ soundtrack reminiscent bits with synths and tablas. Whoever has produced this must be a commercial minded jerk.
Tchort from Kristiansand was a newcomer to the death metal scene with his band Green Carnation right when the genre went out of fashion because of Euronymous’ hatefulness towards it and while that name was resurrected for Tchort’s progressive metal project he formed the neo-death metal group Blood Red Throne at the end of the millennium. While not having heard the early Green Carnation material, it’s easy to hear from this that some trace of early influence from excellent bands like Grave and Cadaver does exist, but none of their ability to turn basic riff structures into progressive and morbid magic. This type of song construction mostly resembles Cannibal Corpse and Deicide during the latter’s worst days of In Torment In Hell, filling songs with groovy mosh parts, faux-brutal growls and the drummer and bass player (from Deeds of Flesh) insisting wimpily on always playing to the beat of the riff. If this is the king on Norway’s death metal throne since Cadaver disbanded, it is quite sad actually. Most good (death) metal is memorable from its melodies, however convoluted and vicious they may be, but Souls of Damnation is mostly simple rhythmic phrases like guitar exercise patterns for introducing mechanical creation technique for sub-Florida death metal. Like all boring death metal, it severely underestimates its audience. I mean, many listeners do like death metal that sounds like basic no-frills brutal grind, but this worthless chugging goes too far. It seems like the whole album lacks even one interesting melody part or arrangement.
One of the newer Oslo bands mostly known from relentless and uncompromising fast black metal, 1349 surprise with their latest effort in refusing to conform to the rules of the flock. This time conjuring echoes of Samael’s Ceremony of Opposites and later Mayhem, 1349 composes suffocated, devilish and industrial tinged black metal sounds which despite being somewhat predictable, retain the doomy beauty of an industry of inferno. The loneliness of space as described in Moorcock’s trippy novel “The Black Corridor” and the classic fantasy movie “Alien” fill this Gigerian landscape of planets, threats and biomechanical blasphemies. Bodies twitch into contorted positions in a sea of light. The psychedelic feel is enhanced by a cover of Pink Floyd’s “Set the Controls for the Heart of Sun” featuring Tom G. Warrior. Several tracks use minutes to unfold submerged ambient and experimental soundscapes, while there is some Red Harvest type digital manipulation featured in many of the metal songs too. The arrangement is dramatic and regal, with Frost’s drumming skills put to good use. Multiple vocal styles herald the theatrical nature. Some interesting lead guitars add desperate wails to the background. Some parts are in their wicked minimalism close to what one could also expect to, say, Beherit to compose if he were in a more commercial high budget recording project, making this one of the more worthwhile efforts from Norway last year in producing new vistas of black metal.
This little EP from Mare, one of the infamous Trondheim cults tends to sound a bit like Live in Leipzig era Mayhem recording in a sewer infested with rats and worms and the decrepit and rotten soundscape makes this one an aesthetically more attractive listen than most of the studio produced turds. Intuitively they grasp the idea of structuring long songs in the old Emperor vein so that while the bits and pieces are redundant, it is a journey through minimalist music themes into the realization and acceptance of the power of darkness. Slow, crawling, anti-logical repetition of simple melody (where the keyboards add a tasteful of old Enslaved) make it a bit of an un-musical experience – the composition seems to be mostly oriented to the fans of droning soundscape whereas the planning and calculation in the overstated reverb, vocal sound (while Kvitrim is good at pacing) and lack of invention in the riffs suggest seem to be aimed for the black metal consumer. But it is deconstructive, degenerate and deceitful music – for pure ideas, about as good as the best of the bunch reviewed here. An ambience and sense of space is reached, the Faustian concept of man as a warrior who travels and explores the universe, only to relinquish his individuality to the higher natural order – in death and rebirth.
Written by Devamitra
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