Infernum

 

Heading back to Poland, we discover the mighty INFERNUM, a band second in importance only to Graveland and Behemoth in the Polish scene. Their story gets a little tricky because of competing visions of black metal and the existence of more than one band named Infernum...

While Graveland's Rob Darken was a member of Infernum, the band really is the brainchild of Grzegorz "Karcharoth" Jurgielewicz. A prolific musician who contributed mightily to Poland's black metal scene, he also wrestled with severe schizophrenia in his private life. 

An early 90s picture of Karcharoth

Infernum was formed in late 1992, and in these early days, Grzegorz went by Anextiomarus. He and drummer Balrog put out their first demo, The Dawn Will Never Come. After meeting and recruiting Darken, they put out a second demo, Damned Majesty, on which Darken played synths. Both of these demos were put out in 1993. Infernum played a raw, yet atmospheric, black metal on those early demos. 

"The Dawn Will Never Come" is actually off of the second demo

Shortly after the second demo, Capricornus took over on drums. This was the beginning of Graveland and Infernum sharing the same line-up: Darken, Anextiomarus (who was now going by "Karcharoth"), and Capricornus. This was also around the time that Infernum took the plunge into the political far-right world of National Socialism (Nazism). This involvement in the far-right was clearly an extension of Karcharoth's obsession with extreme evil.

By this time, Infernum had proven themselves on their demos, and so had attracted the interest of record labels. Polish label Astral Wings signed Infernum and agreed to pay for the recording sessions. The resulting album was the now-classic ...Taur-nu-Fuin..., an atmospheric, pagan-infused black metal masterpiece.

From that debut comes "In the Black Clouds of War"

Problems emerged after the release of the album. Karcharoth and Capricornus had written a veritable screed in the album's liner notes, and it was more or less Nazi rantings. This brought the band to the attention of the Polish authorities (as a country that bore the brunt of the Nazis' hate in WW2, it makes sense that the authorities would not take kindly to Nazi writings).

This was also around the same time that Karcharoth's schizophrenia emerged and began to make life difficult for him and his fellow Polish musicians. Karcharoth did continue to contribute to the Polish black metal scene--including playing bass for Graveland, and beginning to write and record the follow-up to ...Taur-nu-Fuin...--but he also became more erratic. This culminated in Karcharoth attempting to travel to Norway to kill Fenriz over some perceived slight.

Between episodes like this and harassment from the authorities, Karcharoth began to isolate himself from his former bandmates. His grip on reality began to get more and more tenuous, until he took his own life in 2004.

A pic of the classic Infernum line-up

In the early 2000s, there were two separate efforts to continue the work of Infernum. Darken and Capricornus took the already-recorded material and finished it, resulting in the 2005 album Farewell. Once that album was finished, they laid the band to rest. At the same time, Karcharoth recruited some musicians to be a totally new Infernum, and they recorded completely new material. This material did not emerge as an album (2006's The Curse) until after Karcharoth's suicide. This second incarnation of the band soldiered on for a few more years before ultimately calling it a day in 2009.

"Black March" is from the 'true' Infernum's final album, 2005's Farewell 

Select Discography:

The Dawn Will Never Come (demo) (1993)

Damned Majesty (demo) (1993)

...Taur-Nu-Fuin... (full-length) (1994)

Farewell (full-length) (2005)

When the Light Has Died (demo) (recorded 1996, released 2019)

Next time: DAWN

Hades

 

Formed by Jørn after his time in Old Funeral, Hades was perhaps one of the most important innovators of viking metal (after Enslaved) in the '90s. Hailing from Bergen, Jørn was joined by Remi at the band's formation in late 1991/early 1992.

Picking up Janto and Nagel to round out the band, Hades put out their now-famous demo, Alone Walkyng, in 1993. Focusing on atmosphere over speed, the clear influence of Bathory's viking period can be heard. According to Jørn, they wanted to make music inspired by their ancestors. Alone Walkyng ranks as a classic demo in Norwegian black metal. 

Here is the complete demo

The demo made quite a splash in the black metal world because of how different it sounded from the then-typical Norwegian sound. The band was courted by several labels, eventually signing with the just-formed Full Moon Productions. They then entered the studio to record their debut full-length album. The resulting album, ...Again Shall Be, stands out from the pack of 1994's Norwegian black metal because of its glorious mid-paced, epic songs. 

"Hecate (Queen of Flames)" is from their debut

Unfortunately, Jørn's non-musical activities began to impact the band. He had been involved with Varg Vikernes in church burnings, and the authorities caught up to him in late '93. He was convicted and sent to prison in early 1995. This obviously had an impact on the band's ability to continue their music-making activities.

Luckily, he and Hades were still able to collaborate in the writing of the next album. The album was recorded in 1996, and in 1997, Dawn of a Dying Sun was released. This album was in the vein of their debut, but the song writing was stronger. ...Again Shall Be was a fantastic album of second-wave Norwegian viking metal, but Dawn was a masterpiece.

"Awakening of Kings" comes from Hades's 1997 album

A mix of ripping black metal riffs and Hammerheart-inspired song structures, Dawn of a Dying Sun belongs in the collection of any black metal fan, right next to Enslaved's 90s work and Bathory's viking metal trilogy. Listen to "Awakening of Kings", above, to hear how the album deftly combines black metal that easily holds its own with the Norwegian classics and epic viking metal passages. Truly brilliant. 

Around this time, the American thrash band Hades became aware of the existence of Norway's Hades. For copyright reasons, they demanded a name change. The result was that Jørn and company became Hades Almighty. At the same time,  they also began exploring new ways to expand their black metal sound.  The resulting album, 1999's Millenium Nocturne, is a great progressive approach to black metal for the 21st century. 

"Warcry" is an awesome song from 1999's Millenium Nocturne

Since that change, the band has not been extremely prolific-- one full-length album (2001's Pulse of Decay) and an EP (2015's Pyre Era, Black!). So, we hold our breath awaiting a new release from these viking metal pioneers.

Here is the title track to their 2015 EP

Select Discography: 

Alone Walkyng (demo) (1993)

...Again Shall Be (full-length)  (1994)

The Dawn of the Dying Sun (full-length)  (1997)

(as Hades Almighty) Millenium Nocturne (full-length)  (1999)

(as Hades Almighty) The Pulse of Decay (full-length)  (2001)

(as Hades Almighty) Pyre Era, Black! EP (2015)

Next time: INFERNUM

Kampfar

 

One of the great things about exploring any genre of metal is discovering new bands. The big names of black metal--Mayhem, Immortal, Darkthrone, Emperor, Burzum--are known by everyone. But those mid-tier bands that slave away just beneath the surface?  It's exciting to watch when people discover them. KAMPFAR is a Norwegian band that the casual black metal fan knows little about. But the true black metal aficionados know them as a tried-and-true pagan black metal band.

Originating from the ashes of MOCK, who existed from 1991-1994, Kampfar was for years the brainchild of Thomas and Dolk. Dolk cut his teeth in the aforementioned Mock. Mock's sound was a classic Norwegian black metal that bears all the hallmarks of the early second wave. Check out their 1994 demo, Cold Winter, below:

After Mock dissolved in 1994, Dolk still had the yearning to create black metal.  The story goes that he had a bassline written for a black metal song, but it wasn't until he met Thomas that he had a music-writing partner who was able to write the perfect guitar part to go with it.  This became the song "Kampfar." Shortly thereafter, they wrote "Hymne". And this material became their first demo, and eventually,  the self-titled EP.

The Kampfar EP contains both the songs "Hymne" and "Kampfar"

In these early years of Kampfar's existence, Thomas and Dolk were the only two members of the band. Dolk brought a black metal sensibility to the table that was balanced out by Thomas's more classical and folk-oriented approach to music. This is what allowed Kampfar to create their now-classic pagan/folk black metal. The incorporation of clean, chanting vocals and folk/non-traditional instruments helped make Kampfar's music a crucial stage in the development of pagan and viking black metal. An album like 1997's Mellom skoggkledde aaser easily holds its own when put next to albums like Vikingligr Veldi or Hammerheart.

From their 1997 album, this is "Valgalderkvad"

In these early years of the band, they weren't the most prolific. Dolk attributes this to his and Thomas's writing process. They were more painstaking about their approach to writing their music. As a result, in this stage--when only Thomas and Dolk were the members of the band--they only churned out two full-length albums, the above-mentioned 1997 album and 1999's Fra underverdenen.

From their 1999 album, this is "Norse"

Things changed pretty radically in the early 2000s. Ask and Jon were recruited as new members, on drums and bass respectively. Their writing process shifted in a major way, and the band became more prolific. In the 2000s, Kampfar churned out a slew of fantastic pagan black metal albums that still stand the test of time: 2006's Kvass, 2008's Heimgang, and 2011's Mare.

From 2006's Kvass, this is "Ravenheart"

"Inferno" comes from their 2008 album

"Blitzwitch" is a great track from their 2011 album

In 2010, Thomas left the band, leaving Dolk as the only original member. Kampfar has soldiered on to this day, still releasing quality albums of folk-influenced and pagan black metal. They may not be a household name like Mayhem, but they're a band that has had an impact on black metal the world over.

Select Discography:

Mock:

Cold Winter (demo) (1994)

Vinterlandet EP (1995)

Kampfar:

Kampfar EP (1996)

Mellom skoggkledde aaser (full-length) (1997)

Norse EP (1998)

Fra underverdenen (full-length) (1999)

Kvass (full-length) (2006)

Heimgang (full-length) (2008)

Mare (full-length) (2011)

Next time: GRAVEWÜRM

Enslaved

Like many bands of Norway's second wave of black metal, ENSLAVED formed from the ashes of a defunct death metal band. The death metal band in question--Phobia--managed to put out a demo before breaking up.

By the time of the demise of Phobia, band members Grutle Kjellson, Ivar Bjornson, and newly recruited drummer K. Johnny (later to go by Trym Torson) set about creating material for this new project, Enslaved. While the sound was definitely firmly in the Norwegian black metal style, the lyrical content moved away from the Satanic and toward Norway's pre-Christian past. Their early demos--1991's Nema and 1992's Yggdrasil (a classic!)--showcase this sound.

"Allfadr Odin" is one of Enslaved's classic demo tracks

Citing Bathory's mature viking metal albums (Twilight of the Gods and Hammerheart) as inspiration, Enslaved viewed their Norse pagan heritage more philosophically than most. For them, it wasn't ideological fodder or reactionary drivel, but a real, meaningful set of beliefs. This philosophical orientation permeated their song lyrics. At the same time, Enslaved's songwriting began to transcend the simpler aspects of the Norwegian black metal template. Beginning with the amazing 1993 EP Hordanes Land (which was also released as a split with Emperor), songs with multiple motifs and long, epic passages started to become the norm for this viking metal band.

One of Enslaved's more well-known songs, this is "Heimdallr"--off of Vikingligr Veldi

Following this EP, Euronymous--who had been a supporter of the band since the beginning--released Enslaved's full-length debut (Vikingligr Veldi) on his Deathlike Silence Productions. This album was a more mature effort at their epic viking metal. Thematically--and to a lesser degree, structurally--this album was quite different than what other Norwegians were doing, but it still fit in the camp of Norwegian black metal in terms of sound. The guitar riffing style, lo-fi production, screeched vocals, and focused use of atmospheric snyths were still a key component of Enslaved's sound.

Since Deathlike Silence went under with Euronymous's death, Enslaved had to search out a new label. Within a few months, not only had they landed a deal with French label Osmose Productions, but they had also released their second full-length album, Frost. This album did continue the viking-themed lyrics, but in terms of sound, Frost was a much more aggressive album. The synths were almost entirely absent, and the song structure resembled that of other Norwegian bands.

"Loke" is an amazing track off of 1994's Frost

Frost was a cold, harsh, unforgiving album. Like much of Enslaved's work from this era, it is an absolute classic of Norwegian black metal. They followed it up with 1997's Eld (Trym Torson had left to join Emperor, so they recruited new drummer Harald Helgeson). Also released on Osmose, Eld was yet another change in style. The production, song structure, and even musical approach stayed true to Enslaved's viking metal ethos, but it was pretty distinct from both Frost and Vikingligr Veldi. 

"Glemt" is my favorite song off Eld

1999's Blodhemn gives us songs like "I Lenker til Ragnarok" 

With these classic releases under their belt, Enslaved was now the master of the viking metal subgenre. With one more solid black metal album in the viking vein to come (1999's Blodhemn), Enslaved had more or less exhausted the possibilities of that particular style. There was nowhere left for them to go but to change the face of black metal completely.

With 2000's Mardraum: Beyond the Within, they did just that. While this album rested on a clear black metal foundation, it bore the influence of more progressive fare at the same time. Epic, long songs filled with time and motif changes, non-standard riffing, and vocal variation dominated this masterpiece. 2001's Monumension took it even further, with song structures that were not only progressive in nature, but borrowed from other genres.

Listen to the new direction evident on Monumension's "The Voices"

Since those early 2000s albums, Enslaved has continued to push the boundaries of their music. Their work still retains elements of the Norwegian black metal from whence they came, but they test the limits further and further with each release.

Select Discography:

Nema (demo) (1991)

Yggdrasil (demo) (1992)

Hordanes Land EP (1993)

Vikingligr Veldi (full-length album) (1994)

Frost (full-length album) (1994)

Eld (full-length album) (1997)

Blodhemn (full-length album) (1999)

Mardraum: Beyond the Within (full-length album) (2000)

Monumension (full-length album) (2001)

Next time: BEHEMOTH

Graveland

These days, there is some truly quality black metal coming out of Poland. Mgła, Cultes des Ghoules, Kriegsmaschine, Furia, Massemord, Medico Peste, and a slew of other bands push forward the boundaries of black metal, all while staying true to the genre's roots. Before all of these bands, however, the mighty GRAVELAND, from the city of Wroclaw, was one of the chief standard-bearers of Polish black metal.

As a band, Graveland has mostly been about achieving the musical vision of founder and main songwriter Rob Darken. Darken is an extremely controversial figure in black metal history, on par with Varg Vikernes for sheer notoriety. He arose from the far-right wing of the Polish black metal scene, with views that could be characterized as National Socialist (Nazi). In a series of highly incendiary interviews throughout the early and mid-1990s, Darken espoused his views to anyone who would listen. Needless to say, time has tempered his views. Some say this is because Darken has recognized that Graveland's fanbase comes from all over the globe--and includes many non-Polish, non-European, non-white fans. Some say that he has merely mellowed with age. And some say he believes the same things, but is not vocal about it for fear of commercial backlash (this seems the least likely to me, as black metal doesn't usually take commerical interests into consideration). What can be said for certain is that Darken does currently hold pagan-inspired ethno-nationalist beliefs. He may or may not still be a National Socialist, but he still trucks with the extreme far-right. All of this being said, Graveland's music has always reflected Darken's obsession with his European pagan heritage and love of an idealized past.

Darken initially formed Graveland as a solo project in 1991, heavily inspired by Bathory and the emerging Norwegian scene. Demos such as Necromanteion and Drunemeton (both released in 1992) showcase a raw, unpolished style that Graveland was known for in their early years. The early Graveland sound is an odd, eerie death/black metal with an old-school vibe, replete with an almost industrial feel to it because of the production values and the incorporation of keyboards and evil sound samples.

"The Celts Ride Over Graveland" is a well-known demo song from 1992's Necromanteion

After these early demos in 1992, Darken recruited others to help him realize his musical vision. Karcharoth (of Infernum fame) and Capricornus were key musicians in the shaping of Graveland's sound after the band transitioned away from their initial raw sound. Some of the stronger demos from these years--like 1993's In the Glare of the Burning Churches and 1994's Celtic Winter--are absolute classics of early 1990s Polish black metal, and have influenced countless bands from all over the world. In terms of style, I think 1993's Glare is a demo that easily holds its own with many full-length albums of the early second wave.

From In the Glare of the Burning Churches, this is "Night of the Fullmoon"

With a full roster, Graveland set about recording what would be their first album, Carpathian Wolves. This album was a continuation of the sound of the Glare and Winter demos. On this album, we also see Graveland began to craft long, epic, almost progressively-structured black metal songs---something that would become their trademark on future albums. Another aspect of Graveland's sound that was present on this album was the use of thematically-relevant samples that helped to create the eerie, occultic black metal atmosphere. Note the intro sample of wolves howling below as it segues into the song "In the Northern Carpathians":

Carpathian Wolves really caught the attention of the black metal world as a whole. Graveland were then able to sign with Austrian label Lethal Records for the release of their second album, A Thousand Swords. This album was a strong release in the vein of 1994's Wolves, yet at the same time represented a move away from pure black metal into a more folk/pagan-styled sound. Unfortunately for the band, Darken's statements on his political and racial beliefs in some interviews in this time period caused Lethal Records to drop the band.

The next phase of Graveland's existence saw them shift even further away from a pure, old-school black metal to a more folk-influenced sound. With a core of Darken and Capricornus (Karcharoth left in 1995), the band began to focus on a sound that reflected Darken's obsession with his pagan beliefs. This sound has more or less persisted to this day (in varying forms). It can rightly be characterized as a viking/folk/pagan black metal more than anything else. Graveland songs began increasing in length, with epic symphonic passages that are designed to evoke ancient battlefields from Europe's pre-Christian past. Even the album titles reflect this aesthetic change and interest in heritage and the past: Following the Voice of Blood, Immortal Pride, Memory and Destiny, etc.

"Sacrifice for Honour" is from 1998's Immortal Pride--note how long it is!

Graveland's sound has been fairly consistent since their transition to a more viking-esque style. They continue to release albums to this day focusing on pagan eras goneby, painting sweeping soundscapes that fans of any pagan or viking black metal owes it to themselves to check out.

Select Discography: 

Necromanteion (demo) (1992)

Drunemeton (demo)  (1993)

In the Glare of the Burning Churches (demo) (1993)

Celtic Winter (demo) (1994)

Carpathian Wolves (full-length)  (1994)

Thousand Swords (full-length) (1995)

Following the Voice of Blood (full-length) (1997)

Immortal Pride (full-length) (1998)

Creed of Iron (full-length) (2000)

Next time: FRANCE'S LES LEGIONS NOIRES - MÜTIILATION

Falkenbach

One of the most important--and one of the oldest--bands in the history of the Viking/pagan subgenre of black metal is Germany's FALKENBACH. Formed in 1989 by Dusseldorf-born Vratyas Vakyas (real name Markus Tummers), Falkenbach was initially a nameless project designed to be an outlet for an expression of Germanic pagan ideas. The first demo--1989's Havamal--didn't even have a band name attached to it.

Vratyas labored in the underground for several years, churning out a style that can clearly be characterized as a folk-infused pagan black metal. Between 1989 and 1995, Falkenbach released a slew of demos (many of which are next to impossible to find) that show the development of this sound. Check out the 1995 demo Laeknishendr, below:

Following the release of demos such as Laeknishendr in 1995 and ...skinn af sverđi sól valtiva... in 1996, Vratyas was able to sign with German label No Colours Records in order to put out a proper studio album. The result was the epic ...en their medh riki fara... album. Shortly after the release of this album, Vratyas was approached by Napalm Records and he was impressed with the terms of their contact, so he signed with them. Falkenbach has since put out several quality albums through Napalm. During this time period, Vratyas recruited several session musicians to help craft Falkenbach's music. That being said, however, Falkenbach remains the brainchild of Vratyas Vakyas through and through.

"Winternight" is from their 1996 debut album

 Despite the fact that Falkenbach's sound clearly has much in common with other classic viking metal bands--especially Bathory's viking material--Vratyas has said that he has not been influenced by any other metal bands. He has stated that he draws musical inspiration from Romantic composers like Wagner, Grieg, and Franz Grothe. Being that one of the hallmarks of Romantic music is a glorification of the past and pride in one's heritage, it makes perfect sense that Falkenbach would draw on these traditions.

As can be heard in Falkenbach's lyrics, Germanic and Norse paganism is very real, very authentic, and very personally important for Vratyas Vakyas. He has explicited stated that he wants his music to glorify the ancient gods and goddesses of the Northern European tradition, even admitting to being a practitioner of modern-day Asatru. He also writes most of his lyrics in old languages---Old Norse, Old German, Old Icelandic. Falkenbach is first and foremost about Germanic heritage.

Many people consider "When Gjallarhorn Will Sound" to be Falkenbach's best song

Aside from being the mastermind behind Falkenbach, Vratyas Vakyas also ran his own label--Skaldic Art Productions--for a while. Furthermore, Vratyas has stated in interviews though that he doesn't know what the future holds for Falkenbach, and has often thought about just hanging it all up. We'll have to see. In the meantime, we'll enjoy this classic-sounding pagan black metal.

2005's Heralding the Fireblade gives us "Heralder"

Select Discography:
Havamal (demo) (1989)
Tanfana (demo) (1990)
Towards Solens Golden Light (demo) (1991)
Laeknishendr (demo)  (1995)
Promo '95 (demo)  (1995)
...skinn af sverđi sól valtiva... (demo) (1996)
...en their medh riki fara... (full-length) (1996)
...magni blandinn ok megintíri... (full-length) (1998)
Ok nefna tysvar Ty (full-length) (2003)
Heralding the Fireblade (full-length) (2005)
Tiurida (full-length) (2011)
Asa (full-length) (2013)

Next time: OPERA IX

Bathory: The Viking Metal Years, 1988-1991

Bathory is crucially important in the history of black metal for two distinct reasons.  First, for taking the template laid down by Venom on Black Metal and shifting the early black metal sound away from speed metal and/or NWOBHM; second, for creating the subgenre of Viking metal in the later 1980s.

Bathory in the Viking Metal years

After their old style pretty much peaked on 1987's Under the Sign of the Black Mark, Bathory shifted gears with 1988's Blood Fire Death.  This album saw a move away from the darker, more Satanic atmosphere of the early work, with crisper-sounding guitars, clean vocals, and imagery and lyrical themes drawn from elements of Scandinavian mythology.

"A Fine Day to Die" is one of Bathory's most famous songs from this period

On Blood Fire Death, the changes from the earlier period were not as radical as they would later become, but they were present nonetheless.  One could hear the guitar sound begin to shift from the vile, raw, down-tuned sound of old-school black metal.  The vocals were not always a demonic screech.  And the songs were long, epic soundscapes.

My favorite from this period in Bathory's history, "Baptised In Fire and Ice"

With 1990's Hammerheart, the shift was more pronounced.  More varied tempos, clearer-sounding vocals, rousing choruses, and a guitar sound that was crisp and almost regal.  Just as Bathory had redefined extreme music with their first three albums, they redefined it again with their next three albums.

Off of 1991's Twilight of the Gods

With 1991's Twilight of the Gods, Bathory again peaked.  They had created the mold that all later viking metal bands were to follow.  Most of Bathory's material throughout the 1990s was thrash metal with elements of the viking sound.  It really wasn't until albums such as the Nordland albums that Bathory returned to the pure viking sound.

Select Discography:

Blood Fire Death (1988)

Hammerheart (1990)

Twilight of the Gods (1991)
Blood on Ice (recorded 1988-1989, released 1996)
Nordland I (2002)
Nordland II (2003)

Next time:  TREBLINKA