Opera IX

Italy really does have a sorely overlooked black metal scene. Necrodeath, Bulldozer, Schizo, Sinoath, Mortuary Drape....all crucial bands from the early years. But there are few bands in Italian black metal history as interesting as OPERA IX, from the Piedmont region.

"Cemetaria" is from 1990's Gothik

Opera IX was formed in 1988 by guitarist Ossian. While they are now known as pioneers in the gothic style of symphonic black metal, their initial sound was more of an almost doom/death with gothic overtones. Their 1990 demo, Gothik, is a sterling example of this. This was more or less the basis for Opera IX's sound in their early years, and it probably would have remained so if not for two important developments.

Off of The Triumph of the Death, this is "Born in the Grave"

First, vocalist Cadaveria joined in 1992. She is one of the earliest--and most well-known--examples of female vocalists in extreme metal, and she is able to combine beautiful, enchanting vocals, with gruff, harsh growls. She helped Opera IX stand out from the pack. But the other--equally important--development was the recruiting of Silent Bard on keyboards. He was a classically trained pianist, and his ethereal keyboard playing added another layer to Opera IX's sound. The first album with both Cadaveria and Silent Bard contributing was the 1993 EP The Triumph of the Death. This can rightfully be hailed as a landmark in not just Italian black metal, but symphonic black metal and gothic black metal as well.

The world really sat up and took notice after the release of this crucial EP. Not too long after, Opera IX were able to record their debut full-length album, 1994's The Call of the Wood. This album was more of the same style as the EP, but members of the band have since said that they wished they had a bigger budget for better production. Personally, I think that the production values on Call work with Opera IX's style. Call of the Wood is, in my opinion, a masterpiece.

"Al Azif" is a fantastic song off of Call of the Wood

After a one-album deal with Shiver Records (which resulted in the follow-up to Call of the Wood, 1998's Sacro Culto), Opera IX signed with well-known Italian label Avantgarde Records. Their next several albums were released through this label. They also appeared on two really great compilations put out by Dwell Records: Awakenings - Females in Extreme Music in 1997, and A Call to Irons - A Tribute to Iron Maiden in 1998 (where they covered Maiden's "Rime of the Ancient Mariner")

1998's Sacro Culto gave us "My Devotion"

At the same time, the band underwent immense personnel changes. Silent Bard had left before the recording of Sacro Culto, and in 2001, Opera IX parted ways with Cadaveria and drummer Flegias. Ossian and the remaining members of the band soldiered on, recruiting Madras on vocals, Taranis on drums, and Lunaris on keyboards.

I honestly believe that Opera IX's work with Cadaveria is their best--truly genre-defining. That being said, Opera IX in general is one of the most important and interesting bands in all of symphonic/gothic black metal's history.

"Act I - The First Seal" is from the 2000 magnum opus The Black Opera

Select Discography:

Gothik (demo) (1990)

Promo '92 (demo) (1992)

The Triumph of the Death 7" (1993)

The Call of the Wood (full-length) (1994)

Sacro Culto (full-length) (1998)

The Black Opera: Symphoniae Mysteriorum in Laudem Tenebrarum (full-length) (2000)

Maleventum (full-length) (2002)

Amphisbena (full-length) (2004)

Next time: MUSSORGSKI

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

Deviser

The Greek black metal scene has been so prolific, with so many amazing bands, that it merits revisiting time and time again. Beyond the big three of Rotting Christ, Necromantia, and Varathron, so many great bands have made an impact on world black metal. I've already discussed Zemial, but DEVISER--from the island of Crete--is too important to overlook.

At the outset--and for the first few years of existence--Deviser was essentially a one-man band. Main man Matt Hnaras would recruit session musicians when the need arose to round out the band (including musicians from other Greek black metal bands, like Varathron and Asfyx). These session musicians played on early demos such as 1990's Forbidden Knowledge and Psychic Completion.

Here is the 1990 demo Forbidden Knowledge in its entirety

Deviser's early sound can best be characterized as an eerily atmospheric old-school style with a heavy thrash influence. That being said, the midpaced riffing and mellow guitar tone definitely bear a resemblance to the style that would one day become known as the "hellenic style".

By 1994, Matt Hnaras had recruited a full-time band, and Deviser began to enter a new phase. While the 1994 EP The Revelation of the Higher Mysteries was still firmly rooted in the old-school style of the demos, they began to experiment with adding synths soon thereafter. This led to a decidedly different take on hellenic black metal.

"Threnody" (from Unspeakable Cults) is one of their best-known songs

The synths helped give Deviser's black metal a sound which seemed to be a fusion of hellenic black metal and more symphonic fare. Their first full-length album---1996's Unspeakable Cults---is a landmark in that regard. Some people have gone so far to say they owe their sound to what Emperor was doing at the time (1994's In the Nightside Eclipse), but that strikes me as a lazy characterization. There's more going on here.

1998's Transmission to Chaos gave us this gem, "Transcendent Beauty"

Over the next couple albums (1998's Transmission to Chaos and 2002's Running Sore), Deviser's sound remained a version of this symphonic-infused hellenic black metal. A lot of the midpaced riffing and song structures are highly reminiscent of something you might hear off of Non Serviam or His Majesty at the Swamp. Yet, at the same time, there are passages that clearly owe a debt--in terms of tempo and aura--to Norwegian symphonic stylings.

"From the Starry Voids" is a choice track from Running Sore

 Deviser has said in interviews that they don't approach the writing of an album with any specific 'sound' or 'style' in mind. And technically, they may be right. However, there are certain things one can come to expect from Deviser, such as melodic elements, symphonic passages, and eerie gothic style.

Select Discography:

Forbidden Knowledge (demo) (1990)

Psychic Completion (demo) (1990)

Into His Unknown (demo) (1993)

The Revelation of the Higher Mysteries EP (1994)

Thy Blackest Love (demo) (1996)

Unspeakable Cults (full-length) (1996)

Transmission to Chaos (full-length) (1998)

Running Sore (full-length) (2002)

Next time: FALKENBACH

Inquisition

Forming in Cali, Colombia in 1988 as extreme thrash band Guillotina, INQUISITION has since come to be associated with the American scene. Spearheaded by the dark mastermind known as Dagon, Inquisition is known throughout the world as a truly cult black metal band.

Before changing their name to Inquisition in 1989, Guillotina's Sodom-influenced brand of thrash was already beginning to make waves in the South American underground. Within a year of forming, for example, they had opened for legendary fellow Colombians Reencarnación.

Title track from 1990's Anxious Death

In 1990, they put out the Anxious Death EP, which showcased their early thrash sound. The influence of the German scene can clearly be heard on this release. Inquisition would labor a few more years in the underground in this vein, putting out a 1993 demo, Forever Under.

The years 1994-1996 were a time of immense transition for Inquisition. This was the time where Dagon admits he began to grow weary of the thrash scene, and he answered the call of black metal. He has said in interviews that the sound of extreme metal was what appealed to him, and that he sought more and more extremity in terms of types of sounds. This lead him to eventually arrive at the conclusion that black metal was where his creative energy belonged. By 1996, Inquisition's new black metal sound could be heard on the Incense of Rest EP and on a split with Brazilian band Profane Creation. This was also the time when Inquisition chose to re-locate to the Pacific Northwest of the United States (the land of Dagon's birth). Dagon also met and recruited musician Incubus, who has been his co-collaborator in Inquisition as well as the drummer for that band ever since.

Newly invigorated with fresh blood, Inquisition took the world by storm with their first full-length studio album, 1998's Into the Infernal Regions of the Ancient Cult. This album--along with Inquisition's sound in general--is the very definition of cult. Relying on brutally heavy riffing that clearly draws on Dagon's thrash background, demonic growled vocals that call to mind Attila's best performances with Mayhem, and occultic/Satanic lyrical themes that feel more authentic than most almost any other black metal band out there, Inquisition stands alone in a genre that spawns clones and imitators galore. Inquisition has continued to consistently release brilliant, brutal black metal in the ensuing years. You know what to expect with an Inquisition album--and you get it every time!

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"Empire of Luciferian Race" is off of Inquisition's debut album

From their 2002 album Invoking the Majestic Throne of Satan, this is "Enshrouded by the Cryptic Temples of the Cult"

"Master of the Cosmological Black Cauldron" is a more recent offering (from 2013's Obscure Verse for the Multiverse)

Despite being one of underground black metal's most consistent bands, recent years have brought problems to Inquisition. It came to light in 2018 that Dagon faced charges of possession of child pornography back in 2009. Although Dagon did plead down to lesser charges, Inquisition has faced enormous backlash since then. Record labels, fans, and concert promoters have turned their back on this band. Will there be redemption? Or is Inquisition's time in the sun over? Only time will tell.

Select Discography:

Anxious Death EP (1990)

Forever Under (demo) (1993)

Incense of Rest EP (1996)

Into the Infernal Regions of the Ancient Cult (full-length) (1998)

Invoking the Majestic Throne of Satan (full-length) (2002)

Magnificent Glorification of Lucifer (full-length) (2004)

Nefarious Dismal Orations (full-length) (2007)

Ominous Doctrines of the Perpetual Mystical Macrocosm (full-length) (2010)

Obscure Verses for the Multiverse (full-length) (2013)

Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith (full-length) (2016)

Next time: DEVISER

Arcturus

One of black metal's more unique bands, ARCTURUS formed in 1990, predating the Norwegian explosion by a couple of years. They initially formed as an off-shoot of death metal band Mortem with the intention of creating a more atmospheric, eerie-sounding music. The initial line-up featured some of the Norwegian scene's more well-known musicians: Hellhammer (of Mayhem fame), Sverd (later of Ulver and Covenant), and Marius Vold (of Thorns). 

Their first release was the 1991 single "My Angel". The title track showcased the eerie, atmospheric vibe that Arcturus were striving for. At the time, it didn't really resemble anything else in the Norwegian scene, but it still had a strongly occultic feel to it.

This is 1991's "My Angel"

Some major line-up changes happened not too long after the release of the "My Angel" single. Marius left the band, and Sverd decided to switch over to keyboards/synths. As a result, they soon recruited Samoth (guitarist from Emperor) and Garm (from Ulver) on vocals. Newly reinvigorated with this line-up, they released the Constellation EP in 1993.

"Du Nordavind" is a classic track off of Constellation

This EP expanded on their earlier sound in a rather noteworthy way. With a cold, unforgiving  guitar sound to complement the creepy synths, Arcturus entered into new territory for black metal. Their style was strongly atmospheric in a way few bands had been.

After some additional line-up changes the following year, Arcturus set about recording their first full-length album: 1995's Aspera Hiems Symfonia. With a title that translates from Latin as "harsh winter symphony," Aspera is one of the absolute classics of Norwegian black metal.

"Wintry Grey" may very well be Arcturus's best song

Aspera Hiems Symfonia takes black metal in a different direction. By the time of its release, the Norwegian black metal boom was in full swing,  and all of the features associated with black metal were well-established: tremolo picking, lo-fi production values, screeching vocals, etc. However, Aspera didn't aspire to these stylistic norms: clean vocals, epic symphonic passages, and varied tempos abounded. It is a darkly beautiful album that transcends the label 'black metal'.

Aspera Hiems Symfonia marked an important transition for Arcturus. The seeds for a more avant-garde direction, one not bound by genre labels, had been sown. 1997's La Masquerade Infernale was a radical departure from black metal, but with an eerie, haunting atmosphere all its own. And since that album, Arcturus has continued to challenge people's ideas of what extreme metal is capable of.

"Chaos Path" is very representative of the avant-garde sound of Masquerade Infernale

Select Discography:

"My Angel" (single) (1991)

Constellation EP (1993)

Aspera Hiems Symfonia (full-length) (1995)

Next time: INQUISITION

Eminenz

Hailing from Saxony in Germany, EMINENZ is a bit of a lesser-known black metal band, but one of historical importance. Formed in 1989, the founders of the band were veterans of the death metal scene. With vocalist Leviathan at the core, the band was rounded out by Zwerg and Butcher on guitars, Darkman on bass, and Iten on drums.

Eminenz's biggest claim to fame is that they were one of the supporting bands for Mayhem's 1990 European tour. This was the tour that gave the world the Live in Leipzig album. What was especially noteworthy about Eminenz earning this supporting slot was that they had no studio albums to their credit, and hardly any demos!

From their first demo, this is "Death Fall"

In terms of their sound, Eminenz's death metal influences can clearly be heard. On the early demos especially, the riffing clearly owes a debt to old-school death/thrash. Listen to "Death Fall" (above), from the 1990 demo Slayer of My Daughter, for a clear example.

After a series of well-received demos, they put out their first full-length, Exorial, in 1994. The interesting thing about this album--and Eminenz's style in general--is they draw heavily from a death metal template, all while crafting highly atmospheric music that clearly fits in the black metal tradition. Their use of well-placed keyboards lent an eerie and occultic aura to their sound. Check out the three-minute mark of "Jesus Wept Nevermore" (from the Exorial album), below:

Eminenz's sound hasn't really changed radically since Exorial. Their music still draws heavily on death metal riffing and song structures, but contains important elements of black metal. They may have never achieved the kind of success or notoriety that fellow countrymen Desaster, Nargaroth, or Nagelfar did (to name a few), but Eminenz has earned their place in the pantheon of German black metal elites.

Off of 1996's The Heretic, this is "Demons Cross a Fiery Path"

"Infernal Majesty", from the 2007 self-titled album, is a more recent example of their sound

Select Discography:

Slayer of Your Daughter (demo) (1990)

Necronomicon Exmortis (demo) (1991)

Ghost (demo) (1992)

Exorial (full-length) (1994)

The Heretic (full-length) (1996)

Anti-Genesis (On the 8th Day I Destroy Godcreation) (full-length) (1998)

The Blackest Dimension (full-length) (2000)

Eminenz (full-length) (2007)

Next time: ARCTURUS

Bestial Summoning

Not known for its black metal, the Netherlands has nevertheless produced some really amazing bands. I absolutely love Unlord, for example, for their raw, in-your-face, blisteringly fast style, and Urfaust's recent work is otherworldly and transcendent while still remaining firmly within the black metal genre. But a lot of early Dutch black metal bands have flown under the radar and were really only known to hardcore fans or those who obsess over every facet of the genre. The highly influential BESTIAL SUMMONING, from the city of Venlo, is one such band.

Formed in 1990 by band members Conscicide, Sephiroth, and The Unsane, Bestial Summoning cited some of the darker and more evil elements of the 1980s black metal underground as their influences: Blasphemy, Sarcofago, Holocausto, and even the recently-formed Beherit. The Satanic bastards of Bestial Summoning were utterly devoted to creating nasty, raw, evil music in the black metal style.

In the early months of their existence, they jammed a few times and even had a few recorded rehearsals circulate as bootlegs. These are extremely difficult to find and I am only aware of one rehearsal ever making it onto a CD: the "Black Rites (Sinister Ritual)" rehearsal, which was a one-song rehearsal from 1990.

This is just a snippet of a 1990 jam session 

Bestial Summoning's rawness in their style was partially due to their DIY ethos--it is said that most of their music is the result of improvisation. After some other noteworthy rehearsal sessions (including one that eventually made it onto the 2008 split with Heretic, Splitting Skulls With Satan), Bestial Summoning put out a demo, Sodomistic Rituals, that quickly became well-known in the darkest circles of the black metal underground.

In its entirety, here is the 1991 demo

The waves that this demo made in the underground led to interest from some pretty noteworthy extreme metal labels, among them the Swedish label No Fashion. The members of Bestial Summoning personally knew the men of No Fashion Records, so that is who they chose to sign with. This led to the release of their one and only full-length album, The Dark War Has Begun.

Off of the full-length The Dark War Has Begun, this is "Victory is Ours"

By admission of the band themselves, their style was more controlled, less chaotic on their full-length album. They still relied heavily upon improvisation, but elements of structure were present in ways that simply were not there on the demo material. That said, Bestial Summoning's trademark rawness was still in full-force on Dark War. In early 1990s black metal,bands tended to polish their sound more and more as they emerged from the underground. This was simply not the case with Bestial Summoning.

They didn't last long after this full-length---just long enough for them to put out an official live tape (known as the "Live in Venray" tape), and for a couple of other bootlegs to surface. But by this time, their mark had been made. Their material has re-surfaced a couple of other times--most recently in the form of a 2008 compilation--thus showing how important they were in the underground.

Select Discography:

"Black Rites (Sinister Ritual)" (rehearsal track) (1990)

Sodomistic Rituals (demo) (1991)

The Dark War Has Begun (full-length) (1992)

Official Live Tape (Live in Venray) (1992)

Next time: EMINENZ