Of all the countries that get little to no respect in the world of black metal, Czechia (formerly the Czech Republic) might be at the top of the list. Despite boasting late first wave bands like Törr, Root, and Master's Hammer; classic second wave bands like Dark Storm, Avenger, Inferno, and MANIAC BUTCHER (hailing from Žatec); and recent innovators like Cult of Fire, Kult ofenzivy, nic (Black Strip), and Gorgonea Prima, people still don't give the Czechs the credit they deserve.
Maniac Butcher is perhaps one of the most overlooked and underrated Czech black metal bands. The band formed around 1992 after gestating as an idea in founder Barbarud's head for several years. Citing old-school black, death, and thrash metal bands like Venom, Hellhammer, Slayer, Sodom, Mayhem, and Darkthrone as inspiration, founding members Barbarud and Vlad Blasphemer wanted a musical outlet for their individualist Satanist views. Maniac Butcher was that outlet.
The title track (in Czech, of course) from Immortal Death
It wasn't long after they came into existence that they unleashed the now-classic demo Immortal Death on the world. This demo (and its follow-up, 1994's The Incapable Carrion) featured a rawer take on black metal than was the norm for the early nineties. The black metal of Maniac Butcher was fast, violent, and evil--just like black metal should be. It also featured harsher growls on vocals--almost reminiscent of Blasphemy.
Maniac Butcher kept soldiering forward with two great split albums before releasing a proper full-length debut. The second of these splits (Black Horns of Saaz, a split with fellow Czechs Dark Storm) is one of my favorites. But it is their debut full-length album, Barbarians, that is worth discussing
The title track from Barbarians---notice the cool sample at the beginning!
1995's Barbarians continued the raw-edged black metal of the early demos and splits. With a stripped-down organic production sound, relentlessly fast guitars, and shrieking vocals designed to send shivers down your spine, Maniac Butcher was flying the flag for true black metal at a time when other bands were experimenting and following trends.
One aspect that set Maniac Butcher apart was their unique lyrical content. Yes, they wanted to proclaim their allegiance to Satan, but they managed to do so while singing of their nation's pre-Christian past. Albums like 1996's Lučan-antikrist, for example, delved deep into the mythos of the Lucans themselves, who were the pagan ancestors of modern Czechs and fought against Christians (at least, according to Maniac Butcher).
"Midnight Empire" is one of their best known songs from Lučan-antikrist
Maniac Butcher continued releasing solid black metal with that raw, aggressive edge they were known for. A series of now-classic albums took the world by storm: 1997's Krvestřeb, 1998's Černá krev, 1999's Invaze, and 2000's Epitaph. Epitaph was, in fact, just that---an epitaph for the band. They decided to quit the black metal scene entirely out of disgust with the commercialization of the genre.
"Bloodlust..." is from 1998's Black Blood
This official video was on the CD of Epitaph.
The full title of the song (in a rough English translation) is:
"What's Good for Me, That Good is---It's the Unchanging Rule that Accompanies My Actions Through My Eternal Life"
But after a decade of silence (they did put out compilations and live albums---but no new material), Maniac Butcher re-formed and unleashed new material on the world. 2010's Masakr was Maniac Butcher at their most evil, their most vile. They showed that they hadn't lost a step in their absence. Maniac Butcher is still active, but founder Vlad Blasphemer died in 2015. So the future is uncertain for this great band.
The title track from Masakr
Select Discography:
Immortal Death (demo) (1993)
The Incapable Carrion (demo) (1994)
The Black Horns of Saaz 7" (split with Dark Storm) (1995)
Despite never exploding into international prominence the way Norway's black metal scene did, Finland has been home to a thriving black metal scene since the very beginning. With bands like Vadertopsy, Beherit, and Archgoat dating back to the late 1980s, Finland has never lacked for black metal. By the early nineties, of course, things had truly exploded. BLACK CRUCIFXION, hailing from the northern city of Rovaniemi, was part of that explosion.
Originally formed in 1991 under the name Horned Lord by Forn and Blacksoul, they soon changed their name to Black Crucifixion. As Forn has stated in interviews, Black Crucifixion had more of an edge to it and fit with their artistic vision better than did the name Horned Lord. Rounded out by members of Beherit, Black Crucifixion claimed not only 80's black metal pioneers Venom, Bathory, Hellhammer, and Sarcofago as inspiration, but also the hellenic scene as well. They soon made themselves known on the extreme metal scene in Finland not only with the release of an obscure three-song demo, but by their performance at the Day of Darkness festival in the summer of 1991.
"Flowing Downwards"--from their '92 demo--is perhaps their most well-known song
By the end of 1991, they had recorded a proper demo that saw the light of day in 1992: The Fallen One of Flames. The sound showcased on this demo indicated that Black Crucifixion played by their own rules. That is, they didn't sound like either of the major styles associated with Finland--not the raw brutality associated with Archgoat, Beherit, Belial, etc., and not the in-your-face punk-influenced style of Impaled Nazarene either. Black Crucifixion's style was a gloomier, more morose one than that of their fellow countrymen. The influence of Greek black metal can easily be heard.
In 1993, the band's first real true and proper release, the Promethean Gift EP, made waves in the Finnish black metal scene. Continuing down the twisted path carved by their '92 demo, the band didn't necessarily think of themselves as part of the "black metal" movement. At various times, they have labeled their music "dark metal" or even "extreme metal". And their music, as stated above, never fit into neat categorization either. As heard on Promethean Gift, there was a melancholy--which Forn himself had attributed to the extreme environment of Lapland--at the heart of their music.
Here is the title track off of Promethean Gift
This was a crucial time in the Finnish black metal scene. Archgoat, Beherit, and even Black Crucifixion--for various reasons--went silent in the black metal scene for a number of years. Whereas Beherit disappeared into dark ambient in the mid and late 90s, and Archgoat broke up before eventually re-forming, Black Crucifixion worked on the follow-up to Promethean Gift at a glacial pace. While they started writing and recording material for a new album as early as 1995, they didn't finish it until 2005. In 2006, they then put out the full-length album Faustian Dream.
From Faustian Dream, this is "Wrath Without Hate"
The reasons BC took so long aren't nefarious or obscure. Forn has stated in interviews that they "were busy and had other things to do" and waited until "the music felt relevant again". Perhaps as a result of the passage of time, or the maturing of the band members, Faustian Dream--even moreso than the earlier releases--does not fit well into the black metal pigeonhole. It is, as stated by the band, a "darker metal".
Following the release of 2006's Faustian Dream and a live album from a 1991 concert (2009's Satanic Zeitgeist), BC has been fairly consistent. They have since released a trio of well-received albums, meant to be listened to as a trilogy, and they have been regulars on the festival circuit, introducing themselves to a new generation of listeners.
Select Discography:
Demo 1 (demo) (1991)
The Fallen One of Flames (demo) (1992)
Promethean Gift EP (1993)
Faustian Dream (full-length album) (2006)
Satanic Zeitgeist (live album) (2009) Hope of Retaliation (full-length album) (2011) Coronation of King Darkness (full-length album) (2013) Lightless Violent Chaos (full-length album) (2018)
Although they didn't really become well-known on the international scene until the later 90s, and therefore are not always associated with the initial wave of 90s Norwegian black metal, CARPATHIAN FOREST has been around in one form or another since 1990. From near the city of Kristiansand, they got their start under the name Enthrone, playing a primitive brand of extreme metal that owed a lot to the black and death metal of the 1980s.
Here is Enthrone's Black Winds demo in its entirety
Founded by Nattefrost and Nordavind (who initially went by different pseudonyms) Enthrone managed to self-release one demo, Black Winds, in 1991. By 1992, they had changed their name to Carpathian Forest and recruited Damnatus and Lord Blackmangler to round out the band (near as I can tell, these two didn't do much else in the Norwegian metal scene). During this time period, members of the band had also become involved in some of the happenings surrounding Norway's elite Inner Circle of black metal. But the real turning point of this era of the band's existence was their 1992 demo, Bloodlust and Perversion.
In its entirety, here is the Bloodlust and Perversion demo
A true gem of early 90s Norwegian black metal, Bloodlust and Perversion has taken its place among other classic black metal demos (right up there with Emperor's Wrath of the Tyrant and Satyricon's The Forest is My Throne). It had a dark, old school sound that had less of the necro, trebly guitar associated with early 90s black metal and more of an almost death metal feel to it. It is raw and brutal while remaining true to the black metal ethos.
This demo--and its 1993 successor, Journey Through the Cold Moors of Svarttjern--made Carpathian Forest a key addition to the swelling ranks of Norway's black metal elite. But it still took them a while to release their debut album. They signed with Italian label Avantgarde Music and recorded their debut, 1995's Through Chasm, Caves, and Titan Woods.
"The Pale Mist Hovers Toward the Nightly Shores" is probably my all-time favorite Carpathian Forest track
Through Chasm..., although only an EP and not a full-length release, is a solid entry into the Norwegian black metal canon. In addition to solid riffing that draws on Norwegian masters like Burzum, Mayhem, and Darkthrone, the songs on Through Chasm... also have a bit of a black-thrash aura to them. One thing that also set CF apart from many of the early Norwegian masters was that they managed to incorporate dark synth playing without taking the full symphonic black metal plunge.
Not the most active of bands when it came to interacting with the media, CF didn't give interviews during these years (word is that Nordavind was opposed to it). So it appeared to many that the band was inactive while they were really just laying low, writing music. They finally broke their silence with their first full-length studio album, 1998's Black Shining Leather.
This is the title track from Black Shining Leather
A fantastic album, Black Shining Leather continues the raw, thrash-influenced style of Chasm but in a more mature way. Additionally, the production was heartier, more robust, with a stronger sound in the bass. That being said, this was still a solid offering that fit squarely in the Norwegian pantheon of classic black metal albums.
Around this time period, founding member Nordavind left Carpathian Forest over differences of opinion with Nattefrost. Nordavind wanted to maintain an elitist, underground ethos: no interviews, no live shows, etc. But Nattefrost wanted the band to grow and build off of the momentum set in motion by the release of Black Shining Leather.
"Mask of the Slave"is from 2000's Strange Old Brew
Carpathian Forest--without Nordavind in the roster--then went on to do something often unheard of in metal: they recorded two albums at the same time. The first of these albums, Strange Old Brew, contained songs written in the early nineties and was released in late 2000. The second of these albums, Morbid Fascination of Death, contained material written after the recordings of Black Shining Leather and was released in early 2001.
Here is the title track from 2001's Morbid Fascination of Death
Both of these albums showed Carpathian Forest at their most sinister. The raw, evil sound of their earlier work was present, and the influence of old-school thrash metal was clear as day. Some songs even had an almost Hellhammer/Celtic Frost vibe to them---which makes sense, given that CF has long cited those Swiss maniacs as an influence.
Since those albums, Carpathian Forest has never let up. In a day and age where most of the old-school Norwegian black metal masters have evolved beyond traditional black metal, or called it quits, CF can be counted on to keep flying the flag for true black metal.
Select Discography:
Bloodlust and Perversion (demo) (1992)
Journey Through the Cold Moors of Svarttjern (demo) (1993)
Through Chasm, Caves, and Titan Wood EP (1995)
Black Shining Leather (full-length album) (1998)
Strange Old Brew (full-length album) (2000)
Morbid Fascination of Death (full-length album) (2001) Live at Inferno (live album) (2001) Defending the Throne of Evil (full-length album) (2003) Fuck You All!!!! - Caput Tuum in Ano Est (full-length album) (2006)
How fitting that I write the entry for the mighty ABSU a mere two weeks or so after the band has announced their breakup! One of the all-time great American black metal acts is no more.
Absu originally formed in 1989 in Dallas, Texas, as extreme speed metal band Dolmen. Taking their name from the Breton word for a type of tomb, their interest in all things Celtic was thus evident pretty early. Their style drew heavily on thrash and death metal bands like Destruction, Death, Kreator, Sodom, and Slayer. Within a year, they had changed their name to Azathoth . By 1991, they had changed their name yet again---to Absu.
Stylistically, as Absu had evolved from Dolmen and Azathoth, they evolved from a band that clearly flirted with the line separating thrash and death metal to one being squarely in the death metal camp. Their early demo material was fast, brutal death metal that compares favorably to work by the early genre masters---think Suffocation meets Cannibal Corpse. It was quality stuff that honestly still holds up today---but it wasn't black metal. That being said, the lyrics were not the gore and death-obsessed fare we associate with much of death metal. The band---even this early on---were including occultic, magickal, necromantic themes in their lyrics, as well as drawing on ancient polytheistic paganism for inspiration. It was after the release of the 1992 EP Temples of Offal, however, that the direction of the band changed forever.
Here is the complete Temples of Offal EP---note the raw death metal sound!
It was in 1992 that founding members Equitant and Shaftiel recruited Mysticia (guitars), Black Massith (synths), and Proscriptor McGovern (drums, and eventually, vocals). Proscriptor would eventually take over the reins as chief songwriter and the mastermind behind some of the band's more elaborate conceptual works. The band's sound began to evolve even further. An official bootleg compilation of some live songs---entitled Infinite and Profane Thrones--saw the light of day in late 1992 and debuted some new songs ("Descent to Acheron" and the title track) that bridged the gap between their early death metal years and the mythologically-driven black metal style that they become known for.
The transition to a style that can more accurately be labeled 'black metal'--or something approximating it--was complete within a few months of the release of Infinite and Profane Thrones. Absu entered the studio in 1993 to record their debut album for label Gothic Records. The resulting album--Barathrum: V.I.T.R.I.O.L.--was a mystical blend of black metal eerieness and occultic thrash influence. The obsession with ancient pagan themes was still present, but there was a new, sharper edge to the band. The bluntness of the death metal years were gone.
"The Thrice is Greatest to Ninnigal" comes from their 1993 debut
Barathrum was an American black metal release that took the world by storm. With a riffing style that drew on death metal and a mystical background reminiscent of the 1980s proto-black metal scene, there really wasn't anything comparable coming out of the USA at the time. This resulted in the signing to a bigger label---the up-and-coming French label Osmose Productions. Osmose was the band's home for many of their best and most formative years. After Osmose re-issued Barathrum in 1994, Absu headed back into the studio to record their follow-up. What resulted was 1995's The Sun of Tiphareth.
"The Coming of War" is one of Absu's most famous songs
Sonically, Absu was moving further away from their death metal origins. Now a three-piece (Mysticia and Black Massith had left the band in late '93), Proscriptor and company maintained that mystical atmophere of the early years through the masterful use of layered synths, but their guitar sound was more firmly in the black metal camp than it had been before. Another highlight of their evolving sound was Proscriptor's brilliant, yet precise, drumming (check the beginning of "A Quest for the 77th Novel" for a great example). Lyrically and conceptually, Absu was digging deeper into ancient paganism, mining Sumerian and Mesopotamian sources for its spritual richness. This approach also carried over into the ...And Shineth Unto the Cold Cometh 7", released later that year.
"Highland Tyrant Attack" comes from 1997's The Third Storm of Cythrául
It was on their third full-length album, 1997's The Third Storm of Cythrául, that things really began to fall into place for these mythologically-minded metalheads. Not only did this album feature a much more mature thrash metal-influenced black metal sound with strong riffs and superb drumming, but this was the beginning of Absu's Celtic phase. Absu drew heavily on the mystical aspects of ancient Celtic pagan beliefs for their lyrics, and the band even highlighted their own ancestry to further emphasize the connection. There are some very famous pictures of the bands appearing in kilts and other traditional garb during this era of their existence, for example.
Decked out in Celtic garb, this is the classic line-up in a very famous promotional photo
In interviews as well, the band highlighted the depth and importance of these pagan influences. For the members of Absu--unlike so many other extreme metal bands--the pre-Christian spiritual world was one of magick and power. The charismatic Proscriptor drew attention to the ways in which these beliefs shaped their lives.
Absu continued in this Celtic-influenced vein on the 1998 EP In the Eyes of Ioldanach. This release was not just a continuation of Cythrául in terms of lyrical and conceptual content, but saw a further refining of the thrash-influenced black metal style they had now become known for. But their best was yet to come...
"From Ancient Times (Starless Skies Burn to Ash)" is one of their best songs off of Tara
Absu's next album was 2001's Tara. This album not only saw their obsession with Celtic paganism reach its peak, but the musical style that they had been developing over the past few years peaked as well. It was brilliantly crafted black metal, yet the imprint of thrash metal was still easily recognizable.
While Absu may have reached their creative and musical zenith with Tara, all was not well. Equitant and Shaftiel left over creative differences, and Proscriptor injured his hand in an accident, thus causing the band to be put on hold. Once he recovered physically, he decided to put the band on hold indefinitely. Over the next few years, Proscriptor was the session drummer for many bands in the black metal underground, and even a primary member of Israeli black metallers Melechesh.
Absu was eventually revived after this hiatus. In relatively rapid succession, they then released 2009's Absu and 2011's Abzu. A solid continuation of their earlier sound, these albums saw their occultic obsession with paganism extend more deeply into Sumerian and Mesopotamian mythology.
Absu spent the bulk of the 2010s touring and spreading their sound far and wide. After guitarist Vis Crom left the band in 2018 (after coming out as transgender), the band didn't last much longer: Proscriptor dissolved the band in January of 2020. One of the greatest American black metal bands came to an end after roughly three decades of existence.
The Third Storm of Cythrául (full-length album) (1997) In the Eyes of Ioldanach EP (1998) Tara (full-length album) (2001) Mythological Occult Metal: 1991-2001 (compilation) (2005) Absu (full-length album) (2009) Abzu (full-length album) (2011)
Staying in the British Isles, we return to the land that gave the world black metal--England. Hailing from Ipswich in the county of Suffolk, the now-legendary band CRADLE OF FILTH formed in 1990 as death metal band Burial. They might be controversial now because of their commerical success--a phenomenon that has attracted accusations of "selling out" from hardcore black metal fans--but their impact on the genre and on the British scene simply cannot be denied. Founders Daniel Davey (a/k/a "Dani Filth") and Paul Ryan were enamored of extreme metal and wanted to create their own. These Brits were obsessed with everything from thrash to crust to grindcore to old-school black and death metal, citing their fascination with bands like Slayer, Napalm Death, Discharge, and Celtic Frost as early musical inspiration.
However, it was the late 80s/early 90s death metal boom that truly inspired these lads. Albums like Deicide's self-titled, Entombed's Left Hand Path, and Cannibal Corpse's Eaten Back to Life really spurred on some creative efforts from the British bastards of Burial (who had changed their name to Cradle of Filth by 1991 because of a well-established band going by their original moniker). Having recruited some friends to round out the band, Cradle of Filth's early sound was a raw death/thrash -influenced sound with an occultic edge (courtesy of some well-placed synths). Demos like Invoking the Unclean and Orgiastic Pleasures Foul (both released in 1992) showcased this sound.
In its entirety, this is the 1992 demo Invoking the Unclean
Describing their sound as "almost aristocratic" and steeped in English artistic traditions, Cradle's demos made real waves in the metal underground. As a result, they began to make connections with extreme bands all over the world. The vast tape trading network of the extreme metal underground allowed then to make contacts with bands such as Root, Mortuary Drape, Blasphemy, Necromantia, and, of course, the burgeoning Norwegian scene in the form of Darkthrone and Mayhem.
"Unbridled at Dusk" is from the 1993 demo Total Fucking Darkness
Cradle of Filth's sound evolved as their network of contacts grew. Their split release with Malediction and 1993 demo Total Fucking Darkness were well-received among the extreme metal elite, and showed this evolution. Still firmly rooted in death metal, the band's gradual transformation into something different had begun. While still not black metal, the atmospheric use of synths and the gothic approach to their songs showed that they were creating something truly unique. And it caught the attention of record labels, resulting in a deal with Tombstone Records. In fact, they had actually signed with Tombstone and recorded material for a full-length album--to be titled Goetia--even before the release of '93's Darkness.
But Tombstone--like a lot of underground record companies--had more passion than business sense and their relationship with Cradle of Filth soured. The master tapes for Goetia got erased by the label in the process, leaving Cradle of Filth without a debut album. They were too big of a rising star in extreme metal to remain unsigned for long, so it wasn't long before they landed with Cacophonous Records. This resulted in the recording and release of their actual first full-length album, 1994's The Principle of Evil Made Flesh.
"The Forest Whispers My Name" is one of the best-known songs off of Principle
This album represented a big shift in sound for these Brits. The influence of death metal was still there, yes, but the overall atmosphere of the album was more eerie, more occult-driven than what they had done before--including more expansive synth sounds and haunting female vocals. By the band's own admission, Cradle of Filth had started to pay attention to the sounds coming out of Norway--they specifically cite Burzum and Darkthrone, for example, as having an impact on the kind of music they were writing at the time. Principle is a hard album to categorize, drawing on some of the rawer elements of 90s black metal, all the while maintaining the band's death metal roots and expanding the gothic nature of their sound. This era of the band's existence also saw numerous line-up changes. In 1995, while recording the follow-up to Principle, Nick Barker joined the band (their third drummer), and several long-time members (including founder Paul Ryan) left the band. Some of these members even went on to play in Hecate Enthroned, a similarly-styled gothic black metal band that has sometimes (unfavorably) been compared to Cradle of Filth.
In the process of recording their follow-up to Principle, Cradle of Filth's relationship with label Cacophonous headed south. Cradle wanted out of their record deal, and they held some of the already-recorded music for the second album hostage in order to wrangle out of their record deal. Cradle of Filth did eventually put out a second release with Cacophonous to satisfy the terms of their contract: the 1996 EP Vempire, or Dark Faerytales in Phallustein. This release saw the band's sound begin to resemble something more along the lines of the symphonic stylings that could be heard coming out of Norway at the time (think Emperor), yet still retained that raw, gothic edge Cradle was known for.
"Queen of Winter, Throned"--from Vempire--highlights the evolution in Cradle's sound
The band's actual second album--still retaining the title of Dusk...and her Embrace---was released later that same year on new label Music For Nations (the original version of Dusk would see the light of day twenty years later). The sound on this release can definitely be accurately labeled more of a symphonic black metal sound than anything they had attempted before---even the Vempire EP. The riffing is more in line with what we think of when we think 'black metal,' and even the synths are more carefully layered as a complement to the guitar instead of dominating the soundspace the way they did on Principle. Yet at the same time, those in the black metal world who had a very specific---some might even say narrow--conception of what black metal should sound like looked down on what Cradle of Filth were doing.
My favorite song off of Dusk is "Funeral in Carpathia"
The success that Dusk brought the band didn't help--at least in the eyes of the black metal purists. Touring with bands like Dissection and Dimmu Borgir would seem to cement Cradle of Filth's black metal credentials, but selling over half a million copies of an album as uncompromising as Dusk brought cries of 'sellout'. The band also managed to achieve notoriety through huge merchandise sales---including the now-infamous so-called 'vestal masturbation'/'Jesus is a Cunt' t-shirt (a shirt, by the way, that is banned in New Zealand).
The infamous t-shirt in question
The band's follow-up to Dusk was the 1998 album Cruelty and the Beast. A more mature version of the sound on Dusk, this album was a brilliant concept album that purports to tell the story of Countess Elizabeth Bathory, infamous Hungarian noblewoman and serial killer (and inspiration for so many black metal bands!). Boasting a treble-thin production perfectly consistent with the black metal ethos, Cruelty's use of synths to create a gothic atmosphere that outshone even Dusk and Vempire, as well as the clever use of eerie sound effects, spoken word (courtesy of famed horror actress Ingrid Pitt), and beautifully sung female vocals (courtesy of soprano Sarah Jezebel Deva), made it one of Cradle of Filth's strongest releases---to my ears.
The band's rising star did not sit well with the black metal elite of the late 1990s. Features in mainsteam music magazines (including a well-publicized article on black metal in Spin) didn't help either. More line-up changes (most notable was Nick Barker being replaced on drums by Adrian Erlandsson, of At the Gates fame) and solid releases like the 1999 EP From the Cradle to Enslave and 2000's Midian helped usher in what would be Cradle of Filth's most successful period. A controversial video for the song "From the Cradle to Enslave" (released on VHS as part of the long-form video PanDaemonAeon) also pissed off more than a few people in the musical mainstream and raised the ire of censors everywhere.
"Cruelty Brought the Orchids" is a solid example of the sound on 1998's Cruelty and the Beast
This success caught the eye of mainstream record labels, and these blasphemous Brits soon signed with titan Sony Records. This has all but ensured that die-hard black metal fans would never give the band a chance again. And while Cradle of Filth's sound has continued to evolve well beyond the boundaries of black metal (I wouldn't call anything they've done since 2003's Damnation and a Day really black metal, per se), they're still an evil band that is by no means palatable to most folks.
That said, their early work is clearly important for its impact on extreme metal in Great Britain, as well as the development of both the symphonic and gothic subgenres of black metal. I think even the most close-minded black metal fans would like 1994's The Principle Of Evil Made Flesh, and fans of classic symphonic black metal may even like their work up to 2000's Midian.
Select Discography:
Invoking the Unclean (demo) (1992) Orgiastic Pleasures Foul (demo) (1992)
A Pungent and Sexual Miasma (split with Malediction) (1992)
Total Fucking Darkness (demo) (1993)
The Principle of Evil Made Flesh (full-length album) (1994)
Vempire, or Dark Faerytales in Phallustein EP (1996)
Dusk...and Her Embrace (full-length album) (1996)
Cruelty and the Beast (full-length album) (1998) From the Cradle to Enslave EP (1999) PanDaemonAeon (VHS) (1999)
While the British Isles gave birth to black metal in the form of England's Venom, it took a while for the farthest reaches of the islands to join the fray. It was 1987 when Pól MacAmhlaigh (along with his brother D. on drums) and Ciarán MacUiliam formed PRIMORDIAL in Skerries, on the outskirts of Dublin. Initially going by the name Forsaken, they, like a lot of bands formed by teenagers during the 1980s, were just about passion and paying homage to the bands that inspired them. These early years were lean years, with covers of thrash and death metal bands like Slayer, Metallica, Sepultura, and Death serving as their lifeblood.
The end of the eighties saw the death metal explosion begin to influence Forsaken/Primordial's sound (they specifically cite Autopsy, Morbid Angel, Pestilence), but they still lacked a reliable full-time vocalist. This changed in the early nineties with the recruiting of Alan Averill. Averill--who goes by the stage name Nemtheanga--was hugely knowledgeable of the extreme metal underground. This led to a seismic change in the band's orientation. This was also the around the time where the band changed their name to Primordial.
The classic "To Enter Pagan" originally appeared on their '93 demo
In 1993, Primordial had managed to scrape together enough money to put out a demo, the now-classic Dark Romanticism. With a rather well-produced sound for a demo, Dark Romanticism not only wears its old-school black and death metal influences on its sleeve (you can definitely hear Bathory and Celtic Frost in their songwriting), but there is a darker, doomier edge to it, courtesy of these Irishmen's obsession with doom metal pioneers Candlemass.
This demo led to a lot of courting from underground metal labels, like Candlelight, Peaceville, and Unisound, but not much happened. Luckily, Dani Filth (of Cradle of Filth) pushed his label, Cacophonous Records, to sign these evil Irish upstarts. After the release of a live demo in 1994, Primordial signed with Cacophonous. The result of this union was their first studio album, Imrama.
1995's Imrama is the source of "Infernal Summer"
While continuing the sound of Romanticism, Imrama also began to showcase folkier elements that clearly drew from Irish culture. This, then, would become the hallmark of Primordial's sound over the years. But some major changes were to come before the band soldiered on with their sound.
In 1997, they underwent some major personnel changes, recruiting a new drummer and a second guitarist. This, combined with the signing to a new label (Misanthropy Records) lent a sense of urgency to Primordial's new phase. As Nemtheanga himself notes, the band did not feel ready when they entered the studio to record the follow-up to Imrama. Yet the masterpiece that resulted does not sound like a band unprepared.
"Autumns Ablaze" is classic Primordial (from 98's Journey's End)
1998's A Journey's End is a brilliant masterpiece that still bears the mark of the black metal foundation Primordial carved in the early 90s, all the while crafting something wholly new. The songs began to take on a sweeping, epic feel that not only have an occultic black metal aura to them, but the folk elements are even more pronounced. Also, by Nemtheanga's own admission, his interest in historical and cultural topics led to lyrics that moved beyond Satan worship and pagan occult themes. This album formed the template for what Primordial would do on the next several albums.
Following Journey, Primordial sought to spread their name far and wide by touring, all while having to deal with yet more label trouble. Misanthropy Records folded, but Primordial landed with esteemed underground label Hammerheart Records, where they would put out three solid albums (1999's The Burning Season MCD, 2000's Spirit the Earth Aflame, and 2002's Storm Before Calm).
Following the collapse of yet another record label, Primordial signed with Metal Blade Records. This marked the beginning of a new era for the Irishmen. 2005's The Gathering Wilderness was a mature, sober offering from Primordial that caught the attention of a wider audience than ever before. Its 2007 follow-up, To the Nameless Dead, is arguably the band's magnum opus, and elevated them to new heights.
2005's "The Coffin Ships" might be Primordial's best-known song
2007's "Empire Falls", on the other hand, might be their best, period
For the black metal purist, Dark Romanticism is a true second wave classic that simply must be heard. For those who want to see all that black metal has to offer, and revel at the creative direction bands can take, they should seek out some of Primordial's more recent work.
Select Discography:
Dark Romanticism (demo) (1993)
Demo '94 (demo) (1994)
Imrama (full-length album) (1995)
A Journey's End (full-length album) (1998) The Burning Season MCD (1999)
Spirit the Earth Aflame (full-length album) (2000)
Storm Before Calm (full-length album) (2002)
The Gathering Wilderness (full-length album) (2005) To The Nameless Dead (full-length album) (2007)
Behemoth's classic 1994 demo, ...From the Pagan Vastlands
One could argue that in addition to Graveland, the mighty BEHEMOTH--hailing from Gdańsk--is the most important Polish black metal band of the early second wave. It is no secret that they are one of the biggest metal bands in the world right now, but they are predominantly known for their blackened death metal more than straightforward black metal. Their early years, however, saw them hone a rawer, more necro black metal style that had a particularly sinister edge to it---a far cry from their sound today.
Formed as Baphomet in 1991 by Holocausto and Sodomizer (born Adam Darski and Adam Muraszko, respectively--both of whom would later change their stage names to Nergal and Baal Ravenlock), the band soon realized that there was a glut of 'Baphomets' in the extreme metal underground. They quickly changed their name to 'Behemoth'. The band members still in their teens, they managed to cobble together a raw, unpolished demo in the form of Endless Damnation. This demo--as well as their 1993 follow-up, Return of the Northern Moon--featured a stripped-down, no frills style of black metal that resembled the Norwegian scene more than anything in Poland.
"Rise of the Blackstorm of Evil" is from that 1993 demo
It was their 1994 demo, however, that really put them on the map. ...From the Pagan Vastlands marked a serious step forward in terms of musicianship and quality. Still retaining that raw, necro edge that the first two demos had, it cleaned up the sound a little bit while crafting songs that were clearly indebted to the now-thriving Nordic scene. This, coupled with a wider release, courtesy of upstart label Pagan Records, made Behemoth the new face of true Polish black metal.
"Thy Winter Kingdom" is a classic track off of 1994's Pagan Vastlands
While this demo opened doors and created opportunities for Behemoth, it also marked the beginning of a shift. Whereas the Polish scene--like many other early black metal scenes--had been somewhat incestuous up to this point (with members of many different bands playing on each other's demos and playing live in each other's bands at early shows), now different camps began to form. Rob Darken and his peers in Graveland began to insist on an ideological purity in their brand of pagan, ethno-nationalist black metal, but Nergal and Behemoth had decided to distance themselves from this type of thinking. To Behemoth, Slavic paganism only made sense in the context of Satanism's war against Christianity.
Behemoth's first full-fledged studio release was an EP--late 1994's ...And the Forests Dream Eternally--and it saw them solidify the musical direction of the demo. But it was 1995's mighty Sventevith (Storming Near the Baltic) that truly heralded the arrival of something special. This was a full-length album that not only owed an immense sonic debt to Norway, but also showed masterful originality. The creative incorporation of symphonic elements--thanks to synth player Demonius--gave these songs a new mystical aura to them. One can hear the influence of Dimmu Borgir and Emperor, yes, but these Poles managed to put their own spin on it.
Sventevith gives us this great song, "From the Pagan Vastlands"
After the success of this awesome full-length album, the next few years saw some rather exciting developments for Behemoth. The follow-up to Sventevith was 1996's epic Grom. An album that sought to expand what Behemoth had done before, Grom was characterized by a crisper, cleaner guitar sound that showed the influence of death metal (courtesy of newly added guitarist Les, of Polish death metal band Damnation), as well as variations in tempo and rhythm that were not common in Norwegian black metal at the time.
My favorite track off of 1996's Grom is "Thou Shalt Forever Win"
Yet more changes were in store. Long-time member and founder Baal Ravenlock left the band and was replaced on drums by death metal prodigy Inferno. This has had a huge impact on the direction of Behemoth's evolution. Inferno is a technical wizard on the drums, and as a result, there are no limits to what Behemoth is capable of---technically-speaking. This lead to the release of 1998's masterful Pandemonic Incantations, which showcased a sound that drew on Behemoth's black metal roots while incorporating some more technical and death metal elements. It is--with good reason--one of Behemoth's most critically acclaimed albums.
"With Spell of Inferno" highlights Behemoth's more death metal-influenced sound from Pandemonic Incantations
Since the recruitment of Inferno, Behemoth has continued to carve a very unique and fruitful path. The have a death-influenced style that is heavy on the black metal elements, yet it really doesn't resemble too many other bands out their. With the additional recruitment of bassist Orion and Nergal's lyrical exploration of his complex Satanist personal philosophy, Behemoth has crafted a niche for themselves that no one else can fill.
2004's brilliant Demigod gives us "Conquer All"
"Chant for Ezkaton"--one of their best-known blackened death metal songs--is here performed live
Select Discography:
Endless Damnation (demo) (1992)
The Return of the Northern Moon (demo) (1993)
...From the Pagan Vastlands (demo) (1994) And the Forests Dream Eternally EP (1994)
Sventevith (Storming Near the Baltic) (full-length album) (1995)
