Funeral Winds

For our next band, we visit a nation not often talked about in black metal circles: Netherlands. One of that country's prime examples of great black metal, Rotterdam's FUNERAL WINDS doesn't compromise in their music. The band was formed in 1991 by Hellchrist Xul (guitar) and Gorgoroth (vocals), but it wasn't long before they recruited Esteban on drums and put out some really vile demo material!

Their first demo (a rehearsal from 1992), circulated only among the black metal elite, but it wasn't long before subsequent demos emerged (1993's La Majeste infernable and 1994's Resurrection...)that spread the band's infamy far and wide. This third demo was even released by cult Polish label Pagan Records. This was also an era where they recruited new members, beginning the trend of a rotating cast of musicians outside of the band's core.

This is 1994's Resurrection... demo in its entirety

While their star was rising in the early nineties, and the band was fairly prolific, all was not well in the band. Hellchrist Xul and Esteban didn't get along, and so the band temporarily broke up before even releasing a full-length album. Gorgoroth went on to form Liar of Golgotha (another Dutch black metal band that would go on to become successful), but eventually the members of Funeral Winds reconciled and regrouped. They then began preparing material for a full-length album.

But old grudges die hard, and it wasn't long before Gorgoroth was out of the band and Hellchrist had recruited a whole slew of new musicians who were all willing to add 'Xul' to their stage names (this is the band's hallmark---'Xul' is, I believe, an ancient Sumerian word for 'evil'). This new line-up was the one that recorded their debut album, 1998's Godslayer Xul.

"Thy Eternal Flame" comes from their debut album

In addition to their constantly rotating lineup, Funeral Winds was also known for truly epic live shows--replete with candles, fire breathing, and self-mutilation, all in the name of their Satanic beliefs. You see, Funeral Winds was a band that didn't just talk the talk, they walked the walk. The Satanism associated with black metal was a very real presence in the lives of these Dutch heavy metal maniacs.

But the years after the release of their debut full-length album were not easy ones. The revolving line-up became an issue for the band, and it was over four years before they were able to put out new material. In '03, they put out a split album, followed by their second full-length studio album in 2004, Koude haat.

Koude haat gives us "When the Funeral Winds

Cry For Revenge"

With a title that means "cold hate", their second album featured more of the angry, vile black metal from their earlier years. With a style that also takes its cues from old-school black/thrash, Funeral Winds is the kind of band that should appeal to all black metallers. Since Koude haat, FW has been consistent---but not as busy. While they have released two solid albums since then, they don't churn them out with regularity.

Their most recent release is 2018's Sinister Creed, and it's as punishing and violent as any FW album. I'd say it's angrier and more aggressive than much of their earlier work. Funeral Winds is definitely a band that should be in the rotation for all fans of true, no-frills black metal.

"The Road to Perdition"--from Sinister Creed--showcases Funeral Winds's style

Select Discography:

Rehearsal 1992 (demo) (1992)
La Majeste Infernable (demo) (1993)
Resurrection... (demo) (1994)

Thy Eternal Flame EP (1994)

Screaming for Grace (split with Abigail) (1995)

Godslayer Xul (full-length album) (1998)
For the Glory of Xul 12" (split with Inferi) (2003)

Koude haat (full-length album) (2004)
Nexion Xul - The Cursed Bloodline (full-length album) (2007)

Next time: JUDAS ISCARIOT

Fleurety

In a genre that is inherently extreme, FLEURETY stands out as particularly far out there. I'm not talking about the experimental/avant-garde turn they took in the new millenium---I'm talking about the vocals on their early releases. Fleurety has become known for having some of the most inhuman vocals in extreme metal. But more on that shortly. Let's set the stage first....

Part of the explosion of Norwegian black metal bands in the early 90s, Fleurety (from Norway's Viken region) was formed in 1991 by Varg and Nebiros, taking their name from a demon mentioned in several grimoires.

This is the title track from their Black Snow demo

Initially a death metal band called Transmogrification, it was hearing early second wave black metal masterpieces like Samael's Worship Him and Darkthrone's A Blaze in the Northern Sky that inspired these lads to shift their sound. With this shift, Fleurety joined the still-young Norwegian scene and got to work on new material. The result was the infamous Black Snow demo in 1993.

While the songs on the demo utilized fairly typical guitar riffing for the times, it was---as stated above---the shrill, piercing vocals that set Fleurety apart. They were more high-pitched, with a sound that hurts just to listen to. Fleurety were considered just too weird for even such an extreme genre as black metal. Many fellow Norwegian black metallers lambasted their sound, with some even going so far as to physically attack Nebiros and Varg.

From the 1994 EP, this is "My Resurrection in Eternal Hate"

But they soldiered on. Their demo had caught the attention of record labels, and they signed with British label Aesthetic Records. They released the 7" EP A Darker Shade of Evil through that label. This release showcased a more mature approach to black metal than their demo. It was still in the same style (roughly), but the guitar playing and song structures in general were less amateurish.

Fleurety, however, were just getting started. They returned to the studio and recorded a full-length album: 1995's Min tid skal komme. The weirdness that was only hinted at before had now blossomed into full-fledged progressive tendencies. While the acoustic passages and creative guitar playing could be said to resemble other bands in the Norwegian scene, their songs as a whole veered too far off to the left for the black metal purists now dominating the scene.

"En Skikkelse I Horisonten" is from the '95 full-length

In a way, this progressive approach to black metal could be seen as a precursor to the experimental black metal bands to come. The ethereal atmosphere of Min tid skal komme can be thought of as post-black metal before such a thing existed. Oh, and gone were the shrill inhuman vocals of the early years. Varg (Alexander Nordgaren) could no longer perform those vocals, as he had damaged his vocal chords with such shrill screeches!

Min tid skal komme was Fleurety testing the waters. The band has admitted that progressive music, jazz, and electronica were in heavy rotation at the time, and made its way into their music. The 1999 EP Last Minute Lies was hardly black metal at all, and as a result, Fleurety was dropped from their record label. They were soon, however, picked up by Supernal Records.

A taste of the weirdness that is Department of Apocalyptic Affairs

Their second full-length album, Department of Apocalyptic Affairs, was released in 2000, and it took the experimentalism of the earlier years and ran with it. This album bore little resemblance to anything black metal, yet it featured a host of guest musicians from Norway's black metal scene (including from such stalwarts as Mayhem and Arcturus).  Since this release, Fleurety's style has more or less remained firmly in the realm of the weird and experimental, and would probably not appeal to most black metal fans. That said, if you're an open-minded music lover, it might be worth your while.

Select Discography:

Black Snow (demo) (1993)
A Darker Shade of Evil EP (1994)
Promo '95 (demo) (1995)

Min tid skal komme  (full-length album) (1995)

Next time: FUNERAL WINDS

Besatt

With each passing day, I am more and more impressed with the Polish black metal scene. It was only a few years ago that I discovered and was blown away by BESATT, who hail from the Polish city of Bytom, and, in a way, that is the story of their existence. They've slaved away in the underground without receiving their due respect. The hardcore black metal elite know who they are, but the average black metal fan who thinks they know the full story? They're in the dark.

Besatt formed in 1991, around the same time as Behemoth and Graveland, but are not nearly as well known as their fellow countrymen. Perhaps it's because Besatt has consistently churned out strong, no-frills black metal without an accompanying ideology to distract you from the music (Graveland) or without incorporating elements from other genres, like death metal (Behemoth). Whatever the case, Besatt is a black metal band you need to know.

Helmed by Satanic stalwarts Beldaroh and Weronis, Besatt had a shifting lineup in its first few years of existence. This lack of stability was one of the reasons that no recorded material from Besatt survives from the early nineties. There are two rehearsals known to exist from this time--the Ares and Wieki ciemne rehearsals, respectively--but I can't even find out their exact dates.

From their 1996 demo, this is "Gniew Demona"

But by 1995, the lineup had solidified. Besatt then churned out their first official demo, which saw the light of day in 1996. Czarci majestat laid down the template for what Besatt would become known for: straightforward Satanic black metal with no gimmicks. Check out a sample from the demo above.

The strength of this demo lead to the opportunity for Besatt to record proper studio albums, beginning with 1997's In Nomine Satanas. This was dark, aggressive, Satanic black metal that pulled no punches, with the speed and intensity of Marduk, Gorgoroth, or Unlord. Calling to mind the best the genre had to offer, Besatt was carving out a niche for themselves. They followed this solid debut with equally evil albums like 2000's Hail Lucifer, 2002's Hellstorm, and 2004's Sacrifice for Satan.

From their debut album, this is "My Religion"

2000's Hail Lucifer gives us "Antichrist"

Luckily, the 2000s saw Besatt's star begin to rise. Along with their blackened, evil sound, Besatt was also becoming known for ritualistic live performances. Their live shows were all part of their Satanic beliefs; unlike some bands, Besatt put their money where their mouth was.

"Final War" is from 2006's Black Mass

Besatt has continued to put out great black metal that really captures the spirit of the genre.  They show no sign of letting up, and perhaps one day they will get the credit they deserve.

Select Discography:

Ares (rehearsal) (?1993?)
Wieki ciemne (rehearsal) (?1994?)
Czarci majestat (demo) (1996)

In Nomine Satanas (full-length album) (1997)

Hail Lucifer (full-length album) (2000)

Hellstorm (full-length album) (2002)
Sacrifice for Satan (full-length album) (2004)

Diabolus Perfectus (split with Arkona and Thirst) (2005)

Black Mass (full-length album) (2006)
Triumph of Antichrist (full-length album) (2007)

Next time: FLEURETY

Ildjarn

Norway's Thou Shalt Suffer was known for being the band that featured members of what would eventually be Emperor. Another band that arose from their ashes was ILDJARN (Norwegian for "Fire-iron"). Like Burzum, Ildjarn is essentially a one-man band. Unlike Burzum, Ildjarn has produced some of the rawest, most vile sounding black metal in history.

After the demise of Thou Shalt Suffer, Ildjarn (real name Vidar Våer) continued to use the band's old rehearsal space to create his own music. He eventually began recording on a four-track, with primitive results. His first demos--with Samoth on vocals--saw the light of day in 1992, the same year as Emperor's first demo.

Here is Ildjarn's second demo, Seven Harmonies of Unknown Truths, in its entirety

This early work of his was raw and primitive, yes, but it wasn't too far removed from what other black metal bands in Norway were doing. Burzum's sound on the self-titled release and Emperor's '92 demo are good reference points for Ildjarn's initial sound. But changes lay ahead.

"Kronet" is a great example of Ildjarn's sound--from the self-titled '93 demo

Ildjarn's self-titled 1993 demo (with Ihsahn on vocals) stripped down the sound from the early demos even more. The production was bare bones, the guitars even more vile, the percussion more primitive. In a way, this sonic primitivism reflected Ildjarn's own beliefs about black metal. Black metal, for Ildjarn, was a lifestyle. In true misanthropic fashion, real black metallers---according to Ildjarn---should shun society and retreat into the woods. Ildjarn himself has said that once he has saved up enough money and resources that he would commit fully to the black metal lifestyle.

After honing his craft and putting out a couple more demos, Ildjarn released full-length studio albums on his own label, Norse League Productions. Ildjarn himself has stated that he founded the label for the sole purpose of releasing Ildjarn albums. This was also around the time Ildjarn began collaborating with fellow Norweigan black metaller Nidhogg.

From the 1995 self-titled studio album, this is "Skogslottet"

"Clashing of Swords" is one of Ildjarn's most well-known songs from the album Forest Poetry

These years---1993 to 1996---were Ildjarn's most fruitful. Not only did he put out several albums of absolute classic Norwegian black metal, but his collaboration with Nidhogg and work in the band Sort Vokter also emerged in this era. Ildjarn was extremely busy and prolific.

The Norse album--a collaboration with Nidhogg--is the source of this track, "Svarte Hjerter"

For the most part, the black metal produced by Ildjarn was raw, primitive, and necro. There was no subtlety, just straightforward minimal, lo-fi nastiness. But Ildjarn---much like that other one-man band in classic Norwegian black metal history, Burzum---ventured into ambient territory. Ildjarn (like Varg Vikernes and any other black metaller who created ambient music) recognized that black metal was a mood, a spirit, an ethos. And that could be conveyed with ambient music (although Ildjarn referred to it as "symphonic landscape music").

"Amber Lake" is from the Ildjarn-Nidhogg collaboration Hardangervidda

Ildjarn did more or less end his career at the dawn of the new millennium. But by this point, a new generation of black metal maniacs had discovered his work, and Ildjarn felt compelled to put out all of his previously unreleased material. This culminated in the brilliantly packaged, exhaustive, epic release Ildjarn is Dead in 2005.

This is the entire Ildjarn is Dead release, laid out 

Select Discography:

as Ildjarn: 

Unknown Truths (demo) (1992)

Seven Harmonies of Unknown Truths (demo) (1992)

Ildjarn (demo) (1993)

Minnesjord (demo) (1994)
Ildjarn (full-length album) (1995)

Landscapes (full-length album) (1996)
Strength and Anger (full-length album) (1996)

Forest Poetry (full-length album) (1996)

collaborations with Nidhogg:

Norse EP (1994)

Svartfråd EP (1996)
Hardangervidda (full-length album) (recorded 1997, released 2002)

Hardangervidda Part 2 EP (recorded 1997, released 2002)

other work:

Sort Vokter - Folkloric Necro Metal (full-length album) (1996)

Next time:  BESATT

Maniac Butcher

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 Černa krev

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)

Barabrians (full-length album) (1995)
Lučan-antikrist (full-length album) (1996)

Krvestřeb (full-length album) (1997)

Černá krev (full-length album) (1998)
Live in Open Hell (live album) (1999)

Invaze (full-length album) (1999)
Epitaph (full-length album) (2000)
Masakr (full-length album) (2010)

Next time: ILDJARN

Black Crucifixion

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)

Next time: MANIAC BUTCHER

Carpathian Forest

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.

This is the title track from Bloodlust and Perversion

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)

Next time: BLACK CRUCIFIXION