Nergal

 

For our next band, we return to the land of Hellas, home of some of the world's best black metal. NERGAL, from the city of Piraeus, stands as one of Greece's elite and a purveyor of some truly fantastic black metal.

Formed around 1989, Nergal burst on to the scene as Greek black metal was really coming into its own: Rotting Christ had completed the transition to black metal from grindcore, and Necromantia and Varathron had put out truly cult-worthy demos. Into the mix came some rather unremarkable self-released demos from Nergal in '90 and '91. By the time of their titled demos, including 1992's In the Name of Nergal and 1993's The Talisman of Kioutha, Nergal had begun to carve out a niche for themselves.

This is The Talisman of Kioutha demo

With a dark, mystical aura, and a focus on more rhythmic and melodic guitar patterns,  Nergal put their own spin on what we now call hellenic black metal. Lyrically, Nergal was obsessed with evil and the occult, and their songs were constructed with this atmosphere in mind.

In 1993 came the De Vermis Mysteriis EP, which is when the world black metal scene really started paying attention to them. Composed of only four songs (including an intro and an outro), Nergal's style really shone forth on this release: the midpaced riffing, eerily gothic synths, and bass-heavy production helped set them apart from a Greek scene that was awash with poseurs.

In its entirety, here is 1993's De Vermis Mysteriis

After a split release with fellow countrymen Funeral Urn the following year, Nergal entered the studio and composed their masterpiece: the full-length gem The Wizard of Nerath. A unique release, Nerath managed to combine a trebly, necro guitar sound that clearly owes at least a partial debt to Scandinavian black metal, with a penchant for Hellenic black metal-style rhythms and atmospheric synths. While not quite on the level of His Majesty at the Swamp or Non Serviam, Nerath does easily hold its own with For the Glory of Ur or Unspeakable Cults.

From The Wizard of Nerath, this is "My Soul, Blood Will Be Dripping"

Nergal was on track to become of Hellas's black metal elite after the release of Nerath. And yet it was over a decade before they put out its follow-up. One of the things that allegedly put a damper on their music-making activities was harassment from the Greek authorities for the promotion of evil and Satanism in their music.

Whatever the case, Nergal has put out some really thought-provoking hellenic black metal in recent years: 2017's  Νυκτα Γεματη Θαματα - Νυκτα Σπαρμενη Μαγια is a fantastic addition to the canon of cult-worthy Greek black metal albums.

Select Discography: 

Promo '90  (demo) (1990)

Demo 1991 (demo) (1991)

In the Name of Nergal (demo) (1992)

The Middle Ages Return 7" (1993)

The Talisman of Kioutha (demo) (1993)

De Vermis Mysteriis EP (1993)

Magie Cérémonielle (split with Funeral Urn) (1994)

The Wizard of Nerath (full-length album) (1995)

Next time: ARGENTUM

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

Zemial

Archon Vorskaath and Eskarth the Dark One,

the two brothers behind Zemial

When speaking of Greek black metal, not a lot of people know much beyond the "big three": Rotting Christ, Varathron, and Necromantia.  Only the devoted recognize that the Greek scene is bursting at the seams with classic black metal bands.  One of the elite is Athens' ZEMIAL.  Zemial formed in 1989 and toiled in the underground for several years, releasing several cult promos and rehearsal tapes (that are now very difficult to find).  By 1992, Zemial released the now-classic EP Sleeping Under Tartarus.

This is the title track from the Sleeping Under Tartarus EP

Lyrically, Zemial is interested in not just the occult and the demonic, but ancient cultures from the Near East (Sumer, Mesopotamia) and obscure authors like Lovecraft and Edgar Allan Poe.  As far as sound goes, Zemial's black metal has elements of the early Hellenic style, as well as a black/thrash kind of sound.  I think that this sound is best exemplified by some of the songs off of the 1996 full-length For the Glory of Ur.

Here's "Battle on the Norse Mountains"

Shortly after the release of 1992's Sleeping Under Tartarus, Archon Vorskaath (the mastermind behind the band) decided to continue the project as a one-man band.  In 1994, he then relocated to Australia.  Owing to his desire to remain an underground band, Archon never signed Zemial to any major record labels (despite offers from labels such as Osmose), and this was one of the reasons for the relatively low output.  Afteer the release of 1996's For the Glory of Ur, 1997 saw the release of a demo entitled Necrolatry, followed by the Face of the Conqueror EP in 2003.

This is "Dragon's Touch", from Necrolatry

And from the 2003 EP Face of the Conqueror, this is "Impending Doom"

After For the Glory of Ur, Vorskaath continued Zemial along its Hellenic-sounding black/thrash path.  It was also in this time frame that Zemial had a few tours around Europe, and for this Vorksaath utilized session players (including his brother Eskarth the Dark One).  Some of the session players used on tour also offered some input on future compositions, but Zemial fundamentally remained Archon Vorskaath's.

Since the dawn of the new millenium, Zemial's output has remained somewhat steady.  After the Face of the Conqueror EP and a split with fellow Greeks Kawir, Zemial put out 2006's In Monumentum.  This album represents a shift in sound.  The black/thrash of Ur and Conqueror remains (to a degree), but is augmented by an epic, almost Viking-esque style.  After two EP's (2009's I am the Dark and 2011's Dusk), 2013's full-length NYKTA saw yet another shift in sound, as Vorskaath began to incorporate more experimental elements and even some jazz.

The title track off of In Monumentum is epic listening

"Pharos" has a very progressive feel to it (from NYKTA)

Select Discography:

Enthroned Death (demo) (1990)
Nocturnal Death (demo) (1991)
Sleeping Under Tartarus EP (1992)
For the Glory of Ur (full-length) (1996)
Necrolatry (demo) (1997)
Breath of the Pestilence (unreleased MLP) (1998)
Face of the Conqueror EP (2003)
In Monumentum (full-length) (2006)
I Am the Dark EP (2009)

Next time:  MYSTIFIER

Varathron...and other early Greek black metal bands

Greek black metal is usually talked about in terms of the "big three":  Rotting Christ, Necromantia, and VARATHRON.  All of them formed in the years 1987-1989, went on to have productive and influential musical careers, and are still around to this day.  Varathron formed in 1989 and came from the Greek city of Ioannina.  Their early demos The Procreation of Unaltered Evil (1989) and Genesis of Apocryphal Desire (1991), as well as the EP One Step Beyond Dreams (1991), all showcased a style that was more about the varied rhythms and evil atmosphere now associated with the hellenic black metal scene.

"Dawn of Sordid Decay" is from the 1989 demo Procreation of Unaltered Evil

Their first full-length--1993's His Majesty at the Swamp--is one of the gems of 1990s black metal, and one of the true highlights of Greek black metal.  Like Rotting Christ's material from the same era, Varathron's sound contains all of the occultic and atmospheric elements of black metal without falling into the Norwegian template.  Unafraid to craft black metal that has the components of the old school as well as some newer elements, Varathron is rightfully considered one of Greece's best.

"Unholy Funeral" is an excellent example of Varathron's classic sound

Varathron is still active today, having released numerous albums subsequent to Majesty.  Their most recent album, Stygian Forces of Scorn, came out in 2009.

Select Discography

Procreation of the Unaltered Evil (demo) (1989)

Genesis of Apocryphal Desire (demo) (1990)

The Everlasting Sins EP (split with Necromantia) (1992)

His Majesty at the Swamp (full-length) (1993)

Walpurgisnacht  (full-length) (1995)

The Lament of Gods EP (1999)

Crowsreign (full-length) (2004)

Stygian Forces of Scorn (full-length)  (2009)

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Hailing from the capital city of Athens, the black/death band VOMIT was only around long enough to put out two infamous demos, 1988's Mechanic Abomination and 1989's Sickness is Not an Experiment.  Vomit also became well-known in the Greek metal underground because of the 'zine they published.  Their sound was a heavily thrash-influenced sound, with elements of old-school black and death metal.

"Blower Head" is from the 1989 demo Sickness is not an Experiment

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ASFYX, also hailing from Athens, formed from the ashes of the more doom-oriented band Nightmare and managed to put out the Spirit of the Dead demo in 1989.  One can definitely hear the methodical, plodding rhythmic elements of doom metal in their black metal, yet at the same time, the more occult-oriented atmosphere of black metal is present as well.

"The Dark (Nightmare)" is off of their one demo

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Athens' scene was positively bursting at the seams with extreme metal bands.  Being Greece's largest city that should come as no shock.  One such old-school black/death band was SADISTIC NOISE.  With various members hailing from Greece's punk scene, the speed and rawness of Sadistic Noise shouldn't surprise anyone.  Sadistic Noise was a pretty long-running band in the Greek underground, putting out numerous demos (including 1988's Black and Chaos and 1990's The End) and a studio album (1999's Decade in the Grave).  In the beginning of their career, Sadistic Noise was clearly in the vein of old-school black metal, but they gradually shifted their sound to a more death metal style by the latter half of their career.  An interesting side note: Sadistic Noise was the first band to open for Napalm Death in Greece.

"Brothers of Gore" is from the 1988 demo Black and Chaos

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Yet another band from Athens, MORTIFY began in 1987.  Despite forming that early, they didn't put out any demos until 1990's Dizziness of the Occult.  Like fellow countrymen Vomit, they had a raw version of the distinctly Greek sound.  Unlike Vomit, their sound was more steeped in the gritty, old-school production values of the 1980s.  Mortify went on to release ...And Darkness Was Upon (demo, 1993) and two unnamed demos in 1995 and 1996 before breaking up.

"The Occult", off of the 1990 demo Dizziness of the Occult

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Forming as ERESHKIGAL in 1988, then changing to FLEGETHON the following year before changing back to Ereshkigal in 1994 comes this next Athenian band.  No demo material as that initial incarnation of Ereshkigal exists, near as I can tell.  As Flegethon, however, a 1990 demo (Repugnant Blasphemy) and a 1993 EP (Doomed in Eternal Suffering) were recorded.  After breaking up as Flegethon in 1994, band member Rotten Flesh re-formed Ereshkigal, but it was several years of toiling in the underground before a studio album was released (2005's The Raping of the Divine).

From the 1993 EP, Doomed in Eternal Suffering

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 Other noteworthy Greek bands formed in these early years, like VORPHALACK, FIENDISH NYMPH, AGATUS, and NOCTURNAL DEATH.


Next time: ISENGARD

Rotting Christ

ROTTING CHRIST is probably the best-known of all the Greek black metal bands.  That being the case, if they formed in 1987 (the same year as Necromantia), why did I choose to do an entry on Necromantia first?  The answer is:  Rotting Christ was not a black metal band when they first formed.  They were more of an old-school death metal meets grindcore sound.  With the early demos Decline's Return (1988) and Leprosy of Death (1988), as well as the split with Sound Pollution (1989), the grindcore sound is readily on display.

An example of Rotting Christ's early grindcore sound, this is their 1988 demo, Decline's Return

With the 1989 demo Satanas Tedeum, Rotting Christ's shift away from grindcore and toward black metal becomes apparent.  The sound really resembles a mixture of elements of all three styles: grindcore, old-school black metal, and old-school death metal.  That being said, it clearly belongs in the black metal camp, because it has a rhythm and pacing more reminiscent of black metal, and the lyrical content shifts away from the pathological and toward the blasphemous.  The vocals, however, were death/grind for sure.

"The Nereid of Esgalduin" is from the 1989 demo Satanas Tedeum

With their 1991 release--the Passage to Arcturo EP--the transition to black metal was complete.  With this, you get the mystical and blasphemous aura that is now forever-associated with the Greek black metal scene.  The style associated with bands such as Rotting Christ and Necromantia (sometimes called "hellenic black metal" after Hellas, that is, Greece) was not always about the necro, trebly sound that the Norwegians became associated with, but they had a style all their own nonetheless.

Off of Passage to Arcturo, this is "Forest of N'Gai"

Since that EP, Rotting Christ has released albums pretty steadily.  Their early albums--such as 1993's Thy Mighty Contract and 1994's Non Serviam--are excellent black metal albums that combine the rawness of the old-school style with the atmosphere of the newer, so-called second wave sound.  Non Serviam in particular manages to construct a classic black metal style and use symphonic elements without it sounding cheesy at all.

The title track off of 1994's Non Serviam

By the mid 1990s, Rotting Christ was beginning to go in a more gothic direction with their sound.  The songs from this time in their existence have little to do with good, quality black metal, in my opinion.  It really wasn't until albums such as 2004's Sanctus Diavolos and 2007's Theogonia that they returned to a more black metal sound, albeit with the incorporation of some folk elements.

This is an example of Rotting Christ's more recent stuff

Select Discography:

Leprosy of Death (demo) (1988)
Decline's Return (demo) (1989)
Satanas Tedeum (demo) (1989)
Passage to Arcturo EP (1991)
Thy Mighty Contract (1993)
Non Serviam (1994)

Next time: VARATHRON and the rest of the early Greek scene

Necromantia

While the band we today know as NECROMANTIA is one of the pre-eminent Greek black metal bands, they originally got their start as extreme death/thrash metal band Necromancy.  Forming in Athens in 1986, they put out two demos (1988's Rehearsal and 1989's Vision of Lunacy) before breaking up and more or less re-forming as Necromantia.

Off of the 1989 demo Visions of Lunacy

As Necromantia, they released the demo Promo Tape 1990 which showcased their more occult-oriented, black metal style rather well.  As opposed to the straightforward speed-oriented approach of all of the 1980s black/thrash bands, Necromantia crafted an eerie atmosphere.  Using carefully placed riffs, and demonic vocals, Necromantia's style was about conveying the evil feel of black metal rather than pummeling the listener with violent music.

The very famous "The Family of Dog (Feast of Ghouls)"

After the 1992 demo Vampiric Rituals, Necromantia put out a split with fellow countrymen Varathron (more on them later) entitled The Black Arts.  Continuing in the occultic, atmospheric style of their earlier demos, this split has become somewhat legendary in the Greek scene and the international black metal scene as well.

"Lord of the Abyss" is off of that famous split with Varathron

It was in 1993 that Necromantia put out their first full-length studio album, Crossing the Fiery Path.  This was more of the style they had established in the underground with their earlier material, but at the same time, the speed of older-school black metal was evident as well.  The Greek scene has always been about atmosphere more than raw, in-your-face intensity or a particular style of guitar playing.  Since their first studio album they have continued to put out pretty consistent and dark albums.  1995's Scarlet Evil Witching Black, 2000's IV: Malice, and 2007's The Sound of Lucifer Storming Heaven are all excellent black metal albums.

"Unchaining the Wolf (At War)", off of Crossing the Fiery Path, is my favorite Necromantia song

An example of their sound off of Scarlet Evil Witching Black

Select Discography:

as Necromancy:

Rehearsal (demo) (1988)
Visions of Lunacy (demo) (1989)

as Necromantia:
Promo Tape '90 (demo) (1990)
Vampiric Rituals (demo) (1992)
The Black Arts 12" (split with Varathron) (1992)
Crossing the Fiery Path (1993)
Scarlet Evil Witching Black (1995)
Ancient Pride EP (1997)
IV: Malice (2000)
The Sound of Lucifer Storming Heaven (2007)

Next time:  BLASPHEMY

Flames

FLAMES is to Greece what Kat was to Poland:  both extreme metal bands with a kind of old-school black/death/thrash style who paved the way for their current scenes (and both Greece and Poland have truly thriving black metal scenes).  Their style, like Kat's, is really strong thrash with black/death overtones.  Similarly, their lyrical content is obsessed with death, murder, and Satan.

This is "Made in Hell" off of the album of the same name

Flames formed in Athens in 1984, and released their first album in 1985--Made in Hell.  This is an album that has that great old-school thrash feel to it, with evil atmosphere slightly reminiscent of early Slayer and even Venom.  After Made in Hell, Flames put out Merciless Slaughter in 1986, an album which was more aggressive and had much better vocals.

"Beloved Dead" is from 1986's Merciless Slaughter

Flames seems to have gotten a little more aggressive, a little more evil-sounding with each release in those early years.  I honestly think 1988's Summon the Dead is more blackened sounding than the previously two albums.  Fans of modern black/thrash would probably enjoy it very much.

Title track from 1988's Summon the Dead

The primitive vocals of Flames is one of the things that really makes their songs so effectively evil-sounding.  On Summon the Dead (and 1989's follow-up, Last Prophecy) Flames makes such an effort to have really evil, vile-sounding vocals that it makes their efforts stand out.  They continued to release albums into the 1990s, and I think they're still together.

Select Discography:

Made in Hell (full-length) (1985)

Merciless Slaughter (full-length) (1986)

Summon the Dead (full-length) (1988)
Last Prophecy (full-length) (1989)

Next time: NECRODEATH