Infernum

 

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

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

An early 90s picture of Karcharoth

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

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

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

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

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

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

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

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

A pic of the classic Infernum line-up

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

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

Select Discography:

The Dawn Will Never Come (demo) (1993)

Damned Majesty (demo) (1993)

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

Farewell (full-length) (2005)

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

Next time: DAWN

Abusiveness (and other Polish bands)

 

Poland is a country with an absolutely incredible black metal scene. While I have already talked about the titans of classic Polish black metal--Graveland and Behemoth--I'd like to talk about some noteworthy mid-tier level bands of the early second wave. Let's start with ABUSIVENESS, from the city of Lublin.

Founded in 1991, Abusiveness emerged at the time when Soviet bloc countries were transitioning to Western-style democracies. In places like Poland, this saw a flourishing of previously-banned ideologies, like pre-Christian paganism. Abusiveness embraced paganism with a passion, and those once-outlawed ideologies become their raison d'etre.

Despite forming in '91, Abusiveness's first sonic assault on the world didn't emerge until 1994. The demo Parentalia was a lo-fi slab of black metal with a heavy dose of synth for atmosphere. Listen below:

Here is the complete Parentalia demo

The '90s saw Abusiveness remain a mostly underground phenomenon, with a slew of demos and a split with fellow countrymen Hefeystos (see below). By the early 2000s, though, they had signed with major labels and begun releasing studio albums proper.

From Krzyk świtu, this is "Mogila"

On albums like 2002's Krzyk świtu and 2007's Hybris, Abusiveness played a style of black metal that was the perfect mix of raw, in-your-face evil, and majestic synths, with lyrics praising their Slavic heritage. In the Polish scene, there are few that sound like them.

"Fame of Arkona" comes from the album Hybris

Select Discography:

Parentalia (demo) (1994)

Visibilium Invisibilium (demo) (1996)

Dwie twarze mroku (demo) (1997)
Watrajar (split with Hefeystos) (2000)

Krzyk świtu (full-length album) (2002)

Hybris (full-length album) (2007)

Trioditis (full-length album) (2010)

**********************************************************************

HEFEYSTOS--already mentioned in connection with their split album with Abusiveness--is an important band in the Polish scene, despite their limited output. Formed in 1994, Hefeystos became known relatively quickly for their gothic-tinged symphonic black metal. After a self-titled demo, they went on to release a self-titled album in 1996.

"Magiczny strumień" comes from their 1996 album

Their self-titled album was a moody gothic black metal masterpiece. Comparable to Moonspell, Opera IX, or perhaps even early Cradle of Filth's more synth-heavy moments, 1996's Hefeystos was a testament to the true beauty in darkness.

After this release, Hefeystos's second full-length album was a little too experimental for most black metal fans. But they still remain a crucial band in the history of second-wave Polish black metal.

Select Discography:

Hefeystos (demo) (1995)

Hefeystos (full-length album) (1996)

Vilce sjen (split with Abusiveness) (1997)

**********************************************************************

MASTIPHAL, from Katowice, is kind of the flip side of the coin that is Hefeystos. Where Hefeystos used synths to achieve a mystical, gothic atmosphere, and the guitar playing complemented it, Mastiphal went in the opposite direction. Their angry, evil guitars set the tone for their music, and instrumental, synth-heavy passages merely hinted at a folksy mood.

From their major '90s album, this is "Flames of Fire Full of Hatred"

After going on hiatus for over a decade, Mastiphal returned with a vengeance in the late '00s as blasphemous as ever. I especially recommend their song "Rituals" from the great compilation of Polish black metal Silesian Black Attack, below:

Select Discography:

Sowing Profane Seed (demo) (1994)

For a Glory of All Evil Spirits, Rise for Victory (full-length album) (1995)

Promo '96 (demo) (1996)

**********************************************************************

Perhaps my favorite mid-level Polish band from this time period is NORTH. Hailing from Toruń, North formed in 1992. Their raw, stripped-down version of pagan black metal has been compared to some of Norway's best and brightest (or darkest?).

This is the title track from their first demo

What I love about North is their unique guitar tone. I can think of few mainstream black metal bands that have such a vile tone. I like to think of it as the black metal equivalent of the buzzsaw Swedish/Sunlight Studios sound, with a hint of Darkthrone's Transilvanian Hunger. Listen below: 

"The Heretic Kingdom" is from North's first full-length

Select Discography:

Entering the Dark Kingdom (demo) (1993)

As my Kingdom Rises (demo) (1993)

Promo reh. '94 (demo) (1994)

Thorns on the Black Rose (full-length album) (1995)

Jesienne szepty (split with Sacrilegium) (1996)

Sovereigns of Northernlands (split with Grom and Marhoth) (1996)

From the Dark Past (1998)

**********************************************************************

Other bands from the early second wave of Polish black metal worth a mention are GROM, SACRILEGIUM, THEMGOROTH, and SAURON. They all made their mark on Polish black metal,  but never quite achieved legendary status. 

Select Discography:

(in alphabetical order)

GROM, Na granicy dwoch swiatow (demo) (1995)

SACRILEGIUM, Sleeptime (demo) (1994)

---, Wicher (full-length album) (1996)

---, Recidivus (demo) (1998)

---, Embrace the Darkness (demo) (1999)

SAURON, Hellish Requiem (demo) (1993)

---, The Baltic Fog (demo) (1995)

THEMGOROTH, Demo '94 (1994)

---, Gate to the Unknown... (full-length album) (1995)

---, Highway into the Unknown (full-length album) (1998)

Next time: DARKTHRONE hits their peak

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

Behemoth

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)

Grom (full-length album) (1996)

Bewitching the Pomerania EP (1997)

Pandemonic Incantations (full-length album) (1998)

Satanica (full-length album) (1999)

Thelema.6 (full-length album) (2000)

Zos Kia Cultus (full-length album) (2002)

Demigod (full-length album) (2004)

Next time: PRIMORDIAL

Graveland

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

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

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

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

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

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

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

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

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

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

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

Select Discography: 

Necromanteion (demo) (1992)

Drunemeton (demo)  (1993)

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

Celtic Winter (demo) (1994)

Carpathian Wolves (full-length)  (1994)

Thousand Swords (full-length) (1995)

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

Immortal Pride (full-length) (1998)

Creed of Iron (full-length) (2000)

Next time: FRANCE'S LES LEGIONS NOIRES - MÜTIILATION

Mussorgski

As I've said many times before, black metal has a wide range of styles---it's so much more than Darkthrone/Burzum/Mayhem clones or brutal Beherit/Blasphemy imitators. One oft-overlooked subgenre that gets little respect is industrial black metal. In that regard, Poland's MUSSORGSKI is a true pioneer.

Formed in Poland in 1990, Mussorgski has always been--since its inception--driven by mainman Khorzon. Khorzon is mostly known for his work as the guitarist for the raw black metal band Arkona, but Mussorgski actually predates the formation of that band by  several years.

Khorzon, the man behind Mussorgski

In 1991, they released the Mussorgski/Nazichrist demo. Their sound on this demo can be characterized as raw and atmospheric in its use of harsh guitars, but with eerie and repetitive synths that give it that overall industrial feel. The next couple of years saw the recording of two additional demos, 1992's The Bath in the X-Rays and 1993's The Unholy Stories.

This version of "Ice In My Heart" is from the 1993 demo The Unholy Stories

1995 saw the release of Mussorgski's absolute masterpiece, In Harmony With the Universe. This is a ground-breaking work that--much like some of the work by Arcturus and Thorns--shows that black metal has much more porous boundaries than its fans will admit. The eerie, odd synths; the electronic beats; the cosmic aura.....all of these elements managed to give Mussorgski's magnum opus a creepy, harsh industrial edge to its black metal.

From 1995's In Harmony With The Universe,  this is "Victim"

Mussorgski didn't last long after the release of Harmony. Khorzon chose to focus his energies on Arkona (but resurrected Mussorgski in 2009). I think that the seeds for some truly epic sounds  had been sown. It would be hard to imagine some of today's so-called "cosmic black metal" bands--like Mesarthim, Progenie Terrestre Pure, or Alrakis--existing without the foundation laid by Mussorgski.

"Paradisum" is a recent Mussorgski song--from 2016's Creatio Cosmicam Bestiae

Select Discography: 

Mussorgski/Nazichrist (demo) (1991)

The Bath in the X-Rays (demo) (1992)

The Unholy Stories (demo) (1993)

In Harmony With the Universe (full-length) (1995)

Next time: BESTIAL WARLUST

Christ Agony

Poland is a nation whose black metal scene is sorely overlooked. Over the years, phenomenal bands like Profanum, Graveland, Infernum, and the mighty Behemoth have helped propel the genre forward to new heights, and today bands like Mgła, Massemord, and Cultes des Ghoules continue to show that cutting-edge black metal is still coming out of Poland. But one of the earliest--and most underrated--black metal bands from Poland that emerged at the time when the second wave was just beginning is Olzstyn's CHRIST AGONY.

Christ Agony has primarily been the brainchild of founding member Cezar (who is also known for his work in black metal band Moon, with Vader's Doc [R.I.P.]). While different musicians have come and gone on bass, drums, and backing guitar, Cezar has remained the constant. In 1990, Cezar, Zurek, and Ash formed Christ Agony, drawing on old school bands like Hellhammer and Bathory as influences. By the end of 1990, they put out the Sacronocturn demo.

"Nocturnal Symphony" is from the Sacronocturn demo

This early material definitely bears the imprint of classic old-school bands, especially Hellhammer and early Samael. Since they were emerging onto the scene at a crucial turning point in the history of black metal (the beginning of the explosion known as the second wave), their material was lucky enough to receive the attention it deserved. Their 1992 demo, Epitaph of Christ, was a continuation of their earlier work, and it led to them entering a studio to record their first proper full-length album.

From their first album, this is "Dies Irae"

That first studio album was 1993's UnholyUnion. The influence of Hellhammer, Bathory, and Samael can clearly be heard. At the same time, Christ Agony's sound was always their own. They never really copied any trend, or resembled any of the established styles. They didn't exactly follow the trebly, lo-fi Norwegian sound; the melodic riffing style of the Swedish scene; the brutal, unrelenting Beherit or Blasphemy style; or a typical black/thrash pattern. They had a very rhythmic style that was riff-oriented, but still darkly atmospheric.

This style continued over the course of what can be argued are their classic 1990s albums: 1994's Daemoonseth: Act II and 1996's Moonlight: Act III. Yet despite the quality black metal that Christ Agony was churning out, and despite the fact that their rotating roster included members of bands like Vader, Behemoth, Dies Irae, Witchmaster, and Profanum (among others), they never seemed to get the recognition worthy of their talent.

A great song from Daemoonseth, this is "Avasatha Pagan"

"Mephistospell" is from 1996's Moonlight

The late 1990s saw many luminaries from the Polish black and death metal scenes filling in the roles of bass, drums, and backing guitar in Christ Agony. They continued to toil away in the underground with not much recognition from the metal press at large. After a few more crucial releases, the band changed their name to Union in 2005 and released an album titled Christ Agony before changing their name back. This phase saw them incorporating more death metal elements into their sound.

"Hellfire" is a good sample of their sound from the Union era (2005-2007)

In 2007, after renaming themselves Christ Agony, they still continued to incorporate death metal elements into their sound. The 2008 album Condemnation, for example, is pretty different from 1990s classics like Daemoonseth or Moonlight. It's heavily percussive, very bass-driven, and has a production style that reminds one of some of the stalwarts of the death metal scene. This sound more or less continues on 2011's NocturN (an album where you can definitely hear the influence of drummer Inferno, of Behemoth fame).

"Flames of Several Suns" is of off 2011's NocturN

I'd have to say that since the early 2000s and then their Union years, Christ Agony has been steadily transforming into a band that is less and less black metal, and more and more genre-blurring (but heavy on the death metal). Black metal purists will probably not find much to enjoy after their early work, but open-minded metal heads (especially those who like bands like Deivos and Behemoth) will enjoy Christ Agony's recent work.

Select Discography

Sacronocturn (demo) (1990)

Epitaph of Christ (demo) (1992)

UnholyUnion (full-length) (1993)

Daemoonseth: Act II (full-length) (1994)

Moonlight: Act III (full-length) (1996)

Darkside (full-length) (1997)

Trilogy (full-length) (1998)

Elysium (full-length) (1999)

Next time: ANCIENT RITES

Kat

 
No, not the classically-trained female guitar virtuoso The Great Kat.  The Polish black/speed metal band KAT.  The word 'kat' apparently means 'executioner' in Polish.   The band itself actually formed in the late seventies, but didn't really start releasing demos and albums til the middle 1980s (although they did make compilation appearances before that).  They put out a single ("Noce Szatana/Ostatni Tabor") in 1984, but it was their 1986 album, Metal and Hell, which was more blackened sounding than the single and cemented their place among the extreme metal underground.

The title track from 1985's Metal and Hell

It was really with the early material that Kat played a heavily Venom-influenced black/speed metal style.  After Metal and Hell and some singles,  they released an all-Polish language version of Metal and Hell entitled 666.  This era of Kat's existence more or less ends with their 1987 live album 38 Minutes to Live.  In 1988, they released an album that was moving away from their Venom-esque black metal roots and toward a slightly more mainstream speed/thrash sound with 1988's Oddech Wymarlych Swiatow.

From their live album, this is "Czarne zastępy"

They shifted gears again in 1991 with Bastard.  This album is much more mainstream thrash, but very technically accomplished with an almost NY thrash (Anthrax, Overkill, etc.) feel to it.  For the purposes of this black metal retrospective of mine, Kat's relevance to old-school black metal really ends with their live album.  But it is important to note how influential they have been in the Polish metal scene.  Several modern Polish black metal bands have cited their influence and even covered them (Behemoth, North, Grom, and Mastiphal, to name a few).

Select Discography:

"Noce Szatana/Ostatni Tabor" (single) (1984)

Metal and Hell (full-length) (1986)

666 (full-length) (1987)
38 Minutes to Live (live album) (1987)

Next time: SATAN'S HOST