The Swedish black metal scene in the early 1990s may always play second fiddle to Norway's scene, but it was just as prolific. While bands like Dissection, Marduk, and Abruptum were pioneers, it is important to recognize mid-tier bands like THE BLACK.
From the city of Eskilstuna, they formed in 1991 as The Black Flame. After making an appearance on the obscure compilation The Satanic Sound in early 1992, they put out the demo Black Blood later that year.An aggressive style that compares favorably to Marduk's faster stuff or a Swedish version of Transilvanian Hunger or perhaps bands like Armagedda or War/Total War, this demo was angry, vicious black metal.
This is the 1992 demo version of "Book of Leviathan"
With a line-up consisting of The Black (drums/keyboards), Leviathan (bass), Black Demon (guitars), and Rietas (vocals--this was Jon Nodtveidt's pseudonym while in this band), this demo was well-received. So well-received, in fact, that this demo has been re-issued in multiple formats several times--including by such renowned labels as Necropolis and Osmose.
They entered the studio in 1993 to record their full-length debut, but Black Demon had left the band by this point. Rietas stepped up and took on the additional role of guitarist (as well as contributing some synth parts). All of the demo songs were re-recorded, and a few new tracks were added as well. The Priest of Satan was then released the next year.
From 1994's Priest of Satan, this is "Black Blood"
An album of fast, aggressive black metal, Priest of Satan is a sorely overlooked classic of the Swedish scene. While most of the Swedish black metal of the 1990s was melodic (with riffing in the style of Dissection or Sacramentum), The Black was different. They made a name for themselves with a harsher, rawer sound.
The band was not extremely prolific in their heyday. Beyond the demo and Priest of Satan, The Black didn't release anything else in the 1990s. The band went on hiatus shortly after Priest's release (just in time for their demo to be released on CD).
From their second album, this is "Death's Crown"
Band member The Black (Markus Pesonen) re-started the band in 2006, but by this point Rietas had taken his own life. Two new members from Swedish band Vinterland joined the band. This incarnation of The Black put out the album Alongside Death. A solid release, it has a darker, more sinister vibe than their 1990s material. Since then, the band has been quiet. We'll see what the future holds.
Sweden's black metal scene is almost as fruitful as Norway's, full of great and classic bands. One band that doesn't get enough attention is DAWN. From the city of Linköping, Dawn is a band you need to know.
Dating back to founder Fredrik Söderberg's solo efforts at starting a band in the late 80's, Dawn didn't actually form until 1990. Drawing influence from a wide range of metal bands--including Dio, Mercyful Fate, Celtic Frost, Slayer, and Kreator--Dawn's early sound had more in common with melodic death metal than black metal.
"Incantation of Unholyness" is off of one of Dawn's early demos
During these early years, the Swedish death metal scene figured prominently in Dawn's song writing. By their own admission, they made changes to their own style because of what bands like Eucharist and Entombed were doing. That said, Dawn didn't copy what was going on--for example, they didn't downtune their guitars as low as others did (and this contributed to their unique sound).
By late 1993, Dawn had recorded their debut album, Nær sólen gar niþer for evogher. They had signed a contract with Necropolis Records, who released the album in '94. According to Fredrik Söderberg, this wasn't truly black metal, but a combination of the various genres and styles that influenced the band. This included death metal, thrash metal, classic heavy metal, alternative, and classical. As a result, their sound was one that didn't fit neatly into a category. It bore the hallmarks of melodic Swedish death metal, but it also verged on melodic black metal in terms of style.
"Everflaming" is from Dawn's debut full-length album
A classic album, Dawn's debut established them as a force to be reckoned with in the world of extreme metal. But, all told, they were not 100% satisfied with Nær sólen, so they continued to grow as a band. Their stated goal was to make sure they didn't copy anyone else's sound. According to the band, they upped their rehearsal times, and took to touring more. As a result, the band evolved into a stronger, tighter outfit.
From their 1996 EP, this is "Sorrow Flew on Black Wings"
As a result, you can hear their sound progressing from their debut album, to their 1996 EP (Sorgh på svarte vingar fløgh), to their second full-length album, 1997's Slaughtersun. While their sound on their debut was closer to melodic death metal (think early Dark Tranquillity meets Necrophobic), by Slaughtersun, their sound had a grander feel. Carefully placed synths and epic guitar riffs gave their second album a more black metal feel. To my mind, this is an album that should be in conversation with Dissection's Storm of the Light's Bane.
From Slaughtersun, this is "The Knell and the World"
Since that album, there have been rumors about a third studio album, tentatively titled The Fourfold Furnace. While Fredrik has revealed that he's written guitar riffs for the album, and that an artist has worked on what might become its album cover, the band has not gotten around to recording this album. We'll see what the future holds.
Select Discography:
Demo 1 (1992)
Apparition (demo) (1992)
Promotional Demo (1993)
Nær sólen gar niþer for evogher (full-length) (1994)
Sorgh på svarte vingar fløgh EP (1996)
Slaughtersun (Crown of the Triarchy) (full-length) (1998)
Stockholm, Sweden's NECROPHOBIC represents an interesting conundrum in extreme metal.Having formed in 1989, they set as their goal the creation of a darker, more sinister style of death metal than existed at the time. Yet, they cited old-school black metal like Bathory as their primary influences. Furthermore, I see them on black metal playlists all the time, but they sound more death metal to me. Their guitar tone is more Sunlight Studios than Grieghallen to my ears.
This raises one of the most interesting aspects of heavy metal: the separation of bands into different genres. While some metalheads lament the drawing of lines that determine which band is or is not one particular genre or other, others go the opposite direction. I find myself in the latter category: genre distinctions are important to me. To those on the other side of this discussion, I ask you this: you're gonna tell me that Mütiilation sounds like Iron Maiden? Or that a fan of Deeds of Flesh would love The Gathering? Distinctions are important.
So what happens when the distinctions literally collapse? When you don't know where to put the line? This post is going to explore that question.
Celtic Frost: death metal? Black metal?
The line between death and black metal was originally fairly arbitrary. This is why some bands from the early days belong to both traditions: think Hellhammer/Celtic Frost. But why is Possessed associated with death metal more than black metal when they sound like a lot of bands that are labeled "black metal" from the same era (Necrodeath, Sarcofago)?
Now, the lines are clearer. No one would point to Darkthrone's Transilvanian Hunger and call it death metal. Similarly, no one would call the latest Dying Fetus record black metal. But there have been bands that are hard to classify, and they weren't even trying to blur any lines. They were just making the music they wanted to make.
Returning to Necrophobic, what are we to make of them? Where do they fall? Their current label, Century Media, even calls them blackened death metal. Have a listen to a few songs, below:
"Before the Dawn" is from Necrophobic's 1993 debut album
"Spawned by Evil" is off of 1997's Darkside
2002's Bloodhymns is the source of "Cult of Blood"
We see why it's so tough to figure out. A few adjustments one way and you've got a Dissection b-side. A few adjustments the other way and it resembles a classic Unleashed or Dismember song.
Two other Swedish bands--GROTESQUE and UNANIMATED--also merit being part of this discussion. Where do they fall? Grotesque eventually evolved into At the Gates, the most famous melodic death metal band of all time. But there are those that call them black metal. Unanimated suffers from the same fate. Take a listen:
Grotesque's "Angels Blood" is from 1989/90
"Blackness of a Fallen Star" comes from Unanimated's 1993 album
We've got songs with blazing fast tremolo-picked riffs, but with a death metal guitar tone. We've got blasphemous lyrics. The overall song structures wouldn't be out of place on a melodic death metal or melodic black metal album. What do we call songs by bands such as these? Of course, an acknowledgement of this issue recognizes that some of the bands I've already explored could be questioned as well: is Dissection really black metal? Sacramentum?
From the opposite direction, the American band ACHERON enters the debate. Emerging as part of the Tampa, Florida, scene in the late 1980s, they are typically thought of as a death metal band. Yet, their blasphemous themes and dark aura feel almost blackened. Listen below, to "To Thee We Confess," off of their first full-length album:
Again, why stop there? What about Crucifier? Order from Chaos? At the end of the day, it's about drawing a line and sticking with it. On this side, we might find Dissection, but on the other side, we might see Necrophobic. Or perhaps not?
Select Discography:
Necrophobic:
Realm of Terror (demo) (1989)
Slow Asphyxiation (demo) (1990)
Unholy Prophecies (demo) (1991)
The Call EP (1992)
The Nocturnal Silence (full-length) (1993)
Spawned by Evil EP (1996)
Darkside (full-length) (1997)
The Third Antichrist (full-length) (1999)
Bloodhymns (full-length) (2002)
Grotesque:
Ripped from the Cross (demo) (1988)
The Black Gate is Closed (demo) (1989)
In the Embrace of Evil (demo) (1989)
Rehearsal (demo) (1989)
Incantation EP (1990)
In the Embrace of Evil (compilation) (1996)
Unanimated:
Rehearsal (demo) (1990)
Fire Storm (demo) (1991)
In the Forest of the Dreaming Dead (full-length) (1993)
Sweden's black metal elite are among the best the genre has to offer. This, of course, includes the genre-defining Bathory, as well as legends like Dissection and Marduk. Not far below those bands is SACRAMENTUM, from the city of Gothenburg.
Forming as Tumulus in the summer of 1990, the band initially consisted of Anders Brolycke, Nisse Karlén, Freddy Andersson, and Mikael Rydén. Influenced by the thrash and speed metal of the 80s, the members of Sacramentum were united in their desire to create extreme metal. The product was something with a distinctly Swedish sound, but that was uniquely Sacramentum at the same time.
"Pagan Fire" is a classic track off of 1994's Finis Malorum
From their formation in 1990 until 1992, the band labored in the underground as Tumulus, with no released demos to my knowledge. After changing their name to Sacramentum, they put out the 1993 demo Sedes Impiorum. This demo, and their first proper studio release (the 1994 EP Finis Malorum), showcased a sound that was at once an aggressive interpretation of Bathory-styled black metal (some of the faster songs off of 1985's The Return, for example, seem to me a good reference point) but with the melodic guitar playing associated with Swedish acts like At the Gates and Eucharist.
"Fog's Kiss" is a fantastic song off of Far Away from the Sun
In 1996, Sacramentum put out their first full-length album--Far Away From the Sun--on underground label Adipocere Records. This was a refining of the sound from Finis. The melodic guitar playing was more prominent, but the black metal aggression was still there. This album and its follow-up (1997's Coming of Chaos) are vital Swedish black metal albums. If there is a stereotypical Swedish black metal sound, Sacramentum helped originate it.
"Black Destiny" is my all-time favorite Sacramentum track
After putting out a third full-length in 1999 (the underwhelming Thy Black Destiny), Sacramentum had plans to put out an album of metal covers in early 2000 and then re-enter the studio to record album number four. However, they broke up before that could materialize. By that point, their mark had been left on the scene. Few black metal bands equaled the raw intensity of Sacramentum's melodic style as well as they, but many Swedish bands have tried.
Select Discography:
Sedes Impiorum (demo) (1993)
Finis Malorum EP (1994)
Far Away From the Sun (full-length) (1996)
The Coming of Chaos (full-length) (1997)
Thy Black Destiny (full-length) (1999)
Next time: DEAD CHRIST (and British black metal before Cradle of Filth)
Swedish band OPHTHALAMIA represents an unusual chapter in black metal. Much like Abruptum (which featured many of the same members), Ophthalamia was about evil, atmospheric music that had much in common with black metal without being straightforward black metal in the way we understand the term now. But make no mistake, Ophthalamia and their output made a definite mark on not just the Swedish scene of the nineties, but black metal since then.
Ophthalamia was, first and foremost, a brainchild of the man known as IT. Born one Tony Särkkä, IT made his name in various extreme bands of the late 1980s, including thrash band Brejn Dedd (which featured Dan Swanö). While IT formed Opthalamia with guitarist All in 1989 from the ashes of their band Leviathan, this band was fundamentally created to be an outlet for IT to communicate about a fantasy world he himself had concocted. This fantasy world was called Ophthalamia. The name is derived from the word for an eye condition: this is a metaphor for the fact that not everyone can see or perceive the fantasy world. The world of Ophthalamia was populated with various fantasy creatures, had its own language, and even had a dark goddess, Elishia. All of these were created by IT.
"A Lonely Ceremony/The Eternal Walk" is from one of their first recordings, in 1990
In 1991, Ophthalamia put out their first demo, A Long Journey. Ophthalamia's style can best be described as an eerie, melodic, almost doom-paced sound that drew on everything from classic doom metal (Black Sabbath and Candlemass can clearly be heard) to old-school black metal (Bathory). Attempting to communicate their devotion to Elishia and their love of the Ophthalamian mythos, the band created an evil atmosphere with their music above all else.
"A Cry From the Halls of Blood/Empire of Lost Dreams" comes from the 1991 demo
Following the release of a 1992 demo, Journey to Darkness, Ophthalamia signed with Avantgarde Records. They put out their first full-length album A Journey in Darkness in 1994. Featuring newly re-recorded versions of many of their demo songs, this release was produced by legendary musician Dan Swanö and featured Jon Nodtveidt of Dissection fame on vocals. This album contains a darkly melodic sound that fits in well with the 1990s Swedish black metal scene all while being unique in and of itself. To my ears, A Journey in Darkness is Ophthalamia's best work.
Off of their first studio album, this is "Enter the Darkest Thoughts of the Chosen/Agony's Silent Paradise"
Ophthalamia's storied career involves many members leaving or being kicked out (co-founder All, for example), and famous names being involved at various points (producers Dan Swanö and Peter Tagtgren; musicians Ole Ohman, Legion [of Marduk fame], and Jon and Emil Nodtveidt). But as stated above, the band was really about IT's desire to tell the world of the realm known as Ophthalamia, its lore, and its inhabitants. After A Journey in Darkness, Ophthalamia put out a few more albums, as well as the 1997 compilation To Elishia.
From their last album--1998's Dominion--this is "Time for War"
ABRUPTUM is one weird band. In their prime (early to mid-1990s), they were a mixture of black metal, dark ambient, and doom-death. They were a Swedish band that pre-dates the black metal explosion of the 1990s, but doesn't have a typical Swedish black metal sound by any means. They were formed in Stockholm in 1989 by the mysterious gentlemen known as ALL, IT, and EXT. Their initial sound bears the influence of doom and death metal as well as old-school black metal.
From the 1990 demo The Satanist Tunes
With the release of demos like 1990's Abruptum and The Satanist Tunes, Abruptum unleashed their unholy sound upon the world. The demonic growls over top of the slow dirge-like metal were unlike most of what was going on in the black metal world. It really did resemble a more experimental doom/death at times. With the 1991 7-inch Evil, Abruptum's sound began to morph into something blacker. The vocals varied between the low-end rumbling growls and the a more tortured screech, and the guitar playing--while still a slower pace--began to resemble black metal. Also, through the use of distortion and sound effects, the music as a whole took on a more experimental feel.
The weirdness that is Abruptum, from the Evil 7"
By this time, they had kicked out band members Ext and All, and replaced them with EVIL (aka Morgan from Marduk). The resulting shift in sound was apparent on the 1993 full-length Obscuritatem Advoco Amplectere Me. This album contained the sound for which Abruptum is famous: slow, doom-y, noisy, blackened dark ambient. The weird sound effects and distortion that were present on the Evil 7-inch were even more prominent now.
Just fucking weird....
Abruptum released several more albums in this style, such as 1994's In Umbra Malitiae Ambulabo, In Aeternum In Triumph Tenebrarum. For the most part, they continued in this style for years before eventually shifting to an almost entirely dark ambient sound, with no hint of black metal. By the turn of the millenium, Evil was continuing Abruptum as a solo project. He has put out albums mostly on Marduk's solo label (Blooddawn Productions), including the recently released Potestates Apocalypsis (2011).
Select Discography:
Abruptum (demo) (1990) The Satanist Tunes (demo) (1990) Evil 7" (1991) Obscuritatem Advoco Amplectere Me (1993) In Umbra Malitiae Ambulabo, In Aeternum In Triumph Tenebrarum(1994) Vi Sonus Veris Nigrae Malitiaes (1996)
From the old school of black metal comes Täby, Sweden's TREBLINKA. They are known primarily as being the band that evolved into Tiamat after slaving away in the underground for a few years. Formed in 1987, Treblinka played a pretty straightforward old-school black metal (unlike the atmospheric blackened gothic metal of Tiamat). Their first demo, 1988's Crawling in Vomits, testifies to this fact.
"Earwigs in Your Veins" is from their first demo
Their second demo was 1989's Sign of the Pentagram. It continued the old-school black metal style of the first demo. In the same year, Treblinka put out their first proper studio release as well. Entitled Severe Abominations, this EP would be the last actual release before the band changed names to Tiamat the next year.
"Necrophagious Shadows" is from the Sign of the Pentagram demo
Before (sort of) disbanding and re-forming as Tiamat, Treblinka did manage to record the material for a full-length album. This is what would go on to become Tiamat's first studio release, 1990's Sumerian Cry.
The title track off of the Severe Abominations EP
On Sumerian Cry, Tiamat/Treblinka began to show the influence of the emerging Swedish death metal scene. Tiamat didn't continue in this style very long before starting to expand their sound. They began moving away from black/death metal entirely, and after a few years were a doom/gothic-influenced band that was straddling the line between rock and metal. To be honest, I haven't heard anything of theirs since 1997's A Deeper Kind of Slumber, and that was boring to me. But as a little 'post-script' to this entry, here is a Tiamat song off of Sumerian Cry:
Bathory is crucially important in the history of black metal for two distinct reasons. First, for taking the template laid down by Venom on Black Metal and shifting the early black metal sound away from speed metal and/or NWOBHM; second, for creating the subgenre of Viking metal in the later 1980s.
Bathory in the Viking Metal years
After their old style pretty much peaked on 1987's Under the Sign of the Black Mark, Bathory shifted gears with 1988's Blood Fire Death. This album saw a move away from the darker, more Satanic atmosphere of the early work, with crisper-sounding guitars, clean vocals, and imagery and lyrical themes drawn from elements of Scandinavian mythology.
"A Fine Day to Die" is one of Bathory's most famous songs from this period
On Blood Fire Death, the changes from the earlier period were not as radical as they would later become, but they were present nonetheless. One could hear the guitar sound begin to shift from the vile, raw, down-tuned sound of old-school black metal. The vocals were not always a demonic screech. And the songs were long, epic soundscapes.
My favorite from this period in Bathory's history, "Baptised In Fire and Ice"
With 1990's Hammerheart, the shift was more pronounced. More varied tempos, clearer-sounding vocals, rousing choruses, and a guitar sound that was crisp and almost regal. Just as Bathory had redefined extreme music with their first three albums, they redefined it again with their next three albums.
Off of 1991's Twilight of the Gods
With 1991's Twilight of the Gods, Bathory again peaked. They had created the mold that all later viking metal bands were to follow. Most of Bathory's material throughout the 1990s was thrash metal with elements of the viking sound. It really wasn't until albums such as the Nordland albums that Bathory returned to the pure viking sound.
Select Discography:
Blood Fire Death (1988)
Hammerheart (1990)
Twilight of the Gods (1991) Blood on Ice (recorded 1988-1989, released 1996) Nordland I (2002) Nordland II (2003)
Bathory is arguably the first or second-most important black metal band in the history of the genre (depending on your opinion of Venom), without a doubt. But their home country (Sweden) has always played second fiddle to their neighbors to the west, Norway. Yet, despite this, Sweden had a pretty thriving extreme metal scene in the 1980s. In fact, I would say that until the Norwegian explosion in the years 1990-1993, the Swedish scene was much stronger.
Obscurity
A slew of important old-school black/death/thrash bands came out of Sweden in the mid- to late-1980s, led by such groups as OBSCURITY. Hailing from the city of Mälmo, Obscurity played a style that crossed genre lines, mixing old-school death metal with black metal. They released several important demos, including 1986's Ovations to Death and 1987's Damnation's Pride.
Stockholm's MEFISTO played a more blackened speed metal style than did Obscurity. Originally forming as Torment in 1984, they only released two crucial demos (1986's Megalomania and 1987's The Puzzle) before more or less folding. Like many extreme metal bands of the era, it seems the world was just not ready for what they had to unleash upon the listening public. I think their sound can be best described as an old Sodom meets Venom kind of style.
"Betrayed Truth" is off of the 1986 demo Megalomania
Rarely has a band gained notoriety for what a band member did with another band, but Stockholm's MORBID is one such band. Vocalist Dead (real name Per Yngve Olin) became famous for his contributions to Norwegian legends Mayhem, but he got his start with this underground Swedish black/death/thrash group. Releasing very few demos (1987's December Moon and 1988's Last Supper being most prominent), Morbid nonetheless made a huge impact. Their style is another example of the blurring of genres back in the 1980s, but they do seem to veer more toward the occultic, black metal side of metal. While the guitarwork is especially raw, the vocals (no surprise) have that atmospheric aura to it associated with black metal.
"Disgusting Semla" is from the infamous demo December Moon
Of all the old-school black/death bands from the 1980s Swedish scene, the one that actually achieved a degree of success was MERCILESS. From the small town of Strängnäs, they managed to become famous for being the first band to release a studio album on Euronymous' Deathlike Silence label (1990's The Awakening). That being said, they made a rather large impact with the demos they released prior to that album (1987's Behind the Back Door, 1989's Realm of the Dark). While they broke up in 1994 after releasing three studio albums, they reunited a few years ago and have continued to put out albums.
"Bestial Death" is off of the 1987 demo Behind the Black Door
Official video for "Pure Hate", off of 1990's The Awakening album. The
sound is much more death metal than black metal on this album.
Hailing from the city of Linköping, SATANIC SLAUGHTER (the band famous for giving the world members of Witchery and Seance) formed in 1987, but only put out one demo in 1988, One Night in Hell, before going on hiatus for over half a decade. It is an incredibly hard to find demo. In fact, I couldn't find any YouTube clips of the songs from that demo. So here is a later, re-recorded version of one of their demo songs ("One Night in Hell") from their 2002 album, Banished to the Underworld.
There are some other lesser-known death/black/thrash bands (such as Morbidity, Orchriste, and others) from the 1980s Swedish scene, but I'm just not sure if they're influential enough to merit inclusion. That being said, it's important to note how influential some of these Swedish bands became in the underground before the Norwegian scene fully bloomed in the early 1990s.
Select Discography of 1980s Swedish Black Metal Scene:
(in alphabetical order by artist)
Mefisto, Megalomania (demo) (1986)
Mefisto, The Puzzle (demo) (1986)
Merciless, Behind the Black Door (demo) (1987)
Merciless, Realm of the Dark (demo) (1988)
Merciless, The Awakening (full-length album) (1990)
Morbid, Rehearsal (demo) (1987)
Morbid, December Moon (demo) (1987)
Morbid, Last Supper (demo) (1988)
Morbidity, The Curse (demo) (1989)
Obscurity, Ovations to Death (demo) (1986)
Obscurity, Damnation's Pride (demo) (1987)
Orchriste, Necronomicon (demo) (1989)
Satanic Slaughter, One Night in Hell (demo) (1988)
Hailing from Sweden, BATHORY burst onto the scene in 1983. Brainchild of one Quorthon (Tomas Forsberg), Bathory's songs first were unleashed on the world with two tracks on 1984's Scandinavian Metal Attack. Bathory's early style was a more aggressive take on what Venom had done on Welcome to Hell and Black Metal (although Quorthon claimed never to have heard Venom prior to forming). Combining Satanic-themed lyrics, lo-fi production, and a harsher, more inhuman vocal style, Bathory's sound is more clearly the template for modern black metal than Venom was. In their early years, one can hear the influences Quorthon claimed: Black Sabbath and Motorhead, as well as punk bands like The Exploited, Discharge, and GBH.
Bathory's "You Don't Move Me (I Don't Give a Fuck)"
-an unreleased 1983 song which showcases their rawness
Listening to Bathory's self-titled 1984 album and 1985's The Return one can clearly hear a strong contrast with Venom. Venom's song structures and even production values still owe a large debt to NWOBHM. Bathory is going in an entirely different direction. Additionally, the Satanic/evil content of Bathory's songs was much more prominent: simply look at titles such as "Hades," "In Conspiracy With Satan," "Possessed," and "Son of the Damned."
"Hades," off of the 1984 album.
As evidenced by the riffing and style in these early songs, the affinity with thrash metal can be heard (and this connection will be explored in a future post). But to my ears, Bathory went a few steps beyond in terms of vocals, production, and playing style. While Venom gave the world the term "black metal," I contend that there would be no 1990s Norwegian scene and everything it subsequently influenced if it weren't for Bathory.
"The Return of the Darkness and Evil," off of
1985's The Return
In these early years, Bathory's style peaked on what can be considered one of the greatest black metal albums of all time: 1987's Under the Sign of the Black Mark. The great thing about this album is that every characteristic of black metal that was present in the earlier material is enhanced to the point where it sounds like the Scandinavian black metal of today. In fact, songs like "Call from the Grave," "Equimanthorn," and "Woman of Dark Desires" are frequently still covered by black metal bands of all stripes.
"Equimanthorn"--the greatest black metal song of the 80s?
Following 1987's Under the Sign..., Bathory shifted gears completely and created the subgenre of black metal now known as Viking metal. But that's for another day.....
Select Discography
Scandinavian Metal Attack compilation (1983)
Bathory (full-length) (1984)
Scandinavian Metal Attack II compilation (1985)
The Return (full-length) (1985)
Under the Sign of the Black Mark (full-length) (1987)
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