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 Sacramentum 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)
After giving it much thought, I realized it didn't make much sense to break up MARDUK's story into multiple posts. Hailing from Norrköping, Sweden, they formed in 1990, with guitarist Morgan Steinmeyer Hakansson being the main driving force behind the band. At the time of the band's formation, Jocke Gothberg (aka Joakim af Grave) was on drums, Richard Kalm was on bass, Andreas Axelson was on vocals, and the aforementioned Morgan was on guitars. Their initial style was an old-school black metal style that relied heavily on early Bathory with a death metal influence. They released the infamous Fuck Me Jesus demo in 1991.
"Departure from the Mortals" is off of Fuck Me Jesus
Also in 1991, Marduk recorded a second demo, but it didn't see the light of day until 1997 as the Here's No Peace EP. It was a continuation of the sound on the first demo, but with slightly different (some might say better) production.
"Within the Abyss" is from the Here's No Peace album/demo
1992 saw the release of Marduk's legendary first studio album, Dark Endless. This is one of the true landmarks of early 1990s black metal, and a milestone in Swedish black metal. Produced by Swedish genius Dan Swano, Dark Endless offers up a slab of black metal which contains elements of the old school but also hints toward the newer emerging sound of the 1990s at the same time.
"The Black" comes from their first full-length album
One thing that Marduk wrestled with in their early years was lineup stability. After Dark Endless, Andreas Axelson left, with Joakim af Grave now pulling double duty on drums and vocals. Also, Richard Kalm left the band and B. War was recruited on bass. After these lineup changes, Marduk put out their second album, 1993's Those of the Unlight. On this release, we see Marduk moving away from the old-school, death metal-influenced sound of their early years to something more recognizably second wave. 1994's Opus Nocturne was even more recognizably second wave, with a sound that bore a slight resemblance to some of the Norwegian offerings of the same era.
One of their most famous songs off of Those of the Unlight, this is "Burn my Coffin"
"Sulphur Souls" is off of their 1994 album
The years after Opus Nocturne saw some major changes with Marduk. First off, Joakim af Grave left the band, and newcomer Legion took over on vocals. Many Marduk fans consider this their 'classic' line-up, much in the same way that Mayhem's Dead-era lineup is considered their classic lineup. Also, they decided that they wanted an entirely new sound and began using Peter Tägtgren's Abyss Studios for production.
From their 1996 album, here is the classic "Beyond the Grace of God"
The result was 1996's Heaven Shall Burn When We Are Gathered. A landmark release, this album showed that it was possible to have clean, crisp production without sacrificing the evil, Satanic aura of a black metal album. It was a truly seismic shift in black metal music making.
From this point forward, Marduk churned out some fantastically evil, yet well-produced albums. With 1998's Nightwing, 1999's Panzer Divison Marduk, and 2001's La Grande Danse Macabre, Marduk completed their 'Blood-Fire-Death' trilogy, modeled after the Bathory album of the same name.
From 1998's Nightwing, here is "Of Hell's Fire"
This is the title track from 1999's Panzer Division Marduk
After these albums, 2003's World Funeral underwhelmed fans. The production sounded lazy, and Legion's vocals felt sloppily executed. This resulted in yet another major shift for Marduk. They changed vocalists to Mortuus (known as Arioch for his work with Funeral Mist). Mortuus's vocal performances and contributions to lyric writing helped usher in a new phase for Marduk. Albums such as Plague Angel, Rom. 5:12, and the brilliant Serpent Sermon showcased this fantastic new era of Marduk.
"Serpent Sermon" is from the 2012 album of the same name
Select Discography:
Fuck Me Jesus (demo) (1991)
Here's No Peace (demo) (recorded 1991, released 1997)
Dark Endless (full-length album (1992)
Those of the Unlight (full-length album) (1993)
Opus Nocturne (full-length album) (1994)
Heaven Shall Burn...When We Are Gathered (full-length album) (1996)
Live in Germania (live album) (1997)
Nightwing (full-length album) (1998)
Panzer Division Marduk (full-length album) (1999)
Obedience EP (2000)
Infernal Eternal (live album) (2000)
La Grande Danse Macabre (full-length album) (2001)
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)
One of the great things about black metal is its diversity of styles. The average metalhead thinks of classic Norwegian 1990s bands like Mayhem or Burzum when they hear the term "black metal," but any true fan of the genre will tell you it is so much more. One of the longest-running styles is black/thrash--whether old-school or more recent. The 1980s was filled with great bands like Sabbat, Vulcano, Bulldozer, and Necrodeath, as well as a host of obscure bands. And the subgenre is as vibrant as ever these days, with bands like Witchmaster, Bewitched, and old stalwarts like Desaster and Aura Noir running strong. One band that emerged at the end of the first wave of black metal and continues to carry the flag for old-school black/thrash is Sweden's NIFELHEIM.
Nifelheim was formed in 1990 in the town of Dals Långed (which is in the region near Gothenburg) by twin brothers Tyrant (bass) and Hellbutcher (vocals). They were joined by Demon on guitars and drums. Inspired by their obsessive love of Iron Maiden and other classic heavy metal bands, the founding twin brothers were only around 15 at the time. They have since admitted that they were in no hurry to put out demos or proper albums when they initially formed.
This is Nifelheim's 1993 demo Unholy Death
In 1993, after prodding from other members of the Swedish scene (including Dissection's Jon Nodtveidt), they released the demo Unholy Death. This demo encapsulates Nifelheim's sound perfectly. They have not radically changed it in the years since the early 1990s: it's a very old-school leaning, riff-oriented black/thrash that has a classic feel to it.
The release of this demo had helped turn Nifelheim's underground reputation into a reality. The circulation of this demo further solidified the band's standing in the then-burgeoning Swedish scene. However, at a time when more traditional black metal dominated, Nifelheim's black/thrash was a standout in the pack.
"Possessed by Evil" is off of their self-titled album
Nifelheim was able to continue the momentum they had built with their demo and record a full-length album. Continuing to display their influences--from Sabbat and Vulcano to Bathory and Venom--1994's Nifelheim is rightfully considered a modern black/thrash masterpiece. This was a well-received album, but was overshadowed by the goings-on in the black metal mainstream (Norway's Inner Circle, for example). I think it's fair to say that Nifelheim never got the press they deserved, even when they were doing some of their best work.
Nifelheim is putting out quality work to this day, and they followed up their self-titled with releases like 1997's Devil's Force and 2000's Servants of Darkness. One of the issues that has plagued the band, however, is personnel issues. Tyrant and Hellbutcher always had trouble filling the other slots in the band because they had such high standards (one guitarist got kicked out for having a girlfriend, for example). That being said, the Gustavsson twins will always be the core of the band, and their love for the old school will probably never die.
"The Final Slaughter" is off of 1997's Devil's Force
2000's Servants of Darkness gave us this track, "Bestial Avenger"
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"
Moving right along, we come to Sweden's DISSECTION ---arguably one of the most important black metal bands of all time. You could even make the argument that they are Sweden's second-most important black metal band after Bathory.
They formed in late 1989, with members Jon Nodtveidt, Ole Ohman, and Peter Palmdahl being present at the beginning. By mid-1990, they had a rehearsal tape (Severed Into Shreds) circulating in the underground. Their first demo, The Grief Prophecy, was recorded in that same year, and saw the light of day in late 1990.
"The Call of the Mist" is from their 1990 demo (note the death metal sound)
Their sound on these early demos/rehearsals was more like the currently popular Swedish death metal, and less like the black metal sound pioneered by Bathory. They had that guitar tone that was reminiscent of the Sunlight Studios buzzsaw sound, and growled vocals. At the same time, the lyrical content was a little more gore-focused than traditional black metal.
From Dissection's 1991 EP, Into Infinite Obscurity
In 1991, Dissection released the Into Infinite Obscurity EP. On this, the sound had begun to shift away from death metal, and to a more black metal sound. The buzzsaw guitar tone was still present, but the song structures bore more resemblance to black metal at this point. Dissection's sound continued to mature on the 1992 demo The Somberlain and the full-length album of the same name that came out in 1993.
"Frozen" is one of Dissection's best songs off of The Somberlain
The Somberlain was great melodic black metal, and by this time, there were barely any death metal elements present in the songs. Dissection had truly created a sound all their own. They could not be accused of copying anyone. I would argue that Bathory and Dissection did the most to put Swedish black metal on the map in terms of its own sound (and this is coming from a die-hard Marduk fan).
"Unhallowed", from Dissection's Storm of the Light's Bane
In 1995, Dissection released what is one of the gems of all black metal: the full-length album Storm of the Light's Bane. This saw the perfection of their style, and is perhaps the pinnacle of all Swedish black metal. Everything Bathory did, everything subsequent bands had done (Marduk, Nifelheim, Dark Funeral, etc.), the sound on this album encapsulated it perfectly. The tremolo riffing associated with black metal, but with a darkly melodic edge to it is the best short way to describe Dissection's sound. With this album, they peaked.
In the years immediately following this, Dissection put out a rarities collection, a live album, and the Where Dead Angels Lie EP (which was shaped like an inverted cross!). Jon Nodtveidt and the rest of the band seemed to have differing visions as to how they wanted the band to proceed. They were on the verge of breaking up when Jon was arrested and sentenced to prison for being an accomplice to murder.
From 1997 to 2004, Jon served his prison term. When he got out he re-formed Dissection and wanted to focus on his Satanic beliefs. The resulting music--the "Maha Kali" single and the Reinkaos full-length--was more melodic death metal than black metal. I personally found it derivative and somewhat boring.
After some moderate success with this re-formed Dissection, Jon Nodtveidt killed himself in 2006. According to those who knew him best, this was part of his plan from the outset. His suicide was part of a Satanic pact, allegedly.
Playing the legendary "Night's Blood" live
Select Discography:
Severed Into Shreds (demo) (1990) The Grief Prophecy (demo) (1990) Into Infinite Obscurity (demo) (1991) The Somberlain (demo) (1992) The Somberlain (full-length album) (1993) Storm of the Light's Bane (1995) Where Dead Angels Lie EP (1996) Live Legacy (live album) (2003)
"Maha Kali" (single) (2004) Reinkaos (2006)
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)
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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