I noted earlier that there is no such thing as one, single Italian black metal style. And I stand by that statement. Mortuary Drape, Sinoath, Schizo, Winged, Opera IX...they sound nothing alike. Even bands that are part of the same subgenre (Necrodeath and Bulldozer are both black/thrash by modern standards) have unique styles. Rome's STORMLORD is further evidence of this.
Formed in 1991, Stormlord initially began as a death metal project. Their first demo in 1992 bears this out. After recruiting a second guitarist, they released a second demo in 1993, Black Knight. Due to the use of well- placed synths, this demo had a more epic, grand feel to it. This epic aura would continue on future releases.
This is the Black Knight demo in its entirety
After these two demos, the band began to get tired of the direction death metal was going in. Additionally, they weren't happy with the sound of their death metal growls. They then began crafting epic songs that leaned more in the direction of black metal. Around this time, record labels began expressing an interest in the band, too. After crafting a promo of material for record labels and then an MCD of new material in 1997, the band released their first full-length studio album in 1999.
This is "War (The Supreme Art)"
Titled The Supreme Art of War, this album saw a mix of symphonic black metal, epic power metal, and some folk elements as well. By the band's own admission, the sound on Art of War was a result of a more democratic approach to song writing and their new keyboard player being classically trained. The epic synth passages gave the entire album an almost medieval, folk vibe.
"...And Winter Was" is off of their 2001 album, At the Gates of Utopia
Exploding out of the underground and into the black metal mainstream at a time when symphonic black metal was peaking, Stormlord resisted that label themselves. Noting that they thought of bands like Immortal and Darkthrone as black metal, while bands that incorporated synths the way they and Dimmu Borgir did were something different, they labeled themselves "epic extreme metal."
"Dance with Hecate" comes from their 2004 album, The Gorgon Cult
I would argue that the label they came up with for themselves makes sense the more you listen to their later albums. Beyond the elements of symphonic black metal, you have a wide variety of clean vocals, operatic vocals, riffing that is reminiscent of power and death metal, and exotic folk elements. Fans of viking metal, folk black metal, and symphonic black metal would enjoy what Stormlord has to offer, but they're really so much more than that.
From 2008's Mare Nostrum, this is "And the Wind Shall Scream My Name"
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)
HEFEYSTOS--already mentioned in connection with their split album with Abusiveness--isan 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.
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)
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)
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)
Staying in the British Isles, we return to the land that gave the world black metal--England. Hailing from Ipswich in the county of Suffolk, the now-legendary band CRADLE OF FILTH formed in 1990 as death metal band Burial. They might be controversial now because of their commerical success--a phenomenon that has attracted accusations of "selling out" from hardcore black metal fans--but their impact on the genre and on the British scene simply cannot be denied. Founders Daniel Davey (a/k/a "Dani Filth") and Paul Ryan were enamored of extreme metal and wanted to create their own. These Brits were obsessed with everything from thrash to crust to grindcore to old-school black and death metal, citing their fascination with bands like Slayer, Napalm Death, Discharge, and Celtic Frost as early musical inspiration.
However, it was the late 80s/early 90s death metal boom that truly inspired these lads. Albums like Deicide's self-titled, Entombed's Left Hand Path, and Cannibal Corpse's Eaten Back to Life really spurred on some creative efforts from the British bastards of Burial (who had changed their name to Cradle of Filth by 1991 because of a well-established band going by their original moniker). Having recruited some friends to round out the band, Cradle of Filth's early sound was a raw death/thrash -influenced sound with an occultic edge (courtesy of some well-placed synths). Demos like Invoking the Unclean and Orgiastic Pleasures Foul (both released in 1992) showcased this sound.
In its entirety, this is the 1992 demo Invoking the Unclean
Describing their sound as "almost aristocratic" and steeped in English artistic traditions, Cradle's demos made real waves in the metal underground. As a result, they began to make connections with extreme bands all over the world. The vast tape trading network of the extreme metal underground allowed then to make contacts with bands such as Root, Mortuary Drape, Blasphemy, Necromantia, and, of course, the burgeoning Norwegian scene in the form of Darkthrone and Mayhem.
"Unbridled at Dusk" is from the 1993 demo Total Fucking Darkness
Cradle of Filth's sound evolved as their network of contacts grew. Their split release with Malediction and 1993 demo Total Fucking Darkness were well-received among the extreme metal elite, and showed this evolution. Still firmly rooted in death metal, the band's gradual transformation into something different had begun. While still not black metal, the atmospheric use of synths and the gothic approach to their songs showed that they were creating something truly unique. And it caught the attention of record labels, resulting in a deal with Tombstone Records. In fact, they had actually signed with Tombstone and recorded material for a full-length album--to be titled Goetia--even before the release of '93's Darkness.
But Tombstone--like a lot of underground record companies--had more passion than business sense and their relationship with Cradle of Filth soured. The master tapes for Goetia got erased by the label in the process, leaving Cradle of Filth without a debut album. They were too big of a rising star in extreme metal to remain unsigned for long, so it wasn't long before they landed with Cacophonous Records. This resulted in the recording and release of their actual first full-length album, 1994's The Principle of Evil Made Flesh.
"The Forest Whispers My Name" is one of the best-known songs off of Principle
This album represented a big shift in sound for these Brits. The influence of death metal was still there, yes, but the overall atmosphere of the album was more eerie, more occult-driven than what they had done before--including more expansive synth sounds and haunting female vocals. By the band's own admission, Cradle of Filth had started to pay attention to the sounds coming out of Norway--they specifically cite Burzum and Darkthrone, for example, as having an impact on the kind of music they were writing at the time. Principle is a hard album to categorize, drawing on some of the rawer elements of 90s black metal, all the while maintaining the band's death metal roots and expanding the gothic nature of their sound. This era of the band's existence also saw numerous line-up changes. In 1995, while recording the follow-up to Principle, Nick Barker joined the band (their third drummer), and several long-time members (including founder Paul Ryan) left the band. Some of these members even went on to play in Hecate Enthroned, a similarly-styled gothic black metal band that has sometimes (unfavorably) been compared to Cradle of Filth.
In the process of recording their follow-up to Principle, Cradle of Filth's relationship with label Cacophonous headed south. Cradle wanted out of their record deal, and they held some of the already-recorded music for the second album hostage in order to wrangle out of their record deal. Cradle of Filth did eventually put out a second release with Cacophonous to satisfy the terms of their contract: the 1996 EP Vempire, or Dark Faerytales in Phallustein. This release saw the band's sound begin to resemble something more along the lines of the symphonic stylings that could be heard coming out of Norway at the time (think Emperor), yet still retained that raw, gothic edge Cradle was known for.
"Queen of Winter, Throned"--from Vempire--highlights the evolution in Cradle's sound
The band's actual second album--still retaining the title of Dusk...and her Embrace---was released later that same year on new label Music For Nations (the original version of Dusk would see the light of day twenty years later). The sound on this release can definitely be accurately labeled more of a symphonic black metal sound than anything they had attempted before---even the Vempire EP. The riffing is more in line with what we think of when we think 'black metal,' and even the synths are more carefully layered as a complement to the guitar instead of dominating the soundspace the way they did on Principle. Yet at the same time, those in the black metal world who had a very specific---some might even say narrow--conception of what black metal should sound like looked down on what Cradle of Filth were doing.
My favorite song off of Dusk is "Funeral in Carpathia"
The success that Dusk brought the band didn't help--at least in the eyes of the black metal purists. Touring with bands like Dissection and Dimmu Borgir would seem to cement Cradle of Filth's black metal credentials, but selling over half a million copies of an album as uncompromising as Dusk brought cries of 'sellout'. The band also managed to achieve notoriety through huge merchandise sales---including the now-infamous so-called 'vestal masturbation'/'Jesus is a Cunt' t-shirt (a shirt, by the way, that is banned in New Zealand).
The infamous t-shirt in question
The band's follow-up to Dusk was the 1998 album Cruelty and the Beast. A more mature version of the sound on Dusk, this album was a brilliant concept album that purports to tell the story of Countess Elizabeth Bathory, infamous Hungarian noblewoman and serial killer (and inspiration for so many black metal bands!). Boasting a treble-thin production perfectly consistent with the black metal ethos, Cruelty's use of synths to create a gothic atmosphere that outshone even Dusk and Vempire, as well as the clever use of eerie sound effects, spoken word (courtesy of famed horror actress Ingrid Pitt), and beautifully sung female vocals (courtesy of soprano Sarah Jezebel Deva), made it one of Cradle of Filth's strongest releases---to my ears.
The band's rising star did not sit well with the black metal elite of the late 1990s. Features in mainsteam music magazines (including a well-publicized article on black metal in Spin) didn't help either. More line-up changes (most notable was Nick Barker being replaced on drums by Adrian Erlandsson, of At the Gates fame) and solid releases like the 1999 EP From the Cradle to Enslave and 2000's Midian helped usher in what would be Cradle of Filth's most successful period. A controversial video for the song "From the Cradle to Enslave" (released on VHS as part of the long-form video PanDaemonAeon) also pissed off more than a few people in the musical mainstream and raised the ire of censors everywhere.
"Cruelty Brought Thee Orchids" is a solid example of the sound on 1998's Cruelty and the Beast
This success caught the eye of mainstream record labels, and these blasphemous Brits soon signed with titan Sony Records. This has all but ensured that die-hard black metal fans would never give the band a chance again. And while Cradle of Filth's sound has continued to evolve well beyond the boundaries of black metal (I wouldn't call anything they've done since 2003's Damnation and a Day really black metal, per se), they're still an evil band that is by no means palatable to most folks.
That said, their early work is clearly important for its impact on extreme metal in Great Britain, as well as the development of both the symphonic and gothic subgenres of black metal. I think even the most close-minded black metal fans would like 1994's The Principle Of Evil Made Flesh, and fans of classic symphonic black metal may even like their work up to 2000's Midian.
Select Discography:
Invoking the Unclean (demo) (1992) Orgiastic Pleasures Foul (demo) (1992)
A Pungent and Sexual Miasma (split with Malediction) (1992)
Total Fucking Darkness (demo) (1993)
The Principle of Evil Made Flesh (full-length album) (1994)
Vempire, or Dark Faerytales in Phallustein EP (1996)
Dusk...and Her Embrace (full-length album) (1996)
Cruelty and the Beast (full-length album) (1998) From the Cradle to Enslave EP (1999) PanDaemonAeon (VHS) (1999)
By 1991-1992, the Norwegian black metal boom of the second wave was in full swing. While some bands date to the 1980s (Mayhem, Darkthrone, Thorns) and others formed in 1990 or 1991 and were becoming more widely known (Immortal, Burzum, Arcturus), some bands didn't form until 1991 or 1992, and therefore were--relatively speaking--'latecomers' to the scene. The almighty EMPEROR could (loosely) be characterized as such a band.
As stated in my entry on the pre-boom Norwegian scene, the core of Emperor centered around members of the recently-disbanded Thou Shalt Suffer. Thou Shalt Suffer was, as mentioned earlier, more on the death metal side of extreme metal than black metal, but they still centered around occultic, evil themes, and had a blackened aura. Samoth and Ihsahn had started crafting black metal compositions in their last few months in Thou Shalt Suffer, and had soon recruited Mortiis on bass.
An early band photo, from 1992
This trio set about writing material that soon would become their 1992 demo Wrath of the Tyrant. Featuring a raw sound very dissimilar to what they would later become known for, this is one of the essential demos of second wave Norwegian black metal. Yet at the same time, it was not a clone of what bands like Mayhem or Burzum or Darkthrone were doing.
"Moon Over Kara-Shehr"is from that 1992 demo
This demo really caught the attention of metalheads worldwide. They were courted by many labels, but ended up signing with the fledgling label Candlelight Records. Having recently recruited Bard "Faust" Eithun on drums, they put out another epic release, their 1993 self-titled EP. This EP was also released as a split album with Enslaved's Hordane's Land EP the same year. This proved to be hugely influential in the black metal scene. Emperor's sound really stood out from the black metal masses on this release: their use of focused keyboards to enhance the music gave the EP an almost mystical feel.
Their self-titled EP gave us "Night of the Graveless Souls"
With this EP, Emperor was now considered one of Norway's black metal elite. They were being mentioned in the same breath as Burzum, Mayhem, and Immortal. Their newfound success that resulted from the self-titled EP led to more opportunities. After replacing Mortiis on bass with Tchort, Emperor was given the opportunity to tour the UK with up-and-comers Cradle of Filth (who were themselves on the cusp of releasing their first full-length album). This helped spread the Emperor name far and wide.
The opening track of Emperor's now-legendary In the Nightside Eclipse
Following this tour, Emperor entered the studio to record their first actual full-length album. The result--1994's In the Nightside Eclipse--is one of the ultimate masterpieces of all black metal. One of the earliest efforts of symphonic black metal, Emperor's use of synths on this album truly enhanced the music, carrying the dark, mystical atmosphere of their earlier work to new heights. Simply listen to "Into the Infinity of Thoughts" (above) to hear how epic the synths complement the metal. This album was truly a game-changer. To my ears, every symphonic black metal release since Eclipse owes at least a partial debt to Emperor.
However, all was not well in the world of Emperor. As the activities of Norway's black metal Inner Circle drew attention to the scene--and not in a good way--the deeds of the musicians caught up to them. Samoth, for example, was implicated in several church burnings and imprisoned for a few years. As the main composer for the band, this put Emperor in a tough spot. At the same time, Tchort was imprisoned for assault and Faust went to jail for a very highly-publicized murder he committed in 1992. This left Ihsahn as the sole member of the band not in prison.
Here is the music video for Emperor's "The Loss and Curse of Reverence"
Samoth was released from prison a few years later, and Emperor resumed their musical activities with newly-recruited drummer Trym Torson (formerly of Enslaved). They quickly reminded the world of their epic style with releases such as the Reverence EP in March of 1997 and their second full-length album Anthems to the Welkin at Dusk in May of 1997. These albums highlighted a new sound for the band. Taking the symphonic darkness of Eclipse in a more progressive direction, Anthems is one of the most well-received albums in black metal history.
The late 1990s saw Emperor basically becoming the face of Norwegian black metal. They also worked on expanding the boundaries of the genre. In 1999, for example, they released a collaboration with Snorre Ruch's Thorns (Thorns vs. Emperor) that featured an excellent cover of Thorns's classic track "Aerie Descent".
This is Emperor's cover of "Aerie Descent"
1999 also saw the release of Emperor's third full-length, IX Equilibrium. This album can be seen as a continuation of the slightly more progressive stylings of Anthems. Emperor had also begun to incorporate clean singing and at times, the influence of death metal could be heard. Their next--and final--studio album (2001's Prometheus: Discipline of Fire and Demise) featured more of the same.
My favorite track from IX Equilibrium, "Decrystallizing Reason"
In the wake of the release of Prometheus, Emperor disbanded. The members of the band simply had different musical visions and wanted to pursue new projects. Ihsahn has since gone on to a self-titled solo project, as well as being a member of bands Peccatum and Hardingrock. Samoth focused his energy primarily on black/death metal band Zyklon, along with Trym.
Emperor has re-formed a couple of times since their initial disbanding, and has played several well-received tours and live shows. In my opinion, Emperor will go down in history as one of the greatest black metal bands ever. Period.
Select Discography:
Wrath of the Tyrant (demo) (1992)
Emperor EP (1993)
In the Nightside Eclipse (full-length album) (1994)
As the Shadows Rise EP (1994)
Reverence EP (1997)
Anthems to the Welkin at Dusk (full-length album) (1997)
IX Equilibrium (full-length) (1999)
Thorns vs. Emperor (split album with Thorns) (1999)
Emperial Live Ceremony (live album) (2000)
Prometheus: Discipline of Fire and Demise (full-length album) (2001)
Italy really does have a sorely overlooked black metal scene. Necrodeath, Bulldozer, Schizo, Sinoath, Mortuary Drape....all crucial bands from the early years. But there are few bands in Italian black metal history as interesting as OPERA IX, from the Piedmont region.
"Cemetaria" is from 1990's Gothik
Opera IX was formed in 1988 by guitarist Ossian. While they are now known as pioneers in the gothic style of symphonic black metal, their initial sound was more of an almost doom/death with gothic overtones. Their 1990 demo, Gothik, is a sterling example of this. This was more or less the basis for Opera IX's sound in their early years, and it probably would have remained so if not for two important developments.
Off of The Triumph of the Death, this is "Born in the Grave"
First, vocalist Cadaveria joined in 1992. She is one of the earliest--and most well-known--examples of female vocalists in extreme metal, and she is able to combine beautiful, enchanting vocals, with gruff, harsh growls. She helped Opera IX stand out from the pack. But the other--equally important--development was the recruiting of Silent Bard on keyboards. He was a classically trained pianist, and his ethereal keyboard playing added another layer to Opera IX's sound. The first album with both Cadaveria and Silent Bard contributing was the 1993 EP The Triumph of the Death. This can rightfully be hailed as a landmark in not just Italian black metal, but symphonic black metal and gothic black metal as well.
The world really sat up and took notice after the release of this crucial EP. Not too long after, Opera IX were able to record their debut full-length album, 1994's The Call of the Wood. This album was more of the same style as the EP, but members of the band have since said that they wished they had a bigger budget for better production. Personally, I think that the production values on Call work with Opera IX's style. Call of the Wood is, in my opinion, a masterpiece.
"Al Azif" is a fantastic song off of Call of the Wood
After a one-album deal with Shiver Records (which resulted in the follow-up to Call of the Wood, 1998's Sacro Culto), Opera IX signed with well-known Italian label Avantgarde Records. Their next several albums were released through this label. They also appeared on two really great compilations put out by Dwell Records: Awakenings - Females in Extreme Music in 1997, and A Call to Irons - A Tribute to Iron Maiden in 1998 (where they covered Maiden's "Rime of the Ancient Mariner")
1998's Sacro Culto gave us "My Devotion"
At the same time, the band underwent immense personnel changes. Silent Bard had left before the recording of Sacro Culto, and in 2001, Opera IX parted ways with Cadaveria and drummer Flegias. Ossian and the remaining members of the band soldiered on, recruiting Madras on vocals, Taranis on drums, and Lunaris on keyboards.
I honestly believe that Opera IX's work with Cadaveria is their best--truly genre-defining. That being said, Opera IX in general is one of the most important and interesting bands in all of symphonic/gothic black metal's history.
"Act I - The First Seal" is from the 2000 magnum opus The Black Opera
Select Discography:
Gothik (demo) (1990)
Promo '92 (demo) (1992)
The Triumph of the Death 7" (1993)
The Call of the Wood (full-length) (1994)
Sacro Culto (full-length) (1998)
The Black Opera: Symphoniae Mysteriorum in Laudem Tenebrarum (full-length) (2000)
The Greek black metal scene has been so prolific, with so many amazing bands, that it merits revisiting time and time again. Beyond the big three of Rotting Christ, Necromantia, and Varathron, so many great bands have made an impact on world black metal. I've already discussed Zemial, but DEVISER--from the island of Crete--is too important to overlook.
At the outset--and for the first few years of existence--Deviser was essentially a one-man band. Main man Matt Hnaras would recruit session musicians when the need arose to round out the band (including musicians from other Greek black metal bands, like Varathron and Asfyx). These session musicians played on early demos such as 1990's Forbidden Knowledge and Psychic Completion.
Here is the 1990 demo Forbidden Knowledge in its entirety
Deviser's early sound can best be characterized as an eerily atmospheric old-school style with a heavy thrash influence. That being said, the midpaced riffing and mellow guitar tone definitely bear a resemblance to the style that would one day become known as the "hellenic style".
By 1994, Matt Hnaras had recruited a full-time band, and Deviser began to enter a new phase. While the 1994 EP The Revelation of the Higher Mysteries was still firmly rooted in the old-school style of the demos, they began to experiment with adding synths soon thereafter. This led to a decidedly different take on hellenic black metal.
"Threnody" (from Unspeakable Cults) is one of their best-known songs
The synths helped give Deviser's black metal a sound which seemed to be a fusion of hellenic black metal and more symphonic fare. Their first full-length album---1996's Unspeakable Cults---is a landmark in that regard. Some people have gone so far to say they owe their sound to what Emperor was doing at the time (1994's In the Nightside Eclipse), but that strikes me as a lazy characterization. There's more going on here.
1998's Transmission to Chaos gave us this gem, "Transcendent Beauty"
Over the next couple albums (1998's Transmission to Chaos and 2002's Running Sore), Deviser's sound remained a version of this symphonic-infused hellenic black metal. A lot of the midpaced riffing and song structures are highly reminiscent of something you might hear off of Non Serviam or His Majesty at the Swamp. Yet, at the same time, there are passages that clearly owe a debt--in terms of tempo and aura--to Norwegian symphonic stylings.
"From the Starry Voids" is a choice track from Running Sore
Deviser has said in interviews that they don't approach the writing of an album with any specific 'sound' or 'style' in mind. And technically, they may be right. However, there are certain things one can come to expect from Deviser, such as melodic elements, symphonic passages, and eerie gothic style.
And now we return to the birthplace of black metal: England. BAL-SAGOTH formed in Yorkshire in 1989 with the goal of creating "sublimely symphonic black/death metal," in the words of founding member Byron Roberts (aka "Lord Byron"). Despite conceiving of the band in 1989, Roberts had trouble finding a full and stable line-up. That is why it wasn't until 1993 that the first Bal-Sagoth material saw the light of day in the form of an untitled demo (a demo which was re-mastered and re-released in 2013). Their early sound was very aggressive, and the keyboards definitely give it an epic and eerie feel to it, but it isn't exactly symphonic black metal as we would recognize it today. There were still several stages in Bal-Sagoth's evolution yet to come.
From their 1993 demo, here is "A Shadow of Mist"
While Bal-Sagoth continued to make a name for themselves in the underground through the circulating of rehearsal tapes, the release of their first album was delayed due to music label machinations. This album, A Black Moon Broods Over Lemuria, finally saw the light of day in mid-1995. It was a clear continuation of the style on the demo, but the keyboards were heavier, and one can hear the seeds of a more recognizably symphonic sound.
"The Ravening" is from that first album
Bal-Sagoth's lyrical content differed vastly from other black metal bands of the day. Frontman Lord Byron was heavily influenced by the science fiction and occult writings of such authors as H.P. Lovecraft and Robert E. Howard. With the release of their second album--1996's Starfire Burning Upon the Ice-Veiled Throne of Ultima Thule--the tradition of insanely long song titles was inaugurated. The sound change was noticeable as well: this album was a definite shift away from a more black/death sound and toward a powerfully epic, synth-driven metal that has a blackened atmosphere. Vocally, Lord Byron gradually eliminated the deathly growls (while keeping raspy black metal vocals) and incorporated gruff spoken word into Bal-Sagoth's songs.
From their 1996 album, here is "The Splendour of a
Thousand Swords Gleaming Beneath the Blazon
of the Hyperborean Empire" (*phew*)
Bal-Sagoth's style arguably peaked on their next two albums, 1998's Battle Magic and 1999's The Power Cosmic. The synth playing became more imaginative, utilizing sounds that resembled an actual full symphony (horns and all!). The vocals became more elaborate, with Lord Byron creating entire mythos to go with their powerful and epic blackened metal. Since The Power Cosmic, Bal-Sagoth put out two albums (2001's Atlantis Ascendant and 2006's Chthonic Chronicles). They have not released any new material since then.
From Battle Magic, here is "When Rides the
Scion of the Storms"
"The Thirteen Cryptical Prophecies of Mu" is
off of 1999's The Power Cosmic
Select Discography:
Demo 1993 (1993)
A Black Moon Broods Over Lemuria (full-length album) (1995)
Starfire Burning Upon the Ice-Veiled Throne of Ultima Thule (full-length album) (1996)
Battle Magic (full-length album) (1998) The Power Cosmic (full-length album) (1999)
Atlantis Ascendant (full-length album) (2001)
The Chthonic Chronicles (full-length album) (2006)
