Unanimated - Ancient God of Evil (1995)

Ancient God of Evil is the second full-length album from Sweden's Unanimated. Released in March 1995, on No Fashion Records, this features even more of a Black Metal feeling than what was already present on In the Forest of the Dreaming Dead. Comparisons have been made with Dissection, though the similarities are not as overt as might be implied. The band's sophomore effort does well to pick up from where their debut left off, but displays a solid progression and, in many cases, is much more successful in achieving its goals.

One of the prime differences in songwriting is the presence of so many more cold tremolo riffs that, along with the intense drumming and raspy vocals, are among the main reasons for this being compared to Dissection. Micke Jansson's voice is certainly in the same vein as Jon Nödtveidt's vocal approach, though Unanimated definitely possesses a unique vibe. As for Peter Stjärnvind's performance, his style is much more rooted in old school Death and Thrash, hearkening back to his days in Merciless. Much of the material sounds like a continuation of the style utilized on the first album, even if the overall atmosphere is a little more frozen and bleak. However, the songs that are most likely to be responsible for Ancient God of Evil being considered a Swedish Black Metal album are "Life Demise", "Oceans of Time" and parts of "Die Alone". Even those tracks are more of a hybrid of Black and Death, with the former dominating the sound. Consequently, these are the most memorable songs on here.

The production is very crisp and clear, but not to the extent that it could be considered plastic or fake. Despite the fact that many like to consider this band to be part of the melodic Death Metal movement, it sounds much closer to Storm of the Light's Bane or Opus Nocturne than Lunar Strain, for example. The mix is exactly as it should be, with the guitar melodies fully able to carve through everything else and straight into the listener's mind. The vocals and percussion are at an acceptable level, clear enough to be heard well but not so much as to distract from the frozen riffs.

Ancient God of Evil is a very solid album, though one that could have been better. The aforementioned songs demonstrate that where the album really shines is during the more Black Metal-oriented material, of which there should have been much more. The other songs are decent enough, but fail to make the same impact and the overall quality of the album suffers, as a result. Perhaps, they would have gotten it right if the band had lasted long enough to record a third album, back then. At least they eventually reunited, but a decade and a half was too little, too late.

Gehenna - First Spell (1994)

Gehenna's initial offering, First Spell, was released in 1994 on Head Not Found Records. This Norwegian band labeled their music 'Ghost Metal', rather than Black Metal, and such a term actually fits the music rather accurately, despite how ridiculous it is that bands were constantly adopting such terms, around that time.

"The Shivering Voice of the Ghost" is the best song on here, perhaps, beginning with a funeral organ and setting a morbid tone. The synth really seems to play a significant role on this album, though it is done in such a way that it is not really an annoyance. In reality, it is quite necessary for the atmosphere of the record, which is a fault in the songwriting, but the result is so unique that Gehenna receives a pass, this time around. The music is mid-paced and the riffs and drums play a secondary role, more or less, but everything works together in creating a gloomy and haunting feeling.

The next song, "Unearthly Loose Palace", starts out with a miserable melody that is actually quite depressing. Again, the synth and guitars are about equal, perhaps with the latter one step beneath in terms of importance. This song also utilizes bits of acoustic guitar that help in the development of the sombre and epic tone of the piece. The mournful lead solo, near the middle, perfectly accentuates the slowed pace and is very memorable in its own right. Another tempo change introduces another solo, though this one possesses an spectral quality that is difficult to describe.

"Angelwings and Ravenclaws" is a little faster, and the synth is more annoying, here. At first, it sounds like a phone ringing, and then it transitions to something that bears an oriental vibe. That is the last thing that anyone wants to hear from a Norwegian Black Metal band, and such experimentation has no place in this music.

The morbid gloom returns with "Conquering of Hirsir", though the synth interrupts this and almost attempts to establish a more upbeat feeling, at certain points. It is not a good sign for the band that they are not able to maintain a decent level of consistency for more than two songs. This song demonstrates limited potential, but it is destroyed by poor choices of keyboard melodies.

"Morningstar" begins with the sound of a storm, with grim vocals summoning dark spirits. The atmosphere is more epic than in previous songs, with the vocal patterns following the main melody for the most part. Ominous synth passages enable the song to keep a dark feeling, though it must be said that this should be achieved through the guitar riffs moreso than anything else. The song offers a bit of variation, though cycles through the same ideas and fails to really build in a way that lives up to its potential.

First Spell is the only Gehenna release that is enjoyable in the slightest bit, and only three of the songs are worth listening to. Of those three, none fully realize the level of quality that they may have been capable of, but they are still worth listening to just for something a little different. Far too much emphasis is placed on the synth, limiting the band's ability to break free of these amateurish melodies and to create something truly special. In the end, this release is inconsistent and average at best. Give it a listen, but do not go to much trouble to do so.

Forgotten Woods - As the Wolves Gather (1994)

As the Wolves Gather is the first full-length album from the relatively obscure Norwegian Black Metal act, Forgotten Woods. Released on No Colours Records in 1994, this album is probably not what listeners might expect, at first glance. While emerging during the same year as Transilvanian Hunger, De Mysteriis Dom Sathanas, In the Nightside Eclipse and Hvis Lyset Tar Oss, this shares very little in common with any of these records, with the exception of Burzum. The material on this album is mostly mid-paced Black Metal with a very sorrowful atmosphere.

The songwriting is very interesting, and the less minimalist approach allows for the songs to breathe more, in a similar style to the early Burzum records. The mournful guitar riffs are sometimes accentuated by acoustic passages and sombre lead solos that add depth to the music. All of the songs are mid-paced and this better enables the band to create the gloomy and depressive feeling that they are going for. The band resists the urge to follow their peers and to utilize the fast tremolo melodies and blast beats. Instead, there are times when the music crawls at an even slower pace, dragging the listener through miserable fields of broken glass and razor wire. This succeeds in conveying a sense of despair and emptiness, through the melancholic and epic melodies and varied arrangements. The guitar riffs do well to build on one another, carrying the song forward and taking the listener on a journey through torment. The percussion compliments the melodies well, only doing enough to get by and never becoming overactive.

The production suits this type of music quite well, as the sound is pretty clear and less claustrophobic than a lot of other Black Metal albums from the time period. It is certainly not overproduced, by any means, still retaining an underground feeling, but the instruments are afforded a level of clarity that is uncharacteristic of similar bands. This also helps the acoustic bits and the lead solos to feel more natural, whenever they appear. The guitars assume the dominant role, though the drums are not buried at all. The vocals are in a style reminiscent of Varg's early work, consisting of a lot of shrieks and anguished screams that are aided by the liberal use of reverb, but not in a way that comes off as forced. Everything comes together in a logical manner and the result is quite memorable.

As the Wolves Gather may not be a well-known record, but it is certainly worth the time to seek out and explore. While it is somewhat simplistic, it never becomes boring or predictable. Even the lengthier tracks manage to include enough elements to keep the listener interested. The style of mournful and epic Black Metal found here should appeal to fans of the first few Burzum records, as well as bands like Strid and even early Katatonia. Forgotten Woods certainly pulled this style off far better than many others that attempted to do so.

Fimbulwinter - Servants of Sorcery (1994)

Fimbulwinter was a lesser-known Norwegian Black Metal band that may be most notable for including Skoll (later of Arcturus) and Shagrath (later of Dimmu Borgir) in the line-up. The band's one and only full-length album, Servants of Sorcery, was released in 1994 but actually consists of material that was recorded during a 1992 rehearsal and previously available on cassette.

As would be expected of a rehearsal tape, the sound quality is very poor. Of course, the necro production suits the primitive style of music that is played here and most of the instruments are clear enough to be comprehended. The vocals suffer more than anything else, though Necronos (very imaginative name) may not have been a very good vocalist anyway. The mix favours the guitars, thankfully, which is as it should be. Luckily, the drums are not overpowering, as is often the case with rehearsals.

Musically, this is everything that one would anticipate from an album that features a guy in corpse paint wearing a Darkthrone t-shirt. This is raw, primitive Black Metal that utilizes a lot of mid-paced riffs that alternate with tremolo melodies, with standard vocals and an overall ugly vibe. The songwriting shows obvious influences from the aforementioned band, as well as Celtic Frost and even a little Bathory. The former's presence is almost felt more in a way that is filtered through Darkthrone's interpretation; i.e. more derivative of their Celtic Frost-styled riffs than the original band, themselves. These type of riffs are present throughout the album, appearing in every song. Of course, their cover version of "Morbid Tales" should be evidence enough of their prime influence, with even the vocal approach being a strong imitation of Tom Warrior, rather than the typical Second Wave vocal style employed on the rest of the album.

Servants of Sorcery is pretty good, for what it is. While this recording could have been better, there are no huge flaws that detract from the record. The fact the songs came from a 1992 rehearsal tape also lower any expectations that one may have when coming in, but the end result is not too far behind Emperor's Wrath of the Tyrant, in terms of sound quality. It is surprising that anyone lame enough to be involved with trash like Dimmu Borgir and Arcturus could have ever played in a band like Fimbulwinter. At any rate, anyone into raw and primitive Black Metal should give this a listen.

Dark Funeral - Vobiscum Satanas (1998)

After the recording of their debut album, The Secrets of the Black Arts, Dark Funeral underwent a complete overhaul. First, Themgoroth was replaced by Masse Broberg, now known as Emperor Magus Caligula. Equimanthorn was replaced on drums, by Alzazmon (Tomas Asklund). However, the change that forever crippled the band and left it as merely a shadow of what it once was had to be the departure of Blackmoon. Once his songwriting genius was removed from the equation, the band stagnated and it was very clear who the driving force had been. With a new line-up, Lord Ahriman returned to Abyss Studio in the autumn of 1997 and Vobiscum Satanas was born. It was released by No Fashion in April 1998.

Musically, this is almost a carbon-copy of the band's debut album. Unable to cope with Blackmoon's absence, it seems that Ahriman did his best to mimic the record that made Dark Funeral so popular in the first place, to the best of his abilities. And, truth be told, there are plenty of decent riffs to be found here. The first few songs are somewhat enjoyable, blasting through at an intense pace as cold, nocturnal tremolo riffs weave in and out. "Ravenna Strigoi Mortii" starts things out on a strong note but, by the middle of the album, the repetitive nature of the songwriting begins to wear thin. The material is weaker as well, unable to maintain the momentum built early on.

The production is much clearer than The Secrets of the Black Arts, which is one of the main differences between the two albums. The sense of rawness that existed on the first album is sacrificed for increased clarity, though it does not sound horribly overdone. It suits the music well enough, which utilizes a slightly less violent approach, anyway. The benefit of this is that the guitar riffs are not buried in the mix, as they were on the previous release, allowing the listener to truly hear all that is going on.

The drumming is still a problem, just like on the first album. Tomas Asklund continues what Equimanthorn started, with the overactive percussion that creates too much noise and detracts from the guitar riffs, which should be the primary focus. That said, he has never shown much proficiency for knowing how to best compliment the melodies, so one would be foolish to expect him to possess such wisdom near the beginning of his career.

One of the worst aspects of the album has to be the vocal performance. Masse completely altered his style and sounds nothing like he did on Hypocrisy's first two records, Penetralia and Osculum Obscenum. Of course, it is natural that he would employ a higher-pitched sound since he made the move from Death Metal to Black Metal, but his entire technique is utterly different in every way. His voice is very generic and sounds like most other vocalists of the period, almost like a weak imitation of Ihsahn, from Emperor. He ruins several of the songs by not allowing the music to breathe. Whether it is because he wrote too many lyrics or just the fact that his vocal patterns attempt to fill as much time as possible, his voice hardly seems to go away for even a few moments and it takes away from the guitar melodies.

Vobiscum Satanas is the result of a band that had become a caricature of itself. Had this been Dark Funeral's first album, without the foundation that was laid by the earlier releases, chances are that the band would not have existed long enough to make a second one. This record is a failure, epitomizing the words generic and mediocre, and demonstrates that without Blackmoon's creativity, Dark Funeral was but a pale shadow of what they once were. To hear the true continuation of this band's legacy, pick up Infernal's self-titled debut, featuring Blackmoon and Themgoroth. As for this atrocity, avoid it and steer clear of the albums that follow.

Desaster - Stormbringer (1997)

The Stormbringer E.P. was released in 1997 on Merciless Records, bridging the gap between A Touch of Medieval Darkness and Hellfire's Dominion. It is notable in that it features a full line-up, eliminating the need for a session drummer. The music is a little more straightforward than on their debut album, though keeping in the same vein.

"Stormbringer" starts out with a morose intro, soon leading into a maelstrom of violence and darkness. The song features tremolo riffs and blasting drums alternating with sections that possess more of a Speed Metal feel, somewhat due to the overall rhythm and songwriting approach. Okkulto's voice is as raw as ever, seeming quite unrestrained and filled with hatred. The atmosphere takes on a more epic tone, near the middle, with the introduction of a new melody. This track sounds as if it could have been a holdover from the previous album, as it would have fit in perfectly. As the song comes to an end, the intense riffs give way to a calm acoustic piece.

The next song still maintains some of the same feeling. "The Swords Will Never Sink" begins with an ominous intro riff, before shifting to a Teutonic Thrash sound, similar to the older works of Destruction and Kreator. There is a nice old school guitar solo, later on, that adds a lot to the song. This is another example of why solos should not be abandoned. This track is shorter and more direct than the previous one, and is a good representation of this release as a whole.

"Sacrilege" is the shortest song on here, featuring classic Thrash riffs that maintain an 80s feeling. In fact, this sounds as if it could have come out a decade earlier, between the songwriting and the ugly production. It is clear enough to hear what is going on, but does not sound modern at all.

This is followed by "Face of Darkness", which almost sounds similar to early Bethlehem or Paragon Belial, in the opening moments. As soon as the tremolo riffs transition to the more Sodom-inspired Thrash, this sense is completely lost. There are slower parts that help add a bit of darkness to the atmosphere, but this does not last long. The most unique thing about this track is the lengthy ending, which hearkens back to the old days, with the multiple false finishes.

Their tribute to the past continues with a filthy rendition of Kreator's "Tormentor", a favourite for many fans. The primitive and barbaric vibe of the original is maintained, as they opted to remain loyal to the version that appeared on Endless Pain. One can hardly tell that it is a different band, other than the vocals.

The final song is "Emerging Castleland", which is an instrumental that is in line with the material from the first full-length, possessing a sort of medieval feeling and serves as a nice way to wrap up this release. Though the rhythm seems to be more upbeat, the actual feeling of the song is kind of dismal.

Stormbringer is not essential, though the title track ensures that it is not so easily dismissed, either. Otherwise, there is not much here that can not be found on the albums that precede and follow. Its strongest appeal may be for those who prefer the original vocalist, or just for the fact that it is a decent slab of Teutonic Metal that upholds the old style. For anyone into the older albums from the likes of Kreator, Sodom and Destruction (or even newer bands like Aura Noir and Nifelheim), this will not disappoint.

Desaster - A Touch of Medieval Darkness (1996)

Desaster is one of the elite bands of the German Black Metal scene, though one that does not seem to get nearly enough recognition. Formed in the late 80s, this band carried on the old school tradition while mixing in influences from the Second Wave and their own epic songwriting to create a rather unique sound. The band suffered a few minor setbacks, regarding the line-up, but persevered. They finally released their first full-length album, A Touch of Medieval Darkness, in April 1996, on Merciless Records.

It begins with "Skyline in Flames", a lengthy intro that sets the mood, aiding the listener in drifting off to another world. This is done with synth, utilizing no traditional instruments, but it somehow suits the vibe of the album and serves as a good lead-in for the first song.

"In A Winter Battle" is one of the best songs on here, and is a demonstration of utter brilliance. Despite the fact that the harsh vocals and tremolo riffs seem to have something in common with the bands of that age, the songwriting actually betrays more of an 80s influence in rhythm and melody. The composition is varied and epic, showing true skill in arrangement and the riffs flow from one to the next, seamlessly. The atmosphere is rather sombre, though the lyrics tell the tale of Viking raids on holy places, resulting in death and destruction. The guitar tone is thin, which fits the music very well, while never reaching an abrasive level of rawness. The production is actually kind of clear, without being overdone at all. Even the bass shines through at times, and it plays an important role during those moments, helping add a sense of darkness to the overall sound. Though the song is only five and a half minutes long, the feeling is so epic that you get the sense of having undertaken some great journey.

The title track begins with an intro that possesses sort of a majestic feeling, building up to a great old school galloping riff. The atmosphere is dark and sorrowful, though Okkulto's vocals still maintain a sense of barbarism. While the previous song included some blast beats, this one remains mid-paced. Things slow down even more, beyond the halfway point, before returning to the main theme. Infernal's guitar riffs are very memorable and hearken back to Bathory, at certain points.

"Fields of Triumph" picks right up where the previous song left off, really giving this album a sense of consistency. Instead of a collection of random songs, this really comes off like a coherent effort, with the arrangement of songs working perfectly to create the desired effect. This song starts out with a dismal guitar riff that is reminiscent of Mayhem or Burzum, before transitioning to another galloping riff. Some thrash riffs are interspersed, reminding one of early Sodom. Near the middle, everything clams down and a cold tremolo riff is all that remains, soon joined by blasting drums and hellish screams. This is yet another display of a perfect blending of First and Second Wave influences, sounding absolutely natural.

The next song is short and bears more of a blackened Speed Metal approach. "Devil's Sword" is straightforward and less dynamic than the other songs on here, which adds to the structure of the album in that it offers a little bit of a break from the more epic arrangements. It includes some half-paced thrash riff that is sort of useless and displeasing, but this is not a massive detriment.

"Into A Magical Night" sounds familiar during the opening moments, before the thrash riffs give way to a more intense tremolo melody. Again, this song is more direct and less introspective. However, it leans that way in the closing moments. A solid track, but overshadowed by some of the others.

Eerie winds and mythical tones introduce "Crypts of Dracul". The mood soon darkens, as a woeful bass line drags you into the murky shadows and into the realm of foggy cemeteries and bloodthirsty ghouls. The intro is somewhat lengthy, but definitely suits the music and helps build the anticipation. A melancholic tremolo riff soon emerges, maintaining Odin's melody, along with the morbid screams rising in the lands beneath the frozen moon. There is a sense of urgency in Okkulto's voice that is not present elsewhere on the album. Late in the song, there is a section that is very reminiscent of early Slayer, with the screeching guitar solos, accompanied by funeral bells. The drumming includes some blast beats, though is mostly dominated by an older style of playing, complimenting the riffs. This epic track is very memorable and the main theme is certain to haunt you for some time to come. The pace picks up in the closing moments, ending in a more intense manner.

"Deep in the icecold mountains
Where the air freezes the soul
Where all human life ends
The palace of Dracul is built"

"Visions in the Autumn Shades" is a slower song with an epic, yet ethereal, atmosphere that is different from anything else on the album. The bass lines offer a glimmer of hope and optimism, yet this is slowly strangled by the morose melodies and venomous curses spewed forth by the vocalist. While not an exceptionally strong track on its own, it fits well into the tapestry of the album.

The final proper song is "Porter of Hellgate", which starts with a doom-inspired riff, before shifting toward a primitive Black / Thrash sound. The rhythm possesses an epic quality, much like most of the songs here, and the vibe is more energetic and yet dark at the same time. Slower sections help pull you down toward the fires below, intensifying the evil feeling.

"Dome of the Brave" is an outro, touching upon the intro theme from the title track, and bearing sort of a heroic vibe before the instruments fade out and an ominous sounds foreshadow a grim fate. It evokes the same feeling as when you are awakening from a dream that, somehow, feels more real than your actual life, and you can sense that you are about to be torn from that other world, and you can do nothing about it.

A Touch of Medieval Darkness is pure genius. It is the perfect combination of Speed, Thrash and Black Metal riffs, with drumming that suits each different style and harsh vocals that help tie it all together. There are brief moments when one gets the impression that this is how certain Moonblood songs would have sounded, with better production. The epic feeling that is conveyed by this album is difficult to describe, as this really is one of those albums that you must experience for yourself. Why this record is not more well-known and revered is beyond me, as it is a true classic. Seek this out and make haste in doing so.