Paragon Belial - Nosferathu Sathanas (2008)

Nosferathu Sathanis is the second full-length album from Germany's Paragon Belial. For those unfortunate wretches not familiar with this band, it features two musicians that you should be acquainted with; Andreas Classen (original vocalist for Bethlehem) and Zahgurim (former Bethlehem drummer). The members of Paragon Belial kept themselves occupied with other musical projects since the release of their debut album, in 1996, Hordes of the Darklands. Many years passed since then, as the Black Metal scene changed and decayed. Yet, finally, this German horde rose from the shadows, after over a decade of silence, to unleash more raw and hateful Black Metal, the way it should be.

The album begins with the title track, which is dripping with the blood of the ancients. It opens with a mid-paced riff and grim vocals, before speeding up a bit. The vocals then become more demonic, sounding improved from the debut L.P. The old school influences are obvious here, and executed very well. Like any good opening song, this one serves well to set the tone for the whole record.

Next is "666 Calling of the Dead". This begins with intensity and pure hatred coming from Classen. The tempo alternates between violent speed and a more mid-paced assault, as the song continues. The vocals become more insane and possessed as things progress. There is a good mix of 80s and early 90s Black Metal, here, sounding as if it could, easily, have been released 15 years earlier. The most important thing is that the melodies are dark and memorable.

The next track is the longest one on the album. "Goatspawn" starts with a brief bass section, giving the feeling of dread, as the mid-paced riffs accompany hellish vocals. This one strongly retains the aura of doom from the previous album, while building upon it. There is a definite Hellhammer influence, yet it isn't as overt as some bands. Paragon Belial manages to take this inspiration and use it to create something of their own, rather than simply mimicking the old ones. After a few minutes, the pace picks up in a manner reminiscent of Hordes of the Darklands or Dark Metal. Things continue to build until it reaches a violent climax, where it all slows down. Only a somber acoustic guitar and sparse drums play as a sample from some unknown film adds to the evil and epic atmosphere. It all blends together, seamlessly, and slowly builds to an epic tremolo riff that will haunt you until your final days. This may be the masterpiece of the album, as the dark atmosphere is almost suffocating, as the funeral bells chime your final doom and it all comes to an end.

The tribute to Hellhammer is made clear with the next track. "Horus/Aggressor" is executed very precisely, as Andreas manages to emulate Tom Warrior's vocal style, while giving it a little more energy. This is superior to the original version, if for no other reason than that it doesn't feature the hypocritical and scum-filled presence of Mr. Fischer. Another thing worth mentioning is that with Paragon Belial's old school approach to Black Metal, this song fits in, perfectly, not seeming out of place at all.

"Abomoth" follows this, beginning with dark and dreary riffs, maintaining a slower pace than the last song. Andreas shows some variation in his vocals, as on the rest of the album, matching the feeling of the song and keeping things interesting. The drums are tight and keep a steady pace, even as the song speeds up. A lot of modern drummers feel the need to show off and do to much; Zahgurim knows just what is needed for the integrity of the song. Of course, Ralph is more than competent on the guitar, even throwing a brief solo into this song. Also, the bass is present yet not overbearing. Many bands place little or no emphasis on this instrument, missing out on the opportunity to accentuate the dark aura of the music.

"Solemnize Me" has a short build-up, accompanied with deeper vocals, before bursting forth with scorching speed. There is a brief section where it all slows down, as a funeral bell tolls once more, before returning to the same violent tempo. For the most part, this one retains the feeling from the Second Wave.

Traditional-sounding Metal riffs begin the next song, "Grimdozer". This one contains more memorable melodies, especially around the 2:00 mark. The song is fairly straight-forward, yet possesses small bits of variation, throughout. The pace really changes in the last minute or so, as the vocals become quite unrestrained and almost maniacal.

"Necromancer" is a re-recorded version of "Necromancer of the Dark Valleys", from Hordes of the Darklands. It begins with a melody that is somewhat reminiscent of something from Sacramentum's Far Away From the Sun. The cold riffs are enough to chill your skin even in the blistering heat of neverending summer. About mid-way through, the song seems to collapse into silence, with the drums slowly dying off. Nothing is left but the sound of falling rain, a miserable acoustic guitar and demonic vocals. The riff that follows is dark and takes you by the throat. The atmosphere is dark and you get the feeling of being pulled down into the fiery depths. This is certainly one of the best songs on here.

The album concludes with "Black Metal United & Strong". This one is rather short and has, somewhat, cleaner vocals as well as kind of a punk feeling to the chorus. It is more upbeat than the previous song, yet it's not out of place, either.

Nosferathu Sathanis is raw and misanthropic Black Metal. This is highly recommended for anyone that is tired of modern-sounding music. If you want more old school Black Metal, pick this up. You won't be disappointed.

Dissection - Maha Kali (2004)

Already, after the recording of Storm of the Light's Bane, Jon Nödtveidt faced problems with the line-up of Dissection. His subsequent conviction of being an accessory to murder, in 1998, left him imprisoned for several years. During this time, music that had already begun to take shape was worked on and transformed over time. By 2004, Jon was released and, immediately, put all of his energy toward the rebirth of Dissection.

Many fans had waited since 1995 for another Dissection L.P. Others had discovered the band after it had been put on hold, yet they too still had certain expectations. The statements that were issued from Jon, even back in 2003, indicated that he planned to take the music world by storm as soon as he was released, and that Dissection would burn the metal scene to ashes.

After waiting for several years, I had been patiently looking forward to more icy, cold hymns of nocturnal majesty. Finally, in November 2004, the wait was over. I was in Stockholm, set to preview the Maha Kali E.P. at the record store. My initial reaction was of disappointment and even confusion. This was not at all what I expected.

As soon as "Maha Kali" begins, it becomes apparent that the bitter cold melodies of the past were no more. The sound here is much more bottom-heavy and mid-paced. As for the sound, some of this may be due to the fact that the guitar and vocals were actually recorded in prison, in 2003. The song seems somewhat similar to, yet not quite as interesting as, "Where Dead Angels Lie". The version that appears on Reinkaos is superior, though this is not without some charm as well, once one gets past any and all expectations that they may have held for years.

"Unhallowed (Rebirth Version)" is next. Musically, the playing is tight and concise. However, it really lacks the cold atmosphere from the original. Still, much like a live recording, it is interesting to see a different take of the song, done so many years later and with several new band members. Probably, this was done to show that the band was quite capable of performing the classic Dissection material. Jon's vocals sound very good, without being rusty or degenerated as one might expect after so long.

Over time, my opinion has changed. Listening to it now, I find this E.P. to be an interesting and worthwhile release, as it gave everyone an opportunity to get used to the changes that were to come on the next album. Maha Kali serves as sort of a bridge from the old to the new, featuring new material that would indicate the direction the band was going in and a classic song, just to show that they have not forgotten the roots of the band.

Dissection - The Past Is Alive (The Early Mischief) (1997)

The Past Is Alive (The Early Mischief) is a compilation that was released by Necropolis Records in July 1997. It serves as a time capsule, preserving some of the earliest Dissection recordings and giving fans a rare glimpse into the musical development of one of the greatest bands to hail from the cold lands of Sweden.

From the liner notes:

"This is a compilation that we have been talking about doing for ages, but not until recently we've judged that the time was right for a release like this. The reasons are many, but mainly the fact that these old recordings have been in demand from our fans for a long time, and as rumours about this release started to spread, we were overwhelmed with the enthusiasm and interest from our fans. So, for all you who missed the early days of Dissection, and of course for all the rest of you who this may be of interest for: Here's the early mischief. Re-visited and re-released. The sound quality may not be the best at times but the feeling is there, and that's what counts. Take it for what it is, a pure underground release and nothing else. This is how it was back in the early days and we enjoyed it!"

-Dissection, October 1996

This compilation begins with "Shadows Over A Lost Kingdom", from the Into Infinite Obscurity E.P. This song was recorded in 1991, and it shows a very raw version of a song that would go on to have a place on The Somberlain. The sound is not as cold and crisp as what is found on the L.P. version, yet the musicianship is flawless. This possesses more of a Death Metal feeling, similar to Darkthrone's Soulside Journey, mostly due to the production. The bass is very prominent, here.

The next song is "Frozen", from the 1992 promo for The Somberlain. This doesn't sound so far from the L.P. version, though the vocals seem to be more of a hoarse whisper, creating somewhat of a ghostly feeling, reminiscent of Tiamat's Sumerian Cry.

From the same demo/promo, is a version of "Feathers Fell". This is different as it has not only drums but also some eerie vocals, whispered from the shadows.

"Son of the Mourning" follows this, taken from the Into Infinite Obscurity E.P. This is a much rawer and more primitive sounding version of the song than what is found on Where Dead Angels Lie. The sound is definitely more oriented toward Scandinavian Death Metal. The main difference would be Jon's deeper vocal approach, though the brilliant riffs are still fairly easy to discern, beneath all the fuzz.

At this point, The Past Is Alive shifts back to the demo, The Somberlain, for "Mistress of the Bleeding Sorrow". It may have been more appropriate to place the songs in chronological order, but that is a minor complaint. This is very close to the L.P. version but, again, the vocals are different. The patterns were all set, yet the style had yet to evolve to what is found on the full-length.

Continuing on with another song from this demo, "In the Cold Winds of Nowhere" is like the other songs, not being far removed from the L.P. recordings. The pace seems slightly faster, and the vocals are different. Even with these different vocals, the Black Metal feeling is dominant. About midway through the song, there are several screams that actually would have fit very well on the L.P. version. There is an extra sense of desperation that is not quite the same.

The final song from the Into Infinite Obscurity E.P. is the title track, which is a brief acoustic interlude. This is followed by "The Call of the Mist", taken from The Grief Prophecy demo. Sadly, this is the only song on this compilation that is taken from that demo. This really feels like Soulside Journey or Sumerian Cry, in certain ways. Yet, for all the Death Metal production, this remains in the realm of Black Metal. The heavy doom riffs dominate much of the song, but there are fast tremolo melodies to be found, along with a truly trance-inducing passage. However, that's not the reason for this belonging to Black Metal. This is found in the lyrics.

"Devour my soul in eternal blasphemy

I'm the mourner of the one

Who died for you

Swallowed by the dark embracement

Open wide the somber gates!

My god has horns..."

The next song is "Severed Into Shreds", which maintains the sound from the previous song, to a degree. The quality is pretty low, but it's still good enough to get a feel for the song. This is taken from a 1990 rehearsal, and really shows a variety of styles being utilized, from Death and Doom to Black and Thrash Metal.

As for the last two songs, the liner notes explain that well enough:

"Satanized was formed by Jon Nödtveidt and Johan Norman in 1991 to create insane and utterly Satanic Death/Black Metal. The band made no efforts at all in establishing a name in the metal scene, mainly because Jon had Dissection as a priority, and both Johan and Tobias gave priority to their main band, Nocrofobic (later Decameron). Satanized as a band lasted about a year, and during that period they recorded a few rehearsal tapes and managed one hell of a brutal gig in November 1991.

Presented here is a rehearsal containing two tracks caputirng the intense ferocity that once was Satanized. It is an extremely rare recording, sadly enough with extremely bad sound quality."

Despite the very low-fi sound, one can easily tell that this had all the potential in the world to be something very good. "Satanized" and "Born In Fire" have more of a Black Metal feeling, and could easily stand beside the Mayhem material, with Dead, or bands such as Grotesque. The fast tremolo riffs and the blasting drums, of course accompanied by the vocals of Per Alexandersson (who would be a member of Nifelheim for a short period in 1996) carry this feeling as well. The sound quality does not hinder the listener from appreciating the dark feeling. It would have been interesting to see this project unfold, if they had more time to devote to it.

As for the reason it was appropriate to add this to a compilation of rare Dissection material, it only makes sense as it not only features Jon Nödtveidt, but also future Dissection members Johan Norman and Tobias Kellgrin. All in all, it is a worthy addition to The Past Is Alive.

Immortal - Sons of Northern Darkness (2002)

Immortal's musical journey has taken many twists and turns, over the years. No two albums sound alike, yet the core spirit of the band manages to survive the countless changes. From the barbaric fury of Battles in the North, to the disappointing piece of garbage known as Blizzard Beasts, to the epic masterpiece that was At the Heart of Winter and then the utterly pathetic Damned In Black, Immortal manages to tie all of this together on their final album. There are even moments that hearken back to Diabolical Fullmoon Mysticism and Pure Holocaust, if not in sound, then in spirit.

Sons of Northern Darkness is the seventh full-length album from Norway's Immortal. It was recorded in Abyss Studios, in September 2001. While the production has a certain modern sound to it, the band intentionally went for more of an 80s approach to the songwriting, while still maintaining their trademark sound. The traditional heavy metal influences are stronger on this album than any they have done before, as well as keeping with the spirit of old Venom and Bathory. Demonaz, as usual, contributed all the lyrics for this album, and it is easy to see that he was much more involved this time as the lyrics are some of the best in Immortal's career. He also played a part in some of the song arrangements.

The album erupts from the silence with the song "One By One". The riffs are very thrashy and this kind of sounds like a more successful version of what they attempted on Blizzard Beasts. Everything sounds much more natural on this album, rather than seeming forced. Also, Abbath's vocals seem to have recovered from whatever affliction that they suffered on the previous album. The songwriting has a nice, old school feeling to it, while Horgh's drumming is simplistic when needed and inventive enough to keep things from sounding stagnant at any point.

The title track begins with an interesting drum intro that precedes some of the coldest thrash riffs ever written. Somehow, the band manages to keep such an atmosphere of frost, no matter how they choose to approach the music. The slower sections truly freeze the blood in your veins, as the thrash transitions to open-arpeggios and then to fleeting tremolo parts. It all flows so effortlessly. Abbath's vocals channel the grim essence of a battle-worn troll. The brief lead solo, near the end, is also a nice touch.

"Tyrants" is a dark, mid-paced epic. The melodies are very memorable. Near the middle of the song, there is more use of open-arpeggio riffs, followed by a calm acoustic section. The feeling is cold enough that you feel you have been encased in a block of ice. This serene atmosphere is interrupted by a scream that is accompanied by tremolo riffs and double bass that serve to carve you out of the ice, leaving you to lay on the frozen ground, gasping for air.

The next song is "Demonium", beginning with more furious riffs that have become synonymous with Immortal. The spirit of Battles in the North is quite strong, here. After a couple minutes of this blistering assault, the song takes on a different tone. The songwriting is very skilled, as they manage to take the listener on some sort of journey with each outing. Nothing is awkward or out of place.

"Within the Dark Mind" starts out kind of mid-paced, keeping an utterly cold feeling with the guitar riffs. The vocal delivery perfectly captures the grim and diabolic nature of the lyrics. This song conveys a deep desire to see the sun forever extinguished, as shadows creep over the frozen landscape, swallowing the world for eternity. The latter half of the song sees limited bursts of the more typical barbaric pace that Immortal is known for, which strongly contrasts the atmosphere created up until that point, allowing those moments to make more of an impact.

Bitter cold guitar riffs begin the song "In My Kingdom Cold". Open-arpeggios quickly transition to thrashier moments, before flowing into icy tremolo riffs. The winter ambiance is aided by the incredible lyrics.

"In my kingdom cold...

At the mountains of madness

Unending grimness

This kingdom is mine..."

"Antarctica" tells a tale of the frozen continent moving and spreading across the world, taking all under its icy dominion. It may not be very Nordic, yet this subject matter could not be more fitting. The song begins with a very eerie synth intro, accompanied by the sound of frigid winds. The riffs have sort of a somber tone, though heavy enough to represent the massive glaciers depicted in the lyrics. The keyboards from the intro seem to continue on, flowing beneath the surface, adding to the dark and epic feeling. Near the end, the song becomes very still and calm, as the bass rumbles beneath the acoustic section, with Abbath's dry croaking.

Sons of Northern Darkness is brought to its conclusion with the majestic epic, "Beyond the North Waves". This reaches back to the earliest days of Immortal, being somewhat reminiscent of "A Perfect Vision of the Rising Northland" in all its glory, having a similar feeling to Viking-era Bathory. The song begins with the sound of waves gently crashing against the side of a ship. For anyone that has sailed across the North Sea, you know the cold purity of those waters. This feeling is evoked by these sounds. The accompanying acoustic guitar sounds almost as if it was recorded under water. The guitar riffs crush you with their frozen might. This is slow and mid-paced, engendering the sense that one is being taken on a great journey. The brief tremolo riffs that blow through, like winter winds, chill your flesh. Lyrically, this may be one of the most powerful pieces in this band's history. Rather than the mythical realm of Blashyrkh and tales of fantasy, this song remains rooted firmly in actual Norse history and pagan ideology.

"For he who battles for his land, his pride and for his men

Shall be remembered and stand eternally named

In the legends of our land"

The open-arpeggio riffs, in the latter half of the song, truly envelope you in the cold and dark waters of the North. The clean, spoken part only adds to this utterly epic atmosphere. The solo that follows captures this feeling, perfectly. The lyrics serve as a proper epitaph for what may very well be the climax of Immortal's musical career. It is quite fitting that the last song on their final album leaves you in such an awe-inspired state.

Infernal - Infernal (1999)

After leaving Dark Funeral, sometime in 1996, Blackmoon directed his efforts toward recording the second Necrophobic album, Darkside. Following this, he was involved with the War project. He also put together yet another band, recruiting former Dark Funeral vocalist, Themgoroth, and Impious (of In Aternum). In late 1998, these three were joined by Matte Modin as they entered Dugout Studio to record their self-titled E.P. The recording would then be completed at Abyss Studio, which was also the spawning ground of The Secrets of the Black Arts. The cover art was taken from "Inferno" (The Divine Comedy) by Gustave Dore and the band makes specific mention, in the liner notes, that no keyboards were used on this recording. That says a lot for the musical climate, at that time, as far too many bands were emerging from all sides, hiding awful musicianship beneath a wall of synth. None of that is found here. What the listener is exposed to, here, is what the Infernal call 'Satanic Holocaust Metal'. This is a very appropriate description.

"Requiem (The Coming of the Age of Satan)" erupts like a violent storm of dark and malevolent forces, seeking to utterly destroy the frail human spirit as Blackmoon's nocturnal melodies are accompanied by Themgoroth's absolutely demonic screams. The drumming is incredibly intense, yet very skilled. The guitar solo proves to be another welcome addition to the music. This song is merciless in its approach, completely crushing everything in its path. The sound is very similar to The Secrets of the Black Arts, yet even more violent and destructive. Despite its chaotic fury, the riffs are actually very memorable. It is very obvious that this song was composed by no amateur.

"Wrath of the Infernal One" begins with more of Blackmoon's trademark riffs, creating a cold and nocturnal aura. The lyrics are as blasphemous and evil as anything found on the early Dark Funeral material. About halfway through, there is yet another lead solo, just to add to the dark atmosphere. This song has a barbaric pace, much like the opener, yet the exceptional songwriting abilities possessed by Blackmoon are revealed here, as this is similar and yet quite different from that song.

The next song is "Storms of Armageddon", bursting forth from the deepest abyss to take your feeble human spirit into the darkness, only to be ripped to shreds and condemned to hellish torment. Mid-way through, there is another brief solo that sounds reminiscent of something from an early Necrophobic album. The tremolo riffs that slither through the chaos seem to take hold in the darkest recesses of your mind, haunting you long after the song has concluded.

"Under the Hellsign" is the final song, beginning with demonic screams from beyond. This continues the frantic pace that has been established by this point. This E.P. would make a good soundtrack for a battle. The cold tremolo riffs stand out amidst the hellish storm of blasting drums and Themgoroth's possessed vocals, sounding a bit like old Mayhem. There is not much variation, from song to song, as the same fast pace dominates this recording, yet it is impressive to see a band managing to accomplish the most within these limits, making sure that each song has an identity of its own.

If you were disappointed with the direction taken by Dark Funeral, following the departure of Blackmoon and Themgoroth, then you are encouraged to seek this out. What you will find here is violent and uncompromising Swedish Black Metal.

Immortal - At the Heart of Winter (1999)

At the Heart of Winter is the fifth L.P. from Norway's Immortal, released in February 1999. After hitting a creative brick wall with the previous effort, the band returned with renewed energy, though utilizing a different approach, somewhat. In November 1998, they went to Sweden to record at Peter Tägtgren's Abyss Studio. Say what you will about this studio becoming the Morrisound of Scandinavia, but it was a vast improvement over the terrible job they received on their previous album and it sounds pretty suitable, especially considering their change in musical direction.

Some time after releasing the awful Blizzard Beasts album, Demonaz encountered some health issues that resulted in him being unable to play the guitar. Because of this, Abbath handles the guitars on this album, as well as the bass, synth and vocals. Despite the fact that he could not play guitar, Demonaz still wrote all of the lyrics for the band.

The album begins with "Withstand the Fall of Time". The trademark freezing cold tremolo riffs are ever present, chilling your skin. The band’s death metal roots carried from Old Funeral have been all but completely abandoned here in favor of a clean cut riffing style based very closely on the German thrash scene. Tremolo picked melodies occur sparingly alongside varying melodic breaks and rhythmic breakdowns. The bass and drums provide a powerful back-up to these crushing riffs. Everything seems to have a purpose, working toward the same goal. Around the 3:00 mark there is a sorrowful and cold tremolo melody that will haunt you in your deepest sleep. It must be said that Abbath's vocals are in top form, as well. Truly, Immortal seem to be embracing their own past as this is sort of a return to the epic song structures found on Diabolical Fullmoon Mysticism. While the sound is not the same, the atmosphere has not changed so much. Looking at most of the other Norwegian bands, they had all changed (drastically, in some cases) yet Immortal remains true to the same freezing cold spirit that they always have.

"Solarfall" begins with another epic and sorrowful melody. The production is the only thing modern-sounding about this. It is amazing how much better the songwriting is just from the previous album. After a couple minutes, there is a quiet acoustic section sounding as if it was recorded through a wall of ice. This builds up to some mid-paced thrash riffs followed by bitter cold arpeggios. The song then returns to the main theme (which sounds quite similar to Iron Maiden's "Where Eagles Dare") as the coldest winter winds wrap you in a cloak of frigidity.

The next song is "Tragedies Blows At the Horizon". This is mid-paced and still possessing the same feeling that has been established with the first two songs. This is a band that started off with something unique now coming around full circle and all but completely rediscovering the original magic that they had during the glory days of the Norwegian scene. Though perhaps not stylistically in line with their debut, At The Heart Of Winter carries the same spirit of epic sorrow and woeful coldness, combined with a form of aggression tempered by a sense of organization, opting to save the truly chaotic moments for when they are called for, rather than blasting straight through at full speed for two or three minutes at a time.

"Where Dark and Light Don't Differ" begins with old school thrash riffs, entwined with a cold sense of melody. It is almost reminiscent of some old King Diamond or Destruction. Abbath shows great skill in sliding from thrash riffs into more frost-covered tremolo melodies. The song construction, here, is far more formalized than any previous release. Riffs and melodic material recur with much greater frequency, ideas are extended much longer and given ample time to mature before moving on. This was somewhat of a problem, even on Battles in the North. The vocals here are much deeper and overdubbed to give even more of a sinister and demonic effect. About midway through the song, Abbath unleashes a beautiful lead solo, surprisingly. At some points, there are even slight similarities to the feeling created on Dissections' Storm of the Light's Bane.

Possibly the most epic composition of the album is the song "At the Heart of Winter". This begins with an ominous and somber intro. The acoustic melody is enough to cause your heart to wither as the cold winds are blowing in the background. The synth use is actually very suitable as an intro, helping to create a mystical aura. Indeed, this is a very ambitious song. The powerful and melodic guitar riffs are accompanied by the most grim vocals of the album, with Horgh keeping a moderately relaxed pace throughout. Certain riffs create a real sense of tension and anxiety, before the frostbitten tremolo melodies carry you deeper into the realm of Blashyrkh. There are plenty of tempo changes and even another brilliant solo to be found here. Out of an album filled with great songs, this is probably the highlight. Much like "One Rode To Asa Bay", this possesses an epic atmosphere that has to be heard to be truly understood.

"Years of Silent Sorrow" begins with a total old school feeling from both the drumming pattern and the guitar riffs. That is one great quality about this album: the guitars are the focal point, much as it should be. The thrash riffs lead into more cold arpeggio riffs, transitioning then to some brief tremolo bits, before returning. While the pace is more relaxed than on some earlier albums, the structures seem more complex. With this song, you can truly feel that you are nearing the end of an epic journey. The lyrics do well to support this:

"Farewell... nothing breathes within me

Harnessbells... sounding cold behind me

A demon... with frozen eyes opened

This journey black behind me..."

There is definitely a sense of finality that is conveyed through this song. A stream of wintry melancholy flows beneath, rising up and overtaking you at certain moments. This song brings At the Heart of Winter to a fitting conclusion.

Regarding this masterpiece, I may be a bit biased as I first discovered this during one of the few pleasant periods in my existence. It was the middle of winter, I was spending all of my time studying Norse mythology, reading Tolkien and walking through the forest where I would get lost for hours, on the coldest days. This also preceded me meeting someone very important, so the sentimentality may cloud my opinion. Either way, I recommend this to fans of Immortal, as well as those who appreciate Dissection, Bathory and even German Thrash such as Kreator.

Immortal - Blizzard Beasts (1997)

My introduction to Immortal came with hearing the song "The Sun No Longer Rises" on a college radio show, many years ago. This cold and grim atmosphere was enough to draw me in. As a result, I quickly sought and acquired Diabolical Fullmoon Mysticism and Pure Holocaust. A short time later, I got my hands on Battles in the North. Though each of these albums had their own sound, they were all similar in spirit and they constitute the classic era of Immortal. Blizzard Beasts, however, represents something far different.

This album was recorded in the autumn months of 1996, in Sigma Recording Studios. This is their first effort to be recorded outside of Grieghallen. Certainly, that may play a small part in the change in sound. Blizzard Beasts also saw the recruitment of new drummer, Horgh, though he did not reall contribute to the songwriting.

The album starts with a brief intro that seeks to create a nightmarish feeling through the horrific sounds. It does not serve much of a purpose, really. The album truly begins with the song "Blizzard Beasts". This sounds pretty similar to the songwriting from Battles in the North. The major difference here is the atrocious sound. Again, the guitars are buried underneath the drums and that is especially terrible here, as the drum sound is awful. The song ends with some random thrash riff and fades back into the shadows.

"Nebular Ravens Winter" begins with an interesting solo and the typical Immortal sound. The songwriting seems far less inspired here than on previous albums. There are more thrash riffs that might have been more appropriate with more of an old school production job. The chorus features some effect on Abbath's vocals. At this point, the listener may wonder where this is all going. There are a couple of decent riffs, but that is all that can be said for the song. The production really kills any chance that this has to be decent.

"Suns That Sank Below" really carries more of a Death Metal feeling. It is pretty awful. "Battlefields" isn't much better, though it does foreshadow the style that the band would employ on later albums, such as Sons of Northern Darkness. There are some okay tremolo melodies that are quickly displaced by mediocre thrash riffs. Again, there are more effects being used, this time on the riffs instead of the vocals. At some points, this album sounds like it was recorded under water.

The next song is "Mountains of Might" and this seems like one of the few worthwhile songs on here. It begins with a synth intro, creating a melancholy atmosphere as the sorrowful tremolo melodies come in, mixed with thrashier riffs. This song actually possesses an epic feeling and is comparable to "Blashyrkh (Mighty Ravendark)". This song is probably the only redeeming quality to this abomination. It's still mediocre when compared to the earlier material, but it definitely stands out on this album filled with atrocities.

"Noctambulant" begins with more useless riffs that hint at the band's later style. This couldn't be farther from Black Metal, though the argument could be made that Immortal was never actually a Black Metal band. Either way, this is pointless. "Winter of the Ages" continues this terrible sound. The shift in style might have been easier to digest if they hadn't gotten such a wretched production job. I'm not typically a fan of the Abyss Studio sound, but they might have benefitted from going there a little sooner than they did. "Frostdemonstorm" doesn't even sound like it was recorded during the same session, as the guitars and vocals are vastly different than the rest of the album. This is more of the same trash that can be found on the rest of the album, as Immortal doesn't know if they want to play Black, Death or Thrash Metal.

Blizzard Beasts is entirely worthless and Immortal fans are encouraged to avoid this piece of shit by any means necessary. Don't even allow yourself to be in the same room with a copy of this travesty. If you see if on a store shelf, smash it with a hammer. All copies of this should be gathered and destroyed, utterly. At the Heart of Winter and Sons of Northern Darkness were not in the same vein as the early albums, either, but they were executed far more successfully. Blizzard Beasts and its companion, Damned In Black, are truly blemishes on the legacy of Immortal. Even the few decent riffs that exist on this album are, ultimately, pointless as you can hear the same concept done much better on the albums that came before and after this one.