Horna - Korpin Hetki (2002)

Though a brief and somewhat rare offering, this is one of my favourite Horna releases. The material presented on Korpin Hetki dates back to 1999 and, despite the erroneous claims of many online sources, is not the first recording with new vocalist Corvus.  This is a case where one faulty report is made on the internet and various other sites use the original mistake as a basis for keeping such misinformation alive. This material predates Sudentaival and features the band's original vocalist, Nazgul von Armageddon. This E.P. includes only three songs, one of which is a cover tune and another that can be found on their previous full-length, yet the recording is still just as vital as any other from this period. 

Musically, this of course belongs to the band's early period. The music owes a lot to the early Norwegian bands, yet Shatraug's style had begun to develop a bit and to become more his own, by this point. The first track, "Ikuisuuden Pimeyden Varjoihin", relies on brilliant tremolo melodies that interchange with more old school riffing, displaying a very accomplished mixture of First and Second Wave sounds. There is a gloomy atmosphere that is easily conveyed by the guitar riffs, with the rest simply serving its purpose as an unassuming background that in no way distracts from the primary focus. The melody is very haunting and possesses kind of a horror vibe. "Condemned to Hell" is a cover of an old Impaled Nazarene track and, though not done poorly, does not quiet hold up to the other two songs. It is impressive that Horna manages to sound more necro and under-produced than the 1992 original; then again, Tol Cormpt Norz Norz Norz... had a rather good sound for its time. The other original track is "Synkän Muiston Äärellä", which displays a similar type of raw and grim Black Metal. The thrashier parts seem a little more pronounced, at times, giving this a decidedly '80s feel. Some riffs seem to hearken to the early days of Emperor, as well, betraying another of the band's Norwegian influences. It certainly kills the over-produced version that is found on Sudentaival. Too bad they didn't release more necro versions of some of the other tracks from that record.

It must be stated that the production found on this E.P. truly suits the material much moreso than the imitation Abyss Studio sound on the aforementioned full-length. The true weakness of that album was not so much the material but the slick and overdone sound that ruined any attempts at atmosphere. By hearing one of the tracks in an earlier and more natural version, one can really begin to see past the mistakes and realize that the material was not so bad. Korpin Hetki features the kind of necro sound that rivals that of Wrath of the Tyrant or Under A Funeral Moon, at times. The percussion is not as overbearing and, as a result, the riffs are actually able to breathe and to maintain the listener's full attention. The raw and fuzzy sound serves greatly to accentuate the musty, old school songwriting and to take you back in time a decade or more (from the release date of the E.P.).

In the end, this is an absolutely essential release for any Horna fan and it fully deserves as close of a listen as any of their other records. As the band was in a period of transition, this E.P. helped not only to keep the name out there and to clear off material with their past vocalist, but also to present fans with more filthy Black Metal in a way that few others were able to deliver at the time. Korpin Hetki may be somewhat overlooked, but it should not be. Seek these songs out in whatever way that you must.

Marduk - Panzer Division Marduk (1999)

Marduk's sixth full-length album, Panzer Division Marduk, was recorded in Abyss Studio and released by Osmose in March 1999. With this album, the band attempted a shift in direction, in more ways than one, while also creating something that would serve as the epitome of what many would deem to be pointless noise with no atmosphere, masquerading in the guise of Black Metal.

Musically, it would appear that Morgan decided to improve upon the mistakes of the previous two albums, in a sense. While the constant blastbeats and generic riffs were already a problem on Heaven Shall Burn and Nightwing, the other tracks suffered even more. The thing was that the faster songs seemed to be stronger and more enjoyable, at least in the sense that they passed more quickly and got right to the point. On the other hand, the songs that featured more variation in tempo often meandered around with no direction and were incredibly boring. While not really solving the problem of weak songwriting, the band took the opportunity on Panzer Division Marduk to accentuate their strengths and to better hide their prime weaknesses. The end result is an album that is, as hard as it is to admit, more tolerable than its predecessor. That is not to imply that the record is not boring and largely worthless, for it is, with countless guitar melodies that hint at something better and then disappear back into the false chaos. Of course, Legion continues doing what he does best: making a complete nuisance of himself, trying to fit too many lyrics into every line and ruining the songs even more. 

The production is a total joke, just as with most albums that were being raped by Peter Tägtgren, around this time. While one can put a lot of the blame on his shoulders for creating such a sterile and lifeless sound, no one forced Marduk to seek out his services. With two awful records having already been defiled in his unholy studio, the band knew what to expect and actively sought more. Ultimately, they are to blame for the slick, modern sound of drums overpowering guitar riffs and the terrible clicky bass sound interfering with already-weak guitar riffs. If nothing else, they could have buried the vocals in the mix, so as to condemn Legion's wretched performance in obscurity, where it belongs.

Panzer Division Marduk is the total opposite of what Black Metal should be. There is not one shred of dark atmosphere to be found, while the Death Metal mentality of trying to be brutal and sound heavy is quite dominant. It is sad to think that a lot of people got the impression that this is indicative of the typical Black Metal sound and went on to copy it, as they only perpetuated the lie. That being said, the band at least won a personal victory, as they managed to make a more concise and less irritating album than they had, the previous year. Avoid this and stick to the classics. 

Marduk - Nightwing (1998)

Released in April 1998, Nightwing was the last album from Marduk that I was able to enjoy, until recent years. Like its predecessor, it was recorded in Tägtgren's Abyss Studio. This L.P. features a lot of the flaws that would be more greatly emphasized the following year, while still possessing enough of the band's original qualities to make it worth listening to. It also seems to be the final album to have more of a campy atmosphere, rather than the darker themes that would be explored later on.

The music is not the best that they had ever written, yet the production actually makes it seem worse than it is. The slick and modern Abyss sound is one of the worst things to happen to Black Metal in the mid-to-late '90s. Bands like Marduk, Dark Funeral and Immortal flocked to this rotten studio and got a sterile production job for their efforts. While the truly worthwhile compositions managed to rise above this, in some regard, even the best songs were partially crippled by the terrible sound. It would appear that Marduk had always suffered from lousy producers and sub-par mixing. Evil's songwriting deserved much better, certainly. On Nightwing, the pummeling drums take over and the guitar melodies are much harder to distinguish. It is almost as if Tägtgren tried to smother the very best riffs, rendering the finished product almost lifeless. 

Whether mostly due to the production or just lazy songwriting, Marduk's fifth full-length suffers from a real lack of memorable riffs and songs, in general. The first few songs, "Bloodtide", "Of Hell's Fire" and "Slay the Nazarene" seem to run together, with a lot of the pointless blast beats and meaningless guitar riffs that would define the band's middle period (though the first track offers more variety and more thoughtful arrangement, about halfway in). The most memorable song on the album is probably the title track, yet this is largely due to the fact that they ripped off the Subspecies theme and built the song around that. While it was very awesome to hear this being used by a Black Metal band, it still says a lot for the lack of creativity in that the best melody on the whole record was borrowed from something else. Furthermore, the subsequent riffs do nothing to build on the atmosphere created by this main theme. In fact, they almost seem to contradict the dark feeling that the song begins with. Songs like "Dreams of Blood and Iron", once again, demonstrate what a terrible vocalist Legion was, as he could never shut up long enough for the riffs to take full effect. This is a problem with a lot of bands; trying to fit in more lyrics than are necessary and drawing too much attention to the vocalist, rather than doing what is best for the song and the atmosphere that it is trying to convey. This song is also notable for ripping off a Bathory song title and using a lead solo that is very similar to something Quorthon would have done.

Nightwing is a rather boring and uninspired album, especially when compared to Marduk's earlier output. It has its moments, with decent riffs and ideas scattered throughout the record, but can be considered only lackluster at best. It says a lot that the best song on the album is a re-recorded version of a track from Opus Nocturne and that the most memorable riff was taken from a low-budget horror film. While this isn't horrible, you are better off sticking with the first few albums.

Horna - Adventus Satanae (2011)

Released in late November 2011, the Adventus Satanae E.P. is the first sign of life from Horna in over two years. This marks the second recording with new vocalist Spellgoth, and yet one has to wonder why there has been such a break. Shatraug has long been known for being an incredibly creative musician, as the massive output of his bands can attest. It may be that he wished to focus on creating Sargeist's long-awaited third full-length, Let the Devil In, as well as giving the other members of Horna a well-earned break. With this mini-album, this Finnish band has returned to show that they have not missed a step, nor have they progressed into the 21st century. This is a recording with firm roots in the Black Metal sound of the 80s and early 90s. 

Musically, one can immediately hear traces of the early Norwegian Black Metal sound that has long held a special place within the heart of Shatraug. Once citing Under A Funeral Moon as the definitive Black Metal album, it is no surprise that the two songs found on this E.P. bear some influence from Darkthrone's classic period. With that said, the trademark Horna sound is ever-present and is noticeable from the moment the title track blasts forth from the silence. The music is grim and primitive, as could be expected, keeping in line with the established traditions of the Second Wave. Spellgoth's vocals suit the band, perfectly, and he shows some variation by adding certain shouted parts that add a layer of depth. As the song progresses, some of the riffs betray a possible Mayhem influence, hearkening back to the days from 1988 to 1993 when the likes of Dead and Euronymous were at the forefront of this musical movement. The riffs show a mixture of tremolo picking and old school thrashing, as the drums pound away with barbaric wrath. This atmosphere of strife and unease carries over into "Mustan sydämeni laulu", the longer of the two tracks. With this song, the hints of Under A Funeral Moon are a little more pronounced, regarding some of the riffs in the first half of the song. Shatraug proves to be one of the more skilled and loyal followers of the Second Wave sound. Meanwhile, Spellgoth does well to follow Nazgul and Corvus, while setting himself apart from them. The second half of this song sounds like a tribute to Emperor, with a section that seems to be ripped right out of Wrath of the Tyrant, from the riffs to the necro vocals and percussion. All in all, this material is solid and memorable. 

The production is as old school as it gets. The guitar tone is rough and has a nasty sound to it, while the vocals are drowned in reverb and the drumming keeps its appropriate place in the background. The focus is on the guitar riffs and that never changes throughout th course of the E.P. It is very reminiscent of the albums that were released two decades prior, themselves a product of wishing to go back to the sound of 1980s Black Metal. This is very primitive and filthy, just how it should be. As long as bands like Horna exist, the true spirit of Black Metal will persevere, despite the increasing waves of poser scum that infiltrate this form of music. 

Adventus Satanae proves that Horna has not missed a step and is still one of the most reliable bands when looking for a continuing output of raw, old school Black Metal that upholds the traditions while also possessing a character of its own. You are well-advised to seek this out and pick it up as soon as possible and to not delay in doing so.

Horna - Perimä Vihassa Ja Verikostossa (1999)

Horna is a band known for being exceedingly productive. Over the years, the number of mini-albums and split releases, filling the gaps between proper full-length recordings, has gone beyond the output of many bands with three times the tenure. The Perimä Vihassa Ja Verikostossa E.P. was one of the earliest such efforts, released by Oskorei Records in May 1999. This particular collection of songs came near the end of the band's first phase and is far superior to the L.P. that followed.

The early years of Horna saw a band that had not yet, fully, come into its own. While there is no doubting the high quality of their records, they were often highly derivative of some of their contemporaries or, more frequently, bearing a strong resemblance to the classic albums of the Norwegian Black Metal scene. Shatraug's songwriting bordered on genius, at times, but was still held back by conforming to the trends of the day (one example being the random use of clean vocals on the previous full-length). Only after finding his true musical voice through the outlet afforded to him by the early Sargeist material did he truly mature as a songwriter with his own unique style, somewhat that soon bled into Horna as well.

Perimä Vihassa Ja Verikostossa is a very solid release, and much preferable to the abomination that is Sudentaival. The spirit is still more Norwegian than Finnish, at times. One is reminded of bands such as early Emperor, Satyricon and Enslaved (especially on “Haudanusva”), throughout the five tracks that comprise this E.P. The use of keyboards, however minimal, only strengthens this effect. The songs are very dynamic, for the most part, with varying paces found in each composition. Shatraug's trademark style can be noticed, from time to time, though still mixed with Nordic influences. Despite this, the music that is presented here does well for itself, to such an extent that songs like “Verikammari” are still played live to this day. It may be the standout track, if nothing else than for the morbid feeling of doom that it conveys. From slow, creeping riffs to mid-paced sections reminiscent of old Bathory, to fast-paced parts that sound like something ripped from Transilvanian Hunger, this tune encapsulates the early period of Horna's career, very well. That is not to say that this E.P. is defined by this song, alone. Every one, from “A Ring to Rule” to “Ghash Inras” leaves its mark and all of them are quite memorable from the very first listen.

The production is not as over-the-top and slick as Sudentaival, yet it is nowhere near as grim as the typical sound of the band's later output. It is somewhat thick and full, with the guitars possessing a decent amount of power and serving as the true focus. Nazgul's vocals are a little buried, but not anywhere near as much as can be found on Hiidentorni, at times. The overall sound-quality is probably a bit more healthy than most of the band's other releases, in that turning the volume on high does not result in hours of ringing in one's ears, afterward.

This should please any Horna fan, and would not be a bad starting point for those only somewhat familiar with Finnish (or Norwegian, for that matter) Black Metal. If you can get your hands on Perimä Vihassa Ja Verikostossa, one way or another, do so. For those that ignore limited releases or only go for full-length records, you are definitely missing out. While many bands might phone it in for split releases and the like, Horna is nearly always consistent, regardless of the format. Buy with confidence.

Ondskapt - Slave Under His Immortal Will (2001)

Created in the year 2000, by Acerbus and Nabemih, Ondskapt has remained one of the more obscure bands within the modern Swedish Black Metal scene. With only four releases to the band's credit, they have still managed to make a name for themselves in the underground, due to the quality of their work. Released in June 2001, Slave Under His Immortal Will is still one of the best recordings to come from the darkened minds behind Ondskapt.

Containing only two songs, this E.P. bears similarities to other Swedish bands of the time period, such as Watain and Armagedda. There is a murky atmosphere to this material that hearkens back to Mayhem's classic period, and surpasses that of their contemporaries. One must bear in mind that this came a couple years prior to Casus Luciferi. With evil guitar melodies that could have easily been written by Euronymous, “Slave Under His Immortal Will” and “Dark Path” take the listener on a journey into the blackest of shadows. The tempos are varied, with a lot of emphasis on slower and more mid-paced sections, allowing the riffs to really soak into your subconscious, while the distant and tortured vocals add a hellish feeling. There is nothing violent or intense about this, at all. Ondskapt was not trying to compete with the speed or technicality of many others; rather, they focused on creating a bleak and dismal mood. This is most evident, late in the first track, as a sombre guitar melody is accompanied by tormented howls, sending chills down your spine. The musicianship is not the tightest, but this is actually reminiscent of many of the bands that formed the Second Wave, and is preferable to the mechanical sound that is so prevalent in recent years.

The production demonstrates a fairly good balance. The guitars have a fuzzy tone to them, but are still thick enough to pack a bit of a punch. Things are clear enough to be heard pretty well, except during the brief fast parts in the second song, where it all runs together a bit. One may notice that the bass is much more audible than on most Black Metal releases, but this adds a layer of gloom to the overall sound. It is absolutely necessary for the bass to be as high as it is in the mix, accordingly. The vocals are buried, somewhat, but it may be for effect and certainly assists in giving it an otherworldly vibe.

Slave Under His Immortal Will is a high quality release and is recommended for any Black Metal fan. Whether you happen to be into the more recent Swedish sound, or a fan of the early '90s releases, this should appeal to you. This E.P. Is a good starting point for anyone interested in exploring the music of Ondskapt, though it may be that you find this superior to all that they released afterward.

Worship - Last Tape Before Doomsday (1999)

Spawned within the German underground in the late '90s, Worship emerged onto the Funeral Doom scene with a very monumental recording. Originally released on cassette, in limited numbers, Last Tape Before Doomsday made an impact like few others. It has been reissued on a variety of formats, with the name changing accordingly, since it was first heard in April 1999. It goes to show just how important this is, that several labels have made sure to keep it alive and available, throughout the past decade or so.

Containing only four songs, this demo still manages to clock in at over 46 minutes, which is average length for an L.P. The material does well to uphold the traditions set forth by bands like Thergothon and Skepticism, while also taking some influence from the likes of Bethlehem and Mournful Congregation. In a sense, this takes the whole concept of Funeral Doom to a new extreme, with the majority of the material crawling at such a deathlike pace that it may tax the listener's patience. However, for that very reason, it is best to listen to this when you are actually in the right mood, rather than just tossing it in casually. The songwriting is very primitive and minimalist, with so little going on at times that the slightest change makes that much more of an impact. Each song features a lot of subtle changes, while rarely straying too far from the main theme. To experience Worship's Last Tape Before Doomsday is to die a slow death, being tortured the entire time. Just hearing the anguished vocals of Max Varnier, combined with the mournful riffs and the oppressive atmosphere, is to suffer in torment. The gloomy melodies have a way of reaching deep within you and pulling all of the misery and sorrow of an entire lifetime right up to the surface, to be felt at full force once more. This is most evident on the song “Solicide and the Dawning of the Moonkult”, which has to be the most effective and memorable piece of music on this release. From the very beginning, the dismal riffs and life-weary vocals drain the energy right out of you and leave you eagerly awaiting a swift death. And yet the end will not be painless. The utter despair that grips you is unlike anything that you have ever known, and you are imbued with an inescapable hopelessness. As the music slowly progresses, additional riffs are gradually introduced, along with quieter acoustic bits that hearken back to Bethlehem's prime. There is something epic about the arrangements, yet this is no fantasy trip that you are taken on. This is an involuntary journey through pitch-black darkness and the ultimate realization that there is no purpose for the horror and misery that you feel deep within. You begin to see the world for what it really is, and a powerful longing to leave this life behind grows inside of you. Just as you think that you may be able to tolerate it and to persevere, it intensifies and lays waste to what little resolve you still possessed.

While the first two songs may be more depressing and recall heartbreaking moments of absolute melancholy, the second half of the album builds upon this in an unexpected way. While the approach is still very much the same, with the songs slowly crawling from the blackness, the riffs convey more of a bleak feeling that goes beyond personal tragedies and agonizing memories. There is something more sinister and all-encompassing about “Eclipse of Sorrow”, in particular. In this case, it may be that there is a more direct link to the underlying malevolence that lies at the root of all insurmountable afflictions. This is where the record manages to avoid simply being a one-dimensional batch of depressing tunes, and still calls forth to the primordial evil that waits in the dark shadows, ever-watchful. While the final melodies of “Whispering Gloom” slice into your flesh and begin the wretched bloodbath, “Worship” is more of a reminder than no one will even be around to mourn your loss and that it was all for nothing. You remember just how insignificant you are, and that your immeasurable suffering is as meaningless as the rest of your pitiful existence.

"There will never be a dawn again
Our darkness has begun"

As one would expect from a demo, this is pretty under-produced. It is, by no means, as necro as a lot of demo-quality Black Metal, but it possesses a rawness that truly suits the atmosphere and the songwriting, giving it a stronger sense of of genuineness that would have been lost if these songs had been recorded in an expensive studio. Though the compositions are very strong, that would have rendered them rather stale. Thankfully, Worship got just the right sound for this. The guitars are suffocating, the bass is audible enough to add a layer of woe to the proceedings, while the vocals and drums are leveled-off enough to keep them from overpowering the soul-crushing riffs. The guitar tone is flawless, working well to emphasize the miserable melodies, enabling them to instantly drain the energy from your body and to give you a disturbing sinking feeling. There is enough clarity to hear what is going on, at all times, but not so much that the music would lose something.

For fans of Funeral Doom, that have not yet heard this, you are doing yourself a disservice. Worship has not made as much of a name for themselves as they should have, partially due to Max's suicide in 2001, but what the band has released is on par with anything else that the sub-genre has to offer. If you are annoyed with the older Death / Doom releases for not being grim enough, or the ever-flowing stream of Doom bands that incorporate too many romantic elements in an effort to create something 'pretty', Last Tape Before Doomsday is certainly for you. Now, listen to this and then kill yourself.