Necrophobic - Darkside (1997)

Darkside is the second full-length album from Necrophobic. Recorded in 1996 and released in 1997, this classic album is one of the most overlooked masterpieces I've encountered. I discovered this album fairly late, picking it up in a local Stockholm record store, Sound Pollution, in the summer of 2003. It was after a short discussion with the guy working there that he recommended this album to me, especially since we shared a fondness for Dissection.

As "Black Moon Rising" begins, one hears that the Satanic Death Metal sound from The Nocturnal Silence has evolved into something more dark and sinister. The guitars are more piercing, the tempo is faster and the sound is all around more raw and dark. Bassist, Tobias Sidegård, had replaced Anders Strokirk as the vocalist, and the result was a much higher pitched, raspier sound. This is Swedish Black Metal at its best.

"Spawned By Evil" continues the frenetic pace, and it's not until "Bloodthirst" that it slows down, somewhat. The songwriting of David Parland (aka Blackmoon of Dark Funeral, Infernal, War) is very identifiable and is one of the best things about the album. This version is a little more refined than the one from the Spawned By Evil E.P.

The instrumental pieces, "Venaesectio", "Descension" and "Nifelhel" do a great job in adding to the atmosphere, and they are spread throughout the album. This album, more than any other I've heard, really seems like a tribute to the night; to the full moon, blood, darkness and evil. The guitar sound is not only cold, it also carries a very nocturnal feel to it. This can also be seen on The Secrets of the Black Arts, but I think it is much more successful here.

The title track, "Darkside", is one of the standout tracks on this album and possesses a great feel. It begins somewhat fast but then maintains a more mid-paced tempo throughout much of the song. The solo work is very well done and fits in with the music very well, working to accentuate the riff rather than some throwaway solo that serves no purpose.

Then, we have "The Call." This begins with a slow, quiet part that builds the atmosphere and produces images of nocturnal rituals of solitude. The pace picks up and the sinister rasps of Tobias Sidegård carry well. By the middle of the song, we have a very oldschool drumbeat behind the main riff, which sounds as if it could have come from a Mercyful Fate album. An instrumental track separates this from "Nailing the Holy One", which features Jon Nödtveidt trading off vocal lines with Tobias. Vocally, they are both pretty similar, yet still manage to compliment one another well and to convey a great hatred for Christianity here. Oddly enough, the mid-paced riff that begins this song is one of the rare Death Metal moments, before transitioning back to the fast tremolo riffing found all over the rest of the album. This may well have been one of Jon's final studio performances before going to prison.

"Nifelhel" has a nearly hypnotizing effect, as the feeling one gets from gazing up at the full moon on a cold winter night, for hours on end. By the time the album closes out with "Christian Slaughter", you feel that you have not just listened to something, you have experienced it. While some could make comparisons to Dissection and Dark Funeral (mainly due to the guitar tone/songwriter and little else), this really stands on its own. It shares small similarities in sound, technique and atmosphere, yet creates something here that I find to be wholly unique. This is cold Nocturnal Black Metal, and it is something that I recommend very highly, especially to fans of old Dissection. Standout tracks include: "Black Moon Rising", "Darkside", "The Call"....really, all of them...

Sepultura - Morbid Visions (1986)

Morbid Visions is the first full-length album from Brazil's Sepultura. Not much had changed since Bestial Devastation, although they spent seven days in the studio rather than two. Released in November 1986, on Cogumelo Records, this record represents the darkest period of the band's existence. While some would erroneously label this as Thrash or Death Metal, it actually belongs to the First Wave of Black Metal. Their influences are extremely obvious, owing quite a bit to the old Venom, Slayer and Hellhammer / Celtic Frost records, especially.

This is the first Sepultura album that I ever bought, and it remains my favourite to this day. With the dramatic shift that they later took, most people are unaware that they ever crafted such dark and evil songs, but Morbid Visions is the first thing that comes to my mind when their name is mentioned. I remember many nights, all those years ago, listening to this right alongside the first few records from Venom, Slayer and Razor. It was difficult to share the brilliance of this release with anyone, as the only people that I knew who were into the band preferred Beneath the Remains and Arise. However, I always felt that their debut L.P. not only possessed so much more intensity and dark atmosphere, but also exuded a sense of sincerity and raw energy that soon faded with subsequent releases.

The music is a real mixture of their influences, taking the speed of Venom and Slayer while mixing in healthy doses of Celtic Frost's trademark mid-tempo sections. Despite later claims that the guitars were out of tune, the sound is perfect and the production is raw. The drumming is sort of hollow, which suits the razor-sharp guitar tone very well. It's hard to describe, but the differences between Morbid Visions and Schizophrenia are similar to those between Slayer's Hell Awaits and Reign in Blood. While the latter album from each features sound that is more in you face, the former still has a little breathing room that actually lends something to the overall atmosphere. It's almost as if the music was recorded in a cave, with the mics being positioned near the entrance rather than right on top of everything. Not the best analogy, but it will have to do.

The vocals are pure demonic evil and fit the music perfectly. Max lives up to his nickname at the time, as he sounds absolutely possessed. Sepultura really managed to go well beyond the levels of darkness inspired by the likes of Celtic Frost, as the vocals suit the music so much more than Tom Warrior's ever could have, and the music itself is far more lethal as well. To be honest, it is not very tough to see how Max's vocal style influenced bands that came later, especially Beherit.

As for the songs, themselves, the band really did a disservice to this album, by later claiming the only worthwhile piece of music on here was "Troops of Doom". While that song is fine, it is no more important than many of the other great songs that are found on this record. Judging by their later efforts, it's no surprise that they prefer something with a mid-tempo riff, but the truth of the matter is that Morbid Visions is dripping with evil atmosphere, reminiscent of Hell Awaits, in some ways. Tremolo riffs dominate much of the album, mixed in with some slower Thrash riffs, though the slow sections are usually utilized as intros or positioned near the middle of the songs, to add variation to the tempo. In particular, there's one hellish part, in the latter half of "Crucifixion", that embodies everything that this album was meant to convey. However, the highlight of the album has to be "Funeral Rites". After a slow intro, the speed picks up and some of the most visious riffs of the entire album are found here, as well as a very memorable (though brief) solo near the end.

Morbid Visions is an album that should accompany Satanic rituals. To best compliment the feeling that is contained within, it should be listened to in total darkness, or with only candles to illuminate the room. If you want something primitive, ugly and black as hell, this is highly recommended. It deserves to be mentioned in the same breath as the early recordings from Venom, Bathory, Hellhammer / Celtic Frost, Destruction, Sodom, Possessed, Kreator, Sarcofago, Tormentor, etc. To call this album Death Metal or Thrash Metal really limits it and, of course, ignores the obvious Black Metal qualities of the release. If you are sick of modern garbage and its generic lack of atmosphere, you need only to look into the dark past. A demonic classic is waiting to consume your soul.

(Mar. 2007)

Clandestine Blaze - Night of the Unholy Flames (2000)

Night of the Unholy Flames is the sophomore effort from Finland's Clandestine Blaze, the solo project of Mikko Aspa. This album was the first full-length to be released on his own label, Northern Heritage Records, right before Deathspell Omega's Infernal Battles. In many ways, this should be considered the true debut from Clandestine Blaze, as Fire Burns In Our Hearts was more of a demo than a real album. This release takes the basic concept of what Mikko was attempting on that release and finally sees it through.

An ominous intro precedes the first song, setting the tone for what is to come. "Chambers" erupts from the calm, racing forward at a fast pace and slaughtering every living thing that it comes upon. The guitar tone is cold and somewhat sharp, but not hard on the ears. This hearkens back to Darkthrone's Transilvanian Hunger, with the minimalist songwriting and execution. The song features mournful tremolo riffs with blasting drums underneath, keeping a decent pace but never going too far. There are moments where the guitar is left to stand on its own, which really helps to add a sense of gloom and melancholy to the atmosphere. While owing quite a bit to his Norwegian idols, Mikko uses the same formula but his melodies have a distinct sound and vibe of their own. What he has done is to build upon what came before, rather than simply imitating it. The lyrics are a bit controversial, discussing the extermination of Jews and Christians. One has to wonder why it is alright to criticize one group and to wish them dead, yet it becomes wrong to apply the same idea to the originators of the Judeo-Christian mythology that has plagued the world for so many centuries.

"Cross of Black Steel" is not the most impressive track, as it is one of the earliest examples of Clandestine Blaze attempting to utilize riffs inspired by Celtic Frost and these songs always seem to fall flat. This mid-paced tune is not all that bad, but it is rather uninteresting and seems to be a waste when compared to the other songs. Nonetheless, it does serve well to break up the monotony of the album, shifting gears for a few minutes, though he could have worked harder to make the song more dynamic.

The title track returns to the faster tempo from before, utilizing a similar overall structure and approach. This song features a very hypnotic main riff, within the framework of raw minimalism that Clandestine Blaze excels at. Mikko's vocals are deeper than those of most other Black Metal vocalists, but it works well as yet another element to separate this band from the countless others that employ a similar style. The song is very repetitive, but never boring. The guitar melodies are haunting and will likely remain with you long after the album has concluded.

"Invisible Death" continues the fast-paced and minimalist approach, while standing out from the others and maintaining its own identity. The atmosphere takes on a more bleak and dreary feeling, as a mournful guitar melody emerges, from time to time. There are no instances where one gets even a brief glimmer of hope. This drains your spirit and leaves you nearly empty. Everything is very subtle, and yet highly effective. The production helps, as it is raw and yet with a clear focus on the guitars. This shows vast improvement over the first release.

The less-than-stellar Celtic Frost vibe returns on "There's Nothing". It is a shame that Mikko did not try to work this influence into the songs in a different manner, rather than writing bland songs that stuck to the basic formula and fail to keep the listener's attention. As with the previous mid-paced song, it at least works to break things up and give you a chance to rest.

"Aikakausi on Lyhyt" shifts back to the Transilvanian Hunger style, though with a little less success than some of the previous songs. This is not a bad track; however, it does not quite stand up to the earlier ones. It is the only song on here with Finnish lyrics, something that Clandestine Blaze did not often do.

The final song is "Future Lies in Hands of the Strong", which is a slower song with influences from Burzum. It is more of an outro, really, as there is no definite structure and the only vocals seem to be distant screams and gargled noises that are difficult to decipher. After a few minutes, the same ominous sound from the intro returns to end things.

All in all, Night of the Unholy Flames is a very good album and reall shows a lot of improvement from Fire Burns In Our Hearts. This is the moment where Clandestine Blaze really developed its own sound and rose to the top of the Finnish underground. This shows a very good re-interpretation of the Second Wave Black Metal sound, as defined by the Norwegians in the early-'90s. Mikko takes a good amount of inspiration, and upholds the traditions, yet adds his own vision in order to create something unique. If you are a fan of raw, minimalist Black Metal, seek this out.

Necrophobic - The Third Antichrist (1999)

The Third Antichrist, released by Black Mark in October 1999, is the third full-length album from Necrophobic and the first effort without David Parland. After going from the Satanic Death Metal of The Nocturnal Silence to the more Black Metal approach of Darkside, it should not have surprised anyone when the band's next album saw a yet another shift in their sound. This time around, things were about as similar to the previous outing as possible, yet with a more varied style and a greater emphasis on melody.

"Rise of the Infernal" is an intro that possesses an apocalyptic feeling, which is exactly what the band was going for. This is achieved with an acoustic guitar and a bit of synth. One really gets the sense that something dreadful awaits.

The opening guitar melody of "The Third of Arrivals" is in the same cold Black Metal style as the band utilized on Darkside, though any hopes that this will be in the same vein are crushed with the introduction of the thrashier riffs that accompany the vocals. Though similar in approach, the aggression is not the same. The two themes alternate, until the middle of the track where things slow down a little and a nocturnal lead solo emerges. Though Parland is gone, the band does their best to continue on the style that he established.

"Frozen Empire" starts with an ominous melody, before launching into a bitter cold riff that brings a chill to any who hears it. Sidegård's vocals are still in the same style as on Darkside, though a bit less raw. He sounds somewhat similar to Jon Nödtveidt, in a sense. As the song progresses, more lead solos are employed, really building the epic atmosphere. The guitar tone is still kind of thin, but thicker than on the previous album. The sound is a bit more polished, as well, losing the raw edge that was present in the past. However, it is not over-produced by any means and the haunting melodies reach a level of quality not often achieved, in the past. The lyrics do a good job of keeping in line with those of the past, while also suiting the music well.

"Mournful, silent is the night
In white, the nature lies asleep
Whining winds are blowing cold as ice
Frozen is the valley of shadows"

The next song is a little weird. "Into Armageddon" features sections with only bass and drums, underneath the vocals, in more of a Rock style. The pace is slower and the overall feeling is different. There is still a sort of gloomy feeling here, with brief a brief backing choir that is slightly reminiscent of Viking-era Bathory. The speed and intensity pick up, around the middle, soon followed by more melodic lead solos. The tremolo riff, that was present at the beginning, reappears and teases the listener. This definitely could have been developed more, but that was not what the band was aiming for.

"Eye of the Storm" starts out with a mournful melody and consists of thrash riffs mixed with tremolo riffs. There seems to be some effect on the vocals that adds an icy feeling. Nonetheless, Tobias sounds like his throat is shredded and this works very well with the vibe of the music. The tempo of this track switches a few times, but the general mood is kind of low. The lyrics also show the first real attempt at incorporating themes of Norse mythology into Necrophobic's music, something that would be further explored down the line.

"I search for the balance of fire and ice
From Nifel to Muspell with longing in eyes
I search for the wisdom the one-eyed once gained
Metamorphosis obtained"

"The Unhallowed" is a shorter track that features more of a straightforward approach. At times, it utilizes thicker power chords with a cold tremolo riff weaving through it. The lead solos show the skill of the guitarists and a really professional level of musicianship.

This is followed by "Isaz", which is one of the standout tracks on The Third Antichrist. Starting out with a fast tremolo melody, it soon transitions to a slower riff. The melody that comes in-between the verses has more of the cold, nocturnal feeling that dominated much of Darkside. The middle section is incredible, building a sense of dread and adding an epic feeling at the same time. The lead guitar solo carves through your mind with its frigid sound and carries you into the shadows.

At this point, the album kind of loses steam. "The Throne of Souls Possessed" shifts gears and goes from Nordic themes back to more of an anti-Christian sentiment. This track is a little less memorable than some of the others, though not for any lack of quality. It includes more great solo work and maintains the cold atmosphere that is found throughout the rest of the album, yet it seems to work better as part of the overall record, rather than standing on its own.

The first few riffs of "He Who Rideth In Rage" are kind of generic and one gets the sense that this song was less developed than the others. While the first part has kind of a Death Metal feeling, the later section is reminiscent of Bathory. This suffers from a lack of consistency, with the most enjoyable riff coming at the very end.

"Demonic" returns to the nocturnal atmosphere, though the riffs sound like rehash of earlier songs. It is mostly fast-paced, though it slows down for a bit and includes a very brief bit of clean guitar and a spoken-word passage. It is a fine song, but it does not stand out enough from those that preceded it.

The final track is an outro that imbues the listener with a very gloomy and horrible feeling. "One Last Step into the Great Mist" features a tremolo melody that is played quite low, with a very simple drum beat and almost-whispered vocals. Actually, this would have made for a great song if the riff had been utilized in a normal way, with fast drums and typical Black Metal vocals on top of it. Still, it works well to end the album on a dark and sombre note.

The Third Antichrist is where the band really established the sound that would persist for the next several years. Taking what David Parland set forth on the first two albums and building upon that, they created a brilliant style of melodic Black Metal that should appeal to fans of the band's later works, especially. Anyone into Dissection, Sacramentum and even Watain should check this out as well. Overall, it is a very solid record.

The Abyss - Summon the Beast (1996)

Released on Nuclear Blast Records in March 1996, Summon the Beast is the sophomore effort from The Abyss. The Black Metal side of Hypocrisy reared its ugly head once more, yet this was a far cry from the material found on their debut album, The Other Side. The approach is completely different and the end result is rather disappointing, especially considering the musicians involved.

Of course, this possesses the infamous (and detestable) Abyss Studio sound, which does its best to neuter the true spirit of Black Metal, at every turn. The bass and drums are far too high in the mix and everything feels compressed into a small space, with no room for the guitar riffs to breathe or for their impact to be properly felt. Whereas the guitar riffs took center stage on the band's debut album, this is very much driven by the percussion and that is largely due to the way everything was mixed.

As for the music, there are a handful of memorable guitar melodies. "Damned", "The Hymn" and "Feasting on the Remains of Heaven" are feature haunting riffs that would have been much better with the appropriate production. Despite the album's flaws, these songs still manage to stick out. Regarding the rest, there is a strong similarity to Dark Funeral and later Marduk, which is not a good thing, at all. It may be fast and intense, but there is no feeling present in most of the songs. There is certainly no hint of a dark atmosphere to be found. The songwriting is very straightforward and one-dimensional, for the most part, which is a real waste of the band's potential.

Summon the Beast is a lackluster record with only a few good songs. Following The Other Side, Hypocrisy began to allow some Black Metal riffs to infiltrate albums like Abducted and The Final Chapter, yet far too few are to be found here. The majority is just senseless noise to serve as a background for the blast beats and generic vocals. More than likely, this release was just a gimmick to encourage more Black Metal bands to record at his studio. Do not bother with this unless you have a chance to get the re-issue of their first album, which has this one included as well.

Satanic Warmaster - Opferblut (2003)

Opferblut is the second L.P. from the Finnish Black Metal band with the most ridiculous name ever, Satanic Warmaster. This project was created by former Horna vocalist (and heavy metal superstar of the cock-rock band, Armour), Nazgul aka Satanic Tyrant Werwolf. He has a special place between Kanwulf and Kvarforth in the Black Metal Hall of Shame. At any rate, this was unknown to me when I first acquired this album, and it should really have no bearing on the music presented here. In all honesty, a great number of musicians turn out to be dishonourable, degenerative scum, but that should have nothing to do with the music that they create.

The album begins with the song "Black Destiny". This starts off at full speed with fast tremolo riffs and blasting drums. Lord Sarcofagian did well to study the work of Fenriz, as the drumming is very similar and it is mixed at just the right level. The vocals are mixed well, also, not being too high or too low. Werwolf's style, as in Horna, seems to be quite similar to Hat and Pest, of Gorgoroth. The overall sound owes a lot to the early 90s Norwegian Black Metal scene. In particular, it would seem that these Finns are big Darkthrone fans. That certainly isn't a bad thing, as Darkthrone seemed to give up making that style of music a long time ago. Then again, why would they want to since there are thousands of other bands attempting to emulate them? This song actually features very nice tremolo melodies, memorable riffs and a good structure.

The next song is "Bound in Lust and Hate". This continues with the same fast pace as established on the first song, with very nice melodies, creating a sense of tension as the song builds in intensity. The riffs are very memorable and everything flows nicely. Again, there is nothing very original going on here. If anything, this is more of a tribute to some of the second wave bands. That being said, they do take that foundation and add a little something to it.

On "A Wolf Cries in Anger", the pace slows down a bit and the melodies take an overtly mournful tone. The sound is very similar to Sargeist's Satanic Black Devotion, even the effect on the vocals. While this is raw, it is a little more polished than the Sargeist album. It is also more melodic and not nearly as dark. Everything is executed well, yet there is nothing dangerous about this music. Despite this, it does have some redeeming qualities. The harmonies are very introspective and mournful at times. These will lurk in your mind for some time after listening. Perhaps the thing that Satanic Warmaster adds to the formulaic sound is a certain catchiness that is, somewhat, inherent when it comes to Finnish bands.

"Pentagram & Wood" features some very nice tremolo riffs. It seems strange that so many kids that are new to Black Metal embrace this band as some evil and obscure cult of darkness. Then again, it is easy to see how they are attracted to it as it is catchy and melodic. Each song has its own identity, which is a good thing. There is somewhat of an epic atmosphere created through the brilliant song arrangements. No, this is nothing you haven't heard before, but it is done pretty well.

"A Raven's Song" erupts from the shadows at full speed. Again, it must be noted that the drumming is very suitable for this style of music, being just high enough to keep time but low enough to not distract from the guitars. The simplistic bass lines can be heard, easily, as on Mayhem's De Mysteriis Dom Sathanas. As the tempo changes, the unmistakable Finnish melodies are present, which may be the one thing that really sets this off from other bands that exist to pay tribute to the grim cults of Norway. The guitars really work to create a depressive feeling, though never utterly dismal. This song is among the more memorable ones on the album.

The next song is "Rain Falls", which is an instrumental in the vein of "Når Himmelen Klarner" from Burzum's Det Som Engang Var or even "Gjennom Skogen til Blåfjellene" from Isengard's Vinterskugge. This piece creates a very melancholic feeling and allows your mind to drift away into infinite thought.

"Farewell to the Fallen" begins with a total Celtic Frost vibe. After the first minute or so, this transitions to something more akin to Burzum, once more, before speeding up. This may not be the intention of the band, but the music is actually kind of peaceful and enjoyable to listen to.

As shown with the Pest project, Werwolf is very skilled at emulating those he admires. This shows very well, throughout Opferblut. Satanic Warmaster does not manage to sound as dark and evil as the bands that they hail, such as Darkthrone, Mayhem, Burzum and Gorgoroth. Despite that, it is easy to appreciate this album for what it is, especially considering the atmosphere of melancholy that hovers over this. While not being quite as raw as some bands, this doesn't sound slick or over-produced. Anyone with a bad taste in their mouth from Horna's Sudentaival need not worry.

This is recommended for those who don't mind obvious hero-worship in their music. Out of the countless bands that play this same style, Satanic Warmaster proved to be somewhat competent, on this album at least. This is, more or less, the only release of theirs that might be worth picking up. That said, it does not come nearly as close to capturing the dark feeling of the old Norwegian bands as fellow Finnish groups like Sargeist and Clandestine Blaze. This is a band whose popularity has been cultivated through image and marketing, making millions of pathetic internet kids think that this is the epitome of true Black Metal. If anything, this should serve as a gateway, imbuing you with the desire to seek out the true originators of this sound.

(Nov. 2006)

Horna - Sudentaival (2001)

Sudentaival is the third full-length album from Horna. Released in March 2001 on Woodcut Records, this record sticks out like a sore thumb, when compared to the rest of the band's discography. For a band that has long been one of the pillars of the Finnish Black Metal scene, they made a severe misstep with this release. Thankfully, they learned from their mistakes, down the line.

Musically, this is not terribly far from the material that was heard on Kohti Yhdeksän Nousua. The band took several years to really find their own style, and this album is a product of that confusion. At this point, Shatraug's brilliant guitar melodies had not yet taken shape, so there is a mixture of generic ideas and some that demonstrate a shred of the potential that would soon be realized. The atmosphere of this L.P. is anything but dark or evil, which is a shift from the previous outing. While Haudankylmyyden Mailla was plagued by an overall sense of unoriginality, there was definitely an effort to pay home to the early-'90s Norwegian scene. Sudentaival seems to have been reaching out to more modern tastes, at the time. The overall approach sounds more in line with later Marduk, as the vocals and percussion dominate the sound. The blast beats seem to crush any attempt that the guitars make at creating a dark feeling.

The production is as much at fault for this atrocity as the songwriting. It sounds extremely fake and plastic, suffering from a sound that is similar to what one would expect from Abyss Studio. This gives off the impression of being horribly-produced Death Metal, moreso than having anything to do with Black Metal. The drums are way to high in the mix and the guitars are buried underneath everything else, when it should have been the other way around. I recall the confusion when I first put this CD in, as I thought I had been sent the wrong album. While the band's earlier efforts were all slightly too modern-sounding for my taste, this one crossed a line that no one can deny. The fact of the matter is that Sudentaival is not completely worthless, musically, but the horrible sound makes it nearly impossible to enjoy. Only during the slower sections are the sombre guitar melodies allowed to breathe. It is a shame as, with a more underground production and a little more work on the material, itself, this could have been a decent album.

Sudentaival is the one Horna record that I would not recommend. The few positives that it possesses are not really worth enduring the rest. Obviously, this did not have the greatest effect for the band members, either, as Nazgul left to start Satanic Warmaster and Shatraug began putting most of his energy into Sargeist, not long after this. After developing his style a bit more, with that project, the following Horna releases began to really take on an identity of their own. My advice would be to skip this and move on to Envaatnags Eflos Solf Esgantaavne.