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BURIALMOUND was formed back in 1994 as a UTGARD. There was a three young men in the beginning with hunger to create. The most important goal was to create a extreme music for extreme people. The band was very much into underground that time(well, nothing really changed here). 1995 came out the first official demo titled "Northern Glory". Musical approach on that demo was very primitive kind of Black Metal, which was influenced mostly by the nordic bands, though it also had plenty of originality on it.
UTGARD was silent for a few years mainly just composing stuff and doing some small gigs. The most songs for this era was never recorded. 1997 was time to get something on the tape again. There was a whole bunch of songs done, but only three of them were recorded to the second demo "Nightly Verses", which was a more mature showcase than the first effort. Musical approach was this time much more melodic and symphonic. The songs had better written structure on them and a better playing level, and the most important was that it attracted few labels to sign the band. Thinking about it afterwards, it wasn't the style which the band wanted to perform.
As some new songs were done, the band felt that those songs are lacking something essential, the emotion and the passion that must be there, if you wish to satisfy yourself and as well as audience. The songs were also competing each other - there was some even more melodic stuff than on demo, and some really aggressive ones too. It was like the survival of the fittest, and the ones that were victorious showed the style which the band perform for this moment on.
1998 the band was officially changed to BURIALMOUND. As there were earned some interest for few labels with the previous demo, the band decided to step in to Watercastle studios in Jyväskylä, Finland and record some of the these really savage and ravishing assaults. The label that carried the next release "Horror" 7-inch vinyl was Arte De Occulta from Sweden, which is a small company that mostly carries the underground acts. That was one big leap towards the identity of the band. Two songs that appeared on the vinyl were uncompromising and straight brutal Black / Death metal music, that gots a lots of originality and dedication on them. Sadly, the release of that record was delayed almost a year and that showed as a frustration to the band.
None songs were done in that time, but maybe it was a time to take some breath. In year 2000 BURIALMOUND was contacted by a small Portuguese label Sound Riot records. They offered a deal for two albums and the band thought that the contract was good enough and accepted it. It was a time to get the long-waited debut album out. In January 2001, the band was again in Watercastle studios, but this time recording a full-length album which got the title "Black Death", meaning the pest that occurred in the middle age. And also it got an straight reference to the style that the band was been playing for a couple of years. Again, the record was delayed almost a year, but that didn't slow the band this time. Finally, the debut was released before the Christmas-time-sales. It gained some nice response from media, mostly praising the uncompromised old-fashioned style, with touches from Death metal and also some slight influences from Black metal, that also carried originality in it. The style also got some elements from different music styles apart from metal. Songs were pretty hard to "normal" listener, as they won't maybe open in first time, but that's usually the better.
Now, as BURIALMOUND was active composing stuff in that break which was not planned, it's ready to go again in the studio to record the second coming. The studio will be, what else than Watercastle, and the length of the session is 2 weeks. There's nine new songs coming, and they're really well rehearsed and composed, and this time it's more straight-forwarded than ever. So, the songs are easier to listen and they leave better description from the whole album. The record is planned to be released in the beginning of year 2003, and it will carry the title "Devil's Work".
BURIALMOUND has been as a studio band, because there's only three men playing. So, no gigs has been played for a while, though that may change as there is some guys rehearsing with the band. The gig situation also demands the help from the record label which is not yet done, but let's hope the best!
In the end of 2003 Mirgilus Siculorum from Romania re-released the Utgard’s Northern Glory cult tape with a different cover, only in 150 handnumbered copies on tape, exclusive for die hard maniacs!
Current line-up: Raven - Vocals, A.Sääksniemi - Guitars, B. Niininen - Drums and Bass
WATAIN CRAWLED OUT FROM SATAN'S CUNT IN 1998. A 7" ENTITLED "THE ESSENCE OF BLACK PURITY" WAS RELEASED BY GRIM RUNE PRODUCTIONS WHICH GOT A GENERALLY GOOD RESPONSE IN THE UNDERGROUND CIRCUITS.
THE 7" LED TO A TWO-ALBUM CONTRACT WITH THE FRENCH EXTREMISTLABEL DRAKKAR PRODUCTIONS AND RELEASED THE MUCH PRAISED FULLENGTHALBUM RABID DEATH'S CURSE, A DIVINE MONUMENT OF DEPRAVED DEATHWORSHIP AND MACABRE DEVILRY, AND THEREAFTER A SPLIT 7" WITH DIABOLICUM WAS UNLEASHED BY THE FRENCH SPIKEKULT REKORDS (R.I.P).
IN THE BEGINNING OF 2002, WATAIN WENT ON A EUROPEAN CRUSADE, BLACK WAR TOUR, THROUGH CZECH REPUBLIC, SLOVENIA, HUNGARY, ITALY AND OTHER COUNTRIES TOGETHER WITH THE OLD UNDERGROUND FORCE UNPURE.
BESIDES THE ABOVEMENTIONED TOUR, WATAIN HAVE ALSO SPREAD THEIR PEST ONSTAGE ON VARIOUS OCCASIONS IN FRANCE, BELGIUM, GERMANY AND SWEDEN TOGETHER WITH BANDS SUCH AS ANTAEUS, ROTTING CHRIST, IMPIETY, MUTIILATION, TRIUMPHATOR, DARK FUNERAL, GRAND BELIAL'S KEY, MALIGN ETC, EACH TIME DELIVERING AN INTENSE ORGY OF BLACKEST REPULSION WITH BLOOD, CADAVERS, SPIKES, FIRE, MOULD AND DEATH…
IN THE SIXTH MONTH OF THE THIRD YEAR, THE BAND ONCE AGAIN ENTERED THE INFAMOUS NECROMORBUS STUDIO TO RECORD THEIR SECOND FULLENGTH MASTERPIECE, WHICH AFTER THREE YEARS OF COMPOSING FINALLY HAD GROWN INTO IT'S FULL ABOMINABLE SHAPE.
THE END RESULT BECAME "CASUS LUCIFERI" (TRANSL. "THE FALL/DESCENSION OF LUCIFER"), EIGHT GOSPELS OF IMPUREST BLACK METAL FANATICISM. AT THE SAME TIME AS THE RELEASE OF THE ALBUM, THE "STELLAR DESCENSION INFERNAL TOUR" IS DONE THROUGHOUT EUROPE TOGETHER WITH SECRETS OF THE MOON (GER) AND AVERSE SEFIRA (US), A TWO WEEK LONG CRUSADE THAT TRUELY LEFT A SMELL OF DEATH AND OLD BLOOD BEHIND...
WATAIN REMAINS ONE OF THE FEW HERALDS OF THE DANGEROUS SICKNESS THAT FLOATS FROM THE RIGHTEOUS BLACK METAL TEMPLE. BE IT KNOWN.
More info about Watain: www.grimrune.com/watain
Ildjarn is the solo project from the Thou Shalt Suffer bass player Ildjarn (Vidar Vaaer). The band formed in 1992 and after recording a couple of demos he started releasing albums through his own label Norse League Productions. On some of his albums he has worked together with Samoth of Emperor and also a man going by the name Nidhogg.
demo 1 (self financed)
Ildjarn-Nidgogg "Norse" 7" (NAP)
demo 2 (self financed)
demo 3 (self financed)
"Det Frysende Nordariket" CD (NLP / Napalm)
"Ildjarn" CD / 2xLP (NLP / Northern Heritage)
"Forest Poetry" CD / 2x10" (NLP-Napalm / Northern Heritage 2002)
"Strength & Anger" CD / 2xLP (NLP-Napalm / Northern Heritage 2003)
"Svartfrad" mCD (NLP / Napalm)
"Landscapes" 2xCD / 3xLP (NLP 1996 / Northern Heritage 2003)
"Son of the Northstar" mCD (Full Moon Prod 2002)
Ildjarn-Nidhogg "Hardangervidda" CD (2002)
Ildjarn-Nidhogg "Hardangervidda pt. 2" mini-CD (2002)
Ildjarn "1992-1995" CD (Northern Heritage 2002)
Ildjarn-Nidhogg LP/CD (Northern Heritage 2003)
The beginning of Necrovile goes back to the beginning of 2001 when two students from Cluj-Napoca, Calin and Daniel, decided to form a death metal band. Not finding a drummer they decided to begin as a two-man band with Calin playing both guitar and bass and Daniel playing the vocals. They started composing the material for their songs and looked for a place to play and record their music.
At the end of 2001 they met the guitar player Victor who very soon became the new member of the band. They didn’t wait too long and decided to do everything on their own. So they turned Daniel and Victor’s rooms from their student hostel in a "studio" and started the work. In the spring of 2002, with the help of a Marshall amplifier and a PC, they recorded "Dripping Spleen" and "Extreme Meal Dismemberment", two sick and brutal death metal songs which remind of early Carcass and Cannibal Corpse. The two songs were put on a Demo CD and released for the friends of the band.
Necrovile started promoting their music in a rock club from Cluj-Napoca. The metal fans received Necrovile’s refreshing death metal style very well, and soon "Dripping Spleen" became a well-known hit among them. Untill the end of 2002 they composed another two songs: "Intestinal Feast" and "Unresting Carcass", more brutal and blasting than the first two.
A very good friend of the band, Csaky, introduced them to Mirgilus from the Romanian distribution and label Mirgilus Siculorum Productions, who decided to help the band. This encouraged Necrovile a lot. The band worked then very hard to improve their music and the sound. In the same manner like the first two "home made" songs they recorded all four songs, with a higher musical quality and a much better sound.
The tracks were recorded under the name "Into the Gory Scripts", Necrovile’s second Demo which blends heavy and ripping guitar riffs, fast blasting drums, guttural and gurgled growls, brutal lyrics, an explicite bloody morbid cover, all together creating an intense loud sound and a gory atmosphere.
The MCD "Into the Gory Scripts" will be released and distributed since May through Mirgilus Siculorum Productions.
In present, Necrovile prepares its first live performances in order to promote its music. The band will play in May on two concerts. Another live performance is planned for the beginning of July (?).
Very soon Necrovile will start working for their debut album "The Human Abattoirs".
Biography by Daniel Borodi (Necrovile)
Necrovile domain: www.necrovile.tk
Desaster’s history is going back to the year 1988 when two young Metal- possessed maniacs wanted to follow the path of bands like VENOM, HELLHAMMER or DESTRUCTION (whose song „Total Desaster“ gave the band its name) – to play some fucking Black Metal without compromises was their aim. Early DESASTER did some (never released) rehearsal tapes and a still remembered live gig in ’89 which marked the official beginning of the band. Between 1990 – ’92 DESASTER had to manage serious line- up problems before Infernal, the only remaining member of the original line- up, found the right warriors to continue. Okkulto and Odin joined the pack back then in 1992.
Two demos followed: “The Fog of Avalon” in 1993 and “Lost in the Ages” in 1994. Especially the last mentioned tape got great response from all around the globe. The first release on MERCILESS RECORDS was a split- 7” with UNGOD in 1995, a single limited to 1000 copies which certainly is completely sold out by now.
In 1996 the debut album “A Touch of medieval Darkness” was released and contained once more the typical DESASTER- mixture of “old- school” Black/ Thrash/ Death/ Speed / Heavy Metal of the glorious 80’s. There’s no doubt about that also some “newer” bands like SAMAEL, DARK THRONE, IMMORTAL had a big influence on DESASTER’s music and there are, of course, the medieval sounding elements which have become another trademark of the DESASTER- sound.
On DESASTER’s following output, the “Stormbringer” mini- album in 1997, the new beast on the drums , Tormentor, can be heard for the first time. He completed the line- up which still has the aim to deliver asskickin’ songs to the world wide underground Metal scene.
The limited “Ride on for Revenge” picture- single in 1998 became again a jewel for every fan of the good old vinyl and is, of course, sold out by now. But one song of this 7” called “Burning Crosses” found it’s way on the “Thrashing Holocaust”- compilation CD released by American NECROPOLIS RECORDS in 1999.
“Hellfire’s Dominion”, the second album, was released in September 1998. A special killer on the album was the neckbreaking Speed Metal hymn “Metalized Blood” which included guest vocals of Wannes of PENTACLE, Lemmy of the old German Speed Metal kings VIOLENT FORCE and Toto of LIVING DEATH, one of the band’s all time faves! During the recording sessions of the 2nd album DESASTER also recorded their contribution to a SODOM tribute CD called “Homage to the Gods”.
The band celebrated it’s 10th anniversary in late 1999 with the “Ten Years of total DESASTER” double- LP which includes a collection of rare and unreleased material together with some new stuff. This double- LP with gatefold cover and a huge booklet is again for vinyl- hunters only and will never be released on CD! MERCILESS REC. also re- released the debut “A Touch of medieval Darkness” on CD with a new artwork in late ’99.
Another split- EP, this time in the rare 10” format and with the Dutch metalfighters of PENTACLE, was released on the German underground label IRON PEGASUS in March 2000 after DESASTER had left their old label MERCILESS. The 3rd full- length album “Tyrants of the Netherworld” was then released in late October 2000 on DESASTER’s new label.
In Summer 2001 DESASTER contributed the song “Darkness and Evil” with Gezol himself on guest- vocals for a Brazilian SABBAT tribute- LP. After the band had played several festival- shows (e.g. Fuck The Commerce and Wacken Open Air vocalist Okkulto decided to leave the band, but was soon replaced by the new shouter Sataniac who used to be the main man in the German Black/ Thrash band DIVINE GENOCIDE. The “Souls of Infernity”- 7” (released in November 2001) is the farewell- release of the old singer Okkulto.
On the new album “Divine Blasphemies” DESASTER showed again what they mean when they speak of their “Traditional Black Metal”: Blasting Black Metal together with sharp thrashing guitar riffs and pounding drums without any “modern” trends. Sataniac’s brutal vocals fit perfectly to this deadly potion and together with the powerful production the 4th album will soon conquer the world of unholy Metal! In 2003 DESASTER will again show their live-qualities on several gigs, open airs and a small tour throughout Europe. So… BEWARE!!!!
More info about Desaster: www.total-desaster.de
A new biography….a new site. With this new biography I have tried to make it a little more involved then the old ones, more detail, more insight and some might say who know me, more self involved waffle and useless information. However paying heed to detractors never was one of my strong points, so let us start at the start…right at the start...
1987 - Yep, 1987. At this time Metal was pretty damn popular in Ireland and in the town of Skerries (some 20 miles outside Dublin) several young teenagers (just) were about to take up arms in the name of Metal. Paul (bass) and his brother, let's call him D (for drums) started learning to play, caught in the thrash metal buzz. Obviously influenced by Slayer, Metallica and Megadeth. In the end of the year of '87 a young man by the name of Ciaran arrived, armed with six strings and ready to burn…ahem, well perhaps not quite but the three intrepid young man set out on a quest and with all bands this started by playing covers... Suicidal Tendencies, Metallica, Dead Kennedys, Slayer, S.O.D. etc. Somewhere the seeds had been sown.
1988 - With various singers coming and going, Paul attempted to sing…or rather belch for most of this year and sometime in '88 the band as a three piece recorded a four track demo with a cover of Death "Born Dead" and Sepultura "Screams Behind The Shadows" and one or two original tracks. One which incidentally contained a variation of the riff that became the first piece of the song "Journey's End" from the same album! Moving more into the realms of extreme thrash and early death metal as their technical level improved all the time, bands like Sepultura and Death were fast becoming their new mentors.
1989 - Not really sure what to report from the year 1989, the band with a mixture of singers were now playing some local gigs in their town, apparently one on top of a bank? What the band were called at this stage and even before is shrouded in mystery and a clandestine occult haze. Although someone did mention the Sticky Clits… the mystery runs deeper.
1990 - Still the hardcore of the two brothers and Ciaran. Seems as if things were getting a little more serious now as the logos were becoming increasingly difficult to read and the pentagrams and inverted crosses more profound. Of course by this stage and to some degree the previous year bands like Morbid Angel, Obituary, Autopsy and Pestilence were having a massive influence on our three intrepid Metal Warriors.
1991 - This year can be seen as a big change for the band, not least because this is the year I joined the band (ahem), but now a little older and with more playing ability the band sought to find a singer by placing one fateful add in Dublin's main Metal shop, an act that displayed a in itself a willingness to take this further than what it had been. Living indeed in what was a relatively isolated part of the county of Dublin (Skerries), or rather not at the hub of the city's underground the guys were not privy to the sounds of Samael, Master's Hammer, Impaled Nazarene, Rotting Christ, Necromantia or Mayhem for example… which is more where I came in, being the only person who answered the add and indeed being awful at the first rehersal, but what I did bring was a knowledge of the underground scene, having been writing around the world at this stage for some years and having done my first fanzine. It seemed like a good marriage, my talentless enthusiasm and underground savvy and their burgeoning playing ability. That October we played our first gig in Skerries community hall with a Metallica cover-band and we played covers by Sodom, Sepultura, Death and Massacre among others… And the first tentative steps at aping our heroes was beginning… we started to try and write songs.
1992 - This was the year that we started to play some gigs in Dublin, the little underground Death/Black enclave in Ireland was burgeoning. Back then we really knew fuck all about fuck all but it was to be honest exciting. There was also a compilation tape released that Summer with a rehersal version of "The Darkest Flame" on there. For Primordial completists if such people exist I guess this is truly the rarest thing there is. It was the first compilation of it's kind in Ireland and in retrospect one of the most important turning points. Our first two original tracks "Nefarious Affliction" (yep I know!) and "Prince of The Sky" contained many Satanic (albeit naïve) and Occult references and this began to see us at odds with the rest of the Irish scene. We saw ourselves as having more in common with a band like Rotting Christ or Varathron then many of the eco-friendly hardcore "death" metallers in the Irish scene. Black Metal polarisation lay around the corner… the impetuosity of youth my friends! That year we also wrote "To Enter Pagan" which is now a staple in the live set still, and most of "To The Ends of The Earth", things were indeed changing and that December we changed the name of the band to...Primordial.
1993 - I must be honest, at this stage we were writing songs but doing a demo did not seem a tangible reality, what with school work, money, travel and equipment taken into account. Over the previous year we had been finding our sound and found ourselves looking back to bands like Bathory, Celtic Frost, Sabbat and Candlemass for inspiration, and feeling far more part of the burgeoning Black Metal scene over the previous year and with the death metal scene becoming for the most part staid and boring…it was obvious that if we could do a demo it would most defintely be rooted firmly within the second wave Black Metal movement. And indeed in June of 1993 what had seemed previously impossible was achieved. We recorded our first and only demo "Dark Romanticism", recorded for about £50 in the lads home town of Skerries in a converted front room studio on eight tracks. Considering the equipment and the time and our experience we were quite shocked at how well it came out. "Dark Romanticism" went on to sell over 1 100 copies and is still heralded by many as a classic second wave Black Metal demo. At the time we left the politics of labels and categories to others but it was clearly obvious in retrospect it was Black Metal. We played our first gig painted up and ready for War in August of that year, times were indeed changing and I think underneath the greasepaint and leather we knew these were special songs and being signed and actually recording a CD was perhaps going to happen?! And slowly but surely the offers started to come in…1993…some year that was my friends!
1994 - Peaceville weren't interested… however Jonny from Deaf the Peaceville imprint was and with names like Eucharist, At The Gates and Dissection being thrown around we were more than impressed. The Deaf Metal sampler came out and we were being pencilled in as one of the first bands to be on the Deaf roster. Then nothing? Candlelight called… Necromantic Gallery, Unisound, Hellspawn, more and more really underground labels were contacting us. At this point in time Candlelight seemed to be at the centre of our dealings. We helped organise some shows for then Candlelight bands Decomposed and Korpse hoping Candlelight would come over and sort it all out, they never appeared and neither did the contract. A young Dani Filth had been pestering their fledgling label Cacophonous to sign us, yet they wanted to hear more songs. The answer came in the form of the live tape we recorded that night we played with Decomposed, Korpse and The Fifth Dominion (now Arcane Sun), containing five new tracks that was the tape that got us the deal with Cacophonous Records. And the tape that has been refered to by some people as "An Infernal Summers Night", although it was never really heavily traded... some people did indeed have it, there was no cover though! In November without any idea of the machinations of recording an album we went into where we recorded our demo, spent a lot of money hiring equipment and desks and this and that, after 12 days we were left with a sub standard album (demo!)… not awful but not fit for release. The saga had just begun.
1995 - We had to wait until May to remix the album. Not knowing our arse from our elbow we had recorded the album on one inch reel tape (which for anyone not familiar with recording, probably the least professional and least used size!) so Nihil and myself from Cacophonous had to haul a one inch reel machine around London and then all the way to Yorkshire… to Dewsbury and Academy to transfer reels and remix "Imrama". We found channels with nothing on them that should have been drums, things recorded in mono… you get the picture. That "Imrama" is at all listenable is down to Mags at Academy. That was the beginning of a long friendship between the band and him. "Imrama" was remixed in three days and finally released in September of 1995, just shy of one year after it was recorded. That year also saw us play our first gig outside of Ireland at a Devils church festival in London together with Occult, Gomorrah and Bal-Sagoth among others. A very important step for the Irish scene in general, not just the band. Following the release of the CD, without one single interview it sold by all accounts quite well in the not as yet saturated market. Talk of tours with everyone from Gehenna and Bal-Sagoth to Samael and Cradle of Filth went around but nothing transpired. Relationships between us all were very strained and it was four young men very at odds with each other who went over to play with Cradle of Filth and Gorgoroth in late 1995 at the Metal Hammer fourplay night in London at the Astoria 1. 1995 closed out with us just having done our biggest ever gig, the album being received well and the future looking well… well it should have been, instead it closed with tempers fraying and blood boiling…
1996 - Quite easily the worst year for the band, it stands out in my memory as being shockingly bad. Absolutely nothing happened of any note other than one gig in Athy, Co. Kildare in a massive GAA hall with The Fifth Dominion and Thy Sinister Bloom that was stopped halfway through our set. Having a gig stopped by the police, cool eh? It in fact sucked… as did 1996.
1997 - If one productive thing came from 1997 it was the long overdue exit of the malignant cancer within the band, i.e. the drummer. For various legal reasons and much wrangling Cacophonous released into the arms of those sapphic splendours... Misanthropy Records. An album seemed a long way off when we inked some sort of deal so we recorded in about six hours a version of "To Enter Pagan" from our demo for a split 10" with Katatonia from Sweden. The recording proved somewhat of an abortion and also marked the last appearance of the drummer. Now we were drummerless, however a guy who I had known since 1989 who I had linked up with Geasa sprung to mind, it seemed at the time we didn't really have a choice. With pressure from Misanthropy looming and some shows with the reformed Mayhem in the UK looming that Winter, in September Simon O'Laoghaire joined the band on the drums. And these very Mayhem gigs marked the appearance guesting on the bass of our now new second guitar player Fergal from Arcane Sun. The gig turned out ok, what surrounded them was indeed a nightmare what with our new drummer doing his best Shane McGowan impression and all manner of other things. 1997 finished with the knowledge that in February of the following year we were going to record our second album in Academy studios in Yorkshire… we also knew we weren't prepared! An understatement!
1998 - Looking back "Journeys End" was and is a very dark album, obscure and obtuse in many ways and somewhat hesitant in affirming any uplifting qualities. In retrospect I think the previous two years of bitterness and frustration helped mould the sound. Yet once it was recorded it was like a weight from around our necks, with relationships improving and a unified focus becoming apparent we could move on ahead. My biggest regret at this time is the changing of the cover from the one on the promo of the CD or on the now vinyl to the brown non-descript album cover… basically we were blackmailed, Tiziana hated it and wanted it changed, yet it was advertised in many places with the other cover, bullshit of course. Needless to say the album was released to critical acclaim but due to that change and the impaired German distribution it remained that, a critics choice. However what had one time seemed impossible, i.e recording a new album had been achieved, we could move onward and upward. It was becoming clear that things were not as they had been at Misanthropy Records and before the years end it became clear that we were going to have to move on and find a new label. Misanthropy was ceasing operations, Tiziana tired of the music industry in all it's forms basically wanted out and rather than flog a dead horse she decided to end it all, a decision I still totally respect. It was at this time that our ill fated tour with Menhir from Germany and Thyrfing from Sweden was falling apart… it in fact never did happen, but Mr. Guido from Hammerheart was first to offer the band a contract upon discovering Misanthropy was to end, we decided as we knew him from the old Bifrost underground days and looking at Hammerheart as a fast growing company to go with them… so I booked the studio for March 1999, we were going to record a new long mini-CD... force ourselves to work with deadlines and prove to some people, most of all ourselves that we were not going to disappear without trace again...
1999 - Definitely a new beginning, the newer songs had a greater sense of urgency and there was a new confidence and energy in the band, this can be heard on the "The Burning Season" MCD released around September on our new label Hammerheart! And in May of that year we went over to play with Hades Almighty and Mayhem in the "Annihilation of the Lowlands" mini tour of Belgium and Holland, our first gigs in the continent and a real learning experience and two very good gigs from our point of view, the energy and urgency was becoming barely controllable, we knew we had to deliver a real fist in the face with the next album. There was talk of us being on that Decembers No Mercy Festival, but with only a MCD to promote it seemed we were destined to miss out on yet another opportunity. However rather than accept that we would be doing nothing a seed had been planted by a friend for us in Portugal and after much wrangling seven straight days in Portugal and Spain were organised in December together with Sacred Sin and Masque of Innocence, a truly memorable experience and one I don't think any of us will ever forget ever… and for once we were rounding out the year with new songs, the studio booked for the following year (February) and a great positive experience to take us into the millenium…
The Dawn of Satan's Millenium huh? Hasta Satana 99
2000 - Slightly more prepared then for "A Journey's End" we went into the studio in February to record "Spirit The Earth Aflame" in Dublin with Mags, just as we had done "The Burning Season". This time with better preparation, better equipment and a better attitude we came out with the songs we are the most satisfied. It had been a long search! The album came out and right now is the fastest selling album ever on Hammerheart Records... the band is growing, the label is growing. An eight day tour with our Metal brethren Thyrfing from Sweden and Shadowbreed from Holland passed by, several festivals, noticeably With Full Force, Windorock and the Wave Gothik Treffen. We signed a new publishing deal with Edition Wolffackel/Warner and Sure Shot Worx, a new second guitar player as well I may add… enter Lucifergal. Things were and are looking up, and we are stronger and more focused than ever on the task in hand. The press has been unanimous in it's praise of Spirit and for once things are going in the right direction. Upon writing this 2000 is more that half way to it's end, the album is released domestically in the States in August and there are tours to confirm… seems like the work may just be about to pay off? Time Shall tell...We're ready for the Fight...See you on the battlefield…
Warfare over three decades! ( by: A.A.N. - Primordial)
More info about Primordial: www.primordialweb.tk
Deformed in 1987 by Don of the Dead (Bass) with Jer the Butcher (Guitar), Gregoroth (Vocals) and Behemoth Bill (Drums), the spawn called Nun Slaughter began spewing forth the sonic vomit known as Death Metal. Shunning the vile confines of a studio for the oppressive darkness of a basement tomb, they released their first demo in 1987 and christened it "Ritual of Darkness". The raw sound of "Ritual" established N.S. as purveyors of true Death Metal.
The bands line up experienced it first of many mutations in '89, with Jer and Bill being replaced by Rick Rancid (Guitar) and John Sicko (Drums). NunSlaughter's, second bastard offspring came screaming through the birth canal shortly thereafter, dragging it's fetid placenta, "The Rolling Christ". The next band-member morphogenesis occurred in 1991, when Gregoroth and Sick slithered away. Von the Impaler latched on as a drummer and Don of the Dead (still on bass) became Nun Slaughter's vocalist as well. This repugnant assemblage produced the band's third demo, "Impale the Soul of Christ on the Inverted Cross of Death".
Two years crawled by before the next Nun Slaughter creation was revealed. In 1993, upon learning that the now legendary "Ritual of Darkness" demo was being bootlegged as a 7" record in Brazil, Don of the dead began conspiring to celebrate Nun Slaughter's international conquest. The band conjured up yet another drummer - Mark Perversion. Hell bent on keeping the intrinsic, unrefined sound that had become their trademark, N.S. recorded their infamous "The Guts of Christ" demo completely live in their living room.
In 1995, NunSlaughter reinstated the unholy alliance of three of the original members: Don of the Dead, Gregoroth and the Butcher. This sinister triad summoned the relentless drumming powers of Jim Sadist and exorcised the :Face of Evil: demo for the underground Death Metal masses. In January of '97 (after Gregoroth and the Butcher went their separate ways) Don and Jim, along with fresh meat Chris 213 (bass) and Blood (Guitar), began a new decade of death with the band's first studio recording, a split 7" record with Bloodstick.
After countless setbacks but continuous writing Nun Slaughter unleased four more 7" records. This first being a limited edition glow in the dark split 7" record with Dekapitator. A meeting of the most sinister kind came about with the release of 666 copies of a split 7" with Crucifer. Unable to restrain their twisted prolific minds, Nun Slaughter then produced an entire 7" record entitled "Blood Devil". And the legend continues to grow with their split 7" with the cult female death metal band Derketa.
With the signing to Revenge Productions Nun Slaughter released their full length LP/CD "Hells Unholy Fire". A tour was arranged to promote the LP and NunSlaughter began their European tour in September 2000. While touring NS released another 7” record “Trifurcate”. This is to date the fastest selling release.
After the very successful and legendary tour NunSlaughter returned to the states and began working on their next few releases. There are many more NunSlaughter vinyl’s planned for 2001. A live MLP entitled “Devil Metal”. A split 7” with UG metal gods Dr. Shrinker. A few live 7"s and of course a new studio LP to be on Revenge productions. NunSlaughter has added a few new members to the defiling ranks. Supporting the "Radio Damnation" CD a few shows have ensued. The HUF LP will be re-released on Pic LP format. All others bow to NS. Metal is Death Death is Metal Hail Nun Slaughter true Death Metal.
More info about Nunslaughter: www.nunslaughter.com
It was the unholy year 1989, when four black priests created 's kingdom! In October of 1989 the first demo tape
called "Procreation of the Unaltered Evil" was released, featuring two infernal hymns coming from the depths of the abyss. In December of 1989 the black song called "The great seal of Graal" was recorded.
In 1991 the second demo "Genesis of Apocryphal Desire" was released with a new line-up.
A month later Black Vomit records released 's EP called "One Step Beyond Dreams".
In the year 1992 Black Power records released the split LP of & NECROMANTIA named "Black Arts Lead to Everlasting Sins". Again the line-up had changed, this time into its most blasphemic form.
The four unholy priests did their work for the new and most obscure and abyssic material, which is more mystic and occult than ever before, to appear on their first CD/MC for the Cyber Music label. The CD/MC entitled "His majesty at the swamp" was released in October 1993.
In 1994 the Greek label Unisound records released their split LP on CD which includes their 7" EP as bonus!
In 1995 the same label released a masterpiece of Darkness, the second full-length CD of , called "Walpurgisnacht". Now the band is working on their third album with the mostly possible title "Crow's Reign: Psalms from the feathered King's court".
After years of silence and a change in the band (new keyboardist and a new permanent drummer) returned with two new releases and a song in a Mercyful Fate tribute. In 1997 the compilation Genesis of Apocryphal Desire was released. This CD contains the first two demos in their entirety plus three unreleased songs. Also the band did a cover of Mercyful Fate's Nuns have no fun that appears in the Mercyful Fate tribute released by Still Dead productions.
In 1999 the time had come for new material to be released: Four new esoteric, black-souled songs plus Nuns have no fun have been released on the mCD The Lament Of Gods released by Pagan records.
Procreation of the Unaltered Evil (1989-demo)
Genesis of Apocryphal Desire (1991-demo)
One Step Beyond Dreams (1991-7" EP)
Black Arts Lead To Everlasting Sins (1992-Split LP)
His Majesty At The Swamp (1993-CD/LP)
Genesis of Apocryphal Desire (1997-CD-some previously released material)
The Lament Of Gods (1999 - mCD)
It was November 1989, when we met at friend's deserted house and started writing the first lyrics under the candlelight, for a band which last night we decided to call NECROMANTIA (meaning the art of divination, using the entrails of the dead as a medium). Both of us were pretty excited and determined to create utterly dark, evil and innovative music.
Since we were both bass - players we thought that it would be an excellent idea to use 8-string bass instead of rhytm guitars and the strictly personal sound of NECROMANTIA was born! For 12 years we did the Devil's work with respect and dedication to the Dark Forces we chose to ally ourselves with.
For 12 years we created our own sound, instead of soppying others, remaining loyal to black metal music and to metal music in general.
We dived into the very depths of Hell with Satan as our guide and through our music and lyrics we offered this knowledge to you.
We offered you our personal experiences of the occult and the Daemonic and I am sure you know that we did it in a very honest and true way, since this is our way of life.
We never tried to impress you with typical black metal pictures and imagery, our music and lyrics speak for themselves.
NECROMANTIA inner circle:
The Magus (also known as Magus Wampyr Daoloth) - bass, vocals
Makis (also known as Baron Blood) - 8-string bass, bass solos
More info about Necromantia: www.necromantia.tk
Covering Evil (12 Years Doing Devil's Work) - 2001 CD
IV: Malice - 2000 CD
Ancient Pride - 1997 CD
From the Past We Summon Thee - 1996 7"EP
Scarlet Evil Witching Black - 1995 CD
Crossing The Fiery Path - 1993 CD
Demo - 1993
Black Arts Lead to Everlasting Sins - 1991/1994 (split album with Varathron)
MUSTA SURMA is follower for CRIMSON EVENFALL(r.i.p.) which worked from `94 to `97. Line upwas: Thyrgrimmr:voice,drums,synth , Strigoi Mort:guitars , Krieg:bass.
The band did demos called "Nocturnal Storms of Infinity" (`96) , "Winterheart" (early`97) and "Ad Inferos Ante Christum Natum" (autumn`97). They got great response in Underground. In the end of `97 Krieg left away from the band so Thyrgrimmr and Strigoi Mort, masterminds behind C.E., decided to rename band to be MUSTA SURMA.
MUSTA SURMA recorded "Demo 97" in December and it was released in January ´98. That tape got extreme good response from the BM underground.
Musical basis of M.S. is same like C.E., pure and aggressive Black Metal in the vein of old Scandinavian BM gods, but rawer and uglier way than C.E. ever did. There is no place for synth, beautiful melodies etc for sure! All lyrics of M. S. are written in Finnish and main goal is clear; they are sword against the christianity. M.S. recorded three new songs in December ´98 and after all delays and problems MCD called "RIENA" was released May `99. Also Surma Productions was founded for our self-financed release(s) at the same time.
In December `99 M.S. and one of the most honourable Finnish BM horde HORNA gathered their powers and recorded split-EP for French END ALL LIFE productions. That vinyl was released in April 2000. The song "...And heaven fell" was recorded in August `00 for EAL compilation LP called "Black Metal Blitzkrieg". It was released in February ´01. English lyrics in this song are exception in common MUSTA SURMA line, in future we´ll blaspheme in Finnish again. (www.geocities.com/SunsetStrip/Studio/6983/infoMS.html)
Tsjuder was started in 1993 by Berserk (Guitar) and Nag (Bass and vocals).
In 1994 Draugluin (Guitar) joined the band. A lot of songs were made and ready for a demo, but never released, because they had no drummer.
In 1995 the first demo “Ved ferdens ende” was recorded even though they still didn’t have a drummer. Shortly after this demo, Berserk left the band. Since then Nag and Draugluin have been the leading persons in Tsjuder. The new material was much more raw and fit the band better.
In 1996 Torvus joined on drums, and the second demo “Possessed” was recorded. After this demo Torvus was kicked out of the band.
Desecrator replaced Torvus on the drums. Also Diabolus Mort came home to Norway after 4 years in the US and joined on guitar. In 1997 the Ep “Throne of the Goat” was recorded and released on Solistitum Records.
In 1998 nothing much was done since Nag was in the army and Diabous Mort and Desecrator lost interest in the band. Nag and Draugluin continued for themselves, and they made some new songs.
The debut album was then planned with Blod (from Gehenna) on drums. Arak Draconiiz (from Isvind) joined the band on guitar. Then they recorded the promo “Atum Nocturnem” actually meant for Blod to rehearse, but was released by At War Records in 1999. After the promo Drakkar Productions and EAL productions got in touch with Tsjuder, and a deal for two albums and tours was signed. In the end of 1999 the debut album “Kill for Satan” was recorded. Because of time limits and that Blod was unable to join the band on the first planned tour in 2000, Anti Christian joined instead on the drums.
After the release of "Kill for Satan" Arak Draconiiz moved away from Oslo, and was replaced by Paal.
Anti Christian had to leave the band in 2001 because he got tendinitis in both arms. Paal left the band due to his working hours. Anti Christian was replaced by Jontho (from Ragnarok), and “Demonic Possession” was recorded in December 2001 - January 2002.
The second album "Demonic Possession" was released, and received good response. The Ep "Throne of the Goat" will be re-released as a picEp on Norwegian Mester Productions.(www.tsjuder.com)
, the god of thunder Perkons raged in the sky, and fires blazed on the sacred hills once more. The fires burnt within the hearts of three young men, the gods of their forefathers opened their eyes and showed the way to go. Their names were PETER (voc/guitar), EDGAR "ZIRGS" (bass) and IMANT (drums), (all formely members of GRINDMASTER DEAD); they named themselves SKYFORGER and begun the battle under the banner of Perkons.
In the month of February, two new warriors joined our lines: guitarist RIHARD (formely a member of GUILLOTINE and SANCTIMONY) and GINTS LUNDBERG, who became the band's sound engineer and helps us thence in all kind of ways.
All the summer and autumn, we worked on new material and took part in a lot of local gigs. At this time we finalized our concept of the band's musical style-we call it PAGAN/FOLK METAL, but we do not want to be bound by the limits of one style of metal.
In March, the demo album "SEMIGALLS' WARCHANT" was recorded in studio PHOENYX in Riga. We published it in cassette format. The album tells of the brave Semigallians and the numerous battles that they fought against Christian invaders in the 12th - 13th centuries, and of the ancient Latvian pagan religion.We sent this demo to several record companies, and, at the end of the year, we already had a contract with the Dutch MASCOT RECORDS for 3 cd's. All through the year we took part in many local gigs.
January to April, we worked on new songs and, in May, the new album "KAUJA PIE SAULES"(THE BATTLE OF SAULE) was finished, recorded in studio PHOENYX. The album elaborated upon the themes first presented in our demo tape.
In summer, IMANT left our band and his place by the drums was taken by KARLIS from SANCTIMONY. Together with KARLIS, we took part in the first BALTIC THUNDER TOUR across Latvia, Lithuania and Estonia. After the tour a new drummer joined us - EDGAR "MAZAIS", he plays in HERESIARH, too. In October, our debut CD "KAUJA PIE SAULES" is released; in November, we played in the DEATH COMES festival in Vilnius (Lithuania) and in a lot of local gigs, too.
During the spring and summer, we were busy working on new songs. In April, at PHOENYX studio again, we began recording a new album, and RIHARD left the band.
We continued as a trio and by January the work was done. The new album was titled "LATVIAN RIFLEMEN". The poetry is based upon stories from World War I.
In Fearuary, RIHARD returned. At that time , we got another new member -VALDIS, who helps us with management and in many other ways. Besides a lot of local gigs, in September, together with SANCTIMONY, we played in two gigs in Belarus (Minsk & Brest). In October, "LATVIAN RIFLEMEN" was released, and we took part in a support tour across Latvia with a Latvian death band BRUTE CHANT.
All spring, summer and autumn we actively wrote songs for a new , third album.
2001 - 2002
Skyfogrer left "Mascotrecords" and worked on the new stuff of the third studio album Perkonkalve ("Thunderforge"). We played at lots of gigs around Baltic countries The band's new homepage www.skyforger.lv has been launched.
Through all these years, we have played not only metal, we have also practiced as a real folk band and have already taken part in some folk concerts playing true ancient Latvian folksongs.
At this time our line up is:
PETER - vocals ,guitars, folk instruments, warrior voices;
RIHARD - guitars, backing vocals, folk instruments, warrior voices;
EDGAR "ZIRGS"- bass, backing vocals, folk instruments, warrior voices;
EDGAR "MAZAIS"- drums, percussions.(More info about Skyforger in www.skyforger.lv)
Suicide, self-destruction and the abuse of the human flesh & mind, these three topics are the main issues dealt with in Shining's music. The band has since its very beginning (1996) been cursed and the individuals within suffered from enormous problems because of the fact that the band still lives on. Actually this might be the explanation for about 9 people being kicked out of the band one by one until the year of 2000, still the band stands in obscurity. During the earlier period of the band, Kvarforth gathered a temporary line-up and released the 7" vinyl "Submit To Selfdestruction" in 1998 through his own label, Selbsmord Sevices.
In the year of 2000 Kvarforth finally managed to sum up the minds of two others in order to record the debut full-length album, "SHINING I - Within Deep Dark Chambers".
This very line-up lasted until two months after the recording of the second album in 2001, "SHINING II - Livets Ändhållplats", when Tusk decided to leave for several personal reasons though replaced by his younger brother Phil A. Cirone one month later. Wedebrand was violently kicked out from the band because of his stupidity, though Kvarforth never did suffer from his absence, on the contrary as he a few months later on was replaced by the drummer of drummers, namely Hellhammer from the legendary Mayhem.
And for the first time ever Shining stands as a solid entity with a full line-up. At this point, Shining also signed with Avantgarde Music and are now in 2002 releasing their third album "SHINING III - Angst, Självdestruktivitetens Emissarie".
The main purpose for Shining is to fanatically deprave the listeners with their musical and lyrical propaganda, to embrace the sub-culturistic youth with suicidal happiness! Shining, the third, will stand as an monument to all the misery around us, a gun pointed at your forehead, a needle injecting the purest of heroine into your arm!
Let the Self-destruction Blossom (www.suicidesquadron.cjb.net)
It was in the beginning of 1993 that a new Norwegian musical entity started to take form…
Under the moniker of THULE and with the swift aid of a few session musicians, the sole creator of all compositions and writings, namely U. Høst, began to express himself through music inspired by the earliest Norwegian pioneers of the genre as well as rooted in 80's metal. Two demos were crafted ("Der Vinterstormene Raste" 1993 and "Omfavnet Av Svarte Vinger" 1994) and as time passed by the bandname was changed into TAAKE, leading Høst ever closer to the essence of the band; in fact the epithet represents and should be connected to the livid fog which cloaks the seven mountains of his hometown Bjørgvin.
One more demo ("Manndaudsvinter" 1995) and a 7" EP ("Koldbrann I Jesu Marg" 1996 on Høst's own Mosegrodd Prod.) marked the intention to recreate old Norwegian sunless atmospheres, expressing national feelings and personal philosophy through lyrics mostly formulated in old Norwegian verse pattern and written in the old Runic alphabet. It was also relevant to keep the valuable, primeval aspects of Black Metal using a crude production, devoid of synth and unaffected by the latest retro thrash mode while hinting at traditional folk arias.
"Nattestid…" was that far the band's utmost embodiment of this all: a full-lenght album brought into being by Høst himself on guitars and performing grim & clean vocals, with the aid of fellow Norwegian Black Metal musician Tundra handling battery, bass and choirs. Recorded and produced in Grieghallen, by none other than Pytten, this is an album that will capture the substance of spectral, ghastly Black Metal!
Now, early 2002, the second album "...Bjoergvin..." was released, fully referring to the typical Taake style. Still that ghastly Black Metal in the line of "Nattestid..." with Hoest on vocals and guitar, assisted this time by guitarist C. Corax, bassist/pianist Keridwen and the old Trelldom/Gaahlskagg/Sigfader drummer Mutt. With seven songs recorded in Grieghallen and with lyrics in the old Norwegian language this is another Black Metal masterpiece!(http://taake.cjb.net)
Formed by András Nagy in the autumn of 1993, the band tries to create an outright original music based on dark elements combined with deep visions presented with sheer brutality - and all enveloped in the softening sound of a trumpet and a synthetiser. Lyrically it is a ride in the afterworld and to places where the human body can not enter only the most seeking soul and persistent spirit.
The band's first demo, entitled "The Pagan Winter", was released in April 1995.
This four-track tape introduced the band to the underground scene and received great responses from all over the world. This demo resulted in their recording contract with Mascot/Two Moons Records and their debut album, entitled "Phantoms", was released in August 1996. "Phantoms" was the first black metal album to be elected "CD of the Month" in Dutch leader metal magazine Aardschok. Also in many other magazines and fanzines all over the world their debut album got great reviews.
Early 1997 the band toured Europe supporting Tsatthogua and Marduk. The tour was a great success for the band. Just before the tour Two Moons released the four songs from "The Pagan Winter" demo plus a new 12 minutes long epic song entitled "In the Shadow of Another World" on a mini CD.
In August 1997 the band travelled to Holland to record their new album, entitled "The Haunting", in the Beaufort Studio. Most of the material was recorded "live" as the band played together in the studio which gives an extra boost of power and atmosphere to their music. One of the most remarkable things about the new album is the fact that the band came up with very strong songs and melodies yet also a lot of variety in spheres. "The Haunting" contains 7 masterpieces of dark and atmospheric yet brutal and melodic metal. Right now Sear Bliss is working on the new material for which they would like to find a new label as their contract with Two Moons is fulfilled.
This new material will be a lot more powerful and bombastic with even more trumpet in the songs than ever before to get a really special feeling. Some songtitles are: Souldive, Pride Never Dies, Human Love, Gardens of Black. Sear Bliss have just recorded two songs in a professional studio with Bertalan Domby who was the producer of the "Phantoms" album. These brand new songs represent Sear Bliss' development very well.The Grand Destiny album came out worldwide in spring 2002 by the American label Red Stream.
In the Year of 2002 Sear Bliss finished their 4th album, and the official release is in the autumn(September-October).(www.searbliss.hu)
The Pagan Winter(demo-MC)
The Pagan Winter(MCD, contains an exclusive song:Shadows Of The Another World)
The Haunting CD
Grand Destiny CD
Forsaken Symphony CD
IN THE WOODS...
The story of Norway's most peculiar band, IN THE WOODS..., began in 1992. Several individuals gathered forces in the autumn of that year, with the common quest to connect sounds and thoughts into musical compositions. The 'Isle of Men' demo, which sold more than 3.000 copies world-wide, followed in 1992 and conceived co-operation with Misanthropy Records. In 1994, IN THE WOODS...' first full length album, 'HEart of the Ages', was released. It contains seven symphonies, the style of which ranges from progressive Heathen Metal over Black Metal influences to classical music and features many different vocal styles. Thus it's impossible to label the art of these Norse pagans as one particular style of music.
In autumn 1996 the band headlined the very succesful 'Autumn Wilderness' European tour, with support from Katatonia. In 1996, IN THE WOODS... returned with the phenomenal follow-up 'Omnio'. The praise of the bands debut leaves it speaking for itself and, likewise, 'Omnio' does the same, highlighting the bands musical maturity and development, compositional expertise, and broadened approach into much more progressive and individual fields.
'Omnio' is a journey in five parts, melodically hypnotic while aggressive and pure: A soundtrack to the rise and fall of mankind. February 1999 brings their third full-length album, "Strange In Stereo"... a soundscape journey of longer than an hour, tinged with moderate psychedelia and emotion.
In spring 2000, IN THE WOODS... released their fourth album "Three times seven on a pilgrimage" on Prophecy Productions. It is a concept album of the great psychedelic music from the 60's and 70's also including great interpretations of Jefferson Airplane's 'White Rabbit', Pink Floyd's 'Let there be more Light', Sid Vicious "If it's in me" and King Crimson's "Epitaph".
In autumn 2000, IN THE WOODS... decided to end the band in order to take care of their other projects. In December 2000 they played a final concert in Kristiansand, Norway and fans from all over Europe (from Greece and even from Peru) travelled to this fantastic event.
A live album of this final gig is in preparation.
1993 - Isle Of Man
1995 - Heart Of The Ages, CD
1996 - A Return To The Isle Of Man
1997 - Omnio, CD
1998 - Let There Be More Light
1999 - Strange In Stereo, CD
2002 - Epitaph
2000 - Three Times 7 On A Pilgrimage, CD
2003 - Live At The Caledonien Hall
When something is going on in one’s head for a long time and when it haunts your dreams.... It’s time to do something about it. As with Abruptum that was such a phenomena, around 1987 the plans were beginning to form in the mind of IT who wanted to give the world a shock with starting the evil war.
But it was not until the start of 1990 that Abruptum was born and then with the heep of the psychopath known as ALL. They released the demo "Abruptum - 90" at that time, but it showed to be nothing of the planned. So they kicked-out the bassplayer, EXT, who showed to be so afraid of the result of that demo that he joined the nearest church. The fact of the fate of the bassplayer gave IT and ALL a new push.
Later the very same year recorded "The Satanist Tunes" demo. Their demo is a great kult demo these days and it showed people what evil is when put on tape. Indeed they have shocked the world.
Abruptum also managed to put out a 7" EP which was called "Evil" and just to remind people of their existence they did a hard job with mail and interviews.
Things were going well but the curse sank it’s teeth into Abruptum and ALL began to drink seriously and had to quit the band. IT went on alone and found EVIL who was just the perfect man to do the job beside him. They gave the world something to think about with "Orchestra of Dark" demo and also recorded a song called "De Profundis Mors Vas Cousumet". Abruptum had been in contact with Euronymous of DSP Records and Mayhem for awhile and he wanted to release their first album, they recorded it and got amazed (just as all the true maniacs around) of pure evil of the recording. "Obscuritatem Advoco Amplectere Me" was it’s name and it was a kind of a "Veni, Vidi, Vici" thing which really messed up peoples heads.
Euronymous was killed and with the release of their second album "In Umbra Malaitae Ambulabo in Aternum in Triumpho Tenebrarum" they buried "Deathlike Silence Productions". That second album is a strong sign of dark age that is on the way and that Abruptum will never die.
They have already released "Vi Sonus Veris Nigrae Malitaes" digipack.
The absolutely most evil band in the world are for one not be too big for words.
ABRUPTUM c/o EvilBox 609,601, 14 Norrkoping, Sweden.(by Full Moon Productions, www.fmp666.com)
Evil - Guitars, sounds, piano, darkness
It - Cries, screams, violin, drums, torture
Abruptum (demotape)- 1990
The Satanist Tunes (demotape) - 1990
Evil (7" EP) - 1991
Orchestra of Dark (demotape) - 1991
Obscuritatem Advoco Amplectere Me (LP, CD) - 1993
In Umbra Malitae Ambulabo, In Aeternum In Triumpho Tenebrarum (CD) - 1994
Vi Sonas Veris Nigrae Malitiaes (digipack CD) - 1996/1997
BLOOD ON ICE is a legend among those who have followed us throughout the years. Never permitted to forget about its existence, constantly reminded of it as I was by all the tens of thousands of letters from our fans that I've received throughout the years ever since I breathed about it in the press some years ago, Blood On Ice seemed a very difficult piece of gravel to get out of my shoe.
It seemed to all these thousands of fans and fanzines a frustrating fact that we could let a complete epic-type of a theme-album collect dust on a shelf. The truth is it was, of course, far from that complete, ready-to-be-released epic creation of a theme- album it was made out to be.
Blood On Ice was an hour long of material recorded during the same circumstances that four of our albums were recorded... that is on equipment hailing from the late 60s, early 70s and using a 14-track demo-style mixing table of home made-fashion (in reality 12-tracks due to the fact the table itself didn't have any effects of its own - hence two tracks were used for echoes etc. mind you, sometimes tracks on that old made tape-machine we used just wouldn't work from one day to another). This private demo-studio was seldom, if ever, used for anything serious other than BATHORY and occasionally up until '87 (but all the time after that) it was actually working as a garage (which in fact is just what it was to begin with) and not only used car parts be stored there, but the damn place would function as a repair shop in between the recording of Blood Fire Death and Hammerheart (and as such all the time when the latter was recorded)...
Oh, those were the days...
The size of the room where we would 'pile' our amplifiers up against the wall (if we're talking the first album, that's plugging in my shitty little 20w Yamaha amp, mind you) and where we would rig up our drums, was not large enough to allow us to record, say, the guitar and the drums or the bass and the drums at the same time (hence the use of clique-track on most of our albums). More than once a very primitive, not even a second generation drum machine had to be used to replace the snare-drum due to the poor sound quality. When we did the first album we didn't even have a complete drum kit but worked with a snare drum, a ride cymbal and a bass drum only.
Working with such a comparatively limited number of tracks meant that an instrument and a sound effect such as thunder, wind or church bell or whatever, could occupy one single track. This became routine when our music developed and became more and more arranged, incorporating stuff like harmony backing vocals and acoustic guitars. At times a track could host the acoustic guitar that started a song off only to some moments later feature a doomsday type of drum in the choirs or whatever, maybe paired with a clap of thunder or some other type of sound effect. Then a guitar-solo would usually follow before that acoustic guitar would end the song. Of course very primitive and sometimes extremely frustrating as each instrument or sound effect would have to have its own particular sound (and volume level) meaning that the Eq's and effects as well as level would have to be switched (by hand in those days) while the whole thing was run down onto the quarter-inch master tape (and this is just talking one single track on one song - there could be five or six tracks on a song that had to be taken care of in the same way - simultaneously!). Screw up. And you would have to do it all over again. Many times we just left things as they were because we couldn't care less about fuck-ups at that stage of the recording process. These small 'errors' are there every time that I listen to a Bathory track and not only will the 'studio-artist' in me concentrate on picking them out and get upset about them, but the metal-fan within is never allowed to simply sit down and enjoy the stuff like so many others.
Many times the recording room would be occupied by more or less usable parts of old Porsche-cars to such an extent that we had to record those lead vocals, backing vocals or an acoustic guitar in every possible confined area such as a bathroom, the cleaning cabinet or, if possible, any small unoccupied area in the actual recording room that was just large enough to stand when doing your vocals or where you could place a chair for sitting down with your acoustic guitar.
I remember vividly one moment in June of '89 when we came down the Heavenshore Studio to record the material for what was to be the album Hammerheart. The whole place had not only been stripped of everything that functioned as sound isolation, but the whole place was filled with a three foot thick layer of coarse gravel (to be flattered and covered with a layer of asphalt any day now we were promised). When we recorded the drums, the kit would have to be placed any way possible on top of that undulating landscape of coarse gravel, which only just reminded me of the Sahara desert. And as if that wasn't enough, there were no lights in the studio. We had to use a small table-lamp to be able to see anything at all. Don't ask me how we did it, but somehow we did just that.
To this day I wonder if these circumstances haven't contributed just a bit to our 'sound' in those days. Just imagine all those car doors, hub caps and assorted odd pieces rattling along. I recall when recording Hammerheart, working around these ordeals in a rather casual way: when I was sitting down doing the acoustic intro for Valhalla, how the neighbours' motorized lawnmover would find its way onto the two-inch tape, sort of taking the Viking or barbarian atmosphere away just a bit. The recording room itself had been soundproof before the whole place was literally torn apart to be transferred into a repair shop, so I was now sitting in this cleaning cabinet while the asphalt was setting in, and the cabinet with its paper thin walls was surely anything but soundproof. If this makes you drop your chin from pure amazement, wait until you hear about the lead vocals done in the bathroom.
Few bands, if any, would accept to record under these circumstances, I'm sure, and even our patience could be pushed to the limits occasionally. But still today, when even the most ill-sounding black or death type of bands have access to the very most modern recording techniques, using todays DATs and computer mixing possibilities, I'm not sure whether I really would have wanted to miss out on those days. It is with a great big fat smile that I look back on those days when I could stand knee-deep in either hub caps, packages of washing powder or even laundry while doing my lead vocals or an acoustic guitar intro, usually with my arms and legs wrapped around broomsticks, pipes or hoses, while worrying about whether the neighbour's lawnmover, a bypassing car, an airliner or just a dripping toilet would find its way onto the tape too much. This certified but charming hell is forever after immortalised as the Heavenshore Studio, the very place where Bathory, Under The Sign..., Blood Fire Death and Hammerheart were recorded... and the original material which lay as the base for Blood On Ice as well. Especially charming is it that not only is HEAVENSHORE STUDIO a legendary place among our fans and known to most folks with at least one foot within extreme metal, but the studio as such just doesn't exist anymore other than in the form of a private garage in a residential area in a southern suburb to Stockholm. Recorded not only during these circumstances but also in a sort of half-hearted way, I was amazed, when listening to the tapes again all these years later, that the material even held together. Half- hearted in the sense that we were not too damn sure about the great stuff in going onto a Viking styled concept-album after having produced such wonderful mother-of-all-evil slab of satanic shit like our second album The Return... (from January'85... and mind you, once labeled as the most evil album ever released... incredible what liberal amounts of Swedish vodka and some distorted guitars really can accomplish). Going from stuff like the demons of hell etc. To an all- and-all-out Viking styled concept-album based on a self-written saga containing swords and muscles and snow soaked in blood (and who knows what else...), in other words, stuff quite a bit far away from good ol' Antichrist and his grandma, was quite a big step to take.
I'm astonished when thinking back, realizing not only was the material that forms the base for this album laid onto tape in pieces where one song would feature a single rough guitar and a monotone drum beat and another would have been worked on a little more, including a bass and even vocals, but all the more astonishing is it that virtually all of the original material for Blood On Ice was recorded not only in between albums (Blood Fire Death and Hammerheart) but some of this material was worked on even during the recording of the Hammerheart album. The original Blood On Ice material was worked on in the studio over a period of one and a half years. The confusion and the element of distraction of working on the 'real' albums at the same time as we were trying to find out whether BATHORY and a theme album really was such a good combination really should have made the original Blood On Ice material sound like a mishmash, but when listening to the stuff all over again after all these years, I was taken by surprise how good some of the stuff actually was, making me all the more convinced that maybe I should spend some time giving this material a touch up and a patch job.
So what was the 'soul' of Blood On Ice? It actually started with the decline of enthusiasm for yet another full length album packed with screams of satan etc., and all this due to the fact that I came to the personal conclusion that this whole satanic bit was a fake: A hoax created by another hoax - the Christian church, the very institution and way of life that we wanted to give a nice big fat ball breaker of a kick, by picking up the satanic and occult topics in our lyrics, in the first place. It's not easy coming out of school and starting a band at the age of fifteen and lacking the sort of experiences that great metal lyrics seemed to be made of, such as striding a Harley going down the highway doing 120 and fondling a babe's tits while drinking from a bottle of whiskey, like all the big bands seemed to do it. And what the hell... you gonna write songs about something, right!? And so there was this thing created by the church (or Christianity, if you like) to herd the terrified world into its arms (and cathedrals). A thing like the satanic or occult dish is bound to work well as a bad motherfucker or main ingredient for your lyrics. Usually old gods and religions were turned into bad ones, and the Christian image of a bad anti-god was swiftly accepted by the uneducated mobs of eleventh century Europe (it's really amazing what we are prepared to accept and do when facing the sword held in one hand and the crucifix in the other, as well as facing the danger of missing out on that eternal life-trip up there... but then there is always that forgive-you-all type, so I guess a little bit of sin can't be too bad after all). Nevermind. This personal conclusion of mine had me set my mind on finding other stuff to use when writing material for future BATHORY albums.
Since I am an avid fan of history, the natural step would be to find something in history that could replace a thing like the dark (not necessarily always the evil) side of life (and death). And what could be more simple and natural than to pick up on the Viking era. Great era, and great material for metal lyrics. Being Swedish and all, having a personal relation to, and linked by blood to, that era at the same time as it was a, if not a well-known, so at least an internationally infamous moment in history, I sensed that here I just might have something. Especially well suited was it since it was an era that reached its peak just before the Christian circus came around northern Europe and Sweden in the tenth century, establishing itself as the dictatorial way of life and death. And so that satan and hell type of soup was changed for proud and strong nordsmen, shiny blades of broadswords, dragon ships and a party- 'til-you-puke type of living up there in the great halls... an image of my ancestors and that era not too far away from the romanticised and, to a great extent, utterly wrong image most people have of that period in time through countless Hollywood productions etc.
When I grew up there were two comic magazines one read every week. One being a horror type of mag called Chock (in the same vein as say, Tales from the Crypt). The other one was Savage Sword of Conan or Conan the Barbarian. Having grown up reading Chock, I was already nourished with a great well of inspiration when stuff for the first triple set of albums were written (no serious reading of the so-called black bible here, oh no... not even the blue, yellow or even the pink one either, mind you). Now the world of swords and swelling muscles of Conan worked pretty well as an inspiration source when I was writing what was to be the material that ended up on Blood Fire Death and to a certain extent maybe even on Hammerheart, the latter being, actually, a compromise, having rejected the idea of a concept-album as being something too far fetched, an album that instead would deal only in general with the Viking era but enough to at least satisfy ourselves, was regarded as a good solution and bit of a compromise and so Hammerheart was born.
I was also a long time fan of the life and works of Richard Wagner, addicted to his operas and aware of what he read when finding inspiration for them, I turned to the same books and legends. As it turned out, I was borrowing liberally from both Scandinavian and Germanic mythology. Ingredients like Mjölner - the hammer of Tor, Sleipner - the eight legged stallion of Oden, as well as Hugin and Munin - his ravens, all became important subjects of inspiration when I started to write the Saga of Blood On Ice. From the works of Wagner I more or less stole the legend of Siegfried and the dying gods of the Götterdämmerung, as well as the sword Notung.
At this stage, even as the saga was coming together, I had not yet thought about putting music to it or cutting it down into rhythm and rhyme. Blood On Ice was still just a story I had written for my own pleasure. Realizing, of course, the potential in the story for a great epic-type of a metal album, the transformation from a private saga to what you now hold in your hands was not too far away once the idea had crossed my mind.
So why was the whole thing aborted to begin with and that at a stage when we had even bothered to start to record the basic tracks, some even featuring vocals? Well we probably weren't too sure whether this really was such a good idea to begin with. It had only been two years since The Return... when I started to write Blood On Ice in saga format, and the fanzines were still referring to us as that "...satanic band from Sweden...". Even as I was putting down guitars for some of these tracks back in '89 I would still receive fan mail from all over the world asking me if those rumours about me eating infant babies, drinking angels' blood and living in a satanic (!) bat's cave in the north of Sweden really were true. And man... I'm telling 'ya... judging from how they came across in their letters, not to mention all those inverted crosses and magical symbols they had drawn all over the pages in presumably their own blood... they were really knee-deep into that shit... I ain't kidding.
Even though we had done things since The Return..., stuff like 'Enter the Eternal Fire' or 'Call from the Grave' and would do things like 'A Fine Day to Die', 'Odens Ride over Nordland' and 'Blood Fire Death', stuff that guaranteed no one could ignore the fact that new frontiers were being explored both musically and lyricly, an all-and- all-out theme-album might just prove too far, too deep, too big a step to take and maybe too hard to handle for someone out there who might just be able to afford only one or two albums a month. Those dollars, pounds, marks or kronor might just as well be spent on a safe bet rather than on a theme album by an already narrow band like BATHORY. And remember, we are talking '88-'89 here, times when bands like BATHORY not necessarily would be released on the then new CD format. Blood On Ice on vinyl would have meant a double album. As if the whole project wasn't swaying already... here was another grain of salt in its wounds to prevent it from becoming reality, it seemed.
With all this in mind, no wonder the thought of spending all this time and all this money all these years later in a modern expensive studio putting all these pieces together into a releasable and representable CD never crossed my mind when people asked me about it. Until the day came when I dug that cassette up and was taken by surprise... If I hadn't been constantly reminded of Blood On Ice when I read fan mail or was doing interviews with fanzines and magazines, either personally or over the phone, I am sure that in the future I would probably only think of Blood On Ice as a birthday present you never unwrapped or a girl you never nailed. That is, something that just didn't happen. But the underground movement should never be underestimated as a contact net. From the time I had breathed about Blood On Ice, sometime in '89 very little time passed before piles of fan mail regarding Blood On Ice would start to drop in. Especially intensive was the campaign to have me release Blood On Ice when I was traveling around Europe for a month telling folks why there was a solo album out. That European promo-trip and long conversations with all sorts of people not only made me think about Blood On Ice with a different attitude, but everybody seemed to know about its existence anyway, as well as urging me on to release it. There were moments however, when fans would gather around me and with almost tears in their eyes, tell me about how much BATHORY had meant to them, as well as filling me in on that revival things and what BATHORY has meant to a whole generation of fans and bands in terms of inspiration etc. I think it's safe to say that I started to rethink and refuel.
After Twilight Of The Gods and celebrating ten years on record by releasing two Jubileum CDs instead of a more expensive and cumbersome double-monster, I had found myself out of ideas and totally uninterested in loud guitars and that loose subject of "rock'n roll". To make things a bit worse (!)... from '86 and thereafter, the only thing spinning at my place was classical music in general and Wagner and Beethoven particularly.
The solo effort, Album, worked as a sort of therapy. I found the way back to enjoy playing again. Imagine someone asking you to go into this studio on your own to spend two weeks in there doing whatever the shit you feel like. If you have been tied down something like BATHORY for ten years, every single note and word you've done in the studio having to fit under a certain umbrella, you're gonna ask yourself "Just who the hell am I?" Especially when a solo release is also supposed to be a personal effort, you're bloody well intitled to know, right!? Love it or hate it, but that step aside, that breath of fresh air brought me back to rock'n roll no matter how little or how much "rock'n roll" you can track down in stuff like 'War' or 'Dies Irae'.
Urged on as I had been by those fans talking about the "good ol' noisy days", within two weeks after I had returned to Stockholm from that promotion trip, virtually all the music for what was to be Requiem had already been written. When Requiem has been recorded and mixed, I was still running on top gear. That is when the stuff for Octagon was written. The two of them being recorded within six months of each other, as well as being released six months after one another, roughly. This had brought me back on the track again. Having left off some steam, I figured now was the time to earmark the coming handful of months for Blood On Ice.
That's when I decided to track down a cassette I knew I was keeping in a plastic bag in a closet. Upon finding it and listening to it for the first time in many years, I was, as stated earlier, amazed it didn't sound too bad. I realized it would take some work to breathe some life into it, but I decided to arrange a session in a studio to listen to the old two-inch tapes that I knew I had stored somewhere down my basement.
Ready to take notes, all levers up so to speak, I was at first very confused. The stuff seemed to be all over the place. Everything had been recorded on that old 14-track tape machine at Heavenshore. While listening to the tapes on a modern 24-track tape-machine, a guitar would "leak" or spread out over three tracks and nothing seemed to be where it should be. I realized then that this would take all of the summer to straighten out.
What we had to do was to separate each and every instrument and to decide whether we should keep a particular piece or not. Then we had to transfer it all, instrument by instrument, down onto another tape using a second tape-machine. Now we had all the songs neat and clean down onto two 2-inch 24-track tapes.
Most songs featured only a rough guitar together with a basic drum beat and occasionally a bass played using chords and that through a guitar amp if I remember correctly. Only three quarters of the songs had a vocal track and none featured backing vocals or a lead guitar. I realized I had to start to rehearse those old guitar riffs again to be able to lay down a second rhythm guitar right next to the old one.
Secondly a bass, this time lined and played using single notes, was added. The drums was a story of its own. We had to separate each part of the drum kit and then give each and every part a totally new sound using a disc from a sound bank as well as correcting a few blows here and there by a millisecond. Some drum rolls were added live and a smack on the snaredrum or floor drums would be enhanced here and there. Most of the hi-hat and ride were re-recorded using a computer. To tighten the material further, some songs were speeded up about fifteen per cent to add a flash of modern sound and crunch to them.
Next in line were lead vocals, something a handful of the songs actually just didn't have. I had great troubles finding my old lyrics. A few corrections here and there in the story, and all I had to do when doing the lead vocals for those songs, as well as the backing vocals, was to place myself before that microphone and imagine myself being back at HEAVENSHORE in '88 or '89 when the original material was recorded. It was actually difficult to change my voice so that I was sounding late 80s rather than mid 90s, this was, of course, necessary since I didn't want to ruin the general mood of the material by all of sudden sounding seven years older.
Now the only thing missing (except for a lead guitar, something I usually always put down during a tea-break) were backing vocals. Now this was a field we had pioneered years before on Blood Fire Death. Sound effects followed next. Since it was a theme album, we worked with the effects as if it had been a motion picture and not an album. I wanted the listener to feel the frozen wind tearing his face. The topic of the lyrics, the story itself, had to come alive.
After having worked on the project for a month and a half during the summer of '95, from listening through the original material to chosing what shit to keep and what shit to scrap, from transferring the usable bits down onto a second 2-inch, 24-track tape to picking the new sounds for each part of the drum kit, from recording an additional rhythm guitar and bass right next to the original ones to laying down lead vocals on the songs that didn't have any, and from working hard with the sound effects and backing vocals to making sure we weren't ruining too much of the original atmosphere, we would now let the whole thing set in for a while. It would be mid February '96 before we were able to reassemble, to finally cement it all together in the mix.
Once all of the material had finally been digitally mixed down onto DATs, we all had a feeling of great satisfaction. The fact that Blood On Ice had finally come to life as an end product was a rather strange feeling. Now that Blood On Ice is finally here, our hopes are that you will take this souvenir to your hearts. Because that is exactly what this release is all about, a souvenir to all our fans who have followed us throughout the years and who have written to us begging for this album to be put into releasable format. Although it could very well sound embarassingly outdated to some aware of trends, this album nevertheless deserved to be released. This effort embodies everything that our mid 80s phase stood for, the so-called "Viking" albums. This album was written and recorded in '88 and '89, completed in '95 and mixed and mastered in '96. All in all it captures pretty well what Bathory has been doing in between recording the vinyls and compact discs you already have in your collection.
This saga is for you all...(Quorthon, Stockholm 1996, from the "Blood On Ice" CD booklet)
The year was 1992 and a cruel musician crew, called Sabazios, rose from the ashes of Norway's hateful black metal. But they are one of a kind with their cold and aggressive sound,- played with industrial drumming from a computer .. This crew must be remembered: Mean Malmberg, Prime Evil, and Cerastes. They did two demos, "Wintermass and Medusas tears".
Euronymous of Mayhem and the owner of Deathlike Silence Productions (DSP) signed Mysticum immediately after hearing their music. He had never heard anything like it before, totally new and original.. After their first demo, the band decided to change their name to something more frightful than Sabazios. So Mysticum was now complete.
The most tragic day in history of black metal came when Euronymous was brutally murdered and the scene in Norway was tom apart. All the little fake shit bands got their chance to get big. For half a year or so, the mighty drummer Hellhammer of Mayhem, joined the crew, but it did not work out. Mysticum is nothing without their industrial drumming from a computer. With a human drummer the music got more alive, more human, it was destroying valued art! They lyrics are dark and depressive and comes straight from the depressive hearts of the crew And are often to gain suicide among the living. Because of the death of Euronymous, Mysticum decided to break the deal with DSP/VOW because of a very bad cooperation with VOW Anyway DSP went along with Euronymous into the graveland. Mysticum has been offered a lot of record deals, but we decided to honor Fullmoon Productions with our debut release, "In The Streams of Inferno" .
Mysticum is now ready to record their long awaited second album entitled "Planet Satan".... Mysticum:c/o Robin Malmberg, Kongsskogen 71,1370 Asker, Norway).(by Full Moon Productions, www.fmp666.com)
"Thousand years of rule of strange to
our true pagan culture, judeo-christianity has not passed a test of
time. Today christianity collapses. True pagan traditions and beliefs
of Europe survived. Christianity has not destroyed our ancestors
beliefs and traditions. Pagan spirit and identity still live in us.
Pagan blood runs in our veins. Our true Gods have not forgotten us.
The time of their return is coming. And we, Sons of Fire and Steel
will go with Them to fight a great battle. The sound of war horns
will get us heated to fight. Many of us will die but nobody will care
about it. It is a honour to be born to die in such a battle. The rest
is not important. Life is not a constant satisfaction of vain greed.
Dark clouds of war, the flock of black ravens in the sky are the signs
of the time of a big trial. Every man takes his sword and shield and
goes conducted by the sound of war horns. Gods deputy will show
us the way...
Graveland is one of these bands that followed the voice
of blood, melody of battle horns, knocking of weapon, voice of dying
brave warriors..." - Darken. Inspired by the scene at the time
and the early music of Black Metal band Bathory, Darken creates Graveland
as solo project in 1992.
He creates and records first Graveland songs
released as "Necromanteion" and "Drunemeton".
Thanks to these demos, Graveland began to get interest in the Black
Metal underground. Inspired by Darkness, Celtic Beliefs/Mythology,
& Hatred Against Christianity, Capricornus joined Graveland in
1993. It changes Graveland and the music becomes more alive and dynamic.
In 1993 Graveland, inspired by "Holy War" waged in Norwegian
Black Metal underground against christianity, records their now legendary
demo "In the Glare of the Burning Churches". This demo gives
Graveland lasting place in history of true Black Metal.
In 1994 Karcharoth
joined Graveland. He will later play a shameful part as traitor and
At the beginning of 1994, Graveland records demo "The
Celtic Winter" and is released by No Colours Records. It is the
beginning of long time relationship with this record label for Graveland,
fruitful and full of understanding cooperation that that lasts still
to this today.
Graveland the records their debut LP "Carpathian
Wolves" for Eternal Devils Records at the end of 1994. Eternal
Devils Records releases 500 CDs and 1000 tapes. All editions are sold
out very fast and it disappears in the darkness of underground. At
this time commercial labels such as Osmose Productions, Nuclear Blast,
and Lethal Records are interested in Graveland. Darken turns them
all down as soon they become eternal enemies of ideas and creation
In 1995 Graveland records their second LP "Thousand
Swords" for Lethal Records. Unfortunately, cooperation is very
short because of different ideas and points of view. During this time,
Capricornus and Karcharoth record their first LP for their band, Infernum,
but because of NS ideas from CD and the tape cover of "...taur-no-fuin...",
Polish State Security Bureau begins to be interested in Infernum.
While Infernum recorded their CD, Darken began a new project, Lord
Wind, and created atmospheric medieval music inspired by Conan The
Barbarian soundtracks. During the investigation against Infernum Karcharoth,
because of nervous breakdown, testifies against the rest of band causing
some serious problems to Darken and Capricornus.
his political ideas every week, from faithful follower of right wing
ideology, to left wing ideas. Karcharoth starts an anti-Graveland
campaign accusing Darken and Xanquoreth (from Fullmoon) of pinning
a murder on him.
Karcharoth falls into a decline and during Autumn
1997 he is sent to a mental disease hospital. Because of all problems
caused by Karcharoth, Graveland’s fans have to wait two years
for new LP that is recorded in 1997.
"Following the Voice of
Blood", released by No Colours Records, shows that Graveland
returns full of power and glare against left wing campaign against
the band, featuring lyrics by AF of Absurd. Ideas of "Following..."
reach many pagan and proud souls of White warriors of today’s
reality... "Thousand Swords" and "Following the Voice
of Blood" show that Graveland has its own original style... barbarian
pagan metal full of folk melodies permeated by wild and simple but
at the same time spiritful Middle Ages atmosphere.
In 1998 Darken
and Capricornus record the mega-epic LP "Immortal Pride".
A slow, heavy, full of keyboards and chorus massive dose of majestatic
During winter 1999/2000 Darken recorded material for
split with Honor, one of the most popular skinheads bands in Poland.
This split "Raiders of Revenge" is released by Resistance
Records and is a great event, kind of unification of BM and skinheads
underground, unification of people who support the same ideas of a
strong White Man.
Ideas from "Immortal Pride" continued
on the next LP "Creed of Iron" inspired by Wotansvolk book
under the same title written by Ron McVan. Also, Darken recorded the
second Lord Wind album "Hearlds of Fight".
At this time,
Darken & Capricornus went their separate ways so Capricornus could
concentrate on his project, Thor's Hammer. Darken continues to have
much to do with Graveland, including working on a re-release of Carpathian
Wolves with a bonus track, a new 7" titled "Blood of Heroes",
a new Lord Wind album "Rites of the Valkyrines", and a brand
new Graveland album due in 2002.
Capricornus continues on his own
as Thor’s Hammer recently released its second album, "Fidelity
Shall Triumph". "Give relief to our souls...depriving us
of view of temples of our enemy...that desecrate our pagan native
holy places!" - Darken(by Knightstorm_IX).
AETERNUS was formed in the beginning of the 90's in the rainswept town of Bergen, Norway. From the start Ares (bass/vox) was and is the mainman in AETERNUS, and the actual concept of AETERNUS was spawned from his mind... The concept is based upon darkness in all its forms, in the mood of the music and in the lyrics on the dark side of nature’s forces...This explains why AETERNUS likes to be called True Dark Metal.
After the usual demo-period (in which AETERNUS released two demos, only the second being of any particular interest) AETERNUS gets a deal for a MCD with the very little Tjechian label VIEW BEYOND PRODUCTIONS, which they record in 1995 and proudly called "Dark Sorcery"... This MCD shows the first time the mature side of AETERNUS, the songs being slow, dark and grim and above all inhumanly heavy !!! The MCD attracts a lot of labels, but the band stays cool and demands straight from the start a big studio-budget to record their album in Grieghallen with Pytten...
In December 1996 HAMMERHEART RECORDS showed interest in AETERNUS and after hearing some raw mixes they went for the deal... The CD called "Beyond the Wandering Moon" was finished in January 1997 and released in March 1997 (first 3.000 copies in a huge digipack), followed by an European tour with HADES and HELHEIM. The debut-album received worldwide raging reviews and AETERNUS hit the road once more in June as a support for EMPEROR and LIMBONIC ART...
The line-up since 1996 features Ares (guitar/vox, ex-GORGOROTH and former live-session member for IMMORTAL), Vrolok (drums, also ex-GORGOROTH, ex-THY GRIEF) and Morrigan (bass/keyboards, also session-member in OBTAINED ENSLAVEMENT).
HAMMERHEART RECORDS released the "Dark Sorcery" MCD again (it was sold out since a year, due to a limited pressing of 3.000 copies) in January 1998, with a new design (a very nice digipack design with new artwork) and an incredible bonussong called "In the Darkest Circles of Time", showing the Darkest roots of AETERNUS ever !!!
In December, January and February 1998 AETERNUS recorded their second album, entitled "...And so the Night Became", in Grieghallen with Pytten once more... AETERNUS sounded even darker on this release, more perfect, and even more heavily produced and much better and diverse songs...again released in a digipack (unlimited).
1999: The band became a four-piece when the new second guitarist is Radek joined the band. He's originally from Poland but lives in Bergen, Norway.
In November 1999 Aeternus' third album "Shadows Of Old" saw the light at Hammerheart Records. Here the band developed a faster, more death-metal oriented sound without leaving their dark doomed black/folk roots behind. "Shadows Of Old" is Aeternus' most succesful album so far and their extensive touring through Europe has created a huge fanbase.
In 2001 Aeternus hits back with a giant strike. First a midprice cd "Burning The Shroud" will be released in January, followed by their highly-expected 4th album "Ascension Of Terror".
The rage of war continues.......
These Hungarians basically need no introduction!Formed back in 1987, they are the main source of inspiration for ALL of today's Black metal bands! Their two demos ("Anno Domini" and "7th Day of Doom") are true cult items and have been reprinted by several labels, thus spreading the unholy name in the four corners of the Earth.There is probably no need to remind all of you that Attila was the singer on the Mayhem album "De Mysteriis Dom Sathanas"and more recently he has further sealed his commitment to the Norwegians by doing an on stage guest appearence immortalized on the Avantgarde Music official Mayhem live album "Mediolanum Capta Est".As if this were not enough, Attila handles lead vocals on the Mayhem cover song (Funeral Fog) recorded by no one less than Emperor and which you can hear on the Mayhem tribute album (Avantgarde Music 2001).
But it is time to focus on Attila's own offspring, TORMENTOR! "Recipe Ferrum" is finally out there for all of you and if you thought you were going to hear "rougher, darker more brutal music" then think again! Being the forefathers of Black metal, the guys felt there was no need to stick to a music style which has lately degenerated into a commercial and mass-oriented trend. Therefore they went back to the really ancient and pure rock sound and imbued it with a large spiritual spectrum. As Attila himself says:"In the name of truth and purity we express the pain and screams of Nature against today's rotten and stale social and spiritual degeneration."
So, what the band asks you to do is to listen to their music with an open mind and with the right spirit, without trying to relate it to the present day trends and ass kissing attitude! But be sure that if you fail to understand their deep message, they won't give a damn!
You wanted Tormentor back: here they are!
7th Day of Doom
The Sick Years-Live-
Attila's other projects:
Kali Yuga Bizarre
Fire Walk With Us!
With No Human Intervention
Mayhem was formed in Norway in 1984. The founding
members were ?ystein Aarseth (aka Euronymous, although he first took
the name Destructor, - guitar), Jorn Stubberud (aka Necrobutcher -
bass), and Kjetil Manheim (aka Manheim - drums). They took the name
Mayhem from the song 'Mayhem With Mercy', originally recorded by black
metal originators, Venom. They recorded their first demo, 'Pure Fucking
Armageddon' in 1986. This was released in a limited 1000 copies. The
demo was extremely brutal, although very low sound quality. In autumn
of that same year Mayhem got their first real vocalist in Sven Erik
Kristiansen (Maniac). Then in the winter of 1987 Mayhem entered the
studio to record the legendary 'Deathcrush' demo. This demo gained
Mayhem a cult fanbase. It was later re-released as a mini LP on Euronymous'
own Posercorpse/Deathlike Silence Productions label.
Soon after the mini LP was released, Maniac
and Manheim left the band. Mayhem recruited a new vocalist, Per Yngve
Ohlin (aka Dead, vocalist of the cult Swedish band Morbid), and a
new drummer, Jan Axel Von Blomberg (Hellhammer). The band recorded
two songs for the CBR 'Projections Of A Stained Mind' compilation
album, 'Freezing Moon' and 'Carnage'. The band then toured Turkey
and East Germany. This tour was where the legendary show in Leipzig,
East Germany took place. That show was released as the 'Live In Leipzig'
In April of 1991 Dead committed suicide. Shortly
after Dead's suicide, Necrobutcher left the band. Occultus joined
the band as vocalist/bassist to replace Dead & Necrobutcher, but
left shortly after joining. Euronymous brought in Varg Vikernes (Count
Grishnackh from the one-man band Burzum) to play bass, and Attila
Csihar (vocalist for the legendary Hungarian band Tormentor) on vocals.
Blackthorn (from legendary band Thorns) joined for a short time as
a second guitrist, but left soon after joining. This line up recorded
the long awaited first full length Mayhem album 'De Mysteriis Dom
Sathanas'. After the album had been recorded, things started to go
wrong between Euronymous and Count Grishnackh. The troubles between
the two escalated to the highest level, and ended with Grishnack stabbing
Euronymous to death. The story of the Euronymous murder, and the Norweigan
black metal scene in general from the early 1990's has been told time
& time again. I am not going through the whole story here. If
you want to read more about all of it, then buy the book Lords Of
Now Hellhammer was the only remaining member
of Mayhem. The bass tracks on the 'De Mysteriis Dom Sathanas' album
were supposedly rerecorded by Hellhammer out of respect for Euronymous.
In fact this was not true, and the bass tracks on De Mysteriis Dom
Sathanas, are indeed done by Count Grishnackh. It was finally released
in 1993. It was considered to be the final memory of Mayhem.
Mayhem had gained a huge cult following by
this time. The chaos in Norways black metal scene in the early 1990's
had gained worldwide attention. Unfortunately fans were left with
only the few recordings Mayhem had released during their existence,
and a slew of bootleg albums. They had become one of the most infamous
and legendary bands in the underground metal scene. They were gone
but not forgotten.
In 1995, Hellhammer got in touch with Maniac
and Necrobutcher. He wanted to reform Mayhem. They recruited a guitarist
Necrobutcher knew, Rune Erickson (Blasphemer). Now they had a full
line up. They agreed that if the right feeling wasn't there then they
would forget the idea of reforming Mayhem. Fortunately, the feeling
was there more than ever. In 1997 they recorded the mini LP 'Wolfs
Lair Abyss', and proved that they could truly carry on the legacy
of Mayhem. They toured Europe, and did a small tour in the United
States and Mexico. In November of 1998 the band recorded the full
length live album 'Mediolanum Capta Est' in Milano, Italy. Mayhem
were definitely back.
The band unleashed a brand new full length
album entitled 'Grand Declaration Of War' in 2000. It was quite a
different album than their previous efforts. It is Mayhem's vision
of black metal for the new millennium. Despite the altered style on
the new album it is definitely Mayhem and it pulses with the power
that has come through on all their releases. Following the release
of the album was the first ever full tour of the United States for
the band. Then the band proceeded to tour Europe as well. An official
video of a show from Marseille, France was released in February, 2001.
The video was released as both DVD & VHS. Following the release
of the video, Mayhem released 2 live albums. The first was titled
European Legions and featured 7 live tracks from their their Grand
Declaration of War tour, and 5 pre-production tracks from the GDoW
recording sessions. The second live album was titled U.S. Legions
and featured 7 different live tracks from the GDoW tour, and the same
5 pre-production tracks.
Mayhem has been around for over 15 years and
are still going strong, upholding their legacy of Pure Fucking Armageddon!
Official Album Releases:
Pure Fucking Armageddon
Live In Leipzig
De Mysteriis Dom Sathanas
Out From The Dark
Freezing Moon Picture Disc
Wolfs Lair Abyss
Mediolanum Capta Est
Grand Declaration Of War
Grand Declaration Of War Box Set
Live In Marseille
Bootleg Album Releases:
Born Into Evil
P.F.A. Square 6" Russian FlexiDiscs
The True Black
Sometimes They Come Back
From The Darkest Past
Book Made Of Human Flesh
A Tribute To The Black Emperors
Dawn Of The Blackhearts
Ha Elm Zalag
I Love Transylvania
War & Sodomy
True Legends In Black
Live The Life Of The Beast
The creation of a unique form of music is a feat which every band should be proud of. It is for exactly this reason that HADES ALMIGHTY ,formed by Jorn (guitar) and Remi (drums) in 1992, have every right to hold their heads high as perpetrators of pounding, atmospheric, epic, black metal which has yet to find comparison in this genre.
The line up was completed by Janto (bass and vocals) and Nagel (guitar) in 1993 and the band commenced work on their first demo, "Alone Walkyng".
Shortly after the release of "Alone Walkyng" on Wounded Love Records the band signed to Full Moon Productions. Stig then replaced Nagel on guitar and HADES ALMIGHTY released their first album, "Again Shall Be" on which they refined their style immensely thus showing that this band would be a force to be reckoned with among their counterparts.
Things went quiet in the HADES ALMIGHTY camp after that and it was more than two years before their second masterpiece "Dawn Of The Dying Sun" was finally released. The highly acclaimed album was supported by a large scale promotional tour through Europe and also led to the band crossing the water and playing several very successful shows in the USA and Mexico.
At this point in their career it was time for another change and 1998 saw the band busily attending to new agreements, intensive rehearsals , the name alteration (from Hades to Hades Almighty) and the envied opportunity to play at the renowned Wacken Open Air in Germany that summer.
In September 1998 the band entered the Prolog Studio in Dortmund (Germany) to record a very dark and ominous album,"Millenium Nocturne" which was then released, under license from Nuclear Blast, by Hammerheart Records. It was as a follow up to this release that the band toured intensively and crowds throughout Europe witnessed their atmospheric malevolence on a Benelux tour with Mayhem and Primordial and later a joint rampage with Immortal and Benediction. Since then the band have been working relentlessly on new song material which they now unleash upon unsuspecting audiences worldwide via Psycho Bitch Records.
With the new material(The Pulse of Decay) the band members show themselves from a slightly different angle in which their ability to skillfully convey the true darkness of human passion becomes more pronounced than ever before and yet they remain exactly what they always were and shall always be (from the official Hades Almighty homepage www.hadesalmighty.com)
Helheim; (the home of Hel) Hel is a godess the daughter of Loke and the jotungiantess Angerboda. She's also the sister of The Midgard Serpent and Fenris. She was condemned by the gods to rule below and to welcome all those who died of either sickness or old age. Helheim, or just Hel, consists of nine levels, but each level do not have their own names.
The story started in 1992 when V'gandr and H'grimnir had the mutual idea of creating extreme metal music. But metal cannot be made without someone to fill the drumchair, and soon after Hrymr came along to somplete the band. Already from the very beginning Helheim had high ambitions, and even without much experience they weren't afraid to enter the stage. They played several
festivals in Bergen just to get live experience from the start.
In the mid of 1993 Nidhogg joined Helheim, and now they felt a demo should see the light of day. The summer went by, and in the fall the same year they released their debut demo simply entitled "Helheim". The demo never made its way outside the borderlines of Norway as the band realized that the released material simply wasn't good enough.
Soon after they started writing new and more innovative material for their upcoming demo. It was at this point Nidhogg left the band as he wasn't willing to sell his soul to Helheim. In mid 1994 "Nidr ok Nordr liggr Helvegr" (Netherwards and Northwards lies Helheim) saw the first ray of light, and it was at this point that the german label Solistitium records (now Millenium music) got in touch with Helheim.
The band signed a two record deal contract, and released their debut CD "Jormundgand" (The Midgard Serpent) recorded in Grieghallen in 1995, and followed up with an european tour in 1996, the "Pagan Triumph Tour"along with Behemoth and Christ Agony. They also did an appearance at the "Under the black sun" festival in Medewitz, Germany.
After the return from the tour Helheim immediately started working on new material for the epic follow up "Av Norrøn Ætt" (Of Norse Lineage) which turned out to be very different from the debut despite for the fact that they still recorded in Grieghallen. This time the european tour, the "Nights of Revelation Tour", went along with countrymen Hades Allmighty, Aeternus and Isvind. When returning from the tour the band ended their cooperation with Solistitium records. For many people it seemed like Helheim departed as they showed no sign of life other than on the "Fucking christmas" festival in Berlin, Germany. But the fact was that they wanted something grandeur to happen and were also in the need of a new label.
In 1999 Ars Metalli got in touch with Helheim for a one album contract. Even though the label were of a highly underground character Helheim still decided to give them a try. It was at this point Lindheim (synth) and Thorbjørn (lead guitar) joined forces with the band to strenghtening the circle. In search of a different sound they went to the fresh producer Odd Kronheim in S.J.E.F. studio and recorded the MCD "Terrorveldet" (The realm of terror) and the full lenght "Blod & Ild" (Blood and Fire), which both harvested really good critics in the world press. Helheim also took the brave move in recording a music video for the track "Jernskogen" (The Ironforest). Unfortunately they didn't make it onto the road for a tour this time, but did an appereance at "Under the black sun" festival and the "Party-san Open air" festival. In return this left more time to rehearse on new and even more innovative material which led to the recording of the MCD "Helsviti" (Hels punishment) in 2001. This time they returned to good old Pytten in Grieghallen to once again make history...
(from the official helheim homepage www.helheim.com)
Varg Vikernes (Count Grishnackh) has recorded
5 full length albums and 1 EP under the name Burzum. In the past Varg
has also been involved in a number of other projects, namely Satanel
and Old Funeral (which are discussed in the 1996 Terrorizer interview).
You may also have heard the name 'Urak-hai' used in reference to Varg's
early projects. This is in fact Burzum under an earlier name (the
Burzum song Naar himmelen Klarner from the Det Som En Gang Var album
for example was written initially as an 'Urak-hai' track). Varg also
sporadically played bass for the band Mayhem, and plays on their De
Mysteriis Dom Sathanas album (and numerous Mayhem bootlegs). Contrary
to some reports, Varg's bass tracks were never removed after he killed
Mayhem frontman Euronymous, as Mayhem's Hellhammer hints in recent
interviews. However, Varg informs me that he has never been involved
in the band Zyklon-B (even as a session musician), as has sometimes
been reported. Anyway, what's given here is a complete listing of
all the Burzum albums.(for more information visit to the official
The BURZUM albums:
"Burzum" Demo 1 '91 (unreleased)
"Burzum" Demo 2 (unreleased)
Burzum Promo '92 (unreleased)
Det Som En Gang Var (DSP/Misanthropy)
Hvis lyset Tar Oss (Misanthropy)
Daudi Baldrs (Misanthropy)
CARPATHIAN FOREST should need no introduction.
The band has been surrounded with pure cult status within the underground,
among those devoted to the true Norwegian Death & Black Metal
scene. In spite of the few releases during its ten years of existence,
Carpathian Forest are one of the few living-legends in a scene that
is more than overcrowded with trendies and newcomers who first jump
on the Black Metal bandwagon. Since their release of the legendary
demo ''Bloodlust and Perversion'' back in 1992, their music has been
following an obscure path made of obsessive, morbid and grim sounds
which are to this day a sort of trademark for the band.
Though the band kept silent for 3 years between their first official release
on Avantgarde Music (the MCD "Through Chasm, Caves and Titan
Woods" in 1995), their first full length "Black Shining
Leather" in 1998 hit the masses like a fist in the face and received
unconditional acclaim by the worldwide press and fellow Norwegian
musicians. It was probably this surprising (but we dare say obvious)
feedback that pushed the band to immediately start working on brand
new tracks so that we should not have to wait too long for a new opus...
"Inspiration clearly flowed and we found ourselves enough brilliant
material for not one but two albums!" Major changes occurred
within Carpathian Forest: founding member Nordavland left the band
right after the recordings. It was a mutual agreement and we won't
make any fuss about it. Tchort (ex-EMPEROR/SATYRICON) has taken over
the guitar duties, Vrangsinn (of WORLD DESTROYER) is the bassist and
synth-programmer in charge, and A. Kobro (IN THE WOODS) is the skin
beater! Sound Suite studios was again the incubator that brought to
light the band's new creatures: "Strange Old Brew" eleven
tracks which do not betray the essence of Carpathian Forest, for they
are still the masters of pure Black Metal in the new millenium! "Strange
Old Brew" is just the first part of a perverted concept that
will have its conclusion when you least expect it... "Morbid
Fascination of Death" is already lurking behind you...12 more
tracks recorded at the same time/place as "Strange Old Brew",
including a more deathlike approach with the unique CF sound you know
and love...raw, necro, and blasphemous...including a cover of a Mayhem
song you may not have heard before..."Ghoul"!!
-"Bloodlust & Perversion" - Demo
1992, Re-released in 1995 as a Bootleg (unknown record company)
-In These Trees Are My Gallows 7" (Demo) - 1993
-Journey Through The Cold Moors of Svarttjern (Promo) - 1993
-"Through Chasm, Caves and Titan Woods" - 1995 Avantgarde
-"Black Shining Leather" - 1998 Avantgarde Music CD
& Pic LP
-"Carpathian Forest 7"" - 2000 Avantgarde Music
"Live In Darkness" - 1999 (No Label, Limited to 1000
Copies).Live, September 17, 1992 - Italy,
-"Strange Old Brew" - 2000 (Avantgarde Music) CD & LP
-"Carpathian Forest / Dark Funeral Split" LP Only - (No
-"Morbid Facination of Death" - 2001 Avantgarde Music
-"We Are Going To Hell For This" - 2002 Avantgarde Music
-"Defending The Throne Of Evil" - 2003 Season Of Mist
-Nattefrost (aka Lord Nosferatu): Vocals, Guitars
& Synth -Nordavind (aka Lord Karnstein): Guitars, Synth &
Backing Vocals -Tchort: Bass -A. Korbo: Drums
Current Live Line-up: -Nattefrost: Vocals &
Guitar -Tchort: Guitar -Vrangsinn: Bass & Synth -A. Korbo: Drums
Former Session Members: -Lord Blackmangler:
Guitar (Bloodlust & Perversion) -Grimm: Bass (Bloodlust &
Perversion) -Damnatus: Bass (Bloodlust & Perversion) -Svein H.
Kleppe: Drums (Through Chasm, Caves & Titan Woods) -John M. Marr:
Bass (Through Chasm, Caves & Titan Woods) -Lazare (from Solefald):
Drums (Black Shining Leather)
"DARKTHRONE has its baby steps strolling along in late `86 when me and some metal interested friends started bashing out some feeble shit in a rehearsel place of Kolbotn. The place we`re basically all from.
I had musical "controle", influenced by everything from CRYPTIC SLAUGHTER to CELTIC FROST.
Ivar (Zephyrous) joined in early `87, so did Dag, our now ex.bassist. We had to get rid of our very first guitarist. One of the reasons beeing that he had a 5 star poster in his room for those who remember that act ! It got serious in late `87 and we took the name of DARKTHRONE. Maybe (the name) ah, fuck it was inspired by the danish mag. BLACKTHORN and some CELTIC FROST lyrics.
First demo " Land Of Frost " was done in early `88, and right after that I got a phonecall from a metalfriend of mine who wondered if we needed a second guitarist. I met up with Ted (Nocturno Culto) and I remember it as if it was yesterday. He checked us out in our first gig (may `88) and joined DARKTHRONE immediately...which was odd `cause we probably sucked. Maybe he was really desperate.
1988 was alot of rehearsing and underground activity and the result was "Thulcandra". Thrash with a little death thrown in. I did the not-very-happy vocals and it was`nt until 1989 when Ted both started making riffs and doing vocals, that we had something very strong going.
"Cromlech" hit the underground. This was a 100 % live recording.
The only goals I ever had in life (and with DARKTHRONE for that matter) was getting a record deal, and by Satan with "Cromlech" we got it. On Peaceville.
The same label as panzergodly AUTOPSY. Mind you, it was far more difficult to get a deal in the 80`s then in the 90`s.
So, where should we record our first album "Soulside Journey" ? I had been in contact with Nicke since he played in BRAINWARP. I supported the first NIHILIST reh. massively. They later became ENTOMBED.
So we went to Stockholm. Lived with those guys for a week while we recorded in SUNLIGHT. It was natural back then, but now I would`ve decided to go to a more "organic" studio.
The rest as they say is history... "(by Fenriz)
More info: www.darkthrone.info
Thorns is a legendary Norwegian underground
Black Metal act, being started in 1990. They did 2 studio reherseals
on tape, "Grymyrk" and "Trondertun". Other than
that, their only release is the "Thorns Vs. Emperor" split
with Emperor. According to Moonfog Thorns also have inspired most
of the leading Black Metal bands of today's scene in one way or another.
Their self-entitled full-length debut features only one of the original
members, Snorre W. Ruch, but although there aren't any other original
members left, Thorns can present an impressive line-up consisting
of among others Satyr of Satyricon on vocals, as well as Aldrahn of
DHG, also on vocals, and Hellhammer of Mayhem (and Kovenant, Arcturus,
Winds) on live-drums....
Thorns vs Emperor
Thorns - Rehearsal 89-91
Nordic Metal Compilation - A Tribute to Euronymous
Moonfog 2000 - A different perspective
Darkthrone Holy Darkthrone - Eight Norwegian bands paying tribute