⛧
Deathcrush (1987)
Released in March 1987, Deathcrush is the second demo from Norway's Mayhem. This shows vast improvement over the previous demo in just about every way. The style here is typical of an underground recording from this period, mixing bits of black, death and thrash together. The songwriting and musicianship are rather primitive. Much of the material is mid-paced and rather catchy, inspired by the more rock-oriented side of Hellhammer. One can hear Venom and Sodom during the faster parts, which almost almost sound like everything is about to collapse and just barely holding on.
The guitar tone was influenced by the German/European version of Obsessed by Cruelty. The thick bass is prominent in the mix and gives this a fuller sound than most other demos from this era. There are two session vocalists here, the main one utilizing throat-shredded, demented screams for the most part. The lyrics are quite amateurish gore nonsense, far inferior to what bands like Death were doing at the same time.
Deathcrush is a decent recording, but there was so much better being done in the underground at this time. There were countless bands in South America and Poland, for example, that absolutely killed this in terms of rawness and aggression. As for being dark or evil, this doesn't possess even a fraction of the atmosphere found on an album like Hell Awaits or even the Poison demos. Still, this isn't bad and is certainly worth a listen for anyone into '80s demo tapes.
The guitar tone was influenced by the German/European version of Obsessed by Cruelty. The thick bass is prominent in the mix and gives this a fuller sound than most other demos from this era. There are two session vocalists here, the main one utilizing throat-shredded, demented screams for the most part. The lyrics are quite amateurish gore nonsense, far inferior to what bands like Death were doing at the same time.
Deathcrush is a decent recording, but there was so much better being done in the underground at this time. There were countless bands in South America and Poland, for example, that absolutely killed this in terms of rawness and aggression. As for being dark or evil, this doesn't possess even a fraction of the atmosphere found on an album like Hell Awaits or even the Poison demos. Still, this isn't bad and is certainly worth a listen for anyone into '80s demo tapes.
(20 Mar. 2009)
Live in Leipzig (1992)
It was a cold November night in 1990 when, arguably, the most influential band of the Norwegian Black Metal scene took the stage in Leipzig, Germany. For Dead, Euronymous, Necrobutcher and Hellhammer, it was, most likely, an ordinary night. Mayhem was at its creative peak, and in the midst of changing how black metal was perceived, yet none present were aware that they were taking part in a performance that would later be deemed legendary and of great significance. The show was captured on tape and bootlegged to the point where it came to the attention of Euronymous, himself. Following Dead's suicide, a deal was made with a small Italian label, Obscure Plasma Records, to release the performance as an official tribute to their former vocalist. And thus the Live in Leipzig album was given birth, in 1992.
My first experience with this record came several years back, in the days when such music was not so readily available. One could not just jump on the internet and find anything and everything within mere moments. It was late at night and I was listening to a college radio program. I called in to request some old Mayhem material that featured Dead on vocals, and was put off for a couple weeks. Finally, I spoke to the DJ and he was preparing to play some that night. I had to go out, but left a tape in the stereo and recorded the remainder of the show. When I returned, it was around two in the morning and the room was lit with only candles as the cassette recounted the tale of that night's program. The majority of the songs were rather mundane or things that I was already familiar with. However, as the live rendition of "Funeral Fog" began, I could feel something stirring within me. De Mysteriis Dom Sathanas was an album that I knew very well, yet to hear the song in such a raw and primal manner caused it to take on a new meaning. However, once Dead's vocals began to bleed forth from the speakers, the whole atmosphere of the room changed. The shadows that danced upon the walls, from the flickering of the candles, now seemed to move in an ominous rhythm. I knew in that instant that this man's death was a tragic waste of potential and left the Mayhem L.P. as a mere shadow of what it could have been.
This is the only official Mayhem release to feature Dead's versions of some of the songs that ended up on their debut L.P. What one finds upon listening to this is something quite different from the Morbid demo. In a live setting, many of the subtle effects are not as practical, and what the listener is exposed to is the sound of a man possessed. From the opening moments of the record, as his voice cuts through the crowd noise, proclaiming "Only death is real", throughout the tracks from the 1987 Deathcrush demo and on to half of the songs from the upcoming De Mysteriis Dom Sathanas release, it is impossible to not feel the dark essence and force of evil that was conjured up by this otherworldly being. Regarding the old material, Maniac's efforts on the demo are completely destroyed and forgotten, though where Dead truly shines is on the new songs. As one that actually appreciates Attila's work on the studio album, it is still somewhat saddening to hear the potential that these songs once had, Dead had poured himself into these compositions and through his vision had the truly risen from the rotten graves. Without him, they are clearly lacking something. Few things match the ferocity heard in his voice on "Funeral Fog", or the morbid chill that runs up your spine as he introduces "Freezing Moon". One has to wonder how accurately this live performance reflects his true vision for these songs, as one would assume that the tactics that he employed on the December Moon demo would have played some part in the final recordings and that the extra rawness in his voice may simply have come from the necessities of the live setting.
As for the music, itself, there are some notable differences when compared to the proper versions of these songs. The Deathcrush material has been slowed down and takes a somewhat doomier approach. Perhaps this was just to give them less of an upbeat feel, or maybe to emphasize the vocals and give Dead a chance to really get into the songs without screaming to the extent that Maniac had done. While enjoyable, the older songs are really just filler when compared to the new stuff. Songs such as "Freezing Moon" and "Pagan Fears" just seem to flow much better, showing the growth that the band had experienced and the increased talent in songwriting. Due to the inability to record a proper album for so many years, the band lived and breathed these songs for quite some time and had plenty of opportunities to make changes as the years passed by. This is quite evident in the song that stands out as the highlight of the entire record, "Buried by Time and Dust".
The various feelings that the listener is imbued with are all the more impressive when one takes into consideration the sound of the recording and the production values. This does not possess the crisp and cold sound that is present on the full-length, but the mix is not bad at all. Unlike the tracks that appeared on the Projections of a Stained Mind compilation, the drums do not dominate the sound and the guitar riffs are quite audible. There is a healthy balance between the two, which combine to provide the perfect backdrop for Dead's barbaric frenzy. In a sense, the overall sound here is very appropriate, as the rawness of the recording keeps alive the 80s spirit in which these songs had begun to be crafted, and offers a different perspective than the later versions. One can really feel the energy and passion that each member is playing with, as if the entire band is under the spell of the dark gods. The level of intensity stands in sharp contrast to the dull sounds of the crowd, probably caught completely by surprise at what they were witnessing.
From the iconic cover image (of later versions) to the classic songs and the legendary performance by a band that was in its prime, Live in Leipzig is a great example of what black metal is supposed to be about. It's raw and dirty and dripping with evil, yet not without its more epic and memorable moments as well. Don't be tempted to listen to the fools that tell you that this is merely a novelty item that should be checked out once or twice or simply purchased for its supposed cult value. This is the true representation of Mayhem and a view into a more pure time for black metal, before it was co-opted by posers and mutated into something unrecognizable. Seek this out at all costs and, if you already own it, don't let it sit on the shelf and collect dust. Put it in the stereo, turn the volume all the way up and allow the true essence of black purity wash over your pathetic spirit.
My first experience with this record came several years back, in the days when such music was not so readily available. One could not just jump on the internet and find anything and everything within mere moments. It was late at night and I was listening to a college radio program. I called in to request some old Mayhem material that featured Dead on vocals, and was put off for a couple weeks. Finally, I spoke to the DJ and he was preparing to play some that night. I had to go out, but left a tape in the stereo and recorded the remainder of the show. When I returned, it was around two in the morning and the room was lit with only candles as the cassette recounted the tale of that night's program. The majority of the songs were rather mundane or things that I was already familiar with. However, as the live rendition of "Funeral Fog" began, I could feel something stirring within me. De Mysteriis Dom Sathanas was an album that I knew very well, yet to hear the song in such a raw and primal manner caused it to take on a new meaning. However, once Dead's vocals began to bleed forth from the speakers, the whole atmosphere of the room changed. The shadows that danced upon the walls, from the flickering of the candles, now seemed to move in an ominous rhythm. I knew in that instant that this man's death was a tragic waste of potential and left the Mayhem L.P. as a mere shadow of what it could have been.
This is the only official Mayhem release to feature Dead's versions of some of the songs that ended up on their debut L.P. What one finds upon listening to this is something quite different from the Morbid demo. In a live setting, many of the subtle effects are not as practical, and what the listener is exposed to is the sound of a man possessed. From the opening moments of the record, as his voice cuts through the crowd noise, proclaiming "Only death is real", throughout the tracks from the 1987 Deathcrush demo and on to half of the songs from the upcoming De Mysteriis Dom Sathanas release, it is impossible to not feel the dark essence and force of evil that was conjured up by this otherworldly being. Regarding the old material, Maniac's efforts on the demo are completely destroyed and forgotten, though where Dead truly shines is on the new songs. As one that actually appreciates Attila's work on the studio album, it is still somewhat saddening to hear the potential that these songs once had, Dead had poured himself into these compositions and through his vision had the truly risen from the rotten graves. Without him, they are clearly lacking something. Few things match the ferocity heard in his voice on "Funeral Fog", or the morbid chill that runs up your spine as he introduces "Freezing Moon". One has to wonder how accurately this live performance reflects his true vision for these songs, as one would assume that the tactics that he employed on the December Moon demo would have played some part in the final recordings and that the extra rawness in his voice may simply have come from the necessities of the live setting.
As for the music, itself, there are some notable differences when compared to the proper versions of these songs. The Deathcrush material has been slowed down and takes a somewhat doomier approach. Perhaps this was just to give them less of an upbeat feel, or maybe to emphasize the vocals and give Dead a chance to really get into the songs without screaming to the extent that Maniac had done. While enjoyable, the older songs are really just filler when compared to the new stuff. Songs such as "Freezing Moon" and "Pagan Fears" just seem to flow much better, showing the growth that the band had experienced and the increased talent in songwriting. Due to the inability to record a proper album for so many years, the band lived and breathed these songs for quite some time and had plenty of opportunities to make changes as the years passed by. This is quite evident in the song that stands out as the highlight of the entire record, "Buried by Time and Dust".
"Many years had passed since the funeral... buried ages ago..."The studio version contains some brilliant riffs during the middle section, yet what is found here is quite different. It sounds as if one of the riffs is still there, in a much cruder form, accompanied by something completely different from what made it to the album. In several interviews, Euronymous made mention of tossing out riffs that were not good enough and constantly working on the material to make it as dark and evil as it could possibly be. In this case, a great riff was tossed out, which makes these older versions of the song all the more valuable. During this particular riff, the vocals sound more evil and possessed than at any other part of the record, and these brief moments stand as proof that utter genius was lost as this band began to fall apart. The atmosphere that is created by this passage is difficult to describe, as something powerful reaches out of the dark and grips your heart. In those moments, you can feel the experience of crawling through six feet of rotten dirt and rising among the graves in the dead of night, under the full moon, consumed with some inhuman need for blood and death.
The various feelings that the listener is imbued with are all the more impressive when one takes into consideration the sound of the recording and the production values. This does not possess the crisp and cold sound that is present on the full-length, but the mix is not bad at all. Unlike the tracks that appeared on the Projections of a Stained Mind compilation, the drums do not dominate the sound and the guitar riffs are quite audible. There is a healthy balance between the two, which combine to provide the perfect backdrop for Dead's barbaric frenzy. In a sense, the overall sound here is very appropriate, as the rawness of the recording keeps alive the 80s spirit in which these songs had begun to be crafted, and offers a different perspective than the later versions. One can really feel the energy and passion that each member is playing with, as if the entire band is under the spell of the dark gods. The level of intensity stands in sharp contrast to the dull sounds of the crowd, probably caught completely by surprise at what they were witnessing.
From the iconic cover image (of later versions) to the classic songs and the legendary performance by a band that was in its prime, Live in Leipzig is a great example of what black metal is supposed to be about. It's raw and dirty and dripping with evil, yet not without its more epic and memorable moments as well. Don't be tempted to listen to the fools that tell you that this is merely a novelty item that should be checked out once or twice or simply purchased for its supposed cult value. This is the true representation of Mayhem and a view into a more pure time for black metal, before it was co-opted by posers and mutated into something unrecognizable. Seek this out at all costs and, if you already own it, don't let it sit on the shelf and collect dust. Put it in the stereo, turn the volume all the way up and allow the true essence of black purity wash over your pathetic spirit.
(3 Aug. 2011)
De Mysteriis Dom Sathanas (1994)
In late 1992, Mayhem finally entered the studio to begin recording De Mysteriis Dom Sathanas. Various delays resulted in its final release only coming in May 1994. The album is built around guitars that are sharp, thin, and fully exposed in the mix. The tone is not thick or reinforced, which leaves every riff clearly defined. The Grieghallen recording adds natural room space with reverb and decay that spreads the sound out and gives everything distance, like it is echoing through a large empty cavern rather than being contained in a tight studio. This sense of space is crucial to the atmosphere of the record.
Most of the album moves through tremolo-driven riffs and frequent structural shifts. The writing often avoids full resolution, with riffs moving into the next idea before the previous one settles. That constant lack of resolution is a major part of the tension across the record. The drumming keeps a steady framework through these changes, especially at higher speeds, but the focus stays on the guitar lines and how they are built and connected. At times, the percussion is overactive and detracts from the atmosphere. The bass mostly follows the guitars, but in certain sections it becomes more audible and adds a darker layer underneath the riffs. When it comes forward it adds a gloomy feeling to the material.
A lot of the impact comes from specific, memorable guitar moments. The opening of "Freezing Moon" sets the tone immediately with cold, melancholic riffs that carry a strong atmosphere from the start. This is accentuated by the slower section that imbues the listener with a sense of dread, as well as the eerie solo later in the track. Being the oldest song on here, it still maintains some sense of '80s songwriting. Meanwhile, "Buried by Time and Dust" is a good example of the more intense and straightforward material, featuring blistering drums and the sort of haunting lead harmonies that are found throughout the record. It works well despite being sped up from earlier versions and lacking one of the of the stronger riffs that existed in rehearsal and live recordings.
One of the strongest moments on the record is in "Life Eternal", near the end, when everything drops away except a single tremolo guitar line. That section is completely exposed, with nothing underneath it but that riff carrying the moment before the drums return. It stands out because of how much weight is placed on a single line. This is similar to the opening moments of the title track, where an isolated riff bursts from the realm below, overflowing with an evil, malevolent feeling.
The lyrics add to the overall vibe of the record as well, mostly penned by Dead. One can only wonder how he would have handled the vocals here, considering that his studio work with Morbid and Mayhem allowed him to articulate things differently than the more over-the-top screaming he did in the rehearsal and live versions. Compared to his predecessor's more direct renditions, Attila’s approach on this album is more varied and unique. He utilizes strained screams, lower throaty sounds, whispers, and longer wailing passages, with chant-like sections especially on the title track. It would not be incorrect to call it a bit theatrical or operatic, at times.
While Euronymous was the central creative force behind the record, Blackthorn’s contribution to the album and in helping develop this style should not be overlooked. What defines the album overall is the manner in which the riffs carry the structure. The atmosphere comes from the guitar tone, the writing, and the space created by Pytten's masterful production. De Mysteriis Dom Sathanas is a classic of Norwegian black metal for a reason. It's too bad that the bands that were influenced by earlier versions of this material had already established themselves a couple years before Mayhem was finally able to record a proper L.P. However, considering all of the nonsense going on around the band, it is notable that this even exists at all.
Most of the album moves through tremolo-driven riffs and frequent structural shifts. The writing often avoids full resolution, with riffs moving into the next idea before the previous one settles. That constant lack of resolution is a major part of the tension across the record. The drumming keeps a steady framework through these changes, especially at higher speeds, but the focus stays on the guitar lines and how they are built and connected. At times, the percussion is overactive and detracts from the atmosphere. The bass mostly follows the guitars, but in certain sections it becomes more audible and adds a darker layer underneath the riffs. When it comes forward it adds a gloomy feeling to the material.
A lot of the impact comes from specific, memorable guitar moments. The opening of "Freezing Moon" sets the tone immediately with cold, melancholic riffs that carry a strong atmosphere from the start. This is accentuated by the slower section that imbues the listener with a sense of dread, as well as the eerie solo later in the track. Being the oldest song on here, it still maintains some sense of '80s songwriting. Meanwhile, "Buried by Time and Dust" is a good example of the more intense and straightforward material, featuring blistering drums and the sort of haunting lead harmonies that are found throughout the record. It works well despite being sped up from earlier versions and lacking one of the of the stronger riffs that existed in rehearsal and live recordings.
One of the strongest moments on the record is in "Life Eternal", near the end, when everything drops away except a single tremolo guitar line. That section is completely exposed, with nothing underneath it but that riff carrying the moment before the drums return. It stands out because of how much weight is placed on a single line. This is similar to the opening moments of the title track, where an isolated riff bursts from the realm below, overflowing with an evil, malevolent feeling.
The lyrics add to the overall vibe of the record as well, mostly penned by Dead. One can only wonder how he would have handled the vocals here, considering that his studio work with Morbid and Mayhem allowed him to articulate things differently than the more over-the-top screaming he did in the rehearsal and live versions. Compared to his predecessor's more direct renditions, Attila’s approach on this album is more varied and unique. He utilizes strained screams, lower throaty sounds, whispers, and longer wailing passages, with chant-like sections especially on the title track. It would not be incorrect to call it a bit theatrical or operatic, at times.
While Euronymous was the central creative force behind the record, Blackthorn’s contribution to the album and in helping develop this style should not be overlooked. What defines the album overall is the manner in which the riffs carry the structure. The atmosphere comes from the guitar tone, the writing, and the space created by Pytten's masterful production. De Mysteriis Dom Sathanas is a classic of Norwegian black metal for a reason. It's too bad that the bands that were influenced by earlier versions of this material had already established themselves a couple years before Mayhem was finally able to record a proper L.P. However, considering all of the nonsense going on around the band, it is notable that this even exists at all.
(9 Sept. 2008)
Freezing Moon (1996)
The Freezing Moon single is a release that is of high interest to any hardcore fan of Mayhem's classic era. The release features two songs that appeared on the CBR compilation, Projections of a Stained Mind back in 1991. Recorded in 1989, these tracks are the only studio recordings made during Dead's tenure in the band. Re-released as a single, in 1996, this served to stir up more interest in the band, prior to their rebirth.
"Freezing Moon" is the quintessential Mayhem song. Right off, one notices that the drums and bass are much higher in the mix and dominate the sound more than they should. Actually, the primary complaint about this recording is that the drums overpower the riffs in some places, but it is not to such an extent as to leave the song bereft of atmosphere. By this point, the song was firmly established and is fairly identical to the version that would later appear on De Mysteriis Dom Sathanas. Of course, the music is not the real selling point, here. The vocal performance of Dead is the best captured during his years with the band and offers a small glimpse into what was and what could have been. With all due respect to Attila, this song shows that Mayhem suffered a great loss with the passing of their strange Swedish vocalist. His voice is very morbid and like something that crawled out of a damp grave. It is not strained or over-the-top, as displayed on the many live recordings and rehearsals from this period. Dead shares some similarities with Quorthon, on Under the Sign of the Black Mark, and yet sounds more evil and possessed. This is the standard by which other black metal vocalists would come to be judged. As a result, the atmosphere of the track is very dark and truly showcases the development of Mayhem from the days of Deathcrush.
"Carnage" proceeds to destroy the versions found on the Pure Fucking Armageddon demo. Everything is very precise and the song possesses an old school thrash feeling. In particular, one riff near the middle is mildly reminiscent of "Chemical Warfare". The song isn't as dark as the one that precedes it, but still carries a primitive, ugly feeling in the vein of classic Bathory. Again, the vocals are the highlight, here. As with the previous song, the sound is raw yet clear enough to allow the riffs to be heard.
Freezing Moon captures an important band in their prime, arguably at their creative peak. It's the only studio recording from Mayhem, featuring the classic line-up and is the best example of what Dead was capable of, vocally. While it is a shame that he didn't live long enough to record the full-length, at least some pieces of his work remain. These songs are a great representation of what this band was all about, and epitomize black metal itself. An essential release.
"Freezing Moon" is the quintessential Mayhem song. Right off, one notices that the drums and bass are much higher in the mix and dominate the sound more than they should. Actually, the primary complaint about this recording is that the drums overpower the riffs in some places, but it is not to such an extent as to leave the song bereft of atmosphere. By this point, the song was firmly established and is fairly identical to the version that would later appear on De Mysteriis Dom Sathanas. Of course, the music is not the real selling point, here. The vocal performance of Dead is the best captured during his years with the band and offers a small glimpse into what was and what could have been. With all due respect to Attila, this song shows that Mayhem suffered a great loss with the passing of their strange Swedish vocalist. His voice is very morbid and like something that crawled out of a damp grave. It is not strained or over-the-top, as displayed on the many live recordings and rehearsals from this period. Dead shares some similarities with Quorthon, on Under the Sign of the Black Mark, and yet sounds more evil and possessed. This is the standard by which other black metal vocalists would come to be judged. As a result, the atmosphere of the track is very dark and truly showcases the development of Mayhem from the days of Deathcrush.
"Carnage" proceeds to destroy the versions found on the Pure Fucking Armageddon demo. Everything is very precise and the song possesses an old school thrash feeling. In particular, one riff near the middle is mildly reminiscent of "Chemical Warfare". The song isn't as dark as the one that precedes it, but still carries a primitive, ugly feeling in the vein of classic Bathory. Again, the vocals are the highlight, here. As with the previous song, the sound is raw yet clear enough to allow the riffs to be heard.
Freezing Moon captures an important band in their prime, arguably at their creative peak. It's the only studio recording from Mayhem, featuring the classic line-up and is the best example of what Dead was capable of, vocally. While it is a shame that he didn't live long enough to record the full-length, at least some pieces of his work remain. These songs are a great representation of what this band was all about, and epitomize black metal itself. An essential release.
(31 August 2011)
Out from the Dark (1996)
By early 1991, black metal had gone very deep underground. Bands such as Venom, Bathory and Hellhammer / Celtic Frost had all moved on to different types of music and, though there were a good number of obscure demo bands, only a small handful were able to record actual albums. Groups such as Sabbat, Master's Hammer, Samael, Blasphemy and Root were all doing their part to keep the black flame burning; however, in the bitter cold north the task fell to but one band: Mayhem. Euronymous and his cohorts had been toiling away in the shadows for many years, but one thing after another prevented them from making a proper debut album. They had been surviving on the momentum created by the Pure Fucking Armageddon demo, as well as the Deathcrush E.P. More than that, they maintained some level of visibility due to the interviews and live performances that displayed a true understanding of what black metal was supposed to be about. In the process of carrying on the old tradition, they managed to influence many others around them and soon helped to spawn an entire movement. All the while, they were continuing to work on the material that would go on to become the De Mysteriis Dom Sathanas album, constantly rehearsing or putting on memorable live shows. One such rehearsal caught the absolute darkness and evil of this band, released some years later as Out from the Dark.
This is one of the strongest recordings ever made by the classic line-up of Mayhem. It features the guitar-work of Euronymous, Necrobutcher on bass, the percussive skills of Hellhammer and the possessed vocals of Dead. This rehearsal includes seven songs, of which three are from the upcoming L.P. The old songs go as expected, showing minor alterations from the official versions, but retaining the raw black essence that gave birth to them in the first place. Dead vomits forth blasphemies and morbid incantations, bringing these tunes to a new level. Nonetheless, the real highlights are the new songs. "Funeral Fog", "Freezing Moon" and "Buried By Time and Dust" showcase the band's evolution into a much darker musical entity.
The sound is really good for a rehearsal, allowing the guitar melodies to be heard quite well, along with the impassioned vocal performance. Chances are that this is not exactly what Dead would have sounded like, had he survived long enough to make the album. Listening to his efforts on Morbid's December Moon demo, it is easy to see that he was very versatile and would likely have added a lot of subtle touches rather than going all-out as he often did in a live setting. The newer tracks abandon the overt violence and savagery of the old material, opting instead to focus on creating a dark and morbid atmosphere. Each riff has been written with a specific goal in mind, as countless others were tossed aside for not being evil enough. One listen to "Freezing Moon" is evidence enough that Euronymous was striving for nothing less than utter perfection. The cold and deathly aura seeps into your bones and brings physical and spiritual decay from within. Like the black plague, the haunting melodies infect you and bring about the death of what you once were, prior to hearing this. The true highlight of the release is "Buried By Time and Dust", much like the renditions found on "Live in Leipzig" or "Dawn of the Black Hearts". Not only does the absolute morbidity of Dead's voice reach epic levels, but the riffs are pure evil and in a form not found on the studio version. As the final words escape Dead's soon-to-be-rotting corpse, one cannot help but to succumb to the eerie and chilling feeling.
This is one of the strongest recordings ever made by the classic line-up of Mayhem. It features the guitar-work of Euronymous, Necrobutcher on bass, the percussive skills of Hellhammer and the possessed vocals of Dead. This rehearsal includes seven songs, of which three are from the upcoming L.P. The old songs go as expected, showing minor alterations from the official versions, but retaining the raw black essence that gave birth to them in the first place. Dead vomits forth blasphemies and morbid incantations, bringing these tunes to a new level. Nonetheless, the real highlights are the new songs. "Funeral Fog", "Freezing Moon" and "Buried By Time and Dust" showcase the band's evolution into a much darker musical entity.
The sound is really good for a rehearsal, allowing the guitar melodies to be heard quite well, along with the impassioned vocal performance. Chances are that this is not exactly what Dead would have sounded like, had he survived long enough to make the album. Listening to his efforts on Morbid's December Moon demo, it is easy to see that he was very versatile and would likely have added a lot of subtle touches rather than going all-out as he often did in a live setting. The newer tracks abandon the overt violence and savagery of the old material, opting instead to focus on creating a dark and morbid atmosphere. Each riff has been written with a specific goal in mind, as countless others were tossed aside for not being evil enough. One listen to "Freezing Moon" is evidence enough that Euronymous was striving for nothing less than utter perfection. The cold and deathly aura seeps into your bones and brings physical and spiritual decay from within. Like the black plague, the haunting melodies infect you and bring about the death of what you once were, prior to hearing this. The true highlight of the release is "Buried By Time and Dust", much like the renditions found on "Live in Leipzig" or "Dawn of the Black Hearts". Not only does the absolute morbidity of Dead's voice reach epic levels, but the riffs are pure evil and in a form not found on the studio version. As the final words escape Dead's soon-to-be-rotting corpse, one cannot help but to succumb to the eerie and chilling feeling.
"No one knows my grave,Out from the Dark is an essential release for anyone that has the slightest interest in black metal. This is what Mayhem was all about, and recordings such as this one were instrumental in bringing about the second wave of black metal. Forget whatever trendy garbage that you have been force-fed and conditioned to accept. This is the pure essence of black metal. Seek this out at all costs.
Buried by time and dust"
(12 Nov. 2011)
Wolf's Lair Abyss (1997)
Following the murder of Euronymous, it seemed as if Mayhem would cease to exist. The main creative force behind the band was now in his grave, and following the delayed release of De Mysteriis Dom Sathanas (which was recorded prior to his death), it would appear that Mayhem would rot there with him. This is as it should have been, for despite all of the wasted potential that now rested beneath the earth, there was simply no way for a band to continue without the one person who had given it birth and kept it alive for so many years; the one from whose mind the very concept of the musical movement had spawned. So, for a short time, Mayhem was no more. That is, until a certain greedy drummer realized how much money could be made by cashing in on the notoriety that the band had attained.
Having embraced his Hebrew bloodline, Cashhammer embarked on a mission to revive this dead entity and to breathe life into it once more. He recruited former members, Necrobutcher and Maniac, in order to lend some air of credibility to this scheme. They then picked up a kid by the name of Blasphemer, to try filling the void left behind by Euronymous. Of course, he would never be able to live up to the expectations that many had of him. After a few rehearsals to "see if it felt right", the not-so-true Mayhem began working on new material. After about two years, they finally managed to come up with enough for an E.P. This was even after using some old riffs that were laying around from years past. Quite pathetic, really. So it was in 1997 that Wolf's Lair Abyss was vomited forth.
So what of the music? After a worthless intro that has no place near anything even remotely black metal, the song "I Am Thy Labyrinth" uses a riff that was already ripped off once that year (by Emperor), and not even utilized half as well, sad to say. Right away, the production becomes very annoying as the drumming is far too high in the mix. Hellhammer must have gotten a big head and figured that people cared to hear his efforts moreso than even the guitar riffs. As far as the guitars go, the sound is not as cold and crisp as on the debut L.P. Then again, even an identical sound would not have saved this material. The concept was forever lost and now the band existed solely to make whatever money they could from the hard work and glorified corpses of their former bandmates.
By the time "Fall of Seraphs" begins, the listener is already drained from the overwhelming sense of disappointment and the tedious songwriting. While the music is not so bad, during the slower parts, Maniac's vocals completely ruin the atmosphere and one cannot help but laugh at his feeble attempt to emulate Attila. Remembering interviews with Euronymous that made mention of trashing many guitar riffs because they weren't dark enough, one can see that the new version of Mayhem would not be hindered by such integrity and would merely toss on anything that came to mind.
"Ancient Skin" is the most straightforward black metal song on here, and is the most enjoyable as a result. It maintains a rather fast pace, and does not fall into any traps of experimentation. The drumming gets a little overdone, but it is not enough to really detract from the song. The vocals are still pretty awful, but less comical. All in all, it's a shame that they utilized the type of production that they did, as this track probably could have sounded even better with more of a cold feeling.
By the time the final song begins, the entire experience seems more than a little tiring. "Symbols of Bloodswords" is composed of a mixture of generic riffs as well as some more thought-out ideas. Unfortunately, the piece could have used a bit more refinement. It's not bad and, by this point, the listener has most likely gotten used to the various defects in the album. Still, the band needed to end on a very high note to salvage the impression given by this E.P.
Wolf's Lair Abyss is probably the most competent release of post-Euronymous Mayhem, yet it still falls short in many ways. The songwriting seemed to fail in every respect to capture the same type of feeling and atmosphere that was present on the L.P. Though it was important to establish that they were not out to simply copy themselves, the previous line-up set a high standard, one which these guys failed to meet. In particular, due to the circumstances that befell the band and the expectations that their fans had for them, they owed it to everyone involved to put forth the extra effort to make something truly special and in that regard they failed. This E.P. is decent enough, on its own, but does not deserve to be labeled as a Mayhem release.
Having embraced his Hebrew bloodline, Cashhammer embarked on a mission to revive this dead entity and to breathe life into it once more. He recruited former members, Necrobutcher and Maniac, in order to lend some air of credibility to this scheme. They then picked up a kid by the name of Blasphemer, to try filling the void left behind by Euronymous. Of course, he would never be able to live up to the expectations that many had of him. After a few rehearsals to "see if it felt right", the not-so-true Mayhem began working on new material. After about two years, they finally managed to come up with enough for an E.P. This was even after using some old riffs that were laying around from years past. Quite pathetic, really. So it was in 1997 that Wolf's Lair Abyss was vomited forth.
So what of the music? After a worthless intro that has no place near anything even remotely black metal, the song "I Am Thy Labyrinth" uses a riff that was already ripped off once that year (by Emperor), and not even utilized half as well, sad to say. Right away, the production becomes very annoying as the drumming is far too high in the mix. Hellhammer must have gotten a big head and figured that people cared to hear his efforts moreso than even the guitar riffs. As far as the guitars go, the sound is not as cold and crisp as on the debut L.P. Then again, even an identical sound would not have saved this material. The concept was forever lost and now the band existed solely to make whatever money they could from the hard work and glorified corpses of their former bandmates.
By the time "Fall of Seraphs" begins, the listener is already drained from the overwhelming sense of disappointment and the tedious songwriting. While the music is not so bad, during the slower parts, Maniac's vocals completely ruin the atmosphere and one cannot help but laugh at his feeble attempt to emulate Attila. Remembering interviews with Euronymous that made mention of trashing many guitar riffs because they weren't dark enough, one can see that the new version of Mayhem would not be hindered by such integrity and would merely toss on anything that came to mind.
"Ancient Skin" is the most straightforward black metal song on here, and is the most enjoyable as a result. It maintains a rather fast pace, and does not fall into any traps of experimentation. The drumming gets a little overdone, but it is not enough to really detract from the song. The vocals are still pretty awful, but less comical. All in all, it's a shame that they utilized the type of production that they did, as this track probably could have sounded even better with more of a cold feeling.
By the time the final song begins, the entire experience seems more than a little tiring. "Symbols of Bloodswords" is composed of a mixture of generic riffs as well as some more thought-out ideas. Unfortunately, the piece could have used a bit more refinement. It's not bad and, by this point, the listener has most likely gotten used to the various defects in the album. Still, the band needed to end on a very high note to salvage the impression given by this E.P.
Wolf's Lair Abyss is probably the most competent release of post-Euronymous Mayhem, yet it still falls short in many ways. The songwriting seemed to fail in every respect to capture the same type of feeling and atmosphere that was present on the L.P. Though it was important to establish that they were not out to simply copy themselves, the previous line-up set a high standard, one which these guys failed to meet. In particular, due to the circumstances that befell the band and the expectations that their fans had for them, they owed it to everyone involved to put forth the extra effort to make something truly special and in that regard they failed. This E.P. is decent enough, on its own, but does not deserve to be labeled as a Mayhem release.
(6 Sept. 2011)
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