⛧
Slow Asphyxiation (1990)
Formed in 1989 by David Parland and Joakim Sterner, Necrophobic was born around the same time as better-known bands such as Entombed, Unleashed and Dismember. However, the similarities between these bands were not that great, with Necrophobic taking a darker approach from the very beginning, even before eventually straying into black metal territory. The band's second demo, Slow Asphyxiation, was released in early 1990 and shows a band that has already developed into a force to be reckoned with.
Musically, the three songs on this demo do well to represent a mixture of various '80s influences. At times, this is almost reminiscent of the first Merciless album, with a decent amount of thrash riffs mixed in with the more traditional death metal passages. All of the tracks start out a little slower than the end up, building in intensity as they go along. The old Slayer influence is clearly heard throughout this demo, with hints of Mercyful Fate as well. The songwriting is very strong, especially considering that the band was still fairly new. The transitions are very smooth and every flows well. The riffs are very intense yet never getting to the point of being sloppy or out of control. The drumming does well to try to keep up with the speed of the guitar riffs, never falling behind or losing focus. Parland's solo work is amazing, showing the cold and nocturnal style that he would continue to develop, leading to the band's first full-length. The intro to the title track is particularly impressive and does well to create a dark atmosphere. This aspect really sets Necrophobic apart from many of their peers, and one has to wonder why they were not given more attention at the time. The mixture of Death and Thrash is done very well, creating a nasty and dark feeling. The vocals work well, too, being a bit on the deep side but not so much that anything is really lost. Zander's voice suits the music, despite not being on the same level as Anders Stokirk.
The production is not bad at all, really. It has a somewhat rough sound, but is clear enough for everything to be heard. Considering that it is a death metal demo from 1990, the sound is actually good. It isn't too far behind some of the full albums that were being released around the time. What some may notice is that it lacks the typical buzzsaw guitar tone that was developing in Sweden at the time. Naturally, the musical similarities between Necrophobic and others in the scene were not numerous.
Slow Asphyxiation is a solid slab of old school death metal and a good example of how this style branched off from Thrash. Rather than getting mixed up in the retro craze that has been going on for the last few years, with so many new bands popping up and trying to play this style, listeners would be well advised to first seek out the original demos and albums that were spawned in the old days. It is too bad that Necrophobic didn't manage to record a full-length sooner than they did, as they might have achieved wider recognition, which they absolutely deserved. The tracks from this demo are available on the Satanic Blasphemies compilation, so if you don't already own this cassette don't bother paying a fortune for it.
Musically, the three songs on this demo do well to represent a mixture of various '80s influences. At times, this is almost reminiscent of the first Merciless album, with a decent amount of thrash riffs mixed in with the more traditional death metal passages. All of the tracks start out a little slower than the end up, building in intensity as they go along. The old Slayer influence is clearly heard throughout this demo, with hints of Mercyful Fate as well. The songwriting is very strong, especially considering that the band was still fairly new. The transitions are very smooth and every flows well. The riffs are very intense yet never getting to the point of being sloppy or out of control. The drumming does well to try to keep up with the speed of the guitar riffs, never falling behind or losing focus. Parland's solo work is amazing, showing the cold and nocturnal style that he would continue to develop, leading to the band's first full-length. The intro to the title track is particularly impressive and does well to create a dark atmosphere. This aspect really sets Necrophobic apart from many of their peers, and one has to wonder why they were not given more attention at the time. The mixture of Death and Thrash is done very well, creating a nasty and dark feeling. The vocals work well, too, being a bit on the deep side but not so much that anything is really lost. Zander's voice suits the music, despite not being on the same level as Anders Stokirk.
The production is not bad at all, really. It has a somewhat rough sound, but is clear enough for everything to be heard. Considering that it is a death metal demo from 1990, the sound is actually good. It isn't too far behind some of the full albums that were being released around the time. What some may notice is that it lacks the typical buzzsaw guitar tone that was developing in Sweden at the time. Naturally, the musical similarities between Necrophobic and others in the scene were not numerous.
Slow Asphyxiation is a solid slab of old school death metal and a good example of how this style branched off from Thrash. Rather than getting mixed up in the retro craze that has been going on for the last few years, with so many new bands popping up and trying to play this style, listeners would be well advised to first seek out the original demos and albums that were spawned in the old days. It is too bad that Necrophobic didn't manage to record a full-length sooner than they did, as they might have achieved wider recognition, which they absolutely deserved. The tracks from this demo are available on the Satanic Blasphemies compilation, so if you don't already own this cassette don't bother paying a fortune for it.
(31 Dec. 2012)
Unholy Prophecies (1991)
Necrophobic's third demo, Unholy Prophecies, was recorded in Sunlight Studios and released in early 1991. As with the last tape, it includes three news songs, all of them later appearing on the band's first full-length. Though only one year had passed, there are several noticeable changes, this time around. There are new members and a somewhat different approach to the songwriting, making this a bit of an odd recording, so some extent.
Musically, the style seems to possess more similarities to the other bands in the Swedish death metal scene. There are less Thrash riffs, with more emphasis on the typical mid-paced riffs that were being used by a lot of bands around this time. "Sacrificial Rites" even begins with a slower section that really works against the rest of the song, thankfully left off when they recorded The Nocturnal Silence. The songs are definitely slower than on the previous demo, though not without some fast moments. David Parland's lead solos are still the highlight of the music, as the nocturnal vibe conveyed by these melodies really adds to the atmosphere and leaves you wanting more. The new vocalist is not so different from the previous one, so the same guttural style is employed here and is nothing particularly special. His voice suits the music, but a raspier approach would have accentuated the darker feeling a bit more. This was proven to be true by is replacement. Also, this appears to be the beginning of the band's use of Satanic and occult themes in the lyrics.
The production is very typical for Sunlight Studio, and this is really the only time that Necrophobic had this kind of guitar tone. In a sense, this works against the band, as it makes them sound like nearly every other band coming out of Sweden at the time. Everything is very thick and the sharp edge from Slow Asphyxiation is completely lost. Only occasionally do guitar melodies cut through this and rise above the fog, so to say. It's not entirely bad, but Necrophobic's style was different enough from many of their peers and this should have been capitalized on. Instead, this recording almost seems to try forcing them into the same mould as the rest.
Unholy Prophecies is a decent offering of old school Swedish death metal, and definitely fits in with a lot of the other releases that were coming out of there at the time. However, it fails to really showcase the full potential of Necrophobic as the songwriting and production do little to make the band stand out. In fact, it seems to be working toward the opposite effect. If you want to hear quality death metal and have an interest in the band's early period, this is definitely worth checking out.
Musically, the style seems to possess more similarities to the other bands in the Swedish death metal scene. There are less Thrash riffs, with more emphasis on the typical mid-paced riffs that were being used by a lot of bands around this time. "Sacrificial Rites" even begins with a slower section that really works against the rest of the song, thankfully left off when they recorded The Nocturnal Silence. The songs are definitely slower than on the previous demo, though not without some fast moments. David Parland's lead solos are still the highlight of the music, as the nocturnal vibe conveyed by these melodies really adds to the atmosphere and leaves you wanting more. The new vocalist is not so different from the previous one, so the same guttural style is employed here and is nothing particularly special. His voice suits the music, but a raspier approach would have accentuated the darker feeling a bit more. This was proven to be true by is replacement. Also, this appears to be the beginning of the band's use of Satanic and occult themes in the lyrics.
The production is very typical for Sunlight Studio, and this is really the only time that Necrophobic had this kind of guitar tone. In a sense, this works against the band, as it makes them sound like nearly every other band coming out of Sweden at the time. Everything is very thick and the sharp edge from Slow Asphyxiation is completely lost. Only occasionally do guitar melodies cut through this and rise above the fog, so to say. It's not entirely bad, but Necrophobic's style was different enough from many of their peers and this should have been capitalized on. Instead, this recording almost seems to try forcing them into the same mould as the rest.
Unholy Prophecies is a decent offering of old school Swedish death metal, and definitely fits in with a lot of the other releases that were coming out of there at the time. However, it fails to really showcase the full potential of Necrophobic as the songwriting and production do little to make the band stand out. In fact, it seems to be working toward the opposite effect. If you want to hear quality death metal and have an interest in the band's early period, this is definitely worth checking out.
(31 Dec. 2012)
The Call (1992)
Necrophobic formed in 1989 and soon released a string of demos. In early 1992, they entered Studio Sunlight to record their debut E.P. titled The Call. Though it was completed by February, it was not released until January 1993. By that time, the band had already replaced their vocalist, Stefan Harrvik. I believe this is also the first recording to feature Tobias Sidegård, as well. The sound is a little lower in quality than what is found on the Unholy Prophecies demo, from the previous year, being kind of similar to the first Dissection E.P. The sound is less clear, though the musical approach is much the same.
Side A begins with an instrumental, "Shadows of the Moon". This piece does well to display the eerie, nocturnal feeling produced by David Parland's guitar riffs. It is only a brief intro, but it sets the tone for the songs to come, quite well. This was supposed to be featured on the full-length, but some mistake prevented this.
"The Ancients Gate" is quite similar to the version found on The Nocturnal Silence, even including the chorus of demons at the beginning. The primary difference, of course, is that this sounds more raw and a little less polished. This is probably due to the production. This sounds pretty rough, considering it was handled by Tomas Skosgberg, in Studio Sunlight. However, the same brilliant guitar riffs and solos are still here. As the song slows down, mid-way through, the guitar melody truly epitomizes the spirit of the night.
Side B consists of a song called "Father of Creation". It begins with a slow and ominous sound, being very much in-line with the version that would appear on the L.P. The vocals seem to be buried in the mix, a bit, but increasing the volume proves to be an easy solution for this. Near the middle, there is a nice old school section where the drum beat and guitar riff both sound reminiscent of early Morbid Angel or even Mercyful Fate. The lead solo is very well done, putting most other death metal lead guitarists to shame. Too often, around this time, they threw in meangingless solos, as if it was some obligatory thing that had to be done. Many of them subscribed to the awful Reign In Blood method of solos. To contrast this, David Parland puts a lot of effort and feeling into the solo work here, adding greatly to the atmosphere of the song.
The Call is a solid effort, despite the very rough sound. This would be improved upon, tenfold, on The Nocturnal Silence. As the songs are not very different from those version that made it to the full-length, this isn't an essential release. However, it is of interest for die-hard Necrophobic fans.
Side A begins with an instrumental, "Shadows of the Moon". This piece does well to display the eerie, nocturnal feeling produced by David Parland's guitar riffs. It is only a brief intro, but it sets the tone for the songs to come, quite well. This was supposed to be featured on the full-length, but some mistake prevented this.
"The Ancients Gate" is quite similar to the version found on The Nocturnal Silence, even including the chorus of demons at the beginning. The primary difference, of course, is that this sounds more raw and a little less polished. This is probably due to the production. This sounds pretty rough, considering it was handled by Tomas Skosgberg, in Studio Sunlight. However, the same brilliant guitar riffs and solos are still here. As the song slows down, mid-way through, the guitar melody truly epitomizes the spirit of the night.
Side B consists of a song called "Father of Creation". It begins with a slow and ominous sound, being very much in-line with the version that would appear on the L.P. The vocals seem to be buried in the mix, a bit, but increasing the volume proves to be an easy solution for this. Near the middle, there is a nice old school section where the drum beat and guitar riff both sound reminiscent of early Morbid Angel or even Mercyful Fate. The lead solo is very well done, putting most other death metal lead guitarists to shame. Too often, around this time, they threw in meangingless solos, as if it was some obligatory thing that had to be done. Many of them subscribed to the awful Reign In Blood method of solos. To contrast this, David Parland puts a lot of effort and feeling into the solo work here, adding greatly to the atmosphere of the song.
The Call is a solid effort, despite the very rough sound. This would be improved upon, tenfold, on The Nocturnal Silence. As the songs are not very different from those version that made it to the full-length, this isn't an essential release. However, it is of interest for die-hard Necrophobic fans.
(19 Aug. 2009)
The Nocturnal Silence (1993)
The Nocturnal Silence is the first full-length L.P. from Sweden's Necrophobic. The album was recorded in Sunlight Studio in Stockholm, in March 1993 and it was produced by Necrophobic and Tomas Skogsberg. Despite being recorded in this well-known studio, the album definitely has its own atmosphere and is not typical of most Swedish death metal. It sounds as if the band consciously avoided going for the typical buzzsaw guitar tone made popular by bands such as Entombed and Dismember. The more raw feeling really suits the overall atmosphere, as this music is much darker than anything being done by their peers.
Necrophobic formed in 1989, and had gained much attention through the release of two demos, Slow Asphyxiation and Unholy Prophecies. Far from being stagnant or sounding just like everyone else, it was clear that this band was on a different path right from the start. They stood out from the mass of bands in Stockholm by possessing a bit more technical skill, Satanic themes and a vocalist with more of a raw and hateful voice. Anders Stokirk utilizes an approach similar to Masse Broberg of Hypocrisy, but not as deep. In general, everything about The Nocturnal Silence possesses more of a blackened sound and really embodies the more evil feeling that was given off by some of the earlier death metal bands, such as Morbid Angel.
The album begins with a short keyboard intro, that could easily fit in a horror movie. The slow, creepy riff that follows really sets the mood for the album. Then, in typical Slayer fashion, Hell is unleashed. "Awakening..." is a pretty fast-paced opening track. The musicianship is high quality and David Parland's guitar work is excellent. His is an easily identifiable sound, no matter what band he plays in. The first song already displays a decent variety of speeds. The production is very good, being clear enough to hear everything well but also raw enough to convey the right feeling. The vocals and riffs combine, perfectly, to create a rather hateful and abrasive feeling.
The albums continues on with blasphemy and an ever-darkening atmosphere. "Before the Dawn", especially the slower riffs with the brief spoken passage, was very successful in creating an evil feeling. The solo really does well to add a sense of gloom to everything. This album really seems positioned in between black and death metal, as it doesn't entirely belong to one or the other. As the album progresses, "Unholy Prophecies" features more of the same hellish aura that has been produced thus far. However, at certain points, one would expect things to really speed up but it never quite gets fast enough. This is only a minor complaint.
One of the real gems of this album is the title track, "The Nocturnal Silence." The acoustic intro and the brilliant solo that starts the song really imbue the listener with visions of the full moon in the blackened night sky. Then, the Satanic ritual begins as the song takes off. The vocalist sounds as if his throat has been shredded by broken glass and the result is very good. The song has a certain doomy quality, until things speed up. Here, the fast tremolo riffs dominate. The intensity builds as the song progresses, with a very morbid section coming late in the track. Parland's "nocturnal" solo near the end is perfect as well. The solos really help to set Necrophobic apart from the other bands in the Stockholm scene, and add a lot of depth to the music. There really is little or nothing to complain about when it comes to this album. This song is definitely one of the highlights.
From the demonic voices in the beginning to the brilliant solo that follows, "The Ancients Gate" proves to be a real classic. This track is very dynamic and feels somewhat epic, at times. For a song to stand out on an album filled with such greatness truly means something. It begins with a rather subdued pace, featuring an almost hypnotic lead solo, before bursting forth with demonic fury. The slower section, featuring the acoustic bit, adds a sense of gloom to the atmosphere, before returning to an absolutely hellish and evil sound.
"Sacrificial Rites" is another uncompromising track, dropping the mid-paced part from the demo version and just exploding out of the darkness and going right for your throat. The riffs are intense and powerful, with Stokirk's frenzied vocal delivery really lending a sense of urgency to the song. Despite being released in 1993, this is another song that shows that the band's creative forces were really rooted in the '80s. Once again, another masterful solo appears near the end.
"Father of Creation" includes a lot of slower (by comparison) riffs and allows the listener a little bit of a break, though the diabolical hatred is no less than on the previous songs. The real highlight of this track, for me, is the old school drum break in the middle, sounding much like something from ten years earlier. Parland's solos not only demonstrate his skills, but really add a total nocturnal feeling to this song and most of the others, conjuring up images of dark forests illuminated by moonlight and blood rituals being performed by torchlight in old and forgotten cemeteries.
Somehow, though the entire album is bursting at the seams with memorable riffs, "Where Sinners Burn" manages to open with yet another one, coupled with a haunting lead solo. Like much of the album, it possesses many speeds and it is dripping with evil. This song really does well to close out the album, as there is just some sense of finality put forth by nearly every riff and vocal line. The song ends with a particularly gloomy riff that just fades into the nothingness.
The Nocturnal Silence is an incredibly strong debut album. The fact that this band did not gain as much of a following as many of their inferior contemporaries (in Sweden and elsewhere) is an absolute crime. This puts most every other death metal release from this time to utter shame, even including the much-hailed Covenant, released by Morbid Angel just a couple months earlier. This shows the value on toiling in the underground, playing shows and recording demos before putting together an album. Not only is the musicianship excellent, the songwriting was well thought-out and Necrophobic easily achieved what they set out to do. This is a classic piece of Satanic death metal history and one of the best albums to ever be recorded at Sunlight Studio. If you have not heard this, you've been missing out.
Necrophobic formed in 1989, and had gained much attention through the release of two demos, Slow Asphyxiation and Unholy Prophecies. Far from being stagnant or sounding just like everyone else, it was clear that this band was on a different path right from the start. They stood out from the mass of bands in Stockholm by possessing a bit more technical skill, Satanic themes and a vocalist with more of a raw and hateful voice. Anders Stokirk utilizes an approach similar to Masse Broberg of Hypocrisy, but not as deep. In general, everything about The Nocturnal Silence possesses more of a blackened sound and really embodies the more evil feeling that was given off by some of the earlier death metal bands, such as Morbid Angel.
The album begins with a short keyboard intro, that could easily fit in a horror movie. The slow, creepy riff that follows really sets the mood for the album. Then, in typical Slayer fashion, Hell is unleashed. "Awakening..." is a pretty fast-paced opening track. The musicianship is high quality and David Parland's guitar work is excellent. His is an easily identifiable sound, no matter what band he plays in. The first song already displays a decent variety of speeds. The production is very good, being clear enough to hear everything well but also raw enough to convey the right feeling. The vocals and riffs combine, perfectly, to create a rather hateful and abrasive feeling.
The albums continues on with blasphemy and an ever-darkening atmosphere. "Before the Dawn", especially the slower riffs with the brief spoken passage, was very successful in creating an evil feeling. The solo really does well to add a sense of gloom to everything. This album really seems positioned in between black and death metal, as it doesn't entirely belong to one or the other. As the album progresses, "Unholy Prophecies" features more of the same hellish aura that has been produced thus far. However, at certain points, one would expect things to really speed up but it never quite gets fast enough. This is only a minor complaint.
One of the real gems of this album is the title track, "The Nocturnal Silence." The acoustic intro and the brilliant solo that starts the song really imbue the listener with visions of the full moon in the blackened night sky. Then, the Satanic ritual begins as the song takes off. The vocalist sounds as if his throat has been shredded by broken glass and the result is very good. The song has a certain doomy quality, until things speed up. Here, the fast tremolo riffs dominate. The intensity builds as the song progresses, with a very morbid section coming late in the track. Parland's "nocturnal" solo near the end is perfect as well. The solos really help to set Necrophobic apart from the other bands in the Stockholm scene, and add a lot of depth to the music. There really is little or nothing to complain about when it comes to this album. This song is definitely one of the highlights.
"A freezing silence descends in the night,This is followed by the brilliant instrumental, "Shadows of the Moon", which really continues the feeling that was created by the slower parts of the title track and serving as the perfect bridge between the first and second half of the album, doing a fantastic job in leading into "The Ancients Gate". Though fairly brief, it is as memorable as anything else on this album. Unfortunately, this track is not present on most versions of The Nocturnal Silence, due to some miscommunications with the label. "Inborn Evil" was supposed to be left off, as the band didn't think that it possessed the right feeling, but the instrumental was dropped instead. Only the American pressing, by Cargo Records, includes the proper track listing as the band wanted.
Cold winds whisper damnation,
Deathlike shadows rising on the ground,
The call from the lords of creation"
From the demonic voices in the beginning to the brilliant solo that follows, "The Ancients Gate" proves to be a real classic. This track is very dynamic and feels somewhat epic, at times. For a song to stand out on an album filled with such greatness truly means something. It begins with a rather subdued pace, featuring an almost hypnotic lead solo, before bursting forth with demonic fury. The slower section, featuring the acoustic bit, adds a sense of gloom to the atmosphere, before returning to an absolutely hellish and evil sound.
"Sacrificial Rites" is another uncompromising track, dropping the mid-paced part from the demo version and just exploding out of the darkness and going right for your throat. The riffs are intense and powerful, with Stokirk's frenzied vocal delivery really lending a sense of urgency to the song. Despite being released in 1993, this is another song that shows that the band's creative forces were really rooted in the '80s. Once again, another masterful solo appears near the end.
"Father of Creation" includes a lot of slower (by comparison) riffs and allows the listener a little bit of a break, though the diabolical hatred is no less than on the previous songs. The real highlight of this track, for me, is the old school drum break in the middle, sounding much like something from ten years earlier. Parland's solos not only demonstrate his skills, but really add a total nocturnal feeling to this song and most of the others, conjuring up images of dark forests illuminated by moonlight and blood rituals being performed by torchlight in old and forgotten cemeteries.
Somehow, though the entire album is bursting at the seams with memorable riffs, "Where Sinners Burn" manages to open with yet another one, coupled with a haunting lead solo. Like much of the album, it possesses many speeds and it is dripping with evil. This song really does well to close out the album, as there is just some sense of finality put forth by nearly every riff and vocal line. The song ends with a particularly gloomy riff that just fades into the nothingness.
The Nocturnal Silence is an incredibly strong debut album. The fact that this band did not gain as much of a following as many of their inferior contemporaries (in Sweden and elsewhere) is an absolute crime. This puts most every other death metal release from this time to utter shame, even including the much-hailed Covenant, released by Morbid Angel just a couple months earlier. This shows the value on toiling in the underground, playing shows and recording demos before putting together an album. Not only is the musicianship excellent, the songwriting was well thought-out and Necrophobic easily achieved what they set out to do. This is a classic piece of Satanic death metal history and one of the best albums to ever be recorded at Sunlight Studio. If you have not heard this, you've been missing out.
(27 Mar. 2008)
Bloodfreezing (1994)
Necrophobic's Bloodfreezing demo was recorded in early 1994 yet only shared with people close with the band, not receiving an official release until much later. This was the first recording with Tobias Sidegård handling vocals duties, and also features new member Martin Halfdan, on guitar. This is an interesting piece of the band's history, as it shows them transitioning from the Satanic death metal of The Nocturnal Silence toward the colder black metal feeling that would dominate their second album, Darkside.
Musically, it is very clear that main songwriter David Parland was becoming a bit bored with the death metal scene and was delving deeper into black metal territory, also recording the first Dark Funeral E.P. around this time. Though Necrophobic's sound was already darker than that of the average Swedish death metal band, the material on Bloodfreezing shows that they were distancing themselves ever more from their peers. There is a definite Dissection influence, here, with a similar cold and melodic sound. Even the vocals sound a bit like Jon's work on the demo for The Somberlain, possessing almost a hollow quality. "Black Moon Rising" is a fast-paced track, which is really satisfying compared to some of the material on The Nocturnal Silence, just for the fact that there were more mid-paced parts on that album that felt like they were holding something back, at times. "The Call" is much the same, starting with a sombre bass line before unleashing the freezing cold of Nifelhel. The songs sound, more or less, arranged and finished, not showing much deviation from the versions that would appear on Darkside, though still very interesting to hear how they sounded with Parland's playing.
The overall sound is kind of rough, as it is a demo recording, but still of high enough quality to hear everything that's going on. As a matter of fact, even in this condition, it sounds better than some full-length albums that were being released at the time. The guitar tone is not quite as cold as what would be heard on Darkside, or The Secrets of the Black Arts for that matter, still retaining kind of a death metal sound despite the actual songwriting being different than before.
It is too bad that Necrophobic did not manage to record their second album a year or two earlier. I have no idea if the material was even prepared, but if Darkside had been released in 1995, with David Parland still involved, it might have gained more recognition than it did. This was certainly a band that deserved more attention and should have gained a wider following in their earlier years, especially compared to many of their contemporaries. The Bloodfreezing demo is further proof of this. If you're looking for these tracks, pick up the Spawned by Evil re-release.
Musically, it is very clear that main songwriter David Parland was becoming a bit bored with the death metal scene and was delving deeper into black metal territory, also recording the first Dark Funeral E.P. around this time. Though Necrophobic's sound was already darker than that of the average Swedish death metal band, the material on Bloodfreezing shows that they were distancing themselves ever more from their peers. There is a definite Dissection influence, here, with a similar cold and melodic sound. Even the vocals sound a bit like Jon's work on the demo for The Somberlain, possessing almost a hollow quality. "Black Moon Rising" is a fast-paced track, which is really satisfying compared to some of the material on The Nocturnal Silence, just for the fact that there were more mid-paced parts on that album that felt like they were holding something back, at times. "The Call" is much the same, starting with a sombre bass line before unleashing the freezing cold of Nifelhel. The songs sound, more or less, arranged and finished, not showing much deviation from the versions that would appear on Darkside, though still very interesting to hear how they sounded with Parland's playing.
The overall sound is kind of rough, as it is a demo recording, but still of high enough quality to hear everything that's going on. As a matter of fact, even in this condition, it sounds better than some full-length albums that were being released at the time. The guitar tone is not quite as cold as what would be heard on Darkside, or The Secrets of the Black Arts for that matter, still retaining kind of a death metal sound despite the actual songwriting being different than before.
It is too bad that Necrophobic did not manage to record their second album a year or two earlier. I have no idea if the material was even prepared, but if Darkside had been released in 1995, with David Parland still involved, it might have gained more recognition than it did. This was certainly a band that deserved more attention and should have gained a wider following in their earlier years, especially compared to many of their contemporaries. The Bloodfreezing demo is further proof of this. If you're looking for these tracks, pick up the Spawned by Evil re-release.
(9 Jan. 2013)
Spawned By Evil (1996)
By 1996, Necrophobic had lost much of the momentum that was built through the earlier demos and their debut L.P. The Nocturnal Silence. There were some creative differences within the band, at this point. Also, Dark Funeral had become quite successful and David Parland was putting most of energy into that project. Right around the time that The Secrets of the Black Arts was released, Necrophobic returned with the Spawned By Evil E.P. Unfortunately, this release marked the departure of Parland. Released in January 1996, Spawned By Evil was not quite what fans were hoping for. Instead of a new album, Necrophobic released this mini-album, which only contained one new song. The other three tracks are covers. This was a little disappointing since, as was later revealed, the band was sitting on a handful of songs that could have been included.
A brief horror intro leads into the title track. It sounds slightly reminiscent of the intro to Sepultura's Schizophrenia, though far shorter. Musically, this isn't much different from the version that would appear on Darkside. The drumming seems a bit stale and repetitive, however. It's much more noticeable on this recording. Another thing that makes this E.P. significant is that this is the first Necrophobic release to feature Tobias Sidegård on vocals. This version isn't quite as raw as the later one, but there aren't too many differences, otherwise.
The next song is a tricky one, as it is a cover of Slayer's "Die By the Sword". The first thing that one might notice is that Tobbe's vocal approach doesn't quite fit the feeling of the song. Here, he goes for a deeper sound that feels a little too forced. The higher parts fit a little better, though. Still, nothing will ever come close to the original. Therein lies the problem in covering such an incredible song; it's very difficult to live up to such greatness. Joakim's drums don't have anything on Dave Lombardo's work on Show No Mercy, either. As far as the guitars, I have no complaints. David Parland and Martin Halfdan do an excellent job of maintaining the feel of the original. Despite the minor complaints, this is actually an enjoyable song. However, any band that tries to match the brilliance of the early Slayer albums is climbing up a slippery slope. Possibly, Dissection managed to get closest to this goal, with their cover of "Antichrist".
A cover of Venom's "Nightmare" follows this. I was looking forward to this, upon first listen, as this is one of my favourite Venom tunes. Here, Tobias sticks with the raspier vocal style, which fits the atmosphere much better. Musically, it's dead on; not much room for error when it comes to Venom. They do a great job of sticking to the original and not straying or changing the feeling. This is a top-notch cover of the Unholy Trio.
Finally, we have "Enter the Eternal Fire". Again, Necrophobic have taken on a hellacious task, as no one could ever possibly measure up to the standards set by Bathory, on the original. However, one must step back and realize that this shouldn't be taken so seriously. Obviously, they weren't attempting to compete with the original bands; instead, this should be looked at as the band simply having a little fun and recording some of their favourite songs. Musically, this is pretty solid. The guitars are dead on. Vocally, it's interesting but not nearly as morbid as the original. The bells and keyboards sound exactly as they do on the Bathory version, and the lead solo was nailed, perfectly. Again, the inclusion of this song is pretty awesome, as this is another song that has meant a lot to me for many years. If nothing else, this E.P. proves that these guys had great taste in music.
Spawned By Evil isn't, necessarily, essential. However, it's worth looking for if you're a Necrophobic fan that also loves Slayer, Venom and Bathory (and who the hell doesn't??). This is a little hard to find, from my experience, so be sure to take advantage of the situation if you ever run across it.
A brief horror intro leads into the title track. It sounds slightly reminiscent of the intro to Sepultura's Schizophrenia, though far shorter. Musically, this isn't much different from the version that would appear on Darkside. The drumming seems a bit stale and repetitive, however. It's much more noticeable on this recording. Another thing that makes this E.P. significant is that this is the first Necrophobic release to feature Tobias Sidegård on vocals. This version isn't quite as raw as the later one, but there aren't too many differences, otherwise.
The next song is a tricky one, as it is a cover of Slayer's "Die By the Sword". The first thing that one might notice is that Tobbe's vocal approach doesn't quite fit the feeling of the song. Here, he goes for a deeper sound that feels a little too forced. The higher parts fit a little better, though. Still, nothing will ever come close to the original. Therein lies the problem in covering such an incredible song; it's very difficult to live up to such greatness. Joakim's drums don't have anything on Dave Lombardo's work on Show No Mercy, either. As far as the guitars, I have no complaints. David Parland and Martin Halfdan do an excellent job of maintaining the feel of the original. Despite the minor complaints, this is actually an enjoyable song. However, any band that tries to match the brilliance of the early Slayer albums is climbing up a slippery slope. Possibly, Dissection managed to get closest to this goal, with their cover of "Antichrist".
A cover of Venom's "Nightmare" follows this. I was looking forward to this, upon first listen, as this is one of my favourite Venom tunes. Here, Tobias sticks with the raspier vocal style, which fits the atmosphere much better. Musically, it's dead on; not much room for error when it comes to Venom. They do a great job of sticking to the original and not straying or changing the feeling. This is a top-notch cover of the Unholy Trio.
Finally, we have "Enter the Eternal Fire". Again, Necrophobic have taken on a hellacious task, as no one could ever possibly measure up to the standards set by Bathory, on the original. However, one must step back and realize that this shouldn't be taken so seriously. Obviously, they weren't attempting to compete with the original bands; instead, this should be looked at as the band simply having a little fun and recording some of their favourite songs. Musically, this is pretty solid. The guitars are dead on. Vocally, it's interesting but not nearly as morbid as the original. The bells and keyboards sound exactly as they do on the Bathory version, and the lead solo was nailed, perfectly. Again, the inclusion of this song is pretty awesome, as this is another song that has meant a lot to me for many years. If nothing else, this E.P. proves that these guys had great taste in music.
Spawned By Evil isn't, necessarily, essential. However, it's worth looking for if you're a Necrophobic fan that also loves Slayer, Venom and Bathory (and who the hell doesn't??). This is a little hard to find, from my experience, so be sure to take advantage of the situation if you ever run across it.
(11 Sept. 2009)
Darkside (1997)
Following the release of their debut album, The Nocturnal Silence, Necrophobic entered a somewhat stagnant period. Creative differences and a general lack of motivation resulted in a rather lengthy space of time before they finally released their sophomore effort. During these years, founding member and guitarist David Parland went on to form Dark Funeral and, as this band began to build momentum, he made the choice to leave Necrophobic in the winter of 1996. It was a somewhat strange decision, since he had already written the bulk of the material for their second album and would even return as a session guitarist to play some bits that the new guy couldn't quite master. Another change from the first record was that Tobias Sidegård had since stepped up to fill the position of vocalist. Overall, by the time that Darkside was released in March 1997, Necrophobic's sound had evolved.
I encountered this album rather late, as times were different and I had never seen it in person or in any catalogue that I possessed. It was during my first visit to Stockholm that I discovered a small record store in the old town, called Sound Pollution. While talking music with the fellow working there, asking if they had anything remotely similar to Dissection, he recommended Necrophobic's second album. I listened to a bit of it, right there in the shop, and was instantly hooked.
Musically, Darkside leans much more toward black metal. This likely owes a lot to the fact that David Parland wrote well over half the album before his departure, during the same period of time that he was working on Dark Funeral. Many of the riffs share similarities with those found on The Secrets of the Black Arts and Sidegård's raspy vocals also lend a bit more grimness to the sound. The production also suits the material perfectly, as it is a bit more harsh and cold than on The Nocturnal Silence, though recorded in the very same studio.
Every song is rather well-crafted and fairly memorable. There is never a point where things run together, as one many albums. Though several of the tracks are strong enough to stand alone, they come together brilliantly to form a cohesive whole. Compositions such as "Black Moon Rising", "Spawned By Evil", "Bloodthirst" and the title track are among the best that the band ever recorded. The cold, nocturnal melodies create a dark atmosphere and almost serve as a tribute to the night, itself. The lyrical themes are interesting and somewhat reminiscent of early Dissection. The brief instrumental pieces are a nice touch and add a rather sombre feeling to the album. Despite the fact that Darkside represented somewhat of a shift more toward black metal, the band retained one of the defining elements of their sound by including guitar solos throughout the album. These work well to accentuate the riffs and overall atmosphere, as opposed to the way a lot of bands slap on throwaway solos that serve no purpose.
The death metal side seems to be most evident on "The Call" and "Nailing the Holy One", the latter featuring some guest vocals by Jon Nödtveidt. Due to the production and the way the songs are played, they still fit into the album well enough, but those riffs clearly sound like holdovers from the debut and may have been written back in 1993. That said, the intro to "The Call" is as dark as anything else on the album and the mid-section utilizes an old school drum bit that sort of hearkens back to the likes of Mercyful Fate and the countless other '80s bands that used it.
At any rate, Darkside is an underrated album. Perhaps, I am clouded by some sentimentality, but it has a special feeling. The sounds contained within conjure up visions of spilling blood beneath the cold winter moon, feeling the freezing winds and being embraced by eternal night. Necrophobic's second offering is not just something to be listened to, but rather something to experience. My only real complaint is that the run-time is fairly short (especially considering that the last track is mostly just silence). This is a classic album and definitely recommended for fans of early Dissection and Dark Funeral.
I encountered this album rather late, as times were different and I had never seen it in person or in any catalogue that I possessed. It was during my first visit to Stockholm that I discovered a small record store in the old town, called Sound Pollution. While talking music with the fellow working there, asking if they had anything remotely similar to Dissection, he recommended Necrophobic's second album. I listened to a bit of it, right there in the shop, and was instantly hooked.
Musically, Darkside leans much more toward black metal. This likely owes a lot to the fact that David Parland wrote well over half the album before his departure, during the same period of time that he was working on Dark Funeral. Many of the riffs share similarities with those found on The Secrets of the Black Arts and Sidegård's raspy vocals also lend a bit more grimness to the sound. The production also suits the material perfectly, as it is a bit more harsh and cold than on The Nocturnal Silence, though recorded in the very same studio.
Every song is rather well-crafted and fairly memorable. There is never a point where things run together, as one many albums. Though several of the tracks are strong enough to stand alone, they come together brilliantly to form a cohesive whole. Compositions such as "Black Moon Rising", "Spawned By Evil", "Bloodthirst" and the title track are among the best that the band ever recorded. The cold, nocturnal melodies create a dark atmosphere and almost serve as a tribute to the night, itself. The lyrical themes are interesting and somewhat reminiscent of early Dissection. The brief instrumental pieces are a nice touch and add a rather sombre feeling to the album. Despite the fact that Darkside represented somewhat of a shift more toward black metal, the band retained one of the defining elements of their sound by including guitar solos throughout the album. These work well to accentuate the riffs and overall atmosphere, as opposed to the way a lot of bands slap on throwaway solos that serve no purpose.
The death metal side seems to be most evident on "The Call" and "Nailing the Holy One", the latter featuring some guest vocals by Jon Nödtveidt. Due to the production and the way the songs are played, they still fit into the album well enough, but those riffs clearly sound like holdovers from the debut and may have been written back in 1993. That said, the intro to "The Call" is as dark as anything else on the album and the mid-section utilizes an old school drum bit that sort of hearkens back to the likes of Mercyful Fate and the countless other '80s bands that used it.
At any rate, Darkside is an underrated album. Perhaps, I am clouded by some sentimentality, but it has a special feeling. The sounds contained within conjure up visions of spilling blood beneath the cold winter moon, feeling the freezing winds and being embraced by eternal night. Necrophobic's second offering is not just something to be listened to, but rather something to experience. My only real complaint is that the run-time is fairly short (especially considering that the last track is mostly just silence). This is a classic album and definitely recommended for fans of early Dissection and Dark Funeral.
(15 Nov. 2007)
The Third Antichrist (1999)
The Third Antichrist, released by Black Mark in October 1999, marks Necrophobic's third full-length album and the first without any input from David Parland. While it continues from the more black metal direction established on Darkside, this album introduces a greater emphasis on melody, resulting in a more varied and polished style.
The record opens with "Rise of the Infernal," a brief intro setting a dark, apocalyptic mood. "The Third of Arrivals" begins with a cold black metal guitar melody before shifting to thrashier riffs, blending aggression and atmosphere seamlessly. "Frozen Empire" maintains the band's cold, epic feel with ominous melodies and lead solos, while "Isaz" stands out for its cold, nocturnal atmosphere and epic lead guitar solos. "The Unhallowed" delivers a more straightforward, powerful approach with impressive guitar solos.
The Third Antichrist is where the band really established the sound that would persist for the next several years. Taking what David Parland set forth on the first two albums and building upon that, they created a brilliant style of melodic black metal that should appeal to fans of the band's later works, especially. Anyone into bands like Dissection and Sacramentum should check this out as well. Overall, it is a very solid record.
The record opens with "Rise of the Infernal," a brief intro setting a dark, apocalyptic mood. "The Third of Arrivals" begins with a cold black metal guitar melody before shifting to thrashier riffs, blending aggression and atmosphere seamlessly. "Frozen Empire" maintains the band's cold, epic feel with ominous melodies and lead solos, while "Isaz" stands out for its cold, nocturnal atmosphere and epic lead guitar solos. "The Unhallowed" delivers a more straightforward, powerful approach with impressive guitar solos.
"Mournful, silent is the night,However, the album begins to lose steam towards the end. "The Throne of Souls Possessed" feels less memorable despite its strong atmosphere, and "He Who Rideth in Rage" suffers from inconsistency, with its generic opening riffs giving way to a stronger latter section. "Demonic" is solid but doesn't stand out from earlier tracks. The closing "One Last Step into the Great Mist" is a somber outro with a simple, eerie riff, providing a dark conclusion to the album.
In white, the nature lies asleep,
Whining winds are blowing cold as ice,
Frozen is the valley of shadows"
The Third Antichrist is where the band really established the sound that would persist for the next several years. Taking what David Parland set forth on the first two albums and building upon that, they created a brilliant style of melodic black metal that should appeal to fans of the band's later works, especially. Anyone into bands like Dissection and Sacramentum should check this out as well. Overall, it is a very solid record.
(3 Feb. 2007)
Bloodhymns (2002)
Bloodhymns is the fourth full-length album from Sweden’s Necrophobic. While The Third Antichrist veered into melodic black metal, this record brings the band back to a raw black/death style. From the opening riff of “Taste of Black,” which carries echoes of Dismember’s past, the album reintroduces the rawness of Darkside, with a sound that is gritty and filled with Satanic darkness. The guitars have an edge to them, and Tobias Sidegård’s vocals are more sinister than ever.
The album’s intensity continues with “Dreams Shall Flesh” and “Act of Rebellion,” where fast, straightforward blackened thrash riffs dominate. Yet beneath this aggression, there is an underlying darkness that grows more palpable as the album progresses. The melodies seem to crawl into your flesh, setting the stage for the full immersion into a grim void.
The true depth of Bloodhymns emerges in “Mourningsoul” and “Helfire.” The acoustic intro of “Mourningsoul” leads to an explosive surge of chaos, where the pace shifts between frantic and mournful. The song encapsulates the essence of spiritual death, the nightmare come to life. As the track slows down, the haunting melodies grow unbearable, pulling you deeper into the abyss. The following track, “Helfire,” maintains this fury, delivering fast tremolo riffs while preserving the somber undertones of its predecessor. It’s a storm of blackened aggression, carrying you toward an uncertain fate.
The remaining tracks, like “Cult of Blood” and “Roots of Heldrasill,” continue to drag you deeper into the void, with nightmarish vocals and cold melodies that remind you of your hopelessness. The instrumental “Among the Storms” introduces a chilling atmosphere, blurring the line between dream and nightmare, leaving you unsure whether hope was ever truly within reach.
Bloodhymns channels a pure, raw darkness, capturing the essence of black/death metal in its most unrelenting form. It’s an album that explores the descent into spiritual death, and the desolate, chaotic landscapes that follow, making it a must-listen for those seeking the true depths of darkness.
The album’s intensity continues with “Dreams Shall Flesh” and “Act of Rebellion,” where fast, straightforward blackened thrash riffs dominate. Yet beneath this aggression, there is an underlying darkness that grows more palpable as the album progresses. The melodies seem to crawl into your flesh, setting the stage for the full immersion into a grim void.
The true depth of Bloodhymns emerges in “Mourningsoul” and “Helfire.” The acoustic intro of “Mourningsoul” leads to an explosive surge of chaos, where the pace shifts between frantic and mournful. The song encapsulates the essence of spiritual death, the nightmare come to life. As the track slows down, the haunting melodies grow unbearable, pulling you deeper into the abyss. The following track, “Helfire,” maintains this fury, delivering fast tremolo riffs while preserving the somber undertones of its predecessor. It’s a storm of blackened aggression, carrying you toward an uncertain fate.
The remaining tracks, like “Cult of Blood” and “Roots of Heldrasill,” continue to drag you deeper into the void, with nightmarish vocals and cold melodies that remind you of your hopelessness. The instrumental “Among the Storms” introduces a chilling atmosphere, blurring the line between dream and nightmare, leaving you unsure whether hope was ever truly within reach.
Bloodhymns channels a pure, raw darkness, capturing the essence of black/death metal in its most unrelenting form. It’s an album that explores the descent into spiritual death, and the desolate, chaotic landscapes that follow, making it a must-listen for those seeking the true depths of darkness.
(16 Jan. 2009)
Hrimthursum (2006)
Hrimthursum is the fifth full-length album from Sweden's Necrophobic, featuring cover art by Tyrant of Nifelheim. Four years had passed since the release of Bloodhymns and some had speculated that the band had split up. However, in May 2006 they returned with what was possibly their most ambitious release. Initially, I was interested and hoped for the best but was quickly put off by the slick production and added elements like orchestral arrangements and female vocals. These didn't sit right with me in the context of black and death metal, and the album felt too polished compared to the raw, dark energy of their earlier works like The Nocturnal Silence and Darkside.
I eventually gave it another chance and, for a brief time, I warmed up to it. But after repeated listens, the sterile, modern sound began to wear thin. Hrimthursum doesn't recapture the same intensity or atmosphere that drew me to their older material. That said, the musicianship is still top-notch, and the guitar work is strong throughout. "Blinded By Light..." is a solid track, even if it’s a bit too catchy and feels like an obvious attempt to appeal to a broader audience. "The Crossing" and "Eternal Winter" are the standout songs, with a darker, more epic atmosphere that feels closer to the true spirit of Necrophobic. The cold melodies and great guitar solos almost defy the wretched plastic sound of the recording.
While not a terrible album, Hrimthursum loses its impact over time due to the overproduced sound and unnecessary outside elements. It may appeal to those who aren’t as attached to the raw, evil style of the old stuff, but I'll always prefer the darker, more aggressive approach of their earlier albums.
I eventually gave it another chance and, for a brief time, I warmed up to it. But after repeated listens, the sterile, modern sound began to wear thin. Hrimthursum doesn't recapture the same intensity or atmosphere that drew me to their older material. That said, the musicianship is still top-notch, and the guitar work is strong throughout. "Blinded By Light..." is a solid track, even if it’s a bit too catchy and feels like an obvious attempt to appeal to a broader audience. "The Crossing" and "Eternal Winter" are the standout songs, with a darker, more epic atmosphere that feels closer to the true spirit of Necrophobic. The cold melodies and great guitar solos almost defy the wretched plastic sound of the recording.
While not a terrible album, Hrimthursum loses its impact over time due to the overproduced sound and unnecessary outside elements. It may appeal to those who aren’t as attached to the raw, evil style of the old stuff, but I'll always prefer the darker, more aggressive approach of their earlier albums.
(19 Oct. 2009)
Death to All (2009)
Three years after their epic opus, Hrimthursum, Sweden's Necrophobic returned with their sixth full-length, Death to All. It was released on Regain Records, in late May 2009. After such a long wait, I found myself very eager for this release; probably anticipating it more than any of their other albums. This increased as, days before I departed for Berlin, I conducted an interview with Tobias Sidegård. What I found, upon its release, was exactly what I'd hoped for. This album isn't as overtly majestic as the previous outing, yet it retains some of the same feeling. Actually, one can find elements of all the previous albums, here, as this serves as an excellent representation of the band.
What can be heard here is the kind of melodic black/death metal that the band has become known for. On this release, it would seem that the sound and spirit lean more toward black metal, as the atmosphere is quite dark. The production sounds quite similar to the previous album, with everything being rather clear but not over-produced in any way. Each frozen note is easy to hear and everything is mixed together quite well. The prime components are the guitars. Johan and Sebastian execute each riff with great precision. Despite the long absence of founding member David Parland, the band tries its best to maintain the dark and nocturnal atmosphere that has become its trademark. Tobbe's lethal vocals have a morbid and depraved aura about them, on this record. As for Joakim's drumming, it is typical of what you would expect of him. The drums are at just the right level, enough to be heard and to keep time, but not so much that they distract from what's important; the guitars.
The songwriting consists of a lot of fast-paced, straight-forward riffs. This album is overflowing with cold and dark tremolo riffs. The hauntingly nocturnal melodies are ever-present, from the very first moments of "Celebration of the Goat". As soon as this begins, there is no mistaking who this is. Naturally, there are a lot of twists and turns, taking you on a dark journey. These compositions are not minimalist in any way. Though the dominant theme is speed, there are slower sections that work to build the epic feeling. In particular, the latter half of "Revelation 666" takes the word 'epic' to a new extreme. The haunting solo that begins a little past the midway point is majestic in all its nocturnal glory. This is one of the highlights of the album, as you are sort of swept away to some dark realm of shadows, far beyond the light. The melody is introspective and almost mournful in tone. "La Satanisma Muerte", abruptly, pulls you from this deep chasm, as the journey must continue. Despite being the shortest song on the album, it is very well constructed and features a slower section with some backing choir to create a hellish and epic feeling.
"For Those Who Stayed Satanic" was the first song made public, as they posted the live video of this long before the album was recorded. Honestly, I didn't think too much of the title, and the performance didn't sound terribly exciting. Thankfully, the album version is much more impressive and makes more of an impact since each riff is clearly heard. Even still, I wouldn't say it's the strongest song on the album. The following track, "Temple of Damnation", completely slays it, especially the haunting middle section that reminds of something from Bloodhymns. As this progresses, Joakim throws in some nice old school drumming to accompany the lead solo. By this point, it seems that there was a lot of thought put into the placement of the songs, as they flow together masterfully. "The Tower" is filled with riffs and solos that would have made Slayer proud, 25 years ago. Though, like the rest of the songs, it's quite dynamic.
As the album nears its conclusion, we come to another one of the true highlights of this record, "Wings of Death". Beginning with a very dark clean guitar, it slowly builds as melancholic tremolo melody is joined by somber thrash riffs. This one isn't as fast as the rest, thought it may be a stretch to really label it as 'mid-paced'. In any event, everything comes together to create something dark and epic; the kind of song that haunts your mind. Tobias sounds particularly possessed on this one, being consumed with utter madness. This all leads into the title track, which kind of picks up from where the previous song leaves off. It would seem like any other song on the record, yet as it proceeds it continues to build. There are several riffs that you might not expect, bringing in a definite old school feeling. After about six minutes, everything comes to a stop, leaving only the cold winds and an acoustic guitar. Slowly, something sounding like a war march fades in, and then slowly fades back into the acoustic piece.
There isn't too much to say about this one. It is very enjoyable from beginning to end and is exactly what you would expect a new Necrophobic album to sound like. There are no surprises here, which may please some fans that had difficulty getting into the previous record. In the end, Death to All is another decent album and worth picking up.
What can be heard here is the kind of melodic black/death metal that the band has become known for. On this release, it would seem that the sound and spirit lean more toward black metal, as the atmosphere is quite dark. The production sounds quite similar to the previous album, with everything being rather clear but not over-produced in any way. Each frozen note is easy to hear and everything is mixed together quite well. The prime components are the guitars. Johan and Sebastian execute each riff with great precision. Despite the long absence of founding member David Parland, the band tries its best to maintain the dark and nocturnal atmosphere that has become its trademark. Tobbe's lethal vocals have a morbid and depraved aura about them, on this record. As for Joakim's drumming, it is typical of what you would expect of him. The drums are at just the right level, enough to be heard and to keep time, but not so much that they distract from what's important; the guitars.
The songwriting consists of a lot of fast-paced, straight-forward riffs. This album is overflowing with cold and dark tremolo riffs. The hauntingly nocturnal melodies are ever-present, from the very first moments of "Celebration of the Goat". As soon as this begins, there is no mistaking who this is. Naturally, there are a lot of twists and turns, taking you on a dark journey. These compositions are not minimalist in any way. Though the dominant theme is speed, there are slower sections that work to build the epic feeling. In particular, the latter half of "Revelation 666" takes the word 'epic' to a new extreme. The haunting solo that begins a little past the midway point is majestic in all its nocturnal glory. This is one of the highlights of the album, as you are sort of swept away to some dark realm of shadows, far beyond the light. The melody is introspective and almost mournful in tone. "La Satanisma Muerte", abruptly, pulls you from this deep chasm, as the journey must continue. Despite being the shortest song on the album, it is very well constructed and features a slower section with some backing choir to create a hellish and epic feeling.
"For Those Who Stayed Satanic" was the first song made public, as they posted the live video of this long before the album was recorded. Honestly, I didn't think too much of the title, and the performance didn't sound terribly exciting. Thankfully, the album version is much more impressive and makes more of an impact since each riff is clearly heard. Even still, I wouldn't say it's the strongest song on the album. The following track, "Temple of Damnation", completely slays it, especially the haunting middle section that reminds of something from Bloodhymns. As this progresses, Joakim throws in some nice old school drumming to accompany the lead solo. By this point, it seems that there was a lot of thought put into the placement of the songs, as they flow together masterfully. "The Tower" is filled with riffs and solos that would have made Slayer proud, 25 years ago. Though, like the rest of the songs, it's quite dynamic.
As the album nears its conclusion, we come to another one of the true highlights of this record, "Wings of Death". Beginning with a very dark clean guitar, it slowly builds as melancholic tremolo melody is joined by somber thrash riffs. This one isn't as fast as the rest, thought it may be a stretch to really label it as 'mid-paced'. In any event, everything comes together to create something dark and epic; the kind of song that haunts your mind. Tobias sounds particularly possessed on this one, being consumed with utter madness. This all leads into the title track, which kind of picks up from where the previous song leaves off. It would seem like any other song on the record, yet as it proceeds it continues to build. There are several riffs that you might not expect, bringing in a definite old school feeling. After about six minutes, everything comes to a stop, leaving only the cold winds and an acoustic guitar. Slowly, something sounding like a war march fades in, and then slowly fades back into the acoustic piece.
There isn't too much to say about this one. It is very enjoyable from beginning to end and is exactly what you would expect a new Necrophobic album to sound like. There are no surprises here, which may please some fans that had difficulty getting into the previous record. In the end, Death to All is another decent album and worth picking up.
(2 Nov. 2009)
Womb of Lilithu (2013)
Womb of Lilithu was released in late October 2013 on the trendy Season of Mist label. Though fans of Necrophobic have grown accustomed to the long wait between albums, over the past decade, it has usually been worth it. Not so, this time. In the four years that passed since Death to All, they lost the very talented duo of Sebastian Ramstedt and Johan Bergebäck. The best they could come up with was to replace them with a former member of Unleashed, who does not fit in at all. However, he is not the only one to blame as the two core members were out of ideas long before this abomination was ever written.
Clocking in at over an hour, this is a very tedious listen. Not so much because of the length, but because the material is just awful. Half of it consists of recycled riffs from Bloodhymns and Hrimthursum, with the other half composed of really awkward and out-of-place songwriting that does not belong on a Necrophobic album. Honestly, once the novelty wore off, even Death to All wore thin, with only a handful of tracks worth keeping. With Womb of Lilithu, so much of it sounds familiar from the very first listen. Even worse, it was done better the first time around. The band seems to be creatively bankrupt, at this point. Beyond the fact that is sounds as if they are plagiarizing themselves at various points, the music just isn't very good. Most of it blends together and leaves no real impression, except the parts that stand out for all the wrong reasons. The majority of this consists of a bunch of interchangeable black or death metal riffs that have no feeling and serve no purpose. There is no darkness nor true aggression. Gone are the hauntingly sombre lead solos that the band had long been known for, replaced with a happier sound that is reminiscent of Iron Maiden, which creates a stylistic clash. There are also some that seem to be going for some weird Middle Eastern vibe, but more on that later. The songs just get worse as the record progresses, with Tobbe seeming to rap by the seventh song, to go along with the horrible groove. However, the real lowpoint of the record may be the track "Opium Black". It begins with some pathetic gothic Rock, similar to modern Tiamat, complete with horrible clean vocals. This has Sidegård's fingerprints all over it. If he had not already been ejected from the band for being a scumbag wifebeater, I would say that someone should tell him to keep these lame ideas for his worthless side projects. By the end of the album, more rehashed ideas appear, followed by a melodramatic outro.
Lyrically, this foul recording falls deeper into the Middle Eastern nonsense that seems to have so completely infiltrated the minds of many in the Swedish metal scene, in the last several years. At times, it is as if they are trying to see how many references to qliphotic this and chaotic that, Lilith, Thaumiel, etc. that they can fit into each song. There is nothing even being said, rather, it's often just an exercise in reciting various names and terms with no purpose, much like the music itself. This idiocy has nothing to do with real black or death metal, much like the music on this album. Anyone that thinks otherwise needs their head checked.
The production is even worse than the last record, meaning completely modern and clear and overdone. Everything is mixed improperly, with Joakim's boring (yet oddly overactive) performance pushed to the front. The bass is too audible as well, which is very rarely a good thing. The guitar tone is weak and lacks even the faintest hint of rawness. Even the vocals are worse than before, with the various modern-sounding effects that are frequently used. The clean backing vocals and Tobbe's annoying vocal rhythms don't help things. There is no real reason to criticize the production too much, as even the most raw and necro sound possible would have failed to hide the wretched and laughable songwriting.
Womb of Lilithu is the worst thing Necrophobic has ever released. Bands like Shining are often quoted as saying that they want their fans to commit suicide; all they have to do is make an album like this and listeners will be killing themselves in droves. I'd rather cut my throat and bleed out than to ever again have my ears so thoroughly polluted by such atrocious filth. While Death to All was rather formulaic at times, this actively defecates on the legacy created by past works such as The Nocturnal Silence and Darkside. Though Joakim has recruited their old vocalist, Anders Stokirk, it is unlikely that they will do anything worthwhile unless the songwriting is turned over to someone worthy of following in the footsteps of David Parland or even Sebastian Ramstedt. At this point, it's time to call it quits. Even the live performances are lackluster and one can tell that they are just going through the motions. Avoid this album and anything else this band does, from now on.
Clocking in at over an hour, this is a very tedious listen. Not so much because of the length, but because the material is just awful. Half of it consists of recycled riffs from Bloodhymns and Hrimthursum, with the other half composed of really awkward and out-of-place songwriting that does not belong on a Necrophobic album. Honestly, once the novelty wore off, even Death to All wore thin, with only a handful of tracks worth keeping. With Womb of Lilithu, so much of it sounds familiar from the very first listen. Even worse, it was done better the first time around. The band seems to be creatively bankrupt, at this point. Beyond the fact that is sounds as if they are plagiarizing themselves at various points, the music just isn't very good. Most of it blends together and leaves no real impression, except the parts that stand out for all the wrong reasons. The majority of this consists of a bunch of interchangeable black or death metal riffs that have no feeling and serve no purpose. There is no darkness nor true aggression. Gone are the hauntingly sombre lead solos that the band had long been known for, replaced with a happier sound that is reminiscent of Iron Maiden, which creates a stylistic clash. There are also some that seem to be going for some weird Middle Eastern vibe, but more on that later. The songs just get worse as the record progresses, with Tobbe seeming to rap by the seventh song, to go along with the horrible groove. However, the real lowpoint of the record may be the track "Opium Black". It begins with some pathetic gothic Rock, similar to modern Tiamat, complete with horrible clean vocals. This has Sidegård's fingerprints all over it. If he had not already been ejected from the band for being a scumbag wifebeater, I would say that someone should tell him to keep these lame ideas for his worthless side projects. By the end of the album, more rehashed ideas appear, followed by a melodramatic outro.
Lyrically, this foul recording falls deeper into the Middle Eastern nonsense that seems to have so completely infiltrated the minds of many in the Swedish metal scene, in the last several years. At times, it is as if they are trying to see how many references to qliphotic this and chaotic that, Lilith, Thaumiel, etc. that they can fit into each song. There is nothing even being said, rather, it's often just an exercise in reciting various names and terms with no purpose, much like the music itself. This idiocy has nothing to do with real black or death metal, much like the music on this album. Anyone that thinks otherwise needs their head checked.
The production is even worse than the last record, meaning completely modern and clear and overdone. Everything is mixed improperly, with Joakim's boring (yet oddly overactive) performance pushed to the front. The bass is too audible as well, which is very rarely a good thing. The guitar tone is weak and lacks even the faintest hint of rawness. Even the vocals are worse than before, with the various modern-sounding effects that are frequently used. The clean backing vocals and Tobbe's annoying vocal rhythms don't help things. There is no real reason to criticize the production too much, as even the most raw and necro sound possible would have failed to hide the wretched and laughable songwriting.
Womb of Lilithu is the worst thing Necrophobic has ever released. Bands like Shining are often quoted as saying that they want their fans to commit suicide; all they have to do is make an album like this and listeners will be killing themselves in droves. I'd rather cut my throat and bleed out than to ever again have my ears so thoroughly polluted by such atrocious filth. While Death to All was rather formulaic at times, this actively defecates on the legacy created by past works such as The Nocturnal Silence and Darkside. Though Joakim has recruited their old vocalist, Anders Stokirk, it is unlikely that they will do anything worthwhile unless the songwriting is turned over to someone worthy of following in the footsteps of David Parland or even Sebastian Ramstedt. At this point, it's time to call it quits. Even the live performances are lackluster and one can tell that they are just going through the motions. Avoid this album and anything else this band does, from now on.
(29 July 2014)
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