A History Of Norwegian Black Metal

11. Ulver - Bergtatt 1994 [Head Not Found]
	Featuring the unique vocal talents of Christopher 'Garm' Rygg , and displaying a wide range of musical variants to the Black Metal ethos. The 1993 Vargnatt, demo heralded the bands arrival, though bore no obvious hints of the following albums richly cultured atmospheres. The bands sound shifted into an atmospheric/pagan themed Black Metal and the wonderful ‘Bergtatt’ long player was another unique addition to the growing Norwegian Black Metal scene. With flutes and piano adding character to the primitive embodiment of this stimulating Norse Black Metal release. The following Kveldsanger album could have been written by a totally different band, such
was the diverse style of music displayed, the whole brooding acoustic folk-like music evoking scenes from a dilapidated medieval monastery. The return to form appeared with the third release, Nattens Madrigal, in 1996. Some would cite the primal Black Metal intricacies of, Madrigal, as the bands finest work. Ulver has since become a band experimenting with sound outside the perimeters of Black Metal.

12. Strid - 7” EP 1995
	How many bands can lay claim to cult status from an unsigned situation? Strid [the name means ‘Battle’ in Scandinavian] have done just that with one demo and a 7” single, both emitting a dragging moroseness of dismal atmosphere and ear aching decay. The ‘End of Life’ demo aired a basic locomotive atmosphere. Fast controlled primitive Black Metal that would have equalled, but not surpassed the other demo bands doing the rounds. It is however, the mighty 7” that spawned the true legacy of this band. Excruciatingly painful dirge hymns, crawling along at minus knots and cutting through the air like some leprous disease. The music is Black Metal doom before the likes of Skeptism/Nortt, were even
contemplating such agonizing forms of aural torture. Strid captured a sound that has pretty much remained true to, well - Strid.

13. Arcturus - Aspera Hiems Symfonia 1996 [Misanthropy]
	Featuring Hellhammer on drums, and the vocal talents of ‘Garm’, Arcturus released a very underground received 7” ‘My Angel’ in 1991. It wasn’t until the promotional cd of ‘Constellation’ reared its sublime head in 1994, that the band started to make waves. This 4 track cd [featuring Samoth] aired 4 rough versions of songs latter to appear on the seminal 1996 Misanthropy records album ‘Aspera Heims Symfonia’. This was an overdose of lush keyboard orchestration, pulsing keyboards and acoustic guitars that expanded the basic Black Metal symphonic style of Emperor tenfold. The intense percussion of Hellhammer, underpins the whole sweeping spacey atmospheres
together. The band continued their exotic path with the 1999 release ‘La Masquerade Infernale’, and the electronic laden, Sham Mirrors, in 2002. Both solid progressions, albeit away from the bands Black Metal foundations. The latest opus, Sideshow Symphonies, reveals yet another impressive chapter in the bands history.

14.Gorgoroth - Pentagram 1994 [Embassy]
	Pure evil in a jar released out of the aural obliteration that is Gorgoroth. There is a certain atmosphere that can only be harnessed with a low budget and a brash, un-blemished view of the music business. Such is the chaotic and bone shuddering nature of the sound captured on ‘Pentagram’, and likewise found on Borknagars debut, most Dark Throne recordings and for that matter, most of the Norwegian early acts debut releases. Pentagram, is a desolate mix of dirge like atmospheres and manic blasting ferocity. A simple album of great genre defining ability. The following ‘Antichrist’ mcd in 1996 maintained the dark ruthless bestial Black Metal set
by its predecessor. This MCD was even more demented in vocal delivery and song structure. The 1997 album, Under the Sign of Hell, lacked the initial malevolence of the former, yet Gorgoroth had made their mark. With a major label comes the more polished productions and that essential primitiveness thus begins to fade. This is true for all bands who make such transitions and though the music becomes essentially stronger, the raw flavour of old disappears. With ‘Ad Majorem Sathanas Gloriam’ 2006, Gorgoroth reclaim their place along side the genres very best.

15. Dodheimsgard - Kronet Til Konge 1995 [Malicious Records]
	Dodheimsgard [the meaning in English being ‘The Mansion of Death` or The Realm of the Dead/Death`, for those who are interested] came into being in 1994, and the debut album Kronet Til Konge, is by far the bands most instinctive Black Metal release. It has that raw, caustic atmosphere that represents that golden era of Norwegian Black Metal. Fenriz played bass on this release. The following, Monumental Possession, is a more thrashing release, evoking Bathory at times, yet still exploring the strange depths to where the band would dwell on latter releases. The 666 International, album [1999] is a dramatic progression towards the
absurd, the eccentric and bizarre. Black Metal set to a Picasso painting if you like, quite perplexing to the ears. The 2007, Supervillian Outcast album is both a return to the primitive malevolence of the bands past and the more twisted soundscapes of the latter releases.

16. Trelldom - Til Evighet 1995 [Head Not Found]
	Featuring the enigmatic vocalist Gaahl [Gorgoroth, Gaahlskagg], it is fair to say the music also followed a similar path to the aforementioned acts. Raw, straight form the hip Norwegian Black Metal. The ‘Til Evighet’ album is a cold Dark Throne inspired masterpiece of chilling, primitive, hateful and minimalistic Norwegian Black Metal in its purest form. The following ‘Til Et Annet... album in 1996, lost some of the hollow atmosphere of its predecessor, though still harnessed a bleak sound that to some would be a better release... With two albums already beginning with the word, Til, the third was never going to be any
different. With Til Minne, [2007] the band proved beyond any doubt that they were one of the finest Black Metal bands on the planet. This album just eschewed everything the phrase ‘True Black Metal’ stands for. Quite brilliant

17. Carparthian Forest - Through Chasm, Caves And Titan Woods 1995
	A True Norwegian Black Metal band if ever there was s one. With demos appearing in 1992-94, and a cult classic EP released in 1995 titled ‘Through Chasm, Caves And Titan Woods’, this band stayed mainly in the underground until the emergence of the debut album ‘Black Shinning Leather on AvantGarde music in 1998. This release has all the old school grinding malevolence of, Hellhammer, released through a deep atmospheric Nordic Black Metal sound. With all the bands releases having a primitive aura ingrained into the material, the very melancholic atmospheres of the early recordings are pure Norwegian Black Metal at its finest. The cover oddly enough is the same image
used on the Wongraven album, Fjeltronen. The following albums,. Strange Old Brew [2000], and Morbid Fascination of Death [2001], are all solid Black Metal releases, as are the bands more recent offerings.

18. In the Woods - Heart Of The Ages 1995 [Misanthropy Records]
	After releasing the cult, Isle of Men’ demo in 1994, the band fashioned their only Black Metal inspired album, the debut, Heart Of The Ages’. With an Ulver like paganism filtering through the material, and a classically arranged set of songs that featured many vocal styles. This was to be the bands first and last Black Metal affiliated release, with the following albums having a progressive, almost hypnotic embodiment of aural compositions. The following Omnio opus 0f 1997, revealed the bands avantgarde leanings and alongside Ulver and Arcturus, this act relinquished their Black Metal shackles to explore new musical challenges.
There is a fine [if not lengthy] double live album ‘Live at the Caledonien Hall’, released on, The End Records, in 2003. This is a stunning live outing capturing the unique flow of this ethereal act, plus some of the older material is aired to great effect.

19. Kvist - For Kunsten Maa Vi Evig Vike 1995 [Avantgarde]
	The band that spawned the raw and desolate, Urgehal; released only one demo, prior to the deployment of this beast of an album. Some bands can have as much quality music in one album, as others have in ten. Kvist are one such band, who appeared and disappeared before any real fan base could sustain their presence. ‘For Kunsten Maa Vi Evig Vike’, is a blasting symphonic classic where the guitars dominate the keyboards and allow more depth to the compositions, and what compositions they are. Each of the 6 tracks are blasted from a heavier than normal production, thus allowing greater power to hammer the caustic melodies home. The thickness of the sound,
simple yet effective rapid guitars, and fast drum work collide to form a beauteous example of solid Norwegian epic Black Metal.

20. Ancient - Svartalvheim 1994 [Listenable Records]
	An early Norwegian band that for all the dedication/musical output and ceaseless passion, have not exceeded the potential for which they deserve. Maybe the transition to Metal Blade [not a very striking Black Metal label] has inadvertently stifled the dark imagery so important to the underground, and once a band loses their underground footing, their status is never guaranteed. However perceived by the media, Ancient, released a sterling debut album in 1994 in the form of Svartalvheim. This had that dense Norse sound and cold aural harshness, although of a one dimensional and minimalist nature. The very thick guitar sound of this debut offered
a unique brooding atmosphere that was to slowly fade from the bands identity The following mcd, Trolltaar [Damnation Records] followed a similar path of grim melodic Blackness. The band were sighed to Metal Blade and afforded stronger recording budget which affected the early simplicity of the bands style. The 1996 album ‘Caanian Chronicles’ heralding the more involved song writing, as are all the post-Trolltaar releases to date. Many people cite Ancient as a joke nowadays due to the bands association with the American scene.

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