A History Of Norwegian Black Metal

21. Kampfar - Mellom Skogkledde Aaser 1997 [Malicious Records]
	Beginning life under the name of, Mock with the 1992 release of “ Vinterlandet", a Black Metal/Viking style of grim atmospheric art evoking the likes of Satyricon and Enslaved in parts. The ‘Mellom Skogkledde Aaser’ album sustains much of the minimalist characteristic of the early Norse scene with added Viking elements. The atmosphere is one of cold heathen aesthetics set to a brooding raw coldness that in itself sustains the grimness of this release. Kampfar steer clear of the blatant Viking up-tempo strains of fellow countrymen Einherjer, preferring the harshness of the more Black Metal related acts. The scalding vocal interplay
with both clean chants and lacerating rasps again evoke the Viking Metal traits that the sub-genre maintains, thus giving Kampfar the similarities of early Enslaved in that both bands were embraced by the Black Metal fraternity as opposed to being solely a Viking Metal rooted act. The 2006 release ‘Kvass’, is a more refined, watered down version of what Kamfar do best, and that is well constructed Paganized Black metal injected with melody and accessibility.

22. Mysticum - In the Streams of Inferno 1996 [Full Moon Productions]
	Appearing at the port-birth period of Norwegian Black Metal along with Gehenna and Satyricon, Mysticum were part of the collective whole and a much-respected part of the genre. The bands drum machine driven Black Metal painted a chilling black and white industrial Black Metal classic of raw manic vocals and machine gun riffs, all caked in eerie keyboard interludes and claustrophobic atmospheres. Hellhammer [Mayhem] joined the band for a brief period after the release of ‘Inferno’, but no recordings were ever laid down.

23. Manes - Ein Blodraun Maane 1999 [Hammerheart Records]
	A messy production can be forgiven with this sublime lesson in classic harsh symphonic Black Metal. The tracks found here are re-recordings of the bands three demos and whilst lacking any clarity, the compositions show a real quality and passion. The guitars are precise and refined to complement the under pinning of busy keyboards in a unique individual display of Norwegian pioneering Black Metal. The music is a subtle fusion of industrial, progressive, Black, and numerous other styles meshed into this unusual and at times complex display, of a band trying out new ideas within the sub-frame of the genre.

24. Limbonic Art - The Moon in Scorpio 1996 [Nocturnal Art Productions]
	Formed in 1993, Limbonic Art released two demos before unleashing the cosmic starscape that was to be ‘The Moon in Scorpio’ in ’96. This album was heavily orchestrated and grandiose symphonic Black Metal. The solid atmosphere and vocal delivery is reminiscent of Covenant ‘Times before the Light’ era. With the keyboard orchestration high in the mix, the whole sound is driven forward in classically chaotic fashion with the harsh vocals and low-fi guitar fuzz filling the back drop. Emperor influences are often sensed, yet the album is solid enough to stand alone as a good example of cult era Norwegian Black Metal. To place this release thus far down the list will no doubt infuriate some, yet that is the strength
of the Norwegian scene.

25. Tartaros - The Grand Psychotic Castle mcd 1996 [Necropolis Records]
	Symphonic Black Metal created by the wonderfully eccentric Charmand Grimlock [Emperor touring keyboardist]. This debut release and the equally extravagant 1999, The Red Jewel’ album, displayed the adventurous characteristics of early Arcturus, setting a carnival atmosphere draped in heavy keyboard orchestration. The music follows a similar harsh path as Emperor in sound and style, although Tartaros are insanely [as the title of the mcd reveals] psychotic and utilize a multi-layered sound to create that brazenly eccentric style.

26. Solefald - The Linear Scaffold 1997 [Avantgarde Music]
	With the more orthodox Black Metal styles having run their course, more bands strived to create something new, without exceeding the limits of pioneering creativity in stark contrast to the outright bizarre. Solefald managed to conjure such an album with the wonderful ‘The Linear Scaffold’ album of 1997. This was a combination of Arcturus orchestration and clean delivery, Cradle of Filth style barking vocals and vicious standard Black Metal parts. Like Fleurety, the music was off the wall and covered a wide rage of emotive musical experiences. The following Neonism album was a radical extension of its predecessor, reaching further
form the black metal pool of its conception and grasping at punk, trip-hop, drum ‘n’ bass, reggae, oriental music and progressive rock, whilst still harnessing a Black Metal core. Both The Linear Scaffold and Neonism, exude a similar bizarre sound, yet the former, due to its experimental innocence makes the top here. The music is oddly rather alluring and for some not too apparent reason, the compositions of the aforementioned two albums are easily absorbed. The band continues to release albums, although none matched the strange bleakness and satirical aural bite as the early releases.

27.Covenant - In Times Before the Light 1997 [Mordgrimm]
	A band of two halves and a career that has seen a change of name and musical style. In terms of Black Metal, 1997 debut ‘In Times before the Light’, is a true classic of the genre and marks a stand-out release from the second wave of Norwegian Black Metal. In the symphonic side to the genre, this had the core elements of distorted guitars, a keyboard spine and raw sound. Given the quality of songs, it is no surprise that the band grew into a far more polished entity. Nagash [Stian Arneson] vocals/bass, also formed Troll, and played in Dimmu Borgir. The Following ‘Nexus Polaris’ in 1998, found the band on Nuclear Blast and firing from a
more substantial production budget compete with female vocals. The band changed the name to Kovenant with the following release ‘Animatronic’ in 1999. With the primeval core of the bands ethos now cast asunder in favour of modern electronics, the band continue to pursue a less darkly musical path, as found on the rather nauseating Seti opus.

28. Fimbulwinter - Servants of Sorcery 1994 [Hot Records]
	Fimbulwinter [meaning ‘the immediate prelude to the end of the world’, in Norse myth], were formed in 1992 and featured Dimmu Borgir front man Shagrath [Stian Thorensen]. ‘Servants of Sorcery’, is a grisly aural experience and can be likened to early Darkthrone colliding with Burzum on a bad day with an even worse production. [The whole release is of the bands demo, thus retaining all the qualities of such a recording] The yelping vocals are almost Burzum related at times and the minimalism of Darkthrone melting with Celtic Frost, sums up the whole core influences of the release. Cult Black Metal this most certainly is, whether it is listenable Black Metal depends on your
point of view. I suppose for those of us who thrive on Judas Iscariot style dirges played through a tin can, then Fimbulwinter will sound just fine. If on the other hand, you prefer an audible clarity to the chaos of raw and undemanding Black Metal then this will sadden your darkest Days. The band also featured Ulver guitarist Skoll, and a fellow cited as, Necronos, who seems to have vanished of the face of Middle Earth. With this credibility attached to the Dimmu Borgir throat man, I often wonder why many despise the popularity of the band and question if they even know of this ear shredding Norwegian Black Metal gem.

29. Fleurety - Mid Tid Skal Komme 1995 [Misanthropy Records]
	Unashamedly clichéd Norwegian Black Metal set to a master class in song creativity. This is the bands one true Black Metal release, as the music’s core is unmistakable Norwegian. The avantgarde nature of the songs take you on a labyrinthine journey through varied Black Metal styles, with female vocals, harsh mutterings and acoustic passages merging with the harsher angst atmospheres typical of the genre. This was a very experimental release with an early Satyricon sound and an In the Woods style disregard for the norm and a more than inventive bass arrangement. The following 2000 release Dept of Apocalyptic Affairs, was a bizarre, unfathomable
collection of songs and guests that although different, never capitalized on the bands former expectations.

30. Old Mans Child - Born of the Flickering 1995 [Hot Records]
	The band were formerly known as ‘Requiem’, and were a Metallica/Slayer covers band re-surfacing on the crest of the Norwegian Black Metal second wave under the guiding influence of Dimmu Borgir guitarist Galder. . The grimly Norse sounding ‘Born of the Flickering’ debut was much like the masterful 1994 demo ‘Shades of Life, in that both sustained an unmistakable aura of Norwegian Black Metal. Released on Shagraths Hot Records, the various ties to Dimmu Borgir does not however consume the music with likewise comparisons. With that Dark Age chill of early Satyricon, Born of the Flickering, combines acoustic
menace with typical Black metal guitars and vocal delivery. Melodic songs slither between fast and slow tempos. The band has since released many fine albums, all more polished, as you would expect. But to taste the formidable atmosphere of that classic mid –nineties sound, one has to draw from the first releases.

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