51. Perished - Kark 1997 [Solistitium Records]
With demo releases in 1993/1994, and a raw/ folk tinged 7” in 1996 [this being a raw Satyricon inspired two tracker] the bands debut album ‘Kark’ is a direct reflection of the early Norwegian Black Metal sound. Rough distorted guitars, howling keyboards and grizzled vocals all swirling in that low-fi mix. The quality of the songs are proficient enough, and I dare say the band members normality [no corpse painted, axe wielding poses] may have affected the overall image. A, MCD ‘Grim’, followed in 2000, and was an epic collection of up-tempo raging Black Metal coupled with piano sections and some impressive atmospheric Nordic pagan Black Metal songs.
The following ‘Seid’ album [Displeased Rec] in 2003, found the music treading a more Death Metal with keyboards style, hauling the bands early master-works into a less effective, albeit solid musical direction.
 
52. Troll - Drep de Kristne 1996 [Damnation Records]
Formed by Nagash, [now known as Lex Icon Covenant/ The Kovenant], in 1992. The raw symphonic style that graced the 1995, Head Not Found Records release, Trollstorm over Nidingjuv, and the 1996 Damnation Records release, Drep De Kristne. The quality of song-craft struggled against the muddy production, yet the classic Norwegian sound is perfectly deployed within a striking array of melodic keyboard driven Black Metal.
With ultra gravel vocals, fast hypnotic arrangements colliding with brooding atmospheric slower parts, and more than obvious similarities with Satyricon's, Dark Medieval Times, and early Arcturus.
 
53. Khold - Krek 2005 [Tabu Recordings]
Formed from the ashes of the mighty Tulus, in 2001. The band play a slow brooding groove injected style that evokes the icy aura of Dark Throne and Burzum. With the debut release, ‘Masterpiss of Pain, the music takes its cue from the former mother band and, unlike many other Black Metal bands, Khold use heavily down tuned strings to drive the sound into the night air.
‘Morke Gravers Kammer’ was released in 200, and is a slow burning sludge of tracks straining to reach the final note. A good clean production allows a crisp sound to take control over the possession of similar constructed material that bleeds into each other with
ease. ‘Krek’ [2005], a likewise, valium brushed set of songs with a fleeting burst of speed now and then. With more varied rhythms and a less monotonous flow of intensity, Krek, is Kholds finest moment. The mighty Tulus roots are never completely concealed and at times you feel like you are listening to Tulus [even though technically you are any way]. To experience the Kold effect then Krek will blast you into ash.
 
54. Svartahrid - Forthcomming Storm 1998 [Napalm Records]
Formed in 1994, The band released the, Herskende I Blod, demo in 1998, followed by the Viking embodied, Forthcoming Storm album in 1999. This was a raw symphonic imbued release that displayed many of the traits of Dimmu Borgir's Stormblast. The keyboard arrangements adding a great depth to the brooding Black Metal guitar sound.
The music oozes melody and abrasiveness and the semi-rough production allows the whole sound to remain faithfully in what one can claim to be typical Norwegian Black Metal.
The following Sunrise Flickers album, relegated the keyboards in favour of a more thrashing approach. As good a release at is was, it never managed to sustain the dark beauty of its
impressive predecessor. The fact that vocalist Ilvaster, broke into a crematory in 2003, and desecrated several corpses, taking the head of one with him, has made this band even more intriguing
 
55. Forlorn - The Crystal Palace 1996 [Head Not Found]
Formed in 1992, through the band 122-Stab Wounds, Alvarin & C. Worhn formulated the birth of Forlorn. Their debut opus, The Crystal Palace, is melodic Black Metal set at the far end of the intensity scale, with the Darkthrone low-fi element non existent here. Forlorn utilize keyboards and acoustics to balance atmosphere with lush compositions and clean/ harsh vocals. There is a very similar feel towards Ulvers wonderful, Bergtatt album.
Much attributed to the Viking Metal side to the genre in their early works, Forlorn display on this release a distinctive mild form of symphonic Black Metal. The bands following albums on Napalm Records are less than inspiring.
 
56. Bak De Syv Fjell - From Haavardstun 7" 1997 [Edge Circle Productions]
Limited to 1000, this Norwegian underground 7” is a testimony to a band that never was in terms of the potential captured on two side of plastic. Band name means "Behind the Seven Mountains", and the music is a hybrid early Ulver meets In the Woods. With that raw production that settles upon these 7” vinyl gems [Gehenna’s Ancestor of the Darkly Sky, and Ancients, Det Glemte Riket. being fine examples of that sound].
The music is up-tempo folk inspired Black Metal with both harsh and female vocals.

 
 
57. Suffering - Sowing the Seeds of Suffering 1995 [Arctic Serenades]
Firstly, let us dispel the myth that Arctic Serenades was a Christian fronted label, it was not, and all other rumours pertaining to ill deeds are also unfounded.
This album owes much to the debut offering from the UK's Paradise Lost, as well as fellow countrymen, Strid. The down tuned gloom set in a pre-production atmosphere of raw guitars and snarling Black Metal vocals swoosh in a miasmic rhythmic morgue. The deconstructed sound sends simple riffs rolling over each other in agonizing compositions that vary little from one track to the next. Black Metal in texture, yet consumed with a doomy drone and tormented nihilism.
Suffering are a unique side to a genre that was still evolving and the liner notes dedicating the release to Euronymous reveal how close to the origins of Norwegian Black Metal the band were.
 
58.Grand Alchemist - Intervening Coma Celebration 2002 [Sound Riot Records]
A late-post classic era Norwegian band. [formerly known as Morrheim having demos out in 1996-97, titled respectively, The Midwinter Frost, and, Forever Night Infinity]
The only album to appear from Grand Alchemist was a progressive Black Metal masterpiece that fused the symphonic elements with the advantgarde. Certainly this release could be contrived as a more deathly/polished Dimmu Borgir as both bands utilize keyboard orchestration to great effect.
The dynamics of the complex arrangements that are welded within instantly digestible melodies makes this album a joy to absorb. The music doesn’t try to be too clever, nor
does it enter the realms of the unfathomable. This is pure adrenalin, set to precision playing and exquisite song craft. The arrangements are classically composed in some ways, whilst retaining a progressive edge.
If you enjoy the more refined, more polished productions of the symphonic genre, then, Grand Alchemist will not disappoint. This is a band who have been chronically ignored by the masses.
 
59. 1349 - Liberation 2003 [Candlelight Records]
Raw, pounding primitive Black Metal featuring the drum talents of Frost [Satyricon, Gehenna, Zyclon B, Gorgoroth] Formerly known as Ahlveim, the band opted for the numerical name, 1349 [the year the Plague came to Norway] in 1997. After a couple of demos, the debut album, Liberation appeared in 2003. This necrotic austere of Black Metal dissonance blasted with precise guitar tempos and sharp snare pounding. The drum work literally pulverizes the senses.
Beyond the apocalypse, [2004], is another rapid raw-throated, uncompromising album of chopping guitars and relentless snare attack. Black Metal at warp speed, unearthing the
dead and scattering their bones across the pummelled ground. That is the thrash like severity of this release.
Hellfire, [2005] plunges you into a Black Metal furnace of total Armageddon. This is articulate head fucking Black Metal of the highest calibre. Paint by numbers it may be, and nothing new is on offer, yet the very combustive core of the music is so fast, so tight and precise, it really is a marvellous aural experience. Liberation, takes the final vote for its brazen raw approach and rough production. 
 
60. Emancer - Utopian Illusons 2001 [Extremist Records]
Formed in 1997, the band was known as Utumno until 2001, when the name was changed to Emancer. Imagine the vocal rasps and primal atmospheres found on Satyricons ‘Dark Medieval Times’ and apply them to a modern take on the traditional theme. What you get is a fast and primitive Black Metal rooted style woven together by some brooding mid sections that ignite the whole darkly experience. This debut is still the most rooted to the Black Metal ethos than the bands.
 

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