Samael "Ceremony Of Opposites" (Century Media records 1994)

1.     Black Trip 03:19  

2. Celebration of the Fourth 02:53  

3. Son of Earth  03:58   

4. 'Till We Meet Again 04:11

5. Mask of the Red Death  03:04   

6. Baphomet's Throne      03:30  

7. Flagellation 03:41  

8. Crown 04:06  

9. To Our Martyrs 02:37

10. Ceremony of Opposites 04:39

The pernicious trio of Samael enjoyed a great state of form after debuting at the dawn of the 90's with "Worship Him", production where the Swiss already showed clear intentions to take a path musically different from what their contemporaries did in different localities of the European continent. The "Blood Ritual" of 1992 only confirmed the suspicions and exposed the irremediable conatus of Doom Metal that repellessly infected his music. Far from resting on their laurels, the group decided to take a new evolutionary step. A volcanic movement that would take place in 1994, the year in which Samael would become a quartet with the inclusion of Rodolphe H to take possession of the sampler, keyboards, and other electronic gadgets that Samael had to adjust the necessary nuts and tip him, now Yes, a radical and definitive turn to your proposal.

Although the original influence of Black Metal continues to be omnipotent in the singing of Vorphalack, through the cracks of the battleship of this "Ceremony of Opposites" were already allowed to see clear influences of the Industrial and other experimental ínfulas that ultimately would be their decisive bet in future deliveries. This formidable album still protects that mysticism and opacity of its predecessors, and at the same time reveals the courses that the group would take. Here is a fierce disc, discourteous in its walk and harmful bite. Arrogant carrier of an artwork worked, simply wonderful and penetrating to the look.

The band of the brothers Locher is delivered solid as armed concrete for ten songs, just over thirty minutes that are enough to make a massive exercise of impudence and forcefulness. The Helvetica print the album a long procession of ornaments and unmistakable elements of Industrial music that will show their fangs as the minutes descend downhill.

Without further prelude, the colossal "Black Trip" extends the deck of cards on the table. A stark rhythmic base by Xytras establishes the tablecloth on which Vorphalack and Masmiseîm perform a commendable work of instrumentation with fairly classical riffs and structures and correct changes of rhythm to which density and consistency are never lacking.

The group sounds compact and Herculean at all times. The immaculate tracklist has no abrupt cuts between them, and this detail gives us the exquisite illusion of listening to a single theme divided into ten monstrous chapters. Nothing can be objected to deadly monsters such as "Till We Meet Again", "Celebration of the Fourth" or "Flagellation" or the cumbersome manner in which they stab each other. The group was bold and did not fear to integrate other styles, methods and procedures to its jumble, but always trying to guard a straight line with its blasphemous mystic. The peculiar rhythmic sections of his direct and brief ten cuts are dense and impenetrable. To this we add a slight reflux of hypnotic melodies that shudder in an aura of simplicity and good compositional by Vorph.

In the homonymous theme, small sediments of Doom Metal can still be seen scattered throughout the minute, but in both "Baphomet's Throne" and in "Mask of the Red Death" the constant are the persistent electrical developments that interweave an amalgam of twisted successions and extremely thick, where the guttural screams of Vorph stir the cauldron with a devastating and superb mastery. Rodolphe's keyboards can be heard from time to time to accompany the instrumentation, and the thunderous sections starring the sampler give him a kind of important depth to a phenomenal work that gives him very little loopholes to tranquility.

Production, far from being a portent of sound engineering, makes the instruments shine brightly, making them sound and rattle just as the album needs. The constant use of sounds characteristic of the Industrial turns out to be a very profitable element, especially for ornamental purposes. The universal atmosphere of work is based on agonizing resonances that create a funereal and claustrophobic atmosphere that feels great.

Here is a round disc, very prestigious and faultless in the aspects of setting, production and composition. The sum of all the factors that comprise this "Ceremony of Opposites" establish it as an intrepid work, lined with surprises, stupor and a warlike pestilence that catapults him as one of the spearheads in Samael's extensive discography. Opulent material that is embedded directly to the jugular, and very possessed of a perfect hodgepodge of sound ingredients that take a very long and imposing four horns.

My vinyl 

Samael "Blood Ritual" (Century Media 1992)

Lado A
1. Epilogue 00:39  
2. Beyond the Nothingness 04:31  
3. Poison Infiltration 03:57
4. After the Sepulture 04:35  
5. Macabre Operetta 06:41  
6. Blood Ritual 03:24  
7. Since the Creation... 00:34
8. With the Gleam of the Torches 06:25
9. Total Consecration 02:40  
10. Bestial Devotion 04:49  
11. ...Until the Chaos 03:25

I'm not sure when brutality became synonymous with complexity in metal, but it is a mentality with which I never really agreed. When you say "brutal" people think of technicality, or of speed and precision. People think of Cryptopsy, or Gorguts, or of Cephalotripsy and the slamming ilk. But, I'm not sure I've ever really felt "brutality" from those that sound like that - efficiency, fear, monstrous, awesome, maybe - but not entirely brutality. These bands are like sniper rifles and assault rifles - maintained, cold in their precision, and take time to master and use properly. So, while they may be the deadliest tools, the word brutality doesn't immediately come to mind. When I think of brutality, I think of barbarous tools. Those that are always deceptively effective - simple in presentation and purpose, but efficient for killing: spikes, clubs, axes, saw teeth. Simple shapes meant to be used by anyone who can wield them and with the intent to inflict some damage. This is exactly the type of music Samael made in their early days. 

With few synths, a small intro, and an incredible focus on guitars, it's a straight forward, gloomy, and meandering album. It's filled with "go nowhere" riffs, a shallow, hollow production, and very few tempo changes besides going from slow to slower to slightly less slow. Most of the songs riffs sound eerily similar, with more of a focus on atmosphere than actual song-writing - and the doom elements more or less consist of classic heavy metal riffs and drum fills, with little variation between one song or another. But once you can get past the monotony, the simplistic accents make themselves noticed and add a ton to the album, and actually force the listener to focus less of the parts and more on the whole. 

"With the Gleam of the Torches" is a galloping, almost fun ride through the caverns, with twisting and turning riffs, drums alternating between standard blasts and rocking beats to hi-hat and cymbal accents - the whole thing is reminiscent of being taken away by some ancient crypt-keeper, explaining ancient secrets as his blue flame fills the catacombs with an otherworldy hue. The title track is crushing, starting with a classic guitar rip worthy of early Hellhammer (which, unsurprisingly is obviously the most influential band on Samael at the time) followed by a fury of blasting and power chords and accompanied howls. It moves effortlessly between the two tempos, creating a tense effect of ritual and sacrifice. The most famous after "After the Sepulcture" is brutality incarnate - a crushing, draining riff that moves like some titanic subterranean behemoth - with a serpentine riff and lead guitar that effortlessly shifts from one melody to another, never losing its poisonous effect, before exploding back into the main riff. 

Most of the songs alternate between these formulas, slow and crushing, slight blasting variation and a really deep focus on keeping the listener guessing on what strange twists might be thrown at them later. "Bestial Devotion" has oddly placed major chords among the atonal sounds of the main riff, and a really odd amount of technicality for the album. The closer "...until The Chaos" is a downward spiral of a song with riffs that resemble early Candlemass, but with less melodic leads, and an utterly awesome bass-line that picks up just the right amount of time into the song. If you don't head bang during the last half of the song, you're not listening properly. 

I can definitely see the complaints with this album - it is really slow, a lot of the songs sound almost identical upon first listen, the tone is really kinda of hollow and may be too mono for some and the drums are incredibly active considering how simplistic everything else is. Seriously, Xy has a fill every few seconds on some songs it seems - and this can break up a perfectly good headbanging moment. But, I do think that the rather informal and aggressive drumming makes this album more unique and ritualistic than others playing this style of black metal at the time. The focus on the rhythm and drums definitely makes is feel more sinister somehow, maybe it's the link between primal instinct and drumming, or maybe it's just a predecessor for his leadership later in the group. Either way, Blood Ritual should be a mandatory listen. In all its simple, direct brutality, it never manages to cease being an engrossing and deceptively demanding.

Links for this album. 

Sacrifice "Torment In Fire" (Diabolic Force 1985)

Side A

1. The Awakening 01:35  

2. Sacrifice 03:10   

3. Turn in Your Grave 03:55   

4. Homicidal Breath 02:54   

5. Warrior of Death 03:07   

6. Infernal Visions 02:35   

Side B

7. Burned at the Stake 04:44   

8. Necronomicon 02:37   

9. The Exorcism 02:55   instrumental

10. Possession 01:52   

11. Decapitation 01:35   

12. Beyond Death 05:33

1985 was unquestionably a great year for thrash. If 1986 was great for the most famous bands in this field, 1985 will be forever remembered for some of the most violent outputs in the history of this genre. Kreator, Sepultura, Slayer, Possessed and many others contributed to this and Sacrifice were the Canadian troop that fought for it too. Their Torment In Fire album is one of the most brutal and fast efforts in those years. It mixes perfectly the thrash metal to the primordial form of death metal that was growing release after release by several bands.

Line up:

Rob Urbinati Vocals (lead), Guitars

Joe Rico Guitars

Scott Watts Bass, Vocals (backing)

Gus Pynn Drums

The songs are generally quite short and they point directly to the core of extremism. There’s no melody or will to slow down. We can also find some more canonical examples of speed/thrash metal too in a song like “Turn In Your Grave” but the up tempo parts are just blowing for power and intensity. The sounds are quite clear but extremely essential and you can hear the old style production very well. Nothing has been pumped in the studio and the volumes are simply those by the instruments. The band itself has inside an insane load of anger and madness.

The compositions sound extremely heavy and twisted especially for the schizophrenic vocals that sometimes reach such a high level of morbidity that can be considered quite ahead, especially for the sick screams. Obviously, in an album like this, you must completely forget about technique and precision. There are several imprecise parts but everything is a simple demonstration of anger and impact. “Homicidal Breath” is truly good during the fast restarts with solos, but a bit unclean when the mid tempo parts are the main important thing. 

The power of the rhythmic guitars is unbelievable and during the palm muting riffage, it’s like being overwhelmed by truck at full speed. Sometimes the early Sepultura style is stronger and I dunno if they ever listened to them in those years, but the screams, the morbid atmosphere and the sounds are similar. The sequence “Possession”-“Decapitation”- “Beyond Death” is an unbelievable whiplash on the back for speed and pure anger, ending one of the most intense and violent albums of the 80s and maybe of the 90s. 

The only complain I have is the form of the songs, that sometimes is a bit too childish but, considering the very young age of the members (17-18 years old), is more than an acceptable thing. True old school thrashers, beware the impact of Sacrifice!

Autopsy "Mental Funeral" (Peaceville Records 1991)

Lista de canciones
1. Twisted Mass of Burnt Decay - 02:15
2. In the Grip of Winter - 04:08
3. Fleshcrawl - 00:36
4. Torn from the Womb - 03:19
5. Slaughterday - 04:04
6. Dead - 03:18
7. Robbing the Grave - 04:20
8. Hole in the Head - 06:03
9. Destined to Fester - 04:34
10. Bonesaw - 00:45
11. Dark Crusade - 03:55
12. Mental Funeral - 00:37

We took two long strides from our time towards the 90's, not to discover -Because there is nothing to look for, nor that has been lost- but to return to the most gross and extreme origins, to the origins of this untimely music as it is that of Death Metal, that music that has, completely, configured the paradigms of the extreme, the gross, and from time to time, the bizarre, surpassing itself, always. Well, the most exuberant mixes have been fused with Death Metal, which by extension has taken elements from others and not so alien to its essence, making it increasingly thunderous, slow or ominous; and for many other times he has managed to surrender in his repetitive and exhaustive technique, counted the cases, leaving the style in minutia for some period of time. One never has to forget the groups of yesteryear, since they, not primarily because they were the first, had to stop in no-man's land and start building an entire world, a world that was far from the then-well-known technique of tupa- tupa del Thrash, where the Death Metal genre itself would summon for itself a series of more de-structuralized compositional elements, constancy that would break with the logical order that the rigorous prosaic and Methodist compositions of the "Introduction + verse + chorus + verse + chorus + bridge + solo + verse + chorus + final "traditional structures that were still in the Thrash, and whose more prospective origins go back to the time of Rock 'n' Roll.

Go slapped the one who hit the Death Metal to the ends of the extreme musical universe.

And for more, we must bear in mind that these bands of both the first and the second litter, at the expense of the comatose Thrash who had already hung the gloves, began to win the new Undergorund of metal. The metal of death was, then, a genre already consolidated in the 90's, the bases and strata were already well seated, techniques at the guitar level as well as aesthetics, themes, ethics and proposal-performance in general, they already spoke by themselves of the genre. That same originates the most varied alignments of the nineties, at the same time astonishing the Black Metal monster that was approaching in that decade, of course I speak of the Norwegian surge, but let's not let the movement go unnoticed. 80's of this same style; but that, friends, is another story that, sincerely, does not concern us today.

The band captained by the alabaster Chris Reifert since 1987, where a model of that same year would begin to concentrate attention between the longhairs of the time. But it would not be until his debut, the stentorian and ruffian as classic 'Severed Survival' (1989) album wherever they are, as one of the huge and rebellious poisoned wells of the last stay of the eighties. Said album, proposed that utopia that the bassists of Thrash Metal longed for: to play with sovereign and flat freedom, moving away from the alibis of inventiveness or the limitations for their instrument; because the thrash neglected that aspect that the Death's new bass players increased towards their last power, or as we would say: towards their wide ones. That element that announced that the bass was not only a resource to channel the little melody of the thrasheristic compositions of the guitars with the rhythmic section. Somehow the vision that could be awarded, especially to Steve DiGiorgio for belonging to one of the albums that cemented this no man's land, is to change the work of the bass doing it, given by the irregular and unsettling compositional structures, a instrument as transcendental and valuable as the guitar; to that we add the invaluable and supraterrenal virtuosity of Mr. DiGiorgio.

Unfortunately in Autopsy his weak point in all his discography would be that of not having a stable bassist, a problem that would later bring about his brief separation; and the truth is that it is a very heavy inconvenience that has affected the band for a long time. And one thing I will assure you here, and that is that the somewhat phenomenological questions about "having been different" are mere - how Woody Allen would say - mental masturbations. They do not pay or reduce. Well the new bass player for 'Mental Funeral' obviously would not have the histrionic ability, but I give faith, by explicit, that the sound temporizes in a coherent and habitual way in a remarkable evolution (I have not said better)

The similarities with Death, for the second Autopsy plate, would be reduced for life. In any case, we no longer have the asphyxiating and exciting atmosphere of a Bloody Gore-Leprosy Scream, much less those remnants inherited, of course, from an irrefutable motor and wisdom of Chuck Schuldiner towards a Reifert. And is that Reifert was not only the pupil of Chuck, after the departure of this first, Autopsy, although many ignore say that it mimics his sound, would handle a similar style of Death.

Therion "Beyond Sanctorum" (Active Records 1992)

Therion's relatively unknown beginnings as a "standard" death metal band seem to be misunderstood by many metal listeners. Although the general consensus seems to be that Beyond Sanctorum is just "straight up death metal" while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. This album release date January in 1992 through label Active Records, reissue for Century Black, Nuclear Blast records. 

Line up for this records: 

Christofer Johnsson Guitars, Vocals, Bass

Peter Hansson Guitars, Keyboards, Bass

Oskar Forss Drums 

Although Beyond Sanctorum uses mainly instruments and performance aspects of standard death metal(aside from a few synth background parts), the songs are composed in a style more similar to actual classical music, with nonlinear song structures, leitmotifs and consistent musical themes that develop over the course of the song. Their later "neoclassical" works sound closer to the standard verse/chorus arrangement of basic rock music with the addition of violins and choirs.

Track list is: 

Side A

1. Future Consciousness 05:00  

2. Pandemonic Outbreak 04:22   

3. Cthulhu 06:12   

4. Symphony of the Dead 06:49   

Side B

5. Beyond Sanctorum 02:36   

6. Enter the Depths of Eternal Darkness 04:47   

7. Illusions of Life 03:20   

8. The Way 11:06   

9. Paths 02:03

"Future Consciousness" starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. The song maintains an unconventional structure throughout its length, smoothly transitioning from one riff to the next and building to a satisfying conclusion. There are no clumsy or awkward segues, but many different parts arranged in a gradual flow.

Other bright spots include "Cthulhu", featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. "Enter The Depths of Eternal Darkness" goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying.

The highlight of this album is definitely "The Way". This is where the bands developing symphonic style is most obvious, so "Theli" fans should definitely hear this song first. Over the first few minutes, it gradually builds and builds into a triumphant, thundering climax starting around the six minute mark, with some epic lead guitar/synth work. Just when it seems the song has spent its fury and starts fading out into clean guitar arpeggios, it comes suddenly back with another triumphant "encore" climax guitar solo. While not instrumental, much of the song is unaccompanied by lyrics, allowing the music its own clear voice to carry the development of the song. I cannot recommend it enough - "The Way" is not only the best song on the album, but one of the best examples of adventurous, progressive (yet uncompromising) death metal one is ever likely to hear. 

This album released around the time when death metal was abandoning its primitive roots and going off into more complex territory, and it stands shoulder to shoulder with works like Blessed Are The Sick, The Red In The Sky Is Ours and Unquestionable Presence. If you're a fan of later Therion, don't write this album off - it's not as primitive as you've been led to believe. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years ahead of their debut, and I actually much prefer it to their later works.

Burzum "Hvis Lysset Tar Oss" (Cymophane Records 1994)

Hvis lyset tar oss (Norwegian for If the Light Takes Us) is the third studio album by Norwegian black metal solo project Burzum. It was recorded in September 1992, but was not released until April 1994, whereupon it was released through Misanthropy Records and Vikernes' own record label, Cymophane Productions.[1] The album is considered a classic in the black metal scene.[5]

All tracks written by Count Grishnackh.

No. Title Length

1. "Det som en gang var" ("What Once Was") 14:21

2. "Hvis lyset tar oss" ("If the Light Takes Us") 8:04

3. "Inn i slottet fra droemmen" ("Into the Castle from the Dream") 7:51

4. "Tomhet" ("Emptiness") 14:11

Total length: 44:27

Production: 

Count Grishnackh (Varg Vikernes) – vocals, guitar, keyboard, synthesizer, drums, bass, production

Pytten – production

Varg Vikernes recorded the first four Burzum albums between January 1992 and March 1993 at the Grieg Hall in Bergen. However, the releases were spread out, with many months between the recording and the release of each album. During this time, Vikernes became a part of the early Norwegian black metal scene and befriended Mayhem guitarist Euronymous. The two developed a feud that culminated in Vikernes stabbing Euronymous to death in his apartment building in Oslo in August 1993. He was arrested a few days later and, in May 1994, was sentenced to 21 years (the maximum sentence in Norway) in prison for murder and several church arsons.

The album cover features a drawing by 19th century artist Theodor Kittelsen named Fattigmannen (The Pauper). Vikernes dedicated the album to Fenriz of fellow Norwegian black metal band Darkthrone and "Demonas",[6] possibly referring to Demonaz from Norwegian black metal band Immortal. Promotional copies sent to fanzines included the song "Et hvitt lys over skogen" (Norwegian for "A White Light Over the Forest") instead of "Tomhet". "Et hvitt lys over skogen" later appeared on the 1998 compilation album Presumed Guilty.

According to Vikernes, Hvis lyset tar oss is a concept album, about:

"[...] what once was, before the light took us and we rode into the castle of the dream. Into emptiness. It's something like: beware the Christian light, it will take you away into degeneracy and nothingness. What others call light I call darkness. Seek the darkness and hell and you will find nothing but evolution."

It’s actually surprising to me how one of the most praised and popularly acclaimed releases by the thoughtless masses supposedly or allegedly belonging to the black metal genre is actually one of the worst albums in the genre, and doesn’t actually represent the genre whatsoever or make a valid presentation of its musical attributes in any way at all, but rather takes everything bad and of the lowest quality possible about it and condenses it in an almost parodic sea of thoughtless deviation and pointless randomization of looped passages of weak instrumentation and atrocious vocal sections of straight-up bad delivery. Can’t forget about the worthless ambient passages that sound like a knock-off of more well thought-out, more styled-up, more elaborate, and all around higher quality ambient works. 

If there’s one single positive thing I can say about this release is the fact that it’ll definitely make a lot of people who initially might have thought of black metal as an extreme genre stay the fuck away from it after listening to “Hvis lyset tar oss” for fifteen minutes and beginning to fall asleep on the spot. At the same time though, quite ironically, this is actually one of the full-lengths that has brought black metal to the attention of the most random of idiots who actually don’t know a single thing about black metal, yet feel like they’re some kind of experts on the genre after having listened to this dishonest, frail piece of work that deconstructs everything of any quality that the originators of the genre built in favor of pointless faux-image, atmospheric drivel, and a frail, sad-sounding frontman that no one would want to listen to for too long unless being under the peril of contracting his apparent deadly disease that renders his emotions vain and his expression void of any kind of strength or attitude were an attractive thought to them. So perhaps driving away those wanting or looking for extremity in the genre isn't even a good thing.

The music on this whole album is completely forgettable and nothing to write home about. The riffs are paper thin, there’s no real consistency to the melodies at hand, and the risk of them ever getting stuck in your head is minimal, as much as they’re repeated time and time again needlessly throughout the endless minutes of duration of the only four tracks that make the grand total of 44 minutes and 28 seconds of running time. Both the first and the last track are over 14 minutes long for no reason at all. The musical ideas presented through each one of the tracks aren’t necessarily all that bad per se, but they become absolutely unbearable when they’re repeated and capitalized on time after time, after time, after time, after time, etc, ad infinitum. The endless droning is obviously supposed to be intended as an extra added atmospheric quality to the music, but this is not atmospheric black metal really, since it doesn’t even properly reach that level, but instead it stays in a weird interval between the more solid tonalities or sounds and the weaker or more distorted tones of a proper atmospheric release, never daring or never risking too much, probably due to the lack of solid ideas or of confidence of the songwriter in his own skills.