• AN EXHAUSTIVE STUDY: Here I present Part IV of a series of a comprehensive sub-genre analysis features that began back in 2015 (Technical Thrash Metal, Melodic Hardcore/Skatepunk) on another site. This second pass for Melodic Black Metal will be a more comprehensive redux of the series which began back in 2017 and generally completed in 2018 wherein seven enormous entries detailed key releases from 1991-2005. It is necessary to rewrite, ‘remaster’ and approach this subject another time due to the old columns no longer linking to their album artwork, most of them weren’t very thoughtfully written, and the type of posts used were not created for mobile readership rendering them impossible to read. This will not be a plain recreation of that list but rather a more complete, far more in-depth format which makes less of an effort to draw the line between sub-genres and instead aims to better understand the delineation between melodic black metal and the general evolutionary origin of the sub-genre next to many others.
The method for this type of feature is simple: I procure a chronological list of demos, EPs, splits and full-lengths from various sources. I then re-listen to every release in order, research each band, and report my thoughts and observations including trivia and any relevant context. This time around I will include ~6-10 items per entry and each one will (eventually) include a short video. Instead of deciding if these releases truly resemble the sub-genre suggested per available public databases (Metal Archives, Discogs, Rateyourmusic, etc.) I will further make the argument for what releases I believe are in keeping with the canonical highest standard, identifying influential or important items for the melodic black metal form. This should allow some understanding of this musical style and the need for distinction between subculture movements in underground music and the incessant waves of imitation beyond the original thought. — This third entry will continue to consider the sub-genre in its formative stages and will call for at least some general narration of the various black metal scenes, styles, and trains of thought which lead to certain bands being labeled “melodic” then and in hindsight. Level headed, respectful feedback is welcomed by way of grizzlybutts@hotmail.com
If you missed Part III, which covered the first half of 1993, catch up here:
An Exhaustive Study: Melodic Black Metal Redux [Pt. III] – ‘Ceremonies of Blood and Serpent Breath’
MCMXCIII – Decrypting Dark Ages Pt. II
The second half of anno 1993 CE finishes our exploration of melodic death metals wider reveal and steps into the realm of melodic black/death metal with the Swedish black metal scenery in mind. Again these are important albums for the sake of influential aesthetics, musicianship, style of composition, and their adjacency to the smaller black metal scenes forming across Sweden at the time. Remember these are observations and separations collectors, sophists and marketing efforts would assign in hindsight and our goal is provenance as we generally gather what melodic black metal looked like as it exited the cave of death metal or early first wave black metal, whatever the case and how that’d evolved quickly. Don’t worry, we will focus on more melodic black/death metal beyond this point but the 1993 entries are the only ones which directly explore melodic death metal for the sake of context.
NOTES: There are yet a handful of 1993 released tapes which I’ve no access to: [1] German black metal band Mortal Discipline‘s promotional tape ‘The Death is New Born‘, though I will be able to cover their 1995 LP. [2] Pegasus, a band described as black/heavy metal which eventually evolved into a power metal group put out a formative demo, ‘When Darkness Begins‘ which I’ve not been able to find. [3] We just won’t include Swedish melodic death band Miscreant‘s demo tape ‘Ashes‘ or the promo from the same year but I’d encourage folks to take note of their album ‘Dreaming in Ice‘ from 1994. If you have access to any of these tapes and are willing to upload them to YouTube, please do so and get in touch.
Ancient weren’t the first band out of Bergen, Norway to make the switch from a demo-level early 90’s death metal project only to quickly pivot into their own far more original form of black metal though they were perhaps the first which has been noted as consistently relevant to the melodic black metal tag since making the transition. After Aphzael and Grimm put Putrefaction behind themselves circa 1992 they’d spent most of the next eight months putting together the material for this first demo tape. ‘Eerily Howling Winds‘ would eventually release in August of 1993 and to some considerable infamy selling a reported 700 copies and eventually getting them signed to French label Listenable Records with it. Though the tape was self-produced it’s sound quality was clear enough and substantial in its statement that it would eventually be properly archived and reissued, even getting a vinyl version in recent years (2022.) Though the archival reissue contains over an hour of music the actual demo consists of three songs, runs ~17.5 minutes and is melodic in the sense that these folks are exploring melody in the context of traditional heavy metal, a Norse equivalent to Agatus in some sense, though their work would become far more sophisticated on their next couple of releases. This band will be an important fixture through roughly 2004 or so. Credit due to Soulseller Records for leaving the sound of the demo intact in their reissues rather than remastering them.
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At work in a small shed in the Gothenburg suburb of Billdal from 1989-1990 Dark Tranquillity would begin as a thrashing death metal band named Septic Broiler who would soon begin incorporating a freely-formed and highly technical (or, simply convoluted) form of melodic death metal which carried through a lot of the ideas we’d found on several demo tapes mentioned thus far: Acoustic guitar interludes, gothic vocals, highly dramatic lyrics, and intensely detailed compositions written for two or more guitars. If we look to their peers at the time this work is both distinct and observational to some degree, noting the high level of detail and strained focus of ‘Red in the Sky is Ours‘ while also crafting its own dramatic layers beyond the folkish dance of Dissection or Eucharist. Their own bits taken from classical and folk music lend an invigorating, entirely unique quality to this album which they’d quickly shrug off.
All of the major complaints about this album throughout the years are actually the main reasons we can and should include some study of its wares in our exploration: Flatly rasping vocals in cascading layers, cloistered drum presence, dual rhythm guitar threads (and tones) panned to each side in polyrhythmic dance, as well as rhythms which are complex yet disaffected, endless in their sisyphean climb but still “heavy metal” in result. ‘Skydancer‘, which released on August 30th, has long been excused out of existence by the band and maligned by critics (always in hindsight) but I’ve always found this album fits perfectly next to the No Fashion and Wrong Again groups per its level of intricate focus, atmosphere, and such. It makes ‘With Fear I Kiss the Burning Darkness‘ sound like an idiotic brute when paired back to back. — Could you skip it in search of melodic black metal’s important origins? Yes, but I’d suggest you don’t skip this one if you are interested in vital context for the Swedish black/death metal scenery in particular.
Another early album in the Swedish melodic death metal canon which has long been written off by the aging generalist rock critics of the early 90’s as a formative work, an art-metal album, a too complex and starkly confrontational in tone record. There is an unusual ugliness, a darkness to the atmosphere of this record which uses the same tricks that Dark Tranquillity had on their debut but refuses the “heavy metal” urge for the sake of tragedian arcs of their own making. “The Break of Autumn” and “Primal Breath” are some of guitarist Alf Svensson’s most profound pieces which help to clarify why I’ve included mention of this album. First, the level of composition here is not exactly harmonious but the dark contrapuntal dance of the guitars yet manages a type of guitar voicing which many bands would try and replicate ’til their more popular later releases took precedence in a much larger scale. This style has been elaborated on within melodic black/death metal bands ever since but never quite matched, the band’s own ‘At War With Reality‘ included.
Released in September of 1993 but in motion since the 1991 recording of their first album ‘With Fear I Kiss the Burning Darkness‘ was a monstrosity but not necessarily a black metal band, rediscovering and taking a closer look at its contents serves a great reminder that At the Gates were always a bit different from their peers, frankly far more original and daring at this point. The thing to remember is that the high level the Gothenburg scene had elevated toward together included black metal and black/death metal bands. Otherwise, I am forever in awe of some of the pieces on this record and have given up hope on any manner of plausible recreation of the feeling it creates.
The brilliant death metal that Dawn had been on their first two demo tapes, just months before now take the lessons taught by the original version of “In the Depths of My Soul” and blacken it to a crisp and rousing melodic black/death metal piece. Recorded at Unisound Studio in September 1993 this promotional tape showcases the second skin and primary personae of this incredible band finally peeking through the birthing sac with three full-formed songs which would serve some of the biggest moments on their 1994 debut LP (‘Nær sólen gar niþer for evogher‘) which is an all-time favorite record of mine. This puts me in a tough spot because I’d like to go on about this tape and how it translates to their debut but there’ll be plenty enough to say about it once we’re there. Here we find the drumming is still largely built upon death metal framing, certain chords ring out in warmer tones, the vocals are markedly set upon a blackened rasp and such but the interplay between the two guitarists is already brilliantly realized in its unreal slithering conjoinment. I’ve always found this tape served an important example of a band leaning into their own sound and without becoming so concerned with the black and death metal distinction of the time. The rules weren’t completely written and they weren’t the type to follow. So, when you see Dawn waived by as a “Dissection style” band make sure to take note of their origins being entirely their own result. This is merely a starting point, anyhow, and the discography of this band is inarguably legendary from my point of view.
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As we finally meet Christ Agony at their point of official debut you’ll have to excuse my foaming-at-the-mouth fandom for ‘Unholyunion‘, one of several important records which’d helped me get into black metal as a curious death metal fan already endeared to groups like Samael, Varathron and such. I’d written about this record in an old column (link under More Info tab) thus I will spare some words here and instead suggest that this first album’s longform pieces and slow-burning style should initially feel more relevant to ancient black/doom and black/death metal traits they’d carried into view beyond the demo tapes, what we find here is a slowly revealed melodic voice as well and one which is squarely in the realm of black metal when it does decide to spark up. It is too early in their development to start talking about Scandinavian inspiration taken but I’d always felt like the shades of Bathory are strongest within this longer ‘epic’ pieces compared to later works which begin to incorporate different types of melody and keyboards etc. So, if you’ve some patience their own melodic ideas do appear but I wanted to make sure we’d taken a slow walk up to this album so that I could encourage more folks to pat attention to it. Again, one of my favorite unsung outliers and a CD I’d obsessed over for years after first discovering it. If you’re following the timeline here this was recorded in July of 1993 and released on September 30th that same year.
More Info:
YouTube: https://www.youtube.com/watch?v=mviCSmOnc14
Review: https://mystificationzine.com/2018/04/11/retro-tuesdays-christ-agony-unholyunion-1993/
Algaion were an Åtvidaberg, Sweden formed black metal band founded by guitarist/bassist Mathias Kamijo and vocalist Mårten Björkman after exiting their death metal band Abemal in 1993. By the end of 1993 (October) they’d had two songs ready to put to tape and did so on Halloween night (the vocals followed a few days later) and the result was somewhat of an eternal outlier in the Swedish black metal scene as this tape had much more in common with the early Hellenic black metal sound per the choppiness of its drum machine-attended guitar work and the simplicity of its arrangements as a result. I’ve never been clear on whether or not they’d been directly inspired by bands like Rotting Christ but their work will certainly appeal to folks who enjoy that sound. That said the melodies which drive “On the Reach of Zaphonia” are far more sophisticated than that might suggest. We will talk about this band’s work a number of times over the course of study so, this is a fittingly quick dip into their realm as a raw and uninterrupted demonstration.
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For whatever reason this debut full-length from Rotting Christ always fit and faceted itself squarely into mind from the first listen, soon becoming permanent fixture as a basal point of reference and taste when it comes to my enduring interest in black metal. A bit of thrash, classic black metal, and traditional heavy metal movement translated to simple electronic drum kit clatter means this feral but wise-beyond-its-years black metal album not only manages brutality but a distinct melodic voice which’d advanced far beyond the percussive slugging of ‘Passage to Arcturo‘ at this point. When dissected down to its moving parts, influences mentioned in their extensive memoirs, and the obvious mystic quality of these works the enduring popularity of ‘Thy Mighty Contract‘ makes more sense, a tuneful realm thick with atmosphere captured modestly and somewhat against the odds of being noticed. The main melodic device comes by way of guitar arrangements from vocalist/guitarist Sakis Tolis who would elaborate upon these ideas and develop his own style over the course of their first three or four albums. Released on November 11th in 1993 this is what I’d consider the first verifiably melodic black metal record which wasn’t directly infused with death metal.
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YouTube: https://www.youtube.com/watch?v=eoQZT_RyHnA
2017 thoughts: “Finally we get to the ‘real’ first melodic black metal full-length that was recorded a full year before release and thusly pre-dated even Dissection’s “Somberlain” promos and half of the tracks written for that album. It was also released one month before “The Somberlain”. I’m not at all comparing the quality of the two albums but they both share similar approaches to melody and atmosphere. “Thy Might Contract” came from the swamp-like mid-paced Greek black metal scene and sped things up enough to feel extreme and completely mystifying. The drum machine really bothers some people but get over it quick because the riffs on this thing are unlike anything else, they certainly beat that drum machine hard enough to clearly lean things into melodic black metal territory. It really sounds like a death metal band trying to get Varathron’s sound up to Sarcofago’s speed and I find this to be one of the best black metal albums in general. However you feel about this band’s late 90’s gothic metal leanings, its hard to argue that they haven’t made a respectable career out this flawed-yet-special inception.“
Cincinnati, Ohio-based group Estuary of Calamity were originally known as a deathgrind band (Necrolatry) before beginning to incorporate extreme doom metal into their brutal death metal attack. ‘Losing Myself in the Cryptic Breeze‘ offers our first look at the off-kilter, cluttered technical death and lurching death/doom chunking where they’d gotten this fresh start. Dungeon synth sounds, pretty sharp basslines and even some black metal inspired interruptions kinda puts this in the realm of compatriots Thorns of the Carrion who’d featured a similar starting point but their ultimate direction would be towards something like symphonic black metal by the time they’d managed their 2000 debut. The main reason to mention this tape is that it is substantial at ~48 minutes in length, an indulgent exercise which would fit well in with what Wild Rags were putting out in the early 90’s. The ambitions of the quartet are impressive, though I wish they’d develop this sound and given these ideas their due. This doesn’t directly relate to melodic black/death metal but it will provide contrast to the rest of their discography as they developed their approach over the years. Released in December 1993.
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Readably consonant, stretched into sophisticated movements and broken up into easily parsed progression ‘The Somberlain‘ was a masterful step taken for the forced evolution of death metal, a malevolent language for the yet indeterminate conclusions of the Swedish melodic black/death metal zeitgeist forming to arrive upon. As the second generation of death metal in the country reached a collective state of album readiness and innovation throughout 1993 Dissection basically had the last word when it’d been most crucial, though we find plenty of other very talented musicians arriving upon similar concoctions nearby. Put simply, ‘The Somberlain‘ had songs, memorable pieces which might’ve been born out of the competitive technical showcases of compositional aptitude among their peers but ultimately arrived upon the simpler expression of black metal to allow for a timeless tuneful menace which outshined most of the brainy, artsy, and brutal territory covered nearby.
If we are acting as revisionist historians, and we shouldn’t, it would make sense to first give credit to Dissection as one of the most important voices in shaping melodic death metal as this is yet a death metal album with black metal influences abounding, though it’d be fair to also see far more black metal here than Unanimated‘s debut or similar comrades. Those shades of grey area are important as an ongoing point of interest for the band as well as the explanation for their station as a notable melodic black/death metal band. We will find many bands approximating the most buoyant qualities of the Dissection sound in the future, starting with the structure of their lead melodies and such but we won’t necessarily run into too many melodic black metal bands who ever successfully grasped the depth of these songs beyond their loudest traits. I’ll have much more to say about ‘Storm of the Light’s Bane‘ but for now I’d consider this the most important milestone for the band in terms of our studies. Released on December 3rd, 1993.
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YouTube: https://www.youtube.com/watch?v=78iNFmCzh7o
2017 thoughts: “Black metal absolutely had a guitar hero in Nödtveidt, even if he was potentially not a great person and a murderer. It was clear he was the driving force of the group for better or worse. This album set a really high bar for both death and black metal music and the melodic possibilities of extreme metal in general. I won’t say this is some kind of classical music interpretation but it absolutely creates a dark black metal atmosphere without losing production fidelity. It is restrained and powerfully rhythmic in its use of tremolo picking for intensity and tricks from classical guitar playing to exude an aggressive and classy form of music. Dissection is that rare hyper-evolution in songwriting that seems to have occurred alongside the truly inspiring black and death metal scenes of 1993, Dissection were influenced heavily by others but they created their own thing entirely out of that inspiration. Uh, it’s good music and the cover art looks like a take on King Diamond‘s Abigail.“
As we finish our sidebar thoughts cutting through 1993 in two parts we’ve successfully allowed melodic death metal to have its say, to showcase some of the more important musicians and the features of melodic death metal which provide crossover context for the hybrid melodic black/death metal distinction. From this point we will increasingly encounter a variety of works unrelated to that specific Swedish scene but there is no denying the broad net of inspiration cast upon the world when some of these bands hit it big over the next five years. Part V and our approach of 1994 will begin in February.
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