Thrash/Death/Black Metal

[pazuzu]

Το οτι υπηρχαν και s.a slayer και μάλιστα στην ιδια χρονολογία δεν μου πήγαινε στο μυαλο 

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Profanatica αυριο στην Αθήνα 

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[sarcofago]

Πέθανε ο πρωτοπόρος του death metal, Frank Pucci



Ξαφνικό τέλος στα 48 για τον ιδρυτή και τραγουδιστή των Necrophagia

O Frank "Killjoy" Pucci ήταν μόλις 14 ετών πίσω στο 1983, όταν σχημάτισε τους Necrophagia στο Wellsville του Οχάιο. Σήμερα, αναγνωρίζουμε στο γκρουπ ότι υπήρξε ένα από τα πρώτα death metal σχήματα στην ιστορία μαζί με τους Death, τους Possessed και τους Obituary -το ντεμπούτο τους μάλιστα Season Of The Dead (1987), προηγείται κατά μερικούς μήνες του Scream Bloody Gore των Death, ενώ υπήρχε κι άλλο άλμπουμ ηχογραφημένο ήδη το 1986 (Ready For Death), το οποίο θα κυκλοφορούσε τελικά το 2000.

Οι Necrophagia, ωστόσο, διαλύθηκαν άδοξα το 1990 και έμειναν περισσότερο ως αναφορά σε underground κύκλους. Αλλά το 1998 ξαναφάνηκαν, έχοντας στην κιθάρα τον νέο φίλο του Pucci, Anton Crowley -ψευδώνυμο του Phil Anselmo, frontman τότε των Pantera. Οι δυο τους έστησαν μάλιστα και μια εταιρεία μαζί, τη Housecore/Baphomet Records. Ωστόσο η όλη συνεργασία δεν κράτησε πάνω από 3 χρόνια.

Οι Necrophagia συνέχισαν πάντως την πορεία τους και τελευταία τους δισκογραφική καταγραφή ήταν το 2014, με το άλμπουμ WhiteWorm Cathedral. Είναι μάλιστα η μπάντα που ανακοίνωσε, μέσα από την επίσημη σελίδα της στο Facebook, ότι ο Frank Pucci πέθανε την Κυριακή 18 Μαρτίου, χωρίς να αποκαλυφθεί ωστόσο αιτία θανάτου.

Ο θάνατος πάντως ήρθε σαν σοκ στα υπόλοιπα μέλη, κάτι που δείχνει ότι ήταν ξαφνικός. Ο Pucci ήταν μόλις 48 ετών.

http://www.avopolis.gr/music-news/international-news/63215-killjoy-end-18

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Destruction - Infernal Overkill - 02 - Death Trap   

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Pest - Black Thorns (Demo)

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[luke cage]

 

[Vrikolakas]

Λατρεμένη μπάντα  μύστη 

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Ωραίος λούκ 

και πάμε στα δικά μας

Απο Κροατία 

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[sarcofago]

Για να ξυπνήσουμε 


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[sarcofago]

 

The 10 best thrash songs (from 1983-85)

By Chris Chantler 13 days ago Features 
Ten of the best tracks from the early days of thrash metal

1) Metallica – Metal Militia (Kill 'Em All, 1983)

Debuting on 1982's No Life 'Til Leather demo, this shredding call-to-arms was written by James Hetfield/Dave Mustaine/Lars Ulrich, a breathtaking creative team fatally overloaded with volatile genius.
2) Suicidal Tendencies – I Saw Your Mommy (Suicidal Tendencies, 1983)

3) Anthrax – Metal Thrashing Mad (Fistful Of Metal, 1984)

The New York City rhythm kings' most enduring anthem, the infectious Metal Thrashing Mad inspired the name of the entire movement.
4) Slayer – Chemical Warfare (Haunting The Chapel, 1984)

More intense and complex than their debut, with this raging EP opener – now an encore staple – Slayer set new standards in full-force brutality.
5) Destruction – Mad Butcher (Sentence Of Death, 1984)

Originally opening the Teutonic trio's first demo, re-recorded for a 1987 A-side, Mad Butcher encapsulates the frenzied, pulverising blur of early German thrash.
6) Exodus – Bonded By Blood (Bonded By Blood, 1985)

Already a set opener by 1983, this archetypal Bay Area banger is a rallying cry for Exodus's committed legion of thrashers.
7) Kreator – Tormentor (Endless Pain, 1985)

It's almost a rite of passage for thrash bands to write a song called Tormentor, but Kreator's Tormentor is even more viciously tormenting than Slayer or Destruction's Tormentor.
8) Overkill – Rotten To The Core (Feel The Fire, 1985)

Overkill knew they'd aced it when this riff arrived, banging punk and NWOBHM heads together to create its own manic energy and defiant attitude.
9) Celtic Frost – Circle Of The Tyrants (To Mega Therion, 1985)

Sludgy doom riffing, operatic female vocals, devastating tempo changes; this Swiss trio burst out of left-field with a set of game-changing innovations for thrash, death and black metal.

10) Megadeth – Rattlehead (Killing Is My Business... And Business Is Good, 1985)

'It's time for snapping some necks/Slashing, thrashing to Megadeth!' Megadave's earliest singalong anthem is a full-throttle love song to headbanging, powered by rattling jazz-thrash drums and wizardly solos.

https://www.loudersound.com/features/the-10-best-thrash-songs-from-1983-85

[sarcofago]

Για να ανεβαίνουμε 

Nazgul - When the Wolves Return to the Forest (Full Album)2000 Black Metal απο Ισπανία

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[sarcofago]

 


Απο ολλανδία Sinister - Cross the Styx

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Viking- Killer Unleashed


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The 40 best black metal albums ever



Venom – Black Metal (Neat Records, 1982)

Some say that Venom merely gave the black metal genre its name, others argue that this is a retrospective view and point out that the bands and fans who got into the scene prior to the 90s 'second wave' explosion viewed the trio as black metal through and through. Side with who you will, but this album is not only as chaotic, rousing and exhilarating as one could ask for, it is also the sound of extreme metal being born.

Hellhammer – Apocalyptic Raids (Noise Records, 1984)

Strictly speaking, Apocalyptic Raids is an EP – if you're looking for a Hellhammer 'album', your closest option is 2008's Demon Entrails compilation. But it would be criminal not to include Hellhammer here, because along with Venom and Bathory the band basically gave birth to the first wave of black metal. Their combination of slow, creeping passages and fast thrashing sections – as well as the strangely 'alien' quality to the vocals and riffs – make this a lo-fi classic.

Celtic Frost – To Mega Therion (Noise, 1985)

Celtic Frost grew directly out of Hellhammer, and their first releases were a somewhat more forward-thinking take on that band's hallmark sound. With this ridiculously ambitious full-length however, the outfit has clearly evolved into quite a different beast altogether and the combination of gutsy, aggressive guitars and drums and a more bombastic and dramatic atmosphere (including effective use of timpani and French horn) results in a timeless and grandiose work.

Sodom – Obsessed By Cruelty (Metal Blade, 1986)

To some extent, the 80s was about discovering the black within metal and like many of the entries on this list, one could interpret a lot of early Sodom as simply evil-sounding thrash. Call it what you will, this record is a devilish, violent and catchy metal assault with plenty of high-paced battery and mean-sounding riffs. The first efforts by Kreator and Destruction are similarly recommended for a further Teutonic first wave fix.

KAT – Metal And Hell (Ambush Records, 1986)

KAT are legends in their homeland of Poland, though they've only managed limited exposure beyond that. That's a shame because they were very influential to '90s Polish black metal practitioners and this debut album (also released with Polish lyrics under the title 666 the very same year) is a very enjoyable combination of Venom, Bathory, NWOBHM influences and unashamed blasphemous intent.
Sepultura – Morbid Visions (Cogumelo Records, 1986)

Before they evolved into a death/thrash/groove metal outfit, Sepultura were busy creating primitive first wave black metal. Like most of their contemporaries, Sepultura were a pretty raw beast in the mid-80s; basic production, out-of-tune instruments, questionable timing, you'll find it all here. Importantly though, the crude aural violence here is thoroughly satisfying, containing a suitably infernal atmosphere and a ton of nasty, memorable riffs.

Vulcano – Bloody Vengeance (Rock Brigade Records, 1986)

Just as the 90s black metal scene was somewhat dominated by Norway, the 80s saw Brazil becoming a bit of a stronghold for the growing black metal phenomenon. Like their peers in Sepultura and Sarcófago, Vulcano took strong influence from bands such as Sodom, Hellhammer and Celtic Frost, while nevertheless injecting their own personality into proceedings. Bloody Vengeance is a short, sharp shock of possessed metal, just as we like it.

Sarcófago – I.N.R.I. (Cogumelo Records, 1987)

Okay, one last classic from Brazil. The cover image of the group's protagonists in a cemetery with bullet belts, spikes, inverted crosses and proto-corpsepaint alone inspired a generation. But it's the furious combination of Sodom, Hellhammer and Bathory that really strikes home, the seemingly chaotic nature of the malevolent bombardment disguising some skilful and surprisingly detailed and dynamic songwriting – relatively speaking, of course.

Blasphemy – Fallen Angel Of Doom... (Wild Rags, 1990)

Blasphemy is about as close as black metal gets to death metal without becoming... well, death metal. Aptly enough, it was this album that helped give birth to the black/death hybrid genre 'war metal', and Fallen Angel Of Doom... still sits pretty much at the top of the pile in that field. It's an extremely violent, primal and otherworldly slice of immersive extreme metal, played from the heart and with a black metal atmosphere drawn straight up from the depths.

Master's Hammer – Ritual (Monitor, 1991)

Something of a bridge between the first and the second wave of black metal, Master's Hammer were (and still are) an elusive and highly eccentric Czech act. Notably, full-length Ritual features a similar use of keyboards and epic riffs to many of the Norwegian bands that they would help inspire (including Hades and Enslaved) while also containing elements that remain quite incongruous even today.

Darkthrone – A Blaze In The Northern Sky (Peaceville Records, 1992)

A superb and extremely significant opus, A Blaze... signalled Darkthrone's conversion from modern, technical death metal to '80s inspired black metal and was actually the first full-length Norwegian black metal album. In fact, Blaze contains quite a lot of death metal alongside the more Celtic Frost inspired material, and the combination of wall-to-wall riffs and unholy atmosphere still inspires fans and musicians today

Samael – Blood Ritual (Century Media, 1992)

Samael formed in 1987 and their early releases arguably owe much more to the first wave sounds of bands like Hellhammer with a slower, dark, ritualistic feel defining the music. This, the second full-length, was a definite move toward more sophisticated territories but doesn't sacrifice the band's more primal roots. A moody, unflashy classic.

Emperor/Enslaved – Emperor/Hordanes Land (Candlelight Records, 1993)

When it comes to Emperor, the debut full-length In The Nightside Eclipse is perhaps a more common choice in black metal 'best of' lists – and that album certainly is a masterpiece – but the four tracks released here a year earlier capture the band's keyboard-augmented fury in a somewhat rawer and perhaps more vital fashion. It's also a nice two-for-one, thanks to the inclusion of the frantic thrashy black metal of those other Norse legends, Enslaved. Surely black metal's most iconic split album.

Beherit – Drawing Down The Moon (Spinefarm, 1993)

Finland's Beherit initially came from the same chaotic and primitive school of black metal as the aforementioned Canadians, Blasphemy. With Drawing Down The Moon however, the band alternated such an approach with slower, more ritualistic and occult-drenched metal numbers, as well as several atmospheric electronic instrumentals. Some find it to be too basic for their tastes but those that take the time to 'get' it, will be under its spell forever.

Immortal – Pure Holocaust (Osmose Productions, 1993)

Having released one of the first Norwegian black metal albums the previous year in the shape of Diabolical Fullmoon Mysticism, Immortal stripped down their icy assault with a collection of even more frantic and high-paced compositions that build strong, stirring songs from little more than lengthy, earnest riffs, rapid percussive bombardment and Abbath's trademark vocals.

Impaled Nazarene – Ugra-Karma (Osmose Productions, 1993)

Impaled Nazarene's punky, Motörhead-inspired music would eventually evolve out of black metal's perimeters altogether, but not before this slice of pure madness was created. Primitive and stripped down to the point of being avant-garde, it is a gloriously one-dimensional masterpiece, an almost unrelenting musical blitzkrieg of simple, unforgettable riffs, machine gun drumming and sublimely vitriolic vocals.

Mystifier – Göetia (Osmose Productions, 1993)

Formed at the tail end of the '90s, Brazil's Mystifier sound was a skilful combination of adrenaline-pumping South American aggression and a more creeping and ritualistic intention. In fact, with their heavy interests in Satanism and native macumba (Brazilian witchcraft/spiritualism), Mystifier's two albums (of which this is the second) are some of the most eerie in the black metal back catalogue.

Mayhem – De Mysteriis Dom Sathanas (Deathlike Silence, 1994)

So much has been said about Mayhem's debut full-length that it's hard to know where to start when describing its quality and importance to the black metal genre. Mayhem were arguably the most important black metal band in terms of reigniting the black metal movement and this gloomy, impenetrable, aggressive and eccentric – not least in the vocal department – work perfectly embodies the dark, angry and otherworldly spirit of the genre.

Vlad Tepes/ Belkètre – March To The Black Holocaust (Embassy Productions, 1995)

Les Légions Noires – or 'The Black Legions' – were a small and fiercely underground circle in France that rarely released their recordings to the greater black metal 'public', instead distributing demos to close contacts only. This split album between two of its leading bands is a rare exception and combines the punky, jammed-out Bathory/Darkthrone-esque attack of Vlad Tepes and the utterly hateful and disturbing sounds of Belkètre.

Dissection – Storm Of The Light's Bane (Nuclear Blast, 1995)

While Sweden's Dissection were very much black metal in terms of ideology and atmosphere, they also featured noticeable elements of the melodic death metal movement exploding in their home country, as well as classic '80s heavy metal. This, their second album, is a melodic, majestic and gloriously epic listen that features a measured, bombastic tone yet also makes use of furious, high-paced delivery when necessary.

Burzum – Filosofem (Misanthropy Records, 1996)

Whatever one's opinion of Varg, Burzum remains one of the most important names in black metal and certainly one of the most musically influential. All of the first four albums are essential and though the fourth, Filosofem, is perhaps the most acquired taste of those, it also touches upon the genuinely transcendental with its minimalist and yet strangely sophisticated compositions. Black metal as art, one might say.

Mysticum – In The Streams Of Inferno (Full Moon Productions, 1996)

Obsessed with sex, drugs, Satan and industrial themes, Mysticum offered a new vision of what black metal could be. They brought with them a more contemporary aesthetic – genuinely groundbreaking at a time when the genre was still defined by medieval imagery and historic themes – and a similarly revolutionary use of unrelenting electronic percussion, influenced by the members' interest in hardcore techno.

Rotting Christ – Non Serviam (Unisound, 1994)

While the Scandinavians were spending the early '90s forging a suitably frosty template for black metal, the Greeks were busy with their own largely self-contained scene, with bands such as Necromantia, Varathron and of course Rotting Christ creating a notably warmer, more heavy metal-influenced sound. This, the second full length by Rotting Christ, perfectly demonstrates that unique '90s Greek vibe with its ancient sounding splendour.

Absu – The Sun Of Tiphareth (Osmose Productions, 1995)

US black metal was relatively inactive in the '90s but alongside the likes of VON and Demoncy, Texans Absu were a rare exception. One of the first modern black thrash bands, this second album takes the best elements of both genres and marries them in thrilling fashion, remaining fresh and carrying a touch of the unhinged with it.

Ulver – Bergtatt - Et Eeventyr i 5 Capitler (Head Not Found, 1995)

Before they began dabbling in electronic music, Ulver were skilfully blending black metal with Scandinavian folk influences and debut album Bergtatt remains one of the strongest examples of that fusion. Revolutionary at the time for its clean sung vocals, it is a record that is often both tranquil and bewitching and highlighted the potential width of the genre at an early stage.

Satyricon – Nemesis Divina (Moonfog Productions, 1996)

Satyricon's early output is extremely consistent in quality despite the obvious musical evolution taking place between each release. Third album, Nemesis Divina, captures the band at their most apocalyptic, marching toward biblical Armageddon with a definite sense of swagger and some seriously dramatic and dynamic numbers.

Gorgoroth – Antichrist (Malicious Records, 1996)

Choosing between Gorgoroth's first two albums is a tough call and since both last about half an hour, you can certainly afford to play both them back-to-back. Despite the exhilaration of 1994's Pentagram searing attack, follow-up Antichrist wins out thanks to the variety on show, making use of their trademark violence, doomy melancholy and unashamedly catchy riffing, not to mind two very effective vocalists.

Arcturus – La Masquerade Infernale (Misanthropy Records, 1997)

From their early days to the present day, Arcturus have managed the impressive feat of creating music that is at once groundbreaking and experimental, yet melodic, emotional and even accessible. To some extent this magnificent second album helped popularise the concept of avant-garde black metal and it's very hard not to be swept up with the theatrical, classically inspired tracks contained here.

Weakling – Dead As Dreams (tUMULt, 2000)

Weakling didn't stick around for long, but thankfully managed to create one weighty full-length before splitting. Dense and multi-layered, with lengthy, slow building songs and suitably tortured vocals, Weakling presented an intense but progressive cacophony that ultimately set the stage for many of the bands that followed in the US, not least Wolves In The Throne Room.

Windir – 1184 (Head Not Found, 2001)

Norway's Windir always had an idiosyncratic charm to them, but with this album they really knocked it out of the park. Marrying folk influences with heavy electronic/keyboard use (most obvious in the almost-dance music quality of the title track) and tight, melodic black metal, this is an invigorating and unusually upbeat opus.
Forgotten Tomb – Springtime Depression (Selbstmord Services, 2002)

Accidentally created in the early 90s by bands such as Burzum and Thorns, 'depressive black metal' became a more self-contained genre during the 00s. This debut effort by Italians Forgotten Tomb sits alongside Shining in terms of lasting influence and is a ridiculously raw and bitter listen with touches of everything from Joy Division to Paradise Lost evident.

Watain – Casus Luciferi (Drakkar Productions, 2003)

It can be argued that Watain's strongest material has actually surfaced in the current decade, but second album Casus Luciferi is certainly a strong contender. Something of a transitional point between their rawer underground beginnings and what they would later become, it is a high-paced and intense listen, somewhat akin to a filthier, more unrelenting Dissection, with a touch of Bathory.

Taake – Hordalands Doedskvad (Dark Essence Records, 2005)

Fairly unknown during the 90s, Taake have been on a steady rise since the early/mid-00s and this album shows why. Steeped in the atmosphere of the 90s Norwegian black metal scene from which they came, there nevertheless remains something very fresh about the epic, folky, rocking, devil-may-care aura of the band, and this album in particular has some ridiculously catchy and stirring songs.
Evilfeast – Funeral Sorcery (Funeral Sound Productions, 2005)

Initially limited to a release of 300 cassettes, Funeral Sorcery is something of an underground classic, even in the band's home country of Poland. Perfectly resurrecting the sound of the atmosphere-rich 90s Polish black metal scene while still writing original songs, these are primitive, murky, otherworldly, synth-heavy landscapes to lose yourself in.

Blacklodge – Solarkult (End All Life Productions, 2006)

The spiritual successors to Mysticum – even sharing the obsessions with hard drugs, sex, industrial landscapes and, above all, Satan – Blacklodge took the industrial black metal concept and really pushed the 'industrial' part. Solarkult remains the French outfit's finest hour, containing fury and a definite sense of insanity within a rigid, relatively technical and highly angular electronic framework.

Negură Bunget – Om (Code666 Records, 2006)

Romania's Negură Bunget had already put out three albums prior, but somehow this record still took everyone by surprise. Insanely epic and haunting without ever appearing to be trying too hard, Om is as natural in its ambience as the landscapes that inspire it. Its gentle ebb and flow and effective (and unusual) use of traditional instrumentation create a truly immersive experience.

Marduk – Rom 5:12 (Blooddawn Productions, 2007)

When it comes to Marduk, one could easily choose an album from the 90s, but it's worth highlighting the group's return to form in later years. This is the second album to feature vocalist Mortuus of Funeral Mist, who's something of a revitalising force, and it marries the band's trademark single-minded ultra-violence to the more troubled ambience and musical sidesteps of the frontman's previous band.

Deathspell Omega – Fas – Ite, Maledicti, in Ignem Aeternum (Norma Evangelium Diaboli, 2007)

While France's Deathspell Omega were certainly unusually serious about their intellectual/spiritual foundations, it was the groundbreaking qualities of their music that put them on the map during the 00s. An immersive maelstrom of dissonant textures, unusual rhythmic choices, unsettling ambient parts, seemingly chaotic percussive assaults and intense vocals, this is complex and disconcerting work but one that is hard not to return to.

https://www.loudersound.com/features/the-40-best-black-metal-albums-ever/3

[sarcofago]

 

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Cabal "Midian" (1990) full album