Redwood Hill - Descender (2013)

   Post-black metal had intense uprising from the mid '00s and for several occasions it was able to break into the mainstream by bands like Alcest or Agalloch. This reinterpretation of black metal might also count as a way of "hipsterization", but from another perspective it offered much more than other directions (atmospheric black, depressive black ect). Instead of just focusing on one specific feature of the genre (like on atmospheric sound for instance), and using it up as not just one of the main determining features, but basically the only one determining feature, various other influences have been involved from progressive metal to drone metal. The possibilities were pretty wide, thanks to the combinability or flexibility of post black, that came from its essential minimalism. And by Redwood Hill it was approved that even sludge metal was possible to involve. 

   Since the expression of an obscure perspective is a definite intention of both post-black metal and sludge, but from different approaches, the combination turned out to be pretty effective. The demoralizing, desperate hopelessness, and the unfriendlier, noisy sound of sludge are in present in diluted form thanks to the softer, melancholic approach of post-black. And meanwhile they giving the whole thing a heavier and less melody focused touch than usual. Post black couldn't sound so hopeless by itself, and its aesthetical intentions were reduced. If it's about melancholy, in this form it's deeper than ever, and therefore not as good for meditation as it used to be. Also less compatible for the usual target audience. This could happen if something truly broken gets revealed instead commercial gloom and self-pity. It was a back and forth advantageous influence for both involved subgenres, and the results are more diverse than how they could ever be by themselves. "Descender" is a unified, well-composed underrated masterpiece. Also it could become a potential favorite for wider audiences. 

Undergang - Indhentet af Døden (2010)

  Undergang's debut was a great example how the noise and minimalism based new trend of the main scene had effect on the sound of old school oriented new bands. The band came with the New Wave of old School Death metal, but instead of trying to recall the sound and style of the early '90s like most bands did, they've adopted features that were quite actual that time, but didn't pass through the borders of the genre.
   Meanwhile this tendency could have been discovered in other genres too, and in their case the origin is leading back to drone metal. In death metal it's more like a rotting sound that showed up the first time at bands like Incantation, Cianide or Asphyx, and stays mainly at middle speed and basic themes to put the heaviness in focus. Deep growls are assisting mostly to this deeply obscure wiev, and even though complexity and common or sudden speed switches are not usual, still the music might be not easy to go into because of it's dirty, raw heaviness. This became the modern sound of old school oriented bands, that proved to be way more effective and expressive than the classic speed based thrashy hammering death metal. Coffins have chosen a similar path by merging into the depths of death/doom, but still the ambition is the same: to expose the very core of old school rotting and overwhelming heaviness. At bands like Decrepitaph and Putrevore the same analogy could be discovered. The rules might seem a bit strict, and there aren't many possibilites in this style, but in return it's other advantage is that it's hard fail in it. By "Indhentet af Døden" Undergang have left behind a very enjoyable defining masterpiece. 

Blodfest - Lejres fald (2010)

   Bloodfest was formed in 2002 and since the beginning they've played a more raw approach of black metal. Though atmosphere still had role in music, it came by the noisy jarred sound, that didn't really rely on melodies or classy black metal themes, more like on disharmony.

   On "Lejres fald" it was maybe more effectively represented than on their older records, cause the song compositions and the sound might have been slightly better than previously. Sound quality was never their (or their genres) strongest point, since it always remained on rehearsal level. The line between less catchy or not so well written themes and directly applied disharmony might seem quite thin, but there are plenty of signs in their music that the band preferred noise making in a pretty raw way. This makes the album not so easy to go into, but the previously mentioned solution, to switch basic melodies with aggression in atmosphere creating, makes their music interesting. At some way this approach isn't far from war metal, and only the sound keeps them a bit further than ordinary raw black metal. And like in similar cases the paradoxes of balancing on the borders of styles showing up: by this step they might be compatible with wider audiences theoretically, but in practice their music isn't easy to go into, theoretically their music including features of certain subgenres, but in practice the results creating some distance, ect. However, as a genuine approach of black metal that have taken influences from various sources, and trying to create an own style, it's a great experiment, and might be enjoyable for the fans of noisy musickness. 

Realm of Chaos - The Demos (2009)

   Realm of Chaos was a short lived band that only had 2 demo tapes ("Leaders of Pain" and "Stench of Death"), but their music was a quite unique style mix. Fortunately their demos were released together afterwards as a compilation album.

   The band played crust punk with some thrash/death metal influences, so that already suspects high intensity. Even though this mix might seem unusual, it sounds well fitting together. The aggressive intensiveness of crust leads the music, but because thrash themes are often completing the crusty rawness and making it more diverse, so it never gets monotonous. They had a female vocalist who really did her job well, and had essential role in creating the basic aggressive tone. Death metal themes occasionally showing up by turning the main view heavier, and a second vocalist frequently assisting with deep growls. Even though the demos are pretty raw, they're still way more diverse than how it could be expected from ordinary crust or thrash/death bands. There are a lot of possibilites and simple, but very great themes getting introduced, and it really could plant deep curiosity in the listener, how the whole thing would sound as a studio record and with good production. "Stench of Death" had a bit better quality and it was louder too, might help to imagine what if... Even though the name suspects Bolt Thrower influence, but this is easily getting forgotten while listening, cause their style was way different. With time it shows up for real, but unexpectedly already, in the form of a very familiar starting riff. In general their music was so unified, that not many might think much about the source of  their influences. It's the same way compatible with the fans of crust punk and thrashing death too. 

Sadomator - Sadomatic Goat Cult (2006)

   The total insanity that Sadomator realeased by their debut, represents all aspects why the most exaggerated form of black metal can be preferred over other styles.
   They really didn't bother to keep any rules that were earlier detemrimed as trve. The band just took sick minded perversions as their main topic, and mixed these with various blasphemies and some horror references. The poor, demo tape quality sounds like if the album was recorded in the '80s in the dirty dungeon of some desolated house, far and isolated from everything. Traditional black/death albums are not famous about high sound quality, but they've tried to go further in this too, like all-round in every aspects. Extreme aberrations, hatred, praising Satan, and inhuman insanity. No circumlocution, just rotten to the core, that is all about. Somehow it's hard to fail or disappoint the audience in this style. But while at most albums brutality is also an important feature, "Sadomatic Goat Cult" refers back to the classics of black metal and tries to extend the extremities of black/death from the basics. Strongly recommended for the fans of the most exaggerated musickness.

Infernal Torment - Man's True Nature (1995)

   If there was a contest which metal band can produce more brutal  material, probably Infernal Torment would win that. There were plenty of exaggerated albums in the early '90s, but "Man's True Nature" had an exact mix of sound, themes and intensiveness that it resulted something more effective.
   It was like another trying how to reach the possible borders all-round. The insane speed and hammering is one thing, but the sound emphasized the inhuman features the most, which came mostly by the animalistic vocals and the sick lyrics based on sexual perversions and senseless brutality. These were doubtlessly influenced by early Cannibal Corpse, but the insane feeling reminds to Infester. Musically it's different from Cannibal Corpse for sure, they tried to get further. "Man's True Nature" is closer to brutal death/goregrind than to ordinary death metal both in style and concept. The difference is that they kept the constant intensiveness and didn't change the song's structure. For the fans of exaggerated brutality this album counts as a golden classic. Not surprisingly the band wasn't able to exceed it's debut and didn't even try to keep this line, so they returned with a way softer and melodic album before they disappeared.

Detest - Dorval (1994)

  "Dorval" by Detest was a less known, late came, but genuine classic of the early '90s death metal wave.
   The intro already assumes something unusual, with a background sound insolently taken from the first Terminator movie. Unlike similar bands, Detest wasn't into the usual horror and gore based topics. "Dorval" was like the musical version of "Lailah", a science fiction comic created by the French comic artist Caza, by following it's story line. An unusual concept selection for sure, but the album is fully enjoyable without having any clue about the inspirational background. Typical old school death metal with raw themes and noisy solos gave the main musical characteristics, but the song structures were creatively handled and still the album could offer some nice and unexpected surprises. So even though the band mainly operated with simpler and raw themes, the album still became more complex than usual. It's not an easy record, but a very well composed one and may deserve more attention than how much it received back then.

Maceration - A Serenade of Agony (1992)

   There was no lack of excellent death metal albums in the early '90s, but probably because of the abundance of extreme music, most relics were underrated and forgotten. Such as "A Serenade of Agony" by Maceration, which band was a short lived side project.
   Even though the common critics may say that "it was nothing new", the feeling of the album is remarkable, and refers mostly to the style of the American scene by it's musical features. Reminds to Massacre and Incubus first of all by the themes and the main feeling. But it may cause a déjá vu effect because the song structures and the vocal style is often similar to Cancer's. It couldn't be disappointing for the fans of old school death metal, not only because of the good sounding references, but even without them the album could be a perfect example to define the whole style. An intense and powerful act of old school musickness with catchy nerve wrecking and noisy solos and a commonly changing pile of awesome themes.

Mercyful Fate - Melissa (1983)

While Mercyful Fate is far from anything extreme or underground, just like Sabbath, they're definitely a pivotal band that undoubtedly deserves a spot on the blog. Mercyful Fate was a part of the first wave of black metal was instrumental in the use of occult and satanist themes. Notable for this band is their unlikely influence of more 70's-like hard or alternative rock. While they were pioneers in the development of black metal, their style was not as much of an influence as other first wave bands and can be more described as "heavy" or "speed" metal. Most of the bands from this movement went on to influence 90's black metal, particularly in Norway. You see a lot of late 80's and 90's thrash bands reference Mercyful Fate as influential as well.
For anyone who is a fan of the occult, you can't pass this album without at least giving it a try. If you need more convincing, in '85 the Parents Music Resource Center labeled "Into The Coven" as one of their "Filthy Fifteen" objectionable songs due to it's content. I'm not gonna lie, Mercyful Fate can be... difficult to listen to. Compositionally speaking, the music is rhythmically catchy and reminiscent of heavy metal, but it's the vocals and the content that really make this album "raised from the grave.. by the dead!" If you can manage to get through the unpredictable pitches of the vocals, this is a truly enjoyable album for any metal head, I don't think there is anyone out there who enjoys metal truly who hasn't at least heard this album. At the very least, go read the lyrics for some creative and disturbing story telling.