Obliteration - Black Death Horizon (2013)

   Until the third full-length Obliteration record it's got clear that the band didn't intend to create too homogenous discography. There are some exciting changes to discover on each album, and those are of course committed inside the borders of old school death metal. By "Black Death Horizon" the band kept showing that those borders aren't so strict as they're believed so.

   Similar to "Nekropsalms", the third album also gives a nice rotting taste of old Autopsy, and this very familiar, slow and endlessly sick feeling hits hard already at the beginning. However, "Black Death Horizon" isn't so complex like the previous album was. And the same time to express overwhelming sickness isn't in the main focus anymore. The song compositions are still great, and to operate with partly taken themes and to insert them into another perspective definitely needs skills. Maybe this method might sound familiar by thinking about bands like Skeletal Remains or Gruesome, but in fact those are bands who are perfect examples of how to not do the whole thing. Taking exact themes from another band and putting them together randomly over and over again like if it was some AI mix, is kinda far from writing own themes strongly influenced by another band, and pasting them into a new perspective each time. Despite the less complex song structures, on "Black Death Horizon" the band's own way of self-expression also had higher importance. Therefore it might be easier to go into, but to describe the exact motivations in details by grabbing the essence of the album isn't an easy task. This means the complexity also wasn't gone completely, and similar to "Nekropsalms", "Black Death Horizon" is also an album worth to listen to many-many times. Another masterpiece by Obliteration.

Infant Death - War (2013)

   Infant Death's debut could sound pretty nostalgic for those who are missing the feeling of '80s metal the most. It's kinda subjective and up to the listener to decide if "War" counts as a thrash/black or thrash/death metal album, and this is exactly the reason why was it a quite successful intention to recall the '80s.

   Since extreme metal subgenres haven't been fully developed back then, and basically most extreme music were just called collectively as thrash metal, it's pretty accurate to stay on the borders. On the side of the quite evident Slayer influences, Infant Death of course had more exaggerated tendencies, and it was not only needed for effective nostalgia. Ordinary thrash bands hardly could seem so extreme now like they have been for '80s audiences back then, and this is also the reason why those few thrash bands that have been able (or allowed) to break into the nowadays mainstream metal scene are basically playing thrash/death. Infant Death also took up the long lost "the faster the heavier" competition concept, and their speed and tempo is comparable to Sadus. The combination of their mixed style and aggressive tone reminds to South American bands like old Sepultura and Sarcófago. For old school fan audiences "War" might become a potential favorite. 

Execration - Odes of the Occult (2012)

   After a quite brutal debut, Execration have returned with another masterpiece, that didn't try to repeat the first album, nor to exceed it's extremity.

   "Odes of the Occult" had a way different perspective, that tells about some experimenting ambitions. However, the music is far from being experimenting in the ordinary way: it's not some path searching endeavour like in case of young bands, Execration sounds very deteremined about what they want to do and how. Slow downs became more frequent, but they're only partly doom influenced. In cases when slow downs are happening, and they lack heavier doom-related themes, mostly atmospheric sound used to be involved, but not in this case. There's nothing to fill the void when it occours, and since the album have excellent sound quality, even the basic distortion is unable to create any atmosphere. This sometimes leads to a pretty anxius feeling, and at other times it reminds to extended slow and sinister themes of old Autopsy. This solution might seem simple, but still it's quite rare to find, since most bands applying atmospheric sound like a good old thing that always could work. Of course "Odes of the Occult" didn't lack brutality either, and the radical theme and speed switches creating enjoyable contrast. But because these switches having no "atmospheric guide", the album sounds pretty cold and it's not so easy to go into. Still this ended up as an advantageous outcome, since according to the main concept, "Odes of the Occult" supposed to sound could, unfiendly, and it needs more listening to discover it's plenty of great themes. 

Cobolt 60 - The Grim Defiance (2012)

   Cobolt 60 was formed as a black/thrash side project of the guitarist and the former frontman of the death metal band Blood Red Throne.
   While their debut accurately included all musical features that could be expected from blackened thrash sound, "The Grim Defiance" drifted further from that direction. In total the album sounds heavier, way more aggressive and intense, and it's great sound quality also reduced the atmospheric effects of blackened themes. In this form it sounds more similar to Marduk or to late Belphegor, and the intensity of the speed ups also matching that level. Therefore even though switches to basic thrashing aren't scarce, the main impression gets closer to black/death.  On the side of the increased intensity, the diversity of the themes are also responsible for that. The thrashing parts might be nostalgic though, by recalling the most ancient, raw tendencies that could be expected from this style. This concept embedded into modern sound was mastered by bands like Mordant. Whether this all came from the intention to sound more brutal, or the generic tendencies of Blood Red Throne had indirect influence on their music, "The Grim Defience"  doesn't sound like an ordinary black/thrash album. More like the ordinary albums of well known bands that have been around since a long while, and they intend to join to some "decent, modern sound of nowadays metal" club. Even though the impression remains, that the creation of a more generic sound might have been the goal to fit wider audiences, the "Grim Deafiance" is a well composed, and quite enjoyable album, that could be compared only to the biggest names of the nowadays metal scene. 

Nekromantheon - Divinity of Death (2010)

   To hear great quality thrash metal nowadays is more than appreciated, because it counts occasional to find any new and serious thrash bands since the past few decades. 

   Nekromatheon recalls the late '80s with their wild and aggressive thrashing, that's strongly influenced by old Slayer, Sadus and Kreator. Their debut is definitely like a nostalgia album, not only the style, but the sound, the song compositions and the lyrical topics are also fitting to the golden age of thrash. The extreme speed of thrashing paired with the aggressive tone introduces the final accord of the genre, the point from where further styles developed. Though their music doesn't seem to lean to any direction, the borderline of death and black metal isn't far. This is one of the main reasons why "Divinity of Death" sounds so authentic. The band was able to catch the main feeling and the very core of the late '80s thrash metal, like nearly no one else was able to since the past decades. Old bands have changed during the time, and newbies are usually not so determined to recall that seemingly long time gone essence. The other advantage of this tone is, that even though it counts nearly vintage nowadays, it's intense wildness is more compatible with the audience since the appearence of more extreme genres. Not suggested to miss out for big thrash fans.

Kvelertak - Kvelertak (2010)

  Black metal was combined and experimented in countless ways lately, and even nowadays it's possible to find it in new, unusual forms. Mainly because of it's emotional/atmosphere based simple themes, right after it took part from the mainstream scene in the early '00s, many have discovered the possibilities in it's compatibility.
   Kvelertak mixed black metal with more classic styles, such as punk, hard rock, and rock 'n' roll, and by that they've created a new subgenre that was called as black 'n' roll. Unlike the old experiments with death 'n' roll, this style really had something to do with rock 'n' roll since the beginning by it's high intensity and frequently returning old school/basic themes. The idea of mixing an extreme style with essential mainstream classic styles is definitely like an absolute win, so it's still a wonder, why such bands are so rare to find. Especially in an age when the even most absurd and nonsense style combinations can be introduced as something extraordinarily unique, whether they fit to work together well, or not. The biggest advantage of Kvelertak's style that it was able to smuggle a different aspect into the mainstream scene. Something that didn't take part of a new music wave, and also didn't count as generic, or attention seeking-fancy. The band is able to play so fast and precise, as a black metal band, and turned it's atmosphere and intensity into an audience-friendlier aspect. If their music was more raw and focused completely on the simple old school themes, it would be like crust punk influenced black metal. The diverse switches, common melodies and mainstream references making it to something different. Even though their music includes only the essence of the styles that have been combined, and that means the very basics, the main view sounds enough complex to make it possible to analyze it for long. Kvelertak's music could be compatible with the fans of many way different styles the same time from black metal, through hipster metal until progressive metal fans.

Brutus - Brutus (2010)

   Similar to other older styles, the '70s hard rock also had to return in a form of a nostalgia wave. Even though that period included countless band, the whole scene was officially reduced to the so called big 4 (Black Sabbath, Led Zeppelin, Deep Purple, Uriah Heep), and in some way in nearly all other hard rock bands music it's possible to find a reference to any of them. 
   In case of Brutus it's not different either, and they didn't even keep in secret that their main goal was to recall the characteristic style of the mentioned bands. The themes are once more reminding to Black Sabbath, once to Deep Purple, assisted by the chilling, loose feeling of Led Zeppelin. Even if the similarity might be confusing, like if Brutus was a somehow missed and forgotten band of the '70s, there is a tiny difference to discover for those who are feeling the most familiar with that style: the music sounds quite sober. There is a genuine atmosphere in the music of the '70s that's difficult to describe, but suspects very high level of self-destruction. Brutus sounds more like a fun made project of very determined fans. Their debut is like a summary of everything good from that scene. The line of nostalgic references might be too long to list, since it's an intense album and the band didn't scrimp with great themes. Even though it was certainly not Brutus' intention to repeat the overwhelming effect of the big 4 on the main scene, it's important to mention that even if the music of the oldies had absolute rule in their time and it was able to gather extremely huge audience, the disadvantage of playing hard rock is to keep staying in the shadow of the classics. They cannot be exceeded, because they've depleted all possibilities. A nostalgia wave also doesn't matter, even amongst ancient '70s fans it can't spark too big attention like back then, not to mention the main scene. However, Brutus have left behind a high quality debut, that authentically reintroduces a long time passed, eventful musical period.

Obliteration - Necropsalms (2009)

   Obliteration debuted in 2007 with "Perpetual Decay", a seemingly ordinary death metal album. But by giving a careful listen to the record, soon it gets clear that it's something else. Something more technical than usual, but still not technical death, something on the vein of old school, but it sounds more modern. By "Necropsalms" the band made a determined step to show more of their motivations and to build towards their own way of self-expression.

   The influence of old Autopsy is evident from the beginning, the feeling, the extended song-lengths, the concept end even plenty of themes are serving as clear references. But still, somehow Obliteration doesn't fit into the line of Autopsy rip-off bands. And that comes from the complexity of their music. Also even if the concept is the same, the focus of the concept is slightly different than usual. They didn't intend to recall the exact sound of old Autopsy simply by playing similar themes. It's more like they wanted to recall the same endlessly sick feeling from a different aspect. And basically all the "Autopsy feeling" needs are: sudden switches between intense and slow themes with the assistance of sick melodies and even sicker lyrical concept. In total no complexity is needed, and nobody even tried to do that. But by making the themes and the song compositions complex, and if the whole formula is good accomplished, maybe something even more obscure is possible to reach. And Obliteration just did that. "Necropsalms" is like a loathsome horror villain: might be not easy to go into at first, but if it's catching the listener, never willing to let go. The album offers long time enjoyability, cause it's always possible to discover some new detail that helps to merge into the depths of unworldly sickness.

Taake - Taake (2008)

     Taake is a great band to introduce to any trve Norwegian black metal fan. That is, if they're not too trve to already know who they are. This 2008 self titled album is an aggressive, well produced Norse black metal album. I always like to give credit to an album within this genre that can pull off a well produced sound while maintaining that ethereal raw and evil spirit and sound. Taake delivers with this album with a high focus on more clear and crisp guitar tones and drums that create the perfect fill.
     Though, the album does not come without critics of the genre railing it as dull or even too technical. Vocally, Hoest delivers what is familiar about previous Taake albums and delivers an often haunting tone throughout the album. In my opinion, sometimes all too predictable metal can be some of the most enjoyable. For the same reasons we watch the same TV shows over and over, sometimes we just want to listen to something that is more familiar, and this Taake album will always be a great classic.

Satyricon - The Age of Nero (2008)

     Satyricon is an odd band; not because they're Norwegian black metal. But because they are a Norwegian black metal band gone... astray? Regardless, they've still managed to produce some of the (arguably) best black metal music of our time, and I guess we have to give them credit for creativity. Is that too much like saying "an A for effort"? Oh, well.

     The Age of Nero is a good album. It's not GREAT! It's just good. And maybe I'm a sucker for what's familiar. I'm not trying to hate on the album. I like it. That's why I decided to write about it. I'm just trying to be factual. This album can easily be described as a bit repetitive.
     Vocally, the first time you hear Satyr, you envision his world of impeding darkness. While his range is limited throughout the entire album, it still fits in well with the albums delivery. He gets the point across, you know. But if you want to be super critical, you could say the same thing about the songs as well. Their range is not pushing limits by any means. It's certainly no Nemesis Devina. This is one of those memorable albums because of the fact that the entire album might sound like one song. There are a couple of real bangers, like "Black Crow On A Tombstone", or "The Age of Nero" that stand out more than the rest with a bit more upbeat/thrashy tone and blast beats. All in all, this would probably be more described as what's known as a "black n' roll" album.

Gravdal - Sadist (2008)

   Even though traditional Norwegian black metal have quite strict rules, there are some bands who are not really trying to keep all of them like if it was a must. There have been a few examples for that even in the golden age of the genre, but lately the motivation have changed too: the point is not to create something new, that's nearly impossible; but to show a different perspective and to be more creative.
   Very familiar themes and sound are waving back from Gravdal's music, as their approach enroots at the basics of the local scene, but still it's somehow different. The sound is way cleaner than at the old classics of black metal, and therefore the atmosphere have secondary role. Melodies and themes are in focus, and not even the ordinary fast black metal hammering parts can't take their lead. It sounds like balance could have been the keyword while "Sadist" was created. The themes are diverse, and the band also preferred to switch the speed commonly if it was needed to sound more effective. The traditional blackened themes are always returning in some form. It could be said that it's an experimenting album, but it's enough unified to not mean it literally. It sounds like the result of something that they've worked on since a while. The album is quite short, basically doesn't sound so deviant as the title and the visuals might suspect, but it can offer enjoyable entertainment for both the fans of ordinary black metal and the fans of the modern aspect of the genre.
 

Execration - Syndicate of Lethargy (2008)

   If there were any expectations about the band's music based on their origin - cause probably most would think about some Norwegian black metal, or Swedish death metal related influences -, it's better to forget about them as soon as possible. Execration debuted with such raw and noisy death metal, that only could be compared to a road roller, that's smashing everything on it's way.
   The album starts already like if tons of steel panels would fall on the listener. If it's a must to find any analogy, Diskord should be mentioned, since they are also from Norway, and their music is also everything, but not easy to go into. Execration also symptahized with technical ambitions, but the disharmony they've combined with an exaggeratedly brutal and noisy sound that's similar to Incantation's. Basically the short song intro and outro parts that are mostly serving as melodic intermezzos to let the listener to chill a bit before the musical apocalypse continues, but they've filled those with noise too. There's no opportunity to keep calm, like if the overwhelming insane heaviness wasn't enough. This kind of obscure approach counts as modern compared to old school death, because it leaves no chance to focus on anything else but the oppressing brutality. Still, it's not focusing first of all on the brutal features and not letting too high role for technical themes, so a very heavy, kind of shocking effect gets left behind after listening. The album offers excellent entertainment for the fans of the heaviest, obscure sound of death metal.

Dimmu Borgir - In Sorte Diaboli (2007)

     If it's possible for a band to hit an apex twice in their career, Dimmu Borgir conquered that exact feat with this highly evolved symphonic album "In Sorte Diaboli".

     Though throughout the years, Dimmu have always proven to consistently evolve their sound and production quality, "In Sorte Diaboli" did not come without criticism from long time fans. Many considered the album to be significantly less symphonic than it's predecessors, and it certainly doesn't measure up to the gritty, more lyrically complex albums such as Stormblast or Enthrone Darkness Triumphant. It's not unknown for black metal fans to hiss and jeer at even the thought of a band taking a different creative approach to a new album. However, it's this metalheads humble opinion that the cleaner production quality and more streamlined approach to their songs and their order are what make "In Sorte Diaboli" such a beautiful album.

     One of Dimmu's most revered and most live played songs, The Serpentine Offering come from this album, and it holds a heavier orchestral presence that, from a creative standpoint, sets the tone for the entire album. Although Dimmu certainly took this concept album and attempted to perhaps appeal to a larger, more commercial audience, listening from a place where you can understand the evolution of music and their performers, In Sorte Diaboli is an energetic, memorable album. 

Diskord - Doomscapes (2007)

   The cover artwork may already suspect that "Doomscapes" by Diskord isn't an ordinary death metal album. It's just the same abstract like the music, so it definitely fits.
   In the late '00s dozens of progressive and technical brutal death metal bands appeared with weird ideas and style mixes. Diskord was different even from them, though the analogy cannot be dismissed. Their basic musical roots were closer old school death metal though, but it wasn't their purpose to seem special by an unusual style combination. The sudden theme changes were so strictly composed in their music that they are half technical and progressive, but for the same reason they aren't. It sounds like to create disharmony was their goal, not to pile up technical fripperies or to involve themes that doesn't fit in. It's more closer to the concept of the that time also uprising math metal scene. There are plenty of references to find about old school bands, but to mention any has no sense, because of the constant theme changes. These are nothing more than sudden déjá vu impressions without any important role. They are just part of the chaotic disharmony just like the weird elements that are enough effective to erase their influence. The album is definitely not easy to go into, but may cause enjoyable moments for musical gormands who are looking for challenges.

Dimmu Borgir - Enthrone Darkness Triumphant (1997)

     I remember having a conversation with a friend who refereed to one of their favorite albums as being the "apex" of the bands career. With the release of "Enthrone Darkness Triumphant", Dimmu Borgir established themselves securely in the genre of symphonic black metal and it's legions. The album brings out what's great about symphonic black metal in that it gives us a, subjectively speaking, prettier, more musically enjoyable version of what was Emperor era black metal. The album presents itself as a turning point for the band, where it becomes the sound the Dimmu is known for today. Production wise, for black metal, Enthrone would be considered top notch, as it allows the album to still remain dark and broody, but not overly produced and leaving melodies inaudible. 

     There are a few songs that stick out to me on this album, but all in all, the entire album flows smoothly, each song complimenting the one before it. The entire album gives an ethereal atmosphere, something new and exciting for Dimmu as a whole, thanks to their different approach to keyboard use for the album than it's predecessors. I often recommend Spellbound and Mourning Palace to people who may have never heard black metal before or who are looking to get into the genre. 

Darkthrone - Panzerfaust (1995)

   As one of the most productive and creative Norwegian black metal bands, Darkthrone experimented with plenty of styles. After debuting with a death metal album, they developed the ordinary Norse sound of black metal.
   Their most preferred and most popular period was between "Soulside Journey" and "Goatlord", and "Panzerfaust" was not only on the top of the black metal styled music they have made, but probably their best album too. They have tried all opportunities to go always further, and completely succeeded to develop the most suitable sound and to gather the catchiest themes for the ultimate touch of darkness. The atmosphere took lower part than earlier, but still it's enough effective. The strongest point of "Panzerfaust" is that even though the concept and the musical themes are simple, it's able to leave behind mixed feelings in the listener and to inject a complex impression. Suffering, hatred, rage, bitterness and the indispensable coldness are the main features of this impression that not many bands were able to reach and present like Darkthrone did.

Mayhem - De Mysteriis Dom Sathanas (1994)

When you manage to dig into the history of Black Metal further than all of the pop culture references and riddles of band members stabbing and eating each other, De Mysteriis Dom Sathanas holds a solid spot as one of the most influential Black Metal albums of all time. The entire album serves as a demonstration to the raw power behind the Norwegian Black Metal scene as a musical entity. The grim circumstances surrounding the album certainly draw those who are curious about the bands history into a closer look at the album- when it comes to Mayhem, if you haven't at least seen the album cover to Dawn of the Black Hearts, you've at least heard  De Mysteriis Dom Sathanas. It's classic monocromatic cover is almost as haunting as the details surrounding the completion of the album. And while some will argue that only the versions that Per "Dead" Ohlin recorded are worthy enough of the name, the studio album is both a well mixture of raw atmospheric and symphonic speed that is raw from the pits of hell all in the same recording.

     While Mayhem's previous vocalist had been Swedish, Csihar was from Hungary. His style was somewhat atypical for Nordic black metal then, and provoked a mixed reception from fans, some giving him the nickname Attila 'Fingernails' Csihar. This tortured vocal style continued to influence a plethora of black metal bands, such as Dissection, Immortal, Carpathian Forest, and Behemoth.