Grave - You'll Never See (1992)

   On the side of Entombed, Unleashed and Dismember, Grave should be named as a responsible band for the forming of the Swedish death metal scene. And because of their sound and experimenting ambitions, the most extraordinary band too in this line.
   After "Into the Grave" which was a strong and impressive debut, they created another death metal classic. "You'll Never See" was a typically raw and heavy Swedish death album with primitive themes, but even though it could completely define the features of that scene, something more was included. Similar to the firts album, "You'll Never See" sounded more powerful than the other albums made by local bands that time, and that increased it's brutality to some ultimate level. And through that, it reached a very rude and cruel feeling which exceeded even the ordinary primitiveness and cruelty which was so usual in Swedish death metal. The short and sharp-sounding solos borrowed a netherworld-like impression to the music, while the combination of the noisy basic riffing and rude deep growling pulls down the listener with it's heaviness... Into the Grave.

Bigotry - Step to The Grave (1993)

   On the side of Cryptic Tales, Bigotry was one of the earliest Eastern European death/doom bands. Even though the band's activity under this name was short kinda lived (later they continues as Dissolving of Prodigy) and only one demo was recorded, their early works definitely deserving attention. By a late nostalgia wave of old school death metal, plenty of previously barely known, underrated and forgotten releases and demo records have been re-released since the late '10s. Among them this demo was re-released as well in 2023. 

   The previously mentioned poor recording circumstances and the that time still embryonic form of the extreme scene in the region both left their marks on "Step to the Grave", but compared to most of it's coetaneouses, it was quite a decent record. The music was unified enough and it was way more than some experiment, unlike what from most extreme bands could have been heard of those times in that area. This made the record a real old school  death/doom gem. Bigotry seemed determined enough for their picked style, that was the mix of the earliest concept of death/doom and the the more melancholic, slightly romance influenced late wave. They kept this direction later on, and with time the melancholic direction gained more focus. In the early '90s the difference of these 2 forms couldn't haven't been distinguished yet due to the low number of death/doom bands and their mostly briefly lasting active periods. Funeral doom also just showed up recently that time, but listening to "Step to The Grave", it wouldn't be an exaggeration to say that their music included funeral doom elements or influences too. 

Dig Me No Grave - Cosmic Cult (2014)

   Similar to Grond, Dig Me No Grave's lyrical concept also reflects their Lovecraft enthusiasm, and musically they also prefer mainly simple and basic themes, but they're more on the old school death metal field. And by implementation they also prefer great production and good sound quality.
   Compared to groove death metal, their songs are more complex and diverse of course, but on the side of the style or subgenre differences, some moderate experimental ambitions also making this complexity more evident. The band seemingly preferred various and unexpected switches not only by themes and tempo, but in forms of small surprises, like short, sometimes catchy, sometimes noisy solos. The song structures aren't unified either, cause they seemingly tried to come up with something slightly different each time. It did have an advantageous result, since their experimental endeavours getting clear pretty soon, and they never crossing through the imaginary border to turn too technical. The interesting factor comes mainly from their seemingly unusual solutions. Their main influences might have been rooted in bands whose music sounded more developed since the beginning than their fellow old school death metal coetaneous bands, like for instance Morbid Angel, Tiamat, or Paradise Lost. Even if Dig Me No Grave's musical toolbar could be still limited compared to capabilities of  the mentioned bands, their full-length debut might be quite enjoyable for the fans of old school death metal. 

From Beyond - Sounds of the Grave (2007)

   From Beyond was formed in the early '90s, but such as many other bands who were not able to make it further that time than a few demo tapes, they've debutet in the early '00s.
   Their first album was kind of raw by ideas that sounded like awaiting for some elaboration, but the band have managed this progress at their return and showed development. Their themes are reminding to classic doom metal that might be not surprising from a death/doom band, but the main tendency of the style was different. The better known and popular bands of the style (at bands where the death metal reference is quite questionable) had similar features in their music, but because of the massive overload of melodies and emotional atmosphere their effect was minimal. And in the case of the rough direction (that was really death metal influenced too) most themes were more like the slow version of death metal. At From Beyond the ominous feeling of the '80s doom metal can be easily identified, only they sound more rough and noisier. And it's possible to find themes that are strongly remindig to '70s, and leading back to the very roots of the genre. This counts as uncommon in death/doom, cause not many have tried anything similar, even though it might be quite evident. Probably it's because death/doom used to be somthing heavier and more depressing than ordinary doom, and classical themes might sound too "bright" for the down-pulling, noisy sound. But there are modern features to find on the album on side of the old school nostalgia, so though it's simplicity "Sounds of the Grave" offers diverse entertainment.

Spiritual Decay - Closer to the Grave (2006)

    During it's short existence, Spiritual Decay evoked the old school style of death metal of the early '90s.
   "Closer to the Grave" was almost nearly perfect, but the band also showed some genuine ambitions that didn't let to sort the album to the ordinary '90s nostalgia records. The common switchings between middle speed and fast hammering made their music quite intense, and the deep growling female vocals were also effective, as they sound aggressive and insane the same time. But the atmospheric effects (both musical and vocal) functioned as a strong braking force and took a lot from the effectiveness of their harsh sound. Like throwing a shovel of dirt on fire. The atmospheric and floating parts probably used to give some spiritual impression, but as their appearances getting more frequent, the album sounds more tired with time, and it's able to serve as a lullaby for the listener. That's a very strong contrast compared to how intense the album starts. No matter the heavy sound and lyrics of war and violence, it's like death metal after a peace pipe that was filled with some strong hallucinogenic material. This main view reminds to Fear of God somehow, inner struggles under the influence of self-destruction are easier to expect, than brutality in real life. But except these the themes are well composed and album could be interesting for old school death metal fans.

Demonical - Hellsworn (2009)

   One thing seems certain while listening to Demonical: these guys have been into death metal since a while, and this isn't their spare time high school band project. And the intuition proves to be correct after checking on the line up, because all the band members played on various other bands before or still they do. 
   Probably the best way to describe Demonical's "Hellsworn" is: Swedish death metal at it's best. The wider possibilites of recording were definitely advantageous for the style, because higher sound quality can make wonders with the basicaly rough and unfriendly Swedish sound. It's colder and more effective than how ever it was in the early '90s, and it had positive effect on all other it's features too. The album is nostalgic and refreshing the same time, and the high sound quality having an important role in that. The main impression is quite aggressive and dark as it shoud be expected. Nearly the whole local old school scene could be mentioned as possible musical influences, but it sounds like Grave  have to be mentioned first of all, because the tone that Demonical reached is the most similar to them. The title song of the album quite reminds to Moondark, but that's not surprising, since their guitarist played in that band too. The other members are known from bands like Centinex, Diabloical (their drummer also played in Grave), and they're not joking, they all are on the level and they know their job well. Great and diverse themes are leading the listener into the depths of musical obscureness. "Helsworn" is an excellent album that represents well the compromiseless cruelty of old school Swedish death metal. 

Grave Desecrator - Sign of Doom (2008)

   Since the mid '90s have been passed, it's quite rare to find references from new bands to the once so unique old school South American scene. New or less known names appearing from time to time in the form of bands who didn't have much attention in their times, but newer formations are another thing. Grave Desecrator is one of the rare exceptions, who have been formed with similar concept.
   The band was mainly influenced by Sarcófago and old Sepultura, and recalls the mixed style of the old scene authentically. The aggressive and compromise-less attitute of "Sign of Doom" matches not only with the tendencies of past times, but it's also not far from war metal. Similar to war metal bands and in analogy with the local traditions, they avoided atmospheric sound, and instead of dark aesthetics, their effectiveness lies in the raw sound and the heaviness of the themes. The main impression is still enough old school to not cross a certain border, and the thrash metal basics are quite evident. This is the source of their never ending intensity, while the ancient black/death metal features are responsible for the heaviness and the brutality. "Sign of Doom" is not only an excellent nostalgia album, but also had refreshing role in the recent extreme underground scene. 

Eternal Grave - Arquitectura del horror (2009)

   Somehow it's always appreciating to find new bands who are playing in old Cannibal Corpse style. Partly because it's not easy to give back the same combination of heaviness and sickness, and partly because it's exaggerated effect could be addictive.
   Eternal Grave recalled that very familiar feeling with success. They've reached the same level of heaviness, brutality and intesity, even the deep growling vocal style is quite Chris Barnes-like. For direct comparsion the album reminds the most to "The Bleeding", except in the case of sick melodies. They experimented with some short ones, but they didn't become the essential part of the songs like at Cannibal Corpse, only showing up as some background melodies for a while. Some of them worked out well, others not that much, but sometimes they've shortened them to weird fripperies. Therefore the noisy brutality have absolute leading role, and this way the main impression is quite raw, but keeps staying enough enjoyable to keep the listener's attention. The band preferred common slow downs between the hammering parts. "Arquitectura del horror" might be fun to listen for the lovers of Cannibal Corpse nostalgia, and also for the fans of gory brutal death.

Grave Ritual - Euphoric Hymns from the Altar of Death (2010)

   Grave Ritual debuted with an obscure and strongly Incantation influenced album, that's similar to their main influental band, wasn't so easy to go into.
   Compared to Incantation, "Euphoric Hymns from the Altar of Death" focused more on the old school themes, and even though it's not so raw and complex, still the heavy sound and the rotting feeling makes it sure to keep it unfriendly. The guitar themes are quite Incantation-like, and speed switches are common enough to make it difficult to determine any preferences, so it's quite a unified mass. The way how they worked on simple leading melodies by pushing them though on various possibilites of disharmony, resulted a well composed album. The main themes are following and complying to the speed switches from slow, obscure heaviness to middle speed and to intense hammering. These solutions making main view quite diverse, even though the sound that makes suspect that the album was recorded in some dungeon deep underground, definitely took from the effectiveness of diversity. But still, it was also a rational intention, to keep the album unified and putrid sounding as possible. Exciting record provided by newbies of the New Wave of Old School Death Metal.

Interment - Where Death Will Increase 1991-1994 (2010)

   During their short active period, Interment had 3 demo tapes, and after the band was reunited, these have been released as a compilation album.
   Their strongly Carnage and Grave influenced music sounds like a prototype of the traditional Swedish sound, mostly because demo songs could be heard on the album. But it has an unrepeateble feeling, coming from the probably remastered demo sound. It reflects the spirit of the early '90s underground scene perfectly. Similar to Carnage they also experimented with sound effects, but while listening to the album, with time it gets more similar to Desultory because of the intense thrashy basics and the strict drumming style. The compilation shows well the progress how a young band's style develops leaving behind the inspirational influences, and slowly more individual features are taking over. These features are of course not different from what's usual at any other Swedish death metal band. By their return Internment released another full-lenght album in the same year with new songs. Even though their style didn't change, it's notable that those songs were written by a well experienced band. 'Where Death Will Increase" is not only an enjoyable nostalgia record, but also like an example how of the Swedish death metal scene have risen. 

Graveyard - One with the Dead (2009)

   Graveyard debuted as a band with traditional old school Swedish death metal features, and they performed this style so well that nobody would suspect that they're not even from Sweden. 
   Like if the nearly endless amount of nearly the same sounding old school Swedish death metal bands were not enough, many newbies showed up at various locations to try themselves in the style of the well known classics of the genre. The names of these classics are waving back while listening as evident influences, such as Grave, Carnage, Entombed and Unleashed. Still, Graveyard's goal was not to simply copy this style and to create a schematic death metal album. Plenty of exciting musical solutions are waiting for the listener to pull it down to the hopeless rotten catacombs. For the band heaviness had a main importance on the side of the rough, dirty cold sound, and they managed it with sommon slow downs and sudden speed switches. Sometimes repetitive sick leading melodies are assisting to the intensiveness that's the main feature of the album. The temporary slow downs doesn't take anything from this intensity because of the diverse themes they've operated with. So even though the band's style is (tomb)stone carved Swedish death, "One with the Dead" is everything but monotonous. Similar to the late tendencies of Swedish death, occasionally some quite vintage sounding heavy and doom metal elements (the second in the form of a Candlemass cover) are also there to find. They've really tried everything possible that made this notorious. 

Obituary - Cause of Death (1990)

   The Floridan scene had plenty of infamous bands, and Obituary was one of the most successful ones. Before they stucked in a state of groovy, mid speed, retiredly bumping death metal, their early and fresh period impressed the whole metal scene.
  They experimented since the mid '80s already as Executioner with some very heavy music, that includes the heaviness of doom metal, inspired mainly by Celtic Frost. Fast hammering was never usual in their music, but "Slowly We Rot" and "Cause of Death" are likable exceptions, where their common comfy groovy themes were often interrupted. That larger diversity, catchier themes and extremely brutal sounding made "Cause of Death" even more impressing than their debut album was. And of course John Tardy's effective growling and screaming which sounded like from beyond the grave. The early Obituary songs don't even had lyrics, most vocals that could be heard are only John Tardy's improvisations, it was only his style to growl something that could fit and sound good to the music which was always in focus. Anyway, this improvisative, feeling-based album is and important classic of the genre.

Funebrarum - Beneath the Columns of Abandoned Gods (2001)

   Until the early '00s the newer styles of death metal almost completely wiped out the existence of the old school sound from the memory of the main audience. But occasionally some bands showed up to refresh the memory of those who were not so satisfied with the progressive, brutal, technical or melodic directions.
   Funebrarum was one of the few bands who played excellent cryptic stenched death metal in the early '00s. Their debut was an all-round high quality record, similar music was extremely rare to find in those times. Even though the putrid sound had absolute role in their music, it was also a little bit more than old school death metal. Their slower and middle speed themes presumed some doom inflences too. And by checking the line-up, it's not surprising, since two of their members played in Evoken too meanwhile. If it's about influences, their music reminding of Autopsy and the Swedish style of death metal. The simple but catchy themes of Carnage, old Entombed and Grave waving back from the forgotten past, commonly interrupted by intense and noisy hammering parts. The lyrics also returned to the classic topics of death and torment just like in the "good old times". "Beneath the Columns of Abandoned Gods" wasn't only some nostalgia album, but an authentic proof that death still walks among us.

Hooded Menace - Fulfill the Curse (2008)

   The New Wave of Old School Death metal also opened a gate for related styles, so it could be found responsible for the Renaissance of death/doom metal. It was proven that the heavier, non-romantic and therefore less popular aspect of the subgenre can also offer diversity.
   If the characteristic deep growls of Hooded Menace might sound familiar, it's not a coincedence. It's the band of Lasse Pyykkö, whose voice was widely introduced previously in Acid Witch. Hooded Menace counts as a related band by it's completely horror addicted concept, but in style preferred to stay at the early roots of death/doom. Therefore their music might be harder to go into, but the old school references could help to guide the listener amongst the slow, heavy riffings (for instance "The Love Song of Gotho" is strongly reminding to "Chlidren of the Grave" by Black Sabbath). The album sounds a bit raw, like if it was still in experimenting/pathfinding form in some way. Similar to Finnish death metal in general, they also involved frequently returning catchy leading melodies, and when they turn to middle speed, their music has a nearly groovy feeling. However, even though their described toolbar sounds like an absolute win, all of these didn't removed their music from rawness, the combination of the noisy heaviness and the melodies stayed as a case at issue. "Fulfill the Curse" can be an enjoyable album for the fans of the heaviest musical aspect of horror.

Darkcreed - Dark Regions (2008)

   Darkcreed was formed in the early '90s, and they kind of missed the late '80s/early '90s death metal wave, since their few demos came out later. But after a long break, with their debut EP they had excellent timing by catching up the New Wave of Old School Death Metal.
   Their music recalled the sound of old school Swedish death metal. The same simple but catchy themes, intensity and heavy load of primitiveness are waiting for the listener. The similarity is impressing, even the song structures, lyrics and vocal style are referring to the Northern classics. The mix of blasphemous, morbid obscure topics about death and torment should be expected in the already well known style. If the band's origin wasn't known, the listener could easily believe that an old, long time forgotten record from the early '90s was newly found. The earliest period of bands like Unleashed, Grave, and Entombed are getting summoned while listening "Dark Regions". The short, melodic, but ominous solo parts are reminding to the deviant sound of Carnage. It's an excellent nostalgia material for the fans of the Swedish death scene if they might desire some "fresh blood" in the same style.

Remains - Angels Burned (2014)

   If  someone's encounter an album design made by Mark Riddick, usually 2 things could be taken as granted: 1. it's most probably a death metal album, and 2. it's not going to disappoint. The same are correct about "Angel's Burned" by Remains.
   The band dedicated their music completely to old school death metal, and mainly to the Swedish scene. Grave and Unleashed should be mentioned in first line as their most possible influences. And it's definitely not weird from a Mexican band, since the audiences there are strongly into European bands. From the '10s the number of European metal inspired Mexican bands have increased, and even if most of them cannot offer any different or interesting perspective, they're quite good as fan-made projects, not to mention their impressive self-dedication. Also since the '10 Swedish death metal styled bands could be found literally in every country where's mentinable metal scene, if the nearly endless amount that Sweden keeps providing since the early '90s haven't been enough. If it's about themes, Remains' debut "Angel's Burned" definitely sounds like any death metal album from Sweden, except the typical "Swedish buzzsaw" sound was missing - at least on this album. But in the followings even this tiny "aesthetical issue" was avoided. 
   Strongly recommended for the fans of Swedish death metal!

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.

Entombed - Left Hand Path (1990)

   Entombed was a band that was well known in undergound circles already when they appeared. As Nihilist they became notorious in the late '80s, and after their frontman was quit and formed Unleashed, they continued playing as Entombed.
   They didn't had to wait for long for a contract and they continued their career as one of the most influental death metal bands, and as a main influence for the birth of the Swedish death metal scene on the side of Unleashed and Grave. "Left Hand Path" became a remarkable classic of the genre, created by alerady well experienced musicians. They determined the ordinary style of old schoold Swedish death metal by dirty and dim sound, evident thrash themes and references and definitely rude main view. Made by of the oldest death metal bands, the album may count as an authentic introduction into the genre and could be entertaining by it's various other influences that increased it's enjoyability. Unlike most other Swedish classics, the "Left Hand Path" had plenty of nice surprises, like occasional dark melodies such as intense brutality, common speed changes and a rough atmosphere that reminds to the heaviest horror classics.

Undead Creep - The Ever Burning Torch (2011)

   Undead Creep's impressing full lenght debut didn't only catch the New Wave of Old School Death Metal with the right tone and by the right timing, but also extended the possible sources of Swedish styled death metal.
   Both in sound and themes the influences of the well known classics of the Swedish scene are waving back, such as Grave, Unleashed, Entombed and especially Carnage. The same rough and unfriendly approach could be experienced, and the song structures are also strictly following the Swedish recipe. Productiveness is one of the main features of the album, since the main concept was covered as various ways as possible. However even if the main direction is quite determined and evident, in the form of short and fast solo themes and lead switches the influence of Death also could be discovered. The presence of this moderate Floridan touch on the side of some short typically early '90s rooted atmospheric effects seems briefly compared to the absolute overweight of the Swedish references, so they didn't have determining role. "The Ever Burning Torch" is like a  nostalgia album made by dedicated old school death metal fans, and by the demo songs included it's decent lenght couldn't be disappointing for the fans of the genre.

Slaughtbbath - Hail to Fire (2013)

   Before their full-length debut Slaughtbbath have been around since a decade and pad plenty of demo and split-album appearances. Even though their music sounded very promising and impressive in this long lasting early period already, it was definitely worth to wait for "Hail to Fire".

    While traditional black metal themes had high role in their early music, it could have been continuously sensed that there's something more, some deviant intention in the background. And by "Hail o Fire" basically one of the most intense and devastating war metal albums was released. By focusing on the tiny differences the subgenre allows, it's possible to distinguish their style and sound from the American-Canadian classics. Slaughtbbath have a slightly more old school approach, that's more related to their local scene. The combination of insane intensity and the excellent sound might remind to Grave Desecrator. And this means enjoyability in the traditional way had the same importance for them as overwhelming brutality. Rehearsal sound quality might result raw impression, could build on making the music harder to go into, could let the atmosphere to gain role, and it's even able to hide performance failures. It's also possible to explain that the sound is bad cause it's intended to be like that, while in practice lower investment just led to higher profit as it has happened plenty of times in black metal. But if it's about the effectiveness of extremity, nothing could beat a sound that exposes the competence of the musicians and assists the style to show its best the same time. "Hail to Fire" is not only a black metal or war metal masterpiece, but an outstanding record in the extreme scene in general.