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It follows almost the same formula, as it has some chanting in the background over a quiet guitar. Nocternal Obeisance - This is a pretty nice intro, and even though it could have been done better, it's pretty essential to have considering how the second track starts out... Most Satanic Bands For everyone that wants to know some really evil bands if you like them or want to stay away from them. The best part of the song starts at 2:23, where there is a transition in the tempo, and picks up again when Quorthon screams ‘DIES IRAE’ followed by a blistering solo. After that great, glorious song, one of the best from Quorthon, it’s time for “Chariots Of Fire” to destroy our ears with a brutal black/thrash riffs orgy, supported with almost blast beats tempos and apocalyptic feeling. That is the greatest fucking opening to an album I have ever heard in my entire life. We could say that the self-titled record was a raw and primitive worship of Motöhead and that the "The Return..." is what Venom had done but pushed to the extreme. This album is very much ground zero for unironic, completely serious worship of Swedish viking culture in metal. Favourite tracks: That armageddon manifests in the form of solos (“The Golden Walls of Heaven” has 3 of ‘em, which is perfectly appropriate in a song about destroying such a holy place). For all of you big black metal fans out there, this is probably one of the tracks that you’ll love the most, since unlike the other songs on this album, it does have a slight atmospheric touch to it. The production is something I found quite surprising, in fact. If there are two guitarists in the band, make the rhythm just basic enough so that ear is drawn the lead no matter what (Iron Maiden were masters of this). Quorthon ended up pioneering two different genres of metal, and he bridged the gap with this album. It is essentially a war anthem of sorts. First, you have the timeless "Call from the Grave" that features one of the most epic atmosphere and guitar solo ever by Quorthon and then, the famous masterpiece "Enter the Eternal Fire". Odins Ride Over Nordland: This is an awesome intro! [18], The term 'black metal' came from Venom's 1982 album of that name. It took some time before the rest of the album impressed its classic status upon me. -autothrall Quorthon managed to find a style of metal which suited the lyrical contents in the best possible way. The "chanting" backing vocal in this song reminds me of Norfair's music in "Super Metroid", it's fucking great. [13] Quorthon worked part-time at the small record label Tyfon Grammofon, which was owned by his father, Börje Forsberg. This also explains why I prefer ‘Hammerheart’ to this particular album. This is a perfect balanced song between innovation and tradition. I'm sure when this album was first released it was groundbreaking, and one of the most original metal albums ever, but now does it serve as anything more than a historical note? He didn’t mean to hurt me! It is the best solo on the album. Pace till Death: Another great thrash-ripping song, this time I detect some Kreator influences but it really kicks ass! The backbone of the song is a simple riff that is just good enough to repeat over and over again, while still keeping the listener at full attention. It seems like Motorhead's philosophy of "everything louder than everything else" was put into practice here. Apart from this fascinating detail, all mid-tempo pieces shine with great choruses, the proper amount of almost primitive yet highly intriguing melodies and suitable lyrics that increase the diabolic aura. He doesn’t use much range, since he was just starting to sing at this point. In June 2004, Quorthon was found dead in his home, apparently due to heart failure. Contextually, through my own perspective, I have long gone either way on the earlier albums in terms of their exact classification. North star to blaze ” Apples and oranges. It's basically the sort of track that doesn't give a moment of breathing because of its incredible speed and this is obviously awesome. It is regarded as a pioneer of both black metal and Viking metal. So, adjust your volume accordingly and you should have no problem at all falling totally in love with this album! The "Under the Sign of the Black Mark" album is also the last one to feature the evil lyrical concept as it was dropped shortly after for the viking themes. If you are interested in black metal, even to the slightest, Blood Fire Death (along with almost all of Bathory's discography), is a necessity in your emporium of black metal records. Listen closely to this album. What a perfect name for the track! Death metal. I know that this is going to really piss a lot of people off, but for the most part this just sounds like thrash metal to me. ‘Massacre’ set the standard for all blackened thrash that followed and is seldom passed in terms of menace and ferocity. [15] Unexpectedly, the two Bathory tracks "Sacrifice" and "The Return of Darkness and Evil" drew a great deal of fan mail.[16]. As for the vocal performance, they're raspy but easy to understand if you have an ear for scream vocals. You know, the kind of stuff that Slayer revolutionized. The track is truly immense...the riff at 1:00 is the best 'Viking' metal riff ever written in history, so strong that I get the shivers running through my head and spine just hearing it. This album is harsh and unrelenting even with the slower songs like "Call From the Grave" and "Enter the Eternal Fire" which even though slower and more atmospheric, are just as harsh as any of the faster songs. Acoustic guitar and a tense choral backdrop complements dark riffs that wouldn't have needed the support to stand out on their own. Most, if not all, of the songs on that particular album are terrific at dealing with longer lengths. The Golden Walls Of Heaven: Pure kick-ass thrash song with some Slayer influences! I noticed when I was checking out this album that not a single person gave it a low review. Here the solo is more shredded and fast, in old thrash metal style. While the debut was still largely an exercise in early speed/thrash with a strong helping of aggressive punk rock with a low-fi production, and “The Return…” was defined by a thin drum sound and an overtly muddy guitar sound that was closer to an early death/thrash sound than a blackened one, this album has all of the principle characteristics that have since been standardized by early 90s Mayhem, Gorgoroth and Immortal. The improvement shown in The Return…. More so, I must also notice that the debut was nothing more or less but a Venom / Motorhead influenced black ‘n’ roll sort of stuff, but just take a listen, which way did Cronos and Venom go and how the Bathory style was developing. The final Viking song is the title track, quite similar to “A Fine Day to Die,” very epic, long, and heavy. The Golden Gates of Heaven Minor mars upon a near flawless countenance, but present nonetheless. Bathory formed in Vällingby in March 1983. I always chuckle a bit when I hear terms like ‘Blackened’. Slayer had Hell Awaits. The album continues in a similar pace up to “Holocaust”. Overall, the song has an evil, epic feel to it, and contains some of the coolest lyrics ever written. The German Rock Hard spoke of ridiculous solos and hyper-perverse vocals while giving generously seven out of ten points. The epic-distorted riff are perfectly balanced with arpeggios and even some Viking chorus on the back ground. With the 230 volts of electricity in the mains unable to harness such unequivocal evil, Quorthon decided that a leaky, battery powered amplifier would be his best means of worshipping our Dark Lord. It’s a retrospective historical term which I, consequently, never use since I grew up with albums like these and not those terms. This is easily the best black metal album that I own. It doesn't appear as if Quorthon had this problem. Nonetheless, Venom have been the greatest influence of the Swedish lone wolf, consciously or unconsciously. With the exception of Enslaved (who have also written several masterpieces, though usually with a different, complex progression to them), no other band can really stress the point of 'Vikinghood' quite like this one. So I kicked my dog, grabbed my spear and helmet, and went off on my quest (basically, I yelled at my mother, grabbed a burrito and a new shirt, and browsed the internet). Hey, it all started with the Venom track Countess Bathory from 1982. A lesser known band, Quintessenz from Germany, made it better. That song title clear sums up this thrash metal monster. Well, that’s exactly what thought when I first heard Bathory’s Blood Fire Death a few years ago. If the two longest songs on here were taken out of the equation, the remains of this album could be qualified as an even dirtier and meaner answer to “Persecution Mania”, or perhaps even an equivalent to the equally savage exercise in extreme thrash metal that was Morbid Saint’s “Spectrum Of Death”. You can change your choices at any time by visiting Your Privacy Controls. This song being about the countess was wrote because fans were asking what was the Bathory name about, thus Quorthon composing this one as a result in homage. To me, that’s just clever. Bathory moved into a field more extreme then almost anyone else, even Slayer. Or course, a lot of the fast tunes are good as well, with plenty of great tremelo picked riffs coming at you. This record exists on the shelf next to such pounding metal classics such as De Mysteriis Dom Sathanas, Burzum, Black Sabbath, and Killers as one of the records that shattered a mold and created a new feel in a stagnant genre. And it comes in the form of the title track, 10:30 of classic, immortal riffing and atmosphere that anyone worth his weight in sea salt could live and die by. And I do mean all (tho we can't deny Venom either while we're at it)! Another epic and impressive song is the title track… this one finishes the album in very similar vein to the opener “A Fine Way to Die” and trust me, it is equally thrilling and memorable as “A Fine Day to Die”!!!! A wonderful way to end one of the most wicked albums I’ve ever heard. If you are thinking of picking this up just remember, though it is in many ways well produced, it is as harsh as putting your hand into an open flame, with metal stamper drums that hit hard and evil vocals of hatred, guitars that buzz with an intent to kill and a bass that is quite loud, but also quite distorted. Personally though I prefer "Pace 'Till Death" and “Holocaust” – if we speak of the side A of the vinyl - which are just excellent songs. The band sounds skilled enough but they just don't do anything. "[21] Other bands Quorthon cited as early inspirations and influences included British punk bands the Exploited and the Sex Pistols[22][23] and Canadian speed metal band Exciter. Okay, they tried to entertain the readers, but come on, stop writing - start your career as clown. Of course, Quorthon's English here is still quite awful, but that merely adds to the charm. Most notible would be “Enter the Eternal Fire” which already sounds more than a lot like the epic pounding metal Quorthon would started to play on Hammerheart (and of course two earlier tracks on Blood, Fire Death) and what most of us years later would start calling Viking Metal. The song itself is equivalent to being hit in the head over and over with a sludge hammer, but at certain points, there actually seems to be a hint of melody. The style of Hammerheart was continued on Twilight of the Gods (1991) and Blood on Ice (recorded in 1989 but completed in 1996).

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