Session XXIV: [Of Hate, Smoke and Blasphemy (Pt.III) - An interview with Yosuke of Nuclear War Now! Records]

The very lungs of the underground are its labels. Without the necessary - and largely joyless - groundwork laid down through hundrends of man-hours pressing, distributing and promoting a piece of art, none of us here would be aware of those veritable gems which constitute our cultural bread-and-butter. The sacred tradition of bedroom-based operations strewn all over the globe has been maintained since the early, 'hairy' days of the underground. The roots of household names such as Earache and Metal Blade were indubitably humble. However by riding on the thrust of fan-based, unabashed enthusiasm they managed to 'escape' from the shackles of niche, scene-centred markets and break into the "hard rock mainstream". Nevertheless, there are those precious few who remain defiantly below the radar, stubbornly tethered to ertstwhile values and resisting the volatile currents of the status-quo. Such a unit hails from sun-kissed California and for 15 years has been tireslessly serving the decadent appetites of thousands of connoiseurs across the globe and in the process has become one of the underground's finest sources of unadulterated audial profanity. Taking some time off from his busy schedule, Yosuke - the big cheese behind Nuclear War Now! Records - enters the Hypogeum to answer our interrogation. Here is the wreckage that ensued...


What was your prime motivation behind starting this label? Did you recognise a 'void' in the then underground market which you ventured to fill or did it 'just happen' with no preconceived plan?

I didn’t have any preconceived idea of the label’s future or anything like that.  It started out as a way for me to release my shitty black noise tapes.  Things changed after I went up to Vancouver and recorded the Blasphemy come back live album “Live Ritual.”  Ever since then, I’ve been completely possessed by underground metal.  It’s an addiction that only death can cure. 
 
Please give us an account of how you first got into extreme metal back in the years of adolescent innocence.

I come from a family of visual artists so it was natural for my older sisters to get into punk rock.  I was exposed to stuff like Minor Threat, Sex Pistols, Pixies, Devo, The Residents, etc. at an early age.  I must have been 11 or 12 when I first bought my first Devo record at a store in Falls Church VA.  I didn’t get into metal until around 8th grade when a Peruvian skater friend of mine exposed me to stuff like DRI, Napalm Death, Carcass, Slayer, etc.  By 9th and 10th grade, I was getting more and more into the deep underground punk and metal of the late 80’s and early 90’s.  
 
I imagine you tape-traded a lot back in the days. Could you try and give us a picture of how it was to rely on post and paper before the advent of the Internet. It's funny really that although now the Internet has utterly neutralised geographical distances, in a sense we're further apart because people don't have to wait for 3 weeks to get a response from a band and just take everything for granted.

I actually didn’t do too much of that at the time, but I was already collecting records by age 13 or so.  I just got in the habit of sending cash in letters and hoping that something would show up.  Back then you sort of knew who to trust and not to trust.  Of course I got ripped off several times by people like Richard C. from Wild Rags, but most people actually sent me what I had ordered.  The internet age has made everyone into instant Walmart shoppers who want their stuff ASAP.  
 
You are obviously quite keen in excavating obscure and forgotten gems, especially from the 80s, and re-releasing them to a younger generation. To me though, this endeavour seems deeper than skin-deep nostalgia; you're more like a cultural archaeologist unearthing artefacts from the past which can still have a direct relevance to our experience today more than just aimless reminiscing. Would you agree?

Yes, you hit the nail on the head.  I approach each reissue project as a historical artefact that needs to be preserved for the future of the genre.  That’s why I try to preserve the old layout integrity, visual aesthetics and normally include an extensive biography or an interview to provide background contexts.  I’m also a strong believer in the importance of visual aesthetics so I try to include as many band photos, gig flyers, and other visual artifacts as I can.   Normally this requires me to include a booklet of some sort, which can get rather expensive!
 
On that note your 'No Speed Limit' boxset is easily one the label's finest hours on an already exceptional discography. It successfully brings to the fore that unadulterated, gritty aesthetic of the underground of that particular era. How did this effort come about? Any possibility of a second volume?

Actually this release was a bastard child of Annick from Cauchemar and another French Canadian maniac.   I don’t want to take any credit for this release since she did all of the work and I simply put my label logo on the back.  Ask me about the Order From Chaos boxset instead. haha
 
Incidentally, is there any chance of seeing NME's 'Unholy Death' getting a decent vinyl re-press?

It already got a very nice reissues by another American label so there is no need for another pressing.
 

Being the head honcho behind one of the underground's most respected dissemination hubs are there any labels you looked up to back in those formative years which inspired you with their uncompromising devotion to authentic musicianship?

Yes, I took notes from such notable underground labels as Iron Pegasus Records Germany, Evil Records Japan, Cogumelo Records Brazil, Iron Bonehead Production Germany, Ebullition USA, and many others.   I especially loved the vinyl centric nature of early Iron Pegasus releases where he did a limited “Die Hard Picture Disc” edition.  This is where I stole the idea for my Die Hard editions for NWN.  So the credit (or blame) should go to Costa from Iron Pegasus for starting a collector frenzy and lots of headaches. 
 
It seems that the underground bears an incredible degree of vitality and resilience which is untouched by fashion changes. In your opinion what are the core values which constitute the underground ethos?

The true deepest underground will always remain strong, while the trendy surface skimmers will always exist as well.  In the past 15 years that NWN has been in operation, I’ve seen trends come and go.  It was raw black metal in the late 90’s and early 2000’s, then came the orthodox black metal trend, then the bestial black metal trend, then the doom metal trend, then the current death metal trend.  I guess it all goes in a cycle and it’ll eventually go back to the raw black metal trend.  
 
Your roster reads like a 'who’s who' of black/death metal greats -

both new and old. In your opinion, what is it that attracts these bands, especially the seminal ones from the late 80s/early 90s which adhere to old-school values, to the label? 

One of the only rules I have for the label is that I release whatever I want on NWN.  As such the roster reflects my personal taste.  You can see that I am heavily into the early Brazilian death core scene and the North American black metal scene of the late 80’s and early 90’s with bands like Blasphemy, Procreation, Antichrist, Demoncy, Von, Toten, and the like.  However my musical taste ranges from hardcore punk to experimental industrial music so don’t be quick to pigeonhole NWN as a black/death metal label.  I will release whatever I feel like releasing in the future.  
 
Could you name three bands you'd love to have signed on NWN which unfortunately are no longer active?

1. Necrovore (USA):  These guys are still around in the US underground scene but not sure if they have any interest in reissuing Necrovore demos officially.  Countless bootlegs had been made in the past few years so maybe that will trigger an official reissue one day. 
2. Black Prophecies (Italy):  Black metal classic from Italy.  They were one of the first black metal second wave bands and was scheduled to release their debut on Wild Rags.
3. Necro Schizma (Netherlands): Black doom in the style of Hellhammer and the like.  The Erupted Evil demo is one of my all time favourite demos.
 
You have a clear and fairly strict vision of the sort of bands on which you wish to impart the label's imprint. Is there an album/band you'd love to release but feel constrained to do so because of this? Is there a temptation to start a sub-label of sorts to put out quality, potentially non-metal, music which otherwise doesn't conform to NWN's modus operandi?

I actually don’t have any rules or guidelines unlike some labels that stick to one subgenre of metal.  I release whatever I want and in whatever genre.  Like I said previous, I’ve released heavy metal, thrash, speed, black, black noise, ambient, drone, and even hardcore punk.  The only thing I’ll  probably never release is hiphop!  I can’t really think of any non metal bands out there right now that I would want to release under NWN.

  
 
Back in the early days each country had its own inimitable sound - one need look no further than the prominent musical discrepancies between Putrenance (Finland), Varathron (Greece) and Manes (Norway)  to get a taste of how a band's unique combination of geographical origin and culture imbued their sound with its own special characteristics. It looks that nowadays this effect has become more homogenised. Be that as it may, what is your favourite country in terms of scene productivity, originality and sheer musical pathos?

The internet age and the ease of transmission of audio across the globe has normalized everything.  Geographic isolation is a thing of the past and specific sounds are no longer contained enough to develop distinct styles.  This effect has its pros and cons just like anything to do with technology and social development.  While it might be seen as a loss to find that distinct styles heard in countries like Greece and Brazil are no longer there, you can find these sounds in unexpected places like with Sacriphyx in Australia playing a Greek inspired sound, or Anatomia from Japan playing in the Autopsy tradition of pure American death metal.  Of course the Norse black metal sound is now homogenized to the point where you can find cold black metal bands from Tropical countries in South America.  The flipside of this phenomenon is the sheer glut of releases that are getting pumped out by every little label from around the globe.  It’s a challenge just to keep up with it all and sift through the numerous shitty bands to find one okay band, not to mention the great ones.  The ease of recording and propagation has made it more difficult to find great bands in the sea of mediocrity, but that’s just what we have to deal with.
 
I've noticed that you play down the satanic verbiage in comparison to other labels of your ilk and rather focus on genuine decadence sans the excessive anti-christian blabbering. Is this something conscious from your part? Do you have any sentiments, one way or another, regarding a band's religious ideology, Satanic or otherwise?

That’s because I am not religious like some people.  I am an atheist with an Anti-Judeo-Christian outlook.  I believe in the physical world and the nothingness of death that follows it.  This is not to say that I dislike Satanism, Paganism or other isms that metal people adhere to.  I fully support their agenda as long as they spread hate and intolerance of Abrahamic religions.   
 
You've started out as a humble garage operation a good 15 years ago and have now evolved into a full-grown beast to the point where you need to buy a proper warehouse (how's the  crowd funding going by the way?). Do you see further stages of evolution along the way? Central offices with a number of employees perhaps? Or is there a point where you'll say that the ever-increasing size of the label would require to compromise some of your values and just call it quits?

The label is still operated out of my garage, but it has now taken over other parts of my house and three external rental storages.  I am in the process of saving up for a proper warehouse to be purchased with two other small businesses from Oakland CA.  We were hoping to get into a place in early 2016, but with the ever increasing real estate costs in the bay area, it may need to wait until the summer of 2016 if I can’t raise enough down payment money.  Once the warehouse is in place, I’ll be able to hire a worker to work there during the day while I’m at my day job.  Yes, I still have a regular day job because the music business doesn’t pay the bills, at least in the bay area where the cost of living is very high.  I might be able to live off of NWN if I moved to a cheaper place in the US like Portland or Austin for example.  It’s tempting, but it’s a difficult decision to uproot the family and move somewhere to start all over again.  I am not sure how much bigger

the label will become in the years to come.  All I know is that I like what I do and I can’t think of anything else I want to be doing for the rest of my life.  
 
Finally, I couldn't resist, please share your 11 favourite black/death metal releases (with the exception of Blasphemy just to make it a little bit harder).

I will leave out the first wave black metal and evil thrash/heavy stuff and keep it to only extreme black and death metal stuff that I listen to and worship.  I consider these to be classics of extreme metal however people classify them.

1.    Sarcofago “INRI” LP
2.    Expulser “Fornications” side of their split LP
3.    Sextrash “Sexual Carnage” LP
4.    Reencarnacion “888 Metal” LP
5.    Vulcano “Bloody Vengeance” LP
6.    Demoncy “Joined in Darkness” LP
7.    Black Witchery “Desecration of the Holy Kingdom” LP
8.    Conqueror “War Cult Supremacy” LP
9.    Sabbat “Envenom” LP
10.    Samael “Worship Him” LP
11.    Master’s Hammer “Ritual” LP

 

Session XXIII: [Of Hate, Smoke and Blasphemy (Pt.II) - An interview with Varathron]

 "Varathron are a truly great band whose first two albums and the [first] 7" EP left a massive legacy on Hellenic Black Metal and the global underground scene. The underground attitude and honesty of the band, steeped in the 90's era, has left an indelible impression on my soul." 

Necromayhem of Rotting Christ (personal correspondence)

Continuing on our forage into the origins and history of the black metal underground it would be delightfully apropos to gain some first-hand insight through one of the scene's most respected figures: the one and only Necroabyssious of the mighty Varathron. The guy has been around black metal since most of us were swimming around in our father's balls and so pretty much anything he says on the matter is as near to the primal Source as you're likely to get. Melding esoteric melodicism with the chthonic vibrations of Nyarlathotep, the Grecian swamp cult caught on the second wave of black metal and steered through it with style and ingenuity. Being one of the great bastions of the underground ethos, their unique take on the black arts offered a refreshing counterpoint to the Norwegian permafrosted aesthetic and established a school within the genre which, although not terribly influential, was nevertheless entirely original and authentic. To that effect, I'd even wager that any Top 10 Greats list without either one of their first two albums is a tell-tale sign of black metal illiteracy. And so without further ado I bring you the Swamplord himself to guide us through the dark paths.  

It's the late 80's and black metal is just about to enter its second phase of evolution. Where does this transition find you? 

It was during the early months of 1988 and musical tastes consisted primarily of HELLHAMMER, CELTIC FROST, BATHORY and VENOM. Amidst the commotion of grind and noise a few blackened souls conceive the idea of creating the first black metal ensemble on Greek soil. Thus Varathron was born. The original line-up was myself on vocals, Mutilator on bass, Captain Death on drums and John on guitars. Apart from myself, none of the original members is with the group today.

I wouldn't consider your first demo ("Procreation of the Unaltered Evil") as exactly black metal as it is known today. Essentially your sound takes a more definiteve shape with "Genesis of Apocryphal Desire". Would you agree with this? 

On the contrary, I consider our first demo as the ultimate

definition of Black Metal and specifically that unique hellenic black metal sound which is loved and worshiped by millions around the world. The compositions were written by Mutilator in combination with my own ideas and Captain Death's. As a matter of fact, Mutilator should be credited as the seminal composer who established the Hellenic Black Metal sound.

As far as I know those were tough times. Beyond the socio-economical situation there was also a certain conversative xenophobia against anything different from the general populace. You're also based in the Northern rural edges of Greece (Ioannina) which would also hinder, I imagine, networking opportunities with the central Athenian hub. However, this fight of survival would act as a selection mechanism, filtering out bands which were not utterly devoted and "true". How did you survive in those early days? Are things too easy for today's bands?

Actually when the band was founded back in 1988 we were based in Athens. Our first PO Box was located on Victoria Square. Shortly before "Crownreign" was released (circa 2000) I moved the band to Ioannina. Those early days didn't possess the relative comforts of the present times (i.e. Internet, facebook) but they were definitely more true. That period will always be branded on my mind because within it dwelled the ultimate Black Metal Spirit. 

It's the early 90's and black metal now is in full thrust. Along with you other bands such as Rotting Christ, Necromantia, Agatus, Kawir etc slowly begin to make waves in the global underground networks and hellenic Black Metal along with the Norwegians become the primary aesthetical "schools" of the genre. What's the general feeling of the period? 

In the early 90's there were a number of bands who put out some truly amazing offerings. Naturally, there were a lot of member inter-changes and a sense of altruism amogst the bands of that era.  We were like a punch, brothers united in solidarity in order to collectively do what was best for our scene. 

Let's not forget the amazing split between yourselves and Necromantia - perhaps one of the most cult splits ever to grace the black metal scene! How did this co-operation come about?

George-Magus and I were like brothers and have remained so since those days so a co-operation such as this one was expected and totally natural. The resulting work is now considered one of the top 10 offerings of that generation world-wide. 

I have to say that there is this noticeable absence of Varathron from live shows. What is/was the reason for this? What is the best live show you've ever taken part in?

Varathron only played live a few times over the years due to constant line-up changes. Since autumn 2014 we've actually played a lot of shows abroad, with Brazil, of course, being our best live show ever. The total respect of the Brazilian fans for the band will always remain branded on my mind. 

It's now 4 years since the band's inception, a couple of demos are released along with the split with Necromantia and suddenly "His Majesty at the Swamp" was unleashed unto the unsuspecting populace.

Indeed, a year after the split release with our Greek brethren we released our first great work with "His Majesty...". It's now being hailed as one of the veritable classics of the black metal genre. There was such a great passion involved in putting out this album which diminished any obstacles we encountered in the process. Every one of the band members made an outstanding contribution towards the album's creation.

Another two years pass and your second album "Walpurgisnacht" hits the shelves with strong pagan influences. Tell us a few words about that period.

Our second album was recorded in 1995 and released through Unisound

records. Of note, is the incredibly valuable contribution from George-Magus who took the role of sound producer. 

How did the agreement with Unisound records come about since there is a certain notoriety following the label since the early 90s?

The agreement came about through Mimis (Mutilator) who used to work with Unisound at the time. We faced the same problems as all other bands who worked with this particular label.

Albums coming from Greece had to make due with poor promotion and distribution which comes into contrast with other countries at the time. Who's to blame for this you think?

The fact that Greek releases were poorly promoted both locally and abroad is purely because of label mismanagement not the scene as a whole.

Going back through your early discography one can notice that you were already one of the most respected groups of the underground scene. I've even read somewhere that Ihsahn emphatically noted that Varathron were the first to use keyboards way before Emperor even came across the idea. Is this true? What was the overall reception abroad?

The words coming from my friend Ihsahn are, of course, true. The first comments from abroad regarding Varathron's unique sound came from my dear friend DEAD of Mayhem. Specifically, he wrote that Varathron's first demo is one of the most important releases arising out of the black metal firmament. Positive responses and gratitude for Varathron's music begin from 1988 and have lasted uninterrupted to the present day. The total respect for the group comes almost exclusively from abroad who recognise and appreciate authentic bands.

The early 90's are also characterised by the events taking place in Norway: murders, burnt churches and provocative attitude. Varathron seem to eschew the more "fashionable" style of those days and preserve a more authentic low-profile status. Was this done on purpose or is it something to do with your personalities?

Varathron shall always remain faithful to the original dark ideology which gave birth to the band. For us there is no reason to market ourselves through extreme acts since the ultimate arbiter of our reputation is the music itself. This has always been our philosophy.

Your sound is diffuse with a melancholic aura taken out of the tar-black darkness inspired by stories from H.P. Lovecraft and E.A. Poe. There is also a "mediterranean" romanticism which made the band's sound stand out of the conventional aesthetic of the average black metal group without compromising the dark feeling. 

Varathron's musical style came about through our own listenings, our own beliefs, our own thoughts and private nightmares and the uncompromising devotion to the dark side. This is the reason that Varathron stand out of the global black metal scene.

The lyricism of your releases draws influences from paganism, other-worldly rituals, mythology and nightmarish landscapes. What are your primary influences which inspire your work? What is the underlying message which permeates each and every Varathron release?

Influences are drawn from various sources be it philosophy or art. The underlying message of our offerings is respect and worship of the odious dark forces.

We arrive at the 21st century and the first album in 9 years, "Crownsreign". Before that there was the "Lament of Gods" EP. Definitely different by contrast but characteristically Varathron-esque in style and aesthetic. How did the fans approach these releases? How was the reception?

Reception for the "Lament of Gods", released by Pagan Records, was very warm and positive. In 2002, Varathron is officially relocated to Ioannina where two years later we released "Crownsreign" via Black Lotus Recs. Despite difficulties during recording and the young age of the new band members at the time we managed to release a very solid album. Fan-base reaction to Black Lotus' promotion was very satisfying. I guess the only negative of the whole situation was that the label folded a short time after. 

On a personal level how would you compare the Varathron of today with the band of yesteryear circa 1990? Do you reminisce of the good old days?

There are times in my life where I feel nostalgic for the past, those glorious times as I say, mainly because of the brotherly spirit of solidarity which permeated the relationships between groups. Nevertheless I am proud, as I ever was, for the course taken by the band through the years. My love for Varathron remained, and shall remain, unfettered since the first riff we played back in 1988 until the new songs we are now composing for our upcoming album.

Being a veteran of the underground, what do you think are the main ingredients necessary for a band to survive all these years? Is black metal a way of life?

Black metal is indeed a way of life, a worship of the dark lords, an unquenchable passion. The band's survival is owed mainly to its unique identity, its beliefs and the respect towards its fans. These I believe are the main ingredients needed in order to create something precious and truly great.

27 years since your inception and the band looks stronger than ever. You've already put out a bunch of split EPs and 7"s and your new album "Untrodden Corridors of Hades" is now a reality. Even though the band has gone through a myriad permutations you remain the one constant variable through the years. What gives you the strength to fight on?

The strength to continue stems from the thousands of loyal fans from abroad who literally worship Varathron and its legacy. We are currently at our finest period ever and we shall strive forth with further live shows and upcoming releases.

Session XXII: [Of Hate, Smoke and Blasphemy - a salute to the black / death metal underground]

 

In my modest estimation I'd say punk was probably the greatest musical revolution of the modern era. It was they who showed that suddenly the individual could be in the center stage. "Here's a guitar, here's a couple of chords - now go out there and play!" was the basic mantra of the DIY attitude (sans the political baggage) which drove irate teenagers to the guitar shop and spawned countless bands. It's no wonder that two of the main suspects which inspired the black metal style - Motörhead and Venom - commanded high respect from both punk audiences as well as within metal circles. With this attitude in place underground musical units started sprouting up all over the globe with fans cluttering up in damp basements to take part in these unholy rituals. The fan / musician dichotomy became dissolved even further with most belonging to both categories. It wasn't long before Celtic Frost / Hellhammer (who incidentally cite famed crust punksters Discharge as a major influence), Bathory and early Sodom formed the sacred pillars or the aesthetical compass, if you will, to which every band since and henceforth turns to for inspiration. The common thread through the first-wave was unchecked aggression, ostentatiously outrageous attire and a strong tendency towards the Occult (I bet if you were to somehow compute the rate at which the word 'Satan' occurs in either track titles or band names it would register at once every 6-7 words). The prime ingredients however were two: primal energy and a dark atmosphere. These are in effect what decidedly pulled these proto-black metal units away from the technically oriented orbit which death metal ensembles were entering head-first. It's important to mention of course that back then there was no Internet and only limited technological capacities were available to the masses. Hard to imagine since a good portion of us were still swimming in our father's balls but despite these less than favourable conditions there was a definite tangible fervour, a creative geist so to speak, driving the whole scene which meant merely rehashing old formulas wouldn’t cut the mustard. Every band willing to gain respect within this limited yet fanatically devoted fan-base had to carve its own distinctive sound and aura. Rather appropriately in their 1984 demo Triumph of Death, Tom G. Warrior of Hellhammer infamously wrote "If Venom are killing music, Hellhammer are killing Venom". It's exactly this continuous process of negating your past but at the same time creating something new, pushing the envelope - as was the case with the aforementioned demo - which defined these ever-unfolding dynamics  of the extreme metal underground. At the same time, the mail service was absolutely fundamental in sustaining the international underground arteries winding and branching between countries through dubbed chromium tapes, zines, short-lived distros and xerox'd flyers. Within this Darwinian selection process few bands made it past the demo stage either for lack of talent or resources. It was a survival game definitely but not of the strongest necessarily, but the most passionate, the most hungry. Just drop the needle on Sepultura's first LP and you can almost feel the sweat, the heat and the sheer drive to play their instruments with as much conviction as possible. Romantic drivel you might say? Perhaps. But there is a certain something which sets the puppies (who think they're wolves) from the actual wolves. No matter how technical you play, no matter your fine production, your radio play time there is a requisite energy you can't fake. And where did this energy stem from? A force as intangible to describe verbally as it is audially palpable when you actually sit down and listen to these truculent pieces of ungodly noise. Maybe we could put it down to a misplaced spurt of pubescent rebellion, a couple of sexually frustrated teenagers having their kicks until one day they get married, have kids and look back at their exploits with a mixed sense of nostalgia and matured dismissal. Or maybe it's something more than that I'd wager. Maybe it's the sheer excitement of breaking a social barrier even within the confines of art, the licentious all-consuming fervor of committing sacrilege against a moral absolute, or maybe it's just the sudden, exhilarating realization that all this nasty, fucked-up shit sloshing around in your mind can finally have an outlet. Whatever the source, the product is unmistakably recognizable and that's all that matters.

So then, after a lot of frustration and abject deliberation, here we have 11 of my favourite pieces of 100% unadulterated metal straight from the darkest recesses of the underground. More could be added, some could be omitted - to each his own. Some are well known, some others not as much. I deliberately chose the 'black / death' moniker for two reasons. Firstly, because I wanted to avoid the inevitable semantic association stuck in the consciousness of most fans between black metal, snow-covered forests, smoldering church ruins and ill-advised photo-shoots. An association accounted primarily by the disportionate amount of media attention received by the Scandinavians back in the early hay-days of the genre. It's because of this very clear degree of under-exposure that other scenes with their own aesthetics and ways in which they approached the extremity of the first wave were cast to the margins. Secondly, back in those early formative years of the extreme metal underground (mid-to-late 80s) these nominal denotations (death, black, speed, thrash) didn't carry much weight. It wasn't until the early 90s with the advent of bands such as Darkthrone, Master's Hammer and Emperor that the genre decidedly differentiated itself from the offshoot that death metal was following. At the time all the musicians wanted was to set themselves apart from the utterly soulless milieu of the arena bands which pervaded the hard rock/metal scene at the time (upon seeing Michael Jackson featured in the heavy metal charts Cronos of Venom fame once exhorted "We're not heavy metal! We're black metal, thrash metal, power metal, speed metal, death metal - anything but heavy metal!"). So spare me the pigeon-holing - what we're after here is simply some good ol' fashioned filth and ugliness. 

Oh-keey, let's rumble.

- - -

The Singaporean scene has two great names to be proud of: one is Impiety (who infamously denounced the Norwegian scene on a liner note inscribed on their 1994 7"), the other is Abhorer. For those at the time who were already familiar with their 7" (Upheaval of Blasphemy) and of course their 1992 demo (Rumpus of the Undead), their debut album Zygotical Sabbatory Anabapt‏ (Shivadarshana Records, 1996) came as no big surprise. Although ostentatiously more death metal oriented the rhythmical variation here is appropriately confined within high-octane tempos and syncopated passages of measured aggression. Having said that of course there's no denying the Celtic Frost homages that sporadically crop up. It's descriptive ambiguity notwithstanding - a bit too 'bulky' sound-wise for your standard modern black metal fare or even a bit too monolithic compositionally-speaking for your death metal techie - it still remains one of the gems of old-school black / death without a doubt. 

As mentioned earlier there are two fundamental coordinates within which the old-school generally operated: energy and atmosphere. Beherit's Drawning Down the Moon (Spinefarm, 1993) stands steadfastly at the far end of the latter axis almost alone and unimpeachable. Granted, it didn't initiate a movement in terms of aesthetic like the Norwegian or Swedish schools of thought but this only stands testament to the fact that their style on this particular album was largely inimitable. When others of their ilk were hammering away at their drum kits these guys opted for a mid-paced strategy and a noisy, claustrophobic primitivism as supremely evidenced in pieces such as the creepily trudging 'Gates of Nanna' and the ritualistic 'Nocturnal Evil'. There's nothing that has touched this album's jet-black, occult aura since.

As a general rule I only feature releases which I actually own on a physical copy and secondly that it's a first press. I'm afraid that for this particular band I had to make a most painful exception and instead contend myself with this humble little re-release from Madman Records (2005). This alone says quite a bit in itself: it's nigh-impossible to trace these releases in their original format and for those that do they have to pay up a considerable amount in 'kvlt tax' which effectively translates to paying three-digit prices for no more than 10-15 minutes of music. Be that as it may, the music here is quite clearly on a different level of intensity and unrefined pathos that what your average fan is normally accustomed to. Recorded somewhere in the tropical suburbs of Medellin, Colombia, Blasfemia's 1988 demo Guerra Total was part of a wider musical microcosm (along with the legendary Parabellum)  which dubbed itself Metal-Medallo or 'Ultra Metal'. This meant zero-fidelity recording sessions and an absolute fiasco when it comes to instrumental dexterity. But what they lacked in musical talent they more than made up in vigor and soul with their thorough absorbing of Venom-inspired hooliganism and bare-bones thrash metal. I'm willing to bet that if these guys had nothing but a fork and a pair of pliers they'd still be able to muster enough adrenaline to put something out that makes most of your black metal albums sound like castrated kittens. And that takes cojones, big cojones.

I could've went for Pentagram as my Chilean delegates but that would've been too obvious. So instead I did some digging and came up with this delightful little obscurity. Death Yell is one of those names you find intermixed in a long line of band references when a particular musician of that era is asked about his favourite band. It's a name that back in their hey day commanded a lot of respect but faded irrevocably into the charnel vault of extreme metal history. Musically, 1987's Vengeance from Darkness, blurs the line between black, death and thrash metal effectively commingling different influences into one big pile of vertiginous noise set loose in frenetic abandon. As is the case with the South American brand of extreme metal madness there is a very high degree of unrestrained energy which threatens whatever subtle sense of order and cohesion holding the compositions together. Of course this is more than just an exercise in stamina; there are measured passages of dread and gloom which efficiently set up a nice build up to whatever outburst might ensue. A fine signature release of the then burgeoning South American black/death metal scene.

Truth be told, it's quite obvious to any old-school cognoscenti that the then nascent Norwegian scene were relative latecomers compared to their counterparts in South America, Sweden and other parts.  Back in 1987 when the Deathcrush EP was released bands like  Vulcano, Bulldozer and Poison were already stretching their spidery tentacles into the dark reaches of the underground creating waves and setting up their own sound. Mayhem from their part had only just started and their debut EP exploded like a rusty bombshell in those bustling early days employing a primitive, suffocating aura in their sound. Of particular note is that already the unique style of Euronymous' strumming reared its ugly head within the angular, harsh compositions. Aside of that however there is very little audial, as well as member, overlap between the paroxysmic viscerality of 1987's Mayhem and the black metal juggernaut they would become with De Mysteriis Dom Sathanas. Messiah's energetic groove would be henceforth replaced with Hellhammer's machine-like precision and Maniac's appropriately manic delivery would be replaced with the haunting performance of one Attila Csihar. Incidentally, Varg Vikernes  denounced the whole affair as nothing more than "funcore". And of course ol' Vargie is not the only one to trash this particular EP; over the years it has received almost as much criticism as it has praise. But hidden in this ominous cacophony lay that undeniable drive to push the then testosterone-fuelled world of thrash/speed metal to a more tenebrous trajectory into the forbidding corridors of the soul. And with Euronymous' untimely death a part of Mayhem's incipient energy died with him as well.

The underground carries within itself the necessary resources to constantly re-engineer itself so that the essence of yesteryear remains unadulterated and avoids the staleness of time and trite regurgitation. Mortuary Drape from their part rode confidently on the cusps of black metal's second wave and created their own testament to that old occult spirit. Their debut album All the Witches Dance is quite reminiscent of their neighbouring Greek scene in that they utilise the instruments (which are not necessarily limited to the conventional setup) at hand to create atmosphere and mystic aura without necessarily resorting to neck-breaking speeds and impenetrable noisy guitar layers. Necromantia's warm bassy undertones find their most apt advocates on this album in particular. As was the case with the great bands of the era they created a sound uniquely their own out of the tapestry of the first wave mixed with their own temperament. There's also a dispute that arose regarding the album's release since a number of "un-official" re-releases surfaced from time to time on account of the notorious, and now defunct, Unisound Records. Nevertheless, it's a definite black metal tome.

The tar-thick fog of Samael's seminal song Into the Pentagram remains in my ears the calling card of the fervent early days of the second wave. The undeniable spawn of Celtic Frost's limitless inspirational fountainhead, 1988's Medieval Prophecy is the pivotal point at which black metal as a stand-alone genre began to show its teeth to the then unsuspecting underground. And the reason I'm saying this is because up until this release no one really managed to re-style and re-transmute in such a convincing manner what Tom G. Warrior was trying to do on those early forays into the wilderness of extreme metal with Hellhammer. Focusing instead on an oppressive atmosphere and a disquieting sense of ritual and sacrilege, mastermind Vorphalack put forth a most compelling entrance into the scene of the day. And it's this tendency to experiment, create and re-engineer his influences that have led Samael in always presenting us with something different in each album henceforth. With that being said however, for all his artistic evolution, this remains my favourite release of theirs.

There's no denying that I.N.R.I. blew like a gust of lead across the underground scene of the time leaving in its wake the burning embers of whatever innocence there was left. I actually remember listening to signature-song 'Satanas' for the first time a good number of years ago. Although I was well into the more extreme stuff of metal I was immediately struck by the unremitting vitriol oozing with every note after distorted note. That fortuitous happenstance has still remained the yardstick by which I measure the authentic shock-value of any newly found release since. And only a few listening experiences have come close. Sarcófago were the natural next step with fellow countrymates Vulcano being the connective link between them and the early thrash-onslaught of Venom and Sodom. Just about everything about this album reeks of unmitigated extremity - the photos, the bestial vocal delivery, that ungodly cavernous sound. In my estimation this album, along with Bathory's second and third spell, stands as one of the most important (I won't say best because how do you define 'best' anyway?) releases of the 80s black metal scene. By way of trivia the now middle-aged vocalist / guitarist Wagner 'Antichrist' Lamounier  is now a successful academic at one of Brazil's major universities. But of course that didn't prevent him from climbing onstage recently and screaming his lungs out for a rendition of 'Nightmare' with fellow countrymates Mystifier and even doing a stagedive at the end of the show. Cult to the bone.

The Hellenic black metal movement will always hold a special place in black metal history. The signature sound of Storm studios bore its mark on all the landmark albums of the era and gave birth to one of the most original scenes to have come out of the second wave. I could have chosen any one of the unholy triad but I instead opted for the best of all worlds - all star ensemble Thou Art Lord which comprised of bassmeister Magus (Necromantia), riff-machine Necromayhem (Rotting Christ) and veteran underground seadog Gothmog on vocals. Their modus operandi had been made clear from the onset: they're not here to deliver lessons in musical innovation but to pay homage to the great masters of old. Channeling directly from the spirits of the undead past - Sodom, Kreator, Celtic Frost, Venom - and throwing in some good ol' fashioned Hellenic goodness (Necromayhem's trademark melodicism and pinch harmonics abound) they managed to create a bellowing monstrosity set apart from their originating outfits. First piece 'The Era of Satan Rising' along with Rotting Christ's 'Wolfera the Chacal' and Varathron's 'The Tressrising of Nyarlathotep' supremely embody the unique  sound of the Greek scene.

I was driven to this album solely because of the sheer ball-busting from pundits and musicians alike. And I'll be honest in that it took me a while before I actually understood what the fuck they were on about. Be that as it may, there's an unmistakable gravitas on Anno Domini that's for sure. I think the main thing that strikes me is the intriguing approach on how they composed riffs. Although clearly bred on the bog-standard diet of the era these guys found a fresh way to add a certain urgency to the songs. The rapid and sharp guitar phrases and solos being the case in point here are tell-tale signs of well-executed no-holds-barred extremity. However, although the compositions can be chaotic where they need to be there is enough dexterity here to always give off a sense of purpose and vision - they never really lose control. 'Countess Bathory' single-handedly became the Bible on which Swedish black/deathsters Dissection learned to combine bared-teeth aggression with melodious poignancy. And on top of all that they offered one of the most distinct throats to the black metal scene and not only. So my hat, finally, goes off to these Hungarian meisters - better late than never I say.

And finally I couldn't resist. I've heard just about every possible critique and damning epithet hurled at Von's Satanic Blood: 'boring', 'retarded' 'horrible', 'bullshit' - you get the point. And to be honest this forced me to really re-evaluate my initial impressions of the demo and their oeuvre as a whole. And although this did make certain shortcomings of them (very one-dimensional compositionally, minimal variation, zero rhythmical dynamics  etc etc) become quite salient in my eyes, the basic essence remained undiluted. Because at the end of the day the sheer audacity to strip off pretty much everything musically and leave only what is truly necessary is what makes these guys stand out in my book. It's exactly this minimalistic (there, I used it) deconstruction which effectively acted as a sort of experiment to uncover the true source of all this dark and oppressive music which came before them which I find quite fascinating. From this perspective the actual sound becomes secondary to the idea, the spirit, the motivation and that's why this is more of a band's band I reckon as opposed to a fan favourite. Pretty much everybody in the who's who of black metal have something to say about this demo, from Darkthrone to Watain (who, as almost everybody knows, incidentally took their moniker from one of Von's song titles). The cover featured here is from a delightful compilation released by old-school aficionado Yosuke of Nuclear War Now records featuring their infamous (originally recorded!) 1992 demo, another demo which never saw the light of day entitled Blood Angel and a bunch of live tracks. Definitely worth snapping up as the demo is pretty much out of reach now.

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