the best gothrnburg bands

1 In Flames



It was the year 1990, Jesper decided to take leave of the band Ceremonial Oath, that he was currently in, together with Anders Fridén and Anders Iwers (Tiamat)

He wanted to make music in a different direction, and he teamed up with Johan Larsson and Glenn Ljungström to form IN FLAMES. The gang made a demo and shipped it off to Wrong Again records in order to get a record-deal, which they did. The owner of the company enjoyed the music so much that he immediately gave them a deal over the phone, as they rang him up one night. The next day, they sat down and wrote the album Lunar Strain, which was released some time later, and became a big underground success. They had some "in and out members" , and borrowed some from different bands. People that have been a part of IN FLAMES since the beginning, are Mikael Stanne and Anders Jivarp (Dark Tranquillity), Anders Iwers (Tiamat), Henke Forss (Dawn), Daniel Erlandsson (Eucharist, Arch Enemy), and a few more. The band then released a mini-CD called Subterranean, that became the "breaker" for IN FLAMES, in terms of getting out off the underground scene, that is, and led them to get a license deal with German company Nuclear Blast for the next record, and they have been there since then. After some time, the boys were getting tired of constantly borrowing people in order to make a record, or do a decent live show, and they asked Anders Fridén and Björn Gelotte to join the band, on vocals and drums, and they accepted. IN FLAMES were for the first time a band with a real line up.

They recorded and released yet another record . The Jester Race, which became a huge success, worldwide, and the band started to get some fantastic attention all over Europe, and in Japan, where they were licensed to Toy´s Factory. They went on a festival tour together with Samael, Grip inc. And Kreator - this was the first big thing that happened to them, but definitely not the last. Some gigs here and there over the next year, led to both Johan and Glenn feeling that they had to make a choice where their priorities were , and sadly, they choose not be a part of IN FLAMES any more. They both announced, unexpectedly after the recording of Whoracle, that they were leaving, and Björn, Jesper and Anders were left with a finished record and half a band.

Luckily they were good friends with Peter Iwers and Niklas Engelin, who both happened to play bass and guitar, and they filled in at the end of the recordings, to do a mini-tour with Dimmu Borgir. This worked out fine and the two gentlemen were asked to stay in the band permanently, and so they did. Together the group continued onto a successful tour in Europeand an amazing week in Japan, where they did their first two shows. Japan welcomed the Swedes with warm arms, and they had an amazing experience. As they return to Sweden, Niklas leaves the band, due to some different opinions, and the fact that he wanted to focus on Gardenian, his other band. This is the biggest turning point for IN FLAMES, as they decide to switch Björn from drums to guitar, (being a guitar player originally), and recruit Daniel Svensson ( Sacrilige) on Drums. This works out wonderful, and they record COLONY, the biggest success so far.

The Colonization takes them around the world, to Europe, USA and Japan, and this tour is an amazing experience for IN FLAMES, that finally receives the attention they´ve been waiting for. As they play full houses almost everywhere, the party goes on for a few months, and the response is excellent all over the world.

In August of 2000, after a few years of successful touring , the release of Clayman is a fact, after spending 3 months in the studio. This record spins off really well, and the sales are overwhelming and it knocks out the previous record sales in a few months.

After doing festivals with Dream Theater, Slipknot, Testament, Methods of mayhem, etc, a world tour was to expect. In Flames aimed for Japan and Europe, which was squeezed in between 2 American tours. This was the same round as last year, only this time bigger places, more people and more material. In Japan, Jesper received an award from BURRN! As the number 1 songwriter of the year. The tours were a huge success once again. Peter Iwers did not join them on all of these tours as he had a new arrival back home, that he stayed home with instead, a baby girl, but he joined in for the Scandinavian and Japan dates, and was temporarily replaced by Dick Löwgren from Armageddon for the other tours. In the year 2000, approximately 150 shows were performed by In Flames , and then a well deserved vacation was taken by the members. 2001, Peter is back and the band does a few single shows in Sweden, including a headline gig in Gothenburg, which was featured in 4 television channels, and aired live on the radio.

Charts this year were very high, including #4 in Japan, both group and record, # 3 in Canada´s greatest metal mag- Brave words and Bloody Knuckles, # 1 in Metal Maniacs, and # 17 on the official Swedish charts, to name a few.

A video is shot for Only for the Weak, and the band went on a mini tour in Europe, where they played 13 shows in front of 20 000 people, needless to say, it was a huge success.

Next: summer festivals, including Wacken Open Air, Rock Machina to name a few, then the release of a live album : The Tokyo Showdown, in August, before heading over to the US for another tour.

What next? well, another record was made, this time at a new location with a new producer: Dug-Out studios with Daniel Bergstrand. The band wanted to go elsewhere and try on a different studio and producer. Reroute To Remain was produced, and the the result was amazing. More touring, headline spins, support spins were done. Including raveling with the likes of Slipknot, Mudvayne, Soulfly and Slayer, that gave them the possibility to share their music with a different audience! Two headline spins in the US, one in Europe, festivals, including replacing Linkin park at Sweden's biggest festival: Hultsfred.

The day after that show they were offered to do a support slot for Metallica in Madrid, which was a huge success, playing in front of 30.000 people, making it the biggest show so far , that was not a festival.

The making of soundtrack to your escape started in may 2003 when they rented a small house in Denmark to do pre-production. The idea to do this came very natural as they had started working like this on the last record, but this time they wanted to go even further away from Sweden, to prevent any kinds of distractions. The result was 11 songs, and then two more followed as they went into another recording process, although this time they moved all their gear and Daniel Bergstrands studio equipment into a larger house in Denmark to do the recording ina much more relaxed atmosphere. Only the druns where recorded at Dug-Out as the previous record, but the producers were the same: Daniel Bergstrand and Örjan Örnkloo.. which brings us up to date, where a large tour is on it´s way, taking the band once again all over the world, trying to spread the In Flames word around !

Soundtrack to Your Escape increased the band's popularity considerably, selling 100,000 copies in the United States and yielding a #2 single on the Swedish charts with "The Quiet Place". The ensuing world tour saw the band make their first trip to Australia, where they played to mostly sold out crowds. Afterwards, In Flames toured with bands such as Judas Priest, Mötley Crüe, and Motörhead. In Flames also played on the main stage during Ozzfest 2005.

In 2005, In Flames recorded and self-produced their eighth studio album, Come Clarity, in Dug-Out studio. That same year, In Flames released Used and Abused: In Live We Trust, a box set consisting of material filmed and recorded throughout various live performances during 2004. Also in 2005, In Flames decided to sign with an additional record label so future releases could have better distribution in North America. In 2006, Come Clarity was released in North America through Ferret Music and elsewhere through Nuclear Blast. It became the band's first #1 album on the Swedish charts. That same year, In Flames toured with Sepultura, co-headlined a U.S. tour with Lacuna Coil, toured on The Unholy Alliance tour, was one of the headliners on the Sounds of the Underground tour, and played on the main stage at Download Festival.

In Flames finished recording their ninth studio album in October 2007 in their own studio, IF Studios, located in Gothenburg, Sweden; originally Studio Fredman. Alongside the recording sessions, the band released studio diaries documenting the recording process.

In 2007, the band played in Dubai for the annual Dubai Desert Rock Festival. In Flames also played at Bloodstock Open Air festival in August 2007.

In Flames were featured on the Gigantour 3 North American tour with Megadeth, Children of Bodom, Job for a Cowboy, and High on Fire.

On April 4th, 2008, In Flames released their 9th studio album, A Sense of Purpose. The first single from the new album is titled "The Mirror's Truth" which was released in Europe on March 7, 2008.

2 Arch Enemy



With a band name meaning chief attacker, principle opponent, and eminent hostile foe, ARCH ENEMY's blatant philosophy of insurgence is exactly what propels them out of the masses of convention and into the frontline of a movement that dares to defy imposed limitations on musical creativity.

Throughout his career, former Carcass guitarist and ARCH ENEMY founding member Michael Amott has never been concerned with conformity. In 1996, his pursuit to merge melody with aggression and technicality led him to collaborate with brother Christopher Amott, drummer Daniel Erlandsson, and vocalist Johan Liiva. Without even circulating a demo, they teamed up with the celebrated producer Fredrik Nordström and delivered ARCH ENEMY's debut, Black Earth - an album that is still hailed as a milestone in Swedish death metal. Michael Amott and Fredrik Nordström co-produced 1998's Stigmata, which pushed the band to new heights with its technical execution. Welcoming Mercyful Fate bassist Sharlee D'Angelo into the ranks for 1999's Amott/Nordström-produced Burning Bridges, ARCH ENEMY's now undeniable musical pedigree delivered an intricate and devastating album. Despite a North American tour with Nevermore, European tours with In Flames, Children Of Bodom, and Dark Tranquillity, three Japanese tours, performances at The Dynamo Festival, a co-headlining appearance in Santiago, Chile with Hammerfall, and sharing a bill with Cradle Of Filth in London, Michael Amott felt there was still more territory to cover, as all high-achievers are wont to believe.

In a completely unexpected turn of events, Angela Gossow - a completely unknown vocalist from Germany - replaced Johan Liiva in 2001 and delivered a staggering debut performance on the Wages Of Sin album (produced by Fredrik Nordström and mixed by Andy Sneap), marking the first time a band of this caliber and ferocity was fronted by a woman. The reception given to Gossow by the sold-out crowd at her worldwide debut in Los Angeles in March 2002 was nothing short of overwhelming. The album was bathed in unending universal praise from daily newspapers, front cover press in worldwide national magazines with Wages Of Sin proudly claiming stake in end-of-the-year "Best Of..." lists, while the metal underground showcased a faithful display of allegiance to the new line-up. Metal Maniacs hailed the album as a "relentless, eclectic and wholly charged album to keep even those with the shortest musical attention spans entertained." Brave Words & Bloody Knuckles insisted the album "requires a double-take, as Angela's gurgling undertow sticks needles in your eardrums while your eyes can't believe where it's coming from." Metal Edge declared Angela Gossow to be "one of the most promising talents in years." North America's Alternative Press quickly identified ARCH ENEMY as one of the five bands who exemplify "the sound of things to come" in 2002. This claim would soon prove itself prophetic during the band's performances at Japan's Beast Feast, the Milwaukee Metalfest, the New England Metal & Hardcore Festival, a North American tour supporting Nile, their own headlining North American tour, and six sold-out dates in Japan.

Fueled by their success and teaming up with producer English producer extraordinaire Andy Sneap for Anthems Of Rebellion, ARCH ENEMY unveils yet another stratum of their impressive musical depth, the obvious being Gossow's talents of enunciation, which truly rank with the accomplishments of Death's Chuck Schuldiner and Carcass's Jeff Walker. Filled with the trademarked tandem guitar work of the Amott Brothers and the flawless D'Angelo/Erlandsson rhythm section that has earned the band staunch recognition, "Tear Down The Walls/Silent Wars" is the articulation of awakening, a mandate for change; "We Will Rise" is a call to consciousness, a declaration of war against everything mediocre force-fed to us by society; "Leader Of The Rats" is a reminder of the much-needed cynicism that can keep everyday life in perspective; and finally, "Despicable Heroes" is a scathing critique of the hypocrisy of those appointed to leadership who abuse the loyalty of their followers.

3 Dark Tranquillity



Back in the early '90s Sweden's DARK TRANQUILLITY were laying the foundations for a style of metal that they could call their own. Having identified the limitations within the strict and rigid framework of the downtrodden death metal genre, DARK TRANQUILLITY began experimenting with and incorporating advanced melodic patterns and non-linear song structures into their intense, aggressive and accomplished music. Last year's Projector showcased DARK TRANQUILLITY's ability to expand their musical borders and constantly challenge their listeners: That diverse and introspective album brought home euphoric reviews and even got the band nominated in the Hard Rock category in the Swedish Grammy awards. 2000 brings yet another new opus from DT, perhaps even more ripened than its predecessor, the monstrous and challenging Haven.

Formed in 1989, DARK TRANQUILLITY have had a huge influence on the European underground scene, pioneering the now-archetypal style that journalists and fans have dubbed the "Gothenburg sound" (alluding to their native town in Sweden of course). This term is characterized with dueling guitar harmonies and complex song structures combined with an intense aural assault rooted in the '80s thrash tradition, although with a more melodic approach. Within the first several years DT released three full-length recordings and two EPs (the first two on Spinefarm and the next three on Osmose) and became one of the most heralded and talked-about bands in the entire Scandinavian metal movement. Their third full-length The Mind's I and its preceding EP Enter Suicidal Angels displayed the expected DARK TRANQUILLITY trademarks and characteristics, however the songs began to get shorter and more compressed, focusing on energy and vitality while still retaining the accurate sense of melody that have graced the band's past material. In early 1999 the band signed a deal with Century Media Records, who released the band's 1999 album Projector to the entire world. Projector was the band's most dynamic work to date, seething with technical power while representing more progression for the group in terms of creative maturity and approach. Mikael Stanne's voice was more effective and identifying than ever, while the playing of guitarists Niklas Sundin (who actually writes lyrics for fellow Swedes In Flames) and Fredrik Johansson amazed even the most selective of metal fan. The core elements of DARK TRANQUILLITY (who are rounded out with bassist Martin Henriksson and drummer Anders Jivarp) were very present, while newer influences and approaches were also integrated, resulting in an album that was as modern as it was impacting, and as aspiring as it was identifiable. Their European tour with In Flames, Children Of Bodom and label mates Arch Enemy did not only fulfill the dreams of every true Gothenburg-sound disciple, but turned out to be a triumphant advance for lovers of intelligent, extreme music that dares to embrace melody. Soon it was followed by two successful shows in the land of the rising sun with Soilwork, filling the overflow of Japanese crowds with rabid enthusiasm.

Spurred by their numerous, fresh impressions from the road, DARK TRANQUILLITY felt the need to explore some new musical territories (being adventurous as always) with Haven, but on the other hand also go back to some of their harsher roots. The songs are solid and immediate, and the more laid-back sonics of Projector are replaced by an expressive and more direct approach. Tracks like "Fabric" and "Emptier Still" show a modern, contemporary side of the band, while the likes of "Feast Of Burden" is without any doubt classic DARK TRANQUILLITY material. Haven is the first recording featuring new members Martin Brandstrom and Michael Nicklasson, further adding to their revitalized spirit and ongoing innovation that flows throughout this album, and which surely ranks as another very special and precious piece of metallic art. DARK TRANQUILLITY are metal virtuosity, and their songs couldn't be any more injecting and refreshing as they are now.

the best death bands

1 amon amarth




Deeply rooted in death metal with firm beliefs in Viking mythology, AMON AMARTH formed in 1992 in Tumba, Sweden, a southern suburb of Stockholm. They began writing material with lots of melodies, harmonies and lyrics about Vikings and the northern gods. In summer 1993 they entered Lagret Studio to record the never released demo "Thor Arise". The band continued to rehearse and writing stronger material and again entered the studio. The result was the second demo "The Arrival Of The Fimbul Winter". This time the band was much more satisfied with the sound and songs and launched it to an unsuspecting underground. The response was overwhelming, quickly selling out of the first pressing and secured them a one off deal with Singapore's Pulverised Records.

This time they decided to use Abyss Studio, owned by Peter Tägtgren of Hypocrisy, and during five days in November 1995 the MCD "Sorrow Throughout The Nine Worlds" was recorded. The five track recording contained three new songs plus two re-recorded tracks from the band's second demo. The MCD was released in April 1996 and continued the band's build to world dominance. June 1996 saw the exiting of drummer Nico who was quickly replaced with Martin Lopez. During this time labels began to show interest and after much consideration the band chose to sign with Metal Blade. In March 1997 AMON AMARTH entered again Abyss Studios to record their Metal Blade debut "Once Sent From The Golden Hall" with Peter Tägtgren. The result proved that they were destined to become force of fury in the Swedish Death Metal scene and beyond.

After the recording of "Once sent...", guitarist Anders Hansson quit just a month before their first major tour with Deicide, Six Feet Under and Brutal Truth in June 98. They quickly recruited Johan Söderberg to make the line-up complete. The line-up was now solidified. "The Avenger" was recorded at Abyss Studios Sweden February to March 1999. Produced by the band, the seven track album is a lesson in pure Viking aggression and brutality blurring the line between death and black metal. The tour following this release was the X-mas massacre festivals, headlined by Morbid Angel.

In November 2000 the band entered The Abyss Studio for, as it would turn out, the last time. This time they recorded the album "The Crusher" (released in 2001). Living up to it's name, "The Crusher", the album is the most brutal album the band has produced so far. This release gave Amon Amarth the opportunity to tour a lot more than before and right after the recording they went on their first headlining tour through Denmark and Germany with Purgatory and Seirim. That tour ended up with great succes and they also managed to be the first metal band entering the German stages for the century. 00.05, 01 of January in 2001 in Guben. Then they went on the No Mercy Festivals 2001 with bands like Marduk and Vader. In the fall of 2001, AMON AMARTH was supposed to support Marduk on their American tour, but due to the events of September 11th, that tour was postponed until January 2002, and if that wasn't enough, Marduk couldn't make it over to the states. So AMON AMARTH got to headline their very first US tour, supported by Diabolic from Tampa, FL. The tour was a huge success, but unfortunately the tour agency decided to cut the tour short with one week. Returning to Europe, AMON AMARTH was offered the possibility to headline their own full European tour, and in April 2002 they went on the road together with Swedish "gore-masters" Vomitory. During the tour the band kept writing new material for an upcoming album.

August 2002 started with the bands second appearance at Wacken Open Air. Approximately 12 000 people saw the show, and the response was overwhelming. Almost going straight from Wacken to the Studio, AMON AMARTH began recording their new album "Versus the World" on August 7th. This time, however, the band had to use a new studio, since Peter no longer produces or records any bands, except his own, in his studio. The choice fell on Berno Studio in Malmö, and it turned out to be a great choice. Berno Studio has a great reputation in the scene and AMON AMARTH found it to be very easy to work with both Berno (owner, engineer) and Henrik (engineer). Recording in a new studio gave new dimensions to the bands sound. During the recording, the band managed to squeeze in a trip to Germany and the Summer Breeze festival, where they made a successful appearance.

AMON AMARTH toured incessantly to promote this album (3 American and 2 European tours, no less), the press woke up to their qualities, and legions of followers put the band on one level with those acts who had dominated the scene for years on end. This set the stage for "Fate Of Norns", AMON AMARTH's breakthrough album and highest charting release to date. Once again recorded at Berno Studios, "Fate Of Norns" saw the band touring Europe and America to ecstatic response from their fans, as well as conquering several new territories, such as Iceland, Mexico, Ireland, Poland, Croatia, and Norway. One of the highlights of the "Fate" touring cycle was undoubtedly when over 30,000 rabid fans gathered in front of the stage at 2AM to celebrate their heroes at Wacken Open Air 2004.

As a tribute to their loyal following, the band released a 3 DVD set entitled "Wrath Of The Norsemen", comprised of five full shows, in May 2005. With no less than six weeks in the German Music DVD Charts as we speak, the momentum gathered by the band by now is one that marketing strategists and industry people would kill to be able to reproduce. Talent, perseverance, and hard work do pay off after all. Which brings us to "With Oden On Our Side"…

In January 2006, the band started writing the follow-up to "Fate Of Norns". Being able for the first time to concentrate 100% on the music, the sessions proved fruitful, as guitarist Olavi Mikkonen confirms: "We nailed down all ideas we had from the past year and we rehearsed 5 days a week, 9 to 5. At the end of the month we had finished a 5 song demo." After a two-month break, the band returned to write the rest of the material: "We started up where we had left off and began working on all new ideas we had. Again 5 days a week, 9 to 5. This time around we had 4 new songs and the album was written. We had never written an album under these intense circumstances, but we found out that this was totally right for us." The new masterpiece "With Oden On Our Side" was born.

2 death




Exactly what does it take to be a pioneer? For some, it can simply be the result of releasing one, maybe two, influential records, never to be heard from again. For others, however, it is an ongoing endeavor which continues long after the initial wound is made on life's jugular. Guitarist/vocalist/songwriter, Chuck Schuldiner, first set the heavy metal underground aflame in the early 80's with his seminal metal outfit, Death, a band that has achieved unparalleled status as one of the genre's most respected and influential acts. Despite the early acclaim and attention, Chuck had no interest in resting on his laurels and the musical prowess and originality he had already become known for were pushed further and further, consistently remaining ahead of the times. And now, in 1998, having seen fourteen years and six albums of setting new standards for metal, Schuldiner has proven yet again with no room for debate, that his reputation as a pioneer is no fluke.

Death's history dates back to 1983 when Chuck formed Mantas together with a couple of high school friends and started gaining much notoriety within the underground tape trading circuit. Soon after the band's name was changed to Death and several more self-released tapes followed. It was the blistering 3-track Mutilation demo that drew Combat Records' attention and Death was subsequently inked to the label. The debut album, Scream Bloody Gore, surfaced in '87 and has since then become a metal classic. Even now it is impossible to get through a live Death performance without hearing the crowd chant for incredible songs like "Zombie Ritual". The following year saw the release of their second album, Leprosy. Though certainly not lacking ferocity in any manner, Leprosy contained material which was much bolder and musically adventurous, foreshadowing progression to come. Over the course of the band's next four albums (Spiritual Healing - 1990, Human - 1991, Individual Thought Patterns - 1993 and Symbolic - 1995, through Roadrunner), the musical and lyrical boundaries continued to expand while the gap between brutality, progression and tradition started to close. It was at this time, primarily around Human, that Schuldiner had truly captured Death's essence and distinctive style; a style that major publications like Guitar World (ranked amongst the top 100 most important guitarists in rock), Bass Player and Modern Drummer have stood up to recognize. Death's rabid fan base is in no way confined to The United States, though. Their headlining tours have dominated world-wide for many years now, touching upon mainland Europe, Japan, South America, etc...

After the release of Symbolic, for the first time in Chuck's adult life he was free of any/all contractual obligations with record labels. It was truly a new beginning; a time for decisions to be made and doors to be opened. At that time a bold choice was made to write music for another metal project Chuck had wanted to pursue appropriately named Control Denied. The musical direction in C.D. was even more melodic than Death and most notably, Chuck was not the vocalist. Instead a more traditional style (ala Iron Maiden, Queensryche, Nevermore) was incorporated. After an album's worth of material was laid to tape Chuck surprised the metal masses again by announcing that he was putting C.D. on hold so he could complete a new Death album, which he had started working on right around the time Symbolic was released. Schuldiner explains, "Timing is everything when it comes to music. I was feeling music bubbling to the surface that was unmistakably Death and the fans have always been so supportive of what I have done, it just felt right. It was time to seek out a new recording contract for the band. I haven't given Control Denied up and I plan to release material in the future, but only after everything with the new Death album is done."

Having always been about high standards, both musically and professionally, for the new album, The Sound Of Perseverance, Chuck sought out the best, feeling and knowing that this is to be the most important release in his 14 year career. Shannon Hamm and Scott Clendenin (both from Control Denied) were recruited first and soon after Richard Christy (dubbed at Holland's Dynamo Festival by many as "the most amazing drummer to come along in the last decade") was added to complete the strongest Death line-up to date. A demo was recorded in Chuck's home studio and solicited to labels worldwide before a logical choice was made to sign with Nuclear Blast Records.

3 Immortal




1990: Founded by Abbath (bass and vocals) and Demonaz (guitar). Earlier the band went under the name "Amputation". The brilliant concept of this band was all based upon Blashyrkh, the name of all the sacred places Demonaz and Abbath found when walking in the wilderness surrounding their homes in Os. Blashyrkh is a fictional realm of demons, grim nature and northern blizzards. The line-up also contained two other members as well: Armagedda (drums) and Jørn (guitar). Musically and visually inspiration sources were bands such as: Bathory, Celtic Frost and Venom.

1991: Their first demo "Suffocate" was released early '91 and later that year followed up by their second effort, "The Northern Upins Death". A short time after this release Jørn got kicked out. Later the band was approached by the French label "Listenable Records" as they were impressed by their latest demo. They got the opportunity to do a 7" single and started to create songs like "Unholy Forces of Evil" and "Cold Winds of Funeral Frost" which later would appear on their debut album as the song "Cold Winds of Funeral Dust". The 7" was recorded and released during the winter 91-92. They also had some very special photo sessions that winter.

1992: Another label that early shown interest for Immortal was Osmose Productions, also French. Immortal signed a two record deal with them and headed for Grieghallen Studios in Bergen to record their first full length. Originally it was going to be called "Battles in the North" but they changed it to "Diabolical Fullmoon Mysticism" as that fitted the music better. DFM is a very atmospheric album with several acoustic guitar parts. You can definitely hear the Bathory influence. All in all DFM mad a foundation for Immortal. Later this year Armagedda was asked to leave. He was a skilful drummer, but he didn't follow them mentally. His replacement was this guy named Kolgrim. He was a big failure as a drummer in the band and was fired after 6 months due to laziness.

1993: As they didn't have any drummer at the time Abbath did the skin beating himself on their second album "Pure Holocaust". During the mixing a new drummer, Erik came in to the band. He participated on the cover photo but he didn't play on the album. After the release Immortal got a lot of attention for their controversial choice of title and the fact that they claimed to play "holocaust metal" (their own style) and not black metal. This holocaust thing does of course not have anything to do with Nazism and today they have totally abandoned that term and prefer no label at all. However this was not the only reason they got much attention, because their new album was a true masterpiece of black metal or "holocaust metal".

1994: September: New material was written and again Immortal went for Grieghallen Studios and again Abbath had to take care of the drums. Their former drummer, Erik was fired one month earlier because Abbath and Demonaz wanted to move on, and Erik didn't have the right mentality or skills in order to follow them. Anyway, the album was recorded with Abbath behind the drum kit. The title was "Battles in the North".

1995: Great Immortal year. Their popularity grew and grew and after the release of "Battles in the North" they went on their first big European tour as a special guest with Morbid Angel. Hellhammer from Mayhem agreed to join in as a session drummer for Immortal on this tour. He also played on "Masters Of Nebulah Frost", the first official video of Immortal. The two songs on the video was "Grim and Frostbitten Kingdoms" and "Blashyrkh (mighty ravendark)". The last-mentioned was actually recorded in the free nature on one of the seven mountains surrounding Bergen! It's not a very professional video, but it's very cool.

1996: For six years Immortal had problems finding a suitable drummer, but at spring time '96 Horgh took contact with Abbath and Demonaz. Horgh was known to be a talented drummer, so they arranged a meeting with him. After seeing Horgh in action, both Abbath and Demonaz knew he was the right drummer for Immortal. It took them six years to find him. Three months later Immortal entered Sigma Studios to record the next full length. Now as a full band. The reason for the studio switch was that they wanted to work on the sound, the band wanted to bring forward Demonaz' Leads. Sigma has also better equipment and circumstances for recordings.

1997: In February "Blizzard Beasts" was released. It turned out to be a quite different album compared to the previous ones. Later this year Demonaz got problems with his arms. He couldn't even wash his hair. This was the worst thing that could happen to Immortal as they were just that ready for a tour. They waited, waited and waited even more. Nothing happened. After a few months they got a message from Osmose who said that they had to do a tour now. They sat down and discussed the matter with Demonaz and unfortunately he had to give up. Abbath took over the guitar playing. There're of course many skilled guitarists around, but then there was that matter of style. It was easier for Abbath to switch to the guitars.

1998: Now they were back in business, with Ares from Aeternus as session bass player. They finally went touring again and Demonaz did all the management, like selling stuff and made sure they got their money, while the band could focus on the artistic side of Immortal. Ares was asked to become a full time member of Immortal, but chose to concentrate on his main band Aeternus. In November their new album "At the Heart of Winter" was recorded, this time in Peter Tägtgren's Abyss Studios. Actually Peter contacted Osmose and said he really wanted to produce Immortal's next album and that was ok to both Immortal and Osmose. In addition to this the song "To Walk The Infernal Fields" was recorded for a Darkthrone tribute album on Moonfog Productions.

1999: "At the Heart of Winter" is released in march and it marks the start of a new era for Immortal. Many things have changed: The music to a certain point, the way the music is created, new logo and this time they used fantasy art on the front cover instead of the traditional band photo. But in all these changes they still have stayed faithful to their roots. Before they went touring Iscariah came in filling the vacant bass spot. Immortal is a productive and new songs were already written in October when they again went to Abyss Studios to start the recording of their next opus, entitled "Damned in Black". They finished the drums, bass and guitar, only leaving vocals and guitar solos for recording...

2000: ...in February. "Damned in Black" is a more brutal album than the previous and they have this time taken their style to an even higher and more out breaking level than their predecessors. This was Immortal's last album on their contract with Osmose. After a 9-year cooperation, the band signed a worldwide one album record deal with the Germans from Nuclear Blast. Immortal also celebrated their 10th anniversary this year. A special box with a live cd, photos never published before and many other rare things were supposed to be released, but I haven't seen it yet, so it's most probably canceled.

2001: Immortal was Alarm-nominated for their last album "Damned in Black". They was nominated in the class "best metal album 2000" and they won! A tribute to Mayhem was released this year by Avantgarde and Immortal participated with the song "From the Dark Past". In September they recorded "Sons of Northern Darkness" and the collaboration with Peter Tägtgren is great as he is really into Immortal's music now. The sound is greater than ever, especially the guitar sound.

the best gothic bands

1 Nightwish



Nightwish started as an acoustic project by Tuomas Holopainen of Nattvindens Grat, who wanted to do something different from what he had been playing before. So he came up with three songs just for keyboards, acoustic guitar and female vocals. Acoustic guitars were performed by his friend Emppu, who came up with the idea of using their friend Tarja, a student from Sibelius Academy, on vocals. The result was something they all had hoped for: Tarja's voice fit the music perfectly.

The self-titled demo was recorded during Dec.96 and Jan.97 at Kitee Huvikeskus Studio by their friend Tero Kinnunen. The tape, however, did not end up being distributed; it was only sent to some labels and magazines, which all gave the tape relatively good credit but the labels thought music was too narrow, and did not have enough variety. However, this first tape never reached the ears of Spinefarm.

In Apr.97 the band entered the same studio again to record seven new songs they had written, now including also electric guitars and drums. The line-up was still the same: Tarja handling the vocals, Emppu acoustic and electric guitars and bass, Tuomas the synths and some vocals. Drums and percussions were performed by their friend Jukka, the latest addition to their line-up.

After the recording they received offers from two labels and Spinefarm's proposal was accepted. Nightwish debut album Angels Fall First (SPI 47 CD) was released in Finland in October 1997 and for the rest of Europe in March 1998.

Angels Fall First featured 12 songs of atmospheric metalrock with incredible female vocals, a good load of gothic influences and with a great sound, with total running time of nearly 52 minutes.

The second album Oceanborn was released in December 7th. It went up to fifth place on the Finnish official album chart (and stayed on charts over 30 weeks!). Singles from Oceanborn, Sacrament of Wilderness and Walking in the air also ruled the charts. Actually Nightwish had three (3) singles at the top 10 at the time - also their first single The Carpenter returned to the single chart. Beat that!

After Oceanborn Nightwish started to do some serious touring around Finland. Even though they had done just couple of gigs before it was clear from the very beginning of tour that Night wish would take their audience just like that. Almost every venue and festival was packed with opera metal maniacs. Now it was time to go abroad. Autumn 1999 Nightwish toured European venues with German progressive metal gods Rage. Again, the feedback just excellent. No wonder since the German release Sleeping Sun EP had sold over 15000 copies in one month.

In early 2000 the band entered studio again for the recordings of our third album. A welcome interruption to the repetitive studio work became when we took part in the Finnish qualification of the Eurovision Song Contest with the song Sleepwalker. Nightwish cleared the first round of the qualification but the final position was second despite an overwhelming win in the public televoting.

The newest album, Wishmaster, was released in May and it immediately was number one on the Finnish charts, kept the position for three weeks, and finally went gold just like its predecessor Oceanborn and all the singles released so far!

The idea of making a live Nightwish-recording took shape during the autumn of 2000, and that idea was made into reality on New Years Eve 2000-2001, when Nightwish played a gig at club Pakkahuone in Tampere, Finland. The gig was filmed and recorded, and that material was then made into a DVD and VHS. The Finnish fans also got an extra treat: a limited edition full-length Live CD for Finland only. All of these formats were released under the name "From Wishes to Eternity - Live", and every format proved to be a huge seller.

To relieve the pain the fans were feeling while waiting for Nightwish's next full-length CD, the band decided to release a Mini-CD called "Over the Hills And Far Away". The CD included a cover version of the title song, originally performed by Gary Moore, a re-make of "Angels Fall First"'s "Astral Romance" and two new songs. On the other hand to relieve the misery of the European fans who didn't get a live CD, Drakkar's version of "Over the Hills And Far Away" included a few of the Finnish Live CD's songs as a bonus.

After "Over the Hills and Far Away", some changes had to be made in the band line-up because there had been tensions. Holopainen even quitted the band for 2 weeks, but then realised it was a mistake and rejoined. Sami Vänskä was excluded from the band, and Marco Hietala was included.

Their 4th full-length CD came out in May 2002. It sold platinum in Finland and reached high chart positions in many countries. This album was followed by "Century Child World Tour 2002". Nightwish toured South America for the first time, and almost every concert there was sold out. After the tour they took a break.

In 2003, Nightwish received a double-platinum award for Century Child and gave around 20 concerts, only 1 of them to the Finnish audience. In 2003, the material for the End of Innocence DVD was put together and released in October.

The year 2004 was eagerly expected by both the fans and the band. The band released their first single "Nemo", which rapidly became a hit. This song earned Nightwish many new fans. Also a video was made for Nemo.
The 5th full-length studio album "Once" was released in May 2004. The album sold gold in Finland on the day of its release, as did the single "Nemo". Nightwish started a world tour of 130 concerts, which lasted until the end of 2005. This tour was the biggest in the history of Nightwish so far.
The second single from Once, "Wish I had an Angel", was released in Autumn 2004. The single gained great success and boosted the sales of the Once album. In august 2004, Nightwish finally made it to the USA.

In the beginning of 2005 Nightwish received many major Finnish awards.
In July, the 3rd single, a new version of "Sleeping Sun" was released to promote the forthcoming best-of album "Highest Hopes". The "Highest Hopes" collection has sold double platinum in Finland and gold in Norway by the end of the year 2005. Also a new video for Sleeping Sun was made, in which the band acts! During all this, the band was still touring. . During the Autumn 2005, Nightwish played several shows and performed in the legendary Hammersmith Apollo Venue for sold out seats. After a short festival tour in South America (in October), the Once World Tour was coming to an end. The final concert was played on 21 October for 11,500 people in Hartwall-Arena in Helsinki. The concert was also recorded to be released as an End of an Era live DVD.
By the end of 2005, "Once" has sold approx. 1,000 000 copies worldwide as well, it has sold triple platinum in Finland, platinum in Germany, and gold in Sweden, Norway, Switzerland, Greece, and Austria.

After the last concert, Nightwish fired their frontwoman Tarja Turunen and her manager-husband Marcelo Cabuli. The reason for this was because during the Once Tour their attitude and actions had turned out to be against almost all that Nightwish represents. As one may guess, the news of the firing was followed by an incredible sensation and hullabaloo which didn't really stop until late summer in 2006 (more and more scandals within the bands relationships with Tarja Turunen were revealed, which caused the fuss to last that long).

In 2006-2007, the band recorded their sixth full-length studio album, Dark Passion Play.

On Thursday 24 May 2006, the 35-year-old Alyson Avenue lead singer Anette Olzon from Katrineholm, Sweden was announced to replace Turunen.

Dark Passion Play was released around Europe in the last week of September, 2007, in the UK on October 1st, and the United States on October 2nd.

Several magazines, including Kerrang! have noted how the departure of Tarja Turunen seems to have released the band from their shell and how restraint has been left to other bands. The use of some 175 additional musicians for the orchestral and solo parts of the album has resulted in the band now being described as "epic metal" by many people - especially in 14 minute album opener "The Poet and The Pendulum". The album was awarded 5/5 (classic) by Kerrang! magazine.

2 Katatonia



Katatonia have been together for an incredible 13 years. In that time they have recorded six full-length studio albums plus a vast array of mini- CD's & singles. Using the metal genre as an early template Katatonia have never been a band to stand still or stagnate in any way. As Jim Martin - esteemed scribe with Brit music mag Terrorizer so eloquently asserted: "Katatonia, as with so many truly special bands are all contradictions, still ostensibly a metal band, but purveyors of an understated kind of grandeur that has long outgrown all or any generic restrictions". This short succinct statement says more about the enigmatic Swedes than a 1000 word effort ever could.

The music of Katatonia is never easy to rationalize. How does one describe something so equivocal? Well they are undoubtedly heavy. This heaviness does not come from an obvious place. Their heaviness is more from the structure of the songs & the arduous but reassuring vocal. Think of the darkness generated by the likes of Nick Drake, Will Oldham or PJ Harvey. Katatonia sound nothing like these artists but they do share a similar vision, an effortless flow & simple but personal lyrics.

Very much a live band Katatonia have played Europe many times, hitting the road most recently in 2002, with long time friends Opeth. Their festival appearances range from Sweden's 2000 Decibel Fest to The Milwaukee Metal Fest in the USA.

Viva Emptiness is Katatonia's sixth full-length album & was produced by Nyström & Renkse. The album was recorded @ Soundtrade Studios (part of the 301 group) in their hometown of Stockholm in October/November 2002. Mixed by Jens Bogren with Nyström & Renkse at Studio Kuling A, Örebro, December 2002, with additional editing by Dan Swanö at The Room, Örebro.

To support the album the band will embark on an extensive tour of Europe that kicks off in Finland on 2nd April & takes in Denmark, Germany, Poland (show to be recorded), Hungary, Switzerland, France, Italy, Spain, Portugal, UK, Norway & Sweden.

The support for the Finnish dates will be Lullacry + Pornorphans. To Die For & Daylight Dies will join Katatonia for the rest of the tour.

The artwork for the album was designed by Travis Smith, (famed for his work with Opeth, Devin Townsend, Death, King Diamond & Bloodbath among others), with direction from Katatonia.

5 Moonspell



Throughout all the years of Moonspell existence I've been responsible by issuing and composing up to date Moonspell biographies maybe because I was the most familiar with writing or because I have been in ALL the moments of Moonspell story, whatever... and throughout the years I've done several biographies according to the ideological and musical oscillations and evolution's we have experienced as a band and as individuals. So I started off with very "eloquent", "poetic" biographies, totally non informative but that value for the over the top language and epicism of a really simple story. Naturally these "novels" were totally useless for labels and promoters and I had to step to more formal biographies. I have even done a middle term one between information and delirium to magazines and fanzines that could use both sides of Moonspell biographies. So I ended up with dozens of different biographies each for its use but I was only being bureaucratic about it so I dropped the case and let Century Media do the dirty doings. But I offered my services to our Internet page so, after the biography of my biographies, I should just put into life Moonspell's current biography that I really do not know how it will turn out. So I hope you get informed about the band since this all virtual hype is information anyway but let me warn you I am not capable of doing a formal biography. But let us cut this talk before gets as boring as it got paternal so ... The band real beginning was back in mid-1989 when myself, Ares and two other guys ,whose names are irrelevant for our history, formed a band called MORBID GOD. This was already a culmination of a long process of talking about doing a band, drawing logos, writing lyrics, designing and conceiving layouts and above all dreaming about the privilege of doing music. The closest thing to a band we had besides Morbid God was a project called ARCHANGEL (which I still think is a very good name for a band, so if you are looking for one...) where I was supposed to play drums and Ares was supposed to sing. Anyway as we realised it would be difficult and dull to have two bands with the same guys on different functions, we decide to concentrate on Morbid God as something more serious and left behind prolific names and ideas that bring a red colour to our faces when we mention them occasionally.

Well after a lot of hardwork to get instruments, essential gear and a rehearsal place that would replace the purely theoretical meetings on weekends in our former guitarist place we found a place owned by the City hall of our little urban village (Brandoa-where we still live by the way) and started working. I don't want to remember the very first rehearsals when nothing palpable or not was ever composed and jump to the very first track we have ever done called "The Fever". We rehearsed it a lot of times in candlelight, had it recorded on a 12 track mixer by Mantus who would join a little after in late 1990 I suppose, listened to it and finally decided it was not good enough to go in a professional studio. We started to be auto-critical since the beginning and until now we only profited from that and also of the fact we always knew how to wait, never rush anything but work hard to establish our projects on a real basis.

Army came for both our drummer and guitarist and the result was a small catastrophe since we were frozen in our very start. We haven't done anything for almost a year, our guitarist was kicked out in the meanwhile, and Mantus came and we could compose something worthy of a studiowork and that would came in the shape of "Serpent Angel" our very first release ever. We were also invited to be featured on a double compilation LP with the best Portuguese metal bands by an independent label MTM so we felt it was righ time to risk and to go and record our music. Careful as we were we rehearsed like lunatics, pre produced it on a small studio (where we played 13 times the track and where I had the reverb on full for my vocals) and finally went to a 24 track studio and issued it as a promo track, featured it on the record and spread it ourselves throughout all the underground scene we knew for more than 5 years now. It was August 1992, and the track was recorded on the 22nd.

We collected great reviews, small labels were offering deals for EP's and occasionally full lengths but we decided to wait, record a demo, do some necessary changes on the concept of the band and go for serious with it . So we started off by kicking our original drummer, got ourselves a new guitarist, Mike known as Nisroth joined the band right in October 1992, and we changed our name to MOONSPELL which we felt was like a true beginning for us. We continued on rehearsing, with better spirit and better people now and composed some tracks, three of each we recorded again on the same studio and that were featured in the one and only Moonspell demo "Anno Satanae" recorded in January 1993 and issued one month after. The tracks were "Goat on Fire", "Ancient Winter Goddess" and "Wolves from the Fog". This demo was regarded as a classic by the underground scene and brought us two self financed editions, one polish edition (still available) and one single with two tracks (still available). The reaction was so good that Adipocere from France offered us the best deal for a mini CD that we would record one year after on January 1994 and that was our true debut on a record sphere.

Naturally we lost a guitarist on the process, welcomed Tanngrisnir ex-Decayed (which coasted us the friendship with that band, which we cared for a start but could not care less nowadays) and got ourselves a keyboard player of our own Pedro Paixão alias Passionis or Neophytus. Both brought new things to the band and we composed one of the most ambitious and surprising records of 1994 on the underground scene: "Under the Moonspell" which combined our interests in southern culture, occultism and eroticism with a spawn of wide music influenced by our everlasting sources Bathory and Celtic Frost and by bands such as Dead can Dance and Arabian and Portuguese traditional music. This mini album that contained both Tenebrarums and Opus Diabolicum brought us the very first real fan and press attention and it had the undeniable value of getting us a deal with our current label Century media.

In the meanwhile we started playing live. Before 1994 we had played once with Decayed supporting on November 1993. We did few shows in the South of Portugal, in Lisbon and Oporto and had our live breakthrough supporting Cradle of Filth in Lisbon and Cannibal Corpse/Samael and Anathema in Lisbon as well.

Signing to Century Media was a dream come true. We rehearsed a lot in order to do the best we could and tried to experiment a lot of different stuff in our mosaic of influences going on for a darker sound, stronger songs and erotic, deadly lyrics. "Wolfheart" came into life so we travelled to Germany to work with Waldemar Sorychta whose productions we loved and became in a short period of time the second dream coming true. When "Wolfheart" came out nobody believed so much on it except for ourselves and the following months besides some successful gigs in Portugal were pretty low to get the album going. We needed an European tour and it made its appearance on the form of supporting Morbid Angel on the Domination 1995 tour. Before that we played a small headline tour in England with only 3 dates and had the chance to know better the foreign audience.

The Morbid Angel tour was simultaneously one of the best things that happened to Moonspell but one of the hardest experiences on our lives. First in the gap between the release of Wolf and the start of the tour we lost both guitarists each one for different reasons and we recruited Ricardo from a Portuguese band P.Waltz (that was not happy with the idea at all and had no prejudice of showing it through childish interviews that only amused us on boring tourdays) and went for seven weeks on a van, playing, driving, cooking, selling merchandise, whatever we had to. We played for the first time in Germany, Italy, Austria, France, Spain, etc. and had a fantastic reaction in spite of the poor conditions we had sometimes as a support act but we got on until the end and Wolfheart sales triplified with the release of the digipack and we overcomed Morbid Angel on selling's for instance. People discovered "Alma Mater", "Vampiria" and other titles and we sold around 50.000 copies of an album nobody believed in.

With an eye put on the European scene we were welcomed very well on the two gigs we did in Portugal before going again on tour in November with Tiamat in Germany which helped us to build our following there. Shortly afterwards we travelled to Poland and Czech Rep. to play the biggest festivals in our career back then with bands like Kreator and Testament and attendance's in the order of the 7000 people. We had enthusiastic reactions and became between 1995 and 1996 one of the most popular heavy metal bands in Poland with continuos tv broadcast.etc.

We started then preparing our second album and went back to Germany to participate on the Out of the Dark festivals I with Crematory, The Gathering and Secret Discovery. This tour was an overwhelming success and allowed us to present some new tracks to the audience and to break some t-shirts sales records! It was a very positive experience that ended on a Monday seven a.m. in Dortmund (Germany) the date we entered directly on studio two hours after to start working on our new album. Waldemar was behind the desk again but he had now a more mature band on his hands that knew exactly what they wanted. The result was our best so far in the shape of Irreligious a different album from Wolfheart of course and that turned into something we always wanted to do, regardless of the many critics we had because we changed. We accept them gladly, we wanted to change! On with the biography, I am sorry, we stopped a little bit the recordings to come to Portugal and play a gig with Mão Morta, and then finish the recordings of the album on mid May.

In the meanwhile we played on the Super Bock, Super Rock for the disgust of the promoter, and after recording our first video clip "opium" locate in the old and narrow streets of Lisbon we released the album first in Portugal on the best gig of our lives (and hopefully many of you out there) that took place on an old convenant (Convento do Beato) on the 12 of July 1996. We had promised something memorable to our fans and I hope that the almost 3000 people that came to see us have found a place for this memory in the deep of their wolfhearts. It was the first time we worked with our full tour production in Portugal and the result was beyond imagination. VIVA from Germany did a great special about Moonspell and everyone was astonished with the crowd reaction and the chemistry between Moonspell and them. So thank you all!

The album sold around 10000 units now in Portugal which is making history for this kind of outcast music and culture in our territory. Later followed the European release in Dortmund in the font of 1000 people in a fairly warm gig but an efficient one since the album broke into the German Top 50 and stayed there for eight entire weeks! This gig was followed by an one off gig at the PopKomm in Koln (Germany) and we returned Portugal to prepare ourselves for a 2 months European tour with Samael that occurred from September to early November resulting in a well succeeded tour that in Germany had a medium average of a thousand. The album broke into the Italian, Austrian, Finnish and Dutch charts in the meanwhile.

Lastly we got confirmed as the support band for Type O Negative European tour which was another dream come true for us. But before we headlined between two of the most famous Portuguese bands at the Lisbon Coliseum playing to an unforgettable 3000 audience that took over the show from us and to whom we thank so much and defy to do it once again. Back to Type O this was our real BIG tour playing to sold out arenas most of the times, conquering over a new audience, leaving other indifferent but all in all a highly profile tour with Dark Rock sex symbol himself : Mr Steele, thy good giant! ( I hope he does not have Internet) that together with a fantastic band and a fantastic crew made of this tour one unforgettable experience and one of the most vital steps on our history as a band.

In the meanwhile Irreligious sold more already (since August) than 50000 copies and Moonspell was voted by VIVA as the revelation band for 1996 leaving the strong Marilyn Manson and Korn behind. It was a good year definitely! Now we are trying to prepare our third album (SIN/PECADO), relaxing from all the intensive touring we did so far and going on and being stubborn enough to impose ourselves and our undeniable Portuguese flavour to all of you who are thirsty of honest and hopefully fresh Art! I hope it was not a so bad biography, I still count on my memory to do a lot of things but I am not a computer... Maybe I should erase this last comment?... December 1996.

After a really short break, we got together again in our old rehearsal place to find out and finally realize that Moonspell was well career wise but that there was something rotting in the core of the band, that are always the personal relationships and liberties, regardless of what you say to the exterior world. Between discussions and profound disagreements, things were getting personal and we were loosing the elegance that characterized our chemistry and hate was setting in. Fortunately now, we had no tours planned, and for the first time since late 1994 we had the time to think and analyze ourselves and our status. Of course, do not expect we gathered around a table and discussed it as civilized beings. We had music to do and music solved things at the end, bruising and healing the band. A lot was said about Ares getting out, especially by himself, and I must openly detach our elegance dealing with the subject, not answering to cheap provocations that came from a lot of sources and never giving importance to the stories created. The truth was what matter to us and its crude and complete version will always stay between these walls, really. Once I wrote for the page an emotional explanation of everything, that was abstract and poetic enough not to calm down the questions. Putting the finger on the wound for a few lines we parted way with Ares (nobody expelled anyone, no one is a victim of anyone) because we came to an unbearable situation when he wanted to put us at an inferior level, criticized rudely our work and most importantly not presenting anything in trade or as an alternative to his harsh and mindless criticism. He had forgot how to work either alone or with us since ages, you could recognize this on his playing and his terrible need of self promotion leaving the rest of us behind. He came to the point of believing Moonspell has his and him alone and we took this situation to the point of reflecting on it and creating a rupture. This happened in early February, and apparently in an amicable way, with Ares shaking our hands and wishing us luck, after we all reflected and decided Moonspell would go on without him. The definitive stage of the situation came later when he learnt that Ares registered Moonspell's name on his behalf, registered songs from Sin, deviating a rehearse tape through still unknown means to us, filling lawsuits against us and legal threats, not only breaking the professional deal that bounded us together to Century, but totally making the handshaking ritual ridiculously cynical and unbearable. We defended ourselves the ways we had to and even if the novel goes on for has the importance we give it, ranging from total despise to sleepless nights of revolt against the fact that we believed and supported a person that betrayed us and endanger the Moonspell future as much as he did. If everything he said about himself, if he had really been the composer and the leader he said he was, he?d compete with us, healthy, through his talent or his new project. Almost three years are gone and besides discovering uglier aspects of our pre and post relationship, I heard just insipid news and vain projects. I would rest my case here, if I could.

After the schock, we answered with music and work. We found out a new bass player Sergio C., that adapted to us in a perfect manner and still remains with us as you know, contributing now to the composition part of the band, as well. He came from an odd background of casinos and clubs, being an eclectic, practiced musician, that left Brazil to dedicate himself into playing music. His first experience was playing a track on an award party at the Lisbon Coliseum and he liked it, shame he didn't had the time to even warm up. He would warm up with MetalMania festival in Poland with 7000 people assisting and then on Dynamo Festival, on the main stage Saturday afternoon, one of the highlights of our live career as the very first and very only Portuguese Metal band to desecrate the mythical Eindovhen stage. The end of the year was completed by a small headliner tour with not much to tell.

The summer of 97 was divided between playing all the possible summer festivals in Europe and recording Sin, an album whose values and mistakes you have debated abundantly and that I probably will fail to add something else. Factually, the release of Sin brought us besides all the already debated, the golden chance of visiting the Lisbon Coliseum as headliners, playing to a sold out audience of 4000 brothers and countrymates, that like in 1996 stole the flame from us and gave it back in a way that words can not truly describe, truly! We got the silver records from both Irreligious and Sin on that night and marked some more territory, forgetting the problems, embracing the energy. We had also the chance always to expand and do a quick but memorable South American tour covering Brazil, Argentina, Chile, Columbia and Mexico. To cut it short we nicknamed it the Ego Tour. Enough said then. Apart from the usual Summer engagements that included festivals like Roskilde, Bizarre, Artifacts this time, we had the privilege of playing Paredes de Coura, in one of the most beautiful stage we ever played in to an excellent Portuguese crowd. The experience was in fact so good that not even the always so right and critical could say bad things about it. We had also then the chance of a headliner experience throughout whole Europe, to scare away the ghosts. In a 50 dates trek, we sold out 10 venues, were met with enthusiasm and finally could exercise a full show of our own, something only possible and well done after 3 intense years of proudly supporting and learning. When we finished up this trek in Lisbon, almost 8 weeks after its start, we were not even tired, so glad were the memories of this experience we shared with Therion, Darkside and occasionally with Anathema.

December 1998, one year ago, come as a mostly resting period where we, nevertheless, started laying the foundations for our upcoming work that was already named and concepted at the time. Facing changes, originated by the different motivations and guidelines that were in our spirit at the time of its composition, we recruited a new producer Andy Reilly, to help us out to break some routines in Moonspell and to achieve our great goal with the butterfly album which was to come closer to an unique style, conciliating the soul of Moonspell with his contemporary presence and artistic context. At Trident Studios we think we achieved it, creating a powerful and different album, that is being welcomed with respect above all. Shortly before and after we had always live experiences from which I?d detach the travel to Istanbul and its peculiarities and the headlining at Printemps de Bourges festival in France, country that delivered us an unexpected but very welcome attention since the release of Sin, that accounted 12000 copies sold only on that territory ! Also relevant were the several headlining experiences on Portuguese festivals, with the bad note of a cancellation already explained to the ones who care.

best folk metal bands ever

1 Ensiferum



Ensiferum was started in ca. 1995 - 96 by Markus Toivonen (guitar), Sauli Savolainen (bass) ja Kimmo Miettinen (drums). In the end of 1996 they were joined by Jari Mäenpää on guitar and vocals. Pretty soon, in the beginning of 1997, Jari had to go to the army and the band froze for a while. Luckily, the service in the Finnish army is not too long and the band recorded their first demo the same year. About 300 copies found their way to tapeplayers across the globe and the response was very promising. At the time, the band drew influences from f.ex. Amorphis and folkmusic. 1998 was the year of a few line-up changes. Jukka-Pekka Miettinen stepped in as the new bassplayer and Oliver Fokin from Arthemesia filled the drummers seat when Kimmo Miettinen moved to Arthemesia. In other words, the bands traded drummers.
In the beginning of 1999 Ensiferum recorded their second demo that was also very well-greeted in the metalscene across the world. Later the same year a third demo was recorded with Janne Joutsenniemi (Sub-Urban Tribe) twisting the knobs at the MD-Studios in Helsinki. This was the demo that landed them the deal with Spinefarm Records. It also got them tons of gigs and it was chosen "Demo of The Month" at f.ex. Noise, Metal Blade and Suomi Finland Perkele magazine. And there's more; the demo even got airplay not only in Finland but also in Sweden and Italy. The band was naturally chuffed...


2 Finntroll



One night in march 1997 two men were sleeping in a rehearsal room in Helsinki. The other woke up and started playing the keyboards and came up with a folkish melody. Soon the other one woke up too. Liking the melody he asked the other guy to play the riff in traditional finnish "humppa" style (humppa is a variety of polka...). This sounded very mean and guitars and brutal vocals were added immediatly. Thus Finntroll was born..

These two very drunk founding fathers were Somnium (ex-Thy Serpent, Impaled Nazarene) and Katla. Almost a year later in January Finntroll recorded their debut demo "rivfader". They were still using drummachine but were already discussing a future adding of other members at least for session musicanship. Soon several musicians stepped into the picture. Drummer B. Dominator (Barathrum, Rapture), Skrymer on live guitars, Trollhorn (Moonsorrow) on keyboards and Tundra on bass. Spikefarm had shown interest in the band and now that Finntroll was a band with several strong musicians the deal was sealed. So there you had it, the record that probably affected the black and folk metal scene for good. The debut album "Midnattens Widunder" contains nine tracks of advanced trollish metal. At last the Finntroll woke up from its long sleep to strike down the followers of the christian plague...

About a year after that, it was the time to take the next step in this trollish crusade and Walltone Studios were once again inhabited by Finntroll. This time the guys knew better what they wanted to do and the session went smoothly and without any problems they encountered on the first trip. The result was an album called "Jaktens Tid". With this album Finntroll took a huge step forward both musically and in overall atmosphere. At last they could say that this was how they wanted to sound like. The album got great reviews all over the world and was praised by countless of people. Finntroll was stronger that ever before. The album managed to climb to 20th place in the Finnish album charts, surprising both band and the label. Soon after that Century Media was attracted by this success and licensed the album for the rest of the world. On that summer Finntroll played in several open-airs both in Finland and abroad.

Beginning from the year 2002 the band hit a string of bad luck, beginning from cancellations of some tours, continuing with the vocalist Katla's worsening throat problems which finally lead to his early retirement from the band. Several shows were made with replacing singers, Tommy Åberg of Bloodshed, Pete Eskelinen of Rapture and Mika Luttinen of Impaled Nazarene. In January 2003 the band realized a long planned project, an acoustic/experimental cd "Visor Om Slutet" with Katla and the new vocalist Wilska (Sethian, ex-Wizzard, ex-Nattvindens Gråt to name a few...) sharing the vocal duties. The album was recorded at a cabin in the woods on the outskirts of Helsinki, with the aid of a mobile studio, sauna and large quantities of alcohol. It was released as a mid-price album, and surprisingly inhabited the no. 1 place of the Finnish Midprice chart for several weeks...

Just before the release of this record, the band met with a heart-breaking blow; The death of Teemu "Somnium" Raimoranta in an alcohol related accident in Helsinki. While recovering from the loss of a dear friend and bandmate the rest decided that ending the band would be an insult to his memory, and decided to honour and grieve him the best way they could, by going on tour and keeping his music alive. The band did a two week European tour in support of Katatonia, and brought in an old member of the family, guitarist Routa who had earlier played some gigs as a stand-in guitarist in Finntroll. During the summer the members spent a lot of time on the road, playing festivals like Graspop in Belgium, The Vienna Metal Fest and Sweden Rock.


3 eluveitie




Eluveitie clearly belongs to the fast growing Pagan Metal-scene, anyhow brings some "fresh air" into it. Eluveitie's sound is traditional, authentic celtic Folk Music combined in a unique way with modern styled Melodic Death Metal, strongly influenced by the classic "Göthenburg Sound".

Originally formed by Mastermind Chrigel Glanzmann in winter 2002 as a mere studio-project, the first EP "Vên" was recorded in 2003, already unique in it's way of having the Folk-Part being on an equal footing with the Metal-Instruments. This self-financed MCD was ardently received by the scene, zines etc. and sold out within a few Months. In 2004 Eluveitie signed to the dutch label Fear Dark Records, which released a re-mastered (and partly re-recorded) version of "Vên", and continued as a "real" band, playing gigs together with bands such as Cruachan, Korpiklaani and Skyforger.

Although many line-up changes still had to happen, Eluveitie grew into being a band, and developed it's very own style, formed by the many different influences of nine musicians rooted in different styles of music. In late 2005, Eluveitie was finally ready to enter the studio and record their first full-lenght Album, to be released on Fear Dark Records again. With "Spirit" , Eluveitie goes a big step forward, presenting a completely new style of Folk Metal to the scene - starting a new wave of Folk Metal!

top 3 black metal bands ever

1 Dimmu Borgir




Dimmu Borgir is a melodic black metal band hailing from Norway. Shagrath, Silenoz and Tjodalv initiated the band in 1993. Shortly after, Brynjard Tristan joined to play bass, and Stian Aarstad joined for keyboard duties. Dimmu Borgir was born. They are a band which success is measured with such bands as Emperor, Kreator and Cradle of Filth. I will without a doubt say that Dimmu Borgir is the best black metal band in the world today (webmaster's comment).

Haunting keyboard melodies, aggressive guitar work, destructive drums, grim/raw vocals and a touch of melodic/operatic vocals characterize Dimmu Borgir's sound. They are musically inspired by 80's black metal and heavy metal. Classic composers, like Wagner and Dvorak, also inspire them.

Dimmu Borgir began their career by releasing a 7" EP entitled "Inn I Evighetens Morke" ("Into the Eternity of Darkness") on Necromantic Gallery Productions in 1994. It sold out within a few weeks, marking the start of a successful and magnificent band. Dimmu Borgir existed in the black metal scene for quite some time but did not get the recognition they deserved until late 1994, when they released their debut full length album "For All Tid"--a slow, dark and atmospheric recording--on No Colour Records. The album features contributions by Aldrahn from Dødheimsgard and Vicotnik from Ved Buens Ende. The lineup on their debut album was: Shagrath - Drums & Vocals (Guitar on track 5), Erkekjetter Silenoz - Guitar & Vocals, Tjodalv - Guitar, Brynjard Tristan - Bass, Stian Aarstad - Synthesizers, Piano & Effects.

In 1996 they released one of the most important albums in black metal history, "Stormblåst", on a new label, Cacophonous records. During that time period, this album showed that Dimmu Borgir was one of the better melodic black metal bands. They took a big step forwards, towards the distinctive sound in which Dimmu Borgir is known for today. Mature song writing, with good variance of tempos, a strong classical influence and one of the best black metal sounds out there. "Stormblåst" showed an increase in speed, yet maintained the melody and atmosphere. Lineup on this recording was: Shagrath - Lead Guitar & Vocals, Erkekjetter Silenoz - Rhythm Guitar & Vocals, Tjodalv - Drum & Percussion, Brynjard Tristan - Bass Guitar, Stian Aarstad - Synthesizers & Piano.

For the first two full lengths, Dimmu Borgir wrote their lyrics in Norwegian, however after the release of "Stormblåst", they changed the lyrics into English. The main reason was that the majority of the audience did not understand the lyrics and so Dimmu Borgir wanted use a popular language to communicate their message--to reach a broader audience.

After "Stormblåst", Dimmu Borgir released the "Devil's Path" MCD on Hot Records, in 1996. Shagrath actually worked in Hot records and he was responsible for the signing and promotion of bands. "Devil's Path" is a MCD with 4 songs, and includes a brilliant song entitled "Devil's Path", so it's worth purchasing this release to complete your Dimmu Borgir discography. For the MCD, Nagash, who at that time was in Troll and The Kovenant (previously called Covenant) was recruited to replace Tristan on bass. Stian Aarstad did not perform keyboard duties on this album due to the fact that he had to take care of business regarding the Norwegian army. Line up on this recording was: Shagrath - Guitar, Vocals & Keyboard, Erkekjetter Silenoz - Guitar, Tjodalv - Drums, Nagash - Bass.
Euphoric

In 1997 Dimmu Borgir released their masterpiece "Enthrone Darkness Triumphant"--an engaging, powerful and moving recording. One of the most important black metal releases this century (webmaster's comment). "Enthrone…" marked a move to a bigger label, impeccable production (by the famous Peter Tagtren) and the success of 150,000+ in record sales. Due to these reasons, many have claimed that Dimmu Borgir have sold out. This is not true. The fact is that with this release they have made black metal available for a much broader audience and with their melodic-yet-still-aggressive sound, they became one of the biggest names in black metal. This was a great achievement, and being a hard working, dedicated and persistent band, Dimmu Borgir deserve their high status. "Enthrone…" was released on their new label, Nuclear Blast, after their old record label failed to give their best to promote Dimmu Borgir. If you are curious as to why the lyrics of "Tormentor of Christian Souls" are not include in the booklet is because Nuclear Blast did not want to be responsible for printing them! Line up on this recording was: Shagrath - Guitar & Vocals, Erkekjetter Silenoz - Guitar, Tjodalv - Drums, Nagash - Bass, Stian Aarstad - Synthesizers and piano.

After the recording of "Enthrone…" the band hired Astennu to play guitars during live performances, so Shagrath could fully concentrate on his vocals and stage performance. Astennu replaced Jens Petter who was a member for a short while between "Stormblåst" and "Enthrone…" Astennu is originally from Australia and came to Norway to record his solo project Carpe Tenebrum, which was previously called Lord Kaos. He then played guitar in The Kovenant and after a short time, became aware of his priorities, quit, and is presently a full-time member of Dimmu Borgir. After the "Enthrone…" tour, Dimmu Borgir had a mini-tour where Tjodalv left the band for a few months to be with his family and newborn child. His replacement was Aggressor, filling in as a session drummer, who is currently with Aura Noir. In the "Enthrone…" tour, Stian Aarstad had trouble participating in some of the performances and was fired from the band. Stian Aarstad has now joined the ranks of the Norwegian black metal band Enthral. His replacement was Kimberley Goss, who has previously worked with Therion, Ancient and currently, Sinergy. But after an incredibly brief stay with Dimmu Borgir, Kimberly Goss had to leave the band, due to the fact that she was a session member. Her replacement--on a very short notice--was Mustis, a young keyboard player from Norway and acquaintance of Shagrath since early 1998. He had his first live appearance with Dimmu Borgir at the Dynamo Open Air festival 1998. Mustis has not played in any significant bands previous to Dimmu Borgir, but he has added a new element to the band, and the new sound can be heard on "Spiritual…" Mustis had a heavy influence on this album, considering 60% of Dimmu Borgir songs are created on keyboard first.

A very nice surprise was the re-release of Dimmu Borgir's debut album, "For all Tid", on Nuclear Blast in 1998. This album contains all of the original material and includes two songs from their 7" EP "Inn I Evighetens Morke" ("Into the Eternity of Darkness"). In the same year, Dimmu Borgir released a MCD, "Godless Savage Garden", which is also on Nuclear Blast. The album contains 2 new songs, 2 re-releases, one cover and 3 live recordings. This release was only intended to be a "goodie" while the fans were waiting for the new album, "Spiritual…" This MCD was rated so good that it was nominated for "Spellemannsprisen", a Norwegian Grammy, in the metal category. "Godless…" was nominated together with albums from The Kovenant and Mundanus Imperium. The whole show was aired on Norwegian television and Dimmu Borgir played "Grotesquery Concealed" live, from the "Spiritual…" album. The performance was the only highlight of the entire show. Unfortunately Dimmu Borgir did not win the Grammy, but The Kovenant did, for their "Nexus Polaris" album.

The recording of "Spiritual Black Dimensions" once again took place in the infamous Abyss Studios with Peter Tagtren (Hypocrisy, Pain, The Abyss). Dimmu Borgir achieved an outstanding sound, complexly layered and powerfully enchanting. "Phantasmagoria" was the name of the song first performed live at 1998 Dynamo festival. Another song from "Spiritual..." was released on the Beauty in Darkness Vol.3 compilation, on Nuclear Blast, entitled "The Insight And The Catharsis", serving as a teaser before the albums official release.

Released officially on March 1, 1999, by Nuclear Blast, "Spiritual..." took the record stores by storm and proved once again that Dimmu Borgir are the kings of the dark throne. Prior to the release, many have been curious as to what direction the music would take. Those in doubt of Dimmu Borgir's dedication to extreme music were forced to face reality when "Spiritual…" proved to be their most complex and extreme album to date. After this recording Nagash decided to quit Dimmu Borgir to concentrate fully on The Kovenant. The temporary replacement, Simen Hestnaes (also known as I.C.S. Vortex) from Borknagar contributed to this recording with clean and operatic style vocals. He is also the session bassist on the "Spiritual…" tour 1999. In late 1999 Simen became (as I think everybody hoped for) the permanent replacement on bass and full member of Dimmu Borgir. The line up on this recording was: Shagrath - Vocals, Erkekjetter Silenoz - Guitar, Astennu - Lead Guitar, Tjodalv - Drums & Percussion, Nagash - Bass, Mustis - Synthesizers & Piano.

A month after the release of "Spiritual... ", Dimmu Borgir made a split album with Old Man's Child, titled "Sons of Satan Gather for Attack." Also in the same month Astennu released his side project, Carpe Tenebrum, entitled "Mirrored Hate painting". This project involved vocals from Nagash and contains similar elements as Dimmu Borgir, only faster. Both of these albums were released through Hammerheart Records, and more information is available at the following link: Hammerheart Records

In the early stages of the 1999 Dimmu Borgir tour, right after their crushing gigs in New Jersey and Montreal, Tjodalv decided to leave the band due to musical and personal differences. He has a family to take care of and cannot do the immense touring of Dimmu Borgir. Tjodalv's replacement should be familiar to everyone, it is none other than the godly Nick Barker, former Cradle Of Filth drummer. Nick has recently finished drumming duties with Borknagar on the North American "Kings of Terror Tour". Nick will release a new album with his side project "Lockup", the album is titled "Pleasure paves sewers". The album was recorded in Peter's Abyss Studio in Sweden and released 22.11.99 by Nuclear Blast.

Dimmu Borgir was about to start the recording of a new album in March 2000 the band was booked into Abyss studio with producer Peter Tagtgren to record the yet untitled new album in March and April 2000. This did not happend because they needed more time to finish the new material. They also have had some financial problems that restricted the rehersal time, because Nick still live in England and could not afford to come over to norway as often as he should have.

Further line-up changes took place during the writing period for their new album when the band fired guitarist Astennu due to various personal reasons. Astennu's replacement ended up being a man named Galder (Tom Rune Andersen) the "Mastermind of Old Mans Child" who is known for his brilliant guitar playing in Norwegian black metallers Old Man's Child.

With a firm line-up now intact Dimmu Borgir entered Sweden's Fredman Studio (At The Gates, In Flames, Dark Tranquillity) in Fall 2000 to record their highly anticipated new album, Puritanical Euphoric Misanthropia. Once again the band created a masterpiece in aggressive music with outstanding atmosphere and audibly evil songs. "Puritanical Euphoric Misanthropia" was not just another DIMMU BORGIR release that so many people are expecting to hear by any means. It possesses its own dark emotions and exciting creativity that only a band as experienced as DIMMU BORGIR can deliver leaving all other "top tiered" Black Metal bands flailing helplessly in their wake. The songwriting is at its highest peak making Puritanical Euphoric Misanthropia the band's strongest release to date (proven by such standout tracks as"Blessings Upon The Throne Of Tyranny", "Kings Of The Carnival Creation","The Mealstrom Mephisto" and "Architecture Of A Genocidal Nature").

As an added bonus, the band recorded various tracks with the Gothenburg symphonic orchestra yielding astonishing conclusions sure to turn heads. The end result is nothing short of perfection from the complex guitar work to the dynamic keyboard tinkering. Drummer Nick Barker blasts through the material with devastating force and fluidity while Hestnaes' bass rumbles supremely below as he adds intelligently lays down well-placed backing vocals for added enhancement. Vocalist Shagrath pushes himself to an underworldly level never sounding more sinister and ferocious. Puritanical Euphoric Misanthropia is not just another Dimmu Borgir release that so many people are expecting to hear by any means. It possesses its own dark emotions and exciting creativity that only a band as experienced as Dimmu Borgir can deliver leaving all other "top tiered" black metal bands flailing helplessly in their wake.

After being nominated for the third time, Dimmu Borgir have now won the Norwegian Grammy Award 2001, within the category "Metal" for their masterpiece "Puritanical Euphoric Misanthropia". Besides Dimmu Borgir also Emperor and Borknagar were nominated. A great moment in the history of the band, who wants to thank everybody who believed in them.

DIMMU BORGIR entered Studio Fredman in Gothenburg, Sweden for the second time on March 3 to begin tracking the drum parts for their forthcoming CD, "Death Cult Armageddon" was recorded and produced by Frederik Nordström. This time Dimmu Borgir was finished with the new song material befor entering the studio and they had all the new material ready and they also mastered their our own pre-production.

DIMMU BORGIR have managed to become the most prominent and important Melodic Black Metal act around the globe. With their new studio album "Death Cult Armageddon" DIMMU BORGIR reach an even higher level, climbing up the next step close to Baphomet's Throne. DIMMU BORGIR always stood for the orchestral side of Black Metal; classical arrangements have ever been a certain aspect in their unique sound. To give the songs an even more authentic feeling, the band recorded parts of the album along with the Philharmonic Orchestra Prague, which consisted of 46 professional musicians. This is feeling of majesty and power that makes the Norwegians special. "Death Cult Armageddon" is their most varied and therefore also most extreme album.

"Death Cult Armageddon" takes that high level and even goes one step further ahead. There is an incredible dark feeling about the whole album, which will capture every metallic soul. DIMMU BORGIR set a new standard for Black Metal with each of their record. This is the now and the future! Join the Deathcult!

Guitarist Silenoz had this to say: "The new DIMMU BORGIR album has been a hard and long fucking road to hell, and 'Death Cult Armageddon' is what we're bringing back. With that we're pleased to announce that this will be considered our most epic, majestic, somber, evil and grimmest release to date, containing absolutely everything we're known for — the never-ending presence of atmosphere, diversity and variety! In other words, it's huge! Darkness is once again upon us!"

Another notch in Dimmu Borgirs belt is the recording of their first ever promotional video for "Progenies Of The Great Apocalypse" to support the release of the new album "Death Cult Armageddon" this is an awesome piece of art and work and every metal fan should check it out, This video was also included in the DVD Audio release of the new album, this release also contains the album in excellent 5.1 surround multichannel sound mix and bonus songs.

The next chapter is in Dimmu Borgir history is about to take place as they hit the roads to give their brilliant piece of work to the thousands of loyal fans around the world, well.....people
"You wanted the best you got the best..... Dimmu Borgir!" show up and prepare to se another awesome show performed by the one and only Dimmu Borgir.

2 Behemoth




There had been a long hard road out of hell until the cursed day when the furious intensity of the Eastern beast, set up by Nergal, the main man behind the band , struck the world in mid 1991. Following the paths of the ancient heroes like VENOM, early FROST or first Norwegian black metal acts, Behemoth started their unearthly existence with a couple of raw and primitive rehearsal tapes ("Endless Damnation") and demos ("The Return of the northern moon"), the most significant of which was the second one - "From the pagan vastlands" (1993), showing the growing potential of the main composer/writer.

This tape was released by polish label Pagan Rec. and later on by infamous American Wild Rags which pressed this stuff on CD.
Signing with a minor Italian company Entropy rec. the band had the chance to record their debut release, a mini album entitled "And the forests dream eternally" (1994) followed by the full length with Polish underground label Pagan rec.

"Sventevith (storming near the Baltic)" gained extremely positive responses worldwide and eventually saw the band moving on to a new deal with German label Solistitium. Rec. That record established Behemoth as one of the very few black metal bands from mid-eastern Europe with enormous potential and its own, peculiar character. Consequently ,stepping forward, the band (as the three piece - Nergal, Baal, Les) recorded the second album "Grom". This has been probably the most controversial release so far, due to its many different influences, using female vocals as well as acoustic guitars and synthesizers. This was also the time when Behemoth finally got a chance to play first shows in their native country and finally tour around Europe (Pagan Triumph tour 1996) gaining stage experience as well as positive feedback from the crowds.

Then the time came to record third album, called "Pandemonic Incantations", which benefited from the precious aid of new members, especially the very talented human drummer machine- Inferno. It was some kind of "breakthrough moment" in Behemoth's short career. Reactions of the still growing fanbase and metal medias set the new quality standards for this polish band. Unfortunately, that awesome album suffered from the lack of interest worldwide caused by very weak promotion. The last opus released by Solistitium was strictly limited mini cd called "Bewitching The Pomerania" which is a highly estimated collectors item at this moment.

After another extensive and rewarding tour, in the fall of 1998 Behemoth signed a two albums deal with Italian Avantgarde Music. The first output of this new collaboration was the highly successful album "Satanica": Long lasting feedbacks covered "Satanica" with 'gold awards' even one year after its release date (the album was licensed in the USA in Summer 2000!). The label also secured the band with two very effective European tours in support to DEICIDE and another to SATYRICON. In that very successful period, the band had to go through some line up changes and problems with their ex- polish label, but at the end of the day, everything was back on the right tracks. The new members on the board were Novy (formerly known from Devilyn, right now in Vader, Dies Irae) who handled the bass duties and an inexperienced but very talented guitarist Havok. The new deal concerning the efforts on the polish territory Behemoth signed with highly respectful and undoubtedly professional Mystic company.

The next masterpiece is the logic follow-up to 'Satanica', although unpredictable in all its smallest details was Thelema6. Massive guitar parts and a most precise drumming, as well as influences from different sources, showed that Behemoth were there to offer something really varied and innovative once again. 'Thelema.6' is a complete album with characteristic fierce brutality and speed. It has also the most essential ingredient: creativity. Behemoth goes on searching for new dimensions both musically and lyrically. Splendid arrangements and technical invention on individual compositions made this album an ultimate one for Black/death metal genre.
Lyrically, once again Nergal and his partner in poetry Krzysztof Azarewicz offered something of a very sophisticated, intimate and profound obscurity.

'Thelema.6' has been massively supported in the press and media all over the world. The album was licensed for the United States area to Olympic rec. and for the first time in their career the album was officially out in Russia by Irond Rec., as well as in Brazil by Moira rec. New songs were also
already experienced live during European tour X-MASS FESTIVALS in December 2000 e.v., in support to MORBID ANGEL, THE CROWN, DYING FETUS, ENSLAVED to name a few. Behemoth invaded their eastern neighbors (Russia, Belarus, Latvia) in February 2001 e.v. being maniacally welcomed by the public.

Continuing the support for 'Thelema.6' Behemoth appeared on several prestigious live events like Wacken Open Air, With Full Force, Inferno Festival, Mystic Festival, Mind Over Matter to mention the most recognizable ones ...
Autumn and winter 2001 has been the most active period for the band so far. They started first headlining tour alongside with Carpathian Forest(Nor) and Khold (Nor) followed by festival tour in Poland (Thrash em all fest. with Vader and Krisiun among others), first headlining tour in Czech Rep. and Slovakia with Czech deathsters Hypnos. This marathon ended on two occasional shows on X MASS, where the band got extremely positive feedback.

In 2002 Nergal and Co. focused on writing new material for their 6th opus. Meantime, they did their second headlining tour in Russia, Belarus and Ukraine (February 2001) as well as "exotic" mini tour in Mexico (february 2001) along with acts like The Haunted and Witchery. There's also the brand new limited mini cd - "Antichristian Phenomenon" hit the stores shelves as the kind of gift for the most dedicated supporters.

Having the new songs completed Behemoth entered Hendrix Studio for the second time, and with help of their long time friend and sound engineer Arkadiusz Malczewski, produced album called "ZOS KIA CULTUS (Here and Beyond)".

"ZOS KIA CULTUS (Here and Beyond)" was recorded with almost double production budget and the band spent in the studio two months (almost 700 hours). The result is impressively massive and overwhelming for all those who thought that the band couldn't go any further since the yet excellent Thelema's production. Musicwise, 'ZOS KIA CULTUS' presents the very well known trademark of Behemoth, with hyper-tech guitar riffing by the axemen in crime Nergal-Havok, the glorious leather-baiting of Inferno and the precise bass patterns by Novy. This time Behemoth sound got APOCALYPTIC ! Adding ultra heavy mid-tempo parts here and there, bringing the listener to the deepest abyss of earth, Nergal and company prove again that they can go anywhere with their killing machine, leaving no survivors behind.

"ZOS KIA CULTUS" street date (November 2002) was shortly after followed by the amount of 36 shows all over Europe. Behemoth headlined different territories with support of such acts like Destroyer 666, Diabolic. In Poland they crushed the venues and spread the odour of sulphur with Darkane, Frontside, Crionics. They reached new fans from the south of Europe (Spain, Portugal, Italy) to the north (England, Scandinavia)...

In February 2003 the band did their first tour in Norway, playing in the most important cities as Bergen, Oslo and Stavanger.

On March 11th 2003 the American premiere was scheduled (Century Media Rec.), followed by the first Behemoth's appearance on the US continent. The tour started on the 9th of March at the New Jersey's Metalfest and continued with decent amount of shows across America and Canada with the company of Deicide, Revenge and Amon Amarth. Shortly after doing their first US tour the band was invited to join BLACKEST OF THE BLACK FESTIVALS by Glenn Danzig himself. Already legendary festival included such acts like DANZIG, SUPERJOINT RITUAL, NILE, OPETH.In the fall of 2003 Behemoth flew over to US to complete their third tour with SIX FEET UNDER and SKINLESS. The band did their Finnish debut appearance on famous TUSKA FESTIVAL along with MINISTRY, SOULFLY and more.

In the meantime due to some line up difficulties Nergal parted his ways with Havok and Novy, who decided to focus on activities with their own bands.

Behemoth has also signed a new deal for next two albums with Swedish REGAIN REC. (gaining i.e. DANZIG, DARK FUNERAL, MARDUK, DEFLESHED, FRONTSIDE on their roster) for European territory, CENTURY MEDIA (USA) and MYSTIC for Polish market. With the new line up consisting of Nergal on guitars and vocals, Inferno on drums and a new member Orion on bass and a session guitar player Seth, the band is currently writing songs for their newest record DEMIGOD which is scheduled for release in the fall 2004.


3 Cradle Of Filth




These are dark days. We live our lives cowering in the shadow of a future black and bleak, snatching all too brief glimpses of romance, hope and humanity, burdened by monochrome drudgery and the stupidity of mankind. The shit keeps hitting the fan and we're all getting splashed. That's why those of us who live for the moment need a soundtrack that provides both unhindered escapism and a heightened, tangible sense of reality's uplifting sensual power. That's why we need Cradle Of Filth more than ever. This is a band that caters for the filthy little secrets inside all of us, eliciting those exhilarating erotic and animal charges that make our time on this planet worth living. Prepare yourself for a hefty shot of 'Nymphetamine'…

Cradle Of Filth first burst into the choking glow of Hell's spotlight in the early 90s, when the UK metal scene was striving to produce a fitting response to the purposeful malevolence and youthful intensity of the Norwegian black metal scene, with its church burnings, death threats and random acts of extreme violence. Smarter, more ambitious and more fiendishly creative than any of their Norse contemporaries, Cradle emerged in 1991 from the bat-infested Suffolk shadows with a fully-formed and multi-faceted sound; a cunning amalgam of venomous black metal, high gothic drama and pure British steel that immediately elevated them above the malnourished aspirations of their peers and grabbed the attention of both the global metalhead legions and the controversy-starved music press in the UK. A raw and belligerent debut album, 1994's 'The Principle Of Evil Made Flesh', ensured that the band's now trademark bombast and arrogance were proclaimed loud and clear and within months Cradle Of Filth were firmly established as the UK metal scene's sharpest and bloodiest blades.

The subsequent decade brought untold success and a further consolidation of the band's inestimable sonic prowess, with a series of bold and audacious albums, a never-ending stream of dullard-baiting merchandise (including the infamous 'Jesus Is A Cunt' shirt) and a relentless procession of eye-popping live extravaganzas. 1996 saw the release of the hideous, blistering 'Vempire' and its extravagant, lascivious follow-up, 'Dusk & Her Embrace'. Two years later, 'Cruelty & The Beast' took Cradle's popularity to new heights, revealing a new sophistication and maturity in the band's songwriting and a greatly enhanced degree of musicianship that belied the never-ending litany of line-up changes that, until recently, have been a fixture in the Cradle story. The 'From The Cradle To Enslave' EP and the masterful, epic 'Midian' (2000) followed in close succession, reaping widespread plaudits and applause from all quarters. The new century was ushered in with 2001's 'Bitter Suites To Succubi', a stopgap compendium of old and new material. 'Live Bait For The Dead', the first official audio document of Cradle Of Filth's notoriously ferocious and hallucinatory live show appeared in 2002 and, as the band enjoyed a brief spell in major label land, the grotesque majesty of the orchestrally twisted 'Damnation And A Day' made 2003 their most victorious and creatively remarkable 12 months to date. Visual offerings came in the form of DVDs 'PanDaemonAeon' and 'Heavy Left-Handed and Candid'.

And so to Cradle Of Filth in 2004. Ten years on from the ominous eruption of their debut album, the UK's premier merchants of darkness have regrouped and found a new home at Roadrunner Records, a label with a suitably metallic past, present and future. After spending the majority of 2003 on the road, performing over 100 shows and hitting a rich vein of creative endeavour as a result, the current Cradle line-up - founder member/frontman Dani Filth, guitarists Paul Allender and James McKillbroy, keyboard maestro Martin Foul

"We weren't under any pressure to make this record and that's been the catalyst for us to create something really incredible," cackles a triumphant sounding Dani Filth. "The only way to top the last album was to go a completely different way, so it's a real mixture of styles this time. We haven't anchored ourselves to a concept. It was a real pleasure to write on a variety of different themes and the music is really diverse and sonically precise. The whole thing sounds perfect and very fucking heavy."