Category Archives: Blast From the Past

Horde – Hellig Usvart album review – September 2017 AB

Common knowledge implies that by definition, black metal must be anti christian, blasphemic, anti life, anti humanity etc. That’s why, starting from the very beginning with Venom and Bathory, even if not serious at all, the lyrical approach, the visuals and the music were Satanic enough to scare the shit out of the humble church goers. Since then this music has evolved a lot and in today’s black metal we have reached a new level of visual and ideological blasphemy which could have never been imagined 30 years ago. If this is 100% true or just some well orchestrated circus, that is another discussion.

If we are to judge it by the book, you cannot play black metal if you do not believe in Satan. But what about christian “black metal”, can that be true? I have not heard of many such bands, but one which instantly comes to mind is Horde. And I must add that their one and only album released so far, “Hellig Usvart“, can equal in musicianship and visuals many so called true black metal albums released until now.

But what is so special about this Australian band anyway? And why did I choose it for Scrolls of Darmoth‘s Blast From the Past? First and foremost, out of nostalgia. “Hellig Usvart“, “De Mysteriis Dom Sathanas” and “The Oath of Black Blood” were the first 3 black metal albums I bought on tape in 1994. I have never heard anything similar before and for me these 3 albums changed my life.

Horde – Hellig-Usvart

Under no circumstances was I to know that what I just bought was called black metal, nor was I aware of the events surrounding Mayhem. Romania of the early 90’s was a place completely unaware of what was going on in the West. Since we did not have proper concerts or a music shop, the tape/zine trading was the only way to discover new things. But we also had bootleggers. Lots of them. I kinda miss that period, it was romantic in a way but I would never buy bootlegs again. (The covers were xeroxed and the sound quality was horrible most of the time).

When I first played Mayhem‘s album, I was in my room, with candles burning on the table. The setting was perfect, but I wasn’t prepared for what was to come. I was absolutely stunned. I did not listen to such a mystic music before, nothing I was listening to at the time compared to the evil which spewed out from the tape player. Still in shock after Mayhem, I put on Horde. When “A Church Bell Tolls Amidst the Frozen Nordic Winds” started, my imagination was already running wild. If “De Mysteriis Dom Sathanas” was cold and morbid, this album was haunting. I really enjoyed every single track, mesmerized by the blast beats, the furious riffs and the black and white xeroxed cover, which I stared at for hours. Needles to say that after I put Beherit in the tape player, my universe was completely torn apart, in a good way. I was doomed for ever!

But what was so special about Horde‘s album that made me remember it and get it out of its coffin? Well, even if over the years I realized what was actually going on with the band (the whole project was basically a christian mockery of the the so called “true black metal” current), I still found the idea “interesting” and the music very much appealing.

You probably know that Horde is a one man project of the ex drummer in Mortification, a christian death metal band who was quite busy in the beginning of the 90’s releasing some interesting albums like Mortification, Scrolls of the Megilloth or Post Momentary Affliction. At some point, after discovering the wave of black metal which erupted from Scandinavia, Jayson Sherlock aka Anonymous (sounds like Euronymous, right?) decided he had to counteract the northern blasphemy with an unblack metal album, suggestively called Hellig Usvart (Holy Unblack).

Released by Nuclear Blast in 1994, the album contains 12 songs and has a duration of almost 40 minutes. Everything on it, from the band name, the cover, to the song titles and the music does not betray the true nature of “holy beast” which is contained within the disc. Songs like “Blasphemous Abomination of the Satanic Pentagram“, “Drink from the Chalice of Blood” and “An Abandoned Grave Bathes Softly in the Falling Moonlight” might successfully have been written by any Norwegian band of the time. Apart these “horrific” song titles, Anonymous has bestowed upon us the magic of the white light in which tracks like “Invert the Inverted Cross” (one of my favorites), “Silence the Blasphemous Chanting” and the funny “Crush the Bloodied Horns of the Goat” shine like (un)black metal gems.

Do not get fooled by the strong christian message on this album, Hellig Usvart is a solid piece of brutal music, played by a very skilled musician and which has all the characteristics of a real black metal album: bad production, furious blast beats, chilling riffs, raucous voice alternating with possessed shrieks. All these, combined with the fact that Horde did not release another album after this one, make Hellig Usvart a milestone in a genre that no one knew (or cared) if it ever existed and place it, at least musically and visually, on the same level with many notorious black metal albums released at the time.

Do I still enjoy Horde after 23 years? Not only that I definitely do it, but I also want other people to )re)discover this lost, atypical jewel of black metal. Because in the end, despite his efforts to fight his eternal arch enemy, Anonymous has created (maybe involuntarily) one of the most interesting albums in this troubled history of black metal which has definitely stood the test of time.

Horde – Hellig Usvart tracklist:

1. A Church Bell Tolls Amidst the Frozen Nordic Winds
2. Blasphemous Abomination of the Satanic Pentagram
3. Behold, the Rising of the Scarlet Moon
4. Thine Hour Hast Come
5. Release and Clothe the Virgin Sacrifice
6. Drink from the Chalice of Blood
7. Silence the Blasphemous Chanting
8. Invert the Inverted Cross
9. An Abandoned Grave Bathes Softly in the Falling Moonlight
10. Crush the Bloodied Horns of the Goat
11. Weak, Feeble, Dying, Antichrist
12. The Day of Total Armageddon Holocaust

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Back From the Past II: Cargo – Povestiri din Gara – Electrecord 1992

I first heard (and bought) “Povestiri din Gara” a long time ago. This album was released in 1992 by the now defunct Romanian record company Electrecord, responsible for the releases (on vinyl, mostly) of all the Romanian artists before and after the events from December 1989.

Cargo is a band that was born somewhere in the middle of the 1980’s in Timisoara, one of the largest and iconic cities besides Bucharest. Until 1989, when Ovidiu Ioncu-Kempes joined Cargo, the band released only two demos, “Demo 1987” and “Demo 1989“. In 1990, right after the fall of the communist regime and the opening of the borders, Cargo went invited to France for a small mini tour. There they recorded, in a French studio, a 7″ single, “Ana/Doi Prieteni“, two songs that will be featured on their debut album I’m going to talk about here.

In 1992, Electrecord released their debut album, “Povestiri din Gara“, an album that is to this day a benchmark of Romanian hard rock/heavy metal music. Two versions of this album were released, a vinyl with a grey and white cover, limited to 1000 copies and a tape, with a cover made of the most horrible and worst kind of paper. Due to the huge success this album had, it was repressed on LP in 1993, this time with a yellow cover replacing the grey one.

Cargo Povestiri din Gara LP

The album features 9 songs, with one instrumental (Portile de Fier) and includes, among other tracks which will become quite famous during the Kempes-era, the 2 songs featured on the Demo 1989, Brigadierii and Buletin de Stiri, both with a strong political, anti-communist message.
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Blast From the Past – Episode 1: Mork Gryning and Vinterland

Over the years, many good bands have released fantastic albums everybody appreciated and many good bands have released albums that, even though were very good, became underrated and succumbed into oblivion.
Everybody knows that in the middle of the 90’s, black metal was sweeping across Scandinavia in particular and Europe in general like a black plague, hundreds and hundreds of bands coming out of nowhere and jumping into this extreme metal bandwagon, just because it was very, very popular. Because of these bands, other really good ones, formed by talented musicians who identified themselves with this music and ideology released some memorable albums which unfortunately were left on history’s shelf and the world forgot about them. I’m talking about Mörk Gryning, a two man band hailing from…Sweden, where else from, whose members released their debut album “Tusen år Har Gått” when they were 15 and 18 years old respectively.

Released on the now defunct No Fashion Records in 1995, “Tusen år Har Gått” (Thousand Years Have Passed) is very similar in approach to Dissection, Sacramentum, Dark Funeral, Vinterland, Lord Belial and other Swedish hordes that released their albums around the same period, on the same label and almost in the same style. But, that does not make Mörk Gryning a copy cat, on the contrary.

Mörk Gryning - Tusen år Har Gått
Mörk Gryning – Tusen år Har Gått

Recorded in the famous Unisound Studios (owned by the mighty Dan Swano, who also plays drums on the 1st track, as Day Disaraah), “Tusen år Har Gått” is a milestone in the career of this very young and talented band.

Lasting a bit over half an hour, the album begins with an instrumental track, “Dagon“, followed in full force by “Journey“. From the very first listen I loved the speed and aggression that were combined with a certain melancholic “melody” which made the whole content extremely enjoyable. The 2 young members ( Goth Gorgon – bass, guitars, keyboards and Draakh Kimera – drums, guitars and vocals) are very talented, playing their instruments with an unusual ease, not that characteristic to teenagers.

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