Review by Sam on February 14, 2026.

As one who is educated in, but not necessarily a fan of black metal, these Swedes offer just the right amount of the obsidian subgenre to augment their leanings toward death metal. The vocals of Anders Strokirk are an ideal blend of the two genres; not too blackened, not too deathly. His voice should appeal to fans of either genre. Regardless of how this band is classified, its primary focus is easily observed: these dudes are evil fucks.

Named for Slayer’s notoriously fastest song ever, 'Necrophobic' is not obsessed with blazing tempos. Most of the material here dwells in a mid-tempo 4/4 or 6/8 meter, the latter of which I have always felt lends itself to the expression of darkness and iniquity rather naturally. Must be the six count that allows for that inherent compatibility. However, the most wicked track to be had here, the infernal formation known as 'The Ancients Gate', sticks primarily to natural time but offers death metal degeneracy in the form of vocals that have been pitch-shifted toward the abyss, a la early Entombed or Dismember. These guys set out to create a darker form of death metal than was available at the time, and with this debut, they have achieved that goal admirably.

There are no blast beats to be found here, and that’s fine by me. Blasting, though indisputably ferocious and intense, can sometimes become a crutch for bands to lean on during bouts of writer’s block or creative bankruptcy. Drummer and main man Joakim Sterner does do a lot of "Beneath The Remains" and "Arise" type thrashing, along with some slightly unbalanced double bassing, which adds an element of charm to The Nocturnal Silence. Oftentimes throughout this record, lead guitar stylings hearken notably to the two aforementioned pillars of Swedish death metal. A previous reviewer referred to the cover art as lazy, and while it is pretty simplistic, I find it to be striking: a gleaming metallic pentagram gets the point across succinctly. Also, good on Necrophobic for sticking with its original logo throughout its long existence. I have a soft spot for the symmetrical, hand-drawn logos of old. And this one is perfectly legible.

The synthesizer intro to album opener 'Awakening…' is an obvious nod to Entombed, and it is sure to put a grin on the face of the Tall Man. Sterner makes his mission statement known right out of the gate, declaring, “I’m no longer a victim of god.” The haunting chorus is delivered in a 6/8 mid-tempo phrasing, the correct vehicle for these sadistic intentions. Despite the band’s moniker, there is really no similarity to Slayer to be experienced here, other than the blasphemy of the lyrical content. These Swedish gentlemen sound much more similar to their countrymen in their musical presentation. Many of these songs end with the subtle, sinister whisperings of satanic verse. Dechristianize yourself, indeed. The title track stands out with its eerie, clean guitar intro that morphs into beefy power chords and heavy floor toms underneath. The poetry of this tune suggests a strong affinity for their black metal cousins, but the maleficent lead guitar work is rooted in definitive death.

The main thing to remember when discussing a hybrid such as Necrophobic is that either subgenre can be traced back to thrash. Back in 1989, when this ensemble came into being, death and black metal were still in their respective infancies, and thrash was the style that reigned supreme. The factor that unites all three of these forms of metal, and in my opinion, should be the common ground throughout all of heavy metal is, in a word, evil. This unifying characteristic is available in spades throughout the duration of The Nocturnal Silence.

Rating: 8.5 out of 10 Unholy Prophecies