Hello all.

First off, I would just like to apologize for my month-plus absence from MetalBite. As cheesy as it sounds, the death of Neil Peart hit me way harder than I thought possible. I've basically been in mourning and listening to all the Rush. (Studio albums, live albums, bootlegs, etc.) But, a few days ago, I sensed it was time to dive back into areas cold and misanthropic. So here we go.

My stepfather is Swedish, and highly Swedish at that. One thing that always fascinated me was whenever he would talk about the differences between Finland and all the other corners of Scandinavia. From cultural activities to the language itself, he always talked about how Finland sometimes seemed like its own civilization.

Although not quite as renowned or popular as the scenes in say, Norway or Sweden, Finland has birthed several classic black metal acts. And every band sounds unique. (You know how you can very easily pinpoint the "Swedish" sound? Or "TNBM?" Good luck trying that with Finland bands.)

Anyway, we are looking at early chapters from three different Finnish masters, the first of which is BEHERIT.

If you feel the need to subject yourself to a primitive, neanderthal-esque, blasphemous beating, look to BEHERIT; one of history's chief architects of primal black metal chaos. (Although I suppose I could very easily been talking about ARCHGOAT.) So it's back to 1990 for their legendary "The Oath of Black Blood". One thing that is especially cool to hear is that, even amidst the distorted, nonstop heretical hammering (which so frequently invites the ARCHGOAT comparisons)... you can hear the beginnings of the exploration of stranger soundscapes (electronic or otherwise) that would characterize the band as the decade progressed.

Speaking of ARCHGOAT...

Another Finnish founding father of unholy filth (you're welcome) would undoubtedly have to be ARCHGOAT. Formed in 1989, they were barely a whisper above the underground before they went on hiatus in 1993. Ever since reforming in 2004, they have been slowly building a fervent following, thanks in no small part to the tireless efforts of labels like Debemur Morti and Hells Headbangers.

I invite you to enjoy their debut EP, "Angelcunt (Tales of Desecration)". Released in 1993 (not long before the band disappeared), the black metal contained in these 14 minutes is not QUITE as primitive as one would expect. Does it just clobber you continuously for those 14 minutes? DUH. But there is some nice soloing in there, and an almost doom-metal feel at times. Honestly, it reminds me very much of Golgotha-era Incantation.

We will close out this installment with a band that was the first (and for many, still the best) Finland act that made themselves well-known on a worldwide scale...

France's Osmose Productions label, although continuing to spew forth black/death records from the underground, pretty much had a monopoly on BM bands in the early 1990s; bands that would go on to become classic artists from the genre's golden age. Immortal, Enslaved, Marduk and Absu are among the many bands that Osmose unleashed onto the world. (Other bands that have released albums on the label include Blasphemy, Thornspawn and Urgehal.)

So yes, we are going back to yet ANOTHER classic debut from the early 90s. This time it's IMPALED NAZARENE, with the mysteriously-titled "Tol Cormpt Zorz Norz Norz" (1992). (One metal site has it translated as "You Shall All Be Numbered Six Six Six," which is entirely possible.) And although they have enough "traditional" black metal elements to be labeled as such, they definitely made the sound their own. Their debut is this wonderfully chaotic clusterfuck of black metal, punk, and even some traditional hard rock passages. The band's confrontational, anti-everything, warped-sense-of-humor lyrical sensibilities were present from the get-go (song titles here include 'Impure Orgies,' 'Goat Perversion' and 'The Art of God (Symmetry of Penis).')

Thanks for reading. Hopefully the next break won't be nearly as long.

Jeff

Previous BMR can be found here.

After some troubles getting to Wermelskirchen because my mobile didn't have any internet and my car sat nav didn't tell me about the closed exit on the Autobahn (has Germany already more construction sites than citizens?) I arrived a little bit later than expected in Wermelkirchen but had a very nice trip through the wonderful nature of the Bergische Land. But I arrived just in time to get some merch and a very warm alcohol free beer – yummy!

I have never been to the AJZ and I have to say that it is a very nice location with a cool metal flair. Stickers and posters everywhere and the beverage prices are more than fair. The concert hall nevertheless is very small and that evening it was also very crowded. But that was no surprise with this cool thrash billing that Friday evening.

The concert started with Sphinx, a young band from the hometown of Sodom, Gelsenkirchen, who already released one album called Deathstroke. The three guys played some really old-school thrash metal in the style of very old Sodom (what a surprise, isn't it?), Destruction and Kreator (a nice mixture of all this). They did very cool stage acting and did a very convincing gig that evening. So let's see what the new album they are going to release later this year will bring.

Setlist Sphinx: 'Perish Alive' / 'Deathstroke' / 'Prohibitions' / 'Exterminator' / 'Pounding Death' / 'Virgin til Death' / 'Intruders' / 'Wojna' / 'Rising Tensions' / 'Massacre Of Distomo' / 'Ruthless Power' / 'Russen Amis' (Völkermord Cover) / 'T.A.T.E.T.S' / 'Deadly Speed'

After a short break Deathfist entered the stage. The three guys and one lady had quite a home match that evening because they originated from that area. So it was no surprise that they grabbed the audience by the balls and rocked the stage. Vocalist Corinna did a very good job with her high and aggressive vocals (the new Sabina Classen…) and guitarist Markus looked like Kerry Kings twin brother. Unfortunately they released their last (and only) album Too Hot To Burn 12 years ago but this really kicks ass. Stylistically they did a mix of Teutonic thrash which meets some Slayer and Venom – maybe this fits best as a description.

Setlist Deathfist: 'Demons' / 'Too Hot To Burn' / 'Deathfist' / 'Ruins' / 'Prey' / 'World Of Darkness' / 'Hell Is Here' / 'Beast' / 'Slay Her' / 'Killing Time' / 'Fallen Saint' (Exumer Cover) / 'Booze Brigade'

After this, the long awaited Protector gig took place. Before that though everybody had the chance to chat with the guys because they hung out with the audience the whole time before the concert started. No allures, they were very kind and very down-to-earth. Protector had a set-list which regarded each album (except The Heritage) but only included two tracks from the last killer album Excessive Outburst Of Depravity, namely 'Open Skies And Endless Seas' and 'Pandemic Mistery'. Martin, who wore his usual nail bracelets and battle vest, told a little story about each track and making jokes of his age ("The old man has to go back into the retirement home. My wheelchair is waiting outside for me."). Starting with 'Stillwell Avenue' from Summon The Hordes the German-Swedish collaboration (although Martin already lives in Sweden, too) kicked ass the around 90 minutes which were over far too soon. The quartet was in a very good mood and had pretty much fun on the stage and closed their gig with a medley of 'Calle Brutal' and 'Space Cake' just to come back for an encore (Let's hope that the wheelchair is waiting a little much longer for the guys and that they will continue releasing such great thrash grenades.

Setlist Protector: 'Stillwell Avenue' / 'Apocalyptic Revelations' / 'A Shredding Of Skin' / 'Agoraphobia' / 'Urm The Mad' / 'Open Skies And Endless Seas' / 'Misanthropy' / 'Golem' / 'Holy Inquisition' / 'Road Rage' / 'Pandemic Misery' / 'Kain And Abel' / 'Protector Of Death' / 'Kain And Abel' / 'Brutal + Space Cake'/ 'Retribution In Darkness'  / 'Holocaust'