My Top-10 Death Metal Albums Of All Time

It's time to my top-10 list of my personal favorite death metal albums ever! Just like the other two lists before this one, I'm just gonna choose one record for each band that will represent the best of that band specifically. Here goes...

#10: Bolt Thrower - The IVth Crusade (1992)

Bolt Thrower will start off this list with the last spot. There were many bands and albums battling for this spot, but I guess BT just had a great artillery at the end of the day. I really dig their made-for-combat death metal sound, even though it tends to get somewhat repetitive, but I just couldn't deny them a spot on this list. Choosing a favorite album of theirs was no easy task either. Ultimately I came to the conclusion that this one is one of their more varied albums, including some doom-y influences to make their sound even more heavy. Think like if Black Sabbath made death metal. Well, that's kind of it, I think. This album is just shit-heavy fucking death metal perfect for fighting!

#9: Amon Amarth - Twilight Of The Thunder God (2008)

One of the "newer" (still old, actually, just a late bloomer) Swedish DM bands that has really become one of Sweden's biggest bands of the past ten years, Amon Amarth is a very nice and heavy answer on Sweden's Gothenburg death metal sound. While I never was quite a fan of Gothenburg bands like At The Gates or Dark Tranquility, AA really is something else. It's like they combine the Gothenburg melodies with the heavy approach of the Stockholm scene, which I really like. There is no other record in their discography that I think does this better than this one. This is an almost flawless metal album with many great songs that surely will get you headbanging. The band also manages something on this album, that I probably have to admit that no other death metal band ever has managed, and that is the inclusion of the closing-track "Embrace Of The Endless Ocean". I truly believe that it might be the most epic and amazing death metal song ever recorded.

#8: Carnage - Dark Recollections (1990)

Pretty much a hybrid record combining the sound of early Dismember and of what Carcass would become very soon. Featuring three members of Dismember as well as band founder and future Carcass and Arch Enemy, guitarist Mike Amott, this album is essentially a Dismember record with a strong Carcass '89-'91 era influence. Many of the songs even are old Dismember tunes that appeared on their demo-tapes back in the late 80's, and the sound is very obvious. This album also makes use of the legendary buzz-saw guitar sound that Dismember had used, but as Entombed had just put out "Left Hand Path" short before this one, that one got all the credit. Carnage eventually went on pretty unnoticed, as the band had already split-up by this album's release, due to Mike Amott joining Carcass (well fitting, though). The other guys quickly reformed Dismember and the rest is (great) history. But this album still is here, having caught the attention of death metal enthusiasts like me, and it's a damn good record. While the band splitting up paved the way for two of the best outcomes ever, it would've been fun to hear what else they could've put out.

#7: Unleashed - Odalheim (2012)

These Swedes were the first and true death metal vikings. Any fan of Amon Amarth should really give these guys some fucking cred - they're the old school, real deal kind of band. This is also really the only death metal band, at least in Sweden, that really manages to put out even greater records nowadays, than they did back in the death metal heydays. That's saying a lot. The only other band could possibly be Grave, but I'm not sure. At least no other Swedish DM band manages it. Unleashed has just gotten better with each album released in the last, like, twenty years. This album is my favorite of theirs, and their most recent one! That is not a bad achievement!

#6: Benediction - Transcend The Rubicon (1993)

A band whose sound is pretty similar to Bolt Thrower, but with more variety (though BT has made more records of great quality than Benediction has), this album is a raw, high-energy output. It's got some great riffing that fucking rips you apart. They do kind of a melodic yet raw approach to their riffing style, with some pissed-off drumming accompanied to it. The bass is also audible, even if not really as forthcoming as the other instruments. It's a well-balanced album and the songs are essentially very riff-oriented. I usually put this one on when I feel like doing some angry death metal air guitar.

#5: Carcass - Heartwork (1993)

Without a doubt Carcass' most melodic release, to my ears at least. This might come as an obvious choice, but hey, it's a fucking great record. This is very the band truly hit the spot-on button in the studio. I really like how this album is like death metal discretely flirting with stoner metal, really bringing forth a heavy-oriented side while maintaining the brutality and melody from their earlier death metal albums. I also really dig the production on this album. It's so clear yet raw and heavy, just a perfect balance and every instrument is audible and clear - rare for a death metal record. Just a masterpiece, nothing less.

#4: Entombed - Left Hand Path (1990)

My introduction to death metal. I remember putting this record on and instantly being blown-away during the opening. It was just so crushing and brutal, so spot-on what I needed to discover at the time. This is the first official release with the legendary Swedish buzz-saw guitar sound, and damn if I didn't cum my pants when I first heard it. Just is just some pure, hardcore-punky death metal that will crush your spine and neck because you will headbang too hard. It was a perfect introduction to the genre.

#3: Nocturnus - The Key (1990)

This is one of the most interesting metal records ever made, as well as pioneering. From what I've heard, this album, or band at least, is the first death metal band to make heavy use of keyboards in their music, and the result is phenomenal! This is very much a typical Tampa death style, very Morbid Angel (even containing former MA drummer/vocalist Mike Browning), records with great, atmospheric keyboard intros and supports throughout. The songs are great as a whole, too. The only thing really lacking with this album would be the somewhat primitive drumming. The bass drumming is rarely real solid, but I guess that's because they recorded it all live on tape, with Mike Browning being a little distracted while singing at the same time as drumming. I don't know. But nonetheless, this album is fucking killer! The best out of the American Tampa scene.

#2:  Septic Flesh - Mystic Places Of Dawn (1994)

This is an album that I discovered many years after I first ventured into death metal, but I'd be damned if it didn't struck me down with its huge, epic, melodic, and Gothic atmospheric sound. It's 99.9 % perfection here, the only slight miss being the use of a drum-machine. But it's one of the best-working (most acceptable) ones I've heard accompanied to the music it's serving. These Greek guys really know what they're doing on this album. An overseen masterpiece!

#1: Dismember - Like An Ever Flowing Stream (1991)

This one is the true one, my one true love of death metal. No other record of the genre, and not many other records in music overall, have meant as much to me as this one does. This one is like one sexy chick - it's got that fat, Swedish Sunlight Studios production, with them fat buzz-saw guitars (my favorite guitar sound ever), live-like drumming, and neat fucking riffs. On top of that is some creamy, melodic guitar soloing, which I just love. The album cover really suits the music perfectly as well. It's just as sexy as the music it's containing is. An immortal classic. One of my most precious records in my collection.

Review: Face Down - The Twisted Rule The Wicked (1998)

Two years after the smashing debut album "Mindfield" was released via Roadrunner Records, Swedish post-thrash/death metal act Face Down released its second album in early 1998, entitled "The Twisted Rule The Wicked". Some things had changed during those two years - a few line-up changes, a label change, and probably a whole lot more. We get to understand this as my first expression is that these guys seemed to be really pissed off during this period - at probably pretty much everything and everyone.

While "Mindfield" was rooted in a slower kind of pissed off 90's metal, like bands such as early Machine Head, Pantera, Fear Factory, or fellow swedes B-Thong and Misery Loves Company, this one has certainly geared up a few levels. It's overall more brutal in terms of speed, aggression and riffing, coming closer to the death metal aggression of bands such as Dismember and Entombed rather than Machine Head. The album's production also proves this, as it's an overall rawer and dirtier sound this time around.
 The album was originally recorded with Thomas Skogsberg who did all the legendary Swedish death metal albums in the 90's, but the band's new label Nuclear Blast apparently didn't approve of the final product. The band therefore re-recorded almost the whole album with "Mindfield" producer Daniel Bergstrand instead. There are still three tunes recorded with Skogsberg present here, and you can clearly hear in the industrial "Top Of The World" that it has a sound similar to Dismember's "Death Metal" album, which was released the previous year, whilst the other tracks sound groovier and cleaner.

The album's twelve songs still have the same kind of arrangements and patterns that Face Down presented on their debut, with no guitar solos present apart from in "Cleansweep". Although the album also is different in some ways to "Mindfield", the songs still feel very much like Face Down. The lyrical themes deal with the same kind of subjects as well.

The line-up changes have improved, however, with then new drummer Peter Stjärnvind (who would soon leave to replace Nicke Andersson in Entombed) definitely being a step up. Compared to the band's old drummer Richard Bång, Peter plays in a similar style but with more intensity and aggression, while he also plays very precisely. Henrik Blomquist who did "audio warfare" (simply just sampling) is gone, but we still get some movie samples this time around as well. The band also had some guest musician doing keyboards on "Mindfield", but those are long gone on this record. It's clear that the band aimed for an angrier and rawer sound, which to my disappointment leaves out much of the atmosphere and musical depth Face Down got into their music before. There are no tunes that sound like "Hatred" or "Holy Rage" from the debut here, and I really dug that shit.

My conclusion is that this album ultimately is a somewhat stripped-down, angrier and more brutal album than its predecessor. It's a really solid collection of headbangers, moshers and fighting themes present here, but it tends to get somewhat repetitive in the long run. I really miss the variety in songs and track-list layout of "Mindfield" here, as it's a much more dynamic listening experience than this one. However, if you are really pissed off, fighting some douchebag, or if your girlfriend left you and your reaction is anger rather than depression and Type O Negative, then this album is very much suitable for you.

Stand-outs: Self-Appointed God, Waste, Bed Of Roaches, Cleansweep.

Rating: 78/100

Debut gig: Into The Pentagram

Last saturday, May 31, we did our very first gig as Into The Pentagram, and that was a lot of fun! We have been rehearsing intensely for the past few weeks in preparation for this gig and other upcoming. The band is still officially only Daniel and I, but we got some helping out from our buddies Oscar (bass) and Kristoffer (vocals) so we were able to perform. Daniel did the guitars of course, and I handled all the drumming as well as some vocals. Thanx to all friends and randoms that came out and banged their heads with us!

Oscar (bass), Kristoffer (vocals), Daniel (guitar), and I (drums, vocals)

We played ITP material as well as a few Deva "classics" and two covers. The set-list was:

1. Lucifer Rises

2. The Ritual

3. Mental Destruction [Devastation (Swe) cover]

4. Malfeitor [Watain cover]

5. Necromancing In Transylvania [new song]

6. Death Row [Devastation (Swe) cover]

7. The Oath [Mercyful Fate cover]

8. Black Riders In The Realm Of Death [new song]

9. Into The Pentagram

Band interview: Into The Pentagram

My band Into The Pentagram, formerly known as Devastation but recently disbanded/renamed, was featured in one of Borås' local papers some days ago. We, or I more precisely, were interviewed and questioned about our debut demo, the name change, and other stuff. The thing was also more like a reportage on us and a review of our demo. I've translated the interview and review parts, which are in Swedish, to English. Be sure to read it and check us out!

//Jackie

The interview.....

BT: Hello Jackie, how are you today?

Jackie: I'm good, thanks.

BT: Tell us: You guys recently went through some major changes, most notably losing yet another member, changing your name, and releasing a brand new demo. How come that all this happened in such short time?

Jackie: Well, to be quite honest with you, losing Amanda [Holm, ex-lead singer] was something that was coming for a long time. We weren't exactly the most lucky bunch for the last five years. When Stefan [Abramsson, ex-bassist and founding member] left us in the summer of 2009, which made Linus [Bischoff Hansen, ex-lead singer] leave with him as well, things really started to crumble down on everything that was Devastation. Daniel [Carlzon, lead guitarist and founding member] and I [Jackie Wacklin, drums, growler and founding member] were in a bad place.

Losing half our band and friends, much because of studies [to attend to], left us unable to rehearse properly, and totally disabled to do gigs. We lost our motivation, to be honest. We tried out my pal Henke [Karlenström, ex-rhythm guitarist and bassist], but he was nowhere ready to commit to something like our band. He probably went in and out of the band like five times, because we kept firing him only to be desperate and bring him back in again. That left ourselves even more unjustified. Amanda came into the band around the summer of 2011. She steered up things a bit, especially with Daniel and I, like a band mother, but she had no success with Henke who hated her for some reason. We hated it as well, but I guess we needed that right there and then *laughs*....

BT: How did Amanda exit the band? Did she leave you or did you guys fire her?

Jackie: With all that happened during these years, Daniel and I just got too fed up with everything. We always wanted to play, and sometimes we really tried to put our hearts into it, and sometimes we barely even tried to. I think Amanda got real tired of it, even though she stayed with us. She was a nice and cool person, but maybe the chemistry between her and us wasn't the perfect match, either. I think, at the end of the day, that we really wanted to do different things musically. Things simply ran out in the sand with Amanda. The band just ended, we stopped playing. She never quit, we never fired her, it was nothing mutual - we just stopped and lost contact. It was over.

BT: Was that for the whole band or just the relationship with Amanda?

Jackie: It was mostly with Amanda, but the band was like a dead horse, and we spent our last energy to keep beating on it. However, we eventually, finally, gave up Devastation, as we all know now.

BT: Was it emotionally hard to split-up Devastation?

Jackie: Yeah, it was hard. Devastation was ten years of our lives. It was our whole youth... We started when we were thirteen. We had the band through our whole teens and our young adulthood. But on the other hand, it was for the better. We needed a fresh start for years. We needed a new name, new guys, new directions. With Devastation, all we did was to keep carrying all the old shit and grief with us, which made everything new turn out bad eventually as well. In the end, we stood there with all shit and no good.

BT: How did it come that you renamed the band "Into The Pentagram"?

Jackie: We simply needed to refresh the band as a whole. Besides, there are too many bands out there which are or have been called Devastation since a long time back. There is in fact a well-known American thrash band called Devastation, and I actually asked their singer Rodney if it was okey if we used the name. This was around 2006.

In 2011, Daniel and I started listening to Samael, who made a very nice tune called "Into The Pentagram". We got very much into them and the whole black metal scene. We already tried to rename Deva in 2012, suggesting I.T.P. as the new name, but Amanda disagreed with us. She wanted us to be called Harlee Quinn, I think? We never got around to change the name because of the disagreements, however.

BT: So the name doesn't have any other meaning for you, besides being a song you guys like?

Jackie: Yes, it actually does! Daniel and I always were very interested in religious and philosophic themes. Around 2005 or '06 we started exploring satanism and listened to bands with dark lyrical themes. Long story short, we always explored in this kind of stuff. I even made a brief stint as a confused protestant-christian/jew a few years back in a time of need, before feeling robbed of all my self-esteem and power. I felt so hopeless, weak and humiliated, praying and obeying to someone who didn't answer or helped me. I actually got back on my feet because of satanism. It gave me my power back and gained me self-confidence as I dared to believe in myself and me only.

I realized: praying and obeying to someone fictitious ain't gonna help me. Through serving and worshiping myself, as my own God, I will help myself to gain power and reach my goals, and it worked. I give myself strength to work so I can pay my bills, for instance. God doesn't give me that strength or those qualities in life, I do. Into The Pentagram is about exploring the dark(er) sides of religion and philosophy, and that is what we started doing a few years back. As we have new lyrical themes about these ventures, it was even more appropriate to change the name to something relevant. We are going - into the pentagram, that is what we're about.

BT: That's an interesting concept and arguments on your side, but how does the society view you with your satanic views? There must be people who oppose you and your music?

Jackie: I could care less what the society thinks of me, or us. People does not agree or like it overall, no, but I think the general population are naive. They live their nine-to-five life, with a nice family and a dog in a nice house and think everything's so good and safe. People doesn't see the reality of things, they take too much for granted, or ignore things they fear to speak or do something about for the most ridiculous reasons. Many people are too brainwashed and weak, as well. If something bad happens to them or a loved one of theirs, they instantly starts praying to some God for mercy, saving, or luck.

I hate that, how religion has robbed people of their self-esteem to be strong in themselves. They rely on something they don't know if it even exists. People say satanism is a bad thing, but it wants you to be strong and superior in yourself. To me, that is a very good thing. I guess powerful people like politicians, kings, and so on created religions to brainwash and make people weak(er) on purpose, so that they would more easily have control of everything and everyone under their rule.

BT: Can you tell me about your new demo, which is just called... "Into The Pentagram"?

Jackie: That is the title of our new demo, yes. We wanted it simple and classic. There are three new songs, all of which follow a concept of how Lucifer rises after he fell down to hell and now gains his followers into his empire. The concept will be continued on future releases. We pressed it in cassette-tapes for the old school feel, like a tribute to the tape-trading in the late 80's.

BT: Cassette-tape is certainly an odd way of releasing material today. How many copies did you make and how do you sell them? Will you release it digitally?

Jackie: It's probably quite unusual today, but that's exactly why it's so much more fun to do it like that! Everyone's doing it the digital way, which is impersonal and boring, and some are still doing CD which is also pretty boring. I like vinyls myself, but that's also quite usual right now, for the better though. There are many who do it, but we wanted to be a little more extreme, and therefore cassette-tapes was the choice to go.

We made a hundred copies and they're not for sale. We only distribute them to people who are worthy of a copy, which mostly is our friends and local fans. We do not have that many copies left, and we will never press it again for rarity reasons. As far as releasing it digitally goes, I don't know. We did that with Devastation and we got no response. If you do physical copies, you get lots of response, which obviously is way more fun and rewarding for us as the creators. No digital releases now, but time will tell. We'll probably put it on CD in the future, though.

BT: We're in for the last question now, Jackie. I would like you to tell us some musical influences of yours.

Jackie: As a band I'd say our biggest influences, these days, are bands like Samael, Watain, Dismember, Entombed, Danzig, Type O Negative, Septic Flesh, Bathory, Mercyful Fate, Nocturnus, Rotting Christ, Vader, Darkthrone, Unleashed, Slayer, and many others. We've always been very open-mined and listen to pretty much all kinds of music. Personally I'm very much into heavy metal of the 1980's, like Judas Priest, Iron Maiden, Ozzy Osbourne, and so on. Daniel's kind of more into 1990's alternative bands like Tool, Rollins Band, and so on. We like the same music, mostly. We're very much alike, both musically and personally. It's all good.

BT: Thanks for this time, Jackie. Good luck with Into The Pentagram and hopefully we'll chat soon enough again! Any last words?

Jackie: Yeah, thanks. Ehm... A big thanks to our supporters throughout the years. Hope you see you all soon! Later!



The demo review.....

"Into The Pentagram", cassette-tape. Score: 4/5


BT: Into The Pentagram have made their debut with their self-titled cassette-tape demo. Yes, you read that right. Formerly known as our local heroes Devastation, founding members Daniel Carlzon and Jackie Wacklin have started fresh and done a very dark and gritty concept story about the fall of Lucifer, and his rise to reign with a strong army of followers of the pentagram. An unusual theme for the everyday man perhaps, but for these guys it is the daily way of living life. Personally referring to themselves as Luciferians, these young men are very critical of both the usual religions as well as our political system.

Calling themselves Into The Pentagram, the band has chosen a new path in life and beliefs, which you can clearly hear compared to the old Devastation demos. Once more of a heavy-thrash metal act, the band now plays music more in the vein of Watain, Dismember and Rotting Christ. The music is very heavy, like it always was under their pens, but very aggressive, fast and dark compared to their old sound. This music is sure to please fans of more extreme metal music, but maybe not so many others.

We get three lengthy tracks that span for around seventeen minutes and varies some in composition. The first track "Lucifer Rises" is very aggressive and dramatic with a lot of dark atmospheres that is sure to get metal fans going. They follow it with "The Ritual" which seems to have taken inspiration from Watain's song "Outlaw", with tribal sounds and brutality. The self-titled ending epic piece sounds like the composition for a mass grave with a very strong riffing melody throughout, and a calm, dramatic lengthy outro to show man's march into the pentagram.

The demo sound is raw but still well balanced and clear. The guys play all instruments and do it really well. I could have liked some more variety and not so much of the extreme parts, but that will be my only complaint in this review. I'm looking forward to see what comes next from Into The Pentagram, and I'm sure that good things finally are ahead of them. Their flame is certainly burning once more.



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Overall I must say that it felt pretty strange to be interview about all this. An ended chapter of my life, as well as the opening of a new one. I still miss Devastation, but I'm really too stoked about Into The Pentagram to care that much. See you all soon! //Jackie

Dismember - A Swedish Death Metal Story

Dismember were a Swedish death metal band, quite a legendary in the genre as well. When death metal fans speak of Swedish death metal, which usually is considered split-up on two different scenes - the Gothenburg scene / sound, and the Stockholm scene. Dismember were from Stockholm and formed in 1988. Unfortunately, they called it quits in late 2011, before I ever had the chance to see them live. Or chance or chance, as I am Swedish, I guess there were at least a couple of occasions where I could've attended, but I probably didn't have the cash, ride or whatever just then. It fucking sucks, big time.

Dismember around 1991-1993, the "classic" line-up, from left to right ...

Matti Kärki - Vocals
Richard Cabeza - Bass
Fred Estby - Drums
David Blomqvist - Lead guitar
Robert Sennebäck - Rhythm guitar

Beginning as teenagers in the rising death metal underground scene during the late 80's, Dismember were along with Nihilist and the grindcore act Carnage, some bands to form the Swedish sound of death metal, particularly the Stockholm sound with its trademark buzzsaw guitar sound and heavy approach, rather than the ultra-melodic Gothenburg scene. After a couple of well-known demo tapes each in the tape-trading universe, both Dismember and Nihilist split-up in 1989. Nihilist's split was done because they had fired their bass player, Johnny Hedlund, who would form another important band in Unleashed. David Blomqvist was briefly a member in Entombed, being credited as the bass player on the band's last demo before their debut, though he didn't really play on it. Later on he, along with Fred Estby, would join Carnage with future Carcass and Arch Enemy guitarist and leader Michael Amott. They did one album which was released in 1990 called "Dark Recollections". While the album didn't achieve too much attention, maybe because the band broke up before it was released, and being in the shadow of Entombed's legendary and groundbreaking "Left Hand Path", it has gone on to have a cult following of dedicated fans of Swedish death metal.

After Carnage split, David and Fred, along with Carnage growler Matti Kärki, reformed Dismember and released their last demo tape in 1990. In 1991, the now full band recorded and released its legendary debut album "Like An Ever Flowing Stream" (due to a misspelling error, there are different versions with "Ever Flowing" being written as one word, as well as having a bar in between, as without). The album would go on to create debates whether it was Entombed or Dismember who "ripped off" the other, particularly the guitar sound. It would also gain media attention for the song "Skin Her Alive" in England, where the errand was even brought into court. There the band's music was called "indecent and obscene".

In 1992 the band released their debut EP in "Pieces", a release which saw a very raw sound with very much distortion, as well as a graphic cover art showing the band's beheaded heads tied together in their hair, making the same shape as that of a pentagram. It was successful and also included "Soon To Be Dead" from the debut album, which had been granted a music video. In November and December, the band went back into the legendary Sunlight Studios to record their second LP. This time around they used their media attention and decided to name the album "Indecent & Obscene", which was released in 1993. The album brought yet another graphic cover of a man's body whose stomach has been ripped open, and on top of all bloody intestines lies a Dismember belt-buckle. The album was another great success for the band and produced a video with the song "Dreaming In Red" that received heavy rotation on MTV's Headbanger's Ball. The band went on a worldwide tour in support of the album.

In 1994 the band began work on their third album. As time had passed on, things had changed in the death metal scene, particularly the Swedish "commercial" scene. Entombed, always being the kings, had in 1993 released their third album "Wolverine Blues" which had changed in style. The speed was gone and instead the the music was more swinging, yet very heavy. That album would create what fans call "Death 'n' Roll", which path Entombed has pretty much continued on since. With it turning into a hit album, for the death metal genre at least, Dismember's record label Nuclear Blast wanted Dismember to walk the same path - make a commercial record.

Dismember released another EP called "Casket Garden", which was the new album's lead single. It was granted a video and became a minor hit as well. The album, 1995's "Massive Killing Capacity", saw Dismember walking very much in the same direction as Entombed had done two years earlier. If there were any debates in the early days about who ripped off who, this was certainly not a good proof in favor for Dismember. The album was well-received, though reactions were mixed amongst the fans, just as it had been with Entombed and "Wolverine Blues". Sound-wise, Dismember kept its new direction more true in sound to their older material, with the riffs being clearly trademark Dismember riffs, and mostly the tempo / drums being the big change.

In 1997 the band would return to its original death metal sound, releasing an EP called "Misanthropic", whose title-track would act as the lead single for the new, fourth full-length album simply called "Death Metal". Nuclear Blast did not like the decision to go back to the old sound, even if it was now more melodic than before, taking large influences from the Gothenburg sound. The band also saw a new big change in the band with rhythm guitarist Robert Sennebäck leaving, apparently to be more with his family. The bands new tour in support of the album also wasn't very successful, with Nuclear Blast pretty much doing nothing to promote it nor the album. With many things suddenly going down the shitter, and death metal overall losing its popularity, bassist Richard Cabeza ultimately gets tired of the whole business and leaves in 1998. Now having lost two original band members, the remaining guys lay low for a while.

In 2000 the band returns, with a vengeance. The band have now recruited new guitarist Magnus Sahlgren as well as hired Sharlee D'Angelo as a studio musician, for their new album. Being pist of at Nuclear Blast and wanting nothing but their contract to end, they release their last record for that label, which they in tribute to the label name "Hate Campaign". Failing to create much fuzz around it, as well as getting mixed opinions amongst the fans, the album isn't a great success and the band finally gets dropped by the label. The band keeps touring and recording material for what will eventually be their debut live release, a concert DVD entitled "Live Blasphemies", released in 2004.

Over the years from the band's last album to the live DVD, some things have changed in the band again. Magnus Sahlgren has been replaced with new guitarist Martin Persson, who splits the lead duties with original guitarist David Blomqvist. Richard Cabeza has also returned as the bass player for the band. The band having signed a new record deal with Karmageddon Media, release their returning album in 2004 as well. The new album, entitled "Where Ironcrosses Grow" is a return to the band's quality song-writing and the album is acclaimed by the fans. However, things are soon to change once again. With bassist Richard Cabeza being married to an American woman, Swedish immigration won't let her stay and distance issues start to occur. The band ultimately has no choice but to replace him, adding Johan Bergebäck to the line-up, however, he leaves the following year.

Without a bass player, the band starts working on their next album in 2005. David Blomqvist and Martin Persson handle the bass guitar duties for the album. In 2006, the band's new album "The God That Never Was" is released, to critical as well as fan acclaim. The album continues to grow from where the last album left off, taking up more high speeds and brutal influences, and ultimately becoming the bands most furious work. In preparation for the tour, the band adds new bass player Tobias Cristiansson to the ranks and the band goes out on tour. In 2007, a new big change awaits the band as original member and drummer Fred Estby decides to leave the band, so that he can be spending more time with his family instead. The band replace him with Thomas Daun, whose drumming is somewhat tighter and more strict than Fred's trademark free-drumming.

In 2008 the band announce their upcoming eighth full-length album, which is unnamed, or simply called "Dismember" / self-titled. The album drops some of the speed and aggression from the last album in favor of more melody and the album is yet another well-received release. The album's production duties are also handled by Entombed's then bassist (now current guitarist) Nico Elgstrand. The band goes out on another worldwide tour with lots of festival appearances. In 2009 they also release their second live DVD called "Under Blood Red Skies". The DVD includes a concert where they play "Like An Ever Flowing Stream" in its entirely, as well as a bunch of other songs.

After 2010, not much is heard from the band and its activities. With fans worldwide lunging for a new album, the only thing that is delivered is an official statement in October 2011 by bassist Tobias Cristiansson ... "After 23 years, Dismember have now decided to quit. We wish to thank all our fans for your support." And so there was the end of Dismember, a band that helped pave the way as well as create the Swedish death metal scene and sound. While they weren't the biggest death metal export out of Sweden, they sure were the second or third largest.

 

Dismember's last line-up in 2008, left to right ...

Tobias Cristiansson - Bass

Thomas Daun - Drums

Matti Kärki - Vocals

Martin Persson - Guitar

David Blomqvist - Guitar

Dismember to me has meant a lot. I started listening to death metal in 2007, and while that maybe ain't that long ago, those six years feel like a pretty long time for me. I have grown from a horny teenager to a ... horny dude. No but seriously, a lot has happened during that time, many things and phases in music to go through, pretty much a new one per year. 2007 certainly was my "death metal year", where I discovered all the bands and started listening, loving the music. While I never stopped listening to this music, it sure got somewhat in the shadow of the other styles I discovered, and as I said, the phases I went through. I was reading in some number of the Sweden Rock Magazine, I think it was in 2005 already, and Fred Estby was talking about their new album "The God That Never Was". There was also a conclusion of all their albums, with ratings of each one and some comments, so I checked that out and so one. Then what started it all was a history lesson, "the hard rock history, year 1990" I believe. They talked about how the Swedish death metal was commercially set free that year with Entombed's "Left Hand Path", which also became the first death metal album I bought. During the same time, I also discovered Dismember (I loved their logo!) as well as Unleashed, and I like Dismember the best out of all death metal bands on earth. I became somewhat of a freak about Dismember, I really listened to them a lot! I'm just very thankful for the great music they put out during their career, and I was saddened to see them quit so soon, but at least they did it with a good last album.

Thank you Dismember, for truly opening up my heart to death metal, literally change my life, and giving me countless hours of great music listening!

Death Metal inspired photo session

My homeboy Big D(ee) and I were out yesterday and took some photos around the city. In 2007 we had a massive year of death metal wankery, and this year it's come back. For how long, I don't know, however. But we decided to do something about it while it's "in action", so to speak, so here are a couple of photos I think turned out quite nice.

Also to state is that we pretty much "exclusively" listen to our kinsmen's brand of death metal, particularly the Stockholm death metal sound. We are also in the works for a tribute video to our favorite band of the genre - Dismember.

Here are the results, some melancholic, with varying weather of both snow and rain.

This one is just us doing a classic and cheesy death metal pose with our hair covering our faces.

 This is I at place where we took "death metal photos" in 2007.

Daniel outside of one of our two main / biggest churches.

Me outside the same.

 The graffiti says "Döden föder", which is Swedish for "the Death gives birth".

Me with the same graffiti.

Daniel at the other church of our two main ones.

And of course I, outside the same one.

Another cheesy and classic death metal pose, here with Mr. Slaughter Lord Rabbit.

 

And finally Mr. Slaughter Lord Rabbit and I rolling together.

My favorite drummers (hard rock / metal)

I thought I should share my personal favorite drummers as well as biggest influences. I'm a drummer myself so this is based on personal influence. I'm not a fan of today's drummers. I don't know if it's all the pro-tools and so on, or if they really just are that secure. I hate machine-drummers! What's the point of having a drummer, instead of a simple drum machine that doesn't cost any members' fees, if he just sounds like a machine? That is beyond me! Way too many drummers today seem to focus on skill, perfection and speed, while competing with every other drummer in the world about who is the best. This to me has made drumming today really soulless, uninspired and plain boring. "Yeah, cool dude you can play like a machine" but it sounds fucking stiff, boring and soulless. One thing I can say is to all the Lars Ulrich haters and trolls: at least he's real.

I'm kinda into a lot of death metal at the moment, and it's the old school stuff. Mainly the Swedish scene at the moment and the Stockholm sound (never were a big fan of the ultra-melodic Gothenburg sound nor its bands). I don't think there's a guitar sound that I like more than the buzzsaw sound Dismember, Entombed / Nihilist, Carnage and Grave had. One thing I also like is the drumming! It's kick-ass, raw, and very alive! Not like a fucking machine! It's sounds like a human who is solid-as-rock yet has got very much heart in it. If I listen to for instance Vader today (a buddy of mine really likes them and is trying to hook me into them as well), I just can't stand 'em for more than a few tunes - the drumming sounds so fucking dead. It's just pure drum-wankery. I generally hate blast-beats because of modern drummers, but I do like blast-beats in Carcass, for instance. Why? It simply sounds good, dynamic.

So after preaching my bullshit here, and I don't say any drummers of today are bad. Obviously they have a lot of skill, but they forgot to put any heart into it. So here are some of my favorite drummers of all time:

Gene Hoglan - Before you start: I know he's the "atomic clock" and all, but back in the day when he bashed skins in Dark Angel, he sounded like a fucking tank in-battle on the drums, making Dave Lombardo on "Reign In Blood" sound like just another soldier rather than a general.

Fred Estby - A death metal legend, drummer and song-writer from the Swedish legends Dismember, my favorite death metal band. I'm glad this guy never played guitar in that band, because his drumming is so kick-ass it makes me headbang and air-drum like a maniac!

Nicke Andersson - Another Swedish legend, both in death metal and hard rock / rock 'n' roll music. To me he's the old Entombed drummer, to others he's the main man in the Hellacopters. He didn't kick ass on drums in that band, however, in Entombed he certainly did. Like Fred Estby, a very alive drummer. Entombed's first two albums show great extreme metal drumming.

Ken Owen - The drummer from U.K. legends Carcass. This guy was drumming grindcore and death metal in their beginnings and is in that way a pioneer. Too bad drummers after him didn't follow his feel when doing blast-beats. It's really sad that the guy can't play no more. Let's hope he gets better and some day will drum again.

Chuck Biscuits - Probably my very favorite drummer at the moment. The guy is mostly known for his time with Danzig, but also punk acts like D.O.A. He has one of the smallest drum kits in heavy metal music, particularly for that time. Yet he sounded bigger than any one else. Like an animal behind the kit, he is what drumming is about, at least to me.