After leaving Dark Funeral, sometime in 1996, Blackmoon directed his efforts toward
recording the second Necrophobic album, Darkside. Following this, he was involved with the War project. He also put
together yet another band, recruiting former Dark Funeral vocalist, Themgoroth, and Impious (of In Aternum). In late 1998,
these three were joined by Matte Modin as they entered Dugout Studio to record their self-titled E.P. The recording would
then be completed at Abyss Studio, which was also the spawning ground of The Secrets of the Black Arts. The cover
art was taken from "Inferno" (The Divine Comedy) by Gustave Dore and the band makes specific mention, in the liner notes,
that no keyboards were used on this recording. That says a lot for the musical climate, at that time, as far too many bands
were emerging from all sides, hiding awful musicianship beneath a wall of synth. None of that is found here. What the listener
is exposed to, here, is what the Infernal call 'Satanic Holocaust Metal'. This is a very appropriate description.
"Requiem (The Coming of the Age of Satan)" erupts like a violent storm of dark and
malevolent forces, seeking to utterly destroy the frail human spirit as Blackmoon's nocturnal melodies are accompanied by
Themgoroth's absolutely demonic screams. The drumming is incredibly intense, yet very skilled. The guitar solo proves to be
another welcome addition to the music. This song is merciless in its approach, completely crushing everything in its path.
The sound is very similar to The Secrets of the Black Arts, yet even more violent and destructive. Despite its chaotic
fury, the riffs are actually very memorable. It is very obvious that this song was composed by no amateur.
"Wrath of the Infernal One" begins with more of Blackmoon's trademark riffs, creating
a cold and nocturnal aura. The lyrics are as blasphemous and evil as anything found on the early Dark Funeral material. About
halfway through, there is yet another lead solo, just to add to the dark atmosphere. This song has a barbaric pace, much like
the opener, yet the exceptional songwriting abilities possessed by Blackmoon are revealed here, as this is similar and yet
quite different from that song.
The next song is "Storms of Armageddon", bursting forth from the deepest abyss to take
your feeble human spirit into the darkness, only to be ripped to shreds and condemned to hellish torment. Mid-way through,
there is another brief solo that sounds reminiscent of something from an early Necrophobic album. The tremolo riffs that slither
through the chaos seem to take hold in the darkest recesses of your mind, haunting you long after the song has concluded.
"Under the Hellsign" is the final song, beginning with demonic screams from beyond.
This continues the frantic pace that has been established by this point. This E.P. would make a good soundtrack for a battle.
The cold tremolo riffs stand out amidst the hellish storm of blasting drums and Themgoroth's possessed vocals, sounding a
bit like old Mayhem. There is not much variation, from song to song, as the same fast pace dominates this recording, yet it
is impressive to see a band managing to accomplish the most within these limits, making sure that each song has an identity
of its own.
If you were disappointed with the direction taken by Dark Funeral, following the departure
of Blackmoon and Themgoroth, then you are encouraged to seek this out. What you will find here is violent and uncompromising
Swedish Black Metal.
(11 Feb. 2009)
Eight years have passed since the Metal world has heard from David "Blackmoon"
Parland or the band Infernal. Line-up problems caused the band to go on an indefinite hiatus, following the release of Summon Forth the Beast. By late 2008/early 2009, the inspiration to create was awakened
and Infernal rose from its crypt. Former Necrophobic member Martin Halfdan was recruited, as well as ex-Dissection/Infernal/Dark
Funeral drummer Tomas Asklund. Line-up problems, again, hindered the progress of this recording, but a new drummer was soon
found and the songs were re-recorded for a proposed 7" E.P. released by Goathorned Productions. Despite the setbacks, Infernal
pushed forward and The Infernal Return was released in May 2010.
with a brief intro, "The Darkside Calls". From the very first moments, Parland's trademark guitar style is easily recognized,
as the cold nocturnal riffs slowly rise from the depths of the abyss, like a fog over the darkened land.
The next song
is "Of the Seven Gates", which begins with the blasting drums and freezing cold tremolo riffs that one would expect from the
mastermind behind the early albums from Necrophobic and Dark Funeral. However, as the song progresses, there's an added dimension
as there are also some vicious Thrash. David's vocals contrast with those of Themgoroth, from the first Infernal E.P. His
style is deeper and more powerful, giving the song an old school Death Metal feeling. Later on, there's a great guitar solo
that is as impressive as it was unexpected. It is definitely a nice touch and helps bring the song to life. The speed then
picks up and yet another solo is unleashed. This one song really displays a decent amount of range, being quite dynamic and
haunting at the same time.
"Godforsaken (With Hate I Burn)" is the final song, beginning with a mid-paced riff and
featuring a brief yet epic solo, early on. Lyrically, this one conveys a dark feeling of solitude and doom. This track is
fairly straight-forward and a bit less dynamic than the previous one, yet no less memorable.
The Infernal Return gives a decent overview of Parland's musical past, with an added sense of maturity. The
only real complaint with this E.P. would have to be that it clocks in under ten minutes. With any luck, this will only be
a small taste of what is to come. It's limited to 500 copies, so I'd recommend for you to get this as soon as possible.
(2 May 2010)
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