Taneli Jarva from Sentenced and the guitarist from Belial join up with two other Finnish fiends to produce high-speed black metal/grindcore. Surprisingly some of it is profound although most consider this band an amusing commentator through the black metal scene.
Tol Cormpt Norz Norz Norz
Production: Pretty reasonable for an underground album but flat, nothing amazing.
This is the most compact and rigidly-executed black metal to come out of the Scandinavian region, with tighter, fascist structures developing concepts black metal band had built while contributing an angry, abstracted feel to the music, possibly derived from its nihilistic hardcore compositional leanings.
For the parts that are music and not introductory material, this album is blasting goodness in the simple punk-style cyclical verse-intro-chorus style with savagery in the guitar rhythms and the relentless drubbing of percussion. There are far too many intros and chanted parts and other black metal silliness but the music remains the most condensed impact of darkness from black metal at its time, mainly from its incessant, specific, compact rhythms.
1. Apolokia (0:34)
2. I Al Purg Vonpo (2:48)
3. My Blessing (the Beginning of the End) (0:10)
4. Apolokia II : Aikolopa 666 (0:45)
5. In the Name of Satan (0:21)
6. Impurex Orgies (3:22)
7. Goat Perversion (1:13)
8. The Forest (the Darkness) (3:26)
9. Mortification/Blood Red Razor Blade (1:10)
10. The God (Symmetry of Penis) (3:32)
11. Condemned to Hell (1:09)
12. The Dog (Art of Vagina) (1:07)
13. The Crucified (0:21)
14. Apolikia III : Agony (3:33)
15. Body-mind-soul (1:14)
16. Hoath : Darbs Lucifero (0:47)
17. Apolokia Finale XXVII A.S. (4:22)
18. Damnation (Raping the Angels)
21. Noisrevrep Taog
22. In the Name of Satan
23. Noisrevrep Eht Retfa
24. Damnation (Raping the Angels)
25. The Black Vomit
26. Nuctemeron of Necromanteion
27. Condemned to Hell
28. Impurity of Dawn
29. The Crucified
31. Morbid Fate
32. Ave Satanas !
33. In the Name of Satan
34. Fall to Fornication
35. Damnation (Raping the Angels)
Copyright © 1991 Osmose
Vocals are fast shouts or black metal vocals, showing their variation in various intros and quasi-songs. Misanthropy is the tone, and although this stuff is pretty predictable it maintains a melodic mode behind the battle strikes of its percussion. The melody, primarily carried by high-speed rhythmic lead playing, is impeccable in that it is so simple and direct that, like an Ebola virus, no evolution is necessary.
The novelty aside, this album deserves focus for its intensification of the brutally rhythmic and blasphemous aspects of black metal. A bacchanalia to the doomed inhabitants of a dying world, this rupturous belch from the pits of human despair aims to crush and will quite possibly succeed.
Production: Clear and full with the roar of bass.
Gods of blasting rudimentary black metal Impaled Nazarene return with a more complex sound that supports their apocalyptic mentality, as witnessed on this album's diatribe against the mercyful hippie neutrality of religions while our world is in the throes of our murder. And if the screeching goatvoice of this album cannot etch that in your mind nothing can.
Perhaps the most fascist-sounding black metal ever created, this music works by creating streams of melody which conquer various spaces of sound, causing them to be calibrated to the marchlike robotic percussion which drives the mechanistic and violent aspect of the music forward. Phrase sequencing and fundamental rhythms originate out of hardcore with an acceleration via black metal rage.
What gives it depth however is its willingness to add ranges of structure for intensity, and to use harmonizing melodies to create a consciousness of sensitivity and appreciation for existence similar to the compositions of Count Grishnack of Burzum. In all of its raging chaotic violence, this music is conceptualized for revelation of the secrets of darkness.
Although this is blasting, vile, heretical and obscene black metal in both its contents and the structures of its creation, this is also first class black metal art in its total commitment to the abyss and to the pessimism and destructive angst which that slow suicide march entails. Like Nietzsche, Impaled Nazarene have realized that humanity at its heart is indifferent to its future - and they are here to celebrate a justifiable homicide.
Suomi Finland Perkele
Relatively clear with some studio dimensions but no room ambience, still flat and somewhat reedy on the high-tuned guitars.
This is a faster style of the musical fascism that made Ugra-Karma beautiful balanced with a Venom-inspired slow heavy rock alternation that lends melancholy and fatalism to the album, which suffers from a lack of inspiration and direction found on previous albums.
"Suomi Finland Perkele" sounds like a side project album; all of the songs are blastingly halted, and are differentiated well, yet use very similar offhand ideas which are seemingly undesigned as a contiguous listening experience. Often riffs are rigid counterparts to a chanting rhythmic vocal, holding place and expectation like a rock band in an off-the-cuff motion. In that, and in its pentatonic structures, this album represents the meaningless dark rock side to black metal that merges psychedelic and gothic rock into a suicide cult of extreme receptive nihilism.
1. Intro (0:53)
2. Vitutuksen Multihuipennus (2:11)
3. Blood is Thicker Than Water (3:30)
4. Steelvagina (3:06)
5. Total War - Winter War (3:47)
6. Quasb/The Burning (4:07)
7. Kuolema Kaikille (Paitsi Meille) (0:50)
8. Let's Fucking Die (2:35)
9. Genocide (2:49)
10. Ghettoblaster (2:16)
11. The Oath of the Goat (4:03)
Copyright © 1995 Osmose
When blasting, the riffs are lazily dependent upon tonal expectancy through standard rock chord progressions, and when not, they are rambling minor-key waffling like Venom meets Lynyrd Skynyrd. But most commonly, the blasting occurs in staggered spurts of frustration - a form akin to the thunderous bounce-metal of Exhorder or the jarring offsets of Meshuggah - but executed with a less rock-like expectancy and more of a mechanistic, industrial delivery.
This album changes direction from the last release, being less straight-forward speed and provocation and more melodic and conventional song structure. Songwriting is not improficient and should be less boring with the advancements in style, but it loses the beauty of what Impaled Nazarene had, which was a real powerhouse of simple black metal emotion.
1. 66.6 S Of Foreplay
2. 1999: Karmakeddon Warriors
3. Violence I Crave
4. Bashing In Heads
6. Zum Kotzen
7. Alien Militant
8. Goat War
9. Punishment Is Absolute
10. When All Golden Turned To Shit
12. The Burning Of Provinciestraat
13. I Eat Pussy For Breakfast
14. Delirium Tremens
Latex Cult (Osmose, 1996)
The album praising plastic has raised its ugly fist in an ebullient punk-based work which casts aside black metal except in vocals in order to deliver its apocalyptic message of inner degeneration. Anthemic punk rock with periodic highlights of melody in the style of Discharge, this music bounds through two riff songs with 10-second motif transitions recalibrating their equilibrium for closure. Many will immediately note a resemblance to Finnish devolution punkers Terveet Kadet, yet there is a panopoly of influences here mixed into basic and expressively logical themes. There is no rocket science to it, but for the four songs which are excellent and reminder of energetic and angry music, this album is a worthy purchase for Impaled Nazarene or Terveet Kadet fans.
1. Penis Et Circes
2. 6th Degree Mindfuck
3. Iron Fist With An Iron Will
4. Angel Rectums Do Bleed
5. We're Satan's Generation
6. Goatvomit And Gasmasks
7. Fallout Theory In Practice
8. Healers Of The Red Plague
9. The Pillory
10. The Return Of The Nuclear Gods
14. Phallus Maleficarum
Rapture (Osmose, 1998)
Reigning in what was essentially a jaunt into their roots, Impaled Nazarene have combined their punkish explosive music with some of the subtler harmonizations and melodic techniques of black metal, producing a black hardcore album that rants a fury which has been unmatched by these crazed Finns since. While it is unacceptable in most black metal purist circles, and has clear influences from hardcore, grind, punk, oi and samba, "Rapture" goes for the throat and pounds out rhythmic sound emphasizing a fundamental schism with social thinking. Chalkboard abrasive howls and seething chant guide fast guitars and mostly unchanging pulse of basic drumming. Half of these songs seem somewhere between good and okay, and the rest are inspiring in their regenerative aggression. The last good album from Impaled Nazarene.
3. S/M Party
Motorpenis (Osmose, 1996)
This EP shows the band exploring its literal origins with covers of Gang Green, Terveet Kadet and Faff-Bey as well as two originals in an aggressive but boundingly energetic punk style. Songs are gruff, Motorheadish grinding music with softly melodic transitions which add emotional context to the transfer of raw kinesis imparted by these bouncing riffs, but overwhelmingly context sensu alienaiton. Amidst the rage and the resistance, this release expresses an emotional lust for the energy of life itself.
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