Bathory – Discography (1983 – 2006, 19 CDs) + DVD

Bathory - the most mysterious and legendary metal band. Their influence on black metal and viking metal indescribable, the number of followers, imitators and admirers are not amenable to the account. The history of this Swedish project is shrouded in so many myths and legends that it is now difficult to separate truth from fiction. One thing not in doubt - this is one of the greatest events in modern music.
This group is the handiwork of only one person on behalf of Quorthon.

The band's name is taken from the infamous Hungarian countess, Elizabeth Báthory.
Bathory was formed in Stockholm in 1983 by the 17 year old Quorthon. After various names and numerous line-up changes, the group finally settled on Bathory. Their first recording deal came that same year, when Quorthon managed to secure the consent of Tyfon Grammofon's boss, who was the main man's father, to record two tracks for the compilation Scandinavian Metal Attack. The tracks which he recorded gained unexpected attention by fans.
Soon afterward, Tyfon Grammofon contacted Quorthon and asked him to record a full-length album.

Although Venom's Black Metal (1982) was the first record to coin the term, it was Bathory's early albums, featuring Satanic lyrics, low-fi production and an inhuman vocal style, that defined the genre. Many fans have speculated that Venom was an influence on Bathory; however Quorthon has said in an 1985 interview with Kick Ass magazine that he only heard Venom after the first Bathory album was released. He also expressed his dislike of bands such as Iron Maiden and Judas Priest.
He has also stated the band's early work was influenced primarily by Black Sabbath, Motörhead, Discharge, G.B.H. and The Exploited.
Bathory's self-titled debut, and the subsequent releases, The Return and Under the Sign of the Black Mark, are now regarded as major influences on the Norwegian bands which extended black metal's musical progression and popularity in the beginning of the 1990s.

The first signs of what was to follow appeared on what some fans consider to be Bathory's best album Blood Fire Death, on which some of the tracks the pace had slowed down to allow for a more epic songwriting approach. It was also here that the Viking theme was introduced. Most of the musical elements of black metal were still present however. It was with the release of Hammerheart that Bathory surprised many of its fans.
The style had now drastically changed towards less aggressive, more epic and atmospheric music; the lyrics dealt with themes about Vikings and Norse mythology. Bathory had become pioneers in yet another genre within the world of extreme music - that of Viking metal.The style of Hammerheart was further demonstrated on the subsequent Twilight of the Gods and Blood on Ice.

With 1994's Requiem, Bathory changed style once more, this time turning to retro-thrash in the vein of 1980s Bay area thrash bands. In recent years, critics have seen Bathory's output as increasingly erratic, as the band has returned again to Viking themes and, with the Nordland albums of 2002 and 2003, largely abandoned the retro-thrash sound of the mid-1990s in favour his more popular, more epic style for which he is best known.
Bathory have been cited as an influence by musicians as diverse as Metallica, Marilyn Manson, Cradle of Filth, Eric Hoffman and Brian Hoffman of Deicide, Black Crucifixion, Beherit, Billy Corgan of The Smashing Pumpkins, Opeth and Dimmu Borgir. An early member of the band was Jonas Åkerlund, the music video and film director.

Quorthon died of a heart attack on June 3, 2004 in his appartment in Hässelby, Stockholm. Ace Börje Forsberg was the name written on Quorthon's obituary, but his real birth name was Tomas. If someone asked him the real name he always gave invented ones: Runka Snorkråka (Wanked snot (hodded) crow), Pär…

Note! Black Mark is the label owned by Quorthon and his father Börje "Boss" Forsberg.

History archive

Official Website

Metal-archives

Russian Clan in Memory of Qurthon

Wikipedia



Tracklist:
01. Hellhammer - (Rehearsal from 1981) - Triumph Of Death (7:44)
02. Celtic Frost - (Live in Weinheim 1-6-1985) - Intro-Danse Macabre (1:13)
03. Celtic Frost - (Live in Weinheim 1-6-1985) - Into The Crypts Of Rays (4:35)
04. Celtic Frost - (Live in Weinheim 1-6-1985) - Circle Of The Tyrants (4:42)
05. Celtic Frost - (Live in Weinheim 1-6-1985) - Suicidal Winds (4:23)
06. Celtic Frost - (Live in Weinheim 1-6-1985) - Visions Of Mortality (5:01)
07. Celtic Frost - (Live in Weinheim 1-6-1985) - Dawn Of Meggido (5:32)
08. Celtic Frost - (Live in Weinheim 1-6-1985) - Dethroned Emperor (4:39)
09. Emperor - (Rehearsal from 1992) - Ursurper (3:24)
10. Hellhammer - (Rehearsal from 1984) - Revelations Of Doom (2:52)
11. Bathory - (Demo 1983-1984) - Sacrifice (4:05)
12. Bathory - (Demo 1983-1984) - The Return Of Darkness And Evil (4:39)
13. Bathory - (Demo 1983-1984) - Intro (2:09)
14. Bathory - (Demo 1983-1984) - In Conspiracy With Satan (2:32)
15. Bathory - (Demo 1983-1984) - Necromancy-Sacrifice (6:35)
16. Bathory - (Demo 1983-1984) - Raise The Dead (2:50)


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A blistering halo of noise accompanies atmospheric riffing in a Venom/Slayer hybrid style which develops melodic complexity while maintaining continuity within the framework of constant driving tempo with few fills or variations, wrapping the core of this virus in an aesthetic of chaos coming into focus before vanishing. The voice of Quorthon carries the essential melody of each song, and changes with the riffs to indicate structural alteration. Guitars seethe at raw intensity of dynamic noise, hissing and screaming through speed riffs and powerful tone-centric drives which use power chords as the basis for phrases emphasizing fundamental differences in harmonic relevance of notes to a central structure.

In this, the music brings forth its lineage of Venom in circular riff/chorus structures centered around a tone and a rhythmic motion to note progressions shaped for its return and emphasis, countering that tendency with a Slayeresque expansion of riff through transition and layers of textural and arrangement inflections mapping the growth of basic components of theme. The tendency inherited from rock to use advancing cyclic structures of verse increments concluding in a transition to the next segment of song allows melodic continuity through reference and implication, providing a labyrinthine but clear navigation. Guitar solos and offset structural insertions serve where in future albums narrative will expand.

Tracklist:
01. Storm of Damnation (3:07)
02. Hades (2:45)
03. Reaper (2:44)
04. Necromansy (3:41)
05. Sacrifice (3:17)
06. In Conspiracy With Satan (2:29)
07. Armageddon (2:32)
08. Raise The Dead (3:41)
09. War (2:15)
10. Outro (0:23)

Rising from the midst of this bulk are tendrils of delicate melody leaning toward statements in the classical style which summarize the developments in phrasing so far and resolve to a fusion, fission or restatement of major theme. These moments of enlightenment occur as product of the rudimentary power chord riffing building atmosphere to a point; for this reason this album like most of the Bathory works diverges from a mainstream view of music by using dynamic consistency to serve goals of dramatic revelation to the piece. In this raw poetry the fusion of the lowest and highest in popular music dove underground with a chaotic and powerful album.

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Jagged instantiation of elemental conflict in racing powerchord riffs fuels the antagonism Bathory channel through phrases varied over nearly unceasing mechanistic percussion, providing a basis for music with both less conventional structure and more melodic coherence than previous efforts in extreme music. Churning relentlessness of rhythm changing emphasis and shape within consistent tempo drives music forward, while the combination of riff ambience and vocal texture creates a space for recombinance.
Roaring into life with abrupt and explosive changes, beginnings and fades, the elemental music here composed of standard form power chords implies layers in its structural abuttments to open phrase cycles of verse and chorus in the minimalist, angular hardcore style that Venom adapted but applied less artfully. Slayer-inspired tremelo riffing and notions of song structure conforming only to the poetic expressions of theme shape to each song, placed into the linear confines of atmospheric blast drumming, forms the bulk of the work while moments of revelation that present change or conclusion to each song capture the heavy metal ideal of epic reduction and closure.

Consistent dynamic exists mainly for listenability and not omnipotently, varying at key moments to lower intensities for the purpose of building new continuities of tone and rhythm from which theme can arise, changing with segments of song to sequence mood to another cadence of human motion. Much as Possessed bury melody within ascendant grinding riff conflict, Bathory carefully inlay melodic lead riffing of deconstructed variants of the shifting motif. Howled vocals in the black metal rasp are dramatic and alter presence in music with rhythm and timbre, while it is the lyrical voice of guitar changing in riffs that advances the story of each song.

Tracklist:
01. Revelation Of Doom (3:28)
02. Total Destruction (3:51)
03. Born For Burning (5:13)
04. The Wind Of Mayhem (3:14)
05. Bestial Lust (2:41)
06. Possessed (2:42)
07. The Rite Of Darkness (2:06)
08. Reap Of Evil (3:29)
09. Son Of The Damned (2:48)
10. Sadist (3:00)
11. The Return Of The Darkness And Evil (3:49)
12. Untitled (0:26)

Inspired by the Beatles, Quorthon at first made music in the style of Venom and Slayer but here branched into his own style, putting nihilistic riffing into grander song structure that approaches post-rock complexity and often achieves it. The result is a foundation of black metal that surpassed original influences and generated an aesthetic basis that much of modern black metal (Havohej, Darkthrone, Immortal, Burzum) embraced with vigor.

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Blastmaster Quorthon brings his third album by ultra-primitive black metal band Bathory into the spotlight by curving his style toward that of conventional rock, with more catchy and conclusive choruses and slightly more technique and style.
The metal-stamper percussion works as an effective offset by sustaining the same furious ranting pace without cessation for phrase endings or anything except major structural changes, allowing the guitar to introduce numerous smaller textural riffs and variations along the same major tempo, driving high-intensity discharge behind the strobing guitar.

Atmospheric in its intent, guitar uses simple chords for composition of deliberately straightforward and aggressive riffs, with chorus riffs following the vocal track and all other riffs building direction by shadowing the consistent rhythm of the terminator-style drum machine. Solos break out of the music, mockingly disguised as utter randomness but following the harmonies of each song's major theme.

The stretched and eroded voice of Quorthon hisses from a distant height to the music, chanting the psalms of lyrical evil created for our aesthetic sustenance as listeners. The combined tribute to and parody of previous generations of metal invokes the emphasis on impurity prevalent throughout this work.

Where this differs from previous Bathory is in the evolution of tempo beyond the direct influence of Venom and Slayer, the primary progenitors of this style; here something closer to, ahem, Motorhead can be heard with recursing and counterpoint rhythms underlying simple, almost ambient riffs that emphasize resonance over harmonic motion.

Line Up:
Quorthon: vocals, guitar, bass, synth
Paul Pålle Lundburg: drums

Tracklist:
01. Nocternal Obeisance (1:28)
02. Massacre (2:39)
03. Woman of Dark Desires (4:06)
04. Call from the Grave (4:53)
05. Equimanthorn (3:42)
06. Enter the Eternal Fire (6:58)
07. Chariots of Fire (2:47)
08. 13 Candles (5:17)
09. Of Doom (3:45)
10. Outro (0:25)

In this classic evolution the future of black metal reveals itself, and the ambition of increasing complexity is tempered only by the rising tide of melodrama threatening to swamp all taste with dogmatically obvious songwriting.

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In a genre that had inspired motion beyond the linear and reactive, Bathory made an epic statement of the spirit enmeshed in the ideology and symbols of the genre, rendering from Norse mythology a series of views into concepts of death and ultimate destruction. With a passion and sense of melodic poetry to songwriting unmatched by almost all bands, this Swedish act rendered a resurgent and vital journey through the subconscious to Jungian self-assertion.

Opening with a classically-derived intro and brief allusive overture encompassing broad conceptual associations the album moves quickly into a style of riffing that hybridizes the fast flutterstrum of Slayer and more emphatic single-stroke arrangements to create a style that explodes with the dynamicism of majestic heavy metal and sinuously unveils its inner workings with the reptilian consciousness of raw and urgent, alienated, isolated black metal. Vocals are a hoarse shout giving credit to both the hissing howl of earlier Bathory works and the more ambitious vocal work on albums to follow.

Songs are unique, in structure and in the essential juncture of melody and rhythm that forms their evolving core, and each holds attention through distinctive mechanism and in an honest artistic sense, states a theme which is symbolically linked to eventiture or conception and then naturally expands and destroys it as if events were playing out in a reality accepting the presuppositions of Viking allusion. Instrumentalism is precise and while sometimes rock-influenced, blends threads of ideal with a concentration of effort on melody and blasting raw riffs that exceed the study of motion and impact found on the second work from this band.

Violent and yet varied in dynamic to present narrative scenario unfolding as a series of visions with associated perceptual emotions, these pieces bring mood to the forefront in a focus on development of story and listener immersion in the sensations and theory of that reality. Lyricism and an emergent sense of logic in noise distinguish lead guitar and vocal efforts in a fullness to these songs of mostly consistent harmonic construction.

Structuralist lead riffing furthers intensity at times of precision or directional variability in melodic continuity of phrase and complements power chord riffing varying from the simplest to extensive progressions of similar structures within a melodic structure shifting with the harmony of song. As such, this is of the older school of metal on its way to the newer, and as the end of the previous cycle does all that a warrior of apocalypse must: summarizes the past and advances it to its height as a means of reducing it and forcing a search for new space to conquer.

Tracklist:
01. Odens Ride Over Nordland (3:01)
02. A Fine Day To Die (8:36)
03. The Golden Walls Of Heaven (5:23)
04. Pace 'till Death (3:40)
05. Holocaust (3:26)
06. For All Those Who Died (4:58)
07. Dies Irae (5:12)
08. Blood Fire Death (10:30)
09. Outro (0:59)

Influential visibly on Immortal, Burzum, Enslaved and Emperor, this album culminated the foundational work of Bathory and remains attentionable in the current time for its raw spirit and immortal melody in the assembly of storytelling. Epic and disenchanted meet in this saga of the end.

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Often considered the first true Viking metal album, to this day it continues to be the standard by which all other albums in this sub-genre are judged.

The music is grand, emotional, and epic while at the same time being very simple and straight-forward. It captures the essence of its subject material in a way that was unprecedented in heavy metal in the late 80's. And what I mean by that is even without the lyrics (dripping in Viking lore and Norse mythology as they are), you still get a huge sense of cold-shores, swift raids and smoke filled mead halls.

The lyrics, of course, add to that atmosphere. And these are incredibly well written lyrics I might add. I must point out One Rode to Asa Bay as the greatest example of the albums ability to mix huge sounding music with thoughtful, well read lyrics. Two emotions really resonate in this song. One, a tremendous sense of pride, and the other a sense of quiet anger. Basically when listening to Quorthon shout throughout this song you begin to understand that here is a man who is really mad, at both the forceful rape of his once proud culture by foreign powers and religions as well as the apathy shown by so many of his ancestors as their way of life was essentially destroyed.

This theme of subtle anger can be felt throughout the album.

The production is a negative aspect of the album. Some would argue that the low value of said production is what gives the album its sense of atmosphere, and that a cleaner, crisper production would have removed the emotion that makes it such a great piece of music. However many modern bands who take so much influence from this album (ie. Doomsword, Tyr, Einherjer, early Vintersorg etc.) benefit greatly from cleaner production and I believe it could only have improved Hammerheart.

Quorthon's clear voice (yes, no growls or shrieks) doesn't always sound completely secure, but that also just adds to the character of this album. I for one think his voice perfectly fits the style of music.

Line Up:
Quorthon - Vocals/Guitar
Kothaar - Bass
Vvornth – Drums

Tracklist:
01. Shores In Flames (11:10)
02. Valhalla (9:34)
03. Baptised In Fire And Ice (7:58)
04. Father To Son (6:29)
05. Song To Hall Up High (2:31)
06. Home Of Once Brave (6:45)
07. One Rode To Asa Bay (10:24)
08. Outro (0:53)

In conclusion this album while not flawless was a tremendous influence on many well respected bands and still stands among the best albums ever produced in a sub-genre it helped define.

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Perhaps the lost musical companion to "Gravity's Rainbow" or the Beatles album that stayed on the shelves, "Twilight of the Gods" is an epic of heavy metal opera that transcends all scope previously addressed in rock music to present the essence of individuals in crisis in the presence time: nothing to believe in, and even our own behavior has failed - what is left? "O, all small creatures: it is the twilight of the gods!".
Structured like a visual revelation of story, the album opens with an epic after silence and returns to that emptiness, emerging through organic sound as the whole of its recollection of how the situation got to the point reflected in the inception, chaos and the title track ("In this age of utter madness, we pretend we are in control"). From this point careful orchestration of dynamic distinguishes this release as songs utilize acoustics, a capella and lush weavings of keyboard and organic noise to present spaces in which explosive conquest of space occurs through rhythm and melody.

In songwriting epic, in tactics built of melodic heavy metal dependent on internal harmony for resonance, these indulgently operatic works present emotion through vocals, in the style of rock music, and like more progressive rock works use changes in verse to indicate lyrical changes in singing cueing imminent change. Forerunners of the Nordic black metal stomp beat and rowing rhythm can be heard, as well as careful use of introductory and interlude material for conceptual balance, a technique which has appeared on modern metal albums. Further the concepts and language used on this release are now familiar thanks to their absorption by Burzum, Graveland, Immortal, Darkthrone and others.

Tracklist:
01. Twilight Of The Gods / Through Blood By Thunder (30:45)
02. Blood And Iron (5:58)
03. Under The Runes (7:36)
04. To Enter Your Mountain (7:36)
05. Bond Of Blood (4:42)
06. Hammerheart (0:23)

Although not as much metal as heavy metal/rock, this highly intelligent and philosophically erudite work of the end of human history expresses the alienation and dying hope expectable from such an age, and channeling through art its emotion expressed a stage on which others would build with the opposite reaction: we must fight back.

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After pouring his soulful little heart out for the two "Viking" records, Hammerheart and Twilight of the Gods, Bathory's Quorthon stepped back and began the Jubileum series of compilations. More than just a rehashed collection of songs already had by most Bathory fanatics (and trust me, there is no such thing as a casual Bathory listener), Quorthon was kind enough to include three unreleased tracks and one hard to find song from the 1984 Scandanavian Metal Attack, where Bathory first burst onto the scene with their Venom/Motorhead bastard child. The rest of the album is comprised of selections from the Bathory studio releases. As a result, you get a collection that won't replaced your weathered and bloodstained original releases, but acts as a great bookend.

All phases of Bathory receive attention here, from the simple and bombastic "War" from the self-titled debut to the dense, over the top sludge of The Return to later, moodier pieces from Twilight of the Gods and Hammerheart. As for the unreleased or rare tracks, "Rider at the Gate of Dawn" is a good intro piece. "You Don't Move Me (I Don't Give a Fuck)" is reminiscient of both Venom and Motorhead and demonstrates Quorthon's youthful rebellious feelings. "Crawl To Your Cross" is an all out blitz from a rumored unreleased studio album that supposedly was to follow up Blood Fire Death as a return to the speed hell of their first three albums. "Sacrifice" is another Venom/Motorhead tinged bit.

Tracklist:
01. Rider At The Gate Of dawn (1:19)
02. Crawl To Your Cross (4:38)
03. Sacrifice (4:15)
04. Dies Irae (5:13)
05. Through Blood By Thunder (6:04)
06. You Don't Move Me (I don't give A Fuck) (3:30)
07. Odens Ride Over Nordland (3:00)
08. A Fine Day To Die (8:54)
09. War (2:16)
10. Enter The Eternal Fire (6:56)
11. Song To Hall Up High (2:43)
12. Sadist (2:59)
13. Under The Runes (5:57)
14. Equimanthorn (3:45)
15. Blood Fire Death (10:29)

On a whole, Jubileum Volume I is bit disjointed listen, due to the stylistic swings throughout the disc. No heed is given to chronological order, so you find yourself jaunting from the ode of "Hammerheart" to the jarring speedcore of "Sadist" in seconds. Regardless this collection, as well as Jubileum Volume II, capture the essence of Bathory from their primitive beginnings through all of Quorthon's personality shifts. Even if you have all the studio albums, this collection is necessary.

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When the drums kick in on the opening "The Return of Darkness and Evil", can you say Motorhead? The second issue of the Jubileum collection is another career retrospective of Quorthon's long-running project that compiles album tracks with various unreleased and compilation songs. As with the first volume, you can hear for yourself all the various incarnations Bathory undertook from a Motorhead/Venom influenced act to their own groundbreaking blueprints for black metal and finally their Viking albums.

Tracklist:
01. The Return Of The Darkness And Evil (4:59)
02. Burnin' Leather (3:54)
03. One Rode To Asa Bay (9:20)
04. The Golden Walls Of Heaven (5:23)
05. Call From The Grave (4:58)
06. Die In Fire (3:36)
07. Shores In Flames (10:44)
08. Possessed (2:40)
09. Raise The Dead (3:40)
10. Total Destruction (3:50)
11. Bond Of Blood (7:37)
12. Twilight Of The Gods (13:40)

The unreleased tracks aren't really anything special; "Burnin' Leather" is pretty much an excuse for all out speed and "Die in Fire" is a rather amusing four-track demo recording. However, Hammerheart's two best tracks "One Rode to Asa Bay" and "Shores in Flames" are both included as well as "Call From the Grave" from Under the Sign of the Black Mark (it's not referring to Bathory's current record label). Overall, not a bad place for a new fan to start when paired with the first Jubileum collection and a nice little nostalgic overview of the development of Bathory for the long time fan.

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http://www.fileserve.com/file/MP4DzpJ/1993.Jubileum.volume.II.mp3.rar

Bathory, if nothing else, will be remembered for many major stylistic detours, left turns and retrogressions. Quorthon may have surprised many with his transition from the template for modern black metal of his first three albums by diving into the slower, more orchestrated "Viking metal" of Hammerheart and Twilight of the Gods, but at least he presented some foreshadowing on Blood Fire Death. Requiem, the first studio release after Twilight of the Gods, is a jab in the eye with a pointy stick and yet another complete turnaround for Sweden's enigmatic father of extreme metal.
Requiem is a very raw, ugly and vicious release that completely discards the beautiful and epic elements of Bathory's previous two studio recordings and reverts to a primal form similar to much 80s thrash, particularly the Bay Area style. The riffing is very crunchy and reminiscient to Slayer or Testament with Quorthon providing vocals so raw that you'll be diving for the medicine cabinet to find sore throat remedies on his behalf. Inappropriate guitar solos are tossed into each song haphazardly, giving yet another nod to a Slayer style for this album. While you get the impression this album wasn't so much produced as simply recorded and then roughly mixed together for maximum ugliness, there is much clarity between the instruments. For the most part it just seems like Quorthon had been listening to all his old thrash metal albums from his 80s contemporaries and got a wild hair to make his own record in that vein. Only the final track, "War Machine", has the flair of older Bathory with the overlaid leads and a more epic, gripping feel to the song.

Tracklist:
01. Requiem (5:01)
02. Crosstitution (3:17)
03. Necroticus (3:19)
04. War Machine (3:19)
05. Blood And Soil (3:34)
06. Pax Vobiscum (4:13)
07. Suffocate (3:36)
08. Distinguish To Kill (3:16)
09. Apocalypse (3:50)

This tends to be a vacuous, hedonistic record meant only for an occasional nasty mood and nothing more. While essentially every Bathory release up to 1992 could be considered a classic or at least a major influence on metal in one regard or another, Requiem is hardly necessary to anyone except maybe those who weren't around for 80s thrash. I believe I'd reach for any other Bathory record before I check this one out.

Download:

Lossless:
http://www.filesonic.com/file/81719295/1994.Requiem.rar
http://hotfile.com/dl/104248645/7dcad9d/1994.Requiem.rar.html
http://www.fileserve.com/file/Wj9xFJv/1994.Requiem.rar

mp3:
http://www.filesonic.com/file/81718947/1994.Requiem.mp3.rar
http://hotfile.com/dl/104248488/cb9c280/1994.Requiem.mp3.rar.html
http://www.fileserve.com/file/aqbqtjQ/1994.Requiem.mp3.rar

After a graceful arc through primitive underground black/death metal into epic Viking metal that merged folk music and black metal, Bathory attempted to reinvent itself by merging past influences and its own successes in a series of albums that hit with blinding speed and abrasion yet felt hollow within. Unlike earlier albums, there is no binding theme expressed in imagery and music that unites these works; they are like a pamphlet of haiku poems, each finding a different insight that together reads like one of the more insightful newspaper columns from the time of the collapse of a once-vibrant culture.

Clean vocals that are true to Quorthon's poor singing voice quite thin cover riffs that for the most part could have been outtakes from the second Bathory album, but here are inserted into the context of songs in speed metal structure and tempo. Unfortunately, percussion is a mechanical drum machine that fails to take advantage (sensu Godflesh) of what can be done with a deliberately ahuman machine sound; this is complemented by the speed of the work, which requires it to bang along like a rattling two-stroke. Guitars are both loud and thin, as if tracks were not doubled except in the mixing booth. These errors of production and aesthetic make it difficult to hear the power this music at times has, and have even confused the artist, as this album flags in intensity and confidence as it progresses; earlier songs hold together well but later songs have a pencilled-in and pasted-together feel which adulterates the power of these creative and often hard-hitting riffs; the ingredients were good but the concept missing, so the artist shoved everything into an adaptation of standard song format that seemed appropriate for the style of the album (see comments on production/aesthetic factors above). All of this contributes to the sensation that this album is a four-track bedroom demo that, through a diabolical clerical error, got pressed and released while the artist was in a depressed and/or drugged funk.

Tracklist:
01. Immaculate Pinetreeroad #930 (2:46)
02. Born to Die (3:59)
03. Psychopath (3:20)
04. Sociopath (3:10)
05. GRCY (1:15)
06. Century (4:09)
07. 33 Something (3:17)
08. War supply (4:42)
09. Schizianity (4:17)
10. Judgement of Posterity (5:12)
11. Deuce (3:42)

Had Quorthon had the energy to listen to this for a couple years and then return to it, he might have shaped these excellent raw materials into a top-notch album, but for now these will always fit between the seminal Bathory work and the hard rock-influenced disasters at the conclusion of its career, as remains of the old hanging on before a total giving-up ushered in the insincerity of the new.

Download:

Lossless:
http://www.filesonic.com/file/81719675/1995.Octagon.rar
http://hotfile.com/dl/104248691/a95601f/1995.Octagon.rar.html
http://www.fileserve.com/file/BtrFVWD/1995.Octagon.rar

mp3:
http://www.filesonic.com/file/81719131/1995.Octagon.mp3.rar
http://hotfile.com/dl/104248652/727f0c6/1995.Octagon.mp3.rar.html
http://www.fileserve.com/file/D8PMs2N/1995.Octagon.mp3.rar

Epic masterpiece metal from the seventies grows older and becomes this strange Viking punk fusion, a metal that uses mellow dark punk riffs under a overbearing story of quest and battle. The earlier Bathory albums that inspired a genre following had a similar basic structure interpreted more rigorously and aggressively with a power chord bludgeon searing grind overload, but here this stuff is more - well, normal rock - and with that handicap it makes good, even though it retains the fundamentally ludicrous and performance-art-oriented nature of black metal.
Sometimes it seems absurdly happy yet the music is dark, drawn-out strumming of chords and tremello rhythms with the strident, youthful voice of Quorthon wailing his operatic vocals in disturbing counterpoint to his music. Romanticism kept barely dormant in this campfire rockish material breaks forth in the vocals and keyboards but seems overemphasizing the solid basis of the guitar riffs, which provide a strobing rhythm faintly colored with NWOBHM around which the programmed, repetitive drums and accompaniment play.

The aesthetic as a whole is troubling because of its guilelessness. Where majesty and vast motion of sound occurred on Bathory and Celtic Frost albums earlier, this work approaches directly in a simple honesty and overdemonstrated emotion similar to that of folk and Viking rock from past ages. The use of harmonies and the variations in strumming speed determine paired rhythmic and modal concepts to be later pioneered by faster black metal bands such as DarkThrone, Immortal, and Enslaved.

Tracklist:
01. Intro (1:46)
02. Blood On Ice (5:41)
03. Man Of Iron (2:47)
04. One Eyed Old Man (4:22)
05. The Sword (4:08)
06. The Stallion (5:14)
07. The Woodwoman (6:17)
08. The Lake (6:42)
09. Gods Of Thunder Of Wind And Of Rain (5:42)
10. The Ravens (1:09)
11. The Revenge Of The Blood On Ice (9:52)

Like anything from a former age, there are some parts that are recognizably parameter - that is, part of membership in the genre in which the art is created - but these are held well by the more inspiring and raw, potential-laden forms of the sound Quorthon was developing. But as time passes, he still grasps the bare minimum component of his music which is the logician's ability to structure a riff by dividing modalities into a rhythm, an ability that makes his albums always vaguely memorable if inconclusive.

Download:

Lossless:
http://www.filesonic.com/file/...96.Blood.On.Ice.Remastered.rar
http://hotfile.com/dl/10424874...ood.On.Ice.Remastered.rar.html
http://www.fileserve.com/file/YZz33g2/1996.Blood.On.Ice.Remastered.rar

mp3:
http://www.filesonic.com/file/...lood.On.Ice.Remastered.mp3.rar
http://hotfile.com/dl/10424871...On.Ice.Remastered.mp3.rar.html
http://www.fileserve.com/file/...lood.On.Ice.Remastered.mp3.rar

The third compilation from Sweden's best known comedy act Bathory (all right, it's really not a comedy act, but Quorthon simply slays me at times) finds Quorthon putting together another collection of album tracks and unreleased goodies. This time he culled most of the material from his last three studio albums Requiem, Blood on Ice and Octogon. The Requiem and Octogon is another sidestep for Bathory, completely away from the prototypical black metal assault of his early years or the Viking era. Nearly unproduced and sounding very much like a car engine running on low oil, the inclusions here are a bit ugly and difficult to digest upon first listen. You could tell Quorthon was just doing this to screw around and play aggressive, fast music. If you read the lyrics for "33 Something", you quickly discover Quorthon doesn't have the knack of writing good psychopathic serial killer lyrics as, say, Tom Araya. In fact, the lyrics are an abomination on that song.

Tracklist:
01. 33 Something (3:15)
02. Satan My Master (2:06)
03. The Lake (6:43)
04. Crosstitution (3:17)
05. In Nomine Satanas (6:25)
06. Immaculate Pinetreeroad #930 (2:48)
07. War Machine (3:20)
08. The Stallion (5:14)
09. Resolution Greed (4:14)
10. Witchcraft (2:49)
11. Valhalla (Backing Vocals Multitrack Sample) (1:38)
12. Sociopath (3:11)
13. Pax Vobiscum (4:12)
14. Genocide (4:35)
15. Gods Of Thunder Of Wind And Of Rain (5:42)

It's hard to say if I'll ever be convinced to get Octagon or Requiem based on what is here. Of the unreleased tracks, "In Nomine Satanas" is a simply phenomenal epic track from the Blood Fire Death era. If you are a fan of that album, you need to hear this song. As with all the Jubileum compilations, this one provides a good overview for Bathory. If one were to get all three albums, you would have a fantastic introduction to the band, as well as a guide to which era you might like the best. And for the longtime fan, the unreleased tracks provide you with a reason to actually get the album.

Download:

Lossless:
http://www.filesonic.com/file/....Jubileum.volume.III.part1.rar
http://www.filesonic.com/file/....Jubileum.volume.III.part2.rar

http://hotfile.com/dl/10424907...leum.volume.III.part1.rar.html
http://hotfile.com/dl/10424910...leum.volume.III.part2.rar.html

http://www.fileserve.com/file/....Jubileum.volume.III.part1.rar
http://www.fileserve.com/file/....Jubileum.volume.III.part2.rar

mp3:
http://www.filesonic.com/file/...98.Jubileum.volume.III.mp3.rar
http://hotfile.com/dl/10424884...bileum.volume.III.mp3.rar.html
http://www.fileserve.com/file/dARGCyH/1998.Jubileum.volume.III.mp3.rar

"Destroyer of Worlds" is a strange album indeed. While several tracks maintain the classic Viking-style Bathory, others bring to mind Pantera, or even sludge metal, and it's certainly one of the most varied albums in Bathory's discography. Quorthon's vocals have changed a lot since his "lizard croaking" of the early Bathory works, and his clean vocals are used more prominently. In particular, his "Viking chants" are the highlights of the album, and will have you raising your fist and banging your head. There's also some thrash-inspired tracks in the vein of previous albums "Octagon" and "Requiem", although the songs in question are superior to those efforts, which are generally seen as low points in Bathory's discography. While this album will not be everyone's cup of tea, it's certainly a treat for the more open-minded metal fan who doesn't mind mixing things up a little and doesn't just want to listen to "Under the Sign of the Black Mark, Part II" (although there wouldn't be anything wrong with that, either).

Tracklist:
01. Lake Of Fire (5:44)
02. Destroyer Of Worlds (4:52)
03. Ode (6:27)
04. Bleeding (3:55)
05. Pestilence (6:51)
06. 109 (3:36)
07. Death From Above (4:36)
08. Krom (2:51)
09. Liberty & Justice (3:52)
10. Kill Kill Kill (3:10)
11. Sudden Death (3:20)
12. White Bones (8:35)
13. Day Of Wrath (8:12)

"Destroyer of Worlds" is an incredibly overlooked album in Bathory's discography, and should be picked up just for "White Bones" alone, which ranks up with Bathory's best material. Quorthon may have passed away, but his spirit remains with us in his music, and it's almost like you can feel his soul alongside you during the better moments of "Destroyer of Worlds", especially during his guitar solos. Sure, it's not a black metal album, or a pure Viking metal album, but for people who are looking for an interesting, varied metal album from one of the greatest metal bands of all time, then it's time you looked in to "Destroyer of Worlds".

Download:

Lossless:
http://www.filesonic.com/file/... Destroyer.Of.Worlds.part1.rar
http://www.filesonic.com/file/... Destroyer.Of.Worlds.part2.rar

http://hotfile.com/dl/10424910...royer.Of.Worlds.part1.rar.html
http://hotfile.com/dl/10424910...royer.Of.Worlds.part2.rar.html

http://www.fileserve.com/file/... Destroyer.Of.Worlds.part1.rar
http://www.fileserve.com/file/... Destroyer.Of.Worlds.part2.rar

mp3:
http://www.filesonic.com/file/...01.Destroyer.Of.Worlds.mp3.rar
http://hotfile.com/dl/10424939...stroyer.Of.Worlds.mp3.rar.html
http://www.fileserve.com/file/DEvn5uf/2001.Destroyer.Of.Worlds.mp3.rar

All male nine by nine hanging, gently swaying in the wind…

It's cold, and you are walking alone through the primeval forest of what will become modern day Sweden. The sounds of your footfalls are broken by the soft creaking of rope on wood. You step into a ring of torches, casting flickering shadows upon the base of a mighty Ash tree. From the great tree's branches hang the lifeless forms of men, horses, dogs, and a mighty ox. The moonlight smiles down on the grim scene laid before you. You fall to your knees and offer your own blood, a sacrifice for the return of the Sun. This is what Nordland I is about, Viking imagery plain and simple.

The first chapter in Quorthon's unfinished magnum opus stands as an immortal testament to abilities as both a musician and lyricist. One cannot help feeling slightly swept up in the grandeur and majesty of "Nordland." With its forever dark woods, and pristine lakes, "Nordland's" scenery seems right out of the pages of a fantasy novel. Musically, each track just feels right. The guitars are slightly muddy in the typical Bathory fashion, but lay down those slowly chugging riffs that set the tone perfectly on tracks like "Vinterblot," or kicks it into overdrive for epic "Broken Sword." Despite great guitar work, Quorthon's vocals are still the magical glue that holds everything together. His voice is both beautifully haunting, like in "Ring of Gold," and strong as a battle worn broadsword. Nordland I is a return to Hammerheart-esque days, and is a clear improvement over Destroyer of Worlds. This being said, not all is so perfect in Nordland. All tracks fit well, with the exception of "Dragon's Breath" which just doesn't seem to click with that overarching Nordic theme expressed throughout the rest of the album. While the rest of the tracks sound excellent, most leave the listener just wanting more. Not that it's a bad thing, just that with the exception of "Nordland" and "Vinterblot," Nordland I's strength lies in the thematic expression across the whole album rather than focusing on stand out tracks.

Tracklist:
01. Prelude (2:35)
02. Nordland (9:21)
03. Vinterblot (5:17)
04. Dragons Breath (6:45)
05. Ring Of Gold (5:35)
06. Foreverdark Woods (8:06)
07. Broken Sword (5:35)
08. Great Hall Awaits A Fallen Brother (8:17)
09. Mother Earth Father Thunder (5:38)
10. Heimfard (2:13)

All in all a great album, not one that reaches out and grabs you by the throat, but takes you on an epic journey that can only be appreciated when listened to from start to finish. So jack in, chill out, and set sail for Nordland.

Download:

Lossless:
http://www.filesonic.com/file/81720345/2002.Nordland.I.part1.rar
http://www.filesonic.com/file/81720231/2002.Nordland.I.part2.rar

http://hotfile.com/dl/104249571/4f65730/2002.Nordland.I.part1.rar.html
http://hotfile.com/dl/104249611/40e965e/2002.Nordland.I.part2.rar.html

http://www.fileserve.com/file/7CTEr4G/2002.Nordland.I.part1.rar
http://www.fileserve.com/file/twxDjD2/2002.Nordland.I.part2.rar

mp3:
http://www.filesonic.com/file/81720155/2002.Nordland.I.mp3.rar
http://hotfile.com/dl/104249420/3329491/2002.Nordland.I.mp3.rar.html
http://www.fileserve.com/file/cyz6qEM/2002.Nordland.I.mp3.rar

Videoclip:
http://www.filesonic.com/file/81723397/Vikings.Nordland.I.mpg.rar
http://hotfile.com/dl/10425153...ikings.Nordland.I.mpg.rar.html
http://www.fileserve.com/file/yAjjKgK/Vikings.Nordland.I.mpg.rar

End of the line. This album represents the conclusion of Quorthon's successful carrier, brutally interrupted. Nordland II was recorded in 2002, along with all the songs from Nordland I, but only released in 2003, probably due to commercial interests. It was only a few months later, on June 3 of 2004, that Quorthon was found dead in Stockholm and everything ended.

What we have on Nordland II (and also on Nordland I giving that they are practically the same album) is Bathory's good old folk metal formula, pretty similar to many of his previous releases. The viking thematic at the best use, with a good production, less raw than any other of his albums, and nothing of black metal to mention.

Clearly, the trademark riffs did not need mentioning either, the guitar work flows perfectly within the album, accompanied by the soaring bass and calculated drums. Quorthon's voice, always object of criticism, could not fit the album's atmosphere better giving us the so well-known epic feeling. As for the tracks, they follow a natural linearity without many changes when it comes to emotion, but there are stand-outs like the epic "The Messenger" and the unusual "Flash Of The Silver Hammer", with riffs heavily synthesized very close to industrial music.

Starting with the glacial landscape of the cover art, this album is pure viking style with the lyrics obviously reflecting this. Lots of ''fatherland'', ''shoreline'', ''battlefield'' and ''raging sea'' going on and on. The structure is good and the texts are well written, but they lack originality and are not much interesting.

Tracklist:
01. Fanfare (3:37)
02. Blooded Shore (5:47)
03. Sea Wolf (5:26)
04. Vinland (6:39)
05. The Land (6:23)
06. Death And Resurrection Of A Northern Son (8:30)
07. The Messenger (10:02)
08. Flash Of The Silverhammer (4:09)
09. The Wheel Of Sun (12:27)
10. (Instrumental) (0:24)

In the end, Quorthon has finished his brilliant carrier with a couple of good albums. It is said that another two pieces of the Nordland epic were being planned, but we'll never know, and it doesn't really matter. Even with some contested albums in Bathory's discography and Quorthon's side-project, all of his works deserves notification, and the Nordland albums are highly recommended not only for being a nice piece of epic metal, but for the great name behind the project.

Download:

Lossless:
http://www.filesonic.com/file/81720527/2003.Nordland.II.part1.rar
http://www.filesonic.com/file/81720443/2003.Nordland.II.part2.rar

http://hotfile.com/dl/10424991...003.Nordland.II.part1.rar.html
http://hotfile.com/dl/10425015...003.Nordland.II.part2.rar.html

http://www.fileserve.com/file/pcCG2Ws/2003.Nordland.II.part1.rar
http://www.fileserve.com/file/q2ZVHF6/2003.Nordland.II.part2.rar

mp3:
http://www.filesonic.com/file/81720207/2003.Nordland.II.mp3.rar
http://hotfile.com/dl/104249898/43c4d8c/2003.Nordland.II.mp3.rar.html
http://www.fileserve.com/file/PrDu2ns/2003.Nordland.II.mp3.rar

A unique work, exhaustively and respectfully assembled in remembrance of the legendary founder of death metal and viking metal. For an entire year Boss collected and went through so much material that it took months until the project truly began to take shape. Boss used as much of Quorthon's original material as possible - including his layouts, text and notes taken from the posted and unreleased material he left.

Boss personally selected the songs for the three CDs, which feature four of the finest hours of BATHORY and the great Quorthon. When choosing the tracks, Boss kept in mind Quorthon's favourites, so you can be sure it is a compilation first of Quorthon's favourites, and of Boss - selected from a very strong and diverse catalogue. In addition, you will hear BATHORY and Quorthon recordings you probably didnt even know existed. All music was remastered.




Tracklist:
01. Song To Hall up High (2:33)
02. Oden Ride Over Nordland (2:59)
03. Twilight of the Gods (11:04)
04. Foreverdark Woods (8:10)
05. A Fine Day to Die (8:23)
06. The Woodwoman (6:16)
07. I've Had It Comming My Way (3:32)
08. Armageddon (2:28)
09. Born To Die (3:56)
10. God Save the Queen (3:14)
11. The Sword (4:08)
12. For All Those Who Died (4:54)
13. Call From the Grave (4:52)
14. Born For Burning (5:10)
15. Boy (7:39)


Download:

Lossless:
http://www.filesonic.com/file/...ory.Of.Quorthron.CD1.part1.rar
http://www.filesonic.com/file/...ory.Of.Quorthron.CD1.part2.rar

http://hotfile.com/dl/10425019...f.Quorthron.CD1.part1.rar.html
http://hotfile.com/dl/10425021...f.Quorthron.CD1.part2.rar.html

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http://www.fileserve.com/file/...ory.Of.Quorthron.CD1.part2.rar

mp3:
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http://hotfile.com/dl/10425016....Of.Quorthron.CD1.mp3.rar.html
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Tracklist:
01. One Rode to Asa Bay (10:20)
02. The Lake (6:39)
03. The Land (6:11)
04. Raise the Dead (3:40)
05. War Pig (8:48)
06. Enter the Enternal Fire (6:57)
07. Blood Fire Death (10:29)
08. Ring of Gold (5:36)
09. War Mashine (3:19)
10. War (2:14)
11. Ace of Spades (5:13)
12. Death And Resurrection of a Northern Son (8:21)
13. The Ravens (1:09)


Download:

Lossless:
http://www.filesonic.com/file/...ory.Of.Quorthron.CD2.part1.rar
http://www.filesonic.com/file/...ory.Of.Quorthron.CD2.part2.rar

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mp3:
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http://hotfile.com/dl/10425031....Of.Quorthron.CD2.mp3.rar.html
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Tracklist:
01. The Wheel of Sun (8:46)
02. Apocalypse (3:48)
03. Black Dimons (6:09)
04. Woman of Dark Desires (4:06)
05. Destroyer of Worlds (4:50)
06. Sea Wolf (5:24)
07. Duce (3:42)
08. The Return of Darkness and Evil (3:50)
09. Day of Wrath (7:10)
10. Sleeping (2:56)
11. Ode (6:23)
12. Hammerheart (3:53)
13. Heimfard (2:06)
14. Outro (0:25)
15. You Just Got to Live (5:05)
16. Silverwing (5:16)
17. Song to Hall Up High Jennie (2:32)


Download:

Lossless:
http://www.filesonic.com/file/...ory.Of.Quorthron.CD3.part1.rar
http://www.filesonic.com/file/...ory.Of.Quorthron.CD3.part2.rar

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mp3:
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http://hotfile.com/dl/10425065....Of.Quorthron.CD3.mp3.rar.html
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The DVD contains the first official commercial release of the legendary 11-minute video for 'One Rode To Asa Bay', as well as the MTV interview Quorthon did in London for the release of 'Hammerheart'.




Download:

http://www.filesonic.com/file/....Quorthron.Bonus.DVD.part1.rar
http://www.filesonic.com/file/....Quorthron.Bonus.DVD.part2.rar
http://www.filesonic.com/file/...Quorthron.Bonus.DVD.part3.rar
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http://www.fileserve.com/file/....Quorthron.Bonus.DVD.part3.rar
http://www.fileserve.com/file/....Quorthron.Bonus.DVD.part4.rar

PS. When Jennie Tebler, sister of Quorthon, was asked what she will remember about Quorthon the most and if the experience of listening to BATHORY albums changed a lot for her after his death, she said: "He was the kindest person you ever could imagine. He lived his life for what he loved, his music. He took time to care for all of his fans. He never liked to be in the spotlight but he could sit down for hours and hours in front of his computer answering e-mails from his hordes. The BATHORY hordes meant so much for him, as I'm sure they know. For me to answer what I will remember the most is impossible. The only thing I can say is that I loved him and that I will miss him every day for the rest of my life (until we meet again). Before Quorthon died, the music of BATHORY and QUORTHON were kick-ass records, some of them masterpieces that I enjoyed listening to depending on my mood. Nowadays, it's my way of 'bringing him back.' I listen to his music when I am alone, I close my eyes and feel his presence. I get comfort that way. It is a huge privilege to be able to do that."

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