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...And Justice For Art Presents: Look-Alike Covers

While the online community And Justice For Art prepares for the imminent release next month of their long-awaited book Stories About Heavy Metal Album Covers, they keep delighting Metal Underground readers with their series "Look-alike Covers." This time the focus is on Swedish Dark Rock/Metallers, Ghost BC (aka Ghost).

By now, it's well now the Swedish band's affinity for creating album covers based on iconic movie posters. This episode of And Justice For Art's Look-Alike-Covers explores these artworks and its origins.


Opus Eponymous

The cover art for the Swedish band's acclaimed debut album is attributed to a design entity known as Basilevs 254. The overall composition and ominous atmosphere is partly based on the classic poster for the Stephen King's vampire TV mini-series "Salem's Lot," which was also edited as a theatrical feature film.

The artwork substitutes the iconic image of the menacing vampire for the likeness of frontman, Papa Emeritus. The eerie Marsten House of the mini-series was also substituted by a church reminiscent of Sweden's Uppsala Cathedral.


Infestissumam

The artwork for their sophomore full-length recording was unashamedly based on the iconic promotional poster for the 1984, Oscar-winning film, Amadeus. However, the image is not a vile rip-off. It incorporates dramatically contrasting bright colors, Vatican City's St. Peter's Square, Papa Emeritus II and the figure of a baby that morbidly suggests the presence of evil.

Ghost B.C. commissioned Polish artist, Zbigniew Bielak for the creation of this artwork and inner illustrations. He confirms that indeed, "the band came up with the idea of using Amadeus poster as main reference for the cover." Outstanding re-imagining, indeed.


If You Have Ghost (EP)

Ghost used the talents of renewed illustrator M. Frisk for the creation of this particular art. He admits that the image is directly based on an iconic still taken from the highly influential 1922 silent horror film "Nosferatu." On Frisk's rendition, Papa Emeritus II substitutes the iconic vampire while he is standing on a ship.

"Ghost had a clear concept and a plan for everything so this was also their idea," Frisk recalls. "The images from Nosferatu are iconic and therefore great to use as a reference. The commission was quite clear from the beginning; my job was to make their idea work."

The EP's back sleeve also features another image featuring the silhouette mythical vampire. Frisk admits that "that was my idea to put the shadow in there to make the back of the EP a bit more interesting."

To find out more about everything happening visually-wise in the world of Metal, check out the official And Justice For Art Community.

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Sunday Old School: BMHM Part 3 - Marduk

Black Metal History Month has returned for a fourth installment! This year will see our special time analyze some of the roots of the genre, as well as some of the bleakest and obscene bands to fly the flag of darkness.

Sweden is perhaps best known in the extreme music world for their contribution to death metal, having been the birthplace of such bands as In Flames, Entombed, At The Gates and Katatonia, but they have also made a good contribution to black metal, perhaps most notably thanks to Bathory, one of the earliest influences on the genre. However, one of the more controversial names in the field (which is saying something when talking black metal, believe me) would be a band from the city of Norrköping which go by the name of Marduk.

Marduk was formed by guitarist Morgan Steinmeyer Håkansson, with the intention of creating the most blasphemous and offensive band in the world. They began by fusing death metal with black to create a very extreme sound. They unleashed their sound in 1991 with the release of the demo, "Fuck Me Jesus," before releasing their first full length album, "Dark Endless" the next year. It was well received and the band took to the road to perform across Sweden, expanding their fan base along the way. More...

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The Rockstar Ramblings: God Bless Chris Holmes

This week we have videos from Killit and Lucifer Rise, but what really matters is that we have another video from Chris Holmes. If you are having a bad day, watching this video may just be the cure. More...

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Thrashback Thursday: Destroyer Of Worlds

Welcome to the first edition of a brand new column entitled, Thrashback Thursday! The purpose of this new feature is to find a metal song (and not necessarily thrash, before anyone starts screaming and pointing fingers) that the writer hasn't heard for a while, felt has been overlooked or simply just likes. So let's get things started with British thrash metal legends, Onslaught!

In early 2007, Onslaught, perhaps the favourite name of British thrash metal, finally released their long awaited comeback album, "Killing Peace." It was a big thing for fans as it was their first album in eighteen years, one which proved waiting for thanks to songs like "Burn" and the title track, though the song which stood out to me personally was, "Destroyer of Worlds." I had seen (and indeed, heard) Onslaught for the first time a year before when they were supporting Venom in London and "Destroyer of Worlds" was the only new song they played to the crowd, which went over a treat.

It’s easy to see why. It has a fantastically dark intro and builds up to a sneering and aggressive verse, showcasing the unique vocal style of Sy Keeler perfectly. From there it works its way to an anthem like pre-chourus, before exploding into a rapid fire storm of verbal bullets. A chourus so quick is rarely so catchy and it really does stick with the listener for a long time. It’s an excellent example of a thrash band proving their place in the modern metal world and one which helped make, "Killing Peace" such a triumph of metal. More...

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Pit Stories: Hardcore Dancers V.S. Carnivora

There's a million tales from the metal mosh pit, and we're going to find them all! Each Tuesday we check in with metal musicians from across the globe to get their most memorable Pit Story.

Today guitarist Cody Michaud from Massachusetts outfit Carnivora shares this tale of hardcore dancers who just don't like to be touched:

The first story that comes to mind when I think of crazy shit going down at a show happened about 4 years back in Manchester, NH. It was at a place called Rocko’s, which was a notorious venue for hardcore / post-hardcore / breakdown-core / running-in-place-core / etc. at the time. My band was booked to play on this particular night, and seeing as it was one of our first shows we didn’t mind playing a hardcore bill as the lone metal band. The young, stubborn metal enthusiasts that we were didn’t comprehend the concept ninja dancing and two stepping in the pit. We were dead set on starting circle pits.

For those of you who have experienced modern hardcore dancers, you’ll know that they typically prefer to avoid all physical contact with each other. The technique, as I understand it, is to spin-kick and windmill-punch in a way that freaks out everybody nearby, then get pissed when anybody touches you. I don’t know, man. Anyway… we played our set to a room of uninterested hardcore fans. I can’t really blame them, we were asking for it. A bit after we played, one of these kids finally had enough of our ball-busting when he got bumped into by our bassist, Cam.

The dude immediately turned around and hit Cam in the face. At this point, things quickly escalated into a fight with every hardcore kid in the room against my band and crew. I like to imagine it looked like one of those cartoon brawls with the cloud of dust and limbs flying in every direction. Our merch guy broke up the mess before it got worse and we decided to pack up and leave. At the time, our intention was to be “defenders of the faith” by repping metal moshing practices. Like I said, we were young and aggressive metal kids. We didn’t know any better."

You can find more info on the band and upcoming live shows by heading over to the Carnivora Facebook profile here. Be sure to also let us know your favorite mosh pit story about hardcore dancing below!

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Sunday Old School: BMHM Part 2 - Sigh

Black Metal History Month has returned for a fourth instalment! This year will see our special time analyze some of the roots of the genre, as well as some of the bleakest and obscene bands to fly the flag of darkness.

When it comes to black metal, the first place that immediately springs to mind is Norway, despite the genre being pioneered by groups from England, Switzerland, Italy and Denmark. It would be appear that Mayhem guitarist and black metal figurehead, Øystein Aarseth, better known perhaps as Euronymous, was well aware that the genre wasn’t restricted to his home country, as evidenced by his offers to bands all over the world to join his Deathlike Silence label. One of this groups hailed from the other side of the world, in a country one might not associate with the frostbitten scene, Japan. Their name is, Sigh.

Sigh began life in 1989, forming in the Japanese capital city of Tokyo. They released two demo tapes, "Desolation" and "Tragedies" the following year, featuring the lineup of Mirai Kawashima on vocals and keyboards, drummer Kazuki Ozeki and multi instrumentalist, Satoshi Fujinami on guitar. The demos aren’t considered their best work and suffered from very poor production, but nevertheless attracted enough interest for Wild Rags Records to offer them an outlet for an EP release, which came in 1992 under the title, "Requiem for Fools," around the time that they had hired guitarist, Shinichi Ishikawa, a move which saw Fujinami moving to the drum stool. More...

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Pit Stories: Don't Judge A Book By The Cover

Our quest never ends to find the best mosh pit stories from ever corner of metaldom, from the most brutal wall of death to the most insane stage antics and everything in between.

This week Subversion vocalist Jay Shields shares the following tale warning metal fans not to judge a book by its cover (and not to be an ass to the performing bands):

I was playing an underground all-dayer in my old band Hollow Immunity, and this really drunk guy in the crowd was heckling all the bands. He didn't look like he was even into metal, just some local piss head who'd wondered in off the street.

As the day progressed, the venue filled up and by the time we took to the stage there were quite a few people in the pit area and Mr. Pisshead was right there with them. By now he was pretty steamed and giving out random abuse to those around him.

When we kicked into our first track the crowd went pretty crazy in the pit… into which he got sucked. Soon enough he was on his arse and looking very dazed and confused. I thought “here we go, he'll disappear now and give everyone a break,” but actually he looked like he was enjoying himself. He stayed in the pit for the rest of the set and even came up to us afterwards to say how much he enjoyed the show.

Turns out he didn't look metal, Adidas trackies and all, but he was a Polish metal head and really dug what we were doing. Goes to show, you should never judge a book by its cover, even if he needed a bit of an attitude adjustment.

What's the most outlandish heckling you've ever seen from someone in the audience? Share your story below!

Subverion's upcoming new album "Animi" is due out March 3rd via Rogue Records America, and you can also see a lyric video for the track "Imperfect" here: More...

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Sunday Old School: BMHM Part 1 - Bulldozer

Black Metal History Month has returned for a fourth instalment! This year will see our special time analyze some of the roots of the genre, as well as some of the bleakest and obscene bands to fly the flag of darkness.

We’re kicking off this year’s Black Metal History Month with a band which was a massive influence on the genre, but perhaps don’t always get the credit and respect they deserve. They certainly don’t get mentioned in the same breath as Celtic Frost and Mercyful Fate too often by entry level self-proclaimed experts very much. It also marks the first time Sunday Old School has looked at an Italian band, and who better to represent the beautiful country than one of the heaviest bands of their time, Bulldozer? More...

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The Rockstar Ramblings: Kix is For Kids

A couple of throwback bands and another Swedish group bring their videos to the ramblings this week. More...

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Pit Stories: The Sacrificial Dagger

Every Tuesday we have musicians from across the rock and metal spectrum share their most memorable mosh pit stories, covering everything from frisky show goers to ill-timed stage dives.

In nearly all circumstances a knife in the pit is a very, very bad idea (just ask Cattle Decapitation!), but in today's story from The Black Lantern, a knife ends up being a sacrifice to the altar of rock:

We grew up playing in bands and going to shows where the unspoken rule was something along the lines of, "if there isn't a pit, then the show ain't shit." The kind of shows where people looked at the resultant knee surgery they had to get as a badge of honor. As a performer, it's the ultimate thrill to see a pit stoke up, and as a concert goer, it feels good knowing that chaos is still a part of rock and roll.

While the Deafheaven and Refused shows we have attended had pits that were beyond our reach, in late 2012 ...And You Will Know Us by the Trail of Dead got us involved, whether we liked it or not. They are a huge influence on our band for the very fact that they embody a form of chaotic glory that is often lost in today's music world. When we saw them at the Echoplex, Jason Reece sung songs while participating in the pit himself. Andy stood at the back of the pit and held it in, while Jesse was closer to the stage with his back to it.

We kept each other in sight, occasionally giving the, 'this-is-fuckin-awesome-but-maybe-someone-will-die' glance. Then Andy noticed Jesse was out of sight. Some revelers perfectly executed the "sweep the leg" maneuver simply by falling into Jesse. When he got up, he and another guy were looking right at each other, and then at the knife in the other guy's hand. They both exchanged expressions that equally said "is this yours...what the hell do we do with this?" Coming to no reasonable answer, they decided to place it on the stage, as if it was a sacrifice placed on the Altar of Rock.

While no attention was paid to the knife thereafter, it seemed the sacrifice worked. For the encore Trail of Dead played "Richter Scale Madness," the first song from their first album (and the blueprint for all that they would do). The crowd responded to such greatness by flooding the stage. Reece had drumming duties, but was still returning to the stage from the pit. So a fan sat down and joined in. With at least 50 people on stage, it was impossible to see the transition from fan to Jason, and it was all of a sudden even more crazy on stage than the pit itself. The line between chaos and control was perfectly blurred, and the band guided us through blazingly.

The Black Lantern's "We Know The Future" album is out now and can be picked up at Bandcamp here or streamed in the player below. More...

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Sunday Old School: Cro-Mags

There are some scenes that stay local, some which are struggling and then there those which become legendary. One such example is the Bay Area thrash metal scene, which gave the world such bands as Exodus, Testament and Metallica, but on the other side of the country was something just as important which would shape the thrash metal scene there. A movement which has been the subject of documentaries and books, the New York Hardcore scene. Many of the best bands in the genre came from this, including Agnostic Front and later, Sick of it All, but there was one band that were legends in their own time as well as today, who went by the name of Cro-Mags.

The group began life in 1981 in New York City, the brain child of bass player, Harley Flanagan, who was only fourteen at the time but was intent on making himself known in the local punk scene, as well as hitchhiking his way to California to check out the punk scene there. The band went through a number of musicians and at one point, were seriously considering approaching Beastie Boys member, Adam Yauch to join. They also didn't have a singer until 1984, when fifteen year old Eric Casanova was brought into the fold. Though he only performed two shows with the group, he contributed to the writing of such songs as, "Life of my Own" and "Hard Times." He was eventually replaced by John Joseph, also knows as John Bloodclot, who had worked with Flanagan before in Mode of Ignorance. Joseph was the perfect fit for the band and his lyrics helped them evolve into the image we know today, helping to craft more songs and complete a solid live set. More...

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The Rockstar Ramblings: Lies Lies Lies

This week girl fights, insanity and the end of Motley Crue (sort of). Given the band’s Vegas connections there should really be a line on how long before the band gets back together (after their “final” show) with their WE ARE LIARS TOUR! More...

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Pit Stories: Filling In For Decrepit Birth

Tuesday's here again, which means its time for another round of pit mayhem straight from the metal underground.

For this week's tale of pit glory, Patrick Morris (Dissident Clone, ex-Demonicon) shares this tale of getting a last minute gig with a big name band:

My former band Demonicon opened for Hate Eternal and Black Dahlia Murder at Station4 in St. Paul, MN in 2008 with two days notice. Three Inches of Blood and Decrepit Birth had just dropped off the tour, so the promoter added us. We hadn't practiced in a few weeks because our drummer wasn't enjoying the band. To our surprise, he agreed to do the show. We were on stage just about to start playing, and my singer handed me a red Solo cup with a generous shot of Jaegermeister in it. I looked at him quizzically - and with his cup in hand, he pointed to the Black Dahlia guys on the side of the stage, who were holding the bottle and giving us the horns. I slammed into the shot and tore into the first song - we were kicking ass!

During the second song, a guy set off the whole crowd with a stage dive. From that moment to the end of the set, there was perpetual stage diving and a sick circle pit. Playing on stage and having people reacting that way to my band totally validated all the bull shit I had gone through in my life to play music. After we got done, there was one dude with a bloody nose and another guy with a broken clavicle. To my surprise, both were in good spirits and talking to me about how much fun they had. Looking back... I’m pretty sure people thought we were Decrepit Birth.

For our musician regulars - be sure let us know the best last minute show you've played and what it means to you to see the fans throwing down in the pit during your set. More...

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Sunday Old School: Holocaust

Last year, MetalUnderground took a look at the history and legacy of the New Wave of British Heavy Metal, which included a personal top ten of bands from the movement. There were of course, far more than ten great bands at the time and it was mentioned in the article that some bands that didn’t make it into the list were of very high quality. One such band hailed from the Scottish capital city of Edinburgh and definitely made its own stamp on the New Wave of British Heavy Metal. That band was Holocaust.

The band began life in 1977, comprising of guitarists John Mortimer and Ed Dudley, vocalist Gary Lettice, bassist Robin Begg and drummer Nick Brockie. They formed at an opportune time, allowing them to become swept up in the growing popularity of the New Wave of British Heavy Metal, a time where record labels were searching for any metal bands they could, though instead of opting to sign with a company, the group formed their own label, Phoenix Record And Filmworks and released two singles, "Heavy Metal Mania" and "Smokin' Valves," before releasing their debut full length album, "The Nightcomers" in 1981. The record was very well received by heavy metal fans and remains one of the most popular albums of the NWOBHM era, featuring the two previously released singles as well as such songs as "Death or Glory" and the title track. More...

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Pit Stories: Learning A Painful Lesson

Each week we check in with bands from around the globe to get their most memorable Pit Stories. This week If These Trees Could Talk shared this tale of learning a valuable lesson about removing your earrings before entering the pit:

When I was young, I went to every metal festival known to mankind, regardless of who was playing. In my youth, I felt invincible, therefore every mosh pit was open season. In the summer of 2000, I attended the Tattoo the Earth Festival with Slipknot and Sevendust. In my naivete, I had a row of ear piercings down each side.

In the middle of Slipknot’s set, I decided to test my might and enter the pit. Slipknot pits are always rowdy, and I was fully aware of the danger that lurked within, but I didn’t give a fuck. I was ready to rage! Unbeknownst to me, a dude in the biggest combat boots I’d ever seen was crowd surging right above me. As I looked up, his boot came down and grinded every earring out of my adolescent ear at once. Extreme pain, blood and adrenaline all at once. This experience never turned me off from mosh pits, but it reminded me to take them out before going into one for the rest of my life.
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Sunday Old School: Spooky Tooth

Sometimes in the Sunday Old School column, we like to go back to the very early days of heavy metal, before the term was even in use. It’s interesting to find out about some of the bands who were first slapped with the “heavy metal” tag, who may not fit in with today’s definition of the genre, but certainly influenced it. This week, we’ll be looking at just such a band, one who’s approach to the hard rock of the time had more attitude than most and whose name is still dropped today as one of heavy metal’s earliest pioneers, Spooky Tooth. The group was formed as The V.I.P.’s in 1963 in the North Eastern English town of Carlisle and initially performed a rhythm and blues brand of rock before changing their name in 1967 to Art. Under this name, they released the album, “Supernatural Fairy Tales” before changing it again soon afterwards to Spooky Tooth.

Under this new moniker, the group soon recorded a new album, “It’s All About,” which hit the shelves in the summer of 1968. The record received some very positive reviews and contained a cover of the Bob Dylan song, “Too Much of Nothing,” as well as another noteworthy cover track in the form of opener, “Society’s Child,” a song by Janis Ian which commented upon the then controversial subject of interracial romance. This was one of only two albums to feature the original Spooky Tooth lineup, the sophomore effort coming a year later under the title, “Spooky Two,” which featured the song, “Better By You, Better Than Me,” which was of course later to be covered by fellow British rockers, Judas Priest and go on to be the subject of a highly controversial court case. Many critics now regard, “Spooky Two” as the band’s best work to date, citing a great sense of passion found throughout the record. More...

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The Rockstar Ramblings: Foot Fetish

Happy New Year! This week we have videos that showcase shadows, bare feet and smart phone video recordings. No, seriously, 2015 is going to be fucking awesome! More...

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Pit Stories: The Slippery Beer Patch

Our never-ending quest for the best Pit Stories continues this week with a tale from Eau Claire, Wisconson-based doom band Caveat. Guitarist Brandon O'Connell shared this story of the slippery beer patch leading to some pit-side mayhem:

Well this story is quite ridiculous, mostly because it involves our old drummer’s dad. It was Caveat’s first hometown show, second show overall. We were playing with our friend, Ben Hinz’s (Dwarfcraft Devices) new band, Blood Bears. They were a mostly-instrumental juggernaut that created soundscapes that could blow doors off bomb shelters. We also played with a melodic death/doom band from Minneapolis called Mordwolf, later renamed Ulvmord due to some weird legal issues. Rounding out the bill were our best pals Good Guys Wear Wolf from Chetek, WI. It was an eclectic show to say the least so there were many types of people there. We were even more of a punk doom band back then. It made sense because two-thirds of Caveat (Palmer and B-Rad, bass and drums respectively) was also in crusty thrash band, Accusation.

Anyway, after our set and loading up our gear, we all grabbed some drinks with friends, family, etc., one of whom was Butch, Brad’s dad, who was already noticeably intoxicated. Once Mordwolf was done setting up and sound checking, their death/doom onslaught resulted in a mosh pit. Things went on without a hitch for quite a while but that didn’t last.

Things got a little heated when some falling-over-drunk guy went thrashing about with no intent but to apparently look like an idiot. He ended up slipping on some spilled beer and INTO Brad’s dad, who was right on the edge of the mosh pit area, totally oblivious to what was going on. Butch ended up stumbling a little bit due to the contact and slipped on the same beer causing him to fall face first onto the ground. The next thing anyone saw was Butch, obviously furious about something, yelling at some kid and trying to grab him. It turns out the fall broke off part of his tooth and he was bleeding out of his mouth. Butch had to be restrained and taken to the other side of the venue in order to calm down. A few vodkas later, he was just fine. That kid ended up getting his at the bottom of a bar stool. Whoops.
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Unearthing The DeLand Rock & Metal Underground

Each week in Unearthing the Metal Underground, we'll be putting a few quality underground bands in the spotlight in an attempt to get the word out about them. This week we take a look at some of the bands that took part in the recent DeLand Rock & Metal Festival from November 2014. Our report for the festival can be read at this location.

The DeLand Rock & Metal Festival – or “DRMF” as it is affectionately known by the festival's community – is one of the most diverse metal festivals in the United States. This past year there were days dedicated to death metal (or any style with a death style vocal, including old school death, deathcore, hardcore, melodic death and folk) and another day themed by power metal (or any power, traditional, hard rock act), the second of which is headlined by festival promoter Camden Cruz’s own…Seven Kingdoms. Immersed in an infectious sense of community and a plethora of local Florida acts (including the now defunct Massacre), there were also some out of town acts that really brought the “thunder” to the entire event.

Of three of those out of town acts, two of them had never once played a live show together. In fact, those two acts, Judicator and Project: Roenwolfe (both anchored by guitarist/songwriter Tucson, Arizona’s Tony Cordisco), had never met as a band ever until 45 minutes before they hit the stage back to back on the Friday night kick off show. More...

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Sunday Old School: Therion

The band began life as Blitzkrieg (not to be confused with the New Wave Of British Heavy Metal band of the same name) in Upplands Väsby, located in the Stockholm county, a brainchild of bass player Christofer Johnsson, guitarist Peter Hansson and drummer Oskar Forss and played a style of music similar in sound to Venom. The band lasted only two shows before a falling out with Forss forced the group to fold. The group did reform a few months later however, under the new moniker, Megatherion, taking its name from the classic Celtic Frost album. Johnsson put down the bass in favour of guitar and brought in Johan Hansson as the new bassist, along with drummer, Mika Tovalainenm though shortly after the band shortened their name to Therion, both new members took their leave, with original drummer Forss returning to the fold and Erik Gustafsson, best known as a member of Dismember coming in on bass.

With a name finally decided on and a lineup in place, Therion got to work on their first demo, "Paroxysmal Holocaust," which was released in 1989 and followed the same year by a second demo, "Beyond the Darkest Veils on Inner Wickedness." After a third demo, "Time Shall Tell," recorded the next year, they signed a deal with Deaf Records, through which they released their first full length album, "Of Darkness…" in 1991. It was hailed as one of the first progressive death metal albums, though it received mixed reviews upon release and the band saw it as the shedding of their early death metal skin. More...

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