En 1993, le quintette suédois Necrophobic sortait progressivement de l'anonymat avec la réalisation de quelques démos et surtout d'un EP intitulé "The Call". Leur premier album, "The Nocturnal Silence", sort l'été 1993 et est produit à l'instar de leur EP par Tomas Skogsberg au studio Sunlight, extrêmement prisé par la scène suédoise (Entombed, Grave, At the Gates, Dismember, Therion, Carnage) déjà à l'époque et d'autant plus depuis.
Le groupe suédois compte à l'époque dans ses rangs Tobias Sidegard au poste de bassiste, Joakim Sterner aux fûts, tous deux encore présents aujourd'hui, Anders Strokirk au chant qui a quitté le groupe après quelques concerts pour son projet Blackshine (du Power Metal, dans lequel il officie encore actuellement), et enfin le ténébreux David Parland, guitariste et compositeur principal.
Le registre de Necrophobic se situe à la croisée entre un Death Metal suédois en pleine explosion depuis les cultes "Left Had Path", "Into the Grave", "Dark Recollections" et "Like an ever flowing Stream" -respectivement Entombed, Grave, Carnage et Dismember- pour ne citer qu'eux, et un black metal renaissant, comptant dans ses rangs un certain nombre de formations norvégiennes inspirées des Darkthrone, Burzum, Mayhem et consorts, et quelques suédois comme Marduk avec son deuxième album "Those of the Unlight" cette année-là et Dissection et son "The Somberlain", tous deux assez inspirés par le Death Metal.Lire la suite ›
Commentaires client les plus utiles sur Amazon.com (beta)
8 internautes sur 8 ont trouvé ce commentaire utile
A Classic in underground metal12 octobre 2002
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This is one of the best death metal albums of all time. The first time I heard this album I was in total shock because it gave me the same feeling as Slayer's Hell Awaits did. This album has by far the most "evil" atmosphere I have ever encountered in an album. A lot of bands have the satanic image and they try really hard to be evil, but many of them don't cut it like Necrophobic. There music is brilliant. Davis Parland (AKA Blackmoon) is hands down the best death metal guitarist that I have ever heard. His songwriting is both brutal and very catchy. The production is amazing. Unlike other swedish bands who recorded in the early 90s they had their own sound. Their lyrics are beautifully frightening. I cannot speak highly enough about this album. If you are into death metal, I highly recommend this album. Your collection is not complete without it. I also recommend the first Dark Funeral album " Secrets of the Black Arts", War and Infernal. These bands were all formed by David Parland after he exited Necrophobic.
6 internautes sur 7 ont trouvé ce commentaire utile
underrated black metal28 mai 2003
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This album is pure evil from start to finish. I'm amazed how Necrophobic didn't manage to achieve a higher status after the release of this debut, The Nocturnal Silence, which is an utter shame. Everything about this album emanates perfection. The guitarwork is brillant, brutal, beautiful, and beastly. There is not one weak track found, there is not even a weak section. Necrophobic is as evil, if not more than legendary bands such as Emperor, Mayhem, and Darkthrone. If I were Satan, I would truly be shaking in my goat clefted boots knowing that that there is a new contender to the throne of darkness, and that is Necrophobic.
4 internautes sur 5 ont trouvé ce commentaire utile
One of the greatest Death Metal releases of all time!9 mars 2005
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Yes, a bold statement - but Necrophobic backs it up indeed. I was knocked to the floor the first time I heard this CD. I probably listened to it every day for a year straight, and then pretty much once a week since then - it just doesn't get old! The guitar work is unmatched, only Abyssos or Dissection can compete. These guys destroy Morbid Angel or Cannibal Corpse as far as guitar riffs are concerned... Their style is chilling, you will literally get goose bumps from listening, it's so damn evil, and yet so cool. The guitar sound is the old-school Swedish D.M. sound - courtesy of Sunlight Studio, which is where all the classic releases were recorded (Entombed, Dismember, Grave, Nihilist) The drumming is dead-on, and the drummer actually wrote a lot of the riffs! Vocals have a lot of variety, and the overall energy and sound quality are hard to beat, even with today's standards. If you liked: "Left Hand Path" from Entombed, "Pieces" from Dismember, or "You'll Never See" from Grave, "The Nocturnal Silence" will blow your ass away!!!
Arise from hell before the dawn23 février 2012
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In the dark purity of evil simplistic death metal, Necrophobic strike a rhythmically direct and lucidly melodic attack in the early 1990s Swedish style to crush the holy escapade and shatter dreams of everlasting heaven. With a black metal obscurity of primal reductive method in the occult thematic approach and ominous mood of mysterious darkness, Necrophobic seek to uncover in basic forms the frightful realities of spiritual torment as considered from the abject principles governing faith-based, specifically Christian, convictions: the hellish anguish of condemned souls writhing in the agony of persecuted darkness of forbidden knowledge and fearless exploration of the demonized unknown.
"As you call upon your fake God Devastation is filling the air Rising through the gates of hell Retaliation of the evil ones"
The design and historical foundation of these songs is rooted in basic, accepted standards of popular music songwriting, though the harmonic, compositionally-oriented center upon which these melodic constructions are built is recognized as a standard method of underground metal songwriting. Dramatic passion reinforces a primal force and volatile organic strength within these powerful, engaging songs, some of which set an introductory tone of eerie, foreboding atmosphere through keyboards and clean guitar that manifests in fullness a darkened spirit of youthful wonder at the occult and the forbidden. The structures are quite simplistic, allowing for an immediate, almost audaciously unassuming and straightforward expression accounting for this album's documented reputation as a late-blooming cult release; the music is so simple and direct that its genius within this advanced form is easily missed upon initial encounters, but its expressive purity is timeless, and its utter lack of pretension in the context of its strengths in vital areas earns it legitimate respect and appreciation.
"Holy father in the sky Inhuman lord of darkest lies We burn the feeble christian cross And curse the holy son of God"
Guitar tone is of the classic Sunlight Studios variety, murky scraping of gloomy sound shaping riffs that, while less complex in pattern than many of their regional contemporaries, manage a familiarly Swedish style of translucent darkness, with particular expertise in transcendently melodic leads of simplistic beauty, artistically purposeful in their representation of somber atmospheric elegance. Traditional rhythmic constructions of the extreme speed metal variety form the foundations of songs in varying tempo, from morbid crawls to savage rampage, framed by accurate and riff-supporting drumming that is nothing fancy, but sturdy and adequate for the demands of the style, while harmonic and rhythmic support comes from structurally aware and fluid bass guitar.
"Gaze at the twilight in the bloodred sky The evil gods are rising Shadows revealed by the darkened moon Behold the diabolical signs"
The playing is accomplished but not technical, honoring the minimalist nature of song structure with balanced, unembellished instrumentation that is nevertheless highly expressive and dynamic, much like the rough growling vocals that rage over the music in rhythmically-defined arrangements, yet find flexibility in the dramatic space afforded by transitions to unleash terrifying screams of infernal desire. Awarded a clear and weighty production of reasonable representation, The Nocturnal Silence is a solid, unholy work of impressive consistency and unadorned expressive immediacy worthy of inclusion among Sweden's early `90s examples of dark, melodic death metal mastery.
Sick, Sinister, And Sardonic1 janvier 2011
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This isn't the darkest, most evil album I've ever heard, but Necrophobic always had a knack for creating some twisted stuff. Sinful while at the same time melodic, this band blends well the traits of black metal into death metal. Therefore, tremolo and a razor-like guitar tone is the par for the course, with vocals tortured and drums you can expect more on the stomping end than the prancing one. Every song here is a stab against all that is holy or a virgin; a wise choice of enemies.
It's difficult to identify the better vocalist: Anders or future frontman Tobias. Both have mutilated growls and terrifying screams full of agony, both share no mercy for the weak, and I believe their voices add a spiritual touch to the despicable style of Parland. Parland himself doesn't let up once on the riffs - reminding me of Morbid Angel if they got their act together. The riffs here are fast and depraved or thrashy and vile - very sharp, but not thin or thick like Dismember's chainsaw distortion. Drums follow along with blast beasts, checkered timing, and fun beats to drive along with. Solos aren't sparse, but they aren't showstoppers either; more emphasis is given to the evoking, blasphemous essence of song build-ups.
For instance, the title track (my favorite on the album), broods into hellish territory with the most malevolent clean guitar prod I've ever heard. It's so nasty that I imagine Satan using it as a battle anthem for his offensive against Heaven. Picture that: hordes of demons and all other evil beings storming the gates - laying waste, raped angels, and a final battle to end all battles. The sound of the drums is clear, though the double bass is buried pretty badly. I hoped to have a little more chunkiness from it, since the hats and toms are perfect sounding for this music. Atmosphere also I wish was a little bit more haunting like Immortalis' album.
That may be asking a little much, since herein the riffs are enough to carry the album. "Inborn Evil" and "The Ancients Gate" both are fantastic follow-ups to the title track, delving into cross-grumbling classical lead riffs, proving that melody can be induced effectively without sacrificing grit and style. I'm surprised that bass isn't more prominent in the music; you really can't hear it all that well. Not that it kills the music or anything, but the album could have been more wicked had the bass been bumped up.
Lastly, that cover art should have been scrapped. The colors are all good: red, purple, and black are a great combination, but that just looks way too cartoony. Now Darkside... that utilized these three colors damn well, but we'll get to that later.