Gothenburg, Sweden-based death metal outfit Dissection was formed in 1989 by singer/guitarist Jon Nödtveidt and bassist Peter Palmdahl; with the addition of drummer Ole Öhman the following spring, the group recorded its first demo, "The Grief Prophecy." Following the 1991 Corpsegrinder single, "Into Infinite Obscurity," Dissection recorded a... [+] Read More

Gothenburg, Sweden-based death metal outfit Dissection was formed in 1989 by singer/guitarist Jon Nödtveidt and bassist Peter Palmdahl; with the addition of drummer Ole Öhman the following spring, the group recorded its first demo, "The Grief Prophecy." Following the 1991 Corpsegrinder single, "Into Infinite Obscurity," Dissection recorded a second demo named The Somberlain, which resulted in a contract with No Fashion Records and their first album (also titled The Somberlain, but also featuring second guitarist John Zwetsloot) in late 1993. Johan Norman replaced Zwetsloot for the follow-up, 1995's Storm of the Light's Bane, but then, in July of 1997, Nödtveidt and a friend were charged with the brutal murder of an Algerian homosexual. Both were convicted and Nödtveidt received an eight-year sentence, bringing about the end of Dissection. Öhman formed a new group called Reaper and the release of a rarities collection, The Past Is Alive, in 1998, felt like the band's last rites. But the ensuing long silence was eventually broken by 2003's Live Legacy box set and Nödtveidt's release a year later allowed him to finally revive the Dissection name, starting with the two-song Maha Kali EP (part of which was recorded while he was still in jail). A potential collaboration with former Emperor drummer Bard Faust didn't work out, but by late 2005, Nödtveidt had assembled a new Dissection lineup out of guitarist Set Teitan (see also Aborym), bassist Brice Leclercq (of Nightrage), and drummer Tomas Asklund (ex-Dark Funeral). This foursome recorded Dissection's third studio album, Reinkaos, issued in May 2006 by The End Records. ~ Jason Ankeny, All Music Guide


OFFICIAL BIO

Considering it's been 11 years since the release of their last full-length album, and all that has happened in the intervening years, it becomes obvious that the expectations for Dissection's return are very high. Reinkaos boldly presents their unique brand of sinister and heavy music, Anti-Cosmic Metal of Death. The mysterious, sinister atmospheres of their first phase are intact, while several new elements take the band into realms unexplored.
The ritual emanations of Reinkaos simmered for 11 years in the mind and heart of singer and guitarist Jon Nödtveidt. Crafted for nearly a year in the studio, the black magic was long in the making, its manifestation a tale of constant struggle, due to both internal and external turbulence. Through all that affected Nödtveidt and Dissection - from occult practice, years in prison, rumors, violence, death, chaos - to the victorious Rebirth of Dissection in 2004, Reinkaos emerges all the better for it.
The Rebirth of Dissection, introducing Set Teitan (guitars) and Tomas Asklund (drums), proved the band to be back with a vengeance, which is also clearly expressed on Reinkaos. The album is the first release on the band's own label, Black Horizon Music. "We have invested our souls in this album, gone through fire and brimstone to make everything work", says Nödtveidt. From the martial symphonics of Nexion 218, to the vitriolic Beyond The Horizon and the apocalyptic Starless Aeon, right through to the closing notes of the hypnotic Dark Mother Divine and triumphant God of Forbidden Light, there's no doubt that Dissection is moving forward with strength, experience and a wealth of dark intentions.



OFFICIAL STATEMENT ON JON'S DEATH


Jon Nödtveidt was a man who lived his life according to his convictions and True Will. A couple of days ago [August 16, 2006] he chose to end his life by his own hands. As a true Satanist he led his life in the way he wanted and ended it when he felt that he had fulfilled his self-created destiny. Not everyone will have understanding or acceptance for his personal path in this life and beyond, but all must respect his choice.

Those of us who have met him in his last days can assure that he was more focussed, happier and stronger than ever. It is our full conviction that he left this world of lies with a scornful laughter, knowing that he had fulfilled everything that he had set up for himself to accomplish. The empty space that he leaves behind will be filled with the dark essence that he manifested through his life and black-magical work. His legacy and Luciferian Fire will live on through those few who truly knew him and appreciated his work for what it really was and still is. As our brother's goal in life and death never was to "Rest in Peace", we will instead wish him victories in all battles to come, until the Acosmic Destiny has been fulfilled.

For the glory of the Dark Gods and the Wrathful Chaos!
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After leaving Ceremonial Oath to form In Flames, founding member and guitarist Jesper Strömblad saw this project as a way of expressing his songwriting creativity rather than being stuck in the background. With the added influences of Iron Maiden and Black Sabbath, along with his own touch of aggressive metal that overwhelmed his home country of... [+] Read More

After leaving Ceremonial Oath to form In Flames, founding member and guitarist Jesper Strömblad saw this project as a way of expressing his songwriting creativity rather than being stuck in the background. With the added influences of Iron Maiden and Black Sabbath, along with his own touch of aggressive metal that overwhelmed his home country of Sweden, Wrong Again Records took notice and released In Flames' 1993 debut, Lunar Strain. In the tradition of many other Swedish metal acts, In Flames also had a revolving lineup that changed year after year -- not that this was going to stop them from releasing their next album, Subterranean (1994), before signing to Nuclear Blast Records in 1996.


After putting out The Jester Race album later that year, followed by 1997's Whoracle, In Flames' lineup was finally settled with Björn Gelotte (drums), Anders Fridén (vocals), Peter Iwers (bass), and Daniel Svensson (drums) in addition to Strömblad. To celebrate, the band released its sixth album, Colony, in 1999. Clayman followed in the same vein the next year, and the band even managed to keep the same lineup for this release. The live Tokyo Showdown was released to promote their tour in 2001. Reroute to Remain arrived in 2002, followed by Soundtrack to Your Escape in 2004 and Come Clarity in 2006. ~ Mike DaRonco, All Music Guide
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Offering a complex form of metal that combined the sweeping adverturism of math rock, the oddball tempos of experimental jazz, and the stunning brutality of thrash metal, Meshuggah raised the bar for metal bands everywhere upon their debut. The roots of Swedish metal band Meshuggah were planted in 1985; originally named Metallien, the founding... [+] Read More

Offering a complex form of metal that combined the sweeping adverturism of math rock, the oddball tempos of experimental jazz, and the stunning brutality of thrash metal, Meshuggah raised the bar for metal bands everywhere upon their debut. The roots of Swedish metal band Meshuggah were planted in 1985; originally named Metallien, the founding line-up included frontman Roger Olofsson, guitarists Peder Gustafsson and Fredrik Tordendahl, bassist Janne Wiklund and drummer Örjan Lundmark. After a few demos made the rounds, Metallien broke up and Fredrik Thordendal continued the band with a different lineup and a different name. The original lineup of Meshuggah also included vocalist Jens Kidman, guitarist Johan Sjögren, bassist Jörgen Lindmark and drummer Per Sjögren. A handful of demos followed before Kidman left the group to form a new outfit, Calipash, with guitarist Torbjörn Granström, bassist Peter Nordin and drummer Niclas Lundgren; the surviving members of Meshuggah soon disbanded, and when Granström left Calipash, Thordendal assumed guitar duties in the new band. Kidman and Thordendal then agreed to reclaim the Meshuggah name, and in 1989 the band released a three-song mini-LP; after signing to Nuclear Blast (and swapping Lundgren for new drummer Tomas Haake), they issued the full-length Contradictions Collapse in 1991. Second guitarist Mårten Hagström was recruited for 1993's None EP, followed two years later by Selfcaged; in the interim, however, the group was forced to maintain a low profile -- first Thordendal severed a finger in a carpentry accident, then Haake injured his hand in a mysterious grinder mishap. Destroy Erase Improve appeared later in 1995, and won over critics with their heady tempos and abstract approach. In 1997 Meshuggah returned with The True Human Design EP; that same year, Thordendal's side project, Special Defects, released their LP Sol Niger Within. Meshuggah reunited for 1998's Chaosphere, a thunderous album that was unbearably dense in its songwriting and scope. Several successful tours followed, and their incredible abilities were starting to get recognized by mainstream music magazines, especially those dedicated to particular instruments. Once they left the touring circuit, the band was surprisingly quiet, cooking up new material for a few years while on a rarities disc marked the time. But in the summer of 2002, they released Nothing, a masterpiece of atmosphere that added psychedelic touches to their ever tightening sound. Unique in almost every way, the album didn't make much of a mainstream impact but had metal fans banging their heads to 7/4 tempos and esoteric lyrics. A good word from Ozzy Osbourne's son Jack scored the band a spot on the annual Ozzfest tour, where they flourished on the second stage, often stealing the show with their original and savage math metal. After a brief break, Meshuggah released the I EP in 2004. Composed of a single epic track, the complex arrangements of I were just a hint of what was to follow. Their next album, Catch Thirty-Three, was released the following year and proved to be their most ambitious to date. ~ Jason Ankeny and Bradley Torreano, All Music Guide [-] Hide

When attention first focused on Norway's almost cartoonishly violent black metal scene in the mid-'90s, Mayhem were dubbed its godfathers, but most of the critical accolades were bestowed upon Emperor, whose musical innovations have had more impact on the genre than any other band. Norwegian black metal was rife with anti-Christian sentiment,... [+] Read More

When attention first focused on Norway's almost cartoonishly violent black metal scene in the mid-'90s, Mayhem were dubbed its godfathers, but most of the critical accolades were bestowed upon Emperor, whose musical innovations have had more impact on the genre than any other band. Norwegian black metal was rife with anti-Christian sentiment, but Emperor found novel ways of expressing it in their music; while their music could be furious and violent, the group was also influenced by the darkly majestic melodies of Norwegian folk and classical music, which very effectively supported their lyrical subject matter (even if it was frequently unintelligible). Emperor evoked not only Satanic horror, but also the frigid loneliness of bleak Scandinavian winters; additionally, images of pagan nature worship recalled an ancient, idealized pre-Christian past in which Scandinavian culture was one of the world's most dominant (resulting in the sound being tagged "Viking metal" by some). However, even as Emperor's music garnered worldwide acclaim in the heavy metal community, legal difficulties and lineup shifts ensued when a number of bandmembers became involved in the anti-Christian activism and general violence that characterized Norway's underground metal scene at the time.


Emperor's original lineup featured vocalist/guitarist/keyboardist Ihsahn, bassist Mortiis (who has been credited with the band's initial interest in Norwegian folk), and drummer Samoth; this trio recorded a demo, Wrath of the Tyrant, in late 1992, and soon added drummer Faust (born Bard G. Eithun), with Samoth switching to guitar. The quartet recorded a split EP with the band Enslaved titled Hordanes Land, after which Mortiis was forced to leave the group -- and the country -- for unspecified reasons; he moved to Sweden and pursued a solo career, often appearing costumed as an elf. New bassist Tchort signed on for Emperor's full-length debut, In the Nightside Eclipse, which earned critical praise and an international cult following upon its release in 1994. However, around the same time, Samoth was convicted of arson after burning down a historical wooden church; Tchort was sentenced for burglary, knife assault, and desecration; and Faust was locked up for arson, burglary, and murder, stabbing a homosexual acquaintance 14 times outside the Olympic Park in Lillehammer after the man made a pass at him.


After Samoth's parole, Emperor regrouped with new bassist Alver and former Enslaved drummer Trym. A three-track EP, Reverence, was recorded in late 1996 as a precursor to 1997's acclaimed Anthems to the Welkin at Dusk, which refined and expanded on the accomplishments of the debut. Alver departed afterwards, leaving Ihsahn and Samoth to split bass chores on record; session bassist Tyr and keyboardist Charmand Grimloch began touring with the group to fill the holes. Emperor's third album, IX Equilibrium, followed in 1999, and the following year the group issued its first concert recording, Emperial Live Ceremony. ~ Steve Huey, All Music Guide [-] Hide

Culling its membership from various Norwegian black metal luminaries, Arcturus has been an evolving project for founding keyboardist Steiner "Sverd" Johnsen and drummer Hellhammer (also known as a member of Mayhem, one of the most infamous Norwegian black metal ensembles). The results of this newer endeavor have been quite fruitful, and with... [+] Read More

Culling its membership from various Norwegian black metal luminaries, Arcturus has been an evolving project for founding keyboardist Steiner "Sverd" Johnsen and drummer Hellhammer (also known as a member of Mayhem, one of the most infamous Norwegian black metal ensembles). The results of this newer endeavor have been quite fruitful, and with their full-length debut, Arcturus proved that they are some of the best black metallers of the late '90s. The group initially began as a collaboration between Sverd and Hellhammer, and their debut 7", "My Angel," was released on a small underground label in Europe. Following this, the duo enlisted Ulver vocalist Garm and Emperor axeman Samoth. The quartet's mini-album Constellation was recorded without bass tracks, an unusual feat in the metal world. Samoth was later incarcerated for unrelated criminal activities, and so the group brought in two new members, bassist Skoll (from Ved Buens Ende) and guitarist Carl August Tidemann (Tritonus). They recorded Arcturus' full-length debut Aspera Hiems Symfonia for Century Black, garnering them more attention and critical praise. Their second opus, La Masquerade Infernale, has only been released in Europe so far. Disguised Masters followed in 1999. ~ Bryan Reesman, All Music Guide [-] Hide

Nemesis Divina assures Satyricon a place in the heavy metal history books. This sweeping epic work is quintessential black metal, a seamless marriage of speed and power with intricacy and emotional content. Tempo changes, multiple riffs, and the use of synthesizer and piano create moods ranging from struggle to triumph, from horror to beauty.... [+] Read More

Nemesis Divina assures Satyricon a place in the heavy metal history books. This sweeping epic work is quintessential black metal, a seamless marriage of speed and power with intricacy and emotional content. Tempo changes, multiple riffs, and the use of synthesizer and piano create moods ranging from struggle to triumph, from horror to beauty. Not allowing things to get too subtle, though, is Satyricon's greatest asset; the primal, no-frills drumming of Frost. Powered by this savage battery, Satyricon plow through Armageddon with flawless technical skill. Follow-up releases see the band realizing their musicianship even further via new frontiers in arrangement and direction. Nemesis Divina is a classic unto itself, a screaming indication of Satyricon's sophistication within heavy music. ~ Matthew Kantor, All Music Guide [-] Hide

Tales of Creation may not contain as many classics as some of Candlemass' previous efforts, but the band has never sounded better, and the exceptional production job fully highlights the operatic vocals of Messiah Marcolin without sacrificing any of the band's low-end guitar crunch. Unfortunately, the group wastes precious space on short... [+] Read More

Tales of Creation may not contain as many classics as some of Candlemass' previous efforts, but the band has never sounded better, and the exceptional production job fully highlights the operatic vocals of Messiah Marcolin without sacrificing any of the band's low-end guitar crunch. Unfortunately, the group wastes precious space on short spoken-word interludes, which, although they are meant to tie everything together, actually detract from the album's continuity. Another perplexing blunder is the inclusion of "Into the Unfathomable Tower," a very uncharacteristic, frenzied guitar workout which sounds more like a Yngwie Malmsteen outtake. Still, the band offers enough winners with the title track, "Dark Reflections," and "Tears" to keep things interesting, and the stunning "Under the Oak" is simply one of the best songs of the band's career. While definitely not a first choice for new fans, this album will certainly satisfy serious doomsters. ~ Ed Rivadavia, All Music Guide [-] Hide

Sometimes heavier, and generally more traditionally structured, Lake of Tears' third Black Mark release A Crimson Cosmos, turned out to be the band's breakout recording. In Europe (where the Lake of Tears brand of dour but traditional metal never fell completely out of favor), critics and fans finally began giving some respect to the group and... [+] Read More

Sometimes heavier, and generally more traditionally structured, Lake of Tears' third Black Mark release A Crimson Cosmos, turned out to be the band's breakout recording. In Europe (where the Lake of Tears brand of dour but traditional metal never fell completely out of favor), critics and fans finally began giving some respect to the group and their rapidly improving sound. Songs like "Raistlin and the Rose" and "Cosmic Weed" are some of the most musically satisfying efforts from the band. But strange numbers like the curious and hokey "Lady Rosenred" and other singalongs, like "Devil's Diner," almost go too far. After starting out with a debut marked by its aimlessness, the turnaround of Crimson Cosmos -- released just four years later -- is profound for sure, but not always comfortable. A continued improvement on the Lake of Tears sound, this 1997 release signified the beginning of a new musical chapter for the band that while imperfect, represented real improvement as well. ~ Vincent Jeffries, All Music Guide [-] Hide

With their second album, The Pagan Prosperity, Old Man's Child prove themselves one of the more varied bands on Norway's black-metal scene, creating different sonic textures instead of just pounding away. That's not to say there's no lightning-fast death-metal aggression; it's simply mixed in with melodic passages, solid midtempo metal grooves,... [+] Read More

With their second album, The Pagan Prosperity, Old Man's Child prove themselves one of the more varied bands on Norway's black-metal scene, creating different sonic textures instead of just pounding away. That's not to say there's no lightning-fast death-metal aggression; it's simply mixed in with melodic passages, solid midtempo metal grooves, and tinges of goth-rock. The band doesn't always use its range in a focused manner, but overall, The Pagan Prosperity marks Old Man's Child as a band to watch. ~ Steve Huey, All Music Guide [-] Hide

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