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Bathory - Bathory CD Cover Art
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Bathory CD

 Bathory Discography of CDs
4.7 stars (3 Customer Reviews)

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 Our Price: $16.29  CD
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This record has a historical importance separate from its simple status as a musical statement. This album is regarded by many as the first black metal record, a genre that purported to take metal not simply into well-charted Satanic waters, but into the Nordic pagan past of these young Scandinavian men, eerily similar to the message Hitler once sent to an earlier generation of Teutonic teenagers. Unfortunately, the results were much the same. Scenesters, including members of this band, put their musical vision where their mouths were, encouraging themselves and others not only to kill but to burn dozens of Norway's historic wooden churches in a spasm of Nordic cleansing fire. The music itself has a certain lo-fi charm, and if you're into this sort of thing the raw power of this debut cannot be ignored. For others who may be looking for the sturm und drang fireworks of Slayer or Metallica, this probably won't do much for you. Whatever your predilection, this is eerie music, not so much for what's on the disc as for what it spawned. As a final note, the command of the English language these Nordic lads have is astounding. The lyrics, while uncomfortable, are several steps above what most American or English bands could do. ~ Rob Ferrier
Bathory Music


Detailed Bathory Music Information



Category Rock/Pop Albums, Rock CDs, Heavy Metal, Black Metal
Label Black Mark
Orig Year 1984
All Time Sales Rank   32309  
CD Universe Part number 4785186
Catalog number BMCD6661CD
Discs 1
Release Date Jan 01, 2009
Studio/Live Studio
Mono/Stereo Stereo
Producer Quorthon Seth
Bathory Songs


Bathory Album Track Listing



1.Storm of Damnation (Intro)
2.Hades
3.Reaper
4.Necromansy
5.Sacrifice
6.In Conspiracy With Satan
7.Armageddon
8.Raise the Dead
9.War
10.[Untitled Track]
Bathory Music


Bathory Other Versions



Bathory Music Review


Customer Bathory Reviews 




Average Rating: (4.7 out of 5 stars) 4.5 stars

4 stars Impressive for 1984
While the production of this cd dates it to the mid-eighties, I am impressed with the compositions. This album sounds like it is heavily influenced by Venom. Necromancy has got a pretty good riff at the end kicked off by a brief attack on the drums. Nice. Armegeddon is another highlight on this album.
Submitted by drudow (Lawrenceville, GA USA) Verified Buyer
Was This Review Helpful? Yes No  1 of 2 found this helpful.

5 stars from the depths of hell
from its doom laden opening of a desolate church bell toll,bathory take you on a one way trip to hell. the guitars scream out like tortured souls in despair and the vocals shreik like a banshee.this cd is in a class of its own...pure evil!
Submitted by stooshymiller (solid rock cafe glasgow)
Was This Review Helpful? Yes No

5 stars Godly Black Metal
RIP QUORTON U Definitely Started A Legacy
Submitted by Malice (Norway)
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Under The Sign: The Sign Of The Black Mark
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Bathory Under The Sign: The Sign Of The Black Mark CD  (1987)

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With their third album, 1986's Under the Sign: The Sign of the Black Mark (which, as you may have guessed, provided the name for their future record label), Sweden's Bathory took a major step forward in their development -- most notably when it came to the improved quality of the actual recording. Whereas their first two, technically challenged efforts had benefited from all the class and precision of a plane crash, this album's clearer, more professional sound finally allowed Seth Quorthon's fast-maturing songwriting skills to shine through the murk. This did not, however, mean that Bathory was forgetting their roots. Quite the contrary, for, while original fans unwilling to let go of the band's inaccessible past could content themselves with full-throttle thrashers like "Massacre," the shrill "Equimanthorn," and the downright furious "Chariots of Fire," those willing to grow along with the group could appreciate less-frenetic, more diversified numbers such as "Call From the Grave" and "Enter the Eternal Fire." In the latter, Bathory achieved their first bona fide epic, and this more than any other track here suggests the future glories soon to come. Quorthon's raspy, anguished croak remains an ever-present reminder of Bathory's primitive origins, but his increasingly musical guitar solos, usage of the occasional eerie synthesizer intro or accent (see the excellent "Woman of Dark Desires"), and gutsy decision to print his lyrics demanded a greater level of respect for what Bathory ...
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Regularly cited as the archetypical Viking metal album, Bathory's Hammerheart remains an unqualified triumph for the pioneering Swedish act. Merging audacious lyrical ambitions with a sense of musical grandeur akin to the greatest epic works in metal history -- among which it is frequently numbered -- Hammerheart is a fully fleshed concept album, and a literate one at that. Chronicling with great detail and drama the Christian invasion of Scandinavia during medieval times, and his pagan ancestors' forceful conversion to the cross, Seth Quorthon became a standard-bearer for an entire generation of disenfranchised Norse-descended teens. In fact, Hammerheart's remarkably well-thought-out words and overall scope and vision engendered a deep-seated anti-Christian sentiment within the region's extreme metal scene, sentiments that were eventually brought to their most violent conclusion with the hate crimes perpetrated by members of the Norwegian black metal community in the early '90s. Turning to the music itself, the clean vocals which had made their first appearance on Bathory's previous outing, Blood Fire Death, become the norm throughout Hammerheart, further clarifying the resentful expos of Quorthon's lyrics. Frankly, his singing voice still needed work, sounding a little out of tune here and there (see monstrous opener "Shores in Flames" and, more disturbingly, the brief "Song ...
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"Darkthrone is for all the evil in man," proclaims the back cover of Transilvanian Hunger, the Norwegian group's fourth release -- but more controversial is the proclamation that contained within was "Norsk Arisk Black Metal," loosely translated, "Norwegian Aryan Black Metal." One would have to be fluent in Norwegian to understand whether or not Transilvanian Hunger boasts a racist agenda, since all lyrics, save for the vampire-themed title track, are "sung" in said dialect, but such a proclamation reeks of a publicity stunt from this batch of antisocial black metallers (further evidenced by the lyrical contributions of Norwegian scenester/convicted murderer/Burzum leader Varg Vikernes). Look past this malarkey, and you'll find, well, an impenetrable wall of noise, a 39-minute blur of mosquito-buzzing guitar riffs, blastbeats, and inhuman howls. The album boasts a subbasement-level production resembling a distant radio broadcast ripe with ambient noise; the most patient of black metal listeners may find some edible scraps amid the production rubble, but only "Over Fjell Og Gjennom Torner" offers respite with a "Raining Blood"-type break amid a flurry of sloppy, basement-level Norwegian Cuisinart grinding. Transilvanian Hunger boasts plenty of notoriety in the metal underground for its almost laughably anticommercial stance, the band having urped up a light-swallowing black hole of a record whose songs may ...
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His vocals have been compared to the likes of Donovan, Yorke and even Garfunkel, but Nick is pretty modest when it comes to such comparisons. “I always listened to much daggier stuff than that when I was growing up. I think that’s been more influential than anyone I might sound like”. Nick refers to the likes of The Carpenters, Dalida or The Springfields.Nick took a while to get things going musically. It wasn’t until his mid twenties that a ‘bandless’ Nick decided to head into the studio with the best session players he could find (courtesy of Jen Cloher and The Endless Sea) to record his debut EP ‘Close’. After listening to Nick’s home demo recordings, Ross Calia agreed to take on the role of co-producer and engineer. The outcome was ‘Close’ - a well received EP, garnering great reviews and event some community radio play across the country.Goodnight Thomas (the name coming to Nick courtesy of a dream) came together soon after the EP was complete and the first inception of Goodnight Thomas finally took to the stage in September 2006, launching the EP at the Northcote Social Club.The band has now established itself as one of the finer folk rock outfits of the musically rich North Melbourne suburbs. Performing at Australian festivals such as The Yackandandah Folk Festival, Melbourne’s Midsumma, The Chill-Out Festival, The Spring Migration and CERES Harvest festival, the band has been playing regularly since their inception. Local performances at The Northcote Social Club, The East Brunswick Club and ...
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