Stillborn was conceived in Gothenburg, Sweden around 1984 when vocalist/bassist Kari Hokkanen, drummer Petter Bryneson and guitarist Ingemar Scott Henning got together. Initially, the group performed under the moniker of "Cranium", but then at some point opted to exchange it for "Stillborn". The line-up was later expanded when they met another guitarist named Erik Sandquist (supposedly at a concert of the German Industrial act, Einstürzende Neubaten). In 1985, the quartet recorded a limited-edition demo strangely entitled, "Tounge The Thong" (which I have yet to listen to in its entirety, as it seems to be very difficult to find). Soon after that, Petter departed from the group and Peter Asp was recruited as the new drummer. After securing a deal with Radium 226.05, the recording process for the first album, "Necrospirituals", finally got underway in 1988, and was released a year later. On their debut, Stillborn gathers influence from Gothic Rock, Doom Metal, Hard Rock and even a little of Psychobilly. This Swedish foursome had a very distinct style, not really sounding much like any other Metal act of the current time. However, references could be made towards Black Sabbath (the classic Ozzy Osbourne era to be precise), The Sisters Of Mercy, Danzig and maybe even Christian Death (also, New York's Type O Negative, although in 1989 they didn't really exist. At the time, they had already formed as Repulsion, but they did not have any official recordings out, so I would probably not count them yet). Interestingly enough, Country music singer Lee Hazlewood was an inspiration too (according to some of the members). To me, Stillborn have always been one of the "unsung progenitors" of Gothic Metal who were there at the very beginning. Unfortunately, they are rarely ever mentioned by any publications or almost anyone in general (not even on the internet, it seems). I believe some of the music present on "Necrospirituals" was definitely ahead of its time and may have actually been part of the foundation which later Gothic Metal groups built on. When this album saw the light of day, there really wasn't (m)any other groups meshing Gothic Rock with Doom Metal (at least, not any whose existence I'm aware of. There might be a select few others who like Stillborn have been buried by time and obscurity though). In an interview I managed to dig up, the members of Stillborn stated that while they were indeed influenced by the whole Post-Punk and Gothic Rock scenes of the 1980s, they personally thought that most groups belonging to it were kind of "boring", so they decided to add the ingredients of "heaviness" and "disturbing" lyrical content to their own music, in the process helping to unintentionally develop a whole new style of Metal (only that back then there was no term to label their music with). For those that may not know, the first "official" Gothic Metal groups arrived years later in the early-to-mid 1990s with the likes of Type O Negative, Saviour Machine (which is another forgotten trailblazer of this sub-subgenre), Paradise Lost, Tiamat, Cemetary, Moonspell, Lake Of Tears, The Gathering, Theatre Of Tragedy, Tristania etc. What Stillborn did from 1985 to 1989 (play Doom Metal within a Gothic Rock-inspired context, featuring a vocalist with a very deep bass/baritone voice) would be done to death years later in the 1990s by dozens of other newer groups trying to emulate the formula of Type O Negative (who were the first group to successfully popularize this style). So, for a band to have been playing a prototypical form of Gothic Metal back in the 1980s just seems like a unique and innovative idea to me, especially considering that at the time Heavy Metal, Thrash Metal and Glam Metal were the Metal styles that appeared to be the most widespread (but even in the burgeoning underground Doom Metal scene of this decade, I still can't think of another band whose style resembled that of Stillborn. Italy's Black Hole and Bellzlleb from Japan both also had a primeval "Gothic Doom" sound, but still were not very similar). One should keep in mind that isn't the modern kind of Gothic Metal that most people these days are accustomed to (you know, the kind that has feminine vocals and atmospheric keyboards galore. A couple of these elements are present here too at some time or another, but not in much abundance). Stillborn's brand of Gothic Metal tends to be more "stripped down", injected with a good, healthy dose of testosterone and mainly devoid of those "Victorian" elements that have since then been commonly associated with this style of Metal (whether that is a positive thing or not is all a matter of personal preference). Getting into the musical content present on "Necrospirituals", the opening track, "Nuke 'Em All", reeks of gritty Southern Hard Rock (and some hard liquor as well). Plain and simple: It's really a swinging tune, one which would be right at home playing in some type of "roughneck" biker bar located somewhere in the deep south. The lyrics are somewhat comedic and satirical, as if these Swedes were making fun of a specific breed of Americans (allusions to the Ku Klux Klan, Budweiser beer, blue-collar workers and nuclear weapons are made here). From this, I can tell the members of Stillborn have a sense of humor and they probably don't take themselves too seriously. Also, I just can't help but want to shout along with Kari when he shouts, "NUKE 'EM ALL!!!". Turn this one up for your neighbors and let loose! "God knows I'm a hard-working man I eat Pittsburgh steel, shit Budweiser cans I stand 6'5, weigh 249 I am a bad dream, baby, for the Ku Klux Klan I am a man with a mission A man with a call A blue-collar ranger spitting thunderballs" The sinister "Flesh For Iesus" ("Jesus" was probably the name intended, but there seems to have been a printing error with the title) is shades darker and loads heavier than its predecessor. Kari Hokkanen sounds all cold and emotionless here (and well, like some kind of morbid baritone-voiced vampire). During the chorus he malevolently snarls the cryptic, macabre lyrics, "IN THE YEAR OF THE HUNGRY WOLF. BRING US THE HEAD OF THE BOURGEOIS WHORE. HEADSMAN, HEADSMAN, FEED THE WOLF. BREED THE WOLF. JESUS PUT HIS TONGUE TO THE GORRREEE..." (whatever the hell that means). The nefarious guitars of Ingemar Henning and Erik Sandquist are also stained with Black Sabbath's influence. An unknown female vocalist makes a brief appearance halfway through, but it's mostly forgettable and a bit awkward or amateurish. While she doesn't necessarily ruin "Flesh For Iesus" or anything, her presence doesn't really add much substance to the composition. "Albino Flogged In Black" (which vaguely reminds me of Danzig's "She Rides") slowly comes in next with droning chime-like keyboards that are supplemented by churning guitars and Kari's deep, sultry vocals. The lascivious nature of the lyrics combined with the overall sensual tone of the music make this feel like a near-perfect song to have sexual relations to (preferably some time after midnight, ha ha). In the 1990s and 2000s, Paradise Lost, Entombed and Medicine Rain all went on to record their own covers of "Albino Flogged In Black", although none of those versions ever truly surpassed the original by Stillborn. The mood shifts from erotic to haunting on "I, The Stillborn". This might just be the greatest track found on "Necrospirituals". It's also the one that is the most Gothic Metal in essence (this is what happens when Black Sabbath and Sisters Of Mercy get intermingled). Everything present here is enjoyable for me - From the brooding, nocturnal atmosphere to the gloomy, fuzz-drenched guitar riffs to the lyrics that remind me of some occult Horror film. Also not to forget Kari's gravelly, moribund voice which is certainly an important aspect of this album (without it, things wouldn't quite be the same). The majority of the time when I hear his voice, I just can't help but wonder if Peter Steele and Type O Negative were aware of Kari and Stillborn's existence (or not), as there are several striking similarities between the two groups. "Calvaria 1939" is rather repetitive with simple buzzsaw guitars, but this is a case of "good repetition" (also steers towards the same "Sabbath-meets-Sisters" approach, which at this time was pretty unique). Certainly another personal favorite of mine. The lyricism here evokes some interesting, vivid imagery in my mind as I can picture Death (or a zombie of sorts) riding on a shadowy, demonic stallion as it makes some type of unholy journey across a barren, arctic desert. "Can you hear the hoofs? 'Cause I am the black night Riding on a dead horse Storming 'cross the "Old Ice" Can you hear them call? You got to hear them call Behind those white hills And I know I'm almost there" "Streetsatan" can be thought of as the black sheep of "Necrospirituals". While the majority of the tracks on this album are either of the prototypical Gothic Metal, Doom Metal or Hard Rock genus, "Streetsatan" traverses into Psychobilly territory! For this reason, some may feel it doesn't properly belong here. Admittedly, it does sound slightly out of place, but I don't mind it. On this energetic cut about motorcycles and leather-clad outlaws, Stillborn comes across like a darker, heavier version of Social Distortion. A session member named Rune Johansson is brought in to play a wild harmonica, which further gives "Streetsatan" that whole Rockabilly/Psychobilly vibe. The sonic debauchery resumes with "Raising Fits Cain", a raunchy Hard Rock anthem that is contagious as hell (that chorus was meant for singing along to while drunk!). Call it "cheesy", "corny", "creamy" or any other silly food-related adjectives/pejoratives you may want to use, but guess what? I still dig it. Now that I think of it, "Raising Fits Cain" would surely not be out of place playing at some sleazy strip joint. "Angelynx" begins with ominous Black Sabbath guitar chords and some eerie keys (courtesy of session member, Niklas Sundling) before going through a pastoral Folk-styled passage of springing acoustic strings. Around the 1:30 minute mark Stillborn finally gets the momentum going with some driving, ballsy guitar riffs. A rad way to go out. Well, I imagine that most individuals who get the opportunity to listen to "Necrospirituals" will either not care much for it or just criticize it as an insignificant and inconsistent record (one that should be left in the underground vault to rot). The ones who will get the most out of this trailblazing, proto-Gothic Metal record will probably be those who know how to genuinely appreciate and enjoy all forms of Goth-based music. Unfortunately, the classic line-up of Stillborn disintegrated shortly after the release of this album, and they would not be entirely the same as the group went into a slightly different (also more generic) Thrash Metal direction later on. Fortunately, in 2017 all the original members that performed on the 1989 debut reunited again after nearly three decades and recorded a new album titled "Nocturnals". Enthusiasts of "Necrospirituals" should also go and check that out if possible, not to forget the "Yesterdays Blood" single that was remastered and released in 2003 (this includes the title track which was taken directly from the aforementioned 1985 "Tounge The Thong" demo and "Son Of Sodom", another rare track from a 1987 demo tape. These two killer tracks only further prove that Stillborn was indeed, at the forefront of the whole Gothic Metal scene).

Bárbara was an obscure girl group from Japan that formed somewhere in the 1980s. The amount of information that can be found on them is very limited, but research indicated that the early members were Yuki (vocals), Kotome (guitar), Keiko (bass), Chisa (percussion) and Midori (piano and keyboards). Bárbara's existence was also extremely short-lived, so only a couple of EPs were ever made. "Holy! Holy!" is the first one and was recorded at Studio Dig in Tokyo on July 10, 1985 (released on a label known as City Rocker Records, which also sponsored other underground Japanese Gothic Rock/Deathrock acts of the time such as Madame Edwarda, Phaidia and Mannequin Neurose). I think this is one of those releases where the front cover artwork can be a tad misleading (if you were to solely judge from appearance). One's first impression of Bárbara might be that they were some kind of Synth-Pop/Dance group from the distant past. The music presented here doesn't really have much Pop-like elements. Bárbara has a musical style that is a little bit difficult to accurately pin down, but to me it sounds like a freaky, experimental mixture of Post-Punk, Deathrock, No Wave and Noise Rock (if you were to combine The Birthday Party with a little bit of Diamanda Galás and DNA, maybe even 45 Grave, you might get a vague idea). This 1985 EP contains three tracks that total in under ten minutes (as a result, it receives lots of replays from me. I sometimes listen to "Holy! Holy!" three, four, even five consecutive times in a row). One other little, interesting detail to note is that the producer behind this recording was Momoyo, a former member of the 1970s Proto-Punk band, Benitokage (which later transformed itself into the New Wave band called Lizard). Although a bit "hollow" in sound, the production here is actually not too abysmal (not nearly as "lo-fi" as one would first expect). Side A initiates with "Holy! Holy!", a playful little tune that stirs up quite a commotion (throughout certain times, it also tends to have some semblance to The Birthday Party's 1981 single of "Release The Bats"). The crazy, zany front-woman Yuki does a variety of sounds with her voice including sensually moaning, screaming and yelping. Lyrically, there's not much going on here (she just repeats the seemingly nonsensical, humorous lyrics "check, check, check me now! Eyes, eyes holy! Down! Check! Check! Check! Holy down!"). Kotome's guitar playing mostly dwells on discordance, with not much resembling riffs or melodies. The only thing bringing a slight sense of melody is the piano of Midori. The rhythm section actually has this swinging flair to it, due to Chisa's tapping drum-work and Keiko's groovy bass guitar. Overall, "Holy! Holy!" isn't anywhere near to being one of the most catchy or memorable songs most will ever hear, and there exists a huge possibility that it will annoy some with its over-the-top quirkiness, but I still personally think it's cool and entertaining. Proceeding is the carnival-esque "A Beast In Your Head". What makes this track especially interesting for me is Yuki's schizophrenic vocal performance. How she frequently transitions from operatic wailing to ghoulish, witch-crazed shrieks and maniacal growls is something to behold. A fantastic song that borders on psychosis and theatricality. On Side B the listener comes across the mysterious and entrancing "From Here To Eternity". This happens to be the most atmospheric track on this EP and it brings to mind early Jarboe-era S W A N S (the "Greed" and "Holy Money" albums in particular). Ominous piano keys pounce on in a hypnotic pattern while cavernous percussion beats on and on (I like the spacious echoes the drums give off). The distorted, disembodied Lisa Gerrard-styled chanting further adds to the unsettling mood. Somewhere around the one minute and thirty second mark, the music dies down for awhile, which enables for a brief, solitary piano solo from Midori. Not too long after, it resumes in the same repetitive fashion, anxiously leading up to an intense, dizzying crescendo. In summary, Bárbara's debut EP from 1985, "Holy! Holy!", definitely provides for an interesting listen, even if it won't be everyone's cup of tea. Still recommended to adventurous individuals with a fondness for the more unorthodox side of music. One last note: Finding this recording in a physical format isn't easy, so I feel that it desperately needs to be reissued on vinyl/CD! (Yeah, that is most likely not going to happen anytime soon. Hopefully, one day it does though). Until then, I guess a digital version of this EP will suffice.

In 1984, Paul Chain officially splintered off from the rest of Death SS and went on to pursue a solo career under the name of "Violet Theatre" (in reality, he basically just abandoned the "Death SS" moniker, as for a period of time he still continued collaborating with all of his former bandmates, which included bassist Claud Galley, percussionist Thomas Hand Chaste and weirdo vocalist Sanctis Ghoram). Becoming a soloist wasn't an entirely brand new experience for Paul though, seeing as how back in 1979 (while simultaneously a member of DSS) he had already formed the Paul Chain Group to serve as a type of creative outlet for his own improvisational music (although I think it was a relatively short-lived affair). Paul Dark and Eric Lumen were eventually hired to assist as the new bassist and drummer of Violet Theatre. Later that same year, the debut EP appropriately titled "Detaching From Satan" (an allusion to his departure from the Italian Horror Metal act and its occult/satanic imagery) was released through Minotauro records, and thus a new chapter was unveiled in Paul Chain's career as a musical artist. The material on this cult 23-minute Doom Metal offering turned out to be more experimental than all of the previous recordings that Paul had made with Death SS. However, that doesn't mean that the metallic (and even "gothic") elements of his former outfit have been entirely disposed of - They have now just been intertwined with psychedelic and experimental ones. The result was some of Paul's most creative and artistic songwriting at the present time (one can clearly tell that he wasn't content with merely being just another Black Sabbath clone). Despite the advancement in the songwriting and musicianship departments, the lo-fi production on "Detaching From Satan" isn't necessarily the most optimal though (but nonetheless still very much listenable). Paul co-wrote the first track, "Occultism", with Maurice Cucchiarani, the vocalist of Italian Metal band, Run After To (a slightly modified version of it was later recorded on the 1985 demo, "Ginn And Djinn"). "Occultism" initiates with an eerie prelude reminiscent of one of those Italian Horror film soundtracks composed by Goblin. For about 90+ seconds, an organ mysteriously drones on while an assortment of metallic scrapes and other dissonant, unsettling SFX occur in the background. Aspects of this intro have a subtle Krautrock-ish vibe, and it wouldn't be too farfetched to believe that it might've been partially influenced by "Yeti" (the 18-minute improvisational track from German group, Amon Düül II). Once the actual song gets underway, the mood changes from ominous to a little bit more upbeat as we are met with a swampy groove. This part sounds like a concoction of 1970s Hard Rock such as Led Zeppelin (the beat sounds like it could have been devised by John Bonham himself), the Heavy Metal/proto-Doom Metal of Black Sabbath and the strand of Psychedelic Rock made by groups such as Amon Düül II and Flower Travellin' Band. A breathtakingly gorgeous choral segment (an interpretation of Johann Sebastian Bach's "Wer Nur Den Lieben Gott Lässt Walten"?) that appears to have been taken from an old, scratchy vinyl record introduces "Armageddon" before the song transforms into a potent NWOBHM-infused rocker. All the guitar solos here are fiery and raucous. One thing that can definitely take some time getting accustomed to at first though is Paul Chain's quirky, androgynous vocal performance and all the high-pitched, nasally wailing he occasionally does (in the process oftentimes sounding here like a mishmash of Robert Plant and Akira "Joe" Yamanaka. His voice is also quite similar to that of Pagan Altar's Terry Jones). Unfortunately for some listeners, these vocals will most likely prove to be a huge obstacle. Paul has also become well-known for his usage of "phonetic language", which can be heard throughout "Detaching From Satan", including the nefarious "Voyage To Hell", where he unintelligibly snarls a whole lot of gibberish like a possessed priest who's gone insane and taken shelter deep inside the catacombs of Rome (and if he's actually singing in the English language, then that still makes no difference, as I cannot understand a single word coming out of this man's mouth). The mysterious Gila (AKA Sante Scardavi) steps out of the shadows and graces us with his vampiric, baritone croons on the final composition, "17 Day", which rarely ever fails to send chills down my spine (or give me goosebumps). Funereal and tenebrous, "17 Day" expresses itself with heavy, dirge-like riffs devoid of any light or color, as well as deliciously creepy organ that one would expect to hear featured in a grainy, black & white Horror film from the vintage era. In a number of ways, this special composition can actually be viewed as a precursor to all the Gothic Doom Metal that would come out a decade later in the 1990s (impressive!). Specific reissues of "Detaching From Satan" include "Pentagon Society" and "Vivid Eyes In The Dark" as bonus tracks (both were recorded in 1984 as well). These just happen to be self-indulgent, gargantuan Space Rock jams (à la Hawkwind) that clock in around 30 and 18 minutes each. For me, time usually just flies by when listening to them, but they might be too much for those who have the attention span of a moth. Getting into Paul Chain's music can be quite a challenge, but this 1984 EP is probably the best place for newcomers to start (well, either that or 1995's "Alkahest", which appears to be the album of his that always receives the most accolades). Anyone who actually dares to delve deep into this man's prolific and eccentric discography should keep in mind that it will, more likely than not, require some amount of time for his music to properly sink in.

"Young God" (also known as "Raping A Slave") was originally released in 1984 as an untitled EP shortly after S W A N S' sophomore record of "Cop". The New York group's abstract, abrasive and abhorrent style of Industrialized Noise Rock resumes in continuation on this twenty-four minute EP. Michael Gira's obsession towards the concepts of power and control are also revisited here once more. According to research, the opening track, "I Crawled", was inspired by several things including Wilhelm Reich's novel, "The Mass Psychology Of Fascism", former U.S. president Ronald Reagan's presidency and the unfulfilling work history of Gira's early life (he has stated in past interviews that before he founded S W A N S, he worked in factories and construction doing back-breaking labor that never really amounted to much). The servile character in the composition pleads to an authoritative figure to be violated, strangled and ultimately terminated (take the following line for example: "You're my father - I obey you. I want you to be my father. You know what I am - I want you to kill me. I'm weak - Take what's mine"). "I Crawled" has a very suspenseful atmosphere (replete with all sorts of nightmarish soundscapes) which engulfs the listener. Time appears to stand frozen as its movement is quite stagnant. Might sound a bit odd, but this track vaguely reminds me of "Black Sabbath" (particularly the guitar notes). "Raping A Slave" proceeds with the concept of servitude and domination. Clashing noise (which is reported to have been made by the use of a chain and metal table) permeates the hollow environment, appearing at specific intervals along with a rhythmic beat. Guitar and bass are nearly inaudible here, as they are suffocated by the clashes and low-fidelity, echo-like production (which really makes "Raping A Slave" sound as if it was recorded during a live performance or something. It abruptly cuts off at the end as well). "Why be ashamed of hatred? There's nothing wrong with burning I work hard for everything I own Everything I own chokes me when I sleep" On the demented, torturous and lethargic title track of "Young God", S W A N S dive into the psychotic mind of Ed Gein. For those that aren't aware, Ed was a mentally-deranged individual from the 1950s who crafted objects out of the flesh and skeletons of corpses he exhumed from graveyards (he wasn't truly a serial killer, as only two murders are confirmed to have been committed by him). The tremulous guitar chords tear like a lacerating whip that strikes you in the back. Gira moans, wails, screams and growls like a possessed lunatic that remains enslaved against his will in a psychiatric asylum. For 1984, this sounds sinister as hell (not many groups from this era came very close to producing something as menacing as this). While I don't know exactly what it's about, I get a sense of misery, hatred and despair on "This Is Mine". Here, the distorted, groaning guitars kind of resemble those utilized by Doom Metal groups such as Black Sabbath, Saint Vitus and Trouble (not that S W A N S themselves were ever Metal, of course. Just a similarity I've noticed with the guitar tone). Convulsive drumming and tape loops of grinding, mechanical noise also taint the song. Compared to the maniacal "Young God", Gira sings in a frail, dejected tone of voice here, claiming ownership of what seems to be some kind of emotional burden. S W A N S' sophomore EP is a modest but praiseworthy effort, although fanatics of their later, softer and more "refined" material will most likely not appreciate it as much (for hardened listeners, "Young God" should be quite a treat though). This 1984 release would also designate the end of S W A N S' early era of notorious Noise Rock, as they shifted gears right after this, further exploring Industrial territory (as well as Gothic Rock and Folk).

Arising straight out of Berkeley, California in 1980, Fang originally began life as a partnership between guitarist Tom Flynn and drummer Brian Beattie (both of whom were previously members of an early Punk Rock band from Connecticut briefly known as Tapeworm). The two went on to produce a minimalistic Post-Punk 7" single by the name of "Enjoy The View / Yukon" just the following year in 1981, although Beattie soon wound up abandoning the project (eventually becoming a member of Glass Eye, a female-led Indie Rock band from Austin, Texas). Shortly after that commenced the revolving door of band members with Sam "Sammytown" McBride (vocals), Chris Wilson (bass) and Joel Fox (drums) all being aggregated to the lineup around early 1982. Recorded in October but released 4 months later on February 1983 through Boner Records (Flynn's own independent record label), "Landshark!" was the first EP/mini-album (whatever you want to refer to it as) that this Berkeley band put to wax. Fang took on a slightly different approach when it came to Punk/Hardcore. Whereas a good chunk of the bands at the present time played with nothing but unadulterated vigor and aggression, Fang injected a dose of despondency into their music. They also weren't shy in slowing things a pinch down, even opting to utilize sludgier, more dissonant guitars than the majority of their peers did (barring maybe Discharge, The Skitslickers and Flipper). In the bitter end, this seminal slab of Sludgecore Punk was birthed into the cold, decadent world. Clocking in at just 16 minutes, "Landshark!" contains 8 tracks. Fang starts things off with "The Money Will Roll Right In". Not only does this tune boast some cool guitar riffs, but the lyrics are also pretty damn hilarious (they often make me giggle). Sam McBride's deadpan vocal delivery will not be everyone's cup of tea, but there's an odd charm to it. "Law & Order" frequently incorporates guitar squeals and whines derived from Noise Rock, although the song is still anchored by the doom-y, buzzing guitar chords. Overall, this one is much darker and depressive, speaking of a cry for help in a "mechanical world". It feels even creepier when a particular line ("They called me a murderer, they called me a junkie, they said I did not belong in this world of law") brings to mind what happened to Sam seven years later in 1989 when allegedly under the influence of acid/narcotics he became excessively violent and ended up strangling his then-girlfriend to death (this tragic incident resulted in his imprisonment until he was released in 1995). "Diary Of A Mad Werrwöulf" has various churning riffs that get stained in your brain (in other words, they're quite infectious). Amusingly enough, it also features Sam howling like a wolf. The morbidly suicidal "An Invitation" is another highlight for me. Occasionally, Fang breaks out of their drug-induced stupor, in the process becoming swifter and mordacious, as evidenced on "Landshark", "Destroy The Handicapped", "Drunk & Crazy" (a Bobby Bare cover that lacks any resemblance to the original) and "Skinheads Smoke Dope". Ultimately, "Landshark!" might be a bit rough around the edges, but it still makes for a reasonably entertaining listen.