Dark Funeral Albums (7)
What The Critics Say
The folks who insist that all black metal is loudness for the sake of loudness are a lot like the folks who think that all rap is about "bitches, hoes, blunts, and gats" -- in other words, they have heard part of the story but not the entire story. It's true that a lot of rap (especially gangsta rap) is obsessed with "bitches, hoes, blunts, and gats," but a true hip-hop head can tell you that rap is also everything from the lightheartedness of the Fresh Prince to the biting political commentary of Public Enemy and KRS-One to the quirky eccentricity of De La Soul and the Pharcyde. And similarly, black metal (and death metal) has had its merciless skull-crushers as well as more melodic outfits such as Shade Empire and Lifend. Dark Funeral, like Marduk, has represented the harsher, more punishing side of black metal -- and that commitment to savage brutality remains strong on Attero Totus Sanctus. Two words that will inevitably be used in connection with this 2005 release are "uncompromising" and "limitations." Both are appropriate; musically, Dark Funeral's hammer-to-the-head approach does have its limitations -- and anyone who has been following the band since the '90s will find that Attero Totus Sanctus is highly predictable and doesn't break any new ground for the Nordic black metallers. But predictability isn't necessarily a terrible thing -- certainly not for the all the Dark Funeral diehards who admire the Swedes' refusal to soften their blows. Attero Totus Sanctus is predictably exciting -- nothing new by mid-2000s standards, but focused, solid, and exhilarating in a totally bombastic way. This 42-minute CD is unlikely to convert anyone who resisted Dark Funeral's assault in the past, but the true believers will find it to be a worthwhile addition to their occult-obsessed catalog. ~ Alex Henderson, All Music Guide
'De Profundis Clamavi Ad Te Domine: Live in South America 2003'
Release Date 5/3/2004
Tracks 15
Label Regain
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What The Critics Say
Dark Funeral's Lord Ahriman is the sort of Nordic death metal/black metal artist who is not apologetic about his band's limitations; rather, he flaunts them and takes great pride in them. Other Scandinavian headbangers have done their part to expand the horizons of death metal/black metal; In Flames, At the Gates, Shade Empire, and Twilight Ophera are among the Scandinavian bands that have presented a more melodic and intricate vision of the death metal/black metal field. But Ahriman and company have stuck to their guns, refusing to soften their blows and continuing to govern by brute force alone -- and while Dark Funeral can be quite predictable, they generally bring a lot of conviction to their work. A Dark Funeral concert doesn't offer much variety, but the Swedes certainly aren't dull or uninspired on-stage. And the brutal vitality of their live show is evident on De Profundis Clamavi Ad Te Domine, which contains some of the highlights of a South American tour that included appearances in Brazil, Colombia, and Chile in 2003. Many of these performances sound alike, but then, Dark Funeral's hardcore fans aren't thinking about the lack of variety when they're in the mosh pit; they're getting caught up in the exhilaration of the whole experience -- and for those who still doubt that Ahriman and his occult-obsessed colleagues have one of the most exciting live shows in death metal/black metal, De Profundis Clamavi Ad Te Domine will set them straight. An interesting linguistic note: the introductions to the songs are mostly in English -- you have Swedes performing for Latino headbangers in South America, and English becomes the linguistic common ground. The musical common ground, meanwhile, is a love of intense, menacing bombast -- and there is plenty of it on this sledgehammer of a live album. ~ Alex Henderson, All Music Guide
What The Critics Say
Dark Funeral remains true to its twisted version of brutal black metal in uncompromising fashion on album number four, almost flaunting its unrelenting speed and atonality in the faces of the group's Scandinavian peers, who are generally much more experimental. This is a joy to those for whom corpse paint is not a Halloween costume but a way of life, but Diabolis Interium will do little to garner the attention of anyone but the most devoted fans, even given the band's overly flamboyant stage shows. ~ Brian O'Neill, All Music Guide
What The Critics Say
When parents claim that their teens' music "all sounds alike," you have to take that assertion with a grain of salt -- after all, people who were parents in the 1930s said the same thing when their teens brought home Benny Goodman's 78s. But in the case of Dark Funeral, parents aren't off base; many of its tunes really do sound alike. While other releases by Swedish death metal/black metal bands have opted for variety, In the Sign is quite predictable. One tune is as fast, as thrashing, and as ferociously amelodic as the next, and the screeching vocals of bassist Emperor Magus Caligula are one-dimensional. But despite its obvious limitations, In the Sign is exhilarating and fairly inspired. This 2001 release is a reissue of Dark Funeral's self-titled debut EP of 1994, although Necropolis has provided new art work and added two bonus tracks. While "Shadows Over Transylvania," "Open the Gates," "In the Sign of the Horns," and "My Dark Desires" originally came out in 1994, the bonus tracks "Call From the Grave" and "Equimanthorn" were recorded in 1996. In death metal/black metal circles, The Secrets of the Black Arts is generally regarded as Dark Funeral's most essential release, although In the Sign will interest the Swedes' hardcore cult followers -- limitations and all. ~ Alex Henderson, All Music Guide
'The Secrets of the Black Arts'
Release Date 2/25/1997
Tracks 11
Label Metal Blade
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