Black Metal

The first Satyricon album, Dark Medieval Times, was released in the autumn of 1993, through the young band’s own Moonfog Productions imprint. Recorded earlier that year, it was both instantly recognisable as the product of the thriving Norwegian scene and as something wholly distinctive within that superficially restrictive musical framework. Even more remarkable was the fact that the entire record had been written and performed (with the exception of drums) by a then 17-year-old Sigurd ‘Satyr’ Wongraven: clearly a prodigious talent with an abundance of epic and perverse ideas rattling around in his head.

Black Metal

When Satyricon released their third album in 1996, their status as one of the most significant and creatively vital bands in Norwegian black metal was already beyond dispute, but Nemesis Divina was no ordinary record or just another step along the road to infamy. From its uniquely vibrant and impactful artwork, which broke every supposed rule in the black metal handbook with its vivid colours and refined aesthetic core, to the supremely confident and idiosyncratic songs and individual performances that heralded a newfound sophistication and a freshly incisive vision, Nemesis Divina almost single-handedly took black metal from its voluntarily shadowy and obscure origins into the glaring spotlight of the international metal scene. It showcased a band that finally had the skill and the musical intuition to back up the undeniable potency of their artistic vision. Sonically devastating and compositionally meticulous, songs like ‘Mother North‘ and ‘The Dawn Of A New Age‘ redefined what black metal was capable of, while proudly retaining the genre’s ageless essence and aesthetic values.