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“Opus Nocturne” is the band’s third album, and the transitional record in Marduk’s ongoing transformation from a particularly minimalistic and barbaric death metal band into a black metal one. Where the preceding two albums saw the band differentiating itself from the burdgeoning death metal scene through its usage of eerie melodies and tortured vocals, here Marduk fully transition into its newly adopted style. It is the recording debut for drummer Fredrik Andersson and the last for singer Joakim Göthberg. Andersson is pivotal member in the band’s stylistic transformation into its known style. Andersson for his percussive dexterity and Göthberg for introducing a raspier, serpentine vocal style compared to the preceding records. It also is a just a strong death/black metal album. “Opus Nocturne” was the third of three efforts to be recorded at Hellspawn Studio (a later incarnation of Gorysound Studio before it changed its name to the popularly known Unisound Studio) with prolific producer Dan Swäno.

“Opus Nocturne” is the foundational piece where Marduk’s popularly known blast-centric sound first appeared. With only minor traces of the band’s death metal past accounted for, and sparse usage of atmospheric enhancements “Opus Nocturne” is the missing link between the band’s not too distant past and its immediate future. While the record for the most part lays the groundwork for the uniformly savage “Heaven Shall Burn…” there are several traces of the band’s death metal past. Some of the more straightforward riff arrangements and chord progressions reek of classic Swedish death metal, and Göthberg’s vocal style recalls Jon Nödtveidt (circa “The Somberlain”) on more than one occasion. The bass guitar is of critical importance in these cuts, and it doesn’t function as a rhythm instrument like it does in most underground metal units. At points it’s even hard to tell whether the bass guitar is following the guitar riffs, or the other way around. This thick bass guitar tone is beneficial to the overall experience. The title track is a less than three minute cut with light washes of keyboards while the guitar plays a sorrowful melody with basic rhythmic support from the drums. Towards the conclusion an almost romantic poem is recited by Abruptum and Ophthalamia member Tony Särkkä for maximum atmospheric effect. It is an interesting coincidence to note that future Marduk vocalist Erik Hagstedt (Legion) sang on the 1995 Ophthalamia album “Via Dolorosa” – and that he would be enrolled full-time in this band merely a year later.

It is rather unfortunate that “Opus Nocturne” was the last album to use atmospheric enhancements with keyboards and church organs. ‘The Appearance Of the Spirits Of Darkness’ wouldn’t have felt out of place on an early Cradle Of Filth recording. Unlike many of their contemporaries Marduk never overdid these atmospherics, and when they appeared they were usually quite effective and haunting in their minimalism. For the most part Marduk has settled into its newfound faster style, but whenever slow songs appear they tend to be quite death metal-ish. It’s a difference from day and night between ‘Autumnal Reaper’ and ‘Materialized In Stone’. The former is a scorching ripper at inhuman speeds, while the former is a trudging death metal song that almost sounds like Unleashed were it not for the minimal riffing style. There are two instances of minor lead/solo work in ‘Sulphur Souls’ and briefly in ‘Materialized In Stone’. ‘Deme Quaden Thyrane’ is the earliest of the Vlad Tepes concept that the band would explore to greater depth on “Heaven Shall Burn…” and its successor “Nightwing”. Whether the band had planned this from the beginning remains to be seen. Pushing the vampire thematic further is the fact that some lines in the lyrics for the song ‘Materialized in Stone’ were lifted from the novel “Varney the Vampire; or, The Feast of Blood”, by James Malcolm Rymer (1814–1884), although authorship of the novel is also occasionally credited to British hack writer Thomas Peckett Prest (Thomas Preskett Prest, 1818-1859). ‘The Sun Has Failed’ concludes with over two minutes of sampled thunderstorms, which is the most pointless form of padding imagineable, and in no way adds to the song’s depth.

That “Opus Nocturne” is an album marked by conflicting objectives and an obvious sense of duality that should be rather evident to anybody with a keen ear. The black metal playing and songwriting decisions stand in stark contrast to the rather standard bass-heavy death metal production of the time. It is rather surprising to notice that “Opus Nocturne” works so well despite its apparent duality and conflicting production. It is in no small part thanks to Håkansson’s now solidifying riffs and chord progressions that the album works as well as it does. No longer do the songs carry excess baggage in introductory riffs or stomping chords. No. These songs are as lean, minimal and barbaric as they come. Everything that stands in the way of direct impact has been excised to make way for a more straightforward and visceral writing style. It’s rather telling that Mayhem, the supposed vanguard of extremity and innovation in the black metal scene, ended up imitating a relative newcomer like Marduk with an EP in 1997. It is rather unfortunate that a lot of the times Roger Svensson’s bass guitar licks are far more interesting than the riffs they are supporting. Marduk like no other understood the importance of bottom-end heaviness which they, through out the changes over the years, never abandoned. Marduk is beefier than most contemporary death metal bands.

“Opus Nocturne” was the last of three albums that Marduk recorded at Hellspawn Studio (a later incarnation of Gorysound Studio before it changed its name to the popularly known Unisound Studio) with producer Dan Swäno. The band has lost none of its bass-heaviness, although the guitars are crispier but far thinner than before. The drum kit, especially the snares and toms, sound far cleaner than before, and thankfully the kickdrums sound as massive as before. In many ways this is how the Dark Funeral debut should have sounded, and like it was probably intended by its creators. “Opus Nocturne” was released in 1994, a full two years before “The Secrets Of the Black Arts”, the first Dark Funeral album. In that sense Marduk influenced not one, but two historically important black metal bands, which is something they never seem to get credit for. Göthberg’s swansong with Marduk reveals his limitations as a vocalist, and the band did right in replacing them with the savagely intense Erik Hagstedt for the next album. Håkansson’s typical melodies start to surface more, and the new rhythm section pushes the sound into further regions of extremity. “Opus Nocturne” is where Marduk shed the last vestiges of its not too distant death metal past, and fully embraced its new sound. The artwork by Belgian painter Kris Verwimp helps sell the band’s unholy vision.

The third Marduk album is the defining moment ushering in the second era of the band. It is here that Morgan Steinmeyer Håkansson’s vision for the band finally came together. Everything works in unison, and each of the members gives an exemplary performance in their respective slots. An aura of desolation enshrouds much of this album as there are plenty of sorrowful melodies to be found, and the title track even borders on doom metal territory, albeit a very mild form of the genre. ‘Deme Quaden Thyrane’ even sets up the next two albums from a conceptual point of view. There’s a definite sense of finality to “Opus Nocturne” on many levels, and that is fitting, as it is the concluding chapter of the band’s first phase. It is the last recording before the band became a brand. On its subsequent releases Marduk would lose its rebellious edge and replace it with rigorous professionalism as the band became a fully functional touring/recording unit. As the definite high point in Marduk’s early career, it is a figurehead that even they themselves had trouble living up to. The glossy follow-up “Heaven Shall Burn… When We Are Gathered” only excised the atmospherics, and “Nightwing” went for a more concrete death metal production job – but the template for both was “Opus Nocturne”.



“Those Of the Unlight”, the second Marduk album, is still death metal for the most part but it already has a more pronounced early black metal riff style and the according chord progressions. While it is notably higher in tempo than the band’s “Dark Endless” debut, it is still thoroughly steeped in death metal stylistic choices. Like notable American institutions Autopsy and Deceased, Marduk’s drummer Joakim Göthberg also doubled as its vocalist. “Those Of the Unlight” was the second of three efforts to be recorded at Hellspawn Studio (a later incarnation of Gorysound Studio before it changed its name to the popularly known Unisound Studio) with prolific producer Dan Swäno.

That Marduk had upped the ante considerably compared to its debut is instantly noticeable. “Those Of the Unlight” is far more violent in every aspect. The increased level of speed is the most notable change. The band’s usage of eerie melody remains intact even though it is part of a mostly death metal framework. As with the debut there’s a prominent place for the thundering bass guitar, which is now handled by Roger Svensson (B. War). Replacing Andreas Axelsson as frontman is drummer Joakim Göthberg. Göthberg is far raspier and serpentine than Axelsson, but he wouldn’t find his true voice until the successor to this album “Opus Nocturne” arrived. “Those Of the Unlight” is equal parts death metal as it is black metal, although the latter influence starts to take prominence over the former. For some reason Marduk isn’t entirely ready to commit to the sound yet, and a lot of times it sounds like a particularly barbaric death metal record with light atmospheric embellishments in the form of organs and such.

The death metal formatting doesn’t in any way take away from the blossoming black metal sound they are cultivating on this record. The prominent place for the bass guitar and the kickdrums, the frequent solo’ing and the reliance on grooving midtempo sections are what give these songs their staying power. It’s hard to believe that guitarist Morgan Steinmeyer Håkansson decided to forgo doing solos/leads upon writing “Opus Nocturne” as it was one of the signatures that set Marduk apart from the competition. Even the atmospheric instrumental ‘Echoes From the Past’ fits wonderfully with the rest of the album. The band’s tranformation from a crude and somewhat primitive death metal band into a lean black metal outfit is commendable considering the few albums it took. “Those Of the Unlight” is key in that regard as it is the missing link between the band’s early death metal past and the direction they specialized in on “Opus Nocturne” and its successors. It is here that the seeds are sown for the Marduk formula. The same formula that would cement the band’s creative downward trajectory as it is too limiting to inspire creativity with the narrow perimeters it sets for itself.  The creative decay hasn’t set it in yet as “Those Of the Unlight” was pretty novel sounding for its day.

As far as artwork, imagery and lyrics was concerned Marduk honed what worked on the previous release. The ghoulish artwork by Dutch artist Misja Baas (who would draw the incredible artwork to Inquisitor’s sole album “Walpurgis – Sabbath Of Lust” just three years later) was his only for the band. The robed skeletal figures have a striking resemblance to the revenant Templar Knights from the 1970s “Blind Dead” franchise by Spanish cult director Amando de Ossorio. This was perhaps done intentionally as they convey the spirit of the album title, and Håkansson is a known movie buff. The band has resolutely adopted the nascent genre’s imagery with all members wearing corpse paint and brandishing medieval weaponry. Whereas “Dark Endless” sounded like a particularly minimalistic death metal album, “Those Of the Unlight” readily capitalizes on emergent black metal genre, and the record’s visuals changed accordingly. Marduk no longer hides which direction they wish to pursue, and this record is the first step in the band’s transformation from a death metal band into a black metal unit.

“Those Of the Unlight” was the second of three albums that Marduk recorded at Hellspawn Studio (a later incarnation of Gorysound Studio before it changed its name to the popularly known Unisound Studio) with producer Dan Swäno. Much like the debut this record is incredibly bass-heavy, and thick sounding. Like before the bass guitar is an intrinsic part of the band’s compositions, and while the drums don’t sound that different from before they are dynamically more varied than on the preceding record. Göthberg remains intelligible despite adopting a far raspier style than his predecessor. In essence “Those Of the Unlight” is a speedier and leaner Swedish death metal album with the black metal stylings slowly coming to the surface. The death metal formatting still prevails on this second, and it wouldn’t be until “Opus Nocturne”, the third Marduk album, that they fully embraced their new sound. Much of the riff set that would come to define the Legion-era is first heard here. The band still double in death metal chord progressions, and dashes of atmospheric keyboards – but the foundation is laid already.

The combination of death metal song formatting and black metal styling is what makes “Those Of the Unlight” the strong record that it is. Many of these cuts play as atmospheric, often speedy genre exercises with rasped vocals. The chord progressions, rhythm sections, solos/leads and bass-heaviness squarely define it as death metal, while the rasped vocals, the imagery and lyrics put it in the black metal camp. Like many bands of the day at this point there wasn’t a clearly defined breaking point between both genres, and Marduk embodies it better than any other. The atmospheric instrumental ‘Echoes From the Past’ is the last trace of any subtlety that one is bound to hear from Marduk from this point onward. It is very much styled like the instrumentals on Swedish death metal albums of the day. “Those Of the Unlight” offers the best of both worlds, and presents them in a crunchy package that remains as consistent to this day. In many ways Marduk’s first era is far stronger than the more popular Legion-era that it introduced. It is the alchemy between genres that make this record as strong and compelling as it is. The constant evolution of Marduk’s sound is what makes them the pillar they are today. Even on “Those Of the Unlight” Marduk wasn’t afraid to push the envelope, and to try things that weren’t done before. This album defines that mindset better than no other.