Review by Ben for Aura Noir - Black Thrash Attack (1996)

Early thrash metal worship performed by black metal musicians. Seriously cult!

Aura Noir started out as the brainchild of Carl-Michael Eide (aka Aggressor). While he was already involved in other bands including the fantastically unique Ved Buens Ende, he clearly had an itch that needed scratching. With the help of his friend Ole Jørgen Moe (aka Apollyon), who was part of Dodheimsgard at the time, he began writing old school thrash material dedicated to the heroes of his youth (the likes of Kreator, Destruction, Slayer and Dark Angel). They unleashed a rather primitive EP (not surprising considering the band recorded it in 5 hours after breaking into the recording studio their mate used to work at) in 1995 entitled Dreams Like Deserts. One thing of note on this early recording is the fact that Aggressor and Apollyon switch instruments for each successive track. While one performs drums, the other handles guitars and vocals. They’d continue to work this way in the future, including on their aptly named debut full length Black Thrash Attack. It’s certainly one of the first examples of a band taking black metal back to its original thrash roots and along with bands such as Deströyer 666, one of the best.

This time around though, they recruited Mayhem guitarist Rune Eriksen (aka Blasphemer) to form a band of truly destructive proportions. Surprisingly, considering their earlier undercover effort, Black Thrash Attack was recorded in the same studio as Dreams Like Deserts, but it wasn’t always supposed to be that way. Aggressor and Apollyon had already recorded several of these tracks at a different studio, but they were so unhappy with the drum sound (which had been messed up by none other than Maniac from Mayhem!) that they decided to start from scratch. Good thing they did too as not only is the sound perfectly adequate (it still could be better, but it works for this style), but the addition of Blasphemer adds an extra dimension to the band. Not many fans seem to have caught onto the fact that Aggressor performs guitars, bass and vocals on tracks 1, 3, 5, 7 and 9 (with Apollyon on drums), while Apollyon does the same for tracks 2, 4, 6, 8 and 10 (with Aggressor on drums). It’s not really the sort of thing you listen for, but once you know, it becomes blaringly obvious and gives the album diversity despite any similarities in the material itself.

While both performers clearly bring elements of black metal to all the thrashing glory, they do so in vastly different ways. For example, Apollyon’s drumming is performed in an old school thrash style, while Aggressor blasts away like a black metal drummer regularly, meaning his tracks have a more extreme edge. Both change their own vocal styles up meaning it’s not always as obvious who you’re listening to, but this time it’s Apollyon who extends his venomous snarl into a full-throated black metal shriek. The above diversity results in the even numbered tracks on the album having more of a black metal spirit than the odd. The riffs are gold throughout no matter which performer is playing them, but occasionally the guys push the blatant worship too far (The One Who Smite has a riff plagiarized from Slayer). Plus, I’m sure the cult status of the album was assured without the need for the vocalist to holler the name of a band member before a drum blasting section (“Apollyon…destroy!”) or a guitar lead, but it’s all just part of the fun. You simply can’t listen to tracks such as Conqueror and Fighting for Hell without raising your devil horns in respect.