Review by Daniel for Bathory - Requiem (1994)

By the early 1990's, Swedish metal gods Bathory had already made a huge impression on my life. I'd first discovered Quorthon & his various forms of stylist expression through 1988's incredible "Blood Fire Death" album, a record that would represent my earliest experience with genuine black metal, & it would change me in ways that I've never really recovered from. I would very quickly take in the rest of Bathory's prestigious back catalogue with each successive release seeing Quorthon gaining in credibility as one of the most original & influential artists of all time in terms of metal music. 1991's Twilight of the Gods" sixth album may have seen Bathory taking their foot off the pedal a little bit but was still a very solid effort when viewed outside of the context of the record that preceded it. I just think that Bathory had defined their Viking metal sound so emphatically with "Hammerheart" from the previous year that its follow-up was always going to struggle to achieve the same level of notoriety. There's no doubt that "Twilight of the Gods" is still a very strong record in its own right but I can't say that I consider it to be as classic as the three records that led into it. It did leave me wondering where Quorthon's next creative endeavour might take him though as it was still an immensely ambitious creative statement. We'd have to wait a full three years to find out though &, by the time 1994's "Requiem" appeared, I think my anticipation had waned a touch. Make no mistake about it, Ben & I still raced out to buy the album immediately upon release but I don't think my expectations were quite as high as they had been for the previous two records. Thank goodness they weren't either because "Requiem" is far from the classic that many people simply expected from Quorthon by that point in his highly celebrated career.

The first thing that hits you about "Requiem" is the rawness in Quorthon's production job. The album was once again recorded at Stockholm's Montezuma Studio which had seen Bathory creating yet another huge wall of epic Viking metal with "Twilight of the Gods" but this would be the first time that Quorthon had attempted to produce a Bathory record without the oversight of his father Börje Forsberg &, if these results are anything to go by, then it was a bad decision. My major gripe is with the artificial drum sound which is nothing short of abominable. The album cover lists Vvornth as once again handling the drums on this record but that name is generally accepted to be a pseudonym adopted by a number of different performed who filled the seat for Bathory from 1998 to 1996. On this occasion though, I don't actually think Vvornth is human because the drums on "Requiem" sound like a cheap drum machine to me but even that suspicion doesn't fully portray how bad the snare sound is here. In fact, it rivals Metallica's "St. Anger" for sheer cringe factor if I'm being completely honest. The rest of the kit isn't much better either with the kick drums & toms sounding thin & clicky. The rest of the instrumentation isn't too bad actually but there's very little in the way of studio gloss to be found here with the rhythm guitar tone being as raw as they come.

If you were expecting the next installment of Bathory's epic Viking metal legacy with "Requiem" then you were going to be sorely disappointed & I think it's fair to say that I was. "Requiem" sees Quorthon taking a complete change of stylistic direction towards a fairly generic thrash metal sound which is a little hard to understand. It doesn't actually sound all that bad on paper but the reality isn't all that it might have been. Quorthon has still maintained his trademark black metal shriek but the music sounds very much like an attempt to emulate classic Exodus & Kreator &, while there are some great riffs employed at times, it's hard to overcome the impact of those awful drums. The vocals tend to be fairly hit & miss too with the faster & more aggressive material benefiting from their extremity while the more restrained inclusions tend to suffer the opposite fate with Quorthon's raspy screams sounding far too over the top for the instrumentation that supports them. The guitar solos are instantly recognisable & see Quorthon simply blazing away on fast (if relatively simple) pentatonic licks with no attempt to hold anything back. As an holistic package though, "Requiem" simply seems a bit lacking in ambition after the incredible run of forward-thinking releases that Bathory were already responsible for producing over the previous decade or so.

Production issues aside, the nine-song tracklisting actually begins fairly well with the first tree tracks all being pretty enjoyable, particularly the excellent "Necroticus" which is my clear pick of the bunch. Things start to get noticeably shaky from there though with three of the next four songs all falling well short of the mark. "War Machine", "Pax vobiscum" & "Suffocate" don't even come close to reaching an acceptable level of appeal with me personally &, even though things return to some level of normality at the end of the album, I've always found it very difficult to repair the damage that had been done through the middle of the album. Don't get me wrong, there is some seriously shredding blackened thrash on this album at times but there's little doubt that it's presented in an inappropriate packaging & that Quorthon is miles better than this simple collection of tunes which never attempt to push through any pre-existing musical boundaries. It simply feels so safe, not to mention more than a little amateurish, so I can't deny my disappointment in what seemed like such an anti-climax at the time.

I think you'd be a brave man to claim that "Requiem" was anything other than the first genuine disappointment in Bathory's incredibly prestigious recording career & things would only get worse for Quorthon over the next twelve months as he continued to explore this "new" sound. I tried my very best not to let these creative misfires taint the legacy that Bathory had built up in my esteem & I think I did a reasonable job of it too. I can't deny that the Swedes would never again return to the throne they'd created with their past glories though & I definitely sensed that this might be the case at the time too. "Requiem" may not be a complete disaster but it certainly fell well short of the stratospheric levels of musical mastery we'd come to expect from Bathory so I feel that this might be my last revisit to one of Sweden's more tragic descents.

For fans of Exodus, Kreator & Sodom.