Stylistically speaking, it leans a bit more towards the former half of their hybrid approach, listening like a more impact-based, colossal incarnation of the dark yet melodically consonant sound that typified the early 90s 2 nd wave sound, in direct contrast to the more death metal-steeped sound that has come to define Behemoth’s latter day sound. In every sense, 2020’s “ Dawn Of The Damned” is a bleak and disquieting ride through the fringes of black and death metal.
Despite a fair amount of lineup instability, this practice of striving for a more polished and also more virtuosic product has stuck with them ever since, and culminated in one of the more impressive offerings to come out of the style in recent memory. Another early player in said scene, namely Necrophobic, took this trend of nonconformity a bit further by being one of the earliest acts to break with the characteristic lo-fi and fuzz-driven production practices of the likes of Mayhem and Darkthrone in favor of a more impact-based and dense sound in line with the practices of the day when their 1993 debut offering “ The Nocturnal Silence” was unleashed. Whether it was due to the prominent death metal scene that preceded it, or just an aversion to the ideological orthodoxy that developed as the second wave began to crest just to their west, outfits like Marduk, Unanimated and Dissection came off as less rigid in their pursuit of a darker and more forbidding sound. Often overshadowed by their Norwegian counterparts, the early adherents of the second wave of black metal to come raging out of Sweden were an intriguing lot.
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