Bathory's "The Return of the Darkness and Evil," unleashed in 1985, is a menacing manifesto of early black metal. Recorded in Stockholm, its raw production and occult themes set the stage for the genre's ascent. A pivotal moment in Bathory's discography, shaping the trajectory of extreme black metal
Released in 1987, Bathory's "The Return… of the Darkness and Evil" 12" vinyl LP album stands as a groundbreaking and influential work in the realm of black metal. Produced by Quorthon and Boss, this album marks a significant shift in Bathory's sound, delivering an uncompromising and ferocious musical experience that solidifies their status as pioneers of the genre.
"The Return… of the Darkness and Evil" unleashes a torrent of darkness and evil through its raw and aggressive sound. Bathory's approach to black metal on this album pushes boundaries with its menacing atmosphere, relentless drumming, dissonant guitar riffs, and Quorthon's haunting vocals. The album's overall aura captures the essence of the genre, forging a path for future black metal acts.
Bathory's evolution and innovation are evident throughout the album. As their third full-length release, "The Return… of the Darkness and Evil" showcases the band's growth in songwriting and musical execution.
The production work by Quorthon (Thomas Börje Forsberg) and Boss (Börje Forsberg) adds to the album's raw and unfiltered aesthetic. The intentionally lo-fi production enhances the album's sinister atmosphere, emphasizing the raw power and intensity of Bathory's performance. This approach has become a hallmark of black metal, influencing countless bands in the years to come.
"The Return… of the Darkness and Evil" delves into controversial themes and imagery, reflecting Bathory's dedication to embracing the dark and extreme aspects of black metal. The album's lyrical content explores themes of occultism, Satanism, and darkness, pushing the boundaries of conventional norms and challenging societal expectations.
"The Return… of the Darkness and Evil" cements Bathory's enduring legacy and influence on the black metal genre. The album's impact on subsequent generations of black metal bands and fans cannot be overstated. Bathory's fearless exploration of extreme musical territories and their unapologetic embrace of darkness set the stage for the development and evolution of black metal as a genre.
Swedish Extreme Black Metal, Viking Metal
Under One Flag FLAG 9
Record Format: 12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1987 United Kingdom ( UK )
Record label information:
Produced by Quorthon and Boss
Stig Börje "The Boss" Forsberg was a record label owner, music producer and drummer. He was father of Quorthon ( Thomas Forsberg ) and has produced several of Bathory's as well as albums for "The OZ".
Recorded and mixed by Boss
Electra Studio, Stockholm, Sweden
Album cover design by Quorthon
Album fron cover photography: Gunnar Silins
Album back cover photo: Bathory
Quorthon ( real-name: Thomas Börje Forsberg ) is founding member of the Bathory band (1983 ) and is singer and guitarist in the band. He has been with Bathory from 1983 until 2004 when he was found dead, due to heart failure.
Stefan Larsson - Drummer with the Swedish Black Metal band "Bathory" from 1984 until 1986. Before joining Bathory, Larsson played with the punk band: Obsklass.
Note: The images on this page are photos of the actual album. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone )
Bathory was a Swedish black metal band formed in 1983 by its sole member, Thomas Forsberg, who went by the pseudonym Quorthon. Despite being one of the earliest pioneers of the genre, Bathory has had a profound and lasting impact on the development of black metal, as well as heavy metal as a whole.
Bathory's early work, released between 1984 and 1986, is widely considered to be the blueprint for the Scandinavian black metal style. These albums, "Bathory", "The Return..." and "Under the Sign of the Black Mark", feature raw, chaotic and aggressive music, with Quorthon's raspy vocals, buzzsaw guitar riffs and pounding drums, all set against a backdrop of grim and often occult-themed lyrics.
One of the most distinctive features of Bathory's early work is the sense of atmosphere it creates. Quorthon's lyrics often evoke images of pagan rituals, war and death, while the music itself is unrelenting and abrasive, painting a bleak and hostile sonic landscape. This sound, combined with the band's aggressive and anti-religious stance, set the stage for the emergence of black metal as a sub-genre of heavy metal.
As Bathory's career progressed, Quorthon's musical vision evolved and matured. While the raw energy and intensity of the early work remained, the band's sound became more structured, incorporating elements of folk music, classical music, and even opera. This new direction was first showcased on the 1988 album "Blood Fire Death", which is widely regarded as one of the greatest black metal albums of all time.
Bathory's influence can be seen in the work of many of the black metal bands that followed in its wake, including Mayhem, Burzum, Immortal, and Darkthrone. These bands took the raw, aggressive sound of early Bathory and refined it, creating a more sophisticated and layered sound that continues to inspire new generations of metal musicians.
Quorthon's death in 2004 marked the end of an era for Bathory, but the band's legacy lives on. Its music continues to be celebrated and revered by fans of extreme metal, and its influence can be heard in the work of countless bands to this day.