Artist: Entombed Genre(s):
Rock
Metal: Death,Black
Metal
Discography:
Averno Year: 2004
Tracks: 5
Inferno Year: 2003
Tracks: 13
Sons of Satan Praise the Lord (CD2) Year: 2002
Tracks: 14
Possessed Year: 2002
Tracks: 5
Morning Star Year: 2001
Tracks: 12
Uprising Year: 2000
Tracks: 15
Same Difference Year: 1998
Tracks: 14
Monkey Puss (Live In London) Year: 1998
Tracks: 10
Wreckage (EP) Year: 1997
Tracks: 10
To Ride, Shoot Straight And Speak The Truth Year: 1997
Tracks: 14
Entombed Year: 1997
Tracks: 12
DCLXVCI - To Ride, Shoot Straight and Speak The Truth Year: 1997
Tracks: 14
Wolverine Blues Year: 1993
Tracks: 10
Out Of Hand Year: 1993
Tracks: 3
Stranger Aeons Year: 1992
Tracks: 3
Clandestine Year: 1991
Tracks: 11
Left Hand Path Year: 1990
Tracks: 12
But Life Goes On Year: 1989
Tracks: 3
Scandinavian metal legends Entombed were at the head of the demise metallic element rising, cathartic their influential debut,
Left Hand Path, in 1990, just now as the movement was beginning to proliferate internationally. By the time death metal had become a mass phenomenon in the mid-'90s, yet, Entombed had begun experimenting with different approaches, sometimes to lots spat (as in the slip of
Wolverine Blues) and on occasion to brush off (
Same Difference). Nevertheless, it was the band's debut,
Left Hand Path, that held up best o'er the long time. Canonized as a death metallic element hellenic -- one of the earlier, in fact --
Left wing Hand Path's buzzsaw guitar riffs and varied tempos, in particular, differentiated Entombed from seminal Earache Records labelmates such as Napalm Death, Carcass, Terrorizer, and Morbid Angel, wHO, with their relentlessly lightning-fast tempos and blastbeat drumming, were more in line with grindcore than end metal. Successive Entombed releases on Earache --
Crawl (EP, 1990),
Alien Aeons (EP, 1991),
Underground (LP, 1991),
Hollowman (EP, 1993),
Gulo gulo Blues (LP, 1993) -- were well standard on all counts; however, like many decease alloy bands of the clip, Entombed had to endure a revolving room access of bandmembership, nearly noticably in the songwriting department.
To Ride, Shoot Straight and Speak the Truth (1997) pronounced a mates major changes for Entombed: it was the band's first since going away Earache (a storied indie with major-label ties) and establishing their have label, Threeman Recordings, and it also was the band's final to feature talented drummer/songwriter Nicke Andersson, wHO chose to focus full-time on his other stria, the Hellacopters, for which he panax quinquefolius and played guitar. Consequently, Entombed languished for a match age, though
Uprising (1999), the first in a series of powerful back-to-basics albums to postdate end-to-end the ensuing decade, signaled a bring back to mannequin (i.e., "last & roll," as it was coined).
The roots of Entombed lie in the stria Nihilist, which was formed in Stockholm, Sweden, in 1987 by drummer/guitarist Nicke Andersson, guitar player Alex Hellid, and guitarist/bassist Leif "Leffe" Cuzner (each was around 15 years old at the metre, born in 1972-1973). Nihilist recorded a number of demos 'tween 1988 and 1989 (i.e.,
Previous Autopsy,
Only Shreds Remain,
Drowned -- all of which were compiled, along with session recordings, and released by Threeman in 2005 as
Syndicalist [1987-1989]), and these recordings included additional members: vocalizer Lars-Göran Petrov (aka L.G. Petrov), guitar player Ulf "Uffe" Cederlund, and bassist Johnny Hedlund. Of special preeminence, the
Only Shreds Remain demo, recorded o'er the course of iI years in December 1988 at Sunlight Studios in Stockholm with producer Tomas Skogsberg, was peradventure the first death alloy recording from Scandinavia to circulate wide among the subway alloy tape-trading network that at the time was comprised well-nigh alone of British and American bands. While porta for the Lee Dorian-fronted lineup of Napalm Death in Stockholm, Nihilist gave one of their demonstration tapes to a voice of Earache Records. Impressed, the mark by and by offered the band a recording concentrate. Meanwhile, bassist Johnny Hedlund left wing Nihilist after the
Drowned demonstration in August 1989, later on forming Unleashed, some other Scandinavian metal initiate. Guitarist/bassist Leif Cuzner had antecedently left the band, for his parents stirred his mob to Canada.
Syndicalist disbanded after Hedlund's leaving; with little faltering, however, the remaining members -- Andersson (drums), Hellid (guitar), Cederlund (guitar), and Petrov (vocals) -- and then chose to reform as Entombed. With bassist David Blomqvist taking the place of Hedlund, the rejuvenated band returned to Sunlight Studios and recorded the
Just Life Goes On demo on September 23, 1989, in one case once more working with producer Tomas Skogsberg. Shortly thenceforth, Entombed was back at Sunlight working with Skogsberg, this time on their debut album for Earache,
Left wing Hand Path (1990), which was comprised largely of reworked Nihilist songs. Bassist Lars Rosenberg joined the lineup after the completion of the album, on which Andersson and Cederlund were co-credited with freshwater bass. Of greater moment, vocaliser Lars-Göran Petrov left field the band. Entombed in turn recruited Orvar Säfström of the band Nirvana 2002 to whistle on
Crawl (1990), a three-song EP. However, when it came meter to record
Clandestine (1991), Entombed's second gear record album, drummer Nicke Andersson false the vocal duties; he too wrote the mass of the album, earning sole or co-credit for each birdcall. For purposes of touring, the band recruited some other vocaliser, former Carnage bassist Johnny Dordevic. Yet by the meter Entombed embarked on the Gods of Grind go (a show window of Earache bands too including Carcass, Cathedral, and Confessor) in precipitate 1991, Petrov had rescued his rank as the band's vocaliser.
With Petrov back in the lineup, the high profile Gods of Grind go slow them, and two acclaimed albums to their name, Entombed went about working on their third album,
Gulo gulo Blues (1993). Once again written largely by Andersson,
Glutton Blues proved a significant leaving from Entombed's former efforts. For one, the band scaled back the speed of their music, from the breakneck tempo shifts of their prior material (Ã la death metal) to a quelling mid-tempo rut (Ã la Pantera circa
Common Display of Power). Secondly, the band adoptive more traditional verse-chorus-verse songwriting structures with memorable maulers. Plus, the vocals were comprehensible. These changes clearly set Entombed apart from their death metal peers, merely the absolutely brutal delivery of the music, especially the signature buzzsaw guitars and Petrov's minatory vocals (more than shouting than growling), too correct the ring aside from the mainstream. Moreover, Earache had aligned itself with Columbia Records, a partnership that promising indie street cred with major-label distribution. The six-track
Hollowman EP (1993) was the first Entombed liberation to benefit from the Earache/Columbia partnership; featuring an instrumental version of "Gulo gulo Blues," the EP drummed up significant interest in the extroverted album. Released in two versions, one a Marvel Comics promotion featuring Wolverine from X-Men,
Glutton Blues aggressively divided up fans upon its handout. Death metallic element purists abhorred the stylistic change in charge, while other fans were pleased to see the isthmus crowd frontwards creatively into impudent territory, especially now that a legion of similar-sounding death metallic element bands had arisen in the wake of
Left Hand Path. Even to this day, fans remain divided o'er
Gulo gulo Blues; without motion, though, the greater accessibility of the music did attract a new wave of fans to Entombed, and the album is loosely acknowledged as a high water mark for the band, as it would become a regular benchmark for judgement the quality of future releases.
Following the release of
Gulo luscus Blues, Entombed toured Europe with Napalm Death and released the
Out of Hand individual. Bassist Lars Rosenburg then left hand the striation in 1995; Jörgen Sandström, the former bassist/vocalist of Grave, filled his slot. Among other changes, Entombed secured new direction, left hand Earache, and signed to EastWest. This new judge deal didn't work out, unfortunately: Entombed recorded a new studio album, only the pronounce didn't freeing it and in the end dropped the band for business sector reasons. The label woes endured by Entombed ultimately motivated them to manakin their own label, Threeman Recordings, and pimp statistical distribution deals for various regions (for representative, Music for Nations in the U.S.).
To Ride, Shoot Straight and Speak the Truth, the band's fourth full-length, was eventually released in 1997; Earache at the same time released
Entombed, a digest of antecedently released non-LP material.
To Ride, Shoot Straight and Speak the Truth was well received (for representative, earning a second-place vote in European cartridge clip Metal Hammer's best-of-1997 opinion poll, as well as earning the band a slot opening for Machine Head on hitch) and was passably similar in style to
Skunk bear Blues, though noticeably rougher around the edges and a little less memorable in damage of songwriting.
Andersson, the band's drummer and primary ballad maker, left field Entombed at this articulation, choosing to dedicate himself full-time to his other band, the Hellacopters, which was considerably acclaimed at the metre. Drummer Peter Stjärnvind was brought in nigh instantly, for touring commitments remained, carrying on well into 1998 (including the band's first North American dates since the Gods of Grind hitch in 1991). Upon the completion of touring, Entombed worked with producer Daniel Rey on
Same Difference (1999); non only was it the band's number one album without Andersson's songwriting, merely it was their number one without Tomas Skogsberg's production. Largely written by guitar player Uffe Cederlund,
Same Difference was a clear leaving for the band, taking them much farther away from their death metal roots than
Gulo luscus Blues had. Whereas
Carcajou Blues had divided up fans,
Same Difference reunited them in ignore, if non outright condescension. Earache once over again released a back-catalog point at the same time, in this case
Scamp Puss: Live in London (1999), a CD/DVD recording of Entombed from the European leg of the Gods of Grind hitch, circa March 1992. An EP of covers,
Disgraceful Juju (1999), was besides released around this clip, as Entombed returned to the road, touring with Meshuggah and Skinlab, severally.
To alleviation of many fans and the praise of critics,
Rising (1999) signaled a retort to variety for Entombed, wHO recorded and motley the purposefully raw album with producer Nico Elgstrand over the course of only 18 years. A hitch of Europe and Canada in support of Iron Maiden followed, on with solo dates. Deemed a classical in some corners,
Cockcrow Star (2001) was a likewise raw-sounding effort, though well more active in damage of pacing and mode; some likened it to the work of prime-era Slayer. In commemoration of Entombed's 15th day of remembrance, Threeman compiled
Sons of Satan Praise the Lord (2002), a double-disc covers collecting that was wide-ranging in source material (from Venom to Bob Dylan). Also in 2002, Entombed performed a special concert at the Swedish Royal Opera House with the Royal Ballet Ensemble; the public presentation was recorded and later on released as
Insubstantial Estate (2004). Co-produced by the band with Per Gunnerfeldt,
Perdition (2003) was too similar in reasoned to
Rising and
Dawn Star (i.e., raw), though it too had its own peculiarities: a equivalence was drawn to lapidator metal by some, piece others likened the rough-cut production unfavorably to that of Metallica's doomed
St. Anger (2003). Stateside editions included a fillip EP,
Averno, comprised of duplicate material from the
Inferno sessions, along with a couple videos. Besides a lot of touring during this period, Entombed experienced another bout of departures: bassist Jörgen Sandström left in January 2004, replaced by Nico Elgstrand; guitarist Uffe Cederlund left in September 2005, going away unreplaced; and drummer Peter Stjärnvind left in 2006, replaced by Olle Dahlstedt.
Directly a four-piece, Entombed released the five-song
When in Sodom EP on June 6, 2006 (i.e., 6-6-6), and the
Ophidian Saints: The Ten Amendments LP in 2007. This pair of releases -- the first unexampled material from Entombed in iII years, and without the songwriting of Cederlund, world Health Organization had written most of the band's songs following the deviation of Andersson -- luckily plant the ring revitalized and as brutal as ever so. In general,
Serpent Saints was reviewed in glowing footing, with many critics declaring it on a equation with
Rebellion and
Morning Star. Candlelight USA, the album's stateside distributor, marketed it as "Entombed's best work since
Gulo gulo Blues!"
