Bathory

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风格: #黑金属　#民谣金属　#维京金属
地区: Sweden 瑞典

艺人介绍

Bathory不仅仅是一个伟大的音乐团体，他们将尼采式的贵胄哲学和北欧神话融为一体，并成功尝试了将它们和金属音乐完美结合的先驱者。Bathory的出现，影响和带动了90年代以来的整个新式黑暗金属的潮流，从而衍生出来了各种不同流派，同时他们也开创了维京金属的先河，高唱祖先崇拜在近20年后的今天已经成了一种时髦的潮流，各国各肤色的人们都在歌颂奥丁主神，未免有些荒唐，但Bathory的影响力可见一斑。

Bathory，匈牙利18世纪时的一个女伯爵，全名Erszebet Bathory，被指控谋杀了百名少女，并在百名少女的鲜血中沐浴以求青春永驻。上世纪80年代中期，一个叫Quorthon的瑞典小伙子拉起了一个叫Bathory的金属乐队，开始了一个传奇。

最初Bathory作为一个默默无名的地下乐队，最早的三张唱片却取得极大的成功，完全混乱，原始，扭曲，肮脏的声音，充满了恶魔感的音乐，单单凭这前三长唱片就可以把Bathory归为伟大的乐团，但他们紧接下来的三张改变风格的唱片使乐队在金属音乐史上永远留下了不可磨灭的巨大贡献。那就是Bathory的Ásatrú三部曲！维京人战船和勇气，至今仍闪烁着钻石般的光辉。

听听这个至今无人可以超越的维京金属先驱在80年代末就创造出来的独特的音乐，祖先崇拜和异教信仰，男性的勇气和冰天雪地的斯堪迪纳维亚大地广袤的森林和湖泊，强壮的民族和绚丽诡异的北极光，冰封的大地和滚烫的热血，有什么能比这些更能激起一个人对远古的神往和原始宗教的顶礼膜拜呢。我实在无法只将Bathory传奇般ásatrú三部曲中的一个拿出来单讲，还是让我们先全面审视一遍Bathory的维京神话。

在前三张专辑中玩快玩狠玩乱的Bathory在接下来的ásatrú三部曲中彻底放弃了正在80年代流行起来的“撒旦主义”主题，转而进入到了对北日耳曼神话和传说，古代异教的发掘上来了，从对远古北欧众神崇拜的得到灵感而衍生出的Bathory在1988年的第四张唱片Blood Fire Death中开始改变了风格，专辑的封面首先就给人一种浪漫主义的冲击力，封面借用的是挪威画家Peter Nicolai Arbo的油画Oskorei，这幅画也是Bathory的灵感来源，众神在雷神托尔的率领下万马齐喑划过天际，这张专辑在音乐上完全不同于前三张专辑的Bathory，清晰的吉他，放慢的速度，各种扩大听者想象空间的音效采样。从唱腔，吉他技法各个方面来看这张Blood Fire Death还保留了一些早期Bathroy的特点，而且多少还是有点像Venom，简单得说，还是有点“撒旦主义”的味道。但从歌词内容上来看，已经是完完全全的奥丁（北日耳曼神话中的主神Odin或Oden，南日耳曼神话中叫做Wotan或Wodan）崇拜了，乐队致谢名单里还出现了瓦格纳的名字，估计Bathory的几个哥们写歌之前也没少听『尼伯龙根的指环』作为灵感来源。

到1990年，Bathory的ásatrú三部曲中最有分量的第二部Hammerheart正式发行了，这张唱片中，不论音乐上还是思想上都彻底和过去的Bathory毫无联系了，比上一张唱片中还要慢还要简单的技巧，更清晰的唱腔，到处可见的神话气氛十足人声“啊——”，曲目演奏的时间明显加长，毫无疑问，Bathory从技术型转型成为了一致感觉型乐队，他们在这张大碟中受到了ásatrú教（对北欧神话中的阿西尔部落众神衹的崇拜）的影响，歌颂斯堪迪纳维亚人古老的异教的神衹，还有对基督文明的憎恨（注意，我个人从不把反基督看成孤立地对基督教作为一种宗教的仇恨，而是在更广泛的程度上对整个基督文明的仇恨），唱片封底上也出现了古北欧的力量象征“日轮”的标志（Bathory的右倾倾向开始出现了），其实可以看出Bathory走的其实是撒旦主义的另一个出口而已，归根到底还是同尼采，瓦格纳一路而来的“抑善扬恶”的价值观。

到了1991年，Bathory趁热打铁推出三部曲的第三部分Twilight Of The Gods 的时候，几个哥们开始有点剑走偏锋了，音乐更安静，更多的气氛渲染，小巧的民谣式吉他独奏，沉重缓慢的背景和弦和同时浮在表面的清澈旋律的强烈对比，更加拖长的音的演唱外加吟诵，更有一首经典的结束曲Hammerheart，一首悲壮勇士战歌，封套内页直接就从尼采的『查拉图斯特拉如是说』中摘出了一段，说他们剑走偏锋，主要是因为他们的歌词文本里太多让人和纳粹党卫军联想起来的东西了，本来上一张专辑Hammerheart上印了一个极右分子常用的“日轮”就已经非议众多了。不管Bathory的本意是什么，但是他们的音乐整整影响了一代地下音乐人是事实，其中就包括现在臭名昭著的纳粹黑暗金属。 

去年Bathory的核心人物Quorthon去世，Bathory才结束了二十年的音乐旅途，他们后来的作品其实也不乏经典，但因为前六张专辑的光芒太刺眼，歌迷对他们的期望太高，他们后来的作品完全被自己早期的六张作品的光芒笼罩住了。对于歌迷来说，因为名气的原因错过了Bathory的后期作品也是相当可惜的。

In a musical realm where scale of influence has little to do with commercial success, few originators of the extreme metal arts evoke as deep a sense of mystery, or incite such hushed, reverential tones of admiration, as Sweden's Bathory. Essentially a one-man operation helmed by the mysterious Quorthon, Bathory's development from the rawest form of embryonic black metal, to thrash, death, and back to its self-devised Viking-themed black metal, has mirrored and regularly defined the genre's very evolution. Indeed, along with Switzerland's Celtic Frost, Germany's Kreator, and Denmark's Mercyful Fate, they easily qualify as one the most important European extreme metal acts of the '80s and '90s. The Swedish-born multi-instrumentalist Quorthon (also known as Black Spade and/or Ace Shoot, although his real name, Thomas Forsberg, is still the subject of debate) formed Bathory in 1983 with sidemen Hanoi (bass) and Vans (drums). These two would soon be ejected, however, just as soon as they'd completed work on two of the best tracks heard on 1984's now infamous Scandinavian Metal Attack compilation. Influenced by every form of speed metal known to man at the time (which, admittedly, wasn't much), Bathory soon staked a claim as Scandinavia's answer to Motörhead and Venom (from whose song &Countess Bathory& they attained their name). And, like Venom's early work, Bathory too were challenged by the downright primitive recording conditions of Heavenshore Studios (actually a converted car garage and storage space) — limitations which inadvertently set the rough, uncompromising template that was later carefully scrutinized and accepted as gospel by generations of black metal-metal musicians. In fact, 1984's eponymous debut and its like-minded successor, 1985's The Return were so inaccessible, so unprecedented in their abrasive anti-commercialism, as to be ahead of their time, carving a niche all their own within this quickly developing subgenre. Interestingly, the additional curiosity that Bathory rarely performed live (and never, after 1985), and that these recording provided almost no information about its constituents (which, aside from main man Quorthon, briefly included various anonymous bassists and drummers going by the monikers Kothaar and Vvornth) only added to their cult-like mystique over time. Not even this promising start was enough to sustain Bathory's momentum within such limited stylistic boundaries, however, and, after exhausting the possibilities of rudimentary black metal with his first two efforts, Quorthon realized that a creative face-lift was necessary. Sure enough, over the course of their third and fourth albums, 1987's transitional Under the Sign: The Sign of the Black Mark and 1988's watershed Blood Fire Death, Bathory re-focused its interests — away from rock & roll-based arrangements and towards a more purely European aesthetic. Gradually incorporating symphonic elements drawn from classical music into its black and death metal base, by the time of Blood Fire Death Quorthon had abandoned most of the rote Satanic/Christian-bashing lyrics of yore, and embraced the pagan themes and Viking mythology of his ancestors. This anthemic approach culminated in what many consider to be Bathory's finest hour, 1990's landmark concept opus Hammerheart. Part quantum leap, part continuation of Blood Fire Death's sketches, the album in no way recalled Bathory's humble origins, and provided the archetype for 1991's nearly-as-revered Twilight of the Gods, to boot. Confirming the impact of this vision, these three works helped ignite a surge of patriotism through music for countless Scandinavian youths, who subsequently began celebrating their pre-Catholicism cultural heritage. Sadly, while commendable for encouraging a self-contained and highly inventive local scene (featuring Mayhem, Emperor, Darkthrone et al.), this movement also sowed the seeds for future acts of hateful vandalism (as ghoulish as they were absurd) and outright murder at the hands of a small extreme contingent. Ironically, Quorthon himself had by now grown weary of the stereotypes and artistic trappings of the revolution he'd helped galvanize. Feeling uninspired to write any new music in that vein, he abruptly announced Bathory's demise and spent the next two years compiling the Jubileum, Vol. 1, Vol. 2, and Vol. 3 collections. When his desire to compose finally did return, the music he came up with was so unlike anything ever released under the Bathory banner, that he chose to put out 1994's simply named Album under the Quorthon moniker instead. Filled with surprisingly straightforward alternative rock, the record nevertheless revitalized Quorthon's interest in heavy metal, and a new Bathory L.P, Requiem (released later that year), saw a return to the simple, brutal thrash metal of yesteryear. Subsequent Bathory efforts gradually upped the ante once again, as longer songs and more complex death, black, and even industrial metal elements were cautiously added to the mix for 1995's Octagon. In turn, 1996's ultra-doomy, Conan the Barbarian-inspired Blood on Ice marked a return to the Viking metal style, and offered a retooled collection of previously abandoned sessions from seven years earlier. But, besides proving that this epic style was back in his plans, the album's greatest reward may have lain in the extensive liner notes penned by Quorthon. These not only explained the long overdue album's release, but also revealed a significant amount of information about Bathory's until then very murky history — almost to the point of upsetting older fans' long-held theories and expectations of their hero, ironically enough. 1997's second Quorthon set, the double disc Purity of Essence, arrived next, and again served as a repository for non-Bathory-like ideas; and the third installment of the Jubileum 'best of' series arrived a year later to close yet another chapter, and signal another extended layoff. Inevitably, however, Quorthon resurrected Bathory once again in 2001; his new album Destroyer of Worlds inaugurating a new phase at first characterized by a more streamlined, rock-oriented approach, while striking a mature balance with the grand scope of works past. But those Viking inclinations were once again brought to the fore on the subsequent, twin-album project Nordland, part one of which was released in late 2002, and part two arriving in 2003. Unfortunately, this return to both the style and form of old glory would prove to be Bathory's swan song, when, with a number of as-yet-unreleased demos already under his belt, Thomas Forsberg — the living black metal legend known as Quorthon — was found dead in his Stockholm apartment on June 7, 2004, apparently a victim of heart failure. With his death, so dies Bathory, although there is no doubt that his career-long record label Black Mark (owned and operated by Quorthon's father) will eventually unveil any unreleased Bathory material which may still lie in their vaults.

Bathory　巴托丽

艺人介绍

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Bathory 巴托丽

艺人介绍

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Bathory　巴托丽