While
Necrophobic
's first full-length appeared in 1993, in keeping with well-established practice for any number of metal bands, black or otherwise, they'd already released a number of earlier recordings via demo tapes and other channels -- and just as inevitably, over the years they'd been bootlegged, file-shared, auctioned on eBay, and more besides.
Satanic Blasphemies
puts together those efforts to make a nine-song album that's at once perfectly entertaining and, unsurprisingly, exactly what it sounds like -- a young, late-'80s/early-'90s Swedish metal band loving their influences, especially from over in Norway, and not fully finding their own feet yet. That said, for sheer completeness it's fascinating to hear the earliest, near-completely
Slayer
-indebted tracks from the 1989
Slow Asphyxiation
demo, featuring a trio lineup with vocals by original bassist
Stefan Zander
, who left the group soon thereafter. The rough-and-ready production emphasizes
David Parland
's heavily flanged guitar parts, turning in near-drones hovering over the mix in between the occasional solo, while
Joakim Sterner
's drums echo and clatter in the back. The
Unholy Prophecies
demo from two years later is an audible step forward -- not for nothing was this the first time they worked with longtime engineer
Tomas Skogsberg
, balancing out some of the murk in favor of crisper, hackle-raising aggression on the part of
Parland
-- while the guest appearance of
Crematory
's
Stefan Harrvik
on vocals gave the group some focus. The lengthy
"Sacrificial Rites"
provides a strong enough start (
's mid-song breaks are a monster) but the title track, a brawling rampager, is the winner here, the band's first truly great song.
The Call
EP from 1992 completes the disc,
Harrvik
once again standing in vocally while new regular bassist
Tobias Sidegard
debuted, with strong songs like
"The Ancients Gate"
pointing the way forward to the following year's
The Nocturnal Silence
. ~ Ned Raggett