VERSUS: Storm of The Light's Bane vs. Far Away From The Sun

Welcome to Versus. The series where we look at two albums in metal history, compare them to each other, and see which one was the better record.

In this edition of Versus, I am diving into the darkness and evil of melodic black metal. Tackling two albums that some consider are essential and defining albums of the genre. One band, would leave an impact with their second album and see great success before breaking up due to a prison sentence. The other, their debut would be considered influential in the development of the genre and establish the band as an important figure with this release. Brave the cold winter and grab your Satanic bible in this matchup I'm calling "A Satanic and Melodic Legacy"

Dissection (SWE) - discography, line-up, biography, interviews, photos

In this corner, we have Dissection with the band's second album, 1995's Storm of The Light's Bane. Following the success of the band's debut album The Somberlain, this album was cited as one of the most successful albums to combine the aggressive elements of black metal, with a melodic death metal sound that was beginning to rise in Gothenburg at the time. The album would be cited as a pivotal record in not only black metal, but extreme metal from publications like Metal Hammer and Loudwire. What does Dissection bring to the table in this match up of occult harmony?

After the atmospheric, drum-pounding instrumental opener "At The Fathomless Depths", the album officially kicks off with "Night's Blood". Ole Öhman's drumming starts with fast-paced fills before the guitars of Jon Nödtveidt & Johan Norman enter. Delivering that driving intensity and fast-paced playing before Nödtveidt's vocals kick in. Öhman blasts away through the verse section. The layering of the instrumentation on the chorus sounds really good, along with a sort of subtle synth layer in that section. I love the transitional acoustic guitar passage at the halfway mark, creating a reprieve from the sonic onslaught of the first half. Nödtveidt's layered vocals hit so good when they come in after that section, especially with the dual harmony lead guitars throughout. You can really hear the influential melodic black metal sound that would inspire bands like Uada and Gaerea. "Unhallowed" opens with the classic trademark black metal sound of tremolo guitars and blast beats. I like the lead guitar tremolo OVER the already driving tremolo guitar playing. Very blackened thrash in the opening, especially going into the verses section. Similar to Immortal. Peter Palmdahl's bass starts to peak through at certain points. The song is just one constant and aggressive speed through its seven-plus minute run time. With peaks and valleys, channeling the first and second wave of black metal, while also incorporating the melodic elements that the band would become famous for. This was my favorite track off the album.

"Where Dead Angels Lie" opens with a cryptic and haunting sounding acoustic guitar. When the distortion joins the party, it has that grit and grime of the second wave of black metal, but including some guitar playing similar to classic heavy metal. Especially with guitar harmonies at certain places. Öhman's double bass hits hard while the tremolo playing kicks in as it heads into the verses. Nödtveidt's vocals have so much reverb to it, creating that cavernous vocal style the genre is known for, but with the clarity and cleanliness of a higher production budget. With the guitars juxta positioning from electric to acoustic near the three quarters mark and back, its like Nödtveidt is leading an unholy orchestration of blasphemy in the song's swaying effect and instrumentation. On "Retribution - Storm of The Light's Bane", Öhman is front and center in the mix. His double kick's are machine-gun like and kick the song off with a commanding punch. The main riff is almost thrash metal in the playing, accented by the drums behind it. Nödtveidt & Norman just continue their one-two punch of harmony, intensity in the play style, and technical speed throughout the entire track.

"Thorns of Crimson Death" opens with effect-heavy guitar strumming before the drums and distortion kick the door in. Very atmospheric amidst the distortion wall and drum fills in its opener. The riff going into the verses channels that NWOBHM sound, but drenched in distortion. Guitars really shine on the track, with both guitarists each taking turns to showcase or lead. I picture the pit going insane during the halfway mark's high intensity drumming and tremolo section. "Soulreaper" has Nödtveidt delivering his most snarling, goblin-like vocals on the song. Heavy as all hell song, the drums get even more heft and thundering intensity as the song progresses. The infusion of acoustic guitars near the halfway mark, over the tremolo and blast beats, is a nice and unique touch. Creating another layer to the distorted harmony the track gives off in its presentation. The album closer, "No Dreams Breed in Breathless Sleep", is a short melancholic piano piece, concluding the album in a somber, mournful tone. Giving the listener reprieve after the punishing black metal onslaught the band delivered on an iconic album in black metal history.

Their opponents are Sacramentum with their 1996 debut album Far Away From The Sun. While being compared to other melodic black metal acts like Unanimated and their opponents today, this album was considered an underrated but important release in the development of the melodic black metal genre. Receiving positive reviews and response from fans, the album would help establish Sacramentum as a name in the melodic black metal scene. How did this record compare to their fellow countrymen? Let's find out and listen to this so called hidden gem of the scene.

Album opener "Fog's Kiss" just comes out guns blazing. With aggressive blast beats from Nicklas Rudolfsson. Right behind him is the guitars of Anders Brolycke, along with the gurgling bass of vocalist Nisse Karlén. Vocals are almost deeper in the mix, compared to the louder drums and guitars. Creating that cavernous vocals that sometimes can be good or bad, depending on the mix and the vocal delivery. It works in this instance. Guitar and bass play well together on the track. With the bass at some points almost playing a counter-melody in a higher note, which adds a progressive and melodic element to the unholy nature of the music. Great opening track and really does channel the melodic black metal elements in the guitars. Next is the album's title track. Brolycke's guitars kick the track off, while Rudolfsson just punishes his kit with high velocity blasts and speed. Karlén's vocals are louder and higher up in the mix compared to the album opener. His bass playing also fills out the bottom-end of the mix and really amping up the guitars. His cascading screams, into the blast beats and tremolo guitar at the halfway mark, hits so good as the song speeds up. "Blood Shall Be Spilled" continues the melodic elements of the genre, while Rudolfsson's double bass flurries, sporadically show up throughout the song. The spoken word section creates that sacrilegious preaching vibe to it, and fits the song's motif. Brolycke is just impressive in his playing and instrumentation in the riffs he produces. Incorporating different elements of atmosphere and emotion in the playing throughout the track.

"When Night Surrounds Me" opens with a pretty straight-forward metal riff with a simple drum section beneath it. Then, the drumming begins to slowly intensify along with the guitars. I love the pacing of that, especially with the drums building up with the rise, before shocking the listener and bringing it back down to the main riff's speed. More melodic elements and progressive elements peak through the song in the latter half. After a short drum fill, "Cries From A Restless Soul" kicks off fast and heavy. Aggressive tremolo and blast beats, matching the aesthetic of Karlén's cave-esque vocals. Brolycke really creates a haunting feeling of dread and darkness in the guitars at the minute-thirty mark, before the song speeds up and the guitar playing mixes with tremolo and bass from Karlén. I do love the closing two-minutes of the song, with elements of second wave of black metal in its sound and playing, but also countering it with melodic elements. With little guitar solos in that section with a heart-pumping drum section beneath it. "Obsolete Tears" does continue the same vibe and attitude of the previous track, but with more blast beats and formulaic black metal in the performance.

"Beyond All Horizons" opens with a ominous and melancholic guitar. Filling the mix and the space of the production with reverb, the song comes crashing down with a thud with the drums and distorted guitars. Rudolfsson is a freaking machine on this song, and is the true hidden gem of the album with his unmatched playing and aggressiveness on the drums. The song is good and I dug it a lot through the six-plus minute runtime. Shrieking and guitars open up "The Vision and The Voice". The drums instantly made me want to bang my head along amongst the driving guitars by Brolycke. Throughout the song, it does give the chance for the band members to shine in certain sections. Near the halfway mark, guitars and bass get to lead the charge, while the opening had the drums lead. The band knows how to play with the listener with certain moments of slowing the track down, giving the listener the thought of the song going one way, before shifting and going in another direction. The album's final track "Darkness Fall For Me (Far Away From The Sun, Part 2)" opens with beautifully distorted guitar harmonies. The main riff has an almost NWOBHM tinge to it, especially with the clean, chanting like vocals along with it. More straightforward in the delivery, it doesn't really turn into black metal until about the two-minute mark, where we get that blast beat pulse. Then, suddenly, it fades out to a string section and synths. Ending the song in a dungeon-synth like manner and closing out the album in a anxious and eerie unknown. With distorted high strings ringing and a thunderous drum strike.

==PLACE BANNER HERE==

After listening to both of these classics in the genre, which one stands atop of the mountain of evil melody as the winner? In my opinion, Dissection's Storm of The Light's Bane is the winner of this matchup. Both albums really do nail (almost perfectly) the sound of melodic black metal. With Dissection's album, it played around with more progressive metal elements and pushed the sound more than their opponents. I also felt that Sacramentum's album did do that, but Dissection did it better in my opinion. Also, some of the songs on Sacramentum's album sometimes seems to blend into one, with the tracks sometimes not distinguishing themselves enough from the other. Creating a feeling of one long song. Dissection really did deliver potentially the best record of the melodic black metal genre in this matchup, and I'm declaring this album the winner.

Dissection would receive praise for the release of Storm of The Light's Bane and would tour consistently to promote the album, opening for acts like Satyricon, Cradle of Filth and Dimmu Borgir. In 1997, Nödtveidt was arrested and convicted of the murder of a 37-year-old homosexual man. He received a 10-year prison sentence. The band was on hiatus until Nödtveidt was released after serving seven years in 2004. Dissection would release one final album, Reinkaos, in 2006 to mixed reviews. Following the tour in support of the album, the band announced they would be breaking up. That same year, Nödtveidt would take his own life. He was 31 years old.

After signing with Century Media, Sacramentum would follow Far Away From The Sun one year later with The Coming of Chaos. With The Coming of Chaos, the band focused more on a blackened death metal sound. Critics praised the album, as well as better production compared to the debut and would tour Europe in support of the record with Rotting Christ and Old Man's Child. The band would release their last album with 1999's Thy Black Destiny, before breaking up shortly after the release. The band reunited in 2022 and performed live at a couple shows with new music hopefully on the way, but no album title or release date has been announced at time of writing.

Do you agree with my decision? Who do you think should have won? Cast your vote on the poll below, leave your comments on our social media, and your suggestions who you think should step in the ring next. I’m Justin, your friendly neighborhood metalhead, for This Day in Metal and this has been Versus.