In The Streams Of Inferno

About

In the Streams of Inferno is the debut album by the Norwegian black metal band Mysticum. It was released in 1996. In April 1995, Mysticum signed with Full Moon Production, and shortly thereafter the album was recorded. The original title, Where the Raven Flie, was changed to In the Streams of Inferno. The original pressing was limited to 3,000 copies and featured different cover art than later edition. Later, the album was licensed to Avantgarde Music, and the band regained the rights to the album. From 2008 until February 2012, the album was available for free download in MP3 format from Mysticum’s official website. On March 6, 2012, Mysticum signed with Peaceville Records for their announced second album Planet Satan and for remastered reissues of In the Streams of Inferno and Lost Masters of the Universe. On December 12, 2012, the reissue of the album was announced for release on February 25, 2013. Pre-orders became available from mid-January 2013. The musical style was described by Mysticum, Full Moon Production, and Peaceville Records as Industrial Black Metal. However, aside from the drum machine (and the keyboards typical of black metal), there are no electronic elements—no distorted vocal, sequencer, or other features of industrial metal. The drum machine is quite primitive; the blast beats were “obviously made with something that has binary code as its DNA.” Jeff Treppel of Decibel Magazine compared the keyboard sound to A Flock of Seagull, and the track Crypt of Fear to Ministry. He associated Mysticum’s aesthetic with an industrial apocalypse. The German magazine Rock Hard included In the Streams of Inferno in its list of 250 Black Metal Albums You Should Know. Treppel of Decibel Magazine wrote that the band should have become much bigger than they ultimately did, and pointed to their support from Euronymou. The band “pretty much single-handedly invented industrial black metal,” and their influence is still noticeable. Referencing the title of the Nine Inch Nails album Pretty Hate Machine, he concluded his review with: “This isn’t a pretty hate machine – it’s a pretty ugly hate machine.” .

via Last.fm

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