10 Amazing Swedish Underground Metal Albums From 2022 To Keep You From Complaining About Ghost

If there’s one thing you can count on, it’s that every time someone posts to Ghost, somebody feels the burning need to head to the comments section and complain. And we get it. We write a lot about Ghost – it’s a big deal, but not everyone is sold on Tobias Forge’s Twilight Cod. So, as 2022 begins to shrivel up and die, we thought we’d shine a light on some of Ghost’s fellow Swedish citizens.

Not Sabaton, Watain, or anything like that. Instead, we opted for newer underground bands with dirt under their fingernails and logos Egyptologists couldn’t begin to decipher. Say your prayers, grab a cinnamon roll, and get ready for some trve kvlt noise — here are ten obscure Swedish records that made 2022 a little chillier.

Metal hammer line cut

Floating – Waves have teeth

Much like its government’s approach to alcohol, Sweden has a monopoly on old-school death metal. Floating’s debut record uses those time-worn tropes, of course: buzzsaw guitar, guttural vocals, bass punchier than a bat’s backpack. Then, it’s a happy mixture of Gorguts/Ulcerate disharmony and touches of darkened arpeggios and post-punk rhythms. This is the most significant experimental death metal debut album since Hath. Of rot and ruin.

Parasite – In Falsk Utopi

Clinging to the Swedish d-beat model established by bands like Anti Cimex and Mob 47 in the early 80s, Parasit’s fourth record goes all out with stuff you know and love. Yeah, it’s a little less bluesy than Disfear and lacks the optimism you might glean from Wolfbrigade, but listen to those loose tracks. That rumble of Motörhead. The toms. You wanted dirt? Stick Parasit inside you.

Me, trees and wind – Cry of the forest

Leaning into the atmospheric and folksy tendencies of a band like Summoning, roasting the synth over an open fire and dropping high-pitched, Dani Filth-worthy screams, forest cry is a wonderfully immersive start. I, Of The Trees And Wind abandons Satan and embraces the desert, fusing cold black metal, luscious touches and more bird-song noise than you can shake a scarecrow.

Stahlijazhamur – Storming at Sunset

Released on New Year’s Eve 2021, Stahlijazhamur’s third demo gallops through earwax as the most glorious medieval black metal, evoking the subgenre’s reigning kings, Vehemence. However, Storming at sunset seems to have been recorded in Henry VIII’s asshole. Deliberately crap. Smash through the dingleberries and stick around for the crazy melodies.

Det Eviga Leendet – Reverence

‘Det Eviga Leendet’ is a mouthful, but it’s appropriate, given that their black metal drums are reminiscent of the equally twisted-tongued Gaerea. The Uppsala band’s second disc is a sadistic swing of subtle atmospheres, tense tremolo and beastly black metal blown straight from the diaphragm. It’s brutal. Cold. Sometimes pretty. Just like his impressive works of art or the films of Nicolas Cage, Reverence improves as you study it.

Hermóðr – Towards the night

If Burzum had bangers and wasn’t run by a convicted murderer, white supremacist and loser, it might look like Hermóðr. Clearly influenced by the aforementioned pioneer of second-wave black metal, Hermóðr’s solo project has released eleven albums since 2014. They’re still great, with this latest effort pitting ambient dungeon synthesizer against ultra-thin guitars, landscapes blackened epic sounds and superb cleans vocalized by the appropriately kvlt ‘Rosy’.

Blodskam – Avenue Eva

Two brothers formed Blodskam in 1998. Then life got in the way. their beginnings, The lowwas finally released in 2019. Three years later, we have Hail Eva. Conceptually rooted in a Bible story where Eve goes to the scorched earth, Blodskam explodes stronger than Danny Devito in this meme. Dripping with melody and still wild, their second record lurks somewhere between Sacramentum and Sworn-Watain era.

Gravkväde – Grav|Ände

It’s cold, then there’s Gravkväde. As Mournful Congregation trapped in the search facility of The thing, these carefree guys aren’t looking for TikTok success. Their third album expands their sickly brand of blackened funeral doom, traversing “the concept of suffering across time and space”. Yeah, one of those. Start an Ingmar Bergman film, cry a little and listen Grav|Ände.


Like most basement black metal, Röta is a one-man project. Gustaf Karlsson is the name, and blackgaze-by-way-of-melodeath is the game. Karlsson’s move into hard-core “metal” bands is evident, ripping off crisp leads and direct, tiresome screams. Nattsorg however excels in its peaks, valleys and lanes. Especially, Hope fades for days to come, during which he punctuates chilling post-black metal with almost grindcore snare drum blasts. Adorable stuff.

Maniak – Deathleicher

Maniak has not reinvented any wheels. They’re just burning rubber, stuffing the passenger seat with first wave black metal like Bathory and Venom – they’re doing mean live coverage of the latter witch hour, too. These real 16 year olds piled their Deathleicher demo on with attitude, some truly memorable riffs, gang vocals and, in a valiant attempt to cancel before they could legally drink, stage names such as “The Catfucker “.

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