First things first; Necromass is not a random band. They had a major effect on a circle of black metal fans and bands in the mid ’90s with their debut release Mysteria Mystica Zofiriana. Let us go back in time; in the early ’90s when Norwegians started to spread the word of the second wave of black metal throughout Europe, there was a whole parallel universe of B.M. expressed through the prism of death metal’s evolution, or as a ceaseless continuation of the first wave of black metal. Some would say that this motherless (country-wise) genre is a bit closer to the origins of elementary black metal because it clearly preserves the connection with its source, given that the 2nd wave of black metal was originally intertwined with Bathory. Particularly, this archetypal type of expression, which was never meant to fit within the narrow boundaries of any tag (one could say black/death metal, but that’s too restrictive), was represented in the early ’90s – to provide some resonant examples – by bands such as Absu, Ancient Rites, Impaled Nazarene, Necrophobic, Mystifier, Samael, the Greek black metal scene (Necromantia, Rotting Christ, Thou Art Lord, etc.), Beherit, Bal Sagoth, the Czech black metal scene (Root, Master’s Hammer, etc.), and of course, Italy had its own contributions through Mortuary Drape and Necromass.