Montreal’s Kataklysm was formed in 1991 when bassist Iacono and drummer Saied – both previously active in the Bay Area thrash-influenced T.S.D - placed an advertisement at a local record store seeking newer members. Upon grouping with singer Houde and former Voivod roadie Dagenais the four opted for a death metal sound. Named by the numinous Houde, Kataklysm (initially Cataclysmus) immediately set out to write and record.

The band was initially a two-guitar formation, but would soon be without the services of Stephane Cote. The guitarist, who had left amid acrimony, would later sue Kataklysm for royalty. He would also form the grinding hardcore-oriented Obscene Crisis. The Latin American migrant Saied, however, would leave after the recording of The Death Gate Cycle Of Reincarnation demo in 1993. Said tape would feature a trilogy, the band’s sun-like logo and a brutal death metal sound. Remaining the band’s only demo, though followed by an industry-only tape, the band’s initial disc would feature the same demo, plus a newer tune. The Mystical Gate Of Reincarnation MCD (re-named to avoid running afoul of the books’ authors rights) was issued by Nuclear Blast in the midst of negotiations for a recording contract and in exchange for $1,000. In the meanwhile, a pen pal, Fred Schaus, would form Boundless Records and issue a 7” EP with the band in Belgium. Vision The Chaos was a limited release and recorded at an experimental studio, unlike the band’s demo/MCD which was recorded with Oblivion’s Pierre Remillard. In the meanwhile, inspired by a Fear Factory advertisement in a Canadian magazine called M.E.A.T. the band had termed its music ‘Hyperblast.’ The band’s management had added the term ‘Northern’ in order to exploit Houde’s penchant for mysticism and spirituality further. Management had also mediated the return of Houde who had left the band at least twice during this period. The band had also occasionally auditioned second guitarists. A contract from France’s Modern Primitive Records (Disgrace, etc.) would be rebuffed as would later overtures from Invasion Records.

After prolonged negotiations the band would sign to Nuclear Blast Records and set out to record its debut full-length. The album was produced by Glen Robinson at Morin Heights Studio. The album’s release was followed by an offer to fill in last minute as Bolt Thrower’s European openers. Citing a lack of publicity the band had declined. Kataklysm instead toured that spring with Deicide, Cathedral, Fleshcrawl, Brutal Truth and Sinister as part of the Bash Easter Festival. The Canadian Sorcery release parties were conducted in Montreal and Quebec City alongside Incantation. A North American tour would result in a falling out with Incantation and allegations that the Canadians (and friends) had attacked Incantation’s van and property in Montreal.

1996’s Temple Of Knowledge featured a more straightforward sound and a new drummer. Duhamel had left the band (again) due to knee problems and was replaced by American Nick Miller. The album would be Houde’s last studio outing. Ostensibly peeved by the depiction of Houde on the album’s cover and idiosyncratic behaviour the man had been shown the door. Iacono would take over the vocals as well. Having fought with Nuclear Blast the band would sign with Canada’s Hypnotic Records for two oft-criticized albums with a hardcore sound. The band’s new bassist was Stephane Barbe. Fortunately, the band and Nuclear Blast would patch their differences and the band would re-join the German label. The Prophecy (Stigmata Of The Immaculate) was seen as a return to form for Kataklysm, albeit without the distinct growl of Sylvain Houde. A tour with Vader, Fleshcrawl and others would also take place.

Kataklysm would participate in the Nuclear Blast Festivals 2000 and appear on the DVD of the same name in 2001, alongside Destruction, Hypocrisy and others. Epic: The Poetry Of War was issued in September of 2001 and would be seen as a success, but a tour with Marduk would be cancelled. The band would assign production duties to guitarist Dagenais, who had hereto recorded local acts and begun handling work for foreign metal bands as well. American shows would follow under the Death Across America monicker. Duhamel would again leave Kataklysm at the beginning of 2003 and be replaced by JF Richard of Ion Dissonance. In the meanwhile, a project between members of the band and Cryptopsy would be lost in a haze of acrimony. The band would tour with The Haunted and even appear on stage at Germany’s Wacken. The band’s viability would translate into a new recording contract with Nuclear Blast. Serenity In Fire was advertised as featuring Hypocrisy’s Peter Tägtgren, although his guest vocals were mere cameos. The American No More Serenity tour was sponsored by Metal Maniacs magazine and the band shot a promotional video for As I Slither. European shows were cancelled reportedly because Iacono (now residing in the USA) was a new father. The band and Hypnotic Records would get into a legal jab when said label would re-issue the two 1998 albums. The band had planned its own versions of the said CDs. The group would expand its horizons via a tour with Danzig and would soon welcome back Duhamel. In The Arms Of Devastation would disappoint fans upon the announcement of guest work by select Kittie personnel. Several tours, including one with Bolt Thrower, would follow and the band would issue In The Arms Of Devastation. The album’s artwork was chosen from among a number of fan submissions. The cover character would be picked as a mascot. A tour would follow in conjunction with Vader. Bassist Francois Mongrain of Martyr would tour with Kataklysm during its tour with mallcore band Chimaira as the band’s own bass player, Stephane Barbe, has to stay home with his wife who was expecting a baby.

KATAKLYSM - SHADOWS AND DUST - NUCLEAR BLAST
What to expect from this band? It has always been difficult to follow up on great albums. The originality of Kataklysm's debut MCD and CD were bound to set a standard, one that is rarely met. Several studio albums and line-up changes later Shadows and Dust is released. The obligatory 'innovative new album' is thrown into the bio but they go even further by contrasting their 'humble beginnings as mere merchants of brutal death' to their present 'maturity.' Labels and bands' insistence on insulting their best releases is baffling to say the least. Onto the music itself, the lead-off track In Shadows and Dust features some blasts reminiscent of earlier albums as do Beyond Salvation and Face the Face of War whose chorus is pretty annoying. You can hear some Morbid Angel in Bound Tn (sic?) Chains unfortunately it is the slow, painful Morbid Angel but the song does pick up before returning to the torturous riffs like those of Where the Slime Live. Overall the album features both the essential Hyperblast moments and the slower, painful and more 'mature' moments. One only wishes to have more of the former. - Sheila Wes Det