Artist
Nine
Linköping
Nine is a music group from Linköping. Their discography on Gatefold includes 1 record.
1
Albums tracked
1
In collections
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Since
Biography
They started as a bunch of skate rats in Linköping who realized the Swedish D-beat scene was getting stale and needed a heavy injection of American hardcore groove. While the rest of the world was looking at Gothenburg for melodic death metal, Nine was busy figuring out how to make a HM-2 pedal sound like it was being played by Black Flag. They weren’t trying to be virtuosos; they were trying to be a blunt force instrument. By the time they hit the mid-2000s, the band had basically become a masterclass in how to survive the collapse of the ‘90s hardcore boom without turning into a joke. They moved from the crusty basement vibes of the early records into a polished, metallic crunch that didn’t sacrifice the spit and vinegar. It’s dirty, it’s Swedish, and it sounds like a bar fight in a scrapyard.
The Arc of Nine
The pivots — what forced Nine to reinvent.
The Umeå-Style Roots
Early on, the band was swimming in the same waters as the Refused and Abhinanda crowd, but they had a much meaner streak. They signed to Burning Heart Records when that label was the undisputed king of European punk, which gave them the platform to export their specific brand of metallic hardcore. You can hear the struggle of a band trying to find their own lane while the 'Swedish sound' was being defined by everyone else around them.
The Death 'n' Roll Pivot
The real shift happened when they stopped worrying about being a pure hardcore band and started leaning into the Entombed influence. They tightened the screws on the production and started writing actual hooks, albeit ones that sounded like they were dragged through gravel. This era culminated in records like 'Killing It,' where the tempo slowed down just enough to let the riffs actually breathe and crush.
The Spinefarm Polish
Moving to Spinefarm for 'It's Hell' saw the band hitting a professional peak that some old-school fans found too clean, but the aggression was still there. Working with Daniel Bergstrand—the guy who did Meshuggah and In Flames—gave them a massive, wall-of-sound clinical edge. It was the sound of a band finally getting the technical headroom to match the violence of their live sets.
Influences
- Entombed — The band has cited 'Wolverine Blues' as a massive blueprint for their crossover sound. You hear it in the thick, buzzy guitar tone and the swing they brought to the d-beat sections. They took the death 'n' roll blueprint and applied it to a hardcore vocal delivery.
- Black Flag — Before they went metallic, the band was rooted in the raw, nihilistic energy of Greg Ginn’s riffs. The early 7-inch releases mirror that specific brand of California aggression translated through a cold Scandinavian lens. It’s the foundational grit beneath the later production polish.
- Discharge — Like every Swedish band worth a damn in the 90s, the D-beat is the literal heartbeat of their songwriting. Even when the songs got more complex, that steady, driving 'Hear Nothing See Nothing Say Nothing' rhythm remained their default setting for building tension. It is the DNA of their percussion style.
- Slayer — Tor and Benjamin have pointed to the thrash titans as the reason they started craving a heavier, more precise guitar attack. You hear it in the palm-muted chugging and the darker, minor-key progressions that started dominating their mid-career records. It moved them away from punk and toward pure metal.
- Integrity — Nine shared the same holy terror obsession and dark, apocalyptic lyricism as Dwid Hellion’s outfit. The crossover between the Cleveland hardcore scene and the Swedish underground was a two-way street of grim aesthetics and metallic riffs. You can hear that bleak, punishing atmosphere on the 'Lights Out' sessions.
Discography
Their records — most-collected first.
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