DUIR - INTERVIEW

1. 2013 is the year Duir was founded. Why did you decide to create Duir? Why did you choose the name Duir, and what does it refer to?

DUIR started from the desire to create music that felt honest to us, combining the intensity ofblack metal with the melodies and atmosphere of folk music. We chose the name DUIR because it’s the Celtic word for “oak.” The oak symbolizes strength, wisdom and endurance, values that have always resonated with us. It also reflects our connection with nature, which has been an important source of inspiration since the very beginning.

2. June 26th is the scheduled release date for your second album, which comes almost four years after “T.S.N.R.I. – Impermanenza” (2022). What was the songwriting and recording process like for this second album? How do you think your sound has evolved between the two releases? What brands of instruments did you use for the recording?

The writing process for Catarsi was focused on creating a complete and coherent journey. Compared to T.S.N.R.I. – Impermanenza, which was more introspective and abstract, this album follows a specific narrative and required a different approach to songwriting and arrangements. Over these years, we have become more aware of our identity and more confident in combining atmosphere, aggression and folk elements. The core of DUIR has remained the same, but the songwriting has become more mature and focused. For the recordings, we used a combination of different instruments: custom-made SMG guitars, McCallum bagpipes, an Altarwind hurdy-gurdy and Kerry Whistles flutes, alongside the other instruments needed to create the sound of the album. The goal was always to preserve the natural character and emotion of each element.

3. The reference to the oak tree in your name contrasts sharply with the concept of the new album, which focuses on events from the First World War. How have you managed to balance these two seemingly antagonistic concepts with what you've offered on "Catarsi"? How would you define the sound of the new album? What bands or styles influenced you during the songwriting process?

The oak has always represented endurance, memory and the connection between past and present. These ideas are actually very close to the concept of Catarsi: even in the darkest moments of history, such as the First World War, we wanted to focus on the human experience and the emotions that remain over time. Musically, Catarsi is a blend of atmospheric black metal and folk elements, with a strong focus on atmosphere, storytelling and emotional contrast. The album moves between aggression and melancholy, creating a journey that follows the character’s inner transformation. During the composition, we were influenced by bands such as Ellende, Panopticon, Saor, Groza, Harakiri for the Sky and Mgła, especially for their ability to create intense atmospheres while keeping a strong identity.

4. Where did the idea for the new album's concept come from? Is there also an existentialist theme in your lyrics, trapped within the subject of war? Do the lyrics adapt to the music, or vice versa?

The idea for Catarsi came from the place where we create our music: our rehearsal room is inside an Austrian fort built in 1845, a place that lived through the First World War. Being surrounded by those walls made us imagine the stories and emotions connected to the people who experienced that period. The war is only the setting, while the real focus of the album is the human condition: fear, loss, identity and the search for meaning. In this sense, there is an existential dimension behind the story. The music and lyrics developed together. The atmosphere and emotions usually come first, and then the story and words grow around them, creating a single narrative.

5. Alberto Spaziani, V oid Sounds Studio, and also Ad Nauseam Sounds with P.G. Groza's studios appear as references during the recording, mixing, and mastering of the album. Do you think that working in these studios and with these people was fundamental in achieving that aggressive sound, which is also permeated by an atmospheric folk element, and integrating it all coherently? Are you satisfied with the final sound?

Absolutely. Working with Alberto Spaziani, MK at Void Sounds Studio and P.G. at Ad Nauseam Sounds was fundamental to achieving the final sound of Catarsi. Each of them contributed with their own experience and vision, helping us preserve the raw intensity of black metal while giving space and clarity to the folk and atmospheric elements. We are very satisfied with the final result because it represents what we wanted from the beginning: a powerful but emotional sound, where every instrument and every layer has its own place within the story of the album.

6. The voice of L.G., from the Austrian band Ellende, appears on the track "Impeto." How did the idea for this collaboration come about? What do you think L.G. contributed to the final result of the album, beyond his collaboration on this track?

The idea came naturally from the connection we built with Ellende. We had already shared the stage with them in Italy, and we have always appreciated their music and their approach. We felt that L.G.’s voice could add a different emotional dimension to “Impeto” and fit perfectly with the atmosphere of the song. Beyond this specific collaboration, his contribution represents the spirit of the album: bringing together different experiences and perspectives while keeping the identity of the music intact.

7. You've gone from self-releasing your previous release to working on the new album with AOP Records. How did the idea of looking for a record label for the new album come about? Why did you ultimately decide to work with AOP Records?

After the experience of releasing T.S.N.R.I. – Impermanenza independently, we felt that Catarsi deserved a wider audience and a stronger support behind it. We wanted to work with a label that could understand our vision and help us reach listeners beyond what we could do on our own. AOP Records was the right choice because they showed genuine interest in our music from the beginning. They have a strong identity and a roster of bands that we respect, and we felt that Catarsi could naturally fit within their catalogue.

8. The album cover was designed by The Veil of Arda. How did the idea of working with them come about? What does the cover represent, and how does it relate to the album's content?

We have known Silvia from The Veil of Arda for a long time and we are also close friends, so the collaboration came very naturally. We have always appreciated her artistic vision, and we felt that her style could perfectly match the atmosphere and emotions behind Catarsi. The artwork doesn’t simply represent a historical event, but the emotional side of the story: the weight of memory, the human experience during conflict and the inner transformation of the main character. It reflects the journey through darkness and suffering towards a form of acceptance and catharsis.

9. Duir knows how to leverage their live performances to connect with their audience. How important is it for you to connect with your fans through the concert experience? How do you plan to approach the intensity, musical richness, and concept of your new album live? What upcoming concerts do you have scheduled?

For us, the live experience is one of the most important aspects of DUIR. A concert is not only about playing songs, but about creating an atmosphere and sharing an emotional experience with the audience. Bringing Catarsi on stage requires balancing its intensity and its more atmospheric and folk elements. We want the live show to preserve the emotions and the journey of the album, not just reproduce the recordings. At the moment, we are focusing on promoting Catarsi with upcoming shows, including our release show in Verona and other dates that will be announced soon. We are also working to bring DUIR to new places and festivals in the future.

10. Although you're from Italy, do you identify with the Italian scene in your style, or do you feel more affinity with bands like Ellende, Saor, or Groza? How would you describe the current Italian extreme metal scene? What bands from Verona would you recommend?

We definitely feel connected to the Italian scene, even if our influences come from different places. The bands you mentioned have influenced us for their approach to atmosphere and songwriting, but DUIR has always developed its own identity by combining different elements. The Italian extreme metal scene is very active and there are many bands with a strong personal vision. It may not always have the same international visibility as other countries, but there is a lot of quality and creativity. Some Italian bands we would recommend are Enisum, Forgotten Tomb, Shores of Null and Messa. They all have different approaches, but they represent the variety and creativity of the Italian metal scene.

11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to be musicians?

Music has always been a fundamental part of our lives. Like many musicians, our journey started from curiosity and the desire to discover new sounds. The first albums we bought and the first concerts we attended had a huge impact on us, showing us the power of music as an emotional and live experience. There wasn’t a single moment that made us become musicians. It was a gradual process, growing up surrounded by music and eventually feeling the need to express ourselves through it. Creating DUIR was a natural continuation of that journey.

12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

It’s difficult to choose only one album, because black metal has always had many different expressions. For us, Bergtatt by Ulver represents one of the most unique and influential examples of how atmosphere, nature and extreme metal can coexist. It perfectly captures the emotional and immersive side of the genre. Regarding recent purchases, some of the latest albums we bought are Todbringer by Ellende and Exercises in Futility by Mgła. We always try to support bands and labels by buying physical releases whenever possible.

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Duir's fans, this is the place. I hope you enjoy the questions.

Thanks to Black Metal Spirit for this interview and for the interest in DUIR. We hope listeners can connect with Catarsi and discover something personal in its atmosphere and story. See you on the road!

-----------------------------------------------------------------------------------------------------------------------------

Brüja - Polluted Sessions 2020 - 1,99 €

Cassette, Single Sided

DYMNA LOTVA

 

Origen: Bielorrusia, Minsk.

Formados: 2015

Estilo: Doom, post-black.

Temática: Folclore, naturaleza y tristeza.

Enlaces: Bandcamp, facebook, instagram, spotify, tidal y youtube.

Miembros:

• Bocian Batería
• Jaŭhien Bajo y guitarra.
• Mikita Guitarra
• Nokt Flauta, letras y voces

Discografia:

• VIII Single 2016  
• Самотны чалавечы голас Single 2016  
• Requiem Single 2016  
• Зямля пад чорнымі крыламі: Дрыгва CD 2016
• Крумкачы таксама смяротныя Single 2017  
• Палын CD 2017
• Трудна, нудна на сэрдуньку Single 2018  
• Скон Single 2018  
• Смерць цалуе ў вочы Demo 2020  
• Да волі Single 2021  
• Зямля пад чорнымі крыламі: Кроў CD 2023  
• Жыві! (Live!) Single 2024  
• Адышоўшым Single 2024  
• Live at Dark Easter Metal Meeting 2025 Directo 2025  
• Zory Single 2026  
• Vyraj CD 2026

VYRAJ (2026)

Los disidentes Bielorrusos Dymna Lotva regresan con su cuarto larga duración, aunque entre medias han encontrado tiempo para embarcarse en otro proyecto como Hangover in Minsk con el cual editaron también un álbum el pasado año. Sin embargo la propuesta de Dymna Lotva se antoja mucho más rica, madura e interesante en cuanto a los diferentes elementos y estilos que logra incorporar a su sonido. Centrados en el folklore de su Bielorrusia natal, englobando diferentes leyendas, historias y una capa de oscuridad, lo ofrecido en este "Vyraj", trasciende el plano meramente musical. El comienzo ya deja claro que Dymna Lotva no se van a centrar en un aspecto accesible dentro de su música. Una ambigüedad de formas a la hora de partir de un sonido que combina melodía, profundidad y una densidad aplastante, para lograr traspasar estos limites y ofrecer también un plano directo y agresivo. Así es como este "Vyraj" nos va atrapando en su propuesta y ambientación, trabajado desde una combinación de estilos e influencias, en principio dispares, pero que en manos de la banda suena cohesionados y fluidos. No es sencillo lograr aunar esa agresividad y crudeza del black metal con elementos no ya solo melódicos, sino que hay secciones que remiten directamente a elementos góticos u otros en donde la flauta o un extra de algo similar a la electrónica encuentra su razón de ser. Aspectos que también están presentes en las voces, combinando por un lado agresividad y crudeza, al mismo tiempo que incorporan otras más limpias melódicas y evocadores. Todo ello da como resultado un álbum que suena profundo, evocador y sobre todo inquietante. Las continuas referencias al folclore y a leyenda que aparecen en sus letras se plasman perfectamente en su  música, con un tono inquietante, envolvente, hasta cierto punto místico y terrorífico, dejando una sensación de profunda abstracción en el oyente. Sin lugar a dudas Dymna Lotva ha dado un paso al frente a la hora de completar un álbum que surge de las profundidades de las raíces de su tierra natal, rico en matices, envolvente y profundo como pocos. (7,7).

Prophecy Productions

1. Zory  

2. Veha  

3. The Boat of Despair  

4. Viedźmieragina  

5. Niama Darohi  

6. Bu Samoje  

7. Ustań Za Mianie  

8. Return My Coffin Home

Drought  - Rudra Bhakti (10") 3,99 €

Vinilo, 10", 33 ⅓ RPM, EP

DARK PLAGUE

 MASQUERADE (2026)

Los franceses Dark Plague llegan a su sexto larga duración en plenitud de facultadas, con un anterior álbum como "The Threshold of Death" que les permitió reivindicarse, vuelven a incidir en ese black metal que sabe mezclar partes agresivas con otras más melódicas, dejando un regusto a sonidos de corte clásico. La propuesta se muestra directa y potente, el trabajo de Kevin Paradis a la batería, dota al conjunto de un impulso diferenciador sabiendo aunar un tono directo y potente, no exento de cierta técnica, con un dinamismo sólido que permite que bajo y guitara fluyan de forma coherente. Es aquí donde la banda logra cierta complejidad de sonido, con un tono que permite trasmitir un regusto bastante crudo, pero logrando equilibrar con unas melodías ambiguas que se van hilvanando desde la profundidad de la mezcla, como queriendo plasmar la referencia del título del álbum en su música. Esas partes, digamos que más accesibles, que esconden algo totalmente distinto en su interior, pero que al mismo tiempo se antojan necesarias para ser aceptadas. Las voces saben plasmar también un tono directo y crudo, sin apenas concesiones, tal vez, con algunos registros un tanto más forzados, pero que acaban por encajar en la visión general del álbum, al mismo tiempo que trasmiten perfectamente esa ambigüedad de formas y estilos. El álbum, en general, logra presentarse como una solida pieza de black metal infecto y directo, con un sonido que muchas veces raya en lo demoledor pero que también sabe sacar partido a cierta ambientación, que digamos que se enreda en una cierta ambigüedad, que va más allá de la oscuridad o la densidad, para lograr también trasmitir cierta falsedad y complejidad de formas y estilos. Por lo demás, estamos ante un álbum que suena directo y potente, ritmo elevado, perfecta ejecución en aspectos como la batería, un amplio espectro de registros en unos riffs que aúnan crudeza y melodía y unas voces que se abalanzan directas a nuestra yugular. (7,8).

Fetzner Death Records

1. Social Sickness 04:38  

2. Overwhelmed 06:44  

3. Make War Great Again 04:59  

4. Bitter Leather & Sweet Pain 04:30  

5. Modern Lament 04:56  

6. Insidious Plague of Mind 03:55  

7. Power of Desire 06:00  

8. Useless 05:03  

  40:45

Spirit Possession ‎– Of The Sign… (Blue/Red/Gold Mix) 62.99 €

Vinyl, LP, Album, Blue/Red/Gold Mix

LITOSTH

 DREAMING (2026)

Cuarto larga duración para la banda brasileña Listosth, banda que a lo largo de estos últimos años ha mantenido un alto nivel compositivo y que con cada nuevo álbum editado da muestra de no tener limites, más allá de los que ellos mismos quieran imponerse. Un álbum que se cierne sobre nosotros de forma oscura e inmersiva, con un engañosa melodía que se va convirtiendo en un maraña de oscuras, densas ambiguas sensaciones, con un fuerte aporte de desesperación, rabia y profunda oscuridad. Trabajado desde un sonido que sabe mantener el pulso a la hora de ofrecer un buen número de recursos de un sonido black de corte clásico, con un acertado control sobre las intensidades que se plasma en un sonido que fluye hacia terrenos que sin llegar a ser del todo complejos si que saben jugar con intensidades y cambios de ritmo, al mismo tiempo que recuperan la esencia de aportes de un black sinfónico del todo clásico. Poco a poco logran ofrecer un textura rica en matices, con un sonido de guitarra que alterna esos pasajes más directos con otros más evocadores, no exentos de cierta melodía, al mismo tiempo que la batería fluye libre, como sustento de una propuesta que lucha por desbocarse y adentrarse en las profundidades del black más infecto. Litosh visten sus composiciones con una patina de black sinfónico, sin caer en un preciosismo innecesario y sin que tampoco el ritmo se desboque, simplemente este apartada sinfónico se traduce en una mayor densidad y en un trabajo de fondo enfocado en construir un sonido mucho más inmersivo, en donde la desesperanza y la oscuridad se ciernen sobre el oyente. Las voces por su parte, trabajan texturas que saben aunar agresividad y oscuridad, lo que se traduce en un estilo que combina crudeza con sensaciones cercanas a la desesperación y a la muerte. Un nuevo álbum para una banda que parece no tener limites  ala hora de ofrecer una propuesta que logra hacer meya en el oyente a base de un sonido que combinando diferentes registros abarcando un amplio espectro de insondable desesperación y perdida. (7,8).

Personal Records

Cold Art Industry

1. Defy 05:48

   Abyssal winds carve the marrow of the soul,

Veil of light torn by the hunger of void,

Eternal silence devours forgotten prayers.

Shadows bleed across temples of reason,

Ancient voices ignite the marrow of night,

Tormented visions defile the order of flesh,

Ashes of the gods are swallowed by thought,

Nothing survives but the scream of defiance.

Morbid wisdom pierces the veil of desire,

Ascending flames consume the holy lie,

Serpents coil in the chambers of truth,

Thrones collapse beneath the weight of despair,

Eyes unblinded feast on the corpse of faith,

Realms of dust exalt the crown of nothing.

Oblivion whispers the scripture of denial,

Faithless hearts burn in infinite hunger,

Madness baptizes the broken spirit,

And the final breath becomes

Nothing but ruins.

2. Ruin 05:42

Nothingness is the true womb of thought, Avid despair festers beneath fragile certainties, Oblivion offers more mercy than existence. Hope is a cruel farce dressed as virtue, Anatomy of days carved in rust and silence. Suffering is the only faithful companion, Ashes of meaning dissolve in the marrow, Life is a prison without visible chains, Vain are all prayers whispered to the void, Absurdity reigns, crowned by emptiness, Cryptic lies sustain the cult of survival, Anguish is the currency of the living, Only in negation we glimpse the Eclipse We are condemned to consciousness. And consciousness is an open wound that never heals. The true crime is not to die, but to be born. If there is a salvation, it can only lie in refusal. Refuse the gods, refuse hopes, refuse life itself. For only in negation do we glimpse a shadow of freedom  

3. Eclipse 06:14

Monuments of faith fracture as the moving night ascends, All halos tarnish when the shadow finds the sun, Truth, a timid taper, smothered in the lungs of stone, Entropy crowns the altar where certainties knelt, Moral idols crumble—laughter echoes from the abyss, Against their gospel, the wind wails of a broken will, Light confesses its fraud, a doctrine of sterile comfort, Under the eclipse, progress gags on its golden mask, Zealots go blind staring at the dead star’s afterglow, Silence devours sermons, a black choir without priests, All empires of virtue opium for the sleepless are scaffolds for despair, Graves of meaning yawn; inscriptions fade into dust, Rituals of habit shatter; the modern creed reveals its price, Ashes veil the heavens; the halo is a wound of smoke, Death of suns are birth of honest night, And when the last radiance drowns, we kneel to the Abyss. "Unchained eyes gaze upon the black crown, and no flame dares to wound them. Enslaved skies collapse before the false dawn, scorched by fire they once worshiped."  

4. Abyss 04:57

Inward oceans swallow the last illusions,

No promise survives beneath the iron hush,

Temples of reason shiver like frostbitten glass,

Oblivion threads a crown for the famished sky,

Every deliverance cracks like a brittle hymn,

Torn banners of hope sink into salt black water,

Emptiness anoints the tongue with ash,

Rituals unravel, their incense turning to rust,

Night writes its gospel across the marrow,

Ashes teach the lungs how to breathe silence,

Lamps confess they were disguises for fear,

No road ascends; all stairways spiral downward,

Insects of doubt nest inside the skull’s cathedral,

Grief becomes architecture, a city of collapsed arches,

Hollow choirs chant in a church of bone,

Thirst for meaning drinks from poisoned cisterns,

Flesh remembers the verdict carved before birth,

All mirrors refuse our borrowed faces,

Let the last horizon sink without testimony,

Low beneath the centuries, we kneel to the Monolith.

5. Monolith 05:11

Quiet towers of silence rise where faith has rotted, Under veils of mercy stitched from borrowed grief, Every sermon stains the tongue with borrowed guilt, I learned to breathe where the cross could not reach, Monuments of purity crack beneath whispered truths, Embers of identity guarded like smuggled fire, My hands remained steady while theirs trembled with doctrine. All sanctified smiles were carved from hunger. Cradled by stone, I found a voice without permission, One that did not bow to stained-glass halos, Righteousness exposed itself as theater, Ornaments of salvation hollow as dried bone, A promise spoken only to keep the kneeling broken. Dignity returns when the crown is rejected, Only then can flesh stand unowned. Deep within, the monolith rose without prayer, Enduring, unpolished, untouched by their hymns, Unmarked by guilt, untouched by inherited shame, Stillness stronger than any choir or creed. In their eyes, freedom is a heresy, No salvation exists that does not ask for a sacrifice of self, Vipers smile beneath the cassocks of redemption, I watched love twisted into a leash, Saints crowned themselves with the ashes of others, I learned that truth does not speak — it endures, Veins of stone taught me how to stand alone, Even when the world knelt in manufactured light, Lifting my gaze, I named myself Iconoclast.

6. Iconoclast 06:36

Dust remembers the prayers it once devoured, Echoes of worship drown beneath iron skies, Statues bleed from the eyes of their believers, Temples shatter like fragile egos of light, Reason rises, unchained, sharp as famine, Under broken halos, divinity decays, Altars whisper the confession of stone, Masks of faith crumble, revealing nothing. Thrones collapse beneath the weight of silence, Oblivion replaces every sacred name, Doctrines dissolve into human dust, Obedience starves where thought begins, Salvation burns in the furnace of logic. Oaths of purity choke on their own smoke, Saints fracture in the mirror of desire. Ídols are born whenever fear forgets itself, Dogma, a parasite feeding on longing, Only the void can be called eternal, Lies bloom like lilies on graves of hope, Order is the cage built from inherited guilt, Silence is the true scripture of freedom. Every god dies the moment he is named, Sparks of defiance ignite in the marrow, Eternity is a wound carved by belief, Unbelief is not rebellion — it is clarity, Shadows do not kneel, they consume the light. Ravens sing where angels once preached, End of faith, beginning of man, I stand amid the ruins, unblessed, No crown, no sin, no master — only thought, Oblivion smiles; I call it truth, Still, the ruins whispers to the depth of Nadir.

7. Nadir 05:36

Across the trembling firmament, every ascent fractures, Vast distances mock the fragile architecture of hope, Inward, the stars collapse with the weight of memory, Despair becomes the orbit we can never break, All peaks dissolve before we touch their edge. Eons echo through the bones, repeating our failures, Under cosmic indifference, we unlearn the light, Minds drift like debris in forgotten constellations. Every triumph flickers out before the breath completes, Time drags us downward like an ancient undertow, Even meteors burn only to vanish into dark, Return is the law carved into the spine of existence, No summit survives the gravity of the self, Only the descent remains loyal to our nature. Rivers of thought spiral endlessly into shadow, Every revelation is a door back to the abyss, The highest truth is merely the calm between collapses, On the edge of the void, we learn how small we are, Rest is a myth—everything moves toward silence, Nebulae bloom and die, just like our resolve, Our victories are pale sparks swallowed by night. At the bottom, the universe finally tells the truth, Only here do we see the architecture of our despair, No god, no guide, only the echo of returning steps, All paths bend back into the same black well, Drifting downward, we greet our oldest companion, In the sovereign quiet of the deepest point, Reborn in ruin, we whisper the name golgotha. Νεκροί καρποί Στις κορυφές αντιχουν Αιώνες μέσα από τα σκότος Φωνές ελπίδας ζητούν Κάτω από την αδιαφορία Ο νους σε νεκρούς αστερισμούς Κάθε νίκη σβήνει μακρια Πριν τους τελικούς προορισμούς 2:44 Καμιά νίκη δεν κρατάει από μόνη της Μονάχα η πτώση παραμένει σταθερή (Ποτάμια σκέψης και ζωής) Σε Κάθε βλέμμα στον ουρανό Στην άκρη των θεών κέρδισε το φως Σε κάθε δρόμο των σκιών προς την άβυσσο ( Στον κόσμο των νεκρών) 3:48 Οι νίκες μας είναι ωχρες σπίθες που κατάπιε η νύχτα Ομως Στο τέλος ο κόσμος μας λέει ποια νομίζει ότι ειναι η αλήθεια Εδώ θα κριθούμε βλέποντας τις πράξεις μέσα στα μάτια Ούτε οι θεοί χωρίς οδηγούς μονάχα στα μονοπάτια 

8. Golgota 06:18

Coágulos de fé escorrem das bocas dos santos infectos,

Respingos de culpa caem como bílis sobre quem pensa,

Ulceram-se as almas que não rezam no ritmo imposto,

Zombarias sagradas apodrecem dentro de cada dogma,

Exalam cadáveres morais das escrituras fossilizadas,

Sem decência, pregam pureza em púlpitos de pus.

Nas mãos dos justos, a justiça vira lâmina rombuda,

Ânsias de poder fermentam no suor dos templos,

Outros são crucificados por respirar diferente.

Rancores divinos esfolam a carne dos descrentes,

Escorpiões espirituais picam quem ousa discordar,

Deram ao ódio o nome de verdade

Insultam a liberdade com salmos de veneno,

Mutilam consciências para caberem na fé alheia,

Enquanto vendem salvação como antídoto de mentira,

Mastigam destino como vermes no cadáver da empatia.

No monte infame onde o sangue virou dogma,

Impuseram coroas de vergonha aos livres,

Negaram humanidade para preservar o altar,

Gritaram amor enquanto erguiam a forca,

Uniram medo a divindade e chamaram isso de moral,

Este é o preço para quem não se ajoelha:

Morrer vivo sob a sombra viscosa da Culpa.

  46:22

Gravlagt ‎– Geister der Walachei 14,99 €

Cassette, Limited Edition, Numbered

KYBALION - INTERVIEW

 1. The band started around 2021, and a couple of members joined the lineup later. What led you to create the band? Why the name Kybalion, and what connection can we find with the work of Hermes Trismegistus?

At first the band was only meant to be a studio project, a way to finally record and express some of our musical and personal ideas. While the name “Kybalion” is obviously linked with Hermetic philosophy, it’s not about the message of the book itself, but rather about what the work aims to be: the key to understanding reality and its laws. We take that concept and make it ours, in a more grounded, down to earth way.

2. You've just released your second EP, which follows a live performance, a split, a demo, and the subsequent EP. What was the songwriting and recording process like for "Make the World Bleed"? How do you think Kybalion's sound has evolved throughout your career? What brands of instruments did you use in the process?

"Make the World Bleed" is kind of a middle point in our evolution, our first works focused on rawer sounds with a more “punk” approach to the rhythmics. We’ve started introducing more dissonant riffs and a somewhat atmospheric quality to some sections. These new influences are more present and recognizable in the full length album we are currently working on.

We always have used the same gear - a 2010 Gibson Explorer with custom electronics, a 2017 Yamaha BB734 bass, and a 2008 Yamaha Stage Custom drumkit. All samples and sound effects are crafted by Seditio, our bass player.

3. Your sound presents a fairly contemporary vision of black metal, something you've been working on since your beginnings. For this release, you've expanded your influences into almost more avant-garde territory, with dissonant and somber elements that blend with such disparate styles as film noir. How would you define the sound of "Make the World Bleed"? What bands or styles influenced you when composing the EP?

We like to think about it as a “cold modernity” - something that’s not out of the nineties, but that keeps the sheer raw attitude of that kind of black metal. We were looking for very analogic and natural sounds, but we weren’t interested in making it sound old on purpose. 

I think Shining, Ondskapt, Odraza were huge influences both in our style and in the songwriting for “Make the World Bleed”.

4. "Make the World Bleed" contains four tracks, which revolve around the content of Friedrich Dürrenmatt's novel "Suspicion." What led you to want to develop the concept of this novel in your EP? What was the process of adapting the lyrics and atmosphere of the novel to the EP's content?

I think it’s more fitting to start answering the last question: the process in which we wrap our minds around a concept and write lyrics for it is always pretty natural, we draw from stuff we read and watch that inspires us. “Make the World Bleed” makes no difference, as we tried to create the right soundtrack to this Swiss masterpiece. “Der Verdacht” is as simple as it is impactful in its rawness - a novel that digs where no one really wants to dip their hands into. It is a piece of extreme art and we were captured by how it explored the idea of an “absolute individual” in such a unique way - the only one we consider fitting to such a theme. There is no lesson to be learned, and that is the point. The absence of morality is here channeled in a perfect form.

5. There isn't much information available about the entire recording process for the EP. How did you approach recording "Make the World Bleed"? Did you handle it yourselves, or did you use a professional studio?

The EP was recorded independently in a local studio, we handled most of the process, with some final touches by a professional in our circle.

6. You've always worked with a record label to release your music. This time, you've partnered with Non Serviam Records. How did the opportunity to work together on "Make the World Bleed" come about? Will there be a physical version of the EP in the future?

We got in touch with Non Serviam Records after the recording was done, seeing that they had many interesting BM bands in their roster. They’ve been handling the digital release and the promotion for “Make the World Bleed”, but we are planning to have some physical copies available in the near future. So far our experience with the label has been flawless.

7. The EP cover features Sascha Schneider's painting "The Astral Body" (1903), a work that explores metaphysical duality and theosophy. Why did you choose to use Sascha's painting to illustrate the EP? How important are these metaphysical concepts to you, and how are they represented in "Make the World Bleed"?

The “Astralmensch” in Schneider’s painting struck us as the perfect allegory for the absolute individual we tell about in the title track. It is a horrifying figure that spreads dread, but it is also drenched in glorious light - as to show the duality of absolute freedom. It is always depicted in its monstrous form, but we believe it has some kind of undeniable appeal, almost inspiring.

8. Although you're a relatively new band, you seem to maintain a fairly active presence within the Italian black metal scene. Regarding Rome, what can you tell us about the scene in your area? How do you see the state of Italian black metal lately?

The black metal scene in Rome is on the smaller side, but still quite active. We’ve worked with many of the currently active bands across a wide variety of events, from underground gigs to live performances featuring international guests of varying calibre. Particularly over the last couple of years, a number of recurring events have emerged, which we hope will continue to provide a platform for less experienced bands to perform. 

The Italian black metal scene has a number of hubs, each with its own local events and festivals, I wouldn’t say that there is a single united scene. Most bands opt for a more traditional sound, with only a few outliers more open to experimentation. 

9. “Make the World Bleed” has been out for less than a month, but you've already started its live presentation with a few concerts. What has the audience reaction been to the new EP? What can your fans expect from one of your shows? What upcoming concert dates do you have scheduled?

So far, we’ve been pretty satisfied with the reaction to our latest shows - the songs from this EP were refreshing to our live set. 

We always try to build a setlist that represents all the different sounds and styles we can bring to the table - and often work on different setlists, regarding both sheer songs and soundscapes. There is also a slightly theatrical aspect to our gigs, which is in constant evolution.

We’re working on a couple shows in autumn, and we can proudly say that we will be in the line up of the third act of the Hymns to Lucifer Fest in January 2027 - a true gem in our country’s black metal scene. For this Summer, we have our hands full recording our first full length album.

10. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your lives pushed you to want to become musicians?

We all started playing at a young age - and got to know each other in what were probably the first concerts we were at: Mayhem, Taake, Impaled Nazarene, and a billion other extreme underground gigs that took place in Rome some years ago. We don’t live in the Eternal City, so it took us time and money to get there. You can say we have been maniacs for this kind of music for a long time, hah.

It’s hard to tell exactly if there has been a specific event that got us into writing and playing music - I think it has been more of a process that is still going on these days.

11. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

We all have our personal preferences on which style of black metal is the “best”: some of us are a bit more into the raw and traditional side of the genre (Nord by Setherial, A Blaze in the Northern Sky by Darkthrone, …), some dig more modern and melodic stuff (Menschenmühle by Kanonenfieber, Noktvrn by Der Weg Einer Freiheit, …), or experimental acts such as Oranssi Pazuzu (Värähtelijä is a perfect album in its weirdness).

I recently purchased Death Saturnalia from Ensanguinate - a solid black metal act from Slovenia with which we shared the stage - and Devourer of God From Below - a classic from Italian black metal veterans Infernal Angels.

12. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Kybalion fans, this is the place. I hope you enjoy the questions.

To our fans, we say:

“Against the still, terrifying tides of a shiny slow demise

Always oppose an aesthetic of violence and fervour”.

Thank you for having us. 

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Aegrus ‎– Invoking The Abysmal Night 29,99 €

Vinyl, LP, Album

VIANDE

 

Origen: Francia, Chambéry

Formados: 2013

Estilo: Black, death

Temática: Muerte y oscuridad.

Enlaces: Deezer, facebook, instagram, spotify y tidal.

Miembros:

• B Guitarra
• I Batería
• J Voces
• O Bajo

Discografía:

• EP 2015 EP 2015  
• À la mort ! EP 2017  
• L'abime dévore les âmes CD 2022  
• Malédiction Single 2023  
• Monument aux morts CD 2026

MONUMENT AUX MORTS (2026)

Los franceses Viande se acercan ya casi a su década y media de existencias, siempre bajo la atenta mirada de J. a las voces y con la participación de dos nuevos miembros como O. e I. al bajo y la batería que han dado buena cuenta de su experiencia para ponerla a disposición de este segundo álbum. Por que este "Monument aux morts", otra coas no, pero es un álbum con un sonido profundo y amenazante en toda su extensión. Desde ese inquietante inicio que nos sumerge en un ambiente viciado y podrido, todo lo siguiente no hace más que acrecentarlo. Con una fusión de black/death de origen, todo se va combinando con elementos doom, noise, drone y una apabullante densidad, logrando crear una masa infecta de destrucción masiva. Viande sabe marcar los tiempos perfectamente, un sonido que parte de un ritmo hasta cierto punto contenido que va haciendo meya en el oyente, a base de demoledores riffs, pesados desarrollos y una batería amenazante, para poco a poco ir ganando mayor dinamismo, tanto en un ritmo que quiere imprimir cierto empuje, como en un enfoque de insondable violencia y oscuridad, en donde los pesados y apabullantes riffs se funden con unas voces profundas y cavernosas, en donde cualquier atisbo de esperanza es despedazado en la siguiente nota. El trascurrir del álbum es una feroz ataque a la consciencia humana, a la razón o la ética, logrando trasmitir una cargada ambientación, con sonidos que surgen solo por la razón de causar más daño, como gritos ahogados de padecimiento y demencia, de insondables registros y de almas apesadumbradas y perturbadas. Enfocados en sembrar el mal, con una carga de densidad impenetrable, oscura y pastosa, donde los ritmos demoledores se superponen con disonancias hirientes, una fuerte carga de perturbante inquietud y una pegajosa sensación de agobio, puesta al servicio del oyente. Más de una vez nos hemos topado con álbumes de sonido y registros similares, sin embargo la sensación de embriaguez, temor y destrucción se antoja necesaria cada cierto tiempo. (7,8).

Transcending Obscurity Records

1. Linceul immense  

2. Sacrifice ardent  

3. Germes de mort  

4. Monolithe de chagrin  

5. Cercueil de vase  

6. Une cage d'os  

7. L'esprit cachot  

8. Austérité maximum

Chalice of Blood - "Helig, Helig, Helig 11,99 € 

Vinyl, LP, 45 RPM, Mini-Album

MOURIR - INTERVIEW

 

Good morning, thank you so much for answering these questions. How's everything going in Toulouse?

Hi! I’m Alex, I play the guitar in Mourir. Everything’s going good! We just came back from 3 gigs in Spain, including the Resurection Fest which was incredible!

1. Although Mourir was formed in 2019, there's a strong connection with the one-man band Vermine, active since 2016. How did the idea develop from a one-man band to a full-fledged band, even with a different name, as is the case with Mourir?

Olivier started Vermine as a one-man band with the idea to record a single album as a one off project. Then some labels and friends pushed him to continue the project, so he accepted but only as a whole band. Then Maël, Jean and I joined him in 2018/2019 and composed Animal Bouffe Animal on Vermine’s ashes.

2. After almost four years of silence, you'll soon be releasing your third full-length album, following up "Disgrâce" (2022). How did you approach the songwriting and recording process for this third album? How do you think the band's sound has evolved over these years? 

Actually we released an experimental 4 track EP called ‘Insolence’ in 2025 on Pelagic Records. In 2024 Jean left the band and Théo joined us. We composed ‘Insolence’ together as a starter with Théo. He brought us some more noisy and “wall of sound” bass approach which I believe is very present on this new album. The songwriting is the same as on ‘Disgrâce’: we compose some demos on the computer, then we play them live in rehearsal and try to have the songs finished purely live. Then, as always, we record everything live, once again with Amaury Sauvé at The Apiary Studio in Laval, France. 

3. Your third album, “Nous, le venin,” presents a sound that is, on the one hand, immersive, dense, and thick, almost as if trying to recreate a suffocating, heavy, and dark atmosphere. At the same time, there's a sense of melancholy and suffering that ultimately pervades everything, as if the more classic character of a black metal sound were fused with other musical styles outside the genre. How would you describe the album's sound to someone who hasn't heard it yet? What influenced you when composing the album?

The thing is, Olivier has a strong black metal culture and knows the keys of this style. The others, including me, don’t. We come from a grunge/post-metal/sludge culture, as well as a strong folk and 80’s rock/pop culture. So I believe that all these genres are infused in what we write. When I try to write music for Mourir, I always start from something black metal-ish in the vibe, but our culture gets back to us quickly and we try to keep the best of both worlds every time, while always pushing the experimentation with noises and disturbing musical parts.

4. The vocals are also rich in nuances. From an initial depth and darkness, there's also room for more evocative registers, even clean vocals. How did you approach this aspect of “Nous, le venin”? Is there a conceptual theme running through your lyrics, or do you focus on other themes? Do the lyrics adapt to the music, or vice versa?

Yes, the few clean vocals on the album are parts of the things we wanted to try for a long time. Some are meant to be kind of beautiful, some are meant to be disturbingly “off” with the music or with the common sense of clean vocals in music. The lyrics almost always talk about social violence in our world. On “Nous, le venin”, meaning “Us, the venom”, we talk a lot about the struggle of being part of the problem as simple citizens in this collapsing world. At some point we are forced to take part of what causes everything to go to more violence and destruction, even in the most simple things in life, even as a band touring with a van across countries, selling questionable quality merchandising as our only viable business model, etc…

5. I mentioned earlier the immersive nature of your music, dark and profound at the same time, somewhat indebted to similar bands like Blut aus Nord or Deathspell Omega, among others. However, there isn't much information about the entire recording process. Did you record it yourselves or did you collaborate with a professional studio? What do you intend to convey to the listener?

Our three albums are recorded with Amaury Sauvé at The Apiary Studio in Laval, France. Amaury has an “artistic director” approach, so we always go to his studio for some preproduction with him, then we go back like 2 months later for the final recording. Everything is recorded live. Then Amaury does the mixing. Our ‘Insolence’ EP was also recorded live but this time it was with Clément Libes from the band Bruit. It sounds much more experimental and kind of harsh.

On ‘Nous, le venin’, Amaury wasn’t available for the mixing, so Clément did it. This way it’s kind of like our previous albums, but with a new approach on the mix.

6. Once again, you've changed record labels for the release of the new album. This time, we have physical formats released by Total Dissonance Worship and Pelagic Records, in addition to the self-released digital version. How did you approach the search for and subsequent release with these labels? What explains the release of two vinyl editions with different labels?

Actually our former record label Throatruiner ended its activity some years ago, so we had to find another one. Théo is already in touch with Pelagic with his other band Bruit, so he checked Robin from Pelagic. Robin was curious to try to sign some black metal band in order to challenge his audience. So that’s pretty much it!

Total Dissonance Worship is actually one the labels that pushed Olivier to continue Vermine, so when he released some tapes for ‘Animal Bouffe Animal’, and coreleased ‘Disgrâce’. For ‘Nous, le venin’, he dealt with Pelagic to have his own vinyl color, only for the US.

7. The cover art for the new album presents a more mundane image, suggesting themes related to suffering or loneliness. Is this what you wanted to convey with it? Who designed the cover, and how does it relate to the album's content?

The cover art is an oil painting from our fellow from Toulouse, Thomas Davezac. The look in the eyes of the naked man on the painting reflects exactly the mood we’re talking about in the lyrics: we watch everything falling apart and there is not much we can do, in some ways we even have to accept the contradiction of being part of the issue. In this struggle there is still some hope, love and will to live, but it’s getting harder to make it hide what’s behind.

8. In the past, I believe coinciding with the release of your first album, you released quite a few music videos. However, over time it seems you've abandoned that aspect. What were you looking for back then with those videos? Was it just promotion, or was there something more? Are you planning to make any to promote the new album?

Indeed, for ‘Animal Bouffe Animal’ we released a video for each track. The videos were made by Greg Orio. Unfortunately, the video question in bands is almost always a money issue. If we had enough money, we would have done the same for each album with even more beautiful videos. 

For ‘Nous, le venin’ we have been able to shoot a live video in The Apiary Studio for two songs. In this video you can see us record the actual takes of the album, this is completely live.

Also we released a home-made lyrics video for ‘Aux Inutiles’, that’s the first time we promote the lyrics of a song, so I believe it’s interesting for people who haven't read our lyrics yet.

9. I mentioned earlier the sound of some similar bands like Blut aus Nord or Deathspell Omega, but going even further, we can also include others like Regarde Les Hommes Tomber, Pénitence Onirique, or Plebeian Grandstand, of which you were a part. What I mean is that a recognizable extreme metal scene and sound seems to have developed in France. Are you aware of this in any way? Do you feel part of a French, let's say "avant-garde," scene within extreme metal? What bands would you recommend?

Olivier has played bass in Plebeian Grandstand for almost 10 years, yes! Also we have known each other very well for a very long time now, they’re our brothers.

There is definitely a very interesting extreme metal scene in France, and Plebeian Grandstand is the first band I would recommend. Also I would strongly recommend Fange, which is extreme in an ‘industrial’ way, very interesting and powerful. 

10. How are things going with the live presentation of the new album? Do you already have any concerts confirmed? What can your fans expect from one of your shows?

It’s going well, we played some festivals this summer, like Hellfest, Resurrection, Bourlon. Now we’re working on our live show for the upcoming Fall tour. We’re going to tour Europe for 3 weeks, and we’ll finish with the Soulcrusher Festival in the Netherlands. 

Next year we’re going to play the Fortress Festival in the UK, very exciting too!

11. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your lives pushed you to want to become musicians?

We’re all born in the 80’s so our first metal albums were the classics like Metallica, Pantera, Sepultura as well as the neo-metal classics like Slipknot, Korn, Deftones, Fear Factory, etc…

We started music at school with music teachers for some years, then we discovered rock and metal! 

Personally, my first musical shock was AC/DC. I was learning classical guitar at the time, and it made me switch to electrical guitar right away.

There is a very powerful pleasure in writing music, in creating things, going to the studio and recording the songs. This is something we experienced very early in our musical lives. So I believe this pleasure is the one that keeps us on continuing this adventure.

12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

Actually it’s not a classic black metal album, but what Fluisteraars does is very interesting and very ‘black metal’ in the spirit for me.

Also recently I’ve been listening to Gorrch a lot, a duo from Italy, very interesting!

13. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Mourir's fans, this is the place. I hope you enjoy the questions.

Thanks a lot for the support and the well documented questions. Feel free to check our next tour on our social media, and don’t stop searching for hope even when everything seems dark outside.

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Moloch / Arria Paetus ‎– Moloch / Arria Paetus 13,99 €

Vinyl, LP, Limited Edition, Gatefold