HANDFUL OF HATE - INTERVIEW

 1. Handful of Hate came into being around 1993. A lot has happened in this almost quarter of a century. What memories do you have of those early days of Handful of Hate? Why did you decide to create the band? Why did you choose the name Handful of Hate, and what does it refer to?

Handful of Hate was formed in 1993, and our first bassist Ugo (rip 1994) had a hand in choosing the name. He wanted to express with the term "Handful" the way we played our music, with our hands full, like a handful of the most extreme emotion possible: hate.

I have many memories of those years. At night, we would go to cemeteries and, in our first rehearsal room in an attic, we would listen to vinyl records and CDs of the most important extreme bands of that period. Black Metal wasn't yet the genre we know today, and few bands played Black Metal, as opposed to Death Metal, which was generally American.

2. “Soulless Abominations” is your eighth album, released almost seven years after its predecessor. In between, Iblis joined on bass, following the earlier addition of Aeternus on drums. What have these last few years been like within Handful of Hate leading up to the decision to release a new album? How did you approach the songwriting and recording process? What brands of instruments did you use? How do you think “Soulless Abominations” fits into Handful of Hate's legacy and trajectory?

Well our previous album “Adversus” has been released in 2019, covid pandemia occurred and we got forced to stop. I decided to compose a new album in 2022, I started working slowly songwriting each song by myself and taking care of each detail. I spent a lof of time and many efforts giving shape to “Soulless Abominations”, from the music part to the lyrics, from the artwork to the cover design. I think this album represents a modern return to the origins of Black Metal, raw, direct, uncompromising (like every Handful Of Hate’s act) a perfect synthesis between our past and our future.

3. The new album opens with a track like “Libera Me” and makes a real statement. Hey! We're Handful of Hate, and we're back. It's impossible not to get lost in that incendiary riff that runs through the song from the very beginning. But the truth is, the album maintains that aggressive and incendiary black metal sound to the very end. Where did you find the inspiration to unleash that intensity and deliver an album with such a direct and powerful black metal sound? How would you describe the sound of the new album?

The opening riff of "Libera Me" is one of my signature compositions, a sort of topic. You can find similar ones on previous albums; they're heavily inspired by the classical music wich I studied at the Conservatory. It's definitely one of the best pieces on the album, inspired by the melody and the origins of the genre. As I said before, with "Soulless Abominations" I wanted to avoid a clean and balanced production turning back to the past. Already during the composition I realized that this album sounded much "evil and aggressive" than the previous ones, so I decided to use a dirtier sound for a compact and violent result that enhances the sum of all the instruments and not the individual parts.

4. You've always opted for lyrics that stray from the typical tropes of the genre, focusing on personal experiences and other concerns. Where did you get the inspiration for the lyrics on the new album? What specific themes do they address, and what makes them stand out from certain conventions? Do the lyrics adapt to the music, or vice versa?

My lyrics adapt to the music, the guitar part comes first and then the lyrics. I consider myself a guitarist first and foremost. I'm a scholar and a researcher, and always I have been. It's easy for me to evoke my readings and reflections in the texts I compose. I avoid writing banalities and childish things like many bands do, due to lack of culture. For years, I've been exploring topics of eschatology, theology, and the symbolism of martyrs. I add a touch of the Middle Ages, the subject of my degree, and many insights drawn from the practice of vice and the most extreme carnality. Abominations…

5. The new album was released by Dukstone. Why did you decide to change record labels for the new album, and why did you choose Dukstone?

Cause Dusktone fits perfectly our music direction.

6. There isn't much information about where the album was recorded and mixed, but we have to congratulate you on capturing the aggression and authentic sound of underground black metal. Can you tell us something about how it was made and who was in charge of the process?

All instruments have been recorded at Outersound Studios in Rome (Italy) by Giuseppe Orlando. The album has been mixed and mastered by Riccardo Studer, the same guy who worked in our previous album “Adversus”.

7. Who designed the album cover? What does it represent, and how does it relate to the album's content?

I designed the cover with ink on paper. The inspiration came to me about five years ago when I studied an engraving by Albrecht Dürer from 1503, "Coat of Arms with a Skull." it is an allegory of death, I focused on the heraldic part, the shield, the image that contains it and the crest. I like to point out how the inside of the album is enriched by images taken from the paintings of Paolo Pelosini, a contemporary artist who has depicted stunning naturalistic views.

8. Handful of Hate could be considered a pioneer of black metal in Italy, or at least a contributor to its development. What do you remember from those early years of the 1990s? Did your inspiration come from France, Greece, the Nordic countries, or were you largely self-taught? What are the best and worst moments you remember in the band's history? How do you think the extreme metal scene and industry have evolved in the years you've been active?

When I started to play Black Metal it was 1991, first project Dust of Darkness aborted. I restart in 1993 with Handful Of Hate. The main influences in that period were Death Metal by Area from US and Black Metal from UK (Venom) and Scandinavia (Bathory, Dark Throne, first Immortal and first Marduk). In a second time the Greek wave arrived surprising me with great bands suck as Rotthing Christ and Necromantia. I think best moments have been on stage together with other bands pioneers of Black Metal (Necromass and Opera IX). Worst one, indeed, the death of our first bass player in 1994.

I dont know if we can talk of a complete evolution concerning Black Metal, there are innovative bands indeed and technology helped a lot during the recording sessions and the final sound result but, at the same time, I’m still listening oldway played and uncompromising genuine  Black Metal as it must be from ‘90s to nowdays.

9. Have you already started touring the new album? What concerts or festivals do you have planned for this year? How would you describe the current Italian black metal scene?

Yes in january we played 4 gigs in Italy (from the centre to the north), before summer we will take part to a couple of Festivals: “Northern Darkness” feastival april 11st and “Dolometal” fastival may the 29th… We already have some contact for the end of summer… we will see.

10. What were your beginnings in music like? What were the first concerts you attended? What were the first albums you bought? What event in your lives pushed you to become musicians?

I started top lay guitar at 12. I continued studying into Conservatory. I started listening to metal when I was in high school, I still remeber older guys with Iron Maiden patches on their jackets. Well I still remember we use to exhange tapes and cd’s, the first one I bought was “The number of the beast” from Iron Maiden and at the same time “Back in Black” from AC DC. 

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

I got stunned and very strong influenced by these masterpieces from Marduk: “Thouse of the unlight” and “Heaven shall burn…” at the same time I can’t forget the strong impact that “Abomination of desolation” from morbid Angel gave to me.

Last cd I bought…. Let me think… well a couple: Agony & ecstasy of  Watain and the namesake of Jungle Rot.

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 Handful of Hate fans, this is the place. I hope you enjoy the questions.

My pleasure and thank you for support, stay tuned!

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Trollfastheart ‎– What?! An Old Pot For All?! 5,99 €

CD, Album, Stereo

UDREKA - INTERVIEW

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

Hi, thanks for having me. There's nothing interesting going in Kielce by now haha.

1. Udreka was formed around 2022. What led you to create Udreka? Why did you choose this name, and what does it refer to?

I have started this project after a long time of playing music i wasn't proud of. I wanted to write some music on my own, without anyone telling me what to do. At the time I was also fascinated by Polish BM scene, bands such as Odraza for example. So I've decided to give it a shot and write some music in this style. To be fair I have never before played or wrote Black metal music, although I was listening to it since my teenage years. So it was basically my first attempt of writing Black metal music. When it comes to band name, I thought this name would fit perfectly since my lyrics are mostly about my own struggles with depression and all this shit. 

2. In 2023, you released your first EP, "Zgnij," and recently your first album, "Nieistnienie." In between, there were some changes to the band's lineup. What was the songwriting and recording process like for your album? How do you think your sound has evolved between the two releases? What brands of instruments did you use during the process?

 I wrote all the instruments parts for Zgnij all by myself. Only the drums was recorded by Desolator which is my session drummer for this project, and additional vocals by Szymon. When it comes to Nieistnienie it was similar story. I wrote all the music, and recorded everything except drums. I've decided to incorporate more elements such as Guitar solos by Mateusz Chłopek, and some more vocals by Szymon. And most important I've decided to Play live shows which forced me to gather musicians who can do this with me. The sound for example, wasn't fully forged with the first EP. I didn't even had my own Guitar for a recording session so i had to borrow it from my friend haha. I only had some shitty old squier strat which i used to write music. Since that time i bought a good guitar, and starting to think more about the sound of the album. My inspiration for it was Fiktionlust by Totenmesse. Also I wasn't happy about how i did the vocals on Zgnij. My growls was definitely too low and Szymon fry screams was too high. I chose different approach on Nieistnienie, doing my vocals a little bit higher, and Szymon did his a little lower. I think now it sounds much better. When it comes to instruments I'm using LTD EC 1000 guitar, and Fender Jazz Bass MIJ . 

3. “Nieistnienie” is an album that perfectly fits into that more nonconformist side of Polish black metal, rich in nuances, preserving the essence of black metal, but also incorporating elements that, in this case, we can describe as having a punk influence. How would you describe the album's sound to someone who hasn't heard it yet? What bands and styles inspired the album's composition?

I would say that Nieistnienie  is Black/Death Hardcore. My main influences when it comes to Udręka is Totenmesse, Odraza, Marduk, Converge. There is really a lot of bands and styles I like to listen and blend together.

4. Your lyrics deviate somewhat from the more conventional aspects of the genre, addressing themes more focused on death or madness. Where does this lyrical theme come from? Why do you choose Polish, rather than English for example, for the lyrics? Do the lyrics adapt to the music, or vice versa?

Like i said before, all of my lyrics is pretty much introspective. I write about all the shit that's bothering me and I'm going through at the moment of writing lyrics. Choosing Polish language is more common nowadays, when you take a look at the new Polish bands. Everyone wrote in English before, so why don't we try to do something different finally and write in our own language? First i write all the music, and leave the space for lyrics I'm writing when whole album is ready musicall

5. Godz ov War Productions is the record label releasing the new album. How did the opportunity to work with them come about? Beyond the physical CD release, are there any other plans? What do you think it will mean for you to be part of a renowned underground label like Godz ov War Productions?

 I wrote to Greg from Godz ov War back in 2023 when I was releasing my debut EP Zgnij. He wasn't sure about it at first but told me to send him the new material if I will write one. So i did last summer, and he liked It, and agreed to publish it under his label. I would love to have Nieistnienie on vinyl since I'm myself a vinyl collector. But maybe that's a little too soon for this i guess haha. I'm proud to be a part of Godz ov War label, and i think it really helped me to get my music to a lot of people.

6. The album was mixed and mastered at Impressive Art Studio. Why did you choose to work with them? What do you think they contributed to the final sound of the album?

 I chose Impressive Art Studio simply because they mixed and mastered two of my favourite modern black metal albums which is Odraza Rzeczom,  and Totenmesse Fiktionlust. Like i said, Fiktionlust was my main sonic inspiration and it was mixed similar way and i think it came out great. Their mixing added a really good final touch to the sound. 

7. The album cover was designed by Gabriela Zapała, who modified a column from the Temple of Artemis. What led you to work with Gabriela? Why did you choose this sculpture, and how does it fit with the album's content?

Gabriela is my fiance and she's always helping me to materialize my visual ideas, since the EP.  I decided to use the character of Thanatos on album cover ,because of his connection to the philosophy of antinatalism. He symbolizes the nietzschean idea of deathdrive. Inside of a Thanatos sculpture on a photograph there is an infamous flat from my hometown which is abandoned now. I thought It will fit my street aesthetic I'm operating since first EP.

8. Desolator belongs to bands like Doombringer, Martwa Aura, and Venefices, bands with a somewhat different style compared to Udreka, bands that incorporate more death metal or avant-garde elements, all faithful to that Polish black metal scene where there is a wide variety of bands with distinct styles that, to a certain extent, become personal. What is your vision of the current Polish black metal scene? How do you think that tradition of more classic black metal has influenced and contributed to this rich current Polish scene?

Currently i think a lot of modern black metal band in Poland play this kinda sad and slow paced black metal in the style of Mgła. I really miss this fast and angry black metal such as Infernal War, Bestial Raids. I would love to see more Polish band play fast and angry.  I think that classic black metal from 1st and 2nd wave still influence musicians to this day. Mayhem, Burzum, Venom, Carpathian Forest, was first BM bands i have discovered and was listening to when i was 13-14 years old. So i think that although Udręka is far from classic black metal, some part of this spirit is still there. I can't say the same thing about lyrics and themes though. I think that a lot of new bands will agree with me that occult and satanic themes became a little bit worn out, if not overrated. I love Black metal musically, but have no interest in such themes. That's why you're not gonna find it in my lyrics haha.

9. Regarding concerts, it seems that you are a band that doesn't perform live. Is there any possibility of bringing Udreka's music to the stage at some point? What circumstances would need to be met for this to happen?

I haven't planned playing live shows when i've started this project. But as i stated earlier I've changed my mind and gathered solid live line up, and i think we're gonna hit the stage pretty soon.

10. 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 become musicians?

When I've heard Metallica when i was about 12 years old was groundbreaking event. That was the moment I knew that this is my music. I started thinking about being a musician when me and my friend from junior high school formed a first band in 2009. Basically it was just making noise at the back of my house using some trash instead of instruments haha. It was the moment I thought that this is what i wanna do in my life. 

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

If someone who never heard it would ask me what black metal is I would probably recommend Burzum Filosofem. I think this is the essence of a genre. And the latest albums I've bought turned out to be a classics such as: Cryptopsy Blasphemy Made Flesh and None So Vile, Deathspell Omega Paracletus, and Strapping Young Lad City.

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 Udreka fans, this is the place. I hope you enjoy the questions.

Thanks for having me ;)

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Autophagocytosis – Forest 6,99 €

BMSP 19 - Edición en cassette gris limitada a 16 copias a un sola cara del segundo álbum de la one man band moldava de black depresivo Autophagocytosis, incluye código de descarga

1. Enter the Night 02:40

2. Life Can Be Beautiful, But Not for Everyone 03:15

3. Lonely 01:10

4. There's So Much Sadness Hidden in the Yards of the Panels 02:06

W.E.B.

 

Origen: Grecia, Atenas

Formados: 2002

Estilo: Black sinfónico

Temática: Armagedón, melancolía y oscuridad.

Enlaces: Bandcamp, facebook, instagram, reverbnation, spotify, W.E.B. y youtube.

Miembros:

• Alexandros Despotidis Guitarra
• Hel Pyre Bajo y voces
• Sakis Prekas Guitarra y voces
• Vasilis Nanos Batería

Discografía:

• Demo 2002 Demo 2002  
• Promo 2003 Demo 2003  
• Futility Promo Demo 2004  
• Don't Wake Futility CD 2005  
• Jesus Heist CD 2008
• My Storm upon You EP 2012  
• For Bidens CD 2014  
• Tartarus Single 2017  
• Tartarus CD 2017  
• Colosseum CD 2021  
• Into Hell Fire We Burn EP 2023  
• Darkness Alive Directo 2026

DARKNESS ALIVE (2026)

Que mejor momento que la proximidad del cuarto de siglo en activo, para poder orden en la extensa carera de una banda en forma de un álbum en directo. Después de tres demos iniciales, estas tuvieron continuidad con cinco álbumes, todo ello ayudó a forjar un sonido, que como sucede en algunos casos, y este es uno de ellos, encuentran todas sus vertientes, explorando todos los terrenos en donde se mueven con soltura en forma de un álbum en directo, capaz de transmitir toda la energía que la banda desprende encima de un escenario. Sakis es el único miembro original hoy presente en la formación, la banda a lo largo de los años ha tenido que ir mutando de músicos, siendo Vasilis y Alexandros los últimos recién llegados, lo cual supongo que ha servido para ir forjando ese sonido actual de la bandas, donde un aroma de black sinfónico, mal que les pesa a algunos, está a la orden del día. No deja de ser curioso que muchas bandas de trayectoria larga, acaben por claudicar y acomodar su sonido a algo más.., vamos a llamarlo "accesible"; algo que creo que en el caso de W.E.B. sucede también, pero en sentido contrario, a media que la banda va quemando etapas su sonido se va convirtiendo en algo mucho más violento, oscuro y denso. Así, podemos comprobarlos en este "Darkness Alive", nueve temas que deprenden un carácter directo y oscuro, ofreciendo todo el poder hipnótico de su música encima de un escenario, existiendo una comunión entre público y banda que habla bien a las claras de la entrega de ambos. En un comienzo su metal se puede encuadrar en cualquier corriente actual dentro del género, sin embargo hay un tono sinfóncio que rodea a todo el conjunto que permite que álbum recuerde a la época dorada del género, sin ningún tipo de excesos, pero sabiendo equilibrar influencias y estilos. Sin lugar a dudas una buena toma de contacto para quién todavía no le haya puesto un ojo a la banda, todo entrega y pundonor encima de un escenario, para otra gran realidad de la escena griega. (8,4).

Metal Blade Records

1. Crimson Dawn 01:47  

2. Pentalpha 04:58  

3. Dark Web 03:49  

4. Into Hell Fire We Burn 04:24  

5. Murder of Crows 04:26  

6. Necrology 05:02  

7. Morphine for Saints 06:24  

8. Dragona 06:10  

9. Eligos 04:37  

  41:37

Ungfell ‎– De Ghörnt 29,99 €

Vinyl, LP, Album, Limited Edition, Permafrost

BLODØRN

 

Origen: Noruega, Sauda.

Formados:?

Estilo: Black, viking.

Temática: ?

Enlaces: Bandcamp, facebook, spotify y tidal.

Miembros:

• Arild Hodne Guitarra y voces
• Jan Thore Guitarra
• Svein Terje Solvang Batería y voces

Discografía:

• Blodørn EP 2017  
• Fandens inntog CD 2020  
• Dødsjakt CD 2024  
• Vandrar Av Rang Single 2026  
• Det Finnes Ingen Trone CD 2026

DET FINNERS INGEN TRONE (2026)

Tercera entrega para los noruegos Blodørn, un  álbum que se sustenta en la fiel tradición del black metal, pero que se trabaja a partir de secciones más contemporáneas. Con un ritmo que sabe interpretar diferentes registros, desde los más directos y agresivos, en contraposición con aquellos más mesurados en donde cierta épica logra cobrar mayor protagonismo. El álbum se va desgranando con paso seguro, seguro, entre otras cosas, porque Blodørn ha sabido recoger lo vertiente más tradicional del black, no sólo en lo musical, sino también tanto en las texturas como en lograr trasmitir la podredumbre y ese regusto a sonido viking, crudo, melódico y con ciertas dosis de paganismo. Sin embargo la bandas, al mismo tiempo que logra mantenerse del todo fiel a estos preceptos, también sabe trabajar diferentes registros dentro de su música, registros de corte más actual, que hablan de cierta precisión en las formas, encauzando el resultado final del álbum hacia terrenos que saben mantenerse fiel a ese black mas tradicional, pero con suficiente personalidad para no renunciar a la inclusión de elementos más actuales, que saben trabajar tanto un ambientación más violenta o épica, como sacar partido a la dualidad entre crudeza y cierto tono más melódico. Súbitamente la banda también sabe incorporar algunos cambios de ritmo al conjunto, los cuales, tanto sirven para añadir algo de épica al conjunto como cierta emotividad cargada tanto de dolor como de sufrimiento. Aspectos ambos que también se pueden entrever en las voces, en general directas y voraces, aunque logrando también en las secciones más limpias, cuando hacen acto de presencia, añadir mayor rotundidad. Un álbum ciertamente completo, enfocado en terrenos clásicos pero encajar elementos de cosecha propia. (8,1).

Solistitium Records

1. Det Finnes Ingen Trone 06:29  

2. Knokkelklang 06:02  

3. Blodslit For Lit 06:13  

4. Kast Din Krone 05:34  

5. Svarte Djuv, Kast Dem Ned 04:46  

6. Grav Din Egen Grav 03:51  

7. Vandrar Av Rang 06:43  

  39:38  

Ultra Silvam ‎– The Sanctity Of Death 20,99 €

Vinyl, LP, Album

MUERTO

 

Origen: México, San Juan del Río.

Formados: ?

Estilo: Black

Temátcia:?

Enlaces: Facebook, instagram y spotify

Miembros:

• Hugo Ruleto Balbino Bajo
• Ivan Herrera M Batería
• Juan Mondra Guitarra
• Penny Smitten Voces

Discografía:

• The Settling Fire upon Us CD 2018  
• Dust Fire Dust CD 2023  
• Eclipsed Realms CD 2026

ECLIPSED REALMS (2026)

El tercer álbum de los mexicanos Muerto es una abrasadora y demoledora entrega de profundo y lodoso black metal, capaz de sepultar al oyente en un ambiente desolador que solo invita a todavía más destrucción. Desde el comienzo el sonido es profundo y denso, con un ritmo implacable y una lodosa pesadez que lo inunda todo. Podemos decir que una acertada combinación de un implacable black metal y un tono que se nutre de elementos doom llevan todo el protagonismo del sonido. Cuando las voces de Penny hacen acto de aparición la carga de profundidad tal vez aumenta un tanto, unas voces que sin llegar  ser del todo cavernosas, si que saben contribuir con una tonalidad de cierto sufrimiento y angustia, convirtiendo el de ya de por si sombrío tono musical en un plato que puede llevar a cierta indigestión. Manteniendo un ritmo lacerante, no por lo contundente del mismo, sino por el tono hasta cierto punto continuista, que no sirve para otra cosa que para profundizar más en su propuesta y remarcar la oscuridad de la misma. Sin embargo cuando el ritmo se resiente, aparecen elementos de una melodía inquietante y una engañosa sensación de accesibilidad se va abriendo paso desde la profundidades, pero nada más alejado de la realidad, estas secciones sólo sirven para remarcar, tanto lo enrevesado del conjunto, como ese tono que invita a más sufrimiento, diametralmente opuesto a cualquier atisbo de apertura de registros. Un álbum que mantiene el tono desde el inicio, soberbio en facetas de profundidad y oscuridad, que con ese tono apesadumbrado lo cubre todo de una patina languideciente (7,8).

Transcending Obscurity Records

1. Serpentine Echoes 04:46  

2. Veil of Desolation 06:48  

3. Burning Shadows 04:55  

4. Wilderness 04:36  

5. Decay 06:31  

6. Radiance 08:23  

  35:59  

Mortality - My Last Day on Earth 6,99 €

Cassette, Single Sided, EP

DECIPHER

 THELEMA (2026)

Apenas tres años después dela edición de su álbum debut, lo griegos Decipher le dan continuación con un segundo trabajo que mantiene la linea de su predecesor, al mismo tiempo que sabe sacar partido a nuevos recursos que han sabido incorporar a su propuesta. Manteniendo desde el comienzo ese ambiguo tono, que permite a la banda ofrecer una propuesta que sabe combinar elementos del black nórdico con otros que tiene más que ver con la fiel tradición del black griego, se las arreglan para desde lo que es de inicio una vertiente suficientemente clásica, toda llena de oscuridad, intensidad y por supuesto agresividad de la que son capaces. Desde un comienzo que parece querer marcar un tono bastante directo, con la inclusión de un ritmo bastante alto y unos riffs que apenas ofrecen ningún tipo de fisuras y en donde tanto la oscuridad como la profundidad de sus sonido es del todo innegociable. Pero es cierto que poco a poco el álbum sabe incorporar y sacar partido a otros registros, sobre todo creo que a esa ambigüedad entre contundencia y otros elementos que cobran cierto protagonismo, de procedencia más melódica, solo contribuyen a una mayor profundidad de sonido. Al mismo tiempo, no podemos olvidarnos, el buen hacer en al intensidad y los ritmos, cuando el sonido parece querer sepultarnos en su profundidades, también se comienza a trabajar cambios de registro y alteraciones en la intensidad, lo que permite que se vaya construyendo poco a poco cierta atmosfera de proporciones apocalípticas, que enriquecen el sonido del álbum aportado un tono hasta cierto punto más épico, al mismo tiempo que la propuesta se muestra mucho más dinámica y variada en estructuras. Todo ello contribuye a que álbum logre sonar compacto, sin que la oscuridad y la profundidad que se nos presenta de inicio se disipe en ningún momento, pero si que es cierto que los diferentes aspecto en cuanto a ambientación y tonalidades, redunda en una experiencia mucho más inmersiva. Explorando terrenos ya conocidos dentro de los sonidos más clásico del black metal, Decipher logran una vez más, transformarlos en algo propio y llevar al oyente a una experiencia musical de la cual es complicado alejarse. (7,9).

Transcending Obscurity Records

1. Return to Naught 04:29  

2. The Black March 07:08  

3. Seven Scars 05:53  

4. Bound to the Wheel 06:05  

5. Hail Death 07:43  

6. Towards Renaissance 06:47  

7. Litany 04:51  

  42:56  

Druadan Forest ‎– Dismal Spells From The Dragonrealm (2LP) 20,99 €

2 × Vinyl, LP, Limited Edition, Brown/Black Swirl

WOLFBASTARD

 

Origen: Reino Unido, Manchester

Formados: 2012

Estilo: Black metal, crust

Temática: Alcohol, guerra nuclear, satán y violencia

Enlaces: Facebook, spotify y tidal.

Miembros:

• Dave Buchan Batería
• Dez Guitarra y voces
• Si Fox Bajo

Discografía:

• Demo MMXIII Demo 2014  
• Wolfbastard CD 2015  
• Graveyard Sessions CD 2018  
• Hammer the Bastards CD 2022
• Hail Satan Kurwa Single 2025  
• Satanic Scum Punks CD 2026

SATANIC SCUM PUNKS (2026)

Cuarta entrega para los de Manchester, un nuevo álbum que vuelve a cargar con fuerza con ese sonido punk, vestido de putrefacto black metal. Las comparaciones pueden ser muchas en cuanto a estilos retro y bandas afines, sin embargo Wolfbastard si que no han hecho ningún tipo de concesión, los suyo es un sonido directo y poderoso, lleno de rabia y crudeza que hasta cierto punto se muestra continuista y con una engañosa dosis de cierta simplicidad. Manteniendo un registro que es una bofetada en la cara del oyente, a base de un riffs llenos de  crudeza y una densidad a prueba de fuego, que encara registros de un ritmo bastante alto, sobre todo cuando la batería inunda el sonido de un poderoso y demoledor sonido autodestructivo, en donde las luchas en las calles se vuelve reivindicativas y la destrucción es solo un elemento más de la destrucción y la lucha. El binomio guitarra vs batería funciona como un ente perfectamente engrasado, con un fuerte carácter agresivo, en donde la agresividad y la intensidad en ningún momento se negocia, más allá de la inclusión de algún ritmo que deja entrever cierta melodía en medio del más profundo caos. Algo similar sucede con las voces, crudas y potentes, con un carácter retro y con la característica tonalidad de haberse criado a base de buenos lingotazos de añejo whisky, capaces con su actitud de trabajar esa faceta más clásica de un estilo que en los ochenta habían hecho suyo bandas como Venom. Un nuevo trabajo que invita a la lucha, a la destrucción, al querer reinvidicar en la calle nuestros derechos, con un engañoso aroma a black, dentro una propuesta muy punk, con regusto a sonido clásico. (8,2).

Apocalyptic Witchcraft Recordings

1. It's Fucking Dark 02:08  

2. Satanic Scum Punks 04:17  

3. Let the Bastards Burn 03:11  

4. Hail Satan Kurwa 02:13  

5. F.O.T.D. 03:03  

6. Blood on Steel 03:38  

7. Drink for Hell 02:37  

8. Fuck the Bastards 02:25  

9. Manic Street Creatures 01:37  

10. You Fucking Rat 02:01  

11. B.I.F.F.O. 02:12  

  29:22

Ilmestys ‎– The Noose Hangs From Heaven 18,99 €

Vinyl, LP, Compilation, Limited Edition

BÜDDAH - INTERVIEW

1. Büddah started around 2022. What led you to create the band? Why did you choose the name Büddah, and what does it refer to?

J: I've told this story like a milion times over the past four years. And I don't really like going back to those memories. To be respectful I'll just say that everything before 2023 was just random decisions, random people. 

2. In 2022, you made your debut with "The Curse of Ferrius," your first EP. However, until the release of "Amyotrophy," your first album, and in the four years between the two releases, the band's lineup underwent continuous changes. Tell us, what were these years like within Büddah leading up to the release of "Amyotrophy"? Can the current lineup be considered fully established?

J: My friendship with Marek feels like an old marriage. A toxic one. But old and stubborn. I don't  see a way it can change any-how in the future. Before Marek this band has been a long, neverending turmoil filled with my mistakes, alcohol, drugs and lack of direction. 

3. “Amyotrophy” was recently released. What was the songwriting and recording process like for this debut album? What aspects do you think have changed compared to “The Curse of Ferrius”? What brands of instruments did you use?

J: Recording “Amyotrophy” was a mixture of good food, laugh, staying up all night playing Hereoes of Might and Magic III and absolute horror realising I am too dumb for this music. With “Curse of Ferrius” there was zero atmosphere, because we recorded our tracks on different days each musician. It was much easier for me on the technical level, because the material on “Curse of Ferrius” is much simpler and closer to my personal taste, but zero fun and chilling with friends. 

M: Ibanez. Nothing I would like to add. 

4. In the past, when describing your music, a style like black metal often came up, but it wasn't something you entirely agreed with. For the new album, it seems that death metal has taken center stage, even with some thrash influences. How would you describe the album's sound to someone who hasn't heard it yet? What bands or styles influenced the album's composition?

M: Probably the most accurate answer would be “Death metal with identity crisis and paranoid schizophrenia” but we would much rather describe it as a love letter to the genre as a whole. For this album we wanted to both redefine our sound but also distil it from the plethora of albums and artists that inspire us. Throughout most of the creative process, whenever we came up with something both listenable and falling into a category of music that we enjoy, we simply turned it into a full-fledged piece, not really caring for cohesion of the entire album – this common element binding all the songs would eventually turn out to be folk instrumentation and bass guitar always adding almost a bit too much to the composition.

5. Your lyrics also seem to have taken on a more human character—dark, yes, but with a title like “Amyotrophy,” we can get an idea of ​​their nature. Why this title and theme for the album? Were the lyrics adapted to the music, or vice versa?

J: This album is a summary of what has been happening in my emotional landscape in years  2022 – 2025. There was no other word fitting better to summarise it than “Amyotrophy”. 

6. The album has been released by Godz ov War Productions in both CD and digital formats. How was the decision made to release “Amyotrophy” through Godz ov War Productions?

J: It felt like being hit with a hammer. We could not belive it's happening. In the past our we didn't get any approval in the underground. Pressing this album in a label, that we've always dreamed of feels fantastic. We had sent the material, weeks later we were signed to Godz Ov War. 

7. The names Damian Bednarski and Marcin Skowroński appear linked to the mixing, mastering, and recording process of the album. Who are these people, and why did you decide to work with them?

J: I've worked with them during the recording of Grilled Witch, my sludge/hardcore side project. 

I've been friends with Sfenson for many years. 

8. You designed the album cover. What can you tell us about it? How does it relate to the album's content?

J: It's a half-concious depiction of energy that I connect with the lyrics and music. In my paintings I don't really do sketches or projects. Just paint by heart, trying to depict how I feel. 

9. You come from a country like Poland, which has a strong tradition in extreme metal. How do you think this legacy has influenced the band and your sound?

J: We like polish bands but we don't really get inspired by them. Ofcourse we admire them and probably seen Vader more times than a decent paycheck after one of our own shows. In spite of it I can't really draw a direct line between music of polish legends and ours.

10. On another note, you're a band where I imagine playing concerts is important, as evidenced by the 2024 release of the live album "Resurrection Clarity (Live at 2 Koła '24)." How does Büddah operate on stage? What can your fans expect from one of your concerts? What concert plans do you have to present the new album?

M: It’s pretty much a completely different band. We have different goals we are trying to achieve while recording music and while performing it live. Studio is the place where we can experiment and shape our music without the obvious boundaries. Folk instrumentation? Sure. Two basses playing simultaneously? Of course. But as a matter of fact, I do not have two pairs of arms (despite deeply wishing for it!), so we had to translate our music to completely different “stage language”. In this case – simplicity and energy. We play with only one guitar – this way we can encourage more interactions between ourselves and our public. Some of our parts are brutalised, yet we did not abandon our semi-technical style. So far, we really like it this way – and it seems that our public also enjoys this a bit more organic take on our material.

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 become musicians?

J: Hatred and depression. 

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

M: The latest album I bought was the new offering by our good friends from Pandemic Outbreak. Definitely check them out. When I think of black metal, of pure black metal, I think of music that exhibits inner hostility. It is not music to derive positive emotions from, it is not adventurous, it is not beautiful in the black metal way (despite how much I love bands like Moonsorrow, Emperor or Immortal). In short – it must conjure a deep feeling of dealing with something inherently evil, corrupting and otherworldly. This essence, this feeling is perfectly preserved in Deathspell Omega’s “Paracletus”. And now let’s hear Julian rant about Dissection for 30 minutes.

J: Dissection. 

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 Büddah fans, this is the place. I hope you enjoy the questions.

M: Thank you very much! In Buddah we have this saying that we repeat to each other whenever something goes not along the way or we are simply tired or annoyed, but we know that we must persevere: “Trzeba się karać”. You might also add a cherry on top in form of a flavourful “kurwa” thrown somewhere in the middle of the sentence. “Trzeba się kurwa karać” – “You ought to fuckin’ punish yourself”. This little saying, this mentality – with a pinch of insanity sprinkled on top – has been something that eventually made us finish and record this album and is exactly what I wish to all of you – be strong, guys. Cheers!

J: Thank you.

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Battle Dagorath ‎– Abyss Horizons 22,99 €

2 × Vinyl, LP, Album, Limited Edition, Repress, Aqua Blue / Grey