ERBEET AZHAK

 

Origen: Bélgica, Wemmel.

Formados: ?

Estilo: Black

Temática:?

Enlaces: Bandcamp.

Miembros:

• C.V.B. Bajo, guitarra  y voces

Discografía:

• Erbeet Azhak Demo 2024
• Only the Vile Will Remain CD 2026

ONLY THE VILE WILL REMAIN (2026)

Podemos pensar en  Erbeet Azhak como una one man band, nada más alejado de la realidad, sin embargo para la edición de este primer álbum de estudio, el reputado músico C.V.B. (Aerdryk, Cult of Erinyes o Wolvennest), a contado con la colaboración de compañeros de tropelías de sus otras bandas de las cuales forma parte. Todo esto, de alguna manera, ha quedado reflejado en el sonido de este "Only the Vile Will Remain", un álbum que desde el comienzo mantiene el pulso en cuanto a oscuridad, una atmosfera plena y algunos registros más extremos. El álbum se siente directo y poderoso, el ritmo es generalmente alto, con incursiones en terrenos devastadores, pero logrando siempre mantener una atmósfera con regusto clásico, con cierto aroma oscuro y ritualista. El entramado de guitarras se mantiene a la altura a la hora de afrontar ese ritmo frenético, pero hay que destacar tanto su densidad, de lo cual el bajo tendrá buena parte de culpa, como también la capacidad para ofrecer una segunda capa que trabaja unos riffs más crujientes y elaborados, que sin llegar a ser melódicos, saben traspasar esa barrera más directa de su música. Ciertas secciones se prestan también a recrear una ambientación más elaborada, trabajando una base rítmica más sosegada que permite que la musica se adentre por terrenos con algo más de elaboración, donde la música logra trasmitir un tono mucho más inquietante, donde la oscuridad se torna más densa y la muerte sabe que tiene nuestra vida ganada. El apartado vocal se muestra de por si soberbio, con ese carácter directo, de perfecta factura clásica, pero con la inclusión de registros mucho más llenos de rabia y profundidad que van salpicando las composiciones y aportando una faceta mucho más demencial al conjunto. Un álbum que sabe combinar ese carácter denso, profundo, oscuro y de tono clásico, con un ritmo directo y una ambientación inquietante, logrando trasmitir toda la oscuridad y la faceta más ritualista del black metal. (8,3).

Amor Fati Productions

1. Mother of Serpents 01:56  

2. The Weakness of Our Cycle 05:36  

3. The Wings of Liberation 04:06  

4. Lecherous Angels 06:26  

5. Death to the Self 04:38  

6. Only the Vile Will Remain 03:46  

7. Erbeet Azhak 05:57  

8. Unworthy but Lucid 05:19  

9. The Inner Circle 07:09  

  44:53

GAEREA ‎– Gaerea 49,99 €

Cassette, EP, Limited Edition, Numbered, Stereo, Black

CALVANA

 SUB JANUS (2026)

"Sub Janus" es el regreso de la enigmática banda italiana Calvana después de casi cuatro años de silencio, con un tercer álbum que profundiza en ese carácter primitivo y reservado de sus música. Un álbum que a lo largo de sus nueve piezas recorre un paisaje helado, desolador y desbordante de soledad, en donde la naturaleza marca las pautas en el devenir de los acontecimientos. Sirviéndose de un sonido que se mueve con soltura en pasajes lentos, en donde cierta melodía sabe recrear esos tonos más folk o atmosféricos, con reminiscencias paganas, pero que se torna en una maquina perfectamente engrasada cuando la velocidad aumenta, aquí, en estas secciones, la destrucción que aporta el sonido y la violencia del mismo, son del todo innegociables, dibujando un sonido mucho más directo y profundo, en donde la batería se mueve con soltura en un terreno endiabladamente directo y frenético, con unos riffs de poderoso y clásico black metal, con una gusto por esa parte más cruda y sin pulir del todo, para que el bajo acabe también por dar cierta texturas de mayor profundidad o cuando menos oscuridad, con un participación destable. Hay que referirse a las voces como un ente en si mismas, sin apenas concesiones, en una faceta bastante directa, con un registro de profundidad y oscuridad, en donde se desprende un tono tanto clásico como impregnado de violencia. El resultado es un álbum realmente completo en diferentes facetas, porque es capaz de dejar un aroma a black clásico, por que es capaz de de equilibrar una producción que sabe trabajar cierta rugosidad de sonido y por que por supuesto, es también capaz, de trasportarnos a un entorno gélido, solitario y en donde la naturaleza tiene la última palabra. (7,6).

Adirondack Black Mass

1. Twilight Song 05:30  

2. My Prayer to Diana 05:18  

3. Summer Storm 03:29  

4. Fear Makes You Tame 08:00  

5. Death of Pan 05:03  

6. Meine Süße Sternenkriegerin 04:41  

7. Carnivore 04:38  

8. Sorry 05:48  

9. Sub Janus 01:45  

  44:12

The Gallery - Fateful Passion 2,99 €

CD, Album

WOLFBASTARD - INTERVIEW

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

Si: it’s a grey, miserable traffic jam. Other than that, all good.

1. Wolfbastard started around 2012. What led you to create the band back then? Why did you choose the name Wolfbastard, and what does it refer to?

Si: Wolfbastard was a project started by Dez and Dave wanting to do something more punkier, but still with a black metal edge. I don’t know about the name but it seems to fit the music and it made people laugh back in the day. I suppose that says it all!

2. The band members came from, or were later involved in, other projects with different styles, from death and black to stoner, etc. However, over the years you've remained together in Wolfbastard. What attracts you to this project compared to the others you're involved in? Is Wolfbastard more than just a band for you? Could we say you're almost a family?

Si: we’re three very good friends playing the music with love. We all grew up with heavy and extreme metal, but also have a great interest in punk, especially older bands like Discharge, Varukers, Misfits, GBH, plus post-punk stuff, like Manchester’s Joy Division. It’s fucking miserable like us.

3. You will soon release “Satanic Scum Punks,” your fourth studio album, four years after its predecessor, “Hammer the Bastards.” How do you think this time has affected the evolution of the new album's sound? What was the songwriting and recording process like? What brands of instruments did you use?

Si: the recording process was fairly smooth as we’ve done a few full-length albums now. Dez loves adding spooky black metal elements to certain songs and Dave is a fucking relentless drummer. The songs emerge after a few jams and once we’re happy we get them recorded.

In terms of instruments, Gibson guitars, Fender basses, Mapex drums. Good solid equipment, big amps, no crazy pedals, straight to the point. Stuff that can be bashed-about on tour and have beer spilt on it.

4. Over time, you have remained true to a style that blends a strong retro character in your music, fusing a black metal sound with significant punk and crust influences. Some even describe the new album as a punk album disguised as black metal. How would you describe the sound of the new album, and what inspired you to compose it?

Si: I’m quite happy with “a punk album disguised as black metal” hahaha..

5. Punk has always been associated with struggle, rebellion, and nonconformity. Is there any of this in your lyrics? What specific themes do you address? Do the lyrics adapt to the music, or vice versa?

Si: we’re very much ‘music first’ when it comes to songwriting. Lyrically, we don’t tend to go near politics, not because we’re not necessarily interested in politics, because the music is an escape from the depressing world we live in. That’s why we sing about beer, Satan and madness.

6. The new album will be released by Apocalyptic Witchcraft Recordings, initially available on CD, cassette, and vinyl. How did the opportunity to work with Apocalyptic Witchcraft Recordings for the release of the new album come about?

Si: Dez and Dave have worked with Apocalyptic Witchcraft with their other band Burial, so we knew how good they were to work with. We approached AW on completing the album and they were really keen to release it. It’s been a great partnership and they seem really ‘get’ what we’re doing. 

7. There isn't much information available about where the album was recorded, mixed, and mastered, but the ability to capture that raw and direct sound while maintaining clarity is remarkable. In which studio did you record the album?

Si: we recorded the album with our very good friend Chris Taylor at Noise Boy Studios in Salford. He did a fantastic job, as you say, at capturing the raw sound whilst still keeping some clarity and professionalism. Chris Fielding at Foel Studio did the mastering and he did an equally fantastic job. They made us sound like we know what we’re doing!!! What an achievement!

8. The cover art is both simple and open to multiple interpretations, ranging from violence and alcohol to elements of street fighting, even incendiary imagery. How did the idea for the cover come about, and what do you intend to convey with this image?

Si: The superb Branca Studio in Barcelona did the artwork. We went to him with an idea, and he said “fuck that”, and came up with the design we have now. It fits the music really well, and I personally really like the street fighting imagery. 

9. Your musical style lends itself to fiery and violent concerts. How would you describe one of your concerts? What dates do you have confirmed for the release of the new album?

Si: we have an album release show in Manchester on 14/03, then another 6 dates touring it in the UK in March. We’ve also a few dates confirmed throughout 2026 including Cosmic Void Festival in London. We’re always looking for new shows though!! Get us to mainland Europe ok!! 

10. Has the contrast between traditional Manchester, in the sense of a working-class city that played a pivotal role in the Industrial Revolution, and modern Manchester, a business city more oriented towards the service sector, influenced the style and themes of your music? What is the extreme metal scene like in a city like yours? What bands from your area would you recommend?

Si: the scene has always been strong in Manchester, and we’re lucky that a lot of touring bands come through the city, despite some venues closing down over the years. We grew up around the city in the working class areas and the pubs and clubs. I think a bit of that may have crept into the music. Great Manchester bands include Wode, Aggressive Perfector, Cairns, Argesk, our brothers in Burial and Foetal Juice too. There’s loads to be fair.

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 become musicians?

Si: We’re all obsessed with music and it’s a huge part of our lives. I grew up with my mum and dad both playing music in the house and the car. Especially my dad, with old rock like Neil Young, Pink Floyd, Deep Purple etc. As for the first concert I went to, a family friend bought us tickets to watch Nickleback when I was about 14. That’s why I’m the coolest one in the band now.

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

Si: Black Metal is a varied beast these days, but if you made me pick only one to represent the essence I’d say Darkthrone’s A Blaze in The Northern Sky. The riffs and the coldness. Perfecto. 

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 Wolfbastard fans, this is the place. I hope you enjoy the question.

Thanks mate, and thanks for checking out our music. ¡Vamos!

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

Mourning Dawn ‎– The Foam Of Despair 29,99 €

Vinyl, LP, Album

QWÄLEN

 VERI VIRTAA EDELLEEN (2026)

A punto de cumplir los diez años de carrera, los finlandeses editan sus tercer álbum de estudio, un nuevo trabajo que los reafirma en ese sonido crudo y directo a base de un incendiario black metal, con influencias reconocibles de estilos como el punk. Un álbum de sonido casi que lacerante, que siembra la oscuridad desde el inicio, con pocos atisbos de reflexión, manteniendo siempre el pulso entre un ritmo generalmente alto, con contadas salvedades, unas guitarras que empujan con fuerza, con unos riffs poderosos, en donde se equilibra la agresividad y crudeza con elementos que destilan cierta melodía que por otra parte nos traen también esa faceta punk a su sonido, sin olvidarse de las texturas que ofrece el bajo, que permite que los temas tengan un densidad extra y mayor presencia a la hora de definir su estilo, todo ello acompañado de unas voces que se adentran por pasajes oscuros y directos, donde la crudeza es innegociable y la oscuridad un invitado de lujo. El resultado es un álbum directo y conciso, trabajado desde la crudeza y la oscuridad, que seguramente ha buscado sus influencias en esa vertiente más cruda y punk del black inicial, pero equilibrando texturas y sensaciones cuando saben sacar partido a elementos que nutren la propuesta de algo similar a una oscura atmosfera, para completar un tercer álbum directo y conciso. (7,7).

Time to Kill Records

1. Hunnutettu maa 05:21  

2. Matala hauta huutaa 05:00  

3. Kahleet 07:19  

4. Uusi nahka 03:31  

5. Kiviä ja luita 05:17  

6. Pirujen illallinen 05:44  

7. Veri vastaa 05:48  

8. Kuolleet jumalat 06:57  

  44:57  

Vëřťžîmbrÿġțžûmşțřě ‎– Invoking The Winged Star 9,99 €

Cassette

NAZGHOR - INTERVIEW

 

1. Nazghor started around 2012. What led you to want to create the band? Why did you choose the name Nazghor, and what does it refer to?

Nekhrid: I wanted to create something raw, yet melodic and Armageddor wanted the same. We met and exchanged ideas. The whole project was created by the end of 2012. The name Nazghor is our own designation for a concept of supreme darkness that we embrace and explore through our work. It is not borrowed or inherited. 

2. In its early days, the band maintained a high release rate, which has slowed down considerably lately, in addition to some lineup changes. What explains this radical change in the release schedule? How have Fáunas and Galthran integrated into the group's dynamic?

Nekhrid: We moved straight from one project to the next, even after finishing and recording each album. There was never really a pause for us. At the time, we had a huge collection of unreleased songs and rough demos that we didn’t want to waste. As for Fáunas and Galthran, they came into the picture at exactly the right moment. They helped shape the legion we are today and they fit perfectly into the group, both musically and personally.

3. Your eighth album, "A World Ablaze," is about to be released, almost four years after the previous one. How do you think the band's sound has evolved between the two releases? What was the songwriting and recording process like for the new album? What brands of instruments did you use?

Nekhrid: We’ve developed a darker, more ominous sound with greater depth, where the melodies feel woven into something heavier and more menacing. Since AWA was built around older songs as a foundation, we revisited those tracks, explored different sounds, and introduced new ideas to shape the direction of the new record. The recording process moved very quickly because all the tracks were already fully prepared.

4. In many ways, “A World Ablaze” is an album that maintains the essence of its predecessors: a black metal sound with clear references to the Swedish tradition, direct and raw, but also incorporating sections that venture into melodic territory. Ultimately, the listener can enjoy an album with a purely classic sound. How did you decide on the sound of this new album? What bands or styles have inspired you?

Nekhrid: From the very beginning, we had a clear vision of the direction we wanted to pursue and the goal we aimed to achieve. The sound of the new album was largely inspired by our previous releases, but this time we pushed it further, giving it a darker and more sinister edge.

5. You have always maintained an anti-religious and satanic theme in your lyrics. Where does the inspiration for these lyrics come from? Is this an inherent theme of black metal? Does the music adapt to the lyrics, or vice versa?

Nekhrid: The lyrics are shaped by the philosophy that defines Nazghor. The darkness we evoke along with the intense, shadowed atmosphere of our live performances, symbolizes a profound sense of liberation from the religious world. Lyrics are added to specific songs based on how well they fit. Interpreting what we want to communicate is a matter of feeling and adaptation to the rhythm and the melodies.

6. The German record label Solistitium Records will be releasing the new album. When did you decide to join forces for the album's release? Why the change of record label?

Nekhrid: The partnership with the Solistitium was an opportunity we simply feel connected with. Our project aligns perfectly with the label’s vision and with the future of our band. To them, Nazghor is not just another band, it’s an unstoppable force we all believe in and want to see rise and conquer. A World Ablaze is only the beginning.

7. The album was mixed and mastered at Pentagram Studios. What do you think working with them contributed to the final sound of the album? Why did you decide to work with them?

Nekhrid: We worked with Pentagram Studios once before with ‘Seventh Secular Crusade’. We were very satisfied with their work and we wanted to do the same for A World Ablaze.

8. Your album covers have always had a theme of death and desolation, something that can also be inferred from the cover of the new album, this time created by PLETER. What does the cover represent, and how does it relate to the album's content?

Nekhrid: Like the great blaze of 1702, an intense and overwhelming fire that engulfed an entire city so quickly that resistance became impossible, A World Ablaze is meant to consume everything in its path. This album stands as our greatest battle call. This is what the cover art represents.

9. As I mentioned earlier, your sound is a true reflection of the purest Swedish black metal tradition. How would you describe the current Swedish black metal scene? What do you think has been lost compared to the past? What is the extreme metal scene like in a city like Uppsala?

Nekhrid: It’s not easy to draw a direct comparison between today’s black metal scene and that of the 1990s. The landscape has changed significantly, especially with the rise of the digital world, which has completely transformed how music is distributed and discovered.

Live performances have also evolved. Concerts today tend to be more regulated, with organizers operating under stricter guidelines and policies. As a result, bands within this genre often face more limitations in their artistic choices. In some cases, there are explicit bans on the use of elements such as animal carcasses or blood during performances, which further shapes how shows are presented compared to the past. There is no exception in Uppsala.

10. What can your fans expect from the live presentation of the new album? What dates do you have confirmed for this year?

Nekhrid: We are doing a couple of shows in Sweden before heading to Romania for the “Underground for the Masses” festival by the end of April. We are doing some festivals in Sweden in the summer.

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 become musicians?

Nekhrid: Speaking for myself, growing up in South America meant that thrash metal was my gateway into extreme music. However, it wasn’t until I relocated to Sweden in the early ’90s that I was truly exposed to the Gothenburg sound, the Stockholm HM-2 sound, and eventually black metal. That period had a huge impact on me, it was then that the idea of becoming a musician first started to take shape.

I can’t recall the very first album I ever bought, but I do remember picking up Tusen år har gått by Mörk Gryning.

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

Nekhrid: The most important album for bands playing melodic black metal is of course The Somberlain. I haven’t bought physical albums for years; the latest one I got both as CD and vinyl was Iron Maiden’s “Senjutsu”.

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 Nazghor's fans, this is the place. I hope you enjoy the questions.

Nekrid: I want to thank every one of them. Their support is massive and we will keep doing what we do.

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

Blakk Old Blood, Black Devotion ‎– Blakk Old Blood / Black Devotion 5,99 €

Vinyl, 7", Limited Edition, Numbered

MISERERE LUMINIS

 

Origen: Canadá, Montreal.

Formados: 2008

Estilo: Black atmosférico

Temática: Oscuridad y tristeza.

Enlaces: Bandcamp, deezer, facebook, instagram, Mmiserere luminis, spotify y youtube.

Miembros:

• Annatar Guitarra y voces
• Icare Batería y voces
• Neptune Bajo y guitarra

Discografía:

• Miserere Luminis CD 2009
• Ordalie CD 2023
• De cris & de cendres Single 2025  
• Aux bras des vagues & des vomissures Single 2026  
• Sidera CD 2026

SIDERA (2026)

"Sidera" es la tercera entrega para los canadienses Miserere Luminis, banda que se ha mantenido fiel a su estilo desde su formación y que parece haber encontrado un sonido definitorio después de lo expuesto en su anterior "Ordalie"(2023). Digo esto último por que los cinco temas que conforman este nuevo álbum están alejados de cualquier convencionalismo y sus extensa dimensión permite a la banda expresarse más allá de una faceta meramente musical, logrando traspasar la frontera de la emotividad e impregnarnos con su melancolía y tristeza. Un álbum de un sonido cuidado y trabajado, en donde cada tema permite disfrutar de un ambiente inmersivo, en donde la tristeza lo impregna todo, con un trabajo solvente en arreglos de teclado que sirven para vestir la obra de una patina de engañosa accesibilidad, que se torna en una ambientación mucho más oscura y distante cuando la instrumentación descarga toda su rabia en forma de poderosos blast-beat y contundente riffs, sin que sea un impedimento para que esa linea entre oscura y melancólica de teclados vaya trabajando en un segundo plano una ambientación ciertamente conmovedora, como conmovedoras también son las voces, ofreciendo un ejercicio de oscuridad y una dosis extra de rabia y melancolía, perfectamente combinadas, fusionándose todo en una propuesta que logra sonar directa, atmosférica, emotiva, oscura y melancólica en todas sus vertientes. Misererere Luminis sabe trabajar las intensidad, sabe trasmitir toda la rabia y oscuridad en cada nota de sus canciones y el resultado no es otro que un álbum que socava nuestro estado de ánimo hasta la oscuridad y la tristeza infinita. (8,4).

Debemur Morti Productions

1. Les fleurs de l’exil 08:48  

2. De cris & de cendres 11:41   

3. Aux bras des vagues & des vomissures 09:40  

4. À la douleur de l’aube 12:08  

5. Dans la voie de nos lumières 08:30  

  50:47

Forbidden Citadel Of Spirits ‎– Collection III 49,99 €

2 × Vinyl, LP, Compilation, Limited Edition

PROFANE ELEGY - INTERVIEW

 

1. The band started around 2021. What led you to create the band? Why did you choose the name Profane Elegy, and what does it refer to?

Mikael: I was at the point in my life where I finally had time to focus on creating music again and so I was looking for someone with a similar taste and interest. Our name incorporates two recurring themes in our music. 'Profane' meaning unholy and 'Elegy' meaning a sorrowful song. You could say it is our ethos.

J. Gulick: I was looking to start a new music project that was specifically more Black Metal oriented. I think for me my aim was to puit together a band that was equally melodic yet aggressive and dark. I put up an ad looking for members online and came across Mikael, and then found a session drummer to help compose ‘When All Is Nothing’.  Then after the release of ‘When All is Nothing’ we gathered a full lineup.

2. In 2023, you released your first EP, "When All Is Nothing." Three years later, you followed it up with your first album, "Herezjarcha." Have you been immersed in composing the new album for these three years? What was the songwriting and recording process like for "Herezjarcha"? What brands of instruments did you use in the process?

Mikael: I probably spent around 2 years writing and recording after our first release. 

J. Gulick:  I believe Herezjarcha took around 6 months or so of me writing weekly, trial and erroring ideas, etc. Before we released Herezjarcha, we actually had 14 songs done and the drums finished in the studio, but decided 14 songs would be too much of an immediate expense, including the thought of having to do a double Vinyl instead of one. What’s left unrecorded will be on our follow up álbum. 

3. The new album maintains a similar musical tone to your first EP; however, there is a greater focus and quality to the music, as well as a greater exploration of that unique facet of your sound: the violence and blending of styles, such as black and death metal, progressive touches, and occasionally clean vocals that create a striking contrast. How would you describe the album's sound to someone who hasn't heard it yet? What bands or styles inspired you to compose "Herezjarcha"?

Mikael: The simplest way I could put it would be a combination of black/death/doom metal. I think all 3 of those are significantly represented across the album. Swallow the Sun and Woods of Ypres comes to mind for comparisons on genre blending. Particularly their more black metal leaning songs.

J. Gulick: When I wrote this album, I didn’t necessarily think of immersing myself in certain styles or pulling influence from bands directly.  I went along with a natural progression with what i thought worked with each song, having a beginning/middle/end, etc.  The style definitely branched out from ‘When All Is Nothing’ being mostly Black Metal dominated to this one being a Black/Death/Doom hybrid.  I even took a more Black/Thrash approach found in bands from the late 90’s/early 2000’s and more of those songs will also be heard on Album 3. A couple of the songs had a more Melodic Death approach as well as a more Progressive tinged direction then the previous.  There are entirely too many bands to name that I took an influence from, but I may eventually namedrop bands and specific albums. My influences with Profane Elegy start from mainly 2nd wave Black Metal, to tinges of 1st wave Black and Death, Doom, early Melodic Death and some Progressive/Rock/Metal. 

4. The themes of your lyrics seem to revolve around life and death. Could you elaborate a bit more on this? What motivates you to explore these themes? How is this task divided between Josh and Michael? Do the lyrics adapt to the music, or vice versa?

Mikael: I write all the lyrics. Death is definitely a common recurring theme in our music. It’s the sword of Damocles hanging over all our heads and I think it’s important that we explore it to come to terms with it before the moment we depart. The Romans had the concept of memento mori which means ‘remember you will die’, I believe in that mentality and these songs about death are a form of memento mori for myself and the listeners. I believe Confronting these uncomfortable truths can bring peace and help one live well.

5. Just like with the EP, the album will be self-released. Was this something you planned from the beginning, maintaining this control over your music? Are there any offers or possibilities of releasing it in physical format with a record label?

Mikael: our mentality is independence. If the right offer would come along we’d certainly be interested but we’re happy with our freedom right now.

6. There isn't much information about the recording, mixing, and mastering process for "Herezjarcha." Did you handle this process yourselves, or did you enlist the help of someone outside the band? How were the new band members involved in this process?

J. Gulick: We recorded the music ourselves with drums and mixing/mastering being done at Backroom Studios.  Kevin Antreassian did a phenomenal job. 

7. The album title is "Herezjarcha," a neologism that can be interpreted ambiguously. What specific meaning does it have for you? Who designed the album cover, and how does it relate to the album's content?

Mikael: Actually it isn’t a neologism, it is the Polish translation of the word english word heresiarch, it means arch heretic. Some inaccurate info went out on that hence the confusion. We felt that it encapsulated the essence of the songs as a whole. The reason it is in Polish is a nod to my heritage. Cover was designed by Artem Grygoryev, it is the literal embodiment of the arch heretic. The idea was something similar to the painting of a saint.

8. How has the live presentation of the new album been? Have the new members allowed you to have a greater live presence? What dates do you have confirmed for this year to present "Herezjarcha"? 

Mikael: It’s been great doing it live, Dave and Sean add so much to the band we are lucky to have them. We are very selective with how often we play. We’ll be in Brooklyn on 2/28 for our first show of 2026. Then we’re opening for Rivers of Nihil on 3/14, we don’t have anything after that planned until 10/3 when we play Under Appalachian Skies fest.

9. How would you describe the black metal scene in a country like the USA? What bands from Pennsylvania would you recommend?

Mikael: very small, I honestly don’t follow the PA scene at all. 

J. Gulick: There is a Black Metal scene, albeit small.  There’s a few I do like from Pennsylvania like Profligate, Daeva, Satanic Magick, Zauberei, Unholy Altar, etc.  There are good bands, they just don’t seem to get as much publicity, which makes sense given the genre.   Death Metal is much bigger in the states it seems, but to an extent that could be debatable (potentially).

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 led you to want to become musicians?

Mikael: I started a cover band with friends in high school. I can’t exactly recall my first record purchase but I had Creed and POD albums. I was big into rock growing up and only came to metal in my late teens. First rock concert was tour with 3 Doors Down, Shinedown, Alter Bridge. Not exactly trve kvlt haha.

J. Gulick: My first álbum I bought was a Nirvana compilation álbum when I was maybe 10 or so and from there it got me into a lot of different music early on, specifically punk and just a wider range of stuff in general.  The first Metal song i vividly remember hearing was Metallica’s ‘Fight Fire with Fire’ when I was like 12 or so and I just got hooked from there.  Around highschool I became really immersed in Metal, mainly Death Metal and more Progressive leaning bands and in highschool a bit later I really came to the conclusión of what I wanted to do for the rest of my life, or at least largely dedícate to. Outside of dabbling in some not so serious Punk bands in Highschool, my first serious band was a Death Metal band back in 2010 with a close friend of mine. That eventually splintered forming a more Technical Death Metal oriented band called Decimator, but disbanding in 2013 before recording our EP. 

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

Mikael: Under the Sign of Hell by Gorgoroth is a pretty good example I’d say. Gorgoroth is probably my favorite ‘traditional’ style black metal band. I collect vinyl and picked up Watain’s live album most recently. I’ve got my eye on some Panzerfaust and Groza next.

J. Gulick: I can agree with Under the Sign of Hell by Gorgoroth.  I also would say Bathory’s ‘Blood Fire Death’ or ‘Under the Black Mark’.  Mayhem’s ‘De Mysteris Dom Sathanas’ also comes to mind or Immortal’s ‘Pure Holocaust’. Too many to name really. 

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

Mikael: to anyone who follows us, the biggest thing you can do to support us is share our music with your friends and help us grow! We’re on every platform out there and are not hard to find. 

J. Gulick: Thanks for taking the time to interview us. Hails.

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Freeways ‎– Dark Sky Sanctuary 19,99 €

Vinyl, LP, Album

NECROSEXUAL

 

Origen: E.E.U.U., Philadelphia

Formados: 2011

Estilo: Black, crossover, hardcore, punk, speed y thrash.

Temática: Excesos, fenómenos, heavy metal, humor negro, lujuria, monstruos, necrosexualidad y terror.

Enlaces: Bandcamp y facebook

Miembros:

• Anthony "Vigo" Gabriele Guitarra
• Miles Ziskind Batería
• The Necrosexual Bajo, guitarra y voces
• Nick Roskow Guitarra

Discografía:

• Grim1 CD 2018
• The Gory Hole Overture in F# EP 2019
• Necrosexual Encounters LIVE: 2017​-​2019 EP 2019  
• Six Feet Under Classics Split 2021  
• Seeds of Seduction EP 2021
• Live Encounters 2022 Directo 2023  
• Road to Rubble CD 2026

ROAD TO RUBBLE (2026)

Segunda entrega para Necrosexual, banda que se crea allá por 2011 y que poco a poco ha ido recorriendo un arduo camino hasta llega a la edición de este "Road to Rubble", álbum que ha mejora sustancialmente lo ofrecido en sus debut "Grim1!(2019). El álbum se estructura en torno a nueve temas, de los cuales los iniciales tienen un tono más directo y reivindicativo, dejándose para el final aquellos con un aroma más rock, entre medias, un regusto a sonidos retro, un gusto por cierto humor negro y un huso de secciones thrash, speed y black. Unos comienzos en donde laa partes más punk, junto con la irreverencia que se le presupone, van impregnando una propuesta de sonido clásico. Hay secciones que empujan con más fuerza, gracias a cierta combinación de thrash o speed, voces en falsete, cierta melodía en diferentes líneas, tanto instrumental como en las voces, así como un tono con bastante groove, con unos riffs afilados y directos, dejando un regusto a sonido clásico, muy ochentero, rindiendo pleitesía a banda punteras de la época. La segunda parte del álbum se reconduce hacia elementos que tiene más que ver con un sonido rock más retro, hay pasajes casi que acústicos, y es que el papel de las guitarra es este álbum es de vital importancia. Aquí es donde parece que el ritmo se resiente, resultando una ambientación que nos sumerge en cierta teatralidad impostada, manteniendo cierto carácter irreverente, pero sustentándose en un sonido de guitarra endiabladamente clásico, permitiéndonos mecernos en esos riffs que, desde cierta vulgaridad se encumbran en demoledoras piezas de alto octanaje. Como un mezcla entre un sonido clásico, vestido de una capa extra de oscuridad, y por otro lado pudiendo aguantar cierta comparación con bandas como Midnight, este "Road to Rubble" explota un sonido trabajado para acercarnos una vez más a la década de los ochenta. (7,9).

Fiadh Productions

The Black Metal Archives Label

1. High Times in Hell 03:57  

2. The Brimstone Brothel 03:41  

3. Kiss the Knife 04:26  

4. Lubricator 03:21  

5. Twilight Drifter Intermezzo 01:06  

6. All Roads Lead to Rubble 05:15  

7. Damned Romance 03:23  

8. Nocturnal Ignition 03:52  

9. Hard Leather Woman 04:54  

  33:55

Kommandant - The Architects Of Extermination - (Red vinyl limited to 100) 12,99 €

Vinyl, LP, Album, Limited Edition, Red

DRAWN INTO DESCENT

 

Origen: Bélgica, Mechelen

Formados: 2013

Estilo: Black atmosférico

Temática: Depresión

Enlaces: Bandcamp, deezer, facebook, instagram y spotify.

Miembros:

• B. Guitarra y voces
• G. Bajo
• J. Guitarra
• V. Baería

Discografía:

• Drawn into Descent CD 2015  
• The Endless Endeavour CD 2019  
• Ogen Single 2026  
• Onrust Single 2026  
• Onrust CD 2026

ONRUST (2026)

"Onrust" es el regreso de una banda como Drawn into Descent después de casi siete años de ostracismo, en forma de cuatro temas que rondan los diez minutos y que como mínimo, demuestra que el tiempo ha dejado su huella en su propuesta, ahora será cuestión de analizar de que forma. Siempre fieles como en sus anteriores obras, a un sonido en donde el tono atmosférico jugaba un papel esencial, lo cierto es que aún haciendo uso de ese corte atmosférico en el nuevo álbum, no lo es menos que también la banda ha sabido incorporar diferentes elementos que cuando menos enriquecen el resultado final de su propuesta. El endiablado gusto por esa duración extrema en los temas permite que un componente más post aflore en los mismos, manteniendo una linea en donde la ambientación nos va meciendo en un tono melancólico y triste, sin que lo depresivo sea tampoco algo ajeno a la misma. Sin embargo en medio de esa confusa  niebla que se va apoderando del oyente, surgen arrebatos de mayor contundencia, con una mayor presencia de un instrumentación más directa, trasformando al conjunto en una obra más decidida, más llena de oscuridad, equilibrando una musicalidad que incita a cierta reflexión con una rabia inherente al conjunto que nace desde unas voces con una dosis de sufrimiento nada desdeñable y logrando que todo fluya en una engañosa sensación tanto de familiaridad como de atmósfera densa y pastosa. El acierto por parte de Drawn Into Descent de equilibrar y jugar con ambos registros a lo largo de todo el álbum es de una asombrosa nitidez, trasformado los poco más de cuarenta minutos del mismo en una obra absorbente, que nos atrapa en la melancolía y la desazón de su ambientación, al mismo que un cuidado uso de la instrumentación permite que alcancen cotas de musicalidad extrema en forma de un sonido post que añade esas notas de rabia y depresión a un álbum ya de por si emotivo. (8,2).

Immortal Frost Productions

1. Teloorgang 11:41  

2. Drenkeling 09:39  

3. Onrust 12:13  

4. Ogen 09:09   

  42:4

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