jueves, 9 de julio de 2026

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).




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




Cassette, Limited Edition, Numbered





miércoles, 8 de julio de 2026

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. 

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

Aegrus ‎– Invoking The Abysmal Night 29,99 €


Vinyl, LP, Album






martes, 7 de julio de 2026

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).




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





Vinyl, LP, 45 RPM, Mini-Album





lunes, 6 de julio de 2026

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





sábado, 4 de julio de 2026

LISTA COMPLETA DE DISTRIBUCIÓN - JULIO 2026



NOVEDADES 1-7-2026








*Acheron's Reticuli – The Strangeness Of Orbiting Objects 27,99 €
*Agalloch ‎– Oddities & Rarities 2001 - 2004 (2 × Vinyl,Clear/Black Smoke) 39,99 €
*Fuath ‎– III 27,99 €
*Ondfødt ‎– Norden (Opaque Cyan Blue) 24,99 €
*Okkultokrati ‎– Raspberry Dawn13,99 € 


EDICIONES ESPECIALES
Aara ‎– Eiger (2 × Vinyl, LP, Album, White Marbled) 39,99 €
Acacia's Temple ‎– Elegiac Pilgrimage 29,99 €
Aegrus ‎– Invoking The Abysmal Night 29,99
Agriculture ‎– Living Is Easy / The Circle Chant ( Merge Aqua Blue & Baby Blue W/ Black Splatter) 69,99
Ancient Guard ‎– Desiderans Dissolvi 24,99 €
Ancient Wisdom - A Celebration In Honor Of Death (LP, Gre + LP, S/Sided, Etch, Gre + Album) 31,99
Antlers ‎– Beneath. Below. Behold (2LP) Limited to 288 copies. 38,99
Aparthiva Raktadhara ‎– Adyapeeth Maranasamhita 24,99
Archgoat ‎– Worship The Eternal Darkness (red) 24,99
Azziard / Nirnaeth ‎– Azziard / Nirnaeth (7” Limited to 100 numbered copies on white vinyl) 11,99
Baptism ‎– V: The Devil's Fire (Limited to 100 copies - Transparent red vinyl in gatefold.) 29,99
Bartzabel ‎– Mentally Mutilated 19,99 €
Beltez ‎– A Grey Chill And A Whisper (2lp grey) 42,99
Bhleg ‎– Fäghring 24,99 €
Borknagar ‎– Fall (2LP Green [Transparent Coke Bottle]) 59,99
Charles Manson / Seges Findere ‎– The Way Of The Wolf 8,99
Cursebinder ‎– Drifting (red) 33,99
Darkspace ‎– Dark Space -II 37,99
Doedsmaghird ‎– Omniverse Consciousness (marble/white vinyl) 49,99
Desaster ‎– Churches Without Saints (Yellow Brown Marbled) 34,99
Drought  - Rudra Bhakti (10") 3,99
Drowning Deeper ‎– Life Is a Failing Existence 19,99 €
Enslaved ‎– Utgard (Orange) 30,99
Entartung ‎– Maleficae Artes (gold) 20,99
Fange ‎– Purge (Orange vinyl limited to 500) 14,99
Fen  & De Arma ‎– Towards The Shores Of The End (Gold)  29,99 €
Firtan ‎– Marter (2 × Vinyl Gold/Clear/Black Marbled) 49,99
Gaerea‎– Gaerea 49,99
Grift ‎– Vilsna Andars Utmark 27,99
Gromowładny, Winter Moonlight ‎– Barbarzyński młot wojny 59,99 €
Imperial Triumphant ‎– Spirit Of Ecstasy (2lp Clear [Ultra]) 45,99
Invincible Force  ‎– Decomposed Sacramentum 27,99
Johnny The Boy ‎– You (Clear & Black Marbled) 34,99
Katharos ‎– Of Lineages Long Forgotten (Ghost,Gold Splatter) 35,99
Kill The Thrill ‎– Autophagie 39,99
King ‎– Reclaim The Darkness (Blue vinyl version limited to 200 copies) 24,99
Kommandant - The Architects Of Extermination - (Red vinyl limited to 100) 12,99
Lantern – Dimensions (Vinyl, Silver with Black Splatter) 28,99
The Lion's Daughter ‎– Existence Is Horror (transparent green vinyl limited to 100 units) 18,99
Luring ‎– Malevolent Lycanthropic Heresy ( White/Black Splatter) 39,99 €
Lustre  ‎– A Glimpse of Glory (White & Grey w/ Black Splatter) 24,99 €
Lustre ‎– The Ashes Of Light (Silver) 24,99 €
Lustre  – Phantom (Black/Purple Merge) 29,99 €
Madder Mortem ‎– Old Eyes, New Heart (Transparent Blue vinyl) 39,99 €
Misanthur ‎– Ephemeris 37,99
Mora Prokaza ‎– By Chance (Limited to 200 copies) red vinyl 29,99
Mordant ‎– Back From Hell ( Black vinyl with logo-patch) 13,99
Mozart* / Elisabeth Schwarzkopf, Christa Ludwig, Giuseppe Taddei, Walter Berry, The Philharmonia Orchestra* And Chorus*, Karl Böhm – Così Fan Tutte 59,99
Murg ‎– Strävan (Silver) 39,99 €
Nexion ‎– Seven Oracles (Grey-white marble vinyl, limited to 200 copies) 35,99
Old Wainds ‎– Stormheart (Blue Black Marbled [Transparent]) 54,99
Onirik ‎– The Fire Cult Beyond Eternity (Red w/ Black Marble) 43,99
Palace Of Worms ‎– The Ladder (Limited to 100 clear with black/red splatter vinyl) 19,99
Rites Of Thy Degringolade ‎– The Blade Philosophical ("Die Hard" version on silver vinyl) 38,99
Sexual Predator ‎– American Nightmare (Cassette Limited edition to 50 copies) 6,99
Slaughter The Giant ‎– Depravity 39,99
Sólstafir ‎– Berdreyminn (green) 49,99
Spirit Possession ‎– Of The Sign… (Blue/Red/Gold Mix) 62,99
Suidakra ‎– Wolfbite 23,99
Theodor Bastard ‎– Oikoumene (Gold & Orange Mixed) 44,99
Ultra Silvam ‎– The Sanctity Of Death 20,99
Vein  ‎– Blood Oaths 77,99
Vévaki ‎– Fórnspeki (green) 34,99
Volcanic  ‎– Black Flame (Vinyl, 7", 100 Transparent color) 9,99
Vorkreist ‎– Sacrifice (Vinyl, 10", Limited to 105 hand-numbered copies) 16,99
Vouna ‎– Atropos (Purple w/ White, Silver, Gold Splatter) 34,99
Vuur & Zijde ‎– Boezem (Yellow / Red / Black Marble) 42,99
Wampyrinacht ‎– Night Of The Desecration - Les Jardins De Nyx - 23,99
Weregoat ‎– The Devil's Lust (Red Transparent) 27,99
Winter Deluge ‎– Degradation Renewal 13,99
Witchery ‎– In His Infernal Majesty's Service (white vinyl. Limited to 100 copies) 36,99
Withered ‎– Grief Relic (Opaque mist blue vinyl in gatefold sleeve, limited to 100 copies) 18,99
Wode ‎– Burn In Many Mirrors 29,99

SPLIT
*Anti / Mosaic - Landscapes 2,99 €
*Blakk Old Blood, Black Devotion – Blakk Old Blood / Black Devotion5,99 €
*Moloch  / Arria Paetus ‎– Moloch / Arria Paetus 13,99 € 
*Moloch / Gurthang ‎– Moloch / Gurthang 5,99 € 
*Moloch / I Shalt Become – Split 9,99 €
*Mion's Hill - Torture 11,99 € 
*Moloch ‎– Ein Düsterer Winter Kommt 7,99 € 
*Selbsthass - Stille 1,99 € 



DEMO
*Volcanic ‎– Okkult Witch11,99 €
*Woest – La Fin De L'Ère Sauvage 3,99 € 


Podéis hacer vuestros pedidos en nuestra tienda, BMSP, en discogs o a través de correo: blackmetalspiritstore@gmail.com.