domingo, 25 de octubre de 2020


1. Grave Circles was born in 2016, why did you decide to create the band and why did you choose the name Grave Circles for the band?
Hello!In all actuality a portion of the songs was written before 2016. 2016 was the year when the name of the band as well as the songs for the first release were chosen.
In terms of forming a new band - the new material didn’t really fit in the framework of the primitive and straight-forward style of Goatlfesh. Take the song De Laude Flagellorum for example. It is vastly different from the other songs on the Goatflesh EP. In the end of the day everything happened organically without a lot of planning or setting certain goals. The name was chosen in an old school way. No mysticism or pretentious names or any of the nonsense that has become popular this day and age. Simple and to the point, kind of like Grave, Entombed, Katharsis. 

2. How representative musicians of the band is Baal belonging to Peste Noire and KGD from Kroda and Stryvigor, at what moment do you decide to join to be part of Grave Circles? How does this Franco-Ukrainian union work?
Personalities do not matter. The music is what is truly important. KGD helped with recording of bass as well as guitar tracks on certain songs. The creation of the project as well as the writing process for all of the material on the EP and the Full Length was completed by Virus and myself. The only exception from this is Unspoken Curse which was written by the new guitarist - Exile.

3. After the release in 2017 of your first EP “Tome I” (, at the end of 2019 they have released their first full-length that gives continuity to “Tome II”, how was the process of composing and recording the album? What brands of instruments have you used for the recording, and how has the sound evolved between “Tome I” and “Tome II”?
Tome I and Tome II are factually one album. The tracks Thy Light Returneth and Predominance were actually written before Tome I. The plan was to include them and When Birthgivers Recognize the Atrocity with the three tracks that ended up on the Tome I EP and release a full length consisting of 6 tracks. We simply did not have the funding to pay for the studio and the recording of drums. We recorded three songs because that is all we could afford at the time. This came out as our Tome I EP. 
In terms of mastering Tome II we worked with Engwar who produced several Peste Noire albums -L'ordure à l'état and La Chaise-Dyable if memory serves right. For Grave Circles every new release is an experiment. We try looking for our own sound which not only fits the material but allows it to develop. For example our next album which consists of some older material is shaping up to be more raw, straight forward and dirty. It will be a total DIY project in every sense, including production.

4. Ukraine has been characterized by a black sound that in one way or another always manages to incorporate pagan elements such as the band Drudkh or the same Kroda, Precambrian, etc. How would you define the sound of Grave Circles and their latest “Tome II "? Do you feel that Grave Circles fits into the reference sound of Ukrainian black metal or is it totally different due to those experimental influences that we find in their sound? Which bands are for you a reference when taking influences to compose songs by Grave Circles?
We do not really think that the Ukrainian black metal scene actually exists. The Ukrainian stage has its style, but it has very little to do with black metal. Take any popular Ukrainian project in the scene and compare it to such unholy acts as Clandestine Blaze, Katharsis or Moonblood. The difference is immense. I would say that the Ukrainian stage is more folk/pagan than black. There are interesting projects like Kaosophia, Do Skonu, Nahemoth and Nocturnal Amentia which is not currently active. It is possible that I left someone out, but considering the size of the territory of our country it is only a tiny minority of bands. The real history of our land is in my opinion Hate Forest, Lutomysl and early Lucifugum.

5. Among the themes that are dealt with in the lyrics of their songs is the decline of the human being, what do you think this decline is due to, a spiritual, economic or social issue? In some way, the history of suffering of the Ukrainian people is reflected in your lyrics and in your music? What opinion do you have about Satanism, which is somehow also present in your texts? And why do you consider it interesting to discuss these issues?
I have a positive view of religion and spirituality. I make it a point to visit historical temples and churches in my travels. While there are many black metal fans who greatly admire the aesthetics of medieval European architecture, they often forget that the majority of these magnificent structures were built by the hands of Christians who are so thoroughly despised by many metal bands. The further one goes into the study of theosophy the more one goes to the well of christianity for answers and I find this to be an interesting endeavour. That doesn’t mean that the principles of Christianity are close to me or represent my own views. This isn’t the case. Having said that, talking to a thinking christian who is willing to have an intellectual discussion or debate is a much more interesting conversation than one with say a habitually drunk metal festival goer the extent of whose “intellectual” rhetoric begins and ends with “Hail Satan”. As it pertains to my personal faith - some things I have already found for myself, others I am still searching for. Perhaps eventually I will be able to answer that question more fully. I think the thing that unites the 90s and 2000s generations of black metal artists is the fact that they are simple headbangers at heart and their lyrics generally do not leave the accepted norms of the genre. There are of course exceptions from the rule. There are bands like Deathspell Omega, Acherontas, Ofermod and others whose lyrics are the fruit of contemplation and experience drawn from many sources and woven into their music.
I neither accept blind worship nor liberal satanism which begins and ends with self abasement to supposedly put oneself in opposition to the world. In modern times many so called cargo-cults have emerged and many black metal bands are at least somewhat involved in these movements. When these fledgling occult groups which are a mish-mash of “men, horses and chariots” so to speak are created bereft of tradition and organic historic development it is simply syncretism. (*). For example the worship of Pan God, Baphomet or Anti-cosmic movement. An example of anti-syncretism may be something like a solar cult which is found in many ancient cultures, or more traditional heathenism where the forefathers believing in the principles of dualism of light and darkness tried their best to appease both sides. *I am talking about “cherry picking” and mixing of the elements of different philosophies and religions. 

6. The album features the contributions of Lazareth, S.S. , Engwar and Pavel Vit, how did the possibility of these collaborations come about and what have they contributed to the final result of the album?
Lazareth is a french musician and a good friend of the band. He is responsible for all the brass instruments in Peste Noire. Some of the brass parts for our album were created during the initial writing process and some were added later. These experiments will continue in the upcoming album. Engwar also did the mastering work on Tome II.
Pavel Vit is also a friend and helped with the ambient part in the track Abstract Life, Abstract Death. We previously worked with him on a track found on the Goatflesh album - Pilgrimage to Icon of Sin. In short, without their contributions the album would not be what it is today.

7. The cover of the album "Tome II" stands out for its simplicity at the same time that it hides a duality, who was in charge of the design of the cover? What does the cover mean and how does it relate to the music of the album?
The combination of living human form and a statue was exactly what was intended, so I am very happy our intent was realized. Cover art was made by Alexander Held (Ubertragic Art). He is a great artist and black metal fan from Russia. Light and darkness. Man and woman. Good and evil. The piece depicts the ever present principle of dualism. The two opposites form a whole and one flows from the other. The one gives significance/faith to the other (key). See The Delivery of the Keys, or Christ Giving the Keys to St. Peter a fresco by the Italian Renaissance painter Pietro Perugino.There are also undertones of violence, imposing one's will/belief system on another. The hands that are transferring the key are covered in symbols: the sign of mercury - reference to the gnostics, whip - reference to the Khlysts (an underground sect which splist from the Russian Orthodox Church in the early 17th century), Ouroboros (an ancient symbol depicting a serpent or dragon eating its own tail), the grail and the all seeing eye.

8. For the vast majority of bands, the appearance of Covid-19 has led to the cancellation of concerts, how has this affected you? Do you see a short-term solution that allows you to return to the stage?
At this time Grave Circles is not performing live. The reason isn’t even Covid 19 but the lack of desire to play live and the logistics of the band being comprised of live and session musicians who live in different cities. This certainly complicates things in that regard. In addition to that there is the financial aspect which is a hurdle. Touring and performing live is a different sort of work, it is more of a routine and less of a creative process. Also to tell you the truth, I don’t really want to spend too much time thinking about our image or long preparations for touring. I’m not out to surprise or shock anyone, let the music speak for itself. 

9. For the publication of the new album in CD and vinyl format you have had the label "Les Acteurs de l'Ombre Productions", how did the possibility of editing the album with them come about? Are you satisfied with the promotion and editing work accomplished?
Yes, Ladlo are great people who follow through on their promises. Great group to work with. The album was ready when the contract was signed and to tell the truth I am very far from promotion so it’s hard for me to be the judge of that aspect of the business. 

10. Centuries of Human Rot is Baal's label, which has dealt with the cassette edition of “Tome I” and “Tome II”, why did you decide to create the record label? Will there be future editions on the label of other bands? What is your opinion of a format like cassette?
I really love cassette tape releases and there is an idea of releasing a small numbered edition. For now we are talking about releasing small editions of releases of Grave Circles and Goatflesh on tape. We will see what comes next. I doubt that this will become a big thing, but time will tell.

11. You come from the Ukrainian city of Vinnytsia, how would you describe the black metal scene in your area?
In all of our cities history we haven’t had a single black metal band. The city is 500,000 people but there are very few musicians and not many fans either. As of now there are a couple of poser heavy and power metal bands but other than that nothing. In our Post-Soviet world being a metal fan or musician isn’t really trendy. If you like heavy music, you must be some kind of freak. There aren’t many new people coming to the scene and as folks in the scene get older they leave to dedicate more time to family or work. So the older generation retires and the younger generation isn’t in a hurry to replace the old timers. That translates into lack of resources for even a regular rock/metal scene, nevermind black metal.

12. How were your beginnings in music: the first CDs you bought, the first concerts you attended? What did you do in your lives that influenced you to want to be musicians?
My first CD was a bootleg mp3 collection which was so popular at that time. Pirates got regular CD-r’s and burned mp3’s in 128-192 kbps format. They used regular printers to print cover art. Oftentimes the names of bands and band members were wrong. These went for about 4 dollars a piece. A real genuine CD was all but impossible to find. If I had to guess I’d say my first CD was the Moonspell Discography. My first real, genuine CD was Sepultura - Nation. It was their newest album at the time.
The first concert I went to was at a local metal session called Terroraiser. The band playing there was Smashed Face from Czhech Republic and a local band called Reactor. In 2006 it was pretty awesome. The sound was terrible but the atmosphere was incredible! 
My musical journey started in 2011 when I started to play drums in a post rock band which is now long gone. I was really inspired by Sepultura’s DVD - Under Siege. I am a big fan of their early material. As a kid I used to play air drums, kind of like other kids play air guitar, but for one or another reason I only got into music seriously in 2010 when I got behind a real drum set for the first time.

13. What is the last album you have bought? Which album defines for you the essence of black metal? yWhich album doesn't stop playing on your player?
RIGOR SARDONICOUS - Ego Diligio Vos + ENSHADOWED - Intensity
Si Monvmentvm Reqvires, Circvmspice by Deathspell Omega is the black metal masterpiece for all times. 
Regarding the album, to which I return from time to time.. All Katharsis albums. Never get bored listening to it. 

14. What immediate future plans do you have for the band? Are you already working on new songs with a view to an upcoming album?
At this time I am working on 8 tracks which were written together with my old guitarist Virus and Nocturnal who was a member of Goatflesh in 2014-16. I have 8 demos recorded and after processing they will hopefully become full blown songs for our next album which as I stated above will be a DIY effort. 

15. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Grave Circles this is the place. I hope the questions are to your liking.
Thank you for the interview!
Listen to the right music and support the underground. You, the listener are its foundation.


Black vinyl, limited to 300 copies, 12", EP, Limited Edition, Stereo

viernes, 23 de octubre de 2020

YFEL 1710


Origen: Polonia

Formados: 2018

Estilo: Black


Enlaces: Bandcamp y facebook.


  • Klimorh ?

  • Willa wisielców CD 2020
Nuevo proyecto polaco detrás del cual podemos encontrar a Klimorh de los también polacos Non Opus Dei. Los seis temas aquí ofrecidos se mueven por terrenos del black metal digamos que clásico, opresivo, oscuro y denso pero también con algunos aportes que no desentonarían en un álbum de Non Opus Dei y he de decir también que todo el álbum se encuentra rodeado de un aura pagana que tan bien saben aportar las bandas ucranianas lo cual puede llevar a equívocos en cuanto a su procedencia. El álbum ofrece elementos reconocibles como unos riffs incendiarios que pueden llegar a ser casi repetitivos y llevar el sonido de este álbum a terrenos próximos al vanguardismo, sobre todo cuando las voces van desprendiendo gritos y aullidos de sufrimiento y violencia; y es que el apartado vocal de este álbum se antoja un elemento totalmente fundamental, logrando elevar el resultado final con variedad de registro por un lado y también por su dinamismo, aunque Klimorh acaba por dejar su impronta de manera que su estilo acaba por hacerse reconocible. El resto de sonido de este trabajo se centra en una vorágine de claustrofobia, elementos enrevesados, una batería que destaca también por la garra que acaba por aportar al conjunto. La temática se centra en historias reales acaecidas en la ciudad de Varmia y ese halo de misterio y terror acaba por hacerse del todo presente en este álbum al colarse de una manera u otra en la atmósfera que emana de "Willa wisielców".(8,1).

1. Szpital przemienienia - KORTAU 07:57
oto stoję nad wami udręczone dusze w przeklętych ciałach o złym czasie, w złym miejscu się spotkaliśmy kalekie dusze w przeklętych ciałach tamtej zimy z drzew spłynęło mleko konających z tego źródła piło czerniejące słońce głębia życia wypłynęła z nieskończonej pustki głębia życia - z nieskończonej pustki niosę wasze trupy ze sobą gdzie idę, tam - wy ze mną kalekie dusze w przeklętych ciałach trupy w moim sercu lecz chociaż przeklęci, poznaliście pełnię martwy uśmiech martwych dzieci wtulonych w piersi wypełnione pustką z drzew umarłych płynie mleko konających z tego źródła pije czerniejące słońce głębia życia płynie z nieskończonej pustki sukom konającym nabrzmiewają sutki szpital przemienienia stanął wam na drodze szpital przemienienia szpital przemienienia wzniósł się na mej drodze a czarne słońce gaśnie ponad murami a trucizną z moich ust jeszcze dziś, ostatni raz i oto gaśnie słońce nad nami trucizną z moich ust ostatni raz i oto gaśnie słońce nad nami trucizną z moich ust ostatni raz wzywam was o martwi, zabłąkani na tej ziemi o martwi, wiem że chcecie już odejść w krainę cieni o martwi, zabłąkani na tej ziemi o martwi, czas w końcu wyruszyć w krainę cieni Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau.  
2. Warszawska 107 07:14
   Diabeł w mej głowie budzi mnie

w krwistych ściekach świat gnije
dziecko zawisło na poddaszu
dziewczyna nie żyje
chłopak jej na pętli
tańczy swój ostatni taniec
śmierci taniec
powrozy na strychu
śmierci taniec

śmierci taniec
śmierci taniec
śmierci taniec

A nad wisielcem jeden kruk
i niebo martwe samotnością
a kruk ma twarz dziewczyny
co uśmiech dała martwym słońcom
a z nieba krwisty płynie deszcz
a może to tylko jej łza
Willa Wisielców dalej śni sen
w którym - dziewczyna, kruk i ja

śmierci taniec
śmierci taniec
śmierci taniec
3. Dead Landscape 08:17
chasing the sun chasing the moon left young return old now heavy silence reigns the place and her hair cover the sunset in a misty cold and all the rivers mournfully roll mourning for what I am finally bereft of a hundred lakes and no fish a hundred trees and no birds a thousand paths and no footprints a hundred towns and no men flocks of birds flew away only a solitary cloud wanders on and I sit alone with all this towering over me we never tire or bore each other the dead landscape and I  
4. Zachowaj mnie 05:46
  W złej woli i nienawiści
- zachowaj mnie
w niespełnieniu i w wiecznym szukaniu
- zachowaj mnie
W bluźnierstwie, do samego końca,
- zachowaj mnie
W tęsknocie za tym, co dalekie
- zachowaj mnie

król tej ziemi pełnej gówna i złota,
choć bogaty, to biedny, dusza stara, choć młoda

w płomieniach, które
posiadły drewno waszych domów
- zachowaj mnie
w piorunach, co kochają drzewa
- zachowaj mnie
które wspinają się wysoko
- zachowaj mnie

spełnienia nie niesie nic,
choć w ogrodzie złote krzewy
ani Ty, gotowa umrzeć,
chętna skoczyć w niebyt

W złej woli i nienawiści
- zachowaj mnie
w niespełnieniu i w wiecznym szukaniu
- zachowaj mnie
W bluźnierstwie, do samego końca,
- zachowaj mnie
W tęsknocie za tym, co dalekie
- zachowaj mnie
5. 1710 08:00
 Warmio moja
łzami się oblewaj
i boga, boga się wyrzekaj
wspominaj, jak śmierć pozbawiła życia prawie każdego
a było to roku tysiąc siedemset dziesiątego

w puste pola
w puste lasy
w puste miasta
w puste wsie
w pustych oczach
puste noce
wszędzie trupy
puste dnie

i bogatych
i ubogich
do jednego dołu
do jednego dołu
z pustych lasów
z pustych pól
z pustych nocy
z pustych dni
wszystkich was
wszystkich ich

w puste pola
w puste lasy
w puste noce
w puste dnie
do jednego dołu
do jednego dołu

i znów mór zapanuje
ze świata zabierze was
kochanków mór
na zawsze połączy
a dziecka od rodzicow
nic już nie rozłączy
a matka co dzisiaj
za dziećmi płakała
jutro w krainie śmierci
razem będzie z nimi stała

i bogatych
i ubogich
do jednego dołu
do jednego dołu
z pustych lasów
z pustych pól
z pustych nocy
z pustych dni
wszystkich was
wszystkich ich
do jednego dołu
6. Barczewskie noce 03:58
 barczewskie noce
ocean czasu
barczewskie noce
ocean samotności

ocean czasu przejść
by umrzeć we śnie
cela 12
pawilon 14

ja nie małpa
judasz zostaw
i zostaw mnie
cela 12
pawilon 14

ja nie małpa
judasz zostaw

ocean czasu
ocean samotności
by umrzeć we śnie
cela 12
pawilon 14

barczewskie noce - ocean czasu
barczewskie noce - ocean samotności
barczewskie noce - by umrzeć we śnie
barczewskie noce - by nigdy nie zasnąć
barczewskie noce - cela 12
barczewskie noce - pawilon 14

CD, Album, Stereo
Slipcase. Includes 4-page booklet.

jueves, 22 de octubre de 2020



La siempre interesante banda polaca Black Altar entrega un nuevo lanzamiento en formato split con los noruegos Kirkebrann, encargandose ellos de abrir el mismo con dos temas nuevos y un outro. El sonido que nos ofrecen los polacos en estos dos temas es un sonido black sólido con muchos elementos clásicos, fruto de una carrera que arranca en 1996, pero que también sabe ofrecer algunos aportes de sonidos más actuales. El primero de sus temas "Deus Inversus" es un tema poderoso y contundente desde el inicio, con un ritmo implacable en donde el entramado de guitarras logra ofrecer un plano atmosférico y épico a su música, con voces agresivas y una implacable batería que completan el conjunto. "Ancient Warlust" que le da continuación ofrece un mayor dinamismo y riqueza de guitarras, es un temas que fluye desde un apartado más crudo, con guitarras rápidas, de riffs densos y profundos que poco a poco va medrando hacia un black mucho más agresivo, ofreciendo un espectro de elementos que tanto podemos reconocer como clásicos como otros más actuales sin que en ningún momento se resienta el apartado de las voces, que siembran la destrucción más profunda y la batería que va ganando enteros a mediad que el tema coge velocidad. El "outro" que completa el aporte de Black Altar en este compartido es una pieza atmosférica y ambiet de sonidos letárgicos y vacuos. (8,2).

1. Black Altar - Deus Inversus 06:43  
2. Black Altar - Ancient Warlust 05:45  
3. Black Altar - Outro 02:13  
4. Kirkebrann - Begrensa Bevissthet 04:13   
5. Kirkebrann - Faux Pas 04:07  
6. Kirkebrann - Et Nederlag 05:40  
7. Kirkebrann - Ufødte Klarhet 02:47  

389 copies pressed on traditional black vinyl. All copies come in a velvet case wrapped gatefold cover with silver hot foil logo and title.
HELLS HEADBANGERS is proud to present the long-awaited third album of legendary Greek black metal institution AGATUS, The Eternalist. Rendered in warm analog tones, gritty but full of life, AGATUS' The Eternalist is an epic journey across the hinterlands of the imagination. In many ways, it follows the heavy metalled direction of 2002's celebrated The Weaving Fates but incorporates the proggier textures of 2012's Gilgamesh EP, thus ushering in a new era for the duo that's respectful of the past but sets its sights on the future - and the unknown.
Says founder The Dark, "The Eternalist reflects another dimension of my compositional style whilst maintaining the signature sounds that AGATUS are known for. Here I delve further into old heavy metal sounds that have always been an inspiration to me and created what I consider my most memorable album to date."
Kaleidoscopic in its vision, with The Eternalist, AGATUS set a clear course toward older sounds and atmospheres: a golden ratio combining the feel of NWOBHM with '70s rock and everything that you have come to know and anticipate of these two brother musicians over the years. Vorskaath adds, "We decided to take an old-style hard rock/heavy metal approach that is manifest on every aspect of the album, from the performances and recording to the sounds we chose and the way we mixed. From the very first notes of The Eternalist, that feel is unmistakably there."
With HELLS HEADBANGERS' full backing of this unique and visionary cult, AGATUS will reclaim the momentum achieved during the early 2000s and venture forward into previously untouched realms of glory.
Formed in 1991, AGATUS belong to the first wave of black metal bands to emerge from Greece and consists of The Dark and Vorskaath - brothers and founding members. Their first album, 1994's Dawn of Martyrdom, commanded a cult following as a milestone in Greek black metal, and their followup, The Weaving Fates, received critical acclaim for the musicality and individual sound of the band, which has remained largely a side-project. Three EPs - The Rite of Metamorphosis, Night Mares, and Gilgamesh - have also been released, showing the steady evolution of a band whose exploratory excursions never rest.
The Dark and Vorskaath are also known for their collaboration with artists such as ZEMIAL, Varathron, Absu, Alpha Centauri, Kawir, Equimanthorn, Raven Black Night, Stone Cold Dead, Mark Riddick's Fetid Zombie, and many others.
On The Eternalist, AGATUSare:
The Dark | all voices & choirs, electric & acoustic guitars, electric bass, e-bow, synthesizer, percussion, effects
Vorskaath | drum set, percussion, synthesizer, electric guitar

martes, 20 de octubre de 2020



Origen: Italia, Catania.

Formados: 2013

Estilo: Black


Enlaces: Bandcampfacebook e instagram


  • B.G.  Guitarra
  • C.G. Voces
  • C.V. Batería
  • R.M. Bajo

  • I.N.D.N.S.L.E. CD 2018  
  • Twin Serpent Dawn Split 2019  
  • Is, Qui Mortem Audit CD 2020

Segundo larga duración para estos italianos que han optado por enfocar su sonido hacia terrenos más black que su anterior obra, sin olvidarse de las influencias death, doom y funeral de sus inicios. A lo largo de los cinco temas que conforman este "Is, Qui Mortem Audit" , la música de Fordomth transita por terrenos pesados y densos, repletos de oscuridad entregando un black lodoso, de imposibles riffs arrastrados y oscuros y que se sumerge en terrenos del death y del funeral doom, de manera que su black metal queda enterrado en las profundidades de su música. El álbum le debe mucho a los pasajes lentos, a veces melancólicos pero sin olvidarse en ningún momento de la pesadez y la oscuridad y es que Fordomth sabe enfrentar la pesadez y brutalidad de su sonido con elementos más melódicos y sin que lleguen a ser accesibles si que saben arrojar un poco de luz en el conjunto. El álbum también sabe ofrecer atisbos de velocidad y caos, las voces enturbian el ambiente de caos que reina cuando la velocidad cobra mayor protagonismo, con riffs afilados y una batería tremendamente pesada. "Is, Qui Mortem Audit" funciona como un álbum inundado que una atmosfera ocultista, casi que ritualista, capaz de sonar profundo a la vez que no descuida algunos elementos que dotan al sonido de un plano más melancólico y des oscuras melodías, todo ello llevando su propuesta a terrenos mucho más agresivos y violento que su anterior álbum. (8,2).

1. Esse 08:51  
2. Audere 08:02  
3. Scire 06:41  
4. Mors 07:42  
5. - 05:32  

Blue vinyl limited to 100 copies. Housed in a gatefold jacket with a booklet.

lunes, 19 de octubre de 2020



Origen: Polonia, Bytom.

Formados: 1996

Estilo: Black, death

Temática: Blasfemia, guerra, muerte, oscuridad y tortura.

Enlaces: Bandcamp y facebook


  • Armagog Bajo
  • Diabolizer Batería
  • The Great Executor Guitarra y voces

  • Beyond the Numbers and Creatures Demo 2000  
  • The Underground Storms Eternally Demo 2000  
  • Brotherhood in Darkness Split 2001  
  • Old Death's Lair CD 2001
  • Anti Life Celebration Demo 2002  
  • Channeling the Vortex Through the Spheres of Ancient Time Split 2002  
  • Streams of Aggression EP 2002  
  • Gods of Abhorrence Split 2002  
  • Bestial Antihuman Evil EP 2002
  • United in Hell Split 2004
  • Mutiny of Death CD 2004
  • The Last Morgue EP 2004  
  • Devilry / Throneum Split 2005  
  • Bedeviled Split 2005  
  • Cemetery Sons of Hell Split 2005  
  • Pestilent Death CD 2005
  • Throneum / Incriminated Split 2006
  • Deadly Rituals Split 2006  
  • Decade of Necrostuprumical Madness Recopilatorio 2006
  • The Unholy Ones EP 2007  
  • Total Regression! Split 2007
  • Deathmass of the Gravedancer CD 2007  
  • Hell Obscure Temptation Split 2007  
  • Deep Grave Dungeons Split 2008  
  • Deathcult Conspiracy CD 2009  
  • Demonical Communion Split 2010  
  • Necroblasphemies Split 2010  
  • Ceremonial Abhorrence & Darkness Recopilatorio 2010  
  • Trupi jad Split 2011
  • Death Throne Entities CD 2011
  • Horrorities Recopilatorio 2012  
  • Cursed of the Holiness Split 2012  
  • No Salvation Split 2012  
  • A Prophecy of Nihilism Split 2014  
  • Organic Death Temple Demo 2015  
  • Ugly Raw Aggressive and Dead Recopilatorio 2015  
  • CACOMethamorphosen EP 2015  
  • The Horror Tongues of Time EP 2016  
  • Morbid Death Tales CD 2016  
  • Organic Death Temple MMXVI CD 2016  
  • Communion with Mephistopheles / Razored Flesh Conjuration Split 2017  
  • Night of Terror Split 2018  
  • In the Crypt of the Hakeldamach Feld Split 2018
  • The Tight Deathrope Act over Rubicon CD 2018  
  • Fifth Column of Sheol Split 2019  
  • Martyaxwar Split 2019  
  • Pact with the Forbidden Split 2019
  • Oh Death... Oh Death... Determinate, Preach and Lead Us Astray... CD 2020

Prácticamente con veinticuatro años de carrera a sus espaldas y un sinfín de ediciones hasta la fecha, este trío polaco no deja de sorprendernos. En poco más de cuarenta minutos y seis temas Throneum ofrece una bestia de black, death, psicodelia y doom muy lograda. El álbum es cierto que comienza más encorsetado en registros más tradicionales del death metal en fusión también con un black que no descarte algunas partes ambient, pero una vez entran en escena las voces, que ofrecen un tono de angustia, lleno de gritos de desesperación, son como un toque de atención ante algo diferente que esta próximo a suceder. A partir de aquí, este álbum se transforma en un viaje oscuro y enfermizo al fondo de la miedos más horrendos encerados en la psique humana. El álbum suena potente, hay secciones que son puro death, black demencial, rápido y visceral, con blast beats atronadores, un bajo que se agradece en cuanto a calidez y riffs furibundos sembrando todo ello la destrucción a su paso. Pero Throenum no se conforma en seguir modas ni estilos, y pronto comienzan a aflorar pasajes enrevesados en música, con rápidas transiciones entre pasajes enfermizos, de clara influencias ambient, con inclusión de voces femeninas, teclados y ambientación tétrica propia de una película de terror: pero Throneum también gusta de ofrecer amplios desarrollos en su música, enrevesados en donde tanto el doom como la psicodelia hacen acto de presencia, llevando su música a terrenos cercanos a lo experimental, sustentándose muchas de estas partes en la ausencia de voces que permiten que la música fluya y trasmita desasosiego. A estas alturas creo que nadie va a descubrir la virtudes de Throneum, sin embargo la banda sigue empeñada en continuar agrandando su carrera. (8,4).

1. Alpha: Soulside-Space-Stream 15:13
  There, where the light
Weighs more than all the words of your god
Where trying to jump into a rabbit's burrow
I have concrete legs
As if mother earth were penetrating me with its tentacles
Defending ourselves against change
To protect me from change
Scared, knowing every move I make

In spite of everything I know
Against everything I know
I am getting up instead of falling down

I rise up and am accompanied only by the raven squawk
I cannot hear him, but I can feel him with every nerve
And he feels like I am making him feel
Because of me, thanks to me, in me

Above the jagged clouds...
Where there's only an amber and purple sun
Where only Pegasus as the last creature
Is able to cut this thin
And ionized ray air
Spaces of souls and spirits
I am here
I have risen up
2. Beta: AGLA-on-Tetragrammaton 01:27   instrumental
3. Gamma: Agla-ON-Tetragrammaton 01:27   instrumental
4. Delta: Self-Appointed-Grandeur 12:21
Self-appointed grandeur Squeezed into a reptilian shell A fetor of loneliness A hang-glider beaming individualism And the toothless jaws are still lying about love One by one, over and over again His majesty… his fear…his meanness Self-appointed grandeur Through lust and through death Self-appointed grandeur ….But only nothingness remains ….But only nothingness remains And the toothless jaws are still lying about light In this darkness, over and over again Quantum continuum, pornographomania Spawns in the skinned cocoons Mammoth blood crystallized in the eternal permafrost Right under the skin of a dying mother The fractals of tundra in her cold hands Of a living spacetime puzzle... Determined by life-giving magnetism. And human hatred 
5. Epsilon: Agla-on-TETRAGRAMMATON 01:20   instrumental
6. Zeta: Archangel-Lucifer-God 08:53
   I am going into the dark
Once again from the bottom
But he fell
I knocked him off myself

I let him fall to the bottom
Exactly where I was
Between shadows and vermin
He cannot get up anymore

He found his victims among the carrion
And now he sings them his psalms
Agla On Tetragrammaton

I am going into the dark
Like an Egyptian angel of the plagues
The Chosen one
To lose

I am

Program repeats on both sides. Released on black vinyl limited to 200 copies

domingo, 18 de octubre de 2020



Origen: E.E.U.U., Front Royal

Formados: ?

Estilo: Black, crossover y thrash.


Enlaces: Bandcamp


  • Dale Lynn Voces
  • Mark Speary Guitarra
  • Tom Hoopes Bajo
  • Wyatt Vaught Batería

  • Pure Act of Sorcery EP 2019  
  • ...from the Emerald Tablet EP 2020

Segundo EP para estos estadounidense que nos presentan cuatro temas intensos y directos en menos de siete minutos. El sonido se puede encuadrar dentro del black con influencias thrash, punk o death, rápido, directo sin apenas concesiones. Riffs rasgados y rápidos se suceden sin piedad sin ningún tipo de concesión al virtuosismo, primando el conjunto por encima de todo. Unas líenas de bajo y guitarra con claras intenciones thrash recorren todo este EP, es cierto también que un ambiente de sudor y barra se pude llegar a colar en el apartido musical, sin embargo las voces, si que suenan con mayor influencia death, lo que los alejas tanto de propuestas thrash ochenteras como de sonido de influencias Motorhead. El álbum rezuma un aroma a clásico, pero con las dosis justa de elementos actuales para alejarlos de ser una mera copia de bandas ya consagradas y de sonidos más establecidos. Su temática tampoco se ciñe a elementos sociales o políticos, sino que va más por terrenos relacionados con las películas de terror y una manera perfecta que tienen de crear esa ambientación es con las intros habladas presentes en todos lo temas. Un nuevo EP que entrega cuatro temas, que suenan compactos y directos, en donde se mantiene digamos un gusto por los sonido cazallosos y sucios de una propuesta que gira entorno al black-thrash o el blackened-death, pero que sabe aportar algo diferente y diferenciador, que hace que los poco más de seis minutos de este EP suenen brutales. (8,4).

1. Dark Magic Retained 01:54
  Dark magic retained.
Maniacal rage.

Black ritual creating plague.
Wake of destruction,
Leaves no remains.

Chilling apparitions.
Removal of the soul.
Flowstone Hellion,

Too late for prayer,
In a smoldering crater.
Footprint of the beast.
Lethal necromancer.

2. Druid's Curse 02:05
 Druid's curse,
Demons flourish.
Scripture of suffering,
Undying courage.

Psionic warlock,
Invoke his name.
Baptized in hellfire,
Blood soaked athame.

In hell,
We burn.

Walk through the hellfire.
Don't get burned.
Baptized in the flames,
Satan is reborn.
3. Upon the Earth 01:08
Enter into a trance.
Records of the Akashic.
Broken seal of the Dark Lord,
Destructive chaos magic.

Read from the emerald tablet,
A pharaoh's curse.
Hex of the eternal,
Placed upon the earth.

Lead to gold.
Rise to power,
Lose my soul.
4. Field of Tombs 01:28
  Supernatural forces,
Possessed to kill.
Raise the dead,
Obey my will.

Born of clairvoyant vision,
A ritual obsession.
Grave master,
Spread disaster.

Field of tombs,
now exhumed.
Flesh and bone,
All souls consumed.

Limited black vinyl with 20-page booklet and A2 poster.
400 copies pressed.