INCIPIENT CHAOS - INTERVIEW

1. The band started up around 2014, why did you decide to create the band? Why did you choose the name Incipient Chaos?

The band was formed in 2014, during a period when we were deeply influenced by the philosophies of mystical alchemy and hermeticism. We have always been fascinated by these concepts, which seek to explain spiritual transformation, the quest for knowledge, and the nature of the universe through mystical metaphors. Black metal, with its dark roots and deeply symbolic aesthetics, seemed like the perfect musical genre to express this fascination.

The name Incipient Chaos was chosen with particular care. It reflects the idea of an original chaos, a sort of primordial matter that, despite its apparent anarchy, contains the potential for transformation and creation. This concept aligns with our vision of music: from dissonance and darkness, a new form emerges, order is born from disorder. This duality between destruction and rebirth is at the heart of our sound and artistic approach.

2. You have just released your first self-titled album, which is preceded by a couple of Eps of a split, however your last release dates back to 2019 and is the split with the French death metal band Defesnestration, what is the reason for this length? period of silence between your last two releases?

After the release of the split with Defenestration in 2019, we went through a period of reevaluation and reflection. The band deliberately took its time to finalize the writing of the album because we wanted each track to fully reflect the evolution of our sound and influences. We have always placed great importance on the coherence of our compositions, and it was crucial for us not to rush the creative process.

However, several factors contributed to this prolonged interval. On one hand, the Covid-19 pandemic profoundly affected our workflow, limiting our studio sessions and making it difficult to maintain a collective dynamic. On the other hand, some members left the band during this time, necessitating adjustments both on a personal and artistic level. While these events did slow down the album's production, they also allowed for a maturation of our music, pushing us to explore new directions while remaining true to the spirit of Incipient Chaos.

3. With almost five years between Terre Noire / Genocidal Heresy (2019) and the new album, how do you think your sound has evolved in this time? How did you approach the writing and recording process of “Incipient Chaos”? What brands of instruments did you use in the process?

It’s clear that over the past five years, our sound has matured and our style has refined. It has evolved alongside us, reflecting our growth both as musicians and as individuals. The recording process itself spanned three years, during which we experimented with various elements and pushed our creative boundaries. This evolution is a testament to our dedication and the deep connection we have with our music.

4. With almost ten years of career behind you and with a new album where darkness is totally present, using styles such as black and death that you have known how to treat under a very underground prism, do you think that the Time to take a step forward in terms of sound and make yourself known to a new audience? How would you define the sound of the album for those who have not yet heard it? What bands and styles are an influence for you when composing your music?

In our sound, you can find all the markers of the style we cherish. We have no pretensions about revolutionizing the genre; rather, we create black metal from our minds and hearts, pouring our very souls into our music. Our influences are diverse, with bands like Funeral Mist, Mayhem, Deathspell Omega, Hate Forest, and Absu shaping our sound and approach. Each of these bands has left a mark on our work, inspiring us to forge our own path within the black metal realm.

5. Your lyrics revolve around occult themes and alchemy, how are these concepts developed in the new album? How would you present these concepts to those of us who are not initiated into them and why did you choose this theme?

The album serves as an allegory for humanity's perpetual desire to reach elevation and touch the Divine. It was composed to evoke, in a dreamlike manner, Man's relationship with God and Satan, and the frenzied quest to replace the Divine. Loosely inspired by alchemical readings from the religions of the Book, "Incipient Chaos" is a sonic journey that narrates this quest for truth. Each track is carefully crafted to follow the various stages of the alchemical transformation, with lyrics written to align with this concept. Ultimately, the narrative reveals that the seeker may never achieve their goal, illustrating how both the Devil and God have played their parts, and emphasizing the cyclical nature of existence.

6. You remain faithful to your work at Darkened Studios, something that has accompanied you since the beginning of the band. What connection unites you with them? Have you considered the possibility of working with other professionals for the edition of this new album? 

We have a longstanding relationship with Darkened Studio, which has been run by people close to the band since our inception. Collaborating with them felt like a natural choice from the very beginning. As for the label, we reached out to it through a mutual acquaintance. We felt a stronger connection with the roster of Antiq, which has a more medieval focus, aligning better with our artistic vision.

7. For the release of the album you have also taken the step to work with the record label I, Voidhanger Records, why did it change and how did this collaboration come about?

The distribution by I, Voidhanger Records is broader and not limited to just France. This allows us to reach a wider audience and share our music with fans around the world, which is something we truly value.

8. Have you been in charge of designing the cover yourself, as on previous occasions, or have you worked with other professionals? What does the cover represent and how does it relate to the content of the album?

All of our graphics are managed by our vocalist, Roy de Rat. For the album, he blended collages and photomontages to create visuals that adhere to black metal aesthetics while incorporating elements of hallucinatory esotericism. This approach enables us to maintain complete control over our message and visuals, ensuring that every aspect of our presentation aligns with our artistic intentions.

9. In the past you have presented your music live, is it difficult for you to bring a musical concept like yours live? What dates have you closed for the new album to be presented live? With which band, by affinity? Would you like to go on tour?

We would love to hit the stage again, but for that to happen, we need to find a live drummer, as César is quite busy with his other projects. If the stars align, we hope to assemble a lineup that allows us to perform live, which is something we all crave.

10. What can you tell us about the extreme metal scene in a city like Nantes? What bands would you recommend? How do you see the health of the French black metal scene in recent years?

Nantes has a rich history of excellent black metal bands, both past and present. Notable names include VOID, Hentgarm, Ghotolocaust, Morzhol, Regarde les Hommes Tomber, S.V.E.ST., Adoperta Tenebris, and Lunar Tombfields. This vibrant scene has greatly influenced our own musical journey and continues to inspire us.

11. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your lives that pushed you to want to be musicians?

Our first concert as a band took place in Angers in 2014. The desire to become a musician stemmed from our urge to create music that allows for spiritual elevation. It’s about channeling our inner experiences and emotions into something that resonates with ourselves and others.

12. What album represents for you the essence of black metal? What latest albums have you bought?

That’s a tough question! The album that perhaps best represents the essence of black metal would be Mayhem's "De Mysteriis Dom Sathanas" or Emperor's "Nightside Eclipse." Both albums encapsulate the raw energy and profound themes that define the genre.

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Incipient Chaos fans this is the place. I hope the questions are to your liking.

Thank you for the interview and for your support of the band. We appreciate every one of you who takes the time to listen to our music and join us on this journey.

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Winter Deluge ‎– Degradation Renewal 13,99 €

Vinyl, 12", 45 RPM, EP, Limited Edition

ORANSSI PAZUZU

 MUUNTAUTUJA (2024)

Sexta entrega para los fineses dentro de un estilo como es el black psicodélico en donde no tienen, a día de hoy, ningún tipo de competencia. Forjando su sonido dentro del rock psicodélico, el cual le ha dado tan buenos resultados a lo largo de su carrera, este nuevo "Muuntautuja" se antoja mucho más abstracto, etéreo y si cabe disonante. Oranssi Pazuzu nos empuja al fondo de un enfermizo ambiente de locura, soledad y desazón, empleando para ello una buena base de elementos electrónicos que pueblan lo temas, logrando trasmitir un sonido casi que mecánico, con un poso importante del industrial entendido desde una ambientación que nos trasporta a los confines del cosmos. Los temas van medrando desde unos inicios ambientales, inquietantes eso si, que crean el caldo de cultivo perfecto para que poco a poco la música vaya cobrando mayor peso, dentro de una propuesta bastante demoledora a la hora de que esos sonidso de corte industrial se fundan con riffs potentes y lodosos que hacen acto de presencia como ráfagas desproporcionadas de violencia, al mismo tiempo que la batería funciona como un sonido hipnótico que lo va inundando todo, hasta que las voces crear un punto de locura más presente en las mezcla. Los cambios de ritmo van haciendo acto de aparición , muchas veces elevando el ritmo hasta extremos insanos que van licuando al oyente hasta que acaba por forma parte de la misma propuesta. Ciertos arreglos ambientales acaban por aportar ese tono entre esotérico y cosmológico a la música, donde ya el tono de psicodelia y experimentación se ha llevado a un extremo tal que es imposible discernir donde se encuentra la realidad con respecto a la abstracción y la experiencia traumática que es la audición de un álbum ciertamente complejo pero amable a la hora de sanador de nuestro intelecto. (8,4).

Nuclear Blast

1. Bioalkemisti 05:31  

2. Muuntautuja 04:30  

3. Voitelu 05:21  

4. Hautatuuli 04:39  

5. ● 00:51   instrumental

6. Valotus 06:57

7. Ikikäärme 09:49  

8. Vierivä usva 05:27  

  43:05

Weregoat ‎– The Devil's Lust 27,99 €

Vinyl, 12", 45 RPM, Mini-Album, Limited Edition, Red Transparent

VANANIDR

 IN SILENCE DESCENT (2024)

Aunque en activo desde hace relativamente poco tiempo, los orígenes de la banda hay que buscarlos a mediados de la década de los noventa, con una formación que ha ido mudando a lo largo del tiempo, pero manteniéndose en esencia fieles a ese sonido black escandinavo que sirve para dar forma a su quinto larga duración. Con un sonido de batería que sabe conjugar un ritmo directo, con otros con menos intensidad, pero sin perder de vista un regusto a sonido clásico y tradicional de un black metal noventero. Lo mismo podemos decir del sonido de guitarras, áridas, crudas y devastadoras cuando el sonido black más primitivo impera, pero que saben también sacarse de la manga algunas melodías logradas, en un segundo plano que logra crear una atmósfera de cierta desolación que nos va acompañando a lo largo del álbum. Las voces no hacen concesiones, en una plano directo y crudo, sin ningún tipo de fisuras en su vertiente más cruda que por momentos parecen querer mecernos en un tono hipnótico cuando se funden con las secciones más accesibles de guitarra. Un álbum que rescata la esencia del black más tradicional, sin altibajos a la hora de lograr ofrecer un ritmo en general alto con unas melodías oscuras y abrasadoras que recrean perfectamente una ambientación de odio y de muerte. (8).

Avantgarde Music

1. Forest of Grief 06:52  

2. In Silence Descend 04:02  

3. The Black Crow and the White Swan 06:47  

4. Tearing Skin 06:38  

5. Black Feathers 05:31  

6. Revel in Tragedy 05:26  

7. Superior to None 06:43  

8. Far Beyond 06:55  

9. Burden 06:41  

  55:35

Nocturnal ‎– Serpent Death 20,99 €

Regular edition on black vinyl, with insert, poster, sticker, post card and download code.

ARS VENEFICIUM

 THE LURKING SHADOW OF DEATH (2024)

Tercer larga duración para los belgas, que incide en ese black metal potente en esencia pero que no desentona a la hora de ofrecer un tono melódico atmosférico a medida que avanza el álbum. Y es que Ars Veneficium se decanta por un tono poderoso, un sonido de batería por momento abrasador sobre el cual se va construyendo ese black emtal que logra en cierta secciones sonar crudos y directo, con una buena combinación de guitarras escupiendo poderosos riffs pero que en un segundo plano comienzan a dar síntomas de querer virar a texturas más melódicas, formando, el entramado de riffs un sonido de poderoso y violento black metal. La banda ha sabido canalizar este parte melódica de sus sonido de forma acertada, la presencia del bajo es palpable en la estructuras de los temas y en algunos de ellos se presta a participar en la construcción de la parte más melódica del sonido. las voces se muestran árida y directas, con variedad de registros hacia texturas más épicas y limpias a medida que los temas se van sucediendo y la participación de el cantante de Enthroned en De Glorie van Dood y de Necrophobic en My Tomb Under the Stars no hace más que acrecentar estar apartado del sonido del álbum, logrando cierta variedad y mayor riqueza de registros. El álbum fluye de forma casi que árida a veces, con unas guitarras abrasadoras y un sonido directo de batería, acompañado de unas voces no exentas de cierta crudeza, sin embargo el contrapunto de elementos con un componente más melódico dotan al álbum de un regusto a muerte y oscuridad que logra atrapar al oyente en una propuesta acertada en las diferentes facetas que intenta proponer. (7,9).

Immortal Frost Productions

1. Death Is Light 06:26

Behold the offering, For I preach. The truth over lies, Now revealed.. In their eyes, The Ignorance. In their eyes, The shallowness. Death is light, Death is all. Hear me… For I chant thy words. See me… For I dance in thy light. Consumed soul, By the endless void. Embraced by the wonders of what lies beyond. The starless path, All is dark. I long for the night to fall upon me. Death is light, Death is all. Redeem me… For I am one. Redeem me… For I am nothing. The lingering twilight in which I prevail. The beauty of,.. The scent of,.. Dead.. Death is light, Death is all. Life equals death and death equals nothingness, For this is what I am and shall be in eternity. A piece of the puzzle to the endless void..  

2. Eye to Eye with the Devil 04:38

In the shimmering dimness,

I follow thy presence.

In the thundering roars,

I listen to thy message.

In the waking hour,

I follow thy command.

In the fall of night,

thy summons me to madness.

Those who are blind witness insanity.

I embark revelation!!

Satan!!!

Thy voice inside my head,

whispers to me: “don’t withhold”.

In the moment of clarity,

freed from discomfort.

Frightened as I am,

I smile in your presence.

Nothing was ever so clear,

as you lay down the answer before me.

Those who are deaf witness the vociferous,

I embark revelation!!

Satan!!!

Eyes have awoken by the falling snow.

Beautiful poison that delivers my soul.

My veins opened by the taste.

And my blood has absorbed the lingering cold.

The darkness draws me in,

while I commit another sin.

Satan lurking over my shoulder,

until the deed is done!

Restless night,

eye to eye with the devil.

I’ve given my soul to thee.

I long to be set free..

In the fall of night,

beautiful poison.

3. De Glorie van Dood 05:05

In de donkerste dagen waar geen troost gevonden kan worden, zal men de realiteit onder ogen moeten komen. Het vasthouden aan de dagen van weleer is een verloren zaak. Zoals de natuur het wilt, komt alles aan zijn einde. Des larmes de sang, coulent sur la face putride du monde Dat wat eens scheen, heeft langzaam zijn licht verloren. Dat wat eens leefde, is nu bedorven. …de sa carcasse, suinte notre “gloire” Zoals de mensheid gedoemd is om te sterven, zal ook onze herinnering met de tijd vergaan. Wij die eens waren, zijn niet meer.. Het licht dat ooit voor ons brandde, is nu gedoofd. Een stempel op ons nutteloos bestaan. …du néant, le glas du silence résonne grâcieusement De geur van ontbinding sluipt door je hersenpan, De gortigheid die ermee gepaard gaat, is een feestmaal voor het ongedierte. In de eindeloze duisternis,.. zonder bewustzijn van bestaan zullen wij zweven. Tijd bestaat niet waar wij reizen, want tijd is een luxe die met het leven verbonden is. Je suis (entre) Dieu et le vide, l’accusateur sans voix la faucheuse du temps et mon sable, l’ »être » de l’homme: il doit être dispersé! Een luxe die met onze laatste adem ontnomen wordt. De glorie van dood, zal wederom zegevieren.  

4. One with the Cosmos 05:44

   Here I stand at the end of all.

Reflecting on myself and what has been.

For alone we've come into this world.

And alone we wander into our next journey.

As we are the seed of death.

The essence of life slipping between my fingers.

In the hands of Death I linger now.

Grasping towards my last breath.

My last moment as this conscience being.

Shallow I am.

My spirit is taken!

One I've become with the fire that set my pyre.

My bones became ashes and the ashes turned to dust.

Through the clouds and shimmer I levitate.

Where light and darkness are one, and one is none.

Taken to the cosmos, I am,

Lost in the desperation of endless wonders.

One with the cosmos, I am,

Drifting between time and energy.

Cosmos…

The silver dust that sparkles in the nightshade.

A twilight of old.

Absorbed into the grit,

Where nothing exists!

An empty vessel I Am.

Taken by eternity.

Taken to the cosmos, I am,

Lost in the desperation of endless wonders.

One with the cosmos, I am,

Drifting between time and energy.

Cosmos…

Here I stand at the end of all.

Reflecting on myself and what has been.

For alone we've come into this world.

And alone we wander into our next journey.

As we are the seed of death.

5. Into the Void 05:03

Through the void and frozen lakes of a thousand miles of nothingness. The reflection of the power within ourselves is on the verge of collapse. Limitless is the essence, creator of despair. The journey is endless, the journey is endless. Wither in self-destruction, the purest form of degeneration. Destroy ourselves, as we dance with the angels of death. Linger within your own consciousness and wonder, what death has to offer once the doors have been opened. The final step towards eternal beauty. The journey is endless, the journey is endless. The lurking shadow of death, welcomes us on our final journey. While you take your last breath, your eyes shall be closed forever. Into the void, we drift ahead. Into the void, the Journey is endless. The last glistering shades of light. Into the void, we drift ahead. Into the void, the Journey is endless.  

6. My Tomb under the Stars 06:07

  The glistering of the moon through the night sky,

like a fairytale of old.

The beauty of death to come,

merely seems like a journey home.

Deathless as I am,

I wander between the stars and the sun.

Through the gates of my (eternal) domain,

to my tomb under the stars.

The haven of my journey,

is the curse of my being.

The thoughtless becomes the thoughtful,

in the never ending search of purity.

Thy lingering shadow of darkness takes me,

on the path to the beyond.

Welcomed by thy presence,

the endless night is to fall upon me.

Glorious twilight of light and darkness,

the spiral in the shimmering depth.

Torn between life and death.

mesmerized at the speed of light.

When the fire of the sun no longer burns,

the eternal eclipse is vast.

The faceless lurks in the dark,

and summons me to his command.

I, the godless am evoked,

by the blessing of the one true divinity.

In his name, in his presence, in all his glory,

I ascend towards the blistering deep.

Deathless as I am,

I wander between the stars and the sun.

Through the gates of my (eternal) domain,

to my tomb under the stars.

7. Pale Image of I 07:25

 Shunned in the reflection of the mirror.

Mesmerized by the pale image of I.

Dwelling in the endless depth of the eye.

In the voyage of nothing. (of everything)

The bleak void of beautiful darkness that draws in.

The endless spiral of the majestic void.

The longing to be absorbed by it.

The craving to the unknown.

The last dawn of light,

shivering in grey obscurity.

The endless gaze into the reflection of I,

pulls thee into the deepest stream of dimness.

The lingering mind falls

and breaks into thoughts.

The last dawn of light,

shivering in grey obscurity.

The endless path of wonders and dreams,

taken by the pale image of I.

Wandering in the circle void of the reflection,

staring into blackness..

Into the deep of I,

emptiness is all.

The greyish becomes black,

consumed by the darkened void!

The voyage of I,

is the voyage of thee.

There where our world ends,

another begins.

Into the deep of I,

emptiness is all.

The greyish becomes black,

consumed by the darkened void!

  40:28

Thyrfing ‎– Vanagandr 31,99 €

Vinyl, LP, Album, Limited Edition, Marbled Multicolor

INVOCATION - ENTREVISTA

 

1. Lleváis en activo desde el año 2015, después de una demo y un par de Eps, acabáis de editar vuestro primer larga duración, ¿cómo ha sido la trayectoria de la banda a lo largo de estos años hasta llegar a la edición de este “The Archaic Sanctuary (Ritual Body Postures)”?

Saludos!, por acá Sense of Premonition en nombre de INVOCATION, Gracias a ti por la consideración!, Valparaíso sigue mal oliente y peligroso como siempre, sin dudas un lugar apto para ejecutar metal oscuro…

En cuanto a la trayectoria hasta ahora todo ha sido un minucioso proceso, si te fijas hemos puesto cuidado en los movimientos de la banda, desde nuestros recitales al diseño de cada lanzamiento, claramente estamos influenciados por la vieja escuela pero nos hemos sabido adaptar a los nuevos tiempos. Pusimos mucho esfuerzo en el álbum debut (considerando las experiencias de los anteriores EPs) y creo que ya estando en físico hemos logrado un gran objetivo.

2.      Han transcurrido casi cuatro años desde la edición de vuestro último EP, ¿habéis dedicado todo este tiempo a la composición y grabación del nuevo álbum?¿Cómo crees que ha evolucionado el sonido del nuevo álbum con respecto a “Attunement to Death”?¿qué marcas de instrumentos habéis usado en el proceso?

Algunos de los tracks que se pueden escuchar en “The Archaic Sanctuary” fueron compuestos hace mucho tiempo, por ejemplo “Metamorphosis” fue una canción que definitivamente no encajaba en los inicios de la banda ya que es más agresiva y salvaje, también descartamos un montón de Riffs y algunas canciones completas, quisimos dejar lo mejor para este disco. Creo que el 2022 fue clave para consolidar la estructura del disco, tuvimos un par de conciertos y ya a inicios de 2023 el álbum tomó forma de demo, luego de participar en el festival Decimatio VIII, agendamos el estudio Equinox Media para grabar nuestra obra. Con respecto a “Attunement” y el sonido, creo que hemos quedado más que satisfechos, la idea es siempre ir mejorando la producción en cada lanzamiento, por ejemplo en “The Archaic” podrán notar inmediatamente el protagonismo de la Batería y las Guitarras, para la grabación de cuerdas utilizamos los mismos instrumentos que usamos en vivo (Epiphone/LTD), la diferencia radica en los amplificadores de Guitarra, en esta oportunidad Eric (dueño de Equinox) había adquirido un amp Marshall JMP Master Volume del 81’ por lo que utilizamos este clásico junto a un ENGL Powerball, Batería TAMA y un tradicional Ampeg para el bajo.

3.      En vuestro sonido es innegable el peso del black y el death, unido a una buena dosis de ambientación oscura y ritualista, un sonido que en definitiva está muy relacionado con la escena sudamericana black death en su faceta más underground, ¿cómo describirías el sonido del nuevo álbum para quién todavía no lo haya escuchado?¿Qué bandas y estilos son un influencia para vosotros a la hora de componer música para Invocation?

El nuevo álbum es definitivamente más salvaje y directo que el anterior material, aunque la densidad y atmósfera siguen presentes acá predomina lo agresivo, no queremos repetir la misma fórmula del Doom/Death Metal creo que se ha inundado de clones y mas clones, este sonido es más directo e influenciado por la escena extrema clásica de Sudamérica (como por ejemplo VULCANO, MYSTIFIER, SEPULTURA, SARCOFAGO, BESTYMATOR, EXTERMINIO, MORTEM, HADEZ, EXPULSER, PENTAGRAM, DORSAL ATLANTICA, etc) y algunos actos del metal mundial en el cual se puede encontrar feeling/atmósfera como DEMONCY, TEITANBLOOD, CULTES DES GHOULES, PSEUDOGOD, NECROS CHRISTOS, DEAD CONGREGATION, EMBRACE OF THORNS, GRAVE MIASMA, TEMPLE NIGHTSIDE, POSSESSION, IRKALLIAN ORACLE, etc, etc. También existe influencia de bandas Chilenas como FORCE OF DARKNESS, WRATHPRAYER, ATOMIC AGGRESSOR, PENTAGRAM, SADISM, DEATH YELL, etc.

4.      Como en todos vuestros lanzamientos, existe una estrecha unión entre música y letras, ¿concibes ambas facetas como algo indivisible?¿Qué pretendéis transmitir en vuestro oyentes con vuestra música?

Consideramos que las letras son una parte igual de importante que la música, es por eso que hemos tocado temas un poco más profundos relacionados con la oscuridad, por ejemplo, en los inicios la banda fue muy influenciada por los fenómenos paranormales y tópicos de espiritismo, debido a un estado de posesión que resultó en posterior muerte de un sujeto cercano a la banda. A medida que pasa el tiempo sigues aprendiendo y educándote en material aún más oculto e interesante, como por ejemplo los primeros ritos de los nativos americanos, existe una gran cantidad de misterios y revelaciones que fueron visualizadas y escritas por estas civilizaciones, personalmente en algún futuro, me encantaría efectuar un álbum conceptual e indagar en el cómo y quiénes fueron los entes que revelaron estos mensajes, existen trabajos de investigadores pero claramente aún existen  muchos misterios enterrados sobre estos asuntos.

Como también la parte “práctica” con respecto a estos temas, si alguno tiene la oportunidad, le recomendaría visitar México, Guatemala o Perú, donde antiguas civilizaciones pusieron en práctica los conocimientos heredados por generaciones (y tradiciones milenarias), solo así podrás darte cuenta de que las energías que rodean esos templos son realmente poderosas.

Respondiendo la segunda pregunta, los estados alterados de conciencia y el poder producir cierto estado en nuestras presentaciones era uno de nuestros objetivos, hemos visto muchas bandas y sabemos que la Atención es muy difícil de conseguir cuando tu música es aburrida y no tienes una buena presencia escénica. 

Es cosa de ver bandas viejas y clásicas como Venom, Mercyful Fate, Mayhem o los mismos Iron Maiden, aún en estos tiempos donde tienes el mundo en tus dedos, te siguen hipnotizando. Por supuesto, hemos recibido comentarios en los que la música realmente ha trascendido no sólo a nivel auditivo.

5.      El nuevo álbum gira en torno a los rituales del posicionamiento humano, ¿de dónde habéis sacado la inspiración para tratar estos temas en vuestra letras?¿Qué es lo que más os impactó a la hora de recabar información sobre ellos?

Este álbum trata sobre posturas rituales para llegar a estados alterados de conciencia lo interesante de esto es que a veces es posible lograrlo sin el uso de sustancias o patrones sonoros como se conoce tradicionalmente, cada canción está inspirada en una postura en particular descubierta y utilizada por distintos pueblos de todo el mundo, quizás algunos puedan relacionar esto con el Yoga, pero esta práctica es aún más milenaria, existen pinturas rupestres en las cuales se repite el mismo patrón por ejemplo el track 5 está inspirado en “El Hombre astado de Colima” (Horn of Colima), similar al comúnmente llamado “Cernunnos” conocido dios celta, también se puede encontrar una imagen similar en el Cernunnos de Val Camonica del Siglo IV AC e incluso aún más atrás en Francia en la Gruta de Trois Frères existe una cavidad llamada “el Santuario” en donde se encuentran muchos grabados de animales y figuras antropomorfas y por encima de ellas aparece el denominado “Hechicero” esto hace unos 15.000 AC… 

En nuestras redes hemos colgado una pequeña descripción junto a la ilustración que acompaña a cada canción, creo que se entenderá la idea.

“Las antiguas posturas rituales tienen la intención de ponernos en contacto con espíritus que tradicionalmente proporcionaron orientación y significado a las vidas de nuestros ancestros antiguos. Esos espíritus todavía están activos hoy si sabemos cómo invocarlos."

 

6.      Habéis trabajado para la grabación, mezcla y masterización con los estudios Equinox, ¿fue está una apuesta importante por vuestra parte para lograr dar un paso definitivo a la hora de conseguir mayor visibilidad como banda?¿qué crees que han aportado estos profesionales al sonido final del álbum?

En nuestros 3 últimos lanzamientos hemos utilizado el mismo estudio, todo es un aprendizaje y lo interesante de todo esto es que tanto la banda como el estudio se han ido perfeccionando durante el tiempo, Eric quien dirige el estudio entiende del sonido del metal tradicional y putrefacto (es miembro de Wrathprayer), por lo que nos sentimos cómodos en sus instalaciones, él estuvo a cargo de la grabación y mezcla, para la masterización decidimos trabajar con Dan Lowndes (Cruciamentum) y creo que es fue la persona ideal para trabajar en el álbum, al igual que Eric él conoce y ha estado involucrado con bandas de similar estilo, estamos muy satisfechos con lo realizado.

7.      Abomination Hammer se ha ocupado de diseñar la portada del álbum ¿Qué representa esta portada y cómo se relaciona con el contenido del álbum?

Abomination Hammer (@abomination.malleo) es un artista realmente único e interesante, sus impecables obras realmente pueden producir sensaciones en las personas, solo vayan a chequear su cuenta de Instagram y  experimenten ustedes mismos, él también estuvo a cargo de la portada de “Attunement” esta obra tuvo una muy buena recepción (fue elegida una de las mejores portadas de 2020) por lo que no tuvimos dudas, junto a esto sus obras calzan perfectamente con el concepto de los chamanes y la ambientación ritual. La portada en sí es lo que se ve, al igual que el sonido del álbum; honesto y directo, hilado más fino el fondo es un antiguo templo ya destruido donde se pueden apreciar varias referencias a los tracks, como el Jaguar/la Serpiente, una entidad venerada por las tribus prehistóricas y representadas en el arte paleolítico, como también la conocida Venus de Laussel en la que si miras detalladamente se aprecian las 13 marcas del cuerno.

8.      Desde vuestros comienzos estuvisteis vinculados con dos sellos discográfico importantes, primero con Godz ov War Productions y más recientemente con Iron Bonehead, ¿cómo has sido el poder colaborar con estos sellos discográficos a la hora de editar vuestra música?¿consideráis que con el nuevo álbum, Iron Bonehead ha hecho una importante apuesta por vosotros?

Como te comentaba anteriormente somos cuidadosos en los movimientos de la banda, sobre los sellos mencionados no tenemos nada que decir con respecto a sus ediciones y distribución de nuestros trabajos, Godz ov War Prods fueron los primeros interesados en editar nuestro primer demo ellos nos contactaron vía email y el resto es historia, incluso pudieron lanzar un Vinilo serigrafiado del demo, no podemos pedir mas… Debo mencionar a Iron Tyrant de Italia también quienes trabajaron para editar el demo en CD. En cuanto a Iron Bonehead Prods, en 2017  enviamos un promocional en cassette cuando ya teníamos los premixes del EP “The Mastery of the Unseen” ya habíamos hecho algunos trades de fanzines por lo que la comunicación ha sido buena. Lo importante es conseguir una buena distribución, aunque Chile cuenta con buenas bandas es muy difícil llegar a esos niveles de exposición, IBP y NWN! son instituciones del underground y sus ediciones se mueven en todo el mundo, por lo que creo que el objetivo se ha cumplido.

9.      Cada cierto tiempo, y se está convirtiendo en algo habitual, desde la escena de metal extremo chilena, nos llega una nueva banda que emergiendo desde el underground logra el interés debido a su calidad y a la apuesta que hacen por esas bandas los sellos discográfico de cierto renombre, ¿qué crees que está sucediendo ahora mismo en la escena chilena para que surjan tantos nuevo grupos?¿Crees que existe ahora mismo una escena de black metal chilena importante?¿Qué nuevas bandas chilenas nos recomendaríais?

Desde hace un par de años han salido muchas bandas, pero creo que el punto de inflexión se dio cuando el material de Force of Darkness, Wrathprayer, U. Kulten o Atomicide, fue editado por sellos extranjeros, de alguna pavimentaron el camino hacia la siguiente generación de bandas, en nuestro caso vemos en ellos una real inspiración. Así como muchas bandas, también existen sellos, distros, fanzines y productores en constante movimiento, de hecho Kerygma a través del Decimatio ha conseguido traer a bandas como Black Witchery, Negative Plane, Sijjin y ahora con Mors Vincit Omnia; Tormentor, Dodheimsgard, Black Curse entre otros, quienes visitan por primera vez Chile, sin dudas existe mucha pasión y dedicación por el metal extremo en estas tierras, nuevas bandas podría recomendar a Onslaught Kommand, Demonic Lust, Oldeath, Abisma, Goat Invokation, etc.

10.  Tenéis previsto ya algunos conciertos para presentar el álbum en directo?¿Qué pueden esperar vuestros seguidores de un directo vuestro?¿Es muy complicado llevar al directo la atmósfera y el ritualismo que emana vuestra música?

Si, tenemos agendadas un par de fechas en México en Noviembre (1 y 2) junto a los magníficos Embrace of Thorns, es una ocasión especial ya que ellos estarán tocando el disco “Atonement Ritual” un álbum muy inspirador para nosotros, por lo que será un honor acompañarlos y mostrar nuestras nuevas canciones, los shows son intensos y verdaderos no hay trucos ni tanta parafernalia, obviamente utilizamos artefactos tradicionales para ejecutar metal oscuro como telones, corpsepaint, cuero y tachas, pero la musica de por sí crea la atmosfera perfecta para inducir el trance al oyente.

 

11.   ¿Cómo fueron tus comienzos en la música: primeros conciertos a los que asistes, primeros álbumes que compras?¿Qué hecho en tu vida te empujó a querer ser músico?

Todo comenzó en la adolescencia por supuesto con los típicos discos de Slayer, Metallica, Iron Maiden, Kreator, etc. (el primer disco que conseguí fue Slayer Hell Awaits en Cassette y fue sensacional!) por eso años casualmente coincidimos con nuestro actual baterista quien poseía los primeros discos de Sepultura, Death, Morbid Angel, Possessed, como también lo que se alcanzaba a compartir con el grupo de amigos que lograban conseguir material un poco mas extremo como por ejemplo recuerdo discos de Dark Funeral, Gorgoroth, Darkthrone, Immolation, Merciless, Incantation, Marduk, Nifelheim o el viejo Immortal mas menos a principios del 2000, de ahí en los años posteriores fui integrándome a los recitales underground de la ciudad donde a veces ya se podía ver a bandas de Santiago y a algunas extranjeras, luego compré material de sellos underground sudamericanos (incluso con dinero oculto como era en los 80’) y de ahí junto a la bajista de INVOCATION comenzamos a construir un fanzine que lleva varios años activa, donde coincidió con los primeros discos de Force of Darkness, Ejecutor, Atomicide, Diabolical Messiah, U. Kulten, el demo de Wrathprayer, etc. también hubo proyectos musicales que prefiero no mencionar, con todo esto y en retrospectiva creo que alcanzamos a vivir la última época pre-internet antes de que todo explotara.

12.   ¿Qué álbum representa para ti la esencia del black metal?¿Qué últimos álbumes has comprado?

Es una pregunta muy complicada pero por el contexto en el cual este disco fue creado me inclino por “De Mysteriis Dom Sathanas” el Black Metal va mucho mas allá de la música, pero es seguido muy de cerca por “I.N.R.I”, “In the Sign of Evil”, “The Return…”, “A Blaze in the Northern Sky”, etc, etc. etc. Como comentaba anteriormente acá en Chile se ha hecho costumbre organizar ferias de vinilos y discos underground, hace un par de semanas conseguí el álbum de Hellavengeren vinilo, el segundo Cd de Infamovs y algunos promocionales de Onslaught Kommand, también encontré un cassette (de edición Chilena) de Black Witchery llamado “Unholy Vengeance of War” que contiene los temas del split con Conqueror, muy difícil de encontrar.

 

13.   Muchas gracias por tomaros el tiempo en contestar estas preguntas para Black Metal Spirit, si quieres agregar algo para los seguidores de Invocation este es el lugar. Espero que las preguntas sean de tu agrado.

Muchas gracias a BMSP por la interesante entrevista y por seguir haciendo fanzines, el disco ya se encuentra disponible y en nuestras manos por lo que pueden visitar bandcamp para escuchar y adquirir su copia! Pronto estará también disponible en otras plataformas digitales.

Contacto Oficial: invocationtemple@gmail.com / invocationtemple.bandcamp.com

Sense of Premonition

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NOEN HATER OSS - INTERVIEW

 

Good morning, thank you very much for answering these questions, how is everything going in Stavanger?

Good morning to you too. You’re very welcome. And thanks for the interest in Noen hater oss. Much appreciated!

Things are pretty good in Stavanger these days, also in the neighboring city of Sandnes where i currently reside. We are approaching the winter months now. Summer is slowly dying and a darker, colder time awaits. A perfect time for ones creativity i dare say.

1. When did you decide to create Noen Hater Oss? Why did you choose this name and what does it refer to?

I created Noen hater oss as a solo project after i rediscovered my love for black metal in 2016. I had a period of time around 2010 where i almost didnt listen to black metal at all. Guess i needed a little break from this dark art of ours, for it can definitely take it’s toll on you.

The line «Noen hater oss» (Someone hates us) comes from a John Ajvide Lindqvist novel called «Menneskehavn», or «Harbour» in english. I think you’ll have to read the novel to fully understand the context. But for me it represents the anger of the gods. Their hate and their contempt towards us. Against all of humankind. 

2. “Kunsten aa gjoere jorden ubeboelig” is the third album released by Noen Hater Oss, however it is the first without Morloc, what happened to decide to go ahead alone with the project? How did you face the process of composing and recording the new album? What brands of instruments have you used in the process?

Actually it’s the fourth album. Not the third.

So basically what happened was that me and Morloc could no longer agree on the path we wanted to take with Noen hater oss. I wont go too much into detail out of respect for Morloc, but i can say this: Noen hater oss has allways been and will forever be my band. And in the end, when all comes to all, it is me who make the big decisions regarding the future of my band.

Still, it needs to be said, Morloc’s contributions to the band has been invaluable. The songs and lyrics he wrote for «Siste stopp skjærsilden» and the vocals he provided for the first two albums is pure gold in my opinion. I still consider him a friend and i certainly wish him all the best for his future projects.

The composing and recording process of the new album was pretty much the same as with the previous albums. The only major difference this time was that i did all the vocals as well as everything else. This was somewhat challenging since i never had much experience with doing vocals. So there was a lot of trial and error at first. Eventually i found the vocal style that suited my voice best and just went with it. Personally i think it turned out great, even though it’s not a typical black metal vocal style. Mine is more rich baritone, more dynamic and expressive than the typical screaming vocals. Yet still it has a lot of grimness to it.

The brand of instruments i used for this album was a mix between an Epiphone Studio Les Paul model guitar and an ESP eletric guitar. On bass i used an Epiphone thunderbird. Fender steel stringed guitar for acoustics. Alesis digital drum set (manually played offcourse, not machine drums). Sennheiser X1 mic for vocals and an Apogee Mic for acoustic guitar. Im not really an instrument nerd to be honest, as long as it sounds decent and the tone is right it’s good enough for me. 

3. The sound of the new album is nourished by many elements and structures of the most classic black sound, both in the voices and in the instrumentation, however there is also a differentiating contribution in sections such as the voices, how would you describe the sound of the new album for those who have not heard it yet? What bands or styles are an influence when composing music for Noen Hater Oss?

I would describe the sound of the new album as more or less classical Noen hater oss, but with a little more musical experimentation than the last. The slow tracks are a little bit slower, while the fast and agressive tracks are a little bit more fast and agressive. The vocals are the biggest difference from the previous albums i would say. Some will love it, some will hate it. Just like it should be. Cant please everyone apparently.

I am influenced by all the music i listen to in one way or another. Mostly i listen to classical music, black metal, preferably 90’s era, but also some newer stuff. Some dark pop music, synth pop, some punk rock, some heavy metal. 

One particular album that i was listening to a great deal when recording the Kunsten album was Roger Waters The dark side of the moon Redux. A really dark, atmospheric and gloomy rerecording of a timeless masterpiece.

4. I was talking about the voices earlier, about their textures and the dark tone they display in this new release. What themes do your lyrics deal with? Are there influences from folk themes in them or do they only narrate bloody events? Do the lyrics adapt to the music or vice versa?

Yes, there have allways been a lot of influences from folk themes in Nho, especially from norwegian folklore, old folk stories and superstitions in the past albums. But not very much of that on the new one. The lyrics on «Kunsten» deal mostly with insanity, fanaticism, Delusions of grandeur, and death. It’s kind of a concept album, where there is a red line that runs through all the songs of the album. That red line being insanity. So no, not only bloody events, but quite a bit of that too.

Usually the lyrics adapt to the music. The music usually comes first, then the lyric are customly written for that specific song. But sometimes it’s vice versa also. There are many roads leading to Rome as they say. 

5. There is not much information about the recording, mixing and mastering process of the album. Did you personally take care of it or did you work with a recording studio or producer?

All recordings and mixing took place in Crevasse studio, which is my own home studio. Some of the guitars parts was recorded in Morloc’s studio, but mostly in mine. I mixed the album myself, but the mastering of the album was done by Magnus Gulbrandsen at Jeløy mastering studio.

6. In some way the album cover foreshadows a murder inside a church. How did you come up with the idea for the cover? What does it really represent and how does it relate to the content of the album?

The album cover is something of a unsettling experience in itself. It depicts a nightmarish winter scene in the norwegian mountains. Under the watchfull eye of an ominous bloodmoon, something sacrilegious is going on in this seemingly abandoned stave church. Where blood runs out if the entrance, and down the snowy path. But we dont get the full story served up on a plate here. My recommendation would be for the viewers and listeners of the album to make up their own story about what takes place in this dreadfull scene. Is it a murder? A sacrifice? Who can tell.

There are however some minor clues in the details of the painting, if you study it closely you may be enlightened to the unholiness that takes place here.

I think the artwork on this album fits perfectly with both the music and lyrics of Nho. In my mind it really captures the essence of what Nho stands for. Everything from the dead of winter mountain scene, the cold, dark and desolate wilderness of Norway, old religious symbolism and folklore, blood and death. The painting is not directly linked to the lyrics on «Kunsten aa gjoere jorden ubeboelig» but there are some connections to be made here and there.

7. You are releasing a collaboration with the Italian record label Dukstone for the release of the album. At what point did you decide to collaborate to release “Kunsten aa gjoere jorden ubeboelig”? What does it mean for you to have a vinyl edition to be able to present your music?

Yes this album was released through Dusktone. I really wanted to release this album through a well established and professional label like Dusktone. Simply for the reason that it makes my life as an artist that much easier. I no longer want the headaches that comes with releasing albums independently. Everything from promotion to the printing of physical copies, distribution and sales, packaging and posting, and the list goes on. Its just too time consuming for me. Not to mention expensive. What i want is to make music, write lyrics and record it. Then leave all the boring stuff in the hands of a trusted label. Even if i have to licence away the rights of the album to a label for a certain amount of years, it’s still worth it in my book. And lets face it, nobody is getting rich out of this.

The vinyl format itself has allways been a desired object for me, especially when it’s my own product on it. The sound it makes, the artwork in your hands, the whole package of the vinyl is something magical almost. A completely different experience than listening to music on Spotify for example. 

I also wanted my previous albums to be released on vinyl, but it was not an option back then. It would have been way too expensive to have it printed independently. Also the labels we have worked with before didnt offer vinyl so it wasnt a possibility then. Now im happy that the last album have been released on vinyl, in two different colors even, transparent blood red and regular black. So finally it happened.

8. You come from the coastal city of Stavanger, what can you tell us about the extreme metal scene in your area? Which black metal bands from Stavanger would you recommend?

In Stavanger there have been a few great bands in the black metal genre up through the years. For example, Neetzach, Forlorn, Imperium and The Konsortium. But the most notable by far is offcourse Gehenna. They made a powerfull name for themselves in the beginning of the early and mid ninetees norwegian scene, back when there was a certain element of danger to black metal, and it was something to be feared. As far as i know they are still active, but sadly not as interesting and groundbreaking as they once were. I think there has been too much line-up changes in that band throughout the years, so a lot of their magic has been lost.

Right now there is not really many black metal bands worth mentioning from the Stavanger area. At least not that i know of. Well, one good band comes to mind, that is a band called Todesking. They are great live and they released a pretty good self titled album a couple of years ago. 

9. Have you ever considered the possibility of playing with Noen Hater Oss? What would have to happen for this to become a reality? Which bands would you like to share the stage with?

Actually before me and Morloc parted ways there were real plans of playing some concerts. We even recruited two session members joining us for rehearsels, the drummer from the band Ljå and a guitarist from a band called Iron Fister. 

We managed to rehearse the songs «Om natt og tåke» from the first album, and «Noen spiser oss» from «Siste stopp skjærsilden» before it all went to hell. We were on good way to building up a pretty decent live set. Unfortunately ego’s were boasted, true colors were shown, and that was the end of that chapter.

I doubt that there will be any plans for live shows in the foreseeable future, but i wont rule it out completely. It would take a long time to find decent session members and logistically it would be very hard and very time consuming. Offcourse, there is allways a snowballs chance in hell, but one should not hold ones breath.

If i had to chose a band to share the stage with it would have to be Djevel. I have great admiration and respect for that band and their brilliant music. I really think it would have been a good match too. Offcourse, Noen hater oss would open for Djevel in that case, that goes without saying.

10. You have been part of some other black metal bands, how does Noen Hater Oss fit into your career as a musician? Do you feel that Noen Hater Oss is your priority right now with respect to your other projects?

I have been involved in a few bands yes, but not many worth mentioning to be honest. One exception being the first black metal band i was involved in called Sjelferd. We had some great songs. We were young and had the right mindset and attitude for the black metal scene of the mid 90’s. Sadly shit happened, the enthusiasm of some of the members dropped and we split up before we managed to grow into our full potential.

I wouldnt really say that i have a career as a musician, and i don have any desire to have one either. That lifestyle does not appeal to me very much. Unfortunately i have to work a normal job to pay the bills as most boring human beings do.

Being a musician for me is simply a way to express my inner passion and creativity. There is something inside of me, a part of my inner being, a dark art yearning to be expressed. And i have to occasionally let it out in the form of music. So making music and releasing it is the best outlet for me to do so. Luckily for me there is some people in this world who wants to listen to what i have to offer, and even pay money for it. Still, i have no ambition of making a living from it.

Yes, Noen hater oss will allways be my nr.1 musical priority. The only other project i have at the moment is a national romantic, acoustic guitar and synth based project called Sort Jord. However this project has been put on hold lately because of the new Noen hater oss album, but hopefully one day soon i will release an album under the Sort Jord banner too.  

11. How did you start out in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?

I have allways had an interest and fascination for music, especially for the darker and the more extreme variation. Ever since my early teens. I remember well when i first heard the first Burzum album at a friends house, i must have been around 14-15 years old then, and right away i was pretty much sold. The grimness and the absolute raw ugliness of it just captured my soul and refused to let go. There was something so forbidden about the sounds that came out of the speakers, yet so alluring. So after a few years of being strictly a listener of the metal of black, i decided to become a practicioner as well. It was shortly after that me and some likeminded friends formed the band Sjelferd.

The first concert i attended must have been a local rock and roll band called Ingenting at Folken in Stavanger. This was around 1989-90, if my memory serve me right. Further down the road it was the legendary Gehenna concert at Zonen in Stavanger. They played together with a local death metal band called Agony (later known as 122 Stabwounds, now The Deviant). I think this was in 1992-93, and it must have been the first black metal gig i attended.

12. Which album represents the essence of black metal for you? Which last albums have you bought?

If i had to bring out one particular album that in my mind is the very definition of true norwegian black metal, it would have to be Darkthrone’s Transylvanian hunger. That album has it all, and just the right amount of everything. It has a sound that is ice cold and malicious. A genuinely ominous atmosphere throughout the whole album. The lyrics are longing, yet misantrophic. Also they have a real depth to them. The artwork is simple and gruesome, yet still hauntingly beautiful in a almost menacing sense.

The last albums i bought was Gehenna’s second and third spell, the re-issues on vinyl. Two classic albums that i cant have too many versions of.

 

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for the followers of Noen Hater Oss this is the place. I hope the questions are of your choice.

You are most welcome. And thank you for your interesting and insightfull questions.

For the followers of Noen hater oss. A million thanks for all your support and dedication up through these black years. Hopefully you are enjoying the last album, «Kunsten aa gjoere jorden ubeboelig». And that you will stick around for the next chapter. Hails and salutations to you all!!

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