viernes, 16 de abril de 2021

ABVULABASHY

 


Origen: Singapur

Formados: 1998

Estilo: Black

Temática: Anticristianismo y guerra

Enlaces: Facebook

Miembros: 

  • Iddimu Akhkharu Voces

Discografía:

  • From Hell...We Rise Demo 2003  
  • From Hell...We Rise Again Demo 2004  
  • Invoking the Hell Commanders Split 2005  
  • Luciferik Ritual Blasphemy Demo 2008
  • Stormhymn Altarlust Perversion Recopilatorio 2009  
  • Ungodly Militant Onslaught Split 2010  
  • Upon the Altar ov Lucifer Directo 2011  
  • Christkrushing Warkommanders ov Satan Split 2011  
  • Tyrannikult Unhorthodox Goatworship CD 2013  
  • Apokalyptik NuklearWrath Kommandos Split 2015  
  • Abvulabashy Live in Manila 2016 Directo 2016  
  • Atomik Triumphator Elite CD 2020


ATOMIK TRIUMPHATOR ELITE (2020)

A pesar de llevar en activo más de veinte años, este es el segundo larga duración para Abvulabashy, aunque de manera regular a seguido editando material en otros formatos. "Atomik Triumphator Elite" contiene nueve temas, de los cuales lo ocho primeros se pueden encuadrar dentro del un sonido black/death en su vertiente más war metal. Ritmos explosivos y velocidad endiablada de la mano de una batería llena de violencia que siembra de caos y destrucción su música en donde Iddimu logra fundir de manera acertada los vertiginosos riffs de guitarra creando un ente único batería vs guitarra indisoluble, carente de cualquier atisbo de melodía. Las voces se centran también en una vertiente bastante black/death en lineas generales agresivas y potentes con algún chillido disperso así como también con la inclusión de alguno tono más brutal death cuando es necesario. Es cierto también que el álbum manteniendo esa faceta destructiva y repleta de elementos de war metal, poco a poco logra incluir algunas influencias en su sonido que podemos describir como thrash, logrando que el sonido se vuelva más crudo en ciertos aspectos al tiempo que aparecen algunas partes de guitarra más definida, siempre eso si, a la sombra de la batería. Su propuesta sería muy injusto enfocarla solo a la obra de sus compatriotas Impiety, creo que este álbum podría también encontrar es aspectos relacionados con el sonido de Marduk o incluso en las voces con Impale Narazere, dándonos esto una idea más precisa de lo aqui expuesto. El álbum se cierra con un tema instrumental que es bastante diferencial con respecto al contenido del resto del álbum, con un sonido mucho más claro y preciso en donde el thrash cobra mucho más protagonismo en forma de riffs afilados y precisos. (8).




1. Mayhemik Hellfire Incineration 04:53  
2. Merciless Napalmystik Bombardment ov the Unmerciful 03:52  
3. Apokalyptik Antichristian Aggression 04:14  
4. Bestial War Metal Assault 04:17  
5. Goaterror Obliteration 666 04:12  
6. Kataklysmik NecroNuklear Christkrusher 04:28  
7. Imperial Genocidal Savagery 04:58  
8. Blitzkrieg Brigade Brutality 04:24  
9. Nakhoda Bahtera Durhaka MMXX 07:50  
  43:08





Debut album of German Black thrash insanity. Special edition on black wax, includes a poster, download code and sticker. Gatefold!





PLAY LIST 16-4-2021

martes, 13 de abril de 2021

SHOW ME A DINOSAUR

 


Origen: Rusia, San Petersburgo.

Formados: 2011

Estilo: Black, post-metal, post-rock, shoegaze

Enlaces: BandcampdeezerfacebookinstagramShow me a dinosaursoundcloudspotifytwitterVK y youtube

Miembros:

  • Artem Selyugin Guitarras y voces
  • Daniel Kourdakov Batería
  • Pavel Gorshkov Guitarra
  • Philip Chernonog Bajo
Discografía:

  • Evolvent EP 2011
  • More than 70 Million Lives Single 2012  
  • Dust CD 2014  
  • Вьюга EP 2015  
  • Show Me a Dinosaur CD 2016
  • Live Directo 2016  
  • Imperfect Split 2017  
  • Hum Single 2020  
  • Plantgazer CD 2020
PLANTGAZER (2020)
Tercer álbum de estudio para esta banda rusa que ofrece un black metal que se funde con muchos elementos post y que deja también un regusto a shoegaze, vertiente esta última que esta encontrando en Rusia precisamente un lugar en donde anidar gracias al trabajo entre otros de Olhava o Side of Despondency. "Plantgazer" arranca con un tema como "Sunflower" que en un primer momento nos traslada a un ambiente bastante optimista con una cierta melodía y brillo en la composición, pero que poco apoco va virando hacia pasajes más intrincados y lentos repletos de melancolía y recogimiento. Y es que todo lo que emana de este trabajo es una sensación de abatimiento, soledad y la necesidad de buscar un refugio donde sentirse seguro. "Plantgazer" se muestra intrincado y dinámico, es cierto que el grueso del sonido del álbum se mueve por terrenos post-black y post-metal de mano de intrincadas melodías que juegan con esa faceta entre la melodía y el optimismo en contraste claro con la melancolía, la desazón y la soledad, todo ello de la mano de un acertado trabajo de guitarra y bajo que va dibujando los paisajes llenos de soledad y abatimiento. Hay también un componente entre el hardcore y el black en forma de explosiones de sonido repletas de rabia e intensidad que se intercalan con los pasajes más preciosistas sin previo aviso y que sirven para mostrar un plano más dual en su música, al tiempo que se acompañan de voces rasgadas y áridas. Un álbum que gusta de ir construyendo los temas desde los ritmos lentos, precisos y porque no melódicos también, para ir medrando en una suerte de mayor velocidad, ritmos explosivos y un gusto por compensar rabia y melancolía a partes iguales para acabar desprendiendo mucha intensidad. Un álbum que un estilo muy definido que hace gala de saber jugar con las intensidades y  y las emociones. (8).


1. Sunflower 05:27   
2. Marsh 05:34
3. Red River 09:36  
4. Selva 06:46
5. Unsaid I 05:48   
6. Hum 06:07  
7. Unsaid II 04:58  

  44:16





Brown vinyl limited to 100 pieces and regular black vinyl limited to 200 pieces.





lunes, 12 de abril de 2021

ECHUSHKYA - INTERVIEW



 1. At what point did you decide to create Echushkya? Why did you decide to use the name Echushkya and what does it refer to?

A: Hello and thanks for inviting me to answer these questions.  Things are, shall we say, ever the same here in Ohio.  The reason for creating Echushkya is quite simple: I wanted an outlet for several ideas I had for black metal pieces that didn't fit into what I was doing with The Wakedead Gathering and my other projects.  Echushkya allows me to be more experimental, atmospheric and incorporate other non-metal elements into the music.  The name is actually an alternate spelling for Each-uisge, which is a water horse creature from Celtic mythology.  Since the themes of each release relate to Celtic mythology I thought it an appropriate name.


2. How does a band like Echushkya fit in in the midst of other projects that it is part of like Invultation, Longbarrow or The Wakedead Gathering? Is Echushkya an escape route in the form of black metal with respect to your other projects more related to the death metal?

A: Yes, exactly.  Echushkya is not quite as defined in the genre as my other projects so I feel free to experiment more with different styles and sounds.  Whereas with Invultation, for example, you'll never hear light melodies or clean guitars or vocals.  Perhaps I'm getting too carried away with too many projects, but somehow it just doesn't feel right to assign music to a specific project if it doesn't fit with the overall style of that project, if that makes sense.


3. Your music is based on an important guitar work offering a good number of inspired riffs, while recreating an icy atmosphere, how is your way of working on the themes that end up being part of Echushkya's albums? Some section of the recording that resists you the most? What brands of instruments used to compose and record?

A: I usually sit down and play around with different riffs with a ton of reverb added to the guitar and then start layering riffs together to create more atmosphere and melody.  Sometimes I'll write entire sections on bass or drums as well.  It really just depends on the feeling that is pulling at me in the moment.  I also like to immerse myself in the local nature and pay attention to the sounds and things that I see to inspire me to write in a certain way.  Echushkya is, as a whole, inspired by nature and the power and beauty that it holds.  The synth sections are probably the most challenging as I've never been trained on piano so it's a bit of a struggle to properly convey my ideas in those parts, but I've managed so far.  Equipment-wise I alternate between a B.C. Rich ASM and Epiphone Les Paul Custom with a JB in the bridge.  Too many different amps and effects to mention here, honestly haha.  I also use two different basses – A Warwick Corvette and Fender P-bass.


4. The sound of the album is reminiscent of the atmospheric black metal of the second wave, in a clear reference to the Scandinavian scene, how would you describe the sound of Echushkya for those who have not heard it yet? Which bands have had a direct influence on you a when defining the sound of Echushkya?

A: That's a tough question.  I don't know that I would be able to draw a direct comparison to other bands but I'd say that Echushkya is kind of an American version of the more atmospheric Finnish black metal bands, with sections of dungeon synth thrown in.  And, speaking of Finnish bands, my main influences are bands like Circle of Ouroborus, Keres, Cosmic Church, etc.  Also, of course, bands like Darkthrone and even Wolves In The Throne Room.



5. The theme of your lyrics seems to cover fantastic themes and also related to mythology. What could you tell us about the theme of Echushkya's lyrics? Why did you decide to treat these themes in your texts? the texts to music or the other way around?

A: Yes, the lyrics are a mix of Celtic mythology and Luciferian ritual.  In fact, each release is based upon a cardinal direction and its associated element and corresponding “Prince” of Hell.  I know it sounds a bit convoluted, but there are so many elements in stories in Celtic lore that fit these themes.  Each album or EP is also a story that I have crafted of my own, using these themes and elements to build the structure.  The way that I work is very much music-based so the lyrics come after all of the instrumental parts are recorded and the lyrics fit to the music. 


6. Echushkya's latest release to date is the compilation "Earth and Sea" which includes his first demo "Dust and Ethers" and the first full-length "Ara II", leaving aside his most recent EP "The Lanterne. "Why are you making this decision regarding the track-list? Will the two previously unreleased tracks included in“ Earth and Sea ”mark the way forward in terms of Echushkya's sound in the future?

A: That compilation was done in that way because there is another EP planned which will then also be combined with “The Lanterne” as a compilation.  At least, that's the plan as of right now.  The two unreleased tracks were really written to compliment “Earth and Sea” so they are not necessarily an indication of the sound going forward.


7. The cover of “Earth and Sea” is practically identical to that of “Ara II”, why did you make this decision regarding the artwork? Could you explain a little more the title of “Earth and Sea” and how it is related with the content and music of Echushkya?

A: Yes, the artwork is basically the same because we wanted to include the original artwork for both releases in the design and booklet.  There are some new paintings and other art included in the booklet of the compilation so not everything is the same.  The title comes from the elements associated with the first two releases, which are Earth and Water (North and West).  That's a very basic explanation but that's the entire meaning behind the title.


8. The physical edition on CD of "Earth and Sea" was carried out by Schattenkult Produktionen, how did the contact and the possibility of making this edition come about through Schattenkult Produktionen? Are you satisfied with the promotion and editing work carried out by Schattenkult Produktionen?

A: Schattenkult actually contacted me via email and we exchanged quite a few ideas for CD versions of the releases that I already had out.  We eventually agreed on a compilation with a few bonus tracks because it would be its own unique release and something that would add to the overall work so far.  He handled all of the artwork and layout and was extremely professional and efficient in his handling of the release.  I couldn't be more pleased with the result so I look forward to working with Schattenkult Produktionen in the future.


9. What can you tell us about the extreme metal scene in Ohio? Because of its proximity to Canada you feel more influenced perhaps by the black metal scene in Quebec than by that of your own country? Has 2020 been a good year for black metal in the US?

A: Ohio has three major cities in Cincinnati, Columbus and Cleveland and the scenes are different in each one.  I can only really speak about Columbus and there is a somewhat small but devoted following for extreme metal here.  I see a lot of familiar faces at shows (when they are allowed to happen) and there is a general sense of community.  There are a lot of different genres represented and talented individuals located throughout the whole state.  I wouldn't say that I or anyone else is necessarily influenced by the Canadian scene due to proximity.  With the internet making music so easily accessed globally there really isn't much of a regional influence anymore.  Overall I think 2020 was a good year for black metal in the US and 2021 looks to be even better.  The pandemic has certainly allowed for more time to write for most musicians. 


10. How has Echushkya been affected in terms of promotion and sales by Covid-19? Does this period of Covid-19 see it as an opportunity to compose new material, make yourself known and maintain contact with the fasns, or however has it been a rather dark period for you?

A: Personally, not much has changed due to COVID.  Since Echushkya is a one-man entity there was never a live setting to worry about and since I had to continue to work my regular job my schedule remained the same.  I think, if anything, I became more inspired by the isolation and general lack of interaction with people.  The pandemic has also, I think, hurt a lot of people and fans because of the financial hardship so any support I have received over the last year is very much appreciated and I have a lot of respect for those who want to help musicians during this time.



11. How were your beginnings in music: first albums you bought, first concerts you attended? What happened in your life made you want to dedicate yourself to music?

A: The first sort of music I got into was hair metal because of my mother but I remember getting some albums of Slayer, Megadeth and bands of that style.  The moment I decided to dedicate my life to music was when I first picked up a guitar at around age 10.  I took lessons for a few years and ever since then it's been my main passion in life.  I've been involved in bands in many different genres throughout my life but I always come back to metal as it just speaks to me and connects in a way that other genres do not.


12. Which album represents to you the essence of black metal? What recent albums have you bought?

A: Some classics that I believe define the genre, at least for me, are: The first 3 black metal Darkthrone albums, Sorhin - “Apokalypsens Angel”, Frozen Graves - “S/T” and both Negative Plane albums.  Some highlights that I've purchased recently are the new Venus Star, Kūka'ilimoku, Black Vice, Aethyrick, Mistcavern, Misotheismus, Aara and Lamp of Murmuur.


13. What can we expect in the immediate future for Echushkya? What are your short-term plans for this project?

A: I am currently working on the 4th release, which I expect to be finished by the end of the year or early 2022.  This may start as another tape-only release and find its way onto another comp with “The Lanterne.”  There hasn't been an announcement yet but also look for the vinyl reissues of the first three releases coming soon.  Beyond that we will see where inspiration takes me.  Once the fourth EP/Album is complete that will finish the quadrology and the focus will shift to a different theme.


14. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Echushkya r fans this is the place. I hope the questions have been to your liking

A: Thank you for the questions and support.  Thank you to everyone who has supported Echushkya, either by purchasing the music or with kind words.  Ave!


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


Ereb Altor ‎– Järtecken 17,99 €



Black vinyl version.

Gatefold sleeve.




SEPULCHRE BY THE SEA

 


Origen: U.K., Bristol

Formados: 2019

Estilo: Black atmosférico

Temática: Cuentos de Edgar Allan Poe

Enlaces: Bandcamp, y facebook.

Miembros: 

  • Ashley Shannon Todos los instrumentos y voces
Discografía:

  • .​.​.​and So It Crumbles Demo 2019  
  • Conqueror Worm CD 2020
CONQUEROR WORM (2020)
Primer larga duración para esta one man band procedente de Bristol que da un salto importante en su sonido con respecto a la demo que lo precede. "Conqueror Worm" contiene seis temas extensos de un sonido black bastante eclectico, repleto de elementos vanguardistas pero que debe su sustento principal a los sonidos post que pueblan las composiciones. La razón de ser de esta proyecto se encuentra en la obra de Poe y así queda reflejado también en su nombre, siendo su música un viaje a las profundidades y la oscuridad e la época vitoriana. Ashley desgrana gracias a la amplitud de sus temas diferentes estados de ánimo y estilos dentro del metal extremo, en una propuesta repleta de diferentes intensidades, que tanto puede responder a un black atmosférico bastante pausado e intimista, construido a base de guitarras limpias y el uso de teclados con un componente evocador misterioso y oscuro, sin descuidar otros pasajes mucho más directos, construidos a base de riffs desgarradores y mucho más directos, para entre medias, ofrecer un contenido deudor de lo que podríamos definir un post-black que si hurgamos más en él nos pude también recordar a al post-rock. Todo ello encaminado a que el álbum en conjunto a veces discurra por terrenos cercanos al vanguardismo, pero sin quitarle merito a unas composiciones que en si misma ofrecen acertados cambios de ritmo y registro manteniendo siempre esa atmósfera cargada y densa que sabe también mostrarse mucho más cercana y gótica. Sin lugar a  dudas un álbum diferente, para degustar con pausa, sumergiéndose en las profundades de la obra de Edgar Allan Poe. (8).




1. I Loved Alone 06:40  
2. Conqueror Worm 06:40  
3. And So It Crumbles 12:07  
4. Slices of Death 07:34  
5. Behind the Walls 07:49  
6. Plutonian Shores 17:14  
  58:04





Vinyl, 7", 33 ⅓ RPM, EP, Limited Edition, transparente





domingo, 11 de abril de 2021

HORNA

 KUOLEMAN KIRJO (2020)

Siempre acostumbrados a ser el centro de atención cuando editan material nuevo y como abanderados de la escena black finlandesa a cuyo nombre van irremediablemente ligados, este décimo álbum de estudio no iba a ser menos en cuanto a repercusión. Un trabajo extenso se mire por donde se mire y que recoge la esencia del black más tradicional pero que se ha sabido adoptar elementos más actuales, sin lugar a dudas fruto del mayor trabajo en equipo entre Shatraug e Infection. A lo largo de sus trece temas y sus casi setenta minutos de duración "Kuoleman kirjo" es un ataque violento de furioso black metal que ese falso sonido más limpio permite que se desarrolle de forma fluida sin caer en excesos innecesarios , encontrando el equlibrio y sintiéndose cómodo en un medio camino entre lo más tradicional inherente a la trayectoria de la banda y ciertas falsas concesiones en la búsqueda de un sonido más moderno. Afilados y denso riffs de guitarras salpican todas las composiciones, sin destacar de manera individual pero si que el conjunto se muestra sólido, rehuyendo un tanto de influencias punk para aún conservando en esencia la agresividad y la rabia, pero sabiendo sacrificar esta por conseguir y ofrecer una atmósfera más saturada y oscura. La batería se muestra despiadada cuando la ocasión se presta a ella, sin abusar excesivamente del doble bombo y sabiendo permanecer en un correcto segundo plano, amoldándose la mayoría de las veces para conseguir una coherencia de propuesta más acompasada, explotando terrenos mas ocultistas. Las voces merecen un apartado importante ene este álbum, sin lugar a dudas un apartado fundamental, agresivas y repletas de odio y rabia, sabiendo mantener un trasfondo punk y sumergiéndonos en lo más profundo de la tradición del black finés, a las que de manera acertada se le han añadido algunas segundas voces que crean un complemento perfecto siempre que busquemos una atmósfera más ritualista y oscura. La trayectoria de Horna habla por si sola y este nuevo trabajo si que supone la apertura de un nuevo horizonte para ellos, tal vez ya iniciado en su anterior obra de hace cinco años, dentro de un álbum que destaca por la solidez y lo compacto de lo expuesto. (7,8).




1. Saatanan viha 04:18  
2. Elegia 05:37  
3. Uneton 05:46  
4. Sydänkuoro 06:47  
5. Elävänä, kuolleena 04:31  
6. Kärsimysten katedraali 06:31  
7. Haudattujen tähtien yönä 05:23  
8. Rakas kuu 06:07  
9. Unohtumaton 03:57  
10. Mustat vuodet 04:33  
11. Pyhä kuolema 03:39  
12. Veriuhri 06:07  
13. Ota minut vastaan 04:18  
  01:07:34




Limited to 400 copies on standard black vinyl.
Comes in gatefold cover sleeve, inside jackets features lyrics.
Tracks are numbered sequentially over both sides.
Vinyl labels are switched, i.e. "Lucifer Side" is on side B and "Baphomet Side" is on side A.





sábado, 10 de abril de 2021

DRUON ANTIGON

 


Origen: Bélgica.

Formados:?

Estilo: Black, electrónica

Temática: ?

Enlaces: BandcampDeezerfacebook y spotify

Miembros:

  • Lennart Janssen Todo
Discografía:
  • Desontstijging Full-length 2020
DESONTSTIJGING (2020)
Genio inquieto este Lennart Janssen que también forma parte del proyecto Thermohaline que viene de editar su primer larga duración con un resultado bastante reseñable. Lo que nos ofrece Lennart Janssen este primer álbum de Druon Antigon son cuatro temas bastante extensos de un sonido black metal que tiene un componente cósmico en forma de unos arreglos que aportan una atmósfera oscura, fría y vacía, sin hacerle ascos a la inclusión también ciertos aspectos que se pueden encuadrar dentro de los sonido electrónicos o industriales con también algún aporte de noise. Este "Desontstijging" es un álbum desconcertante por momentos, el comienzo con "Zinloos" tal vez sea lo más cercano que encontramos en este trabajo a lo que se podría definir como la estructura de un tema en si mismo, aspectos que se mantiene también en "Weavess" que pone punto y final a este álbum. En ellos podemos apreciar un desarrollo con atmósferas frías, unos pasajes ásperos dibujados con la dualidad de las distorsiones en los riffs y la perfecta sintonía que guardan cuando se incorporan las partes de sintetizadores que acercan su música a terrenos de soledad efímera. Sin embargo el grueso de las composiciones transitan por pasajes de diferentes intensidades con ritmos explosivos y fuertes que van languideciendo hasta que vuelven a explosionar, todo ello con mucho espacio para que la atmósferas cobren protagonismo y lo pasajes meramente acústicos con mucho protagonismo para los sonidos industriales tengan cabida. Las voces también se muestran áridas, aunque la incorporación de algunos pasajes hablados crea un importante contraste. Un álbum denso, a veces complejo, con diferentes líneas y registros que cumple en su faceta de black llamémosle cósmico. (8,4).




1. Zinloos 10:13  
2. Herrijzenis 08:45  
3. Like Gods 07:37  
4. Weavess 12:46  
  39:21





Regular edition on black vinyl.






viernes, 9 de abril de 2021

STIRIAH - INTERVIEW



1. Stiriah was formed in 2007, why did you decide to create the band? What does Stiriah's name refer to and why did you decide to use it?

We always enjoyed visiting concerts and getting wasted with friends in front of the stage – so our next step was to do that on stage, haha. The name is a creation of Ortoks pervert mind. Only he knows the true meaning. To me it sounds very cold and that fits the sound of our music very great.


2. Although the beginnings of Stiriah go back to 2007, it was not until 2015 that they released their first EP, which happened in these eight years in which the band was practically unpublished? Maybe Stiriah was created with other claims and the album edition did not was it a priority?

As said before, these were wild years of trying and freaking out on stage. We focused on writing songs for the live performance, which ended in them missing something, that would make them work on an album. In the end they were never released and we were worn out after a couple of years of live terror and put Stiriah to rest until 2015.


3. Both the previous “Aurora” (2017) and the most recent “Into the Depths” (2020) contain five extensive songs, why is this decision regarding the duration and similar extension of the songs between both albums?

45 minutes seem to be the perfect duration for an album with complex stuctures. Shorter songs would not leave enough space for atmosphere and everything longer just would be annoying, haha.


4. “Into the Depths” (2020) shows the band facing a much more mature proposal than with previous works. How has the composition and recording process of the new album been like and how do you think your sound has evolved with respect to previous releases? What brand of instruments have you used for recording and composition?

Glad to hear that, haha. Yes, we actually put a lot more time and arguments into the songwriting process, and came up with new ideas almost weekly as the recordings were proceeding. I think, thanks to the album concept, everyone had a clearer vision of how the final album should sound like and could direct his playing skills and songwriting to this direction. So to say it´s the better album because we all were heading in the same direction.

For the gear nerds – we used Spector basses, Washburn and Ibanez guitars and Tama drums plus some guest vocals- for further information check out our social media.

Also there will be a “making of” to some upcoming material, so stay tuned!



5. You define your sound as harmonic black metal and somewhere there has been a comparison of your sound with the band Emperor, is Emperor an influence for you and what do you think of this comparison? How would you describe the sound of your album for whom? still not heard today?

Especially since Ortok and I are such Emperor fan boys, we are honored by this comparison, haha.

Emperor have created something very unique, especially in these early days of the genre. The scene grew and was heading into different directions, which led us into having so many great subgenres within the scene, but it also made it more challenging to stand out with your band. We'll be glad, if we do and put some fresh wood into black metal's ongoing flame.


6. Unlike “Night Falls” (2015) and “Aurora” (2017) that showed an artwork more related to nature, for “Into the Depths” (2020) you use an illustration that shows a half-human, half-corpse figure Who has taken care of the design of the cover and how does it relate to the theme of the album?

The previous designs were more nature related, because the lyrics were. But this album has a different theme so the artwork  by our pal poisondust shows the evil, that dwells under mankind's clear surface. So it fits perfectly to the concept of the trip into the depths of the filthy human habits.


7. Returning a little to the previous point, if it is true that the titles of the songs do maintain, in a certain way, that relationship with nature, what theme do you cover in the lyrics of the new album? write the texts and how do you adapt them to music?

This time the lyrics were written along with the instrument lines to fit the concept. The elements work as metaphors to certain human behaviors. People can be very crooked, so the offered warmth, symbolized by the sun, might burn you and a guiding light can also blind someone. So the album is about how fucked up people can be.


8. You just edited a promotional video for the song “The Sun” a few weeks ago, why did you decide to edit this video, is it a way to keep your fans expectant due to the lack of concerts due to Covid-19? of video editing and production?

Yeah, exactly! It is a great song to make a video to, because of its speed variations and changes in the musical motive, which could be easily transformed into the story telling of the video. When you can´t get on stage, you have to give something to the black metal crowd to look at. We really enjoyed making it and you can be sure, there will be more!


9. Another noteworthy aspect that is maintained throughout your entire career is the fact that you have decided to self-publish all the material, what is the reason for this decision, is it a way to have greater control over your work or there has simply been no interest by any record label?

So far it has always felt great to be in complete control. All decisions were made by the four of us, but this album and especially its promotion were a lot of work and sometimes really frustrating and full of night shifts. We realised, that you can´t control and manage everything by yourself, so we came to the conclusion that a label support for the next album wouldn´t necessary mean to lose control, but to gain more time for being a musician instead of a salesman, haha.


10. How were your beginnings in music: first concerts that you attend, first albums that you buy? What did you do in your lives or did you want to dedicate yourself to music?

Since we grew up in the decade of mix tapes and mp3 CDs later, which you got from someone and gave it on to another, we dragged each other into the extreme metal scene. It was always like:

“Have you heard this band? They gonna rip off your nutsack-here is a mixtape, listen to this, but I´m not sure if I rewound it!” Great times which led us into trying ourselves as musicians with shitty instruments, rehearsing in the basement of our town's church. It was and is great and I think the fact that we don´t have to write our music for a living keeps it more creative, but what do I know…maybe a label gives you the extra push forward.



11. How would you describe the black metal scene in a city like Berlin or Dresden? Do you consider that the German black metal scene is on a par with the Scandinavian, the Polish, the French or the Greek?

The scene really grew a lot in the last five years and you can get your dose of live black metal almost daily, but I think it´s hard to compare the national scenes with each other. They all have their own style, which keeps it interesting. So there is a lot of great avantgarde stuff from France and on the other hand great high technical stuff from Germany or Poland. I just recommend you check out new bands without branding them by their heritage or origin.


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

Odraza – Rzeczom and Darkened Nocturn Slaughtercult – Mardom are pretty different but both on steady repeat. Odraza have a great complex songwriting, representing the new direction of black metal, while DNS have their own oldschool style, which I admire as well. 

Check them out!


13. As previously comented the concerts have been canceled as a result of the Covid-19 irruption, however in your case you are already beginning to plan some shows for the future, what can you tell us about these concerts? feasible that they will be carried out?

We are trying not to make promises we can´t keep. So we are waiting for a light at the end of the tunnel before we announce further concert plans.

Still, we are very excited to play at the Walpurgis Rites 2022 in Berlin which had to be postponed from 2020. Great support here by De Mortem Et Diabolum, who keeps the scene alive through this pandemic shit!


14. “Into the Depths” (2020) has already been released for a few months and it is still early, but are you already working on new songs? Will there be a reissue of your discography?

Every album has been written in a certain time for a certain reason, you can´t recreate this properly in a reissue. We are looking forward and as said before, since there are no shows to play, we are actually pretty busy working on something big! So keep your ears and eyes open and stay tuned by checking out our social media platforms.


15. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Stiriah fans this is the place. I hope the questions have been to your liking

I really appreciated it - keep on doing what you do and keep up the support for the scene!

And to all you guys out there, check out our album and eat your cereals, haha!



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Limited to 100 copies. Hand-numbered





MOEROR - INTERVIEW



1. Moeror was born in 2018, what prompted you to want to form Moeror? Why did you choose the name Moeror and what does it refer to?

Giannis: Moeror was born from the need of self-expression. Moeror means grief in latin. Humanity nowadays is overwhelmed with feelings of helplessness, trapped in a vicious circle, unable to even imagine outside the box. So, we felt it was a fitting name for us.


2. Most of Moeror's line-up comes from the Greek melodic death / doom band Nekkar except X. Which comes from Human Serpent. What does Moeror give you more focused on black metal, with respect to Nekkar? How did the inclusion of X. in the band come about?

Giannis: Moeror is a completely different project, although we share most of Nekkar’s members. The way we perceive our music nowadays has changed a lot since the Nekkar days, gearing to a more extreme sound. I know X. since way back and respect him as an artist, so we decided to form this band together.


3. In 2019 you edit two songs in EP format, with the title of “Sag”, two songs that sound raw and with a sound perhaps owed to the bands you came from, how would you define the sound of this first album? How was the writing and recording process for this EP?

Giannis: Each of these works reflects our feelings and state of mind at the time of writing. The "Sag" EP is a more intimate work, raw and esoteric. The production of Sag was more spontaneous in contrast to the new album.


4. However, the 2020 edition of your first album "The Ghosts of Amour Propre" is a leap in terms of sound and proposal, highlighted by a much more avant-garde sound and the inclusion of synthesizers that give the sound greater depth. How was the composition and recording process of this first album with respect to the EP? Was it very difficult to carry out the recording of a sound so varied and rich in nuances?

Kostis: The way we compose varies between songs. Sometimes one presents a riff or a section of a song, and the other adds his own variations on it, building a song slowly. While in other cases, one might present an almost finished song and little is changed until the time of recording. The use of synths was something we always wanted to incorporate into our music, even before Moeror, as a core ingredient of our sound. As the new songs were starting to take form, it became apparent that the arrangement and production of the album was to be very different than what we were used to. But since we had full creative and technical control, we could explore different approaches to our sound without the pressure of time or money, until we were satisfied with the result.



5. In “The Ghosts of Amour Propre” there are avant-garde elements, post punk, darkwave, etc ..., how would you define the sound of the album for those who have not yet heard it?

Giannis: “The Ghosts of Amour Propre” incorporates avant-garde elements having a black metal core. We are certainly influenced by post punk, as well as other genres of music, but we think of our music as black metal.


6. Despite being a Greek band, a country with a huge tradition within black, if your sound is reminiscent of the batch of polka bands that is emerging lately in the line of Furia, Odraza, etc .. Are you aware of the Polish scene? Is he an influence on you in any way? What is your opinion of the aforementioned polka bands?

Kostis: The Polish black metal scene, along with Norwegian avant-garde are big influences on our sound. In my perspective, what made the Greek black metal bands stand out in the 90s, was the emotional and melodic leads contrasting within intense black metal songs. And in that regard, I think they left a big impression on the way we write music.The bands you mentioned, brought along a fresh attitude in black metal, and are among our favorites.


7. The album manages to convey a feeling of loneliness and suffocation of the human being in urban environments, can we talk about a concept album? Why did you decide to treat these issues in your lyrics?

Kostis: Even though I do enjoy listening to music as a means of escapism, we do not use our music in this way. Instead of using Moeror as a way to step away from reality, we use it as a lens, a way to process the absurdity of reality. Each song in this album explores a different aspect of human existence in this cage humankind built for themselves.


8. Returning a little to the issue of the Polish bands mentioned above and in relation to the theme of cities, are you aware of the work of two bands such as Odium Humani Genereis or Sznur? Have they been an inspiration when developing the theme of the album?

Giannis: I haven’t heard any of these bands. Our inspiration for a more minimal, urban aesthetic comes mainly from our love of post-punk.


9. Who designed the album cover? On this cover, where there is a space between two buildings, an allegory of the alignment of human beings in cities and the loss of identity and values?

Giannis: Exactly! We experimented with other styles at first, like hand-drawn and dark imagery, but nothing fit the music quite like the suffocating austerity of concrete. The album cover was shot by a photographer friend of ours, Andreas, who does stunning black & white photography. The building in the cover, as well as all photos in the album’s artwork are from buildings around our neighborhood here in Athens.


10. The album has been edited by Black Theta, which I understand is your property. How did the idea of ​​creating your own record label come about? Is this a way of releasing releases that by style do not fit entirely with others? them stamps and thus do it with greater freedom? How did the possibility of editing on cassette through Azure Graal come about?

Giannis: We want to have as much control as possible around any aspect of the band. From the writing process, mix and production to the actual delivered product. Instead of going for another self release, we just decided to make an entity outside the band to house our releases. There are labels out there that I believe our music would fit to, but we decided to have ultimate freedom with what we do. This of course has many drawbacks too, since we can’t promote our work at the level a professional label would. About the cassette edition, Daniel from Azure Graal reached out to us and we happily agreed since the terms of our cooperation were fine. The result was really great!



11. Although Moeror has not yet made any concert, the suspension of the same by Covid-19 has not been a problem in itself for the band in this sense, however, in what way has the current situation influenced you, both when it comes to getting together to rehearse, the contact with the fans, the promotion or the mood that can be reflected in your music?

Kostis: There were no plans for live shows, so it did not affect us in that way. Thankfully, we just managed to put the album together just before the second lockdown here in Greece. Any future plans we have are most likely going to be delayed though as it seems. Seeing the government turn against its people in these difficult times, as well as the whole “us vs them” mentality we see everyday in social media just makes us more dedicated to the band.


12. How were your beginnings in music: first albums you bought, first concerts you attended, etc. What did you do in your lives that made you want to dedicate yourself to music?

Kostis: Like a lot of people, we started playing music for fun as youth. But over the years, music became a big part of our lives. It’s something we have to do in order to express ourselves. The first albums I’ve bought were probably Queen’s II and Iron Maiden’s “A Real Live Dead One”. There was a yearly metal festival in my hometown of Lamia in the early 00s, these were my first concerts.


13. Greece was always a pioneer country in black metal with a very consolidated scene in the nineties, how do you think Hellenic black metal has evolved in these years? Maybe you are a band that doesn't quite fit into this scene and your influences and expectations are outside your country?

Kostis: A lot of the newer bands in Greece, do not necessarily adhere to the classic Greek black metal style of the 90s. Today music is more global than ever. Influences come from everywhere around the globe.


14. Which album defines for you the essence of black metal? What last albums have you bought?

Kostis: It’s difficult to select only one album from such a diverse genre. I’m torn between “HEart of the Ages” from In the Woods… and Ved Buens Ende's “Written in Waters”. The last albums I bought were Wieże Fabryk’s “Dym’, an awesome post-punk band from Łódź, Poland, and “Visions of Bodies Being Burned” by clipping., an experimental/industrial hip hop from the USA.


15. What more immediate future plans do you have for Moeror? Are you already working on new songs with a view to an upcoming release? Maybe a reissue?

Giannis: We have plans for releasing some music in 2021, maybe an EP., but nothing is certain at this point. Either way we are writing new stuff, so something will eventually be released. A reissue of a previous work is not something that we think for the moment. 


16. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Moeror fans this is the place. I hope the questions have been to your liking

Giannis: It was our honor! Many thanks to everyone who supported us in our vision. Take care!

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Opium Warlords – Taste My Sword Of Understanding (2 LP - Gold) 22,99 € 


350 x gold (2LP)

Taste My Sword Of Understanding is the third offering of OPIUM WARLORDS, the final project of Sami Albert Hynninen (REVEREND BIZARRE, THE PURITAN, SPIRITUS MORTIS, ARMANENSCHAFT, AZRAEL RISING, THE CANDLES BURNING BLUE, KLV, TÄHTIPORTTI, MARCH 15 and ORNE).

In comparison to the earlier albums Live At Colonia Dignidad (Cobra, 2009), andWe Meditate Under The Pussy In The Sky (Svart, 2012), it takes a few steps towards more conventional and easy-to-listen-to levels, but still can’t be mistaken for the average force-fed background bubblegum hum you might hear on the radio.

Composed between 1994 and 2009, recorded in 2010, mixed in 2013 – ripened, literally, with blood, tears, sweat, and exotic neurochemical fluids – Taste My Sword Of Understanding is at the same time minimal and complicated, light and heavy; sometimes gentle and soothing, sometimes raw and cruel, but always real and naked, and this time you may find – among all the repetition, weird noises, and floating on the drone and ultra-light chimes – even some essence of epic Heavy Metal on board.

Opium Warlords on this album were: Sami Albert Hynninen, with Erkki Virta (PROTECTED ILLUSION, L.A.M.F., THE PURITAN) and Laura Länsimäki (MARIA, ARMANENSCHAFT).

The album was recorded and co-produced by Jouni Leppikangas and mastered by Joona Lukala, both of who also worked on We Meditate Under The Pussy In The Sky and MARCH 15 album Our Love Becomes A Funeral Pyre