domingo, 28 de julio de 2013

DARKENED NOCTURN SLAUGHTERCULT

Origen: Alemania, Dormagen.
Formados: 1997
Estilo: Black
Temática: Mal, muerte, ocultismo, oscuridad y satanismo.
Miembros:
  • Adversarius Bajo
  • Horrn  Batería
  • Onielar Voces, Guitarra 
  • Velnias Guitarra
Discografía:

  • Rehearsal 1 Demo 1998   
  • The Pest Called Humanity EP 1999   
  • The Pest Called Humanity / Luciferian Dark Age Split 2001   
  • Follow the Calls for Battle CD 2001
  • Underneath Stars of the East / Emptyness Split 2003
  • Nocturnal March CD 2004
  • Hora Nocturna CD2006   
  • Evoking a Decade Recopilatorio 2008   
  • Saldorian Spell CD 2009
  • The Legion of Chaos Split 2011   
  • Necrovision CD 2013
  • Mardom CD 2019
NECROVISION (2013)
Banda de black metal con sonido de los que marcan los cánones, al cual acompañan de unos textos totalmente inmersos en la temática del género. Desde el tema que da comienzo a este trabajo en forma de introducción, uno ya se pueda hacer una idea de lo que viene después, ya que la forma en la que esta presentada no augura nada bueno, Y es este primer tema, el único punto de pausa en un trabajo que transita a toda velocidad por unos riffs de guitarra superiores a la media y una base de batería brutal. La sensación que uno tiene al escuchar este trabajo es de estar ante un trabajo de black metal que cumple todos y cada uno de los patrones del género y eso es mucho decir. La producción se ha dejado de artificios innecesarios y todo suena increíble, con claridad pero real, llama especialmente la atención el excelente trabajo hecho con la batería, que logra imprimir dinamismo y diversidad y elevar el listón del álbum. Increíble resulta también el registro vocal logrado por Onielar, confieso que he tenido que revisar el line-up para descubrir que no se trataba de una voz masculina, los registros logrados resultan exultantes, sobradísima. Un aspecto, el vocal que pone los pelos de punta con esa voz rasgada y feroz por momentos. Muy buen trabajo, con algunos riffs de gusto más thrash también brutales, con una atmósfera muy oscura, y con un gran trabajo en todos los aspectos, tanto musicales como a nivel d letras, para mi un clásico desde ya. (9,6).

1. Aura 02:29  
2. Omnis Immundus Spiritus 04:36
 Omnis immundus spiritus,
Omnis satanica potestas,
Omnis incursio infernalis adversarii,
Omnis legio diabolica,
adjuramus te.

Invoked is the sacred and terrible name - a nocturnal presence so odorously unclean.
Betwixt this spiritual negativity lies in pain - a sacrificial extispex utter sanguine.
Nothing may ward off the dormant torment
these mural boundaries have seen.

Flaming scourge of God, bornless one,
bestow upon us thy forbidden gnostic sermon.

Ergo draco maledicte - te rogamus, audi nos.

Begetter of Chaos, King of all kingships - thy words of commandment are upon our lips.
Unmatched is thy glory and grace - so fierce thy lustful embrace.

He, whose culminating gnosis exceeds the horned serpent,
whose guise is girt with light most lucent, whose numious will the welkin distends,
whose shaping the invisible boundary transcends, he, whose limitless enrails permeate throughout time
- this sanctuary is now thine. Ergo draco maledicte - te rogamus, audi nos.
Omnis immundus spiritus, Omnis satanica potestas,
Omnis incursio infernalis adversarii, Omnis legio diabolica,
adjuramus te.
3. Primordial Sapphirine Driplets 04:26
  Primeval husk - Stellar remnant, source of no polarity,
drawing down the most hidden of all hidden, intangible,
towards the genderless foundation of impurity,
an ensorcelled orbit of a transient starless will.

Opthalmic bedevilment, the augury pours into the chalice,
albeit amongst the sightless there is no seer,
no augur to divine this dire portent, demiurgeous,
henceforth the specters of matter will drearily disappear.

Foundation of impurity - Opthalmic bedevilment,
the augury pours into the chalice - primordial sapphirine driplets.

For though the primordial sapphirine driplets
bedew desiccated tongues, none will grasp their savor,
to no extend in its boundless incomprehensible fulness,
forsooth the forsaken ones are mandkinds failure.
4. In the Hue of Night 05:26
When night falls, the unveilment of sublime visions behold. What's been obscured by verity conceives its mold in the hue of night. Upon ashen wings in pallid gloomy light your shadows blackened cast onto every solitary path. A fire's blazing in the cadence of glorious times. Inhale the sparks of transubstantiation. Behold their miracles and signs. What has been altered invisible through light conceives its color by the hue of night. When night falls, reverbaration of clamorous times abate. The voice of innermost depth by Tersareth perceived Harken this tongues tone, thereto apprehend its mold conceived by the hue of night – in nightly hue. Within Cimonar deeply entranched, distend. With Emerdiales all-encompassing vastness unified. As part of the whole ascend towards the Godhead descried. When night falls.  
5. Coronated Spheres of Adversity 04:12
Transcend prime mover, starry and awed, in radiant grace onto the palace empty of god. Tenfold entwined sparks of holiness, oh, crowned emanation of unity caress, the duality of life and death. Transcend prime mover, starry and awed, in radiant grace onto the palace empty of god. Impurity - adhere concealed wisdom, emanate, contemplate, succumb, to the filthy wailing one. Limitless, invisble thou were highborn, now amorphously altering to misshapen scorn. Coronated are the spheres of adversity, vaporously deified by miasmic blight, in the spiritual cadence of delight.  
6. The Eviscerator 03:23
  Bound by an insatiable craving,
a fateful carnivorous greed,
even in death still raving,
a bloodied life's work to exceed.

The Eviscerator – The Eviscerator

From Sitra Achra, side of Kelipah returning,
the God beloved, left-behind to maltreat.

The Eviscerator – The Eviscerator

Cita mors ruit.
Media vita in morte sumus.
Mors janua vitae.
Mors certa, sed hora incerta.

Faith - an excruciating visitation,
hell's begotten saviour, sin-born,
to herald premature redemption,
to those of contempt and scorn.

Archeronian epitome of deliverance,
skinning the husks, refined chaos,
prepossessed by agonizing abhorrence,
a raging passion utter pious.

The Eviscerator - insatiable craving
The Eviscerator - carnivorous greed

Omnes vulnerant, ultima necat.
Redibo, tu nunquam.
7. Fundaments of Seminal Knowledge 04:35  
 The cosmos is a vivacious vessel,
whose profundity equals the depth of nocturnal blackness.
Macrocosm is the measurement for limitedless.
The fundaments of seminal knowledge are nourished
willingly by the cosmical entity.

The cosmos lies within thee

No reflection appears upon the mirror unless one side's eclipsed
Nothing is apparent without antinomy.
The cognition of life grows perpetually
out of dichotomies polarity.

Microcosm is the inner sense and replies
to this greater outer with a sonority.
An emotion combines the tone to chimes.
Their reverb lasts deathlessly
despite shed off shells.

The cosmos is within thee
8. Upon My Arrival 04:42
A place without designation, native soil without an abode, Quethe with your silentness, live without a breath, rustle and fall silent with the wind upon my arrival. Let the driblets of grief trickle - through my veins pulsating life, throbing death - steadily around us Gigantic and trifling - upon my arrival. Two kinds of equity. The deathless intentions distant bourn. When I arrive. Grain crackles, like cinder in the flames, and one-time it shall solidify under harvesting blades, a bawl in solitude when I arrive. Indulge the blades. Withstand not the vice of Tulwod. Augment your spirit when I arrive. Recede not when I arrive. Quethe with your silentness, upon my arrival night eternally reigns.  
9. Necrocosmic Vision 07:36
Harken! Ancient tongues are roaring, From a distant realm they emerge. Rending this deathly hush asunder as a ferociously clashing surge, against the dreariness of eternal slumber. Embarking the bleak vessel to set forth accross the ageless sea of deliverance. Cloaked in garments of deluding secrecy an emissary conjured, a fallen presence, a benighted king soulless postulating a direful theodicy. Harken! Ancient tongues are roaring, From a distant realm they emerge. The source of conjuration slowly yielding, driven out for it is nonsignificant to a mortal dust traversing godhead. Through a transcendental quondam tyrant, maledicted and banished unto the habitations of the hollow shells of the dead. Harken! A rejuvenated tongue now speaketh, obedience unto me, for I am mankinds dread, praise be unto me, for I am maleficence thrice, Limited being - thy skin unclean shall be shed, Finite and imperfect, ennoblement to the greater is ineluctable the lessers demise.  
  41:25




MANII

Origen: Noruega, Trondheim
Formados: 2011
Estilo: Black
Temática: ?
Enlaces: ?
Miembros:
  • Bornyhake Batería y guitarra
  • Cernunnus Guitarras
  • Sargatanas Voces
Discografía
  • Kollaps CD 2013
  • Skuggeheimen EP 2015
  • Sinnets irrganger CD 2018
KOLLAPS (2013)
Manii no son unos recién llegados, llevan en la escena desde 1991, primero como Perifa y más tarde como Manes. Su música desprende un halo de depresión y oscuridad, de ritmo lento y pausado por momentos, va sumergiendo al oyente en el lodo de la desesperación. Su black metal se encuadra en la vertiente más oscura y fría de la escuela escandinava. Los riffs de guitarra tienen un aire melancólico acentuado por un gran trabaja en los teclados. Piezas sutiles y bien elaboradas que desprenden desesperación en todas sus notas, con una voz rasgada y que por momentos se nos ofrece rota. Una producción correcta pero que permite gozar de unos maravillosos arreglos de guitarra para convertir a este Kollaps en una gran obra de unos noruegos que esperemos le den continuidad pronto. (8,2)
1. Skoddeheim 05:20  
2. Liv-øydar 03:20  
3. Likfugl Flaksar 06:26  
4. Ei Sjæl som Sloknar 05:19  
5. Kaldt 07:05  
6. Endelaust 03:48  
7. Ei Beingrind i Dans 04:18  
8. Avgrunns Djuv 04:16  
  39:52  

DROHTNUNG

Origen: Australia, Perth
Formados: 2004
Estilo: Black depresivo, noise
Temática: Aislamiento, naturaleza y soledad
Enlaces: Facebook
Miembros:
  • B.C. Guitarra
  • B.H. Batería
  • B.C. Guitarra
  • Old        Voces
  • S. Bajo
Discografía:

  • Our Grief Demo 2006   
  • Woods of Desolation / Drohtnung Split 2008   
  • Our Grief, Leothurun, Rehearsal 2009 Recopilatorio 2011   
  • Drohtnung  CD 2012
  • Suicide Session Demo 2013   
  • In Dolorous Sights CD 2015
  • Cultivation of Evil Void Worshipping Psychosis/The Black Aurora Split 2017
DROUHTNUNG (2012)
La portada de este trabajo puede llevar a equívocos, por lo menos en mi caso en un primer momento nada me hacia sospechar lo que me iba a encontrar en el plano meramente musical. Su música va hundiendo al oyente en sentimiento de desesperación y abatimiento próximos a la locura. Las atmósferas para ello están excelentemente creadas a base de sonidos de sintetizadores que van creando un clima de axfisía y locura. Las guitarras en ritmos lentos transmiten inquietud y cuando cobran fuerza atesoran un aura de locura, demencia y suicidio. Las partes de batería solo consiguen aumentar el nivel enfermizo y nauseabundo de un trabajo de black depresivo muy bueno. Las voces, la mayoría de las veces distorsionadas, tienen un efecto magnético de buscar y no encontrar salida. Tremendo disco de Old que se encuadra dentro de la escena como un nombre muy recomendable, a pesar de pertenecer a un país con más tradición en otros géneros. (8,2).


1. Silence in Peoples Tears / Dolente 02:57  
2. In TIme of Mourning One Feels Existence Weigh Up / Decrepit 08:23  
3. Joys Are Astute with Sorrow / The Body Rots (in Ortnevik Forest) 06:59  
4. Loneliness Is Haunted / Loss 06:59  
5. With Death / Only Death Exists 03:46  
  29:04  


sábado, 27 de julio de 2013

ÆVANGELIST

Origen: E.E.U.U., Arlington Heights, Illinois / Portland, Oregon
Formados: 2010
Estilo: Black, death
Temática: ?
Enlaces: Facebook
Miembros: 
  • Ascaris Voces
  • Matron Thorn  Todos los instrumentos
Discografía:


  • Oracle of Infinite Despair EP 2011
  • De Masticatione Mortuorum in Tumulis CD 2012
  • To the Dream Plateau of Hideous Revelation Split 2013   
  • Nightmare Flesh Offering EP 2013   
  • Omen Ex Simulacra CD 2013
  • Writhes in the Murk CD 2014
  • Abstract Catharsis EP 2015 Dream an Evil Dream EP 2015 Enthrall to the Void of Bliss CD 2015 Live at California Deathfest Directo 2015
  • Codex Obscura Nomina Split 2016
  • Veneration of Profane Antiquity Recopilatorio 2018 Aberrant Genesis EP 2018 Heralds of Nightmare Descending CD 2018 Matricide in the Temple of Omega CD 2018
DE MASTICATIONE MORTUORUM IN TUMULIS (2012)
Desde el comienzo de este trabajo te das cuenta que su sonido tiene algo especial y distinto que lo hace destacar por encima de la media y al ver los créditos te das cuenta de sus dos integrantes forman parte también de Benighted in Sodom, no es que Ævangelist suenen como ellos ni mucho menos, pero si que transmiten una sensación de saber lo que se traen entre manos y de no ser unos recién llegados. La temática del álbum gira una vez más en torno al universo creado en la literatura de HP Lovecraft, que tantas veces a influenciado letras y conceptos de bandas, en esta caso sobre el mito de los muertos que en la tumba se van alimentando de si mismos o de sus compañeros. El sonido del álbum inspira sentimientos de horror y claustrofobia, junto a las partes más death, se van acoplando distintos elementos como pueden ser sintetizadores que aumentan la sensación de agobio y podredumbre de un trabajo que en ciertos temas baja la velocidad y se acerca también a terrenos más doom. Su música resulta compleja, no hay un patrón por el cual se ciñan, sino que van construyendo los temas acoplandoles una fuerte carga de ruidos ambientales que conllevan una acentuación de la sensación de claustrofobia. Un trabajo denso y complejo con gusto por las estructuras retorcidas y llenas de matices, en donde la parte experimental juega un papel fundamental, pero en conjunto resulta un entretenido viaje hacia la oscuridad y la obra de Lovecraft. (8).

1. Anno Mortii : Gnostic Transcendental Heresy 10:26  
2. Pendulum 05:52  
3. Death Illumination 09:11  
4. Funeral Monolith 05:31  
5. Hierophant Disposal Facility 09:12  instrumental
6. The Longevity of Second Death 07:30  
7. Blood & Darkness 05:29  
8. Crematorium Angelicum 09:11  
  01:02:22  


Musikhaus Thomann Linkpartner 

APPALACHIAN WINTER

Origen: E.E.U.U., Schellsburg, Pennsylvania.
Formados: 2008
Estilo: Black sinfónico
Temática: Invierno
Enlaces:Bandcampfacebooklastfm y mediafire.
Miembros:
  • D. G. Klyne  Todos los instrumentos y voces
  • Mike O'Brian Coros
  • Randy Smith Guitarra
Discogafía:

  •  Silence Before the Great Mountain Wind Full-length 2008   
  • Winter Eternal Full-length 2009   
  • I Become the Frozen Land Full-length 2010   
  • Appalachian Winter Full-length 2011   
  • Ghosts of the Mountains Full-length 2013   
  • Berglieder Split 2013 
  • Ravenforest EP EP 2013  
  • The Epochs That Built the Mountains CD 2014
  • Selected Orchestrations Recopilatorio 2014 Miri It Is Single 2015
  • From the Cosmos to the Mountains Single 2016  
  • The Lake and the Mountain EP 2016
  • The Lake and the Mountain: A Memoir 2017 CD
  • From the Cosmos to the Mountains CD 2017
  • Winter Always Returns CD 2019
GHOST OF THE MOUNTAINS (2013)
El último trabajo de Appalachian Winter hasta la fecha es un trabajo de black sinfónico pero también ambientalista con fuertes connotaciones folk, pero sobre todo es el proyecto de un música D.G. Klyne que tiene muy claras sus ideas y hace y deshace a su gusto en una banda, la suya, que poco a poco va situando en el panorama del black. Disco a disco va puliendo su sonido, mejorando aspectos como la producción y logrando transmitir a su audiencia su propósito, que creo no es otro, que la sensaciones de un frio invierno en los Apalaches. Su música es rica en matices y bastante elaborada, gran trabajo en todos los aspectos desde la voz muy trabajada y cuya presencia sube el tono de las composición, así como todos los aspectos sinfónicos y ambientales que si bien en un principio se les pueden atribuir tintes preciosistas, llegada la hora de la verdad lo que transmiten es una sensación más bien de inseguridad y de salvajismo dentro de la naturaleza. Bien es cierto también que por momentos se puede dejar de lado un poco el aspecto más black y coquetear con algunas partes heavys, esas voces en Pennsylvanian Fire, o incluso aspectos orquestales tal vez un poco sobrecargados, pero esta claro que esto es el proyecto de Klyne y él y sólo él manda  sobre el mismo. El mensaje está más que claro, un ser humano ávido de riqueza al cual no le importa destruir una y otra vez la naturaleza y pocos trabajos logran transmitir ese clamor de: paren ya de una manera tan clara y precisa. (8,3).
1. Rebellion Within the Young Nation 06:47
  If freedom was to to fall from the heavens 
As brilliant orbs of light, 
The people of the mountains would catch them first 
And hold them closely to their hearts. 

If you hold close to your heart 
A treasure greater than life, 
You will know death before separation, 
And so you will hold it for your eternity. 

You who think you rule over men 
May put to paper any words you wish, 
But they who live in the mountains 
Will always be free, 
And owe you, who know not 
Of life's great struggle, 
Nothing.
2. Patriarchs 05:34
  Old wisdom shines like light 
Across the void of time. 
Old words fight decay 
From foolish minds. 
Ages die like fire 
From the falling rain, 
As our patriarchs 
Smile and become the Earth. 

Fire and rain - 
Strip me to my bones, 
As I know my name 
And claim my forefather's heart. 

Fire and rain - 
Wash the Earth anew, 
As my forefathers and I 
Rise from ashes.
3. Ancestors of the Lake 05:23
  This lake; these lands I stand upon, 
Have and age - an epoch that can't be known. 

They bear ancient names; 
The only remnants of those here before. 

I like to think that the ravens who come, 
Bear their wayward souls back to this land they called home. 
But likely these are only ravens, 
And nothing more. 

I like to think that every raindrop that falls here, 
Are their tears returning home - that they may weep no more. 
But likely they are only raindrops, 
And nothing more. 

I like to think after I yield forth my last breath, 
That my spirit will join those ancient ones, 
In song to our beloved mountains. 
But likely that day, 
We shall all be dust, 
And nothing more.
4. The Town Old Man Schell Built 05:26
Many pass here, but few are to know. Few live here. They inherit a corner of this world Sweetened by the absence of eyes upon it. A microcosm can reflect a universe. So we live; tiny lives in our forgotten town. Let it be nothing to those who pass by, For it is everything to me.
5. Keystone 04:52  instrumental
6. The Great Battle 06:25
  Over three days time, 
My mountains, my beautiful mountains 
Beheld immeasurable horror! 

When men came to slaughter men- 
My mountains beheld this- 
When souls come to ashes, 
And Death's roar loudens, 
Life reduces to the value of lead. 

When men came 
The world beheld the slaughter 
In my beautiful mountains. 

When men came upon these fields, 
Humanity darkened. 
Old eventualities bore old mountains 
In their witness. 

When Death's roar loudens, 
The last moments of men 
Are borne in wrath, fear and shock. 

Better of ten thousand 
Spilled all their blood, 
And my beautiful mountains 
Became a place of horror.
7. Pennsylvanian Fire 05:37
Colossal things rose in my mountains; 
Born of rocks and men. 
They found within themselves a thirst for fire. 
So followed many lands to take of my mountains 
As monstrous works changed my land forever. 

It was my land first 
Where fire was found; 
The essence of life long since gone. 
The souls of a forgotten time 
Were torn from the Earth, 
And made to live again 
As fire in the heart of a new age. 

It was my land first, 
Where cold eyes fell upon the mountains, 
And monsters rose among them 
-Nailed to the land- 
To take of the mountains 
While others were carved away, 
And left to rot by monstrous men. 

It was my land first . . .
8. The Great Flood of 1889 06:18
  Stands there a smaller city upon rivers. 
In the mountains there, men forged steel under a ghastly shadow. 

When the rains came, 
Tragedy was forewritten, 
For men had declared the river a lake, 
And when the rains came, the river reclaimed itself. 

No barrier built knows the truth of Earth, Water and Sun. 

When eyes closed and Life laid down en masse, 
The city, scarred and horrified, became a dire warning - 
Remembered still by my people. 

When the rains come again, 
Will the next river break free?
9. The Cemetery Where Slaves Lie Buried 04:39
Here is a place haunted, 
Where shadow and soul are one, 
And the land hides the horror 
Of those who ran - ran for the dignity of men. 

All that remains are stones 
And whispered memories 
For hope also fled, 
And so they died - they died for the dignity of men. 

These are the unmarked graves 
Of those our history has left behind.
  51:01  


Musikhaus Thomann Linkpartner 

viernes, 26 de julio de 2013

ZIFIR - ENTREVISTA

Zifir has founded in 2006 and first album You Must Come With Us had been released in 2007. Zifir have finished recording of their second album Protest Against Humanity in 2008-2009 and released on March 2011.
Band aimed for black metal conception in both musical and doctrinal ways.

Quote of textual facebook
1. The band was founded in 2006, edits in 2007 "You Must Come With Us" in 2008 is attached to the battery and in 2011 edits Nursuz "Protest Against Humanity" and last year you publish the Ep with Belgian Cult of Erinyes. How did the idea of forming Zifir? What has been the evolution in the band's sound over the years and especially after the incorporation of Nursuz to the battery?

Zifir is a foundation based on creating the ultimate feeling in a very simple for, as it is. Zifir’s sound is mostly mid tempo music with aggressive vocals, chanting screams and grim riffs. Religion is the major topic for the lyrics as it is the only thing that surrounds us here in Turkey. With addition of new member beats become more powerful and as time passes band’s composition capability has been evolved.

2. How did the collaboration with CUTL of Erinyes for this split? What two groups are beginning to sound a little different? How was the songwriting process?

Actually the bands found each other by internet network. Sounds are in a way similar but if you go deeper you’ll easily find the differences which also made this split great in terms of derivations of black metal sound. Each band had their songs and we just put them together in same cd. Zifir songs were written just a few weeks before this split recording session. This process all went very well.



3. Your lyrics revolve around Satanism and human decadence and misanthropy, how important are these elements in your life? What do you think of the society and humanity?

We strongly believe in misanthropy as we see the human as a virus in the planet. This is mostly about decadence or extinction of human on planet earth. We support anything that will make this proceed faster. Weapons, disasters, diseases…If you would like to ask about our social life then we can quote from “American Psycho”.

4. Your music conveys a sense of cool and sounds very primitive, what are your influences when composing?

This is very related to last two answers. There are several major driving forces for our inspiration and composing music. These are misanthropy, religion and concepts about darkness and light and from one’s eye how he or she sees the world within the lies. 

5. Could you tell us what you would for the five fundamental cds in black metal?

Lets say top three should be :
Mayhem – DMDS
Darkthrone – TH
Burzum – Filosofem

6. What kind of equipment do you use music in the studio and what at concerts?

Zifir hasnot been involedfor performinglive yet but in studio we use drums with double pedal and lots of cymbals as you might guess. For vox we use regular microphone with spme reverb and for quitars only pre amp, nothing special.

7. Coming from Turkey and practiced black metal, do you suppose this a risk? What is the extreme scene in Turkey? That we can discover bands?

The situationin Turkey can be changedday by day but it is a risk. It is good to keep in mind that 33 people were burned alive here in Turkey in 1993 as they were atheists. You need to be very careful because things are serious in this country. Very simple. 

8. This split has been edited by Somnia Aegri tanquam, will you still working with them in the future?

The results of split were overwhelming so it should be good to work with them again in the near future. We got many reviews especially from the whole Europe which was one of the biggest goals of our study.



9. What immediate plans to Zifir, in terms of new releases, concerts, re-re-record your first album with Nursuz perhaps, etc ...?

The next plan is to continue recording sessions. As I have also mentioned above, Zifir does not play live for now so we focus on writing and recording new songs and practice new conceptions.Most of the time we discuss about music, lyrics, the idea and how to build the body and create the sound. You will hear some news songs in the very near future.

10. Thank you very much for your time, if you want to add something for people who like Zifir, this is the place, thanks. I hope the questions are to your liking.

Anyone who would like to follow Zifir on internet should visit our web pages:
Zifir Line up:
Onur Önok
Nursuz

VULCANO - ENTREVISTA

Write the biography of this band, bring back in the memory a difficult time when Brazil was a strong political transition, social, economic, musical, in Europe the NWOBHM was emerging, and appeared changes in the traditional metal sound creating a more aggressive became called as Black Metal, Death Metal. Here in Brazil in 81 and 82 was no different and there's a lot of difficulties. But there's not what Zhema, Magrão, Carli Cooper thinking when they created the band VULCANO.

And this way began the history of this band, which helped to take root and spread heavy metal in Brazil being considered one of the firsts bands of Black / Death from Latin America.

Quote of textual facebook.

1. Vulcano was born in Santos in 1981, a period in which the country was going through a delicate political situation, and the rest of the world on black and thrash were not the most important musical trends, what do you remember from that time? What led them to create a band like Vulcano?

You are right, in that time Brazil were under the hard military government and it was very hard to start with a rock band or something like that, but I always listened rock’n’roll bands and in the early the 80’s N.W.O.B.H.M. I knew to play guitar, so I decided to create a band later called VULCANO.

2. After a decade, 80 in which through hard work and the publication of several albums, stressing above all the "Bloody Vengeance" numbered 90 in which Vulcan through a somewhat turbulent time is announces a period of reflection during which also happens the death of Soto Jr., former guitarist of the band. How do you remember that time? What led them to this period of reflection? Did you not think this attitude was wasting all the good achieved years ago? Did you ever thought terminate Vulcano?

In 1988 we signed with COGUMELO Recs and we recorded “Who are the True?” album. It was a turbulence year because the scene here in Brazil walking to bullshit metal. Everybody walking in the same way, fake and fancy. We put this atmosphere on the album “Who are the true?” in the ironic way. Anyway we started a tour to promote this album. We did some gigs together Dorsal Atlantica, Massacre from Chile and others local bands, but we aborted everything! Like you said, It was time to reflections. We were care with our family, university etc. In that period I played guitar and bass in some rock hard rock, I did an tribute to Creedence Clearwater Revival and did a Project called TALAVERA, Arthur “von barbarian” started to teach drum classes, Fernando Levine played acoustic guitar in pubs and Angel started with a tattoo studio.
In 1999 Soto Jr. invited me to reunion VULCANO again, after some trial we did some gigs in our area and São Paulo, but he died in December of 2001. Just in 2002 I decided to work in a new album and I did “Tales from the Black Book”. I didn’t regret to stop in 90’s because maybe I could stay contaminated by that time.



3. After more than thirty years of carrera you Zhema is the only original member of the Vulcano formation and especially in the last period since 2000, the change has been constant training. Why should this dance of members? They have brought new members to the band's sound? Would you like to have a stable Vulcan once again to gain stability?

VULCANO have two main lineup, Zhema, Angel, Soto Jr, Laudir e Flávio Rodriguez (Live! And Bloody Vengeance albuns) and Zhema, Angel, Arthur “von barbarian, Fernando Levine (Anthropophagy, Who are the True?, Ratrace). So, I’m together Arthur “von barbarian” since 1987 until present days. I and Arthur recorded together “Tales from The Black Book”, “Five Skulls and one Chalice”, “Drowning in Blood” and “The Man, The Key, The Beast” . Angel leave us in 2009 because he had others priorities in his life. The main reason of this several changes in lineup is because I and Arthur belongs to 80’s so we play this style of music called VULCANO.  

4 And we as his latest work "The Man the Key the Beast". How was the writing process for this album? How is your way of working the study, all contributed whit ideas or decisions of a leader?

I write VULCANO’s songs. When I have around 15 songs, I call Arthur and together we do the arrangements. Then we go into the studio and start to record. 
We are so well matched that did not rehearse anything, we go straight to the studio. When everything is ready I call bassist and vocalist. In "Drowning in Blood" I recorded all the instruments except the drums. 

5 "The Man the Key the Beast" sounds very classic but I think it also has an extreme side. How the sound has evolved the group over 30 years of career?

I do not know answer you, but maybe because I'm playing better than ever and album production also improved, but my view remains VULCANO.

6 What equipment do you use in the studio and equipment you use at concerts?

The same equipment that I record I use in live gigs.
JCM 800 Kerry King signature, Naja Guitar with Floyd Rose tremolo from CAST GUITARS and Flying V Gibson guitar. The pedal effects - MXR ZK, Analog Delay MXR Carbon series. Of course the recordings are used compressors, noise reduction etc. To record I use a Gibson Les Paul for bases, too.

7 Do you feel a little extreme metal precursor in Latin America? Do you think you have influenced and helped the emergence of bands that thanks to you we were inspired to be born as groups?

Yes, but it took me so long to realize it. Recently traveling with NIFELHEIM from Sweden was that I realized that I contribute to the Brazilian metal scene as well as the emergence of some bands.

8 What do you think today of the extreme scene in your country and worldwide? Do you think you that you had more difficult at that time regarding the new groups today, because they can make use of a technology that did not exist in your time and it is easier to record both as to reach more people?

Today there are hundreds of bands in Brazil until getting hard to listen to all. The technology helps current bands, but when they uses a lot of this technology, it does not sounds good.
I'm lucky to belong to a time when everything was harder because I learned a lot and learned the truth!

9. You have toured Latin America and also in Europe, your long career will for some other good story, what you cannot tell from your tour, life on the road, etc. ..,? What concert you keep a better memory and instead consider that under your view has been the worst? By the way, you stay with that audience with Latin American or the European?

Is there something that maybe you can understand how Latino. There is a big difference between the European and the South American.
It is very hard to explain, but even playing in a European city, where more than one South American people join in audience, the gig is on fire!! I cannot explain it more happens. I really like playing in the Brazilian Northeast, Santiago de Chile, Stockholm, Oslo and London. I've never been to Spain, although my father was Spanish.

10. What motivations within day d today to continue editing new material of Vulcan after 30-year career?

Metal in my vein!!!!!!



11. How did you start the metal, as for first groups to hear that album is you most proud of having in your collection? Why did you decide to become a musician?

I started to listen American Rock'n'roll bands like Chuck Barry, Jerry Lee Lewis, Little Richard etc. in 60's. later I jumped to Black Sabbath, Led Zeppelin etc. in 70's and finally N.W.O.B.H.M. I never liked football, so I went to learn guitar.

12. "The Man the Key the Beast" is edited like your latest work by Forsaken Records, which you own. Forsaken? Records has emerged only to edit the material or in the future Vulcano also see other bands on the label?, Indeed your first recordings are somewhat difficult if not impossible to locate, have you thought about the possibility of re-edit?

Yes! The main reason of the existence of RENEGADOS RECORDS is to release VULCANO's albums.
I don't think to re-release the firsts album, I just licensed for others labels interested.

13. What can we expect from the future of Vulcano about upcoming releases, concerts, etc. ...?

The tour to promote "The Man The Key The Beast" started in Europe, from now on we are in tour in Brazil until december. We started to plan an USA tour for next year, as well as a new album too. Our next tour to Europe will certainly be the Iberian Peninsula

14. Thank you very much for your time, if you want to add something for people who like Vulcano, this is the place, thanks. I hope the questions are to your liking.

 Thank you for opportunity to spread some words about VULCANO and please support us spreading our new album and seeing us at

VULCANO is an humble and honest band. 
Thank you guys!

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