lunes, 26 de agosto de 2013

ASTRAL WINTER - ENTREVISTA

Good afternoon, how is everything in Launceston?, Thank you very much for agreeing to answer these questions.
Good afternoon, hows Launceston? Nearly the end of winter here and it's pretty damn cold. Has actually been raining/storming here a bit and alot of areas are flooded.Gonna go check out one of these areas soon.

1. How and why did you decided to start a band like Astral Winter? What does Astral Winter offer over other projects in which it participates?
I had a band with a few friends which I used to write the majority of the music for. So when that band ended I decided I wanted to keep writing musicand just handle everything myself. I wanted to really push myself in the writing process so I wanted to add alot of acoustic guitars, strings and keyboards etc..
Which is all instruments I was very unfamilliar with at the time I started.I'd like to think Astral Winter has its own unique sound to offer. 

2. Right now you are the only member of the band, but at times you have collobarated with other musicans, was it raised at the outset that Astral Winter would be your band? Are you open to incorporating other musicians in the future, or maintain the project this structure?
When I started out I wasn't able to do vocals. So I was always knew eventually I was going to need to seek out a vocalist.Luckily after uploading a demo I recorded Phil (vocalist of the Illustrations Of Death demo) send me a message offering to do vocals.We didn't know each before this and luckily he only lived about 5 minutes away from me. I didn't really know anyone else who was into the same type of musicas me around Launceston, so it worked out really well.
For the album (Winter Enthroned) I wanted to add some guest musicians just to add something different to the album.I just asked a few people I knew/met through my music and they were all keen to help out. I plan to have even more guest musicans for my next upcoming album aswell.
Also, I did originally plan on having Phil come and do vocals for that album, but he moved to Queensland shortly after the demo was released so that it pretty hard.I's been practicing vocals on one of my other musical projects a bit and eventually decided to try and do it myself for Astral Winter. 
I'm definitely open to collobarating with other musicians in the future, but I think the overall composition of the music will always be done by myself.



3. How is your way of working in the studio? How was the recording process of "Perdition"? Do you find it difficult having to deal with all the musical aspects when recording?
My way of working is constantly changing. The more I record the more things I learn and this changes my process.I do generally start with mapping out all the drums, keyboards and bass in my recording session.Then spending a while mixing them all in together.I then record all the guitar parts, mix them in then do vocals.After mixing everything I usualy go back through everything and change/improv the parts I feel are lacking.Depending on what project I'm doing this can be a pretty straight forward process or alot more complicated.
Perdition, I didn't really have any particaular routine. It was all pretty much an experiment, I'll address this more in the next question though.
Depending on the project, some are easier than others.. But it can be quite diffucult dealing with all the aspects. Especially in the new Astral Winter materialI'm working (Forest Of Silence), there is so many different tracks for each song its quite easy to get lost in it all. Also my computer can't handle everything at once now, so I've had to split some things off into different recording sessions so I can continue recording without everything lagging. 

4. Focusing a little on your latest work, how would you describe the sound of the album? What feelings are you trying to convey to the listener? How has the sound from the previous album "Winter Enthroned"?
Well Perdition was an experiment. Originally I just wanted to do a plain acoustic album similiar to Agalloch's "The White" EP I suppose.But after recording a couple tracks I thought it all sounded pretty bland and it wasn't conveying the feeling I was after.This is when I changed the sound to whats on the album... My new idea was for Perdition to give the feeling thatthis is the music your hearing while your soul is journeying from 1 realm to the other, after death.Floating through a cold wintery dimension to an unknown after-life.That's when I added all the reverb and delay effects and added the winter atmosphere track to try and convey this idea/feeling.
Also when I was talking to the label about releasing Perdition we were planning to only release it on tape.So Perdition was orginaly just 1 continious track. The winter atmosphere played through the entire 36 minutes then the songs started and finished throughout.Later the label decided they wanted to do it on CD instead, so I had to go through and split the tracks off indivudaly. I prefer the single track version though.I think to get the full feel of Perdition it needs to be listened to start to finish. Playing random tracks doesnt provoke the atmosphere as well.
I was quite hessitant to how this would be received after Winter Enthroned, as they were very different albums.But all the reviews have been quite favourable of Perdition.

5. What bands have been an influence for you when composing your music?
Nowdays when writing Astral Winter material I try not to think about other music and just try and write what comes out naturally.This goes for Perdition and Forest Of Silence (which I'm currently working on) and futher material I've been writing too.Obviously things come through that I've absorbed through the years of listening though.
When I started out though it was quite different, I definitely relied more on the music I was listening to at the time. I was more into melodic death metal... In Flames (old), Dark Tranquillity, Children Of Bodom etc, Wintersun etc..But I wanted my music to sound alot darker, but to have the melodic feel that those above mentioned bands had.I wasn't too heavily into black metal at the time but I did listen to a bit of melodic black metal too, Dissection, Vinterland, Dawn, Catamenia etc...So I think a mix of melodic death and melodic black were my prominent influeinces when I first started writing.

6. The lyrics deal mostly with nature and the apocalypse, how are these concepts related? What facts are considered essential when writing your lyrics?
I always enjoyed poeticly writen lyrics and lyrics that tell a story.So that is what I've always tried to do.Winter Enthroned lyrics are virtually all apocalypic themes. The world being destoryed by some mythical beast or celestial being.
Forest Of Silence also has a similliar theme to it. But a darker feel. More human intervention to the world ending aswell.

7. Is it difficult to live on an island like Tasmania to promote your group?
Yeah, for sure. The internet would be the most effective tool I have.But a fair few people from over Australia have heard of music. Considering I don't play with Astral Winter, my location is much of a factor, where asmy live band Atra Vetosus, It does seem to be a bit more of an obstacle.

8. How did you get started in music and in black metal?
I started with playing guitar when I was 15. Just self taught myself at home on my crappy 2nd hand guitar and amp.I played in a few bands through the years, mostly all school based. Though those bands weren't great it defintely helped devolop alot of knowledge and skills.
I started off listening to a bit of melodic black metal, which I just found about through melodic death metal.Eventually I just became more interested in black metal over other sub genre's. Phil (original vocalist) was also very into black metal, so I discovered alot of bands from him.

9. Immortal Frost Productions has been responsible for the release of this album as above. How did the contact with the label go? Will you be working in the future with them?
Phil and myself actually started that label as a means to release our demo.We didn't do too much with it after that. I'd know Surtur (currently running the label in Belgium) for a while through my music and he offered to help out.So together we were running it for a while. I lost the passion for it after a while though as It was taking alot of time out of composing and recording for me.So now Surtur runs its soley and the labels going very well.
My other band Atra Vetosus is on that label too, so yeah I think we'll be working together more in the future.




10. How extreme is the scene in Tasmania? Any groups we should know?
The scene is pretty decent here, for a small state.Down Hobart (2 hour drive from where I live), there is alot more gigs going on.Launceston doesn't have too many shows on now. Not many venue's that are keen to put them on.
Recently alot of mainland bands having been coming to Tasmania too, so that really helps the scene.
There's alot of decent bands to be found here.Psychroptic are probably the most known one, who are signed to Nuclear Blast.Ruins, Iciclan, Departe are some other pretty decent black metal bands acive in Tasmania.

11. Thank you very much for taking the time to Balck Metal Spirit, if you want to add something for the followers of Astral Winter, this is the place.
No problem, thanks for conducting the interview!
If you haven't done so check out the sample video/song for my upcoming album I'm working on "Forest Of Silence". Hails!

domingo, 25 de agosto de 2013

MORTIS MUTILATI - ENTREVISTA

Good morning, how about all of Etampes?, Thank you very much for agreeing to answer these questions.

1. What were the origins of Mortis Mutilati? What gives Mortis Mutilati regarding other bands where you military, such as Moonreich, Neptrecus, Procession of Death, Septentrion...? Do you find it very difficult to find time to Mortis Mutilati to be engaged in so many bands?
    Hello, everything is fine here. I created Mortis Mutilati on March 2011 because I wanted to create my own music without help of any musicians. I think the olny thing that Mortis Mutilati gives me for my other bands is the recording experience and no, this is not so difficult for me to find time to be engaged in so much bands. I just have to be organized.

2. How would you describe the sound of the band? Mortis Mutilati band remains a single component?
   I would describe the sound of Mortis Mutilati as Funeral Black Metal. The project will remain a one-man-band. I just recruited some session musicians for the gigs but I'll always record and write everything on my own.

3. How is your way of working in the studio? Do you find it difficult to have to take care to record all the parts?
    I record the drums and the bass at first, then the guitars. I record two times each guitar to get a "guitar wall" and then I record the voices. This is not so difficult cause I can play good enough the whole instrumentation to do everything by myself.




4. How has the sound of the band over the years, especially with regard to your previous work "Sombre neurasthénie"?
    Sombre Neurasthénie was recorded when I was something like 18 years old and I recorded it in my bedroom with bad quality microphones.. So the sound is not very nice on this album. For Nameless Here For Evermore, I recorded it in a studio and mixed by Weddir from Moonreich. It was mastered by Alpha from Unchaned Wolf so the sound on this album is much more evolved and mature than on Sombre Neurasthénie.

5. What refers Mortis Mutilati name and why you chose?
   The name was inspired from a chinese torture which consistes to cut the skin of the tortured one and let him die slowly. I choose this name because I always been fascinated by torture and this one is pretty horrible!   

6. His music conveys a sense depressed, is this feeling of depression you really want to convey? What bands is your reference when composing?
    Of course, I wanted Mortis Mutilati to be the sonorous representation of my bad thoughts. My only reference when composing is those bad thoughs..

7. How were your beginnings in music and especially in the black metal? Why did you decide to be a musician?
   I started to play the bass at 10! Then I learned the other instruments a bit later. My first band is Septentrion I was something like 14 when I joined it! Music is my passion so that's why I decided to be a musician.

8. Tell us five key cds in black metal
1. Gris - Il Etait Une Forêt

2. Vlad Tepes - War Funeral March

3. Burzum - Filosofem

4. Mütiilation - Majestas Leprosus

5. Sombres Forêts - Quintessence.

9. Who designed the album cover? Reference to what does and how it relates to the music of "Nameless Here for Evermore"?
   The photgraphs of the album were taken by Neige Paco in the cemetery of Culhat (France) where the biggest part of my family is burried. Saddy from the band PHTO done all the layouts. The sentence "nameless here for evermore" is taken from "The Raven" by Edgar Allan Poe. This poem is about a guy that has lost his wife and a raven comes and says "Nevermore" whatever the guy is asking. So I think both are a good representation of the taphophiliac aspect of the album.




10. Hate, Taphophilia, Murder, are recurring themes in the lyrics, would you expand a bit more these concepts because they are interesting and at the time of writing?
    I think that those themes are very interresting. It's a bit like a "second passion". For the hate, I think that it's the basic stuff in Black Metal so it's natural be inspired by this feeling when you play that kind of music.

11. His last two works have gone through the German label Naturmacht Productions, how did the opportunity to work with them? Will it continue to be so in the future?
Naturmacht Productions is an excellent label, they really do some nice work! And if they agree to work with me again, I don't think that theyr should be any problem to work with them!

12. As for the future of Mortis Mutilati, what can we expect in future releases? Will we one day see a concert Mutilati Mortis?
    We played two gigs with Sombres Forêts in Paris and in Toulouse and now, we're still searching for dates! I just finished to write an EP and it should be recorded soon!

13. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for fans of Mortis Mutilati, this is the place. I hope the questions are to your liking.
    Thanks for the support!

STELLAR DESCENT - ENTREVISTA

Stellar Descent aims to create atmospheric, depressive, folkish black metal. Stellar Descent is musically inspired by bands such as Burzum, Wyrd, Skagos, Boreal, Agalloch, Alda, etc. Stellar Descent is lyrically inspired by the the vastness of space and time, the delicate condition of humanity and its only known home, Earth, and the understanding and appreciation that we are all simply temporary expressions of the universe. 
QUOTE OF FACEBOOK

1. Why did you decide to form Stellar Descent in 2010? Have you ever belonged to other bands such as Bleak, Soulfuckingblight, Twilight Falls, Funebrial, all completed today, so his old lagoon groups are present in Stellar Descent or has nothing to do with them?
I started recording under Stellar Descent a couple years after graduating college. Much of my earlier music was partially inspired by nature. But the newer material that I was recording under Stellar Descent was far more so. And I was very inspired by bands like Alda. So the new material was quite different both lyrically and musically, and so it didn't seem appropriate to continue recording under previous projects, like Bleak, Twilight Falls, or Funebrial. 
I abruptly ended my involvement with these previous projects years ago. I needed to finish my studies at the university. I was approaching my mid/late 20s, and I still didn't have a degree-- in fact, I was flunking out. I had been an awful student, and I was spending far too much of my time with music. So I stopped completely, changed my major, and concentrated on school.

2. Farallon, the Split-edit coming Aylwin in my point of view it seems very timely as there are many similarities between the two bands, how decided to undertake this collaboration? How was the writing and recording process of Farallon?
Issaiah from Aylwin contacted me. He was interested in recording a split. I hadn't heard of Aylwin, but after listening to their music the answer was obvious: Yes. It was a lot of fun to work with Aylwin. I think there's a good chance we'll do something again in the future.



3. Since 2010 Stellar Descent takes regularly putting out material very underground, do you think that black metal and more specifically bands like Stellar Descent should follow in the underground as a way to remain authentic?
Aside from Accretion, everything I've released under Stellar Descent has been self-released. But that's just due to time and money constraints. 
I've released instrumental CDr previews of Darkening Peaks and On the Shores of this Cosmic Ocean. These were released in very limited numbers because the albums aren't actually complete yet. They still lack vocals. And it also takes a bit of money and time to make a decent DIY release. When these releases are complete, I hope to find a label for a proper release.
We also self released a very limited number of Aylwin/Stellar Descent split CDrs. Again, money and time were a factor. These CDrs came with 3 color booklets. The printing costs were very high. We actually sold these at a loss. The split was also released by Atlatl Music Group, which was run by Issaiah of Aylwin, but he didn't have time to continue running Atlatl. Farallon was planned to be released on cassette by Eternal Warfare this summer, but at least for the time being, future Eternal Warfare releases are on hold due to funding issues.
I don't think anyone needs to stay underground to remain authentic. I think folks should just create and listen to music that they like. 

4. What concepts covered in your lyrics? What the listener attempts to transmit with your music?
Stellar Descent is  inspired by the the vastness of space and time, the delicate condition of humanity and its only known home, Earth, and the understanding and appreciation that we are all simply temporary expressions of the universe. 
Album concepts so far have dealt with cycles of life, geological mountain building, nature,  climate change, etc. Climate change impacts everything under the sun, and it is certainly a strong concept in all my music. 

5. How bands like Burzum, Wyrd, Skagos, Boreal, Agalloch, Alda, you have influence when composing and form Stellar Descent?
Atmosphere. 
Burzum and Wyrd have created some amazing atmosphere from more or less minimal progressions. And I love it. I start almost every part of every recording with something that has a similar sound-- or I try to, at least.
Agalloch, Skagos, and Alda do a fantastic job of creating atmosphere that just feels natural. Accretion was actually written and recorded after a camping and hiking trip in the Sierra Nevada. I listened to Alda almost the entire time. I was inspired by how well the music captured the experience. 
Boreal is in its own world. Especially the yet-released material. It's dark. It's atmospheric. It's psychedelic. And it's influenced my writing and recording a great deal. It's inspired me to experiment and it's driven me further toward atmospheric and ambient sounds. Its psychedelic influence comes through a bit in Darkening Peaks and is probably the most important aspect of  my newest material, the yet-released Cycles of Life.

6. Could you explain a bit the concept of Stellar Descent which refers the name of the group?
Stellar Descent is meant to be taken rather literally. It means we are descendants of stars. It is a way to describe our shared cosmic origin. 



7. How were your beginnings in music and it was decided by the black?
My grandma taught me how to play piano when I was young. That was my first experience playing a musical instrument.
I played drums for a horrible band back around high school. Ash (Boreal) was the guitarist. We were awful. Just terrible. But that was my first experience in a band.
Sometime around 1998 or so, Ash and I began writing and recording metal together, some of which eventually evolved into Twilight Falls. And I began recording some music on my own, some of which eventually evolved into Bleak. And then other stuff followed. 

8. While editing your work comes through Eternal Warfare, Farallon has been self-released. Why the decisions to self-edit the Split? What is your relationship with Eternal Warfare?
Farallon is planned to be released on cassette by Eternal Warfare. But everything is on hold for now due to funding shortfalls. We self-released a Farallon CDr to help raise money for the Eternal Warfare Fest. We covered the expenses and gave all sales money to Eternal Warfare.
I've really enjoyed working with Eternal Warfare. Nate is a really interesting person, and it's been a real kick getting to know him. He's also an extremely interesting musician. His most recent Mania release, Revel, is absolutely incredible. It is definitely one of my favorite releases of 2013. 

9. What can fans expect from Stellar Descent in the near future regarding upcoming releases, reissues, etc?
Accretion should be released on pro CD through Pest Productions within the next couple months. In fact, I've just sent off the master WAVs today. 
Farallon is planned to be released on cassette through Eternal Warfare, but that is currently delayed indefinitely. 
The Boreal/Twilight Falls/Stellar Descent split will be released through Cloister Recordings very soon. We are hoping to have these ready by Stella. Ash and I will be covering the costs of the DIY release, and all proceeds will be donated to Cloister Recordings to help Marcus establish the label.
A new release called Cycles of Life will likely be available at Stella as well-- at least an instrumental preview CDr. The album will consist of one track. It will be over 90 minutes long. And it will be the most atmospheric, psychedelic Stellar Descent release to date. 
I plan next to release a video on DVR. Initially, I wanted to have this ready by Stella as well, but I don't think it's going to happen.

10. Are you satisfied with the impact they are having your work?
I've been very satisfied with everything Stellar Descent related so far. I've had the opportunity to really improve my composition and recording abilities. I've learned a lot. I've met a lot of wonderful folks. And labels and bands with whom I've worked have been fantastic.



11. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for fans of Stellar Descent, this is the place. I hope the questions are to your liking.
I think I would like to write a few extra words..
The Lakes Basin recreation area in the Plumas National forest inspired Accretion. I first visited the area on a field trip in '06 or so. I used to camp annually with family in Plumas Eureka State Park, which is just north of Lakes Basin. I've returned a few times. In fact, I was just there a few weeks back. The field recordings from Accretion and Nevadan (From the upcoming Boreal/Twilight Falls/Stellar Descent split) were recorded there. It's one of my favorite places. At about 6,500 feet, it's a great place to escape the dry, summer valley heat.
But not this year. It was hot. And dry. And things didn't look as lush as they usually do. Vegetation appeared stressed. Trees weren't as green as usual. And ground cover and brush were even worse. Some broad leafed plants were burnt to a crisp. And it was hot-- over 90 degrees F.
When I returned home, I checked historical temperature data for the area. In a typical year, the highest temperature recorded is about 85 degrees F. But we weren't just unlucky in happening to visit during 90+ degree temperatures; it had about 104 degrees multiple times that month-- that's 30+ degrees hotter than the hottest temperatures typically experienced in this area, and it's the hottest ever recorded July temperature. The entire month of July was hotter than the hottest temperature recorded in a typical year.
This trend isn't isolated. Hansen et. al., 2012, demonstrated that the most extreme heat waves are occurring with increasing frequency and intensity. Extremely hot temperatures that just a few decades ago covered only 0.1% of Earth now cover about 10% of Earth. Temperatures that now cover 0.1% of Earth are simply not represented by historical data. This is an alarming increase.
Here in California, this alarming increase is combining with increased dead wood, shrubs, brush, etc, from years of forest fire suppression to create nightmarish fire conditions. And that's what we saw in the Lakes Basin area. We saw a temperature stressed ecosystem just one lightening strike away from devastation. But it's not just happening in California.  These conditions are being felt nation-wide. In just 30 years, federal fire fighting costs have increased by nearly 10 times. The frequency of large forest fires in the west has increased dramatically since the 1970s. And the fires we see now are like none we've seen before. The combination of increased fuel, temperature, and drought is feeding monstrous fires that burn fiercely and quickly. 
Other places have it even worse. Increased winter temperatures are creating favorable breeding conditions for bark beetles. Current bark beetle infestations in Canada are 10 times worse than they used to be because multiple generations of bark beetles can survive the warmer winter temperatures we now see. And warmer temperatures are bringing far more bark beetles into places like Colorado, where forests are being devastated. These massive kill areas simply add to the already increased fuel from forest fire suppression, high temperatures, and drought. 
I saw a fascinating bit of research down in the poster session at the Fall 2010 AGU meeting. A researcher had combed through forests in the southwest collecting proxy data (e.g., from tree rings) for things like drought, temperature, and fire. He was able to use these data to create an impressive historical record of climate and fire in the southwest over the past couple thousand years. He created a simple mathematical formula using climate attributes like drought, high temperature, summer length, etc., that predicted the fire record very well. And then he fed this formula some modest climate projections over the course of this century. 
Discussing research with scientists in poster sessions is a wonderful experience. You can see the scientists' eyes light up. You can hear the excitement in their voices. And when there's a small group listening-- like there was in this case-- and the science is good-- like it was in this case-- and the implications are interesting-- like they were in this case-- there's an indescribable energy in the air. It's electric. It's exhilarating. And it was, in this case. That is, until we looked at the projections. Everyone was suddenly quiet. No one really knew what to say. The results were terrifying. They were depressing. And they are more or less in line with other research that has tried to do the same thing: Forests in the southwest are going to burn like crazy from here on out.
Fire is a way for an ecosystem to equilibrate with climate. After a large fire moves through, decreased competition for available resources like sun, water, and nutrients allow vegetation that is best suited for the current climate to take over. Because temperatures have steadily increased over the past decades, much of the Sierra Nevada is out of balance. The ecosystems in place currently will not take hold again after fire decreases resource competition. They will be replaced by ecosystems that love heat. And drought. This process is already occurring. Scientists have already seen ecosystems moving both upslope and poleward toward cooler temperatures. And this process will continue well past the end of this century. 
As I write this, the Rim Fire is burning out of control. It has entered remote locations of Yosemite, potentially threatening two groves of giant sequoias. Giant sequoias only grow naturally in limited groves on western facing Sierra Nevadan slopes. They are some of the largest and oldest trees on Earth. And the conditions we are creating threaten them, along with every other significant attribute that we currently ascribe to the Sierra Nevada. We've already set the stage for dramatic change. Our descendants will never have a chance to experience the Sierra Nevada as we know it today. 
Thanks for the interview.

jueves, 22 de agosto de 2013

ARKHAN - ENTREVISTA

Good afternoon, How's everything for Monthey?, Thank you very much for agreeing to answer these questions.

Hi! Thanks a lot for this interview. Everything is fine in Monthey!

1. How were the early Arkhan in 2001? What despite more than ten years as a group do not post material prodigals much? How has it affected the band formation changes and small break forced by different diseases of the members in 2006? Maybe this break is somewhat truncated progression group?

Arkhan have changed a lot since 2001. We were four musicians playing in black metal band and even if we loved this music, we wanted to play something a little bit different. Arkhan was created with the idea of playing a mixture of black and death metal. At the beginning, it was only a side project and the first serious line-up of Arkhan was only formed in 2003. It means that we have released 3 albums in 10 years. Of course it’s not a lot, but it’s not so bad ! To be sincere, we are slow worker : we don’t want to record a new album until we are 100% happy with the songs… and it takes a lot of time! Moreover, as you said, the line-up has changed a number of time and some of the musicians encountered medical problems, which as slowed even more the recording of new material. But I don’t think that all these things have truncated the progression of the band.

2.Primal is your second album, how would you describe the sound of Primal, how the sound has evolved over MACHINE? What is your way of working in the studio and your way of composing?

Actually, Primal is our third album. Dead End was our first album, but it has only been released in Switzerland. Back then, our music was a mixture of 50% black metal and 50% death metal. MACHINE, our second album, was much more brutal. Even if it still contained some black metal influences, it was much influenced by the old school death metal scene. With our new record Primal, we wanted to explore new territories and incorporate a rock’n roll feeling. It’s still death metal, but with the groove of rock tunes!

Our way of composing is simple: I write a number of riffs and then I work with our drummer to glue these ideas together, in order to create catchy songs. When we are happy, we record a demo and the singer writes the lyrics. When we enter a recording studio, the songs are 100% written and we don’t change anything!



3. The mastering David Castello Pimal made in Stockholm, known for working with bands like Katatonia among others. How important has been the work of David Castello to the final sound of Primal? Are you satisfied with the end result?

Since our music is influenced by the Swedish death metal sound, it was natural to work with a Swedish producer! We have always been huge fans of the work of David Castillo. All the albums that he has recorded sound huge, but at the same time very natural. That’s exactly what we wanted: a good sounding album, but with an old school feeling. We are more than happy with the result.

4. Toxic Studio in Lausanne hosted the recording of your latest work; do you feel comfortable recording there? What do you offer these studies with respect to others?

The Toxic Studio is my own recording facility. It gives me the opportunity to record everything by myself. It’s great to be able to work alone, I can do whatever I want, whenever I want! Every Arkhan album has been recorded there. However, the studio is not really big and it’s not possible to record the drum. Christophe Noth, our live sound engineer, has recorded the drum in a bigger recording studio.

5. Although your sound mainly be death, there are also some flirting with the black, how would you describe the band's sound? What bands have influenced you to compose Arkhan?

As I said, black metal was a huge influence at the beginning of the band. Even if it’s not so much the case right now, we appreciate this kind a music and some of our songs still contain black metal elements. Right now, I have written a number of brutal black metal sounding riffs… perhaps some of them will be found in our future songs!

Our main influence is Entombed, but we are also inspired by bands such as Morbid Angel, Satyricon and Napalm Death.

6. What brand of tools do you use them in the studio and at concerts?

Arkhan is organized like a rock band and we like to keep everything simple: one guitar player, one bass player, one singer and a drummer with a small drum kit. Normally, a metal band is composed by two guitar player. Since I’m the only one, my instrument is plugged into two different amplifiers in order to make it sound like two musicians are playing at the same time! One amplifier gives a modern and powerful guitar sound, while the other one gives a dirty old school sound. The combination of both feels great! In the studio, we use exactly the same setup.

7. What events in your life pushed you want to dedicate to be musicians to form a group like Arkhan? How were your beginnings in the death?

I don’t think that a particular event gave us the motivation to play metal. Life could be complicated and this music is an incredible way to express what you feel inside of you; rage, frustration, sadness… but also happiness! In a way, our music is fun. To be sincere we haven’t decided to play death metal, we are just trying to play good metal.

8. As for the theme of your lyrics, what do they talk? What inspires you when writing the texts?

The lyrics are written by our singer. The basic theme of each song is inspired by events of our lifes, sometimes happy and sometimes frustrating. But it’s always written in a funny way. We don’t take it too seriously.

9. Who designed the cover of Primal? What do you reflect it and how it relates to the music?

David Gfeller, a swiss graphic designer, has designed the cover. This album sounds much more raw and organic than the previous ones. We wanted a cover that reflects this evolution. The bird is a symbol: even if we have encountered a number of problems in the past few years, we are flying again high in the sky.

10. Pimal Monkey Records has released, did you not you work with Thundering Records? How is the relationship with the label Monkey Records?

MACHINE was indeed released by the French record label Thundering Records. We were happy with their work, but we prefer to do everything by ourself. Monkey Records is our own label and it’s perfect for us right now!



11. What is being a presentation Primal concert? How would you describe a concert of Arkhan?

We are always giving 200% of our energy. We really think that a metal concert must be as powerful as it could be, and we are doing our best to achieve that!

12. What future awaits your followers about new releases, concerts, etc...?

We have just done a few concerts with DevilDriver and Pro Pain. It was an amazing experience and we can’t wait to go back on stage. We are now booking concerts for the end of the year. We have played a lot of gigs in Switzerland and we are now trying to travel around Europe. Unfortunately it’s now so easy to book concert outside your country! We are open for any opportunity, so if one of your reader could help us in your country, we would be very interested!

As for the recording, we are not working on new songs and we will hopefully record an EP next year.

13. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Arkhan, this is the place. I hope the questions are to your liking.

Thanks a lot for this interesting interview. Our music can be easily found everywhere on internet: itunes, spotify, google music, etc… so please take a few minutes to listen to our music! Thanks!



miércoles, 21 de agosto de 2013

AYLWIN - ENTREVISTA

In the Fall of 2012 Aylwin was created by Justin Ferris and Issaiah Vaca as a modern manifestation of nature. The intent was to integrate the sounds and atmosphere of the earth with elements of the "Black Metal" genre to create a sound of its own. Incorporating themes of folklore, depression, love and pain formulate the music known today as Aylwin.


QUOTE OF FACEBOOK

1. Aylwin was born in 2012, why they decided to create Aylwin? How were the beginnings of the group? What are referred Aylwin name?
ANSWER: Aylwin is a project created by Justin Ferris and myself(Issaiah Vaca). We both decided to create Aylwin because of our interest in black metal and music associated by the genre.
I personally feel like we are still in the "beginnings" of Aylwin because of the short amount of time we've been around. The name translates to "Forest Elf" or "Friendly Elf" 

2. In just a year old, have recorded 2 splits, a demo and an ep, not wasting your time, how is your way of working in the studio? Is composing complicated?
ANSWER: The recording process is a bit complicated. We spend anywhere from 2weeks to a month recording material for releases. 

3. Farallon is also your last Americans Split Stellar Descent? How did this collaboration? What aspects both bands have in common?
ANSWER: Our collabortion came about through our friendship with Anthony(Stellar Descent) and our similar aspects is the genre of music both of our projects compose.




4. "My Spirit of Pine and the Outer Body Experience: A Sequence of Night and Day", the song that contribute to the split is quite varied in structures. Who is the female voice that appears on it? How will define this?
ANSWER: The theme of the song comes from the process of time and pain we feel we share with all things natural. The female vocals are contributed by an aquaintence of ours. Her name is Alexa Nunez.

5. Your lyrics deal mainly with nature and atavism; you think you've succeeded in uniting these concepts with the black metal?
ANSWER: Atavism is a theme in Aylwin. But I tend to also discuss personal struggles in the lyics that I feel mesh well with the emotional or romantic side of black metal.

6. What bands have brought for you the main influence on the music of Aylwin? What aspects of nature and of atavism important to consider when writing your lyrics?
ANSWER: Allot of bands in the current USBM scene have a large influence on the sound that is Aylwin along with other bands Justin and I personally listen to. The aspects of
natural life and the pure soul of nature is what also has some input on the lyrics.  

7. What were your beginnings in music and influenced you to want to dedicate yourself to be a musician?
ANSWER: Justin has been a musician for many years and has had his hand in many projects before Aylwin. We both are currently also involved in other projects. Our musical endevours never seem to end.

8. Aylwin you form two fixed component and then the direct couple have two session musicians, what can you tell us about these members live? Describe? Kind of like Aylwin is a concert?
ANSWER: Aylwin IS Justin Ferris and Issaiah Vaca. The session musicians are friends of ours who help us create the sound in real time. The live experience is best described from someone watching, not us. 

9. Aylwin publications have been published by several labels: from desktop publishing, as well as through Red River Family Records, Atlatl Music Group, etc ... Which of these formats is the most suited to the philosophy of a band like Aylwin? Who do work in the future?
ANSWER: We work closely with Red River Family Records along with Eternal Warfare Records and have upcoming releases through Domestic Genocide Records. These labels share the output we feel is needed for a band like ours. 




10. How did you decide the cover of Farallon? Where is the location that appears on the cover? What relationship can be found between the cover and the music of Farallon?
ANSWER: The cover of Farallon is a photo of Half Dome taken by Anthony(Stellar Descent) while he spent some time in Yosemite in Nothern California. The Cover represents 
the atmosphere we convey in or sound.

11. What can we expect in the future Aylwin regarding upcoming releases and concerts?
ANSWER: Spetember 9th is the digital release of our upcoming split with American band "Cerna". A cassette release is currently available for order through Red River Family Records. CD and Vinyl formats will follow shortly after.

12. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for fans of Aylwin, this is the place. I hope the questions are to your liking.
ANSWER: We appreciate all the support we have gained world wide from all. Thank you Black Metal Spirit and thank you to all who enjoy our sound. We are eternally grateful.  Blackscaped Webshop Logo Musikhaus Thomann Linkpartner

lunes, 19 de agosto de 2013

TAAKE

Origen: Noruega, Bergen
Formados: 1995
Estilo: Black
Temática: Demonio, infierno, invierno, muerte, oscuridad, otoño y sufrimiento
Enlaces: Facebookgoogle+myspaceTaake 
Miembros:
  • Hoest Todos los instrumentos y voces

Discografía:

  • Manndaudsvinter Demo 1995
  • Koldbrann i Jesu marg EP 1996
  • Nattestid Ser Porten Vid CD 1999
  • Over Bjoergvin Graater Himmerik CD 2002
  • Sadistic Attack / Nordens Doedsengel Split 2004
  • The Box Boxed set 2004
  • Helnorsk Svartmetall Recopilatorio 2004   
  • Hordalands Doedskvad CD2005
  • A Norwegian Hail to VON Split 2006
  • Men of Eight / Lagnonector Split 2006
  • Dra Til Helvete / Restart the Night Split 2006
  • Nekro EP 2007   
  • Svartekunst EP 2008
  • Taake CD2008
  • Kveld EP 2011
  • Swine of Hades Split 2011   
  • Noregs Vaapen CD 2011
  • Gravkamre, Kroner og Troner Recopilatorio 2013
  • Kulde EP 2014 Stridens hus CD 2014
  • Baktanker EP 2017 Kong vinter CD 2017
  • 7 fjell Recopilatorio 2018
  • Pakt Split 2020
GRAVKAMRE, KRONER OG TRONER (2013)  
Recopilatorio que conmemora el veinte aniversario de los noruegos. Veinte años llevan escupiendo black metal teniendo en cuenta que fue en 1993 cuando surgió Thule embrión de la actual banda que se cambió el nombre en 1995, por Taake (niebla) en nouego en honor a la niebla que rodea las siete colinas de Bergen su ciudad de origen. Este trabajo lo forman 2 cds y se centran ambos en los temas menos conocidos de la banda. El primero de ellos comienza con dos temas nuevos en los cuales inmediatamente se reconocen las señas de identidad de la banda, a continuación se da paso al Ep integro del 2011 "Kveld", con colaboraciones de la talla de entre otros de Nocturno Culto, para finalizar el primer disco se incluyen sendas revisiones de los temas “I Am the Black Wizards” (Emperor), “Die When You Die” (GG Allin) y “A Lost Forgotten Sad Spirit” (Burzum). El 2 disco comienza con el Ep Svartekunst de 2008 para seguir con diferentes rarezas de diferentes temas de su discografía, finalizando con una premezcla “Nattestid ser Porten vid 1″ del 1997. No se recoge el material más antiguo para ello tendremos que remitirnos a "Helnorsk Svartmetall" del 2004. Me parece todo un acierto este tipo de recopilatorios ya que para una banda de black metal es mucho más apropiado pensando en los autenticos fans el poder hacerse con rarezas y revisiones que en su día se les escaparon, antes que limitarse a realizar una mera colección de temas. (8,9).


Disco 1
1. Et Pust av Oeyne 06:24  
2. Hov var Stein 05:27  
3. Nordbundet 05:25
  Hoerer du natten 
Foel rikets brodd
En gammel sjel i en gammel hud
Det gamle fyrtaarn paa norskekysten
Et spir

Smak det uhellige gral
Blodet jeg utgytte 
I aarets tauseste natt
Klor dypt, bit hardt

Djevelen vaar herre
Hjerteloes aarstid
Skal knekke deg, brenne deg
Gift er kuren
Ligger kaldt og skinner i eldgamle minner
Nordbundet nedenfra
Nordover

Tenk paa doeden
Tenk paa doeden ofte
til alle foelelser er fjernet
min demon, mitt liv, mitt alt,
kun helvete faar slaa sin rot i hunlet 
der foer
hjertet fans
inn i granskauen
bekken er en sti og fossen er frosset
er det deg kong vinter, ingen ringere enn
4. Motpol 05:12   
Motpol
Uforsonlig
Utbrent forvridd
Soenderreven
Timesvis av blod
ved Doedens doer

Du skal faa maale din styrke mot Dyrets
livsbespottende hylende vind
En avslutning skrevet i Dypet om natten
Gi oss idag vaar daglige Doed

Etterlatt og forpint
Svartmalt grav
Ormeblod i harnisk
Flammehav
5. Hordalands Doedskvad 1 07:43
  Stedvistaake på kysten
Vil deg til livs
Forvolder død
Åndene har begynt å vise seg for meg 
Stryk katten mot hårete
Salt i såret
Svette
Vis meg hvor langt fuglen kan fly
Over spøkelseby i søk efter ly
Djevelen ga meg redskapet
Tiden og henne
Hun brakte meg slingringsmønn
Preden og nedbrytbart vev
Du vet jeg gjør vondt
Våte øyne tenner meg mer
Enn ditt våte skrep som du ser 
Alt som reiser seg skal falle
Helvete øker i omfang
Når en sjel sakte kveles
Kan du noe mer pirrende
Homirhlophobia og vulvgini
Fullstendig smadrede fløydører
Dødsredskap
Dødsmaske
Forkuldet hjerte
Knekt skambein
Blodig glans
Døden skal du lide
Hun dreit på seg da jeg skjøv klingen
Gjennom puppen og inn i hjertet
6. Over Bjoergvin Graater Himmerik 4 06:32
  Jeg foeler henne naar det er moerkt
for maaneblink holder meg vaaken 
Etter regnvaerskveld er intet toert
& fra tunet blender taaken
Morgenroeden visste jeg skulle bloe
"Se mot Doeden, se deg selv doe"
Dunkel parapsykedelia inni huset
Jeg hever blikket & jeg hever kruset
Tilstede, mitt bud
Kulde mot hud
I stedlaast fasong
er hun ikke hos Gud
7. Nattestid ser Porten vid 1 06:50
  Den syvende tind er besteget 
Den syvende port staar aapen i sin prakt 
Vogtet og iakttatt av tiurens aarvaakte blikk 
For veien er gullbelagt 

Trollkatt ei sol har skapt 
Jager vaaret 
Oede vinters maaneskimm 
Kjoelner sitt laken saa doedt 

Dagen er kvelt 
Natter er vores igjen 
Og vanaere lurer 
Bak hvert kaldt tre 
Under de hatske fjells 
Storkronede tinder 

Den syvende tind er besteget 
Den syvende port staar aapen i sin prakt 
Vogtet og iakttatt av tiurens aarvaakte blikk 
For veien er gullbelagt 

Trollkatt ei sol har skapt 
Jager vaaret 
Oede vinters maaneskimm 
Kjoelner sitt laken saa doedt

Gudfryktigt de var naa 
Skammens lik 
Over bjoergvin graater himmelrik 

Dagen er kvelt 
Natter er vores igjen 
Og vanaere lurer 
Bak hvert kaldt tre 
Under de hatske fjells 
Storkronede tinder 

Tro og frender 
Til kirkegaard baeres 
Vond tid venter naer 
Paa dem som stirret seg blinde 
For aa se gud
8. I Am the Black Wizards 06:11
  Mightiest am I, but I am not alone in this cosmos of mine
For the black hills consists of black souls, souls that already died one
Thousand deaths
Behind the stone walls of centuries they breed their
Black art
Boiling their spells in cauldrons of black gold
Far up in the mountains, where the rain fall not far, yet the sun cannot reach
The wizards, my servants, summon the souls of macrocosm
No age will escape my wrath
I travel through time and I return to the future
I gather wisdom now lost 
I visit again the eternally ancient caves
Before a mighty Emperor thereupon came Watching the mortals "discovering" my chronicles
Guarded by the old demons, even unknown
To me
Once destroyed their souls are being summoned to my timeless prison of hate 
It is delightful to feast upon the screaming souls
That was destroyed in my future
How many wizards that serve me with evil I know not
My empires has no limits
From the never ending
Mountains black, to the bottomless lakes
I am the ruler and has been for eternity's long
My wizards are many, but their essence is
Mine
Forever there are in the hills in their stone homes of
Grief
Because I am the spirit of their existence
I am them.
9. Die When You Die 02:02
The faggots with AIDS are all gonna fry They stuck it up my ass tonite, now I'm gonna die Die when you die when you die you're gonna die Die when you die when you die you're gonna die The KKK took the niggers out to die When the blackie's burning, I hope he's gonna die Die when you die when you die you're gonna die Die when you die when you die you're gonna die I talked to my bitch, but she was a guy I talked to my man and she said you're gonna die Die when you die when you die you're gonna die Die when you die when you die you're gonna die You've got cancer, so go fucking die If you've got AIDS, spread it around and take some lives Die when you die when you die you're gonna die Die when you die when you die you're gonna die DIE 
10. A Lost Forgotten Sad Spirit 09:38
The Fire in the Sky is Extinguished Blue Waters no Longer Cry The Dancing of Trees Has Stopped The Stream of Freshness from Cold Winds Exists no Longer The Rain Has Stopped to Drip From the Sky Still Dripping Exists From the Veins of a Nearly Dead Boy Once There Was Hatred Once There Was Cold Now There is Only A Dark Stone Tomb With an Altar An Altar which Serves As a Bed A Bed of Eternal Sleep The Dreams of the Human in Sleep Are Dreams of Relief A Gate out of Hell Into the Void of Death Yet Undisturbed The Human Sleep And One Day Will the Grave Be Unlocked And the Soul Must Return to His World But This Time as A Lost Forgotten Sad Spirit Doomed To Haunt Endlessly  
  01:01:24  

Disco 2
1. Voldtekt 04:07
  Voldtekt - mesterlig 
Voldtekt - dødsvold 
Voldtekt - smerter 
Voldtekt - i halsen 

Voldtekt - sirlig 
Voldtekt - lidende 
Voldtekt - analtøs 
Voldtekt - bli med meg til avgrunns 

Voldtekt - voldelig 
Voldtekt - elskov 
Voldtekt - fiende 
Voldtekt - penis 

Voldtekt - inni huset 
Voldtekt - på tunet 
Voldtekt - dypt i skogen 
Voldtekt - med Døden til følge 

Hånden på hjertet 
For å kjenne om du lever 

Evil
2. Eismalsott 03:26
  Det eldgamle skogen
forhekset og hatsk
hvisker om forgangne tider
jeg vandrer paa en sti
bare jeg vet om
der tusen farer lurer
mine skritt doer bort i skogen
menneske og dyr
i samme skikkelse
jeg blir gjenfoedt
hver nymaanes natt
3. Tykjes Fele 03:17
 En mager toes ble med i dansen
som gikk stadig villere for seg
hun danset sine arme bein til blods
men kunne ikkje gi seg
og da felespilleren
tro frem i lyset
oeynet folk med ett
at hans ene fot var den av en geits
4. Over Fjell og gjennom Torner 02:29
  Over fjell og gjennom Torner 
Gjennom den Onde Dunkle Skog 
Dø som en Kriger, Hodet pa eit tre 
Skjær i kjøtt, Naler dype i huden ned 

Ravners nebb i Blod vil fratse 
Efter Slaget har holdt sted 
Pansrede kropper i Grusom kamp 
Økser plantet, Sjeler led 
Kolde Sverd som huden apner 
Har som lukter friskt av blod 

Den Norrøne Rase ma Slakte den andre 
Nar blammen dunker for tungt pa var dør
5. Voldtekt 03:32
 Voldtekt - mesterlig 
Voldtekt - dødsvold 
Voldtekt - smerter 
Voldtekt - i halsen 

Voldtekt - sirlig 
Voldtekt - lidende 
Voldtekt - analtøs 
Voldtekt - bli med meg til avgrunns 

Voldtekt - voldelig 
Voldtekt - elskov 
Voldtekt - fiende 
Voldtekt - penis 

Voldtekt - inni huset 
Voldtekt - på tunet 
Voldtekt - dypt i skogen 
Voldtekt - med Døden til følge 

Hånden på hjertet 
For å kjenne om du lever 

Evil
6. Death Trap 06:45
Midnight, on a forgotten cemetary No stars, just a black sky The moon shines red Terrible sounds in the night it is sabbath why are you here? You've disturbed the sabbath You know the punishment There's only one solution....DEATH!! Wolves howl, witches dance around the stake Serene holy hell, preachers pray They pray to satan, his majesty is here why are you here? You've disturbed the sabbath You know the punishment There's only one solution....DEATH!! You look confused, and i know why Now you see sacrfices, feel the flames, feel the fear Now its too late, you cant escape Your fear builds up, look at your death, wheres your God now?? Why did you come? The ceremony has ended You know the punishment DEATH!...DEATH..DEATH!!! 
7. Lamb 01:37
 Upon chapel cross 
Stab the lamb 
Spinning in reverse 
Kaleidoscope... artistic blood 

Lamb 
Shall die in vain 
Lamb 
Crucified 
Lamb 
Drink the blood 
Lamb 
Sacrifice to thee 
Lamb 
Worship blood 
Lamb 
Crucified 
Lamb 
Ink the sign 
Lamb 
Worship to thee
8. Hennes kalde Skamlepper 08:26
 Doed og pine
Skog og moerke
Regn og kulde
Natt og taake
Saar og flenger
Blod og vaapen
Kjoett og smerter
Vold og fitte

Hjelpeloes
motstand ja
Taarer ja
Lidelse
DOED

Smerteterskel
Lagnonector
Necrochlesis
Necrocoitus

Blodtoerstig
skarpretter
Lystmorder
Helvete
HEIL
9. Der Todesking 03:16  instrumental
10. Nattestid ser Porten vid 1 05:56
 Den syvende tind er besteget 
Den syvende port staar aapen i sin prakt 
Vogtet og iakttatt av tiurens aarvaakte blikk 
For veien er gullbelagt 

Trollkatt ei sol har skapt 
Jager vaaret 
Oede vinters maaneskimm 
Kjoelner sitt laken saa doedt 

Dagen er kvelt 
Natter er vores igjen 
Og vanaere lurer 
Bak hvert kaldt tre 
Under de hatske fjells 
Storkronede tinder 

Den syvende tind er besteget 
Den syvende port staar aapen i sin prakt 
Vogtet og iakttatt av tiurens aarvaakte blikk 
For veien er gullbelagt 

Trollkatt ei sol har skapt 
Jager vaaret 
Oede vinters maaneskimm 
Kjoelner sitt laken saa doedt

Gudfryktigt de var naa 
Skammens lik 
Over bjoergvin graater himmelrik 

Dagen er kvelt 
Natter er vores igjen 
Og vanaere lurer 
Bak hvert kaldt tre 
Under de hatske fjells 
Storkronede tinder 

Tro og frender 
Til kirkegaard baeres 
Vond tid venter naer 
Paa dem som stirret seg blinde 
For aa se gud
  42:51  


Musikhaus Thomann Linkpartner