lunes, 28 de abril de 2014

ZAREG

Los comienzos de esta banda procedentes de Granollers, Cataluña, se pierden en la segunda mitad de la pasada década. Su estilo se desarrolla entre un death, black metal de tintes bastantes agresivos, realizando en sus composiciones una variación bastante coherente entre ambos. En estos momentos trabajan en formato dúo, se encuentran en proceso de reclutamiento de un bajista, han editado una demo y hace un par de años que viene de autoeditar su primer larga duración que contiene parte de los temas de su primera demo. Para conocer un poco más de esta banda teneis a vuestra disposición sus páginas de facebook y de bandcamp.


sábado, 26 de abril de 2014

HETROERTZEN

Origen: Chile, Suecia
Formados: 2001.
Estilo: Black
Temática: La exaltación de la serpiente y de la magia de licifer
Enlaces: Bandcamp y facebook.
Miembros:
  • Anubis Guitarras y vocals
  • Åskväder Guitarra
  • Ham Bajo
  • Frater D Voces y batería
Discografía:

  • Flying Across the Misty Gardens CD 2002   
  • A Crimson Terrible Vision CD 2003   
  • Rex Averno CD 2005   
  • Exaltation of Wisdom CD 2010
  • Capax Infiniti Split 2014
  • Ain Soph Aur CD 2014
  • Uprising of the Fallen CD 2017
CAPAX INFINITI (2014)
Procedentes de Chile aunque ahora asentado en Suecia nos llega Hetroertzen, anteriormente conocidos como  Hhahda en la etapa comprendida entre 1997-2001. Toda una buena elección la edición de este compartido entre ambas bandas, encargándose de la apertura Hetroerten con dos temas de extensa duración, casi 20 minutos, y ofreciendo un black metal esotérico, ritualista y místico. Dos temas que desprenden un aura ocultista y se van gestando en un ritmo lento y pesado con sonido black pero con aportaciones de coros en ciertas partes, la batería suene como lejana y hueca, y los riffs a veces se vuelven hipnóticos, todo ello para envolver al conjunto en un aura de ceremonia ocultista. Una buena aportación dentro de la vertiente más ritualista y oscura del black en un viaje a lo desconocido. (8.3).




1. Hetroertzen - Ardetha 10:03
 Imuates
Our spirit will save us
As this light endures us to continue until the end.
This world is our cross but the serpent is our Krist.

IA

Let there be darkness once again for the imposter
whose name is nothing but abomination.
To the black virgin whose face us purity,
her body is our temple.

To the birth of the shining star that breaks
a nation in sorrow.
To the fallen from grace and splendour,
whose presence keeps us united.
Haunting... Waiting.

IO

Holy consciousness that will be carried out
into perfection.
Enigmas revealed to the crucified souls
and crying spirits.
The ordeal... The skull... The kiss...

Behind the veil, there is light.
Behind the veil, there is truth.
Behind the veil there is salvation.
There is salvation.
2. Hetroertzen - Blood for the Egregore 08:49
 Man, raise your head and build me a tower
towards the heaven.
We do not fall into the mud and cry.
We should never accept the pain of living.
We who have the grail inside us will make a feast in
the golden city
for those who search in the shadows...

Scream and silence for the symbol of death.
Salt and water for illumination.
Wine and fire for resurrection.

We will step upon the cross
We will squeeze the worms
We will suck their veins until they face the light.

For those who have fallen in love
with the one who stands behind us.
Here is the cup
Here is the whore
Here is the beast

We will curse the life of the unworthy
We will take out their hearts and burn their tongues
We will ascend to the furthest realms beyond death
And we will, yes we will turn into serpents.

Master!
3. Dødsengel - By the Hands of Nihil 08:22  
4. Dødsengel - The Consecration of Man 12:15  
  39:29


 

EWIG FROST

DIRTY TALES (2014)
Ya tenemos de vuelta a los austriacos con "Dirty Tales", su segundo larga duración, no hace mucho reseñaba su EP "Rustt" de hace unos años y la verdad es que la senda iniciada en aquel momento sigue vigente es este último trabajo. Este "Dirty Tales" se ha grabado en directo en un teatro austriaco y han contado en la masterización con Jack Control (Darkthrone entre otros) y las ilustraciones con Halseycaust (Toxic Holocaust, entre otros) y lo que se ha logrado es que su sonido sea todavía más limpio y libre de adornos. Sonido más directo y crudo sin ningún tipo de artificios, acercándose más a un sonido clásico de rock, punk ochentero. El trío se muestra más compenetrado y Doom se ha destapado como el batería que necesitaba Ewig Frost para acabar de conseguir el sonido que buscaban. Niitro sigue empeñado en regalarnos riffs clásicos a las seis cuerdas y su voz sigue en su empeño de ser más cazallosa y ronca. Anteriormente he nombrado que en el apartado de masterización a Jack porque le ha ofrecida una actitud más punk y en las ilustraciones a Halseycasut porque ha hecho un buen trabajo para que todo en este disco guste al fan más acerrimo del sonido clásico. (8,4).


1. The Hellhound Blues  
2. The Railroad To Hell  
3. Black Rollin' Thunder Clouds  
4. Nothin' But Silence  
5. The Boys Are Back  
6. Underhand Game  
7. Numb & Deluded  
8. 'S Leben Frisst Di Auf  
9. Mit Sturm Und Drang  


martes, 22 de abril de 2014

HELLRÄISERS

Hellräisers es una nueva banda integrada por tres componentes que han formado parte o todavía son miembros activos de bandas como Unholiness o Satan´s Vomit. Procedentes de Zaragoza la banda comienza su andadura el pasado año 2013, hasta el momento han editado una demo limitada a 100 copias en formato tape que lleva por título "Rot in Pain", disponible también a través de su bandcamp. Su música responde a lo patrones del black-thrash-speed con claras influencias de Motörhead o Hellhammer. Tienen previsto ofrecer su primer concierto este próximo 1 de Mayo junto a los californiano Night Demon. Para más información sobre la banda consultar su Bandcamp y su página de facebook.


domingo, 20 de abril de 2014

ANCESTRAL OATH - INTERVIEW

Ancestral Oath is a Asatru black metal band from New Mexico.Started as a means of musical profession to the Gods/Goddesses, lyrics and inspiration taken from the Poetic and Prose Eddas.Musically inspired by black metal throughout the decades, from Bathory to Ulver and Satyricon.
FACEBOOK QUOTE

1. AO was created in 2012 with you as the only member after you had been involved in other musical projects; do you feel like AO is a true definitive group? What drove you to create AO?
I certainly think that Ancestral Oath is representative of what my writing style is at this point. Even in the music I’m working on that isn’t Ancestral Oath, there are some elements from Ancestral Oath that find their way into the music, no matter what. 

2. The Album "Ancestral Oath" lends itself to similarities in one way or another with classic Scandinavian black metal, what are the principle musical influences that have inspired you to compose this album?
That’s very accurate. In many ways, Ancestral Oath is my tribute to a mixture of all of the black metal bands of the 90s that got me into the style in the first place. I know a lot of people get squeamish about naming their influences because they think it means they’re somehow less original. I don’t really have that problem because I’m in no way under the illusion that the album is all that original. It’s meant to reflect a certain nostalgia for the second wave black metal of the 90s. So, with that said, the primary influences for the album were mid 90s Satyricon, Ulver, Enslaved, Aeternus and Dissection. 

3. Did you find it difficult to record all of the parts for Ancestral Oath? Which instrument was easiest for you?
The only thing that is difficult, or maybe more time consuming was programming the drums. I use live samples which I then cut and paste for each individual drum kit piece. So there are several crash cymbal tracks, a separate track for the kick drum, another for the snare drum, and so on. This way I can adjust the levels on individual hits, and more closely mimic an actual drummer. Nothing can replace a live musician with dedication to his craft, but under my circumstances, I still wanted to make the best effort I could, rather than just using a drum machine, and since I have some drumming in my background, I know how I would play certain beats and try my best to replicate that. As far as what was easiest, I would say the vocals are easiest. That’s something that just came naturally, and I find arranging vocals and knowing whether to use deeper or higher growls, or something throatier to be easy pieces to put together, so I save that for last so that completing a song ends on an easier note. 

4. Why did you decide to use the legendary poetry of The Eddas in the lyrics of "Ancestral Oath"?
I used them directly because I felt the words themselves were much more useful than my own interpretation or imagining of them. I got the idea from Satyricon using direct bible verses for the lyrics of the song “The Dawn of A New Age”. In my case, I partly re-arranged the order to them fit the song’s needs a bit better. 

5. Is there a possibility of offering one day a concert of AO? Have you ever pondered the idea of a concert?
I’ve thought about it, but I would put the chances at being slim. A lot of things would have to come together that I just don’t see happening. So, short of an entire band falling into my lap, and being ready, willing and able to perform my music, I just don’t see it happening. You never say never, though.




6. By being an admirer of classic black metal (as is present in your compositions) how do you view the Black Metal scene nowadays compared to the 90s? What albums do you consider to be the most influential of that era?
I think black metal and metal in general is unique in that there are always people putting out music that reflects all of the different eras in metal’s history. If you loved Mercyful Fate back in the 80’s you have bands like Portrait putting out something that will quench your thirst for that style; same thing with Thulcandra and Dissection. Both Thulcandra and Portrait are around right now and you can listen to something that sounds like it’s right out of 1984 or 1995. My point is that I think that regardless of the era in black metal you enjoy most, you can always find a band that is creating something in that vein. I think black metal is just as healthy and strong from an artistic standpoint as it was in the 1990s, in fact it might be stronger because it’s had that much more history to draw from.
As for the most influential albums of the 90s, you have to credit Burzum, especially Hvis Lyset Tar Oss and Filosofem. Depressive black metal and even some of the blackgaze you hear so much about now has roots in what that bigoted dummy did 20 years ago. Darkthrone is certainly a huge influence with probably hundreds of bands offering their best attempts to recreate the magic of those early Peaceville albums. I would say Satyricon and Ulver have certainly had a huge impact on a lot of bands. Strangely enough, it’s not black metal bands from the 90s that seem to have the biggest influence on American black metal these days. It’s bands like Neurosis, My Bloody Valentine, Slowdive and others that seem to have a huge impact on the biggest black metal bands in the United States right now.

7. What were your beginnings in music and why did you decide to be a musician and create a group?Do you have the same dream of music as when you first began?
I started as a kid making music in my garage with just a shitty tape deck, a keyboard for the drums and a little fender amp. In fact, this is how shitty and desperately committed I was to doing everything by myself: I would record the keyboard drums directly into the tape deck using an audio-in port. Next, I’d take the recording of those keyboard drums and play them full blast through a stereo in the garage. So basically, I had this shitty tape recorder with built microphone stuck in between a fender practice amp and these speakers playing the terrible keyboard drums I had just committed to tape. Then I put my face in between the two and just yelled as loud as I could over the atrocious racket I was making otherwise. To be honest, it’s a fucking miracle my mother didn’t try to have me murdered Tim Lambesis style. I wish I still had those tapes.
My dream was to make something worth listening to and to have someone put it out. I aimed pretty low, so I’ve achieved spectacularly. 

8. Will AO always be YOUR band or are you open to future incorporations/collaborations?
I’m open to collaborations, but I’m not really sure who would want to. Most of my friends aren’t really interested in this style of black metal. I’d say collaborating with someone in a different style would be much more likely. 

9. What current BM bands, from the various in the United States do you find interesting?
Right now, it’s all about Vattnet Viskar for me. I’ve been devouring Sky Swallower on a near weekly basis since it came out back in September. There are others too, like Wolves in the Throne Room, Bosse-de-Nage, Coffinworm, Krallice and other bands that people dismiss as “hipster black metal” because they’re fucking 13 years old mentally, and only people who dress like them are acceptable.  Thankfully it seems like some of that obnoxious mentality is dying out, but like with anything, there are still a few people out there who think musicians need to pass some sort of arbitrary credibility test in order to make music. To me, the different styles people can create with an already very specific niche are what make it such an incredible genre. 

10. Groups nowadays have a hard time choosing a format to showcase/publish their music /art even though there is a variety of platforms, for example Bandcamp, CD, Tape Or Vinyl, last being for me the most appropriate/correct choice. What is, in your opinion the best way to reach your public (musically)?
To me, it’s all of the above. I’m not going to dismiss someone who wants it on MP3, vinyl, or CD or cassette. However you want to enjoy music, that’s fine. I wish I had a vinyl or cassette to make available to me let alone everyone else, but I couldn’t put together a physical release like that, financially, which is why I’m so grateful that No Sleep Till Megiddo wanted to put it out on CD. I’d love for someone to put it out on vinyl.

 11. No Sleep Till Megiddo Records has released "Ancestral Oath", how did that possibility arise to release the album through them? Will you continue to be tied with that label?
They contacted me online based on hearing it, which was cool. I’m definitely grateful for the opportunity, as they’ve helped me achieve that dream I mentioned earlier.

12.  Speaking of the future, what is the next release that awaits us from AO? Are you writing new material?
I’m always writing new material, but I kind of have a type of musical ADD where I constantly create things with differing styles. I’ve have the Void Ritual EP (voidritual.bandcamp.com) as well as some other things I’ve got lined up as well. As for Ancestral Oath, I’ve actually got some material with a more “epic” quality to it that I may release under the Ancestral Oath name. Think something along the lines of Summoning, only without the keyboards. 

13. Thank you very much for your time talking to Black Metal Spirit . If you want to add something to the followers of Ancestral Oath , now is the time. Were the questions I hope to your liking?
Thanks for the opportunity to reach new people! The questions were great, as they were actually informed by the music itself, so I appreciate your effort as well!
Daniel Jackson

sábado, 19 de abril de 2014

NASHEIM


Origen: Suecia, Umeå
Formados: 2001
Estilo: Black
Temática: Decadencia espiritual, dolor, nostalgia y pérdida.
Enlaces: ?

Miembros:

  •  Erik Grahn Bajo, guitarra y voces
Discografía:

  • Evighet Demo 2003   
  • Undergång Demo 2004
  • Evighet / Undergång Recopilatorio 2004
  • Angantyr / Nasheim Split 2007
  • Solens vemod CD 2014   
  • Jord och aska CD 2019
SOLENS VEMOD (2014)
Mucho tiempo ha transcurrido desde el último lanzamiento de Nasheim, tiempo que Erik ha empleado en crear una gran obra de black que va dibujando paisajes melancólicos y apesadumbrados que termina por transmitir el dolor de un alma atormentada, rozando por momentos el límite de la depresión. Erik Grahn es el único componente de esta banda, resultando un gran compositor ya que ningún tema adolece de la falta de alguna instrumentación. Los temas los va tejiendo sin prisa, el se toma su tiempo en construir pasajes de atmósfera melancólica en donde se destapa como un guitarrista ejemplar, capaz de ofrecer la frialdad escandinava, el amor por la naturaleza y el reflejo de su atormentada alma en forma de rápidos y melódicos riffs, así como en los arreglos de cuerda. Otro aspecto a tener en cuenta el la frialdad y dureza de su voz, no exenta de partes más emotivas en los coros. El conjunto es una obra de black atmosférico de tintes depresivos que no es de fácil digestión, resulta por momentos demasiado personal y que no acaba de arrancar pero en líneas generales es correcta y poco a poco se van apreciando los detalles que quiere transmitir Erik que creo que no son otros que el de soledad, padecimiento y decadencia. (8).



1. En nyckel till drömmars grind 13:25
Förlorad i intet. I drömlös sömn och ändlösa kval och ingen ro kommer, och ingen klarhet kommer. Och besten som sargar mitt inre, vrider och vänder mitt hjärta till gråt är inte av denna värld, är inte av er värld. Och apatins grå töcken är luften som ni andas, och en enda värme, en kvävande och enda värme. inom mig vaknar döden, river upp min själ och släpper in tomheten. Öppna mitt hjärta. Slit min kropp itu. Släpp mig fri. Ta mig hem. Ta mig till drömmars grind Det måste finnas en nyckel. Ta mig hem.  
2. Jag fyller min bägare med tomhet 13:37
Jag fyller min bägare med tomhet,
jag dricker ur fördärvets strömmar,
och högtidligen svär jag vid oskuldens grav
att mot ljuset aldrig återvända.

Kom - se mig då det mörknar.
Kom - se, innan mina sista tårar
faller i kall jord
inte vad jag blev men var

Mig är världen alltjämt tidlös, förlorad

Jag fyller min bägare med tomhet,
andas svavelångor, plågas av etter.
Lägger mig dock stillsamt i mänsklighetens grav
och sluter mina trötta ögon.

Mig är självet än mer formlöst för var dag

Jag fyller min bägare med tomhet,
jag dricker den torr på min vandring.
Vart vägen än leder finns det ingen återvändo.
Ingen återvändo.
3. Att av ödets trådar väva sorg 11:34
  Alla mina vägar har vittrat till damm,
all min förplägnad har ruttnat.
Ur källor jag dricker som flödar med gift,
mager är själen, uttröttad.

Aldrig jag söker mer er levnads fröjder,
jag längtar blott efter glömska;
och hade er gud mig ett himmelrike
lät jag det brinna med jorden.

Vad gåvor jag givas av purpur och guld
förfalla till trasor och aska.
Då världen ler mot mig blir dess skönaste ord
blott till löften om fördärv.

Krossas mitt hjärta eller bliver till sten
slit det då ut ur min kropp
Lämna mig livlös vid det rasande hav
att långsamt förblöda och dö.

Så låt ingenting bli mitt,
blott en snårig sal i glömskans skog.
Låt intet varda mitt,
blott vetskapen om dödens närhet.

Min ende och trofaste vän.
4. Vördnad 09:25
Min trolovade heter Melankoli och hon går med mig i natt Vid min sida målar hon världen mjuk Med ett leende gör hon den mig en gåva Finge jag också gälda med mitt liv vore allt fullbordat.   
  48:01


PROPAST


Origen: Serbia, Belgrado
Formados: 2007
Estilo: Black
Temática: Satanismo
Enlaces: Facebook y Propast

Miembros:


  • Aksinomantijan Batería
  • Kasapin             Bajo, guitarra y voces
Discografía:

  • Věstnik Preispodnji EP 2013
VÊSTNIK PREISPODNJI (2013)
El primer Ep de los serbios Propast se ha hecho esperar pero solo puedo decir que ha merecido la pena y mucho. Cinco temas de crudo black metal incrustado en la segundo oleada de la escena de mediados de los años noventa, llena de crueldad y actitud. Desde la intro que abre este Ep hasta la revisión del tema Thurisaz de Graveland con el que lo cierran, este trabajo es puro y jodido black metal de perfecta ejecución. Su sonido no tiene ningún resquicio y el trabajo de batería y guitarra y su complementación es de lo mejor escuchado en mucho tiempo, desprendiendo ese aire satánico y misantrópico tan acorde con la escena. No dudan también en bajar el tempo en ciertas composición para conseguir mayor empaque y oscuridad y demostrando que disco de Horna, Burzum o Graveland han estado muy presentes en la elaboración de este trabajo. Al final resulta tremendamente corto pero sirve para llamar a la puerta de la escena como una banda que ha sabido combinar ese espíritu del black más tradicional con la dosis de justa de nuevos elementos presentes hoy en día en la escena. (9,5).


1. Vavedenje Preispodnje (Intro) 01:55  instrumental
2. ...u Plamenu 06:10  
3. Čarna Pismena 07:43  
4. Čeljad Kaljuge 06:24  
5. Thurisaz (Graveland Cover) 08:48  
  31:00

TODESSTOß


Origen: Alemania, Munich
Formados: 2000
Estilo: Black
Temática: Depresión, esoterismo, sufrimiento y surrealismo.
Miembros:
  • Euer Gnaden Bajo
  • Flesh of L. Voces
  • Martin Lang Todos los instrumentos y voces
Discografía:

  • Endlose Suche Demo 2000   
  • Eine verlorene Seele Demo 2000   
  • Todesstoß / Imperium Sacrum Split 2001   
  • Sehnsucht EP 2002   
  • Asgardsrei - eine Interpretation Demo 2002   
  • Einst auf dem Westfriedhof Demo 2002   
  • Jenseitslüge Demo 2002   
  • Blutmeer Single 2004   
  • Spiegel der Urängste EP 2004
  • ...verendeten Blickes Demo 2005   
  • Deathgate Arkanum / Todesstoß Split 2005
  • Beutetrieb Schwarzer Witwen EP 2005   
  • Pantherwelle Demo 2006
  • Ritterlichkeit Demo 2006   
  • Stelldichein CD 2006
  • Spiegel der Urängste / Sehnsucht Recopilatorio 2007   
  • Selbstentleibung - Der Annäherung erster Teil EP 2007   
  • Würmer zu weinen CD 2008   
  • Vogelmann Demo 2008   
  • Tongue Carvings Split 2009   
  • Abwegnis 121 CD 2010   
  • Todesstoß CD 2011   
  • Sauglingshängwerk Aushilfsheins CD 2011   
  • Heikäne Löwentötrin EP 2013
  • Unverweslich CD 2013
  • Hirngemeer CD 2015
  • Ebne Graun CD 2017  

UNVERWESLICH (2013)

Como un expresión artística es como mejor podemos definir la ya dilatada carrera de Todesstoß, si el black metal la mayoría de las veces se le puede atribuir una vertiente satánica, pagana, mística, etc, lo que trasciende de la obra de Todesstoß está más relacionado con el arte y más concretamente con el surrealismo resultando del todo inconcebible separar el aspecto visual del musical en esta banda y quedandosele también pequeño la definición de black vanguardista. Su música se hunde en lo profundo del black depresivo con gritos ahogados y gruñidos. En su propuesta también hay cabida para terrenos próximos al jazz y mucha experimentación sin un patrón a seguir y en donde todo vale para sumir al oyente en un caos total. Música minimalista y estridente en donde la instrumentación y el patrón típico de la canción se ha olvidado por completo, los temas se van creando a base de pasajes de guitarras estridentes y una ambientación de teclados hipnótica y desquiciante. Como resultado final uno va apreciando los pasajes depresivos y caóticos en los cuales Martin Lang pretende sumir al oyente, pasajes también llenos de horror y sufrimiento. No es un disco fácil ni mucho menos pero acaba por cuajar como una obra minimalista dentro de la vertiente más experimental del black. (8,1)
Labyrinth Productions


1. Blumen brennen im Sodomsfeuer 14:07  
2. Seelenwichtes Schicksalsstumpf 07:52  
3. Himmelszelle 04:49  
4. Im Rachen der Zeit 09:10  
5. Virtuelle Hundeschädelsammlung 22:17  
6. Ritterlichkeit 12:51  
  01:11:06  


martes, 8 de abril de 2014

TIIL SUM - INTERVIEW



1. You formed Tiil Sum in 2011, what inspired you to do it? Was it clear from the very beginning that it would be a one-man band?
The main reason behind Tiil Sum was to find an artistic outlet, a medium to express my emotions and feelings. That was pretty much it, actually. At first I wanted it to be a regular band, but because I couldn’t find the right people I decided to record alone.

2. The name “Tiil Sum” means “last breath” and refers to the Black Speech in Tolkien’s universe. Are you a fan of Tolkien? How did you decide on that name?
I chose the name when I accidentally stumbled across a Black Speech dictionary. Originally, I wanted the name to be in English, but then I realized it sounds more intriguing and mysterious when translated to Black Speech.

3. Can you tell us more about the process of writing and recording for “In Articulo Mortis”? What major differences are there compared to “Nihil”? 
Creating “In Articulo Mortis” took quite a long time, but I wasn’t in a hurry. I picked up my guitar from time to time and tried to compose the parts, though the overall concept was already set in stone. I recorded a demo some time earlier, but I wasn’t satisfied with the result. I saved the better parts to re-record them for the final release and then discarded the rest. The actual recording of tracks took place between late winter and spring of 2012. By the end of June, the whole instrumental side was ready. I was only lacking vocals, and finding the right person to help me with them turned out to be time consuming. I passed the tracks to Legion around December and he agreed to record the vocals. About half through January the album was all ready for release, which didn’t happen until June 2013. The differences between “In Articulo Mortis” and “Nihil” pretty much boil down to the first being more mature, as well as of higher sound quality. You can hear my voice on “Nihil”, though, so that’s another difference. The tracks for this demo were composed in 2009, a long time before the actual recording, so it didn’t really change much.

4. Do you find it difficult having to deal with all the musical aspect of Tiil Sum? What role does Legion play as a member of Tiil Sum?
The most difficult part for me is composing the drum tracks, as I had completely no experience with this instrument. Other than that, I think it’s even better that I do it alone, because I can express myself the way I want it, 100%. Legion was involved in vocals only, where I gave him a free hand and I’m fully satisfied with the result. Our cooperation came to life really spontaneously and we didn’t plan on him becoming a full-fledged member of Tiil Sum. He’s more of a session singer for the album, although I have high hopes that he’ll continue to participate in my projects.

5. “In Articulo Mortis” has misanthropic and depressive atmosphere. What bands influenced you? What did you try to tell the listener with your music?
I was greatly inspired by bands like Furia, Drudkh and, of course, Burzum. What I tried to tell the listener? I think the flyer couldn’t say it better: “The feeling of ubiquitous death, fading, losing oneself in the murky depths of decadency”. Although I’m still aware that the listeners themselves know best what feelings these sounds inspire in them. 

6. The vocals are excellent as well, with lyrics referring to nature, if I’m not mistaken. What was their origin?
All the lyrics are by poets of Polish decadent movement: Kazimierz Przerwa-Tetmajer, Stanisław Korab-Brzozowski, Kazimierz Ratoń or Jan Kasprowicz. You’re right, they’re referring to nature and its dark side, to decadence and death.

7. What are the five albums that you think were fundamental in black metal, and why?
There’s no need to repeat the same list over and over again. Everyone knows the fundamental albums of black metal.

8. Polish extreme scene has always been interesting. What important elements do you think caused so many quality bands to emerge in Poland?
We, Poles, always had a lot of venom and hatred in us, rooted in years of history. What more do you need to black metal?

9. What were your beginnings in music and why did you decide to become a musician?
As soon as I started exploring the world of extreme metal, I got the insatiable urge to pick up a guitar. I wanted to let out my emotions in some way, to create. That was the reason why I picked my artist name – Demiurg.
10. The cover of “In Articulo Mortis” goes hand in hand with the lyrics of the album. Who designed the cover?
Both the cover and the booklet contain my private photos taken near the place where I live. I was looking for the right graphic design for quite some time when I finally decided that the simplicity and severity of the forest will perfectly reflect the contents of the album.

11. “In Articulo Mortis” was published by Dark Omens Production, which is a newly created Polish label. What convinced you to go with it?
Actually, it was released in cooperation between the already known Eastside Records and said Dark Omen Productions. DOP was created by Legion, the man behind the vocals. He was planning on starting his own label for quite some time and recording the debut was an opportunity of sorts. Releasing the album with two labels involved allowed the costs to dissipate and made a room for inclusion of a 6-page booklet.

12. Any chances of seeing Tiil Sum live one day? Any plans for future releases?
I don’t think the project is suited for a live performance. Main reason is the lack of musicians, although if an opportunity did arise, I’d probably go for it. As plans for future releases go, I’m working on a 3 track EP, “I nie ma śmierci, I sen jest tylko…” (“And there’s no death, the dream is all there is…”) with poems by Kazimierz Ratoń as lyrics. I’m not ruling out taking part in a split album either.

13. Thank you very much for your time, talking to Black Metal Spirit. If you want to add something to the followers of Tiil Sum, now is the time. I hope the questions were to your liking.
Thanks a lot for the interview. Drop by on the facebook page:Facebook.