sábado, 24 de mayo de 2014

SIDE OF DESPONDENCY


Origen: Rusia, Cherepovets
Formados: 2009
Estilo: Black depresivo y Shoegaze
Temática: Dolor, muerte, naturaleza, soledad y suicidio
Enlaces: Facebook y bandcamp
Miembros:
  • Arbiox Todos los instrumentos.
Discografía:
  • Akrethion / Side of Despondency Split 2010   
  • Demo Demo 2011
  • Cancellation CD 2011   
  • The Main as Well That Is Not Very CD 2012   
  • Dissociative Ideals EP 2013
  • No Hope for the Weak Split 2014
  • Neither EP 2014
  • Soul Hurts CD 2016
  • Algid CD 2017

DISSOCIATIVE IDEALS (2013)
Arbiox es el encargado principal de todo lo que sucede alrededor de Side os Despondency, el proyecto dió comienzo en el 2009 y tras un pequeño periodo de inactividad parece que se le ha unido un vocalista para acabar de dar forma, musicalmente hablando, a las ideas de Arbiox. Este Ep puede que acabe siendo un punto de inflexión en la carrera de la banda, lo que es cierto es que nos encontramos ante un Ep con un fuerte componente depresivo y melancólico y alejado de la vertiente más metal de anteriores obras. Dissociatve Ideals nos ofrece un excelente trabajo a la guitarra de un músico que trabaja magistralmente la creación de atmósferas de manera simple y efectiva, haciendo uso de su guitarra logra trasmitir un montón de emociones relacionadas con el estado de ánimo del ser humano. Comentaba anteriormente que la parte más metálica esta menos presente que en anteriores entregas, pero aquí también hay lugar para los riffs de tendencia depresiva acompañados de una voz acorde para la ocasión. Un Ep que se nutre bastante de la faceta más post del metal, resultado emotivo y bien trabajado. (7,9).

1. Vain Tears, Dreams Will Never Come True 03:20
 Now can finally calm down 
Some things are not as important as they used to 
Don't worry and don't cause tears 
Some say that it must be so, and correctly 
And we should rejoice in the fact that there are 
Strive and dreaming about.. 

Forced to stay to watch something 
As if it's true and should be like ravings 
Painful and sad. I can't stand it any longer 
Nice and fake. again and again 
All the zeros and I stumble on level ground 
Always the case. Nothing changes
2. Story About the Ship 05:00
  Never know what we want 
Choose one, and wish more 
Doubt pursue to the end 
This is happened as it is not so? 
Or so because it should be intended 
Features for your perception 
Mind and thought, sight and touch 

Today it is one man, tomorrow is another 
They change too quickly 
No one has the right card 
The last one was killed by his own judgments: 
Where to go, where the shore, 
The port and the wind in the sails 

So similar to each other 
We are so alike it's you or me? 
You looks like me 
But it seems is not I 
So similar to each other 
We are so alike it's you or me? 
If you don't, it means that i will do 
So similar to each other 
We are so alike it's you or me? 
You looks like me 
But it seems is not I
3. Below the Line 02:45
Back to thoughts 
They were waiting for us 
So long 

Passing all positions 
Power leave 
Wrong responses, irrelevant answer 

What we were looking for 
Not found 
Went astray and eventually lost
4. Imaginary Escape 05:15
 Since there were 2 periods 
Of cold and snow, the distant past, 
And a strip of time between 
Now and then, I remember my fear again, 
My escape of my own present. errors so 
That the thoughts sink 

Into the pit of oblivion. 
How it was long ago, but it all likewise 
Year by the year. warming .. seemingly everything went 
I thought that's all gone. but now it's all the same 
I don't care
5. To Yearnings 03:09
At some point. without you I miss you, I feel so bad, come back to me Today I dreamed of you. I was you Hiding, hiding and running away I remember a long time ago, I also ran When you told me to run Although I had to stay With you Ever since been looking for you Call. But it is all in vain Each day ends with a void Where are you? I feel so bad alone I lost all my hope I don't want my life as my own And I wanted so much to kill myself I feel my guilt In all that happens my fault Everything had to be otherwise  
6. Apparent 06:19  
  25:48


HAUTAKAMMIO


Origen: Finlandia, Hyvinkää
Formados: 2012
Estilo: Black
Temática: Antireligión, muerte y odio
Enlaces: Facebook
Miembros:
  • Grim666 Bajo
  • Lima  Batería
  • Nagh Voces
  • R. Guitarra
  • Ruho Guitarra
Discografía:
  • Kukaan ei opasta teitä pimeässä CD 2013
  • Pimeyden Valtakunta CD h 2014  
KUKAAN EI OPASTA TEITÄ PIMEÄSSÄ (2013)
Primer larga duración para los finlandeses en donde se nos ofrece un black agresivo, con un fuerte aroma a punk mezclado con black, sobe todo en cuanto a actitud. Un álbum que gracias a su producción suena brutalmente crudo desde el principio en detrimento de la variedad, hay que entenderlo y saber escucharlo en su totalidad. Alrededor de Hautakammio no tenemos mucha información, podemos suponer que prefieren que su música tenga mayor protagonismo que el individuo en si, y al música nos habla de un grupo que ha sabido rescatar las influencias de las bandas como Hellhammer y que en mayor o menor medida nos brindan la oportunidad de disfrutar de un disco de black bastante interesante. Con unos riffs crudos y retorcidos con pocos matices, y unas voces que se esconden entre el resto de la instrumentación, sonando también un poco solapadas, lo cierto es que la producción le hace un flaco favor a este trabajo que peca un tanto de continuista y lineal. (7,9).



1. I 06:10  
2. II 06:02  
3. III 05:13  
4. IV 08:37  
5. V 06:52  
  32:54




lunes, 19 de mayo de 2014

SAGRARIO MORTIS

Desde Fuenlabrada nos llega esta nueva banda de black metal en formato dúo. El corto periodo que llevan como formación, al banda se creó este año, les ha servido para crear su primer larga duración disponible a través de su página de Bandcamp. El grupo lo forman Nefert bajo y voces y Murb guitarra y batería, su propuesta es un black old school violento y agresivo, con textos en castellano de contenido blasfemo y anticristiano a le que acompañan unas voces enfermizas, creo que una de las señas de identidad de su música. Ahora mismo el grupo se encuentra buscando batería y también inmerso en la confección de un split a la espera de ofrecer sus primeros conciertos. Para conocer un poco más sobre estas cuestiones visitar su página de Facebook.


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domingo, 18 de mayo de 2014

RUINS


Origen: Alemania, Büdingen.
Formados: 2006
Estilo: Black, thrash
Temática: Anticristianismo, infierno, satanismo, violación
Enlaces:?
Miembros:
  • Sven Klaka  Todo
Discografía:

  • Baptised in the Name of Satan Demo 2006   
  • Bloodstorms of Hell Demo 2007
  • Satanic Bitchpenetration CD2008   
  • Baptized in Hell Recopilatorio 2008   
  • Hellraging Hell Metal Split 2009   
  • Front Beast / Ruins Split 2010   
  • Chambers of Perversion EP 2010
  • Towards the Altar Split 2010
CHAMBERS OF PERVENSION (2010)  
Sin llevarnos a equivocos con los también australianos Ruis, aquí el alemán se nutre más del thrash y casi corroborando que se encuentra en un período de letargo este Ep fue uno de los últimos lanzamientos de Sven Klaka. Black con fuerte aroma a thrash clásico y con algún que otro guiño al punk. Riffs brutales, a descubrir en las composiciones, batería demasiado presente por momentos, ocultando otros instrumentos y voces muy thrash. Todo un compendio de como debe de sonar una banda que quiere recoger lo mejor de la tradición thrash de bandas como Sodom y del black de los primeros Bathory para en apenas veinte minutos ofrecerlo de manera actual y muy buena. Letras llenas de odio hacia el cristianismo, blasfemas hasta la médula, satanistas y sin olvidar el sexo. Lo dicho, lo peor es que parece que Ruins esta un poco retirado de la circulación y echaremos de menos brutalidades como esta. (8,4).


1. Chambers of Perversion 01:53  
2. Slaves of the Undead 02:57  
3. Primitive Evil 01:52  
4. War in Heaven Part 4 (Megalomania) 03:17  
5. Sodomy in Hell 03:01  
6. Slutlust and Perversion 02:39  
7. Perverting the Priest 02:13  
8. Sperm of the Antichrist 03:00  
  20:52




TORTURE CHAIN


Origen : E.E.U.U.
Formados:?
Estilo: Black
Temática: ?
Enlaces:?
Miembros:

  • Torturer Todo
Discografía:

  • Humbling Isolation Terror Demo 2008
  • Mountains of Hate Demo 2009   
  • Across Great Landscapes to a Legacy of Blood Demo 2010   
  • Time Is But a Doorway to the Incinerator Demo 2012
  • Mutilating Astral Entities CD2013  
  • Wasting Syndrome CD 2016  
  • Self-Discovery Single 2016
  • The Ascent of Deimos CD 2019
MUTILATING ASTRAL ENTITIES (2013)
Este álbum viene a calmar los anhelos de los fans más acerrimos de la banda estadounidense que a lo largo de estos años ha venido ofreciendo pequeñas dosis de su primitivo black metal de regusto punk y que por fin se han decidido a editar en formato larga duración. Con un sonido estridente y sucio se va desarrollando un trabajo en donde el oyente se sumerge en un caos de sonido en donde llama la atención la estridencia de las guitarras, cortantes e hirientes, por momento incluso chirriantes, la batería ocupa un papel fundamental al construir un muro monótono ds sonido, acabando las voces por sonar un tanto solapadas. El resultado final, todo hay que decirlo es un tanto monótono, con poca variedad en la música. Con un producción muy justa acaba por sonar primitivo siendo esta una sensación que termina por trasncender al finalizar la audición. Black estridente e incendiario con un gran componente de punk, tanto en estructuras como en voces que gustara a los fans de los sonidos más primitivos dentro del black. (7).


1. Ingressus 02:10  
2. War on the Final Road North 13:18  
3. A Thousand Hungry Red Eyes 13:28  
4. Transitus 02:15  
5. Mutilating Astral Entities 12:24  
6. Totentanz 15:20  
7. Aeternitas 02:32  
  01:01:27  


viernes, 16 de mayo de 2014

SECRETPATH - INTERVIEW



Good evening, thank you very much for agreeing to answer these questions , how to Cosenza ?
Paolo “The Voices” Ferrante – Thank You for the space! Cosenza is a nice city in Calabria, a region in southern Italy.
Pierluigi “Aries” Ammirata - And it also has some pretty important historical and artistic values, such as those concerning the emperor of the Holy Roman Empire and King of Sicily Frederick II Hohenstaufen of which today remains the Swabian castle and the Visigoth King Alaric I, who, according to legend, died at Cosenza and was buried on his horseback and armed with his treasure at the confluence of two rivers. Also it is known the M.A.B. (Museo all'Aperto Bilotti, which means: Outdoor Bilotti Museum) where you can admire works by Giorgio De Chirico, Salvador Dalì, Pietro Consagra and other modern and contemporary artists. To this we must add the many natural beauties... but of course in general our region is best known on the world for the 'Ndrangheta and the nowadays bad policy, not for its beauty...

1.How were the beginnings of the band and why they decide to form Secretpath in 2008 and why they chose this name?
Pierluigi “Aries” Ammirata - Secretpath was founded by me, initially with former members of my past band Aither. I chose this name because the topics I wanted to write for the lyrics were related to the inner journey of every man. On every artwork of Secretpath there's a mysterious character that we have named “Wanderer”, referring to the romantic wanderer, an adventurous spirit, a being who goes in search of himself. The first year was full of several changes in the line-up, until October 2009, when with the arrival of Paolo Ferrante the line-up was ready. So we recorded the first Secretpath demo-CD "The Choice " (2010). Between 2010 and 2011, we played our first concerts in the local underground and then there was the first change of bassist (many others will follow!). We recorded our second demo-CD “Wanderer” on 2011, with the mastering of Finnvox Studios, and we signed a promotional contract with Necrotorture Agency. After other series of concerts outside our region, we recorded a promo of three songs in 2012, when I've done both recordings of the guitar and the bass. With this promo we signed a deal with Art Gates Records and we recorded our first full-length CD "Wanderer and the Choice" (2013). Now we're recording a new promo while searching for a new deal and we're testing another bassist. But in this new promo again I played both guitar and bass.

2." Choice and the Wanderer " no longer the result of your first two demos , how do you approach editing edit these demos for the full album ? Was premeditated , that the demos in the future end up integrating an entire album ?
Paolo “The Voices” Ferrante – It was already planned indeed! Pierluigi has always something in mind for the future, nevertheless it’s not uncommon for a band to release a first album with re-edited demo songs. The first two demos were meant to be linked by the same concept, they represent two steps of the same journey that our character, Wanderer, makes in search of himself. So, when composing the songs for the second demo, we were already dreaming of making a future full-length by the union of the two demos. In the meantime the band grew, in technique and personality, so it was essential to re-edit the demo songs (made in 2010 and 2011) so they could represent how Secretpath were in 2013.

3.Given your music is impossible to feel indifferent, it 's influences from melodic death and black , but for me it also has an important contemporary edge , what are your main musical influences ? How you define music Secretpath ?
Paolo “The Voices” Ferrante – We’re surely contemporary, there’s no reason to try to imitate past great musicians: those were great musicians from great times, still they became great by creating something new and not by copying their predecessors! So, I think, the best way to follow the trails of the great past metal musicians is understanding their lesson: “break the rules, be yourself and do music with passion!”. I don’t think I would be a good “old school” singer, I don’t want to “imitate”; I like to create something new – good or bad that may be – at least is something “mine”! Our music has some roots in melodic black metal and also in technical progressive death metal, but there are some other influences such as heavy, gothic and operatic metal; and there are also some influences outside metal, such as some jazz or funky parts and the classical music, of course. Maybe our music has so many influences because we don’t close the doors to nothing, think at the song as a painting: we want to use any color we like and not be limited to a little choice of colors that a “genre” can permit. The genre, I think, must be something to help the listener describe the music; not something that limits the musicians.

4.From your music exudes a sense of inner struggle with oneself hard to get but you succeed you convey very well , how is your songwriting ? Reference to do with these internal struggles of man?
Paolo “The Voices” Ferrante – Pierluigi creates some guitar riffs, according to a specific theme we choose to give to the song, that may be “feeling lost” (“The Dark Forest of My Insanity”) or “accepting our destiny” (“…And so I Return to the River”) and so on. Than Pierluigi and Francesco (the drummer) record some ideas we can choose from to create the songs. We, Pierluigi in particular, are very demanding and so discard some riffs and make many changes to the riff we choose in time… everything must be in place and the songwriting may be very long. Then come the lyrics, mostly written by me but there are some lyrics written by Pierluigi and edited by me – for singing reasons – because I think that even the words have their sound that can make the difference in a song. We try to talk about these internal struggles without referring to specific situations, we want the listener to find his own struggles to think about while listening to our music; so, for example, in “Essence of Chaos” we talk about a mind in chaos and rage, surrounded by destruction and war, one can think about the last argue with his parents, the last time he was mad at something, but can also be a metaphor describing the time in our life when we are sixteen and rebel to anything and are always aggressive with the adults. Any interpretation may be good because we want to describe the feelings, and not the reasons that cause them.

5.Is there a conceptual history in the songs ? Intend to reflect what the album cover ?
Paolo “The Voices” Ferrante – As you can see we divided the cover in two sides: a sunny and happy side, a dark and sad side. That can represent the choices we make in our lives, choices on which depend our future: good choices bring a nice life, bad choices can ruin it! Wanderer knows that and he struggles to find the right road to follow; at the same time things are not always as they appear, because sometimes you have to suffer or make sacrifices in order to succeed. There’s nothing obvious and, by traveling and making choices, Wanderer learns to understand himself. Wanderer can be anyone, male or female, without race or religion, he represents the human being: always inquisitive, original, with deep feelings. A complex character that experiments some human feelings, so the listener can sympathize and share some thoughts on the matter. In this album Wanderer understands the role his choices have in his live and finally gains control of his own destiny, choosing to fight against the demons of his fears; then he fights against those fears and wins accepting his human condition – with all its limits – and finding a “guide” (“I’m Your Guide”) that can be, for some listener, God and for other ones it can be Your True Self, or a reason to live, or maybe a beloved one: as I said before that may be many interpretations!

6.Slowly it seems that going to present a concert featuring the music , is it very difficult to capture in a concert all the energy released album?
Paolo “The Voices” Ferrante – When we play our songs in a concert I try to “enter” into the character I’m talking of, so that becomes something theatrical someway. We created those songs in a way we could play them live without effort, so there are no overdubbings of effects anywhere. Although a concert cannot have the same audio quality of an album – not the underground ones at least – so while playing live the music becomes more aggressive and there can also be some space for improvisations somewhere: we understand that the live music MUST have a different feeling. Maybe my particular look and madness in stage helps to make the concert more interesting! Ahahahah!



7.I can not overlook the role of Paolo "The Voices" Ferrante on vocals , are you aware of the versatility and personality that gives your music? How is able to wound to so many different registry?
Pierluigi “Aries” Ammirata – Paolo has a natural talent to move from one type of voice to another which I think is quite rare, and a brilliant technique in the context of Extreme Metal. Although actually nowadays is becoming more common to hear in the Metal singers playing with various vocal techniques. But some of Paolo repertoire is really very wide, almost "encyclopedic"! During the first jam sessions in Secretpath, I realized his talent and understood that he could grow a lot compared to how it was, however, at that time, since he was following some clichés of old-school Metal, that are quite predominant in our local scene. This aspect makes us outsiders, and sometimes regarded with some suspicion.
Paolo “The Voices” Ferrante – Well I learned all I know by experimenting, listening to CDs and YouTube and trying to do the same. It wasn’t easy at the first time but, eventually, I understood something about extreme metal singing and I’m still trying to get better. The idea of using also the clean vocals came from Pierluigi: when he knew that I also sang in a choir he asked me to try clean vocals for Secretpath also, considering that I was capable. At the beginning I doubted it could be interesting but, after some months, I realized that mixing extreme and clean techniques I could reach a wider range of expression and so I improved it.

8.How were your beginnings in music , cds first , first concerts Why did you decide to become musicians ?
Paolo “The Voices” Ferrante – As a band they began in 2008, without any singer, then they found me (or, better, I found them) by a notice in which I read that an extreme metal band was searching for a vocalist. I had many bad experiences with past bands, maybe they were too “amateur” for my taste, or maybe they lacked the passion I was looking for. Our beginning, with Secretpath, where almost difficult, it’s hard to create and promote an original style of music: if you follow a precise metal genre you already know your “target” and listeners understand your music immediately; if you want to create something new the listener may find difficult to understand you, and surely the fact we mix many genres doesn’t always help us! In any case, I found that you can love or hate our music, as it’s difficult to remain indifferent to it. So we have our few, loyal, fans that follow our music and we’re very proud of that: we are not “that band the sounds like…”, we are “Secretpath” and there’s no other way to describe us!

9.See how the entreme scene of your country? Any new band you refer us ?
Pierluigi “Aries” Ammirata – I have to admit that lately I'm not following the news recently, but I think that the Italian Extreme Metal scene is growing and now to bands of proven value as Necrodeath, Aborym, Mortuary Drape, Forgotten Tomb, Opera IX, Inchiuvatu, Necromass, Antropofagus, Blasphemer, Dark Lunacy and many others, they are adding new valuable entries such as Fleshgod Apocalypse, Hour of Penance, Septycal Gorge, Vomit the Soul (“strangely” all these bands are under contract with foreign record companies) and other new emerging bands. Then there is the whole "not extreme" Metal  that has many respected names . In Italy, unfortunately, the matter relating to the record labels (which are fewer compared to the number of bands) and especially the underground network relative to the concerts is too weak. Unfortunately there are so many diseases that afflict the Italian Metal scene: such as the distrust of the event organizers and venue owners to the "devilish" music, but especially a kind of parochialism and provincialism almost in the genome of the Italian population which makes much (too) slow the growth of a compact and strong underground scene. There are countries (such as Sweden) where there are fewer bands, but still the underground network works much better, because there is a network of record labels, clubs and radio dedicated to the Metal, record shops and more related to the Metal subculture, festival organizers and all the rest, that make it much easier for the circulation and the growth of this music with all the related subculture and subcultures. 

10.Are you satisfied with the impact achieved between the public and the media for your album?  Would change the album?
Paolo “The Voices” Ferrante – Yes we are very satisfied, of course NOW we would change something because we got even better (I hope at least!) but at that time it was the best we could do. As I said before the impact between public and media was very variable: someone hated our music describing it as an inconsistent mix between genres without any logic, someone else told that this is a masterpiece because we managed to mix so many different genres create something new and original! Well our goal was to create something notable, we surely achieved it… 

11.Art Gates Records was responsible for editing music , am satisfied with the work done by the seal?
Paolo “The Voices” Ferrante – Yes, they did surely help us, but now we’re searching for another label for our second album (that’s now in progress) and so we hope to find another label interested in our band and our music to grow further. I think that Spain is very interested in progressive extreme music while here in Italy there’s more interest for the old school metal. We’re planning to do a second album with a concept centered on madness, that was some madness to in “Wanderer and the Choice” but this time we want to point our attention only into it: so you should expect a more “strange” album!

12.What does the future hold in terms Secrepath Upcoming concerts ?
Paolo “The Voices” Ferrante – We are planning to do some shows, here in southern Italy, to continue the promotion of this album and to play live some new songs we created in the meantime, just to see the reaction the listeners will have. Live is an important part of the life of a band, it’s the expression of all the work done in composing and recording, I think, and there’s nothing like playing live and seeing directly the reaction of the public.

13Thank you very much for taking the time to Black Metal Spirit , if you want to add something for the followers of Secretpath , this is the place . I hope the questions are to your liking .
Paolo “The Voices” Ferrante – Thank You again for the kind review and for this nice talk! Hope to meet again to talk of the next album soon, it will be something even more strange and original I’m sure of it! Thanks to all the readers of Black Metal Spirit, I leave the link to our website in which you may find all the album in FREE streaming and download: SECRETPATH


DEATHROW


Origen: Italia, Livorno
Formados: 2005
Estilo: Black
Temática: Infierno, muerte, odio y oscuridad
Enlaces: Facebook
Miembros:
  • Thorns Todos los instrumentos y voces
Discografía:

  • The Cold Engine of Darkness Demo 2006   
  • Primordial Lifecode CD 2007   
  • Gateways to Oblivion CD 2008   
  • Void EP 2008   
  • Echoes in Eternity Split 2008
  • The Beginning of the End Demo 2008   
  • Odium Mors / Neverending Rain Split 2009   
  • Dismal Empyrean Solitude Split 2009   
  • Vidharr / Gremory / Deathrow / Ovskum-Mørke Split 2010   
  • Drowning in Darkness Directo 2010   
  • Desolating Cosmic Intuition CD 2011   
  • Through a Cold, Endless Winter - 7 Years of Torment Recopilatorio 2012   
  • The Eerie Sound of the Slow Awakening CD 2014
  • Like a Lion Devouring the Sun EP 2016 A Monument of Sorrow CD 2017
  • Deathrow Reopilatorio 2018
 THE EERIE SOUND OF THE SLOW AWAKENING (2014) 
El cuarto larga duración de proyecto italiano de Thorns es un disco que hunde sus influencias en el black incendiario y oscuro de la escena escandinava, deprendiendo odio desde el comienzo. Si todavía no nos habíamos dado cuenta, Thorns se vuelve a reivindicar como un gran músico y el sonido de "The Eerie Sound of the Slow Awakening" es muy bueno, tomando como referencia la batería ha sabido construir una obra muy completa de black metal. Un disco que a medida que va discurriendo no hace más que acentuar su vena de black más tradicional trayéndonos a un músico que domina ampliamente no solo la batería sino también la guitarra y que gracias a la producción rememora épocas pasadas. Un disco que también nos ofrece las diferentes facetas vocales de Throns, erigiéndose en un gran frotman. No ha inventado nada, eso queda claro desde el comienzo y el disco se hace largo  aunque se han añadido algunas partes más acústicas para enlazar las canciones. Durante todos estos años Deathrow ha venido ofreciendo material de manera regular y en cada nuevo lanzamiento ha sabido capturar esa sensación de oscuridad y primitivismo de bandas como Gorgortoh o Darlthrone y cada nueva entrega no hace más que refrendar que estamos ante un músico muy interesante. (7,9).



1. A Fallen Empire of Flesh (Intro) 01:33  
2. The Sentinel 04:02  
3. Old Bones 05:40  
4. He, the Destroyer 04:27  
5. The Illusion of Control 06:15  
6. Dying in the Cold 04:50  
7. Lost in the Grey 05:36  
8. Worms and Silence 04:58  
9. One Moment 04:27  
10. Il Sangue Nero (Outro) 03:04  
  44:52  



NARBELETH

A HATRED MANIFESTO (2014)
Dakkar lo ha vuelto ha hacer y poco a poco va llamando la atención dentro de la escena y situando a Cuba dentro del panorama black. "A Hatred Manifesto" es su segundo larga duración, un ábum crudo y retorcido que tiene mucho que ver con escena más clásica escandinava. Sacando adelante el sonido de este álbum, Dakkar va ganando en matices y si su anterior trabajo ya era una obra a tener en cuenta, su continuación va más allá, hundiendo sus música en lo más clásico del género. Sus influencias son variadas, Urgehal y Darkthrone las más reconocibles, en unas composiciones que han ganado en madurez y como comentaba antes en matices. Matices que se aprecian en la mayor versatilidad de riffs, las voces siguen siendo desgarradas y agresivas pero se han incorporado algunas partes no tan brutales, la batería hace buen uso del doble bombo marcando un ritmo rápido. Toda la música desprende un aroma a frialdad, ocuridad y sobree todo odio para un álbum que debería de ser reconocido como una obra completa y actual del sonido clásico del black metal. (8,4).


1. Total Isolation 04:14 
2. Breathing a Wind of Hatred 03:15 
3. Fuck Off! 03:59 
4. Rotten to the Core 03:36 
5. Land of the Heathen 03:42 
6. Posercorpse 03:25 
7. Nihilistic Propaganda 05:13 
8. Nyx (Urgehal cover) 02:43 
30:07


lunes, 12 de mayo de 2014

SADO SATHANAS - INTERVIEW

Good afternoon , thanks for agreeing to answer these questions , how everything Dresden?
It's cold and rainy. But it doesn't matter: I am in Barcelona right now.


1. The creation of the group dates back to 1996 , what are your memories of the beginnings of Sado Sathanas and why you decided to form the band ?
Hmm, well, back in the days I played in several band projects before, but it was no extreme metal. At the same time I became more and more fascinated by bands like Krabathor, Abigor, Impiety and the Norwegian classics like Mayhem, Satyricon and so on. Some guys I knew told me that they founded a black/ death and invited me to their rehearsal room. In this band called “Dismal” our Singer Giacomo and our keyboard player 
I visited them had been involved. I visited them, and their sound was quite terrible. Even more than terrible. But I liked the guys so I visited them from time to time and we shared some beers. When their bass player left in spring 1996 I jammed with them on some occasions by playing the bass guitar. Krell was one of my best friends in this time and I knew from his job as a roadie for my main band in this time that he was very talented on playing guitar. So soon he also joined the band, and we tried to create some first tracks. Short after that we realized that the skills of the most other members had been too limited, so – to keep it short – we kicked one by one out. Finally I choose to play drums instead of the bass guitar, and that's it.  


2. Early in your componene guys had a death in your music , What led you to abandon it and focus more on the black? What happened within the band from 1999 to 2005, a period in which pratically ceased activity?
In the middle of the 90s Death Metal became more and more strange, a lot of bands and their audience started to wear coloured shirts, got dreadlocks and preferred lyrics about politics and party. On the other hand melodic death made us more and more sick. We refused to be a part of this scene, it's the same as the nowadays hipster shit. On the other hand we got with Stefan a keyboard player in the band, and black metal found to us. In summer 1996, after some shows we visited together, like Enslaved, Dissection, Gorgoroth, Absu and many others which inspired us a lot, we decided to play black metal from now on. Between 1999 and 2005 it was quite shitty, because I singer worked in the Netherlands and Belgium in that time. We had rehearsals, but just a few with a complete band. We created some tracks and tried some musicians on bass guitar and guitar. We also had some single shows, but nobody was satisfied with that kind of situation. On the other hand we never thought about to quit Sado Sathanas, and when we found Martin on the guitar and Ronny on the bass in 2006 everything got more comfortable. We also had more live shows since then and we played the first time abroad by visiting Romania. 

3. I's Not until 2010 that the band seems definitley activity resumed with the release of " Opus Diaboli " , what this album meant to Sado Sathanas ? Was very complicated the making of this album ?
It depends. We had enough tracks for a new record and we have been in the situation that our former bass player Ronny had his own studio. At first there was no plan for an official release. It was not because we didn't like the idea to have an official release, but we had no idea how to find a label, I mean: Who could be interested in a bunch of old guys with their music from the 90s? After a show in our home town a guy had a conversation with our singer, he told him that he is the owner of Black Blood Records and that he is interested to work with us. Honestly I thought that is was a joke, or at least some blablabla of a drunken guy. One year later we met on a show, and he asked me why I didn't call him. Next scene: shake hands & deal. 



4. And finally comes four years after your last work to date " Nomos Hamartia , how was the process of writing and recording of " Nomos Hamartia "What major differences can be found when compared with " Opus Diaboli " ?
The process of writing has been as always: we meet each other every week for rehearsals and jams. After three years we said ok, let's book a studio. The problem in this time was that Ronny had an accident with his bike. His rehabilitation took a long time, and finally he decided to leave the band. The major difference was to record in a professional studio in Munich. After recording “Opus Diaboli” we had the feeling that we are too close to the sound and it would be better to include someone with the perspective of an outsider. 

5. How is your way of working in the studio , there is a leader or all contribute ideas ?
There is no leader. We have with Krell and Martin two main composers, some ideas had been developed by me and Giacomo did his own interpretation of the vocals. Of course this causes chaos and sometimes some serious discussions, but that’s the way it is. And we record step by step, beginning with the drums and finishing with the vocals. And the final fight starts with the mix.

6. Which bands have influenced the sound of Sado Sathanas over the years? What drives you consider essential within the black metal?
It's not possible for me to speak for everybody in the band. For me of course the old heroes starting with Venom and the guys from Norway. My primary socialisation started at first with bands like Accept and Sodom, later Sepultura, Obituary and stuff like that, before I discovered Abigor, Mayhem, Burzum, Satyricon, Gorgoroth, later Taake and Urgehal. But there are also other bands I like, for examole Ascention, The Ruins of Beverast, Dordeduh, Cult of Fire, Negura Bunget and Watain. Of course we are influenced by them in the one or other way, there are also other components in our sound. Every one of us has a kind of special taste, Martin likes – beside of Black Metal of course - Post Rock, Jazz and other crazy stuff, Stefan likes Gabber, Speedcore and Hardtekk from time to time, Krell is more into Heavy Metal and Pagan while Mo likes Death Metal a lot. Robert listens to Abient occasionally. I am sure that you find some traces of this in our music.

7. What inspired you when composing the lyrics to " Nomos Hamartia ?" Is there a concept as a link of all the subjects ?
Yes, there is a concept, but it’s hard to explain, even in another language. But let me try: The frame of the concept are the seven deadly sins, but in a relation between order (“nomos”) and chaos (“hamartia”). Chaos is seen as the basic of evolution. The main topic of the lyrics is the relation and the interchanges between of rules and freedom, the law (order) and the spirit (chaos). Together with the music is a mixture between invocation and meditation. It's all about a specific concept, which is the basement of Sado Sathanas: power and authority. Our releases – from the first demo's to our new album – has to bee seen in this light. Real sadism is violent, but not on order. We created a complex setting of visual, habitual, and lyrical aspects. In this context the cover artwork is based by a painting in the book Divine Comedy written by the Italian poet Dante Alighieri, combined with some drawings of Hieronymus Bosch aka Jheronimus van Aken, of course in a different interpretation. On the front you see Lucifer, who has three faces with three mouths, each of them chew a betrayer, symbolised by Judas, Brutus and Cassius. The artwork inside represents the seven deadly sins. Of course that sounds very abstract, so let me try to explain by the tracks on Nomos Hamartia. Two of them, Ante Bellum (Before the War) and Codex Diaboli are instrumental. P.A.N. Demonia is inspired by John Milton's book Paradise Lost. Pandemonium is the capital of Lucifer and other fallen Angels, so to say the centre of hell. The word “Pan” also represents Satan, but in a relation to Greek mythology as a hybrid of man and animal. The track handles about self-empowerment, to reach strength and might by sacrifice. “Martyrium” is about the price you have to pay if you go your way straight ahead if you don't reflect what makes you weak: the bounding on conventions which keeps mankind low. “Invertum” is a track which is about ignorance and the scorn we feel about this kind of behaviour. Finally there is Nomos Hamartia, the title track is about sins in a context with the concept of hell, inspired by Dante’s Inferno. Short and easy: sins are necessary, otherwise you cannot enter the gates of hell. Of course: the more the better!  

8. What has changed in the black metal scene since your beginnings to today ? Guess at the time the scene was much underground and was in full swing, perhaps today you missed a bit the essence from the beginning ?
Back in the days the scene was quite small, and there have been no cellphones, no internet and three metal shows on the same weekend. No smartphones, no tablets, no facebook. But it was not better, just different. Nowadays it's much easier to reach people all over the world, to play shows abroad. And about the spirit, hmm, there have been maniacs as well as posers back in the days, and it's the same situation today. The separatism of the nowadays black metal didn't exist. On the other hand meanwhile there is a good connected underground which is independent from dominating magazines and labels. There are always two sides of a coin. Some years ago I was really pessimistic, I hated most of new releases. Meanwhile there are a lot of interesting “new” bands, but also a lot of “old” bands from Norway I respected back in the days are playing shitty music now, just a few are keeping the old spirit alive. For a long time I refused to listen to albums recorded after the 1990s or music from new founded bands, but since some years it turns better and better. What definitely changed is that there are millions of fakes now, bands who trying to bring new influences into the music which is often pure shit. As Gaahl of Gorgoroth said: Black Metal is about Satan. Not about fucking post-modern topics. I also refuse all this pagan shit, it's completely ridiculous. That doesn't mean that I don't like arrangements with traditional instruments, but this party attitude that I never will like. Well, on the other hand it seems that more and more people see things similar, and I am quite sure that a next generation of bands will keep the flame alive in a good way. In this context we think in global structures, because there are not just people from Europe but also from North and South America, Asia and Australia we are connected with. 




9. Who designed the cover of the album and how it relates to the music of " Nomos Hamartia ?
The design was made by Martin. I had the first idea for a cover like this when I researched for some lyrics. In this context I have seen this drawing from the Divine Comedy and I told the others about it. Martin made several sketches, and finally we choose the one that is on the cover now. I think your question about the relation to the music is already answered.

10. Regarding the concert , how important is it for the band to perform a concert? How is it being received by the public your last album ?
Good question. We like to perform live, but we are very selective. I mean we are not interested to be the next big fish, so we don’t travel across Europe for some bad tasting cheap beer. But if we like the concept of a show, the organizers, the club and the other bands we play with than it’s awesome.

11. Why you took the decision to change label ? Are you satisfied with the work done by Naturmacht Productions ?
At first: We are still friends with our former label Black Blood Records. If we are satisfied with Naturmacht? Dude, the owner of the label now plays the bass guitar for us. At first it was planned to release “Nomos Hamartia” also via Black Blood, but they are – as well as Naturmacht – small labels with a limited stock of money. We thought that we will the album until summer 2013, but we had a delay. Meanwhile other bands from the label came out with their albums, and so we had to reschedule again, and beside of that we invested more money in “Nomos Hamartia”, maybe too much for the label at this moment. But we agreed from the beginning of our cooperation that we can leave the label whenever we want. Naturmacht made a fair offer, and so we changed to them. We knew Robert since a couple of years, and we liked the way how he works with his label. He likes Sado Sathanas, and so it was no surprise. 

12. What future plans do you have for the band?
I have no idea. We will meet each other every week, working on new tracks and will record them if we have enough stuff for the new album. It's also planned to release “Nomos Hamartia” on tape and vinyl. In autumn we will have a camp in the woods to work on new stuff. We have some festival shows announced, and there will be a small tour in autumn. Next year we plan to play in some countries for the first time, and I am really curious how it will work out. 

13. Thank you very much for taking the time to Black Metal Spirit , if you want to add something for the followers Sado Sathanas , this place .
Thank you very much for supporting Sado Sathanas and Black Metal. Keep up your work! And maybe we will see you in Spain one day, who knows?

viernes, 9 de mayo de 2014

SLOTH HERDER


Origen: E.E.U.U, Frederick
Formados: 2009
Estilo: Black, grind
Temática: ?
Enlaces: Facebook y Sloth herder

Miembros:

  • Sean  
  • Luke  
  • Josh  
  • Nick
Dicografía:

  • Sluggard EP 2012   
  • Abandon Pop Sensibility EP 2012   
  • Sloth Herder/Horde of the Eclipse Split 2014
  • Powerslob Redux EP 2015
  • No Pity, No Sunrise CD 2017
ABANDON THE POP SENSIBILITY (2012)
Este es el segundo Ep de los de Maryland, directo y brutal bien es cierto que una primera visión de la portada uno puede pensar que estamos ante una banda de pagan o black atmosférico pero realmente es todo lo contrario. Con una actitud muy hardcore Sloth Herder destrozan al oyente desde el comienzo, con una velocidad endiablada en sus composiciones, en general de orientación black en su vertiente más brutal y rápida. Hay un fuerte presencia del bajo en su música lo que hace más pesado su sonido a la par que los cambios de ritmo y la total ausencia de repetición de patrones vuelve a la banda imprevisible y caótica. No satisfechos con la brutalidad del sonido, cuando consideran oportuno suman una marcha más a su sonido para entrar en una faceta más grind que no desentona en la propuesta. Seis temas en apenas 14 minutos que dan muestra del potencial de la banda. (7,9)



1. Intro 01:54  
2. Cowards Of The New Age 02:23  
3. Spiritual Aim 02:09  
4. Relapse/Reward 03:33  
5. Bleached 01:42  
6. Dug Up 02:35  
  14:16