jueves, 30 de octubre de 2014

WARWULF


Origen: E.E.U.U.
Formados: 2003
Estilo: Black
Temática: Guerra, ocultismo y satanismo.
Enlaces: Facebook
Miembros: 
  • Wulfskrieger Todos los instrumentos y voces
Discografía:

  • Wulfschrei Demo 2003
  • Visions of a Battle That Once Was... Demo 2007  
  • Forgotten Dreams of a Lost Empire Demo 2008  
  • Wampyric Curses Demo 2008  
  • Walking the Paths of Despair Split 2009  
  • The Archetype of Destruction CD 2013
  • In the Glare of a Dying Horizon CD 2015
  • Echoes from the Past Long Forgotten... Recopilatorio 2017
  • Below the Spires of Dusk Split 2018
THE ARCHETYPE OF DESTRUCTION (2013)
Lo que más me ha descolocado de este primer álbum de esta banda de un solo miembro es la portada, al verla uno puede llegar a pensar que se enfrenta a la escucha de un álbum de black death metal de sonido agresivo pero con tendencia a sonido más modernos. Pero nada mas alejado de la realidad, desde el arranque con Banners of Glory and Hate nos topamos con un sonido crudo y agresivo al mismo tiempo que sucio, con una atmósfera melancólica y oscura que va haciéndose más patente a lo largo de todo el álbum. A destacar los buenos riffs de guitarra y las voces muy acordes con un sonido underground, la batería ocupa un segundo plano y no está del todo presente pero todo va dirigido a crear una ambientación y sonido primitivo. Los temas son bastante similares entre si y si no fueran por las breves pausas entre ellos prácticamente estaríamos hablando de una solo canción. Francamente las sensaciones han sido buenas y este álbum deja un poso a sonido clásico muy logrado. (7,9).



1. Banners of Glory and Hate 04:48  
2. From the Ashes of Decay 04:40  
3. Reminisce of Our Past 04:27  
4. Monumental Black Art 03:54  
5. Broken Cross of Black Steel 05:11  
6. Spirits of the Old 04:45  
7. Of What Remains... 04:01  instrumental
  31:46  





martes, 28 de octubre de 2014

ETHEREAL SIN


Origen: Japón, Osaka, Tokio
Formados: 1997
Estilo: Black sinfónico
Temática: Leyendas y tragedias.
Enlaces: Ethereal sinfacebook y twitter
Miembros:
  • Gensui Fitzgerald Batería
  • Kikka Schwarzfleet Guitarra
  • Lord Wilhelm Violin
  • Seth Maelstrom Bajo
  • Yama Darkblaze Voces
Discografía:
  • Demo Demo 1997  
  • Beggining Demo 1998  
  • The Cocoon and Ebony Thorns EP 1998  
  • Last Dawn... Demo 1999  
  • The Return from the Darkest Abyss Demo 2002  
  • Lost Destination Demo 2003  
  • Lost Destination Video 2008  
  • ...the Abyss Will Also Gaze into Thee CD 2009  
  • The Cocoon and Ebony Thorns Recopilatorio 2009  
  • The Psalms of Forgotten Saga EP 2010
  • Live at the Stormy Night Video 2011  
  • ...the Abyss Will Also Gaze into Thee : ricordo CD 2013  
  • Millendium CD 2013
  • Arcane of Ancient Asia Split 2014
  • Forbidden Chronicles Recopilatorio 2015
  • Kakuriyo CD 2019
  • Kokuu EP 2020

MILLENDIUM (2013)

Tercer larga duración para los japones Etheral Sin, ciertamente un álbum muy completo tal vez un tanto extenso pero muy interesante. La banda lleva casi dos décadas de existencia pero tampoco se han prodigado en cuanto a lanzamientos y si a ello unimos los diferentes cambios de formación a los que se ha visto sujeta en estos años, podemos entender que tal vez "Millendium" demuestre todo el potencial real de la banda. Un álbum de una producción majestuosa que los hace sonar épicos y grandilocuentes con un sonido muy sinfónico en donde se cuelan retazos de ambientación oriental. No han escatimado en medios para conseguir un álbum de black sinfónico en toda regla, con una fuerte presencia de los teclados que inundan su sonido, la inclusión de una voz femenina de soprano también tiene un protagonismo muy destacado llevando prácticamente el peso en el apartado vocal en contrapunto con las voces masculinas de tendencia más agresiva y con algún que otro guiño a Dani Filth. La obra esconde una historia conceptual en torno a una batalla y el sonido está bastante occidentalizado con letras en su mayor parte en inglés. "Millendium" es hasta la fecha el último lanzamiento de la formación que creo que han conseguido ofrecer un producto interesante dentro del black sinfónico. (8,2)


1. Millendium - Prologus de Oblivionis 01:54  
2. Finem Millennium 05:50  
3. Wolves Howl in the Lunar Eclipse 04:53  
4. Millendium - Pluviae Foresta 00:43  
5. Master's Prophecy 05:19  
6. Nightfall Garden 04:55  
7. Age of Asura 04:16  
8. Immortalis Cor 04:08  
9. Millendium - Nostalgia 00:36  
10. Solitude, Eternally... 07:26  
11. Nocturnal Crimson Rain 03:15  
12. Heretic Warcry 04:24  
13. Field of Sorrow 06:34  
14. Millendium - Epilogus Recordationis 00:44  
15. Domus Cards 02:39  
  57:36  

SEEDS OF IBLIS


Origen: Iraq
Formados: 2011
Estilo: Black
Temática: Anti-islam
Enlaces: Facebook
Miembros:
  • Anahita Bajo y voces
  • Epona Guitarra
  • Jebrael Batería y voces
  • Mohammad Guitarra y voces
Discografía:

  • Jihad Against Islam EP 2011
  • The Black Quran EP 2013
  • Anti Quran Rituals CD 2013
  • When Muslims Slay Muslims Single 2013
  • Morbid Muhammad CD 2020
THE BLACK QURAN (2013)
"The black quran" supuso la segunda edición de la banda iraquí, edición que se entrega en formato Ep con un solo tema que ronda los veinte minutos.  En el podemos encontrar dos partes bien diferenciadas, correspondiendo a la primera el aspecto más black rodeado de una ambientación árabe en forma del uso de instrumentos y estructuras musicales propios de la región y enriqueciendo el apartado vocal con la dualidad de las masculinas agresivas y las femeninas más etéreas. En la segunda parte conservan la intensidad pero los teclados toman protagonismo y la música va sumergiendo al oyente en una ambientación hipnótica y ritualista más centrado en ofrecer pasajes más místicos. Siempre resulta interesante y enriquecedor poder degustar diferentes versiones dentro del black, la escena de oriente medio goza de buena salud con un puñado de bandas que surgen al amparo de la reivindicación cultural y religiosa. (8,2)



1. The Black Quran 19:20  
  19:20



lunes, 27 de octubre de 2014

EXORDIUM MORS


Origen: Nueva Zelanda, Auckland
Formados: 2004
Estilo: Black, death, thrash
Temática: Antireligión, paganismo romando y muerte
Miembros:
  • Assailant Bajo
  • Black Mortum Guitarra
  • C. Sinclair Batería
  • Santi Guitarra
  • Scourge Witchfucker Voces
Discografía:

  • Rehearsal 24-11-06 Demo 2006  
  • Serva Ad Mors Demo 2007
  • Verus Hostis - A Hymn to Fire EP 2010  
  • Hellstorm of Fire and Chaos Split video 2011  
  • Sacrifice, Perish and Demise EP 2012
  • The Apotheosis of Death CD 2014
  • Surrounded By Serpents Single 2019
SACRIFICE, PERISH AND DEMISE (2012) 
Cuatro temas son los integran este Ep de neozelandeses Exordium Mors, banda que poco a poco va recuperando la normalidad de una banda al ir editado nuevo material de manera más regular. Cuatro temas como comentaba de black metal totalmente y perfectamente combinados con una buena dosis thrash sobre todo en los buenos riffs y una actitud muy ruda, agresiva y rápida, aunque también se dejan entrever algún atisbo de death, quedando como resultado final unas composiciones variadas con constantes cambios de ritmo, crudas en  todo momento, pero sonando precisas en todas sus facetas. El apartado vocal se mueve también en un terreno black thrash bastante correcto. Un Ep que se cierra con la versión del "Black Metal" de Venom que sin sonar diferente a las otras revisiones acaba por cumplir y dar consistencia a un Ep bastante solido y que no hace más que refrendar la buena salud con la que cuenta la escena en el país. (8,2).



1. Sign of Judas' Liege 06:05
Chorus: Blood runs down... My sex slave's tortured cunt Leave the body underground Marking Judas' Liege I only come out in the infernal darkness Giving birth to rotting pestilence The one whom raped the succubus Turned her into slime I live for the sole purpose Of creating a stillborn holding eternal fire The immortal dragon spewing pestilence Rendering supremacy unto the pure and holy Chorus Picking up cold, dead corpses Running my fingers up and down crooked spines Puking into rotting cunt-flesh Suckling on all the slime My cock violently penetrates dusty uterus The bloody rites almost completed And my purpose almost consumed My cold, dead druidic bride shall birth my unholy fetus Bridge: Rotting in pestilence It is feeding me unholiness Tantalising my amok senses Creating a new era of defilement Chorus Brandishing new tools for unholy decimation The sign of the new age is nigh... The cold, dead druidic bride gives birth To the new barbaric sign The coming of a new age The age of Judas' Liege No light shall come from your deceitful mage And a new light shall come from my undead sons To engulf the world and make it moan Like the whores whom I overthrow The raping is complete My bastard sons are born From cold, dead breasts They were fed blood Writhing, feeding, seething Barbaric, slaughter, violating Rotting, mutilating, debauchery Of this soulless, defiled corpse Eaten through the wombs Of their long-dead druidic mothers Gripping with cold flesh United as brothers Rotting in pestilence Living eternal throughout the epochs Judas' Liege is forever immortal Dawn of a new age heralded eternal Bridge I am the god who... Decimates the feeble ones... The demon Incubus... Breeding only strong sons... The Eternal Dragon... Feasting on flesh of the meek... Judas' Liege... Scourge of the Weak... Rot in Pestilence You fucking Christian Whore   
2. Ancestors' Call 05:02
"mortua heic ego sum et sum cinis, is cinis terrast: sein est terra dea, ego sum dea, mortua non sum" Ashes to ashes, I shall fall Dust to dust, please heed my call I venerate you... oh ancient ones Whom cannot see... Helios' golden sun Veni, vidi, vici... scarred onto my soul Your legacy eternal... exhumed from your earthy hole With your life permanently halfway in the gutter you bet it's true With vengeful, vacant, glassy eyes, Death is eternally watching you Milk and blood... daily I shall sacrifice Rotting... wraiths shall feast in delight Libitina's claws... hound our every turn In honour... I cast animal flesh to burn I beseech you all to hear the truth or you'll live your life as a slave Heed your Ancestors' Call as soon you will be joining them in the grave Ashes to ashes, I shall fall Dust to dust, please heed my call (Your) Last breath, my breath as we gaze unto eternity My death, your death as the ancestral line beckons thee Their legacy, my leprosy and death the final victory Their death, my breath as I succumb to infinity With open arms, I embrace the Cthonic (As father to a child) Once life is breathed onto you... Death ruthlessly pursues Envious, the unborn are watching you... Their hatred shall never subdue As darkness suffocates your view... Only Hades shall await you The ancestors beckon to greet you... Heed their call and torment will not ensue "From my rotting body Flowers shall grow And I am in them And that is eternity" So believe me now, the hymn is true When you're six feet down, blackened and blue Or if your remains are cast among the seas Or your ashes are left floating in the breeze Remember this tale, before you fall And heed the Ancestors Call
3. Exordium Mors (Pagan Ritual and Sacrifice to Roman Gods) 07:03
  Exordium Mors….

Bringing a fresh, naked virgin to the altar
To sacrifice to their elder god
Their incestuous emperor of perversion
Caligula, saviour of the defiled
Ordering his warriors first to rape
Until her blood runs cold
In this temple that was once holy
Sacrilege is now its whole

Pre-Chorus:

Prey on sexual deviances 
Pray to sexual predators 
Idolatry made of flesh 
To sin is to bless

Caligula, no longer just a mortal
Made into the immortal god of depravity
Commands this royal defilement in heretic god’s temple
In a pagan ritual of virgin sacrifice to appease his insanity….

Spilling her sacrificial blood all over the place
In the presence of her lord and master
Bound and fettered, the incense in the air thick and heavy
Struggling and fighting to no avail, what a disaster
There’s no blood quite as dark than a Virgin's blood
As he too takes part in this soiled ritual
And rapes her with glee and without mercy
Swearing to her that her sacrifice is beneficial

Sodomizing
In front of Jupiter
Virginity
Is no longer
Brutality
Is given a whole new form
Raping
Until she is no more

Chorus:

Defiling and destroying
All the old pagan laws
A new Roman god has come forth
And will consecrate Exordium Mors

Exordium Mors…

After he was done with her, left with nothing but cum
He ordered his soldiers with one last wish
His madness summoned this abominable fun
To slit her open from her clit and upwards
Ravishing her pure virgin body, one last time
Pleased with this sacrifice he ordered her burnt
Even though she was still breathing, clearly alive
This was their tyrannical king, Caligula, god of depravity

Chorus

Lust and pain are nothing but a game 
To their god, master and emperor
Under his reign, many shall suffer
There is no remorse, for he is Caligula 
Commander of Exordium Mors

Pulsating and bleeding, many more have suffered
Exordium Mors
No mercy or remorse given, more sacrifices are offered
Exordium Mors

Bridge:

Exordium
Exordium
Exordium
Mors

Solo

Bridge repeat

Sacrificing
More and more victims
Reigning
On slaughter and bloodshed
Brutality
Is given a whole new form
Ruling
Forever more

Pre-Chorus repeat

Caligula, no longer just a mortal
Made into the immortal god of depravity
He never stops feasting on torture, cruelty and bloodshed
In sacrilegious rites made immortal through suffering and death

Made infamous through butchery and brutality
His monstrous acts of defilement will be known for centuries
Abhorrent but powerful no one dared to defy him
And so more sacrifices were made to his Imperial Majesty 
Darkness engulfed ancient Rome, as madness commanded more
And a drunken and sacrilegious orgy took place in the temple of the Gods
A malicious act of defilement against the old pagan ways
And with blood, suffering and death the Romans paid

Ruling Ancient Rome with an iron divinity
Reigning on bloodshed, death and cruelty
Barbarism unleashed without mercy
Exordium Mors
Persecution given to those who don’t give votive offerings
Sacrifices must be made with full acrimony
Paganism given in extreme quantities 
Exordium Mors (x2)

Exordium Mors (x4)
4. Black Metal (Venom cover) 03:29
 *Lyrics slightly different than traditional Venom*

Black is the night metal we fight 
Power amps set to explode 
Energy screams magic and dreams 
Satan records their first note. 
We chime the bell chaos in hell 
Metal for maniacs pure. 
Fast melting steel fortune on wheels 
Brain haemorrhage is the cure

For 
BLACK METAL 
BLACK METAL 
BLACK METAL 
BLACK METAL 
BLACK METAL
Lay down your soul to the gods rock `n' roll 

Thrashing so wild nobody's mild 
Giving it all that you've got. 
Wild is so right metal tonight 
Faster than over the top
Open the core enter hells door 
Black is the code for tonight 
Atomic force feel no remorse 
Crank up the amps now it's night 

BLACK METAL
BLACK METAL 
BLACK METAL
BLACK METAL
BLACK METAL 
lay down your soul to the gods rock `n' roll 
metal ten fold through the deadly black hole 
riding hells stallions bareback and free 
taking our chances with raw energy 

Come ride the night with us 
Rock hard and fight 
United my legions we stand 
Trash hard and wild for us 
Give up your souls 
Live by Satan's left hand 

666

Against the odds black metal gods 
Fight to achieve our goal 
Casting a spell leather and hell 
Black metal gods rock `n' roll 
Building up steam nuclear screams 
Warheads are ready to fight 
Black leather hounds faster than sound 
Metal our purpose in life

BLACK METAL 
BLACK METAL
BLACK METAL
BLACK METAL 
Lay down your soul to the gods rock `n' roll 
BLACK METAL
  21:39  

INEXORABLE END

Inexorable End es una nueva banda de black metal procedente de Zaragoza entre cuyos integrantes se encuentran componentes de formaciones como Black Coma y Atman. Inexorable End comienza su andadura el pasado 2013 y este último año han ido forjando su sonido que acaba por responder a un black agresivo pero no exento de cierta melancolía y sufrimiento. Todo este trabajo ha dado sus frutos de manera que ya podemos escuchar su primera demo disponible en su página de Bandcamp y que lleva por título "Voces de un corazón helado".

DEADLY CARNAGE - INTERVIEW




1) Deadly Carnage began in 2005 with you and Marco as original members, why they decided to form the band and why they chose the name Deadly Carnage? 
The main reason for which we founded a band is the reason that drives almost all musicians; passion for music and the desire to make something that represents us. The name Deadly Carnage is unusual for our genre, but in the past our musical style was very different. The name was chosen by Nicholas, our lead guitarist. He was inspired by a chapter of a famous Italian novel, which describes the wave of plague that scourged Milano in 1600.

2) Soon began releasing music but maybe your 2008 album "Decadenza" really is the first to call the attention of the public and the media, how was the writing and recording of this album? 
Before "Decadenza" we have released a demo and an EP, but you're right, our 2008 album is the first that has attracted the attention of the public. The ideas were clear in our minds. The composition of the songs for "Decadenza" has been very short, in little more than a year we were ready to go into the studio, we did not stop long to think. We have recorded at Fear Studio with very professional technicians, but to be honest the sound of the album was very different from what we had in mind. Anyway this album has attracted a lot of attention on us.

3) Three years later came the release of "Sentiero II - Ceneri" a somewhat controversial album maybe, what can you tell us recording and sound of this album? 
"Sentiero II" was an album composed and recorded in a very particular period, our guitarist Nicholas had left the band, we had some problems with line-up for a long period of time, until Dave and Alexios have filled the empty, with them we have found new ideas, musical influences were many and varied, we were looking for a new sound…so  "Sentiero II" was a transition album. Even the recordings were carried out in a strange way, we recorded in two different periods, with different ideas of sound. For this reason, "Sentiero II" is an album that sounds strange, but for us it was a fundamental element in our evolution.

4) And now, "Manthe" a more mature and has been well received album, how was the process of writing and recording this album? How is your way to work on your music composition, all contribute ideas or orders continue to be a leader? 
Without a doubt, "Manthe" is our most mature album and we are totally satisfied. When we started writing the songs all had the same idea, all traveling in the same direction, "Manthe" is an album that seems very rational, but for us it was a natural and fluid composition. In the recording studio the work was long and meticulous, we opted for a real and personal sound. We did not use triggers, we did not use samples: all you hear is real. It was not easy to work this way, but for us this recording has become crucial. Now, as in the past, each member of the Deadly Carnage contributes his ideas during the composition, there is no leader from this point of view, many of our songs are born from a jam session.

5) You have always said that do not follow fashions or styles but how Deadly Carnage sound has evolved over the years? 
Deadly Carnage have evolved hand in hand with our personal growth, we are not the same people as 7 or 8 years ago, and the same goes for our music. We want to break new ground, we want to try new experiences, the evolution of Deadly Carnage is guided by this spirit. We know where we are now, but do not know where we come, for sure we will not stop.

6) What are your main musical influences as reflected in the music of Deadly Carnage? 
Our personal musical influences are very different, but not all become part of Deadly Carnage. Probably our most important musical influences in the composition are those deriving from the classic Doom, Post-Rock and Post-Metal, but also, Neo-Folk, Progressive and psychedelic music. We do not have a single direction, but our influences are multiple.

7) Existentialism is the underlying theme in your lyrics, does this have something to do with the philosophical movement of the mid-nineteenth and why you consider these important issues? 
We mean existentialism as a deep look in the inner feelings and thoughts of men. I can remember Schopenhauer, but we don't pretend to teach someone how to think about his own life. I write about my inner feelings, and sometimes I take a look around, in this plain of existence, the horrors of this life, the abominations in our society and I just shout... hoping that someone's listening.

8) How has the public responded concert presentation of "Manthe?" How important it is for Deadly Carnage power a concert? 
At the beginning of our career the concerts were a secondary activity, but now for us is becoming more important. "Manthe" is an album made especially to be played on stage, this thing was not very important in the past. The public is reacting very well during our concerts, for we have great satisfaction, we have worked hard to get this!

9) What feelings pretend you convey the listener with music and how you describe the band's sound to someone who you have not heard yet? 
The feelings and sensations are subjective, every listener is different, each listener has his own mind. Personally, "Manthe" makes me see into the mind abstract images, pictures made of shadows and lights, nothing definite, abstract figures and distorted. I see "Manthe" like a long tunnel, dark and claustrophobic, where sometimes also enters the light.



10) How did you get started in music, cds you bought first, first concerts, etc ... Why did you decide to become a musician and formed a band? Still keeping the same enthusiasm as when you started? 
I started to get interested in music when I was 13 or 14 years old, I do not know why, maybe I felt like a stranger in the world, I wanted to find my place. From that moment when I picked up a bass little time has passed. My brother was a musician and my father too, for me it was a natural thing. My brother made ​​me listen to the music, but the first album I bought with my own money was "Everything Invaded" of Moonspell more than 10 years ago. Is difficult to have the same enthusiasm as 10 years ago, but every time I go into the rehearsal room for me is a challenge and an opportunity to try new sounds. This is a big motivation.

11) I see that you have been part of other bands to a greater or lesser extent, is there a stable extreme metal scene in the area where you live? 
Where I live there are many good bands, there are musical ideas very interesting and valid reality that can compete with the biggest names in the world scene, but despite this, I do not think that there is a real music scene that can be defined as such. There are people who are committed to create a scene very united and active, but this happens on rare occasions, unfortunately.

12) Who designed the cover of Manthe? How music relates to the visual concept of the album? 
The cover of Manthe was created by Luana, a painter, in collaboration with Alexios (guitar) who is also the creator of the concept of vision. He is a graphic designer, his talent is very important for the band. The visual aspect is crucial for us. The images on the artwork are abstract and concrete, their meaning depends on the beholder, just like a “Rorschach’s test”. This was our main idea.

13) Why they decided to head to the album "Manthe" and what it mean? 
The reason for the choice of title is its meaning, but the meaning of the word "Manthe" is hidden. "Manthe" is a mystery word with a precise meaning, but we do not want to reveal it. We hope that some of our listeners are able to discover the mystery and understands the meaning of this word.

14) How does the ability to edit the album via Aeternitas Tenebrarum Musicae Fundamentum emerged? Satisfied with the work done by the seal? 
We have signed up for ATMF in 2010, before releasing "Sentiero II", we are very pleased with the work that the label is making to our music. ATMF produces very good bands that we admire, is a label that stands for quality and avant-garde sound. It is a very good presentation for us.

15) What are your future plans for Deadly Carnage of upcoming launches, concerts, etc ..? 
Now we are continuing to make concerts to promote "Manthe," but at the same time we are also composing new material, we already have something done but we do not know if this material will be recorded for our next album. Soon will be 10 years anniversary of the foundation of the band and we have a project to commemorate this event. For now I will not reveal too much information, I prefer to keep a bit of mystery.

16) Thank you very much for your time, talking to Black Metal Spirit. If you want to add something to the followers of Deadly Carnage, now is the time. Were the questions I hope to your liking
Thank you so much for this opportunity, it was nice to be able to answer these questions and present our music. I hope that some of your readers will be able to decipher the mystery that hides behind the word "Manthe".

sábado, 25 de octubre de 2014

DAWN OF RUIN - INTERVIEW


1 The origins of the band go back to 2003, at that time you were doing call Ekhidna, how were these early days of the band? Sometime you editareis the demo "Queen of the Graveyard" belonging to this period of the band?
S: Those were exciting times for me (I'm the only one left from those early days). By then, I had already made numerous attempts at getting a band together with friends/acquaintances/total strangers, and it sometimes felt as if it just wasn't meant to be. But as soon as the first few tracks were written, then-vocalist Vena Hemiazygos and I were pretty charged up with the whole concept. At the time, we played quite simple, classic-sounding black metal. Unfortunately, "Queen of the Graveyard" is not a proper representation of our sound at the time, it came out flawed in a number of ways and we decided not to distribute it. I believe it can still be downloaded for free in the Portugal Underground blog, but that's pretty much it. It's a shame, since I'm fond of that period and would like to have a decent recording of our sound at the time. So to answer your question, no, we're not planning to release that demo.

2 In 2006, after some changes in the formation of the band's name changed to tetraplegic God, how did this change for the band? There was a change in name, but also style and influences?
S: By 2006, we had managed to find a more stable line-up, which included current drummer Nazgul and former bassist Koja. Their creative input was instrumental for the development of our sound and the inclusion of other styles and influences. However, the first name change actually came about before Koja had joined, since we had become aware of a band in Portugal whose name was almost identical to ours. We then chose to call ourselves Tetraplegic God, the name of one of our songs. It wasn't prompted by stylistic reasons, but it ended up coinciding with the aforementioned changes in the band's sound.

3 And finally since 2007 and after other changes in forming the group renamed Dawn of Ruin, why did you choose this name for the band because it refers? Dawn of Ruin finally found stability to necessary?
S: When Vena left due to musical differences, we chose to carry on with the band. We took the time to select a name that really represented the emptiness and melancholy in the band's music. Our very first gig (2008) was played under the current moniker, with Conde Satan as our vocalist. But Dawn of Ruin only found that much-needed stability in 2010-11, when Prometheus and Carpathian Wolf, who had already played with Nazgul in Obscvrii Lvnae, joined the band as guitarist and vocalist, respectively. Shortly after, Niggurath occupied the bass slot, which had been empty ever since Koja had left the band, right after the 2008 gig. Only with this full line-up have we been able to move the band forward at an acceptable pace - recording this demo and playing live.

4. and take a few years as Dawn of Ruin has been released this year when you have your first demo, how was the process of writing and recording the demo and why I have taken so long to get it ready?
S: With this stable line-up featuring two guitarists, it made sense to revisit some of the old songs and work on new arrangements, whenever we felt it was adequate. It took a while, as you can imagine. Plus, as soon as we had rehearsed the early material and everyone was feeling comfortable with it, we played a number of gigs throughout 2012 and 2013, since we were anxious to play live with the new members. This didn’t help matters concerning the delay in the recording. Regarding composition, only one of the tracks in the demo –Morte Vermelha - was actually written by the recording line-up. The song writing process was more fluid than before, since many of the riffs already existed. We only took a bit longer handling the arrangements and additional guitar lines. The lyrics were also the first to be written by our current vocalist. With all of this in mind, we decided it was important to record a song that had been written together with the new members, even thought it might sound somewhat out of place in the demo, especially since the other songs are quite old, they had actually been previously recorded for “Queen of the Graveyard”. As for the recording process, it did take quite long, too long in our opinion, but the point is we wanted to record with our own – limited – know-how and resources. We recorded everything in our own rehearsal place, using medium-to-low quality equipment and no sampling whatsoever. Since we wanted to keep it as analog as possible, and as we came to learn a lot of techniques just as we were working on it, the process became lengthier. We plan to keep on recording like this, at least until we can split expenses with some label – should this ever happen, of course.

5 The demo consists of eight topics, how you define the sound of the demo for someone who has not heard it yet and why the inclusion at the end of two themes of God Ekhidna and tetraplegic and two live?
S: The tracks we recorded for "Poço da Infâmia" may be generally described as black metal, with some quite audible influences from other styles. It's bleak and melancholic, with outbursts of fury from time to time, and some slower, moody segments. It’s certainly not ultra-fast or raw-as-hell BM. We’ve been told it hearkens back to the late 90s BM sound, which may be due to a number of factors, such as musical structures, production or even our penchant for guitar/bass harmonies.
Since we played live in a number of Portuguese venues during the recording process, we thought it'd be a good idea to add a few bonus live tracks to the demo. Since we had recently recorded a gig, it made sense to show the listeners a bit of the band’s live dynamics. We’re actually talking about four live tracks, two of which are also in the first part of the demo: Ekhidna and Morte Vermelha. The other two - Tetraplegic God and Wretched Abyss – have never been properly recorded before and will feature in the band’s next release. This way, we could also include some songs we haven't recorded yet, and which showcase the more complex, varied style the band has evolved into. Such is the case with "Wretched Abyss".

6 Your music is complex in terms of influences and feelings conveyed, what are your main musical inspirations to compose and write lyrics Dawn of Ruin?
S: It's not that easy to know where it all comes from, musically speaking. I guess the common ground between the band members is Black Metal, but there're really lots of other styles we're fond of. Between ourselves, we have a pretty wide range of musical tastes.
I've written most of the music since the birth of the band, but with the latest songs we've used a much more interactive process, which has become our own song writing method, so to speak. Since I've created most of the riffs thus far, I can say that many of them aren't really directly inspired by black metal, or even metal as such. They often come into by mind with completely different arrangements, sometimes even as vocal parts for a text I might have on my head at the time. I'll just play them on the guitar, try them out and, if I deem them worthy, show them to the rest of the band. They eventually come out with a metal/black metal sound, so I guess the influences from bands similar in style to Dawn of Ruin manifest themselves in the arrangements and structure, but not really in the original ideas themselves.
CW: My inspiration for the lyrics is the burden of existence, but I try not to be too straightforward about it. I get most of my ideas from books and movies and I try to pick certain details or concepts and then expand them as much as I can in the lyrics. In a way, it becomes a story inside a story, although there's always a central idea in everything I write for this band: Everything is chaos.

7 The Portuguese black metal scene is more interesting, what band would you choose to do a split and why?
S: It's funny you should ask, since we're actually planning to release a split, but it’s actually an interesting topic. It's not easy at all to find similar-sounding bands in Portugal. There are lots of black metal bands, but many of them play raw black metal, while our own music is perhaps of a darker, melodic strain. This can be an issue not just for split releases, but also when playing live. We’re often left with the feeling that Dawn Of Ruin are somewhat out of place in the line-up. As for the split itself, we cannot as of yet let you know who the other bands are, but it’s safe to say they’re friends of ours, bands with whom we’ve shared the stage a few times. The idea came from one of those bands – they felt it was good for us to join forces for this release and some live dates. We’re hoping to get the split-CD out there next year.

8 Satisfied with the impact that you are reaching with your first demo? Being how is the response from the crowd at concerts?
S: We've had a few reviews and interviews in the past few months, and the feedback has been mostly positive. I always try not to get my hopes up for pretty much anything in life, so it has been a pleasant surprise!
We haven't played live since early 2014, but the crowds – not everyone, of course, but the most attentive - seem interested in our music. We're not a hugely interactive band, but there's certainly a nice vibe to the shows, and I believe the general atmosphere surrounding the band is decently reproduced in a live setting.

9 How did you get started in music, first concert, cds, etc. ..? Why did you decide to be a musician?
S: As a kid, I was mostly into ambient and classical music, as well as some prog/symphonic rock. When I was about 14, I became really interested in metal, including its "extreme" subgenres.
Among other albums that made a real impact on me during my teens, I can recall the following: Amorphis - Tales from the Thousand Lakes; Rick Wakeman - Journey to the Centre of the Earth; Edge of Sanity - Purgatory Afterglow; and Emperor - In the Nightside Eclipse.
I remember attending a couple of Moonspell gigs in those early days, and they were pretty inspiring as well.
All of a sudden, I was following a lot of bands, reading zines and whatnot, so it was pretty natural for me to start creating music of my own. At age 17, I picked up the guitar and have been playing/writing music ever since. I guess I'll be doing it for as long as the passion's still there.

10 Who designed the album cover and how it relates to the content of the album?
S: The cover features a photo by Will Glenn (Earth Hart Images) We came upon it on his deviantART page (http://earthhart.deviantart.com) and felt it was a very good option for our cover. It's claustrophobic in nature, pretty dark and mysterious. The entrance depicted seems like a possible pathway into the well ("Poço") in the title, but not too obvious in visual terms.

11 Was not there any record label interested in editing the demo?
S: We talked about it and decided we'd prefer to release this demo ourselves, so we haven't really sent the music to any labels before the demo came out. If a good opportunity comes around in the future, we might change this course. Otherwise, it's DIY all the way.

12 What future plans do you have for Dawn of Ruin of upcoming launches, concerts, etc?
S: Right now, we're working hard to prepare the recording process for all of our back catalogue (about 8 songs). We've been rehearsing them for ages now, and have played them live at various occasions, so it's high time they're properly released. Some of those songs will most likely feature in the split we mentioned earlier in the interview.
Our priority right now is the recording of those tracks, but we will get back on stage when it's all done, with freshly released material under our belts, as well as some new tracks we're working on at the same time.

13 Thank you very much for your time, talking to Black Metal Spirit. If you want to add something to the followers of Dawn of Ruin, now is the time. Were the questions I hope to your liking. 
S: Thanks so much for interviewing us and reviewing our demo! Should your readers be interested in hearing/seeing some more of Dawn of Ruin's music, they can visit our Facebook (https://www.facebook.com/DawnOfRuinPT) , Bandcamp (http://dawnofruin.bandcamp.com/releases) and Youtube (https://www.youtube.com/user/DawnOfRuinPT) pages, purchase our demo or get in touch with us via dawnofruin.pt@gmail.com. All the best for Black Metal Spirit!

martes, 21 de octubre de 2014

ZGARD


Origen: Ucrania, Truskavets
Formados: 2010
Estilo: Black, pagan
Temática: Leyendas y mitos de lo Cárpatos y misticismo pagano
Enlaces:facebookvk y  Zgard
Miembros:
  • Yaromisl Guitars, Voces, teclados, armónica, programaciones y letras
Discografía:

  • Spirit of Carpathian Sunset - Дух Карпатських Сутінків CD 2012
  • Reclusion  CD 2012  
  • Astral Glow CD 2013  
  • Ascension: Paramatman Split 2014  
  • Contemplation CD 2014
  • Totem CD 2015
  • У вирi чорної снаги (Within the Swirl of Black Vigor) CD 2017
  • Верховина чекає Single 2019
CONTEMPLATION (2014)
Yaromisl arrancó hace ya cuatro años con esta nueva banda en la cual era hasta el pasado año el único componente, músico ya con cierta experiencia en sonidos paganos ha sabido rodearse de un par de músicos para acabar de completar una formación de garantías para Zgard. "Contemplation" es un disco inmersivo en donde el oyente va disfrutando de un elenco de recursos que acaba por atraparlo. Temas bien construidos en donde podemos apreciar sonidos de la naturaleza como pájaros o el del viento que sirven de intro o pausa a los temas que sin contar con riffs memorables si que están cuidados al detalle transmitiendo una ambientación folk pagana. Con los teclados se logra crear cierta melodía e incluso se ha incluido algún instrumento folk como la flauta. Las voces muy logradas van de las más agresivas y rasgadas, otras suenan limpias y por último las voces femeninas que le dan variedad y enriquecen el resultado final. Tal vez le falte algo para estar a la altura de los clásicos del género pero "Contemplation" es un gran trabajo se escuche por donde se escuche. (8,1).






1. Highlands 09:58  
2. Underworld Bells 10:54  
3. Contemplation 09:34  
4. Wedge of Cranes 08:47  
5. Silence 05:47  
6. Incarnation Memory 09:10  
7. Through the Forest 08:05  
  01:02:15