martes, 28 de febrero de 2017


Good evening, thank you very much for accepting to answer these questions, how about everything for Nanrum or London?
Namrun is full of religious sons of bitches and disgusting peasants I am glad I am in London. Though I miss the vast and transcendental nature, the religious cockroaches ruin a great place where our band was formed and takes inspiration. London is a great place to live; I travelled a lot and found that this city is my favorite. Truly atmospheric, I can even write an album about London one day.

1. Yayla was born in 2007 and publishes its first demo a couple of years later, we can say that Yayla unlike Blliigghhtted, Funeral of God, Red Bible Black and Viranesir, your other projects, has a special meaning, what led you to to create Yayla? What does Yayla's name refer to?
You look at a distant landscape and it looks beautiful, but there is no way of touching it except you go there, and when you go there it is no landscape. This is death seen from life, and it is what this band is about. Yayla was our high school band with Merdumgiriz. We were listening to lots of obscure extreme music back then and always wanted to hear something more violent and depressive than anything else so we did it ourselves. I really liked brutal and powerful metal, soul tearing misery in music, grandiose orchestral, acoustic, dungeon synth and I wanted a more extreme form of all this. I wanted to be the voice of death, and am still trying. Yayla is my first project; it means alpine meadow, we formed it in Namrun’s meadows where we would spend months in isolation making art in ancient castles. I wanted to channel the essence of death I got from nature and ancient ruins, which is where I get it the most, into any sort of music that I make with this band. 

2. Unlike Blliigghhtted and Viranesir with those who have been editing material fairly regularly, the truth is that Yayla had been parked almost four years, what was this silence?
I committed suicide and spend a long time in the mental asylum after the last Yayla album. It had a lot to do with the last album and naturally it was hard to go back to it. I wrought very monotonous and hypnotic pieces of magic in the fist isolationist metal trilogy (Ruhizolasyon, Sathimasal and Nihaihayat), also I also made a monotonous audiovisual project with dungeon synth soundtrack (Fear Through Eternity). I thought I was ready for a certain death, but it seems I wasn’t, so the journey had to go on. Time had come to make a new beginning, dynamic start, hence I tried lots of things with the other bands and started making dynamic and progressive music, and I did a Yayla album with all that experience of 5 years in my side projects with the depressiveness and powerfulness of metal and ambient as usual, is the result.

3. The themes you deal with in your other bands are more controversial, however in Yayla you approach philosophy, transcendence and ancestry, what leads you to try this theme in Yayla Where does the essence of Emir Toğrul reside, The extremes of irreverence or at the end of philosophical thought or yet it is situated in a middle line?
The essence of Emir Toğrul lies in beauty and harmony. I am a very happy person that has everything he wants. In all these projects, the lyrics I write are relatable things that make sense rather than occult bullshit or mindless overdone metal aesthetics. Be it controversial, satanic or philosophical my lyrics are accessible and easy to understand yet speak of truths harder than even the most ultimate badass would like to hear. My essence is that I do not pretend to believe in objective values. In Viranesir this manifests in a lack of morality, in Blliigghhtted as a satanic indifference to evil, and a beautiful lack of connection to life in Yayla which means it is as controversial but very indirect in its delivery compared to my other bands. It can be called a musical expression of nihilism and death.

4. It is clear that the music you produce and in this particular case in Yayla is dark, cold, and even at times uncomfortable, is your music the reflection of your mind and personality?
There were times that I lived through intense and prolonged suffering which of course shaped the approach of all my bands. People often tell me I make the most uncomfortable, intense and dark music they have heard. I have spent years in unjust sufferings and mental disturbances that only got progressively worse at the time they were happening and I have been very keen on channeling all this into my music. On the other hand, in my current daily life I am usually quite happy and have a lot of friends, lots of sex and fun. I got money and live in London, don’t drink or smoke or take drugs. I am an easygoing person who is socially very active and healthy. But I went through Dante’s hell to come to this, and that will always be where my muse comes from.

5. Do you find it difficult to take care of all the instruments and voices when recording and producing Yayla albums, or do you have the help of third parties?
I don’t find it difficult, matter of fact it is easier and more fun than working with others. I have
people begging me to help them with their own music and I feel sorry that they are unable to do it themselves. I don’t need help, I learned how to do everything myself, it is the best way to make art. Fuck people.

6. In his music there are classic black influences from bands like Bathory, but there is also a background of classic bands not so related to metal, is this true?
The beauty of the melodies equals the brutality and violence of my music. That beauty comes from non-metal music. I listen to a lot of classical music, maybe more than metal. Sir Ralph Vaugen, Albinoni, Vivaldi and million composers mostly but not limited to pre 20th century graves and adagios. Everyday I listen to symphonic, chamber, ballet, vocal, symphony whatever goes so long as it is not happy. They really influence my compositions. I also listen to a lot of pop, house, ambient, gangsta rap, folk, industrial and everything in some sort of way influences the beauty of the melodies. I grew up listening to Mozart, Cat Stevens, Barbra Streisand, Simon & Garfunkel, Jesus Christ Superstar, Dire Straits going through forest landscapes at night, so it is where my heart lies.

7. As a musician, you are a photographer, direct from the cinema and actively participate with the record label, where does he make time for everything? And which of these disciplines do you feel most comfortable with?
I am a dictator and can’t be under another boss with my art but running my own record label sucks, doing PR, sales, releases shit like that is boring as fuck. When it comes to making art, I love them all and feel comfortable in all of the areas. Time is no problem because I gladly spend most my free time to art, I really love creating its my addiction. It is like asking a smoker how does he find time to smoke 2 packs a day. I wish I could do more films, but it takes more people to make music, which sucks. I don’t like working with people, so I do more music, which is a singular job. But here are some of my films:

8. With Yayla just released album recently, but what future plans does it have with all the bands of which it is part?
I see a new death; hence as I said, I started a new phase with; there will be couple albums that I will spend in this phase. I want to make an acoustic album and a full on orchestral or ambient one. But who knows what will happen, it is my muse that dictates what I do not the other way around. Viranesir will keep making psychotic and perverse albums, Chaoscunt (ex-Blliigghhtted) will be more violent than ever, and all of my projects will be miles ahead of the rest of the current garbage that gets released in the name of music.

9. The release of most of your music through your label "Merdümgiriz" seems to be almost necessary due to the high volume of publications for your different projects and certain aspects that surround it, but what criteria do you follow at the time of To select bands for the label?
The most important criteria have become not fagging out. I don’t want politicians who claim they are “just interested in the music”, I want total psychos who know that art & especially extreme metal mean more than music and ready to go all the fucking way. I want people to be ready to die for their beliefs, and reflect this in their art. I had many artists who couldn’t rake the stress of this label and left and I needed to kick many people out as well because they were lesser than I initially thought. It is an elite label that does not give a fuck about money and fame but supremacy. I need bands to stick to the label in tough times because everybody hates us and wants us to fail. Webzines threaten my artists to not work with me, and stuff so I need the artists to be with me full on like their life depended on it. We will go on and I need warriors to go on with me.

10. I suppose you will be satisfied by the repercussion and good criticism received by this ""?
No, I always want more and more, I am never satisfied. But yes it is getting quite a lot of good reviews and sales. It hasn’t been a month and I got like 10 reviews all over 80/100. Lots of people who reviewed my previous work say it’s my best. I like it when it gets a lot of attention. But at the same time, I want to make new things and is a thing of the past.

11. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Yayla, this is the place. I hope the questions are to your liking.
Extreme metal is more than just music; push the fucking boundaries don’t be a domesticated faggot. I really liked the questions, thanks for talking to me and reviewing our albums!

Vinyl, 12", 45 RPM, Album, Reissue, Repress
Recorded on December 27th 2009 - January 2nd 2010.

The catalog number LORD 127 is taken from the spine, LORD127 from the back cover, and LORD-127 from the labels.


jueves, 23 de febrero de 2017


Origen: Italia, Piacenza
Formados: 2013
Estilo: Black atmósferico
Temática: Amor, anticristianismo, instrospección, muerte, soledad y sufrimiento
Enlaces: Bandcamp, Chiralfacebook, soundcloud y youtube
  • Chiral Todo

  • Winter Eternal Demo 2014  
  • Abisso Demo 2014
  • Where Mountains Pierce the Nightsky Split 2014
  • Death's Dominion Single 2014  
  • Sed Auiis Split 2015  
  • My Temple of Isolation Single 2015  
  • Night Sky CD 2015
  • Snow//Heritage EP 2016  
  • Gazing Light Eternity CD 2016
  • The Gazer's Throne [2017 Single - Fólkvangr Records Exclusive] Single 2017  
  • The Twilight Songs - part I EP 2017  
  • Origins Split 2017
  • Fire​/​/​Heritage EP 2018
  • The Loner Single 2019
  • That Little Wormhole You Called Heart (part II) Single 2020
  • Hope CD 2020


Su anterior larga duración ya daba muestras de la evolución y de la madurez del sonido alcanzado por la banda, despojándose de las partes más doom de sis inicios para cobrar más presencia los elementos atmosféricos. Así llegamos a este su segundo larga duración compuesto de cuatro temas, dos de ellos más extensos en donde se nos presenta un black de tintes atmosféricos, en unos temas densos, repletos de buenos riffs de guitarras, arreglos de teclados que añaden un poco de melodía tendiendo hacia la melancolía y que muchas veces tienden a crear un efecto casi que hipnótico debido a la repetición de patrones. Destacan los riffs de guitarra muy buenos en unos temas que sufren acertados cambios de ritmo, sin perder la esencia de la black atmosférico en temas que transitan por el dolor, la soledad y la muerte, sin olvidar la voces, que se adentran en terrenos de crudeza pero que muchas veces se ven acompañadas de algunas partes más limpias casi que corales que acentúan la épica y la frialdad. Estos dos temas se ven intercalados con otro par de temas que se mueven más por un terreno acústico, centrándose en las emociones de las composiciones, más libres de artificios, cobrando mayor importancia los teclados, las partes limpias de guitarra y alguna que otra voz de referencias melancólicas. El álbum en conjunto está muy trabajado, sobre todo las partes de guitarra y teclados, con melodías claramente oscuros y melancólicas difíciles de olvidar. (8,1).

1. Part I (The Gazer) 14:50
Redness behind the crest of east I Cherish the last rays of this mournful day Night spirits are whispering truths Lost chants about death and life. I gaze this black eternity at my will Inhale it to fulfill my lungs. This night woodland is my home now, I'll enshrine it till the day I will breath no more. Rain pours down A cold mist is raging amongst the pines. Let your eyelids fall, Your guide it'll be in the eternity of time. I touched the hourglass, Saw what it means to be alive. Made from rocks a bed, rotten rose's thorns I crowned my head.

2. Part II (The Haze) 06:21
I woke up in pain, as the last sunset's gone.
I'm trapped inside this horrible haze.
And this haze is chocking me to death.
Bounded by the moon.
Embraced by the earth.
Abandon by lies.
Washed by the relentless time.
The earth's scars muddle with the wind.
Inverse process of a long gone rite.
And the haze pulses.
My scars reopened by the crash.
Healing. Slowly, as I feared for my own death.
And it sung like this:
Everything just stays.
Everything just flows.
No one would care.
As no one has never known.
So, let it go.
Set your corpse to rest amongst the Blackwood eternity.
3. Part III (The Crown) 13:15
Redness behind the crest of east
I Cherish the last rays of this mournful day
Night spirits are whispering truths
Lost chants about death and life.
I gaze this black eternity at my will
Inhale it to fulfill my lungs.
This night woodland is my home now,
I'll enshrine it till the day I will breath no more.
Rain pours down
A cold mist is raging amongst the pines.
Let your eyelids fall,
Your guide it'll be in the eternity of time.
I touched the hourglass,
Saw what it means to be alive.
Made from rocks a bed,
rotten rose's thorns I crowned my head.
4. Part IV (The Hourglass) 06:09  instrumental

Enigmatic Occult Swedish union of CHALICE OF BLOOD is back with a first feature length release. After a classic 2005 demo and two brilliant splits (with ARKHA SVA and ISRATHOUM) comes a work of several years of occult growth and maturation. "Helig, Helig, Helig" appears as a violent and intense storm, with a fair share of obscure yet not overpowering melodies. Pitch-black aural assault, with production by MARDUK's Lars Broddesson and layout by ever-evolving digital genius of Brianvdp.


domingo, 12 de febrero de 2017


Tercer larga duración para la one man band Noruega, para la ocasión regresa con un álbum que se centra en ofrecer versiones de algunos temas representativos de la mítica banda Burzum. La tarea que pretende llevar a cabo Stein Akslen no es para nada sencilla, no ya solo por el echo de captar la esencia de tan mítico combo sino que realizar un álbum de versiones de tan reconocida formación más de una vez acarrea controversias entre sus más fieles seguidores. Lo primero que ha logrado Stein es conseguir esa atmósfera de comienzos-mediados de los años noventa, en esencia el aura de las composiciones originales de Burzum con las crudeza, violencia y paganismo que de ellas emanaba. Eso si, sería una lástima que tan buenos mimbres se limitaran a copiar y a no llevar a terreno propio las versiones, aspecto que se ha logrado sobradamente. Los temas conservan la crudeza y sonoridad anteriormente comentada, y que sin lugar a dudas se mantiene fiel al original, bien es cierto que poco a poco vamos descubriendo aspecto más actuales en la composiciones, así como un cuidado apartado de guitarras y de voces, las primeras conservan crudeza y agresividad al mismo tiempo que aportan cierta melodía y atmósferas oscura, las voces por su parte son agresivas, pero conservan cierta linea más limpia y aún sonando agresivas se amoldan perfectamente al conjunto final. Quien quiera repasar un poco de la carrera de Burzum, conservando la esencia pero sin renunciar a ciertos nuevos matices incorporados a su música, está ante una buena oportunidad (8).

1. Lost Wisdom 04:44  
2. Jesu død 08:41  
3. Ea, Lord of the Depths 04:42  
4. A Lost Forgotten Sad Spirit 10:53  
5. My Journey to the Stars 07:46  
6. Glemselens elv 11:36  
7. Back to the Shadows 04:36  

lunes, 6 de febrero de 2017


Por fin tenemos aquí el primer larga duración de la banda irlandesa que tan buenas expectativas había creado con su primer Ep de hace año y medio aproximadamente. El estilo presente en aquel primer trabajo sigue latiendo en este álbum pero más elaborado para obtener un resultado final mucho mejor. Seis temas integran este "Pledge Nothing but Flesh", aunque un par de ellos son instrumentales pero no por ello carecen de importancia en el conjunto. El álbum se inicia con una breve intro que da paso a la más absoluta violencia y oscuridad de sonido. El estilo de la banda se había situado a medio camino entre el death y el black, pero con bastante importancia para ciertos elementos más cercanos al doom. Asistir a la audición de este trabajo es sumergirse en un ambiente casi que agobiante, repleto de violencia y de oscuridad en donde la guitarra y la batería construyen un muro casi que impenetrable, que se consolida gracias al buen apartado vocal de la mano de Cathal Hughes que tiende a unos registros cercanos también al death, con gusto por las afinaciones graves y contundentes. Pero no todo en este álbum se centra en la parte más brutal del género musical, Scáth na Déite saben perfectamente marcar los tempos y su música también se ve desbordada por elementos más pausados que añaden un atmósfera siniestra pero que también sirven de pausa en medio del caos. Ni que decir tiene que seguimos asistiendo al nacimiento y evolución de una banda, que sin lugar a dudas, tiene por delante un futuro bastante esperanzador, comenzando desde ya con este "Pledge Nothing but Flesh". (8,7).

1. Sí Gaoithe 01:03  instrumental
2. Bloodless 10:53
 The Things I Wish I Could Unsee 
The Music I could Silence 
When We Are Left Behind 
When Old Fears Grow Strong 
Who Of This World Will See The Face Of God 
When We Are Buried 
When We Are Forgotten 
When We Are Forced To Question 
Mark Their Skin And Tear Their Hearts Out 
It Takes A Dying Man To See The Truth 
It Holds Back The Answers 
It Waits Patiently 
It Fuels Hatred At The Self 
It's Name Is Uncertainty 
And It's Music Will Not Be Silenced 
We Have No Blood To Give 
These Lands Echoe Our Names 
Yet They Could Not Be Further From Your Lips 
We Have No Place In This World 
As An Effigy Of The Story Teller 
Laid Restless In His Tomb 
Where His Words Beat Hopelessly Against The Stone That Traps Him 
You Must Spill Blood To See The Face OF God 
So Mark Our Skin And Tear Our Hearts Out 
We Stand Bloodless Before You 
As You Force Us In To The Shadows 
And We Scream Out In The Dark 
You Will Pass From This World Grey And Silent 
Where We Will Linger Hopeless 
With The Story Teller In His Tomb 
BeatIng Our Heads Against The Stone
3. This Unrecognized Disease 10:02
  Faceless, Desolate, This Isolation 
It Tears Mind, Body And Soul 
These Cruel Empty Days Seem Unending, Uncertain 
And Where Crule Words Are Whispered 
There Is No Escaping The Flame 
The Mind Is Blinded By Disease 
Stricken, The Search For Clarity 
Failing To Recognise The Peril Where Dormant Anxiety Gathers
Pledge Nothing But Flesh 
And Trust Only In Death 
The Silence, The Waiting 
That Familiar Presence 
Resentment Towards The Self 
Pacing, Unnerving, The Steps By The Door 
What Fresh Torture Do They Beckon 
To Drink Poison Is To Them The Only Cure 
Not Untl Your Demise Will This Torment Cease 
Not Until Your Spirit Is Driven From You 
This Unrecognized Disease, Dormant Superstition, Living Decay 
Alone To Wander In Your Mind 
Free From This World, Free From A Mothers Curse 
Free To Gaze In Complete Apathy 
At The Limbs That Writhe Beneath You 
As They Twist And Blacken 
The Very Soil Resonated 
The Land Screamed Out 
But You Were Mute
4. Fáilte na Marbh 01:50  instrumental
5. The Shackled Mind 12:08
  Sat Alone, Your Silent Contemplation 
Illuminated In The Candles Dying Flame 
Sat In Frustration With Agonising Thoughts Of Failed Endeavours 
You Came To Them With Wounds Torn Open 
A Body Wrought With Desperation 
And All Who Would Help Are Denied Absolution 
Tradgedy Has Marked Your Life 
Dulled Your Teeth And Ground Your Bones To Dust 
A Mind In Shackles 
Chained Since Birth To A Broken Ideal 
You Have Grovelled Before Their Altar 
Yet Still They Offer No True Salvation 
Allow Death To Consume True Redemption 
Force The Spirit Into Pathetic Submission 
Helpless You Left Alone To Seek Out A Forgotten Truth 
Hidden Behing Blinded Eyes 
Blinded By Age Not Ignorance 
A Terrifying Reality That Rests Beneath A Twisted Form 
You Have Seen Your Own Death 
You Are Hateful At Yourself For Living 
Sat Alone, In Helpless Frustration 
Lone Candle Casts Light Upon The Open Coffin 
That Terrible Altar Before You 
Place Stones To Hold The Doors 
And In Rabid Consuming Fury You Begin Your Task 
You Beat The Corpse 
Each Blow Drives Out A Lie 
Lies That Have Marked Your Life 
Each Broken Bone A Shackle Broken From You
6. Search Unending 10:24
Plagued By Torment A Crippling Identity Foundationless Morality That Casts Aside A Fading Beauty Left Paralysed By This Voluntary Sickness Left Deaf To Harsh Cries Futile Pleas Of The Forgotten They Drown In Their Own Blood And With Bloody Hands They Visit You To Confront You With A Crippling Realisation You Are As Dead As They Are You Will Vanish But They Will Fade Panicked By Truth, A Crippling Absolute You Cannot See The Bodies Before You Contorted They Hang In The Branches Of Trees Oblivious To Their Slow Decay Oblivious To Your Hollow Life Your Desolate Existence Your Barren Mind This Search Has No Ending There Is No Meaning That Waits To Be Found So Scream Cry Out Your Questions Dry Your Tongue And Choke On Your Words Emptiness Is All That Awaits You You Built Your World In Total Silence Now Silence Is All That Is Left To You  

Limited edition of 500 copies.

Titled as " AMPHISBAENA E.P. MMXVI" on the back cover.


domingo, 5 de febrero de 2017


1. Why do you decide to create Bathyum? What does the name of Bathyum refer to and why do you choose to baptize the project?
Wyvern - I created Bathyum to give myself some sort of creative output that can be enjoyed by metal fans while expressing some ideas I have had for some time. The name "Bathyum" has two meanings: 
First meaning: This comes from the name "Bathin" or "Bathym" who (in demonology terms) is a duke of hell who has under his command thirty legions of demons. He knows the virtues of precious stones and herbs, and can bring men suddenly from one country to another. He helps one attain astral projection, and takes one wherever one wants to go.
Second meaning: A combination of the bands "Bathory and "Burzum". As both these bands are a great influence to my music and are two of the most well known one man Black Metal bands, I felt it would be a fitting tribute to combine their names into one.

2. Undoubtedly the one man band are interesting projects where the personality and tastes of a single person are usually expressed, in your case, why a one man band? There are possibilities that you incorporate new members to the band If only to be able to offer some concert?
Wyvern - I chose to do this as a one man project because I wanted it to be a full expression of myself and my own ideas. If I were to ever perform the music of Bathyum "Live" I would incorporate session musicians and I would take the reigns of vocalist and guitarist on stage. At this time I have no plans to incorporate new members into Bathyum.

3. The sound of "Rituals of the Damned" is influenced by the most classic black and bands like Darkthrone, Burzum, Bathory, Satyricon and Immortal or even Venom are featured on the album, when composing the album, which have Been their main musical influences?
Wyvern - As you have pointed out above, they are pretty much my main influences. The general "Second Wave" of Black Metal bands are my main influence. With "Rituals of the Damned", I have tried to maintain a Second Wave sound but put my own modern twist on things.

4. Could you tell us how you can compose a new theme for the band? How do you manage to record all the instruments?
Wyvern - When I compose new material, I usually start with the basics of a melody on the guitar or bass then work from there, adding parts where I can then write lyrics based on the vocal lines. Of course this can be the other way round, sometimes I have written the lyrics for a song then worked around them, it entirely depends on how it comes naturally! I record the Guitars, Bass and Vocals through a Line 6 Toneport UX2 system and run this through a program called Reaper. The drums are entirely done by a drum machine then put into Reaper. All the mixing and mastering is done by myself to give it my own personal "necro" touch.

5. Topics such as antireligion and hate are present in the lyrics of "Rituals of the Damned" songs, however on the subject "Black Exorcism" deals with the exorcism themes of Anneliese Michel, could you explain why you praised this Theme for one of the songs on the album?
Wyvern - The story of Anneliese always fascinated me. I grew up being a massive fan or The Exorcist too which helps! The idea of using the sound clips from Anneliese's actual "exorcism" came to me when I was trying to think of a way to actually scare the listener. Using samples in metal is generally mainstay but to my knowledge I have never heard a song use sound clips from an exorcism! 

6. The sound of the album in the first moment and roughly so we can frame it within the more traditional slope of the black, however if we stop more closely to analyze it we can discover that the sound is also something more refined result of your vision and interpretation of the Black metal and that is reflected in the compositions. If I'm not mistaken, although your main influences come from the classic black as previously mentioned, there are surely also influences from other bands and styles, could you comment on how all these bands and styles influence your way of composing for Bathyum?
Wyvern - There are! For example the band Type O Negative are my all time favorite band. Peter Steele is a heavily underrated composer/songwriter who does not get anywhere near the credit he deserves. The way he can take the listener on a journey through different emotions within a song has always been a great influence to me and I have tried to replicate this effect in the music of Bathyum. 

7. "Rituals of the Damned" was initially edited in digital format to later come out in cd format, nowadays access to music through digital media has caused sales of music in physical format have resented Why do you decide to finally release the album in a format like the cd? What opinion do you deserve other formats like tape and vinyl to sell music?
Wyvern - I'll be completely honest, I never actually imagined "Rituals of the Damned" to be released on CD. I was approached by Heathen Tribes records directly through my bands Facebook page and they asked if I would be interested in working with them. Of course I jumped at the idea and before I knew it I had a physical copy of my music in my hands! Tape and Vinyl are great and I'm really happy to see Vinyl come back! I have thought about maybe doing a limited run of the album on tape as I have been asked about this many times so watch this space!

8. How were your beginnings in music, the first bands that I listen to, the first concert I attended, the first CDs I bought? Why did you decide to dedicate yourself to music?
Wyvern - My first introduction to music came from my father. From when I was a child he would always play old UK Punk albums (The Damned, Sham 69, The Chameleons, Public Image etc.) which started me off my musical tastes. The first bands I started listening to myself were (unfortunately!) the whole "Nu-Metal" movement that happened around the late 90's/early 2000's. Bands like Slipknot, Korn and even Limp Bizkit began my journey into heavy metal! I had always wanted something that was heavier and darker so I got really big into thrash metal in my early teens and bought my first guitar. From this I began learning old Slayer and Metallica songs. As usual I wanted something even heavier and that's when I discovered Mayhem. This was the first "True Black Metal" band I fell in love with and the rest is history! 

9. Will soon be a year of the release of his first album, satisfied with the repercussions obtained with "Rituals of the Damned"? What future plans for new releases are planned? Are you already working on new songs ?
Wyvern - I am overwhelmed with the response I have had for "Rituals of the Damned". I started this project thinking it would be just something I could let my creativity flow and show a few friends but I have had people literally all over the world telling me how much they enjoy the music. I have promised a few months ago that I would be doing a one off cover song, which is still in the pipeline but I just need to get my head down and record a few last bits. 
As far as brand new material? Well I do have a few ideas that I have started making demos of. I won't give too much away but if you thought "Rituals of the Damned" was a collection of sick/satanic/evil Black Metal, you have not seen anything yet! 

10. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Bathyum, this is the place. I hope the questions are to your liking 
Wyvern - Thank you for your time! As always thank you so much for the support and thank you to everyone who has taken the time to listen to my music, eternal hails to you, may your chariots of fire ride on to Valhalla! 

This masterpiece contains four tracks filled with negativity and raw energy. The superior composition which always stay true to black metal despite their atmosphere enthrall and inspire you every time you listen to them. This is a milestone of the Dutch style!

Powerful, yet full of pain; furious, yet mourning; technically and atmospherically crafted, this album will immediately satisfy you. LASTER write enthralling songs in perfect balance between superior composition, a harsh mood and Black Metal, which they live to the fullest. A Masterpiece!

First 100 copies in white color, second 100 in transparent and 300 in black color.


1. Alles wat mij bevalt, ontvalt me 13:37
2. Tot de tocht ons verlicht 10:03
3. Ik - mijn masker 15:03
4. De verste verte is hier 6:05

Total: 44:50