SACERDOS

Origen: Paso Robles, California, E.E.U.U.

Formados: 2007

Estilo: Ambient, black

Temática: Filosofía, historia, mitología, y ocultismo

Enlaces: Bandcamp

Miembros: 

• Brutus Varios
• Cassius Varios

Discografía:

• Relics Demo 2007  
• Uktena Demo 2007  
• Windswept Demo 2007  
• Judecca CD 2009  
• Zarathustra EP 2011  
• Vibromancy CD 2012  
• Divinativa CD 2014  
• At Dusk / Sacerdos Split 2017

AT DUSK / SARCEDOS (2016)

Tampoco son unos recién llegados a la escena y manteniendo esta formación de dúo a lo largo de estos diez años, se me antoja como el tema más interesante de este compartido. Han ejecutado un tema mucho más dinámico y diría que elaborado, en donde sus principales virtudes musicales están perfectamente representadas, sabiendo conjugar de manera acertada su vertiente más ambient con el black más directo y oculto, no exento de partes melódicas. Para ello, a lo largo de los más de de trece minutos que dura "Hexagonum", van tejiendo sus partes en un tema que podríamos decir que esta conformado por diferentes partes que podrían funcionar como temas independientes pero que se han unido de manera correcta por puentes, la mayoría de las veces, de teclados. Sin lugar a dudas "Hexagonum" respira de diferentes formas, comienza de manera cruda, oscura y mitológica, con toda los instrumentos concentrados en ofrecer un black metal más que correcto, pero a lo largo de sus sucesivas pausas resurge de manera melódica y oscura en donde los teclados van ganando protagonismo y la música se vuelve más limpia, hasta acabar muriendo en un black ambiental más sosegado si cabe, con ruidos de la naturaleza y melodía de teclados que dan por finalizado este acto. (8).

Pacific Threnodies

1. At Dusk - Condemned 14:57  

2. Sacerdos - Hexagonum 13:36

Contemplation, lucubration, preparation, meditation Our feet are unbound for ascension Earthquakes arise from your laugher Shu no longer apprehends us Time and Earth are irrelevant We pervade your consort Nut Before you once again manifest as Geb Before I return to earth Wielding the sickle, slave to the terra Consuming the living and the dead Imprisoned by Shu, longing for Nut The hideous return to Earth Wielding the sickle, slave to the terra Brandished by the timeless hexagon Once expelled, now harmonized Your return beyond the sky Suffer in storms Bear the hexagon I display the pileus Suffuse the cosmos Long past is the golden age Transitory empyrean stage  

  28:33

AT DUSK

Origen: Santa Cruz - Los Osos, California

Formados: 2010

Estilo: Black depresivo

Temática: Adoración de la naturaleza, anticristianismo y misantropía

Enlaces: Bancamp

Miembros: 

• Korihor Todos los instrumentos y voces

Discografía:

• At Dusk / Idolater Split 2010
• At Dusk Demo 2011
• Oceanborn / Magnetic Armor Split 2012  
• At Dusk / Korium Split 2012  
• Where We Have Always Dreamed / Through Caverns Unknown Split 2013  
• MMXI-MMXII Recopilatorio 2014  
• Anhedonia CD 2014  
• Live MMXII Directo 2016  
• At Dusk / Sacerdos Split 2017
• Condemned CD 2019

AT DUSK / SACERDOS (2017)

Podemos encuadrar a At Dusk en ese puñado de proyectos de un solo hombre que plasman a la perfección las inquietudes de una mente creativa. Mis primeros acercamientos a la música de At Dusk, fueron, si mal no recuerdo, su demo homónima y su primer larga duración "Anhedonia", mucho ha llovido ya, sobre todo desde la edición de la demo. Para la ocasión tenemos este compartido de dos temas en donde At Dusk se encarga de abrirlo. El tema comienza con un pasaje hablado, algunos sonidos ambientales para a continuación arremeter con un black que comienza de manera cruda y atmósfera cargada. Sin embargo lo bueno que tiene esta larga duración del tema "Condemned", casi quince minutos, es que vamos transitando por diferentes estilos que sin lugar a duda vienen a reflejar el estado de ánimo de Korihor, digo esto porque la sensación plomiza y violenta del inicio se ve trastocada por alguna que otra pausa en el discurrir del tema que nos presenta otras partes mucho más pesadas y cargadas, en donde el doom campa a sus anchas y las melodías más melancólicas y oscuras cobran mayor protagonismo. Otro pasaje hablado no devuelve otra vez la calma para que de nuevo el tema cobre forma y arremeta ya sin piedad con una suerte de black directo, crudo, violento a veces, de atmósferas frías y casi que depresivas, digo lo de casi depresivas, porque el tema aquí ofrecido por At Dusk, aún sonando frío y cargado, no se sumerge del todo en la vertiente más depresiva de trabajos anteriores. Para finalizar un buen pasaje de teclados con reminiscencias al "Exosrcista" (puede ser) y alguna parte más hablada. Buen aporte a este compartido, con un tema extenso, dinámico y bien ejecutado. (8).

Pacific Threnodies

1. At Dusk - Condemned 14:57

We all are, to a man, to this condemn'd: To fall to shame, all dignity bereft Slavering curs, our teeth baréd to rend What awe remain'd among us unto death I sought to walk in beauty, like the night Of cloudless climes and winsome starry skies But callous calumnies douséd the light Plunging to blackness all I could espy They say that in the soul of judgement's eye Resides the greater portion of sin But more among us quicken to despise Without casting our gaze to scry within Thus I am driven swiftly to my end As all the bloodied earth cries for revenge  

2. Sacerdos - Hexagonum 13:36

  Contemplation, lucubration, preparation, meditation 

Our feet are unbound for ascension 

Earthquakes arise from your laugher 

Shu no longer apprehends us 

Time and Earth are irrelevant 

We pervade your consort Nut 

Before you once again manifest as Geb 

Before I return to earth 

Wielding the sickle, slave to the terra 

Consuming the living and the dead 

Imprisoned by Shu, longing for Nut 

The hideous return to Earth 

Wielding the sickle, slave to the terra 

Brandished by the timeless hexagon 

Once expelled, now harmonized 

Your return beyond the sky 

Suffer in storms 

Bear the hexagon 

I display the pileus 

Suffuse the cosmos 

Long past is the golden age 

Transitory empyrean stage

  28:33

EERIE (E.E.U.U.)

Origen: E.E.U.U.

Formados: ?

Estilo: Black, doom, heavy, progresivo y rock

Temática: ?

Enlaces: Facebook

Miembros:

• Baby Leg Batería
• Dave Sweetapple Bajo
• Shane Baker Voces
• Tim Lehi Guitarra

Discografía:

• Eerie CD 2016

EERIE (2016)

Siguiendo un poco la senda que marcaron bandas como Inter Arma o Kvelertak, nos llega el debut de estos norteamericanos. Su música puede en un primer momento dejarnos un tanto confundidos, por un lado suena simple, casi que sin pretensiones, sin embargo hay una importante elaboración y carga de pesadez que se ha trabajado a conciencia y que aflora una vez hemos escuchado el álbum un par de veces. Como en las bandas anteriormente descritas, el black metal que contienen estas composiciones no es un elemento principal en al mezcla, pero si que es un elemento necesario. Estamos ante unos temas bastante extensos que permiten desarrollar y recoger diferentes influencias dentro del metal y del rock, siendo sin lugar a dudas estilos como el rock, el progresivo o el doom los predominantes. Voces en lineas generales agresivas pero también conservando la limpieza de registros, un buen apartado de batería que dota de energía y vitalidad las composiciones, y una buena mezcla de bajo y guitarra, siendo esta última un elemento destacado en muchas partes, al dejar aflorar diferentes estilos en las composiciones, al mismo tiempo que variados, sonando por momentos a clásico o otras aportando una dosis de psicodelia al álbum. Todo el conjunto suena agresivo pero limpio, como una obra de rock, casi que me atrevería a afirmar que clásico, sin embargo la producción logra aportar contundencia, gravedad y pesadez al resultado final. Tal vez una mayor variedad en las composiciones no vendría mal al resultado final, pero estamos ante un álbum que suena lo suficientemente solido como para darle una oportunidad. (8).

Tee Pee Records

1. Hideous Serpent 07:25
2. Yeti 09:49
3. Master of Creation 08:25
4. Immortal Rot 05:34
5. Blood Drinkers 06:19
  37:32

DYNFARI - INTERVIEW

1.Dynfari was born in 2010, in its beginnings with two main components such as Jóhann Örn and Jón Emil, what made you want to create a band like Dynfari in those days?

We felt that what we were creating at the time was a blend of styles of music not much explored in Iceland before. It was a particular sort of self-expression that had a great amount of cathartic influence on us that we had not known before.

2.From your beginnings you have always opted for a very personal sound full of nuances and influences that are not always present in the black, to mention as an example the clean voices in certain parts of your subjects and a brazen bet for post-metal sounds, did you consider In principle as risky your proposal?

I don’t think we ever felt it was risky. We weren’t really inventing the wheel, as bands like Agalloch, Alcest, Ulver and the like had mixed clean vocals and other softer elements with black metal way before us. Then again this approach was only just gaining real traction around that time, so in a way we were part of an undercurrent that later became a large wave of such post-rock influenced black metal bands, some of which spawned from the DSBM of the 2000s.

3.However the passage of time has given you the reason and an album as your last "The Four Doors of the Mind" is a total and absolute proof of musical maturity and composition and shows that time has proved right. How was the process of composing and recording your last album? Do you consider that this "Four Doors of the Mind" represents what Dynfari is today?

It was around a 2 year process from the first compositions. We also utilized some even older ideas with new arrangements. The recording process was easier than often before since we recorded at Studio Emissary rather than recording everything ourselves as with our previous albums. Four Doors does represent Dynfari today, yes, but with the forewarning that our creative process is in constant evolution which at times feels bottomless. I can promise that what we are working on now will have a different feel to it than Four Doors did.

4.Your lyrics have always been inspired by the life of the human being and by philosophy and for the occasion this "The Four Doors of the Mind" was not going to be menes. Tell us a bit about the conceptual section of the album and why you decided to treat it.

The idea to dedicate an album to the theme of pain came from some deep introspection on what really makes me want to perform such aggressive music but yet tie it to some mellower segments. It is to express pains and effects I have endured from an autoimmune disease I suffer from. Throughout the album, the listener travels through the “four doors” that are the mind’s tools to alleviate pain and suffering. It is a reference to the novel The Name of the Wind in which Patrick Rothfuss put forth this concept. I also chant early 20th century Icelandic existential poetry by Jóhann Sigurjónsson which heavily relates to the doors of sleep, forgetting, madness and death.

5.The last song from the album "4th Door: Death" is a different song, it is much longer than its predecessors and also has a different feeling to the others, what can you tell us about this last issue?

It is a very different song indeed, the only one on the album composed entirely in a jam setting. Granted, it was refined somewhat for the recordings, especially by Bragi adding more guitar layers. Essentially it is an ode to mortality and the acceptance of death as something beautiful and inevitable. The song was conceived in a very transitional period in my life, in realizing that every end is a new beginning, no matter how final that end may seem. So, we layered 7 electric guitars on top of each other to illustrate that enlightened feeling of a burden of pain dropping from your shoulders to set you free for something new.

6.You have always written your songs in your native language however in your last album it seems that English is more present than in previous occasions, can this be an attempt to bring your music more to the fans so that they can have greater access to your letter?

Somewhat. It was an attempt to make the subject matter a little bit more approachable and less esoteric, while still retaining some of the arcane feel by using the over 100 year old Icelandic poems. Whether we succeeded, others will have to judge. I would expect our next album will be pretty much completely in Icelandic again. It usually feels more natural to me to express my thoughts and poetry in my native tongue.

7.Undoubtedly, perhaps, when Dynfari began Iceland not well known for its extreme music scene, however in recent years the scene has grown considerably and Icelandic groups have a significant presence and influence on the world stage, Do you feel that Dynfari belongs to this new Icelandic scene and has had some influence in this new scene?

I definitely feel that we belong to it now, even if both Dynfari and Auðn were kind of outsiders for a long time with our more “atmospheric” take on black metal, as poor as that word describes the subgenre. Whether we have had influence on the Icelandic scene itself, I am not sure. There are not many bands in this genre here in Iceland, and almost none that are younger than we are. Most kids here are into rap these days! But we have been mentioned as influences by some random foreign bands. It always warms our heart to feel that our music has moved someone in such a way.

8.Undoubtedly a sound as rich and varied as the one that Dynfari offers has to be the result of a lot of influences but if it had to stay with a handful of bands, what have been your five fundamental albums in music?

Oof, that’s a very difficult question. Seeing as Alcest’s Souvenirs d’un autre monde just turned 10 years old recently, I think it deserves an honorable mention. It’s an album that completely changed the way I perceive and view music composition, in particular mixing black metal elements with external influences. Austere’s To Lay Like Old Ashes and Woods of Desolation’s Torn Beyond Reason were two profound influences in our early days, both from Australia. A lot of my post-rock influences come from the bands Mogwai and This Will Destroy You. I’d like to namedrop Mogwai’s Come On Die Young and TWDY’s self-titled album.

9.It said earlier that in the beginning Dynfari was played by Jóhann Örn and Jón Emil, however over time new musicians have joined, the inclusion of these new musicians responds to a need to be able to take Dynfari to the stage and to the Same time you can enrich your music?

Yes, Hjálmar and Bragi have proved to be invaluable members of our chemistry for years now. Bragi contributed to compositions on Four Doors and is bound to have even more to give on our next works. Hjálmar has been with the band since 2011, either as a session member, sound engineer and even amplifier mechanic on tours! Now he’s our full-time bass player.

10.How were his beginnings in music, first concerts, first cds that he bought? What fact of his life was decisive so that he wanted to be a musician?

It may (or may not) come as a surprise that most of us from the band come from a death and thrash metal beginnings, though Jón Emil’s classical guitar education does put its color on everything as well. As teenagers in the late 2000s we frequented the then active death metal scene’s concerts in Reykjavík and played in our own garage death/thrash metal bands. Somehow we evolved from there to what we make now, just as Iceland’s metal scene in general evolved from being death metal dominated to black metal dominated. I think the first metal concert I went to here in Iceland was Finntroll in 2007. I remember that between bands, Death’s cover of the Kiss classic “God of Thunder” was playing on repeat. Good times.

11.Since its second album all your music has been edited by Code666 Records, today it is somewhat complicated to see a band so linked to a record label, obviously this shows that both parties are satisfied, how came the contact With Code666 Records and why is it binding for so many years? What do you think of the blue vinyl edition that has been edited by the label?

We have been with them since the release of Sem skugginn in 2012 and a new contract has been made for just one album at a time, so we have not been bound this whole time. We have gotten offers from several other respectable labels but ultimately Code666 has offered us the deal most compatible to our goals at each time. The partnership has not been completely without dispute but overall we have gained a lot from it. As an example, the big North American tour with Negura Bunget in 2015 would not have happened would it not have been for Code. The blue vinyl edition of Four Doors is absolutely gorgeous, and as is the limited edition woodbox that was released in only 20 copies. Such special releases are something we are very keen on making more of in the future.

12.With "The Four Doors of the Mind" still fresh in terms of editing, what future plans for concerts and upcoming releases do you have?

This summer we played a very special release concert in Reykjavík as well as performing at Eistnaflug festival and KEXPort fest. Currently we have many ideas of what to do next but nothing set in stone. If the right opportunity arises we will go on tour or make a festival appearance next year. Otherwise we will focus on continuing creating and sculpting more music.

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

Nothing says “I love you” more to a band than supporting their work. We want to thank every single person who has ever supported us throughout the years. You make it possible for us to continue.

DYNFARI -  THE FOUR DOORS OF THE MIND 19,99 €

Fourth, Incredible album from Icelandic Black Metal band Dynfari! Alternating between post-rock vibes and black metal atmospheres, the album explores fantasy writer Patrick Rothfuss' theory on the mind's abilities to cope with pain, by weaving it together with over 100 year old lamentations on human existence by early 20th century Icelandic existentialist poet Jóhann Sigurjónsson. The combination of the two writers' thoughts is embodied in the union of the drive of black metal with more traditional soundscapes of acoustic guitar, accordion, flute and bouzouki. Artwork by Metaztasis (Watain, Behemoth).

HAZTE CON ÉL EN : BLACK METAL SPIRIT STORE O DISCOGS

SPELL OF DARK

Origen: Rusia, Astrakhan

Formados: 2009

Estilo: Ambient, black atmoférico

Temática: Invierno y padecimiento

Enlaces: Bandcamp y facebook

Miembros:

• V.T. Todo

Discografía:

• Forever Winter EP 2013  
• Чёрная скорбь CD 2014  
• Ashes of Forgotten Dreams CD 2015  
• Journey into the Depths of Winter EP 2017
• Autumn Greatness of Forests Single 2017
• Eternity Somewhere There Single 2018
• The Vastness CD 2019
• Ghost From the Past CD 2021
• Running Over the Horizon EP 2021
• Relighting Mirages Split 2022

JOURNEY INTO THE DEPTHS OF WINTER (2017)

Con un tono repleto de melancolía y tristeza se nos presentan los tres temas de este nuevo Ep de la one man band rusa Spell of Dark, sin lugar a dudas un proyecto que da rienda suelta a las inquietudes y demonios interiores que encierra la personalidad de V.T., que ya en el lejano 2009 arrancaba con un primer Ep y que ha dejado también en estos años un par de largas duraciones. Como comentaba anteriormente el tono de estos tres temas que conforman el EP se ven impregnados de melancolía y frialdad, la temática gira en torno al invierno y su presencia se deja sentir en cada nota de los temas. Sin lugar a dudas V.T. se define como un adulador de esta estación del año, por su dureza, por su efecto purificador sobre la naturaleza y el ser humano y de manera magistral logra plasmarlo con una música en donde el ambient y el black atmosférico, junto con ciertas partes dark y algo de black depresivo plasman a la perfección esa frialdad y padecimiento que trasmite el invierno. V.T. emplea temas largos, rebosantes de melodías melancólicas capaces de reflejar la soledad y la tristeza de todo lo que rodea a los días más cortos del año. Repleto de leyendas y tradiciones de su lugar de origen, estamos ante poco más de veinte minutos que logrará trasportar al oyente a una época medieval, en donde el ser humano se adecuaba al ritmo que le marcaba la naturaleza y en donde el valor de la vida era otro. (8,4).

1. The Breath of Cold Silence 08:06  

2. Frozen Lands and Horizons 08:05  

3. Light of Winter 06:09  

  22:20

FROZEN FOREST

Origen: Croacia, Zagreb

Formados: 2005

Estilo: Black

Temática: Anticristianismo, armaggedon y satanismo

Enlaces: Bandcamp y facebook.

Miembros:

• Danijel Bajo
• Matko Batería
• Milhovil Guitarra y voces

Discografía:

• The Final Eclipse Demo 2007  
• Demonic Horns Rise EP 2009  
• Ancient Ritual  CD 2016  

ANCIENT RITUAL (2016)

Desde Zagreb nos llega esta ya veterana banda que se caracteriza por ofrecer un black metal impregnado de satanismo por todos los lados. En un primer momento y debido al nombre podemos pensar que estamos ante otra banda de black metal de influencias paganas y de fuerte presencia y contacto con elementos de la naturaleza, sin embargo lo que nos presenta Frozen Forest en su primer largo es un black metal bastantes visceral y directo que por momentos no hace ascos a la melodía y que recoge diferentes influencias clásicas, tanto del black metal sueco de mediados de los noventa como también del thrash de mediados de los ochenta. El álbum comienza de manera contundente y pesada, aspecto el de contundencia que se mantiene casi que inalterable a lo largo de todos los temas. Otra característica importante es la crudeza de algunas de sus composiciones al mismo tiempo que se logra añadir cierta melodía a los temas, que en "Isola dei morti" o en "Endless Cloud", nos lleva incluso a hablar de cierta épica. Acertado trabajo en la batería igual que en las guitarras en donde podemos disfrutar de algunos buenos riffs de la mano de un estilo que rezuma thrash clásico. Estamos sin lugar a dudas ante un trabajo elaborado que prácticamente no deja ningún resquicio y que de manera sólida nos presenta una banda que a logrado plasmar un álbum muy completo. (8).

1. Spider Cures Fever 06:00

 Devour the hermafrodite God

And wolf's seal from dragons eye

You'll make gold at will

Strange jewels of the underground

Lust for wisdom

Beyond human limits

By means of the ancient art

Penetrate the glow of the Sun

And secrets of the quicksilver

The seeds of Luna

In the caverns of Venus

A key to open

The waters of Mercury

From the burning coals of Moon

The masters knew

The spider cures fever

The seven adepts

Lived for thousand years

The lotus eaters,

Servants of supreme fire

Over chrystalized circles

They can fly

And practice quietness

In clarity of light

The storm of persecutions

Bred Demons

But the wandering master of sages

Cannot be destroyed

Nine heavens and nine earths

Within the reach of the dying man

Unity of light and dark

Riddle of Maranatha

The secrets are burried

At Saint Jacques la Boucherie

The seeds of Luna

In the caverns of Venus

A key to open

The waters of Mercury

From the burning coals of Moon

The masters knew...

2. Devil's Grin Retaliation 05:57

You'll reap the seeds of violence Slaughter obsolete orgasmic frost The courage to be yourself Remote forever in subhuman metropolis Pain chords shiver Radiating sins Black ice verses You cannot comprehend Opium nightmare Rejuvenation vibrancy Take me hostage But make no mistake I speak of beauty Fucked up deadhead corporate rape Full of nothing go fuck yourself Let this freak show go down the drain Sinister funeral in narcotic domain Salute the whores Gather the flies Your God will never shine In untouchable nightfall Black mass demoniac Insect saviours beckoning Daydream isolation It's Devil's grin retaliation On border of my dreams Heavy gloom hunts me So gather the shadows For the one who doesn't hurt You worn out shamans It's hurricane whirlwind It's Devil's grin retaliation Into the metal and I'm breathless  

3. Glorious Sun 04:47

 Thrones of blood

Built on hate of delusional faith

Deviant logic of the masses

Anxiety and depression 

Jehovah mind possession

Imperious Christ

In the centre of history

Expanding power of radical leaders

Religious fascists under banner of God

I don't believe

In followers of Jesus

I don't believe 

In bride of Christ

I don't trust 

The new Jerusalem

I don't need

The body of Christ

Don't claim to rule me on behalf of divine

I don't believe you have connection with God

State ruled by clergy is perverted and vile

A nation governed by the biblical laws

Don't need your God

I never did

Your social values, moral panic

Your Jesus

Brings anxiety to me

A social tension 

I can barely endure

I took my journey without the faithful

My inner strenght, my own authonomy

With the wonders He works

The fire He burns

Rejoicing in torment of Glorious Sun

4. Cold Light Oblivion 04:48

Under the gaze Of the one who hates forever And the oblivion Of unholy eyes Sulphur army marches Under banner of darkness Spiritual children of demons Are breaking the bonds Of the triune God Eons of sadness In lies of the angels Infinite knowledge of the snake In the breath of the dying God Diabolus aetrnium! Marvelous Black Host Of faithful demon defenders Obeying the order Of the cold light Violent slaughter Of heavenly powers Corruptible flesh of nuns Hanging from their swords What they're made of Is flesh and blood of Satan What they're made of Is flesh and blood of Satan In streams of blood On flames of hell Total darkness Total death  

5. Claws of Infinity 04:56

In this trap called life

You are like a wounded animal

In this castrated world

Bow to no one! Let your voice to be heard!

To defend the terror and disorder

Non-Human! You are chosen to pass the border

To commit crimes against humanity

Non-Human! You are closer to divinity

To spread hate till everything is gone

Non-Human! You are doomed to walk alone

How would you feel

If there is only your own will

And how would you feel

If there is nothing left to kill

Stone cold heart

Non-human

Lack of empathy and mercy 

Overhuman

May the words of my mouth 

And the meditation of my rotting heart 

Be abhorrent in your sight

O lord, our false Redeemer

You are sending us on a neverending way to infinity

Where we'll all prey for the end!

6. Isola dei morti 07:22

Dark waters

Of the dead calm sea

Under ancient tombs

And cypress trees

A boat arrives

At Toteninsel

With a looming sorrow

Of a mourning widow

Five dead children

On the grave of Mary

Woman and the rover

Tightly wrapped in white

To overwhelm this misfortune

And reject the ancient methods

Learn the Art of separation

Of heavenly eternity and earthly weakness

Light and darkness

Separated and divided in His workshop

As day and night proves

Existing by itself

To live and flourish

With mysteries of nature

One with Earth, Heaven, Air and Fire

The mind is free

The mind is free

In Toteninsel

7. Wisdom of the Accuser 05:16

  Trapped in a void

Of my own delusions

With burden of Satan

To overcome darkness

Deliberatly trying

To make it more harder

The weight of the Black One

Hanging in balance

With earthly redemption

My shield over Heaven

My sword against priest

My knife against world

My word against Mother

My lies against Father

Trapped in a Void

And taught by the Devil

Inhaling His breath

Learning His wisdom

Religion is worthless

'Cause blood of the priest

Is poison of Jesus

And even the child in the corner

With morbid opsessions

And pain of rejection

Knows that the embrace of the virgin 

Is lifeless and cold

In the eye of God

There's promise of Satan

8. Evil Metal 04:51

We're attacking from below Full of cuts and bruises Maze of metal madness And winter in our eyes Repugnant noise Of evil metal Will delute your blood And rip your heart Strings of Satan Breaking the illusion of freedom Devil's machinery Burning pearls of hatred Evil metal Flaming Black smoke Evil metal Retributive poison Menstrual impurity of catholic daughters Oozing from the crucifixes on concrete walls Tranqulised mothers and braindead fathers Prayers of devotion under blackened sky Evil metal Flaming Black smoke Evil metal Retributive poison 

9. Endless Cloud 08:53

  Beautiful raven robs the life neverending

Lucifer flows, enduring the storms

Below the sunsets of corpsefire

Surrogate dreams, morphine symphonies

Lucifer flows, Endless Cloud of flesh and digits

Poisonous and rancid

Mesmerizing

Metastazing 

Zion devastator

Oceanic

Assassin

Monarch uncontained

Hidden ways will bring him home

To silent waters of dormant passions

Black smoke ravens and dying suns

There is life and Lucifer flows

Journey unfolds before he falls

Yielding beauty and tragic rapture

And when all scientists are dead

We'll all be battle bled

With wrath of the wolves

Until the last sword

He'll stroke the planets, wrap the oceans

Blazing fire inside the ancient one

Pure serene delusional madness

Cadaverous

Animatronic

Fire breathing Satan 

Numinous

Cataracts

In ozone arctic embryo

Ocean eyes, words of paradise

Shoot them all one by one

Ocean eyes, words of paradise

Shoot them all one by.....

H.S.

  52:50

NULL

Nueva banda nacida a finales de 2014 en Tenerife, en un comienzo como one man band al frente de la cual estaba Null pero que pronto contó con la incorporación de Atroz funcionando desde entonces en formato dúo. Su música en un principio podríamos encasillarla dentro del black depresivo, pero se me antoja corta la etiqueta para un black que tiene distintas influencias y que recorre varios estilos, atreviéndome a asegurar que hasta bebe de ciertas partes experimentales, eso si, tal vez lo que trasciende de toda su música es una sensación de padecimiento y desesperación. Su música ya ha tenido cierta repercusión en Sudamérica en donde editaron su primer split “Exclamation Of Hidden Disorders” y ahora también el más reciente "To Unleash the Eternal Misery" en donde comparten temas con lo argentinos Mount Depression. Este último split ha sido editado en formato cd por el sello Harsh Productions. La banda está presente en facebook, lugar en donde podemos enterarnos de todas las novedades que rodean al combo. 

Morbid Slaughter ‎– A Filthy Orgy Of Hor 15,99 €

Sello: Boris Records ‎– BR011

Formato: Vinyl, 12", Album

País: US

Fecha:04 Sep 2015

Género:Rock

Estilo:Thrash, Black Metal

12" insert with lyrics on one side and additional art on obverse

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OBITUS INTERVIEW

1. Obitus was born in 2000, after the release of your first demo and the split of the next year, there is a period that although you were composing music for a new album, within the group there was some instability, period that lasted about four Or five years. What happened at that time? At some point was the continuity of Obitus at risk? Perhaps due to this situation is Obitus decided to be a band of only two members?

JH: Obitus has since its inception been a two person band, there was never any instability. We’ve also always been a studio band and we’ve made recordings when we felt inclined to do so, during a few years we had competing priorities and as such didn’t produce any material.

2. At that time you formed part of the death metal band Vaticice - Clonaeon, which was dissolved and you created Obitus, what did Obitus offer you regarding Clonaeon? Black metal is the style in which you feel more comfortable to The time to express yourself?

JH: Let me clarify, as your timeline is not correct. Anders and I (along with several others) formed Vaticide in 1998, in 2000 Anders and I wanted to play more Black Metal, so we formed Obitus. During this time we were still in Vaticide. In 2002 Vaticide changed name to Clonaeon, in 2004 Anders left Clonaeon due to time constraints and then in 2005 Clonaeon split-up (amicably). There was never any friction between the two bands; we played completely different types of music.

3. With two albums released to date "The March of the Drones (2009)" and the most recent "Slaves of the Vast Machine (2017)", we can say that the sound of Obitus is a black metal rather, let's say personal, with Clear influences of black Scandinavian ninety, not exempt of certain technique, where also they are seen influences of the death and also with some doses of industrial sound, elements already present in "The March of the Drones (2009)" and that they are seen Ratified in Slaves of the Vast Machine (2017), I know that for you it will only be black metal, but are you aware of all these influences and style in your music? If so, can you explain a little of where they come from These influences?

AA: We have both followed the black metal scene since its inception in Norway and Sweden during the early 1990s. Obviously those bands have in some way or the other influenced us and our perception on 'what is black metal'. So, although on an unconscious level, there surely are traces in our music of the early Scandinavian black metal sound. But that is more on the level of 'being in our blood' rather than a calculated decision, i.e. we never made a choice of how Obitus should sound with reference to other bands or styles. We were, on the other hand, quite particular in what kind of impression we wanted to give our listeners.

4. One thing that stands out is the inclusion of a single track on the album "Slaves of the Vast Machine (2017)", an aspect that was already about to take place in the previous "The March of the Drones (2009)", What do you intend to transmit to the listener with this type of edition? However, although there is only one subject, it is true that we can appreciate the different parts of it and the different bridges that are uniting and giving consistency to the whole, was it very complicated to have to compose in this way or is something Your music needs

AA: The 'single track' approach is about immersion. No interruptions, nothing that breaks the illusion of being someplace else as a listener. And that is our intention – to take on our work as a one piece. Obviously, the choice is yours. 

Composing long passages of music is not complicated but presents another set of challenges compared to shorter pieces – how to create themes that could, although in different shapes, be reused; and, perhaps the greatest – how to renew but still staying within the same theme.

5. Speaking of composing, during these years you have not been a very prolific group in terms of releases, I suppose that although Obitus is important for you, in your life there are other aspects that are also like family and work, all Shapes, Can you tell us a little about how you composing?

AA: Composing comes with inspiration. On a more practical level, our 'single track' approach requires periods where I can work without long interruptions. Some level of continuity is necessary to stay in the mood and thus keeping the same tone and feel throughout the composition. And that might collide with the thing we call real life.

6. I guess the world around you is an inexhaustible source of inspiration when it comes to writing the lyrics of the themes of your albums, hatred, human weakness, common thinking, does Obitus somehow suppose a way of releasing and channeling These human miseries?

JH: While there is certainly much inspiration to be gathered from just reading the news these days, however in some aspects it makes it a bit harder. What was previously some dystopian future is now either reality or on the cusp of being real. On the other hand as miseries expand it should provide ample further inspiration. I remember reading something once, paraphrasing it went something like this: “We’ve got an Orwell threat model in a Huxley world. The danger isn’t that something bad happens; it’s that nobody cares”, as long as people don’t care the future is bound to be pretty bleak, which from a song writing perspective is helpful.

7. Sometimes you have a collaboration for choirs and help with the bass, although it is clear that Obitus is a band of two members, is it likely that some of these people will render their services and you can offer some concert, or another Is the issue of the concerts something already discarded by you?

JH: Obitus has always been a studio project, while we don’t categorically reject playing live I see it being very unlikely and many things would need to line up perfectly to make it possible. Think for a minute about our material, our last two albums consist of a single song about 45 minutes long. That’s about the length of your average live set for many bands, and we would end up playing one song from one album, I could imagine the audience feeling a bit ripped off: “I went to see Obitus and they only played one song”  … haha

8. The black metal of the nineties as musical style and movement turned out to be very attractive and an important influence for several bands, but to this day with which musical influences do you feel more identified?

AA: I feel inspired by those how dare try new things with a passion and conviction. There are several examples of such band in black metal, though few from Scandinavia. However, there are far more trying to recreate what once was, which for obvious reasons are doomed and paradoxical as well – black metal is many things, finding and following our own path is one of them.

9. From Göteborg and at the time in the ass created Obitus did not see you involved or attracted by the whole movement that emerged around that time around melodic death? Or on the contrary was perceived as something very great from the outside and yet in The city was not so much?

JH: Well in the beginning I think it was fairly well received all around, however as it became more of a trend quality started to decline and with it its standing among many of the musicians in the city.

10. I think you should be satisfied with the important repercussion that your album "Slaves of the Vast Machine (2017)" has had, were you expecting something like that? Of all the reviews received, comments, interviews, etc, which is what But have you been surprised?

JH: It’s hard to know what to expect, working as long as we do on albums we tend to be happy with the product once we release it, but you never know if the listener will feel the same way. So far reviews have been overwhelmingly positive, releasing a single track album like  “Slaves of the Vast Machine” is always a daunting task, I guess the biggest, positive, surprise has been that most people actually got it and enjoyed it.

11. How did interest and contact come from the Canadian record label Hypnotic Dirge Records to handle the "Slaves of the Vast Machine" (2017)? Are you satisfied with the work done by the label, in terms of editing and promotion?

JH: Well actually we were offered a deal with American “Black Plague Records” (BPR) they were going to co-release it with another label, however there were some delays getting the artwork done and once we were ready the label BPR were working with had already committed to other releases for the foreseeable future. So BPR reached out to Hypnotic Dirge (HDR) and they were willing to partner with us. So “Slaves of the Vast Machine” is co-released by BPR and HDR. Both have been very good to work with, HDR did a yeoman’s work in getting the release out to zines for reviews and helped with creating promo videos and PR so we have nothing but praise for them.

12. "Slaves of the Vast Machine (2017)" has been edited in digital format and cd, do you consider the possibility of a future edition in some other format? If you could choose between cd, digital, tape and vinyl formats, with which Would you stay

JH: Well it’s out on CD and digitally right now, I wouldn’t mind seeing it on vinyl, I know tapes are making some sort of comeback in the underground but I’ve never really been a fan of the medium.

13. With "Slaves of the Vast Machine (2017)", edited just half a year ago, what future plans do you have for Obitus in the coming days?

JH: Well for the time being we’re concentrating on promoting “Slaves of the Vast Machine”, at some point in the future we’ll start sketching on the next album, no idea when that’ll be or how long it’ll take. I’ve long given up trying to predict any sort of cadence between our releases.

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

JH: Thanks for the interview, if your readers haven’t checked out our material it’s all up on bandcamp, if you enjoy it let us know, we’re on most social media even if we’re bad at updates.

AA: The world is a dark place. Let Obitus be its sound track.

Nevoa – The Absence Of Void 13,99 €

Nevoa‎– The Absence Of Void

Sello:

Altare Productions ‎– ALTLP013

Formato:

Vinyl, 12", Album 

País:

Portugal

Fecha:

2015

Género:

Rock

Estilo:

Black Metal

Pistas

1 A Thousand Circles 

2 Wind And Branches 

3 Alma

Vocals – Cláudia Andrade*

4 Below A Celestial Abyss

Guest, Vocals – Pierre Laube

5 The Absence Of Void 

Compañías, etc.

Mastered At – Caos Armado Estúdio

Mixed At – Caos Armado Estúdio

Créditos

Illustration, Layout – Misanthropic-Art*

Mixed By, Mastered By – Daniel Valente

Performer – João Freire (3), Nuno Craveiro

Producer [Produced By] – Daniel Valente, Nevoa 

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