martes, 23 de abril de 2019


Pues ya tenemos lo nuevo de Itnuveth, fieles a su cita de lanzamientos anuales desde su creación, siendo en este caso un compartido con los logroñeses Cult of Self Destruction. Compartido de diez temas, cinco para cada banda, dando comienzo Itnuveth. Itnuveth lleva en activo desde 2013, a lo largo des estos años siempre ha tenido bastante claro y definido su sonido, el cual no se ha visto privado de cierta evolución, que creo se ha visto refrendada desde su anterior EP "Pagan Martyrs", en donde supongo que un elemento esencial para ello ha sido la inclusión de nuevos miembros. Cualquier seguidor de los inicios de Itnueveth no se sentirá en ningún momento defraudo por el sonido de los cinco temas incluidos en en este compartido y elementos característicos como son ese sonido que me atrevería a calificar ya casi como propio y que podríamos definir como una combinación de black y pagan con influencias de viking y death, se encuentra del todo presente. Sin embargo lo que hace diferentes y si cabe interesantes estos cinco temas es el hecho de profundizar en el sonido de su anterior obra, logrando si cabe una mayor variedad y riqueza de sonido. El ambiente épico se ha acentuado, las voces agresivas y profundas se ven acompañadas en ciertos momentos por otras de corte más limpio y melódico, los instrumentos de corte folk están mejor acoplados y logran una mayor presencia a la hora de lograr un ambientación más pagana y cierto tono épico. En ningún momento se ha perdido la agresividad de las composiciones de la mano sobre todo de las voces de Funedëim y lo riffs de Volundr que siguen sonando increíbles en un equilibrio muy logrado entre agresividad y melodía. Temas como "Hehoroth" es Itnuveth en estado puro, un tema rápido, agresivo y que contiene un riffs de corte melódico y pagan que suena increíble. Sin embargo otros como "Exile" o "On the Edge of the Morning", muestra mayor madurez compositiva, dinamismo e incorporación de más elementos ambient, distintos tonos en las voces y un corte más épico. Itnuveth lejos de conformarse y repetir una y otra vez las formula, sabe lo que se trae entre manos y aún siendo fieles a sus orígenes siguen sorprendiéndonos en cada nuevo lanzamiento (8).

Disco 1
1. Itnuveth - Touch of Gesta  
2. Itnuveth - Exile  
3. Itnuveth - Revenge  
4. Itnuveth - Hehoroth  
5. Itnuveth - On the Edge of the Mourning  
Disco 2
1. Cult of Self Destruction - Act I - 1348 (The Outbreak)  
2. Cult of Self Destruction - Act II - Danse Macabre (The Plague)  
3. Cult of Self Destruction - Act III - Yersinia Pestis (The Infection)  
4. Cult of Self Destruction - Act IV - Dies Irae (The Suffering)  
5. Cult of Self Destruction - Act V - Memento Mori (The Death)

domingo, 14 de abril de 2019


1. At what time do you decide to create a band like Orek? Why do you choose the name of Orek and what does it refer to?
Orek as a name has no meaning. As somebody that created art in form of drawings I have used that name before.

2. The creation of Orek can be traced back to 2011 but it is not until 2017 that you publish your first demo, what happened in all this time from the start-up of Orek to the release of the first demo?
I startet this project in 2011, to the same time as i started with the first steps of home recording. I was searching for the right sound that should define my style of Black Metal.

3 The edition of the first Orek demo is set in 2017, a demo of seven themes of primitive sound, dark and dense, where the underground takes shape and there is not much space for experimentation, beyond certain attempts to create some atmospheres in certain places, with a sound that could be called purely German, a definition that will accompany from here to Orek, meanwhile, how was the recording process and composition of this demo and how would you define the music it contains?
I would not say purely German, because I listen to so many different Black Metal bands from different countries all over the world.  Honestly the musical side of Orek is just recording the songs and riffs I hear in my head. The most time taking part was to find the sound I that would fit the songs. First of all the lyrics and topics in the lyrics should fit to the instrumental part and the lyrical content is pretty much the same with all the bands I grew up with. The themes of the lyrics deal with everything and nothing.

4. "Garten der Lüste" is the second demo of Orek, comes six months after the initial demo, with so little time in between, return to show a cold, raw and underground sound, that although it does not show much evolution, if It serves to define and make clear the proposal of Orek as a black metal band with a defined style, how does this definition fit to what you think about "Garten der Lüste"?
Of the lyrical content. „Garten der Lüste“ is a three piece painting or to describe it more precisely a triptychon from Hieronymus Bosch. The left part represents „garden of eden“ the middle part shows „the creation of the world“ and on the right side „HELL“. The lyrical content describes the right side of this piece of art.

5. In mid-2018 comes the shared with Ashtavakra where Orek brings the three songs that make up the B-side of the cassette, keeping the identity of its sound, although letting glimpse certain influences of the Scandinavian black sound of bands like Burzum, how did it arise the opportunity to make this shared with Ashtavakra? Do you think that in this work you can talk about a certain evolution in the sound of Orek with respect to the past, even preserving the identity of the sound of the band?
I know Ashtavakra (Greetings!!!) for a long time and we like the same style of Black Metal so that we chose to make a split release. The Scandinavian sound I didn’t really notice at first. When I was done recording and looked back I recognized that too that It has some Scandinavian influences soundwise, which is a difference to my first two demos. I would say that this sound still represents what I had in mind when creating this project. Mangy German Black Metal so to speak. ;-)

6. And at the beginning of 2019 comes the third demo edition "Kirchentag", six sound tracks if it fits more raw, direct and underground, forgetting if there are certain epic elements from previous works and including a version of "Tanz auf Deinem Grab" from Böhse Onkelz, well, what was inspired for the composition of the music and the lyrics of "Kirchentag"? And why do you decide to include the version of "Tanz auf Deinem Grab" by Böhse Onkelz?
That Song I liked since my childhood and just because it is no Black Metal song I thought it would be a misfitting and good song to put on my record. 

7. After three demos and one shared, how would you define Orek's music? And what are your main musical influences in terms of bands that serve as a reference when composing, as well as where do you get inspiration from the texts of the songs?
The lyrics just serve the music they have no big relevance in my opinion they are needed for the vocals to fit the music. My focus is the sound I create with my songs. Mostly there are no deep thoughts I did put into my lyrics. They are just existing because of the musical invoicing and to make the song complete. My influences right now come mostly from Finnish and German Black Metal. 

8. All Orek editions have been self-edited in a cassette format taking care of the details, do you consider self-publishing and a format like cassette as the best way to start for a new band? Has there been any record label interested in editing the music of Orek? in some other format?
I do not have any experiences with record labels and when I started to send them my first demo at the time I never received an answer so that’s why I chose to do It my own way and distribute it on my own. Wolfmond Production (Greetings!!!) are interested in releasing the Ashtavakra / Orek Split as a A5 Digi CD package and this release should come out in May 2019. This is a one man band and so far I have no plans to

9. Is there a possibility that some moment could offer a concert by Orek through the collaboration of other musicians?
Right now as I said before there are no live shows planned so far. 

10. What type and brand of instruments do you use for the recording and composition of Orek's music?
My main guitar is my Ibanez RG on which I composed and recorded all my songs. The bass I recorded with the cheapest bass guitar I could find in a music store. On the first demo there isn’t even a bass to have a really cold sound.

11. How were your beginnings in music: first concerts you attended, first CDs you bought? What echo in your life did you want to form a band and be a musician?
Since I can remember I have been listening to music and my taste of music always stood out. As a little kid I listened to Metallica and Motörhead and to a lot of Punk bands. I always had older friends that listened to Death- and Thrash Metal or German Punk music. The first Black Metal CD I bought was „Urga Karma“ from Impaled Nazarene and this record which I bought in 1994 was without pre listening. When I came home and put it in the CD-Player I thought something is wrong with the CD player but soon realized that this was the true music. That’s how it compelled me, hail Satan!! Black Metal was and will always be a part of my life.  My first concert I attended was a Böhse Onkelz gig in the late 90ies. A friend of mine left his guitar at my house and I just grabbed it and tried to play Six Feet Under songs while learning power chords.

12. Are you satisfied with the repercussion that you have had in the press and I publish the music of Orek so far?
It depends if somebody understands my music or if he can relate to it. I received so many different reviews but at the end of the day the musician has to like his own art. Your review I did like as far as what Google translator wrote.

13. What future plans do you have for Orek as future editions? Are you already composing new themes?
Right now there is a CD release for Kirchentag in the making. Right now I have no topic or conept for my 4th release. I need time to get some inspiration.  Another project I am working on with a friend (Goatkiller A.D.) is called „Kinder des Zorns“ (KDZ) and we are busy writing songs and when it is finished the possibility to play live could be pretty    realistic. 

14. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something more for the followers of Orek this is the place. I hope the questions have been to your liking.
Thank you all very much for your support .

- 300gsm Cardboard Jacket With 3mm Spine And Inside Flooded In Black
- 42g Black Vinyl
- Insert On 150gsm Art Paper
- Limited To 500 Copies


jueves, 11 de abril de 2019


Origen: Los Ángeles. E.E.U.U
Formados: ?
Estilo: Black, death, thrash
Temática: ?

  • Belen Guitarra y voces
  • Mars Batería
  • Rachel Bajo

  • Ritual Moon Demo 2019
  • 2020 Split Split 2020  
  • Ritual Moon I CD 2021  
  • Black Knife / Ritual Moon Split 2021  
  • Soulgrinder Zine - 4 Way Split Split 2021
Cuatro temas podemos encontrar en este debut en formato demo del combo de Los Angeles. "Passage" sirve de inicio a la demo, un tema instrumental, donde batería y guitarra cobran todo el protagonismo ofreciendo un metal de tintes undergorund, oscuro y profundo sirviendo de perfecta antesala a lo que vendrá después. Por que "Grave Soul" es un tema directo e incendiario, capaz de incluir diferentes estilos como el black y el thrash que se les presupone pero sin olvidarse de influencias death y por que no también doom, un tema oscuro, profundo, en donde las voces de Belen le aportan mayor profundidad al conjunto, formando un trío perfectamente engrasado entre voces, guitarra y batería. "Ritual Moon", el tercer tema de la demo, el más completo bajo mi punto de vista, un tema que sigue la línea de "Grave Soul", pero que sin embargo logra sonar mucho más melódico que el anterior, lo cambios de ritmo son soberbios, llevando al tema por terrenos más dinámicos y donde sin miedo a equivocarme diría que las influencias de bandas clásica del heavy como Iron Maiden por ejemplo, han tenido un peso importante en la composición. Para acabar "Uncontrollable Death", un tema mucho más rápido y directo, tal vez un tanto caótico pero que arremete con otras influencias más detth. Estamos ante lo que es la carta de presentación de este combo que viene rodado de otras bandas, que sin embargo en su primer acercamiento por terrenos del metal extremo han acertado. Sobre todo porque el talento es incuestionable pero también porque saben captar la esencia del metal extremo en su vertiente inicial y en un terreno más underground para darle una vuelta a influencias de bandas como Motorhead, Iron Maiden o Metallica (en este orden si se me permite), y ofrecer cuatro temas que nos han dejado ganas de más, que no es poco. (8,5).

1. Passage 02:09   instrumental

2. Grave Soul 03:45
  Every night at 3 a.m. 
You can't see it 
But you know it's there 
Waking up abruptly 
You can feel it 
Like hot breath of despair 

They went to old graves 
And they left an angry soul 
On your fucking lawn, bitch 
Now you're cursed for eternity 
And you're slumber-less 
The doom is near again! 

Grave soul 
The dead is coming after you 
Grave soul 
The dead is coming after you 
Grave soul 
Haunting thoughts, the death of you 
Grave soul 
You'll end your life, it's their goal 

They want your head, head, head 
They want you dead, dead, dead
3. Ritual Moon 04:12
  The night was cold and the moon shown bright 
Gathered my knives 'cause tonight's the rite 
One for each foot and one for each hand 
The ritual, unfolding, was to kill a weak man 
Our chants trapped him in the forest nearby 
Come forward, you fool! Tonight you will die! 

Look up to the Ritual Moon 
Look up to the Ritual Moon 

In, sliced the knives; his limbs against a log 
The ritual was perfect and in rolled the fog 
We laughed and cheered 'cause he thought he'd find love 
But our chants carried more than just a promise thereof 

Look up to the Ritual Moon 
Look up to the Ritual Moon 

He's not the first and definitely won't be the last 
Killing for our thirst, we kill these men pretty fast 
For as long as she shines bright and men keep following our cries 
Our rituals will unfold, and then another fool dies! 

Look up to the Ritual Moon 
Look up to the Ritual Moon 

Grant us your full power to maintain the tasteful onslaught 
Bestow your shining strength we use to lure men for assault 
There is no limit to our doings, it's what we're meant to do 
With charm and poise, we kill by choice 

Ritual Moon, we'll follow you
4. Uncontrollable Death 02:34
Everything around 
All that we consume 
Poisoning our bodies 
Yet we all continue 

Uncontrollable death 
Poison in your breath 
Uncontrollable death 
Rotting 'til there's nothing left

CD-R, Limited edition to 50 copies

Recorded live at Birdcage Studios in Pico Rivera, CA in February 2019.


viernes, 5 de abril de 2019


Good afternoon, thanks for answering these questions, how is everything going for Mantua?
Hail, here is V.P. Mutilator, drums and vocals. Here is the same everyday hell-hole submerged in fog and hatred!

1. Sadomortuary has been active since 2018 and was created by V. P. Mutilator and I. K. Terrorist, well, why do they create the band and why do they choose the name Sadomortuary? 
The band was created because of the urgent need to realize something brutal, cryptic, obsessive and obscure tormenting death-worship rotten noise of evil, inspired by classic bestialities like VON, old BEHERIT, BLASPHEMY, DEAD CHRIST. The name SADOMORTUARY came up very impulsively. It sounds good and it reflect perfectly the image of the sound and the band. I like to think about it as a sadistic crypt in which we are satanic black priests invoking the power of Darkness and breathe the smells of Death to get powerful and godly energies.       

2. It is interesting to know why two musicians like you are immersed in other projects such as Inverno, Necromutilator, Vollmond, Obscuritatem or Radon Trench, bands that to a greater or lesser extent are related to black metal, decide to join forces and create Sadomortuary. What major differences can the listener in Sadomortuary find with respect to the other bands of which you are a part? Is it difficult for you to keep the sound of Sadomortuary away from the sound of the other bands of which you are a part? 
Except for NECROMUTILATOR and RADON TRENCH you named all dead projects/bands. There’s many ways to create dark and evil music actually. SADOMORTUARY just answer to the need of a deep hunger of perveted worship of obscurity and tormenting evil sound. Of course it doesn’t represent a problem or barrier compared to other projects/bands music. It’s just a different way to walk the same path of Darkness and Evil.

3. To let you know you have come to edit your first demo "Sadomortuary" which consists of three themes of black death metal, dark and very rotten, how was the process of composition and recording of this demo?
Well, it was very impulsive actually. It just came by pure dedication and inspiration working on basic but very powerful riffs and minimal but solid drum lines. We recorded the demo in less than 3 hours using only a couple of microfones in the rehearsal room. The vocals were done without effects except for some delay and they consists in 2 different lines put together, but then we decided to use a pedal to recreate the same vocals in the later rehearsals. 

4. Von, the first Beherit, Blasphemy or Dead Christ are bands that throughout their career left us good works of black death and also somehow you notice that they have influenced your music, how are these influences reflected the sound of Sadomortuary?
Those influences don’t reflects SADOMORTUARY sound actually but just reflect a comparable sound maybe. Anyway those names represent a deep inspiration of course, but I think there’s a strong personal position in the making of the whole sound and band structure. There’s anyway a deep dedication and strong will behind every intentions in the way to give a pure identity to the band.

5. An element that transcends and that is completely present once we hear the demo is death, an element around which the lyrics of "Sadomortuary" revolve, why do you consider death a fundamental element to be treated in the demo? 
Death is a classic and important topic that we have always seen worshipped through many bands. SADOMORTUARY treat that topic as a basic element of dark powerful energy. By the way, all the lyrics focus on total horror. We just want to glorify that deep nauseating sensation of that paralyzing primordial “fear of Evil” that we want to put in opposition to the human instinct of survival. SADOMORTUARY is an inhuman entity and it goes beyond every safe-space/happy metal circus that now saturates most of the UG scenes.

6. How were your beginnings in music, first bands that I listen to live, first cds that were bought? What echo in their lives did they want to dedicate themselves to music?
Talking about myself, if I exclude AC/DC,  my very first baptism into heavy music were METALLICA and IRON MAIDEN. Immediately after the further step into brutality was because of SLAYER, CANNIBAL CORPSE, DARKTHRONE, MAYHEM. Of course the echo of all the classic, from the first to the last, is immortal. Personally norwegian black metal has the deepest impact and made me in the way to dedicate all my energies and time to create evil music. There’s a crucial time in the growing path of a metalhead in which everything it’s clear and a true identity take form.

7. Is there any chance that in the future they will be able to offer a Sadomortuary concert with the incorporation, perhaps, of a new member, or is it a possibility that is not contemplated?
Yes, we are going to do a debut live show next June 7th supporting Deiphago in Parma, northern Italy. We will have a third member as bass player for the gig. 

8. The demo has been self-edited on cassette, is it a good option to opt for self-editing in a format like the cassette for a band that is starting? Maybe the essence of black metal may still reside in part on the cassette as a format edition to be known through, for example, the exchange?
I think every demo should be out on cassette format, specially if self-editing. I strongly support tape releases for a demo. Maybe is not one only the essence of black metal, but the essence of all the extreme genres but I must say it’s not just about the kind format. Nowadays the essence is just about any format. The digital world allows younger (but not only) generations to get all the music they want just  through a phone or a pc. It’s not a totally negative situation but you can’t understand the essence of any music without listening it in a pure way. Exchanges are very important too, they are necessary for the growing of scenes and mutual support through bands and labels. 

9. You are in search of a record label, how do you search for the record label and what do you think it can bring you?
It would be good just having the right offer that the next work will deserve. 

10. Although the demo has just been published, what future plans for Sadomortuary, in terms of upcoming releases, editions, etc …?
We are focusing on writing new stuff, maybe an other demo tape for mid-2019, maybe a rehearsal tape, then we’ll see what happens. For sure we have many ideas to realize in term of new tracks.

11. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Sadomortuary, this is the place. I hope the questions are to your liking.
Thanks a lot for the support and the questions. Hail Darkness!!!

Gatefold sleeve, includes lyrics insert. Limited to 400 copies in white vinyl


miércoles, 3 de abril de 2019


Hace ya un tiempo que comentábamos aquí el primer Ep de este combo finlandés que tan buenas sensaciones nos habían dejado con aquellos primeros cinco temas de black crudo, directo y que nada tenía que envidiar en cuanto a influencias al sonido del black escandinavo de mediados de los noventa. El tiempo ha pasado, nueve años concretamente, y el combo sigue empeñado en mantenerse fiel a sus principios editando en este tiempo un Ep más y tres álbumes de estudio, siendo este "Devotion", el último hasta la fecha. Atrás han quedado, si puede definirse así, ciertos prejuicios hacia bandas que intentan recuperar la esencia del black de hace un par de décadas y lo cierto es que cuando se presentan bandas como Phlegein es imposible no añorar épocas pasadas dentro del estilo. "Devotion" contiene nueve temas que en un primer momento pueden parecernos simples, guitarra, batería y voces acaparan todo el protagonismo de manera directa y cruda, manteniendo en un segundo plano de cierta influencias pagana que hace sonar el álbum de una manera fría acercándolos a terrenos casi que depresivos. Tres elementos que de ninguna manera se pueden considerar simples en si mismos ya que el conjunto cumple su cometido, los incendiaros riffs, en lineas generales, crudos, agresivos, rápidos y sin desperdiciar la ocasión de colar algunas notas en tono más melódico pero en una línea muy destructiva, el mismo tono que emplea Blk en sus voces, que se muestran violentas y desafiantes, apoyándose muchas veces en el buen hacer de la batería que cumple un papel complementario amoldandose perfectamente a los registros que quieren transmitir. Desde luego esta última obra de los finlandeses se puede apreciar en toda su dimensión si tomamos como referencia el black escandinavo de mediados de los noventa, pero no por ello deja de sonar tontamente actual, completo, sólido y después de diez años de trayectoria muestra una banda que se sabe lo que se trae entre manos.  (7,7).

1. Violated and Crushed 05:10  
2. Fiery Heart 04:09  
3. De Coeli Ardore 04:41  
4. Abysmal Fire 06:04  
5. Death 04:24  
6. Fields of Madness 04:14  
7. Dawn of True Light 04:12  
8. Gateway 03:44  
9. Valkoinen kuningas 04:43