viernes, 28 de mayo de 2021

MALAKHIM

 


Origen: Suecia, Västerbotten

Formados: 2016

Estilo:  Black

Temática: Anticristianismo, ocultismo, satanismo y violencia

Enlaces: BandcampfacebookinstagramMalakhimspotify y youtube

Miembros:

  • AN Guitarra
  • AK Guitarra
  • E Voces
  • TK Bajo
  • VT Batería
Discografía:

  • Demo I Demo 2017  
  • II EP 2019  
  • Hic Rugitus Cavernarum Terribilis Directo 2020  
  • Theion CD 2021

THEION (2021)
Primer larga duración para estos suecos que entregan un obra de black que recuerda a la escuela escandinava y que ofrece una buena dosis de violencia y oscuridad. Estamos ante una obra densa en cuanto a sonido, sin partes destacables, en donde todo funciona como un ente perfectamente engrasado y en donde sorprenden algunos cambios de ritmo que logran si cabe ofrecer una mayor dosis de violencia y oscuridad aunque estas partes se entregan en forma de momentos más lentos. Las guitarras suena afiladas, sin caer en líneas melódicas, pero si que algunas veces nos trae algunas reminiscencias más clásicas dentro de su sonido enfrascado en la densidad y la oscuridad. Otro tanto podría suceder con la batería, manteniendo una línea bastante definida en pos de marcar un ritmo constante pero que se entrega con ferocidad cuando la música se adentra por terrenos más violentos. Las voces se muestran profundas, en un medio tiempo entre el sufrimiento, la violencia y las agresividad, sin saturarse en exceso y fluyendo perfectamente en la mezcla. El álbum en definitiva responde a los patrones del black escandinavo, pero Malakhim han sido lo suficientemente hábil para incorporar influencias de otras escuelas, dando como resultado un trabajo que resulta por momentos agobiante, cumpliendo en su faceta más ocultista y violenta. (7,6).


1. There Is a Beacon 06:57
  There is a beacon a shining monolith in the dark
At the furthest edges of life there stands a beacon
Lit by the merciless, hungering fire of Satan
Fuelled by the wavering essence of God

A lighthouse lit by Satan’s fire
A gleaming path towards the Abyss

There is a beacon before which man is but a vessel of clay
To be filled by the raging adversarial fire

That burns the essence of God away
A monolith of blackest night

A flame that beckons in the dark
Ignites a sinister urge inside

Sanctus, Sanctus, Sanctus
Lux aeterna!
Sanctus, Sanctus, Fiat lux
Lux aeterna!

There is a beacon within the pitch black abyss
There stands a beacon ignited by unquenchable hunger

To explore beyond the reaches of life
It beckons me, this haunting light

A sinister calling that beckons in the Night
A sinister spark that calls towards the Abyss

Sanctus, Sanctus, Sanctus
Lux aeterna!
Sanctus, Sanctus, Fiat lux
Lux aeterna!
2. Merciless Angel of Pestilence 03:56
Merciless angel of pestilence Vomit your gospel of rot Desecrate the sanctity of life In a rapture of gore and pus Crooked fingers beckon towards damnation Decaying lips that part for a final kiss Merciless angel of pestilence Anoint your chosen with death Demolish the sacred temples In feverish ecstatic frenzy Spread your wings across To eternally darken the skies Pluck the stars from the heavens And drain their essence away Archangel of the mass graves May your rotting seeds explode in bloom Desecrate the gilded halls O blessed murderer of the holy child Veins that burn with fire and void Voices that speak without breath Spread your blessing Of scythe and sword To stab and rend To maim and kill Wounds that weep Wounds that sing Wounds that speak A M E N! 
3. Slither O Serpent 05:22
Ancient Nightside Serpent Uncoil from the Abyss of the mind Fangs that drip with with venom Buried within my flesh Poison me! Poison me! Murder the Light within Slither, O Serpent, slither once more Through my veins Fill me with void Whisper, O Serpent, whisper once more Into my heart Sow your wisdom once more Ageless Bloodthirsty Viper Strike against the fetters of Creation Yes, I erect your Temple Within and without Ignite in me the raging fire To cross beyond the thresholds Into the serpentine womb Slither, O Serpent, slither once more Through my veins Fill me with void Whisper, O Serpent, whisper once more Into my heart Sow your wisdom once more
4. Chalice of Ruin 05:02
For He speaks with thunder!
For He sings with flame!
He is crowned by a halo of bone
He is risen! Give praise!

A thousand mouths that yawn and clasp
A thousand eyes that see without sight

Blessed are those
Who sow salt in the wounds of Christ

Now bear witness to the coming
As the earth now heaves in pain
Now bear witness to the crowning
As the beast claims the throne most high

Hear the calling thunder
See the cleansing flame
Crowned by the halo of death
He is risen! Give praise!

Blessed are those
Who wear the mark of sin
Behold the graveyards
Where creation lies

Arise, Great Devourer
Ascend, Great Destroyer

Eternal opposer of life

Empty the chalice of ruin over creation
And in the heart of man, hope turns to dust!
5. His Voiceless Whisper 04:56
And within the fetid soil of the world The Tree of Death has set its roots Drinking deep the blood of life As it flows from the throat of the godhead The thunder roars As the abyss opens up once more Can you see the drowning darkness Yawning like an open grave And each branch of this Tree Now adorned by a noose Hungering to encircle your throat With a final embrace And in the void Between the beats of a heart Where life becomes death becomes life He rests, to speak The breathless whisper of the Devil At the back of your neck Do you hear His voiceless whisper? Do you feel our Masters call? Will you call with me into the night? And embrace the horrors that come back And in the darkness within A promethean fire now burns A shining spark to lift the veil And illuminate the path Do you hear His voiceless whisper? Calling from the dark Will you take my hand this night? To receive the Devil's mark  
6. Hammer of Satan 03:39
I am the hammer of Satan The iron fist of your utter damnation I am the spear of negation Poised to strike at the heart of creation So behold and rejoice as from folded dimensions Come many-eyed horrors that twist in dementia REJOICE! REJOICE! MESSIAH OF THE CROSS THIS SAVIOR OF PIGS REJOICE! REJOICE! COME NOW OH LIGHT SHINE WITH PERDITION'S MIGHT I am the hammer of Satan In fire crowned I wield the sword of damnation It sings with the song of your demise In the shadowless folds of space and time The chatter of teeth, a hunger divine Something awakens to feast and devour Radiant horrors now awaken REJOICE! REJOICE! SWINE OF THE CROSS YOUR EMPIRE FALLS REJOICE! REJOICE! BURNING SO BRIGHT SEE THE FIRES OF DAMNATION ALIGHT! Hammer of Satan Hammer of Satan Hammer of Satan Crushing their temples  
7. The Splendour of Stillborn Stars 05:08
As we erase our names from the book of Life Do you hear the calling from the valley of Death So let us bare our flesh at the altars of Sin And embrace the burning madness within So hear the call from the funeral pyre Death, rising in a maddening form A thousand spears, stabbed into the mind A feverish trance of the flesh Bask! In the radiating glow As a million suns kill with ease Blind us! Blind us all to grant us sight Eradicate! Erase! Blind us! And in the dust, amidst the cosmic graveyards The carcass of the impotent godhead lies As we dance in the dust of her fallen temples We behold the splendour of stillborn stars Tremble! In the horrid presence Of entities beyond time and space Blind us! Blind the heavenly orbs Eradicate! Erase! So, hear the calling from beyond the stars In lucid dreams the path revealed A million suns, begin to glow To set creation ablaze!  
8. Theion 06:01
  From the highest of mountaintops
At the spine of the world
See the splendour of the beast
Crowning the peaks

Hear! The trumpet sounds
It calls for the end of you and I
Behold as the flames of perdition
Lick the cradle of all civilization

Radiant morning star
Golden son of the morning
Tempter! Seducer of man!
Ruinous liberation you bring

Break now all illusion
Let the laws of old crumble
The tablets of stone, shattered again
As the laws of God inverse

From the deepest of the oceans
At the watery womb of the worlds
Ancient evil awakens
Breaking the waves

Hear! The trumpet sounds
It calls for the end of you and I
Behold as the blood of creation
Seeps forth in a wave of damnation

Radiant morning star
Golden sun of the new dawn
Serpent! Seducer of hearts!
Illuminating fire you give!

Break now all illusion
Let the firmament crumble
The pillars of the temple, shattered again
As the order of God inverse
  41:01






BLACK VINYL // 180g (Heavy Vinyl), 300gsm Cover, Insert, Paperbag, Poster in A2 format






miércoles, 26 de mayo de 2021

LOCUS NEMINIS

 


Origen: Austria, Traun/Linz.

Formados: 2008

Estilo: Black sinfónico

Temática: Espacio, muerte y pesadillas

Enlaces: Bandcamp y facebook

Miembros:

  • Antimaterie Teclados
  • J.P. Guitarra
  • Ramiz Batería
  • Xarius Bajo y voces
Discografía:

  • Endlos Demo 2010  
  • Weltenwanderung CD 2012
  • Verborgen in der Zeit CD 2020

VERBORGEN IN DER ZEIT (2020)
Después de un relativo largo período de silencio los austríacos están de vuelta con un álbum bastante ambicioso en cuanto a sonido en donde se dan cita elementos del black sinfónico como base del mismo pero en donde también podemos disfrutar de elementos ambient, death  y muchas veces del carácter épico como resultado final. Estamos ante un álbum extenso, poco más de cincuenta minutos dan cuenta de ello, en donde en un primer momento llama la atención lo potente y directo de las composiciones, dibujando un paisaje tanto de desolación como de furia. Sin embargo estás primeras sensaciones que surgen del protagonismo que pueden llegar a tener los teclados que aportan un carácter sinfónico al álbum, pronto dejan paso a espacios de mayor riqueza sonora con un buen número de riffs de carácter potente pero sin perder cierto tono melódico. Todo ello viene acompañado de una batería densa y potente, a veces deudora de estilos como el death en sus diferentes vertientes, aspecto el del death que también se muestra bastante presente en las voces. Al tiempo que el sonido se muestra tan rico en matices tenemos que añadir algunos pasajes más limpios y lentos que ejercen de catalizador de la propuesta, salpicando los temas con aportes que nos traen elementos más ambientales y donde la melancolía de alguna manera y la soledad hacen acto de presencia. No podemos pasar por alto tampoco la épica que rodea a la mayoría de las composiciones, fruto sin lugar a dudas de la potencia que emana de las baterías y del tono más melódico de las guitarras en ciertas secciones. Un álbum ciertamente equilibrado, bastante complejo de encasillar al ofrecer de manera acertada variedad de estilos perfectamente engranados. (7,7).


1. Sagittarius A 06:40  
2. Ex Machina 05:21  
3. Im Aphel des Vortex 05:40  
4. Für die Ewigkeit 05:41  
5. Erschaffen aus dem Nichts 04:43  
6. Monument 04:34  
7. Verborgen in der Zeit 06:13  
8. Nur das Rauschen des Signals 04:16  
9. Zerfall zwischen toten Sternen und Staub 07:12  
  50:20





Split album with Malum (Finland) & Insane Vesper (France). Available on gatefold LP





domingo, 23 de mayo de 2021

TRANSILVANIA

 


Origen: Autria, Innsbruck.

Formados: 2014

Estilo: Black, thrash

Temática: Horror, satanismo y vampirismo

Enlaces: Bandcampfacebook y instagram

Miembros:

  •  D. D. Stumpp Guitarra
  • H. Paole Grando Batería
  • O. von Schwarzenberg Guitarra
  • P. Čachtice Bajo y voces
Discografía:

  • Morbid Majesty EP 2015  
  • Transilvania / Kafirun Split 2016  
  • The Night of Nights CD 2018  
  • Hekateion Single 2020  
  • Of Sleep and Death CD 2021
OF SLEEP AND DEATH (2020)
Segunda entrega para estos austríacos que ya habían dado muestra de su potencial en el anterior "The Night of Nights" (2018), pero que se ve superado en este nuevo álbum. Lo expuesto en el pasado, esa mezcla entre sonidos black/thrash que se sigue mostrando en este álbum como principal influencia y base sobre la cual construir el sonido, sin embargo estamos ante un trabajo mucho más elaborado y rico en sonido. Un álbum que no desentonaría muchas veces en un estilo clásico de comienzos de los noventa, cuando las influencias thrash se hacen más patentes, pero Transilvnia trae nuevas sonoridades y componentes a su propuesta. Por una parte tenemos el black melódico que logra un gran protagonismo, construido sobre una base de riffs densa y cruda que muchas veces le da un toque medieval al conjunto. Otra nueva influencias la podemos encontrar en gusto por los sonido ocultistas y clásicos dentro del rock, presentes en forma de estructuras que dan la impresión de ser simples y sencillas pero que encierran algo poderoso y oscuro en su interior. El ritmo es bastante constante la mayor parte de las veces, con una interesante presencia de batería que no es óbice para ofrecer algunos cambios de ritmo y registro, pero siempre conservando el patrón inicial. Las voces si que se muestran bastante agresivas y oscuras, sin descartar cierto dinamismo pero al mismo tiempo siendo capaces de transitar por pasajes de influencias muy clásicas. En definitiva, el nuevo álbum de los austríacos mantiene las seña de identidad black/thrash, pero sonando mucho más rico gracias a un mayor número de influencias. (8,3)




1. Opus Morbi 07:36  
2. Hekateion 04:45  
3. Of Sleep and Death 06:31  
4. Lycanthropic Chant 04:59  
5. Vault of Evening 05:47  
6. Heart Harvest 07:04  
7. Mortpetten 05:32  
8. Underneath Dying Stars 07:45  
  49:59





Comes with both side printed insert
Limited to 350 copies





lunes, 17 de mayo de 2021

MARKGRAF - INTERVIEW



1. When did you decide to put Markgraf into operation? Why did you choose this name and what to refer to?

It all started in 2019 as a little experiment to see if I could add excentric vocals from traditional Heavy Metal Bands like Mercyful Fate or Cirith Ungol to extreme metal. The name itself refers to the rich history of aristocracy in my area so it was kind of the first thing that came to my mind.


2. Is there a relationship between the German region of Baden Baden, the Black Forest andeverything that is related to the band from the music to the theme?

The town Baden-Baden is located at the border of the Black Forest where most of the tales that we are retelling in our songs take place. There is this old building – the “Trinkhalle”-where there are many beautiful frescoes about the local mythology. You can also find them easily on the internet if you want to take a look at these frescoes (what I highly recommend).


3. The other formations of which you are members are not related in a totally direct way with black metal, when recording this “Markgraf” how did you face immersing yourself in a style to which you are not all related? How was it? the entire process of writing and recording the album? What brands of instruments did you use during the writing and recording process?

The groundwork for the album (composing, lyrics etc.) was done all by myself (Ódio) however what I love to do when working with other people on music is to find musicians who are capable of transfering their personality into their instruments. Der dicke Mann for instance is a huge Bossa Nova and Flamenco fan who does not really try to play undertones. There are moments on our album where you get bass lines and leads that go into Jazz territory and some notes may even sound “wrong” to some listeners but that’s really what I appreciate about music – when you get surprised or confronted with little details that catch your attention.That’s when it becomes personal and emotional. Our drummer Commander of Sonic Noise Warfare is a different kind of beast. I play in a Heavy Metal band (STEALTH) with him and he has a very unique approach to music. He is just excited about playing any music and I have never met someone so positive.

4. One of the notable aspects of the album is in the sound of the drums by Commander of Sonic Noise Warfare, how was the drum recording made and in what way did a drummer that is not entirely related to black metal? Have you achieved such a remarkable sound and adapted in some way to the genre?

Even though he does not listen to Black Metal he still never backed down from trying different drumming styles and with his Jazz background it was easy for him to adapt the style and it came out as raw as it was intended. Regarding the recording sessions in general – it was a zero bucks production in our rehearsal room and at home. My friend and producer Bruce Artur did an amazing job with the entire production even though he’s not into Black Metal at all. For all the bands out there:Just get a cheap interface, two mics and bring alot of friends to play some music and you got an album recorded. And yes - it’s that easy.


5. Then there is the combo of voices and guitar that provide that tone of styles such as heavy or speed, how have you managed to fit this whole section with the voices of “Ódio”? What classical bands have been able to influence you at the time to define your sound?

In the beginning there was the question wether it is possible or not to do “Cirith Ungol vocals” over Black Metal. From that point on it kind of developed itself to the final songs you are listening to.

6. Although the sound of “Markgraf” picks up a lot of classic elements within heavy or metal, it is also true that it leaves an aftertaste of darkness and occultism in the background, how would you define the sound of the album?

The foundation of the entire guitar sound are non-metal bands from the Jangle Pop and Bossa Nova spectrum. The idea basically was to do something like Johnny Marr goes Black Metal.There are a lot of references to traditional 80s Heavy Metal bands, mostly NWoBHM, Flames of Hell, Cirith Ungol, Mercyful Fate, Mefisto, etc.. The heavy parts are infuenced by Sarcofago, Master’s Hammer, Merciless and contemporary USBM bands with melodic riffs.

7. Regarding the theme of the album, it is related to the myths of your place of origin, what can you tell us about this theme and why do you choose to deal with it? Do you adapt the music to the lyrics or vice versa?

The mentioned frescoes were a huge part of my childhood. I loved the tales and myths back then when my parents took me out for a walk and passed through the Trinkhalle and I really wanted to retell these stories for a bigger audience. You can go visit and see all the spots of the tales around the area of Baden-Baden. Regarding the writing process – I always write the music first and adapt the lyrics to it.

8. The album cover has a very medieval and pagan feel. Who was in charge of the design of the album cover and how does it relate to the content of the album?

David Glomba did an amazing job with the Artwork. He captured the essence of the mythology and put many references on the canvas. We wanted a cover that catches the attention of Black or Heavy Metal Fans and seperates itself from the rest of the usual Black Metal cover artworks. It’s colourful and vibrant – just as the tales and that’s really the point. It’s an eye catcher that makes you wonder what you are looking at.

9. Blutrausch Propaganda has taken care of the album edition. How did the possibility of publishing the album through this record label come about? How did the possibility of making the vinyl edition come about? Are you satisfied with the editing work and promotion carried out by Blutrausch Propaganda?

Well I am the owner of Blutrausch Propaganda and this album was perfect to figure out how to get into 12inch production. Luckily I got into contact with Flight13 in Karlsruhe who delivered a fantastic product. As a vinyl collector I was very happy with the quality and I will definitly continue to use their service.Promotion wise I’d like to thank Greg Biehl, Goniloc, Dutch Pearce and Decibel Magazine for putting us on the map. Ironically people from the US are more interested in Markgraf than germans. I guess the rest was simply mouth propaganda and additonal attention by Nihilistic Noise Propaganda and Red Door Records who were kind enough to distribute the album in the US. A special shoutout goes to Abart Corruptions who did the tape release. As you can tell we promoted the album within a microcosmos of the DIY Black Metal scene.

10. How were your beginnings in music: the first albums you bought, the first concerts you attended, etc ... What made you want to be musicians?

My mum confronted me with alot of brazilian folklore and my father got me into the Beatles at a young age. Later on I fell in love with NWoBHM and brazilian first wave Black Metal and at some point I started to explore any kind of music, wether medieval, modern, electronic, avantgarde, etc.. The StudioEins record store in Karlsruhe is my go to place to discover new stuff. I developed the habit to buy albums randomly just for the sake of surprise.I think that honest display of expression and raw emotions was the reason why I got into playing an instrument.I enjoyed the Keep it True Festival for a while and Chaos Descends but what really gets me into live performances are the little gigs and DJ Nights at the Alte Hackerei in Karlsruhe.Every night something new and raw, always personal and the staff is simply the best. 

11. In a period of restrictions such as the current one due to Covid-19, how do you think it has affected you in terms of promotion and sales? How do you think this time has been beneficial for people to discover new bands, etc. ..?

I think so. People are begging for gigs and festivals and they are currently getting their fix with all these new albums. There are more discussions, people share their new discoveries –it’s pretty cool and I hope that they’ll continue with that even after the pandemic. People complain sometimes that the music market is oversaturated but I don’t really see the issue. More IS more and it’s cool to have multiple choices. On a personal note: I had more time for music and crafting and got me into a great working flow. It really is the golden age of basement dwelling hahaha.


12. Which album represents to you the essence of black metal? What albums have you bought recently?

I.N.R.I. by Sarcofago. Without a doubt. Any kind of extreme music sounds better when the musicians are pissed and you can hear it. Authenticity and intuition are key to good music.I recently got some new releases of Nihilistic Noise Propaganda and Red Door Records and this neat little demo from Tupperware (American Underbelly) but I am really looking foward to the Blutschwur EP I ordered and I wanted to get Liquids (Life is Pain Idiot).

13. What future plans do you have for the band in terms of upcoming releases, reissues, etc ...? Will there be chances of seeing them on stage?

The second album is already composed and we’ll record and release it in 2022. We are taking our music to new extremes and it will even be more adventerous and experimental. Lyrically we simply continue with our concept and hey MAYBE we’ll even get ready for some gigs event though that’s not really my ambition at the moment. I prefer recording and composing over playing live to be honest but there will definitly be a gig down the line some day.

14. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Markgraf fans this is the place. I hope the questions have been to your likingThank you for approaching us and for your time.

To all the fans and non-fans: Keep your heads up and we’ll return better and stronger than ever.

Cheers

-----------------------------------------------------------------------------------------------------------------------------

Erazor - Dust Monuments 11,99 €

Vinyl, LP, 45 RPM, Album, Stereo





GOLGATA

 


Origen: Suecia.

Formados: 2014

Estilo: Black melódico

Temática: Filosofía oscura, historia y naturaleza

Enlaces: Deezerfacebook y spotify

Miembros: 

  • Spokesman 1 Guitarra
  • Spokesman 2 Bajo, guitarra y voces
Discografía:

  • Skam CD 2019
  • Tempel CD 2020

TEMPEL (2020)
Segundo álbum para este combo sueco que entrega un trabajo de black melódico, con un sonido que sin llegar a ser del todo pulido si que ofrece en conjunto un importante contraste entre sus influencias más clásicas, algo de lo-fi, pero sin renunciar a una producción bastante acorde con los tiempos que corren. El guitarra vs batería es muy completo, por un lado los blast-beats constante, densos, a veces contundentes y profundos marcan el paso, dando pie a un más que acertado elenco de inspirados riffs, con ciertas reminiscencias al clasicismo dentro del black melódico, en general bastantes limpios que pueden también recordar a influencias paganas o medievales en cuanto a estructuras. Las voces la mayor parte de la veces optan por un tono frío y oscuro con un componente de agresividad pero que no se llega a desencadenarse del todo, ofreciendo también un acertado contraste cuando pasan a un terreno más limpio, casi que coral, sin en ningún momento tener un peso especifico importante, cediendo mucho de su protagonismo al apartado instrumental. Un álbum que en líneas general cumple con los que presupone para un álbum de blak melódico, estructuras que nos traen pasajes evocadores, acertados cambios de intensidad, capaces de ofrecer agresividad y violencia en contraposición a otras mucho más intimistas, sin renunciar en ningún momento a hundir sus raíces en los clásicos al tiempo que sabe aportar algunos toques más recientes a su sonido, para completar un cuadro con pocas fisuras, perfectamente compensado. (7,8).




1. Tempel 04:48  
2. Månspegel 04:33  
3. Råttfångarens dans 04:06  
4. Låt klockorna klämta 04:14  
5. Du stod vid min grav 05:08  
6. Rädsla är allt jag har 04:16  
7. Bojor 04:41  
8. Med din kyss kom mörkret 05:19  
  37:05





Limited to 100, handnumbered copies. 180g (Heavy Vinyl), 300gsm Jacket, Xeroxed A4 Inlay, Poster in A2 Format





viernes, 14 de mayo de 2021

DEVENEROR - INTERVIEW



1. At what point did you decide to put Deveneor into operation, what does the name Deveneror refer to and why did you decide to use it?

Deveneror was born as the aftermath of the first of a series of theophanies we’ve been experimenting so far. This first inner experience was translated into music by NK in a week, 1 song per day. It was under this process that we decided Deveneror would be a “band”. 

Deveneror means “worship”. It can mean similar things depending on its declensions. The band’s name came up while reading Ovid’s Metamorphoses, shortly after finishing the recording of Kenoma. It was a logical choice provided it arrived to us at the perfect time and place. Also the book itself showed some connection to the work we were doing.


2. With two albums already released; Can you describe a little about the process of composing and recording Devenor's music and a little the terms related to “Theophany” and “Epiphany” as a source of inspiration to compose? How important is an instrument like the bass when composing the music for your latest album?

We use the terms theophany and epiphany as synonyms, given we don’t know exactly where these manifestations come from, so we just can’t say we’re in touch with a certain deity or if it’s just a form of existence we, as humans, aren’t supposed to perceive by conventional means or with our mere physical senses.

Our albums all done in the same way and they are recorded/translated as the source comes to us: The experience happens. We feel compelled to translate it in a physical or observable way, like a drawing/painting, text and/or music. We record the instruments in a sort of automatic way, like automatic writing. The songs flow through us from beginning to end; sometimes the performances recorded are left untouched for the entirety of a song, sometimes the source leaves some empty sections for us to complete with our own musical background. Kenoma was recorded almost 100% automatic as it was the first experience. Malleus was done mostly automatic, but NK wrote the basslines himself, as well as some sections here and there in the other instruments.

Vocals usually comes last, as the music is being materialized, we discuss the implications of the experiences that served as source for a given album. We talk about the concepts and lyrical themes involved, then MR records vocals at his own pace.

Now, Malleus is actually the 4th album we’ve done so far. Between Kenoma and Malleus we recorded 2 full albums that will be released at some point, each inspired/fueled by these experiences. Our connection to the unknown is different now than it was in 2017 as it’s more permanent instead of propelled by single events, but it still works more or less the same way.



3. How important are all arts related to the occult or more rational elements such as philosophy to you in shaping the concept of Deveneror's music? Have you evolved this concept over the two albums? Who takes care of the lyrics of the songs and in what way do they relate to the music? In what way is the thought of a philosopher like Nietzsche a source of inspiration for you?

We are not “occultists” as most people understand that concept. We don’t draw any inspiration from any occultist author, book or source at all. It’s not our intention to be “occultists”. Deveneror wasn’t born as an “occultist” band. It simply came to exist. It can be called a sort of vessel for occultism in the most primitive sense of the word, but not as many bands, like the ones that go for “the evil” themes because they fit the music or because it’s the norm within extreme metal. We record and write what we’re compelled to do. We don’t make black metal in terms of choosing a musical style to develop neither we feel represented by the style’s standards. Our music can be called black metal because it sounds like it, not because we strictly made a conscious decision of making this sort of music. The 5th album we have recorded sounds like a mix of lots of elements, many unrelated to black metal. It still sounds and feels like Deveneror, as the whole point of this band to exist is to materialize these metaphysical experiences, whatever it might be and what ends up as music.

Themes within each album are discussed by both of us. For Malleus we decided to work with certain ideas that we found pertinent to address. The music and the images we received as source matched these ideas and we found that the interpretation of them worked within the experience, so it’s still a very cohesive and consequent body of work.

Regarding Nietzsche, we decided to use his work to destroy Dogmas. There are several dogmas ruling and/or affecting our world and society, like religion, politics, even economics have become unbreakable rules that binds and oppress people. Latest pandemic has shown how fragile human life, society and “progress” are. 

When people is being possessed by fear, it tries to cling to whatever they feel safe, like religion or certain political ideologies. It’s no coincidence that both religion and politics are reactionary, as opposed to science and philosophy.

So, we used philosophy as a way to attack and eradicate the reasons behind religion and politics, especially the most extreme branches which unavoidably have destroyed or damaged our existence. It’s also not a coincidence that both have led to totalitarianism, bloodshed, suffering and involution of mankind. 


4. Your last album is about the liberation of the dogmas of the human being, could you expand a little on these concepts and why do you consider interesting to treat them in your music? Who was in charge of the design of the album cover and how it relates to the content from the album?

These are times of uncertainty. People is afraid of many things. World seems more unjust and harsher than ever. Groups of interest look to fester in this fear. Within them, you have radical religious groups, terrorists and even neofascists, like the ones who invaded the Capitol. That people is afraid in such irrational way they even go against everything they claim to defend just to get what they want. History repeats itself and that’s just sad. Maybe it’s in our nature to be self-destructive as species, maybe the foundation for the “progress” of the world is just wrong and makes us as society to live these eternal cycles of pseudo prosperity and crisis.

In a way, the epiphany sort of predicted what Covid would do to the world. The plague doctor is both a literal and figurative icon about the fragility of mankind in every sense; physical due illness and also in spirit, as these times have shaped people to forget about the most intimate and personal developments and be more preoccupied about superficial and meaningless things, created to keep is distracted from reaching our true potential.

The basic idea of the album’s art came from the epiphany that fueled it. We talked about this experience with Isabel Ariza who painted our logo back in 2017. She is totally unrelated to black metal personally, but she has the knowledge and understanding of many things, as she’s also a Scientist. So, when we discussed these themes with her, it was very easy to get a picture of what we would eventually use.


5. All these philosophical concepts that populate your music, are they a natural way of evolution within black metal beyond the classical mythological and pagan themes? How do you think the black metal scene has changed over the years? How does a band like Deveneror fit into the American black metal scene?

Our involvement in black metal is by association only. We don’t draw inspiration from it in a conscious way. Our themes are unrelated to black metal by default. Evil, as a fantasy theme like mythology, can sure work within artistic works but it’s not our intent to write “Evil” albums, especially “evil” music and lyrics for the sake of fitting a musical style or get a better response from the audience.

Kenoma was all about spiritual illumination and shedding earthly boundaries to reach our maximum potential as divine beings. One of Malleus’ strongest attacks is against totalitarian ideologies, like National Socialism (it can be applied to any other form of totalitarianism like Communism, it’s not about taking any side). These ideologies are devoid of any sort of intelligence and logic, existing only in people afraid and ashamed of themselves with the sole purpose of hating and harming others. 

Mysticism in entertainment can be “cool”, but not in real life. It has been the mysticism that have blinded mankind for way too long, so we try to not fall into the mystical territory in terms of validating or adding metaphysical elements to a musical style that never had them in the first place. Black metal, as for the rest of the extreme metal styles, was born the same: a bunch of teenagers wanted to play louder and faster. There was nothing mystic or spiritual about it. Black metal is just another dialect within the huge language called music. 

The black metal scene has changed, in our opinion, for the better. There was a time where childish elitism prevented and attacked certain bands and styles for trying things outside “the norm”. Black metal never had any norm set in stone to begin with. Now you can find black metal of the highest quality everywhere in the world, each region developing a different take on the style, expanding it and erasing any sort of rigid structures within it.

About us fitting into this scene? We hope we do, hahaha. The USBM scene is really strong with some of the very best bands on the planet hails from here.


6. Although they have only released a couple of albums, there is a certain evolution between them, especially in this second “Malleus Philosophorum”, there is a greater complexity both in the music and in the theme. How has the composition process been? Regarding the first album, what do you think has evolved in the band's sound between these two albums?

As mentioned before, Malleus is our 4th album, so things have naturally evolved in terms of translating the material and the know how in the process.

The interesting thing about our journey is that these inner experiences have “upgraded” us. Kenoma, as the first experience was incredibly demanding, physically and technically speaking. Some of the recorded material on that album was done far beyond our capabilities at the time and as such, it took a tremendous toll on our bodies. After recording the album, NK had to stay in bed for few days to recover, where he found out that he could do things that otherwise could have taken far more time to master. 

So, when Malleus was done, our skills were far more developed and used to these demanding sessions. The whole album took only 5 days to be ready but still was really intense, enough to make NK take a break from drumming for a few months.

Regardless of whatever band might claim, every single metal band records music with the same tools and processes. Even us, who get the musical content from sources unknown, still use standard musical instruments like guitars, bass, drums and piano. We upgraded our instruments from Kenoma to Malleus almost entirely, thus, we got a better result in the recording and mixing. We did a massive upgrade once again, which we used to record the upcoming 5th album. The sonic difference is massive. 



7. Although the process of composing and recording Deveneror's music is a very "intimate" process, if you have opted for mastering with Jamie King. Why did you decide to work with him? What do you think he has contributed to the final result of the album?

We work in a totally hermetic way for recording and mixing. Once we had each album completed, we thought we had to seek for some extra advice in sonic terms, so that’s where Jamie came in. He gave the albums the extra punch and finesse we were looking for.


8. Vargheist Records has taken care of editing the album, why did you decide to work with Vargheist Records to edit your music? Are you satisfied with the work done by them?

We met Justin (guy in charge of the label) from related bands, he and NK are involved in a couple of bands as members, and we considered him to be a honorable man back then. We did a deal with them for 2 albums, which we fulfilled as for 2020. For our next albums, we’re exploring options, as the deal we had with the label didn’t go as planned and Deveneror won’t release anything else with Vargheist.


9. How were your beginnings in music: first concerts you attend, first albums you buy? What did your life make you want to be musicians?

As for NK, things started like everybody else: a metalhead in the house in early 80’s who passed the torch in mid 80’s with heavy and thrash. NK’s first metal albums were Kill ‘Em All, Ride the Lightning, Piece of Mind, Black Sabbath’s debut and a Judas Priest compilation cassette. It all started with them. It was when Altars of Madness landed that he knew that he would be doing extreme metal in the future. He did his first black metal band in the winter of ’98. 

First gigs? Local thrash and death metal bands in mid 90’s. One of the most notable ones was Death + Cannibal Corpse + Incantation in November 98.


10. Immersed in the global situation of health alarm due to Covid-19, how have you been affected as a band? How have you used this time to carry out new projects? How have you experienced the situation of not being able to be in direct contact with your followers?

Nothing has changed in our work. Since we work only in studio, the lockdowns made nothing different for us. It has been good for creating things, as we’ve recorded more music with our different artistic vessels. We’ve never played live, so nothing has been lost. 


11. Which album is the essence of black metal for you? What recent albums have you compared?

We don’t consider that black metal has 1 way or some definitive way to be done, so there’s no single album that can fully represent the entire style. There are, of course, seminal works that are universally praised and considered the foundation of certain eras and/or regional soundscapes.

Just to not repeat everybody’s obvious choices, let’s mention the following:

-Samael’s Worship Him: One of the most important black metal albums ever made. Very few albums can be so terrifying, in terms of sheer atmosphere as this one.

-Varathron’s Her Majesty at the Swamp: It’s the blueprint of the Hellenic black metal sound. The pacing, the atmosphere, the melodicism and harmonic choices makes it a perfect portrait of that epic and ancient feel for their take in black metal.

-Ulver’s Bergtatt and Kveldssanger: Beautiful pieces of work well arranged, written and recorded that started entire subgenres within the style. 

MR’s personal choices in terms of getting into black metal and/or influential albums are:

Agalloch - Pale Folklore

Satyricon - Nemesis Divina

Deathspell Omega - Paracletus 

Lunar Aurora - Andacht


12. What immediate future plans do you have for Deveneror regarding concerts, upcoming releases, reissues, etc ...?

We completed another album, which should be released at some point and there are 2 more that will be also finished in time. Regarding playing live, it’s an idea we’ve discussed and we are actually up to do it when the time is right. All things related to physical releases of our albums will depend on the next album.


13. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Deveneror fans this is the place. I hope the questions have been to your liking

Thanks to you, once again. Just stay tuned for what is to come.


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LITURGY

 


Origen: E.E.U.U., New York

Formados: 2005

Estilo: Black experimental, rock vanguardista

Temática: Filosofía, idealismo, misticismo, posestructuralismo, religión y trascendencia

Enlaces: BandcampfacebookLiturgyspotify y twitter

Miembros:

  • Bernard Gann Guitarra
  • Hunter Hunt-Hendrix Guitarra y voces
  • Leo Didkovsky Batería
  • Tia Vincent-Clark Bajo
Discografía

  • Immortal Life EP 2007
  • Renihilation CD 2009
  • Oval / Liturgy Split 2011
  • Aesthethica CD 2011
  • Quetzalcoatl Single 2015
  • The Ark Work CD 2015
  • God of Love Single 2019  
  • H.A.Q.Q. CD 2019
  • Pasaqalia II Single 2020  
  • Antigone Split 2020  
  • Lonely OIOION Single 2020  
  • SIHEYMN's Lament Single 2020  
  • Origin of the Alimonies CD 2020
ORIGIN OF THE ALIMONIES (2020)

Sexto álbum de estudio para esta banda estadounidense, el segundo con su nueva formación y que lleva al extremo más irracional su interpretación del black experimental. Seguramente uno de sus álbuems más controvertidos hasta la fecha por todo lo que ofrece en cuanto a fusión de estilos. Sin lugar a dudas Hunter ha hilado muy fino a la hora de conseguir un álbum asfixiante y denso por momentos sin llegar a profundizar practicante nada en el black metal. En este "Origin of the Alimonies" hay mucho de estilos que podemos reconocer como rock o jazz echando mano de instrumentos alejados de los estándares como pueden ser el violín, el piano o el saxofón. Las partes experimentales pueblan el álbum en su gran mayoría, repleta de espacios de reflexión casi que preciosistas, que mucha veces explotan hacia terrenos mucho más violentos y directos pero sin renunciar a le esencia de sonidos clásicos y experimentales. Estructuras muchas veces rayando lo hipnótico también están presentes llegando casi que a desquiciar, como por ejemplo el continuo sonido metal de guitarra y blast-beat acompañado de fondo por una base de teclados de sonido retro. Las voces se muestran en un faceta también bastante agresiva y directa, participando de una vena bastante discordante e inquietante. Disonancias que hacen acto de presencia sin previo aviso, cambios de ritmo y registro que se suceden en medio de una irregular intensidad que pasa de lo más sombrío y oculto a partes mucho más agresivas pero que saben en todo momentos ofrecer una poso importante de experimentación en todo el conjunto. (7,7).


YLYLCYN

1. The Seperation of HAQQ from HAEL 04:32
 {HAQQ DISTINGUISHES HIMSELF FROM HAEL
BUT HAEL DOES NOT DISTINGUISH HERSELF FROM HAQQ} 
2. OIOION's Birth 01:47
   {IN DISTINGUISHING HIMSELF FROM HAEL
HAQQ MAKES HIMSELF AVAILABLE
FOR OIOION TO DISTINGUISH HERSELF FROM HAQQ
WHO DISAPPEARS

OIOION DISTINGUISHES HERSELF FROM HAQQ
BY APPREHENDING THE PROBLEM OF HER LAET}
3. Lonely OIOION 04:40
OIOION: MY SPARKS ILLUMINATE MY SPARKS ILLUMINATING NOTHING SPURNED UNABLE TO GIVE I AM A PEAK WITHOUT A VALE BUT IF I COULD FILL SOMETHING EMPTY ... BUT ALAS I AM FULL THERE IS NO NOTHINGNESS ANYWHERE BUT PERHAPS THIS LACK OF NOTHING COULD FIT SOMETHING INSIDE CHILD! CHILD! A CHILD IS BORN WITHING MY MIND A RECEPTACLE FOR MY LAET  
4. The Fall of SHIEYMN 04:47
{SIHEYMN IS SET FREE}  
5. SIHEYMN's Lament 03:42
SIHEYMN: I KNOW THIS IS WHAT I AM SUPPOSED TO WANT BUT I CANT TAKE YOUR INFINITE RAES MY WOUND IS MORE THAN ME MY WOUND CAME BEFORE BEFORE ME MY WOUND IS STRONGER THAN ME STRANGER THAN ME SHATTER ME SHATTER ME WITH YOUR RAES SHATTER ME SHATTER ME YOUR VIOLATION OF MY SACRED SPACE IS MY TRUE SELF  
6. Apparition of the Eternal Church 14:03
ANANON AND YLYLCYN: MADE OF LIVING STONE MADE OF CHOSEN SOULS WE ARE IN GOD AND GOD IN US FOR HEAVENLY ETERNITY
7. The Armistice 03:47
OIOION:

I HAVE
A SOLUTION
ANANON

SIHEYMN:

I AM DIVIDED
AMONG
YLYLCYN

THE RAE
FROM WHICH
I SHIELD
MY EYE
IS MY OWN
VISION
  37:18






2015 repress on black vinyl