martes, 29 de junio de 2021


The band has been active since 2008, what led you to create Grief of Destruction? Why did you choose the name Grief of Destruction and what does it refer to?

Grief Of Destruction (G.O.D.) has been created under others names during the past decade to clearly distinguish a new and forward-looking state of mind as well as declaring the fathomless, cruel circumstances and the occasionally catharsis-driven distraction.

Before G.O.D. was established, the band was named “Hydra” and “Nebelland” for a while. At that time only three of five from our current line-up were part of the band. There were some temporary members - amongst others we had a Keyboardist in this early stage. In 2010 Stefan (Guitar) joined the Band and five years ago our line-up was completed with Markus, who's playing the Bass-Guiter.

Talking about our band-name - let's keep it short: many, many years ago a great musician and tough guy wrote a song called "Eve Of Destruction". As the main-theme is war and extinction and "GOD" is a cynical abbrevation in our opinion, we decided to apply this name for our band.

First of all, it is striking that despite the time you have been together you have only released a couple of albums, the first “Shattering Atmosphere” in 2014, what is the reason for this short number of releases in such a long period of time?

Well, we all understand this as a hobby, some of us have to care about their families and everyone of us has to struggle with every-day-normal live. We work as Engineers, Financial Analysts, Students and just want to bring cool music to the people out there. Sometimes live, sometimes on CD. Basically our approach is not to play a live-show every weekend, but we're eager to play selected live-shows. No matter, where it is. But don't worry: we already set a target for our third album - it should not take longer than the period between our first and second LP :-)

"Shattering Atmosphere" was your first album which you had a lot of time to dedicate to writing and recording, what do you remember about all this process related to this first album? Did you expect a greater repercussion in public and media?

You're right, it took us a long time, but fortunately we're not driven by any other powers than ourselves. We are the ones to decide, when and what we release. But 10, 12 years ago the band consisted of different members than nowadays. Also, that was the time of wild life. We were much younger without any ties and also besides making music we had a lot of fun in our rehearsal room - we celebrated until dawn almost every weekend. Like all the other aspects in life music was "merely" one part of our development, and so we had no bigger expectations in terms of feedback for "Shattering Atmosphere"!

Six years after this first release comes the continuation in the form of "Black Void" an album that mainly shows you as a band that faces their proposal openly. How has the sound evolved with respect to the previous album? composition and recording process for this new album? What brands of instruments did you use to record and compose the album?

Good moment for a big shout-out to M. Kiese, who was our sound-engineer for "Black Void". Great work, good guy :-) The composition was not much different compared to the first LP. One of the major changes is that we don't use Keyboards anymore. Samples are a different but interesting story besides guitars, vocals, bass-guitar and drums... Our lyrics still are the spwan of our singer, our guitar wizard Stefan is responsible for most of the riffs and the rest of the evolution process of each and every song is based on simply performing it together.

Talking about our gear: we use Paiste, Pearl, Mainl, Evans (Drums); Engl-Amps, Line6, B.C. Rich amongst others (Guitars), Ampeg (Bass), HK/t.racks and Sennheiser (Recording/Mic).

A base of black and styles such as thrash, melodic death or metalcore, are found to a greater or lesser extent in your sound. How will you define the sound of your latest album “Black Void” for those who have not yet heard it?

Rough and archetypical. Impulsive and getting reliefed from pain! Feelings from the deepest inner black are mirrored on this album. It's personal. It also reflects our several directions and musical influences, that accompied us during the past two decades.

Regarding influences, with such a variety of genres it is also difficult to opt for a solo. From your point of view, which bands influence your sound? Is it very difficult, in a five-member band, to reach a consensus on as for the final sound of your album?

You put it in a nutshell! – it’s difficult, but not impossible. And we always try to find our style, our way by taking this as a challenge and putting it into our music. Play, listen, try again... Of course, at the end of the day the outcome is a mixture of what we were listening to through the past years – just to name a few: Metallica (of course), Avenged Sevenfold, Bloodbath, Gojira, Iron Maiden, Behemoth, Dimmu Borgir, Secrets Of The Moon, Keep Of Kalessin, Rammstein, Moonspell, Sylosis, Unearth...

Your lyrics, among other topics, deal with death, but what other topics do you deal with in your texts? How can we relate the music and the lyrics? Do you adapt the lyrics to the music or vice versa?

In most of the cases we adapt the story, the lyrics to the music. We always try to balance the aggressive parts of lyrics with heavier parts of the music - no matter, if it's a Blastbeat on the Drums or a crazy guitar line.

Not only death, but also strange behavior of humanity in every aspect of life are part of the lyrics as well as tales and analogies, that are thought-provoking.

The nucleus in terms of the band's line-up has remained quite solid throughout the years that you have been active, what is your secret to stay together? In all these years, how have you seen the evolution of the music scene? extreme metal of a city like Nuremberg?

Short answer: friendship and the common grasp, that we all see this as our (favorite) hobby. We don’t need to stress out, because it’s simply not a must. We have fun together, while we’re pursuing our music.

The evolution of the scene is immense, because there are so many bands that spring up like mushrooms. Nowadays it’s easy to reach a big fan base with all these platforms out there. The good thing is, that you may become popular or at least reach a bigger listenership – even if you come from a smaller town called Nuremberg. The bad thing: it’s not that easy to gain much gig opportunities right around the corner, because either the venues want to get paid (bad for smaller groups) or they don’t want to have “extreme” music like ours or we’re simply to old 😊 Basically if you’re willed to drive a little longer and don’t want to earn money (we’re always ok with getting beer and a travelling allowance) you’ll always have the chance to play in the Southern-Germany area.

For the edition of your two albums you have opted for self-publishing, why do you opt for desktop publishing, is it a way of maintaining greater control over your work? Has there been no interest on the part of any record label for the edition of the albums?

Yep, on the one hand there were simply no offers and on the other hand this freedom and independence comes along with a lot of advantages: we are the rulers in terms of text content, song-writing, time-lines and layout/design of our albums; and at the end of the day no excuses are necessary.

Who is in charge of designing the album cover? What do you intend to convey to the listener with this art-work and in what way is it related to music?

Our latest design was created by an US-designer. Originally, we wanted to have a completely individual designed layout. After the first ideas were put on paper we realized, that it’s easier and faster to buy something from the open market.

The front covers atmosphere visualizes what our music is all about: treading a dark path.

In the past you have taken the Grief Of Destruction proposal to live, an aspect that due to the situation experienced during the confinement has not been possible with the new album, what has not been able to offer concerts and lose some contact with fans? Has this period of confinement helped you to explore other fields when composing?

We all had to suffer from the confinements, beyond question. Talking about our band-related restrictions: we were not able to rehearse together for more than 7 months – what a pity! However, we took this as an opportunity to have a break. No one of us sat down and wrote new songs, we only had some Online-meetings, were drinking and talking was more appreciated than creating new sounds. So, it was kind of an creative break. Some weeks ago, when we met again, it sounded like we never had break. And by the way: in October 2020 we had our last gig. A very special one, because the audience was placed on chairs, masks were already required, registration necessary… Hopefully at least in 2022 this shit won’t be mandatory anymore and we’re looking forward to catch up a gig which originally was planned for April 2020. Guess, what the show-stooper was!

Which album defines for you the essence of black metal? What last albums have you bought?

I think, one is even to less to describe the essence, but the first one, which came to my mind: “In The Nightside Eclipse” by Emperor.

The last three albums I bought: “Endorphin” by Infected Rain, “Memoirs” by Caliban and “Fortitude” by Gojira.

How were your beginnings in music: first albums you bought, first concerts you attended, etc. What did you do in your life, did you decide to start playing an instrument?

Nirvana, Limp Bizkit, Papa Roach, Korn, System Of A Down, Pantera, Maiden… The first concert I personnally attended was a festival: Rock im Park, as it’s directly located in Nuremberg. When listening to all this great music, after attending a few more concerts and later finding a guitar from a former band-mates dad – we just sat together around the bonfire and had our first outdoor rehearsal. After a few weeks the first equipment was bought and the musical path was sketched.

What more immediate future plans do you have for the band, in terms of upcoming releases, concerts, reissues, etc?

At the moment we’re about to put some older stuff into a new vest. There’s really some cool stuff we started years ago. Some things were not finished, for some songs the recording quality is brutally bad. This may be released next year – or later, if another “higher power” thwarts us again…

And we think about to cover some older stuff; maybe something completely different just to expand our personal borders.

As soon as live concerts are allowed without any restrictions for everybody we sure will be back on stage.

Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Grief of Destruction the place. I hope the questions have been to your liking

Thanks for having us and giving us the opportunity for such a detailled interview! Our job is not to make recommendations – as already mentioned: we only wish to be back on stage soon and have a good time with the people who like our music. To go postal, celebrating the music together and to forget about every day normal life for a while. We’ll be back – soon! Live and the day will come we release a new album. And maybe this interview will give us the chance to get a greater spanish fan-base :-)



Nevoa – The Absence Of Void 13,99 €

Vinilo, LP, Album



Origen: E.E.U.U., Nashville

Formados: 2019

Estilo: Blackened Technical Death Metal

Temática: ?

Enlaces: Bandcampfacebookinstagramspotify y twitter


  • Jack Blackburn Batería
  • Malcolm Pugh Bajo
  • Matt Brown Guitarra y voces

  • The Watcher, Wreathed in Flame Single 2019  
  • The Final Tyranny EP 2021
  • Worshipping the Idols of the Insane Single 2023  
  • Vesania EP 2023
Primero cuatro temas para lo que se puede intuir casi como una superbanda que se las arregla para ofrecer un sonido compacto lleno de tecnicismo que se mueven en terrenos del death y el black a partes iguales. A diferencia de muchas propuestas de estilo similares Demon King destaca por unas ideas alejadas de los convencionalismo y las complejidades innecesarias como bien dejan claro con un tema inicial como "Tyrannical Reign of the Deceiver" en donde el oyente puede disfrutar en medio de la amalgama de riffs y tecnicismo de un regusto al black sinfónico más clásico. Este aspecto centrado en las influencias de los sonidos clásicos se muestra a lo largo d todo el EP, haciendo acto de presencia cuando parece que la banda va a abordar terrenos más técnicos y modernos, para sorprendernos con secciones que tiene mucho que ver con elementos del black ambiental. El peso del death también es importante, repleto de riffs complejos, técnicos y disonantes que no renuncian a la contundencia pero sin adentrarse del todo por terrenos demasiados trillados. Las voces al mismos tiempo muestran una disposición a las influencias death pero más de una vez nos veremos sorprendidos con algunas secciones que pueden recordar al black sinfónico. Una primera toma de contacto con una banda llamada a grandes cotas en futuras ediciones. (8,4).

1. Tyrannical Reign of the Deceiver 03:50
2. Invoking the Spirit of Chaos 04:18
  heed the call of another’s fate
and break the gate - fell eons wake
with this fallen’s song - its deathknells grew
to attest its season

unhilt the fates of thalcoria - the wicked two
that spread false worship
to tempt the world with euphoria’s call
and their invocation’s ruin

now unbound these bringers of chaos
made whole once more shall imbue
minds and hearts with hatred unchecked
turning peace into war as the latter ensues

your world shall burn
the two did exclaim - and with wonders they called
to them all - the enslaved - they shall toil in this day
causing disorder and all to falter

within the depths of the suffering stood
a man relieved of all his want
crushed is his spirit but he’s born again new
pushed to his limit further falling under

he yearned and called for the death of this dying order
leading opposition as his foes did call sedition
all in due time they’ll be slaughtered

feast and gore yourselves on the flesh of the ones that betrayed the sacred trust

hallow - and carved inside
the halls of dominions eschewed
by the ones who seek to corrupt the earth
in line with the foes of truth

in kind - the two will follow
topping the records of the rest
throwing their spells upon nations born
by the one eyed liar

the false prophet sees only lies and does toil on nothingness so does this world
in time they’ll go far into rebellion
looking toward the stars for truths of life and death - they’ll find not one
the spirit dwells and lives on vying for your death

in a time of madness charging forth from the shadows
she breeds contempt for the apex in the breasts of lowly slaves and vermin

from the other comes the spark and flame of the end of days
three have fallen - one has risen
victorious none shall be

with this invocation all shall be realized
as we prepare the way
and the crestfallen all will beg forgiveness

for the trawl is false and all shall call from the flames of perdition
seeking to be saved - our glory comes
these fallen fools beg for mercy
3. Transmutation of the Artilect 04:22  
 from an ancient tome came instructions to behold
the artilect - to construct its frame
combining all the things that the book did name
a task reserved for the highest station

and the first it does call for ethereal blue
to constrict the blood and cause it to
remain within the edifice
the artificial-magical frame

then you must conjure the demon from the dark
to ensure that process is sound
fire the machine to assimilate
the artificial mind with the earthen mound

as we harness this power in the dead of night
we can see victory as our creature takes flight
the transmutation of unholy things
a chimerical bend of creation

as the wind blows from the east
a new evil grows born of technology
the transmutation of the artilect
the creator of creation is balked

and with that the ignorant masses did gather
and huddled together for a glimpse of their lord
an overt paragon
a true wonder of science and alchemy

with the final steps done we come to the precipice
lo! we shall rule over them - as we’ve been - for eternity
the grandest enigma compounds


these fools they do not see
the truth will evade them for all eternity

in a time bereft of reason
they will concede to genetic manipulations
as a means to solve the ills of the world
they will begin to look to themselves as gods

with the signs now confirmed this eve
of the final days
this empire shall come crashing down
in a furious blaze

and the people shall mourn its death - a sign conferred
from the days of prophecy and mysteries of old
for fifty thousand years they shall lay
in judgement of their crimes

as the sun rises from the west
a sign is confirmed - the end is now at hand
the people shall eat of the fruit of the tree
condemned is mortal man

traveling deep into the unknown
all those who had sworn an oath with their lives
hopelessly tore at the walls around them
as the wardens of perdition closed in

abandon all hope
the angel said to the forlorn line
there is no escape so embrace, all, your fate
seethe within now - and for all time
4. The Watcher, Wreathed in Flame 05:12
in the throes of passions eased i’m bereft of need or want this fallen creature doth bleed needlessly as he’s placed through hell and horrors of a mind of a tortuous kind by my design shall his fate become transformed of the culling of hope as his mind doth decay showing him atrocities nobody should bear illusion trapped within his own bitter and seething realm marked for death this slave of the world damned for things he did not see like a fool he answered the call we are legion; we are king with this fallen wretch before me i will drive him on to the depths of depravity i will drive him on i’ll destroy his world this broken tortured soul and within this calloused heart was laid waste indeed - any semblance of what came before the conquering of his humanity conquering of his faith all is lost now behold the fallen extolling the wretched as a glorious thing we are the ones that the fallen sullen did not perceive we are the ones through your hearts (it’s desires) we lead your weakness grows all at once as you fall asunder your broken and feeble will we are the hidden ones who are always watching within when concerning its fate we can see you are dead and already buried and on all accounts we will lead you towards a terrible fate we all obey the fools of the world we all obey condemned for atrocities we all obey unquestioning thrall we all obey those who beckon from behind the veil wreathed in flame is the one whom the beckoning call it flows forth from the master of the caller  

First demo on 3-panel digipak CD.

domingo, 27 de junio de 2021


 1. The band started back in 2008, why did they choose the name Locus Neminis? What does it refer to?

At the beginning we started as three guys that wanted to do good music and have fun at it. We founded the band under the name “Endlos” which means endless. After some time, we realized that another local band had already taken that name. We weren’t really proud of that name anyway and our guitarist J.P. came up with that name after he’d read it in a geographical book about a place that belongs to nobody. It means no man’s land in Latin. We liked that term because our lyrics are about distant worlds and sci-fi stories in the empty space.

2. “Weltenwanderung” (2012), your first album whose sound owed much to atmospheric aspects, with an electronic touch background but without losing sight of the work of bands like Darkspace, album which you took care of all the production and editing aspect and that it was for you, despite being little known, a whole accolade from critics and media. How was the whole songwriting and production process surrounding this album? Were you surprised in any way by the impact of “Weltenwanderung”? What do you think this album meant for the band?

Weltenwanderung was a huge step for us. We’d released our first demo just two years before. Before the production of that demo, Franz E. had joined us and he was not only a great guitarist but also a very talented producer. He set the bar high for the production and had a more professional approach. Almost everybody in the band contributed some material to the first album. We work on new material like this: Either someone composes the whole song alone in guitar pro or we work on a song together. We send us the tabs and try to improve it. We never jam at rehearsals to write new songs but we play the songs together and check if it sounds right and adjust just some details. Weltenwanderung was a new experience for us. I still remember how exciting it was for us to hear the first rough versions of that album. We all knew it was a milestone for us. It was really rewarding how the public reacted to the album. The physical album was sold out after some years.

3. After this work begins to work on the next one, however the death of Franz Enkner truncates the course of events, did you ever think about ending the band? What did it mean to be able to continue working on new songs thanks to to the finding of Franz's hard drive where was all the work on the new album?

We were immensely heartbroken and shocked. It was really a tough time. We needed some time to get a clear head and to come back to the production. Franz's family was very supportive and helpful. Although we got the important hard drive very soon it was unfortunately not complete. It wasn't easy to gather all files together. That took us some months. Nobody had ever brought up the idea to stop. We wanted to do everything possible to finish the album for Franz.

4. As a result of this hard work, the edition of the second album "Verborgen in der Zeit" arrives in 2020, how did you manage to carry out all the composition and recording work with respect to the past? How was your way of working on new songs and how did you face the restructuring of the band?

When I overtook the production there were just a handful almost finished songs. The other songs had all the recorded instruments but the sound design and mix were not really there at that time. There were just placeholder synthesizer sounds. Most of the things weren't even edited yet. The other members gave me their feedback frequently and also came to some mixing sessions. We polished the almost finished songs and matched the sound of the other songs. After some time, we had to come back and adjust also the first songs to have a consistent sound and atmosphere. At first it seemed that we will never be able to finish that album but then everything suddenly worked out and we finally could complete the production. Just a week before the final master my computer broke completely down and it was a real nightmare. But I managed to reinstall everything quickly and load back the files and then we finally released the second album.

5. “Weltenwanderung” contains a much more atmospheric sound, however for this new album you have focused your proposal towards a more melodic sound in styles such as death or black, even if you hurry me on symphonic black, where the sound of bands like Emperor, Dimu Borgir or the aforementioned Darkspace are shown as influence, do you agree to name these bands as influence of your last album? How would you define the sound of the album for those who have not heard it yet?

Yes, all the bands influenced us a lot at that time. I could also name Anaal Nakrath as an influence if you consider the industrial parts. "Verborgen in der Zeit" is the next step in our development as a band. It has still some aspects from Weltenwanderung but it sounds fresh and new. The songwriting and lyrics are more complex. It is for everybody who likes fast and heavy parts but also can enjoy some melodies. 

6. Your music transmits feelings of loneliness and death, just as your covers can lead us to themes related to space, what topics do you deal with in your lyrics and why do you consider it interesting to treat them? Do you adapt the music to the lyrics or vice versa? do you intend to transmit to the listener?

Most songs are just sci-fi stories or are a bit philosophical. Some have even a double meaning. Sagittarius A for example is about a super huge black hole or about the ego. Ex Machina is about a mad scientist who tries to improve himself with technical gadgets until it is too late and he becomes a machine without emotions or a human soul. I also get inspired by a lot of sci-fi movies. Monument is almost like the movie "It". It takes place on an ice planet where a group of explorers is attacked by a vicious snow monster. The last survivor sacrifices himself to take it down. And at the end he and the monster become the monument in the ice. I write the lyrics actually at the end of the whole songwriting process. There is always a finished demo version and then I just listen and think what setting or story would fit the song the best. After that we check it at the rehearsals and make a final demo version of the song. This is then the guideline for the next album. We don't intend to influence anyone with the lyrics.

7. In both the first album and the second you have taken care of the entire composition, recording and production process. Is this a way to feel more in control of the final result of your music? Do you feel comfortable in a facet more related to engineers? sound, etc? Have you not considered the possibility of working with someone outside the band to produce the album?

We never considered the opportunity to work with somebody else on our album. It was never a problem to decide alone about the songwriting and the production. 

8. Who was in charge of the album cover design and how does it relate to the content of “Verborgen in der Zeit”?

Our guitarist J.P. has always done the artworks for our releases since the first demo. We were really satisfied with the artwork for Verborgen in der Zeit. It fits well with the atmosphere of the second album. Dark galaxies and empty planets.

9. Another element that has remained unchanged in the two albums is desktop publishing, is it a way to have greater control of your music? Was there no interest on the part of any record label for the album edition?

Yes we’ve sent many times our songs to several labels but we’ve never got any answer. We have no other choice than to publish it alone. 

10. In the past Locus Neminis came to offer some concerts, do you consider taking the new album live once the situation normalizes after Covid-19? Is it very difficult to recreate the richness of your sound on stage? What equipment Do you use for concerts and what main differences can we find with respect to the equipment you use to record and compose?

We are really excited to play the new songs live. I hope it will be possible soon. We used the whole time this year to prepare all the songs for the live concerts. 

11. How do you band this period of restrictions due to Covi-19, has it been difficult? Have you used this time to promote the band differently? How do you think you have been affected?

It was pretty bad, because we couldn’t do anything. We couldn’t even do any promo photographs for the album. It wasn’t even allowed to practice here in Austria. We were able to sell the album mostly just digitally. Without concerts it is not really possible to sell any merchandise or CDs.

12. What is the black metal scene like in a place like Austria? How do you think the Austrian black metal scene has evolved since you started with Locus Neminis?

There are just a few opportunities here in Austria to play at black metal concerts or at any concerts. I have the feeling that it got worse with the time. A lot of venues have vanished since we’ve started. If you play in Upper Austria you’re luck if you get at least some people at the concert. It’s the same if we go to other bands’ concerts.

13. How were your beginnings in music: first albums you bought, first concerts you attended, etc. What made you want to play an instrument and be musicians?

Back in the day, I started with softer bands like Pain and Rammstein and got into more extreme genres with time through friends and concerts. My very first show that I attended was at the age of 17. After that followed some festivals. I’ve always played some instruments since I was a child. My very first instrument was the piano. When I was a teenager, the biggest impact on me made Rammstein. I really enjoyed covering their songs at home and then I tried to write my own songs and lyrics in German. I know the others in the band started with Metallica. We all enjoyed listening to Dimmu Borgir and Hypocrisy. I think you can hear all these influences in our music. 

14. Which album defines the essence of black metal for you? What latest albums have you bought? What format do you prefer to listen to music in?

I would say the old Dimmu Borgir albums, Emperor and Carach Angren. I’m not really into the NWOBHM. I have to admit that, if I think about black metal, it’s mostly symphonic black metal bands. The last albums that I bought recently were the new Fear Factory and Gojira album. I enjoy music either on vinyl or digitally as high-res audio files. 

15. What immediate future plans do you have for Locus Neminis in terms of upcoming releases, concerts, reissues? Are you already working on new songs?

We’ve already started working on the new material. We were thinking of an EP as the next thing but that could easily change in the future if we get more material together. If the new album sells better we would like to release WW as a rerelease. Next year the album will be 10 years old. That’s crazy!

16. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Locus Neminis the place. I hope the questions have been to your liking

I thank you for your interesting and sophisticated questions. We want to thank everyone who supports us and we hope we can see you all at our live concerts soon! 


Goats Of Doom - Intra Ecclesiam Nulla Salus (black vinyl (lim. 29)) 16,99 €

Black vinyl (lim. 29)

sábado, 26 de junio de 2021



Origen: Alemania, Aachen.

Formados: 2003

Estilo: Black atmosférico, doom

Temática: Anticristianismo, esoterismo, guerra, historia, muerte y psicopis.

Enlaces: Bandcampdeezerfacebook y spotify


  • Alexander von Meilenwald Todo

  • The Furious Waves of Damnation Demo 2003
  • Unlock the Shrine CD 2004
  • Rain upon the Impure CD 2006
  • Urfaust / The Ruins of Beverast Split 2007
  • Gott in uns Split 2007  
  • Foulest Semen of a Sheltered Elite  CD 2009
  • Enchanted by Gravemould I Recopilatorio 2011
  • Blood Vaults - The Blazing Gospel of Heinrich Kramer CD 2013
  • Takitum Tootem! EP 2016  
  • King Dude | Caronte | The Ruins of Beverast | (DOLCH) Split 2017  
  • Exuvia CD 2017
  • Don't Walk on the Mass Graves Split 2020  
  • The Ruins of Beverast / Almyrkvi Split 2020  
  • Kromlec'h Knell Single 2020  
  • Anchoress in Furs Single 2021  
  • The Thule Grimoires CD 2021
  • Maschinenfest Memorial Directo 2022
Casi dos décadas abarca la trayectoria de The Ruins of Beverast detrás de la cual se esconde la figura de Alexander von Meilenwald músico inquieto cuyas influencias van más allá de lo que podemos considerar estrictamente como black metal. Desde sus inicios la propuesta de The Ruins of Beverast siempre a recogido influencias de un black con una atmósfera muy conseguida con una línea de oscuridad y profundidad perfectamente recreada. Después de todos estos años Meilenwald parece que quiere dar salida a su parte más gótica y electrónica en un álbum que podemos considerar casi que de transición hacia lo que está por venir. Meilenwald siempre ha impregnado su música de un aura muy especial, gracias a la extensa duración de sus álbumes el oyente puede sumergirse en un viaje sin retorno hacia un estilo muy peculiar dentro del black metal. Este "The Thule Grimoires", en líneas generales es un álbum de intensidad sosegada en donde predominan los medios tiempos pero de una manera que la música logra sonar profunda gracias a la densidad y presencia de un bajo portentoso, una batería de medios tiempos pero con contundencia y profundidad, al tiempo que los riffs van salpicando las composiciones con un aura de musicalidad casi que reto, sonando portentosos y ofreciendo ese aliciente más metal necesario a lo largo del álbum a la vez que nos traen ciertas reminiscencias tribales que sin acabar de plasmarse del todo sirven para enriquecer el sonido del álbum.. Las voces suenan profundas y cavernosas, sin grandes pretensiones, pero adivinándose algunos registros más claros y limpios según que secciones y muchas veces sin miedo a mostrar una faceta próxima al goth-metal. Todo ello se ve rodeado de algunos arreglos de corte electrónico que van salpicando su música de pasajes evocadores tanco retro, como incluso dance ochentero. Lo que queda claro después de este "The Thule Grimoires" es que Meilenwald sabe muy bien lo que tiene entre manos y a pesar de los años que lleva en activo es lo suficientemente inteligente para no sucumbir al inmovilismo (8,3).

1. Ropes into Eden 12:42
   Exhale as the maelstrom returns
And bodies fall into Eden Abyssal
Amorphous and poorly instincted
Unmove with the giants of the seabed
Entities muted and subdued
To noise that has given us names

Alien voices remain unechoed
From alien mountains
Still the breath of engines is never inhaled
Lest the tree of life decays
Thus, as the Hadal turns edenwards
We place our Cherubim east of a shipwreck

Our breath and noise is bioluminescеnt
And clandestine and untaught
Black wisdom fountain, silent and fierce
You subaqueous demon turbines
Return to your nest and convey:
God's sign shan't reach this abyss
No, God still sent no sign

You're trapped without escape
In a spell for a pure dawn's biome
For the marine lights to shine forth
Lights that break before God

Natural colours unimagined through smoke
No shape of a deep sea tree
Our angels are dressed in light
For one last glare, for once in life, kneel down in purity

When the lights come on down here
In the realm of a pure dawn's biome
It's like fire

Entreat your God to hold his breath
It's like fire
2. The Tundra Shines 11:18
Fate permeates grey basalt For whom collapses with solitude Fate gathers in the green sky For whom wonders where the noise disappeared Voiceless, powerless, graceless To the march of the luminal ghosts To thee who spreads on execrated soil We summon light, we summon pain And freeze the voices of litanies So let us float in arcane elements Illusive Anecumеne Here bе dragons Here be us Stain the bodies that go astray That leave the path at profanity's order That do not drink from the liquid sky Or dare to befoul the silence We are as whisper amidst yells Unseen in a Hyperborean spectacle To thee who spreads on execrated soil We summon light, we summon pain And freeze the voices of litanies So let us float in arcane elements Illusive Anecumene Here be dragons Here be us Hark! The ground cracks Spectral voices welcome dusk in the Tundra Our vision returns with lightnings: Thunderous omnivores out of frozen mass graves And we bemoaned how they yelled with beastly throats Yet so much without a voice With fearful scoff of lights that wander Wondering fearfully in lights that scoff As shapes of pitch towards the tripartite horizon Our vision returns in horro: These bloodpainted canvases of the Arctic! All that remains from a roaring day Are our prayers for silence in the glaring Tundra Shine forever, shine, Ultima Thule Stand forever petrified, pristine Ultima Thule  
3. Kromlec'h Knell 08:33
Bad peace would send them forth And no grace shall call them home again If false reason has them driven too far Fell the Kromlec'h Knell vibrate the land They close in from the hills No covering of tracks No ebbing of scents For it sinned Trespasser, malefactor, idolater A pack of phantom predators Lured by cold sweat THANA-THAN-THANATHA Jaws of the moor Murmur in tongues of a myriad beasts of prey Bad peace would send them forth And no grace shall call them home again If false reason has them driven too far Fell the Kromlec’h Knell vibrate the land Maze domain meandered The marsh is so full of voices Down the moisture Weighted bodies decay in mires Phantom stirs... Speaks of golden tragedies Of exulting dispossession Fleers at forfeited reincarnation Oh jaws of the moor Murmur in tongues of a myriad beasts of prey Bad peace would send them forth And no grace shall call them home again If false reason has them driven too far Fell the Kromlec'h Knell vibrate the land Bad peace would send us forth And no grace shall call us home again The most decadent bad faith in God Summons all tribes to hail your end THAN-THANA-THANATA  
4. Mammothpolis 06:22
Beyond the bluster of my kingdom's trumpets I have reached the gates of the city of Mammoths Where my fatal children are hanged from trees For they came at my fatal behest I am the roistering death That ye will surely die I'm without fear deep inside Mammothpolis I'm decaying... but I stamp down the buried I'm without fear deep inside Mammothpolis  
5. Anchoress in Furs 09:11
Forced to pause amid the breath of petrified nostrils Beastlike, primeval, looming A golden crown and raiment weigh heavy up his path Where opulence is ballast rise the corridors of savagery Feeleth it not a touch of a pale hand Heareth it not a warning chant No maw so eager to swallow tongues in abjection A grotesque mating dance No nakedness so hostile Chased uphill between silent monstrosities Minatorially echoing isolation Limbs wounded and basted with the salt of thе mountain The grimace of God's instinct is beautifiеd here And she shall not relent... A prayer for death as a poem to the stars Gold dust trickles through hands that reached towards the nightsky A rotten heart of greed is buried tonight Forsaken uner rock, becoming clouds Bonfires fed with remains of fortune Let them be seen from afar! Chasten us all and never soothe the mountain "Sie waren wie große Vögel und dann waren die Trompeten zu hören. Und mitten in der Finsternis entstand ein weißer Schein Entsetzlich kalt! Ich dachte: Jetzt zerbricht die Erde in Himmel und Hölle! Und dazwischen: Nebel! Undurchdringlicher Nebel! Der Nebel ist gut, sonst würden wir sehen was wir nicht erwarten."   
6. Polar Hiss Hysteria 07:13
At the womb of the stone torches crouch for shelter Shaped clouds from glimmering lands Have been reaching out too far Here ache for an intimate saviour Catch a carrion moon, hear a grieving sun And a grim warning not to leave the village When the polar night falls... Sought a golden view from the white roof of earth No safer triumph, no holier supper Clawed his soul, began to eat his frozen heart Perish in polar hiss hysteria! Red rises the haze between teeth It has thus been sincе ages Yet the chants havе lost all tragedy Many have come to be slain upon the alter of ice Many that imagined footprints of God While the noise may throw wires and sever heads These wombs had never given him birth To raise sword against the void that feeds Is a sign of a savage trance And a hissing trance is wherein he remains He who is drained of pure red Polar Hiss Hysteria!  
7. Deserts to Bind and Defeat 14:07
The vultures spy on us
From frames in skies
To seize the rich parts of our mind
Unveil the sun
Let the brave inside
Isolate me from my kind

Our driven herd must pass me by
To cut affection off my sight
Yet this desert binds and it defeats
No lash cruel enough to redden our eyes
Isolate me from my kind

As we crawl towards the sun
With fiercest drought in numbest hearts
I lag behind to vomit undivided agony
Been denied thе gift that sears
Been ripping out teeth
To demonise thе soul for a pride untold
All this dying is oh so shrill
We must have scorned the sun
Till our instincts failed

Before shunning what is forever harnessed
I failed at taming the wildest of sands
And surrendered to the sun
Isolate me from my kind
Leave me here with beasts

jueves, 24 de junio de 2021



Origen: Bélgica, Zomergem

Formados: 2005

Estilo: Raw black, sludge

Temática: Improvisada y surrealista

Enlaces: Alkerdeel, bandcampfacebookinstagramtwitter y youtube


  • Nieke Batería
  • Pede Voces
  • Pui Guitarra
  • QW Bajo

  • Luizig Demo 2007
  • De Bollaf! EP 2008  
  • De Speenzalvinge CD 2010  
  • Morinde CD 2012
  • CM Kamp 1996 / Horion Jugend Split 2013  
  • Dyodyo Asema Colaboración 2014
  • The Abyss Stares Back # 4 Split 2014  
  • Lede CD 2016
  • Slonk CD 2021
  • Dej Sins MMV Recopilatorio 2022
SLONK (2021)
Siempre es de agradecer que una banda con un sonido para nada accesible como Akerdeel logre despertar el interés más allá de su circulo más próximo gracias a sus dos últimos álbumes, todo ello sin renunciar a sus principios en la última década y media en donde de forma bastante regular han mantenido a la banda en un excelente estado de forma. Aún así este "Slonk" no hace ningún tipo de concesión en su sonido, resultando del todo perturbador con un grueso de propuesta sustentado en estilos como el black con un regusto a raw o punk según ciertas estructuras y el sludge. El inicio con "Vier" parece que nos va a conducir haca terrenos más atmosféricos, sin embargo en breve hace acto de presencia una atmósfera oscura y muy fría en donde manera del todo acertada el sludge se fusiona con secciones de black, muchas veces dibujando un sonido caótico, casi que turbio con una abundancia de disonancias que pronto dan pasos a elementos más raw, en forma de riffs crudos y unas voces de Pede que son prácticamente los de un alma torturada y totalmente desquiciada, fusionadas en el apartado musical en forma de una maraña de textura cambiante siempre dentro de sensaciones e asfixia y desazón. Algunos brevísimos interludios completan las composiciones, añadiéndole un toque de atmósfera inquietante y tenebrosa. La producción logra ofrecer un sonido muy crudo y áspero en donde logran conservar la esencia más underground pero al mismo tiempo mantienen un completo elenco de recursos puestos a disposición del oyente. Pocas pegas hay que ponerle a un trabajo que da buena cuenta de la interesante escena que está arraigando en países como Bélgica y su vecina Holanda. (8,1).

1. Vier 13:32
  Zie den hoop!
Zwart, ruftend zop
De walm vreet
Parfum der ratten

Voel de zon!
Wit, brandend licht
Schijters spreiden de vleugels
Trots der ongerijmden

Wat voedt het gloren?
vuur voor ’t licht?
vuur voor ’t grut?
vuur voor ’t zijn?


Tweestrijd der dwazen.

De wijze zucht …
drie grote lappen voor elk!

Laat het gloren

Vier het vuur!
2. Eirde 05:29
  Graaf, drink, proef de grond!
Groei, bloei, schiet!
Laat je takken de hemel scharten!

Linker pad, ongebukt schreden!
Zie niet om, vervloek, wees!
Kies ’t zalige leven!

Breek! Ontleed het ruis!
Geblaat overstemt het schrift.

Wantrouw de gevleugelde rat!

Eirde. Dieu. Gekruist gezeemd, zoet bewaard.
Eirde. Dieu. Zoet geleefd, gekruist, onder d’aarde!

Dep de gekuste wang.
Wantrouw de gevleugelde rat.
Kies ’t zalige leven!
3. Zop 09:11
Stijf. Gekoord. Gevild. Blik richting moeder Aderlating De bron roept het bloed! Meanderend Oog strelend Het lid loopt over Vunzige vacht, verzadigd. Maagdelijke grond Stilte IJdele vergeefse klamp Maar duvelt onvermijdelijk … Doffe slag, na slag En wanneer ze slempt, hijsen de teken.   
4. Trok 08:46
  De trok kwam van boven,
tijdens een zomer van zwart zonlicht.
Dag en nacht werden een,
wat niet stroomde, een meurend nat.

Wie dronk, viel.
Smoor verried de krengen.
Sluiks rijzend, tot de ketters jolijt.
Zij paften zonder eind.

De geest stond voor zot.
Als een hond geslagen.
Lijkwit. Aardig en scheel.

Loensend in de diepte.
Hoog vliegend.
Eeuwig licht.

Wie de zwaarte tart
stort op zijn muil.