lunes, 29 de mayo de 2023



Origen: Holanda

Formados: ?

Estilo: Black

Temática: ?

Enlaces: ?


  • D. Batería
  • K. Teclados
  • N. Guitarra
  • P. Bajo
  • S. Voces

  • Duivel EP 2019  
  • Tirades uit de hel CD 2020
  • Heiligschennis EP 2023
Seis temas contiene el nuevo Ep de los holandeses Duivel, con miembros en sus filas de bandas como Black Anvil o Urfasut, dando buena cuenta de black metal blasfemo e infecto de principio a fin, encajando perfectamente en la siempre inconformista e innovadora escena holandesa. Seis temas que en poco más de sus veinte minutos de duración arremeten de manera directa y furibunda con lo establecido. A pesar de ser un álbum corto, con lo que se presupone una velocidad bastante elevada, Duivel nos va arrastrando a medida que avanza el EP, a un lodoso y podrido mundo que solo ellos han podido imaginar. Black metal en esencia, pero con innumerables influencias, que van desde un regusto por le rock setentero que flota en todo el conjunto, un innegable peso de elementos como el punk o el hardcore que van poblando de crudeza las composiciones, así como influencias de un primitivo thrash, sin olvidarnos de un buen número de disonancias e imposible cambios de ritmo. Todo ello acompañado de unas voces llenas de crudeza y violencia que no dejan pasar la oportunidad de colar algunos chillidos muy influenciados por el heavy, todo con una atmósfera que va cobrando protagonismo con el trascurrir de los temas, volviéndose gracias al trabajo de teclados, primitiva, oscura e infecta, para acabar de parir una obra repleta de contrastes, endiabladamente rápida, pero sabiendo también traer secciones más pausadas con tintes ocultistas, un buen trabajo de batería, afilados riffs y densidad de sonido, acaban por ser el sustento perfecto para escupir toda la blasfemia que llevan dentro estos holandeses (8).

Nomad Snakepit Productions

1. Lijkenkar 01:31  
2. Gedoemd tot dolen 02:10  
3. Satánas 04:42  
4. Onanerend voor de zwaveltroon 04:07  
5. Heksenkut 06:52  
6. Kerkrot 00:48  

Vinyl, LP, Album, Limited Edition

domingo, 28 de mayo de 2023


 Good afternoon, thank you very much for answering these questions, how is everything going in San Francisco?

Hello BMSP and thank you for the interview.

1. Botanist began its journey around the year 2009, however over the years its proposal has varied, in fact, in these early years Botanist's proposal is more related to a grind character, why did you decide to create Botanist and why these more grind beginnings in music?

Originally I imagined Botanist would be a two-man grind project, with me playing drums and someone else playing guitar, and maybe a vocalist.. I had seen Pig Destroyer live, loved their “Prowler in the Yard” and “Terrifyer” albums, and was inspired by their less-is-more approach to personnel. I likely also had grind on the brain in bb to   since I felt enabled to have a band be about scientific botany because another band, Carcass, made a project about scientific forensic pathology.

Anyway, that little grind experiment / era lasted two albums, and then I moved on. All that’s really “grind” about the first couple Botanist albums is my approach to the drums and song lengths. As I quickly learned, making a dulcimer sound like a metal guitar, and a grind guitar/bass in particular, is something to let go of and just let it be what it is… something totally different.

2. The sound of Botanist has been turning over the years, in some way there is a connection with black in their sound, however it is no less true that the variety of styles that come together in their sound are as varied as we can confirm after listening to your latest album "VIII: Selenotrope", a new album that follows a bit in the wake of your previous "Photosynthesis" but taking the sound to new heights, how has the process of writing and recording this album been? new album and what do you think has changed compared to the past? What brands of instruments have you used in the process?

I try to make each Botanist album somehow different within the context of Botanist being a very restricted project. It is restricted in that all the songs are about plants and flowers, as told through the viewpoint of the titular Botanist, a scientist gone mad from witnessing the destruction of the Natural world at the hand of Humanity. It is also a restricted project in that all the songs must be written on dulcimer.

I believe that restrictions are great enablers to stretch and expand those very limitations. Being truly limitless is a dangerous thing to creativity, at least as far as my own creativity goes. Basic guidelines and rules are important, because they provide parameters to push against and stretch. 

A great way to stretch these parameters is by inviting other people to contribute to writing albums. Such is in large part the success of “Photosynthesis” and one of my favorite Botanist albums “The Shape of He to Come.” Having others’ talents and visions enable a fresh take to the rigid ground rules. Ironically, this opens up its own door to limitless possibilities as any new thing can be possible within the restricted rules, and those new things can be subtly nuanced to extremely new. You will see as the project continues over the years, as a secret roadmap is in place.

On the other hand, the solo album production gives me a clearer picture on how to progress the albums from solo album to solo album. In this way, I see the progression of Botanist solo albums as kind of distinct from the progression of Botanist collective albums, while not being totally separate things. They are different tendrils that intertwine, then go off in different directions, and come back to intertwine again.

For “VIII: Selenotrope,” I wanted to make an album with more dulcimer parts per song, with greater focus on melodic vocals, with no keyboard instruments,with no screams, about plants that bloom in moonlight, and hiring Unisound AB again for the mix. Dan Swanö worked on “Photosynthesis,” and I wanted that same working relationship to apply to a Botanist solo album.

3. Do you use an instrument like the hammered dulcimer in your compositions? What exactly is this instrument? When did you discover it and how did you think it could fit into the musical proposal of Botanist?

The hammered dulcimer is the Celtic version of the same basic instrument that exists unrelatedly in many cultures around the world. It’s a trapezoid hollow box with strings stretched on it, over bridges, and you hit the strings with sticks. I first discovered it on the streets of Tokyo, where an American musician who had come to visit and make a little money by busking was playing the instrument. My main mechanical skill as a musician is being able to hit things in time. Applying that to a percussive melodic instrument was a quick and intuitive way to expand upon and take advantage of my skill set. 

4. Previously, you spoke of a more grind beginning for Botanist, but over the years your sound has not stopped evolving until you reach a truly ambient proposal on your latest album. What bands and styles have influenced you over the years? When defining its sound? How would you describe the sound of the album to someone who hasn't heard it yet?

Every album I’ve ever heard has influenced me, from deeply emotionally, to providing a lesson of what not to do. The influence can be in less extreme in-between points, like an idea of where to place an instrument, where to pan it, a new way to arrange a song, what to change expressively in the future… Again, having new humans in the band enables new influences, abilities, enthusiasm, visions and ideas that those people bring. It’s a beautiful thing.

I’d wanted to do an ambient, or at least drum-less companion album to a Botanist record for years. I had planned it for another album that I started about 10 years ago, and has been put on pause for years. The issue I was finding was what ideas I had were not really aligning with the emotional vision I had for the ambient album… but working with Dan Swanö this time opened up that door, and in a way that I could not have imagined before. I’m so pleased this particular art came together for “Selenotrope / Moonflower”. 

I invite listeners new and old to listen to the album when in a dark or still place, and see where the album takes them.

5. We must highlight the focus that is given to the theme of your lyrics, just like the name of the band, everything is related to botany, at what point did you decide to carry out a project so far from conventionalisms in terms of theme? How do you develop the lyrics and themes that are present in your lyrics?

Conceptually, the creation of Botanist was at a convergence of the following the desire to make a band that created albums at my own (rapid) pace = on my own, at least at first my personal focus on the vast worlds of botany, scientific nomenclature, and scientifically accurate art throughout the centuries to pay aesthetic homage to this vast world.

My love for music -> metal -> black metal -> Nature themed black metal -> Romantic themed black metal and how I wanted to give back to it, and be in some way an entry into this vast pantheon

My connection to the Romantic themes of black metal, and how they recalled my connection to the study of Romantic literature and art that impacted me so strongly as an adolescent. 

A way to enter a world that I understand and yet happily do not understand, that remains wonderfully mysterious even to me; to emerge from that world with a new creation that I can only partially explain. 

Thus, guided by the fundamental concept of the project, and guided by a marriage of scientific nomenclature and channeling of Romantic sensibilities, the words of The Botanist are created.

6. Although you have been at the forefront of Botanist since its inception, over the years you have incorporated new members to form a band, what criteria do you follow when incorporating new members to Botanist and what do you think have contributed individually to finish defining the sound of the band? Why don't you have a guitarist in the band?

New members are added based on the criteria of ability, availability, eagerness, and personality. Increasingly having a CV of work makes a difference. 

Botanist uses hammered dulcimers where other bands use guitars. The use of the hammered dulcimer is not in itself a device of contradiction or opposition, but it does shine a light on the kind of foregone conclusion that is so accepted it is not challenged: why must a band in the rock or metal genre feature guitars, or any other instrument, in order to be metal?

7. There may be certain connections with other European bands in terms of sound, however I think that the American "black metal" scene is richer in nuances and let's say experimental projects within the "black" sound, perfect for a band like the Yours, do you feel in some way linked to that more experimental and particular part, almost author, of the sound of bands from the United States or do you not feel any kind of ties to other projects in your country?

About 25 years ago the US black metal scene was not good in my view. It sounded like it was trying to be making black metal by making death metal, and not really succeeding at either. The metal world did not consider the US scene as really having much credibility – it was like a slow child playing on plastic toy instruments. Then acts like Weakling and Leviathan came along and the train started getting on the right track. In consideration of my taking a retrospection on that, it is ironic that in 2023 people outside of the USA now think of the US black metal scene as a whole as being nuanced and artful and experimental. I’m not contradicting that at all, but rather feel some kind of satisfaction at today’s realization at how much it’s grown.

As for the question of Botanist’s relation to other US bands or ownership of other bands’ work: Botanist makes its own music, informed by the elements I talked about before. We like many other bands, including US black metal bands. 

8. It is somehow surprising that you have never given up taking Botanist's proposal live. How complicated is it to be able to put together a concert with all the supposed instrumentation that appears in your sound? Perhaps the biggest handicap of a concert for you Is it having to work with an instrument like the hammered dulcimer and not being able to capture your live sound in a coherent way?

Botanist live is indeed far more of a headache than a basic guitar/bass/drums/vocals act, entirely because we’re taking an instrument that wasn’t made to perform in the context that we are forcing it to perform in. The dulcimers are heavy, bulky, cost more to travel with, take long to tune, are a problem if they go out of tune (because of all the strings on it), and although products for electric guitar basically “work” with them, many, many products, effects, pedals, etc.. don’t really offer anything useful as they might for a solid-body guitar whose only purpose is to be run through an amplifier.

Considering this, Botanist dialed in its setup and approach to playing live around 2015. Each new sound engineer will have their own entry-level experience, but that’s ok. We know what to tell them and almost always it goes fine. Going forward we are still refining our live setup, but essentially the work is long done, the hassle in general will not reduce more than a few per cent at this point. 

9. You have always used images for your covers related to the theme of botany and for the new album it was not going to be less, who was in charge of the design of the cover of the new album, what does it represent and how is it related to the content of the album? album?

Benjamin König at Sperber Illustrationen handled all the art for “VIII: Selenotrope.” I liked his previous work with Spectral Lore and Lunar Aurora… it turned out he was also a founding member of Lunar Aurora, a band I was a fan of! Working with Sperber was an outstanding experience. He’s extremely efficient and easy to communicate with. He takes his work seriously and makes no concessions on his standard of professionality. For sure, he’s worked with Prophecy Productions some times before, so he knows what is expected of a pro graphic artist. I highly recommend him to other potential clients who would like his style. 

10. This is your third release that is released by the record label Prophecy Productions. How did you come into contact with them to edit your material? Do you think that after a long career you have finally found a record label with which you Do you feel fully at ease thanks to the fact that he has bet heavily on you?

Third release? Not yet! Depending on how you count them, it’s our second. In December of 2022 Prophecy released re-issues of the first three Botanist solo albums, culminating in a large format artbook with 6-disks… the kind of career defining milestone I would not have been able to dream of when I made the material in 2009. 

As far as new material, “VIII: Selenotrope” can be considered as Botanist’s first release on Prophecy. The second new album has been submitted, and we’re currently working on the third. After that, we’ll see what happens!

Botanist talked about joining Prophecy about 10 years ago, but factors were not entirely aligned at the time. When I spoke to Martin Koller in 2021, the planets had aligned. It’s as good a time as ever  to be on a label with strong distribution and who invests in their stable’s physical product as Prophecy does. The feeling of a team of emotionally enthusiastic people on our team is a good one.

11. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians?

I got into metal when I was maybe 6 because of a cool older kid who liked metal and heavy music – Dio, Manowar, ACDC, Iron Maiden, Scorpions. That kid was the older brother of a classmate of mine whose mom was my kindergarten teacher. He also got me into tabletop role playing games and I associated the two in a wonderful world of fantasy escapism. That was the groundwork for my being introduced to this stirring, epic sound. At age 11 I connected to a new level when a friend (again who was connected via tabletop role playing games) of mine bought Iron Maiden’s “Somewhere in Time,” an album that I still cherish to this day – for sure my favorite, defining Iron Maiden. 

For me, what pushed me to become a musician was 1) around 1998 that a different friend, who was a drummer who played in bands and loved death metal, introduced me to Rush’s “Moving Pictures.” I liked grunge and alt rock at the time, mostly what I heard on the radio, and pop or rock songs, etc… but what I was hearing in Rush’s drums sounded like a whole new depth of thrilling musical expression to me, and it was a major push into me wanting to tap into this kind of expression. 

2) I wanted to be an entry, no matter how small, but a defined entry in the dictionary of music. The act Dream Evil and their album / song “The Book of Heavy Metal” later helped define what I had been feeling when I started Botanist. I didn’t care about having a flashy car, and I’d die to be immortal – I just wanted to be in The Book, to give back and somehow be a part of this worldwide scene of music that I wanted to give my life to, and in a major part, I did and still do.

12. What album represents for you the essence of black metal? What last albums have you bought?

As far as Botanist is informed, if I had to pick one album that is the essence of black metal, I’d pick Ulver’s “Bergtatt.” For me, it is the quintessence of the movement of regarding the forest as the embodiment of the primordial unknown, the original, most expressive Romantic in this philosophical genre of black metal. It also encompasses all of what Ulver was doing and saying during its now relatively brief black metal period.

Lately I’ve been going back to some roots, sort of, taking deeper dives into bands from back in the day, bands I’d either never really listened to or never heard of until now; bands in an era and genre who actually wrote songs that either had hooks or choruses and had singers who sang – you know, kind of like an intersection of proto power metal maybe with some thrashy elements and solidly within a true heavy metal framework. Two of the main acts I got into are Artch, whom I had never heard of before. I like their first album in particular. The other act is the very famous Metal Church. I got their first album because of their eponymous anthem, which is so great. However, I was surprised to discover the album that I loved much more, and may remain my favorite of theirs, is their third album, “Blessing in Disguise.” It’s less catchy but there’s something very interesting and satisfying about the musical craft going on throughout the record that makes me want to return to it again and again!

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

Thank you for your interest in Botanist and consideration for it in your publication! We are pleased and support sites who publish in languages that aren’t English. Everyone should be able to connect with their passions in their own native languages, and you are providing a service to the Spanish-speaking world. Hello everyone and thank you for being such strong supporters of this worldwide scene. It needs all of us!


Blaze of Sorrow – Astri (Dark Clear Blue) 11,99 € 

Vinyl, LP, Album, Limited Edition, Dark Clear Blue



Origen: E.E.U.U., Columbia

Formados: 2017

Estilo: Black, death

Temática: Atrocidades históricas, literatura y ocultismo

Enlaces: Instagram


  • Alex Rush Bajo y voces
  • Hunter Ross Guitarra
  • Zach Jeter Guitarra y voces

  • Demo Demo 2019  
  • Eidolon in the Flames Single 2021  
  • At the Eye of Chaos CD 2023  
Con apenas la edición de una demo en 2019 de tres temas y después de haber superado la muerte de uno de sus miembros fundadores, los estadounidense Olkoth presentan sus primer larga duración. La presencia de Krzysztof Klingbein como batería de sesión que presenta como parte fundamental a la hora de entender el sonido del álbum y la banda debería de estudiar seriamente su contratación como miembro permanente . Estamos ante un álbum en general del ritmo alto, que destaca también por un sonido poderoso, denso y profundo, que sin caer en ciertos tecnicismo dentro del sonido death, si que de alguna manera suena realmente preciso. Con algunas influencias que los pueden emparejar a Nile o a Hate Eternal, estamos ante un álbum sin apenas concesiones en su faceta más directa y poderosa de death metal, muchas veces emparentados con el brutal death, sonido poderoso y alto de batería, unas guitarras profundas, lodosas y densas que con un sonido de bajo también rugoso, ofrecen un sonido impenetrable, empecinado a la hora de formar un muro de sonido en donde se dejan algunos resquicios para la aparición de algunas secciones de guitarra más elaboradas que permiten la apertura de ciertas atmósferas, llenas de oscuridad y podredumbre, pero que los pueden emparejar con estilos como el black. Poco hay que decir también en aspectos como el de las voces, con un componente denso y profundo, muy en la línea de un death infecto, con un buen aporte en el trabajo de dos voces, que sin aportar mucha variedad si que se agrace en el conjunto el poder disfrutar de esa doble visión y en un plano come el vocal en donde se añade una dosis extra de violencia. Un álbum que se posiciona como una obra de detah poderoso, en secciones influenciando por un death técnico, pero que ofrece algunas pinceladas de variedad que permite crear ciertas atmósferas y ofrecer influencias black al conjunto. (8,2).

1. Alhazred 04:26
 In Caliph’s court
born and enslaved only then to be exiled in fear
Raised by ghouls and beings of ill portent
Secrets of blood upon desert sands
Greatest conjurer, who through music enthralled evil from places unseen.
Hearken, I speak of Alhazred
Traveler of the realm beyond sleep

Dance with the Djinn
Stare into death’s pallid eyes
Commune with the dead
Harvest their black wisdom

From Babylon, ancient whispers
Carry echoes from old, deathless kings
Here within this dying beast’s entrails
Lie red visions of your empires fall
Greatest Sorcerer who, unblinking, gazes into the blackest abyss
Hearken, I speak of Alhazred
Who sees all, yet remains unseen

Dance with the Djinn
Stare into death’s pallid eyes
Commune with the dead
Black wisdom seals your demise

To walk the crimson wasteland and thus return unscathed,
Pacts of spirit and flesh shall mark your wretched soul.
Above the sands of Damascus awaits the nameless void.
For, the deathless ones to whom you’re tethered
reach out to seal your demise.

From the blackest abyss, peers an ageless terror.
The great, crawling chaos grants knowledge infernal.
Summon the dead payed with blood
Torn limb from limb
2. Incendiary Prayer 04:00
  For the lord who knows all that is
Has promised the crown of an Emperor
Giving power to the false
Who pray spinelessly to god as their greed becomes our overlord

Weary of valor and devoid of light
Pious convictions become a spiritual blight

They built their temples on the backs of slaves
Absolved of all error and sin
Well are we placed here in this field of arms
Blood red the steel of durandal shall flow

Beset upon by the hand of god
A kingdom purged of filth and infidels
May the prophet guide our blades
As the violence of his faith makes the land into an earthly hell

Weary of valor and devoid of light
Pious convictions infect with spiritual blight

They built their temples on the backs of slaves
Absolved of all error and sin
Well are we placed here in this field of arms
Blood red the steel of durandal shall flow

Thousands of years plagued by religious disease
By their own faith our race will crumble and fall to it’s knees
Infidel souls, captured and thrown to the fire
They fuel the beast of war
to manifest it’s hateful gods desires

Why are we ever born, for the day of ruin dawns
Now we have lost our peerage and our lords
An inquisition comes with all it’s force
Now we hear the shrilling horns
Fierce is the battle and wondrous grim
3. The Resurrectionist 03:43
Beneath the sands in depths forgotten
The doorway hidden by ancient ones
Under it’s spells of misdirection
They’ll wither wandering in the sun

Though he whose will breaks the clouded mind
Looks on past gilded halls to the portal
An oath of solemn and dire portent
Shall follow them ‘til death

You bear the mark of Nyarlathotep
Following in footsteps unseen and unheard
The corpses of kings shall bind us to the next world
Within this place we’ll live forever

Chambers perpetually illuminated
Reveal not words but dark eldritch signs
Inhuman figures impart their secrets
Whispers of foul necromantic rites

Towering pillars in stone of black
Align the path to a crawling madness
Malignant horror there seethes in wait
Under it’s sardonic gaze
We worship with our blood

Spill your life before the faceless one
In dark rites of vile resurrection
4. Thousand Faced Moon 04:19
Unseating the nervous equilibrium
An awful lore that yet still lives
Spawned from nests of disorder and violence
A horror beyond all human conception
Crowds of fugitives leprous and cancerous
With evil dragged from elder worlds
In this poison cauldron where their venom spreads
Perpetuates dark obscenities

A cosmic irony justifies the prophet’s cursed and loathsome words.
This latent mystery in our existence is ever present beyond the veil.
Hysteria takes hold in a hell of revelation too sudden and insidious to escape.
Amalgamations of spiritual putrescence, the blasphemies of a hundred dialects assail the sky.

O’ friend and companion of night, who wanderest in the midst of the shades among tombs, who longest for blood and bringest terror, Gorgo, Mormo, thousand-faced moon…

Festered by unhallowed prayers and bleeding throats,
Cosmic sin is ushered forth.
Grinning march of death that is to rot us all,
Forms too vile for our graves to hold.
Sephiroth, Ashmodai, Samael!
Take this flesh in offering to her
Within this quintessence of all damnation
The bounds of consciousness are torn apart

Amidst the blasphemies and the cries of Eldritch things that should be dead
Grim abnormalities spill stainless lifeblood within Satan’s Babylonish court.
Lillith, Great Lillith, behold this rotting vessel, his terrible visage with outstretched arms.
A hellish vestige of netherlandish death-cults, their blasphemies in a hundred dialects assail the sky.

O’ friend and companion of night, who rejoicest in the baying of dogs and spilt blood,
who longest for flesh and brings* terror. Gorgo, Mormo, thousand-faced moon…
Accept our sacrifice!
5. To Eat of the Lotus 05:22
Lost within this self-made haze of gnarled delusion, you create deception to hide your life’s failures. Bury all of your demons; you’re too weak to face them. To eat of the lotus, you’ll abandon all that’s sacred. Direful winds carry lies over seas of confusion. Lustful and corrupted, love gives way to hatred. Take it all, give back nothing and leave yourself hollow. To eat of the lotus you’ll defile all that is sacred. For this demented soul... I hear the void calling! Oh, the nectar is so sweet. It’s taste corrupts your senses and your mind. Your father’s hatred is an old and decaying shield. A writhing soul watched by Malebolgian eyes spirals into depravity.
6. Eidolon in the Flames 04:38
  Sick and deranged
Force-fed by those who follow the kloth
Religious darkness controls them
Thrown to the ground
Violently mounted with a hand on your throat
Swallow the vile holy spirit

A fire to send this helpless soul into oblivion
Gleaming with hatred, born of ignorance

Burned on the hearth
Smoldering there until only ashes remain
Rise through the smoke and poignant stench of death

Suffering and weary
God fearing gaze upon her
A sentence to purge the unholy
There can be no salvation
Fever dreams invade the last acrid nights
Words of condemnation
The heretic reads aloud the final rites

Tithe unto hell
Infernal changeling, it must be absolved
Amongst the hawthorns it found her
Vicious intent
Held to the embers in the name of a god
Devils whore, foul deceiver

The fire will send this wretched soul into oblivion
Gleaming with hatred, spawned from ignorance

Burned on the hearth
Smoldering there until only ashes remain
Rise through the smoke and poignant stench of death

They pray and read out scripture
As the embers burn her soft, tender flesh
No god was there with her
I still hear the burning voice calling my name to the fire.
A glow of suffering burned into my eyes
These stygian wails erode all sanity
Gripping the soul at its core,
a crippling fear assumes all control
Through judgment misgiven, accursed eternity

Demonic imposter
Taker of souls
Only a spirit of hatred now remains
Unholy Imposter
Corrupter of Souls
I still see the Eidolon staring back through the flames

Unholy Imposter
Corrupter of Souls
I still hear the burning voice calling out my name
The eidolon in the flames
7. Lords of the Kali Yuga 03:23
Hari Krishna, truthfulness and mercy has dissolved. The souls of this age are desecrated, our wisdom and consciousness devolves Oh Visnuyasa, your avatar splits the horizon And from your hands the eight opulences command the greater winds of the end We mourn the blackened skies Through vista of all the ages past Yuga of Kali Scorch the earth and purify all corruption In the eyes of Brahma, three worlds swallowed by serpent’s flame From the mouth of Ananta comes the breath of our final days. Monuments reduced to embers are forsaken by time. Watch the Rajas burns their kingdoms by infernal design. Let the lords of fire and void, cleanse the firmament. They orchestrate the fall of man as this aeon ends. We mourn the blackened skies Through vista of all the ages past Yuga of Kali Our souls in fire are purified  
8. At the Eye of Chaos 05:20
 The death of all ideologies shall erase our identity and mind.
The damage we’ve done, now irreparable;
Our existence diseased by ages of corruption

Open the gates for the blindgod
Black writhing chaos that sleeps beyond
This cataclysm echoes through the aeons
Deliverance lies in our deconstruction

The battered and bloated fallen ones whirl above in currents of spinning death.
Devour all that lies on the horizon
Blessed the world eater, our day of ruin has come

Open the gates for the blindgod
Oh tortured phantoms of ages lost
Noiseless infinity calls us from the great void
To be delivered by deconstruction

*Our chants ascend; we who dare to speak your name.
All hail the throne at the eye of chaos.

Coronzon awaits through the watchtowers, disrupting the laws of a dying realm.
A vessel of flesh calls them into being.
Entities of wrath, through their holocaust birth freedom.

Open the gates for the blindgod
Oh tortured phantoms of ages lost
Noiseless infinity calls us from the great void
To be delivered by deconstruction

*Our chants ascend; we who dare to speak your name.
All hail the throne at the eye of chaos.

Mad Lord! Creator, Destroyer...
Master of the Infinite Chaos.
Temper us in thy abysmal cold.
Come god upon thy eternal throne.
Reign in Chaos

Orange vinyl limited to 500

viernes, 26 de mayo de 2023



Origen: Holanda, Schiedam

Formados: 2007

Estilo: Black

Temática: Existencialismo y filosofía

Enlaces: Facebook.


  • Marquis Bajo, batería, guitarra y voces

  • Dark Ritual Demo 2009  
  • Weight of the Void CD 2019  
  • Shadowlord Single 2021  
  • Vákuum EP 2021  
  • Uni-Versum Single 2022  
  • A Menacing Creation Single 2023  
  • Insectoid Single 2023  
  • In Oculus Abyss CD 2023
Segunda entrega para esta ona man band que dio sus primero pasos allá por el año 2009, aunque a día de hoy poco queda de esa propuesta inicial como ya quedo demostrado con su primer álbum de hace cuatro años. Teitan ofrece en este "In Oculus Abyss" un álbum de carácter experimental y vanguardista con influencias filosóficas en su temática que logran traspasar lo meramente letristico para impregnar su sonido. El álbum se nutre de elementos como el ritmo marcial e imperativo de un sonido de batería que marca con su cadencia el sustento para que se desarrollen diferentes elementos dentro del sonido del álbum. Los temas logran de alguna manera sonar variados gracias a diferentes factores, como pueden ser el uso de algunos sintetizadores para crear una atmósfera absorbente, sin olvidarnos por supuesto de la variedad de intensidades, capaces de destrozarnos a base de ritmos explosivos para a renglón seguido deslizarse por ambientes mucho más íntimos, lentos y ponzoñosos, con un marcado carácter progresivo en cuanto a desarrollos que nos van destrozando con ese carácter vanguardista de los mismos que nos van sumergiendo en las profundidades insondables de la mente humana. Los temas están muy bien construidos, tanto las secciones más directas y digamos que corte más black, como las secciones más ambientales, así como aquellas en donde tanto un sonido más vanguardista como experimental en donde el caos se apodera de las composiciones, acompañado todo ello de unas voces crudas y profundas, que logran sonar desquiciadas y enfermizas a nada que se dejen llevar por el carácter experimental de la música. Un trabajo en el cual Marquis explora escenarios nada confortables, siempre partiendo del inconformismo, de la experimentación y el vanguardismo para acabar atrapándonos en un álbum lleno de contrastes al tiempo que resulta inmersivo. (7,6).

1. Menstrual Blood and Pomegranate 05:22  
2. From Under the Floorboard 05:00  
3. Murder Me 04:57  
4. Drowning the Knowledge 03:00  
5. Insectoid 04:01  
6. The Die Is Cast 06:31  
7. Public Masturbation 05:13  
8. Gang Mahal 06:28  
9. Purple Void 05:43  

Vinyl, 7", 45 RPM, Limited Edition, Yankee Edition - Red/Blue/White
Limited to 200 copies

jueves, 25 de mayo de 2023



Origen: Finlandia, Salo/Sauvo

Formados: 2019

Estilo: Black

Temática: Misantropía, mitología escandinava, naturaleza, paganismo y satanismo.

Enlaces: Deezerfacebook y spotify


  • A.A. Batería
  • J.L. Bajo, guitarra y voces

  • Of Atavistic Fury & Visions EP 2020
  • Woven Dark Paths CD 2023

Estamos ante el primer larga duración de este combo finlandés que tan buenas sensaciones había dejado con su Ep inicial y que con este primer trabajo no viene más que a refrendarlas. Un sonido poderoso, con un alto ritmo fruto de un sonido de batería endiablada, capaz de trasladarnos a un sonido clásico de black escandinavo de los años noventa que se acompaña por unas guitarras crujientes, llenas de rabia, poderosas muchas veces y capaces de ofrecer algún tono melódico, no exento de cierta épica, que se escapan en las partes más poderosas de su música, capaces por si solas de impregnar el conjunto de una sucia melodía. Hablábamos de un carácter clásico de las composiciones, son innumerables la bandas de los noventa que se nos pueden pasar por la cabeza durante la escucha de este álbum, sin embargo no es menos cierto que Sarvekas sabe imprimirle un carácter propio al conjunto, así se pude vislumbrar en la capacidad de entregar unas melodías imposibles que surgen de las partes más poderosas de las composiciones, completamente integradas en las secciones más explosivas de la propuesta, al mismo tiempo que van ofreciendo una ambientación gélida, todo ello integrado en la intensidad y alto ritmo de las composiciones, sin que apenas logren languidecer. Otro tanto se podría decir de las voces, ofreciendo un carácter directo y gélido, en donde la crudeza se deja sentir en cada estrofa, sin que bajen el listón en ningún punto, mezclándose perfectamente con el tono directo y crudo de las composiciones. Un álbum que nos retrotrae al sonido black escandinavo de los noventa, en donde apenas vamos a encontrar fisuras en su ritmo alto y depredativo, que sin embargo sabe sacar partido del mismo para sembrar la oscuridad y la violencia. (7,8).

1. Rite of Transcendence  
2. The Scryer of Bones  
3. Of Bloodlust & Nightside Sorceries  
4. Embers of Pagan Fire  
5. Woven Dark Paths  
6. The Austerity of the Northern Lands  
7. Soaring over the Battlefields  
8. The Great Winter

2 × Vinyl, LP, Album

lunes, 22 de mayo de 2023


Good afternoon, thank you very much for answering these questions, how is everything going in Oslo?

Ole - Thank you for taking interest in us, and for doing this interview. Life in Oslo is nice right now. Spring has arrived and this means I get to spend more time in the woods. 


1. There isn't much information about the band, at what point did you decide to start Nadir? Why did you choose this name and what does it refer to?

Jonas - The word “nadir” is the opposite of zenith, the absolute low point, basically rock bottom. It’s always a bit of a process naming a band, with no small degree of awkwardness. At some point, as the suggestions we came up with reached new levels of pretentious bullshit, we landed on the bottom of the curve and stayed with it. The name sits well with the musical content, and is a humorous reminder of how we found our name.


2. You have released an EP, “The Great Dying” (2020), however the leap in sound achieved with your new album is really remarkable. How have you faced the recording of the new album with respect to “The Great Dying”? What brands of instruments have you used in the composition and recording process?

Jonas - Fun fact here: When we (Ole and myself) started recording the EP, I was under the assumption that we were doing pre-production for later recordings, so very little detail was paid to the technical aspects of recording. Mic placement and selection was done in a hurry, we didn’t even check phase for the drum mics. Fast forwards a couple of weeks, and the tracks are sent of for mixing, and all of a sudden we’re releasing the demo-turned-EP!

For the album recordings we did everything in a much more orderly fashion. Everything is recorded in our rehearsal space where I keep all my studio gear. For my part, my drum kit is a Mapex Saturn Tour Edition, with 2x 24x14 kicks, 13x9 rack tom, 16x16 and 18x16 floor toms and a Persuader snare from their Black Panther line. All the toms were fitted with Remo Vintage Ambassador over Remo Ambassador Coated, Powerstroke X coated on the snare and Powerstroke 4 Coated on the kicks. The cymbals are all Paiste - 2002 Big Beat 16 hats, 19, 20, 21 and 24 multis, 2002 novo china 20 and a Giant Beat 20 thin. The setup is quite different from what I see most guys using for this sort of music, but I like the 70s vibe from it, and it really adds character to our sound.

This was all captured through SE Electronics V-kit mics, with their VR1 ribbons used for overheads and a blumlein-pair of 4400’s plus a 2200 facing the floor in front of the kicks for the room sound. 

The guitars were recorded through Orange 4x12 cabs with VR1 and SM57 mics, and both guys did two passes with different amps, Ole with an EVH5150iii and a Marshall JCM800 Kerry King sig, and Magnus with Mesa Stiletto and Dual Rectifier amps.

All bass tracks were recorded through DI and a Darkglass MicroTubes 500.


3. The balance of your sound is remarkable, between a sound that could be classified as classic and the more hardcore parts that make their way throughout the entire album as clear influences. How would you describe the sound of the album for whom? haven't heard it yet? Which bands have been an influence for you when it comes to defining the sound?

Jonas - Thanks! The balance of our sound is mostly a result of our good friend Ruben Willem, who mixed and mastered the album. He did a great job here! From the very beginning we wanted to make a very organic and gritty album, so there’s no samples, no tuning and no editing to make it super clean. I believe this makes it easier for the different parts to work together through the album, especially for the big dynamic transitions.

Ole - When I was writing the tracks for Extinction Rituals I was listening to mostly straight forward Black Metal, so it funny it turned out the way it did. But I guess we as a collective never had any interest in being contained by this or that particular genre of sound. We go where the music takes us. 


4. Intensity and rawness, melody and careful atmospheres, classic sounds without sacrificing more current elements, it seems difficult to achieve the right balance among so many nuances, but I think you have succeeded, how complicated was the whole process until you reached the goal? What sound did you want to offer? Has your experience in previous bands served to define the whole process in any way?

Ole- Thank you! During the conception of Nadir, my thoughts was to present my take on Black Metal music. I have always been drawn to the idea of bending genres, which for me makes things more interesting. I guess through my previous works in other bands this idea has always been present, but earlier it was more focused on Sludge and Doom Metal.

Jonas - As far as the drums go, I haven’t actually put too much thought into any of it, but rather trying just to go with the flow and play whatever feels right in the moment when we write, and then try not to stray too far from that as the process moves forwards. It’s a very primal approach, but it helps me not overthinking my parts. On past experience, one thing that really helped this process is the simple fact that Ruben and I spent years together in a different band a while back. The fact that he’s very familiar with my playing, and that we’ve already had the talk about what sound we’re after so many times before really helped speeding up the mixing process - which in turn lets us finish it before the aforementioned overthinking takes over!

5. Your lyrics deal with themes related to death and darkness, why do you deal with these issues in your lyrics? Have you adapted the music to the lyrics or vice versa?

Ole - The music always comes first. Most times I will write the song, then we will adjust it as a band, after that comes the lyrics. For me, the theme of this album comes quite naturally. Extinction Rituals is the duality of futility and hope. Humanity will go smiling and ignorant into the flames of our own doom.


6. On the album cover you can see a snake in the center and in black and white, however everything is surrounded by colors towards the edges of the cover, who was in charge of the design of the album cover and what do you want? represent with her?

Ole - We where lucky enough to get the fantastic artist Thomas Hooper to do the artwork for Extinction Rituals. I have been a fan of his work for a long time, and in particular his use of colors. I feel it is quite fitting of the dualistic nature of this album.


7. You have opted for the digital self-publishing of the album, are you looking for a record label to publish it in another format or do you prefer to be yourselves who have control over this whole process?

Ole - In the end it was simpler to do it digitally.

Jonas - We certainly wouldn’t object if somebody wanted to help us etch out our tunes in vinyl.

8. Have you already started with the live presentation of the album? How is the response from the public? With which bands would you like to share a mini-tour?

Ole - Yes, we recently performed several of the songs from Extinction Rituals at Inferno Festival here in Oslo. That might be the ideal audience for us, metalheads with an open mind. Given our various influences and broad style, I think we could pull off touring with a lot of different bands, we certainly will consider all offers coming our way.


9. You come from Norway, specifically from Oslo and it seems that you have been active in the scene for some time. How do you think the scene in a city like Oslo has evolved in recent years? Do you think that in some way Has the essence of those early years been lost to make way for a more prefabricated scene or sound?

Jonas - As far as the scene is concerned, I’ve never really been a part of it outside my work. It’s changed for sure, and the early years are long gone but not forgotten. Keeping the arts alive is a lot like wilderness survival - you’ve got to keep moving, complacency is death!

Ole - There will always be bad music, and there will be those keeping the flame alive.

The flavor of the month will always be fluctuating, but one truly notice those doing things with sincerity and passion. For me that is Metal. 


10. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians? 

Jonas - The beginning is a long time ago, but I think the first metal album I went out to get was probably something like Metallica’s Ride The Lightning, sometime around 1989-90. First concerts were with local bands, and having older friends in bands was my ticket to pick up the sticks.

11. What album represents for you the essence of black metal? What last albums have you bought?

Ole - That is a though one to answer, and I don’t really know what album to pick. I have always been a fan of the more melodic stuff, so the style from the late 90s early 00s is something I really like. In recent times the new Dødheimsgard and Imperium Dekadenz have been played a lot at my home, great stuff!


12. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Nadir fans this is the place. I hope the questions are to your liking.

Ole - Thank you again. I hope people will continue to support Metal music, and keep the flame burning bright for many years to come. 


Human Bodies / Leather Chalice - SPLIT 3,99 €

Vinyl, 7", EP, Limited Edition to 300 copies