lunes, 30 de octubre de 2023

PENITENCE ONIRIQUE

 


Origen: Francia, Chartres

Formados: 2015

Estilo: Black

Temática: Alquimia, autodescubrimiento, esoterismo y filosofía

Enlaces: Instagramspotify y youtube

Miembros:

  • Bellovesos  Guitarra
  • Dimiourgos Bajo
  • Iendar Batería
  • Logos Letras y voces
  • Vorace Guitarra
Discografía:

  • V​.​I​.​T​.​R​.​I​.​O​.​L. CD 2016
  • Aphonie Single 2018  
  • Vestige CD 2019
  • Nature Morte CD 2023

NATURE MORTE (2023)
Partiendo de la base de una one man band cuando comenzó su andadura allá por 2015, ahora mismo Penitence Onirique se ha ido reinventando a lo largo de estos últimos años, con una formación de garantías al mismo tiempo que álbum a álbum ha ido haciéndose un hueco en al escena. Este tercer trabajo así lo demuestra, un black metal intenso, directo y oscuro, lleno de rabia y violencia en cada nota, por momento capaz de arrasar con cualquier cosa que encuentra a su paso. Algunas secciones que podemos describir como intros inquietantes salpican el inicio de la composiciones, pero sólo sirven de aperitivo de lo que está por venir en forma de un sonido poderoso y abrasivo, sin fisuras, formando el tanden batería guitarras un muro infranqueable, la primera sublime a la hora de instigarnos con un ritmo elevado, al mismo tiempo que sabe sonar contundente y refugiarse en secciones oscuras y densas cuando es necesario. Por su parte los riffs son majestuosos, abrasivos en al vorágine del sonido más directo, pero luchando por ofrecer algunas secciones de cierta melodía siempre encarando lo ofrecido con un tono oscuro y frio. Ni que decir tiene que las voces de Diviciacos están a la altura, sanando poderosas y muy agresivas, jugando con algunos registros más limpios cunado los temas así lo requieren, logrando elevar el tono de los temas, desde esas partes mucho más crudas a otras con un presencia de cierto misticismo. Un nuevo trabajo de los franceses que logra llevar el sonido de la banda a nuevos terrenos, ofreciendo un trabajo que conjuga perfectamente un black directo y poderoso, repleto de violencia, crudeza y oscuridad. (8).




1. Désir 06:25  
2. Les mammonites 05:52  
3. Nature morte 07:28  
4. Lama Sabachthani 02:41  
5. Je vois Satan tomber comme l'éclair 06:38  
6. Pharmakos 07:30  
7. Les indifferenciés 09:33  
  46:07









OERHEKS

 


Origen: Bélgica, Kaggevinne.

Formados: 2020

Estilo: Black atmosférico

Temática: Folklore flamenco

Enlaces: Bandcamp

Miembros:

  • H. Todo
Discografía:

  • Cagghenvinna Demo 2022
  • Landschapsanachronismen Demo 2023
  • Valkengebed Demo 2023  
  • Grondslagen Recopilatorio 2023
VALKENGEBED (2023)
Tercera demo para esta one man band belga, cuyas influencias musicales hay que buscarlas en e l paganismo y el folklore vestidos de black atmosférico. Estamos ante la tercera de las demos que en poco más de un año ha editado Oerheks, compuesta de un par de temas cuya temática se centra en la caza de los halcones y sus victimas las garzas, perteneciente a las tradición flamenca. Los dos temas se desarrollan en una suerte de elementos atmosféricos, construidos tanto por sintetizadores, como por secciones líneales de batería y guitarra, junto a las voces repletas tanto de rabia como de melancolía de H. Hay que decir que los temas son extensos y permiten disfrutar del desarrollo de los mismos, el primero de ellos "Valkengebed" se centra en los halcones, y unas secciones iniciales más centradas en aspectos contemplativos se vuelven mucho más violentos cuando los halcones se ciernen sobre sus presas. Lo mismo podemos decir "Blauwe vleugels", en donde podemos sentir como las garza solitaria se ve inmersa en al lucha por la supervivencia cuando cae presa del los halcones. En definitiva, una demo que a lo largo de sus dos temas, logra sumergirnos en las tradiciones folk flamencas, en forma de un álbum de black atmosférico, de desarrollos largos al mismo tiempo que narra perfectamente los sucesos de la lucha por la supervivencia tanto de los halcones como de las garzas. (7,9).




1. Valkengebed 11:24
  Altijd en overal
Als een zwaard in de hemel
Immer en alom
Een slag uit de lucht

Een duikvlucht
Wervelend, kolkend
Verpletterende kracht
Duizelingwekkend

En daar zweeft hij
Een vlek aan het firmament
Fladderend, helend
Mijn ziel achtervolgd

Waar ik ook ga
Volgt zijn gebed me
En ik hoor de roep
Hangend als een zwaard

Altijd en overal
Als een zwaard dat toeslaat
Immer en alom
Neerwaarts, neerwaarts

Valken mijner vinne
Overschouw uw rijk
Leid me daar waar uw prooi is
En ik zweef mee
2. Blauwe vleugels 15:06
Warme winden waaien De leegte tegemoet Vlak, schuchter verzet Fluisterend geritsel Zwevend, traag happend De stroom tegemoet Grootse, schuwe sier Blauw aan een blauwe hemel Dwalend, immer dwalend De duisternis tegemoet Zwoele, zwarte lucht Grijze eenzaamheid Reizend door een tijd Het lot tegemoet Harde, kille dalen Een verhulling Plotse stilte, plotse kilte De beklemming tegemoet Strenge, scherpe striemen Blauw, dan rood, zwart Grauwe, glijdende reus Ik, uw roep tegemoet Warme, donkere gloed Blauwe vleugels  
  26:30





Vinyl, LP, Album, Limited Edition





domingo, 29 de octubre de 2023

TEUFELSBERG

 


Origen: Polonia

Formados: ?

Estilo: Black

Temática: Muerte, ocultismo, oscuridad y satanismo

Enlaces: Bandcamp.

Miembros:?

Discografía:

  • Ancient Darkness Triumphant Demo 2020  
  • Minnesjord / Teufelsberg Split 2021  
  • Ordre du Diable CD 2022  
  • Cienie EP 2023  
  • Pakt mit dem Teufel CD 2023
PAKT MIT DEM TEUFEL (2023)
Segunda entrega para esta banda? polaca, después de un álbum inicial que nos sumergía en lo más profundos de los sonidos underground del black metal polaca, para este nuevo trabajo parece que han querido ofrecer influencias también del black escandinavo y heleno de los noventa. Un álbum muy oscuro y frío, rodeado den un tono de misticismo que aflora desde el inicio, ya sea por las influencias de un sonido black que suena totalmente underground y que le debe mucho a estilos como el rock en sus planteamientos iniciales. Teufelsberg ofrece un sonido directo y rápido, con una batería primitiva, tal vez sea el elemento más reconocible a larga en el sonido del álbum por ese carácter en su sonido que logra ofrecer en este álbum. Los riffs tienen la virtud de sonar crudos y directos, manteniendo un tono del todo underground, oscuros y lodosos pero sin abandonar aspectos que pueden estar relacionados con oscuras melodías. Al mismo tiempo las voces se muestran cavernosas y muy profundas, también con ese carácter underground que emana de las composiciocnes. A todo ello hay que añadir ese tono de oscuridad y frialdad, que muchas vece deja entrever influencias de black de países ocmo Grecia en sus inicios gracias a algunas melodías, o del black escandinavo otras, al ofrecer un sonido directo y  sin adulterar. Un álbum que parte de lo que podemos considerar la escuela polaca del black metal, pero que ofrece muchas secciones repletas de misticismo y oscuridad. (7,7).




1. Hunger etter synd 10:13  
2. Der Ruf des Mephistopheles 06:13  
3. Gospel of Diabolical Freedom 05:39  
4. La beauté du diable 04:13  
5. Noc walpurgii, Lucyfera dar! 03:59  
6. Wpiekłowstąpienie (In Herrlichkeit inmitten der Flammen) 07:05  
  37:22




CD, Album





WAYFARER

 AMERICAN GHOTIC (2023)

El quinto trabajo de los de Denver sigue el camino marcado por su anterior "A Romance with Violence", un álbum que de alguna manera supuso un cambio en la dirección de la banda y que acaba por explotar en este "American Gothic". Es innegable el peso que tiene el sonido folk y country a la hora de explicar lo que logra trasmitir un álbum como este, al igual que en el pasado esas melodía de las cuales echan mano, se van haciendo un hueco en el sonido para lograr trasportarnos al lejano oeste americano, ya sea en una línea melódica, o bien como una ambientación sombría de su música. Sin embargo Wayfarer para este trabajo se ha centrado mucho más en explorar la vena más directa de su propeusta, aquí hay un mayor peso de lo que podemos describir como black metal, que se emplea a fondo con una batería potente y muy marcada, manteniendo un ritmo comedido en la mayoría de los temas pero sabiendo traer un propuesta mucho más directa, potente y cruda si se me permite decirlo, al mismo tiempo que saben trabajar esos elaborados contrastes cunado entran en acción elementos mucho más folk. No se ha perdido esa esencia de black atmosférico, capaz de trasportarte a las profundidades de las Montañas Rocosas, pero si que aparecen algunos elementos que en el pasado no se encontraban tan representados como pueden ser los sonido post, o ese Cascadian black metal que aparecen en ciertos momentos del álbum. Sin embargo sigue existiendo un contrate muy marcado entre esas secciones más directas, de en esencia black metal, con aquellas mucho más ambientales que traen partes mucho más melódicas al conjunto, sin embargo es innegable el buen trabajo realizado a las voces, aspecto en donde los contrastes se ven todavía más marcados, sin olvidarnos de la capacidad de la banda de sumergirnos una vez más en el salvaje oeste. (7,8).



1. The Thousand Tombs of Western Promise 07:11  
2. The Cattle Thief 09:06  
3. Reaper on the Oilfields 04:14  
4. To Enter My House Justified 05:12  
5. A High Plains Eulogy 03:54  
6. 1934 01:25  
7. Black Plumes Over God's Country 05:46  
8. False Constellation 06:59   
  43:47





- 350gsm Jacket with inside flooded in black and matt varnish
- 140g Black or White Vinyl
- 250gsm Art Paper Insert
- Limited to 300 copies (150x Black & 150x White Vinyl)





THIRD STORM - INTERVIEW



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

Heval: Hi! Everything is good in Uppsala thank you. 


1. Third Storm started up in 1986, what led you to create the band? Why did you choose the name Third Storm and what does it refer to?

Heval: We were huge fans of bands of that era and we wanted to start a band of our own and make some noise. We were very young (14-15) very unfocused and untalented. The songs mostly sucked but we had the fire within us. We kept the band intact for two years and made some gigs before we split up in 1988. The name refers to “World War Three”, already back then I had this vision of a concept that relates to the name, it finally became reality when we reformed. We thought the 

Hellhammer title “The Third Of The Storms” sounded cool and took the name from that title and built a concept around it.


2. From that time you have released a couple of demos until your “separation” in 1988, what do you remember about those first moments of the band? Why did you disband after having taken the important step of releasing a couple of demos?

Heval: We were very young as I said, but I remember lots of fun stuff from that short period we were active. Chaotic gigs, cheap beer and lots of extreme music started to pour in from all over the world. We all went separate ways two years after. Still in our teens, the other guys wanted to do other stuff, move to other places etc. I was the only one who wanted to continue because as I said, I had a vision for this band but couldn’t find members who wanted do play this kind of extreme music. So I said fuck it! And this obscure band went into oblivion. It became a myth years after because there were no band photos and stuff like that, and we never spread our “rehearsal demos” . I heard frequently things like “There was a band called Third Storm but did they actually exist?”. 


3. After a period of silence of almost thirty years, you return to activity with an EP in 2015 and a trilogy of albums, of which the second will be released shortly, why return at this time? What's left today? On the day of the eighties band? Is it worth it for you to return with this project after the members are involved in other bands?

Heval: After some discussions with Jimmy, the first guitarist, we decided to start this band again in 2014. His son David joined and had already written some material, then all of a sudden we had a line-up. My intention from start was a trilogy. The EP was just a foretaste and actually more of an experiment of direction, I think we kept some of the elements from the EP but added so much more to the albums. Why this time? Better late than never I suppose.



4. I suppose that the line marked in the composition and recording process of “The Grand Manifestation” will be similar to that of the new album “The Locust Mantra”, more than anything because of the idea of a trilogy that you have in mind, but what? Do you think your way of working has changed between these two albums? What brands of instruments have you used in the process?

Hasse: I’d say the main difference from ”The Grand Manifestation” is that this time we tried to have a more holistic view on the songwriting. The music is more closely related to the lyrics and we have tried to keep a common thread throughout the album. We’re using Jackson and Ibanez guitars and bass.


5. Your sound refers to many styles and influences, the weight of classic Swedish death, thrash, of course doom, without forgetting black is undeniable, however you also manage to maintain a trace of classic sound with new aspects, how would you uncover it? The sound of the new album for those who have not heard it yet? What bands and styles have been an influence for you when composing it?

Hasse: Being a listener of hard rock and heavy metal since the mid 80’s and later on exploring the extreme metal scene results in having a wide palette of influences to draw from when writing the songs. You could say ”The Locust Mantra” is a heavy metal take on extreme metal (or vice versa). The metal albums from my youth could contain furiously fast songs as well as ballads and mid￾tempo songs. We have used that kind of dynamic, leaving all doors open, for every part of the album to match with the story and the lyrical content. As for bands of influence there are too many to line them all up. I’m inspired by a lot of different music and bands. I was always a huge fan of Edge of Sanity. ”The Spectral Sorrows” is the closest I can come to name an album of influence.


6. Your previous album contained a conceptual story, does the same happen in the new album? What themes do you cover in it? Who is in charge of writing the lyrics? Do the lyrics adapt to the music or vice versa?

Heval: Yeah the new album is part 2 of the trilogy and a direct continuation of the last album. I came up with the concept and write all the lyrics for this band. The music always comes first.The theme of the trilogy is in short the creation of universe and two entities, the prime creator “The Source” or God if you will, and humans collective energy which manifested the spiritual entity “Gorakaathuar” who’s vision and purpose is a new order for the universe, it’s opposed to Source’s view of evolution and the way physical life is coming forth. The more hate and misery on Earth the more it grows and becomes powerful as “Source”. The concept is basically the conflict between those two. All the bad stuff that happened in our history is actually their battle. This new album covers the past two thousand years, mostly both world wars. Part III will tell the story of the future, the third and the final war. And the ultimate revelation. The saga also is presented in text form in the booklet, so it will be understood easier but still I use a lot of allegories to tell the saga. To let people figure out themselves events and historical figures etc.


7. Do you feel a certain “pressure” as a band that was born in the eighties, comes from Sweden, plays death metal, etc.? What do you think it is about Swedish bands that attract so many followers? What do you think has changed in the past? extreme metal scene over the years?

Hasse: Well, not really. You can’t appeal to everyone and if you do or don’t doesn’t really matter. Of course I’m happy if people appreciate our musical effort, but I cannot adapt my songwriting in an attempt to please as many listeners as possible. Writing songs that I myself would want to hear on an album and, as far as I’m capable, musically illustrating ”The Pheriqhai Saga” (which ”The Locust Mantra” is the second part of) has been the main focus in the creative process. I don’t know what it is that attracts listeners. Sweden has a lot of good musicians and, at least when I grew up, any kid could take instrument lessons for a very modest price. It was easy to get a cheap rehearsal place and there were quite a lot of venues for young bands to play at. From being underground extreme music has been more accepted nowadays for better and for worse.



8. Although you have returned to work at HSH Studios, this time you have dispensed with Johan Ericson, however you have worked with different producers on many aspects of the sound of the new album. Were you not completely satisfied with the result obtained on the previous album and Have you looked for different points of view for the new one?

Hasse: I am very satisfied with Johan’s work on the previous album but for ”The Locust Mantra” with its slightly different musical approach we felt a renewal of the sound would suit the new songs better. From the dirtier sound of the songs on ”The Grand Manifestation” we have been moving towards a sharper yet smoother sound. Having Philip of HSH recording the guitars and bass was the obvious choice since he did a great job on the previous album. I think it can be very rewarding working with different people.


9. Maybe without being as risky as the cover of the previous album, for this new work Raul Gonzales has become a bit more measured, what does this new cover represent and how does it relate to the content of the album?

Heval: Both album covers are bastardized versions of Michelangelo’s famous arts, this new one is a parody of “Angels Sounding Trumpets”, obviously devils instead of angels. The first album was “The Creation of Adam”, instead of Adam ours have the devil as you can see. Both artworks are somewhat symbolic to the concept, not directly relating to the story but suggest stuff, and makes you wonder what the hell this or that means.


10. You have left Dark Descent Records to start releasing the new album with Chaos Records, what led you to take this step?

Heval: We thought a change would be nice. Chaos offered us a good deal and we accepted. 


11. You have never given up the possibility of being able to offer concerts, do you need that contact with fans and see the sensations of presenting your music live? Which bands would you like to share a mini-tour with?

Heval: Yeah that would be cool. A mini tour would be nice. Bands? I have no idea. 


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

Heval: My first albums? Some albums with Kiss, Iron Maiden, AC/DC and stuff like that. That was over 4 decades ago and I don’t remember exactly in which order I bought them, but I do remember Kiss Alive II was the first. First concerts were some local bands I think.

Hasse: ”Shout at the Devil”


13. What album represents for you the essence of black metal? What latest albums have you bought? 

Heval: In my opinion “Under The Sign Of The Black Mark” is the ultimate black metal album and capture that essence. Many have tried to copy that sound and many have failed. I don’t buy records any more but I remember the last one I bought was John Carpenters “Lost Themes”, years ago.


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

Heval: Yeah thanks man! Hope people like our new album. Cheers and see ya!

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

Spider God ‎– Black Renditions 22,99 €


Vinyl, LP, Album, Limited Edition, Black





sábado, 28 de octubre de 2023

SLIDHR - INTERVIEW



1. The band was formed around 2005, what led you to create the band? Why did you choose the name Slidhr and what does it refer to?

1. I had been playing in a couple of other active black metal bands back then for some time and I decided to do something on my own that didn't involve anyone else. I was sick of playing live and rehearsing with other people.

The name Slidhr comes from a river of blades in Hel in Germanic mythology. It was actually suggested to me by an old bandmate. Finding the appropriate name for a band is usually pretty difficult.


2. This is the band's third album, with a period of about five years between the second and third, what led you to spend so much time between both releases? The belonging of the members of Slidhr to other renowned bands such as Verminous Serpent, Almyrkvi or Nocte Obducta can play against greater continuity for Slidhr? By the way, how did the incorporation of Stefan Dietz on bass come about?

2. It sounds like a long time but in reality it often just takes that long to make an album. We didn't record it all at once, there were some breaks between sessions. The members playing in various other bands didn't really have an impact on this album, though. Nobody was really doing anything because of the Covid nonsense so we actually probably had more time than ever.

Stefan and I were friends before playing music together so when Gardar left the band to concentrate on his own projects, Stefan offered his assistance. He's a great musician so it was very cool to have him involved.


3. How has the composition and recording process of this new album been? How have you worked on the new songs and what brands of instruments have you used?

3. I always start writing the music on guitar and make demos with a drum programme, then our drummer Bjarni rewrites the drum patterns. Usually the vocal patterns are the last thing for me (but not always). It was recorded over a couple of years, starting with the drums in Iceland, then the guitars were recorded at my home studio in Ireland. Stefan recorded his bass parts in Germany. Finally my vocals were recorded at a pretty big studio in Dublin. I mixed and mastered the whole thing at my place. Recording is a bit of a hobby for me, but I have been doing it for a long time.

I used various different guitars on the recording. The main guitars on this one were a Fender Stratocaster (with some upgrades) and a Jackson Dinky that I have heavily customized.



4. You have always rejected new sounds in your interpretation of black metal, staying firm in a dark and deep sound with a classic aftertaste; How do you understand what a black metal band should sound like today? How would you describe the sound of the album for those who have not heard it yet? What bands and styles have an influence for you when composing music for Slider?

4. I have been listening to this music from such a young age that lots of early influences still come out in my own song writing and overall sound. When it comes to fast and brutal Black Metal I would say that Zyklon B's 'Blood Must be Shed' is a big influence. Isengard is a huge favourite also, but other stuff like early Samael was also very influential for me, with 'Ceremony of Opposites' being a particular favourite. The best Black Metal was always unique and had its own spirit, that's hugely important.

Generally, I don't have much interest in modern Black Metal. There are of course some excellent bands around these days but 95% is rubbish. That makes it difficult to find the really good music.


5. Unlike other bands and what has been common in black music, your theme revolves around the forces of nature and the problems of society. How do you integrate this theme into your music and why do you decide to deal with it? Who writes the texts? Do the lyrics adapt to the music or vice versa?

5. I wouldn't really say the lyrics deal with social issues but we definitely speak of the forces of nature, the dark aspects that really put humans in their place. Many of the lyrics deal with personal power, inner strength and resistance. In a world of tyrants it is important to fight and take no shit. I feel that most Black Metal bands are just acting, they don't really mean what they say. At least you know my words are honest.

I write the lyrics and that usually happens after the music. Sometimes I will have some lyrics written earlier but usually I like to work with the music.


6. You are working again with Debemur Morti Productions for the release of this new album, a record label that had already been in charge of the release of your first album. When was the decision made to work with them again?

6. We needed a label that we could trust to do what a label should do. We have worked with them in the past but I have also worked with them over the years with other bands. We have worked with various other labels over the years and Debemur Morti is definitely one of the best.


7. Who was in charge of bringing out that powerful and dark sound that the album gives off, have you taken care of the entire recording and mixing process or have you worked with a studio?

7. I pretty much spoke about this earlier but I do the mixing and mastering myself. I studied sound engineering in the mid-nineties but back then it was almost all analog and very little use of computers. These days there is no reason to physically cut tape by hand and own huge amounts of expensive equipment so it's a lot easier to do at home or at the rehearsal space.



8. The cover is also dark and deep with strong contrast and certain ambiguities. Who was in charge of the design of the cover, what does it represent and how does it relate to the content of the album?

8. I painted the cover myself. I've worked as a tattoo artist for many years and visual art was one of my first interests as a child so I like to do the artwork too. The story behind the cover directly relates to the common theme through the lyrics. The rays of light/truth will split the crown of the tyrant. The light of the otherworld will shine into this world.


9. Although the three members of the band reside in three different countries, in the past you have not given up offering concerts, an aspect that we see will continue with the new album. How do you propose the viability of being able to offer a concert? concert and how important is it for you to be able to participate in a festival, for example?

9. Since 2015 most of the band resided in Iceland, I was the only member not living there. So the band could basically rehearse like any other band but I would travel over there whenever we had something coming up. Sometimes if we hadn't played together for a long time we would practice in whatever city we were playing in before the gig. It really wasn't very difficult. These days, however, it's a little more complicated since we are now living in 3 different countries. We will just meet up whenever we need to, though. It's not really a huge problem. We all know our instruments very well so it doesn't take long to get in shape.

Playing live can be a great experience or it can be a fucking nightmare. It really depends on many factors. When everything aligns it can be really special. We haven't played live in a few years, though. Maybe we'll arrange something but it's definitely not a priority.


10. Old Ireland is still as wet and cold as ever, what is the black metal scene like in a city like Dublin? After all these years that you have been active, what do you think has changed in the black metal scene in your country?

10. There has never really been a Black Metal scene in Ireland. Over the years there has only been a small amount of decent bands that I can think of. These days I'm not really interested in what's happening but I haven't really seen anything special. In my opinion Malthusian are one of the best underground bands we've had.


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

11. When I was a very small child my uncle bought Iron Maiden's 'Number of the Beast' and I would stare at the album cover for ages. The artwork captivated me. That started me on the path of the devil's music. Then when I was 10 years old I got really into Guns n Roses, then Metallica etc. I started playing guitar when I was 11 years old and have been pretty much obsessed ever since.


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

12. For me Black Metal must possess the adversarial spirit. Of course the word 'black' refers to the devil's music, but so many musicians who profess to be 'evil' and 'Satanic' are full of shit. They are actors. Slidhr is definitely not a Satanic band but we possess the adversarial spirit.

I can't remember exactly what the last albums I bought are but I recently got a new vinyl player and have started buying some stuff that was missing from my collection. I recently picked up some Roky Erickson and some old Scorpions albums. Buying vinyl can easily get out of control...


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

13. Thank you for the interest. Always go your own path. 

Joseph Deegan

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

Nadsvest, Necrobode ‎– Ustolicenje smrti : O triunfo da morte 16,99 €


Vinyl, LP, Album

A1 Nadsvest - Ustolicenje Smrti I
A2 Nadsvest - Ustolicenje Smrti II
B1 Necrobode - Peste Negra
B2 Necrobode - Pisados Pelos Cascos De Satanás
B3 Necrobode - Inferno Escarlate





martes, 24 de octubre de 2023

FLUKT

 


Origen: Noruega, Vennesla.

Formados: 2014

Estilo: Black

Temática: Guerra, muerte y oscuridad

Enlaces: Facebook y Flukt

Miembros:

  • A.Ø aka NekroFjells Guitarra y voces
  • F.H Batería
  • O.K.F Guitarra
  • S.E Bajo
Discografía:
  • Holocaust EP 2015
  • As Above So Below Single 2015  
  • Sadist Single 2016  
  • Fortapelse EP 2017  
  • No Return Single 2019  
  • Darkness Devour CD 2019  
  • The Idol in Bronze Single 2023  
  • Omen ov Darkness CD 2023
OMEN OV DARKNESS (2023)
Segunda entrega para estos noruegos que ofrecen un sonido enraizado en la tradición nórdica black metal de los noventa, un sonido que por una parte se nutre de elementos de crudeza y oscuridad pero que no renuncia del todo a ciertas melodías que completan el sonido en su segundo plano. Un álbum que no redunda en excesivos adornos, con una propuesta directa, pero no desmesurada a la hora de ofrecer un ritmo elevado, más bien la estructura de batería, permite que las guitarras vayan desgranando riffs que destacan por su profundidad y oscuridad, a la vez que nos van sumergiendo en un sonido que no rehúye cierta crudeza y que de alguna manera nos logra sumergir en un sonido el siglo pasado que tiene como referente el black escandinavo de bandas seminales del estilo en cuestión. Por otra parte cuando el sonido se muestra más denso e insondable, comienzan a surgir unas segundas lineas de guitarra que como trasfondo van desgranando riffs con un mayor peso de aspectos melódicos, todo ello en una linea marcada dentro del clasicismo dentro de su propuesta, como más que en un contrate con la parte más cruda del sonido, estas partes más melódicas logran complementarlos y ejercer como de elemento inmersivo en el sonido. Las voces por su parte se muestran profundas, ofreciendo también un componente de oscuridad y podredumbre que añade mas peso a las partes densas de la música del álbum. En definitiva, un álbum que sabe combinar elementos de crudeza y oscuridad, con secciones más melódicas que responde a los estándares del black metal escandinavo de los noventa. (8).




1. Blodveien 04:08  
2. Mirrors 03:48  
3. Falt fra himmelen 05:03  
4. Walls Within Walls (The Pallbearer) 04:21  
5. Walls Within Walls (The Burial) 03:37  
6. Siste utvei 04:56  
7. The Idol in Bronze 05:52  
8. He Who Must Not Be Named 06:10  
  37:55





2 × Vinyl, LP, Album, Limited Edition, Reissue, Repress, White





sábado, 21 de octubre de 2023

MYRKUR

 


Origen: E.E.U.U., Nueva York.

Formados: 2013

Estilo: Black atmosférico, folk

Temática: Folk, muerte y oscuridad

Enlaces: BandcampdeezerfacebookinstagramMyrkurspotify y youtube

Miembros:

  • Myrkur Todos los instrumentos y voces
Discografía:

  • Nattens barn Single 2014
  • Myrkur EP 2014
  • Skaði Demo 2014
  • Onde børn Single 2015
  • M CD 2015
  • Den lille piges død Single 2015
  • Mausoleum Directo 2016
  • Två konungabarn Single 2017  
  • Shadows of Silence Single 2017  
  • Mareridt CD 2017
  • Juniper EP 2018
  • Folkesange CD 2020
  • Dronning Ellisiv Single 2020  
  • Rivers Blessed Demo 2021  
  • Ragnarok (Original Soundtrack) EP 2023  
  • Spine CD 2023
SPINE (2023)
Cuarta entrega para Myrkur, desde sus inicios un proyecto que desplegó amor y odio y que ha ido virando su sonido desde un estilo mucho más directo vinculado al black a unos últimos tiempos en donde el folk, neo folk y darkwave se han llevado la palma en cuanto al grueso de influencias en su sonido. Este nuevo trabajo no es un regreso a sus raíces, ni mucho menos una continuidad con respecto a "Folkesange", estamos más bien ante un álbum que se sitúa en punto intermedio entre esas influencias más black y las más reciente de carácter folk, pero con muchos nuevos elementos que han explorado en su sonido. Una vez más Myrkur no se ha ceñido a ningún patrón establecido y a lo largo de los nueve temas que conforman este Spine nos podemos encontrar tanto esas influencias folk, como algunos tonos más black, dejando un amplio abanico de sonido entre medias. Hay  muchas secciones que mantienen el pulso a un estilo melódico, con un peso de sonido limpios de teclados, en donde las voces tienen un protagonismo sustancial, sin embargo también es cierto que hay secciones en el álbum que se acercan a terrenos electrónicos, otros siguen estructuras que se pueden discernir como rock progresivo, sin una presencia excesiva de guitarras eléctricas, pero que cuando aparecen elevan el tondo hacia terrenos más potentes como puede suceder en un tema como "Valkyriernes Sang", que aún conservando esas voces limpias parece un regreso al pasado. Estamos ante un álbum que no defraudará los seguidores de Myrkur, con una apuesta por terrenos más acordes con el metal, explorando nuevos terrenos para enriquecer su sonido y siempre ajeno a la influencia de cualquier tipo de crítica. (7,8).




1. Bålfærd 02:37  
2. Like Humans 04:46
3. Mothlike 04:10   
4. My Blood Is Gold 03:42  
5. Spine 04:03   
6. Valkyriernes sang 03:55
7. Blazing Sky 03:26  
8. Devil in the Detail 04:22  
9. Menneskebarn 02:39   
  33:40





Recorded live in Brussels supporting the “Abhorrent Desecration tour”, 2017.

Limited to 100 copies