LITOSTH - INTERVIEW

1. Litosth was launched around 2016. Why did you decide to create Litosth? Why did you decide to use the name Litosth and what does it refer to?

Litosth was created in 2016 with the intention of being a musically free project. I've always played in other bands with more defined styles, so I wanted to do something without limiting myself to labels and be able to experiment with ideas, mixing my musical influences. The name comes from a word that only exists in the Czech language "litost", it describes the feeling of suddenly realise our own misery. When I came across the word, I thought it would represent the lyrical proposal of the project very well.

2. “Cesariana” is your third album that has just been released, but it is preceded by “Crossed Parallels of Self Refraction” (2019) and “Farther from the Sun” (2022), during this stage it featured the collaboration of such a drummer Like the incorporation of Wendel Siota on bass, is Wendel Siota a full member of Litosth? What do you remember about the recording of these first two albums and what role did these other musicians play in the final result of the album?

I like to think that Litosth doesn't have a defined lineup, it's something situational, just as I don't want to limit the project to musical styles, I also don't want to limit it to members. On the first album I had the opportunity to count on Leonardo Pagani on drums, he is one of the best drummers in Brazil, and it was great to have him participate and contribute to the album, and Wendel Siota wrote all the lyrics on it. The second album was written and recorded during the Covid19 pandemic, so I had to do everything myself. On the album Cesariana, Wendel returned to participate and wrote all the lyrics for the album. Even though I'm the project leader, I like having people contributing, and it's something that will happen even more in the future.

3. What has the process of composing and recording “Cesariana” been like? What brands of instruments have you used in the process?

Before I start composing the album I like to think about how it will sound when heard in its entirety. I plan the differences in each song so that in the end they don't sound too similar, or too different. I try to avoid the album sounding like a collection of songs, Litosth albums are thematic, I try to maintain coherence between the songs. Then I start working on guitar riffs and drum accompaniment, working on all the songs at the same time, so I have control over how the album will sound. So with everything ready I go into the studio to record. At Cesariana I used my Jackson King V KVX10 guitar and Jackson David Ellefson CBX-V bass.

4. Perhaps “Cesariana” is the most complete album in terms of sound, with a black metal base with a melodic tondo, but also incorporating a good number of elements and style that range from rock, to gothic, a certain epic tone, outburst of viscerality with other slower moments, all within an enviable compositional maturity, how would you describe the sound of the new album for those who have not yet heard it? What bands or styles have been an influence when composing “Cesariana ”?

Labeling Litosth's music is always very difficult for me. The base of the music is certainly between Black Metal and Melodic Death Metal. But it's easy to find some elements of Doom Metal and Symphonic as well.

As I mentioned before, Litosth is a reflection of my musical taste, and what I like most is extreme metal, bands like Dissection, Bathory, Emperor and Sepultura, but I also like many things outside of metal, bands like Depeche Mode, Tears for Fears, A-ha... Folk songs from various countries, classical music, classic rock. So all these things also somehow end up appearing in Litosth's music.

5. The theme of the album revolves around the curse of being alive, even from one's own will, but approached from a prism of rebellion. Could you explain the concept of the album a little more? Did the music adapt to the letters or vice versa?

Cesariana is Litosth's most existentialist album, and the album's main theme is about the lie that life is a blessing, a good thing, when it can also be a terrible punishment. We are born into different situations, and many sell the lie that we can change this, not everyone can change their lives, there is no justice or meritocracy, and of course life can also be wonderful, but we cannot discard the idea that it is a gamble , we take innocent people out of non-existence and throw them into this cruel world controlled by religion and politics until they lose their innocence.

We usually adapt the lyrics to the music, but the theme comes first, so we can write and compose with the theme already in mind.

6. I mentioned previously that the sound of the new album shows an important leap in quality compared to the past, however there is not much information about this process. Who was in charge of the recording, mixing and mastering of the album?

We are always careful with the production so as not to sound too clean, plasticized and crystallized, as many bands tend to do in melodic and symphonic metal style. On the other hand we also don't want to sound raw, like the classic bands of the first wave of black metal. And the person who makes this magic happen is our producer of all the albums, Dave Deville from the studio Dead Marshal Records. He is responsible for all of Litosth's recordings, mixing and mastering.

7. The release of the new album is done through the Mexican record label Personal Records. At what point was the decision made to work with Personal Records to the detriment of the Brazilian label Sulfur Records that had been accompanying Litosth since its beginnings?

We were very pleased with the release on Personal Records, they were very correct and professional with our music. Unfortunately Cesariana would not coincide with the schedule of Sulfur Records, which is the record company that has supported us since the beginning. But we will definitely work together again in the future for launches within Brazil.

8. The cover of the new album is also more realistic, a kind of virgin with a child in her arms who is pierced by an arrow. What meaning does this cover have and how does it relate to the content of the album? Who was in charge of the design? of the cover and what do you want to represent with it?

The cover art was done by myself, I also work with graphic art and did the art for previous albums too. As I previously commented on the theme of the album, I tried to illustrate it in some way, to show the image of a mother's guilt in condemning an innocent person to an uncertain life in which he is born hurt and at a disadvantage.

9. Beyond the fact that you have belonged to some classic bands from your country, at the same time that you have also had the collaboration of some musicians in Litosth, how would you describe the black metal scene in a country like Brazil? What bands would you recommend us?

Brazil has always had big names in the Heavy Metal world, such as Sepultura, Sarcofago, Krisiun and Angra, who directly influenced bands that today are even better known than themselves. But unfortunately the scene was never strong enough like North America and Europe, it is difficult for Brazilian bands to have any financial return and thus produce more and reach new horizons. But this has more to do with our political problems, because I'm sure we don't lack artistic ability. Talking about Black Metal, which is an even more exclusive style, it's even worse. There are many bands and fans of the style, but the style festivals are even smaller and precarious, the bands get very little for their releases and there is almost no professionalism. But there are great bands, who musically don't lose anything to the outside bands. I mention my other band, Patria, Mysteriis, Vazio, Mystifier, Amen Corner and Murder Rape.

10. Is there a possibility of taking Litosth's proposal live at some point or is it not a possibility that you are considering? Who would you like to offer a small mini-tour with?

At the moment there is no such possibility, but it is not ruled out. As I mentioned previously, Litosth is a project that was born to be free. With the right conditions and the desire of the fans, I believe it will happen.

I think it would be really good to play with bands that have something in common musically, like Mgla and Sun of the Sleepless.

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

Since I as a child the music é my favorite art form, even before entering the world of Heavy Metal. I live in the south of Brazil, close to Argentina, and there is a strong local Rock band scene, and these were the first shows I attended. The first records I bought were by punk bands, like Ramones and Ratos de Porão.

I've always liked creating things, and when I into the world of Rock/Metal it was no different, I couldn't be content with just being a consumer, I wanted to produce something, make it happen.

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

Transilvanian Hunger by Darkthrone is the album that I think has the essence of Black Metal. I don't think it's the best, most famous or even my favorite album, but it is cold, raw and aggressive, everything that Black Metal sets out to do. Last album I bought was Antichrist Reborn by The Troops of Doom. New band by Jairo Tormentor, founding member of Sepultura. Highly recommended for those who like real Death Metal from the 80s!

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

Thank you very much Black Metal Spirit for the opportunity to promote our music and ideals! And I invite readers to discover Litosth, available on the main digital platforms!

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Karg – Apathie 9,99 €

Vinyl, Album, Limited Edition, LP

DÖDSRIT - INTERVIEW

 

1. Dödsrit has been active since 2017, first as a one man band and then completing the line-up and making the leap as a band. How did the idea of creating the band come about? Why did you choose the name Dödsrit and what does it refer to?

-Me and Christoffer have been close friends for quite some time, we know each other through our previous band. I booked a few shows for Totem Skin in Amsterdam & also released their music via my label in the past as well. We always wanted to play music together, but due to us living in different countries we never really looked into it, but I guess at some point things just went the way they went and we ended up playing together in Dödsrit.

2. When Dödsrit made the leap to a full band, you had to face the pandemic and the fact that its members lived in a couple of different countries, I suppose the situation would not be entirely easy, however your fourth studio album “ Nocturnal Will” is already ready, perhaps this has been the album to which you could dedicate more time? How has the writing and recording process of this new album been and what have you modified with respect to the past? What brand of instruments have you used in the process?

I have to admit that the writing process for Mortal Coil wasn't that difficult. both me and Christoffer had a lot of ideas, and with me joining on to the songwriting & some of the production aspects, we felt the songwriting went quite smoothly. of course, due to the pandemic it was hard to get together for rehearsals and such. it still wasn't an easy time for us, but mainly because of other personal reasons. I do think we put more time into the writing of Nocturnal Will, but I think that was mostly just a natural progress. I believe that every artist will try to write and record an album that will surpass their previous one. so of course, we didn't want to rush things, even tho I can't deny it was quite a stressful year. we play quite a lot of different brands of instruments. but mostly it's always been old Gibson guitars & basses, Soldano, Sovtek & Verellen Amplifiers, and DW & Tama drums.

3. It is not easy to describe the sound of the new album, you have always been characterized by offering an elaborate guitar sound where both intensity and melody come together, an icy atmosphere and styles such as black and crust carrying the weight. In terms of sound, how would you describe the sound of the new album for those who have not heard it yet? What sounds and bands are a reference for you when composing music?

"Mournful Hymns of Archaic Strength & Heroic Bloodshed."

There have been quite a lot of influences on this album, both from older and newer bands, as well as styles of music or artists you wouldn't expect or hear back. anywhere from Gudsforladt to Vanum, and from Ozzy Osbourne to X Japan.

4. It is true that this tone of rage and violence in your music, along with certain melodic elements, lend themselves perfectly to the interpretation of lyrics with a certain depressive tone and personal problems. Where do the ideas for the lyrics come from? 

Yes, ours are personal & sometimes somewhat cryptic in a sense. I would say the strive of living is what brings the ideas for the lyrics.

5. There are two essential aspects in the sound of the new album that I mentioned previously, one is without a doubt the fantastic guitar sound, full of rage and melody and the other is Christoffer's voices, full of rage and intensity. Have you especially worked on these two aspects for the new album? Where do those crust influences come from in your sound?

I wouldn't say we worked especially on any of it. when we write music, we always try to just let it flow naturally rather than trying to force something. these influences come mainly through the fact that we're punks ourselves haha.

6. The involvement of Georgios Maxouris in the recording and production process of your sound is something that remains almost unchanged throughout all your albums, is it something already inherent to the band's sound that arises from when Dödsrit was a one man band? Have you been tempted to work with other people to advance this part of the album's creation?

Well, I've only been involved with Mortal Coil & Nocturnal Will. Before that it was Alexander that took all the aspects of recording on him. We haven't considered working with someone else at the moment. we've been quite satisfied with the results we've been able to get ourselves & with Alexander. but who knows what the future will bring.

7. The same thing happens with people like Alexander Backlund and Jack Shirley, how would you describe the work of these two professionals when it comes to shaping your sound? What bond unites you?

Working with Jack Shirley has always been a delight. I worked with him before on some other projects that I recorded / produced, and always manages to add that last bit that was missing with his mastering skills. Alexanders has been quite important to us in the band, not only because he's an amazing engineer, but also because we consider him a good friend. it's quite funny when I think about it, I know Alexanders as long as I know Christoffer haha. we met when they were on tour with Totem Skin in 2014 if I recall correct? so I guess time also bonds us in a way.

8. The cover in this case has been created by Burney, with a similar line to your previous album, why did you decide to work with Burney? What does this cover represent and how does it relate to the content of the album?

We decided to work with Burney because we felt his art would resonate perfectly with the music we wrote. working together with him was an amazing experience, since he know how to perfectly translate our music with his artwork. the cover can represent a lot of things. to me, it represents catharsis. something that has always been essential to our band, but i'll leave the interpretation to the listener.

9. Wolves of Hades will release the album, this record label is owned by your guitarist Georgios, at what point did Georgios decide to start a record label and at what point did you make the decision to work with him to release your releases?

I think the idea for Wolves of Hades started somewhere in 2013 before it became an official label in 2014. I always released all my music myself because I wanted to have full control over my releases, and since I also needed some kind of banner to represent the projects I was involved with. not much has changed with the label. I still mostly release music that I'm involved with one way or another, and projects of friends. and as mentioned before, we're all punks, so the DIY ethic is quite deep-rooted in us. so as you can imagine, it made more sense for us to continue to self-release our music via Wolves of Hades, rather than sign with a bigger label.

10. In your beginnings the band was halfway between Holland and Sweden, are there many differences between the black metal scene of both countries? Being now based in Sweden, what do you miss most about Holland? How would you describe the Swedish extreme metal scene, especially talking about new bands?

We're still half-way between Holland and Sweden to be fair hahaha! of course there's quite some differences between both scenes, but that goes for every scene. the only one that is based in Sweden still is Christoffer. Sweden has always had some of the best bands if you ask me, one of my favourite current bands out of Sweden has to be Ultra Silvam! it was quite funny, I booked a show for them a few year ago, and when the band arrived at the venue, I found out that their frontman was a penpal of my from years ago. of course I didn't know this before since the project is somewhat anonymous in a sense, but that sure was a fun coincidence.

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?

Oh damn this is quite a good question... this really is nostalgic to look back to:

First concert: I think it might have been English Dogs, Municipal Waste or Destruction somewhere in Amsterdam? we were quite lucky that back then we would have pretty much every week at least 1 or 2 punk or metal shows going on in Amsterdam alone (and in Eindhoven and Tilburg as well, but they had more of a metal-oriented scene compared to Amsterdam) I miss those times. nowadays Amsterdam is just a fucking amusement park for rich snobs and tourists.

First album: I don't remember the first album I bought with my own money.. I think it might actually have been Slayer - Show No Mercy? I didn't really start collecting records until I was 13-14 since I was too broke to buy records, and all my money pretty much went straight into going to shows, and getting the much cheaper 7" when available. but I remember the first album I got as a gift, which was Possessed - Seven Churches! I was quite lucky to get my hands straight on the gems when it came down to music at a young age hehehe.

What made me want to be a musician: in all honesty, it just came somewhat naturally to me. I've been obsessed with music ever since I can remember, and because of that, I decided to pick up an instrument. originally I wanted to be a drummer, but my parents didn't want to deal with the noise, so because of that I ended up picking up the guitar. ironically enough, they probably had to deal with the same amount of noise in the end haha! 

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

Black metal (or any genre for that matter) can't be summed up by just one album or some set of rules if you ask me. I think i've said this before in some other interview, but I think for example that The Devil's Blood is more "black metal" than for example the one in a dozen copycats trying to sound & look like the Scandinavian second-wave bands.

Fun story: I went to one of my local record stores to drop off some titles from my label, and at that same moment they just received a collection with some classics I was still missing.. so I bascially ended up trading that delivery for, Vio-lence - Eternal Nightmare, Discharge - Hear Nothing See Nothing Say Nothing, Slayer - Haunting the Chapel, Slayer - Hell awaits and a few more.

Georgios

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Death Like Mass ‎– Kręte Drogi 25,99 €

Vinyl, LP, Mini-Album

KHOLD

 

Origen: Noruega, Oslo

Formados: 2000

Estilo: Black

Temática: Folclore nórdico, maldad, muerte y oscuridad

Enlaces: Deezer, facebook, instagram y spotify

Miembros:

• Gard Voces y guitarra
• Rinn Guitarra
• Sarke Batería
• Steinar Bajo

Discografía:

• Masterpiss of Pain CD 2001
• Phantom CD 2002
• Mørke gravers kammer CD 2004
• Krek CD 2005
• Hundre år gammal CD 2008
• Til endes CD 2014
• Svartsyn CD 2022
• Misgrep Single 2024  
• Du dømmes til død CD 2024

DU DOMMES TIL DOD (2024)

Khold llegan a su octavo trabajo, un nuevo álbum que sigue la linea estilística que tan buenos resultados les había dado en su anterior "Svartsyn", esta vez con un tono conceptual centrado en personas condenadas a la pena de muerte de la historia de Noruega. El estilo de Khold en este trabajo se ha refinado desde aquel lejano año 2000 en que la banda daba sus primeros pasos, fruto de lo cual surge un sonido black metal sin grandes aspavientos y con una propuesta con mucho groove. En esencia la presencia de influencias del sonido black nórdico más clásico se acaba por hacer notar a lo largo de todo el álbum. Podemos destacar sin embargo un trabajo de guitarras potente y directo, con cierto sonido grave, al mismo tiempo que los riffs se muestran equilibrados a la hora de mostrar crudeza, una frialdad inherente al estilo y algunas influencias thrash, sin descuidar cierto empaque en forma que las sencillez inicial acaba por mostrar lo intrincado del conjunto. El sonido de batería se muestra con suficiente empaque para sostener el conjunto, manteniéndose en terrenos contundentes pero sin que el ritmo sea elevado en exceso, lo que redunda en la presencia del bajo y las guitarras se centren en tejer un entramado que suena solido, gélido pero con ese groove del cual hablábamos antes. Las voces de Gard siguen esa linea sombría del black nórdico, oscuras en ciertos terrenos y que nos atrapan en una suerte de muerte y oscuridad. Sin lugar a dudas un nuevo álbum que muestra a una banda en plena madurez, dominando la esencia del black escandinavo de los noventa, pero contribuyendo a nuevas vías con un sonido que tiene en las guitarras y en la frialdad un toque muy personal. (7,7).

Soulseller Records

1. Myrdynk  

2. Vanviddfaren 03:35  

3. Heks (Du dømmes til død)  

4. Skoggangsmann  

5. Misgrep  

6. Trolldomsdømt  

7. Lædel  

8. Galgeberg og Retterbakke  

9. Dølgsmål

Invincible Force  ‎– Decomposed Sacramentum 27,99 €

Vinyl, LP, 45 RPM, Album

MIDNIGHT

 HELLISH EXPECTATIONS (2024)

Sexta entrega para para esta one man band de Ohio desde su creación allá por 2003. Con una trayectoria tan dilatada a nadie debería de coger por sorpresa de lo que es capaz el bueno de Athenar, desde sus inicios los sonidos blackened con una buena dosis de speed, trhash y rock siempre han estado a la orden del día. Con un tono irreverente en sus letras, empleándose a fondo a la hora de construir un sonido denso y oscuro, con una linea dr batería de ritmo alto pero no denso, todo ellos rodeado de unos riffs crudos que nos sumergen en terrenos que transitan por la década de los ochenta en forma de riffs pastosos que tanto destacan por su crudeza como por la capacidad de dejar entrever cierta melodía, al mismo tiempo que lo que en un primer momento nos puede descolocar con cierta sencillez, pero que al mismo tiempo nos atapa en su velocidad y potencia. Las voces responden al mismo patón, un tono algo rasposo, con equilibrio entre la gravedad y la agudeza, empapándose de ese tono ochentero descrito anteriormente. Hay que comentar por último que quizás la fórmula de Midnight esté comenzando a dar síntomas de cierto agotamiento, no ya solo por lo manido del estilo en sus manos, sino porque aún siendo referente en el estilo, el sonido de Midnught comienza a dar síntomas de cierto refinamiento también con una producción más limpia y dejando un tanto de lado la rugosidad que se le presupone a bandas de este estilo, sin embargo siempre es disfrutable como oyentes, el poder sumergirse en una propuesta tan directa y autentica. (8,2).

Metal Blade Records

1. Expect Total Hell 03:29  

2. Gash Scrape 02:18  

3. Masked and Deadly 02:50  

4. Slave to the Blade 01:51  

5. Dungeon Lust 02:13  

6. Nuclear Savior 02:38  

7. Deliver Us to Devil 02:23  

8. Mercyless Slaughtor 02:45  

9. Doom Death Desire 02:16  

10. F.O.A.L. 02:48  

  25:31

Aethyrick ‎– Pilgrimage 36,99 €

Vinyl, LP, Album

STIRIAH

 PORTAL (2024)

"Portal" es el cuarto larga duración de los alemanes, una banda que aún creada en 2007 no editó nada hasta 2015, pero que parece que ha ido encontrando su estilo con cada nuevo lanzamiento. Este "Portal" tiene la virtud de golpearnos desde el inicio, una constante en los comienzos de cada nuevo tema del álbum, con una contúndete y violenta batería, unas guitarra que escupen riffs abrasivos, rápidos y violentos, todo ello acompañado de unas voces crudas y agresivas que campan a sus anchas hacia terrenos de crudeza y rabia, a lo cual tenemos que añadir un sonido que sabe traer influencias de lo más clásico del black, con algunos aportes mas recientes que logran crear una atmósfera más fría, no exento todo ello de cierto tecnicismo. De buenas a primeras se puede pensar en un álbum muy lineal y poco variado, pero donde va ganando enteros el resultado final del mismo, es en los arreglos de los temas, imposible no descolocarse con algunos cambios de ritmo que acontecen a lo largo de los temas, no podemos olvidar tampoco la capacidad de la banda para aún sonando rápidos y directos ofrecer algunas melodías en segundo plano, la intensidad tampoco pasa desapercibida, tanto en la parte meramente instrumental como en unas voces que logan estar a la altura de la propuesta, terminando todo ello con una atmosfera que tanto se puede calificar de oscura, fría o mística a partes iguales que logra emerger de cierto tecnicismo que rodea al conjunto. Si ya habíamos escuchado algún trabajo anterior de la banda, quizás no nos sorprenda tanto, si no es así, hay que estar preparado para una descarga de black metal abrasivo y violento. (8,2).

Crawling Chaos

1. Sterbend im Nebel  

2. Portal  

3. In der Nacht  

4. Schwarzes Nass  

5. Ein ewiger Kerker  

6. Brennendes Licht  

7. Die letzte Ebene  

8. Tempus

Taake ‎– Stridens Hus 2,99 €

CD, Album

DÖDSRIT

 

Origen: Suecia, Borlänge

Formados: 2017

Estilo: Black, crust

Temática: Depresión, dolor, luchas personales y melancolía

Enlaces: Bandcamp, deezer, facebook, instagram y spotify

Miembros:

• Brendan Batería
• Christoffer Guitarra y voces
• Georgios Guitarra
• Jelle Bajo

Discografía:

• Dödsrit CD 2017  
• Spirit Crusher CD 2018
• Mortal Coil CD 2021
• Nocturnal Will CD 2024

NOCTURNAL WILL (2024)

Imparable el ritmo de estos suecos que llegan a su cuarto larga duración, con un sonido directo, desgarrador por momentos y que encuentra su equilibrio entre las partes más directas y oscuras, con aquellas que se nutren de estilos como el hardcore o el crust. Cuatro temas a los que añadir un par de instrumentales conforman un álbum lleno de rabia y desazón, con un sonido muchas veces directo que se sustenta en una apartado de guitarras sublime que al mismo tiempo que se adentra por terrenos agresivos y crudos nos trae sin previo aviso secciones que nos sumergen en elementos melódicos, con fraseados entre Christoffer y Georgios perfectamente engarzados, logrando que cuando el ritmo se acentúa transiten por pasajes que son puro crust, pero encontrando también en las partes más lentas con un ritmo más sosegado, secciones que podemos describir como ambientales. El sonido de batería de Brendan es muy dinámico, con un empaque y empuje inicial poderoso, pero que va salpicando con cambios de ritmo muy acertados que permiten que ese sonido directo de inicio se vaya nutriendo de una atmósfera mucho más acorde con un tono melódico y algo depresiva. Por su parte las voces de Christoffer si que se muestran directas, llenas de rabia y violencia, con un tono de rabia inherente a las mismas, con un estilo poderoso y desgarrado que nos habla de dolor y depresión desde un prisma bastante punk. Algunos acercamientos a lo podríamos calificar como sonido clásico dentro del black también se dejan caer a lo largo del álbum, ofreciendo un contraste y completando si cabe ese sonido más directo y visceral, con una capa de oscuridad y frialdad. (8,4).

Wolves of Hades

1. Irjala 10:37  

2. Nocturnal Fire 08:03  

3. Ember and Ash 00:44   instrumental

4. Utmed Gyllbergens stig 04:32   instrumental

5. As Death Comes Reaping 10:44  

6. Celestial Will 08:29  

  43:09  

Ultra Silvam ‎– The Sanctity Of Death 22,99 €

Vinyl, LP, Album

PONTE DEL DIAVOLO

 

Origen: Italia, Turín

Formados: 2020

Estilo: Black, doom

Temática: ?

Enlaces: Bandcamp, deezer, facebook, instagram y spotify

Miembros:

• Abro Bajo
• Erba del Diavolo Voces
• Laurus Bajo
• Nerium Guitarra
• Segale Cornuta Batería

Discografía:

• Mystery of Mystery EP 2020  
• Sancta Menstruis EP 2022  
• Ave Scintilla! EP 2022  
• Fire Blades from the Tomb CD 2024

FIRE BLADES FROM THE TOMB (2024)

Tres Eps editados desde su fundación para esta ecléctica banda italiana dan paso a este primer larga duración, con sonido que se mueve por terrenos del post-punk, doom, heavy, darkwave y como no ciertas influencias del black. Hay dos elementos destacables en el sonido de este álbum, por un lado tenemos la presencia de dos bajos, lo cual dota al sonido del empaque necesario para ofrecer ese tono más profundo en las composiciones que choca, al mismo tiempo que completa los sonidos más cercanos al post. El otro elemento diferenciador son las voces Erba del Diavolo, sin lugar a dudas las voces femeninas nos dejan un tanto descolocadas al comienzo, sin embargo pronto caemos rendidos ante ellas, sobre todo gracias al buen trabajo realizado en facetas como la intensidad que desprenden, al mismo tiempo que logran ofrecer una gran variedad de matices, que van desde pasajes casi que limpios a otros en donde esa rabia se ve completada por algunos aspectos más cercanos a la melodía. Algunas colaboraciones de músicos externos a la banda dotan al conjunto de texturas diferentes sobre todo el aporte de los sintetizadores y los instrumentos de viento abren un plano distinto en el sonido del álbum, ofreciendo una mayor paleta de influencias y llevando la propuesta a terrenos todavía más bizarros. El sonido de los dos bajos y la guitarra se muestra implacable, con una textura densa y profunda, alejado de ritmos lentos y cadenciosos, en algunas secciones parecen que quieren traer influencias stoner. Algo parecido se puede decirse del sonido de batería, partiendo de un ritmo medio si que logra imprimir cierto tono de oscuridad con algunos ritmo explosivos que encaja perfectamente en las secciones más directas del álbum. Un trabajo que transita por diferentes estilos y sonidos, destacando como base el doom y el heavy pero con influencias más cercanas al post-punk y con una carga de oscuridad extra que deja su sello en forma de black (8,4).

Season of Mist

1. Demone 05:00   

2. Covenant 06:56  

3. Red as the Sex of She Who Lives in Death 06:20  

4. La Razza 08:03  

5. Nocturnal Veil 05:17  

6. Zero 05:26  

7. The Weeping Song 05:33  

  42:35

Drought  - Rudra Bhakti (10") 5,99 €

Vinyl, 10", 33 ⅓ RPM, EP

HAIL CONJURER - INTERVIEW

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

Helsinki is an icy mess right now. The winter has been very snowy so we luckily had a proper winter, which is not always the case this south and close to the sea, but the last weeks have been constant waves between melting and freezing, so it’s like an ice-skating ring all over the city haha! Fortunately I haven’t broke any bones yet.

1. Involved in other bands such as Hooded Menace or Ride for Revenge, when did you decide to launch Hail Conjurer? Why did you choose this name and what does it refer to? What importance does Hail Conjurer have for you compared to the rest? What bands are you part of?

Being the most personal of all my bands, Hail Conjurer has become my main channel of creation and self-exploration. The name Hail Conjurer dates to 2013 when I joined Ride For Revenge. I took the name in the process of getting into RFR and it came to represent my perspective in black metal in general. So, when I started making solo black metal recordings early 2017, it felt natural to use the same name.

Other bands I’m part of are Devil’s Gateway (death/crust/doom), Regere Sinister (black metal), Pussies (raw and filthy rock), Toinen kivikausi (hardcore punk), Hollow Woods (melodic black metal), Absava (experimental black noise)

2. Despite being active since 2017, you are already on your eighth album with a lot of splits, Eps and demos in between, is it easy for you to compose and record music for Hail Conjurer? How has the composition process been? and recording this new album? What brands of instruments have you used in the process?

I have only very little interest in the brands of instruments or the technical details  in general, and I don’t even recall what I’ve used. I usually use whatever I get on my hands and explore it. The only constant equipment I’ve used are my old Squier stratocaster guitar and 65W Yamaha guitar combo. I got them both when I was 11 years old and have been using them on several recordings, Yamaha also on bass.

I don’t know if it’s any easier for me to compose music for Hail Conjurer than for the other bands, but as I’m not bound to any other people’s schedules nor have to communicate my ideas to anyone else, I’m free to concentrate on getting stuff done whenever I want. The process is usually very short and burst-like. I have not chosen to release often, but I don’t see the point of holding myself off doing that either. It is likely that the flow will slow down at some point anyway. And if it doesn’t, my death will stop it eventually after all.

3. It seems that with each new release he takes his sound to new frontiers, maintaining that essence of melodic black, with some atmospheric and doom elements; However, for this new “Satanic Phenomenology” he has explored even more extreme terrain, with excessive rawness at times, a very dense sound and an atmosphere that immerses us in a ritualistic and occult atmosphere. How have you approached the sound of this new work? What bands and sounds have been an influence for you and what sensations did you want to convey to the listener?

I don’t know if I can namedrop any bands as references, but the main idea in the production of Satanic Phenomenology was to reach for the rawness that would support the pretty tightly-structured and riff-based song writing of the black metal songs, in contrast to the more dynamic and experimental instrumentals. Like I told you, I’m no expert in technical knowledge, so my approach is more like trying out different things and navigating in the light of the vision and guidance of my ears.

4. The texts of the album revolve around Satanism, there are many parts that focus only on the instrumental section, however the voices play a fundamental role thanks to the focus given to them, especially if we talk about occultism and ritualism. Could you delve a little deeper into the lyrical content of the album and what inspired you to write the lyrics?

Well, the texts aren’t that much about satanism per se, but rather about satanic perspective and dwelling in the demonic reality. Lyric-wise this album is an exception in Hail Conjurer discography, as this is the first album to actually have fully written lyrics. Previously at least part of the lyrics were created in the heat of the moment and I never printed the full lyrics on the album sleeves before this one. 

But the songs without the lyrics are as important to the thematics of the album: Satan in Essence and Manifestation. The manifold of manifestations of Satan is represented in the tradition metal song context with the lyrics, but the essential side, which escapes the narrow boundaries of language, is dealt in the more abstract way in the instrumentals.

5. You have been in charge of the mixing and recording of the album yourself, there are aspects in the sound of the album that have a very personal approach, especially everything related to the environmental section of the album that can sound almost experimental, focused on everything to achieve a dense and ritualistic sound, was this approach to the final sound of the album something that you could only achieve yourself by taking care of the recording side? Did you ever consider working with someone outside of Hail Conjurer?

So far working solely by myself (excluding the mastering and some visual artwork) has been the most natural way to get things done as I’ve wanted, but it’s not impossible that I’d explore the possibilities of working with some other sound engineer at one point. But the production will always be 100% by me in Hail Conjurer. The collaboration records (with Metsäkirkko and Absolute Key) are an exception to this rule, and they have been a good way to find out the shared territories with the other people, whose artistic visions overlap mine on some level. 

6. The drawing that illustrates the cover is most disturbing. At what point did you decide to work with Hell Kettunen? What does it represent and how does it relate to the content of the album?

Hell Kettunen is responsible for many Hail Conjurer illustrations and when I saw the piece she was working with, I realized it would fit perfectly to the album. I do not want to explain it to death, but one can find some references to the lyrical content.

7. For the edition of the album you have counted on Bestial Burst as on previous occasions, although the cassette edition will be made by Tour de Garde. At what point did the link with Bestial Burst arise to work with them? What was the process of being able to release Tour de Garde on cassette? Is a vinyl edition of the new album planned?

I’ve been working with Bestial Burst from the day one. As I told you, I was Hail Conjurer already before the band with the same name existed, and as BeBu is ran by Harald Mentor, the mastermind behind Ride For Revenge, he was one of the first persons to hear the first Hail Conjurer demo. He wanted to release it, and all the Hail Conjurer releases (excluding some splits) have been released on Bestial Burst ever since.

Tour de Garde already released one Hail Conjurer album (Sinister) on tape before, so when Satanic Phenomenology was finished, I thought they might be into releasing this one as well, so I introduced the idea to them. 

The vinyl version is in plans and will be announced eventually, but I can’t tell any details or schedule at the moment.

8. Unlike other bands and projects, you have not given up presenting your music live. What musicians accompany you when you perform a concert? Is there a possibility that you will eventually incorporate full-time members into Hail Conjurer? With whom? Would you like to go on a little mini-tour?

I’ve already done a mini-tour (the latest was in November 2023, when I toured the UK with Absolute Key for three gigs). And like with the collaborational records, I’ve done collaboration gigs too, but as Hail Conjurer the solo performance has been representing the idea of it being solely my own vision and continues to do so in the future. So like it or not, you will still see me onstage just by myself!

9. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your life that pushed you to want to be a musician?

Well, I’m still not sure if I am an actual musician, as I’m not qualified in any sense as a musician. But I’ve worked with art and expression and creation of art as far as I can remember, and music has always been my artform no. 1. I think finding the music of The Doors at the age of 12 was some kind of turning point for me, as they made me appreciate the album format and the crossover between the different art forms. 

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

The latest album I bought isn’t any sort of metal. I just received Sorrow’s “Under the Yew Possessed” the day you sent these questions. I’ve been listening to a lot of Rose McDowall’s music lately, and finding this album had been reissued on CD was a pleasant surprise!

If I had to choose one record to represents the essence of black metal for me, it would be Beherit’s “Drawing Down the Moon”. No explanations needed.

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Tyrannic ‎– Exterminating Angel 14,99 €

Vinyl, 12", EP, Limited Edition

Limited to 300 copies.