ABIGAIL WILLIAMS

 

Origen: E.EU.U., Phoenix, Arizona

Formados: 2004

Estilo: Black atmosférico

Temática: Espiritualismo, metafísica, naturaleza y ocultismo

Enlaces: Deezer, facebook, instagram, spotify y tidal.

Miembros:

• Gabe Seeber Batería
• John Porada Bajo
• Ken Sorceron Bajo, guitarra, teclados y voces
• Vance Valenzuela Guitarra

Discografía:

• Legend EP 2006
• In the Shadow of a Thousand Suns CD 2008
• Watchtower Single 2009
• Tour 2009 EP / In the Shadow of a Thousand Suns (Agharta) EP 2010
• Malediction Single 2010  
• In the Absence of Light CD 2010
• Becoming CD 2012
• From Legend to Becoming Recopilatorio 2015  
• The Accuser CD 2015
• The Final Failure Single 2016  
• Walk Beyond the CD 2019
• Nonexistence Single 2025  
• Still Nights Single 2025  
• A Void Within Existence CD 2025

A VOID WITHIN EXISTENCE (2025)

Los estadounidenses Abigail Williams llegan a su quinto álbum de estudio, atrás, pero que muy atrás quedan aquellos inicios con Legend (2006) y su búsqueda con cada nuevo álbum de su propia identidad, siempre evolucionando en la consecución de un sonido black que tanto pueda encajar en el USBM como en la tradición del blak escandinavo, todo ello con unos buenos mimbres como fue la edición de anterior "Walk Beyond the Dark"(2019), el trabajo del ingeniero de sonido Dave Otero y la incorporación a la batería de Mike Heller. Todo ello nos da una idea de donde poder situar este nuevo trabajo, recogiendo ese sonido denso, profundo también por momentos, que sabe encajar ese tono atmosférico, con cierta dosis de depresión, con una ambientación decadente, de vacío y desasosiego. Interpretado desde la desesperación, desde la falta de objetivos y expectativas, el sonido se nutre de una poderosa batería, con un entramado de guitarras más que jugoso, sabiendo jugar en terrenos agresivos y con algo de crudeza, para mecernos también en esas melodías, impregnadas de melancolía y tristeza, ofreciendo también un buen puñado de diferentes cambios de ritmo, pasando de un tono directo y aplastante a otro mucho más acogedor, lleno de matices y en donde muchas veces las guitarras se dejan influir por una suerte de sonidos que desprenden un aroma a rock clásico. Las voces completan un álbum desolador por momentos, interpretando un tono que sabe aunar la agresividad más despiadada con secciones que optan por la melancolía y aportes más emotivos. El álbum acaba por moverse con soltura en un tono abrasivo y despiadado, muy directo y violento, con una batería implacable, casi que abrasadora, pero sabiendo también dejar espacio para el aporte de las guitarras y que esa ambientación más lograda acabe por retroalimentarse en forma de un álbum que responde de forma concisa a los estándares de un black metal más al uso (7,9).

Agonia Records

1. Life, Disconnected 05:31  

2. Void Within 05:52  

3. Nonexistence 04:32  

4. Still Nights 04:21  

5. Talk to Your Sleep 07:45  

6. Embrace the Chasm 08:17  

7. No Less than Death 09:24  

  45:42

The Third Eye Rapists ‎– Hets Mot Allt 13,99 €

Vinyl, 12", 33 ⅓ RPM, EP, Limited Edition, Reissue

GRAVE CIRCLES - INTERVIEW

1. When I interviewed you, back in 2020, we were in the post-pandemic period, shortly after the war in Ukraine began. It seems like you're living surrounded by adversity. How do you think these events have affected you as a band? Would things have been very different if you hadn't experienced these events? In other words, would Grave Circles have a bigger impact right now than it is?

Hails!

Vinnitsya is a wonderful town which is located quite a ways from the front lines and is more or less normal.  It is difficult to say what is normal, as it is hard to recall how things were before the war and compare.  It is uncertain when this new reality will end and whether it will end at all.  Certainly the things which are happening around us affect us personally, but I wouldn’t say that this serves as fuel for the fire of creation, it is rather the opposite.   

Our bass player Kate, lives in Kyiv.  The situation there is much more harsh, more difficult, you often hear explosions and there are many civilian casualties.

2. First of all, I'd also like to express my condolences for Kosty's death in the war. I imagine it must have been devastating news. Have you already thought about what the future of Grave Circles will be like, or is it still too early to think about continuing or disbanding the band?

At this time we (Veksha and Dodes Kor) are working on a new album which is called Tome III and we have also brought in a new drummer LTVN.  The release of the new album is the one and only goal of the band at this time.  Noone can fill Kosty’s shoes so we have decided not to incorporate anyone else on second guitar.

3. “World Within the World” was released almost six years after your first album, with an EP in between. I think there was also a problem with the album's sound last year, which I assume also delayed its release. How did you approach this long writing process? How did you manage to pull off this recording despite the obstacles that I suppose the current situation in Ukraine will pose?

After the release of Tome II the band was going through a difficult time, mainly, because Kosty left.  His condition worsened day by day and he decided to stop making music which left me more or less on my own. We tried to incorporate musicians to do a tour in 2020 but the coronavirus sham ruined our plans and right after that full scale war began.  I asked Veksha to help me record some of our older material which came out as the EP called Pestilence and Death and at about the same time we began recording new songs.  After some time, Kosty came back and the three of us began to work together. Veksha is the original Grave Circles bassist. Unfortunately, when time came to record he disappeared for half a year and as such did not participate in recording Tome I.

As it pertains to the album “World Within the World” - it was pretty much ready in 2023.  We had traveled an arduous journey in search for the right sound.  Ultimately, we had to take the mastering and production of the album into our own hands, so to speak.  The result is in front of you.

4. I don't know if it was your intention from the beginning, but “World Within the World” has a somewhat more direct and raw, more organic sound. Was this something you intended from the moment you started recording the album, or did it emerge as you were recording and writing? How would you define the album's sound, and where did you look for inspiration for it?

When the foundation for the new album was being laid and the first demo recordings saw light of day the fact that this album was a departure from the previous releases of Grave Circles became crystal clear. Unlike Tome I and II, the new album was created, at least in part, during live rehearsals.  This resulted in our music having more classical structures and simpler arrangements.  In addition, we  wanted to move away from what I would call, cliche “modern sound” and come up with something unique.  Something more raw, more distant, dirty…. It would be fair to say that the material itself influenced and determined the sound of the future album.  Clandestine Blaze - Falling Monuments was certainly a huge inspiration.

5. Regarding the album's themes, you've always maintained a broad approach in your lyrics, often focusing on human decadence, social themes, and a critique of the indoctrination that religions impose on society. What themes do the lyrics of the new album address, and why do you find them interesting to address?Could you explain this visual concept illustrating the album a little more?

The cover of World Within the World depicts the severed head of a deer, infested with larvae. A fly injects several larvae into the deer’s nose, which gradually grow, devouring the soft tissues around the tongue, eventually starving the animal to death. This serves as a metaphor: just as the larvae slowly kill the animal, so do the ideologies and religions injected by society destroy the individual. This concept runs like a red thread through all eight tracks of the album.

Song “Yielding to the Embrace of the Ground” captures a state of mental collapse, a terrifying descent into madness during a bad trip. It felt like a near-death experience, but one that allowed me to glimpse beyond to the other side.

Human beings rush to join religious groups or one or another ideology to fill a void inside their souls.  Critical thought, going against the grain, dissent from societal norms have all become exceedingly rare in our times.   Creation of personal idols, marching in lock-step with the herd and obedience to the will of others.  This is the concise explanation of the tracks - The Feral Instinct/Last of Us.  These songs form a cohesive narrative.  

6. I suppose Kosty's death could alter the course of events in Grave Circles, but the release of the album "Tome III" could become a reality. What can you tell us about it? Will it continue to explore that rawer side of the sound, or will it adapt somewhat to its predecessors?

While working on Tome III we have noticed that songs are fast and dissonant but also depressive at the same time which bring them closer to our earlier work.  This is not surprising as many of the pieces date back to 2016.  In other words, it is a return to our roots.  After Kosty’s death this became even more important for us and I hope our creation will see the light of day.  As it pertains to the sound it will be our next experiment as walking the same paths over and over again does not interest us.  

7. Schattenkult Produktionen handled the release of "World Within the World," a record label that doesn't heavily rely on digital formats, among other things. What factors influenced the change of record label? Beyond the CD version currently available, is a reissue in other physical formats possible?

When we started looking for a publisher for “World Within the World” we ran into a brick wall.  There were publishers who turned the album down, some just ignored it.  It was as though we had just formed a new band and started from nothing.  LADLO declared that they only work in France and its neighboring Nations. We did get good feedback from several respectable labels, but it just did not work out.

For Example in the fall of 2024 one label gave us the green light on releasing the vinyl and stopped responding to us.  By springtime we found out that the release was cancelled due to the fact that one of our members played in Peste Noire. 

Schattenkult Produktionen had previously released several albums of two Ukrainian bands, Do Skonu and Shadow Ground, so we reached out and quickly arranged the release of World Within the World. The label’s strengths include great design ideas, fast production times, and their decision to exclude digital sales from their page, all of which set Schattenkult Produktionen apart. It was definitely a pleasure working with them.

In the near future the release should be available in cassette format from Monastyr Records and there are other plans for another release on Vinyl in the fall, but these are far from certain.

8. Regarding the recording, mixing, and mastering of the album, it seems there were some issues or doubts that led you to redo it when the album was almost ready. As I mentioned earlier, what were you unsure about with what you had recorded, and how did you decide to start all or part of the recording process over again?

Initially, the biggest problem with the recording process was the atrocious sound of the snare drum. In the end, with the help of equalizers and partial sampling, we managed to completely fix it. We also played around with the splashing cymbals, but the biggest issue was the balance of instruments and the final master.  In the end, three people were involved in the mastering. Before the final version, it was a somewhat different, hi-fi sound with hyper-loud drums, fluid guitars, and rumbling bass. This is a common problem which plagues modern sound engineers today. When one works for YouTube templates, many recordings get completely buried by “modern” sound processing. In the end, we realized that we would have to work to achieve what we felt was the best result through trial and error.  And so the end result is very much our creation.

9. On the new album, as has happened in the past, you've collaborated on some projects, especially on guitars. How did the opportunity to work with Leor, Val, or Lazareth come about? How did these collaborations fit into the album?

Lazareth is essentially the 5th member of the band, responsible for wind instruments.  He has been with us since the days of Tome II, and he is currently recording parts for our new record. Valeriy was the band's guitarist in 2020 but he ended up moving to another country. During rehearsals, he came up with the intro arpeggio for the song “Yielding to the Embrace of the Ground.” Leor is a friend of the band and a former guitarist of the well-known band Space of Variations.  He is also currently working on his other project Ellia. During a jam session with him, we created a part of the song “Feral Instinct.” He also played the solo on this track.

11. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Grave Circles fans, this is the place. I hope you enjoy the questions.

Thank you. I believe it's best to let the music speak for itself. People come and go, but music is eternal.

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Woest‎ – La Fin De L'Ère Sauvage 3,99 €

CD, Mini-Album, Digipak

ESOX - INTERVIEW

Good afternoon, thank you very much for answering these questions. How are things going in Sicily?

Hello, all is good! Aside from the hot summer.

1. Esox was launched around 2023. Why did you decide to create Esox? Why did you choose the name Esox, and what does it refer to?

Esox: I started writing the music for what would’ve become Esox around 2020 when the “vision” for a black metal Project centered around the underwater world came to me; since music and marine biology have always been my main passions.

As for the name, Esox refers to the genus of the scientific name of the pike (Esox lucius), a fish I have always felt a connection to, I think it’s a very noble animal and as a name perfectly sums up the sound and visión I want to achieve with the band.

2. In 2023, you released your first EP, "...and the Ocean Will Swallow Us All." A couple of years later, "Watery Grave" was released. How did you approach the composition of this first album? How do you think the sound has evolved compared to "...and the Ocean Will Swallow Us All"? What brands of instruments did you use in the process?

Esox: funnily enough the EP was written and recorder after Watery Grave as I had it planned as a second reléase, but I preferred to switch the order because I felt that debuting with a full length would have been riskier.

This gave me the chance to work better on the production of Watery Grave and I think the production is much better overall on the álbum.

From a songwriting perspective “…and the Ocean” is one long song so it has a more cohesive feeling despite the many genre changes, but I feel that the sound in Watery Grave is more mature and polished.

As for the instruments I play everything except the drums, which are programmed.

3. The sound of "Watery Grave" lends itself to different interpretations, from an undeniable weight of atmospheric and ambient black music. However, I think it's much richer in nuances and styles. This description could also include styles such as shoegaze, folk, or even doom, each of which knows how to occupy its own space and ultimately shape a truly unique sound. How would you describe the sound of this new album for those who haven't heard it yet? Which bands and styles have been an inspiration to you when composing the album?

Esox: Watery Grave is an Atmospheric Black Metal album that draws inspiration from many different genres of music; I’d say picture Agalloch if they went on more fishing trips.

All jokes aside they are my main inspiration as they are my favourite band of all time; other bands include Deafheaven, Oh Hiroshima, Death in June and Ahab; non-musical influences are movies such as Werner Herzog’s “Grizzly Man” or documentaries like “River Monsters” with Jeremy Wade; which have been also sampled in the album.

4. Following the thread of the previous question, some reviews mention the influence of two bands, Agalloch and Alcest, on your sound, both in those parts that have a more shoegaze tone and in those where the atmosphere becomes rawer and darker. What is your opinion of the legacy of these two bands? Have they been an influence on you at any point, not only for "Watery Grave," but also in your development as a musician?

Esox: Definitely. Agalloch especially, as I mentioned, since they are my favourite band. 

I have always been fond of acoustic guitar in metal récords ever since I listened to In Flames’ “The Jester Race” and upon listening to The Mantle I found the perfect mix of acoustic and electrical instruments, and as many other people that álbum changed my life.

5. Another notable aspect of your music is the themes, all of which are related to bodies of water and the mysteries they hide in the depths. Where does this theme come from? Perhaps being an islander has something to do with it? How did the theme of the new album develop, in which a person decides to commit suicide by throwing themselves into the water? Have you adapted the music to the lyrics or vice versa?

Esox: I have always been fascinated with the underwater world, especially with fish and the other animals that dwell in the depths; definitely being from an island helped with that, as I’ve been swimming for as long as I can remember. But definitely getting into nature documentaries when I was 3 or 4 and then watching Jaws cemented that. 

Now I am a biologist studying for my master degree to become an evolutionary biologist and I try to turn my whole background into the music I make.

Concerning “Watery Grave”, I always write the music first and then the lyrics so the concept came at a later pase of the writing process. I was in a pretty dark place when I wrote the álbum and I think it reflects the lyrics; for the future I plan to move away from “depressed” themes and move more into a more objective approach to nature, sort of like a scientific paper, but turned into music.

6. The new album was again self-released by you, as was the case with your first EP. On that occasion, it would be more understandable. A single track of more than twenty-five minutes doesn't quite fit the industry's needs to secure the support of a record label. However, "Watery Grave" would be more suited to a physical release. Why did you decide to move forward with self-release? Do you consider releasing the album in another format in the future?

Esox: Because I want to stay independent, at least for time being, but I do not deny the possibility of looking for a label in the future.

Concerning the physical release, Watery Grave was printed on CD as well.

Maybe in the future there will also be a vinyl version of the album.

7. Was the mixing, recording, and production process done exclusively by you, or did you collaborate with someone? What was the most challenging aspect of this process?

Esox: Yes, I did everything by myself; I would definitely say the mixing aspect was the most challenging part and what took me so long; and I also think it shows and gives the álbum that homemade feeling. I will definitely work with a producer for my next release, because I felt that by listening to your own stuff time and time again makes you lose tracks of certain details that a fresh ear can pinpoint immediately, as well as benefitting from an exterior feedback I feel will improve the quality of my future works.

8. The cover art depicts the depths of the ocean or a river. What's the story behind choosing this cover art, and how did you work on it until it fit your purpose?

Esox: the artwork is a painting called “Pike and Perch in an aquarium” by Gerrit Willem Dijsselhof; I found it when I was looking for inspiration for cover because I wanted an original artwork, but as soon as I laid eyes on it I did not need that anymore, as I think it fits the concept and feeling of the album.

The layout was then worked on by Luca Macerata, a close friend of mine who has helped me with the graphic layouts of all my previous works.

9. There are several acknowledgments on the album, such as: R.M., G.B., N.R., M.dM., G.C., G.P., D.G., F.I., A.B., A.K.K., C.B., also M.S., who I believe is your father, and a special one to Agalloch. Who are all these people, and what do they mean to you that they ended up being included in the album's acknowledgments?

Esox: those are the people who have been closest to me during the making of “Watery Grave”. 

Yes, M.S is my father who also contributed to the album with spoken words on some of the tracks.

10. What's the black metal scene like in Sicily? Is living on an island a handicap when it comes to enjoying live music? Do you plan to perform your music live sometime soon?

Esox: I would say almost nonexistent, but I have been living in Tuscany for a few years now.

Unfortunately, in Italy, to experience more “extreme” types of music live you have to travel to the northern parts of the country.

Even in Pisa, where I am living now, there are no metal venues, but at least I get to experience many experimental, post rock and shoegaze concerts.

In Sicily it was mostly AC/DC or Iron Maiden cover bands, who I couldn’t care less for.

11. How did you get started in music: first concerts you attended, first albums you bought? What event in your life inspired you to become a musician?

Esox: I’d say I have always been in love with music from a young age, all genres of music, so I don’t recall a particular event. I inherited from my parents the love for 80s electronic/pop music as well as Italian songwriters, that’s why my first concerts were Madonna and Ivano Fossati in the 2010s.

The first album I remember buying intentionally was Queen Greatest Hits 1, they were the first band I properly listened to, I then got into metal through Ghost and then immediately got into black and death metal.

I have been playing music since 2011.

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

Esox: even though The Mantle is my favourite album of all time I wouldn’t consider that “just” black metal, so I would say Lord Belial’s “Enter the Moonlight Gate” as it was, no pun intended, my getaway album into a more melodic style of black metal, which I prefer more compared to the raw second wave style of black metal.

My last purchase I think was Coil “Love’s Secret Domain” on vinyl.

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Karg ‎– Resignation (Cyan blue marbled) 49,99 €

Vinyl, LP, Album, Limited Edition, Cyan blue marbled

Vinyl, 7", EP

LORD BELIAL - INTERVIEW

 

Good afternoon, thank you very much for answering these questions. How are things going in Bengtsfors?

Good afternoon, and thank you for your interest. Things are calm in Bengtsfors, nature is close, the air is clean, and it provides a good contrast to the chaos we channel through our music. It’s a peaceful place to return to after the intensity of touring and recording.

1. Lord Belial was created around 1992. What memories do you have from that time? Why did you create Lord Belial, what does the name refer to, and why did you choose it?

In 1992, black metal was a rising storm, and we were drawn to its raw power and uncompromising energy. We wanted to create something dark and real, expressing the inner void and the spiritual rebellion many of us felt. The name Lord Belial comes from demonology. Belial is a figure of lawlessness and defiance. It captured exactly the spirit we wanted to express. We chose the name not only for its sound but also for its weight and meaning.

2. Although Lord Belial has been active for over thirty years, there have been different eras for the band: the most continuous from its formation until 2009, then a more turbulent period in the 2010s, and it seems you're now facing a second youth. Let's take it step by step. Is the period up to 2009 Lord Belial's best period? Could it be described as its classic phase? Were the 2010s very complicated for you? Did you think about abandoning the band for good and focusing on other projects? What prompted you to return, not only with an album as complete as "Rapture" but also during a complicated time due to Covid-19?

Yes, the era from our formation up to 2009 could definitely be described as the classic phase of Lord Belial. We were inspired, productive, and constantly evolving. After 2009, things became more complicated. Health issues, personal responsibilities, and the wear of constant intensity took their toll. There were moments when we seriously considered leaving it all behind. But after some years, the fire returned. The will to create was still there. That led to Rapture. It was written during uncertain times, with the pandemic in the background, but it gave us clarity and focus.

3. I suppose “Rapture” meant something very important to you, not only because you had a new album out again after fourteen years, but also because of its quality, without diminishing your legacy in any way. How did you approach this return? Were you surprised by the positive reception the album received, and what did this endorsement mean to you?

Yes, Rapture was more than just a new album. It was proof to ourselves and to our supporters that we still had something vital to say. We wanted to honor our past, not repeat it, and create something that felt current but rooted. The positive reception was very encouraging. It gave us energy to keep going and confirmed that our voice still matters.

4. And the release of “Unholy Trinity” is just around the corner. How did you approach the writing and recording process for this new album? What brands of instruments did you use in the process, and what changes have you made to your sound?

Unholy Trinity was written with intent and focus. We used Solar and Ibanez guitars, Zuta, Mesa Boogie, and Kemper amps, and mainly Istanbul cymbals. We did not make drastic changes, but we did fine-tune details. The process was driven by a desire to create something more spiritual, intense, and stripped to its essence.

5. I think with the new album you've maintained the bulk of the style and style of “Rapture,” but if anything, you've taken a step closer to your more classic sound. How would you describe the sound of the new album for those who haven't heard it yet? What might have influenced you when defining the sound of “Unholy Trinity”?

That is a fair description. The new album does retain much of the feel from Rapture, but there is a shift back to a more atmospheric, classic Lord Belial sound. There are influences from our earlier material, especially Enter the Moonlight Gate. The sound of Unholy Trinity is more solemn, more spiritual, and more focused on mood than complexity.

6. The themes of your lyrics cover topics such as Satanism and the occult. Do you think that Satanism has become less prestigious these days, becoming more accessible to the masses and becoming a mainstream religion? Who handles the lyrics in the band? Does the music adapt to the lyrics, or vice versa?

Yes, and we take those themes seriously. Today, Satanism has been diluted, often turned into a fashion statement or internet trend. That is not what we represent. For us, it symbolizes spiritual resistance, independence, and inner strength. The lyrics are mainly written by Thomas. Sometimes, the music shapes the words, and sometimes, the lyrics guide the structure of the song. In the end, both parts have to serve the overall message.

7. Your last two albums were recorded at Sonic Train Studios. Why did you decide to work with them to complete the recording of your last two albums? Do you think it gave your sound the edge you needed to make a comeback?

Sonic Train Studios gave us the sound and environment we were looking for. Andy LaRocque understands metal production deeply and respects the band's identity. Working with him allowed us to focus on performance and atmosphere. The results speak for themselves.

8. You've also reissued a new album with Hammerheart Records. How did this collaboration for these two albums come about? How did the idea for this "definitive" release, which includes an LP, CD, and cassette, come about?

The collaboration with Hammerheart Records started naturally. They were interested in a full-scale release and respected our vision. The idea of a definitive version on LP, CD, and cassette came from a shared belief in the value of physical formats. It is not just music, it is a piece of art and history.

9. Your covers have always been very open to interpretation, with a large number of details, and the one for "Unholy Trinity" is no less so. Who was in charge of the cover design? What does this cover represent and how does it relate to the album's content?

Mike Hrubovcak created the cover of Unholy Trinity. He can uniquely channel myth, darkness, and symbolism into powerful images. The artwork represents cycles of death and rebirth, spiritual fragmentation, and the unholy trinity of destruction, transformation, and rebirth. It is meant to evoke thought, not give answers.

10. Now that you've been active for many years and the years are adding up, are you more selective when it comes to choosing and offering concerts? What concert and festival plans do you have planned for the upcoming release of the new album?

Yes, we are definitely more selective now. The energy and purpose behind a show have to feel right. That said, we currently have no concerts or festival appearances planned. There is an ongoing issue that needs to be resolved, and it is expected to be cleared up by December 2025. Once that is behind us, we will be able to make proper plans and hopefully return to the stage with full force.

11. How do you think the black metal scene has changed in the more than thirty years you've been active? What do you miss most from that era and what do you hate most about the current scene? How interesting is the extreme metal scene in a city like Trollhättan? How important do you think a country like Sweden is today in terms of contributing to black metal, in terms of new bands you can recommend?

The scene has changed in many ways. In the early 90s, there was mystery, danger, and a sense of the forbidden. Now, some of that has been replaced by trends and aesthetics. But there is still depth and sincerity out there.

12. How did you get started in music: first concerts you attended, first albums you bought? What event in your life made you want to be a musician?

My first real experience of musical awakening came through Bathory (and Venom). It opened the door to a darker and more expressive path. I started collecting records, rehearsing obsessively, and writing music. It became a way of life more than a career decision.

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

Bathory-Bathory!

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Lord Belial's fans, this is the place. I hope you enjoy the questions.

Thank you for the opportunity. To our fans, your support is everything. We have walked a long path, but the fire still burns strong. Stay true to yourself, seek the truth in darkness, and never compromise.

Niclas Green

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Erazor - Dust Monuments 7,99 €

Vinyl, LP, 45 RPM, Album, Stereo

HELHEIM

 HRABNAR / AD VSA (2025)

Duodécimo álbum de estudio para los veteranos Helheim, un nuevo álbum que en origen fue concebido como un split, aspecto que podemos de alguna forma intuir en la manera en la cual esta estructurado el álbum, con una primera parte más épica y una segunda un tanto más oscura. El trayecto de Helgeim hasta la consecución de este duodécimo álbum se antoja que no ha sido del todo sencillo, supongo que por diversos aspectos, pero que creo que la de ser considerada por muchos como una banda clásica que Alla' por la segunda mitad de la década de los noventa y principios del dos mil, dejaron un buen puñado de álbumes de calidad, ofreciendo a partir de aquí una lucha constante por la búsqueda de su identidad actual como banda, para comenzar a abrazar estilos como el progresivo, que no deja de ser un recurso hábilmente planteado en sus últimos lanzamientos, ya no solo por ellos, hay algunas bandas de la misma época que han venido haciendo habitualmente esto en sus últimos trabajos. Sin embargo, Helheim creo que no se siente del todo cómodos en esta evolución de su sonido, digo esto porque desde el comienzo del álbum se les ve venir, con mayor o menor destreza, estamos esperando esos sonido limpios, ese ambiente progresivo y de tonos prístinos en su música, que pueda hacerla más ampulosa y que les servirá para descubrir su nueva realidad. No nos llevemos a engaño, en las profundidades del álbum late esa ambientación oscura, trabajando elementos como le épica en muchas estructuras que se prestan a ciertos coros y un tono no tan cargado. Que si, que vale, que puede ser descrito como viking, también se han trabajo unas buenas letras y cuando quieren, pueden ofrecer un tono mucho más directo y cavernoso, violento incluso si se me apura, aunque ese tono más limpio, tanto en las voces, como esas guitarra que pierden la rugosidad en favor de una mayor presencia y estructuras más amplias, con un ritmo que no acaba de estallar, condiciona el resultado del álbum. Sin lugar a dudas el valor de este "HrabnaR / Ad vesa" es supremo, mostrando una banda redefiniendo su sonido y buscándose a si mismos, otro asunto es que se encuentren, sin embargo habría que se muy necio para no anhelar algo más de su propuesta más clásica. (8,3).

1. Geist 04:18  

2. Sorg er dødens spade 05:14  

3. Livsblot 04:25  

4. Mennesket er dyret i tale 07:28  

5. Fylgja 07:56   

6. Hamingja 05:18  

7. Hugr 04:32  

8. Hamr 04:46  

  43:57  

Ordem Satânica / Mons Veneris ‎– Negros Manifestos De Ordem Venusiana 15,99 €

This press does no longer come with a black cardboard. Instead, it comes with a regular sleeve.

Repressed to an undisclosed number of copies

THANATOREAN

 

Origen: Polonia

Formados: ?

Estilo: Black

Temática:?

Enlaces: Bandcamp, deezer, facebook, instagram, spotify y youtube

Miembros: 

• E Voces
• K.M. Todos los instrumentos

Discografía:

• With Tongues of the Underworld Single 2025  
• Thrice-Hexed Single 2025  
• Ekstasis of Subterranean Currents CD 2025  

EKSTASIS AF SUBTERRANEAN CURRENTS (2025)

Reciente formación polaca que cuenta con miembros de Cultum Interitum y con el musico también detrás de otro interesante proyecto como puede ser Ars Magna Umbrae, si nos hemos acercado a los últimos trabajas de ambas bandas podemos hacernos una idea bastante fiel de lo que puede contener este "Ekstasis of Subterranean Currents". Un álbum que a lo largo de sus nueve temas nos va atrapando en un sonido black que tanto se acerca a terrenos oscuros como a otros más ritualistas, todo ello desde una densidad casi que abrumadora. Capaces de sumergirnos en esos sonidos podridos y oscuros, con unas guitarras desgarradoras, a las que acompañan también unas voces que siguen una linaa similar, cavernosas y profundas, con un peso también de estilos como el death, en diferentes facetas y estructuras del sonido del álbum. Las guitarras son demoledoras con una violencia inusual, cavernosas y profundas, recreándose en pasajes de una oscuridad insondable, buscando siempre hacer mella en el oyente hasta lograr sumergirlo en un estado próximo al ostracismo, abandonado a su suerte en un acercamiento a un plano cercano a la muerte. Aunque todo suena potente y denso, se equilibran muy bien aspectos como la complejidad, una engañosa sencillez de formas, que muchas veces acaba por centrarse en aspectos que traen también algunas disonancias, como si cierta melodía quisiera imponerse en forma de ambientación surrealista, pero que acaba por claudicar ante lo abrumador del contenido musical del álbum. Ni que decir tiene que E. y K.M. han recogido lo ya acertado de las propuestas de sus respectivas bandas y proyectos, para cubrirlo todo con una patina de mayor oscuridad, densidad y ritualismo. (7,7).

I, Voidhanger Records

1. The Descent  

2. With Tongues of the Underworld  

3. Thrice-Hexed

4. Tranquil Trueness of End  

5. De Profundis  

6. To Abyss Sacrosanct  

7. In Reverent Throes  

8. Bound Beneath and Beyond  

9. Ekstasis of Subterranean Currents

Hetroertzen - Ain Soph Aur 9,99 €

CD, Album

WITHERER

 

Origen: Canadá.

Formados: 2015

Estilo: Black

Temática: Cosmos, mitología y muerte

Enlaces: Instagram.

Miembros:

• Hex Visceræ Batería
• Øhrracle Guitarra y voces
• Tiamoath  Bajo, guitarra, teclados y voces

Discografía:

• Milk Sea (Bathing in Its Waves) Demo 2019  
• Look on My Works, Ye Mighty, and Despair​! Split 2024  
• Shadow Without a Horizon CD 2025

SHADOW WITHOUT A HORIZON (2025)

Prácticamente diez años les ha llevado a los canadiense Witherer tener listo este primer álbum, un trabajo profundo de sonido ritualísticos en donde el funeral doom, una sofocante atmosfera, así como el death tienen mucho que decir a la hora de definir su sonido. El grueso de los temas son extensos, sin contemplaciones a la hora de golpearnos con su carga de profundidad, un sonido que en esencia se muestra denso y profundo, con unas secciones de bajo demoledoras, acompañadas de una guitarras profundas y potentes, acompañado todo ello de un ritmo lacerante, que se va colando en nuestro subconsciente, enrevesándose y profundizando en un vacío de capas de disonancias y ambiente que invita a la muerte y a la desesperación. Lógicamente el ritmo es ponzoñoso, la batería sabe marcar un tono que invita a cierto aspecto lodoso y cavernoso de sonido, con un componente en las voces que se muestra también como un carga de profundidad en toda regla, con gritos y gruñidos de una profundidad extrema. La duración extensa de los temas es una baza que la bandas sabe jugar hábilmente a su favor, permitiendo de inicio que el sonido se adentre hacia terrenos profundos y densos pero logrando también algunos aportes diferentes en aspectos como la inclusión de algunas secciones de corte ambiental que le da un tono más mitológico o de vacío cósmico al conjunto, presentes esto elementos también en las voces que tienen algunos acercamientos a tonos más limpios que funcionan como un solo de aire fresco en medio de la negrura del álbum. Un álbum con un tono bastante inmersivo, profundo y directo, ofreciendo también algunas partes de corte más ambiental que sirven ya no solo para acentuar el enfoque del álbum sino también para construir una entidad más demoledora si cabe. (8,1).

Hypaethral Records

1. Fiat Umbra (Burial Beneath the Stalactites) 15:09  

2. Devourer of All Graveyards 11:13   

3. The Wailing Hours (Plummeting Under the Tunnels) 03:53   instrumental

4. Solar Collapse Mandala 07:16   

5. Praises (Gliding Through the Lightless Sea) 15:30  

  53:01

Goath ‎– II: Opposition (limited edition of 100 copies on black vinyl) 19,99 €

Vinyl, LP, Album, Limited Edition, 180g

HEXELLA

 

Origen: E.E.U.U., Mission

Formados: 2019

Estilo: Black 'n' Roll

Temática: ?

Enlaces: Facebook.

Miembros:

• Joe Dan De La Rosa Batería y guitarra
• Noelia Garza Guitarra, letras y voces
• Richard Casas Bajo

Discografía:

• Blood Ejaculate Chaos Demo 2021  
• A Road in Hell Demo 2021  
• Burn With Us Split 2023  
• The Ancient Gaping Mouth CD 2025

THE ANCIENT GAPING MOUTH (2025)

Primer larga duración para esta banda, originalmente concebida por Noelia como proyecto de estudio, pero que ha sabido incorporar otros músicos en la figura de Joe y Guadalupe, para después de un par de demos y un compartido inicial, tener listo este primer lanzamiento. Supongo que le camino no habrá sido fácil, pero el resultado puede llegar a ser convincente a lo largo de los once temas que componen este "The Ancient Gaping Mouth". Y es que Hexella han logrado un álbum sin apenas concesiones de ningún tipo, alejado de convencionalismos al uso a la hora de trabajar un estilo como el rock, combinado con el black, que se puede llegar a prestar a interpretaciones ambiguas. Hexella han hecho un álbum en donde el sonido se mantiene intenso y firme desde el comienzo, dejando de lado el tener que demostrar lo clásicos, crudos y true que son, para refugiarse en la intensidad, más en la constancia que en la presente sencillez, tomando prestado un montón de elementos clásicos, no podría ser de otra manera, para a partir de esa delgada linea que podemos dilucidar en la unión de un black primitivo y un rock ya en su madurez, construir un trabajo de marcada intensidad, oscuro y con cierta actitud destructiva, sin incursiones en terrenas ambientales o atmosféricos, todo enfocado a desgranar unos riffs que logran cortar la respiración, combinados con un actitud directa sin que el ritmo sea impedimento para que el álbum fluya potente, con un remanente de sonido clásico, equilibrado entre ambos estilos anteriormente descritos, en donde no se ha priorizado ese carácter retro, pero si que la música abarca un enfoque equilibrado entre ese tono rock que invita a cierta melodía, pero siempre supeditado al tono más oscuro y cavernoso de un black clásico. Un álbum que en definitiva, logra atraparnos con ese tono que combina la sencillez con cierta majestuosidad de formas, oscuro y directo en muchas estructuras pero que siempre deja una puerta abierta a que el rock arroje un palmo de luz y engañosas melodías, para acabar de convencer a propios y extraños con su musicalidad y carácter clásico. (7,7).

Hells Headbangers Records

1. Malefic Warpath  

2. Leviathan Calls  

3. Ophitic Revelation  

4. Into 218  

5. No Return  

6. Black Earth  

7. Obsidian Nigh  

8. Storms of Uncreation  

9. Voices of Vorsa  

10. Nocturnal Fury  

11. Where the Scythe Falls

Deadly Magic ‎– ...As Nightmares Gorged the Earth 19,99 €

Vinilo, 12", 45 RPM, EP