MOON WISDOM - INTERVIEW

 

1. How did the idea for Moon Wisdom come about? Why did you choose this name, and what does it refer to?

To be honest, Moon Wisdom was born from my dream of having a black metal band, which is my favorite genre; it’s where I feel I can best express myself. We chose the name “Moon Wisdom” because it reflects a mysterious and introspective nature, but also for philosophical and symbolic reasons. The moon represents cycles, darkness, and emotion, while “wisdom” conveys reflection and insight. Together, the name captures the atmosphere and ideas we want to express.

2. Despite being a new band, you haven't wasted any time, deciding to go live and release your first album right away. How did the songwriting and recording process for this debut album unfold? Did you know from the start that you would release a full album, or did you consider releasing a demo or an EP initially? What brands of instruments did you use during the process?

Everything happened very quickly; we didn't even expect it ourselves. We had many ideas during that period and felt a need to release our deepest and most negative emotions.

It is a spontaneous album; nothing you hear was pre-planned. It is like a river of emotions flowing naturally.

Kaelos used Ibanez for both the guitar and bass parts. I also used an Ibanez bass on some tracks; I think it’s a brand that adapts well to black metal, and many of the black metal bands we listen to use it as well.

3. The album's sound encompasses different styles and influences. Starting from a traditional black metal foundation, there are varied elements, from punk and blackga to melodic black metal, more ambient sections, and even elements that might evoke a certain symphonic tone. How would you describe the sound of the new album? What bands and styles influenced you when composing "Let Water Flow”?

The new album grows from a black metal, but it’s not confined to a single language. We see black metal more as a starting point than a boundary. From there, the sound expands and contracts depending on the emotional need of each song: some parts are raw and confrontational, others are more melodic, atmospheric, or ritualistic, and moments that lean toward a dark, almost symphonic sensibility, not in a bombastic way, but in terms of layering, dynamics, and dramatic tension.

Rather than focusing on genre fusion for its own sake, we followed flow and imagery. The album moves like a landscape: harsh passages give way to ambient or introspective sections, then rise again into something more violent.

For “Let Water Flow”, the influences were especially tied to atmosphere and contrast. On the black metal side, bands like Emperor and Dissection were important for their melodic moments, tremolo-picking riffs, and raw spirit. We were also strongly influenced by the second wave of black metal, with its cold aesthetics and emotional intensity.

At the same time, bands such as Nocturnal Depression, None, and other acts within the depressive and atmospheric black metal spectrum played a role in shaping the song’s more introspective and desolate side.

Beyond metal, the song was shaped by non-metal influences as well: ambient music and cinematic soundscapes contributed to its sense of movement and release, allowing the composition to breathe and evolve organically between tension and openness.

4. The song titles have a somber and dark feel. What specific themes do you explore in your lyrics? What inspires you to write about these themes, and why do you choose to address them? Do the lyrics adapt to the music, or vice versa?

My lyrics originate from poetic verses I wrote some time ago; they tell the story of the things that surround me, my emotions, and myself. To talk about who I am or perhaps more to describe myself and certain situations—I make extensive use of comparisons. In 'As Rain,' for example, I identify with the rain. I specifically used 'As' because it’s as if I were the rain; it represents how I feel against the world, which I compared to the impact of hitting the ground.

When Kaelos wrote the main riff of the track and played the recording for me in the car, it happened to be raining, and those verses I had written immediately came back to me; they fit the song perfectly.

I had to adapt some of the other lyrics in certain parts to fit the music so that everything sounded right, but they were actually short poems we had already written during moments when we needed to vent our emotions. Chance or perhaps destiny wanted them all to end up here.

I also frequently used contrasts to talk about my emotions, following the musical concept of balancing raw elements and melodic parts. For instance, I chose the title 'Solitude' for a rather high-energy song. Normally, a listener would expect a depressive or quiet track, but instead, I decided to describe how I experience solitude: with a certain anger and intensity, as it stems from being misunderstood and is, in my case, an unwanted condition.

5. How did the opportunity to release the album with the Canadian record label Hypnotic Dirge Records come about?

Here too, I think it was destiny. It was actually Friday the 17th when I received the email from Dirge. They liked our music. I still can't believe it, because Dirge has a special place in my heart, they launched one of my favorite bands.

6. You handled the recording, mixing, and mastering processes yourselves. Why did you make this decision? Was it difficult to reconcile your vision of how you wanted the album to sound with the opinion of someone outside the band?

Kaelos and I live in two small towns. I live near mountains, while Kaelos lives near the hills. There isn’t much around us here, just a lot of nature. A professional studio would be several hours away and is not an expense we can afford, being a new and young band. On the other hand, many bands, including black metal ones, started out this way, doing everything themselves. I like the idea of it being something pure that comes directly from us, without being contaminated by opinions, choices, or ideas from outside the group. In this album, we can truly say it is 100% us.

7. Regarding the cover art, you also created it yourselves. It features somber elements and the flow of a river, giving it a gothic feel. How did the idea of ​​creating this cover yourselves come about? What does it specifically reflect, and how does it relate to the album's content?

The album artwork is inspired by the place where we live as you can see in our reels and photos of the River, but we added two nooses and a portal to give it a darker, mysterious edge. We prefer to leave its meaning open, allowing each listener or viewer to interpret it in their own way. 

The album is called ‘’Let Water Flow’’ as a way of saying “let things happen as they must.” It has a sadder meaning too, reflecting how life can carry things away like a flowing river, taking them out of our control. 

At the same time, however, it is also the place where the album and we as a group were born. It had to tell our story.

8. It seems there's been a lot of activity in the Italian scene lately, both from new bands and from veteran acts who have regained interest in producing quality work. How has Italian black metal influenced your decision to form a black metal band and release an album? What's your opinion of the black metal scene in your country?

It’s true, there is a very active scene and there are bands I admire a lot, but honestly, I only follow Forgotten Tomb and I really love Opera IX's work from when Cadaveria was their singer. Both bands, however, come from my same region. To be honest, my desire to have a black metal band stems more from my love for foreign bands.

9. Are you considering taking Moon Wisdom to the stage and sharing your music with your fans, or do you prefer to be a studio band for now? Which similar bands would you like to tour with? What can your audience expect from one of your concerts?

Yes, we like the idea of taking the stage at some black metal festivals. As for bands, I would definitely choose Thy Light, whom I had the pleasure of seeing live and it was an emotional experience; Nocturnal Depression, Dimmu Borgir, and many others. I would want a show that is both high-energy and emotional, where the audience can see themselves in the lyrics, the mood, and the music. A show that is somewhat ‘’cathartic’’.

10. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives inspired you to become musicians?

I saw my first concerts as a teenager; there were some local bands whose names I don't exactly remember now. However, the first big concert I attended was in Milan in 2022, featuring Necromass, Mayhem, and Emperor. It was a magnificent show.

To be honest, I owned very few CDs. Firstly, because when I was little they were somewhat falling out of use, I mostly just used YouTube and put my songs on MP3 players. Also, CDs were very expensive and we couldn't afford them; I’m only starting to buy them now that I have a job.

My earliest memory is frequently taking 'Fallen' by Evanescence from my older cousin; it was the first album I ever listened to. I used to put his worn-out player in my ears. I was very very little, but it captivated me. I paid tribute to this memory in one of the Moon Wisdom photos, where I imitated Amy Lee's makeup and aesthetic, precisely because I think she somehow led me to be here today.

Then in elementary school, while many dreamed of becoming doctors or teachers, I wanted to be a rockstar, a singer; I had a toy guitar and microphone. Later, in middle school, a friend lent me Guitar Hero game, where I discovered metal more deeply and realized what I wanted to do. It wasn't easy living in a rural town and having these ideas, but with time and perseverance, I managed to make it happen.

11. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

My must-haves are 'Enthrone Darkness Triumphant', 'The Somberlain', 'In the Nightside Eclipse', 'Deathcade', and 'Life has gone on long enough', though I could mention many others. Recently, we bought the latest work by Hekseblad; they are great.

12. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Moon Wisdom fans, this is the place. I hope you enjoy the questions.

Thank you for this amazing interview! So many memories came to my mind!

To our fans: we truly hope this album creates a deep connection with you. Our goal was to craft something that evokes strong emotions and allows you to fully immerse yourselves in the world of Moon Wisdom. We hope you enjoy the journey as much as we did creating it.

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Spell Caster ‎– The Fourth Pentacle of Saturn 9,99 €

Cassette

MOON WISDOM

 

Origen: Italia

Formados:?

Estilo: Black

Temática:?

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

Miembros: 

• Faith Bajo, teclados y voces
• Hexis Batería
• ️Kaelos Bajo, guitarras y voces

Discografía:

• Dark Shades Single 2025  
• As Rain Single 2025  
• Let Water Flow CD 2026

LET WATER FLOW (2026)

"Let Water Flow" será el primer larga duración para esta banda italiana, en donde nos ofrecerán siete temas de un black metal que entremezcla diferentes influencias, desde sonidos más clásicos a elementos que se adentran por un contraste entre las partes más crudas y aquellas que quieren ofrecer cierto tono más melódico. Con algunas pinceladas de sonido black clásico da comienzo este álbum, pinceladas que se mantienen a lo largo del mismo, pero trabajando diferentes secciones en terrenos como las guitarras, en donde hay algunos desarrollos que dan rienda suelta a influencias de sonidos como el rock o el punk. Cierto tono blackgaze también se deja sentir en algunas partes más densas y con cierta profundidad. Sin embargo el álbum tiene la habilidad de mantenerse dinámico en sus diferentes desarrollos, sin que el oyente caiga en el aburrimiento. ofreciendo apartados mucho más viscerales, que en un momento se tornan más melódicos, trabajando estructuras que quieren recrear una ambientación más lograda, pero que también sirven para que la música se empape de otras influencias más alejadas del black al uso. El álbum en general se muestra sólidos en sus diferentes facetas, faltando tal vez en cierta partes cierta cohesión entre las transiciones, sobre todo en aquellas partes que adolecen de la presencia de unas voces que cuando están presentes se nutren de un tondo bastante crudo y agresivo, con propiedades catalizadoras y sirviendo también para sumar coherencia la conjunto. Un álbum que fluye libre en mucha partes, como queriendo tener un pie en el black más tradicional pero encontrando su razón de ser en la capacidad de Moon Wisdom de trabajar otras facetas en sus sonido que tienen más que ver con otras registros. (8)

Hypnotic Dirge Records

1. Intro 01:42  

2. As Rain 03:44  

3. Ashen Winds 03:33  

4. Frozen Soul 05:47  

5. Solitude 04:48  

6. Dark Shades 06:31  

7. Lullaby of Woods 02:22  

  28:27  

Grave Circles ‎– World Within The World 12,99 €

NOIRSUAIRE - INTERVIEW

 

1. Around 2020, you decided to launch Noirsuaire. Why did you make this decision? Why did you choose the name Noirsuaire, and what does it refer to?

After years and years of doing nothing musically, I grabbed an old guitar of mine and felt a little interested by home recording. Was exciting enough to turn a couple of riffs into songs. The name Noirsuaire comes from a role playing book I loved when I was a kid.

2. Over the years, Noirsuaire has released a series of smaller EPs and demos, culminating in the release of "The Dragging Poison," your first full-length album. I imagine this decision was quite significant for you. Did you feel it was the right time to take the next step and release your first album? What was the songwriting and recording process like? What brands of instruments did you use?

I was very uneasy with the ideal of releasing an album as I didn't make Noirsuaire for this. I was fine with releasing demo tapes and Noirsuaire could have lived this way until its end.  After releasing “The Wrath Of The Silent Temples”, I had a week with a peak of inspiration and wrote three new songs “Trance Of The Bedless Bones”, “The Dragging Poison” and “Fogged By The Leaves Of Pestilence”. I wanted to record again the songs “Possessed By A Malignant Lust” and “Enshrouded In Rabid Repugnance” from the first demo and ad them to a possible album and I had the songs “Sworn By Sinister Wisdom” and “Noirsuaire” written plus two other songs which finally were not selected for the album.  I started to record thoses songs as I felt it could be a nice idea to finally make an album. I think I started the recording in March 2025 and it lasted to early May Without a single ounce of pressure. I recorded during my free time in my attic, after my daily job or during the week ends. I had a couple of guests that could not do their part so when I had something listenable I sent it to labels.

For this recording, I used BC Rich guitars as I'm totally fond of this brand and I own a dozen of axes. I used a US Mockingbird from the 80's, red one known for being used by Kerry King and Slash, as well as a Japanese Ironbird, red one too. For the bass, I used a Fender Duff McKagan Signature. 

3. The album's sound is raw, direct, and very icy, focused on a classic approach to the genre, drawing its roots from the underground traditions of 90s black metal. How would you describe the sound of the new album to someone who hasn't heard it yet? Is there an evolution compared to your previous EPs? What bands or styles influenced you when composing "The Dragging Poison"?

The evolution compared to my previous works is obvious. Riffs and melodies are way better. Sound wise, mixing and mastering being done in a studio the result is more precise, tight and huge.

I'm mostly inspired by the early works of Darkthrone, Gorgoroth, Enthroned, Marduk, Nastrond but the bands most people refer to when it comes to compare Noirsuaire music are the ones from the french scene of the 90s like Osculum Infame, Bekhira, Chemin De Haine, Seigneur Voland. But for the less obscure ones, Sargeist, Satanic Warmaster.

4. Your lyrics deal with themes centered on darkness and paganism, such as vampirism or devil worship. Is there a connection between your lyrics and your Pyrenean origins? Has the tradition somehow influenced your songwriting? Is vampirism a recurring theme in black metal lately? Why did you choose to focus on this theme? Do the lyrics adapt to the music, or vice versa?

Most of the time, lyrics are adapted to the song. Pyrenean folklore is not the most dealt subject as I'd like to cover all ancient legends and myths. I have chosen vampirism as it's a subject I have been fascinated with since my childhood. I have fed a strong interest for this concept.

5. You remained true to yourselves throughout the recording process by recording once again in your small studio. Is it essential for you to have complete control over this aspect and not let anyone outside of Noirsuaire interfere? Who is Sébastien Tuvi, who handled the mixing and mastering, and why did you choose to work with him?

Studio? No, just a room in my attic with a computer, a sound card, speakers, guitars and a microphone. Yes I know most musicians would call it a studio as thoses people are so keen on bragging and exagerating a lot.

Recording the album this way is not about being true to something. It's just that I don't see myself going into a professional studio and being forced to record on time. By recording this way, I feel free to record whenever I want without thinking about the others, especially a sound engineer.

Maybe this is the wrong way and a real recording in a studio could be way better but I don't feel able to inflict myself this routine and discipline.

Sébastien is mostly known by the monicker BST and is a highly talented musician who played in numerous quality acts like Aosoth, Aborted, Sotherion and owns a recording studio where the likes of Hell Militia, Antaeus, Mütiilation had their sound  graced by his talent. 

I'm not a geek when it comes to sound and I didn't want to do some name dropping association. I decided to work with him because he was the perfect one. I'm very impatient to work with him again.

6. David Thiérrée designed the album cover. What does it represent? What message did you hope to convey to the listener? How does it relate to the album's content?

The highly talented David Thierrée was selected because I love his works I discovered in 1999 with Warloghe first album. He's a very good friend and was the one that could visually materialize this album. You can clearly see a reference to Marduk “Glorification” and Kaosritual “Svøpt Morgenrød”

7. The album will be released by Osmose Productions. How did the opportunity to work with Osmose for the album's release come about? What do you think the increased visibility Osmose will bring will mean for the band's future?

Once I had a listenable result I sent it to several labels which had shown some interest for the album already but also to a list of labels I'd be interested to work with. Among the offers I received, the one from Osmose was the best so the deal was sealed within a millisecond. Osmose proposed beyond everything I was looking for when it comes to a label: promotion, visibility, high quality products and increased credibility. I've never been screaming with the pack of hypocrite musicians telling a label is useless and they are self producing their album “because we decided to stay independents” while they were knocking at the doors of record labels for months. But hypocrisy and lying constantly are common traits among musicians as we all know.

This highly increased visibility will definitely help BM fans listen to my music and that's the most important point.

8. If I'm not mistaken, you've been involved with black metal since the late 1990s. How do you think the scene has evolved over these years? How would you describe the impact of social media and digital music?

With the retrograde cloak draping Noirsuaire, you can easily guess I won't be too kind with the current thing . It evolved in many forms, one of them being the exact opposite of its primal essence.

For several years, you have seen hardcore kids wearing Darkthrone, Mayhem, Watain etc shirts praising how Black Metal can be transcending. Some even starting their own BM solo project. 

Social media made people become more and more egocentric and make them feel like important people, friends with celebrities etc. When it comes to digital music, it's good for promotion but that's all. I don't see the point of releasing metal music on digital only as it's a music made for fans of physical products. 

9. France has always had a very strong extreme metal scene, from the Black Legions of the 1990s to the much more avant-garde black metal sound fused with death metal elements of today. How does a project like yours fit into the current French scene? Do you feel a need to reclaim that rawer, more direct tradition of French black metal from which you draw inspiration?

The most recurrent words about Noirsuaire since its unveiling were “this is the real kind of french black metal we have been used to decades ago but not many are playing today”. This is the best compliment I have ever heard. There's nothing to reclaim.  I just perpetrate an old sonic tradition, I do it my way and I'm glad to see people loving it.

10. Despite being a two-piece band, have you considered performing your music live? What circumstances would need to be in place for that to happen?

Noirsuaire is only me as Agravh had to step out of the project for personal reasons. Sometimes I seriously think about it and sometimes I think it would be a bad idea.

If it would happen, it would be with bands I appreciate in a nice place/ venue. But as Noirsuaire is too small and uknown to pretend to thoses conditions, I stay in my attic.

11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to become musicians?

First albums I got were Iron Maiden “Powerslave” and ACDC “Let There Be Rock” while my first show was ACDC with Sepultura in Bordeaux on the 13th of July 1996. After months of devouring magazines, buying records, because I had succeeded exams my mother bought me the BC Rich I wanted. I still use it to this day.

12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

Well this is not going to be an original answer... I would say “Nordic Metal – A Tribute To Euronymous”, early Darkthrone albums until “Panzerfaust”, Marduk “Heaven Shall Burn” and “Nightwing”, Enthroned “Regie Sathanas”, Dark Funeral “The Secrets Of The Black Arts”.

Recently I grabbed the reissue of Cardinal Sin “Spiteful Intents”, new albums from The Ominous Circle and Trivax. I'm currently waiting to receive the new Funeral album too.

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

Thanks a lot for the opportunity to feature among your pages.

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Mourning Dawn ‎– The Foam Of Despair 29,99 €

Vinyl, LP, Album

BLOEDMAAN

 

Origen: Bélgica

Formados: 2022

Estilo: Black

Temática: Desolación, oscuridad y videojuegos

Enlaces: Bloedmaan, deezer, facebook, instagram, soundcloud, spotify y tidal

Miembros:

• Ronarg Todo

Discografía:

• Castle Inside the Eclipse CD 2023
• Return to Castlevania Single 2025  
• What a Horrible Night to Have a Curse Single 2025
• The Clock Tower Single 2025
• Vampyric War in Blood CD 2025  

VAMPYRIC WAR IN BLOOD (2025)

Cierta linea continuista se puede apreciar en este segundo álbum de la one man band belga Bloedmaan respecto a su álbum de debut de hace un par de años, aún así hay aspectos que merecen la pena ser destacados, entre ellos las voces que juegan un papel fundamental a la hora de dotar al álbum de mayor personalidad y por otro lado el trabajo de guitarras que aportan unas texturas que saben jugar con la melodía y la crudeza de forma casi que perfecta, gracias todo ello también a una apuesta más solida en cuanto a producción. Sustentándose en un inicio que sienta las base del todo el sonido del álbum, con un elemento fundamental como son los teclados y con una ambientación que nos sumerge en un ambiente vampírico, para que todo a partir de aquí fluya por una linea conocida pero bien trabajada en sus diferentes facetas. Por un lado tenemos un sonido que se muestra ciertamente directo cuando sube el tono, ofreciendo un sonido en donde la crudeza sabe jugar sus bazas, pero que no se olvida de equilibrar estos aspectos con elementos que traen un tono más melódico, tanto en al interpretación de los riffs como con la inclusión de los teclados que van equilibrando las intensidades y completando un cuadro que nos sumerge en un sonido muy tradicional dentro del black más crudo. Con una brumosa ambientación que nos traslada a un paisaje oscuro y desolado, en donde las voces se adentran por pasajes todavía más sombríos si cabe, con gritos llenos de desesperación y rabia que golpean nuestros oídos de forma despiadada, sabiendo encajar perfectamente tanto en la intensidad de la música como en su carácter más sombrío. Un segundo álbum que solo hace acrecentar las virtudes de su predecesor, cargado de agresividad, oscuridad y crudeza. (7,9).

Immortal Frost Productions

1. Intro 01:55  

2. Vampyric War in Blood 07:09  

3. Return to Castlevania 06:15   

4. The Clock Tower 06:41  

5. What a Horrible Night to Have a Curse 06:01   

6. Commander of Spectral Forces 04:33  

7. Outro 04:23  

8. Rise of the Blood Moon 05:12  

  42:09

Heltekvad ‎– Morgenrødens Helvedesherre (Gold) 29,99 €

Vinyl, LP, Album, Limited Edition, Gold

LYCHGATE

 

Origen: Inglaterra, Londres

Formados: 2011

Estilo: Black vanguardista, doom

Temática: Distopia y filosofía

Enlaces: Bandcamp, deezer, facebook, instagram, Lychgate, spotify y tidal.

Miembros:

• Greg Chandler Guitarra y voces
• S.D. Lindsley Guitarra
• T. J. F. Vallely Bateria y percusión
• Tom MacLean Bajo
• Vortigern Guitarra, órgano, teclados y voces

Discografía:

• Lychgate CD 2013
• An Antidote for the Glass Pill CD 2015
• The Contagion in Nine Steps CD 2018
• Also sprach Futura EP 2020
• Hive of Parasites Single 2025  
• Renunciation Single 2025  
• Precipice CD 2025

PRECIPICE (2025)

Estamos ante el cuarto larga duración de la banda londinense Lychgate, un nuevo trabajo que nos habla de un futuro distopico y del dominio y dependencia del ser humano ante las máquinas, empleando para ello un tondo que cada vez se va adentrando en un sonido más vanguardista y experimental, pero que en ningún  momento abandona la profundidad y la oscuridad. A lo largo de los nueve temas que conforman este "Precipìce", nos vamos sumergiendo en una psicodélica y profunda atmosfera, de un tono para nada agradable, que nos va devorando a medida que trascurre. Los temas se muestran directos en esencia, con un demoledor aporte de base rítmica que va destrozando de forma violenta cualquier mínimo síntoma de resistencia, al tiempo que las guitarras y el bajo sabe ofrecen un tono pegajoso y denso que contribuye a la oscuridad y profundidad de la propuesta. Sin embargo Lychgate no están aquí para hacer concesiones de ningún tipo y mucho menos agradar a nuestros oídos, así es como, poco a poco van trabajando estructuras que quieren hacernos confiar en sus linealidad para acabar sumergiéndonos en una faceta mucho más experimental, en forma de demoledores cambios de ritmo, unos aportes de disonancias difíciles de encajar, acompañadas de un trabajo de teclados y sintetizadores, que apurando un tanto, nos traen registros que pueden encajar con un sonido industrial, sin olvidarnos de esos arreglos, que sin ningún miedo trabajan un vertiente casi que jazz en el conjunto. Una masa informe de sonido que se retuerce muchas veces sobre su complejidad, que logra sumergirnos en ese mundo distopico que inspira la temática del álbum, con un aporte de voces demencialmente oscuras y podridas, que a la postre contribuyen al demoledor tono psicodélico que persigue al conjunto del álbum. (8,4).

Debemur Morti Productions

1. Introduction - The Sleeper Awakes 02:32  

2. Mausoleum of Steel 04:41  

3. Renunciation 05:01  

4. The Meeting of Orion and Scorpio 04:31  

5. Hive of Parasites 09:58   

6. Death's Twilight Kingdom 07:21  

7. Terror Silence 04:07  

8. Anagnorisis 06:35  

9. Pangaea 03:01  

  47:47  

Erazor - Dust Monuments 7,99 €

Vinyl, LP, 45 RPM, Album, Stereo

NOIRSUAIRE

 Origen: Francia, Montségur.

Formados: 2022

Estilo: Black

Temática: Adoración al diablo, antigüedad y vampirismo.

Enlaces: Bandcamp, deezer, facebook, instagram, soundcloud y spotify.

Miembros:

• Agravh Batería
• N Bajo, guitarra y voces

Discografía:

• Possessed by a Malignant Lust Demo 2023
• The Endless Treasuring of Ancient Darkness Single 2024
• Black Flame of Unholy Tradition EP 2024
• Revered Pestilence Sessions EP 2024  
• By the Screams of Porphyric Seraphs EP 2024  
• Death Comes Ripping EP 2024  
• The Wrath of the Silent Temples EP 2025  
• The Dragging Poison CD 2025

THE DRAGGING POISON (2025)

Muchos son los proyectos con tintes underground que nunca llegan a editar un álbum completo, variadas serán sus razones, pero la edición por parte de Noirsuaire de una demo y cinco EPs no ha sido ningún impedimento para que se hayan decido a editar este primer álbum "The Dragging Poison", un trabajo que se funde en al más profunda y oscura tradición del black metal tradicional, combinando crudeza y melancolía en un delicado equilibrio. Desde el inicio del álbum Noirsuaire sabe cautivarnos con un estilo que ofrece un ritmo alto y violento, muchas veces directo, en donde todo se cubre con una gélida patina de oscuridad. Un sonido de batería que sabe mantener cierto tono lo-fi, empujando incesante pero ofreciendo también un equilibrio entre la tradición black con ciertos tonos más recientes. Las capas de guitarras suenan también endiabladamente directas y poderosas, trabajando con el bajo una linea que se mantiene en un tono muy crudo y afilado, sin que ellos sea impedimento para que surjan algunas engañosas melodías en segundo termino, sabiendo equilibrar el conjunto, suscitando dudas acerca de la versatilidad de las mismas, pero con un innegable poso en la mas fiel tradición del black francés de los noventa. Hay también una innegable apuesta por crear una gélida atmósfera, inquietante por momentos, fiel a la más oscuras tradiciones y miedos ancestrales, logrando plasmar de alguna forma el paganismo y el misticismo de una región como la de los Pirineos de donde procede Noirsuaire, logrando trasmitir toda esa frialdad, miedo a lo desconocido, terrores ancestrales, que se funden en lo más profundo de la tradición oral de esas tierras en forma de demonios, brujas y vampiros. Desde luego que no han inventado nada nuevo, pero estos lanzamientos alejados de los focos mediáticos y de las modas, son todo una manera de adentrarse por unas propuestas mucho más personales, de la mano de los componentes de la banda, ofreciendo un sonido black que rezuma crudeza, oscuridad, frialdad y melancolía en  cada nota. (8,1).

Osmose

1. Intro - Thousand Throats Thousand Spears

2. The Trance Of Bedless Bones

3. Fogged By The Leaves Of Pestilence

4. The Dragging Poison

5. Possessed By A Malignant Lust

6. Interlude - Withering Veins

7. Enshrouded In Rabid Repugnance

8. Sworn By Sinister Wisdom

9. Noirsuaire

Drowning Deeper ‎– Life Is a Failing Existence 19,99 €

Cassette, Mini-Album

WALDGEFLÜSTER - INTERVIEW

 

        1. The band started around 2005. What led you to create the band? Why did you choose the name Waldgeflüster, and what does it refer to?

At this time, I had a band called Scarcross. I felt that I didn’t have enough room there for the Black Metal ideas I had in my mind. So, I wrote and recorded a song on my own under the moniker Waldgeflüster. The song got some positive feedback, and I was also very happy with it. So, I decided to continue with this project. Waldgeflüster is a symbol for my inner thoughts and demons. The whispering in the woods that is calling to me. 

        2. After twenty years, how do you feel time has passed for the band? What remains today from those beginnings two decades ago? Which moments in the band's history do you feel most comfortable with and which are representative for you?

The spirit is still the same: We continue to create heartfelt and emotional music. I am comfortable with all moments in the history of this band. I/We always did exactly what we wanted to do. We always stayed true to ourselves, even though the sound has changed drastically since then. That also means that every record is a representation of the specific time it was written in.

        3. After the Covid and post-Covid era, during which Waldgeflüster experienced a period of relative inactivity, you surprised us with a double album. I imagine the work must have been exhausting for you. How did the idea of ​​creating a double album come about? Is it related to the twenty years you've been active as a band?

Since I heard Saliva of Tool and its version of Pushit I am fascinated with alternate versions of songs. During the writing process of Part I, I suddenly had the idea to try something new and challenging and create an alternate version of the album. Also to explore some ideas and genres, I haven’t touched yet before. 

 

        4. Martin Schirmann has joined the band as their new bassist, but he's not the only new addition to "Knochengesänge I and II." There are a number of collaborations, and I imagine fitting everyone together must have been a truly exhausting process. How was the collaboration process managed for the new album? What was the songwriting and recording process like for "Knochengesänge I and II"?

On the contrary, it was rather easy to work with the people. Austin and Alboin immediately said yes and recorded their parts. The violin player Charlie did the same. The songwriting process was similar as to all our other records. I usually start with a basic song idea and structure. And then we send versions back and forth, adding or deleting stuff each time, until we are happy and have a demo version that is very, very detailed. When it was ready for recording this time, everyone just got their tracks and recorded them separately. Reason was just that my home recording studio was not usable for a long time and in general we all are very busy and have limited time. With this approach we were able to make sure that everyone can record whenever it was fitting for him. 

        5. The approach taken in "Knochengesänge II" is certainly risky. We wouldn't call it radical, but what's offered is surprising. It seems to stem from a different vision than "Knochengesänge I" and reflects the band members' diverse influences and perspectives on black metal. How did you approach this idea and bring it to fruition as an album, and why did you consider releasing two albums with the same name but different numbering, simultaneously?

I originally intended to only release part II as a special version for die hard fans. But the label was very supportive and wanted to release it as normal album. Which I am very happy with now. Most of the time that I write a riff I will hear an alternative version of it in my head. And that’s how we approached Knochengesänge II. We just played around with this alternate version we sometimes heard and created a new song out of that idea.  

        6. One must acknowledge the band's ability to convey all the intensity, melancholy, connection with nature, the cold, and the solitude almost perfectly. After all this time, how do they manage to maintain their restlessness and interest in taking on new challenges? What inspired them this time to compose "Knochengesänge"?

Art and life mean constant striving. So far I have always found new topics and emotions that I needed to work on. Seems like I am a restless soul, that needs a new challenge always. The inspiration for Knochengesänge was my newly found fear of death, something I developed in the recent years. This came with panic attacks, sleepless nights and so on. So, it was the perfect ground to create this album. 

        7. That connection with nature that their music exudes is also very much rooted in their Bavarian identity. Their previous album already had a strong connection to the definition of home and also to the inclusion of German in the lyrics. What are the lyrics of the new album about, and why did they choose to address these themes?

As said before, this album is about our mortality and what we leave behind when we go. I needed to face the fear of death and work through some issues. Music and art help with that. 

        8. Markus Stock handled the mixing and mastering of the album. Why did they decide to work with him? Some of the drums were also recorded by Lukas Danninger in Minnesota. Where did this idea originate?

The drums were actually also recorded in Germany. Only the drums on The Little King and his architect, which were played by Austin Lunn, were recorded in Minnesota. For the rest we used a studio near our place, which was convenient and ensured that we got a great sounding recording. This is actually the 3rd release by us that was mixed and mastered by Markus Stock. We are very fond of his work and have a fantastic working relationship. Markus understands exactly what kind of sound our music needs.

        9. The connection and, at the same time, the opposition between the album covers is reflected in the work of Bekah and Austin Lunn. How did the idea of ​​working on the album covers in this way come about? What do they represent, and where do they belong?

The covers show the same mobile of bones, one in Winter, the other one in Spring. The mobile represents the “singing of bones”, when the wind runs through it and you can hear its sound. We decided to have the same motive but in a different setting, to showcase that the songs of both records come from the same DNA but are following a different approach and a different form of melancholy. 

        10. You've released another album with AOP Records, as you did with "Dahoam (2021)." How did the opportunity to work with AOP Records again arise? Do you feel more comfortable with a German label, or has the growing recognition of AOP Records in atmospheric black metal been more important?

We have an “unlimited” contract with AOP. So as long as both sides are happy, we’ll continue to work together. And we are extremely happy with AOP and all the work they do for us. And yes, it’s better for us to work with a German label. Given that Germany has the most Waldgeflüster listeners, it makes sense to have a label here. 

        11. I don't know if the connection of recording the drums in Minnesota has anything to do with it, but what "Knochengesänge" manages to convey emotionally reminds me a lot of Panopticon's work. Is there any link between the two bands? What similar bands would you not recommend?

As pointed out numerous times, Austin and I are best friends. Obviously, we have a strong connection, and we influence each other’s work. At the moment I am enjoying the new Sunken and Heretoir a lot. Both records share a similar sort of melancholy with us, I think. 

        12. How did the recording of the music video for "Knochengesang" come about and come to fruition? Why was that song chosen to promote your new album? What was the experience of being in front of a camera like?

The song basically is the essence of the record. A conversation with death. That’s why we chose it. We decided to work with Oliver König again for this video, and we think he did a fantastic job. The mood and content of the song is transported perfectly. We are very happy with it. 

        13. You are currently immersed in the live presentation of the new album, however, next year you will also be touring with Asagraum, Enisum & Convictive. How are your fans reacting to the live performance of "Knochengesänge"? Is it very difficult to capture all the emotion that your music evokes live? How did the idea of ​​touring with Asagraum, Enisum & Convictive come about?

At least from the feedback I get, I think that we are able to transport the emotions of our music quite well. We are not a band where lot of people will headbang though. Most people will just stand there and listen to these raw emotions in silence. But they always stay until the end, and we always get very positive feedback afterwards. The tour in April is organized by In Fiction, a booking company that we have worked with for quite some time. So, they asked us if we wanted to join and we said yes. 

        14. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to be musicians?

I wanted to be a musician since I heard a friend of my parents play some Beatles songs on an acoustic guitar whenever they met. I was fascinated by that, picked up the guitar and started playing none stop. The first album I remember buying that enforced this hunger for music was Matchbox 20 – Yourself or someone like you, a record I pull out every now and then still today. It formed so much of my understanding of music and songs. First transforming live experience was Deftones, another band I still listen to quite often. 

        15. Which album represents the essence of black metal for you? What are the latest albums you've bought?

Ulver – Bergtatt will forever be the ideal BM record to me. Latest records that I bought are: 

Vines – I’ll be here

Deftones – private music

Lankum – False Lankum

Ellereve – Umbra

Sunken – Lykke

So all over the place….

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

Thank you for the interesting interview and the support!

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