Lo cierto que la irrupción del combo francés al comienzo del presente año fue bastante llamativa ya que nos encontramos ante un metal extremo con muchas partes experimentales que no resulta del todo accesible pero que sin embargo nos vuelve a dar una lección una vez más de lo rico y variada que es la escena. Estamos ante un álbum de sonidos industriales, tal vez este sea el apartado más presente a lo largo de los seis temas que conforman este álbum, aunque eso si, todo ello trabajado sobre una base de black metal. Los temas son sucios, putrefactos, pesados y oscuros, sin lugar a dudas también es consecuencia directa de las parte más doom de su música. El conjunto se desarrolla con infinidad de elementos, desmembrar un tema de Woest es tarea casi que imposible, pero sin lugar a duda la riqueza de las composiciones esta fuera de toda duda, debido sobre todo a las programaciones que han conseguido plasmar una pesadez y densidad en el conjunto final. Hay bandas como Arcturus o Godflesh que por momentos se atisban como influencias en ciertas partes, pero Woest a conseguido crear un producto en donde hay cabida para el black, el doom el industrial y el death. Las voces son lodosas, oscuras, con una doble vertiente death, black, pero también hay presencia del parte corales en ciertas transiciones y el ambiente épico también se logra transmitir al oyente. Cada tema es un ente en si mismo y el álbum solo puede ser entendido y comprendido en su junto medida si es escuchado como todo de principio a fin, y solo así podemos hacernos con la idea de decadencia y oscuridad de la raza humana a lo largo de la historia en contraposición con la naturaleza. Más que interesante toma de contacto con esta banda que tiene por delante un interesante futuro. (8,5).
Primer larga duración de los vallisoletanos que no están perdiendo el tiempo a la hora de componer nuevos temas y moverse a la hora de poder ofrecer su música en directo, manteniéndose siempre fieles a ese perfil underground que marcaron sus comienzos. Para este nuevo álbum de ocho temas de nuevo han tenido que modificar su line-up, algo que también se ha vuelto un factor a tener en cuenta desde sus inicios, para la ocasión Ihcuhc se ocupa de la batería. En cuanto al sonido que ofrecen en estos ocho temas siguen un tanto la senda marcada en su anterior demo "Opus Tenebricosus", es decir una música influenciada por el sonido de los noventa y la crudeza y cierta violencia de sus composiciones, un gusto a veces por sonidos ambientales para conseguir una mayor sensación de misterio y oscuridad en sus música. Sin embargo también sería del todo injusto quedarnos sólo con esto y no saber apreciar cierta madurez en su sonido. Sobre todo la madurez y la solidez de las composiciones a base de estar más trabajadas y elaboradas es un aspecto destacable en el álbum y temas como "Tiempo de Invierno" y "Tambores de Guerra" son dos claros ejemplos de ello. En ellas si que se nota una mayor evolución en el sonido y debería de marcar el devenir de la banda en el futuro ya que podemos encontrar un perfecto equilibrio entre la ambientación y la melodía de las partes de teclado, en clara contraposición con los riffs afilados la agresividad de las voces, suavizadas eso si por otras en segundo plano. Desde luego el resultado final de este trabajo está bastante por encima de la demo y logra convencer, creo de manera unánime. (8,2)
Tampoco son unos recién llegados a la escena y manteniendo esta formación de dúo a lo largo de estos diez años, se me antoja como el tema más interesante de este compartido. Han ejecutado un tema mucho más dinámico y diría que elaborado, en donde sus principales virtudes musicales están perfectamente representadas, sabiendo conjugar de manera acertada su vertiente más ambient con el black más directo y oculto, no exento de partes melódicas. Para ello, a lo largo de los más de de trece minutos que dura "Hexagonum", van tejiendo sus partes en un tema que podríamos decir que esta conformado por diferentes partes que podrían funcionar como temas independientes pero que se han unido de manera correcta por puentes, la mayoría de las veces, de teclados. Sin lugar a dudas "Hexagonum" respira de diferentes formas, comienza de manera cruda, oscura y mitológica, con toda los instrumentos concentrados en ofrecer un black metal más que correcto, pero a lo largo de sus sucesivas pausas resurge de manera melódica y oscura en donde los teclados van ganando protagonismo y la música se vuelve más limpia, hasta acabar muriendo en un black ambiental más sosegado si cabe, con ruidos de la naturaleza y melodía de teclados que dan por finalizado este acto. (8).
Contemplation, lucubration, preparation, meditation
Our feet are unbound for ascension
Earthquakes arise from your laugher
Shu no longer apprehends us
Time and Earth are irrelevant
We pervade your consort Nut
Before you once again manifest as Geb
Before I return to earth
Wielding the sickle, slave to the terra
Consuming the living and the dead
Imprisoned by Shu, longing for Nut
The hideous return to Earth
Wielding the sickle, slave to the terra
Brandished by the timeless hexagon
Once expelled, now harmonized
Your return beyond the sky
Suffer in storms
Bear the hexagon
I display the pileus
Suffuse the cosmos
Long past is the golden age
Transitory empyrean stage
Where We Have Always Dreamed / Through Caverns UnknownSplit2013
MMXI-MMXIIRecopilatorio2014
AnhedoniaCD2014
Live MMXIIDirecto2016
At Dusk / SacerdosSplit2017
Condemned CD 2019
AT DUSK / SACERDOS (2017)
Podemos encuadrar a At Dusk en ese puñado de proyectos de un solo hombre que plasman a la perfección las inquietudes de una mente creativa. Mis primeros acercamientos a la música de At Dusk, fueron, si mal no recuerdo, su demo homónima y su primer larga duración "Anhedonia", mucho ha llovido ya, sobre todo desde la edición de la demo. Para la ocasión tenemos este compartido de dos temas en donde At Dusk se encarga de abrirlo. El tema comienza con un pasaje hablado, algunos sonidos ambientales para a continuación arremeter con un black que comienza de manera cruda y atmósfera cargada. Sin embargo lo bueno que tiene esta larga duración del tema "Condemned", casi quince minutos, es que vamos transitando por diferentes estilos que sin lugar a duda vienen a reflejar el estado de ánimo de Korihor, digo esto porque la sensación plomiza y violenta del inicio se ve trastocada por alguna que otra pausa en el discurrir del tema que nos presenta otras partes mucho más pesadas y cargadas, en donde el doom campa a sus anchas y las melodías más melancólicas y oscuras cobran mayor protagonismo. Otro pasaje hablado no devuelve otra vez la calma para que de nuevo el tema cobre forma y arremeta ya sin piedad con una suerte de black directo, crudo, violento a veces, de atmósferas frías y casi que depresivas, digo lo de casi depresivas, porque el tema aquí ofrecido por At Dusk, aún sonando frío y cargado, no se sumerge del todo en la vertiente más depresiva de trabajos anteriores. Para finalizar un buen pasaje de teclados con reminiscencias al "Exosrcista" (puede ser) y alguna parte más hablada. Buen aporte a este compartido, con un tema extenso, dinámico y bien ejecutado. (8).
We all are, to a man, to this condemn'd:
To fall to shame, all dignity bereft
Slavering curs, our teeth baréd to rend
What awe remain'd among us unto death
I sought to walk in beauty, like the night
Of cloudless climes and winsome starry skies
But callous calumnies douséd the light
Plunging to blackness all I could espy
They say that in the soul of judgement's eye
Resides the greater portion of sin
But more among us quicken to despise
Without casting our gaze to scry within
Thus I am driven swiftly to my end
As all the bloodied earth cries for revenge
Siguiendo un poco la senda que marcaron bandas como Inter Arma o Kvelertak, nos llega el debut de estos norteamericanos. Su música puede en un primer momento dejarnos un tanto confundidos, por un lado suena simple, casi que sin pretensiones, sin embargo hay una importante elaboración y carga de pesadez que se ha trabajado a conciencia y que aflora una vez hemos escuchado el álbum un par de veces. Como en las bandas anteriormente descritas, el black metal que contienen estas composiciones no es un elemento principal en al mezcla, pero si que es un elemento necesario. Estamos ante unos temas bastante extensos que permiten desarrollar y recoger diferentes influencias dentro del metal y del rock, siendo sin lugar a dudas estilos como el rock, el progresivo o el doom los predominantes. Voces en lineas generales agresivas pero también conservando la limpieza de registros, un buen apartado de batería que dota de energía y vitalidad las composiciones, y una buena mezcla de bajo y guitarra, siendo esta última un elemento destacado en muchas partes, al dejar aflorar diferentes estilos en las composiciones, al mismo tiempo que variados, sonando por momentos a clásico o otras aportando una dosis de psicodelia al álbum. Todo el conjunto suena agresivo pero limpio, como una obra de rock, casi que me atrevería a afirmar que clásico, sin embargo la producción logra aportar contundencia, gravedad y pesadez al resultado final. Tal vez una mayor variedad en las composiciones no vendría mal al resultado final, pero estamos ante un álbum que suena lo suficientemente solido como para darle una oportunidad. (8).
1.Dynfari was born in 2010, in its beginnings with two main components such as Jóhann Örn and Jón Emil, what made you want to create a band like Dynfari in those days?
We felt that what we were creating at the time was a blend of styles of music not much explored in Iceland before. It was a particular sort of self-expression that had a great amount of cathartic influence on us that we had not known before.
2.From your beginnings you have always opted for a very personal sound full of nuances and influences that are not always present in the black, to mention as an example the clean voices in certain parts of your subjects and a brazen bet for post-metal sounds, did you consider In principle as risky your proposal?
I don’t think we ever felt it was risky. We weren’t really inventing the wheel, as bands like Agalloch, Alcest, Ulver and the like had mixed clean vocals and other softer elements with black metal way before us. Then again this approach was only just gaining real traction around that time, so in a way we were part of an undercurrent that later became a large wave of such post-rock influenced black metal bands, some of which spawned from the DSBM of the 2000s.
3.However the passage of time has given you the reason and an album as your last "The Four Doors of the Mind" is a total and absolute proof of musical maturity and composition and shows that time has proved right. How was the process of composing and recording your last album? Do you consider that this "Four Doors of the Mind" represents what Dynfari is today?
It was around a 2 year process from the first compositions. We also utilized some even older ideas with new arrangements. The recording process was easier than often before since we recorded at Studio Emissary rather than recording everything ourselves as with our previous albums. Four Doors does represent Dynfari today, yes, but with the forewarning that our creative process is in constant evolution which at times feels bottomless. I can promise that what we are working on now will have a different feel to it than Four Doors did.
4.Your lyrics have always been inspired by the life of the human being and by philosophy and for the occasion this "The Four Doors of the Mind" was not going to be menes. Tell us a bit about the conceptual section of the album and why you decided to treat it.
The idea to dedicate an album to the theme of pain came from some deep introspection on what really makes me want to perform such aggressive music but yet tie it to some mellower segments. It is to express pains and effects I have endured from an autoimmune disease I suffer from. Throughout the album, the listener travels through the “four doors” that are the mind’s tools to alleviate pain and suffering. It is a reference to the novel The Name of the Wind in which Patrick Rothfuss put forth this concept. I also chant early 20th century Icelandic existential poetry by Jóhann Sigurjónsson which heavily relates to the doors of sleep, forgetting, madness and death.
5.The last song from the album "4th Door: Death" is a different song, it is much longer than its predecessors and also has a different feeling to the others, what can you tell us about this last issue?
It is a very different song indeed, the only one on the album composed entirely in a jam setting. Granted, it was refined somewhat for the recordings, especially by Bragi adding more guitar layers. Essentially it is an ode to mortality and the acceptance of death as something beautiful and inevitable. The song was conceived in a very transitional period in my life, in realizing that every end is a new beginning, no matter how final that end may seem. So, we layered 7 electric guitars on top of each other to illustrate that enlightened feeling of a burden of pain dropping from your shoulders to set you free for something new.
6.You have always written your songs in your native language however in your last album it seems that English is more present than in previous occasions, can this be an attempt to bring your music more to the fans so that they can have greater access to your letter?
Somewhat. It was an attempt to make the subject matter a little bit more approachable and less esoteric, while still retaining some of the arcane feel by using the over 100 year old Icelandic poems. Whether we succeeded, others will have to judge. I would expect our next album will be pretty much completely in Icelandic again. It usually feels more natural to me to express my thoughts and poetry in my native tongue.
7.Undoubtedly, perhaps, when Dynfari began Iceland not well known for its extreme music scene, however in recent years the scene has grown considerably and Icelandic groups have a significant presence and influence on the world stage, Do you feel that Dynfari belongs to this new Icelandic scene and has had some influence in this new scene?
I definitely feel that we belong to it now, even if both Dynfari and Auðn were kind of outsiders for a long time with our more “atmospheric” take on black metal, as poor as that word describes the subgenre. Whether we have had influence on the Icelandic scene itself, I am not sure. There are not many bands in this genre here in Iceland, and almost none that are younger than we are. Most kids here are into rap these days! But we have been mentioned as influences by some random foreign bands. It always warms our heart to feel that our music has moved someone in such a way.
8.Undoubtedly a sound as rich and varied as the one that Dynfari offers has to be the result of a lot of influences but if it had to stay with a handful of bands, what have been your five fundamental albums in music?
Oof, that’s a very difficult question. Seeing as Alcest’s Souvenirs d’un autre monde just turned 10 years old recently, I think it deserves an honorable mention. It’s an album that completely changed the way I perceive and view music composition, in particular mixing black metal elements with external influences. Austere’s To Lay Like Old Ashes and Woods of Desolation’s Torn Beyond Reason were two profound influences in our early days, both from Australia. A lot of my post-rock influences come from the bands Mogwai and This Will Destroy You. I’d like to namedrop Mogwai’s Come On Die Young and TWDY’s self-titled album.
9.It said earlier that in the beginning Dynfari was played by Jóhann Örn and Jón Emil, however over time new musicians have joined, the inclusion of these new musicians responds to a need to be able to take Dynfari to the stage and to the Same time you can enrich your music?
Yes, Hjálmar and Bragi have proved to be invaluable members of our chemistry for years now. Bragi contributed to compositions on Four Doors and is bound to have even more to give on our next works. Hjálmar has been with the band since 2011, either as a session member, sound engineer and even amplifier mechanic on tours! Now he’s our full-time bass player.
10.How were his beginnings in music, first concerts, first cds that he bought? What fact of his life was decisive so that he wanted to be a musician?
It may (or may not) come as a surprise that most of us from the band come from a death and thrash metal beginnings, though Jón Emil’s classical guitar education does put its color on everything as well. As teenagers in the late 2000s we frequented the then active death metal scene’s concerts in Reykjavík and played in our own garage death/thrash metal bands. Somehow we evolved from there to what we make now, just as Iceland’s metal scene in general evolved from being death metal dominated to black metal dominated. I think the first metal concert I went to here in Iceland was Finntroll in 2007. I remember that between bands, Death’s cover of the Kiss classic “God of Thunder” was playing on repeat. Good times.
11.Since its second album all your music has been edited by Code666 Records, today it is somewhat complicated to see a band so linked to a record label, obviously this shows that both parties are satisfied, how came the contact With Code666 Records and why is it binding for so many years? What do you think of the blue vinyl edition that has been edited by the label?
We have been with them since the release of Sem skugginn in 2012 and a new contract has been made for just one album at a time, so we have not been bound this whole time. We have gotten offers from several other respectable labels but ultimately Code666 has offered us the deal most compatible to our goals at each time. The partnership has not been completely without dispute but overall we have gained a lot from it. As an example, the big North American tour with Negura Bunget in 2015 would not have happened would it not have been for Code. The blue vinyl edition of Four Doors is absolutely gorgeous, and as is the limited edition woodbox that was released in only 20 copies. Such special releases are something we are very keen on making more of in the future.
12.With "The Four Doors of the Mind" still fresh in terms of editing, what future plans for concerts and upcoming releases do you have?
This summer we played a very special release concert in Reykjavík as well as performing at Eistnaflug festival and KEXPort fest. Currently we have many ideas of what to do next but nothing set in stone. If the right opportunity arises we will go on tour or make a festival appearance next year. Otherwise we will focus on continuing creating and sculpting more music.
13.Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Dynfari, this is the place. I hope the questions are to your liking
Nothing says “I love you” more to a band than supporting their work. We want to thank every single person who has ever supported us throughout the years. You make it possible for us to continue.
Fourth, Incredible album from Icelandic Black Metal band Dynfari! Alternating between post-rock vibes and black metal atmospheres, the album explores fantasy writer Patrick Rothfuss' theory on the mind's abilities to cope with pain, by weaving it together with over 100 year old lamentations on human existence by early 20th century Icelandic existentialist poet Jóhann Sigurjónsson. The combination of the two writers' thoughts is embodied in the union of the drive of black metal with more traditional soundscapes of acoustic guitar, accordion, flute and bouzouki. Artwork by Metaztasis (Watain, Behemoth).
Con un tono repleto de melancolía y tristeza se nos presentan los tres temas de este nuevo Ep de la one man band rusa Spell of Dark, sin lugar a dudas un proyecto que da rienda suelta a las inquietudes y demonios interiores que encierra la personalidad de V.T., que ya en el lejano 2009 arrancaba con un primer Ep y que ha dejado también en estos años un par de largas duraciones. Como comentaba anteriormente el tono de estos tres temas que conforman el EP se ven impregnados de melancolía y frialdad, la temática gira en torno al invierno y su presencia se deja sentir en cada nota de los temas. Sin lugar a dudas V.T. se define como un adulador de esta estación del año, por su dureza, por su efecto purificador sobre la naturaleza y el ser humano y de manera magistral logra plasmarlo con una música en donde el ambient y el black atmosférico, junto con ciertas partes dark y algo de black depresivo plasman a la perfección esa frialdad y padecimiento que trasmite el invierno. V.T. emplea temas largos, rebosantes de melodías melancólicas capaces de reflejar la soledad y la tristeza de todo lo que rodea a los días más cortos del año. Repleto de leyendas y tradiciones de su lugar de origen, estamos ante poco más de veinte minutos que logrará trasportar al oyente a una época medieval, en donde el ser humano se adecuaba al ritmo que le marcaba la naturaleza y en donde el valor de la vida era otro. (8,4).
Desde Zagreb nos llega esta ya veterana banda que se caracteriza por ofrecer un black metal impregnado de satanismo por todos los lados. En un primer momento y debido al nombre podemos pensar que estamos ante otra banda de black metal de influencias paganas y de fuerte presencia y contacto con elementos de la naturaleza, sin embargo lo que nos presenta Frozen Forest en su primer largo es un black metal bastantes visceral y directo que por momentos no hace ascos a la melodía y que recoge diferentes influencias clásicas, tanto del black metal sueco de mediados de los noventa como también del thrash de mediados de los ochenta. El álbum comienza de manera contundente y pesada, aspecto el de contundencia que se mantiene casi que inalterable a lo largo de todos los temas. Otra característica importante es la crudeza de algunas de sus composiciones al mismo tiempo que se logra añadir cierta melodía a los temas, que en "Isola dei morti" o en "Endless Cloud", nos lleva incluso a hablar de cierta épica. Acertado trabajo en la batería igual que en las guitarras en donde podemos disfrutar de algunos buenos riffs de la mano de un estilo que rezuma thrash clásico. Estamos sin lugar a dudas ante un trabajo elaborado que prácticamente no deja ningún resquicio y que de manera sólida nos presenta una banda que a logrado plasmar un álbum muy completo. (8).
1.Spider Cures Fever06:00
Devour the hermafrodite God
And wolf's seal from dragons eye
You'll make gold at will
Strange jewels of the underground
Lust for wisdom
Beyond human limits
By means of the ancient art
Penetrate the glow of the Sun
And secrets of the quicksilver
The seeds of Luna
In the caverns of Venus
A key to open
The waters of Mercury
From the burning coals of Moon
The masters knew
The spider cures fever
The seven adepts
Lived for thousand years
The lotus eaters,
Servants of supreme fire
Over chrystalized circles
They can fly
And practice quietness
In clarity of light
The storm of persecutions
Bred Demons
But the wandering master of sages
Cannot be destroyed
Nine heavens and nine earths
Within the reach of the dying man
Unity of light and dark
Riddle of Maranatha
The secrets are burried
At Saint Jacques la Boucherie
The seeds of Luna
In the caverns of Venus
A key to open
The waters of Mercury
From the burning coals of Moon
The masters knew...
2.Devil's Grin Retaliation05:57
You'll reap the seeds of violence
Slaughter obsolete orgasmic frost
The courage to be yourself
Remote forever in subhuman metropolis
Pain chords shiver
Radiating sins
Black ice verses
You cannot comprehend
Opium nightmare
Rejuvenation vibrancy
Take me hostage
But make no mistake
I speak of beauty
Fucked up deadhead corporate rape
Full of nothing go fuck yourself
Let this freak show go down the drain
Sinister funeral in narcotic domain
Salute the whores
Gather the flies
Your God will never shine
In untouchable nightfall
Black mass demoniac
Insect saviours beckoning
Daydream isolation
It's Devil's grin retaliation
On border of my dreams
Heavy gloom hunts me
So gather the shadows
For the one who doesn't hurt
You worn out shamans
It's hurricane whirlwind
It's Devil's grin retaliation
Into the metal and I'm breathless
3.Glorious Sun04:47
Thrones of blood
Built on hate of delusional faith
Deviant logic of the masses
Anxiety and depression
Jehovah mind possession
Imperious Christ
In the centre of history
Expanding power of radical leaders
Religious fascists under banner of God
I don't believe
In followers of Jesus
I don't believe
In bride of Christ
I don't trust
The new Jerusalem
I don't need
The body of Christ
Don't claim to rule me on behalf of divine
I don't believe you have connection with God
State ruled by clergy is perverted and vile
A nation governed by the biblical laws
Don't need your God
I never did
Your social values, moral panic
Your Jesus
Brings anxiety to me
A social tension
I can barely endure
I took my journey without the faithful
My inner strenght, my own authonomy
With the wonders He works
The fire He burns
Rejoicing in torment of Glorious Sun
4.Cold Light Oblivion04:48
Under the gaze
Of the one who hates forever
And the oblivion
Of unholy eyes
Sulphur army marches
Under banner of darkness
Spiritual children of demons
Are breaking the bonds
Of the triune God
Eons of sadness
In lies of the angels
Infinite knowledge of the snake
In the breath of the dying God
Diabolus aetrnium!
Marvelous Black Host
Of faithful demon defenders
Obeying the order
Of the cold light
Violent slaughter
Of heavenly powers
Corruptible flesh of nuns
Hanging from their swords
What they're made of
Is flesh and blood of Satan
What they're made of
Is flesh and blood of Satan
In streams of blood
On flames of hell
Total darkness
Total death
5.Claws of Infinity04:56
In this trap called life
You are like a wounded animal
In this castrated world
Bow to no one! Let your voice to be heard!
To defend the terror and disorder
Non-Human! You are chosen to pass the border
To commit crimes against humanity
Non-Human! You are closer to divinity
To spread hate till everything is gone
Non-Human! You are doomed to walk alone
How would you feel
If there is only your own will
And how would you feel
If there is nothing left to kill
Stone cold heart
Non-human
Lack of empathy and mercy
Overhuman
May the words of my mouth
And the meditation of my rotting heart
Be abhorrent in your sight
O lord, our false Redeemer
You are sending us on a neverending way to infinity
Where we'll all prey for the end!
6.Isola dei morti07:22
Dark waters
Of the dead calm sea
Under ancient tombs
And cypress trees
A boat arrives
At Toteninsel
With a looming sorrow
Of a mourning widow
Five dead children
On the grave of Mary
Woman and the rover
Tightly wrapped in white
To overwhelm this misfortune
And reject the ancient methods
Learn the Art of separation
Of heavenly eternity and earthly weakness
Light and darkness
Separated and divided in His workshop
As day and night proves
Existing by itself
To live and flourish
With mysteries of nature
One with Earth, Heaven, Air and Fire
The mind is free
The mind is free
In Toteninsel
7.Wisdom of the Accuser05:16
Trapped in a void
Of my own delusions
With burden of Satan
To overcome darkness
Deliberatly trying
To make it more harder
The weight of the Black One
Hanging in balance
With earthly redemption
My shield over Heaven
My sword against priest
My knife against world
My word against Mother
My lies against Father
Trapped in a Void
And taught by the Devil
Inhaling His breath
Learning His wisdom
Religion is worthless
'Cause blood of the priest
Is poison of Jesus
And even the child in the corner
With morbid opsessions
And pain of rejection
Knows that the embrace of the virgin
Is lifeless and cold
In the eye of God
There's promise of Satan
8.Evil Metal04:51
We're attacking from below
Full of cuts and bruises
Maze of metal madness
And winter in our eyes
Repugnant noise
Of evil metal
Will delute your blood
And rip your heart
Strings of Satan
Breaking the illusion of freedom
Devil's machinery
Burning pearls of hatred
Evil metal
Flaming Black smoke
Evil metal
Retributive poison
Menstrual impurity of catholic daughters
Oozing from the crucifixes on concrete walls
Tranqulised mothers and braindead fathers
Prayers of devotion under blackened sky
Evil metal
Flaming Black smoke
Evil metal
Retributive poison
