EURYNOMOS - INTERVIEW

1. From 2001 when Okkutlo left Desaster until the edition of the first Eurynomos EP in 2015, a long period of time passed, how did you decide to put Eurynomos into operation, what does the name Eurynomos refer to and why did you decide to use it?

Aethon: Hails brother. The idea of doing a band together was quite old, shortly after Okkulto left his old band DESASTER. But he needed a time out from the scene and it took longer than expected plus it was hard to find a drummer. Anyway, in 2014, finally, Nimetön agreed to join on drums and the first incarnation of the band was formed. The name EURYNOMOS comes from Greek mythology and it is also shows from which era we are influenced, the early pioneer days of extreme Metal as „Eurynomos“ is also an old demo track from HELLHAMMER.

2. The edition of your first three Eps if that happened imminently "Unchained from the Crypt", "Eye of the Pantheon" and "Fierce Alliance" saw the light in a short period of year and a half, were they recordings that were already planned? and lists for some time, but you had not found the way or the time to edit? Were you a bit surprised by the good reception from the fans of these first recordings?

Aethon: The Eps were recorded  and released step by step. Fortunately there has already been entire songs and song elements written before the band was founded which means there was a sort of archive already existing which helped doing the EPs quite quickly. We wanted to introduce ourselves with a unique concept and that „Trilogy“ EP idea worked out really well. We are very proud that it all turned out great!

3. Although the nucleus of the band is made up of Aethon and Okkulto, this is completed by Nimetön, Magma and Vesuv, when did the incorporation of these members take place and what weight do they have when composing and contributing musical ideas for the Eurynomos ?

Aethon:Of course everybody can contribute to the songs if the ideas are working out well or fit in. Like in most other bands, the guitarist comes up with the main structure and sometimes even complete songs,  and the rest of the band either says it is alright or tries to give it an extra pimp up by adding more details and ideas.

4. Your first three Eps had a sound where black / thrash came together and they sounded like a clear reference to the sound of the eighties of bands like Bathory or Sodom, is the sound of this time a reference when it comes to putting into operation Eurynomos? How was the composition and recording process of these Eps?

Aethon: We are influenced by 80s Metal, extreme Metal but also traditional Heavy Metal and even Hard Rock. There are traces of Doom existing as well. I personally prefer music and songs to be catchy, to be remembered and not just a combination of riffs and growls. Just like in the old days.

5. With the arrival of "From the Valleys of Hades" the sound of Eurynomos has gained in a greater professionalism, sounding much more ambitious and hard above all, were you clear that for the recording of your first album you were going to offer a somewhat different sound? What about the Eps? How have you modified your way of working on the issues with respect to the past?

Aethon: You are right „FROM THE VALLEYS OF HADES“ has a clearer, more defined production where you can hear every instrument pretty well. It was a wish that was expressed by some members of the band. I personally don’t mind raw sounding productions. In the end of the day, it is great to hear that the maniacs seem to like it, cause there was a lot of time, nerves and energy put into the album. Still, I think you can still hear that this is the same band that you heard  on the Eps. The general sound didn’t change very much, it just got less messy.

6. Surely something that will accompany Euronymos for a long time is the figure of Desaster, do you think that the relationship that exists between both bands with the figure of Okkulto in between plays in your favor or on the contrary would you prefer that Euronymos not be related to Desaster ?

Aethon: DESASTER is a great band, we are brothers and respect each other very much. But EURYNOMOS stands on its own feet. People quickly realized that EURYNOMOS has its own style and sound and is not a DESASTER clone. DESASTER is only a part of Okkulto’s past. Of course this helped to get some attention but at the same time this can also create some pressure and expectations. Fortunately, with the release of  the very first EP „UNCHAINED FROM THE CRYPT“, it was clear that EURYNOMOS has its own entity, even though Okkulto has not changed his vocalstyle and his trademarks.   

7. What topics do you deal with in your lyrics? Who is in charge of writing the texts and why do you consider it interesting to deal with them in your lyrics? How do you adapt your textsto the music, that is, first you write the lyrics and then the music or vice versa?

Aethon:So far, Okkulto ad myself share the lyrics. We are both interested in historical topics and mythology…. just take songs like „EYE OF THE PANTHEON“, „HERAKLION AXES“, „BANSHEE CALLING“, „TITAN GOD“ or „PANTOKRATOR“. Also some fictional stuff and songs that can relate to everyone’s life. Most of the times, the music comes first and then lyrics are added. Sometimes there is a song title and the whole song gets completed around the title, like „FROM THE VALLEYS OF HADES“.

8. What brand of instruments do you use for recording and composition and what main differences can we find with what you use when offering a concert?

Aethon: Two different Gibson guitars, one at home to create the riffs and one for rehearsals and live, but I also have a BC Rich if tremolo attacks are needed. If we play a concert and the organizer can supply the model that I usually play, I can also play on that one, no problem. Like last year when we played in North Italy, in the heart of Covid hell. The organizer offered me his guitar and the axe was kind of stiff but hey, that’s Rock N Roll, don’t cry, just plug in and attack  hehe.

9. The cover of the new album is illustrated by a flying bat in opposition to the demonic figures of the Eps, who took care of the design of the album cover? Why this change from the Eps? Does the artwork relate to the music of “From the Valleys of Hades”?

Aethon: Our first T Shirt in 2014 already had a bat design and the same title, so for the album we wanted to have the same design but this time a real detailed one. I talked to the band about it and they all agreed. It is a real bat photo, we didn’t want a painting but something that is real, looking right at you. The artwork for the EP was only for the three Eps.

10. In which studios did you carry out the recording of the new album? Was it very difficult to find the final result you wanted for the sound of the new album? Were you clear from the beginning how you wanted the new album to sound or the time in the studio revived to finish defining it?

Aethon:The album is self recorded and produced, that’s why it took so damn fuckin’ long, hehe. Magma, our bassplayer, took care of it and he did his very best to make it sound killer. The result is more or less like it was planned. As said before, the band wanted a clear production but still with a vintage and organic vibe, and I think we achieved that. 

11. Since your beginnings, you have made all the editions through Iron Pagasus Records, how do you get in touch with this record label to edit your music? Are you satisfied with the work done in terms of edition and promotion by Iron Pegasus Records?

Aethon:IRON PEGASUS is part of the circle. Just look at our releases and judge yourself about the quality. Also, I think EURYNOMOS is in good company with bands like MORTEM, PENTACLE, SADISTIC INTENT, SABBAT, DESASTER, etc., all traditional sounding great bands.

12. The current situation due to Covid-19, how do you think it has influenced you as a band in terms of sales and relationship with your fans?

Aethon: Hard to say, cause we don’t know how things would have been without that Covid situation. But of course, no gigs, no rehearsals, etc doesn’t really help. But the good comes with the bad, now maniacs probably have more time to be home and really listen to albums with care. 

13. Which album defines the essence of black metal for you? Which black metal album should be a must-listen? What recent albums have you bought?

Aethon: It depends how you define Black Metal. My „Black Metal“ world is the world of VENOM, BATHORY, SARCOFAGO, DARKTHRONE, early BURZUM, HELLHAMMER, etc. The early releases of those bands are good examples. Recent albums? I think the new INQUISITION album is great.

14. What future plans do you have for Euronymos in terms of upcoming releases, reissues or concerts?

Aethon: Concerts are still far away in this current covid situation, so I prefer to concentrate on writing new songs for a future release. Then we will see what will or wont happen.

15.  Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Eurynomos fans this is the place. I hope the questions have been to your liking.

Aethon: Thanks a lot for inviting us into your realm of BLACK METAL SPIRIT, it is an honor. To all you readers and metal maniacs : Check out EURYNOMOS if you like real traditional, conservative dark, heavy and raw Metal Mayhem! Keep the flame burning.

www.eurynomos.com 

www.facebook.com/eurynomosofficial

https://eurynomos.bandcamp.com/

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Brüja - "Polluted Sessions 2020" 4,99 €

Edición en cassette de la última demo del banda estadounidense Brüja (Black, crust)

Cassette en coloar amarillo transparente. Single side. LImited to 16 copies

1. Mundo Triste 04:12

2. Pollution 02:18

3. Evicted 00:43

4. Empty Illusions 01:15

08:28

UADA

 

Origen: E.E.U.U., Portland

Formados: 2014

Estilo: Black melódico

Temática: Naturaleza, oscuridad y paganismo

Enlaces: Bandcamp, facebook, instagram y spotify

Miembros:

• Jake Superchi Guitarra y voces
• Kevin Bedra Guitarra
• Nate Verschoor Bajo
• Trevor McClain Batería

Discografía:

• Devoid of Light CD 2016
• Cult of a Dying Sun CD 2018
• Djinn CD 2020
• Retraversing the Void Single 2023  
• The Dark (Winter) Single 2023  
• Crepuscule Natura CD 2023

DJINN (2020)

Colosal el esfuerzo de sonido, producción e intensidad el ofrecido por los estadounidenses en su tercer larga duración. Un trabajo que en un primer momento puede dejar descolocado al oyente con un sonido extremadamente melódico y alejado de los patrones del género en cuanto al sonido de guitarras pero que a la larga acaba por funcionar y por ser seña de identidad de este trabajo. Un álbum que logra que elementos un tanto ajenos al black metal como pueden ser el punk o el heavy se encuentren muy presenten en los diferentes riffs que podemos encontrar en este trabajo pero que gracias a la atmosfera y elementos como el ritualismo se amoldan perfectamente y no desentonan en el resultado final del álbum, algo que en un principio no parecía del todo sencillo. El trabajo de bajo y batería se ve relegado por el superlativo buen hacer de Jake y James a las guitarras que ejercen de catalizador de toda lo propuesta de Uada en este álbum, sonando algunos de estos riffs más allá de lo que podemos considerar deseables dentro de los registros del black, llevando sus melodías y gancho a ser recordadas una vez haya finalizado "Djinn". El bajo da sustento en segundo plano, no tiene una presencia muy importante, lo mismo sucede con la batería que se limita a cumplir con un registro de contundencia cediendo protagonismo a otras facetas de la música. Las voces se muestran también en la línea de un black melódico con variados registros que se amoldan a la música según sus necesidades, sonando agresivas o más limpias según sea necesario. En conjunto los temas son extensos, permitiendo que lo temas ofrezcan variedad de registros, unas veces con un sonido más continuista, echando mano de patrones repetitivos y otras con giros inesperados, todo ello dentro de un dinamismo y riqueza musical que emana todo el álbum. (7,7).

Eisenwald

1. Djinn 07:50

  The Outer-Deamons,

swarming all around,

yet within us they're found...

Like blood & semen,

the gifts of life & death,

which mold & mend the flesh.

Imprisoned angels, wings drip

with the inks of night,

captive in their fables of light

The three triangles,

the pyramids of space & time,

allow our stars to align

Prophesied watchers, illustrating

a new eons birth, draw down the

moon to the earth

The shadow stalkers,

dominion of obsidian flame,

with spell & sword we maim

The smokeless fire,

guide me through the chaos beyond,

drink deep the night-wells of dawn

Let us transpire,

in the kingdom of twilight truths

the tongue of tidings & muse

Hokhmah, grant me, so I may never wish again

Binah, enchant me, so I may never need again

My soul is burning south from the plains of Abraham

Ayin, grant me, so I may never wish again 

2. The Great Mirage 06:50

The royal crown is broken amidst midnight bloom, within the language of stars they deny our light to embrace their gloom Thirsting throats now throttle as they sip the spurious as fact Toasting their own turmoil while turning contra towards the pact The chambers of the underground ripple with the echoes of the weak, herded like cattle by the scenes in which they blindly seek These grainial oceans... they glitter not of gold for these arid flats entomb fragmented bones & horrors of old Fallacies unwinding the ambitions of forgotten dreams associations burden culturally cracking at the seams These illusions flourish like dead flowers in the wind let it be the pride of devils that we may find ourselves in

3. No Place Here 13:40

Among the liars, flag fliers, factual deniers the war on instinct has begun scientific distortion, philosophical contortion let it be abortion that now grants us none Mental regression, self-image obsession, under the guise of oppression they sanctimoniously leech. the revolutionaries, & over-reactionaries are the contemporaries who cannot practice what they preach. The false accusers, privileged abusers, bias users bathing in the bile they birth The distribution of one's own confusion casts false illusions of what they deem of worth Self-reflective denial, projecting outward trial a plague so vile it shields the mortal mind hypnotizing the spineless, capitalizing on blindness guided sightless is the humankind Individualism verses collectivism, what is free will if the will cannot be free With persuasion of denomination does what you believe bestow the right to deceive Take what you've been handed, endowed, inherited and granted and through your fingers let it fall With the alleviation of appreciation without double standards would there be any at all... I cannot see myself in this world being found, among those who claim down is up while others swear that up is down There is no knowledge of the inhumanity once withstood, that could cease those from weaponizing their own victimhood. Where logic holds no validity over emotion, it is the taste of entitlement that detracts the relevance of their devotion And it darkens the sense of a greater understanding, when they've fallen deaf to all dialogue other than their own demandings. And they focus their faith into a chosen form of extremism like a swinging pendulum, the behest of a subconscious hypnotism. To insist immunity in the light of a false alliance, squealing foolishness to accompany the continued acts of their defiance. In the end they'll only hear what it is they want to hear, the weakening words of a failing campaign in which they choose to smear. The only consistency found can be within their own doubt, as they descend with communal ad hominems channeling casuistic clout. The most privileged protect their political pose, polarizing personal... ...principle & propagating a platform for their phony prose.... A fictitious brotherhood, a fraudulent kin, only projecting outward what it is that they so feel within. There is no reflection, restraint or redaction, to those who cannot take responsibility for the contamination of their own action And they push their concepts of identity upon us all, out-thrusting nonsense so that they may have a sword on to fall And we wait for the cowards to take their leave, for there is no trust, no virtue and definitely no honor among these thieves Where every step is a contradiction to their last, a promenade on display... a forward march into their past. Through the intolerance of their desperate disposition shown, becoming disenfranchised by the infantile climates in which they've thrown. I cannot see myself among a flock controlled by fear, for I have no place there & they have no place here  

4. In the Absence of Matter 09:49

 The world of separation & below,

return me to the hallowed mind

for what may come shall always go

into regions I need not find

As within & so without,

away into the vastness of infinity

shatter vessels of thriving doubt

& devour diadems of decaying divinity

From inner fields of illumination,

praying unto the chaos star

boundless together in our cognation,

cut, cauterize & conceal our scars

banishing tidal disruption,

returning stellar supernal essence

vanishing idle abruption with the parallel

setting of the cardinal crescent

Eater of stars, protrude your wings

like infernal parched tongues

of the opaque & perdu kings

Dark nebula, shimmering cosmic dust

through grandeur consumption

may the astral light combust

Material vacuum, take beyond your means

Be oh luminous Sol a pawn & Luna our queen of queens

Burning serpents, radiating topaz through the skies

Beyond delusions of reality is where

absolute actualization lies

5. Forestless 07:55

Where are those that provided protection

Where are these giants of old

And where in the world did I stand

when they needed protection of their own

Nothing in this life is granted

other than the reminders of decay

for all who stood tall have dissolved

into the conciousness of our yesterday

Barren have become my lands

emptied through the averice deed

laceratered by the wounds of hand

vanished keep of bark, root & seed

Sapling ghosts I long for now

blackened by the touch of fire & smoke

lost in the questions of why & how

I still hear the whisperings of pine & oak

Thy thickets urn, my heavens burn

where now will I search for serenity

for leaf & fern, my heart shall yearn

within the embers of our own obscenity

Paradise now feign, nature in chains

as is my soul internally

for the cost of gain,

blood stains these plains

and we follow in the footsteps of eternity

6. Between Two Worlds 13:55

 Into the depths of their rabbit holes they go,

believing what fits their agenda,

so that they may cast projections of their own

Through sightless eyes things are

never what they appear but a semblance

phenomenon to those too far out & those far too near

Betwixt lesser men & greater gods,

bleak are the altars of fairness

where all bow before their foremost frauds

The admonished trangress by

the misconceptions of their place

like fork-tongued ophidians

disclosing two masks for every face

Beyond the dark of night, is where we transcend

pursuing lures of light, let us begin again

Lying above & flying below

circulating within the soul's corruption

What is once broken shall again be whole

unchaining stigmas from the mind's abduction

Distort the realms of time, to our will it shall bend

dispel what is left behind,

for I shall seek no end

Let it be these beasts that will come for me

severing schackles from my body's thrall

powerless to their excuse of indignity

it is within the center where we will find the balance of all

  59:59

Megiddo ‎– The Holocaust Messiah 14,99 €

Vinyl, LP, Album

DWARROWDELF

 

Origen: U.K., Southampton

Formados: 2017

Estilo: Black épico

Temática: Tolkien

Enlaces: Bandcamp, facebook, spotify y youtube

Miembros:

• Tom O'Dell Todo

Discografía:

• Of Darkened Halls EP 2017  
• Maedhros Single 2018  
• The Sons of Fëanor CD 2018
• Of Dying Lights CD 2019  
• Nordland Single 2019  
• From Beneath the Fells CD 2019  
• Evenstar CD 2020
• Cold Lie the Ashes Single 2021
• This Shattered World Single 2023  
• The Fallen Leaves CD 2024

EVENSTAR (2020)

Tercer larga duración para esta one man band inglesa que se encuadra dentro del black metal inspirado por la obra de Tolkien y que sigue un camino perfectamente trazado en anteriores trabajos pero que también muestra síntomas de cierta evolución. El álbum consta de siete temas, en general extensos y que deben de ser escuchados en conjunto para poder hacerse una idea de lo aquí ofrecido, sobre todo para poder sumergirse en el sonido y la atmósfera que Tom quiere trasmitir. Si que es cierto que esta vertiente dentro del black no ofrece grandes ni excesivas variaciones, sin embargo dentro de la obra de Dwarrowdelf este trabajo marca la inclusión de distintos elementos. Nadie puede negar que la música discurre por pasajes sosegados, la mayoría de las veces limpios que no renuncia a un fuerte componente melódico en todo su sonido y salvo en contadas ocasiones también en las voces, en este apartado si que hay lugar para sonidos que a veces pueden recordar a estilos como el death melódico, sobre todo en su carácter más profundo. El sonido del álbum se nutre de muchas capas de guitarra que incorporan cada vez más algunas influencias de folk metal, renunciando en mayor medida a los teclados que se ven reducidos a crear un atmosfera emotiva y sin olvidarnos del carácter más épico de todas las composiciones. El conjunto suena compacto y cumple dentro del black metal melódico, épico y atmosférico que no se conforma con ser una mera copia de lo ya establecido y que va explorando nuevos terrenos en su sonido. (7,7).

Northern Silence Productions

1. Estel 05:30

   Blades in the night,

Absence of light.

Demons take flight,

At the turn of the tide

Now, darkness changing all he knows,

Here, Estel’s fate is set in stone

Rally through the land,

Take up the stand.

From fear you ran;

Now die at my hand.

Oh, arrows from the sky

Raining death!

Oh, father’s bleeding eye

An end.

2. Undómiel 05:44

   Clad in a mantle of silver and blue,

Fair as the twilight’s glow.

Her dark hair swaying in a sudden wind,

Starlike gems upon her brow.

Oh Tinúviel, are you a dream?

Your eyes shine with elven-light, my Silmaril.

Oh Undómiel, your love is your doom,

Yet I will share my heart, for you till all is still.

Born to a line of immortal blood,

A bride to none but the King.

The light of Luthien shall not succumb to death,

Even when all the stars are dim.

3. For the Kingdom I Shall Claim 07:01

My goal is clear now; To build the land I was born to rule. I take my leave of comfort, To walk in the wild as a Ranger of the night. Darkness will not hold me; His malice is the scourge that I will deny. I fly the banners For Arnor, and the kingdom I shall claim! This is his doom, The great trial of Man, Can mortal men bear such weight? Lost in a dream, He cannot foresee The losses he will suffer for this fate. I serve one purpose; The fire in my eyes few can endure. Hunting from the shadows, No servant of Sauron will withstand my blade Yet I bear my burden; My doom haunts my every breath. I must return now To Gondor, and the kingdom I shall claim.  

4. The Eagle of the Star 06:59

From distant lands, Where the skies above are strange, He holds no mighty flag Or great name. Yet he is keen of mind, His wisdom travels far, All hail the Eagle of the Star! Oh, Ecthelion, Steward of this mighty realm Heed my call, and fight the corsair horde. A peril to your southern lands, if Sauron moves to open war, Strike now, with fire and with might! In the distant lands, Where the stars above are changed, A battle in the night, For great fame. Their strength burnt away, The corsairs fleeing far, All hail the Eagle of the Star! Oh, Gondor, I cannot now return to thee A call from greater power binds my fate Far beyond the Anduin, in lonely lands and distant night My birthright, I must endure to claim.  

5. In Pursuit of Ghosts 05:22

In barren lands, he stalks, Searching for his prize. Under the mountain dark and tall, It hides... In the night I hunt this wretch, His ruined mind Leads me to the lands of death; Lands lost to time. And through the nights, I search, Tracing through horror. Where good men lie betrayed, The same fault in my veins. In chains I brought him to the realm, To lie under watch of the elves Though Greenwood darkens day by day And yet his taunts stay with me still, That for the kingdom I am ill; My star may never see the day. Now I seek to hide away, I will stalk the shadows. No more dreams of kings As my line fades away. Dying night, Fading lights. Dreams unlived, Fate is hid.  

6. The Three Hunters 06:09

Take up arms, and fly through the realm; To war and death we will ride. For our friends, seized by our foes, Lost to the dark of the night. At Amon Hen, a hero was slain, “My brother, my captain, my king” He believed in a land of the free, A dream I must have faith in! By night, we march to the Deep, To face our first mighty foe. At dawn look to the east, Bring an end to Théoden’s woes Near is the hour, where the lost should come forth And the Grey ones ride from the north. But dark is the path appointed to thee, The Dead watch the road to the Sea.

7. Return 08:00

Here I stand, in glory, in joy And I would speak her name. Rule is mine, the enemy destroyed, Her hand is mine to claim. No more will my line be shed Of glory and rule. By my hand, Men shall stand The heirs atop the world  

  44:45

BLACKEVIL

 

Origen: Alemania.

Formados: 2013

Estilo: Black, thrash

Temática: Blasfemia, Heavy metal, purgatorio y satán

Enlaces: Blackevil, facebook y spotify

Miembros:

• Abyss Bajo y voces
• Bloodhammer Batería
• Deathinfektor Guitarra

Discografía:

• Hail the Cult EP 2015  
• The Ceremonial Fire CD 2017
• Witchevil Attack! Split 2018  
• Witchevil Attack! EP 2018  
• Forever Baptised in Eternal Fire CD 2020
• Divine Forces Single 2024  
• Praise the Communion Fire for the Unhallowed Sacrament CD 2024

FOREVER BAPTOSED IN ETERNAL FIRE (2020)

Segunda entrega para los alemanes desde sus creación hace cosa de siete años, Blackevil está de vuelta con nueve nuevos temas de black/thrash/heavy metal. Un trabajo que no renuncia, ni mucho menos, como en su anterior obra, a ofrecer un sonido rápido y agresivo, con un pie puesto en las bandas de thrash de los ochenta y con las miras puestas también en una época más actual. Riffs incendiarios campan a sus anchas por todo el álbum pero Blackevil se ha ocupado que una sutil línea melódica nos acompañe en la mayoría de los temas. Temas que muchas veces vienen acompañados de una intro para entrar en materia, que pronto se destroza con al incursión en terrenos más agresivos. Sin embargo lo que diferencia a este álbum y al sonido de la banda de otras inmersas en estos sonidos más retro, es por una parte el mantener las influencias más clásicas pero que sin caer en elementos del todo underground gracias a una producción que se muestra equilibrada para no empañar la riqueza musical; pero sobre todo y como elementos principal de un álbum como este "Forever Baptised in Eternal Fire" es el echo de las marcadas influencias del sonido heavy clásico tanto en estructuras como en melodías, ofreciendo un acercamiento también a terrenos próximos al speed, sin descuidar una vertiente épica en el conjunto. Con todo, Blackevil se muestra capaz de crear un álbum con un sonido que bebe de lo más clásico del metal extremo, agresivo y directo sin descuidar aspectos como la melodía o la épica. (8,4).

Dying Victims Productions

1. Come Forth 00:58  

2. Satan's Crown 04:15  

3. The Disciple 04:23  

4. Black Fire Tornado 03:56  

5. Forever Baptised in Eternal Flames 08:19  

6. Lucifer's Supremacy 06:07  

7. The Final Book 04:58  

8. Pestkarren 03:53  

9. 1943 08:59  

  45:48

Blackevil ‎– The Ceremonial Fire 16,99 €

Debut album of German Black thrash insanity. Special edition on black wax, includes a poster, download code and sticker. Gatefold!

SKALDR

 

Origen: E.E.U.U., Virginia

Formados: 2017

Estilo: Black

Temática: Nihilismo, ocultismo, oscuridad y sociedad

Enlaces: Bandcamp, facebook e instagram

Miembros:

• B.D. Guitarra
• C.V. Bajo y voces
• H.H. Guitarra

Discografía:

• Gathering Night (Demo Version) Single 2018  
• To Pierce This Fading Realm (Demo Version) Single 2019
• Scythe of Our Errors CD 2020
• The Crossing Single 2024  
• Saṃsṛ CD2025

SCYTHE OF OUR ERRORS (2020)

Primer larga duración para esta banda estadounidense que ofrece un álbum de black melódico anclado en el sonido más clásico del black escandinavo de finales de los noventa, al mismo tiempo que se las arregla para nutrir su sonido de elementos progresivos en algunas estructuras. Skaldr recogen las mejores influencias de los sonido melódicos del black metal, siendo capaces incluso de plasmarlo en las secciones limpias de su música, que a pesar de su procedencia logra trasmitir un fuerte sentimiento de sonido nórdicos tradicionales. En el momento en el cual las guitarras entran en acción la música de Skaldr gana en velocidad empleándose a fondo en riffs rápidos con fugaces y sutiles cambios de texturas, sin que en ningún momento la carga melódica de los mismos pierda protagonismo, ni en los momentos más viscerales ni por supuesto en los cambios de ritmo en donde las guitarras limpias cobran protagonismo en una suerte de melodías evocadoras de carácter cercano al pagan. Una potente base rítmica y sobre todos unas voces de tono agresivo, oscuro y frío, ejercen una función de contrapunto completando un sonido muy equilibrado entre melodía y crudeza. La duración de los temas también permite a Skaldr dejar fluir a su música en registros más instrumentales y es aquí donde sutilmente se adentran por terrenos, estructuras y desarrollos que se aproximan a texturas del black progresivo, todo ello entro de la coherencia de un álbum de black melódico con muchas influencias clásicas. (7,6).

1. Gathering Night 06:17  

2. The Arrow of Hate is Drawn 05:40  

3. Collapsar 04:54  

4. Dying Blood 05:02  

5. The Remnants of Our Black Creation 06:18  

6. To Pierce This Fading Realm 07:08  

7. The Neverwake 02:39   

8. Scythe of Our Errors 08:47  

  46:45

HIIDENHAUTA

 

Origen: Finlandia, Satakunta.

Formados: 2012

Estilo: Black melódico

Temática: Folklore, historia y naturaleza

Enlaces: Bandcamp, deezer, facebook, instagram y spotify

Miembros:

• Eetu Ritakorpi Batería
• Emma Keskimäki Voces
• Henri Hakala Bajo
• Otto Hyvärinen Guitarra
• Tuomas Keskimäki Voces

Discografía:

• Hiiltyneet Single 2013  
• Surma saapuu suota myöten EP 2013
• Eikä aurinko valaise EP 2013  
• Noitia on minun sukuni CD 2014
• Hallan Valta Single 2018  
• Nälkäkevät Single 2018  
• 1695 CD 2018
• Riidenlieko Single 2020  
• Leväkkö Single 2020  
• Lettorikko Single 2020  
• Riivin CD 2020

RIIVIN (2020)

Tercer larga duración para los fineses que presentan nueve nuevas canciones en este Riivin, un álbum que podríamos definir como black melódico en un primer momento. Hiidenhauta recoge las influencias más clásica del sonido black escandinavo en cuanto a crudeza y velocidad y lo adapta a elementos más actuales sobre todo en cuanto a producción para lograr un sonido, que sin llegar a ser pulido si que logra brillar en aspectos como los riffs y la voces. Las voces se antojan un aspecto fundamental para comprender la dimensión de todo este álbum ya que el contraste entre la agresividad y violencia de lo ofrecido por Toumas en cuanto la figura de las voces de Emma entran en acción el sonido de álbum se expenda a terrenos más atmosféricos y limpios, al aportar con su carácter limpio un tono mucho más melódico y claro. La música discurre por un plano que también sabe mezclar la crudeza con la melodía en lo riffs de Otto, en un equilibrio difícil de alcanzar entre lo tradicional y lo moderno, con un fuerte componente de velocidad pero capaz de sorprender con algunos pasajes más lentos pero sin descuidar la facete melódica, entre lo crudo y lo melancólico que acompaña todo el conjunto y que trasmite soledad y tradición. A lo largo de los últimos ocho años Hiidenhauta a cimentado su sonido desde un primer álbum como "Noitia on minun sukuni" en donde su propuesta sonaba fresca y diferente hasta la madurez alcanzada por este "Riivin" en donde un sonido con diferentes matices en la parte musical se ve refrendado por un soberbio trabajo vocal. (8,2).

Inverse Records

1. Riidenlieko 04:46

Oli kerran tuo isäntä, julma ja vihainen herra, syyttömiä syyllistävä, hengitti kevään kipuja. Ahneutta käsillä kantoi, sulki häijyyden syliinsä, himot hirtti niskoihinsa, harteilleen vihan keräsi. Oli kerran tuo isäntä, sysimusta mieleltänsä. Piiat nurmen vartta pitkin, yötä myöten kylpijöiksi. Kunnes arvon alta nousi kuoleman kumea soitto. Sen kerran, kun alemmat saunoi, alimmaiset saunaan saattoi. Tule saunalle isäntä, sauna on hyviä varten! ”Kuka yön ylintä kutsui, alinko sanoja aivan. Kenen vuoksi kylpy tyyntyi vaikean väkeni alta?” Tule saunalle isäntä, elo ei sinua varten. ”Riivin yltäsi kuin korren, katson kuultavaa ihoa, puhdas, kuin keväinen niitty, ei sitä sisin sinulla. Tunnen kuolevan kehosi ja kotia hakevat kasvot. Veri lauteita saa juosta, nuolla liinoja puroina. Riistetty ikäsi kaiken, irtoa ilojen vuota. Eivät huudot kujille kuulu, kun kehrään kipusi kehrän.” Tuli saunalle isäntä, istui irvokkaan ihoa, vaan kesti yön, kesti päivän! Astui rengit rappusille. Nurkassa nurin on paita, orrella nyljetty isäntä, kiukaalla liha pirulle. Hiljaisuus katossa keinui, hiljaa heilui Riidenlieko.   

2. Lettorikko 04:12

Valvo vankka hirsipuuna, teen sinusta hellän keinun. Seiso hirsi kattopuuna, keinuta uneen minua. Oli kerran heinäaika, aamuna elon hyvänä. Vaan ei poikia näkynyt, ei enää elon ajassa. Huudot huojui latvuksissa, riippui pilvistä pisarat. Iski ilma tuulispäänä, istui heinien nenälle; nosti orret, olkivarret, kuolleet ilmassa ajeli. Pyöri hetken heinämaita, katosi ikuisuudeksi. Sinä riiput keinussasi, minä keinua kiristän. Minä riipun keinussani, sillä tuuleksi tulisin. Kun on kerran heinäaika, täällä pelto kuin perattu. Silti vain on heinäaika, tuulta astuvat kaviot. Minä heinästä hevosen, tuulispäästä villivarsan, sen on kuolleeksi nimetty, minä sen keralla keinun. Ei niityllä heinät heilu, vaiti valvoo Lettorikko.  

3. Raate 03:47

Eli kerran, ensimmäisen, tuo surusta sairas tyttö. Vain pahat pihoilla katsoi, vihaisemmat viljoissansa. Sen kerran vedelle lähti, yhden kerran, ei ensimmäisen, souti surkeita vesiä, maita tummien tupien. Kalat kurkki kaislikoissa, rannalla kivetkin kurkki, vaan ei souda tyttö yksin; niin kajahti kylällä kello. ”Käänny pois, piru veneessä, käänny tyttö soutamasta, paha vie sinut pihoille, jo istuu musta venhollasi!” Huusi hento tyynen päältä, sanat kaikui kaikkialle aivan kuin kukkia näkisi, ei pahoja purren päässä: ”Ei täällä kukaan veneessä, vain käteni minua vievät kun ovat elossa vielä, vievät kummalle kodille.” Vaan on musta vetten selkä, kuihtui, kuoli kulkemasta. Tuolta tuo vesille painui, hukkui huolensa hyviksi. Vene rannan vartijana, rannalla vetinen vaate, ruumis varjona vedessä, ruumiin pään on päällä Raate.  

4. Petäjä 04:19

  Oli Hetti mettään mennyt

päivänä pyhän pitämän.

Mitä Hettinen metässä,

mukana mies vastahanka?

Kuin on maassa riitajuuri,

siihen parrakas putosi.

Tuo on lähti, Hetti alle

metsänpeittojen käveli.

”Kuka vie minut kotiini,

etten kuole kuutamolla!”

Huusi Hetti heiveröinen,

silti ei elävä kuullut.

”No sinä piru lähellä,

vie sinä Perkeleen pitoihin!”

Huusi Hetti heiveröinen,

niin pääsi pirun pariksi.

Ja juoksi aika, vuodet vieri,

tuli päivät päättyväksi;

kulki kuuhut kulkuansa,

sanansa piti pirukin.

Multaruumiin Hetti hirtti,

murtui, kuolleeksi katosi,

syliin sammui aidan alle,

vaan nuora hento, ei kireä.

Raukesi maa kaiken alta,

kun kituen Petäjä kasvoi.

Multaruumiin Hetti hirtti,

murtui, kuolleeksi katosi,

syliin sammui aidan alle,

vaan nuora hento, ei kireä.

5. Leväkkö 05:46

Kalanpää minun, minun pää pirun. Minä pirun, kala minun. Mato kalan, kala minun, minä itte Perkeleen. Kuin mie ruttona olisin, sarvipäänä saakelina, ampusin akat kylästä, kesk’kylästä keistit ämmät. Minä pirun, piru minun. Lepäsi Leväkkö maassa, sen juuret janoa huusi  

6. Halava 04:34

Kuoli kerran vanha vaimo talvisen talon perältä. Ruumis ruodolle ylisen, lukko vintin vartijaksi. Vaan kuuluu kuin askel yltä, enemmän eteisen päältä, kova on ylinnä pauhu, käy jalka katossa kuolon. ”Astu askel, astu askel, astu ainainen, ajaton. Käy kuin kuolo, käy kuin kuolo, käy kuin kuoleman kavio. Riko sukka, ruumissukka, surujen puettu sukka. Sillä hetken vielä voimme, tule tanssini pariksi.” Hiipi hirsille ylisen, ruumis kuin kävellen käynyt. Istui nurkkaan tuo peläten: ”Yö on yksin vastassani, portilta pirut ajavat, minä katson, hengittäjä, tanssissa hengittämätöntä.” ”Nouse viimeisen ikäni, yön ehtymättömän luokse. Nylje nyrkit, nylje nahka, kylki kyynärten takana.” Niin kuin viimeisen jalalla käy kauas nuo katoavaiset, kunnes kerran ne palaavat. ”Minä voin sinuksi tulla, sinä voit minuna olla, mutta hetken heiluvaksi, tule tanssini pariksi.” Nouse päivästä kadonnut, en minä Perkele kenessä muussa voisi kauaa olla. Vaan nyt polttelet minua, poltinko minä sinua? Jää iäksi arkun alle, jää nyljetty multiin mennä, sinä kuoleman Halava!  

7. Yövilkka 04:45

  Oli kerran Hemmilässä

torppa torppien tavalla.

Siitä irvokas iloitsi,

päällä uunin päivitteli.

Tuli pirttiin päiväläiset,

nuo inehmot ilkamoiden.

Siellä suuria olivat,

isompia illan tullen.

”Vaan puhuu vain se pimiäs.”

Sen on tähden valkeet sammui.

Siitä käskee kertovaksi,

sanaset sanottavaksi:

- ”Minkä tähden tänne tullut?”

- ”Maalari tuo käski tulla.”

- ”Minkä tähden tuo noin käski?”

- ”Sen tähden, kun jalat paleli.”

Tiesi kaikkien tulevat,

kaikkien menevät muisti,

kaiken se sovitun kertoi,

puhui päätetyn pitävän.

Vaan niin on hiljaista puhetta,

vaikeata vaikerrusta.

Älä äänetön viserrä,

sinä lintu liehakoiva.

Paha suustaan sunnuntaina,

pahempi pyhien työstä.

Vaan on paljon parempi olla,

jos on virttä veisattava.

Hiipii Yövilkan valitus

Hemmilän pimeille maille.

Peittää kuurainen kajava

siivillä sokeat silmät.

Kuuluu kuiskeita kamarin,

huomiset hereille jäävät.

Kuulen kummia sanovan,

pankolla puhetta käyvän

kuin putoisi hiljaa höyhen,

kevyt kenkä askeltaisi.

- ”Vaan puhu piru kovemmin,

sano äänen äyskärillä.”

- ”En minä lujemmin pysty,

kun olen vain tuhkaa ja tomua!”

8. Ahonoidanlukko 04:30

  On aholla Noidanlukko,

lukon luona uusi uksi.

Kera rengin pappi kerran

tietä tuttua käveli.

Sen kerran talo edessä,

talon luona valkeata.

Jo on torppa tuntematon,

vain leijuu savu sininen.

”Näen, on tuhat pirua,

sata kuin Saatanan sikiöt.”

Yksi uuniin, toinen tuhka,

kolmas kuin keväällä kuollut.

Kera rengin pappi kerran

piipusta savun näkivät.

Se valkea kuolleen sauhu,

uunin polttava kekäle.

Vaan yksi on sylissä sillä,

se on krannista miniä.

”Minä kampaan kasteen päästä,

harjaan hiuksesi verille.”

On aholla Noidanlukko,

lukon luona uusi uksi,

uksen alla kuuma uuni,

uuni syntien syliksi.

On aholla Noidanlukko,

lukon luona uusi uksi.

9. Harmio 04:43

  Valjastan tulisen ruunan,

tulisella tantereella,

tuli suihkii ruunan suusta,

veri tippuu vempeleestä.

Oi se rauta, rautaraiska,

rauta ruosteiden alainen,

piru pistä sormellasi,

paina peukaloisellasi.

Paha rattaan pyörän alla

ranka kylmä kyttyrällä,

pyöri ruuvi rattaanani,

revi Perkeleen patoja.

Padot pantu verta myöten,

paha paikalleen ajettu,

rattaan alta pois haettu.

Riipun kuin liha revitty,

vaan niin kuin on ruunallakin

herasilmät, pirunkin silmät

minun riippuvaa lihaani

jää katsomaan kuin iloiten,

vaan ei se iloa silti.

Hiljaiset havuja käyden

meitä vartoovat vajoilla.

Rattaan alla hiekan helmet

mukaan mutkien majoille.

Vahdin yötä selkäpuolta,

reppua repivät kourat.

Poluilla pahojen paikka,

sija suurempi kujilla.

Vaan tallin tulisen luona

liikkui Varppeen varjopuoli,

ja ovilla ajan ohuen

ei elämä edennyt, siellä

hentona Harmio kohosi.

  41:22