lunes, 11 de octubre de 2021

OPPROBRE

 


Origen: Francia, Paris, Montpellier.

Formados: 2015

Estilo: Atmosferic, post-black

Temática: ?

Enlaces: Bandcampfacebookinstagramtwitter y youtube

Miembros:

  • Baptiste Belot Teclados
  • Clément Batería, guitarra y sintetizadores
  • François Arbogast Bajo
  • Olivier Guitarra, sintetizadores y voces
  • Vincent Guitarra y voces
  • Vincent Causse Batería
Discografía:

  • Abysses Demo 2016  
  • Le naufrage CD 2017  
  • Fragments de destinées CD 2021
FRAGMENTS DE DESTINÉES (2021)
Extenso segundo trabajo para los franceses que nos permite disfrutar por otra parte de un álbum de black metal por momentos intenso que logra ofrecer un acertado equilibrio entre black atmosférico y elementos post. Estamos ante un trabajo bastante elaborado que destaca por lo cuidado de su sonido, en donde prima el poder ofrecer un sonido rico en matices, que cuando opta por partes más rápidas y directas se acerca a terrenos oscuros y algo ocultitas, pero que sin embargo cuando echa mano de recursos como guitarras limpias, voces más accesibles y arreglos de teclado se acerca a terrenos más propias del atmosférico recreando secciones mucho más intimistas y limpias. Una de las principales virtudes de este álbum es que a pesar de ser extenso es toda una experiencia transitar por él ya que gracias a las diferentes intensidades y cambios de ritmos, sin llegar a romper del todo hacia facetas agresivas, si que es cierto que la propuesta logra hacerse atractiva dentro de un sonido que se construye alrededor del black pero que nutre de diferentes estilos, a veces bastante alejados de la fórmula que se le presupone, logrando brillar sobre todo un un aspecto como es el desarrollo de los temas que van retorciéndose en si mismos pasando de la mayor de las intensidades a secciones mucho más intimistas todo ello reflejado tanto en el sonido de instrumentos de clara vocación post así como en las voces que no se arredran si tiene que echar mano de secciones totalmente limpias con un fuerte carácter melancólico en contrapunto a otras más agresivas llenas de rabia. Un álbum majestuoso en el uso de recursos y estilos dentro de lo que podríamos denominar como metal o post metal, y en donde todo se une gracias a la cuidad ambientación que rodea a las composiciones. (7,9).



1. Vertige, Pt.1 01:06   
2. Vertige, Pt.2 07:02
  Ensemble,
Nous avions nos espoirs, nos espérances,
De vouloir dépasser nos limites,
Poussés par nos vices et notre inconscience,
Nous pensions être intouchables,
Perchés, sur le toit du monde,
Nous avons été pris au piège de nos propres craintes,
Cependant regarder l’émerveillement dans tes yeux,
Valait bien cet acte déraisonnable,
Inspirer,
Et se laisser emporter,
Par notre ultime instinct de survie,
Expirer,
Et laisser nos peines s’envoler,
Nous comprenons que nous vivons ensemble nos derniers instants,
Laissant la nature reprendre ses droits,
Laissant la nature nous ronger,
Nous sentons notre sang se figer,
Ces frissons,
Qui paralysent nos actions,
Notre instinct de survie s’incline,
S’enivrer,
Et laisser notre monde s’effondrer,
Sans âme qui vive,
Aucune parole, juste un regard,
Vertige,

[À peine a-t-on commencé à s'instruire un peu que la mort arrive avant qu'on ait de l'expérience.]
Voltaire - Micromégas

Aucun instinct, nous savourons notre lente descente,
Nous rendons nos derniers souffles, nous sombrons dans l'oubli,
Aucune stèle, aucune trace,
On se tait, ensemble.
3. Renouveau 07:55
  [Je ne suis rien, je le sais, mais je compose mon rien avec un petit morceau de tout.]
Victor Hugo

Ce feu brûlant,
Traverse ma poitrine à moitié meurtrie,
Je suis à l’aube d’un renouveau,
Sans équité sans partage, ce faux-semblant fut persistant,
Pourtant, nous avons partagé ces précieux instants,
Mais sans explications, tu m'as laissé pour compte,
Avec comme seul souvenir ce gâchis,
Sans une once de pitié, tu as piétiné ma bonté,
Charogne, je suis souillé à jamais,
L'insatisfaction te colle à la peau,
Aussi bien que ma rancune innée,
Ta décadente recherche de la perfection,
Comment ai-je pu croire à notre aventure ?
Perfide, tu m'auras bien brisé,
Jamais, tu n'atteindras ton degré d’exigence,
Rien de sain n'a été construit, rien ne m'est dû,
Rien n'effacera le passé, rien ne m’apaisera,
Finalement tout ce que j’ai vécu, tout ce que j'ai pu croire,
Dans ma chute, oubliée, évaporée,
Trouver ma délivrance par ce salut,
Pour mordre la poussière une dernière fois,
Ouvrir les yeux pour naître à nouveau.

[L'avenir est une porte, le passé en est la clé.]
Victor Hugo
4. Reddition 07:31
  Les fondations se sont écroulées,
Les liens se sont déchaînés,
Nul mot, nos attaches s'effritent,
Rejetés par ces raclures,
Nous poursuivons ce rêve de parachever notre œuvre,
Être les gardiens de notre propre point d'honneur,
Ce feu brûlant dans nos entrailles,
On a omis d'écouter nos frustrations naissantes,
Nos faux pas en proie à notre anéantissement,
Nous avons choisi de descendre cette pente,
Obsédés par nos aspirations,
Nous avons organisé notre propre disgrâce,
Notre reddition,
Dans notre douce folie,
Notre luxueuse mélancolie,
Ces substances comme échappatoire,
Se mélangent à nos fluides,
Rongeant les derniers vestiges,
De notre raison,
Cacher notre propre vérité,
Sans accepter nous avons abusé,
Pour finalement se retrouver seuls, sombres, meurtris,
Défiant nos limites,
Défiant les lois naturelles,
Défiant l'humain,
Plus rien n'a d'importance,
Et nos expérimentations seront fatales,
Déviants, nous creusons notre tombe.



[Faites votre destin, âmes désordonnées,
Et fuyez l'infini que vous portez en vous !]
Charles Baudelaire
5. Absence 06:38
  Happé par le néant,
Tes racines se sont arrachées,
Et notre destin obstrué,
De ce cataclysme des images substantielles font irruption,
De notre rencontre dans une vallée lointaine,
Une plaine d'espoir, d'un commencement,
Je fus transpercé par ta beauté,
Empli par le bonheur,
À redécouvrir les traits de ton visage,
Que renvoient mes souvenirs,
La vie nous a piégés et a décidé,
De ton propre voyage,
Inerte, emporté,
Absence,
Claquemuré dans mes souffrances,
Je reste seul à la surface du monde,
Tu n'es plus là pour partager quoi que ce soit,
Que me reste-t-il maintenant ?
Uniquement mes regrets de ne pas avoir pu te retenir,
Une putain de douleur engourdie par cette tristesse,
Cette chienne a dérobé ta vie, a dérobé notre avenir,
Des larmes ruissellent sur mes joues de ne plus pouvoir sentir ton souffle,
Gravés à jamais, ces putains de tourments.
6. Steppes 06:03  
 D’une confiance naît un regret,
Bercé par mes illusions,
Consumé par cette lâcheté,
J’entrevois l'abîme béant,
Je suis tombé dans les méandres de la haine,
Ces blessures se sont pansées,
Ces peines furent abandonnées,
L'espoir renaît entre nos mains,
Des dernières cendres de nos pleurs,
Jaillit alors cette sensation d'accomplissement,
De pouvoir espérer à nouveau,
D’un regard, je t'ai invité
D’une main tendue, tu m'as rejoint,
Pour l’un et l’autre, ensemble fouler,
Ce sol sacré,
Ces steppes d'insouciances,
Mais tu le sais aussi bien que moi,
Que toutes les choses ont une fin,
Notre histoire se finira dans un brasier,
D'une violence inouïe,
Égarés dans ces steppes d'illusions,
Nos désirs s'entremêlent,
Toi, moi, se nourrissant de nos âmes,
Nous sommes avides du bonheur de l'autre,
Amours consommés, amours consumés,
De cette histoire grandissante,
Nos mondes s’effondrent dans une haine incontrôlable.
7. L'épreuve 08:43
  [Pour être heureux jusqu'à un certain point, il faut que nous ayons souffert jusqu'au même point.]
Edgar Alan Poe

Je vais vous conter la pièce de ma vie,
L'insupportable épreuve à surmonter,
Vous savez, celle où vous ne vous y attendez pas,
Celle où vous tombez de haut,
Celle qu’on a tous vécue ou que vous vivrez un jour dans notre vie,
Comment accumuler autant de peines,
Sans attendre aucune joie ?
Submergé par tant d'émotions,
Je hurle ma haine,
Conscient que mes complaintes errent dans le vide,
Je traverse ces aléas dans l'obscurité,
De ces relents d'amertume,
L'épreuve est de renverser ces tourments,
De ces relents d'amertume,
L'épreuve est de pouvoir croire,
De ces relents d'amertume,
L'épreuve est de passer cet embrun,
Laisser la vie couler en emportant mon fardeau,

[Ne jamais souffrir serait équivalent à n'avoir jamais été heureux.]
Edgar Alan Poe

Vivre dans le silence,
Cloîtré dans ma désolation,
Le rêve est mon unique échappatoire,
Seuls les souvenirs restent à la surface,
De ce que je croyais être notre bonheur,
Quand survient le malaise,
De cette vérité qui éclate,
Et me brise en éclat,
La peur de chasser mes rêves refait surface,
Ces voix qui murmurent dans ma tête,
Ces démons qui marchent derrière moi,
M'entraînent vers ce qui semble être l’éternel,
L’avenir était une voie grande ouverte,
Mais l’étau s’est vite refermé,
Repensant à notre dernier acte, notre dernière scène,
Puis le clap de fin résonne,
Le rideau s’est fermé,
Pourquoi chercher une réponse à l'inexplicable ?
N'avais-je pas assez souffert au même point que d'être heureux ?
Car seule la souffrance reste,
Ou bien nous sommes les créateurs de notre propre souffrance ?
Sans laquelle nous ne pourrons mûrir,
Ou bien nous sommes les créateurs de notre propre souffrance ?
Sans laquelle nous ne pourrons pourrir.
8. Indifférence 12:43
[J'aimerais prodiguer et distribuer, jusqu'à ce que les sages parmi les hommes, à nouveau, se réjouissent de leur folie et que les pauvres soient heureux de leurs richesses.] Nietzsche – Ainsi parlait Zarathoustra Nous voilà enfin face à notre destin, À vouloir gravir notre plénitude, Parmi les hommes les sages sont devenus pauvres, Se réjouissant de leur richesse à survivre dans ce milieu hostile, Est-ce un ultime geste de désespoir ? La folie quant à elle s'est propagée parmi les hommes, Une peste persistante, un mal sans remède, Nous avons créé notre propre cancer, métastase, Comment être heureux de sa richesse, Alors qu'on nous pousse à sombrer dans la folie ? [Les tentations nous suivent toujours ; nos passions, figurées par les démons, ne nous quittent point encore ; ces monstres du cœur, ces illusions de l'esprit, ces vains fantômes de l'erreur et du mensonge, se montrent toujours à nous pour nous séduire et nous attaquent jusque dans les jeûnes et les cilices, c'est-à-dire jusque dans notre force même.] Montesquieu – Lettres Persanes L’opulence, gouverne nos vies, Assoiffés, par le désir, Gangrenés, par nos illusions, Nous avons ouvert, les maudites portes du déni, Consumés, par l’avarice, Ravaler, sa propre fierté, Encenser, l’arrogance, Les fléaux de nos actes, Jugeront nos esprits perdus, L’indifférence aura pavé le sentier de nos vies, Déchus, parias, dans cet espace comble, Ensevelis sous les envies d’autruis, Des cendres recouvrent nos choix de jadis, Contemplons cette source d’humanité qui s’assèche, Des cimes du monde nous creusons notre perte, Pourtant, déjà gavés comme des oies, Nous sommes toujours sans réaction, sans appétit, Le corps subi et les dommages se font ressentir, Mais au-delà de nos membres endoloris, notre force amoindrie, Nous voulons tout de même combler ce désir insatiable, [Cet homme si bon daigna ne point m'accabler du poids de son indignation : il s'affligea avec moi.] Stendhal – Le Rouge et le Noir Tout porte à penser que nous devons lâcher prise, De devoir écouter ces discours d'illusions, Pour finalement se rendre compte que nous sommes en conflit avec nous-mêmes, Toutes ces douleurs restent dans l'indifférence, Ces regards inquisiteurs, Façonnent un monde où l’humain est erreur, Corrompus par nos faiblesses, Nous avons oublié notre propre sagesse, Nos yeux se sont fermés, Sur les poids de nos actes, Se voilant ainsi la face, Renonçant à notre avenir, Nous voilà enfin face à notre destin, À vouloir gravir notre plénitude.  
9. Cendres 12:31   
[Ceci est notre cri. Ceci est notre prière. Pour construire la paix (dans le monde).]
Mémorial de la paix - Hiroshima

Dans les charmes d'une aube d'été,
Mes tripes se sont retournées,
Lorsque j'ai posé les yeux sur toi,
Le temps fut suspendu en l'espace d'un instant,
À travers tes yeux je vois le vide,
À travers les miens tu vois mes souvenirs hantés,
Ne laisse jamais partir cet espoir (de survivre),
Pardonne-moi d'avoir détruit ton temple (corps)
Profitons bien que nous souffrons,
Cohabitons jusqu'à ce que mon emprise soit totale,
Jusqu'à ce que mon emprise soit totale,
Je me nourris de tes cellules,
Pour me renforcer,
Abandonne-toi à moi,
Chute dans mes bras,
Pour que nous puissions prendre notre envol,
Reviens-moi,
Je te veux à nouveau sous mon aile,
Je suis le guide de ta destinée,
Pour qu’on puisse reposer en silence,
Notre vie fut comme des éclats tranchants,
Comme des fragments de destinées,
Regarde, ces poussières, ce sont nos cendres,
On s'envole,
Nous nous envolons.

[De même que dans l’amour cette illusion existe, cette illusion de pouvoir ne jamais oublier, de même j’ai eu l’illusion devant Hiroshima que jamais je n’oublierai. De même que dans l’amour.]
Marguerite Donnadieu – Hiroshima mon amour
  01:10:12





Limited to 288 hand-numbered copies.





viernes, 8 de octubre de 2021

MANBRYNE - INTERVIEW



1. Mānbryne was born in 2017, why did you decide to create the band? Why did you choose the name Mānbryne and what does it refer to?

Renz: I was sending some of my demos to S., we knew each other long before the band was being founded. He found my music interesting enough to make some songs together. The name is an Old English word meaning „destructive/incendiary fire”, or „a fire in which men lose their lives”.


2. The components of Manbryne in one way or another participate in bands like Massemord, Odraza, Voidhanger, Blaze of Perdition, Oremus, then Mānbryne appears, what does Mānbryne bring you with respect to all these bands?

Renz: Manbryne is a kind of a spiritual successor to Oremus. A simple black metal music with existentialism-related lyrics. 


3. “Heilsweg: O udręce ciała i tułaczce duszy”, your first album is the result of the work of the last three years, with all that the restrictions of the pandemic could also bring, How has the process of composing and recording the album? Were you clear from the beginning about the sound you wanted to offer? What brands of instruments did you use to compose and record the album?

Renz: Well, the musical part of the album was being prepared between the November of 2017 and summer, 2018. It was a relatively smooth process, I barely had any outtakes in the end. Then it took a while to set up the details and start with the proper recording session, I haven't recorded guitar parts until December 2019. The music itself is pretty easy in its structure - mostly there are two panned guitar tracks, each one recorded twice using two different instruments, then filled here and there with some leading parts. Speaking of the sound part, we had some specific examples of how we'd like to sound like, and we showed them to our producer.


4. Poland has always been a country with a very rich extreme metal scene and specifically with bands with a very particular sound, whether we are talking about death / black, experimental or avant-garde, how does Manbryne fit into the Polish scene? What do you think makes you different from other proposals? How would you describe the sound of the album for those who have not yet heard it?

Renz: I don’t think we care much about the polish metal scene, not many bands out there seem to share our specific point of view on that music. It’s okay though.  



5. In your lyrics you somehow develop themes related to death and struggle, however you also use the movie "The Seventh Seal" as inspiration for the album. What has inspired you from this movie to decide what would guide the lyrics from your album?

S: All the struggle you've mentioned, as well as questions the movie has been asking for decades are just as important now as they've been in the past. Even more now, perhaps. The feeling of emptiness, futility of existence and the lack of direction or meaning in our lives as well as in society in general is ever present and doesn't seem to go away anytime soon.


6. For the lyrics of the album they have used your native language, Polish, why this decision? Do you feel more comfortable with this way of expressing yourself?

S: It's natural that we think in our native languages, thus it's much easier to appropriately express ourselves this way. Manbryne's lyrics are rather emotional and passionate and they need a proper output. I wrote them in English at first, but they were lacking exactly what I'm talking about - this natural emotional weight to carry the essence.


7. Etbast Purgato has been in charge of the artistic part of the album, how did you contact Etbast to carry out the design of the cover? What does the cover of the album represent and how can it be related to the music of the album?

Renz: We had an idea of a drawing cover art, but we didn’t want to reach for any artist that is well-known in the genre. Etbast Purgato is a friend of S., and a fantastic tattoo artist; I guess that making that cover art was a quite new experience for her. She did a great job and we didn’t expect any less of her.


8. Malignant Voices and Terratur Possessions have dealt with the release of the album in its different physical formats. How is contact with both labels to carry out these releases? Are you satisfied with the work done by both labels?

Renz: Again, both Radek of MV and Ole of TP are good friends of S., so it came quite naturally to get in touch when we were looking for a label. We’re extremely happy to be working with them, and I guess they deserve most of the credit for the overwhelming reception of Heilsweg. 


9. What have the restrictions imposed due to Covid-19 meant for Mānbryne? How have you been affected? How have you maintained promotion and contact with fans during this time?

Renz: Surprisingly, the lockdown in Poland had a quite positive outcome on the album. S. wrote all the lyrics for Heilsweg in English first, but then, when we couldn’t record the vocal parts because of covid restrictions, he decided to rewrite them in the native language; it was a brilliant idea. Also, because the album is partially inspired by both „The Seventh Seal” and Ken Russels’ „The Devils”, and these two take place at the time of plague, I don’t think we could release Heilsweg to any more fitting circumstances.



10. With two bands under your belt like Blaze of Perdition, Oremus who are fully respected on the scene, how do you think the black metal scene in Poland has evolved over the years?

S: It got much worse in my opinion. While the names I admire are still there, majority of relatively new bands from Poland are completely beyond my interest.


11. How were your beginnings in music: first concerts you attended, first albums you bought? What did you do in your lives that made you want to be musicians?

S: My older cousin used to flood me with the music he liked and I got gradually more and more interested. At some point during my mid/late teenage years I started feeling the urge to express myself this way. I had a band with him and that's where I started. It was a completely amateurish entertainment with no artistic value whatsoever, but it was enough for starters.


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

S: There are way too many albums I love to mention just one to be honest. I wouldn't be too original about it anyway. I love the first/second wave of black metal as well as the originators of the so-called orthodox black metal scene. Also, I rarely buy records and they are usually not black metal.


13. What future plans do you have for Mānbryne in terms of concert, upcoming releases or reissues?

Renz: We’re currently waiting for the new pieces of merchandise, and also expecting a vinyl repress in due time. 

S: There are more interesting plans as well, but It's still too early to share anything.


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

Renz: Thanks.


-----------------------------------------------------------------------------------------------------------------------------

Mion's Hill ‎– Torture 12,99 €


Vinyl, LP, Album





lunes, 4 de octubre de 2021

HORE

 




Origen: Polonia

Formados: 2018

Estilo: Black, thrash

Temática: 

  • Jakub "Szatan/Boruta" Śliwowski ?
  • Rafał "Tarlachan" Łyszczarz Guitarra

Enlaces: Deezerfacebookinstagram y spotify

Miembros: ?

Discografía:

  • Siostry wiedźmy CD 2021
  • Ostrogora EP 2025


SISOTRY WIEDZMY (2021)

En un primer momento podemos pensar que estamos ante la el clásico sonido black polaco con algunas influencias death en el inicio de un tema como "Drwimy jak grom", sin embargo ya podemos atisbar pequeños matices que se materializarán a lo largo de los temas siguientes. Hore no se conforma con ofrecer una propuesta de black metal con algunas pinceladas tanto de thrash como de doom, que las hay, pero su propuesta va más allá atrapando al oyente en una suerte de elementos vanguardista en su vertiente free jazz. El sonido compacto y a veces por que no, elaborado, nos trae influencias del thash ochentero que puede llagar a confundirse también con sonido rock o heavy. Cierta afectación en la voces, que parecen que quieren arremeter con un estilo entre le gótico y el industrial, acompañado todo ello por la densidad de la propuesta que parece que a veces quiera languidecer en lo más profundo de las cavernas, acaba por ofrecer un cuadro tal vez algo turbio. Sin embargo no es mendo cierto que toda la propuesta deja un gusto a inconformismo, de difícil definición, con el acento puesto en al inclusión de arreglos en los temas de un instrumento con el saxofón que acaba por irrumpir de manera solapada a lo largo de todo el álbum pero que acaba por dejar su impronta en forma de elementos totalmente diferenciador en el conjunto del sonido del álbum. Los polacos has sabido ofrecer un trabajo de sonido completo, que por un lado logra recoger e incorporar a su sonido black elementos primitivos de diferentes estilos afines pero que apuesta fuete también para otros más centrados en elementos vanguardistas. (8,2).



1. Drwimy jak grom 04:14  
2. Bije raz, dwa, trzy 04:04  
3. Siostry wiedźmy 03:41  
4. Król olch 04:06  
5. W chrustach 03:50  
6. Pieśń ma była już w grobie 05:05  
7. Biesy 04:22  
8. Księżnę dziś pochowano 05:00  
  34:22








domingo, 3 de octubre de 2021

JORDFÄST - INTERVIEW


 

1. Jordfäst was born in 2017, both members have been involved in different musical projects before, when did you say to create the band? What does Jordfäst bring you with respect to your other projects of which you are part? 

Olof: I think we started the project that came to be Jordfäst during the last part of 2015, there had been loose talk about starting something up long before that, but that’s when things started to take shape. I am currently not involved in other musical projects, so Jordfäst is my creative outlet and tool to explore my fascinations with the darker side of nature and the world.

Elis: What Jordfäst allows is something different than my other bands and projects. Jordfäst allows me to write majestic music and describe a story in depth. I know it sound a bit pretentious using the word majestic, but Jordfäst can also be very simplistic and raw. The music I usually play is more extreme, fast punk and grindcore which is a bit more simplistic and more forward. 

  

2. What does Jordfäst's name refer to and why did you choose him for the band?

 Olof: It means burried, and we think it fits perfectly since we explore the fates of people long since dead in our songs.

 

3. “Hädanefter” is your first album, a work that has taken you almost four years to complete and that contains a couple of songs. How was the composition and recording process for this album? What brands of instruments do you use for compose and record?

 Olof: Since we live with quite some distance between us, Elis in Malmö and me in Tromsø, we only record a couple of times a year. It obviously slows down the process, but on the upper hand, it gives the songs time to grow and develop, since we are working on them in between. 

Elis: We meet very seldom, so when we meet, we usually record and write music for 2-3 days in a row. I have a home studio where all the music is recorded except for the drums. These songs could not have been written in a rehearsal space, they need a lot of time. I use a lot of different stuff for recording. ESP and also Hagström guitars, peavey bass and I also play keyboard through a guitar amplifier, that makes the keyboards sound raw. 


4. It is surprising that “Hädanefter” “only” contains a couple of songs, that if, of considerable length, when is the decision made to structure the content of the album in this way? Does this design respond perhaps to a way to let your proposal flow better?

 Olof: It is just a result of our writing process. We create music that we ourselves want to listen to, and we don’t finish a song until we feel that it’s done. For one reason or other, this resulted in two very long songs which we were satisfied and proud of, so we decided to release them as an album.

Elis: The lyrics need a long song to make it fair. These are intricate themes and the lyrics is just as important to us as the rest of the music. A song can describe a feeling or whatever, but Jordfäst songs is a story as much as a history lesson. 

 


5. Elements such as melancholy, mystery or the sinister are fully present in your music, which on the other hand, thanks to the duration of the same songs, allows it to flow through different intensities. What sensations do you intend to convey to the listener with your proposal? Where do you get the inspiration to compose? How would you describe the sound of your album for those who have not heard it yet?

 Olof: The backbone of the music is black metal in the Swedish tradition, with focus on atmospheric melodies, with some influences from folk music – similar to label mates Panphage and Saiva – but also elements from thrash and heavy metal. My inspiration comes from the feeling I get when I am out in the wilderness or when I read about tragic events from the past – it is this feeling I want to convey in our music.

Elis: Inspiration I get from nature just as much as other artists. Skogen (which means “the wood”) to mention one band and also combine it with nature, haha. 

 

6. Your lyrics seem to focus on elements related to the Arctic on the one hand or the evil of the human being on the other. How important are these themes in your lyrics and in what way do you work on them?

Olof: Yes, that is mostly correct, only I would say Scandinavia as a whole and not just the Arctic. History and nature are the two pillars of our lyrics and inseparable to us. It’s not only used to put the listener in the right place and time, but to awake emotions.

Elis: To me good/evil, let’s call it human nature and stupidity is themes that fit us well, it’s important to me that the songs without lyrics give the listener that feeling just by listening to the melodies. 

 

7. Nordvis Produktion has been in charge of editing the album, a record label that is characterized by putting forward the most interesting proposals. How did the possibility of working with them to edit the album come about? How do you feel that you fit in with the Nordvis philosophy?

 Elis: I’m happy to work with Nordvis, just brilliant and professional. Olof can tell you the story behind how we got in touch in a better way than me, so take it away Olof. 

Olof: Well, firstly I’d just like to say that all the production of our music we have been in charge of ourselves, with external help with the mixing and mastering. We contacted Nordvis after the music was finished, so they haven’t done any editing to it. But as Elis said, working with Nordvis has been and still is a great journey. We knew already from the start that we wanted to work with them, since they share our passion of nature and “the ways of old”. 


8. Who designed the album cover, what do you want to represent with this cover and how does it relate to the content of the album?

Elis: The designer of the artwork is a crazy guy called Jarmo. A guy from Finland who is a mad man. If you think you ever met madness like Jarmo, you don’t know what you’re talking about. This guy is haunted. 

Olof: We knew the atmosphere we wanted to convey, but not how it would look. But Jarmo did…

 

9. How have you as a band been affected by a situation like the one experienced as a result of Covid-19?

Elis: It has definitely slowed us down. If it wasn’t for covid the second album would probably been ready for release now. 

Olof: Yes, it has made the recording process hard. Since I live in Norway, it has been difficult to pass the border and back while at the same time avoid weeks of quarantine. On the other hand it has given us more time to focus on writing music and with home office, we have had more freedom do dispose of our own time. 

 


10. You come from the Swedish area of Skåne, what can you tell us about the black metal scene in your region, in terms of concert bands, etc ...?

Elis: the black metal scene in Skåne isn’t that mighty at all. But musically Jordfäst takes a lot of inspiration from other genre as well. And I get inspired by going to concerts of course, that’s why I mention this. Before covid I went to gigs very often, usually it is extreme metal. I can’t even remember the last black metal gig I saw. 

Olof: The same can be said for Tromsø, where I live. There is a pretty healthy music scene, but it hasn’t traditionally been as big for black metal as other Norwegian cities further south.


 11. How were your beginnings in music: first concerts you attend, first albums you buy? What did you do in your life that made you want to be a musician?

 Elis: the first albums I got was Ignition by Offspring, Life on a plate with millencolin, Sol Niger Within with Fredrik Thorendal, All out war with Earth Crisis and Appetite for Destruction with Guns n Roses, haha. The first gigs I went to was when I was eleven and twelve, Refused, Meshuggah and Metallica the same year. My father liked old punk music and he thought Metallica’s Black Album was cool, so I saw Metallica in 1997 the first time. My father used to be a priest, and then totally lost his faith, became an atheist and became a doctor instead when I was a kid, what a journey. If it wasn’t for that I’m not sure if I would have seen those type of bands at that early age. 

Olof: My first album was probably some old best of Jim Reeves vinyl I got from my father. Still a big fan of country music to this day! And my first concert was Kim Larsen, who was playing a free concert at a square in Lund, close to Malmö. It was also my father who took me there. I was always encouraged by my parents to play instruments, so I had an interest in music from an early age. One of the first ever albums I bought myself was Trash by Alice Cooper, we were on a school trip and I had gotten money from my parents to buy meals along the trip, but I spent it all on that record and starved the whole day. I had the worst migraine when I got home, but it was worth it!


12. Which album represents to you the essence of black metal? What last albums have you bought?

Elis: Last albums I bought was Viktoria with Marduk, Exercises in futility with MGLA and the goat with Bathory. The essence of black metal, that’s a hard one, I will probably change my mind next week but let’s try, Storm of the lights bane, that’s it. Haha. No really, it’s something I can’t answer, black metal or not, I don’t give a shit, I like music and I don’t care about true/false or what ever people want to call it. I can say what’s good or bad music for me, but I can’t answer what you are asking me. 

 Olof: To me De Mysteriis is the perfection of the Norwegian black metal sound. It might not be the album I return to the most, but it’s undeniably the most iconic black metal album. For Swedish black metal, I kind of agree with Storm of the light’s bane. Which is a bit ironic, since Dissection themselves referred to their own music as death metal. Regardless of how you classify it, it has had an immense importance in shaping the Swedish black metal sound.

I have moved around a lot the last years and hence have restricted myself from buying physical albums until I have a more stable living situation, but I made and exception this summer and bought some Nordvis records that I was missing in my collection – e.g. Skogen, Armagedda, Panphage and Bhleg. 


13. What future plans do you have for the band in terms of upcoming releases, concerts or reissues, etc?

Elis: Our new album is almost finished. So it will be sent for mix/master in December, that’s what is upcoming in our camp. 

 

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

Elis: Thanks for this interview! Check us out and support underground music. Stay true to yourselves, don’t please others and compromise your art, be kind, which more than often means do harm, but as little harm as possible, that is what truth is.


----------------------------------------------------------------------------------------------------------------------------

Caterva Runa ‎– Europa Nostra 1,99 €


Cassette, Album, Limited Edition, Numbered
Two-sided tapes, some copies may appear with single side recorded.
Limited to 288 hand-numbered copies. The tracks are listed sequentially.





sábado, 2 de octubre de 2021

DJEVEL

 TANKER SOM RIR NATTEN (2021)

Desde su creación en 2009 los noruegos viene entregando de manera regular grandes trabajos de black metal en la más plena tradición de black noruego, recogiendo sonidos que al mismo tiempo que suenan fríos y heladores en clara consonancia con las partes más clásicas del género, son también capaces de ofrecer una ambientación muy lograda con ciertos aportes de los que podemos definir como sonidos propios. Todos los temas incluidos en este "Tanker som rir natten" son extensos, a excepción del homónimo instrumental, lo que les permite a los noruegos ofrecer diferentes paisajes y estados de ánimo en sus temas, unas veces concentrándose en un apartado mucho más agresivo y helador, con un buen binomio compuestos por unos riffs agresivos y directos, sin descuidar cierta crudeza en la mejor línea del black escandinavo clásico, que se ven acompañados de unas voces también crudas y frías. Loa pasajes sin voces también son abundantes, lo que le permite a la banda recrear un paisajes helador, en donde la soledad cobra protagonismo, con presencia de ritmos que a veces parece que quieran adentrarse por secciones más épicas y que no renuncian tampoco de alguna manera a cierta sensación de melodía oscura. El trabajo de batería también se antoja soberbio, capaz de mantener el sustento en un sonido que parece que quiere descoserse hacia terrenos más extremos pero que se vuelve del todo necesaria en los ritmos casi que hipnóticos que muchas veces pueblan el sonido del álbum. Otro soberbio trabajo para los noruegos, en la más pura línea del black escandinavo tradicional con un gusto por la construcción de sonido oscuros y fríos, con guitarras densas y afiladas al tiempo que dejan que los temas vayan medrando a su antojo. (8,1)





1. Englene som falt ned i min seng, skal jeg sette fri med brukne vinger og torneglorier 09:42
   Danser gierne med synd og skam
Bag lukkede dører hvor ingen hører

Svømmer i helligvann og bønn
Naar dansen blir for vild og musikken for høi

Tiden sier de naa maa lide, klokkene kimer
Her vil de brenne (aske)

Fortell meg hvem jeg er, og jeg skal vise deg mitt sanne ansikt i asken af din (engang stolte) siel
Danse med Djevelen skal vite!

Englene som falt ned i min seng, skal jeg sette fri med brukne vinger og torneglorier

Med deres strik vil natten lyse vei for mine svarte hover
Jeg skal fare over gull og glimmer ned i svarte juv

En kald og ødelagt himmel er det siste de vil se i ruinen av sin tro
Denne veien de vandret var tornebelagt fra første skritt

Her er ikke lenger kors og salme
Kun hedningehammer og falne
2. Maanen skal være mine øine, den skinnende stierne mine ben, og her skal jeg vandre til evig tid 09:53
Snødekkede rake fjell fanger solens straaler
Vilde elver drukner salmesang

Norges rene luft og befriende pust
Vinden blaaser hardt der hedning staar og kristenmann falder

Voldsomme fossefall og sildrende bekker
Ah hvor hiertet banker... Hammerslag!

Ravnen paa himmelen, vargen paa jorden
Møtes i en sirkel af kraften under skogen

De sorte bjerg vogter i natten og kaster maanens blege lys
Her kan jeg hvile

Skugge og regn spiller toner for dunkle skritt
Og vakre mareritt, her skal jeg drømme

Snøen som falder skal i mitg ligge for evig og alltid
Vannet som sildrer skal for alltid i mig brøle

Maanen skal være mine øine, den skinnende stierne mine ben
Og her skal jeg vandre til evig tid (efter kristi død)
3. En krone for et øie som ser alt, tusind torner for en sønn som var alt 09:53
  I denne natten henger maanen som en giljotin på himmelen
I denne natten fryser perler til sne
I denne natten høres ingen hierteslag
I denne natten puster jeg

Sneen skal falle som torner ned i en hellig krone
En krone for et øie som ser alt
Tusind torner for en sønn som var alt

Døde trær vokser som torner mot himmelen
Med grener som slanger:
Yggdrasils krone som Medusas hode

I denne natten blaaser vinden som blodige sverd
I denne natten faller kapper og kors
I denne natten reiser jeg
I denne natten er jeg hiemme

Taarer skal renne som blod ned i en hellig krone
En krone for et øie som ser alt
Tusind torner for en sønn som var alt
4. Tanker som rir natten 03:55   instrumental
5. Naar maanen formørker solen i en dødelig dans, ber jeg moder jord opp til en siste vals 10:48
Hvor solen rinner over fjell og ingen mann er
Der møter jeg vinden

Sammen over dette langstrakte domenet
Som en ildstorm over jorden

Naar maanen formørker solen i en dødelig dans
Ber jeg moder jord opp til en siste vals

Sammen skal vi rase giennem disse gudsforlatte skoger
Sammen skal vi fosse over dette iskalde havet
Sammen skal vi plukke stiernene ned
Sammen skal vi slutte denne sirkel i et voldsomt mørke

Paa ulvens rygg reiser jeg ned i det dypeste indre
Hvor likbleke knokler av døde tanker er eneste lys
Paa denne siste sti møter jeg den jeg var ment aa være

Her inne i det siste rene vil jeg begrave moder jord
Her inne i det aller mørkeste vil jeg tenne en ild for den neste

Her inne skal alt ta slutt og alt begynne på nytt
6. Vinger som tok oss over en brennende himmel, vinger som tok oss hjem 12:40
Sommeren var her da vi kom

Trærne mistet grenene
Fuglenes vinger faldt mot jorden
Torre som sand blev elvene
Stille som døden var vindene

Solen sank i havet da vi vaaknet, og maanen tok dens plass
(over et øde og gudsforlatt palass)

Vargen i vaart sinn vekkede døde tanker, giemt i en graf af hellige hender

Tanker som rir natten, til lyden av faldne engler og brennende stierner
Tanker som igjen skal besette nattens sieler
Tanker som skal kappe hellige hender

Vinteren kom da vi dro

Elvene flommet hvor vinden ulte
Trærne vokste spyd til grener
Ravnene grodde vinger av de dødes hud

Vinger som tok oss over en brennende himmel
Vinger som tok oss hjem
  56:51







miércoles, 29 de septiembre de 2021

HADIT


Origen: Italia, Varese

Formados: 2013

Estilo: Black, death

Temática: H.P. Lovercraft y ocultismo

Enlaces: Deezerfacebook y spotify

Miembros: 

  • Fulgŭrātŏr Batería
  • GG Bajo
  • XN Guitarra y voces
Discografía:

  • Creating a Kult Demo 2013  
  • Introspective Contemplation of the Microcosmus EP 2015  
  • With Joy and Ardour Through the Incommensurable Path CD 2021
  • Metaphysical Engines Approaching the Event Horizon CD 2024
WITH JOY AND ARDOUR THROUGH THE INCOMMENSURABLE PATH (2021)
Primer larga duración para este combo italiano que hace gala de un sonido denso y profundo en donde elementos del death, del black o del doom van de la mano con una atmósfera cargada, ocultista y ritualista. El álbum discurre por un paisaje sombrío y denso, en donde abundan los riffs lentos y pesados casi que lodosos que al poco que apuran el paso construyen un ambiente muy cargado casi que opresivo, con unas voces también bastante cargadas que se mueven entre los terrenos agresivos y directos hacia otros mucho más densos, llenos de rabia y casi que opresivos. La batería por su parte  logra mantener el rimo cargado y otorgarle profundidad al sonido, incluso con cierta visceralidad cuando es preciso. El sonido se muestra implacable con todas las virtudes que podemos presuponer a las influencias del death más clásico, con unas buena dosis de black, todo ello aportando elementos en su sonido que pueden sonar más actuales, sin descuidar tampoco influencias doom que dotan a la propuesta de mayor robustez y de un perfecto caldo de cultivo para lograr esa ambientación ocultista y ritualista que emana de todo el álbum, todo fruto de un perfecto equilibrio entre densidad, sonidos clásicos y profundidad en su propuesta. (7,7).



1. The Unfathomable Omnipresence of the Sister of Sleep 05:05  
2. A Digression and Her Eternal Domain Above the Atmosphere 05:54  
3. The Quest for Hearts and Conquest of Time 07:08  
4. The Submission of Rage for Propulsion Divine 06:08  
5. The Shredder of the Most Rooted Archetypes 05:32  
6. The Retaking of Meaning of Joy and Ardour... 04:15  
7. On the Incommensurable Path 03:52  
  37:54