VALOSTA VARJOON - INTERVIEW

 1. Valosta Varjoon was born around the year 2016, we may be talking about a one man band, what pushed you to create Valosta Varjoon? Why did you choose this name and what does it refer to?

Yes, that is correct. Valosta Varjoon was founded by myself as a one-man band in 2016 after a private stroke of fate. The name is Finnish and means "from light to shadow". Since I was listening to a lot of Finnish Black Metal back then and I felt mentally like I was being pulled from the shadows into light, so I chose this Finnish name. But for me it was the best therapy in order to recover from this experience.

2. Not only does Valosta Varjoon spend his time as a musician, but he is also present in projects like Nachtig or Cosmic Burial. How do you deal with priorities when it comes to taking time for each of these projects? Is there a good line? differentiated between these bands and how do you approach the composition and recording processes in each of them? How would you explain the main differences between these projects in terms of styles?

There are hardly any differences in the recordings. For Valosta Varjoon I only do the songs and the lyrics. Sturmwolf takes care of the recordings and the ideas for the lead guitar and the bass guitar. This gives me a breath of fresh air and takes away a lot of work so that I can continue to concentrate on Nachtig, Cosmic Burial (and meanwhile two other projects). The lyrics mostly deal with different things, with Nachtig it's mostly about personal experiences, nature and the aversion to human life. Cosmic Burial is a purely instrumental project and the lyrics by Valosta Varjoon are mostly about alcohol, sex and myths from my hometown. Other differences can also be heard musically. Nachtig is more of an atmospheric and depressive Black Metal project, Cosmic Burial is (in my eyes) not Black Metal but more of Cosmic Rock/Metal. I don't set myself priorities. If I have a good riff in mind, I decide relatively spontaneously which project it is for. I seek a lot of inspiration, especially with Nachtig and Cosmic Burial in nature and on warm summer nights when I look at the night sky.

3. Valosta Varjoon's third album is entitled Boarisch Grattlig and it has just been released. How have you faced the process of writing and recording this new album? What has the figure of guitarist Sturmwolf set aside in this process? What brands of instruments have you used in the process?

The process of the album was no different than the previous ones. I usually already work on an album, so when we released "Das Flammenmeer" back then, the "Boarisch Grattlig" songs were almost finished. When I've finished the songs, I'll send them to Sturmwolf and he'll add lead guitar and bass to the songs. We complement each other well and when Sturmwolf writes a lead guitar for it, he sends me his ideas and I'm always very happy with them. The lyrics for the album came about overnight over a few bottles of beer and it was also recorded with the hop drink by my side. The songs were recorded with an ESP guitar and a bass by Cort.

4. In the sound of "Boarisch Grattlig" there is a fundamental weight of a black sound, let's say a primitive one where styles like punk or rock can become an influence, we can even talk about a tone between the folk or the pagan that emanates of the compositions, at some point sounding like Nargaroth, how would you describe the sound of the album for those who haven't heard it yet? What bands and styles are an influence when it comes to composing?

The album's name means "Bavarian Antisocial" and I think everyone who hasn't heard it can get a better idea of what it sounds like with this title. Me and Sturmwolf have a lot of different favorite genres that have all been mixed into the sound a bit. From punk to heavy metal, everything is in there. Because we listen to many different genres and try to bring them into our music, I no longer call our music Black Metal but rather Drunk'n'Roll, that suits us better because for us a Lot of people in the German Black Metal scene are just a pool of pseudo-elitist and embarrassing idiots.

5. In your lyrics there is room for different themes, however it is striking that you address issues related to the history or paganism of your region of origin, how important is Neumarkt in der Oberpfalz for you when it comes to influencing your sound and lyrics? Do the lyrics fit the music or vice versa?

My home is very important to me because it made me what I am today. I like living here, you can see many historical places with a lot of historical background and it's exactly these stories that I want to bring closer to the listeners. I do think that the music suits the lyrics because there is a certain atmosphere in every song about legends and myths, more so than in the songs with a different theme. Also, Bavarian culture is known for beer and beer drinking, so the other songs fit the music well too. In the sense of sex, drugs and rock'n'roll haha.

6. There is not much information about where the recording, mixing and mastering of the album took place, could you shed some light on this question?

The album was recorded old school at home. We had a session drummer called Werewolf "Kowalski" who also recorded the drums at home. We sent the individual tracks to the producer (Deathroned Productions) who then sent us the finished songs. We've done it this way on all the albums and think it´s the most effective this way as you can record whenever you have time without wasting your time in the studio.

7. Who designed the album cover? What does it represent and how does it relate to the content of the album?

The artwork was drawn by a friend of Sturmwolf. You can see a Bohemian lion with a traditional Bavarian hat, a cigar in his mouth and a beer bottle in his hand. With the other hand this lion carries the Bavarian flag. It is supposed to represent us in Bavarian society in a way. We have always swum against the tide and in the arch-catholic Bavarian society we have always been the black sheep. In an "anti-social" way, this cover shows what the listener can expect when listening to our album. We spit in everyone's soup and give the middle finger to society.

8. You have always kept a close relationship with Finnish black metal, either writing your lyrics in fine or even with a style that at certain times reminds us of Finnish melodic black, why these Finnish influences in your proposal?

As mentioned above, when I started Valosta Varjoon, I almost only listened to Finnish Black Metal, so the scene in Finland has always influenced me. Meanwhile I would say that we are trying to create our own sound more and more. I personally think that the sound of Finnish Black Metal can be heard in too many bands now and since we don't want to go with the crowd but strive for our own way, we are changing our sound more and more now and in the future.

9. For the edition of the new album you have worked with Folter Records to the detriment of Purity Through Fire, why this change when it comes to editing the album with another record label?

A band changing labels for a new album is nothing new anymore. We just wanted to bring a fresh start and a breath of fresh air to our music. Also, the man behind Folter Records runs my favorite festival "Under The Black Sun" and it has always been a wish of mine to play there and release my music under his label. This might now be easier. In addition, in recent years we have often been excluded from concerts because PTF unjustifiedly has a bad reputation in Germany and we found ourselves on a political side with which we absolutely do not feel comfortable and cannot identify with. In order to realize my dreams and to distance ourselves from the politics, we decided to apply at Folter Records.

10. It is striking that despite only being two members in the band, you have recruited other musicians to take your proposal live. Were you always clear that offering concerts was something necessary for the band? Is it very difficult to make yourself known by proceeding from a place like Neumarkt in der Oberpfalz? What can a fan of yours expect from one of your concerts?

It's not necessary to play concerts, but we enjoy it, so I've always wanted to bring my music closer to the listeners. In the Neumarkt area, it is actually difficult to become well-known because the scene in Neumarkt is very small. However, we already had a performance in Neumarkt and the surrounding area (Regensburg) where we were able to win over many fans from the area. I hope there will be more concerts in that area in the future because the concerts here in Bavaria were a lot of fun. The fans can expect us to do live exactly what we sing about. We are very authentic on stage, sometimes we drink a beer or too many before the concert, but without losing our professionalism. Since we have only received positive feedback so far, I also think that the listeners in front of the stage enjoyed the shows as much as we did.

11. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?

That's a long time ago since I grew up with metal and rock music since I was a little kid. I think I got my first CD when I was 5 years old and it was a Scorpions CD. My first concert was Iron Maiden when I was 13 years old. I got into black metal a year later and the first CD I bought back then was Carpathian Forest's Morbid Fascination Of Death. What brought me to make music in life was the stroke of fate mentioned above. I didn't want to sink into self-pity and depression, so I bought myself a guitar and within a few weeks and hours of daily practice, the first demo "Von Licht zu Schatten" saw the light of day.

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

It's very difficult because there are many albums that represent the essence of black metal. Back then as a teenager I was very enthusiastic about Darkthrone's Under A Funeral Moon so I would choose this album because it represented Black Metal for me personally. For Sturmwolf it was "Under the Sign of the Black Mark" by Bathory. My last CD or tape that I bought was "Deathlust" by Hässlig from Spain.

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

We would also like to thank you for your interest in an interview. Thanks to everyone who has been supporting us recently or for a long time, see you in a pub near you!

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

Weregoat ‎– The Devil's Lust 23,99 €

Released on standard black vinyl, limited to 800 copies. Comes with poster.

DEITUS - INTERVIEW

 

Good evening, thank you very much for answering these questions, how is everything going in London? 

No problem, all is very busy this end. We are currently preparing for the imminent release of ‘Irreversible’ this Friday and doing a variety of press. Aside from that, we are rehearsing for the upcoming album release show in London, which will take place on August 5th. 

1. Deitus has been active since approximately 2004, what led you to create the band at that time? What does the name Deitus refer to?

We created Deitus in our formative years at high-school around the ages of 15/16 due to a collective obsession with rock n roll, heavy metal and of course black metal. The name ‘Deitus’ means ‘to become God.’

2. Although it is true that the band has been active since 2004, no or it is less than your first demo dates from 2014 and the first album from 2016, what happened within Deitus in those twelve years of silence?

The band was put on hiatus around 2006 until 2014 which explains that long period of nothingness.

3. Your third album “Irreversible” will be released shortly. How has the process of writing and recording this album been? What brands of instruments have you used in the process?

The corona situation in addition to the core three members of Deitus now being displaced over numerous continents forced the writing style to change quite drastically. As a band, we never managed to rehearse any of these songs in a room together before the recording which wasn’t ideal. That said, this new writing approach undeniably resulted in the vast musical diversity found within ‘Irreversible’. I can only really speak about guitars in relation to the recording process, but I used an ESP Eclipse and a Gibson Les Paul Custom ’59 going through a Marshall Silver Jubilee as well as a 5150s iii amplifier.

4. In your sound the weight of Scandinavian black from the nineties is undeniable, however there are also other elements that complete the proposal, such as thrash influences, atmospheric and melodic elements and the inclusion of a song with female voices. How would you define the sound of the album for those who haven't heard the album yet? What bands and styles have influenced your sound? At what point did you decide to include this song with female voices?

We wholeheartedly expect it to be a divisive record for some listeners, there’s a lot of different flavours and moods and no two songs are similar. Our intention is always to grow both musically and lyrically, there’s no denying we accomplished that again with ‘Irreversible’. Certain notable bands such as Slayer, Fields Of The Nephilim, Dissection, Iron Maiden and Black Sabbath to name a few have undeniably shaped our sound. It’s black metal but it goes places that other bands don’t dare or wish to venture. The song you are referring to is ‘Voyeur’ which features guest female singer Toni Coe-Brooker.  We felt the track necessitated a clean vocal and having already heard Toni sing on numerous occasions it was a no-brainer. Toni also contributed some harmonies for the final track of the album, ‘As Long As They Fear.’

5. In your lyrics there are themes related to gnosticism or satanism, why did you decide to deal with these issues in your lyrics and why do you consider them interesting? 

There are no such themes present on ‘Irreversible.’ I’d advise the listeners to read the lyrics and interpret them as they see fit. 

6. With a career spanning almost twenty years, I suppose you have experienced different situations within the scene. What is your opinion of the English black metal scene today compared to the past?

The UK has undeniably produced some of the greatest artists of all time but it’s never been at the forefront when it comes to black metal. There are however a handful of active bands in the underground that I’d encourage people to check out such as: Inconcessus Lux Lucis and Barshasketh. 

7. For the mixing and mastering of the album you have worked with Necromorbus Studio, why did you decide to work in these studios and what do you think your work has contributed to the final result of the sound of the album?

We wanted to try something different with the overall / final sound so we approached Tore from Necromorbus Studios to mix and master the record. Given Tore’s remarkable legacy to date, he was always someone we wanted to work with and we are extremely satisfied with the results.

8. Santiago Caruso has been in charge of designing the album cover, why did you decide to work with him? What does this cover represent and how is it related to the content of the album?

The painting itself was created sometime ago; we never actually commissioned it directly with Santiago. Instead, we stumbled across it whilst trawling through his works. Seemingly, it was meant to be as the artwork fits each track in a specific yet differing manner. To myself at least… in essence the cover depicts the very death of hope - the final nail. I’ve heard all sorts of interpretations from those who have already heard the record and I welcome them wholeheartedly. If the listener rightfully consumes the record whilst devouring the lyrics they should be able to decipher why we ultimately went with ‘ Irreversible’. 

9. Candlelight Records has been in charge of publishing the album. At what point did you decide to change your record label? What has Candlelight Records given you compared to other previous record labels?

We’ve never been tied down in the past to independent record deals as it’s always been a gentleman’s agreement between band and label. When the opportunity arose to join the ranks of such an esteemed label (Candlelight) we couldn’t refuse. The new record demands a wider reach in terms of distribution as well as publicity and this is something Candlelight is able to provide us with. 

10. Have you already presented some of the new songs live? How is the public's response being? What concert dates do you already have scheduled? Who would you like to share a small mini tour with?

We gave ‘A Scar For Serenity’ it’s live debut last month in Germany at ‘Hole In The Svn’ festival. The reaction from the fans was immense, this can only be taken as a positive sign for things yet to come. As far as touring is concerned, we have nothing confirmed just yet although something is brewing for next year with a legendary Norwegian band…

11. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians?

I suppose there’s a multitude of experiences that influenced me to take up playing guitar and ultimately to write music. The first album I ever purchased was Guns N’ Roses – ‘Appetite For Destruction,’ a record that still leaves a lasting impression to this day. Witnessing Iron Maiden for the first time in 2003 was also a pivotal moment along with the final Dissection concert in 2006. 

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

There’s quite a few that spring to mind… however I’ll go with Bathory – ‘Under The Sign Of The Black Mark’. The last record I bought was Naut – ‘Hunt.’

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

Thank you for the interview. We extend our thanks to all the rabid fans who continue to support Deitus and hope to see you all on the road soon!

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

Sepulchral Curse – Deathbed Sessions 18,99 €

black inner-sleeves, 300gsm cover and 170gsm insert plus download code:

162x black 12″ vinyl

PORTA NIGRA

 WELTENDE (2023)

Hace tiempo ya que Porta Nigra nos sorprendió con ese sonido poderoso y vanguardista que con  cada nuevo tema nos dejaba totalmente descolocados, sin embargo con el paso del tiempo y los álbumes han sabido refinar la formula, sabiendo atraparnos todavía en lo irreverente de su propuesta, golpeándonos con cambios de ritmo y de registro espontáneos, ofreciendo si cabe en este nuevo álbum un trabajo mucho más elaborado, con un gusto de composiciones sin relación entre si, que nos permite sumergirnos en su particular visión del black vanguardista. Este "Weltende" transita por diferentes intensidades, manteniendo en un principio el gusto por los ritmos lentos, directos y potentes que parecen querer marcar un ritmo casi que marcial, con un entramado de guitarras que se decantan por estilos agresivos y directos, incapaces, eso si, de no dejar caer pinceladas de disonancias que se mezclan con un cierto carácter melódico que se le quiere imprimir a las composiciones, Lo mismo podemos decir de las voces, que si bien se adentran por un tono directo y bastante  saturado, no dejan también pasar la ocasión de ofrecer un tono mucho más oscuro que parece querer sonar industrial cuando los sintetizadores comienzan a campar a sus anchas. Un álbum que puede llegar a resultar complejo para su total compresión, con un innegable peso de sonidos black, pero que no renuncia a ese carácter vanguardista inherente a la banda, pero que también sabe ofrecer elementos progresivos, industriales o simplemente rock, con el énfasis en una atmósfera cargada y densa, ofreciendo la mayoría de la veces un ritmo alto y contundente, que cuando baja el pistón nos regala momentos mucho más emotivos y con un buen trabajo también el apartado vocal, con algunas acertadas incursiones en terrenos limpios. (8).

Soulseller Records

1. Es ist Krieg  

2. Götterblut  

3. Völkerbrand  

4. Verlorene Paradiese  

5. Bestienschlund  

6. Die himmlische Revolution  

7. Weltende  

8. Triebgeschwärme  

9. Hora Mortis

DEITUS

 

Origen: U.K., Londres

Formados: 2004

Estilo: Black

Temática: Blasfemía y satanismo

Enlaces: Bandcamp, facebook, instagram, spotify y youtube

Miembros:

• BDS Batería
• LDN Guitarra y voces

Discografía:

• Live Demo MMXIV Demo 2014  
• Acta Non Verba CD 2016
• Via Dolorosa CD 2018  
• Irreversible CD 2023

IRREVERSIBLE (2023)

Tercer larga duración para los londinenses en sus casi veinte años de carrera, un álbum que parte de una base de black metal clásico, con diferentes elementos a lo largo del mismo, lo cual viene a demostrar que Deitus aún tiene mucho que ofrecer en próximas obras. Es innegable el peso que tiene el sonido black más ortodoxo, sobre todo si hablamos de la escuela escandinava, en el sonido de este álbum, guitarras afiladas, ritmo en general altos, una ambientación sombría y gélida y unas voces rasposas y crudas que toman el mando cuando el álbum mete la directa y arremeta a toda velocidad sobre nosotros. Pero al poco que el álbum avanza también vamos descubriendo diferentes elementos entre los que se encuentran secciones que se ven influencias por el thrash, lo que hace que ciertas partes se vuelvan si cabe más viscerales, al mismo tiempo que sin acabar de explotar del todo se comience a intuir algunas partes que se adentran por terrenos más melódicos, que acaban por tener cierto peso en el sonido final del álbum. Deitus también comienza a trabajar las atmósferas a media que el álbum va avanzando, sin una presencia esencial pero si suficiente para añadir un carácter mucho más oscuro y sombrío a las composiciones. Sin embargo el inconformismo de los ingleses va mucho más allá y se atreven a con un tema de voces femeninas limpias, con un tono mucho más lento y melódico que frece un carácter más épico al conjunto. Un álbum que muestra una banda con un carácter totalmente inconformista, con una clara base de black poderoso y directo, al que saben añadir diferentes estilos y elementos que acaban por completar un sonido rico en matices sin que se pierda la identidad el conjunto. (8,4).

Candlelight Records

1. Incursion 03:22  

2. Straight for Your Throat 08:24  

3. A Scar for Serenity 06:19  

4. Irreversible 07:24  

5. Voyeur 06:47  

6. As Long as They Fear 06:23  

  38:39

Soulburn ‎– Earthless Pagan Spirit (Vinyl, Limited Edition to 100 copies Golden) 30,99 €

Comes in a gatefold sleeve with embossed cover and inclusive of inner.

Exclusive Century Media mailorder edition, limited to 100 copies.

VOIDMILKER

 

Origen: Chile, Santiago

Formados: ?

Estilo: Black

Temática: ?

Enlaces: Facebook e instagram

Miembros:

• Gabriel Hugo Todo

Discografía:

• Decades Single 2023  
• Birth of Trepidation Single 2023  
• Labyrinthical CD 2023

LABYRINTHICAL (2023)

Podemos hablar de un nuevo proyecto para Grabiel Hugo, al frente de Lascar, sin embargo no se ha desembarazado del todo del peso de su otra banda, presente aquí en el tono post black de sus sonidos así como en cierto carácter melódico inherente a todo el conjunto. Sin embargo si que Vodimilker se muestra como mucho más personal, como válvula de escape de todos lo demonios interiores de Gabriel Hugo. Para ello se nos ofrece un sonido de largos desarrollos poblado de oscuras y densas melodías, ofreciendo para ello una propuesta bastante lineal en su planteamiento, saturada en un tono de batería aplastante y unas guitarras y sintetizadores que se muestran implacables a la hora de generar un sonido denso y monótono que poco a poco va incorporando ciertas disonancias, pequeños cambios de ritmo que no de registro, que acaban por hacer mella en el estado de ánimo del oyente. Las voces por su parte tiene un carácter lúgubre y siniestro, oscuras y profundas, perfectamente integradas en la mezcla y participes en el tono de oscuridad y podredumbre que emana de las composiciones. Un álbum que cae sobre nosotros como una losa, enfatizando a base de una linea casi que invariable un atmósfera cargada y densa en donde cobra protagonismo elementos como la muerte y el esoterismo. (8.2).

Tragedy Productions

1. Decades 04:34  

2. A Pregnant Cult 05:11  

3. Abomination of Desolation 04:53  

4. Collapsing 04:49  

5. Cosmic Summon 05:44  

6. Bronze Child 04:30  

7. Birth of Trepidation 04:43  

  34:24

Ancient Wisdom - A Celebration In Honor Of Death (LP, Gre + LP, S/Sided, Etch, Gre + Album) 32,99 €

Limited colored vinyl with etched D side.

Comes in gatefold jacket with printed innersleeves.

FEN

 

Origen: U.K., Londres

Formados: 2006

Estilo: Black atmosférico, post-rock

Temática: Naturaleza, paisajes, soledad y tristeza.

Enlaces: Bandcamp, facebook e instagram

Miembros:

• Grungyn Bajo y voces
• JG Batería
• The Watcher Guitarra y voces

Discografía:

• Ancient Sorrow Demo 2006  
• Ancient Sorrow EP 2007
• Onset of Winter Demo 2008  
• The Malediction Fields CD 2009
• Epoch CD 2011
• Towards the Shores of the End Split 2011
• Dustwalker CD 2013
• Carrion Skies CD 2014
• Call of Ashes II / Stone and Sea Split 2016
• Winter CD 2017
• Stone and Sea EP 2019  
• Album Discography Recopilatorio 2019  
• Nebula Single 2019  
• The Dead Light (Part 1) Single 2019  
• The Dead Light CD 2019
• Gathering the Stones (Acoustic) Single 2020  
• Scouring Ignorance Single 2023  
• Truth Is Futility Single 2023  
• Wracked Single 2023  
• Monuments to Absence CD 2023

MONUMENTS TO ABSENCE (2023)

Fen apuesta en su séptimo larga duración por un sonido mucho más directo, agresivo y violento que en épocas pasadas, queriendo plasmar con el toda la rabia que sienten hacia la humanidad, alejándose del tono predominantemente atmosférico de pasados lanzamientos, sin perder del todo ese tono particular en su sonido de post-black metal, que afortunadamente no es amigable para todo aquel oyente que quiera comenzar a adentrarse en su música, y es que diecisiete años y siete álbumes después sirve para no tener que hacer concesiones, para saber lo que se tiene entre manos y para defender su posición frente a nuevas tendencias y bandas. El álbum es extenso, cada tema parece un ente en si mismo que logra de alguna manera adquirir todo su valor cuando es puesto en contexto con el resto del álbum. Extensos desarrollos siguen estando presentes, pero esta vez se ha echado mano de una mayor intensidad y ritmos mucho mas explosivos, derribando cualquier barrera que podamos entender como accesible, al mismo tiempo que todo el álbum se ha rodeado de una carácter mucho más oscuro y frío. Las secciones más pausadas, casi siempre presentes tanto en el inicio como en la parte intermedia de los temas, rezuman caos y oscuridad, con un sonido caótico de guitara y batería que acaba por ser enfermizo, existiendo un fuerte contraste con aquellas secciones en donde el álbum se muestra más violento y directo, rugiendo con fuerza de la mano de una sonido potente y denso de batería, demoledor por momentos, con unas guitarras agresivas, densas y directas, haciendo gala de dominar tanto estilos como el post, como otras más acordes con un black mucho más ortodoxo, sin olvidarnos por supuesto de unas voces que rujen con furia y rabia en todo momento. Un álbum que sabe conservar ese tono atmosférico, pero que ahora se ha vuelto mucho más sutil, al tiempo que oscuro y frío, con un mayor peso de las partes directas, con cambios de ritmo interesantes, al tiempo que se quiere ofrecer cierto tono melódico escondido en la mezcla, sin olvidarnos de unas voces que se muestran directas y agresivas y que se complementan con algunas limpias, lo cual contribuye a acrecentar ese tono demoledor y rompedor que nos ofrece este álbum. (8,2).

Prophecy Productions

1. Scouring Ignorance 06:30  

2. Monuments to Absence 09:24  

3. Thrall 07:23  

4. To Silence and Abyss We Reach 07:39  

5. Truth Is Futility 09:35  

6. Eschaton's Gift 07:52  

7. Wracked 09:08  

8. All Is Lost 09:42  

  01:07:13

Baxaxaxa ‎– Catacomb Cult 20,99 €

- black 140g vinyl

- black poly-lined bags

- booklet

- jacket flooded in black from the inside

- PVC overbag (vinyl and booklet outside of the sleeve)

SOMNIATE

 WE HAVE PROVED DEATH (2023)

Segunda entrega para estos checos que regresan con un álbum inspirado en el relato del escritor Richard G. Brautigan de donde logran sacar y recrear la esencia de la disconformidad y la utopía. Como avezados dominadores de terrenos relacionados con elementos progresivos, vanguardistas, psicodélicos y disonantes, Somniate nos golpea con un trabajo repleto de diferentes elementos, estructuras y pasajes, en donde son capaces de partir de terrenos casi que accesibles, lentos y melódicos, hasta otros en donde la atmósfera cargada juega un papel fundamental, jugando con sutiles pieza de disonancias y sonidos vanguardista que van dibujando un paisaje de caos y enfermedad. Hay que destacar el entramado de guitarra y batería que crean el terreno perfecto, en forma de pasajes lento y lodosos que poco a poco van medrando hacia terrenos mucho más agobiantes, de poderosas y podridas voces, al mismo tiempo que las capas de guitarras se las arreglan para crear diferentes disonancias que rompen el conjunto, dando paso a elementos mucho más vanguardista en donde el caos y la locura se acaban por apoderar de la propuesta, gracias también a demoledores cambios de ritmo que llegan de improviso para romper brutamente el tono de las composiciones. Todo este contraste entre lo que en principio se puede intuir como sonidos black accesibles, de ritmos lentos y pausados, se ven totalmente superados cuando irrumpe el grueso de las composiciones, logrando todo ello recrear una ambientación que parte de la oscuridad y la densidad para acabar por desembocar en una suerte de locura y esquizofrenia. Somniate regresan con un álbum de sonido profundamente personal, una vez más haciendo gala del dominio abrumador de facetas como la intensidad y diferentes estilos para lograr sumergirnos en un sonido enfermizo y podrido. (8).

Lavadome Productions

1. I Am Here and You Are Distant 05:37  

2. A Lamb at False Dawn 06:38  

3. The Statue of Mirrors 05:21  

4. Black Soundless Sugar 06:00   

5. Non-You 06:59  

6. We Have Proved Death 02:20  

  32:55  

Goath ‎– Luciferian Goath Ritual 14,99 €

Vinyl, LP, Album

KRIGSGRAV - INTERVIEW

1. Krigsgrav has been active since 2004, almost two decades, what led you to create the band? Why did you choose the name Krisgrav and what does it refer to?

J. Coleman (Guitars/Vocals):  David Sikora (Drums/Bass/Clean Vocals) created Krigsgrav in 2004.  He wanted to play music in a similar style to Gorgoroth and Carpathian Forest, etc.  He was the sole creator at that time and used session vocalists to round out the lineup then.  He liked the name Krigsgrav and thought it sounded good and fit what he was doing at the time.  

2. Since its beginnings the sound of the band has always been in constant evolution, it is also true that due to the doom influences that began to have a greater role in your proposal, this has been a style that you have incorporated into your music, without However, each new album is a break with the previous one. How have you faced the process of writing and recording this “Fires in the Fall”? What brands of instruments have you used for the process? What news, in terms of evolution, has this new album compared to your previous “The Sundering”?

J. Coleman (Guitars/Vocals):  We wrote Fires in the Fall right as we were finishing the recording process for The Sundering.  We had so many ideas still going on musically from that albums inspiration, which we just kept writing.  We took ideas, some fully formed and some not from these writing sessions and put together songs that we felt were going in the direction that we wanted for Fires in the Fall.  The inspiration behind the writing process was to create something with a heavy atmosphere but also really tighten the song writing with FITF.  

Recording wise, it was about the same as how we recorded The Sundering.  We all have small home studios where we have enough knowledge to record out own instruments, so we recorded the album this way, which is convenient, but I think for the next album we may go to a proper studio..

I can only really speak for what brand of instruments I used on the album.  I recorded my guitars with my Ibanez Iron Label Baritone guitar.  It has active EMG 81/85 pick-ups, which I’ve always loved.  

In terms of sound evolution compared to The Sundering, I think the songs have a similar tone, but we wanted to make a more dynamic album, at least in our opinion, something that was more atmospheric but used more dynamics and really focused on the details of the song writing so we got the best results for each track. 

3. I previously commented that your sound is rich in different nuances, that more visceral and direct part of black is complemented by elements and styles such as post-metal, death and especially doom, managing to convey different emotions and feelings with them Coming to compare yourselves with your countrymen Agalloch, how would you describe the sound of the album for those who haven't heard it yet? What bands and styles have influenced you when defining the sound of this “Fires in the Fall”? 

J. Coleman (Guitars/Vocals):  I think our sound is melodic black metal with doom and death metal elements.  The bands that have, and generally always influence how I write for a new Krigsgrav album are usually the same:  Type O Negative, Dissection, Dawn, My Dying Bride, Paradise Lost, Metallica, Primordial…I listen to new music all the time, but when I try to create for Krigsgrav I have a nexus of bands that I draw on inspiration from and it’s usually those same bands.  I think, for me, it’s important to have this “anchor” for inspiration for Krigsgrav, so the sound doesn’t go too left field.  It’s important to experiment and explore new sounds, but it’s also very important to me to keep our core elements together when doing so.  

4. In your lyrics you address topics related to nature or philosophy, but death and religion are also present, although all this under a prism of decadence and unease. Why do you consider these topics interesting to deal with in your lyrics? Does the music fit the lyrics or vice versa?

J. Coleman (Guitars/Vocals):  Lyrically I try to write about things I know or can speak on.  So, I try to write about real world things I see or have dealt with or have some relatability with.  I see issues with how we as humans treat the world like a plaything, how misinformation turns logic into bullshit conspiracies and how religion is used to control thought and influence negatively, so I write about that.  I have interest in these topics because I have a desire for a better world, a most kind and just one that makes more sense, not just for me but for my children or others, but, it seems that is futile, but we shall see.  The music is always written first, so the lyrics I suppose are meant to fit the music, but it all works together because it is all an honest expression of what we make.

5. The cover and the concept of the album was thought by you and designed by Cameron Hinojosa. What does this cover represent and how is it related to the concept of the album?

J. Coleman (Guitars/Vocals):  The concept was to have a dramatic figure, standing amongst a ritual/summoning area, looking towards the tree line.  The colors are supposed to convey the feeling of Autumn/Fall, but in a cold, almost menacing yet familiar way.  The overall idea was to create a cover that first off, looked really awesome, but also made you want to hear the album, to create interest and intrigue because you had to hear what it sounded like…so that’s what we were going for and I think Cameron killed it.

6. As with the previous album, you have worked with Wolfthrone Studios for the mixing and mastering of the album. Have you found the right place to get the sound you want for your music?

J. Coleman (Guitars/Vocals):  I think so!  Owe is a great guy to work with.  He understands what we are going for and he has created something we can be really proud of with The Sundering and Fires in the Fall.  He also plays this style of music, so he knows what to look for and how to get it.

7. You come from Keller, a town that borders on fifty thousand inhabitants. Was it very difficult to find the right people when it came to forming the band and expressing yourself as such? Is there an extreme music scene in your city?

J. Coleman (Guitars/Vocals):  David could probably speak to this, as he is from this area.  I lived in the Dallas area growing up, which is huge.  That being said it was still a bit difficult to find the right people to work with.  There are many musicians and a lot of people that like metal, but it’s finding the right people who you can create something special with that makes all the difference, and that is difficult.  I think with Krigsgrav we’ve been really fortunate to have people we can call friends in the band, but also bring something special musically, which is a wonderful thing.  

The Dallas/Ft. Worth area has a very vast extreme metal scene, lots of death metal mainly, but it certainly has a bit of everything.  I think the world is starting to figure that out.  Bands like Power Trip, Frozen Soul, Devourment, are obviously bigger bands from this area, but there are still bands like us and so many others doing our thing, and always will.

8. Once again, the record label Wise Blood Records has dealt with the edition in physical format of the album. At what point did you make the decision to work with them to carry out the editions? Has the cassette already established itself as a medium? Just as important as cds and vinyl when it comes to marketing music?

J. Coleman (Guitars/Vocals):  Sean has been amazing as a partner.  He was super supportive of The Sundering and it just made sense to work with him again for Fires in the Fall.  He has a genuine love of the artists he works with and he really busts his ass to get things done the right way and Wise Blood is for the artist first, which is fantastic.

The cassette versions seem to sell really well, which is always kind of interesting, as I thought they phased out in the 90’s but there are people who still love then, which rules.  I think whatever form you consume your music in is most important, so I can’t say one format is better than the other, I’m just happy people like to have physical copies of the album.  

9. Have you already started to present the new songs live? How is the public's reaction to them being? Who would you like to be able to share a mini tour with?

J. Coleman (Guitars/Vocals):  We haven’t played the songs from Fires live yet, but we’re working on that.  Nothing is set in stone yet, so not much to say on that front yet.  I’de share a mini tour with Necrofier.  They’re Texas based and good dudes who make good black metal, so seems like a fit to me!  I will also accept a tour with Iron Maiden.

10. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your lives that pushed you to want to be musicians?

J. Coleman (Guitars/Vocals):  I’ve always had a love of guitar based music.  I grew up on southern rock/rock/blues and from there my interest in metal grew pretty early.  The first concert I went to was Metallica, May 9 1997.  It was the show the filmed for the Cunning Stunts DVD.  It was awesome, Corrosion of Conformity opened and it was and still is one of the loudest shows I’ve ever been to.  The first album I bought myself was Nirvana’s Nevermind on tape, because it was super popular at the time…and I didn’t really like it.  Then I heard Metallica’s Master of Puppets and that changed my life.  That is what pushed me into being a musician and following this path for the rest of my life.  I always say I never had a choice and that this music found me, it was ‘my thing’ the moment I heard it.

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

J. Coleman (Guitars/Vocals):  For me, I would say Dissection’s The Somberlain.  From the Necrolord painted cover, to the riffs and lyrics on songs like Black Horizons, The Somberlain, Frozen, Mistress of the Bleeding Sorrow…the atmosphere of the acoustic interludes…this for me is what perfection in black metal sounds like.  It’s just such a classic, with Dawn’s Slaughersun right behind it for the very same reasons.  So good.

The last few albums I’ve gotten are Bizarrekult’s Den Tapte Krigen, Outlaws Reaching Beyond Assiah and Necrofier’s Burning Shadows in the Southern Night.

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

J. Coleman (Guitars/Vocals):  Thank you for the interview, the questions were great.  I would just say to Krigsgrav fans, thank you so much for the support, we very much appreciate it, you are the best!

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

Ifrinn ‎– Caledonian Black Magick 20,99 €

Vinyl, 12", 33 ⅓ RPM, Mini-Album

ETERNITY

 

Origen: Noruega, Oslo

Formados: 2003

Estilo: Black

Temática: Muerte, oscuridad y satanismo

Enlaces: Facebook y spotify

Miembros: 

• Eternity Todos los instrumentos y voces

Discografía:

• In Subspecies Aeterna Demo 2003  
• To Become the Great Beast Demo 2005  
• Bringer of the Fall CD 2006  
• Te Nostro Deum Sathanas Single 2019  
• To Become the Great Beast CD 2019  
• Mundicide CD 2023

MUNDICIDE (2023)

Con un pasado que se funde con referencias claras al black noruego de los noventa y siempre con la figura de Evighet con referente a la hora de entender el sonido de esta, su banda. Estamos ante le tercer larga duración de Eternity, después de una etapa inicial de un par de demos que culminó con la edición del álbum "Bringer of the Fall" en 2006 para después dar paso a un período de silencio que culminó  casi trece años después, retomando el pulso en 2019, justo cuando el Covid-19 volvía a interrumpir el normal desarrollo de la carrera de la banda. Con la edición este 2023 de "Mundicide", el cual en origen fue concebido como Ep, pero que sin embargo a visto la luz en formato larga duración. "Mundicide" consta de diez canciones, todas ellas con un referente claro en cuanto a influencias al sonido black noruego de los noventa. Podemos apreciar en líneas generales un ritmo alto, con pocas concesiones a la creación de atmósferas, con un sonido de guitarras directo, afilado y crujiente, planamente integrado en lo más clásico del género, con cierta presencia de oscuras y frías melodías que salpican las composiciones, así como diferentes texturas que pueden ser descritas como de rock o death que aportan mayor groove la conjunto. Las voces se sumergen en terrenos bastante directos y crudos, perfectamente integrados en esa vertiente más clásica del black, alternando algunas secciones que pueden adentrarse por estilos como el death, sin olvidarse tampoco de ciertas secciones en donde las segundas voces parecen que quieren añadir un tono más coral y épico al conjunto. Un álbum que nos retrotrae a la década de los noventa, sumergiéndonos en el sonido black noruego y que cuenta con algunos elementos diferenciadores, como ciertas melodías o esas influencias rock y death anteriormente descritas que permitan que todo fluya con mayor dinamismo. (7,9).

Soulseller Records

1. Journey Towards the Darkside 05:29  

2. Under the Gaze of the King 04:08  

3. Mundicide 04:15  

4. Hymn 06:32  

5. Gunmetal Sky 03:02  

6. Pest! Frykten i den andres øye 06:11  

7. O Discordia 03:23  

8. The Seventh Seal 10:10  

  43:10