GÖKBÖRI

ERLIK (2017)

La irrupción en la escena black hace unos cuatro años con su álbum debut, supuso la inclusión de un nuevo grupo con tintes thrash y rock que no hacían ascos a dejarse influenciar y tratar en sus letras temas relacionados con la mitología y la tradición de su Turquía. Sin lugar a dudas este tiempo entre ambos lanzamientos les ha servido para profundizar en su propuesta, los elementos relacionas con la mitología y las tradiciones turcas se va colando en las letras de los temas, realmente alcanzando cotas de elaboración y de estudio de las tradiciones muy importante. Por otra parte Gökböri nunca le han echo ascos a un sonido clásico dentro del black metal con fuertes influencias thrash o incluso rock, que buscan sus orígenes en el sonido de comienzos de los noventa, teniendo como referencia a Celtic Frost o Venom entre otros. Estas influencias se hacen más patentes en "Erlik", demostrando que hoy en día es posible todavía ofrecer un buen álbum que se colaría en la escena de finales de los ochenta, comienzos de los noventa y no desentonaría. El trabajo de Jesse Haff a la batería es un pilar fundamental en la orientación del sonido de este álbum y buena parte del merito del mismo recae sobre él. No hay que olvidar tampoco el papel desempeñado por el fundador de la banda, Emre Balık, que ha desmostado una vez más lo que es capaz de ofrecer a las seis cuerdas, desgranando esos riffs mezcla de thrash, rock y punk, pero sobre todo se sigue erigiendo en un vocalista fundamental, fíjate que por momentos se me ha venido a la cabeza Lemmy, dotando a las composiciones de carácter y como nexo fundamental entre esa parte pagana o tradicional de la música de la banda con la otra vertiente más thrash, black. Sin lugar a duda estamos ante un álbum elaborado, tal vez de sonido sencillo, pero que gustará, sobre todo por ese sonido casi que cazalloso y sucio. (8).

Hammer Müzik

1. Tamuya 03:29

   Boynuzun gölgesi altında 

Yer ile gök arasında 

Yaşayan ölüler birçoğunuz 

Yaşam denilen anlamsızlıkta 

Bey olmak varken yedi kat altta 

Mankurt olmuşsun tanrınıza 

Toybadımdasınız hepiniz 

Alıs Yer'den uzaktasınız 

Görkemli tapınaklar yapıp 

Sisli örgölerde oturursun 

Bey olmak nedir bilmeden 

Köle olmuşsunuz taptığınıza 

"Kalgançı çak geldiğinde 

Kara toprak odla yandığında 

Demir üzenginin dibi delinir 

Deniz çalkalanır gibi görünür 

Denizin dibinden dokuz ayrı taş çıkar 

Dokuz yerinden yarılır 

Dokuz yerden dokuz sandık çıkar 

Her sandıktan dokuz kişi çıkar 

İkisi başkan olur 

Onların atları sarı olur 

Ön ayakları kılıç olur 

Kuyrukları keskin olur" 

Erlik'e uyanlar 

Tamuya!

2. Yelbegenler Yüresi 04:22

  Savaş bitti 

Kan renginde gökyüzü 

On binler yatmakta 

Damla kan yok yerde 

Eski, yeni tanrılar 

Ne yerde, ne gökte 

Ne de yeraltında burada 

Akacak olan kan içilmiştir çoktan 

Yelbegenler yüresinde 

Demir komus 

Üflendi dokuz dilde 

Kanın ve tinindir 

Onların istediği 

Eski, yeni tanrılar 

Ne yerde, ne gökte 

Ne de yeraltında burada 

Akacak olan kan içilmiştir çoktan 

Yelbegenler yüresinde 

Bakır-sukımı 

Bugün daha da bir parlak 

Erklig’e göz kırpıyor 

Yıldızlar teker teker sönüyor

3. Karabasanlara Dönüş 03:24

Bizden yeyler suyla yaşıttır 

Ödden önce, evren kadar eski 

Kargaşayla karanlık heryerde 

Gündüzler oldu gece 

Dönergeler, dönüşmüşler 

Kişioğluna, hayvana 

Obur kan somurur 

Ölümü beğenmez Hortlak 

Kör olsalarda orada 

Geceleri görür burada 

Saklan, gizlen 

Sisli, puslu 

Düşüncelerin ardına 

Kaçacak delik yok 

Gündüz gözü gördüklerinden onlar 

Saklan, gizlen 

Sisli, puslu 

Düşüncelerin ardına 

Boyut ayrımı artık yok 

Gündüz gözü gördüklerinden onlar 

Karabasanlara dönüş 

Fısıltılar oldu çığlık 

Karabasanlara dönüş 

Sessizlik kalmadı

4. Gökten Gelen Tuğ 04:34

  Kazanmak için 

Dolunayı bekle 

Pusuya yat 

Ayça ile 

Üç kez diz vur 

Kün Tengri'ye 

Kut verir Altın Dağ çevresinde 

Körügme Kün tengri 

Körünügme Ay tengri 

Siz bizni küzeding 

Sağ kanatta güneşi 

Sol kanatta ayı 

Tutar Gök Kartal 

Yan yana durur 

At ile boğa 

Tek gözlü bilge 

Yansır sancağa 

Sanırsın 

Kan rengidir 

Oysa o 

Gök gibidir 

Sağ kanatta güneşi 

Sol kanatta ayı 

Tutar Gök Kartal 

Demir Kazık kendisi yıldız 

Ay Ada'nın ışığı sonsuz 

Gökten gelen tuğ 

Biri gören, öteki kör gözü 

Duyuldu temir kopuz 

Gökböri'nin ışığı essiz 

Gökten gelen tuğ 

Biri gören, öteki kör gözü

5. Erlik 05:39  

Derin suların iyesi 

Gönderdi 43 etkeri 

Tinler teker teker tamuya 

Yeraltının beyi Erlik 

Ölüm bize tek gerçeklik 

Uçuk tındı bıçıp salgan 

Ölöttön tın algan 

Kurtuluş yoktur bundan 

Kara Kütük'te buluşurlar 

Bir kapıya bakarlar 

Daha yakındır O, tanırsan sen 

Tanıyıp bilmediğin yakın bir kişiden 

Dön bak içine, karanlığın dibine 

Göreceksin gölgesini O'nun 

Ta kendisidir kişioğlunun 

İyi ile kötünün ötesinde 

Bilinen öğretilerin dışında 

Toybadım - geçiş yok, dönüş yok 

Duyutba - kapar, tutar, yutar 

Çamçağı olacaktır kafatasları! 

Kargaşalar yaratan 

Vur çekicini örse 

Yılan, akrep, bükeler 

Sıra geldi körmöslere 

Toybadım - geçiş yok, dönüş yok 

Duyutba - kapar, tutar, yutar 

Çamçağı olacaktır kafatasları! 

Daha yakındır O, tanırsan sen 

Tanıyıp bilmediğin yakın bir kişiden 

Dön bak içine, karanlığın dibine 

Göreceksin gölgesini O'nun 

Ta kendisidir kişioğlunun

6. Körmösler Görmezler 02:27

 Uzun uzun baktığında 

Karanlıkta bir oda 

Oynayan gölgeler 

Biçim alan eller 

Sol omuzdadır 

Üste çöken ağırlık 

Yanıbaşındadır 

9 kattan gelen varlık 

Körmösler görmezler! 

Körmösler görünmezler! 

Yegler! 

Aldaçılar! 

Albıslar! 

Karanlık çöktüğünde 

İki ay göründüğünde 

Kuzeye doğru baksan 

Yaygaraya başlarsan 

Göremezsen bile 

Soğuk rüzgar yüzünde 

Tinin ayrılır senden 

Sor bunu sen yegden 

Körmösler görmezler! 

Körmösler görünmezler! 

Yegler! 

Aldaçılar! 

Albıslar! 

Ara ara sustuğunda 

Sessizliği duyduğunda 

Sana bakan yüzler 

Biçim almış bedenler 

Her yerindedir artık 

O hissettiğin ağırlık 

Sandın mı ki bitmişti? 

Dört bir yanın çevrili

7. Ben, Ang 05:19

Kamların davulları susmuş Işığın içinde böri Göremez olmuşlar O’nu Göğün çökmesi mi gerek? Yanlış tanrı yamanmış Dağa, taşa, denize Altıncı kattan bakmakta Gök sakallı boğa, Ay Ada Ben, ang Tur kağan Tek boynuzu devirmişim Özgür kılmışım sizi Asırlar geçmiş, köle olmuşsunuz yine Boynuzsuza Buyruğum biline! Yıldırımlar düşe Yerler yarıla Kızıl çıka Buyruğum biline! Öl! Gök rengi yüzüm, börininkidir sırtım Ay’ın oğluyum, ışıktan doğmayım Kılıcımı çıkardım kınından Tek başıma da olsam ordumda Gök rengi yüzüm, börininkidir sırtım Ay’ın oğluyum, ışıktan doğmayım Keseceğim başını onun Keseceğim başlarını ona kulluk edenlere Buyruğum biline!   

8. Çift Başlı Kartal 03:56

Sekiz köşeli yüzey 

Ortada, kıyıda dağlar 

Denizler çevirmiş dört yanı 

Ölümdür burdan tek çıkış yolu 

Çift başlı kartal 

Demir Kazık'tan sarkar 

Çift başlı kartal 

Göğün kapısını tutar 

Çift başlı kartal 

İnsin yıldırımlar 

Uçsuz bucaksız bir dam 

Kaplamış tüm yeri ve göğü 

Kanatlarla kapalı kapısı 

Ölümdür burdan tek çıkış yolu

  33:10

IMPURE ZIGGURAT

Origen: Francia

Formados: 2012

Estilo: Black, death

Temática: Astrosofía oculta y civilizaciones perdidas.

Enlaces: Bandcamp, facebook y youtube

Miembros:

• CDRK Guitarra
• LDVC Bajo
• RM Batería
• TR Guitarra y voces

Discografía:

• Raping the Quantum Womb of the Macrocosm Demo 2015  
• Serenades of Astral Malevolence EP 2016
• Crimson Tide from the Pleistocene EP 2020

SERENADES OF ASTRAL MALEVOLENCE (2016)

La primera demo de estos franceses ya supuso un toque de atención dentro de la escena black-death que sin lugar a duda se ha visto reforzado con este Ep de tres temas. El tema inicial no deja de ser un pequeña intro que en menos de un minuto cumple con el cometido de crear el ambiente de muerte y oscuridad que se desata en los siguientes dos temas. La contundencia de la propuesta está fuera de toda duda, riffs brutales, voces que se mueven entre lo brutal y lo desgarrador y una ambientación que raya lo agobiante y lo putrefacto. Esto es lo que transmite Impure Ziggurat en estos apenas once minutos de Ep, densos y contundentes moviéndose magistralmente entre el black death, con una sutil dosis de atmósfera pagana que se vislumbra en un segundo plano. Sin lugar a dudas trabajos como estos muestran el buen hacer dentro de vertiente más extrema del género y dejan al oyente con las ganas de un álbum de larga duración, pero ya. (8,5).

Magister Dixit

1. Teleos Eniautos 00:53  instrumental

2. Convocation of M64 Abominations (Abhorrent Portal of Flesh, Collapsed) 04:11  

3. Summoning Oort's Semen (Crawling into the Serpents' Nest) 06:23  

  11:27

MISANTHROPIC FOREST

Origen: Finlandia.

Formados: 2007

Estilo: Black

Temática: Misantropía y naturaleza

Enlaces: Bandcamp y facebook

Miembros:?

Discografía:

• Demo 2017 Demo 2017  

Demo 2017 (2017)

Cuatro temas contiene la primera demo de la banda finlandesa en donde se van adentrando en terrenos del metal clásico. Con una producción cruda y minimalista en ciertas partes se nos presenta el primer tema que da comienzo a la demo "Nothing but Whores", con unas voces mezcla entre crudeza y agresividad presentes en temas sucesivos, la batería sonando impertérrita pero sin acabar de cuajar del todo, tal vez con una excesiva presencia pero con cierta perdida de contundencia, una mayor producción de la misma redundaría en un mejor resultado final de esta demo. En cuanto a las guitarras se ven un tanto ensombrecidas en el sonido final arrancado a la demo pero cuando cobran presencia se mueven por terrenos entre lo melódico y lo oscuro, bien elaborados los riffs, necesarios ,pero con la urgente necesidad de tener más presencia en el futuro. Una demo, en definitiva, que cumple con las pretensiones de sonar underground, sucia y sobre todo agresica yviolenta, sensaciones que están presentes en todo momento, al mismo tiempo que el buen hacer del black tradicional de la escena escandinava, con margen de mejora, si, pero también con el echo de contar ante nosotros con una demo con un sonido y propuesta de clara orientación clásica en la escena. (8).

1. Nothing but Whores 05:38  

2. Purging Fires of Mars 04:57  

3. Before Men There Were Others 04:22  

4. Victories over a Time There Was 05:13  

  20:10

SCÁTH NA DÉITHE - INTERVIEW

1. The first EP came out about a year and a half ago, when you said that the composition and recording of "The Horrors of Old" was natural and quite fluid, tell us a bit as has been the process of composition and recording of this new Album? Perhaps knowing the repercussion that had reached the previous Ep., Was an added pressure to confront the composition of this "Pledge Nothing but Flesh"?
The album was written over the early part of 2016, the process was very similar to the writting process of the EP. When we rehearsed we would record ourselves playing the songs start to finish at the end of a rehearsal, when you are composing songs of this length it can be nessesary to do this so when we would meet again we would be sure of what we were playing. We were extremely pleased with the responce we got to the EP but we didn't feel any pressure to try and live up to it or try recreate it's success.

2. In this new album continue to deepen in the different styles present in his previous work, which are mainly death and black and I think they have also worked in the more atmospheric part of his sound, adding some passages quite good, achieving a Album with a more defined and mature sound, can we say that they have taken note of the best of "The Horrors of Old" and that they have worked and evolved to find the sound of this "Pledge Nothing but Flesh"?
We were very focused from the start of the writting process of this album on wanting to expand upon the sound of the EP. We had the goal of compossing a full length album when we started working on the songs so the addition of atmospheric parts and new elements was very much intentional. Over the course of the album it was very important to us that the listener would be introduced to a new feel or sound as the album progressed.

3. Whose idea was it to include the two instrumental pieces in the album and what objective did you look for with them?
The first piece is an introduction, it's purpose is to set the mood and help the listener to become absorbed in the atmosphere we created on the album. The second instrumental piece is there to provide a contrast between the harsh songs that went before and to lead into the second half of the album. Pledge nothing flesh is arranged the way it is to be an album of two parts, the first half is all out rage, where as the second half is meant to be more reflective and sorrowful. 

4. The inspiration to write the lyrics of the songs, still comes from the stories and legends of the Irish tradition?
Yes absolutely. I take all the inspiration for the lyrics from Irish folklore and traditions, but as I say they are there to inspire, not to be simply copied. I don't just recount the story of what happened in these folk tales and use that for lyrics, I want to draw on the imagery present in these tales,the lessons and emotions they conjure up. I am extremely passionate about reading these stories, there is an endless amount of sorrow and misery present in many of these tales, so much so that I find it hard not be moved by them to create.

5. During this year, do you contemplate the possibility of bringing the group's music to the live, offering some concert?
It is something we are interested in doing but for the foreseeable future we won't be able to make it happen.

6. Do you continue to get the digital edition of your music for the digital format as well as for the cd, there are no offers on the part of some seal to be able to edit your music or is that you feel more comfortable in this way to have control over your work?
If you are talking about working with labels we are open and looking for labels to work with to release our music. We are going to be releasing a limited edition cassette of Pledge Nothing But Flesh this comming March through the label Metal Defiance Productions. We are trying to find a label at present to release the album on vinyl also.

7. With the recent albums edited by already consecrated bands like Primordial, Celtachor or Slidhr and with the irruption of other new bands like Apokathilosis or Mortichnia we can say that the health of the Irish extreme metal is in good health?
Yes the Irish scene is very healthy, there are many bands currently making a name for themselves outside the confines of a small country like Ireland, and for such a small country there are a large number of extremely talented bands. Besides those you mentioned I would encourage people to check out Aeternum Vale, Coscradh, Mourning Beloveth, Gaoth, Legion Of Wolves to name a few. For those who really want to discover all the amazing bands Ireland has to offer I would recommend visiting the Irish Metal Archive website.

8. "Pledge Nothing but Flesh" is a short time market, what expectations have you created for this album and that awaits your followers in the coming months by Scáth na Déithe?
We hope to reach as many people as possible with this release and hopefully gain some new fans and attract the attention of labels. We are overwhelmed with the reaction we have recieved so far and exremely grateful to everyone who has supported us and purchased the album. Going forward we hope to record another EP before the end of the year, it is currently in the early stages of being written.

9. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Scath na Déithe, this is the place. I hope the questions are to your liking.
We would just like to express our sincere thanks and gratitude to everyone who has supported us in any way and listened to our music. Sláinte!

YAYLA - INTERVIEW

Good evening, thank you very much for accepting to answer these questions, how about everything for Nanrum or London?

Namrun is full of religious sons of bitches and disgusting peasants I am glad I am in London. Though I miss the vast and transcendental nature, the religious cockroaches ruin a great place where our band was formed and takes inspiration. London is a great place to live; I travelled a lot and found that this city is my favorite. Truly atmospheric, I can even write an album about London one day.

1. Yayla was born in 2007 and publishes its first demo a couple of years later, we can say that Yayla unlike Blliigghhtted, Funeral of God, Red Bible Black and Viranesir, your other projects, has a special meaning, what led you to to create Yayla? What does Yayla's name refer to?

You look at a distant landscape and it looks beautiful, but there is no way of touching it except you go there, and when you go there it is no landscape. This is death seen from life, and it is what this band is about. Yayla was our high school band with Merdumgiriz. We were listening to lots of obscure extreme music back then and always wanted to hear something more violent and depressive than anything else so we did it ourselves. I really liked brutal and powerful metal, soul tearing misery in music, grandiose orchestral, acoustic, dungeon synth and I wanted a more extreme form of all this. I wanted to be the voice of death, and am still trying. Yayla is my first project; it means alpine meadow, we formed it in Namrun’s meadows where we would spend months in isolation making art in ancient castles. I wanted to channel the essence of death I got from nature and ancient ruins, which is where I get it the most, into any sort of music that I make with this band. 

2. Unlike Blliigghhtted and Viranesir with those who have been editing material fairly regularly, the truth is that Yayla had been parked almost four years, what was this silence?

I committed suicide and spend a long time in the mental asylum after the last Yayla album. It had a lot to do with the last album and naturally it was hard to go back to it. I wrought very monotonous and hypnotic pieces of magic in the fist isolationist metal trilogy (Ruhizolasyon, Sathimasal and Nihaihayat), also I also made a monotonous audiovisual project with dungeon synth soundtrack (Fear Through Eternity). I thought I was ready for a certain death, but it seems I wasn’t, so the journey had to go on. Time had come to make a new beginning, dynamic start, hence I tried lots of things with the other bands and started making dynamic and progressive music, and I did a Yayla album with all that experience of 5 years in my side projects with the depressiveness and powerfulness of metal and ambient as usual, Pas.to.rale is the result.

https://vimeo.com/76544669

3. The themes you deal with in your other bands are more controversial, however in Yayla you approach philosophy, transcendence and ancestry, what leads you to try this theme in Yayla Where does the essence of Emir Toğrul reside, The extremes of irreverence or at the end of philosophical thought or yet it is situated in a middle line?

The essence of Emir Toğrul lies in beauty and harmony. I am a very happy person that has everything he wants. In all these projects, the lyrics I write are relatable things that make sense rather than occult bullshit or mindless overdone metal aesthetics. Be it controversial, satanic or philosophical my lyrics are accessible and easy to understand yet speak of truths harder than even the most ultimate badass would like to hear. My essence is that I do not pretend to believe in objective values. In Viranesir this manifests in a lack of morality, in Blliigghhtted as a satanic indifference to evil, and a beautiful lack of connection to life in Yayla which means it is as controversial but very indirect in its delivery compared to my other bands. It can be called a musical expression of nihilism and death.

4. It is clear that the music you produce and in this particular case in Yayla is dark, cold, and even at times uncomfortable, is your music the reflection of your mind and personality?

There were times that I lived through intense and prolonged suffering which of course shaped the approach of all my bands. People often tell me I make the most uncomfortable, intense and dark music they have heard. I have spent years in unjust sufferings and mental disturbances that only got progressively worse at the time they were happening and I have been very keen on channeling all this into my music. On the other hand, in my current daily life I am usually quite happy and have a lot of friends, lots of sex and fun. I got money and live in London, don’t drink or smoke or take drugs. I am an easygoing person who is socially very active and healthy. But I went through Dante’s hell to come to this, and that will always be where my muse comes from.

5. Do you find it difficult to take care of all the instruments and voices when recording and producing Yayla albums, or do you have the help of third parties?

I don’t find it difficult, matter of fact it is easier and more fun than working with others. I have

people begging me to help them with their own music and I feel sorry that they are unable to do it themselves. I don’t need help, I learned how to do everything myself, it is the best way to make art. Fuck people.

6. In his music there are classic black influences from bands like Bathory, but there is also a background of classic bands not so related to metal, is this true?

The beauty of the melodies equals the brutality and violence of my music. That beauty comes from non-metal music. I listen to a lot of classical music, maybe more than metal. Sir Ralph Vaugen, Albinoni, Vivaldi and million composers mostly but not limited to pre 20th century graves and adagios. Everyday I listen to symphonic, chamber, ballet, vocal, symphony whatever goes so long as it is not happy. They really influence my compositions. I also listen to a lot of pop, house, ambient, gangsta rap, folk, industrial and everything in some sort of way influences the beauty of the melodies. I grew up listening to Mozart, Cat Stevens, Barbra Streisand, Simon & Garfunkel, Jesus Christ Superstar, Dire Straits going through forest landscapes at night, so it is where my heart lies.

7. As a musician, you are a photographer, direct from the cinema and actively participate with the record label, where does he make time for everything? And which of these disciplines do you feel most comfortable with?

I am a dictator and can’t be under another boss with my art but running my own record label sucks, doing PR, sales, releases shit like that is boring as fuck. When it comes to making art, I love them all and feel comfortable in all of the areas. Time is no problem because I gladly spend most my free time to art, I really love creating its my addiction. It is like asking a smoker how does he find time to smoke 2 packs a day. I wish I could do more films, but it takes more people to make music, which sucks. I don’t like working with people, so I do more music, which is a singular job. But here are some of my films: http://merdumgiriz.org/Gotsiken/Films.html

8. With Yayla just released album recently, but what future plans does it have with all the bands of which it is part?

I see a new death; hence as I said, I started a new phase with Pas.to.rale; there will be couple albums that I will spend in this phase. I want to make an acoustic album and a full on orchestral or ambient one. But who knows what will happen, it is my muse that dictates what I do not the other way around. Viranesir will keep making psychotic and perverse albums, Chaoscunt (ex-Blliigghhtted) will be more violent than ever, and all of my projects will be miles ahead of the rest of the current garbage that gets released in the name of music.

9. The release of most of your music through your label "Merdümgiriz" seems to be almost necessary due to the high volume of publications for your different projects and certain aspects that surround it, but what criteria do you follow at the time of To select bands for the label?

The most important criteria have become not fagging out. I don’t want politicians who claim they are “just interested in the music”, I want total psychos who know that art & especially extreme metal mean more than music and ready to go all the fucking way. I want people to be ready to die for their beliefs, and reflect this in their art. I had many artists who couldn’t rake the stress of this label and left and I needed to kick many people out as well because they were lesser than I initially thought. It is an elite label that does not give a fuck about money and fame but supremacy. I need bands to stick to the label in tough times because everybody hates us and wants us to fail. Webzines threaten my artists to not work with me, and stuff so I need the artists to be with me full on like their life depended on it. We will go on and I need warriors to go on with me.

10. I suppose you will be satisfied by the repercussion and good criticism received by this "Pas.to.rale"?

No, I always want more and more, I am never satisfied. But yes it is getting quite a lot of good reviews and sales. It hasn’t been a month and I got like 10 reviews all over 80/100. Lots of people who reviewed my previous work say it’s my best. I like it when it gets a lot of attention. But at the same time, I want to make new things and Pas.to.rale is a thing of the past.

11. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Yayla, this is the place. I hope the questions are to your liking.

Extreme metal is more than just music; push the fucking boundaries don’t be a domesticated faggot. I really liked the questions, thanks for talking to me and reviewing our albums!

Nails ‎– Unsilent Death 16,99 €

Vinyl, 12", 45 RPM, Album, Reissue, Repress

Recorded on December 27th 2009 - January 2nd 2010.

The catalog number LORD 127 is taken from the spine, LORD127 from the back cover, and LORD-127 from the labels.

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CHIRAL

Origen: Italia, Piacenza

Formados: 2013

Estilo: Black atmósferico

Temática: Amor, anticristianismo, instrospección, muerte, soledad y sufrimiento

Enlaces: Bandcamp, Chiral, facebook, soundcloud y youtube

Miembros:

• Chiral Todo

Discografía:

• Winter Eternal Demo 2014  
• Abisso Demo 2014
• Where Mountains Pierce the Nightsky Split 2014
• Death's Dominion Single 2014  
• Sed Auiis Split 2015  
• My Temple of Isolation Single 2015  
• Night Sky CD 2015
• Snow//Heritage EP 2016  
• Gazing Light Eternity CD 2016
• The Gazer's Throne [2017 Single - Fólkvangr Records Exclusive] Single 2017  
• The Twilight Songs - part I EP 2017  
• Origins Split 2017
• Fire​/​/​Heritage EP 2018
• The Loner Single 2019
• That Little Wormhole You Called Heart (part II) Single 2020
• Hope CD 2020

GAZING LIGHT ETERNITY (2016)

Su anterior larga duración ya daba muestras de la evolución y de la madurez del sonido alcanzado por la banda, despojándose de las partes más doom de sis inicios para cobrar más presencia los elementos atmosféricos. Así llegamos a este su segundo larga duración compuesto de cuatro temas, dos de ellos más extensos en donde se nos presenta un black de tintes atmosféricos, en unos temas densos, repletos de buenos riffs de guitarras, arreglos de teclados que añaden un poco de melodía tendiendo hacia la melancolía y que muchas veces tienden a crear un efecto casi que hipnótico debido a la repetición de patrones. Destacan los riffs de guitarra muy buenos en unos temas que sufren acertados cambios de ritmo, sin perder la esencia de la black atmosférico en temas que transitan por el dolor, la soledad y la muerte, sin olvidar la voces, que se adentran en terrenos de crudeza pero que muchas veces se ven acompañadas de algunas partes más limpias casi que corales que acentúan la épica y la frialdad. Estos dos temas se ven intercalados con otro par de temas que se mueven más por un terreno acústico, centrándose en las emociones de las composiciones, más libres de artificios, cobrando mayor importancia los teclados, las partes limpias de guitarra y alguna que otra voz de referencias melancólicas. El álbum en conjunto está muy trabajado, sobre todo las partes de guitarra y teclados, con melodías claramente oscuros y melancólicas difíciles de olvidar. (8,1).

1. Part I (The Gazer) 14:50

Redness behind the crest of east I Cherish the last rays of this mournful day Night spirits are whispering truths Lost chants about death and life. I gaze this black eternity at my will Inhale it to fulfill my lungs. This night woodland is my home now, I'll enshrine it till the day I will breath no more. Rain pours down A cold mist is raging amongst the pines. Let your eyelids fall, Your guide it'll be in the eternity of time. I touched the hourglass, Saw what it means to be alive. Made from rocks a bed, rotten rose's thorns I crowned my head.

2. Part II (The Haze) 06:21

I woke up in pain, as the last sunset's gone.

I'm trapped inside this horrible haze.

And this haze is chocking me to death.

Bounded by the moon.

Embraced by the earth.

Abandon by lies.

Washed by the relentless time.

The earth's scars muddle with the wind.

Inverse process of a long gone rite.

And the haze pulses.

My scars reopened by the crash.

Healing. Slowly, as I feared for my own death.

And it sung like this:

Everything just stays.

Everything just flows.

No one would care.

As no one has never known.

So, let it go.

Set your corpse to rest amongst the Blackwood eternity.

3. Part III (The Crown) 13:15

Redness behind the crest of east

I Cherish the last rays of this mournful day

Night spirits are whispering truths

Lost chants about death and life.

I gaze this black eternity at my will

Inhale it to fulfill my lungs.

This night woodland is my home now,

I'll enshrine it till the day I will breath no more.

Rain pours down

A cold mist is raging amongst the pines.

Let your eyelids fall,

Your guide it'll be in the eternity of time.

I touched the hourglass,

Saw what it means to be alive.

Made from rocks a bed,

rotten rose's thorns I crowned my head.

4. Part IV (The Hourglass) 06:09  instrumental

  40:35

Chalice of Blood - "Helig, Helig, Helig 13,99 €

Enigmatic Occult Swedish union of CHALICE OF BLOOD is back with a first feature length release. After a classic 2005 demo and two brilliant splits (with ARKHA SVA and ISRATHOUM) comes a work of several years of occult growth and maturation. "Helig, Helig, Helig" appears as a violent and intense storm, with a fair share of obscure yet not overpowering melodies. Pitch-black aural assault, with production by MARDUK's Lars Broddesson and layout by ever-evolving digital genius of Brianvdp.

HAZTE CON ÉL EN : BLACK METAL SPIRIT STORE O DISCOGS

MINNERIKET

FROM THE VEINS OF A NEARLY DEAD BOY (2017)

Tercer larga duración para la one man band Noruega, para la ocasión regresa con un álbum que se centra en ofrecer versiones de algunos temas representativos de la mítica banda Burzum. La tarea que pretende llevar a cabo Stein Akslen no es para nada sencilla, no ya solo por el echo de captar la esencia de tan mítico combo sino que realizar un álbum de versiones de tan reconocida formación más de una vez acarrea controversias entre sus más fieles seguidores. Lo primero que ha logrado Stein es conseguir esa atmósfera de comienzos-mediados de los años noventa, en esencia el aura de las composiciones originales de Burzum con las crudeza, violencia y paganismo que de ellas emanaba. Eso si, sería una lástima que tan buenos mimbres se limitaran a copiar y a no llevar a terreno propio las versiones, aspecto que se ha logrado sobradamente. Los temas conservan la crudeza y sonoridad anteriormente comentada, y que sin lugar a dudas se mantiene fiel al original, bien es cierto que poco a poco vamos descubriendo aspecto más actuales en la composiciones, así como un cuidado apartado de guitarras y de voces, las primeras conservan crudeza y agresividad al mismo tiempo que aportan cierta melodía y atmósferas oscura, las voces por su parte son agresivas, pero conservan cierta linea más limpia y aún sonando agresivas se amoldan perfectamente al conjunto final. Quien quiera repasar un poco de la carrera de Burzum, conservando la esencia pero sin renunciar a ciertos nuevos matices incorporados a su música, está ante una buena oportunidad (8).

Akslen black art

1. Lost Wisdom 04:44  

2. Jesu død 08:41  

3. Ea, Lord of the Depths 04:42  

4. A Lost Forgotten Sad Spirit 10:53  

5. My Journey to the Stars 07:46  

6. Glemselens elv 11:36  

7. Back to the Shadows 04:36  

  52:58