viernes, 22 de septiembre de 2017

WRAPPED IN PALE


Origen: E.E.U.U.
Formados: 2015
Estilo: Black
Temática: Depresion, introspección y venganza
Enlaces: Bandcamp
Miembros:
  • Lord Shroud ?
Discografía:

  • Demo Demo 2015  
  • Nidstang EP 2017

NIDSTANG (2017)

Después de la demo de hace un par de años esta one man band al frente de la cual se encuentra Lord Shroud regresa con un nuevo Ep de cuatro temas e donde la desesperación y crudeza de su música quedan patentes desde el inicio. Una constante a lo largo de los cuatro temas que conforman este trabajo es por un lado la crudeza y desesperación que emanan de todas y cada un de las notas y el ambiente  melancólico, triste y casi que depresivo que emana de las lineas de guitarra. A destacar, bajo mi punto de vista, el contraste creado en el tema de inicio "Domination of the Eternal Kabbalah" en la contraposición entre la agresividad de las voces y la inclusión de algunas partes de voces femeninas limpias que acentúan el ambiente de desesperación del tema. Así mismo "Nidstang" tema con el que se cierra este lanzamiento y que da título al mismo es un tema que comienza de una manera tranquila y sosegada, haciendo pensar al oyente en un tema de enlace o de relleno, pero en nada comienza a crecer erigiéndose en pieza fundamental del EP. Cuatro temas que son como un estado de ánimo, moviéndose entre momento rápidos y directos en otros más tranquilos e intimistas pero siempre respirando oscuridad, violencia, desazón, melancolía o depresión. Es cierto que por asociación podemos pensar en bandas como Drudkh o Hate Forest pero sin lugar a dudas Lord Shroud va un paso más allá y es capaz de crear un ente totalmente diferenciado y muy completo. (8).



1. Domination of the Eternal Kabbalah 05:58  
2. Timeless Grief 05:47  
3. Nidstang 07:21  
4. Táim Sínte Ar Do Thuama 06:08  
  25:14








martes, 12 de septiembre de 2017

KARNE


Origen: Francia, Nancy, Lorraine
Formados: 2011
Estilo: Black
Temática: Agonia y muerte
Enlaces: Facebook
Miembros:

  • Apathy Guitarra y voces
  • Armory Bateria
  • Ben Bajo
  • H.K.A Guitarra
  • Raido Guitarra
Discografía:

  • MMXII Demo 2012  
  • Faith in Flesh CD 2014  
  • Symposium of Torments CD 2017
  • Condamnés CD 2023
SYMPOSIUM OF TORMENTS (2017)
Segundo larga duración para el combo francés en donde siguen un poco el camino trazado en anteriores obras, pero está vez teniendo que hacer frente a la salida de uno de sus miembros fundadores, sin embargo creo que el resultado final no se ha resentido. El sonido de la banda queda perfectamente reflejado en sus principales influencias y la inclusión del tema "Natassja in Eternal Sleep" en el tributo a Darkthrone, en el cual participaron, nos puede dar una idea bastante clara de donde proceden estas. Alejándose un tanto de temas más trillados en el black metal, Karne ofrecen en este "Symposium of Torments", diez historias repletas de muerte, decadencia y agonía. Sonido de black nórdico, en una línea bastante clásica con influencias claras de Darkthrone como anteriormente mencionaba, con una buena línea de riffs melódicos prácticamente presentes en todas las composiciones que hace que en algunos momentos su música se acerque a terrenos sinfónicos pero sin embargo no abandona el tono crudo y directo, conservando el poso e influencias de la escena francesa. Sin lugar a dudas estamos ante un lanzamiento más que atractivo, que se identifica con la corriente escandinava, con unas buenas líneas de guitarra melódica y un buen y elaborado trabajo en las letras. (8,3).





1. False King Coronation 05:40
  The sky is closely watching him, motionless
Lying down in the middle of thousand laughs
Surrounding with smilling faces staring at him
Blaming his belief, punishing his choice
Satisfied to see this soul, suffering
From this dry sand brushing his eyes
Delighted to play with a tied-up body
Covered with bleeding wounds
His dusty skin hides his swollen veins
By the desperate beating of his scared heart
However loud he begs for mercy
His fate is already engraved in their joy
Feeling cold iron going through his flesh
Hearing his own blood dripping down from his hands
The pace of the hammer strokes accompany his heavy breathing
Like a church bell rises above the silence of a cemetery
With pain his eyes get closed and crossed
Releasing a few tears sliding down his skin
All muscles of his body get constricted and stiff
As if they would be already dead and cold for hours
Now he is united with a wooden bed
2. Pyre of Disloyalty 05:09
At the end of the rope, the humiliated being
Soiled in wet straw, on it befalls clouds of spittles 
With clasped hands, in front of the desertion of her won people
Worship facing theirs, turned towards the greatest misfortune
Heretic among saints, saint among heretics
Tormented by swords, spears and inquisitive hands
Abased, her nudity against the wall collecting her tears
Looking out the bars for her purest lie
Imploring creations of help that never comes
The hair between her fingers falling on the way of rats
Accused of being the man she has never been
Thousand splinters under her shivering skin
A last glance at the one she no longer waited for
Rush and lick the waverings which melt her
Evaporating clothes, hair and ultimate hopes
Suffocating the King's smiles and the rage of battle
She rejoins her lie through paths that traitors have traced
Four times the bright burns strive not to let a thing
Annihilating all of lorraine up to her bones' fundament
3. Waltz in the Shade 04:10
Under this majestic shadow, red is the rain
Loaded up with alternately pain and grief
Creeping leisurely down a wooden path
Colonized by heaps of lifeless flesh
Swaying along a tepid wind
Many dismaying wry faces destitute of greatness
Linking up bodies flagging in an distressing posture
Blossoming leaves coated with smell of putrefaction
As a ring of puppets dance on a constant pace
Looming like a mirror in front of death
The ones out of the mainstream dread you
Escorting sinful souls to hellish underslands
Through roots feeding on their congealed blood
Dozing from mangled limbs and chafed throat
Embraced by tight ropes which denounce
A servitude of a lonely pitiless master
4. Enlightenment of the Flayed 04:29
  Seeping into their nostrils, raising in them this severe paranoïa
Complaints turned into yells, breaking off the vocal chords
Becoming squeaks without pain among these strange murmurs
Then, the pages close the only access, sealed in the faeces
The cries subside in a world closed upon itself
Hour after hour, the heavy silence grazes
The reason of the blind onlookers
Losing control of those whose eyes are wide open
The emaciated beg, thrusting their fingers under their muscles
Stomachs placed on the floor, digesting their own flesh
As the fight begins, skeletal cries seek the atmosphere without sleep
The hands go crazy, pulling throats; teeth, and arteries
Dreams injected into one of them set up the fate of his body
The minute his eyelids close, his heart stops
The whispers continue whining, a smile freezes on the lacerated face
Motionless grin striving against the weight of a murderer sleep
Released by a void where blood and brain escape from
The generated lunacy assaulting its own creator
Faintly soughing for the last time
That freedom was within reach
5. Sempiternal Shackles of Savagery 05:02
Bodies pile up, suffocate by hundreds at the rate of waves
Further at any moment, the mythical Ifé, cradle of the unreal
Extinguished with a backhand are the revolting thoughts, restrained
With dangling arms, carried by metallic rattling
Annihilated are human hopes, annihilated are childhood dreams
Apart are the hearts, as soon as the brakes squeak resound
As soon as wood reaches rock, stigmatizing designed destinies
The generated inhumanity gathers under cracking whips and rifle stock
Erecting wonders of the world for self-proclaimed gods
May Sakpata cover their lives with torments of plague
Arising fury gets them suffocate at the end of rope
Or on a heap of skeletal puppets and satisfied flies
Tanakh mourned over, blazing, urine vapours escaping from
Hougan's blood consumed by soil of endless fields
As the one, by the sand of the lower being
In days of yore, come to entertain crowds
Like worthless dogs, engraved in common moral
Human kind, under God's stare, inflicting since the dawn of time
Embers and steel for its magnificence and its decadence
Beyond good and evil
6. Ave Patria, Morituri Te Salutant 05:02
In a rain of steel and stars of terror Scraps of bark make way to a rough black sea Dark waves cover the corpses of the wretched Fallen such puppets thrown to the borders of torment Feet trample on chests buried in the mire Faces still streaming with blood and terror The melody of howlings of sorrow and hatred Hardly combine with the din of hellish detonations These fleshes which run, fly, fall for days and days Every condemmed one straight off replaced Give form to a ballet of lights and tortures Which the acts make an epileptic nightmare Minds forever engraved through lying companions Filled with pools from where distorted limbs come out Will make disfigured automatons of some of them And of everyone, men plunged into realities of human horror For a hundred years, green glass dresses the injuries of earth and bones Where hundreds of souls wander on a desert shaped of impacts
7. Desire Achievment 03:36
From a coldness caused by a soulless iron blade Her heart turns unbeating and stiffens her undressed body Stained with blood disguising a wound which sets entrails free Veins and arteries empty gradually and flood the sating spot A fearful glare escapes from the pale eyes of her And drowns into the night depth of her agonizing calvary Wide open mouth is evidence of depraved relief Fulfilled with passion and breeding insanity around On a bed of cobbles, the abandoned masterpiece of profligacy Lies dead as a carcass nibbled by a flock of vultures Consumed until complete wear and dilapidation A soul in pain is confined inside Legs rise in the air like a lustful animal Providing charisma of worms kissing a piece of decaying flesh 
8. As Below so Above 04:33
Eyes opening, finding out verdant expanse in a thrill
Struggling to keep the head above this liquid flesh sea
Pestilential waves which tentacles emerge from
Guts of a nameless and pervasive abomination
Decaying hands pulling me towards the endless abyss
Soul volutes veil my sight with milky blur
The struggle for air kindles my lungs, my mind
My hands grasp the velute of tatters and the redemptive rock
The unreal performance leads to the most unfounded frights
Spewing, indescribable limbs dance haunts me
The ground shirks, taken away the obscurity
And leaves me sink down, my skin running away
Getting these fingers bak on my skinned members
The shrill sound of the divine
Splits the gruesome faces clouds
Opening my soul on universe realities
Horror shimmers my body, the other I who's sleeping
Thee comprehension hits me on the ending
My organic matter flows, joining in the foul scum
No longer waking up, away from the waves where my remains stand
9. The Price of Faith 04:23
  The iron through the throat of the Forth, emptying his veins
Condemned his soul, condemned his body to torment
Inhuman kingslayer, from savior to disgusting dog
Acted to liberate his own, lynched by them all
Tampered togs, his shaking bones oozing fear
The mallet pressing wood into his flesh
But teeth cracking is his only answer
His pride flowing out tear by tear on his cheeks
Prostrated in sputum in front of his mute god
Candle in his hand, forgiveness implored to Justice
His hand disappears in fumes under molten Sulphur
His crackling skin, carbonizes, blisters, becomes ashes
Flanks, arms and thighs, his whole body fights against the red steel
As blood and saliva seal his dry lips
Horses rush to the four cardinal points
Muscles scream to death to let them go
The are through the air helps these sickly members
Perished in a thousand sorrows the one who killed for his God
10. Among the Void 04:40
  The sun is still not risen above me
But even though I wake suddenly
Impossible to feel any heat here
But just a smell of death around
Deep black looks down on this place
Useless and despairing to open an eye 
Breathing in and out goes harder and harder
Distress and thirst come straight to me
Giddiness lays hands on my lost mind
Dust drops down at the least motion
On my sweaty eyelids and my shivering jaws
Providing a sensation of entombment
The sides which keep me locked in
Seem to be infinitely thick by touching
Loudly screams of fear sound hollow
Then vanish without answer nor echo
Heart beating is the only distinct noise
Clicking like a countdown of my own release
And blends with crashing sounds of kicks
Against unyielding infernal wooden walls
A blind feel of bleeding invades my fingers
Shaking in an air shortage standing up
And sends my mind into a dull dream
Led by a silence worthy of a graveyard
  46:44





"Mysteries" was recorded at the Black Chamber during the 10th full moon of MXIV.

MYSTERIES is dedicated to Portuguese Black Magic, to those who damn their souls summoning the dead, to fulfill their will of CHAOS and EVIL.

4th press on 140g 'ultra clear' vinyl housed in a 300gsm jacket with matte varnish and inside flooded in black. Includes a double-sided printed 250gsm cardboard insert and a A2 poster on 150gsm art paper.
Limited to 300 hand-numbered copies.

HAZTE CON ÉL EN : BLACK METAL SPIRIT STORE O DISCOGS

jueves, 7 de septiembre de 2017

WOEST


Origen: Marsella, Francia
Formados: 2016
Estilo: Black, doom, industrial
Temática: ?
Enlaces: Bandcamp
Miembros:
  • Malemort Guitarra y programaciones
  • Torve Teclados y voces 
Discografía:
  • La fin de l'ère sauvage CD 2017
  • Le gouffre CD 2018
LA FIN DE L´ÈRE SAUVAGE (2017)
Lo cierto que la irrupción del combo francés al comienzo del presente año fue bastante llamativa ya que nos encontramos ante un metal extremo con muchas partes experimentales que no resulta del todo accesible pero que sin embargo nos vuelve a dar una lección una vez más de lo rico y variada que es la escena. Estamos ante un álbum  de sonidos industriales, tal vez este sea el apartado más presente a lo largo de los seis temas que conforman este álbum, aunque eso si, todo ello trabajado sobre una base de black metal. Los temas son sucios, putrefactos, pesados y oscuros, sin lugar a dudas también es consecuencia directa de las parte más doom de su música. El conjunto se desarrolla con infinidad de elementos, desmembrar un tema de Woest es tarea casi que imposible, pero sin lugar a duda la riqueza de las composiciones esta fuera de toda duda, debido sobre todo a las programaciones que han conseguido plasmar una pesadez y densidad en el conjunto final. Hay bandas como Arcturus o Godflesh que por momentos se atisban como influencias en ciertas partes, pero Woest a conseguido crear un producto en donde hay cabida para el black, el doom el industrial y el death. Las voces son lodosas, oscuras, con una doble vertiente death, black, pero también hay presencia del parte corales en ciertas transiciones y el ambiente épico también se logra transmitir al oyente. Cada tema es un ente en si mismo y el álbum solo puede ser entendido y comprendido en su junto medida si es escuchado como todo de principio a fin, y solo así podemos hacernos con la idea de decadencia y oscuridad de la raza humana a lo largo de la historia en contraposición con la naturaleza. Más que interesante toma de contacto con esta banda que tiene por delante un interesante futuro. (8,5).


1. Le froid éfface 05:18
2. Tout s'écroule 08:38  
3. La fin de l'ère sauvage 06:11  
4. Noir 05:59  
5. Moelleuse et tiède 05:30  
6. Toundra 08:07  
  39:43





Nevoa  ‎– The Absence Of Void
Sello: Altare Productions ‎– ALTLP013
Formato: Vinyl, 12", Album 
País: Portugal
Fecha: 2015
Pistas
1 A Thousand Circles 
2 Wind And Branches 
3 Alma
Vocals – Cláudia Andrade*
4 Below A Celestial Abyss
Guest, Vocals – Pierre Laube
5 The Absence Of Void 
Compañías, etc.
Mastered At – Caos Armado Estúdio
Mixed At – Caos Armado Estúdio
Créditos
Illustration, Layout – Misanthropic-Art*
Mixed By, Mastered By – Daniel Valente
Performer – João Freire (3), Nuno Craveiro
Producer [Produced By] – Daniel Valente, Nevoa 

HAZTE CON ÉL EN : BLACK METAL SPIRIT STORE O DISCOGS

domingo, 3 de septiembre de 2017

PORFIRIA 666

TIEMPO DE INVIERNO (2017)
Primer larga duración de los vallisoletanos que no están perdiendo el tiempo a la hora de componer nuevos temas y moverse a la hora de poder ofrecer su música en directo, manteniéndose siempre fieles a ese perfil underground que marcaron sus comienzos. Para este nuevo álbum de ocho temas de nuevo han tenido que modificar su line-up, algo que también se ha vuelto un factor a tener en cuenta desde sus inicios, para la ocasión Ihcuhc se ocupa de la batería. En cuanto al sonido que ofrecen en estos ocho temas siguen un tanto la senda marcada en su anterior demo "Opus Tenebricosus", es decir una música influenciada por el sonido de los noventa y la crudeza  y cierta violencia de sus composiciones, un gusto a veces por sonidos ambientales para conseguir una mayor sensación de misterio y oscuridad en sus música. Sin embargo también sería del todo injusto quedarnos sólo con esto y no saber apreciar cierta madurez en su sonido. Sobre todo la madurez y la solidez de las composiciones a base de estar más trabajadas y elaboradas es un aspecto destacable en el álbum y temas como "Tiempo de Invierno" y "Tambores de Guerra" son dos claros ejemplos de ello. En ellas si que se nota una mayor evolución en el sonido y debería de marcar el devenir de la banda en el futuro ya que podemos encontrar un perfecto equilibrio entre la ambientación y la melodía de las partes de teclado, en clara contraposición con los riffs afilados la agresividad de las voces, suavizadas eso si por otras en segundo plano. Desde luego el resultado final de este trabajo está bastante por encima de la demo y logra convencer, creo de manera unánime. (8,2)


1- Plenilunio (intro)
2- Tiempo de Invierno
3- Tambores de Guerra
4- Los Atrios de Valhalla
5- Aquelarre
6- A través del inframundo (Anubis)
7- Muerte Subita
8- Solsticio (outro)







miércoles, 30 de agosto de 2017

SACERDOS


Origen: Paso Robles, California, E.E.U.U.
Formados: 2007
Estilo: Ambient, black
Temática: Filosofía, historia, mitología, y ocultismo
Enlaces: Bandcamp
Miembros: 
  • Brutus Varios
  • Cassius Varios
Discografía:

  • Relics Demo 2007  
  • Uktena Demo 2007  
  • Windswept Demo 2007  
  • Judecca CD 2009  
  • Zarathustra EP 2011  
  • Vibromancy CD 2012  
  • Divinativa CD 2014  
  • At Dusk / Sacerdos Split 2017
AT DUSK / SARCEDOS (2016)
Tampoco son unos recién llegados a la escena y manteniendo esta formación de dúo a lo largo de estos diez años, se me antoja como el tema más interesante de este compartido. Han ejecutado un tema mucho más dinámico y diría que elaborado, en donde sus principales virtudes musicales están perfectamente representadas, sabiendo conjugar de manera acertada su vertiente más ambient con el black más directo y oculto, no exento de partes melódicas. Para ello, a lo largo de los más de de trece minutos que dura "Hexagonum", van tejiendo sus partes en un tema que podríamos decir que esta conformado por diferentes partes que podrían funcionar como temas independientes pero que se han unido de manera correcta por puentes, la mayoría de las veces, de teclados. Sin lugar a dudas "Hexagonum" respira de diferentes formas, comienza de manera cruda, oscura y mitológica, con toda los instrumentos concentrados en ofrecer un black metal más que correcto, pero a lo largo de sus sucesivas pausas resurge de manera melódica y oscura en donde los teclados van ganando protagonismo y la música se vuelve más limpia, hasta acabar muriendo en un black ambiental más sosegado si cabe, con ruidos de la naturaleza y melodía de teclados que dan por finalizado este acto. (8).




1. At Dusk - Condemned 14:57  
2. Sacerdos - Hexagonum 13:36
Contemplation, lucubration, preparation, meditation Our feet are unbound for ascension Earthquakes arise from your laugher Shu no longer apprehends us Time and Earth are irrelevant We pervade your consort Nut Before you once again manifest as Geb Before I return to earth Wielding the sickle, slave to the terra Consuming the living and the dead Imprisoned by Shu, longing for Nut The hideous return to Earth Wielding the sickle, slave to the terra Brandished by the timeless hexagon Once expelled, now harmonized Your return beyond the sky Suffer in storms Bear the hexagon I display the pileus Suffuse the cosmos Long past is the golden age Transitory empyrean stage  
  28:33




jueves, 24 de agosto de 2017

AT DUSK




Origen: Santa Cruz - Los Osos, California
Formados: 2010
Estilo: Black depresivo
Temática: Adoración de la naturaleza, anticristianismo y misantropía
Enlaces: Bancamp
Miembros: 
  • Korihor Todos los instrumentos y voces
Discografía:

  • At Dusk / Idolater Split 2010
  • At Dusk Demo 2011
  • Oceanborn / Magnetic Armor Split 2012  
  • At Dusk / Korium Split 2012  
  • Where We Have Always Dreamed / Through Caverns Unknown Split 2013  
  • MMXI-MMXII Recopilatorio 2014  
  • Anhedonia CD 2014  
  • Live MMXII Directo 2016  
  • At Dusk / Sacerdos Split 2017
  • Condemned CD 2019
AT DUSK / SACERDOS (2017)
Podemos encuadrar a At Dusk en ese puñado de proyectos de un solo hombre que plasman a la perfección las inquietudes de una mente creativa. Mis primeros acercamientos a la música de At Dusk, fueron, si mal no recuerdo, su demo homónima y su primer larga duración "Anhedonia", mucho ha llovido ya, sobre todo desde la edición de la demo. Para la ocasión tenemos este compartido de dos temas en donde At Dusk se encarga de abrirlo. El tema comienza con un pasaje hablado, algunos sonidos ambientales para a continuación arremeter con un black que comienza de manera cruda y atmósfera cargada. Sin embargo lo bueno que tiene esta larga duración del tema "Condemned", casi quince minutos, es que vamos transitando por diferentes estilos que sin lugar a duda vienen a reflejar el estado de ánimo de Korihor, digo esto porque la sensación plomiza y violenta del inicio se ve trastocada por alguna que otra pausa en el discurrir del tema que nos presenta otras partes mucho más pesadas y cargadas, en donde el doom campa a sus anchas y las melodías más melancólicas y oscuras cobran mayor protagonismo. Otro pasaje hablado no devuelve otra vez la calma para que de nuevo el tema cobre forma y arremeta ya sin piedad con una suerte de black directo, crudo, violento a veces, de atmósferas frías y casi que depresivas, digo lo de casi depresivas, porque el tema aquí ofrecido por At Dusk, aún sonando frío y cargado, no se sumerge del todo en la vertiente más depresiva de trabajos anteriores. Para finalizar un buen pasaje de teclados con reminiscencias al "Exosrcista" (puede ser) y alguna parte más hablada. Buen aporte a este compartido, con un tema extenso, dinámico y bien ejecutado. (8).



1. At Dusk - Condemned 14:57
We all are, to a man, to this condemn'd: To fall to shame, all dignity bereft Slavering curs, our teeth baréd to rend What awe remain'd among us unto death I sought to walk in beauty, like the night Of cloudless climes and winsome starry skies But callous calumnies douséd the light Plunging to blackness all I could espy They say that in the soul of judgement's eye Resides the greater portion of sin But more among us quicken to despise Without casting our gaze to scry within Thus I am driven swiftly to my end As all the bloodied earth cries for revenge  
2. Sacerdos - Hexagonum 13:36
  Contemplation, lucubration, preparation, meditation 
Our feet are unbound for ascension 
Earthquakes arise from your laugher 
Shu no longer apprehends us 
Time and Earth are irrelevant 
We pervade your consort Nut 
Before you once again manifest as Geb 
Before I return to earth 
Wielding the sickle, slave to the terra 
Consuming the living and the dead 
Imprisoned by Shu, longing for Nut 
The hideous return to Earth 
Wielding the sickle, slave to the terra 
Brandished by the timeless hexagon 
Once expelled, now harmonized 
Your return beyond the sky 
Suffer in storms 
Bear the hexagon 
I display the pileus 
Suffuse the cosmos 
Long past is the golden age 
Transitory empyrean stage
  28:33





martes, 15 de agosto de 2017

EERIE (E.E.U.U.)

Origen: E.E.U.U.
Formados: ?
Estilo: Black, doom, heavy, progresivo y rock
Temática: ?
Enlaces: Facebook
Miembros:
  • Baby Leg Batería
  • Dave Sweetapple Bajo
  • Shane Baker Voces
  • Tim Lehi Guitarra
Discografía:
  • Eerie CD 2016

EERIE (2016)

Siguiendo un poco la senda que marcaron bandas como Inter Arma o Kvelertak, nos llega el debut de estos norteamericanos. Su música puede en un primer momento dejarnos un tanto confundidos, por un lado suena simple, casi que sin pretensiones, sin embargo hay una importante elaboración y carga de pesadez que se ha trabajado a conciencia y que aflora una vez hemos escuchado el álbum un par de veces. Como en las bandas anteriormente descritas, el black metal que contienen estas composiciones no es un elemento principal en al mezcla, pero si que es un elemento necesario. Estamos ante unos temas bastante extensos que permiten desarrollar y recoger diferentes influencias dentro del metal y del rock, siendo sin lugar a dudas estilos como el rock, el progresivo o el doom los predominantes. Voces en lineas generales agresivas pero también conservando la limpieza de registros, un buen apartado de batería que dota de energía y vitalidad las composiciones, y una buena mezcla de bajo y guitarra, siendo esta última un elemento destacado en muchas partes, al dejar aflorar diferentes estilos en las composiciones, al mismo tiempo que variados, sonando por momentos a clásico o otras aportando una dosis de psicodelia al álbum. Todo el conjunto suena agresivo pero limpio, como una obra de rock, casi que me atrevería a afirmar que clásico, sin embargo la producción logra aportar contundencia, gravedad y pesadez al resultado final. Tal vez una mayor variedad en las composiciones no vendría mal al resultado final, pero estamos ante un álbum que suena lo suficientemente solido como para darle una oportunidad. (8).



1. Hideous Serpent 07:25
2. Yeti 09:49
3. Master of Creation 08:25
4. Immortal Rot 05:34
5. Blood Drinkers 06:19
  37:32


domingo, 13 de agosto de 2017

DYNFARI - INTERVIEW


1.Dynfari was born in 2010, in its beginnings with two main components such as Jóhann Örn and Jón Emil, what made you want to create a band like Dynfari in those days?
We felt that what we were creating at the time was a blend of styles of music not much explored in Iceland before. It was a particular sort of self-expression that had a great amount of cathartic influence on us that we had not known before.

2.From your beginnings you have always opted for a very personal sound full of nuances and influences that are not always present in the black, to mention as an example the clean voices in certain parts of your subjects and a brazen bet for post-metal sounds, did you consider In principle as risky your proposal?
I don’t think we ever felt it was risky. We weren’t really inventing the wheel, as bands like Agalloch, Alcest, Ulver and the like had mixed clean vocals and other softer elements with black metal way before us. Then again this approach was only just gaining real traction around that time, so in a way we were part of an undercurrent that later became a large wave of such post-rock influenced black metal bands, some of which spawned from the DSBM of the 2000s.

3.However the passage of time has given you the reason and an album as your last "The Four Doors of the Mind" is a total and absolute proof of musical maturity and composition and shows that time has proved right. How was the process of composing and recording your last album? Do you consider that this "Four Doors of the Mind" represents what Dynfari is today?
It was around a 2 year process from the first compositions. We also utilized some even older ideas with new arrangements. The recording process was easier than often before since we recorded at Studio Emissary rather than recording everything ourselves as with our previous albums. Four Doors does represent Dynfari today, yes, but with the forewarning that our creative process is in constant evolution which at times feels bottomless. I can promise that what we are working on now will have a different feel to it than Four Doors did.

4.Your lyrics have always been inspired by the life of the human being and by philosophy and for the occasion this "The Four Doors of the Mind" was not going to be menes. Tell us a bit about the conceptual section of the album and why you decided to treat it.
The idea to dedicate an album to the theme of pain came from some deep introspection on what really makes me want to perform such aggressive music but yet tie it to some mellower segments. It is to express pains and effects I have endured from an autoimmune disease I suffer from. Throughout the album, the listener travels through the “four doors” that are the mind’s tools to alleviate pain and suffering. It is a reference to the novel The Name of the Wind in which Patrick Rothfuss put forth this concept. I also chant early 20th century Icelandic existential poetry by Jóhann Sigurjónsson which heavily relates to the doors of sleep, forgetting, madness and death.

5.The last song from the album "4th Door: Death" is a different song, it is much longer than its predecessors and also has a different feeling to the others, what can you tell us about this last issue?
It is a very different song indeed, the only one on the album composed entirely in a jam setting. Granted, it was refined somewhat for the recordings, especially by Bragi adding more guitar layers. Essentially it is an ode to mortality and the acceptance of death as something beautiful and inevitable. The song was conceived in a very transitional period in my life, in realizing that every end is a new beginning, no matter how final that end may seem. So, we layered 7 electric guitars on top of each other to illustrate that enlightened feeling of a burden of pain dropping from your shoulders to set you free for something new.

6.You have always written your songs in your native language however in your last album it seems that English is more present than in previous occasions, can this be an attempt to bring your music more to the fans so that they can have greater access to your letter?
Somewhat. It was an attempt to make the subject matter a little bit more approachable and less esoteric, while still retaining some of the arcane feel by using the over 100 year old Icelandic poems. Whether we succeeded, others will have to judge. I would expect our next album will be pretty much completely in Icelandic again. It usually feels more natural to me to express my thoughts and poetry in my native tongue.

7.Undoubtedly, perhaps, when Dynfari began Iceland not well known for its extreme music scene, however in recent years the scene has grown considerably and Icelandic groups have a significant presence and influence on the world stage, Do you feel that Dynfari belongs to this new Icelandic scene and has had some influence in this new scene?
I definitely feel that we belong to it now, even if both Dynfari and Auðn were kind of outsiders for a long time with our more “atmospheric” take on black metal, as poor as that word describes the subgenre. Whether we have had influence on the Icelandic scene itself, I am not sure. There are not many bands in this genre here in Iceland, and almost none that are younger than we are. Most kids here are into rap these days! But we have been mentioned as influences by some random foreign bands. It always warms our heart to feel that our music has moved someone in such a way.

8.Undoubtedly a sound as rich and varied as the one that Dynfari offers has to be the result of a lot of influences but if it had to stay with a handful of bands, what have been your five fundamental albums in music?
Oof, that’s a very difficult question. Seeing as Alcest’s Souvenirs d’un autre monde just turned 10 years old recently, I think it deserves an honorable mention. It’s an album that completely changed the way I perceive and view music composition, in particular mixing black metal elements with external influences. Austere’s To Lay Like Old Ashes and Woods of Desolation’s Torn Beyond Reason were two profound influences in our early days, both from Australia. A lot of my post-rock influences come from the bands Mogwai and This Will Destroy You. I’d like to namedrop Mogwai’s Come On Die Young and TWDY’s self-titled album.

9.It said earlier that in the beginning Dynfari was played by Jóhann Örn and Jón Emil, however over time new musicians have joined, the inclusion of these new musicians responds to a need to be able to take Dynfari to the stage and to the Same time you can enrich your music?
Yes, Hjálmar and Bragi have proved to be invaluable members of our chemistry for years now. Bragi contributed to compositions on Four Doors and is bound to have even more to give on our next works. Hjálmar has been with the band since 2011, either as a session member, sound engineer and even amplifier mechanic on tours! Now he’s our full-time bass player.

10.How were his beginnings in music, first concerts, first cds that he bought? What fact of his life was decisive so that he wanted to be a musician?
It may (or may not) come as a surprise that most of us from the band come from a death and thrash metal beginnings, though Jón Emil’s classical guitar education does put its color on everything as well. As teenagers in the late 2000s we frequented the then active death metal scene’s concerts in Reykjavík and played in our own garage death/thrash metal bands. Somehow we evolved from there to what we make now, just as Iceland’s metal scene in general evolved from being death metal dominated to black metal dominated. I think the first metal concert I went to here in Iceland was Finntroll in 2007. I remember that between bands, Death’s cover of the Kiss classic “God of Thunder” was playing on repeat. Good times.

11.Since its second album all your music has been edited by Code666 Records, today it is somewhat complicated to see a band so linked to a record label, obviously this shows that both parties are satisfied, how came the contact With Code666 Records and why is it binding for so many years? What do you think of the blue vinyl edition that has been edited by the label?
We have been with them since the release of Sem skugginn in 2012 and a new contract has been made for just one album at a time, so we have not been bound this whole time. We have gotten offers from several other respectable labels but ultimately Code666 has offered us the deal most compatible to our goals at each time. The partnership has not been completely without dispute but overall we have gained a lot from it. As an example, the big North American tour with Negura Bunget in 2015 would not have happened would it not have been for Code. The blue vinyl edition of Four Doors is absolutely gorgeous, and as is the limited edition woodbox that was released in only 20 copies. Such special releases are something we are very keen on making more of in the future.

12.With "The Four Doors of the Mind" still fresh in terms of editing, what future plans for concerts and upcoming releases do you have?
This summer we played a very special release concert in Reykjavík as well as performing at Eistnaflug festival and KEXPort fest. Currently we have many ideas of what to do next but nothing set in stone. If the right opportunity arises we will go on tour or make a festival appearance next year. Otherwise we will focus on continuing creating and sculpting more music.

13.Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Dynfari, this is the place. I hope the questions are to your liking
Nothing says “I love you” more to a band than supporting their work. We want to thank every single person who has ever supported us throughout the years. You make it possible for us to continue.



Fourth, Incredible album from Icelandic Black Metal band Dynfari! Alternating between post-rock vibes and black metal atmospheres, the album explores fantasy writer Patrick Rothfuss' theory on the mind's abilities to cope with pain, by weaving it together with over 100 year old lamentations on human existence by early 20th century Icelandic existentialist poet Jóhann Sigurjónsson. The combination of the two writers' thoughts is embodied in the union of the drive of black metal with more traditional soundscapes of acoustic guitar, accordion, flute and bouzouki. Artwork by Metaztasis (Watain, Behemoth).


HAZTE CON ÉL EN : BLACK METAL SPIRIT STORE O DISCOGS

sábado, 12 de agosto de 2017

SPELL OF DARK




Origen: Rusia, Astrakhan
Formados: 2009
Estilo: Ambient, black atmoférico
Temática: Invierno y padecimiento
Enlaces: Bandcamp y facebook
Miembros:
  • V.T. Todo
Discografía:

  • Forever Winter EP 2013  
  • Чёрная скорбь CD 2014  
  • Ashes of Forgotten Dreams CD 2015  
  • Journey into the Depths of Winter EP 2017
  • Autumn Greatness of Forests Single 2017
  • Eternity Somewhere There Single 2018
  • The Vastness CD 2019
  • Ghost From the Past CD 2021
  • Running Over the Horizon EP 2021
  • Relighting Mirages Split 2022
JOURNEY INTO THE DEPTHS OF WINTER (2017)
Con un tono repleto de melancolía y tristeza se nos presentan los tres temas de este nuevo Ep de la one man band rusa Spell of Dark, sin lugar a dudas un proyecto que da rienda suelta a las inquietudes y demonios interiores que encierra la personalidad de V.T., que ya en el lejano 2009 arrancaba con un primer Ep y que ha dejado también en estos años un par de largas duraciones. Como comentaba anteriormente el tono de estos tres temas que conforman el EP se ven impregnados de melancolía y frialdad, la temática gira en torno al invierno y su presencia se deja sentir en cada nota de los temas. Sin lugar a dudas V.T. se define como un adulador de esta estación del año, por su dureza, por su efecto purificador sobre la naturaleza y el ser humano y de manera magistral logra plasmarlo con una música en donde el ambient y el black atmosférico, junto con ciertas partes dark y algo de black depresivo plasman a la perfección esa frialdad y padecimiento que trasmite el invierno. V.T. emplea temas largos, rebosantes de melodías melancólicas capaces de reflejar la soledad y la tristeza de todo lo que rodea a los días más cortos del año. Repleto de leyendas y tradiciones de su lugar de origen, estamos ante poco más de veinte minutos que logrará trasportar al oyente a una época medieval, en donde el ser humano se adecuaba al ritmo que le marcaba la naturaleza y en donde el valor de la vida era otro. (8,4).


1. The Breath of Cold Silence 08:06  

2. Frozen Lands and Horizons 08:05  
3. Light of Winter 06:09  
  22:20